this way, the picture was either exposed too long or the quantity of glycerine was insufficient. If the image becomes at once visible with all detail on the first brushing, the exposure was undertimed, or too much glycerine was used. By normal development, the picture should appear in about 10 minutes with three or four dustings-on. As soon as the picture is ready, brush the superfluous powder off carefully and take the picture for a few minutes into daylight. The surface of the picture can then be protected by varnishing or not, as required. When a colorless glass plate is used, the back should be given several coatings of black enamel or black asphalt varnish diluted with turpentine. The process is easy and very inexpensive.

The Photo-Beacon.-June.

This number is essentially a picture one, giv. ing some fifty reproductions from the recent Chicago Salon. These pictures are, however, better shown in a separate Souvenir published by the same concern. Mr. Todd's criticism of the individual pictures is a disappointment, being in fact no criticism at all, merely an annotated catalogue, the annotations being of the nature of "A Gray Day' very pleasing "; " Snow Storm at Dusk' a good snow picture," etc., with occasional lapses into ridicule.

Photo Era-June.

This number of our Boston contemporary is an excellent one. Osborne Yellott writes on the work of C. Yarnall Abbott, who has an undoubted claim to be considered one of our leading amateurs. Daniel F. Gay has an article on Portraiture by Flash-light, from which we quote below. H. G. Abbott has something more to say on the recent Chicago Salon. He asks whether A. Stieglitz' well known picture, "Scurrying Home," would not be improved by cutting off some of the foreground? Decidedly no. Mr. Abbott may rest assured that this picture has been studied over so often by Mr. Stieglitz that any improvement possible would have been made if it had been needed. The proportions of the picture are entirely destroyed by cutting down the foreground. Edith W. Taylor has a review of a recent exhibition at the Brooklyn Institute of Arts, in which the almost general dissatisfaction of the judging is made a prominent feature. Edward W. Newcomb scores some good points in his "Chats on Higher Ideals." The editorials are interesting in that they show an utter lack of knowledge of Camera Notes and its purpose, Mr. Keiley, Mr.

Stieglitz, and what the Era calls the New American School in photography.

Portraiture by Flash light, by Daniel F. Gay.

The secret is to hang in front of the flash two thicknesses of cheese-cloth about three feet square. The flash illuminates this, and the cloth then becomes the source of light for the sitter. This is equivalent to a window three feet square, and destroys the sharp shadows given by an unprotected flash. If the light is close to the subject-four or five feet-it gives round lighting, as shown by the baby's head. This picture and the other two are shown merely as results which have been secured with this method by one unskilled in portraiture, and in no sense are they to be taken as the final limit of possible results.

Any form of flash-lamp may be used which does not "spit" so badly as to set fire to the cheese-cloth. It should be entirely under control as to the moment of flash, so that a fleeting expression may be caught. With the Etna flash lamp the powder is put in the pan, and a plunger bearing a flame is driven into it by pressure on a bulb. The plunger has a tuft of asbestos, which is to be wet with alcohol and lighted. In use the alcohol consumes too rapidly, and it is better to remove the asbestos and substitute on the end of the plunger a short piece of "punk," (some relic of Fourth of July.) This glow is not sufficient to ignite the powder, so it is necessary to lay in the powder a bit of soluble gun-cotton, which is very inflammable. With this combina. tion one can wait five minutes, or even longer,

for the pose or expression, and be sure the powder will ignite the instant the bulb is pressed.

For proper use the lamp must be on some sort of stand which can be raised or lowered and moved about the room. It is very necessary to have a shield to prevent the flash shining directly into the lens. The compound used must be a quick explosive: for, if it burns slowly. the subject will wink or flinch. The aluminum flash powders burn quickly, and leave less smoke than the magnesium powders.

The amount of light may be controlled by using more or less powder, and the necessary quantity can be determined only by each for himself, varying with the

tone of the room, lens opening, and distance of the camera, as well as the distance of the lamp from the subject. The lens must be used wide open, and if no larger than f/16 it will be difficult to secure good work even with a large amount of powder.

Chats on Higher Ideals, by Edward W. Newcomb.

What advance can be expected in artistic photography if the serious work is to be confined to a few hard workers in the future, as in the past? Have we not yet learned our lesson from foreign exhibitors and from our best workers in America, who seem to fear no competi

DEMONSTRATION IN GUM

BICHROMATE

BY HENRY WENZEL, JR.,

At the Rooms of the Photographic Club of Baltimore.

A

MOST enjoyable and instructive talk was given by Mr. Henry Wenzel, Jr., of Brooklyn, at the rooms of the Photographic Club, of Baltimore, on Saturday evening, May 12, 1900. The subject of Mr. Wenzel's talk was "In the Dark-room and Out," and gave him, as he prefaced his remarks by saying, a wide range in a talk before photographers. Mr. Wenzel began his talk by a brief discussion of the merits and qualities of various brands of plates, papers, developers, etc., and showed a number of prints and transparencies bearing out the points made by him. The members were especially interested in the results from the use of the Lovell "backed" plate, which had just been placed on the Baltimore market. He also spoke briefly and to the point on methods of development and other branches of work in the dark-room. He discussed the merits of lenses of various makes and grades, and showed some very remarkable results achieved by the use of some of the modern high-grade lenses.

Mr. Wenzel then took up the subject of gumbichromate, to which he devoted the remainder of the evening. He soon showed that he was a master of the process, his finished work being, in the opinion of those present who had seen similar work, superior to any ever shown in America. At the demonstration Mr. Wenzel took paper which had been coated by himself and printed according to his directions, and made four or five prints for the edification of. the members of the Club. Some he developed by plain washing without other manipulation, in order to show the simplicity of the process. But the most interesting part of the demonstration was the control of the prints which he exercised by the use of brushes of varying qualities and fine jets of water applied locally. By these means he changed entirely the character of different prints from the same negative, and gave in a simple manner an idea of the extent to which the personal element enters in the production of desired results. His demonstration clearly showed that as a means of artistic expression in photography the gum process stands unrivaled.

Mr. Wenzel was liberal enough to give to members of the Club desiring the same specific directions and formulæ for coating the paper, mixing the pigments, etc., information which can be found in a definite form nowhere in the books, and which he himself has acquired by dint of hard work and patient perseverance in his experiments.

The talk as a whole was vastly enjoyed by the Club generally, and the members feel themselves fortunate in having had the opportunity of seeing actually worked a process which was to many of them a closed book. So far as is known this is the first formal demonstration of the gum process ever given in this country by any one having any claim to a mastery over its difficulties.

The Baltimore Club is at the present time in a flourishing condition, having a membership of over eighty, a majority of the members being active workers and regular attendants at the Club meetings. Photographers from other cities, amateur and professional, visiting Baltimore are always welcome at the Club rooms on Tuesday evenings, and will usually find something on hand both entertaining and instructive.

PERCY M. REESE, Vice-President.