By  making  successive  exposures  upon  several  of  these  one-inch  strips,  you
will  soon  find  out  what  the  proper  exposure  is  for  the  particular  negative,


The  spacing  of  tbe  picture  is  well  thouubt  oul.     The  figure  a  plueed

pleasini  and  natural.  The  expresnion  is  deliithlful.  and  Ihe  pott
•  nd  management  of  Ihe  appropriate  accessories  contribute  lo  the
general  pleasing  eflecl.  The  landscape  setting  serves  to  aive  proper
relief    lo    the    figure,    and    the    i>eiail    u    eiprCBsed    sufficienlly    ta


■Fiji's


CAMERA


687


the  particular  degree  of  enlargement,  the  particular  kind  of  light  and  the
character  of  paper  with  which  you  are  working.
There  is  no  necessity  for  making  such  tests  for  every  exposure.  Once
get  the  "hang"  of  enlargement  exposure  and  one- learns  by  looking  at  the
brightness  of  the  image,  approximately  what  the  exposure  will  be.  The  latitude
of  most  bromide  paper  is  great,  and  one  can  under-  or  over-expose  at  least
twenty  or  twenty-five  per  cent,  without  injuring  the  enlargement,  at  least
according  to  the  standards  of  most  amateur  operators.
Under-exposure  and  over-exposure,  however,  are  no  more  to  be  desired
in  making  enlargements  than  in  making  the  original  negative.  The  effect  of
under-exposure,  as  noted  in  the  case  of  the  test  strip,  is  a  weak,  washed-out-
appearing,  gray  print,  which  has  no  strength  in  the  shadows  and  in  which
the  weak  high-lights  are  apt  to  be  degraded  by  too  long  development.  An
over-exposed  enlargement  when  taken  from  the  developer  before  the  high-
lights have  been  degraded,  nevertheless  shows  its  over-exposure  in  a  blocking
up  of  the  shadows  and  poor  color.
