Harper's Round Table, October 8, 1895 Part 11

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[Ill.u.s.tration: If afflicted with SORE EYES USE Dr. ISAAC THOMPSON'S EYE WATER]

[Ill.u.s.tration: BICYCLING]

This Department is conducted in the interest of Bicyclers, and the Editor will be pleased to answer any question on the subject. Our maps and tours contain much valuable data kindly supplied from the official maps and road-books of the League of American Wheelmen.

Recognizing the value of the work being done by the L. A. W., the Editor will be pleased to furnish subscribers with members.h.i.+p blanks and information so far as possible.

[Ill.u.s.tration: Copyright, 1895, by Harper & Brothers.]

The journey from Shannock to Providence, which is the fifth stage of the run from New York to Boston, is another short trip. On leaving Shannock the rider runs out of the village from the southeast, and then at the crossing of roads keeps always to the left, moving northward, and soon crossing a small stream. The run from this point is unmistakable. A little more than three miles out he crosses the stream again, pa.s.ses over a bit of hilly country, and after crossing the railroad runs directly into Kingston. Here a sharp turn is made to the north and left again, and pa.s.sing Mooresfield the rider runs on to Sloc.u.mville over a moderately good road-bed, but through some pretty hilly country. In fact there are several good hills between Shannock and East Greenwich, all of which are designated on the map. From Sloc.u.mville to Belleville through Allenton is a clear course over a good road, bad in spots; and thence the route skirts along the inlets of the bay direct to Wickford.

Wickford station and hotel are some distance off the bicycle route, but it is hardly necessary to stop here, and the rider would better keep on direct to East Greenwich, where a stop can be made for lunch or dinner, with a little under twenty-five miles done for the morning's run. The road from Wickford to East Greenwich is easily followed if you take care to keep to the main road and do not swerve to right or left. It becomes better as you proceed northward as to road-bed and hills. From East Greenwich, the rider follows the sh.o.r.e of Narragansett Bay up to Apponang, and if he happens to run through East Greenwich without stopping for dinner he can find a reasonably good meal at this place, though on the whole East Greenwich is a much more satisfactory spot.

Side paths can be used along this part of the road to great advantage at times, though that goes without saying anywhere outside of villages or towns. On entering Apponang the rider turns sharply to the right into the village, and on leaving he keeps on the same road, running eastward, until just before crossing the track. At this point he turns sharply to the left and runs up to Marlors, crossing the railroad there. The road now runs along not far from the track, pa.s.sing Hillsgrove. Thence the rider should keep straight on to Pawtuxet. On entering the main street turn to the left and pa.s.s directly through the town, leaving Elmville on the left, and soon afterwards, perhaps three miles further on, running into the most distant suburbs of Providence. It is some distance to the centre of the city, where the Narragansett House is a good place to stop. Indeed the journey winds about so that it is thirty-seven or thirty-eight miles before you have made the run from Shannock to Providence.

If the rider is one who can easily do seventy or eighty miles in a day he can make a short detour near the beginning of the journey and spend part of the morning at Narragansett Pier. On leaving Kingston, instead of turning sharply to the left at the junction of the roads, go eastward on the Mooresfield road, and take the first right-hand turn. This will carry you to Narrangansett Pier in short order, as it is not many miles away. In like manner the main road to Providence may be joined again at Allenton by following the secondary bicycle route designated.

NOTE.--Map of New York city asphalted streets in No. 809. Map of route from New York to Tarrytown in No. 810. New York to Stamford, Connecticut, in No. 811. New York to Staten Island in No. 812. New Jersey from Hoboken to Pine Brook in No. 813. Brooklyn in No. 814.

Brooklyn to Babylon in No. 815. Brooklyn to Northport in No. 816.

Tarrytown to Poughkeepsie in No. 817. Poughkeepsie to Hudson in No. 818. Hudson to Albany in No. 819. Tottenville to Trenton in 820. Trenton to Philadelphia in 821. Philadelphia in No. 822.

Philadelphia-Wissahickon Route in No. 823. Philadelphia to West Chester in No. 824. Philadelphia to Atlantic City--First Stage in No. 825; Second Stage in No. 826. Philadelphia to Vineland--First Stage in No. 827. Second Stage in No. 828. New York to Boston--Second Stage in No. 829; Third Stage in No. 830; Fourth Stage in No. 831.

[Ill.u.s.tration: THE CAMERA CLUB]

Any questions in regard to photograph matters will be willingly answered by the Editor of this column, and we should be glad to hear from any of our club who can make helpful suggestions.

PAPERS FOR BEGINNERS, No. 14.

MOUNTING PRINTS.

As a rule all prints should be trimmed before toning. This is not only economy, but it simplifies the mounting process. Aristo prints can be mounted direct from the ferrotype plate or the ground-gla.s.s to which they have been squeegeed to dry. When thoroughly dry, paste the back of a print, lift the corner from the plate with the point of a knife, and peel off the picture. Place the upper edge of the picture on a line with the top of the card, and let the print drop into place. Lay a piece of tissue-paper over the face of the print, and roll the squeegee over it very lightly and evenly, taking care that no air-blisters are left between the print and the card-mount. By mounting aristo prints in this way one avoids getting paste on the face of the picture, and it will retain much of the gloss imparted to it by the ferrotype plate.

Instead of drying the prints before mounting they can be taken from the water one at a time, and placed face down on a pane of gla.s.s, or the bottom of the toning tray. After all are placed, absorb as much of the water as possible with a piece of blotting-paper. Apply the paste to the top print, being particular to have the edges well covered. Lift the print and lay it on the card-mount, and rub down with squeegee as directed. When the pictures are dry they can be burnished if desired.

Card-mounts come in all sizes, and the beginner usually selects a mount the size of the print to be mounted. Now a picture to look its best should be mounted on a card large enough to show at least an inch margin all round. A 6 x 8 card is a good size for a 4 x 5 print. Plain card-mounts of creamy white or soft gray are much less expensive than the small mounts with gilt or fancy edges, and are much more artistic.

Before mounting a print it is a good idea to lay it on the card and see what best accords with the color. After the prints are mounted write the name of the picture on each. If written on the back, which is usually to be preferred to the face of the print, any item of interest about the picture can be added. Do not mount a print unless it has some claim to merit. An amateur is always being asked to show his pictures, and it does not add to one's reputation as a photographer to exhibit dismal failures and dignify them with the name of pictures. There is no use in perpetuating a failure.

When visitors ask to see your pictures do not bring out every one which you happen to have mounted. A dozen well-taken and well-mounted pictures are more appreciated and more enjoyed than a large collection of which one tires before he gets to the end. Always have a few good pictures reserved for yourself. One so often hears the excuse, "Oh, I haven't any good prints," that it becomes tiresome. Make at least a dozen as fine prints as you can, and keep them for exhibition, adding fresh ones as the old ones become soiled.

CLARA ANDREWS wants to know what is meant by halation. Halation is the term used to denote the spreading of light beyond its proper place on the negative. In photographing an interior where the camera is pointed toward a window the light from the window is reflected from the back of the negative, and makes a sort of halo or fog round the picture of the window. Plates called non-halation plates are now made for the purpose of photographing clouds, windows, lights, etc., without having this fog appear.

E. A. D. asks if there is a way to take a photograph from an engraving, and how it is done. Copying photographs and engravings is very easily done. Place the picture on a board, holding it in place with clamps or letter-clips, and set the board upright.