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Translite is a flat-lying translucent film coated on both sides with a blue-sensitive emulsion and produces an image on both sides and can be viewed from either side. It is especially used for making advertising and display, transparencies by enlarging pictures on it from black and white negatives, and is as easy to use as most enlarging papers preferred by amateurs. After a considerable amount of experimenting to find correct exposure and development time I made a full size eleven-by-fourteen print on it of a favorite shot of our children. The results were so pleasing when viewed by the light from a table lamp that my wife reasoned it would be attractive as a lamp shade; also, not only would it be novel, but it would eliminate the over crowding of portraits on the furniture in our living room.

After further study and experiments we found it could be toned or tinted whichever was preferred and that the heat from an ordinary 100-watt bulb did not affect it unless brought in direct contact with the film for a period of time.

AT A craft shop in our home city of Carlsbad, New Mexico, we found the type of shade frames having the division bars from top to bottom dividing the frame into either three or four equal parts, depending on the size of the frame, with all sizes from seven inches for very small lamps on up to the eighteen-inch floor lamp size. The sales woman demonstrated different ways that plastic lace could be used to fasten our film to the frames, so with the purchase of two frames and twenty yards of ³/32-inch width plastic lace we were ready to try our first personalized lamp shades.

Our darkroom, like many amateur darkrooms, is an extra large closet fairly dust free, having electrical outlets but no water or drainage. The de-hypo washing is carried on in the bathroom or kitchen, and our eleven-by-fourteen developer, short stop, and fixing bath trays are set up on a card table. A rebuilt breakfast table holds our enlarger, paper safe and timer and an overhead safe light with changeable filters. A paper cutter mounted on a wooden box completes our small but efficient darkroom.

We run test strips from each negative to get proper exposure. As the prints are viewed by transmitted light they will seem over-exposed as compared to that on enlargement papers. Without excessive handling Translite lies perfectly flat and can be exposed without the use of an easel. We use one of the cardboard dividers from the box it is packed in, which is the same size as the film, focusing on the cardboard first, then placing the film squarely on top, for the exposure.

After the exposure is completed the film is then developed for one-and-one-half to two minutes by inspection, thereby getting any desired contrast. The film must be immersed quickly and evenly or air bubbles will form and leave a spot something like a water spot. Next it is placed in the short stop bath for fifteen seconds and on to the acid fixing bath for six minutes before it is given a final washing for one hour to remove all traces of hypo from the fixing bath. Not having a film drying cabinet we hang the film to air dry in the darkroom after the other work is finished and leave it closed for at least three hours or overnight if possible.

After the film is dry it is placed on the frame in the desired position and with a soft leaded pencil it is marked lightly along the outside of each division bar, at the top and bottom, and cut with scissors making sure to cut off the pencil marks. This film and the section of frame it was cut to fit are marked alike, as the panels usually vary just a little. In this way we avoid cutting more than one film for any one panel. With a paper punch we make holes two inches apart and one-fourth inch from the edge, across top and bottom. Then, with the matching sides of two sections of film held together, it is punched the same as the top and bottom, assuring an even fit when laced to the division bars.

TRANSPARENT PHOTO oil colors are used for tinting. Colors for each object in the picture are squeezed onto a piece of waxed paper. Several sharp wooden skewers, the tips wrapped with cotton, are used to apply the color. On hand are several wads of cotton for wiping down, and extender to dilute the colors should they get dry too quickly. We then place the film on an old glass picture frame, securing it with Scotch tape at the four corners. This is placed in front of a small light to make the image clear and easy to tint. If it is a portrait, we apply background color first using one of the wooden skewers tipped with cotton. We use a circular motion until the background is covered. With cotton wads and again using circular motions, we smooth the photo oil out to an even color of the desired shade. Flesh tones are worked in next on the hands, face, etc. Then comes the hair, and finally the lips, eyes and eyebrows, the latter being done with a small skewer of toothpick tipped with a small piece of cotton. On these the outline is worked in first, then the portion between is filled in, and the picture is completed and ready to dry. As the oils are fairly heavy the average drying time is from twelve to fourteen hours.

When the color is dry and the shade ready to assemble, each film is placed on the section of frame it was marked to fit and held in place by using spring type clothespins, two on each section, one at either end of the top bar. The sides are laced first, using a crossed style of lacing, starting from the bottom on the outside and ending on the inside at the top so that the knot will not show after the lace has been tied. Next the top is laced, using the wrap style of lacing by inserting lace from the outside and pulling the film tight against the frame. When the top is laced all the way around we tie it on the inside also. The bottom is then laced in the same manner as the top. We look over all the lacing to make sure it is pulled snug but not tight enough to buckle the film. We then clip the loose ends close to the knots and the shade is ready to be placed on a lamp.

OUR FIRST shades brought inquiries as to prices and sizes from our friends, and most of them placed orders for one or more shades. Some had their own films they wanted used. For others we made portraits of their children to be used on a shade, and still others wanted landscapes. Our customers have helped us build our business by showing the shades to their friends, who in turn buy shades and tell their friends. This provides us with all the orders we can take care of.

We have five sizes of shades from the 7½-inch, priced at $7.50, to the eighteen-inch priced at $20. This gives a good variety of sizes and prices. We have made a few on special order and for these we charge according to the time and materials required.