Amateur Photo Booklet Product booklet

www.orphancameras.com



      INTRODUCTION.
                                            . *

pUOTOGRAPHY      offers more  attractions than any
 I      of the Arts heretofore introduced in popular form,
for vyhile it answers fu11y the requirements of mechanical
taste,  it  offers constant opportunity  for the exercise of
higher intellectual  qualities.

  The  simplification   of  Photographic  processes mad.e
within  the past few years, the extensive preparation, com-
gnercially, of Gelatine Dry  Plates, make the successful
pursuit  of this most pleasing occupation, especially in its
application to landscape and tourists' purposes generally,
within   the  comprehension  of  any  person  of  average
ability.

  Arna'teur    Photogra,phq       is growing  more  and.
more in favor throughout  the civilized world,.  Formerly,
lovers  of  the  beautiful   tried  to  garner up the choice
views of nature by sketches with the pencil.  Now they
save not only  the  outlines,  but  the  detail as we1l, with
the Camera,

  The love of the beautiful  is innate in the human mind,
and this fact will make photography  grow  stil1 more, for
what can be more beautiful than a Photograph ?

lV.                  INTRODUCTION.

  Photogra,phgl      i,s al,rnost   enti,rel'g    the product
of  amateur  effort  and  experiment.   Experiment  and-
investip;ation of phenomena, when intelligently  pursued,
are commendable and, generally fruitful   of good results,
and.Photography tends rnore than any other art to stimu-
late observation of both common and uncommon things
and events.
    It  is not within  the province  of  this book  to go into
abstruse demonstrations  of  optical, chemical or mechan-
ical facts, but by the simplest known  processes to d.irect
beginners in the steps necessary to success,leaving to the
final master of  all crafts-experience-the    d.etermination
of the measure of success.
  The formule  given are the simplest and best known,
and are selected with  especial reference to their use by
amateurs.
'  The author does not claim  originality  in the formule
or.processes described ;  but  he has experimented very
largely  with  many  formule  and with  different  results,
and has selected the ones given as being the simplest
and. giving the best results.
   In  concl,usConrhe  begs to impress upon the read'er's
mind  the  imperative  necessity  for  constant, earnest,
watchful  attention to all  details.  He has d.oneall in his
power to make  Photography  simple and  popular;  the
result must remain with  the amateur.
                          THE  AUTHOR.

www.orphancameras.com





                                                                                                                                                                                                                                                                                                                                                                                                                                                                    i
  GENERAL OBSERVATIONS.

               T H E D A R K R O O M .

   The dark room is used for unpacking  the Dry  plates,
 placing them  in the  plate-Hold.ers anc1 for developing
 them after exposufq
   The  Dark   Roorn  does not mean a room u,ith the
 door closed and light coming  in the transom, or through
 cracks in the door, but one absorrrtely dark; the red light
 from the Ruby Lantern is the only light used.
  A  Speei,al  Rootn    for a dark room is not necessary,
 as all the operations can be performed  at night  in an
 ordinary room, in which case the curtain should be drawn
and the gas or lamp extinguishecl, using the Ruby L,an_
 tern only
  An  Orddnary      ltoottt,  can be used by day by draw-
ing  the curtains and hanging some heavy opaque cloth
over the entire window, so that no light enters.
  A  Cornmon    l)ark    Cl,oset,  however,  is the most
practicable rn'herethe amateur has no special room for the
purpose, as a closet is so much more easily made dark.
  orden    artil   ctea'nr,c,ness  are absolutely necessary
in the Dark Room.   I{ave a convenient p1ac" fo, every_

FF


                              INSTRUCTIONS.

          thing,  have  everything  in  its place, and neuer use tlte
       same bottle or dish for  dffirent  purposes.  By observing
        these directions you  will  avoid a long   list  of  failures,
        which .would otherwise be difficult  to account for.
             I)o  not  q,ll,oetsthe Hgypo   to come in  contact with
        any other solution.   After  using, it, thoroughly wash the
        hands  before  putting  them   in  any  other  solution.
        While   it  is perfectly harmless  to handle,  it  will  prove
           f.atal to the other solutions.   IIave a place for your Hypo
          tray and another  for your  Developing  tray;  instead of
        moving the trays to the light, move the light to the trays.
      When not in use they should be kept  in separate places,
       and as a further  precaution   it  will  be we1l, when  the
        developing and fixing  trays are similar, to mark on the                   +        under side of each the initials  of the solutions used.: as D                                                                                         tI        on one and  tI on the other.

           INSTRUCTIONS.


                  ft   i,s earnestl'g   recornrnended     that the beginner
       become thoroughly  familiar with the several parts of his
           outfit before attempting photographic  work.
                   If   the  Carnera   be a Trdpod,   Irustrurnent,      set
         the Camera in position on the Tripod,  fit the Plate-Holder
          to the Camera, attach the lens; focus o11some object and
        note the difference in the image on the ground-g1ass with
         the different Diaphragms in the Lens.

www.orphancameras.com

                     INSTRUCTIONS.

    If    i,t be a Ha,nd   Carnera,   examine the shutter,
operate  it a few times both  for  instantaneous  and time
exposures, fit the hold.ers in  position, and it will  be well
to see if the Focus Scale is correct, which you can d'o by
focusing at different d.istances,and also observe the image
on the View-Find.er.
   Dtt  st  the   ,ln si,d,,e of  the  Pl,ate-Holder      before
putting  in the Dry-Plate,  as dust on the Plate will make
sma1l transparent  spots in  the negative and consequent
black spots in the finished photograph.
  EdU the  Bu'by   Larnp   with  astral or any good kero-
sene oil, and  light    it.  Now go into  your  previously
arranged. Dark  Room,  locking  the door beltind. you  to
avoid. interruption,   having  with  you  the  plates and
Plate-Holder.
  To  Ei,AA the  Pl'ate-Holdar-Carefully        open  the
sealed package of Dry  Plates by cutting  along the lower
edge of the box to al1ow the removal of the cover; take a
Plate by the edges, and by holding  it so that the light  is
reflected, from  the  Plate  to the eye, you  rn'ill notice one
side is bright and glossy, while the other sid.eis more or
less d.u11. The du11 side is tlne face or film  sid.e,while the
glossy or glass side is tlne bach.
  Place the  Plates  in  the Holder  with   the face or  dull
side out, so as to be next  to the  slide, as this is the side
which  is next  to the lens during  the exposure and on
which the impression is made.

MANIPULATION    OF  INSTRUMI]NT.

      Having  placed a plate in one side of the Holder,  re-
    place the slide and reverse the Holder, placing a plate in
    the other side in a similar manner.
      Having  filled your holders, be sure to replace the cover
    on the box of Plates beforeyou open the door ofyour  Dark
    Roonz.
          rt  is desirable to brush the face of the plate very lightly
    with a camel's Hair  brush to remove any dust; be care-
    fu1 not to touch the face of the plate  with  your fingers,
    as it will be liable to show the marks in the picture.
  MnNtPULATtoN  oF InsTRUMENT.

       Betti,ng   up   the  Carnera-Attach      the  Camera
    firmly  to the Tripod, and open ready  for use ; spread out
    the legs of the Tripod, having one leg under the front of
    the  camera, and  the three legs nearly equal distance
    apart; by this mea11snone of the legs will  be at the back
    of  the Camera, as they would. be  in  the way  of  the
    operator.
      Leael,  the  Cannera    ;  this you can do with the eye;
       if one side of the camera be lower than  the other, the
    lines of the view will  not correspond to the  lines of the
    Plate, and objects'which are upright  in the view  will be
   taken diagonally on the plate.
     Ground-Glaes-The      Ground-G1ass at the back of
   Camera is for focusing;  the Lens forms an image on the
   Ground-Glass of whatever view is before it.

www.orphancameras.com

www.orphancameras.com

                    MANIPULATION   OF INSTRUMENT.

          Eocusdng   Cloth-To   see the image on the ground-
          glass perfectly, a F'ocusing Cloth is necessary to shut out
             all  the  light  possible, as you  cannot  focus sharp  if
          strong  light   strikes  the  ground-g1ass from any other
          direction than through  the  lens.  The  F'ocusing Cloth
         should be of some quite opaque material; the best is rub-
         ber cloth or dark  velvet.F      Eoeusi,ng-The    Camera being ready for work, cover
         your head and  the Camera at the same time with  the
         Focusing Cloth, and rn'ith one hand gather the ends of
          the cloth around the bed of Camera to exclude as much
            light as possible, that  the image may be more distinctly
         seen.
         Do not try to look through tlne ground-glass, but on it,
         keeping your eyes eight  or ten inches from the Camera.
         Move the Camera-back toward you  or the front frame
          with  lens from you, rvhichever way the Camera may be
         constructed, watching  the ground-glass all the time.
         You  r,l'i11see the image of the view on the ground-glass
          inverted, and rvhen the image is most distinct, you have
         obtained the correct focus, and should clamp the Camera
          at  that  point so that your  after-manipulation   will  not
       move  it.
          The nearer the Camera is to the object photographed.,
         the farther the Camera-back rvil1 need to be drawn out to
         get  it in focus;  thus  it is  difficult  to get two  objects in
          perfect  focus at the same time, when one is near the

I O         MANIPULATION   OF INSTRUMENT.

Camera and the other remote, though  it ismuch improved
by using a smal1 diaphragm  in the 1ens. The near object
is said to be in the fore-ground,  while  the remote object
is in the back-ground.

  Tq,ke  Ti,me  for   fuocusi,ng-It       will  amply repay
you  ;  it is quite  evident  that  clear definition  cannot be
obtained without  accurate focusing.
   In  focusing where  instantaneous  pictures are to be
made with the Drop Shutter, always focus upon the point
to be occupied by the coming object, and drop the Shutter
when the object  is in range.   In Photographing moaing
objects the Drop Shutter  is indispensable, but the author
recommends a time exposure by the Cap, for  ail stationary
objects.

  Ddaphra,gtns     or  Stops-The    focus having been
obtained, insert the largest Diaphragm  in the Lens and
note the result;  you will observe that while less amount
of light  enters the Lens, the d.etail is clearer.

  Remove this Diaphragm and insert a smaller one, and.
you  will  observe the picture  is sharper  still, but more
difficult  to see on account of the lessened amount of light
admitted throug!'- the 1ens.
    It  is evident  tfien that  the Photograph  will be sharper
by using the smaller Diaphragms, but  as a less amount
of  light  is adrnitted, the exposure must be lengthened. in
proportion.

www.orphancameras.com

             MANIPULA']IION   OF INSTRUMENT.                          I I

    ft  nequdres   a  Certai,m  Atnount     of  Ldght   to
make the picture, and  it  is evident that   it  takes longer
for the required amount  to enter through  a sma11than
a large aperture.
   In  Photographi'ng     Groups    or in Portraiture,   it
is aclvisable to use a large Diaphragm, which  will permit
of much shorter exposure, and thus avoid the blur caused,
by the movement of the  sitters, rn'hich is liable to occur
in long exposures.
  The  proper    focus    ha,ai,ng   been   obtq,i,ned,
and the Diaphragm  you have d.ecided to use is in the
Lens, place the Cap on the Irens to cover it.
  Now  unlatch  the ground-g1ass frame and place the
Plate-Holder   in  position on  the Camera and carefully
latch  it.  Some Cameras have a spring actuated ground-
g1ass,which reced.esfor the insertion of the plate holder.
The  plate now occupies exactly  the same position  that
the ground-glass did in  focusing, and  it  is evident  that
the same view will  be taken on the plate that you saw
on the ground.-g1ass. The Camera is now ready  for  the
exposure.
  flnposu,ra-Success      in  obtaining  a good negative
depends largely upon the proper exposure of the plate,
and care and judgment must, therefore, be used in  this
opefation.
  NBw, everything  being ready, the proper Diaphragm
inserted and cap on end o1ftube, draw  the  slide of  the
holder nearest tlze lens, which  is always the slide to be
drawn.

l 2         MANIPULATION    OF  INSTRUMENT.

   Clasp the cap with  the thumb and finger and draw   it
 from  the tube with  a slightly  spiral  motion, removing
 it as quickly as possible and entirefu out o.1frange of lens,
 and, u'atch in hand, count off the seconds, replacing the
 cap at the end of the time  allowed  for the exposure;
 replace tlte  slide  in  t/ze holder,. reverse the holder and
 expose the other plate  in a similar manner.
   Most people, in  trying  to  count  seconds, will  count
much too rapidly;  the  author recommends, that  you
 practice counting seconds by holding a watch before you;
 this is va1uab1e,for while you intend giving a stated num-
ber of seconds of exposure, you rvi11not a1low fu1l time.
  The  different sides of                          your  plate-holders  should be   .                                             ,
nurnbered consecutively, with Roman Capitals or figures,
and exposures alzaays be made in the order of numbers.
Keep a niemorandum book, and make notes of the length
of exposure and other  conditions  1ikel1' to affect each
plate, to which you may  refer during development,
  Length    of  Enposure-On      the subject of length of
exposure  it  is impossible to 1ay down any hard-and.-fast
rule, or to give any directions rn'hich can be blindly  fo1-
lorved, as the variation  in  the power  of  light and in the
character of the object to be photographed, form important
factors  u'hich  are beyond the control  of  the operator.
Experience alone can give the needful judgment.  When
that  is gained, a knorn'ledge of the  sensitiveness of the
plate used, enables the operator to estimate his exposure
with  tolerable accuracy, under any conditions  of  light.

www.orphancameras.com
           MANIPULATION    OF  INSTRUMENT.                 r 3

A few suggestions, however, will perhaps be found. of use:

  For a landscape view in brilliant  sunlight, with smallest
Diaphragm, one to  five seconds rvill  suffice, while  for a
dull  light with sun under cloud", it  will  require from five
to ten seconds.  With  the next  larger Diaphragm  the
exposure will be about one-half as 1ong.   If  very  rapid
plates are used, the above figures must be reduced one-
half.

  Eron|   el,eaen  unti,l,  two  otclock   is the brightest
portion of the day, the sun having more actinic power at
that time.   For an early morning  view  or  late  in the
afternoon the exposure must be longer than at noon.

  As a useful experiment, make three exposures on the
same view and plate as follows: after focusing and having
attached the holder to the camera, draw  the  slide about
one-third out, and. expose, gir,'ing, say one second; draw
the slide  one-half  the remaining  distance, and expose
again, giving  the same length of time.   Now  draw  the
slide entirely from the holder and expose again, exactly
as before ; thus you will have three seconds for the first
part of p1ate, two seconds for  the second part and one
second for the 1ast, and the development will  tel1 which
time was nearest right.

    It  is perhaps unnecessary to state that every operation
after focusing should be conducted with  care to avoid,
moving the camera 1n the slightest degree.

r+             HAND  CAMERAS.

      HAND CAMERAS.


  The  foregodng    dnstrueti,ons     are  written   with
especial reference to Cameras using tripod,  called View-
Cameras orTripod  Cameras, as distinguished from Hand-
Cameras, which are designed primarlly   for using  in the
hand for making instantaneous views.
  Of course the same principle  is used and the most of
the foregoing will apply to a Hand  Camera, but as one
cannot focus while holding the Camera in the hand, this
class of Camera has a Focus Scale showing where to place
the lens for photographing  at any distance.
  This Focus Scale is mad.e by focusing very carefully  at
difierent distances, and the proper distance marked.
  As  a, Hand,   Carnero     is  used almost who11y for
instantaneous exposures, it  is well  to bear in  mind., as
mentioned previously,   that a certain  arnount  of  light  is
required  to make the impression on the  plate, and rn'hen
you shorten the exposure to a fraction  of a second. you
will expect to make up for the  brevity  by enlarging  the
aperture in the diaphragm.
  Do  not  enpect   to  u,se u  stna,ll,  Di,aphragnu
for  instantaneous exposures, even in strong light, and
do not attempt to make instantaneous exposures at all in
very dull  light.

www.orphancameras.com
                   DEVELOPMENT.                            r 5

      DEVELOPMENT.

  Deael.oper-Nearly        all  manufacturers  of Cameras
and. Plates have developer put up in a concentrated form,
and usually with  special directions for its use.
  About  three ounces of Developer, when mixed,  will be
sufficient  for  a 4 x 5 plate, while  four  ounces will  be
required. for a S x 7 plate, though  if  several plates are
to be developed.at one time, a larger quantity  should. be
made.  Prepare the developer read.y for use, before clos-
ing the door of your dark room, using a gradaated glass
for the purpose.

  Process    of  l)eaeloprnent-Light       the Ruby  l.an-
tern, after which you will  enter and close the door of the
Dark Room.  Remove plate No.  r from  the Holder and
place it in the Developing Tray, face up.
  Now  apply  the Developer  to the plate  in the Tray,
taking  care  to cover   tt  at one sweep; rock  the Tray
gently  to keep the Der,'eloper moving  in waves across the
plate.
  Now watch  closely.  The development  of an exposed.
Dry Plate is a process which cannot fail to deeply interest
the most careless person.   As  the   fir.st faint  outlines
appear, und.er the influence  of  the Developer, wonder
gTows into amazement  at  the  change  going  on under
one's very eyes.  Outlines of familiar  objects come out,

I 6               DEVELOPMENT.

 as first the mast, then the hull, then the rigging and the
cords of a great vessel colnes to us from out the dimness
 of a fog.
     If there were no other compensations in Photography
 than the development of an exposed Plate,  it wou1d. be
amply  sufficient  to repay  all the  labor, care and. taste
required to produce it.
   Durq,ti,oTt   of  DeaeloTttn  ent-The   image should
begin to appear upon a properly exposed plate in tzuenty
 to tlzirty seconds, but  instantaneous exposures usually
require longer, and the development should be continued
unti1, upon examination  of the plate before the light, the
sky or high lights seem quite b1ack, and the image begins
to fade from its bright yellow appearance.  At  this stage
the image call usually be dimly seen from the back of the
plate.  This operation  rn'ill occupy but a few minutes,  if
the Plate has had fu11exposure, though  for some instan-
taneous exposures  it  will  require much longer.  Do not
check the development too soon, as detail will be lost and
the negative  will  be void  of  contrast, weak and  flat;
neither continue  it too long, as fog and flatness will result.
    It usually requires a longer time to develop instantane-
ous exposures, as they are rarely ful1y tirned, and a plate
which has not had full exposure requires longer time for
development.
  As soon as the development is complete, the plate  (it  is
a negative now)  should be well  rinsed  in  cold water
before fixing.

www.orphancameras.com
                         rixrwc.                               r 7

            FIXINC.

   Make a saturated solution  of Hypo and keep  it  in a
 bottle ready  for use and 1abel  it  Hypo.   This  should.
 be done previous to development.
   Take a quantity   of  the  saturated solution  of Hypo
 for a fixing  bath.
   Place a suffi.cient amount  of  the Fixing  Bath to cover
 the plate in a second tray, and into this lay the negative,
 after  development .and washing;   the  tray  should  be
 rocked, same as when  developing;  a1low the plate to
 remain in the Fixing  Bath  at  least one minute  after
 the opaque yellowness seen from  the back has erctirery
disappeared, when    it  should  be  thoroug/zry washed in
clean water.
    rt  is perhaps unnecessary to say that the plate should
always be kept face or  rtbt. side up, in both the Develop-
ing and F^ixing Trays.
   After   Eindng,   the plate being no longer sensitive to
light, you may go out into the light, first  being sure J/our
remaining plates are securely couered.
    rt  is not necessary that  the  whole  fixing  operation
should be done in the dark, but you can open the door
of the dark room as soon as the plate is once in the Hypo
bath, though  it  is best not to remove  it  to strong  light
until  the fixing   is nearly  or quite complete.

I 8                     PRINTING.

  Dspecl,al,Pa,i,nsshouldbetakentowashthenega-
tive thoroughly  after  fixing,  so as to remove the Hypo
from the film.   This  is best done by holding the negative
under a  tap  of  running  water,  but where  this  is not
readily  obtained., lay  the  negative  in  a  tray  of clean
water and change the water many times; at least a d'ozen
 times, and two dozet will be better.
   Place your negative in a negative rack until th'oroughly
 dried.   I{eat must tzot be used in drying'
   Develop any other plates you may have exposed, watch-
 ing carefully the treatment required. for the different con-
 ditions und.er which they were exposed"
    After  using the fixing  bath  it may be put in a separate
 bottle properly labeled.,and can be used until   it has grown
 a dark color, when   it should be thrown  away, but as it
 costs but 1ittle many d.iscard.it after fixing each batch of
 negatives.
          PRINTING.
      It  is evident that  if a piece of paper with surface made
 sensitive to light  is placed und.er a negative and exposed'
  to the light,  the surface will  und.ergo a change in exact
 proportion as the negative shield.s from  or exposes it to
  ln"1ight.    This  is the principal  involved. in  the process
  of  Printing.
    DC,recti,ons   for   Pri,nti'ng'-Place       the  Printing
  Frarne with  its springs upward. on the table.  Loosen the
  springs and. take out the back-board.   I.ay a negative,

www.orphancameras.com

                             PRINTING.                                                I 9
  film  side up, in the frame, and upon the negative place a
 piece of sensitized paper,                        Jace dou,n, beinglareful  not to
 scratch the delicate film.
   Now place the back-board. in  position,  latch  carefulry
 to avoid breaking the negative.  Turn the frame over and
 see if  the paper covers the negative properly, and if any
 spots appear on the grass, moisten  it and rub crean and
 bright  with a cloth;  as any spots on the glass will more
 or less mar the print.
   These operations may be performed  in moderate light,
 as the sensitized paper is not so extremely  sensitive to
 light as is the Dry  plate.
   flnarni,ne     the   pri,nts     Oecasionallgtr    to  see
 when they are printed. deep enough, but do  ,r'ot ao this
 in the strong light of the window, but step to one side
 of the window where the light  is more subJued.
  To  Dnarndn,e    the  pri,nts_Loosen    one  of  the
 springs of the printing  frame and. raise one end of the
back-board;  by bending back the paper from  the nega_
 tive  the face of the print may be .t""n, and if  not suffi-
ciently printed replace the back_board.
  By loosenitrg but one end. of the back-board the paper
will  fall back into exactly the same register, after raising
for examination,  for  it is evident   it  will  not do to  shift
the paper on the negative in the slightest degree.
  when  the print  is complete, it may be placed in a dark
box or drawer until a number are ready for toning;  they
will  not change zf kept in the dark.

2 0                    TRIMMING.

  As the tendency of toning and fixing  is to bleach the
prints, always print somewhat darker than you wish the
finished Photograph to appear.
  Di,rect    or  Diffused,    Lig1ht-Printing    may  be
efiected by the d.irect rays of the sun or  in the shade'
Printing  in the shade brings out strong constrasts, while
printing  in the sun produces softness.  A thin negative
should be printed  in the shade while a d,ense one should
be printed by direct rays of the sun.
    If  a negative  is aery thin and transparent, place one or
more  folds of  r,r'hite tissue paper over the  front  of the
printing  frame, thus diffusing the light thoroughly.
    If,   in  sun  printing,  the  whites  d.arken before the
shadows are bronzed, it  is proof  of a weak negative, and
the recourse is to shade Printing.
    If,  in shad.eprinting, shadows are ful1y printed before
 d.etail in the high  lights come, it is proof  that sun print-
ing is needed.
         TRIMMING.
  The  prints  should be neatly trimmed  before toning,
 taking  off the blank edges caused by the printing  frame-
   The  Maiori,tA     of   Tieetss  are improved  by  trim-
 ming off a liberal margin;  especially is this true of views
 where some central object really comprises the picture.
  The best guide for trimming  is the Glass Form, as by
 its use you can see where to trim  to best advantage.

www.orphancameras.com

                 ARISTOTYPE   PAPER.                   2 T

   Place the print, with face up, on a clean sheet of glass,
 and on the print place the glass form.   Press down firmly
on the form vyith the left hand, and with  the right hand
 cut along each edge of the form with a sharp knife.
  An  ordinary  pocket-knife  will  answer, but  a shoe-
 maker's  knife, which  costs but a  trifle,  is best.  The
 knife should be kept well sharpened.
     If  it  is desired to trim  the  print  smaller  than  usual,
the glass form can be used equaily we1l, but, of course,
must be moved on the print.

    ARISTOTYPE PAPER.

  Albumen    Paperrwtil     the past three years was the
most popular process for printing,  but now  it is crowded,
almost entirely out by Aristotype  Paper.
  The  n,arne  Aristot?lpe      is' a very broad one and
covers several brands of paper in the narket,  all of which
are made after  different formule  and some are totally
different, each maker having a distinctive name, as peer-
less, So1io, Aristo,  Ilo, etc.
  On account of the difference noted above, it is  difficult
to give specific directions which  will  apply to ail.   For
instance, one manufacturer  advises several changes of
water before toning, while  another ad,vises no washing
before toning.

7

       2 2                      WASIIING.

       The manufacturers  of Aristotype  Paper enclose rvith
     each package specific instructions, which  it wifl be well
       to fo11ow,as these instructions are but general.
        Toni,ng-Aristotype     Paper can be toned. and fixed in
      separate baths, or  it may be toned. and fixed  at the same
      time by using a combined fixing  and. toning  bath.   For
      the purposes of the amateur, the combined bath  will  be
      preferred
       Formule  for making toning baths for Aristotype Paper
      are given by each maker, but  for  the ord.inary amateur,
     who does not want  to take  the  trouble  to make these
       solutions,  it is better to purchase  it  ready prepared and
     he will  usually  get better  results.

           WASHINC.

          After  toning,  prints should be washed.very thoroughly
        in clean water to remove every trace of Hypo.
         IJnless thoroughly  washed out, the Hypo  will ca'usea
       yellow  tinge on the white  portion  of  the picture, and
        finally cause the print to fade, a very vexatious and' annoy-
       ing occurrence, as well as an entirely unnecessary one.
         Th,e  lem,gth   of  ti,tne  required  to  thoroughly  wash
      a batch of prints depends somewhat on how  frequently
       the water  is changed ; the water should be changed at
       least a dozen times, at intervals  of from  fifteen minutes
        to a half hour.