410 
ing your fingers use the old reliable wet 
process. The silver bath and collodion can 
be the same as used in making negatives, 
but the developer is different. The best I 
have used is Griswold’s Ferrotype devel- 
oper. The formula is as follows: Take 
of double sulphate iron and ammonia I oz.; 
dissolve in 16 ozs. distilled water; add, 
when in perfect solution, I oz. acetic acid 
No. 8 and 1 drachm yellow rock candy. 
Shake and filter. To use, take off about 
4 oz. and add 2 oz. of pure water. Have 
your negative good and strong and of fine 
density. Expose full and develop as for 
negative, but watch your lights. Develop 
for them, do not let your sky turn color. 
Preserve the white. When all detail is out, 
and before the whites in picture begin te 
darken, rush plate under tap. Fix in a sat- 
urated solution of hypo. I never use cyan- 
ide of potassium. It is too dangerous for 
the amateur. When the plate is fixed, wash 
under tap or in several changes of water. 
To tone slide immerse in following solu- 
tion: Pure water 16 oz., and dissolve in it 
a piece of sulphate of potassium the size of 
a pea. Let plate stay in this till you get a 
beautiful dark velvet tone. Make solution 
fresh every day. Wash again and set up to 
dry. When dry place a paper mat on the 
film side of plate and bind on your cover 
glass. You will need a home-made appa- 
ratus for making slides. Get a board one 
foot wide and 5 feet long. At one end fas- 
ten a board one foot by 24 inches, in verti- 
cal position, by brackets at back. This up- 
right board must have a square hole in it, 
with cleats running around face next to 
camera. The hole must be large enough to 
take as a frame the size plate you use for 
your negatives. The center of the opening 
must be in line with center of your lens 
tube on camera. Place camera on board 
(long) and nail cleats on each side to slide 
camera to and fro between them. Focus 
your picture on ground glass, getting cor- 
rect size by pasting a lantern slide mat on 
center of ground glass, and moving cam- 
era to and fro and focusing till your pic- 
ture comes in the mat correctly. You can 
use a cloth between the front of camera 
and the upright board to shut off all light 
showing into the lens, or you can use a 
three-sided box and slide your camera up 
to or partly within it if necessary. Place a 
piece of ground glass behind the negative 
an inch or so to subdue and diffuse the 
light coming through the negative plate. 
Put your negative upside down and film side 
facing camera. Do not over-expose or you 
will have smoky lights. Have one end of 
board resting on top of lower window sash 
and put your tripod under other end so as 
to incline board to the sky. 
RECREATION. 
«4 
GREEN PRINTS. 
In August Recreation I saw a men- 
tion of green prints. Will you please tell 
me how they are made, and if such paper 
is on the market. 
T. R. Hardy, Fitchburg, Mass. 
ANSWER. 
There is but one paper on the market 
with which one can obtain a bright green | 
print direct, and that is carbon, which can 
be had not only in green, but red, blue, 
brown, sepia, warm black and a number 
of other tints. Carbon tissue, as it is 
called, is not commonly to be had all sen- 
sitized and ready to print. Several of the 
large stock houses in New York handle it. 
unsensitized and afford full instructions 
for working this beautiful process. As 
yet it has not gained any considerable 
foothold in the United States, though it 
has long been in use abroad and is much 
used for reproductions of paintings, etc. 
The carbon process yields an absolutely 
permanent print. 
’ Olive greens are readily obtained on 
aristo platino by first toning the print 
slightly in gold and then in platinum. 
When toning in the platinum bath the 
olive green tone is reached just be- 
fore the pure black appears. Olive 
green tones are also readily obtained on 
Velox, Dekko or Azo developing papers 
by the use of old developer, to which a 
few drops of a Io per cent solution of 
bromide of potash are added. 
A blue print can be turned to a slightly 
greenish hue by immersing it in a dilute 
solution of acetic acid. 
Green albumen paper, which has to be 
sensitized, can be had from any importer 
of albumen paper, and while not generally 
used it is good for certain marine views. 
Those who have no facilities for sensitiz- 
ing this paper can have it sensitized by 
any photographer who uses the albumen 
process, at a nominal cost. 
Another method for obtaining green 
prints occurs to me. Make a bromide 
print and when well washed immerse in 
10% sol. tiranium) nitrares oa. 1. pakt 
10% sol. ammonio-citrate iron I part. 
10% sol. ferricyanide potass. 2 parts. 
10% ‘sol. <imétics Acide feo aos 2° DanLS. 
And water to make........ 40 parts. 
Wash afterward till the whites are clear. 
E. W. N. 
~~ 

INSTRUCTIONS FOR THE USE OF SEPIA 
PAPERS. 
With a fewexceptionsthe method of car- 
rying out the operations is the same as for 
the black kinds of platinotype paper. The _ 
following points should be attended to: 
The sepia paper is more easily affected 

i 
