PHOTOGRAPHY 
a very thin blue, begin at the top and work 
down into the other tint. These opera- 
tions may be repeated until the coloring 
is of the requisite depth, and as a rule the 
lighter tints should be at the horizon, 
giving the effect of distance and perspec- 
tive. The preliminary wetting of the 
print makes it the more easy to apply the 
colors smoothly, but it can be dispensed 
with after some proficiency has been ac- 
quired. Reflections of the sky in a sheet 
of water should have the same tints, and 
other reflected objects should be given 
théir appropriate colors. In applying the 
washes it is not necessary to let one tint 
dry before putting on the next. 
The distance may have a wash of blue, 
and the middle distance can be brightened 
by a minute portion of yellow added to the 
blue. These may be varied as occasion 
requires; for instance, in sunset scenes it 
is proper to have in the distances sugges- 
tions of the brilliant sky tints, while in a 
winter landscape there are few instances 
that will require any of the bright tints. 
In the distances atmospheric effects, not 
detail, should be aimed for; flat washes 
and subdued tints will be sufficient. 
In the foreground more attention should 
be given to details, and the coloring should 
be stronger and more brilliant. But it is 
advised that, instead of very strong gen- 
eral washes. the tints be applied in suc- 
cessive washes until there is sufficient 
depth of color for a ground on which to 
work up the details. This will have a 
tendency to transparency, and will lessen 
the possibility of “muddy” effects. A 
round brush that can be drawn to a point 
is preferable for detail work. The strong- 
est and most brilliant colors may, with 
judgment, be used; but to prevent the 
running of the strong colors, it will be 
better to let the flat washes be, at least, 
surface dry before attempting the details. 
‘Brown will now be useful in various de- 
grees of strength, alone and with other 
colors for deepening shadows, for tree 
trunks, fences, roads, and applied alter- 
nately in light tints with light blue it 
makes an effective ground for rocks and 
_ bare earth. The high-lights of foliage can 
be touched with strong yellow, and little 
patches of bright colors can be dabbed 

587 
here and there on the ground to represent 
blossoms, fallen and brightly colored 
leaves and other pleasing effects that are 
not in the print. 
Practice, perseverance and the exercise 
of judgment will soon enable the beginner 
to transform a dull, uninteresting print 
into a thing of beauty. The process is 
easily mastered. Try it. If you have 
troubles, make them known. It is our 
purpose to help. You may stumble upon 
a new “dodge” which your fellow-workers 
will appreciate, and possibly some of them 
will have something equally good to give 
in return. 
Will these colors fade? The almost 
universal answer is, “Yes.” Recently we 
heard a color demonstrator declare that he 
had known them to fade so badly in six 
weeks after application that there re- 
mained only a suggestion of the original 
color effects. The colors are condemned 
without having had their day in court to 
which they are entitled. It is amusing to 
hear the accusations by individuals who 
are marketing similar colors under names 
representative of ancient civilizations and 
far-away lands; always without producing 
the faded goods. 
The writer has used these colors more 
than a decade, at first of necessity, now 
by choice, and can produce on demand all 
of his earliest color work in which the 
colors are apparently as brilliant as they 
were when first applied. But even this 
does not prove the permanence of the 
colors, as the colored work has been sub- 
jected to no severe tests; and as the work 
was for personal use, and for the purposes 
required was very satisfactory, no experi- 
ments were made to ascertain how severe 
usage the colors will stand without being 
affected. Tests, not only of the Diamond 
dyes but of other dye colors, will be made 
in the near future, and a year hence the 
results will be made known. 
[Note. The papers mentioned in the 
above article are those that have been used 
by the writer. There is no reason why 
the colors should not work as well on 
other gelatine-coated surfaces. Small 
saucers or, better still, artists’ porcelain 
slants will be useful for mixing colors, 
especially the wash tints. ] 



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