PRINTING ON GELATINO-CHLORIDE PAPER. 
133 
other half in its relation to the negative. The printing 
frame holding the negative and the paper is exposed to 
daylight, and from time to time one half of the back is 
turned aside and the print examined ; a little practice 
will enable the worker to judge accurately when to stop 
the printing. These papers being rather sensitive to 
light, the image should be examined as quickly as con¬ 
venient, and that in a subdued light, certainly not in 
sunshine. If the high lights become degraded by over¬ 
exposure to strong light, the bleaching action of the 
toning bath will not suffice to remove the effect, even if 
slight, of the improper exposure to light. In all cases 
the printing is carried beyond the effect desired in the 
finished print; for there is always a certain amount of 
bleaching action in later operations; but this extra 
darkening need not be great. Thin negatives, wanting 
in contrast, should be printed in subdued, diffused light, 
strong or plucky negatives in a bright light, hard ones 
in direct sunlight, care being taken that they do not get 
over-printed. If a negative is very hard, with chalky 
high lights and thinnish shadows, it is a good plan to 
let light act for a few seconds on the whole print after 
it has been removed from the frame ; this will subdue 
the glaring whites of the print. Prints will keep for a 
considerable time after removal from the frames, if light 
is kept from them ; and the paper will keep a long time 
before printing in a place free from damp. 
The following are the Kodak Co.’s directions for 
their “ Solio ” paper : 
Wash the prints in three changes of water, and 
immerse from five to ten minutes in— 
