Oar printing process, then, is to be platinotype and platinotype only, and as there is no use in swelling this work with facts already published, we advise every student to get full directions from the Platinotype Company; 29, Southampton Row, High Holborn, London, and to study them carefully. It is advisable to arrange the printing so that you are not compelled to keep the paper any time; get it fresh when required, therefore, and only as much as you require for immediate use. Before putting it in the box, drive all the moisture out of the calcium-chloride by heating it on a shovel, or old tray, over the fire, and dry the box thoroughly before the fire. Dry also all the printing frames thoroughly before a fire, also the rubbers, the use of which must not be neglected. Be sure you mix the baths and developer with pure boiled distilled wafer only, or else you will be apt to find a fine powder on the prints.

Lamps. Spotting

Be very careful not to place the prints in water between the washings. Above all, never use your dishes for any other purpose. Some photographers, living in the country, complain that they cannot get up heat to boil a large enough quantity of developer for 12 x 10 prints. We found an excellent heating apparatus in the tin spirit lamps with treble wicks, supplied by Allen of Marylebone Lane, with his portable Turkish baths. With two of these lamps we had no difficulty in heating a developer for 24 x 22 prints. The dish can be supported by blocks of wood at the four corners, and raised to the height required by other blocks, or a tripod. The prints when taken from the washing water should be dried on a clean sheet, and are finally improved by pressing with a warm iron. For spotting, India ink is the most suitable medium. This, it is said, is permanent, and any shade can be got, but good India ink, like many other articles of trade, is a rare thing.

Texture Of Papers

There are different kinds of paper sold by the Platinotype Company for printing, and the printer will of course choose the texture of paper that suits his subject. Delicate landscapes and small portraits should be printed on the smooth papers, while for strong effects, large figure subjects, and large portraits full of character, the rough papers are more suitable. The charcoal grey tint of ordinary platinotypes is apt to become monotonous in book illustration, and it is as well to vary it occasionally by using the sepia tints; these are quite suitable for landscapes and certain figure subjects. Directions are given by the company for producing this colour. A great desideratum is a red colour for portraiture, and it is to be hoped that Mr. Willis will see his way to producing a paper on which prints in what is called "Bartolozzi red" can be obtained. Red, though it does not give such true tonality, gives a truer impression of flesh and texture, just as sepia often gives a truer impression of certain kinds of landscape. But of course these tints must be used with judgment, and no one but a vandal would print a landscape in red, or in cyanotype. Having now disposed of the question of the printing process to be used, we must discuss some of the details incidental to printing.

Colour.