The new style of picture, the "Doretype," which has recently been introduced to the photographic trade through the Eastman School of Professional Photography, has met with an unusual amount of favor from coast to coast.

Photographers who have taken up this new process with the idea of making every picture as attractive as the process permits, have been successful. Doretypes sell at prices that insure a good profit and permit the necessary amount of care to be given each piece of work.

The popularity of the Doretype is due to its unusual attractiveness, but the effectiveness of the picture depends in a great measure upon the setting it is given. The Doretypes shown at the Eastman School are mounted in handsome leather cases made specially for these pictures. Enquire of your stock-house for them. The pictures in themselves are beautiful, but a handsome case becomes a part of the picture and adds materially to its attractiveness and to your profit.

With edges simply bound or the picture mounted in a frame, even though it be the best frame you can buy, much of the attractiveness of the Doretype is lost. You would not think of framing a Daguerreotype and, like the Daguerreotype, the Doretype needs a fitting setting to show it to the best advantage.

The Doretype is a warm-toned, thin, positive image on glass and receives its brilliancy from the material which is used to back it up. It lends itself to almost any treatment - may be backed with light tinted papers or various shades of fine silk or satin, but the most satisfactory method is to coat the back of the transparency with a fine gold bronze.

Artura Iris Print From Standard Polychrome Negative By Morrison Studio Chicago, Ill.

Artura Iris Print From Standard Polychrome Negative By Morrison Studio Chicago, Ill.

The following instructions will give a fair idea of the method and a few experiments will enable you to determine how the best results are secured: The first requirement is a clear, thin positive from any good negative. From large negatives the positive should be made by reduction, as the most attractive Doretypes are in small sizes. Give full time and soft development so that the positive will be thin but full of detail. If you must work from a flat negative, a contrasty developer will be required, if your negative is contrasty, a soft developer will be required, while if you have a well-balanced normal negative, a normal developer will give you the best positive. The positive must be thin because the effect of brilliancy is secured by the light reflected from the material used back of the positive. A Seed 23 plate is recommended at the School, but Royal Process plates, though not so fast, yield fine transparencies.

When the positive has been developed, fixed and thoroughly washed it should be re-developed in the re-developing solution recommended for giving sepia tones on Eastman Bromide Paper. The formula is as follows: Make up Stock Solution as follows:

No. 1. Bleaching Solution

Potassium Ferricyanide, 5 ozs. Potassium Bromide, . 5 ozs. Water,..... 120 ozs.

No. 2. Re-Developing Solution

Sulphide (not sulphite) of

Soda,..... 5 ozs.

Water,.....60 ozs.

Prepare Bleaching Bath as follows:

Stock Solution No. 1, . 4 ozs. Water,...... 4 ozs.

Prepare Re-developer as follows:

Stock Solution No. 2, . 1 oz. Water,...... 8 ozs.

Immerse the positive in the Bleaching Bath, letting it remain until only faint traces of the half tones are left and the black of the shadows has disappeared. This operation will take about one minute.

Rinse thoroughly in clean cold water.

Place in Re-developer Solution until original detail returns (for about thirty seconds). Rinse thoroughly, then immerse for five minutes in a hardening bath composed of 1 oz. of the following hardener to 16 ozs. of water.

Water,...... 5 ozs.

C.K.Co. Sulphite of Soda 1 oz. No. 8 Acetic Acid (28%), 3 ozs. Powdered Alum, . . 1 oz.

The re-developed positive is thoroughly washed and dried and very carefully spotted. It is now ready for backing. If silk is to be used, only the lightest shades and finest surfaces will be found suitable. If tinted paper is used an enameled or very smooth surface is best. Lay the positives on the material to see what the effect will be. If several positives of the same subject are developed to different strengths it will be easy to determine the best quality for Doretype results by placing the several positives side by side on the same material and comparing the results.

If Doretypes are to be tinted, transparent colors should be used and these should be very carefully blended. Too little color is preferable to too much. A delicate tint against a light background will be found most pleasing. When silk is used as a background it should be backed up with cardboard, cotton and paper. Cut a piece of cardboard the size of the positive, lay a piece of cotton batting on the cardboard, cover the cotton with a heavy sheet of white paper and place the silk over this. Lay the positive on the silk, being careful to see that it is not wrinkled, and passepartout the positive and backing together. By applying a slight pressure while binding the edges the cotton will hold the silk in good contact.

One of the most generally used methods of backing is to coat the film side of the positive with gold bronze. It is necessary to use care in selecting the bronze powder as these pictures are very often small and a coarse grade of powder will give a coarse grain to the picture. A dark gold bronze gives a dull effect that is not pleasing. The best effect is secured by using a very fine, natural-gold-color bronze that will work very smoothly. In most cases this powder can be supplied by the photographic stock houses in one ounce packages under the name, "Light Gold Photo Coating Powder."

This powder must be combined with a liquid, and it is important to use one that will not affect the silver deposit or the gelatine and that is as nearly colorless as possible. The dark colored bronzing liquids change the color of the bronze and the effect of brilliancy is lost.

The best thing we have been able to find for liquifying bronze powder is Lantern Slide Film Varnish. This varnish is colorless, dries in about thirty minutes and does not affect the silver image or the gelatine. Your dealer should be able to supply this varnish. Use a small amount of the bronze powder and add varnish until the mixture is about the consistency of thin paint. Apply it to the film side of the transparency with a flat, camel's hair brush about ¾" wide and allow to dry with the transparency lying perfectly flat. If the bronze shows brush marks when dry, it has been applied when too thick. The solution should be thin enough to flow together, should be applied quickly and should not be gone over once the entire surface has been covered.

With this method the finished picture should also be backed and edges bound to protect it from moisture. If the positives have been properly handled the results will be as permanent as the silver image itself.

Kodak.

Kodak.

The picture shows a side view of the plant. On the extreme right is the Power Department with coal-trestle attached.

Aeights.

Aeights.

In the centre is the eastern end of the manufacturing units which extend in a line for about 750 feet. The smaller building on the left is the Office building.

Don't make Doretypes in large sizes, don't show them except in appropriate cases, and don't look upon them as cheap novelties. They should rank with miniatures, and they surely give you the opportunity to offer your trade something out of the ordinary for gift pictures.