"Water tone" platinum paper is very easily affected by moisture; it will, therefore, be noticed when printing in warm, damp weather that the print will show quite a tendency to print out black in the deep shadows. This must not be taken into consideration, as the same amount of exposure is necessary as in dry days.

Print by direct light (sunlight preferred) until the shadows are clearly outlined in a deep canary color. At this stage the same detail will be observed in the half tones that the finished print will show. For developing, use plain water, heated to 120° F. (which will be as hot as they can bear).

The development will be practically instantaneous, and care must be taken to avoid air bubbles forming upon the surface of the prints. Place prints, after developing, directly into a clearing bath of muriatic acid, 1 drachm to 12 ounces of water, and let them remain in this bath about 10 minutes, when they are ready for the final washing of 15 minutes in running water, or 5 changes of about 3 minutes each. Lay out between blotters to dry, and mount by attaching the corners.

Bradley Platinum Paper Developer

A

For black tones:

Neutral oxalate potassium ............. 8 ounces

Potassium phosphate.. 1 ounce

Water.............. 30 ounces

B

For sepia tones: Of above mixed solution ............. 8 ounces

Saturated bichloride mercury solution . . 1 ounce

Citrate soda......... 5 grains

If deep red tones are desired add to B

Nitrate uranium..... 10 grains

Then filter and use as a developer.

W. & C. Platinotype

Development.— The whole contents of the box of the W. & C. developing salts must be dissolved at one time, as the salts are mixed; and if this be not done, too large a proportion of one of the ingredients may be used.

Development should be conducted in a feeble white light, similar to that used when cutting up the paper, or by gas light.

It may take place immediately after the print is exposed, or at the end of the day's printing.

Develop by floating the print, exposed side downwards, on the developing solution.

Development may take 30 seconds or more.

During the hot summer days it is not advisable to unduly delay the development of exposed prints If possible develop within 1 hour after printing.

Either porcelain or agate—preferably porcelain—dishes are necessary to hold the developing solution.

To clear the developed prints: These must be washed in a series of baths (not less than three) of a weak solution of muriatic acid C. P. This solution is made by mixing 1 part of acid in 60 parts of water.

As soon as the print has been removed from the developing dish it must be immersed face downwards in the first bath of this acid, contained in a porcelain dish, in which it should remain about 5 minutes; meanwhile other prints follow until all are developed. The prints must then be removed to a second acid bath for about 10 minutes; afterwards to the third bath for about 15 minutes. While the prints remain in these acid baths they should be moved so that the solution has free access to their surfaces, but care should be taken not to abrade them by undue friction.

Pure muriatic acid must be used.

If commercial muriatic acid be used, the prints will be discolored and turn yellow.

For each batch of prints fresh acid baths must be used.

After the prints have passed through the acid baths they should be well washed in three changes of water during about a half hour. It is advisable to add a pinch of washing soda to the second washing water to neutralize any acid remaining in the print. Do not use water that contains iron, as it tends to turn paper yellow. Soft water is the best for this purpose.

W. & C. Sepia Paper

With a few exceptions the method of carrying 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 by faint light, and, therefore, increased care must be taken when printing.

To develop, add to each ounce of the developing solution 1.5 drachms of sepia solution supplied for this purpose, and proceed as described for black paper.

The solution must be heated to a temperature of 150° to 160° F., to obtain the greatest amount of brilliance and the warmest color, but very good results can be obtained by using a cooler developer.

Variations of the Sepia Developer

Primarily the object of the sepia solution in the developer is to increase the brightness of the prints, as, for example, when the negative is thin and flat, or pense and flat, the addition of the sepia solution to the developer clears up, to some extent, the flatness of the print by taking out traces of the finer detail in the higher lights, which is often a decided improvement. If, however, the negative be dense, with clear shadows, the sepia solution may be discarded altogether. This will prevent the loss of any of the finer detail and greatly reduce harshness in the prints. Sometimes a half, or even a quarter, of the quantity of the sepia solution recommended as an addition to the developer will be sufficient, depending altogether upon the strength of the negatives. Prints developed without the solution have less of the sepia quality but are very agreeable nevertheless. It should be remembered that the sepia paper is totally different from the black, and will develop sepia tones on a developer to which no sepia solution has been added. The sepia solution clears up and brightens the flat, muddy (to some extent, not totally) effects from the thinner class of negatives.