In that one church I did work for the architect, builder, stucco man and priest. In all I cleared some $300, so my first building job proved a success.

Since then I have photographed about thirty churches. Our

more fortunate friends "do" Europe and come back raving over the churches abroad but many of them never look at home for the beautiful churches around them. The accompanying photographs of the Church of "Our Lady of Good Counsel" on the upper east side, New York, do scant justice to its beauty, and this is only one of our many fine churches.

So far I have not used an ounce of flash powder. Many photographers insist on its use to save the long time exposure often necessary. Almost invariably on going to a church I am asked if I am going to "smoke them out." They don't like it, and from my short experience, I presume to claim that on an average a fifteen-minute exposure with a lens stopped down to f32, produces a finer and more natural picture than the finest flash light. Flash light workers are the nature fakirs of photography.

I use an II x 14 camera with my old 5 x 8 Zeiss-Tessar usually stopped to f32. I have found nothing approaching for color value and general excellence the Standard Orthonon plate. And for a printing paper if there is anything more beautiful than the Special Studio Artura I have yet to see it. The only other requisite is patience. Don't be in a hurry. Give a little too much rather than too little time. Don't pick out the centre aisle and think you have the best view. often the side aisle showing the main body of the church through the pillars is far prettier.

Very

If you are not a worshipper at the shrine of some particular developer try the following:

Do not dilute. Use over and over for plate and paper.

THE KALLITYPE PROCESS.

By WALTER W. LAKIN.

HROUGH the medium of this popular annual I would like to call the attention of the serious worker to the merits of the old printing process, viz., Kallitype. Good prints by this process cannot be told from platinum, and now that platinum paper has advanced so in price, it is well to be able to use so good a substitute, one so satisfying as to tones produced, so easy of working, and withal so cheap.

Paper. Any surface of paper can be prepared to suit varying effects desired, from the highly calendered to the roughest of water color paper, but I would suggest for the first trials Whatman's smooth and medium drawing paper, or a rough surface writing paper.

Sizing. All papers require to be sized, and for those rich velvety blacks use the following: One hundred grains of arrowroot made to a cream with a little cold water; add ten ounces of hot water, in which has been dissolved twenty grains of gum arabic; then put the mixture in an enameled boiler and bring to the boiling point, stirring all the time. When cold, take off the skin on top. Pin a sheet of paper down to a board, and with a fine sponge spread some of the solution evenly over the surface, wash out the sponge, squeeze dry and go lightly over the paper with it to even up the surface. When dry it is ready for sensitizing.

Sensitising. Weigh out seventy-five grains of ferric oxalate, and put into a clean glass bottle with one ounce of distilled water; place the bottle in a saucepan with water and bring to a boil. Should the oxalate refuse to dissolve add a few grains of powdered oxalic acid, filter through paper while hot, then add thirty grains silver nitrate. This solution can be made and used in a gaslighted room but it should be kept in the dark.

Coating.-Pin down to the board the sized paper, and taking a wad of cotton wool dip it in the foregoing solution and

paper, then up and down Now finish drying as

mop over the surface of paper. When covered take a clean, dry camel-hair brush and drag it across the until the surface begins to look dry. quickly as possible by holding near a fire or other source of heat.

Printing. The sensitized paper will keep in good condition for several days, but I would suggest using it within two days. Print in daylight till the details are visible in the high lights, and rather weak in the shadows. Immerse in the following developer for black tones: Borax, one ounce; rochelle salt, three-quarter ounce; hot water, ten ounces; pottasium bichromate solution, seven drams. The bichromate solution will keep a long time in the dark, so make up a quantity, say ninety grains in twenty ounces of water. Leave the prints in developer (which must be used cold) from twenty to thirty minutes, turning them over several times. Developer for sepia tones: Rochelle salt, half ounce; water, ten ounces; bichromate solution, four drams.

Fixing. Hypo, one ounce; strong ammonia water, two drams; water, twenty ounces. Take the print from the developer and put in the fixing bath for fifteen minutes, then into a second bath for the same length of time; finally wash for thirty minutes in running water, or eight or ten changes, and hang up to dry.