=Negatives=, with regard to their suitability for Collotype, may here be considered, as the after result naturally depends considerably on their adaptability to the process. They should be quite free from fog or yellow stain, and for half-tone subjects not too intense. The greatest difficulties will present themselves in the production of portraits or such work from nature by the Collotype process. Photographer and printer ought, so to speak, to work hand-in-hand. The negative must show the finest gradation from clear glass in the shadows to the necessary density in the high lights, quite free from veil or fog, and intensified very little, if at all. They should be produced in a studio where the light is thoroughly under control. If not to be stripped all negatives should be taken on patent plate and protected by a coat of varnish, sufficiently thin to offer no obstacle to the production of sharp prints, and yet sufficient to obviate in a great measure the risk of damage by the pressure it is subjected to in the pressure frame in contact with the unyielding surface of the Collotype plate. The risk of breakage at this stage always renders stripped films preferable, their elasticity better enabling them to withstand the pressure. The gelatine layer applied to the negative before stripping must be as thin and even as possible, as from thick or uneven films it is almost impossible to produce a sharp print. If the negative is of a line subject, and it is desirable to have clear whites that the impressions may resemble as much as possible the original, the lines in the negative must be clear, but the remaining portions of great density. The ink for such work should consist only of pure chalk printing ink, which will be generally found to give stronger contrasts than the usual mixed Collotype inks.