n relief.
Every Daguerreotypist is familiar with the fact that a motion of any
body between the camera and the sitter will cause a "blur." Cut a piece
of thin paper and scallop it, making a semicircle. This is kept
straight by means of a wire frame, and it is to be moved in front of
the lower part of the body of the sitter during the time of exposure of
the plate in the camera. Develop over mercury as usual, and the result
will be a crayon Daguerreotype.

Another method is to have a wheel with a hole cut through it of a
diameter of about 12 inches. This hole is so cut as to leave teeth
resembling those of a large saw. This wheel is so arranged that it can
be turned around, which should be done during the time of exposure in
the camera. It must be placed between the camera and the sitter, and
at such a distance from the camera as to allow such proportion of the
body of the sitter be seen upon the ground-glass as is desired. It
will be readily seen that by turning this wheel during the operation
will produce the same result as the paper being moved in the other
method. The teeth make the "blur." The side of the wheel towards the
camera may be black, by which means the result will be a dark instead
of a light border.

ILLUMINATED DAGUERREOTYPES.

This process is also patented, and the remarks on the preceding subject
will apply in this case. The plate is prepared and exposed as in the
usual method of the Daguerreotype. A white back-ground is employed.
Let the head of the sitter come in the middle of the plate, and before
exposing it to the vapors of mercury, put a small mat or diaphragm,
having a small hole through it, over or directly on the surface of the
plate. This diaphragm should be bevelled, and the bevel should be
towards the surface of the plate; this, in order to prevent too sharp a
line on the impression. It will be readily seen that if an
impressioned plate so covered is placed over the mercury, it will be
developed on such portions only as are exposed. The principle is so
familiar that further explanations are unnecessary.

NATURAL COLORS IN HELIOGRAPHY.

This subject is worthy the attention of every operator. The following
process is so plain and easy of trial that any Daguerreotypist can try
it. This is as given by Mr. James Campbell, and was published in
Humphrey's Journal of the Daguerreotype and Photographic Arts, vol. 5,
page 11. Mr. Campbell has done much to further the process