The image now shown was a dark brown or black toned negative, with the space exposed to light appearing dark and the space where the light could not reach appeared clearer. It could be retouched with pencil or ink and, if desired, waxed to make it more transparent, resulting in a more contrasty image to be produced after printing (Reilly, 1980). To make the salt print, the paper was dipped in a salt solution and dried, and a silver nitrate solution was brushed on one side. Once dry, it was placed on a calotype negative and under clear glass, then exposed to bright light (often the sun). After about fifteen minutes, a positive image appeared in print. It was fixed using hypo (sodium thiosulfate, a solution suggested by Herschel that produced more stable prints and free of the light purple highlights characteristic of saline fixation), then washed and dried. The two negative processes, when used together, created a positive image of brownish-red hue (ibid). The final image could only be as large as the negative it was printed from, as the print was produced via contact, so a large, bulky negative was needed for a larger print. In contrast to the daguerreotype, which had a coolly scientific freshness, the fiber and texture of paper prints produced a grainy, slightly speckled image. While many people appreciated the artistic effect of this result, it could be alleviated somewhat if desired by using a negative on glass rather than paper (Gustavson, 500 Cameras: 170 Yeras of Photographic Innovation, 2011). The advantages of the calotype were many. The resulting original exposure in the negatives could be produced in minutes, much less time than it takes to expose most daguerreos... half a sheet of paper... Years of photography. New York: Hawthorn Books. Gustavson, T. (2011). 500 cameras: 170 years of photographic innovation. New York: Sterling Publishing. Gustavson, T. (2009). Camera: a history of photography from daguerreotype to digital. New York: Sterling Publishing. Hunter, J. (1993). Chronology of photographic processes. Conserva O Gram, 14(3), 1-3.Marien, M.W. (2010). Photography: a cultural history (3 ed.). Upper Saddle River, NJ: Pearson.Neblette, C. (1962). Photography: Its Materials and Processes (6 ed.). Lancaster, PA: Lancaster Press.Reilly, J. M. (1980). The albumen and salted paper book: history and practice of photographic printing 1840-1895. Rochester: Light Impressions Corporation.Towler, J. (1969). The silver sunshine. Hastings-on-Hudson, NY: Morgan & Morgan.Vogel, D.H. (1973). The chemistry of light and photography. New York: Arno Press.