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THE RETURNING HERD
Study No. i (Frontispiece) By John M. Schreck
Complete ^tlf^nmnctinz ILtbrarr
of practical ^l^otogtapi^t
VOLUME IV
Photographic Printing
PART I
J. B. scHkfevM .■/•
popular <2Btittion
-j,-| PUBLISHED BY
American ^cfjool of 2lrt anH }^I)oto0rapf>p
SCRANTON, PA., U. S. A.
1909
«r-
COPVEIGHT, 1908, igog, BY
AMERICAN SCHOOL OF ART AND PHOTOGRAPHY,
SCRANTON, Pa., U. S. A.
Entered at Stationers' Hall, London, England.
All rights and translations reserved.
TABLE OF CONTENTS
VOLUME IV
PAGK
CHAPTER I
Introduction and Theory of Printing-Out Process ii
CHAPTER II
Warm Tones on Gelatin Glossy Paper — Brief
General Instruction 19
CHAPTER III
Warm Tones on Gelatin Glossy Paper — De-
TAILED Instruction 23
CHAPTEI<- TV. - , ...
Purple Tones on Collodion and Gelatin (ji'ossy
Papers — Brief General IjjstrPctiok 41
CHAPTEPv^ v..
Purple Tones on Collodion, jiiai '-(jrElAtiV Glossy
Papers — Detailed Instruction 45
CHAPTER VI
Difficulties — Collodion and Gelatin Glossy
Papers 55
CHAPTER VII
Printing and Toning Matte Surface Papers — In-
troduction— Brief General Instruction.... 61
CHAPTER Vlll
Printing and Toning Matte Surface Papers —
Detailed Instruction 69
(iii)
iv CONTENTS
PAGE
CHAPTER IX
Part I — Toning with Aristo Gold and Platinum
Solutions §5
Part II — Backing Prints 87
CHAPTER X
Varying Water Conditions 93
CHAPTER XI
Difficulties — Printing and Toning Matte Sur-
face Papers loi
CHAPTER XII
Artists' Proofs on Collodio Carbon Paper —
Brief General Instruction 113
CHAPTER XIII
Artists' Proofs on Collodio Carbon Paper — De-
tailed Instruction 117
CHAPTER XIV
Toning Collodio Carbon with Aristo Gold and
Platinum 131
, CHAPTER XV
DiFFICUI.TIB^S-— !A.RT7.fsTs', I'iiOOFS ON COLLODIO Car-
BON Paper. .^ ,., . . - 135
,,<■'; ..'/CHAPTER XVI
Sepia ToNiN^i/i^F-'voiLoyio' Carbon, Aristo Plating
AND all CtjLibmON "Matte Printing-Out Papers 137
CHAPTER XVII
Part I — Sepia Tones on Matte Papers with
Aristo Gold 147
Part II — Carbon Purple Tones 151
CHAPTER XVIII
Difficulties — Sepia and Purple Tones 155
CHAPTER XIX
Platinum Printing — Black and White — Intro-
duction 161
Brief General Instruction 163
CONTENTS V
PAGB
CHAPTER XX
Platinum Printing — Black and White — De-
tailed Instruction 165
CHAPTER XXI
Notes on Developing Platinum Prints — Black
AND White i77
CHAPTER XXII
Difficulties — Platinum Printing 181
CHAPTER XXIII
Platinum Paper — Sepia 185
CHAPTER XXIV
Developing or Gaslight Papers — Introduction.. 193
CHAPTER XXV
Velox Printing and Developing — Introduction.. 197
CHAPTER XXVI
Velox Printing and Developing — Brief General
Instruction 201
CHAPTER XXVII
Velox Printing and Developing — Detailed In-
struction ,. ., . .^ ^ .^ . ,. .^. 207
CHAPTER XXVlil ; ; , ' >
Developing Velox with Preparsd Developers. . . 223
CHAPTER , XXIX
Difficulties — Manipulating Velqjt; AjStp .Other
Gaslight Papers '.]'...':. 227
CHAPTER XXX
Special Printing and Developing of Velox and
Gaslight Papers 233
CHAPTER XXXI
Difficulties — Special Printing and Developing
of Velox 249
CHAPTER XXXII
Sepia Tones on Velox and Other Gaslight or
Bromide Papers • 253
vi CONTENTS
PA6B
CHAPTER XXXIII
Azo AND Nepkra Gaslight Papers 259
CHAPTER XXXIV
Cyko Gaslight Papers 265
CHAPTER XXXV
Difficulties — Cyko Gaslight Paper 275
CHAPTER XXXVI
Artura Developing or Gaslight Papers — De-
tailed Instruction 279
CHAPTER XXXVII
Artura Papers — General Information and Dif-
ficulties 295
CHAPTER XXXVIII
Post Cards — Printing-Out Paper 303
CHAPTER XXXIX
Post Cards — Gaslight Paper 309
CHAPTER XL
■" Dodging in the Printing 313
.,,..,..,■ . iCH^{PTER XLI
- ViGNEa-Wii^G..: . v . . .'. ^. .'• 1 : 323
■"\'i ^:-:eMiiPTER XLII
COMBINATIQN ^pRINTING.. • • 33^
':' '' ^ •• ° ■ ' Ck At*TER XLIII
" Double Printing — Printing-in Borders and Print-
ing Margins 34^
CHAPTER XLIV
Gravure Effects 347
CHAPTER XLV
Trimming and Mounting 357
CHAPTER XLVI
How the Studies Illustrating This Volume Were
Made 3^5
ILLUSTRATIONS
ILLUS. PAR.
NUMBER TITLE PAGE REF.
1 Examining Prints 27 43
2 Removing Dust from Negative While
Printing 27 43
3 Placing Prints in Washing Tray 27 48
4 Flattening Collodion Prints 47 97
5 Flattening Prints to Bottom of Tray 47 168
6 Embossing Device 126 365
7 Embossing Device 126 365
8 Aristo Printing Cabinet 157 502
9 Printing Light in Dark-Room 210 689
9I Vignetting Card for Gaslight Prints . 157 801
10 Dixie Vignetter 325 1 128
11 Vignette for Printing-Out Papers 325 1133
12 Printing-in Clouds in Landscapes 336 1156
13 Border Printing 343 1 169
14 Fastening Negative to Glass 349 1184
15 Tracing Image on Paper 349 1 184
16 Placing Cotton Around Image 349 1184
17 Blending the Vignette with Opaque.. 349 1187
18 Vignetted Print Before Gravuring... 350 1190
19 Gravured Print Mounted in Folder... 353 1193
20 Plain Direct Print 353 1 193
21 Group of Gravure Portraits 354 1193
22 Trimming Board 358 1200
(vii)
viii ILLUSTRATIONS
ILLUS. PAR.
NUMBER TITLE PAGE REF.
23 Ideal Print Trimmer 358 1200
24 L-Shaped Cards for Spacing of Print. 361 1204
25 Ingento Revolving Trimmer 364 1 2 13
26 Ideal Cut-Out Forms 366 12 14
27 Ingento Form Holder 367 1215
28 Ingento Centering Square 367 1216
29 Print Rollers 361 1225
30 Mounting Prints 370 1225
31 Mounting Prints 370 1225
32 Multiple Mounting 377 1237
33 Stock Cards for Solid Mounting 378 1242
34 Artistic Folders 381 1242
35 Dry Mounting Press 382 1243
36 Dry Mounting with Hot Iron 382 1243
STUDIES AND HOW THEY WERE
PRODUCED
HOW
STUDY STUDY MADE
NUMBER TITLE AUTHOR PAGE PAGE
1 The Returning Herd... J. M. Schreck Frontispiece
2 Portrait John Garo i 5 385
3 A Tokyo Waterway ..Wm. H. Phillips 16
4 Where the Brook Winds Through
THE Meadow Wm. T. Knox 28
5 Morning Gossip — Brittany
W. G. CORTHELL 37
6 Woods in Springtime
W. H. Porterfield
7 Autumn Wm. Spanton
8 Portrait J. E. Mock
9 Off Tompkinsville, New York
Harbor Dr. A. R. Benedict
10 Yokohama Harbor... Wm. H. Phillips
11 Portrait Rudolf Eickemeyer
12 The Approaching Storm .R. E. Weeks
13 In Harbor Wm. H. Phillips
14 Portrait Rudolf Eickemeyer
25 Homeward Bound R. E. Weeks
16 On the Frozen River.. John Chislett
17 Portrait E. A. Brush
18 Light Beyond W. E. Bertling
19 Woodland Stream Wm. T. Knox
20 Portrait E. A. Brush
21 A Cloud with a Silver Lining (Statue
of Liberty) .. .Dr. A. R. Benedict
22 Janet Elizabeth Flint Wade
(«)
38
385
48
385
67
68
386
91
386
93
125
386
139
386
140
158
386
239
387
240
3S7
336
335
344
387
363
387
369
CHAPTER I.
Introduction and Theory of Printing-Out Process.
1. After a glass, or film, negative has been produced it
is necessary to have some means of transferring the nega-
tive image to a positive form and placing it upon some
permanent substance. For commercial purposes chemically
pure paper is most generally employed, it being coated
with a substance sensitive to the action of light. When
this sensitive paper is placed under a negative, the light
readily penetrates the transparent portions of the negative
and causes a darkening of the sensitive chemicals on the
surface of the paper. The most dense portions of the nega-
tive keep the light from acting upon the paper, so that
w^hen the shadows of the original object have become very
dark, the highlights will be almost white, not having been
affected to any degree by the light. There will, however,
be not only dark and light spots, but a delicate range of
gradation between these two extremes in exactly the same
degree, but in reverse order, as they exist in the negative.
2. In the early days of photography there was no
such thing as a prepared printing paper. It was necessary
for the photographer to sensitize his own paper. The raw
paper stock, being purchased with a coating of albumen on
one side, was sensitized by floating it on a solution of silver
salts. As this sensitized paper would keep for one day only,
it was impractical to prepare more than enough for the
day's work.
3. While this paper yielded most excellent and abso-
lutely permanent results, the extremely tedious and trouble-
some manipulations necessary to prepare the paper for
11
12 Library) of Practical Photography.
use, such as making up the sensitizing bath, sensitizing,
drying and fuming the paper, etc., all entailed such a great
deal of work, it made photography for the amateur almost
prohibitive. Those who did stick to the work were com-
pelled to employ professionals to finish from their nega-
tives, and as few professionals cared to bother with amateur
work, his pictures were usually slighted in the finishing.
The constant cry for better results, or a more simplified
process of printing, soon led to the manufacture of a ready-
prepared product which could be manipulated by the non-
professional. So today we have numerous papers, all giving
different effects. The majority of these papers are good,
and it is only a matter of judgment on the part of the
photographer as to which surface and kind of paper is best
suited to his quality of negatives.
4. The first ready sensitized papers manufactured, and
that proved a revelation in their manipulation, over the old
albumen process, were the collodion and gelatin papers.
They supplied a high gloss surface and at one time were
universally used by the photographic profession. Although
many other processes have come into popular use since,
the glossy paper is still indispensable for many commercial
purposes. The principles involved in the manipulation of
this paper are extremely simple and form the foundation
for other printing processes.
5. Before entering upon the instruction for printing
and toning of sensitized papers, it is necessary to have
some idea of the chemical composition of sensitized print-
ing-out papers. Without going into detail we will explain
as follows :
6. It is first of all essential that the raw paper stock
employed in the manufacture of these papers be chemi-
cally pure, as the paper supplies the foundation upon which
the sensitive emulsion rests and any impurities in the raw
stock will affect the emulsion to the extent that uniform
and permanent results would be uncertain.
7. The manufacturer's first operation in preparing the
raw paper stock is to size it, i. e., coat it with a substance
Theory of Printing-Out Process. 13
that fills the pores of the paper and gives a good, smooth
surface.
8. After the paper is sized, it is sensitized by coating
with a solution of either collodion or gelatin, chloride of
silver, and other chemicals which aid in preserving the
emulsion. After being sensitized the paper is allowed to dry,
when it is ready for use.
9. Theory of Printing. — The paper is placed in a
printing frame, under a negative, and exposed to daylight.
At once the color begins to change, the exposed parts as-
suming a pink tint, then a reddish brown or purple color, and
finally, if allowed to print for a sufficient length of time,
the most exposed parts become extremely deep, causing
a metallic lustre, or bronze appearance. The discoloration
is due to the decomposition, by light, of the sensitive silver
salt in the emulsion on the paper. Silver chloride is one
of the chemicals forming a large portion of the constituents
of the emulsion, and this substance loses its chlorine upon
exposure to light and approaches nearer to the metallic
silver. The bronzing of a much exposed print is due to
the substance having become almost pure silver. To as-
sist in the formation of the visible image free silver nitrate
is present in the emulsion (to absorb the chlorine set free
on the reduCion of the silver chloride), besides citric acid
and many other chemicals. Silver nitrate and citric acid
are soluble, i. e., they dissolve in water, while the silver
chloride and its colored products of decomposition are in-
soluble.
10. Theory of Washing. — The paper when sufficiently
printed is removed from the frame and given a preliminary
washing in water. This washing is necessary in order to
remove, or wash out, from the emulsion the soluble com-
pounds, so that only insoluble ones are present during ton-
ing. There are two reasons for this ; first, a gold toning
bath is ordinarily alkaline and, therefore, all acids (such as
citric acid) must be washed out of the emulsion; second,
silver nitrate will seriously interfere with the gold chloride
in the toning bath, and must be removed. So important
14 Librar}f of Practical Photography.
is the removal of the free silver nitrate that a salt bath is
sometimes used before toning, the bath being a weak solution
of ordinary kitchen salt. Salt or sodium chloride, chemi-
cally speaking, reacts readily on the silver nitrate and
produces an insoluble silver chloride. The sodium nitrate
which has been formed by this reaction readily washes out
of the emulsion. A bath containing a pinch of salt to six-
teen ounces of water will insure the destruction of all free
nitrate ; consequently, washing in water will remove all
remaining soluble chemicals from the emulsion. Thus, all
that is left in the emulsion prior to toning is a colored
image, consisting of reduced silver compounds in the gelatin
or collodion film.
11. Theory of Toning. — The print is next toned, in
order to impart to it a pleasing color and to render the
image permanent. The light-affected salts of silver possess
the power of precipitating many metals when the salts of
these metals are in solution. In more simple language this
means that an image formed on a printing-out paper, if
placed in a solution of say gold chloride, will cause the
gold chloride to decompose and the gold to be precipitated.
Theoretically speaking, it would be possible to employ any
metallic salt, but in practice gold and platinum have been
found to give the most lasting service.
12. The toning bath may be prepared by making up
a very weak solution of gold chloride and rendering it
slightly alkaline with bicarbonate of soda, or borax.
13. As a print lies in this solution, the silver forming
the image in the emulsion causes the gold bath to be de-
composed, and exceedingly fine particles of metallic gold
are deposited on this silver image, thereby coloring it first
brown, then chocolate, afterward purple, and finally blue
black. Each particle of gold chloride that is thus split up
gives off its chlorine, which unites with the silver of the
image and forms the silver chloride. It will thus be seen
that for each atom or particle of gold deposited we get at
least one atom of silver converted into a soluble substance,
and thus the image is robbed of that silver. This is one
Study No. 2
PORTRAIT
See Page 385.
By JOHN Garo
A TOKYO WATERWAY
Study No. 3
By Wm. H. Phillips
^^^.
^0^^
lls"*'"^
Theor]) of Printing-Out Process. 17
of the reasons why an overtoned print becomes weak.
When the necessary amount of gold has been deposited, or
when the print is sufficiently toned, it is again washed in
water in order to remove the residual solution from the film.
14. As it is essential for the gold toning bath to be
alkaline — that is, not acid — advantage may be taken of a
neutral salt, such as common salt, to check toning abruptly,
but it is far better to omit this if possible, as there is a
danger of its interfering with the image.
15. Fading of Prints. — It was previously stated that
citric acid is present in the emulsion of printing-out papers ;
this will decompose hypo and liberate sulphur. If alum be
present as well, we will also get sulphureted hydrogen.
Most combined toning and fixing baths contain alum and
hypo; therefore, if a print be placed in such a solution these
two undesirable products are sure to cause a reaction with
the silver in the image and form silver sulphide. The emul-
sion also soaks up a certain quantity of the solution, and
some of the sulphur contained in the solution is likely to be
precipitated with the metallic salts. This will itself eventu-
ally react with the image and cause fading deterioration.
The combined baths cannot therefore be recommended
when permanency is desired, and it is by all means recom-
mended that separate toning and fixing baths be employed.
16. Softening of the Film. — The length of time re-
quired for the print to be in the various waters and baths
tends to soften the emulsion, and it is advisable in many in-
stances, especially where the temperature is quite warm, to
harden the film in order to render it less liable to abrasion ;
and if it is desired to glaze the prints by placing them on
glass or ferrotype plates, it is advisable to harden the
emulsion to insure the prints peeling ofif without difficulty.
A 5% solution of alum is usually employed, which when
used requires that a thorough washing must be given be-
tween hardening and fixing; because if any of the alum is
carried into the hypo bath the sulphur in the latter solution
will be liberated in the manner already stated.
17. A better hardener would be a weak solution of
18 Library^ of Practical Photography.
formalin, as no ill effects will come from this chemical.
Formalin should never be used until after prints are toned,
as it is so penetrating that if used before toning, it would
be difficult to tone the prints evenly.
18. Finishing the Print. — The fixing bath being pre-
pared with hypo, we have again a substance containing sul-
phur to deal with. After fixation is complete, which takes
at least 15 minutes, the final washing of the prints has to
be given to secure the effectual removal of the last traces of
hypo.
19. The prints should be washed in at least 10 changes
of water, each washing to be of 5 minutes duration. Al-
though the great bulk of hypo is removed from the emulsion
in the first three changes, yet, in order to entirely eliminate
all of the hypo thorough washing is very necessary.
20. To secure the best results when enameling print-
ing-out papers, the prints should have a bath of 5% forma-
lin (Schering's Photo-Formalin 1 oz. ; Water 19 ozs.) either
before, or after, fixing and washing. As a hardening agent
formalin is far preferable to an alum solution, which latter
should never be employed for gelatin papers unless forma-
lin cannot be obtained. The alum solution is quite likely to
cause fading, no matter at what stage of the proceedings it
is employed. If it is impossible to secure, or if you do not
care to use formalin, or the alum solution, it is advisable
to dry the prints without placing them on the glass or
ferrotype plate. After they have dried, the gelatin becomes
much harder, so by re-wetting them there is less chance of
their sticking to the glass or ferrotype plate.
21. Finally, the medium employed for mounting the
print must be neutral, not acid. A mountant, or paste,
which will turn blue litmus paper red should never be
used. The acidity acts upon the gelatin, possibly on the
mount and the paper base of the print, and a yellowing
of the image, or partial bleaching may result. Gold toning
and fixing baths should all be neutral, or used slightly
alkaline — never acid.
CHAPTER 11.
Warm Tones on Gelatin Glossy Paper.
Brief General Instruction.
23. Necessary Material. — The following material is
necessary for toning glossy prints :
Four trays of good size. If many prints are to be toned,
the trays should not be smaller than 14x17 inches. This
size is sufficiently large for prints up to and including
8x10. The trays should be at least 2^2 to 3 inches deep.
For washing and fixing the prints an ordinary wooden tray
lined with oil cloth will answer, but for the toning baths
either rubber, porcelain or glass trays should be employed.
Each tray should be used for one particular purpose only.
It will, therefore, be necessary to have a tray for prelim-
inary washing of the prints, one for toning, one for fixing
and another for final washing. In addition to the print-
ing paper it is necessary to have the following chemicals:
Chloride of gold, acetate of soda, borax, hyposulphite of
soda and either alum or formalin.
23. Printing. — Gelatin and collodion glossy paper,
in a general way, should be printed until the highest points
of light are tinted only a little farther than you desire the
finished print. Pay no attention to the shadows.
24. Washing. — The prints must be washed through
six changes of clear water, handling them over each time.
In washing the prints it is necessary to eliminate two
things, i. e., the free silver and the preserving chemical, be-
cause unless the prints are thoroughly prepared they will
not tone evenly and thoroughly.
IV-2 w
20 Library of Practical Photography.
25. Toning. — When thoroughly washed the prints
are to be toned in the following bath, which should be pre-
pared at least two hours before using, so as to give it an
opportunity to ripen :
26. STOCK SOLUTION NO. 1.
Chloride of Gold 15 grs.
Pure Water 15 ozs.
or, 1 gr. of gold to the ounce of water.
Place the chloride of gold in a bottle and add the 15 ozs. of
pure water. Shake well until all the gold is dissolved. Label this
bottle " Gold Stock Solution No. 1."
27. STOCK SOLUTION NO. 2.
Acetate of Soda 1 oz.
Water 10 ozs.
This makes a 10% solution.
Dissolve this chemical thoroughly by shaking, and label the
bottle " Acetate Stock Solution No. 2." It is well to use at least a
14 ounce bottle for this solution, as the acetate of soda is dissolved
more readily in a large bottle.
2S. STOCK SOLUTION NO. 3.
Borax Crystals 2 ozs.
Hot Water 6 ozs.
As borax crystals do not dissolve freely, it is advisable to use
hot water for dissolving them. Label this bottle " Borax Solution
No. 3."
29. Preparing the Toning Bath. — Into a two quart
bottle or jar, pour 40 ozs. of distilled water and add 1 oz,
of Stock Solution No. 1, also 1 oz. of Stock Solution No. 2.
Thoroughly mix these solutions by shaking the bottle or
stirring with a glass stirring rod and allow to stand and
ripen for at least two hours. There will be no harm in
allowing it to stand for a day before using.
30. Testing the Toning Bath. — After the bath is rip-
ened it is necessary to test it and ascertain whether it is
alkaline, acid or neutral, and for this purpose a piece of
red litmus paper is first employed. As a general rule this
litmus paper will not alter its color in this case, which goes
Warm Tones — Glossy Paper, 21
to show that the bath is neither neutral nor acid. The gold
bath, however, must be in a slightly alkaline condition in
order to secure the best of results in toning. Therefore,
if there has been no change in the color of the litmus
paper, add a few drops of Solution No. 3, stirring the ton-
ing bath in the meantime so that the borax will be
thoroughly and uniformly distributed throughout the
whole solution. When the red litmus paper turns blue
inside of two minutes, enough borax (Solution No. 3)
has been added.
31. The average prints should tone in this bath in
from 6 to 8 minutes. If the highest points of light in the
prints bleach and become perfectly clear before there has
been any material change in the color of the shadows, it
will be necessary to add more of Solution No. 3 (borax)
regardless of the color of the litmus paper. The alkaline
Solution No. 3, acts as a restrainer on the highlights, and
the amount of this solution to use is the amount necessary
to hold the whites from bleaching while the shadows tone,
or change to the desired color. An acid gold bath bleaches
out the more delicate portions of the prints, makes pink
whites and weak shadows and tones slowly. The final color
of the print is regulated wholly by the amount of toning
given the print in the gold bath.
32. Washing After Gold Bath.— Wash the prints in
three changes of clear water by handling them over. Do
not try to wash the prints by placing them in running water,
as they are apt to stick together, in which case the gold
solution on the surface of the print will not be removed.
If any length of time elapses before placing the prints in
the fixing bath, the toning of the print will continue wher-
ever the gold has not been removed by washing, causing
spots on the prints.
33. Fixing Bath.— After the prints have been carefully
washed they may be allowed to stand in the water for the
short time necessary to prepare the fixing bath. This bath
is composed of 2 quts. of water and 6 ozs. of hyposulphite of
soda; or, if hydrometer test is used, the bath should test
22 Library of Practical Photography^.
18°. More uniform results will be obtained if the hydro-
meter test is employed. The prints must be continually
handled in the fixing bath for a period of 20 minutes in
order to secure a complete elimination of all unused sen-
sitive salts.
34. Washing After Fixing. — When thoroughly fixed
the prints should be transferred, one at a time, into a tray of
fresh water. They should receive from 16 to 20 changes
of clear water during a period of one hour. If running
water is used the prints must occasionally be picked over,
as they are bound to sink to the bottom and the hypo and
other chemicals will not be completely removed, even in
running water. Careful attention must be given to this
feature, as it is important in order to insure permanency of
the prints.
CHAPTER III.
Warm Tones on Gelatin Glossy Paper.
Detailed Instruction.
35. Temperature. — All wash waters and baths should
be exactly the same temperature from the beginning of the
washing of the prints until they are ready to mount, the
proper degrees being from 65 to 70 Fahr. If the tempera-
ture is uniform throughout all operations, the prints will
be kept from softening and blistering.
36. Preparing the Toning Bath. — Care should be ex-
ercised to follow the general directions.
Do not use any more of Solution No. 3 than is abso-
lutely necessary, or the bath will become too strongly alka-
line, resulting in muddy tones.
37. Keeping Qualities of Sensitized Paper. — When
buying sensitized paper in quantities, great care should
be observed in storing it. Most of these papers are dated
by the manufacturer, and the keeping qualities are gener-
ally good for about four months from the date stamped on
the back. If allowed to become damp the paper will spoil
and print poorly, disagreeable tones being the result. If
kept in too warm a place the paper will rapidly turn yel-
low and it will be impossible to make prints with pure
whites. The paper should, therefore, be kept in a cool,
well ventilated cupboard or drawer.
38. Action of Light. — Whether the paper has a col-
lodion or a gelatin-chloride coating the action of the light
is the same. This coating contains nitrate of silver and
is sensitive to the light. When exposed to strong daylight
23
24 Library of Practical Photography.
it turns dark. Gas, electric, or lamp light has practically
no affect upon it whatever; neither will it be affected by
exposure to very subdued daylight for a short period of
time. Therefore, all operations in handling the paper when
placing it in a printing frame may be conducted in weak
daylight, instead of in the dark room.
39. Printing. — The sensitive emulsion of gelatin and
chloride glossy paper is only on the surface and does not
penetrate through the film. Because of this, the print-
ing will be only on the surface of the emulsion and
the wash waters and chemicals used in toning will not
penetrate beyond this surface. Therefore, printing for
glossy surface papers is carried only a little farther than
you desire the finished print; just sufficient to make up for
the strength lost in the washing, toning and fixing, which
is about one degree.
40. The length of time required for a print to be
printed to the proper depth depends not only on the quan-
tity and brilliancy of the light, but also on the density and
color of the negative. A negative with a yellow tint will
print slower than one of gray. Under any circumstance,
without regard to the quality of the negative, print for the
highlights — the shadows will take care of themselves.
41. Printing From Negatives of Different Strength. —
Negatives of various kinds require different depths of
printing. For instance, a hard negative — or a slow printing
one — will require longer printing, in order to tint the high-
lights. Consequently, you must print deeper into the
emulsion than with a soft or weak printing negative. Be-
cause a hard negative prints slowly, it gives a more solid
print than a thin negative. On account of the great density of
the plate, the highlights are restrained from printing until
the shadows have received considerable exposure to \he
strong light. The light, therefore, penetrates the emulsion
deeper in the shadow portions than in the highlights. By
the time the highlights are properly printed the shadows
will be printed sufficiently deep. By printing both high-
lights and shadows slowly they will not lose any of their
Warm Tones — Closs}) Paper. 25
strength in the washing. Therefore, a hard negative —
contrasty and a slow printer — should not be printed quite
as deep as a soft negative. Print until the highlights are
but slightly tinted, or about one shade deeper than you
would desire the finished picture to be.
42. Printing From Soft or Quick Printing Negatives.
— A soft, thin negative, owing to its printing so quickly,
prints on the surface only, unless it be exposed and printed
in the shade instead of bright sunlight. In fact, a thin
negative should always be printed in the shade for the
best results. Even then the highlights must be carried
farther (printed deeper) than with a slow printing nega-
tive. In other words, with a weak negative it is advisable
to carry the glossy print in the printing two shades darker
than you wished the finished print. The printing is thus
carried more deeply into the emulsion. When the prints
are thoroughly washed the excess printing is well washed
out, leaving the solid image, which is well printed into the
emulsion ; while if the print had only been printed on the
surface, it would have lost its strength in the washing, re-
sulting in a weak print. Therefore, remember that the
slower you print from such a plate the deeper it will pene-
trate the emulsion. By slow printing we mean that you
should print in the shade, or, if you must print in the sun,
cover your negative by attaching two thicknesses of very
fine tissue paper over the face of the printing frame, there-
by filtering the light. Ordinary negatives of medium
strength can be printed in bright sunlight with good results,
but a slight diffusion of strong light will invariably give
stronger and better prints.
43. Examining the Prints During Printing. — Great
care must be exercised in examining prints while printing.
First, see that your hands are perfectly dry. When bending
back the paper to examine the print, be careful that you
do not bend it too abruptly or too far back, as such action
is liable to cause cracks or breaks in the surface. (See
Illustration No. 1, on how to grasp the paper in examining
the print.) Also be careful that you do not hold the paper
26 Library of Practical Photography.
in too strong a light. While printing-out paper is not
extremely sensitive, it is sensitive enough to become tinted
even in subdued light if the light strikes it for any great
length of time. This tinting is similar to fog and will
destroy delicate highlights. If you find, while printing,
that there are specks of dust on the negative, do not try to
blow them away but remove them with a camel's hair
brush. (See Illustration No. 2.) When blowing on them
you are apt to carry saliva onto the plate, and the least
drop of saliva would cause the paper to stick to the nega-
tive, thereby producing a spot which is almost impossible
to remove, and which would produce white spots on all
subsequent prints.
44. Prints Sticking to Plate. — If the paper should hap-
pen to stick to the plate, at once remove the print and place
the negative in the regular negative hypo bath, and allow it
to remain until the film becomes soft enough so that you
can remove the paper which sticks to the negative. After the
paper is removed, again place the negative in the h3^po for
at least twenty minutes, after which wash and dry. The
hypo will remove the silver that was in the paper, unless
the print was allowed to dry on the negative. Even then
the stain frequently may be removed and the spot not
show when printing. Do not examine prints oftener than
is absolutely necessary. With a little practice you will
soon be able to judge the total time required for a print to
be printed to the proper depth and you will not need to
examine it so often. Always carefully clean the back of
your negative. Particles of dirt or stain will cause spots
on the print.
45. When you remove your prints from the printing
frame place them at once in a light-tight box, and only re-
move them from this box when you are ready to tone.
Keep the fingers ofif the surface of the prints, as acid com-
ing from the moisture in the hands, even when apparently
dry, will penetrate the paper and thus cause red spots.
Where one's hands freely perspire it is advisable to bathe
Illustration No. i
Examining Prints
See Paragraph No. 43
Illustration No. 2
Removing Dust from Neg-
ative while Printing
See Paragraph No. 43
Illustration No. 3
Placing Prints in Washing
Tray
See Paragraph No. 48
WHERE THE BROOK WINDS THROUGH THE MEADOW
Study No. 4
By Wm. T. Knox
Warm Tones — Glossy Paper. 29
them in a weak solution of bicarbonate of soda and dry
them thoroughly.
46. Trays for Washing and Toning Prints. — Many
failures are caused from negligence in caring for trays.
One should have at least two washing trays, besides one
for toning and another for fixing. It is a good plan to label
your fixing and toning trays to avoid mistakes. Never use
the toning tray for anything else than your gold toning,
nor your hypo tray for any other purpose than fixing. Al-
ways use the same tray for the same purpose, and the
same bottles for the same chemicals. All trays should
be thoroughly cleansed with salt and water, using a small
handful of salt and only sufficient water to moisten the salt.
The trays must be scoured sides and bottom, and be
thoroughly rinsed before using and again thoroughly rinsed
after using. Trays should never be stacked one on top of
another, but each placed carefully away by itself, with the
hypo tray as far from the toning and washing trays as
possible.
47. Washing Prints. — This part of the operation is
one which is often carelessly done, with poor tones as the
result. Use large trays and plenty of water. It is most
important that the preliminary washings be thorough, as
streaky and muddy tones, and slow toning, are caused from
insufficient washing. The preliminary washing should take
at least 30 minutes, and 15 minutes more devoted to the
washing will save that amount of time in toning. Insuf-
ficient preliminary washing will prevent proper action of
the toning bath, resulting in uneven toning, red or muddy
prints.
48. Placing the Prints in the Washing Tray.— Place
all the prints on a piece of cardboard or paper, face down,
and hold in your left hand. With the thumb of the right
hand slide one print at a time into the water. Immerse
each print completely before adding another. Never slide
one print over another, unless the under print is thoroughly
wet. (See Illustration No. 3.) After the prints have been
placed in the water pick them over, one at a time, and
30 Library of Practical Photography.
turn face up. Do this until all the prints are turned over,
then proceed and reverse the prints, placing them face
down, by picking them over one at a time. This should re-
quire, ordinarily, about five minutes for each change, after
which empty the tray and add fresh water. Proceed as
before, picking over the prints. If done conscientiously,
you can rest assured that in half an hour the prints will
have been properly washed and all trace of the free silver
and preservative chemicals will have been eliminated.
49. Gelatin paper usually contains more silver than
collodion coated paper. Consequently, when washing
gelatin paper you will find that it will liberate the silver
more freely. This you will recognize by the discoloration
of the water, which will more freely become white or milky.
It is important, therefore, that the gelatin prints should
be handled and washed by hand, and have at least eight
changes of water not warmer than 65 degrees to 70 degrees
Fahr., each change requiring from three to five minutes.
50. Gelatin prints also have a tendency to sink to
the bottom of the tray and mat — stick — together and no
matter how often you change the water, unless you pick
them over and over the silver and other preservative
chemicals will not be eliminated.
51. Chloride of Gold is obtained by dissolving metal
gold in nitro-muriatic acid. It is red-orange in color, dis-
solves readily in water, and for convenience is put up by
the manufacturers in 15 gr. tubes or bottles. It is used for
toning the prints — producing the proper color — and is there-
fore called the toning agent. Chemical action generally
acid. It is sometimes, however, obtained in neutral form.
52. Borax. — Borax is found native in the crude state
in the saline portions of Nevada and California, but is also
manufactured by boiling boracic acid (crude) with sodium
carbonate. It is put up both in crystal and powder form.
We advise the use of the crystals, as there is less danger
of adulteration. It is colorless. As it dissolves slowly in
cold water, hot water should be employed for the purpose.
53. Acetate of Soda.— A colorless crystal. Also ob-
Warm Tones — Glossy Paper. 31
tainable in granular form. Dissolves readily in water. If
exposed to heat or air it loses its water of crystalization
rapidly and becomes a white powder. When in powder
form it is twice as strong as the crystals. It is used in
the toning bath for preventing the highlights from bleach-
ing. It is a very slightly alkaline chemical. When added
to water it requires hours for the solution to become notice-
ably alkaline.
54. Hyposulphite of Soda. — (Thiosulphate of Soda).
Commonly called " hypo." Is put up in crystal and granular
form. Colorless. From this you prepare your fixing bath.
The action on the prints is identically the same as on the
plates, as it dissolves all the free silver which has not been
eliminated in the washing and toning baths.
55. The chemicals employed in toning may be divided
into two principal classes — acids and alkalies. Both must
be used in preparing the toning bath, but it makes a great
deal of difference which is in the greater proportion. If
proportions of acid and alkali are equal the bath is said to
be neutral. It will give fair results in this condition, but
as it never should be used to tone in an acid condition, it
is safer to make it slightly alkali. To test the bath for
this use litmus paper, which is of two colors, red and
blue. Red litmus paper coming in contact with an alkaline
bath will turn blue, while blue litmus paper coming in
contact with acid turns red. A neutral bath will have
no effect on either red or blue litmus paper.
56. Litmus Paper. — The best litmus paper to use for
testing your gold bath is that put up in small glass vials,
and a small bottle will last a long time. You should have
a bottle of blue as well as one of red litmus, for should
your bath become acid from continuous use you can test it
with blue litmus paper. The preservative which is used
by the paper manufacturers in preparing the paper, and
which may not be entirely eliminated with the wash waters,
is apt to turn the bath acid after quite a few prints have been
toned. It is well to keep a piece of blue and red litmus
paper in the bath while toning, and watch them carefully.
32 Library of Practical Photography.
As soon as you notice the slightest change take immediate
steps to have the bath test properly.
57. It will require about two minutes for the red lit-
mus paper to turn blue after having added the borax, or
Solution No. 3. If the small quantity of Solution No. 3
you have added does not perform the work in the given
time, add more borax solution and continue to add until
the litmus paper does turn blue.
58. The fresher the paper the more preserving chemi-
cal it contains ; therefore, you require so much more of
your Solution No. 3 than you would for old paper, while
with old paper you will require more of the gold or Solu-
tion No. 1, owing to the fact that old paper requires a
stronger gold solution when toning than fresh paper, but
it does not require as much alkali, as the paper contains
less acid. The amount of gold given in the formula is the
minimum that should be usd for toning. You may find
it necessary to use a trifle more, and in this you will be
governed by the speed of your toning bath. It is not ad-
visable to tone too quickly or too fast, as tones produced
by fast toning are generally only surface tones, and when
the prints enter the hypo the tones change considerably.
Usually about six to eight minutes is required to com-
pletely tone a print.
59. Before printing any paper notice whether it is
old or fresh. If it is old you will find that the paper will
be slightly discolored either around the edges on the sur-
face or on the back. Should you be compelled to print
from both old and new, separate them, toning the old paper
first and the new last. The reason you tone the old paper
first is because your bath is fresh and crisp and the old
paper needs crisping a trifle, which it will receive in a
fresh bath. After your old paper is toned your bath is in
better condition to tone fresh paper, because it will con-
tain a certain amount of free silver, which ripens the bath,
and your fresh paper will not tone quite so quickly but much
more evenly than it would in a fresh bath.
60. We caution you again on the condition of your
Warm Tones — Gloss}) Paper. 33
bath. It is absolutely necessary that the bath be not too
alkaline, and must never be acid, but should lean a little
over the neutral point to a slightly alkaline condition. A
bath too alkaline will give muddy whites. A bath that
turns red litmus paper blue in from one to two minutes
is just right.
61. How to Tone. — We will now suppose that your
Toning Bath has ripened ready for use and the prints are
carefully washed, as instructed. Immerse one print in the
Toning Bath and with the right hand spray the solution
over the print as you watch it toning. You will find that
the print will first turn red and gradually the whites will
begin to clear and the red will commence to soften down
considerably. If the highlights and shadows tone evenly,
the bath is working properly. Should the highlights tone
chalky, eat away as it were, and the shadows refuse to tone,
or change color to any great extent, then the bath is not suf-
ficiently alkaline and a few drops of borax should be added.
If the print tones too slowly add a trifle more gold, but
before adding the gold it must be neutralized. To do this
pour, say two drams of the gold stock solution into a grad-
uate containing two ounces of water. To this add a few
drops of your Solution No. 3, the borax, and test with lit-
mus paper. As soon as this gold solution tests alkali, add
a dram at a time to the bath until it tones freely. If your
bath tones too fast, add more water until your prints tone
in from six to eight minutes. A fresh bath will always
work more quickly at first than it will after being used
a while, so due allowance must be made for this.
63. After you have made these tests and find that the
bath is toning properly, you can proceed to tone the balance
of the prints. For the beginner, we would advise having
no more than 10 or 12 prints in the toning bath at one time.
These should be placed in the bath, face down, and moved
rapidly from one end of the tray to the other. For those
who have had some experience, 15 or 20 prints may be
placed in the bath one at a time, and when these prints
are partly toned another lot of 15 may be added. When
34 Library of Practical Photography.
the first lot is finished a third lot should be added, repeat-
ing this operation until the entire batch is toned.
63. While the prints are in the toning bath always
watch the highlights (by this we mean the whitest part
of the print), and if they clear in the time required for the
shadows to tone, you will know that the bath is still work-
ing properly. Should the highlights tone chalky, after
quite a number of prints have been toned — eating away as
it were — and the shadows refuse to tone, then you will
recognize that the bath has become acid and a few drops
of No. 3 Solution (borax) should be added.
64. The first print is apt to tone a little harsh, there-
fore Solution No. 3 must be added carefully. Better still,
add a second print after adding a few drops of No. 3 and
see if it does not tone better than the first. Tone these
two prints until the highlights or white portions are pure
white, allowing the shadows to remain quite warm, almost
red, but clear. There must be a reasonable amount of de-
tail in the highlights — they must not be chalky. When
your bath tones your test prints to the desired shade in
about 6 minutes, the bath is right and ready to receive
the balance of prints. Usually a bath will need no altering
if it is properly prepared at the start, and an entire batch
of prints can be toned without any change in the bath.
65. In order to judge when the highlights are clear
place a fresh print in the bath and compare it with those
that you are toning. You will notice by the comparison
that the fresh print is muddy in the highlights (the whites),
while the toned one is clear and crisp. At this stage re-
move the toned print from the bath to a tray of water and
continue to tone the remainder of the prints, watching the
action of bath closely. Never have more prints in your
Toning Bath than you can handle comfortably so as to
insure even toning, and always try to tone all of the prints
the same color and depth of tone. Do not have one toned
almost blue and another one very warm, but remove them
all from the gold bath at exactly the same stage. Remem-
ber, after toning a number of prints the acid in the paper
Warm Tones — Glossy Paper. 35
is apt to turn the bath to an acid state, and it may be neces-
sary to add a few drops of Solution No. 3 (borax) from
time to time, to hold the bath in the proper alkaline con-
dition.
66. The amount of bath recommended in the formula
should tone 25 cabinet prints, or their equivalent, without
any change or alteration. The temperature of the bath
should be 65 to 70 degrees Fahr. A toning bath too cold
will cause slow toning. A toning bath too warm will be
apt to soften the surface of the prints and also cause sur-
face toning. The toning must be done by weak light, as
the paper is more sensitive when wet. When you get the
bath to working evenly, judge your tone for the highlights
and middle tones, as previously directed. Pay no attention
whatever to the deepest shadows; allow them to care for
themselves, for when the highlights are round and mellow,
the shadows will be rich and velvety. As soon as the half-
tones are clear remove the prints from the gold bath and
place in a tray in which there is plenty of water. If possible
place them in running water. After the prints are all toned
give them a few changes of fresh water, carefully picking
them over and over during the washing. They are then
ready for fixing.
67. Life of a Toning Bath.— A Toning Bath is good
as long as it will tone prints in a reasonable time. The for-
mula given will tone 25 cabinet, or 4x5 prints, or their
equivalent. If a greater number of prints are to be toned,
prepare a larger bath in the same proportions ; if a less
number are to be toned, use a smaller bath. A good plan
for the beginner who has only a few prints to tone is to
use only a portion of this bath, enough to tone the prints.
When through toning pour the bath into a separate bottle
and label "Old Toning Bath." The next time you desire to
tone use half of the old bath and half fresh solution. Dur-
ing toning if you find that the bath is toning slowly, having
become exhausted by the number of prints toned, simply
strengthen by adding fresh toning bath, or more gold and
enough borax to neutralize the gold. Should you find it
36 Library of Practical Photography.
necessary to strengthen the bath by adding more gold, and
should you add the chloride of gold (which is acid) with-
out neutralizing, you would be adding a certain amount of
acid, which would cause the entire bath to become acid. To
avoid this, when you wish to strengthen the toning bath
pour one ounce of gold solution in a graduate and add a
few drops of No. 3, the borax solution. Place in the grad-
uate a piece of red litmus paper. When this turns blue
you will know that you have added enough borax. You
should not add this neutralized gold to the bath at once.
Allow it to stand so that it will ripen for about five min-
utes. Never add any more acetate of soda to your bath
after you begin to tone, as it will have no effect unless added
to the bath an hour or so before toning, thus giving it an
opportunity to ripen.
68. A Desirable Tone. — A very pretty tone for a print,
especially if it is a landscape, can be produced by ton-
ing only until the highlights are cleared up pure and
white, but not bleached ; retaining all the detail and leaving
the shadows a beautiful deep red. Be careful that the high-
lights do not tone faster than the shadows, leading to flat,
bleached whites and shadows that cut ofif muddy in the
hypo. If your bath were acid you would find that the
whites would have a pinkish tint and would be apt to
bleach. If too alkali the shadows would take on a very
muddy tone. Have the bath just sufficiently alkaline to
tone the shadows at the same speed as the highlights and
reach the proper shade in from four to six minutes. By
manipulating the gold bath, printing-out papers in general
can be toned to any desired color, from a warm sepia to
a deep rich purple.
69. For glossy or highly glazed papers a warm red
tone is more pleasing and suitable. Therefore, the formula
given in this instruction is for warm tones. Remember
that muddy whites with streaky shadows are caused by
too much alkali in the gold bath. Blue edges and muddy
shadows are caused by toning too slow in the gold bath,
the bath not having enough gold in it. Also from insuf-
Study No. 5
MORNING GOSSIP— BRITTANY
By W. G. COKTHELL
%%
11^
J 1^
Warm Tones — Gloss}) Paper. 39
ficient handling of the prints in the bath, or by using old
paper. No print should remain in the gold bath longer than
from 6 to 8 minutes.
70. Fixing. — After all the prints are toned they are
ready for fixing. The fixing bath is prepared according
to formula given in Paragraph 33. With the left hand drop
the prints, one at a time, into the hypo bath, being careful,
however, not to allow the left hand to touch the hypo
solution. With the right hand separate the prints, picking
them over rapidly and immersing them so that the hypo
will cover them evenly. Continue in this way until all the
prints are in the hypo. Next pick them over and over
for 20 minutes, turning them face down. In this way you
insure perfect fixing.
71. Washing After Fixing. — After the prints are
thoroughly fixed transfer them, a few at a time, into a
tray of fresh water. This tray should be used only for
washing prints after fixing, and for no other purpose.
After all prints are in the wash water give them 16 to 20
changes of clear water, being careful to pick the prints
over and over during each change of water. If the prints
are carefully picked over they will be thoroughly washed
in one hour. If running water is used the prints must be
occasionally picked over and separated as the gelatin
prints will sink to the bottom and the hypo will not be
completely eliminated even in running water — this is im-
portant to insure permanency of the prints.
72. Practice Work. — For your practice work you
should make a few prints on any gelatin glossy printing
paper, selecting several negatives to print from, each of
different strength. This will give you experience with the
various qualities of negatives. It is also advisable for first
experiments that you make at least three prints from each
negative. Print the first one as deep as would be exactly
right in your judgment; the second print carry a little
farther than the first and the third print still deeper than
the second. Number each print. Then wash, tone, fix and
finish all exactly alike. In order to derive the greatest bene-
IV— 3
40 Library of Practical Photography.
fit from your experiments, you should observe the appear-
ance of the varying depths of printing during different
stages of procedure and when the prints are all finished,
mark on the back of each all data connected with the manipu-
lation; noting the quality of negative, depth of printing,
whether normal, deep or very deep, action in the toning
bath, did the bath work properly, or whether it bleached
the highlights. If the bath was altered, how was it altered?
All this data will serve as a good guide for your future
work. All prints should be dated and filed in the regular
print file for future reference. Should you meet with fail-
ures during the manipulation, refer to the difficulty de-
partment. Chapter VI, where you will find the cause, pre-
vention and remedy.
CHAPTER IV.
Purple Tones on Collodion and Gelatin Glossy Papers.
Brief General Instruction.
73. Introduction. — Preceding chapters have dealt par-
ticularly with the fundamental principles of handling glossy
printing-out papers, as far as securing an average warm
tone is concerned. These chapters must be thoroughly
understood before proceeding to secure purple tones, as
the producing of the colder tones requires simply a slight
variation in the printing of the paper and in preparing the
toning bath.
74. The tone of the print is governed, to a great
extent, by the likes or dislikes of the individual worker,
some persons preferring a warm, while others are partial
to a deep or cold tone. For commercial purposes the latter
is more acceptable. In either case, however, all that is re-
quired is correct printing for the tone desired and to have
the toning bath work evenly.
75. Printing. — For purple tones it is necessary to
print fully two shades darker than you desire the finished
print; therefore, the printing will be one shade deeper than
when warm tones are desired. Pay no attention to the
shadows.
76. Washing. — Wash through six changes of clear
water, handling the prints over each time, in order to
thoroughly remove all free silver and preserving chemicals.
77. Toning. — The gold bath used to secure purple
tones is slightly different from that employed for the pro-
ducing of warm tones.
41
42 Library) of Practical Photography,
78. STOCK SOLUTION NO. 1.
Chloride of Gold 15 grs.
Pure Water 15 ozs.
79. STOCK SOLUTION NO. 2.
Acetate of Soda 4 ozs.
Pure Water , 10 ozs.
80. STOCK SOLUTION NO. 3.
Borax Crystals 2 ozs.
Hot Water ,6 ozs.
81. Preparing the Toning Bath. — In a 2 quart bottle
or jar, pour
Water 40 ozs.
Stock Solution No. 1 1 oz.
Stock Solution No. 2 2 ozs.
82. Thoroughly shake the bottle containing this solu-
tion and allow it to stand for 10 hours, if possible. It may-
be used, however, inside of 2 hours, but better results will
be secured if the bath is thoroughly ripened before being
used. When ready to tone pour the solution into the
toning tray; then mix in a graduate, 6 drams of Solution
No. 1 and 4 drams of Solution No. 3, allowing it to stand
for 5 minutes, when it may be poured into the toning tray
and thoroughly mixed with the rest of the bath.
83. Place a piece of red litmus paper in the bath
and gradually add a little more of Solution No. 3 until
the red litmus paper turns in 2 minutes. This bath must
be only slightly alkaline.
84. Before attempting to tone a number of prints,
test the bath first with one print, and see that the shadows
tone in about 8 minutes time and that the highlights clear
in this time. Any shade from a warm cherry to a deep
purple may be obtained, depending upon the depth of ton-
ing. The longer the prints remain in the bath the more
purple or deeper will be the tone. If extremely cold tones
are desired, less borax must be used, for a strong alkaline
solution will cause yellow whites.
Purple Tones — Glossy Paper. 43
85. The color of the print must not be judged by
looking upon the surface — hold the print up to the light and
look through it, bearing in mind that it will dry a couple
shades darker; therefore, if the tone is carried to a deep
purple when examining it by transmitted light, a blue black
color will result when the print is dry, and the whites will
no doubt be muddy, for any tone on glossy paper carried
beyond a warm purple will give unsatisfactory results.
86. Special Acetate Toning Bath. — Take 60 ounces of
water, 1 ounce of the Gold Stock Solution No. 1, and add
from 4 to 6 drams of a saturated solution of acetate of soda.
This bath is intended to be used as soon as prepared, and
as it will supply rich purple tones is recommended prin-
cipally for commercial work. The bath should be used im-
mediately upon preparing it.
87. Should the highlights in the first test print bleach
before the shadows are toned, add more acetate of soda.
If the toning proceeds too rapidly, dilute with water. If
the bath works slowly, however, more gold must be added
to the bath, always neutralizing the gold with acetate of
soda before adding it, however.
88. The above bath is intended especially for small
batches of prints, and should not be used when a great many
prints are to be toned, for as the bath becomes a little
used, the alkaline action of the acetate of soda grows
stronger, and unless extreme care is exercised the tones
will be uneven, flat and muddy.
89. Washing After Toning. — Throw the prints from
the toning bath into clear water, until all are toned ; then
wash in three changes of clear water, handling them over
in each wash water.
90. Fixing Bath and Final Washing. — The fixing and
washing are exactly the same for all glossy papers, see
Paragraphs 33-34.
CHAPTER V.
Purple Tones on Collodion and Gelatin Glossy Papers.
Detailed Instruction.
91. Temperature. — Too much emphasis cannot be laid
upon the advisability of keeping all wash waters and baths
at a uniform temperature, which should not exceed 70°
Fahr.
92. Depth of Printing. — The quality of the negative
has much to do with the required depth of printing, and
this must be taken into consideration at all times, no mat-
ter what printing process is employed, or what tone is de-
sired. For purple tones it is necessary to print a shade
deeper than when warm tones are desired.
93. The necessity for deeper printing is explained by
the fact that the toning is to be carried considerably further
than for warm toning. All prints grow somewhat lighter
in the toning, caused by the action of the toning agent;
therefore, as you are going to tone deeper and longer, the
print, unless printed darker, would become too light.
94. Preparing the Toning Bath. — In securing warm
tones the acetate of soda is used to restrain the action of
the gold upon the highlights. As deep toning will require
more restraining of the highlights a greater quantity of
acetate of soda must be used. Care must be exercised,
however, in adding the alkali, for too much causes muddy
whites, and the nearer neutral the bath can be worked for
deep tones the purer will be the whites. Acetate of soda
IS a more neutral chemical than borax, yet as a restrainer
46
46 Library of Practical Photography.
and purifier of whites, it is more advisable to employ
it than to resort to borax.
95. Should the bath become too alkaline by adding
too much borax, the prints instead of remaining clear in
the highlights will turn yellow and in the resultant print
will be extremely muddy. Never add acetate of soda to
the bath after beginning to tone, as it will have practically
no effect, except when using the special acetate toning bath.
96. When toning collodion-coated paper proceed in
exactly the same way as for gelatin, but use a trifle more
alkali, or Solution No. 3. Never tone g^elatin and collodion
papers together in the same bath, nor wash these papers
together in the same tray.
97. Flattening Collodion Prints. — Collodion paper is
apt to curl in washing; therefore, the following method of
flattening should be employed : Pour sufficient fresh water
into the washing tray to nicely cover the bottom, say one-
fourth of an inch deep. Place the prints face side down,
patting them with the palm of the hand to insure their
thorough immersion. Place second print on top of first,
partially over-lapping. Pat this print in like manner. Place
all the prints in this way, spreading them over the bottom
of the tray. When all prints are in the tray, allow them to
remain for a minute; then pour off the water and set the
tray on edge to drain for about two minutes. (See Illustra-
tion No. 4.) The reason collodion paper curls in the
water is that the paper swells as soon as wet and the col-
lodion emulsion does not. Therefore, if the print when
first placed in the water is held flat, the paper swells in
thickness only, and if the print is kept flat until the paper
is thoroughly soaked in this position, it will remain flat
during the entire manipulation. The tray can then be filled
half full of water and the prints more freely handled, as
they will not curl. Always keep them face side down,
however, until washed. It is a good idea when using col-
lodion paper to add a few drops of a saturated solution of
common washing soda to the second washwater. This will
neutralize the water and prevent red spots that may be
Illustration No. 4
Flattening Collodion Prints
See Paragraph No. 97
Illustration No. 5
Flattening Prints to Bottom of Tray
See Paragraph No. 168
^^.
%3\
r%^^
Study No. 7
AUTUMN
See Page 385
By \Vm. Spanton
Purple Tones — Glossy Paper. 49
caused by the perspiration on the fingers coming in contact
with the surface of the papers while examining during
printing.
98. Using Old Toning Bath. — The regular toning
bath should be saved, and when you desire to tone again
add one-half fresh bath to the old. A bath of this kind will
give better results than a perfectly fresh one. Where the
special acetate toning bath is employed, however, it should be
used only once and then discarded. When large batches of
prints are to be toned, the regular bath is to be preferred,
as more uniform tones are secured with it than with any,
specially prepared bath. Allowance must be made for
drying, as all prints dry fully one shade darker and colder
than they appear when wet. After the prints are toned
they should be washed and fixed in the usual manner.
99. Ferrotyping Prints. — If you do not wish to mount
your prints they can be dried flat, and a beautiful glossy
finish may be obtained by squeegeeing them onto a ferro-
type plate. Provide yourself with half a dozen ferrotype
plates. These plates are a Japan tin, similar to the old tin-
type plate, but are made in a heavier weight. They are
supplied, when desired, in a larger size than is ordinarily
used for tintype purposes. The small size can be purchased
from photo supply houses at 10 to 15 cents a sheet. First,
clean the plate with clear water and before placing the
prints in contact swab the plate with the following solution :
Benzine 1 oz.
Paraffine 10 grs.
100. After the paraffine is dissolved, with a tuft of
cotton apply it to the plate, which must be perfectly clean
and dry. Rub over the entire plate and finally polish dry
with clean cotton or cloth, being careful to remove all of
the paraffine that appears on the surface, as enough will
remain to do the work. Next place the print in contact.
A good plan is to immerse the ferrotype plate in the tray
of water with the prints and bring the print in contact with
the ferrotype plate while both are beneath the water. In
50 Library of Practical Photography.
this way most of the air-bells will be expelled. Next lay
the ferrotype plate on a perfectly level surface and squeegee
by covering with a dry blotter and rolling thoroughly with
a print roller to expel all remaining air-bells.
101. After having rolled the prints perfectly dry on
the ferrotype plate and expelled all air-bells, set the plate
up on edge and allow the prints to dry until they drop off
or can be removed easily by raising one corner with the
penknife. Should the prints stick, the plate has not been
properly prepared and the prints must be soaked off by
placing back into the water. Then carefully clean the plate
again and apply the paraffine solution. With a little care
and practice no trouble will be experienced.
103. If desired these prints may be kept in an un-
mounted state. However, should you intend to mount them
later — after rolling the prints dry — apply a coating of paste
to the back of each print while it is still on the ferrotype
plate. Any of the prepared or starch pastes will work
very nicely. Allow the paste to dry with the print. We
would recommend the use of prepared paste for this pur-
pose. Although prints will dry a little slower when pasted,
the paste will dry good and firm as the print dries, and will
be found to adhere well to the mount when remoistened.
The pasted backs of prints will not interfere with their
handling unmounted and they can be kept in this condition
as long as desired. When you wish to mount them, it can
be done without losing the gloss, by either moistening the
part of the card on which you are going to mount the
print or by moistening the back of print. In the former
case, after moistening the card lay your print on the card
in proper position and weight it down — of course always
be sure to put a piece of dry paper over the glossy surface
of the print before you lay any weight on it. This weight
will press the print firmly on the card and the moisture on
the card will dampen the paste on the print suflficientl}^ to
make it stick firmly, yet it will not injure the high gloss
secured by ferrotyping. Or, you can moisten the back
of the print with a damp sponge, only wetting it sufficiently
Purple Tones — Glossy Paper. 51
to make the paste soft. Then by laying the print on the
card and weighting as stated above, the paste will take a
firm hold. Both methods can be adopted if desired — slight-
ly dampening back of print and also card.
103. There is no danger of injuring the gloss on the
print, provided you do not touch the surface with wet
fingers or allow anything damp to come in contact with
the face of the print. A good squeegee roller is necessary
for mounting the dry prints which have been dampened
in this way.
104. The Eastman Kodak Company manufacture a
dry mounting tissue which is easily applied, and the prints
will lay flat without curling even on the very thinnest
mounts. The use of this tissue is fully described in the
trimming and mounting section of this volume.
105. Softening of Prints During Manipulation — In
event of prints softening during manipulation, where ice
water cannot be obtained and a film hardener must be em-
ployed, we would recommend the following: If it is pos-
sible to carry the prints through the gold bath without
softening, should they soften after the toning bath, place
them in a hardening bath of formalin 1 ounce, water 9
ounces. Handle prints in this bath until the film becomes
thoroughly toughened, then place them in plain water and
give one change of water before fixing.
106. Prints Softening in First Wash Water.— If the
prints soften in the first wash water, then a 5% solution
of alum is best to use for the second water, and the prints
must be carefully washed after hardening before entering
the toning bath. The alum does not harden the emulsion
as much as the formalin and therefore will not affect the
action of the toning chemicals, as formalin is apt to do.
In some instances the formalin prevents toning entirely,
but this is not the case with alum, yet with the latter there
is danger of sulphurization. Where absolutely permanent
prints are desired the best way would be to get along
without any hardener whatever, for where ice can be em-
ployed this will generally overcome any softening of the
52 Library) of Practical Photography.
film. Where one does not care so much about the absolute
permanency of the prints, as is sometimes the case with
commercial work, should they soften during manipulation,
one-half ounce of any hardening solution added to each
gallon of hypo bath will toughen the film. This hardening
solution can be obtained from any paper manufacturer, or
you can prepare it yourself as follows :
107. FORMULA FOR HARDENING SOLUTION.
Chloride of Aluminum 3 ozs.
Bi-Sulphite of Soda 2% ozs.
Cold Water 12 ozs.
Place both chemicals in the water and shake well until all is
dissolved.
108. Alum Fixing Bath. — The alum fixing bath is not
recommended, but for those who prefer using it we give
the formula for preparing it below :
Water 70 ozs.
Hypo 6 ozs.
Alum Crystals 2i/^ ozs.
Sulphite of Soda Crystals % oz.
When all is dissolved, add % oz. borax dissolved in 10 ozs.
of hot water. Stir this bath while adding the borax solution.
109. This fixing bath must be made up about ten
hours before using, as it keeps indefinitely before use and
it can be made up in large quantities. When using the
alum baths prints must be thoroughly washed to eliminate
all the alum from the print, and, therefore, washing by hand
is important. Sixteen changes by hand should be sufficient
for this.
110. Practice Work — For your practice work for
purple tones, several prints should be made from different
quality negatives. If you have followed instructions given
in the first lesson, you should be able to judge pretty ac-
curately the required depth of printing and your efforts
should now be devoted to the obtaining of a purple tone.
This may require some altering of the bath. Your first
print should be toned in a normal bath made exactly ac-
Purple Tones — Gloss}) Paper. 53
cording to the formula ; then for the benefit of the exper-
ience you will derive, you should alter the bath, first using
a strong bath by adding more gold and next trying the
bath with more alkali. In other words become familiar
with the effects of little alkali, strong alkali, strong gold
and normal bath. This will be good experience and will
serve as an excellent guide for your future work. Note on
the backs of your practice prints all data pertaining to your
manipulation and file these prints in your proof file for
future reference.
111. Should you experience difficulty in obtaining proper
results by using part old and part new toning bath, prepare a
fresh bath for each batch of prints. Allow the bath to stand
and ripen a few hours before use.
I
CHAPTER VI.
Difficulties — Collodion and Gelatin Glossy Papers.
112. Judging Depth of Printing. — No set rules can be given
regarding the depth of printing, other than " print until the highest
points of light are from one to two shades darker than is desired
for the finished print," the depth depending entirely upon the tone
desired. Warm tones do not require as much printing as cold
tones. Practice and close observation alone will enable you to
judge accurately the desired depth of printing from a variety of
negatives.
113. Before wetting the prints examine them closely, and
remember as nearly as possible their appearance; then after they
have gone through the various wash waters, toning and fixing
baths, and finally been dried, examine them again. If they are
too dark or too light, the error must be corrected in the next
printing. After a little practice no difficulty will be experienced
in judging the proper depth to print all classes of negatives. The
secret of the success of a printer is measured by his ability to
print from all kinds of negatives and produce uniform results.
Continual practice, carried on in an intelligent and systematic
manner, will enable any one to become expert in this work.
114. Gold Bath Too Acid. — If your gold bath tests too acid,
simply add more borax until red litmus paper turns blue within
two minutes. When adding borax be careful that you stir the bath
so that the borax will become mixed with the entire solution.
115. Gold Bath Too Alkali.— If the gold bath tests too alkali,
add a little more gold and a little more water. Add the gold,
however, without borax; there is enough acid in the gold to neu-
tralize the alkali already in the bath.
116. Entire Print Weak. — This difficulty you generally meet
with when making prints from thin, weak negatives, but you will
also produce weak prints from a strong, vigorous negative if you
tone too slowly and use too weak a toning bath. If your negatives
are thin print them in a soft, diffused light, so as to print them
slowly, as the slow printing permits deeper printing into the emul-
65
56 Library of Practical Photograph}).
sion. If the bath tones too slowly strengthen it by adding more
gold and enough borax to neutralize it, so as to increase the speed
of the toning. A bath too cold will give weak prints, too warm a
bath will give mealy prints.
117. Highlights and Half-Tones Bleaching. — If prints bleach
in the highlights and half-tones it is because the bath is acid.
To overcome this simply add a little more borax; continue to
add borax, a little at a time, until the bleaching ceases, even if
the bath tests alkali before adding more borax.
118. Whites Toning Brown and Muddy. — This is a certain
sign that your bath is too alkaline. Add a little more water and
a little more gold, but add no more borax; do not neutralize the
gold. There will be enough acid in the gold to counteract the
strong alkali in the bath.
119. Muddy Tones. — If prints are flat in the shadows and
refuse to clear up, it is because the bath is too alkaline, or your
washing before toning was not thorough.
120. Streaky Prints. — These are usually caused by insufficient
washing before toning, and sometimes by an acid toning bath;
toning too fast, or too many prints at a time; not separating prints
while toning. Be careful to see that the prints are picked over and
over when washing. See that the bath is slightly alkaline, and if
it tones too fast add more water. Never have more prints in your
toning bath than you can handle conveniently.
121. Slow Toning. — This is caused by either too weak a toning
bath (not using enough gold) or the bath being acid, but more
generally caused by insufficient preliminary washing. Still another
reason would be using a toning bath too cold. The toning bath
should be worked at from 65 to 70 degrees Fahr.
122. Edges Toning Blue, Center of Print Toning Even. — This
will occur if your bath tones too rapidly, if it is strongly alkali,
or if the prints are not continually moved while in the toning bath.
If the bath tones too rapidly add more water; if too strongly
alkali, neutralize by adding water and enough gold, without adding
more borax to neutralize the alkali already in the bath. Or, if the
bath is much too alkali, a drop of nitric or muriatic acid C. P.
added will have the effect of neutralizing it.
123. Judging When Prints Are Toned. — A print is completely
toned when it is clear and crisp throughout. You should judge the
print by raising it from the bath and looking through it, and not
by looking upon it while laying in the bath, as it may look clear
upon the surface and not be clear throughout. If by looking
through the print it appears clear and brilliant — not muddy and
bricky — it is then fully toned. If patches or streaks exist they must
Difficulties — Gloss]) Paper. 57
be toned out before the print is fully toned. The final color of the
print is a matter of individual taste.
124. Black Spots With Comet-like Tails. — These are found
either in the wash waters or toning bath, and are caused by iron
rust coming from the water pipe and settling on the surface of the
paper. Filter the water and use a little salt in the first wash water.
125. Pink Whites. — These are caused by an acid toning bath.
Neutralize by adding a little borax.
126. Bleaching While Fixing. — All prints will grow somewhat
lighter in the hypo, but this is not bleaching. When a print
bleaches in the hypo, the highlights, or whitest parts of the print,
lose in detail — become chalky — and turn a bluish tint with shadows
weak and mealy. This is generally caused by the use of an acid
hypo bath. Carefully test your hypo with litmus paper, and if you
find it is acid, add a little carbonate of soda or borax solution
until red litmus paper turns slightly blue in two or three minutes.
Always have the hypo bath slightly alkali.
127. Surface of Prints Softening in Wash Waters. — This will
not occur where cold water is used, and will only happen during
the summer months when the water is warm enough to cause the
emulsion to soften. If cold water cannot be had to overcome the
softening, add to the second wash water one-half ounce of saturated
solution of alum to every 60 ounces of water. Add the alum before
admitting the prints and see that it becomes thoroughly mixed
with the water. This will harden the emulsion on the paper and
the prints can then be handled without damage to the surface. It
is necessary, however, that the prints be thoroughly washed after
this alum bath; otherwise, you will carry the alum into the toning
bath, which will result in uneven tones.
128. Surface of Prints Softening in the Fixing Bath. — If the
prints soften in the fixing bath, it is either because the fixing bath
is strongly alkali, or very warm. Handle them as carefully as
possible while fixing. After they are fixed and you have given
them one change in fresh water, transfer them to a tray of water
to which has been added one ounce of saturated solution of alum
to every 60 ounces of water; or place them in a 5% solution of
formalin. Pick the prints over rapidly while in this hardening bath
and then wash them thoroughly before mounting. If prints were
hardened before toning they will remain hard throughout all the
manipulation. If they have not been previously hardened and
become soft just before fixing, use a half ounce of solio hardener
in the hypo; or immerse in an alum bath composed of 1 oz. alum
to 60 ozs. water before fixing; afterward wash in two changes
of fresh water, and fix as usual.
129. Surface of Prints Softening in Wash Water After Fix-
IV— 4
58 Library of Practical Photograph}).
ing. — This is apt to occur if the wash waters are of a high tem-
perature. Treat the prints just as you would if they had softened
in the fixing bath, or during the preliminary washing.
130. Prints Showing Red Streaks or Spots. — Red spots are
generally caused by finger marks or grease in the wash waters.
Never use water from cooking utensils, as there is more or less
grease in all kitchens. We have known cases where it was neces-
sary to use hot water to take the extreme chill from the washing
waters in winter. As this hot water was taken from a kitchen
boiler, the resulting prints had red stains which we found upon
examination were caused by grease in the hot water.
131. Streaks. — Are generally caused by allowing the prints
to stick together while washing — not handling them over often
enough. In other words, careless preliminary washings.
132. Streaks on Prints After Fixing Which Did Not Show
When Toning. — These are generally caused by careless handling
of the prints after fixing; allowing them to mat together in the
first wash waters after fixing. Prints must be picked over and over
thoroughly, handled in every change of water after fixing as well
as before toning, and should never be allowed to lag in any depart-
tnent, but be kept moving from the time they enter the first -wash water
until final mounting and drying.
Difficulties — Collodion Prints.
133. Edges of Print Cracking. — This is due to the prints
curling because they were not perfectly flattened in the first wash
water. Be careful that you do not use more water than is abso-
lutely necessary to cover the prints in the first washing. Flatten
the prints to the bottom of the tray. Set the tray on end, allowing
it to stand for five minutes, when the prints will be perfectly flat
and will not break in future handling. Extreme cold water will
cause prints to curl even after flattening, and constant handling
when in this condition will induce cracking. Always keep the
temperature of all baths and wash waters uniform.
134. Paper Sticking to Negatives. — If the paper is damp the
tendency is for it to stick to the negative when printing. In some
cases, where the paper is extremely fresh, it will adhere to the
negatives; or if the negatives are extremely hard and contrasty,
and are printed in hot sun, the paper will stick. If any of these
difficulties are met with, brush the negative with French chalk
before printing. Never blow the chalk from a plate, for if any
Difficulties — Closs^ Paper. 59
saliva touches the gelatin surface it will cause the paper to stick
fast.
135. White Spots. — These are generally caused by insufficient
handling in the hypo bath, or by not thoroughly washing after
fixing. The prints must be handled over in the final wash waters
and not allowed to mat together.
136. White spots are also caused when the prints dry very
slowly, or when placed upon poor quality of blotters or paper
when drying. If there is any undissolved hypo in the fixing bath
and the crystals come in contact with the surface of the print,
small white or yellow spots will result.
137. Red Spots. — The most common causes of red spots are
unclean trays, finger marks, air-bells, and insufficient preliminary
washing. If from finger marks, they will be easily recognized by
the grain of the fingers. If the spots are uneven and scattered
over the paper, or if the prints have the appearance of being
greasy when they are in the wash water, the difficulty comes from
oil or grease either on the hands, trays or in the water. This
trouble may be readily overcome by adding to the second prelim-
inary wash water 1 ounce of saturated solution of carbonate of
soda to each gallon of water. The prints should be handled over
in this water for 5 minutes. The alkali will cut off all grease
or oil, and also neutralize the acid preservative chemicals in the
paper. The remaining preliminary changes of water will wash out
all trace of this alkali, the prints then being in a neutral condition
when entering the gold bath.
CHAPTER VJI.
Printing and Toning Matte Surface Papers.
Brief General Instruction.
138, Introduction. — The majority of matte surface
printing-out papers are coated with collodion. The gen-
eral treatment of the manipulation of this class of papers is
similar to the glossy surface papers, but the printing is
carried deeper into the emulsion instead of simply on the
surface. While in many respects the manipulation is simi-
lar to that of glossy papers, yet as each operation differs
slightly, exactly the same methods of procedure cannot be
employed. The previous instructions on the manipulation
of glossy papers will materially aid you in handling matte
surface papers. In order to obtain black or carbon effects
it is necessary to tone in two baths and because of this
double toning, the printing, washing and toning in the
gold bath are somewhat different from the instruction
given in the preceding chapters.
139. Printing Quality of Negative for Matte Prints. —
The negative having the proper printing quality for this
class of paper should be clean, clear, soft and brilliant, and
above all have pluck and roundness. A fully timed correct-
ly developed negative, will enable you to produce a perfect
print on almost any class of paper. We have found that
many negatives are spoiled by not being developed far
enough, many thinking that a half-developed plate is meant
61
62 Library of Practical Photography.
when a soft negative is spoken of. The negative must be de-
veloped far enough to have body and strength, in order to
hold roundness and brilliancy under the printing light. If
the negative is developed so thin that the arch of the high-
light has not strength enough to hold up under the print-
ing light, you will never be able to produce anything but
a flat, disappointing print, on any kind of paper. A good
printing negative is not always beautiful to look at, but
will produce perfect prints. Beautiful negatives often pro-
duce disappointing results, i. e., prints that lack the solidity
so essential for good printing quality.
140. There is a vast difiference of opinion as to what
constitutes a first-class negative, but all printers will agree
that the best negatives are those which give the best re-
sults under the printing light. The beautiful catchy high-
lights on the drapery and face which appear in the negative
must show in the print. The color of the negative has much
to do with the final results ; therefore, the producing of the
right kind of a negative depends largely on the developing
agent used in making it. The best negatives we have
found to accomplish this result have been developed with
pyro. While other developing agents produce beautiful
negatives, they do not seem to supply the solidity neces-
sary for the production of vigorous prints. For this reason
we recommend pyro as a developing agent. The negative
after all is only the means to the end, and if it does not
accomplish that end it is not desirable.
141. Printing. — Matte surface papers should be print-
ed until the highlights are well tinted. Pay no attention to
the shadows, no matter how much they bronze. There is
but little danger of over-printing, so do not be afraid of
printing too deep.
143. Washing. — It is absolutely necessary to thor-
oughly wash the prints before they enter the first ton-
ing bath. Eight or ten changes, handling each print sep-
arately in every change of water, is generally sufficient to
remove the preserving chemicals and free silver, and thus
thoroughly prepare the print to enter the gold bath.
Printing and Toning. 63
143. Gold Toning Bath.
STOCK SOLUTION NO. 1.
Chloride of Gold 15 grs.
Pure Water 15 ozs.
144. ACETATE STOCK SOLUTION NO. 2.
Acetate of Soda 4 ozs.
Pure Water 10 ozs.
145. BORAX STOCK SOLUTION NO. 3.
Borax Crystals 2 ozs.
Pure Hot Water 6 ozs.
146. These three stock solutions are prepared in exactly the
same manner described for the toning of glossy paper.
147. Preparing the Gold Toning Bath. — In a two-
quart bottle place 40 ozs. of pure water and add to this 1^
ozs. of Stock Solution No. 2 (Acetate of Soda). This
bath should be prepared 10 hours before use, if possible,
in order to allow it to thoroughly ripen. If, however, it is
impossible to wait that length of time before toning, it is
permissible to place an unwashed proof print in the bath
and permit it to stand for two hours. The free silver from
the print has a tendency to hasten the ripening of the solu-
tion. As acetate of soda is a very weak alkali, it will have
no effect upon the toning, unless the solution is allowed to
stand at least two hours to ripen.
148. When ready to use the gold bath, pour the bath
mixture into the toning tray. Then pour into a graduate
% oz. of the Stock Solution No. 1 (gold) and % drm. of
the Stock Solution No. 3 (borax), allowing them to stand
5 minutes ; then empty into the toning tray and add to the
bath % teaspoonful of common table salt. Place a piece
of red litmus paper in the bath, and cautiously add a little
of Solution No. 3 (borax), carefully stirring the bath while
adding. If the red litmus paper turns blue in two
minutes enough of the borax solution has been added.
Care must be exercised not to add more of the borax than
64 Library of Practical Photography.
is absolutely necessary, but there must be enough alkaU in
the gold bath to at least turn the red litmus paper blue.
149. Toning in the Gold Bath. — The prints should tone
in from 6 to 8 minutes and if they do not tone in this time,
more gold solution should be added until the correct time of
toning is reached. Do not make the bath too strong as
the prints will tone before the whites clear up if there is
too much acid action. If the prints bleach in the high-
Hghts before the shadows are toned far enough, add more
of Solution No. 3 (borax) regardless of the color of the
litmus paper, bearing in mind that the alkali acts as a re-
strainer on the highlights. The amount of alkali to use
is the quantity necessary to keep the whites from bleach-
ing while the shadows tone. An acid gold bath not only
bleaches out the detail in the prints, but it also produces
pink whites and weak shadows, and tones slowly. The
color of the resulting picture is to a very great degree de-
pendent upon the tone of the print when it leaves the
gold bath. For the average matte surface paper the prints
should be toned to a purple, but never a blue color. More
direct instruction for toning in the gold bath will be found
under the detailed instruction given in the following chap-
ter.
150. Prints must be carefully handled over in 3 changes
of clear water before placing in the platinum bath. This is
essential, as none of the free gold which might be on the
print should be carried to the platinum bath, as gold pre-
cipitates platinum and unless prints are well washed, plat-
inum will be precipitated on the bottom of the tray and
not on the print.
Phosphoric Acid Platinum Bath.
151. Preparing the Stock Solution.
Water 4 ozs.
Chloro-Platinite 15 grs.
Phosphoric Acid (50% Solution) 2V^ drms.
Keep this solution in a well stoppered bottle and in a dark
place.
Printing and Toning. 65
152. Preparing the Platinum Toning Bath.
Water 30 ozs.
Platinum Stock Solution 6 drms.
It is advisable to prepare this bath at least one hour before
toning.
Citric Acid Platinum Bath.
153. Citric acid may be substituted for phosphoric
acid. Dissolve 8 ozs. of citric acid in 8 ozs. of hot water
and place in a bottle labeled "Citric Acid Solution."
154. Prepare the Platinum Stock Solution as follows :
Chloro-Platinite 15 grs.
Citric Acid Solution i oz.
Water I oz.
Shake until the platinite is thoroughly dissolved. For use take :
Water 30 ozs.
Citric Acid Platinum Stock Solution 2 drms.
155. Toning in the Platinum Bath. — When the prints
are thoroughly washed and free of the alkali from the
gold bath place them in the platinum bath a few at a time.
It is advisable to test this bath with a single print in the
same manner employed for testing the gold bath. Keep the
prints in motion and leave in the platinum bath until all
trace of red in the very deepest shadows has disappeared.
Do not be afraid of toning too far in the platinum bath, as
this is almost an impossibility. Detailed instruction for
toning in the platinum bath is thoroughly covered in the
following chapter.
156. Washing the Prints After Toning in the Platinum
Bath. — Because the platinum bath is extremely acid and as
it is absolutely necessary to remove all acid from the prints
before placing them in the hypo bath, the prints must be
thoroughly washed in not less than three changes of clear
water before fixing. If acid were carried into the hypo bath,
66 Library of Practical Photography.
sulphurization would at once take place and the whites be-
come yellow.
157. Fixing. — Hypo baths containing alum, or other
acid hardeners are dangerous, and should not be used as
the acid releases the sulphur in the hypo and produces
sulphurization in the prints, which will ruin them sooner or
later. After prints are washed, fix in a plain hypo bath
for 15 minutes. The bath should be composed of 64 ozs. of
water, in which has been thoroughly dissolved 4 ozs. of
hyposulphite of soda, or 18 hydrometer test.
158. Salt Bath. — After the prints are fixed, it i« a
good plan to transfer them at once to a salt bath, using
4 ozs. of common table salt to every gallon of water. Con-
stantly separate the prints and leave them in this bath fof
five minutes.
159. Final Washing. — The prints should be thorough-
ly washed by hand, giving them not less than 12 changes of
water, picking them over between each change. They can
be washed in running water, but even then the same care
should be given to continually handle the prints, picking
up and separating them so that each and every print will
be thoroughly washed. The permanency of the print de-
pends largely upon freeing it from the hypo and other sol-
uble chemicals which, if allowed to remain in the emulsion
of the print, would, in time, cause a fading and deterioration
of the image. If running water is used wash them for one
hour. The safest plan however is to wash by hand.
Note. — Strong solutions of borax and acetate of soda are some-
what affected by change of temperature, and where any difficulty is
experienced in their use, a io% sohition, or even a sokition i to i6,
should be substituted, using a larger quantity, which will give prac-
tically the same results as the stronger solution.
PORTRAIT
Study No. 8
By J. E. Mock
^^i
4"/
OFF TOMPKINSVILLE, NEW YORK HARBOR
Study No. 9 By Dr. A. R. Benedict
See Page 386
PUbLlC
CHAPTER VIIL
Printing and Toning Matte Surface Papers.
Detailed Instruction.
160. Depth of Printing. — The printing quality of a
negative has the same influence on matte papers as it has on'
glossy, i. e., it is not necessary to print as deeply from
strong, slow printing negatives as from thinner ones. The
slower the reduction of silver the stronger and more solid
will be the resulting print. When printing from a dense
negative, the highlights are, of course, restrained from
printing until the shadows have been exposed for a con-
siderable length of time to the strong light. When the
highlights are properly printed the shadows will be very
dark and deeply printed and will not lose any of the
strength in washing. A hard, contrasty, slow printing nega-
tive, therefore, should not be printed as deeply as a flat
negative.
161. Owing to the extra toning bath, which serves
as a bleaching process as well as for toning, the printing
of matte papers must be four or five shades deeper than for
glossy. A good rule to follow is to carry the printing until
the highlights are slightly tinted and continue so long as
the print grows stronger — more solid and brilliant. As
soon as it begins to fog over, and becomes muddy looking —
causing it to appear weaker — it is fully printed and can be
removed from the negative. The highlights must always
be tinted, but pay no attention to the shadows, even should
they bronze considerably.
162. If in doubt, a good method to determine how
69
70 Library of Practical Photography.
deep to print is to select a good well-timed negative and
print it to the depth you judge is just right (from the above
advice). Then make another print from the same negative,
two shades darker. Wash and tone them together, and they
will be excellent keys for judging future work. The right
depth to which matte papers should be printed is probably
the most important part of their handling. Although all
the baths may be just right, if the printing is not deep
enough the result will be a total failure. Beginners invari-
ably under-print. Remember this and print deeply.
163. Judging Print by Transmitted Light. — There is
another way to judge prints in printing and toning, but
it is unsafe unless cautiously done. When examining prints,
if they appear very nearly printed, step back from the
window into the subdued light of the room and look through
the print, with the face side toward you. This will show
the print much lighter than by looking on the surface.
When judging prints in this way be sure and do so in sub-
dued light, for the prints will be flashed if examined in
strong light.
164. When looking through the print, observe the
highest lights (the whitest parts of the picture) and if
they appear just the least bit stronger than desired in the
finished print, they have been carried deep enough. You
will find these prints, when viewed on the surface, look as
though they were over printed, but they will, when wash-
ed and toned, make the most solid prints.
165. Printing From a Soft Negative. — A soft or
quick printing negative prints only on the surface, unless
it is exposed and printed in the shade, and even then it
should be carried farther than a hard printing one, as
prints from soft negatives lose strength in washing.
166. Washing. — Platino or matte surface prints should
be washed in practically the same manner as glossy collo-
dion, as platino is also collodion coated, but with a matte
surface. Eight or ten changes, handling each print sepa-
rately between each wash, is generally enough. It is,
however, quite important that these waters be all of one
Printing and Toning. 71
temperature. Never allow the fingers to touch the face of
prints before they reach the first washing, otherwise you
will experience difficulty with red spots. When you are
ready to wash the prints, gather them face down on the
cover of a regular paper box, as described in Chapter III,
paragraph 48, Glossy Printing and Toning, and having
provided a tray half filled with water, slide the prints
into it, one at a time. It is a good plan to add an ounce
o: saturated solution of borax, or one-half ounce carbon-
ate of soda solution, to every gallon of water used in
the first \vash water. This is done to neutralize the water.
Should the water be alkaline in itself, this is unnecessary.
After the first change of water which contains the alkali,
wash in six to eight changes of clear water, or until you
have eliminated the free silver and preserving chemicals.
Unless these chemicals are properly removed from the
prints they will not tone evenly.
167. Washing Old and Fresh Paper. — The paper when
you receive it, if fresh, is in an acid condition from the
chemicals used to preserve it. As the paper ages the pre-
serving chemicals evaporate and weaken, and as the paper
grows older, the amount of acid remaining in it is reduced
considerably. Therefore, fresh paper containing much acid
must be washed more thoroughly than if it was old. You
must remove the acid and preserving chemicals from the
paper before toning, as your gold bath is an alkaline solu-
tion and must be kept in this condition while toning all
prints. Should you fail to remove all these acid properties
from the print before they enter this bath, the acid would
in time change the bath from alkali to acid, and the prints
would not tone but would bleach.
168. Flattening Matte Paper Prints. — The chief suc-
cess in working any and all collodion matte or gloss papers,
without curling or breaking at the edges, lies in the proper
flattening of the prints, and this is a very simple matter,
but must be carefully done. Always use a good sized,
smooth bottom tray for flattening the prints. Pour water
into this tray to the depth of about one-half inch. Place
72 Library of Practical Photography.
your prints, one at a time, into the water by sliding them in,
one on top of another, keeping them flat on the bottom. Be
sure that each print is thoroughly wet before another is
placed on top of it. The prints must not be placed in
a regular pile in the tray, as this would allow the edges
to curl over each other, but should be piled irregularly
over the entire bottom of the tray, partially over-lapping one
another. After all the prints are in, pour off the water
and with your hand squeegee and flatten the prints to the
bottom of the tray. (See Illus. No. 5, Page 47.) Now add
more fresh water and rock the tray for about five minutes,
but do not pick the prints over. By adding this water and
rocking the tray you will avoid red streaks. Pour off the
water and again press down the prints with the flat of your
hand. Set the tray on edge and allow the water to drain
from the tray for about five minutes. Next pour plenty
of water over the prints and proceed to wash by separat-
ing and picking them over and over. After flattening, prints
may be handled face up. This will be found a distinct advan-
tage, as the fingers will slip easily under the edges of the
print, avoiding abrasion of the edges and also preventing
rubbing the surface of the print.
169. Temperature of the Water. — The temperature of
the water has much to do with the curling of the paper.
In water too cold prints will curl readily. The proper tem-
perature is about 65 or 70 degrees. During warm weather
it is safe to use the water at regular tap temperature. In
cold weather the chill should be taken off by adding warm
water.
170. Another method of flattening, which has been
recommended for large prints especially, and one we have
found to work very satisfactorily, is as follows : Use two
trays. One tray, after careful rinsing and while still wet,
stand on end, filling the other tray one-third full of water.
Immerse the prints in the water in the regular way and
transfer them, face down, to the bottom of the tray standing
on edge, being careful to flatten out each print. This keeps
the prints in a perfectly flat condition. Splash a little
Printing and Toning. 73
water over them occasionally and allow to stand for five
minutes, after which they will lay perfectly flat and can be
washed in the usual manner.
171. Trays. — Poor trays are really expensive things to
have, as they cause loss of many dollars worth of time and
stock. For that reason, good clean trays, free from iron
rust, should always be employed. Rubber trays give the
best all-around service. An inexpensive tray can be con-
structed by simply making a box of wood and covering it
with heavy oilcloth. As the oilcloth becomes worn replace
it with new covering. All trays should be thoroughly
cleansed, before using, by scouring with bicarbonate of soda,
or common salt which has been moistened, finally rinsing
well in clean water.
172. The gold bath trays should not be used for the
platinum bath, nor should the tray used for washing prints
after the hypo be used for washing prints before the gold
bath. Never allow the hypo tray to come in contact with
the other trays but keep it at some distance from them.
173. Toning in the Gold Bath. — Taking for granted
that the toning bath has been prepared according to the
previous instruction, it is necessary to test it and ascertain
whether or not it is perfectly balanced and in proper con-
dition to give the best results.
174. Place a print in the toning solution, and spray the
solution over the print with the right hand, watching it
carefully. If the highlights and shadows tone equally, you
will know your bath is working properly. Should the
highlights tone chalky, bleaching — eating away as it were—
and the shadows refuse to tone, this at once indicates that
the bath is still too acid, and it is therefore necessary to
add a few drops of borax to it. A fresh print should be
placed in the bath, and if the bleaching continues, add a few
more drops of borax. Continue adding, very cautiously
however, until bleaching ceases and the test print tones
down to a rich purple. The borax being a strong alkali
must be added very carefully, or muddy whites will be the
result.
74 Library of Practical Photography.
175. Should the print tone this far and appear good
and clear in the whites — not bleached nor muddy — your bath
is at the right stage and you can proceed with the rest of
the prints. It is advisable to always judge the prints by
looking through them to the light. In this way you can
judge more correctly when they are fully toned. Tone
down to rich purple, and have bath strong enough to do
this in about six to eight minutes. After toning place
the prints into a tray of clear water until all are toned.
176. If your test prints show that the bath is toning
too fast add more water, which will reduce the speed. On
the contrary, should you find that the bath is working slow,
add a little more gold. The gold, however, should always
be neutralized before adding to the bath. To do this pour
the gold into a graduate and add sufficient alkali until it
turns red litmus paper blue. If you add gold, which is
acid, to the bath without neutralizing, it may throw it
out of balance. Sometimes it causes the bath to bleach,
or produces pink whites in the platinum bath. Where
large batches are being toned the bath will become worked
out before all the prints are carried through. When the
prints lag in the toning bath and do not tone in a reason-
able time, fresh neutralized gold must be added to keep the
bath working at a certain speed.
177. Proceed with the toning in exactly the same man-
ner as with glossy paper ; the only attention the bath will
need is to keep it properly balanced. Never have more
prints in the bath than you can readily handle. They
should never be allowed to lay in the bath but must be
picked over and over, or uneven tones will result.
178. Quality of Tone. — The final tone produced in the
platinum toning bath is almost entirely governed by the
depth of toning in the gold bath. If only the whites are
clear in the gold bath, the resulting tones in the platinum
bath will be strongly olive. If prints are toned to a chocolate
brown, they will make beautiful olive tones. Prints toned
to a purple with the deeper shadows a slight cherry color in
Printing and Toning. 75
the gold bath, will produce a good black and white tone in
the platinum bath.
179. Ranember, prints from a strong negative will
stand vigorous toning; weak prints require gentle toning.
Therefore, strong prints may be toned faster and in a
stronger bath than prints from a weak negative.
ISO. If the prints are carried too far in the gold
bath there is little or nothing left for the platinum bath
to do, and the print instead of toning to a black olive or black
and white tone, will turn brown, oftentimes producing
a disagreeable, muddy effect.
181. Action of Salt in Toning Bath. — Salt is added to
the gold bath for the purpose of acting on the free silver
which is still in the print. This will precipitate the free
silver of the print which is left from the washing. It is
almost impossible to wash the prints with the same result
every day, the age of the paper, temperature of the water,
and quantity of prints changing every time a toning is
made. This being the case, you will find more or less free
silver when the prints go into the gold bath. The free
silver takes up part of the gold deposited. If the prints are
put in the hypo bath in this condition the tones will change,
as you have only a surface tone and it oftentimes gives much
warmer effects than you had produced with the gold bath.
But with salt in the gold bath, the free silver is precipitated
and when the gold deposits, it will be on a permanent base
and give you a tone that will hold.
182. The true tone of the print is the tone as it
appears when examined by transmitted light — looking
through it — and the same tone should appear on the surface
of the print. The salt in the gold bath will assist in pro-
ducing this result. It will also give you rich strong
shadows, save the detail and the half-tones, and also aid
the action of the gold.
183. Salt, however, should be used with care and
judgment, as too much is apt to flatten the tone of the
prints, and too little will have practically no effect. If
an extreme quantity of salt were used it would also pre-
IV— 5
76 Librar]) of Practical Photograph};.
cipitate the gold and the prints would refuse to tone. Lack
of salt in the gold bath will often cause uneven toning.
184. Gold is added to the bath for the purpose of
toning the print, or changing it from red to any tone de-
sired down to the blue, and the amount of gold in a bath
regulates its speed, other conditions being correct. A
formula may call for one dram or two or three grains, but
the only true test of the amount to use is by testing for
speed with a print when the bath is made.
185. A gold bath should have a speed of five to eight
minutes. If not fast enough, add more gold to increase
the speed. If the test print shows the bath toning too fast,
add more water, which will reduce the speed. Should
you find, during toning, that the bath is working too
slowly, the number of prints already toned having used up
the gold, more gold should be added. Always neutralize
the gold before adding to the bath, by putting the gold
into a graduate and adding an alkali until it turns red
litmus paper blue. If you add acid gold to a bath without
neutralizing it may throw it out of balance, sometimes
causing the bath to bleach matte papers, producing pink
whites in the platinum bath.
186. Alkalies. — The alkalies used in the dififerent gold
baths recommended are : borax, carbonate of soda, and bi-
carbonate of soda. Carbonate of soda is a very strong alkali
and should be used carefully. It is used for warm tones
in the gold, resulting in olive tones in the platinum bath.
187. Bicarbonate of Soda is used for purple or blue
tones. For toning prints in a bath, in which this alkali
is employed, care should be exercised not to tone too far,
unless you desire a blue black result.
188. Borax is the most universally used alkali, there
being less danger of using too much of it and injuring
the bath. Borax gives brown tones in the gold bath, and
a rich olive-black tone in the platinum bath. Alkali is
used in the gold bath for the purpose of precipitating the
gold and to act as a restrainer on the highlights, holding
Printing and Toning. 77
them from over-toning and bleaching while the shadows
are toning to the desired color. A formula may specify a
certain amount to use, or direct that alkali be used until
red litmus paper turns blue, in a given time. These di-
rections given for the use of alkali in a gold bath formula
can only be employed as a general guide, as each lot of
prints may require a different quantity ; a fresh bath, or
fresh paper, for instance, requiring more alkali than a
ripened bath or old paper. The only true test of how much
alkali a bath requires is its action on the prints you are
toning. If you bear in mind that the alkali in the gold
bath acts as a restrainer on the highlights and prevents
their bleaching, while the shadows are toning to the point
desired, you will know that the proper amount to use is
the amount necessary to accomplish this result. It is not
a question of whether it be a drop, an ounce, or whether the
red litmus paper turns in five minutes, or at once; it is the
result you must look for and not the time in which it is
produced.
189. Most of the trouble in toning in gold baths comes
from improper use of the alkali. To illustrate this point,
suppose we are making up and testing a gold bath. First,
be certain that your trays are perfectly clean. Having a few
prints washed ready for toning, pour the toning bath,
which you have previously prepared, into the tray. Place
a piece of red litmus paper in the bath and add the alkali.
We will use borax in this case. Add sufficient to cause
red litmus paper to turn blue in a minute or two. For
your first experiment select a print showing white drap-
ery. Place it in the bath and watch it closely. If the
white tones clear up at once, before the shadows tone to
the point desired, add more borax. Pay no attention to
the litmus paper after this point and try another print.
If the same effect shows add more alkali and try another.
Keep on testing the bath with a print and adding alkali
until the bath is so balanced that when the shadows are
toned the highlights will be thoroughly clear, without
bleaching, or the loss of any detail the print possessed when
78 Library of Practical Photography.
it came from the printing frame. When the shadows be-
come perfectly clear your print is completely toned.
190. Should you find in toning that your prints re-
fuse to clear in the highlights, the trouble is probably
caused by the bath containing too much alkali or from
impurities in the water. If caused by too much alkali add
to the bath a little acid gold or a few drops of citric acid.
If from impurities in the water, distilled or ice water should
be used.
191. Acetate of Soda. — Acetate of soda is a very weak
alkali, almost a neutral chemical. The fact of its being one
of the mildest alkalies permits us to use it in large quan-
tities. As strong alkalies give us muddy whites when using
them as restrainers, we, therefore, use acetate of soda in
large quantities, and while its alkaline properties are mild,
its retarding qualities are powerful ; but acetate of soda has
no beneficial effect upon a gold bath, unless, after adding
acetate, the bath is allowed to stand for at least two hours
to ripen.
192. Lack of Alkali in the Gold Bath will give weak
shadows, pink whites, blue half-tones and bleached prints.
If you do not get strong, rich shadows in the print from
the gold bath, you cannot get them in the platinum bath.
Insufficient toning in the gold bath, leaving the shadows
a bricky red, will give flat prints, lack of brilliancy, yellow
whites and muddy shadows, resulting in a brownish olive
tone. This, in connection with lack of proper amount of
alkali, is the cause of the majority of troubles in the gold
bath. A gold bath should be made up from four to twenty-
four hours before using. An excellent plan is to make up
a fresh bath after you have finished toning, for use the
next time, adding only enough gold to ripen the bath, say
one grain, and a few drops of the alkali. Some printers
put a print into the bath just as it comes from the frame,
which furnishes enough silver to ripen it. When ready
to tone, add gold and the proper amount of alkali to make
speed of bath from five to eight minutes. A ripened bath
will work much more smoothly than a fresh one. When
Printing and Toning. 79
acetate of soda is used in a gold bath, it is for the purpose
of holding the strength and brilliancy of the tone.
193. When the water used is extremely alkaline it
is best to use the gold alone without neutralizing, thus
first acidifying the toning bath; then just before toning
add the borax to make the bath alkaline. The reason
for this is that the alkali found in the water is not of
the proper kind and will give poor results.
194. The temperature of the toning bath should be
between 65 degrees and 75 degrees Fahr.
195. How to Tone Different Kinds of Prints. — Vigor-
ous prints will stand vigorous toning. Weak prints require
gentle toning. If prints tone too rapidly the bath is too
strong in gold, and can be corrected by adding more water.
Uneven toning comes from insufficient washing before gold
bath ; gold too strong ; lack of alkali ; bath being too warm ;
prints sticking together in the bath ; insufficient bath ; not
keeping prints moving ; also from insufficient salt in gold
bath. If prints tone too slowly the bath may be too weak
in gold, or it may be contaminated with foreign impurities,
or be too cold. In the gold bath flat-looking prints may be
caused by the use of too much salt, too much alkali, or by
impurities in the water. When from impurities in the
water, a few drops of nitro-muriatic acid (nitric acid one
part, muriatic acid two parts) is added to acidify the toning
bath and then the proper alkali employed, this difficulty
may be overcome.
196. Washing after Toning in Gold Bath.— As the
prints become toned place them in a tray of fresh water,
using plenty of solution. As you proceed with the toning,
occasionally pick over the prints in this tray of fresh water.
After the entire batch is toned it is absolutely necessary
that they should receive a thorough washing to remove
all the excess alkali from the prints. The gold bath being
alkaline, there will be considerable of this alkali carried
into the first wash water.
197. Give the prints three changes of fresh water, thus
eliminating all the excess alkali, when they are ready for
80 Library of Practical Photography.
the platinum bath. If the prints were placed in the
platinum bath in an alkaline condition they would very-
soon fill the bath with alkali, consequently causing the
platinum to precipitate. In a short time all the platinum
precipitated in the form of a sediment would settle on the
bottom of the tray, and the prints would refuse to tone
even if more platinum is added. Should you be successful,
however, in forcing a tone in this bath by using a strong
platinum solution, the result would probably be yellow,
muddy prints when mounted, as they will surely show
up sooner or later. After freeing prints from excess alkali
they are ready for the platinum bath, which should be
prepared at least one hour previous to using.
198. Toning in the Platinum Bath. — When the prints
first go into this bath the highlights become muddy, but
within a short time they commence to clear. Prints must
remain in the bath until the whites are thoroughly cleared
and every trace of red and brown is removed in the deepest
shadows. Do not fear leaving the prints in the platinum
bath until the desired color and richness you desire is
obtained.
199. A slow working platinum bath gives olive tones
and flattens the whites, while a quick platinum bath gives
black tones. A slow bath has a tendency to cause the
shadows to become muddy. In cold weather heat the plat-
inum bath to 70 degrees ; in fact for the best of results at
any time, the temperature of this bath should never be
much below 70 degrees Fahr. Vigorous prints will stand
vigorous toning in a strong platinum bath. Weaker prints
require gentle or slower toning. Slow toning is often
caused by not using the proper kind of phosphoric acid.
Purchase phosphoric acid in small quantities (ask for 50%
phosphoric acid), and keep bottle tightly corked. Slow
toning is also very often caused by the water being very
alkaline, as alkaline water will precipitate the platinum.
200. Washing Prints After Toning in Platinum Bath. —
As fast as the prints become toned transfer them to a
tray of fresh water, and as you proceed with your toning
Printing and Toning. 81
occasionally separate the prints in the fresh water so that
they do not become matted together, until all the prints
are toned. After all the prints are toned, it is important
that they receive a thorough washing before being placed
in the fixing bath. The chemical action of the platinum
bath must be acid, or it will not tone, therefore, the prints
coming from it will naturally be in an acid state. For
this reason, it is absolutely necessary to wash the acid
out of the prints. If this is not done, acid will be carried
into the hypo, producing sulphurization and yellow whites.
201. The prints should have at least three changes
of water before fixing, and between each change must
be thoroughly picked over and over, to insure against
the possible chance of any of them sticking together, and
to thoroughly eliminate all of the acid from the prints
before they enter the h3^po bath.
203. Fixing the Prints. — It is advisable to prepare
the hypo bath by hydrometer test, making it 18 grs. strong.
The hypo should also be slightly alkaline and be tested
with blue and red litmus paper. If the red litmus paper
turns blue the bath is, of course, alkaline, but, if blue lit-
mus paper turns red it will be necessary to add a few drops
of saturated solution of carbonate of soda or borax un-
til the red litmus paper turns blue. This bath can be used
in any quantity but it is advisable to use plenty of solu-
tion in order that the prints may be more easily handled
and moved about, thus insuring thorough fixing. Should
more or less bath be used, always be careful that the pro-
portions remain the same.
203. Where large batches of prints are toned there
is danger of carrying some of the prints a little farther,
or under toning them in the gold bath, the result being
that when they come from the platinum bath a difference is
noticable in tone. As some will be warmer than others,
before fixing, in order to equalize the tone, place them
in a sulphite of soda bath as follows : To 60 oz. water add
Vo oz. saturated solution sulphite of soda. This will darken
the tone somewhat, imparting to all prints a uniform color.
82 Library of Practical Photography.
Prints should be placed in this bath a dozen at a time,
handled over for half a minute and then put directly into
the fixing bath, always picking them over and over, face
down. Handle them exactly as other prints are treated
during fixing. Allow them to remain in the bath for 15
minutes, keeping them in motion until fixed.
204. Using Baths More Than Once. — The gold bath
should be saved and the clear liquid used for your next
toning. The platinum bath can also be used over. As the
platinum bath is extremely acid, never use more than one-
third new to one-half old bath. If you were to use the
entire old bath the platinum would be exhausted, the acid
still remaining in it. By adding fresh platinum solution
to the old bath, the proportion of acid would become too
great and there would be danger of cutting out the high-
lights of your prints. For this reason, use only a part of
the old bath. One-third old with two-thirds fresh bath
added, makes richer tones than a fresh bath, and obviates
all danger of bleaching the prints. Toning too slowly in the
platinum flattens the whites and tends to cause muddy
shadows.
205. Final Washing. — After the prints come from the
hypo and have been placed in the salt bath for 5 minutes
(4 ozs. of salt to 1 gal. of water, as mentioned in the gen-
eral instructions given in the preceding chapter), they
should be thoroughly washed by hand in at least three
changes of water, in order to keep the prints constantly
separated before placing them in running water, or in a
washing tank. By doing this the surface hypo will be
washed off and small air bubbles removed. These air bub-
bles sometimes fasten themselves on the prints and hold
the hypo under them, which permits the hypo to bleach,
causing small white spots to show on the prints when they
come from the wash water. After washing the prints
by hand in two changes of water, one hour in running
water will be sufBcient additional washing, providing the
prints are thoroughly separated every five minutes. Ten
to twelve changes by hand, however, will prove far better.
Printing and Toning. 83
When washed by hand the prints should remain in each
water about 5 minutes and also be separated several times
in each change of water.
206. Caution. — Long soaking in the bath and wash
waters very materially affects the brilliancy of the prints.
Because of this, one cannot be too particular about the
speed of various baths, and the constant handling of
prints in the different wash waters to thoroughly remove
chemicals which might tend to retard the action of sub-
sequent baths, or to endanger the permanency of the result-
ing print.
207. Practice Work. — The manipulation of platino
or any matte surface printing-out paper is exceedingly in-
teresting, for with this product, more than any other,
you can retain and reproduce accurately, every quality in
the negative. As no product will give more beautiful halt
tones than this paper, the manipulation of it becomes most
interesting and fascinating, as a great variety of effects
may be obtained with proper handling. As matte prints
require much deeper printing, most failures lie in this de-
partment. Therefore, for your practice work, make several
prints from different negatives. Number each print before
toning and mark them in some way so you will know
the depth to which each particular print was printed, re-
membering that with soft negatives you carry the print-
ing farther than for strong ones. In the toning observe
the action of the gold bath on the first print. When the
print first enters, does it tone smoothly, or does it bleachf
Note this data on the back of the print. If the bath is
altered in any way, note the action of the second test print.
Use a soft pencil when writing remarks on the back of
the prints. It is well to abbreviate as much as possible,
making only necessary notes while prints are wet. Never
use an indelible pencil for this zvork.
208. After the gold bath is working properly, note
the color of the different prints toned in this bath. This
is important, as the final color of prints is controlled in the
gold bath. Observe the speed of the gold bath. Next,
84 Library of Practical Photography.
watch the action of the platinum bath. It is a good plan
to remove some of the prints from the gold bath at differ-
ent stages of color, that is, tone some deeper than others.
Observe the effect of each in the platinum bath. When all
are toned you will, undoubtedly, have a variety of colors.
Do not allow this to discourage you, however, as here is
where you gain experience.
209. Before fixing, note on a sheet of paper, or mem-
orandum book, the number of each test print that you
have toned. Make a record of the appearance of each print
in the printing, how it acted in the gold bath, and the color
of the print when removed from the gold bath and the
color of the print when it came from the platinum bath.
Make such notes as described above on several of your
most important test prints. This data will prove vitally
important for future reference. Next, before placing prints
in the hypo, run them through the sulphite of soda bath
as instructed. In this bath will be found the means to
cover a multitude of failures. Prints in this bath will all
darken and become one color; so they will enter the fixing
bath at an even tone, the results being uniform prints.
Some of the prints, however, will be more brilliant than
others, but with notes attached to the test prints, and filed in
the proof file, you will have most excellent data for future
guidance.
Note. — In localities where very alkaline water is used some diffi-
culty may be experienced in obtaining brilliant prints by using part
old and part fresh toning bath. Under such conditions it would be
advisable to prepare a fresh bath for each batch of prints, allowing
the bath to stand for a few hours, to ripen, before using.
CHAPTER IX.
Part I.
Toning With Aristo Gold and Platinum Solutions.
310. The preceding instruction is applicable to all
classes of matte papers and excellent results will be se-
cured if the directions are carefully followed. The Ameri-
can Aristotype Company supply gold and platinum in
liquid form ready for use, but in order to facilitate the
use of these solutions, the following formula should be
used when working with these particular chemicals.
211. GOLD BATH.
Water 64 ozs.
Salt 30 grs.
Acetate of Soda (Saturated Solution) % oz.
Aristo Gold, No. 2 3 drs.
Borax enough to turn red litmus paper blue in one minute.
212. The gold toning bath should be made up from
10 to 12 hours before using. Add enough gold to keep speed
of bath 6 to 8 minutes. Do not make the bath too strong,
as the print will tone before the whites clear up. The man-
ner of testing the bath and the methods of toning are iden-
tical with the preceding instruction.
213. PLATINUM BATH.
Water 60 ozs.
Aristo Platinum 3 to 5 drms.
Add platinum enough to keep the speed of the bath from 6
to 8 minutes.
214. The formula gives 60 ounces of water and three
to five drams platinum solution. Of course, it depends on
85
86 Library of Practical Photography.
how many prints there are to tone. The best method to
follow will be to place enough water in the platinum ton-
ing tray adding about three drams of platinum solution
at the beginning. The speed of this bath should be from
six to eight minutes. If necessary, add more platinum until
you get the speed, as it is platinum and not water that
tones.
215. A print slightly toned in the gold bath will take
more time and more platinum to tone in the platinum bath.
If a print is left very warm in color in the gold bath and
toned very far in a strong platinum bath, it will take on a
strong olive tint, as overtoning with platinum gives green-
ish or olive-black tones. If you tone to a purple and deposit
plenty of gold on the print, it takes less platinum and time
to tone, and the result is a pure black.
216. After the prints have been toned in this plat-
inum bath according to the preceding general instructions
for platinum toning, they should be thoroughly washed
and fixed in the fixing bath previously recommended and
afterward handled over and over in this bath for 20 min-
utes. They should be washed by hand through not less
than 12 changes of water for a period of one hour. Aristo
Platino and Aristo Jr. can be washed and toned together
in the same gold bath.
217. A BORAX GOLD BATH.
Water 64 ozs.
Salt 30 grs.
Aristo Gold No. 2 2 drms.
Sufficient borax (saturated solution) to turn red litmus paper
blue in two minutes.
218. ANOTHER GOLD BATH.
Water 60 ozs.
Salt 30 grs.
Acetate of Soda (Sat. Sol.) ^ oz.
Aristo Gold No. 2 1 drm.
Place in the bath a cabinet size piece of platino paper and
allow to stand over night.
Toning ivith Aristo Cold and Platinum. 87
219. When ready to tone add one dram Aristo Gold
No. 2 which ought to make the speed of the bath six or
eight minutes. Make the bath alkaline by adding enough
of the saturated solution of borax to cause fresh red litmus
paper to turn blue in two minutes.
220. Note 1. — A good many photographers omit the
acetate of soda from the gold bath, claiming just as good
results. Whether or not it is best to use acetate of soda
depends a great deal on the condition of the water — a mat-
ter which every photographer should decide for himself.
221. Note 2. — The crystal form of acetate of soda is
used by many, instead of the saturated solution, the claim
being made that the latter loses its strength. One-half
ounce of the saturated solution of acetate of soda is equiva-
lent to eighty grains of the crystals.
222. Note 3. — In some sections it is found advisable to
add salt to the third wash, as it helps in eliminating the
free silver, insuring more even toning in the gold bath.
223. Carbon-Platino. — It is generally conceded that the
Carbon-Platino print is the nearest approach to the true car-
bon of any photographic production. The Carbon-Platino
is simply a print on Aristo Platino backed up with platino
backing paper. The squeegeeing of the print, necessary in
backing up, gives to it a beautiful velvety carbon surface.
Carbon-Platinos are usually printed with a narrow white
margin and mounted on pliable card stock by tacking the
upper edge with glue, leaving the rest of the print free
from the mount. To make the glue stick to the collodion
back of the print roughen the surface with fine sandpaper.
To make Carbon-Platino prints, back up Aristo Platino
prints as hereafter directed.
Part II.
Backing Prints.
224. Backing Aristo Platino, or any Matte Paper. —
ThQ object of backing these prints is to make the finished
88 Library of Practical Photograph-^.
prints lie perfectly flat. This backing paper is made upon
the same raw stock, coated with the same collodion emul-
sion, excepting that it contains no silver and is therefore
not sensitive to the light. When prints are backed while
drying, the back will draw the same as the face of the
picture and the print, therefore, cannot curl or cockle.
225. Directions for Backing. — After the prints have
been finally washed, place them one by one, face down on
a piece of clean glass and squeegee the excess water from
them. On another glass, place the backing paper (which
has been previously soaked in water) face down, mop off
the surplus water and apply the paste. Mount this backing
paper over the print on the glass, being careful to rub it
down smoothly from the center toward the margin. The
backing paper should be at least one-half inch larger than
the print, so when it is mounted over the print on the
glass it will leave a margin of one-fourth inch all around the
print. This margin of backing paper will adhere directly
to the glass, thus holding the print in perfect contact with
the glass until it is bone dry. With a sharp knife the print
may be cut from the glass and trimmed. The margin of
backing paper which remains on the glass may be readily
removed with hot water, and the glass made ready for
another print.
226. Each glass may be made to do double service by
mounting on both sides. First squeegee a wet print on
one side of the glass, turn it over and lay on a clean blotter
and squeegee a print on the other side. Mount the backing
paper over this print; then turn the glass over and mount
the backing paper over the print on the other side, placing
the glass in a rack to dry. If small prints are made, for
instance cabinet size, a dozen or more prints may be squee-
geed to one glass. Take a 14x17 glass, perfectly clean
on both sides. Place six cabinet prints on one side close to-
gether, being careful not to allow any one print to over-
lap another. Next take a dry blotter full size of glass and
lay it over the prints and squeegee in contact; then turn
the glass over, laying on a clean blotter, and squeegee six
Toning with Aristo Cold and Platinum. 89
more prints on the other side in exactly the same manner.
Then mount a piece of backing paper 12x13 inches in
size, over the six prints. This will allow at least one-half
inch of margin of backing paper to adhere to the glass
around the edges of the prints. Then turn the glass over
again and mount a piece of backing paper over the other
six prints, and place the glass with the twelve prints
mounted on it in a rack to dry.
237. Caution.— In preparing the backing paper it must
be understood that the emulsion on this paper contains
preserving chemicals which it is necessary to remove be-
fore using. The paper should, therefore, be washed in
four changes of water — about five minutes to each change.
To the second wash water add one ounce of saturated solu-
tion of carbonate of soda to every gallon of water used.
Then in order to have this paper as thoroughly wet as
the prints are when they are squeegeed to the backing
paper, it should be allowed to soak during the toning and
washing of the prints.
228. In cutting the backing paper care should be
taken to see that the grain of the paper in backing runs the
same way in the sheets as the grain of the paper in the
print. This you can ascertain by cutting off a piece, say
two or three inches, and placing in a tray of water. If it
curls up at the side, the grain runs the wrong way; if it
curls up at the end, the grain runs crosswise. Always see
that the prints and the backing curl in the same way of
the sheet. This is necessary in order to insure the prints
lying flat, but if the grain of the backing paper does not
run the same as the grain in the print the finished print
would curl slightly.
229. All surplus water on the margin of the glass
around the edges of the prints must be carefully absorbed
with a blotter before mounting the backing paper to it. A
drop of water carelessly left on the glass would interfere
with the adhesion and cause the prints to cockle at that
point. Prints should be allowed to dry slowly at first until
the paste is thoroughly set, or until they are about half dry ;
90 Library of Practical Photography.
then the drying may be hastened by artificial heat. If
you find any trouble with the prints sticking to the glass —
this may happen when mounting six prints at a time — take a
piece of pure castile soap and swish it through the water a
few times until the water feels somewhat slippery, or
smooth to touch. Place the prints in this soapy water just
before you are going to place them on the glass. Prints
treated in this way will readily come from the squeegee
glass.
230. Practice Work. — Toning with Aristo gold and
platinum prepared solutions is performed in exactly the
same manner as where you prepare your own stock solu-
tion. However, for practice work follow the same method
as given in the previous instruction for printing and ton-
ing matte surface papers, making notes accordingly and
filing the test prints in your proof file. Always date each
print and note the bath used.
231. Platino prints when backed will always lay flat
and it is advisable that they be printed with a margin. At
any rate they should be glazed on glass, and when so
glazed the finished print gives a very smooth, even texture,
the exact quality of the negative being truly reproduced
in the print.
CHAPTER X.
Varying Water Conditions.
Their Effects Upon the Manipulation of Sensitized Papers.
232. Varying water conditions have considerable to
do with the manipulation of printing-out papers. Gener-
ally in the spring and fall of the year all printers experience
more or less trouble, and in many instances blame is
placed on the paper. Occasionally, this is the true cause.
However, in the majority of cases the trouble lies in the
water used. Water containing vegetable matter, or that
which is very much alkaline will cause all kinds of trouble.
You will notice that after a heavy fall of rain the water
is impregnated with vegetable matter, generally testing
quite alkaline. There are instances where even this alkali
does not interfere with the toning and the baths seem to
tone quite well, yet the prints after mounting dry up brown
and yellow.
233. Usually when you are experiencing the most
trouble with muddy prints they will tone exceedingly fine in
the gold bath, but refuse to tone in the platinum. This is
easily accounted for. It is positive proof of very alkaline
water, and prints should be handled under such circum-
stances in exactly the same manner as you find necessary
when using very alkaline water. Under such conditions
wash the prints in the regular way, but use no added alkali
in first nor succeeding washings, for the reason that the
water is already alkaline. After the gold toning, wash prints
through a citric acid bath of say 10 to 20 drops saturated
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94 Library) of Practical Photography.
solution of citric acid to each gallon of water. The acid
is used to counteract the excess alkali. Finally wash in
two changes of plain water, which will remove all the ex-
cess acid and leave the prints neutral. They are then ready
for the platinum bath.
234. Prints after leaving the gold bath, being decidedly
alkaline and the water alkaline as well, it is impossible to
remove all the excess alkali from the prints with this
alkaline water. However, it must be done before the prints
enter the platinum bath, which is an acid solution. The
prints entering this platinum bath in an alkaline condition
will soon fill it with alkali, causing the platinum to precipi-
tate. In a short time all the platinum being precipitated to
a sediment on the bottom of the tray, the prints would re-
fuse to tone, even after more platinum was added. Should
you be successful in forcing a tone in this bath by using
a strong platinum solution, beware of yellow, muddy prints
after mounting, as they will surely show up sooner or
later. To avoid this trouble, whenever you find the platinum
bath precipitated and refusing to tone, test your wash water
with blue and red litmus paper to see if it is alkaline. If the
red litmus paper turns blue almost instantly the water is
strongly alkaline. In this case, treat your prints to the
acid bath advised above, make up a new platinum bath and
start anew, when you will find your path clear of difficulties.
235. After the prints have gone through the platinum
solution and are in an acid condition, you must again elim-
inate the acid by washing in two changes of water, which
brings the prints back to a neutral state, as they were at
first. The wash water being alkaline, a few changes will
do this. Prints must be neutral before being placed in
the hypo bath. The first bath must be slightly alkaline,
or, at least, neutral, never acid. Should prints enter the
hypo bath in an acid condition they would be apt to bleach
and give muddy whites.
236. Difference Between Fresh and Old Paper, — The
paper when you receive it, if fresh, is in an acid condition,
caused by the chemicals used to preserve it. In time
Varying Water Conditions, 95
these chemicals evaporate and as the paper grows older
the amount of acid remaining in it is reduced. Therefore,
fresh paper containing more acid must be washed more
thoroughly than if the paper was old. You must remove
the acid and preserving chemicals from the paper before it
will tone, as the gold toning bath is an alkaline solution and
must be kept in this condition while toning all prints. If
all these acid properties are not removed from the prints
before entering this bath, the acid will change the bath
from alkali to acid and the prints will not tone, but will
bleach. Old or well-ripened paper, therefore, will give you
less trouble than fresh paper. We therefore advise when
purchasing fresh paper, that you place it in a dry place and
allow it to ripen for say two weeks before using. As in
very warm climates, or during extremely hot weather, the
paper will ripen much more rapidly, one week's drying will
be sufficient.
237. Effects of Acid Water. — Where water is used
which tests acid, you will have sulphurization and faded
prints, unless provision is made against it. Many failures
can be accounted for by lack of judgment, or absence of
knowledge as to what to do and when to do it. If you
have carefully tested the water you are using and find it is
all right, and if you have handled the paper in all its manipu-
lations in accordance with the above instructions, the
trouble is doubtless due to defective paper. In some local-
ities photographers are troubled with faded and bleached
prints, and upon investigation it has generally been found
that the water used was slightly acid. To tone with such
water will invariably give bleached prints unless properly
treated.
238. We advise you always to test the water to be
used before beginning to tone. Water that tests slightly
alkaline, or water that will neither turn blue litmus paper
red nor red blue in a few minutes — in other words, neutral
water — is all right. Water that tests acid must be first
neutralized before using. Be sure to remember that the
preserving chemicals used in preparing paper are very
96 Library of Practical Photography,
acid. This acid must be eliminated, but it cannot be done
with acid water, no matter how thoroughly you wash the
prints. Neutralize all wash water previous to gold toning,
by adding to the first wash water 1/2 ounce of saturated solu-
tion of ordinary sal soda, or sufficient to turn red litmus
paper blue in one minute, and to each following change of
water add a little less. The last water use without alkali, as
the prints are well saturated with it and the last washing will
eliminate the excess alkali from the prints and place them
in a neutral condition.
239. Prints entering the gold bath in an alkaline or
neutral state will tone freely and evenly. After toning in
the gold bath they can be placed in plain water without
neutralizing it. As the next bath (platinum) is an acid
solution, the prints can be in an acid or neutral state, but
they must never be alkali when entering the platinum bath.
For this reason be sure to wash the prints carefully in sev-
eral changes of plain water after gold toning, in order to
remove the excess of alkali obtained in the gold bath. The
prints are then ready for the platinum bath, which will work
nicely after this operation. Tone prints deep in this bath
and after toning place them in plain water. If the previous
wash water has proven to be acid this must also be neutral-
ized with sal soda, and tested with litmus paper. The water
now being neutral (and not acid) will check the toning
and will also prepare the prints to enter the hypo bath.
240. After all prints are toned prepare your hypo bath
in the regular way, being absolutely positive that it is alka-
line. It must never be acid. If it is, neutralize by the addi-
tion of a few drops of carbonate of soda. Then fix the prints
as usual. After fixing you can wash your prints in ordinary
water. Even if the water is acid at this stage, it will do no
harm.
241. A few facts should always be remembered : First,
all wash waters must be neutral. Water but slightly alka-
line will do no harm. Second, prints must be in an alkaline,
or at least a neutral condition when entering the gold bath.
Third, they must be in a neutral and not an alkaline condi-
Varying Water Conditions. 97
tion when entering platinum bath, which is an acid solu-
tion. Fourth, they must again be washed into a neutral
state — slightly alkaline will do no harm — before entering
hypo bath. The latter must be alkaline. The condition of
water for final washings is of no particular consequence.
242. Treating Water Which is Strongly Alkaline or
Acid. — It is always advisable, in case you experience trouble
in any manipulation, to first look to the water conditions and
test thoroughly before investigating elsewhere for the
trouble. If you find the water turns red litmus paper blue,
even slightly, you will know that the water is alkaline and
requires no altering. Should it test strongly alkali, you
will require no additional alkali in the gold bath, and can
dispense with Stock Solution No. 3 entirely ; or at least,
use less than the formula calls for. If, on the other hand,
you find that the water turns the blue litmus paper red,
you will know that the condition of the water is acid. At
once take steps to neutralize it, by adding borax solution or
carbonate of soda to the water until it neither turns the
blue paper red, nor the red paper blue. It is a good plan to
use boiled or distilled water in preparing all the chemicals
and baths, especially the toning baths.
243. Muddy and Impure Water. — Many cities and
sections of the country are continually troubled with " roily "
and impure water. Some of these contain sulphates, chlor-
ides, magnesium in different forms, sulphur, iron in various
forms, and a large variety of vegetable substances, effects
of which are visible especially in the winter and spring
months. This difficulty can be overcome in an inexpensive
manner.
244. Purifying the Water. — A simple and easy way to
purify the water, so far as the impurities which affect the
chemicals used in toning are concerned, is to get an empty
whiskey or alcohol barrel. Remove the head ; clean the
barrel thoroughly; place the barrel on a shelf in a corner
over your sink, at an elevation sufficient to enable you to
draw the water from it. About six inches from the bot-
tom of this barrel bore a hole and fit a faucet. Use a faucet
98 Library of Practical Photography.
with a threaded screw for hose connection. The advan-
tage of the hose connection is that it will enable you to
carry the water to any tray. Fill the barrel with water.
Dissolve a table-spoonful of powdered alum in a cup of hot
water, and while stirring the water in the barrel gradually
pour in the alum water. After a thorough mixing test
the water with blue litmus paper. If the water tests acid,
or in other words, turns blue litmus paper red, you will
have added sufficient of the alum. Allow the water to stand
in the barrel over night, or until you wish to use it. You
will find the alum will clear the water very nicely and also
settle the vegetable matter and other impurities. The
sediment which will collect in the bottom of the barrel will
do no harm if the barrel is cleansed at least twice a year.
Every time you add water to the barrel apply the alum
treatment in manner described. Only sufficient alum is
required to make the water acid.
245. When using water from this barrel, it being in
an acid state will make it necessary to neutralize it before
use. This you can do by adding carbonate of soda or
borax solution to each tray of water. Test the water by
using red litmus paper. Add sufficient of the alkali to turn
red litmus paper blue. Where a large quantity of water
is used a barrel may be arranged to feed from the top and
work automatically. As the water is drawn from the bar-
rel it fills itself and shuts ofif when the barrel is filled. In
this case place a pound of alum crystals in a linen sack and
hang it in the barrel, and the water will take up enough of
the alum to acidify the water and precipitate the vegetable
matter which will collect at the bottom of the barrel. This
barrel should be cleansed every few months, for unless this
is done you will in time have a collection of mud in the
bottom of the barrel, caused by the vegetable matter which
the alum has precipitated.
246. It is very seldom that the above treatment of
the water is necessary, and unless you are experiencing any
difficulty it is needless to go to this trouble. Should you,
Vav^ing Water Conditions. 99
however, experience any difficulty of this kind, you will
know how to treat it.
Water Tests.
247. For Lime. — Drop two drops of strong oxalic acid
solution in a glass of water. If it turns the water milky,
lime is present.
248. For Alkalies. — If red litmus paper is immersed
in the water and allowed to remain one-half hour and does
not change color, alkali is not present.
249. For Carbonic Acid. — Add an equal part of lime
water. If carbonic acid is present, a precipitate is seen.
Add muriatic acid and it will effervesce.
250. For Iron. — Boil nutgalls and add to the water.
If iron is present it turns slate gray. Add a pinch of prus-
siate of potash ; if it blues, iron is there.
251. For Hard Water. — Dissolve good soap in alco-
hol ; drop a few drops in a glass of water. If the water be-
comes milky, the water is hard. If it remains clear, the
water is soft.
CHAPTER XL
Difficulties — Printing and Toning Matte Surface Papers.
252. Keeping the Trays Clean. — Chemically unclean trays are
the cause of a great deal of trouble to photographers. It is
essential that each tray be kept for one particular purpose and
used for that specific purpose only. It will pay a hundred times
over to have a special tray for each part of the manipulation. For
wash waters and hypo baths, wooden trays lined with oilcloth,
or rubber cloth, are perfectly safe and can be constructed cheaply.
Have plenty of them. In good plain letters mark one " First
Washing," one " Gold Bath," one " Between Baths " (for washing
between gold and platinum baths), one for " Hypo Bath " and one
"After Hypo" (to be used after prints come from the hypo). The
toning trays should be made of chemical-proof material, such as
porcelain, or hard rubber. The number of trays before mentioned
may at first seem unnecessary, but it is always best to be on the
safe side, and as trays are inexpensive, it is advisable to have
plenty of them, and each for a particular part of the manipulation.
It will pay well in the end.
253. Dusting Negatives. — No difficulty will be experienced in
keeping the negatives perfectly free from dust if the printing room,
including work table and a shelf or other support used for printing,
also the printing frames, are kept clean. It is extremely important
that the printing room be kept as free from dust as possible.
Carefully brush both frame and negative before placing the paper
on the negative. This saves time in spotting prints.
254. Judging Correct Depth in Printing. — Difficulty will at
first be experienced in securing the proper depth of printing, but
if you bear in mind that it is necessary to make allowance in the
printing for a certain amount of bleaching or eating away of the
highlights, and print accordingly, no trouble will be experienced.
The prints should be carefully examined and their appearance
particularly noted before placing them in the first wash water.
Notice carefully the changes as they take place in the toning baths,
and fixing bath, then examine the prints carefully when dry. If
101
102 Library) of Practical Photography.
they are too dark or too light, variations in the next printing
should be made accordingly. The printer who is able to print
an entire order with little or no variation in the depth of printing,
has mastered the secret of this branch of work. It is practice
and only practice that will enable you to overcome this difficulty.
255. Paper Sticking to Negatives. — Sometimes when negatives
go to the printer to be proofed, they are damp and the paper
sticks in places. In such a case the paper must be removed from
the negative at once or it will leave stains. Remove the paper
by rubbing lightly with a tuft of cotton moistened with alcohol.
If the stains show, fix the negative again in a hypo bath. Another
way to remove the bits of paper is by rubbing with the end of
a match dipped in alcohol.
256. This trouble is also caused by the paper sweating and
sticking to the film, and can be overcome by using a felt pad back
of the paper in printing frame. A better scheme is to flow the
negatives with negative varnish.
257. Dusting negatives with pulverized soapstone and brushing
off will prevent sticking.
258. This trouble of paper sticking is liable to happen in the
spring or fall, or when there is a long season of damp weather.
The paper, negatives and pads in frames become moist, causing
the trouble.
259. Keeping Large Prints in Contact. — Much trouble is often
caused in printing from large negatives by the paper cockling and
throwing the print out of contact. This can be overcome by using
a pad of common white oilcloth on the print. Place the oilcloth
with the finished side down. It may be necessary to use a felt
pad on top of the oilcloth. Another way is to thoroughly warm
the pad before putting it on the print, thus keeping the paper
dry. If you should find a spot not printing in contact, rub the
glass side of the negative over the spot with the finger or palm
of the hand until the glass is warm, and it will draw the paper in
contact at once.
260. Weak Prints. — Weak looking prints very often come from
failure to print dark enough. Make three prints, one as you think
it should be, or as you have been printing, the second a shade
darker and the third still darker. Tone them, select the best and
use it as a guide. Weak prints are also caused by printing in an
extremely cold room, or from chilled negatives. The use of
extremely cold water will also cause weak prints. Either of these
causes will chill the paper, and produce weak tones.
261. Properly Preparing the Gold Toning Bath. — Difficulty
will be experienced in making the gold bath test properly, if the
litmus paper (both red and blue) is old, or of poor quality. All
Difficulties — Printing and Toning. 103
chemicals employed should be fresh and of the best grade. Be
sure that the various stock solutions are made up in accordance
with the formula. Never add borax until you have ascertained the
condition of the gold bath, by testing with red litmus paper. If
the bath is not alkaline in its action, i. e., if it does not change the
red litmus paper blue, add borax quite cautiously.
262. Prints Toning Too Slow in the Gold Bath. — If the prints
tone too slow in the gold bath, it is either because you are not
using sufficient gold, or the prints have not been thoroughly
washed to eliminate the preservative and excess of free silver.
Strengthen your gold bath by adding a little more gold, which has
been previously neutralized, being careful that your preliminary
washings are thorough.
263. Prints Toning Too Fast in the Gold Bath.— If the prints
tone too fast in the gold bath it is because the bath is too strong.
Reduce strength by adding water. Add a little at a time until the
prints tone at the proper speed. If the prints show bleaching in
the whites before the shadows are toned far enough, it is because
the bath is not sufficiently alkaline. Add more alkali. If the gold
bath is acid it bleaches out the detail in the highlights. The
whites are made to take on a pinkish shade and the shadows
become weak and tone slowly.
264. Uneven Tones. — This is generally caused by not using
enough water directly after toning in the gold bath. In trans-
ferring prints from the gold bath they carry a certain amount of
gold into the wash water, and unless there is plenty of water they
will continue to tone in patches. Use plenty of water, and if the
batch of prints is large, or the tray small, change the water
frequently.
265. Uniform Tones. — A formula for a gold bath is intended
for prints from average negatives.
266. No bath will tone prints from strong, contrasty negatives
and prints from weak, thin negatives, in the same batch, and give
uniform results, unless the quantity of alkali added to the bath
is regulated according to the character of the negative from which
the prints are made.
267. A good printer, toning a large batch of prints from dif-
ferent kinds of negatives, will sort over his prints in the last wash
water, laying the contrasty ones on one side of the tray, the weak,
soft ones at the other. First he will use one of the softer prints
to test his bath, adding enough alkali to hold the highlights and
half-tones from bleaching. He will then tone all the prints from
the thin negatives and test the bath again before toning the con-
trasty prints, using as a test, a print from a hard negative. It will
be found necessary to use more alkali to hold the highlights in the
104 Library of Practical Photography.
contrasty prints. After adding enough alkali to prevent the high-
lights in the contrasty print from bleaching, tone the rest of the
batch. This is the only way to average up tones in a large batch.
268. On the other hand, if the prints in a large batch are not
sorted out and a contrasty one is used to test the bath, the prints
from the soft negatives will not clear up, and will result in muddy
highlights and half-tones. Or, if a soft print is used to test the
bath, the contrasty prints will bleach in the highlights. That it
will always pay to sort out the prints in the last wash before
toning, and add alkali to the bath to suit the character of the
prints, is apparent.
269. A strong, contrasty print will stand more toning than a
print from a thin negative. The latter will " blue up " and flatten
in the hypo, if toned as far as a print from a contrasty negative.
Another point a printer should remember is, that old paper does
not require as much alkali as fresh paper.
270. Flat Prints. — Caused by printing from a flat, weak nega-
tive. They are oftentimes the result of insufficient toning in
the gold bath, which leaves the shadows a bricky red. An excessive
amount of salt in the toning bath will also cause flatness.
271. Prints Toning Too Slow in Platinum Bath. — There are
a number of reasons to which this may be attributed.
272. Using the same tray for both gold and platinum bath.
To all gold toning trays a certain amount of gold will adhere.
This gold precipitates the platinum and, therefore, the benefit of
the platinum is not obtained.
273. Using an iron tray, commonly known as japan, or
enamel. If these trays are chipped in numerous places, as they
often are — exposing the iron — you will find that the acid in the
platinum solution will cut into the iron. This will cause a precipi-
tation of both iron and platinum.
274. If the platinum bath is neutral, or slightly alkaline, the
platinum will precipitate. This might occur if the water used in
preparing the platinum bath was strongly alkaline. If so, it will
be necessary to acidify the water with phosphoric acid before add-
ing the platinum solution.
275. Black Spots on Prints While in Platinum Bath.— This is
due to some foreign chemical, or matter, getting into the toning
bath. In preparing your solution never use a graduate which has
been used for a plate, or paper developer, as the least bit of metal,
iron, etc., will produce black spots. Filter the water used for the
gold bath and platinum solution, as iron rust from the water pipe
will also cause these black spots.
276. Toning Red Out of Prints in Platinum Bath.— If your
platinum bath has been properly prepared, and is acid, you will
Difficulties — Printing and Toning. 105
experience no trouble in toning the red from the deepest shadows.
Only when the platinum bath is alkaline, which causes the platinite
to become precipitated, will you meet with this difficulty.
277. Prints Too Brown After Being Toned in Both Baths. — If
the prints are toned too far in the gold bath there is nothing left
for the platinum bath to tone and, consequently, they will turn
brown. Insufficient washing between the toning baths and fixing
bath will also cause brown tones. Hypo bath being acid is apt
to turn the prints brown, as sulphurization is sure to set in.
278. Unable to Obtain an Olive Tone. — This will occur if you
carry your toning too far in the gold bath and not quite far enough
in the platinum bath.
279. Difficulty in Obtaining Black Tones. — Prints toned to a
blue-black in the gold bath will cause blue tones in the platinum
bath. Prints toned to a purple can be toned to a black in the
platinum. Prints that are toned to a deep chocolate-brown in the
gold bath will make beautiful olive-black tones when toned in the
platinum bath.
280. Bronzing. — Bronzing in the shadows is generally caused
by not toning the shadows properly in the gold bath, and not far
enough in the platinum bath afterward.
281. Poor Tones. — While at times this may be due to the
product that you are using, it is generally caused by one or all of
the following reasons:
282. (a) Using dry borax for neutralizing the gold bath instead
of a saturated solution made of crystal borax.
283. (b) Using too strong a gold bath, toning in a few minutes,
thereby producing a surface tone. This surface tone will cut off
almost entirely in the fixing bath.
284. (c) Insufficient preliminary washing, consequently failing
to remove the preserving chemical, causing the toning bath to be-
come acid.
285. (d) Platinum bath made up with a strongly alkaline water
which was not previously acidified, thereby precipitating the
platinum.
286. (e) Not neutralizing or acidifying the prints after coming
from the gold bath and before placing in the platinum bath; con-
sequently carrying considerable alkali into the platinum bath,
thereby precipitating the platinum.
287. (f) Carelessness in preparing the hypo bath, guessing at it,
as it were, with the result that the strength of the hypo might vary
from 30 to 50 degrees.
288. (g) And still another reason is printing too lightly.
289. Hypo Stains, — Washing prints before toning in the gold
bath, in trays that are used for washing the prints after fixmg.
106 Library of Practical Photography.
Not washing the hands often enough when handling the different
trays. Wiping the hands on dirty towels. Toning the prints too
near the fixing tray. Careless handling of the hypo. These are
some of the many causes for hypo stains.
290. No Strength or Brightness to Prints After Fixing.— Ex-
tremely slow toning in the gold bath; gold bath being too alkaline;
extremely slow toning in the platinum bath; using too much alkali
in the wash waters would cause the prints to become weak and
lose all brilliancy after fixing.
291. Prints Bleaching. — All prints will grow somewhat lighter
in the hypo, but this is not bleaching. A print that bleaches loses
all detail in the highlights and the shadows become weak. If the
hypo bath is acid the prints are sure to bleach. Always test your
hypo bath and neutralize it, or make it slightly alkaline if necessary.
292. Bleached Prints. — Prints will bleach if a poor quality of
borax is used. Powdered borax frequently contains impurities, and
it is for this reason we recommend the use of crystal borax. Al-
ways aim to have the borax solution a saturated one. If you use
a hypo bath too strong it is apt to cause bleaching. In preparing
hypo by hydrometer test, carefully test the hydrometer from time
to time, as the paper scale inside of the tube designating the
strength is liable to slip down. If this happens it would register
the strength of the solution incorrectly, probably causing it to be
three or four times too strong. To test your hydrometer place it
in plain water. If it is correct, it will test zero.
293. Red Spots. — Red spots on paper may come from a
number of causes. The most common are unclean trays, finger
marks, bubbles, and preservative chemicals still in the paper. When
from finger marks they can be easily recognized.
294. When the spots are round, or oblong, and have defined
edges, they are from bubbles and can be avoided by sliding prints
under the water in the first washing. If the red spots are uneven
and scattered over the paper, or if the prints act as if they were
greasy when they are in the washing water, the trouble comes
from oil or grease, which may come from the hands, trays or water.
295. This trouble can be overcome by adding one ounce
saturated solution of carbonate of soda to each gallon of the
first wash water, handling prints over in this water for five minutes.
296. This alkali cuts ofif all oil or grease on the prints and
neutralizes the acid preservative chemicals in the paper. The six
changes of clear water afterward wash out all trace of the alkali,
and bring the prints up to the gold bath in a perfectly neutral
condition.
297. Red spots which appear on the paper after gold toning
can be removed by putting the prints in the gold bath face down
Difficulties — Printing and Toning. 107
and keeping them under the bath for four or five minutes before
turning them face up, when the red spots will have disappeared.
Should they not do so, put a drop of the platinum stock solution
on the spot, which darkens the spot, and the rest of print tones up
to it.
298. Black Spots. — Black spots, when they show a star or
comet-like effect on paper in the first wash waters, are caused by
small particles of iron rust in the water, which may come from the
inside of water pipes, and are often caused by a sudden jar to
the pipes in some portion of the building, setting free small particles
of iron rust on the inside of pipes, also from iron pumps or iron
roofs.
299. A good filter can be made by taking two thicknesses
of chamois, ard tying them around the faucet. The chamois does
not allow the least particle of dirt to filter through, and can be
washed and changed each day.
300. Black spots showing the same comet-like effect are often
caused by using metal cut-outs. Small particles of the metal are
ground off and settle on the surface of the prints. When wet, this
metal will reduce the silver in spots. Dust each print carefully after
trimming, face and back, or, better still, trim prints after they are
toned. Never use a steel or iron cut-out. Celluloid cut-outs are
the best.
301. Black spots may be caused by using enameled trays that
are worn down or chipped, exposing iron parts. Prints coming
in contact with these parts often show black spots, or rust spots.
This is also the case where printers employ home-made oilcloth
lined trays, using iron tacks or nails to fasten the oilcloth around
the edge of tray. These nails rust and hands coming in contact
with the nails carry the rust to the wet prints, causing black spots.
Copper tacks should be employed to fasten the oilcloth on the tray.
302. Yellow Whites. — (a) Yellow whites may come from
prints not being toned far enough in the gold bath, or from trying
to wash prints in running water between gold and platinum baths;
or between platinum bath and hypo. Running water will not do.
Prints should be washed by hand and the water changed.
(b) Yellow whites are sometimes produced by gold bath being
too alkaline.
(c) If prints turn yellow in first wash water it is usually
due to a trace of hypo from the hands or trays.
(d) The use of an old platinum bath, over and over, will
frequently cause yellow whites.
303. White Spots. — White spots are caused by insufficient
handling in hypo bath and not handling in the washing water
after fixing; also by not drying fast enough. Sometimes they
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are caused by drying between cheap blotters and newspaper
stock. Undissolved hypo in the fixing bath will also cause small
white and yellow spots.
304. Yellow Spots. — Trouble of this nature may come from
a number of causes, such as: Using impure or old blotters; in-
sufficient washing after hypo bath; using old paste for mounting
prints; impurities in mounts; slow drying of prints; or cheap
manila envelopes containing chlorine, or other chemicals, which
the face of the print is allowed to come in contact with.
305. The principal cause of yellow spots which show on
the mounted prints, after they have been stacked and put away,
is moisture in the mount. This moisture drawing through the
stacked prints causes the bleaching chemicals and coloring matter
in the mount to act on the paper, bleaching, and causing stains,
or spots. Much of this trouble can be avoided by running prints
through a hot burnisher with cardboard over face of print. By
doing this the mount is thoroughly heated and dried out, which
will prevent the trouble in almost every case. Rubber bands will
also cause yellow '.ines on face of prints.
306. Backed Prints Turning Yellow in Spots. — Unless the
backing paper has been thoroughly washed to eliminate all the
acid in the collodion emulsion, this is apt to occur.
307. Yellow Streaks. — (a) Sometimes it is caused by stacking
the prints on the bottom of the tray in the first wash water with-
out thoroughly wetting the entire lot of prints.
(b) By using the tray for first washing that was used for
washing after the prints came from the hypo fixing bath.
(c) Not picking the prints over and over during the entire
manipulation, more especially in the first wash water immediately
after fixing.
308. Pink Whites. — Toning too fast or using a gold toning
bath which is not sufficiently alkaline. Using extremely cold
water for the preliminary washing. Cold water prevents the
eliminating of the acid preservative and causes an acid reaction
in the gold bath. Adding fresh gold to the bath without first
neutralizing it. Using platinum bath that is not sufficiently acid.
But the chief cause of pink whites is lack of alkali in the gold
bath. This trouble does not usually show until the prints go into
the platinum bath. Usually the pink whites are overcome by
the sulphite bath previous to fixing, and the pink is entirely re-
moved.
309. Black Spots. — Black spots are generally caused by rust
or some metallic substance in the water. If the plumbing is old
a great deal of rust will come from the pipes and the water should
be carefully filtered. They are also oftentimes caused by using
Difficulties — Printing and Toning. 109
metal cut-outs. In trimming oval prints before toning, small
particles of metal from the cut-out are apt to adhere to the printe,
and when they go into the water not only make a spot on the
oval prints, but are often transferred to other prints. Brushing
the prints carefully after trimming, or trimming after they are
toned, will enable you to overcome this.
310. Prints Fading — (a) Insufficient preliminary washings and
improper toning in ^old bath. If the print is not thoroughly washed
the gold is deposited on this free silver and you are not producing
a true gold tone, as it washes away in subsequent baths.
(b) Improperly balanced gold bath, not alkaline enough to
allow the shadows to tone.
(c) An over-acid platinum bath. The acid eating into the
shadows instead of toning or depositing the platinum salts onto
the print. An over-acid bath is caused by using too much old
platinum bath. When bath is weak, the adding of acid to make
prints tone. Trying to tone too many prints with amount of
platinum employed.
(d) Not washing prints sufficiently after platinum bath, there-
by carrying acid into the hypo and causing sulphurization.
(e) Using a hypo bath too strong thus eating out the print
instead of fixing it.
(f) Insufficient final washing, leaving hypo in prints, which
will cause them to fade.
(g) Not allowing air to circulate through the freshly mounted
prints, permitting the chemical in the pulp of mount — and acid
coloring of same — to destroy the print by prolonged dampness.
(h) Using sour or acid paste.
(i) Prints, after mounted, drying too slowly; or stacking them
up too soon. We have found that even when a fresh paste is
used under the above conditions, the paste between the print
and the cardboard will turn sour and the paste will, as a rule,
fade the prints.
(j) Frequently the fading of a print is due to the hypo in
the print or the mount. Many of the cheap grades of cardboard
are bleached with hypo, which has never been eliminated. A
good plan is to test your mounts, and also the last wash water,
to see whether they are entirely free of hypo.
311. PREPARE THE FOLLOWING SOLUTION:
Water 16 ozs.
Caustic Soda 15 grs.
Permanganate of Potash 3 grs.
IV — 7
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312. This will give you a pink solution. To test your mounts
or card stock, tear the card in small pieces and soak it in distilled
water for ten hours. Then pour in your graduate a few ounces
of this water in which the card has been soaking, adding to it a
little of your permanganate solution. If there is hypo present the
pink solution will change to a green. In testing the last wash
water, after fixing to insure permanency, simply pour a little of
this into your graduate and add the permanganate, as above. If
there is any hypo present it will turn green.
313. A mount or print may contain a certain amount of hypo,
or acid, and while the mount is thoroughly dry the presence of the
hypo will not materially affect the print. But, if the mount becomes
moist or damp, the hypo will work up into the print and cause it
to bleach, or fade.
314. Prints Cracking. — Using extremely cold water for wash-
ing is apt to cause the prints to crack. If you are careful about
properly flattening and handling the prints during the entire
manipulation, there should be no trouble. If the paper is exceed-
ingly dry it is likely to crack. Manufacturers of Aristo Platino
paper recommend the use of a moistening box. This box is made
of galvanized iron, with a close fitting hinged cover. In this is
placed a sponge tray. In order to have the moisture circulate be-
neath the package of paper, a false bottom is used. This is made
of slats. If you have very dry paper, it is a good plan to place
it in a box of this kind until it has become sufficiently moistened.
315. Rubbed Places. — Rubbed places on face of print which
do not show until prints are dried are sometimes caused by rubbing
the face of the print on the bottom of tray during washing and
toning. When this trouble is experienced examine the bottom of
toning trays, also try handling prints face up.
316. Rubbed or marred places on face of print may also be
caused by heavy pressure of fingers on back of prints when pouring
off wash waters, also by the pressure of fingers on the back of
paper when it is being adjusted to the negative.
317. Blisters. — Blisters are caused by a change of temperature
in the baths or water, and will usually make their appearance in
the hypo, or afterward. Putting prints in cold hypo bath and then
into warmer water frequently causes blisters. This can be pre-
vented by throwing prints into salt water after hypo bath; four
ounces salt to the gallon of water.
318. Another plan, — after the prints are fixed gradually reduce
the hypo bath by pouring off part and adding water; repeating
until down to clear water, handling prints over all the time.
Finally, transfer to regular washing tray.
319. In cases where wash water is considerably cooler than
Difficulties — Printing and Toning. 1 1 1
the air, prints will show blisters when lifted out of the water and
exposed to the action of the atmosphere.
320. Too much carbonate of soda in the first wash water will
cause blisters. When this is the cause they sometimes appear in
the first wash waters before toning. If you experience this trouble,
reduce the amount of carbonate of soda in the first wash water, or
do not use it at all.
321. Another cause of blisters is gas, or air, in the water. The
presence of gas can easily be detected. Fill a glass with water
directly from the faucet. Examine it by holding the glass up to
the light. The gas will be seen as minute bubbles rising to the
surface and clinging to the sides of the glass. In some cases the
water is so heavily charged as to produce a slight effervescing
noise when the ear is held close to the surface of the water. Water
containing gas should be allowed to stand in a barrel, or tub, for
from six to eight hours before using, to allow the gas or air to
pass oflf.
322. Extremely old paper, or paper that has been kept in a
warm atmosphere and which therefore ages rapidly, is apt to
blister. By treating the prints to a strong salt bath after fixing,
this can be overcome to a certain extent.
323. Washing Large Prints After Hj^o. — Have two trays
25x30 inches, and four inches deep. Bore a row of half-inch holes
around sides of tray one inch from top. This allows water to run
off without carrying prints over the top. In washing use spray on
each print, and change from tray to tray. Ten changes should re-
move the hypo.
324. Shaping Prints. — For Aristo Platino or matte surface
prints, run through a cold burnisher. If the mounts split, warm the
burnisher just enough so you can hold your hand on the pol-
ishing roll. The warmth will prevent splitting. Use plain white
cardboard between print and polishing roll.
CHAPTER XII.
Artists' Proofs on Collodio Carbon Paper
Brief General Instruction.
325. Introduction. — Collodio Carbon is a matte sur-
face collodion emulsion paper coated on extra heavy stock,
and prints on this paper, toned either black or sepia, closely
resemble genuine carbon prints. With proper manipu-
lation soft and artistic effects can be secured. The pre-
ceding instruction on the manipulation of Aristo Platino
and matte papers generally, will assist very materially in
enabling you to secure the best results from the very first.
As the collodion emulsion of collodio carbon paper is coated
on extra heavy stock, it is necessary that the instruction
for the different manipulations be carefully followed. In
fact, collodio carbon paper, in order that absolutely per-
manent prints be secured, must receive thorough wash-
ing in the preliminary waters, subsequent washings be-
tween the toning baths and also in the final washing after
fixing. The necessity of cleanliness and carefulness in the
use of the dififerent trays can not be too strongly impressed
upon those who use this class of paper.
326. Collodio carbon paper being of heavy stock,
prints made on it will look better when a liberal margin
surrounds the picture — the margin serving as a mount.
This margin is obtained by masking the negative and using
a large printing frame suitable to the size of the mask.
This paper printed with a margin lends itself to beautiful
effects in nicely posed subjects, small heads or odd effects,
and it is especially effective for landscape work. (Full di-
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114 Library of Practical Photography.
rections regarding the masking of the negative are given in
the following chapter " Detailed Instruction").
327. Printing. — Collodio carbon paper will print at
about the same speed as the platino papers, but must be
printed deep for rich results.
328. Washing Prints. — As this paper is very heavy-
it will require more preliminary washing to remove the
preserving chemicals and free silver than is necessary with
the ordinary light weight papers. At least eight changes
of water should be used, handling the prints over in each.
Leaving the prints in running water for half an hour with-
out handling will not do. It is not as effective and some of
the prints will not be thoroughly washed. After washing,
tone in the following gold bath :
329. Gold Bath.—
STOCK SOLUTION NO. 1.
Chloride of Gold 15 grs.
Pure Water 15 ozs.
Place the chloride of gold in a 16 oz. bottle and add 15 ozs.
pure water. Shake well until the gold is entirely dissolved.
330. ACETATE STOCK SOLUTION NO. 2.
Acetate Soda 4 ozs.
Pure Water 10 ozs.
Dissolve this chemical thoroughly by shaking the bottle.
Label ihis bottle " Acetate Stock Solution No. 2."
331. BORAX STOCK SOLUTION NO. 3.
Borax Crystals 2 ozs.
Hot Water 4 ozs.
As borax crystals do not dissolve freely, it is advisable to
use hot water for dissolving this chemical. Label the bottle " Borax
Stock Solution No. 3."
332. Preparing the Gold Bath.— The toning bath is
prepared as follows: Into a 2-quart bottle pour 48 ounces
of water, and of Stock Solution No. 1 add 1% ozs., of
Stock Solution No. 2, 2 ounces ; then thoroughly shake the
Artists* Proofs on Collodio Carbon. 115
bottle containing this compound and allow it to stand for
at least twelve hours before using. A longer time will do
no harm.
333. When ready to tone add gold enough to make
the speed of the bath six to eight minutes. Watch the
bath closely to see that the highlights do not bleach. If
they do bleach, add more alkali, regardless of the color of the
litmus paper. Tone the prints in this bath to a purple, leav-
ing considerable warmth in the shadows. After toning
place them in clear water.
334. Caution. — If prints are toned too fast in the gold
bath, they will be flat. The whites should be thoroughly
cleared and brilliant when they come from the gold bath.
Too much alkali, or a slow bath, will give flat prints and
muddy whites.
335. Washing After Gold Bath. — Wash the prints
in five changes of clear water, handling them over in each
water. In the second wash water use three ounces of
saturated solution of alum to the gallon of water; or, in-
stead of alum, 1 ounce of salt to the gallon of water; or
slightly acidify the second wash water with acetic acid.
After this "short stop" washing, the prints must be washed
in three more waters. Unless they are well washed before
going into the platinum bath, the platinum will precipitate
on the tray and not on the print. After prints are washed,
tone in the following bath :
336. PLATINUM STOCK SOLUTION.
Water 4 ozs.
Chloro-Platinite 15 grs.
Phosphoric Acid (50% Solution) 2^2 drms.
Keep this solution corked and in a dark place.
337. Prepare the bath as follows:
Water 40 ozs.
Platinum Stock Solution 1% ozs.
Tone in this bath until the highlights are perfectly cleared,
leaving but the slightest trace of warmth in the shadows. Carrying
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too far in this bath is likely to flatten the tone and injure the
brilliancy of the print.
338. Washing After Platinum Bath. — After the prints
are all toned through the platinum bath, it is quite import-
ant to wash them thoroughly to remove the remaining acid,
because if carried into the hypo bath it will produce sul-
phurization and yellow whites. Wash through five changes
of clear water and fix in the following bath :
339. Hypo Bath. — Hyposulphite of soda, 15 grs.
hydrometer test, or if by weight, 4 ozs. of hypo crystals to
72 ounces of water.
Fix fifteen minutes, handling the prints constantly
to insure even and thorough fixing.
340. Salt Bath. — After the prints are fixed, place
them in a salt bath composed of 4 ounces of salt to the
gallon of water. Use plenty of solution and always keep
the proportions the same. Allow the prints to remain in
this bath about five minutes, picking them over and over
during this time.
341. Final Washing. — The final washing is more im-
portant with collodio carbon than with any other papers,
owing to its weight and thickness. The prints should be
carefully washed through twelve or fifteen changes of
clear water, handling each print separately, after which
they may be mounted or laid out to dry.
CHAPTER XIII.
Artists' Proofs on Collodio Carbon Paper.
Detailed Instruction.
342. Quality of Negative. — The printing quality of
the negative required for this paper is practically the same
as for Aristo Platino or matte papers, generally. Bear in
mind, however, that a strong, harsh or contrasty negative
will not give the best of results. A negative should be
fully timed, fully developed, retaining snap and brilliancy.
Over-exposure and extreme over-development causes hard,
chalky whites and generally unsatisfactory results. The
tone produced on this paper is largely governed by the
quality of the negative and the depth of printing.
343. Masking the Negative. — If it is desired to print
from a 4x5 negative select a sheet of paper 8x10, 10x12 or
11x14 inches in size, thus providing for a liberal margin
around the picture. First, in order to supply this margin
it is necessary to have a large printing frame, the size
depending upon the size of the sheet of paper employed.
This frame must be fitted with a sheet of plain, clear
glass. Next secure a sheet of plain, black opaque paper to
fully cover the glass, and with a sharp pocket knife, or reg-
ular trimming knife, cut an opening in this mask of a
suitable size and shape to suit the negative from which
the print is to be made — for example, say 3%x5i^ inches.
Be careful that the edges are perfectly smooth, that the
corners are square and the final cut-out is absolutely true.
Place this mask on the plain glass and lay the 5x7 negative
on the cut-out, adjusting it to the opening, and with gum
117
118 Library of Practical Photography.
stickers fasten the negative securely to the mask. After
dusting the negative, lay the collodio carbon paper on top
of it, backing this paper with a sheet of felt, or two thick-
nesses of dry blotting paper, then fastening the back of
the printing frame as usual. Having the thickness of the
negative between the mask and the print will give the
necessary blending and overcome the sharp lines which
would surely be formed if the mask were between the
film of the negative and the paper. It v/ould be a mistake
in making prints from 5x7 negatives to allow for less mar-
gin than 21/^ inches, as the margin adds greatly to the artis-
tic effect of the picture.
344. Depth of Printing. — Collodio carbon paper is
printed practically the same as other printing-out matte
papers, but under no circumstances should the paper be
under-printed, as rich results can only be obtained through
extremely deep printing. Print until the highlights are
quite strongly tinted — at least two or three shades darker
than you desire them when finished. Too light print-
ing results in weak and flat looking prints. It is, there-
fore, necessary to print deeply. For experiments with
collodio carbon paper it is advisable to print on small pieces
of paper, making several prints, varying the depth of the
printing. Then wash, tone and fix these test prints, and
note when dry which of those toned give the best results.
Once arriving at the proper depth to print, full size sheets
may be used and the prints masked in the usual manner.
345. Examining the Print. — The greatest of care must
be exercised in examining the print during printing, it
being necessary to keep the margin perfectly white, as the
surface is very sensitive and is easily "flashed." If you ex-
amine the print in strong light, the part exposed to
the light may become tinted. For this reason, it is alzvays
advisable to examine collodio carbon paper in subdued
light. When printed lay the prints flat, face down, in a
perfectly light-tight box or drawer.
346. Washing the Prints. — As this paper is extremely
heavy, it requires more washing to remove the preserving
Artists' Proofs on Collodio Carbon. 119
chemicals and unused silver salts than is necessary with
other matte surface paper of lighter weight. Plenty of
water should be used in the tray as this paper does not
curl readily on account of its thickness. In the winter
months, or in cold weather, the chill must be taken from
the water. It requires at least eight changes of clear
water to thoroughly wash prints and prepare them for
the gold bath. To leave the prints in running water will
not accomplish the desired results. They must be picked
over by hand carefully between each change. After care-
ful washing prints are ready for the toning bath.
347. Gold Toning Bath.— This bath should be pre-
pared according to the formulae given in the preliminary
instruction. The acetate of soda is a very weak alkali, in
fact a neutral chemical, and on account of its mild alkaline
qualities it is possible to use it in larger quantities and
more freely than any of the other alkalies. The use of
strong alkalies as restrainers tends to give muddy whites.
Although the alkaline action of acetate of soda is weak and
its retarding or restraining quality powerful, it would not
afifect the gold bath to any great extent unless it were al-
lowed to stand for a considerable length of time after being
added to the bath. In order that the action of the bath be
uniform at all times, it is advisable to allow the gold
bath to ripen for a number of hours before using. If
possible, the bath should ripen for twelve hours.
348. Toning in the Gold Bath.— When the bath is
ready for use, pour the entire contents into the toning tray
and before proceeding with the toning, place in a graduate
% oz. gold solution and add thereto ^ dram of borax solu-
tion. Allow this to stand for five minutes and add it to
your toning bath, stirring the solution with the hand, after
which add % teaspoonful of common salt. The salt will,
to a certain extent, prevent the whites from bleaching and
assist in making the tone more even. Next place a piece
of red litmus paper in the bath and add gradually a little
of the Solution No. 3, or borax solution, sufficient to
turn the red litmus paper blue in about 2 minutes. Re-
120 Library of Practical Photography.
member the gold bath must always be alkaline. If the
amount of Solution No. 3, or borax, added does not perform
this work in the given time, add more of the solution and
continue to add a little at a time until the red litmus paper
does turn blue. As the water in various sections of the
country requires more or less of this solution, exact amounts
to use cannot be given. However, there is one thing cer-
tain, a gold bath will not work properly unless it is slightly
alkaline. It must turn red litmus paper blue in at least 2
minutes.
349. How to Tone. — First, proceed to test your gold
bath by trying one print. Place the print in the bath and
with the right hand spray the solution over the print,
watching it tone. If the highlights and shadows tone
equally you will know that the bath is working properly.
Should they tone chalky, bleach, or eat away, the shadows
refusing to tone, you will then recognize that the bath is
still too acid, or at least it is not sufficiently alkaline. Add
a few drops of borax and continue to add cautiously until
the bleaching ceases. After adding alkali until the red litmus
paper has turned blue, indicating that the bath is alkaline,
if the prints still show signs of bleaching, place a fresh
print in the bath. If the bleaching shows in the second
print a few more drops of borax should be added. Con-
tinue adding very cautiously until bleaching ceases and
the print tones down to a rich purple in about 6 to 8
minutes. Should the test print, after toning this far,
look clear and snappy in the whites, not bleached nor muddy,
the bath is at the right stage and you can proceed with
the remaining prints. Judge tone by looking through
the prints, or, in other words, examine by transmitted light.
350. It is not advisable to judge prints by looking
upon the surface while they lay in the tray. Always hold
them before the light, looking through them, and when clear
and even throughout you will know that they have been
sufficiently toned. For black and white tones the print
should be carried to a rich purple, leaving considerable
warmth in the shadows. As the prints are toned, place
Artists^ Proofs on Collodio Carbon. 12J
them in a tray of clear water until you have completed the
entire batch. When all are toned, wash the prints through
at least five changes of water, handling them over singly
in the same manner as in the first washings, thus avoiding
blisters which sometimes appear if old paper is used, or
when wash waters are not of uniform temperature. To
the second wash water, after gold toning, add 1 oz. of salt
to every gallon of water used ; handle over carefully, sep-
arating the prints in the salt bath for five minutes ; then
wash well in three changes of fresh water. The object of
this thorough washing after toning is to free the print from
the excess alkali which has been taken on in the gold bath.
Should this alkali be carried into the platinum bath, which
is an acid solution, it would cause the platinum bath to be-
come alkaline and throw down the platinum to the bottom
of the tray instead of depositing it on the prints ; thus
making it necessary to add more platinum stock solution
to the bath in order to secure any tone at all. This, how-
ever, is an unnecessary waste of platinum, as well as time,
which can be avoided by properly washing the prints to
free them from alkali, and have the platinum bath in an
acid condition. After freeing the alkali from the prints by
thorough washing, they are ready for the platinum bath,
which should be prepared at least an hour before using.
351. Toning in the Platinum Bath, — Phosphoric acid
sometimes results in rendering yellow, muddy prints, on ac-
count of not being absolutely pure, or because of its action
when used with water containing certain chemicals. If
this trouble should arise citric acid may be substituted and
the platinum solution can be prepared as follows :
352. Dissolve 8 ozs. citric acid in 8 ozs. hot water.
Label this "Citric Acid Solution."
Prepare the Platinum Stock Solution as follows:
Chloro-Platinite 15 grs.
Citric Acid Solution 1 oz.
Water 1 oz-
Shake well until all the platinite is dissolved.
122 Library) of Practical Photography.
353. For use take,
Water 30 ozs.
Platinite Stock Solution 2 drs.
Use either this bath, or the one previously described in the
" Brief General Instruction." After the bath has stood for at least
one hour, to ripen, it is in proper condition for toning.
354. Pour the bath into your platinum tray, which
must be used for this purpose only, and place the prints in
the bath, a few at a time. Keep them in motion, toning
until the highlights are perfectly clear and all trace of
red has left the heavy shadows. Ordinarily, there is no
danger of toning too far in the platinum bath, but there is
no need of carrying prints beyond the point at which they
appear clear, with the red entirely toned out. Sometimes
carrying prints too far in this bath is likely to flatten the
tone and injure brilliancy. This is the case, however, only
where very strong platinum solution is used. When prints
go into this bath first the whites become muddy, but in
a short time they begin to clear. Keep prints in this bath
until the whites are thoroughly cleared and every trace
of brown or purple is removed, even from the deepest
shadows. A slow platinum bath gives olive tones, a quick
bath gives black tones. If the prints are toned rapidly
in the gold bath, they must tone the same in the platinum
bath, and vice versa.
355. Washing After Platinum Toning. — As they are
toned, place them in a tray of clear water until all are toned,
and then they should be washed in two or more changes
of clear water, in order to free them from the acid of the
platinum bath. Unless this is done the acid will be carried
into the hypo and cause bleaching of the prints. Prints
coming from the platinum bath — this solution being strongly
acid — are in an acid condition. For this reason, after all
prints are toned in the platinum bath it is quite important
that they be thoroughly washed to remove this remaining
acid, because if this acid is carried into the hypo bath it will
Artists' Proofs on Collodio Carbon. 123
produce sulphurization and yellow whites. Wash through
five changes of clear water, handling" each print separately.
If you find that the last wash water still tests acid it would
be well to place the prints in an alkaline bath, prepared
as follows :
356. To 100 ounces of water add 2 drams saturated
solution carbonate of soda, or borax. Handle prints over
in this bath thoroughly and then give them one more
change of clear water, when they will be ready for the fixing
bath.
357. When there are large batches of prints to tone,
especially collodio carbon prints, there is danger of toning
some of the prints a little more or a little less in the gold
bath ; and as the depth of tone in the gold bath governs
the color of the tone in the platinum bath, there will be a
difference in the shade of the finished print. Before fixing,
in order that the prints may be of a uniform tone, place
them in a sulphite of soda bath, as follows :
358. Sulphite of Soda Bath. — To 60 ounces of water
add 1/2 ounce saturated solution of sulphite of soda. This
bath will darken the tone somewhat but all prints will be
of a uniform color when coming from this bath. Prints
should be placed in this bath a dozen at a time. Handle
over for half a minute, or until they become a uniform color
and then place directly into the fixing bath, picking them
over and over, turning face down. Handle exactly as you
would other prints, allowing them to remain in the hypo
bath for 15 minutes, keeping them constantly in motion
during the fixing.
359. Hypo Bath. — The hypo bath should be prepared
according to formula given in Brief General histruction, should
be tested with litmus paper, and must be neutral or slightly
alkaline. If it tests acid, neutralize it by adding a dram, or
more, if necessary, of the borax solution. When the red
litmus paper turns blue, you will know thai the bath is
alkaline. Be careful, however, that the matter is not over-
done by making the hypo bath too strongly alkaline, as
a neutral bath will do no harm and will work satisfactorily.
124 Librar]) of Practical Photography.
This bath can be made up in any quantity. It is advisable,
however, to use plenty of solution. If more or less bath is
used be careful that the proper strength is retained. To
repeat a caution : It is advisable to prepare this bath by
hydrometer test, as you will then be more sure of uniform
results.
360. Salt Bath. — After prints are fixed they should be
transferred to a salt bath, prepared as follows : Four
ounces of salt to every gallon of water. Use plenty of
solution, but always keep the solution the same strength.
Allow prints to remain in this bath for 5 minutes, picking
them over and over.
361. Final Washing. — The final washing is more im-
portant with collodio carbon than any other paper, owing
to the weight and thickness of the stock. Prints should
be carefully washed through 12 to 15 changes of clear
water, handling each print separately, after which they
may be laid out to dry.
362. Drying Collodio Carbon Prints. — Collodio carbon
prints can be dried flat by the following method : Lay
all the prints out on a sheet of glass, face down (being
certain that the glass is perfectly clean). Have one over-
lap the other a trifle. After all are on the glass, lay a
sheet of clean blotting paper over the prints, and then
with a print roller carefully roll over the blotter and expel
all surplus water. Next take each print separately and place
between clean, dry blotters, lay a sheet of glass on the
top and weight it down. You will, of course, see the neces-
sity of laying these blotters on a perfectly level surface.
Allow the prints to remain in these blotters for one hour;
then change to dry blotters, allowing them to remain for
another half hour, after which for final drying, change
again to dry blotters and plain cardboard.
363. Final Drying and Flattening, — For final drying
and flattening, first lay a dry blotter on a smooth, level
surface ; covering the blotter with prints face down. Cover
this blotter with white cardboard, placing another layer
of prints on the cardboard, but face side up; then cover
Study No. 12
See Page 386
By R. E. Weeks
Illastration No 6
Illustration No. 7
Embossing Device
See Paragraph No. 365
Artists' Proofs on Collodio Carbon. 127
these prints with a dry blotter. Continue in this way,
first a blotter, then a cardboard, always having the face of
the print next to the blotter and the back to the cardboard.
You can stack a large number of prints in this way, and
after all have been placed between cards and blotters, place
a level board or sheet of glass on top and weight it down.
Allow them to remain under weight over night. The
prints will dry evenly, and when removed they will not only
be dry, but perfectly flat.
3G-i. Caution. — It is essential that chemically pure
blotters are used for this purpose, as poor blotters might
result in spots and stains. Blotters are supplied especially
for this purpose by the photographic stock houses, manu-
factured with a view to photographic requirements. After
the prints are dried they should then be embossed as follows :
365. Embossing Device. — As this device is cheaply
constructed, one should provide himself with numerous
sizes covering different size openings. For a cabinet size
opening proceed as follows : Take two heavy 10x12 card-
boards and from the side of one cut ofif a strip one inch wide ;
then take a piece of adhesive tape and paste this strip back
in place, making a hinge on this board, numbering it No. 1
(See Illustrations 6 and 7). Next cut an opening 41/4x6
lengthwise, and 3% inches from lefthand side and equal
distance from top and bottom. Number this 414^6 piece
which you have cut out of No. 1, No. 3. Paste a 10x13
sheet of good strong manila paper to lefthand edge of card
No. 2 as it lays with the wide side at your left, and paste
this paper so it will only adhere about -one inch. It will then
open and shut like a book. Paste the hinge of card No. 1
on to card No. 2, by placing the hinge of No. 1 even with
the left and wide edge of No. 2. The sheet of manila paper
should be between the two cards. When paste is dry, lay
the book down, No. 2 on the bottom. With a sharp pen-
knife, first cut out the paper between the cards that show
in the opening in No. 1. Then take the small card (No. 3)
and cut % of an inch from one side and one end. Apply
paste to one side of this small card and fasten it to No. 2
IV— 8
128 Library of Practical Photography.
within the opening in No. 1, so there will be an even space
on all sides 1-16 of an inch.
366. Your book is now complete and you must place
a weight on it and let it become thoroughly dry before
you attempt to do any embossing.
367. Embossing Print. — When prints are dry, in order
to produce the plate-sunk effect, place them face down on
the paper guide of the embossing device. Adjust the print
to the opening of the guide, always allowing more space
at the bottom than at the top of the print. When in proper
position close the embosser and turn it face side down, em-
bossing the print by rolling the back with an ordinary
rolling pin, or it can be done by pressing around the edges
of the opening with a smooth tube like the bottom of a
spoon, or even an oval shaped glass paper weight. Any-
thing smooth that will not rub the print will answer for
the purpose. After the print is embossed it should be
properly engrossed with the name of the photographer.
Usually a lead pencil is employed and the name is written in
a counter-sunk corner.
368. Enclosures. — Collodio carbon prints should al-
ways be enclosed in a flexible enclosure, style of which
can be selected according to the taste of the artist or cus-
tomer. Suitable folders in many styles and sizes are kept
in stock by regular supply houses. As the material for
the folders is supplied by the manufacturers in various
grades and colors, the photographer can make them and
supply customers with folders entirely original.
369. General Notes on the Manipulation of Collodio
Carbon Paper. — In drying collodio carbon prints it is
necessary to change blotters quite frequently, always using
dry blotters each time. If allowed to lie in the blotters in
a damp condition, bleached or mildew spots are liable to
occur. After the surface is comparatively dry they may
be transferred to fresh blotters, or cardboard, as directed,
and left undisturbed for 10 to 12 hours. Or, it will do
no harm to allow them to remain in the cardboard blotters
over night. The prints should be examined before remov-
Artists' Proofs on Collodio Carbon. 129
ing them from the cardboard permanently. If removed
before entirely dry they would curl somewhat, so the card-
board and blotters should again be changed and the prints
allowed to remain in the fresh dry cardboard and blot-
ters until bone dry. If the prints, being removed from the
cardboard slightly damp, are inclined to curl, they may
be flattened by moistening the back with a damp sponge,
returning them to the dry blotters and cardboard, placing
them under a little pressure and allowing them to remain
until bone dry.
370. Should prints show a tendency to blister in the
hypo or final washing, transfer them, after fixing, to a plain
salt water bath composed of water 64 ounces and salt 4
ounces. While blisters are more likely to appear in warm
weather, it is still a wise precaution to always use this bath
with collodio carbon paper and thus avoid this difificulty.
371. Practice Work. — As the chemical manipulation
of collodio carbon paper is very similar to platino or other
matte surface papers, the advantage of this product lies
in the fact that collodio carbon paper is coated on a heavy
stock and should, when finished, be similar to matte sur-
face paper which has been backed. With collodio carbon
paper there is no necessity for mounting as the prints lay
flat, but the paper should be printed with wide margins
and also be embossed. In printing collodio carbon paper,
of course, the negative must be blocked, and a larger print-
ing frame than the size of the original negative should be
employed. The opening over the negative may be oval or
square, in fact any shape to suit the negative used. Select
a few of your choice negatives and make a few prints. Use
paper large enough to give a liberal white margin and after
the prints are toned and dried, prepare an embossing device
to suit the size opening of the picture you are printing.
Emboss the print and engross with your signature. It is
then complete. Your first efforts should be filed in the
proof file for future reference.
Plate Sinking Device.
A Simplified Method for Light-weight Mounts or Prints.
Plate Sinking Mounts. — Modern ideas regarding the
dress for the photographic print have so revolutionized the
method of mounting that for even the ordinary class of cus-
tomers light-v^eight cards with large margins surrounding
the print, or prints made on heavy-weight papers, printed with
white margins, are preferred to old-style stock cards. This
being the case, the photographer with business instinct must
take it upon himself to adopt the simplest and most inex-
pensive method of preparing such mounts or prints to suit
his own trade.
The embossing of the mounting card, as well as of the
print itself, enters into the process to such a degree that the
most simple method is the one to adopt.
A few sheets of good-quality lo-ply cardboard from which
to cut small cards to use as blocks, a square, and a tooth-
brush handle, or similar instrument, are the requisites.
Lay the square on a convenient part of the work-table.
Then rule ofif a series of lines at right angles, 12 to 18 inches
long and y^ inch apart. (See illustration No. 7a.) Now, for
a 7x9 plate sunk opening you should use at least 11x14 thin
card mounts. This will give you 3 inches margin on sides
and top, and 3 inches at the bottom.
First, cut a piece of the heavy cardboard 7x9 inches
square. This we will call your card block. Lay this card
block on the table, having the top and one side correspond to
the inner lines previously drawn. To hold this card block
in place, insert two thumb-tacks, one at the top and the other
at the bottom. The sheet of light-weight mounting board,
having been cut the proper size, should now be laid over the
130
Plate Sinking Device.
130a
card block face side down and adjusted to the lines, measuring
2 inches from top and side. This will bring- your card block
in proper position under the mount. By adjusting the mount
to lines, the margin will be absolutely accurate. Now, take
the round end of a tooth-brush handle, or similar tool, and
with slight pressure locate the card block underneath the card
mount, by sliding the end of the tool over the card mount until
you strike the side of the card block ; then, with some pressure,
z\"
3"
21"
2"
1i"
1"
/\
SQUARE
CARD BLOCK
-TO THESE
LINES
Illustration No. ya
follow this edge all the way around. Turn the card mount
face side up and you have a plate sunk mount.
Plate Sinking Prints, — To plate sink a print first
measure the print within the margin. Say this measures 5x7
inches. Then, in order to allow for a 54 inch margin on top
and sides, and a y^ inch margin at the bottom, cut a square
card sy^^yH inches. Next, provide a transparent tissue
paper the full size of the print, including the white margin.
1 30b Library of Practical Photography.
and lay the card block in the center of this tissue, and, with
a pencil, outline the size of the card block on to the tissue.
Next, place the tissue which contains the outline of the card
block over the print to be plate sunk, adjusting the lines so as
to give the proper margins around the print. With this done,
next lay your card block on the tissue, within the lines ; then,
catching the print, tissue, and card block, holding them firmly
together, turn them over with the print on top but face side
down. Then run the plate sinking tool around on the back
of the print, following the outline of the card block just the
same as when plate sinking the mounting card.
Different size card blocks should be made to suit the
different size openings or plate sunk centers desired. The size
of each block should be plainly marked on the face to enable
you to readily select from your collection the size required.
CHAPTER XIV.
Toning Collodio Carbon With Aristo Gold and Platinum.
373. Introduction. — The following instruction is given
so that those who desire to employ Aristo gold and plat-
inum prepared solutions may do so. The instruction given
in the preceding chapters, however, regarding the manipu-
lating of collodio carbon papers, applies directly to this
work. It is simply necessary to supplement in the preceding
directions the following formulae and suggestions :
373. Printing and Washing. — Print until the high-
lights are well tinted, about as you would print for Aristo
Platino. The prints must be carefully washed through eight
changes of clear water to remove all free silver, as well
as the chemicals. Handle the prints over in each wash
water.
374. Gold Bath.
Water 64 ozs.
Aristo Gold, No. 2 1 dr.
Salt 20 grs.
Acetate of Soda (Sat. Sol.) % oz.
Borax (Sat. Sol.)— enough to turn red litmus paper
blue in one to two minutes.
375. This bath should be made up 12 hours before
using. Add gold enough to keep speed of bath at from six
to eight minutes. Watch the bath closely to see that the
highlights do not bleach. If they show bleaching add more
alkali, regardless of the color of litmus paper. Tone prints
in this bath to a purple, leaving considerable warmth in
the shadows. After toning, place prints in clear water.
131
132 Library of Practical Photography.
376. Caution. — Too much salt in the gold bath will
tend to flatten prints. An excess of alkali or a slow work-
ing bath will also produce flat prints with muddy whites.
377. Washing After Gold Bath.— Prints should be
thoroughly washed, as previously directed, in five changes
of clear water, to remove all free gold from the print, be-
fore placing in the platinum bath.
378. Platinum Bath.
Water 64 ozs.
Aristo Platinum (full strength) 3 drs.
Tone in this bath until the highlights are perfectly
clear, leaving but the slightest trace of warmth in the
shadows. Carefully wash the prints in five changes of
clear water and fix in the following bath:
379. Hypo Bath. — Hyposulphite of soda 18 hydro-
meter test, or 2 ozs. hypo crystals to 32 ounces of water.
Fix for 15 minutes. Prints must be handled constantly to
insure thorough fixing. After prints are fixed place them,
for five minutes, in a salt bath composed of 4 ounces of salt
to the gallon of water. Wash thoroughly in from 13 to 15
changes of water, handling each print separately. Then
wash for one hour in running water and the prints are
ready to mount, or dry.
380. Another Gold Bath.— For Black and White
Tones.
Water 64 ozs.
Aristo Gold, No. 2 3 drs.
Salt 15 grs.
Acetate of Soda (dry) % oz.
Also a piece of collodio carbon, cabinet size, that has been
over-printed, to ripen the bath. Make up bath 12 hours, or more,
before using.
381. When ready to tone, add enough alkali to keep
Toning Collodio Carbon. 133
the white drapery from bleaching, while the shadows tone
to a deep chocolate or purple.
383. Alkali.
Borax (crystals) 1 oz.
Water (boiling hot) 13 ozs.
383. Note, (a) In washing collodio carbon paper,
plenty of water should be used in the trays. In the win-
ter the chill should be taken ofiE the water. Baths of good
depth should always be used. Insufficient washing gives
flat, muddy prints.
384. Note, (b) Prints should tone in gold bath to
thoroughly clear the whites, and should not tone too fast,
six to eight minutes being fast enough, as too fast toning
gives flat prints. Too much alkali in the gold bath gives
muddy prints and yellow whites; too little, gives pink
whites and bleached prints. Taking prints too warm in
color from gold bath gives olive tones when they are dry.
Toning too far produces blue blacks. A ripened gold bath
will always give better results than a fresh one. Do not
use an old gold bath.
385. Note, (c) Instead of alum, some prefer salt as
a short-stop in the second water after the gold bath ; about
two ounces of salt to the gallon of water. Another good
short-stop is water made slightly acid with acetic acid.
386. Note, (d) If prints are not thoroughly washed
between gold and platinum baths and platinum and hypo
baths, muddy whites will result.
387. Note, (e) If prints show blue in platinum bath,
and have not been toned too far in the gold bath, reduce
the speed of platinum by adding water, and warm the bath
slightly. If they show too much olive strengthen the plat-
inum bath.
388. Note, (f) Should the whites show bleaching, or
cutting out, in the hypo bath, add enough saturated solu-
tion of borax to turn red litmus paper blue in one minute.
389. Note, (g) Prints on collodio carbon paper will
134 Library of Practical Photography.
dry a shade darker in tone. They should show a slight
trace of olive in the wash water if black tones are desired
when dry.
390. Note, (h) Dry prints can be straightened by
dampening slightly on the back with a sponge and then
subjecting them to pressure until dry, when they can be
trimmed and mounted.
391. Note, (i) If vignetted prints show yellow around
edge of vignette, the bath is too alkaline. Tone the vig-
netted prints first, adding more alkali for the plain prints.
CHAPTER XV.
Difficulties — Artists' Proofs on Collodio Carbon Paper.
392. The general manipulation of collodio-carbon paper is
practically the same as for other matte surface papers, and the
majority of the difficulties are covered in previous instruction.
However, a few additional difficulties you may encounter follow:
393. Eliminating the Free Silver. — If you have any difficulty
in this manipulation, it is probably because the water is acid. If
you find the water does not take on a clear, or possibly very slight
milky appearance, neutralize it by adding a small amount of car-
bonate of soda, which will cause the free silver to wash out more
readily.
394. Shadows Toning Before Whites Are Clear. — This will
happen if your bath contains too much gold, tones too rapidly,
or, if an excessive quantity of acetate of soda has been added.
Paper badly discolored from age, or which has been kept in a high
temperature, will tone in the shadows before the whites are clear.
395. Knowing When Prints Are Sufficiently Toned. — Practice
and close observation only can teach you this. Watch results.
Remember that the final tone is almost entirely governed by the
amount of toning in the gold bath. If the prints are too red when
coming from the gold bath, the resulting tone in the platinum bath
will be olive. Toning too far in the platinum bath will produce
blue blacks.
396. Chalky Whites. — Generally caused by acid water, or acid
hypo. Neutralize the water or the hypo and you will readily over-
come this difficulty.
397. Pink Whites or Highlights. — If there is insufficient alkali
in the gold toning bath, or if the toning bath is acid, pink whites
and highlights will be produced.
398. Muddy Shadows. — Caused by using too much alkali in
the gold toning bath.
399. Muddy Whites. — If prints are not thoroughly washed be-
tween the gold and platinum baths and between platinum and hypo
bath, muddy whites will result.
185
136 Library^ of Practical Photography.
400. Prints Turning Blue in Platinum Bath. — If the prints
turn blue in the platinum bath, even though they have not been
toned too far in the gold bath, it shows the platinum bath is too
strong. Reduce the speed by adding water and also warm the
bath slightly.
401. Prints Too Olive in Platinum Bath. — If they have been
toned to the proper depth in the gold bath when this occurs, it
shows that your platinum bath is too weak. Strengthen by adding
more of the platinum solution.
402. Edges of Mask Are Vignetted, Showing Yellow. — This is
a certain sign that your gold bath was over-alkaline.
403. Prints Blistering. — Blisters are generally caused by change
of temperature in baths or wash waters, and usually appear in the
hypo, or immediately after. When you are preparing the hypo bath
the fresh hypo crystals reduce the temperature of the water. Put-
ting the prints into this cold hypo bath and from there into the
warmer wash water causes blistering. To a great extent, this can
be prevented by the use of the salt bath after the hypo bath, as
already recommended in the instruction.
404. Whenever the wash water is found to be considerably
cooler than the air, the prints are likely to blister when lifted from
the water and exposed to the action of the warm atmosphere. Too
much carbonate of soda in the first wash water is also liable to
cause blistering. When it occurs from this cause it generally shows
in the first wash waters before toning. If this is the case, use
less carbonate of soda in the wash water. If you experience no
trouble with the staining of prints and prints wash freely, use no
carbonate of soda at all.
405. It is also claimed that another cause for blistering is gas
or air in the water. The presence of gas may easily be detected by
simply filling a glass with water directly from the tap. Examine
it by holding the glass up to the light. If there is gas present it
will show by minute bubbles rising to the surface and clinging to
the sides. Water like this should be allowed to stand in a barrel
or tub from six to eight hours before using, which will allow the
gas or air to pass ofif.
406. Still another cause, which we believe is the main one, is
the use of old paper. Cases have been noted where paper that was"
old and somewhat discolored blistered so badly when placed in
water that the entire emulsion floated from its support (the paper).
This has occurred not only on collodio carbon, but with Aristo
Platino and almost all other makes of matte surface printing-out
paper.
CHAPTER XVI.
Sepia Toning of Collodio Carbon, Aristo Platino, and all
Collodion Matte Printing-Out Papers.
407. Collodio carbon or any collodion matte surface
paper lends itself quite naturally to warm tones, and by
means of the different formulae employed any desired
shade ranging from a brick red to a yellowish brown can
be produced depending entirely, of course, upon the man-
ipulation of the formula employed and the preference of
the photographer.
408. Printing Quality of Negatives. — While beautiful
sepias can be made from any negative which is suitable
for collodio carbon or matte papers, you will find soft, bril-
liant negatives, full of detail, give the finest sepia prints.
Do not misunderstand what is meant by a soft negative. A
thin, under-exposed or under-developed negative is not a
soft negative. A negative fully timed, fully developed —
not over-developed, but developed so the highlights as
well as the shadows are filled with detail — printing fairly
rapid, is a soft negative.
409. Proper Depth of Printing. — For the toning
formula given in this instruction, print two shades lighter
than for black and white prints. The same rules govern
the varying printing qualities of negatives for sepia, as
for black and white prints.
410. Washing. — It is equally as essential for the sepia
tones as it is for the black and white prints, that the pre-
serving chemical be entirely eliminated from the paper
before toning. This can only be accomplished by thorough
1S7
138 Library of Practical Photography.
washing according to previous instruction. It will require
at least from 6 to 8 changes of water, depending on the con-
dition of the paper. Fresh paper requires more washing
than old. Between each change the prints must be picked
over and over.
411. When thoroughly washed tone in the follow-
ing bath, which should be made up at least two hours
before using:
Water 64 ozs.
Acetate Soda (Sat. Sol.) 6 drs.
Chloride of Gold (Stock Sol.) 1 oz.
It is essential that this bath be made up at least two hours
before using, to insure thorough ripening.
412. Toning. — To tone proceed as before directed,
toning first one or two test prints. If you find that the
whites bleach add more borax. Tone until the highlights
are clear and the shadows a bright cherry red. This bath
must not be too strong and yet must not tone too slowly.
The proper tone will be reached in from two to four min-
utes. When your prints reach the proper stage, that is,
when the prints are clear, place them in fresh water.
Most failures are caused from over-toning in the gold bath ;
so work cautiously and tone only sufficiently to remove the
yellow from the print, leaving the shadows very red but
clear and crisp. Always judge the prints by looking
through them by transmitted light.
413. As you proceed with your toning occasionally
pick the prints over in clear water, so they will not become
matted together. If the batch of prints is an unusually
large one, occasionally change the water. As a large num-
ber of prints will carry a considerable amount of gold
from the toning bath into the wash water in which the
prints may continue toning, a change of the wash water is
recommended after half the batch has been toned. When
all the prints are toned, wash through two clear waters
Study No. 13
IN HARBOR
See Page 386
By Wm. H. Phillips
^
PORTRAIT
Study No. 14
By Rudolf Eickemeyer
oiiARY
L
ASror-t, LENOX
TILCtN FOUNDATIONS
Sepia Toning of Collodio Carbon. 141
(using plenty of water), and place in the following check-
ing bath :
414. Preparing Alum Bath. —
ALUM BATH.
Water 64 ozs.
Sat. Solution of Alum 2 ozs.
415. Keep prints in this alum bath for 10 minutes,
handling them over carefully. The prints will not show any
change in this bath, as the alum is used only to set the
tone. Remove the prints to clear water and give them at
least four changes, picking them over and over during each
change. They will then be ready for fixing.
416. Preparing Fixing Bath. — This bath should be
prepared by hydrometer test 15 grains strong, or if hypo
crystals are used — 3 ounces of hypo to 45 ounces of water.
417. Fixing. — Proceed with the fixing as previously
instructed for the black and white tone on collodio carbon.
418. Washing. — After prints are fixed, wash by hand
through 15 to 18 changes of water, handling each print
separately, in order to entirely eliminate the hypo. They
will then be ready for drying.
419. Remarks. — Sepia toned prints will dry about
two shades colder in tone than they appear when wet, so
calculate accordingly. Should prints show bleaching in
the hypo bath, a few drops of strong water of ammonia
will stop this trouble. Or, a half ounce of borax to each
gallon of fixing bath will also prevent bleaching. Alum
should always be dissolved in scalding hot water; it will
then dissolve more readily. As alum throws off a cer-
tain amount of sulphur, by dissolving in hot water the
sulphur will be released more quickly. Allow the alum
to stand until cool and there will be less danger of sulphur-
ization.
420. The use of salt in the gold bath gives browner
tones. Toning further in the gold produces colder tones.
142 Librar}) of Practical Photography.
Prints from soft, snappy negatives make the best sepia
tones.
431. Warmer Sepia Tones.* — Prints for sepia toning
in this bath must be printed only one shade deeper than
you desire the finished print. The prints will not lose any
in washing, and as the gold bath is weak and you do not
tone deeply — only enough to clear the whites — you will
readily understand why it is not necessary to print so
deep.
423. Salt Bath. — Wash your prints as usual by hand,
but in the third change of water add one ounce of salt to
every two quarts of water that you are using for this wash.
Separate the prints carefully, and it is well to handle them
over several times in the salt bath until they become a
bright red. It is for the purpose of turning the prints
red that the salt is added. After this bath, give the prints
three or four more changes of fresh water.
423. Preparing Uranium Gold Toning Bath. —
Water 60 ozs.
Nitrate of Uranium 1 dr.
Chloride of Gold (Stock Sol.) 1 oz.
Salt 2 ozs.
424. Neutralize this bath with bicarbonate of soda.
In previous baths we used borax for neutralizing; for this
bath, however, use nothing else but the bicarbonate of
soda. Make the bath quite alkaline, and keep the whites
from bleaching by the addition of bicarbonate of soda.
Nitrate of uranium toning bath gives exceedingly warm
tones. Bicarbonate of soda as a neutralizer has the same
effect, while salt holds warmth in the toning bath and
assists in evening the tones; therefore, the above method
is recommended for very warm tones. This bath must
*Note. — While this bath gives warm tones, yet prints toned in
a nitrate of uranium bath are not always permanent, so for that
reason it is not recommended.
Sepia Toning of Collodio Carbon. 143
not work fast, but tone slowly and evenly. Just as soon
as the whites are clear the print is toned and must be
placed directly into a short-stop bath prepared as follows:
Water 60 ozs.
Saturated Solution Oxalic Acid 1 oz.
425. This solution sets the tone, the prints becoming
very acid in this bath, so the acid must again be eliminated
from the prints by thorough washing before fixing; other-
wise sulphurization will take place.
426. After all are toned wash in three changes of
clear water. They will then be ready for fixing.
427. Preparing Hypo Bath. — Hydrometer test 10
grains strong, or if by weight.
Hypo 1 oz.
Water 30 ozs.
428. Fix for 15 minutes, handling the prints over
constantly during fixing. After fixing place the prints into
a strong salt bath, 4 ounces of salt to each gallon of water;
the salt will prevent blistering. After salt bath, wash
thoroughly by handling the prints over separately. Sepia
prints must not lie in the water and soak for any great
length of time, but must be washed as quickly as possible.
Twelve to fifteen changes of water, the prints being care-
fully handled over and over during each change, will wash
them thoroughly. The brilliancy of the prints depends
upon speedy and careful manipulation throughout.
429. Remarks. — Do not use any other neutralizing
agent than bicarbonate of soda. Do not have your toning
bath too strong. Be sure and have your bath strongly
alkaline. Salt in this bath will give warm tones. Do not
tone beyond the clearing of the whites, the shadows re-
maining very red. This should be accomplished in from
three to four minutes. Further toning produces cold tones.
You can better judge when prints are toned far enough
in this bath by comparing with a fresh untoned print.
144 Library^ of Practical Photography^.
Place an untoned print beside the print you have toned and
it will serve as an excellent guide. Do not allow prints to
lag or lay in wash water, but handle them through the
different waters as rapidly as possible and get them dry.
The rapidity with which you can accomplish this will
govern the degree of brilliancy of the results obtained.
430. Pure Platinum Sepia Toning Bath. — No gold.
Platinum bath only. Note. This bath is especially recom-
mended for sepia brown tones and is an excellent univer-
sal bath.
431. Depth of Printing. — Print as deep as desired for
the regular black and white tone, or until the highlights are
slightly tinted.
433. Washing. — Wash in four changes of clear water,
and in the fifth add about a handful of salt to 2 gallons of
water. Allow the prints to remain in this bath from 5 to
10 minutes, picking them over to separate them. Leave
in the bath until they become a decided yellow in the high-
lights, then wash in four changes of clear water, and tone in
the following bath to color desired when finished.
433. Preparing Toning Bath. —
Water 60 ozs.
Platinum Stock Solution 8 drs.
Salt 1 oz.
If prepared Arts to Platinum No. 2 is used in place of the above
Platinum Stock Solution, take 2 drains.
434. Toning. — Proceed to tone your prints in this
bath by handling them exactly as you were previously in-
structed. The prints should tone in from 6 to 8 minutes.
If they tone more slowly, add more platinum. Pay no
attention to the bronzing of the prints in the shadows, as
this will disappear when the prints are completely toned.
Tone the prints until the desired color is reached.
435. Washing. — After prints are toned wash in four
changes of clear water. In the second water, after toning,
add a few drops of saturated solution of carbonate of
Sepia Toning of Collodio Carbon. 145
soda. The carbonate of soda being strongly alkaline, kills
the action of the acid which was carried into the wash
waters from the platinum bath.
436. Fixing. — Fix prints in the hypo bath, 18 hydro-
meter test, for 20 minutes.
437. Salt Bath After Fixing. — After fixing place the
prints in salt water, 3 ozs. salt to a gallon of water, picking
them over and over for 10 minutes. After this wash and
dry in the usual manner.
438. The platinum bath can be used over and over
again by using one-half old bath and one-half fresh water,
adding enough platinum to make the speed of the toning
6 to 8 minutes. The best results are generally obtained
when using part old bath.
439. CofTee Tone. — A very rich brown tone can be
obtained on matte surface, or collodio carbon paper, by
printing the same as you would for black and white prints
and washing in the usual way. Tone first in your regular
platinum bath, omitting the gold bath entirely. After ton-
ing, fixing and final washing, place them in a bath of
strong cofifee. The cofifee of course must be used cold.
Allow them to remain in the bath until the desired tone
is obtained, which will require from 10 to 20 minutes.
After toning, wash in one change of water and dry between
blotters, or if light weight matte surface papers are used
lay the print on glass and back it up with backing paper.
When dry the prints can be cut off the glass and they will
lay perfectly flat.
IV — 9
CHAPTER XVII.
Part I.
Sepia Tones on Matte Papers With Aristo Gold.
440. Printing. — Prints should be printed the same as
for plain gold toning; about two shades darker than the
finished print.
441. Washing. — Wash prints in two changes of clear
water and immerse in the following bath for five minutes:
Water 100 ozs.
Salt 3 ozs.
Then wash in three changes of clear water and tone
in a bath made up as follows :
443. Gold Bath.—
Water 64 ozs.
Aristo Gold, No. 2 1 dr.
Uranium Nitrate 3 grs*
Salt 60 grs.
Add enough carbonate of soda (saturated solution) to turn red
litmus paper blue in five seconds.
443. This bath should be made up about one hour
before using. Should the bath tone too slowly, add
enough gold to keep toning speed from five to six minutes.
Tone prints to the exact color you desire them when fin-
ished, and transfer them from the toning bath into the
following check bath :
Water 100 ozs.
Sulphite of Soda (Saturated Solution) 1 oz.
147
148 Librar}) of Practical Photography.
444. After all prints are toned, wash them in three
changes of clear water, and fix in the following bath for
20 minutes:
445. Hypo Bath.—
Water 100 ozs.
Sulphite of Soda (Saturated Solution) 1 oz.
Hyposulphite of soda, enough to make bath 15 hydrometer test.
446. From fixing bath throw prints into strong salt
bath to prevent blisters, then wash through 13 to 15
changes of clear water, handling prints thoroughly in each
wash water, or wash under a sprayer for 20 minutes, hand-
ling constantly, then lay out to dry.
447. Note, (a) Owing to the extra weight and thick-
ness of the paper the chemicals are not easily washed out.
Care and thoroughness in the washing are necessary.
448. Note, (b) Prints should be toned to the exact
color desired, as the check bath holds the tone, and prints
properly handled will dry to the color they were when
removed from the gold bath.
449. Note, (c) Handle prints constantly in hypo bath
to insure thorough fixing.
450. Note (d) Should the check bath after toning
show a tendency to carry the prints back to a warmer tone
than when they left the gold bath, reduce the sulphite
one-half. The difference in water and in the conditions
you are working under, in many places, may have a ten-
dency to give the prints a slightly warmer tone, if they
are left in this bath over 10 minutes.
451. Note (e) Soft, brilliant negatives, full of detail,
give the finest sepia prints.
Warmer Sepia Tones.
452. Printing. — Print a shade lighter than for gold
tones.
453. Washing. — Wash in eight changes of clear water
Sepia Tones on Matte Papers. 149
before toning to thoroughly remove all free silver. Handle
prints over in each wash water and tone in the following
bath:
454. Gold Bath.
Water 64 ozs.
Acetate of Soda (Saturated Solution) 6 drs.
Aristo Gold, No. 2 1 dr.
Borax, enough to turn red litmus paper blue in % minute, or
sufficient to prevent high lights from bleaching.
455. Tone in this bath until the yellows are just out of
the prints. The highlights should be clear and the shadows
a bright cherry red. The bath must not be too strong and
should tone slowly. This tone will be reached in from four
to six minutes. When toned place in clear water. Wash
through two clear waters and place in the following bath:
Water 64 ozs.
Alum (Saturated Solution) 2 ozs.
456. Keep prints in this alum bath for 10 minutes,
handling them over. Prints will not show any change in
this bath, as it is only used to set the tone. Wash prints
when they come from this bath in four changes of clear
water.
457. Hypo Bath. — Fix in hypo bath, 15-grain strong
(hydrometer test), or two ounces hypo crystals, to 42 ounces
water, for 15 minutes. After prints are fixed, wash two
hours in running water, or 15 to 18 changes by hand. Lay
out to dry. After prints are dry they can be straightened
by dampening slightly on back with a sponge and then
putting them under pressure until dry, when they are
ready to be trimmed and mounted. Prints toned in this
way will dry about two shades colder.
458. A Simple Formula for Sepia Tones. Printing. —
Print about two shades lighter than for black and white
tones.
459. Washing. — Wash in four changes of clear water,
150 Library) of Practical Photography.
and in the fifth water add two ounces salt to every gallon
of water. Allow prints to remain in this wash five minutes,
or until they have turned to a golden yellow. Then wash
in three more changes of water, and when finished, tone
to the color desired in the following bath :
460. Gold Bath.—
Water 80 ozs.
Aristo Gold, No. 2 1 dr.
Salt 1^ oz.
461. Borax, enough to turn red litmus paper blue in
10 seconds. Speed of toning, about 8 to 10 minutes.
462. After prints are toned place in stop water, two
ounces salt to the gallon of water.
463. Hypo Bath. — Then fix in hypo bath, 15 grains
hydrometer test, for 15 minutes. Wash as usual.
464. This formula will produce any tone from a
bright cherry sepia down to a cold brown, the intermediate
tones depending on depth of toning.
Sepia Toning with Carbonate of Soda.
465. Washing. — Wash prints in three changes of clear
water (about 70 degrees Fahr.), then place them in a salt
bath (13 ozs. salt to the gallon of water) for five minutes,
separating prints constantly, and wash in three more
changes of clear water.
466. Gold Bath, — Tone in plain gold bath made alka-
line with a saturated solution of carbonate of soda. Speed
of bath should be about seven minutes. Try it with a
print before toning the batch to see that it will not cut
out the highlights, or tone too fast. Tone to the color
desired in the finished print and put into strong salt check
bath.
467. Hypo Bath. — Wash through one water and fix
for 15 minutes in hypo bath 12 grains strong. From hypo
Sepia Tones on Matte Papers. 151
bath place prints in a salt wash (four ounces salt to one
gallon water) for five minutes, then wash as usual.
Part 11.
Carbon Purple Tones.
468. Printing. — Prints should be made a medium
depth ; that is, deeper than for sepia tones, and not quite as
deep as for black tones. In a general way, print until the
highlights are only slightly tinted.
469. Washing. — Wash prints through four changes
of water; for the fifth change take two gallons of water, to
which add two drams saturated solution of sulphocyanide
of ammonia. Put prints into this bath, separate them
thoroughly, handling them over for five minutes, then
wash through four changes of clear water and tone in the
following bath :
470. Toning Bath.—
Water 128 ozs.
Aristo Gold, No. 2 (full strength) 3 drs.
Phosphate of soda (saturated solution), enough to turn red
litmus paper blue in six to eight seconds.
471. Tone until a slight purple cast is noticeable
through the half-tones. Prints should be made to tone to
this point in about five minutes. Then place the prints
into a stop water as follows :
Water 2 gals.
Sulphite of Soda (Saturated Solution) 1 oz.
472. The last prints thrown into this stop water
should be allowed to remain for 10 minutes. Then wash
through four changes of clear water.
473. Hypo Bath. — Fix in hypo bath, 15 hydrometer
test, for 15 minutes. When fixed, place in salt water (a
handful of salt to one gallon of water) for five minutes,
152 Library of Practical Photography.
then wash thoroughly through at least 12 changes of
water.
474. Note, (a) The gold bath should be fresh; it
should not be made up more than one-half hour before
using.
475. Note, (b) The sulphocyanide bath is used to
prevent the whites from bleaching and prepare the prints
for a uniform toning in the gold bath.
476. Sepia Tones on Aristo Platino Paper. — For rich
sepia tones the paper should have age enough to print a
rich cherry red color.
477. STOCK SOLUTION NO. 1.
Sulphocyanide of Ammonia 1 oz.
Water IVz ozs.
478. Print fully one shade darker than for plain gold
toning, carefully avoid printing too deep. Wash prints in
three changes of clear water and immerse in the following
bath:
Water 64 ozs.
Stock Solution No. 1 V2 dr.
479. Handle prints over in this bath until they have
turned a decidedly yellow color, which will take from two
to eight minutes ; then wash in four changes of clear water
and tone in the following bath :
Water 30 ozs.
Aristo Platinum (full strength) 3 drs.
480. Tone in this bath until by transmitted light the
yellow has disappeared, the highlights have cleared, and
the prints are a rich cherry color. This takes from five
to eight minutes. After prints are toned, throw into clear
water made slightly alkaline with liquid ammonia. Then
wash in four changes of clear water and fix in plain hypo (15°
hydrometer test) from fifteen to twenty minutes, or until
Sepia Tones on Maite Papers. 153
the desired color is obtained ; then wash and mount same as
usual.
481. Should warmer tones be desired, proceed as fol-
lows : After prints are through the platinum bath as given
in the above formula, throw into water made slightly alka-
line with ammonia ; wash through four waters and place
prints in the following:
Saturated Solution of Alum i^ oz.
Water 64 ozs.
482. Handle prints in this alum bath five minutes;
then wash through three changes of clear water and fix in
plain hypo bath, 15 grain strong, hydrometer test, for
from fifteen to twenty-five minutes, or long enough to
clear the yellow and bring the print to a rich cherry color.
Wash and mount same as usual.
483. Principal Causes of Failures. — Printing too dark.
Too much of No. 1 causes bleachings. Not toning enough in
platinum bath causes yellow prints. Not fixing until prints
are clear and the yellows are out, will give yellow prints.
484. Notes. — All sepia prints should be washed quickly
and mounted, ten to twelve changes of water being suffi-
cient. Continued soaking in water that is alkaline will
darken the tone.
485. Carefully test the hypo bath. If not alkaline, add
a few drops of liquid ammonia, or enough to turn red lit-
mus paper blue in three or four minutes.
486. Continued fixing will give darker tones.
487. Practice Work. — All negatives do not produce
good sepia prints. Medium strength, snappy negatives are
the best. However, for the experience to be gained, it
is advisable to make prints from different classes of nega-
tives, following instructions closely regarding the depth
of printing, etc., and observing the appearance of the prints
from the different negatives as they enter and leave the
various baths. As the final color or tone is governed in the
154 Library of Practical Photography.
toning bath, a little manipulation here will enable you to
produce almost any effect desired.
488. A liberal number of experiments should be made
and each of the different baths should be given a trial and
a record proof kept of the results of each bath. Only by
comparing the prints can you readily decide which bath is
preferable to employ. Should you meet with failures dur-
ing the manipulation, refer to the Difficulty Department
which will undoubtedly advise as to the cause, prevention
and remedy for your trouble. Careful notes should be
made on all test prints and they in turn should be filed
in the proof file for future reference.
CHAPTER XVIII.
Difficulties — Sepia and Purple Tones.
The difficulties which we have already enumerated for col-
lodio carbon black and white will, in most cases, apply to the
sepia toning. The following however are a number of difficulties
which apply directly to sepia toning.
489. Prints Too Cold in Tone. — This is simply because you
toned a trifle too far — allowed your prints to remain too long
in the toning bath. Remember that the prints in drying down be-
come about two shades colder than they appeared when wet.
490. Highlights Clear but Shadows not Toned.— This would
indicate a bath too acid. Use more alkali. If your bath is prop-
erly prepared and the prints correctly washed before toning, you
should have no trouble. The only way to overcome this difficulty
is to use great care both in the washing of the prints and the
preparing of the baths. Also employ enough alkali to restrain
the highlights from bleaching until the shadows are toned.
491. Judging When Prints Have Toned Sufficiently.— Watch
the highlights, the whites, and the whitest parts of the print. When
these are clear and mellow — not bleached — the prints are toned,
regardless of the red in the shadows. This is, of course, governed
almost entirely by the amount of preliminary washing and the
proper amount of alkali in the toning bath.
492. Retaining Warm Tone. — Do not overlook the fact that
your prints will tone down considerably when drying. Take them
out of the toning bath a trifle warmer than you would desire
to have the finished print and there will be no trouble in retain-
ing the warm tone.
493. Toning Too Fast. — This would clearly show that your
bath is too strong. Reduce by adding water, and carefully test
your bath with litmus paper to keep it properly balanced.
494. Prints Bleaching in Hypo. — If the prints bleach in hypo
it is a certain sign that either the hypo bath is much too strong,
or it is acid. Hypo bath for sepia prints should not be so strong
as for black and white — if acid neutralize with borax.
166
156 Library of Practical Photography.
495. Prints Sulphurizing. — Prints that are not properly washed
before toning, thereby carrying acid into the toning bath, are
apt to sulphurize. If the hypo is acid the prints are likely to
sulphurize. See that your prints are properly washed and that
your hypo tests neutral or slightly alkaline. If you are producing
the sepia tone in the platinum bath only, carefully test the last
wash water before you place prints in the hypo. See that this
water is neutral or slightly alkaline. There will then be no danger
of carrying acid from the platinum into the hypo, causing sul-
phurization.
496. Streaks in Prints Before Toning. — This shows either in-
sufficient washing or that the prints have been stacked together
for too long a time without separating.
497. Streaks in Prints After Fixing. — If you allow prints
to remain in the hypo, failing to separate them often enough,
streaks are apt to be produced more especially if the hypo bath
should be acid. Prints Lacking Brilliancy. This is almost a cer-
tain sign that your manipulation, toning, washing, etc. (more
especially the washing), were too slow.
498. Purple Tones. Obtaining Too Deep a Purple Tone. —
This is because you carried your toning a trifle too far. Allow
for the fact that the fixing and drying down of the prints will cause
the tone to become a few shades colder.
499. Proper Depth of Printing. — This difficulty has been cov-
ered in depth of printing for black tones, and the same remedy will
apply for sepia toning.
500. Prints Toning Too Slow. — If the prints tone too slowly
add a trifle more neutralized gold.
501. Prints Toning Too Fast. — Reduce the strength of the
bath by adding more water.
Printing Cabinet for Electric Light.
502. One of the most serious handicaps to photographers has
been their inability to finish orders on printing-out papers on dark,
cloudy days. The Aristo Lamp has been brought into use not only
for portraiture, but also for printing, and the Aristo printing cabi-
net, shown in Illustration No. 8, is so arranged that the printing
frames receive a perfectly even illumination. This cabinet is fifty
inches in diameter, five feet high, weighing about 112 pounds. The
top and bottom sections each contain ten 8 x 10 size printing
frames; the central portion is divided into ten sashes, each of
which will carry four 5x7 frames. Thus it will be seen that when
Illustration No. 9>4
Vignetting' Card
tor Gaslijrht Prints
See Paragraph No. Sol
Illustration No. 8
Aristo Printing Cabinet
See Paragraph No. 502
wmmmemmimsmmim
Study No. 15
HOMEWARD BOUND
See Page 386
Bv R. E. Wkf.ks
V YORK
r jJBRARY
Difficulties — Sepia Tones. 1 59
the cabinet is completely filled with frames it has a capacity of
forty 5x7 and twenty 8 x 10 size frames.
503. Should one desire to work only a portion of the capacity
of the cabinet, and handle a fewer number of frames, all one needs
to do is to place pieces of cardboard in the openings not occupied
by frames.
504. In case it is desired to print from 11 x 14 or 14 x 17 size
frames, one can easily remove one of the sashes and fit the larger
frame in the space made by the removal of the sash.
505. The cabinet is made to revolve and can be turned by the
simple pressure of a finger. A printer can sit in an ordinary office
chair with a table for changing close by, and reach every frame
in the cabinet, change his prints, etc., without moving his chair.
CHAPTER XIX.
Platinum Printing — Black and White.
Introduction.
506. Of all the printing processes, especially those
best for the busy photographer, there are none offering the
advantages of the platinotype, or platinum process. Among
pictorial workers and professional photographers no pro-
cess occupies a more prominent place. For simplicity of
manipulation and charming results that yield most pleasing
gradations of light and shade, together with a wide range
of half-tones of exquisite delicacy, no printing process is
more popular than platinum.
507. Theory of Process. — The manufacture of sensi-
tive platinum paper differs quite materially from gelatin
and collodion papers, in that it is not necessary to employ a
substance to hold in suspension the sensitive salts, as is the
case with the regular printing-out papers. Platinum paper
is sensitized by coating a chemically pure paper with a
solution of ferric oxalate and potassium chloro-platinite.
When exposed to light the ferric oxalate is changed to fer-
rous oxalate, and the ferrous salt, when in solution has the
power to reduce potassium chloro-platinite to metallic plat-
inum. As a solution of potassium oxalate will dissolve the
ferrous oxalate, it is employed as the developing agent.
After the picture has been developed a permanent image is
secured by placing the print in a very weak solution of
hydrochloric acid, which removes all chemicals, leaving only
the metallic image of platinum.
508. Exposure varies according to the character of
161
162 Library of Practical Photograph}).
the negative and the condition of the light, but, when the
exposure is complete the whole process of developing,
clearing, washing and even mounting can be accomplished
in from fifteen to twenty minutes. Taking into considera-
tion the length of time required to print, wash, tone, fix and
finally wash the gelatin and collodion prints, it will be
clearly seen that the platinum process is a great time saver.
In addition to this, there is no difficulty in securing even
tones, no troubles with blisters, stains, discoloration, fading
and many of the other difficulties with which the photog-
rapher has to content in other processes. Platinum paper
possessing a matte svirface has a texture which gives the
picture an appearance similar to a pencil drawing or en-
graving.
509. The one important caution which must be ob-
served in handling platinum paper is to keep it perfectly
dry, as it is very susceptible to dampness. The lump
of calcium chloride in each can should be kept perfectly
dry, to insure the paper being properly preserved. Damp-
ness has almost the same action on the iron salts as
light. It changes the ferric oxalate to ferrous oxalate. For
this reason a damp paper must not be printed as far as
a perfectly dry paper, because it will develop up so quickl}^
it will get beyond control and become too dark. Do not
print from damp paper. If it is damp dry it thoroughly be-
fore printing.
Platinum Paper — Black and White.
510. Grades of Platinum Papers. — Platinum paper is
made in different grades to suit various purposes. For
instance, the paper manufactured by Willis & Clements,
known as the W. & C. Paper, is made in six different grades :
Medium heavy smooth (Labeled B B) ; heavy smooth
(K K) ; heavy medium rough (T T) ; heavy rough (C C) ;
extra heavy smooth (Y Y) ; extra heavy rough (Z Z).
511. Paper manufactured by the American Aristotype
Platinum Printing. 163
Company is made in five grades, as follows: Heavy
smooth (Labeled H S) ; heavy rough (H R) ; extra heavy
smooth (E H S) ; extra heavy rough (E H R), and medium
rough (ivory tint).
512. The Angelo platinum paper is made in two
grades, smooth and rough.
513. There are numerous other papers manufactured,
but all are manipulated in practically the same manner,
the only difference being that some require deeper print-
ing than others; while there are brands which require
slower and further development. Warmer or colder solu-
tions are recommended for various papers. The general
manipulation in all, however, is about the same, any mater-
ial change or special manipulation necessary for any partic-
ular brand of paper being given in the formula which ac-
companies each package sent out by the manufacturer.
The photographer who has learned to manipulate one grade
of platinum paper can generally handle all grades.
Brief General Instruction.
514. Platinum paper is a semi-developing out paper,
the image being only partially visible when printed.
515. Printing. — For printing, place the paper in a
printing frame in the regular way, with the yellow sensi-
tive side in contact with the negative. Print in the sun-
light until the half-tones and all detail are visible. As the
paper is quite sensitive it should be placed upon the nega-
tive and inspected in subdued light during printing.
516. Developing. — The print is developed by immers-
ing in the developer from 30 to 60 seconds, or until all
the detail is fully developed.
517. Fixing. — Directly from the developing bath the
prints, without rinsing, are immersed in the acid fixing
bath, containing 1 ounce C. P. muriatic acid to 60 ounces of
water. After all prints are developed they must be given
jv — lO
164 Library) of Practical Photograph}).
four acid baths, of the same strength as the first bath and
then washed by handling over in from four to six changes
of clear water. They should then be placed between blot-
ters to dry.
518. Note: The developing salts supplied by the
manufacturers are sold in one-half and one pound boxes,
mixed in definite proportions, and must all be dissolved at
one time, otherwise the tone of the prints will not be uni-
form.
CHAPTER XX.
Platinum Printing — Black and White.
Detailed Instruction.
519. Platinum paper is put up in tin tubes and sealed
with rubber tape. The sealing is to prevent the air from
coming in contact with the paper, and to keep it free from
moisture. Each can is supplied with a small package of
calcium chloride preservative. This preservative is used
to absorb all moisture. If the can were left open for any
length of time the air would affect the paper, and from
paper affected thus it is almost impossible to produce good
prints.
520. The effect of dampness is a lack of vigor, a gen-
eral muddiness of tone, and where the paper has been ex-
posed to its influence for some days it injures the beauties
of the whites. The paper will keep for months, but must
be stored in a cool, dry place, in the cans in which it is
supplied.
521. In extremely warm summer months a good plan
is to place the paper in a refrigerator, or some other cool
place. The can containing the paper should always be per-
fectly sealed with a rubber tape.
522. Caring for and Preserving the Paper. — The ma-
jority of failures in platinum printing and developing are
caused by neglect in caring for and preserving the paper.
The greatest trouble is caused by the paper becoming moist
or damp. Where it is purchased in cut sheets there is not
so much danger of moisture as when you buy it in rolls
and cut it up to the required sizes.
165
166 Library) of Practical Photograph]).
523. For the convenience of consumers the manufac-
turers supply this paper in all regular sizes, a dozen sheets
to a can, and it is advisable for those who do not use the
paper in large quantities to buy the cut sheets, and only a
dozen at a time. For those who are using large quantities
of paper, of course, it should be purchased in rolls, as there
is considerable saving in cutting the paper to all sizes.
524. Care, however, must be exercised in the hand-
ling of the paper. Never allow the fingers to come in con-
tact with the surface of the paper. It is advisable to cut
up only enough for the day's printing, then replace the
roll of paper and preservative in the can, sealing it up care-
fully with the rubber tape. The cutting of the paper must
be done in a subdued light, and the room must be perfectly
dry.
525. The paper which you have cut for use should
be placed in another can or light-tight box containing
preservative. A wooden box lined with black paper and
fitted with a light-tight hinged lid is preferable, and the box
should be made large enough to hold both the printed and
unprinted paper; a partition in the center will separate the
one from the other. Always place the paper in the box
sensitive side down. Keep the lid closed as much as pos-
sible. If the box is allowed to remain open, or the paper
removed from the tube for a few hours before using, the
efifect of the dampness will be noticeable in the lack of
strength and brilliancy in the print. Dampness will cause
the highlights to print gray instead of pure white.
526. Loading the Printing Frame. — As platinum
paper is very sensitive to strong light, loading the frame
should be done in diffused light. Direct light falling on this
paper will ruin it and cause it to fog. For the benefit of
those who have never used this paper, we would say that
the sensitive side is the side which appears quite yellow.
Place your negative in the frame, after carefully dusting it,
and then place the paper on the negative, with the yellow
side next to the film.
527. While it is not absolutely necessary, yet it is ad-
Platinum Printing. 167
visable to back up the paper on the printing frame with a
piece of heavy cloth, paper or thin rubber pad. The nega-
tive and pad must be entirely free from moisture. The pad
will answer two purposes ; first, absorbing any moisture or
dampness, and second, to bring the paper in perfect con-
tact with the negative.
528. Exercise care in placing the paper upon the nega-
tive, that you do not touch the sensitive surface with the
fingers. This is important, more especially when the
hands perspire freely, as the acid moisture from the fingers
will stain the paper, and when developed will show black
stains.
529. Quality of Negative Required. — Any negative
that will make good prints on any printing-out paper will
give good platinum prints. Printing from a very thin, weak
negative will always result in flat prints. A medium fast
printing negative, with plenty of detail in the shadows and
plenty of strength, still retaining the detail in the high-
lights, will always give good prints. Under-exposed and
under-developed plates are practically worthless for plat-
inum printing.
530. The Grade of Paper to Use. — Rough paper
should be used when sketchy effects are desired, and the
negative should have good strong printing quality. In
portraiture this grade should be used on large heads, but
never on small ones. The smoother grade paper should be
used where fine detail is desired and for small pictures.
531. Printing. — Correct exposure is ascertained by
inspection of the paper in a rather weak white light in the
usual manner. The sensitized surface before exposure to
light, as before stated, is of a lemon color. During exposure
the parts affected by light becomes a grayish brown color,
and sometimes an orange tint under those parts of the
negative which present clear glass or nearly so. As a
general rule, all parts of the picture except the highlights
should be visible when the exposure is complete. Damp
paper gives a less visible image than dry paper; hence
it may easily be over-exposed.
168 Library of Practical Photography.
533. When printing from thin negatives, care must
be taken not to over-expose. As soon as the image is
faintly visible it may be considered enough. Negatives
that have been well timed and developed to fair density will
be found the best. A thin, weak negative will give gray
prints ; on the other hand, negatives under-timed and under-
developed will produce black and white prints without de-
tail in the middle or higher lights. Such negatives should
be masked. (See "Doctoring Negatives.")
533. The secret of platinum printing is judging the
proper depth to print. It is advisable for a first experiment
to use only small pieces of paper for printing until you
have learned to judge the proper printing depth, then the
regular size can be applied. It is also advisable to select
a normal negative to print from with your first experiments.
After loading the frame, place in sunlight and print until
the image is visible in all parts, although only faint outlines
are visible in the stronger portions of the negative. The
print before developing will look light and have a weak
faded appearance.
534. Judging Proper Depth of Printing. — A very good
way to judge when your platinum print is printed to the
proper depth is to be guided by the strongest highlights.
If in a portrait, they are generally found upon the forehead
or nose ; in landscapes, usually in the sky. These being
the highest lights they must not be tinged a particle.
Print up to that stage, and no more, and use these highlight
portions for your guide in printing. After a few trials
you will be able to judge exactly.
535. The exact depth to print can only be determined
by experience, for different classes of negatives will require
different depths of printing. Strong negatives should be
printed in strong light, and when printing in the open sun-
light use one thickness of tissue paper or a ground-glass
over the negative. Weak negatives should always be
printed in subdued light.
536. Caution — Avoid over-printing; always endeavor
to print to the exact depth that will give a nice, bright
Platinum Priniing. 169
print with about one-half minute development. A print
which is slightly under-exposed will be improved by long
development. One which is over-exposed, however, can-
not be improved in the development.
537. Doctoring Negatives in the Printing. — There are
few negatives made that cannot be improved somewhat by
a little dodging in the printing. Platinum paper lends
iiself very naturally to dodging. For notes on dodging
in the printing see "Special Pointers for the Printer."
538. Examining Prints During Printing. — Prints
should be examined in subdued or artificial light. Care
must be exercised that the prints are not turned back too
far during examination, as this would not only make fog-
ging more likely, but would also be apt to break the paper.
Do not examine the prints too often. After a little prac-
tice you will be able to judge from the strength of the nega-
tive how long it will require to print to the proper depth,
and frequent examinations will then be unnecessary,
539. The Developer. — We recommend the prepared
developer put up by the manufacturers, as the proportions
are exactly right. The full amount of each package of
crystals should be dissolved at one time, as the different
crystals are not equally mixed in the package, and should
you attempt to divide it into two or more parts you
would be quite apt to have more of one chemical in a certain
division than in another. These developers may be pro-
cured in large or small packages, so there is no necessity
for using less than a full package, as the developer keeps
well when in solution. In fact it improves with age.
Therefore, there is no saving in preparing small quantities.
540. The crystals must be dissolved in hot water and
allowed to cool. Never prepare this bath in an iron or
tin dish. Use either porcelain or agate ware. The tin or
iron would afifect the developer and spoil it. After the de-
veloper is all dissolved and cooled, pour it into a large bot-
tle. Cover or cork the bottle to keep it free from dust.
Label this bottle "Platinum Developer Stock Solution."
170 Librar]) of Practical Photography.
541. For those who desire to prepare their own de-
velopers we supply the following formula:
Neutral Oxalate of Potash 3 ozs.
Hot Water 16 ozs.
542. Stir until thoroughly dissolved, and when cool
place in a large mouthed bottle. Platinum developers may
be used over and over again. A good plan is to make up
about 100 ounces of the solution and use only part of it
for developing. When through developing, pour the used
solution into a separate bottle labeled "Used Developer,"
keeping up the required amount of developer by replenish-
ing from the fresh stock solution.
543. Developing. — We will suppose that you have
made your prints and are ready to develop. Decant a por-
tion of the bath into a rubber tray, which has not been used
for any other purpose. We would advise that you never
use this tray for other purposes than to hold the platinum
developer. Use sufficient developer to cover the bottom
of the tray, at least one-half inch deep.
544. Develop the print by sliding under the developer
face side up with a steady motion, watching for any air-
bells which may appear, and expelling them at once. It
should require from thirty to sixty seconds to develop a
properly exposed print. A longer time in the developer
will do no harm. In fact, prints from contrasty or hard
negatives are much improved in the half-tones by prolong-
ing the development, and warm developer will also assist
in overcoming harshness.
545. Prints should be developed in a weak light and
the temperature of the warm bath should be about seventy-
five to eighty degrees Fahrenheit, and cold bath about sixty-
five degrees.
546. As before stated, the developer may be used over
and over again, by adding a little new to the old bath from
time to time. If the bath becomes over-charged with
chemicals from the paper, the resulting tones will be poor —
Platinum Printing. 1 7 1
the highlights will bleach. You should therefore watch
the developer carefully when using old developer, and just
as soon as you notice a change in the quality of the print,
make up an entirely new bath. If the developer is too cold
you are likely to produce granular prints. The same efifects
will be produced if the developer is too weak. Rock the
trays frequently to prevent markings caused by scum,
which is apt to form on the surface of the solution, if the
latter is allowed to stand idle for any length of time.
547. It is also advisable to filter the developer before
using, so as to remove all particles of dirt, as these particles
of dirt settling on the print when first placed in the de-
veloper are apt to cause white spots. If the developer is
too warm the resulting tone will be brown black. A
slightly under-exposed print may be often coaxed up by
raising the temperature of the bath and leaving such prints
longer in the developer. However, a print that flashes up
black will be of no use, as it has been over-printed and
even if developed by only a dip would give coarse, mealy,
clogged shadows and no half-tones.
548. Using Two Baths. — Too cold a bath will give
you muddy, harsh shadows and very contrasty results,
without detail in the half-tones. When using a warm bath
beware of over-printing, as the developing must be carried
farther. A good plan is to have two baths, one cold and
the other warm. A print that is slightly over-printed, place
in the cold bath first and then transfer to the warm bath,
or vice versa. You will find this will produce a great im-
provement.
549. During the hot summer days it is not advisable
to unduly delay the development of prints ; if possible, de-
velop within one hour after printing. Extra heavy papers
require much longer development than the thinner ones.
They may be developed as long as two minutes in the de-
veloping bath, without injury. All papers produce better
prints from a full development. Use good size dishes and
plenty of solution, and should the prints appear gray and
granular, one of the following reasons will be found to
172 Library of Practical Photography.
be the cause : 1 — Under-development ; 2 — Granular or weak
negatives ; 3 — Developer too weak or possibly too cold.
550. When you have finished developing pour this
old developer into a separate bottle and label this bottle
"Old Developer." The next time you develop decant the
clear solution, being careful not to disturb the sediment
which settles to the bottom of the bottle and add a little
of the fresh stock solution, enough to make up the usual
quantity of bath.
551. Clearing Bath. — As soon as a print is fully de-
veloped it must be placed, face down, directly into a clear-
ing bath made up as follows :
552. Formula for Clearing Bath.
Hydrochloric Acid (Muriatic Acid) C. P 1 oz.
Water 60 ozs.
Make this up in a large bottle and label " Platinum Clearing
Bath."
553. Half fill the tray which you are to use for this
purpose with this clearing bath. The quality of the acid
used is very important — it must be chemically pure. Ordin-
ary commercial acid will cause yellow prints. The prints
must have 3 or 4 changes of acid clearing bath. Allow
them to remain in each bath from 7 to 10 minutes and keep
them separated. In separating the prints do not draw
them over each other, but lift them up carefully. You will
note that this paper when wet becomes very soft and pulpy,
and the surface is, therefore, easily rubbed. Prints should
never be put into clear water until they have passed
through all the acid baths.
554. The extra heavy papers require at least five acid
baths to properly clear them. They also require a little
more washing on account of the weight of the paper.
Never use water in the developer or clearing bath that
contains iron, as iron has a tendency to turn the paper
yellow. Soft water is best for this purpose.
555. It is important that the prints receive proper care
Platinum Printing. 173
in these clearing baths. Prints are not sufficiently fixed, or
cleared, until the water of the last bath is as clear as pure
water, showing no yellow tint. This is quite important,
as permanent results can only be obtained in this way.
The acid clearing bath removes all unacted-upon chemicals
from the paper. A platinum print which has been properly
treated is composed of nothing but metallic platinum and
paper.
556. Final Washing. — Wash in plain clear water,
using plenty of water, carefully picking the prints over
and over and wash them face up. Great care must be ex-
ercised that the prints are not rubbed, or the surface touched
by prints rubbing togther. The texture of this paper is
somewhat rough, and if you slide the prints over each
other the back of the upper print is liable to rub the face
of the under print. Wash from one-half to one hour. They
are then ready to mount or dry. If prints are not to be
mounted they can be flattened and dried in the following
manner:
557. Flattening and Drying Unmounted Platinum
Prints. — First place the prints one by one on a large mount-
ing glass, face side down. After all are on the glass, with
the fiat of the hand press the water from the prints ; then
lay a blotter over them and with a print roller expel all
the excess water. Do not roll too hard. After surplus water
has been mopped from the prints, pick them up one at a
time and place a layer of prints face side down on a clear
white, chemically pure photographic blotter. Place another
blotter over these prints, then pass your hand or roller
lightly over this blotter to absorb the excess moisture in
the prints ; remove this top blotter and cover prints with a
white cardboard. The next layer of prints must be placed
face up on the cardboard. Blot off the surplus water, re-
move the blotter and place on this print a fresh dry blotter.
Follow this order with the remaining prints.
558. Another method for drying platinum prints,
especially large sizes, is to hang the wet prints back to
back on strong strings stretched across the room, using the
174 Library of Practical Photography.
" Lockwood," or any spring clip that will grasp the edges
of the print. If hung up at the end of the day they will be
dry next morning. We recommend string in preference to
wire, for the following reason : The wire in time will be
affected by the different temperatures and becomes covered
with rust, and when hanging up the prints the rust is apt
to shake from the wire and settle on them, causing black
spots.
559. Retaining Brilliancy, Note. — Platinum prints
should not be allowed to remain in the various baths longer
than is necessary, as they are likely to lose brilliancy from
long soaking and the paper will also become soft, pulpy
and hard to handle. When development is begun it should
be completed without interruption, and as speedily as pos-
sible.
560. A good plan for the beginner is to develop the
prints immediately after printing. If prints, however, are
not to be developed at once after printing, place them
in a tin tube, with a package of preservative, and seal the
tube carefully. If the preservative were to come in contact
with the surface of the paper it would cause white spots and
streaks. This preservative is placed by the manufacturer
in a small package which should never be broken.
561. The most important points in connection with
the manipulation of platinum paper are as follows, and
these should receive careful attention :
562. (a) Paper must be kept dry at all times.
563. (b) Placing paper on negatives, or examining
prints, must be done in weak subdued day or gas light.
564. (c) The temperature of the developer has much
to do with the final results.
565. (d) In developing, slide the print face up under
the developer, so as to prevent the formation of air-bells.
If any air-bells should form, break them at once by touch-
ing with the tips of the lingers.
566. (e) Prints must be placed directly from the de-
veloper into the acid clearing bath, without previous rins-
ing.
Platinum Printing. 1 75
567. (f) Remember that the last clearing bath must be
free from all yellowness. If this is so you can feel sure
that your prints are cleared thoroughly.
568. (g) Remember that chemically pure hydrochloric
acid (muriatic acid) must be used in the clearing bath.
Never use commercial acid.
569. Practice Work. — The chief success of platinum
printing lies in correct exposure. Of course, all negatives
will not make good platinum prints, but prints from some
negatives, which would ordinarily appear flat and dull if de-
veloped in the ordinary way, may be improved by manipu-
lating in the developer. While the different grades of
platinum paper work exactly alike, yet some produce more
brilliant prints than others. Coarse papers are better
suited to large negatives, while smooth papers are to be
preferred for small negatives, so be guided accordingly.
It is advisable for your first work to make a liberal number of
prints using a medium rough paper, developed in normal
bath prepared according to formula. After you have be-
come somewhat familiar with the work, the three baths
mentioned in the previous instruction should be prepared
and each print developed in the bath suitable to the qual-
ity of the print to be developed. By a little dodging in
the dififerent developers, much improvement can be made
over normal developing.
570. Your test prints should all be filed in your proof
file with notes written on the back giving full information
regarding the manipulation for the producing of the results.
Should you meet with failures at first, by referring to the
difficulty department you will undoubtedly find the cause,
remedy and prevention thereof.
CHAPTER XXI.
Notes on Developing Platinum Prints — Black and White.
571. In order to produce uniform results from a var-
iety of negatives, you should have three developing trays,
each containing different developers, as follows :
572. In one tray prepare a normal temperature bath,
in another a warmer bath ; the former should not exceed 65
to 70° Fahr., with the latter from 80 to 90° Fahr.
573. Bichromate Bath. — The third should be a nor-
mal temperature bath, with not more than one dram of
bichromate potash added to 40 ounces of developer. It is
not necessary that this last bath be as large in bulk as the
former. It is, however, advisable in the two former baths
to use large bulks of solution, as more even results will
be obtained.
574. Method of Developing. — All prints should be
sorted before developing. Those printed from flat nega-
tives should be separated from the contrasty ones ; such
prints which appear flat should be first dipped into the
normal temperature or cold bath, and then immediately
placed into the bichromate bath. If the prints are ex-
tremely flat place them directly into the bichromate bath.
Too much bichromate will bleach the whites, the proper
amount will restrain them.
575. Should you place a print which you judged to
be very flat directly into the bichromate bath and find that
it was bleaching, you can save the print by immediately
transferring it to the warm bath. This is not recommended,
however, for while a small amount of bichromate carried
into either of the first two baths would do no harm, yet
177
178 Library of Practical Photograph]).
if many prints are developed in this way you are quite apt
to charge these baths with bichromate, thus in time caus-
ing normal prints which are developed completely in these
baths to bleach, when it is not intended to clip the whites
a particle. Therefore, exercise care in your judgment, and
the safest plan would be, when in doubt as to whether
print is exceedingly flat or not, to first place in in the nor-
mal temperature bath and then transfer immediately to
the bichromate and complete the development in this bath.
The flatter the print, the sooner you get it into the bichro-
mate the better.
576. Dodging in the Bichromate Bath. — When print-
ing from negatives which are quite soft and flat, for ex-
ample, portraits where the hands or face are quite black
and dark, these portions can be held back by first im-
mersing in a cold bath, then immediately placing those por-
tions which you wish to restrain in the bichromate bath,
constantly shaking the print, so as to leave no decided line.
When the print is restrained to the proper strength, im-
merse the entire print in the bichromate bath until com-
pletely developed. Very frequently one can save prints
in this way which would be total failures if developed in
straight developer.
577. Life of Bichromate Bath. — The bichromate bath
will exhaust itself in a few weeks' time. It is always advis-
able to develop the prints which require the least restrain-
ing first. For prints requiring considerable clipping or
restraining, if your bath is not strong enough in bichro-
mate, add one-half dram of fresh bichromate. The bulk of
the bath can be kept up by adding equal amounts of fresh
water and bichromate thereto. It can be used continually
by strengthening as instructed.
578. Developing Contrasty Prints. — Prints quite con-
trasty should be developed in the warm bath, as the warm
developer softens the whites and warms the shadows, giv-
ing more even results.
579. Bronzing in the Shadows. — Where one is ex-
periencing difficulty with bronzing shadows, which is prin-
Notes on Developing. 1 79
cipally the case with contrasty negatives where the shadows
are almost clear glass — and frequently during damp
weather — the addition of an ounce of glycerine added to 80
ounces of developing bath will usually overcome the bronz-
ing. As a bath containing glycerine decomposes rapidly,
it should be used only where bronzing exists and ought not
to be mixed with the regular bath. This bath will not pro-
duce good results after two or three weeks use. Discard
it after employing that length of time and make up fresh
bath.
580. Another method for removing bronze from prints
is to apply glycerine to the bronzed portions on the dry
print before immersing in the developer. Then place the
print in the developer, watch it carefully, and if the shadows
or bronzed portions are holding back, by gently rubbing
over the bronze surface with the fingers while in the de-
veloper, these portions will develop more deeply. The
former method, of adding glycerine to the bath, however,
is more commendable.
581. Using Developing Bath Continually. — A devel-
oping bath can be used continually, but must be kept in
proper condition. It must be of uniform strength at all
times, and the same bulk of developer should be used. It
is advisable to have a bottle containing fresh stock solu-
tion, from which the baths that are in use can be replen-
ished. After using a bath once or twice, instead of adding
10 ounces of fresh solution, add 5 ounces of the fresh solu-
tion and 5 ounces of water. The object of adding water
to this solution is that your bath is becoming charged with
other chemicals liberated from the paper. The bath also
evaporates and becomes more concentrated. Therefore,
should you continually add fresh developer to this old or
used bath, you would have a stronger bath than you started
with.
582. Then again, a diluted bath does no harm, in fact
one has better control over the developing of the print in a
weaker bath, as there is more latitude for longer develop-
ing. Therefore, when replenishing the old bath always
180 Library of Practical Photography.
use half water and half fresh developer. If the bath is
ased daily it should be filtered at least every two weeks.
A bath like this can be used for many weeks, unless an
immense amount of developing is done. About every six
weeks, where baths are used daily, a fresh bath should be
made up, consisting- of one-third filtered old bath to two-
thirds fresh bath, adding thereto the same quantity of
water as old bath used. If the fresh bath develops too
slow, add more thereto until the required speed is obtained.
But remember, slow development is a good fault.
583. Poisoning With Platinum Developer. — Platinum
solution is poisonous to some people, causing the hands to
crack and become sore. A salve composed of the following
ingredients applied to the hands will prevent poisoning:
Powdered Calomel 2% drs.
Balsam Fir i/^ oz.
Mix well, and add about 5 cents worth of vaseline. Apply
freely to the parts affected.
Varnishing Platinum Prints. — Platinum prints which appear a
little heavy and muddy in the shadows can be very much improved
and made more transparent by immersing the prints (after they are
thoroughly dried) in a bath of varnish. The Adamantine varnish,
made by the American Aristotype Company, has proven very successful
for this purpose. The ordinary white shellac varnish, obtainable at any
paint store, also produces the desired results. When using the white
shellac varnish, which is quite thick, reduce with equal quantity of
alcohol, and in order that the varnish may dry rapidly add one drop
of shellac drier to each ounce of solution. This solution should be
well shaken before using.
Varnishing the Print. — Decant sufficient varnish into a tray
slightly larger than the print to be varnished. Catch the corner of
the print with a wooden photo clip and immerse by dipping the entire
print under the solution, face side down, the same as you would when
developing the print, drawing it through the solution. Then hold the
print over the tray, allowing the surplus varnish to drain back into
the dish ; then hang up to dry. The varnishing of the print has a
tendency to warming the tone, and for sepia prints either platinum
or developing papers gives a very rich result. The prints should be
varnished before trimming. To thoroughly dry the varnished print
will require about fifteen minutes' time.
CHAPTER XXII.
Difficulties — Platinum Printing.
584. Prints Developing Black, All Detail Lost.— This is due
entirely to over-printing — exposing too long.
585. Image Developing Up Slowly and Very Faint. — A certain
sign that you did not expose long enough — under-printed.
586. Removing Bronze from Shadov?s. — At times you will find
that paper will print very bronzy in the shadows. This generally
occurs when printing from contrasty negatives with strong high
lights, deep shadows showing almost clear glass. Printing in ex-
tremely damp weather also produces this difficulty.
587. Using a warm bath will generally remove all bronze from
the shadows. Should it not, however, add one ounce of glycerine
to the cold bath; beware of printing too deep, and develop long.
Should bronze show in the prints after they have become dry, with
a cotton flannel cloth apply a little crayon sauce to the bronzed
portions. This will remove it.
5S8. Streaks. — This might be caused by uneven developing,
not immersing the entire print with one sweep, or by dirt on the
back of the negatives, or printing in direct sunlight through a win-
dow that is dirty, or by a shadow thrown from window sash on
part of negative. Clean the backs of your negatives and use tissue
paper or groundglass when printing in the sunlight.
589. White Spots. — These are frequently caused by particles
of dirt on the negative, or dirt in the developer. The dirt settles on
the prints, preventing the developer from acting. If the preserva-
tive becomes dry and particles of calcium were to settle on the
prints, white spots and streaks would be the result. By dusting
each print with a camel's hair brush before developing you will
avoid many white spots.
590. Yellow Prints After Third Acid Water. — Caused by using
poor quality of muriatic acid.
591. Brown Tones. — Brown tones are generally produced
where the paper, negatives or atmosphere is quite damp. A de-
veloper too warm will also give brown tones.
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182 Library) of Practical Photograph}).
592. Rubbed Prints. — Careless handling, allowing the prints to
mat together; and in separating, drawing one over another. Wash-
ing in rough bottomed trays will account for this. When washing
prints carefully lift them from each other — never draw them across
other prints. Wash the prints face up. Use plenty of water and
always handle them from the top and never draw them from the
bottom.
593. Printing in Damp Weather. — Remember that the image
will not appear as strongly in damp weather as it will in warm, dry,
clear weather, although it is really printed darker. You must there-
fore allow for this and print considerably lighter under these condi-
tions. Always develop the first print; let it be your guide for future
printing.
594. White Comets on Prints. — May be caused by the calcium
dust from the lump of preservative in the tube; also from lime
that may fall from the ceiling while cutting the paper, trimming the
prints or loading the printing frame, and from negatives that have
been improperly washed after fixing; or, by particles of undissolved
developing crystals. If a plate is not properly fixed or washed it
frequently happens that hypo will form in small crystals on the
surface of the negative. Sometimes these crystals will not show
for months after the negative is made. Negatives should always
be examined and dusted with a soft camel's-hair brush before being
printed from.
595. Weak Prints. — This is sometimes caused by weak de-
veloper, exceedingly cold developer, or printing from weak nega-
tives. Under-development will also cause weak prints.
596. Wavy Markings. — These will occur in prints if the de-
veloper is both weak and cold, or does not cover the print thor-
oughly during development. Always keep the print under the
solution or spray the developer over the print with the hand.
597. Spots Different Sizes and Shapes. — This is usually due to
particles of dust or dirt in the developer. Never allow the developer
to stand in your developing tray or open dish for any length of
time, as dust will collect on the surface and cause not only white
spots, but also black spots on the prints. It should always be
returned to the bottle at once after developing. You should also
stir the developer after developing a print.
598. Overcoming Dampness in Negatives and Backing Pads. —
On damp days re-dry negatives by holding over a gentle heat, also
dry the backing pads and be careful not to expose paper too long
to the moist conditions of atmosphere before placing in the printing
frame. In damp weather prints should be developed immediately
after printing.
599. Black Comets and Brownish-Black Stains. — These are
Difficulties — Platinum Printing. 183
generally caused by mercury and are usually produced when
printing from negatives that have been intensified. Great care
should be taken that intensified negatives are thoroughly washed
before setting up to dry. Keep the mercury solution away from
platinum paper. Mercury spots have a brown color; iron spots
have a black color.
600. Note. — A large majority of failures are due to careless-
ness in the manipulation and a general lack of cleanliness in every
department. With clean rooms, tables, trays, and, above all, clean
hands, one will experience little trouble in handling platinum paper.
Black paper should be kept separate from sepia paper. It is
always advisable when printing with both black and sepia paper
to print black paper first, because if you print your sepia first there
are liable to be particles of mercury on the negative that come
from the sepia paper. It is also advisable, in case you print sepia
paper from a negative before you print black, after you are through
printing to wipe the negative with a piece of cotton; especially
so if the negative has been varnished, as particles of dust stick to
varnish more than to film.
CHAPTER XXIII.
Platinum Paper — Sepia.
601. With a few exceptions Sepia Platinum paper is
manipulated the same as black. The paper is supplied in
the same grades, the principal difference being in the print-
ing and developing.
602. The Sepia paper manufactured by the Willis &
Clements people, requires special developing salts for best
results, and the bath must be hot for developing.
603. Where the special sepia solution is employed one
may use the regular developing salts intended for black
paper, heating the bath to 150° Fahr. The regular sepia
developing salts, however, are recommended for best results.
604. The Angelo Sepia paper is a cold development
paper. While special salts are required, the developer is
used cold.
605. The above are the two principal papers used,
and while there are other sepia platinum papers manufac-
tured, some of them giving very pleasing results, yet all
are manipulated practically in the same manner.
606. Care of Sepia Paper. — Sepia paper is more easily
affected by light than the black; therefore, greater care
must be exercised in handling this paper, especially during
printing.
607. Quality of Negatives Required. — Sepia papers
require a thin, snappy negative. A negative hard and con-
trasty will not make good sepia prints. On the other
hand, a fiat negative will give muddy prints. An ideal
negative for sepia prints is snappy, but not hard, full of de-
tail and delicate catch lights.
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186 Librar]) of Practical Photograph}).
608. Printing. — Print about one shade lighter than
for black paper. Do not tint the whites. The safest
method to employ would be to make a print and develop,
fix and dry it. This will give you a line on the required
depth of printing. Remember that sepia prints usually
dry up two shades darker than they appear when wet,
A print may look weak while wet, yet when thoroughly
dry may be just right.
609. Margin Printing. — Platinum prints, especially
when made on the heavy grades of paper, are usually
printed with a margin. For a 5x7 negative an 8x10 or 10x13
sheet of paper is usually used. The negative is blocked
with an opaque paper cut-out, while the printing is done
in a large frame. Some pretty effects are produced by
printing a border of one or more tints in the margin. For
instruction see "Dodging in Printing."
610. Developer. — The developing salts are put up in
crystal form, in different size packages, the smallest of
which will make a 16 oz. solution, the largest 64 oz.,
or one-half gallon. These salts must be dissolved in hot
water, the entire package being dissolved at one time.
Complete instruction for dissolving accompanies each pack-
age. These instructions should be followed to the letter.
611. Developing. — For Willis & Clements Sepia paper
the developer must be used hot, about 150 to 180° Fahr.
The higher the temperature of the bath the warmer the
tone, and the more crispness will be obtained.
612. A good way to keep your developer hot is to
place the developing tray on a gas or oil stove. The tray,
of course, must be either porcelain or agate ware to stand
the heat. Regulate the heat so it will keep the solution on
the point of steaming, without boiling, during developing,
and as hot as the hands can bear. Use plenty of solution.
The heat will cause you to handle the prints quickly.
613. Developing Sepia Prints. — Catching the corners
of the print between the thumb and first finger of both
hands, and with the face side up, slide the print under the
solution and with a quick motion draw the print through
Platinum Paper — Sepia. 187
the bath. See that the developer is over all the print at
the first dip. After passing the print through the hot de-
veloper you can hold the print in the hand to complete
developing, but it must be held perfectly flat otherwise you
Avill have uneven developing. Should the print be a trifle
light, again immerse in the bath allowing it to remain for
a few minutes, and it will grow considerably darker.
614. Developing With Wood Photo Clips. — Where
one's fingers are very sensitive to the hot bath, an ordin-
ary wooden photo clip can be employed. Attach this clip
to the corner of the paper, draw it through the bath; al-
low the print to remain in this bath and with the photo clip
constantly shake so as to avoid the sediment settling on
it. Allow the print to remain in the bath until completely
developed.
615. Special Sepia Solution. — Should the tone of the
print from this bath be too cold and warmer tones be de-
sired, add 1 dram of special sepia solution to each ounce of
sepia developer. This W. C. sepia solution can be pro-
cured from any photo supply dealer. It will brighten
(clear up) the whites and add to the sepia tone. The more
of this sepia solution you add the warmer tones you will
produce.
616. As this solution has a tendency to purify the
whites, it is a good plan, if you have very flat prints from
a weak negative, to develop in a bath to which has been
added sepia solution. Should you have a hard negative
where the contrasts are great, it will not be well to develop
resulting prints in a bath where the sepia solution has been
added, as you would thereby produce too much contrast.
Better results will be obtained by developing with your
regular sepia developer, omitting the extra sepia solution.
617. Caution. Special Sepia Solution. — Where satis-
factory prints can be produced by using the regular sepia
developer, it is advisable to omit the special sepia solution.
The only object of this sepia solution is to purify the whites.
It does give more contrast to the print, but where nega-
188 Library of Practical Photography.
tives are made with sufficient contrast it is better that the
sepia solution be omitted.
618. Preparing Clearing Bath.
Water 120 ozs.
Hydrochloric C. P. (Muriatic) Acid 1 oz.
619. You will notice this bath is not as strong as the
one used for black and white. The reason is that sepia
paper is likely to bleach if fixed in too strong an acid bath.
Exercise care in preparing the clearing bath. Do not make
it stronger than proportions recommended above and
place prints into it directly from the developer.
620. Clearing. — Sepia paper, being more sensitive to
the light than the black, may be affected by the light when
in the acid bath. Therefore in the first acid bath they
should be placed face down. As the highlights may become
tinted it is, therefore, a good plan when clearing the prints
in the remaining baths to use gas or lamp light, or at least
subdued daylight. There is also danger of damaging prints
by allowing them to remain too long in the acid baths.
Give sepia prints three changes of acid clearing and then
wash exactly the same as for black and white prints. Sepia
prints should not be allowed to lag in the various manipu-
lations, as they lose brilliancy by long soaking. They
should be handled as rapidly as possible through all the
baths and dried between blotters.
621. Angelo Sepia Paper. — While "Angelo" sepia
paper is a cold developing paper, the printing and all other
manipulations up to the development are exactly like
"W. C." The developing salts must be dissolved in hot
water, but after doing so the developer should be allowed
to stand until cool. Filter before using. The print is de-
veloped exactly like the black paper. If warmer tones
are desired, add to regular sepia developer some of the
special "Angelo" sepia solution supplied by the manufac-
turer. The amount of sepia solution added regulates the
warmth of tone. If thick paper is used you must leave it
Platinum Paper — Sepia. 189
longer in the developer. It is better to first print a little
under than over, as with "Angelo" paper the longer you
leave the print in the developer the better the deposit of
chemicals on the print. Therefore, prints not printed too
far, will stand long developing and improve in quality.
623. Clearing Bath. — The clearing, or fixing, of "An-
gelo" paper is exactly the same as for W. C. except for the
use of a weaker acid bath. The acid bath for " Angelo "
paper should not be stronger than 2 drams acid to 80 ozs.
water. Be sure and do not carry any of the acid bath into
the developing bath on your fingers, as the acid will not only
retard the developing, but in time bleach the highlights.
623. Note. Keeping the Developer. — The sepia de-
veloping bath, after use, must be kept in the dark. A safe
precaution is to wrap the bottle containing the bath with
black opaque paper and label "Sepia Cold Developer." The
sepia bath must not be used for black prints.
624. Constant Use of Sepia Developer. — Sepia devel-
oper can be used over and over as long as it gives good re-
sults. Should the sepia bath evaporate the crystals, they
may be re-dissolved by adding water, restoring the bath to
its original quality. Too much special sepia solution will
produce bleached prints. Over worked sepia bath will
also give bleached prints. Leaving too long in the acid
bath, or in acid too strong will give bleached prints.
625. Caution. — To avoid exposure to light, greater
care must be exercised when developing and examining
sepia than black and white paper. As it is more sensi-
tive to light than the black, if exposed too long the whites
Avill become discolored. Keep prints, while in the de-
veloper and acid trays, in subdued light. Discoloration of
the whites is generally due to one or all of the following
causes : First, exposing to light too strong while develop-
ing. Second, using a developing dish in which the enamel
is cracked or chipped, exposing the iron. Third, old paper.
Fourth, exposing prints while clearing to strong light. It
iS advisable to do your developing in very subdued light
626. Saving Platinum Waste. — As considerable plat-
190 Library of Practical Photograph}).
inum remains in the print after developing, it is eliminated
in the first acid water. By saving these acid baths one may-
reclaim a large amount of the platinum by adopting the
following method :
627. Suspend in a 20 gallon jar four pounds of scrap
zinc. Pour your first acid washing and all rejected devel-
oper into this jar. As the jar fills decant the clear water
from time to time. Where much sepia paper is used, being
in excess of the black paper, it may require the addition of
a little muriatic acid to the solution to make it sufficiently
acid to clear the bath from yellow to white. When the zinc
is entirely eaten away, to reclaim all of the platinum, new
zinc must be added. As long as zinc remains in this jar
it will continue to throw down all added platinum. About
once a year the sediment should be gathered, packed and
sent to the refiner.
628. Warmer Sepia Produced by Toning With Ni-
trate of Uranium. — Sepia tones, even to a dark red, can be
made on any black platinum paper by treating it after
development in a special sepia toning bath. Print to the
same depth as for black tones ; develop and clear them thor-
oughly and wash in the usual way.
629. Preparing Uranium Sepia Toning Bath.
Water 12 ozs.
Nitrate of Uranium 60 grs.
Ferricyanide of Potassium (Red Prussiate of
Potash) 42 grs.
Sulphite of Soda Crystals 18 grs.
Acetic Acid 6 drops
630. Place this in a bottle labeled "Uranium Sepia
Toning Bath." The more acid used in the bath the warmer
will be the resulting tone.
631. Toning. — The prints having been previously de-
veloped, cleared and washed are ready for toning. Place
them into the toning bath one at a time, allowing them
to remain until the desired color has been produced. This
bath should be used at a normal temperature — about 60°
Platinum Paper — Sepia. 191
to 70° Fahr. The first change will be to a purple-brown,
the next stage brown, and then by prolonged toning they
will run into red. Prints should be handled over and over
during toning, to produce even tones. After the prints are
thoroughly toned, wash by hand for 15 minutes, drying in
the usual manner.
632. Caution. — The tray used for this toning bath
must be used for no other purpose and must be kept per-
fectly clean. The above toning bath is not recommended for
permanency or evenness, but for the extremely odd and
striking color effects which may be produced through its
use.
633. Sepia Tones Produced With Bichloride of Mer-
cury.— Still another toning bath is called " mercury ton-
ing." While we do not recommend mercury toning on
account of lack of permanency — the prints generally return-
ing to the black tone in time — yet some very beautiful ef-
fects can be produced, using bichloride of mercury as the
toning agent. You must be cautious never to use mer-
cury toning trays for other purposes. If you do an endless
amount of trouble will be met with. Should the least par-
ticle of mercury be carried to any trays used for black plat-
inum prints you would have trouble with all kinds of
spots. For this reason when using mercury do so with
the utmost care. Keep the solutions and trays isolated from
other work.
634. Mercury Sepia Developing and Toning Bath. —
STOCK SOLUTION.
Water 8 ozs.
Bichloride of Mercury C. P 1 oz.
635. Place in a 10-oz. bottle and label it "Mercury
Solution." Also mark in strong black letters "POISON,"
as taken internally its effect is deadly. To 50 ounces of
regular platinum developer, used for black tones, add one
ounce of this mercury stock solution.
636. Toning. — Print exactly the same as for black
192 Library of Practical Photograph}^.
tones, develop the print in the mercury developer until
the desired tone has been reached and then place in the
acid clearing bath made one-third as strong as for black
tones. After fixing, wash thoroughly and dry in the usual
manner. If tones secured by this bath are not as warm as
desired, the addition of more mercury will result in warmer
effects.
637. As before stated, we do not recommend the two
latter methods for obtaining sepia tones. We have given
this formula for the benefit of those who like the effects
which can be produced by this method. But, for good, per-
manent, even tones, the regular prepared sepia papers are
the best.
638. Practice Work. — For first experiments with
sepia prints on platinum paper, prepare the bath ready for
use, before making prints. Judging the print for sepia is
similar to judging for black, except that the printing is not
carried quite so deep for the sepia, as it dries from one to
two shades darker when finished.
639. It is advisable to make but one print at a time,
developing each immediately after printing, and observing
carefully the gradation. Allow the image to fully de-
velop. If not over-printed it will not be too dark. It is
not advisable to make more than two or three prints, before
drying. Note how they dry before making more prints.
Your first efforts will serve as a guide for future work.
In all cases, for experimental purposes with platinum paper,
it is advisable to use the medium rough grade of paper.
You can better judge results with this grade than with
either of the extremes — extra rough or very smooth.
640. Should you experience trouble in the manipula-
tion, refer to the difficulty department. Read carefully and
you will surely find the cause, prevention and remedy for
the trouble. Preserve first efforts, whether good or bad,
because it is really an advantage to meet with some failure
at the start, as you then have an invaluable guide for future
endeavors. In any event, make careful notes on all test
prints and file them .in the proof file for future reference.
CHAPTER XXIV.
Developing or Gaslight Papers.
Introduction.
641. Introduction. — Developing paper, more com-
monly called gaslight paper, is a paper which can be printed
by light of any kind and from negatives of all descriptions.
The image is not visible after exposure to the printing
light, being seen only after the developer is applied. The
most marked difference between this class of printing
papers and printing-out papers is in sensitiveness. So sen-
sitive is the gaslight paper that it cannot be handled safely
in daylight, nor should it be unduly exposed even in ordin-
ary lamp light. The entire process of manipulating de-
veloping papers is quite simple, but like all other photo-
graphic processes it requires some skill and judgment, both
of which are readily acquired by careful observation of each
detail and by close adherence to the rules given herein.
642. The developing paper process is one of the most
convenient methods of finishing prints. Pictures may be
produced with it regardless of weather conditions. Neither
cloudiness, dampness, or any other deterring feature need
be considered. The photographic worker is entirely inde-
pendent in this respect, being able to finish prints either
day or night. For the professional photographer this pro-
cess simplifies work enormously, as the printer is able to
take one negative at a time and print the complete order.
This makes it possible to give precedence to rush orders
and make complete delivery of the order when promised.
19S
194 Library) of Practical Photography.
Further than this, each and every order can be completed
and ready for delivery without delay.
643. It is not necessary for the amateur to go into
a closed dark room, as it is possible to print work at night,
which may be done on kitchen or dining-room table, in
comfort. An ordinary electric, gas, or lamp light, can be
used for printing. After printing, the paper may be de-
veloped but a few feet from the light, by simply interposing
between the light and developing trays a piece of heavy
cardboard, or similar material.
644. In no other department has the photographer
such a range of choice as with developing papers. They
are made in many different grades and surfaces, which
make it possible to obtain good prints from practically any
kind of a negative, by using proper judgment in the selec-
tion of the particular paper best suited to the negative in
question.
645. Brands of Paper. — So rapidly has the popularity
of this process developed, that there are now on the market
a great variety of brands of developing papers. Among
the most popular are "Velox," "Argo," Artura" and "Cyko,"
each particular brand having its various grades and sur-
faces. Every brand of paper has its own peculiar qualities,
yet the particular brand for your use is not of serious im-
portance. However, the grade and surface must be taken
into consideration when making the first experiment.
646. Grades of Paper. — Most of the gaslight papers
tend to increase contrast, being especially suitable for thin,
flat negatives. Practically all developing papers are divided
into two general classes — hard and soft. The hard grade is
intended for flat negatives, as it works with a great amount
of contrast. It should not be used with hard, contrasty
negatives.
647. The soft grade is best suited to negatives of
strong contrast, giving the best results when soft effects
are desired.
648. All manufacturers do not use the terms "hard"
and "soft," but the hard grade is generally termed "Regu-
Developing or Gaslight Papers. J95
lar," or "Carbon," while the soft is "Special," or "Portrait."
649. Choice of Paper. — The majority of persons being
initiated into the art of photography as a rule lean toward
the selection of glossy surface paper. Only after the ar-
tistic taste has been cultivated does the inevitable revolu-
tion against the glossy surface set in. We do not question
the fact that glossy prints on printing-out paper give most
pleasing results, on account of warm tone, but it must
be admitted that with developing papers it is different —
the black and white image appearing much more rich on a
matte surface. Not only is this true, but the glossy gas-
light papers are not as easy to manipulate. At times they
have an objectionable tendency to yield surface marks,
which afterward have to be removed. On the other hand,
the very rough papers require special care, and should not
be used when making first trials. The best grades and
surfaces to employ are those which have a tendency to
increase the contrast, and at the same time give a smooth
matte surface. Therefore, the first work should be made
on a paper like "Velox" Regular Carbon, "Argo" Carbon
Matte, "Cyko" Contrast Matte, "Artura" Carbon Black
Matte.
650. Caution. — It is necessary to caution the beginner
at the very outset of his work not to be discouraged by
apparent failure in early stages of the work. Study this
instruction not only once, but go through it thoroughly two
or three times, as the cause for any failure will probably be
that some point which is essential to complete success has
been overlooked.
pr— 12
CHAPTER XXV.
Velox Printing and Developing.
Introduction.
651. Surfaces and Grades. — Velox papers are divided
into two grades called "regular" and "special." These terms
have reference only to speed and contrast, but not to sur-
face. They could as well be referred to as "slow" and
"fast" papers, or "hard" and "soft." Each grade contains
a variety of surfaces which adapt the paper to all kinds of
work and to negatives of various qualities.
652. Regular Papers. — Regular papers are adapted for
negatives lacking contrast, known as thin or weak nega-
tives. These papers print slowly, but develop quickly.
The Regular Carbon has a matte surface, while the Regu-
lar Velvet possesses a semi-gloss surface, intended for
prints resembling platino or other matte surface printing-
out papers. The Regular Glossy is intended for fine detail
work, and is particularly adapted to the requirements of the
commercial photographer.
653. Special Papers — Special papers are intended for
use with contrasty negatives. Such negatives are also re-
ferred to as being strong, thick, dense or hard. The emul-
sion of the special papers is vwre sensitive and requires shorter
exposure and longer development than the regular papers.
The special papers reduce the contrast on hard negatives and
give soft effects with fine detail. The Special Carbon has
exactly the same surface as the Regular Carbon, but is in-
tended for hard negatives. It therefore has the "special"
197
198 Library) of Practical Photography.
printing qualities. This paper should be used for the same
class of negatives as Special Portrait, but remember that
the Special Carbon has a peculiar carbon tint of its own.
Special Portrait has a half matte surface and should be
used for the general run of average negatives, having plenty
of contrast and good detail.
654. The Special Velox is particularly adapted for
portrait work. The Special Rough paper is particularly
adapted to large portrait heads, artistic landscape studies,
and for such negatives as would ordinarily be used for
rough platinum paper it will give almost identical results.
Special Glossy is the same as Regular Glossy, as far as sur-
face is concerned, but must be used for printing from strong
negatives, as it will give fine detail. A negative that would
yield good prints on the special paper would give an ex-
tremely contrasty kind on regular paper.
655. Royal Velox. — Royal Velox differs from other
Velox papers in that it is coated on a stock having a cream
tint — a soft, mellow tone that prevents harshness in the
highlights. In fact it is somewhat heavier than the usual
Velox stock — about half way between the single and the
double weight. Royal Velox prints are delightful when
re-developed for sepia tones. See instruction for re-devel-
oping. Royal Velox papers are furnished in both regular
and special grades to suit negatives of various degrees of
strength, just as the ordinary Velox papers are supplied.
656. Note. — Negatives that will produce good results
with any printing-out papers should be printed on the
Special. Regular Velox papers are specially adapted to
negatives which are too soft for other photographic papers.
To those familiar with Velox paper it is an easy matter
to select the grade best suited for the results desired. The
beginner should be guided by these instructions and not
allow the advice of others to mislead in the selection of
the wrong grade, as failure to secure the results expected
will be improperly charged against the paper, when it be-
longs to defective judgment.
657. The following table of grades and weights of
Velox Printing and Developing.
199
Velox will be an aid to those contemplating using this
paper :
Surfaces, Weights and Grades of Velox.
Grade.
Surface,
Speed.
Color of Label.
*Velvet Velox
Semi-Gloss
Special
Slate
*Velvet Velox
Semi-Gloss
Regular
Brown
*Portrait Velox
Smooth Matte
Special
Red
*Carbon Velox
Matte
Regular
Yellow
Carbon Velox
Matte
Special
Orange
*Rough Velox
Matte
Special
Purple
*GIossy Velox
Enameled
Regular
Green
*Glossy Velox
Enameled
Special
Blue
Royal Velox
Matte
Regular
Royal Velox
Matte
Special
658. *Furnished also in Double Weight Velox; double weight
papers require no mount, and when printed under a mask, which
will insure a white margin, present an exceedingly artistic effect.
659. The Necessary Outfit for Printing and Developing
Velox Papers. — The size of trays to be used in the manipu-
lation of Velox papers is immaterial, so long as they are
large enough to hold the prints. In the following outfit
is included the smallest size trays that should be used for
5 X 7 or smaller prints. The trays must be made of some
substance which the chemicals will not affect. Never use
iron trays, or trays made of material that will rust:
15x8 tray for developing.
15x8 tray for intermediate washing.
15x8 tray for fixing bath.
15x8 tray (or larger) for final washing.
1 5x7 printing frame (or frame for size of negative used).
1 8 oz. graduate.
1 1 oz. graduate.
1 Glass stirring rod.
1 Hydrometer.
1 Camel's-hair brush.
200 Librar}) of Practical Photograph]).
660. It is a good plan to either letter or number each
of the trays, so there will be no danger of mistakes.
661. Chemicals Required. — Metol or ortol, hydroqui-
none, bromide of potassium, acetic acid No. 8, sulphite of
soda, thiosulphate of soda (hypo), sodium carbonate, alum.
One ounce for each of the first four chemicals will be sufficient,
while one pound of each of the sodas and alum should be
procured.
CHAPTER XXVI.
Velox Printing and Developing.
Brief General Instruction.
663. Printing. — A good rule to follow is to sort your
negatives. When about to print from them, print the heavy
ones first, using Special Portrait Velox; then for thinner
plates use "Carbon" or "Regular."
663. When making exposure be sure to cover the
box containing the paper, as it is very sensitive to light,
which makes it an easy matter to ruin an entire box of
paper, by allowing the box to remain uncovered during a
single exposure.
664. Proper Light for Developing. — While develop-
ing papers are not nearly as sensitive to actinic or white
light, as dry plates, it is still necessary that a certain amount
of precaution be taken. A strong yellow light, or dim lamp
light is perfectly safe, providing it does not strike directly on
the paper. There is absolutely no need for developing by
a dark room lamp. Always load the printing frame and de-
velop in the same degree of light.
665. Printing Light. — While it is perfectly practical to
make prints by the use of daylight, it is preferable to use
artificial light — a candle, kerosene lamp, or electricity. Ar-
tificial light is more steady and even than daylight. Day-
light at 12 o'clock noon is, of course, much stronger that at
4 o'clock in the afternoon. Therefore, it makes a vital dif-
ference as to the length of exposure, while with artificial
light the duration of exposure remains practically the same
at all times.
201
202 Library of Practical Photography.
666. Exposure. — Length of exposure depends, of
course, on the density of the plate and the distance between
the negatives and the light. For example : When printing
from a medium strength negative, the exposure should be
eight seconds under a 16 candle-power incandescent light,
at a distance of twelve inches from the light. If the nega-
tive is placed at a greater distance from the light, the time
of exposure will increase proportionately, according to the
following ratio: A soft negative which prints in four sec-
onds, at twelve inches distance, will require sixteen seconds
at twenty-four inches distance.
667. Although Velox paper can be developed with
solution made from the contents of prepared tubes, which
simply requires the addition of water to the powders (the
developing solution put up by manufacturers is good), yet
the preparing of your own developers will prove extremely
advantageous. You may use the formula which accom-
panies each package of paper, or the following will be found
to give good results :
668. Metol-Hydroquinone Developer.
Water 24 ozs.
Metol 15 grs.
Sulphite of Soda (Anhydrous) 3 drs.
Hydroquinone 1 dr.
Bromide of Potassium 4 grs.
Carbonate of Soda (Anhydrous) 5 drs.
If soda crystals are used double the above quantity will be
required.
669. Dissolve the chemicals in the order indicated in
the formula. For use, dilute with an equal amount of
water.
670. Remember hydroquinone gives contrast; metol gives
detail, even to flatness, so if, with the correct exposure, your
results are flat, the addition of a trifle more hydroquinone
will give more contrast.
671. When once the correct exposure necessary for the
Velox Priniing and Developing. 203
negative you are printing from is ascertained, it is a good
plan to write on the back of the negative the number of
seconds required to print. Thus, if you have occasion to
again print from this plate, you will know the exact ex-
posure without experimenting.
672. Where dense negatives are to be printed from, it
is best to use your developer almost full strength and em-
ploy Special Portrait Velox paper. It is well to print from
heavy negatives first and when you come to the thin plates
dilute the developer one-half with water and use Carbon
Velox. The more dilution, the more contrast can be pro-
duced ; but avoid the extreme, as there will be danger of
running into olive or green tones.
673. The addition of a few drops of a ten per cent.
(10^) solution of bromide of potassium will aid in obtain-
ing contrast. If the prints do not develop clear, bromide
should be added until they do. Care must be taken not to
add too much bromide, because green or olive will be pro-
duced, and to remedy it, more developing solution will have
to be added, or a new bath prepared.
674. Add but a drop of bromide at a time, or the
green tones produced will necessitate more tampering with
the bath.
675. It is well to place prints in an acid clearing bath
before fixing. This bath will prevent mealiness and mud-
diness on the surface of print. Make clearing bath as fol-
lows: To two quarts of water add four drops acetic acid.
Allow prints to remain in this bath one minute, then place
in the fixing bath for at least twenty minutes.
676. For the fixing bath use the following:
ACID HYPO FIXING BATH.
Dissolve:
Water 64 ozs.
Hypo 16 ozs.
204 Library of Practical Photography.
677, When thoroughly dissolved add the following- hard-
ening solution, dissolving the chemicals separately and in the
order named : *
Water 5 ozs.
Sulphite of Soda (Desiccated) Yz oz.
Acetic Acid No. 8 3 ozs.
Powdered Alum i oz.
Note. — Should prints bleach in this hypo bath make up a new
solution, using half the amount of acetic acid.
678. Testing Exposure. — Use small strips of Velox
paper to test and experiment with. After you secure the
proper tone and everything is working well, proceed to make
your prints. You can use the developer over and over again,
by adding a little more fresh stock to keep up the bulk of bath.
679. Caution. — It is essential that the hands be per-
fectly clean and dry when handling Velox, or any printing
paper. They must also be thoroughly cleansed before de-
veloping, and never attempt to develop paper after having
had your hands in the hypo, but wash them thoroughly,
removing every trace of hypo from the hands. In order
to save placing the hands in the hypo bath after developing
each print and the necessity of washing the hands thor-
oughly before developing a second print, slide the print
under the solution and with a wooden paddle keep your
prints moving in the hypo for a few seconds. They should
never be allowed to remain packed together, but, on the
contrary, must be kept separated. After fixing, the prints
must be carefully washed and separated by hand. Hand-
ling over for half an hour in several changes of water will be
sufficient. After prints are washed blot them off with royal
blotters ; then lay them out on dry blotters, face side up,
to dry, unless you desire to mount them at once.
680. Trimming Prints While Wet. — Any print you de-
sire to mount at once may be trimmed wet. This can be
done very conveniently. Take a square piece of glass, wet
it and place your print on the glass, face side down ; turn
the glass over, and your print is now on the under side,
face up. Slide it to the edge and square it to the glass,
Velox Printing and Developing. 205
then trim the edges with a pair of large shears. After each
print is trimmed, place it back in the tray of water until
all are trimmed. Then lay the mount on a large glass plate,
face side down, one print overlapping the other a trifle,
until all are on the plate. ]\Iop off the excess water by
placing a blotter over the prints and run over it with a print
roller until all surface water is removed. Paste the backs
of prints with ordinary starch or prepared paste and mount
in the usual way.
CHAPTER XXVII.
Velox Printing and Developing,
Detailed Instruction.
681. Proper Light for Developing. — While gaslight
papers are not nearly as sensitive to actinic or white light
as dry plates, still it is necessary that a certain amount of
precaution be exercised. A very strong yellow light or
a dim lamp light is perfectly safe, providing the direct rays
from the light do not strike the sensitive paper. It is not
necessary to develop by a dark room (ruby) lamp. The
printing frame may be loaded and the development car-
ried on in the same light.
683. Disposition of Outfit, Management of Light, Etc.
— To insure perfect results the place where you intend
working should be far enough from the source of light to
prevent the possibility of the paper becoming fogged. Six
to eight feet from an ordinary lamp or gas jet is far enough,
or if the space is limited w^ork nearer to the source of light,
interposing a piece of cardboard between the light and the
place where you are developing and loading the plate
holder. The safety of your position can easily be deter-
mined by taking a small strip of the paper, covering a part
of it and exposing the remainder for about 30 seconds in
the light in which you intend working. If upon develop-
ment there is a difference between the exposed and the un-
exposed portions of the strip, the light is too strong, and
you should either move farther away or shade your light
more.
207
208 Librar}) of Practical Photography.
683. Printing Light. — For exposure, artificial light is
preferable to daylight, because it varies less in strength.
When you have obtained the proper distance and time of
exposure on a test print from a given negative, it is easier
to make the remaining prints from the same negative of
uniform quality.
684. Length of Exposure. — If a kerosene lamp is used
for printing we would advise the placing of a piece of
camphor about the size of a walnut in the oil. This will
have a tendency to make your light of a whiter color and
naturally its strength will be greatly increased. With a
kerosene lamp you can place your negative, while printing,
quite close to the lamp, but keep it revolving and moving
so that the light will be distributed evenly over the entire
negative. If there are parts of the negative that print
slower expose longer on these parts, holding them closer
to the light. As a general thing the frame placed about
10 or 12 inches from the light gives the best result.
685. The length of exposure is naturally governed by
the strength of negative and the kind of light employed. If
a 32 candle-power incandescent light is used with a fairly
good negative, from 6 to 8 seconds exposure will be plenty
if the negative is held about 10 inches from the light. A
thin or soft negative would probably print in 4 seconds.
The same negative held 20 inches from the light would prob-
ably take 16 seconds. One advantage of holding the nega-
tive at least 10 inches from the light is that the light is
more evenly distributed. If held very close to the light
there is danger of printing one part of the negative more
than the other, thereby producing an uneven print. The
length of exposure during printing depends entirely on the
density of the negative and the strength of the light em-
ployed.
686. To find the proper distance from the light at
which the negative should be placed during printing, take
a piece of white cardboard, actual size of negative to be
printed from, and move to and from the light until you find
the shortest distance at which the entire card is evenly il-
Velox Printing and Developing. 209
luminated. You will find that the regular papers will need
from four to five times more exposure than the specials,
if the negative is placed at the same distance from the
light.
687. The following table will give you a slight idea of
exposure, but only practice and close observance of your
results can teach you the exact exposure : With special
papers, and size of negative 4x5, or smaller, held 7 inches
from the light of a kerosene lamp, it will require about 30
seconds; Welsbach Burner, 10 seconds; 16 candle-power
electric light, 20 seconds ; 32 candle-power, 10 seconds ; or-
dinary oil lamps, from 30 to 50 seconds. Regular Carbon
papers, 7 inches from the light, with a kerosene lamp, will
require about 1^2 minutes to print; Welsbach Burner, 40
seconds; 16 candle-power electric light, 50 seconds; 33
candle-power, 40 seconds ; average oil lamp, anywhere from
2 to 3 minutes. If a 4-foot gas burner is used, give the
same exposure as with a 16 candle-power electric light. If
a 6-foot gas burner is used, give the same exposure as
used for the 32 candle-power.
688. A good rule to follow is to first sort the negatives.
Place your strong negatives in one pile, the thin ones in
another, and when about to print from the heavy ones use
the special papers of any surface you prefer. In printing
from the thinner negatives use the carbon, or regular paper.
While making the exposure be sure that the box contain-
ing paper or exposed prints is covered. Being quite sensitive
to light, it is easy to ruin an entire box of paper by allow-
ing it to remain uncovered during a single exposure.
689. Printing With Electric Light. — For studio work
and where a large amount of printing is done, a 32 candle-
power incandescent electric bulb, which can be arranged
along the lines of illustration No. 9, is recommended. This
illustration represents one end of a dark room, fitted with
a sink, over which is arranged a developing light. About
five feet from the sink along one end of the room is the
printing light. This light is mounted on a pine board at-
tached to the edge of a shelf, 13 inches wide. On the lower
210
Velox Prinling and Developing. 211
edge of this board is a socket, into which is screwed a 32
candle-power incandescent bulb. The light is operated by a
lever switch attached to the upper end of the board and
within easy reach of the printer. This switch can be encased
in a box with a slot cut on the top, and a door attached to
the front, running the depth of the box. By allowing the
handle of the switch to extend through the opening, the
light may be turned off or on at will, without opening the
door of the box. This box also prevents the possibility
of getting an electric shock by taking hold of the switch
except by the handle.
690. The light is arranged about 18 inches from the
table, with a tin reflecting hood over it. This concentrates
all the light, throwing it downward upon the printing frame.
An important convenience of this printing light is the ad-
vantage one has of being able to dodge in the printing by
holding the frame at any desired angle. By placing the
box a certain distance from the light the printing may be
done by laying the frame flat upon it. By means of the
switch the current is turned off after each exposure, which
effects a saving on electric light bills.
691. The developing light, which is a 16 candle-power
incandescent, is encased in a bevel-shaped box, having a
glass front, covered with one sheet of yellow post office
paper. The bevel-shaped box permits the light to fall
upon the print in the developer. It also supplies sufficient
illumination to the room to permit loading the printing
frame. By means of the cardboard partition between the
printing and developing light, the developing and loading
of the frame can be carried on while the paper is printing
under the printing light, as one light will not interfere with
the other.
692. The essential point is to provide for some simple
way for uniformity of exposure to the light, as the slightest
variation in the position of the printing frame in its relation
to the light will make a difference in the time of exposure
required for the best results. It is essential to have a per-
fectly even illumination over the entire surface of the nega-
IV— 13
212 Library of Practical Photography.
tive. In order to ascertain whether the light is evenly dif-
fused at the point selected for exposure, take a piece of
white cardboard the size of the printing frame. Hold
it parallel to the source of light, moving it backward and
forward over the box until you determine the location of
the part where the illumination seems most even. Allow
this to be the printing point. A good general rule is to
measure the negative from corner to corner, diagonally,
making that the distance for the first test. In most cases
it will be a correct guide for printing.
693. Test for Exposure. — When opening a package of
paper, avoid exposing it to bright light (as previously sug-
gested). If uncertain which side has the sensitized sur-
face, determine which side of the paper shows a tendency
to appear concave. This will be the sensitive surface, as
the paper curls slightly toward the coated side. When
ready to make the first exposure, cut a sheet of paper into
small strips, about one inch wide. Place one of the strips
over an important part of the negative and make an ex-
posure, using your best judgment as to the distance from
the light, and time of exposure. Develop the print and if it
is not satisfactory try another strip, varying the time or
distance as indicated by the first trial. When the best pos-
sible results are secured from the negative in question, pro-
ceed to make the desired number of prints from the same
negative, giving the same exposure. If time and distance
are identical all the prints should be equally good. By
comparing other negatives with the one printed from, you
will be able to make a fairly accurate estimate of the ex-
posure necessary for each. If care is exercised good re-
sults should surely follow in every case.
Nature of Chemicals Used for Developing and Fixing.
694. Metol. — A whitish powder, soluble in water. Is
a developing agent, producing detail even to flatness.
695. Sulphite of Soda. — Transparent crystals, also
granular and dried (anhydrous). Soluble in water. Two
Velox Printing and Developing. 213
parts of crystals are equivalent to one part dried or anhy-
drous. Chemical action — neutral, or slightly alkali. Con-
trols tone of the print. Do not confuse sulphite with sul-
phate of soda.
696. Hydroquinone. — Nearly white, or pale yellowish
needle-like crystals. Must be protected from light and
dampness ; otherwise it will discolor. Soluble in water. Is
a developing agent and produces contrast.
697. Bromide of Potassium. — Colorless crystals. Dis-
solves readily in water and is a restraining agent.
698. Carbonate of Soda. — Dried, anhydrous crystals.
(See Glossary.) Is extremely soluble in water. Action,
alkali. Its action in developing — opens pores of the emulsion in
the paper so that the developing agent may act.
699. Hyposulphite of Soda. — Put up in crystals and
granular form. Colorless. Chemical action, found both
neutral and acid.
700. Alum. — Colorless crystals; also put up in pow-
der form. Chemical action, acid. Dissolves slowly in
water. Possesses qualities that harden the film.
701. Acetic Acid. — Colorless liquid. Full strength.
Will blister the skin. Chemical action, acid. Hardens film
and prevents staining. The strength of this acid increases
with the temperature; therefore, care should be taken that
the fixmg bath is kept cool, or the acid will gain too much
strength and a strong sediment will be formed in the bath,
causing it to become milky and liberate an excessive amount
of sulphur from the hypo, causing sulphurization. Prints
fixed in a bath of this condition will turn yellow when ex-
posed to the air and light.
702. The Use of Bromide of Potassium.— All devel-
opers require the addition of a certain amount of bromide
of potassium to keep the whites cleared and it is most con-
veniently used in the form of a 10% solution, w^hich is made
by dissolving one ounce of bromide in ten ounces of water.
As the amount of bromide necessary varies with the age,
degree of dryness of the paper, the purity of the water and
chemicals used, it can only be given approximately. It is
214 Library of Practical Photography.
easily determined, however, by first adding the amount
given in the above formula to the solution and then making
a trial test by laying an inch strip of Velox over an import-
ant portion of the negative and printing and developing
it in the regular way. If the whites appear fogged, add
a few more drops of the bromide solution. If on the con-
trary, the whites are clear and the blacks have a greenish
tinge, there is too much bromide in the developer and it
will then be necessary to add a little of a stock solution
of developer that contains no bromide. To avoid this latter
necessity, in adding the amount of bromide do so very
slowly and drop by drop, making tests as directed.
703. Effect of Bromide on Tone of Velox Print.—
Note that when just enough bromide has been added to
keep the whites clear, the blacks may have a bluish tinge.
Then, if more bromide is added, little by little, and a test
print made after each addition, the tone of the blacks will
be seen to change gradually from bluish-black to pure
black, and if still more bromide is added, to greenish or
brownish blacks.
704. Metol Poisoning. — Metol is of a poisonous nature
attacking some people more than others. It often causes an
itching and soreness of the skin. With ortol there is little
likelihood of danger and practically the same results can be
produced as with metol. If one is subject to metol poison-
ing, the following ointment will be found to give almost
immediate relief:
705. Ointment Preventing Metol Poisoning. —
Ichthyol 1 dr.
Lanoline 2 drs.
Vaseline 3 drs.
Boracic Acid 2 drs.
706. Add to this a drop or two of oil of lavender,
which destroys all unpleasant odors. Rub well into the
skin. It is also excellent for cuts or burns.
Velox Printing and Developing. 215
707. Another positive cure for metol poisoning, but
one which is rather severe, is soaking the hands twice a
day for 15 minutes in a strong solution of salt and vinegar.
708. Developing Notes. — There are a number of sug-
gestions as to developing, which should be very thoroughly
studied and carefully followed to insure good results.
Prints may be developed by immersion in the solution or
the developer may be applied with a tuft of cotton or a
brush. If the former method is to be employed the devel-
oper should be placed in a tray somewhat larger than the
size of the paper you are using. To the right of this place
a tray of water and next to that the tray for the fixing
bath.
709. The prints should be immersed, face up, in the
developer and then evenly covered with the solution at
once, to insure uniformity of development. This method of
development is the most satisfactory for the beginner; but
for the advanced worker, the cotton or brush method may
be employed instead of the developing tray. Provide your-
self with a sheet of glass somewhat larger than the print to
be developed. Pour the developing solution into a cup,
tumbler or graduate. After the paper has been exposed,
place it face up on the glass, then thoroughly saturate the
cotton or brush with the developing solution, and pass it
quickly over the surface of the print, applying the developer
evenly and abundantly. If the exposure is correct the
image will appear gradually and complete development will
be effected in about 30 seconds, if the "Special " Velox has
been used. The " Regular " Velox will require about one-
half as much time. If the print flashes up very quickly and
at once grows black, it is a sign of over-exposure in printing.
If under-exposed, the print will, on the contrary, develop very
slowly and it will finally be found weak in the important
parts.
710. If the immersing method is employed and air-
bells gather on the surface of the paper, be sure to break
them with the tips of your fingers, or with a tuft of cotton.
If not broken they will leave white, undeveloped spots on
216 Library of Practical Photograph}^.
the print. If you find that the highlights (whitest parts of
picture) are gray, it will be necessary to add to the bath
a few more drops of a 10% solution of bromide of potassium.
Be careful, however, not to use more bromide than is ab-
solutely necessary to secure pure whites, as an excess
of bromide will not only restrain the developing and pro-
duce contrasty prints, but will also produce greenish prints.
Watch the process of development carefully and when you
find the print is almost dark enough remove it from the de-
veloper. It is necessary to act quickly as each fraction of
a second causes the print to grow darker. If the exposure
has been too short, you can not expect to make the print
dark enough by prolonged development.
711. If under-printed, prolonged development will pro-
duce a stained print, generally a yellow cast over the entire
print. Remember that hydroquinone in the developer pro-
duces contrast while the metol produces detail even to flat-
ness ; so if in printing you have given the correct exposure
and your results are flat add a trifle more hydroquinone to
thf developer. This can be done by adding a few grains
to the solution, being careful that they are thoroughly dis-
solved before developing more prints. If, on the other hand,
the results are too contrasty add a trifle more metol. For
the beginner we would advise making no attempt to change
the proportions of the developer. Later on, however, when
more experience has been acquired it will be well to experi-
ment along these lines. It is advisable when the bulk of the
solution is reduced to replenish with fresh developer added
to the old, or used bath.
712. Diluting the Developer. — The effect of diluting
the developer for prints is just the opposite in action to
what it is in developing plates. A diluted developer will
give stronger and more contrasty prints while a full
strength developer will produce softer prints. Therefore,
when you have dense plates to print from, use the developer
full strength and print on the special or special portrait
paper. It is advisable to make the prints first from the
heavy negatives. When you come to print your thin plates
Velox Printing and Developing. 217
dilute the developer at least one-half and use the carbon
or regular paper. Remember, the more you dilute the more
contrast can be produced and the action of the developer
will be just so much slower. You must, however, be care-
ful as to going to the extreme, or the tone will have a
tendency to run into an olive, or green. Remember also,
the addition of a few drops of 10% solution of bromide of
potassium will aid you in obtaining contrast. If the prints
do not develop clear, bromide must be added until they
do. Always remember, however, that care must be ex-
ercised not to add too much bromide, or the resulting tone
will be green or olive. To rectify an excessive addition of
bromide add more of the fresh developer.
713. Caution. — It is essential that the hands be per-
fectly clean and dry when handling paper during printing.
They should also be thoroughly cleansed before developing.
Never attempt to develop a print after the hands have been
in hypo without first washing and drying them thoroughly,
removing every trace of hypo.
714. Acidified Rinse Water. — Immediately after de-
velopment the prints may be rinsed in clear water and
placed in the fixing bath. It is, however, advisable to
slightly acidify the rinse water by adding 40 to 60 drops
of acetic acid to 2 quarts of water. This acidified water
will prevent mealiness and muddiness upon the surface of
the prints and will also prevent yellow stains, as it will
immediately stop the action of the developer.
715. Fixing. — When the print is fully developed it
should be dipped either into plain water, or the above
acidified water for a few seconds to remove the surplus
developer, then fully immersed in the acid fixing bath. In
this fixing bath the prints must he kept moving for the first
half minute to insure uniform and thorough fixing and to
prevent stains from uneven action of the hypo on different
parts of the print. In order to obviate the necessity of
frequently washing the hands to avoid mixing hypo, adher-
ing to the fingers, with the developer, and also in moving
218 Library of Practical Photography.
the prints from one tray to another, a small stick may be
employed, or a glass rod, or even a small glass funnel
(using the stem as a handle). Allow the prints to remain in
the fixing bath 15 minutes. Then let them lie for an hour
in a tray into which water is running slowly from a faucet ;
or in water which is frequently changed during the hour.
Of course, a number of prints may be placed in the fixing
bath, or in the wash water, at the same time, care being
used in the fixing that they do not follow each other into
the bath too rapidly. Also that each one is moved about for
a few seconds before it is allowed to sink to the bottom and
remain undisturbed. Prints are often spoiled by neglect of
this precaution. If this is attended to, no harm will be done
if the prints remain for a longer time in the fixing bath, ex-
cept in hot weather, when they may turn brown, as the
bath becomes warm. Use plenty of fixing bath. Do not
attempt to fix prints in too small a solution. A pint is
a small enough quantity, even if you intend to fix only a
dozen prints. As the fixing bath keeps for a long time a
larger bath should be made up and used continually with-
out renewing. A one gallon bath will fix one hundred
4x5 prints, or their equivalent. For large batches and pro-
fessional use, large quantities of the bath should be made
up.
716. Washing. — Imperfect washing will cause the
prints to fade after a time, owing to the chemical action
of the fixing solution remaining in the prints when dry.
717. Marring Prints. — Care should be exercised in the
handling of the prints, especially when the temperature of
the water is somewhat warmer, for in this condition the
prints are soft and the edges may easily be marred. The
temperature of the wash water should be kept below 65 de-
grees and when in this temperature the prints should not
be handled over too much.
718. Drying. — After the prints have been thoroughly
washed, they should be taken from the water and placed
face down on cheesecloth stretchers. This will prevent
curling to a certain extent. Be careful that they are not
Velox Printing and Developing. 219
piled one on the other as this would cause them to stick
to each other. If the prints before laying out are thoroughly-
blotted with Royal blotters they will dry much faster.
719. Caution. — Do not dry Velox prints between blot-
ters as they are likely to stick and cause much annoyance.
720. Trimming Prints While Wet. — In case of neces-
sity prints may be trimmed while wet. For instruction for
trimming see " Trimming and Mounting."
721. Trimming Prints When Dry. — Velox prints
should be dry and perfectly flat for trimming. A trimming
board should be used instead of a knife or ruler, as with
the board absolutely true edges may be obtained. Prints
may be trimmed with a sharp pocket knife, using a glass
with perfectly square corners as a guide for squaring the
print. They may also be trimmed with large shears with
the glass as a guide. The use of the trimming board how-
ever gives the most satisfactory results. For detailed in-
struction see " Trimming and Mounting."
722. Squeegeeing Enameled Surface Prints. — Glossy,
Special Glossy or Velvet Velox prints may be burnished or
squeegeed. Take prints from the wash-water, place face
down on a ferrotype tin, squeegee into absolute contact and
allow to become bone dry, when they will peel off with the
desired lustre. If the tin has been in use for some time, por-
tions of prints may stick. To prevent this, prepare the tins
as follows :
723. Dissolve ten grains of beeswax in one ounce of
benzine, allowing it to stand for a few hours, in which time
a precipitate will be formed. The clear solution should be
used for polishing the tins by applying to the surface of
the ferrotype plate with a soft cloth (canton flannel.)
When the surface of the tin has been thoroughly covered
with this preparation, the tin should be polished with dry
canton flannel to remove as much of the beeswax as pos-
sible. As beeswax varies in its composition, the solution
may vary somewhat in consistency, so that an addition of
benzine may be necessary to permit polishing the tins easily.
220 Library) of Practical Photography.
734. Practice Work. — The making of Velox prints is
most successfully done by artificial light and we advise its
use, especially for your first experiments, and as the general
run of negatives is more suited to the special grades, we
advise using these grades for your first work. You may em-
ploy any surface to your liking, whether smooth, matte or
rough. The principal difficulty with the manipulation of
Velox and other gaslight papers lies in the proper exposure.
The one advantage of artificial light, be it gas, electric or
even the light from a kerosene lamp, is that the strength of
the illumination is always the same and when you once ob-
tain the proper exposure, all future exposures from the same
or similar strength negatives can be made exactly alike.
For your first experiments in developing Velox we advise
using the formula exactly as given herein, for this formula
is prepared for normal exposures and really needs no alter-
ing. After you have had a little experience, the formula may
be altered. Altering is advised in order that you may
learn the effects produced by diluting as well as using full
strength. You will learn by careful reading of the in-
structions that to produce soft prints, the developer must be
used full strength while if you require more contrast dilute
the developer with water.
725. Note. — You will observe that this method of ob-
taining contrast with Velox prints is just the opposite to ob-
taining contrast when developing plates ; because when de-
veloping plates, by adding more water you produce softness
and more detail, while with Velox the reverse is the case.
The addition of water, or dilution in other words, gives
contrast. Remember this. For your first experiments you
should make up several prints on Special Velox, observ-
ing the exposure necessary to the final development and fix-
ing. Note on the back of each print all data connected with
the production of the results. Should the first prints be
failures, so much the better, as in that event they will
prove the most important prints in your collection for fu-
ture reference.
Velox Printing and Developing. 221
726. When failures are encountered consult the Dif-
jSculty Department, where you will find the cause, remedy
and prevention for all troubles related to the difficulty in
question. After you become familiar with Special Velox,
take up the other grades and surfaces and manipulate them,
following instructions closely. In all cases make note on
the back of all your test prints, whether good or bad, and
file them in your proof file. They will serve as good refer-
ences for future guidance.
CHAPTER XXVIII.
Developing Velox With Prepared Developers.
727. For those who experience difficulty in securing
absolutely pure chemicals, or who do not care to com-
pound their own developers, we recommend the use of the
liquid developers put up by manufacturers.
728. " N. A." Liquid Developer.— This is an excellent
ready-to-use concentrated developer for Velox papers. Un-
like some other developers it has certain qualities which
make it unique in photographic work. " N. A." (non-abra-
sion) means that all abrasion or friction marks, to which
glossy developing-out papers are particularly susceptible,
will be prevented by the use of this solution. Another
feature is the guide it gives to thorough fixing. The
print is not absolutely fixed until the canary yellow color
entirely disappears by fixing in a correctly prepared acid
hypo bath. This developer yields the softest possible
prints when diluted, and it is well to remember that the
strength of the developer regulates the softness of the
print.
729. The following formula should be used for Special
Velox :
N. A. Velox Liquid Developer 1 oz.
Water 4 ozs.
730. Formula for Regular Velox. —
N. A. Velox Liquid Developer 2 ozs.
Water 4 ozs.
223
224 Library of Practical Photography.
731. It is important that the temperature of the de-
veloping solution should be 70° Fahr. In summer, if neces-
sary to cool the developer, do not place ice in the solution,
as it will cause dilution. Place the tray containing the de-
veloper into one of the larger size, packing a little ice
around it.
732. Note. — " N. A." developer should not be used for
developing plates or films.
A Universal Prepared Developer for Paper or Plates.
733. " Nepera " Developing Solution. — This is known
as the universal developer because it may be used not only
for Velox, but for Argo, bromide paper, films or plates.
Like all " Nepera " liquids, it is a concentrated solution
with combination of purest chemicals which will give
the best results. It differs from " N. A." Velox Liquid
Developer in that it does not possess the non-abrasion and
fixing guide properties ; but on the other hand, when used
in combination with " Nepera " capsules, four of which
accompany each 4 oz. bottle, it is excellent for films or
plates, giving negatives of the quality best suited for de-
veloping-out papers.
734. Formula for Regular Velox Use:
Nepera Solution 2 ozs.
Water 4 ozs.
735. For Special Velox Solution Use:
Nepera Solution 1 oz.
Water 4 ozs.
The temperature of the bath should be 70° Fahr.
736. For Film in Tank Developer or Kodak Develop-
ing Machine Use:
Nepera Solution % oz.
Water 12 ozs.
And add the contents of one Nepera capsule and develop for
20 minutes.
Developing Velox. 225
737. Fixing. — There is probably no part or process of
photography that is more abused than that of correctly
preparing a fixing bath and properly fixing prints. To
secure permanency prints must be fixed in a fresh solution
of hypo. When hypo is first dissolved in water the tem-
perature of the solution is materially reduced. It is im-
portant that the temperature of the fixing bath should be
maintained as near to 50° Fahr. as possible. Probably
more prints fade from insufficient fixing than lack of wash-
ing, so these points should be given attention. Have plenty
of solution strong enough to thoroughly fix prints in at
least 15 minutes. Always use the acid hardener in the bath,
as it will overcome the tendency of the fixing bath to
cause blisters and stains.
738. Formula for Preparing the Acid Hypo Fixing
Bath.—
Water 64 ozs.
Hyposulphite of Soda (Crystal or Granulated) . .16 ozs.
739. When thoroughly dissolved, add the following
hardening solution, dissolving the chemicals separately and
in the order named:
Water 5 ozs.
Sulphite of Soda (Desiccated) % oz.
Acetic Acid No. 8 3 ozs.
Powdered Alum 1 oz.
740. This solution will keep well ; one pint being enough
to fix at least two dozen 4x5 prints. If sulphite and carbonate
of soda in crystal form are substituted for desiccated, double
the quantities mentioned should be used.
741. The most accurate way of preparing a fixing
bath is by using a hydrometer, testing the specific gravity ;
70 being the correct degree.
742. For the amateur, or those who do not care to
prepare their own hardening solution for the hypo bath,
we would advise the use of prepared solutions, and the
226 Library of Practical Photography.
concentrated Velox Liquid Hardener is especially recom-
mended. For use take,
Water 16 ozs.
Hyposulphite of Soda 4 ozs.
Velox Liquid Hardener , 1 oz.
743. Note. — Where you prepare your own Acid Hypo
bath should the prints bleach or appear brown in tone, it is
quite certain you are using too much acetic acid. Perhaps
you are using glacial acetic acid instead of commercial No. 8.
The former is very much stronger than the No. 8, and should
not be used in the hypo bath unless diluted. For difference
in strength see Glossary.
744. The washing and drying of prints is exactly" the
same as previously instructed.
CHAPTER XXIX.
Difficulties — Manipulating Velox and Other Gaslight
Papers.
745. Prints Are Too Light, Lack Detail. — This is due to under-
exposure. The negative may be too dense for the " Regular "
paper; use the "Special" papers.
746. Grayish Mottled or Granulated Appearance of Edges or
Entire Print. — This is due to under-exposure and forced develop-
ment; old paper; paper kept in a damp place; moisture; chemical
stains; fumes from ammonia, turpentine, illuminating or coal gas.
Always keep the paper in a dry, cool place, give full exposure and
never force development.
747. Prints Too Black. — This is generally caused by printing
from negatives that are too weak, or thin; by over-exposure or
over-development; insufficient amount of bromide of potassium
in the developer. Perhaps you have selected the wrong grade of
paper to use. Try the " Regular " paper in place of the " Special,"
as more contrast will thus be secured. Or, if you have too much
contrast try the "Special;" this will give you more softness.
748. Green Tones. — Green tones are generally caused by using
too much bromide; over-exposing; using a developer too weak or
old. Use a more concentrated developer or add less bromide. A
strong, fresh developer permits the use of more bromide than a
weak one, without producing greenish blacks.
749. Grayish Whites. — If there is not enough bromide in the
developer, the whites will turn gray. Add a few more drops of a
10% solution of bromide. If the print is under-printed and forced
in development, it will cause grayish whites. Using old paper will
cause grayish whites, or it is also possible that the paper has been
fogged by white light while printing or during developing.
750. Brownish Blacks. — If the developer has become old and
discolored, or too warm, you are likely to produce brownish blacks.
Developer exposed to the air will oxidize and then produce brown-
IV— 14 227
228 Library of Practical Photography.
ish blacks. This is also caused by using developer too weak. This
may also be due to over-exposure, an excessive amount of bromide,
or an old or incorrectly compounded developer. Never use de-
veloper after it has become discolored or muddy to any great
extent. Imperfect fixing; fixing bath lacking sufficient acid; and
if prints are not kept moving to allow even fixing, are all causes
for brown or light stains. If the brown tone appears after im-
mersing in the fixing bath, it may be traced to impure sulphite
of sodium, or too warm a fixing bath.
751. Too Much Contrast. — If your negative is a strong and
contrasty one, use " Special " paper and develop with full strength
developer. A diluted developer will give more contrast. Double
strength developer will produce softness. When double strength
developer is used increase the exposure and use more bromide to
keep the print clear in the highlights. This will give more soft-
ness. (See Special Manipulation of Velox.)
752. Prints Flat, Lacking Contrast. — GeneraMy due to over-
exposure; or, if the negative is a weak one, full of detail but very
thin, you must use the regular grade of paper, as the regular
grades develop more contrasty. A diluted developer will aid in
producing contrast. Adding more bromide will produce increased
contrast, but exercise care that you do not add too much. An
over-supply of bromide produces green or brown tones.
753. Weak Prints (Lacking in Detail). — This is generally
caused by developer being too weak, or under-printing — perhaps
under-developing. If the negative is weak, use the regular grade
of paper with the same surface. It will produce more contrast.
Prints from weak negatives are best developed in fresh full strength
developer, fully timed, with plenty of bromide in the solution.
754. Mottled Shadows. — This is generally caused by over-
printing. Under-developing will also produce mottled shadows.
Over-exposed prints, if developed far enough to overcome the
mottled efifect, would be too dark; therefore, make shorter exposure,
so as to be able to develop fully, and this trouble will be overcome.
755. Prints Too Dark. — This is generally caused by over-
exposure in printing and over-developing. Make shorter exposure
and develop longer. Or, remove prints from the developer as soon
as they are fully developed and get too dark. Properly exposed
negatives will not develop too dark in the developer.
756. Small Yellow or Purple Stains. — This is generally caused
by developer failing to spread evenly over the entire print; develop-
ing prints face down; surface of prints touching bottom of tray,
or using trays that are not clean, and by prints being allowed to
Difficulties — Manipulating Velox Papers. 229
remain in the water too long before fixing, after developing. Prints
that are not kept moving in hypo bath when first placed there will
stain; air-bells gathering between surface of the print and hypo,
when first placed in this bath, will cause yellow or purple stains;
incomplete fixing will also cause these stains.
757. Yellow Stains All Over the Print.— This is generally
caused by under-printing and trying to force the print in develop-
ment; prolonged development; developer too weak; not fixing long
enough; insufficient washing after fixing will also cause this trouble.
Always dip prints into the acid bath before fixing. Forcing de-
velopment of an under-timed print will cause stains. In some cases
it is due to the fact that the water contains too great a portion
of iron. It is very easy to determine that the trouble is due to in-
complete fixing, because in that event the print will have a sweet
taste. Sea air will affect Velox paper, causing yellow whites;
so packages should not be left open, and prints should be developed
immediately after exposure.
758. Blisters. — Blisters are generally caused (if they do not
appear until the prints reach the hypo) by too strong a hypo bath,
or too much acid in the hypo; uneven temperature of developer,
fixing bath and washing waters; final wash waters may be too
warm. Prints may have been creased or broken while washing.
Do not allow water directly from the tap to fall upon the prints.
759. Blisters on Sepia Prints. — Blisters showing on sepia prints
doubtless come from the insufficient use of hardener in the fixing
bath, when making the black and white print. Too strong a solu-
tion of developer, or too long immersion in this solution will also
cause blisters. A salt bath after bleaching may be used if blister-
ing is excessive.
760. Round White Spots. — These are generally caused by air-
bells gathering on the surface of the paper when the print is first
placed in the developer. Always slide the print under the developer,
and if air-bells have gathered, break them with the tip of the finger.
761. Milky Deposit on Surface of Prints. — This is caused by
using a hypo bath which is milky. The bath is either too warm, or
too much acid was used; or, the bath was not allowed to settle
before using. The deposit will do no harm if you remove it when
placing in the wash waters. If there is any trace of milkiness on
the dry print it can be removed with a wet sponge. Great care,
however, should be taken to have this sediment removed while in
the wash water.
762. Prints Developing Irregular and Freaky, and in Streaks. —
This will occur at times on all makes of paper. It is sometimes
230 Library of Practical Photograph}).
caused by using impure sulphite of soda, which contains sulphate,
or by too much dilution of the developer. This difificulty usually
occurs during warm weather, when the humidity is great. Keep
your developers cool, and if this does not overcome the difficulty
wet the prints thoroughly in clear water before developing.
Usually a fresh developer used in hot weather will overcome these
difficulties.
763. Edges of Prints Discolored. — All developing papers are
more or less affected when exposed to gas fumes, such as illuminat-
ing gas, coal gas, sewer gas and ammonia vapors. It is also caused
by using an insufficient amount of developer to spread evenly over
entire print. Always keep the package of paper tightly closed
when not in use.
764. Fine Black Lines on Surface of Prints. — These are gen-
erally found on the surface of glossy paper, but at times occur on
the matte surface. They are caused by friction before developing
and are commonly called " abrasion marks." This friction causes
the silver in the emulsion to rise to the surface of the paper, there-
fore developing black. Oftentimes they can be removed during
development by rubbing carefully with the tips of the fingers;
or when the print is dry, with a tuft of cotton which has been
dipped in alcohol. With matte surface papers these lines can be
removed with a soft erasing rubber. Abrasion marks may be
avoided entirely by the addition of 5 grains of commercial iodide
of potassium to each ounce of developer used.
765. Small Black Spots. — Generally caused by pin holes in
the negative, or rust in the developer or wash waters.
766. Round or Irregular Dark Spots. — These are caused by
air-bells forming on the print when placed face down in the fixing
bath and by failing to keep prints in motion. It is advisable to
turn each print over several times after entering the hypo bath,
to insure even immersion.
767. White Spots Irregular in Shape and Size. — If a drop of
water or saliva touches the surface of the print before printing, it
will always leave one or more of these white spots. Extreme care
should be taken to avoid the splashing of water from the sink.
Never try to blow dust from a negative or sensitized paper, as
there is danger of saliva coming in contact with either. Always
use a camel's-hair duster for such purposes.
768. White Spots With Heavy Fine Lines. — Are usually
caused by finger marks. Perspiration from the fingers will leave
a mark, on which the grain of the flesh will show. Avoid touching
the surface of the paper with the fingers before printing and
developing.
Difficulties — Manipulating Velox Papers. 231
769. Canary Yellow Tones, When the Non-Abrasion Bath Has
Been Used, or the Iodide of Potassium Has Been Added to the
Regular Developing Bath. — This is a sure sign that the print has
not been fixed sufficiently. The canary color should disappear en-
tirely when properly fixed in a correctly prepared acid hypo bath.
The entire disappearance of this color insures correct fixing.
770. Greenish Yellow Tones Where the Non-Abrasion De-
veloper Has Been Used. — This is caused from under-exposure and
forcing in development. It will fix out if left long enough in a
fresh acid hypo bath.
CHAPTER XXX.
Special Printing and Developing of Velox and Gaslight
Papers.
771. The reader having followed the preceding in-
struction on the general manipulation of Velox paper
should have a good knowledge of the general manipulation
of gaslight papers. However there are numerous little
dodges in printing and developing not covered in the pre-
ceding instruction, which will aid the photographer in pro-
ducing most artistic effects with these papers.
772. There are many advantages to be gained by
slight manipulation and dodging in the printing, such as
holding back portions which print too black, vignetting un-
desirable parts of a negative, general blending, etc., also
printing-in borders.
773. There are times when it becomes necessary to
print from negatives which apparently will not give satis-
factory results — negatives which if used for printing-out
papers would doubtless be failures. Such negatives how-
ever, may be made to yield splendid prints on Velox, or
other developing-out papers, by proper manipulation.
774. As example No. 1, we will consider a contrasty
negative which was probably under-timed or harshly
lighted ; the highlights print absolutely white, the shadows
black, with no detail, and containing no half-tones what-
ever. Example No. 2, a thin weak negative, muddy, life-
less, flat; highlights thin, filled with detail; a negative of
insufficient strength. Prints from such a negative, ordin-
arily manipulated, would show gray highlights, while
shadows would be thin and mealy. No. 3 is a negative
233
234 Library^ of Practical Photography.
very dense all over, which, with the printing-out paper,
could scarcely be made to print satisfactorily. In addition
to printing extremely slow with printing-out paper. No. 3
would show absolutely no contrast nor atmosphere.
775. Then there is another class of negatives — those
made under most difficult conditions. For instance : Where
the circumstances require rapid exposure, necessitating the
under-timing of some portions of the plate, such portions
will need nursing in the printing, to retain any detail what-
ever in the shadows.
776. Velox and gaslight papers, properly manipulated,
lend themselves better to these requirements than printing-
out papers, enabling all that is in the negative to be re-
tained by proper manipulation in the exposure and develop-
ment.
777. While dodging in the printing, vignetting, blend-
ing and masking, are essential to good results, proper de-
veloping under such conditions has much to do with
the quality of the finished picture. It is the object of this
instruction to describe various methods of dodging, print-
ing, and special developing.
778. Printing Dodges. — Let us consider example No.
1 : A contrasty negative without half-tones. This negative,
as before stated, if printed straight would produce prints
with black shadows and white highlights. Now, it be-
hooves us to equalize the tone in order to give uniform
prints. This can be done in one of two ways :
779. By tissue papering the printing frame and apply-
ing dry yellow ochre to the tissue paper, over the shadow
portions of the negative, thus holding them back while the
highlights are printing. Or, the glass side of the negative
may be ground-glassed and the same application of yellow
ochre applied. The former is the more simple, requiring
less time. By this method small parts may be held back
with the ochre applied to the tissue paper. A negative like
this can then be printed evenly by any light; but under
circumstances where dodging is employed, you must print
further from the light; thus giving more even diffusion and
Prmiing and Developing Velox. 235
avoiding lines or marks caused by the ochre applied to the
tissue paper.
780. Negative No. 2 is a thin, weak negative, having
plenty of detail, yet when printed in the ordinary way the
highlights are gray instead of mellow and white. Such
a negative requires dodging in the printing, as well as in
the developing. In the printing you require some method
of retarding the action of the light to print deep and slow,
because there are no strong highlights, nor dense shadows,
but a flat mealy negative. Therefore, expose the negative
by diffused light, covering the printing frame with tissue
paper. The catch-lights, or the strongest point of light,
should be slightly outlined with a little Prussian blue, ap-
plied to the tissue paper. This will give some contrast in
the printing. When developing such prints the developer
must be diluted, and sufficient bromide used to restrain the
print from developing too rapidly.
781. Of course, in the first place, contrasty paper
should be selected to print on. Under such circumstances
there are three points to be considered : First, the selection
of paper suitable to such a plate ; second, the necessary
dodging in the printing to assist in producing contrast and
snap to the highlights; third, the final manipulation to
further assist in carrying out the operations necessary to
produce the required snap.
783. In No. 3 we have an extremely slow printing
negative, hard and contrasty. Such a negative should not
be printed from in that condition, but should be reduced
v.'ith red prussiate of potash reducer, as the negative can
then be reduced and made to yield good prints with ordin-
ary manipulation. See instructions on " Reducing," Vol-
ume II. If prints are desired from such negatives, without
reducing them, the important consideration will lie in the
selection of the grade of paper suitable for hard negatives,
which should be the " Special " papers. Time them fully
and develop slowly.
783. Dodging During Exposure. — Frequently during
exposure results can be improved if a portion of the nega-
236 Library of Practical Photography.
tive is held back somewhat, without masking the entire
negative. Portions may be restrained, or held back by
the. following method :
784. Provide a hand blender, which is made as fol-
lows : From a sheet of ordinary window glass cut a strip
12 inches long and % inch wide. Paste on the end of this
glass rod a round piece of opaque paper, or thin cardboard,
about the size of a quarter. The glass rod containing the
opaque paper or cardboard, being transparent, will permit
the blending of any portion of the negative without in-
terfering with other portions. By means of the blender,
interposed between the light and the part of the negative
it is desired to hold back, you can restrain to any degree
desired. Where for instance, 15 to 20 seconds exposure
is given for complete printing, a few seconds restraining
with the blender over the parts you wish to hold back
will make a surprising difference. The blender must not
be held stationary, but be moved about gently with a cir-
cular motion. The degree of blending is controlled by
the distance the blender is held from the negative. Usually,
when the blender is used, printing is done farther from
the light, allowing more latitude for the blending and
dodging. If the blender is held too close to the negative
it will show a sharp line. In printing from portraits where
the face or arms are a trifle thin, the blender is almost in-
dispensable. With it the flesh portions may be restrained
sufficiently to give a well balanced print. In many in-
stances, particularly in portraiture, to prevent flesh from
printing too dark, the entire print is under-printed, thus
giving a weak, mealy effect. By means of the blender these
portions may be held back and the print carried to the
proper depth, affording good results and rich half-tones.
785, Special Development. — With the formula recom-
mended for special developing of Velox, or gaslight papers,
the contrast producing chemical (hydroquinone) can almost
be dispensed with, developing being entirely accomplished
with metol. As stated in previous instruction, the desired
degree of softness, even to flatness or contrast, may be
Printing and Developing Velox. 237
obtained by altering the proportions of metol and hydro-
quinone. Metol affords a steady and gradual developer;
hydroquinone supplies strength and contrast.
786. Special Developing Formula. —
Water 10 ozs.
Metol 14 grs.
Sulphite of Soda (Granular or Anhydrous) i^ oz.
(If Crystals are used 1 oz.)
Hydroquinone 15 grs.
Carbonate of Potassium % oz.
Mix in the order given.
787. Prepare the hypo acid fixing bath in the ordinary
way, keeping the bath at from 50 to 60 degrees Fahr.
788. For your first experiments the developer should
be made up in small quantities, and may be altered for
strength or softness to suit your needs. Remember, hydro-
quinone gives strength, metol retards; so if more softness
is required use less hydroquinone or increase the metol.
If more strength is desired increase the hydroquinone.
789. To derive the most benefit from the experiments
work methodically and keep a memorandum of each ex-
periment. The following data should be noted on slips,
and these slips filed in a proof file for future reference:
790. Memorandum Blank, as follows:
Negative — State whether Strong or Contrasty, etc.
Paper — State whether Special, or Regular, etc.
Developer —
Water ozs.
Metol grs.
Sulphite of Soda ozs.
Hydroquinone grs.
Carbonate of Potassium ozs.
Bromide of Potassium grs.
Results, good; if poor, mark "bad."
792. When printing for development by this formula,
if the regular exposure is given — exposure proper for a
diluted developer — the print, when placed in this developer.
238 Library of Practical Photography.
would have to remain a few minutes before acquiring the
required strength. Prolonged development would brin§-
out the blend more evenly, but there would be danger of
producing yellow or grayish whites and losing snap and
vigor. Therefore, it is necessary when developing by this
formula, to print longer than ordinarily. About a third
more exposure should be given.
793. In this formula there is used considerable less
of the strength producing chemical (hydroquinone). By
the extra long exposure given, provision has been made for
all the detail required. Therefore it is simply necessary in
the development to retain this detail by proper handling
of the strength producing chemical. If too much of the
strength producing chemical is used the shadows will de-
velop too quickly, showing strong and black; they having
been printed deep, the detail would fail to develop in the
highlights or whitest parts of the print.
794. Very often you will find that instead of changing
the amount of ingredients, metol or hydroquinone, simply
adding water will produce the desired results. For thin
negatives which have plenty of detail in the highlights and
deepest shadows, negatives probably produced by over-
exposure and under-development, dilute the developer by
adding two-thirds more water. For hard or medium
strength negatives use full strength developer and add
from 10 to 15 drops of bromide. In using developer of
double strength a considerable amount of bromide may be
introduced without danger of producing a print too green.
When printing from a medium strength negative, it is
safe to add bromide until the print develops clear without
developing a green tone. Frequently it will be found to
take as much as one-half ounce of a 10% solution of brom-
ide to produce good results. Always bear in mind, that
green prints are generally produced by adding too much
bromide. Add bromide in small quantities until the whites
are clear with the green tone invisible.
795. When diluting developer for thin negatives use
very little bromide, as the water acts as a restrainer and
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Printing and Developing Velox. 241
should more bromide be added it would doubly restrain the
developer.
796. As you time longer than for ordinary developing
when using this bath there is considerable more latitude in
the printing. For this reason, do not be afraid to give an
abundance of exposure. In testing the developer, first
start with 10 to 15 drops of 10% solution of bromide. If
the whites are not clear add a few more drops of bromide,
and continue adding until the whites are clear. Bear in
mind, if the prints begin to develop green, too much brom-
ide has been added. In such an event add more fresh devel-
oper to the bath, just enough to keep the prints from de-
veloping green, and producing soft whites.
797. A good method of developing a print is to place
it in the bath in the ordinary way, handling it over two or
three times until the image begins to appear. When it
does show place the print on the palm of the left hand,
face up, and with the right rub very gently over the sur-
face backward and forward. The rapidity with which the
print will develop will be surprising. The warmth from
the hand speeds the developing. If there are portions of
the print that do not develop as rapidly as desired ; or,
should you wish to develop some portions before others ;
rub only these portions, dipping the fingers frequently into
the developer. This will give a great degree of latitude in
developing and enables the making of good prints even
from poor negatives,
798. There are times when it is desirable to exclude
parts of a negative from printing. For example: In por-
traiture, when only a portion of a figure is desired, or part
of a waist in a bust picture is to be eliminated ; in landscapes,
where an artistic picture could be made if a tree or a stump
could be eliminated; with a group picture where persons
or details not a part of the group, come within the range
of the lens. The effect in any of these cases would be
very much improved if the objectionable part could be elim-
inated. This can be done by vignetting.
799. Vignetting Velox Prints. — By vignetting is meant
242 Library of Practical Photography.
the method of printing, by which the margins of the picture
are made to gradually fade or blend away. This effect
is produced in various ways.
800. Methods of Vignetting Portraits and Eliminating
Undesirable Portions of any Negative. — The methods that
will be described are thoroughly practical. While the last
method requires a little extra work to prepare, most effec-
tive results can be produced through its adoption.
801. The first method is to take a piece of cardboard
a trifle larger than the negative you are printing from. Cut
a hole in this board a little smaller than the portion of the
negative you desire to show in the print. (See Illus. No. 9l^,
Page 157.) Next make small notches like saw-teeth ^4 to
% inch deep in the edges of this opening. The saw-tooth
effect will blend the light which falls upon the negative
because the light will filter in between the teeth. More
blend can be produced by holding the cardboard a greater
distance from the negative. About % inch from the nega-
tive is as close as the work should be performed. The
cardboard must be kept in motion during exposure (a cir-
cular motion is best). See that the card completely covers
the parts of the negative that are not to show in the print.
802. A slower method, slow in printing, but which
will do away with the necessity for keeping the vignetting
card moving, and will produce soft results, is to build up
the cardboard one-half inch from the negative and fasten
to the printing frame, covering the opening with a fine
quality of white French tissue paper, or onion skin, which
can be purchased at any photo supply house. If the nega-
tive is thin, use light blue tissue. Blue will cause the nega-
tive to print slowly, but the resulting print will be stronger.
803. A simple way to arrange this vignetting device
so it can be fastened to the printing frame, is to take the
cover of a dry plate box, large enough to practically cover
the printing frame. Cut into the corners about % of an
inch. Make a light cut from corner to corner on both ends
and sides, so they can be bent outward, forming a lip,
which can be tacked to the printing frame. Next cut a
Printing and Developing Velox. 243
hole in the cover, as described in making the vignetting
card, and cover with tissue paper. Several vignettes can
be made different sizes and shapes. One or the other will
fi*- any ordinary negative you may wish to vignette.
804. Another method of vignetting, and this is espec-
ially intended for portraits, is to paint the film side of the
glass with opaque. See instruction for making opaque, in
Chapter XL, Dodging in the Printing, but when applying
this method, instead of blending you merely block out un-
desirable portions, and the blocking out must be done in an
irregular way — sort of hatch or design shape — to give the
appearance of brush developing, as though the print had
been developed with a brush, swabbing backward and for-
ward. This method is best applied where white or very
light grounds are used.
805. The third method is to produce a vignette ef-
fect by simply developing the parts of the print that it is
desired to show. This, as before stated, is a much more
difficult process, but with practice and care fine results can
be produced with it.
806. Method of Procedure. — To execute the develop-
ing method of vignetting, place the sensitive paper on the
negative in the printing frame in the regular way ; hold the
frame up to a yellow light so you can see through the
paper from the back. With a soft pencil outline on the
back of the paper the parts of the view you wish to show.
By holding the glass and print before the yellow light, you
will be able to locate the part you have outlined with the
pencil. Next place the paper back on the printing frame
and expose the entire negative to the light just as though
you wanted all of the print to show. Next wet a piece
of glass, a trifle larger than your print, placing the unde-
veloped print on it face up. The wet glass will prevent
the print from curling or sliding. You may hold the glass
containing the undeveloped print in the hand, or place it
on a table. With a tuft of absorbent cotton, which has
been previously dipped in the developer, carefully swab the
parts to be developed, always beginning in the center of a
244 Library of Practical Photograph}).
print, working slowly until the image begins to appear.
Continue the swabbing as far as desired. As you near the
point where it is intended to stop development, work more
lightly. In this way a soft blending into the background
can be produced.
807. Another method of obtaining vignettes by devel-
opment is accomplished by the use of glycerine or a solution
of sugar, this latter being obtained by boiling crystal sugar
until it becomes gummy and then straining it through fine
muslin. With this method, truer vignettes can be obtained
than when the developer is applied direct to the paper. It
is advisable to have a fully developed print at hand, as a
guide by which to vignette the print. Take a sheet of
glass, coat it with glycerine or the sugar solution and lay
the print on it, face up, being careful to observe which way
it is taken from the negative so as to be able to locate the
highlights with the aid of the guide print. The glycerine
will hold the print down without curling. Next, mix one
part glycerine or sugar solution with three parts developer
and then apply, with camel's hair brushes or a tuft of cot-
ton, the mixture to the print, first laying it on the high-
light portions, then on the half-tones, and finally on the
shadows, always beginning to work in the center of the
print. In this way, over dense shadows can be restrained.
Gradually work out toward the edges of the print, leaving
these parts until almost all of the print which is desired
has gained its full strength. The gylcerine will so retard
the action of the developer that it will leave a perfectly vig-
netted edge, those parts of the print untouched with devel-
oper clearing up a pure white in the hypo bath. The sugar
solution used as a retarder will tend to preserve the rich
black tones of the print, while glycerine will frequently
give brownish tones, which are, however, by no means
displeasing-
SOS. Care must be exercised regarding temperature
of the developer. Never use a warm or a badly discolored
developer. Use fresh cold developer. Warm developer will
cause the image to oxidize very quickly leaving a yellow
Priniing and Developing Velox. 245
or brown outline to the vignette. When sufficiently devel-
oped, place in your acid clearing bath for a few seconds
and then transfer to your regular acid hypo bath.
809. First results will probably not be satisfactory,
as it requires a little practice to produce soft blended ef-
fects in the vignette. After fixing, should the vignette
appear quite harsh ; the outline too sharp ; printed parts leav-
ing off too abruptly ; they can be blended by applying, with
a tuft of cotton, a strong solution of chloride of lime. After
softening down the vignette, dip the print in fresh water
and return to the hypo for ten minutes. This is necessary,
because any part of the print which has been removed with
the chloride of lime is apt to redevelop and appear again,
unless fixed in the hypo.
810. Life of Hypo Bath. — The question which arises
in the mind of both amateur and professional is, "How
long, and for how many prints, can the hypo bath be safely
used?" In paragraph No. 715, Printing and Developing,
was given definite directions in regard to the number of
prints a given quantity of hypo bath would properly fix.
The following advice, combined with the photographer's
past experience will be a splendid guide to judging when
the fixing bath is practically exhausted and, therefore, un-
safe for further use. If an acid hypo bath is being used
it will, when exhausted, be found to turn milky. There
will be a white sediment which does not readily precipitate,
but continually floats. The solution will appear soapy,
forming suds and bubbles, not unlike soap suds. When the
hypo bath acts thus, it should be discarded and a new bath
made up at once. Hypo baths should be prepared fresh at
least once a week, even if only slightly used.
811. Scum on Surface of Prints. — Scum is caused by
sulphurization. If the hypo bath is too strongly acid, the
acid will release the sulphur from the hypo, causing the ex-
tremely milky appearance. This can generally be charged
to the acetic acid and alum, the latter being strongly acid.
Exact proportions of alum, hypo and acid are essential to
avoid this sulphurization, as the relative strengths of these
TV— 15
246 Library of Practical Photograph}).
chemicals vary from time to time. It is almost impossible
to judge when the proportions are right, and an excess of
either will cause the trouble. With the ordinary means at
hand it is impossible to decide which is in excess ; so if you
are troubled to any extent, it is wise to pour a portion of
the fixing bath into a small tray and add a trifle more hypo.
Try a print in it and if the results are not better, add twice
as much alum as you did hypo, and try again. The effect of
sulphurization will then very likely be overcome.
812. Scum is also caused by allowing prints to lie for
some time without being separated. These developing
papers, having a gelatin surface, are apt when wet to sink
to the bottom of the tray and mat (stick together). It is,
therefore, necessary to handle them over and over during
fixing. If careful to use the acid clearing bath (formula
given in paragraphs 738-740) there will be less danger of
forming this scum.
813. Removing Yellow Stains From Prints. — At times
when vignetting or printing — producing a white border on
the print — yellow stains are apt to appear. These can be
readily removed with the following bleaching solution :
In a 10-oz., wide mouthed bottle place 1 ounce of red prus-
siate of potash (ferricyanide of potassium). To this add
6 ounces of water. Shake well. The red prussiate will
dissolve slowly. Wrap this bottle with black opaque paper,
label the bottle " Red Prussiate of Potash Solution," and
keep in the dark room away from strong light.
814. To remove the stains from the print, take one
pint of a clear solution of hyposulphite of soda, 10° hydro-
meter test, add two — not more than three — drops of " Red
Prussiate Solution." Too much prussiate would quicken the
action and if it acts too rapidly it is apt to bleach the entire
print, possibly staining it; so be sure not to have the bath
too strong. With a tuft of cotton swab the parts of the
print that have stained yellow. If the print is mounted
swab both the print and the mount with the solution until
the yellow disappears. Then rinse off with clear water.
If the mount was not swabbed, the solution would leave
Prinimg and Developing Velox. 247
streaks. It is well to use absorbent cotton or a very soft
sponge to remove the water, as the chemicals will thus be
more quickly and thoroughly eliminated.
815. After the prints are washed clean, lay them out
to dry. The bath must be used only while fresh, not after
it becomes discolored. Usually a bath of this kind is good
for only half an hour. Should it be found necessary to
employ the bath for a longer period, make a fresh solution.
816. Overcoming Abrasion Marks. — Frequently there
will appear on the prints fine black lines or soiled whites,
more especially on glossy prints. These are called abrasion
marks and are caused by friction, breaks in the surface of
the paper, or rubbing from the paper. As this causes the
silver to rise to the surface, when it comes in contact with
the developer black lines or soiled whites are produced.
To overcome this difficulty add 5 grains of iodide of potas-
sium crystals to every ounce of developer stock solution.
817. Such lines and marks can be removed from the
print by rubbing with a small wad of absorbent cotton
slightly moistened with wood alcohol. The prints, how-
ever, must be perfectly dry before cleaning.
818. For your future guidance results of first experi-
ments should be preserved with a memorandum of your
results noted on the backs thereof. These prints should
then be filed in the regular proof file.
819. Practice Work. — This instruction should not be
undertaken until the previous instruction for general man-
ipulation of Velox has been well mastered, because you
must have a fair idea of the general results to be obtained
with Velox before this special instruction is undertaken.
As this instruction also deals with vignetting of prints, it
will frequently be found most convenient to vignette some
of the negatives, omitting objectionable portions, which,
if left in the print, would tend to spoil the general effect.
820. After reading carefully, that this instruction may
be thoroughly understood, make a few prints and observe
their condition from the exposing, developing and fixing
to the final drying. Note; we recommend full exposure
248 Library of Practical Photograph}).
with plenty of bromide. After a few experiments with the
normal bath, as given in the formula, you should be pre-
pared to adjust the developer for various effects, as ex-
plained in the instruction. Follow this with experiments
on Royal Velox, which has a yellow body. It is intended
for broad effects and is usually employed for large and
sketchy work.
821. Preserve test prints of each manipulation, noting
on the back of each all necessary data pertaining to their
production. Include in this failures and successes alike,
as both are important for your future guidance. Whenever
meeting with failures, consult the difficulty department,
where a remedy for the trouble will be found. File all
prints in a proof file for future reference.
Note. — In professional studios, where a large number of prints
are fixed, a fresh hypo bath should be made up each day. Hypo is
very cheap, and more difficulty from discoloration, blisters, etc., can
be traced to exhausted or incorrectly balanced hypo bath than from
any other source. If a developer containing iodide of potassium is
used the life of the hypo bath can be readily determined, for if the
canary yellow of the prints does not disappear in five minutes, it is a
question whether the hypo bath is in a condition to fix a print, no
matter how long it remains in the bath.
CHAPTER XXXI.
Difficulties — Special Printing and Developing of Velox.
822. Shadows Too Black Before Sufficient Detail Has Been
Produced in the Highlights. — This difficulty generally occurs when
a negative is contrasty. In a landscape picture there may be ex-
tremely heavy foliage in the foreground, with the highlights prob-
ably rather dense. In the ordinary way, when printing dark
enough to produce detail in the highlights, the shadows are over-
printed, and, therefore, develop too black. Generally, they are too
black before you have enough detail in the highlights. To over-
come this difficulty interpose a piece of cardboard between the
light and that part of the negative which prints too quickly, expos-
ing the hard portions for a few seconds only. Keep the cardboard
moving, backward and forward, with rotary motion, to produce a
light vignette effect. If the cardboard is allowed to remain motion-
less, the result will be a sharp line between the highlights and
shadows. After holding back the shadows for a few seconds in
this way, expose the entire plate evenly. By carefully following
the instructions in developing, these dense, deep shadows will most
always be overcome.
823. Stains on Edges of Vignette. — If the vignette is produced
in the developing, the stain sometimes obtained on the edge of
the vignette is of yellow or brownish color. This is usually caused
by developer becoming discolored or too warm, and printing too
dark. Follow the instructions in regard to removing this stain.
824. White, Milky Deposit on Prints. — This generally occurs
if the hypo bath is not properly balanced, having either too much
acid or alum, or vice versa. The milky deposit will do no harm
if removed from the prints after they get into the wash water.
Allow the hypo bath to stand without agitation, and the milky
deposit will settle. Then decant the clear solution, and use it
for fixing the prints.
825. Prints Yellow Before Placing in Hypo.— If the print was
under-printed and you attempt to force it by prolonged developing,
249
250 Library of Practical Photography.
it will generally turn yellow. To avoid this difficulty print to the
proper depth.
826. Prints Becoming Yellow in Spots While in the Hypo. —
Yellow spots are caused by air-bells gathering between the print
and the hypo solution. Wherever there is an air-bell there is sure
to be a yellow spot. To overcome this difficulty, see that prints
are thoroughly immersed and air-bells removed when first placed
in the hypo. The prints should also be picked over and over, to
separate them, while fixing.
827. Prints Becoming Yellow All Over in Hypo. — If your hypo
is warm, or has become exhausted, too many prints having been
fixed for the amount of hypo, the prints will yellow. Remedy: Do
not fix too many prints in the hypo bath, and see that the bath is
cold — never warmer than 60° Fahr.
828. Prints Yellowing During Washing. — This is sometimes
caused by vegetable matter in the water. To test the water for
vegetable matter, take a pail and fill it with water, placing a handful
of alum in it and stirring well. Allow this to stand for a few days
and pour ofif the water. If there is vegetable matter in the water, a
slimy, mossylike substance will be found at the bottom of the pail.
As a rule, water like this will not cause prints to yellow, as they are
not permitted to soak long enough to bring about that result.
If prints soak in the water over night and the water becomes warm,
it is apt to cause them to become yellow. Wash prints as rapidly
as possible, see that the wash waters are not warm, and you will
have no trouble with prints yellowing during washing.
829. Prints Developing Irregular, Freaky and in Streaks. — This
generally occurs when the printing is too dark. By the time the
highlights are developed and have sufficient detail, the shadows are
only about half developed and appear streaky. To overcome, de-
crease length of printing. Occasionally, you will find in paper of
all makes some that will develop streaky. To overcome this wet
the print before developing.
830. Grayish Whites. — This is caused by lack of bromide in
the developer. Add a drop or two of bromide. If the paper has
been light struck the whites will also become gray.
831. Prints Stained Around the Edges. — This occurs in old
paper, and also where insufficient bromide has been used.
832. Parts of the Print Will Not Develop, Leaving White
Spots — Spots Blending at the Edge Like a Vignette. — This is either
caused by damp fingers or a splash of water. A print of this kind
cannot be saved. You must guard against having anything damp
come in contact with the paper, before printing, or developing.
833. Black Spots. — Black spots are sometimes produced by
rust in the water, or in the developer. Any metallic substance that
Difficulties — Printing Velox. 251
comes in contact with a print, during developing, will cause a black
spot.
834. Small Yellow or Purple Stains. — Caused by air-bells on
the prints during fixing. Purple stains are generally caused by
prints coming in contact with the bottom of the tray during de-
velopment. Warm fingers are also the cause of purple stains.
835. White Spots. — Small white spots, generally perfectly
round in shape, are caused by air-bells gathering on the print when
first placed in the developer. These should be broken at once.
If this is overlooked, the spot will not develop, and even after the
air-bell is brushed from the print, if allowed to remain any length
of time, the developer will have no effect on the spot which was
covered by the air-bell. When placing print in the developer slide it
underneath the developer, and with the tip of the finger immediately
remove any air-bell, or particle of dirt, which may gather on it.
836. Tone of Print Brown. — Brown tones are caused by over-
exposure and excessive use of bromide. Learn to print to the
proper depth, and be careful not to use too much bromide, but just
enough to obtain clear whites.
837. Tone Blue-Black, Whites Having a Grayish Tint. — A cer-
tain sign that not enough bromide was used.
838. Too Much Contrast. — This difficulty you can overcome
by being careful to use a soft grade of paper for a contrasty nega-
tive; also by using full strength developer, printing portions of
negative which are too strong longer than the parts which print
dark. To do this, interpose a cardboard for a few seconds between
the light and the portion of the negative you want to hold back
during printing.
839. No Contrast. — For flat negatives use a contrasty grade of
paper. Cut down the exposures and develop in weak developer.
Oftentimes it is necessary to add a little more bromide, as it will
help to produce contrast.
840. Prints Turn Brown in Hypo Bath. — If a print turns brown
in a hypo bath, there is being produced what is called a sulphur
tone. This shows that the fixing bath is not balanced properly,
evidently being too strong in both acetic acid and alum. If prints
are left in the bath over night they will become quite brown. A
bath of this kind should be discarded, or more water and hypo
added. The cause of the bath toning brown is that the acid releases
the sulphur from the hyposulphite of soda, causing a sulphurization.
841. Prints Yellow and Bleached After Treating With a Little
Red Prussiate Solution. — This trouble results from using the solu-
tion too strong. Employ a weak solution and this difficulty will
readily be overcome.
842. Edges of Vignette Bleaching Too Rapidly When Using
252 Library of Practical Photography.
the Chloride of Lime. — Care must be exercised in using the chloride
of lime. If you are applying it with a tuft of cotton, be sure there
is not too much chloride of lime solution on the cotton, but just
enough to wet it and no more. When reduction has proceeded far
enough, place immediately in water.
843. Chloride of Lime Solution Not Reducing or Clearing the
Whites. — Solution is probably not strong enough. Strengthen by
adding more of the chloride of lime. Rubbing just a little bit harder
with a tuft of cotton will hasten the reduction.
CHAPTER XXXII.
Sepia Tones on Velox and Other Gaslight or Bromide
Papers.
844. While the practical making of sepia prints by
direct development is a problem still unsolved, most sat-
isfactory results are obtained by a process of bleaching and
development. The process is extremely simple. Any
print which has been properly fixed and washed, regardless
of grade of paper (even prints that have been made for
some time) may be changed to a sepia tone in a few min-
utes, without loss of detail in the highest lights, or change
of contrast. The tone is governed principally by the print-
ing quality of the negative. A print from a thin, weak
negative will give a rather muddy sepia, while one from a
negative of good strength will produce brilliant shadows
and clear, mellow highlights.
845. Permanency. — Prints toned in hypo alum have
been proven permanent by thousands of users of bromide
paper. Re-developing produces a result chemically iden-
tical to that obtained by the hypo alum toning, the print
suffering no change in detail or gradation.
846. Uniformity. — Following the directions given
herein will insure absolute uniformity.
847. Rapidity. — A print may be toned a sepia in less
than two minutes' time, by the following re-developing
process. The prints are first bleached until the deepest
shadows have almost disappeared. They are then placed
in the re-developing solution until all the detail has re-
263
254 Library of Practical Photography.
turned in the prints. Make up the stock solutions as
follows :
848. No. 1. Bleaching Stock Solution.—
Ferricyanide Potassium 2^ ozs.
Bromide Potassium 2i^ ozs
Water 60 ozs.
849. No. 2. Re-Developing Stock Solution. —
Sulphide of Soda 2^ ozs.
Water 30 ozs.
850. Prepare the bleaching bath as follows : Of Stock
Solution No. 1, take 4 ozs., water, 4 ozs., aqua ammonia 4
drops.
851. Prepare your re-developing bath as follows : Of
Stock Solution No. 2, take 1 oz., and water, 8 ozs.
852. Pour the 8 ozs. of bleaching bath into a tray no
larger than is absolutely necessary to hold the prints.
This tray must be used for no other solution. Pour the
9 ozs. of re-developing bath into another tray, which must
never be used for any other purpose than to hold the re-
developing bath.
853. Manipulation. — First immerse the print in the
bleaching bath. Allow it to remain until but faint traces of
the half-tones are left, and the black of the shadows has
become weak. (The image will then clearly resemble an
undeveloped platinum print.) This will require about one
minute. Next rinse the print in fresh water and place in
re-developing solution.
854. Allow the print to remain in this solution until
all of the original detail has returned. This will require
about 20 to 30 seconds, after which the prints should be
washed thoroughly. A large variety of sepia tones can be
reproduced in this way. The warmth of tone is governed
principally in the bleaching bath. For example, a print
bleached so there is almost nothing left, will be of different
tone than a print bleached but slightly. Judging the exact
amount of bleaching can only be acquired by practice. Of
course the quality of the negative has much to do with
Sepia Tones on Velox. 255
the depth of tone. A soft negative will give a v^armer tone
than a hard, contrasty one. A hard, contrasty print should
be bleached farther than a soft print.
855. Prepared Re-Developing Solutions. — For those
who do not care to prepare their own chemicals the pre-
pared re-developing solutions can be obtained from the
manufacturers, or any dealer in photographic supplies.
One fifty cent package of re-developer will enable one to
re-develop three hundred 4x5 prints, or their equivalent.
The prepared solution is generally put up in a concentrated
form, consisting of a box of fourteen capsules and a bottle
of solution. Each capsule contains chemicals, which re-
quire only the addition of a certain quantity of water and
a few drops of aqua ammonia to make a bleaching bath
for the reduction of the print before re-development. The
liquid contained in the bottle is highly concentrated and
should be used carefully. It is important that the prints
should have been thoroughly washed so that no trace of
hypo remains before re-developing them.
856. Preparing the Bleaching Solution. — To prepare
the bleaching solution dissolve one capsule in 4 ounces of
water. Place this solution in a bottle and label " Bleaching
Solution." Next add to this solution 3 drops aqua ammonia
(full strength ammonia) and tightly cork the bottle.
857. Preparing the Re-Developing Solution. — To pre-
pare re-developing solution take one pint of water and
add one-half ounce concentrated solution of re-developer.
This solution must also be placed in a bottle and kept
tightly corked. Label the bottle " Re-developer."
858. When ready to use, pour the bleaching solution
and the re-developing solution into their respective trays
and proceed exactly the same as formerly instructed. The
prepared re-developer will also produce excellent sepia
tones on any bromide or gaslight paper. The age of the
print does not seem to make any difference in the tones
obtainable. The finest results are obtained from prints
which have a good black tone rather than green or olive,
as would be produced by the use of too much bromide.
256 Library of Practical Photography.
859. Life of the Re-Developing Bath.— Both the
bleaching and re-developing baths will retain their
strength for some time if kept in well stoppered bottles;
therefore, immediately after use the baths should be re-
turned to the bottles and tightly corked. If the prints show
a tendency to blister it doubtless comes from not having
used sufficient hardener in the fixing bath, when making
the black and white prints. Too strong a solution of re-
developer, or an immersion of excessive length in this solu-
tion will also cause blisters. A salt bath after bleaching
may be used if blistering is excessive, but should not be
necessary if prints when first made are properly fixed in
a fresh acid hypo bath. The use of pure aqua ammonia
is recommended. The ordinary household ammonia should
be avoided. This chemical clears the whites and does not
change the tone unless an excessive amount is used.
860. A Special Re-Developing Bath That Will Not
Blister. — For those who have experienced difficulty with
the previously mentioned baths or prepared solutions, we
can recommend the following formula. This formula
should be prepared in three solutions and the solutions kept
in tightly corked bottles.
861. Solution No. 1.—
Water 24 ozs.
Ferricyanide of Potassium 1 oz.
862. Solution No. 2.—
Water 24 ozs.
Bromide of Potassium 1 oz.
863. Solution No. 3.—
Water 48 ozs.
Sulphide of Soda ^ oz.
Note. — Do not confuse Sulphide with Sulphite.
864. For use mix equal proportions of 1 and 2. For
example, if you find it necessary to use 4 ounces of solu-
tion use 2 ounces of No. 1 and 2 ounces of No. 2. Add to
Sepia Tones on Velox. 257
this from 4 to 6 drops of aqua ammonia (full strength am-
monia). Add enough ammonia so that the solution will
possess a strong ammonia odor. The Nos. 1 and 2 com-
bined constitute the bleaching solution. Solution No. 3 is
the re-developing solution. Pour 4 ounces of this solution
into a tray and you are ready for toning. Place the print
first in the bleaching solution until it is sufficiently bleached.
Then rinse for a few minutes in water, after which place
it in the re-developing solution. The image will come up
brown, and all detail which was lost in the bleaching will
be re-developed. When fully re-developed, place the print
in the wash water. The bleaching and re-developing will
have a tendency to cause the print to soften. When this
occurs place the print, after re-developing and washing, into
a weak solution of alum. This will harden the surface.
After hardening, wash thoroughly in the usual way. The
tone is governed to a great extent by the quality of the
negative. As before explained, it will be found that the
amount of ammonia as well as the bleaching will vary the
tone considerably.
865. Note. — This bath must be made up fresh each
time. The stock solutions for bleaching will keep indefin-
itely if kept in a tightly corked bottle.
866. Practice Work. — For practice on sepia toning, it
is not necessary for you to make special prints, although
it may be done ; any prints you may have can be re-
developed to give a sepia tone. The warmth of tone, as
you will note by reference to instruction, is controlled en-
tirely in the bleaching bath, so a large variety of tones can
be obtained and, of course, various negatives will have the
effect of producing different tones. A hard negative for
instance, will produce a colder tone than a softer one, and
vice versa.
867. Complete data should be written on the first ex-
periments and these prints filed in the usual way for future
guidance.
CHAPTER XXXIII.
Azo and Nepera Gaslight Paper.
868. Azo Paper. — Azo paper, being coated on a
cheaper stock, is furnished at a lower price than the regular
Velox paper, being intended principally for commercial
purposes.
869. The manipulation of Azo paper is exactly the
same as Velox and the paper is furnished in four surfaces —
Carbon, Rough, Glossy and Semi-Gloss. Azo is furnished
in two qualities, soft and hard.
870. Carbon (Grade A) is a fine velvety matte sur-
face paper especially adapted for work requiring full de-
tail on a matte surface paper. This is furnished in double
weight as well as single.
871. Rough (Grade B) has a rough surface grain
excellently adapted to show artistic efifects in landscapes.
872. Glossy (Grade C) is a highly glossy surface
paper, giving the most detail that it is possible to obtain.
This is furnished in double as well as single weight.
873. Semi-Gloss (Grade D) is a product, which, by
its extreme range of gradation is suited to the majority of
landscape and portrait negatives.
874. Azo paper has a blue body and, therefore, re-
quires a little more bromide to obtain olive black effects.
Too small a quantity of bromide will give blue prints.
Aside from this, Azo paper is manipulated exactly as Velox.
875. Printing. — The printing of Azo paper is the same
as regular Velox, and is best effected by artificial light.
876. Developer. — Azo paper may be developed with
any of the formulae previously given for Velox paper, but
the formula recommended for Nepera papers, on a follow-
ing page, will also serve as a good developer for Azo paper.
259
260 Library of Practical Photograph}).
877. Practice Work. — Azo paper, besides being a
cheaper product, is also coated on a blue body paper, thus
giving a little colder tone. Therefore, a little more bromide
may be employed in the developing to offset the blue and
change to a light olive. The manipulation of Azo is prac-
tically the same as Velox, or other gaslight papers. There
is one advantage, however, with Azo over the Velox. The
grain of the paper appears closer and is, therefore, prefer-
able for small negatives. In fact the results very nearly ap-
proach platino, or matte surface printing-out paper. This
paper is generally employed in studios for commercial pur-
poses, and uniform results may be obtained with it. For
the finer results, we recommend Velox; yet as you should
become familiar with the manipulation of the cheaper pro-
ducts, test prints should also be made on Azo and jfiled,
with all data pertaining to production.
878. Nepera Gaslight Paper. — Nepera paper is a su-
perior developing product for use in professional por-
traiture. It is made with special reference to the require-
ments of studio photography, and particularly adapted to the
average portrait negatives. It can be printed by any light.
Nepera is made in one speed and two weights, single and
double, and comes in three surfaces, matte, velvet and
rough. The surfaces require no description, except that
the velvet is semi-gloss. Double weight Nepera is an ex-
tremely heavy stock, desirable for unmounted prints or
those delivered in folders. Embossed double weight velvet
Nepera when re-developed is especially attractive and looks
like platinum.
879. Developing. — Nepera paper is best developed
with one or the other, of the following formulae :
880. Metol-Hydro Developer. Stock Solution.— Dis-
solve chemicals in the order named, stirring constantly.
Hot Water 100 ozs.
Metol % oz.
Hydroquinone 2 ozs.
Sulphite of Soda (Desiccated) 7i/^ ozs.
Carbonate of Soda (Desiccated) 12% ozs.
Bromide of Potassium (Crystals) 120 grs.
Azo and Nepera Gaslight Paper, 261
881. Note. — Where crystals of sulphite or carbonate of soda
only can be obtained, double quantity must be used. In cold
weather, immediately after dissolving chemicals, add 13 ozs. of
wood alcohol to the above stock solution to prevent precipitation.
882. The above developer can be rendered non-abra-
sive by the addition of 5 grains of commercial iodide of
potassium to each ounce of stock solution.
883. Note. — The photographer whose fingers become
irritated by the use of metol is not likely to experience this
trouble in using ortol, and vice versa.
884. The following ortol formula will produce equal
results to metol :
885. Stock Solution. — Dissolve chemicals in the order
named, sfirn'iig constantly.
Hot Water 100 ozs.
Ortol y2 oz.
Hydroquinone 1^^ ozs.
Sulphite of Soda (Desiccated) 7% ozs.
Carbonate of Soda (Desiccated) 12^ ozs.
Bromide of Potassium (Crystals) 38 grs.
886. Note. — Where only crystals of sulphite of soda and car-
bonate of soda can be obtained, double quantity must be used.
887. The above bath may be rendered non-abrasive
by addition of 5 grains of commercial iodide of potassium
to each, ounce of stock solution.
888. These concentrated developers will keep indefin-
itely in filled bottles well stoppered.
889. Manipulation. — Use one part stock solution to
four parts water for prints from normal negatives, but
remember that full control of contrast is secured by vary-
ing the dilution of the developer. The stronger the developer,
the softer the print will be.
I 890. Previously, under the heading of Paragraph 816,
iodide of potassium is mentioned as a preventive of abrasion
marks. This chemical has another property, that of reduc-
ing contrast; therefore, the softest prints possible will be
rv — 1 6
262 Library of Practical Photography.
secured in undiluted stock solution, to which iodide of
potassium has been added, as per directions.
891. Developing. — Immerse the print, face up, in the
developer, being sure that it is quickly and evenly covered
by the solution. The time of development should not ex-
ceed one minute, and as soon as the image reaches the
desired point the print should be dipped in water for a sec-
ond to remove the greater part of the developer. Then
immediately transfer it to the acid fixing bath, where
thorough immersion should be secured to prevent stains
caused by uneven fixing. Fix for at least fifteen minutes.
Longer immersion will do no harm.
893. Acid Fixing Bath.—
Water 1 gal.
Hyposulphite of Soda 2 lbs.
893. When thoroughly dissolved add 13 ounces of
hardening solution prepared as follows :
Water 20 ozs.
Sulphite of Soda (Desiccated) 2 ozs.
Glacial Acetic Acid 3 ozs.
(Or 12 ozs. of Commercial Acetic Acid.)
Powdered Alum 4 ozs.
894. All washing should continue for an hour in run-
ning water, or in ten changes of water, permitting prints to
remain in each change five minutes. To prevent curling
place the prints face down on cheesecloth stretchers. When
they have become surface dry (not bone dry) pile them face
down and continue drying, under pressure.
895. Sepia Tones on Nepera Paper. — The sepia tones
by re-development of Nepera paper can be accomplished
with the prepared re-developing solution or may be pre-
pared according to the formula given in Paragraph 848.
896. Practice Work. — Nepera products are prepared
especially for portrait work and while this paper is made
in different grades, it is intended for use with medium
strength negatives; which means that the average studio-
Azo and Nepera Gaslight Paper. 263
made negative will yield good prints on it. There are dif-
ferent surfaces of this product, but only two weights — single
and double. The heavy, or double weight, is intended
to take the place of platinum paper. This grade may be
printed with a large margin and delivered unmounted, or
may be tacked only at the upper edge and mounted in
folders.
897. For first work, we advise using medium rough,
single weight. After becoming familiar with the use of the
material, double weight will appeal to you for special pur-
poses. Make test prints on each, preserving them and not-
ing all data on the back pertaining to the manipulation,
filing these prints for future reference.
Note. — Olive tones can be secured by adding to every 15 ounces
of regular developer, ^ ounce salt-bromide solution, prepared as
follows :
Water 9 ozs.
Bromide of Potassium Yz oz.
Salt '^ oz.
If more olive is desired add more salt-bromide solution.
The salt-bromide has also a tendency to produce contrast, there-
fore should be used cautiously, especially when printing from strong
negatives.
264 Library of Practical Photography.
Royal Nepera.
{1909 Supplement)
Royal Nepera is coated on heavy weight stock, and made in
two colors — mellow tone and pure white. The mellow, or India
tint, paper is specially adapted to sepia tones by re-development.
The Royal Pure White is a new product of the Eastman Company,
with very commendable new qualities. Chemically, it is everything
that can be desired. Its degrees of gradation and contrast are
pitched in just the right key to suit the average professional nega-
tive. Furthermore, its latitude is such as to provide very good
prints from negatives that are above or below the average degree
of contrast. As black and white it is beautiful in texture and grad-
ation. When normally exposed and developed it gives a blue black
tone.
If a little more olive tone is desired, prepare the following
solution:
Bisulphite of Soda i oz.
Water 6 ozs.
Use I oz. of this stock solution to every 20 ozs. of the regular
developing solution. Give a normal exposure and develop in the
usual way.
When the Royal White Nepera Paper is sepia toned by re-de-
velopment, it preserves an exceeding richness of color. It has the
same breadth and softness so much admired in the India tint Royal,
but with an added sparkle that the pure white stock gives to the
high-lights. Normally, when re-developed, Royal Nepera Pure
White will give a tone which may be described as cold sepia. If a
warmer print is desired, potassium iodide should be placed in the
developer in which the black and white prints are made. The color
of the print in the black and white is all important for the re-devel-
oping. A blue black print will give a cold sepia tone when re-de-
veloped, while a warmer sepia print will be the result if there is
any trace of green in the shadows. The yellowish tone is disagree-
able, but if iodide is used as suggested above, very pleasing results
are secured, particularly if the prints are waxed when dried. The
re-developed prints sometimes blister when thrown from the re-de-
veloper into the wash water, particularly if the wash water is quite
cold. If between re-developing and washing, the prints are put in a
hardening bath for five minutes, there should be no blisters. This
hardening bath is composed of one part hardener to sixteen ounces
of water. Formula for this hardener is given in paragraph 893.
Expose the print so that it will require about 40 to 50 seconds to
develop.
Royal Nepera is practically a double weight paper, and will lie
reasonably flat, even when dried on cheese-cloth stretchers, while
if surface dried between blotters and then placed between card-
board, under weight, they will come out flat and stay so. Royal
papers are printed and developed the same as the light weight
Nepera products.
CHAPTER XXXIV.
Cyko Gaslight Paper.
898. Surfaces and Grades. — Cyko is made in five sur-
faces and three grades. The surface is represented by the
number on the end labels, the grade by the color of the
label. In each grade will be found a variety of surfaces.
Choose the surface most suitable and which will harmonize
with the subject of the picture. Select the grade accord-
ing to the quality of the negative. A weak or thin negative
lacking in contrast, requires a contrasty paper, such as
Blue Label Cyko. For a normally exposed and developed
negative use Yellow Label Cyko. For contrasty negatives
use Brown Label Professional Cyko. The last named,
however, is intended principally for photographers who
have the necessary experience and knowledge to handle a
soft-working paper.
899. Surfaces, Weights and Grades of Cyko. — ■
Cyko No. 1 is matte surface.
Cyko No. 2 is semi-matte surface.
Cyko No. 3 is glossy surface.
Cyko No. 4 is rough surface.
Cyko No. 6 is studio (velvet surface).
900. Grade and Color of Label.—
Blue Label indicates contrast.
Yellow Label indicates normal.
Brown Label indicates professional (for soft effects),
901. Double Weight. — Double weight Cyko is fur-
nished in semi-matte, studio, rough and glossy surfaces,
and contrast, normal and professional grades. Double
weight papers require no mount.
265
266 Librar}) of Practical Photograph}).
902. The Selection of Light. — Cyko prints, like other
gaslight papers, may be made by using daylight for ex-
posure. Select a north window, if possible, as the light
from this direction will be more uniform. The paper, being
quite sensitive to daylight, should be handled in subdued
light, as otherwise it might fog. Proper precaution should
be taken to pull down the window shades and darken the
room sufficiently during manipulation. If the light is too
strong for printing, it should be diffused or subdued by the
use of several thicknesses of white tissue paper. Daylight
is extremely variable, and for that reason the use of artifi-
cial light is recommended, as it varies less in intensity.
903. The Welsbach light is usually preferred to other
illuminants, on account of its great intensity. The mantle
should be in good condition and the gas pressure uniform,
so that the light will vary in intensity as little as possible.
904. When gaslight is used for printing, a very con-
venient arrangement is a by-pass valve which controls the
supply of gas to the burner. When this valve is closed
only enough gas passes to keep the burners lighted, and
the exposure is made by opening the by-pass when the
exposure is to be made. This arrangement can be still
further simplified by having a spring to close the by-pass,
and a cord to open it when ready to make an exposure.
905. Ordinary gaslight, while not as strong as the
Welsbach light, has the advantage of being more uniform,
if the quality of the gas does not vary. With the Welsbach
light the intensity depends, to a large extent, on the con-
dition of the mantle. Ordinary gaslight is satisfactory and
convenient for printing, especially for small negatives up
to and including 4x5. Larger negatives, particularly if
they are at all dense, require too long an exposure.
906. The light from a kerosene lamp is also satisfac-
tory. A large, round-wick kerosene lamp gives nearly the
same quality of light as a flat flame gas burner. The wick
must be well trimmed, and the flame should be kept al-
ways at the same height when printing.
Cyko Gaslight Paper. 267
907. For the professional who has a large number of
prints to make daily — especially the commercial photog-
rapher— the Cooper-Hewitt light (mercury vapor) pos-
sesses decided advantages. The Cooper-Hewitt Company
sell a set of lamps for this purpose. When using the
Cooper-Hewitt lamp, a good method is to partition the
room, to have the lamp enclosed, cutting out a square open-
ing in the partition. When development is in progress, by
means of a carriage arrangement, this opening can be cov-
ered with a piece of postofHce paper, or orange glass, and
uncovered when an exposure is to be made.
908. Printing Cyko Paper. — We will assume that the
printing is to be done by artificial light, and, in order to se-
cure an even illumination, it is necessary that the printing
frame be placed at the proper distance from the light. A
large negative should be printed at a greater distance from
the light than a small one, so that its greater area may be
properly illuminated. The usual rule is to print at a dis-
tance at least as great as the diagonal of the negative.
Thus, a 4 X 5 negative should not be printed nearer than
6% inches from the light ; an 8 x 10 should not be printed
nearer than 13 inches. Always place the printing frame so
as to secure the full benefit of the light, thus obtaining even
illumination.
909. Necessary Exposure. — It is not possible to
specify any given time for exposure. The time necessary
to print depends on the kind of light, the density of the
negative, and the distance from the source of light. An
exposure of 10 to 20 seconds, with a 16 candle power incan-
descent light, is usually sufficient for an average 4x5 nega-
tive, of the normal grade. The safest method is to use
small strips for your first experiments. Place a strip over
the most important part of the negative. Make the ex-
posure, using judgment based upon the information given
herein as to the distance from the light and the time of
printing. Develop, and if not satisfactory try another strip,
varying the time as indicated by the first results. When
the desired effect is secured any number of prints may be
268 Library of Practical Photograph}).
made from the same negative, and if the time of exposure,
the distance from the light, as well as the time of develop-
ing are identical, all the prints should be equally good.
By comparing the other negatives which are to be printed
from with the one which has been tested, it will be possible
to make a fairly accurate estimate of the time of exposure
required for any negative.
910. Developing. — Cyko paper may be developed with
any formula used for other gaslight papers, but the follow-
ing formula will give good results :
911. Formula No. 1.—
Water, Soft or Distilled 32 ozs.
Metol 15 grs.
Sodium Sulphite (Desiccated) 1 oz.
Hydroquinone 60 grs.
Sodium Carbonate (Granular) % oz.
Bromide of Potassium 3 grs.
912. Dissolve the chemicals in the order named, and
remember that while the above amount of bromide is
usually sufficient, it may at times be found that more of
it must be added to produce clear whites. These chemicals
dissolve in cold water, but more readily in warm water.
If warm water is used the solution should be allowed to
cool before using. This particular developer is suited for
Blue Label Cyko (contrast grade), for Yellow Label Cyko
(normal grade), or for Brown Label Cyko (professional
grade). The stock solution should be diluted with an
equal quantity of water.
913. Professional photographers who use developers
in large quantities will prefer the following formula, which
we will call Formula No. 2 :
914. Formula No. 2, Stock Developer. —
Warm Water 128 ozs.
Metol 180 grs.
Sulphite Soda (Desiccated) 12 ozs.
Hydroquinone 1% ozs.
Sodium Carbonate (Desiccated) 9 ozs.
Bromide of Potassium 33 grs.
C^ko Gaslight Paper. 269
915. Mix in the order named. Keep in well stoppered
bottles. This developer will keep for a long time after dis-
solving, if placed in bottles filling them to the neck. Unless
the bottles are completely filled the developer will not keep,
as there will be sufficient air in the bottle between the
developer and the stopper to spoil it.
916. For Blue Label Cyko (contrast grade), mix as
follows :
Stock Developer 1 oz.
Water 2 ozs.
917. For Yellow Label Cyko (normal grade), and for
Brown Label Cyko (professional grade), use the following:
Stock Developer 1 oz.
Water 3 ozs.
918. To both of the above formulae it may be neces-
sary to add a few drops of a 10% solution of bromide of
potassium. It should be borne in mind that the tones of
Cyko prints will vary according to the quantity of bromide
used. When just enough bromide has been added to keep
the highlights clear, the blacks take a bluish tinge. If
more bromide is added and a test made after such addition,
the tone will change gradually from blue-black to pure
black, and upon addition of a still greater amount of brom-
ide, it will turn to green, or brownish black. Hence, for
olive and brown tones, increase the quantity of bromide
and lengthen the exposure. If necessary, use more water in
the developer. For blue-black tones and platinum efifects,
avoid over-exposure. Use less water in the developer and
a minimum quantity of bromide.
919. The contrast or the soft effect of the prints will
also be varied according to the quantity of bromide of
potassium used. If an excess of bromide is used and the
exposure is shorter, the contrast will increase. If, on the
other hand, the quantity of bromide is decreased and the
developer diluted with water, while at the same time the
270 Library) of Practical Photography.
exposure is increased, the prints will be softer. This ap-
plies to any grade of Cyko, whether Blue Label, Yellow
Label or Brown Label.
920. Note. — For softness in any of the grades of Cyko
paper always increase the exposure and dilute the developer with
water. The more dilution the softer zvill be the results, pro-
viding sufficient exposure has been given. This is just the re-
verse to the manipulation of Velox.
921. For the amateur and others who do not care to
compound their own developers, we recommend the pre-
pared solutions.
922. Cyko Liquid Non-Abrasion Developer. — This de-
veloper has unique qualities which will appeal to the
amateur. It is adapted to any grade of Cyko, but especially
to Glossy Cyko No. 3, for the reason that it prevents abra-
sion marks, also called friction marks, to which all glossy
developing-out papers are more or less susceptible.
923. There is still another feature which is of great
moment, viz. : It serves as a guide to thorough fixing.
The print is not absolutely fixed until the canary yellow
color entirely disappears by fixing in a correctly prepared
acid hypo bath. This developer should be used as follows :
924. For Yellow Label (Normal) Cyko, take
Cyko Concentrated Liquid Developer 1 oz.
Water 4 ozs.
925. For Blue Label (Contrast) Cyko, take
Cyko Concentrated Liquid Developer 2 ozs.
Water 4 ozs.
926. It is important that this developing solution,
while in use, should be kept at a temperature between 65
and 70 degrees Fahr.
927. Fixing. — Any acid hypo bath used for gaslight
papers may be also used for fixing Cyko papers, but the
following formula may be employed. A sufficient amount
C\)ko Gaslight Paper. 271
of the solution should be prepared to fix the prints thor-
oughly in 15 minutes, and acid hardener should always
be added, as it will overcome the tendency of the fixing
bath to cause blisters and even stains :
928. Hypo Fixing Bath. Solution A.—
Hypo 12 ozs.
Water 64 ozs.
Dissolve and then add:
929. Solution B (Hardener).—
Water 5 ozs.
Sodium Sulphite (Powdered) Vz oz.
Acetic Acid No. 8 3 ozs.
Alum (Powdered) i/4 oz.
930. Acid hypo is also put up in prepared packages
ready for dissolving. A 15 cent package of Cyko Acid Fix-
ing Hypo Salts will make one pint of solution, which will
fix two dozen 4x5 prints.
931. Any acid fixing bath can be used repeatedly. It
keeps well, but will by degrees become alkaline through
the gradual addition of developer, which adheres to the
print and is carried into the fixing bath. The bath should
be discarded entirely when it becomes muddy. If the fixing
bath becomes exhausted it will be frothy, or suds will re-
main on the surface when it is violently agitated.
932. Washing. — Cyko prints are washed in the usual
way. It is essential that the finished prints be washed
thoroughly to free them from hypo. To wash a batch of
one hundred 4x5 prints, using two trays of suitable size
and transferring each print separately from one tray to
the other, changing the water at least twelve times, will
require at least a full hour for the process. If running
water is used, where the prints can be kept constantly mov-
ing so that each individual print has a thorough washing,
from one-half to one hour, according to the number of
prints, will be required. Prints are not washed if they arc
piled in a bunch in a tray and the water simply runs in at
272 Librar]) of Practical Photography.
one end and out at the other. In some localities where
there is an excessive amount of iron or impurities in the
water, the whites in the prints may have a yellowish
tone. The prints should not be allowed to wash longer
than an hour, and should never soak in water over night,
as this tends to soften the gelatin film and entirely spoils
the print.
933. Blisters. — In order to avoid blisters the tempera-
ture of the wash water should be kept as uniform as pos-
sible. If the water is ice cold it will cause blisters. If
running water is used for washing, the stream from the tap
should not be allowed to fall directly upon the print, as
this also will cause blisters. A good way to avoid this is
to place a tumbler or small graduate in the tray used for
washing, allowing the water to flow into this first and then
over the side into the tray.
934. Drying. — After washing the prints as directed,
remove them from the wash water and lay them face up
on clean lintless blotters, care being taken to blot off the
superfluous moisture. Another way, which is to be pre-
ferred when a large number of prints are to be dried, is
to place them on a clean glass in a pile, face down. Cover
them with a blotter, and with a squeegee roller press out
all superfluous water. Then lay them out separately, face
down, on cheese-cloth stretchers, which may be con-
structed by making a frame-work of light wood and tack-
ing bleached cheese-cloth tightly over it. Prints dried in
this manner will curl but slightly.
935. Mounting. — Cyko papers may be mounted in the
usual way — the light weight papers mounted solid, while
the double weight papers may be dried flat and placed in
folders.
936. Practice Work. — Cyko paper is manipulated al-
most identically the same as Velox. There is some differ-
ence in the exposure required, but the principal difficulty
lies in the manipulation in the developer.
937. With Velox paper when softness is desired full
strength developer is used. Such is not the case with Cyko,
Cyko Gaslight Paper. 273
as with this product, when softness is wanted increase the
exposure and dilute the developer with water. Bear this in mind
when manipulating this paper.
938. The fact that Cyko is manipulated just the op-
posite to the Velox in the developer, makes the manipula-
tion more interesting after having worked Velox paper. It
gives an opportunity to work with more thought and care
and less mechanically. It trains you to work any gaslight
paper, it teaches you to exercise care, and it also enables
you to thoroughly study and learn to understand the nature
of each standard photographic product.
939. Make test prints in the usual manner. The first
experiments may not be as successful as desired, but this
will prove of benefit as you will then learn to manipulate
the bath to give the results wanted. If you happen to fail
with the first efforts, consult the difficulty department
where the remedy will be found. Save test print failures
as well as the successful ones and note the method of pro-
cedure on the back of all prints, filing them in the proof
file for future reference.
CHAPTER XXXV.
Difficulties — Cyko Gaslight Paper.
940. Impure or Grayish Whites. — Lack of bromide in the de-
veloper— add a few drops of a 10% solution of bromide to the
developer. Under-timed prints which have been forced in the de-
velopment. Or, possibly the paper has been fogged by having been
brought too near the light while the printing frame was being
loaded, or when the paper was developing.
941. Greenish Tones. — A developer too weak or too old; too
much bromide in the developer; oxidized developer; or over-
exposure. Use a more concentrated developer, or add less bromide.
A strong and fresh developer permits the use of more bromide than
a weak one, without producing greenish black.
942. Brown Tones. — When the brown tones show, while the
print is in the developer, it may be due to over-exposure and an
excessive amount of bromide, or an old or incorrectly compounded
developer. If the brown tone appears after immersion in the fixing
bath, it may be traced to impure sulphite of sodium, or to too warm
a fixing bath.
943. Contrasty Prints (Lacking in Detail). — If negatives are
too harsh, use Normal or Professional Cyko, which works softer
than the Contrast grade. A softer effect may be obtained with
any grade of Cyko by increasing the exposure, or using a more
dilute developer, or both.
944. Weak Prints (Lacking in Detail). — Under-exposure (in-
dicated by the necessity of forcing development).
945. Flat, Muddy Prints. — Over-exposure. Negatives too thin
or too weak. Use Contrast Cyko, which is more contrasty than
Normal or Professional Cyko. The trouble may be due in some
c^ses to the developer being too weak.
946. Prints That Are Too Dark. — Over-developed. (See also
Grayish- Whites.) Remove prints from the developer sooner.
947. Yellow or Brown Stains. — The developer has not covered
the print uniformly; or too long a time has elapsed between de-
veloping and fixing; or the prints were not kept in motion when
275
276 Library of Practical Photograph}).
first immersed in the fixing bath. Staining all over the print is the
result of trying to force the development of under-timed prints, or
using a developer too w^eak, or too old. The print may not have
been fixed or washed sufficiently. In some cases it is due to the fact
that the water contains too great a proportion of iron. It is easy
to determine when the trouble is due to incomplete fixing, because
the print will have a sweet taste. Always rinse prints before fixing.
We may here remark that one of the most common troubles met
with in printing gaslight paper is staining; but this difficulty is
seldom present when making Cyko prints, unless the worker is
extremely careless.
948. Round Dark Spots. — Air-bells on print while in the fixing
bath. The print should be completely immersed in the acid hypo
bath and kept in motion during the first few seconds after
immersion.
949. Blisters. — The printing frame has been placed too near
the source of light. This would be indicated if the negative felt
rather warm to the touch when taking the print out. In this event,
the print should be allowed to cool oflf before developing. Prints
may have been creased or broken while washing. Do not allow
the water to run directly on the print from the tap. Too great a
variation in temperature between the different solutions and the
wash water may also be responsible for this trouble. It may also
be due to an insufficient quantity of acid in the fixing bath. The
fixing bath must be kept acid. It must be borne in mind that each
print going from the developer into the fixing bath carries a certain
amount of the alkali contained in the developer, which in time will
neutralize the acid. Prints will sometimes blister when not allowed
to remain in the fixing bath long enough to harden the film. The
surface of the print when removed from this bath should not be
slippery to the touch.
950. Impure Chemicals. — It is easy to ascertain when the fixing
bath is not in proper condition, by wetting the thumb and index
finger in the fixing solution. If the two fingers do not slip easily
when rubbed together, the fixing solution is right.
951. Discoloration Around Edge of Prints. — If the centre of the
print is clear, it indicates that the paper has been kept in a place
exposed to chemical emanations, such as ammonia vapors, illumi-
nating gas, gas from a furnace or stove, or fumes from turpen-
tine or sewer gas. The package of paper must be kept tightly
closed when not in use.
952. Curling and Cracking of the Surface. — The paper has be-
come too dry. It should not be kept in a hot, dry place. The
trouble may be overcome by soaking the prints for a few minutes
Difficulties — C})ko Gaslight Paper. 277
in a bath consisting of one ounce of glycerine and twelve ounces
of water. Then dry the prints without washing them again.
953. Round White Spots. — Some opaque substance between
the paper and the negative when printing; air bubbles remaining
on the surface of the paper while in the developing solution — the
bubbles should have been removed with the finger during develop-
ment. White deposit all over the surface of the prints is caused
by milky hypo bath — if washed thoroughly, it can be removed.
954. Black Surface Marks or Scratches. — This occurs princi-
pally with glossy paper, and is the result of pressure or friction
before development. These marks can be removed from the dry
print by rubbing with a tuft of cotton dipped in wood alcohol. This
trouble may be made absolutely impossible by using Cyko Liquid
Developer (Non-Abrasion).
955. Canary Yellow Color Produced When Cyko Liquid Non-
Abrasion Developer Has Been Used. — A sign that the print has not
been fixed sufficiently. The canary color should disappear entirely
when properly fixed in a correctly prepared acid hypo bath.
956. Freaks. — Picture develops irregularly, and appears to be
covered with greasy streaks and finger marks, giving the impression
that they are spots on the paper which have never been coated.
It is annoying to the photographer, because he feels sure that the
fault is in the paper, which is not so. These freaks occur most
frequently in warm weather when the humidity is great, and are
due to the fact that the paper absorbs moisture unevenly, and
becomes repellant in certain spots to the action of an incorrect
developer.
IV— 17
CHAPTER XXXVI.
Artura Developing or Gaslight Papers.
Detailed Instruction.
957. Negative Quality. — " Artura " is the original con-
tact developing paper that will register the values of a
negative, such as regularly made for printing-out papers.
The advantage of this quality can readily be appreciated, as
it enables the professional photographer to take up the
developing process without having to modify or change his
methods of negative making. The necessity of making
a special negative for a printing process is a serious prop-
osition. The photographer may be well grounded in a
method of making satisfactory negatives, but to change
in order to accommodate a paper upsets an entire experience
and manner of skylight and dark room work. The most
desirable negative is one of medium density and contrast.
A thin fiat negative is no more desirable than a harsh con-
trasty one. Fully timed negatives, not over developed, will
prove the best printers. The color of a negative is also
important. A slight yellow color, as is generally obtained
with pyro, is not objectionable, but too much of it should
be avoided, as it slows the printing and increases the con-
trast of the negative.
958. The following table gives the speed of the dif-
ferent brands of " Artura " with negatives of medium
density; also the printing contrast of each brand:
Brand. Speed. ^ Contrast.
Soft
Soft
Soft
Soft
Hard, Medium
and Soft
Iris
Regular
Carbon Black-
Fast
Carbon Green
Slow
Chloride
Regular
Non-Curling
Regular
280 Library) of Practical Photograph}).
FAST SPEED. — 10 seconds exposure one foot from 16 candle-
power incandescent light.
REGULAR SPEED. — 30 seconds exposure one foot from
Welsbach gaslight.
SLOW SPEED. — 20 to 30 seconds exposure with daylight.
959. Printing Lights. — For printing the fast paper,
yellow artificial light, such as oil lamp, ordinary gaslight,
incandescent electric light, etc., is suitable. Weak sub-
dued daylight may also be used. For printing the slower
papers, a white or actinic artificial light may be used', such
as Welsbach gas light, diffused arc light, Cooper-Hewitt
light, etc. Diffused daylight is also suitable. For printing
the slowest paper, use the direct rays of an arc lamp, or
north daylight.
960. The two most widely used brands of " Artura,"
are " Iris " and " Carbon Black."
961. " Carbon Green " and " Chloride " are also excel-
lent papers, simple in manipulation, producing prints of fine
quality.
962. Carbon Green Artura produces excellent green
carbon effects with regular developer and without special
treatment of any kind. Its printing quality makes it very
suitable for portraiture, and for landscapes and marines it
is unequaled. It possesses soft printing quality and is
best adapted to the stronger grades of negatives.
963. Artura Chloride is a paper simple in manipula-
tion, and is intended to produce soft, artistic effects with-
out lustre.
964. Manipulation of Iris Paper. — " Iris " is of excep-
tionally fine printing quality and possesses all of the finer
points of quality and tone necessary for the better grades of
contact printing. This brand is especially recommended for
portraiture, and in fact all work where quality, gradation
and tone values are required. With its three surfaces all
of the most desirable photographic effects may be obtained.
Iris paper is made in three surfaces and two weights.
965. Regular Weight. For mounting. Smooth lustre
surface. ( See 1909 REVISION ON PAGE 293.)
Arlura Developing. 281
Extra Heavy. Does not require mounting or backing.
Smooth surface without lustre.
Medium Rough. Heavy stock with light grain.
966. The speed of Iris paper permits handling it in
ordinary yellow artificial light without the use of red or
orange light screen.
967. Exposure. — The length of exposure of course de-
pends on the density of the negative ; also the strength
of the light used for printing. After becoming familiar with
the speed of the paper all that is necessary is to judge
the density of different negatives. For the beginner, a test
should be made by covering some important part of the
negative with a small strip of paper and exposing it to the
light. When exposure is thought to be sufficient, remove
the test strip and develop it. If the exposure is correct, the
image will develop to the desired depth and pause in de-
velopment. If the image stops developing before the
desired depth is reached, it will indicate under exposure.
If the image develops beyond the desired depth before de-
velopment stops, it will indicate over exposure.
968. " Iris " developer should be mixed according to
the following formula. Other developers may be used (see
general information), but we recommend the following as
giving good color and gradation:
Water 40 ozs.
•/Metol 14 grs.
( Sulphite of Soda (Dry) i^ oz.
.j Hydroquinone 60 grs.
Carbonate of Soda (Dry) i^ oz.
969. When ready to develop add one drop of a satu-
rated solution of bromide of potash to each two ounces
of developer. Chemicals should be dissolved in the order
given, thoroughly dissolving each one before adding the
next. If sodas in crystal form are used, double the amount
given in the above formula.
970. The dry print should be immersed face up in the
developer with a sliding motion. Break air-bells that may
282 Library of Practical Photography.
form by rubbing the surface with the tips of the fingers, or
a tuft of cotton.
971. A properly exposed print will develop to the
desired depth freely without forcing the development. The
deeper shadows of the image appear first, and as develop-
ment proceeds, the half-tones and highlights will build in.
The image will appear shortly after the print is immersed
in the developer. The development will proceed evenly
and slowly enough to give full control during develop-
ment. The speed of development depends largely on the
temperature of the developer and the quality of chemicals
used in the developer. The best temperature for developer
is about 65 degrees Fahrenheit.
972. When a print is completely developed it will
apparently stop or pause in development. If a print is
under-exposed and over-developed, or forced, it will be cold
or blue in tone, lacking richness in the shadows and de-
tail in the highlights. Forced development is also apt to
cause impure or fogged whites. If a print is over-exposed
and under-developed, it will have reached the desired depth
before development has paused or stopped. An under-de-
veloped print will be harsh, lacking detail in both highlight
and shadow. Extreme over-exposure will result in a flat
muddy print.
973. The developer formula, as previously given, will
prove satisfactory for the ordinary run of negatives, but in
extreme cases it can be modified to advantage. When nega-
tives are inclined to be flat or weak, the amount of hydro-
quinone should be doubled. This together with full ex-
posure will increase the brilliancy of the print. By " full
exposure," slightly over normal is meant. For contrasty
negatives, use regular developer with double the regular
amount of bromide, adding one drop of the following iodide
solution to each ounce of developer.
IODIDE SOLUTION.
Water 4 ozs.
Iodide of Potash Crystals 1 oz.
Ariura Developing, 283
974. ]\Iore or less iodide will produce similar degrees
of contrast. Care should be taken in the use of iodide, as
when the quantity is beyond a certain point it will act to
the extreme. Expose prints long enough to print through
the highlights of the negative. Iodide will take care of the
shadows in the print and prevent them from becoming too
intense. The best tones on " Iris " are obtained by making
decidedly olive tones and then toning as directed hereafter.
To obtain the necessary olive in the prints they should be
exposed so that they will develop to the proper depth with-
out forcing. Bromide of potash is important in producing
olive tones, and at least as much as is called for in the de-
veloper formula should be used. Local water conditions
may make it necessary to use an increased amount of brom-
ide to obtain the necessary olive. Using one drop of nitric
acid to each ounce of developer will also assist in producing
the olive tone.
975. After prints are developed rinse in acid short-
stop.
ACID SHORT-STOP.
Water 32 ozs.
Commercial Acetic Acid 1 oz.
976. The exact proportion of the short-stop is not
important, but this bath should be kept acid at all times,
because only as long as it remains acid will it act as a
short-stop. Carrying developer into it with prints will in
time neutralize it. It is easily mixed and should be kept
fresh. After rinsing prints, transfer them immediately to
the fixing bath and be sure to quickly and thoroughly im-
merse the prints in the solution.
977. Fix prints face up to prevent air-bells from form-
ing on the surface of the print. Air-bells in fixing cause
round dark spots, or streaks, to appear on the print.
284 Librar}) of Practical Photograph}).
FIXING BATH.
Water 64 ozs.
Hypo 16 ozs.
Dissolve and add the following hardening solution:
Water 5 ozs.
Sulphite of Soda (Crystals) % oz.
Commercial Acetic Acid 3 ozs.
Powdered Alum % oz.
978. It is important to mix fixing bath exactly as
given. This bath will keep indefinitely and can be used re-
peatedly until exhausted. A 64-oz. bath will fix at least
two gross of cabinet size paper. When fixing bath is
exhausted a clouded sediment will appear, and the bath will
be frothy when violently agitated. Prints must be fixed
no less than 10 minutes nor more than 30 minutes. (See
instructions for fixing prints, Chapter XXXVII, General In-
formation.) After prints are fixed, they may be rinsed in
fresh water and should then be toned. The decided olive
color is converted into a proportionate amount of brown in
the toning bath. In this way, pleasing brown black tones are
obtained. Unless prints are decidedly olive, the toning
bath will have no apparent action. (See Development.)
979. Toning Bath.—
Boiling Water 128 ozs.
Hypo 16 ozs.
Alum 4 ozs.
Sulphate of Soda (not Sulphite) 8 ozs.
980. The hypo and alum should be dissolved while
water is boiling hot, and after it is cool add sulphate of
soda. This bath will be milky in appearance, having a
white precipitate. It may be used this way, or allowed to
settle, pouring off and using the clear portion. A new bath
may show a tendency to bleach, and to overcome this it
should be ripened with silver. A convenient method of
ripening is to put some unused pieces of photographic
Artura Developing. 285
paper, containing silver, in the bath previous to toning.
After the bath ripens it can be used repeatedly until it re-
fuses to tone. It will take from 15 to 30 minutes to tone
prints, but they need no particular attention after they
are thoroughly and evenly saturated with the bath. If the
bath is very cold, or after it becomes old, it will work more
slowly. To hasten its action it may be warmed slightly.
Never use it at a temperature of more than 90 degrees
Fahrenheit, or the action will be too rapid and difficult to
control. The toning may be done in daylight. Prints should
only be toned far enough to remove the decided olive color.
It is advisable to leave a slight trace of olive in the print,
as this disappears in drying, leaving a brown black tone.
Do not over tone, or the prints will be blue black instead
of brown black. After prints are toned, separate well in
running wash water and wash for one hour. If running
wash water is not available, it will be advisable to put prints
back in the fixing bath to check the toning action. Then
wash.
981. Note. — If the tone of the print is satisfactory
after being fixed, the use of the toning bath may be omitted.
The purpose of this bath is to change the olive to a brown
black and is NOT a necessary part of the process for those
who want the olive black tone. If difficulties arise look
under head of " General Information " for suggestions.
For instructions in regard to mounting and drying, also
consult text under the above head.
982. Sepia Tones on Iris. — Beautiful sepia tones can
be obtained upon Iris paper by toning in a toning bath
mixed according to the formula given in paragraph No. 979.
Iris prints intended to be toned sepia should be made in
the ordinary way, and a shade darker. Fully and evenly
developed prints give the best tones. It will take from 8
to 12 hours to convert prints to a full sepia, if the bath is
used cold. Using the bath at a temperature of 100 degrees
Fahrenheit will tone prints in about 30 minutes. Prints
need no particular attention, as the toning proceeds to the
sepia point and then stops. If a cold bath is used, prints
286 Library^ of Practical Photography.
may be allowed to remain in it over night. The only pre-
caution necessary is to stir prints occasionally during the
first stages of toning. After they are thoroughly and evenly
saturated with the toning bath, they will need no further
attention. Prints should be toned face up.
983. Spots. — Untoned spots are caused by not thor-
oughly and evenly immersing the print in the toning bath,
or by air-bells forming on the surface of the print during
toning. Air-bells may be avoided by toning prints face up.
It is important to observe the directions in regard to fully
and evenly developing prints. Prints that are over-ex-
posed and not fully developed will be fiat and of a yellowish
color when toned.
984. Manipulating Carbon Black Paper. — Carbon
Black is the fastest chloride paper made, requiring hand-
ling in red or orange light to avoid fogging. It possesses
remarkable latitude of exposure and will adapt itself to a
wide range of negatives. It is at its best when used with
the stronger grades of negatives. Carbon Black is made in
five surfaces and two weights :
Glossy — Regular Weight — High gloss surface.
Studio Special — Regular Weight — Smooth half-matte surface.
Matte — Regular Weight — Slight grain with slight lustre.
Dead Matte — Regular Weight — Smooth surface without lustre.
Rough Matte — Double Weight — Broad rough grain with slight
lustre.
Extra Heavy — Double Weight — Smooth half-matte surface.
985. Exposure. — The speed of Carbon Black makes
it possible to print it with an oil lamp, ordinary gas light,
or incandescent electric light. The length of exposure of
course will depend on the density of the negative, also the
strength of the light used for printing. For the beginner
a test should be made by covering some important part of
the negative with a small strip of paper and exposing it to
the light. When exposure is thought to be sufficient, re-
move the test strip and develop it. If the exposure is cor-
rect, the print will develop to the proper depth and stop.
Artura Developing. 287
Prints should be timed so that they develop to the proper
depth without forcing the development. If prints stop de-
veloping before the desired depth is reached, it will indi-
cate under-exposure. If development proceeds beyond the
desired depth, it will indicate over-exposure.
986. Carbon Black developer should be mixed accord-
ing to the following formula. Other developers may be
used (See " General Information "), but we recommend the
following as giving good color and gradation :
Water 20 ozs.
Metol 14 grs.
Sulphite of Soda (Dry) i/^ oz.
Hydroquinone 60 grs.
Carbonate of Soda (Dry) i/^ oz.
987. When ready to develop add one drop of a satu-
rated solution of bromide of potash to each ounce of devel-
oper. Chemicals should be dissolved in the order given,
thoroughly dissolving each before adding the next. If
sodas in crystal form are used, double the amount given in
the above formula. Carbon Black prints may be placed in
water previous to development, but this is not necessary.
Prints should be immersed quickly and evenly in the devel-
oper, removing air-bells that may form on the surface of the
print by rubbing the surface with the tips of the fingers,
or a tuft of cotton.
988. A properly exposed print will develop to the
desired depth freely without forcing. The image will ap-
pear shortly after the print is immersed in the developer
and development will proceed evenly and slowly enough to
give full control during development. The speed of de-
velopment depends on the temperature of the developer,
the quality of chemicals used in the developer, etc. The
best temperature at which to use developer is about 65
degrees Fahrenheit.
989. When a print is completely developed, it will
apparently stop or pause in development. If a print is
under-exposed, over-developed, or forced, it will be cold or
288 Library) of Practical Photography.
blue in tone and lack richness in the shadows and detail in
the highlights. Forcing the development is also apt to
cause impure or fogged whites. If the print is over-exposed
and under-developed, it will have reached the desired depth
before development has stopped. An over-exposed and
under-developed print will be inclined to be flat in general
appearance.
990. Developer formula, as given, will prove satisfac-
tory for all negatives. The contrast of Carbon Black paper
can be controlled by varying the exposure. To obtain con-
trast from flat negatives, expose farther from the source of
light, and do not over-expose. Soft prints from hard nega-
tives may be obtained by exposing near the source of light
and giving full exposure. After prints are developed, rinse
in fresh water and transfer immediately to the fixing bath.
Fix prints face up to avoid air-bells. For fixing bath and
method of fixing see Paragraph 977-978.
991. After prints are fixed wash in the usual way in
running water for about an hour. If difficulty arises,
look under head of General Information for suggestions.
For instructions in regard to mounting and drying see
General Information, Chapter XXXVII.
992. Note. — The speed of Carbon Black paper makes
it suitable for enlarging purposes, the resulting prints hav-
ing a richness and depth unequaled by any of the bromide
papers. For enlarging, use an arc lamp and condensing
lenses.
993. Manipulating Carbon Green Paper. — Beautiful
green carbon efifects by direct development. Made in three
grades :
Matte— Regular Weight— Surface having slight grain and slight
lustre.
Medium Rough— Heavy Stock— Rough surface with slight
lustre.
Extra Heavy— Double Weight — Smooth half-matte surface.
994. Carbon Green is the slowest brand of Artura
paper. It will require 20 to 30 seconds exposure to north
Ariura Developing. 289
daylight with the average negative. Development may
be carried on in yellow artificial light without danger of
fogging. After becoming familiar with the speed of the
paper, it is simply necessary to judge the density of the
different negatives. For the beginner a test should be made
by covering some important part of the negative with a
small piece of paper and exposing it to the light. When
exposure is thought to be sufficient, remove the test strip
and develop it. If exposure is correct, the image will de-
velop to the desired depth and stop. If the image stops
developing before the desired depth is reached, it will in-
dicate under-exposure. If development proceeds beyond
the desired depth before development stops, it will indicate
over-exposure.
995. Carbon Green developer should be mixed accord-
ing to the following formula. Other developers may be
used (see General Information), but we recommend the
following formula :
Water 20 ozs.
Metol 14 grs.
Sulphite of Soda (Dry) % oz.
Hydroquinone 60 grs.
Carbonate of Soda (Dry) % oz.
996. When ready to develop add one drop of a satu-
rated solution of bromide of potash to each ounce of de-
veloper. Chemicals should be dissolved in the order given,
thoroughly dissolving each before adding the next. If
sodas in crystal form are used, double the amount given
in above formula.
997. Prints may be wet in water previous to devel-
opment. This, however, is not necessary. Immerse prints
quickly and evenly in the developer, removing air-bells that
may have formed, by rubbing the surface of the print with
the tips of the fingers, or a tuft of cotton. A properly ex-
posed print will develop to the desired depth and stop.
The first action of Carbon Green paper in the developer is
quick, after which the image builds up more slowly. Prints
290 Library of Practical Photography.
should be timed, so they may be allowed to remain in the
developer until development is completely stopped. Over-
exposure and under-development will cause tones not as
pleasing as those obtained by full development. If prints
are too dark, give less exposure. The image will appear
quickly and develop about half way. The development will
then pause and proceed slowly to the stopping point.
998. When a print is completely developed it will stop
in development. If a print is under-exposed and over-de-
veloped, or forced, it will lack richness and also be apt to
have impure or fogged whites. If a print is over-exposed
and under-developed it will have reached the desired depth
before development has stopped. An under-developed print
will be muddy in general appearance. To obtain the best
color or tone on Carbon Green paper it is important to
observe the foregoing suggestions in regard to giving
prints full development. The developer formula, as given,
will prove satisfactory for the ordinary run of negatives.
When negatives are inclined to be flat, the contrast of the
paper can be increased to a certain extent by using ad-
ditional bromide of potash in the developer. Normal and
contrasty negatives will produce excellent prints on Car-
bon Green paper without special treatment. After prints
are developed, rinse in water and transfer immediately to
the fixing bath. Be sure to quickly and thoroughly im-
merse the print in the fixing bath. Fix prints face up to
prevent air-bells from forming on the surface of the print.
(See Paragraphs 977 and 978 for fixing bath formula).
999. Fix prints about 10 minutes, or until the yellow
color is removed from the film. Prolonged fixing should be
avoided, as it sometimes afifects the tone of the print. After
prints are fixed, wash as usual for one hour in running
water. If diflficulty arises look under head of General In-
formation for suggestions. For instructions in regard to
mounting or drying see General Information.
1000. Manipulating Artura Chloride Paper. — Soft ar-
tistic effects without lustre, made in three surfaces:
Ariura Developing. 291
Heavy Smooth — Double Weight — Smooth surface without
lustre.
Medium Rough — Heavy Stock — Slight pebble surface without
lustre.
1001. The speed of Chloride paper permits of it being
handled in ordinary, yellow artificial light, without the use
of a red or orange light screen.
1002. Exposure. — The length of exposure, of ccurse,
will depend on the density of the negative ; also the strength
of the light used for printing. After becoming familiar with
the speed of the paper, it is simply necessary to judge the
density of the different negatives. For the beginner, a test
should be made by covering some important part of the
negative with a small strip of paper, exposing it to the light.
When exposure is thought to be sufficient, remove the test
paper and develop it. If the exposure is correct, the image
will develop to the desired depth and pause in development.
If the image stops developing before the desired depth is
reached, it will indicate under-exposure. If the image de-
velops beyond the desired depth before development stops,
it will indicate over-exposure.
1003. Chloride developer should be mixed according
to the following formula. Other developers may be used
(see General Information), but we recommend the following
formula :
Water 20 ozs.
Metol 14 grs.
Sulphite of Soda (Dry) V2 oz.
Hydroquinone 60 grs.
Carbonate of Soda (Dry) % oz.
1004. When ready to develop, add one drop of a satu-
rated solution of bromide of potash to each three or four
ounces of developer. Chemicals should be dissolved in the
order given, thoroughly dissolving one before adding the
292 Library of Practical Photography.
next. If sodas in crystal form are used, double the amount
given in above formula.
1005. The dry print should be immersed face up in
the developer with a sliding motion. Remove air-bells by
rubbing the surface of the print with the tips of the fingers,
or a tuft of cotton. A properly exposed print will develop
to the desired depth freely, without forcing. The image will
appear shortly after the print is immersed, and development
will proceed to the proper depth, pause or stop ; allowing
uneven places caused by air-bells, or the developer not
covering the print evenly, to " catch up." The speed of
development depends largely on the temperature of the de-
veloper. The best temperature at which to use the devel-
oper is about 65 degrees Fahrenheit.
1006. When a print is completely developed, it will
apparently stop, or pause in development. If a print is
under-exposed and over-developed, or forced, it will be
cold or blue in tone and lack richness in the shadows and
detail in the highlights. Forcing development is also apt
to cause impure, or fogged, whites. . If a print is over-ex-
posed and under-developed, it will reach the desired depth
before development has paused or stopped. An under-
developed print will be harsh, lacking detail in both high-
light and shadow. Extreme over-exposure will result in
a flat, muddy print.
1007. The developer formula, as previously given, will
prove satisfactory for the ordinary run of negatives, but
in extreme cases it can be modified to advantage. When
negatives are inclined to be flat or weak, the amount of
hydroquinone should be doubled. By increasing the
amount of metol in the developer and reducing the amount
of hydroquinone, soft prints from harsh negatives may be
obtained. After prints are developed, rinse in acid short-
stop. (See Paragraphs 975-978 for formula of short-stop
bath and general instruction for fixing, etc.)
1008. Artura Backing Paper. Chemically Pure. — For
use with Artura papers. DIRECTIONS. The backing
paper should be wet. Prints should also be wet. Paste
Artura Developing. 293
the raw stock side of the backing paper on the back of the
print, roll down and dry between blotters or on tins or glass.
If tins or glass are used for drying, the gelatin side of the
backing paper should be placed in contact with them, leav-
ing prints face up. In this way the surface of the print is
not changed. When glass is used, it should be dressed with
a solution of benzine and paraffine, or some other suitable
dressing, to prevent the possibility of prints sticking when
dry.
1009. Note. — Glossy prints should be ferrotyped in the
usual way, by placing the face of print in contact with the
tins or glass.
1909 SUPPLEMENT
1009a. Iris. Grade A. Regular weight stock, smooth
and semi-matte surface.
Grade B. Double weight stock, smooth, semi-matte
surface.
Grade C. Double weight stock, smooth absolute matte
surface (no lustre).
Grade D. Double weight stock, medium rough, absolute
matte surface (no lustre).
Grade E. Double weight buff stock, medium rough, abso-
lute matte surface (no lustre).
Grade A is used mostly for mounting on card mounts.
Grades B and C are used in folders and for work where
solid mounting is not desired, although they may also be
mounted solid.
The same applies to Grades D and E, and these grades,
on account of their surface, are used to a great extent for the
larger size pictures, and where broad, artistic effects are
desired.
Grade E is coated on a buff-colored stock suitable for both
black and white and sepia tones. The color of this stock is in
perfect harmony with sepia, and very beautiful sepia effects
are obtained by the use of this grade of Iris.
1009&. Non-Curling Paper. This brand is made
in two surfaces — Satin, which is regular weight stock, hav-
ing a smooth semi-matte surface, and matte, which is also
of regular weight, but has an absolutely smooth matte surface
294 Library of Practical Photography.
(no lustre). Both the Satin and Matte are made in three
grades of contrasts — hard, medium, and soft. Non-curling is
also furnished on heavy stock, which is known as extra heavy,
as it is supplied on double weight paper. It has a smooth
semi-matte surface. This latter grade is made in medium
contrast only. Non-curling post cards are furnished in the
same weight, surface and contrast as the extra heavy paper.
1009c. Sepia Tones (Re-development). Like all
other photographic processes, the success of re-development
depends on intelligent handling. It is of utmost importance
that the black and white print intended to be re-developed be
fully developed ; i. c, the silver in the print must be fully
reduced. This requires that the original print be given nor-
mal exposure and allowed to remain in the developer until
development is complete. A strong developer is best to use on
prints intended to be re-developed, and care must be exercised
in the use of potassium bromide, as too much will restrain the
action of the developer and make it difficult to obtain full reduc-
tion or development. Develop the prints as far as they will
develop without fogging the whites. Be sure the prints are
well separated during fixing, to insure even and thorough
action of the hypo. Then wash for one hour in running
water, at the same time carefully handling the prints in order
to eUminate all traces of hypo. Bleach in
BLEACHING SOLUTION.
Water 64 ozs.
Ferricyanide of Potassium (Red Prussiate) . . Yz oz.
Bromide of Potash Y2 oz.
Aqua Ammonia 30 to 40 drops
Bleach prints until the last trace of black has disappeared
from the densest shadows ; then rinse in clear water until the
excess of bleacher has been removed, and re-develop in
RE-DEVELOPER.
Water 32 ozs.
Sulphide of Soda (not Sulphite) J4 oz.
Prints will instantly re-develop to rich sepia in this solu-
tion, if directions have been closely followed. Wash for one
hour and dry.
1009c?. Sepia Tones (Double Re-Development). This
process will produce a true sepia tone on Iris, also
warmer or colder browns, as desired. The tone is easily
controlled in the manipulation and all of the delicate grada-
tions and fine quality of a black and white Iris print are pre-
Artura Developing 294a
served. Make Iris prints in the regular way, and after they
are thoroughly and evenly fixed, wash to eliminate all hypo
and bleach in
SOLUTION A.
Water 64 ozs.
Ferricyanide of Potash (Red Prussiate) ... ^ oz.
Bromide of Potash 14 oz.
Aqua Ammonia (stronger ammonia). 30 to 40 drops
Prints should be bleached until the last trace of black has
disappeared from the deepest shadows. Longer immersion
will do no harm, but is unnecessary. After prints are bleached
they should be well separated in running water and washed
for at least ten minutes, and should then be partially re-devel-
oped in
SOLUTION B.
Water 24 ozs.
Iris Developer 8 ozs.
Bromide of Potash (saturated solution)... 20 drops
This is a weak developer and the tray should be rocked
to insure an even action of this solution on the prints. In this
solution the image will re-develop slowly and will first appear
of a reddish color. For a good sepia tone, prints should remain
in the Solution B until the last trace of red has disappeared
from the deeper shadows and the print has a purplish appear-
ance evenly over its entire surface. Prints should then be
rinsed in Acetic Acid water (regular Short Stop) to instantly
check the action of Solution B, and should be washed in run-
ning water for ten minutes and separated well during washing.
icx)9^. Re-development is then completed in
SOLUTION C.
Water 32 ozs.
Sulphide of Soda (not Sulphite) 1/2 oz.
Allow prints to remain in Solution C for about thirty sec-
onds, until the action is complete ; then wash for one-half hour
and dry.
1009/. NOTES. The action of Solution A and Solution
C is a complete action and does not require watching.
The action of Solution B determines the finished tone of
the print. The longer the immersion in Solution B the colder
will be the tone of the print when finished. This makes it
possible to obtain any desired tone, and a few trials is all that
is necessary to determine how far to carry prints in Solution
B, to produce the desired sepia color in the finished print.
294b Library of Practical Photography.
After determining this point and becoming familiar with the
appearance of the partially re-developed image in Solution B,
the process is mastered.
Solutions A and C are the same as those used in single
re-development, and the departure in this process is the intro-
duction of Solution B as a controller of tone.
Solution B is a weak developer and should not be over-
worked. Keep prints completely separated in Solution B to
insure an even action on the entire surface of the print.
Be sure to rinse or wash and separate prints as directed
between baths. Thoroughness in handling between baths is
essential, and carelessness in observing this point may cause
uneven spots and streaks in prints.
A separate tray should be used for the Sulphide Solution,
and this tray should be used for no other purpose. All trays
used in re-development should be clean.
The Sulphide Solution should be kept in a tightly corked
bottle or it will lose its strength in a short time.
When handling good-sized batches of prints they may be
run through Solutions A and C without relation to subjects.
In Solution B each subject (all prints from one negative)
should be run through one after another to insure uniform
depth and tone. This suggestion makes it easy to produce each
individual order uniform and without uncertainty.
CHAPTER XXXVII.
Artura Paper — General Information and Difficulties.
1010. Fixing Prints. — When fixing prints in large
quantities, the following method may be used to insure
proper fixing : Fix prints face up for about 10 minutes and
then turn this particular batch face down. Continue fixing
another lot of prints face up for another 10 minutes, and
by this time the first batch will be ready to remove from the
hypo. The last batch may then be turned face down, and
by proceeding in this manner the various batches are easily
kept separated. Prints should always be fixed face up, im-
mersing them quickly and thoroughly in the fixing bath.
1011. Mounting and Drying. — Prints made on Artura
paper are firm, and will not stick to blotters in mounting or
drying.
1012. Regular Weight. — The regular weight papers
may be mounted in the ordinary way from the wash water,
or be dried and trimmed and then re-wet and mounted.
Regular weight prints can also be backed with Artura Back-
ing Paper. (See backing paper directions, paragraph 1008.)
1013. Extra Heavy. — Extra heavy papers may be de-
livered in folders, or enclosures. They will lay flat, if prop-
erly dried. Different methods of drying are used. Some
one of the following will be found to be satisfactory :
1014. No. 1. Remove prints from the wash water and
allow them to drain. Place them face down on some clean
surface until nearly dry. Then lay between blotters, under
pressure, until thoroughly dry. Changing the blotters oc-
casionally will hasten the drying.
295
296 Library) of Practical Photography.
1015. No. 2. Proceed as in method No. 1 until nearly
dry. Finish drying by running prints through a warm bur-
nisher with a piece of cardboard to protect the surface.
Prints dried in this manner may be shaped with a slight
backward curl and will remain as shaped. This method
may be used to advantage when prints are wanted for quick
delivery.
1016. No. 3. Remove prints from the wash water and
allow them to drain. Place face down on some clean sur-
face until thoroughly dry. The back of the print should
then be moistened by rubbing with a damp (not wet)
sponge. It is important to dam^pen the entire back of the
print to the edges, moistening it as evenly as possible.
Prints should then be put between blotters, under pressure,
until dry.
1017. Backing Heavy Prints. — Heavy weight prints
intended for delivery unmounted can be backed with a light-
weight linen paper without increasing the weight of the
print. This will insure flat prints under most trying con-
ditions. A paper suitable for this purpose is Onion Skin
linen, which may be procured from any wholesale paper
house and many retail book stores. Any strong light weight
linen paper will answer the purpose. Prints are first dried
flat between blotters. The light-weight linen paper is then
cut the desired size, wet, pasted, and placed in position
on the back of the dry print. Roll down and finish drying
between blotters. The linen paper shrinks in drying and
will counteract any curling tendency the paper may have.
1018. Blotters. — The life and usefulness of blotters
is increased by keeping dry. Spread them out to dry when
not in use.
1019. Yellowish Stains. — 1. Weak or overworked fix-
ing bath.
2. Under-exposure and forced development.
3. Not quickly and thoroughly immersing prints in
the fixing bath.
4. Not rinsing in acid water between developing and
fixing.
Artura Paper. 297
5. Unclean fingers will cause stains, and the hands
should be rinsed often to keep them free from hypo while
developing.
6. Unclean trays cause stains.
7. Iron in water, also other impurities. Use distilled
or rain water for mixing developer.
1020. Brownish Stains. — 1. Brown spots or stains
are caused by using a fixing bath not properly mixed. (See
fixing bath formula, paragraph 977.)
2. Brown stains on Iris paper may be caused by not
properly mixing fixing bath, or by using a toning bath un-
ripened. (See toning bath formula, paragraph 979.)
3. Not separating prints thoroughly in running wash
water. Prints should be well separated in the wash water
to insure the removal of chemicals as quickly as possible.
1021. Pinkish Stains. — 1. Insufficient fixing. Prints
not thoroughly fixed contain silver, which will immediately
become discolored when exposed to daylight.
2. Lack of sufficient bromide of potash in the devel-
oper.
1022. Grayish or Fogged Whites. — 1. Lack of suffi-
cient bromide of potash in the developer.
2. Under-exposure and forced development.
3. Handling paper in unsafe light.
1023. Dark Spots. — 1. Are caused by fixing prints
face down, thus allowing air-bells to form on the surface of
the print. These air-bells allow development to proceed.
Fix prints face up.
2. Dark spots and streaks are also caused by failing
to rinse prints in acid water between developing and fixing.
Prints should be quickly and thoroughly rinsed after dc'
velopment and transferred immediately to the fixing bath.
1024. White Spots. — White spots are caused by air-
bells forming on the surface of the print during develop-
ment. Rubbing the surface of the print during that manipu-
lation will break any air-bells that may form, and prevent
this trouble.
1025. Bluish Tones.— Blue tones are caused by un-
298 Library of Practical Photography.
der-exposure and forced development; also caused by lack
of sufficient bromide of potash in the developer. At least
as much bromide as is called for in the formula should be
used, and if necessary the amount should be increased. The
amount of bromide necessary varies on account of local
water conditions, different makes of chemicals used in the
developer, etc.
1026. Muddy Tones. — Extreme over-exposure will
cause muddy tones and flat prints without vigor.
1027. Irregular or Patchy Development. — 1. Over-
exposure and under-development will cause an uneven ap-
pearance in the print.
2. Uneven development is another cause. Immerse
prints evenly in the developer.
3. Not rinsing properly in acid water between de-
veloping and fixing will cause irregular spots and streaks.
1028. Mixing Solutions. — In mixing all solutions
chemicals should be added to the water in the order given.
There is a reason for all of the chemical combinations. If
the local water is not fairly pure, it is advisable to use
distilled, or rain water, as this can be depended upon.
1029. Saturated Solution. — To mix a saturated solu-
tion of bromide of potash, add sufficient bromide crystals
to a few ounces of water, so that when it is thoroughly dis-
solved some bromide crystals will remain at the bottom of
the bottle. The undissolved crystals prove the solution to
be saturated.
1030. Acid Water. — Acid water for rinsing prints be-
tween developing and fixing cannot be too strongly recom-
mended.
1031. Acetic Acid. — Do not use acetic acid C. P., as
it is too strong.
1032. Other Developers. — Metol-hydroquinone has
proved to be an excellent developer and can be depended
upon for results when mixed in the proportions given in
the formula. Its keeping quality is also excellent. Ortol-
hydroquinone developer is rapidly coming into favor, as it
Artura Paper. 299
apparently equals metol-hydroquinone in every respect.
Following is a formula which may be used :
1033.
Water 40 ozs.
Ortol 30 grs.
Sulphite of Soda (Dry) 1 oz.
Hydroquinone 90 grs.
Carbonate of Soda (Dry) 1 oz.
Use bromide as necessary to insure clear whites.
1034. The following formula for amidol developer
will also produce good results. Amidol does not keep well
in solution and should be mixed and used as needed :
Water 4 ozs.
Sulphite of Soda (Dry) 40 grs.
Amidol 10 grs.
Use bromide as necessary to insure clear whites.
1035. Action of Chemicals on Paper. — Developing
agents such as metol-hydroquinone, ortol, amidol, etc., are
used to develop the image. Sulphite of soda is used as a
preservative in the developer. Carbonate of soda is used
to open the pores of the paper, allowing developing agents
to act freely and evenly. Increasing the amount of carbon-
ate increases speed of development. Bromide of potash is
a most important chemical in the developer, being used to
prevent impure or fogged whites. If only enough bromide
is used to insure pure whites, the print will be cold in
tone. Increasing the amount of bromide in the developer
will increase the amount of olive in the print. Thus, it
will be seen that bromide is used for two purposes, namely,
insuring clear whites and controlling tone.
1036. Exposure and Development. — Varying the ex-
posure and development will vary the tone of the resulting
print. For instance, an under-exposed print, forced in de-
velopment, will be cold or blue in tone when compared to
a fully timed print that develops to the desired depth
300 Library of Practical Photography,
freely, even though the same developer is used for both
prints,
1037. Safe Light for Handling Paper. — The slower
brands of Artura paper may be handled in yellow artificial
light without danger of fogging. Development may be
carried on at a distance of six feet from a 16 candle-power
incandescent electric light, or other yellow artificial light
of about the same strength, without danger of fogging.
The dry paper, of course, should not be exposed to the
direct rays of such a light for too long a time. Be sure
that the light in the printing room is safe. A test may be
made as follows : Allow a piece of paper to lay exposed
for the length of time necessary to handle it during manipu-
lation. This piece of paper may then be developed and if
the whites show fog, the light in the printing room is not
safe. If the whites remain pure, the light is safe. Carbon
Black, the fastest brand of Artura paper, must be handled
in red or orange light, it being extremely sensitive.
1038. Stock Hardener. — The hardener used in the fix-
ing bath may be mixed in large quantities, as it keeps in-
definitely. A new fixing bath may be mixed at any time
by simply dissolving the hypo in water, adding the proper
amount of hardener.
1039. Practice Work. — Your previous experience with
other gaslight papers will, of course, assist you wonder-
fully in the manipulation of Artura, for you will more readily
understand the manipulation and can work more intelli-
gently than if you had no previous instruction. For your
first experiments better results will be obtained if the in-
struction given herein is followed to the letter. As there
are different grades and surfaces of Artura paper, for your
practice work take them up in their regular order and ob-
serve each step of procedure. With " Artura " particularly,
you should observe all failures and note all data pertain-
ing to their production on the back of the print. If you
meet with failures in any department, consult the General
Information department following the lesson, where you
will most likely find a remedy, and after a few experiments,
Artura Paper 301
you will be able to produce really beautiful results. Prints
from all your first efforts with each grade of paper should be
preserved, as your first work will be a guide to advancement.
Carefully note all data pertaining to manipulations from be-
ginning to end. Note these on the back of each print, pre-
serving them in your proof file. They will prove to be a
splendid reference and assistance for future guidance.
1909 SUPPLEMENT
1039a. M-Q Developer and Its Composition.— The chemicals
used m the Metol-Hydroquinon developer should be dissolved in
the order given in the formula.
Metol and Hydroquinon are the developing agents.
Sulphite of Soda is used as a preservative and prevents the
developer from decomposing rapidly and becoming discolored.
Carbonate of Soda is used to open the pores of the emulsion
and allow the developer to act freely and evenly.
Bromide of Potash is used to keep the whites clear, and is also
irnportant in controlling tone. The more Bromide used the more
olive will be the tone of the resulting print. Without Bromide, or
with too little Bromide, grayish, fogged prints will be obtained. Be
sure to use a Saturated Solution of Bromide in the developer.
10396. Modifying Developer to Control Contrast. — Developer
mixed according to formula cannot be improved on for the general
run of work.
Increasing the amount of hydroquinon and reducing the
amount of metol will increase the brilliancy or contrast of the
prints to a certain extent.
Increasing the amount of carbonate will cause developer to
work more vigorously, and also tend to produce black tones without
olive. Reducing the amount of carbonate will cause developer to
work slower and will produce softer results.
It will thus be seen that to produce more contrast in prints
the hydroquinon should be increased, also the carbonate, and as this
will tend to make developer work more rapidly, the bromide should
be increased so as to enable the operator to control the develop-
ment of the print.
To produce less contrast in prints use double the amount of
metol, half the amount of hydroquinon and half the amount of car-
bonate called for in the regular formula.
If developer discolors rapidly when being used, it will indicate
weak or old sulphite of soda, which is the preservative. Use fresh
sulphite of good quality.
Bromide of potash plays an important part in the developer.
We cannot give the exac amount necessary to use under all condi-
tions. Some of the conditions that make it necessary to vary the
amount of bromide are as follows:
Water used in mixing developer.
Quality of soda used.
Age of paper, etc.
Old paper will generally require more bromide than fresh.
Enough bromide should be used to keep the prints from fog-
302 Library of Practical Photography.
ging in the developer. If only enough to do this is used, the tone of
the prints will be cold or blue-black.
A slight increase will give a better black.
With further increase comes the more desirable warm or
olive-black tone.
The formula which follows is based on the preceding princi-
ples. It will produce good prints from negatives that are inclined
to be strong, and also from normal negatives for low tone effects
where contrast or snap is not desirable.
It will give good, rich prints, but will search up into the high-
est lights for every gradation or half-tone. This developer works
slower than the normal developer, on account of the reduced
amount of accelerator (carbonate of soda), and to avoid flatness
prints should be allowed more time to develop. Following is the
formula:
Water 40 grs.
Metol 20 grs.
Sulphite of Soda (dry) i oz.
Hydroquinon 40 grs.
Carbonate of Soda (dry) 90 grs.
When ready to develop add one drop of a saturated solution
of bromide to each two ounces of developer.
In hot weather you may find it advisable to reduce the
amount of carbonate in your regular developer, even though you
don't want a soft print. Too much carbonate in the developer
during the summer months may make your prints too contrasty,
as the developer is apt to work very vigorously and quickly unless
the temperature is kept down to normal; 65° to 70° Fahr. is
normal.
10391:. Controlling Tone and General Quality by Exposure
and Development. — All Artura papers possess considerable latitude
of exposure. By that we mean the exposures may vary some with-
out changing the tone or general quality of the prints.
Following are effects produced by different exposures, using
the same developer throughout:
Extreme Under-exposure and forced development will cause
prints to be flat and weak, cold or blue in tone, and lacking detail
in the high-lights.
The whites in a forced print are also apt to be grayish or dis-
colored and stained.
Slight Under-exposure will produce prints of fairly good qual-
ity, but cold in tone.
Normal Exposure will of course produce the best effects.
Normally exposed prints will develop to the desired depth freely
without forcing the development.
Slight Over-exposure will increase the contrast of the print
slightly. This rule can be used to advantage on negatives that lack
snap or brilliance. For this reason slight over-exposure should be
avoided when printing from harsh negatives.
Extreme Over-exposure will cause prints to develop rapidly
and to be flat and muddy in general appearance.
I039rf. Temperature of Solutions. — Hot weather will not cause
Artura prints to blister, frill, stain or to become soft and sticky.
The proper temperature for all solutions is 65° Fahr., and if
convenient they should be kept at about that temperature.
CHAPTER XXXVIII.
Post Cards — Printing-Out Paper.
1040. Introduction. — When photo post cards were
first introduced they were used ahnost entirely for land-
scape, architectural, views of historical points of interest,
etc., but little or no use was made of them for portraiture.
The fad grew to such proportions and so rapidly it was
generally conceded that it would last for but a short time.
However, instead of the demand diminishing, it has grown
in favor to such an extent that many professional photog-
raphers are compelled to make portraits on post cards; in
fact some photographers are conducting exclusive postal
photo studios.
1041. The first post cards made were sensitized by
the user with solutions personally prepared. Finally solu-
tions for sensitizing all surfaces whether post cards, heavy
card-board, cloth, silk or linen were put up — ready for use —
by manufacturers and may be purchased from any photo
supply house.
1042. These sensitizing solutions can be applied to
any surface you may desire to print on. The sensitizing,
printing, toning and fixing are exactly the same as the
manipulation of any printing-out paper. As the novelty
and process of sensitizing materials yourself is very in-
teresting we therefore give you the formula and methods
of procedure. There may be times when there is a desire
to print on special surfaces. By following instructions you
will be able to prepare the material and make very satis-
factory prints thereon. While these instructions apply
directly to post cards, as stated above, the same methods
will apply to any surface you may wish to sensitize.
808
304 Library of Practical Photography.
1043. Sensitizing Post Cards. — For this purpose ob-
tain a plain post card, unstamped, at any stationary store, or
the officially stamped card at the post office. The next step
is to prepare the cards for sensitizing. Before doing this,
first apply a salting solution to the card.
1044. Salting Solution. —
Water 4 ozs.
Salt (Common Table Salt) 24 grs.
The water must be free from iron rust, as every particle of
such rust will leave a black spot on the card.
1045. After the salt is fully dissolved, pour the solu-
tion into a clean 5x7 tray. Place the cards, one at a time,
in the solution, immersing entirely and allowing them to
remain about one half minute. Next pick up the cards,
by a corner one at a time, and dry before a fire as rapidly as
possible. Carefully avoid getting the fingers on the side
of the card being sensitized.
1046. A large number of cards may be salted at one
time and, when dry, stored for further use. When cards
have been salted and dried, the next step is to sensitize
them. Sensitize however, only as many as are wanted at
the time. The sensitizing solution is prepared as follows :
1047. Sensitizing Solution. —
Nitrate of Silver 150 grs.
Water (Clear or Distilled) 4 ozs.
Citric Acid 3 grs.
Place in a bottle and label "Sensitising Solution."
1048. Sensitizing The Card. — Place the salted card
face up on the tips of five fingers of the left hand. Next
pour a quantity of the sensitizing solution on the corner of
the card and flow over the entire surface, being careful
that none of the solution runs over onto the back of the
card, then drain balance of the solution back into the
bottle.
1049. If only part of the card is to be sensitized spread
Post Cards — Priniing-Out Paper. 305
the sensitizing solution over that part only, by dipping a
piece of absorbent cotton into the sensitizing solution. Dry
the card as rapidly as possible in a dark room or one lighted
by a ruby lamp.
1050. Printing. — Unlike the developing cards the
image is visible during the printing and should be printed
in good strong daylight. Print a trifle darker than desired
when finished, as the toning and fixing w^ill cause the image
to grow somewhat lighter.
1051. Toning. — Prepare the toning bath as follows:
STOCK SOLUTION NO. 1.
Chloride of Gold 15 grs.
Pure Water 15 ozs.
Place the chloride of gold in a large bottle, adding 15 ounces
of pure water. Shake well until all the gold is dissolved. Label
this bottle " Gold Stock Solution No. 1."
1052.
STOCK SOLUTION NO. 2.
Acetate of Soda 1 oz.
Add Water to make 10 ozs.
This makes a 10% solution. Dissolve the chemical thoroughly
and label the bottle " Acetate Stock Solution No. 2."
1053.
STOCK SOLUTION NO. 3.
Borax Crystals 2 ozs.
Hot Water 4 ozs.
As borax crystals do not dissolve freely, the use of hot water
IS advised. Label this bottle " Borax Solution No. 3."
1054. Prepare your toning bath as follows : Into a
2-qt. bottle pour 48 ounces of water; of Stock Solution No.
1, add 1 ounce ; Stock Solution No. 2, 1 ounce. Shake thor-
oughly the bottle containing these solutions and allow it to
stand and ripen. When ready for use, pour this bath into
306 Library of Practical Photography.
the toning tray, placing a piece of red litmus paper in the
bath; then add gradually a little of Solution No. 3, suffi-
cient to turn the red litmus paper blue in two minutes. If
the small quantity of Solution No. 3 you have added does
not perform this work in the given time, then add more of
the solution, and continue to add until the litmus paper
does turn blue. The best litmus paper to use for testing
the gold bath is that put up in small glass vials. A small
bottle will last a long while. We advise the procuring of
a bottle of blue as well as one of red, for should your bath
become acid by continuous use, it can be tested with blue
litmus paper,
1055. Allow the bath to ripen at least 24 hours. If
bath has not been allowed to ripen, prints are likely to
bleach. Most poor results are due to the fact that the toning
bath is too fresh. Wash the prints in ten changes of clean
water. This should take 20 minutes. The cards should be
picked over and over between each change of water. Place
the cards, one at a time, face up, in the toning bath, picking
them over and over. The number of cards placed in this
bath at one time should not be more than 15. For the be-
ginner we would advise the toning of only three or four
cards at first. This will enable him to study the process of
toning more closely. When the desired tone has been ob-
tained, remove from the toning bath and place in a tray of
clear water. When all cards have been toned place them in
the fixing bath, previously prepared as follows:
Water 2 qts.
Hyposulphite of Soda 4 ozs.
1056. After fixing, wash thoroughly one hour in run-
ning water, picking the prints over and over by hand, for
one-half hour. Also pick the prints over and over be-
tween each wash. While prints are in the hypo bath they
should be picked over and over to insure thorough fixing.
1057. Sepia or Vandyke Brown Tones. — Without pre-
viously washing the prints place them one at a time in the
Post Cards— Printing-Out Paper. 307
following plain hypo fixing bath and allow to remain for at
least 15 minutes :
Hypo 1 oz.
Water 20 ozs.
The longer the cards are allowed to remain in the hypo, the
deeper the tone. After fixing, wash in the usual manner. They are
then ready for drying.
1058. Ready Sensitized Self-Toning Post Cards.— Post
card stock, as you have learned in previous instruction is
furnished already sensitized by most manufacturers of print-
ing-out paper. While these cards are printed and toned
exactly as any printing-out paper, it will be well to digest
the following simple instruction.
1059. Printing. — Print until all detail is out, or about
two shades deeper than the finished print.
1060. Washing. — Wash in six changes of water, sep-
arating the cards thoroughly in each change of water.
1061. Fixing. — Hypo bath — i ounces of hypo crystals
to 33 ounces of water, or 30 grains hydrometer test. Fix
for 20 minutes.
1062. Washing. — Wash one hour in running water,
or 16 changes by hand, separating the cards thoroughly in
each water. Dry in the usual manner. You will note there
is no toning bath used. The toning takes place in the wash
water and in fixing, the tone produced being a carbon sepia.
Rich purple tones may be produced by following instruc-
tions for gold paper. (See Vol. I, Chapter XVIII.)
CHAPTER XXXIX.
Post Cards — Gaslight Paper.
1063. Grade of Post Cards.— The different brands of
sensitized post cards on the market are numerous. The
most popular seem to be " Velox," " Azo," " Cyko," and
" Argo." All are good, working very much alike and it
rests entirely with the user as to which brand to employ to
obtain the best results. We would advise the use of re-
liable products. Learn to use them so as to get the best
effects and when thoroughly familiar with a certain pro-
duct stick to it.
10G4. All manufacturers supply post cards in a variety
of grades and surfaces. Each brand has a special name, let-
ter or number. They are all known, however, as " hard " or
" soft," in the surface desired. The hard is to be used for
thin negatives lacking contrast. The surface is supplied
in either smooth, matte or semi-matte. The smoothness,
however, varies according to its manufacture. The soft
grade should be used on negatives having the desired con-
trast. These are more sensitive than the hard, and, there-
fore, print faster. The glossy surface is extremely glossy and
is suitable for glazing. As most postal negatives are de-
veloped thin for quick printing, the hard grade is almost
universally used.
IV— 19 809
310 Library of Practical Photography.
1065. Developing Outfit.—
1 8 X 10 tray for Developing.
1 8 X 10 tray for Acid Clearing Bath.
1 16x20 tray for Hypo.
1 16 X 20 (or larger) Washing Tray.
1066. These trays should be used only for the one
purpose for which they are intended : Developer for de-
veloper only ; Hypo for hypo only ; Acid Clearing Bath for
acid clearing- only ; Water tray for washing only. A good
plan is to either letter or number each tray to avoid danger
of mistakes occurring.
1067. Printing Light and Printing. — While perfectly
practical to print post cards by the use of daylight, it is pre-
ferable to use artificial light. Artificial light is steady and
more even than daylight. Daylight at 12 o'clock noon ia
of course much stronger than at 4 o'clock in the afternoon,
and, therefore, makes a great difference in the length of an
exposure. Artificial light remains practically of the same
strength at all times. To print post cards the exposure is
practically the same as on any gaslight or developing paper.
When post cards are made in large quantities, an electric
light similar to Illustration No. 7 should be employed.
1068. Vignetting. — Post cards may be vignetted ex-
actly the same as other gaslight papers. (See Chapter XLI,
Vignetting.)
1069. Printing With White Margin. — In order to print
a white border, whether oval or square, will require cut-
outs, or masks made of black or opaque paper. Any desired
opening may be made and the mask placed on the film side
of the negative between the paper and film. (See Chapter
XL, Dodging in the Printing, for cutting masks.)
1070. All post cards or prints on heavy paper should
be printed with a very small white border. This gives
a finished appearance. Borders are best applied to dark
backgrounds, and vignettes are most pleasing when made
on white grounds.
Post Cards — Gaslight Papers. 31 1
1071. Developing. — While any developer intended for
gaslight papers may be employed, yet, owing to the fact
that the emulsion of each brand of paper is different, they
require a developer properly balanced to suit the emulsion,
and where one formula is used for all papers, the propor-
tions of the different ingredients will need to be altered to
suit the paper employed ; for example, some papers require
more alkali than others; some work soft and, therefore,
require less metol than papers that work hard and contrasty.
As the emulsion used in sensitizing post cards is somewhat
the same as used for coating the regular stock, a developer
suitable for the regular stock of any brand will also answer
for developing post cards. Very fine results are obtained
by using the prepared metol-hydroquinon or ortol-hydro-
quinon solutions supplied by the different paper manufac-
turers. Both of these solutions work well and are always
ready for use. With different degrees of dilution splendid
results can be obtained on any of the different products.
1072. Fixing. — The acid fixing bath should be used the
same as for all gaslight papers. As hypo is inexpensive
this solution should be made up in large bulks, and fresh
baths prepared frequently.
1073. Substitution of Ortol for Metol in the Devel-
oper.— The metol-hydroquinon developer usually gives
the best results; however, ortol may be substituted for
metol. Metol possesses somewhat of a poisonous nature
to some, often causing an itching and a soreness of the skin.
With ortol there is no danger of poisoning, and the same
results can be produced. When ortol is used, use the same
quantity as metol.
1074. Washing.— Wash the cards in the usual manner,
handling them over occasionally to insure thorough wash-
ing.
Note.— See Vol. IX for Making Post Cards for Quick
Delivery. Detailed instruction is given there for both ex-
posing and developing the plates, as well as printing, de-
veloping, fixing and drying the post cards.
312 Library of Practical Photography.
1075. Drying. — The greatest difficulty to overcome in
drying photographic post cards is to prevent their curHng.
One of the best methods is to stretch cheesecloth tightly
over a light wooden frame. Place your cards, face down, on
this frame and allow to remain there until dry. Previous to
laying them on this cheesecloth, carefully blot them and
place the cards between two blotters to remove all surplus
water from the prints.
1076. Another most practical method is to nail strips of
wood about ^4 of an inch thick, on a board, placing the
strips about four inches apart. Lay the cards, face up,
between these strips with the ends resting against the
strips. This will bend the card to almost a half circle. If
allowed to remain in this position until dry they will
readily flatten when stacked together.
CHAPTER XL.
Dodging in the Printing.
1077. There are few negatives that cannot be im-
proved by a Httle dodging in the printing, and with a little
care, most pleasing effects can be produced, which are not
visible in the original negative.
1078. The average photographer who is generally suc-
cessful in exposures is bound to meet with failures once in
a while, and frequently his failures are on most important
pictures. In professional studio work the operator, no mat-
ter how skilled, or how carefully he may work, is sure to
occasionally meet with failures. Oftentimes the poorest
printing quality negative he has produced is the best likeness
of the subject, and if such negatives are ordered from, it
is up to the retoucher and printer to make the best print
possible from the negative in question. The retoucher can
soften harsh lines, etc., but it is the duty of the printer
to hold back the shadows and equalize the results from the
negative.
1079. In considering altering, or dodging, in printing,
the photographer has but one idea in mind ; that is, to bal-
ance the negative so it will yield uniform prints. This
may require the strengthening and building-up of portions
that are weak, or the retarding of the parts that are too
strong, or perhaps both. All this can be accomplished by a
little care and time devoted to doctoring the negative.
1080. The materials necessary for this work are few
and inexpensive. The following outfit should be in every
printing room : 1 oz. powdered yellow ochre ; a tube of
Prussian blue ; 1 ounce of glycerine, or in its place a paraf-
313
314 Librar]) of Practical Photography.
fine candle will answer; a bottle of ground-glass substitute;
one E Faber blue pencil; a dozen sheets of fine tissue paper,
or onion skin.
1081. With the above outfit one is supplied with all
the paraphernalia necessary for the altering and dodging
of a negative.
1082. Let us, for convenience, place the regular run of
negatives into three classes :
1083. Class 1. A good uniform negative with excel-
lent quality throughout ; a negative which, if all the quality
that is in the plate could be obtained in the print, would
be most satisfactory. Such a negative is to be considered
a model.
1084. Class 2. In this class will be considered weak,
thin, flat negatives, full of detail, but lacking in snap and
contrast.
1085. Class 3. In this class will be considered hard,
contrasty negatives ; plates with clear glass shadows.
These are usually the most difficult from which to print.
1086. Included in this class we will consider negatives
of subjects, or objects, possessing decided contrasts. For
instance, a figured gown in white, with a black background ;
groups with some gowned in white, others in black ; at-home
portraits, where there are decided lights and shadows.
Usually negatives of this character, unless very carefully
made, are liable to prove too contrasty, and require some
dodging in the printing, to produce even results.
1087. Considering the various classes of negatives in
the regular order, we will begin with Class 1, the ideal nega-
tive. An ideal negative may possess varying degrees of
strength. The negative itself may appear anything but
beautiful. It may have a gray-brown tone, or even a yellow,
and yet be a negative with ideal printing quality.
1088. By an ideal negative is meant, not absolutely a
negative beautiful to look at, but one that has the tneat,
the solidity — in a word, the quality for producing good,
vigorous prints, without dodging in the printing.
1089. By the foregoing statement we do not mean
Dodging in the Printing. 315
that such a negative can be carelessly placed in bright sun-
light and produce perfect prints. By no means. But
by printing in the proper strength of light such negatives
can be made to yield perfect prints. Therefore, it depends
entirely upon the judgment of the printer as to the quality
of the negative being printed from, for final results.
1090. For example, an ideal negative may have a
gray-brown color, yet be soft, snappy and crisp. Such a
negative must be printed slowly in the shade, so as to print
deep into the emulsion and obtain all the meat there is in
the negative.
1091. The slow class of negative, (strong, developed
heavy,) can be printed in a light of greater strength for
the reason that the strength of the negative will require
longer exposure, thus printing deeper into the emulsion.
1092. Now let us consider a very thin, snappy nega-
tive, of an ugly yellow color, the shadows apparently thin,
the highlights snappy but not hard — on the whole, a very
displeasing negative to look at, yet a wonderful printer.
Why? Because the ugly yellow color gives strength to
the shadows, retards the printing of the entire plate evenly,
thus permitting the light to penetrate deeply into the
emulsion, retaining all the value there is in the negative.
Such a negative, being thin, must be printed in medium
strength light, while the same class of negative developed
stronger should be printed in bright sunlight. In fact, if a
yellow colored negative was exceedingly strong it would be
difficult to produce satisfactory prints from it, but owing
to the fact of its being extremely thin, the yellow is its
salvation.
1093. Grading the light for different negatives may be
done in many ways. If printing in a regular printing win-
dow, it should contain ground-glass. Or, if plain glass is
used, the sash should be covered with tracing cloth, either
tacked onto the window or attached to spring rollers, so
that when the weather is dull the curtains may be rolled up,
or removed from the sash, and the printing continued in
dull light. When the sun is shining brightly the tracing
316 Library of Practical Photography.
cloth curtains can be drawn down, slightly diffusing the
light. Where plain glass is used in the printing window
it is unsafe to print even strong negatives without some
diffusion, as streaks or imperfections in the glass will surely
register upon the print.
1094. When printing from thin negatives, which ap-
parently print too fast, cover the entire frame with fine tis-
sue paper or onion skin. If you want to retain all there is
in an ideal negative, never print in open sunlight, but al-
ways diffuse with ground-glass or tracing cloth. Never
have the printing frame nearer than 12 inches from the
ground-glass or tracing cloth. The greater the distance,
the more diffusion and slowness of printing.
1095. While printing in large studios is sometimes
carried on in open sunlight and out in the open air, it
is dangerous, as the atmosphere affects the paper and will
not yield as good results as where the temperature is more
even. When the negative, the printing frame and the paper
are all the same temperature, there is nothing to interfere
with the printing.
1096. Class 2. In considering this class of negatives,
which are weak, thin, flat, full of detail, but lacking in snap
and contrast; the altering or dodging of such a negative,
means of course, to supply the negative with that which
it lacks in order to produce a good print. The principal
point of weakness in such a negative is lack of snap and
contrast, so proceed to doctor the negative and to correct
these errors. By slow printing will be obtained more
strength, so immediately cover the printing frame with one
or two thicknesses of onion skin, according to the quality
of the negative. After covering the printing frame with
the tissue, place the negative in the frame, holding it up
to the light to look through it. Note the parts of the nega-
tive which need strengthening; apply to these parts on
the tissue paper, a little dry yellow ochre, rubbing it over
the surface of the tissue with the end of the finger. The
heavier you apply the ochre the greater will be the restrain-
ing. If only slight strengthening is required, apply lightly.
Dodging in the Printing. 317
Dry ochre should be used on all parts which require
strengthening-, or holding back, during printing.
1097. After the large patches or parts of the negative
have been cared for on the tissue paper, next flow the
glass side of the negative with ground-glass substitute,
which will set and dry very quickly. When dry hold the
negative before the light, and with a Faber pencil, trace
over the ground-glass, building up the highlights. The
pencil is especially convenient for portrait negatives, in
holding back minor shadows in the hair, softening the
shadows around the eye, forehead, and strengthening the
lines in the drapery. These lines on the ground-glass must
be made very lightly, because being so near the film, if
made too strong, they would print sharp instead of soft
and blending.
1098. With a little care one can alter any negative,
balancing it so that it will produce uniform prints.
1099. Class 3. In this class of negatives, containing
heavy contrasts, the negative should be treated the same
as for Class 2, as far as tissuing the frame and flowing
the negative with ground-glass substitute is concerned.
When doctoring the shadows, however, spread the ochre
evenly over the entire thin portion of the negative, grad-
ually blending according to the density of each portion of
the shadows. After doctoring for the shadows on the
tissue, apply similar treatment to the ground-glass, but in
a milder form. This treatment should restrain the shadows
sufficiently.
1100. Now for the highlights. With a tuft of cotton
dipped in alcohol, remove the ground-glass substitute from
the highlight portions of the negative entirely. If this does
not give even prints, and the highlights still print too
strong, rub a little glycerine over the tissue covering this
portion of the negative. The glycerine will make the paper
transparent and admit the full rays of light upon these por-
tions.
1101. There are cases where only parts of a negative
are weak, as in portraiture, where the hands or the face are
318 Library) of Practical Photograph}).
a trifle too dark, the remainder of the negative being of
good printing quality. In such a case do not ground-glass
the negative at all, but on the glass side, apply a little Prus-
sian blue to the parts to be restrained. Squeeze from the
tube a drop or two of this color upon a clean glass, and
with the tip of one finger spread it on the glass, blend-
ing it down to a mild tone; then with the same finger
apply it to the portions of the negative that you wish to
hold back. This of course you will do on the glass side.
The grain of the flesh in the finger acts as a sort of stipple,
giving a soft blend, while the blue color, being somewhat
transparent, will not restrain as much as yellow. Con-
sequently, the blue may be applied directly to the glass
side of the negative with good results. In fact the ma-
jority of negatives made by professional photographers are
" blued " in certain parts, to equalize the printing.
1102. While the ground-glass substitute referred to
in this instruction can be purchased from any photographic
supply dealer, you can prepare it yourself according to the
following formula:
1103. Formula for Ground-glass Substitute, —
Sandarac % oz.
Mastic 24 grs.
Sulphuric Ether 2^ ozs.
Rectified Benzol from li/4 to 1% ozs.
1104. All the necessary chemicals may be purchased
at any drug store.
1105. Dissolve the sandarac and mastic in the ether
(filter if necessary) and then add the benzol. The less
benzol used the coarser the grain. Benzol must be kept in
a tightly corked bottle.
1106. Caution, — Never use this varnish near a naked
flame, as it is highly inflammable. Be sure to get benzol
and not petroleum benzine.
1107. The ground-glass substitute on the negative
gives more strength to the shadows, but at the same time
it reduces the printing quality in the white draperies and
Dodging in the Printing. 319
highlights. If it is desired to print any of these parts
stronger, take a piece of cotton cloth dipped in alcohol and
proceed to wash off the varnish, or substitute, directly
covering the white parts. You will also find that with a
sharp knife you can scrape the substitute or varnish, and
it is really a cleaner method than using the alcohol. When
you have done this, place the negative in the printing frame
and cover the frame with two thicknesses of tissue paper,
being careful to use French tissue, or onion skin. Ordinary
tissue paper has minute holes which would cause black
spots on the prints.
1108. Now make a proof, and if you find it does not
give the desired results, add one or two more thicknesses
of tissue paper and you will be pleasantly surprised to see
how much more strength and vigor is imparted to the nega-
tive.
1109. If there are only small portions of a negative
that you wish to keep back in printing, it is a good plan to
apply the substitute on the glass side to these parts which
you want to hold back in printing. If it is necessary to
hold back the shadows, or strengthen the highlights apply,
with a stump or duster, a little blue, yellow or black dry
color. The highlights may also be strengthened, by work-
ing on this ground-glass substitute with powdered black lead
or blue pencil. The blue pencil should be used only where
a slight increasing of the highlights is desired. Now, if
you desire to increase the strength of the shadows, work
over them by rubbing a little vaseline, or gum water, into
the ground-glass varnish. This will make the matte appear-
ance more transparent and the shadows will print deeper.
The same can be done with the highlights, if they appear
too strong.
1110. Still another method of making the highlights
print softer, or the shadows deeper, is to melt a little paraf-
fine and apply it with a small camel's-hair brush directly to
the tissue paper on the places that you wish to print more
deeply. The paraffine will make the tissue paper (where
applied) absolutely transparent, allowing the draperies to
320 Library) of Practical Photography.
print in harmony with the rest of the print. If convinced
that the paraffine has been applied too thickly, scrape it
down with a sharp knife.
1111. Paraffine is better than vaseline or oil for this
purpose, as they will spread, while the parafifine will not.
Remember that wherever doctoring is done it is necessary
that the negative be printed under tissue paper.
1113. Often times you will find dirty finger marks
on the gelatine side of the negative. These you can readily
remove by rubbing with a piece of cotton batting which
has been moistened with glycerine. After you have re-
moved the spots, take another piece of cotton and rub per-
fectly dry the places where the glycerine has been applied.
The glycerine acts like a varnish on the negative.
1113. Another very simple method of increasing the
density of any portion of a negative is to mix a little dry
yellow or orange with one-half ounce of gum Senegal, ap-
plying thinly with a camel's-hair brush, moistened with
saliva. You will find this will add enough density to the
required parts of the negative, without affecting the detail.
1114. In printing landscape negatives you will find
that applying a little of this coloring to the sky and por-
tions of the clouds will increase their strength and improve
them very much. In printing a group, if part of the faces
print too dark, a little rubbing in of light blue or yellow
paint on the tissue, directly over these faces, will improve
them. For faces that print too white, the tissue paper di-
rectly above them should be treated with melted paraffine,
which will make the tissue transparent, causing this part of
the negative to print faster.
1115. To whiten the sky in landscapes, hold the nega-
tives over a piece of lighted camphor, glass side down. The
smoke from the camphor will cause a gathering of soot.
Where this soot adheres to the parts of the negative that
you desire to print fully — such as trees and buildings — it
can be readily removed with a soft cloth or brush. Great
care is necessary in handling a negative of this kind, how-
ever, as the blackening will rub off quite easily. An ex-
Dodging in the Printing. 321
cellent plan is to place the negative immediately on a piece
of clean, plain glass, binding them together, to protect the
blackening.
1116. By the exercise of a little ingenuity the printer
can produce many pleasing and artistic effects, oftentimes
making good prints from negatives that would otherwise
be worthless.
1117. Plain Prints. — All negatives from which plain
prints are to be made should be printed either in the shade,
or under tissue or ground-glass, and not in direct sunlight,
as printing in the sun produces a surface print, with no
depth of brilliancy when finished. Weak negatives can
be very much improved by printing in the shade under
green tissue paper. If in the sun, put a white tissue paper
over the green.
1118. Fresh Paper. — When paper prints brown or
purple, with muddiness in the half-tones, it is quite fresh,
and should be kept in a warm place (near a radiator) for a
few days. Paper treated in this way will soon print a rich
red color. Fresh paper must be printed darker than older
paper, which prints a cherry red. When, during cold
weather, paper gives prints with weak purple in the
shadows, it is on account of chilling, the chemical action
failing to take place freely. Always print in a warm tem-
perature if you wish the best results. In the winter,
paper thirty days old is much better than if very fresh.
Older paper gives stronger, richer prints.
1119. Holding Back Shadows. — A simple method of
holding back shadows on a face, or to lighten hair, drapery,
etc., is to use a color (blue, or yellow) in solution. Apply
with a small brush, in a net-work fashion, on the tissue over
the parts to be lightened. This forms a filter screen.
1120. Printing Dense Portions of Negatives. — Detail
in highlights and dense portions of drapery can be brought
out by using a hand magnifying glass. Focus the light
through the glass on the highlights, or the parts to be
printed up, and by moving the glass the detail can be printed
out in a few minutes.
322 Library of Practical Photograph}}.
1121. Thin Negatives. — Stronger prints can be ob-
tained from thin negatives by flowing the back of negative
with a ground-glass varnish, colored green.
1123. Printing in Highlights. — Detail in white draper-
ies and highlights can be printed in by applying, with a
brush, a little common retouching fluid on the tissue (cov-
ering the frame) over the dense parts of the negative. Re-
touching fluid will not spread like oil, nor turn yellow as
quickly as turpentine.
1123. "Home Made" Opaque.— No. 1. Add enough
water to yellow dextrine to make it about the constituency
of mucilage.
No. 2. Mix enough water with Indian Red (dry color)
to make it about the thickness of paint.
1124. To make the opaque, add one ounce of No. 1 to
four ounces of No. 2. This is good for spotting negatives
or blocking-out vignettes.
1125. The solution " Dextrine " can also be used as
a mucilage in sticking down tissues. It will not sour.
CHAPTER XLI.
Vignetting.
1126. Vignetting is a term applied to the method of
printing, by which the margins of the picture are made to
gradually fade or blend away. This softness is produced in
various ways. The vignette is usually made of cardboard,
with a hole cut the size and shape to suit the requirements
of the picture. The edge of the opening is cut all around
with teeth or slits, and covered with a sheet of thin tissue
paper, to lend softness to the vignetting. This is placed
over the negative during the printing operation.
1127. An important point is the distance between
the negative and vignetting card. Usually this should be
at least one-half inch. The greater the distance, however,
the smaller should be the opening.
1128. While there are a number of methods em-
ployed and a variety of ready made vignetters that can be
purchased from any photographic stock house, yet it is
absolutely impossible to employ the same vignetter for all
purposes. Therefore, it is more practical to make your
own, fashioning them to suit the particular negative it
is desired to vignette. The ready made devices are intended
principally for portrait work, and have oval or other shaped
openings. Some are made of glass; others of zinc having
openings with serrated edges; and still others like the
Dixie vignetter, the opening of which can be adjusted
to negatives of any size or shape. (See Illustration No.
10.)
1129. All of these are intended for cabmet portrait
work. Perhaps the most practical ready-made vignetter is
828
324 Library of Practical Photography.
the Dixie. It consists of a thin board which fits over the
entire printing frame, having a large opening fitted with
cardboard wings, operating on a pivot similar to the dia-
phragms of a shutter, except that they may be adjusted to
openings of any shape desired, by simply moving the wings.
With this any part of a negative may be vignetted, as it
can be adjusted up and down, sideways or oblique.
1130. Suitable vignetters may be made at practically
no expense, other than a little time, and be in every way
serviceable, in fact this method is used in all large studios.
Quite a number of vignetters are composed of different
shaped openings for various sized negatives, insuring some
one opening out of the lot to fit the negative you wish to
vignette. If a negative requires an odd shape vignette it
will take but a few moments to make one especially suited
for that particular negative.
1131. Tools Necessary. — Small tack hammer, pocket
knife or scissors, small bristle paint brush, also an ordinary
paste brush.
1132. Materials. — Covers of dry plate boxes, tissue
paper or onion skin, tacks, opaque and paste. It is not ad-
visable to use the ordinary starch paste for pasting tissues,
as it sours quickly and soon becomes spoiled. Gum arable is
the best paste to use. One-half ounce of gum arable dis-
solved in from 6 to 8 ounces of water makes a good paste,
which will keep for a long time.
1133. With the tools and materials mentioned proceed
to make your vignette in the following manner; if you
wish to vignette a 5 x 7 negative, use a 5 x 7 dry plate box
cover. Cut a hole in the cover, the size and shape to suit
the requirements of the negative. For a bust portrait the
opening may be oval or pear shape. The opening should
be a trifle smaller than the portion of the negative to be
printed, allowing for the tissue and serrated edges to do
the main work of grading or blending. (See Fig. 1 of il-
lustration No. 11.)
1134. Next, notch the sides of the four corners, about
one-half inch, and score the side by making a light cut
Illustration No. lo
Dixie Vignetter
See Paragraph No. 1 128
Illustration No. ii
Vignette for Printing-Out Papers
See Paragraph No. 1133
Vignetting. 327
from corner to corner, all the way around; so that these
ends and sides can be bent outward, forming a flap, which
can be tacked to the printing frame.
1135. With a pair of shears, cut small notches all
around the opening, in the form of teeth (See Fig. No. 2) ;
then apply a little paste along the edge of the opening, cov-
ering with a piece of French tissue paper, or onion skin.
When dry, the vignetting device is ready to be attached to
the printing frame.
1136. Place the negative in the frame, holding the
frame containing the negative in your left hand, towards
the light, at an angle so that it can be seen through. With
the right hand place the vignetter in position. When prop-
erly adjusted so that it will vignette (cut off) the parts to
be eliminated, remove the negative from the frame, firmly
holding the vignetting device in position. Then turn the
frame over, with the vignetting device on top. Lay on the
table, being careful that you do not change the position of
the vignetter while turning over the frame. Place a small
tack at each corner ; tap each tack lightly with a tack ham-
mer— just enough to fasten the vignetter. Next turn the
frame over and again place the negative in the printing
frame, noting whether the vignetter properly registers with
the negative. If it does and has not been moved during
the adjusting, again remove the negative, while placing a
tack on each corner to firmly hold the vignetter in place.
The vignetter will then be securely fastened.
1137. Next, cover the opening of the vignetter with
tissue paper, and place the negative in the printing frame.
Hold the negative to the light so it can be seen through,
carefully observing the effect produced by the vignette.
If the opening appears too large, permitting too much
spread of light at the sides or over the head, again remove
the negative, and around the edge of the opening apply
opaque to the tissue with a small paint brush.
1138. Good opaque can be prepared as follows: 1
ounce chrome yellow, 1 ounce vermillion, and 1 ounce gum
arabic. Mix the yellow in 2 ounces of water; then add
IV — 20
328 Library of Practical Photography.
gum arable, which must be previously dissolved in a little
water; and last, mix the vermillion with 2 ounces of water
and add to the former. This makes an excellent inexpensive
opaque.
1139. When applying the opaque to the tissue paper,
draw the brush sideways along the opening, spreading the
opaque more lightly in approaching the parts you want
to blend to. This will give a gradual blend from the picture.
See Fig. No. 3.
1140. Where you wish to vignette more closely
(sharper) at the bottom than at the top, it can be done by
making the vignette bevel shaped, in the following manner:
Cut the corners of the sides of the box, a and b; then
draw a line from these corners to the outer edge of corners
c and d. With a pen-knife lightly score this line, sufficient
to bend back, forming the flap which is attached to the
printing frame (See Fig. No. 4).
1141. Another simple method is to build up your
printing frame with wooden strips about % of an inch,
covering the frame with cardboard, with the opening made
the same as previously described. Between the negative
and the vignetter place absorbent cotton loosely around
the opening. If the cotton is not packed too solidly and
is quite fluffy, the light will filter through the edges, giving
an excellent vignette.
1142. Testing the Vignette. — Place a piece of proof
paper on the negative, clamp the back in position, and place
in the window to print, slanting the frame at an angle
with the sun. Print to the depth you would have the fin-
ished picture. Then remove from the printing frame and
note the effects of the vignette. Should the vignette spread
too far there will be need to paint the tissue closer to the
opening.
1143. If the negative is a bust portrait and too much
of the waist shows, place a loosely tufted piece of cotton
(preferably absorbent cotton) at the bottom of the opening,
between the negative and vignetting device. This cotton
spread loosely will not only prevent the light from
Vigneiiing. 329
spreading, but will act as a filter and give a gradual
blend. If, on the other hand, the vignette is too close, either
arrange the cotton farther away or remove the painted tis-
sue paper over the opening, replacing it with plain tissue,
using the cotton for adjusting the size of the opening.
1144. An important consideration is the distance be-
tween the negative and the opening in the vignetter.
Usually this should be at least one-half inch. The greater
the distance, however, the smaller should be the opening,
because the greater the distance the more the light will
spread. With a little practice you will be able to produce
almost any effect desired.
1145. With a variety of these box vignetters cut to
different shaped openings, you can, in a few minutes, at-
tach the device and produce a correct vignette that will
necessitate no alteration. In fact, many minor miscalcula-
tions may be corrected by a simple variation in the angle at
which the frame is presented to the light.
1146. While the methods described are intended for
printing in bright sunlight, the printing can be done in
the shade, or when the sky is overcast, or cloudy. In order,
however, to gain speed in the printing on cloudy days, it
would be best to remove the tissue paper, or onion skin.
The notched teeth in the cut-out will filter the weak light,
and you will find there will be sufficient diffusion or blend-
ing of the vignette. Where the tissue paper is removed,
however, it is advisable to use the absorbent cotton loosely
arranged around the opening, thus insuring against sharp
lines.
CHAPTER XLII.
Combination Printing.
1147. A landscape negative may in itself possess
practically perfect qualities and give an excellent print. It
may or it may not be artistic when considering balance,
light and shade and general composition. No matter what
strong points such a negative may possess, there is bound
to be something lacking. A poor sky, in the majority of
cases, is responsible for this defect. An absolutely white
sky lacking in gradation of light and a horizon entirely lost,
detracts entirely too much from the landscape proper, ruin-
ing to a great extent, a correctly composed subject. If the
natural clouds appear in the sky, this error would be elim-
inated. Many times proper cloud effects will greatly im-
prove a poorly arranged, or composed, landscape foreground.
The amount of contrast between the light blue of the sky
and the dark green of the foreground, is so great that
when properly exposing the latter, the sky will be so tre-
mendously over-exposed that it blackens up immediately.
When the plate is inserted in the developer and becomes
perfectly opaque, a print from such a negative will always
give a blank, white, chalky sky. To remedy this error,
it is advisable to employ some method of inserting clouds
to match the foreground and landscape and, as such a
method of procedure requires two negatives — a landscape
negative and a cloud negative — the process is called double
printing.
1148. The landscape negative may already have some
cloud forms indicated in the sky, or the sky may be per-
fectly blank. By applying the methods herein described,
which are extremely simple, requiring only a little practice
331
332 Library of Practical Photography.
and patience, you will be able to improve many negatives,
which otherwise might appear quite ordinary.
1149. A combination print to be successful must be
entirely natural. There should be no indication of double
printing. In order that the results may be true to nature
certain conditions must be considered. First, there must
be no false lighting; second, the picture should be har-
monious as to definition. Suppose you have employed
a selective focus to accentuate the foreground, so that the
perspective distance will be out of focus, it would be en-
tirely wrong to print in, next to the horizon, a perfectly
sharp cloud negative. Third : There must be no sharp line
betraying the junction or line where the print from the
cloud negative meets the outline from the original nega-
tive. The two portions must be insensibly merged into
one another to give a natural result.
1150. Points That Must Be Observed. — The junction
line may include the horizon, the object projecting into the
sky, such as a church steeple, roof of a house, or trees be-
yond a horizon. The landscape may have been taken late
in the day. In this case probably the horizon will be light,
and if so the clouds above it must be light. Therefore, if
they are vignetted into the landscape the union will not
show, for clouds should be printed lightly. If, however,
the horizon is dark, you can vignette both light and dark
clouds into it without the union showing. In this instance
the clouds will generally be rather dark. In both cases
you can vignette, but it would be very unlikely that you
would have a light horizon with dark clouds in nature.
Therefore, such a combination is uncalled for and need not
be considered. If the objects are dark, — for example, the
trees, the clouds are printed straight over them, for being
only slightly printed they will not show in the slightest.
But if the objects are light, for example, a church steeple,
monuments, etc., and it is desired to print in dark clouds,
it will be necessary to mask them, as we will describe later.
These cases, however, are few and far between.
1151. Masking the Negative. — The simplest way to
Combination Printing. 333
mask a negative is to paste one thickness of tissue paper
over the printing frame containing the negative. In order
to hold the negatives in the frame while blocking on the
tissue paper, provide two pieces of soft wood, one-half inch
wide, and a trifle thicker than the inside of the printing
frame. Place the negative in the frame ; lay one strip on
edge at each end, and around the top and bottom of the
frame place a strong rubber band. This band around the
frame and wooden strips will hold the negative from falling
out of the frame, and gives you the use of both hands for
masking or blocking out. Next place the frame before a
window, with the tissue side facing you, resting the frame
on the edge of the window sill or a small table, and look-
ing through the tissue and negative you can clearly see
the outline of the parts you want to block out. With a tuft
of cotton dipped in dry yellow ochre rub on the tissue
paper over the sky portion until you have blocked all parts
you do not want printed. If towers or large trees project
above the horizon line rub the ochre around them. It is
not at all necessary to work in around small limbs or
branches of the trees, as they will print quite light in any
case.
1152. Having completely blocked out the sky on the
tissue of the printing frame, remove the negative and place
it in another frame, and tissue the second frame as the
first. This done, proceed to block out the foreground,
or those portions which 3^ou do not want to show in the
second printing. Apply the ochre quite freely, so as to
make this portion almost non-actinic. The tissue paper
being placed about one-quarter inch from the negative, the
lines will not be sharp and the masking will be nicely
blended. With the masking completed again return the
negative to the first printing frame, place a sheet of print-
ing-out paper on the negative and make your print of the
foreground. If printing-out paper is used, print as deep
as required for the finished print, then remove it from the
frame. The result up to this stage is an unfinished print,
in which the sky is absolutely white. Next place your
334 Library of Practical Photography.
cloud negative into frame No. 2, and place the print on the
cloud negative, adjusting it so that the masking on the
tissue paper registers perfectly; then carefully clamp on
the back and put the frame out to printing. With a little
care you will produce a perfect union. Print your clouds
to the desired depth necessary to match the landscape.
After a little practice it will soon become an easy matter
to produce perfect results.
1153. Making Cloud Negatives. — For the best results
the cloud negative should be made from the same point and
at about the same time that the landscape negative was
made. It is not always possible to do this, however, and
a few different cloud negatives should be made at a time
when the opportunity affords itself. It is always advisable
to make cloud negatives on a larger plate than other nega-
tives. In this way you are able to use different portions of
a cloud negative, and by proper manipulation some superb
effects may be obtained. Cloud negatives should not be
developed as far as other negatives; in fact, they should
be developed thin, but snappy, thus permitting quick print-
ing. The exposure necessary for making cloud negatives is
usually about one-sixth or one-tenth of that of ordinary
landscapes.
1154. In using cloud negatives for printing-in, care
must be exercised in the choice of proper clouds for the
view in which it is intended to use them. If, for instance, a
landscape having clouds is to be used, and it is lit more
from the left, the printed-in clouds should not be lit from
the right, or from any other direction. Nor should clouds,
taken close, be printed-in near the horizon. Cloud forms
should be selected with reference to their fitness to the
rest of the picture.
1155. It is also wrong to print sharply focused clouds
into a landscape taken on a gray day, with a hazy mist, lu
such a case invert the cloud negative and print from the
glass side. In fact, quite frequently the picture is improved
even where the landscape is focused sharply to have the
clouds slightly out of focus. In order to have a true rep-
Study No. 19
WOODLAND STREAM
By Wm. T. Knox
Illustration No. I2
Printing in Clouds in Landscapes
See Paragraph No. 1 156
,,^5i"-^oS°"'-
Combination Printing. 337
resentation of the scene the clouds must either appear to^
have been taken at the same time, or at least, should be in
keeping with the general feeling expressed in the picture.
1156. By a little judicious manipulation cloud nega-
tives lit from the left can be employed on landscapes lighted
from the right, by simply inverting the negative. Where
a larger printing frame than the size of the negative or
landscape is employed, especially where the cloud negative
is a size larger than the landscape, any portion of the clouds
desired may be used to carry out the effect desired in the
picture. It is safer to print clouds a trifle lighter than
the landscape, for in doing so the masking is less likely to
show and really better atmosphere can be produced. In
illustration No. 12 we present a combination picture. Fig.
No. 1 is a print of the foreground. Fig. No. 2 is a print
of the cloud negative. Fig. No. 3 presents the scene with
the clouds printed in.
1157. Another Method of Blocking the Negative. — By
the following method not only is the negative blocked, but
the blocking is also vignetted. First take a piece of print-
ing-out paper the size of the negative and make a proof
print from it. Next, take a piece of opaque paper the same
size as the proof, place them together, and with a pair
of shears, cut along the sky line of the proof, through the
proof and the opaque paper at the same time. It is not
necessary that you follow exactly every tree or piece of
shrubbery, but if buildings are in the view follow the lines
closely. For distant objects there is no need to be so par-
ticular. Save both masks. The sky portion of the proof you
fasten to the negative with paper stickers attached to the
edge of the print and negative. This mask will absolutely
protect the sky from printing.
1158. In order to avoid a sharp line take the opaque
paper mask, paste it to a card a trifle larger than the mask,
with the cut-out edges overhanging the edge of the card.
Place this card on the outside of the printing frame, over-
lapping the inner mask about one-quarter inch ; then place
the sensitized paper on the negative and print in the usual
338 Library of Practical Photography.
way, printing until the foreground is fully printed. The
mask on the outside of the negative will have the effect
of breaking the line of the inner mask, thus giving a slight
vignette to the inner mask, preventing a sharp line. After
the foreground is printed, place the print in the printing
frame containing the cloud negative, fastening the proof
of the foreground mask over the negative. On the outside
of the frame attach the opaque mask, arranged in a similar
manner to the first vignette, and again place the negative
out to print. The outside vignette will again assist in over-
coming the sharp line which would be visible if the cut-
out mask were used alone.
1159. Blocking With Gamboge. — Where printing is
done on printing-out paper, with the image visible when
printed, the use of gamboge for blocking out the image on
the print for second printing may be employed.
1160. While gamboge can be applied to landscape
work, it is more useful for portraiture, especially for re-
productions in which it is desired to copy a picture, cutting
out the old background and printing in one more suitable.
This is done by double printing, though instead of using
a paper mask for the first printing, an opaque or water
color mask is employed directly upon the negative. The
same opaque used for blocking out vignettes, formula for
which has been previously given, is suitable for this pur-
pose. For the second printing apply the opaque to the print.
The best opaque for this purpose, however, is gamboge, as
it will not stain the print as other opaques may.
1161. If you were to make an outdoor portrait with
a brick wall for a background and it was desired to do
away with the brick wall, it would simply be necessary to
paint a line carefully around the figure, using opaque for the
purpose. After this line has been drawn the color may be
applied quickly to the remainder of the background. If the
negative is large the greater part of the ground may be
covered with opaque paper instead of paint. The paper
mask can be pasted to the edges of the glass side of the
negative, while the finer details of the outline are painted on
Combination Printing. 339
the film side. After the figure is blocked out place the
negative on the sheet of printing paper and print to the
desired depth. Then remove from the frame and with a
thick solution of gamboge, proceed and paint over the sur-
face of the print, covering only the figure or the printed
portions. Exercise care that you do not work too closely
to the edge, because to overlap would leave a line. Better
not block far enough than too far, as if not blocked enough,
those portions unblocked would only print darker, and, as
usually a dark background negative is used for second
printing, the margin will show but little. However, if you
block over the outline a white line is left, which will have
to be spotted out in the finished print.
1162. After the gamboge becomes dry, which will re-
quire but a few moments, place the print upon some selected
landscape negative suitable to the picture, and print the
background to the same depth you have printed the figure.
The gamboge, if properly applied, will prevent the figure
from printing, and when both portions are printed to
exactly the same depth they should show no trace of the
double printing. When the printing is completed, the col-
oring matter used to protect the figure is washed off, and
you will then have a print of the portrait, to which has
been added a suitable background. Washing, toning and
subsequent operations are then carried on in the usual
way.
1163. Should there be slight flaws or imperfections
in the outlining of either the print or the negative, with a
little touching out on the finished print, with spotting color,
they can be removed.
1164. In selecting a background for figures be careful
that the lighting of the combined negatives is from the same
direction. For example, if the portrait was lighted from
the right and the background surrounding it showed light
coming from the left, a false result would be produced.
1165. Printing-In Figures in Groups. — When it is
desirable to add an extra figure to a group, a small negative
must be made of the additional figure, the size and posi-
340 Library of Practical Photograph}).
tion to be in keeping with that of the group. If a copied
picture is to be added in place of an original sitting, you
must be guided entirely by the style of copy and the ar-
rangement of the original group, providing space for the
additional figure accordingly. With the single figure copied,
block the negative. Next place the group negative in a
printing frame, covering it with a sheet of sensitized paper.
Hold the negative in the frame before the light, and with
a lead pencil outline on the back of this paper the space to
be occupied by the additional figure. Next provide yourself
with a printing frame a size larger than the group negative.
Place in this frame a heavy glass. On this glass place the
single negative covering it with the sensitized paper, adjust
the figure to the pencil outline on the sheet of paper and
then carefully clamp the back on to the printing frame.
1166. The printing frame used should contain a back
cover two-thirds of which can be opened so that the small
end may be used over the small negative, thus permitting
of examination of the print during printing. After the nega-
tive and paper are properly adjusted in the frame, mask
all of the glass side with opaque paper, admitting only the
figure. It is not necessary that the opening in the mask
be fitted close to the figure. If the small negative is fully
blocked and within half an inch of the figure it will be
sufficient.
1167. You are now ready for printing the single figure.
Print to the proper depth. When complete remove from
the frame, and with a thick solution of gamboge carefully
paint over the entire figure. The gamboge must be thick
enough to block out all actinic light from the figure. After
the gamboge is completely dry, place the group negative in
a printing frame, laying the sheet of paper containing the
single figure upon the negative, adjusting it to the proper
position. This done, clamp the back on the frame and print
the remaining group to the same depth that the single
figure has been printed. After printing, the gamboge is
washed off, the print being toned and finished in the usual
way.
CHAPTER XLIII.
Double Printing.
Printing-in Borders and Tinting Margins.
1168. Artistic and effective results may be produced
by double printing. This method is only applicable to print-
ing-out papers, as the tinting is done in sections, and it is
necessary to see what you are doing during the printing,
in order to judge the depth to which each tint is being
printed. Various tints may be produced, ranging from the
lightest to the darkest. While extremely simple, the work
requires careful and exact registering of the masks and
paper when printing. To make a print with tinted border,
from a small negative on a large piece of paper, it is neces-
sary to be provided with several pieces of clean glass the
size of the prints desired.
1169. In printing borders, the size of the print should
always be about twice the size of the negative printed from.
For cabinet size negatives usually 8 x 10 or 10 x 12 paper is
used ; for 7 X 9 or 8 X 10 negatives, 11 x 14 or 14 x 17 paper
is frequently employed. So, if you are printing from a cab-
inet negative and the prints are to be 8 x 10, the glass and
printing frame must be 8 x 10. Place a piece of this glass
in the printing frame. Cut a sheet of opaque, or what is
commonly called post office paper, the exact size of the
glass. This paper is to be the first mask. With a straight
edge or rule, draw lines from opposite corners; where
these lines cross will be found the exact center. (See Fig.
1 of Illustration No. 13.) Next select a cut-out form of
suitable size and shape to fit the negative and subject. It
may be square, oblong, round, or like the oval which we
have chosen for illustrating this instruction. If oval cut-
outs are used, provide an adjustable trimming wheel.
341
342 Library of Practical Photograph}^.
1170. There are a number of trimming devices. Most
of them give satisfactory results. The Ingento revolv-
ing trimmer, however, will enable you with one and the
same trimmer, to cut five different size ovals from one form,
by simply changing the wheel and flange to various posi-
tions; making it possible to make four sizes of masking,
or four different widths of margins in the finished print.
Place the cut-out form on the center of the masking paper,
being guided by the pencil marks. Then with a double
trimmer cut out the oval, preserving the inside of the cut-
out. (See Fig. 3 of Illustration No. 13.) Without moving
the cut-out form again, trim this sheet with a single trim-
mer, which cuts closer to the form, thus making Fig. 2 a
trifle larger than the first piece cut out in Fig. 3.
1171. Next place the mask (Fig. 2) on the glass in
the printing frame, placing the negative on this, masking
carefully and adjusting it over the opening. Fasten the
negative at the corners to the mask with strips of gummed
paper (also shown in Fig 2). Place the senstive paper
on the negative and print to the proper depth for finished
print. When printed, remove from the printing frame and
place the print face up on a piece of glass, a trifle larger
than the print, which in turn has been placed on a piece
of cardboard of the same size. On the center of another
piece of clean glass attach, with a little paste, mask No. 3,
placing this glass and mask over the print and properly
adjusting the mask over the printed part.
1172. Mask No. 3 being a trifle smaller than the open-
ing in mask No. 2, will cause the printing of a line around
the print. In Figures 4 and 5 note two masks that are the
same as No. 2, the only difference being that No. 4 has a
trifle larger opening than No. 2, and No. 5 an opening a
trifle larger than No. 4.
1173. The size of these openings is governed entirely
by your own personal taste and judgment. For example.
No. 4 may have an opening one-half inch larger than No.
2, thereby producing a one-half inch dark border around
the print, while the No. 5 opening may be two inches larget
Study No. 20
PORTRAIT
See Page 387
By E. a. Bklsh
IpUBLlC LI
Double Printing. 345
than No. 4, which would produce a 2^4 inch dark border
around the print. The time of printing will govern the
different depths of these borders. Fig. G is a mask like
Fig. 3, with the exception that it is larger, but having been
trimmed with a single trimmer in same manner as Fig. 3,
it is a trifle smaller than the opening from which it was
cut (mask No. 5).
1174. After placing mask No. 3 (which is tacked to
plain glass), mask side down, on the print, carefully ad-
just it so it will leave an even margin all around. In order
to block out all of the border and prevent it from printing,
and at the same time print another border, place mask
No. 4 over No. 3. This will give an exposed margin of
the unprinted paper around Fig. 3. Place a piece of clean
glass over mask No. 4 and with photo clips (see illustra-
tion) hold the glasses, masks, print and cardboard to-
gether. Place in the printing light and print until the de-
sired tint is obtained. Judge the depth of printing entirely
by its appearance upon the surface. If a toning paper is
used, you must print two shades deeper and allow for the
toning which will make the tinted parts a trifle lighter.
1175. Having printed this section, next remove mask
No. 4 but allow mask No. 3 to remain on the print and in
place of mask No. 4, place mask No. 5, carefully adjusting
it to obtain an even margin. Place a plain glass on this
mask, again fasten with photo clips, place in the light and
print to the desired shade. After this remove mask No. 3
and No. 5, placing mask No. 6 in position on the print, cover
with plain glass and place in the window to tint. Mask
No. 6, being a trifle smaller than the opening in mask No.
5 will produce a dark outline on the border made by mask
No. 5 and the balance of the paper will also become slightly
tinted. In Figure No. 7, we present the finished print
mounted in a folder.
1176. Upon examining this picture you will find a
very dark, almost black, narrow outline around the small
oval. This was made by mask No. 3, which was a trifle
smaller than the opening in No. 2; next is a border of one
346 Library) of Practical Photography.
inch, not quite so dark as the first outline. Next, there is
a border about 3% inches wide not quite as dark as the
one inch border; then a fine outline, a trifle darker, though
not quite as dark as the first outline around the 2I/2 inch
border, and finally the balance of the print tinted to a light
gray. With a little practice, care and patience, and a
supply of dififerent shapes and sizes of masks, a large variety
of pleasing efiPects may be produced.
1177. Making Oval Masks of Various Sizes Without
a Trimmer. — Begin with the making of the first cut-out
from one of your regular forms ; then, for the next tint,
should an inch margin be wanted, make the trimming guide
as follows :
1178. Take a piece of stifif post office paper % of an
inch wide by about 2 inches long, slightly tapered at one
end. (See Figure No. 8.) Bend this paper double at the
dotted lines, or just a trifle inside of where the strip begins
to taper. To maKe a mask with an opening one inch larger
than any mask you may have, measure one inch from the
bended edge and with a sharp pencil pierce a hole in the
guide.
1179. Using the Guide. — Lay the paper oval cut-out
on a sheet of glass. Hook the guide, tapering side down,
underneath the cut-out. Place the point of a sharp pencil
in the little hole and move the pencil, which will draw the
guide around the opening and give an accurate oval line
exactly one inch larger than the first cut-out. (See Fig.
9). Then, with sharp shears, follow the line carefully and
the mask is made. A desired size can be made by simply
piercing holes in the guide according to the size margin
you may require. If a very wide margin is wanted, it is
best to have the under flap a little longer, from a quarter
to a half-inch of where the pencil will operate. If the lower
flap is too large it will interfere with the movement of the
pencil. Always use glass under the cut-out, in place of a
card, as the guide will move around and follow the open-
ing more freely.
CHAPTER XLIV.
Gravure Effects.
1180. Introduction. — Gravure effects are produced by
closely vignetting, or blocking out, the entire figure in
any negative, then printing on large sheets of paper, the
figure vignetted m the center with a large white margin
around it. After printing, developing and drying, the prints
are worked with crayon, either by hand or with an air brush.
1181. The prints should be made on platinum paper of
heavy weight, i his paper has a surface that will readily
take the crayon sauce, and, therefore, will permit the pro-
duction of an almost endless variety of backgrounds, from
the ^tght fieecy clouds to strong, bold, sketchy, or charcoal
effects.
1182. The production of these gravure effects is an
operation of some little delicacy, but easy when set about
in the right manner. To demonstrate its simplicity, an
extremely difficult subject has been selected for illustration.
The background is dark, whereas if we had selected a nega-
tive with a white background matters would have been
much simplified. One will readily appreciate this when
attempting to vignette a dark background, as some little
difficulty will be experienced in vignetting sufficiently
close to eliminate all of the black background. Therefore
when making a sitting for the express purpose of producing
a gravure effect, use a white background.
1183. Placing the Negative in Proper Position on
Plain Glass. — Suppose a 5 x 7 cabinet bust negative has
been selected from which to produce a gravure print. First,
rv— 21 347
348 Library of Practical Photograph]).
supply a clean 8 x 10 glass and an 8 x 10 printing frame.
Examine the glass by glancing along the edge in order that
you may see which is the concave or convex side. Next
examine the negative in like manner. Then place the
negative film side up, on the glass, so that the glass and
negative curve in the same way, thereby bringing them into
perfect contact. This will prevent the danger of the nega-
tive or glass breaking when the back of the printing frame
is placed in position and the springs pressed down and fast-
ened.
1184. After having placed the negative in proper posi-
tion, carefully spacing to produce proper margins — at sides
and top about the same with a trifle more space at the
bottom — fasten the negative to the glass by sticking with
adhesive paper at the corners (See Illustration No. 14.)
The next step is to paste over the back of the printing frame
a piece of yellow postoffice paper the exact size of the
frame. Holding the printing frame towards the light, with
the negative towards you, with a soft pencil trace the out-
line the exact shape of the subject's head and shoulders,
and also as much of the bust as it is desired to show. When
looking through the negative to the light the shadow of the
pencil lines on the postoffice paper is so clearly visible the
outline can be easily traced. (See Illustration No. 15.)
Next, remove the negative and with a pen knife or small
scissors cut out around where you have marked, thus pro-
ducing an opening in the yellow postoffice paper. This
opening, as we have already said, must be the exact size
and shape of the head and bust on the negative. In Illus-
tration No. 16 you will notice white cotton placed around
the opening cut in the yellow postoffice paper. This ab-
sorbent cotton is placed there to prevent light from spread-
ing on the negative, which, if permitted, would cause too
large a spreading of the vignette.
1185. A little practice will be required to adjust the
cotton exactly right. In order to produce a soft blending
effect, the cotton must not be matted close, but applied
loosely, so as to filter light at the opening of the vignette,
Illustration No. 14
Fastening' Negative to Glass
See Paragraph No. 1 184
Illustration No. 15
Tracing Image on Paper
See Paragraph No. 1184
Illustration No. 16
Placing Cotton Around Image
See Paragraph No. 1 184
Illustration No. 17
Blending Vignette with Opaque
See Paragraph No. 1187
Illustration No. l8
Vignetted Print Before Gravuring
See Paragraph No. 1190
Gravure Effects. 351
being gradually made thicker as it nears the outline of the
figure.
1186. Compare the negative in the illustration with
this vignette in the printing frame, and note that we have
followed the outline of the figure in the negative very
closely. This is necessary in order to vignette out the
background perfectly.
1187. After you have placed the negative in the frame
and clamped on the back, turn the frame over and paste
a piece of very fine tissue paper or onion skin over the open-
ing. This will aid in blending the vignette. Again remove
the back, hold the frame toward the light, and with a small
brush apply a thin coating of opaque to the tissue paper on
the edge of the opening. This will still further help to blend
the vignette. (See Illustration No. 17.)
1188. If these instructions have been carefully followed
and the background blocked out by vignetting, all is ready
to proceed with the making of the print. Before placing
a full sized sheet of platinum paper on the negative, how-
ever, we would advise that a vignette test be made with
printing-out proof paper. If you find the vignette spreads
too much, or shows too far down on the body, make it
vignette closer by placing the cotton closer to the open-
ing; also by painting still closer to the outline on the tissue
paper with opaque. When the vignette is correct, place the
paper in position and print as usual.
1189. You must be careful, however, that the printing
frame is placed at the correct angle, facing the sun squarely.
If the frame lays too flat too much vignette over the head
will be produced. If turned away from the sun, the vignette
will spread on one side more than on the other. If the
printing frame is placed close to a perpendicular position,
the vignette will show too low on the bust. Place the print-
ing frame at an angle as near to the angle of light with the
sun as possible.
1190. The vignetted print when finished should appear
like Illustration No. 18, the background vignetted ofif closely
around the head and the ground absolutely white.
352 Library of Practical Photography.
1191. The next step is to work in the background.
The material required is as follows : A small piece of ab-
sorbent cotton, some pumice stone, a stick of crayon sauce
(this crayon sauce is a black material wrapped in tinfoil),
and a small artist's rubber. To work in the background
proceed in the following manner:
1192. Take about one-third of the crayon sauce and
crush it to a fine powder in a pasteboard box cover. Mix
with the crayon sauce a little of the pumice stone, about
one-fourth as much as the crayon sauce. This pumice stone
will supply grit, which, when rubbed into the print, will
cause it to take the crayon readily. Tack your print to a
drawing-board, or any smooth board, then with the absorb-
ent cotton which you should form into a stump, apply the
mixture of crayon sauce and pumice stone. Begin first
by rubbing close to the outline and gradually work lighter
as you leave it. If the line vignetting ofif the bust is quite
sharp, build up to it and blend off gradually. The crayon
should not be applied evenly all around, but irregularly,
producing sort of a cloud effect. Do not apply too heavily.
After having blended in the background, take the artist's
small rubber, or eraser, and cut in the catch lights. These
are the light streaks of white in the background. Do not
cut them in too sharply, as they should have soft blended
edges, and be made with one stroke of the rubber.
1193. Illustration No. 19 shows this picture completely
finished, mounted in a folder ready for delivery. Illustra-
tion No. 20, which represents a plain print from this nega-
tive, is shown for purposes of comparison. In Illustration
No. 21 is presented a group of gravure portraits, each treated
slightly different. Carefully study the illustrations. They
will give some idea of the results to be tried for. After
a little practice it will be found possible to produce an
almost endless variety of effects.
1194. To those who are in the habit of using an air
brush, or to a crayon artist, this method of putting in back-
grounds will prove very simple. While the effects produced
by the air brush are pretty and can be easily produced, you
fa "" ?
2_ ■
r?^H"
^ So
Gravure Effects. 355
will find that backgrounds rubbed in with the cotton
and worked up by hand are much more sketchy and effec-
tive.
1195. Gravure portraits should be placed in suitable
folders, or if mounted, large light-weight mounting board
should be used. They are very pretty when embossed, and
where heavy platinum paper is used may be delivered un-
mounted, each print placed in a tissue enclosure.
CHAPTER XLV.
Trimming and Mounting.
1196. Introduction. — The finishing touches are gener-
ally responsible for the making or the spoiling of many-
things. This can be no more emphatically exemplified than
in the completion of a photographic print. Careless trim-
ming or unsuitable mounting may easily ruin the most per-
fect print — either portrait or landscape — yet it is seldom
the amateur, or even the professional photographer, gives
due consideration to this most important feature. Many
take great care to produce the most technically correct
negative, w^ork with utmost pains to procure the resultant
print, but are extremely careless and indifferent as to the
trimming and mounting.
1197. Both trimming and the mounting form the most
difficult feature of the finishing of a photographic produc-
tion, due to the fact that if successful, these two operations
must conform to the original idea that was intended to
be expressed in the picture. The mounting must, to a
large degree, continue or conclude the general treatment of
the subject. As an example: A strong, vigorous print will
be out of place, and many times ruined, by placing it on a
mount of too light a shade. On the other hand, a print with
delicate fleecy tones may be entirely killed if placed on a
black mount. Yet these mistakes are made daily, and with-
out the least reason for so doing.
1198. Imitation is no doubt the cause of the greatest
amount of trouble. Some particular mounting has been
seen and admired, but is was not recognized that this was
the dress for a particular photograph, which although per-
857
358
Library) of Practical Photography.
fectly suitable to this print, would be entirely out of place
if applied to another.
Illustration No. 22
Ingento Trimming Board
See Paragraph No. 1200
1199. A few years ago very little thought was given
to the displaying of prints on suitable mounts. The
mount was simply a rectangular card of white, or doubtful
gray, with a certain amount of embossing which neces-
sitated the placing of the print in the exact center of the
Illustration No. 23
Ideal Print Trimmer
See Paragraph No. 1200
card. One redeeming feature of this kind of a mount was
that one could not possibly make a mistake by using it
Trimming and Mounting. 359
wrong end upward. Even today mounts of a similar char-
acter are manufactured and sold by the thousands. Some
are slightly altered, leaving more space at one end than
at the other; to others has been added a tinted border, but
there is absolutely no display of an artistic character, or
individuality, in employing such mounts.
1200. Trimming, — As a rule, when the print comes
from the frame, the edge has a jagged or rough border,
caused by the rebate of the frame. This must be cut
away and the edge of the print left straight. A regular trim-
ming board should be used (See Illustration No. 22), or
a scissors may be employed with the device shown in Il-
lustration No. 23. The simplest method of trimming, how-
ever, is to secure a knife of good steel and keep the edge
sharp by constant application to an oil stone. The print
should be placed on a piece of plate glass or zinc, and in
order to guide the knife straight and cut the corners at
perfectly right angles, a wooden straight-edge or steel
square should be employed. Having trimmed one side,
square the straight-edge to it and cut the other side, and
so on until all four sides are trimmed. This will give clean
cut edges and the opposite sides will be parallel. Instead of
the straight-edge, glass forms larger than the print, with
perfectly square corners, may be employed, and by trimming
one side and one end at a time, the corners will be abso-
lutely square. These glass forms should have the edges
made perfectly smooth by rubbing on a piece of sand paper.
1201. There is, however, a more important point to
trimming than this. It is usually a perplexing question
with the average worker, to know how much to trim. As
a rule, the knife is used too sparingly, in order to save
every scrap of paper and to preserve the complete image
as shown in the negative. It is for this reason that too
much is usually retained, to the detriment of a pleasing
picture.
1202. It must be borne in mind that there should be
but one principal object of interest in the composition.
Everything that detracts from this object should be elim-
360 Library of Practical Photography.
inated in the trimming. Especially in landscapes are there
most frequently objectionable details included in the nega-
tive, which, if trimmed away, would leave an excellently
composed picture. Many times there is too much fore-
ground or too much sky; perhaps the line of the horizon
cuts the picture space in two. Trimming then becomes
necessary, to eliminate the objectionable features and to
bring the horizon either above or below the center, as the
subject may require.
1203. The spacing of portraits is also of great im-
portance. Especially is this true when the subject is posed
in profile. If the face were placed in the center of the pic-
ture space, the nose would almost touch one edge of the
print. There must be enough room in front of the face to
give the subject proper distance into which to gaze. Such
prints may be improved by removing a portion of the print
at the back of the head. It is safe to say that five out of
every six prints could be greatly improved by judicious
trimming. When a portion of a picture has nothing of
interest in it, or if it is not required to balance the remain-
ing part, trim it ofif.
1204. Before using the trimming knife experiment by
laying two pieces of cardboard on the print, moving them
backward and forward, up or down, until the best effect
and proper balance are apparent. Two pieces of dark card-
board, cut in the shape of a letter L, longer and wider than
the print, and about one inch in breadth, laid on the face
of the print will form rectangles of different sizes and
shapes, when it will be easy to judge how much of the
print to leave and the most suitable shape for the print
to be when finished. Illustration No. 24 will help to ex-
plain this.
1205. To the novice, trimming the print usually seems
a waste of good material. In fact, it sometimes requires
a mental effort to decide to cut a print to half its original
size, or even less ; nevertheless it is often greatly improved
by this procedure.
1206. If you are still bound by fetters that hamper
Illustration No. 24
L Shaped Cards for Spacing of Print
See Paragraph No. 1204
Illustration No. 29
I'rint Rollers
See Paragraph No. 1225
A CLOUD WITH A SILVER LINING (Statue of Liberty)
Study No. 21 See Page 387 By Dr. A. R. Benkdict
T.
ASTr
TILCF-1-;
Trimming and Mounting. 363
the judicious employment of the trimming knife, you have
failed to grasp one of the most important elementary les-
-sons of pictorial photography. You have yet to learn and
realize that you must not use the trimming knife too spar-
ingly, as it is one of the most valuable aids to the securing
of proper arrangement of the actual subject with regard
to the edges of the print.
1207. It is seldom possible to employ the stock cut-
out mounts, or those with printed lines or figured pat-
terns. Only once in a great while can the original negative
be reproduced and the print kept in its full size. In por-
traiture there are certain standard sizes of pictures, and
for these there are also standard sizes and shapes of
mounts. For commercial work, the plainer and simpler
of these may be used with satisfying results. As the stan-
dard cabinet prints will always be in demand we show in
Illustration No. 33 a series of suitable solid mountings for
these standard size prints. For commercial studio work one
should have in mind, during each stage of negative making,
even when posing the subject, a particular mount on which
to place the print.
1208. Where artistic work is involved it is not pos-
sible to make hard and fast rules as to the size and shape,
nor as to the amount of the print that should be removed
by trimming. This must be decided when the print is be-
fore you. Your artistic talent will be brought into play
and thoroughly tested at such times.
In landscapes there are certain rules relative to the
proportion of the sky and foreground. Not in one case
of a thousand should the horizon come exactly in the cen-
ter of the picture. As to whether the horizon line should
be above or below the center, all depends upon the subject.
Sometimes the sky, or the foreground, requires at least
two-thirds of the visible space ; much depending upon
which contains the greater amount of interest.
1209. A sunset view, or a print containing a beautiful
cloud efifect, has the interest centered in the sky. There-
fore, two-thirds of the print should be left above the hori-
364 Library of Practical Photography.
zon (the horizon is of course, understood to be where the
sky and earth seem to meet). A seascape frequently con-
tains a great deal of life and interest in the water or waves
in the foreground ; therefore, in such a case the foreground
should be in greater evidence than the sky.
1310. The width of the print must be considered as
well as the height. Many times cutting off an inch of the
width will produce a wonderful improvement.
1211. Trimming Ovals. — While not all pictures are
suitable for this form of trimming, frequently the oval form
will enable you to cut off an objectionable corner. When
the composition has many straight lines the oval trimming
will greatly improve the print. Special points of interest
may be accentuated by oval or circular trimming.
1212. Trimming Appliances. — The edges of prints
must be clean and perfect, no matter whether trimmed
Illustration No. 25
Ingento Revolving Trimmer
See Paragraph No. 1213
in the oval form or square. Ragged edges of circles and
ovals not perfectly shaped will make prints worthless.
There are special manufactured appliances for the proper
trimming of the oval, which will be found at any photo-
graphic supply house. Where 4 x 5 or smaller prints are
to be trimmed square, the " Ideal " print trimmer is a most
practical device. It is made of metal, finely plated, and
equipped with a graduated measure. (See Illustration No.
Trimming and Mounting. 365
23.) To trim the print place it in the trimmer, with the
edge to be trimmed under the guide and the adjoining side
in contact with the measure, at the top. Press the thumb
on the guide which holds the print in place, and then with
a pair of shears cut along the edge of the guide.
1213. Illustration No. 25 is an " Ingento " Revolving
Trimmer. For trimming circles and ovals this trimmer
will be found absolutely perfect. Every bearing of its
mechanism is of tempered steel, and it is built on lines of
highest efficiency and durability. The post revolves on a
group of steel balls, cutting down the friction to a mini-
mum, thereby allowing the post to glide smoothly and
freely during the operation of trimming. The cutting wheel,
also the pin on which it revolves, is made of the finest tool
steel and highly tempered, making it impossible for them
to wear. The wheel is made with a bearing of % inch, in-
stead of only the thickness of the wheel as in all other
trimmers. This large bearing prevents the wheel from
wabbling and binding on the pin, at the same time decreas-
ing the chances of wear. Five different sizes from one
form can be cut with this trimmer by changing the wheel
and flange in different positions, making it possible to make
four sizes of masks ; hence four different widths of white
margin on the finished prints. All metal work is hand-
somely nickel-plated and polished, and the handle, to be
in keeping with the high-grade finish of all other parts, is
mahogany finished and hand polished. Extra wheels can be
purchased for this trimmer.
1214. Illustration No. 26 shows the " Ideal " Cut-
Out Forms. These Ideal Forms are ground off smooth
inside, which allows the cutting wheel to slide along
smoothly. These sizes and shapes are perfectly adapted
for the standard sizes of mounts. They are made of brass
in the hard material and are handsomely polished and lac-
quered.
1215. Illustration No. 27 is the "Ingento" Form
Holder. This holder is an indispensable accessory to the
perfect cutting of oval prints. It is made entirely of metal,
366
Library of Practical Photography.
which gives it lasting qualities and also guarantees it
against warping. There are no useless levers or springs
in the way during the operation of cutting. The form
being held securely in the clamping lever retains its same
position, which facilitates the quick and accurate cutting
Illustration No. 26
Ideal Cut-Out Forms
See Paragraph No. 12 14
of the prints. When this form holder is used, prints are cut
in the shortest possible space of time. The cutting plate
is made of zinc and is reversible, so that either side can be
used. The complete device is handsomely nickel-plated
and is mechanically perfect. Made in two sizes ; 5^ x 814
and 8 x 10.
Trimming and Mounting.
367
1216. Illustration No. 28 is called the " Ingento Cen-
tering Square." There are few photographers who have not
experienced more or less trouble in centering photographic
prints on plain mounts or in mat openings. With this novel
square the operation is so simplified that the print or open-
Illustration No. 27
Ingento Form Holder
See Paragraph No. 1215
ing can be instantly and accurately centered with equal mar-
gins all around. The square is made of heavy sheet brass,
accurately graduated from one to five inches, and hand-
somely nickel-plated. Full directions for using accompany
each square.
INGENTO
CENTERING SQUARE .
/W TXe dMMf/irf CfNTERINO OF- ^^
PRINTS ON CAKo noUNra mno
OPENINOi //V MA r»
^ BURKE «. JAMES ''
/V CMICAGOwNEWYWIK
Illustration No. 28
Ingento Centering Square
See Paragraph No. 1216
1217. Another very useful implement is a celluloid
square. This can be purchased at any artist supply store.
It should be of good size. When selecting a square be
sure to get one which is really at perfect right angles on
its working sides. The advantage of using a transparent
square is that it does not conceal any part of the print that
368 Library of Practical Photography.
you are trimming. It will enable you to do the work with
ease ; to see what remains as well as what is cut from the
print. Another advantage is that you are enabled, by
proper placing of the square on the print, to make two
cuts before lifting it, with the assurance that they are at
perfect right angle to each other.
1318. When trimming prints, printed under a mask
and having white edges, the celluloid square is particularly
useful. We would caution you, however, to be very care-
ful when using the knife with the square. The substance
from which the square is made is much softer than the
blade of the knife, so always turn the knife edge slightly
away from the square, to avoid cutting it. With a little
experimenting and practice you will be able to trim prints
without injuring the square.
1219. Trimming Wet Prints. — If you desire to mount
prints solid, without previously drying, they may be easily
trimmed, while wet, in the following manner:
1220. Take a square sheet of glass, wet it and place
the prints face down upon it. Turn the glass over so the
prints will be on the under side, face up. Move prints to
the edge and to one corner of the glass and square these
two corners by cutting with a pair of shears. W^ith these
two corners squared, slide the print to the opposite corner
of the glass and square the remaining two edges in a like
manner. As fast as the prints are trimmed, place them
back in the tray of water until all are trimmed.
1221. Commercial Mounting. — Studio work as a rule,
requires mounts of different sizes, of variety of styles,
and sizes and shapes of openings. All the different mounts
employed should be collected and laid on the mounting table
ready for use.
1222. Pasting. — To come down to the dry details of
pasting the print, there is fresh starch paste, or the Higgin's
Prepared Photo Paste, an excellent and ready-for-use prep-
aration for ordinary mounting of prints. For commercial
purposes, however, and where a great deal of mounting
is done, as in a studio, fresh starch paste is the best and
Study No. 22
"JANET"
By Elizabeth Flint Wade
Illustration No. 30
Illustration No. 31
Mountinjj Prints
See Paragraph No. I?75
Ipubuc library j
,D.NFOUNDAT»ONS_
Trimming and Mounting. 371
most economical. The good mountant must stick well
and promptly and not affect the print, either chemically,
mechanically, or by discoloration.
1333. Starch Paste. — The following formula will
make a good starch paste :
To one-half pint of water add one tablespoonful of
common gloss starch. Dissolve the starch in the water
and place on the stove to cook, stirring constantly until
it begins to thicken to a thin jelly. Then remove from the
stove, but continue stirring for a minute or so until all the
lumps are dissolved. Set aside to cool. When cold, strain
through cheesecloth. Gather the ends of the cheesecloth
in one hand, slipping the other hand over the paste and thus
squeeze the paste through the cheesecloth, when it will
be ready for use.
1234. The above amount of paste will be sufficient
to mount from 75 to 100 cabinet prints, or their equivalent.
1225. Mounting the Prints. — Lay out the prints on
a large glass plate, or smooth board covered with oil cloth.
Arrange them face side down. Place them in rows, first
one row at the upper edge of the mounting board, then a
second row slightly overlapping the former, with the
third overlapping the second, and so on until the entire
board is covered. Mop off the excessive water by placing
a blotter on the prints, rolling over with the print roller
(See Ilustration No. 29) until all surface water is removed,
then apply with a bristle paste brush to the back of the
prints any ordinary starch or prepared paste. Pick the
print up at one corner, bringing the paste side in contact
with the mount. (See Illustration No. 30.) Next place
a clean blotting paper over the print, on the mount, and
rub down with a print roller until the print is in perfect
contact with the mount. The print should then be placed
in the rack to dry. Always be careful to wipe off super-
fluous paste which may be on the face of the print. Do
this with a soft sponge. (See Illustration No. 31.)
1226. When dry, shape the mounted print by running
it through a cold burnisher. Any imperfections in the
IV — 22
372 Library of Practical Photography.
finished print may be corrected by spotting, using a fine
sable brush and spotting color or India ink. Care should
be exercised to select mounts which harmonize with the
tone of the print. If sepia prints are to be mounted, any
shade of brown, or some of the deeper reds, may be used.
These mounts would not suitable for black and white tones
however. For black and white prints shades of gray,
carbon black, buff or cream color may be successfully
used.
1237. Double weight papers may be mounted solid,
but are better mounted in folders, A most artistic method
of making prints with double weight paper is to use a
sheet considerably larger than the negative to be printed
from. This necessitates the use of a larger frame. For
a4x5orox7 negative a 6^2 x 8V2, or 8 x 10 printing frame
should be used. Use a piece of clear glass the full size of
the frame, fastening the negative to the center of the glass
with strips of gum paper. Cut a mask of opaque paper
the full size of the glass, and from the center cut an open-
ing at least one-quarter of an inch smaller than the size
of the negative. Place the mask in the printing frame
between the paper and the negative, printing and develop-
ing the exposed paper in the usual manner. This will pro-
duce a print having wide, white margins. When thoroughly
dried and straightened, by using an embossing board, an
imprint or counter-sunk margin about half inch from the
edges of the print will give the effect of an etching, or en-
graving. Enclosed in a folder mount, made of cover paper
of desirable tone, the result will be as artistic as can be
produced.
1228. Enameling Glossy or Special Glossy Prints. —
This grade of paper can be burnished with an ordinary bur-
nisher, but care must be exercised that the burnisher is not
too hot. Another method is to place the wet print, face
down, on a ferrotype tin and then, with the print roller,
bring the print in absolute contact with the tin and allow
it to become bone dry. It can then be readily peeled off by
raising one corner with a pen knife. The surface of the
Trimming and Mounting, 373
print will have assumed a very high lustre. If your ferro-
type tin has been used for some time portions of the print
may stick. To prevent this it is advisable to prepare the
tins as follows : Dissolve one ounce of paraffine in 10
ounces of benzine. Allow this solution to stand for a few
hours. This will give the undissolved parts time to set-
tle. Wash each ferrotype plate with clean water. Next
swab the plate with this paraffine and benzine solution.
After the solution has been applied be careful to rub the
entire plate dry with clean cloth or absorbent cotton. If
too much of this solution is kept on the ferrotype plate,
the prints will have a greasy appearance on the surface.
If the print is not brought in contact with the ferrotype
plate there will be spots on the print which will lack the
high lustre. If you find the prints will not peel from the
plate, the plate has not been properly prepared. It will
then be necessary to place both print and plate in water
to soak, until the print will peel off. Then, carefully wash
your plate and apply the solution again.
1229. Tacking the Print Instead of Pasting Upon the
Mount. — All platinum prints, or those which lay flat with-
out mounting solid, should only be tacked at the upper
edge — of course such prints must be dried and trimmed
before tacking — and as light-weight mounts are usually
used for this purpose, special paste which will not cockle
should be employed. The following formula is easily made
and will keep for months :
1230. To make 3 ozs. of this paste, take 1 oz. dextrine
to 2^ ozs. of water. Mix until all is dissolved, then place
on the stove to boil, stirring constantly until it thickens,
after which remove and allow it to cool. Before cooling,
however, add a few drops of oil of wintergreen. Winter-
green preserves the paste and keeps it from spoiling.
1231. Mounting the Print. — Only the upper edge of
the print should be pasted and for this purpose a small
one-quarter inch Faber brush should be employed. The
print is adjusted to the mount and immediately weighted
down with a piece of glass. The print and mount will then
374 Library of Practical Photography.
dry spontaneously. Where much mounting is done, several
pieces of glass should be used, although as many as a dozen
prints may be stacked one on top of the other, the weight
holding them firm and free from cockling. After ten or
twelve prints are mounted, however, another glass should
be used to insure perfect contact and to obviate cockling.
1233. Artistic Mounting. — The mount must be one
that will not detract from the print. On the contrary it
should be subordinate to it. From this it will be under-
stood that the use of fancy mounts should be avoided. As
it is seldom that the numerous styles of stock mounts on
the market will fit the trimmed print, it is usually ad-
visable to make one's own mounts, or purchase those with-
out set openings, so that any print within reasonable limits
can be used upon them. Each print will require special
consideration both as to final color and shape of the mount.
1233. There are three vital reasons for mounting a
picture : First, to aid the enlargement of the print without
damage ; second, to isolate the print from its surroundings,
and third, to enhance the artistic value of the print. The
right mount will answer all three of these requirements.
A mount must not be used for its own value, but for the
artistic aid it lends the picture. For this reason a plain
mount, void of fancy designs or colors, should be employed.
1234. Shape of Mount. — The shape of the mount de-
pends entirely upon the shape of the print. An oblong
print should have an oblong mount ; an upright panel shape
print should be placed on an upright panel shape mount ; a
square print on a square mount, etc. Ovals, circles and
ellipses should be sparingly employed, as there are few
subjects that a rectangular shaped mount does not suit bet-
ter. The amount of space at the top and sides of the pic-
ture may be equal, with wider space left at the bottom.
If a print is mounted in the dead center of the mount,
it will appear as if mounted just below the center. If a
title or signature is placed under this the optical illusion
is still greater, and gives the picture the appearance of
falling from the mount.
Trimming and Mounting. 375
1835. Size of Mount. — The size of the mount also de-
pends, to a great extent, upon the size of the print. A
4^/4 X 6% print may be very suitably placed upon an 8 x 10
mount, with other sizes in proportion. Of course a hard
and fast rule cannot be laid down, as it depends wholly
upon the results aimed for. Generally, prints of large sub-
jects, such as full size heads, will permit the employment
of much larger mounts, in proportion, than will prints in
which the objects are small. Avoid extremes. If too large
a mount is used the print will be lost, while a cramped ap-
pearance will be given if the mount is too small. The
final decision must be governed by your individual taste,
together with occasional study of the work of artist photog-
raphers. The studies in this, and other volumes of this
library, present many excellent examples of artistic mount-
ing.
1236. Color of Mounts. — To a certain extent the color
of the mount to employ must be left to your own judg-
ment. Before commencing work on a mount, lay the print
on one color, then on another, until it appears to best ad-
vantage. A light print will appear still lighter if placed
on a dark mount and a dark print will look darker if laid
on a light mount. The eye is deceived, but you can turn
this deception to practical account. If you think a certain
print would be improved if it were lighter, mount it on
a dark mount. If a print tends towards lightness, place it
on a light mount and it will gain strength. Harmony is
the keynote of mounting. Violent contrasts must be
avoided. A warm print should not be placed on a cold
toned mount. For example : A sepia print would look en-
tirely out of place on a gray or bluish mount, and con-
versely a cold tone should be placed on a cold tone
mount; that is, a black print on a black, or gray, mount.
White, being a neutral tint, may be used frequently for
either a warm or cold toned picture.
1237. Multiple Mounting. — One of the most effective
styles of mounting for platinum prints is known as multiple
mounting, which calls for the use of two or more tints of
376 Library of Practical Photography.
paper, or light cardboard. The first piece is just a little
larger than the print, each successive piece being cut larger
than the preceding one. Illustration No. 32 affords a
perfect idea of this multiple mounting. Suitable paper,
in a variety of shades, may be purchased from almost any
photographic supply house. It is advisable to obtain a
dozen sheets of various shades for preliminary experi-
ments. The most satisfactory results, except under special
conditions, are obtained with a small variety of tints, say
from two to five.
1238, For example, we will suppose you are mount-
ing a black and white print, and have selected a medium
gray paper as the ground work of your mount. Your in-
tention is to surround the print with a border of white and
dark gray paper, with perhaps a line, or space, of paper
the same color as the ground work. Before cutting your
papers to the correct size, it is necessary to decide just
what arrangement will best suit the print. Therefore, first
lay a sheet of ground color (the gray) on your work
bench. (See Illustration No. 32.) Upon this place a sheet
of, say a darker gray. This is marked E. It leaves a good
margin of ground color showing at the top and one side.
Next place upon this another sheet of paper D, the same
as the surface and the ground, showing at the top and
right edge a narrow line of dark gray. Then place upon
this another sheet C of dark gray, the same as E, show-
ing % inch of ground color at the top and left side. Now
lay a sheet of white B, showing a narrow margin of dark
gray, and finally place the trimmed print on the white, ex-
posing a margin of % inch at the top and left. If your
print has a white background, as shown in the illustration,
it will not do to have a white mounting next to the print.
In such a case the print should be surrounded by a dark
narrow line, illustrated by A.
1239. When the color scheme is arranged on the work
bench as outlined, lay a sheet of glass over all. This will
keep the mount flat for inspection, and will give you the
exact appearance of the mount, as it would be seen through
lliu.-tiaU')U Nil. 32
Multiple Mounting
See Paragraph No. 1237
Trimming and Mounting. 379
a glass when framed. The top and left side of mount are
arranged as they will look when finished, the bottom and
right edges being, of course, untrimmed. Cover up the
untrimmed and unarranged side by laying a piece of paper
diagonally across from X to X, and the exact effect of the
mount may be seen. If it is satisfactory, carefully number
the widths of the various exposed margins, so that when
the time comes for putting the mount together your ar-
rangement may be readily recalled. If you are not pleased
with the arrangement, readjust the various mounted papers
until adjusted to your liking. If necessary, add to or take
away from the original arrangement. Possible combina-
tions are infinite in their variety, from the simple edging
of white paper, to the multiple mount built up of half a
dozen shades and widths of margin.
1240. Mounting. — In multiple mounting the print
and mounts should be tacked only at the top — not pasted
solid. Trim the first section to suit the print and tack the
print to this section, pasting the upper edge only. Place
it under a weight while trimming the remaining sections.
After all are prepared the print and first section are tacked
to the remaining sections in proper order.
1241. When all the layers are mounted, the whole is
placed in correct position upon the table to remain under
pressure until dry.
1242. Stock Mounts. — The various manufacturers of
card mounts supply a large variety of stock mounts for
solid mounting, as well as folders to which prints are
merely tacked at the upper edge. The solid mounts are
usually employed for printing-out papers and ordinary
weight gaslight papers. The folders, soft or flexible
mounts, are used more for platinum prints. Illustration
No. 33 shows a variety of mounts of good proportion and
color for solid mounting, while illustration No. 34 gives
an idea of artistic folders. The mounted studies repro-
duced in this library furnish excellent examples for mount-
ing and spacing.
1243. Dry Mounting. — A most convenient and prac-
380 Library of Practical Photography.
tical method of mounting- is the so-called " dry mounting."
The Eastman Kodak Company have placed on the market
a Dry Mounting Tissue, which they claim has solved the
mounting problem. They also make an apparatus to be
used in connection with the tissue. (See Illustration
No. 35.) However, prints may be mounted without the
special apparatus, as they advise " Just press with a hot
iron— that's all." (See Illustration No. 36.)
1244. If a print is mounted wet it must, of course,
be expected that more or less curl will result unless the
mount is of sufficient thickness and weight to resist the
pull of the print. Mounting on a thin mount with paste
means curling. It would, therefore, seem that the most
successful method, under all conditions, would be dry
mounting with heat to secure contact. Dry Mounting
Tissue does away with every objectionable feature of all
other methods, permitting the mounting of prints of any
size on the thinnest mount without curl. The pressure of
a hot iron begins and completes the operation. The tis-
sue is put up in all standard sizes, from 3% x S^/o to 8 x 10,
and is also sold in 5 yd. lengths, 20 inches in width.
1245. The method of mounting is to lay the print on
its face and attach to its back a piece of mounting tissue
the same size, or a little larger, than the print. Do this
by applying the point of a hot iron to small spots at op-
posite ends. Turn the print face up, trimming it and the
tissue to the desired size. Lay in correct position on the
mount. Cover with a piece of smooth paper and press the
whole surface with a hot flat-iron. Press down ; do not rub.
The iron should be just hot enough to sizz when touched
with the wet finger. If the iron is too hot the tissue will
stick to the mount and not to the print. If the iron is too
cold the tissue will stick to the print and not to the mount.
1246. Remedy. — Lower or raise the temperature of
the iron and apply it again. Full directions for use accom-
pany both the mounting apparatus and the tissue.
1247. If you desire to go to the trouble of making
lliut.tiat.oii >>'o. 35
Dry Mounting Press
See Paragraph No. 1243
liiustratlon No. 36
Dry Mounting with Hot Iron
See Paragraph No. 1243
Trimming and Mounting. 383
your own dry mounting tissue, the following formula
should be prepared :
Gum Sandarac 10 parts
Copal 3 parts
Orange Shellac 4 parts
Resin 3 parts
Venice Turpentine 3 parts
Alcohol 11 parts
Spirits of Turpentine 11 parts
1248. A thin sheet of tissue paper should be thor-
oughly saturated with this solution, and having previously
waxed a sheet of glass, lay the tissue paper on and again
freely apply the above mixture. Allow it to dry and then
strip from the glass. The paper thus treated may then be
cut to the size of the print, laid between the print and
mount and ironed with a hot iron.
1249. Pointers. — Never allow the surface of bromide,
or gelatin printing-out paper prints to come in contact
with anything while drying, as the gelatin is apt to stick.
1250. If it is necessary to dry prints quickly, soak
them in two or three changes of wood alcohol. They will
then dry rapidly in a warm place.
1251. To ascertain whether a large print is squarely
trimmed, bend one edge over so that the two corners meet
with the two opposite corners. If the trimming is true they
should coincide.
1252. A strong solution of shellac in methylated, or
rectified, spirit thinly applied to both mount and print,
the two surfaces being rubbed into contact, will mount
prints on the thinnest support without cockling.
1253. In multiple mounting never use more than two
or three tints, and always try for harmony of color, avoid-
ing great contrasts. Remember, the print is the feature
to display, not the mount. Therefore, while it is a good
plan to employ liberal margin, do not overdo it to the ex-
tent of having much mount and little picture.
CHAPTER XLVI.
How the Studies Illustrating This Volume Were Made.
Study No. 2. Portrait by John Garo, Boston, Mass.
This picture was made in an operating room 35x45 feet;
style of light, top and side; size of light 20x23. The light
was used wide open without diffusing curtains. Lens used,
No. 10 Goerz, Series HI; focal length, 22 inches; stop used,
open diaphragm ; exposure given, 2 seconds ; plate used,
Seeds 27, developed in pyro; printing process, Willis &
Clements platinum paper. (See page No. 15.)
Study No. 6. " Woods in Springtime," by W. H. Por-
terfield, Buffalo, N. Y. The exposure for this picture was
made at 3 P. M. on a clear day. The lens used was a
Gundlach ; focal length, 6% inches ; stop used, F-8 ; ex-
posure given, 1/2 second with screen ; plate used, Cramer
Isochromatic, developed in metol-hydroquinone. Diffused
focus was obtained by using the lens full open and having
the foreground only reasonably sharp ; printing process,
gray carbon ; finished print was made on Whatman's double
weight, extra rough water-color paper, home prepared.
The print was brush developed, mounted with black por-
trait on light chocolate mount. (See Page No. 38.)
Study No. 7. " Autumn," by Wm. Spanton, Akron,
O. The picture was made on a hazy day, 2 : 30 P. M., in
the month of November. The lens used was a Bausch &
Lomb Rectilinear; stop, No. 16; exposure given, I^/q sec-
onds ; plate used, Standard, developed with metol-hydro-
quinone. The print was made on platinum paper. (See
Page No. 48.)
386
386 Library of Practical Photograph'^.
Study No. 9. " Off Tompkinsville, New York Har-
bor," by Dr. A. R. Benedict, Montclair, N. J. This pic-
ture was made on a cloudy, misty day. A film camera,
fitted with Rapid Rectilinear lens. G^/o inch focus, was em-
ployed; stop, No. 4; exposure given, 1-25 of a second;
negative made on Eastman film, developed in metol-hydro-
quinone. The enlargement was made on standard bromide
mounted on black card. (See Page No. 68.)
Study No. 10. By Wm. H. Phillips, Liverpool, Ohio.
Title, " Yokohama Harbor, Japan." This picture was made
with a Folding Pocket Kodak, fitted with a Series HI
Goerz lens, 5 inch focus. The negative was made on non-
curling film and developed with pyro. The print was a
Royal Bromide enlargement, 6 x 10 inches, and developed
with rodinal, strong solution — one part rodinal and six
parts water. (See Page No. 91.)
Study No. 12. By R. E. Weeks, Chicago, 111. " The
Approaching Storm." The picture was made on a bright
day with strong clouds ; exposure was made at 12 M. ; lens
used Plastigmat; focal length, 1^2 inches; stop, wide open;
exposure given, 1-25 of a second ; plate used, 5x7 Cramer
Medium Isochromatic ; developed in metol-hydroquinone ;
printing process, bromide enlargement, printed through bolt-
ing cloth. The clouds were printed-in from a cloud nega-
tive, and the print was mounted on brown mount with
black margin. (See Page No. 125.)
Study No. 13. By Wm. H. Phillips, Liverpool, Ohio,
Subject, " In Harbor." This picture was made with a No.
3 Folding Pocket Kodak fitted with Series III Goerz lens,
5 inch focus. The negative was made on non-curling film
developed with pyro ; the print was made on Royal Brom-
ide, enlargement 6 x 10 inches, developed with rodinal
strong solution, one part rodinal and six parts water. (See
Page No. 139.)
Study No. 15. By R. E. Weeks, Chicago, 111. Title,
" Homeward Bound." This picture was hung at the Royal
London and First American Salons. The exposure was
How the Studies Were Made. 387
made at 9 A. M. on a bright, cold day, 10 degrees below zero.
The camera used was an Eastman 3I/4 x 4^4 kodak ; stop,
wide open ; exposure given, instantaneous ; negative was
made on Eastman film, developed in hydroquinone-metol.
Diffused focus was obtained by printing through bolting
cloth. Printing process employed : bromide enlarging, 8 x-
10, print being on Eastman's Platinoid Bromide, from a
31/4 X 41/4 film ; picture mounted on a carbon black mount
with black margin. (See Page No. 158.)
Study No. 16. By John Chislett, Indianapolis, Ind.
Title, " On the Frozen River." This picture was made on
a very cold day at 3 P. M., sun shining faintly; lens used,
Goerz, full opening, and an Ideal color screen ; exposure
given, 1 second ; plate used, Cramer Instantaneous Isochro-
matic, developed in ortol ; print was made on platinum
paper and the negative was manipulated on the back to
lighten up the water and trees. The highlights are in the
negative and are untouched in any way ; print is mounted
on a simple gray mount with black pencil lines. (See Page
No. 239.)
Study No. 17. By E. A. Brush, Minneapolis, Minn.
This picture was made in an operating room 21 x 44 ft.,
with a single slant light 15 x 18 ft., light used wide open
with a light controlling screen; lens used, 3 A Dallmeyer;
plate used, regular single coated, developed in pyro and
printed on Angelo platinum paper. The portrait effects
are all obtained in the printing. (See Page No. 240.)
Study No. 20. Portrait by E. A. Brush, Minneapolis,
Minn. This picture was made in an operating room 21 x 44
ft. and a single slant light 15 x 18 ft. The light was used
wide open with a light controlling screen; lens used, 3 A
Dallmeyer ; plate used, regular ordinary plate, developed in
pyro and printed on Angelo platinum paper. The port-
trait effects were all obtained in the printing. The final
print was mounted on very deep brown, showing only 14
inch of the mount. (See Page No. 344.)
Study No. 21. By Dr. A. R. Benedict, Montclair, N.
J. Title, " A Cloud with a Silver Lining." The exposure
388 Library of Practical Photography.
was made at 4 : 30 P. M. on a very clear day, with at times
a dark cloud. The lens used was a Rapid Rectilinear;
focal length, 6l^ inches ; stop U. S. 8 ; exposure given, 1-25
second. The negative was made on Eastman film devel-
oped with metol-hydroquinone, no after manipulation.
Printing process was an enlargement on Standard bromide.
" As a help to others, I want to say that this picture was
not faked in any way, but was taken just as you see it.
I waited until the sun had passed under the fleecy edge
of the cloud, as then the densest light would be subdued
and would give a more pleasing moonlight effect. This
picture was mounted on white cardboard, backed by oil
tissue on a chocolate mount." (See Page No. 362.)
GENERAL INDEX
VOLUME IV.
Acetate of Soda, Nature and Use of 53, 191
Acetate Toning Bath, Special, for Glossy Papers 86-88
Acetic Acid, Nature and Use of 701
Acid Fixing Bath for Nepera Gaslight Paper 892-894
Acid Fixing Bath, Hypo, for Velox Paper 675-678, 738-740
Acid Short Stop for Artura Iris Paper 975, 976
Acid Water, Effects of • 237-241
Acid Water for Rinsing Prints 1030
Acid Water, Treating 243
Acidified Rinse Water for Velox Paper 714
Acids and Alkalies • 55
Action of Chemicals on Developing Paper 1035
Action of Light on Printing-Out Papers 38
Action of Salt in Gold Toning Bath 181-184
Alkali in the Gold Bath, Lack of • 192, 193
Alkali in Water, Test for 248
Alkalies • 186-190
Alkalies and Acids 55
Alkaline or Acid Water, Treating • . . . 243
Alum Bath After Sepia Toning (P. O. P.) 414, 415
Alum Fixing Bath for Printing-Out Papers 108, 109
Alum, Nature and Use of 700
Alum Solution for Hardening Prints 20
Amidol Developer for Artura Paper 1034
Ammonia, Sulphocyanide of, for Sepia Tones (P. O. P.) 477
"Angelo" Sepia Platinum Paper 621-627
Appliances, Trimming 1212-1218
"Approaching Storm, The," Study No. 12 Page 125
"Autumn," Study No. 7 • Page 48
Aristo Baths, When Using— Practice Work 230, 231
Aristo Carbon-Platino 223
Aristo Gold and Platinum Solutions, Toning With 210-223
Aristo Gold Bath 211, 212
Aristo Gold Bath for Sepia Tones on Matte Papers 442-462
Aristo Gold, Sepia Tones on Matte Surface Papers With. .440-467
Aristo Platino Paper, Sepia Tones on 407-439, 476-482
389
390 Library^ of Practical Photography.
Aristo Platinum Bath 213, 214
Aristo Printing Cabinet, Illustration of Page 157
Artistic Folders, Illustration of Page 381
Artistic Mounting 1232, 1233
Artists' Proofs on Collodio Carbon Paper 325-371
Artists' Proofs on Collodio Carbon Paper, Brief General In-
struction 325-341
Artists' Proofs on Collodio Carbon Paper — Detailed Instruc-
tion 342-371
Artists' Proofs on Collodio Carbon Paper — Difficulties 392-406
Blistering, Prints 403-406
Chalky Whites 396
Edges of Mask are Vignetted, Showing Yellow 402
Eliminating the Free Silver 393
Free Silver, Eliminating the 393
Highlights Pink 397
Knowing When Prints are Sufficiently Toned 395
Muddy Shadows 398
Muddy Whites 399
Pink Whites or Highlights 397
Platinum Bath, Prints Too Olive in 401
Platinum Bath, Prints Turning Blue in 400
Prints Blistering 403-406
Prints Too Olive in Platinum Bath 401
Prints Turning Blue in Platinum Bath 400
Shadows Muddy 398
Shadows Toning Before Whites Clear 394
Whites Chalky 396
Whites Muddy 399
Artura Backing Paper 1008
Artura Carbon Black Paper, Developer for 986-991
Artura Carbon Black Paper, Exposure for 985
Artura Carbon Black Paper, Manipulating 984-992
Artura Carbon Black Paper, Surfaces and Grades of 984
Artura Carbon Green Paper, Developer for 995-998
Artura Carbon Green Paper, Exposure for 994
Artura Carbon Green Paper, Fixing 998, 999
Artura Carbon Green Paper, Manipulating 993-999
Artura Carbon Green Paper, Surfaces and Grades of 993, 994
Artura Chloride Paper, Developer for 1003-1006
Artura Chloride Paper, Exposure for 1002
Artura Chloride Paper, Manipulating 1000-1007
Artura Chloride Paper, Surfaces and Grades of 1000
Artura Developing or Gaslight Papers — Detailed Instruction..
957-1009
General Index. 391
Artura Developing Paper — Practice Work 1039
Artura Iris Paper, Acid Short Stop for 975, 976
Artura Iris Paper, Developer for 968-974
Artura Iris Paper, Exposure for 967
Artura Iris Paper, Fixing Bath for 977, 978
Artura Iris Paper, Manipulation of 964-906
Artura Iris Paper, Sepia Tones on 982
Artura Paper, Amidol Developer for 1034
Artura Paper, Developers for 1032-1034
Artura Paper, Drying 1014-1016
Artura Paper, Extra Heavy 1013-1016
Artura Paper, Ferrotyping 1009
Artura Paper — General Information and Difficulties 1010-1039
Artura Prints, Fixing .1010
Bluish Tones 1025
Brownish Stains 1020
Dark Spots 1023
Development Irregular or Patchy 1027
Fixing Artura Prints 1010
Grayish or Fogged Whites 1022
Irregular or Patchy Development 1027
Muddy Tones 1026
Pinkish Stains • 1021
Spots Dark 1023
Spots White 1024
Stains, Brownish 1020
Stains, Pinkish • 1021
Stains, Yellowish 1019
Tones Bluish 1025
Tones Muddy 1026
Whites, Grayish or Fogged 1022
White Spots 1024
Yellowing Stains 1019
Artura Paper, Mixing Solutions for 1028
Artura Paper, Mounting and Drying 1011
Artura Paper, Ortol Developer for 1033
Artura Paper, Printing Lights 9o9-963
Artura Paper, Regular Weight 1012
Artura Paper, Safe Light for Handling 1037
Artura Paper, Sepia Toning Bath for 979-981
Artura Paper, Spots on Sepia Toned 983
Artura Paper, Test for Safety of Light for Handling 1037
Artura Prints, Backing Heavy 1017
Azo and Nepera Gaslight Paper 868-897
IV— 23
392 Library of Practical Photograph}).
Azo and Nepera Gaslight Paper — Practice Work 896, 897
Azo Paper, Developer for 876
Azo Paper, Grades and Surfaces of 868-874
Azo Paper — Practice work 877
Azo Paper, Printing 875
Backing Aristo Platino or Any Matte Paper — Introduction.... 224
Backing, Directions for 225, 226
Backing Heavy Artura Prints 1017
Backing Paper, Artura 1008
Backing Prints 224, 231
Backing Prints — Caution 227-229
Backing Prints — Practice Work 230
Balancing the Gold Toning Bath 58, 60
Bath for Papers, Temperature of 35, 91
Bath More Than Once, Using 204
Bicarbonate of Soda, Nature and Use of 187
Bichloride of Mercury, Sepia Tones on Platinum Paper, Pro-
duced With 633-637
Black and White Platinum Printing 506-583
Bleaching Solution for Re-Developing Velox Prints 848
Blending Vignette With Opaque, Illustration of Page 349
Blister on Cyko Gaslight Paper, to Avoid 933
Blocking Negatives With Gamboge 1159-1164
Blocking the Landscape Negative for Printing in Clouds 1157, 1158
Blocking the Negative for Combination Printing 1157, 1158
Blotters 1018
Borax, Nature and Use of 52, 188
Borax Stock Solution 28, 80, 145
Border Printing, Illustration of Page 343
Border Printing, Making Masks for 1169-1176
Border Printing, Materials for 1169-1176
Brands of Gaslight Paper 645
Brands of Sepia Platinum Papers 601-605
Brief General Instruction — Artists' Proofs on Collodio Carbon
Paper 325-341
Brief General Instruction — Platinum Paper — Black and White
514-518
Brief General Instruction — Printing and Toning Matte Surface
Papers 138-159
Brief General Instruction — Purple Tones on Collodion and Gel-
atin Glossy Paper 73-90
Brief General Instruction — Velox Printing and Developing 662-680
Brief General Instruction — Warm Tones on Gelatin Glossy
Paper 22-34
Bromide, Effect of, on Tone of Velox Print 703
General Index. 393
Bromide of Potassium in Velox Developer, Nature and Use of
G97, 702
Bronzmg m the Shadows, Platinum Prints 579^ 580
Building Up Certain Portions of the Negative for Printing 1107-1110
Cabinet for Electric Light, Printing 502-505
Carbonate of Soda in Velox Developer, Nature and Use of 698
Carbonate of Soda, Sepia Toning With (P. O. P.) ..465-467
Carbonic Acid in Water, Test for 249
Carbon-Platino, Aristo 223
Carbon Purple Tones (P. O. P.) 468-488
Care of Sepia Platinum Paper e06
Caring for and Preserving the Platinum Paper 522-525
Caution — Backing Prints 227-229
Caution — Developing Sepia Platinum Paper 625
Caution — Drying Collodio Carbon Prints 3G4
Caution — Drying Velox Prints 719
Caution — Gaslight Papers 650
Caution — Handling Velox Paper 679, 713
Caution — Printing Platinum Paper 536
Caution — Soaking Prints in Baths and Wash Waters 206
Caution — Special Sepia Solution for Sepia Platinum Paper 617
Caution — Toning Collodio Carbon Prints 334
Caution — When Using Uranium Nitrate 632
Celluloid Square 1217
Centering Square, Ingento 1216
Chemical Composition of Sensitized Printing-Out Papers 6-8
Chemicals, Action of, on Developing Paper 1035
Chemicals Required for Printing Velox Paper 661
Chloride of Gold, Nature and Use of 51
Choice of Gaslight Papers • 649
Citric Acid Platinum Bath 153, 154
Clearing Bath for "Angelo" Sepia Platinum Paper 622
Clearing Bath for Platinum Paper 551-555
Clearing Bath for Sepia Platinum Paper 618-620
Cloud Negatives, Making 1153-1156
"Cloud With a Silver Lining, A*' (Statue of Liberty), Study
No. 21 Page 362
Clouds Combined With Landscapes 1147-1149
Coffee Tones on P. O. P 439
Collodio Carbon, Aristo Piatino and All Collodion Matte
Printing-Out Papers, Sepia Toning of 407-439
Collodio Carbon Toning With Aristo Gold and Platinum. .372-391
Collodio Carbon Paper, Artists' Proofs on 325-371
Collodio Carbon Paper, Depth of Printing for 344
394
Library of Practical Photography.
Collodio Carbon Paper, Final Washing for 361
Collodio Carbon Paper, General Notes on the Manipulation of
369, 370
Collodio Carbon Paper, Hypo Bath for 359, 379
Collodio Carbon Paper — Practice Work 371
Collodio Carbon Paper, Printing 327, 373
Collodio Carbon Paper, Quality of Negative for 342
Collodio Carbon Paper, Sulphite of Soda Bath for 358
Collodio Carbon Print, Examining the 345
Collodio Carbon Printing, Making the Negative for 343
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon PrintS;
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Collodio Carbon Prints
Drying 362
Embossing 367
Embossing Device for 365
Enclosures for 368
Final Drying and Flattening of 363
Final Washing for 341
Gold Bath for 329-331, 380-382
Gold Toning Bath for 347, 374, 375
How to Tone 349, 350
Hypo Bath for 339
Notes on Toning and Finishing of 383-391
Platinum Bath for 336, 337, 338
Preparing the Gold Bath for 332, 333
Salt Bath for 340, 360
Toning, in the Gold Bath 348
Toning, in the Platinum Bath 351-354
Washing 328, 346, 373
Collodio Carbon Prints— Washing After Gold Bath 335, 377
Collodio Carbon Prints — Washing After Platinum Bath
338, 355-357
Collodion and Gelatin Glossy Papers, Practice Work for Pur-
ple Tones on 110, 111
Collodion and Gelatin Glossy Papers, Printing 75, 92, 93
Collodion and Gelatin Glossy Papers, Purple Tones on 73-111
Collodion and Gelatin Glossy Papers, Purple Tones on. Brief
General Instruction 73-90
Collodion Glossy Papers, Preparing the Toning Bath for 94-96
Collodion Prints— Difficulties 133-137
Cracking, Edges of Print 133
Edges of Print Cracking 133
Negatives, Paper Sticking to 134
Paper Sticking to Negatives 134
Print Cracking, Edges of 133
Red Spots 137
Spots, Red 137
General Index. 395
Spots, White 135^ 136
White Spots 135, 136
Collodion Prints, Flattening 97
Color of Mounts 1235
Combination Printing 1147-1167
Combination Printing, Masking the Negative for 1151, 1152
Combination Printing, Points That Must be Observed In 1150
Combining Sky and Cloud Negatives 1147-1149
Commercial Mounting 1221
Constant Use of Sepia Platinum Developer 624
Contrast on Velox Paper, Obtaining 724, 725
Cut-Out Forms, "Ideal" 1214
Cyko Gaslight Developer, Formula for 911-916
Cyko Gaslight Paper 898-939
Cyko Gaslight Paper, Developing 910-926
Cyko Gaslight Papers— Difficulties 940-956
Black Surface Marks or Scratches 954
Blisters 949
Brown Tones 942
Canary Yellow Color Produced When Cyko Liquid Non-
Abrasion Developer Has Been Used 955
Chemfcals, Impure 950
Contrasty Prints (Lacking in Detail) 943
Cracking of the Surfaces • . . . . 952
Curling and Cracking of the Surface 952
Discoloration Around Edge of Prints 951
Edge of Prints, Discoloration Around 951
Flat Muddy Prints 945
Freaks • 956
Greenish Tones 941
Impure Chemicals 950
Impure or Grayish Whites 940
Marks or Scratches, Black Surface 954
Muddy Prints, Flat 945
Prints That are Too Dark 946
Round Dark Spots 948
Round White Spots 953
Spots, Round Dark 948
Spots, Round White 953
Stains, Yellow or Brown 947
Tones, Brown • 942
Tones, Greenish 941
Weak Prints (Lacking in Detail) 944
Whites, Impure or Grayish 940
Yellow or Brown Stains 947
396 Library of Practical Photography.
Cyko Gaslight Paper— Double Weight 901
Cyko Gaslight Paper, Drying • 934
Cyko Gaslight Paper, Fixing 927-931
Cyko Gaslight Paper, Label, Grade and Color of 900
Cyko Gaslight Papers, Mounting 935
Cyko Gaslight Paper, Necessary Exposure for 909
Cyko Gaslight Paper— Practice Work 936-939
Cyko Gaslight Paper, Printing 908
Cyko Gaslight Paper, Selection of Light for Printing 902-907
Cyko Gaslight Paper, Surfaces and Grades of 898-901
Cyko Gaslight Paper, To Avoid Blisters on 933
Cyko Gaslight Paper, Washing 932
Cyko Gaslight Paper, Weights of 899
Cyko Liquid Non-Abrasion Developer 922-926
Dark Room Equipped for Printing and Developing Gaslight
Papers, Section of Page 210
Depth of Printing Collodio Carbon Paper 344
Depth of Printing Collodion and Gelatin Glossy Papers 92, 93
Depth of Printing Matte Surface Papers 160-162
Desirable Tone for Gelatin Glossy Papers, A 68, 69
Detailed Instruction — Artists' Proofs on Collodion Carbon
Paper 342-371
Detailed Instruction — Artura Developing or Gaslight Papers
957-1009
Detailed Instruction — Platinum Printing — Black and White 519-570
Detailed Instruction — Printing and Toning Matte Surface
Papers 160-209
Detailed Instruction — Purple Tones on Collodion and Gelatin
Glossy Paper 91-111
Detailed Instruction — Velox Printing and Developing 681-726
Detailed Instruction — Warm Tones on Gelatin Glossy Paper.. 35-72
Developer for Artura Carbon Black Paper 986-991
Developer for Artura Carbon Green Paper 995-998
Developer for Artura Chloride Paper 1003-1006
Developer for Artura Iris Paper 968-974
Developer for Azo Paper 876
Developer for Nepera Gaslight Paper 879-888
Developer for Paper or Plates, A Universal Prepared 733-736
Developer for Platinum Paper, The 539-542
Developer for Sepia Platinum Paper 610
Developer, Tank, "Nepera" Solution for 736
Developers, Developing Velox With Prepared 727-744
Developers for Artura Paper 1032-1034
Developing Black and White Platinum Paper 516
Developing Contrasty Platinum Prints 578
General Index. 397
Developing Cyko Gaslight Paper 910-926
Developing Formula for Gaslight Paper Post Cards 1071
Developing Formula for Velox Paper, Special 786
Developing Machine, Kodak, "Nepera" Solution for 736
Developing Nepera Gaslight Paper 891
Developing Notes for Velox Paper 708-713
Developing or Gaslight Papers — Introduction 641-650
Developing Paper, Action of Chemicals on 1035
Developing Papers, Exposure and Development of 1036
Developing Papers, See Gaslight Papers.
Developing Platinum Paper 543-547
Developing Platinum Paper With Wood Photo Clips 614
Developing Platinum Prints, Notes on — Black and White. . .571-583
Developing Sepia Platinum Paper 611-613
Developing Velox Paper, Necessary Outfit for Printing and..
659, 660
Developing Velox Paper, Proper Light for 664, 681
Developing Velox With Prepared Developers 727-744
Dextrine as a Mucilage 1123-1125
Diflference Between Fresh and Old Paper 236
Difficulties — Artists' Proofs on Collodio Carbon Paper 392-406
Difficulties — Collodion and Gelatin Glossy Papers 112-137
Difficulties— Collodion Prints 133-137
Difficulties— Cyko Gaslight Papers 940-956
Difficulties — Manipulating Velox and Other Gaslight Papers. 745-770
Difficulties— Platinum Printing 584-600
Difficulties — Printing and Toning Matte Surface Papers 252-324
Difficulties — Special Printing and Developing of Velox 822-843
Diluting Velox Developer 712
Directions for Backing • 225, 226
Dissolving Platinum Developing Salts — Note 518
Dixie Vignetter, Illustration of Page 325
Doctoring Negatives in the Printing of Platinum Paper 537
Dodging During Exposure — Velox 783, 784
Dodging in the Bichromate Bath When Printing Platinum
Paper 576
Dodging in the Printing 1077-1125
Dodging in the Printing, Classes of Negatives Requiring 1082-1101
Dodging in the Printing — Necessary Materials 1080
Double Printing 1168-1179
Double Weight Cyko Gaslight Paper 901
Drying Artura Paper • 1014-1016
Drying Collodio Carbon Prints 362
Drying Collodio Carbon Prints— Caution 364
Drying Cyko Gaslight Papers 934
398 Lihrary of Practical Photography.
Drying Gaslight Paper Post Cards 1075, 1076
Drying Prints Quickly 1250
Drying Unmounted Platinum Prints 557, 558
Drying Velox Prints 718
Dry Mounting 1243-1253
Dry Mounting, Effect of Temperature on 1245
Dry Mounting, Pointers on 1249-1253
Dry Mounting Press, Illustration of Page 382
Dry Mounting Tissue 1243
Dry Mounting Tissue, Making 1247, 1248
Dry Mounting With Hot Iron, Illustration of Page 382
Effect of Acid Water 237-241
Effect of High or Low Temperature on Dry Mounting 1245
Effect of Impure Water on the Platinum Bath 233-235
Effect of Impure Water on the Gold Bath 233, 239
Electric Light, Printing Cabinet for 502-505
Electric Light, Printing Velox With 689-692
Eliminating Undesirable Portions of Any Negative 800-809
Embossing Collodio Carbon Prints 367
Embossing Device Page 126
Embossing Device for Collodio Carbon Prints 365
Enameling Glossy or Special Glossy Prints 1228
Enclosures for Collodio Carbon Prints 368
Examining Collodio Carbon Prints 345
Examining Prints Page 27
Examining Prints During Printing 43
Examining Prints During Printing of Platinum Paper 538
Exposure and Development of Developing Papers 1036
Exposure for Artura Carbon Black Paper 985
Exposure for Artura Carbon Green Paper 994
Exposure for Artura Chloride Paper 1002
Exposure for Artura Iris Paper 967
Exposure for Platinum Paper 508, 509
Exposure for Printing Velox Paper 666, 667, 684-688
Exposure of Velox Paper, Test for 693
Extra Heavy Artura Paper 1013-1016
Fading of Prints • 15
Fastening Negative to Glass, Illustration of Page 349
Ferrotyped Prints, Mounting 102-104
Ferrotyping Artura Paper • 1^09
Ferrotyping Prints 99-104
Figures in Groups, Printing in 1165-1167
Film on Printing-Out Papers, Softening of 16, 17
Final Drying and Flattening of Collodio Carbon Prints 363
Final Washing of Collodio Carbon Paper 361
General Index. 399
Final Washing of Glossy Papers 90
Final Washing of Matte Prints 159^ 205
Final Washing of Sepia Toned Prints (P. O. P.) 418
First Wash Water, Prints Softening in 106, 107
Fixing Artura Carbon Green Paper 998, 999
Fixing Bath, Acid for Nepera Gaslight Paper 892-894
Fixing Bath, Alum, for Printing-Out Papers 108, 109
Fixing Bath and Final Washing of Glossy Papers 90
Fixing Bath for Artura Iris Paper 977, 973
Fixing Bath for Gaslight Paper Post Cards 1072
Fixing Bath for Gelatin Glossy Papers 33, 70
Fixing Bath for Prints After Sepia Toning (P. O. P.) 416, 417
Fixing Bath, Hypo Acid, for Velox Paper 675-678, 738-740
Fixing Black and White Platinum Paper 517
Fixing Cyko Gaslight Paper 927-931
Fixing Matte Prints 157, 202, 203
Fixing P. O. P. Post Cards 1055, 1056
Fixing Ready Sensitized Self-Toning Post Cards 1061
Fixing Royal Velox Paper 743
Fixing, Theory of 18-21
Fixing Velox Prints 715, 737-743
Flattening and Drying Unmounted Platinum Prints 557, 558
Flattening Collodion Prints, Illustration of Page 47
Flattening Collodion Prints 97
Flattening Matte Paper Prints 168, 170
Flattening Prints to Bottom of Tray, Illustration of Page 47
Formalin for Hardening Prints 20
Form Holder, Ingento • 1215
Formula for Developing Gaslight Paper Post Cards 1071
Formula for Ground-glass Substitute 1102-1107
Formula for Hardening Solution for Papers 107
Formula for Velox Paper, Special Developing 786
Formula for Cyko Gaslight Paper 911-916
Forms, "Ideal" Cut-out 1214
Fresh and Old Paper, Difference Between 236
Gaslight Paper, Cyko ^^8-939
Gaslight Paper, Nepera ^"^
Gaslight Paper, Post Cards 1063-1076
Gaslight Paper Post Cards, Developing Outfit for 1065, 1066
Gaslight Papers, Azo and Nepera 868-897
Gaslight Papers— Caution 650
Gaslight Papers, Brands of . . • ^^^
Gaslight Papers, Choice of 6"*^
Gaslight Papers, Grades of '^46-648
Gaslight Papers— Introduction 641-650
400 Librar}) of Practical Photography.
Gaslight Papers, Manipulating Velox and Other — Difficulties..
745-770
Gelatin Glossy Paper, Fixing Bath for 33, 70
Gelatin Glossy Paper, How to Tone the 61-66
Gelatin Glossy Paper, Necessary Material for Making Warm
Tones on 22
Gelatin Glossy Paper, Preliminary Washing of 24, 47, 76
Gelatin Glossy Paper, Preparing the Toning Bath for 29, 36
Gelatin Glossy Paper, Printing 23
Gelatin Glossy Paper, Testing the Toning Bath for 30, 31, 59
Gelatin Glossy Paper, Toning Baths for 25-28
Gelatin Glossy Paper, Warm Tones On 22-72
Gelatin Glossy Paper, Warm Tones on, Practice Work for 72
Gelatin Glossy Paper, Washing After Fixing 34, 71
Gelatin Glossy Paper, Washing After Gold Bath 32
Gelatin Glossy Papers, A Desirable Tone for 68, 69
Gelatin Glossy Papers — Difficulties 112-132
Acid, Gold Bath Too 114
Alkali, Gold Bath Too 115
Black Spots With Comet-Like Tails 124
Bleaching, High-Lights and Half-Tones 117
Bleaching While Fixing 126
Brown and Muddy, Whites Toning 118
Center of Print Toning Even, Edges Toning Blue 122
Comet-Like Tails, Black Spots With 124
Depth of Printing, Judging 112, 113
Edges Tone Blue, Center of Print Toning Even 122
Entire Print Weak 116
Fixing Bath, Surface of Prints Softening in the 128
Fixing, Bleaching While 126
Fixing, Streaks on Prints After, Which Did Not Show
When Toning 132
Gold Bath Too Acid 114
Gold Bath Too Alkali 115
Half-Tones and High-Lights Bleaching 117
Judging Depth of Printing 112, 113
Judging When Prints are Toned 123
Muddy Tones 119
Pink Whites 125
Print Weak, Entire 116
Printing, Judging Depth of 112, 113
Prints, Judging When, Are Toned 123
Prints Showing Red Streaks or Spots 130
Prints Softening in Fixing Bath, Surface of 128
Prints Softening in Wash Water After Fixing, Surface of 129
General Index. 401
Prints Softening in Wash Waters, Surface of 127
Prints, Streaks On, After Fixing Which Did Not Show
When Toning jgo
Prints, Streaky j^q
Red Streaks or Spots, Prints Showing 130
Slow Toning j2i
Softening in Fixing Bath, Surface of Prints ' i28
Softening in Wash Water After Fixing, Surface of Prints 129
Softening in Wash Waters, Surface of Prints 127
Streaks ,oi
Streaks on Prints After Fixing Which Did Not Show
When Toning 232
Streaky Prints joq
Surface of Prints Softening in the Fixing Bath 128
Surface of Prints Softening in Wash Water 127
Surface of Prints Softening in Wash Water After Fix-
ing 129
Tones, Muddy ng
Toning Slow 121
Wash Water After Fixing, Surface of Prints Softening in 129
Wash Waters, Surface of Prints Softening In 127
Weak, Entire Print 115
Whites, Pink I25
Whites Toning Brown and Muddy 118
Gelatin Glossy Papers, Preparing the Toning Bath for 94-96
Gelatin Glossy Papers, Printing 39^ 40
Gelatin Glossy Papers, Purple Tones on Collodion and 73-111
General Information and Difficulties — Artura Paper.. 1010-1039
General Notes on the Manipulation of Collodio Carbon Paper
369, 370
Glossy or Special Glossy Prints, Enameling 1228
Glossy Paper, Warm Tones on Gelatin 22-72
Gold Bath, Aristo 211, 212
Gold Bath, Effect of Water on 239
Gold Bath for Toning Collodio Carbon Prints 329-331, 380-382
Gold Bath, Lack of Alkali in the 192, 193
Gold, Chloride of, Nature and Use of 51
Gold, Chloride of. Stock Solution 26, 78, 143
Gold Toning Bath, Balancing the 58-60
Gold Toning Bath For Collodio Carbon Prints 3-17, 374, 375
Gold Toning Bath For Matte Surface Papers 143-146
Gold Toning Bath For Matte Surface Papers, Preparing the
147, 148
Gold Toning Bath, Temperature 194
Grades and Surfaces of Azo Paper 868-874
402 Library of Practical Photograph]).
Grades and Surfaces of Cyko Gaslight Paper 898-901
Grades of Gaslight Paper Post Cards 1063, 1064
Grades of Gaslight Papers 646-648
Grades of Paper to Use For Platinum Printing 530
Grades of Platinum Paper 510-513
Grades of Velox Paper 651
Grades, Surfaces and Weights of Velox Paper 657
Gravure Effects 1180-1195
Gravure Effects, Printing Negative for 1188-1189
Gravure Effects, Spacing the Print for 1184
Gravure Effect, Working in Background for 1191-1194
Gravure Portraits, Mounts for 1195
Gravured Print Mounted in Folder Page 353
Ground-Glass Substitute, Formula for 1102-1107
Ground-Glass Substitute on Negatives, Placing 1109
Group of Gravure Portraits Page 354
Groups, Printing in Figures in 1165-1167
Hardening Prints, Alum Solution for 20
Hardening Solution for Papers, Formula for 107
Hard Negatives, Velox Paper Suitable for 656-658
Hard Water, Test for 251
High-Lights, Printing-in 1122
Holding Back Shadows When Printing 1119
"Home Made" Opaque 1123-1125
"Homeward Bound," Study No. 15 Page 158
How the Studies Illustrating This Volume Were Made
Pages 385-388
How to Tone Collodio Carbon Prints 349, 350
How to Tone Different Kinds of Matte Prints 195
How to Tone Gelatin Glossy Paper 61-66
Hydroquinone, Nature and Use of, in Velox Developer. .. .670, 696
Hypo Acid Fixing Bath for Velox Paper 675-678, 738-740
Hypo Bath for Collodio Carbon Paper 339, 359, 379
Hypo Bath for Purple Toned Prints (P. O. P.) 473
Hypo Bath, Life of 810
Hypo Sulphite of Soda, Nature and Use of 54, 699
Ideal Cut-out Forms 1214
Ideal Cut-out Forms, Illustration of Page 366
Ideal Print Trimmer 1212
Ideal Print Trimmer, Illustration of Page 358
Ingento Centering Square 1216
Ingento Centering Square, Illustration of Page 367
Ingento Form Holder 1215
Ingento Form Holder, Illustration of Page 367
Ingento Revolving Trimmer 1213
General Index. 403
Ingento Revolving Trimmer, Illustration of Page 364
Ingento Trimming Board, Illustration of Page 358
"In Harbor," Study No. 13 Page 139
Introduction and Theory of Printing-Out Process 1-21
Introduction — Trimming and Mounting 1196-1199
Introduction — Velox Printing and Developing 651-661
Iris Artura Paper, Manipulation of 964-966
Iron in Water, Test for 250
"Janet," Study No. 22 Page 369
Judging Print by Transmitted Light 163, 164
Judging Proper Depth of Printing Platinum Paper 535
Keeping Qualities of Sensitized Paper 37
Keeping Sepia Cold Developer 623
Kodak Developing Machine, Nepera Solution for 736
Label of Cyko Gaslight Paper, Grade and Color of 900
Lack of Alkali in the Gold Bath 192, 193
Landscapes, Clouds Combined With 1147-1149
Landscapes, Importance of Spacing of 1208, 1209
Life of Birchromate Bath for Developing Platinum Prints.... 577
Life of Hypo Bath 810
Life of Toning Bath 67
Life of Velox Re-developing Bath 859
Light, Action of, on Printing-Out Papers 38
"Light Beyond," Study No. 18 Page 326
Light, Electric, Printing Velox With 689-692
Light for Developing, Proper, Velox Paper 664, 681
Light for Printing Cyko Gaslight Paper, Selection of 902-907
Light for Printing Velox Paper 665, 682, 683
Light for Velox Paper, Management of 682
Light, Judging Print by Transmitted 163, 164
Lime in V/ater, Test for 247
Litmus Paper (Red and Blue) 56
Litmus Paper, Use of 57-60
Loading the Printing-Frame With Platinum Paper 526-528
L-Shaped Cards for Spacing of Print, Illustration of Page 361
Making Cloud Negatives 1153-1156
Making Dry Mounting Tissue 1247, 1248
Making "Home-Made" Vignette 1132-1141
Making Masks For Border Printing 1169-1176
Making Oval Masks of Various Sizes Without a Trimmer....
1177-1179
Making Saturated Solution of Bromide of Potassium 1029
Manipulating Artura Carbon Black Paper 984-992
Manipulating Artura Carbon Green Paper 993-999
Manipulating Artura Chloride Paper 1000-1007
404 Library) of Practical Photography.
Manipulating in the Development of Nepera Gaslight Paper..
889, 890
Manipulating the Re-developing of Velox Prints 853, 854
Manipulation of Artura Iris Paper 964-966
Margin Printing on Sepia Platinum Paper 609
Marring Velox Prints 717
Masking the Negative for Collodio Carbon Printing 343
Masking the Negative for Combination Printing 1151, 1152
Masks of Various Sizes Without a Trimmer, Making Oval.. ..
1177-1179
Materials for Border Printing 1169-1176
Materials for Multiple Mounting 1238
Materials for Vignetting 1132-1141
Materials Necessary for Making Warm Tones on Gelatin Glossy
Paper 22
Matte Paper Prints, Flattening 168
Matte Paper, Washing Old and Fresh 167
Matte Papers, Printing From a Soft Negative on 165
Matte Papers, Washing 166
Matte Prints, Final Washing of 159, 205
Matte Prints, Fixing 157, 202, 203
Matte Prints, How to Tone Different Kinds of 195
Matte Prints, Quality of Tone of 178-180
Matte Prints, Printing Quality of Negative for 139, 140
Matte Prints, Salt Bath for 158
Matte Prints— Toning in the Gold Bath 149, 150, 173-177
Matte Prints, Toning in the Platinum Bath 198, 199
Matte Prints, Washing After Toning in Gold Bath 196, 197
Matte Prints, Washing After Toning in the Platinum Bath..
156, 200, 201
Matte Surface Papers, Depth of Printing 160-162
Matte Surface Papers, Gold Toning Bath for 143-146
Matte Surface Papers, Preparing the Gold Toning Bath for..
147, 148
Matte Surface Papers, Printing 141
Matte Surface Papers, Printing and Toning 138-209
Matte Surface Papers, Washing 142
Memorandum Blank for Velox Developer 790
Mercury Sepia Developer for Platinum Paper 634
Method of Developing Platinum Prints 574, 575
Method of Procedure for Vignetting Velox Prints 806-809
Methods of Vignetting 1126-1130
Methods of Vignetting Portraits and Eliminating Undesirable
Portions of Any Negative 800-809
Metol-Hydroquinone Developer for Nepera Gaslight Paper 880-883
General Index. 405
Metol-Hydroquinone Developer for Velox Paper 668-674
Metol, Nature and Use of in Velox Developer 670, 694
Metol Poisoning 704, 1073
Metol Poisoning, Ointment Preventing 705-707
Mixing Solutions for Artura Paper 1028
"Morning Gossip, Brittany," Study No. 5 Page 37
Mount, Shape of 1234
Mount, Size of 1235
Mounts, Color of 1236
Mounts for Gravure Portraits 1195
Mounts, Stock 1242
Mounting and Drying Artura Paper 1011
Mounting and Trimming 1196-1253
Mounting, Artistic 1232, 1233
Mounting, Commercial 1221
Mounting Cyko Gaslight Papers • 935
Mounting, Dry 1243-1253
Mounting Ferrotyped Prints 102-104
Mounting, Multiple 1237-1241
Mounting Prints 1225-1227, 1231
Mounting Prints, Illustrations of Page 370
Mounting Prints on Thin Mounts 1252
Mounting Tissue, Dry 1243
Mucilage, Dextrine as a 1123-1125
Muddy and Impure Water 243
Multiple Mounting 1237-1241
Multiple Mounting, Illustration of Page 377
"N. A." Liquid Developer for Velox Paper 728-732
Nature and Use of Acetate of Soda 53, 191
Nature and Use of Acetic Acid 701
Nature and Use of Alum 700
Nature and Use of Bicarbonate of Soda 187
Nature and Use of Borax 52
Nature and Use of Bromide of Potassium in Velox Developer
697, 702
Nature and Use of Carbonate of Soda in Velox Developer 098
Nature and Use of Chloride of Gold 51
Nature and Use of Hydroquinone in Velox Developer 670, 696
Nature and Use of Hyposulphite of Soda 54, 699
Nature and Use of Metol in Velox Developer 670, 694
Nature and Use of Sulphite of Soda in Velox Developer 695
Nature and Use of Thiosulphate of Soda 54
Necessary Materials for Dodging in the Printing 1080
406 Library) of Practical Photography.
Necessary Outfit for Printing and Developing Velox Papers,
The 659, 660
Negative, Blocking the 1157, 1158
Negative, Blocking, With Gamboge 1159-1164
Negative for Printing, Building Up Certain Portions of the...
1107-1110
Negative, Masking the 1151, 1152
Negative, Masking the, for CoUodio Carbon Printing 343
Negative, Quality of, for Collodio Carbon Printing 342
Negatives, Hard, Velox Paper Suitable for 656-658
Negatives, Making Cloud 1153-1156
Negatives of Different Strength, Printing from 41
Negatives, Placing Ground-glass Substitute on 1109
Negatives, Printing Dense Portions of 1120
Negatives, Printing from Soft or Quick Printing 42
Negatives, Printing Quality of 408
Negatives Requiring Dodging in the Printing, Classes of . .1082-1101
Negatives, Soft, Velox Paper Suitable for 656-658
Negatives, Thin 1121
Nepera Developing Solution 733-736
Nepera Gaslight Paper 878-897
Nepera Gaslight Paper, Acid Fixing Bath for 892-894
Nepera Gaslight Paper, Developing 891
Nepera Gaslight Paper, Manipulating in the Development of
889, 890
Nepera Gaslight Paper, M. Q. Developer for 880-883
Nepera Gaslight Paper, Ortol Developer for 883-888
Nepera Gaslight Paper, Sepia Tones on 895
Nepera Royal India Tint and White Page 264
Nitrate of Uranium Sepia Toning on Platinum Paper 628-632
Non-Abrasion Developer, Cyko Liquid 922-926
Notes on Developing Platinum Prints — Black and White. . .571-583
Notes on Purple Tones (P. O. P.) 474, 475
Notes on Toning and Finishing of Collodio Carbon Prints. .383-391
Number of Tints for Multiple Mounting 1253
"Off Tompkinsville, New York Harbor," Study No. 9 Page 68
Ointment Preventing Metol Poisoning 705-707
Old Toning Bath, Using 98
"On the Frozen River," Study No. 16 Page 239
Opaque, "Home Made" 1123-1125
Ortol Developer for Artura Paper 1033
Ortol Developer for Gaslight Paper Post Cards 1073
Ortol Developer for Nepera Gaslight Paper 883-888
Outfit, Disposition of Management of Light, etc — Velox Print-
ing 683
General Index. 407
Outfit for Printing and Developing Velox Paper, The Necessary
659, 660
Oval Masks of Various Sizes Without a Trimmer, Making...
1177-1179
Ovals, Trimming 1211
Overcoming Abrasion Marks on Velox Paper 816-818
Paper, Keeping Qualities of Sensitized 37
Paper, Litmus 56-60
Paper or Plates, A Universal Prepared Developer for 733-736
Paste, Starch 1223, 1224
Pasting 1222
Permanency of Sepia Toned Velox Prints 845
Phosphoric Acid Toning Bath 151
Photo Clips, Developing Platinu^.^ Paper With Wood 614
Placing Cotton Around Image, Illustration of Page 349
Placing Prints in Washing Tray Page 27
Placing the Negative in Proper Position on Plain Glass to Se-
cure Gravure Effects 1 183
Placing the Prints in the Washing Tray 48-50
Plain Direct Print, Illustration of Page 353
Plate, Prints Sticking to 44, 45
Plate Sinking Device, Simplified Page 130
Platinum Bath, Aristo 213, 214
Platinum Bath, Citric Acid 153, 154
Platinum Bath, Effect of Impure Water on 233-235
Platinum Bath for Collodio Carbon Prints 336, 337, 378
Platinum Bath, Phosphoric Acid 151
Platinum Bath, Toning Matte Prints in the 155, 198, 199
Platinum Bath, Washing the Prints After Toning in the 156
Platinum Developer, Poisoning With 583
Platinum Developing Salts, Dissolving — Note 518
Platinum Paper, "Angelo" Sepia 621-627
Platinum Paper — Brief General Instruction 514-518
Platinum Paper, Care of Sepia 60G
Platinum Paper, Caring for and Preserving the 522-525
Platinum Paper, Clearing Bath for 551-555
Paltinum Paper, Clearing Bath for Sepia 618-620
Platinum Paper, Developer for 539-542
Platinum Paper, Developing 543-547
Platinum Paper, Developing Black and White 516
Platinum Paper, Developing, Sepia _ ■ • • ^l^-^J^
Platinum Paper, Doctoring Negatives in the Prmtmg of 537
Platinum Paper, Examining Prints During Printing of 538
Platinum Paper, Exposure for 508, 509
Platinum Paper, Final Washing of
IV— 24
408 Librar]^ of Practical Photography.
Platinum Paper, Fixing Black and White 517
Platinum Paper, Grades of 510-513
Platinum Paper, Judging Proper Depth of Printing of 534, 535
Platinum Paper, Loading the Printing Frame With 526-528
Platinum Paper, Printing 531-533
Platinum Paper, Printing Black and White 515
Platinum Paper, Printing — Caution 536
Platinum Paper, Printing Sepia 608
Platinum Paper, Quality of Negatives Required for Sepia 607
Platinum Paper, Sepia 601-640
Platinum Paper, Sepia Developer for 610
Platinum Paper, Special Solution for Developing Sepia. .. .615, 616
Platinum Paper, Using Two Baths for Developing 548-550
Platinum Printing— Black and White 506-583
Platinum Printing — Black and White — Detailed Instruction. 519-570
Platinum Printing — Black and White — Practice Work 569, 570
Platinum Printing — Difficulties 584-600
Black Comets and Brow^nish Black Stains 599
Bronze from Shadow^s, Removing 586, 587
Brownish-Black Stains, Black Comets and 599
Brown Tones 591
Dampness in Negative and Backing Pads, Overcoming.. 598
Damp Weather, Printing in 593
Failures, Note Regarding 600
Image Developing Up Slowly and Very Faint 585.
Markings, Wavy 596
Note Regarding Failures 600
Overcoming Dampness in Negatives and Backing Pads.. 598
Printing in Damp Weather 593
Prints, Rubbed 593
Prints Developing Black, All Detail Lost 584
Prints, Weak 595
Prints, White Comets on 594
Removing Bronze From Shadows 586, 587
Rubbed Prints 592
Spots Different Sizes and Shapes , 597
Spots, White 589
Streaks 588
Tones, Brown 591
Wavy Markings 596
Weak Prints 595
White Comets on Prints 594
White Spots 589
Yellow Prints After Third Acid Water 590
Platinum Printing, Grade of Paper to Use for 530
General Index. 409
Platinum Printing, Quality of Negative Required for 529
Platinum Prints, Bichromate Bath for Developing 573
Platinum Prints Bronzing in the Shadows 579, 58O
Platinum Prints, Developing Contrasty 578
Platinum Prints— Dodging in the Bichromate Bath 570
Platinum Prints, Flattening and Drying Unmounted 557, 558
Platinum Prints, Life of Bichromate Bath for Developing.... 577
Platinum Prints, Method of Developing 574, 575
Platinum Prints, Notes on Developing — Black and White. ..571-583
Platinum Prints, Retaining Brilliancy in 559-568
Platinum Prints — Using Developing Bath Continually 581, 582
Platinum Prints, Varnishing Page 180
Platinum Process, Theory of 507
Platinum Sepia Toning Bath, Pure 430-434
Platinum Toning Bath, Preparing the 152
Platinum Toning, Washing Collodio Carbon Prints After .. .355-357
Platinum Waste, Saving 626, 627
Pointers on Dry Mounting 1249-1253
Points That Must be Observed in Combination Printing 1150
Poisoning, Metol 704
Poisoning, Metol, Ointment Preventing , 705-707
Poisoning With Platinum Developer 583
Postcards, Developing Outfit for Gaslight Paper 1065, 1066
Postcards, Drying Gaslight Paper 1075, 1076
Postcards, Fixing Bath for Gaslight Paper 1072
Postcards, Fixing Ready Sensitized Self-Toning 1001
Postcards, Formula for Developing Gaslight Paper 1071
Postcards, Gaslight Paper 1063-1076
Postcards, Grade of Gaslight 1063, 1064
Postcards, Ortol Developer for Gaslight Paper 1073
Postcards, Printing Gaslight Paper 1067
Postcards, Printing Light for Gaslight Paper 1067
Postcards, Printing-Out Paper 1040-1002
Postcards, Printing P. O. P 1050
Postcards, Printing Ready Sensitized Self-Toning 1059
Postcards, Ready Sensitized Self-Toning 1058-1062
Postcards, Salting Solution for Sensitizing P. O. P 1044-1046
Postcards, Sensitizing P. O. P 1048
Postcards, Sensitizing Solution for P. O. P 1047
Postcards, Sepia or Vandyke Tones on P. O. P 1057
Postcards, Toning P. O. P 1051-1054
Postcards, Vignetting Gaslight Paper 1068
Postcards, Washing Gaslight Paper 1074
Postcards, Washing Ready Sensitized Self-Toning 1060, 1062
Postcards With White Margin Printing Gaslight Paper.. 1069, 1070
410 Librar]) of Practical Photography.
"Portrait," Study No. 2 Page 15
"Portrait," Study No. 8 Page 67
"Portrait," Study No. 11 Page 92
"Portrait," Study No. 14 Page 140
"Portrait," Study No. 17 Page 240
"Portrait," Study No. 20 Page 344
Portraits, Importance of Proper Spacing of 1203-1207
Practice Work — Aristo Bath, When Using 230, 231
Practice Work — Artura Developing Papers 1039
Practice Work — Azo and Nepera Gaslight Papers 896, 897
Practice Work, Azo Paper 877
Practice Work — Backing Prints 230
Practice Work — Collodio Carbon Paper 371
Practice Work — Cyko Gaslight Paper 93G-939
Practice Work — Platinum Printing — Black and White 569, 570
Practice Work — Printing and Toning Matte Surface Papers 207-209
Practice Work — Purple Tones on Collodio and Gelatin Glossy
Papers 110, 111
Practice Work — Sepia Platinum Paper 638-640
Practice Work — Sepia Tones on Matte Papers With Aristo
Gold 487, 488
Practice Work — Special Printing and Developing of Velox and
Gaslight Papers 819-821
Practice Work — Special Tones on Velox and Other Gaslight
or Bromide Papers 866, 867
Practice Work — Velox Printing and Developing 724-726
Practice Work — Warm Tones on Gelatin Glossy Paper 72
Prepared Developer for Paper or Plates, A Universal 733-736
Prepared Developers, Developing Velox With 727-744
Prepared Re-developing Solutions for Velox 855
Preparing Hypo Bath for Sepia Toning (P. O. P.) 427, 428
Preparing the Bleaching Solution for Velox Sepias 856
Preparing the Gold Bath for Collodio Carbon Prints 332, 333
Preparing the Gold Toning Bath for Matte Surface Papers..
147, 148
Preparing the Toning Bath for Gelatin Glossy Paper 29, 36
Preparing the Toning Bath for Glossy Papers 94-96
Preparing the Toning Bath for Purple Tones 81-85
Preparing the Velox Re-developing Solution 857, 858
Preparing Uranium Gold Toning Bath for Sepia Tones (P. O.
P.) 423, 426
Preserving Platinum Paper 522-525
Print Rollers, Illustration of Page 361
Print Tacking the. Instead of Pasting 1229, 1230
Print Trimmer, "Ideal" 1212
Printing and Developing Velox 651-726
General Index. 41 1
Printing and Developing Velox— Brief General Instruction 662-680
Printing and Developing Velox — Introduction 651-661
Printing and Developing Velox Paper — Detailed Instruction..
681-726
Printing and Developing Velox Papers, The Necessary Outfit
for 659, 660
Printing and Toning Matte Surface Papers 138-209
Printing and Toning Matte Surface Papers — Brief General In-
struction 138-159
Printing and Toning Matte Surface Papers — Detailed Instruc-
tion ] 60-209
Printing and Toning Matte Surface Papers — Difficulties ...252-324
Backed Prints Turning Yellow in Spots 306
Black Spots 298-301, 309
Black Spots on Prints While in Platinum Bath 275
Black Tones, Difficulty in Obtaining 279
Bleached Prints 292
Bleaching, Prints 291
Blisters 317-322
Bronzing 280
Contact, Keeping Large Prints in 259
Cracking, Prints 314
Depth in Printing, Judging Correct 254
Difficulty in Obtaining Black Tones 279
Dusting Negatives 253
Fading Prints • 310
Fixing, No Strength or Brightness to Prints After 290
Flat Prints 270
Gold Bath, Prints Toning Too Fast in the 263
Gold Bath, Prints Toning Too Slow in the 262
Gold Toning Bath, Properly Preparing the 261
Hypo Stains 289
Hypo, Tests for Presence of • • • .311-313
Judging Correct Depth in Printing 254
Keeping Large Prints in Contact 259
Keeping the Trays Clean 252
Large Prints After Hypo, Washing 323
Large Prints In Contact, Keeping 259
Negatives, Dusting • 253
Negatives, Paper Sticking to 255-258
No Strength or Brightness to Prints After Fixing 290
Olive Tone, Unable to Obtain an 278
Depth in Printing, Judging Correct 254
Keeping Large Prints in Contact 259
Paper Sticking to Negatives 255-25S
Pink Whites 308
Places, Rubbed • 315. 316
Platinum Bath, Black Spots on Prints While in 275
412 Library of Practical Photograph]).
Platinum Bath, Prints Toning Too Slow in 271-274
Platinum Bath, Toning Red Out of Prints in 276
Poor Tones 281-288
Printing, Judging Correct Depth in 254
Prints, Bleached 292
Prints Bleaching 291
Prints Cracking 314
Prints Fading 310
Prints Flat 270
Prints, Shaping 324
Prints Toning Too Fast in the Gold Bath 263
Prints Toning Too Slow in the Gold Bath 262
Prints Toning Too Slow in the Platinum Bath 271-274
Prints Too Brown After Being Toned in Both Baths. . . . 277
Prints Turning Yellow in Spots, Backed 306
Prints, Weak 260
Properly Preparing the Gold Toning Bath 261
Red Spots 293-297
Rubbed Places 315, 316
Shaping Prints 324
Spots, Black 298-301, 309
Spots, Red 293-297
Spots, White 303
Spots, Yellow 304, 305
Stains, Hypo 289
Streaks, Yellow 307
Tests for Presence of Hypo 311-313
Tones Poor 281-288
Tones, Uneven 264
Tones Uniform 265-269
Toning Red Out of Prints in Platinum Bath 276
Trays Clean, Keeping the 252
Unable to Obtain an Olive Tone 278
Uneven Tones 264
Uniform Tones 2G5-269
Washing Large Prints After Hypo 323
Weak Prints ■ . 260
Whites, Pink 308
White Spots • 303
Whites, Yellow 302
Yellow Spots 304, 305
Yellow Streaks 307
Yellow Whites • 302
Printing and Toning Matte Surface Papers, Practice Work for
207-209
Printing Azo Paper 875
General Index. 413
Printing Black and White Platinum Paper 515
Printing Cabinet for Electric Light 502-505
Printing Collodio Carbon Paper 327, 373
Printing Collodion and Gelatin Glossy Papers 75, 92, 93
Printing, Combination 1147-1167
Printing Cyko Gaslight Paper 908
Printing Dense Portions of Negatives 1120
Printing Dodges for Velox 778-784
Printing, Dodging in the 1077-1125
Printing, Examining the Prints During 43
Printing for Purple Tones (P. O. P.) 408
Printing From a Soft Negative on Matte Paper 1G3
Printing From a Soft or Quick Printing Negative 42
Printing from Negatives of Diflferent Strength 41
Printing Gaslight Paper Postcards With White Margin. .1060, 1070
Printing Gelatin Glossy Papers 23, 39, 40
Printing-In Borders and Tinting Margins 116S-1179
Printing-In Clouds in Landscapes, Illustration of Page 336
Printing-In Figures in Groups 1165-1167
Printing-In High-Lights 1123
Printing Light and Printing Gaslight Paper Postcards 1067
Printing Light for Artura Paper 959-963
Printing Matte Surface Papers 141
Printing Negative for Gravure Effects 1 188, 1189
Printing Light for Velox Paper 665, 682, 683
Printing-Out Paper— Postcards 1040-1062
Printing-Out Papers, Action of Light on 38
Printing-Out Papers, Alum Fixing Bath for 108, 109
Printing-Out Process, Introduction and Theory of 1-21
Printing Platinum Paper 531-533
Printing P. O. P. Postcards 1050
Printing Quality of Negatives 408
Printing Quality of Negatives for Matte Prints 139, 140
Printing Ready Sensitized Self-Toning Postcards 1059
Printing Sepia Platinum Paper 608
Printing Sepia Platinum Paper, Margin 609
Printing, Theory of ®
Printing Thin Negatives • 1121
Printing Velox Paper 662, 663
Printing Velox With Electric Light 689-692
Prints, Backing 224-231
Prints During Printing, Examining the 43
Prints, Fading of ^^
Prints, Ferrotyping 99-104
Prints, Flattening Collodion ^"^
414 Library of Practical Photograph}).
Prints, Mounting 1225-1227
Prints, Placing the, in the Washing Tray 48-50
Prints Softening in First Wash Water 106, 107
Prints, Softening of, During Manipulation 105
Prints Sticking to Plate 44, 45
Prints, Trays for Washing and Toning 46
Prints, Trimming Wet 1219, 1220
Proper Depth of Printing for Sepia Tones (P. O. P.) 409
Pure Platinum Sepia Toning Bath 430-434
Purifying the Water 244-246
Purple Tones, Carbon (P. O. P.) 468-488
Purple Tones on Collodion and Gelatin Glossy Papers 73-111
Purple Tones on Collodion and Glossy Paper— Brief General
Instruction 73-90
Purple Tones on Collodion and Gelatin Glossy Papers — De-
tailed Instruction 91-111
Purple Tones on Collodion and Gelatin Glossy Papers, Prac-
tice Work for HO, HI
Qualities of Sensitized Paper, Keeping 37
Quality of Negative for Artura Paper 957, 958
Quality of Negative for Collodio Carbon Paper 342
Quality of Negative Required for Platinum. Printing 529
Quality of Negatives Required for Sepia Platinum Printing.. 607
Quality of Tone of Matte Prints 178-180
Rapidity of Making Sepia Tones on Velox Prints 847
Ready Sensitized Self-Toning Post Cards 1058-1062
Re-developing Bath, Life of the Velox 859
Re-developing Bath That Will Not Blister, A Special 860-865
Re-developing Formula for Sepia Tones on Velox Prints. . .847-852
Re-developing Solutions for Velox, Prepared 855
Re-developing Solution, Preparing the 857, 858
Re-developing Stock Solution for Sepia Tones on Velox 849
Regular Velox, "Nepera" Developing Solution for 734
"Regular" Velox Papers 652
Regular Weight Artura Paper 1012
Remarks on Sepia Toning of P. O. P 419, 420, 429
Removing Dust from Negative While Printing Page 27
Removing Yellov^r Stains from Velox Prints 813-815
Retaining Brilliancy in Platinum Prints 559-568
"Returning Herd, The,** Study No. 1 Frontispiece
Revolving Trimmers, Ingento 1213
"Royal"" Velox Paper • 655
Royal Nepera Page 264
Safe Light for Handling Artura Paper 1037
Salt Bath for Collodio Carbon Prints 340, 360
Salt Bath for Matte Prints 15S
General Index. 415
Salt Bath for Sepia Toned P. O. P 422
Salt in Gold Toning Bath, Action of 181-184
Salting Solution for Sensitizing P O. P. Post Cards 1044-1046
Saturated Solution of Bromide of Potassium, Making 1029
Saving Platinum Waste 02G, 627
Scum on Surface of Velox Prints 811, 812
Selection of Light for Printing Cyko Gaslight Paper 902-907
Self-toning Post Cards, Fixing Ready Sensitized 1061
Self-toning Post Cards, Printing Ready Sensitized 1059
Self-toning Post Cards, Ready Sensitized 1058
Self-toning Post Cards, Washing Ready Sensitized 1060, 1062
Sensitized Papers, Effect of Water on the Manipulation of.. 232-251
Sensitized Papers, Keeping Qualities of 37
Sensitizing P. O. P. Post Cards 1043, 1048, 1049
Sensitizing Solution for P. O. P. Post Cards 1047
Sepia and Purple Tones — Difficulties 489-501
Depth of Printing, Proper 499
High-lights Clear but Shadows Not Toned 490
Hypo, Prints Bleaching in 494
Judging When Prints Have Toned Sufficiently 491
Prints Bleaching in Hypo 494
Prints Lacking Brilliancy 497
Prints Sulphurizing 495
Prints Toning Too Fast 501
Prints Toning Too Slow 500
Prints Too Cold in Tone 489
Proper Depth of Printing 499
Purple Tones, Obtaining Too Deep a Purple Tone 498
Retaining Warm Tones 492
Streaks on Print After Fixing 497
Streaks on Prints Before Toning 496
Sulphurizing, Prints 495
Tone, Prints Too Cold in 489
Tones, Purple. Obtaining Too Deep a Purple Tone 498
Toning Too Fast, Prints 493, 501
Toning Too Slow, Prints 500
Sep
Sep
Sep
Sep
Sep
Sep
Sep
Sep
Sep
Sep
a Cold Developer, Keeping 623
a or Vandyke Brown Tones on P. O. P. Post Cards 1057
a Platinum Developer, Constant Use of 624
a-Platinum Paper 601-640
a Platinum Paper, "Angclo" 621-627
a Platinum Paper, Brands of 601-605
a Platinum Paper, Care of • 606
a Platinum Paper, Clearing Bath for 618-620
a Platinum Paper, Developer for 610
a Platinum Paper, Developing 611-613
416 Library of Practical Photography.
Sepia Platinum Paper, Developing — Caution 625
Sepia Platinum Paper, Margin Printing 609
Sepia Platinum Paper, Mercury Developer for 634
Sepia Platinum Paper, Nitrate of Uranium Toning on 628-632
Sepia Platinum Paper— Practice Work 638-640
Sepia Platinum Paper, Printing 608
Sepia Platinum Paper, Warmer Sepia Produced by Toning
with Nitrate of Uranium 628-630
Sepia Platinum Paper, Special Sepia Solution for 615, 616
Sepia Platinum Printing, Quality of Negatives Required for.. 607
Sepia Toned P. O. P. Salt Bath for 422
Sepia Toned Prints, Final Washing of (P. O. P.) 418
Sepia Tones for P. O. P., Warmer 421
Sepia Tones on Aristo Platino Paper 476-482
Sepia Tones on Artura Iris Paper 982
Sepia Tones on Matte Paper, Aristo Gold Bath for 442-462
Sepia Tones on Matte Papers With Aristo Gold 440-467
Sepia Tones on Matte Papers With Aristo Gold — Practice
Work 487-488
Sepia Tones on Nepera Gaslight Paper 895
Sepia Tones on Platinum Paper Produced with Mercury 633-637
Sepia Tones on Velox and Other Gaslight or Bromide Papers
844-867
Sepia Tones, Proper Depth of Printing for (P. O. P.) 409
Sepia Tones, Toning to Secure (P. O. P.) 411-413
Sepia Toning, Alum Bath After (P. O. P.) 414, 415
Sepia Toning Bath for Artura Paper 979-981
Sepia Toning Bath, Pure Platinum 430-434
Sepia Toning, Fixing Bath for Prints After (P. O. P.).... 416, 417
Sepia Toning, Hypo Bath for (P. O. P.) 427, 428
Sepia Toning of Aristo Platino Paper 407-439
Sepia Toning of Collodio Carbon, Aristo Platino, and all Col-
lodion Matte Printing-Out Papers 407-439
Sepia Toning of P. O. P., Remarks on 419, 420, 429
Sepia Toning, Uranium Gold Bath for (P. O. P.) 423-426
Sepia Toning, Washing Paper Before (P. O. P.) 410
Sepia Toning With Carbonate of Soda (P. O. P.) 465-467
Shadows When Printing, Holding Back 1119
Shape of Mount 1234
Short Stop, Acid, for Artura Iris Paper 975, 976
Simplified Plate Sinking Device Page 130
Size of Mount - • 1^35
Sky and Cloud Negatives 1147-1149
Sky in Landscapes, To Whiten the 1115
Soaking Prints in Baths and Wash Waters— Caution 206
General Index. 4 1 7
Soda, Acetate of. Nature and Use of 53, 191
Soda, Acetate of, Stock Solution 27, 79, 144
Soda, Bicarbonate of. Nature and Use of 187
Soda, Hyposulphite of. Nature and use of 54
Soda, Thiosulphate of. Nature and Use of 54
Soft Negative, Printing from a, on Matte Paper 165
Soft Negatives, Velox Paper Suitable for 656-658
Soft or Quick Printing Negatives, Printing from 42
Softening of Prints During Manipulation 105
Softening of Prints in First Wash Water 106, 107
Softening of the Film on Printing-Out Papers 16, 17
Solutions for Purple Tones on Collodion and Gelatin Glossy
Papers 77-80
Solutions for Toning Gelatin Glossy Papers 25-28
Spacing of Landscapes, Importance of .1208, 1209
Spacing of Portraits, Importance of Proper 1203-1207
Spacing the Print for Gravure Effects 1184
Special Acetate Toning Bath for Purple Tones on Glossy
Papers 86-88
Special Developing Formula for Velox Paper 786
Special Development of Velox Paper 785-798
Special Printing and Developing of Velox and Gaslight
Papers 771-821
Special Printing and Developing of Velox and Gaslight
Papers— Practice Work 819-821
Special Printing and Developing of Velox— Difficulties ....822-843
Black Spots 833
Chloride of Lime, Edges of Vignette Bleaching Too
Rapidly When Using the 842
Chloride of Lime Solution not Reducing or Clearing
the Whites 843
Contrast, No 839
Contrast, Too Much 838
Edges of Print Stained 831
Edges of Vignette Bleaching Too Rapidly When Using
the Chloride of Lime 842
Freaky Developing of Prints 829
Grayish Whites • ^^°
Hypo Bath, Prints Turn Brown in 840
Hypo, Prints Becoming Yellow All Over in 827
Hypo, Prints Becoming Yellow in Spots While in the.. 826
Hypo! Prints Yellow Before Placing in 825
Irregular Developing of Prints 829
Milky Deposit on Prints, White 824
No Contrast
418 Librar}) of Practical Photography.
Parts of the Print Will Not Develop, Leaving White
Spots — Spots Blending at the Edge Like a Vig-
nette 832
Print Brown, Tone of • 836
Prints Become Yellow in Spots While in the Hypo 826
Prints Becoming Yellow All Over in Hypo 827
Prints Developing Irregular, Freaky and in Streaks 829
Prints Stained Around the Edges 831
Prints Turn Brown in Hypo Bath 840
Prints Yellow and Bleached After Treating With a Little
Red Prussiate Solution 841
Prints Yellow Before Placing in Hypo 825
Prints Yellowing During Washing 828
Shadows Too Black Before Sufficient Detail has Been
Produced in the High-lights 832
Small Yellow or Purple Stains 834
Spots, Black 833
Spots, White 835
Stains on Edges of Vignette 823
Stains, Small Yellow or Purple 834
Streaks, Prints Developing in 829
Tone Blue-black, Whites Having a Grayish Tint 837
Tone of Print Brown 836
Too Much Contrast 838
Vignette, Stains on Edges of 823
Washing, Prints Yellowing During 828
White Milky Deposit on Prints 824
White Spots 835
Whites, Grayish 830
Yellow, Prints, Before Placing in Hypo 825
Special Re-developing Bath That Will Not Blister, A 860-865
Special Sepia Solution for Developing Sepia Platinum Paper
615, 616
Special Sepia Solution for Sepia Platinum Paper— Caution. . . 617
Special Tones on Velox and Other Gaslight or Bromide Paper
—Practice Work 866, 867
Special Velox, "Nepera" Developing Solution for 735
"Special" Velox Papers 653, 654
Spots on Sepia Toned Artura Paper 983
Square, Celluloid • 1217
Squarely Trimmed, Ascertaining Whether a Large Print is 1251
Squeegeeing Enameled Surface Velox Prints 722, 723
Starch Paste 1223, 1224
Sticking to Plate, Prints 44, 45
Stock Cards for Solid Mounting, Illustration of Page 378
General Index. 419
Stock Mounts j242
Studies Illustrating This Volume, How the, Were Made
Pages 385-388
Sulphite of Soda Bath for Collodio Carbon Paper 358
Sulphite of Soda in Velox Developer, Nature and Use of 695
Sulphocyanide of Ammonia for Sepia Tones (P. O. P.) 477
Surfaces and Grades of Artura Carbon Black Paper 984
Surfaces and Grades of Artura Carbon Green Paper 993, 994
Surfaces and Grades of Artura Chloride Paper 1000
Surfaces and Grades of Azo Gaslight Paper 868-874
Surfaces and Grades of Cyko Gaslight Paper 898-901
Surfaces and Grades of Velox Paper 651
Surfaces, Weights and Grades of Velox Paper 657
Tacking the Print Instead of Pasting 1229, 1230
Tank Developer, "Nepera" Solution for 736
Temperature of Wash-Waters and Bath for Handling Papers..
35, 91, 169, 170, 194
Test for Alkali in Water 248
Test for Carbonic Acid in Water 249
Test for Exposing Velox Paper 693
Test for Hard Water 251
Test for Iron in Water 250
Test for Lime in Water 247
Test for Safety of Light for Handling Artura Papers 1037
Testing the Toning Bath for Gelatin Glossy Paper 30, 31, 59
Testing the Vignette 1142-1146
Tests, Water 247-251
Theory of Fixing 18-21
Theory of Toning • 11-14
Theory of Washing 10
Theory of Platinum Printing Process 507
Theory of Printing • 9
Theory of Printing-out Process, Introduction and 1-21
Thin Mounts, Mounting Prints on 1252
Thin Negatives 1121
Thiosulphate of Soda, Nature and Use of 54
Tinting Margins of Prints 1163-1179
"Tokyo Water-way, A," Study No. 3 Page Ifi
Tone for Gelatin Glossy Papers, A Desirable 68, 69
Tone, How to, Gelatin Glossy Paper 61-66
Toning Bath, Balancing the Gold 58-60
Toning Bath for Gelatin Glossy Paper, Preparing the 29, 36
Toning Bath for Gelatin Glossy Paper, Testing the 30. 31, 59
Toning Bath (Gold) for Matte Surface Papers, Preparing the
147. 148
420 Library of Practical Photography.
Toning Bath, Life of a 67
Toning Bath, Preparing the Platinum 152
Toning Bath, Temperature of 194
Toning Bath, Using Old 98
Toning Collodio Carbon Prints — Caution 334
Toning Collodio Carbon Prints in the Gold Bath 348
Toning Collodio Carbon Prints in the Platinum Bath 351-354
Toning Collodio Carbon With Aristo Gold and Platinum. . .372-391
Toning Collodion and Gelatin Glossy Papers for Purple Tones
77-80
Toning for Purple Tones (P. O. P.) 470-472
Toning Matte Prints in the Gold Bath 149, 150, 173-177
Toning Matte Prints in the Platinum Bath 155, 198, 199
Toning P. O. P. Post Cards 1051-1054
Toning Prints, Trays for Washing and 46
Toning Solutions for Gelatin Glossy Paper 25-28
Toning to Secure Sepia Tones (P. O. P.) 411-413
Toning, Theory 11-14
Toning, Washing After 89
Toning With Aristo Gold and Platinum Solutions 210-223
Tools Necessary for Vignetting 1131
Tracing Image on Paper, Illustration of Page 349
Transmitted Light, Judging Print by 163, 164
Trays for Toning Matte Paper 171, 172
Trays for Washing and Toning Prints 46
Treating Water Which is Strongly Alkaline or Acid 242
Trimmer, Ideal Print 1212
Trimmer, Ingento Revolving 1213
Trimming 1200-1202
Trimming and Mounting 1196-1253
Trimming and Mounting — Introduction 1196-1199
Trimming Appliances 1212-1218
Trimming Ovals 1211
Trimming Velox Papers While Wet 680, 720
Trimming Velox Prints When Dry 721
Trimming Wet Prints 1219, 1220
Under-printed Velox Paper, Manipulating 711
Uniformity of Sepia Toned Velox Prints 846
Universal Prepared Developer for Paper or Plates, A 733-736
Uranium Nitrate Gold Toning Bath for Sepia Tones (P. O. P.)
423-426
Uranium Nitrate, When Using — Caution 632
Using Baths More than Once 204
Using Developing Bath Continually for Platinum Paper. .. .581, 582
Using Old Toning Bath 98
General Index. 421
Using Two Baths for Developing Platinum Paper 548-550
Varnishing Prints Page iso
Varying Water Conditions 232-251
Velox and Other Gaslight Papers— Difficulties 745-770
Black Lines on Surface of Prints, Fine 764
Black, Prints Too 717
Black Spots, Small 7G5
Blisters 758
Blisters on Sepia Prints 759
Brownish Blacks 75O
Canary-Yellow Tones, When the Non-Abrasion Bath
Has Been Used, or the Iodide of Potassium Has
Been Added to the Regular Developing Bath 769
Contrast, Too Much 751
Discolored, Edges of Prints 763
Edges of Prints Discolored 763
Edges or Entire Print Appear Granular or Mottled.... 746
Fine Black Lines on Surface of Prints 764
Freaky Developing of Prints 762
Granular Appearance of Edges or Entire Print, Grayish
Mottled or Granular 746
Grayish Whites 749
Green Tones • 743
Greenish Yellow Tones Where the Non-Abrasion Devel-
oper Has Been Used 770
Irregular Dark Spots, Round or 7GG
Irregular Developing of Prints 762
Milky Deposit on Surface of Prints 761
Mottled Shadows 754
Prints Developing Irregular and Freaky, and in Streaks. 762
Prints Discolored, Edges of 763
Prints Flat, Lacking Contrast 752
Prints Lack Detail— Too Light 745
Prints Too Black 747
Prints Too Dark 755
Prints Too Light— Lack Detail 745
Prints, Weak (Lacking in Detail) 753
Round or Irregular Dark Spots 766
Round White Spots 760
Sepia Prints, Blisters on 759
Shadows, Mottled 754
Small Black Spots 765
Small Yellow or Purple Stains 756
Spots, Round or Irregular Dark 766
Spots, Round White 760
422 Librar]) of Practical Photography).
Spots, Small Black 765
Spots, White, With Heavy Fine Lines 768
Spots, White, Irregular in Shape and Size 767
Stains All Over the Print, Yellow 757
Stains, Small Yellow or Purple 756
Streaks, Prints Developing in 762
Surface of Prints, Fine Black Lines on 764
Surface of Prints, Milky Deposit on 761
Too Much Contrast 751
Tones, Green 748
Weak Prints (Lacking in Detail) 753
Whites, Grayish 749
White Spots, Irregular in Shape and Size 767
White Spots, Round 760
White Spots With Heavy Fine Lines 768
Yellow Stains All Over the Print 757
Velox and Other Gaslight or Bromide Papers, Sepia Tones on
844-867
Velox Developer, Diluting 712
Velox Developer, Memorandum Blank for 790
Velox, Developing, With Prepared Developers 727-734
Velox — Dodging During Exposure 783, 784
Velox Paper, Chemicals Required for Finishing 661
Velox Paper, Developing Notes for 708-713
Velox Paper, Exposures for Printing 666, 667, 684-688
Velox Paper, Fixing "Royal" 743
Velox Papers, Handling— Caution 679, 713
Velox Paper, Hypo Acid Fixing Bath for 675-678, 738-740
Velox Paper, Manipulating Under-Printed 711
Velox Paper, Metol-Hydroquinone Developer for 668-674
Velox Paper, "N. A." Liquid Developer for 728-732
Velox Paper, Obtaining Contrast on 724, 725
Velox Paper, Overcoming Abrasion Marks on 816-818
Velox Paper, Printing 662, 663
Velox Paper, Printing Light for 665, 682, 683
Velox Paper, Proper Light for Developing 664, 681
Velox Paper, Special Developing Formula for 786
Velox Paper, Special Development of 785-798
Velox Paper Suitable for Hard Negatives 656-658
Velox Paper Suitable for Soft Negatives 656-658
Velox Paper, Surfaces and Grades of 651
Velox Paper, Surfaces, Weights and Grades of 657
Velox Paper, Test for Exposure of 693
Velox Papers, Acidified Rinse Water for 714
Velox Papers, Special Printing and Developing of 771-821
General Index. 423
Velox Papers, The Necessary Outfit for Printing and Develop-
ing G59, 660
Velox, Prepared Re-developing Solutions for 855
Velox Print, Effect of Bromide on Tone of 703
Velox Printing and Developing 651-726
Velox Printing and Developing — Brief General Instruction 662-680
Velox Printing and Developing — Detailed Instruction 681-726
Velox Printing and Developing — Introduction 651-661
Velox Printing and Developing — Practice Work 724-726
Velox Printing — Disposition of Outfit, Management of Light,
etc 682
Velox, Printing Dodges for 778-784
Velox, Printing,. With Electric Light 689-692
Velox Prints, Bleaching Solution for Re-developing 848
Velox Prints, Drying 718
Velox Prints, Drying — Caution 719
Velox Prints, Final Washing 716
Velox Prints, Fixing 715, 737-743
Velox Prints, Manipulating the Re-developing of 853, 854
Velox Prints, Marring 717
Velox Prints, Methods of Procedure for Vignetting 806-809
Velox Prints, Permanency of Sepia Toned 845
Velox Prints Rapidity of Making Sepia Tones on 847
Velox Prints, Re-developing Formula for Sepia Tones on.. 847-853
Velox Prints, Re-developing Stock Solution for Sepia Tones
on 849
Velox Prints, Removing Yellow Stains from 813-815
Velox Prints, Scum on Surface of 811, 812
Velox Prints, Squeegeeing Enameled Surface 722, 723
Velox Prints, Uniformity of Sepia Toned 846
Velox Prints, Vignetting 799-809
Velox Prints When Dry, Trimming 721
Velox Prints While Wet, Trimming 680, 720
Velox Re-developing Bath, Life of 859
Velox Re-developing Bath that Will Not Blister, A Special..
860-865
Velox "Regular," Nepera Developing Solution for 734
Velox "Regular" Paper ^^^
Velox "Royal" Paper ^-'^
Velox "Special," Nepera Developing Solution for 735
Velox "Special" Paper 6^3, 654
Vignette for Printing-Out Papers, Illustration of Page 325
Vignette, Making "Home-Made" 1132-1141
Vignette, Testing the 1142-1146
Vignetted Print Before Gravuring, Illustration of Page 35»
IV— 2?
424 Library of Practical Photograph}).
Vignetting 1126-1146
Vignetting Card for Gaslight Prints Page 157
Vignetting Gaslight Paper Postcards 1068
Vignetting, Materials Necessary for 1132-1141
Vignetting, Methods of 1126-1130
Vignetting, Tools Necessary for 1131
Vignetting Velox Prints 799-809
Vignetting Velox Prints, Method of Procedure for 806-809
Washing After Toning 89
Washing and Toning Prints, Trays for • . . 46
Washing CoUodio Carbon Prints 328, 346, 373
Washing Collodio Carbon Prints After Gold Bath 335, 377
Washing Collodio Carbon Prints After Platinum Bath 338, 355-357
Washing Cyko Gaslight Paper 932
Washing, Final, for Collodio Carbon Prints 341
Washing, Final, of Glossy Paper 90
Washing, Final, of Matte Prints 159, 205
Washing, Final, Velox Prints 716
Washing Gaslight Paper Post Cards 1074
Washing Gelatin Glossy Papers After Fixing 34, 71
Washing Gelatin Glossy Paper After Gold Bath 32
Washing Gelatin Glossy Paper, Preliminary 24, 47, 76
Washing Matte Papers 142, 166
Washing Matte Prints After Toning in the Platinum Bath.. 200, 201
Washing Old and Fresh Matte Paper 167
Washing Prints After Toning in Gold Bath 196, 197
Washing Prints After Toning in the Platinum Bath 156
Washing Prints Before Sepia Toning (P. O. P.) 410
Washing Prints for Purple Tones (P. O. P.) 469
Washing Ready Sensitized Self-Toning Post Cards 1060, 1062
Washin g. Theory of 10
Washing Tray, Placing the Prints in the 48-50
Wash Water, First, Prints Softening in 106, 107
Wash Waters for Papers, Temperature of 35, 91
Water Conditions, Varying 232-251
Water, Muddy and Impure 243
Water, Purifymg the 244-246
Water, Test for Alkali in 248
Water, Test for Carbonic Acid 249
Water, Test for Hard 251
Water, Test for Iron in 250
Water, Test for Lime in 247
Water Tests 247-251
Water, Treating, Which is Strongly Alkaline or Acid 242
Warm Tones on Gelatin Glossy Paper , 23-72
General Index. 425
Warm Tones on Gelatin Glossy Paper — Brief General Instruc-
tion 22-34
Warm Tones on Gelatin Glossy Paper — Detailed Instruction
in 35-72
Warm Tones on Gelatin Glossy Paper — Practice Work 72
Warmer Sepia Tones for P. O. P 421
Warmer Sepia Produced by Toning With Nitrate of Uranium
on Platinum Paper 628-630
Weights, Surfaces and Grades of Velox Paper 657
Wet Prints, Trimming 1219, 1220
"Where the Brook Winds Through the Meadow," Study No. 4
Page 28
Whiten the Sky in Landscapes, To 1115
"Woodland Stream," Study No. 19 Page 335
"Woods in Spring Time," Study No. 6 Page 38
Working in Background for Gravure Effect 1191-1194
"Yokohama Harbor," Study No. 10 Page 91
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