UC-NRLF
GRAPHIC
i^rxs
UNIVERSITYo/miFORNIA
\ COLLE6E of MINING
DEPARTMENTAL
LIBRARY
BEQUEST OF
SAMUELBENEDICTCHRISTY
PROFESSOR OF
MINING AND METALLURGY
1885-1914
;
The Scovill Photographic Series.
Price,
Per Copy.
No. i. THE PHOTOGRAPHIC AMATEUR. By J. TRAILL TAYLOR. A Guide
to .the Young Photographer, either Professional or Amateur. (Second
Edition.) Paper covers
Library Edition i oo
No. 2. Out of print.
No. 4--HOW TO MAKE PICTURES.-By HENRY CLAY PRICE. (Fourth Edition.)
The A B C of Dry-plate Photography. Paper covers 50
Library Edition 75
No. 5. PHOTOGRAPHY WITH EMULSIONS. By Capt. W. DE W. ABNEY,
R.E., F.R.S. A treatise on tie theory and practical working of Gelatine
and Collodion Emulsion Processes. (Second Edition.) Paper covers, 75
Cloth bound i oo
No. 6. Out of print.
No. 7. -THE MODERN PRACTICE OF RETOUCHING NEGATIVES- As
practiced by M. Piguepe, and other celebrated experts. (.Seventh Edition).
Paper covers f 50
Library Edition 75
No. 8.-THE SPANISH EDITION OF HOW TO MAKE PICTURES. -Ligeras
Lecciones sobre Fotografia Dedicados a Los Aficionados. Paper covers, 50
Cloth bound i oo
No. p. TWELVE ELEMENTARY LESSONS IN PHOTOGRAPHIC CHEM-
ISTRY. Presented in very concise and attractive shape. (Second
Edition.) Paper covers. 50
Cloth bound 75
No. io. Out of print.
No, ii. Out of print.
No. i2.-HARDWICH'S PHOTOGRAPHIC CHEMISTRY.-A manual of photo-
graphic chemistry, theoretical and practical. (Ninth Edition.) Edited by
J. TRAILL TAYLOR. Leatherette binding 2 oo
No. i 3 .-TWELVE ELEMENTARY LESSONS ON SILVER PRINTING.
(Second Edition). Paper covers .:..... 50
i
Price
Per Copy.
No. i 4 .-ABOUT PHOTOGRAPHY AND PHOTOGRAPHERS. A series of
interesting essays for the studio and study, to which is added European
Rambles with a Camera. By H. BADEN PRITCHARD, F.C.S. Paper covers, $o 50
Cloth bound 75
Iso. is.-THE CHEMICAL EFFECT OF THE SPECTRUM.-By Dr. J. M.
EDER. Of value to Orthochromatic Workers. Paper covers 25
Cloth bound So
No I6.-PICTURE MAKING BY PHOTOGRAPHY.-By H. P. ROBINSON.
Author of Pictorial Effect in Photography. Written in popular form and
finely illustrated. Paper covers 75
Library Edition T
No. I7.-FIRST LESSONS IN AMATEUR PHOTOGRAPHY.-By Prof.
RANDALL SPAULDING. A series of popular lectures, giving elementary
instruction in dry-plate photography % optics, etc. (Second Edition).
Leatherette binding 5P
No. 18. Out of print.
No. 19. Out of print.
No. 20. DRY-PLATE MAKING FOR AMATEURS. By GEO. L. SINCLAIR, M.D.
Pointed, practical, and plain. Leatherette binding 5
No. 2i. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO-
GRAPHIC TIMES ALMANAC FOR i88 7 .-(Second Edition). Paper
covers (postage, twelve cents additional) 5
Library Edition i oo
No. 22. PHOTOGRAPHIC PRINTING METHODS. By the Rev. W. H.
BURBANK. A Practical Guide to the Professional and Amateur Worker.
(Third Edition.) Cloth bound ... i oo
No. 23. A HISTORY OF PHOTOGRAPHY. -Written as a Practical Guide and an
Introduction toils Latest Developments, by W. JEROME HARRISON, F.G.S.,
and containing a frontispiece of the author. Cloth bound i oo
No. 24. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO-
GRAPHIC TIMES ALMANAC FOR 1888. Illustrated. Second Edition.
Paper (by mail, twelve cents additional) 50
Library Edition i oo
No. 2 5 .-THE PHOTOGRAPHIC NEGATIVE. A Practical Guide to the prepar-
ation of sensitive surfaces by the calotype, albumen, collodion, and gelatine
processes, on glass and paper, with supplementary chapter on development,
etc., by the Rev. W. H. BURBANK. Cloth bound. Reduced to i oo
No. 26. -THE PHOTOGRAPHIC INSTRUCTOR. For the Professional and
Amateur. By W. I. LINCOLN ADAMS and Prof CHARLES EHRMANN. Third
edition. Paper covers i oo
Library Edition i 5 o
No. 27.-LETTERS ON LANDSCAPE PHOTOGRAPHY. By H. P.ROBINSON.
Finely illustrated from the Author's own photographs and containing a
photogravure frontispiece of the Author. Cloth bound i 50
No. 28. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO-
GRAPHIC TIMES ALMANAC FOR 1889. (Out of print.)
No. 29.-THE PROCESSES OF PURE PHOTOGRAPHY. By W. K. BURTON
and ANDREW PRINGLE. A standard work, very complete and freely illus-
trated. Paper covers 2 oo
Library Edition 2 50
it
Price
Per Copy.
No. 30.-PICTORIAL EFFECT IX PHOTOGRAPHY.-Bv H. P. ROBINSON.
A new edition. Illustrated. Mr. Robinson's first and best work. Cloth
bound $150
No. 31. A DICTIONARY OF PHOTOGRAPHY. For the Professional and
Amateur Photographer. By E. J. WALL. Illustrated. Cloth bound 150
No. 32. PRACTICAL PHOTO-MICROGRAPH Y.-Finely illustrated. By AN-
DREW PRINGLE. Cloth bound 2 50
Mo. 33. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO-
GRAPHIC TIMES ALMANAC FOR 1890. Paper cover (by mail.
14 cents additional) 50
Library Edition (by mail, 15 cents additional) i o?
No. 34 THE OPTICAL LANTERN. Illustrated. By ANDREW PRINGLE. In
paper covers i oo
Cloth bound i 50
No. 35.-LANTERN-SLIDES BY PHOTOGRAPHIC METHODS. By ANI.RRW
PRINGLE. In paper covers 75
Library edition i 25
No. 36. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO-
GRAPHIC TIMES ALMANAC FOR 1891.
Paper Covers 50
Library Edition (by mail, 15 cents additional i oo
No. 37. PHOTOGRAPHIC OPTlCS-By W. K. BURTON. A Text Book for the
Professional and Amateur. Illustrated. Paper covers i oo
Library edition i 50
No. 38. PHOTOGRAPHIC REPRODUCTION PROCESSES.-By P. C. DL-
CHOCHOIS. In press.
No. 39. EL INSTRUCTOR FOTOGRAFICO. Paper covers i oo
Library edition i 50
BY THE SAME AUTHOR.
"The Photographic Negative"
(Number Twenty-five of The Scovill Photographic Series.)
A PRACTICAL
TO THE PREPARATION OF SENSITIVE SURFACES BY THE
CALOTYPE, ALBUMEN, COLLODION/AND GELATINE PRO-
CESSES, ON GLASS AND PAPER, WITH SUPPLEMENTARY
CHAPTER ON DEVELOPMENT, ETC., ETC.
CONTENTS.
CHAPTER.
Preface.
I. General Remarks on Sensitive Surfaces, etc.
II. Preliminary Remarks on Exposure, Development, Fixing, etc.
III. Calotype.
IV. Sensitive Surfaces on Glass Preparation of the Glass.
V. The Albumen Process.
VI. The Old Collodion Process, Wet Plates.
VII, The Collodion Process, Dry Plates.
VIII. Collodion Emulsion Collodio-bromide of Silver.
IX. The Gelatine Process.
X. Coating the Plates.
XI. Development. Fixing, etc.
XII. Paper Negatives Stripping Films on Paper, Card-board, and Collodion.
XIII. Failures in the Gelatino-bromide Process.
XIV. Methods of Stripping Films from Glass Plates.
XV. Color-sensitive Plates.
XVI. Black and White Negatives.
XVII. Instantaneous Photography.
XVIII. Touching-up the Negative.
XIX. Photo-micrography.
XX. Micro-photography.
XXI. The Transformation of Negatives into Positives.
XXII. Obernetter's Method for the Direct Production of Negatives from Negatives.
Index.
It contains a Meisenbach Frontispiece of a pictorial subject from a
negative made by the author. Full description of his method for making
the Emulsion ; also, much other valuable information never before pub-
lished.
Profusely illustrated with cuts, two full-page pictorial Mosstypes, and
more than two hundred pages of valuable reading matter.
A companion to " Photographic Printing Methods."
Price, cloth bound, reduced to.. ..$1.00.
SOME OTHER
PHOTOGRAPHIC PUBLICATIONS.
Price
per copy.
THE KNACK Reduced to $0 25
EXPERIMENTAL SCIENCE. By GEORGE M. HOPKINS. 740 pages, 680 illustra-
tions. By mail, post-paid 400
THE CHEMISTRY OF PHOTOGRAPHY.-By PROF. RAPHAEL MELDOLA 2 00
THE FERROTYPER'S GUIDE. Cheap and complete. For the Ferrotyper, this
is the only standard work. Seventh thousand 75
THE PHOTOGRAPHIC STUDIOS OF EUROPE. By H. BADEN PRITCHARD,
F.C.S. Clothbound 100
Paper cover 50
ART OF MAKING PORTRAITS IN CRAYON ON SOLAR ENLARGE-
MENTS. {Third Edition.) By E. LONG 1 00
PHOTOGRAPHY APPLIED TO SURVEYING.-Illustrated. By LIEUT. HENRY
A, REED, U. S. A. Cloth bound 2 50
HISTORY AND HAND BOOK OF PHOTOGRAPHY. Translated from the
French of Gaston Tissandier, with seventy illustrations. Cloth bound 75
A COMPLETE TREATISE ON SOLAR CRAYON PORTRAITS AND
TRANSPARENT LIQUID WATER COLORS. -By J. A. BARHYDT. Prac-
tical ideas and directions given. Amateurs will learn ideas of color from
this book that will be of value to them. And any one by carefully following the
directions on Crayon will be able to make a good Crayon portrait 50
ART RECREATIONS. A guide to decorative art. Ladies' popular guide in
home decorative work. Edited by MARION KEMBLE 2 00
AMERICAN CARBON MANUAL. For those who want to try the Carbon printing
process, this work gives the most detailed information. Cloth bound 50
MANUAL DE FOTOGRAFIA. By AUGUSTUS LE PLONGEON. (Hand- Book for
Spanish Photographers.) 1 00
SECRETS OF THE DARK CHAMBER. -By D. D. T. DAVIE 50
AMERICAN HAND-BOOK OF THE DAGUERREOTYPE. By S. D.
HUMPHREY. (Fifth Edition.) This book contains the various processes
employed in taking Heliographic impressions 25
THE PRACTICAL PHOTOGRAPHIC ALMANAC 25
MOSAICS FOR 1870, 1871, 1872, 1873, 1875, 1882, 1885. 1886, 1887, 1888, 1889 25
BRITISH JOURNAL ALMANAC FOR 1878, 1883, 1887 25
PHOTO NEWS YEAR BOOK OF PHOTOGRAPHY FOR 1870, 1871, 1887, 1888.. 25
THE PHOTOGRAPHER'S FRIEND ALMANAC 25
AMERICAN ALMANAC OF PHOTOGRAPHY 25
THE PHOTOGRAPHER'S BOOK OF PRACTICAL FORMULAS. Compiled
by DR. W. D. HOLMES, Ph.B., and E. P. GKISWOLD. Paper covers 75
Cloth bound 1 50
PHOTO NEWS YEAR BOOK OF PHOTOGRAPHY FOR 1890 50
WALDACK'S PHOTO ALMANAC 25
THE LIGHTING IN PHOTOGRAPHIC STUDIOS.-By P. C. DUCHOCHOIS.... 75
BROMIDE PAPER AND HOW TO USE IT. A practical treatise, written by
an expert, with a full-page illustration. Price, postpaid 25
N
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00
oo
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00
THE PHOTOGRAPHIC TIMES ANNUALS
ARE
A RECORD OF PHOTOGRAPHIC PROGRESS.
Price, per copy, - - 5O
Library Kdition, - - i oo
Edition de t,uxe, 2 SO
By mail, 12 cents extra.
Contains five full-page illustrations
An Exquisite Photo-Gravure, by Ernest Edwards.
A Bromide Print, by the Eastman Company.
A Silver Print, by Gustav Cramer, of St. Louis.
Two Ittosstypes, by the Moss Engraving Company.
197 pages of Contributed Matter consisting of articles on various subjects, by 80 repre-
sentative photographic writers of this country and Europe.
Contains eight (8) full-page high-grade illustrations ; and over ninety (90) original con-
tributions, written expressly for its pages, by the most eminent
photographic writers of Europe and America.
THE ILLUSTRATIONS COMPRISE:
A Photo-Lithograph, showing an improved new process, by the Photo-
Gravure Company of New York.
A Photo-Copper-Plate Knjjraving of a Pictorial Landscape Subject,
by E. Obernetter, of Munich.
A itieisenbacli of "The Old Stone Bridge," by Kurtz.
A 2inc Etching, from the Engraving, which is itself as fine as an Engraving,
by Stevens & Morris.
A Charming Child Portrait, t>y Crosscup & "West's improved process.
Three Mosstypes of popular subjects. And
330 PAGES OF VALUABLE INFORMATION.
00 J ENTIRE EDITION SOLD.
8 I
Contains the Following Full-Page Pictorial Plates:
" Thomas Edison." A Portrait of the Eminent Electrician. George M. Allen
& Co., New York.
** Babyhood." A Tinted Photo-Gravure. The Photo-Gravure Co. of New York.
" Putnam's Escape." A Collection of Historic Views. The Crosscup & West
Engraving Company, Philadelphia.
"Southern Fruit." An Orthochromatic Study. The Electro-Light Engraving
Company, New York.
At the Barracks." A copy of the great Meissonier picture. William Kurtz, N.Y.
Minstrel Party at John Brown's Eort." Photo-Engraving Com-
pany, New York.
Q * John Brown's Home and Grave." Lewis Engraving Co., Boston.
^^ ' Off Duty." An Instantaneous Study. William Kurtz, New York.
_ . , Minnehaha Falls in Winter." Levytype Company, Philadelphia.
ff\ ' Central Park." In the Menagerie. I. M Van Ness, New York.
' A Merry Tale." A Child Group. F. Gutekunst, Philadelphia.
* The Van Rensselaer Manor House." Photo-Electro Engraving
Company, New York.
'An Improvised Studio." Electro-Tint Engraving Company, Philadelphia.
The Bats." A " Flash " Light Photograph in Howe's Cave. William Kurtz, N.Y.
'A Raider's Resort." Morgan's Favorite Rendezvous. M.Wolf, Dayton, Ohio.
' Group of Esquimaux." William Kurtz, New York.
4 Diatoms." Photo-Micrographs. William Kurtz, New York.
Tropical Luxuriance." A Scene in Florida. Moss Engraving Co., N. Y.
' An Arctic Camp." Moss Engraving Company, New York.
4 Home of Edgar Allen Poe." Moss Engraving Company, New York.
NEARLY 400 PAGES OF READING MATTER.
vi
THE
American Annual of Photography
and Photographic Times Almanac
LARGER AND BETTER THAN EVER BEFORE.
Oyer THity-six FULL-PAGE Illustrations. o?er One Hundred Original ContriDntions.
PRICE: THE SAME AS USUAL,.
In Paper Covers, 50 cents. Library Edition (cloth bound), $1.00.
By Mail, 15 cents extra.
SOME OF THE PICTORIAL ILLUSTRATIONS:
A Fine Copper-Plate Engraving (Portrait Study). By the New York Photo-Gravure
Company.
"Attraction," "Temptation," " Satisfaction," a series of three hunting pictures. By
R. Eickemeyer, Jr.
The Solar Eclipse (December 22, 1889). By Prof. S. W. Burnham.
"Three Little Kittens." By William M. Browne.
1 The County Fair." By J. P. Davis.
A Portrait of Prof. Burnham. By Hill & Watkins.
"I Love 'oo," (a charming child picture). By Fran!
Daguerre Portraits. (Nine portraits of J. L. M. D
Franklin Harper.
M. Daguerre, including one never before
published.)
The Yacht " Volunteer," Before the Wind. By H. G. Peabody.
Finish of Race Between Taragon and St. Luke. By J. C. Hemment.
" Enoch Arden." A Portrait Study. By H. McMichael.
" The Life Class." By Charles N. Parker.
Portrait Study. By William Kurtz.
" The Regatta." Two Yachting Pictures. By A. Peebles Smith.
A " Flash " Picture. (Interior.) By Horace P. Chandler.
" Contentment." By Miss Emilie V. Clarkson.
Old Mill on the Bronx River. By John Gardiner.
" Sailing the High Seas Over." By Harry Platt.
The Great Selkirk Glacier Face. By Alexander Henderson.
" Lightning." (Two Pictures.) By W. N. Jennings.
" Down in the Meadows."
" Forest Shadows." By G. De Witt.
" In Chautauqua Woods." By " A Chautauquan."
Raines Falls. By W. S. Waterbury.
Besides many Pictures throughout the Advertising pages.
is
IT
NOT
SO?
That Americans like the best of everything, and when the best costs the least
they will buy it without urging.
The more distinctively American such an article is, the greater will be their
pride in it.
It goes without saying that a full- jeweled watch is worthy of a good case, and
that an Encyclopedia should be bound in something more durable than
paper covers.
The American Annual of Photography is now in world-wide
favor, and commonly spoken of as an " Encyclopedia of Photographic
Progress."
It should be ordered with cloth binding (Library Edition), as it has, both in
bulk and importance, outgrown paper covers. Other books, containing no
more pages or information, sell for $3.00. In attractiveness they will not
compare with
The Photographic Times Annual for 1891, "which is the most profusely
and handsomely illustrated Photographic Book ever published.
"It makes this already valuable book simply invaluable."
A CYCLOPEDIC INDEX
TO THE
AMERICAN AlCAl OF PHOTOGRAPH! AND PHOTOGRAPHIC TIES ALMANAC
FOR 1891.
16 CYCLOPEDIC INDEX.
LITMUS A coloring matter derived from orcella tinctoria, a lichen. Its
blue color turns red when in contact with acids. Alkalines restore
the blue color again 142.
LUBRICATOR 348.
M
MAGNESIUM A metal of silvery white color, burns at a comparatively
low temperature with extremely actinic and brilliant light 207.
MAGNESIUM FLASH LIGHT Pure metallic magnesium reduced to fine
powder. When blown forcibly through an intensely hot flame is
instantaneously consumed and produces a highly actinic light.
Originally the magnesium powder was mixed with substances evolv-
ing oxygen, and when ignited produced a similar light 249, 207, 135.
MANGANESE A metal of dusky white or grayish color, very hard and
difficult to fuse 176.
MASTIC The resinous exudation of Pistacia lentiscus, growing on the
islands of the Grecian Archipelago, North Africa and Arabia. Yel-
lowish white drops or tears, soluble in alcohol, chloroform, ether and
benzole 105.
MAYALL, S. E. A native of Ohio, dyer by trade. Embraced daguerreo-
typing at an early date. Established a studio in Philadelphia, but
emigrated to England, where he and his descendants are carrying on
a lucrative business to the present day 28.
MEADE. We find the brothers Harry and Charles R. Meade in possession
of a Daguerrean studio in Albany, N. Y., as early as 1842. They
repaired to New York city a few years later and had the first elegantly
and sumptuously fitted up gallery at 232 Broadway, where their pro-
ductions stood foremost 28.
MERCURY CHLORIDE, MERCURIC CHLORIDE, OR CORROSIVE SUBLIMATE. A
colorless, crystalline, semi-transparent mass, of metallic taste. It is
soluble in water, alcohol and ether, and very poisonous 143.
MICROSCOPE An optical instrument, consisting of a lens or combination
of lenses for examining objects which are too minute to be viewed by
the naked eye 278, 205, 117, 107, 71.
MOLECULAR Belonging to, consisting of or residing in molecules 59.
MONCKHOVEN, DR. D. VON Of Ghent, Belgium. Born 1834, died 1882;
was an excellent chemist and physicist, who devoted himself chiefly v
to the scientific side of photography 94
MONOCHROME Of one color 265.
MONEY ORDERS, INTERNATIONAL 408.
MORSE, PROF. SAMUEL F. B. American inventor of the telegraph. One
of the earliest experimenters in photography, and more successful
than others of his contemporaries. He remained an ardent admirer
and promoter of the art during the whole of his useful life 28.
MOUNT WITHOUT COCKLES 348.
24 PAGES 119 AI.I,.
PRICE TEN CENTS.
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THE
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N91
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Includes the following standard books in cloth binding
(Library Edition):
The History of Photography $i oo
The Photographic Instructor (Second Edition) i 50
The Photographic Negative i 50
Photographic Printing Methods (Second Edition) i oo
The Modern Practice of Retouching Negatives 75
The Photographic Times Annual for 1890 i oo
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It will thus be seen that if the books were bought
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1802
TWELVE
STUDIES.
A Collection of Photo-Gravures from Rep-
resentative Negatives by Leading
Photographic Artists in this
Country and Abroad.
TUB COLLECTION INCLUDES :
" Dawn and Sunset "... .From the Negative by H. P. Robinson.
"Childhood" " " H. McMichael.
" As Age Steals On ". . . . " " J. F. Ryder.
" A Portrait Study " B. J. Falk.
" Solid Comfort " " John E. Dumont.
" Ophelia " H. P. Robinson.
" No Barrier " " F. A. Jackson.
" El Capitan " " W. H. Jackson.
" Still Waters " " " J. J. Montgomery.
" Surf " James F. Cowee.
" A Horse Race " George Barker.
" Hi, Mister, May We Have Some Apples ! "
From the Negative by Geo. B. Wood.
Printed on Japanese paper, mounted on boards.
Size, 11x14, tied with silk cord in a specially
designed cover and put up in a neat paper box.
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WILSON'S QUARTER CENTURY IN PHOTOGRAPHY. By EDWARD L. WIL-
SON, Ph.D. "The best of everything boiled out from all sources." Profusely
illustrated, and with notes and elaborate index $4 oo
WILSON'S PHOTOGRAPHICS. " Chautauqua Edition," with Appendix. By
EDWARD L. WILSON, Ph.D. A most complete photographic lesson-book. Covers
every department. 352 pages. Finely illustrated 400
THE PROGRESS OF PHOTOGRAPHY. By DR. H. W. VOGEL. Revised by
Edward L. Wilson, Ph.D. Gives special consideration to Emulsion Photog-
raphy, and has an additional chapter on Photography for Amateurs. Em-
bellished with a full-page electric-light portrait by Kurtz, and seventy-two
wood-cuts 300
BIGELOW'S ARTISTIC PHOTOGRAPHY, with photographs 4 oo
HEARN'S STUDIES IN ARTISTIC PRINTING, with photographs 3 oo
BURNET'S HINTS ON ART. ^facsimile reproduction of the costly original
edition 4 oo
PHOTO-ENGRAVING, PHOTO-ETCHING, AND PHOTO-LITHOGRAPHY.
By W. T. WILKINSON. Revised and enlarged by EDWARD L. WILSON, Ph.D.
Illustrated. 180 pages. Cloth bound 3 oo
WILSON'S PHOTOGRAPHIC MAGAZINE. A semi-monthly magazine, illus-
trated by photographs, $5 oo a year ; club rate with Weekly Photographic Times, 9 oo
WILSON'S LANTERN JOURNEYS. By EDWARD L. WILSON, Ph.D. In three
volumes. For the Lantern Exhibitor. Give incidents and facts in entertain-
ing style of about 3,000 places and things, and travels all over the world. Per
volume a oo
PHOTOGRAPHIC MOSAICS, 1891. Published annually. Cloth bound, $1.00;
Paper covers 50
xi
Edited by W. I. LINCOLN ADAMS.
IS ILLUSTRATED EVERY WEEK
WITH A FULL PACE PICTURE,
thus Including in the year FIFTY-TWO FULL. PAGE PICTURES, making it
the best illustrated Photographic periodical in the world. Special numbers
contain more than one high grade illustration; and there are published besides
superb Photo-gravures, pictorial illustrations, by other photographic and photo-
mechanical printing processes.
The illustrations are carefully selected, and represent the best work of repre-
sentative American artists. There are also copies of famous pictures, from time to
time, to illustrate lessons in art for photographers, accompanied by instructive reading
matter.
The Editorials and Editorial Notes are of greatest practical value,
as they are the result of actual practice and experiment, by the staff.
LEADING ARTICLES by such acknowledged author-
ties as
Prof. W. K. BURTON, on SCIENTIFIC AND PRAC-
TICAL SUBJECTS.
ANDREW PRINGLE, on SUBJECTS OF GREATEST
VALUE.
P. C. DUCHOCHOIS, on CHEMICAL SUBJECTS.
W. J. STILLMAN, on ART AND PRACTICAL SUB-
JECTS.
Prof. CHARLES EHRMANN, on DARK ROOM
AND PRINTING PRACTICES.
And frequent contributions from G. WATMOUGH
WEBSTER, F.C.S., of England; CARLSRNA, CHARLES
SCOLIK, Dr. EDER, Prof. SPITALER, Lieut.-Colonel
VOLKMER, of Austria; Dr. LOHSE, Dr. SCHNAUSS,
KARL SCHWIER, VICTOR SCHUMAN, and F. MUELLER,
of Germany.
Notes from the Every-day Gallery Experiences
of such well-known PRACTICAL PHOTOGRAPHERS as
W. H. SHERMAN,
Prof. KARL KLAUSER,
J. M. MORA, and
One Year,
H. McMlCHAEL,
J. R. SWAIN,
JOHN CARBUTT.
Various Occasional Articles of a Practical Nature,
and otherwise, by our favorite contributors:
Rev. C. E. WOODMAN, Ph.D., C. D. CHENEY,
D D S., HENRY M. PARKHURST, CHARLES WAGER
HULL, C. W. CANFIELD, Rev. G. M. SEARLE,
C. M. BROCKWAY, Miss ADELAIDE SKEEL.
"Occasional Notes," by Prof. W. H. PICKERING,
of Harvard College Observatory.
The Chemistry of Photography, by W. JEROME
HARRISON, F.G.S.
Correspondence Scientific and practical discussion
of important and interesting questions, by practi-
cal photographers, and letters from all parts of the
globe, by intelligent and observing correspondents.
NOTES AND NEWS,
PHOTOGRAPHIC SOCIETIES,
THE CHAUTAUQUA SCHOOL OF PHOTOGRAPHY,
QUERIES AND ANSWERS,
OUR EDITORIAL TABLE,
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PHOTOGRAPHIC
Printing Methods :
A PRACTICAL GUIDE
TO THE
PROFESSIONAL ^AMATEUR WORKER,
BY THE
REV. W. H. BURBANK.
THIRD EDITION.
NEW YORK :
THE SCOVILL & ADAMS COMPANY,
423 BROOME STREET.
1891.
330
/ I *4s>AStsW^
r
COPYRIGHT, 1887,
BY SCOVILL MANUFACTURING COMPANY.
Preface to the Third Edition.
THE appearance of a third edition of " Printing Methods "
affords another opportunity of thanking the fraternity for the
very cordial reception accorded to this effort to make better
known our gentle craft of photography.
The author has the best of reasons for believing that this
little book has proved useful and helpful to many, and that it
has therefore given a sufficient excuse for its existence.
~No material changes have been made in this new edition.
Beyond the correction of the errors of the first editions
nothing has been altered.
The portrait and the brief biographical sketch of the
second edition have been retained ; and the bromide print,
by the Eastman Company, from an American film negative
by Mr. W. J. Hickmott, of Hartford, Conn., and entitled
" Brook on Conway Meadows," which appeared in the second
edition, also reappears in this edition of the book.
303921
PREFACE.
IN the following pages the author has aimed to collect in
easily accessible form, information and formulas connected
with the production of photographic prints. His purpose has
been to impart the information in the simplest and most prac-
tical way possible, and to avoid errors in the numerous form-
ulas given, all of which he believes will stand the test of ac-
tual use. Sufficient material was collected to have filled double
the number of pages of this little volume, but since to have
done so would have been unduly to have increased the cost of
the book without enhancing its usefulness, the writer has ex-
ercised his best judgment in the selection of the material at
his command, giving only those methods which his own prac-
tice or that of others commended as useful and practical.
The work is rather one of compilation than of original re-
search, and the author has not scrupled to make use of the
work of others, giving due credit wherever the sources of in-
formation were known to him.
The opening chapters on the " Theory of Light" and its
" Action on Sensitive Compounds" are merely condensed from
"Abney's Handbook of Photography," and are given for the
information of those who may care to know something of the
chemical changes produced by the action of light upon the
compounds most commonly used in photographic printing.
The author's best thanks are due to Mr. W. I. Lincoln
Adams and Dr. Charles Ehrmann, of the Photographic
Times, for the very valuable advice and assistance which
they have freely given him, and for their careful reading of
the proof ; also to Mr. C. W. Canfield, for books furnished by
him which were of great assistance in writing the chapters on
" Carbon Prints" and " Photo-ceramics."
In conclusion, the author ventures to express the hope that
the following pages may prove useful to his brother amateurs
to whom the book is respectfully dedicated.
W. H. Burbank.
Newburgh, X. Y., July, 188T.
List of Photographic Works Consulted.
ABXEY, W. DEW. " A Treatise on Photography." New York,
1878. D. Appleton & Co.
ABNEY, W. DE W., and ROBINSON, H. P." The Art and Prac-
tice of Silver Printing." New York, 1881. Scovill
Manufacturing Company.
GEYMET. "Traite Pratique des Emaux-Photographiques."
Paris, 1885. Gauthier-Villars.
GEYMET " Traite Pratique de Ceramique Photographique."
Paris, 1885. Gauthier-Yillars.
GEYMET. " Traite Pratique de Photogravure sur Zinc et sur
Cuivre." Paris, 1886. Gauthier-Yillars.
GODARD. " Artiste, Peintre, Decorateur." Paris, 1885.
Gauthier-Yillars.
HARDWICH, T. F. " A Manual of Photographic Chemistry."
New York, 1886. Scovill Manufacturing Co.
HUSXIK, J. " Die Heliographie." Yienna, 1878. A. Hartle-
ben.
HUSXTK, J. " Das Gesammtgebiet des Lichtdrucks." Yienna,
1880. A. Hartleben.
JUST, E. A. "Der Positiv Process auf Gelatine-Emulsion-
papier." Yienna, 1885. E. A. Just.
LIESEGANG, PAUL E. "Le Procedeau Charbon." Paris, 1886.
Gauthier-Yillars.
MORCH, J. O. "Handbuch der Chemigraphie und Photochemi-
graphie." Diisseldorf, 1886. E. Liesegang.
KOBIXSOX, II. P. " Pictorial Effect in Photography." Phila-
delphia, 1881. Edward L. Wilson.
Roux, Y. " " Traite Pratique de Photographic Decorative."
Paris, 1887. Gauthier-Yillars.
Roux, Y. "Traite Pratique de Gravure Heliographique."
Paris, 1886. Gauthier-Yillars.
Roux, Y. " Manuel de Photographic et de Calcographie."
Paris, 1886. Gauthier-Yillars.
8 PHOTOGRAPHIC WORKS CONSULTED.
YOGEL, H. W. " Progress in Photography." Philadelphia,
1883. E. L. Wilson.
WILSON, E. L. " Photographies." Philadelphia, 1883. E. L.
Wilson.
Much valuable information has also been derived from vol-
umes of the British Photographic Annuals, from Wilson's
" Mosaics," from the " American Annual of Photography for
1887," and from the columns of the Photographic Times and
the other American Photographic journals, to all of which the
author gratefully acknowledges his indebtedness.
CONTENTS.
INTRODUCTION:
PAGE
THEORY OF LIGHT ACTION OF LIGHT UPON SENSITIVE COMPOUNDS
RESUME OF PRINTING PROCESSES 11
CHAPTER I.
PRINTING WITH IRON AND URANIUM COMPOUNDS 17
CHAPTER II.
THE SILVER BATH 25
CHAPTER III.
FUMING AND PRINTING 33
CHAPTER IV.
TONING, FIXING AND WASHING 41
CHAPTER V.
PRINTING ON OTHER THAN ALBUMEN PAPER 51
CHAPTER VI.
THE PLATINOTYPE 55
CHAPTER VII.
PRINTING WITH EMULSIONS 65
CHAPTER VIII.
MOUNTING THE PRINTS 90
CHAPTER IX.
CARBON PRINTING 96
CHAPTER X.
PRINTING ON FABRICS. 105
CHAPTER XI.
ENLARGEMENTS 109
CHAPTER XII.
TRANSPARENCIES AND LANTERN SLIDES . 132
10 CONTENTS.
PAGE
CHAPTER XIII.
OPAL AND PORCELAIN PRINTING . . . 160
CHAPTER XIV.
PHOTO-CERAMICS ENAMELLED INTAGLIOS 165
CHAPTER XV.
PHOTO-MECHANICAL PRINTING METHODS 190
CHAPTER XVI.
VARIOUS METHODS FOR PUTTING PICTURES ON BLOCKS AND METAL
PLATES FOR THE USE OF THE ENGRAVER 205
CHAPTER XVII.
RECOVERY OF SILVER FROM PHOTOGRAPHIC WASTES PREPARATION
OF SILVER NITRATE, ETC 210
INTRODUCTION.
THEORY OF LIGHT.
THE almost universally accepted theory of light, and the one
which explains the greatest number of observed phenomena,
is that which is known as the wave theory. Light as such is
merely a sensation. All space is assumed to be permeated with
a fluid known as ether, capable of being acted upon by a light
or heat source in such a way as to give rise to an unbroken and
continuous series of waves. Of the original form of these
waves we know nothing. In the case of unpolarized, or ordinary
white light, they are supposed to be, and the supposition seem&
to be substantiated by experiments, compounded of an infinite
number of different undulations, each series differing in length
from crest to crest. According as the length of these undula-
tions vary, so do their effects differ. Those of a certain length,
for instance, are able to affect the waves of the retina ; others
affect nerves lying in the body, giving rise to the sensation of
heat ; while others still are known only by their power of pro-
ducing chemical combinations or decomposition in certain com-
pounds.
The perception of color is due to the varying lengths of the
light waves, the shortest gives the sensation of a violet color,
the longest that of a brilliant red, waves of intermediate lengths
producing respectively the sensation of blue, green, yellow,
or orange. The limits of the heat spectrum are at least as great
as those of the color spectrum, while the limits of the chemi-
cally active rays are known to be much greater. The term
actinic has been applied to all those rays capable of effecting
decomposition in any compound, and their range varies for
every photographic substance, thus producing greater or less
sensitiveness. It may be laid down as a fundamental and un-
alterable law, that whenever light of any kind is absorbed by
any body, work of some kind has been performed in that body.
In the case of the compounds employed in photographic print-
12 INTRODUCTION.
ing, that work is some chemical or physical change or decom-
position.
ACTION OF LIGHT UPON SENSITIVE COMPOUNDS.
In order to understand something of the changes produced
in various sensitive compounds, some knowledge of the ultimate
structure of matter is necessary. We may consider every
particle of matter to be made up of molecules, each molecule
being further subdivived into atoms, the smallest divisible por-
tions of matter. The arrangement of these atoms differs in
various substances. When, for instance, the atoms of any
compound are so arranged as to be incapable of forming mole-
cules of a simpler type, a large amount of work would be re-
quired to separate them, and the atoms are said to occupy a
position of stable equilibrium, such, for instance, as that of a
pyramid standing on its base. Substances in which the atoms
are in this state of exceedingly stable equilibrium, are, of
course, useless for photographic printing purposes, and are said
to be insensitive to light.
When, however, the atoms of a molecule are so arranged
as to be capable of separating into more than one molecule,
of less complex character it may be, it may happen that the
atoms are in a condition of indifferent equilibrium, such, for
instance, as that of the f rustrum of a pyramid standing on
a narrow section parallel to its base. Compounds in which
the atoms are in this state of indifferent equilibrium are, as a
rule, easily affected by light, separating under its action, and
arranging themselves in a different order. The sensitiveness
of the molecules of such compounds to light depends upon the
fact that the molecules are in a state of constant vibration.
The effect of the successive impact of the waves of light is
to increase the force of these vibrations until sufficient force is
generated to cause the atoms to overcome the attraction bind-
ing them together, when they arrange themselves in other
groups, forming different compounds.
The final effect of the waves of light in breaking down the
original arrangement of atoms, may be compared to the break-
ing down of a bridge under the increasing vibrations imparted
to it by a body of troops marching over it in regular step,
INTRODUCTION.
although the bridge might be capable of bearing double the
weight. In both, cases it is the regularity of the force com-
municating the vibrations which produces the result. That this
theory is correct is shown by the observed fact that the bodies
employed for photographic purposes are chiefly affected by the
shorter waves of light, the quickly repeated blows increasing
more rapidly the force and extent of the vibrations, and pro-
ducing a more rapid breaking up of the atoms.
One more remark may serve to explain why in some print-
ing processes the change in atomic composition is so great as
to be visible to the eye, as in the case of prints on the ordin-
ary silver paper ; while in others, the change is so slight that
the eye detects no alteration in physical appearance, as, for
instance, in prints on bromide paper. This difference is due
to the fact that the number of molecules affected in a brief
interval of time is so small that the atomic change is invisible
to the eye, or so like in physical appearance to the former
condition as to escape detection until the application of the
developer has rendered the change visible. The difference
between the two images is not one of chemical composition,
but merely of the number of molecules changed.
In the case of prints in silver the commonly accepted
theory of the change produced by the action of light is that
the molecule of silver chloride, Ag 2 Cl 2 , breaks up into one
molecule of silver sub-chloride, Ag 2 Cl, and one of chlorine,
Cl. But if silver chloride is exposed in the presence of free
silver nitrate, as is the case with sensitized paper, then fresh
silver chloride is formed and hypochlorous acid is liberated,
which is a compound of oxygen and chlorine. In practice it
has been found that the darkening of the silver chloride takes
place much more rapidly when some chlorine absorbing sub-
stance is present. Hence the common practice of fuming
with ammonia, a chlorine absocber, although as vigorous
prints may be produced by the addition of ammonium nitrate
or potassium nitrate to the sensitizing bath.
It is to be remarked that the above theory of the action of
light upon a sensitive silver surface, which is that of Captain
Abney, of England, is disputed by many photographic chem-
ists in this country. Professor Newberry, of Cornell IJni-
14 INTRODUCTION.
versity, a high authority, denies the existence of the sub-
chloride, and claims that all the nitrate is converted into
chloride. The subject is involved in great obscurity, and at
present neither theory is to be implicitly accepted as the true
one.
Many organic substances are capable of forming definite
compounds with soluble silver salts, and the effect of the action
of light is then made more complex. In the case of albumen
paper sensitized on a solution of silver nitrate, an albuminate
of silver is formed, and by the action of light the silver is
reduced to a condition of organic oxide, unaffected by sodium
hyposulphite, which dissolves the undarkened albuminate.
This is a brief statement of the action of light upon the
compound of silver in common use by photographic printers,
andi it will serve to explain the changes produced in com-
pounds of other metals occasionally employed for printing
purposes, the ferric and uranic compounds being reduced to
ferrous and uranous, which are amenable to the action of vari-
ous developing agents. Salts of other metals are, as a rule, too
insensitive to the action of light to be of value even for con-
tact printing.
RESUME OF PRINTING PROCESSES.
The fundamental principle underlying all the various meth-
ods of photographic printing is that of molecular change pro-
duced in the sensitive compound by the action of light. In
most of the processes this change is visible in all its stages,
subsequent manipulations only serving to change the color of
the image and to give it greater permanence. To this class
belong all the well-known printing-out methods, the general
characteristic of all being the greater or less degree of visibil-
ity of the impression when taken from the printing-frame ;
the main point of difference being the nature of the sensitive
medium employed, usually, iron, uranium, silver, or platinum
and iron together.
There is, however, an interesting class of printing methods
in which the nature and extent of the molecular change pro-
duced by the action of light is visible only after developing or
INTRODUCTION. 15
reducing agents nave been employed; these bring out the
latent image and affect its color tone.
Each of these two classes of printing methods has advan-
tages peculiar to itself , advantages which will probably pre-
vent either from supplanting the other. Of the first group,
that of printing-out methods, the chief advantages are the ease
and certainty with which an image of any desired strength
and modification can be obtained ; its adaptability to double or
combination printing ; and the wide range of tone which it is
possible to give to the finished print. Among the advantages
of the second group we may mention the following : rapidity
of reproduction ; artistic beauty of result ; and, probably,
greater permanence.
Historically speaking, the first family must claim precedence.
It belongs to the antiquities of photography. It was ^he
method first employed by the pioneers in photographic re-
search; it is the one by which photography is generally
known to the public of to-day, and it includes by far the
greater number of printing methods commonly practised at
the present time. It rightly, therefore, claims the first place
in our consideration.
PHOTOGRAPHIC
PRINTING METHODS
CHAPTER I.
PRINTING WITH IRON AND URANIUM COMPOUNDS.
ACCORDING to the investigations of Sir John Herschell, the
double citrate of iron and ammonia is more readily acted upon
by light than any of the other iron salts, the double oxalate of
iron and potassium ranking next. As printing with the latter
compound has none other than an experimental value, it will
not be treated of in these pages.
The law upon which the process of printing with salts of
iron is based, is that the ferric salts are by the action of light
reduced to the ferrous salts, which are capable of being acted
upon by various toning agents, such as potassium ferri-cyanide,
gold chloride, platinic tetrachloride, mercuric chloride, potas-
sic bichromate, cupric chloride, etc.
The developing solution most commonly employed is potas-
sic ferri-cyanide, and for its" use two methods are adopted,
one being to coat well-sized paper with the solution of the
iron salt, dry, print, and tone on a solution of potassic ferri-
cyanide. The other and more convenient method is to coat
the paper with a mixed solution of iron and ferri-cyanide and
to fix the print in water.
If the first method be chosen, the following mode of pro-
cedure is to be adopted :
Citrate of iron and ammonia, 154 grains.
Water (distilled), - 25 drains.
Apply this solution to the paper with a brush or sponge, or
float the paper on it from one to three minutes. When dry,
expose under the negative until a faint image is visible. For
18 PHOTOGRAPHIC PRINTING METHODS.
a blue print immerse in a solution of potassium ferri-cyanide,
one to ten. When the image is fully developed or toned,
wash thoroughly in water, adding a little citric or acetic acid
to the first wash water. This will dissolve out all the soluble
salts and leave the blue image unchanged.
If a purple image is desired, immerse the print in a neutral
solution of gold chloride ; gold, one grain, water, four ounces.
The reduction of the gold takes place according to the law
that the ferrous salts reduce salts of gold to the metallic state.
To fix the pictures they are immersed in a bath of dilute
hydrochloric acid and then well washed. This process gives
the once noted chrysotype. Other tones may be produced by
immersing the prints in a very dilute solution of platinic
tetrachloride, mercuric chloride, cupric chloride, or potassic
bichromate, of about the same strength as he gold solution
mentioned above, always using the acid bath, followed by
copious washing. These methods give very pleasing results
and are worthy the attention of amateur printers. I cannot
vouch for the permanency of prints so made, as I have not
experimented with a view to test for permanency, but I have
no doubt that the results are at least reasonably permanent if
pure chemicals, water, and paper be used. Greater exposure
will be found necessary with the salts of gold, platinum, etc.,
than when the ferricyanide is employed.
An interesting method of developing prints on paper pre-
pared with the double salt of iron and ammonia is to float them
on a 40 grain solution of silver nitrate to which a few drops of
gallic acid and acetic acid have been added. The silver nitrate
is reduced to the metallic state by the ferrous salt, and the me-
tallic silver is deposited where the ferrous salt was present.
The gallic acid causes a further reduction of silver, and an
image in metallic silver is formed, which is presumably per-
manent,
I now come to the more usual method of using the citrate of
iron in conjunction with the ferricyanide, thus uniting sensi-
tizer and developer. This process has simplicity to recommend
it, and when at its best it gives very charming results. But to
insure the highest degree of excellence in blue prints, the fol-
lowing points must be most carefully attended to :
PHOTOGRAPHIC PKIXTIXG METHODS. 19
1. The chemicals should be pure.
2. The paper must be free from deleterious matter.
3. A few grains of bromide should be added to the mixed
solutions ; this confers greater keeping power to the paper, and
adds to the density of the prints.
4. The first wash water should contain a little citric or h ydro-
chloric acid, and the after washing should be most thorough.
5. The paper should be sensitized in a dim light, or pure
whites will be unknown.
6. The paper should be sized. Albumen coagulated by heat
is undoubtedly the best sizing, but the following arrow-root
sizing will prove satisfactory : 1 54: grains of arrow-root, rubbed
up with cold water, then poured into 25 ounces of boiling
water, and 6 ounces of alcohol added. Float the paper on
this solution for two or three minutes, and suspend to dry by
the en 1 which left the solution last, in order to equalize the
coating.
Good blue prints can be made without attention to these
points, but all the capabilities of the process will show them-
selves only when they are observed, and the good workman
will always try to bring out the best there is in every process
he experiments with.
Various formulae for sensitizing.
1. A Red prussiate of potash, - - 1 ounce.
Water, - 8 ounces.
B Citrate of iron and ammonium, - 1 ounce.
Water, . 2J ounces.
One part of B to two parts of A.
2. A Red prussiate of potash, - - 48 grains.
Water, - 1 ounce.
B Citrate of iron and ammonium, - 64 grains.
Water, - - 1 ounce.
(For dense negatives use 108 grains of citrate.)
Keep solutions separate and in the dark, until wanted for
use ; then mix A and B in equal parts, or one part of A with
two parts of B, as less or more intense prints are desired. .
3. A Citrate of iron and ammonium, - - !_% ounces.
Water, - 8 ounces.
B Red prussiate of potash, - - 1}^ ounces.
Water, - 8 ounces.
20 PHOTOGRAPHIC PRINTING METHODS.
Mix equal parts when wanted.
4. A Citrate of iron and ammonium, - - 5}^ drams.
Water, - - 5 ounces.
B Red prussiate of potash, - - 6^ drams.
Water, ? ounces.
Mix equal parts immediately before using.
Nos. 4 and 5 are recommended by the Photographic Times,.
and are thoroughly reliable.
5. A Citrate of iron and ammonium, - 2 ounces.
Water, - 8 ounces.
B Red prussiate of potash, - - 2 ounces.
Water, - - 8 ounces.
Mix A and B in equal parts just before using. Keep solu-
tions in the dark.
To sensitize paper for blue prints, lay the paper on a piece
of clean glass, clipping it at the corners. Apply the solution
with a piece of soft sponge, squeezed into the mouth of a short
bottle. Dip the sponge in the solution, and squeeze moderately
dry ; than go over the paper in one direction ; again dip the
sponge and go over the paper once more at right angles to the
first strokes, carefully avoiding streaks, which will occur if the
sponge contains too much of the solution. When sensitized,
the paper should present an even golden hue.
The paper should be dried in the dark and used at once.
Print until the shadows are bronzed.
If, after the paper is washed, the sky and highest lights are
perfectly white, the color can be deepened by immersing the
prints for a few seconds in the following solution :
Saturated solution sulphate of iron, - 4 ounces.
Sulphuric acid, - 4 drams.
Water, - 4 ounces.
Or the following :
Acetate of lead, - - - 2 ounces.
Water, - 8 "
With the latter bath, the printing should be quite dark.
To give blue prints a green tone, print rather light, well
wash, and immerse in the following bath :
Water, - 8 ounces.
Sulphuric acid, - 1^ dram.
PHOTOGRAPHIC PRINTING METHODS. 21
For brownish-black tones, injmerse for five minutes, after
Trashing, in a solution of :
Tannic acid, - 1 dram.
Water, - 4 ounces.
Then change to a solution of :
Carbonate of soda, 1 dram.
Water, - 5 ounces.
Leave the prints in this solution for one minute ; then
change back to the tannin solution. Repeat this until the
print has assumed a deep wine color; than wash and dry.
When dry, the print will be almost black, but the whites will
have a slightly reddish tinge.
The following process is recommended by the Scientific
American for producing dark-brown tones :
Dissolve a small piece of caustic potash in five ounces of
water. Immerse the blue prints in this solution until they as-
sume a pale orange-yellow color. When all the blue tint has
disappeared, wash in clean water. Now dissolve a partly
heaped -up teaspoon fui of tannic acid in eight or ten ounces of
water. Place the yellow prints in this bath, and allow them
to remain until they are as dark as you desire. Then take
them out, wash well, and dry.
SEPIA TONES.
Wash the prints thoroughly ; place them in the tannin bath
mentioned above, for a few minutes ; then change to the soda
solution, and repeat several times, but be very careful not to
allow the soda bath to act too long.
LILAC TONES.
These may be obtained by immersing the washed prints in
a dilute solution of ammonia, but the color is not permanent,
and numerous experiments of my own have thus far failed to
remedy this defect.
I have introduced some of the various ways which have
been adopted to change the color of blue prints, more 'as a
matter of interest to experiment-loving amateurs than because
I believe them to have any practical value. In no case are the
colors as brilliant as that of the original blue print, and the
permanency of these metamorphized prints is more than
22 PHOTOGRAPHIC PRINTING METHODS.
doubtful. That there is a future in store for the iron process
I do not doubt, but I do not think that it will conie in any of
these ways, but by some after treatment of prints made on
paper sensitized with the iron solution alone, in some such way
as platinum prints are produced, which are nothing more than
a development of the iron process.
In my own experiments I have met with the best results by
subjecting prints on iron sensitized paper to the action of
various toning agents, notably the tetrachloride of platinum in
the proportion of one grain to an ounce of water, followed
by subsequent washing in dilute hydrochloric acid, and a
thorough washing in clean water.
BLUE PRINTS.
Collanchi^s Method. Well-sized paper is coated twice with
a solution made as follows :
Water, - - 90 parts.
Citric acid, - f parts.
Chloride of iron, | parts.
Gum arabic, - - xV P ar ts.
The prints are developed by floating on a twenty-four per
cent, solution of ferricyanide of potassium.
PizzeghiUZs Method. The following three stock solutions
are made up :
A Water, 100 parts.
Gum arabic, - 20 parts.
B Water, 100 parts.
Chloride of iron, - 50 parts.
C Water, - 100 parts.
Ammonio-citrate of iron, - 50 parts.
The sensitizing solution is as follows :
Solution A, 20 parts.
Solution B, - 6 parts.
Solution C, 8 parts.
The mixture immediately thickens, but after standing for
some time it resumes its original tenuity. It is then ready for
applying to the paper either with a brush or sponge, or prefer-
ably by floating from two to three minutes.
The paper prints very rapidly, and it is well to use slips of the
sensitized paper to determine the proper exposure. The prints
PHOTOGRAPHIC PRINTING METHODS. 23
are developed with a twenty per cent, solution of ferricyanide
of potassium, either by brushing the solution on the face of the
print or by floating. Whichever method be adopted care must
be taken not to allow any of the developer to touch the back
of the print.
As soon as the print has gained sufficient vigor, it is rinsed
in water, then immersed for a short time in dilute hydrochloric
acid, and finally washed in clean water.
POITEVIN'S PROCESS.
This process is based on the fact that ferric salts possess the
property of making gelatine insoluble.
The paper is first floated on a warm solution of gelatine
(1 to 15), to which some suitable pigment has been added.
When dry, it is sensitized by immersion in the following
simple solution :
Ferric chloride, - - 480 grains.
Tartaric acid, - 144
Water, - 10 ounces.
The paper is dried in the dark. The effect of the action of
light is to convert the ferric chloride to ferrous chloride in
those parts on which the light has acted, thus rendering the
gelatine coating soluble in hot water, where it is in contact
with the ferrous salt.
It will be seen, therefore, that a reversed positive is neces-
sary to yield a positive print. When sufficiently printed, the
image is developed by simple immersion in hot water. The
insoluble parts remain on the paper and form the image.
The great drawback to the process is the necessity of print-
ing f rom reversed positives, but it is probable that this defect
might be remedied.
PELLETT'S PROCESS.
BLACK LINES ox A WHITE GROUND.
Gum, - - 385 grains.
Sodium chloride, - 46 grains.
Tartaric acid, - 62 grains.
Perchloride of iron, 123 grains.
Water to make up to - - 3% ounces.
24:
PHOTOGRAPHIC PRINTING METHODS.
Highly sized and smooth paper is to be evenly coated with
this mixture, dried in the dark, and exposed under a negative.
Develop with a saturated solution of ferricyanide of potas-
sium. Fix in a 1-10 solution of hydrochloric acid.
PRINTING WITH URANIUM SENSITIZING SOLUTION.
1. Nitrate of uranium, - - 616 grains.
Water, 7^g ounces.
DEVELOPING SOLUTIONS.
FOR BROWN TONES.
A. Ferricyanide of potassium,
Nitric acid,
Water, ....
FOR GRAY TONES.
B. Nitrate of silver,
Acetic acid,
Water,
15 grains.
2 drops.
8% ounces.
80 grains.
4 drops.
11 drams.
The paper is floated eight minutes on the sensitizing bath.
When dry, it is exposed under the negative, and then developed
by floating on either of the baths A or B. After develop-
ment, wash thoroughly in water slightly acidulated with
hydrochloric acid.
If the print when floated on solution B lacks vigor, add a
few drops of a saturated solution of gallic acid.
Uranium prints may be toned with gold, platinum, or other
salts.
PHOTOGRAPHIC PRINTING METHODS. 25
CHAPTEE II.
THE SILVER BATH.
The usual method of rendering paper of any kind sensitive
to light is to float it for a varying length of time on a solution
of silver nitrate, having previously salted it, if it be plain
paper, with some chloride, usually chloride of ammonium. The
function of the chloride is to convert the nitrate of silver into
the chloride of the same metal. In practice it has been found
that the strength of the silver bath should not fall below thirty
grains of silver to the ounce of water, lest the albumen be dis-
solved ; and that, save in exceptional cases, there is no need of
a greater strength than sixty to sixty-five grains to the ounce.
The precise strength necessary to produce the best results
with any given brand of albumen paper depends upon the
amount of chloride used in salting ; a paper weak in chloride
requiring a weak bath, while one rich in chloride demands a
strong one.
In the absence of any intimation from the dealer of the
strength of the salting of any paper, it may be determined by
the following method, for which I am indebted to another
volume of this series (" The Art and Practice of Silver Print-
ing*'): " Cut up a quarter sheet of paper into small pieces, and
place them in a couple of ounces of alcohol. This will dis-
solve out most of the chloride, and should be decanted off".
Another two ounces of alcohol should be added to the paper,
and, after thoroughly soaking, should be decanted off and
added to the other spirit. The spirit containing the chloride,
may then be placed in a glass vessel standing in hot water,
when it will evaporate, and leave the chloride behind. It may
be weighed, but since it is better to know how much silver
chloride would be formed, the residue should be dissolved in
a few drops of water, and a little silver nitrate added. The
silver chloride will be precipitated, and should be carefully
washed with water, and then be filtered, the paper being
26 PHOTOGRAPHIC PRINTING METHODS.
opened out and dried before a fire on filter paper. The
chloride is then detached and weighed ; three and a half grains
of silver chloride would show that a weak bath should be
used, whilst ten grains would show that a strong bath was
required."
The strength of the negatives to be printed from has also
to be considered in determining the strength of the sensitizing
bath. A strong, hard negative will give better results on
paper floated on a weak bath, say thirty-five grains to the
ounce, and should be printed in the sun, for the reason that
an intense light diminishes contrast. A weak negative on the
other hand demands a strong bath, seventy-five or eighty
grains to the ounce, and printing in diffused light to increase
contrast. In cold weather the strength of the bath should be
increased.
Preparation of the Bath. First settle upon the strength of
the bath and the number of ounces required ; then weigh out
the requisite number of grains, placing a piece of filter paper
in each scale-pan, as a safeguard against accidental impurities.
Place the silver in a clean bottle, and add to it the proper
amount of water, which should be distilled, or- boiled and fil-
tered. If the water contains any chlorides, they will make
their presence known by a milkiness in the solution, which
should then be filtered. Your bath is now ready for imme-
diate use, unless you wish to add some other soluble salts to it,
as chlorine absorbers ; in this case, sodium nitrate or ammonium
nitrate will serve your purpose, adding as much of either as
your silver weighed. In hot, dry weather the addition of one
of these salts will be found advantageous, as tending to pre-
vent that excessive dryness of the paper which is fatal to the
best results. The best prints are obtained from paper which
is not entirely free from water, for the reason that with very
dry paper the chlorine liberated by the action of light is apt to
attack the albuminate of silver, one of the compounds formed
when albumen paper is sensitized with silver.
Many printers are in the habit of adding alum to the sensi-
tizing bath, to prevent it from discoloring and to harden
the albumen. The best way to add it, is to place a small
piece of alum in the filter paper before filtering, or you may
PHOTOGRAPHIC PRINTING METHODS. 27
add one grain of alum to every ounce of solution, and then
filter.
Never allow the bath to remain acid from the addition of
nitric acid, as the acid attacks the albumen. Keep the bath neu-
tral by the addition of a little carbonate of silver, which may
be done by occasionally adding a few drops of sodium carbon-
ate, which precipitates silver carbonate from a solution of sil-
ver nitrate.
FORMULAE FOR SENSITIZING BATH.
FOR VERY STRONG NEGATIVES.
1. Silver nitrate, - - 35 grains.
Water, 1 ounce.
Print in full sunlight.
FOR THIN NEGATIVES.
2. Silver nitrate, - - 80 grains.
Water, 1 ounce.
Print in the shade.
3. Silver nitrate, - - 60 grains.
- Ammonium nitrate, 60 grains.
Ammonia, - 2 minums.
Water, 1 ounce.
This is the bath I commonly use, and the resulting prints
have always satisfied me. To keep it in good order, it is only
necessary to strengthen as required, and to add a few drops of
ammonia occasionally.
The bath yields prints that tone with remarkable ease and
richness with or without fuming ; preferably without.
4. Silver nitrate, 60 grains.
Sodium nitrat, - - 60 grains.
Alcohol, % dram.
Water, - - 1 ounce.
For prints on plain, resinized, gelatinized paper and leath-
erized paper :
5. Silver nitrate, - - . - 60 grains.
Gelatine, - - 5 grains.
Water, - 1 ounce.
C. W. HEARN'S.
6. Nitrate of silver, 40 grains.
Distilled water, - - 1 ounce.
To every twenty ounces of solution add one dram of saturated
solution of carbonate of soda. The bath will at once assume a
2S PHOTOGRAPHIC FEINTING METHODS.
creamy color; allow the solution to settle, then decant and
filter. Carbonate of silver will deposit in the bottle, and this
will take the organic matter from the bath and prevent it
from discoloring. Allow the carbonate to remain in the bath,
pouring the solution back upon after using. Then shake well
and the bath will soon be ready for use again.
Keep the bath up to its full strength and occasionally add
a few drops of the carbonate of soda solution.
THE AMMONIO-NITRATE OF SILVER BATH.
Nitrate of silver, 2 ounces.
Water, - 16 ounces.
When the silver is dissolved, take one-fifth of the solution,
and add strong ammonia drop by drop until the brown oxide
of silver first formed is redissolved, and then add it to the re-
maining four-fifths. Oxide of silver will again be formed,
which is to be redissolved with pure nitric acid, care being
taken to add only enough to redissolve the oxide. The solu-
tion will be slightly alkaline, and is not liable to turn red un-
less allowed to become impoverished of silver.
This bath gives pure rich tones of a bluish-black, without
the use of the gold toning bath, but a small amount of chlor-
ide of gold should be added to the hypo bath.
This bath, although increasing sensitiveness and deepening
the intensity of the prints, is now but little used, for the rea-
.sons that it does not coagulate albumen, that it is more liable
to spontaneous change, and more easily discolored by organic
matter, than the plain silver bath, and that free ammonia is
liberated, which is a solvent of chloride of silver, which it
attacks, giving rise to white lines and transparent markings.
On plain paper it gives a velvety appearance to the prints,
which can hardly be obtained with simple nitrate of silver.
I have found that the method of applying it, recommended
by Hardwich, is better than floating. The paper to be sensi-
tized is laid down on blotting paper, and the solution evenly
applied with a broad camel's-hair brush, used for that purpose
only and kept scrupulously clean.
PHOTOGRAPHIC PRINTING METHODS. 2
FLOATING THE PAPER.
It will be found a great saving of time to float at least a
half sheet of paper, 11 inches by 18, and for this size a tray
12 inches by 19, and 3 inches deep will be required. A wooden
tray coated with asphalt varnish is cleanly and cheap. There
should be enough of the bath poured in to cover the bottom of
the pan to a depth of at least half an inch, and it should have
been most carefully freed from all impurities before the sensi-
tizing is begun. Impurities and air-bubbles are the two great
enemies of the sensitizing-room. Now grasp the paper by the
two opposite corners, albumen side down, bring the hands
together, and lower the convex side to the surface of the bath ;
separate the hands, and the paper will float on the surface. If
it shows an obstinate tendency to curl up, gently breathe upon
it. This difficulty may be overcome by placing the paper, the
night before sensitizing, in a damp place. Now raise one
corner and look for air-bubbles. If any are found, break
them with the point of a glass rod, and again lower the paper.
When it has floated the proper length of time, raise it by one
corner very slowly, until another corner is free, which is then
grasped by the other hand and the paper slowly withdrawn,
allowed to drain a minute into a dish, and hung up by one
corner to dry in the dark, or yellow light.
Some sensitizers draw the paper over a glass rod placed at
one end of the dish, but there is some danger of streaks ; others
blot the paper when taken from the bath, but this practice
is attended with danger, owing to the impurities present in
most blotting-paper. If desired, the paper, when surface-dry,
can be dried in a drying-box, which is easily made by con-
structing a box 30 inches long, 14 inches long, and 10 or 12
inches deep, with a hinged or sliding door. In one end, cut a
hole six inches in diameter, and cover it on the inside with an
inverted tin dish of the proper size. Fasten the box against
the wall, with the end in which the hole was cut, high enough
fiom the floor to allow a lamp to be placed underneath. About
two inches from the top, string some wires two inches apart ;
on these suspend the paper by clips at two corners, close the
door and light the lamp ; the paper will soon be dry enough
for printing or fuming.
30 PHOTOGRAPHIC FEINTING METHODS.
Time of Floating. This is largely determined by the
strength of the bath ; a strong bath requiring, as a rule, longer
floating than a weak one, for the reason that the albumen is
coagulated more slowly ; from one to three minutes seems to
be the common practice.
MANAGEMENT OF THE SILVER BATH.
To secure good results with any form of the silver bath, two
points must be most carefully attended to, viz. : its strength and
its freedom from impurities. Every sheet of paper sensitized,
weakens the bath by depriving it of a portion of its silver.
This loss must be made good, or the forgetful amateur will
soon have the unpleasant surprise of seeing the albumen dis-
solve off the paper into the bath. Two methods are employed
to keep the bath up to its original strength ; one is to add a
few drops of an 80-grain solution after every four sheets are
sensitized. The other requires the possession of an argento-
meter, or hydrometer, an instrument for testing the specific
gravity of liquids;. the argentometer being an hydrometer
graduated to register grains of silver to the ounce of water.
To use it, the glass jar which accompanies the instrument is
partly filled with the solution, the hydrometer gently dropped
into it, and allowed to come to rest. The number of grains of
silver to the ounce is known by the number of degrees on the
scale to which the instrument sinks. This being know, and
the total number of ounces of the solution measured, it becomes
an easy matter to determine how much silver must be added to
bring the bath up to its original strength. If you have a total
quantity of 12 ounces of solution, and the hydrometer registers
35, while your original solution was made up at 60 grains to the
ounce, the bath have evidently lost 25 grains for each ounce of
solution. This amount, then, must be restored to it in the
shape of fresh crystals of silver nitrate ; in this case 25 x 12,
or 300 grains of silver.
METHODS OF REMOVING IMPURITIES.
The chief source of contamination to the bath is organic
matter carried into it from the paper, in time causing a brownish
or reddish discoloration of the solution, which must be
PHOTOGRAPHIC PRINTING METHODS. 31
removed, since paper floated on such a bath is darkened and
unevenly sensitized. Several methods are in common use to
get rid of this discoloration. The earliest, and perhaps one of
the best, is to add a teaspoonf ul of kaolin to the solution, which
is then well shaken up. The organic matter adheres to the
kaolin and soon settles to the bottom of the bottle with it.
When this has taken place, the solution is filtered, and it
is again ready for use. Another method, which has the
advantage of delaying sensitizing but a moment, is to add
1 dram of a 10 per cent, solution of permanganate of potash to
the bath. The theory of this addition is that the oxygen
liberated from the permanganate oxidizes the organic matter,
which then falls to the bottom of the dish. This method,
although good in emergency, does not leave the bath absolutely
pure.
A favorite plan with many is to add a dram or two of a
saturated solution of camphor, shake well, and filter ; repeating
the operation if the bath is not decolorized by the first treat-
ment.
Still another method is to add a few drops of hydrochloric
acid to the solution ; this forms chloride of silver, which settles
to the bottom, carrying the impurities with it. This is a very
effective method, but leaves the bath acid from the formation
of nitric acid ; the solution must therefore be neutralized with
ammonia or carbonate of soda.
My own method is to add a few grains of sodium carbonate
and set the bottle in the sun. The organic matter soon
becomes oxidized, and finally settles to the bottom ; the solu-
tion may then be filtered or decanted.
To complete this part of the subject, I add a description of the
boiling method which is sometimes necessary in the case of an
old bath, which, in addition to organic impurities, contains an
excess of the soluble salts with which the paper was salted.
Evaporate the bath, by boiling or otherwise, to about half its
bulk. Then add 10 drops of nitric acid for every 20 ounces of
solution. Next add some granulated zinc ; this causes the sil-
ver to precipitate in the metallic state ; the precipitation is
complete in two or three hours ; pour off as much of the fluid
as possible, and pick out all the zinc possible ; then add hydro-
32 PHOTOGRAPHIC FEINTING METHODS.
chloric acid to dissolve the remaining pieces of zinc. Filter the
solution, and wash the deposit on the filter paper once or twice
with water. Then dry the filter paper in the oven ; remove
the silver and place it in a crucible, which is to be brought to
a red heat by any convenient means. ]S~ow cover the silver
with nitric acid ; place the mixture in an evaporating dish and
slightly warm it. When red fumes cease to appear, add more
acid until nearly all the silver is dissolved. Evaporate off all
the fluid, and set aside to cool ; then add water, but be sure
to keep it over strength for the bath. Test with the argen-
tometer, and add the amount of water necessary to give the
proper strength for sensitizing.
POINTS IN SENSITIZING.
1. Have the paper damp before silvering.
2. Before floating ascertain the condition of the bath as to
strength and alkalinity.
3. Do not allow the paper to become bone-dry before print-
ing if you wish to have rich prints. Of course, it must be dry
enough not to adhere to the negative ; anything more than this
is not only useless, but fatal to securing the best results.
PHOTOGRAPHIC PKIXTIXG ME i HODS. 33
CHAPTER III.
FUMING A X D PRINTING.
Is FUMING necessary, or is it not ? This is a question on
which the authorities differ. It is claimed that fuming pre-
vents measles, yields pluckier prints, and makes toning more
easy. In America, it is the almost universal practice, while it
is by no means common in England and on the Continent.
But it must be borne in mind that paper in which a little mois-
ture is present, yields better prints than one which is perfectly
dry, and that the prevailing humidity in England and the Con-
tinent prevents the paper from becoming too dry. In the hot,
dry summer weather of America, however, the paper quickly
becomes over-dry, and fuming is resorted to to impart the
necessary moisture. Paper sensitized on a bath containing
nitrate of ammonia or sodium will require little or no fuming.
My own practice is to use a strong sensitizing bath, float for
t\vo or three minutes, dry without heat, and omit the fuming.
If you wish to fume, however, the drying-box mentioned on
page 29 can be used by placing a saucer containing a dram or
so of strong ammonia in the box, and, about an inch above this,
a frame carrying a fine-wire screen, to equalize the distribution
of the fumes.
Time of Fuming. It is impossible to give any precise in-
structions on this point, so much depends on the quality of the
negatives to be printed from, the strength of the bath, the
quality of the paper, and the temperature. Hard negatives
yield better prints on paper which has had very little fuming,
as fuming promotes speedier bronzing in the shadows ; a weak
negative can be made to yield better prints by fuming. Some
brands of paper require more fuming than others, and in cold
weather fuming is to be carried on longer than is necessary in
warm weather. From 15 minutes to one hour may be taken
as the limits. The paper must be thoroughly dry before fum-
ing is begun.
34: PHOTOGRAPHIC PRINTING METHODS.
Printing. It may be laid down as a rule, admitting no excep-
tions, that a good negative is essential to a good print on silver
paper, which does not take kindly to thin, foggy negatives. The
negative must be plucky, having points of opacity for the
highest lights, and almost clear glass in the deepest shadows,
with an almost infinite range of tones between, if prints of the
highest order are desired. Given such a negative, no special
instructions for printing are needed, except to caution the
operator against printing in direct sunlight, save in the case
of extremely hard negatives. Print in diffused light, and do
not take the print from the frame until it is a shade or two
darker than it is intended to remain, as it reduces somewhat
in the toning and fixing bath. If some parts of the negative
print more rapidly than is desirable, they should be masked by
cotton wool arranged roughly to follow the outline of the sub-
ject to be masked.
The Printing Frame. A frame that is at least one size
larger than the negatives to be printed from is a great con-
venience. In the first place, in the larger frame the negative
will be printed to the very margins ; and in the second place,
the larger frame will be a great help if it is desired to vignette
clouds upon the print from another negative. A clear glass
plate of the same size as the frame may be used to support
the smaller negative.
Place the negative in the frame, film up, and upon it lay
the paper with the sensitive surface down, that is, next to the
negative. Put the back of the frame in its place and press it
down with the springs. The frame is now ready to be ex-
posed to the light.
Clouds may be printed in from a second negative by masking
the sky of the original negative with a piece of card-board, cut
in such a way as to follow the general outlines of the horizon;
when the landscape is fully printed, the paper and the negative
are removed from the frame, and the cloud negative sub-
stituted, care being taken to select one harmonizing with the
general sweep of the lines of the landscape, and that the light-
ing of the clouds correspond with that of the view. The
landscape is then masked with a piece of card-board, roughly
cut to the horizon lines, disregarding isolated tree tops, etc.,
PHOTOGRAPHIC PRINTING METHODS. 35
projecting into the sky ; the masK is constantly moved up and
down and sideways in order to secure a proper blending, but
avoiding getting it above the horizon line. As the progress of
the printing is easily seen by examination, the mask can be
manipulated to favor slow printing places, and to retard the
quicker ones.* Many landscapes are improved by vignetting,
a process which often gives them a delightful air of vagueness
and mystery. In the absence of a vignetting apparatus, a very
fair makeshift can be made of a piece of card-board having an
oval opening cut in it somewhat smaller than the negative. This
is fastened about half an inch above the negative, the opening
covered with a piece of ground glass or tissue, and the printing
done as usual. I have found that very serviceable vignetters
can be made of old paste-board boxes, large enough to cover
the printing frame ; the opening is cut in the bottom, the sides
are cut down to about two inches in depth, and the printing
frame is covered with it.
Odd-shaped prints, such as crescents, crosses, ovals, etc., are
easily produced by cutting an opening of the size and shape
desired in a piece of opaque paper, yellow post-office paper is
good for the purpose, and placing this over that part of the
negative which it is wished to print. Many very pleasing ef-
fects can be secured by this simple expedient.
PRINTING MAXIMS.
1. See that the paper is perfectly dry before placing it on
the negative.
2. Place one or more pads of thick felt over the paper, to
secure a firm and even pressure.
* A very simple and effective method of printing-in clouds is given in
"The Art and Practice of Silver Printing." The sky in the landscape
negative, if it be weak or have any defects as is commonly the case, must
be blocked out with black varnish on the glass side, the edge of the varnish
being softened off where required by dabbing it with a dabber made of
wash leather. When the landscape is printed, the negative is removed
and the cloud negative substituted for it ; the paper is then properly
adjusted and the whole frame is covered with a piece of zinc or card-
board curved at one end. The accompanying cut will explain the method.
The straight line is the sky negative, and its June
tion with the landscape is partly covered with the
curved shade. The printing must be done in diffused light.
36 PHOTOGRAPHIC PRINTING METHODS.
3. Do not open the back of the frame to examine the print
in a strong light.
4. Print in the shade, or direct sunshine, according to the
density of the negative.
5. Print until the shadows just begin to bronze, if the high-
est lights do not show more than a faintly perceptible tinge of
color. If they discolor badly, the negative will not yield the
best results.
6. Sensitize the paper on a bath likely to give the best re-
sults with the negatives to be printed.
7. To avoid co'ckling of the paper in the frame allow it to
remain a few moments at the same temperature and state of
atmospheric moisture under which the printing is to be done ;
then place in the frame.
8. When using masks, keep them moving.
9. In vignetting, change the position of the frame occasion-
ally to equalize the distribution of light.
10. Examine the print from the back as little as possi-
ble. Try to judge of the progress of the printing by the
amount of discoloration in the shadows visible through the
negative.
PRINTING ON READY-SENSITIZED PAPER.
With the advent of amateur photography, methods were
sought for preparing sensitized paper with good keeping quali-
ties and capable of yielding prints of as high a grade of excel-
lence as those from freshly-prepared paper, No great difficulty
was experienced in conferring good keeping qualities, but to
secure the excellence of fresh paper proved a task of no little
magnitude. While I do not believe that it is possible without
much extra pains and labor to secure as good prints on the
ready-sensitized paper as on the freshly-floated sheets, I
acknowledge the great convenience of having paper always
ready for instant use, to strike off a proof or to make finished
prints. It is certainly possible to make very beautiful prints
on the prepared article if one does not care for the darkest
tones possible with the fresh paper.
The following method of working will, I believe, secure the
best results with most of this paper. At least, it has never
PHOTOGRAPHIC PRINTING- METHODS. 37
failed in my hands, and I, therefore, recommend it with great
confidence.
The fact that it is the method recommended by Mr. A. D.
Fisk for the paper he sends out, and that I have found it to
work equally well on all other brands which I have tried, in-
duces me to recommend it as a perfectly satisfactory method.
Two things must be most carefully attended to in using any
brand of ready-sensitized paper: the free silver must be
thoroughly washed away after printing, and the acidity of the
paper must be reduced by an alkali bath before toning.
Neglect of either of these points is to fail to secure the best
possible results.
The following stock solutions are to be made up, each being
carefully filtered before use :
1. Gold chloride, - 15 grains.
Distilled or boiled water, - - 7^ ounces.
2. Sodium bi-carbonate (best English), - 480 grains.
Distilled or boiled water, - - Bounces.
3. Solution No. 2, % ounce.
Water, - -12 ounces.
No. 4. TONING BATH.
Not to be made up until wanted for use.
Solution No. 1, 1 ounce.
Solution No. 2, - - 1 ounce.
Distilled or boiled water, 15 ounces.
No. 5. FIXING-BATH.
Sodium hyposulphite, - 1 ounce.
Sodium chloride, 24 grains.
Water, - 5 ounces.
The printing should be one or two shades darker than the
tone desired in the finished print. When the printing is
finished, immerse the prints, faces down, one by one, in clean
water, being careful that each print is thoroughly wetted be-
fore introducing another. Keep the prints in constant motion,
turning them over now and then for five minutes. Pour off
the water and add fresh ; continue this until there is no further
trace of rnilkiness in the wash water. Place the prints in solu-
tion No. 3, and allow them to soak while you prepare the
toning bath No. 4. When the prints have soaked ten minutes
38 PHOTOGRAPHIC PRINTING METHODS.
in No. 3, transfer them to a dish of clean water to rinse them
off. ' Then transfer, one by one, to the toning bath, in which
they are allowed to remain until they assume the proper tone,
being constantly turned to insure equal toning. Tone to a
purple or lilac, wash in two or three changes of water, and
then place them for twenty minutes in the fixing bath No. 5 ;
a further immersal for ten minutes in a fresh fixing bath will
do them no harm. While in the fixing bath the prints should
be turned occasionally. The usual thorough washing for two
or three hours must follow.
The toning bath, solution No. 4, contains two grains of gold,
and will tone eight 5x8 prints ; if you have more than that
number of prints to tone, increase the proportions of No. 4 and
No. 5 accordingly. Never use the fixing or toning baths but
once.
The paper should be fumed 30 minutes.
The first condition for a good print is a good negative. The
"Photographic Times" says that "the baths best adapted to
ready-sensitized paper are those with borax, acetate, phosphate
or tungstate of soda, and a compound solution of these substances
known by the name of French azotate," and recommends the
following bath :
STOCK SOLUTION.
Chloride of gold and sodium, - 15 grains.
Water, - 15 ounces.
Pour two ounces of this into the toning dish, and test with
litmus paper, make alkaline with sodium bi-carbonate, and then
add twenty grains of acetate of soda and eighteen ounces of
water. Allow the bath to stand for half an hour before using.
The bath should have a temperature of about 65 deg. Fahr.
I can vouch for the good results attainable with this bath y
which is one eminently suited to cold weather, a time when
success in toning is attended with some difficulty.
WILLIS' PERMANENT SILVER PAPER.
Float the paper as usual. When surface dry, blot off the
edges and float the reverse side for about ten seconds on the
following solution :
Citric acid, - - - 462 grains.
Water, - - -
PHOTOGRAPHIC PRINTING METHODS. 39
Dry thoroughly, and store in a dark, dry place ; paper thus
prepared and kept will keep good for at least three months.
This same citric acid solution affords a simple means of pre-
serving paper which it is desirable to keep for some time. It
is only necessary to apply the acid with a sponge to the wrong
side of the paper. This method is to be preferred to that in
which the acid is added to the bath, since the acid does not
come in contact with the silver, and being washed away before
toning it does not injure the image, and toning is less tedious
than when the acid is added to the bath.
Preserving Sensitized Paper. A simple and effective
method of preserving ordinary sensitized paper is to store the
paper between sheets of blotting paper which have been pre-
viously soaked in a saturated solution of sodium carbonate
and well dried. A deep printing frame forms a good press
for the paper and pads. Paper thus protected, if it has been
floated on a bath containing a little alum, will keep good for
a long time, and will give as fine prints as those made on
freshly-prepared paper, and vastly superior to those made on
most of the ready-sensitized paper found in the market.
DEFECTS IN SILVER PRINTS.
[From " Hardwich's Manual of Photographic Chemistry."]
1. The Print is Marbled and Streaky. These defects are
often seen before the print is toned; if so, reject the prints.
But more often they are visible only after the toning.
Causes : a. The paper has been badly albumenized, the albu-
men having been allowed to drain off in streaks. 5. The sen-
sitizing solution may have drained off in the same way when
the paper was hung up to dry, consequently the paper prints
deeper where the current of silver has been running. It is
easy to distinguish between these two causes of failure. In
the first, the image is red and faint ; in the second, it is darker
and deeper. Remedies : For the first case, reject the sample
of paper ; for the second, blot the paper after sensitizing and
before drying.
2. The Prints are Clean on the Surface, but Streaky when
Examined by Transmitted Light. This is the measels and
is sure to destroy the photograph within a very short time.
40 PHOTOGRAPHIC PRINTING METHODS.
The appearance presented is that of a series of small, irregular
yellow patches. These consist of sulphide of silver and lie in
the texture of the paper. Causes : Too weak fixing solution ;
imperfect fixation, or a bad sample of paper. The remedies
are obvious.
3. The Print has a Cold and Faded Appearance when
Finished. a. Too weak silver bath. 5. Too short a time of
floating, c. The negative has not sufficient contrast, d. The
print has been over-toned. The remedies are self-evident.
4. Spots on the Surface. Due, if white, to spots of dust
either on the negative or the paper ; if black, to pin-holes in
the negative. Spots due to metallic particles in the paper can
always be distinguished from all other spots, as they have a
small black nucleus surrounded by a circle of white.
5. The High Lights are Yellow. Either, $. The paper has
become discolored through long keeping or excessive fuming ;
or 1}. The fixing bath has been acid, or the action of a neutral
one continued too long.
6. Intense Bronzing of the Shadows During Printing.
Causes : a. Too strong a silver bath. 5. Excessive fuming ;
or c.. Long-continued printing from a strong negative.
7. Yellow Spots on the Surface or Back of the Prints
Caused by the contact with hyposulphite of soda. This salt
should not be handled until the prints are toned.
Mealiness. A name given to the small red or white spots
which sometimes cover the surface of the prints. Dust on
the negative or the paper is sometimes the cause, but more
often the fault is due to the albumen. Paper which gives
mealy prints should be returned to the dealer.
The Print Refuses to Tone. Causes : a. Poor paper, b.
Long keeping of the print before toning, c. The toning bath
has been kept too long and lost its strength. In this case add
more gold, or, better still, make up a new bath.
PHOTOGRAPHIC PRINTING METHODS. 41
CHAPTEK IV.
TONING, FIXING AND WASHING.
No. 1. STOCK SOLUTION.
A. Chloride of gold, - 1 grain.
Water, - 20 ounces.
B. Acetate of soda, - 15 grains.
Water, - 1 ounce.
C. Saturated solution of sulphate of copper.
When solution is complete, add B to A, and add 10-15 drops
of C, allow to stand at least 24 hours before using. Tone only
until the half tones are somewhat bluish by reflected light.
This bath will keep.
No. 2. FOR BROWN TONES.
Chloride of gold, - 1 or 2 grains.
Acetate of soda, 60 grains.
Water, - 36 ounces.
Allow the solution to stand one hour, then add enough of a
saturated solution of sodium bicarbonate to make the bath alka-
line. Tone till the lights assume a delicate lilac tint. This
bath will not keep.
No. 3. FOK BLACK, YELVETY TONES.
Water, - 8 ounces.
Acetate of soda, - 15 grains.
Chloride of sodium . - 15 grains.
Nitrate of uranium, - 1 grain.
Chloride of gold, 1
Dissolve the acetate and chloride first. Dissolve the uranium
in one ounce of water, and neutralize with bicarbonate of soda
solution; then add it to the acetate and chloride solution.
Neutralize the gold with bicarbonate and add it to the bath.
Test for alkalinity; if not alkaline, add enough bicarbonate
solution to make it so. Allow it to stand some hours before
using. Print deep and tone well. Will keep.
42 PHOTOGRAPHIC PRINTING METHODS-
No. 4. FOR PURPLE AND BLACK TONES.
Water, - 30 ounces.
Gold, - 3 grains.
Add a few drops of a saturated solution of carbonate of
soda. Print deeply, and tone to color desired. Ready for in-
stant use, but does not keep.
No. 5.
Chloride of gold, 1 grain.
Tungstate of soda, 20 grains.
Boiling water, - 8 ounces.
Ready for use, as soon as cold. Keeps well.
No. 6. FOR RICH PURPLE TONES.
Phosphate of soda, - 20 grains
Chloride of gold, 1 grain.
Water, - 8 ounces.
Ready for instant use ; but does not keep well.
No. 7. PLATINUM BATH.
Bichloride of platinum solution, 30 drops.
Hypo, - 3 grains.
Hydrochloric acid (C. P.), 5 drops.
Water, - 5 ounces.
The platinum solution is made by dissolving enough of the
salt in one ounce of water to give it a rich, sherry color, a few
grains will suffice. This bath is slow, but good. It should be
warmed to 70 deg. Fahr., and the free silver should be well
washed out of the prints,
No. 8. BORAX BATH.
Chloride of gold, - 1 grain-
Borax, - 30 grains.
Boiling water, 8 ounces.
Ready for use when cooled down to 60 deg. Fahr. Gives rich
brown tones, and keeps well. An excellent bath for ready-
sensitized paper.
No. 9. FOR SEPIA AND BLACK TONES.
Chloride of gold, 2 grains.
Sat. sol. chloride lime, - 2 drops.
Chalk (precipitated) ... 3 grains.
Boiling water, - - - - 16 ounces.
PHOTOGRAPHIC PRINTING METHODS. 4:3
The chloride of lime solution is made by shaking a teaspoon-
ful of the chloride in a pint-bottle full of water. When the
solids have settled, decant the clear portion, which should be
kept in the dark.
Allow the bath to stand at least a day before using. It im-
proves with age.
For sepia, tone but very little, just off the red ; for a black,
tone to a deep purple.
No. 10. Equal volumes of No. 5 and No, 8.
No. 11. CHARLES "W. HEARN'S TONING BATHS.
WITH SAL SODA.
A. Distilled or ice water, - 64 ounces.
Acid sol. of chlo. of gold (4 grs. to 1 oz) - 1 ounce.
Saturated solution of sal soda, - % ounce.
Should be prepared one-half hour before use.
No. 12. WITH CHLORIDE OF LIME.
B. Water, - 40 ounces.
Chloride of lime, - 5 grains.
Chloride of gold, 4 grains.
If the chloride of gold is acid, it may be neutralized with
carbonate of lime.
No. 13. WITH CITRIC ACID.
A. Citric acid, 1 ounce.
Water, - 20 ounces.
B. Chloride of gold, 15 grains.
Water, - - 15 ounces.
STOCK SOLUTION.
Take of A two and one-half ounces, and make slightly al-
kaline with saturated solution of bicarbonate of soda ; of B
one-half ounce and sixty-four ounces of water.
When ready to tone take sufficient of the stock solution,
which should never be less than three or four days old, and
add thereto one ounce of gold solution B ; make alkaline with
bicarbonate of soda.
No. 14. THE PHOTOGRAPHIC TIMES TONING BATH.
Into seven and one-half ounces of water put seven and one-
half grains chloride of gold and sodium. Label the bottle
44: PHOTOGRAPHIC PRINTING METHODS.
containing the mixture, Chloride of Gold Solution. Combine
six ounces of water with one ounce of French azotate, to
which* add one and one-half ounce of the chloride of gold
solution.
No. 15. THE CHAUTAUQUA TONING BATH.
Dissolve fifteen grains of chloride of gold and sodium in
fifteen ounces of water. Take of this solution three ounces,
pour it in the toning dish, test for acidity with litmus paper,
and neutralize with bicarbonate of soda, and add thirty grains
of acetate of soda and thirty ounces of water. Prepare tho
solution an hour before using it.
If warm tones are wanted, add a little acetic acid to the first
washing water.
For this bath the sensitizing silver should be neutral, for
which purpose a small portion of carbonate of silver should be
kept in the silver stock bottle.
No. 16. SPAULDING'S TONING BATH.
STOCK SOLUTION.
Water, - 15 ounces.
Gold chloride 15 grains.
To make up a toning bath for twenty cabinet size prints,
take
Water - 10 ounces.
Soda bicarbonate, - 3 grains.
Common salt, - 6 grains.
Stock solution of gold, 3 ounces.
No. 17. THE PRICE FORMULA.
Into seven and one-half ounces of water dissolve fifteen
.grains chloride of gold and sodium, then add to it 300 grains
of acetate of soda and seven drops of a saturated solution of
chloride of lime.
This stock solution should be prepared at least twenty-four
hours before being used. Take one-half ounce of it and mix
with seven ounces of water.
No. 18. FOR SEPIA TONES.
A. Carbonate of potash, - 1 ounce.
Water. .-.-.. 4 ounces.
PHOTOGRAPHIC PRINTING METHODS. 45
B. Gold chloride, - , -15 grains.
Water, - . 7^ drams.
Solution A, after mixing and well stirring, is allowed to
stand until clear, when it is filtered and bottled for stock.
When wanted for use, add to ten ounces of water one dram of
A and twenty drops of B. This will tone one sheet and gives
a warm sepia. The bath will keep.
No. 19. Equal parts of No. 6 and No. 18. This is a grand
bath for rich warm tones, but it will not keep well.
No. 20. For resinized, gelatinized, leatherized, and plain
paper :
STOCK SOLUTION.
Gold chloride - 15 grains.
Water, - 7* drams. *
To make the bath, add two drams of the gold solution
neutralized with a pinch of chalk, to ten ounces of hot water.
Place two drams of acetate of soda in a quart bottle, and filter
the above solution into it ; make the bulk up to twenty
ounces. This bath can be used in a few hours, but it improves
by keeping.
When commencing to tone, place a few ounces of water in
the dish, and add an equal quantity of the above solution.
When the toning action begins to fail add more of the solution.
This is the bath recommended by Mr. Henry Cooper, the
originator of the resin process, and it will be found a very
good bath for fine work.
No. 21. SULPHO-CYANIDE OF AMMONIUM.
Chloride of gold, - 1 grain.
Sulphocyanide of ammonium, - - . 20 grains.
Water, , 2 ounces.
GENERAL DIRECTIONS.
No very definite instructions can be given in regard to the
actual operation of toning the prints. It may be laid down as
a general rule with most toning baths that the free nitrate of
silver should be well washed out, and that the proper amount
of gold solution needed to tone the prints in hand, must be
neutralized with precipitated chalk. One grain of gold is con-
sidered sufficient to tone one sheet of paper, except in the case
46 PHOTOGRAPHIC PRINTING METHODS.
oi ready-sensitized paper, which requires two grains at least to
the sheet.
When ready to begin toning, place the prints one by one into
the bath, face down ; do not try to tone more than six prints at
a time, unless you are using a large amount of toning solution.
Keep the prints in constant motion, turning them over
occasionally, and keeping careful watch over the progress of
toning, If you wish the warm tones, sepia, brown and purple,
remove the prints as soon as they show a lilac or purple tinge
in the half tones. For black, tone till the prints appear some-
what bluish, then remove, and wash in two or three changes
of water before fixing.
REMARKS ON THE GENERAL COMPOSITION OF TONING
BATHS.
It will be noticed that in all the formulae for toning solutions
an alkali of one kind or another is added to the gold.
This was not the practice of the early practitioners. Sulphur
was the agent first used for imparting a pleasing color to silver
prints, but the fugitiveness of the tones imparted by sulphur
led to a search for other toning agents, and sulphur was soon
discarded in favor of gold. Chloride of gold was added to the
usual hyposulphite of soda fixing bath. This process was
simplicity itself. The prints were immersed in the combined
toning and fixing bath immediately after leaving the printing
frame, no preliminary washing being necessary. The first ac-
tion of the bath was to dissolve the unchanged silver salts,
and to leave the image of the red color seen in a well-washed
print. The red color soon passed into a blue or black and the
toning was complete.
It was soon found, however, that the tone thus produced was
due partly to a deposit of gold and partly to the communica-
tion of sulphur. The older the bath, the more fugitive the
tints, for the reason that a freshly mixed bath toned the prints
by a deposit of gold, while an old bath toned by sulphuration.
Hence, the Sel d'Or bath, as the mixed bath was termed, was
soon discarded in favor of alkaline solutions of chloride of gold,
first introduced under the name of Button's alkaline toning bath.
The philosophy of the addition of an alkali to the gold solution
PHOTOGRAPHIC PRINTING METHODS. 47
is that an aqueous solution of gold deposits the metal on the
surface of the print too rapidly to give a pleasing tone.
Hardwich's theory is that the addition of an alkali to a
solution of chloride of gold forms an oxide of gold which
possesses no toning power, but which being decomposed by the
excess of chloride of gold, enables a larger quantity of the
metal to be thrown down without injury to the print from com-
munication of chlorine.
But the whole subject is involved in too much difficulty to
allow any theory to gain universal acceptance. One thing, how-
ever, is certain, viz., that it is not a matter of indifference
what alkali is added since the more the action is retarded, the
more ruby color becomes the deposit of gold. This is the
reason why some alkalis give purple tones, while others give
black.
Much more might be written on this interesting subject, but
enough has been said to give the operator an intelligent idea of
the action of the toning bath, and of the reasons for the ad-
ditions commonly made to it.
A bath weak in gold, because slower in its action, is to be
preferred to the more concentrated one usually employed.
The slowness of the action produces a more even and firm
deposit of gold and gives tones which will suffer little if any
change during fixing.
In this subject so good an authority as Mr. Andrew Pringle
writes : " All processes of deposition of one substance upon
another are more completely performed slowly than quickly.
* * * # g o j n toning. 1 take it that we shall have a
more complete deposit of metallic gold if we tone slowly by
using a solution not too strong in gold chloride." And Prof.
"W. K. Burton states that the more gold the image can be
made to take, the better and more permanent the result. A
rich deposit of gold is more surely given by slow toning than
by the quicker method commonly used.
THE FIXING BATH.
Its Purpose. The fixing bath is used to dissolve out all the
unchanged silver, which, even after toning, would darken on ex-
posure to light.
48 PHOTOGRAPHIC FEINTING METHODS.
Its Composition. The following is the best formula known
tome :
Hyposulphite of soda, - 4 ounces,
Water, 20 ounces.
Ammonia, - J^ dram.
The ammonia serves a three-fold purpose : it prevents the
possibility of an acid reaction, softens the albumen film, thus
shortening the operation of fixing, and it has a tendency to pre-
vent blistering. One ounce of solid hyposulphite will fix three
sheets of paper.
How long to Fix. The length of time required for complete
fixation varies somewhat with different brands of paper ; from
15 to 20 minutes is about right ; and in order to be on the safe
side, it is well to place the prints for ten minutes in a fresh bath
to dissolve out the hyposulphite of silver formed in the first.
MAXIMS FOR TONING AND FIXING.
1. Have your toning solution slightly alkaline, and at a tem-
perature of about 60 deg. Fahr,
2. Tone to sepia, purple, or blue, according as warm, brown,
or black prints are desired.
3. Keep the prints in constant motion in both toning and
fixing baths, avoiding air bubbles.
4. Make the fixing bath alkaline with ammonia.
5. Use a fresh fixing bath for each batch of prints, and pass
the prints through two fixing baths.
6. Wash thoroughly after toning.
7. Do not try to fix more than three sheets of paper with
one ounce of hypo crystals.
WASHING.
The final washing must be most thorough. Whatever may
be the true explanation of the fading of silver prints, it is cer-
tain that permanency is promoted by a liberal deposit of gold,
GDmplete fixation, and thorough washing.
I know of no better method of washing the prints than that
of allowing them to soak in a pan of clean water for two or
three hours, taking them out one at a time every fifteen minutes,
PHOTOGRAPHIC PRINTING METHODS. 49
allowing them to drain a moment or two from one corner, and
then place them in another pan of clean water. It is a good
plan also to lay the prints face uppermost on pieces of glass and
then to give them a good sponging, using plenty of clean
water. If this is done two or three times, and the prints
changed every fifteen minutes, two or three hours' washing will
eliminate nearly all traces of hypo. They should then be tested
for hypo, using the following test solution :
Permanganate of potash - 2 grains.
Carbonate of potash - - 20 grains.
Water - 40 ounces.
A few drops of this solution should be added to a pint of the
last wash water ; if any hypo is present the rose color of the
original solution ' will change to a greenish hue. If this test
detects hyposulphite, the prints may be immersed for a few
moments in the following hypochlorite solution.
STOCK SOLUTION.
EAU DE JAVELLE.
Dry chl. of lime (hypo chl. of lime), - 2 ounces.
Carbonate of potash, - 4 ounces.
Water, - 40 ounces.
Mix the chloride of lime with 30 ounces of the water . dis-
solve the carbonate of potash in the remainder. Mix, boil and
filter.
To use : to one ounce of the stock solution add twenty ounces
of water. Soak the prints for ten minutes in this dilute solu-
tion, and then wash for fifteen minutes. The prints are now
reasonably certain to be free from hypo, and will have as high
a degree of permanence as can be given to silver prints.
A limited number may be washed well enough in a tray.
Hock the tray occasionally or move them by continually slip-
ping out the bottom one and placing it upon the top. The
water should be changed seven or eight times, and during the
earlier part of the process the changes should be more frequent
than during the latter part. A thorough elimination of the
fixing solution is essential to the permanence of the photo-
graph. There is little danger, therefore, of continuing the
50 PHOTOGRAPHIC PRINTING METHODS.
washing too long. Some even allow water to run over the
prints all night. It is supposed bj many, however, that an
excessively prolonged soaking in water weakens the print.
THE HYPOCHLORITE OF ZINC HYPO ELIMINATOR.
This eliminator, a favorite one with German and Austrian
photographers, is now an article of trade under the name of
Flandreau's S. P. C. Hypo Eliminator. Accompanying the
package as purchased of the stockdealer, is a packet of iodide
of starch, of dark purple color, which, when brought into con-
tact with prints, or the water dripping from them, will bleach
immediately if only a trace of hyposulphite be present.
To remove these last traces of the obnoxious salt, a table-
spoonful of Flandreau's S. P. C. Hypo Eliminator, added to
one quart of the last washing water, and allowing the prints to
remain therein for a few moments, and then rinsing them off
again with pure water, will effect a thorough elimination, with-
out which albumenized paper prints will always be liable to
turn yellow or to fade.
The eliminator should not be used in large proportions, as
by too strong solutions the whole silver deposit might suffer.
RULES FOR PRINTING AND TONING IN COLD WEATHER.
1. Sensitize on a silver bath sixty-five grains strong.
2. Keep the silver and toning baths at a temperature of
TO deg. Fahr.
3. Before silvering, bring the paper to about the same tem-
perature as the bath.
4. Dry the paper thoroughly before and after fuming.
5. Fume thirty to sixty minutes.
7. "Warm the negative and pads before printing.
8 Do not print in the cold outer air.
9. Have the wash water and fixing solution at the same
temperature as the silver and toning baths.
Observance of these rules will insure plucky and well-toned
prints in the coldest weather.
PHOTOGRAPHIC PRINTING METHODS. 51
CHAPTER Y.
PRINTING ON OTHER THAN ALBUMEN PAPER.
As there are many who dislike the gloss of albumen prints, a
brief description of other papers is given.
PRINTING ON PLAIN PAPER.
Prints on plain paper form a good basis on which to color.
The two most common formulae are the following :
1. Chloride of ammonium, , -. 60 to 80 grains.
Citrate of soda, - 100 grains.
Chloride of sodium, - 20 to 30 grains, .
Gelatine, - 10 grains.
Distilled water, :- 10 ounces.
2. Chloride of ammonium, - 100 grains.
Gelatine, - 10 grains.
Water, - 10 ounces.
First swell the gelatine in cold water, then dissolve by heat
in the ten ounces of water, .adding the salts. The solution
is then filtered and the paper floated on it for three minutes.
Sensitize on a sixty-grain bath of silver nitrate. Print deep,
And wash, tone and fix as for albumen paper. Toning bath No.
20 is especially adapted for plain paper. Avoid over-toning.
Excellent prints may be made on drawing paper by this
method.
PRINTING ON RESINIZED PAPER.
The term resinized has been given to paper coated with
resins in place of albumen. Such paper gives prints of wonder-
ful softness and delicacy, and tones easily. The process
deserves more attention than it has yet received. Three for-
mulae are given, of which I would especially recommend No.
3 for the soft and delicately graded tints it gives.
No. 1. BERTRAND'S.
Immerse plain paper for three minutes in the following
solution :
52 PHOTOGRAPHIC PRINTING METHODS.
Alcohol, . 20 ounces.
Benzoin, - 2 ounces.
Chloride of cadmium, 1 ounce.
"When dry, sensitize on a sixty-grain bath. Print deep, well
wash, and tone in bath No. 21. Fix and wash as for albumen.
No. 2. MR. HENRY COOPER'S.
Frankincense, - - 10 grains,
Mastic, 8 grains.
Chloride of calcium, - - 5 to 10 grains.
Alcohol, - 1 ounce.
The paper is immersed in this solution and hung up to dry.
"When dry it is smoothed with a hot iron and sensitized as
usual ; sensitizing bath No. 5 is the one recommended by Mr.
Cooper. The prints which should be deep are best toned on
bath No, 20.
No. 3. MR, HENRY COOPER'S.
Coat the paper with an emulsion prepared as follows :
Dissolve three ounces* of fresh white lac in twenty ounces of
strong alcohol ; filter or decant, and add as much water as
possible without precipitating the lac ; dissolve one ounce of
the best white gelatine in twenty ounces of boiling water, first
swelling the gelatine in cold water. When the gelatine is
dissolved, add the lac solution, stirring vigorously. In case
the gelatine is precipitated by the alcohol, add more hot water.
The paper is to be immersed in this emulsion for three min-
utes, or it may be floated on it for the same length of time.
When dry, smooth with a hot iron, and float for two minutes
on the following solution :
Chloride of ammonium, - - 10 grains.
Lactate of magnesium, 10 grains.
Water, 1 ounce.
When again dry, sensitize on a sixty grain bath, and print
deep. If the prints are not vigorous enough, immerse them in
the following bath :
Citric acid, - 5 grains.
White sugar, - 5 grains.
Water, .-._.. 1 ounce.
PHOTOGRAPHIC PRINTING METHODS. 53
This bath improves with use. Toning bath No. 20 works
well with' this paper.
Either of these processes give fine results on drawing paper.
Resinized paper should be fumed until the paper prints blue,
fifteen to twenty minutes is sufficient. Over-toning must be
avoided.
PRINTING ON LEATHERIZED AND GELATINIZED PAPERS.
Very fine mat surface prints can be made on a salted paper
known as leatherized paper. It is a strong, fine -surfaced
paper and comes ready salted. It should be floated thirty
seconds on A bath forty-five to sixty grains in strength, and
fumed until it prints blue. Print rather deeply, thoroughly
wash away the free nitrate, and tone on bath No. 20. The
toning should not be carried too far, or weak prints will' be
the result.
Gelatinized Paper. This is the name which I have given
to paper floated two to three minutes on a gelatine solution,
then dried, and floated two minutes on the lactate of magne-
sium and chloride of ammonium bath given above. When
the paper is again dry it is floated two to three minutes on
a silver bath, forty-five to sixty grains strong, and fumed for
fifteen to twenty minutes.
The printing should be deep, the free nitrate well washed
out, and the prints toned on bath No. 20. The resulting
prints are remarkable for softness, delicacy of gradation, and
beauty of tone.
As I have never seen the process described, I venture to re-
commend it only after a thorough trial.
The gelatine bath is compounded as follows :
Gelatine, 10 grains.
Chrome alum solution (1 to 50), - - 10 drops.
Water, - 1 ounce.
When solution is complete, filter and float plain paper on
the bath for two minutes, avoiding air bubbles. Prints made
on paper thus prepared cannot be distinguished from those
made on resin ized paper, and it has the advantage of requiring
a smaller number of chemicals.
54 PHOTOGRAPHIC PRINTING METHODS.
With it the prints can be given a tone closely resembling
the best work on bromide of silver paper, and by using draw
ing-paper very artistic results may be obtained.
I have recommended toning bath No. 20 for these rarely
used processes for the reason that they all need but little ton-
ing, and this bath is so weak in gold that there is little danger
of. over- toning. Any other bath, however, can be used with
good success if it is made weak in gold.
PHOTOGRAPHIC PRINTING METHODS. 55
CHAPTEK VI.
THE PLATIXOTYPE.
THIS is the most recent advance in printing with iron salts.
The process was worked out by Mr. W. Willis, Jr., and has
been made the subject of a patent. The Willis process can be
worked only by licensees, although I believe that tne ready-
sensitized paper is supplied by the agents in this country to all
who order it. But it is possible to work the platinum process
without taking out a license, and I therefore give details which
will enable any one to prepare his own paper. The directions
are condensed from a pamphlet published, in Vienna, in 1882, by
Pizzeghilli and Hubl. Plain paper, of an even, firm texture,
is sized by floating for two or three minutes on one of the fol-
lowing solutions :
SIZING FOR PLATINUM PRINTS.
Water, - 20 ounces.
Gelatine, - 60 grains.
Chrome alum, - 6 grains.
Aniline blue (powdered), ... 10 to 20 grains.
The gelatine is soaked in the water for one hour, and then
dissolved with gentle heat. When nearly cool the chrome
alum and the aniline blue are added and the solution filtered.
The prints to be sized are floated or immersed a short time in
this solution;
No. 1. FOR BLUISH-BLACK TONES.
Gelatine, 154 grains.
Alum, - 46 grains.
Alcohol, 7 ounces. ,
Water, - 28 ounces.
The gelatine is first soaked in the water until soft, and then
dissolved at a temperature of 140 deg. Fahr. When solution is
complete the alum and alcohol are added, and the liquid filtered.
56 PHOTOGRAPHIC PRINTING METHODS.
No. 2. FOR BROWNISH-BLACK TONES.
Arrow-root, - 154 grains.
Boiling water, 28 ounces.
Alcohol, ? ounces.
The arrow root is first rubbed up in cold water, and added
to the boiling water ; then the alcohol is poured in and the
solution filtered.
In order to secure an even coating, it is best to refloat the
paper when dry, and suspend the reverse way.
No. 1. STOCK SOLUTIONS.
Chloro-platinite of potassium, 80 grains.
Water, - - 1 ounce.
No. 2. Ferric oxalate solution as found in the trade.
If the solution gives a precipitate with red prussiate of pot-
ash, or becomes turbid when boiled with ten times its bulk of
water, it should be rejected.
[NOTE. The author has never experienced any difficulty in
procuring ferric oxalate of Eimer & Amend, 205 to 211
Third Avenue, New York, but for the convenience of those
who may wish to prepare it for themselves, methods for mak-
ing both the potassic ferric oxalate and the ferric oxalate are
given.
Potassic Ferric Oxalate. Add neutral oxalate of potas-
sium to chloride of iron solution and evaporate to crystalliza-
tion. The resulting crystals are the salt required.
Ferric Oxalate. This salt may be obtained by dissolving
hydrated peroxide of iron in a strong solution of oxalic acid.
Pizzeghilli recommends the following method :
" Five hundred parts of ferric chloride are dissolved in
water and precipitated by an excess of caustic soda ; after
which the precipitate is well washed, and collected on a cloth.
When the bulk of the water has run through, the material is
poured from the filter, and 200 parts of pure crystallized oxalic
acid added ; but this addition should be made in the dark, and
the whole is allowed to remain at a temperature of 30 deg.
C. for some days, in order that solution may be complete.
PHOTOGRAPHIC PRINTING METHODS. 57
The liquid being now made up, if required, to the volume of
2,800 parts of water, a liquor is obtained which contains about
one-fifth of its weight of ferric oxalate."]
No. 3. CHLORATE OF IRON SOLUTION.
Solution No. 2, 3i ounces.
Chlorate of potash, - 6 grains-
A. SENSITIZING SOLUTIONS.
No. 1, 408 drops.
No. 2, 374 drops.
Water, .* 68 drops.
B; gives more vigorous prints than A\ good for thin
negatives :
No. 1, - 408 drops.
' No. 2, - 306 drops.
No. 3, - 68 drops.
Water, - -, - . .- ; 68 drops.
The paper to be sensitized should be fastened to a board by
drawing tacks, and one of Solutions A or B evenly spread over
it with a squeegee muffled in flannel, or a large brush, carefully
avoiding streaks. The sensitizing should be done by yellow or
feeble white light. As soon as the surface is dry, the sensitized
sheets must be dried thoroughly at a temperature of 86 to 100
deg. Fahr.
The mixed sensitizer must be used up within 15 or 20
minutes.
The sensitized sheets and the prints must be preserved from
the effects of moisture in a box containing a little dry chloride
of calcium. All the subsequent operations are the same as
recommended for the Willis process, of which the following
very complete directions are taken from an article by Mr. L
Edwards Ficken, published in u The American Annual of
Photography" for 1887.
" THE PLATINOTYPE PROCESS.
" One has but to see a fair platinotype print to be struck by
the charm of its softness and delicacy, and, if compared with
58 PHOTOGRAPHIC PRINTING METHODS.
a silver print from the same negative, by its superiority in
every way. In platinotype prints the whites have a higher
artistic effect, the shadows a deeper richness, and the grays
more value in the half-tones than can ever be obtained from
the best silver print, the velvety feeling of the picture and the
absence of glaze conducting largely to this. I have written
before of the beauty of this process, comparatively little known
here, but exceedingly popular on the other side, and it is sig-
nificant that a recent number of the English Building News,
one of the highest and most conservative professional papers,
containing a notice of the Photographic Society's recent Ex-
hibition in London, calls especial attention in high commenda-
tion to the platinotype prints shown, and adds : ' The delicate
gray tint is decidedly preferable to the purply tones which
photographs usually have. It has been left to the platinotype
process to show that artistic shades of black and gray can be
produced.' There also appeared in our own PJiotographic
Times (No. 259), an article on the process by Mr. G. Watmough
Webster, whose opinion every one must respect, which so fully
covers the ground that it leaves but the little I have said above
to complement it. I can only say, almost in Mr. Webster's
words, that to any one who has not tried the process, the sim-
plicity and ease of its working and the beauty of the results
will be simply a revelation.
" I will endeavor now to describe it as clearly and exactly as
possible that failure m#y be precluded ; and there should not
be any failure if the following directions and hints are faith-
fully followed.
" I may premise that all the material, chemicals and paper,
can be purchased ready for use, a great convenience for ama-
teurs with their limited time, and simplifying greatly their
labors.
"Keeping Apparatus Dry. At the beginning it must be
impressed upon the attention that unless all the material used
in making prints the printing frame, negative, etc. are per-
fectly dry, the resultant print will have a slaty color, instead of
the warm, rich black it should possess.
"Sensitizing the Paper. The first operation is the sensitizing
of the paper for contact printing, for I would advise everyone
PHOTOGRAPHIC PRINTING METHODS. 59
to sensitize their own paper just before using it. It is very
little trouble, and the freshly prepared paper gives richer
prints. This should be done in a room lighted by a yellow
light, or not too strong gaslight. The sensitizing solution is
made by dissolving fifteen grains of platinum salt in a quarter
ounce of iron solution (the exact quantity for a sheet 1 8 by 2:3
inches), shaking the solution until the platinum salts are dis-
solved. It must be used almost as soon as made, as it will not
keep over half an hour. Place the paper to be sensitized, face
upwards, on a sheet of plate glass having a wooden frame, so
that it can be secured at the corners by thumb tacks ; pour the
solution on the middle of the sheet and spread evenly over the
entire surface with a wad of clean flannel. Allow no streak-
ings to remain ; swab the solution first one way, then the
other, across the paper with a light touch till it looks perfectly
smooth. Now hang up by the corners till dry. This should
take not under ten minutes, nor over twelve. If it dries too
quickly, some of the image will float off in the developing bath
and cause a loss of half-tone, and if it dries too slowly, the
subsequent print will appear flat.
"Drying the Sensitized Paper. If the air be very dry in the
room where the paper is dried, it will be necessary to create a
moister atmosphere, otherwise the sensitizing fluid sinks too
deeply in the paper and gives a flat print. I obtain this moist-
ness by pinning the paper above the bath tub, when the paper
seems drying too rapidly on the surface, and turning on the
hot water, the steam arising from it dampening the air very
rapidly. After the paper seems dry, when it will have a
lemon-yellow color, it is well to hold it for a few minutes in
front of a stove to ensure its thorough dryness, protecting it,
of course, from any strong white light. It can now be
measured off and cut up for the size prints to be made, and
put away till wanted.
"Before describing how to preserve the sensitized paper, it
may be well to give the caution always to put the iron solu-
tion in a dark closet to keep it from the light, and always to
use fresh flannel on the squeegee.
"Preserving the Paper. In preserving the paper I use two
tin tubes about four inches diameter, each having a receptacle
60 PHOTOGRAPHIC PRINTING METHODS.
at the bottom containing dry chloride of calcium, to extract
all moisture from the tubes and paper. One I label 'paper'
and the other ( prints.' In the first I store the cut-up sensi-
tized sheets, and in the other the prints as fast as made. Care
must be taken to avoid all contact between the paper and the
chloride, which would stain the print, producing white spots.
" Printing. Printing is done as usual, the sensitized paper
put over the negative in the ordinary printing frame and
exposed to direct or diffused light, according to the character of
the negative. The printing frame should be held for a few
minutes before the stove, and a sheet of thin rubber put be-
tween the negative and the cover of the printing frame. The
correct exposure is ascertained by inspecting the paper in the
usual way, but it is much more difficult at first to decide upon
the proper exposure, as much of the detail and the most deli
cate tones are invisible till the after development. This must
be remembered. Practice, however, soon decides, and by
carefully noting the following hints, little difficulty will be
experienced even at the first. As a general rule the exposure
is complete when the detail in the high lights becomes faintly
visible. With very dense negatives, and rather dense nega-
tives are best for this process, the printing should be continued
until all the details in the lights are visible. During exposure
the parts affected by light become of a pale grayish-brown
color, and finally, perhaps, of a dingy orange tint under those
parts of the negative which is clear glass or nearly so. Beware
of over-exposure ^or thin negatives, and note that prints look
.slightly darker when dried after development, and prints in
half -tone only, if printed too dark, have usually a flat appear-
ance.
" The material for development is a flat-bottomed dish of
agate iron ware, about 12 by 14 inches in size, to contain the
developing solution, and a small gas stove, with ring burner,
to place under it to heat the solution to the proper developing
temperature, and a couple of porcelain-lined trays, 16 by 19
inches in size, to wash the developed prints in.
" The development should be effected in a feeble white light,
or by gaslight, and may be done at the end of the day's print-
ing.
PHOTOGRAPHIC PRINTING METHODS. 61
"Developing Solution. The developing solution is made by
dissolving 12 ounces of oxalate of potash in 44 ounces of
water, and made acid by the addition of 2|- drams of oxalic
acid, or enough to turn blue litmus paper pink. This will
give a depth of about half an inch in the tray for 8 by 10
prints. The potash is most readily prepared in hot water, add-
ing the salts by degrees, and stirring till all is dissolved. The
solution must now be heated to a temperature varying between
170 and 180 deg. Fahr., and this is the standard, though higher
and lower temperature may be used, for which, reasons will be
given later.
"Development. The development of the prints is effected by
floating them, face down, upon this hot solution of oxalate of
potash for &few seconds, and is best performed by laying one
end of the print upon the bath at the right hand of the tray,
and sliding it evenly towards the left, lowering the print with
an even movement and without stoppage, until it is entirely
in contact with the liquid, where it must remain not less than
five seconds. It may remain longer, as a prolonged floating
does no great harm beyond unnecessarily softening the paper
and its sizing ; and, in fact, it is my practice, after the first
floating and appearance of the image, to float the print once or
twice more in the deepest shadows only, to get all the possible
depth out of them.
"Just as in the appearance of the latent image when devel.
oping the negative, which gives a never-ending pleasure, so
will the same delight be felt in the appearance of the print
after this floating for a few seconds on the hot solution. It is
like magic ; the whole view flashes up, it seems instantaneous-
ly, in all its beauty, and is the most full repayment for what
little trouble has gone before.
"As the heat of the developing solution is greater than the
hands are accustomed to, take care not to injure the first
prints by starting at the sudden shock of the touch on the
fingers of the hot liquid. A little practice will soon enable
one to almost avoid touching the bath at all.
"Again a caution. Look out for crystals on the surface of the
developing bath, and do not develop till these are dissolved
or removed. Air bubbles must also be carefully avoided in
62 PHOTOGRAPHIC PRINTING METHODS.
floating the prints, as they form white spots ; but if they
should make their appearance, by any little inadvertence, im-
mediately touch them once or twice to the bath, when they
will be removed.
" Prints having deep shadows, especially when over-printed,
require a development of at least ten seconds. Subjects en.
tirely in half-tone require only five seconds. Over-exposed
prints must be developed at a temperature between 10 and 20
degrees lower than the standard, and under-exposed ones
higher, although this will not always save the print, for with
either extreme a little flatness may appear.
k( It is best to try and give such exposures in the printing
frame, as a uniform temperature at about 170 to 180 deg.
Fahr., as already stated, will insure perfect results.
"The, developing solution may be used almost indefinitely,
although in this, as in all my other photographic work, I
prefer fresh solutions ; but it must be kept in a dark closet,
and, before using again, should be decanted from the crystals,
which may have formed, and enough fresh solution of oxalate
of potash added to bring the bath up again to the required
quantity.
" Washing the Prints* The developed prints must now be
washed in at least three baths of a weak solution of hydro-
chloric acid to thoroughly clean them. Citric acid may also
be used, but I find the other more convenient. For the size
of trays given above, one ounce of the hydrochloric acid to
sixty -four ounces of water will be sufficient. Immerse the
prints, face down, in the first acid bath, and let them remain
there about ten minutes ; then remove to the second bath and
treat in the same way. If they do not communicate to the
last acid bath the slightest tinge of color, they may now be
well washed in clear water, otherwise a third acid bath, per-
haps sligHtly weaker, must be given them. While in the
baths, move the prints about so that the solution washes them
freely, but take care not to abrade them.
" They are now finished, and need only drying to render
them ready for mounting.
" If, after drying, the prints are more or less yellow, it may
come from the sensitizing fluid not having been acid enough.
PHOTOGRAPHIC PRINTING METHODS. 63
Again, prints may appear strong, yet more or less fogged ;
this may come from over-exposure in printing. The cure for
this has already been given : reduce the temperature of the
developing solution.
" It is really all simpler than it reads ; the chemicals are few
and easily used, the sensitizing of the paper is easily and
quickly done, the printing is soon picked up, the development
is almost purely mechanical, and the cleaning and washing
entirely so. The ease of the whole thing, however, should
not be the only temptation to try it ; its beauty is unapproach^
able and lends itself with equally good results to strong effects
in portraiture and all atmospheric tones of landscape and
marine views.
" I would say, in conclusion, that there can be obtained from
the Platiriotype Company, London, Eng., specially prepared
paper in the sizing for the making of sepia-colored prints,
which, for some subjects, is particularly beautiful, and a solu-
tion for mixing with the ordinary oxalate of potash developer,
which combines to give the finished sepia color. I have tried
it with great success. Willis & Clements, of Philadelphia,
supply .all the other material."
PJatinnm prints may, I believe, be regarded as permanent,
platinum black being one of the most stable colors, unaffected
by atmospheric changes. The process is simplicity itself, and
this, together with the exceeding beauty and artistic effect,
would undoubtedly commend the process to art-loving ama-
teurs, were they not deterred by the necessity of taking out a
license. But I have found that the ready-sensitized paper will
keep in good condition if placed in a box with a tight-fitting
cover, with chloride of calcium sprinkled over the bottom,
care must be taken to prevent the paper from coming in con-
tact with the chloride, or white spots will show themselves in
the prints when developed.
Pizzeghilli's process, described above, gives prints of the
highest degree of excellence, and the process is free to all.
The chemical explanation of the formation of the image in
platinum black is probably that the action of light converts
the ferric oxalate to the ferrous state and that immersion in
the hot solution of potassic oxalate immediately reduces the
64: PHOTOGRAPHIC PRINTING METHODS.
platinum to the metallic state wherever it is in contact with
the ferrous salt. The portion not so reduced remains in
solution with the potassic oxalate. Directions for recovering
this will be found in the chapter on " Wastes."
Warm or sepia tones may be given to platinum prints by
the following method, which is that of Signor Borlinetto :
Dissolve nine and three-quarter ounces of neutral oxalate of
potash in thirty-two and one-eight ounces of boiling water,
and then add 154 grains of oxalic acid. When solution is
complete, add three and a quarter ounces of a saturated solu-
tion of chloride of copper; shake well to insure complete
mixture. The printed proofs are immersed in this solution at
a temperature varying from 170 to 200 degs. Fahr., and they
soon tone to a rich sepia. The tint can be changed by raising
or lowering the temperature. As soon as the prints have as-
sumed the desired tint they are washed in the usual way in
the acid bath, and then immersed for a short time in a one to
twenty solution of sulphate of iron. They are then washed
once in water made slightly acid with sulphuric acid, and
after the usual half hour's washing in running water, they are
hung up to dry.
As these prints resist nitric, sulphuric, and even fluor-
hydric acid, they are presumably permanent.
AMERICAN FILM NEGATIVE.
BY W. J. HICKMOTT, HARTFORD. CONf
PRINTED ON
EASTMAN'S PERMANENT BROMIDE PAPER-GRADE B.
PHOTOGRAPHIC FEINTING METHODS. 65
CHAPTEK VII.
PRINTING WITH EMULSIOKS.
Gelatino-Bromide. The chief point of difference between
printing on paper prepared with emulsions and printing on
paper sensitized in the bath, is, that in the former case we have
the sensitive compound of silver suspended in an exceedingly
fine state of division, in a vehicle of gelatine or collodion ;
whereas, in the latter we have a thin coating of an aqueous
solution of the sensitive salt. Organic substances such as gela-
tine or collodion are sensitizers of silver, and, in consequence,
emulsion papers are more sensitive than papers floated on the
bath, for the reason that the atoms of the molecules are in a
state of less stable equilibrium in the former case than in the
latter, and therefore are more easily separated by the action of
light.
The most common form in which emulsion paper presents
itself to the amateur is the well-known bromide of silver paper,
which is now a standard trade article. But since good results
can be obtained on paper coated with a chloride of silver emul-
sion, which, to the best of my knowledge cannot be purchased,
full directions are given of the apparatus and chemicals needed
to prepare different emulsions, together with directions for
making the emulsions and coating the paper.
Apparatus. This need not be of a very complicated or ex-
pensive nature. First of all, some sort of a vessel is required
as a water-bath, to hold the solutions, which have to be kept at
a certain temperature. I have always used a common tin pail
having a tightly-fitting cover. Two or three earthenware,
porcelain, or glass vessels, of a pint or more capacity, a ther-
mometer of the pattern used for taking the temperature of hot
solutions, a supply of glass stirring- rods, a filter of some kind,
and a Bunsen burner, spirit lamp, .or kerosene lamp, complete
the modest plant required for making the various kinds of
emulsion.
66 PHOTOGRAPHIC PRINTING- METHODS.
A very compact and convenient digesting apparatus is found
in the infants' food-warmer kept by most druggists. This con-
sists of a covered porcelain-dish, which fits into a metal water-
bath, the source of heat being a candle.
A simple and efficient filter is easily made by tying two
thicknesses of an old pocket-handerchief around the top of a
fluted-top lamp chimney.
The coating-room must contain the indispensable glass or
stone slab, accurately levelled, and a supply of clean glass
plates of a size corresponding to that of the paper to be coated.
BROMIDE OF SILVER EMULSION.
1. Gelatine (soft), 42i grains.
Bromide of potassium, - - 26 grains.
Water (distilled), 1 ounce.
2. Nitrate of silver, - - 32& grains.
Water (distilled), - - 1 ounce.
Dissolve the bromide first, then add the gelatine, and dis-
solve by gentle heat (95 deg. to 100 deg. Fahr.) ; bring the sil-
ver solution to the same temperature, and add in a small stream
to the gelatine solution, stirring vigorously, of course, in non-
actinic light. Keep the mixed emulsion at a temperature of
105 deg. Fahr., for half an hour or an hour, according to the
degree of sensitiveness required, previously adding one drop
of nitric acid to every five ounces of emulsion. Allow it to
set, squeeze through working canvas, and wash two hours in
running water. In my own practice, I manage the washing
easily enough by breaking the emulsion up into an earthen jar
filled with cold water, and placed in my dark room sink. A
tall lamp chimney, standing in the jar immediately under the
tap, conducts the fresh water, to the bottom of the jar, and
keeps the finely divided emulsion in constant motion ; a piece
of muslin, laid over the top of the jar to prevent any of the
emulsion running out, completes this simple, inexpensive, but
efficient washing apparatus.
The washing completed, you are ready to melt and filter the
emulsion preparatory to coating the paper. When melted, and
before filtering, it is well to add of glycerine and alcohol
each about one- tenth of the whole bulk of the emulsion, the
PHOTOGRAPHIC PRINTING METHODS. 67
glycerine preventing troublesome cockling of the paper as it
dries, and the alcohol preventing air-bubbles, and hastening
the drying. This addition made and the emulsion filtered, you
are ready to coat your paper, which may be coated just as it
comes from the stock dealer, plain Saxe or Rives, or better
still, given a substratum of insoluble gelatine, made as fol-
lows :
Gelatine, - 1| grains.
Water, - 1 ounce.
Dissolve and filter; then add 11 drops of a 1:50 filtered
chrome alum solution. The paper is to be floated for half a
minute on this solution, avoiding air bubbles, and then hung
up to dry in a room free from dust. The purpose of this sub-
stratum is to secure additional brilliancy in the finished prints
by keeping the emulsion isolated from the surface of the paper.
If you are floating the whole sheet, now is the proper time to
cut it to the size you wish to coat, but for anything less than
6^x8|- , I would recommend cutting in double or quadruple
sizes, 8x10 for 5x8 and 4x5 prints, as the paper is easily cut
down after the emulsion is dry.
COATING.
Apparatus. A stone, marble or glass slab large enough to
hold at least half a dozen glasses of the size paper you are coat-
ing, and most accurately levelled ; a dozen or more pieces of
glass of the same size as your paper ; a porcelain or agate ware
tray of the same size ; a ruby lamp ; a deep tray of a size to
hold your jug of emulsion and the smaller tray ; a spirit or
kerosene lamp enclosed in a box suitably ventilated and pro-
tected against the egress of white light from the lamp inside,
(this is easily secured by punching holes around the top and
bottom of a tin box of suitable size, and covering it with
another somewhat larger in every way, but without a top), and
a goodly supply of spring clothespins, to be had of any hard-
ware merchant for 20 cents a dozen. The above is a complete
inventory of my own outfit. Having then provided yourself
with these articles, with the addition of a squeegee muffled
with a piece of soft flannel, an article which you can easily
68 PHOTOGRAPHIC PRINTING METHODS.
make by procuring a piece of small black rubber tubing of the
proper length, and placing it in the centre of a strip of flannel
of equal length, and about two inches wide ; you then fold the
flannel over on itself, thus enclosing the rubber tube, and fasten
the whole between two narrow, thin strips of wood, drawing
the rubber up close to the wood, you are ready for coating. For
this purpose you must secure the temporary use of some small
room in which the paper can be coated, hung up and left to
dry. This room must meet three requirements : it must be
dry, free from dust, and capable of being made absolutely light-
tight during the drying of the paper. I am fortunate enough
to have undisputed control of a small attic which serves ad-
mirably.
Into this room, provided with a table large enough to hold
your marble slab, on which the slab is carefully levelled, you
carry all the articles mentioned above. The spirit or oil lamp
is placed in its box, on which stands the large tray previously
filled with water at 100 deg. Fahr., and containing the jar of
emulsion and the small tray filled with warm distilled water.
The ruby lamp stands on a table in front of you ; the glasses
well cleaned and warmed to blood heat, and the paper with the
side to be coated uppermost are placed on the table at your
right ; within convenient reach of your right hand stands the
tray of warm water, and the levelled slab is within easy reach
on your left. Turn the ruby lamp down as low as is consistent
with the power of vision. Now immerse a sheet of the paper
in the water in the small tray, leaving it there for a minute or
two ; then place it accurately on one of the glass plates, and
sweep off all superfluous water with the squeegee, at the same
time removing all wrinkles and air bells, and place in an up-
right position to dry slightly, while you prepare a second plate
in the same manner. Now balance the first plate on the tips
of the fingers and thumb of the left hand, and pour on a
sufficient quantity of the emulsion, about 1 dram for every 10
square inches of paper. I use a silver soup ladle holding just
enough to cover a whole plate. Gently tilt the plate from you
until the further end is completely covered ; then as gently
tilt it towards you until the emulsion completely covers the
paper ; then carefully place it on the levelled slab to set. Con-
PHOTOGRAPHIC PRINTING METHODS. 69
tinue this operation until the slab is covered, when the paper
first coated will probably have become sufficiently set to be
stripped from the glass and hung up by clothespins to dry,
which in my room requires from six to ten hours.
OTHER METHODS OF COATING PAPER WITH EMULSION.
While the method of coating described above is the one pre-
ferred by the author for coating a small quantity of paper,
other means of securing the same result are available. A very
good method of coating is to place the melted emulsion in a
<jlean porcelain tray of the requisite dimensions, and to place
this in a second larger tray containing water heated to about
95 or 100 deg. Fahr. Some means must be devised of sus-
pending a levelled glass slab above the smaller tray in such a
way as to leave about two inches of one end of the tray un-
covered. This may be done by having the larger tray some-
what deeper than that containing the emulsion, and using
glass plates large enough to reach across the larger tray.
The water may be kept at the proper temperature by any
convenient means.
The paper to be coated is previously dampened, and then
floated, sheet by sheet, on the emulsion, carefully avoiding air
bubbles. As soon as the paper has been laid down on the
emulsion, the glass plate is put in position, one end of the
paper is grasped with a pair of broad horn or glass pincers and
drawn slowly over the end of the glass plate, upon which it is
smoothly laid down and allowed to set, when it is stripped off
and hung up to dry.
A better way, perhaps, is to remove the glass plate bearing
the paper to the usual levelled slab. By adopting this method
rio delay in coating is necessitated, and the glass covering the
tray need not be so accurately levelled as it must be if the
emulsion is allowed to set over the tray. The author has de-
vised a little machine for coating long rolls of paper which he
has found to work admirably and greatly to facilitate the
operation of coating.
It differs from other machines for this purpose accessible to
the ordinary experimenter in the fact that the paper is drawn
from the machine, coated side up, directly to a long-levelled
70
PHOTOGRAPHIC PRINTING METHODS.
slab, while all other forms of machine known to the writer re-
quire the suspension of the paper after coating, a mode of
working which allows the emulsion to run down the paper be-
fore setting, giving rise tg ridges. and uneven coating.
The accompanying figures and description will, it is hoped,
make the construction and practical working of the machine
sufficiently intelligible.
FIG. 1.
FIG. 2.
FIG. 3.
Fig. 1 shows a side plan of the emulsion-holder. Fig. 2
the apparatus complete, and Fig. 3 an end-view of the base
board, showing the wires under which the paper is drawn.
The box A is constructed as shown of any close-grained thin
wood, and well shellacked. The narrow slit is covered with a
piece of fine linen, well glued on. It is impossible to give
any definite dimensions for the box, as they vary according to
the width of the paper to be coated. Its width must be the
same as the width of the film desired ; its length need not ex-
ceed 3 to 4 inches, and its height must be sufficient to allow
enough emulsion to be poured in to coat the longest strip of
paper likely to be coated.
PHOTOGRAPHIC PRINTING METHODS. 71
The base board C, Fig. 2, is made of a piece of pine one
inch thick, twelve inches long, and as wide as the emulsion-
holder. At each side, strips one-half inch thick, two inches
high and eighteen inches long are screwed, to which two
brass wires, one-half inch in diameter, are fastened at the
ends in such a way as to allow the turned-up edges of the
paper to pass freely under them. Two uprights, JB, B, are
firmly screwed to the base board. Between these uprights
the emulsion-holder is suspended by means of thumb-screws.
The box must be suspended at such a height as to allow all
the emulsion to flow out when the box is in position for coat-
ing. A roller, D, Fig. 2, is placed at the end of the side
strips. The base board, C, should be covered with a piece of
glass.
To Use the Apparatus. The desired length of paper is
wound on the roller, the apparatus is placed on a level with
the end of a levelled slab or board from six to fifteen feet in
length, the free end of the paper drawn under the box and
clamped between two strips of thin wood, having strips of
sheet rubber fastened on the inside. A screw-eye is inserted
about half an inch from each end of one of these strips,
through which a short piece of string is passed ; this string is
provided with a small brass ring, left free to travel back or
forth on the string. To this ring is fastened a long piece of
twine which passes through a screw-eye underneath the fur-
ther end of the levelling slab, thence through a screw-eye
fastened in the ceiling of the room, and through other screw-
eyes is brought back within convenient reach of the operator's
hand.
The box is filled with emulsion, and the paper is drawn
slowly along until the end of the slab is reached. The box is
then raised to a horizontal position to stop the flow of emul-
sion, the clamps removed and fastened to the end of the un-
coated paper. The apparatus is then moved sideways until a
clear portion of the slab lies in front of it, and another strip of
paper coated as before.
To insure success with this apparatus, it is necessary that it
work smoothly and evenly, and that perfect accuracy be se-
cured in its construction.
72 PHOTOGRAPHIC PRINTING METHODS.
To prevent any of the emulsion running under the edges of
the paper, the roller must be about half an inch wider than
the box, and the paper cut the same width as the roller, and
turned up one quarter of an inch on each side. This is ef-
fected by means of the side wires which are fastened close to
the glass top of the base, beneath and behind which the paper
is drawn. These wires should not extend beyond the end of
the base board at the back, being fastened to the thin strip,
F, between which and the base board the paper passes. The
ends of this strip are cut away to allow the turned-up edge of
the paper to pass between them and the side strip. Fig. 4
shows the arrangement.
or
FIG. 4.
As it is usually necessary to dampen the paper before coat-
ing, the paper, as it is wound on the roller, is drawn under
water placed in a tray. This should be done rather slowly in
order that the paper may be thoroughly dampened.
The author has found this apparatus thoroughly practical,
and gives these details of its construction and working with
the hope that it may prove serviceable to the fraternity at
large.
No. 2. FOR BROWN TONES.
A. Gelatine, 231 grains.
Bromide of potassium, - - 115 grains.
Iodide of potassium, - 25 grains.
Water, 5 ounces.
Nitric acid, 2 drops.
B. Nitrate of silver, - 172 grains.
Water, - 5 ounces.
The directions given above are to be followed in making
this emulsion.
If prints having a more mat surface are desired, decrease
the amount of gelatine, but its bulk should not be less than
that of the bromide of potassium.
PHOTOGRAPHIC PRINTING METHODS. 16
For enlargements, the best effects are produced by coating
drawing-paper, omitting the gelatine sizing.
EXPOSURE.
For contact printing artificial light is best. The time of
exposure varies with the intensity of the light, the density of the
negative, and the distance at which the latter is held from the
source of light while making the expsosure, the time increasing
as the square of the distance. Thin negatives are best print-
ed from at a distance from the lamp ; thick ones should be
held quite near.
The tone of the print may be varied by giving a prolonged
exposure and using a very diluted developer with 8 to 10
drops of a 1 to 10 solution of common salt added.
DEVELOPMENT.
The most common developer for bromide prints is the usual
ferrous oxalate developer, both solutions being kept acid.
Other developers, however, can be employed. If the pyro
developer is used for the purpose of getting brown tones, the
developer should be weak in the alkali, and the prints should
be immersed in a 1 to 10 sulphite of soda solution before fixing,
to prevent staining.
Pleasing brown tones may be given to prints on bromide
paper by immersion for a minute or two in a bath composed
of equal parts of the following solutions :
1. Water, 100 parts.
Nitrate of uranium, - '- - - 1 part.
2. Water, 100 parts.
Ferricyanide of potash, 1 part.
The prints must be well washed before toning, and the
washing, after toning, should not be prolonged beyond half an
hour, as prolonged washing will destroy the color, owing to the
solubility of the ferricyanide of uranium formed when the
above solutions are mixed. The tone of the prints may be
greatly modified by varying the proportions of the ferricyanide.
EASTMAN'S DEVELOPER.
A. Oxalate of potash - 1 pound.
Hot water, . . . 3 pints.
74 PHOTOGRAPHIC PRINTING METHODS.
Acidify with oxalic acid. Test with litmus paper.
B. Proto-sulphate of iron, 1 pound.
Hot water, 1 quart.
Sulphuric acid (or citric acid, oz) - J dram.
C. Bromide potassium, - 1 ounce.
Water, 1 quart.
These solutions keep separately, "but must be mixed only for
immediate use.
To DEVELOP.
Take, in a suitable tray, A, 6 ounces ; B, 1 ounce ; C, i
dram.
Mix in the order given ; use cold. After exposure, soak
the paper in water until limp ; then immerse in the developer.
The image should appear slowly, and should develop up
strong, clear and brilliant. "When the shadows are sufficiently
black, pour off the developer and flood the print with the
CLEARING SOLUTION.
Acetic acid, - - 1 dram.
Water, - 1 quart.
Do not wash the print after pouring off the developer and
before applying the clearing solution.
Use a sufficient quantity to now over the print, say 2
ounces for an 8 x 10. Allow it to act for one minute, and then
pour it off and apply a fresh portion ; repeat the operation a
third time, then rinse in pure water and immerse for ten
minutes in the
FIXING BATH.
Hyposulphite soda, 3 ounces.
Water, 1 pint.
On the Use of Bromide as a Restrainer. Although all the
above formulas for developers contain a certain percentage of
bromide, I would recommend that it be not used. Too much
bromide tends to produce an unpleasant yellowish or olive-
green tone, while a careless use of it will utterly spoil the
print. The best method of controlling development is to begin
with an old developer, substituting the freshly-mixed one when
the shadows and general outlines are well out, changing back
to the old developer if necessary.
PHOTOGRAPHIC PRINTING METHODS. 75
Dr. Charles Ehrmann, to whom I am indebted for many
valuable suggestions, kindly furnishes the following method of
restraining the action of the developer : In case the print
proves to be over-exposed, and no old developer is at hand,
quickly pour the developer off the print, and flood it with the
plain oxalate solution. Allow this to remain on the print for
a moment, then pour off the greater portion of it, and continue
the development by adding gradually as required small quan-
tities of the original developer.
ENAMELLING.
Prints on smooth paper ("A" or "B" Eastman's) may be given
a beautiful, polished surface, superior to that obtained by burn-
ishing, in the following manner : Sprinkle the surface of a
glass plate with powdered French chalk, rub it evenly over
the surface with a tuft of cotton wool, continuing to rub it
lightly until the chalk is all removed ; then coat the glass with
the following collodion :
Soluble gun cotton, .- - . 48 grains.
Alcohol, - 4 ounces.
Sulphuric ether, - - 4 ounces.
As soon as the collodion is well set, slide it face up, into a
tray of water, in which is floating, face down, the permanent
bromide print, which has just been fixed and washed, grasp
the plate and print by one end and lift them together from the
water, avoiding bubbles, and draining the water from the
opposite end ; squeegee the print into contact with the plate
and set away to dry. Before the print is quite dry apply a
coat of starch paste to the back. After drying, the print can
be peeled off from the glass, and the face will present a polish
almost as high as the surface of the glass from which it has
been removed. The print is then ready to mount, as follows :
Moisten the face of the mount with a damp sponge and lay it
upon the print ; rub down with a soft cloth and put under
pressure to dry.
ANOTHER METHOD.
Squeegee the wet print, face down, on a polished piece of
hard rubber or ebonite ; when dry the print will peel off with
76 PHOTOGRAPHIC PRINTING METHODS.
a fine polished surface. The print should be slipped on to the
rubber plate under water to avoid air bells.
FLEXIBLE PRINTS.
Permanent bromide prints soaked in a mixture of glycerine,
5 ounces, and water, 25 ounces, and dried, will not curl, and
may be used for book illustrations unmounted. The heavier
papers u B " and " C " are especially adapted for this purpose.
STRAIGHTENING UNMOUNTED PRINTS.
After drying, prints may be straightened by the scraping
action of a sharp-edged ruler applied to the back ; the corner
behind the ruler being lifted as the ruler is passed along.
BLACK TONES LIKE PLATINUM PRINTS.
A. Boiling water, - 500 parts.
Neutral oxalate of potassium, 125 parts.
Acidulate with oxalic acid.
B. Boiling water, - - 500 parts.
Sulphate of iron, 185 parts.
Sulphuric acid, - 1 part.
C. Water, - 300 parts.
Bromide of potassium, 10 parts.
Mix immediately before use in the following proportions :
60 parts of A ; 10 parts of B ; 1 part of C.
FOR SEPIA TONES.
Double the time of exposure, and reduce the strength of
the developer one-half.
FOR BROWN TONES.
A. Boiling water, - 160 parts.
Sulphite of sodium, - 60 parts.
Carbonate of sodium, - 30 parts.
Pyro, - 10 parts.
Dissolve the sodium salts in the water, and when cold add
the pyro.
B. Water, 60 parts.
Bromide of potassium, 10 parts.
PHOTOGRAPHIC PRINTING METHODS. 77
Mix 1 part of A with 5 to 6 parts of water, and add a few
drops of B. Before fixing, immerse each print for five min-
utes in the following solution :
Sulphite of sodium, - 1 ounce.
Alum, 1J ounces.
Water, - ; 10 ounces
FERROUS-CITRO OXALATE DEVELOPER.
A. Citrate of potassium, - 700 grains.
Oxalate of potassium, 200 grains.
Water, * . 3% ounces.
B. Ferrous sulphate, - 300 ounces.
Water, - - 3^ ounces.
Mix equal parts.
Preserving the ferrous Oxalate Developer. It is claimed
by La Grange and Obernetter that tartaric acid keeps ferrous
sulphate from oxidation better than any other acid, and 1
have long been in the habit of renovating old developer by
pouring it into a white glass bottle, adding a few drops of a-
solution of tartaric acid in water (1 to 40), and placing the
bottle in full sunlight for a few hours. With a developer
renovated in this way, I have successfully developed many
dozens of bromide prints.
HINTS.
Mealy Mottled Prints Over-exposure and short develop-
ment.
Greenish Tones Over-exposure and too much bromide.
Fixing Use fresh hypo solution for each batch of prints.
The operator can tell when a print is fixed by looking through
or upon it in a good light ; unfixed portions will be a greenish
yellow.
Do not dry the prints between blotters.
Rock the tray well while developing.
Keep the prints in motion while in the fixing bath.
Be very sparing in the use of bromide.
Turn the prints over while in the clearing solution.
Start development with old developer ; finish with freshly
mixed.
A jet of water playing in the surface of the prints will be
apt to cause blisters.
78 PHOTOGRAPHIC PRINTING METHODS.
To avoid yellow prints four things are absolutely necessary :
First The developer must be acid.
Second The clearing solution must be used as directed.
Third Fresh hypo solution is required for fixing each
batch of prints.
Fourth The washing must be thorough after fixing.
If blisters make their appearance use a little common salt
in the first washing water after fixing.
TREATING BROMIDE PRINTS WITH PLATINUM.
M. Leon Yidal, of Paris, has lately introduced a method of
treating bromide prints with platinum. The tone thus pro-
duced is a rich bluish-black, and the results are, presumably,
permanent.
The following is the method recommended by M. Vidal :
Make up the following solutions :
1. Platinum tetrachloride, 15 grains.
Hydrochloric acid (C. P.), - 1 ounce.
Water, - . 70 ounces.
2. Copper chloride, - 2 grains.
Water, - 21 ounces.
The prints should be over-developed and washed in the
usual acid bath ; then immerse twenty or thirty minutes in
Solution No. 1. This converts the silver image into one in
platinum.
If the image seems in danger of growing too intense, the
print is removed from No. 1 before the process of conversion
is completed, and placed in a tray containing a sufficient quan-
tity of Solution No. 2. The effect of this bath is to convert
any unconverted silver into the white chloride of silver, thus
enabling one to judge of the extent of the change from silver
into platinum. If the image now appears too weak, the
print may be restored by development in the usual way with
ferrous oxalate, and the restored image again, treated with
Solution No. 1. In this way no difficulty will be experienced
in obtaining any desired degree of intensity in the platinum
bath.
The prints after treatment and washing must be fixed as
PHOTOGRAPHIC PRINTING METHODS. 79
usual. The process is interesting from a chemical point of
view, and the results obtained by it are very pleasing.
From the Photographischen Mittheilungen, for April, 1887,
I take the following description of C. Vogel, Jr.'s, modifica-
tion of Vidal's treatment with platinum : " The advantages of
this modification are that the treatment with platinum is made
after fixing, in full daylight, and that the tone is warmer.
"After development, fixing, and a twenty minutes' washing,
the print is immersed, face down, for fifteen or twenty min-
utes, in the following bath :
Potassio-platinic chloride, - 15 grains.
Distilled water, - - 32 ounces.
Hydrochloric acid (C. P.) - 2 drams.
" It is then washed for a short time in a 15 per cent, solution
of chloride of copper, which converts the silver in the print
into chloride of silver and imparts a warmer tone.
" If the print is too weak after treatment with the chloride
of copper, it is redeveloped with ferrous oxalate, and, after a
thorough washing, the tone is strengthened by immersion in
the cupric chloride bath until the desired strength is secured.
" The print is then fixed in hypo for five minutes to dissolve
out the remaining chloride of silver, passed through a five per
cent, alum solution acidulated with hydrochloric acid, and
washed for twenty minutes.
" Over-exposure is not necessary with this process, and the
platinum bath can be used repeatedly by occasionally adding
fresh potassio-platinic chloride."
In order to bring the subject of bromide prints down to
date, I append the following description of their availability
for photo-engraving purposes, taken from the Photographic
Times and American Photographer, of April 29th, 1887 :
"BROMIDE PRINTS FOR PHOTO-MECHANICAL ENGRAVING."
" There seems to be no end of the practical applications to
which bromide paper is suited. While its popularity for con-
tact-printing is steadily increasing, and its use for making por-
trait-enlargements is growing more universal every day among
both professional and amateur photographers, new fields of
usefulness are constantly presenting themselves ; as the making
80 PHOTOGRAPHIC PRINTING METHODS.
of quick proofs from wet negatives, and now, by the bleaching
process, we shall describe its advantages for the photo-engrav-
er's use. Heretofore red silver prints have alone been at the
disposal of the draughtsman. Now, instead of these prints
upon which the artist made his outline sketch and from which
the photographic half-tones were removed by bleaching pre-
paratory to its reduction to a "black-and-white" negative for
photo-relief work, the permanent bromide paper of Eastman
is proposed, and it promises to work more satisfactorily than
either of its predecessors.
" With it there are many advantages. Ordinary photographs,
rendered into lines, are generally enlarged to three or four
times the original negative, in order to present in the repro-
duced cut the drawing of the artist much finer and more deli-
cate than it was on the original. With bromide prints, con-
siderable time is saved by making the magnified positive in
one operation. This does away with the making of a glass
positive and, from it, the enlarged negative with the repeated
focusing, exposing, developing, fixing and consequent printing,
which consumes so much time.
" If an ordinary cabinet-size portrait is to be printed in the
columns of a newspaper in its original dimensions, the negative
or positive must be first considerably magnified before the
print can be made in the ordinary way. With bromide paper,
under any conditions, it requires but a short time to make an
enlarged print, and thus the reduction in time and labor is ac-
complished.
" The l A' paper is eminently adapted for work with pen
and ink, no technical difficulties having been encountered by
those who have tried it. Deep blacks can be piled up with
ease, and the finest lines or stipple are at the command of the
artist. With permanent bromide paper, although it has to un-
dergo all the manipulations of developing, fixing and washing,
the gelatine surface is not removed, and serves, when dry, as
a strong sizing. This solidity or hardness is exactly what the
arrow-root paper has never been able to give satisfactorily,
such prints having been refused repeatedly, as being too soft
and spongy for the making of ink lines of excessive sharpness
and exactitude. The ordinary printing paper, especially when
PHOTOGRAPHIC PRINTING METHODS. 81
sensitized with ammonio-nitrate of silver, has always been a
source of annoyance to artist, as well as to photographic
printer.
" The process of bleaching out bromide prints with a strong
alcoholic solution of bi-chloride of mercury is the same as that
with other papers, and, provided all hyposulphite of soda has
been thoroughly removed, shows as clear whites as are required,
from which to copy a black and white negative.
" As regards the positive black cone of a bromide print, ob-
jections might be raised as to the difficulty of seeing distinctly
enough the black lines or dots made with Indian ink. But to
do away with this difficulty is easy enough. In exposure and
development, the paper allows so much latitude that a perfect-
ly ashy-grey tone, even in the deepest shadows of the negatives,
is at the command of the photographer. If, however, accus-
tomed taste should demand the inevitable red one, this color
can also be given to a bromide print, sufficiently bright and in-
tense. The well-known uranium intensifier answers well for
this purpose. The well- washed print need only to be soaked
for two or three minutes in a one per cent, solution of nitrate
of uranium, and, after having been removed from it, a few
drops of a two per cent, solution of red prussiate of potash be
added, and the print be again submerged in the compound, to
at once assume that peculiar reddish-brown tint which results
upon negatives from the uranium intensifier. The process is
under complete control, a deeper color merely depending upon
an increased amount of the red prussiate.
" Uranium-toned prints cannot, however, be well bleached
with bi-chloride of mercury, as a yellow tinge, not favorable
to the subsequent photographic reproduction, will remain.
" Better results are obtainable with cyanide of potassium.
Preparatory to its application the drawing should be immersed
in a weak solution of iodine in alcohol for several minutes, and
then floated with an alcoholic solution of cyanide, which al-
most immediately whitens the print.
" This solution may be made by adding as much alcohol to
a saturated solution of cyanide in water, as it will take. There
is but little taken up by pure alcohol, but in its mixed state
with water, strong enough of alcohol not to attack the Indian
82 PHOTOGRAPHIC PRINTING METHODS.
ink work, there is sufficient strength to reduce color and silver
deposit."
GELATINO-CHLORIDE PAPER FOR DEVELOPMENT.
The following method, recommended by Mr. B. J. Edwards,
will be found simple, practical, and capable of yielding the
finest results :
The Emulsion.
1. Gelatine, - 300 grains.
Cold water, - 4 ounces.
2. Nitrate of silver, 240 grains.
Distilled water,- - 2 ounces.
3. Chloride of ammonium, 100 grains.
Water, 4 ounces.
Mix separately. Soak the gelatine for fifteen minutes ; then
warm all the solutions to about 120 deg. Fahr. Now by yellow
light add the silver solution to the gelatine, and then the chlo-
ride, adding gradually, with constant stirring. Keep the
emulsion at a temperature of 120 deg. Fahr. for an hour, then
allow it to set. When set, wash as described above for bromide
of silver emulsion. Then melt, add one ounce of alcohol and
one-half an ounce of glycerine, and filter. The emulsion is
now ready for coating the paper, which is done precisely as in
the case of the bromide emulsion, except that ordinary gas or
kerosene light may be used.
Development.
Make a stock solution, as follows :
Citric acid, - -5 ounces.
Distilled water, - - 20 ounces.
Strong ammonia, 2 ounces.
Three parts of this, mixed with one part of the ordinary
ferrous oxalate developer, form the developer.
With medium exposure this developer will give a rich pur-
ple tone. For black tones, give a shorter exposure, and de-
velop with equal parts of the above solution and the ferrous
oxalate developer. By decreasing the strength of the devel-
oper, any shade of color from black to ruby-red may be ob-
PHOTOGRAPHIC PRINTING METHODS. 83
tained. The warmer tones are produced by adding six or
eight parts of the citrate of ammonia solution to one part of
the ferrous oxalate.
It is well to begin development with a solution weak in fer-
rous oxalate, adding more if needed.
The fixing is done in the usual hyposulphite of soda bath,
1 to 6.
This method is strongly recommended to amateurs, on ac-
count of the great range of beautiful tones which may be given
to the prints.
WELLINGTON'S METHOD WITH CITRIC ACID.
The Emulsion.
1. Chloride of sodium, - 20 grains.
Bromide of potassium, - 40 grains.
Citric acid, 100 grains.
Soft gelatine, - 40 grains.
Water, - 3 ounces.
2. Nitrate of silver, - - 100 grains,
Citric acid, 100 grains.
Water, 3 ounces.
No. 2 is to be added to No. 1 in a fine stream with constant
stirring, both solutions having been previously raised to a tem-
perature of 150 deg. Fahr. To the emulsion thus formed, add
200 grains of hard gelatine which has been well swelled in
cold water. Stir until the gelatine is dissolved. Then allow
the emulsion to set, after which it is to be broken up and
washed as usual. The emulsion is now melted, one-half ounce
of alcohol and two drams of glycerine added, and the emulsion
filtered. Coat the paper as described above.
This emulsion will be found very slow. Twelve to fifteen
minutes' exposure to the light of a kerosene lamp will not be
excessive with negatives of ordinary density.
The Development.
The following solutions are made up :
1. Oxalate of potassium, - 2 ounces.
Chloride of ammonium, - 40 grains.
Water, .... 20 ounces.
84 PHOTOGRAPHIC PRINTING METHODS.
2. Ferrous sulphate, - 4 drams.
Citric acid, 2 drams.
Water, - - 20 drams.
3. Bromide of potassium, - 1 ounce.
Water, - 3 ounces.
Mix equal parts of Nos. 1 and 2 and add one dram of No. 3
to each ounce of developer.
The image should appear in about one minute, and with
correct exposure, development will be complete in about five
minutes.
After development, rinse the prints in three or four changes
of water and place in a strong solution of alum for ten minutes.
They are again well washed, and toned in the following bath i
Acetate of soda, 30 grains.
Chloride of gold, - 1 grain.
Chloride of lime, 3 grains.
Boiling water, - 6 ounces.
The bath is ready for use as soon as cold. Leave the prints
in this bath until they assume a strong purple tint. Fix for
ten minutes in a 1 to 10 solution of hyposulphite. The fin-
ished prints will have a beautiful pink tone.
EDER'S METHOD.
The Emulsion..
1. Gelatine, 360 grains.
Chloride of sodium, - 108 grains.
Water, - 6i ounces.
2. Nitrate of silver, . - 231 grains.
Water, - 3* ounces.
The gelatine is first swelled and then dissolved in the six
and one-half ounces of water, and the chloride of sodium is
then added. The nitrate solution is then added gradually to
the gelatine solution at a temperature of 104: deg. Fahr. The
emulsion is allowed to set, divided up, and washed in the same
manner as other emulsions.
It is then melted, ten per cent, of alcohol and glycerine
added and then filtered, and the paper coated in the usual
manner.
Development is best effected with the citrate of ammonia
PHOTOGRAPHIC PRINTING METHODS. 85
and ferrous sulphate solution given below, although the ordi-
nary ferrous oxalate developer will answer.
FERROUS CITRATE DEVELOPER.
A. Stock Solution.
Pour 700 parts of water upon 150 parts of citric acid, and
add 160 parts of strong ammonia. Test the solution with lit-
mus paper, and, if not alkaline, add ammonia until it is so.
Then add 100 parts additional of citric acid.
B. The Developer.
Sulphate of iron (sat. sol.), 30 parts.
Stock solution, - 90 parts.
Chloride of sodium solution (1 to 30) - 2 or 3 parts.
The image at first assumes a light yellow tint, which changes
to a reddish brown and finally to a deep black. By diluting
the developer with 2 or 3 volumes of water, a bright red tone
can be obtained.
Fix in a 1-16 hypo solution.
The tone of the prints will be greatly improved if they are
toned after fixing in the following bath :
1. Sulpho-cyanide of ammonium, 308 grains.
Hyposulphite of soda, - - 30 "
Water, - 17 ounces.
2. Chloride of gold, - 8 grains.
Water, - 17i ounces.
These solutions are to be mixed before using, adding No. 1
to No. 2. This bath will keep good for a week or more, and
may ba strengthened by adding fresh gold. The toning must
be stopped as soon as the right shade is seen.
As a rule, any of the toning baths given in the chapter on
Toning may be used for toning chloride of silver prints, notably
the " Chautauqua " bath. It is advisable to harden the film pre-
vious to toning by immersing the plate in a solution of
alum.
GELATINO-CHLORIDE PRINTING -Our PAPER.
Paper coated with these emulsions is to be printed in dif-
fused sunlight just as albumen paper is printed. The printing
should be deep.
86 PHOTOGRAPHIC PRINTING METHODS.
MR. J. BARKER'S METHOD.
Gelatine (hard and soft, equal parts), 175 grains.
Chloride of ammonium, - 18
Rochelle salts, 50
Nitrate of silver, - 75 "
Alcohol, 2 drams.
Water, - 5 ounces.
By using an orange-yellow bottle, all the following opera-
tions can be performed in daylight. Pour the water into the
bottle, add the salts and then the gelatine ; allow the mixture
to stand about fifteen minutes to swell the gelatine, then dis-
solve at a temperature of 100 deg. Fahr. "When the gelatine is
dissolved, add the silver, in crystals, all at once, put in the
cork, and gently shake the bottle for several minutes. Emulsify
at 100 deg. Fahr. for ten minutes, then add the alcohol. The
emulsion is now allowed to set, then broken up and washed
slightly in two or three changes of water. It is then melted,
two drams of glycerine added, the emulsion filtered, and the
paper coated by yellow light.
PRINTING, TONING, AND FIXING.
Print slightly darker than required. Chloride prints should
not be examined in white light. Yellow light, however, will
not injure them. When finished, wash for five minutes in
two changes of water, and immerse a few minutes in the fol-
lowing solution :
Sulpho-cyanide of ammonium, 1 ounce.
Water, - - 20 ounces.
The prints are taken from this bath directly to the toning-
bath, which may be any of those given in the chapter on
Toning. Fix for twenty minutes in a 1 to 16 solution of hypo-
sulphite of soda.
THE COLLODIO-CHLORIDE PROCESS.
Place 123J- grains of nitrate of silver in a glass beaker, pour
over it 92 drops of distilled water and dissolve by heat. Drop
this solution into a bottle containing 10 drams of alcohol.
PHOTOGRAPHIC PRINTING METHODS. 87
Then add 123J grains of soluble gun cotton, and after thor-
ough shaking, 5-J- ounces of ether ; shake well until a grayish-
white collodion forms.
In another bottle dissolve loj- grains of chloride of lithium,
and 15 grains of tartaric acid, in 10 drams of alcohol. This
solution is to be added to the first, drop by drop, with constant
stirring. The collodion thus formed will keep indefinitely in
a tightly-corked bottle stored in a dark place.
COATING THE PAPER.
Fasten a knob to a piece of thin wood of the same size as
the paper to be coated. Enamelled paper is then pinned to
this at three of the corners, allowing the paper to project
about a quarter of an inch beyond the wood at the right hand
and lower edges, which may be turned up a little if desired.
Hold the wooden support by the knob in the left hand, and
pour the collodio-chloride upon it in sufficient quantity to cover
well. After gently rocking for a minute or two, return the
surplus collodion to the bottle and hang the paper up to dry.
The paper will keep good for some weeks.
If good enamel paper cannot be had, paper coated with the
following emulsion will give good results :
1. Nitrate of barium, li ounces.
Hot water, - - 10 ounces.
2. Sulphate of soda, 2 ounces.
Hot water, - 10 ounces.
Filter each solution through closely-woven muslin, and then
mix them. Allow the white deposit formed to settle ; then
draw off the water as closely as possible. Add sufficient hot
water to fill the vessel, allow the precipitate to settle again,
and pour off the clear liquid. Repeat this five or six times,
and then make up to 15 fluid ounces with water. Add two
ounces of white gelatine and dissolve by gentle heat. Then
add one ounce of water in which 15 grains of chrome alum
have been dissolved, and lastly, two drams of glacial acetic
acid, which must be well stirred in.
The enamel substratum is now ready for applying to the
paper, either by floating the paper upon it, or, preferably, by
88 PHOTOGRAPHIC PRINTING METHODS,
coating the paper with it, as described in the section on bro-
mide paper. The paper must be thoroughly dried before
applying the collodion.
Collodio-chloride paper should not be printed as deeply
as albumen paper, as the prints lose very little vigor
during the subsequent operations. As soon as the deepest
shadows just begin to bronze, the prints are removed from the
frames and stored in a dry place, protected from air and light.
When thus protected, they may be kept for weeks before
toning.
TONING.
First wash the prints in three changes of water, face
downwards, to avoid spotting of the whites. When the wash-
ing is complete they are toned in the following bath :
1. Sulpho-cyanide of ammonium, - 10 drams.
Distilled water, - GO ounces.
Hyposulphite of soda, - 9 grains.
2. Chloride of gold, - 22 grains.
Water, 60 ounces.
These are stock solutions and will keep.
To make the toning bath, mix No. 1 and No. 2 in equal parts,
pouring No. 2 into No. 1, and add a teaspoonful of chalk.
The bath should be made up some hours before wanted for
use.
The prints are immersed in the bath one at a time. The
color will change into yellow, then into brown and purplish-
brown. As soon as this color is seen, the prints are placed in the
fixing bath : hypo, 1 ounce ; water, 12 ounces ; 10 minutes' im-
mersion is sufficient to secure perfect fixation. Wash for one
or two hours.
The following method will be found the best for trimming
the prints preparatory to mounting. The prints are, if dry,
soaked in clean cold water until perfectly flat ; the trimming
glass is laid upon the face of the prints, and both removed
from the water. The print is then adjusted on the glass, and
its edges cut with a pair of long-bladed shears. By this method
of trimming, the delicate surface of the prints will not be in-
jured. The prints should be dried before mounting, which is
best done with the following mountant :
PHOTOGRAPHIC PRINTING METHODS. 89
Dissolve 2 ounces of gelatine in 10 ounces of water, and
pour in one ounce of alcohol, stirring all the time.
In the finished print there is a greater range of gradation
than in an albumen print, therefore it is that good collodio-
chloride may be printed from even weak negatives.
A very high gloss and neat surface can be given to the
prints by drying them on glass. A clean glass plate, quite
dry, is powdered over with talc and rubbed off with a pad of
cotton wool ; then it is dusted. A sufficient quantity of the
talc remains to facilitate the separation of the print when dry.
The wet print is laid on the glass, face down ; it is then
rubbed under a few sheets of blotting paper, and lastly with an
india rubber squeegee. After the print has become quite dry,
it is removed from the glass. From a mat glass it comes off
with a mat surface.
Varnish for Collodio- Chloride Prints.
Benzine,- - 2 pounds.
Para gum, - i ounce.
Mastic, - 1 ounce.
Canada balsam, - * -- '. - -, - 1 ounce.
90 PHOTOGRAPHIC PRINTING METHODS.
CHAPTER VIII.
MOUNTING THE PRINTS.
IN mounting prints, several important points must be con-
sidered. The mount itself is, of course, the most important
consideration, as it may contain chemical substances injurious
to the permanency of the print, and its color may detract from
the beauty of an otherwise charming picture. For both these
reasons I would strongly advise the rejection of the plain
white mounts so much used. They are very apt to contain
injurious chemicals, and they certainly destroy in great degree
the pictorial effect of the picture. A white border adds very
little to the light and shade of the photograph and diminishes
its brilliancy.
Nothing can be better both as a safeguard to permanency
and an aid to pictorial effect than a mount of a pale, neutral
gray. The color is soft, pleasing, and harmonizes well with
the tones of the picture. The tint is alike suitable for exhibi-
tion purposes, for framing, or for the formation of albums.
A second consideration is the size of the mount. For most
purposes it will be found best to select a mount about half the
size of the print larger each way, thus giving a margin of a
quarter of an inch on each side. If the photographer's name
and the title of the picture are to be written or printed below,
it is well to allow one-eighth of an inch more margin at the
bottom than at the top.
I know of no better way of placing the print in its proper
position on the mount than to rule lines one-quarter of an inch
apart on the four sides of a stiff card somewhat larger than the
largest mount likely to be used. These lines should be num-
bered, beginning with the line nearest the centre, and each
side of the rectangle formed by any four of these lines must
have the same number.
To use this mounting board, the mount is first of all laid
down on it in order to determine the number on the lines
PHOTOGRAPHIC PRINTING METHODS. 91
nearest its edges when the mount is accurately centered. This
done, the mount is removed, and the print, which should have
previously received a coating of the mounting medium, is
placed face down on the mounting- board and centered, using
the ruled lines as guides. The mount is now carefully placed
over the print with its edges at the lines previously noted as
the proper ones, and pressed firmly down upon the print. Now
remove the mount, and the print will be found adhering to it
in the proper position. All that now remains to be done is to
lay a clean piece of blotting paper over the print, and with a
roller or the palm of the hand gently remove all air bells or
wrinkles. A very effective way of doing this is to polish a
piece of very thin brass, of a size corresponding to the size of
the mount, with French chalk, and to lay it, polished side
down, over the print ; inclose the whole in a piece of folded
card-board large enough to cover both sides of the mount, and
pass the whole through the rollers of a wringing machine
tightly screwed down. This will cement the print firmly and
smoothly to the mount. Of course, the possession of a burn'
isher makes this method useless.
TREATMENT OF THE PRINTS.
Before mounting, the prints previously trimmed, should be
soaked in clean water until they lie flat ; the surface water is
then drained away, the prints blotted and laid face down, one
upon another on a clean piece of glass. The mounting medium
is then evenly and thoroughly applied by means of a stiff, flat
brush, or a sponge thrust into the mouth of a wide-mouthed
bottle. The prints are now ready to be placed on the mounts.
THE MOUNTING MEDIUM.
Many formulas have been given for making mounting
mediums ; some of the best of these are here given :
Starch Paste. Place a large teaspoonful of pure white
starch in a cup, with sufficient cold water to cover it. After
two or three minutes' soaking, the cup is filled with boiling
water and the starch well stirred.
Glue Paste. Take clean, light glue, and shred it. Soak
for five or six hours in enough water to cover it. Then pour
92 PHOTOGRAPHIC PRINTING METHODS.
off the water, and add fresh. Dissolve by heat. After thin-
ning down to the proper consistency with warm water, it is
ready for use.
Gelatine Paste will not cockle the prints.
Eighty grains of soft gelatine are soaked in 3 drams of water
.and dissolved by gentle heat ; when solution is complete, 2
ounces of alcohol are added. When cool, this sets into a jelly,
.and can be used by melting it in a water bath.
W. J. STILLMAN'S MOUNTANT.
One ounce of gelatine is soaked for several hours in cold
water. The water is then drained off as completely as possible,
and the swelled gelatine is placed in a wide-mouthed bottle
and the bulk made up to 10 ounces with alcohol ; half an
ounce of glycerine is then added, and the bottle placed in hot
water until solution is effected, the contents of the bottle being
occasionally stirred. This mountant will keep indefinitely,
and only needs to be heated when wanted for use.
MOUNTING IN OPTICAL CONTACT WITH GLASS.
A method of mounting is now to be described which is re-
markable for the softness and brilliancy which it imparts to
the prints and for the amount of detail in the shadows which
it brings out.
Optical contact is an expression used to denote the close
union which takes place between a print and a piece of glass,
when the former is squeegeed to the latter.
In the case of bromide or chloride prints nothing further is
necessary than to immerse both print and glass in a dish of clean
water, the print above the glass. "When the former lies perfectly
limp and flat, the glass is gently raised by one end and lifted
from the dish, carrying the print with its face in contact with
the glass. The back of the print is covered with a piece of
rubber cloth and the squeegee used to remove possible air
bells and wrinkles. Then set aside to dry. The beauty and
brilliancy of prints so mounted will be a surprise and delight
to those who have never seen them.
When albumen prints are to be mounted in optical contact,
PHOTOGRAPHIC PRINTING METHODS. 93
it is necessary to give both the prints and the mounting glass
a preliminary treatment with a warm solution of gelatine.
Two ounces of soft gelatine are soaked in cold water until
soft ; boiling water is then poured on the softened gelatine in
sufficient quantity to make a rather thick solution. When the
gelatine is all dissolved the solution is filtered through muslin
into a clean porcelain or glass tray standing in a hot water
bath.
The prints should previously have been trimmed slightly
smaller than the glasses on which they are to be mounted, and
soaked in cold water. The glasses must be perfectly clean and
free from scratches and other markings. Plate or patent plate
glass is the best to use.
Take one of the glasses and place it in the warm gelatine
solution, leaving it there until it assumes the temperature of
the bath.
One of the prints is then taken from the water in which it
has been soaking, and placed face down in the gelatine above
the glass, allow it to remain in the solution half a minute or
so, care being taken that every part of it is saturated with the
solution.
The glass is now raised from the bath, carrying the print
with it. With a squeegee remove all excess of gelatine, allowing
it to run back into the dish. In the same way remove all excess
of gelatine from the face of the glass. Lay it aside to set,
then with a clean sponge dipped in hot water clean the glass,
but do not touch the back of the print. When thoroughly dry,
clean the face of the glass, and the mount is finished, unless
you wish to protect your print still further from all chances of
deterioration by covering the back of the print with a second
glass, binding the edge with the material sold for binding
lantern slides.
Well-washed prints mounted in this way are as safe from all
chances of change as it is possible to make them, I believe, and
they are far more beautiful than prints mounted on card-board.
If it is desired to frame prints mounted in this way, take
card board of the size and color desired, cut a rectangular open-
ing in the center half an inch smaller than the glass on which
the print is mounted. This will allow the glass to overlap the
PHOTOGRAPHIC PRINTING METHODS.
opening a quarter of an inch all around. Lay the glass in posi-
tion on the back of the card-board and draw a line completely
around it. Using this line as a guide, glue strips of cardboard
on the back of the mat, thus making a well in which the glass
mount will be securely held when the backboard is tacked in.
MOUNTING ON PLATE PAPER.
The most artistic method of mounting on card or paper is to
mount on plain white plate paper, with the plate-mark sunk in,
as in the case of engravings.
This style of mounting is especially adapted to bromide or
platinotype prints, as it adds very much to their engraving-like
appearance.
The directions which follow will enable the operator to mount
prints in this way without any great difficulty.
The only novelty about the method is the production of the
plate-mark which in large printing establishments is done by
means of metal plates and expensive machinery. The amateur,
however, can produce as good results with card-board and an
ordinary copying press.
To make the plate-mark, procure a piece of thick hard
card-board, and cut it one inch longer and one and one-half
inches wider than the prints to be mounted. Do this neatly
and accurately, using a square to get the corners true and
square. Round off the corners with a sharp knife. This is
the plate used for making the plate-mark.
Mount the print on the paper with one of the gelatine
mountants given above. Then lay over the print a piece
of glass cut to the size of the card-board plate. Carefully
adjust it over the print to leave a margin of one-half an inch
on each side of the print, five-eighths of an inch at the top, and
seven-eighths at the bottom. Draw a light pencil line around
the two upper corners to insure the plate-board being placed
in the exact position occupied by the glass. Eemove the glass,
substitute for it the plate-board, and place under a copying-
press with two or three felt pads laid over the mount, and screw
down as tightly as possible. Leave the mount under pressure
for some time to get a good impression.
PHOTOGRAPHIC PRINTING METHODS.
95
The size and shape of the plate-board may be varied to suit
the taste of the operator, giving more or less margin than the one
described above. Heavy drawing paper can be used instead of
plate paper, and it will be found to give good results.
96 PHOTOGRAPHIC PRINTING METHODS.
CHAPTEK IX.
CARBON PRINTING.
THE name of carbon prints is applied to images produced on
a paper coated with a gelatine solution containing a pigment
of the desired color, which, after drying, is sensitized in a bath
of bichromate of potassium.
Prints in carbon are undoubtedly as permanent as the sub'
tratum on which they are made, if refined lamp-black be
used ; if other pigments are employed, the permanency of the
resulting prints depends upon' the nature of the pigment.
The possibility of working the process depends upon the fact
that the effect of light upon a gelatinous mixture containing
bichromate of potassium, is to make those parts affected by it
insoluble in water.
If, therefore, paper prepared as above be exposed to light,
beneath a negative, and then immersed in hot water, those
parts upon which the light has not acted will be dissolved,
while the rest will remain attached to the paper.
The prints are produced by single or double transfer ; the
former, when reversed negatives are used; the latter when ordi-
nary negatives are employed. In both cases the same carbon
tissue is used.
THE NEGATIVES.
Negatives capable of giving good prints on silver paper will
yield satisfactory results on carbon tissues. Thin negatives
should be coated on the back with the following mat varnish,
which is to be preferred to tissue paper since it allows those
parts of the negative which must remain transparent to be
cleaned by the local application of mastic varnish with a brush,
and also because it gives a good surface for retouching. The
formula for the mat varnish is as follows :
Dissolve one dram of powdered sandarac in fourteen drams
of ether; add fifteen grains of Canada balsam, and five or six
drams of pure benzine, and filter. The varnish is to be flowed
PHOTOGRAPHIC PRINTING METHODS. 97
over the back of the negative, which is not to be warmed. It
will dry within two hours.
The varnish may be tested by spreading a few drops on a
piece of cold glass and allowing it to dry. When dry, it
should have the appearance of ground glass. If the grain is
too fine, add one or two drams of benzine.
If more density is desired, flow the varnish over the nega-
tive a second time.
Retouching may be done on this varnish with the stump and
plumbago, with a crayon or with a pencil.
REVERSED NEGATIVES.
A method of stripping films from glass for reversed nega-
tives will be found in the Chapter on Photo-Ceramics. Re-
versed negatives may be easily obtained in the camera by expos-
ing the plate with the glass side towards the lens, making the
necessary correction in focusing for the thickness of the glass.
DRYING THE SENSITIZED TISSUE.
The paper may be suspended by means of spring clips at
the two upper corners. This method will answer for the smal-
ler sizes, but when large sheets are to be dried it is safer to
adopt the following method : A thin piece of wood, one inch
wide, is placed across one end of the sensitizing tray,
one end of the tissue is raised from the bath, and
placed upon the wood ; a second strip of the same
size is laid upon the paper, and the two
strips of wood are fastened together with
clips. The paper may now be hung up to
dry, without fear of its tearing. To pre-
vent curling of the tissue as it dries, a thin
strip of wood to which two clips have been
attached, should be clipped to the lower
edge of the paper.
The cut will make the description clear.
The drying may be hastened by immers-
rzj irr^ ing the sensitized tissue in an alcohol bath,
or it may be placed, face down, upon a piece of well-cleaned
glass, then covered with rubber cloth and lightly squeegeed;
it is then removed from the glass and hung up to dry.
=fb =0=
98
PHOTOGRAPHIC PRINTING METHODS.
DEVELOPING TRAYS.
When only a few pieces of the tissue are to be developed,
the arrangement figured below will be found very convenient.
It consists of a table large enough to hold two trays of suit-
able size, one for hot water and the other for cold. The
water is warmed by a small oil stove, not shown in the cut.
For work on a large scale, vertical baths are used, in which
many pieces of tissue can be developed together, the pieces of
tissue being suspended in the water.
FORMULAE.
No. 1. FOR SINGLE TRANSFER.
Hard gelatine,
Water,
4 ounces.
25 ounces.
When dissolved, add seventy-five grains of chrome alum
dissolved in five ounces of water, and enough acetic acid to re-
store fluidity.
No. 2. FOR DOUBLE TRANSFER.
Hard gelatine, - 4 ounces.
Fine sulphate of baryta, 2 ounces.
Water, - 20 ounces.
Mix thoroughly and stir in a solution of twelve and one-half
grains of chrome alum in one ounce of water.
To coat the paper, roll it up tightly, face outwards ; lay the
roll upon the surface of the liquid, seize the loose end, and
gradually unroll the paper ; then hang up to dry.
PHOTOGRAPHIC PRINTING METHODS.
99
PIGMENT SOLUTIONS.
"No. 1. The Preliminary Jelly.
10 parts.
4 parts.
25 parts.
Soak the gelatine in water until soft, then gradually raise
the temperature until the gelatine is dissolved. Add the sugar,
and stir well. When the jelly has set, turn it out of the bowl
and cut off the bottom to remove all sediment.
Transparent sheet gelatine,
White sugar,
Water, -
!, For Purple Brown Tones.
Refined lamp-black,
Alizarine lake,
Indigo, -
72 grains.
60 grains.
13 grains.
Grind these fine with four, ounces of the jelly given in No.
and add to six pounds of the same jelly, and mix well.
3. Black Tones.
Jelly, -
Lamp-black,
2 pounds.
50 grains.
Red Tones.
Jelly, -
Indian ink,
Jelly, - 2 pounds.
Venetian red, - 3 ounces.
Indian ink, 8 grains.
5. Transparency Tissue.
* 2 pounds.
200 grains.
The tissue compound is to be strained through cambric into
a tray standing in hot water. The paper is coated as recom-
mended for the single and double transfers, and then dried.
When dry, the tissue is sensitized by immersion for a brief
period in the following solution :
Bichromate of potash, 1J^ ounces.
Ammonia, - 1 dram.
Alcohol, 4 ounces.
Water, - - 30 ounces.
Then suspend to dry in a dark room supplied with a con-
stant current of pure cold air. The drying should take place
within 5 or 6 hours, or failure will occur.
100 PHOTOGRAPHIC PRINTING METHODS.
PRINTING.
The negative must first receive a " safe edge " in the shape
of a quarter-inch edging of black varnish, in order to protect
the outside edges of the tissue from the action of light.
Exposure is about twice as rapid as with silver paper, and as
the progress of the printing is not visible, a photometer must
be employed to determine the proper time of exposure.
The photometer is simply a small box of wood, or other
material, having a double cover in which is cut a rectangular
opening covered with a piece of glass, painted a dark chocolate
color, corresponding to the tint assumed by silver paper after
90 seconds' exposure to sunlight, a narrow slit being left un-
painted across the center of the glass.
Between the first and second covers a slip of sensitized silver
paper is pressed, one end projecting from a narrow slit cut in
one end of the box. The box is placed in a position to receive
the same quality of light as that which falls upon the negative.
As soon as the paper, visible through the unpainted portion
of the glass, darkens to the color of the painted portion, one
tint has been obtained, and the paper is pulled forward until a
fresh portion is exposed to the light.
This operation is continued until the print is judged to be
sufficiently exposed, A little practice soon enables the printer
to deter nine how many tints each negative requires. Nega-
tives of medium density require an exposure of two or more
tints; those covered with tissue paper or mat varnish wil)
need longer exposure.
The number of tints, once found for each negative, should
be marked on its back.
DEVELOPMENT.
Carbon prints must be developed from the back of the
tissue in order to secure good half-tones. For this purpose the
prints are cemented, face down, upon the single or double
transfer paper, according as reversed or unreversed negatives
were used in printing.
SINGLE TRANSFERS.
For single transfers, the exposed tissue and a piece of single
transfer paper, a trifle larger than the plate, are soaked in
PHOTOGRAPHIC FEINTING METHODS. 101
clean cold water until the tissue lies perfectly flat. The two
pieces are now placed face to face, lifted out of the water,
placed upon a piece of clean glass, and perfect contact secured
by using a squeegee on the back of the tissue previously
covered with rubber cloth. The two pieces are then placed
for a few minutes between blotters, and then placed in water
&t LOO deg. Fahr. ; in a short time the backing paper of the
tissue can be easily removed; gentle washing with hot
water will soon dissolve those portions of the print unaltered
by the action of light, leaving an image in carbon on the
transfer paper, which, after rinsing in cold water, immersion
in an alum solution, followed by another rinsing, is ready to
be hung up to dry, after which it is ready for mounting.
DOUBLE TRANSFERS.
The double transfer support must be used when the prints
have been made from ordinary negatives. For this purpose a
piece of double transfer paper, somewhat larger than the print,
is coated with a solution of beeswax in turpentine, the wax
solution being applied with a piece of flannel and polished
with another. It is then immersed in clean cold water with
the print, and treated as described for single transfer.
When the development is completed, the tissue is ready to
be transferred to its final support, be it card, glass, ivory or
porcelain This is done by soaking a piece of double transfer
paper, when the prints are to be mounted on cards, in water
at about 100 deg. Fahr. Allow it to soak until the surface
feels soft and slimy, meanwhile soaking the print on its tempo-
rary support in cold water. The two are then brought into
contact as before, laid down upon a piece of glass, transfer
paper uppermost, and the squeegee applied lightly. The
cemented pieces are now hung up to dry, and when quite
dry the two papers are separated, the image remaining on the
transfer paper. After rinsing, going through the alum bath,
again rinsing and drying, the prints are ready for mounting
on cards.
If the final support is to be ivory, glass, porcelain, or any
other similar substance, both the developed print and the
ivory or other substance, are immersed in a warm five-grain
102 PHOTOGRAPHIC PRINTING METHODS.
solution of gelatine, and squeegeed into contact, excess of
gelatine being removed with a damp sponge. The two are
then placed to dry between blotters under pressure. When
quite dry, the paper is stripped off, leaving the carbon image
upon its final support.
Instead of using a piece of waxed transfer paper for the
first transfer, some operators prefer to employ a finely mulled
zinc plate, waxed and polished as before. The subsequent
operations are the same as described above.
The author feels that a word of caution is necessary to
those who may try this process. Cases of bichromate poison-
ing are by no means rare, and the operator should exercise
the utmost care in all his manipulations, particularly if he
have any cuts or scratches on his hands, in which case it
would be better to defer washing the tissue until the cuts are
entirely healed. The safest plan is to wear rubber gloves
when working with the tissue.
A method for making transparencies in carbon will be de-
scribed in the chapter devoted to that subject.
Prints made as described above will be either mat or slightly
polished. If a high gloss is desired, the print is developed
'on a piece of glass polished with French chalk and coated
with thin, plain collodion, amd washed until all traces of
greasiness are removed. The exposed tissue is now mounted
upon the collodionized glass, a piece of rubber cloth placed
over the tissue, and the squeegee applied gently. The subse-
quent operations are the same as described above.
CARBON PRINTS FROM ORDINARY NEGATIVES WITHOUT
TRANSFER.
The method about to be described gives unreversed posi-
tive, from ordinary negatives without single or double transfer.
If a piece of exposed carbon tissue be developed on glass it
only needs a backing of white paper to bring out the detail,
and as the positive is seen through the glass it will be non-
reversed although taken from an unreversed negative.
The glass plates on which the tissue is developed are pre-
pared by giving them a thin coating of the following solu-
tion :
PHOTOGRAPHIC PRINTING METHODS. 103
a. Gelatine, .... 80 grains.
Water, - - - - 5 ounces.
b. Chrome Alum, 3 grains.
Water, - r * 1 ounce.
Add 5 to a when the gelatine is dissolved.
The piece of exposed tissue is put upon the prepared plate
as in the usual transfer method. The tissue is then covered
with a piece of rubber cloth and squeegeed into perfect con-
tact ; a weight is next placed on the rubber cloth and allowed
to act for a few minutes. Development is the same as de-
scribed above.
FAILURES IN THE CARBON PROCESS.
[From Liesegang's " Le Precede au Charbon."]
1. The pigmented gelatine dissolves in the bichromate solu-
tion. The solution is too warm ; it must be cooled by add-
ing ice.
2. The gelatine runs while drying. The drying room or
box is too warm.
3. The paper, when dry, is too stiff and refuses to lay
smoothly upon the negative. The paper was dried too quickly
at too high a temperature.
4. The paper sticks to the negative. Either the paper, the
negative, or the padding is moist. If the paper is at fault it
must be given a coating of very dilute collodion, and allowed
to dry thoroughly,
5. The gelatine refuses to adhere to the glass. Either the
paper was allowed to remain too long in the bath of cold
water or the bichromate bath has become decomposed through
age.
* 6. The sensitized gelatine becomes insoluble even in dark-
ness. This most commonly happens in hot moist weather.
Add one per cent, of carbonate of soda to the bichromate
bath and dry the tissue in a current of air.
Y. The tissue is not easily detached, or the proof develops
poorly, remaining too black. The exposure was too long, or
too much time has elapsed between exposure and development.
8. The tissue leaves the support too quickly and the print
is weak. Too short exposure ; lower the temperature of the
developing bath.
104: PHOTOGRAPHIC PRINTING METHODS.
9. The edges of -the proof adhere to the support. Either
the safe edge was neglected, or the gelatine has become de-
composed.
10. Dark spots appear on the prints. If they do not dis-
appear in the developing bath, they are caused by insuffi-
cient washing of the collodion in cold water.
11. The proofs lack half-tones. Either the paper was
dried too quickly, the bichromate bath is too old or weak,
or the tissue has been kept too long.
12. The print after being placed on the transfer paper will
not leave the glass. The glass was not well waxed, or too
much of it was removed in polishing.
13. The print when stripped from the glass is covered with
bright spots in the high-lights. The water in which the
transfer paper was soaked was too warm or too cold; the
gelatine was either dissolved or not sufficiently softened.
14. The print has a coarse-grained appearance. Either the
print when on the glass was soaked too long in cold water be-
fore transferring to the transfer paper, or the water was too
warm, or the print was dried too quickly.
PHOTOGRAPHIC PRINTING METHODS. 105
CHAPTEE X.
PRINTING ON FABRICS PRINTING ON LINEN.
SIZING SOLUTION.
9 Water, 1 ounce-
White glue, - 2 grains.
SALTING SOLUTION.
Chloride of ammonium, - 2 grains.
Water, 1 ounce.
Immerse the linen in the salting solution for one or two
minutes. When dry apply the sizing solution to the part to
be printed. When again dry, the silver solution, forty-five
grains to the ounce, is put on with a tuft of cotton. The linen
is then dried and fumed. Printing is done in the usual way,
first attaching the cloth to a piece of pasteboard. Toning is
done in any good bath, the print is fixed in hypo and well
washed, using boiling water for the final washing.
PRINTING ON SILK.
Chloride of ammonium, - 100 grains.
Iceland moss, 60 grains.
Boiling water, ^ 20 ounces.
When nearly cold filter and immerse the silk for fifteen
minutes. The silk is sensitized by a sixteen minutes' immersion
in a twenty-grain silver bath made slightly acid.
When dry, the silk is attached to a piece of card-board, and
slightly over-printed. After printing, wash in two or three
changes of water, and tone in any good bath. Fix for twenty
minutes in a 1 to 4 fixing bath. The after-washing must be
thorough.
PLATINUM PROCESS.
The platinum process of Willis can be confidently recom-
mended for obtaining positive prints on various fabrics, using
the materials prepared specially for this purpose, not those for
106 PHOTOGRAPHIC PRINTING METHODS.
contact or solar work. The following description of the pro-
cess is taken from the Platinotype Company's Manual, and
may be implicitly relied on :
The sensitizer consists of a mixture of the platinum and iron
solutions.
Two solutions of iron marked A and B are employed. By
varying the proportions in which these solutions are mixed
different effects may be obtained from the same negative. But
it will be found advisable in printing from negatives having
the same general characteristics to adhere nearly to one fixed
proportion.
The following mixtures are good :
1. Iron solution A, - 1 part.
B, 3 parts.
2. Iron solution A, - 1 part.
B, 1 part.
1. Gives good half tone and is suitable for brilliant negatives
with strong contrasts.
2. Gives less half tone ; with negatives thin or weak it gives
more brilliant prints than 1.
By increasing the proportions of iron solution A, half tones
will be destroyed.
By increasing the proportion of B, half tones will be in-
creased.
It is not advisable to reduce the proportion of A lower than
given in formula 1, otherwise there will be a tendency to pro-
duce prints with stained or fogged whites.
The mixture of solutions A and B may be preserved in the
dark, for future use, in a corked bottle.
The sensitizer is made by mixing
Solution 1 or 2, -1 part.
Platinum solution, 1 part.
This sensitizer should be used within ten minutes of its pre-
paration.
The sensitizing solution is applied to the fabric by means of
a small piece of fine sponge until the material is saturated. It
is then removed from the glass plate and dried until it is
absolutely dry.
PHOTOGRAPHIC PRINTING METHODS. 107
When dry, the color of the surface should be a pure yellow,
sometimes almost orange. If a faint tint of gray should
appear, it will usually indicate that too much heat has been
used in drying.
The precautions used in the protection of sensitized paper
from damp apply equally to fabrics.
Sensitizing should be conducted in a clear yellow light, or
by gas or lamp light.
The glass plate and sponge used for sensitizing are readily
cleaned by a weak solution of hydrochloric acid. They should
be kept free from any trace of old or decomposed sensitizer,
otherwise stains will be formed in the print. When sensitiz-
ing a large number of pieces of fabric, it is necessary to clean
the glass and sponge at intervals during the operation, say be-
tween every tenth piece.
When a portion only of a piece of fabric is sensitized, all
excess of moisture must be removed from the edges of the
spot so sensitized ; this may be effected by sponging these edges
with a drier sponge. If, notwithstanding this treatment, the
edges of the spot show stains on development, a larger pro-
portion of the iron solution A should be used in the sensitizer.
It is difficult to estimate the quantity of mixed sensitizer re-
quisite to coat a piece of fabric. With a rather fine kind of
linen it is found that each square foot requires a little more
than 1J drams of the sensitizer. Smaller areas of this fabric
require a slightly increased proportion of the sensitizer.
Thicker fabrics require more sensitizer in proportion to their
thickness. Oatmeal-cloth and thick sateen require three or four
times as much as linen.
The printing and development of sensitized fabrics are con-
ducted similarly to paper. The developing bath should be very
hot ; the nearer it is to the boiling point the better. The ex-
posed fabric is first of all floated with its printed surface down-
wards upon the developer, and it is then immersed in it for at
least five seconds. The acid clearing bath is made by mixing 1
part hydrochloric acid with 45 parts water.
With linen and the finer sorts of cotton fabric (Nainsook,
for example) no difficulty in working should be experienced,
but thicker fabrics, such as jean, sateen, oatmeal-cloth, require
108 PHOTOGRAPHIC FEINTING METHODS.
very careful management. In drying these thicker materials
very great care is requisite to secure perfect desiccation with-
out decomposition. A more gentle heat should be used in
these cases. Silks and satins do not, as a rule, answer well, but
some of the purer kinds of silk, which have very little " dress-
ing," give good results. The denser kinds of Sarsanet and the
soft silks are the best.
THE CARBON PROCESS.
Prints may be obtained on fabrics by means of carbon tissue,
the fabric forming the final transfer. The method of obtaining
the print does not differ from those described in the Chapter on
Carbon Prints.
The fabric is coated with the usual solution of insoluble gela-
tine, and the final transfer made upon it as usual.
PHOTOGRAPHIC PRINTING METHODS. 109
CHAPTER XI.
ENLARGEMENTS.
GENERAL DIRECTIONS.
The Negatives. Negatives for enlargements should not be
as intense as those intended for contact printing. Very thin
negatives can be employed for enlarging from by flowing
over the bath a coating of thin collodion, to which has been
added sufficient of a yellow aniline dye to impart a decided
tinge.
In all cases the negative should be placed face downwards
with the film side towards the paper or glass on which the en-
largement is to be made.
The Light. For enlargements in the solar camera on paper
sensitized in the bath, daylight or the electric light must be
used. For enlargements not exceeding two or three diame-
ters on bromide paper, opals, or other substances coated with
a sensitive emulsion, gas or lamplight may be employed in an
enlarging lantern ; also the oxy-hydrogen or the lime-light.
Enlargements of greater dimensions are best made by day-
light.
THE APPARATUS.
The Solar Camera. This instrument is so well known that
no description of it is needed. The form in general use in
America is Woodward's.
Enlarging Camera for Emulsions. As paper coated with
emulsion prints much more rapidly than paper sensitized in
the bath, a simpler form of camera can be employed. That
given below is the best known to the author. It can also be
used for reducing and copying in the same scale as the original.
If the enlargement is to be made on glass or other similar
substances coated with emulsion, the plate is placed in the
usual plate-holder and the exposure made as in ordinary view
110 PHOTOGRAPHIC PRINTING METHODS.
work. If, however, paper coated with emulsion be the me-
dium adopted, a film carrier of the usual pattern may be em-
ployed or the paper may be smoothly pasted by the edges on
a glass plate.
The form of construction of this camera is made apparent
by the illustration here shown. The experienced copyist will
not need any such simple directions for use as we append.
DIRECTIONS FOR USE.
To copy a negative in the natural size, place it in the kit on
the front of camera and button it in. Attached to the center
frame of the camera is a division upon which, on the side to-
ward the camera front, a lens is mounted. Suppose this to be
a quarter-plate portrait lens, the focal length of which we will
suppose to be four inches draw back the center frame and
the lens twice the focal length of the lens (eight inches) ;
slide the back frame with ground glass the same distance from
the center frame. To enlarge with the same lens to eight
times the size of the original, the center of the lens must be
four and a half inches from the negative, and the ground glass
be thirty-six inches from the center of the lens. To reduce
in the same proportion, reverse and have 36 inches from the
center of the lens to the negative, and from the center of lens
to ground glass, four and a half inches.
Enlargements with an Ordinary Camera. If the operator
possesses a view or portrait camera of sufficient size and of
great focal length, he can, by using a short focus lens, make
PHOTOGRAPHIC PRINTING METHODS. Ill
enlargements in the camera direct from the negative. In this
case it is only necessary to place the negative in a window
with a piece of ground glass behind it. The camera is sup-
ported on a table in such a way as to allow the center of the
lens to be opposite the center of the negative. By looking
through the ground glass of the camera all the necessary ad-
justments are easily made.
AN IMPROVISED APPARATUS.
This cut represents an enlarging apparatus that any photog-
rapher can improvise from ordinary apparatus and material,
with the expenditure of a few hours' time. To construct it
proceed as follows :
Cut a hole in the dark-room shutter two sizes larger than
the largest negative to be enlarged from ; fit into the opening
a frame about two or three inches deep, glazed on the outside
with a sheet of ground glass. On the inside edges of the
frame, -top and bottom, arrange grooves in which to slide the
negative ; when the negative is in position it will be brilliantly
illuminated against the ground glass. Kow, on a table or
shelf, adjusted in front of the negative-box, place an ordinary
camera having the ground glass removed, point the lens toward
the negative, and connect the lens and negative-box by means
of a bag of opaque cloth, open at both ends and provided with
elastic bands to close it tight around the lens and negative-box.
This will prevent any light coming into the dark-room, except
through the lens.
112
PHOTOGRAPHIC PRINTING METHODS.
fn this apparatus the camera oody serves no useful purpose ;
all that is required is to support the lens. In case a portrait
lens is used it should be put in position so that the back lens
will be next the negative instead of as shown in the cut.
LENS.
The easel to hold the sensitive paper is the next requisite,
and this may be constructed by fastening a large, flat board in
an upright position, upon a box of suitable size to serve as a
base, so that the whole may be moved to and fro to regulate
THE EASTMAN ENLARGING APPARATUS.
the size of the enlargement. The face of the easel should be
covered with white paper. Now, if the easel is put in position,
facing the camera, the image can be focused on the screen by
sliding the camera backward or forward on the shelf.
PHOTOGRAPHIC PRINTING METHODS.
113
While the foregoing directions will enable anyone to con-
struct a practical apparatus for enlarging, many will prefer a
more convenient and finished outfit, and for such the following
apparatus has been devised. See the accompanying figures.
The Camera. This cam-
era is similar to an ordinary
" front focus " view camera,
except in the back, which
has a fixed ground glass and
a carrier for the negative
which slides into the cam-
era, inside the ground glass.
This carrier is adjustable so
that it will take any nega-
tive from 3 \ x 4^ inches, or
smaller, up to and including
8 x 10 inches. The camera
is built with especial refer-
ence to steadiness and is
well finished. Provision is
made in the back for mak-
ing a light-tight joint around
the opening of the dark-
room shutter, into which the camera fits.
The Easel consists of a base, supporting two uprights, in
114
PHOTOGRAPHIC PRINTING METHODS.
which slides the exposing screen. On the face of the screen
swings a hinged frame which clamps the sensitive paper flat in
position. The swinging frame is arranged to receive smaller
frames or kits, adapted to clamping any size of paper. On
tne top of the screen is a light-tight box, provided with bear-
ings, in which revolves the spool carrying the roll of sensitive
paper. Each box is supplied with a wooden spool, and the
paper is wound for the market upon a strong paper tube, which
slides onto the wooden spool. Thus, a tube carrying any width
of paper, not above the capacity of the easel, can be used with
the same box.
The easel is arranged to slide back and forth on a track laid
on the floor of the dark-room.
The advantages of the specially constructed apparatus, above
described, over anything devised as a makeshift, are almost too
obvious to require enumeration. Although by means of an ex-
temporized apparatus, just as good quality of work may be
done, when the operator proposes to adopt the process regularly
in his business, he will find, in using the better apparatus, that
the time saved in adjustment, and the paper saved by using it
in the roll, in which form it is much less liable to accidental
injury, will soon pay for a complete outfit such as described.
I am indebted to the " British Journal Photographic Al-
manac " for the description of the following easily constructed
and thoroughly efficient enlarging apparatus which may be
used in an ordinary room, and which will answer for daylight
or artificial light :
The baseboard, A B, is two feet long and two inches thick.
Its width will be determined by the width of the easel-board F.
A wide groove is cut in A B, in which slides the thinner three-
PHOTOGRAPHIC FEINTING METHODS.
115
inch slab C, which carries the lens-board D. On each side of
the center groove two narrower grooves are cut, in which run
the two square rods E E, carrying the easel-board F. The size
of F will depend on the size of the largest enlargement to be
made. The lens-board JJ is grooved to take the ordinary slid-
ing front used on the camera, and allows the lens to be raised
or lowered as required.
All the parts should be accurately and strongly put together.
The actual process of enlarging with this apparatus does not
differ from that adopted when the regular enlarging camera is
used. The room in which the enlargement is to be made must
be thoroughly darkened, one window having a wooden shutter
ENLARGING APPARATUS FOR ELECTRIC LIGHT.
FACTORY.
IN USE IN THE EASTMAN
APPARATUS FOR ENLARGING WITH
EASTMAN'S PERMANENT BROMIDE PAPER.
Fig. 6.
in which a hole is cut and a frame made to receive the negative.
One end of a hood of black cloth is nailed to this frame, and the
other end being fastened to the lens-mount by means of a
rubber band. The necessary adjustments are made by draw-
ing out the lens-carrier D, and the easel-board F, to which the
paper is fastened with drawing pins.
For enlargements with artificial light it is only necessary to
enclose the source of light in a light-tight box provided with
suitably protected ventilation holes at the top and bottom, and
having an opening provided with a piece of ground glass, in
which to place the negative.
Electric Liqht. When a large quantity of work is to be
116 PHOTOGRAPHIC PRINTING METHODS.
provided for, the arc electric light is most convenient as it is
powerful and (practically) uniform. Any artificial light re-
quires a pair of double condensers, and they should be arranged
as in figure 6.
Large condensers, if made of fine glass, are very expensive,
but an inferior grade that costs only a moderate sum may be
used if a sheet of very fine ground glass be mounted between
the convex surfaces of the two lenses.
Enlarging with the Oil Lantern. For small enlargements
a magic lantern burning oil may be used to advantage. One
of the most compact and convenient forms of lantern known
to the writer is that known as the New York Magic and En-
larging Lantern, figured below.
READY FOR USE. IN PACKING CASE.
The lantern is very light and compact ; no oppressive heat is
generated ; the condensing lenses are four and five-eighth in-
ches in diameter. There is no loss of light, and altogether it
is a very desirable piece of apparatus.
The Lens. Any lens that will make a negative can be
used, and the proper size for the lens depends wholly upon
the size of the negatives to be enlarged from. Rapid rectilinear
lenses of short focus and large enough to cover the negative will
answer every purpose.
Vignetting Enlargements on Opals and Emulsion Pa-
pers. If an apparatus similar to the Eastman is used, the en-
largement may be vignetted by constantly moving to and from
PHOTOGRAPHIC PRINTING METHODS. 117
the lens a piece of pasteboard about 18x22 inches, having a
hole of the proper shape cut in the center. The lens should
be stopped down to secure long exposure in order to allow the
vignetter time to act.
MOUNTING ENLARGEMENTS ox CLOTH.
Cover a canvas stretcher with a piece of common white
muslin by stretching it tightly while dry, and tacking it on
the outside edges. Give the cloth a coating of starch paste,
rubbing it well in and avoiding streaks and lumps. Place a
piece of rubber cloth on a smooth table, and on it lay the wet
print, face down. Wipe off all excess of water with a squee-
gee, and then give the back of the print a coat of paste. Now
lay the stretcher, face down, upon the print, and rub it into
contact, using a thin paper knife under the edges of the
frame. Turn the stretcher over, and remove the rubber
cloth. When dry. the print will be stretched tightly.
118
PHOTOGRAPHIC PRINTING METHODS.
TABLE FOR ENLARGEMENTS.
Copied from the "'British Journal Almanac for 1882.'
Focus OF LENS.
TIMES OF ENLARGEMENT AND REDUCTION.
In.
2
1
In.
4
4
2
In.
3
3
In.
8
2%
4
In.
10
5
In.
12
21
6
In.
14
7
In.
16
2f
8
In.
18
2M
5
5
1%
10
^
15
3
17 !i
20
%'
3
6
6
9
12
4
15
18
3f
21
24
8f
27
3|
3K
7
7
"H
14
'$
21
*&
28
4
8 3^
4
8
8
12
6
16
20
5
24
28
4f
32
36
4^
9
9
'i
18
6
22^
5%
27 o
814
4
36
4 5*
5
10
10
15
20
25
30
6
35
5f
40
5f
45
5|
6K
11
11
IM
22
27 $8
33
38|
44
6f
49!
6A
6
12
12
18
9
24
8
30
36
42
7
48
54
6f
7
14
14
21
28
35
8%
42
49
61
56
8
63
8
16
16
24
12
32
40
10
48
56
64
72
9
9
18
18
27
13K
36
12
45
54
10*
63
X0|
72
lOf
81
It is assumed that the photographer knows exactly what
the focjis of his lens is, and that he is able to measure accur-
ately from its optical center. The use of the table will be seen
from the following illustration : A photographer has a carte
to enlarge to four times its size, and the lens he intends em-
ploying is one of six inches equivalent focus. He must,
therefore, look for 4 on the upper horizontal line, and for 6
in the first vertical column, and carry his eye to where these
two join, which will be at 30 7-J-. The greater of these is
the distance the sensitive plate must be from the center of the
PHOTOGRAPHIC PRINTING METHODS. 119
lens, and the lesser, the distance of the picture to be copied.
To reduce a picture any given number of times the same
method must be followed, but in this case the greater number
will represent the distance between the lens and the picture
to be copied ; the latter, that between the lens and the sensi-
tive plate. This explanation will be sufficient for every case
of enlargement or reduction.
If the focus of the lens be twelve inches, as this number is
not in the column of focal lengths, look out for 6 in this
column and multiply by 2 ; and so on with any other nnm-
bers.
COPYING CAMERAS.
These cameras are made of hard wood shellacked, not var-
nished. Naturally, they are without swing, but in every re-
quisite they are complete ; and for this particular service, as
well as others, the American Optical Company's make is
sought for before all others. They are made to order of any
length of bed desired, either rigid or detachable, and with
either single or double bellows.
FINISHING PERMANENT BROMIDE ENLARGEMENTS.
BY G. HANMER CROUGHTON.
In working upon drawing paper, from life or from photo-
graphs, the paper chosen is one that is strongly sized, because
a higher degree of finish can be obtained upon such a surface.
In the necessary manipulations of preparing the paper for
solar prints the developing and fixing and subsequent wash-
ing the sizing of the paper is entirely washed out ; it is so
with the platinum print, the hot developer taking the size out
of the paper and making it as soft and absorbent as blotting
paper. With a permanent bromide print, although ft has to
undergo all the manipulations of development, fixing and
washing, the gelatine surface is not removed, and when dry
serves as a strong sizing to the paper. This necessitates a
somewhat different method of treatment than upon the softer
paper, but all the manipulations for producing an artistic effect
upon solar or platinum prints can be followed upon permanent
bromide and from my years of experience I can say conn-
120 PHOTOGRAPHIC PRINTING METHODS.
dently, that the best results can be obtained quicker and better.
Crayon Finishing. The only difference is in the material
used. Instead of using a stumping sauce alone, I find a mix-
ture of No. 1 Conti Crayon, finely crushed with an equal quan-
tity of crayon sauce, the best for all stumping purposes. Most
crayon artists put in their background with a chamois leather.
You cannot use a chamois skin upon permanent bromide paper,
but a soft tuft of cotton is just as effective and can be manipu-
lated in exactly the same manner ; then the fingers can be used
as a stump, and the background graded with the above mix-
ture, worked with the fingers quicker and better than with the
stump. If you should get your background too dark or un-
even, lay the picture flat, sprinkle a little pumice powder over
it and rub lightly with the fingers all over, using more powder
where you wish your background to be lighter.
The stumping of hair, shadows in drapery, etc., can be done
with a paper stump with the mixture above, in exactly the
same manner as upon any other paper, with the difference that
the print being so much more perfect in gradation and more
brilliant than a solar, there is not near so much stumping
needed. In fact, a good permanent bromide enlargement
needs very little stumping, the principal work being sharpen-
ing and deepening with the point, and flat tints with the mix-
ture, over drapery, etc. The shadows of drapery can be deep-
ened with Nos. 2 and 3 Conti, in the usual manner, softening
^nd grading with the finger or stump.
The use of rubber and ink eraser for taking out lights is well
known to crayon artists. The same method of taking out the
lights can be used on permanent bromide paper and with
greater effect, for the lights can be taken out cleaner and with
greater facility than upon absorbent paper where the crayon is
rubbed right into the fiber of the paper. Another advantage
is that you can use the scraper upon these prints for taking out
lights and even lightening dark places. AVith a sharp scraper
lights can be taken out in lace, white draperies, etc., giving
great brilliancy without abrading the paper, for the picture
being entirely upon the surface, you can scrape quite through
the deepest tint before reaching the paper itself.
The finishing of the iace must be done with a harder crayon
PHOTOGRAPHIC PRINTING METHODS. 121
than usual, as the harder surface of the paper requires a harder
crayon to work upon it. The best for the purpose is No.
Conti superfine in wood. A No. 1 of the same kind will also
be required for the darker touches. This work upon the face
is more in the manner of mending and joining gradations than
the usual work upon the solar, and it is in this respect that a
permanent bromide print is so much superior to any other, and
requires so much less work, while the result is much finer.
.Pastel. With the pastel there is no difference in the man-
ipulations, the gelatino-bromide taking pastel with the greatest
facility.
Water Color and India Ink. For water color or ink it will
be necessary to wash the surface of the print with a weak solu-
tion of ammonia till all the greasiness disappears, and to be
careful not to wash one color over another till the first is thor-
oughly dry, not alone surface-dry, but be careful that the gela-
tine is dry before washing over the same place, or blisters
may result.
Note. In case any paste lias been allowed to get on the face
of the print, in mounting, it should be washed off with tepid
water and a soft sponge, and the print allowed to dry thor-
oughly before any crayon work is done on it,
It has been found by experience that prints take the crayon
better if they have been dried and afterwards soaked in water
before mounting. The preliminary drying hardens the film.
ENLARGEMENTS ON OPAL GLASS.
Very fine results can be obtained by Mr. W. T. Wilkinson's
method, the details of which are as follows :
Water, - - 10 ounces.
Ammonium bromide, 150 grains
Ammonium iodide, - 20 grains.
Ammonium chloride, - 50 grains.
When the salts are dissolved add sufficient hydrochloric acid
to render the solution just acid. Add 100 grains of soft gela-
tine, and place in a pan of cold water ; gradually raise the
water in the pan to the boiling point, and when the gelatine is
all dissolved, add 450 grains of silver nitrate in crystals, and
shake vigorously until all the silver is dissolved. This last ad-
122 PHOTOGRAPHIC PRINTING METHODS.
dition should of course be made in red or yellow light. Re-
place the bottle containing the emulsion in the water bath and
boil for half an hour. Then add 450 grains of hard gelatine,
previously soaked in 5 ounces of cold water, pouring in all the
water. As soon as this last addition is dissolved pour the emul-
sion into a flat porcelain dish or plate, and place in the dark to
set.
All the after operations, breaking up, washing, melting, fil-
tering and coating, are the same as described in Chapter VII.
The plate being intended for enlargements can be exposed as
soon as set firmly without waiting for them to dry. Aftel*
exposure, develop with ferrous oxalate, and fix as usual.
For retouching these enlargements, if on ordinary opal glass,
a coating of retouching varnish must be applied to give the
necessary tooth for working up.
If preferred, the plates may be coated with any of the emul-
sions given in Chapter VII.
ENLARGEMENTS ON CANVAS.
Thoroughly free the canvas from grease by washing it in a
dilute solution of carbonate of soda, then rinse and mount on a
stretcher. When dry coat with any of the emulsions given in
Chapter VII. diluted one-third with water. The emulsion given
above for enlargements on opal glass gives exceedingly fine re-
sults, but it must be diluted one-third.
To coat the canvas, flow the emulsion over it till it is completely
covered, then drain the emulsion away as closely as possible,
and hasten the setting by rocking the canvas.
The exposure may be made as soon as the film has set, or the
canvas may be left to dry.
After the exposure is made, the canvas is removed from the
stretcher, and formed into a tray by turning up the edges and
clipping the corners with spring clothes-pins. Develop with
ferrous oxalate. Washing and fixing are done by pouring the
solutions carefully in and out of the tray, in order not to wet
the back of the canvas, which must of course rest upon a
board of the proper size.
When fixed, the canvas must be floated face downward for
half an hour on frequent changes of water, then floated for
PHOTOGRAPHIC PRINTING METHODS. 123
thirty minutes upon a saturated solution of alum, again floated
upon clean water, fastened to a stretcher and dried. The pic-
ture may then be touched up or painted to suit the taste of the
operator.
ENLARGEMENTS BY THE POWDER PROCESS.
An enlarged transparency is made, varnished, and retouched
with the pencil wherever necessary. A clean glass plate of the
same size is polished with French chalk, and coated with plain
collodion. When dry, the collodion side is coated with the
following :
Dextrine, - - 1 dram.
White sugar, - 1 drams.
Bichromate of ammonia, - dram.
Water, - 3 ounces.
Glycerine, - 3 drops.
The plate is now dried in the dark room with gentle heat
and exposed, while still warm, under the transparency, about
three to ten minutes, according to the light.
After exposure a faint image will be visible ; this is devel-
oped by dusting on with a fine camel' s-h air brush any impal-
pable powder of the desired color. Ivory-black for black
tones ; ivory-black, to which a little Indian red has been added,
for warm tones.
When fully developed, the image is covered with plain col-
lodion and placed in a dish filled with water, slightly acidulated
with sulphuric acid. As soon as the water ceases to be tinged
with yellow, the plate is dried, and, when dried, transferred as
in the case of carbon prints, to double transfer paper, which
forms the final support of the print.
ENLARGEMENTS ON CANVAS IN THE SOLAR CAMERA.
Preparation of the Canvas Mr. Vidal's Method.
Painter's canvas is rubbed with fine emery and alcohol until
perfectly smooth ; then rubbed with alcohol until only a thin
coating of paint remains on the canvas. This rubbing is to be
done in circles beginning at the center, and care must be taken
not to lay the canvas bare. The canvas is then well washed in,
water and then coated evenly with a paste, made of kaolin and
124 PHOTOGRAPHIC FEINTING METHODS.
alcohol. This coating is allowed to dry hard, and the stretcher well
shaken to remove all superfluous kaolin. The canvas is then
salted and sensitized with any of the baths in common use.
After the operations of toning, fixing, washing, and drying,
the canvas is given a coating of megilp, and is then ready for
the painter.
ENLARGEMENTS IN THE SOLAR CAMERA BY DEVELOPMENT.
Fully printed enlargements can be obtained in the solar camera,
but with intense negatives the printing is very much prolonged.
In this case the development method may be adopted. In this
method the partially printed paper is developed to obtain
detail and density. Mr. A. Hesler's method, as given in
" Wilson's Photographies," is a good one to follow.
Salting Solution for Plain Paper.
Skim milk, gallon.
Acetic acid, No. 8, - 3 ounces.
Stir the mixture well, and place it in a porcelain dish;
gradually bring it to the boiling point, constantly stirring.
The curd is then strained through muslin, and the resulting
serum, when cold, is filtered until clear. To each ounce of
this is then added
Iodide of potassium, - - 16 grains.
Bromide of potassium, 4 grains.
The paper is floated on this salting solution until it lays
smooth, avoiding air bubbles. The paper is then dried with
moderate heat, and sensitized by floating two minutes on the
following
Sensitizing JSath.
Nitrate of silver, - - 640 grains.
Water, - 16 ounces.
Acetic acid, 2 ounces.
The paper is exposed while damp in the solar camera, and
printed to a depth corresponding to the intensity of the nega-
tive. An intense negative requires printing until the detail
is well out, and the resulting print is developed with a weak
developer. Thin negatives do not need to show any details in
the print which must be developed with a strong developer.
The following solution gives a developer of medium strength :
PHOTOGRAPHIC PRINTING METHODS, 125
Development.
Pyrogallic acid, - 90 grains.
Water, 32 ounces.
Acetic acid, - 2i ounces.
Citric acid (saturated solution), - 10 drops.
For prints from hard negatives use less pyro; more for
prints from weak negatives. To develop, lav the print face
up on a piece of board or glass covered with a piece of white
blottingpaper. With one sweep of the hand pour on enough
of the developer to cover the print completely. If stains or
fog occur, either the print is overtimed or light struck. If it
develops slowly and stains from this cause, add more citric acid.
When the development is complete, wash the print in clean
water and fix in the usual hypo bath. Retouching and finish-
ing in colors are done to suit the taste of the artist.
PLATINUM ENLARGEMENT IN THE SOLAR CAMERA,
The following details of the platinum enlargement process-
are taken from the Platinotype Company's Manual.
The sensitizer is made by dissolving forty grains of the solar
platinum (black label), and one ounce of the solar iron solution
(black label). The platinum salt will dissolve quickly by shak-
ing it in a bottle containing the iron. The solution should be
used within fifteen minutes.
Three and one-half drams of the sensitizer will cover a
25 x 30 sheet. Other sizes require a proportionate amount of
sensitizer.
The paper should be placed on a plate of glass and held in
its position by clips.
The sensitizer should then be applied to the sheet by a tuft
of cotton, in as even a manner as possible. This operation
requires care. It is better to begin at one end of the sheet,
putting a little of the sensitizer on at a time, and gradually
work down to to the end. It is well to perform the operation
rather quickly to prevent the uneven soaking in . of the
sensitizer.
When the sheet of paper has been sensitized it should be al-
lowed to become surface dry and then be perfectly dried before
a fire or stove, or in a hot cupboard. Great care must be taken
to dry the paper thoroughly, but without scorching it.
126 PHOTOGRAPHIC PRINTING METHODS.
Five minutes will be sufficient time to allow the paper to be-
come surface dry before the final drying takes place.
For solar work the endless roll rough paper is generally used,
it being the best for crayons and pastels ; but for water colors
and ink pictures a thinner kind is preferred. Thin papers are
not larger than 18x22. In using the thin paper for copies, un-
sized paper will answer, and solar materials can be used with it,
but for very delicate work the specially sized paper and con,
tact materials should be used.
FEINTING.
Negatives to be printed in the solar camera should be of the
density of thin contact negatives. Gelatine negatives give
grayish prints. Yery thin negatives give flat prints, and dense
ones hard prints without detail. Sometimes it is better when
printing from dense negatives, to use less platinum in the
sensitizer 25 grains to the ounce of iron instead of 40 grains
so also is the opposite correct when printing from thin nega-
tives 50 grains will be better than 40 grains.
DEVELOPMENT.
To develop large solar prints, a Y-shaped trough should be
used. A sufficient quantity of developer is heated in this
trough by a row of small gas jets placed underneath, or by any
other convenient device. The temperature of the solution
must not be less than 1TO deg. Fahr.
The print is developed by being slowly and steadily drawn
through the liquid at the bottom of the trough. It is held under
the surface of the liquid by a heavy glass rod. This glass rod
revolves as the print is drawn under it. To perform this opera-
tion with ease it is better for two-persons to be engaged about
it. One should hold the lower edge of the print, dip it into
the trough, then place the glass rod over it and begin to pull
through slowly and steadily, the other person holding the
upper edge, lowers the sheet easily in a corresponding manner.
The developer is made by dissolving 5 ounces neutral oxalate
potash in 16 ounces water.
It frequently happens that the oxalate potash, such as is
usually sold as " Neutral " will, on testing, show a strong alka-
PHOTOGRAPHIC PRINTING METHODS. 127
line reaction. In such cases the addition of a few drops of
saturated solution of oxalic acid will bring it all right. But
care must be taken to avoid making the developer too acid, as
it will have a tendency to make the prints appear very black
and white, arid much of the iine detail in the high-lights will
be destroyed. A slightly acid solution will be found the best.
CLEARING AND WASHING
After the print is pulled through the developer it should go
at once to the acid solution. This solution is made by mixing
4 ounces C. P. muriatic acid in a two-gallon pail full of water.
Always use three acid baths, but the third need not be
more than half the strength. Clearing takes five minutes for
each bath.
Washing takes three or four rinsings of about five minutes
each. The prints can then be hung up to dry.
It is of the utmost importance to clear the prints well, using
plenty of acid solution and turning the prints constantly.
Yellowing of the prints comes principally from imperfect
clearing and washing, and also from an excessively alkaline de-
veloping solution. For further instruction on Clearing and
Washing see the Chapter on Platinotype.
PRECAUTIONS AGAINST DAMP.
To secure the most brilliant results the sensitized paper 'be-
fore^ during and after its exposure to light, should be kept as
dry as possible.
It is of the first importance that the printing frames and
pads be quite dry. Between the sensitized paper and the pads
a thin sheet of vulcanized india-rubber may be placed with
great advantage.
The effect of damp is seen in a want of vigor, a general mud-
diness of tone, and where the sensitized paper has been ex-
posed to its influence for some days, in the impaired purity of
the whites. Paper in a damp state takes much longer to print
than dry paper.
During the making of solar prints the paper can be kept dry
by oil lamps, or by a row of gas jets placed at the bottom of
the plan board, but this is only necessary during damp, or hot-
128 JL'HOTOGRAPHIC PRINTING METHODS.
damp weather. Bemember that keeping the paper dry during
printing will effect great saving of time in the exposure.
ENLARGEMENTS FROM ENLARGED NEGATIVES.
An enlarged positive is first made in the copying camera,
and developed, fixed, and washed as usual. The positive is
then retouched if necessary, and a negative taken from it either
by contact or in the copying camera. After being touched up,
prints are taken from the negative in the usual way. The ad-
vantage of this process is that a double touching up of weak
places is possible, and that the printing from the enlarged
negative is more rapid than printing in the solar camera.
CARBON ENLARGEMENTS.
Carbon tissue of the required size may be used for enlarge-
ments taken in the solar camera, or by printing under an en-
larged negative. The development and subsequent manipula-
tions do not differ from those described in the Chapter on Car-
bon Printing.
Mr. Wm. H. Sherman gives in the " British Journal Pho-
tographic Annual" for 1887, the following description of a
method of working which may be new to some : " Gelatine,
refined lamp-black, bichromate of potassium, and water, are
mixed in suitable proportions " (any of the pigments given in
the Chapter on Carbon Printing can be employed). "The
vessel containing these ingredients is placed in a water bath,
and heated until complete admixture and the requisite degree
of fluidity are obtained. It is then applied to the drawing
paper upon which the picture is to be finished, in the form of
fine spray by means of an air blast from a cylinder charged
with compressed air." (Eor experimental work an ordinary
spray bottle of large size will answer very well). " On this
mode of applying the pigment the success of the whole opera-
tion depends. The coating thus applied is granular in form,
which permits the light to penetrate it to such an extent that
the middle tints are saved from being washed away in the de-
velopment, thereby evading the necessity of a double transfer.
" The pigment dries rapidly, when it is ready to be exposed to
the image of the solar camera, and the requisite exposure is
PHOTOGRAPHIC PRINTING METHODS. 129
only about one-tenth to one-fifth of that required for silver
paper.
" The picture is developed by washing off the soluble portions
of the pigment in hot water. For this purpose the print is
wetted and placed in an upright position on a stretcher covered
with muslin ; the water, under considerable pressure, is shower-
ed upon it through a rose connected by a short hose to a double
faucet supplying it with hot and cold water. Finally the
print is washed to remove the little remaining chromium salt
from the paper, and the print, when dry, is ready to be
mounted."
ENLARGEMENTS BY THE COLLODION TRANSFER PROCESS.
This is the method by which most of the cheap enlarge-
ments are produced. The following description is condensed
from that given in the ninth edition of Hardwich.
THE EXPOSING APPARATUS.
This consists of a base made of two parallel pine boards
rigidly fastened together ; a frame having a square opening
and fitted with kits to take negatives of varying sizes, fixed
at one end of the base boards ; a solid slab of wood of a size
corresponding to the dimensions of the largest enlargement
likely to be made, rigidly fastened near the other end of the
base, and provided near its bottom with two projecting pins to
support the plate during exposure, and a lens board sliding on
the base between the two end pieces. Coarse adjustment is
effected by sliding the lens board back and forth on the base,
the final focusing being done by the rack and pinion on the
lens.
The apparatus is placed with the board carrying the nega-
tive pointing upwards through a window towards a part of the
sky free from obstructions, care being taken to exclude all
white light save that which passes through the lens. A plate
of glass of the same size as the proposed enlargement is
covered with white paper and placed in position on the end
board to serve as a focusing screen. All the adjustments
effected, the focusing screen is removed, the collodionized plate
put in its place and the exposure made.
130 PHOTOGRAPHIC PRINTING- METHODS.
THE COLLODION.
To twenty-five ounces of plain collodion containing about
seven or eight grains of pyroxyline to the ounce, the following
bromo-iodizer is added :
Iodide of cadmium, - 65 grains.
" ammonium, 25 grains.
Bromide of cadmium, - - 19 grains.
" ammonium, - 11 grains.
Alcohol, - 5 ounces.
To which has been added enough of an alcoholic solution of
iodine to impart a deep sherry color.
The silver bath must not exceed twenty grains to the ounce.
THE DEVELOPER.
Pyrogallic acid, - - 100 grains.
Citric acid, - 60 grains.
Acetic acid, 2 ounces.
Water, 20 ounces.
The development must not be carried too far or a heavy
smudgy picture will result.
Fix in a saturated solution of hyposuipnite of soda.
THE TRANSFER.
The transfer paper may be made by sponging plain white
paper with a warm solution of gelatine and water, 1 to 5, to
which, after the gelatine has been soaked for half an hour and
dissolved, four grains of chrome alum dissolved in a little
water, have been added.
To make the transfer, a sheet of the gelatinized paper is
soaked in water until it feels slimy, and then laid down upon
the wet collodion, contact being secured by lightly squeegee-
ing. The glass and paper are then set aside to dry, when the
collodion film can be stript from the glass. The picture can
then be finished in oil if desired.
THE PHOTO-CRAYON PROCESS.
This process, while similar to that just described, is simpler,
and gives more artistic results. The photo-crayon remains upon
the glass, which to insure adherence of the film, should be
PHOTOGRAPHIC PRINTING METHODS. 131
sponged over with dilute albumen, the White of one egg to a
quart of water, before collodionizing.
The operations of exposing, developing, and fixing are the
same as described in the last process. The picture must, how-
ever, be vignetted by inserting a piece of card-board, having a
suitable opening, between the lens and the sensitive plate.
To improve the tone it is well to now over the surface of the
developed image a weak solution of chloride of gold or chlo-
ride of platinum.
A sheet of drawing paper is placed behind the enlarged
transparency in close contact with the film side. The picture
now has the appearance of having been drawn on the paper.
This effect is heightened by sketching upon the drawing paper
a few sketchy, crayon-like line, surrounding and merging into
the vignetting of the bust.
132 PHOTOGRAPHIC PRINTING METHODS.
CHAPTER XII.
TRANSPARENCIES ANJ) LANTERN SLIDES.
THERE can be no doubt about the superiority of a trans-
parency from a negative over a positive on paper of the same
subject. The transparency possesses greater apparent solid-
ity, truer perspective, and greater perfection of detail. Then,
too, there can be no doubt about the greater permanency of
prints on glass. The glass positive is also more easily and
quickly produced than the print on paper.
The favorite processes for this class of work are the follow-
ing: The carbon process, albumen, collodio-chloride, wet col-
lodion, gelatin o-bromide.
The order of tkis classification is given by Mr. Ellerslie
Wallace as representing the comparative values of these pro-
cesses for the manufacture of lantern slides.
For the production of window transparencies, however, the
gelatino-bromide process will with care yield results which
will satisfy the most critical. Full details for making the
different emulsions mentioned above will be given later.
The following instructions for the production of transpar-
encies for the window, taken from Mr. "W. I. Lincoln Adams*
article on that subject in the "American Annual of Photog-
raphy for 1887," will be found complete and satisfactory, be-
ing from the pen of an expert :
" In my own practice, I use the slowest obtainable emulsion
of a well-known brand of dry plates, and select as my nega-
tives for this purpose, those possessing the greatest technical
merit, other things being equal, and of slightly denser films
perhaps, than are required for making good silver prints.
The printing may be done by any actinic light that is not too
powerful in its action. Diffused sunlight, gas or petroleum
light are most generally employed for this purpose, but to
avoid confusion, it is well to use always the same light, and
of the same intensity.
PHOTOGRAPHIC PRINTING METHODS. 133
" "When taking up a new negative, whose printing qualities
are unknown, I first determine the correct time for exposure
by printing a portion of it upon a smaller plate. I can then
proceed with certainty, and make any number of positives,
all of which will possess the same amount of density and de-
tail, and be uniform in all their other qualities. If the small
plate be under or over-exposed, little more is lost than the
time used in developing it, and this slight loss is more than
compensated for by the knowledge gained.
" Printing a negative upon a plate large enough to leave a
liberal margin gives effect to the finished transparency, when
it is framed with a ground glass having a fancy etched border.
When printing upon plates of the same size as the negative,
it is always best to employ a mat of black needle paper, or
some other thin, non-actinic substance, in order to obtain
straight margins on the finished glass positive. Use a deep
printing frame, and in it, a plain clean glass as a support.
First place in the frame the glass, and upon it the mat ; then,
facing up wards, the negative, carefully adjusted upon the mat,
and upon this, film side down, the sensitive plate. It is al-
ways well to place on the back of the plate a dark pad which
not only holds the plates well together, but also prevents any
reflection that might otherwise occur.
" Before developing, immerse the plate in pure water for a
few moments, and brush its film carefully with a camel' s-hair
brush to rid it of any air bubbles that may be adhering to its
surface. lie who makes transparencies must be more than,
usually careful in all the details of manipulation. He must
have his trays and utensils perfectly clean, and his hands free
from the slightest trace of hyposulphite of soda or other chem-
icals. With the neutral oxalate of potash and iron developsr,
the merest hint of the presence of hypo will cause a disagree-
able black stain which is not easily removed. A hyposulphite
of soda solution in the proportion of one part hypo to 5,000
parts water is used as an accelerator in oxalate development,
so it is not difficult to see how a drop of a strong solution of
hypo from the finger or tray, coming into contact with the
film, suddenly develops the place where it touches into a dense
black spot. Defects of different kinds in a negative can often
134: PHOTOGRAPHIC PRINTING METHODS.
be overcome in printing, but a blemish on a glass positive is
one on the finished product. Let the beginner therefore bear
this in mind when making transparencies, and be, accordingly,
extremely careful in every respect.
" There are several developers published, more or less highly
recommended for transparencies, any one of which, carefully
followed, will undoubtedly produce fine results, but my own
is a very simple one, and easy to manage. I make saturated
solutions of neutral oxalate of potash and protosulphate of
iron, and acidify the former solution with citric acid, and the
latter with sulphuric acid. The oxalate dissolves at the usual
temperature of water in a dark room (about TO deg. Fahr.), in
the proportion of one part oxalate to three parts water, and,
being neutral, requires but a few grains of the citric acid to
slowly turn blue litmus paper red. Six parts of protosulphate
of iron will dissolve in ten parts water, and the whole may be
rendered acid by several drops of strong sulphuric acid.
" To start development, I use a solution composed of six
parts of the oxalate solution to one part of the iron, and after-
ward, if necessary, I add a few drops of a ten per cent, solu-
tion of bromide of potassium. It is best to develop slowly.
" The fixing must be thorough. The rule often given to
beginners for determining when a plate is fixed is by no means
a safe one. The plate must remain in the hyposulphite of
soda some time after all the milky-white appearance has gone
from the back. After the visible bromide of silver has been
reduced, there yet remains a double salt, which, though invis-
ible, is sensitive to light, and, if left in the film, will discolor
it. This double salt is soluble in hyposulphite of soda ; so. if
the plate be left long enough in the fixing bath, it will dissolve
out of the film. A very excellent way to accomplish the
thorough fixing of a plate is to employ two hypo baths. Im-
merse in the first solution until all the visible bromide of sil-
ver has been reduced, and then put the plate into the second
and fresh hypo bath to dissolve the invisible double salt. Tea
minutes will ordinarily suffice to accomplish this.
" A good strength for the hypo solution is
Hyposulphite of soda, - 4 ounces.
Water, - - - - 20 ounces.
PHOTOGRAPHIC PRINTING METHODS. 135
" After the fixing is completed, the plate must be washed
for a few minutes, in running water, if possible, before im-
mersing in the clearing bath. I use the formula given by
Mr. Carbutt for this purpose, and allow the plate to remain in
the solution about one minute.
" The formula is as follows :
Water, ..... 30 ounces.
Pulverized alum, - - - 1-J- ounce.
Sulphuric acid, .... ounce.
" The plate is now ready for its final washing* If running
water is not to be had, by means of two bent wires a support
can be made in a tray, as shown in the cut, which will allow
of the plates being washed, film side down.
" But if this is done, the water must be changed every ten
or fifteen minutes until the washing is complete, which will
require about one hour. Before setting in a rack to dry, it is
well to go over the surface of the transparency with a soft
camel's-hair brush while the water is flowing over it. This
removes any little specks or particles that might otherwise dry
on the film. When dry, the back of the plate can be easily
and effectively cleaned by a tuft of cotton moistened with
weak ammonia.
" There are several ways for mounting transparencies, but
undoubtedly the finest effect is obtained by framing them with
etched ground glass in the neat nickel frames provided by
the dealers. The ground glass is placed against the trans-
parency, rough side to the film, and the two plates secured in
the frame."
Plain white glass coated with the following emulsion will
136 PHOTOGRAPHIC PRINTING METHODS.
produce a ground glass effect with finer grain than can be
found in most ground glass.
1. Water, 100 parts.
Gelatine, 5 parts.
Chloride of barium, 6 parts.
2. Water, 100 parts.
Sulphate of soda, - 15 parts.
Gelatine, - 5 parts.
When these solutions are mixed, a white emulsion of sul-
phate of baryta is formed. When set, the emulsion is broken
up and washed for some time in running water, to remove the
bye-product, chloride of sodium. The emulsion is then melted
and filtered, and the glasses coated in the usual way.
THE CARBON PROCESS.
The following method is recommended :
The formula for making the jelly and a detailed description
of the sensitizing mixture, exposure and development will be
found in the Chapter on Carbon Printing, and need not be re-
peated here.
Any color of tissue may be used, but preference is to be
given to black or purple. For black tissue nothing is better
than the following :
Jelly, - 8 ounces.
Lidian ink, . - - 50 grains.
The paper is coated with this mixture, dried, and sensitized
by immersion for three minutes in a 1 to 20 bichromate of
potash bath. It is then placed on a piece of clean glass, and
the superfluous moisture swept off with a squeegee, and hung
up to dry in a room heated if necessary, to about 60 deg.
Fahr.
As soon as dry, cut the tissue down to the required size and
keep in a dark place. The tissue should be exposed soon after
drying. The printing is done as for carbon prints, using a
safe edge. One or two tints of the actinometer will indicate
sufficient exposure in most cases.
Development is the same as given in the Chapter on Carbon
Printing, using for support old quarter-plate negative glasses
most thoroughly cleaned.
PHOTOGRAPHIC PRINTING METHODS. 137
The glass must be coated with a very weak solution of gela-
tine, containing one grain of chrome alum to the ounce ; the
coating is easily and quickly done by taking the glasses from
the rinsing water when washing, and flowing over them enough
of the gelatine solution to cover them well ; this displaces the
surface moisture and is to be followed by a second flowing.
The glasses are then racked away to dry in a room free from
dust.
The exposed pieces of tissue are cemented to the gelatinized
glasses in the usual manner, and development proceeded with.
The gelatinized glass plates form the permanent support.
Any degree of intensity or change in tone may be obtained
by using a weak solution of permanganate of potash or any of
the aniline dyes.
As soon as dry, the transparencies are ready for mounting,
and, if all the operations have been carefully and intelligently
performed, they will be found to excel in clearness, delicacy,
and gradation.
ALBUMEN METHOD.
To prepare the albumen, the whites of several eggs are sep-
arated from the yolks, all the germs removed, and to every
ounce of albumen two grains of iodide of potassium are added.
As soon as the iodide is dissolved, beat the albumen to a froth,
and set aside for several hours to settle. Then decant the
clear portion. If the decanted liquid is bright and clear, it is
ready for use ; but if any particles are seen, it must be filtered
until clear, by pouring it upon a tuft of damp cotton placed in
a glass funnel.
Coating the Plates. The plates are well cleaned, levelled,
and given a thin coating of the albumen, and allowed to dry,
To Sensitize the Plates* Sensitizing is done by yellow
light, by immersing the plates for 30 seconds in a dipping-
bath filled with the following solution :
Nitrate of silver. 30 grains.
Glacial acetic acid, - 30 drops.
Water, - 1 ounce.
After sensitizing, the plates are washed to remove the free
nitrate of silver, and set aside to dry. They will keep good
for several days.
138 PHOTOGRAPHIC PRINTING METHODS.
Exposure. Full exposure must be given to avoid cold
tones ; 6 to 8 minutes in the shade under a negative of me-
dium density ; but it is well to use the actinometer described
in the Chapter on Carbon Printing.
Development. Development is effected by pouring the fol-
lowing solutions on the plate, placed on a levelling stand or in
a glass dish.
1. Pyrogallic acid, 2 grains.
Citric acid, - 3 grains.
Water, 1 ounce.
2. Nitrate of silver, - - 20 grains.
Citric acid, - 60 grains.
Water, - - 1 ounce.
Begin development with "No. 1, adding a few drops of No,
2, now and then, as required. Properly exposed and devel-
oped, detail and density will be obtained together.
Fixing and Toning. The plate is fixed in a 1 to 5 hypo-
sulphite of soda solution. After a most thorough washing, it
is toned in a saturated solution of bichloride of mercury. The
plate is left in this solution until completely whitened. It is
then thoroughly washed and immersed in a solution of ammo-
nia (ammonia, 20 drops ; water, 1 ounce), until, by transmitted
light, the tone is a rich sepia brown. It is then removed, thor-
oughly washed, and set aside to dry.
THE COLLODIO-CH^LORIDE PROCESS.
The method of working this process has already been given
under the title Collodio-Chloride Paper in Chapter VII.
For transparencies the same method is to be employed, sub-
stituting glass for paper, and omitting the enamel substratum.
For flowing the glass, a pneumatic holder will be found a ne-
cessity.
THE GELATINO-BROMIDE PROCESS.
The formula and details given for making gelatino-bromide
emulsion in Chapter VII. will be found to give the best results.
THE GELATINO-CHLORIDE PROCESS.
All necessary formulae and directions for working this pro-
cess have already been given in Chapter VII.
PHOTOGRAPHIC PRINTING METHODS. 139
A few additional developers are here given for the develop-
ment methods.
No. I.FOR WARM TONES.
Citrate of potassium, - 136 grains.
Oxalate of potassium, - 44 grains.
Hot water, 1 ounce.
No. 2. FOR COLD TONES.
Citric acid, ' 120 grains.
Carbonate of ammonia, - 88 grains.
Cold water, . - 1 ounce.
To three parts of either of these add one part of the follow-
ing at the time of using :
Sulphate of iron, 140 grains.
Sulphuric acid, - - 1 drop.
Water, - 1 ounce.
LEVY'S COLLODION EMULSION.
Before the advent of bromo-gelatine plates, Levy's emulsion
was considered by many the best, both for negative and posi-
tive work. Although in great measure superseded by the
more rapid gelatine process, its many good qualities should
preserve it from oblivion. For lantern slides it is particularly
valuable, as there is no deposit in the high lights, the details in
the shadows are perfect, and the tone of the slide is all that
can be desired.
The detailed description is as follows :
For 54 ounces of emulsion,
1. Bromide of cadmium, ... 648 grains.
Alcohol (absolute), - 18 ounces.
Iodide of ammonium, - - 162 grains.
Cotton (cream), - - 486 grains.
Ether, - 27 ounces.
2. Nitrate of silver, 900 grains.
Distilled water, - 360 drops.
Alcohol, - 9 ounces.
Nitric acid, - - 270 drops.
Pour Ko. 1 into No. 2 and leave exactly ten hours, then,
add 99 grains of green chloride of copper.
Method of Making the Emulsion. Place the bromide of
cadmium in a porcelain capsule and dry by gentle heat. It
140 PHOTOGRAPHIC PRINTING METHODS.
will first soften and boil, and care must be taken that the bub-
bles in breaking do not throw out any of the salt. Stir gently
with a glass rod to prevent the bromide from adhering to the
sides of the capsule. Continue the boiling until the bromide
assumes the form of a fine powder. This is to be most care-
fully scraped out of the capsule, and dissolved in one-half of
the given quantity of alcohol, shaking the bottle until solution
is complete. The iodide of ammonium, which should be of a
light yellow color, is now added and dissolved. Then add the
otton and shake well ; lastly, add the ether and shake again.
Now put the nitrate of silver into a second bottle and add
the water by actual drops, not measuring it. To effect solution
put the bottle into a warm -water bath until the crystals are
dissolved ; then add the remaining 13-J ounces of alcohol and
the acid. The alcohol may precipitate the silver, but this does
not affect the quality of the emulsion.
All the above operations may be performed in full daylight ;
the remaining manipulations must, however, be carried out by
yellow light.
The silver solution, after vigorous shaking, is added to the
collodion, half an ounce at a time, shaking well after each ad-
dition. When all the silver solution is added, place the bath
in a dark room for exactly ten hours, shaking it occasionally.
Then add the chloride of copper, which must have been dried
in a porcelain capsule by gentle heat until it assumes a brown-
ish color ; the chloride must be weighed after it is dried to in-
sure accuracy in the*weight. The bottle is well shaken after
the addition of the chloride, and the emulsion after filtration
through cotton is finished.
Coating the Plates. Put the plate on a pneumatic holder
held in the left hand, pour the emulsion on the plate with the
right. Rock gently a few times and drain off the surplus into
the bottle. When the film has well set, rinse in cold distilled
water until the repellant action due to the alcohol and ether
disappears.
The plate is then well drained, placed on the pneumatic
holder and a sufficient quantity of the following preservative
flowed over it for a minute :
PHOTOGRAPHIC FEINTING METHODS. 141
Tincture nux vomica, 100 drams.
Tincture scilla, - 42 drams.
Tincture cochineal, - 120 drams.
Honey, - - 20 ounces.
Acetic acid, - 20 drams.
The plates are now dried, exposed under the negatives and
developed with the following developer :
Carbonate of soda, 1 ounce.
Bromide of ammonium, - - 80 grains.
Honey, - 1 drara.
Pyro, - - 20 grains.
Water, - 16 ounces.
Development is best effected by pouring the developer on
and off the plate.
For over-exposure, dilute the developer with water. For
under-exposure, double the strength of the developer.
LANTERN SLIDES ON WET PLATES.
Mr. E. P. Griswold recommends the following method :
The Silver Bath. Forty grains of silver nitrate to the
ounce of water, acidified with nitric acid.
The Collodion. Any good make well ripened, with the ad-
dition of one drop of glacial acetic acid to each ounce.
The Developer.
Water, - 64 ounces.
Double sulphate of iron and ammonia, - 4 ounces.
Acetic acid No. 8, 4 ounces.
Rock candy, * 1 ounce.
The Toning Bath.
Saturated solution of bichloride of mercury, - 16 ounces.
Bichloride of palladium (liq.), - 15 grains.
To Collodionize the Plate. Take the pneumatic holder,
with the glass attached, in the left hand ; with the right hand
pour on sufficient of the collodion to cover two-thirds of the
glass ; rock gently and allow the surplus to drain back into the
bottle from the right-hand lower corner of the plate. As soon
as the film has become tacky, put the plate on the dipper (an
instrument used for lowering the plate into the sensitizing
bath), keeping it in a horizontal position in order that the film
may dry evenly before it is immersed in the bath.
142 PHOTOGRAPHIC PRINTING METHODS.
Sensitizing. The sensitizing solution is kept in the vertical
glass dipping bath. Into this the plate is slowly lowered with-
out any stoppage, and allowed to remain until the film appears
smooth and free from greasiness. It is then ready for exposure.
Development. The above developer is reduced with pure
water about one-third and is then poured completely over the
film. The plate is gently rocked to prevent the developer
from collecting in pools, and the development continued until
the details are just defined. Then wash well and tone to the
required density. Again wash and fix in hypo. After fixing,
the plate is allowed to soak in a saturated solution of chloride
of barium until the next plate is ready for the same bath. This
process gives very brilliant transparencies and slides. The fol-
lowing very complete description of the production of glass
positives on " gelatino-albumen plates" is by Mr. JohnCarbutt,
and, therefore, possesses exceptional value :
TRANSPARENCIES AND How TO MAKE THEM.
There are various methods and processes for making trans-
parencies, many of which have passed into history. .
At the present time two processes are in common use in Amer-
ica, viz., the old wet collodion process, and the new gelatine
dry plates ; the first is limited in use by those making lantern
slides mainly for advertising purposes, while the new gelatine
dry plate, of the special kind made for producing transparen-
cies, known as Carbutt's Gelatino-albumen Plate, is uni-
versally used by amateurs and the professional portrait and
landscape photographer ; and it is in the use of these plates
we now proceed to describe how to produce from your nega-
tive what is conceded the finest positive obtainable.
The requisites for contact printing are a deep printing frame 1 ,
a size larger than the negative to be used, with a flat glass bot-
tom free from scratches ; crystal plate is best ; some thin red
enamelled label paper for masks, a Carbutt " Multum in Parvo"
Lantern, or other artificial light, and transparency plates of suita-
ble size. Those for lantern slides are made on thin crystal glass
of the now accepted standard size, 3 Jx4 inches. For the larger
size transparencies they are now made on fine ground glass,
which has the advantage over the clear glass since the image
PHOTOGRAPHIC PRINTING METHODS. 143
is rendered in its right position, when made by contact with
the negative, just as a silver print would be, the obscured side
of the glass being back of the image, it only remains to cover
it with a clear cover-glass and mount in a suitable sized metal
frame sold for that purpose. The transparency need not be
confined to the size of the negative ; the image can be enlarged
or reduced to suit taste and circumstances ; nor is it abso-
lutely necessary, for the purpose of enlarging or reducing the
image, that a camera for that purpose be provided, if the use
of a small room can be commanded, and the light shut out all
but one light in the lower sash. Over this light must be placed,
and covering the entire surface, a light of fine ground glass
which will give an even diffused light, passing through the
negative ; beneath this a support for the negative should be
placed. The same camera and lens, used for making the nega-
tive, can be used for making the transparency, providing
the image is to be reduced in size, and the negative can be held
upright in one of the plate-holders, removing the septum and
dark-slides and placing the holder with the negative on the sup-
port before the light passing through the ground glass. The
camera itself may be supported on a board, raised to such a
height that the lens will center with the center of the nega-
tive, care being taken in adjusting it that the side of the cam-
era and the face of the plate-holder, holding the negative,
forms a perfect right angle. If it is desirable to make an en-
larged transparency, say from a 4x5 or 5x8 negative to an 8x10
plate, the same camera and lens may be used, but the ground
glass of the camera must be removed, allowing the magnified
image to pass through the camera onto the sensitive plate, sup-
ported in an upright position at the distance found to be correct.
To ascertain this, the camera with its lens should slide easily be-
tween two strips, for unless your camera is provided with a
front rack movement, you will have to move the camera, and
with it the lens to obtain a focus, using a light of glass on
which is stretched a piece of white paper to obtain a focus,
and placed against a support on the board carrying the
camera, and at right angles with the base of it. This is suppos-
ing you are working in a room in which all light, except that
passing through the negative, is excluded. Before placing the
144: PHOTOGRAPHIC PRINTING METHODS.
negative in the holder or support, if it is desirable to have &
margin on the transparency, cut out a mask from the thin
red enamelled paper or tin-foil, and place on the face of the
negative, being careful to see that the margin shows equally
around the large plate or focusing screen.
Now, while the above description will enable any one to
produce enlarged or reduced transparencies from their nega-
tives, it is but a makeshift, and will be found to entail great
loss of time and uncertainty in working, all of which can be
avoided by using a properly constructed camera, such as that
made by the Scovill Manufacturing Co.* The writer of this
article has had one in use for years. The end holding the
negative has adjustments for centering the image, and the
extended range of adjustment of the lens enables a lantern
transparency to be made from an 8x10 negative, or vice versa,
an 8x10 transparency from a 3Jx4J, or other intermediate size
negatives.
Having explained the tools required, we will now proceed
with describing the chemicals required and the making of the
transparencies.
Of chemicals the following will be required :
Neutral oxalate of potash, - - 1 pound.
Sulphate of iron, 1 pound.
Hyposulphite of soda, - 5 pounds.
Alum, - 1 pound.
Citric acid, - - pound.
Liquor ammonia, 4 ounces.
Plain collodion varnish, - - 8 ounces.
Too much stress cannot be laid on procuring chemicals of
the greatest purity, and known to be made for use in photog-
raphy ; especially is it necessary that the first two articles
named should be pure. Many have been disappointed in their
efforts at transparency making by applying to the country
druggist for oxalate of potash, and have been supplied with
bin-oxalate of potash. Be careful, therefore, to procure the
chemicals from a reliable dealer in photographic materials. In
compounding the solutions, first prepare, by a thorough clean-
sing, suitable sized bottles. For the bulky solutions, nothing is
* Described in the Chapter on Enlargements.
PHOTOGRAPHIC PRINTING METHODS. 145
better than the ordinary glass preserve jar, and for labels, a
safe plan is to cut from the circular accompanying the plates
you are to use, the formulas, and paste them on the glass jar
to contain the solution it describes. Next in importance is the
water, clear soft river or spring water, melted ice or distilled,
as most convenient, but not hard water containing lime in
solution.
We will now describe a very excellent plan we have used for
years in dissolving large crystals that does away with the
use of a pestal and mortar. For the A solution of the follow-
ing formulas, choose a half gallon glass preserve jar, and
for the B solution a quart jar. Measure into each one the
quantity of water required, except that in the B solution a few
ounces of the water may be reserved until after solution of the
iron salt and then added. To dissolve the salts so as to need no
after-filtering, take a common domestic salt bag, wash it to free
from salt ; in this place the crystals and suspend it in the water
so that the bulk of the salt is just covered by the water. Imme-
diately a stream of denser liquid will be seen falling to the bot-
tom of the jar, much in appearance as when pouring glycerine in-
to water ; this will continue until the whole of the salts are dis-
solved and a clear solution is obtained. Remove the bag, give
the bottle a shake, and the solution is ready. The same method
is to be employed in dissolving the iron and hyposulphite of
soda, using a separate bag for each one, and completing one
before commencing the another. Having everything ready,
carefully weigh out by avoirdupois weight the chemicals, and
make solutions as per following formula :
CARBUTT'S IMPROVED DEVELOPER FOR TRANSPARENCIES.
A. Oxalate of potash, - - - 8 ounces.
Water, - 30 ounces.
Citric acid, - 60 grains.
Citrate of ammonia solution, - 2 ounces.
B. Sulphate of iron, - 4 ounces.
Water, - - 32 ounces.
Sulphuric acid, - - 8 drops.
C. Citrate of Ammonia Solution. Dissolve 1 ounce citric acid in 5
ounces distilled water, add liquor ammonia until a slip of litmus paper
just loses the red color, then add water to make the whole measure 8
ounces.
146 PHOTOGRAPHIC PRINTING METHODS,
Developer. Add 1 ounce of B to 2 ounces of A, and half an ounce of
water, and 3 to 6 drops bromide solution.
In the making of transparencies, the first requisite is a good
negative, and every effort and care should be taken when pro-
ducing it, to insure perfect freedom from imperfections. The
second requisite is a suitable artificial light for use when
making exposures by contact. The third requisite is suit-
able sized developing dishes ; these should be of porcelain or
enamelled iron ware, and cannot be used with the pyro-
developer without risk of staining the transparencies, as we use
for them the ferrous-oxalate developer only. Having now
provided ourselves with the necessary requisites for the work,
we will proceed with the making of transparencies, beginning
with the popular lantern slide. We now place our nega-
tive glass in contact with the glass in a deep printing
frame ; a suitable size is 6-JxS-J, then it answers for 5x8
and under. Over this place one of Carbutt's thin crystal
transparency plates, so as to cover the portion of the nega-
tive desired. Lay a piece of dark felt or other soft material
over it, close down the back, and expose from ten to fifteen
seconds to the light of a two-inch wick oil lamp. Remove
the plate from the frame and cover with the developer. If
correctly timed, the image should appear slowly, taking two
or three minutes to complete. Allow the development to
continue until the blacks look quite strong, and detail plainly
shows in the high-lights to allow for reduction of intensity
in the fixing bath. Wash off the developer, and immerse in a
fresh solution of the hyposulphite of soda (pyro developed
negatives should not be fixed in same solution) made by dis-
solving eight ounces of the salt in forty ounces of water, in the
same manner as directed for dissolving the iron salt. Let the
transparency remain in the fixing bath three to five minutes.
After the white bromide seems cleared from the plate, wash for
half an hour in running water, then immerse for five minutes
in the
HARDENING SOLUTION.
Water, . 36 ounces.
Pulverized alum, - - 3 ounces.
Citric acid, % ounce.
PHOTOGRAPHIC PRINTING METHODS. 147
Afterwards wash for twenty minutes to half an hour, then
carefully go over the surface with a tuft of absorbent cotton,
while water is running over it ; give a final rinse, and place in
drying rack to dry spontaneously, then varnish with plain col-
lodion.
COLLODION YARNISH.
Alcohol, : - - - 4 ounces. /?
Pyroxyline, - 30 to 40 grains. ^
Sulphuric ether, - - 4 ounces. //
When, after shaking, the cotton is dissolved, filter and flow
the plain collodion over the dry transparency, the same as
when using varnish ; then dry, cover with mat and a crystal
cover-glass, and bind with binding strip.
Transparencies for window and door decoration should be
made on plates somewhat larger than the negative, so that- a
suitable margin may surround the image. To do this, cut
a mask with rectangular or other opening out of thin red
enamelled paper. For an 8x10 transparency from a 6Jx8|- nega-
tive, take a piece of the mask paper 9x11 with two sides cut to
right angles ; make a line with a pencil and ruler 1 J inches
from two sides ; from the side line measure 5J inches, and
from the cross line measure YJ inches ; cut on these lines with
a sharp knife through the paper laid on glass or zinc, and
remove the blank ; make a X mark on left upper corner, to
denote register corner ; place this mask in a 10x12 deep print-
ing frame, let it register close to the left-hand upper corner ;
lay the negative film side up and under the mask ; adjust the
negative so as to show in proper position through the opening ;
over this place a Carbutt A transparency plate 8x10, letting it
register in the same corner as the mask ; lay over a pad of
black canton flannel, close the printing frame ; expose to the
lamp or gaslight ten to fifteen seconds or more, according to
density of negative. Develop as directed for lantern slides,
and in every other respect proceed the same.
Tke tone, both of lantern and large transparencies, can be
varied from a warm brown to a velvety black. Increased ex-
posure and weaker developer (adding water) with more bromide
gives warm brown tones. Short exposure and stronger (undi-
luted) developer gives dark tones.
148 PHOTOGRAPHIC PRINTING METHODS.
COLORING LANTERN SLIDES.
In order to give greater value and completeness to this chap-
ter, directions for coloring lantern slides are given below. The
method is that given by Mr. A. W. Scott in the " British Journal
of Photography," and the description is substantially the same
as given in E"os. 297 to 300 of the " Photographic Times and
American Photographer," a few minor changes having been
made in the phraseology to adapt the description to its insertion
here.
Mr. Scott advises learners never to do their work after dusk,
since it rarely occurs that portraits and landscapes which are
colored by the yellow light of an oil lamp, or gas jet, look quite
natural when viewed by the whiter light of day. The lime-
light, which is used in all the best optical lanterns, produces an
illumination very similar to ordinary daylight, and slides which
have been colored in the day time may be safely relied upon to
look equally well upon the screen, provided that the proper col-
ors and varnishes have been used. Slides painted after dusk
usually have the warm colors greatly in excess ; in fact, the col-
ors when seen by the light of the lamp seem totally different
when compared with their aspect in daylight.
However, there are subjects to which the slight errors in tint
produced by painting in artificial light will not prove detri-
mental. These are chromotropes and color patterns generally
also comic slips and other subjects whose exaggeration of color and
form are permissible. If hand paintings were being attempted,
there can be no objection to preparing outlines, and all similar
work in black and white, including blocking out views of
statuary, etc., by gas or lamp-light.
The ordinary retouching easel will answer well to hold the
plate to be colored firmly and comfortably for the artist ; and
the light, be it artificial or daylight, may be regulated as the re-
toucher regulates his. As all colors have to be viewed by trans-
mitted light, before applying them to the plate, a piece of white
opal glass does well for a palette ; while for brushes, the
round-flat sable kind, of about an inch in length, is preferred.
Most suitable are those known as water color sables ; oil color
sables being too stiff for transparency work ; and, as the oil
PHOTOGRAPHIC PRINTING METHODS. 149
colors used are made more fluid than is usual for canvas work,
softer brushes are preferable.
The colors may be either water colors or oil paints ; but as
the latter are better adapted for the work we give them first
consideration. The list of oil colors for canvas work, sold by
artist color men, is a long one. Most of these colors, however,
are useless for slides, owing to their opacity ; if used, they will
not allow light to pass through them, and hence instead of color,
black darkness would be the effect upon the screen.
Oil paints specially prepared for slides are sold in the shops,
but do not in reality offer any difference or improvement when
compared with the ordinary colors, which are sold in small col-
lapsible tubes for the use of the artist.
JPrusian D
, fnT g C o
[Antwerp blue
Green pigments Verdigris
(Italian pink D
Yellow lake D
Gamboge
f Burnt sienna D
Brown pig m en,s \ *SS
[AsphaltumZ*
( Crimson lakeZ>
Red pigments j Madder lake
( Rose maddder
( Ivory-black D
Black pigments -< Lamp-black D
( Blue-black D
D signifies that these colors, being of good body, can be
dabbed ; the others are useful for brush work only.
Prussian blue is of great depth of color. It is invaluable for
skies and flat tints generally.
French ultramarine is a purer blue than Prussian blue, which
has a tendency towards a greenish tint. A good effect is ob-
tained by the union of this color with some of the crimson.
For greens, made by mixing blue and yellow, Prussian blue is
best.
Verdigris is a very useful color for brush work. It is bright
and transparent, and when a little Italian pink is added, forms
150 PHOTOGRAPHIC PRINTING METHODS.
a brighter green for tinting foliage than the one obtained by
mixing yellow lake with Prusian blue. As green shrubbery
and foliage usually appear very dark in photographs, it is neces-
sary in such cases to use the brightest tints available in order to
produce any effect of color on the screen.
Italian pink is the most useful yellow, is very transparent,
and forms a good green with Prusian blue, and a good scarlet
with crimson lake. It is very slow in drying, and should,
therefore, be mixed with a quick drying varnish.
Yellow lake not being perfectly transparent, appears darker
on the screen than the above, producing more of a brownish
effect ; but is quicker in drying.
Gamboge is perfectly transparent, but so thin as to be nearly
useless for slides. When laid on thick it produces an orange
tint, and is useful for giving the effect of gold. It dries but
slowly.
Burnt sienna is- a brown pigment ; it is of good body, and
dabs easily. With Prussian blue it forms a sober olive-green ;
and supplies, with crimson, a good color for tiles or brick work.
Not being perfectly transparent, it appears darker on the
screen, for which allowance must be made.
Burnt umber has a more sober hue ; but it has a good in-
tensity, dabs well, and dries quickly. It is not perfectly trans-
parent.
Caledonian brown is more yellow in tone than the two pre-
ceding, dries quickly, but being of less intensity is used only
to a limited extent.
Crimson lake is the most useful red tint. It possesses but mod-
erate intensity, so that pale tints can be produced by dabbing.
It is not perfectly transparent, and always appears darker on
the screen than on the slide. Frequently a very transparent
crimson for brush work may be obtained by diluting the pig-
ment with turpentine, so as to be of a creamy consistency,
and then allowing it to stand quietly for a little while. Usu-
ally a part of the color settles to the bottom first, and when
this occurs the upper part should be carefully poured off. The
color that has settled will be found to be nearly opaque, while
the other portion is clear and transparent. If left for hours
to settle, nearly all the color will be precipitated, leaving the
PHOTOGRAPHIC PRINTING METHODS. 151
turpentine nearly colorless ; some of the latter can be re-
moved, a little mastic varnish may be added, and it will then
be ready for use. If a little Italian pink is mixed with it, a
bright scarlet is obtained.
Madder lake and rose madder being nearly identical in char-
acter, may be classed together. They are perfectly transpar-
ent, and appear as bright pinks and crimsons on the screen.
Possessing but little intensity, they are useless for dabbing,
and require piling up on the slide to approach deep tints.
Gamboge and Italian pink are sometimes added to enrich
their color. Being very slow dryers, they should always be
mixed with a quick drying varnish.
Ivory-black, lamp-black and blue-black have characteristics
in common ; they are all capable of being dabbed, and dry
quickly. When diluted with varnish, they form good grays,
and when mixed with the other pigments previously men-
tioned, a great variety of sober tints can be obtained.
The brilliancy of the colors depends largely upon the me-
diums employed. The oils (nut, linseed and poppy) should
be avoided, as they, tend to lower the transparency of the
colors. The three mediums recommended by Mr. Scott are
mastic varnish, japanner's gold size, and the well-known
Robinson's medium, sold in large collapsible tubes. The tur-
pentine used to thin the colors, should be of the best quality,
but for the cleansing of brushes, etc., the common turpentine
will answer. No oil color will answer without the addition of
one or other of the three mediums mentioned ; a very little is,
however, sufficient to insure transparency in the colors. For
dabbing purposes it is not necessary to render the paint fluid
with turpentine, but for brush work the color should always
be thinned to a creamy consistency, so that the tint may be
swum on to the glass. This fluidity of the color will allow
the streaks produced by the hairs of the brush to quickly sub-
side to a level surface, so as to give an even layer of paint.
J apanner's gold size, being of a yellow tint, should only be
used for warm tints. It is used for laying the larger washes
of paint in brush work, and for mixing with pigments which
of themselves are naturally slow in drying. Mastic varnish
and gold size are quick in drying, and hence should be used
152 PHOTOGRAPHIC PRINTING METHODS.
for the first washes of color, which have to be worked upon
afterwards with extra touches.
When Prussian blue is used to produce smooth tints, such
as skies, etc., a little of Robinson's medium should be mixed
with it, which will materially assist the dabbing process. The
same addition may be made to burnt sienna and burnt umber
for flat tints. If these mixtures are thinned with turpentine
to a creamy consistence, they are fit for brush work, which can
also be dabbed when required, after the turpentine has evapo-
rated from the paint.
When crimson lake, yellow lake, or Italian pink are used to
produce flat tints by dabbing, a very little mastic varnish
should be added, the quick drying property of which takes
away the oiliness of the color, and hence renders it easier to
produce an even tint.
Dabbing. The greatest difficulty the beginner experiences
is the laying of even tints of color, free from brush marks,
spots, or other irregularities. The remarkable magnifying
power possessed by the optical lantern renders it necessary for
a sky tint, for instance, to be as smooth on the slide as to com-
pare with stained glass. This evenness is produced by a special
operation known as dabbing, of which frequent mention has
been made in the preceding paragraphs.
The dabbing process can be applied only to colors which
possess considerable intensity, so that an extremely thin layer
of the paint will suffice. The color has to be of a certain con-
sistency, about that of a stiff paste. This condition may be
produced by adding a little of Robinson's medium to colors
which have great intensity of tint, and a very little mastic var-
nish to the weaker colors, which have more oil in their compo-
sition. The pigment, having been mixed with a suitable
medium, a little of it is put on the slide, and is then spread
about and rendered even by the action of the dabber. There
are several kinds of dabbers ; one method requires a large,
round camel's-hair brush, with the hair cut off in the middle
of their length, so that they terminate in a flat surface instead
of a point. The brush is then used to stipple the paint with,
not by stroking, but with an up and down action.
Another dabber, and a better one, consists of a short stick,
PHOTOGRAPHIC PRINTING METHODS. 153
the end of which is formed into a miniature cushion by a thin,
smooth piece of leather, or part of an old kid glove, being tied
on, with a little cotton- wool within. A very small dabber of
this description is handy to use for working the tint close up
to an outline. But the cleanest and most useful dabber is one
supplied to most persons by nature, one that is not likely to
wear out or get mislaid, namely, the finger-end. Nothing can
exceed the evenness of tint which a practiced hand can pro-
duce by lightly tapping the paint on the glass he is working
on, which gradually renders the color even and smooth.
The finger to be selected is that which has the smoothest
skin ; generally, the third finger of the right hand is the best.
The skin has always a kind of furrowed surface, and some
artists, hence, rub the end of the finger lightly on a piece of
smooth sand-paper, by which some of the roughness is removed.
This cure of the furrows is very temporary ; nature, in a day
or two, indignant at this treatment of the cuticle, will retort
by growing a skin thicker and rougher than at first, so it is
better for beginners to use their dabbers as they find them.
The marks caused by the furrows can easily be obliterated
by going over the paint again with an extremely light and
gentle tapping action of the finger, the position of the hand
being altered from time to time, so that one set of furrow-
marks shall cross another. In this process, practice is the best
teacher.
The condition of the surface which is to be dabbed upon
should be observed when mixing up the tint. If the clear un-
varnished glass is being worked upon, the paint should not be
very stiff, otherwise it will be apt to leave bare spaces in the
tint, caused by the color not adhering properly to the glass.
In such a* case, a little of Robinson's medium should be added
to soften the color. If the glass is varnished, as most photog-
raphic slides are, the paint may be stiffer, as it holds better to
the varnish, and it is then usually easier to make the tint
smooth ; hence, it is best to varnish all glasses before the dab-
bing process is commenced. A film of negative varnish is
generally easy to work upon ; however, there are some var-
nishes, containing Canada balsam and resin, which become
soft and sticky when oil-colors are applied on the film ; such a
154 PHOTOGRAPHIC PRINTING METHODS.
sample should be rejected for this purpose, as it will be im-
possible to produce a good, even tint, by dabbing.
When the photograph to be colored is made by the gelatino-
bromide or chloride process, it is not necessary to varnish when
oil colors are used. The gelatine forms an excellent surface
to work upon free from scratches. If there are any abrasions
of the film, it is then advisable to apply a coat of negative
varnish, which will fill up these depressions and give a smooth^
even surface. In the case of water colors, on these plates it is,
of course, absolutely necessary to varnish.
Painting Skies. In tinting a landscape, the first thing to
do, according to Mr. Scott, is to tint the sky. Prussian blue is
always used for the blue skies ; when applied to the glass it is
rendered smooth and even by dabbing. Crimson lake and
Italian blue are used for sunsets, the different colors being
gradually merged into one another by the finger alone. Hav-
ing by this means produced a uniform or graduated tint it is
usual to introduce clouds. The white cumulus clouds are the
easiest. A stick, the size of a penholder, is cut to a tapering
wedge-shape at one end ; over this wedge-point is stretched a
piece of soft, clean wash-leather, about four or six inches
square, the loose ends of the leather being gathered together
and held by the fingers. With this single stump the paint
can be wiped off where required, leaving a sharp, clean edge
for the upper part of the cloud ; the lower portion of the
cumulus is softened into the sky tint by dabbing. When the
stump becomes charged with paint at the end, the leather is
moved so as to bring a clean portion of it to the wedge-point.
The fleecy cirrus clouds may be made by the stump, with
clean leather over it, being used as a dabber, so as to slightly
disturb and remove the sky tint in some places. Long, thin
streaks of white cloud are produced by the wedge-stump with-
out any leather covering, being gently tapped over the sky
tint, so as to displace the color and leave irregular white lines,
which may be softened slightly by dabbing it afterwards with
a corner of the leather. In making the sky, it is usual to
carry the color temporarily over objects in the foreground
hence the wedge-stump is again required to remove the sur-
plus paint from church steeples, roofs, etc., and the horizon
PHOTOGRAPHIC PRINTING METHODS. 155
generally. Clouds, which are darker than the sky itself, are
usually put on with the brush after the dabbed tint has be-
come dry ; this is a difficult operation, as it is very easy to
rum a sky in this way, so beginners are recommended to at-
tempt only the lighter clouds in their first essays.
Moonlight scenes are produced in a similar manner the
blue tint is made darker by the addition of lamp-black or burnt
umber ; a trace of gold size should be mixed with the colors
to assist in dabbing deep tints. The moon is made by scrap-
ing away the paint with a wedge-pointed stick of boxwood ;
sometimes a sharp knife is used, in which case it is usual to
cut through both the paint and the underlying varnish.
Water Colors. There are some dissolving-view artists of
good repute who use only water colors in their pictures. This
method is more difficult for a beginner to learn, especially in
the case of the sky tints. The list of colors available is nearly
the same as the list of oil paints ; thus Prussian blue, indigo,
gallstone, gamboge, brown pink, Italian pink, burnt sienna,
burnt umber, sepia, bistre, crimson lake, carmine, and lamp-
black, is a fair list of the most transparent water colors, which
should be of the " moist " variety, sold in small porcelain cups.
The mediums used to mix these colors with are pure water,
ox-gall, and occasionally gum arabic and glycerine. The
method of dabbing water colors is similar to that of oil paints ;
if the color (which is sometimes easier to work with by the
addition of a trace of ox-gall and glycerine) becomes too dry,
it may be softened by breathing gently on it. In order to
allow the tints to take nicely to the glass, it is usual to rub the
surface over with a little ox-gall, to remove all greasiness.
Water colors are not so safe to use as the oils, so far as per-
manence is concerned. In some instances the colors have
been found to have run together when slides were exposed to
the great heat of a powerful lantern, after having been stored
in a damp place ; in other cases the heat has caused the color
to contract and shell off the glass in places. With regard to
the dust which after a time is often found to have settled on
the colors, it is usually a risky matter to remove it with a linen
cloth in the case of a slide tinted with water colors ; an opera-
tion of this kind may spoil the picture, as the cloth is liable to
156 PHOTOGRAPHIC PRINTING METHODS.
produce streaks and lines of an undesirable character in the
view.
The crimson lake and carmine water colors, as they are sold,
are not very transparent ; the beginner, therefore, is often at
a loss when he desires a brilliant crimson or scarlet color, as
the addition of ox-gall or gum arabic does not increase the
transparency much.
The moist color is taken from the porcelain cup and mixed
with a few drops of glycerine ; a little ox-gall is also added, and
the whole intimately mingled together into a pasty mass with
the aid of heat and a few drops of water. The mixture is
then put into the metal dish or saucer and gradually heated.
The water will soon be expelled by the heat, and when steam
ceases to rise the heat should be increased, care, however, being
taken not to burn the pigment. The color of the pigment,
viewed by reflected light as it lies in bulk in the dish, is a
brick red up to this point ; but at a certain heat this color will
suddenly change to black. This blackness is due to the crim-
son becoming transparent, on the same*principle that a stained
ruby glass looks black when placed on a dark surface. The
color may then be allowed to cool, and will be found quite
bright and transparent. The color may be thinned with water,
and if it shows any tendency to return to its original semi-
opaque condition when on the slide, it is only necessary to
make the glass pretty hot after the painting is finished, so as
to restore the transparency of the crimson, which may be ren-
dered quite permanent by a little touch of mastic varnish, to
prevent the color again attracting moisture. The ox-gall is
added in order to stiffen the pigment ; if it were not used the
glycerine, which is the real agent in rendering the carmine
transparent, would keep it in a pasty condition, owing to its
peculiar non-evaporating nature.
The addition of a trace of glycerine to other colors will tend
to prevent cracking and shelling off of the pigment when on
the glass. The tints may be made of a better consistency for
brush work by being mixed with ox-gall and a solution of gum
arabic. The ox-gall sold by the artists' material dealers is
rather expensive if used in quantity; it is supplied in little
white pots in a stiff pasty condition, but is easily softened by
PHOTOGRAPHIC PRINTING METHODS. . 15T
warmth. A cheaper plan is to get some liquid ox-gall from
the butchers' and boil it down to a proper consistency, but it is
not a very pleasant operation, owing to its messiness and odor-
ousness.
If gum arabic is used to mix the colors with, a little lump
sugar should be added to the solution, as it will then be less
liable to chip off the glass when dry.
Aniline Colors. The thought has doubtless occurred to
many persons who have observed the brilliant tints of stuffs-
dyed with aniline crystals, whether these could not be employed
for coloring transparencies. There are many difficulties in the
way, but it is quite possible to use these colors and produce
effective and artistic slides with them.
There is a remarkable property which is possessed by some
of the aniline colors, namely, that of changing tint according
to the acidity or alkalinity of the mixture. Thus the addition
of a drop of ammonia may change a deep scarlet or crimson to
a pale yellow, or vice versa. Supposing a picture colored
with aniline tints was exposed successively to the fumes of
ammonia and nitric acid, a great change would probably be
perceived in some of the colors. This is one of the drawbacks
of the process.
The brilliancy of aniline colors exceeds that of most oil and
water colors. The former can be made perfectly transparent,
which is not usually the case with the two latter ; hence, for
cliromatropes and other subjects where brilliancy of tint is of
importance, they are well adapted. Flat tints produced by
dabbing can be made with them as easily as with oil colors ;
the warmer aniline colors especially compare favorably for
such work with the corresponding tints in oils.
Ordinary water colors can be easily used in conjunction
with the aniline tints for instance, a Prussian blue sky tint
may be merged by dabbing into an aniline orange color near
the horizon. Oil colors can also be used after the aniline tints
are laid on. This method is likely to preserve the aniline
colors in their original condition by protecting them from the
atmosphere and moisture. A sky may be commenced with
aniline colors, and when dry another layer of colors in oil may
be dabbed on without much fear of disturbing the underlying
158 PHOTOGRAPHIC PRINTING METHODS.
tints. This method is occasionally useful for producing cloud
and sunset effects.
Let us take one of the packets of aniline dyes labelled
u blue" ; we find that it contains a powder which will easily
dissolve in cold water, and possesses considerable intensity of
tint. A little ox-gall or gum arabic added will make it a very
useful color for slide work ; it is used just as Prussian blue is
in water color. It has complete transparency, and the tone
inclines slightly to purple.
Another packet labelled " scarlet," contains a powder also
soluble in water. It is an expensive dye, and the penny
packet contains a very small quantity, which is, however, suffi-
cient for several slides. It may be treated in the same way as
the aniline blue. This color being one of those liable to
change according to its acidity, or otherwise, it is advisable to
varnish the tint, after drying it thoroughly by warmth, with
mastic varnish, to secure it from atmospheric influences.
This remark applies to nearly all the aniline tints. The scar-
let is a very bright and transparent color, and can be dabbed
for sunset effects, etc.
The packet labelled " yellow " is of a warm yellow tint, and
can be treated as the above, being a water color. These ani-
line water colors are preferable to the spirit colors in that they
are less liable to change. The above will not lose their trans-
parency, but may possibly change color if unvarnished.
Spirit colors embrace most of the other dyes not previously
mentioned, and are more difficult to manage. They quickly
dissolve in methylated spirits, but are insoluble in cold water.
If a little of the tincture is put on the glass it is remarkably
transparent and vivid in tint so long as the color is liquid, but
as soon as the spirit evaporates, which it does of course very
quickly/ the tint becomes opaque and turns to a kind of
bronze powder ; the tincture besides spreads in all directions,
and is unmanageable for that reason alone, even if it retained
its transparency. Hence something is needed to give consis-
tency to the solution to prevent the spreading of the color.
Gum arabic, being insoluble in spirit, cannot be used. Canada
balsam is also non-effective, as the color becomes opaque on
drying. The same may be said of shellac, sandarac, and other
PHOTOGRAPHIC PRINTING METHODS. 159
resins, which require heat to enable them to dry in a trans-
parent condition. It is possible to get transparent tints with
collodion, but for slide work it is unsuitable, as it dries on the
brush before it can be put on the glass. However, for certain
work, collodion tinted with aniline colors may be applied by
pouring it on the glass, so as to cover the whole surface, and
returning the excess fluid to the bottle as is customary with
wet-plate photography ; it is useless for local treatment with,
the brush or for dabbing. The only substance that Mr. Scott
was able to use with success was ox-gall, used in considerable
quantity, so as to make the aniline tincture of a workable con-
sistency. Ox-gall is freely soluble in spirits as well as water,
and is suitable both for dabbing and brush work. Ox-gall
only overcomes the difficulty of the spreading of the tincture ;
it does not prevent the color becoming opaque on drying.
As the tincture is transparent only so long as there is any
spirit present, it would seem that fluidity is a necessary con-
dition to maintain transparency. The addition of water, how-
ever, to the tincture, produced a precipitate, and the color be-
comes opaque. Glycerine, like ox-gall, dissolves easily in
spirits of wine, and these two substances used together proved
capable of transforming the aniline tincture into a suitable
color for tinting slides, which could be thinned with spirit and
was also capable of being dabbed. There are a number of
dyes, which Mr. Scott calls spirit colors, that may be treated
in this way, which are of great brilliancy and intensity. The
spirit colors are generally warm in tint. There are magenta,
crimson, orange, and yellow, for instance, in spirit colors ;
cardinal, rose, and purple are also obtainable.
If faint tints are desired of the above, more ox-gall is added ;
glycerine should be sparingly employed, as if too much is used
in proportion to the ox-gall, the color remains pasty, and re-
fuses to harden.
The tints of aniline dyes are too bright and vivid for many
subjects, and are not readily mixed together to produce sec-
ondary colors. Aniline dyes, therefore, seem more useful as
an occasional accessory than as a complete system for the
painting of slides ; but they are useful in cases where local
tints of special brilliance are required.
160 i PHOTOGRAPHIC PRINTING METHODS.
CHAPTER XIII.
OPAL AND PORCELAIN PRINTING.
ANY of the emulsions given in Chapter VII. can be used
for coating the glass and the directions thus given for expos-
ure and development, or toning, apply to the opal process.
The emulsion given below is a very good one, and it can be
prepared in a weak white light. For coating, however, it is
better to work by yellow light. This emulsion is for printing-
out, not development.
Hard gelatine, 120 grains.
Chloride of ammonium, - 20 grains.
Citrate of potash, 40 grains.
Water, - 5 ounces.
Nitrate of silver, - - . - 120 grains.
Place all the ingredients, except the silver, in a bottle capa-
ble of holding ten ounces. Allow them to soak until the gela-
tine is thoroughly softened. Then shake well, and add the
silver in crystals. Shake again until the silver is dissolved.
Place in a water bath at a temperature of 100 deg. Fahr., and
digest for an hour at that temperature. Then cool down to
75 deg. Fahr., and add twelve ounces of alcohol. The emul-
sion will be precipitated in a pasty mass. Let it stand for a
couple of hours in the dark. Then pour off the fluid as closely
as possible. Add three ounces more of alcohol and shake well.
The alcohol is now poured off, five ounces of water are added,
and, after half an hour's soaking, the emulsion is melted and
filtered ; after which the plates, previously well cleaned, are
coated. Opal glass is easily and cheaply had of any large
dealer in glass.
Before coating, the plates should be slightly warmed. For
opals coat as thinly as possible. The coated plates are placed
on a levelled slab to set, and when set racked away to dry in a
well-ventilated room free from light and dust.
Positives are printed on these plates exactly as they are on
sensitized paper, but they print more rapidly.
PHOTOGRAPHIC PRINTING METHODS. 161
In order to be able to judge of the progress of the printing
one edge of the negative and the plate should be bound with
gummed paper. This will permit the plate to be turned back
for inspection and insure its registering accurately when again
laid down on the negative.
The printing must be deep, as the prints lose much in depth
in the later manipulations. When sufficiently printed, the
plates are well washed, and then toned in any good bath. The
sulpho-cyanide of ammonium bath, given on page 45, will
be found to give good results. Fix and wash as usual. For
opals, by development, either Wellington's or Eder's methods
given in Chapter VII., can be confidently recommended.
If the opal plates are purchased ready-made, the directions
inclosed with each box should be implicitly followed.
OPALS BY THE POWDER PROCESS.
Coat the glass with the following solution :
Dextrine, - 4 drams.
White sugar, - 4 drams.
Bichromate of potash, - 4 drams.
Glycerine, - 2 drops.
Water, - 12 ounces.
The coated plate is dried with gentle heat and exposed un-
der a positive reversed as regards right and left. A few mo-
ments' exposure to sunlight will suffice.
The plate is then developed by dusting over "it with a fine
camel' s-hair brush finely powdered ivory-black, to which has
been added a little Indian red if a warm tone is desired. The
action of light having made those parts of the plate acted
upon by light, hygroscopic, the powder will adhere to them in
proportion to the moisture which they hold. If any of the
details are slow in coming up, gently breathe upon them and
repeat the dusting.
When the details are all out the plate is cleaned of all super-
fluous powder, and the image fixed by pouring over it a satur-
ated solution of boracic acid and alcohol. The plate is then
dried by gentle heat, and exposed to light for a brief period,
again dried, and placed in warm water 1 to dissolve out all the
unchanged bichromate.
After two changes of water a few drops of sulphuric acid
162 PHOTOGRAPHIC PRINTING METHODS.
are added to harden the film ; after this acid treatment the
plate is washed in two changes of water and allowed to dry.
The treatment with boracic acid may be omitted, and the
bichromate dissolved out in warm water immediately after
development.
If ordinary unreversed positions are used for printing, the
image must be printed and developed on a glass plate previ-
ously coated with the sensitive bath. After development and
drying, the image is coated with plain collodion and transferred
to the opal glass as described in the Chapter on Carbon Prints.
PRINTING ON PORCELAIN.
Collodion.
1. Gun Cotton (negative), - 60 grains.
Alcohol, - 2 ounces.
Ether, - 3 ounces.
Powder finely 120 grains of silver nitrate and add it to 3
ounces of alcohol. Place the bottle in a water bath and bring
the water to the boiling point ; continue the boiling until the
silver is entirely dissolved ; when solution is complete pour it
hot into the collodion with constant stirring.
2. Chloride of Strontium, - - 32 grains.
Citric Acid, - 24 ounces.
Reduce to a fine powder and dissolve in four ounces of alco-
hol, add :
Ether 4 ounces.
Gun Cotton, - - CO grains.
These two collodions will keep indefinitely, and are to be
mixed in equal quantities when wanted for use.
Preparation of the Plate. Coat the porcelain with albu-
men from fresh eggs and water, using equal quantities of each.
Dry without heat, then warm the plate and when cool coat
with the mixed collodion. Dry over a spirit lamp.
The Exposure. Bind one edge of the negative to the cor-
responding edge of the porcelain plate and expose in a printing
frame ; or, place the negative in the proper position on the
porcelain, protect the back of the latter with yellow paper, and
secure contact by using plenty of spring clips.
PHOTOGRAPHIC PRINTING METHODS. 163
Toning. The plates are first washed in plain water, then in
water containing a little salt, and toned in the following bath :
Water, - 8 ounces.
Gold solution (1 grain to 1 ounce), - 1 dram.
When sufficiently toned, wash and fix in a 1 to 10 hyposul-
phite of soda solution. The prints are then thoroughly washed.
RED PRINTS.
Red prints have two uses, one aesthetic, the other practical.
^Esthetic, when it is sought by means of them to reproduce
the tone seen in some old-time engravings. Practical when
they are used as a base for the relief plates or zinc etchings,
so largely employed at present for illustrating newspapers,
trade journals, price lists, etc.
Several methods are in use to obtain the tone desired.
The simplest and most common is to fix a print in silver
without toning it. The print is transferred from the printing
frame to a dish of clean water, and after a brief soaking it is
placed in a dilute solution of acetic acid, after which it is
treated with a solution of carbonate of soda to remove all
traces of acid. After this treatment the print is fixed and
washed as usual. A second method of producing red prints is
by the carbon process, using red chalk or some similar pig-
ment, instead of lamp-black or carbon.
A third method is to float plain paper on a sixty grain solu-
tion of nitrate of uranium. After ten to twenty minutes' ex-
posure under the negative the print is developed by floating on
a forty-five grain solution of red prussiate of potash. The
print is well washed and finally immersed in a very dilute
solution of nitric acid to clear the lights. The print is then
fixed in a solution of alum. When wanted for the 1 draughts-
man red prints are best made by the first method. The out-
lines needed for the work in hand are sketched in India ink
and the rest of the photograph bleached out in a strong solu-
tion of bichloride of mercury which dissolves the silver, but
leaves the India ink unharmed.
The sketch thus made is used for the production in the
camera of a negative of sufiicient intensity to produce a relief
or etched plate. If the original print was an enlargement of
164 PHOTOGRAPHIC PRINTING METHODS.
the subject to be reproduced, and the negative was reduced to
the desired size, extreme sharpness and delicacy of line will be
obtained.
Ordinary Rives paper sized with gelatine, is salted on a bath
containing twenty grains of chloride of ammonium or barium,
and the same amount of citric acid to the ounce of water. It
is then dried and sensitized as usual.
PHOTOGRAPHIC PRINTING METHODS.
165
CHAPTEE XIY<
PHOTO-CERAMICS.
ONE of the most beautiful and permanent applications of
photography is that of photo-ceramics, which is comparatively
little known or practiced in this country.
The author believes that careful study and intelligent fol-
lowing out of the methods now to. be described, will enable
-any skillful photographer to produce enamels of a high grade
of excellence. The methods given are those now in use by
the most skillful Continental producers of ceramic work, and
may be relied 011 as trustworthy.
FIG. 1.
FIG. 2.
THE APPARATUS.
The Muffle Furnace. A muffle furnace of some descrip-
tion is necessary for firing the enamels. They can be had in
portable form of any large dealer in such materials, burning
either coal or gas.
When enamels of small size only are attempted, the form
here illustrated and described will do good work. Its con-
166 PHOTOGRAPHIC PRINTING METHODS.
struction is so simple that any good metal worker can con-
struct it.
Fig. 1 is the front elevation, and Fig. 2 the side elevation.
The muffle, M, is made of moderately thick sheet brass, per-
manently closed at one end, with a hinged or sliding door,
provided with a peep-hole in front. The muffle slides into
the furnace'on two iron bars let into the walls. One of these
bars is seen in Fig. 2.
The furnace walls, A, B, C, D, Fig. 1, are of thick iron
plate and doubled, the space between being filled with ashes
or some other non-conductor of heat. The furnace is sup-
ported by four iron legs attached to the outer wall by screws,
in order to be easily removed for convenience of transporta-
tion. A chimney, E, also detachable, iits into a hole in the
middle of the furnace top. Heat is generated by a Berzelius
or Liebig spirit lamp, having two or more wicks, which stands
on an iron tripod.
The opening in the walls by which the muffle is introduced
into the furnace must be of such a size and shape as to be
completely closed when the muffle is in place. A shelf, !N", of
thick iron plate, is fastened by brackets just underneath this
opening.
It is impossible to give any specific dimensions, as they are
determined by the size of the muffle, which must be large
enough to hold the largest piece of enamel likely to be fired.
The height of the muffle need not be more than three
inches, nor its other dimensions more than seven by nine
inches. A muffle four by five, by two-and- one-half inches, is,
perhaps, as large as can be advantageously used in this simple
form of furnace. The furnace proper should be about seven
inches high, and the legs about the same. The chimney is a
O " /
piece of iron pipe two inches in diameter, and about fifteen
inches in height. The hot-air space surrounding the muffle
may be one or two inches larger each way. The lamp must
not be brought too near the bottom of the muffle, or it will not
burn well.
The Drying Box. Much of the success of the various
methods given for enamels depends upon the way in which the
drying is done. The form of drying box here illustrated,
PHOTOGRAPHIC PRINTING METHODS.
167
IS
Fig. 3, taken from " Schwier's Manual on Photo-Enamels,
recommended .
The box is made of strong sheet iron, and may be made ten
to twelve inches square, and five to six inches high. The legs
are of sufficient height to allow of the introduction underneath
of the source of heat. These legs stand upon a wooden frame-
work provided with stout thumb-screws, to secure a perfectly
horizontal position of the slab on which the plates are dried.
Upon the bottom of the box is placed a slate or marble slab,
two or three inches thick, smoothly and squarely polished.
FIG. 3.
The top of the box is provided with a ventilating shaft
opening into the interior. In the door are openings for the
ingress of air, covered with a roof to shut out light.
If desired, a thermometer may be attached in such a way as
to have its bulb within the box.
The slab is warmed to 100 deg. Fahr. by any convenient
means, precautions being taken to insure this temperature
being maintained.
THE NEGATIVES.
To secure the best results in the various ceramic processes
the old wet collodion process should be employed in prefer-
168 PHOTOGRAPHIC PRINTING METHODS.
ence to the gelatino-bromide process. Gelatino-bromide plates
may, however, be used if one is content with results a trifle
inferior to those obtainable on wet collodion plates.
The two formulas given below for the preparation of the
collodion will serve for all the processes described later.
1. FOR THE REPRODUCTION OF LINE DRAWINGS.
Alcohol, 12 ounces.
Ether, - - 19^ ounces.
Azotic cotton, 185 grains.
Iodide of cadmium, - 62 grains.
Iodide of ammonium, 77i grains.
Iodine, - - 7.7 grains.
2. FOR THE REPRODUCTION OF DRAWINGS, ENGRAVINGS,
AQUARELLS, ETC., IN HALF-TONES.
Alcohol, 12 ounces.
Ether, - 19 ounces.
Azotic cotton, 185 grains.
Iodide of cadmium, - 62 grains.
Iodide of ammonium, 62 grains.
Bromide of cadmium, - 13 grains.
Iodine, 3.8 grains.
SENSITIZING BATH FOR Kos. 1 AND 2.
Distilled water, 34 ounces.
Nitrate of silver, - 1,234-J grains.
Acetic acid, - 13 drams.
DEVELOPER.
Water, 34 ounces.
Sulphate of iron, - , - 776 grains.
Acetic acid, - 13J drams.
Alcohol, - 13| drams.
TNTENSIFIER.
A. To be used after development and before fixing.
1. Water, - 16 ounces.
Pyrogallic acid, - 77 grains.
Citric acid, - 154 grains.
2. Distilled water, - - 16 ounces.
Nitrate of silver, 77 grains.
Acetic acid. - 2i drams.
To use, mix equal parts of !Nbs. 1 and 2, and immerse the
negative until proper density in gained. Wash well before
fixing.
PHOTOGRAPHIC PRINTING METHODS. 169
The ordinary bichloride of mercury intensifier with am-
monia or sulphite of soda can also be used.
Fixing. Either a saturated solution of hyposulphite of
soda, or a one to fifty solution of cyanide of potassium.
The glass used must be plate or patent plate. The follow-
ing method of cleaning the glasses previous to coating is rec-
ommended.
Soak the glasses for an hour or two in a solution of bichro-
mate of potassium to which has been added about one-third of
its bulk of ordinary nitric acid. The glasses are then washed,
wiped off with a piece of fine linen, and immersed for a few
moments in a bath of iodized alcohol, and finally wiped per-
fectly dry with a clean piece of chamois skin.
The operations of coating and sensitizing are the same as
customarily employed in the wet collodion process.
Stripping Films. The negative or positive when perfectly
dry is covered with a thin film of the following solution :
Pure gutta-percha, 1 part.
Chloroform, - - 30 parts.
The image is covered with this solution by flowing, and the
rubber film is allowed to dry. When dry a second coating is
given to the negative of the following :
Ether, 18 ounces.
Alcohol, - - 12| ounces.
Azotic cotton, 154 grains.
Castor oil, ... - 15 drops.
After the application of this solution the negative is allowed
to dry in the open air. "When dry the film id to be cut
through to the glass with the point of a sharp penknife, at a
slight distance from the edges of the negative, or from that
portion of it containing the picture to be used.
The plate is then soaked in water with a piece of Japanese
paper, which, after soaking until limp, is brought in contact
with the prepared surface. After a brief interval one corner
of both paper and film is separated from the glass with the
point of a penknife, the paper and film are then taken be-
tween the thumb and index finger, and the film pulled from
the glass with its paper support. It is then dried between
blotters, and when dry is ready for use. The use of East-
170 PHOTOGRAPHIC PRINTING METHODS.
man's American films will greatly simplify this operation for
those who are content to employ gelatine in place of collodion.
They should, however, be developed with the ferrous oxalate
developer.
Positives. For positives, by contact, any of the dry plate
methods given in Chapter YII. may be employed, preference
being given to the albumen method or Levy's collodion pro-
cess.
M. Roux, in his work on Decorative Photography (" Traite
Pratique de Photographic Decorative," etc.), recommends the
following tannin process :
" Well cleaned and polished patent plate glass is coated with
the collodion given at the beginning of this chapter, sensitized
as usual in the bath there given, and after immersion in dis-
tilled water until all traces of greasiness have disappeared, the
plate is washed under the tap for five or six minutes, and
finally immersed for three minutes in the following bath :
Water, 34 ounces.
Tannin, - - 463 grains.
Acetic acid, - 13 drams.
< The plate is then dried in the drying-box.
" These plates, kept in a dry place, will retain their good
qualities for a fortnight, and will be found to yield very fine
results."
The time of exposure to diffused light is about five seconds
for negatives of medium density. Before development the
plates are well washed in running water and developed by
flowing one of the following solutions over the collodionized
surface :
DEVELOPER FOR POSITIVES FROM NEGATIVES OF LINE DRAW-
INGS.
Equal parts of the following :
1. Water, - 16 ounces.
Pyrogallic acid, - 77 grains.
Citric acid, 154 grains.
2. Distilled water, - 16 ounces.
Nitrate of silver, - 77 grains.
Acetic acid, - - - - - *% drams.
PHOTOGRAPHIC PRINTING METHODS. 171
DEVELOPER FOR POSITIVES CONTAINING HALF TONES.
1. Distilled water, - 32 ounces.
Bromide oi potassium, - 617 grains.
2. Distilled water, 32 ounces.
Pyrogallic acid, - 154 grains.
3. Distilled water, - 6| ounces.
Strong ammonia, - . 5 drams.
For the developer inix the above solutions in the following
proportions :
No. 1, - 2> drams.
No. 2, - 7% drams.
No. 3, - 46 drops.
Fixation must be thoroughly done in a saturated solution of
hyposulphite of soda.
If the positives are to be used only on flat surfaces, it is
only necessary to varnish them with any good negative varnish.
If, however, they are intended to be used for printing on
curved surfaces, they must be stript from the glass as de-
scribed above for stripping negatives.
THE FIRING OR BCRNING-IN.
This operation is performed as with enamels painted by
hand. The enamel plate is placed on a piece of fire-clay and
gradually introduced to the full heat of the furnace, avoiding
overheating, the muffle door being left open until the plate is
well heated. The door is then closed and the plate allowed to
remain in the muffle until the enamel glaze just melts. The
plate should be turned occasionally, to insure equal firing,
using for this purpose a wire set in a wooden handle with an
inch or so of the other end bent to a right angle.
The burning is a most delicate operation, and requires skill
and attention to secure the best results ; given these, however,,
with a little experience, enamels can be fired with almost abso-
lute certainty.
For further details for firing, the reader is referred to the
section describing Mr. Watson's substitution method, at the
end of this chapter.
Even with the utmost care, the pictures, after firing, will
sometimes have a dull or mat surface. They must, in this-
case, receive a coating of flux, and be fired again.
172 PHOTOGRAPHIC PRINTING METHODS.
The following fluxes are recommended by the best author-
ities.
1. For Colors Containing Iron.
Crystallized borax, red lead, pounded glass, equal parts of
each.
Mix and fuse for one hour in a crucible. Pour out into,
water, then dry and powder fine upon a marble slab, with a
glass muller.
2. For Colors Containing Gold.
Silica (powdered), 1 part.
Glass of borax, - - H part.
Red lead, 5 8 ' part.
3. For Colors Containing Silver.
Sand, 1 part.
Litharge, - 2 parts.
Glass of borax, - 1 part.
4. For General Use.
Red lead, - 4 parts.
Silica (powdered), - - 1 part.
Powdered silica is obtained by calcining the purest flints
three or four times in a crucible, washing each time ; it is
then powdered in a porcelain mortar and sifted through a
lawn sieve.
RETOUCHING.
Retouching is often necessary to fill up white spots, to clear
up portions which are veiled or too dense, or to apply a differ-
ent tint to various parts of the picture. This retouching is
always to be done after the first firing, the enamel being again
fired after retouching.
Bare spots are filled in with a fine brush dipped in a solution
formed by dissolving a small portion of the enamel powder,
used to form the image, in a little spirits of lavender. The
high lights are cleared up, if necessary, with a brush dipped in
a 1 to 10 solution of fluorhydric acid and water.
Touching up isolated spots in different tints is effected with
enamel powders of the proper tints dissolved in essence of
PHOTOGRAPHIC PRINTING METHODS.
173
lavender", enamelled by subjecting them to the action of the
heat.
As a rule, the colors are easily procured of the trade, those
made by La Croix, of Paris, being thoroughly reliable. It is
as well to sift the dry colors through a fine lawn sieve to re-
move all coarse particles.
Most operators will prefer to purchase the enamel mixtures
ready made, but for the benefit of those who may wish to pre-
pare them for themselves, a few formulas are given below.
All the ingredients given in these formulas must be very pure,
ground or pulverized very finely, and perfectly mixed together,
STOCK MIXTURES.
base in some of the formulas given, and
quantities to suit the needs of the artist.
Stock No. 1.
These serve as a
may be made up in
Red lead, -
White sand,
Stock No. 1,
Calcined borax,
Calcined borax,
Silica, -
Red lead,
Manganese,
Stock No. 1,
Borax, -
Oxide of cobalt,
Oxide of cobalt,
Stock No. 3,
Oxide of cobalt,
Oxide of zinc,
Stock No. 2,
Oxide of cobalt,
Oxide of zinc, .
Stock No, 2,
Stock No. 2.
Stock No. 3.
Gray.
Indigo Blue.
Turquoise Blue.
Azure Blue*
3 parts.
1 part.
8 parts.
1 part.
5 parts.
3 parts.
1 part.
2 parts.
3 parts.
1 part.
Part.
1 part.
2 parts.
1 part.
4 parts.
6 parts.
1 part.
2 parts.
5 parts.
PHOTOGRAPHIC PRINTING METHODS.
Emerald Green.
Oxide of copper,
Antimoniac acid, -
Stock No. 1,
Blue Green.
Oxide of chromium,
Oxide of cobalt,
Stock No. 3,
Jonquil Yellow for Flowers.
Litharge,
Silica,
Oxide of antimony,
Sienna clay,
Sub-sulphate of iron, -
Red oxide of iron, -
Stock No. 2,
Cassius's purple, -
Chloride of silver,
Stock No. 3,
Cassius's purple,
Stock No. 3,
Peroxide of iron (calcined),
Stock No. 3,
Red.
Carmine.
Purple.
Violet.
JBlack Pigment.
Oxide of copper,
Oxide of cobalt,
Oxide of manganese,
Flint glass,
Melt in a crucible and add of
Oxide of copper,
Oxide of manganese,
1 part.
10 parts.
30 parts.
1 part.
2 parts.
9 parts.
18 parts.
4 parts.
2 parts.
2 parts.
iV part.
1 part.
3 parts.
2 parts.
10 parts.
10 parts.
2 parts.
10 parts.
1 part.
2 parts.
2 parts.
\% parts.
2 parts.
12 parts.
parts.
2 parts.
The melted mixture is poured into water and then finely
pulverized.
White Pigment.
(The white enamel glaze of commerce.)
PHOTOGRAPHIC PRINTING METHODS. 175
Gold or Cassius's Purple.
(Precipitate a solution of chloride of gold with salt of tin,
and wash the precipitate.)
PRACTICAL MANIPULATIONS.
Four methods are in common use for producing photo-
enamels, viz. : the Dusting-on Process ; the Pigment Process ;
the Collotype Process ; and the Substitution Process.
As the limits of this book will not admit of a detailed de-
scription of all these methods, I have selected the Pigment
and the Substitution Methods for detailed treatment, adding a
brief resume of the Dusting-on Method, taken from the
(British) " Photo. News Almanac " for 188T.
PAVLOWSKY'S METHOD WITH PIGMENT PAPER.
The following solution is made up :
Best gum arabic, 385 grains.
Water, - - 26 drams.
When the gum is dissolved the solution is filtered through
flannel, and the following mixture added :
Enamel mixture, - - 248-308 grains.
Honey, 10 grains.
The mixed solution is poured out upon a marble or glass slab
and thoroughly incorporated together.
An addition of a solution of 6 grains bichromate of potash
in a small quantity of hot water is then made, and the resulting
mixture filtered through flannel. This solution must be kept
in darkness for one week before using.
A well-cleaned piece of plate glass is coated with the solu-
tion and dried in the drying box at a temperature of about
110 deg. Fahr.
The exposure to light is made as usual, the time required
being about one-fourth of that required for silver paper. The
exposed plate is then coated with plain collodion, and, as soon
as the film is set, washed in cold water ; a sheet of unsized pa-
per is then laid down upon the film, perfect contact secured
with the squeegee, when the paper bearing the collodionized
176 PHOTOGRAPHIC FEINTING METHODS.
tissue is easily stripped from the glass by first raising one cor-
ner.
The development is the same as described in Chapter for Car-
bon Tissue.
The developed tissue is first washed in diluted alcohol, and
finally in absolute alcohol, and the picture transferred in the
usual way to the object to be enamelled. When dry it is
ready for firing.
This method is well adapted to the production of enamels on
curved and irregular substances.
HUSNIK'S METHOD.
Husnik coats paper with the following mixture :
Gum arable, 3 parts.
Water, - 30 parts.
Filter well and add :
White sugar, 1 part.
Bichromate of potash, - 2 parts.
Glycerine, 5 drops.
Black enamel is thoroughly incorporated with this solution
in sufficient quantity to give a non-transparent film.
The remaining operations are the same as in Pavlowsky's
method.
LIESEGANG'S DUSTING-ON METHOD.
The six stages are as follows : 1. A glass plate is coated
with the sensitive mixture of organic matter and bichromate.
2. The plate is, after drying, exposed under a positive. 3.
After the shaded parts of the plate have absorbed sufficient
moisture, it is dusted with a verifiable pigment in fine pow-
der. The united action of the bichromate and light so modify
the deliquescent organic matter that it loses its property of ab-
sorbing moisture from the air, and the exposed parts of the
plate consequently refuse to hold the verifiable pigment. 4.
The powder picture is coated with collodion, and then soaked
in a slightly alkaline solution, in order to remove all traces of
soluble materials. 5. The collodion film bearing the image is
next floated off and laid on a tile or other suitable surface. 6.
The image is vitrified or burned in.
PHOTOGRAPHIC PRINTING METHODS. 177
The composition of the sensitive mixture may be varied
considerably without any very material influence on the re-
sult, but the following composition gives very excellent results
in ordinary cases :
Water, - 100 parts.
Moist sugar, - 10 parts.
Gum-arabic, - 10 parts.
Bichromate of ammonium, 4 parts.
This solution should be used within one or two days of its
preparation, and ought to be filtered with the most scrupulous
care, as any particle of dust or fibre is likely to cause a white
spot on the finished work. The solution is poured on the
glass plate after the manner of collodion, and after the plate
has been held in a tolerably horizontal position for a few
seconds, the excess of solution is quickly poured off, and the
plate is set to dry on a kind of desk formed of a piece of sheet
iron mounted at an angle of about 15 deg. with the horizon,
and kept warm by a spirit lamp placed underneath ; but it is
advisable to distribute the heat by means of a few layers of
blotting paper placed under the glass, and the heat should not
rise above a temperature which the hand can easily bear. It
is best to use patent plate glass, and the greatest care must be
exercised in cleaning it thoroughly. It is necessary that the
positive under which the exposure is made should be quite
dry, or even slightly warm, and in ordinary cases an exposure
of one minute in sunshine, or ten minutes in diffused daylight,
will sufilce ; but an actinometer should be used as in carbon
printing. As soon as the exposure is finished, the plate is
taken into the dark-room, placed on a white surface, and some
of the enamel color is sprinkled on and worked round and
about with a long-haired camel's-hair pencil, both the powder
and the brush being perfectly dry. The image now gradually
develops, and it is often necessary to shake the powder from
off the plate and allow the moisture of the air to act on the
film for a short period, after which the treatment with the
enamel pigment is resumed. Should the picture appear hard,
only the extreme dark shades appearing, the exposure has
been too long; but if the image is flat, and all the high-lights
are veiled, under-exposure is indicated. Just as in ordinary
178 PHOTOGRAPHIC PRINTING METHODS.
silver printing, the image should appear a few shades over
dark at this stage, as the enamel colors lose a little intensity
when fired ; but if there should be any difficulty experienced
in attaining the required vigor, it is advisable to very gently
breathe on the plate previously freed from all loosely-adher-
ing powder and then to proceed with the development.
When the development is finished, all non-adherent powder
should be removed by means of the brush, and any required
retouching can be performed either by breathing on the plate
and cautiously applying the pigment on the part requiring it,
or by removing the pigment by friction with a tuft of cotton
wool or a stump. The plate is next coated with a collodion
containing from 1-J to 2 per cent, of pyroxyline, and about ^
per cent, of castor oil ; and after the film has set it is cleared
away from the edges of the plate, so as to leave a clear border
of about -J of an inch. The collodionized plate is next soaked
in a 2 per cent, solution of caustic potash, until all traces of
soluble chromium salts are removed from the film, and after a
thorough rinsing in clean water, the plate is immersed in water
containing enough nitric acid to make it taste about as sour as
weak vinegar, where it should remain some hours. By now
placing the glass bearing the film in a large vessel containing
clean water, and gently manipulating the pellicle with the fin-
gers, it becomes easy to detach the collodion film, which is
then caught, collodion side downwards, on the enamel tablet
or tile. Should it be necessary to vitrify the picture with the
collodion side upwards, the final transfer must be made in a
solution of sugar containing one-fifth of its weight of this ma-
terial, as otherwise the collodion film would be liable to scale
off. In this latter case, the collodion must be dissolved away
before firing ; but when the collodion film is mounted down-
wards on the enamel plate or tile, this proceeding is not necessary.
The most convenient method of dissolving away the collodion
film is by soaking the dried plate for a whole day in the fol-
lowing mixture :
Alcohol, ... 50 volumes.
Ether, - - - - - 50 volumes.
Oil of lavender, - - - * 100 volumes.
Oil of turpentine, - - - -3 volumes.
PHOTOGRAPHIC PRINTING METHODS. 179
The plate having been again retouched, if necessary, all is
ready for the final operation, or the burning-in of the image.
WATSON'S SUBSTITUTION METHOD.
No better form of the substitution process exists than that
of Mr. Watson, of Hull, which with some modifications made
by Mr. !N". K. Cherrill, was published by the latter gentle-
man.
The following is Mr. Chen-ill's description of the process
given in the " Photographic News Almanac " for 1886 :
A piece of glass is cleaned with nitric acid, well washed,
dried, polished, and coated three times with collodion.
This stage reached, plunge the plate in the bath without
letting the collodion get too much set ; if the setting be pro-
longed, the result is not so good. A nitrate bath with me
means a solution of thirty grains of pure nitrate of silver in
one ounce of pure water, sunned all the while it is not in actual
use, and, when used, rendered acid, in the proportion of two
drops of pure nitric acid to a half gallon of solution. The plate
remains in this solution till the greasy marks disappear ; it is
then taken out at once, and placed in a funnel to drain ; it is
allowed to drain not less than five minutes, and is then ready
for the slide.
I arrange the copying camera in the studio so that the light
which passes through the negative to be copied comes only
through one of the side lights, and I have no reflectors of any
kind. Behind the negative, however, I place a piece of finely-
ground glass, which renders the light perfectly even. For this
beautiful adaptation I am indebted to the late Mr. Baden
Pritchard, who showed me the plan at Woolwich. The lens I
use is a Dallmeyer No. 2B. With this, with the arrangement I
describe, the exposure is from five to twenty seconds. If the
enamel to be taken is of small size, I prefer to have a mask on
the negative, and to block out all light except that actually
needed, as this enables me to take four or five images side by
side, by simply pushing the camera dark slide a little way each
time.
The exposure and development of the image is a matter re-
quiring the greatest care and attention, as on the complete sue-
180 PHOTOGRAPHIC PRINTING METHODS.
cess of the transparency the whole process turns. The develop-
ing solution is made as follows :
Pyrogallic acid, - 12 grains.
Glacial acetic, - 4 drams.
Alcohol, - 4 drams.
Water to fill a 12-ounce bottle.
In warm weather this may be more dilute say, as far a&
giving 20 ounces of water to the same quantity of pyro. Then,
of course, more alcohol-will be needed.
This should be made three days before it is used, as it is too
vigorous in its action at first. On the other hand, it must not
be kept too long, as then it deteriorates in the other direction.
These are the characteristics in development which, according
to my experience, must be obtained in order to secure a good
result. The image must develop very slowly. The image
must attain the exact density required at the same moment
that it attains the right amount of detail in the high-lights.
The image, when examined by reflected light, must not be
"filling up" (if I may use the term) in the dark parts, or at
least the " filling up " must only extend to a very few tones,
and above the very darkest. The image, when examined by
reflected light, should show, in fact, nearly all the drawing and
shading of the subject ; while, of course, when seen by trans-
mitted light, it should show up with extreme perfection. Ev-
ery detail must be there, with a fair amount of density ; but
heavy blacks are to be avoided.
In actual practice I find it best to place the plate on a level
stand during the last stage of development, right under the
tap ; a full stream can thus be turned on at the exact instant
at which it is required to stop the action of the developer.
The plate must be well washed at this stage, and the fixing
must be done with cyanide of potassium. I prefer a weak
solution, and carefully avoid pouring it upon the face or other
delicate parts of the picture. The washing should be copious,
and it should follow as quickly as possible on the completion
of the fixation.
When the washing is complete, break off a small piece of
the film at one corner of the plate, and direct a thin stream of
water from the tap on this corner, making it strike on the bare
PHOTOGRAPHIC PRINTING METHODS. 181
glass. The use of a camel's-hair brush here will facilitate rais-
ing the edge of the collodion, so that a large jet of water can
be got under the film ; this being directed in the proper man-
ner, by tilting the plate, will effectually loosen the film from
the glass. As soon as this is done, restore the plate to the hor-
izontal position, and, with a pointed stick, like a penholder,
break away from around the picture as much film as can well
be spared. Clear off the broken pieces with the finger, and
give a slight extra rinse under the tap. This must be gently
done, as our film is all loose now, and may slip off if we are
not very careful. Get about two or three ounces of water on
the plate, holding it quite level, then, bringing the whole over
a large dish filled a couple of inches deep with water, lower
one end gently into the water, when the film will slip off into
the dish without the slightest injury. If protected from dust,
the film may be left at this stage quite twenty-four hours with-
out any injury or deterioration.
The next stage is the toning. To make up the toning bath
just right is an important feature in the process. My procedure
is as follows : Get a sixteen-ounce bottle, half fill it with water,
put it into a saucepan, also half full of water, and set the whole
arrangement on the fire, or over the gas, till the water in the sauce-
pan comes to the boil. If the glass bottle does not crack under
this trial, it may be used with safety. Place in the bottle a quar-
ter of an ounce of potassio-chloride of iridium, fill it up with
cold water, and set it in the saucepan again ; this tune, how-
ever, do not boil the water in the saucepan, but place it where
it will keep very hot. Shake the bottle occasionally. After
about half an hour, remove the bottle from the hot water, and
place it aside to settle and cool. When quite cold it will be
fit for use. This solution will remain good any length of time.
I have a suspicion that it improves by keeping, but I am not
sure on this point. To make up the toning bath, proceed as
follows : Place 12 ounces of pure water in a bottle, add to
this 14 drams of the iridium solution. Shake it up well. ISTow
add a few drops at a time, and shaking well between each ad-
dition, 7 drams of a solution of chloride of gold (strength, 1
grain to 1 dram). The bath is then ready for immediate use,
but is better after keeping. It keeps indefinitely. It is par-
182 PHOTOGRAPHIC PRINTING METHODS.
ticular to note in this place that the solution in the indium bot-
tle will have a nearly black sediment. This is simply undis-
solved chloride. When all the clear solution has been used up,
more water may be added, and this remainder used in the same
manner as the first lot, but care must be taken that too much
water is not added, as a quarter of an ounce of the chloride will
not make two sixteen-ounce bottles full of the saturated solu-
tion, but only about one and one-third, or one and a-half .
To use the enamel toning bath proceed as follows : Pour some
out into a clean dish to the depth of about half an inch. Stand
near to this a large dish filled to the depth of one inch with clean
water, and also a small dish with pieces of glass in it under
water. The glasses may be about quarter-plate size, or such as
will be found most convenient. Now take up one of these
glasses, and slip it under the film containing a transparency to
be toned, gently raise the glass to the surface (at the same time
manipulating the film with a camel' s-hair brush held in the right
hand) in such a manner that when the glass and film on it are
lifted out of the water, there will be an edge of film (say) a
quarter of a inch wide lapping over one edge of the glass. The
action of the water, as the plate is taken out, will wash this
piece or edge of film round to the back of the plate, and, by so
doing, will fix the transparency on the glass in a very satis-
factory manner. If care be taken that the edge where the film
laps over is kept uppermost, or highest, a very considerable
stream of water may be poured on the film without any dan-
ger of it slipping. Having got the film on the glass, it should
be rinsed under the tap in the manner just suggested, and the
film may then immediately be transferred to the toning bath.
To do this, turn the glass over so that the body of the film is
underneath, lower it gently under the surface- of the solution,
and, with a brush, disengage the lap of film where it had turned
the edge of the plate, now, of course, uppermost. As soon as
this is done, the film will move off into the solution free of
glass, which can then be removed. When the film has floated
free for about a minute, turn it over with the brush, and note
carefully if the deepest shadows are toned through, so as to
give one uniform tint to the whole film. Turn the film over
and over, and move it about till this is effected, and, as soon as
PHOTOGRAPHIC FEINTING METHODS. 183
it is so, remove it from the bath by the same piece of glass,
used in the same manner, i.e., securing the film by making a
little piece of it lap over to the back along one edge of the glass.
Let the film drain a few moments, and then transfer it to the
large dish of clean water. As soon as it is free of the glass in
this dish, gently agitate the water with a brush, so as to wash
away the toning solution still adherent to the film.
I strongly object at this stage to washing the film under a
tap dish washing is far preferable, and as little of that as pos-
sible should be employed. As each print is toned in succes-
sion it is placed in the same large dish of water. I use one
that will take a half -sheet of paper. When all are finished so
far, change them one by one into another dish of water, taking
up each film with the glass as before described. This is all
the washing they are to have. Now proceed to mount them
on the tablets. First of all, pour back the toning bath and
put away the dish it was used in, then set before you on the
table two dishes, one filled about half an inch deep with am-
monia solution, and the other about the same depth with clean
water.
Ammonia solution at 880 deg., 6 drams.
Water, 12 ounces.
This must be kept well corked.
Half an ounce of this mixture diluted with one pint of wa-
ter makes the bath, into which the films are to be plunged.
Get a chair and sit down to the work, as it is far easier to
manipulate the films if both arms can* rest on the table. Take
off your watch and place it before you, so that you can see it
as you work. Now place in the dish of clean water a clean
glass, and on that an enamel tablet, carefully washed previ-
ously. Now take another clean glass, and with it remove one
of the toned films from the dish in which it was washed, and
plunge the same into the ammonia bath. As the film enters
the solution, take the time by the seconds' hand of the watch,
and withdraw the film when it has been in twenty seconds ;
plunge it as rapidly as possible into the water where the tablet
is, disengage the glass, and slightly agitate the water in the
dish to give the film a sort of wash. Now take up, with the
left hand, the piece of glass on which the tablet rests, and
PHOTOGRAPHIC PRINTING METHODS.
raise it about half way to the surface ; then, manipulating with
the brush, held in the right hand, bring the film to its proper
position over the tablet. By raising the latter very gradually
the film can be laid in its place in this way with the utmost
certainty. As soon as the glass is fairly out of the water,
place it with one edge raised a little, so as to drain. If the
glass is placed at too steep an angle there is danger that
the tablet will slip out, or, at any rate, get disarranged.
It is proper to note, in this place, that the tablets being
curved, the films will not lie flat without the exercise of a little
care on the part of the operator. Care must be taken to avoid
the formation of one ridge or two around the edges of the
tablet, but the spare film should be made to lie as nearly as
possible equally in all directions. If this is done with care, no
puckers or laps will be found in the film when it is completed
in the next stage of the proceedings. "When the films have
got almost surface-dry, the tablets are to be removed from the
glass plates in which they were lifted from the water. To
do this, place the plate level, and, with a sharp-pointed stick,
tear away the useless film around the edges of the tablet, slip
a thin knife under the tablet, and lift it off the glass on to a
sheet of blotting paper, and at once cover it with a large bell
jar, or other glass vessel, to protect it from dust and accident.
The picture is now ready for burning, and it should at this
stage look like a finished enamel, and be as perfect in every
respect, in the matter of light and shade and tone, etc., only it
will be of a bluer shade of color than the finished result ;
but it ought to have the same relative shade of color now as it
is to have in the completed result. The tablet may be burned
at once, or left many days, or even weeks, without change.
I much prefer a gas muffle furnace for burning the enamels
in, to one heated by coke ; whichever is used, it should be
ready and at the full heat, a clear cherry red inclining to
white, but by no means a full white heat ; too much heat is a
mistake, as it renders the process unmanageable, and produces
no good result to make up for the extra difficulty of work.
The burning is a most delicate operation, and all the care
and attention of the artist are required to secure the result at
its very best point ; still, with care, I do not hesitate to say
PHOTOGRAPHIC PRINTING METHODS. 185
that nine out of ten enamels can be burned to a successful
issue.
Take up one of the tablets and place it upon a piece of fire-
clay in front of the muffle, but not too near, say at a distance
of about six or eight inches. The fire-clay should be supported
in such a manner as to tip the enamel towards the heat, so that
the rays may fall upon it, as near as may be equally all over it.
When it has been roasted in this manner a little while, move
it a little nearer, and then a little nearer, examining it each
time. As soon as the action of the heat has turned the color
of the film brown in the least degree, it may be dealt with
fearlessly ; the fire-clay, with the enamel on it, may then be
placed level, just in the mouth of the muffle, where in a few
moments the film will take all the shades of brown till it gets
quite dark all over ; now push it into the heat. (A wire set in
a wooden handle, and with about half-an-inch at the other end
bent to a right angle, is a most useful tool in manipulating the
fire-clay plates when in the muffle.) As soon as the plate is in
the heat, watch it with great care ; it will seem to get perfectly
black all over, and then almost on a sudden the whites of the
picture will be seen coming out quite clear ; the moment this
takes place, draw the tablet towards the mouth of the muffle,
and remove it to the outside to cool a little gradually, and then
take the tablet right away and place on wood to get cold. All
beauty will by this time have disappeared from the enamel,
the whites will stand out, and the few tones next to them will
have some clearness, but all the other tones will be a dark and
confused mass hardly distinguishable the one from the other.
This is the true characteristic of a good enamel at this stage.
It is now ready to glaze.
The enamel glaze as prepared for photographic work can be
had of most dealers in artists' materials. About a thimbleful
of the glaze (which is a fine powder like flour) is placed in a
small, narrow bottle say, a two-ounce medicine bottle and
the bottle filled up about three parts with alcohol. This is
marked " Glaze in alcohol." To make up the glazing mixture,
take a two-ounce medicine bottle, and put in it half an ounce
of uniodized collodion, such as would be used for negatives ;
add to this a quarter of an ounce of methylated ether, and
186 PHOTOGRAPHIC PRINTING METHODS.
half an ounce of alcohol ; now add as much water as it will
take without throwing the gun-cotton down. To do this, set
the tap to drip very slowly, and get one drop into the bottle ;
shake violently, and then get another drop in, and repeat the
shaking ; so go on till six or eight drops are added, which will
be about enough. Shake up the bottle of " Glaze in alcohol,"
and let it rest about two minutes for the coarser particles to
subside, then carefully add some of the upper part of the mix-
ture to the diluted collodion enough to make it rather opaque
and milky-looking will do. This is the glaze ready for use ; it
must be well shaken up each time it is used.
When the enamel is quite cold, balance it on the top of one
finger if small, or near the edge of a piece of flat wood if large,
and pour the glaze mixture over it ; then immediately tilt the
enamel up to the vertical position, letting the glaze run off on
to soft blotting paper, rocking the tablet in the meantime to
prevent the formation of lines. When the collodion is set,,
place the tablet in a muffle on a piece' of fire-clay, and gradu-
ally introduce it to the full heat ; keep a careful watch now to
see that the burning does not proceed too far. The glaze
should only just melt. As soon as this is the case which will
be seen by looking at the reflection of the bent wire held just
above the tablet pull the enamel out, and, when a little cool,
remove to a block of wood to get cold again.
The image is now indellibly fixed, and it may be treated
roughly with impunity. The picture is not, however, at its
full beauty as yet, as, if all the baths etc., have been in good
order, one glazing will not be sufficient. The whites will be
glazed, or have a polished appearance, but the darks will be
still of a mat surface, and not transparent in effect, as they
should be. This is overcome by repeated glazings. "No en-
amel is perfect that has not been glazed at least five times.
The number of separate burnings (say, five or six) as here
recommended give a totally different effect to what would be
obtained by one great burn, with the glaze applied thicker.
Those who wish to save themselves trouble will work in this
way ; but anyone who wants to get the best results will not
mind the trouble of five or six, or even a dozen glazes.
When the glazing comes nearly to an end, there will be
PHOTOGRAPHIC PRINTING METHODS. 187
found some little points where improvement is needed in the
way of retouching. This point is very easily gained ; collect
all the trimmings of films after they have been through the
toning and ammonia baths, and all waste or torn films as well ;
place them a few moments in the muffle on a piece of fire-clay ;
they will instantly burn, and the ash is to be carefully collected
and kept in a small bottle. A little of this may be put out on a
palette, with a minute atom of the glaze powder, and one drop
of some essential oil, and then well rubbed down with a muller.
The paint so obtained may be used with fine brushes, dipped
in turpentine, and, the work being burned into the enamel, will
take the same color and surface as the rest of the picture.
Ceramic colors may be applied to enamels, and burnt in with
considerable success ; but I have found much difficulty hither-
to in getting the red shades wanted about the lips and cheeks
right. I have used the colors made by La Croix, of Paris.
When an enamel has failed, it may be put on one side, and
when there is a sufficient collection of them, the images may
be dissolved off with fluoric acid, applied with a rag at the end
of a stick ; and then, after washing, the tablet may be fired in
the muffle till it melts to a good bright surface. If this be
carefully done, the tablet so renewed will be as good as a new
one. In this firing after cleaning, the image will often appear
again when in the heat. If this be the case, the heat should
be continued till a full glaze has been obtained, when the tab-
let, after cooling, may be again treated with the acid, and again
fired.
Failures in enamels are of four distinct classes, which may
be thus enumerated: Class I. Failures in development.
Class II. Failures in the direction of getting poor, slaty ?
bluish colors, which glaze all at once when put in the muffle.
Class III. Failures in the direction of excessive blackness, just
the opposite to the last. And Class IY. Failures in the
glazing operation itself.
With regard to the first class of failures, I would suggest
that it is imperative that the development proceed slowly ; this
seems to me the only condition of success. The photographer's
knowledge of his business will enable him so to manage the
light, lens, exposure, etc., of the film as to secure this necessary
188 PHOTOGRAPHIC PRINTING METHODS.
condition. I do not think the developer I have given is by
any means the only one that will do, though, as in my hands it
succeeds the best, I never use any other.
The second class of failures arises from there being too much
gold in the toning bath, or rather, perhaps, too much in pro-
portion.
The third class arises from there being too much iridium, or
too much in proportion. Both these may be avoided by a
strict adherence to the formula I have given.
The fourth class of failure the only one to be really feared
is the most difficult to deal with. It is much more difficult
to describe than to show. The chief thing to avoid in glazing
is the getting an unequal layer of glaze on the tablet the first
time. Until the first glaze is burned in, the picture will rub
very easily, therefore a badly-laid glaze will be its ruin, as it
cannot be removed. After the first glaze is burned, the enamel
is safe, and any further error in the matter of pouring on the
glaze, etc., can be rectified by simply washing it off again
under the tap. Then, again, there is a possibility that, when
too much glaze is used, the enamel will spoil by what I
have, till recently, looked at as "burning out," but which
I have since found out to be simply a sinking in of the
image. The best remedies for all errors in glazing are to
use plenty of alcohol in the collodion, and plenty of water ;
and, at the same time, the smallest workable quantity of
glaze, making more burns of it, but doing less work at
each burn.
ENAMELLED INTAGLIOS.
A very beautiful application of photographic ceramics is the
production of enamelled intaglios in copper, bronze, gold, sil-
ver, etc.
The process is a combination of photo-chemigraphic and
photo-enamel methods. The metal plate is first covered with
one of the sensitive mixtures as described in the Chapter on
Photo-chemigraphy. It is then dried, exposed under an or-
dinary intense positive, developed and etched. The lines of
the plate are then filled with an enamel powder, which is burned
in as in enamelling.
PHOTOGRAPHIC PRINTING METHODS.
For all the details relating to the production of the engraved
plate the reader is referred to the Chapter on Photo-mechan-
ical printing methods.
For a black enamel the following mixture is recommended :
Silver (powdered), r 38 parts.
Copper, - - 72 parts.
Lead, - 50 parts.
Borax, 36 parts.
Sulphur, 384 parts.
The sulphur is fused alone, the silver and copper together,
adding the lead when fusion is complete. The mixture is then
placed in the retort containing the fused sulphur, closing the
mouth of the retort tightly to avoid all danger of the mixture
taking fire. As soon as the substances are well incorporated
together, the borax is added, and the whole turned out into an
iron mortar and finely pulverized. The enamel is then washed
in water containing a little sal ammoniac, finishing up with
water in which a little gum has been dissolved. The powder
is applied with a wooden spatula to the well-cleaned plate.
Great care is to be taken to have the filling-in lines well filled
with the enamel. When all the lines are filled, all excess of
powder is removed, and the plate placed in the muffle and fired
as usual. When the fusion is finished the plate is removed from
the muffle, cooled gradually, and polished with any good metal
polisher.
As the beauty of these enamelled intaglios depends upon
harmonious contrast between the enamelled lines and the sur-
face of the plate, enamel powders of different colors must be
employed to secure the best results, using for this purpose amy
of the powders given in the Chapter on Photo-ceramics. This
process is capable of producing beautiful results, and being
simpler than the process of producing surface enamels, the be-
ginner is advised to commence with this simpler process before
passing on to the more complex operations of enamelling.
190 PHOTOGRAPHIC PRINTING- METHODS.
CHAPTEE XV.
PHOTO-MECHANICAL PRINTING METHODS.
THE term Photo-chemigraphic is used to designate a large
class of methods in which photography is used to assist in the
production of engraved or relief plates for printing from. All
these processes may be described in general terms as consisting
in the coating of a wood block or metal plate with a solution
of asphalt or bichromatised gelatine, exposing the plate so pre-
pared under a positive or negative ; developing the image by
immersion in hot water to dissolve all the unaltered asphalt or
gelatine, and finally etching with some acid to produce the
relief or intaglio.
Detailed description of some of the best of the methods in
common use is given below.
THE METAL PLATES.
The metals most commonly employed in the various photo-
chemigraphic or photo-mechanical processes are steel, lead,
copper and zinc : the first three being most in use for the
production of engraved plates, while zinc is used indifferently
for both engraved and typographic plates.
As it would be impossible in a general treatise like the
present to discuss in detail all the manifold applications of
photography to the production of heliographic or typographic
plates, the author has selected two or three typical processes
of each type for detailed treatment.
The principle underlying the production of relief blocks or
engraved plates is the same in either case, viz.: the insolubility
of gelatine when treated with a bichromate and exposed to
light. In the case of a relief block the parts to be etched, or
bitten in, are the parts between the lines ; hence those parts
must be protected from the action of light, as otherwise the
gelatine film covering them could not be dissolved in hot
water, and etching would therefore be impossible. For photo-
PHOTOGRAPHIC PRINTING METHODS. 191
reliefs therefore, an ordinary negative is employed. For photo-
intaglios, however, a reversed positive is required, since in
this case it is the lines that are to be etched ; they must there-
fore retain their solubility in order that the etching process
may be possible.
THE POSITIVES AND NEGATIVES.
As it is imperative that these should be of extreme opaque-
ness in those parts which are to protect the sensitive film from
the action of light, and as the customary process of development
rarely confers this quality, a method is given by which " black
and white" negatives or positives, as these intense printing
subjects are technically called, can be obtained. The method is
the modified ferrous-oxalate development as recommended by
J. O. Moerch in his valuable work on photo-chemigraphy, and
is applicable only to gelatine plates.
Herr Moerch adds to every eight ounces of the ordinary
ferrous-oxalate developer fifty drops of a solution of one part
of iodine and of iodide of potassium in 150 parts of water.
With this developer and proper exposure, gelatine plates of
a low degree of sensitiveness can be given all the opacity
needed, if a few drops of bromide be added as soon as the
image appears.
INTENSIFYING.
This should be resorted to only as a last resort. It would be
far better to make another negative more correctly exposed.
If, however, this is impracticable, Mr. John Carbutt's formula
is undoubtedly the best ; as follows :
1. Bichloride of mercury, 4 drams.
Chloride of ammonium, - - - 4 drams.
Water, - 20 ounces.
2. Chloride of ammonium, , - - -.1 ounce.
Water, - . . 20 ounces.
3. (a) Cyanide of potassium, - -, . - 2 drams.
Water, - " .. f 16 ounces.
(6) Nitrate of silver, 100 grains.
Water, - -, v " v 4 ounces.
Add (5) to (a) until a small amount of the precipitate re-
mains undissolved.
192 PHOTOGRAPHIC PRINTING METHODS.
The plate, after fixing, is most thoroughly washed and im-
mersed in No. 1 until it is perfectly white ; it is then well
washed and immersed in JSTo. 2 for a few minutes ; after wash-
ing well, the plate is flooded with No. 3, when it turns in-
tensely black. The plate is to be thoroughly washed after
this treatment. By the above method it is easily possible to
make negatives or positives suitable for line or stipple work
on slow gelatine plates.
If, however, the operator prefers collodion plates, the form-
ulas given in the Chapter on Photo-enamels will give the best
plates.
THE METAL PLATE.
For the sake of brevity and conciseness, zinc has been se-
lected as the metal to be treated of in the following pages.
The operations are the same for copper, steel, bronze or lead,
differing only in the acids used for etching.
The plates are carefully planished and polished with pumice
stone. They are then ready for coating with the sensitive
substance, but better results will be obtained if they are first
given a coating of resin, as recommended by Mr. Roux in his
book on heliographic methods (Traite Pratique de Gravure
Heliographique), as follows : A box is constructed of a size
proportioned to the size of the plates to be treated ; its height
should not be less than twenty inches. At the top and bottom
of one side hinged doors are cut about four inches from each
end. Screws are then placed on the inside of each end to
hold the plate. The box is mounted on tre'ssels in such a man-
ner as to allow it to be easily rotated.
Half a pound of finely powdered resin is placed in the bot-
tom of the box, the door closed, and the apparatus given two
or three rotations. After two or three minutes' rest the zinc
plate is placed on the the screw-heads. In a short time it will
be covered with an even deposit of the resin ; it is then taken
from the box, placed on a wire toasting iron, and heated until
the resin assumes the appearance of amber. It is then re-
moved and dried. The heating must not be carried too far,
lest the resin be converted into a varnish which would make
etching impossible.
When dry the plate is ready for coating.
PHOTOGRAPHIC PRINTING METHODS. 193
SENSITIZING MIXTURES.
The following solutions may be taken as types of the various
mixtures in common use :
1. Dry albumen from eggs, - 15 to 20 parts.
Water, 100 parts.
Bicarbonate of ammonia, - 2} parts.
The solution is allowed to settle, and then filtered and a few
drops of ammonia added.
2. Albumen of one egg.
Bichromate of potassium, - 30 grains.
Water, 6 ounces.
The bichromate is to be finely powdered and then dissolved
in the water, and the solution added .to the albumen beaten to
a froth. After settling, the solution is filtered.
3. Gelatine (hard), - 231 grains.
Gelatine (soft), - 231 grains.
Bichromate of potassium, 462 grains.
Bichromate of ammonium, - - 308 grains.
Water, - 9^ ounces.
The gelatine is first swelled in a portion of the water, and
then dissolved by gentle heat in the remainder of the water
containing the salts. Filter.
COATING THE PLATE.
The plate is levelled, the mixture poured on and evenly dis-
tributed by means of a triangular piece of soft paper. When
evenly coated, the surplus is drained off into a reserve bottle
to be filtered before using again. The coated plate is dried at
120 deg. Fahr. in the drying-box described in the chapter on
Enamels,
If the operator is in possession of a turning table having a
pneumatic holder in the center, the plate may be dried very
quickly by placing it on the table, previously moistening the
rubber ring of the holder, inverting the table, and rotating it
rapidly. Another way of coating and drying is to immerse
the polished plate in water and flow the solution over it while
wet, draining off the surplus, and drying the plate by holding
it at an angle over a lamp, avoiding over-heating.
All these operations should be performed in a subdued light.
194 PHOTOGRAPHIC PRINTING METHODS.
THE EXPOSURE.
The exposure varies in length according to the density of
the printing medium and the intensity of the light. Generally
from three to five minutes in full sunlight and from fifteen to
twenty in diffused light will be sufficient. Experience is the
only guide.
DEVELOPMENT.
This is effected in water to which has been added sufficient
of some aniline dye to give it a decided tinge. This enables
the progress of the development to be more readily observed.
As soon as the details are well out, the plate is dried sponta-
neously, or with gentle heat. It is then ready for etching.
CLAUSNITZER'S METHOD OF DEVELOPING.
The exposed plate, coated with solution No. 2, is inked up
with a fine-grained lithographic roller, using thick transfer ink.
It is then placed in a tray of cold water and the ink washed
away from the non-exposed parts with a well- wet dabber of
cotton. This is to be done with a gentle circular motion, be-
ginning at one corner of the plate and working towards the
center ; care must be taken to avoid washing away fine lines
and marks. If the plate was over-exposed, the ink will stick ;
if under exposed, the finer portions of the work will be washed
away. When all the superfluous ink is removed, the plate is
washed in water, and dried with gentle heat. When it has
cooled down, finely-powdered resin is dusted over it and well
rubbed in, all excess being removed. The plate is then warmed
until the resin begins to melt ; it is then etched, dried, rolled
up, washed, resinized, and again etched. These operations are
repeated until the necessary relief has been obtained. This
process gives a lithographic block.
THE ETCHING.
The biting-in is done by means of a dilute solution of an
acid. The following are recommended :
1. For Zinc Plates.
Perchloride of iron (well dried), 50 grains.
Alcohol (Atwood's), - - - - 100 grains.
PHOTOGRAPHIC FEINTING METHODS. 195
2. Perchloride of iron, 1 dram.
Water, - 40 drams.
Hydrochloric acid, - 30 drops.
3. Nitric acid, - - . - }. ounce.
Water, - 10 ounces.
-t. For Copper, Bronze, and Steel.
Perchloride of iron, - 1 dram.
Water, 35 drams.
Hydrochloric acid, - - 20 drops.
5. For Aluminium.
Hydrochloric acid, 1 ounce.
Water, - 5 to 10 ounces.
6. For Gold and Platinum.
Aqua regia.
7. For Silver.
Nitric acid, - 1 ounce.
Water, - - 10 to 30 ounces.
8. For Stone and Marble.
Hydrochloric acid more or less diluted with water.
$. Glass.
Fluorhydric acid (liquid) for transparent lines on a mat sur-
face, and fluorhydric acid gas for mat lines on a trans-
parent surface.
Ill all these formulas the proportions of the acid may be in-
creased or diminished at will, but a weak solution will usually
be found to give the best results.
Before etching, the edges and backs of the plates should be
covered with a varnish of bitumen of Judaea to protect it from
the action of the etching fluid.
The duration of the etching depends entirely on the depth
desired. For engraved work the etching need not be very
deep. From one-quarter to one-half an hour will be sufficient.
When the etching is completed the plate is well washed,
rubbed with a cloth to remove all traces of albumen or gela-
tine, and polished with pumice stone. It is then ready for the
press, unless it is desired to harden it in the galvanic battery,
as will be presently described.
196 PHOTOGRAPHIC PRINTING METHODS.
During the etching it is always well to keep the solution in
constant motion in order to renew the portion which touches
the plate. This may be done by locking the tray.
The process of etching reliefs is more difficult than with en-
graved plates. In the former case the biting-in must be
deeper, and to avoid the undermining of the relief lines by the
acid it is necessary now and then to remove the plate, rinse,
and dry it with heat, apply resin, and again warm to melt the
resin that it may flow down the sides of the relief lines, and
continue the etching. This process is to be repeated till suffi-
cient depth is obtained.
HARDENING THE PLATE.
When a large number of impressions are to be taken from
the plate, it is necessary to protect it from wear by giving it a
coating of some more resisting metal, such as iron or steel.
M. Roux recommends the following method : The well-
cleaned plate is attached to the negative pole of a Bunsen pile
of five or six elements, and placed in a copper dish containing
the following solution :
Chloride of ammonium. - ... 8 ounces.
Water, - ... 40 ounces.
Two plates of sheet iron of equal size are then attached to
the two wires of a pile, which enter the solution. Several
days are required to complete the operation. The plate, when
well coated, is rinsed in water, polished with rouge, and wiped
dry with a wad of tine linen slightly oiled.
All the above methods can be employed for the production
of engraved or relief plates, as reversed positives or ordinary
negatives are used to give the impression.
The process of printing from these blocks lies outside thp
province of this book to describe.
COLLOTYPE.
This name is given to a process of mechanical printing from
glass plates coated with a thin film of bichromated gelatine.
Full working details of the process as practiced in one of the
largest establishments. in Vienna are here given. The glass for
the machine press should be patent plate one half an inch
PHOTOGEAPHIC PRINTING METHODS. 197
thick ; for the hand press, it need be no thicker than ordinary
glass.
Preliminary Coating. The glass is thoroughly cleaned
and coated with the following :
Soluble glass, * 3 parts.
Albumen, - - - - 7 parts.
Water, - - 9 to 10 parts.
The soluble glass must be free from caustic potash. The
mixture is to be carefully filtered and used fresh. Apply an
even coat, drain off the superfluous liquid, and dry. When
dried, rinse the plate in water and dry again. It is now ready
for the next stage of the process.
The Sensitive Film.
Bichromate of potash, - 1 part.
Gelatine, - 3 parts.
Water, - 18 parts.
The plate is warmed slightly on a slate slab, placed in con-
tact with the surface of a water bath, and flooded with the
above solution, leaving just enough to make a very thin film.
As soon as coated, the plate is placed on the levelled shelf of
a drying box and dried at a temperature of 122 deg. Fahr.
The time of drying must not exceed three hours.
Exposure. The time required for exposure is short, and
can only be measured by the actinometer. Experience is the
only guide.
When the printing is done the plate is washed in cold water
for an hour to remove the soluble bichromate. If upon
removal from the washing water the plate has a decided yellow
tinge it will take up too much ink when rolled, and fail to give
clear impressions. When washed and dried the plate should
have the appearance of ground and polished glass, the high-
lights being almost transparent and the shadows opalescent.
Etching the Plate. This is only necessary when the print-
ing is done on the steam press. The following is the etching
fluid:
Glycerine, ..... 500 parts.
Chloride of sodium, ... 15 parts.
Water, - . . . . - 500 parts.
198 PHOTOGRAPHIC! PRINTING METHODS.
The plate is immersed in this fluid for half an hour, during
which time the image gains in relief. It is then dried without
washing and is ready for printing from. Inking and printing
can be learned only from practice, and this cannot be taught in
books. It is best learned at the press.
When the printing is done on the small hand lithographic
press, the plate requires no etching ; merely moistening with
glycerine and water is all that is needed to prepare the image
for the ink.
Inking. The best results are obtained by rolling once with
thick ink, followed by an application of a thin ink. The plate
is laid upon a bed of plate-glass ; a moist sponge is passed over
the surface ; it is then rolled two or three times with a soft
roller, covered with wash-leather ; then a roller of glue, charged
with lithographic ink is applied, and then another charged with
thin ink. The paper to be printed is laid down on the plate
and the impression taken off.
MR. BJLEY'S METHOD FOR AMATEURS.
The Substratum.
Ale, * 1 ounce.
Silicate of soda, - 8 drops.
Place in a bottle and shake well ; allow the mixture to settle
for twenty minutes, then filter. The plate, thoroughly clean,
is given a coating of this substratum and stood on end to dry.
When dry another coating is applied in the same manner,
and the plate stood on the opposite end to dry.
The Sensitive Film. Soak 44 grains of soft gelatine one
quarter of an hour in sufficient water to cover ; then dissolve
in a water bath. Then pour upon it the following solution,
hot, but not boiling :
Water, - 4 drams.
Bichromate of ammonia, - 6 grains.
Mix well and filter.
Flow the prepared plate with this mixture, using one-half
an ounce for a 5 x 8 plate, and place on a levelled slab in the
drying-box. It should dry in two hours.
Expose under an ordinary negative for an hour, then wash
PHOTOGRAPHIC PRINTING METHODS. 199
in cold water for one and a half hour, and dry in the open air.
When dry, damp with a weak solution of glycerine and water,
ink as described above, and take off impression at once.
Drying-Box. The box is 20 inches high and 12 inches
square. Two ledges carrying two thumb-screws each are
placed about six inches from the top. A glass slab covered
with two or three sheets of blotting paper rests on the ends of
the screws, and is to be carefully levelled before the plate is
put in. A piece of iron 6x4x3 inches, heated in the fire,
rests on angle irons about 6 inches below the glass slab.
Ventilation holes are bored at the top and bottom of the box.
The heat should not exceed 120 deg. Fahr., and should be
kept as near that point as possible.
METHODS OF GRAINING TYPOGRAPHIC PLATES.
The word " grain " is technically used to express the ink-hold-
ing power of the printing block or plate. In the case of a
subject in line it is only necessary to produce incised lines or
grooves below the surface of the metal. But this method will
be found insufficient where there are shadows or half-shadows.
The ink will be wiped away from these unless means are taken
to prevent it. The lines must be broken up into dots or dashes
in order to give a block which can be printed from.
Many ingenious methods of producing this result have been
devised. Of these, three of the most valuable have been se-
lected for description.
The Ives' Method. This consists in obtaining a positive on
a bichromated gelatine film, which is swelled until the light
parts of the picture stand out in bold relief. A plaster mould
or cast is made from this. The cast is then inked in the follow-
ing manner: The elastic composition of glue and molasses
used in inking-rollers, is made in flat sheets, furrowed by V-
shaped depressions, crossed by others not quite so deep. This
gives an inking surface made up of a series of tiny pyramids,
standing close together, and the ink is applied in such a way as
to ink both the tops and sides of the pyramids and the inter-
vening depressions or ditches. The inking surface so prepared
is pressed upon the white plaster cast, and when it is removed,
a reproduction of the original picture is seen, only in little
200 PHOTOGRAPHIC FEINTING METHODS.
blocks instead of in continuous tone. This is photographed,
and from the picture in line or point thus produced a relief
plate is produced by any of the usual methods.
The Meisenbach Method. In this process the original pic-
ture is photographed through a grating made by coating glass
with an opaque film, through which transparent lines are
closely cut and crossing each other. This grating is placed
a short distance in front of the picture, and it produces the curi-
ous effect of transforming the darker portions of the picture
into thicker lines. The relief plate is made from this line
effect.
The Photo-lithographic and Photo-gravure Methods. In
photo-lithographic work the grain is produced by transferring
the image in ink as described above to a grained lithographic
stone.
In the photo-gravure process the grain is produced by sprink-
ling emery powder on the mould which gives the granulated
surface seen in all photo-gravures.
The same effect is sometimes produced by dusting the nega-
tive before printing with emery or gelatine powder.
THE ART OF MAKING PHOTO-GRAVURES.
At a recent meeting of the Photographic Section of the
American Institute, Mr. Ernest Edwards, President of the
Photo-gravure Company, read a highly interesting paper on
" The Art of making Photo-gravures," which was listened to
with the closest attention by all present. To illustrate the
grain and line work of the different photo-mechanical print-
ing processes, he projected them upon the screen with the
sciopticon. At the conclusion of his lecture, Mr. Edwards'
head printer, Mr. Solrnan, who was in attendance with his
presses, made some prints from various plates, and Mr. Ed-
wards presented each of his auditors with a souvenir illustra-
tive of this important branch of photography. The follow-
ing are extracts from Mr. Edwards's article as published in the
Photographic Times :
" If I may venture the prediction, I think the history of
photography for the next decade will be the history of ortho-
chromatic work. Surely, next to the production of the colors
PHOTOGRAPHIC PRINTING METHODS. 201
themselves, there is nothing to be desired so much as the ren-
dering of the true values of these colors. I place the ortho-
chromatic or isochromatic negative as the highest point yet
attained in negative-making, and as constituting the outcome
to-day of that germ that was brought into being nearly a hun-
dred years ago.
***** *
" Kow let us consider for the moment what are the conditions
necessary to be secured in a metal plate made by photography
and suitable for plate-printing. In the case of a subject in
line only, an incised line or groove must be made below the
surface of the surrounding metal. The ink is dabbed or rolled
into such lines, and the surface of the plate cleaned with cloths
and the ball of the hand, leaving the ink only in the incised
lines. This ink is transferred to paper by pressure, and be-
comes the impression. This is all well enough in the case of
lines, but it is clear it will not be sufficient where there are
masses of shadow or half-shadow. The cloth, or the hand, will
wipe away the ink from these masses of shadow, unless some-
thing is done to prevent it. Of course, in line-engraving a
series of lines may be made which forms a shadow, each of
which series has an ink-holding capacity, and, out of which,
the ink cannot be wiped. The closer these lines are together
and the deeper they are, the stronger is the shadow produced,
because the smaller is the amount of surface to be wiped clean.
Again, to go a step further, a series of lines may be incised or
engraved on a plate, and at right angles to these a similar series.
In this way, assuming that the incised lines are Y-shaped, noth-
ing will be left of the surface of the plate but a series of
points, each of which is the apex of a pyramid and each of
which prevents the cloth or the hand from wiping the ink out
of that portion of the plate surrounding it. This is the essen-
tial cardinal feature of a plate for plate-printing, and this is
the essential cardinal feature which must be obtained in any
photographically-produced plate of a similar kind. Whether
formed in the way I have described, or whether the plate, is
honeycombed with a series of cells, of which the walls reach
to vthe surface of the plate, there must be an ink-holding
capacity to the plate, which must not, therefore, simply be a
202 PHOTOGRAPHIC FEINTING METHODS.
a plate in relief and depression. If that only were needed, ifc
would be easy enough to make, by means of gelatine and
bichromate, a picture or matrix in relief and depression from
any photographic negative, and deposit copper on it till thick
enough to print from. But such a plate could have no value,
as it would have no ink-holding capacity, and, therefore, all
the ink would be wiped out of it in the process of cleaning.
Some device must be obtained by which this ink-holding
capacity, or grain, as it is commonly called, shall be given to
the plate. The solution of this problem has been sought by
an army of experimentalists, and numberless ingenious devices
have been utilized in order to solve it. It may be broadly
stated that the production of a grain which shall be effective
for the purpose and yet shall not be apparent in the finished
picture, is the keystone of all methods or processes for mak-
ing successful photo-gravure plates.
* * # # * * *
"You see we have here the aquatint device for graining, the
keystone of success for his process, though possibly not under-
stood to be so by him. Mr. Talbot then goes on to describe
minutely the methods and the preparation of the chemicals-
used for etching, and I can say that his descriptor , given
nearly forty years ago, will serve as a text-book for the etcher
of to-day. Altogether his process is marvellously close to the
method of producing photo-gravure plates by etching as now
practiced.
"But of all these processes, with all the ingenious devices in-
vented in connection with them, two only remain in general
use to-day. One is the deposit, the other is the etching pro-
cess. I venture to predict that finally the etching process will
be master of the situation. Letting alone the greater facility
and economy of production it offers, the results produced by it
are equally good in the case of reproductions, and better in the
case of photographic work directly from nature or life. I have
stated that the etching process is the one used by our company,
and the results are before you. I am bold enough to say that
photo-gravure work in America to-day equals any in the world
in the matter of reproductions, and excels any in the world in
the matter of pure photographic work. I shall ask your
PHOTOGRAPHIC PRINTING METHODS.
patience a moment longer whilst I describe broadly our method
of producing a photo-gravure plate.
*******
" But I would like to say a word as to the advantages of pho-
to-gravure as a method of photo-mechanical printing. It is
not a cheap process. It cannot be printed with type. But
just as a steel or copper-plate print has qualities which are not
possessed by a wood-cut, a photo-gravure has qualities quali-
ties which go without saying, not possessed by any method of
typographic photo-engraving. What is known as the photo-
gelatine process also produces results superior to the type
method. Sut, although photo-gelatine work has a quality of
its own, and is in some respects unexcelled, photo-gravure, in
other respects, has advantages over it. A photo-gravure can
be improved and altered as much as may be desired after the
plate is made till just the result needed is obtained, and when
obtained the printing ceases to be a source of anxiety, as the
edition printed should always be uniform. The plate is good
for subsequent editions which are exactly like the first
whenever desired, and they are made without the further
action of light. There is a strength and robustness, and the
blacks are more nearly velvet in a good photo-gravure plate
than in any other photographic method. And there is room
for far greater artistic development in photo-gravure than in
any other photographic method. 1 cannot forbear in this con-
nection from adverting to an unfortunate tendency that exists
among some manufacturers and some publishers to call photo-
gelatine work by the name of photo-gravure. What is the
sense of this ? Nothing in the world can beat the special qual-
ities of gelatine printing qualities which photo-gravures do
not possess. And nothing in the world can beat the special
qualities of photo-gravures qualities which photo-gelatine
prints do not possess. To my mind it is as much an outrage
on photo-gelatine as on photo-gravure work to reverse the
names. Yet the tendency is to do just this thing a serious
mistake that will become, if not checked, a serious misfortune.
Would there be any sense in calling a lithograph a steel-en-
graving ? It would be just about the same as calling a photo-
gelatine print a photo-gravure, and, though the result might
204: PHOTOGRAPHIC PRINTING METHODS.
benefit the producer for the moment, it would be otherwise
when the deception was discovered.
" In going through all the ancient, yet modern, history of the
development of photo-gravure, one can but ask that old, old
question, f What is there new under the sun ?'
" With the story before us of Fox-Talbot's process and the
process of Pretch, of Woodbury's process, and of aquatint
engraving, of steel-facing, and all the other tricks and turns,
what is there new in what we are doing to-day ? Nothing,
absolutely nothing. These men played the same play that we
are playing, knew the words and the cues just as well as we do,
only in one respect, one grand respect, is the situation changed.
They played to empty benches. We have an audience largely
in this vast new world an audience ready to applaud and to
support all those results and efforts which tend to raise photog-
raphy into art."
PHOTOGRAPHIC PRINTING METHODS. 205
CHAPTER XYI.
VARIOUS METHODS FOB PUTTING PICTURES ON BLOCKS AND METAL PLATE*
FOR THE USE OF THE ENGRAYER.
ALTHOUGH photo-mechanical methods have made great
advances within the last few years, the results obtained by
them remain still vastly inferior to those obtained by the older
method of hand engraving. No photo-chemigraphic method
has yet been made public which will give a good rendering to
subjects in half-tone. There are several secret processes which
give good results, but doubtless much of their excellence is-
due to skillful touching up of the plate with the graver.
A plate produced by any of the photo-mechanical meth-
ods is necessarily lacking in that subtle interpretation of nature
in various moods, which gives charm and value to a good im-
pression from a hand-made block.
While photo-engraving methods will probably always be de-
ficient in this all-important quality, photography itself can ren-
der great assistance in transferring to the block or metal plate
accurately reduced or enlarged copies of any subject, leaving
the artist free to interpret the subject in his own fashion.
The methods given below are those which have been ap-
proved by practical operators; they may, therefore, be em-
ployed with perfect confidence. They all belong to that clas&
of methods to which the name autographic has been given.
Good Rives paper sized with gelatine is floated for three
minutes on the following solution, taking great care to remove
all air bubbles, as these will produce white spots in the devel-
oped print :
Water, - 34 ounces.
Gelatine, - '-. ' - - 4f ounces.
Isinglass, * - - - 1 ounce.
Bichromate of potassium, - 231 grains.
After floating, the paper is carefully removed from the bath
and dried on a slightly inclined piece of wood or glass. The
floating and drying must be done by yellow light.
206 PHOTOGRAPHIC PRINTING METHODS.
As soon as the paper is dry it is exposed under a negative or
a positive, the former for proofs in black on a white ground ;
the latter for prints in white on a black ground.
The time of exposure varies from two to ten minutes, ac-
cording to the density of the negative and tie strength of the
light.
After exposure the print is soaked in cold water until all
yellowness has disappeared ; it is then placed on a piece of
glass, and inked with a soft roller charged with lithographic
transfer ink.
"When all the details are well out, the image is copied on
wood, glass, or metal, in a lithographic press, the paper bear-
ing the image having been previously placed face down on the
block. After the impression is made on the block it is lightly
washed with a sponge dipped in acidulated water, and when
dry it is ready for the engraver.
THE ASPHALTUM METHOD.
The block or plate to be engraved is coated evenly with the
following solution :
Benzine, 17 ounces.
Asphaltum (oriental), - - 308 grains.
When the block is dry it is exposed under a negative or
positive twenty minutes in full sunlight, or one hour in dif-
fused light. The image is developed in turpentine, and when
fully developed the plate is washed under a tap and allowed to
dry spontaneously. It is then ready for engraving.
COPYING MAPS, FLANS, ETC., WITHOUT A CAMERA.
When tracings, maps, etc., are to be copied on the same
scale, the method introduced by M. Yidal in 1883 can be used
to advantage. The engraving or other object to be copied is
immersed for twenty minutes in the following bath :
Distilled water, - - 34 ounces.
Caustic potash (pure), - 154 grains.
Alcohol, - - - 13 drams.
Acitate of soda, - - 771 grains.
After immersion the paper is carefully withdrawn from the
bath and placed on a piece of glass covered with a coating of
PHOTOGRAPHIC PRINTING METHODS. 207
plaster-paris about one-eighth of an inch in thickness. As
soon as the surface moisture has evaporated, turpentine in suf-
ficient quantity to form a thin layer is rapidly poured over the
paper and allowed to dry partially. The picture is then inked
with a velvet roller charged with lithographic ink. The ink-
ing is to be continued until all the lines appear black by
reflected light. The print is then allowed to dry for fifteen
minutes, when it is ready for the impression on the block in
the press as described above. The impressed block can be
engraved as usual.
A very easy method of preparing metal plates for the
engraver is to flow iodized collodion over them and expose
them in the camera in the ordinary wet plate holder.
The Collodion.
Alcohol - - - - - - 16 ounces.
Ether, ..... 16 ounces.
Iodide of ammonium, , * - 62 grains,
Iodide of cadmium, 46 grains.
Bromide of cadmium, * - " . . 15 grains.
Azotic cotton, - - 123 grains.
The cotton, the iodides, and the bromide are first dissolved
in the alcohol and the ether added when solution is complete.
The collodion must be at least one day old before it is used,
and should be decanted just before the plates are flowed.
Preparing the Metal Plates.
Before collodionizing, the plates should be varnished with a
black engraving varnish, such as the following :
Virgin wax, ..... 15% drams.
Amber, - - - - - - 15% drams.
Mastic, ..- - 15% drams.
Resin, - j* , ,*- .- 7% drams.
Black pitch, - 7% drams.
Turpentine, - - 3^ drams.
When the varnish is dry the collodion is flowed over the
metal plate just as a glass plate is flowed. Exposure in the
camera follows, and development is effected by pouring over
the surface of the plate a sufficient quantity of the following
solution :
208 PHOTOGEAPHIC PRINTING- METHODS.
Water, - 34 ounces.
Sulphate of iron, - 617 grains.
Acetic acid, - - 7^ drams.
Alcohol, - 7 T 7 7 drams.
Sulphuric acid, - IY^ drams.
The developer is allowed to act until all the details are well
out. The plate is then washed and fixed by flowing over it
sufficient of the following bath :
Water, - 34 ounces.
Cyanide of potassium, - - 462 grains.
The plate is ready for the engraver as soon as it is washed
and dried.
The author finds that the gelatine emulsion given in a pre-
vious chapter for bromide of silver paper is well adapted for
this process, applying a very thin film to the plate.
PHOTOGRAPHING ON WOOD. FREWING'S METHOD.
Preliminary Preparation of the Block.
The block is first coated with the following :
Gelatine, ------ 2 drams.
White soap, - 2 drams.
Watei, - 16 ounces.
The gelatine is to be soaked for some hours, and then dis-
solved in a water bath. The soap is added in thin shavings,
and the mixture well stirred with a glass rod ; after which
powdered alum is added until the frothiness disappears. The
solution is then strained through muslin. Coat the face of
the block with this mixture and a little zinc white, giving it a
very thin coating. Rub it in well and evenly, and set aside to
dry.
When dry the block is again coated with the following mix-
ture, using a wide camel' s-hair brush, and applying the solu-
tion with one sweep of the brush from end to end :
Albumen, - 1 ounce.
Water, - 5 drams.
Sal ammoniac, - - 18 grains.
Citric acid, 5 grains.
Beat the albumen to a froth, and allow it to settle ; use only
the clear part. Then add the sal ammoniac, stirring well with
PHOTOGRAPHIC PELNTING METHODS. 209
a glass rod, and finally the citric acid. Coat the block, and
when dry sensitize with the following solution :
Nitrate of silver, - - 50 grains.
Water, distilled, - 1 ounce.
Pour a small quantity on the block, and spread it evenly
with a glass rod, any surplus being preserved for use again
after filtering. When dry, print under a reversed negative.
Over-printing is not necessary, as the print does not lose in
finishing. After printing, hold the block, face down, in a
strong chloride of sodium solution for three minutes. The
picture will fade slightly in this bath, but as the fixing-bath
will bring back all the detail, this is of no consequence.
Wash the block well under a spray of water, and fix by
holding face down in a saturated solution of hypo for five
minutes. Then wash for ten minutes under a spray, and set
on end to dry. The block is then ready for the engraver.
The image may be toned by any of the usual methods.
IVES' METHOD.
Whiten the block by putting on two or three drops of thick
salted albumen ; then sprinkling on a little pure white lead,
,and spreading and mixing them with the ball of the hand until
the coating is thin, smooth, and even. Set the block on end
to dry. Then polish with a brush, and sensitize by covering
the surface for two minutes with a sixty-grain solution of silver
nitrate. Rub off with a blotter, and again set on end to dry.
Then fume twenty minutes with ammonia, and expose under
a reversed negative. When sufficiently printed, wash thirty
seconds in running water, and tone and fix in a 1 to 6 hypo-
sulphite of soda solution, to which has been added a pinch of
carbonate of soda and a little chloride of gold. The block
should be kept face down in this solution for twenty minutes,
and then well washed and set on end to dry. It is then ready
for the engraver.
There seems to be little choice between these two methods,
both being equally simple, and both leaving the block in good
condition for the graver's tool.
210 PHOTOGRAPHIC PRINTING METHODS.
CHAPTEK XVII.
RECOVERY OF SILYER FROM PHOTOGRAPHIC WASTES, PREPARATION OF SIL-
YER NITRATE, Etc.
THE photographic practitioner will do well to save his wastes
for treatment for the recovery of the silver and gold contained
in them. Only an exceedingly small portion of the silver and
gold used in the various operations appears in the finished
negative or print. The remainder is dissolved out in the fix-
ing bath, washing water, etc. These should therefore be
placed in a convenient vessel and treated with zinc to precipi-
tate the silver.
'No process of recovery is simpler or more effective than Dr.
Stolze's method with hypo and zinc.
The following description of the process is taken from the
Photographic Times:
" Chloride, iodide, and bromide of silver are the salts we
find in photographic wastes, either when in a pure state or
mixed with others, frequently soluble salts. One of the best
methods to reduce them metallically is to dissolve them first in
a saturated solution of hyposulphite of soda, diluted with one
or two volumes of water, and subject the solution to the fol-
lowing process :
" Silver haloids in substance require simply to be dissolved,
but when in emulsions, like residues in bottles, or failures in
preparing them, the emulsion should first be reduced to shreds
or nodules, and then thrown into the fixing bath till they have
become semi-transparent, when the solution is squeezed from
them, and the residue again subjected to the hypo bath. Very
old emulsion, the viscosity of which has been partly or totally
destroyed, must be solidified by slightly warming, and mixing
with it a sufficient quantity of a five per cent, solution of
chrome alum.
" When all the silver has been dissolved, narrow strips of
sheet zinc, previously cleaned with muriatic acid and well
PHOTOGRAPHIC PRINTING METHODS. 211
washed with water, are placed in the solution. There is no
absolute necessity of cleaning the zinc, still its pure metallic
surface, freed from cuticles of oxide, accelerates the reduction
of silver very considerably. When a number of zinc strips are
suspended on different parts of the vessel holding the solution,
a thorough reduction of the silver is effected in about forty-
eight hours, but sometimes it will take longer time. The con-
tents of the vessel should be stirred up frequently. A coarse
black deposit settles upon the bottom of the vessel and the
strips of zinc, from which it must be brushed occasionally, to
allow more of it to precipitate. The precipitate consists of
metallic silver, zinc, and some sulphide of silver, and before it
is subjected to further operations it must be well washed in
wa ter an easy matter on account of its coarseness and
gravity.
" Old fixing baths, accumulating in the photographer's labor-
atory, may be utilized for the dissolving of emulsion remnants or
haloids in substance, as long as they possess the power to do
so. When perfectly well saturated, a little fresh hyposulphite
solution may be added.
" The clear liquid, from which the precipitate has been re,-
moved, still contains traces of silver, which will be separated
by heating. This amount of silver is insignificant if the opera-
tion -has been conducted with care ; and if the zinc has re-
mained in contact with the solution for about two days, it it so
small that it can scarcely be detected by reagents.
" The washed precipitate can then be dissolved in nitric acid,
diluted with half its volume of water. The substance is not
dissolved totally, and a black residue remains, consisting partly
of impurities of the zinc, of chloride of silver (the consequence
of impure nitric acid), or of gold, and should, therefore, be
treated separately with aqua regia for its recovery.
" The filtered solution of impure and acid nitrate of silver
is then precipitated with a strong solution of common washing
soda, as long as carbonate of silver is forming. An excess of
soda is not important.
" By repeated decantation and changes of distilled water,
the precipitate is washed to perfection and then dissolved in
^chemically pure nitric acid. To avoid an excess of acid in the
212 PHOTOGRAPHIC FEINTING METHODS.
solution, great care must be observed ; some of the carbonate
of silver remaining undissolved is a guard against undue acid-
ity. A more convenient plan would be to divide the precipi-
tate, acid being added to four-fifths of it, till all effervescence
has ceased. A decidedly acid solution will be the result, which
may be neutralized by adding gradually small portions of the
fifth part of the precipitate of carbonate of silver. By care-
fully adding diluted nitric acid, when necessary, and carbonate
again, an absolutely neutral solution can be obtained, which
consists of chemically pure nitrate of silver.
" By reducing the product to about ten per cent, and a slight
acidulation, it can be used as a negative bath, or as a positive
printing solution, by giving it alkalinity with carbonate of
soda.
" To evaporate the result to crystallization, or to fuse the
nitrate of silver obtained, is useless ; neither of the operations
can improve it, and would incur only a waste of time and
labor.
"A great part of the silver waste, not soluble in hyposul-
phite of soda, comes from paper. Unfixed prints when not
toned, had better be fixed, and the remnant be refused. The
exceedingly small quantity of reduced silver, contained in them
pays neither the cost of incineration nor refining. It is differ-
ent with toned pictures, where gold and silver combined may
still give returns sufficient to exceed the cost of labor and
time.
" The main condition in doing this is to incinerate the paper,
which is quite a difficult piece of work. If the draft of the
furnace is not strong enough, the combustion of the paper is
not thorough, and large masses of carbon remain, which make
the reduction of the metal a difficult operation; and if too
strong, a great part of the paper will go up the chimney. A
better method is to soak all the paper in a concentrated solution
of saltpeter at a temperature of 100 deg. Fahr. The well-impreg-
nated paper burns well, after being dried ; it needs no draft,
and it can be consumed in an open vessel, where it burns with-
out flame, glimmering away into ashes. Macerating the ashes
in a five per cent, solution of sulphuric acid will dissolve the
greatest part of foreign salts, leaving a residue of pure metallic
PHOTOGRAPHIC PRINTING METHODS. 213
silver, soluble in nitric acid. The presence of gold will be indi-
cated by a black powder, remaining after dissolution, which
can be worked up with nitro-muriatic acid. The acid silver
solution when treated with carbonate of soda, as described
above, will give the same results.
" The method given is evidently cheaper and more reliable
than the one generally resorted to fey photographers, that is,
by refining* 5 the ashes. If they contain much ashes a large
quantity of saltpeter must be added with the flux, and no mat-
ter how high the temperature of melting will be, some silver
remains unreduced. Another part of it remains suspended
in the flux, and sinks into the mass of the crucible. In large
refineries, flux and crucibles are crushed, roasted and worked
over again. To the photographer the other method is without
doubt more profitable, as with it but a trifling loss of the prec-
ious metal can occur.
"To regain silver from the washings of albumen prints,
most photographers use salt as a precipitant. This is quite
correct so long ^s an excess of salt is avoided. Chloride of
silver being soluble in chloride of sodium it happens invariably
with careless operators that a part of the valuable and redis-
solved silver precipitate is thrown away. Hydrochloric acid
is preferable, for with it the danger of too much salt is out of
the question. Still better is the precipitation with carbonate
of soda, and a repetition of the process as described.
"When the photographic papers have been salted with
chloride of ammonium instead of with chloride of sodium, the
nitrate of ammonia formed during the silvering of the paper
partly prevents the formation of carbonate of silver. In such
cases the supernatant clear liquid should be again tested for
silver, and eventually be reprecipitated.
"Remnants of emulsions can be liquified by hydrochloric
or sulphuric acid, from which, after proper dilution, the silver
bromide will precipitate, in which state it may be dissolved in
hypo at once.
" With all these methods, time and attention must be given
to the work ; precipitations must be perfect, the clear waters
being removed carefully, and the deposits washed thoroughly.
In comparison with the older modes of working, those which
214 PHOTOGRAPHIC PRINTING METHODS.
I have here described will be found to be far more reliable and
economical."
PLATINUM RESIDUES.
Old developing solutions and acid baths containing platinum
are placed in any convenient receptacle. Strips of sheet zinc
are then suspended in the liquid. After three or four days a
black precipitate containing platinum will deposit? on the bot-
tom of the vessel. When a sufficient quantity of the precipi-
tate has deposited, the liquid is poured off, the precipitate
dried and sent to the refiner.
PREPARATION OF SILVER NITRATE.
Dissolve an old-fashioned silver dollar in nitric acid with
gentle heat, and evaporate until crystals are formed. Wash
the crystals on filter paper with dilute nitric acid, redissolve
in water, and again evaporate to dryness. The resulting crys-
tals may be used for the sensitizing bath. If adulteration with
copper be suspected, the aqueous solution must bs treated with
silver oxide before evaporation.
The silver oxide is added in small quantities, until the blue
or greenish color, due to the presence of copper, disappears.
The copper will precipitate as a black powder, carrying with it
all excess of silver oxide. To test the completeness of the
substitution of silver for copper, place two or three drops of
the solution in a glass measure, add a dram of water, and then
add ammonia drop by drop until the resulting precipitate is
redissolved. If no blue color is apparent the substitution is
complete ; if not, more silver oxide must be added.
When the substitution of silver for copper is completed, the
solution is decanted and filtered. It is then tested with the
hydrometer and distilled water added, if necessary, to give the
proper strength.
PREPARATION OF GOLD CHLORIDE.
Bend a quarter-eagle gold piece, and place it in a wide-
mouthed bottle ; then mix one dram of nitric acid with five
drams of hydrochloric acid, and add about three drams of this
mixture to the gold in the flask. Place the flask in the sun
PHOTOGRAPHIC PRINTING METHODS. 215
until the gold is nearly all dissolved, occasionally shaking it.
Then pour the clear liquid into a fifteen-ounce bottle, add a
little more of the mixed acids to the gold, and when the latter
is dissolved, pour the clear liquid into the fifteen-ounce bottle,
adding to the liquid remaining in the flask eight or ten ounces
of water. Shake well, and allow the white deposit, chloride of
gold, to settle.
While this is taking place, add gradually to the contents of
the fifteen-ounce bottle small lumps of common whiting, until
effervescence ceases, an indication that all the acid has been
neutralized. Now add the water in the flask, and make up to
fifteen ounces. This will give a slightly acid solution which
will keep indefinitely if kept in darkness.
The solution contains one grain of gold to each dram of
water.
ENCAUSTIC PASTE. (Dr. Eder's?)
White wax, 28 drams.
Gum dammar varnish, - 1 dram.
Rectified essence of turpentine, 28 drams.
This paste is to be kept in a well-stoppered bottle and thinned
with turpentine whenever it thickens.
To use, apply it to the mounted print with a flannel and pol-
ish with a dry flannel. The paste gives a fine gloss and adds
very much to the brilliancy of the prints.
ENAMELLING ALBUMEN PRINTS.
Patent plates of the required size are thoroughly cleaned,
polished with finely powdered French chalk, and coated with
plain collodion containing 1 to 1 percent, of azotic gun cotton
and a little castor oil.
The following formula will answer :
Azotic gun cotton, - - 120 grains.
Methylated alcohol, - 10 ounces.
Methylated ether sulph., - - 10 ounces.
Castor oil, - . - - 20 drops.
These plates will keep indefinitely, and may be made 'in
quantity, and stored in dust-proof boxes in a dry place.
216 PHOTOGRAPHIC PRINTING METHODS.
"When ready to enamel the prints, a sufficient number of plates
are washed in water until all greasiness disappears. One of the
washed plates is placed collodion-side uppermost, in a dish filled
with cold water. The print, previously soaked in cold water
is placed face down upon the plate, the print and plate are
then raised from the water, raising one end first. They are
then placed between blotters, and all excess of moisture re-
moved with the squeegee. Print and glass are now set aside to
dry. When dry the print will leave the glass.
APPENDIX.
THE EEY. W. H. BUKBANK.
The author of " Photographic Printing Methods," "The
Photographic Negative," and other valuable contributions to
photographic literature, was born in the city of Lowell, Mass.,
October 18th, 1853.
In 1858 his parents removed to Vermont, and he, of course,
went with them. Here the family resided until 1865, when
they all made another move, and this time westward. Young
Burbank lived successively in Indiana, Ohio and Kansas for
the next four years, in 1869 returning eastward with his
parents to Cambridge, Mass.
Here he prepared himself for college at the Boston Latin
and the Cambridge High Schools, entering Harvard University
in 1872, and graduating in 1876. During the last two years
of his University course much time was devoted to the study
of fine arts under Prof. Charles Eliot Norton, and the year
succeeding graduation was spent mostly in private study with
Prof. Norton. Then followed three years of study at the
Episcopal Theological School at Cambridge.
Mr. Burbank' s first ministerial work was in a mission in a
New Hampshire hamlet, under the shadow of the White
Mountains; and here it was that he became interested in
photography, his first camera being " a "Walker box." "With
this instrument he scoured the entire country-side for miles
surrounding his home, in search of the many picturesque views
that abound in this region, and soon became an expert
photographer.
About 1882 he removed to the banks of the Hudson, and,
with a larger camera, spent much time in field work. At
Newburgh-on-the-Hudson, Mr. Burbank commenced the close
218 APPENDIX.
study of photographic literature, which he has continued ever
since, and the result of which and the experimental work it
involved, was the production of the two contributions to the
literature of photography, which are now so well and widely
read.
" Photographic Printing Methods " appeared first in July
of 188T, because its need was the most apparent, there being
no work on that subject then in the American market. Its
companion, " The Photographic Negative," appeared later, in
February of '88, and proved itself scarcely less popular than
its predecessor. A second edition of the former work has been
in demand for many months, more than five hundred copies of
the book being sold within the first month after publication.
This was an unprecedented sale for a photographic book.
About this time Mr. Bur bank began to write for the Photo-
graphic Times, contributing monthly since then, his review of
" Pictures of the Month," and " Chips from an Amateur's
Workshop," besides frequent reviews of French and other
foreign photographic publications, as the result of his wide
and careful reading, and for which his knowledge of the
foreign languages so well fits him. He has also conducted a
department devoted to amateur photography in The Art
Amateur, since January 1st, 1889. And all this in addition
to his regular parish duties !
In the summer of 1887 he carried a Scovill Detective Cam-
era across the Atlantic, and did some photographic work on
British soil. On returning to America again, he began the
study of photo-engraving and photo-mechanical printing pro-
cesses, becoming familiar with their practical manipulations,
and since then writing considerably on this important depart-
ment of photographic work.
In the spring of 1888 he removed to Brunswick, Maine,
where he found a wide field for his camera. Mr. Burbank is
a devoted admirer of photography, and a close student of its
literature. " In ten years," he says, " I hope to know some-
thing abouFthe subject ;" and he continues his study and work
as if he intended to know all about the subject.
Mr. Burbank has done considerable in the making of emul-
sion; bromide, chloride, and other papers; and in "The
APPENDIX.
219
Photographic Times Annual for 1888," described a new cam-
era and tripod head, of which numbers have since been made.
He has also made a detective camera which is ingenious and
useful.
The portrait which embellishes this volume, as a frontis-
piece, is an excellent one, made by A. O. Reed, of Brunswick,
Maine ; and was reproduced from the negative, in Meisenbach,
by William Kurtz, of New York.
W. I. LINCOLN ADAMS.
INDEX.
A CTION of Light on Sensitive
*^^ Compounds 12
Ammonia-Nitrate of Silver Bath, The, 28
Floating the Paper on 28
Time of Floating 28
Asphaltum Method of Printing on
Blocks or Metals 207
Autographic Methods 205
Sensitizing 205
Exposure 205
Inking 205
Printing 206
T)LUE PRINTS 22
13 Collachi's Methods for Making. 22
Pizzeghilli's Method " ... 22
Poitivin's M " ... 23
Bromide Enlargements, Finishing on, 119
Crayon Finishing 120
Pastel " 121
Water Color and Indian Ink Fin-
ishing 121
Bromide of Silver Emulsion, Printing
with 66
Coating , 67
Other Methods of Coating 69
How to Use the Apparatus for
Coating 71
Exposure 73
Development 73
Eastman's Developer 73
Clearing Solution 73
Fixing Bath 74
The Use of Bromide as a Re-
strainer 74
Enamell ing ? 75
Another Method of Enamelling, 75
Flexible Prints 76
Straightening Unmounted Prints. 76
How to get Black Tones like
Platinum 76
Sepia Tones 76
Ferrous-Citro Oxalate Developer 77
Preserving the Ferrous Oxalate
Developer 77
Hints 77
Treating the Prints with Plati-
num 78
Bromide Prints for Photo-Mechanical
Engraving 79
/CARBON PRINTING 96
^ Negatives Suitable for 96
Reversed negatives for 97
Drying the Sensitized Tissue 97
Developing Trays 98-
Formulas for Single and Double
Transfers 98
Pigment Solutions 99
Printing 100
Development 100
Single Transfers 100
Double " 101
Printing from ordinary negatives
without transfers 102
Continuing Action of Light in. .. 103
Failures in 103
Collodio-Chloride Process, The 86
Coating the Paper 87
Toning 88
Collotype, The 196
Preliminary Coating 197
222
INDEX.
PAGE
The Sensitive Film 197
Exposure 197
Etching the Plate . . .* 197
Inking 197
Copying Cameras 119
Copying Maps, Plans, etc., Without a
Camera . . .206
"PREFECTS IN SILVER PRINTS,
^"^ How to Overcome. 39
Marbled and Streaking 39
Clear on the Surface, but Streaky
when examined by transmitted
light 39
Cold and Faded Appearance 40
Spots on surface 40
High-Lights, Yellow 40
Intense Bronzing of Shadows du-
ring Printing 40
Yellow Spots on Surface or Back 40
Mealiness. . . 40
Refusing to Tone 40
"P NLARGING 109
^~^ Negatives for 109
The Light for 109
The Apparatus for 109
An Ordinary Camera for 109
An Improvised Apparatus for. . . . Ill
The Eastman Apparatus for. . . . 112
An easily constructed Apparatus
for 114
Apparatus for Electric Light. . . . 115
With the Oil Lantern 116
Enlargments, Table for 118
On Opal Glass 121
On Canvas 122
By the Powder Process 122
On Canvas in the Solar Camera. 123
In the Solar Camera by Develop-
ment 124
Platinum in the Solar Camera. . . 125
From Enlarged Negatives 128
Carbon 128
By the Collodion Transfer Process 129
By the Photo-Crayon Process 130
Enamelling Albumen Prints 215
Enamelled Intaglios, the Process for
Making 188
T^ABRICS, Printing on, by the Car-
1 bon Process 108
Ferric Oxalate, Preparation of 56
Fixing Bath, The 47
Its Purpose 47
Its Composition 48
How Long to Fix 48
Maxims for Fixing 48
Fuming 33
Time of . 33
/^ELATINO-BROMIDE EMUL-
^"r sion, Printing with 65
Apparatus 65
Gelatino-Chloride Paper, Printing on 82
The Emulsion 82
Development 82
Wellington's Method with Citric
Acid 83
Eder's Method....- 84
Ferrous Nitrate Developer for. . . 85
Gelatino-Chloride Printing-out Paper 85
J. Barker's Method for Printing
on 86
Printing, Toning and Fixing on . . 86
Gelatinized Paper, Printing on 53
Gold Chloride, Preparation of 214
RON COMPOUNDS, Printing
with 17
The Law of 17
Two Methods of 17
Method for Obtaining Blue Prints 17
Purple Image 18
Methods" " Other Tones 18
Points to be attended to in 18
Various Formulas 18
To Sensitize Paper for Blue Prints 20
INDEX.
223
To Deepen the Color of Blue. . . 20
To Give Blue Prints a Green Tone 20
To Give Blue Prints a Brownish
Tone.... 21
To Give Blue Prints Sepia Tones 21
To Give Blue Prints Lilac Tones 21
To Make Black Lines on a White
Ground.. 23
T ANTERN SLIDES
' L -' On Wet Plates
Coloring ,
Leatherized Paper, Printing on.
Linen, Printing on
Sizing Solution . . ,
Salting Solution
O
142
142
148
53 I
105
105
1051
TV/f ECHANICAL PRINTING ... 190
1V1 The Metal Plates for 190
The Positives and Negatives for. . 191
Intensifying 191
The Metal Plate 192
Sensitizing Mixtures 193
Coating the Plate , 193
The Exposure 194
Development 194
Clausintzer's Method of Develop-
ing 194
The Etching 194
Hardening the Plate 196
Mr. Riley's Method for Amateurs 198
Ives' Method of Graining Typo-
graphic Plates for 199
The Meisenbach Method 200
The Photo-lithographic and Pho-
to-gravure Methods 200
Mounting 90
The Card Mount for 90
Placing the Print in Position 90
Treatment of the Prints before. . . 91
Medium for 91
W. J. Stillman's Mountant 92
In Optical Contact with Glass. . . 92
On Plate Paper 94
Enlargements on Cloth 117
PAGE
PAL PRINTING 160
The Emulsion 160
Coating 160
Printing 161
By the Powder Process 161
OASTE, Encaustic 215
Photo-ceramics 165
The Apparatus 165
The Negatives 167
Formulas for the Collodion 168
Sensitizing Bath 168
Developer 168
Intensifier 168
Fixing 167
Stripping the Films 169
The Firing or Burning-in 171
Retouching 172
Stock Mixtures for 173
Practical Manipulation 175
Pavlowsky's Method with Pig-
ment Paper 175
Husnick's Methods 176
Liesegang's Dusting-in Method. . 176
Watson's Substitution Method. . . 179
Photo-gravures 200
The Process for Making 201
Graining 202
Etching 202
Advantages of 203
Photographing on Wood by Frewing's
Method 208
Photographing on Wood by Ives'
Method 209
Plain Paper, Printing on... 51
Platinotype, The 55
Sizing 55
Stock Solutions 56
Chlorate of Iron Solution 57
Sensitizing Solution 57
Keeping Apparatus Dry 58
Sensitizing the Paper 58
Drying the Sensitized Paper 59
Preserving the Paper 59
Printing 60
Developer 61
224
INDEX.
Development 61
Washing the Prints 62
Porcelain Printing 162
Collodion 162
Preparation of the Plate 162
The Exposure 162
Toning 163
Potassic Ferric Oxalate, Preparation
of 56
Preparing Metal Plates for the En-
graver 207
The Collodion 207
Preparing the Plates 207
Developing 207
Fixing 207
Printing 34
The Frame 34
Printing Maxims 35
Printing Rules for Cold Weather 50
Preserving Sensitized Paper 39
D EADY-SENSITIZED PAPER,
** Printing on 36
Toning Bath 37
Fixing Bath 37
Recovery of Silver from Photographic
Wastes 210
Recovery of Platinum from Resi-
dues 214
Red Prints 163
Methods for Making 163
On Silvered Paper 163
By the Carbon Process 163
By the Nitrate of Uranium Pro-
cess 163
Resinized Paper, Printing on 51
Bertrand's Method 51
Henry Cooper's Method 52
Resume of Printing Processes 14
CILVER BATH, The 25
*^ To Determine the Strength of
Salting of any Paper 25
Preparation of the Bath 26
Formula for Sensitizing Baths for
Strong Negatives 2
Formula for Sensitizing Baths for
Thin Negatives 27
The Author's Favorite Bath 27
C. W. Hearn's Formula 27
Management of 30
Methods of Removing Impurities
from 30
Points in Sensitizing 32
Silk, Printing on '. 105
Platinum Process for 105
The Carbon Process for 108
Silver Nitrate, Preparation of 214
T
HEORY OF LIGHT, The 11
Toning 41
Stock Solution for ; 41
For Brown Tones 41
For Black, Velvety Tones 41
For Purple and Black Tones 42
For Rich Purple Tones... 42
For Sepia and Black Tones 42
For Sepia Tones 44
With Platinum Bath 42
With Borax 42
Charles W. Hearn's Toning Bath 43
The PHOTOGRAPHIC TIMES Ton-
ing Bath 43
The Chautauqua Toning Bath. . . 44
Spaulding's Toning Bath 44
The Price Formula 44
Formula for Resinized, Gelatin-
ized, Leatherized and Plain
Paper 45
Sulphocyanide of Ammonia 45
General Directions 45
Remarks on General Composi-
tion for Toning Baths 46
Maxims of Toning 48
Rules for Toning in Cold Weather 50
Transparencies > . . 132
Best Plate for 132
Exposure of 133
Printing 133
Developing 133
Fixing 134
Clearing 135
Washing 135
INDEX.
225
Mounting 135
By the Carbon Process 136
By the Albumen Method 137
By the Collodio-chloride Process 138
By the Gelatino-bromide Process 138
By the Gelatine-chloride Process 138
By Levy's Collodion Emulsion .. 139
By Carbutt's Method 142
T J RANlUM COMPOUNDS,
^ Printing with 24
Sensitizing Solution 24
Developing Solution for Brown
Tones 24
Developing Solution for Gray
Tones.. 24
\17ASHING 48
With Eau de Javelle 49
With the Hypochlonte of Zinc
Hypo Eliminator 50
Willis' Permanent Paper, Piinting
on . . 38
THE
gcovill Adanis Compaq,
423 Broome Street, New York City,
SUCCESSORS TO THE
PHOTOGRAPHIC DEPARTMENT
OF THE
Scovill Manufacturing Company.
Are Manufacturers, Importers of and Dealers in
AN UNEQUALED VARIETY OF
PHOTOGRAPHIC GOODS,
EMBRACING
Every Requisite of the
Practical Photographer,
Professional and Amateur.
PUBLICATION DEPARTMENT.
Publishers of "THE SCOVILL PHOTOGRAPHIC SERIES"
(38 publications), the "Photographic Times Annual," etc., etc.
Latest Catalogue of Photographic Books and Albums, and a
copy of " How TO MAKE PHOTOGRAPHS" sent free on application.
W. IRVING ADAMS, H. LITTLEJOHN,
President cr 3 Treasurer. Secretary.
A. 1. COLLINS MFG. CO.,
ISTo. 527 .Arch Street,
PHILADELPHIA, PA.,
MANUFACTURERS OF
PKoiogiaptieis' Cans
AND
CARD BOARD.
Quality, the Best. Styles and Colors in
Variety Unexcelled.
THESE STANDARD GOODS ARE FOR SALE
BY ALL PHOTOGRAPHIC MERCHANTS.
BRANDS AND SENSITOMETER NUMBERS.
G ABBOTT'S j&DRY PLATES
TRADE MARK
s "CELLULOID" FILMS,
"ECLIPSE," Sen. 27. Is extremely sensitive, and specially intended
for quick studio exposures, concealed and detective cameras, instan-
taneous views, and magnesium flash-light photography.
11 SPECIAL," Sen. 23 to 25. For portraits, instantaneous views, outdoor
groups, etc. Blue Label. This plate and our Ortho, Sen. 23 to 25, are
the best plates for professionals and view work.
"ORTHOCHROMATIC" Plates, Sen. 23 to 27, give correct color
values. The best plates for landscapes, interiors, photo-micrography,
portraiture in varied-colored draperies, photographing paintings,
flowers, etc.
"B" Plates, Sen. i6to2O. For landscape views and general photography.
Admittedly the finest plate for professional and amateur all-around work.
" B" PROCESS Plates, Sen. 12. For use by photo-lithographers, photo-
engravers, and zinc-etchers in making intense and clear-line negatives.
"A" GELATINO-ALBUMEN Plates. For lantern slides and copying.
"A" GELATINO-ALBUMEN GROUND GLASS Plates, specially
prepared for window transparencies.
STRIPPING PLATES. For photo-mechanical printers. Emulsions
" B " 20 and " Special " 23 to 25, kept in stock. " Eclipse " 27 made
to order.
"CELLULOID" FILMS TRANSPARENT Emulsion "B,"
Sen. 12, for producing intense negatives for photo-reproductive
processes.
"CELLULOID" FILMS-MAT-SURFACE.-Emulsions"Eclipse,"
Sens. 26 and 27 ; " Orthochromatic," Sens. 23 to 27 ; " Special," Sens.
23 to 25 ; " B," Sens. 16 to 20.
CARBUTT'S
Multum in Parvo
LANTERN
For use in developing room
filling kits, developing nega-
tives; making positives, etc.
The Only Practical Lantern
in the Market.
Patented April 25, 1882.
PRICE
Lantern arranged for making positives by contact,
JOHN CARBUTT,
For Sale by all Dealers.
Send to factory for descrip-
live circulars and price-list.
Wape Junction, Phila.
TO PROGRESSIVE PHOTOGRAPHERS.
The New Metal Yignetter,
Patented May 31, 18*7.
Kuhn's Sensitized Papgr
Stretched and Dried,
Paper dried with it lays per-
fectly fat, and therefore better
prints can be obtained.
You can also cut your paper
either lengthwise or crosswise
of the sheet, as it neither
stretches nor shrinks after-
wards.
In addition, it is very de-
sirable for handling Bromide
Paper.
PRICE.
18 x 22 size, each $1 50
20x24 " ' 1 75
Producing the Black Background,
or Ebony Photographs.
Hundreds of these Vignet-
ters are now in use, GIVING
UNIVERSAL SATISFATION.
They can be easily adjusted
to any camera, and require
no more trouble or expense
than making plain photo-
graphs. Every progressive
photographer should have
one. Its work will attract
attention in your case and in-
crease your business. Every
one guaranteed.
PRICE, each,
$8.00.
Sample Photographs made with it sent
on application.
Patented April 13, 1886.
Improved Vignetting Attachment
For Vignetting the Negative.
LIGHT, STRONG and DURABLE.
It is perfectly reliable and quickly
adjusted to any lens by the meaus
of a thumb-screw. It can be raised
or lowered at will to any position
desired by the operator, by simply
pulling a cord, without leaving his
position behind the camera.
Patented September 6, 1887.
PRICE, each,
$3.50.
These articles can be pro ured through your dealer, or
II. .A-. IIY'-ZY.TT, Solo
AND DEALER IN
PHOTOGRAPHIC SUPPLIES OP EVERY DESCRIPTION,
N. E. Cor. Eighth and Locust Streets, St. Louis, Mo.
xvi
MAX LEVY.
Late M'g'r Levytype Co., Phila.
Perfected Engraved Gratings or Screens
FOR THE
HALF-TONE PROCESS.
THESE screens are each separately and accurately ruled, the lines
being engraved deeply into the glass and filled with opaque enamel.
The black lines are sharp, clear, and absolutely opaque, and the white
spaces are clear glass, and each screen is protected by a cover glass
thoroughly cemented to the ruled side.
Negatives made with these screens develop perfectly clear in the finest
dots or stipples. An operator in one of the leading establishments, after
working with these screens, says :
" Making HALF-TONE NEGATIVES wilh your screen? is as simple and easy
AS LINE WORK."
By reason of the perfect opacity of the lines and transparency of the
shadows, these screens are incomparably superior to any made by photo-
graphic means, the results obtained with them are better, and are obtained
with far greater facility and certainty.
In ruling large screens, local imperfections frequently occur, and they
are cut to the most available sizes that will avoid all defects, yielding
irregular sized plates of great perfection. These plates, especially the larger
sizes of them, are very useful for experimenters, as well as for regular
work, as a plate 5x7 or 5x8 is large enough to include the greater part
of the work required even in a very large establishment. These I sell as
TRIAL SIZES. They are all ruled crossed. Single rulings to order.
314" x 4^ up to 5 x 7, $5.00 to $12.00 ; 5 x 8, $15.00.
PRICES ON APPLICATION.
Send for circular descriptive of the PRISMATIC RECTILINEAR LENS for
making negatives in reverse by direct exposure in the camera.
MAX LEVY,
106 N. 6th Street, Philadelphia, Pa.
xvii
]IIustratiVe ar?d pictorial
'of the hi^>be$t class oi?Iy by the
PHOTOGRAVURE
processes
A'S
A 1 ? Artistic periodical uMthoiM:
Published
EACH ISSUE OF "SUN AND SHADE" CONSISTS OF EIGHT OR
MORE PLATES OF THE HIGHEST GRADE, ON PAPER 11X14.
Single or sample copies are 40 cents each (except Nos. 1, 2 and 3, which are 60 cents
each, and No. 4, $1.00 each).
Yearly subscription, $4.00.
Vol. I (in numbers), $5.47.
Vol. II (in numbers), $4.00.
Binding any volume in cloth, $2.50 extra. %
Binding any volume in half morocco, $3.75 extra.
Binders for current numbers, $1.50 ; by mail, $1.80.
Back numbers are always kept in print.
Order of any newsdealer or direct from the publishers.
xviii
FOR SILVERING,
THE WATERBURY TRAYS ARE THE BEST AND CHEAPEST.
These Trays are
made by the
AMERICAN
OPTICAL CO,
which of itself is a
guarantee of the
superiority of the
wood work.
Canvas is not re-
quired for the seams,
as the bottoms are
seamless. The bot-
tom rests on cross-
strips a great im-
provement, for stead-
iness, over knobs at
the corners," which
were liable to be
broken off,
THE
Waterloo] Trays
are guaranteed not
to warp or crack.
Each.
15x19 Waterbury Trays $3 50 22x28 Waterbury Trays $6 50
19x24
500 25x30
900
For Sale by all Dealers in Photographic Requisites, and by
THE SCOVILL & ADAMS COMPANY.
xix
Three Crown
Albumenized Paper
Is the choicest brand yet introduced.
IT DOES NOT BLISTER.
IF YOUR STOCK DEALER DOES NOT SUPPLY IT,
SEND TO
THE^SCOVILL & ADAMS COMPANY, Importer,
423 Broome Street, NEW YORK,
and be sure that you get the GENUINE with the Three Crown
trade-mark. Formula furnished with the paper.
Sample Sheet sent upon Application.
XX
s. :F. a.
READY SENSITIZED ALBUMEN PAPER.
This Paper was expressly manufactured for and introduced by us to
give to those who have not the skill, time, inclination or appliances to
sensitize photographic paper preparatory to printing, an article of the
finest quality and of uniform sensitiveness.
PRICE LIST.
Size. Per Package.
4^ inches, in light-tight packages, 2 dozen $0 30
4x5
7
x 8
'*
xlO
x22
18
45
55
80
85
1 10
1 65
per doz. 3 30
To save loss, rolls are not broken.
For Making Blue and While Pictures.
Our brand is a sure index of superiority in texture, the paper is
better wrapped than any other, and is noticeably free from spots sireaks
or flaws.
This paper is extremely simple in its manipulation, and therefore
very convenient for making proofs from negatives. It is also adapted for
the icproduction of Mottoes, Plans, Drawings, Manuscript, Circulars, and to
show representations of Scenery, Boats, Machinery, &c., for an engraver to
copy from. The rapidity with which a print can be made with this paper
is for numerous purposes, and to men in some occupations, a very great
recommendation in its favor.
Size FHICE I.ISX. Per Package
4x5 inches, in 2 dozen light-tight parcels $0 28
5 x 8 " 2 " " 50
6^x 8^ " 2 ' " 67
8 xlO " 2 " " 83
To save loss, parcels are not broken.
In full rolls of 10 yards each, 30 inches wide, $3.50 per roll.
THE
DONALDSON STAR BROMIDE PAPER.
No. "l," Smooth surface, thin, for proofs, positive print-
ing, copying drawings, etc., by contact.
No. " 2," Smooth surface, heavy, for positive printing,
enlarging, and working in ink, oil and water colors.
No. " 3," Rough surface, heavy, for positive printing,
enlarging, and working in crayon, ink, water colors and oils.
We recommend the No. "3" for enlargement, and Nos. " 1 "
and "2" smooth surface paper for contact prints. Enlargements
on our paper require no finishing when taken from good original
negatives.
i&F* This paper does not blister.
Send for book of directions.
PRICE LIST
OF
STAR BROMIDE PAPERS, Nos. "1,"" 2," or "3:
CUT SHEETS.
Size.
Per Doz.
$0 25
Size.
6x8
Per Doz.
$1 00
Size.
17x20
Per Doz.
$6 40
4 x5
40
6^x 8^
.... 1 10
18x22
7 50
50
8 xlO . . .
1 50
20x24 ..
9 00
4i/ fil/
55
10 x!2
2 25
22x28
11 25
53/x6^ .
60
11 x!4
3 00
24x30
13 00
5 x7
65
12 x!5
. ... 3 25
25x30 ..
14 00
70
14 x!7
4 50
24x36
16 00
5 x8
. 75
16 x20
6 00
30x40. .
. .22 50
Other sizes in proportion.
If ordered in packages of less than one dozen, 25c. extra will be charged for packing.
10 in. wide, p. yd.. $0 56
11
12
14
62
68
79
IN ROLLS.
16 in. wide, p. yd..$0 90
1 00
1 12
1 24
24 in. wide, p. yd..$l 35
25 " " .. 1 40
30 " " .. 1 68
31 " " .. 1 75
xxii
(Chloro-Bromide Emulsion.)
(MANUFACTURED BY BRADFISH & HOPKINS.)
;1TH the introduction of Gelatino-Emulsion Paper a new era has
been started in Photographic Printing, especially for the Amateur,
who appreciates so many marked advantages in this paper over
Sensitized Albumen Paper. After many and costly experiments Sensitized
Emulsion Paper for direct printing out has been produced which far ex-
cels any heretofore made, and which is guaranteed to be fully reliable in
every respect.
The paper is unexcelled FOR FINE RESULTS and SIMPLICITY OF OPER-
ATION.
Its KEEPING QUALITIES are unsurpassed, it being in good condition
for months after manufacture. It will give the fine effects of fresh silver
paper, without the necessary separate operations attending toning, fixing,
etc. The different solutions are combined in one bath, making it specially
desirable to the amateur, there being only two operations, toning and
washing, then mounting the same as albumen or other paper.
Any tone from a rich brown to a dark purple may be obtained, ac-
cording to the time left in the toning bath.
The print is permanent, can be burnished, also glac6d by squeegeeing
on a ferrotype plate.
PRICE LIST 0F 0ME6A PAPER.
Size. Per Doz. Per Gr. Size. Per Doz. Per Gr.
8J4x4K 02 5x8 ....045 $450
4x5 025 $250 6^*8^ 070
8K*5K (cabinets trim'd)..0 30 225 8x10 090
4#x6}( " untrimmed).0 35 350 20x24 4 00 * dz. 2 85
5x7 040 400 20x24 pr sheet, 040
FULL AND EXPLICIT BISECTIONS ON EACH PACZASE.
TONING SOL-UTION,
For toning and fixing Aristotype, Omega, or Albumen Prints. Gives any
tone and clear prints. 10 oz. Bottles 50 cents.
Ferro Plates for Enamelling the Prints, 10 x 14 inches, 15 cents each.
Preserve the Shadow Ere the Substance Fades!
Preserve Your Prints From Fading!
BEAD WHAT IS SAID ABOUT
Flandreau's S. P. C. Hypo Eliminator.
Taken from THE PHOTOGRAPHIC TIMES of June 3d, 1887.
THE NEW HYPO ELIMINATOR.
To the Editor of the PHOTOGRAPHIC TIMES.
Dear Sir : In the number of your Journal for May 6, appears an editorial article
entitled " Hypo Eliminator ; do they Eliminate ? " in which you strongly recommend
the hypochlorite of zinc for removing the last traces of hypo from silver prints.
In doing this you doubtless bring to the attention of photographers the most im-
portant improvement in print washing that has been suggested since prints were first
made. There is no doubt in my mind that the worst evil pertaining to silver prints,
and that for which a simple and practical remedy is most needed, is the hypo that is
not eliminated from them. Now that the means for accomplishing this desirable end
in an effectual and perfectly harmless manner has been pointed out, what excuse can
possibly exist for its not being at once universally adopted ? For one, I shall put it to
use as soon as I can obtain a supply of the requisite material.
Photographers are proverbially slow in introducing changes in their practice in
which the immediate advantages are not tangible or visible. But here is something
decidedly tangible. By using this agent the prints may be washed in half the time,
with half the water, and what is much more, so thoroughly may the work be done that
not a particle of hypo or sulphur shall remain in them. Surely this is an improvement
which every conscientious photographer should lose no time in putting into practice.
Not having practically tested the process I do not speak of it from actual experi-
ence, but its application is certainly theoretically correct, and it seems impossible that
there can be any drawback in its use.
I trust thai at the coming Convention the merits of the New Hypo Eliminator will
be fully discussed. Very respectfully,
W. H. SHERMAN.
Flandfeau'? $, p, (J, jlijpo Eliminator 1
OF
Of which, tlie Letter Speaks so IF'a.vorgibly.
IT IS HARMLESS ! IT IS EFFECTIVE !
It Saves TIME, PATIENCE, NEGATIVES and FEINTS,
Do not prove the assertion that " PHOTOGRAPHERS ARE PROVERBIALLY SLOW IN IN-
TRODUCING CHANGES IN THEIR PRACTICE," by delaying to procure this " most im-
portant improvement in print- washing, which has been suggested since
prints were first made."
BUY A BOTTLE AT ONCE!
IT OOJSTJS IBTJT IFX^TTT OIEKTTJS !
And is accompanied by a BOOK OF TEST PAPER, for detecting the
slightest trace of Hypo in negative or print.
Por sale by all Dealers in Photographic Eeqnisites, and by the
The Scovill & Adams Company.
PATENT APPLIED FOR.
SCOyiLL PRINTING FRAMES.
The Scovill Printing Frames are made of cherry, and have superior brass
springs constructed on scientific principles. On the flat printing frames,
these springs are secured by rivets and turn on brass washers, being held
at the end by buttons made so that they cannot turn around.
They are so constructed that a uniform
pressure is obtained, thus insuring per-
fect contact between the paper and the
negative, and removing the danger of
breaking the latter.
The back-boards are also so arranged
that the progress of the printing may be
watched without danger of shifting the
paper, and each frame has the tally shown
in the illustration.
For Regular Flat or
Plates. Two-Thirds.
J*{* "S::
Deep.
..$0 75
. 75
For E
Plates.
13 x 16...
14 x 17...
16 x 20...
17x20...
18x22...
*0x24...
24 x 3C...
35 x 45
< ?ular Flat or
Two-Thirds.
....$2 25..
...245..
.... 4 50 .
.... 4 50..
.... 5 00..
.... 550..
Peep.
.$2 75
.300
. 4 76
. 4 75
. 5 25
. 650
. 9 00
.16 00
22 00
*M x6M
I 8 ]!,*
5 x8..
s* a*
10 x!2 .
11 x!4..
-
. 40..
. 42..
. 50..
. 5&..
. 60..
. 75..
. 1 00..
. 2 00..
.. 75
.. 85
.. 85
.. 95
.. 1 25
.. 1 60
..200
.. 2 50
30 x 60
SCOVILL FLAT PRINTING FRAMES. For Sale \>j all Dealers in Photo Goods.
The SCOYILL PRINTING FRAME PADS.
1 st Quality,
FOR GRAY.
3 x 4 Frames, in boxes, per doz $0 24
4x5
4ix 5
4ix 6i
5x7
5x8
14
16
17
18
33
36
38
54
57
84
1 44
2 16
2 88
4 08
, 5 04
5 28
6 48
8 40
The above goods are very desirable, and the demand for them is in-
creasing. They are put up in boxes containing one dozen pads each.
8 xlO
10 x!2
11 x!4
xl7
x20
x20
x22
20 x24
ADT'S PATENT PRINTING FRAME.
These Frames are now supplied (without extra charge) with Adt's Patent Support
with which the frame can be stood on either end, and at four different angles, for ex-
posure while printing. It is out of the way of the printer when introducing the paper, or
examining the print, for when the frame lies or is held with back up, the support instantly
drops upon its stops for rest, and is entirely out of the way of the hand of the printer, so
that he may remove or open the back-board, or replace it, as if there were no support
present. Being arranged close around the sides and ends of the frame, it occupies so
little space as not to inter-
fere with the packing or
storage of the frames, and
when the printer places his
frame for exposure the sup-
port readily finds its position
for supporting the frame
without any special manip-
ulation.
8 1 -
PRICKS.
$0 50
4
^x 5 4
. 50
. 50
60
5
5
gi
*x 7
x. 8
. 65
. 65
75
8
10
xlO ...
x!2
. 85
1 15
11
13
14
x!4
x!6
x!7 .
. 2 15
. 240
. 2 80
When made with back
to open lengthways, an
additional charge of 10 per
cent, will be added to the
above prices.
As will be seen by a glance at the cut, the adjacent edges of the parts of the back-
board are beveled outward, and the hinges placed on the sides with their axes on a line
with the surface. This permits the attachment to the face of the back-board of a Heavy,
Continuous Elastic Felt Pad. This obviates the necessity of using a separate
pad, which is so easily misplaced and lost.
xxvi
IRVING PRINTING FRAMES
WITH ADJUSTABLE SUPPORTS,
(PATENTED.)
IRVING PRINTING FRAME, CLOSED. IRVING PRINTING FRAME, OPEN,
FRONT VIEW. _, BACK VIEW.
The IRVING FRAMES have valuable features which cannot be copied.
They are in workmanship, design, and other respects, superior to all other
printing frames.
The continuous felt pads made especially to order for us, insure abso-
lute protection and uniform pressure throughout. The Irving Patent
Catches lock the back, so that when one flap is open there is not the
slightest danger of the flaps, paper or negative slipping.
The springs are cut by dies of specially tempered and tested metal,
and are riveted to the backs with washers underneath to protect the wood-
work.
The IRVING FRAMES are made of cherry guaranteed not to warp or crack.
The tally does not depend upon any other part of the frame to lock it,
for the pointer will remain in place no matter what is done to other parts
of the frame.
Prices for Half or Two-thirds Opening Styles.
3Xx4# $0 45 5x7 '. $0 60
4x5 48 5x8 65
4^x5H 50 G%x8 l A 70
4^x6^ 55 8x10 80
When made with backs to open lengthways, ten per cent, is added to
the foregoing prices, for the respective sizes.
xxvii
Fac-simile of Bronze medal awarded
at the Boston Convention of the Pho-
tographers' Association of America,
August, 1889, to THE SCOVILL &
ADAMS Co., for improvements in Pho-
tographic Apparatus.
This was the only medal awarded
by the Association for this contest in
which there were twenty competitors.
34087
m
