DCO iiwlVlWiraP!, iMlta !! THEGETTYCENTERLIBRARY / rr , a ii ... lli 1 ! 1 il l 7 1 - / r \ | \ \ ir Nxt / /• \ ' M j/T ;W ^cr~ PHOTOGRAPHIC Printing Methods: A PRACTICAL GUIDE TO THE Professional ^Amateur Worker, BY THE Rev. W. H. BURBANK. \ _orNu; rsi 14 MEW YORK: SCOVILL MANUFACTURING COMPANY 423 BROOME STREET. 1887. COPYRIGHT, 1887, By SCOVILL MANUFACTURING COMPANY. PUBLISHERS’ NOTE. The pictorial illustrations which embellish this book were selected as best representing two of the many photographic print¬ ing methods herein described. The frontispiece, a photo-gravure, is an excellent example of a high grade of photo-mechanical re¬ production, while the bromide print represents an improved method of true photographic printing. Both the illustrations are from negatives made on Eastman’s stripping films and are thus examples of an improved negative process as well. The photo-gravure was made by the Photo-gravure Company of New York, and is reproduced from a negative by Mr. Ernest Edwards, the President of that Company. In the Chapter on “ Photo-mechanical Printing Methods” will be found a descrip¬ tion of the process of the reproduction. For the bromide print our thanks are due to the Eastman Dry Plate and Film Company of Rochester, N. Y. It is from a negative by Prof. W. D. Holmes, of Avondale, Cincinnati, O., lately in charge of the photographic laboratories at the Lehigh University, Bethlehem, Pa. “ The negative,” he writes, “ is of a little old Spanish cottage in ‘ Spanishtown,’ Santa Barbara, Cal. I think it is known as the ‘ Pico’ cottage. It was made late in April, the present year, developed with the regular bromide developer, using rather more bromide of potassium than is advocated in the printed formula.” For complete information on bromide printing we direct the reader to the Chapter on “ Printing with Emulsions.” These brief explanatory remarks having been made, it only re¬ mains to present the volume itself to the photographic fraternity. And this we do with the pleasant conviction that the book will certainly meet with the hearty and appreciative reception which it deserves. The Publishers. 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. II. Burbank. Newburgh, N. Y., July, 1887. List of Photographic Works Consulted. Abney, W. de W. — “A Treatise on Photography.” New York, 1878. D. Appleton & Co. Abney, W. de W., and Robinson, H. P.—“ Tlie Art and Prac¬ tice of Silver Printing.” New York, 1881. Scovill Manufacturing Company. Geymet. —“Traite Pratique des Emanx-Photograpliiques.” Paris, 1885. Gautliier-Yillars. Geymet.— “ Traite Pratique de Ceramique Photographique.” Paris, 1885. Gauthier-Yillars. Godard.— “ Artiste, Printer, Decorateur.” Paris, 1885. Gauthier-Yillars. Hardwich, T. F.—“ A Manual of Photographic Chemistry.” New York, 1886. Scovill Manufacturing Co. Liesegang, Paul E. — “Le Procede au Charbon.” Paris, 1886. Gauthier-Y illars. Morch, J. O.—“Handbuch der Chemigraphie nnd Photochemi- graphie.” Diisseldorf, 1886. E. Liesegang. Robinson, H. P.— “ Pictorial Effect in Photography.” Phila¬ delphia, 1881. Edward L. Wilson. Roux, Y.—“Traite Pratique de Photographie Decorative.” Paris, 1887. Gauthier-Yillars. Roux, Y.—“ Traite Pratique de Gravure Heliographique.” Paris, 1886. Gauthier-Yillars. Roux, Y.—“Manuel de Photographie et de Calcographie.” Paris, 1886. Gauthier-Yillars. Yogel, H. W.—“Progress in Photography.” Philadelphia, 1883. E. L. Wilson. Wilson, E. L. — “ Photographies.” Philadelphia, 1883. E. L. Wilson. Husnik, J. — “Die Heliographie.” Yienna, 1878. A. Hartle- ben. Husnik, J.—“ Das Gesammtgebiet des Lichtdrucks.” Yienna, 1880. A. Hartleben. 8 PHOTOGRAPHIC WORKS CONSULTED, Geymet.— “ Traite Pratique ae Photogravure sur Zinc et sur Cuivre.” Paris, 1886. Gautliier-Yillars. Just, E. A.—“ Der Positiv Process auf Gelatine-Emulsion- papier.” Vienna, 1885. E. A. Just. 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 Platinotypf.. '15 CHAPTER VII. Printing with Emulsions.. 61 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 Index. 217 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 seems 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 , otlieis affect nerves lying in the body, giving rise to the sensation of heat; while others still are known only by their power of pi o- 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 coloi, 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 gieat 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 ail those rays capable of effecting decomposition in any compound, and their range varies from 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 suhdivived 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 he insensitive to light. When, however, the atoms of a molecule are so arranged as to he capable of separating into more than one molecule, of less complex character it may he, it may happen that the atoms are in a condition of indifferent equilibrium, such, for instance, as that of the frustrum 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. 13 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 3 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 absorber, 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 (Jni- 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, and 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 the 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 w T ell-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 ot 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 drams. 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 the 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 points for 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 usino- 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 PRINTING METHODS. 19 1. The chemicals should he 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 hydro- -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 : 154 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 end 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, - - %% 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, - - 1 Ji ounces. Water, - 8 ounces. B—Red prussiate of potash, - - - 1J4 ounces ' Water, - 8 ounces. 20 PHOTOGRAPHIC PRINTING METHODS. Mix equal parts when wanted. 4.—A—Citrate of iron and ammonium, Water, ... B—Red prussiate of potash, - Water, ... 534 drams. 5 ounces. drams. 7 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, Water, - B—Red prussiate of potash, - Water, ... 2 ounces. 8 ounces. 2 ounces. 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, - Sulphuric acid, ... Water, - Or the following: Acetate of lead, ... Water, - 4 ounces. 4 drams. 4 ounces. 2 ounces. 8 “ With the latter bath, the printing should be quite dark. To give blue prints a green tone, print rather light, well w T ash, and immerse in the following bath : Water, Sulphuric acid, 8 ounces, dram. PHOTOGRAPHIC PRINTING METHODS. 21 For brownisli-black tones, immerse for five minutes, after washing, 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. How dissolve a partly heaped-up teaspoonful of tannic acid in eight or ten ounces of water. Flace 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 piints is moie 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 come 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. Collachi's Method. —Well-sized paper is coated twice with a solution made as follows: Water, ..... Citric acid, ..... Chloride of iron, ... Gum arabic, - 90 parts. | parts. | parts. - fV parts. The prints are developed by floating on a twenty-four per cent, solution of ferricyanide of potassium. Pizzeghilli s Method. —The following three stock solutions are made up: A—Water, - Gum arabic, - - - 100 parts. 20 parts. B—Water, - Chloride of iron, ... 100 parts. 50 parts. C—Water, - Ammonio-citrate of iron, 100 parts. 50 parts. The sensitizing solution is as follows: Solution A, - - - - Solution B, - Solution C, - - - - 20 parts. - 6 parts. 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 /i 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 tw r enty 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. Poitivin’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 from reversed positives, but it is probable that this defect might be remedied. Pellett’s Process. Black Lines on a White Ground. Gum, Sodium chloride, - Tartaric acid, - - - • Perchloride of iron, - Water to make up to - 385 grains. 46 grains. 62 grains. 123 grains. 3J^ 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, ... Water, ..... Developing Solutions. For Brown Tones. A. —Ferricyanide of potassium, Nitric acid, .... Water, - B. —Nitrate of silver, Acetic acid, Water, For Gray Tones. - 616 grains. 7Js ounces. 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 CHAPTER 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 he plain paper, with some chloride, usually chloride of ammonium. 1 ie 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 t nrty grains of silver to the ounce of water, lest the albumen be dis¬ solved ; and that, save in exceptional cases, there is no neet o 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 m 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 wil < l =; 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 m 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 m 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. Formula for Sensitizing Bath. For Very Strong Negatives. * 1.—Silver nitrate, - - - - - 35 grains. Water, - t ounce. Print in full sunlight. For Thin Negatives. 2. —Silver nitrate, - Water, - Print in the shade. 3. —Silver nitrate, - Ammonium nitrate, Ammonia, - Water, - 80 grains. 1 ounce. 60 grains. 60 grains. 2 minums 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 g rains - Alcohol,.& dram - Water,.' 1 ounce * For prints on plain, resinized, gelatinized paper and leath- 60 grains. 5 grains. 1 ounce. erized paper: 5.—Silver nitrate, Gelatine, Water, - C. W. Hearn’s. 40 grains. 1 ounce. 6.—Nitrate of silver, Distilled water, To every twenty ounces of solution add one dram of saturated solution of carbonate of soda. The bath will at once assume a 28 PHOTOGRAPHIC PRINTING 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 hath 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. 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 PHOTOGRAPHIC PRINTING METHODS. 29 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 sensitizing is begun. Impurities and air-bubbles are the two great enemies of the sensitizing-room. How 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 tend¬ ency to curl up, gently breathe upon it. This difficulty may be overcome by placing the paper, the night before sensitizing, in a damp place. How raise one corner and look for air-bub¬ bles. 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 an¬ other corner is free, which is then grasped by the other hand and the paper slowly-withdrawn, allowed to dram a minute into the dish, and hung up by one corner to dry in the dark, or yellow light. .nix Some sensitizers draw the paper over a glass rod placed at one end of the dish, but there is some danger of streaks; oth¬ ers 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 wide, 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 from 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. . . , Time of Floating .-This is largely determined by the strength of the bath; a strong bath requiring, as a rule, longer 30 PHOTOGRAPHIC PRINTING METHODS. 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 care¬ fully 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 sur¬ prise of seeing the albumen dissolve 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 argentometer, 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 known, 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 has 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 25X12, 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 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 teaspoonful of kaolin to the solution, which is then well shaken up. The or¬ ganic matter adheres to the kaolin and soon settles to the bottom PHOTOGRAPHIC PRINTING METHODS. 31 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 hut a moment, is to add 1 dram of a 10 percent, solution of permanganate of potash to the hath. The theory of this addition is that the oxygen lib¬ erated from the permanganate oxidizes the organic matter, which then falls to the bottom of the dish. This method, although good in an emergency, does not leave the hath 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 hath 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 solution mav 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¬ 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. Now cover the silver with nitric acid; place the mixture in an evaporating dish and 32 PHOTOGRAPHIC PRINTING METHODS. 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 he sure to keep it over strength for the bath. Test with the argen- tometer, and add the amount of water necessary to give tb* 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 PRINTING METHODS. 33 CHAPTER III. FUMING AND 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 two or three minutes, dry without heat, and omit the fuming. If you wish to fume, however, the drying-box mentioned on page 167 can be used by placing a saucer containing a dram or so of strong ammonia, and, about an inch above this, a frame carrying a flne-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 shadow's ; 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 mas tv is constantly moved np and down and sideways in order to secure a proper blending, but avoiding getting it above tlie 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 junc 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 cockling 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 oil 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 he 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, - Distilled or boiled water, - 2. —Sodium bi-carbonate (best English), - Distilled or boiled water, - 3. —Solution No. 2, - Water, - 15 grains. 7J4 ounces. 480 grains. 8 ounces. 34 ounce. 12 ounces. No. 4. — Toning Bath. Not to be made up until wanted for use. Solution No. 1, ... Solution No. 2, - Distilled or boiled water, No. 5.—Fixing-Bath. Sodium hyposulphite, - Sodium chloride, ... Water, - 1 ounce. 1 ounce. 5 ounces 1 ounce. 24 grains. 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 milkiness 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 w ill do them no harm. WPile 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 u Photographic Times 1 ’ 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, 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 edo-es and float the reverse side for about ten seconds on the © following solution : Citric acid, ----- 462 grains. Water, ------ 14}£ ounces. 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, b. 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 5 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 panel*. The remedies are obvious. 3. The Print has a Cold and Faded Appearance when Finished. — a. Too weak silver bath. b. 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-hole 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 a. The paper lias become discolored through long keeping or excessive fuming; or b. 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. b. 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 CHAPTER IV. TONING, FIXING AND WASHING. Ho. 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. Ho. 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. Ho. 3.—Foe Black, Velvety Tones. Water, ------ ® 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 5 then add it to the acetate and chloride solution. Heutralize 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 houis 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. Heady 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, - - - - 300 grains Chloride of gold, - 15 grains. Water, ------ 30 ounces. Ready for instant use ; but does not keep well. No. 7 .—Platinum Bath. Bichloride of platinum solutidn, - - 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, ... - 15 grains. Borax, ------ 180 grains. Boiling water, ... - 35 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. 43 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, - - 14 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, - 4 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 PHOTOGKAPIIIC 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 the 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. IS.— For Sepia Tones. A.—Carbonate of potash, .... 1 ounce. Water. ...... 4 ounces. PHOTOGRAPHIC PRINTING METHODS. 45 B.—Gold chloride, - - , . - 15 grains. Wa ter,.. 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, ------ 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 tcning 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 40 PHOTOGRAPHIC PRINTING METHODS. of 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 Sutton’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 0 j n toning, I 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 PRINTING METHODS. Its Composition—The following is the best formula known to me: 4 ounces, 20 ounces. ^ dram. Hyposulphite of soda, Water, Ammonia, 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 difterent 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, complete 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 Carbonate of potash Water 2 grains. 20 grains. 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 chi. of lime (hypo chi. 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 mounting, 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. Eock 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 by 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 70 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 pr in ts in the coldest weather. PHOTOGRAPHIC PRINTING METHODS. 51 CHAPTER V. PRINTING ON OTHER THAN ALBUMEN PAPER. As there are many who dislike the gloss of albumen prints, a brief deseription 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, Citrate of soda, - Chloride of sodium, - Gelatine, - Distilled water, 2. —Chloride of ammonium, - Gelatine, Water, - 60 to 80 grains. 100 grains. 20 to 30 grains, 10 grains. 10 ounces. 100 grains. 10 grains. 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- mulse 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, Benzoin, Chloride of cadmium, - 20 ounces. 2 ounces. 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. Kesmized 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 papei 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 lemarkable 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, - Chrome alum solution (1 to 50), Water, - 10 grains. 10 drops. .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 resinized 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 CHAPTER VI. THE PLATIJiOTYPE. 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 the 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 (powered), - - 10 to 20 drops. 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 ounce*. 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, . .... 7 ounces. Tlie 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 he 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 is added ; but this addition should be made in the dark, and the whole is allowed tQ remain at a temperature of 30 deg. C. for some days, in order that solution may be complete. I 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, - Chlorate of potash, .... N. Sensitizing Solutions. No. 1, No. 2, Water, - ... 3i ounces. 6 grains. 408 drops. 374 drops. 68 drops. B gives more vigorous prints than A ; good for thin negatives : No. 1, No. 2, No. 3, Water, 408 drops. 306 drops. 68 drops. 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 av oiding stieaks. 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. II. Edwards Ficken, published in “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 Photographic 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 may 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 18 by 22 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 comers 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 $he 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 for 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 II 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- PHOTOGRAPHIC PRINTING METHODS. 61 Developing Solution. — The developing solution is made by dissolving 12 ounces of oxalate of potash, in 4-1 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 a 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 j 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. “ 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 Platinotype 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.” Platinum 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-eiglit 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 huor- hydric acid, they are presumably permanent. w > m H M < W O K b) z m w g s * 2 > ~ K ^ fc D* w _ O w W fc < E CQ U < . * i *s I H R HJ E- h □ u X m l—l R Hi fc m R R □ (-3 ra hJ ffl Hj h a Hj W «1 m >.“■ ■° t/i 0> uj •5 s rt _l ?g PHOTOGRAPHIC PRINTING METHODS. 65 CHAPTER VII. PRINTING WITH EMULSIONS. 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 line 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-fltting 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 tits 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. Br^iide of Silver Emulsion. 42i grains. 26 grains. 1 ounce. 32J- grains. 1 ounce. 1.—Gelatine (soft), - ' Bromide of potassium. Water (distilled), 2.—Nitrate of silver, Water (distilled), - Dissolve the bromide first, then add the gelatine, and dis¬ solve by gentle heat (95 deg. to 100 deg. Falir.) ; 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 de«-. Falir., 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, Water, 1| grains. 1 punce. 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 halt 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. ISTow 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 stiipped 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 clean 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 usin° r 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 no 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 V TO 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 to 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. 2. fp ■< ! 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, B, 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 damped 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 works 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. Bo of 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. dSTo. 2.— For Brown Tones. •Gelatine, 231 grains. Bromide of potassium, 115 grains. Iodide of potassium, - 25 grains. Water, 5 ounces. Nitric acid, 2 drops. 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. 73 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, i part. 2. —Water,.100 parts. Ferricyanide of potash, - - - 1 part. The jirints must be well washed before tonino\ 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 Hot water, 1 pound. 3 pints. 74 PHOTOGRAFHIC 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, i oz) - - i dram. C. —Bromide potassium, - - - 1 ounce. Water, - . - - - 1 quart. These solutions keep separately, hut must be mixed only for immediate use. To Develop. Take, in a suitable tray, A, 6 ounces ; B, 1 ounce ; C, ^ 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 flow over the print, say 2 ounces for an S 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 ponr of! 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 <5f cotton wool, continuing to rub it i ' O lightly until the chalk is all removed ; then coat the glass with the following collodion : Soluble gbn 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 “ 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-lialf. 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, ■) ounce. Atum, - 1^ ounces. Water, ------ 10 ounces Ferrous-Citro Oxalate Developer. A. —Citrate of potassium. Oxalate of potassium, Water, - B. —Ferrous sulphate, Water, - Mix equal parts. 700 grains. 200 grains. 3% ounces. 300 ounces. 33^ ounces. Preserving the Ferrous Oxalate Developer. —It is claimed bv La Grange and Abernetter 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. AVith 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. Bock 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 5 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 tilings 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. Yidal: 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, ------ 24 ounces. The prints should be over-developed and washed in the usual acid bath; then immerse twenty or thirty minutes in Solution ISTo. 1. This converts the silver ima^e into one in platinum. If the image seems in danger of growing too intense, the print is removed from Ho. 1 before the process of conversion is completed, and placed in a tray containing a sufficient quan¬ tity of Solution Ho. 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 Ho. 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. u 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. u 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 29tli, 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 tlie 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. How, 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 iu 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 ‘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, lias always been a source of annoyance to artist, as well as to photographic printer. u 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. u 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 intensitier 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 intensitier. The process is under complete control, a deeper color merely depending upon an increased amount of the red prussiate. u 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. Kow 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 gelatine, 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- ^ elop 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 CiTRrc Acid. The Emulsion. !•—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. ^ ater > 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, Chloride of ammonium, Water, .... 2 ounces. 40 grains. 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 ounce of No. $ to eacli 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 : 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, Chloride of sodium, Water, - 2. —Nitrate of silver, - Water, - 360 grains. 108 grains. 6 i ounces. 231 grains. 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. Falir. 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 TOO 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, ----- lTi 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 be 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-Out 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. T ellow 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 123f 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 123* grains of soluble gun cotton, and after thor¬ ough shaking, 5£ ounces of ether; shake well until a grayish- white collodion forms. In another bottle dissolve 15^- 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 stiiring. 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 suiplus 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, Hot water, - 2. —Sulphate of soda, Hot water, - li ounces. 10 ounces. 2 ounces. 10 ounces. Filter each solution through closely-woven muslin, and then mix them. Allow the white dejaosit 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 applving 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 fiat; 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. 00 PHOTOGRAPHIC PRINTING METHODS. CHAPTER VIII. MOUNTING THE PRINTS. ^ 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 destrov in great degree the pictorial elfect 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-eiglith of an inch more margin at the bottom than at the to]). 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 fines 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 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 5 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 bv heat. After thin- ning down to the proper consistency Avith 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; Avhen solution is complete, 2 ounces of alcohol are added. When cool, this sets into a jelly, and can be used bv melting; it in a Avater bath. W. J. Stillman’s Mountant. One ounce of gelatine is soaked for seA’eral 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 Avater 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 avith Glass. A method of mounting is now to be described which is re¬ markable for the softness and brilliancy Avhich it imparts to the prints and for the amount of detail in the sliadoAvs Avhich 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 abo\ r e 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 Avith the glass. The back of the print is coA^ered with a piece of rubber cloth and the squeegee used to remoAm possible air bells and wrinkles. Then set aside to dry. The beauty and brilliancy of prints so mounted Avill be a surprise and delight to those Avho haA'e 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. T" o ounces of soft gelatine are soaked in cold water until soft 5 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 w r ay 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. Wlien 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 J ^ 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- ingin the center half an inch smaller than the glass on which the print is mounted. This will allow the glass to overlap the $4 PHOTOGRAPHIC PRINTING METHODS. opening a quarter of an inch all around. Lav 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 hack of the mat, thus making a well in which the glass mount will he 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 q>aper, 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. Pound 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 ])late. 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. Peinove the glass, substitute for it the plate-board, and place under a copving- 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 beused instead of plate paper, and it will be found to give good results. 96 PHOTOGRAPHIC PRINTING METHODS. CHAPTER 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. _ ^ ie 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¬ ’s ersed 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 trav, one end of the tissue is raised from the bath, and jilaced 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¬ ing the sensitized tissue in an alcohol bath, 01 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. 98 PHOTOGRAPHIC PRINTING METHODS. Developing Trays. When only a few pieces of the tissue are to he 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 hatlis are used, in which many pieces of tissue can he developed together, the pieces of tissue being suspended in the water. Formulae. No. 1. — For Single Transfer. Hard gelatine, ----- 4 ounces. Water, ------ 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 licpiid, 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. Transparent sheet gelatine, White sugar, Water, - 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 su-ar and stir well. When the jelly has set, turn it out of the howl and cut off the bottom to remove all sediment. 2 •—For Purple Brown Tones. Refined lamp-black, Alizarine lake, Indigo, - 72 grains. 60 grains. 13 grains. G-rind these fine with four ounces of the jelly given in No. 1, and add to six pounds of the same jelly, and mix well. 3 . —Black Tones. Jelly. Lamp-black, .... d .—Red Tones. Jelly, Venetian red, .... Indian ink, .... —Transparency Tissue. 2 pounds. 50 grains. 2 pounds. 3 ounces. 8 grains. Jelly, - Indian ink, - 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, Ammonia, Alcohol, Water, 13 ^ ounces. 1 dram. 4 ounces. 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 rectangulai opening covered with a piece of glass, painted a daik 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 recei\ e the same quality of light as that which falls upon the negati\ e. 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 determine 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 will 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 PRINTING 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 at 100 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, and 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, - - - - - - 1 ounce. Add b 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. DeveloDment is the same as de¬ scribed above. CoNTINUATING ACTION OF LlGHT. Capt. Abney, I believe, was the first to notice the fact that, when the insolubility caused by the action of light upon a film of bichromated gelatine had once begun, it continued in the dark, and that it was further increased by exposure to non- actinic light. Advantage is often taken of this remarkable property of the film to diminish the time of exposure. The tissue, after receiving a brief exposure under the negative, is placed in a light-tight box, and development deferred until it is judged that the continuating action has been sufficiently prolonged. Exuerience is the only guide in this matter. Failures in the Carbon Process. [From Liesegang’s “ Le Procede 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 allow it to dry thoroughly. 104 PHOTOGRAPHIC PRINTING METHODS. 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. 7 . 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. 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 CHAPTER X. PRINTING ON FABRICS-PRINTING ON LINEN. Sizing Solution. Water, White glue, 1 ounce' 2 grains. Salting Solution. Chloride of ammonium, Water, 2 grains. 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 grams 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 to* Printing on Silk. Chloride of ammonium, Iceland moss, Boiling water, 100 grains. 60 grains. 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. Tlie following description of tlie 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 he 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 w T ill 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 lor2, - - - - -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- 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 lmen it is found that each square foot requires a little more than li 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 fixing 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 PRINTING 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^n 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 dip 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-liydrogen 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 Ill PHOTOGRAPHIC PRINTING METHODS. 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. Now, on a table or shelf, adjusted in front of the negative-box, jdace 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. In 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. 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. Xow, 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 u 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 3J x 4J 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 the 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. Iam 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 I. A wide groove is cut in A B, in which slides the thinner three- PHOTOGRAPHIC PRINTING 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 F 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. In Use in the Eastman Factory. 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. Foi enlargements with artificial light it is only necessary to enclose the source of fight 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 Light .—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 figures 6 and 7. 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. (See fig. 7.) 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 \ ork 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 j)iece 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 on 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. i 2 3 4 5 6 7 8 In. In. In. In. In. In. In. In. In. 4 6 8 10 12 14 16 18 4 4 3 2% 2% 21 21 21 21 2 X 5 1% 10 m 15 171 20 221 5 3% 31 3 % 3 2{h 2f 211 6 9 12 15 18 21 24 27 6 6 4K 4 3K 31 31 31 3f 3K 7 iok 14 17& 21 241 28 311 7 5K 4% 4M 41 4 1 4 Q 1 5 8 12 16 20 24 28 32 36 4 8 6 5K 5 4 1 4f 41 41 4K 9 13^ 18 22 X 27 311 36 401 9 3% 6 5% 5f 51 51 5fir 10 15 20 25 30 35 40 45 0 10 7K 6% 6K 6 51 5f 5 K 11 16 K 22 27M 33 CO 00 44 491 11 3K 7K 6% 61 a 5 6f ft 3 6 12 18 24 30 36 42 48 54 12 9 8 7K 7 1 7 6f 6f 14 21 28 35 42 49 56 63 i 14 m 8% 81 81 8 71 8 16 24 32 40 48 56 64 72 16 12 m 10 91 91 91 9 18 27 36 45 54 63 72 81 y 18 13^ 12 UK 101 101 lOf 101 It is assumed that the photographer knows exactly what the focus 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 he 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 num¬ 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 w v ashed 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 it lias 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 confi- 120 PHOTOGRAPHIC PRINTING METHODS. dently, that the best results can be obtained quicker and better. t rayon 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. ^ 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 and 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. With 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 lace 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 0 Conti superfine m wood. A No. 1 of the same kind will also be required for the darker touches. This work upon the face is more m 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. . Pas * el '~^th the pastel there is no difference in the man- facility 118 ’ the gelatino ' bromide takin ff P ast el with the greatest 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- ion of ammonia till all the greasiness disappears, and to be careful not to wash one color over another till the first is thor- oug fly 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 has been allowed to get on the face ot 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. Very fine results can be obtained by Mr. W. T. Wilkinson’s method, the details of which are as follows: Water, Ammonium bromide, Ammonium iodide, Ammonium chloride, 10 ounces 150 grains 20 grains. 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 co.ld water; gradually raise the water m 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, Al¬ 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. After 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, whi/fli 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 frecpient 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, - White sugar, - Bichromate of ammonia, Water, - Glycerine, - I dram. II drams. i dram. 3 ounces 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-hair 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 m 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 he 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 PRINTING 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 Bath. Nitrate of silver, .... - 40 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, Water, Acetic acid, Citric acid (saturated solution), 90 grains. 32 ounces. 24 ounces. 10 drops. For prints from hard negatives use more pyro; less for prints from weak negatives. To develop, lay 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 lie used within fifteen minutes. Three and one-half drams of the sensitizer will cover a 25 x 30 sheet. Other sizes require a jiroportionate 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. WTien 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. Printing. Negatives to be printed in the solar camera should be of the density of thin contact negatives. Gelatine negatives give grayish prints. A 7 ery 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 V-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 170 deg. Falir. 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, and much of the fine 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 sojne 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 PHOTOGRAPHIC PRINTING METHODS. damp weather. Remember 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 1SST, 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.” (For 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 I hotographic printing methods. 129 only about one-tenth to one-fifth of that required for silver pajier. ‘‘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 m an upright position on a stretcher covered with muslin; the water, under considerable pressure, is shower¬ ed upon it through a hose 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.” J 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 trom that given in the ninth edition of Hardwich. fc The Exposing Apparatus. . T ]^ 1S ^ onsists of a base made of two parallel pine boards ngidly 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 ikely 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 broino-iodizer is added: Iodide of cadmium, - - - - 65 grains. “ ammonium, ... 25 grains. Bromide of cadmium, - - - - 19 grains. “ ammonium, ... 11 grains. Alcohol, ------ 5 ounces. To wliicli lias 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. J* 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 flow 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 lieigthened by sketching upon the drawing paper a few sketchy, crayon-like lines, surmounting and merging in¬ to the vignetting of the bust. \ * 132 PHOTOGRAPHIC PRINTING METHODS. CHAPTEK XII. TRANSPARENCIES AND 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, gelatino-bromide. The order of this 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 “ Wl ien 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 pioceed 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. “ Panting 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 ot 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 trame, and in it, a plain clean glass as a support. Fiist place in the frame the glass, and upon it the mat; then, facing upwards 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. He 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 developer, 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 70 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 w T ay 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. Ten minutes will ordinarily suffice to accomplish this. “ A good strength for the hypo solution is Hyposulphite of soda, ... 4 ounces. Water, - - . - . 20 ounces. PHOTOGRAPH IC PRINTING METHODS. 135 u After tlie fixing is completed, the plate must be washed for a few minutes, in running water, if possible, before im. merging in the clearing bath. I use the formula given by Mr. Car butt for this purpose, and allow the plate to remain in the solution about one minute. “ The formula is as follows : Water, ----- 20 ounces. Pulverized alum, .... ounce. Sulphuric acid, .... * ounce. u 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. a 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, ... 0 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. Indian 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 uarter-plate negative glasses most thoroughly cleaned. PHOTOGRAPHIC PRINTING METHODS. 137 . y aust coated with a very weak solution of Ra¬ tine, containing one grain of chrome alum to the ounce; the ooating 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. . Aftei sensitizing, the plates are washed to remove the free nitrate of silver, and sat aside to dry. They will keep good for several days. 13S PHOTOGRAPHIC PRINTING METHODS. Exposure .—Full exposure must be given to avoid cold tones; 6 to 8 minutes in tlie shade under a negative of me¬ dium density; but it is well to use the actinometer described in the Chapter on Carbon Planting. Development .—Development is effected by pouring the fol¬ lowing solutions on the plate, placed on a levelling stand or in a glass dish. O 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-Chloride 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 m Chapter VII. PHOTOGRAPHIC PRINTING METHODS. 139^ A few additional developers are here given for the develop¬ ment methods. No. 1 .—For Warm Tones. Citrate of potassium, - Oxalate of potassium, - Hot water, . 136 grains. 44 grains. 1 ounce. No. 2.—For Cold Tones. Citric acid, .... Carbonate of ammonia, - Cold water, .... 120 grains. 88 grains. 1 ounce. To three parts of either of these add one part of the follow¬ ing at the time of using: Sulphate of iron, Sulphuric acid, Water, - 140 grains. 1 drop. 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, L—Bromide of cadmium, Alcohol (absolute), Iodide of ammonium, Cotton (cream), - Ether, 2.—Nitrate of silver, Distilled water, Alcohol, - Nitric acid, - 648 grains. 18 ounces. 162 grains. 486 grains. 27 ounces. 900 grains. 360 drops. 9 ounces. 270 drops. Pour No. 1 into FTo. 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 cotton and shake well; lastly, add the ether and shake again. Now put the nitrate of silver into a second bottle and add the water bv 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£ 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 PRINTING 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 how dried, exposed under the negatives and developed with the following developer : Carbonate of soda, - - - - 1 ounce. Bromide of ammonium, - - . - 80 grains. Hone y>. 1 dram. p y ro -.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. Develojyment .—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. John Carbutt, and, therefore, possesses exceptional value : Transparencies and IIow 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 negar five what is conceded the finest positive obtainable. The requisites for contact printing are a deep printing frame, 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. T hose for lantern slides are made on thin crystal glass of the now accepted standard size, 3^x4 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 he, 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 ditfused light, passing through the negative; beneath this a support for the negative should be placed. The same camera and lens, used for making- the neg-a- 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-liolders, 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 m the holder or support, if it is desirable to have a 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 - , ' 100 parts. Bicarbonate of ammonia, . 91 / ’ ' - 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, Water, - 30 grains. 6 ounces. . The ^chromate is to be finely powdered and then dissolved m the water, and the solution added to the albumen beaten to a froth. After settling, the solution is filtered. 3.—Gelatine (hard), - Gelatine (soft), Bichromate of potassium, Bichromate of ammonium, Water, ... 231 grains. 231 grains. 462 grains. 308 grains. 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 verv 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. Clausintzer’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 PRINTING METHODS. 195 2. —Perchloride of iron, Water, Hydrochloric acid, - 3. —Nitric acid, Water, 1 dram. 40 drams. 30 drops. % ounce. 10 ounces. 4 -—For Copper , Bronze , and Steel. Perchloride of iron, Water, Hydrochloric acid, 1 dram. 35 drams. 20 drops. 5 .—For Aluminium. Hydrochloric acid, - Water, 1 ounce. 5 to 10 ounces. 6 .—For Gold and Platinum. Aqua regia. 7 .—For Silver. Nitric acid, Water, 1 ounce. - 10 to 30 ounces. 8 -—For Stone and Marble. Hydrochloric acid more or less diluted with water. 9.— Glass. Fluorhydric acid (liquid) for transparent lines on a mat sur¬ face, and fluorhydric acid gas for mat lines on a trans¬ parent surface. In 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 coveied 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 rocking 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 fine 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 the 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 PHOTOGRAPHIC PRINTING METHODS. 197 thick; for the hand press, it need be no thicker than glass. Preliminary Coating.—The glass is thoroughly 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. 27 PAGE 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 THEORY 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. 221 Mounting . ^ By the Carbon Process. By the Albumen Method. By the Collodio-chloride Process By the Gelatino-bromide Process By the Gelatino-chloride Process By Levy’s Collodion Emulsion.. By Carbutt’s Method. TTRANIUM COMPOUNDS, Printing with.. Sensitizing Solution. PAGE Developing Solution for Brown Tones. 24 Developing Solution for Gray Tones. 24 WASHING. 48 With Eau de Javelle. 49 With the Hypochlorite of Zinc Hypo Eliminator.. 50 Willis’ Permanent Paper, Printing on . 38 t PAGE 135 136 137 138 138 138 139 142 24 24 * “ Tasteful, well edited and crammed full of technical information is The Photographic The Photographic Times is an able, vigorous, and enterprising periodical. ”-Benj. French Times.’ The Journalist. (& Co. The Photographic Timet FREQUENTLY IUJ8TRATEO, Is a WEEKLY JOURNAL devoted to the THEORY, PRACTICE, and ADVANCEMENT of PHOTOGRAPHY. ITS DEPARTMENTS ARID CoiU?rbut^ri rt al^ 0n ^ CtiC ^, Subjects ’ and General Editorial Notes. ind abroad. Miscellaneous Articles by the best photographic writers at home iifT ?' a, ?, le r Reviews of books, exchanges, etc. ^o C ^ r ®*^ CeiVetl - I . m P artlal cnticism and notice of all photographs sent in Commercial Intetlb^noelAJ tha Editors to correspondents in search of knowledge. and a record of photographic patents'!" 15 l ° n ° D6W P hot °£ ra P hic appliances, studio changes A PARTIAL LIST OF WRITERS TO THE PHOTOGRAPHIC TIMES wMK- • • ' E “^- Prof. W. k. Burton, . W. E. Debenham, . IT T» T» __ ’ * H. P. Robinson, G. Watkough Webster, Arnold Spiller, W. Jerome Harrison, Andrew Pringle, Charles Scolik, . Dr. Mallman, . Karl Schwier, Victor Schumann, . W. J. Stillman. . Dr H. D. Garrison, S. W. Burnham, . Henry l. Talman, Gayton a. Douglass, A. Hester, Gustav Cramer, . J, F. Edgeworth, W. H. Sherman, . George Eastman, David Cooper, Prof. H. W. Lord, H. McMichael, . John Carbutt, The Photographic Times, . Scotland. Vienna. «« Germany. Rome. Chicago. . St. Louis. <( . Milwaukee. Rochester. H Columbus. Buffalo. Philadelphia. W. H. Walmsley, Frederick a. Jackson, Prof. Randall Spaulding, Prof, Wm. Harkness, U.S.N., Dr. John H. Janeway, C. D. Cheney, D.D.S., . Prof. Karl Klauser, Geo. H. Johnson, . , Miss Adelaide Siceel, Charles Wager Hull, Rev. G.'M. Searle, . C. W. Canfield, . P. C. Duchochois, Henry M. Parkhurst, Rev. C. E. Woodman, Ph.D H. Edwards-Ficken, S. H. Horgan, Wm. Kurtz, J. M. Mora, . Prof. L. C. Laudy, A. Bogardus, Chas. D. Fredricks, A. Moreno, . C. W. Dean, . . Dr. O. G. Mason, Ernest Edwards, . Dr. Chas. Ehrmann, W. I. LINCOLN ADAMS, Editor. j Monthly Edition issued on the I last Friday in the month. • Philadelphia. . New Haven. Montclair, N. J. Washington, D. C. • • U. S. A. Hoboken, N. J. Farmington. Bridgeport. Newburgh. New York. } Issued Every Friday. SUBSCRIPTIONS. One copy Weekly issue, postage included, toall points in U. S. or Canada, - . . -,*7-,, . ", . “. Illustrated, postage included, to all noints in TT S orOnnarin " * q M ontllf 1Saue t0 foreign addresses, postage included, points in u. &. or Canada, 3 $3 00 •i 00 00 00 3 00 4 00 at t ,, *‘ „ Illustrated, postage included, t U s u coT». p r^ SCOVILL MANUFACTURING CO., W. IRVING ADAMS, Agent. 423 Broome Street, New York. The Weekly Photographic Times and the Philadelphia Photographer to one address, $ 0 . 50 . The Photographic Times is one of the most progressive technical journals published.” has 11 . «X g ,rw“& “ d <«■«>• The Times 1 THE Eastman Dry Plate & Film Co. ROCHESTER, N. Y., Sole Manufacturers of Eastman-Walker Roll Holders, Eastman’s Negative Paper, Eastman’s American Films, Eastman’s Permanent Bromide Paper, Eastman’s Enlarging Cameras, „ Eastman’s Enlarging Easels, Eastman’s Gelatine Dry Plates. AMERICAN FILMS. These films, and the process for working them, have now been perfected and they are offered as a reliable and satisfactory substitute for glass dry plates in out-door photography. Negatives made on American Film are in no way inferior, and prints therefrom cannot be distinguished from those made from glass negatives. The operations of stripping have been simplified, and the manufacture of the films improved, leav¬ ing little to be desired. The substitution of insoluble stripping skins for the strip¬ ping varnish quickens the drying and does away with the ob¬ jections heretofore made in this regard. Varnishing both sides of the negative with collodion removes all danger from at¬ mospheric changes. Attention is called to the illustrations in this book as samples of work on American Films. Used in connection with the Eastman-Walker Roll Holder, the Film offers the greatest advantages for out-door work and is invaluable for scientific and governmental expeditions. Can be used as Negative Paper when preferred. THE EASTMAN DRY PLATE & FILM CO. ii Eastman Permanent Bromide Paper, F ° R CONTACT PRINTS COPYING DRAWINGS, By Development with Ferrous Oxalate. Made on three qualities of paper. A, thin smooth ; B, heavy smooth; C, heavy rough. Sold in rolls or cut sheets This paper, owing to its freedom from mechanical defects, and the great uniformity of the emulsion, has become the standard throughout the One of the distinguishing features of our paper is the ease with which pure black and grey tortes can be obtained by development alone, the purity of the whites being always maintained. BOOK ILLUSTRATIONS. printed on Bromide Paper with our Web printing press (patent applied lor). For example of work done on this press see illustration in this work. Sample print of any kind of subject sent on request. Bromide prints, in editions not exceeding two or three thousand, compete in price with those'made by the best photo-mechanical processes, and surpass such work in sharpness, graduation of tone, and uni¬ formity;. being made from the original negative nothing is lost by reproduction. Send for estimates. The Eastman Dry Plate & Film Co., ROCHESTER, N. Y. iii A. ffl. COLLINS MFG. C0„ ]STo. 527 Arcli Street, PHILADELPHIA, PA., MANUFACTURERS OF AND CARD BOARD. Quality, the Best. Styles and Colors in Variety Unexcelled. These Standard Goods are For Sale BY ALL PHOTOGRAPHIC MERCHANTS. IV HEADQUARTERS FOR Photographers’ REQUISITES. OUTFITS, In All Sizes, a Specialty. SEND FOR CATALOGUE, JOHN g. hood Estalolislioci 1865. * s u w Dealers in all Articles Needed by the PR0FGSSI0RAL Amateur PHOTOGRAPHER. SOLE U. S. AGENTS FOR HOS© LENSES. Complete Price Lists Free. WILSON, HOOD & CO. No. 910 Arch St., Philadelphia, Pa. vi WILSON. KUHN’S SENSITIZED Paper Stretcher »*» Dryer Is indispensable in every first-class gallery. Paper dried with it lays perfectly flat, and therefore better prints can be ob¬ tained. You can also cut your paper either lengthwise or crosswise of the sheet, as it neither stretches nor shrinks afterwards. In addition, it is very desirable for handling Eastman’s Bromide Paper. PRICE. 18 x 23 size, each, 20 x 24 “ “ $1 50 1 75 Patented. KUHN’S Improved Vignetting Attachment, For Vignetting the Negative. Light, Strong and Durable. • reliable, and quickly ad- justed to any Lens, by the means of a thumb screw. It can be raised or lowered at will to any position desired by the operator, by simply pulline a cord, without leaving his position be- nind ihe camera. PRICE, each, - _ $3 50 The HJagic Vignetto. For Producing the Popular Black Background Photographs. There is no more trouble or expense than in making plain photographs. It is easily attached to any Camera, by fastening it on the inside of dia^ phragm of box (as shown in cut above). The opening can be regulated to the propel- size by simply moving the lever to or from you. Focus and expose as usual. Every one guaran¬ teed. PRICE, each, - - $8 00 Hi] Sample photograph sent on application H. A. HYATT, ' * Sole Agent, and Dealer in Photographic Supplies of Every Description, N. E. Cor. 8th and Locust Sts., ST. LOUIS, 3VEO. FOR SALE BY ALL DEALERS. Vi 1 CARBUTT’S “Keystone” Dry Plate, PRONOUNCED THE NE PLUS ULTRA OF DRY PLATES. SPECIAL INSTANTANEOUS PLATES - (Blue Label), Sensitometer 22 to 25. Are for Portraits, Interiors, and Drop Shutter work. Large consumers can have their orders filled from one Emulsion. “B” PLATES (White Label), Sensitometer 15 to 17. Is the Landscape Plate par excellence. ORTHOCHNOMATIC PLATES, for Portraiture, Copying of Paintings and Art objects, Interiors, and Landscape Views. STRIPPING PLATES, for Photo-mechanical Printers, made with “ B ” or Special Emul¬ sion as desired. GELATINO-ALBUMEN “ A ” PLATES, Sensitometer 12 to 14, for Transparencies, on Thin Crystal Glass for Lantern Slides, and selected plain and fine Ground Glass for Transparencies. CARBUTT’S MULTUM IN PARVO DRY PLATE LANTERN, AND OTHER SPECIALTIES. FOR SALE BY Scovill Manufacturing Company, New York, And Dealers to Photographic Materials Generally. Descriptive Circulars mailed on application to JOHN CARBUTT, KEYSTONE DRY PLATE WORKS, Wayne Junction, Philadelphia. Vlll THE AMERICAN OPTICAL COMPANY’S APPARATUS, INCLUDING ALL STYLES OF Cameras ; Enlarging, Reducing, Copying and Multiply¬ ing Boxes; Tripods; Plate-Holders, for Wet or Dry-Plates ; Printing Frames ; Amateur Outfits, etc., etc., has long been UNRIVALLED FOR BEAUTY OF RESIGN, UNEQUALLED FOR DURABILITY OF CONSTRUCTION, —AND— UN APPROACHED FOR FINENESS OF FINISH. THEY ^ALWAYS GIVE UNQUALIFED SATISFACTION. FOR SALE BY ALL Reputable Photographic Dealers, AND BY THE SCOVILL MANUFACTURING CO., 423 BROOME STREET, NEW YORK. W. IRVING ADAMS, Agent. Send, fox* Latest Catalogue. ix FOR SILVERING, The WATERBURY Trays are the BEST and CHEAPEST These Trays are made by the Mricaii optical Co. which of itself is a guarantee of the superiority of the wood work. Canvas is not required for the seams, as the bottoms are seamless. The bottom rests on cross-strips—a great im¬ provement, for steadiness, over knobs at the corners, which were liable to be broken off. THE WATERBURY TRAYS are guaranteed not to warp or crack. PRICE LIST. Each. 15x19 Waterbury Trays.$3 50 19x24 “ “ 5 00 22x28 “ “ 6 50 25x30 “ “ 9 00 x Preserve Your P rints From Fading! READ WHAT IS SAID ABOUT Flandreau’s S . R C. H ypo Eliminator. Taken from The Photographic Times of June 3d, 1887. THE NEW HYPO ELIMINATOR. To the Editor of the Photographic Times. entitle?'^ do tbe$°S£lXZ“, “ f 110 ™' ««• the hypochlorite of zinc for removing th“ ast trace* strongly recommend In doing this you doubtless bring ton5 3 S? n ? om sl , lver Prints, portant improvement in print washme- that Photographers the most im- made. There is no doubt hi my mind^that the « g ^ eSte< ? s - ln - ce prints were fl rst and that for which a simple and practical'remeH per , ta ! nl . n g to silver prints, not eliminated from them. Nowthat the ne . ed ® d > is the hypo that is in an effectual and perfectly harmless manned P ! 1S !l lng thls desir able end possibly exist for its not beingToncI uK^lv adonte P dT^ d ° Ut ’ w T ha ^ ^ cuse caa use as soon as I can obtain a fupply of the requilfte^material ' ° De ’ 1 ShaU put 11 to wh^g2S^r^S^S.*a tanHbL 0d o U r' ing 'n han !r S in their Practice in decidedly tangible. By us ng fhis alent rhe nr.nt Z V1S1 , ble ' Bat here is something with half the water, and whft is mulh more Wasbed in half the time! not a particle of hypo or sulphur™hall remain n i m, gh i y m , a y the work be done that which every conscientious pCogranhlr S ho,, d £ urel ? th,s i? an improvement Not having practically tested tl !nr!Lil 0 T H d „ 1S ? n0 tl , me J I ? Putting into practice, ence, but its application is certainly theoreHen ih? not s P? a ^ lt; from actual experi- there can be any drawback fn itfuL 6 y COrrect - and U seems impossible that be fih^discusse^. 4116 C ° ming °° n Ve^yTespeTfS! ° f 4116 N ® W HyP ° EIiminator will •-----. W. H. Sherman. Flantoii’g p. (J. pijpo Eliminator 1 — IS A — hypochlorite of zinc, Ofwhioh the Letter Speaks so favorably. IT IS HARMLESS! IT IS EFFECTIVE! It Saves TIME, PATIENCE, NEGATIVES and PRINTS. trodoci^ aSS6rti0n “ Photographk Rs are Proverbially Slow in in- lortantin, ” PrACTICE '” b y dela yu>g to procure this “ most im - prinT:^ Which h °° ^ since BUY A BOTTLE AT ONCE I IT c OSTS BUT FIFTY CENTS l And is accompanied by a BOOK OF TEST PAPER, for detecting the slightest trace of Hypo in negative or print. Tor sale by all Dealers in Photographic Requisites, and by the Scovill Manufacturing Company. xi Scovill’s 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 Dozen * 4 x 5 inches, in light-tight rolls, 2 dozen. $0 20 5x8“ “ “ 2 “ 37% 6%x 8% “ “ “ 2 “ . 50 8 x 10 “ “ “ 2 “ . 7o 18 x 22 “ “ “ 1 “ . 3 00 To save loss , Rolls are not broken. Tin Cases, to hold one dozen, 18 x 22 Sensitized Paper, 30c. each. “ “ three “ “ “ “ 50c. “ I S. P. C. Ferro-Prussiate Paper, MAKING Blue and White Pictures. PRICE LIST. Size. P er Package. 4 x 5 inches, in light-tight parcels, 2 dozen. $0 28 g x 8 “ “ “ 2 “ 50 8 ^ “ “ “ 2 “ 67 8 ' x 10 " “ “ “ 2 “ B3 To save loss, Parcels are not broken. In full Rolls of 11 yards each, 29 inches wide, $5 00 per Roll. THREE-CROWN ALBDMENIZED PAPER, Used by MORA, FREDRICKS, ANDERSON, MORENO & DOPED, and the leading Photographers of this country. DRESDEN ALBUMEN PAPER] DRESDEN ALBUMEN PAPER DRESDEN ALBUMEN PAPER, THE BEST WORKING, DOES NOT BLISTER. THE ORIGINAL PENSE PAPER, TRY IT ONCE. FOR SALE BY ALL DEALERS. SCOVILL MANUFACTURING COMPANY, Importers. xii READY-PREPARED SOLUTIONS For Photographers’ Uses. FRENCH AZOTATE (For^gT^ P rice , per bottle 25 ct, S. P. C. PYRO AND POTASH DEVELOPER, Price, per package' 60 cts' S. P. C. CARBONATE OF SODA DEVELOPER, Price, per p k ge 60 cts HA S,S™ -k negatives)' ' ■ - 75 cts FLANDREAU’S S. P. C. HYPO ELIMINATOR (For removing PdS vex bottle P ° S -th P h lte i ° f f Soda fr0m Ne ^ atives and Prints) 8 rrice, per bottle, with book of testing paper, . - 50 cts FLANDREAU’S S. P. C. ORTHOCHROMATIC SOLUTION bv package," y " ^ ? ndered ™lor- S en S Tt,Ve Price ’pe^ FLANDREAU’S S. P. C. RETOUCHING FLUID, for varnished $I °° or unvarnished negatives. Price, per bottle, - . 25cts. For jsale by all dealers in Photographic Requisites, and by the Scovill Manufacturing Company. Scovill Print ing Frames. The Scovill Printing Frames are now provided, in all sizes, with the new tally, without addition to the price. Below 5 x 7 size there is room for the tally only where the backs are cut “ two-thirds,” as shown in the illustration. 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 se¬ cured by rivets and turn on brass washers, being held at the end by buttons made so that they cannot turn around. They are constructed so that a uniform pressure is obtained, thus insuring perfect contact between the paper and the negative, and re¬ moving 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. LIST. For Regular Flat, , Plates. or Two-thirds. 11 x 16.... $2 05. 14 x 17. 2 45. 16 x 20 . 4 50 . 17 x 20 . 4 50. 18 x 22 . 5 00 . 20 x 24 . 5 50. 24 x 30.9 oo 35 x 45.16 00 30x 60*.22 00 riclfortheresnecdvfsizes 0 ° Pen len ^ thwa y s ’ ten P er «nt. is added to the foregoing Patent Applied For. 'For Plates. 3*x 4i . 4 x 5 . Regular Flat, or Two-thirds. 3PRIOIC Deep. 4J- x 5J-. . 75 4i x 6jr. 5 x 7. Q* 5 x 8 . 6 J x 8£. 1 OK 8 x 10 . i nn 10 x 12 .... 11 x 14 . .2 50 Deep. .$2 75 . 3 00 . 3 75 . 4 75 5 25 5 50 prices ior tne respective sizes. * Larger or special sizes made to order at short notice. xiii A STANDARD BOOK OF REFERENCE. SECOND EDITION OF THE AMERICAN ANNUAL OF PHOTOGRAPHY AND “PHOTOGRAPHIC TIMES” ALMANAC For 1887, C. W. CANFIELD, Editor, It contains five full page illustrations : AN EXQUISITE PHOTOGRAVURE, by Ernest Edwards. A BROMIDE PRINT, by the Eastman Company. A SILVER PRINT, by Gustav Cramer, of St. Louis. TWO MOSSTYPES, by the Moss Engraving Company. 197 pages of Contributed Matter, consisting of articles on various subjects, by 80 representative writers of this country and Europe. Also, in addition to the contributed articles :—Yearly Calendar. Eclip¬ ses, the Seasons. Church Days, Holidays, etc. Monthly Calendar, giving Sunrise and Sunset for every day in the year ; Moon’s phases ; also, dates of meetings of all American Photographic Societies. A list of American and European Photographic Societies. Photographic Periodicals, Ameri¬ can and European. Books relating to Photography, published 188G. Ap¬ proved Standard Formulas for all processes now in general use. Tables of Weights and Measures. American and Foreign Money Values. Com¬ parisons of Thermometric Readings. Comparisons of Barometric Read¬ ings. Symbols and Atomicity of the Chemical Elements. Symbols, Chemical and common names and solubilities of the substances used in Photography. Tables for Enlargements and Reductions. Equations re¬ lating to Foci. Tables of Comparative Exposures, Freezing Mixtures. Photographic Patents issued 1886. Postage Rates. All Tables, Formulas, etc., brought down to date and especially prepared or revised for this work. j Price, per Copy, 50 Cents. Postage , 10c. “ Cloth Bound, $1.00. “ “ A few author’s copies, bound in white leatherette, gilt lettering, and printed upon laid paper, each $2.50. For sale by all dealers, and by the publishers, S00VILL MANUFACTUBING COMPANY. xiv ScoYill’s Photographic Series. Price, Per Copy. Guide 75 25 25 25 T Y oun g Photograph er ^ it her ProT By J i Tr a ILL Taylor. A Guid. K rmotographer, either Professional or Amateur. (Second Ed.) $0 S o o. —THE ART AND PRACTICE OF SILVER PRINTING. (Second Edition) S c 3.—Out of print. N °. 5 — P gOTO G RAPHY WITH EMULSIONS.-By Capt. W De W Abney a R nd E Co^dtn 1^.^!^, No. 6.-N0. i 7 has taken the place of this book. NO ‘ 7 ^oth^r^^ebrat^d^xp^ E ^^(Thlrd^Editio^ S .*^ Y M ' No - ^"iSS , O. 9. T g^ E gVE g EEME NTARY LESSONS IN PHOTOGRAPHIC CHEM STRY-Presented in very concise and attractive shape. (Second EdiTion.) No. ro.-THE BRITISH JOURNAL PHOTOGRAPHIC ALMANAC FOR i8 8 3 . No. 11.—Out of print. N °’ PRINTING. No. 14. ABOUT PHOTOGRAPHY AND PHOTOGRAPHERS a . wfthrcamera 6 ^yS . N °' 1S, “ Ed?r OF THE SPECTRUM.-By Dr. J. M. N °‘ ^'“AutKFpictorial Effec^Tn »jr H. P. Robinson. finely illustrated. IlluminatedCovlr, ^c'ts.Taoth p °P^ iorm and No. 17.—FIRST LESSONS IN AMATEUR PHOTOGRAPHY Rv p„„ p W Sf3g«. „ N0.18.-THE STUDIO: AND WHAT TO DO IN IT - Bv H P R„ N °'* 9 _ '^Mmi^^Wito^nJhim^recfaQd^five’practicafiEustnitions, Su»:. J No. 20. DRY PLATE MAKING FOR AMATEURS.—By G,o. L. S,™. M.D., 2 50 5° 5° 25 75 N °' ”• GRAPHIC'TIMES ALMANAC %R 1?'!2? RA C 1 K. AND PHOTO- (postage, ten cents additionab ^l^bound. . 5 ° CentS; No - ”“ p .“ TO g;.ra c i ,^.™. i : , . NG . , methods - bp <**». w. h. b™’ 75 5° 1 8 xv SCOVILL’S OTHER Photographic Publications. Price, Per Copy. HOW TO MAKE PHOTOGRAPHS.—Containing full instructions for making Pa¬ per Negatives. Sent free to any practitioner of the art. New edition just out.. ART RECREATIONS.—A guide to decorative art. Ladies’ popular guide in home decorative work. Edited by Marion Kemble . 2 00 THE FERROTYPERS’ 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. Paper, 50 cts. ; Cloth. 1 00 PHOTOGRAPHIC MANIPULATION.—Second edition. Treating of the practice of the art and its various applications to nature. By Lake Price. 1 5 ° HISTORY AND HAND-BOOK OF PHOTOGRAPHY.—Translated from the French of Gaston Tissandier, with seventy illustrations. 2 50 AMERICAN CARBON MANUAL.—For those who want to try the carbon print¬ ing process, this work gives the most detailed information. 2 00 MANUAL DE FOTOGRAFIA.—By Augustus Le Plongeon. (Hand-Book for Spanish Photographers.) Reduced to. 1 -°° SECRETS OF THE DARK CHAMBER. - By D. D. T. Davie .$1 00 HOW TO SIT FOR YOUR PICTURE.— By Chip. Racy and sketchy . 30 THE PHOTOGRAPHER’S GUIDE.—By John Towler, M.D. A text-book for the Operator and Amateur. 1 5° A COMPLETE TREATISE ON SOLAR CRAYON PORTRAITS AND TRANSPARENT LIQUID WATER COLORS.—By J. A. Barhydt. Practical 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. 5° THE BRITISH JOURNAL ALMANAC FOR 1887. 50 PHOTO NEWS YEAR BOOK OF PHOTOGRAPHY for 1887.. 5° CANOE AND CAMERA.—A Photographic tour of two hundred miles through Maine forests. By Thomas Sedgwick Steele. Illustrated. 1 5° PADDLE AND PORTAGE.—By Thomas Sedgwick Steele . 1 5° PRACTICAL INSTRUCTOR OF PHOTO-ENGRAVING AND ZINC ETCH¬ ING PROCESSES.—By Alex. F. Leslie . 5° SOME PHOTOGRAPHIC REFERENCE BOOKS. Price, Per Copy. AMERICAN HAND-BOOK OF THE DAGUERREOTYPE.—By S. D. Hum¬ phrey. (Fifth Edition.) This book contains the various processes employed in taking Heliographic impressions. 10 THE NEW PRACTICAL PHOTOGRAPHIC ALMANAC.—Edited by J. H. Fitzgibbon. 2 5 MOSAICS FOR 1870, 1871, 1872, 1873, 1875, 1878, 1882, 1883, 1884. 25 BRITISH JOURNAL ALMANAC FOR 1878, 1882. 2s PHOTO. NEWS YEAR-BOOK OF PHOTOGRAPHY FOR 1871, 1882. 25 THE PHOTOGRAPHER’S FRIEND ALMANAC FOR 1873. 25 XVI Wilson’s Photographic Publications. WILSON S PHOTOGRAPHICS.— By Edward L. Wilson, Ph.D. and most complete photographic lesson-book. Covers every 352 pages. Finely illustrated. Price, Per Copy. The newest department. . 4 00 WILSON'S QUARTER CENTURY IN PHOTOGAPHY.-By Edward L. W.l- son, Ph.D. Just out. “The best of everything boiled out from all sources.” Profusely illustrated, substantially bound... . . 4 00 THE PROGRESS OF PHOTOGRAPHY SINCE THE YEAR i8 79 .-By Dr. H. W. Vogel, Professor and Teacher of Photography and Spectrum Analysis at the Imperial Technical High School in Berlin. Translated from the German by Ellerslie Wallace, Jr., M. D. Revised by Edward L. Wilson, Editor of the Philadelphia Photographer. A review of the more important discoveries in Photography and Photographic Chemistry within the last four years, with special consideration of Emulsion Photography and an additional chapter on Photography for Amateurs. Intended also as a supplement to the Third Edition of the Handbook of Photography. Embellished with a full-page electric-light portrait by Kurtz, and seventy-two wood cuts. 3 o0 PHOTOGRAPHERS’ POCKET REFERENCE BOOK.-By Dr. H. W. Vogel. For the dark room. It meets a want filled by no other book. Full of formulas- short, practical and plain . 1 5° PICTORIAL EFFECT IN PHOTOGRAPH Y.-By H. P. Robinson. For the art photographer. Cloth, $1.50; paper cover... . . I OO WILSON’S LANTERN JOURNEYS.-By Edward L. Wilson, Ph.D. In two volumes. For the Lantern Exhibitor. Gives incidents and facts in entertain¬ ing style of about 2,000 places and things, including 200 of the Centennial Exhibi- tion. Per volume. . 2 00 THE PHOTOGRAPHIC COLORISTS’ GUIDE.—By John L. Gihon. The newest and best work on painting photographs; Cloth. PHOTOGRAPHIC MOSAICS. Published annual,v. Cloth hound, P, per cover. PHILADELPHIA PHOTOGRAPHER.- PuB lished Sem,-Monthly. Illustrated. Per year, $5.00 ; with weekly Photographic Times. READ WHAT IS SAID OF THE Photographic Times. I congratulate you on making the Photographic Times the leader of American photographic periodicals. A. B. stebbins. We cannot keep house without the Times. W. H. Dunwick. Fred. White- Your Photographic Times gets better every number. head, Augustine, Fla. I am very much pleased with the Times, and value it more highly than any other I have seen. John M. Rae, Sutton, West, P. O. After seeing a specimen copy I could not possibly do without the Photographic Times, Fred. Whitehead, Augustine, Fla. Without your journal the fraternity are behind the times, and, like a crab, are moving backwards. A. K. A. & M. Liebich, Cleveland, O. Any Photographer that will go without the Times weekly, ought to go without his head. J- W. Alldings, Waterbury. It is a most admirably arranged journal, presents a handsome appear¬ ance, and is a credit to its publishers. John Worthington, U. S. Consul. In behalf of the Times allow me to say that I have been a regular sub¬ scriber for nearly three years, and though I take a large number of jour nals of various kinds, there is none I look for with more inures 1 the Times. Prof - W - S ' Goodnough. I believe it unnecessary to state that I regard the Times as one of the best journals devoted to photography published in the English language, and find many others of a like opinion. John G. Casselbaln. All here (England) who have any real knowledge of the; subject, agree that the Times is the best medium in America. W. M. Ashman. I bind mv Times each year, and find it makes, with a good index, a very valuable storehouse of information. G. F. H. Bartlett. I receive my weekly Times, and am delighted with its fresh and in¬ structive contents, giving at all times something to think about and ex¬ periment with. A. S. Murray, President of the Pittsburgh Amateur Photo¬ graphic Society. As times were rather tight this spring, I thought to economize by taking the-, but it is too much watered—too thin entirely, too much chaff to the kernel of wheat. I can’t live on husks alone ; please take pity on me 'and send the weekly Photographic Times from the beginning of the present volume, and oblige, E. Ferris, Malone, New \ork. The Times is a very great help to beginners in the art of photography like myself. Unlike many other journals, your articles are practical and simple, and a wonderful help to those of us who are trying to learn to “ take pictures.” I read it with intense interest, and hope that you will continue to make it a journal for amateurs as well as for those more ad¬ vanced in the art. A. D. Cutter, Cleveland, O. xvm L. M. PRINCE & BRO. MANUFACTURERS OF AND DEALERS IN Photographers’ Supplies, 148 West Fourth St., CINCINNATI, 0. OHIO AGENTS FOR Blair’s Celebrated REVERSIBLE BACK CAMERAS, BLAIR'S FEATHER-WEIGHT Plate-Molcters, FOLDING, SLIDING & COMBINATION TRI PODS. OUR SPECIALTIES: PRINCE’S CONCENTRATED ALKALINE DEVELOPER, PRINCE'S CONCENTRATED TONING SOLUTION, PRINCE’S CELEBRATED SILVER I NTENSIFIER, PRINCE’S IDEAL VARNISH, Illustrated @atalocjue of 1 80 Pages Coqtaiqing everytb|iqg requisite in the Art of Photography. A complete guide iq the use of Dry Plates. How to rqake Pictures. Witf] full iqstructioqs in thje use of Negative aqd Bromide Paper, MAILED ON APPLICATION. • ■ GETT I® TER Lm M rrm NH 630 B94 1887 CONS C 1 BKS '*'« I-'"! 3 3125 00356 6334