[PiaOE ONE SHILLING.] 
 
 PHOTOGRAPHIC 
 PRINTERS' 
 
 ASSISTANT. 
 
 BY 
 
 WILLIAM HEIGHWAY, 
 
 AXTTHOB OF 
 
 Practical Portrait Photography,^^ Mthetics of Photography,^* 
 ' ^0., Sfc. 
 
 LONDOJSr : 
 
 PIPER & CARTER, 5, FURNIYAL STREET, HOLBORN. 
 
 1892. 
 
The 'BRITANNIA' DET PLATES, 
 
 MANUFACTURED BY 
 
 MARION & CO., 
 
 22 & 23, SOHO SQUARE, LONDOlSr, W., 
 
 AT THEIR FACTORY AT SOUTHGATE, 
 
 ^rom thevr Ghe^cvpn&ss and SxoeUmc& are^ in universal uso. 
 
 A TRIAL OF THE PRESENT MANUFACTURE OF THESE WELL-KNOWN 
 PLATES IS RESPECTFULLY SOLICITED. 
 
 IMPORTANT NOTICE. 
 
 The BRITANNIA DRY PLATES are now being issued with 
 their speed number on each box, obtained by Hurter and DriflBleld's 
 system. By means of this number, used in conjunction with 
 Hurter & Driffield's Actinograph, the correct exposure can be 
 easily and accurately determined. We have found, by repeated 
 and exhaustive tests, that the results given by this method are 
 absolutely correct and thoroughly reliable. As we hold that the 
 production of a technically perfect negative is dependent upon an ac- 
 curate exposure, we have every reason to hope that the Actinograph 
 will supply one of the most pressing photographic needs of the day« 
 
 Price of Actinograph, arranged for use in England, Ireland, and 
 corresponding latitudes, 10/6. 
 
 ACTINOaRAPHS MAY BE SPECIALLY ORDERED WITH LIGHT SCALES 
 FOR ANY DESIRED LATITUDE. 
 
 Tli6 BRITANNIA Dry Plates are made in Fonr RaDities:— 
 
 J-Plate. i-Plate. 1-1 Plate. 
 
 ORDINAEY (Yellow Label) ... 1/- ... 2/3 ... 4/3 per doz. 
 
 RAPID (White Label) 1/3 ... 3/- ... 6/6 „ 
 
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 22 & 23, Soho Square, London, W. 
 
PHOTOGEAPHIC PEINTEES' ASSISTANT. 
 
PHOTOGEAPHIC 
 
 PRINTERS' ASSISTANT. 
 
 BY 
 
 WILLIAM HEIGHWAY, 
 
 AUTHOR OF 
 
 PRACTICAL PORTRAIT PHOTOGRAPH F, " ''ESTHETICS OP 
 PHOTOGRAPHY," ''HAKDBOOIC OP PHOTOGRAPHIC 
 terms/ ^ ETC., ETC. 
 
 i^ifth: edition. 
 
 LONDON : 
 
 PIPER & CARTER, 5, FURNIVAL STREET, HOLBORN, E.G. 
 
 1892. 
 
LONDON : 
 
 PIPER AND CARTER, PRINTERS, FURNIVAL STREET, PIOLBORN, E.C. 
 
PREFACE. 
 
 The desire has been expressed by some among the 
 readers of Practical Portrait Photography," 
 for fuller details of the manipulations in the process 
 of printing from the negative. 
 
 In response to this kindly invitation, the pages 
 following have been prepared from notes of practice. 
 
 Rather than the production of formulas, new and 
 empirical, the writer has striven to plainly set down 
 methods of working which have proved of service. 
 
CONTENTS. 
 
 CHAPTER I. 
 
 The Sensitising Eoom ... ... ... ... ... 1 
 
 CHAPTER II. 
 
 The Silver Bath 4 
 
 CHAPTER III. 
 Treatment of the Disordered Bath... ... ... ... 10 
 
 CHAPTER IV. 
 Albumenised Paper ... ... ... ... ... ... 16 
 
 CHAPTER V. 
 
 Sensitising the Paper 19 
 
 CHAPTER VI. 
 The Drying Room 22 
 
 CHAPTER VII. 
 Drying, Fuming, and Catting the Paper] 24 
 
 CHAPTER VIII. 
 Consideration of the Negative 27 
 
Vlll 
 
 CONTENTS. 
 
 CHAPTEE TX. 
 
 The Printing Eoom ... 
 
 CHAPTER X. 
 
 Printing 
 
 CHAPTEH XI. 
 Toning Prints ... 
 
 CHAPTEE XIT. 
 Finishing the Prints 
 
 CHAPTEE XIII. 
 Durable Sensitised Paper ... 
 
 CHAPTEE XIV. 
 Imperfections in the Print... 
 
 CHAPTEE XY. 
 Failures in Printing, Toning, &c. ... 
 
 CHAPTEE XVI. 
 Printing on Plain Paper 
 
 CHAPTEE XYII. 
 
 Printing on Porcelain 
 
 CHAPTEE XVIII. 
 Enamelling or Glace Finish'* 
 
 CHAPTEE XIX. 
 Developed Prints 
 
 CHAPTEE XX. 
 Precepts for Printers 
 
PHOTOGRAPHIC 
 
 PRINTERS' ASSISTANT. 
 
 CHAPTER L 
 
 THE SENSITISING ROOM. 
 
 In general far too little attention is given to the convenience 
 and suitability of the several rooms set apart for the manipu- 
 lations of the printing process. In many galleries, well-found, 
 and even luxuriously furnished in other respects, the printers 
 are poked away into some awkward corner, and left to do 
 the best they can with the most indifferent accommodation. 
 To say nothing of the comfort of the workers, to whose 
 health no consideration is paid, the character of the work 
 produced is materially affected. The conditions which pro- 
 duce discomfort to the printer are, in a degree, prejudicial 
 to the work. If the printer is, in the winter, frozen, so, too, 
 are the chemicals ; and under the hot breath of the summer 
 sun, when the worker is faint, paper and chemicals also are i 
 affected. The quality of the manipulations is, at the same 
 time, consequent, in no small degree, on the comfort of the 
 operator. It can hardly be expected that the best work will 
 be produced when a printer labours under every disadvantage. 
 
 The temperature of the rooms set aside for the silvering 
 of paper, and other manipulations, is a matter of great 
 importance, as changes of temperature — especially to great 
 
2 
 
 extremes of heat and cold — ^have their influence for harm on 
 paper and chemicals. 
 
 Almost of equal importance to the proper arrangement and 
 fitting of the studio is the handiness and completeness of the 
 printing departments. 
 
 When a photographer earnestly intends to produce really 
 fine work, the state of his printing rooms should have his 
 early attention, and they must he rendered as convenient and 
 complete as possible. 
 
 A most important point to he observed is to keep apart the 
 different manipulations as much as is possible. Though we 
 often find much good work is, at times, produced under 
 the most adverse circumstances, yet much finer would 
 doubtless have been done with greater conveniences. 
 
 The Sensitising Room is a dark chamber, lighted either by 
 gas or a window shaded by movable blinds. Where there is 
 a window, the lower half of it is shaded by a yellow calico 
 blind, and a darker blind, which may be drawn down 
 according to the strength of the light, fixed above. The 
 light by which the manipulation of silvering the paper is 
 performed should be soft and diffused. 
 
 The dish holding the sensitising solution is placed on a 
 table near the window, where there is sufficient light for 
 working. Above the dish are fixed two or three clips to 
 hold the wet paper while it drains. The position of these 
 should allow the sheets, when held by one corner, to just 
 touch the edge of the dish, so that drainings from the paper 
 run down the side of the dish without splashing the back of 
 the sheet of paper floating on the solution. 
 
 The bath, when the sensitising of the paper is completed, 
 should be filtered back into a white glass bottle, and 
 
3 
 
 strengthened, if necessary, ready for use when required. 
 The dish in which the paper has been sensitised is rinsed 
 clean, and put away in a cupboard where it is protected from 
 dust. A sheet of bibulous paper should be placed under it. 
 
 Only the utensils required for use in the manipulations 
 conducted in this chamber should be kept here ; all others 
 ought to be banished, as they only harbour dust, and are in 
 the way. 
 
 Bath-dishes, bottles for the sensitising solution, funnels 
 and filtering papers, graduated measures, hydrometer for 
 testing the strength of the bath, litmus papers, and paper- 
 knife should be handily placed so that they may be readily 
 found when required for use. 
 
 The filtering of baths, negative and positive, may safely 
 be conducted in this room ; but boiling the disorganised bath 
 had best be done elsewhere — in an open and well-ventilated 
 place, apart from any manipulations. 
 
 The sensitising room — and, indeed, all the chambers set 
 apart for the manipulations of printing — should be kept 
 scrupulously clean and free from dust. The fioor had best 
 be mopped over with a damp mop every morning — not swept, 
 as a broom only sets the dust in motion. All shelves and 
 cupboards should be frequently wiped over with a damp 
 cloth. 
 
CHAPTER 11. 
 
 THE SILVER BATH- 
 
 In printing on paper prepared with albumen, in which a 
 certain quantity of a soluble chloride has been dissolved, and 
 subsequently floated on a solution of silver nitrate, there 
 results a formation of silver chloride in an exceedingly fine 
 state of division, which darkens on exposure to sunlight. 
 The visible effect of light is to darken the white surface of 
 the silver chloride, and a violet-coloured substance is formed, 
 and, if immersed in water, free chlorine will be found to 
 have been liberated. 
 
 The action of light is quite superficial, for, although the 
 action be continued until the depth of colour is intense, the 
 amount of reduced silver forming it is very small. 
 
 Our first consideration is naturally to the strength of 
 silver which will produce the best effects. In this we find 
 great diversity of opinion, some workers inclining to a strong, 
 and others to a weak, bath. To a certain extent, the 
 strength of the bath depends on the character of the paper 
 used ; that rich in chloride requiring a stronger solution than 
 the weakly salted paper. 
 
 At first sight, it might be assumed that the strong bath 
 
5 
 
 would sensitise the paper in a shorter time than the weaker 
 solution, so that, in respect of time expended in the operation, 
 there would be a gain ; but such is not the case. Further, 
 we might suppose that on a weak bath the paper would 
 take up less silver than when sensitised on a strong bath ; 
 this, too, is incorrect, for a certain definite amount of 
 silver combines with the chloride and organic substances 
 used in coating the paper, whether the bath be weak or 
 strong. 
 
 A strong solution of silver has the effect of hardening the 
 albumen surface, so that, for a time, there is repulsion 
 between the paper and the bath solution; while the weaker 
 solution, not affecting the albumen in this way, is readily- 
 absorbed, and if the floating of the paper be long continued, 
 the solution will penetrate the albumen and dissolve it. 
 
 There are, however, disadvantages, both in the long floating 
 of the sheet on a stronger bath, and the short floating on the 
 weak. With the former, though we get brilliancy and bold- 
 ness of the image, the bronzing in the shadows is a most 
 serious defect ; and with the latter the prints are weak and 
 poor, and have a sunken appearance. 
 
 The weak bath, too, feels the loss of silver taken up by 
 the paper to a greater extent than does the stronger, and is 
 not only more liable to contamination by causing a greater 
 dissolution of albumen, but is more affected by the presence 
 of impurities. In some cases the slightest excess of the time of 
 floating the paper dissolves the albumen from the surface, 
 and spoils paper and bath. 
 
 Eor general use, we find in one of medium strength the 
 remedy for these disadvantages, and a good, serviceable bath, 
 easily kept at its normal strength, suitable for most work, 
 
6 
 
 not subject to variation nor prone to getting out of order^ 
 and when disorganised easily restored : — 
 
 The Plain Silver Bath, 
 Silver nitrate ... ... ... 40 grains 
 
 Water 1 ounce 
 
 A small amount of solution is productive of many of the 
 evils noted as characteristic of the weak solution. The 
 amount of silver in it, being small, is soon exhausted. It is 
 contaminated after sensitising a sheet or two of paper only, 
 and requires doctoring every day or so. The depth of solu- 
 tion should not be less than an inch, and it is best to sensitise 
 in a bath which will contain at least a half sheet. 
 
 For strengthening the solution when required, a stock 
 solution of silver nitrate, sixty grains strong, dissolved in 
 distilled water , should be kept, as a great deal depends on 
 maintaining an even strength. By this means only can 
 certainty of working be attained. The hydrometer indicates, 
 with sufficient exactness for this purpose, the strength of the 
 solution. 
 
 A great deal has been written about the water best adapted 
 for use in the sensitising bath for printing, as well as for 
 negatives. Generally, particular direction is given that 
 distilled water must be used. That this is best there can be 
 no question ; but the writer has found ordinary cistern water 
 serve the purpose exceedingly well, if treated in the manner 
 here given. When the silver is dissolved, make slightly 
 alkaline by the addition of a drop of ammonia solution (one 
 drop of ammonia in ten of water), and expose the solution 
 in a clear glass vessel to daylight for a few hours. The 
 solution will grow muddy, and then a brown precipitate will 
 
7 
 
 be thrown to the bottom of the vessel ; decant the clear 
 liquid, and filter. 
 
 By the plain silver nitrate bath, the finest results are 
 obtainable from any negative of proper density. 
 
 In the height of summer, the strength of silver, and the 
 time of floating the paper, should be slightly decreased, and 
 in the winter increased ; in the one case forty- five grains of 
 silver to the ounce being used, and in the other thirty-five. 
 
 With the silver nitrate other nitrates are sometimes used, 
 to suit special brands of albumenised paper. 
 
 One of the most generally used baths is the following : — 
 
 Silver nitrate ... ... ... 40 grains 
 
 Ammonium nitrate ... ... 20 
 
 Water ... ... ... ... 1 ounce 
 
 made slightly alkaline by the addition of liquor ammoniae. 
 And to the same formula, the addition of five grains of lead 
 nitrate has been recommended. 
 
 This bath is well adapted for use with most brands of 
 paper, but requires care to keep it in working order above 
 that of the plain bath. Considerable observation and skill 
 are necessary when a complicated bath comes into use, and 
 for the printer whose experience is limited, it is best to use 
 a paper thoroughly understood, and a good reliable bath 
 which calls only for modification in extreme weather, and 
 with exceptional negatives. 
 
 In the narrow scope of these hints, it would not be pos- 
 sible to give the many variations of formulae used for print- 
 ing ; but this need not give the reader a feeling of the in- 
 completeness of the information given, as a great number of 
 formulae are misleading and confusing, rather than edifying. 
 
8 
 
 We shall, therefore, confiue ourselves to the consideration of 
 the formulse already given. 
 
 The solution should he kept, as far as possible, on the 
 surface of the paper. This necessity influences the duration 
 of the sensitising, especially where the bath is weak, and 
 the tendency of the solution is to dissolve the album enised 
 surface. Woolliness " and want of vigour in the image, 
 and the in-sunken appearance of the print already mentioned, 
 mark this fault. 
 
 To prevent this, alum is sometimes added to the silver 
 solution, its action being to harden the albumenised surface 
 of the paper, and prevent the silver sinking through.. It is 
 generally added by placing a small lump of alum in the filter 
 when filtering the bath. It is only necessary to do this 
 when the prints show the want, and only then when the fault 
 is known to be in the bath ; or too much will be dissolved. 
 
 The bath solutions, we have seen, are made alkaline. This 
 should not be very decided, and the addition of the alkali 
 should be carefully made. Liquor ammonise should not be 
 poured in undiluted, but drops of a solution in water, one in 
 ten, used when the silver solution shows an acid reaction. 
 This is ascertained by the use of litmus paper ; the red paper 
 ought not to change to blue quickly and strongly. Por ren- 
 dering the bath alkaline, bicarbonate of soda is sometimes 
 used, but the ammonia solution is to be preferred. 
 
 Ey some workers an acid sensitising bath is recommended. 
 The eff'ects obtained cannot be compared with those from an 
 alkaline solution, nor is the paper so sensitive. The value of 
 a bath acidified with citric acid will, however, be found in 
 the keeping qualities of the paper sensitised on it. In 
 changeable weather, when there is some uncertainty as to 
 
9 
 
 the use of the paper sensitised with sufficient rapidity to pre- 
 vent its becoming discoloured, the acid bath is extremely 
 serviceable. Por paper intended only to be kept a day or 
 two after sensitising, the bath should contain the faintest 
 trace of acid. A piece of blue litmus paper placed in the 
 solution ought not to turn red under thirty or forty seconds. 
 Tume the paper as required for use. 
 
 The use of nitric acid in the bath is not recommended, as 
 the prints resulting are weak and poor, and tone tamely. 
 
 Glycerine and alcohol are sometimes added, but the advan- 
 tage gained by the use of either is extremely questionable in 
 general work. 
 
 The acid bath, except for special purposes, is to be dis- 
 commended for three important reasons : first, that the 
 results are not so fine as those obtainable by the alkaline 
 bath ; second, that the action is slower ; and third, the bath 
 is not so easily purified. 
 
 The alkaline bath may be placed in the sun, and all im- 
 purities are, by its action, thrown down, and may easily be 
 filtered out. Care in all cases will do away with the neces- 
 sity for continual doctoring of the solution. Pilter after each 
 time of using, and strengthen ; but do not worry the bath 
 until it begins to worry you. Test with litmus paper every 
 now and then, to see that the proper degree of alkalinity is 
 maintained. 
 
 A great amount of trouble and uncertainty is spared the 
 printer who is careful that the sensitising dishes are kept 
 clean. Directly the sensitising of the paper is completed, 
 return the solution to the bottle through the filter, rinse the 
 dish clean, and set it on edge on bibulous paper to drain in 
 a cupboard where it is protected from dust. 
 
CHAPTEE III. 
 
 TREATMENT OF THE DISORDERED BATH. 
 
 The sensitising bath soon becomes discoloured by the dis- 
 solution of albumen from the surface of the paper. With 
 some brands of paper, after a few sheets have been sensitised, 
 the solution assumes a deep colour, and the purity of the 
 whites of the print is seriously affected. This, in the case 
 of vignettes, is a fatal defect. 
 
 As we have already urged, care is necessary in the use of 
 the bath ; but this evil of colour is especially attributable 
 to the alkalinity of the bath, ammonia quickly affecting the 
 albumen. It is, however, too useful to be discarded, and 
 for this reason, in using it, we should be careful that too 
 much be not added. 
 
 Decolourisation of the bath may be effected in several 
 ways ; but of these, three commend themselves on the score 
 of efficacy, ease of application, and economy. 
 
 Por the renovation of a comparatively new bath, the 
 application of a dilute solution of potassium permanganate 
 and kaolin will be found most useful, and to serve every 
 purpose ; and for a somewhat worn bath, partial evaporation 
 or boiling. 
 
11 
 
 Potassium Permanganate. — The great advantage tlie use of 
 the permanganate offers is that of readiness. "With a stock 
 solution at hand — 
 
 Potassium permanganate ... ... 20 grains 
 
 "Water ... 1 ounce 
 
 we may, -without great delay, purify the bath even while it 
 is in use ; but this need only be done in time of great 
 pressure. 
 
 Ordinarily the usage is, if after the completion of sen- 
 sitising the paper for the day the bath be much discoloured, 
 to add two drops of the permanganate solution to the bath, 
 and thoroughly mix by stirring with a glass rod. The bath 
 assumes a deep rose tint, which in a short time lightens. If 
 it rests at this, sufficient has been added; but if the tint dies 
 out entirely, another drop must be given, or yet other drops 
 until the solution is coloured. The quantity depends, of 
 course, on the bulk of the bath solution. The tinted bath 
 solution, placed in a clear white glass bottle, is stood in sun 
 or daylight until the rose tint disappears (say, after an hour 
 in sunlight) and the solution filtered clear. 
 
 Should the bath become discoloured during the sensitising 
 of the paper, the application of a drop or two of the 
 permanganate solution will often suffice, even without 
 filtration of the bath. It must be well mixed by stirrings 
 It is very important that too much should not be added. 
 Experience will, after a short time, guide the operator in 
 this, so that he will know exactly how many drops should 
 be poured in. Properly used, the permanganate is invaluable 
 for the purpose of decolourising the bath ; it is, therefore, a 
 pity that its use should fall into discredit because of the bad 
 
12 
 
 effects which arise from the haphazard application of it in 
 some eases. 
 
 Kaolin^ or porcelain clay, the purest form of disintegrated 
 felspar, is, too, a useful agent for purifying the bath. 
 
 A little of the kaolin is placed in the bottle containing the 
 bath solution, shaken up together for a little time, and then 
 allowed to settle. The clear liquid is decanted and filtered. 
 
 The kaolin may be left in the bottle, and the solution 
 added to it several times. 
 
 This method is, however, a very dirty one, and disagree- 
 able, and takes up more time than does the permanganate. 
 
 Kaolin sometimes contains chalk, and this renders it unfit 
 for the purpose of decolourising acid solution of silver nitrate. 
 The impurity may be removed by treating the kaolin with a 
 weak acid, and washing. 
 
 After a time the bath will, from various causes, require 
 more thorough renovation ; but until the methods just 
 described fail, it is well not to resort to boiling. On the one 
 consideration alone that it is a troublesome process, it should 
 be regarded as a last resort. Though simple enough in 
 itself, the process is, by want of care and lack of ordinary 
 precautions in operation, made the cause of a great amount 
 of failure and uncertainty. 
 
 When all else fails, and the sensitising solution is seriously 
 affected by the presence of organic matter, it may be restored 
 by heat. In this process it is only necessary to carefully 
 carry out the directions given, and guard against the entrance 
 of foreign substances. 
 
 Boiling the Bath, — At times a partial evaporation of 
 the solution is all that is required. In this case it is only 
 necessary to pour the solution into an evaporating dish, and 
 
13 
 
 place over the lighted jets of a gas-stove. Should the hath 
 not be alkaline, it must he rendered so by the careful addition. 
 of a solution of liquor ammoniae, with the precautions already 
 enjoined. "When the liquid is thoroughly heated it will grow 
 turbid and black, with a metallic scum on the surface. 
 Under this scum, after a time, the solution will clear, the 
 impurities being thrown down. At this stage, or when 
 about one-quarter or one-third of the solution has evaporated, 
 the gas of the stove may be turned off, and the solution 
 allowed to cool. 
 
 When perfectly cool, filter ; and, having ascertained the 
 strength of the silver, add sufficient distilled water to reduce 
 to the original strength of the bath. 
 
 If distilled or pure water is not at hand, ordinary cistern 
 water may be used, but it should be added lefore subjecting 
 the bath to heat ; diluting the solution, in the first place, and 
 boiling down as nearly as possible to the proper strength. 
 In this way we get rid of the impurities of the water with 
 those of the bath. 
 
 Fusing the Bath. — The operations described in the previous 
 process are in this carried out, but the evaporation is con- 
 tinued to dryness. The bath is now fused until all frothiness 
 disappears. Heat should now be withdrawn, and the mass 
 scraped down into the centre of the dish. When sufficiently 
 cool, enough nitric acid solution (one part in ten or twelve 
 of water) should be added to re -dissolve the silver with the 
 aid of heat. Again evaporate to dryness, and dissolve once 
 more in pure water, and filter. 
 
 The bath may now be made up to the required strength, 
 the organic matter having been rendered insoluble by fusing, 
 and the excess of acid dissipated. 
 
14 
 
 In boiling baths, certain precautions are necessary, or 
 accidents are likely to occur. A good porcelain dish should 
 be procured, and this will bear almost any amount of heat ; 
 but a sudden wave of cold air on the heated surface may crack 
 or break it. 
 
 Although it is not necessary to stand and watch the 
 process of boiling down a bath, it should not be forgotten 
 entirely, as, when all moisture has been evaporated, the dish 
 will break if longer subjected to flame. 
 
 The stove best adapted for the purpose is an upright iron 
 stove, with several jets of gas at the bottom, the flame of 
 which does not touch the dish. 
 
 Sometimes, by way of extra precaution, is used a ^ * sand 
 bath," or iron bath filled with fine sand, in which the 
 porcelain dish is stood. By the use of the sand bath a more 
 uniform heat is maintained, and danger of cracking the 
 porcelain dish is averted. 
 
 Iron dishes, lined with porcelain, should not be used, as 
 the surface is liable to fracture. 
 
 When nothing can be done to make a bath work, the best 
 plan to adopt is that of the — 
 
 Precipitation of the Silver in a Metallic State, — Filter the 
 solution, and place in it strips of copper. After twenty or 
 twenty-four hours, test the solution for absence of silver by 
 taking a few drops in a tube, and adding a solution of common 
 salt. If there is no white precipitate, the silver has all 
 been reduced to a metallic state. Decant the liquid, and 
 wash the silver until the greenish colour observable, which 
 is due to copper nitrate, disappears. Place the metallic 
 silver in an evaporating dish, and gradually add one drachm 
 of nitric acid for each 150 grains of silver nitrate of the 
 
15 
 
 original solution, to dissolve the metallic silver. Dissolution 
 is aided by gentle heat. Boil down the solution to free it 
 of nitric acid, add distilled water, and then silver oxide, 
 gradually, until the greenish tint disappears. Filter, and 
 make up to the proper strength. 
 
 Or, by placing in the filtered solution clean, bright strips 
 of zinc, the silver will precipitate, as with the copper in the 
 foregoing. To get rid of the zinc, after picking out the 
 undissolved pieces of zinc, add a mixture of hydrochloric 
 acid, one part in ten of water, and boil ; pour off the acid, 
 and well wash the silver. Place the mass in a filter, and 
 wash well with boiling distilled water. Dissolve with nitric 
 acid, as already described, filter, and make up to the required 
 strength. 
 
CHAPTER IV. 
 
 . ALBUMENISED PAPER. 
 
 It is not intended here to enter at length upon the preparation 
 of albumenised paper, as far more satisfactory results may be 
 obtained on that commercially prepared than the operator 
 could hope to attain by preparing it himself. 
 
 It will, however, be useful to note a few of the character- 
 istics of two well-known and generally used papers — the 
 Saxe and Eives — with some remarks on the mode of albumen- 
 ising, as much of the success depends on the observance of 
 these peculiarities. 
 
 Proper thought is not generally given to the special 
 adaptability of a paper for a certain purpose. Manufacturers 
 will, of course, urge that their paper is suitable in a like 
 high degree for all kinds of work ; but this is not so. 
 
 A few suggestions in one or two instances will serve for all. 
 
 The two papers we have mentioned are both subject to 
 defects, which appear to be the result of the method by which 
 they are prepared. A knowledge of these imperfections, and 
 their cause, may probably save the operator annoyance and 
 failure, and also be instructive in cases not immediately 
 connected with it. 
 
 Between the two papers mentioned, the great difference is 
 in the degree of toughness. The Saxe, being the stronger of 
 
17 
 
 the two, is therefore superior for prints of large size. It is, 
 too, also almost entirely free of iron spots. Pine detail in 
 the finished print on this paper may be secured. There is, 
 therefore, no question of its good quality. This is with 
 neither of the papers a matter of question. 
 
 The Eives paper, when wet, is very tender, especially when 
 in large pieces ; hut, as it gives a more brilliant surface than 
 the Saxe, it is often prepared for small prints. 
 
 To explain the cause of some of the defects of commercial 
 albumenised paper, it is necessary to briefly allude to certain 
 details of its preparation. The paper is floated on a solution 
 of salted albumen — ammonium chloride dissolved in water, 
 and the albumen of eggs, nearly fresh, beaten up together, 
 and perfectly mixed ; sometimes a little alcohol is added. 
 If the mixture is not perfectly beaten up, flakes of animal 
 membrane will be left in the liquid, and these are the cause 
 of streaks on the surface of the paper ; generally observable 
 on examination. The trouble these streaks cause is known 
 to every printer of any experience. Care should be exercised 
 that they are placed on a comparatively unimportant portion 
 of the negative. 
 
 A pause in laying the paper on the albumen solution is the 
 cause of a line across the paper ; this bronzes strongly under 
 the influence of light when the sheet is sensitised and ex- 
 posed. 
 
 Bubbles of air formed under the paper during the floating, 
 if not removed, cause a round spot of unalbumenised surface, 
 which in the print forms a defect. 
 
 Too extended floating on the albumen bath causes the 
 solution to sink into the paper, by the alkaline solution dis- 
 solving the sizing of the paper. 
 
 c 
 
18 
 
 The method used in drying the albumenised sheet has also 
 considerable influence over its character. The sheet having 
 been floated on the salted albumen, is sometimes suspended 
 by two corners, with pins, to dry ; and sometimes it is hung 
 over a rod to dry. 
 
 Ey the first mode of drying, where one edge is higher than 
 the other, we get a thicker edge of albumen on that portion 
 of the paper which was lower while the sheet was drying, 
 and the upper edge sometimes very thin. This inequality in 
 the thickness of the albumenised surface causes a disparity in 
 the quality of the prints, sometimes very great ; the lower 
 and thicker edge giving prints of great brilliancy, depth, and 
 beauty ; while those from the thinner edge, or that uppermost 
 in drying, are comparatively poor and tame, in consequence of 
 the thinness of the albumen surface. 
 
 With paper dried by the second method — the sheet being 
 hung over a rod with both edges hanging down — the albumen 
 runs down from the middle of the sheet to the edges. Here 
 we sometimes find a line of clotted albumen where the sheet 
 has rested on the rod. Such a sheet had best be cut through 
 the middle of the rod-mark to get these clots at the edge of 
 each half-sheet. 
 
 Every sheet of paper should be examined for these marks 
 before it is cut up or used, and the defects avoided or dodged, 
 so that they are not allowed to appear in the middle of a 
 print. 
 
 The portion of the paper richest in surface should be used 
 for the most important part of the picture. 
 
 A little observation in this regard will conduce to success, 
 and the absence of thought will be punished by the unnecessary 
 spoiling of many prints. 
 
CHAPTER Y. 
 
 SENSITISING THE PAPER. 
 
 Place tlie sensitising bath on the table, in a convenient 
 position, where there is sufficient yellow light by which to 
 work (see the chapter on the Sensitising Eoom). The bath 
 should be lengthwise to the operator. Pour in the solution, 
 on the surface of which no scum or bubbles should appear. 
 
 The paper should not be hard and dry, nor moist. In 
 summer it is best to place the sheets required for use in a 
 cool and rather damp place for some hours before sensitising. 
 
 Before placing a sheet on the bath, turn up a small portion 
 of each of the four corners, so that in examining the paper 
 and lifting it from the bath, it is not necessary to dip the 
 fingers into the solution to take hold of the paper. If the 
 sheet is at all dry, rub the thumb-nail gently round the 
 edges of the paper, at the lach, to prevent any sharp angles 
 which might be submerged, and allow the solution to run 
 over the back of the paper. 
 
 The length of the bath is before the operator, to his right 
 and left hand, and the paper should be held in such a manner 
 that it may be readily laid on the surface of the solution. 
 Take two diagonal corners between the thumb and first 
 
20 
 
 finger of each hand, the right being slightly the higher, and 
 let the paper assume a gentle curve between. Place the 
 portion of the paper near the left hand on the centre of the 
 solution, and as the sheet is gently drawn to its place on the 
 bath, steadily lower the right hand until the whole of the 
 sheet (with the exception of the four upturned corners) is in 
 contact with the solution. 
 
 Ey this means it will be found that the entire sheet is 
 drawn over a portion of the bath. This is done so that the 
 small air-bells, which form under the sheet, may be driven 
 to the edges. 
 
 If, as is sometimes done, the middle of the sheet is placed 
 in contact, and the two edges lowered together, the bubbles 
 of air are held in the centre, and much trouble and loss of 
 time result in getting rid of them. 
 
 After a few seconds, one or two corners may be raised to 
 see that the sensitising is progressing evenly. 
 
 Should there be, by any accident, any spots of silver on 
 the back of the paper, they should be removed by blotting 
 up dry with bibulous paper. 
 
 Sometimes the sheet, after being placed in contact with 
 the bath, shows a tendency to curl back. The paper is too 
 dry, and should have been placed in a damp atmosphere some 
 hours before sensitising. To make the sheet re-assume its 
 position on the bath, gently breathe on the back of the 
 curled portion until it falls back on the bath. 
 
 The time of sensitising depends on the strength of the 
 bath, and the temperature of the bath and atmosphere. It 
 is also influenced by the brand of paper used, the character 
 of the negative to be printed from, and the effect to be pro- 
 duced in the print. All these points can only be settled hj 
 
21 
 
 the printer at the time; and to correctly estimate these 
 requirements under ever- varying circumstances calls for the 
 exercise of thought. 
 
 Eoughly speaking, with the formulae given, from forty 
 to seventy seconds in the summer will suffice ; and in the 
 winter from sixty to one hundred seconds. 
 
 When the sheet has lain on the bath the required time, it 
 is slowly raised from the solution by the two left-hand cor- 
 ners, and drawn over the edge of the dish, or, what is better, 
 over a glass rod fixed at one edge of the sensitising dish. In 
 this way the surplus solution is removed from the sheet. 
 
 It is then fixed by one corner in a clip, and to the lowest 
 comer a piece of white blotting-paper is attached to absorb 
 the moisture. 
 
 Before sensitising a sheet of paper, any scum or impurities 
 should be removed from the surface of the bath with 
 blotting-paper. Care in this respect will save many pieces 
 of paper. 
 
 "When the sheets are partially dry, surface moisture 
 having evaporated, they are removed to the drying-room to 
 be more quickly dried by means of heat. 
 
CHAPTEE YI. 
 
 THE DRYING-ROOM. 
 
 To dry paper spontaneously is a mistake. As we have 
 already seen, it is necessary for the production of brilliant 
 prints that the formation of silver chloride he on the 
 surface of the paper. All our operations have been con- 
 ducted to that end, and now, if the paper is permitted 
 to dry spontaneously, all this will be rendered of no effect, 
 as the silver solution will sink through the albumen and 
 into the substance of the paper. 
 
 The sheet is allowed to drain and partially dry, and then 
 by heat, thoroughly. 
 
 The drying-room should be a separate chamber, fitted 
 with a row of gas jets or a stove, over which is hung a rack 
 with clips for holding the paper. 
 
 A light rack of three or four bars, apart six or eight 
 inches, is suspended about five feet from the floor. To the 
 bars wooden clips are affixed at intervals corresponding to 
 the lengths of the sheets of paper to be dried. One edge 
 of the paper is caught in these clips, and the sheets hung 
 down over the gas jets, which are fixed near the floor, 
 running the length of the rack. If any injury to the paper 
 is found to result from the light or heat of open gas jets^ 
 
23 
 
 a very thin iron cover may be placed oyer them. With 
 this cover the gas should always be lighted a little time 
 before the drying commences, to heat the iron, so that the 
 operation of drying may not be delayed. 
 
 A small stove, with a piece of soapstone to cover it, may 
 take the place of the gas ; but, especially if a quantity of 
 paper is silvered at one time, the stove is not nearly so 
 useful as gas. 
 
 If the paper evinces a disposition to curl in drying, sticks 
 of the length of a sheet of paper with a clip at each end are 
 provided, which, being fixed on the lower edge of the sheet, 
 weigh down the paper, and keep it straight. This also coun- 
 teracts the tendency of the sheets to stick together when any 
 slight draught of air agitates them. 
 
 The drying-room should be kept very clean, as any dust 
 flying about is attracted to the damp surface of the paper, 
 and causes defects in the print. 
 
 Care should also be exercised to guard against spots of 
 iron-rust rising from the stove or gas pipes. Eust should 
 not be allowed to accumulate. 
 
 In winter the drying-room should be warmed before com- 
 mencing the sensitising of the paper ; but in the height of 
 summer a few seconds over the gas will suffice to dry the 
 sheets ; sometimes, indeed, even that may be dispensed with. 
 
 It is unnecessary to state that the light of the drying-room 
 should be very feeble, white light altogether absent, or the 
 paper will darken as it dries, and be rendered useless. 
 
CHAPTER YIL 
 
 DRYING, FUMING, AND CUTTING THE PAPER. 
 
 The sheet of paper having been sensitised, and the surplus 
 solution drained from its surface, is removed to the drying- 
 room. 
 
 Great care should be used in handling photographic paper, 
 especially when silvered, and more particularly when in a 
 damp state. The sheet may be lifted by the turned corners, 
 or at the extreme edge, as the fingers will leave marks on 
 the surface. 
 
 The sheets should not be allowed to stick together at any 
 time. In transferring to the drying-room a sheet may be 
 hung over the arm, silver side uppermost, and so carried 
 safely. Although not particularly sensitive in this state, 
 the damp sheet should not unnecessarily be exposed to day- 
 light. 
 
 Drying the Paper, — Hang the sheets over the gas or stove 
 by the clips fixed to the bars of the rack, and weigh down 
 the bottom edge of each with the sticks provided for the 
 purpose. 
 
 The clips of the rack and of the weights must be 
 scrupulously free from dust, or the particles will adhere 
 to the silvered surface, and waste of paper result. 
 
 The heat for drying should be diffused, but sufficient to 
 
25 
 
 quickly evaporate the moisture, for when the drying is slow, 
 the silver sinks into the paper, and the surface is lost. 
 
 If proper regard is paid to the quick and thorough drying 
 of the paper, the, surface will be brilliant, and fine, bright 
 prints may be obtained from it. Palse economy may urge 
 that spontaneous drying is best, but a trial of the two 
 methods will firmly establish the superiority of the quickly- 
 dried sensitised sheet over that allowed to dry spontaneously. 
 
 Fuming, — The advantage of fuming is now scarcely ques- 
 tioned. Pumed paper prints more quickly, and from it more 
 brilliant prints are obtainable. The toning of fumed paper 
 is more easily and satisfactorily conducted ; and, as the toning 
 is to the fullest extent under control, every variety of tone 
 may be secured. The results are decidedly finer and richer. 
 
 Por the purpose of fuming paper, a box of sufficient size 
 to hold several sheets is provided. A rack fitted with clips, 
 and weights similar in character to those described for hold- 
 ing the paper when drying, are provided to receive the 
 sheets, each clip holding two sheets placed back to back. 
 The clips need not be more than two inches apart. A false 
 bottom, perforated with holes made by a large gimlet, is 
 fixed, and under this, on a tray, is placed the dish of liquor 
 ammonias. The tray should be arranged to slide in and out, 
 so that the ammonia dish may be put in the centre of the 
 bottom without difficulty. There should be three or four 
 holes at the bott^)m, and a few smaller holes in the lid of the 
 box, to create a draught. In most fuming-boxes this is not 
 provided ; but the advantage of having a gentle current of 
 air through cannot be over-estimated. The current of air 
 causes the fumes to circulate and evenly combine with the 
 silver, and prevents dampness of tlie sheet. 
 
26 
 
 This mode of fuming with the paper in a perpendicular 
 position is far superior to that in which the paper is laid 
 horizontally ; the paper is readily fixed in position, a more 
 even distribution of the fumes is secured, and the fuming m 
 effected in a shorter time. The paper is placed under th& 
 influence of the ammonia fumes for ten or fifteen minutes. 
 
 In damp weather it may be found necessary to slightly 
 dry the paper after fuming. The paper also evinces a ten- 
 dency to turn yellow at such times, and, to prevent this, a 
 few grains of chloride of lime may be added to the ammonia. 
 Its use is, however, not recommended, as it tends to enfeeble 
 the print. If used, the amount added to the ammonia should 
 be carefully regulated, and its action on the paper jealously 
 watched. 
 
 Cutting the Paper, — The sensitised sheet is very susceptible 
 to stains. Every place on which it is put should be very 
 clean. The fingers should never touch the sensitised surface. 
 A margin, above the size of the print required, should always 
 be allowed (larger as the size of the print increases), to allow 
 for tears and frayed edges. 
 
 An ivory paper cutter is best adapted for the purpose of 
 cutting, and each crease made should be decided and accurate. 
 
 It is a dangerous experiment to try to secure the largest 
 possible number of pieces of paper from a sheet, as the 
 failures which generally result from defective prints more 
 than balance the hoped-for gain. 
 
 Printing on paper cut to the exact size of the required 
 picture is, there can be no doubt, a very bad plan ; the waste,, 
 even with the greatest care and skill, is considerable. 
 
CHAPTER VIIL 
 
 CONSIDERATION OF THE NEGATIVE. 
 
 Peefect negatives are the exception rather than the rulej 
 and, although it would be mischievous to advise the printer 
 to encroach on the ground of the retoucher, yet he should 
 exercise some supervision over the cliche provided, and from 
 which he is expected to produce good prints. 
 
 Such instruction as the rectification of false lights, and 
 the lightening of shadows, are pernicious, as it suggests 
 that the printer should correct the work of the retouching 
 artist. This is palpably ridiculous. If the retoucher needs 
 this correction of the printer, depend upon it he has com- 
 mitted greater blunders against art, and should, therefore, be 
 removed. 
 
 "We must, therefore, infer that the negative has received 
 proper attention at the hands of the artist, or refer the 
 printer who possesses the very laudable ambition to excel a& 
 a retouching artist to the chapter on retouching in Practical 
 Portrait Photography.''^ 
 
 It must not, however, be thought from this that printing 
 consists merely in putting negative and paper in contact in 
 a frame, and knocking off so many prints a day. 
 
 * Piper and Carter, 5, Furnival Street, Holborn, E.G. 
 
28 
 
 The negative should be studied, and thoughit given to tlie 
 treatment best adapted to it. 
 
 A negative much retouched in the background had best be 
 vignetted, to get rid of as much as possible of the defective 
 portion. 
 
 Thin Negatives should be printed in a very weak light, or 
 under white tissue paper. 
 
 A strong bath is best for sensitising the paper for thin or 
 
 weak " negatives, and the fuming extended to about double 
 the ordinary time. 
 
 Much, of course, depends on the character of the thin, 
 negative ; if it is the result of intention, and not of accident, 
 the probability is that its only fault (if fault it be) is its 
 thinness. Erom a negative such as this, there is no reason 
 why, with care, good prints should not be obtained. As a 
 quality of the negative, thinness is a good one if the artist 
 and dark room man are skilful, as all the delicate gradations 
 of light and shade are more fully developed than in the more 
 intense negative. 
 
 If the thinness is the result of accident, the negative is in 
 all likelihood worthless, and no amount of doctoring will 
 improve it. Should it be absolutely necessary to print from 
 a weak, flat negative, it should be carefully retouched, and 
 covered on the glass side with a varnish tinged with iodine. 
 This should be scratched from the shadows. Retouching on 
 this surface in pencil or Indian-ink may often aid in making 
 lip a picture. Masks of tissue paper pasted on the glass 
 side over the light portions of the negative, and worked 
 npon, sometimes give results worth the trouble of the 
 operation. 
 
 Intense Negatives. — These, with strong lights, and black, 
 
29 
 
 abrupt shadows, little detail, and plenty of harshness, are 
 very unsatisfactory and profitless. 
 
 With such negatives our object must be to reduce the 
 contrast as far as possible ; and, as we have seen, the slower 
 the printing, the greater the contrast produced ; here we print 
 quickly to subdue the peculiarities of the negative. 
 
 A pink paper is sensitised on a weak bath, and the fuming 
 reduced to the shortest time. It is sometimes well to dis- 
 colour the paper by a slight exposure to light, especially if 
 the paper used is white. The pink paper, or the faint 
 discolouration of the white, does away with the blankness 
 of the lights, and gives a suggestion of detail. 
 
 Place directly in the sun's rays, and print for the shadows. 
 If any defects in the glass prove troublesome, a sheet of tissue 
 paper must be placed over the negative. 
 
 Brolcen Negatives, — At times it is necessary to print from 
 a negative which has been broken. If the fracture is simple, 
 and of such a character that binding the edges holds all the 
 pieces, the procedure is comparatively easy. Cut four pieces 
 of stout paper the length of the sides of the negative, and 
 one inch wide. Apply strong glue, and, having placed the 
 pieces of the negative properly in position on a light board, 
 stick one of the paper strips to each edge, one half of each 
 strip overlapping. Eub down to thoroughly stick the paper, 
 turn the negative over, and stick down on the other side the 
 overlapping strips. 
 
 The negative may be turned over without difficulty by the 
 use of two light boards slightly bigger than the negative ; 
 or two glasses. One is placed under, and on it the broken 
 negative adjusted. When the first half of the strips of paper 
 are fixed, place upon the negative the other board, turn the 
 
30 
 
 negative between the two boards over, lay them on the table, 
 remove the top board (that which was before underneath), 
 and finish the operation. 
 
 A negative broken into many small pieces is first put 
 together properly, and a piece of unsalted paper coated with 
 strong glue stuck firmly on the glass side, edges all round 
 overlapping. Turn the negative over and rub down the 
 overlapping edges on the collodion side, care being taken that 
 it does not encroach on any portion required in the print. 
 As the paper dries it will contract, and more closely draw 
 together the pieces. With castor oil, &c., the paper may be 
 rendered semi-transparent. 
 
CHAPTER IX. 
 
 THE PRINTING ROOM. 
 
 Here are conducted the operations of preparing the negatives 
 ior printing, fixing masks, preparing vignettes, filling the 
 frames, examining prints under exposure, &c., &c. 
 
 As will be seen at a glance, in most of these operations 
 strong light would be hurtful. To guard against the danger 
 of light afi'ecting paper or prints, the room is darkened by 
 yellow curtains over the windows, and receptacles are pro- 
 vided for paper and prints. 
 
 Convenient drawers for the different kinds of paper in use, 
 ^nd one for prints, should be fitted in the room. 
 
 The drawers should be constructed with a lid in two parts, 
 hinged in the centre, so that when the drawer is pulled out, 
 light cannot penetrate to the interior. The front part of the 
 lid had best be so made that it cannot remain open unless 
 held. With this arrangement, even if the drawer is 
 inadvertently left open, little or no damage is done, as the 
 lid still protects the interior of the drawer. The top of the 
 lid is flush with the top edge of the drawer, not to impede 
 the movement. Such a lid is so easily made that no printer 
 need have the paper and print drawers unprotected. Failing 
 material or skill for one as described, a piece of stout card- 
 
32 
 
 board to fit the drawer may be used to cover the sensitised 
 paper in the drawer. 
 
 It is a wise precaution, and one entailing no trouble or 
 loss of time, to place paper and prints sensitised side down- 
 wards. 
 
 Shelves are fitted round the chamber for negatives, which 
 should be placed film side to the wall. A word of caution 
 with regard to the use of these shelves is necessary. 
 
 Every day, negatives from which the required number of 
 prints have been made should be removed from the shelves 
 of the printing room, and placed in the store racks. A 
 negative out of use is in the way, and stands in danger of 
 being spoiled. 
 
 An ivory paper-knife, a pair of scissors, glasses (ground 
 and plain) of various sizes for the frames, tissue paper, masks, 
 and cut-outs, should have places where they may be readily 
 found. 
 
 Too often a great accumulation of lumber is permitted, 
 the consequence of which is that necessary implements 
 are crowded out or buried. In the printing room there 
 should be a place for everything, and directly an imple- 
 ment is out of use, it should be returned to its place. 
 
 The Temperature of the room is a consideration of great 
 importance, as the paper is readily affected by extremes. A 
 stove in the winter, and perfect ventilation in summer, 
 should keep the room at an uniform and comfortable tempera- 
 ture all the year round. 
 
 Printing Stand, — The stand in /\ form, with ledges on 
 both sides for holding the negatives under exposure, should 
 be well and firmly constructed of well-seasoned wood. Fur- 
 ther protection may be given to it by two or three coatings 
 
33 
 
 of paint. Castors are fitted to it, so that it may be easily 
 moved on the roof to secure the most favourable light. On a 
 stand of this construction, intense negatives, and those 
 covered with several thicknesses of tissue paper, may be 
 printed in direct sunlight, while the thinner negatives are 
 placed on the other side and printed in shade. 
 
 Printing Window, — In changeable, cold, and stormy 
 weather, when printing out of doors is impossible, the prints 
 are exposed under the glass of a window built out from the 
 printing room. Erom the window place, the sash being 
 removed, and, if necessary, the opening enlarged, a platform 
 is built. This is covered by a straight sash running from 
 the top of the opening to the outside of the platform, the 
 sides being boarded up. If the platform slopes downward, a 
 greater amount of space can be utilised, the platform being 
 then fitted with ledges on which to rest the frames. 
 
 Other stands for frames can be fitted above, and in an 
 ordinary window-place a great many frames may be exposed. 
 
 A northern aspect, if it can be secured, should be selected, 
 that the sun in changeable weather may not prove trouble- 
 some. This trouble, with any aspect, may be done away 
 with by the construction of a light frame, of the size of the 
 window sash, covered with tissue paper. 
 
 Especially if the printer has other occupations, and his 
 attention cannot be wholly given to his frames, should the 
 printing be done under cover. 
 
 D 
 
CHAPTER X. 
 
 PRINTING. 
 
 In the operation of making prints from a number of nega- 
 tives, such as come into the hands of a printer day by day in 
 an ordinary gallery, the exercise of care and thought is 
 necessary, allied to a considerable amount of experience. 
 
 Thought and carefulness are absolutely requisite, as much 
 to the^man who has printed for years, as for the beginner 
 who is making his first prints; the only difference being 
 that to the experienced printer the exercise of them is, from 
 long usage, almost a habit, while to the novice it may be a 
 matter of anxiety. 
 
 Filling the Frames. — In the operation of placing negative 
 and paper in the printing frames, seemingly so simple, con- 
 siderable care is requisite. It is an extremely easy thing to 
 break a negative. If the glass is dropped sharply into its 
 place, if the frame is warped, if the pad is unequal or too 
 thick, if the backboard of the frame is improperly placed, 
 this awkward accident may result. These instances are but 
 a few of many causes of this one of many failures. "With care 
 they may be all avoided. 
 
 It may be accepted as a good rule, that a negative ought 
 not to be placed in a frame without a plain glass on which to 
 
V 
 
 35 
 
 rest. Besides securing to a great extent the safety of the nega- 
 tive, in ordinary bright weather the print made under two 
 thicknesses of glass is better than that where the light passes 
 directly through the glass and film of the negative. Certain 
 cases, as that of a very intense negative, call for different 
 treatment, of course. Many first-rate printers do not use 
 these glasses in the printing-frames : ah ! well, dear reader, 
 when you are a first-rate printer, you — may do as you like ! 
 
 The glass should be kept bright and clean on both sides. 
 The negative must be dusted with a broad, soft brush on the 
 collodion side, to remove any dust which would cause flaws 
 in the print. The glass side, too, should be perfectly clean. 
 
 See that each piece of paper is in its proper place on the 
 negative before putting the frame out in the light. Examina- 
 tion of each piece is necessary before placing it in the frame, 
 as defects from the albumenising, sensitising, &c., which 
 would pass unnoticed in the drapery, might spoil the print if 
 appearing on the face or background. 
 
 Guard against scratching the film of the negative in placing 
 the paper and pads in place. 
 
 Pads of blotting-paper or cloth are used to secure more 
 perfect contact between paper and negative. They should 
 not be too thick, nor unequal in substance. 
 
 See that the backboard fits well and is properly replaced, 
 or the print may slip when examined, or the glass break, or 
 the pressure be unequal, and the print, therefore, of imperfect 
 sharpness throughout. 
 
 The paper is placed in contact with the film side of the 
 negative ; the reversal of this order, or the placing of the 
 .unsensitised side of the paper on the negative, is to "be 
 liYoided. 
 
36 
 
 ITever force a negative into a frame ; use a larger frame, 
 or cut a strip from the negative. The frames should be of 
 hard and well-seasoned wood, otherwise in exposure to the 
 weather they will warp and play havoc with glasses placed 
 in them. 
 
 There is an art in handling negatives, frames, paper, &c. 
 It may seem an unimportant matter how a negative i& 
 handled, but it is not really so. The hand, well-trained 
 and experienced, may be distinguished at a glance in thia 
 one thing. 
 
 The benefit of acquiring a good style cannot be too strongly 
 impressed upon the beginner. At first the right way is as 
 easy as the improper ; but after a while, when habit has 
 impressed upon the printer an awkward or slovenly method 
 of working, it is difficult to reform it. 
 
 Exposing the Print, — Save in exceptional cases, the nega- 
 tive should not be exposed to the direct rays of the sun. The 
 strength of light which may be used depends on the character 
 of the negative, but ordinarily the print should be produced 
 in the shade. 
 
 Ee careful that stray rays of light, reflections, or shadows, 
 are not cast on the negative, or unequal prints will be the 
 result. 
 
 The picture should be darker than required in the resulting 
 picture, as there is a loss of colour in the subsequent mani- 
 pulations. Observation will guide the operator to a know- 
 ledge of the proper depth of colour required. 
 
 In examining a print, never expose it to the direct rays of 
 light. Strictly speaking (and in the case of a beginner the 
 rule must be made absolute), the frame should be taken into 
 a dark room. "When experience is gained, and a brief glance 
 
37 
 
 once or twice during the exposure is sufficient to determine 
 its progress, the printer may turn his back on the source of 
 light, and look at the print in the shadow of his person. 
 
 Pbinting Vignettes. 
 
 It is very important that the beginner should learn to 
 make a good plain print before he attempts the more difficult 
 varieties of prints. 
 
 To make a first-rate plain print — that is, one printed out 
 to the edge of the paper — very nice art is required ; but in 
 other styles, where effects not given on the negative are 
 produced, all the manipulative skill, with further qualities, 
 are called into play. 
 
 The Vignette is difficult in proportion to the beauty of 
 effect produced. The charm and tenderness of these pictures 
 strike everyone on looking at a perfect specimen of this style. 
 
 Delicate gradation and perfect balance are absolutely 
 necessary to success. 
 
 One of the greatest aids to the printer is to study the works 
 from the best galleries, and compare each specimen with, 
 similar prints of his own production. In this way he may 
 judge where his work falls short. The knowledge of error 
 is a great advantage to the operator who is determined to 
 excel, as he never relaxes his care and striving after a higher 
 excellence. 
 
 It is impossible to give very definite instruction for print- 
 ing vignettes, as the circumstances under which they are 
 produced are never alike. A few general hints may, how- 
 ever, be found useful ; but an artistic taste, and a true eye 
 for proportion, are absolutely requisite. 
 
 Proportion is not so much of the background, properly 
 
38 
 
 shaded off all round the head ; sometimes it is inequality to 
 produce the effect of equality. 
 
 In a shadow-picture this apparent anomaly is most forcibly 
 illustrated. Here we find, generally, that the background is 
 darker on the light side of the head, and lighter on the 
 shaded side. An even and '^perfect'' vignette would, in 
 this case, be untrue; the lighter part of the background 
 should be extended to produce balance. 
 
 Let us try and illustrate in a few words the action of light 
 in vignetting. For this purpose, cut a perfect oval in apiece 
 of cardboard, and place it correctly to a negative in a frame. 
 Wow hold the negative and masked frame out at arm's length, 
 and directly in front of you, up to the light. The image is 
 delicately graded off into obscurity, where it is lost under the 
 opaque portion of the mask. This is the proper position; 
 but draw one end of the frame slightly nearer to you, so that 
 it is not quite in front of you. Now the head appears to be 
 thrown on one side, there being a loss of background on that 
 side, and a gain on the other. This, then, proves that the 
 light must be directly in front of the vignette. 
 
 The vignetter is, as we have seen, made of cardboard ; 
 it is not always a perfect oval, but is based on that form, and 
 cut to suit the requirements of the particular negative to be 
 printed. This is a matter calling for considerable judgment 
 and taste. The edge of the vignetting card is cut all round 
 with teeth and slits, to add softness to the vignetting, and 
 the opening covered with tissue paper. 
 
 A point of importance is the distance between the vignet- 
 ting card and the negative. Grenerally they should be quite 
 half-an-inch apart, but the greater the distance, the smaller 
 should be the opening. 
 
39 
 
 The dark part of a background and black drapery sbould 
 oe more covered than the lighter portions. 
 
 After fixing a vignetting card to the frame, hold the frame 
 and negative up to the light as described, and study the 
 effect. A little alteration of the position may suggest an 
 improvement which should be carried out. 
 
 As the vignette approaches the oval, so are the beauty and 
 intention of the picture secured. The effect of halo corre- 
 sponding to the outline of the figure is abominable. 
 
 Eemember that the most perfect oval will not always 
 produce the effect of one. Do not work with a pair of 
 compasses, but use thought and taste. 
 
 Greying the Vignette is the darkening of the white margin 
 to the tint of the background. This may be effected by 
 taking the print on a sheet of glass and covering it with 
 another clean glass. Place over the printed portion, on top 
 of the glass, an oval card smaller than the vignette. In a 
 subdued light expose the print, keeping the oval card in 
 motion, and the glasses slowly revolving on the hand. The 
 motion of the card prevents the line which would otherwise 
 be printed, while the card protects the print, and the glasses 
 are kept revolving, so that all parts of the background may 
 be exposed alike. 
 
 ifever let the *'grey" background be darker than the 
 original vignetted. 
 
 Peinting Medallions, etc. 
 Several very artistic forms of printing have attained a large 
 measure of popular approval. Those based on the models of 
 the work of the best line engravers are to be followed, as sure 
 to prove satisfactory. Unfortunately, printers, in their 
 straining after novelty, have introduced a great deal of art 
 
40 
 
 of their own, of the credit of which no one would be inclined 
 to rob them. Let the reader do all in his power, by the 
 study of the truest art, to avoid the dangers which have 
 proved so fatal to many. 
 
 Of the styles in vogue the most popular, perhaps, is that 
 known as — 
 
 The Medallion. — Eetween the negative film and the sensi- 
 tised paper a piece of opaque paper from which an oval has 
 been cleanly cut out is placed. The figure on the negative is 
 thus printed in oval form, outside which there is white paper. 
 This is sometimes left ia this state, but better effect may be 
 gained by taking the print on a piece of glass and covering 
 the printed portion with the oval cut from the paper, and 
 slightly shading the white margin by exposure to light. It 
 is well to place the oval a shade on one side, so that a fine 
 line of the print shows ; the effect of this, when shaded, is 
 that the line of the print exposed the second time is darkened, 
 and on the opposite side a fine line of white appears where 
 the oval has. covered the white paper and prevented its being 
 discoloured with the rest of the margin. 
 
 The figure to be printed in oval must be carefully arranged 
 by the artist, that the lines of the head and shoulders are well 
 balanced and proportional, or it will be difficult to arrange. 
 
 The proper position of the oval to the figure must be 
 maintained, or the figure will have the appearance of falling. 
 
 The oval forms commercially prepared had best be used. 
 Great skill is required to prepare them, and home-made ovals 
 and other forms are rarely satisfactory. 
 
 Care in the use of these papers is called for, as, when bent 
 and torn, they are worse than useless. When out of use 
 they should be kept in a box. Each cut-out and mask 
 
41 
 
 should be marked with a corresponding number, so that 
 there may be no difficulty in finding the right oval when it is 
 required for shading the margin. 
 
 The ovals had best be pasted on glass plates. It is almost 
 impossible to place them loose in position on the print, and 
 cover both with the glass, without shifting. 
 
 Arched Top- Forms , ^c. — Several varieties of forms in 
 printing are in use — the oblong mask, the oblong with an 
 arched top, and an endless variety according to taste (or, 
 generally speaking, want of taste) of the printer. Too often 
 these are false to art, and are not to be commended. 
 
 A good picture needs no embellishment, and the result of 
 elaborate and ill-considered lines about the margin is to con- 
 fuse and falsify the composition of the figure. 
 
 The same remark may be applied to — 
 
 Ornamental Borders, — A collection of zig-zags and un- 
 meaning lines, often strongly-printed and more prominent 
 than the figure, is in the worst possible taste. 
 
 The border should never be pronounced and clearly defined. 
 A faint suggestion of a design, as of a marbled marking, or of 
 the roughness of drawing paper, may be allowable ; but it 
 gives the idea either that the object portrayed is of sufficient 
 interest to command attention, or that the photographer 
 cannot rely upon his art to produce a picture. 
 
 These ornamental borders are printed from negatives taken 
 from designs specially prepared (as, in one of the instances 
 given, from a sheet of drawing paper, which produces the 
 best efi'ect for this purpose), and the form cut out pasted on. 
 The negative and form are then used in precisely similar 
 fashion to the clear glass and oval described earlier in the 
 chapter. 
 
42 
 
 Cameo Pictures. — The catneo press is used to raise the 
 surface of the card when mounted, the centre being pressed 
 upwards while an oval ring flattens the margin. 
 
 Vignettes to be finished in this style are printed with an 
 oval cut-out the size of the metal oval of the press, so that all 
 action of light is stopped at the edge of the cut-out. 
 
 For variety's sake, this margin is sometimes shaded darker 
 than the vignetted background, in the manner described for 
 the oval picture. 
 
 Oval pictures are also raised by pressure in the cameo press. 
 
 The effect produced by the cameo press is appreciated by 
 some, but it is doubtful whether it does not owe the popu- 
 larity it enjoys solely to the fact that it is a novel style. 
 
 Combh^ation" Peijsting. 
 
 Printing from two or more negatives calls for the exercise 
 of considerable taste, art-knowledge, and manipulative skill. 
 Taste and art-knowledge are absolutely necessary, or ludicrous 
 incongruities of effect may be perpetrated ; and manipulative 
 skill to surmount the difficulties of joining and attaining the 
 proper depth of colour in the printsf rom the different negatives. 
 
 Combination printing is more generally practised in the 
 making of compositions with natural landscape backgrounds. 
 From an art point of view nothing can be more satisfactory 
 than the successful carrying out of a well-intentioned picture 
 in this way ; and very great possibilities for the art have 
 been suggested. The great advantage of combination print- 
 ing is, that we may in the negative devote to each part more 
 attention than if the whole composition were photographed in 
 one negative. Indeed, effects impossible of attainment in 
 any other way are produced. 
 
43 
 
 If we take the simplest form, by way of illustration, a 
 single figure, three-quarter length, to obviate the difficulties 
 of the foreground. In the studio the lighting and pose are 
 arranged with a clear idea of effect required in the combina- 
 tion print. A negative of the scene required for the back- 
 ground is either takn especially, or selected from one in hand. 
 
 The figure is photographed with a white background, or 
 one very light, and from it a proof taken which may be used 
 for the mask. This is not toned or fixed. Cut out the 
 figure, and fix it face downwards on the portion of the land- 
 scape it should occupy in the picture. 
 
 Print the figure to the proper depth, and then lay over it 
 the masked background negative, the mask, of course, exactly 
 covering the printed figure. Examine before exposure, to 
 see that no hard, dark lines of the background touch the 
 figure, and tone down such with Indian ink, as occasion 
 requires. If a white line forms round the figure on the 
 second exposure, it will be necessary to scrape away the edge 
 of the mask a trifle. 
 
 If the figure negative has a dark background, it is stopped- 
 out with a mask formed by the background of the proof 
 already spoken of, or by a black varnish, before being 
 printed. 
 
 With full-length figures, the ground and foreground, with 
 such accessories as are necessary to the composition, are taken 
 and printed. 
 
 Groups may be made by printing one or more figure 
 negatives, and the background afterwards added ; but as the 
 negatives are multiplied, so, of course, are the difficulties. 
 The joins should be arranged as much as possible to come in 
 unimportant parts of the picture. 
 
44 
 
 It will be seen that, by means of combination printing, the 
 powers of the photographer are largely increased for the 
 production of pictorial effect, but in using it the artist must 
 guard himself against the chance of his fancy running wild. 
 
 All the parts of the composition must be true one to the 
 other, and all trickery avoided. 
 
 A sketch of the proposed composition should be prepared 
 before the several negatives are made. 
 
 Pictorial background negatives, for printing in combination 
 with portraits, are so well-known that they need no descrip- 
 tion. In great part they form a pleasant accessory to a 
 portrait; but in their use a great deal of discrimination is 
 requisite, absurd combinations being often made with them. 
 
 The floor of the figure negative should always be used 
 where a full-length is taken ; the background light. The 
 directions already given hold good with these backgrounds. 
 
 Perpendicular lines in the background should be adjusted 
 perfectly, or a tumble-down effect will be produced. 
 
 Generally, in all light portions of the figure, the mask 
 should most accurately cover the print ; but in dark drapery 
 and shadow the mask may be cut a trifle inside. 
 
 The frames should always, in printing the background, 
 directly face the light, and be, to secure a softer effect at the 
 joins, kept constantly in motion by being turned round. 
 
CHAPTER XL 
 
 TONING PRINTS. 
 
 It is still an open question whether the prints had best be 
 toned with the rough edges as they come from the frames, or 
 first cut. It is not a matter of supreme importance ; the best 
 reason in favour of the cutting before toning being that the 
 edges may be preserved, and the silver extracted. Against, 
 is urged the objection that the edges get worn in washing 
 and toning. We can only say we have not found it so ; 
 indeed, find that the rough edges are liable to tear. 
 
 Cutting the Prints is an operation calling for considerable 
 skill and taste. 
 
 The position of the figure on the print has a wonderful 
 effect on its appearance. If the print is cut down too near 
 the head the effect is to heighten the figure ; too much space 
 above the head dwarfs the figure. "With cuts at the side, 
 where the space behind the figure is reduced, the figure has 
 the appearance of backing out of the picture; too great space 
 behind and too little in front, suggest walking out of the 
 picture. 
 
 These, with the want of regard to the perpendicular of the 
 figure, roughly comprise the chief errors in cutting the print. 
 
46 
 
 Many other nicer points arise in individual practice, into 
 which lack of space will not allow us to enter. 
 
 The print is placed face upwards on a thick glass, and 
 over it is placed a bevelled glass cut to the size of the pic- 
 ture required. These glasses are to be obtained at all the 
 stock houses. Care must be exercieed that the glass occupies 
 its proper position on the print, and with a sharp knife the 
 edges are cut off. There will be experienced some difficulty 
 at first in making a clean, straight cut, but with careful 
 practice this will be surmounted. The knife will be found 
 easier to use than scissors. Improper cutting rapidly blunts 
 the knife and scissors. 
 
 Hold the glass firmly to prevent the print slipping, and 
 avoid tearing the edges of the paper, or wearing the edge of 
 the knife against the glass. 
 
 Proceed carefully, slowly if necessary at first, and always. 
 There is no gain of time in cutting a batch of prints quickly 
 and badly; the slowest time on record, if the work be well 
 done, is quicker. 
 
 The prints should be now subjected to thorough washing 
 until all the soluble silver is eliminated. This holds good 
 only with the acetate bath, as with others a small amount of 
 free silver should be left in the print, the washing not being 
 so thorough. 
 
 In a dish of clean water the prints are immersed, face 
 downwards, one by one. It is necessary that each print be 
 evenly and thoroughly wetted, or stains will result. They 
 are placed in face downwards to prevent the silver chloride 
 or carbonate which may be formed by the soluble chlorides 
 or carbonates in the water from being precipitated on the 
 surface of the print. In toning^ the gold is precipitated lOn 
 
47 
 
 these deposits, and the fixing bath of sodium hyposulphite 
 dissolves them away, leaving untoned spots. 
 
 The water in which the prints are washed should be 
 changed five or six times, until there is no appearance of 
 milkiness, if the toning bath used be the acetate. 
 
 The first washing of the prints may be continued two or 
 three minutes, and the water preserved, as it is rich, in 
 silver. It is placed in a tub, and the silver precipitated 
 with common salt each, evening, the clear water being 
 decanted and thrown away in the morning. 
 
 Acidifying the Prints. — Some printers make the final wash 
 in water slightly acidified with acetic acid, with the idea 
 that the prints tone better ; but there is really no warrant 
 for the assumption. Pree acid in the print may, with reason- 
 able grounds, be suspected as the cause in great part of their 
 want of permanency. A redness is given the print, which, 
 it is said, is an aid in determining the colour in toning. 
 This redness may be given by the immersion of the print in 
 water containing a faint trace of common salt ; but it is best 
 to wash only in plain water. 
 
 The Toning Eoom. 
 
 In this chamber several important operations are conducted. 
 The washing, toning, fixing, and the final washing, &c. 
 
 In these operations are employed agents antagonistic to 
 each other, and the greatest circumspection in their use must 
 be enjoined ; failure surely resulting on any want of care. 
 
 The sodium hyposulphite used in the fixing bath is the 
 deadly enemy to the toning bath ; and if the unfixed prints 
 are touched by any trace of the hyposulphite, ineradicable 
 stains will be formed. At any time other than when used 
 
48 
 
 for fixing the prints, the hyposulphite has a mischievous 
 effect. There is, however, no reason for fixing prints in 
 another room, because, without care, the danger would 
 scarcely be lessened. 
 
 The fixing bath must be' kept apart, and the operator 
 should never place his hands in it and proceed to other duties 
 before washing off the hyposulphite. 
 
 Splashes of sodium hyposulphite ought to be guarded 
 against, as the fine powder left after evaporation of the 
 "water may be carried about the apartment, and contaminate 
 washing waters or baths. 
 
 On a table near the window, shaded to secure diffusion of 
 the light, is placed the toning bath, and by it the dish 
 containing the washed prints. 
 
 Diffused light is better than yellow light, as the tones of 
 the prints may be more accurately judged. It is not, how- 
 ever, always possible to secure daylight, as the toniDg is 
 necessarily delayed to a late hour. 
 
 A large sink is fixed at one end of the room, in which stand 
 the washing-dishes. A good supply of water should be 
 obtainable, to secure the perfect elimination of the fixing 
 solution from the prints, &c. 
 
 The perfect washing of the prints after fixirg is a point of 
 such great importance that washing machines have been 
 invented, which are supposed to remove every trace of the 
 hyposulphite from the print ; yet pictures wiU fade. An 
 ordinary porcelain dish, with a continuous supply of water, 
 and a syphon to draw off the water so as to constantly change 
 it, will answer every purpose. "Wooden vessels are ill 
 adapted to the purpose, as the hyposulphite contaminates 
 them« 
 
49 
 
 It is, however, very necessary that some means be taken 
 to give the prints a thorough washing, and without a good 
 supply of water this cannot be done. 
 
 The general arrangement of the room must depend greatly 
 on the accommodation at the command of the printer ; nor is 
 it a matter of importance so long as the considerations we 
 have laid before the reader are regarded. 
 
 The Toning Bath. 
 
 The object of toning is to give the print a more agreeable 
 tint than that which would result from its being placed in 
 the fixing bath directly after printing. 
 
 For this purpose a great variety of preparations of gold 
 chloride are used. 
 
 One of the most reliable and satisfactory under varying 
 conditions is that prepared with sodium acetate. 
 
 The gold is first dissolved in water, one ounce to each 
 grain of the gold, and kept as a stock solution. 
 
 The bath is made up as follows : — 
 
 Sodium acetate ... ... ... 75 grains 
 
 Gold chloride ... ... ... 3 
 
 Water 30 ounces 
 
 This bath owes its value, beyond the beauty of results 
 obtainable by it, to its simplicity, uniformity, and reliableness. 
 
 When first prepared it is not at its best, but after a few 
 days it will be thoroughly satisfactory, and improve with age 
 if replenished from the stock solutions directly it shows signs 
 of failing. 
 
 Ey keeping the gold and the acetate in solution, the bath 
 may be constantly replenished as requii^d. These additions 
 
 E 
 
50 
 
 should always be made in the morning of the day it is 
 required for use. 
 
 The practice of adding gold to the bath directly before 
 using is productive of much mischief, and cannot be too 
 strongly reprobated. The bath should, every night after 
 having been used, be returned into a wide-mouthed bottle, 
 and in the morning decanted, and the gold solution added. 
 
 The prints should be thoroughly washed before toning, and 
 this done, the toning will be found to proceed very evenly. 
 
 The Carlonate of Soda Toning Bath is one very much used. 
 The prints are somewhat bleached by it, so that the depth of 
 printing should be deeper than when using the acetate bath. 
 Prepare as follows : — 
 
 Sodium carbonate ... ... ... 45 grains 
 
 Gold chloride ... ... ... 3 ,, 
 
 Water 30 ounces 
 
 making up a fresh solution each time about an hour before it 
 is required for use. 
 
 This bath requires considerable experience to use success- 
 fully, as the prints show a variety of tints before that required 
 is arrived at. Watch the half-tones until they assume a 
 purplish shade, and then stop the action. 
 
 The Chloride of Lime Bath, which is suitable for white 
 and black pictures, but is extremely variable, is made as 
 under: — 
 
 Chloride of lime ... ... ... 4 grains 
 
 Gold chloride 3 „ 
 
 Water 30 ounces 
 
 with a table-spoonful of chalk to neutralise acidity. 
 It may be used directly if it is made with hot water ; if 
 
51 
 
 with cold, a few hours should elapse between mixing and 
 using it. 
 
 Many other formulae might be quoted, but as by the first 
 two almost every class of work may be done, further methods 
 appear likely only to divert the attention. 
 
 The Citric Acid Bath has found favour with many, but 
 there is every reason to believe that, whatever of permanency 
 in the photograph is to be attained, it will be found in the 
 alkaline methods of toning and fixing. 
 
 Toi^iNO, Washino, Fixing, etc. 
 
 The prints have been thoroughly washed to remove all the 
 free silver, and the dish containing them is placed beside the 
 toning bath. 
 
 Toning. — Care must be exercised in placing the prints in 
 the bath, l^o trace of the toning solution must touch the 
 prints before they are placed in the bath, or spots would be 
 formed. 
 
 With the right hand take tbe prints from tlie washing-dish, 
 and drop them one by one on the toning solution, and with 
 the left hand submerge them. Each print must be thoroughly 
 and evenly wetted with the solution, or unequal toning will 
 be the result. 
 
 When in the bath the prints should be kept in motion to 
 prevent them sticking together. 
 
 A great number of prints should not be toned at one time, 
 even by the experienced printer, as an amount of care should 
 be bestowed on each print which cannot be given when a lot 
 of prints are in the bath. Then the most that can be done 
 is to get an even toning throughout, without regard to the 
 requirements of the individual print. 
 
52 
 
 Very often successful toning is looked upon as getting a 
 hundred or so of prints one tone of brown or purple ; but this 
 can scarcely be admitted as the perfection of toning. Eegard 
 to the character of the subject is necessary, and though we 
 cannot expect to represent nature, something of suggestion 
 may be made. 
 
 The difEerent tones are obtained by the length of time the 
 print remains in the bath. 
 
 Eed comes first in the scale ; chocolate, by toning a little 
 longer ; and a rich dark brown by a trifling continuation of 
 the action of the bath. The purple tone is attained by 
 removing the print from the bath directly it shows the 
 required tint. 
 
 If the print is removed just at the moment the necessary 
 tone is reached, the continuing action of the solution in the 
 print will carry it a trifle further, which will compensate for 
 the bleaching quality of the fixing bath. 
 
 Hard, intense prints should be subjected to vigorous toning, 
 and be placed face downwards in the solution. 
 
 Weak prints require gentle toning. 
 
 The effect of toning face downwards is to quicken the 
 operation ; face upwards, to retard. 
 
 These remarks apply especially to the baths prepared by 
 the first two formulae. 
 
 The prints, as they are removed from the toning bath, are 
 placed in a dish of clean water, in which a little salt has been 
 dissolved, until all are finished. The bath should then be 
 poured back into the bottle ; and the prints placed in — 
 The Fixing Bath, 
 Sodium hyposulphite ... ... 5 ounces 
 
 Water ... 30 „ 
 
 Liquor ammonise 2 drachms 
 
53 
 
 Each print must be evenly wetted with the solution in 
 every part without delay, or stains are acquired. The hand 
 by which the prints are taken from the water must have no 
 trace of hyposulphite upon it, or the prints will be stained. 
 From the water take each print separately, in one hand, and 
 drop the print upon the surface of the fixing bath, and with 
 the other hand instantly submerge it. Keep the solution in 
 constant motion. 
 
 From ten to fifteen minutes is suflS.cient generally, but by 
 holding the prints up to the light it can easily be seen if the 
 whites are pure. A mottled, dirty yellow appearance 
 indicates insufficient fixing. 
 
 If blistering occurs in the prints after fixing, instead of 
 taking the prints from the bath, and directly placing them in 
 pure water, gradually dilute the bath, with the prints in it, 
 until nearly all the hyposulphite is absent ; then transfer the 
 prints to the washing- dish. Prints do not, however, 
 necessarily blister on the immediate transition from hypo- 
 sulphite to water. Salt in the washing water also remedies 
 the evil. 
 
 In winter the water used for making the bath should be 
 lukewarm. 
 
 Washing the Prints must be done in the most thorough 
 manner. There can be no doubt that the time of washing is, 
 in importance, quite secondary to the perfectness of the 
 changes. A running stream with a syphon arrangement, 
 whereby the water of the reservoir in which the prints are 
 held may be perpetually changed, is the only means of 
 thoroughly eliminating the hyposulphite. 
 
CHAPTER XIL 
 
 FmiSHING THE PRmTS. 
 
 The importance of an apartment set aside to the purposes^ 
 of a 
 
 General Work Room cannot be too highly estimated. So 
 much of the beauty of the picture depends on the care and 
 skill in the mounting of the print, that it were well if more 
 watchfulness were bestowed on it than is usual. "Who has not 
 seen the dreadful effects of negligence and want of dexterity ? 
 In fact, the rule of-thumb in too great degree characterises 
 this branch. 
 
 Too often the work of mounting is carried on in the 
 reception-room during business hours, where the prosperity 
 of the gallery might well warrent an arrangement more 
 conducive both to the perfectness of the mounting and the 
 attention to customers. We have no desire to raise issues 
 as to the conduct of business, or to appear in the role of the 
 reformer ; but so far as the perfection in the manipulations of 
 which we are treating, we feel justified in speaking. 
 
 In the general work room, too, account should be kept of 
 the prints supplied to each order, and general supervision 
 kept over the printers in the discharge of the directions 
 given them. 
 
55 
 
 A check of some kind is necessary to prevent mistakes, 
 especially in the large establishment we are supposing ; 
 although few businesses are so large that all the departments 
 would command separation as here given, yet, modified to 
 suit the most humble gallery, we have not mentioned one 
 precaution it would be safe to disregard, if perfection is 
 desired. 
 
 Mounting the Prints, — Cause of fading is laid at the door 
 of the mounting materials used, and the complaint, in some 
 cases, is not without reason. Any acidity will surely cause 
 spots and fading, but if the common mounting agents are 
 used in a fresh state, there is no cause for suspicion. Of all 
 the substances in use, none are better than starch. The 
 only way to prepare it is to dissolve the starch to a stiff 
 paste with cold water, in a suitable basin ; pour boiling 
 water over it, stirring well all the time, until, after it has 
 thinned, it has again stiffened. It is now thinned with hot 
 water to the required consistency. These directions must 
 be rigidly followed. 
 
 Gum-arabic is also an excellent mounting material. Take 
 the best quality, and dissolve in hot water ; the thick mass 
 is placed in muslin, the ends of which are gathered up to 
 form a bag, and the gum squeezed through by pressure from 
 the fingers. 
 
 The prints of one size are placed in a heap, face down- 
 wards, on a level board. The most suitable condition for 
 mounting is while they are still slightly damp, not wet, at 
 which time they are more manageable than when dry and 
 curled up. 
 
 Paste over the back of the top print of the heap evenly, 
 remove any hairs or lumps, and place in position on the card. 
 
56 
 
 Eub into contact with the hand, a sheet of clean writing 
 paper being placed between the hand and print, and rub 
 down more securely with a smooth, hard substance. The 
 bottom of a bottle serves better than anything. Slightly 
 bend the card back to counteract the contraction of the face 
 in drying. 
 
 Spotting,''^ — Accidental blemishes, as white spots from 
 dust on the negative, &c., are covered over by the application 
 of colour mixed with gum. In some galleries a great amount 
 of work is caused by faulty retouching, and by carelessness 
 in printing. All the failures with which we have to do 
 are preventable 
 
 Burnishing, — The prints are now rolled in a press. In 
 this operation it is necessary that care be exercised not to 
 stop rolling while a print is in the machine, or a line will be 
 marked on the card. 
 
 Good usage will preserve the burnisher for years, and save 
 the prints from many a scratch and hole. 
 
 Guard against dust settling on the print before rolling, 
 and keep the burnisher clean. When out of use, it should 
 be covered. 
 
 Encaustic Paste for waxing prints may be made by dissolv- 
 ing white wax by heat, and adding three-fourths the bulk 
 of spirits of turpentine. Place the wax in a china or glass 
 bowl, in a vessel containing boiling water, and dissolve the 
 wax. Gradually add the turpentine to the melted wax, 
 stirring well all the time. Add enough of an essence — say, 
 of cloves — to destroy the smell of the turpentine. This is 
 lightly rubbed over the print, the card being protected by a 
 mask. 
 
CHAPTER XIII. 
 
 DURABLE SENSITISED PAPER. 
 
 In uncertain weather it is of importance that paper may be 
 prepared without the danger of its spoiling if not at once 
 used. 
 
 The best method, because it does not necessitate any 
 change in the bath, is to place the sensitised paper in a 
 blotting-pad which has been thoroughly saturated in a 
 thirty- grain solution of sodium carbonate in water, and 
 dried. The sheets may be kept in the pad, under pressure, 
 until they are required for use. Pume the paper before 
 using. 
 
 Washed Paper. — By washing away a portion of the free 
 nitrate from the paper, we have an easy and sure method of 
 getting good keeping qualities without sacrificing uniformity 
 of results or sensitiveness. 
 
 When the paper has been sensitised in the ordinary 
 manner, it is drawn, face downwards, through three changes 
 of water. The paper should not, in any instance, be allowed 
 to rest on the baths of water, or the print will lack richness 
 and depth. Dry; and when required for use, fume for 
 j&fteen or twenty minutes. 
 
58 
 
 Citric Acid as a Preservative, — The use of a bath made up 
 with the silver nitrate acidified with citric acid has been 
 recommended ; and, with the exception of a slight loss of 
 sensitiveness, the results are very satisfactory. 
 
 The bath is prepared as follows : — 
 
 Silver nitrate ... ... ... 40 grains 
 
 Citric acid ... ... ... 20 ,, 
 
 Water (distilled) ... ... ... 1 ounce 
 
 Ploat the paper a rather longer time than with the alkaline 
 bath, and dry the paper thoroughly. 
 
 The paper is then put away between sheets of clean 
 blotting-paper, in a dry, dark place. 
 
 As it is required for use, fume double the ordinary time. 
 If the paper shows tendency to discolour in fuming, add to 
 the ammonia in the dish a little chloride of lime. 
 
 Before toning prints on paper sensitised in this way, 
 immerse in water containing a slight trace of ammonia, after 
 washing in the ordinary way. The toning-bath should be- 
 decidedly alkaline. 
 
CHAPTER XIY. 
 
 IMPERFECTIONS IN THE PRINT. 
 
 Failures in Preparing the Paper. — It is not always easy to 
 trace the cause of a defect appearing in the print. Many 
 defects may, from the evidence of appearance, be attributable 
 to several of the manipulations. It is therefore necessary, 
 when endeavouring to eradicate a fault, to carefully trace it 
 to its origin. 
 
 Por the reason of the similarity in appearance of certain 
 defects common to failure in several manipulations, it is of 
 importance that the reader, in consulting the appended list, 
 should remember that every defect is only set down as 
 possibly caused in the manipulation under which it is placed, 
 but that, as further study would show, it may be caused in 
 other ways. 
 
 Defects in Albumenised Paper, — A perusal of the notes on 
 albumenised paper will show that the commercially-prepared 
 paper may be at fault. This, however, is not so often the 
 case as workers perplexed with spots, streaks, stains, and 
 other troubles would like to believe. As often as not, the 
 fault is in the after-manipulation. 
 
60 
 
 The defects of paper are generally to be seen on examina- 
 tion before sensitising. 
 
 The principal fault of albumenised paper is in the 
 inequality of the surface. This may be readily traced by 
 observing the effect on different portions of one sheet under 
 one negative. Those from the thick end will give fine, rich 
 prints, while those from the thinner end are poor and 
 lustreless. 
 
 Spots and streaks of albumen are caused by carelessness of 
 the albumeniser, the spots being splashes on the sheet, and 
 the streaks from little rills running down the paper when 
 drying. 
 
 Metallic spots are particles of rust settled on the paper 
 when drying ; sometimes after albumenising, but more often 
 after sensitising. 
 
 Dry and horny paper should be kept in a cool, damp place 
 for some hours before it is sensitised. 
 
 Tear drops" are often caused by this toughness of the 
 paper. All spots of silver solution on the paper should be 
 blotted off with clean bibulous paper before the sheet is dried. 
 It is well to draw each sheet over a glass rod fixed at one 
 end of the sensitising- dish when the paper is taken from the 
 bath. 
 
 Defects in the Bath, — A too strong bath causes bronzing of 
 the shadows ; a weak bath, poorness of the print. 
 
 Scum, which causes a greyish stain to the paper, should be 
 removed from the surface of the solution before the sheet of 
 paper is laid on. Take two or three folds of blotting-paper, 
 and skim the scum from the surface. 
 
 Discolouration of the paper may be from the disordered 
 state of the solution. 
 
61 
 
 A too alkaline bath causes an in- sunken appearance of the 
 prints. An impoverished bath produces pictures poor, weak, 
 and flat. 
 
 Eed spots, and red prints, are often due to the same cause. 
 
 The bath turns brown. Treat, as already described, with 
 potassium permanganate, or kaolin. It is very probable the 
 solution is weak ; clear, filter, and strengthen. 
 
 Failures in Sensitising the Paper, — White spots on the 
 paper are caused by bubbles of air allowed to remain under 
 the paper while on the bath. The sheet should be examined 
 as soon as fairly floated. 
 
 Tear drops, or small drops of silver solution adhering to 
 the sheet as it hangs to dry, should be blotted off with clean 
 blotting-paper. The paper was too dry. 
 
 The paper repels the silver solution for the same cause of 
 dryness. 
 
 Eapid discolouration of the paper is often caused by over- 
 sensitising. 
 
 Dullness of the prints, and an in-sunken appearance of the 
 image, may, too, be caused by over- sensitising. 
 
 Eronzing of the shadows also comes of too extended float- 
 ing of the paper. 
 
 Poor, weak prints are the effect of too short sensitising. 
 
 Disagreeable red tone of the prints may be caused by 
 insufficient floating. 
 
 Greasiness " of the paper is also attributable to the short 
 sensitising of the sheet, or from extreme coldness of the 
 solution. 
 
 Curling back of the sheet on the bath is due to the tough- 
 ness of the albumen coating. Breathe on the back of the 
 paper until it resumes its place on the solution. 
 
62 
 
 Inequality of prints is sometimes tlie effect of unequal 
 sensitising. 
 
 Stains on the paper after silvering are sure to appear if the 
 damp sheet is brushed against an unclean substance. 
 
 Dark stains on the back of the paper are from silver solu- 
 tion which has run over the paper. 
 
 Failures in Drying the Paper. — To counteract the tendency 
 to curl, weight the paper down as already described. 
 
 Tear drops should be blotted oft' with clean blotting-paper. 
 
 Stains arise from the sheets comiDg into contact, and stick- 
 ing together. 
 
 Imperfect and unequal drying causes many defects in the 
 print. 
 
 When the paper is left damp there is danger of its sticking 
 to the negative. 
 
 Failures in Fuming. — Over- fuming is the cause of blue, 
 cold prints. Sometimes a metallic appearance is given to 
 the picture. 
 
 Insufficient fuming causes the paper to print poorly. Red, 
 weak prints will result. The fault may be either from 
 using insufficient ammonia, or withdrawing the paper from 
 the fumes too soon. 
 
 Unequal faming, — unequal prints. 
 
 Failures in Cutting Paper. — Stains come from the fingers 
 improperly placed on the sensitised surface of the paper. 
 
 Dirty paper, from placing the sheet on an unclean table. 
 
 Careless and thoughtless cutting results in waste of paper. 
 This may be either from cutting up the paper into pieces too 
 small for the pictures, or with an unnecessarily large margin. 
 Practise on a sheet of ordinary paper of the size of the sensi- 
 tised sheet, or arrange by measurement. 
 
CHAPTER XV. 
 
 FAILURES IN PRmTING, TONING, ETC. 
 
 The negative, unless carefully handled, is in constant danger 
 of being broken. If unprotected by a glass bed, changes of 
 temperature will break it. Warped frames, and pads too 
 thick or unequal, will surely crack it. Flaws, ragged 
 cutting, and curvature of the negative glass are also a source 
 of danger. 
 
 White spots on the prints are caused by dust between the 
 paper and film. Brush the negative before laying on the 
 paper. 
 
 Double outlines come of carelessness in opening and 
 shutting the frame during the progress of the printing. 
 
 Weak lights in the print, from too frequent examination 
 in strong light. 
 
 Blurring, from unequal pressure. Perhaps the paper was 
 too large for the frame, or the pads uneven. 
 
 Unequal sharpness is caused by not placing the backboard 
 of the frame in its place, or from inequality of the pads. 
 
 Unevenly printed shadows are often caused by printing a 
 negative much retouched in the shadows in too strong light. 
 
 Harsh vignetting is a fault resulting from unskilful cutting 
 of the mask, or in placing it too near the glass. 
 
64 
 
 Vignettes of bad shape, from ill-shaped forms, or from light 
 creeping in at the sides. 
 
 Badly-shaped medallions caused by using unshapely forms, 
 or those which have lost sharpness by bad usage. 
 
 [Failure in greying " the vignette is generally caused by 
 too strong light, or want of skill in manipulation. The 
 printed-in background should never be darker than that of 
 the vignetted print. 
 
 Printed-in backgrounds must be used with circumspection. 
 Inappropriateness ; too great sharpness ; strong lines touching 
 the figure; lines destroying the composition; bad joinings 
 printing over the figure ; white marks round the masked 
 portion of the print ; moving the background out of position 
 — are a few of the dangers in manipulation which call for 
 artistic taste and knowledge, and the exercise of the greatest 
 care and skill. 
 
 Inartistic fancy-printing, from want of taste or skill. 
 Keep to plain work. 
 
 Pinger stains on the print. Avoid touching the sensitised 
 surface. 
 
 lailures in Washing the Prints hefore Toning, — Stains from 
 splashes in placing the prints in the washing- dish, or unequal 
 wetting. 
 
 Imperfect washing. Too short time of immersion, or from 
 the prints sticking together in the water. 
 
 Failures in Toning, — A bath containing too much gold will 
 act so rapidly that there is not sufficient time to examine the 
 progress of the toning. TJnevenness of tones comes of this 
 fault. Weakness of tone is also sometimes attributable to 
 this condition of the bath ; but may arise from the original 
 lack of vigour in the prints. 
 
65 
 
 A solution with but little gold delays or altogether stops 
 the operation. 
 
 Uneven toning may be caused by the prints sticking 
 together in the solution ; or from adding gold during the 
 time the prints are in the bath. 
 
 Inartistic toning is the result of want of taste. Generally 
 known as mechanical " toning, this fault shows itself in 
 the prints being all toned to one colour, regardless of artistic 
 propriety. The operator may have the greatest manipulative 
 skill, but no taste. 
 
 Prints refuse to tone when the bath is contaminated ; top 
 weak in gold ; or, from being too cold. 
 
 Failures in Fixing. — Stains and streaks are formed in the 
 prints if unequally immersed in the solution. 
 
 Pinger marks appear when touched by hyposulphite- stained 
 hands. 
 
 Splashes in placing the prints in the solution are to be 
 avoided. 
 
 Yellow spots are caused by imperfect fixation. 
 
 Prints turn yellow when fixed in a worn-out bath ; and 
 when there is free acid in the solution. 
 
 Cloudiness is the sign that the prints are imperfectly 
 fixed. 
 
 Blisters'' may be avoided by using an alkaline fixing- 
 bath. The solution should not be cold. 
 
 Failures in Washing after Fixing. — Insufficient washing is 
 the cause of fading. After a short time the prints will turn 
 yellow. 
 
 Prints should not be allowed to stick together. 
 If bubbles form in washing, they should be broken up by 
 agitation of the water. 
 
66 
 
 Dishes used for the sodium hyposulphite should not be 
 used for washing. 
 
 Failures in Mounting and Finishing, — Yellow spots are 
 often caused by using old blotting pads in which there are 
 traces of sodium hyposulphite. Spots sometimes come from 
 using mounts in which are sulphur or soda. 
 
 Stains appear when the mounting material used is sour. 
 
 Spots and stains are also caused by having damp mounted 
 pictures in long contact. 
 
 In cutting the prints the position of the figure on the 
 print is to be regarded. Too great margin at the top dwarfs 
 the figure ; too little lengthens it. A proper proportion in 
 front and behind the figure should be left. {See remarks on 
 Cutting the Print). 
 
 Eidges in burnishing the print are the result of want of 
 care. The rollers should be kept perfectly clean to 
 prevent scratching the print. Too much pressure ought not 
 to be used, or the edges of the card will be injured. 
 
 Spotting the print requires skill and care, as the appear- 
 ance of the pictures may be easily marred. 
 
CHAPTER XVL 
 
 PRINTING ON PLAIN PAPER. 
 
 The high gloss secured in prints on albumenised paper is 
 generally preferred; but many persons of artistic culture 
 condemn the smoothness and polish as yulgar, and false to 
 art. There is, undoubtedly, a charm about a well-finished 
 albumen picture, although we may feel certain that it does 
 not possess qualities which can long hold our sympathies. 
 
 Prints on plain paper are free from this fault of highly 
 glazed surface, and it is almost matter for surprise that the 
 use of plain paper should be kept almost exclusively for 
 large prints, intended to be finished in chalk, Indian ink, &c. 
 
 Salting the Faper, — It is usual to select the side of the 
 paper having the finer grain, but in some cases the rougher 
 is more suitable to the work. Mark the paper at the back, 
 for guidance in after- operations, 
 
 Float, for fifteen seconds, on a bath prepared as follows : — 
 Ammonium chloride ... ... 250 grains 
 
 Gelatine ... ... ... ... 15 ,, 
 
 Water ... ... ... ... 30 ounces 
 
 Dissolve the gelatine in hot water, and add the chloride. 
 Filter. 
 
 Each time after using this bath it should be filtered. 
 
68 
 
 Dry the salted paper in a warm room, and guard against 
 dust settling on the damp surface. 
 
 Sensitising plain paper is performed in precisely the same 
 manner as described for albumenised paper, and might be 
 done on the same bath, but for the fact that the plain paper 
 rapidly discolours the solution. 
 
 The bath, composed of — 
 
 Silver nitrate ... ... ... 40 grains 
 
 Water ... ... ... ... 1 ounce 
 
 will give very good results. 
 
 The ammonio-nitrate bath is, however, the best adapted to- 
 plain paper. Prepare a solution of silver nitrate, 40-grains^ 
 strong, in pure water. Add liquor ammonise until the 
 precipitate which forms is nearly re-dissolved, Filter. When 
 this bath is used, it is well to reduce the quantity of chloride 
 in the salting solution. 
 
 Fuming the paper is recommended, but with the use of the 
 ammonio-nitrate bath the time of fuming may be reduced 
 one-half. 
 
 Toning, ^c. — Plain prints, especially large ones, require 
 special care in washing, and will not bear too long soaking, 
 or the paper becomes tender. It is best to tone the plain 
 prints by themselves first, and carefully watch the process. 
 Cold tones are required where the prints are prepared for 
 artistic work. 
 
 Mounting, — The prints are mounted on stout cardboard \ 
 if a matt is to cover it, the edges of the print need no 
 trimming. 
 
 Plain prints should on no account be burnished. 
 
69 
 
 General Remarhs. — Plain paper requires very careful treat- 
 ment in all stages of the manipulations. The face of the 
 print should never be touched, and in handling by the edges 
 it should be gently lifted. Under rough usage the paper is 
 sure to tear. 
 
 In washing, the running water should not be allowed to 
 fall on the print, or the paper will crease and break; and 
 every precaution must be exercised that the flow of water is 
 not strong enough to crumple up the sheet. 
 
 The secret of success in printing on plain paper is to secure 
 harmony between the salting and sensitising baths. That 
 secured, bold and brilliant prints will be obtained. Improper 
 treatment in the several manipulations produces defects 
 enumerated in the chapters on imperfections in the print. 
 
CHAPTER XVIL 
 
 PRINTING ON PORCELAIN. 
 
 Of all the photographic printing processes, none can rival in 
 charm and beauty the effects obtainable on porcelain plates. 
 
 Detrimental to the popularity of these pictures has been 
 the uncertainty in their production, and the early fading of 
 the prints, when made with the Collodio- Chloride Process. 
 
 Erom practical test, the following formula is recommended 
 for obtaining, with uniform success, superior porcelain pic- 
 tures, possessing strength, beauty of tone, and permanency. 
 
 Alhumenising the Plate. — Dissolve three grains of strontium 
 chloride in four drachms of water, and add the white of one 
 egg, beaten to a stiff froth ; let it settle, and filter through 
 sponge. 
 
 Clean the porcelain plate by placing it in acid for several 
 hours ; wash thoroughly, and, when dry, wipe with flannel 
 dipped in alcohol, and rub dry with clean flannel. Eemove 
 particles of dust with a camel's hair brush, and pour on the 
 albumen cold, drying it over heat. Plates thus prepared can 
 be kept any length of time, and are ready for use at any 
 moment. 
 
71 
 
 Sensitising the Plate, — Dissolve one ounce of silver in 
 twelve drachms of water, by grinding the silver in a glass 
 mortar and adding the water. 
 
 Take of this four drachms into a clean graduated measure 
 or wide-mouthed bottle, and add thereto, by drops, liquor 
 ammonias, which will brown the solution ; continue adding 
 until it is clear. Add this to the other eight drachms of 
 plain silver ; this will brown all the solution ; add by drops 
 pure nitric acid, until it is clear, then add the twelve 
 drachms of silver thus treated to twelve ounces 95 per cent, 
 alcohol, stirring while adding ; filter, and it is ready for use. 
 
 This solution will keep for any length of time, and when 
 it requires replenishing, make new, and mix with old ; filter, 
 and it is ready for use. 
 
 When wanted for use, filter, and pour into a clean 
 sensitising dish. Warm the plate and tip it into the bath, 
 allowing it to remain therein two minutes for polished plates, 
 and three minutes for those with a ground surface ; remove 
 from the bath and let it drain, then flow with 95 per cent, 
 alcohol, pouring on the corner sufficient to cover the plate. 
 A repetition of this upon a different corner of the plate may 
 be required before it presents an even surface. 
 
 When the plate is drained, and dried by heat, it is fumed 
 from five to ten minutes. Should a vapour appear after 
 fuming, gently heat the plate, and it will disappear. Print 
 a shade deeper than for prints on paper. 
 
 Toning the Print, — When printed, place the plate in acid 
 water, in proportion of half an ounce of acetic acid to sixteen 
 ounces of water ; let it remain therein for several minutes, 
 or until the picture is changed to a uniform red tint ; then 
 
72 
 
 wash in several changes of water, or under a tap, and tone in 
 a solution prepared the same as for paper prints. 
 
 Examine the progress of the toning by transmitted light ; 
 care being taken not to over-tone the print. 
 
 Fixing, — When toned, wash, and place in the fixing 
 solution — 
 
 Sodium hyposulphite ... ... 1 ounce 
 
 "Water 10 ounces 
 
 Fix from five to ten minutes, then wash under a running 
 stream from ten to fifteen minutes ; dry with gentle heat. 
 
 For plain prints, or those to be tinted, plates with a 
 polished surface are used ; for fine artistic finish in colours, 
 plates with a ground surface produce the desired results. 
 
 Photographic prints upon watch- dials can be made in the 
 same manner. A few specimens made by this process, dis- 
 played in handsome velvet cases or frames, will result 
 profitably to any establishment. 
 
CHAPTER XVIIL 
 
 ENAMELLING OR " GLACE FINISH," 
 
 To impart a high state of gloss to the paper print, a film of 
 gelatine is laid on the surface, and the picture and film 
 afterwards subjected to pressure in an embossing cameo press. 
 
 In the press, by means of forms, in polished metal, of 
 various shapes, diff'erent designs in relief can be secured to 
 suit the requirements of the print or the taste of the operator. 
 
 The materials required are Erench gelatine, plate glasses, 
 backing papers, collodion, scraper, and cameo press. 
 
 Preparing the Plate. — For success in the operation of 
 enamelling it will be found necessary to use only the best 
 polished plate glass, as every defect of the glass will be 
 marked on the surface of the gelatine. It should also be of 
 sufficient strength to bear the pressure put upon it in the 
 mounting of the prints. 
 
 Clean most thoroughly, and apply an edging of albumen 
 or gum-arabic. 
 
 The plate is now coated with collodion : — 
 
 Ether 10 ounces 
 
 Alcohol ... ... ... ... 10 ,, 
 
 Pyroxyline ... ... ... 120 grains 
 
 Castor oil ... ... ... ... 10 drops 
 
 The more fluid the state of the collodion, the better. 
 
74 
 
 Prepare the plate one hour before it is required for use, sa 
 that the film may be thoroughly dried. 
 
 Preparation of the Gelatine, — Melt one ounce of gelatine 
 in eight ounces of water, in a stone or porcelain-lined vessel, 
 by placing it in a pan containing hot water. When melted, 
 strain the liquid through linen into a porcelain dish, this 
 dish being placed in a larger one, containing hot water, to 
 keep the gelatine lukewarm and in a liquid state. 
 
 The prints are placed in the gelatine and allowed to soak. 
 
 Manipulations. 
 
 First : See that the surface of the glass is fine and un- 
 injured, and perfectly clean. 
 
 Second : Edge the plate, about one-eighth of an inch all 
 round, with albumen or gum-arabic. 
 
 Third : Coat the plate with collodion on the prepared side, 
 and dry for one hour before affixing the print. 
 
 Fourth : Before placing on it the print, warm the glass to 
 blood heat, to drive off any dampness that may be in the film. 
 
 Fifth : Place the prints in the gelatine, face upwards, for 
 five minutes. 
 
 Sixth : Take the prints one by one from the gelatine, and 
 place them face downwards on the collodion film. "With a 
 piece of glass, the edge nicely rounded, or a roller, press out 
 the surplus gelatine, not too forcibly, and with a damp 
 sponge wash over the back of the print. 
 
 The pressure should not be too great, as the object of it is 
 only to procure a smooth surface of the gelatine, and to drive 
 out bubbles. This operation must be conducted with 
 
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75 
 
 expedition and precision, before the gelatine has begun 
 to set. 
 
 Stand the plate on end for ten minutes, or until all the 
 prints have undergone the same operation. 
 
 The glass scraper, or the roller, should be placed in a vessel 
 of hot water when not in use, to keep the instrument free of 
 gelatine. 
 
 Seventh : By a similar operation to that just described, 
 Bristol board cards are fixed to the print. Cut the cards a 
 trifle smaller than the print, and soften in hot water. Dip 
 in the gelatine, and apply to the back of the print. Press 
 down as in the last operation, and dry. 
 
 Eighth : The enamelling being finished, stand them up, 
 face side towards the wall, and each separate ; allow them to 
 remain overnight ; then take a knife and rule, and cut inside 
 the gum and through the collodion, and a beautiful glace 
 photograph will peel off from the glass. 
 
 Two cabinets can be mounted on an 8 by 10 glass, and two 
 cards on a 5J by 7^ glass. 
 
 For mounting^ put the picture in the press and emboss it. 
 To prevent the convex surface from flattening in a short 
 time, emboss a ferrotype plate of the same size, and cut out 
 the raised part and place it between the picture and the card 
 for mounting, to keep the raised cameo in place. 
 
 Instead of using a glass pattern for cutting the pictures to 
 the desired sizes, it is best to have a thick paper or wood 
 form, with the shape of the medallion cut out. This has two 
 advantages : first, it prevents the surface of the picture from 
 being scratched; second, it ensures an equal and correct 
 margin around the medallion; they can also be used for 
 
76 
 
 pressing the pictures to the mount, as it leaves no mark on 
 the enamel. 
 
 Mount the picture by applying a little gelatine or mucilage 
 on the back, say a quarter inch from the edge ; place on the 
 mount, then place the die on the picture, and put under a 
 weight for several hours. This completes the picture, and 
 with these practical instructions followed, nice work will be 
 the sure reward. 
 
 Bj making the gelatine nearly hot when putting on the 
 backing, the same solution answers for this operation. 
 Always strain the gelatine before using. 
 
CHAPTER XIX. 
 
 DEVELOPED PRINTS^ 
 
 At times of the year when it is impossible either to obtain 
 large negatives direct from the object, or prints by contact in 
 the usual manner, the processes for obtaining prints by 
 development are serviceable. 
 
 The image on the paper may be produced by the brief 
 action of light through a negative in contact with the paper, 
 or by projection through the negative on to the surface of the 
 paper in the same way that a picture is thrown on a screen 
 by the magic lantern. For this, light of the sun or artificial 
 illumination may be used. 
 
 The Salting Solution is prepared as follows : — 
 
 Potassium iodide ... ... ... 10 grains 
 
 Potassium chloride 40 
 
 Tapioca ... ... ... ... 20 
 
 Lemon-juice ... ... ... 16 minims 
 
 Distilled water ... ... ... 2 ounces 
 
 Dissolve the salts in the water, add the lemon-juice, and 
 boil. Mix the tapioca with a little cold water, and add to 
 the hot solution, stirring the while. The mixture should be 
 clear and free from lumps. 
 
 Erush the solution lightly over the plain paper, taking 
 care not to rub up the surface. 
 
78 
 
 Hang the paper up to dry. Sometimes light stains show 
 on the paper, but these disappear in the sensitising. 
 
 The paper having been thoroughly dried, is ready for 
 sensitising. 
 
 The Sensitising Solution, 
 
 Silver nitrate 40 grains 
 
 Citric acid ... ... ... 3 
 
 Water ... ... ... ... 1 ounce 
 
 Float the paper two minutes, and dry by gentle heat in a 
 warm, dark room. 
 
 The Negative for enlargement should be full of detail, thin, 
 and with a fine deposit of silver. 
 
 Do not varnish the film; but should retouching be 
 required, a dilute solution of gum-arabic will give a good 
 grain for the pencil. The advantages of the gum water are 
 that it does not colour the film, as many varnishes do; it is 
 free from ridges ; and is perfectly even. 
 
 The rubbing down of a varnish film to form a retouching 
 surface produces an uneven thickness, and a difference in 
 surface structure of the film, which causes unequal illumina- 
 tion. This is a serious defect in the magnified print. 
 
 The Exposure of the print is not carried beyond the faint 
 appearance of outline of the image. 
 
 Development, — Prepare a saturated solution of gallic acid, 
 and mix one part of this with four parts of distilled water. 
 On this float the print, face downwards. The progress of 
 development may be watched by lifting corners of the print 
 now and then. The image develops to a deep brown colour. 
 
 Wash in several changes of water for a few minutes. 
 Tone with gold, and fix in an alkaline solution of sodium 
 
79 
 
 liyposulphite. Wash thoroughly, to remove the fixing 
 solution. 
 
 Another Peocess. 
 The plain paper is immersed for two hours in a salting 
 solution made as under : — 
 
 Sodium chloride 100 grains 
 
 Hydrochloric acid ... ... ... 6 minims 
 
 Distilled water ... ... ... ... 10 ounces 
 
 Dry thoroughly. Eloat for two minutes on the following 
 solution : — 
 
 Sensitising Solution. 
 
 Silver nitrate 40 grains 
 
 Citric acid ... ... ... ... 1 grain 
 
 Distilled water ... ... ... ... 1 ounce 
 
 Dry ; observing the same precautions as in the case of the 
 ordinary albumenised sheets. 
 
 Expose under the negative or in the camera until a faint 
 image appears. 
 
 In a dull light twenty to thirty seconds will ordinarily 
 suffice. 
 
 Development. — Take the print on a sheet of glass, and pour 
 over it sufficient to evenly cover the paper, of the following 
 solution : — 
 
 Pyrogallic acid 2 grains 
 
 Citric acid , 1 grain 
 
 Water 1 ounce 
 
 Some skill is necessary to cover the paper without stop- 
 page of the flow of solution over the print. The action of 
 the developer is almost as rapid as that for the collodion 
 
80 
 
 negative, and any cessation of the action produces lines on 
 the print. 
 
 As soon as the image has acquired the necessary strength, 
 the print is washed under the tap to stop the action of the 
 developer. 
 
 Wash thoroughly, and tone. Pix in sodium hyposulphite 
 — one ounce dissolved in ten ounces of water. 
 
 "Wash with the thoroughness enjoined in ordinary printing. 
 
 Pkocess with Albumenisei) Papee. 
 
 For this the Saxe paper is recommended. 
 
 Sensitise on a forty-grain silver nitrate bath acidified with 
 thirty grains of acetic acid. 
 
 Development is conducted with one part of a saturated 
 solution of gallic acid in four parts of water. Wash 
 thoroughly. 
 
 Tone, fix, and wash as usual, thoroughly. 
 
 Prints produced by this process cannot compare with those 
 of full exposure by contact under a good negative, but serve 
 well as a foundation for the work of the artist. 
 
 Finishing in Indian ink, chalk, colours, &c., the albumen- 
 ised surface needs to be abraded. To accomplish this, finely 
 powdered pumice-stone may be rubbed over with an artists^ 
 leather blender. 
 
CHAPTEE XX. 
 
 PRECEPTS FOR PRINTERS. 
 
 Caeeftjlness and precision may be accounted the qualities 
 most useful to photographers. 
 
 Quickness should never be allowed to take the mean 
 position of a synonym for slovenliness and carelessness. 
 The deftness which comes of experience is power, never 
 incertitude. There is nothing haphazard in the rapid work 
 of the master ; but the pupil must not attempt to copy the 
 later manner of his master until he has surmounted the 
 early difficulties. There is no shirking responsibilities, nor 
 jumping into experience. 
 
 It cannot be deemed satisfactory, even by the most happy- 
 go-lucky worker, that, say, half-a-dozen prints from one 
 negative should emerge from the toning-bath bearing as 
 many different tones, from brick-red to purple ; or that other 
 six prints come out of the fixing-bath, illustrating failures 
 ranging through all the manipulations, from silvering the 
 paper to fixing the print. These examples may be thought 
 far-fetched ; but they are true, and not too far out of the 
 way to serve as warnings to many. 
 
 Printing is not merely placing the paper and negative 
 together in a frame, and sticking them outside in the light. 
 
82 
 
 Every print should be the best possible ; it should be beyond 
 the excellence of the negative. To attain this, thought, 
 skill, and attention are necessary. 
 
 Eegin by anxiously studying the best methods of working, 
 and, after a while, unconscious of effort, the right way will 
 be the natural. 
 
 Put intelligence into the print ! It may read strangely 
 this, as a direction for a mechanical operation. Mechanical ! 
 There is no such thing in photography. Even to handle a 
 negative or frame, properly, requires skill. 
 
 Eormulse and instruction are all very well, and very 
 useful — as they are made means to an end. After all, 
 instruction in Art holds to Art much the same relation that 
 the recipe for a pudding bears to the pudding itself. "We 
 would rather have the pudding — still the recipe is necessary. 
 
 In sensitising the paper, guard against the formation of 
 air-bells under the paper. When the sheet is properly in 
 place, lift the corners of the sheet, and break up any bubbles 
 which may have formed. 
 
 Dry the sheet carefully and thoroughly. Guard against 
 dust, and avoid brushing the sheet against dirty substances. 
 
 See that the paper is properly placed on the negative, that 
 defects in the paper may not come in an important part of 
 the picture, and that the piece of paper is large enough for 
 the required picture. Print in the shade. 
 
 In the toning and fixing solutions move the prints about, 
 so that they may not stick together. 
 
 Make the fixing solution alkaline, and use fresh hypo- 
 sulphite solution for each batch of prints. There is no 
 economy in a weak solution. 
 
English Weights and Measures. 
 
 APOTHECARIES' WEIGHT. 
 FLUID. 
 
 60 minims = 1 fluid dram. 
 8 drams = 1 ounce. 
 20 ounces = 1 pint. 
 SOLID MEASURE. 
 
 20 grains = 1 scruple = 20 grains. 
 
 3 scruples = 1 dram =60 
 
 8 drams = 1 ounce = 480 
 12 ounces = 1 pound. 
 
 The above weights are used by photographers. Chemicals 
 are sold by — 
 
 AVOIRDUPOIS WEIGHT. 
 
 27i grains = 1 dram = 27^^ grains. 
 
 16 drams = 1 ounce = 60 
 
 16 ounces = 1 pound = 7,000 „ 
 
 French Weights and Measures. 
 
 The unit of liquid measures is a cubic centimetre, "c.c," 
 which measures 16*896 minims, and weighs 15*4: grains, or 
 1 gramme — the unit of solid measures. 
 
 1 cubic centimetre =17 minims (nearly). 
 34 „ „ =1 dram. 
 
 28| 5, =1 ounce. 
 
 100 „ „ =3 ounces, 4 drams, 9 minims. 
 
 ^or^l litre ' | = 35 ounces, 1 dram, 36 minims. 
 
 As a gramme is equal to 15*4323 grains, in order to convert 
 grammes into grains, multiply the former by 15|. 
 
 Mems. — 1 minim equals 1 drop ; 1 drachm, 1 teaspoonful ; 
 2 drachms, 1 dessert spoonful ; 4 drachms, 1 table spoonful. A 
 halfpenny and threepenny piece weigh \ ounce ; florin and 
 sixpence, J ounce ; 3 pennies, 1 ounce ; 4 half-crowns and 
 1 shilling, 2 ounces ; 4 half-crowns, 4 florins, 2 pennies, 4 ounces. 
 A halfpenny equals 1 inch in diameter. 
 
INDEX. 
 
 Acid Bathj Silver, 8 
 Acidifying the Prints, 47 
 Albumenised Paper, Character- 
 istics of, 16 
 Albumenised Paper, Defects in, 59 
 Albumenised Paper, Process with, 
 80 
 
 Albumenising Paper, 17 
 Album enising the Porcelain Plate, 
 70 
 
 Arched -Top Forms, 41 
 Arrangement of Printing Room, 
 31 
 
 Arrangement of the Sensitising 
 
 Room, 3 
 Backgrounds, 43 
 Bath, Citric Acid, 51 
 Bath, Defects in the, 60 
 Bath, Fixing, 52 
 
 Bath, Formula for Plain Silver, 6 
 
 Bath, Fusing the, 13 
 
 Bath, Preparation of Plain Silver, 7 
 
 Bath, Silver Acid, 8 
 
 Bath, Silver, General Considera- 
 tions, 8 
 
 Baths, Toning, 49 
 
 Bath, Treatment of Disordered, 10 
 
 Boiling Disordered Bath, 12 
 
 Borders, Ornamental, 41 
 
 Broken Negatives, 29 
 
 Burnishing Prints, 56 
 
 Cameo Picture, 42 
 
 Carbonate of Soda Toning Bath, 
 50 
 
 Characteristics of Albumenised 
 Paper, 16 
 
 Chloride of Lime Toning Bath, 50 
 
 Citric Acid as a Preservative, 58 
 
 Citric Acid Bath, 51 
 
 Combination Printing, 42 
 
 Cutting Paper, 26 
 
 Cutting Paper, Failures in, 62 
 
 Cutting Prints, 46 
 
 Defects in Albumenised Paper, 59 
 
 Defects in the Bath, 60 
 
 Developed Prints, 77 
 
 Developed Prints, Salting Solu- 
 tion, 77, 79 
 
 Developed Prints, Sensitising 
 Solution, 78 
 
 Developing Formula for Prints, 79 
 
 Disordered Bath, Treatment of, 
 10 
 
 Drawers for Paper and Prints, 31 
 Drying Paper, Failures in, 62 
 Drying Rack, 22 
 Drying Room, 22 
 Drying the Paper, 24 
 Durable Sensitised Paper, 57 
 Enamelling, 73 
 
 Enamelling, Coating Formula, 73 
 Enamelling, Materials, 78 
 Enamelling, Manipulations, 74 
 Enamelling, Preparation of the 
 
 Gelatine, 74 
 Enemelling, Preparing the Plate, 
 
 73 
 
 Enamels, Mounting, 75 
 
INDEX. 
 
 Ixxxv 
 
 Encaustic Paste, 56 
 Exposiog the Print, 36 
 Exposure of Developed Print, 78 
 Failures in Cutting Paper, 62 
 Failures in Drying Paper, 62 
 Failures in Fuming, 62 
 Failures in Mounting and Finish- 
 ing, 66 
 
 Failures in Preparing the Paper, 
 59 
 
 Failures of Printing, Toning, &c., 
 63 
 
 Failures in Sensitising, 60 
 Failures in Toning, 64 
 Failures in Washing Prints, 64 
 Failures in Washing after Fixing, 
 65 
 
 Finishing, Failures in Mounting 
 
 and, 66 
 Finishing Prints, 54 
 Fixing Bath, 52 
 Fixing the Porcelain Print, 72 
 Formula for Plain Silver Bath, 6 
 Frames, Filling the, 34 
 Fuming Plain Paper, 68 
 Fuming, Failures in, 62 
 Fuming the Paper, 25 
 Fusing the Bath, 13 
 Gelatine for Enamelling, 74 
 Glace Finish, 73 
 Greying the Vignette, 39 
 Heating Apparatus, 23 
 Imperfections in the Print, 59 
 Intense Negatives, 28 
 Kaolin, 12 
 
 Lime Toning Bath, Chloride of, 50 
 Medallion, The, 40 
 Mounting and Finishing, Failures 
 in, 66 
 
 Mounting Plain Prints, 68 
 Mounting Prints, 55 
 Negative for Enlargement, 78 
 Negative. Treatment of, 28 
 Negatives, Broken, 29 
 Negatives, Intense, 28 
 Negatives, Weak, 28 
 Ornamental Borders, 41 
 Paper, Albumenising, 17 
 Paper and Prints, Drawers for, 31 
 
 Paper, Cutting the, 26 
 Paper, Defects in Albumenised, 59 
 Paper, Drying the, 24 
 Paper, Durable Sensitised, 57 
 Paper, Failures in Cutting, 62 
 Paper, Failures in Drying, 62 
 Paper, Failures in Preparing the^ 
 59 
 
 Paper, Failares in Sensitising, 60 
 Paper, Fuming the, 25 
 Paper, Sensitising, 3 9 
 Paper, Washed, 57 
 Paste, Encaustic, 56 
 Plain Paper, General Ilemarks, 69 
 Porcelain Plate, Albumenising, 70 
 Porcelain Plate, San^itising, 71 
 Porcelain Print, Fixing, 72 
 Porcelain, Printing on, 70 
 Porcelain Print, Toniog, 71 
 Potassium Permanganate, 11 
 Precipitation of Silver, 14 
 Preparation of Plain Silver Bath, 7 
 Preservative, Citric Acid as a, 58 
 Printers, Precepts for, 81 
 Print, Exposing the, 36 
 Printing, 34 
 
 Printing, Combination, 42 
 Printing on Plain Paper, 67 
 Printing on Porcelain, 70 
 Printing Room, Arrangement of, 
 31 
 
 Printing Room, Temperature of 
 
 the, 32 
 Printing Stand, 3 3 
 Printing WinHow, 33 
 Prints, Acidifying the, 47 
 Prints, Burnishing, 56 
 Prints, Cuttiog the, 46 
 Prints, Developed, 77 
 Prints, Drawers for Paper and, 31 
 Prints, Failures in Washing, 64 
 Prints, Finishing, 54 
 Prints, Mounting, 65 
 Prints, Spotting, 56 
 Prints, Washing, 46, 53 
 Salting Plain Paper, 67 
 Salting Solution for Developed 
 
 Prints, 77, 79 
 Sensitised Paper, Durable, 57 
 
Ixxxvi 
 
 INDEX. 
 
 SensitisiDg Paper, 19 
 Sensitising Paper, Failures in, 60 
 Sensitising Plain Paper, 68 
 Sensitising Eoom, Arrangement 
 of the, 3 
 
 Sensitising Room, Temperature 
 
 of the, 1 
 Sensitising Room, Utensils for 
 
 the, 3 
 
 Sensitising Solution for Deve- 
 loped Prints, 78 
 
 Sensitising the Porcelain Plate, 71 
 
 Silver Bath, Formula for Plain, 6 
 
 Silver, Precipitation of, 14 
 
 Sodium Carbonate, 57 
 
 Spotting Piints, 56 
 
 Temperature of the Printing 
 Room, 32 
 
 Temperature of the Sensitisicg 
 Room, 1 
 
 Toning Bath, 49 
 
 Toning Bath, Caibonate of Soda, 
 50 
 
 Toning Bath, Chloride of Lime, 
 
 50 
 
 Toning, Failures in, 64 
 Toning, Preparing Prints for, 45 
 Toning Plain Prints, 68 
 Toning Room, The, 47 
 Toning the Porcelain Print, 71 
 Toning, Washing, Fixing, 51 
 Treatment of Disordered Bath, 
 10 
 
 Treatment of Negative. 28 
 Troughs, Washing, 48 
 Utensils for the Sensitising Room, 
 3 
 
 Vignette, Greying the, 39 
 Vignette, The, 37 
 Washed Paper, 57 
 Washing Prints, 46, 53 
 Washing Prints, Failures in, 64 
 Washing Troughs, 48 
 Waxing Prints, 66 
 Weak Negatives, 28 
 Work Room, General, 54 
 
 Piper & Carter, Printers, 5, Fui nival Street, Holborn, E.C. 
 
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