v : - ' W'::' " f ’ “"i-'f . 1 Publications toy HAZELL, WATSON, & VINEY, Ld„ 1, Creed Lane, E.C. THE BEST OF ALL PHOTOGRAPHIC JOURNALS. EYERY FRIDAY, PRICE TWOPENCE. Specimen Copy and List of Good Books FREE on Receipt of Postcard. & 0 SUBSCRIPTION RATES. United Kingdom ... 6 months 5s. 6d. ... 12 months 10s. lOd. Postal Union ... ... „ 6s. 6d. ... „ 13s. Od. Send Postcard for free Specimen Copy, Publications by HAZELL, WATSON, & VINEY, Ld., 1, Creed Lane, E.C. PHOTOGRAPHIC PUBLICATIONS. PICTURE-MAKING BY PHOTOGRAPHY. By H. P. Robinson. Fourth Edition, revised, with additional chapters on Instan- taneous Photography and the Persistence of Vision, and Naturalistic Photography. Crown 8vo, cloth, 160 pages. 2s. 6d postage 3 d. ONE HUNDRED PHOTOGRAPHIC FORMULAE. The indispensable companion to the Laboratory. With useful Appendix. Crown 8vo, paper covers. 6d. THE OPTICAL LANTERN AS AN AID IN TEACH- ING. By C. H. Bothamley, F.I.C., F.C.S. With fourteen Illustra- tions. 6d. THE GELATINO-CHLORIDE OF SILVER PRINTING- OUT PROCESS, including directions for the production of the Sensitive Paper. By W. E. Woodbury. Crown 8vo, cloth. 2 s., postage 3d. EVENING WORK for AMATEUR PHOTOGRAPHERS. By T. C. Hepworth, F.C.S. Illustrated with Camera and Pencil by the Author. Crown 8vo, cloth, 200 pages. 2 s. 6d., postage 3d. THE BOOK OF THE LANTERN. By T. C. Hepworth, F.C.S. A Practical Guide to the Working of the Optical (or Magic) Lantern. With full and precise Directions for Making and Colouring Lantern Pictures. 3s. 6d postage 3d. THE LANTERN-SLIDE MANUAL. By John A. Hodges. Author of 4 4 Elementary Photography,” etc. A complete Practical Guide to Lantern- Slide Making by all processes. Crown 8vo, cloth. 2 j., postage 3d. STUDIES IN PHOTOGRAPHY. By John Andrews, B.A. A Handbook to Artistic Photography. Illustrated with six Collotypes. Crown 8vo, 200 pages. 3 s., postage 3 a. GOTHIC ARCHITECTURE (Handbook to). By T. Per- kins, M.A. Ecclesiastical and Domestic, for Photographers and others, Profusely Illustrated. Crown 8vo, cloth, 220 pages. 3s. 6d., postage 3d. . Publications by HAZELL, WATSON, & VINEY, Ld., 1, Creed Lane, RC. “THE AMATEUR PHOTOGRAPHER ” 1/- LIBRARY. No. 1. PLATINUM TONING. By Lyonel Clark. Full working instructions how to use Clark’s Toning Process, and much valuable information on the sensitising of every kind of paper and vehicle, with directions for printing and toning in many colours. Crown 8vo, cloth, is., postage 2 d. No. 2. COMPETITIVE PAPERS ON PHOTOGRAPHY, 1 to 6. Seventeen prize papers upon “ Cameras,” “ Lenses,” <£ Shutters,” “The Sensitive Medium,” “ Development,” and “Exposure.” Crown 8vo, cloth, is., postage 2d. No. 3. EXPERIMENTAL PHOTOGRAPHY. By C. J. Leaper, F.C.S. Photography is exhaustively treated from a practical point of view, and valuable experimental research is described. Crown 8vo, cloth, ij., postage 2d. No. 4. SHORT CHAPTERS ON ART PHOTOGRAPHY. By H. P. Robinson. Profusely illustrated, and written in well-chosen language, clearly demonstrating the art side of Photography. Crown 8vo, cloth, I*., postage 2 d. No. 5. DEVELOPMENT. By Lyonel Clark. A text-book for every worker in Photography, whether old or young. All the details of Development are discussed and explicitly explained. Crown 8vo, cloth, is., postage 2d. No. 6. THE ART OF RETOUCHING. By J. Hubert. A knowledge of Retouching is really necessary, and Mr. Hubert has been prevailed upon to write a special book of instructions, illustrated by examples. His long experience as a professional retoucher qualifies him to undertake the task. Crown 8vo cloth. is. 9 postage 2d. Digitized by the Internet Archive in 2016 https://archive.org/details/platinotypeprintOOhint o H LI H z ll] £ Ou 0 J UJ > UJ Q a; UJ H u. < UJ < Cfl UJ 1 H z s DL UJ a, > H O z H < a. < Ll, O UJ O Z < PS < UJ a. ul sHaro before Development, PLATINOTYPE PRINTING A SIMPLE BOOK ON THE PROCESS. (Seconfc lEMtion.) BY A. HORSLEY HINTON, AUTHOR OF “ PRACTICAL PICTORIAL PHOTOGRAPHY,” “ HANDBOOK OF ILLUS- TRATION,” “ l’art PHOTOGRAPHIQUE dans le paysage,” etc. ; EDITOR OF “ THE AMATEUR PHOTOGRAPHER.” WITH FACSIMILE OF PLATINOTYPE PRINT BEFORE AND AFTER DEVELOPMENT , SPECIALLY PREPARED BY THE PLATINOTYPE COMPANY FOR THIS BOOK FROM AN ORIGINAL NEGATIVE BY THE AUTHOR. [The Amateur Photographer’s Library, No. ii.] LONDON : HAZELL, WATSON, & VINEY, Limited, i, CREED LANE, LUDGATE HILL, E.C. 1899. PRINTED BY HAZELL, WATSON, AND VINEY, LD., LONDON AND AYLESBURY. INTRODUCTION TO SECOND EDITION. The first Edition of this little book has, I am happy to say, found its way into the hands of readers, so that a Second Edition has become necessary in a shorter time than is often the fate of such technical handbooks, and after a year I find but little to alter or to add. I do not propose that the Second Edition should keep pace with and record the various purely scientific investigations which have during the past year been made with platinotype, as with all other processes ; such is not the intention of a book like this. A few formulae 1 have added, and some trifling corrections have been made. Notwithstanding the inducements which, to the pictorial photographer, the recently exploited Gum 2 Introduction to Second Edition. Bichromate Process offers, I am not prepared to advise that even for purely pictorial work platino- type be relinquished, believing as I do that there is much more yet to be learned, especially as to the variation of colour ; whilst with greater practice and the skill which must accrue, the photographer gradually acquires a wider power to control the resulting image, — and if this be attained to but a reasonable extent, then, coupled with its undoubted artistic charm, its power of rendering subtlety of tone and atmosphere, as well as the purity of colour, must leave platinotype still more surely the master process for pictorial workers and those who require permanence, com- bined with ease and rapidity of working. CONTENTS CHAP. PAGE I. General Considerations 5 Some of the Advantages of Platinotype . 10 II. The Paper Described ..... 13 Susceptibility to Damp 15 Opening the Tube 15 The Calcium Chloride Preservative . .16 Preliminary Precautions against Light . 18 A General Outline of the Process . .10 The Various Kinds of Paper. . . .21 HI. Printing - The Exposure of the Paper . . 24 Judging Exposure 25 Some Points concerning the Printed Image 28 Printing with an Exposure Meter . . 30 The Exposure Meter or Actinometer Explained 32 After Printing 34 IV. The Development of the Printed Image . 36 The Developer, or Oxalate Bath . . 37 Explanation of “ Cold ” Bath . . .37 Manipulation of Prints in Developing . 39 Redevelopment for Bubbles . . . .43 4 Contents. CHAP. PAGE IV. Development of Printed image ( Continued ) — The “Fixing” or Clearing Bath . . .43 Development of “Hot-Bath” Paper . . 46 Dishes for Hot-Bath 48 Maintaining Uniform Strength of the Bath 50 Development of “ Sepia ” Papers . . .51 Recapitulation 52 V. Modifications in Development, and the Treatment of C C Paper . .54 The Effect of Alteration in Temperature of the Bath 55 The Defects caused by Damp Utilised . 58 Special Bath for Extreme Contrasts . 58 Characteristics of and the Treatment of C C Paper 60 Colour of CC Parts. . . . 62 C C Prints without Mounting . . .64 Platinotype Co.’s. Developing Salts . . 65 VI. Modification of colour by “Toning” . . 66 Uranium Toning 67 Other Methods 71 To Produce Colder “ Tones ” . . . .72 To Intensify the Print 75 VII. Local Development: The Glycerine Method. 79 Envoi . ....... 84 VIII. Packham’s Method of Toning Platinotypes . 86 PLATINOTYPE PRINTING. CHAPTER I. GENERAL CONSIDERATIONS. In writing these few chapters on the using of platinotype paper, my purpose is to provide some guidance and help for the beginner, and, by setting forth very simply the method of its use and point- ing to some of its advantages, to induce some to adopt the platinotype process for the production of their photographic prints, both because, in the opinion of most whose taste and judgment com- mand respect, the effects gained by its employment are superior in many ways, and because, amongst other printing methods, it has, when but fairly understood, the advantage of great ease, rapidity, and simplicity. I lay stress upon the ease and rapidity with which platinotype prints can be produced, because, although already so widely used and so familiar to very many, I yet encounter every week those who, 6 Platinotype Printing. whilst fully prepared to admit its excellencies, and would fain practise its use, yet refrain, on account of a vague notion as to the difficulties to be overcome, and are deterred on account of wholly imaginary complications and obstacles which, say they, their limited leisure gives them no time to learn or forbids their attempting to overcome. I shall simply attempt to lay before my readers, in an entirely unscientific manner, just such methods in practice as come from my personal experience. What I know of platinotype printing is from what I have found out myself, assisted from time to time by the suggestion of a friend, and from actual experience, built, perchance, on a hint derived from one and another source. For the beginner, or for him who has not even made a beginning, no guide-book to platinotype printing exists beyond the necessarily brief in- structions issued by the Platinotype Company ; but for the more advanced, or for those who desire something more than working instructions, and who wish to know the why and wherefore of the process in scientific detail, I can heartily commend them to the careful study of that excellent hand- book on platinotype by Captain Abney and Lyonel Clark, the existence of which admirable little book has for long caused me to hesitate to issue the present chapters, but that I feel that the scientific General Considerations . 7 calibre of two such writers as those mentioned and the scope of their work have almost inevitably left the younger students on the lowermost rungs of the ladder, still halting for want of a very gentle helping hand. Whilst . amongst most persons of more or less cultivated tastes the effects secured by platinotype and by carbon printing are preferred, one still meets many who will unhesitatingly proclaim their prefer- ence for the more old-fashioned silver print ; and so amongst those who are not intimately acquainted with the distinctive qualities of platinotype, and who are accustomed to look for certain character- istics in the prints derived from their own negatives, it may be well for a moment to prepare them for what to expect, and even to inquire as to what it is they wish to get in their photographic practice, and the motive. Thus, for example, if I have prints on platinotype paper and on a fine glossy-surfaced gelatine or albumen paper, and lay them before a child of twelve years, I expect him to show preference for the latter (the mere brightness and glossiness are a sufficiently superior attraction) ; or if I show them to my servant or a person of less cultivation, again I shall be surprised if he does not show preference for the print of high surface, and which appears to him to possess properties which the other lacks ; 8 Platinotype Printing. and yet again, with those persons of refined taste whose very culture has imparted to them a fastidious taste, and has led them to require exquisite delicacy, exhaustive finish, and finesse in every piece of workmanship, it is conceivable to find the silver print extolled for the very qualities which the more advanced and more intelligent photographer has now long since come to regard as qualities better dispensed with — namely, a polished surface, a crystalline clearness, and withal an exquisite “ nice- ness, ” which, if of a bric-a-brac character, are yet required by such dainty tastes and elegant fancies as prize the sumptuousness of apparel rather than the comeliness of a robe, and with whom the perfect encasement of the musical instrument is of more importance than the purity of its tones. Hence, whilst strongly maintaining on almost every ground the superiority of platinotype printing when the print, the photograph, the picture, is itself and of itself the object of our endeavour, and is not merely an instrument to some other end, yet I can quite well understand some disappointment accruing when for the first time my tyro friend lays side by side the gelatino-chloride of silver print and the platinotype. In the former he has learned to secure a richness, a fulness, an appear- ance of exquisite finish for which oftentimes he has received high praise, and beside which the platino- General Considerations . 9 type looks cold and poor. It is only when a desire comes to achieve something more than just simply an elegant piece of handiwork that the superiority of platinotype becomes quite apparent. In the early days of photographic work with most of us the amusement and fascination consist in seeing how perfect an example of craftsmanship we can achieve ; the print is no sooner made and its perfections expatiated upon than it is laid aside, and we set about doing another which shall be better. Each print is valued only for itself, as an example of photographic achievement, and the pleasure given is that of wonder and amazement. But when later on we grow to value such prints and pictures for the sake of the thoughts they suggest, for the pleasure they give as suggestions of nature in her more beautiful phases, or for the faithful reminiscence of a familiar face, then it is that the qualities of platinotype are appreciated, quite apart from the question of permanence, which is the proverbial character of the platinotype. Without going so far as to say that an apprecia- tion of platinotype is an acquired taste, yet as the more cultivated palate prefers a fine wine to a coarse, sweet one, and never reverts to the latter, so the taste which once appreciates the platinotype picture, or the photographer who once uses platino- type, rarely, if ever, returns to the silver print. To 10 Platinotype Printing. the savage, brilliant and gaudy colours and glittering tinsel appeal to his barbarian taste; the beauty of delicate tones and blended hues is only known to the highly-civilised and cultured. Some of the Advantages of Platinotype. Beyond this I will leave the beauty of the platinotype to speak for itself, only pointing out that its power of yielding strong contrasts of light and dark, and a range of half-tone or intermediate greys between black and white of exquisite delicacy, clearly shows its applicability to the rendering of nature’s effects under a wide variety of conditions, and especially of suggesting the idea of “ atmo- sphere ” — that most precious quality of every good picture. And finally, if I were asked by an amateur worker whose leisure time and mechanical appliances are limited, what is the readiest and most direct means of getting satisfactorily good prints from his negatives, I should say that for ease in manipulation, and on account of the short time necessary for producing a finished print, platinotype has a marked advantage. This may sound a bold statement to many who have regarded platinotype printing as belonging to a more advanced stage in one’s photographic curriculum ; but when it is remembered how few General Considerations. il and how eminently simple are the chemical solutions necessary, the absence of any especial apparatus, and the short time which need elapse between the time that the paper is placed in the printing-frame, and the final drying and mounting of the print, I think my advocacy of platinotype as the amateur’s printing process par excellence is justified. Of course the time occupied by actual printing — that is, exposure to light in the printing-frame — depends entirely upon the character of the negative and the condition of the light ; but when exposure is complete, there is no reason why the whole of the simple process of development, fixing, and washing, and even mounting, cannot be done within five minutes , which, compared with the toning, fixing, and long washing of silver prints, is a saving of time of no small importance to the man with limited leisure ; whilst with ordinary care he will enjoy an immunity from unequal toning, blisters, unaccountable stains and discoloration, subsequent fading, and a host of other errors and difficulties, which the experienced professional silver printer may laugh at and may never experience, but which occur in the daily practice of nearly every beginner, and even more experienced amateur workers. The one serious matter, the one crux where platinotype presents us with trouble, is in the exposure. To educate the eye to judge when the 12 Platinotype Printing . partially visible image is printed sufficiently is the one thing to learn, and the difficulty is perhaps all the greater if we have for long been accustomed to silver printing, in which the image u prints out ” — ix. becomes wholly visible ; and the longer we have been familiar with a 16 print-out ” process, the less easy will it be to judge the partially printed platinotype image. Hence, so soon as the beginner has learnt the most elementary steps of photo- graphic practice, I should recommend him to take to platinotype, instead of first becoming proficient in silver printing, and, growing accus- tomed to its peculiarities, learn much that will ultimately have to be ignored, if not actually unlearned. Now I will proceed to deal with the process itself, on the assumption that my reader knows nothing. CHAPTER II. THE PAPER DESCRIBED. Assuming that my reader knows nothing whatever of the subject in hand, I will start by telling him that, whilst there are two or three makes of platinotype paper in existence, there is no need to concern himself at first with any other than that of the Platinotype Company, by whom this kind of paper was first introduced, the paper owing its manufacture to Mr. W. Willis, who still directly superintends the preparation of the paper, and further, I would say that, should success not attend the beginner’s early efforts in printing, it will avail him but little to try other makes, which, though good in themselves, do not seem to possess any advantages or any qualities which make them more desirable ; so that it is fair to say that, if we can succeed at all in platinotype printing (and there is no reason why all should not succeed with reasonable care and perseverance), we shall succeed with that paper made by the Platinotype Company. 13 14 Platinotype Printing. The paper is procurable direct from the manu- facturers, but pretty generally from all photographic dealers. It is made in large sheets measuring 26 in. x 20 in., and is also supplied cut up into the usual sizes for plates from x 3J to 15 x 12. Whether sold in whole sheets or cut sizes, the paper is put up in cylindrical tins hermetically closed ; and if kept in almost any situation, ex- cepting only great heat, the paper will keep, if the tin be unopened, for a great length of time without deterioration. With the smaller sizes the tins contain two dozen pieces, the larger sizes one dozen, and the whole uncut sheets are not put up in less quantity than three sheets in a tin. The fact of the paper not being sold in smaller quantities is not a serious drawback ; for suppose we have a tin of two dozen quarter-plate pieces, and we only require to use three or four pieces, the tin can be so closed up again that the re- maining paper will not spoil, if used up within anything like a reasonable period. The object of issuing the paper in tins her- metically sealed, and thus made air-tight, and the purpose to be aimed at in reclosing the tin, is to exclude the moisture with which even the ordinary air in all but the most arid regions is more or less ladened. The Paper Described. 15 Susceptibility to Damp. Platinotype paper is susceptible to damp to an extraordinary degree, and it suffers in proportion as it is exposed to damp ; lienee due precautions should be taken. Now, whilst it is desirable, and even necessary, to remember the peculiarity of platinotype paper and to guard against it, yet when once a certain course of behaviour is adopted, there is not the urgent need to be unduly anxious about the deterioration of the paper on account of damp, and certainly the danger is not so great as to deter any one from using platinotype because, as we have heard some say in their ignorance, “ It is so difficult to keep.” Opening the Tube. An ingenious method of opening the tin is explained by the label found on removing the first lid; and the inner cover of the tin being cut through and removed altogether, the roll of paper should be withdrawn, great care being taken not to scratch the paper with the rough edge of the freshly cut top. With the handle of one’s penknife or any hard body the jagged edges left after cutting out the cover of the tin must be pressed down, so that in withdrawing the paper from time to time no danger be run of scratching it. 16 Platinotype Printing. Tkis done, the paper may be unrolled and returned to the tin, care being taken that the sensitive surface does not come into direct contact with the tin. It will be best, perhaps, to loosely line the tin with a piece of the thin paper in which the platinotype paper will be found to be wrapped. Inside the roll of paper will be discovered a twist of paper or cotton-wool containing a small piece of asbestos, which has been saturated with calcium chloride, and this should be carefully restored to the roll of paper, and the movable cover or lid replaced. If the paper is likely to remain unused for any length of time, it will be well to cover over the hole in the lid where the cutting point is with sealing-wax, or any other substance which will keep out damp air, and also to place over the mouth of the tin before shutting down the lid a small sheet of waxed paper, and even to cover the join be- tween lid and tin with an indiarubber band. Thus any risk of damp attacking the paper will be removed. The Calcium Chloride Preservative. The purpose of the calcium chloride and asbestos is to absorb any moisture in the air within the The Paper Described. 17 tube, and so prevent its attacking the paper. Calcium chloride has an extraordinary affinity for moisture, which may be seen by placing a small piece in an ordinary room, when it will be found to become sensibly damp, and then wet, merely with the water it attracts to itself from the air around it. Should the little lump in our tin of paper begin at any time to become soft and to appear moist, it can be restored to its original damp-attracting con- dition by drying it on a red-hot shovel, the asbestos being noncombustible. It has become soft and moist owing to the moisture, unperceived by us, which exists in the atmosphere everywhere ; and so long as there is not more moisture than the calcium chloride can absorb, we may take it that our platinotype paper has not had a chance of in- dulging its extraordinary thirst for atmospheric moisture. Chloride of calcium can be purchased in the anhydrous form, and a few pieces tied up in a piece of fine muslin can be substituted for the asbestos. Care should, however, be taken to pre- vent even the smallest particles getting on to the paper, or the paper will be spotted and injured. For the storage of paper for any length of time, what is known as a calcium tube may be a useful acquirement. This is made to hold the paper rolled up or flat, and a small compartment beneath 18 Platinotype Printing. a perforated false bottom is provided to hold the calcium chloride. For the present nothing more need be said as to precautions in using the paper, except to suggest that all photographic papers should be handled as little as possible ; and if one’s hands be constitution- ally moist, as some hands are, it will be necessary not to bring one’s hands much into contact with the paper, but hold it by finger-tips and with care. Preliminary Precautions against Light. Platinotype paper is slightly more sensitive to light than albumenised silver paper ; so that, as regards opening the paper and examining it by daylight, it should be necessary to say but little, only that I have pre-supposed that there may be some of my readers who have not yet even made an acquaintance with the older method of printing with sensitised albumenised paper. For such I should say, Never open the paper or examine it close to a window, and of course not out of doors. A few feet from a window with average daylight should be a perfectly safe distance at which to examine the paper ; but if any cutting up or any- thing necessitates the paper being long uncovered, artificial light would be preferable — not necessarily excluding all daylight as we do in the Dark Room ; rhe Paper Described. 19 but a dark corner, or a room with the blinds down and curtains drawn, with a candle’s light for help, would make it safe to let the paper remain open for an hour or more. Whilst printing is proceeding, it would be safe to examine the print from time to time by simply turning one’s back to the light, and opening the frame in the shadow of one’s body. This ought to be sufficient to indicate to the beginner how to behave towards the paper, after having made its first preliminary acquaintance. It is always best perhaps to err on the safe side of over-caution, but there are no such stringent rules to observe as should be a source of trouble to the beginner. It may be well here to state, for those to whom the whole subject is entirely new, a brief general outline of the process of printing in platinotype. A General Outline of the Process. First, then, the paper is exposed to daylight under the negative in a printing-frame without the necessity of any special appliances. The paper is examined from time to time to see how printing is progressing. But here is the characteristic difference which distinguishes platinotype equally from the more familiar albumenised and gelatino-chloride 20 Platinotype Printing. silver papers, and from the bromide of silver and carbon process. The albumenised and gelatino-chloride papers are what are called “ print-out ” processes — that is to say, the image prints out to full density, and is thus clearly visible. In bromide printing the image is invisible, and needs to be developed. But platinotype is in this respect an intermediate method : the image becomes only partially visible when printing is complete, and requires an after- process of development to make it fully visible. To proceed. The faintly visible image being judged to have attained the desired point, the print is removed and passed through or floated upon a solution of oxalate of potash, when the image instantaneously attains its maximum of depth and visibility. This may be called its “ development.” It is then put into a very weak solution of hydro- chloric acid and water, changed two or three times for greater security, when the natural yellowness of the paper is converted into a pure white. This we will call the “ fixing ” or “ clearing ” bath ; after which a few minutes’ washing in water, to get rid of any traces of the acid, gives us the finished print, which may be dried between blotting paper or in any other way. A consideration of this brief outline of the pro- The Paper Described. 21 cess will, I think, justify the claim I have set forth as to its being eminently simple, rapid, and suited to the beginner. The Vabious Kinds of Papeb. Now we will return to a closer consideration of the paper itself, as made by the Platinotype Com- pany, as there are two principal classes of paper and several varieties in each. Mainly we have two kinds of paper, which are respectively “ developed ” with a solution of oxalate of potash made hot , or developed on the same solu- tion used cold . This constitutes the difference be- tween the “hot” and “cold” platinotype processes. In each class there are three varieties of paper, differing in stoutness and smoothness of surface. These are called : — A (smooth, thin). B (smooth, stout). C (rough, very stout). By way of distinction the hot-bath papers are called A, B, and C ; and the cold-bath papers A A, B B, and C C. With all these brands of paper the resulting image is normally of a black colour, varying sometimes from blue-black to brown-black, but still characteristically black ; so that, quite distinct and in a class by themselves, we may mention the S and It S papers, which give a 22 Platinotype Printing. sepia-coloured image. The S is of the same character of surface and texture as A and A A, whilst R S is similar to C and C C. Both S and R S are developed by hot bath. Finally, in order to meet the requirements of some pictorial workers, paper of an exceedingly rough surface is prepared either for black or sepia results. These are E.R.B. or extra rough, and E.R.S. or extra rough sepia — the former for cold bath development, the latter for hot . These two papers are, however, of limited application, and are as a rule only obtainable “to order,” and will not concern the beginner. The various kinds of paper, then, are shown as follows : — For Hot-Bath Development A — Smooth surface, moderately thin paper, suit- able for most ordinary purposes. This is the surface and texture commonly used in professional portraiture. B— Similar to the above, but stouter, and therefore suitable for larger-sized prints. C — A tough, stout paper, possessing a decided roughness of surface, like a medium drawing or cartridge paper. Very suitable for large portraits and most pictorial landscape and ofcher subjects. The Paper Described . 23 S — Texture similar to A, but giving a sepia- coloured image. R S — Also giving a sepia image ; paper same char- acter as C. For Cold-Bath Development. A A— Similar to A, hot bath. BB— „ „ B „ cc- „ „c „ In addition to these papers it may be mentioned that textile fabrics, such as nainsook (very fine muslin) linens, both coarse and fine satteen and silk, are sensitised for hot-bath process of development, and are a great acquisition for special purposes. The hot-bath papers are the original platinotype process as first introduced ; and very many well- known workers, especially amongst professional portraitists, still prefer it to more modern intro- ductions. But the cold-bath process is by far the most widely popular, and on all points most suit- able for the beginner and for the amateur and producer of prints in small quantities ; and hence, in giving working instructions, I will start with this process. CHAPTER III. PRINTING-THE EXPOSURE OF THE PAPER. No special form of frame is required, and except in tlie case of very large pieces of the stouter and rougher-surfaced papers, which will require greater pressure to ensure actual contact, the usual print- ing-frame will be used. Nor need any special precaution be taken, if we print inside the window of an ordinary room ; but should we wish to print out of doors for long periods, and at times when the air is damp, then the platinotype paper’s susceptibility to damp should be borne in mind, and instead of or in addition to the usual felt, cloth, or paper padding inside the back of the frame, a thin sheet of vulcanised rubber may be advisedly placed next the paper after it is adjusted upon the negative. The frame is then closed, the rubber sheet form- ing a damp-proof protection behind. The paper and the glass negative to some extent protect it in front. The gelatine film of the negative, however, will 24 Printing — The Exposure of the Paper. 25 itself sometimes contain a good deal of latent moisture, and so it is a good plan to carefully warm or dry the negative by a fire or over a spirit-lamp before taking it into use. Now we have a dried negative with the paper in contact, and a rubber sheet upon this, and the printing-frame closed for use in the usual manner. The frame is now exposed' to the light, and after a short interval we raise half the back of the frame, and, screening the paper from the daylight, we look to see how things are progressing. Perhaps nothing appears, and so we again put the frame out and allow another interval to elapse. The first indication of printing will be the appearance on the yellow sensitive surface of a faint grey, ghostly shadow of the image, and it is at this point that we are brought face to face with the only serious difficulty in platinotype work — namely, judging when exposure is complete and the print is ready for development. Judging Exposure. The difficulty perhaps chiefly arises from the fact that over-printing does not make itself seen until development — that is to say, that after a certain depth is attained by exposure to light little or no visible change takes place, and the print left exposed 26 Platinotype Printing. to light for ten times the requisite time will hardly appear different to the print correctly exposed, except that the lighter portions will have had time to print through. The one thing to be learnt, then, is the precise depth of greyness of image which, when developed, will give the kind of print desired ; which, if only to be learnt by some amount of practice and experi- ence, is yet not much more ; difficult than judging the depth of a silver print and making allowance for the loss which will take place during toning and fixing, and certainly not more difficult than deter- mining the exposure of a bromide paper, except that we are dealing with daylight, which, as every one knows, is of constantly varying intensity. In printing with bromide paper and using artificial light, if the first attempt prove a failure, the second can be corrected by the mere increase or decrease of exposure, so many seconds or minutes ; but in printing with daylight the counting of time is of little avail, because the printing value of the light during one hour may be equal to the light during the following three hours ; and so to get over this difficulty we may resort to the use of an actinometer, which will tell us when a certain, and previously ascertained to be correct, volume of light has acted on the paper. But for the present I would advise the beginner Printing — The Exposure of the Paper. 27 to content himself with judging exposure purely by the appearance of the image ; and as this is sufficiently visible to serve as a guide to a great extent, the probability is that by the time he has used his first tube of paper he will have acquired a proficiency in judging the depth of the image to prevent the necessity of subsequently resorting to the assistance of an actinometer, except in rare instances, and when a great number of prints of similar depth from the same negative is required. As a general guide I am able, through the courtesy of the Platinotype Company, to give as a frontispiece to this little book a printed facsimile of a platinotype print before development and after, and this will give the beginner an idea of the appearance of the print when exposure is com- plete. It will be noticed that in the darker portions of the picture the details are, though faintly, yet pretty completely seen, whilst in the lightest regions little or nothing beyond the blank yellow paper is discernible. For this reason the general total appearance will of course vary a good deal, because in some subjects there is but little dark shadow in which to look for details, and hence the whole will seem much paler* 28 Platinotype Printing . Some Points concerning the Printed Image. It may be some encouragement to point out that, of the hundreds and thousands of platinotype prints made every day by the trade printer and pro- fessional portrait man, practically all are gauged simply by the printer’s eye, and no actinometer or any such mechanical guide is used ; and after making a dozen or two prints, and noting the different results given by different depths of print- ing, I believe the beginner will have little difficulty thenceforth in stopping printing at pretty nearly the right moment. The following are some points which it will be well to remember in this connection — namely, that with paper which has been carelessly kept, and in consequence slightly damp, the image is rather less visible. Fresh and dry paper gives a more visible image. A greater amount of contrast is obtained by printing in a weak light. Strong light or direct sunlight has a flattening effect. If, during a long exposure, damp, through the atmosphere or otherwise, attacks the paper, it may show itself by causing the very deepest portions to assume a tawny or brown hue, which, if it does not go too far, will not seriously affect the print after development, but should be avoided, as likely Printing — The Exposure of the Paper . 29 sometimes to produce a bronze-like hue or else a mealy greyness to those portions affected after development. A negative with a considerable portion of clear glass in combination, with opaque regions for high- lights, will, if printed long enough to secure detail in the high-lights, give an unpleasant metallic or bronze-like hue in the deepest shadows, due of course to over-exposure in those parts. With subjects which possess a large proportion of very delicate, light tones, such as a vignette portrait, light clouds, etc., which will be hardly visible before development, it will be an assistance if we compare such portions with the unaffected portions of the paper, protected from light-action by the rebate of the printing-frame ; or a narrow edge of the negative can be painted black, or bound with a strip of opaque paper, so as to pre- serve that edge of the paper from printing. Slight differences in colour of the paper may thus be judged by comparison. The appearance of the image on smooth-surfaced papers is not an absolute guide for that on rough papers, the mere roughness of the paper giving a deceptive appearance. This determination by the partly visible image when printing has proceeded far enough, whilst quite within the accomplishment of every one after 30 Platinotype Printing. more or less experience, undoubtedly comes more readily to some than to others. It is so in the exposure of our plates in the camera ; and, like the exposure of plates, there are several factors to be taken into consideration — the light, the density of the plate, and the kind of ultimate picture we want to get. But, as has been said, the partial visibility of the print in the frame is a guide, and very soon becomes a perfectly satisfactory and complete indication. Printing with an Exposure Meter. There still remains, however, the more precise method of printing by the help of a piece of simple apparatus, which measures the value of the light or the amount of actinic rays reaching the printing- frame during any period : hence its name — actino- meter. Such actinometer, in various forms, may be purchased, or very easily made; and the method of its construction and its use are as follows The principle involved by using an actinometer is to use a print-out paper, such as albumenised or gelatino-chloride paper, as an index for the com- paratively invisible platinotype image ; and having first ascertained how much discoloration of the silver paper takes place whilst the platinotype Printing — The Exposure of the Paper. 31 paper is fully exposed, to then continue subsequent exposures until that same amount of discoloration is reached. To do this efficaciously, we take some white tissue paper, and cut it into narrow strips, say a quarter of an inch wide, and then lay one over the other in succession, but leaving about a quarter , , ! A B 1 C x 1 D E FIG 1 A B C D E FIC.n of an inch uncovered, as may be better explained by the accompanying sketch. The strips arranged as in Fig. 2 are then fastened together with any colourless mountant, and attached similarly to a half-plate piece of glass, the glass and attached slips being transferred to a printing-frame. The end of each slip of paper may be conveniently marked with a number or letter in rotation, and a piece of print-out paper is placed above it, the frame closed, and exposed to light for printing. 3 32 Platinotype Printing. The Exposure Meter or Actinometer Explained. Now it will be evident that at the point covered by the strip B the paper will discolour or print more slowly than at A, but more quickly than at C ; and so, on removing the printing paper after an interval, we shall have a series of gradually less printed steps, due to the increasing thickness of tissue paper, from A to E or more. Step B takes twice as long to reach the same depth of colour as A. C takes three times the period of A, and one and half times B, and so on. Now we will let this simply constructed actino- meter be exposed to light side by side with our platinotype paper ; and when we believe the platino- type to be done, we develop it and simultaneously stop the actinometer by withdrawing it from the light. Suppose we find the platinotype to have been quite correctly exposed, and on looking at the actinometer we find that steps A, B, C, and so on are all printed, but D only just tinted, and E quite white. We then make a' note that such and such a negative is printed when D is just tinted, but the higher letters are blank. A fresh strip of silver paper is substituted, and then we shall always in future be able to tell by examining the actinometer Printing — The Exposure of the Paper . 33 slip only, and without disturbing the platinotype, the exact moment when the platinotype with that same negative is done. If on the first experiment the platinotype is found to be under-done, then we shall know that next time we must continue until the actinometer shows 6 or 7 to be just tinted ; or if we have over-done it, we shall arrest printing on another occasion before discoloration has extended as far as No. 5. On one day the tinting of No. 5 may only occupy a few minutes ; on another occasion the same result may require hours ; but, however long, we know that, if it is longer for the silver paper, it is longer for the platinotype. Thus we have a simple method of measuring, not time or even brilliancy of light, but the amount of effective light which is reaching the printing-frames. Of course, as nearly every negative differs slightly in density and colour, it is essential to make the same preliminary test-print for each one, and to keep a record of the particular tint required by each. Every negative, having such a record attached to it, can then be put out to print with platinotype with perfect confidence ; and by frequently referring to the actinometer, each frame can be withdrawn as the tint belonging to the particular negative is arrived at. It need hardly to be pointed out that the 34 Platinotype Printing. actinometer should be placed adjacent to or on the printing-frame, or at least in such a position as to receive precisely the same amount of light as the print to which it is sought or be a tell-tale ; also the same kind of paper must always be used in the actinometer — not albumenised paper one day, and P.O.P. the next, because of their probably printing more or less rapidly respectively. I trust 1 have made it quite clear that the actinometer does not tell you, because its paper is discoloured by light, that therefore the platino- type paper is printed deep enough ; but having once ascertained that five or more tints are reached whilst full printing depth on the platinotype paper is reached with a specified negative, then you know in future precisely when the same volume of light has been received, and you know therefore that the platinotype must have reached the same point of depth. After Printing. We are now ready to take the print one stage further, and bring the nearly invisible image to full depth. This, as already explained, is done by “ development ” on a chemical solution, either hot or cold, according to the kind of paper we are using. And we will first consider the cold method. Printing — The Exposure of the Paper. 35 So soon as we feel pretty sure of oar exposures, it will perhaps be convenient to first place the prints as they are taken from the frames into a serviceable box, and then develop them altogether afterwards. Such box would be more desirable if it contained a few pieces of calcium chloride, to preserve the temporarily consigned prints from moisture lurking in the air or woodwork or what not. If, however, we are just learning our way, I would suggest that the developing-dish be quite close handy, and then the print can be at once developed whilst the appearance of the unde- veloped image is fresh in our mind ; and then if we are working without an actinometer, or even if we are employing one, we can tell at once whether we are over-printing or under-printing, and immediately profit by the knowledge. Between the cold-bath paper and that prepared for hot-bath development there is but little differ- ence as regards the appearance of the image when it leaves the printing-frame. Perhaps with the cold- bath paper the image is slightly more visible than with the hot bath ; but it is in the process of development that the distinctive difference of the two varieties of paper first becomes demonstrated. CHAPTER IV. THE DEVELOPMENT OF THE PRINTED IMAGE. The two varieties of paper known as hot and cold respectively have been referred to, and I have spoken of the cold-bath paper (called A A, B B, and C C, according to thickness and surface) as the variety which is most suited for the use of the beginner or the producer of small quantities of prints. For the production of platinotype prints on or these cold-bath papers no special apparatus, indeed no apparatus of any kind, is required. All that we shall need consists of two dishes or any flat vessels, preferably of china or enamelled iron. These dishes need to be a little larger than the size of the print ; and in one of them we put a solution of oxalate of potash and water (this is the “ developer ”), and in the other a very weak solution of hydrochloric acid. Here we have an oxalate bath and an acid bath. 36 The Development of the Printed Image . 37 The Developer, or Oxalate Bath. The oxalate bath may very well be made up in bulk, so to speak, by putting one pound of the crystals into a large bottle or jar with from two to two and a half pints of boiling water. After a little stirring or shaking the oxalate dissolves, but when cold a certain proportion of the crystals will congregate at the bottom, of which we need take no notice. Explanation of “ Cold ” Bath. For use it will be convenient to pour sufficient of this cold solution into one of the dishes to cover the bottom to about the depth of naif an inch or as much more as we choose, and im- mediately before developing our prints add thereto about half as much very hot water, thus weakening the solution and raising the whole in temperature. Thus for cold - bath development we have a tepid bath ; for, as already stated, the cold-bath process is to be regarded as cold when compared with the older or hot-bath method, which requires a bath of very high temperature rather than actually cold. We have now No. 1 dish containing a tepid solution of oxalate of potash in the proportions of 38 Platinotype Printing. one part of oxalate to rather more than four parts of warm water ; and if more convenient, the bath may be made np in this way as required — namely, one ounce of oxalate of potash to from four to six ounces of hot water, allowing this to cool slightly before use. The exact strength of the bath — that is, the exact amount of water to be used with a given quantity of oxalate — is not of much importance, very little if any difference being noticeable between prints developed on a strong bath or a weak ; but as some slight difference may accrue when solutions of greatly varying strengths are used, and as temperature certainly does make a difference, it will be well, when a number of prints are required to be of the same quality, to be careful to use the same strength and same temperature bath throughout. In the previous chapter I have recommended that the developing-dish be close handy to where the printing-frames are, so that the prints may be developed at once , and so over-printing or under- printing be at once detected and alterations made. This will mean having the dish of tepid solution in use for some considerable length of time, during which time the solution will be cooling down, and so present us with a varying temperature with each print developed. To remedy this we have only to The Development of the Printed Image. 39 stand the developing-dish in a larger vessel con- taining hot water, the hot water to be replenished from time to time ; or an easier method is to place a small spirit-lamp under the dish, removing it every now and then as the solution grows hotter. The immersion of the finger will be a sufficiently accurate test for temperature ; but a small glass- tube thermometer, such as is commonly used for taking the temperature of fluids, will give us still greater accuracy. But the spirit-lamp or hot-water dish or ther- mometer cannot be regarded as an essential, but rather a convenience. All we actually require is a few ounces of oxalate-potash solution of about from 70° to 90° Fahr., and the same dose of solution is used for practically any number of prints until it becomes either dried up or very dirty. Now then as to development. This is not a lengthy, gradual process, as with our dry plates or bromide papers, but takes place almost instan- taneously upon the face of the print coming into contact with the oxalate solution. Manipulation of Prints in Developing. The print is best developed by placing it quickly face downwards on the solution; but if this is done suddenly with the paper flat, we are almost certain 40 Platinotype Printing. to enclose some air-bubbles, which, by preventing those portions of the paper from reaching the solution, result in undeveloped spots and patches. Hence it were better to hold the paper vertically or in an inclined position in both hands, holding each end with the finger-tips of the left and right hands respectively, and then, placing the end held in the The Development of the Printed Image. 41 left hand on the solution or just beneath the surface, curl or bend the paper slightly, and then lower the right hand gradually but quickly, thus as it were pressing out the air between the paper and the surface of the fluid. This is shown in the accompanying illustration. If, however, instead of lowering the left hand into the solution at the left end of the dish, it be lowered at about the middle, and then, whilst lowering the right hand, the whole be moved slightly to the left, a sort of sweeping, sliding move- ment will be given to the whole, which will still more effectually remove any air-bubbles which may cling to the surface (see second and third illustrations). 42 Platinotype Printing. These instructions as to how to handle the print for development need not terrify the beginner; it is the simplest possible action, and is merely given here as a preventative against bubbles rather than as essential to development. Almost immediately, on the undeveloped image touching the surface of the solution, it flashes up into full vigour, and in a very few seconds (from five to ten) the whole action is complete. With a quite cold solution the action is retarded to per- haps double or several times this time; so that with a print which has been over-exposed the develop- ment may be stopped when it has proceeded far enough, and thus an otherwise over-printed print may be saved. But development on a quite cold bath is attended with a great risk of getting a coarse-looking, granulated print. The Development of the Prmted Image . 43 Redevelopment for Bubbles. I have said that the action of the developing solution is complete in a few seconds ; and no matter how much longer the print remain in or on the solution nothing more results ; so that it may be said that with a correctly exposed print over- development is impossible. If then, after lowering the paper on to the oxalate bath, we immediately raise it again, and, on looking at it, discover certain unaltered spots, as white spots due to air-bubbles, we may again lower it on to the solution, and by shifting it about disperse and get rid of the air- bubbles without harm to the print, though some- times these spots leave their mark ; hence the desirability of some care to bring the print into contact with the fluid in the manner described and illustrated. The “ Fixing ” or Clearing Bath. The print is then transferred directly and without washing to the second dish, which should contain water, plus a few drops of pure hydrochloric acid. The precise proportions of water and acid are : — Water 70 or 80 parts. Pure hydrochloric acid ... 1 part. 44 Platinotype Printing. This solution may be made weaker, but not much stronger. At this stage the print may be considered finished, as no further change takes place. When the print is first transferred to the acid, the black image is seen on a dirty yellow ground ; but im- mediately the acid clears, this leaving the ground quite white. In order to render the clearing effect of the acid bath effectual, it is repeated two or three times ; but if the batch of prints is not a large one, they may all remain in the first acid bath until the last print has been developed, and the acid solution poured off and a fresh one poured on, when, after moving the prints about for a few minutes, the performance is repeated. After the prints have thus been subjected to the action of three suc- cessive baths of acid and water of the strength already given, they should be quite ready for final washing. The test for this is the colour of the last acid bath. If this solution be about half an inch or more in depth, then, looking through it to the white paper prints beneath, there should be no trace whatever of discoloration, but the solution should be quite colourless. The prints are then passed into clear water ; and if held one by one under the tap for a few minutes, or washed together in a dish with The Development of the Printed Image . 45 running water for from ten to fifteen minutes, they may be taken out and dried. It may be simpler to let the prints remain in the first acid bath for a prolonged period (during, say, an hour or two), in which case let the first acid bath be made very weak (say 150 ozs. of water to 1 oz. of hydrochloric acid). In such a solution as this the prints may be left all day with impunity, and when they are all ready the second and third acid baths of normal strength can follow in the usual way. If we are printing all day, developing the prints as they leave the printing-frames, and we wish to save interruption and the extra trouble of changing the acid baths in the midst of other things, this course will be found the simpler. The purpose of the acid bath is merely to dissolve or clear away the unaltered salts upon the paper, and if this be not done effectually the ground of our prints will in course of time change colour and be quite useless ; hence the necessity of several successive acid baths, so as to make quite certain that none of the sensitive salts remain on the paper. A stronger acid solution would affect the texture and substance of the paper itself, and soften it and rot it ; hence it should not be stronger. But so long as the two final baths are of full strength, the first may be of half strength or as 46 Platinotype Printing. weak as possible, so long as the water is just acidulated ; for, as already stated, the prints must pass direct from the developer to the acid, and must not be put into plain water. The purpose of the final washing in water is merely to remove all trace of acid clinging to the paper from the acid baths. A comparatively short washing will accomplish this ; but if any acid remains in or on the paper, its presence is revealed in a little time by a yellowing of the prints. If now the student has understood the foregoing description of the development of cold-bath papers — and there should be no difficulty in understanding and accomplishing it with but ordinary intelligence and care — then little need be said to make clear the development of hot-bath paper. The chief differ- ence is the temperature of the bath. Development of “ Hot-Bath ” Papek. For hot-bath paper the oxalate bath should in the first place be made of greater strength, one pound of oxalate of potash being dissolved in fifty- four ounces of water. Hot water had better be used, or the oxalate will take a long time to dissolve ; and indeed as the The Development of the Printed Image . 47 solution cools a certain amount of oxalate will be found to crystallise out at the bottom of the vessel. This is not of consequence ; but if the pound of oxalate be dissolved in very hot water, and then immediately transferred to an enamelled iron dish set over a spirit-lamp or gas-stove, the whole will be kept at a high temperature, and the whole of the oxalate kept in a state of solution. The temperature of the hot oxalate bath for hot- bath papers should be kept as nearly as possible at 170° Fahr., and the print floated on it (in the manner described for cold bath development) at this temperature. No perceptible difference will probably be noticed in the resulting print, if the temperature of the bath be as low as 120° Fahr. ; but to use hot-bath paper on a bath cooler than this is attended with some risk of getting granular or mealy-looking prints. No harm whatever will arise if the bath rise to a much higher temperature, except that it is not convenient to use. If development was rapid in the cold-bath process, it is even more so in the hot bath, the partially visible image flashing up immediately the paper touches the solution ; and hence greater care should be taken to float the paper quickly, evenly, and with a decided sweeping movement, so as to 4 48 Platinotype Printing . dislodge any air-bubbles clinging to the under- surface of the paper. The hot-bath paper, moreover, being rather more susceptible to damp, care should be exercised not to hold the print within the influence of the steam arising from the hot solution. The print being thus immediately developed, it is passed direct into the acid bath in precisely the same manner as in cold-bath practice. Dishes foe Hot-Bath. The best dishes to use for hot-bath process are iron dishes strongly coated with enamel, and bearing a close resemblance to an ordinary baking- dish. Such dishes are sold by the Platinotype Company. Enamelled steel dishes, such as are commonly to be found in the photographic dealer’s stock, serve the purpose very well ; but the enamel is apt to crack after a little use, and in such case the cracking of the enamel exposes the metal to the action of the oxalate bath, and a staining of the paper is nearly certain to take place. Our ordinary porcelain dishes may with advan- tage be pressed into service, having the advantage of being probably already at hand, and are always easily cleaned. The Development of the Printed Image . 49 Over the spirit-lamp or gas-stove place an iron tripod-stand, and lay thereon a sheet of iron. On this place two or three lids of empty platinotype tins, or some similar self-suggested articles, and on these place the porcelain developing-dish. The purpose of the empty lids is to prevent the porcelain coming into actual contact with the iron plate. In this way the dish will stand the heat for a long time without injury. There is a still better way to keep the oxalate bath hot for a length of time (especially if we act upon the recommendation given to keep the de- veloping bath handy during the whole time of printing and developing each print immediately it leaves the frame, and so ascertain if our estimate of exposure is correct)— and this is to place the porcelain dish containing the solution in an iron dish partly filled with clean silver sand. The sand retains the heat for a long time, and hence the spirit-lamp may be dispensed with after the solution has reached the desired temperature ; moreover, the sand-dish keeps the solution at a more uniform temperature. As will be explained in the next chapter, a nearly uniform temperature, though not essential, is desirable, so that the first print of a series and the last are subjected to precisely similar conditions. 50 Platinotype Printing . Maintaining Uniform Strength of the Bath. With, the solution kept at so high a temperature (120° to 180° or more) for a continuous period, considerable evaporation must necessarily take place, so that a scratch or some ineffaceable mark should be made on the inside of the porcelain dish, indicating the depth of the solution at the start; then, as the evaporation takes place and the solution diminishes, a little water should be added, so as to maintain it up to high-water mark. By these means the solution is kept at a uniform temperature and a uniform strength. It has been already stated that only a good sample of oxalate of potash should be used — that known as Neutral Oxalate of Potash — the object being that the bath should not be either acid or alkaline ; and if only neutral oxalate be used, and that procured from some reliable dealer, little more heed need be taken to this point. For greater satisfaction, however, the developing solution (and this applies to both the cold- and hot-bath processes) may be tested for acidity with litmus paper in the usual way ; and if by this test acidity be shown, a pinch of carbonate of potash, dropped into and stirred round with the solution, will set matters right. This is, however, a detail with which, I think, only the very exacting need trouble. The Development of the Printed Image, 51 Development of “ Sepia ” Papeks. The development of the Sepia papers needs but little special remark. The sepia papers belong to the hot-bath class, and should be developed in precisely the same manner as just described. In the first place, however, sepia papers are said to be of a more delicate constitution, more subject to deterioration from being kept too long, more sensitive to damp, and should be handled with greater caution as regards exposure to light; beyond these cautions, however, there is nothing to say. In order to get the full value of the sepia papers — that is to say, in order to get prints of a rich, bright sepia colour — about two drams of a Special Sepia Solution should be added to each ounce of oxalate solution. This special solution is prepared and sold by the Platinotype Company, and its constitution is a secret. Some further remarks on sepia papers and their colour will be found in the next chapter. In passing the developed prints into the hydro- chloric acid bath, as has been said, no intermediate washing must take place. The print, dripping with oxalate, should be quickly transferred to the acid, contact with which immediately stops any further action of the developer, if any continued action is feared. 52 Ptatinotype Printing. As, however, at this stage the unaltered or un- printed parts of the paper are still to some extent sensitive to light (theoretically so, if not actually), I would suggest that the acid bath be not placed at an open window in full sunlight. Ordinary day- light will not do harm, and this is only mentioned to guard against remote possibilities. Recapitulation. Enough has now been said to enable the reader to make successfully a platinotype print of the fine black or grey colour characteristic of the process, or of a sepia colour, if that special variety of paper be used. To briefly recapitulate. The negative and printing- frame having been thoroughly dried, the paper is exposed in the printing-frame in the ordinary manner until the image is seen mapped out in grey or orange-grey tint, similar to the guide appearing as a frontispiece to this little book. It is then placed upon the oxalate bath with a pushing, sliding movement, the bath being about 70° for cold- bath paper, or about 170° for hot bath, the solution being roughly one part of oxalate to four or six of water for cold bath, or in the proportion of one pound of oxalate to fifty-two ounces of water (or a slightly super-saturated solution) for hot bath. The Development of the Printed Image . 53 Development occupies but a few seconds, when the print is at once transferred to a solution of hydro- chloric acid and water of the strength of one in seventy. After this the prints are leisurely subjected to one or two successive acid baths of the same strength, and then finally washed in water for about fifteen minutes. CHAPTER Y. MODIFICATIONS IN DEVELOPMENT , AND THE TREATMENT OF C C PAPER. The normal colour of the platinotype print is a fine black, with clear delicate greys in the half- tones. It now remains to briefly speak of the various modifications of the simple process already described, to the end that this colour may, when desired, be varied ; and at the same time it will be remarked how these same modifications affect the “ tonality ” of the print — that is to say, varying the amount of contrast between the lights and darks. Generally speaking, it may be said that the colder the developing oxalate bath the colder in colour, and the hotter the bath the warmer or browner the colour resulting. It may also be said that the cold bath will as a rule give colder-coloured prints, the blacks of the hot-bath paper tending more towards an Indian ink or warm black. Thus the extremes are given by cold-bath paper 54 Modifications in Development 55 developed cold on the one hand, and hot-bath paper developed at a maximum temperature on the other ; yet between these two extremes it must be admitted that the amount of variation is not very great, merely amounting to a different variety of black. Now, together with this slight variation in colour, another difference will be noticed, and that is the relative lightness and darkness of the highest lights and deepest shadows. As has been already noted, the development of hot-bath paper on a hot bath is more rapid — that is to say, the hot oxalate bath is more energetic, and will act upon a lightly printed part when the cold solution will fail to act at all. The Effect of Alteration in Temperature of the Bath. Both hot and cold development give us deepest blacks in the deepest shadows, and in addition the hot bath succeeds in drawing out of the most lightly printed portions every trace of image which can possibly be drawn. This results in less high- lights, and tends to lower the tone of the inter- mediate half-tones, and consequently it may be said a less amount of contrast is given by the hot bath than the cold. 56 P latino type Printing. Then we may set up as a general guide the formula : The colder the bath, the colder the colour and the more vigorous the print ; and the hotter the bath, the warmer the colour and the less contrast or the flatter the print. Bearing this in mind, and having at hand both kinds of paper, we may often, after the first print has been made and proved to be too harsh in contrast or too flat, remedy the evil by using the different paper and a bath of different temperature. For instance, if we have a rather weak negative, and on printing from it we find it yields a flat, weak platinotype print, and assuming we had been using hot-bath paper, then before intensifying the negative I should proceed to print from it on cold-bath paper, and should develop it in a bath of oxalate which was nearly or perhaps quite cold. By so doing the flatness of the first print would probably be sufficiently avoided to make any intensification of the negative or such similar steps unnecessary. Of course, at the same time, we should have our print rather colder in colour, and by using a quite cold bath we should run the risk of our print possessing a granulated appearance. The first con- dition might not be an objection ; the second is not an invariable condition of cold development ; and hence the risk may be worth running. If, on Modifications in Development. 57 the other hand, I was printing from any given negative on cold-bath paper, and the result under ordinary circumstances was a harsh, hard, black- and-white print, devoid of soft gradation and half- tone, then first I should make another print on ^Zd'-bath paper and develop it on a very hot bath. This would result in giving rather more half-tone ; and if the improvement were not sufficiently marked, another print should be made on hot-bath paper and developed hot, thus still further lowering the tone of the higher lights. With six prints from the same negative— three on cold-bath paper, and three on hot-bath paper — it would be possible to form a series in which each print could hardly be dis- tinguished from the next in the series, yet the first and the last would show a distinct difference. Thus §1 H H ■ S ■< •£« { Maximum of Contrasts and ( Coldest in Colour. Ditto, at 70° or 80° 2 Ditto, at 120° and upwards ... 3 V Ditto, at 60° or less Ditto, at 120° Ditto, at 180° and upwards ... 4 ... 5 ... 6 V f Minimum of Contrasts •j and ( Warmest in Colour. 58 Platinotype Printing. The Defects caused by Damp Utilised. One condition more may here be noted — the influence of damp on the paper is to fog or degrade the whites, and also to deprive the image of its bright, clear black colour ; hence dampness in the atmosphere, usually to be carefully shunned in the process, may with great caution be employed to bring about a definite end. There is a point in the injurious action of damp when the excessive brilliancy of the whites in the highest lights is just slightly reduced without the general “ fogging ” of the whole being apparent, which would come later on if the operation of damp continued ; also the deprivation of the bright black colour of some of its intensity may at a certain point in its progress be an advantage of which the printer may avail himself. I have seen prints on A hot-bath paper, made from negatives not previously dried by heat, and printed in an “unaired” room, which, whilst just escaping a “ muddiness ” and general fog, have been low in tone, yet with sufficient contrast and of a brown- black colour. Special Bath fob Extkeme Contrasts. With the exception of the fact that printing in bright sunlight, whatever printing process we use, Modifications in Development. 59 yields a print showing less extremes of contrast results, this represents the limit in one direction as regards modifying the scale of tones in the print. But towards increasing vigour another method remains to be mentioned. A solution is made as follows : — Oxalate of Potash ... 1 lb. Phosphate of Potash . . . ... 4 ozs. Sulphate of Potash ... \ oz. Water ... 6 pints. This had better be made with hot water, and allowed to become as cold as it will without refrigeration. The prints being made on cold-bath paper, are immersed in this bath and moved about. Develop- ment takes place comparatively slowly, probably occupying several minutes to complete. They are then transferred to the hydrochloric acid bath as usual. I have used this developing bath for many thousands of prints which for special reasons were required of a very hard black-and-white character, and out of that quantity I had but a very small percentage of failures. 60 Platinotype Printing . Characteristics of and the Treatment of CC Paper. Thus far we have been speaking of platinotype paper generally, but have had the A and A A papers chiefly in mind. I now propose to pay some special attention to one of the varieties of paper made by the Platinotype Company, after using a large quantity of which I am led to think that greater latitude in the direction of colour and tone is found. That paper is the C C. The C C paper, as will be seen by the list given in Chapter I., belongs to the cold-bath series, and is a thick, tough paper, with a somewhat rougher surface. The paper used for C C is of peculiar character. Besides being as stout as good heavy cartridge paper, it possesses a sort of texture on the surface, which, whilst ’t cannot be termed rough, is still far from smooth. The grain or texture of the paper, whilst almost unique amongst the papers one ordinarily meets, is somewhat similar to an average drawing paper. This slight roughness imparts to the deeper shadows of a print a great deal of light without any distinct grain or reticulation, whilst the high- lights seem to gain considerable luminosity. For landscape subjects and for large portraits Modifications in Development . 61 it appears to be especially suitable. It is perhaps, of all the platinotype papers, the least susceptible to the effects of damp, and does not deteriorate by being kept a considerable time, even though indifferently cared for. Having said this, I wish it to be distinctly understood that, if the paper is recklessly exposed to the influence of a damp, ill-ventilated cupboard, or is placed amongst wet articles, or, in short, is submitted to conditions which, in the ordinary course of events, should not exist in any well- conducted house or workroom, the worker will only have himself to blame if disappointments occur. I only mean to make it understood that the C C paper need not be watched over and protected with anything like the vigilance that to many of the other papers is absolutely necessary. The first feature about C C paper is that it gives the most vigorous and contrastful print of any of the platinotype paper, and in this respect ranks on a parallel with the glossy gelatino- chloride papers of the Ilford Company and some other makers — that is to say, a print on P.O.P., when toned and finished, gives about the same result, with respect to contrast and vigour, as CC when developed on an oxalate bath of about 70° Fahr. 62 Platinotype Printing. Colour of CC Parts. Then, following the rule of the other papers, as we increase the temperature of the bath, we get increasingly softer gradations and warmer colour, until, when using a bath of, say, 1 50° Fahr., the colour is a distinctly warm, rich brown-black. This is especially the case if the paper be not very fresh. The comparative indifference of C C paper to the influence of damp is a very useful characteristic for many subjects, inasmuch as, after being exposed to the moisture of an ordinary room for a con- siderable time, a much browner colour is yielded without any appreciable degradation of the whites. To such an extent have I availed myself of this, that, when particularly anxious to secure a brown print and one full of subtle gradations, I have held the print for a minute or two in the clond of steam rising from the hot oxalate, until the paper has become almost “ flabby ” with the moisture, and then developed it in the solution, which has risen to a temperature of about 150° Fahr. I have on many occasions purposely left an un- developed print in an empty tube with the lid partly opened and without any calcium chloride for several days, and on developing have obtained the same rich brown-black which results from steaming. Modifications in Development . 63 Recently, when printing a very large print from a wet-collodion negative, the print being larger than any frame I then had, I laid the negative on the paper, and placed both on a flat board. The glass of the negative was very thick, and the weight consequently kept the paper quite flat and secured contact. Printing continued nearly all day in a stone- paved yard, where the water from dark-room and work-room ran down a gutter. Thus it may be supposed the atmosphere was anything but arid ; and the paper, not being protected by a printing- frame, had every opportunity of taking up a good deal of moisture. I developed the print on a fresh-made oxalate solution of about 120° Fahr., and in a new porcelain dish. The colour of the print when finished was a decided sepia, with hardly a trace of the normal black. I am not prepared to say that a repetition of the same conditions would always give the same result, but I give the instance for what it is worth. I should not hesitate to say that, having once generally become acquainted with the paper and its behaviour, one can certainly rely on getting a brown print when wanted, the conditions being slight exposure to damp and hot development. 5 64 Platinotype Printing. C 0 Prints without Mounting. The stoutness of C C paper makes it possible to finish one’s prints in a very pleasing fashion. Using a sheet of paper three or four inches longer and wider than the size of the negative to be used, the superfluous paper is covered by a mask of non-actinic or opaque paper. The developed print then appears with a broad white margin, which, owing to the paper being thick, renders mounting unnecessary. In printing CC paper, I am inclined to think that in most cases the appearance of the unde- veloped print is that of a slightly more visible image, when compared with the smooth papers ; but for this the mere grain of the paper may be accountable, and for this reason comparison is difficult. If C C represents the paper giving the maximum of contrast from any negative, then the sepia papers probably stand at the opposite end of the scale, and yield from the same negative the least vigorous results, for which reason a slightly “ stronger ” negative had better be made. Nothing more needs to be said with reference to the sepia papers beyond cautioning the user against exposing these varieties to such conditions as CC may be subjected to with impunity. The Modifications in Development. 65 sepia papers are very susceptible to damp, and deteriorate after being carelessly stored or kept for a long time. Platinotype Co.’s. Developing Salts. It may be remarked that no notice has been taken of the developing salts, which are sold by the Platinotype Company for use with their papers instead of oxalate. As far as my own experience goes, although I have used the developing salts to some considerable extent, I cannot find any very marked difference in the resulting prints. Perhaps the result comes more nearly to that given by using the special phosphate developer given on page 59, but with not so harsh a contrast of blacks and whites. If a difficulty should arise in securing cool, clear greys and bright whites, when using cold-bath paper with the oxalate bath, then I would recom- mend the use of the special developing salts. In any case they are put up in convenient form, and may be relied on when a good sample of oxalate is not obtainable. CHAPTER VI. MODIFICATION OF COLOUR BY “TONING.” Though various methods have been suggested for modifying the colour of the platinotype print, it may be fairly said that platinotype, like carbon, is at its best when left alone ; and to attempt to alter the appearance or to otherwise change the character of the platinotype by subsequent additions to its naturally simple process is to introduce elements of danger, even though some gain in definite directions be attained. Some printing and other processes are especially valuable for the possibilities of modification and development that they possess ; but to such I do not think platinotype can be said to belong ; and no toning or staining process yet suggested seems to me to give more than a qualified successful result. There may, however, be occasions when, even at the risk of failure in other directions, an alteration of colour or an increase or reduction of density may be worth trying ; and for this reason some methods are here given. 66 Modification of Colour by “ Toning” 67 Probably the commonest desire will be to im- part to the black and grey image of the normal platinotype print a brown or sepia colour, and this to a degree which the mere modifications in de- velopment already given will not yield. In many hands the sepia papers do not give quite satisfactory results, though the reason for this is not very clear, except that I think it must be due to in- sufficient care on the part of the user. Ukanium Toning. How, then, to secure a brown or red-brown colour with ordinary black-printing platinotype paper is the question. For this uranium is the metal which has found most favour, and the simple immersion of a finished and well-washed platino- type print in the ordinary uranium intensifier is said to give the effect desired. For my own part I can speak with some con- siderable satisfaction of the behaviour of platinotype prints in the following bath, which, as will be seen, contains uranium as the “ toning ” body. Uranium nitrate being a somewhat costly salt, the three solutions had better be made up in the manner and quantity given, and then diluted to form sufficient bulk for the size print to be treated. 68 Platinotype Printing. Solution 1. Uranium nitrate ... 48 grs. Glacial acetic acid ... 48 minims. Water ... 1 oz. Solution 2. Potassium ferricyanide ... 48 grs. Water ... 1 oz. Solution 3. Ammonium sulpkocyanide 1 • • • v OZ. Water 1 >5 For use, one part of each of the above should be added to one hundred parts of water. A finished unmounted platinotype print, after being washed with water, so as to saturate it and make it lay flat in a dish, is then flooded with the ,above dilute solution and the dish rocked continuously. After a little time the print will begin to change colour, and the “ toning ” should be continued until the desired tint is reached (the print will be found to eventually dry rather colder or blacker in colour than it appears in the toning bath ; hence it may be carried slightly beyond the desired colour), when the print is lifted out and transferred to a dish of water which contains a drop or two of acid (glacial acetic acid). Modification of Colour by “ Toning 69 It is then washed in two or three changes of water, just faintly acid. The quantity of acid, or indeed its addition altogether, depends on the character of the water supply. In any case only sufficient acid to prevent the water being alkaline is needed. The reason for this will be seen presently. After two or three such sluicings in faintly acidulated water, the print may be dried as usual without further washing. The print thus toned may, according to the period of its immersion in the toning bath, assume any colour from a deep brown to a red-brown, tending at last to an unpleasant copper colour ; but it should be carefully observed that the entire image gains in depth, the uranium bath not only altering the colour, but also acting as an intensifier ; for this reason rather under-printed prints should be chosen for the process. Should the “ toning ” have gone too far, or it be desired to restore the print to its original colour, it can be accomplished in a few seconds by washing the print and immersing it in a greatly diluted solution of ammonia, this and other alkalies having the power to remove the uranium compounds formed during the “ toning.” This, then, is the reason of the washing water being made acid, as already referred to ; for if the 70 Platinotype Printing. water from the tap be of an alkaline character, the colour derived by uranium and ferricyanide to nin g will disappear during a brief washing. I remember very well having, with some labour, “ toned ” by the above formula some two or three large prints, and then consigned them to a dish to wash, leaving a stream of water running from the tap into the dish whilst I did some other work. Returning in about twenty minutes, I found my prints restored absolutely to their original grey and black colour, as though no toning had ever been attempted. The reason for this was that my water supply came from a spring below the chalk, and being heavily charged with lime had an alkaline action. In such a case as this, or if after the intentional removal of the toning by the use of ammonia there should remain any unsightly yellow stains on the paper, dilute hydrochloric acid will remove them, when the whole business of toning can be commenced over again. The maximum amount of “ warmth ” as regards colour that I ever succeeded in obtaining was by the following course : — I was using the Ex. R. S. paper at the time, and to the ordinary oxalate of potash developer I added rather more than the prescribed amount of special sepia solution. Having developed the print and I Modification of Colour by “ Toning ” 71 finally washed it, I submitted it to the uranium nitrate bath, as given above. Of the two prints so treated, one turned out a deep red-brown, almost a burnt sienna in colour ; the other, which remained rather longer in the “ toning,” was, when finished, a brick-red colour. Both these prints have since been exposed to atmosphere and to light without any precaution, and the colour shows no signs of changing. Other Methods. That the addition of bichloride of mercury to the oxalate developer results in giving browner colours might be gathered from the fact that a negative which has been intensified by mercury always, unless varnished, yields prints of a more or less brown colour. When, therefore, the special sepia solution is not at hand, a dram weight of mercury bichloride may be added to three or four ounces of oxalate developer. This may be done when using either the black or sepia or S papers* When using the sepia papers, the addition of about the same quantity or more oxalic acid to the developer will also have the effect of producing browner colours than if the plain oxalate solution is employed. 72 Platinotype Printing. From the foregoing it will be seen that the modification of the colour of the platinotype print, so as to secure a browner or more ruddy tint, is attended with some uncertainty; but with the information now given each individual practitioner may experiment for himself. The only other method of obtaining brown prints that needs to be mentioned is that known as Packham’s process. This method, which is a staining rather than a “ toning ” as usually under- stood, owes its introduction to Mr. Packham, and many have used it with considerable success, and habitually submit exhibition prints and special work to it ; but it must be confessed that, whilst the colour secured is often of a very pleasing brown tint, it also very often betrays one’s confidence by yielding a green-brown hue, not altogether unpleasant, but of limited use. A supplemental chapter on this process will be found on page 86. Almost every week some new prescription for the “ toning ” of platinotype prints is published, and yet it is doubtful if any method yet suggested can be said to be wholly satisfactory. One, however, which seems better than its fellows was published a.t about the time that the first edition of this little book was in the press, and should therefore be added here. The process is due to Mr. A. P. Smith, and was Modification of Colour by ‘ Toning .” 73 published in the American Amateur Photographer . It is as follows : — The following solutions are prepared : — A — Po- tassium oxalate 4 ounces, water 16 ounces ; B — cupric chloride 124 grains, water 8 ounces ; C — mercuric chloride 1 ounce, water 16 ounces ; D — lead acetate 32 grains, water 4 ounces. To 3 ounces of A add 1 ounce of B, then with vigorous agitation 1 ounce of C, and, finally, £ ounce of D, and heat until the precipitate is dissolved. For use, heat the solution to 80-85° C. (176-185° F.), or higher if the prints are under-exposed. The prints are rapidly drawn through this solution, turned face upwards so that development can be watched, and at the right time immersed in three changes of hydrochloric acid (2 : 100), then well washed in water, immersed in ammonia 1 part, water 130 parts, washed and dried. The colour becomes darker as the prints dry. The colour is browner the higher the proportion of mercury salt, but the exact colour varies with different brands of paper. The colour resulting is a warm brown verging on a sienna tint, and under ordinary conditions seems permanent. To Produce Colder “ Tones.” Although it is less likely that the printer will often wish, by an after-process, to impart a colder, 74 Platinotype Printing . bluer, or blacker tint to the finished print than the ordinary development of itself yields, yet two such methods may be here given in case of need. The first, which is given by Mr. Dollond, is not only a toning process, but is distinctly also an in- tensification method, the depth of the image being increased thereby, and the contrasts between lights and shadows increased. It is a gold-toning process. The older the print — that is, the longer the time which has elapsed since it has been made- — the slower will be the action ; hence a compara- tively new print will serve best to illustrate its possibilities. The print having been soaked in water, so as to make it lie flat on a sheet of glass or other clean surface, it is next rubbed gently over with glycerine — a drop or two of glycerine being poured upon the surface, and then spread evenly with the finger-tip. Next dissolve gold chloride in distilled water in the proportions of— Gold chloride ... ... 15 grs. Water drams. A few grains of chalk are to be added, so as Modification of Colour by “ Toning .” 75 to neutralise the solution, and then add one drop of pure hydrochloric acid. This gold solution is now brushed over the surface of the glycerined print with a soft, broad, camel-hair brush, taking care that every portion is equally treated, and that the gold solution is kept moving. The image will soon be noticed to increase in depth, and to take a bluer or blacker hue. Still keeping the toning solution in motion by means of the brush, the desired effect is closely watched for, and, when arrived at, the print should be rinsed in water until all glycerine is removed from the surface.] Two solutions are then made as follows : — A. Sodium sulphite . . . Metol Water B. Potassium carbonate Water 1 oz. 50 grs. 10 oz. 1 oz. 10 ozs. Equal portions of these two solutions are mixed together, and sponged or brushed over the print back and front. The print is then washed 76 Platinotype Printing. thoroughly in running water for about half an hour. If it is found that the high-lights are degraded, it is a sign that the toning has been carried too far, or that the solution has not been kept evenly moving over the surface. By this, as also by the uranium toning, a strengthening of the whole image is attained, as well as a change of colour. To Intensify the Print. An intensification pure and simple may be effected by means of silver nitrate, added to an acid pyrogallic developer. A few drops of silver nitrate solution are added to a solution of — Pyrogallic acid ... ... ... 2 grs. Citric acid 20 „ Water 1 oz. Or hydroquinone in same proportion may be substituted for pyro. The print is placed in this solution, and rocked until the desired depth is arrived at, when it is well washed and fixed in hyposulphate of soda, as with an ordinary silver print, and finally washed again. Our platinotype has now had superimposed upon Modification of Colour by “ Toning .” 77 it a silver image, which may now be toned as a silver print. Should it be desired to impart to the platinotype print a decided blue tint, this is effected by using ferricyanide of iron, the bath being used in the same way as the already mentioned uranium toning bath. A method of intensification recommended by Herr Rapp, and published in the Wiener Photo - graphiscker Blatter , is as follows : — Fifty parts of a cold saturated solution of gallic acid are mixed with two parts of a ten per cent, solution of silver nitrate, fifty parts of water, and a small quantity of acetic acid (about half a part), and this solution is poured over the well-washed platinum print, which gradually gains in intensity, and when sufficiently dense is washed in two or three changes of water containing a small quantity of acetic acid. The deposited silver can be displaced by platinum by immersing the intensified print in a solution containing potassium platino-chloride one part, syrupy phosphoric acid fifteen parts, water six hun- dred parts, after which it is well washed. A print having harsh and sudden contrasts should not be treated by this process, as the contrasts will be greatly hardened. A soft, delicate print, such as one would get from a thin, over-exposed negative, will benefit most by this method. 78 Platinotype Printing. The formula, as given in the “ Dictionary of Photography,” is as follows : — A. Ammonium iron alum 48 grs. or 10 parts. Hydrochloric acid ... 48 „ „ 10 „ Water ... ... ... 10 oz. „ 1000 ,, B. Potassium ferricyanide 10 per cent, solution. C. Ammonium sulphocyanide 50 per cent, solution. For use add to one thousand parts of water five parts of A, then two parts of B, and then five parts of C, adding in the order given. The solution will be of a red colour, the same care as to acidifying the washing water being necessary with this as with the uranium bath. This also has a slightly intensifying action. CHAPTER VII. LOCAL DEVELOPMENT : THE GLYCERINE METHOD. These chapters on the platinotype process would not be complete without reference to a certain method of development in which the object is to place a large amount of control in the hands of the operator, enabling him to develop certain portions more than others, and indeed to retain parts and entirely eliminate others. Although this process, usually known as the glycerine method, was greeted with delight when Mr, Willis first introduced it to notice at the Camera Club, and great possibilities were antici- pated from its use, it has never become popular or largely used, not so much on account of any imperfections in the process itself, as from the fact that it is essentially a non-mechanical method, depending for success very largely on a certain amount of artistry on the part of the user. It consists essentially of painting the image in by means of oxalate of potash, using a brush or 0 79 80 Plcitinotype Printing . brushes for the purpose, the paper having of course been first exposed to light under the negative in the usual way, so that the oxalate of potash paint- ing shall produce visible results. To put it in other words, the print having been made by light, the operator then proceeds to develop, with a brush charged with oxalate solution, only those portions he wishes to appear, and to continue painting on those portions in proportion to depth he proposes they should possess. But obviously the action of the developer, even with quite a cold solution, is too rapid to enable him to do this sufficiently slowly to allow of any deliberation and choice. For this purpose a restrainer must be found to mix with the oxalate, and also something must be done to prevent the developer leaving a mark or line where it may have acted unevenly. The article used for both purposes is pure glycerine, the purer the better. First, the paper, as taken from the printing- frame, is pinned by the corners to a board or a sheet of cork, or in any such way kept flat. Then a little pool of glycerine is poured on to the surface, and this is spread evenly over the whole by means of a tuft of cotton- wool ; or if this be found not sufficiently resisting with glycerine, which in cold weather is often quite glutinous, a little ball of Local Development: The Glycerine Method. 81 cotton-wool may be enclosed in a silk handker- chief, so as to make a sort of small pad, with which the glycerine may be spread and even slightly rubbed into the paper. Having thus thoroughly “ dressed ” the surface of the print with glycerine, any superfluous quantity of it should be wiped off with the pad or cotton- wool, when the print is ready to be painted on. We now set in order two or three or more little vessels — saucers, glass measures, or egg-cups, or anything else that may come to hand. These we will number 1, 2, 3, and 4. In No. 1 we pour an ounce or so of pure glycerine ; in No. 2 we place about two ounces of glycerine, with rather less than half an ounce of the oxalate developer (the precise strength of this oxalate developer does not matter) ; in No. 3 we place equal pro- portions of glycerine and oxalate solution ; and in No. 4 we have plain oxalate developer. Thus we have : — No. 1. No. 2. No. 3. No. 4. Glycerine. Glycerine { p f “ r ” Glycerine | Oxalate ) one Oxalate l^ 1 Oxalate Solution j part. Solution 1 We have now only to bear in mind that glycerine stops or retards the action of the oxalate developer in proportion to the amount of it that is present 82 Platinotype Printing. with the oxalate ; it dilutes, as it were, the strength of the developer. So we first dip a moderate-sized brush into No. 2, and paint equally over the whole image, except the very deepest shadows. Occasionally pass and repass the brush over, recharging it with No. 2 if necessary. Presently we shall see the image slowly developing up. If some parts are judged to be coming up too quickly and growing too dark, they can be held back by using another brush dipped into No. 1, and applying the plain glycerine to retard. Similarly, if there are portions which seem to be lagging behind, and need bringing up more quickly, the brush can be dipped into No. 3, and the stronger oxalate and glycerine applied. At a particular moment, to be determined by the worker, the No. 2 or No. 3 mixtures must be brushed on to the deepest shadows, which at the outset were omitted. Then, finally, some portions may want bringing up with all the strength and rapidity at our disposal. For this purpose No. 4 plain oxalate solution is used in like manner. It should now be seen that, if desired, some objects in the picture might be altogether omitted by simply omitting to apply any developing solu- tion ; whilst over-heavy shadows or objects which Local Development : The Glycerine Method . 83 are darker than is desired may be held back, and never brought up to their full density. By the same principle, a vignetted edge might be produced round any picture by simply weaken- ing the developer all round with the addition of glycerine. Instantly the desired effect is attained, the print is plunged into the usual hydrochloric acid and water bath, when all further action ceases. Of course no image can be produced where the light has not previously initiated it. Hence, if we have to deal with a print wherein are some very light portions, or say we are using a negative in which the clouds do not readily print out to the desired depth, then the whole may be over-exposed or over-printed, and the clouds or similar portion developed first, until very nearly as dark as it is wished to make them; and then, finally, the darker portions, the landscape or what not, are quickly brought up and stopped at the right moment, before having gone too far. In the hands of the tasteful and judicial worker such a method as this should be capable of immense variation, and will be as interesting as it is power- ful in producing modifications of the mechanical or uncontrolled print. 84 Platinotype Printing. Of course it is only applicable to cold-batli papers, the C C paper yielding perhaps the best results. Envoi. Of the use of such fabrics as silk, canvas, linen, and the like as a support for the platinum print in the place of paper no special instructions need be given ; and of the various “ dodges,” if one may so call them, whereby very beautiful results may be obtained, nothing definite need be said, because the mere ingenuity of the worker will probably suggest them for him. Thus the A A and A paper, when printed, if placed on glass, has an excellent effect when used as a transparency, the fine texture of the paper giving exactly the appearance of a photographic “ transparency ” — a positive on ground glass. The glass panes of a window having an unsightly out- look may have platinotype prints securely attached to them with a pure gelatine monntant or even starch with a perfectly satisfactory result, whilst lamp-shades or similar articles may be made equally entertaining. A pleasing effect is gained by printing on smooth- surface paper with a fine piece of silk placed be- tween the negative and the paper, the result being Local Development : The Glycerine Method. 85 that the threads of silk where they fall interrupt partially the printing of the image, and the print subsequently has an appearance of a print on silk. This may be varied by placing the silk outside or on the glass side of the negative, when the interruption of the silk threads is less marked. CHAPTER VIII. PACK HAM'S METHOD OF TONING PLATINOTYPES. The following chapter, written by Mr. James Packham, the inventor of the process, is reprinted from the pages of The Amateur Photographer. It gives particulars of a method of toning platinotype prints quite distinct from the methods already given, and a description of the processes by which the colour of the platinotype image is changed would hardly be complete without a full reference to that which, from the name of the inventor, is known as “ Packham’s process.” The prints to be operated upon may be those produced by either of the known processes, as the “ Hot-bath Black,” the “ Hot-bath Sepia,” and the “ Cold-bath Black.” The printing-out papers by “ Pizzighelli ” and by Hardcastle also show a great affinity for the colouring matters employed ; but in every case, so far as present experiments have gone, although they show a greedy absorption 86 Packham’s Method of Toning Platinotypes. 87 of the tinctorial matter, the resulting tones are of a very warm character, and these last-named papers are not nearly so susceptible of control as the ordinary platinum papers. In preparing prints for this after-process of toning, every precaution must be taken to protect the paper from the action of light other than that passing through the negative. Wherever the slightest deposition of platinum takes place, there will be a coloration, more or less intense. By these precautionary measures the high-lights are kept brilliant. When using the cold-bath black platinotype paper, there is a decided advantage in allowing it to be acted upon by the atmosphere prior to de- velopment, either before or after printing, preferably before. It may be stored in a dark drawer or cupboard for one or two, or even several days, which will give the prints an additional power of absorb- ing the tinctorial matter. But if kept thus for too long a time, especially in a damp atmosphere, the whites are inclined to become degraded. Development has a decided effect in governing the after-colour of all kinds of platinum prints, when treated by this process. Old baths of potas- sium oxalate, that have been used several times, or a mixture consisting of some old and a portion of a newly made bath, give the prints an increased affinity for the colouring matter. Baths slightly 88 Platinotype Printing. — i.e. very slightly — acidulated with oxalic acid give colder tones than an absolutely neutral developing bath, and baths that are slightly alkaline give much warmer tints. The admixture of certain organic substances, as for instance glucose sugar and honey, added to the developer, have the power of increasing the affinity of the platinum deposit for the tincture. A favourite developer of Mr. B. Gay Wilkinson gives excellent results where absolute brown tints are required ; it consists of seven ounces of potassium oxalate, and three-quarters of an ounce of genuine West India sugar, dissolved by boiling in fourteen fluid ounces of water for a few minutes. On this develop either cold-bath or hot-bath paper by flotation at 100° or 120° F ahr. Prints that have been developed by the glycerine method are not suitable for toning by this method ; and solarised, over-printed portions of deep shadows, are with difficulty made to absorb the colour. It is necessary that all possible traces of iron which exist in the undeveloped and unfixed print and clearing acid be thoroughly washed out, but it is not necessary that the prints should be dried, although better results are obtained where complete coloration is desired by allowing the prints to be kept some time before toning. To prepare the toning bath, take a packet of Packham’s Method of Toning Plcitinotypes . 89 Packham’s prepared compound “ tinctorial powder,’ and dissolve by boiling for three or four minutes in five fluid ounces of water. (This is best done in a Florence flask, over a spirit-lamp or Bunsen burner.) When cold, add one ounce of methylated spirit. In this form, if well corked, it will keep for a long time. This is the stock solution. To make a bath up for use, take one pint of water, and raise it to a temperature of from 130° to 150° Fahr. Add to this about thirty or forty minims of the above stock solution ; immerse the print or prints in this bath, keeping them well covered and the temperature up to this point until the desired tint is secured. This method is called the warm- bath method. The toning will be complete in a few minutes. For the cold-bath method of toning the process is much simpler. The same proportions of stock solution and cold water are taken. In this dilute bath steep the prints, turning them over from time to time until the depth of colour desired is arrived at. The cold-bath method may take several hours where great depth of tone is required, but it is by no means troublesome. For a single print, or for only a few, the hot bath is more rapid, but great care is required at the higher temperature to avoid degrading the whites ; and in hot water the paper, 90 Platinotype Printing. after the acid clearing bath, is very easily torn. Therefore where large numbers of prints have to be manipulated, the cold-bath process, although taking a somewhat longer time, is quicker in the end, and therefore recommended. The water being cold, the prints can be handled without fear. Any reasonable number can be done at one time, but unless there be plenty of the liquor in the dish it will soon become exhausted, and the prints also require more frequent turning over to avoid unequal toning. Do not allow the bath to become darkened ; if it does, throw it away and make a fresh one, either in the hot or cold process, or the whites will probably be stained ; but a slight creaming of the whites sometimes is desirable, and materially adds to the harmony of the effect. During both the hot and cold process the bath will gradually become of a dark reddish colour, probably by the formation of rubinic acid, especially if the water contains much lime. This may to some extent be obviated by using one or two grains of neutral Castile soap, or one or two grains of oxalate of potassium, to the pint of water ; but each will give a somewhat warmer tone to the prints. When the prints are toned to the desired depth, they are removed from the bath, and rinsed in two Pcickham’s Method of Toning Platinotypes , 91 or three changes of cold water, and then dried in the usual way. The finished print, when dry, is greatly improved by a good rubbing with a dry, soft cloth. There is again a further operation, which is most useful where absolutely clear whites are re- quired. You dissolve forty grains of Castile soap and eighty grains of bicarbonate of soda in each pint of water at 180° Fahr. ; and maintaining this temperature, and allowing the prints to steep in this for five or ten minutes, the whites will be cleared up and the colours be intensified. The tint may be much improved by passing the prints through a bichromate of potassium bath of a strength equal to a dark straw colour, or they may be modified by a very dilute bath of any iron solution which gives a greyish, warm green tint. But after each of these operations they must be well washed. They may be passed through the bichromate bath before they are passed through the soap bath ; but after the iron bath they must be only well washed. A dilute acid bath will remove a considerable portion of the colour if they are too dark, which may be restored by again passing them through the soap bath. 92 Plcitinotype Printing. NOTE. PRINTING THROUGH COLOURED GLASS. Since preparing the foregoing pages some rather striking modifications in the character of the platino- type image, due to printing through tinted glasses, have been brought to my notice. Thus a negative yielding a rather hard and too brilliant a print under ordinary circumstances gives a much softer and greyer print when green glass is placed outside the frame during printing, and, moreover, rather more detail in the deepest shadows become revealed. Generally speaking it may be said that Green Glass, that known as u Signal Green,” gives softer results. Blue glass tends to produce harsher results. Yellow glass gives more granular prints, and in this may be seen a caution against using negatives which are stained to a very yellow colour, such as some Pyro- stained negatives. Whilst those of a green-brown colour may have gained in such quality as yields a softer and more delicate print. Printed by Hazell, Watson, & Viney, Ld., London and Aylesbury. IRotes ait& /lfcemoranfca. Publications by HAZELL, WATSON, & VINEY, Ld., 1, Creed Lane, E.C. “THE AMATEUR PHOTOGRAPHER ” 1/- LIBW ( Continued ). No. 7. ELEMENTARY PHOTOGRAPHY. By John A. Hodges. This book is characterised by simplicity of language ant 1 freedom from abstruse terms. “ It is the most complete Beginner’s Friend yet published.''’ Crown 8 vo, cloth, is., postage 2d. No. 8. CARBON PRINTING. By E. J. Wall. A complete Treatise on the Subject, with Practical Instructions for Working the Process. Crown 8vo, cloth, is., postage 2 d. No. 9. WET COLLODION, and How to Work It. By C. W. Gamble, Teacher of Photography at the People’s Palace. Containing simple directions for making Negatives and Positives on glass and Ferrotypes, and instructions for making Negatives for Photo- Mechanical Work. Crown 8vo, cloth, is., postage 2 d. No. 10. THE LANTERN, and How to Use It. By Goodwin Norton. Crown 8vo, cloth, is., postage 2d. No. 11. PLATINOTYPE PRINTING. By A. Horsley Hinton. 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