■plo\o°' i THE J. PAUL GETTY MUSEUM LIBRARY I I A NEW TREATISE ON "]hE jV^DERN jV^ETHODS OF (arson Jinxing (SECOND EDITION) By a. /a. /aarton Author of THE PHOTO-OLEOGRAPH PROCESS; THE ART OF PAINTING PHOTO-OLEOGRAPHS IN OIL OR WATER COLORS, AND THE ART AND PROCESSES OF CERAMIC PHOTOGRAPHY. COPYRIGHT. BLOOMINGTON, ILLINOIS U . S . A . 1905 A'\ ' A } ' Fantagraph Ffg. tit Sta. Co. Bloomington, III. THE J. PAUL GETTY CENllR UBRARY PREFACE. 'P VERY progressive and up-to-date photographer who de- sires to select the best and most capable printing pro- cess for his work, will naturally weigh and compare the simplicity and facility of the operations involved in the various printing processes, and the stability and intrinsic value of the final results, before he will choose or settle down to any one method. As a rule, the professional takes up photography for its results, and is not imbued with much ardor to enter upon a course of laboratory experiments, but wishes to accomplish his aim by the quickest and most practical methods available. The Carbon Process of today is simplicity itself, a fact that ought to be known by every photographer, to whom the virtues and simplicity of this beautiful process must appeal. It is a sad fact, but an undeniable truth, that to be con- fronted with a faded and yellow photograph, (which is get- ting to be a matter of frequent occurrence,) is a source of great mortification to the photographer whose name is asso- ciated with or appears on the mount of such a picture. If we look at the work of the leading professionals of to- day, we find that the pictures they stake their reputation on, are printed in carbon. It is also a notable fact that the work intended for all permanent exhibits, salons, art galleries, etc., or pictures for historical purposes, will not be accepted un- less they are printed in carbon. It is the indisputable permanency of carbon pictures, that appeals with irresistible force to every professional or ama- teur photographer who has the good and reputation of the profession at heart. 4 Preface. The improved papers and materials now so readily obtainable, eliminate the greater part of the difficulties en- countered by the carbon printers of former years. The im- provements in materials are most noticeable in the- delicacy and richness of tone and the artistic beauty imparted to the pictures by the various surface textures of the supports now in use. The great advantages and supremacy of the modern car- bon process in its present state of perfection, is now univer- sally recognized by the profession, the world over. In the following pages, I will try and give the result of many years of practical experience ; and that of other work- ers whom I have come in contact with during my long career as a professional carbon printer. I will give all there is to be known about the process, and will endeavor to make this the best and most practical treatise of the kind, ever pub- lished. Fraternally, A. M. Marton. TABLE OF CONTENTS. PART I. CHAPTER I. Page The Introduction 9 CHAPTER II. A Brief Recapitulation of the Entire Carbon Process 12 CHAPTER III. Words and Terms used in the Carbon Process 14 CHAPTER IV. The Work Rooms, Arrangement of Light, etc 20 CHAPTER V. « The Carbon or Pigment Tissue. — Its Condition and Appearance — Its Printing Qualities 23 CHAPTER VI. Bichromate of Potash. — Bichromate of Ammonia. — Bichromate of Sodium. — Bichromate Poisoning 26 CHAPTER VII. The Bichromate Bath.— Formulae for Special Purposes. — Bath for Carbon V'ignette 28 CHAPTER VIII. Practical Notes on the Various Chemical Constituents of the Bichro- mate Bath 36 CHAPTER IX. The Squeegee, its Construction and Use. — Rubber Cloth and Thin Transparent Celluloid 39 CHAPTER X. Sensitizing the Tissue. — The Varous Methods in Use 41 CHAPTER XI. Drying the Sensitive Carbon or Figment Tissue.— The Various De- vices and Methods. — Apparatus for Rapidly Drying Carbon Tis- sue. — Tissue for immediate use. — Marten’s New Rapid Method. 48 CHAPTER XII. Care of the Sensitive Tissue. — Remarks 56 PART II. CHAPTER I. The Negative.— Quality and Style.— Prisms and Reversing Mirrors.. 61 6 Table of Contents. CHAPTER II. Page Stripping and Reversing Negatives made on Ordinary Dry Plates. — Reversing and Transferring the Image to another Plate by Contact 66 CHAPTER III. The Make-ready or Preparing the Negative for Printing. — The Safe Edge 74 CHAPTER IV. The Photometer. — Marton’s Photometer 78 CHAPTER V. Printing Operations.— Finding the Speed of a Negative 82 CHAPTER VI. The Continuing Action of Light. —Theory of the Latent Image and its Development 87 PART III. CHAPTER I. The Single Transfer Process. — Preliminary Remarks.— Single Trans- fer Supports. — Systematic arrangement of Trays, Tanks and Developing Apparatus 91 CHAPTER II. The Transfer, or Mounting the Exposed Tissue upon Supports for Development. — The Transferring Machine.— Temperature and Climatic Conditions 97 CHAPTER III. The Hot Water Supply 106 CHAPTER IV. Development. — Preliminary Remarks. — The Development. — The Reduction of Over-printed Carbon Pictures. — Carbon Printing in Hot Weather 108 CHAPTER V. Marton’s Perfection Developing Tray. — The Vertical Developing Tank and its Advantages and use for the Development of Carbon Pictures 117 CHAPTER VI. The Development of Carbon or Pigment Pictures upon Heavy Cellu- loid, Porcelain or Opal Glass 126 CHAPTER VII. Carbon Printing in Hot Weather 129 CHAPTER VIII. The use of Acids and Alkalies in Development. — General Remarks. 132 Table op Contents. 7 CHAPTER IX. Page The Reduction of Carbon Pictures. — The Alum Bath. — Cleaning Solutions. — Finishing ; 138 CHAPTER X. The Double Transfer Process. — Waxing Solutions 143 CHAPTER XI. Opal and Ground Glass Temporary Supports 147 CHAPTER XII. Double Transfer Pictures From Polished Glass for Pictures with a Brilliant Surface 150 CHAPTER XIII. Transfer to Dry Collodion Plates, for Pictures with a High Gloss ... 154 CHAPTER XIV. The Wet Process. — With Collodion Film. — Mounting the Exposed Tissue for Development 157 CHAPTER XV. The Final Transfer From a Flexible Support. — The Final Supports.. 161 CHAPTER XVI. Final Transfer from Glass or Opal Plates 166 CHAPTER XVII. Mounting and Finishing.— The Card Mounts.— Spotting and Color- ing. — Enameling Carbon Prints. — Imitation of Burnt-in Enamels 170 CHAPTER XVIII. Carbon Pictures Upon Ivory, and Imitation Opal Supports.— Carbon Pictures Without Transfer. — Pigment Pictures upon Canvas as a basis for Painting in Oil Colors 175 PART IV. CHAPTER I. Carbon Positives on Glass. — Preliminary Remarks 181 CHAPTER II. The Preparation of Glass Plates for Window Transparencies. —Lan- tern Slides and Negatives 183 CHAPTER III. Window Transparencies in Monochome and Colors by Superposi- tion of various Pigment films 186 CHAPTER IV. The Lantern Slide 190 CHAPTER V. Toning and Intensifying Carbon Pictures and Transparencies. — Local Toning 194 Table op Contents. CHAPTER VI. Page The Reproduction of Negatives from Carbon Positive Transparencies 198 CHAPTER VII. Carbon Enlargements by Artificial Light and the Solar Camera. — The Negative. — The Enlarging Lantern. — The Solar Camera. . ..202 CHAPTER VIII. Failures. — Their Cause and Remedy— Conditions of Permanency. .206 PART V. The Appendix. CHAPTER I. Carbon Tissue. — The Requirements for its Manufacture in the Studio 214 CHAPTER II. The Choice of Pigments or Coloring Matter. — Description of Pig- ments 217 CHAPTER III. The Manufacture of Carbon Tissue in the Studio 222 CHAPTER IV. The Gelatine Compound. — Mixing the Pigments or Coloring Matter. — Black Transparency Tissue. — Graphite Tissue. — Tissue for Transparencies and Lantern Slides.— White Tissue. — Poly- chrome Tissue 225 CHAPTER VI. Preparing the Pigment Compounds 234 CHAPTER VII. Coating the Paper With the Pigmented Jelly. — The Coating Machine — Daylight Tissue 236 CHAPTER VIII. A Brief History of the Carbon Process 242 CHAPTER IX. Patent Specification of Swan’s Carbon Process, etc 245 CHAPTER X. Improvements of Swan, Johnson, Sawyer and Lambert 257 The Modern Methods op Carbon Printing. Part 1. CHAPTER I. THE introduction. I ’'O the discoverer of the use of carbon as a coloring mat- ter, whoever he may have been, the world owes a debt of gratitude; for the history of all past ages, from the remot- est periods of antiquity up to the present day, has been writ- ten in this imperishable substance. The characters of the ancient documents, so highly treas- ured for their great antiquity ; many of them dating back to the early dawn of history, forty or fifty centuries ago, were written in carbon, and some of them are almost as readily deciphered today, as they were at the time of their writing. The Chinese claim to have a written history of their people and empire, bordering back onto the dim, gray ages of pre-historic man, which, of course, was written in Chinese ink, a substance composed of the purest carbon obtainable. The above facts ought to be a sufficient recommendation for the employment of carbon as a coloring matter in photog- raphy. From the earliest days of the process, up to the present time, it has been the desire of many eminent amateur and professional photographers, to invent a process that would produce photographic impressions that would be imperish- able and absolutely proof against the ravages of time. 10 The Modern Methods op Carbon Printing. In the modern carbon or pigment process, this has been accomplished beyond all expectation ; and in many respects, the results aimed at by the early workers in this field of pho- tography, have been greatly surpassed. Prompted by a desire to discover a process that would yield really permanent results, the Duke of Luynes, France, in 1858, offered a reward of 2,000 francs for the invention of a photographic process, by which could be produced, pho- tographs that would be as permanent and imperishable as printer’s ink. This stimulated the experimental work in car- bon printing, and resulted in many valuable discoveries and improvements of the process in the following years. Long since then, the carbon process has advanced from the experi- mental stage to a state of perfection and practicability that brings it to the foremost rank of all photographic printing processes, and is now universally recognized as the leading process and used as a standard of comparison whenever reference is made to artistic qualities or undaunted perma- nence. The name “carbon” has been erroneously applied to all pictures made by this process. “Pigment process” is prob- ably the most proper application for the reason that a greater per cent of the pictures are now made in various pigments, instead of carbon or lampblack. The purest carbon obtain- able as a coloring matter is lampblack or India ink. This was at first employed exclusively in the manufacture of car- bon tissue, and for that reason this process of printing was called the “Carbon Process.” While carbon is the most important and reliable coloring matter available for this pur- pose, any suitable pigment or coloring matter such as Vene- tian red, Van Dyke brown. Sepia, etc., may be used, hence the more modern name, “Pigment Process.” The photographic image composing the carbon picture is The Modern Methods of Carbon Printing. 11 without a doubt absolutely permanent, as far as the coloring matter is concerned, which then places the perishability of carbon pictures entirely upon the stability of the support. Of these, there are now such a variety, that there need be no difficulty in selecting one that will be equal in stability to the pigment used. 12 The Modern Methods op Carbon Printing. CHAPTER II. A BRIEF recapitulation OF THE CARBON PROCESS. I 'O convey a general idea of the work or methods em- “*■ ployed in the production of carbon pictures, without studying the process at length, I will give a brief recapitula- tion of the manipulations and working details involved in carrying out the process. A compound of gelatine and sugar is charged with a coloring matter, such as lampblack, India ink, or any other suitable pigment, and is spread in a uniform coating over a smooth sheet of paper. When dry, the pigment paper or Carbon Tissue, as it is usually called, is immersed for a given length of time in a solution of bichromate of potash, which renders it sensitive to light and capable of receiving an im- print from a negative. As soon as the tissue is dry it is ready to be printed upon, in the same manner as on printing out paper with the exception that we cannot observe the progress of printing by inspection. The light passing through the negative has a hardening effect on the bichromated gela- tine, and leaves no visible imprint upon the film, by which to judge the exposure, and consequently it must be gauged or measured by the aid of an actinometer, or exposuremeter. There are two different methods of making carbon pic- tures, — ^the single and double transfer methods ; the former is by far the easier and most simple process, but unless the negatives have been corrected, the image will be reversed. This reversal formerly proved to be a great detriment to the process, and caused it to be looked upon as an inferior method. The Modern Methods of Carbon Printing. 13 But with the improvements in making- reversed nega- tives, which are now in common use among- carbon printers, this process is almost universally employed for pictures with a matt surface, for which it is especially well adapted. The process of development in brief, consists in immers- ing the tissue in cold water until it begins to flatten out, when it is immediately brought in contact with some sort of a support, such as paper, celluloid, or opal glass, and squeezed into intimate contact therewith. After it has been allowed to rest for a short time under slight pressure, the support and adhering tissue are im- mersed in warm water, which in a few moments dissolves the gelatine, and allows the paper to be stripped from the tissue, leaving the pigmented film firmly adhering to the new sup- port. The surface of the tissue proper is now exposed to the action of the warm water, which immediately dissolves and washes away the soluble or unaffected parts of the gelatine film, not acted upon by light, and thus causes the latent im- age to gradually appear from beneath the mass of pigmented gelatine. The Double Transfer Process involves one more opera- tion which is strictly necessary to produce correct or non- reversed pictures; such as landscapes, buildings, interiors, etc., from ordinary or non-reversed negatives. The developing manipulations proper are practically the same as for single transfer. The only difference is that the tissue bearing the latent image is first transferred to a tem- porary or intermediate support, such as opal glass, zinc, plain glass, or a heavy flexible paper. From these it is trans- ferred to the final support, which again reverses the image and brings it into its correct position ; this involves the ma- nipulations from which the process takes its name — double transfer. 14 The Modern Methods op Carbon Printing. CHAPTER III. WORDS AND TERMS USED IN CARBON PRINTING MATERIAL AND REQUISITES USED IN THE PROCESS. Carbon. — The carbon used in this process is the black coloring matter employed in the manufacture of tissue; which is lampblack or pure carbon. Carbon Tissue. — A paper coated with a compound made up of gelatine, sugar and lampblack. Pigment Tissue. — A paper coated with a pigmented gela- tine compound. Transparency Tissue. — A paper coated with a gelatine compound having an excess of finely divided coloring mat- ter, such as filtered India ink. Sensitizing Bath. — A solution of bichromate of potash or ammonia, used to make the tissue sensitive to light. Exciting or Sensitizing Carbon Tissue. — Immersing car- bon paper into a solution of bichromate of potash or am- monia. Actinometer. — A small instrument used for measuring the time of exposure, or registering the action of light upon sensitive carbon tissue when exposed under a negative. Safe Edge. — -Usually a mars made of an opaque paper, of some non-actinic color, such as red, yellow or green ; with an opening of the size and shape of the picture desired. Pressure Frame. — A printing frame of any description used for printing carbon pictures. Continuous Action of Light. — A peculiar property of bichromated gelatine, is the continuous action or insolubili- The Modern Methods op Carbon Printing. 15 zation that goes on after the sensitive film has been exposed to light under a negative. This hardening action goes on in the dark after the tissue has been removed from the nega- tive, and is greatly stimulated by heat and moisture. Single Transfer Process. — A method of developing car- bon pictures, necessitating but one transfer. Double Transfer Process. — A process of developing pic- tures upon a temporary or intermediate support from which they are again transferred to another or final support. Temporary Supports. — Paper, zinc, opal and plain glass, when waxed, are used for temporary supports in the dou- ble transfer process. Development. — The process of clearing or freeing the latent image of the superfluous gelatine and pigment, that had not been affected by the action of light, with hot water. Reticulation. — The appearance of a fine black net-work over portions and sometimes the entire surface of the picture. Granularity. — Coarse and grainy appearance of the pic- ture. Insolubility. — The tissue has lost the property of being any longer soluble in hot water. Fixing or Hardening. — The film is hardened or made in- soluble in a solution of alum, formalin, or sulphate of alum- inum. Reversed Negatives. — Negatives having the image re- versed by means of a prism or reversing mirror ; or the film of an ordinary negative is inverted, for the purpose of giving correct picures by the single transfer process. Inverted Prints. — Pictures made by the single transfer process, from ordinary non-reversed negatives. Prism. — An optical instrument used in front of a lens to invert the image of a negative which is intended to be used for single transfer pictures. 16 The Modern Methods of Carbon Printing. Reversing Mirror. — A mirror silvered on an optically plane surface; used in front of the lens for the purpose of reversing the image of a negative, for single transfer print- ing. Polychrome. — A positive composed of several films of different colors, accurately registered so that one color blends into the other and forms a picture in the colors of nature. Carbon Reducihe. — A reducing agent used to clear up dark or over printed carbon pictures. Antichrome. — A chemical compound used to clear up and eliminate all traces of bichromate remaining in the film, before or after development. The best known preparation to give brilliancy and pureness of tone to carbon pictures. Accelorine. — A chemical preparation added to the bichro- mate bath that imparts better keeping qualities to the tissue and renders it readily soluble in water of a medium tempera- ture. It also has the property of greatly reducing the con- tinuous action of light in exposed tissue and imparts a greater brilliancy to the tone of the picture. Chromic Sensitizer. — A new sensitizer used for tissue wanted for immediate use or for hot weather printing. Celluloid. — Used as a support for pictures with a matt surface. It is made in several tints and grades of thickness lo/ioo, 15/00, and 20/100, in. ; in sheets 20x50 in. Alba Plates. — White enameled plates, with a surface closely resembling celluloid or porcelain. Opal or Poreclain Glass. — Opal glass is fused with either an oxide of zinc or tin, and closely resembles porcelain. It is obtainable both with a ground or a polished surface. The ground surface lends a beautifully soft, matt finish, to the carbon picture. Superimposing Films. — Transferring and developing several films of different colors, one over the other, causing The Modern Methods op Carbon Printing. 17 them to blend together and thus producing pictures in sev- eral different colors. Vertical Developing Tank. — A tank in which carbon prints are suspended in a vertical position during the pro- cess of development. Transferring Machine. — An apparatus used for the pur- pose of intimately uniting tissue and support previous to development, or mounting prints on their final support. Gum Bichromate Process. — A direct carbon process in which the pictures are developed from the front without transfer. Ozotype. — A carbon process without transfer invented by T. Manly. Sazvdiist Process. — The process of developing Artigues velvet paper by means of a solution of fine sawdust in hot water. Photo-Oleograph Process. — A process for making pic- tures in colors by the aid of photography ; invented by A. M. Marton in 1885. MATERIAI, AND REQUISITElS OR THR PROCESS. Although carbon pictures may be made in a small way, that is, having little or no equipment other than a couple of trays, a squeegee, and a thermometer; it nevertheless re- quires a more respectable outfit to carry on business to any considerable extent. Therefore, unless a carbon printer is equipped with the necessary material and apparatus, he can not be expected to do very satisfactory work, or do it at all, without considerable loss of time and material. The following list of materials, apparatus, etc., will be sufficient to supply any carbon plant of ordinary capacity : One broad camel’s hair brush, a large and small drag squeegee, one squeegee board, a large and small rubber cloth, 18 The Modern Methods of Carbon Printing. a large and small piece of transparent (thin) celluloid, a zinc or porcelain sensitizing tray, a tin mounting tray, two tin cold water trays, one porcelain or rubber alum tray, one hot water or developing tray, one dipper, one thermometer, one actinometer, two dozen photo clips, one set of rubber finger tips and a pair of rubber gloves. If the tank method of development is adopted it will re- quire one hot water, two cold water, and one alum tank, of a size suitable for the class of work to be turned out. It will further take opal, ground glass and paper temporary sup- ports, enough to answer the purpose, scjueegee plates, wax- ing solution, cotton flannel, one chamois skin, six or eight lead weights, tin pressure boxes for tissue, tin receptacle, a small gas stove, negative racks. In the majority of cases the above named articles, apparatus, etc., are of course already in use in the studio and will not need to be supplied. The following list of chemicals are required for making single and double transfer carbon pictures : Bichromate of potash, granulated Carbonate of ammonia. Chloride of sodium Carbon reducine Bichloride of mercury Permanganate of potash Sulphite of soda Powdered potash alum Chrome alum Liquid ammonia Antichrome Sulphocyanide of ammonia Accelorine Chromic Sensitizer Sulphuric ether Hydrochloric acid Hydroflouric acid Fluoride of soda Collodion Benzole Turpentine Alcohol Gelatine Rosin Pure beeswax French chalk Talcum Glycerine. Columbian Spirit The Modeen Methods op Carbon Printing. 19 materials used. The following list of carbon tissue, transfer paper, etc., is used for the ordinary run of carbon pictures ; Warm black Engraving black Standard brown Sepia Ruby brown Italian green Photo-purple Red chalk Sea green Marine blue Platinum black. Cool Sepia ]\Iatt 'surface celluloid, opal glass, single transfer paper, baryta paper and etching paper for single transfer; and final support, and opal or porcelain plates for double trans- fer pictures. 20 The Modern Methods of Carbon Printing. CHAPTER IV. the; work-rooms. TF THE real cause of many failures in carbon printing were known, it would undoubtedly be found that the rooms and light where the work had been done were at fault. There seems to be a lack of understanding regarding this very important matter, and I would like to impress it upon the minds of all beginners who contemplate making ar- rangements for carbon printing, that a properly arranged work-room, with the necessary apparatus, etc., should be the first consideration. The requirements are nothing elaborate or expen- sive. All that is necessary is cleanliness, plenty of pure, fresh air, and everything in its place at the proper time. Without these it would be ut- ter folly to undertake work of this kind and expect to be successful. Ordinarily the w o r k- rooms need not be any dif- ferent from those used for common photographic print- ing purposes. The only im- DOUBLE SHUTTERS. portaiit difference is in the light which must be subdued by an arrangement of shutters. The Modern Methods of Carbon Printing. 21 or screened with yellow glass or curtains. This is absolutely necessary at all times when dry sensitive carbon tissue is exposed, like in the cutting and changing operations. THS DRYING ROOM. The first difficulty experienced by a new beginner in car- bon printing, is to find a room that can be properly arranged for drying sensitized carbon tissue. The requirements for this room are, perfectly dry walls and floor, with a ventilation that furnishes a good supply of pure, fresh air. The absence of soot, dust, foul gases, and stench of any kind, is all important and must absolutely be avoided. Painted walls and painted floors are easily kept clean, on account of retaining but very little moisture, and are therefore especially recommended. The source of light must be arranged so that it can be shut out completely during the process of drying without shutting off the draught. (See Fig. i.) the: DE:VE:IvOPING room. This room may be arranged to suit the convenience of the operator ; usually a toning room with a window fixed as in Fig. I will serve the purpose for an ordinary amount of work. Perfect cleanliness in all parts is absolutely necessary to insure success. Tables, trays, and tanks of every descrip- tion must be in good order to avoid a hitch and cause failure. pure: air and ve:ntilation. The double shutter arranged on the outside and lower part of a window. Fig. i is probably the best arrangement that could be devised for the purpose of supplying light, and ventilation to a carbon plant. These shutters are so ar- 22 The Modern Methods of Carbon Printing. ranged as to allow the window to be raised and lowered at will, and serve to shut out all the white light, but will admit the air to pass through freely. Grates and chimney flues also serve this purpose, but are not so effective. One of the most important factors in carbon printing is pure, dry air. There may be the best kind of ventilation and yet the required pureness may be wanting. Rooms located near water closets, stables, factories, etc., emitting bad odors or foul gases, must be avoided, especially when drying sensitive tissue. THE eight. The most important operations in carbon printing are carried on in a non-actinic or subdued daylight. Only the latter part of the developing manipulations require a good, strong light to enable the operator to distinctly observe the appearance of the latent image as it emerges from beneath the mass of pigmented gelatine during the progress of de- velopment. Of all the arrangements in use for the purpose of sup- plying light and ventilation to a carbon plant, the one given in the accompanying cut, Fig. i, is one of the most simple and probably the most practical in use. The curtain, which should be of orange colored fabric, or yellow Holland, should be made to slide in grooves at the sides, to completely shut out all the white light that might enter from that source. The shutters are painted red or yellow, to make the light reflected through them non-actinic. For work at night, the Welsbach incandescent gas burner makes a flne light to work by. For a light to use during the sensitizing operations a sperm candle is probably the safest and best. The smell of gas or kerosene has a ruinous effect upon the tissue. The Modern Methods op Carbon Printing. 23 ChAPTER V. THi: CARBON OR PIGMENT TisSUE. ARBON tissue, as I have previously explained, is a paper coated with a pigmented gelatine. This tissue was orig- inally prepared with lampblack or India ink, which is chiefly pure carbon; hence the name “Carbont Tissue.” The manu- facturers of the present time, have introduced a great variety of colors, of which many are mineral oxides and it would hardly be proper to put them under the head of carbon ; hence the name “Pigment Tissue.” The products of the manufactures are of a most excellent cjuality and readily ob- tainable at any stock house. The colors most popular at the present time are: Warm black, engraving black, platinum black, sepia, lambertype purple, sea green, and bartollozi red. The range of colors of the different makes, embraces about forty different tones or colors, and is obtainable in rolls of thirty square feet. Although pigment tissue is cheaply and very readily ob- tainable, there are cjuite a good many carbon printers who prefer to make their own tissue. I will therefore, give full instructions in the manufacture of carbon tissue. (See ap- pendix.) The carbon tissue — its condition and appearance rel- ative TO ITS PRINTING QUALITIES. It is quite difficult to judge the quality of carbon tissue by its appearance. The gelatine, pigments, and different chemical ingredients that enter into its general makeup, all 24 The Modern Methods of Carbon Printing. have more or less influence upon the appearance of its sur- face. Thus, a film composed of an inferior grade of gelatine, or the addition of a considerable amount of sugar, will ap- pear brilliant and glossy when looked at by reflection, while another prepared with a finer grade of gelatine will have a matt, dull surface, and not be so pleasing in appearance, and yet be a superior grade of tissue. Therefore, the quality of a carbon tissue should never be judged by its brilliancy or gloss, for a tissue having a fine, glossy appearance may 3neld very unsatisfactory results, while another, with probably an un- even and apparently lifeless surface may yield pictures that are brilliant and vastly superior in every respect. The paper used as a support for the pigmented gelatine compound, also has a considerable influence upon the ap- pearance of the film. A tough, smooth paper gives an even surface, while a soft, spongy paper produces an uneven, peb- bled appearance. The latter is sometimes difficult to strip from the film, especially when the tissue has become a little old and probably partly insoluble. Commercial carbon tissue usually has a smooth, uniform coating; but it does not matter materially, however, if it does contain places of uneven thickness. The formation of the latent image takes place in the immediate surface of the film, to a depth according to the penetrating power of the light to which it was exposed. If the exposed tissue remains undeveloped for a considerable length of time, or is left to the influence of the continuous action set up by the exposure to light, it will gain considerable in density and if not ar- rested, goes on until it passes clear through the entire film, causing total insolubility and loss of tissue. The superfluous compound that remains beneath the un- affected portion of the film is of no more consequence than to The Modern Methods of Carbon Printing. 25 merely help the easy removal of the paper from the back of the tissue and otherwise facilitate the development. Considering the hygroscopic nature of gelatine, carbon tissue should be well protected against the humidity of the atmosphere, and be stored in a perfectly dry and cool place. The gelatine film itself is not materially affected by mois- ture, any more than it would cause it to stick together. The only damage caused by moisture is the formation of mold on the paper supporting the film, which in time would affect the gelatine and cause it to rot and completely destroy the tissue. 26 The Modern Methods of Carbon Printing. CHAPTER VI. BICHROMATi; OF POTASH. ' I 'HE application of nitric acid to chromate of potash yields bichromate of potash which is rendered clear of impurities by crystallization. It has two atoms of acid to one of base, which occur in fine orange colored ciwstals and are soluble in about twelve parts of water at 58° F. Light decomposes the chromic acid of bichromate of pot- ash when in contact with an organic body, such as gelatine, gum, starch, etc., by yielding up half of its oxygen to the organic body ; itself being reduced to a lower oxide of chro- mium. Through oxidation by the chromic acid, the organic body is rendered insoluble in hot water, to a degree acted upon by the actinic rays of light. Upon this property is based the carbon process and the various photomechanical printing processes. BICHROMATE OF AMMONIA. Bichromate of ammonia is obtained by treating chromic acid with.- ammonia and evaporating. The crystals thus formed are freely soluble in Avater, and it is claimed by some that it imparts a greater sensitiveness to the tissue and more \dgor and contrast to the prints, otherwise it has about the same properties. Its cost is more than double. BICHROMATE OF SODIUM. Bichromate of sodium is highly recommended as a substi- tute for bichromate of potash, or ammonia. It Avill be found The Modern Methods of Carbon Printing. 27 to have some very excellent qualities. Being freely soluble in water, it does not crystallize on the film as readily as am- monia or potash. It disolves in double its cpiantity of water ; ammonia and potassium salts require as much as ten and twelve. It is less than half as expensive as the former. BICHROMATE POISONING. Bichromate of potash is a corrosive poison, and although cases of bichromate poisoning are rare, it is best to handle it with care. It should never be allowed to touch the hands where there is an abrasion of the skin or a sore of any kind. It causes a severe irritation, which, if not immediately ar- rested, causes sores and ulcerations that are difficult to heal. In a powdered state it must be carefully handled to avoid dust, whi(..h, if inhaled, attacks the mucous membrance very seriously, causing a violent cough and sneezing, with a suf- fusion of tears. Immediate application of warm water made slightly alkaline with bicarbonate of soda or magnesium is of the greatest importance. Taken internally, it causes vio- lent inflammation of the stomach and bowels, and seriously affects the kidneys and bladder. A teaspoonful of bicarbonate of soda in a glass of water should be taken immediately, and at the same time a paste made of two parts of bicarbonate of magnesia and one part of chalk, mixed in water, should be prepared, to be taken in case the bicarbonate of soda does not have the desired effect. To avoid trouble caused by an abrasion of the skin, or by absorption while developing in hot solutions, wash the hands well with common laundry soap, and apply a carbolated vase- line. In severe cases, a salve sold by all druggists, called “carbolisalve,” will heal it in a very short time. There are quite a number of chemicals used in photog- raphy which are probably more dangerous than bichromate 28 The Modern Methods op Carbon Printing. of potash; and yet cases of poisoning- are very rare. So with the bichromates; but it is best to be posted on the dan- gerous properties of these chemicals, so as to be able to guard against trouble which might be incurred by careless handling. The safest and best plan, when using these chemicals, is to wear rubber gloves, or at least rubber finger cots. Spermaceti, or beeswax, dissolved in a little turpentine, will protect abrasions or sore places while working in cold solutions. The Modern Methods of Carbon Printing. 29 chapter VII. THE BICHROMATE SENSITIZING BATH. ' l^'HE bichromate sensitizing bath is the one all-important chemical solution employed in the carbon process. Its preparation and constituents greatly depend upon certain conditions, of which the character of the negatives to be printed from, must be the first consideration. The climatic conditions that prevail during the different seasons of the year in the various localities all over the country, must also be taken into consideration. The strength of the bichromate bath is quite a factor in carbon printing. A strong bath will make the tissue very sensitive to light (from three to six times more than Aristo,) but it will have a tendency to flatness and soon becomes in- soluble. A weak bath makes the tissue less sensitive to light, but it will print with considerable more contrast and also has much better keeping qualities. Therefore, when preparing the sensitizing bath, it is well to bear in mind that we must gauge the strength of our solutions according to the temperature of the atmosphere, and the density of the negatives to be printed from. From the above it will readily be seen that when we have negatives strong in contrast and very dense, we will require a strong solution, one that will make the tissue very sensitive to light and will print with a tendency to flatness ; which will reduce the harsh contrast of this class of negatives, and yields softer and finer prints. An unduly strong bath should, however, be avoided, as it has a tendency to make the gela- 30 The Modern Methods of Carbon Printing. tine film insoluble without exposure, especially in hot weather. On the contrary, if our negatives are weak and delicate, with a tendency to flatness, and we desire prints with more brilliancy and contrast, it is obvious that we must adopt a formula with a small per cent of bichromate, to ac- complish the desired result. A three per cent solution of bichromate is the average strength of bath used for sensitizing commercial carbon tis- sue, at a moderate temperature, for negatives of medium strength. The speed, providing the bath is new and contains noth- ing that will retard the action of light, will be from three to four times as rapid as Aristo paper. During the winter months, in northern climes when the light is weak and dull and the action is very slow, it is necessary to increase the strength of the bath to a five or six per cent solution, and in some instances, as high as seven or eight per cent, for negatives of unusual density, to be printed in a very low temperature. In localities where the temperature gets very low and the light weak, it is advisable to make thin negatives ; under such conditions the results will be far better than from dense ones. With the gradual rise of the temperature in spring, until the heat reaches its maximum intensity in summer, we grad- ually reduce the strength of the bichromate bath to a two per cent solution, and when the negatives are thin and weak it is sometimes necessary to reduce it to a one per cent solu- tion to obtain the desired results. In hot, moist climates, the tissue is liable to become in- soluble while drying, if the proper precautions are not taken. To counteract this tendency, it is advisable to reduce the strength of the bath and add a small quantity of pure car- The Modern Methods op Carbon Printing. 31 bonate of soda ; this should, however, never be used to excess. A small quantity will prove very beneficial, while an over- sufficiency is very apt to cause trouble. There are other means to help overcome this difficulty. An addition of alcohol, and in some cases ether, will keep the tissue in a good, workable state and prevent a too rapid insolubilization. Accelorine imparts fine keeping qualities to both bath and tissue, but with its use the alcohol must be omitted. For tissue for immediate use, in sheets of small form, our new chromic sensitizer, is the finest bath there is. The tissue is sensitized, dried and ready for use in from five to ten minutes, and yields very superior prints. The purity of the water used in making up a sensitizing bath, is also of considerable importance in producing a highly sensitive and easily soluble tissue. Pure spring or well wa- ter, unless it is excessively hard, will answer very well, if it is first boiled. Rain water is usually more or less contami- nated and contains considerable organic matter, but it pos- sesses the required softness. The simple process of boiling it in a clean vessel will purify it by precipitating the organic matter which makes it most suitable to use for bichromate sensitizing solutions. A bath made up of distilled or boiled rain water, will not dissolve so readily, and the sensitized tissue will develop quickly and will yield clean, clear and brilliant prints, and, furthermore, will have good keeping qualities. A good quality of bichromate, and good pure water is really all that is required for a good sensitizing bath. All other additions are made to improve the quality of the tissue in one way or another, some to make it more pliable, and others to make it easily soluble in water of a moderately low tern- 32 The Modern Methods op Carbon Printino. perature, or to make it print with more contrast, and to give it better keeping qualities, etc. The temperature of the bichromate bath is another very important factor in sensitizing carbon tissue. This depends greatly upon the climatic conditions that prevail during cer- tain seasons of the year in different localities or sections of the country. In winter the temperature of the bath should never be below 6o° F. or higher than 70° F. In summer it must be cooled down to 50® F. and never allowed to be above 60° F. It is well to bear in mind that gelatine is much easier soluble in a solution of bichromate than it is in plain water of the same temperature, and therefore must be kept as cool as possible in summer. If the temperature of the room is high, some means must be provided to keep the solu- tion cooled down to the proper degree. A tray of cold water, or broken ice, in which to set the sensitizing dish, is probably the most simple manner of accomplishing this purpose. A solution of chemically-pure bichromate in distilled water will not be decomposed by light and will keep indefinitely. In presence of an organic substance, however, such as alcohol, sugar, glycerine, gelatine, etc., light will reduce the chromic acid of bichromate of potash very rapidly, and it will first turn brown, and then assume a greenish color, and it will finally be reduced to green oxide of chromium. It does not lose its tanning property, however, but if used in this condition as a sensitizing agent for carbon tissue, the pictures resulting therefrom will be weak and gray, blacked in the shadows, and will be very difficult to develop. Fur- thermore, the tissue will not keep and sometimes becomes in- soluble during the process of drying. It is, therefore, well to remember that all bichromate solutions containing organic matter, carbonate of ammonia, alcohol, etc., must be preserved in dark-colored bottles or The Modern Methods of Carbon Printing. 33 jugs, or must be kept in a dark place, and that it is not wise to use a bath too long. It is better economy to renew it too often than not enough. Bichromate of potash is cheap and easily obtainable. The manner of mixing, or making up, a sensitizing bath, will, of course, be left to the convenience of the operator. The granular bichromate may be dissolved in hot water and filtered, or it may be tied into a small bag and suspended in a wide-mouthed jug or bottle containing filtered hot water, where it will readily dissolve, and the sediment or insoluble particles are left remaining in the bag. When the solution has cooled down to the proper tem- perature, add the ammonia, glycerine, alcohol, etc., accord- ing to prevailing conditions of temperature and atmosphere, and the quality of negatives for which the paper will be used. The following formulas have been tested and tried and are used by many of the foremost carbon printers of this country, and of Europe : No. I. Bichromate of potash 3 ounces Water loo “ Carbonate of ammonia 70 grains If the negatives to be printed are thin and flat, add one ounce of glycerine to give contrast. In summer, reduce to a two per cent solution, and add 4 ounces of alcohol. To prevent reticulation in hot weather, add 100 grains of salicylic acid, or a few drops of a 10 per cent solution of bichloride of mercury. In extreme cases, coat the tissue with a I ^ per cent collodion. The time of immersion for negatives of medium strength is three minutes, and for thin negatives, two minutes. 34 The Modern Methods of Carbon Printing. The following is a splendid bath for heavy, dense nega- tives, with violent contrasts, and for use during cold weather in the winter season ; No. 2. Bichromate of potash, C. P 6 ounces Distilled water loo “ Accelorine 150 grains Ammonia (Liq.) 2 drams Dissolve in hot water and filter through fine muslin. Time of immersion : Heavy dense negatives, 4 minutes ; medium negatives, 3 minutes. The following is a very fine bath, and may be used in any climate, giving splendid results from all classes of negatives : No. 3. Bichromate of potash 2 ounces Bichromate of ammonia 2 “ Ammonia (Liq.) 2 drams Accelorine 100 grains Water (distilled) 128 ounces In summer, dilute with an equal quantity of water and add from 2 to 4 ounces of granulated sugar. Rapid drying is essential in warm weather. Time of immersion: Thin delicate negatives, 2 min- utes ; medium, 3 minutes, and dense contrasts, 4 minutes. FORMULAS FOR SPECIAL PURPOSES. The following bath, if properly managed is especially recommended for summer use, and for excessively hot and dry climates : Bichromate of sodium 2 ounces Water 100 “ Ammonia (Liq.) 120 min. Citric acid 100 grains Salicylic acid 50 “ Time of immersion : Medium negatives, 3 minutes ; thin negatives, 2 minutes The Modern Methods of Carbon Printing. 3.5 The above bath must be kept in a cool, dark place. A bath especially adapted for tissue to be used in hot, moist climates, may be prepared as follows : Water loo ounces Bichromate of ammonia i ounce Bichromate of potash i “ Carbonate of soda (C. P.) .100 grains Strong ammonia (Liq.) 2 drams Dissolve the bichromate in the usual way and add the ammonia and carbonate of soda. Then pour 2 ounces of alcohol into 3 ounces of sulphuric erher and add the mixture to the bath. The tissue sensitized in this bath will dry out c[uickly and is readily soluble in water at a moderately low tempera- ture. BATH FOR CARBON VIGNFTTFS. The difficulty experienced by some carbon printers in obtaining delicately graded vignettes, may be attributed, in part, to the bichromate bath. A solution composed of the following constituents, makes a bath that will impart to the tissue, the qualities desirable for this purpose : Bichromate of potash 8 ounces Water 120 “ Strong ammonia (Liq.) 3 “ Accelorine i ounce For more vigorous effects dilute with water. Immerse the tissue two and three minutes according to density of the negative. This bath has all the fine qualities desirable in a good bichromate sensitizing bath, and may be readily adjusted to suit any class of negatives with the additional advantage of delicate gradation in vignetting. The age of the tissue will, of course, have considerable influence upon its condition and printing qualities, work- ing with more vigor and contrast when new, and having more delicacy and softness when several days old. 36 The Modern Methods of Carbon Printing. CHAPTER VIII. PRACTICAL NOTES. A LL the chemical constituents of a bichromate bath, ^ their behavior, agency and purpose should be well stud- ied by both amateur and professional carbon printers, to en- able them to fully understand the working details of the process. I will, therefore, briefly refer to a few of the most important constituents, upon which it is well for the carbon printer to be posted. A good quality of bichromate and pure water is really all that is necessary to make a sensitizing bath ; all the other ingredients are added to ameliorate the faults of both tissue and negatives, and to overcome the difficulties brought on by certain conditions of climate and temperature. A concentrated solution of bichromate will make the tis- sue very sensitive to light, and will therefore become very readily insoluble. Being extremely sensitive causes it to print with a ten- dency to flatness, which for that reason makes it very suit- able for negatives that are dense and contrasting, but on account of its extreme sensitiveness, it will not keep in a good workable condition for a great length of time. Newly sensitized tissue prints with vigor and contrast. With age it becomes less contrasty and gives softer effects; and when old, unless the negatives possess the required strength, the prints will be flat and lifeless. It will thus be seen that old tissue is just the article for hard contrasty negatives, and new tissue for thin, soft negatives that have a tendency to flatness. The Modern Methods op Carbon Printing. 37 Carbonate of ammonia makes the tissue more pliable and readily soluble in warm water, and in a measure stays the tendency to insolubility, and thus adds to its keeping quali- ties. The amount used may be varied according to existing conditions ; from a half to one grain to each ounce of bath, according to the strength of solution. Liquid ammonia (.880) is preferable to carbonate in hot, moist climates. It is used from a half to five per cent, according to cli- matic conditions and per cent of bichromate contained in the solution. Carbonate of sodium is preferred by a great many to car- bonate of ammonia. Its action is milder and the pictures are finer, but it shows the tissue considerably more than the ammonia. Glycerine makes the tissue very pliable and causes it to adhere better to the support, and also makes it easily soluble during development, but it must be used with care ; while it gives contrast and greatly adds to the vigor of the prints, it will also cause a loss of half-tones, and considerably retards the action of light upon the tissue. Use from a half to one per cent. Salicylic acid about one grain to the ounce of sensitizing bath (3 per cent) may be added in summer to improve the keeping qualities, and prevent reticulation. Sugar is sometimes used instead of glycerine ; it makes the tissue pliable, easily soluble in hot water, and adds vigor to the prints. Use from one to four per cent. Alcohol is used solely for desiccating purposes — hasten- ing the drying of the tissue. The amount used varies ac- cording to temperature and other atmospheric conditions, from two per cent in winter to twelve, and in some instances as. high as twenty per cent in the hot days of summer. 38 The Modern Methods op Carbon Printing. Carbon tissue immersed in a bichromate bath containing a high per cent of alcohol, will not imbibe as much solution as if immersed in a plain bath; therefore it will dry more rapidly, especially, if placed in a draught. Alcohol affects the keeping qualities of the tissue some- what, however, in that it hastens insolubility. It is therefore advisable to use the tissue while it is fresh, and develop as soon after printing as possible. Ether {sulphuric) mixed with one part of alcohol af- fords a special advantage as a drying agent for carbon tissue in southern climes, especially where the atmosphere is hot and moist. Add from 4 to 6 per cent of the mixture. Bi-chloride of mercury in a ten per cent solution is used to prevent reticulation in the hot days of summer. IMust be used with care ; if used in excess it will produce insolubil- ity. IMercury has a tanning action on gelatine. Chromic acid. A small proportion of chromic acid is sometimes added to the sensitizing bath for tissue of very hig'h speed. Yellow chromate of potash (neutral) is used for slow tissue or where great contrast is desired. Sulphate of manganese is also used as an addition to the bichromate bath for tissue of high speed. The temperature of the bichromate bath should be kept between 50^^ and 60^ F. in summer, and 6o*^ and 70° F. in winter. Bichromate solutions containing alcohol, glycerine, etc., must be kept in a dark, cool place. Accelorine. — The addition of this compound to the bi- chromate bath improves the keeping qualities, and materi- ally adds to the speed of the tissue, and further, makes it readily soluble in water of a moderately low temperature and gives greater brilliancy of the image. A high per cent of alcohol used in connection with accelorine, will cause pre- cipitation. It must therefore be used with care. The Modern Methods op Carbon Printing. 39 chapter IX. THi: squeegee:. '"T^HIS little instrument takes quite an important part in the carbon process. All the transferring operations are done with either roller or drag squee- ROLLER SQUEEGEE. Many operators prefer to use a thinj flexible scraper of wood or rubber, instead of the rub- ber squeegee. I cover the trans- fer with a thin piece of celluloid and use the flexible wood scraper over it as I would the squeegee, and in that way can do the work more effectively and better than with the ordin- ary squeegee. The drag squee- gee must always be used in transferring the tissue to the support before development. DRAG SQUEEGEE. There is quite a knack in us- ing this tool to the best advantage. If the beginner will observe the effect of the squeegee upon his pictures, he will see dark streaks and cloud effects, caused by too much or uneven pressure. Striking the squeegee down hard when placing it across the back of the tissue while making the transfer will leave a plainly noticeable streak. A machine constructed on the principle of a clothes wringer may be 40 The Modern Methods op Carbon Printing. used to good advantage in transferring a large number of prints. If properly made, it does the work well and saves considerable time and labor. RUBBER CEOTH AND THIN CEELULOID. The squeegee and rubber cloth are closely allied in work- ing the carbon process. The rubber is spread with the cloth side up, over the print in the transfer operation, to prevent the squeegee from roughing up or tearing the paper. Thin, transparent celluloid is used for the same purpose and is less troublesome to handle than rubber cloth. When using the celluloid, a thin, flexible scraper made of wood or rubber, may be used instead of the regular squee- gee. It does the work thoroughly and is much easier to manipulate. The Modern Methods of Carbon Printing. 41 CfiAPTER X. sensitizing the tissue. SENSITIZING operations. TT STABLISHMENTS that manufacture their own carbon ■^tissue, will find it a great advantage to incorporate the bichromate or sensitizing agent into the pigment emulsion, of tissue they intend for immediate use. It will save con- siderable time, and require less handling, but of course, this kind of tissue wi 1 keep only for a limited time — from four to ten days. Ordinary carbon tissue is made sensitive to light in a so- lution of bichromate of potash, of a given strength. This is one of the most important operations of the process and it should be done with the utmost care in every detail. Al- though there is nothing difficult or complicated about it, it nevertheless requires care and good judgment, to properly 42 The Modern Methods of Carbon Printing. adjust the strength of solution to the quality of the negatives to be printed from, to obtain the best results. Our new chromic sensitizer is probably the most sim- ple and economical sensitizing bath for carbon tissue in use. It is applied to the surface of the tissue with a soft brush or sponge, and dries out very rapidly ; if necessary, it can be dried and ready for use in five minutes. This bath is, of course, intended for tissue for immediate use. There is quite a diversity of opinion among expert car- bon printers in regard to which are the best methods for obtaining the proper degree of sensitiveness of the tissue, to suit the printing qualities of negatives of different densities. Some employ solutions of different strength, for thin, or for heavy negatives, as the case may be ; others claim the same results by longer or shorter immersion of the tissue in a sen- sitizing bath of normal strength. It will thus plainly be seen that there is really no fixed rule to follow in sensitizing carbon tissue, with the exception of that of judging how much bichromate of a given strength a film should be allowed to absorb, to bestow a sensitiveness capable of producing a brilliant picture from a negative of certain strength and cjuality. It is therefore well to bear in mind that the greater the proportion of bichromate the tissue is allowed to imbibe, the more sensitive it will be ; be it through a long immersion in a weak bath, or a shorter length of time in a solution of considerable strength. As we have previously noted, tissue that has been sensi- tized on a strong bath, on account of having absorbed a great deal of bichromate, will be found very sensitive, and will be best suited for dense or slow printing negatives. But the keeping qualities are not so good; for it rapidly dete- riorates, especially in warm weather, when insolubility sets in and destroys its printing qualities in a few days. The Modern Methods op Carbon Printing. 43 Tissue that has been allowed to absorb but a small amount of bichromate has much better keeping quali- ties, but is considerably less sensitive. On that account it is better suited for thin, delicate negatives that require a tissue that prints with considerable contrast. This quality of tissue is obtained by a short immersion in a bath of medium strength, or the use of a weak solution. It is also possible to alter the printing qualities of carbon tissue by floating either film or paper side upon the sensitiz- ing bath. Floating on the film side produces softness, and, on the other hand, floating it on the paper side gives contrast and more vigorous prints. Although newly sensitized carbon tissue is but slightly affected by light while in a wet state, it is nevertheless good policy to use a subdued or a yellow light when performing this operation during the day. A sperm candle is probably the safest light to use when sensitizing tissue in the evening, on account of all absence of smell or bad odors. The smell of gas or kerosene has an injurious effect on sensitive tissue. The room in which this operation is performed must be as cool as possible in summer ; and should have a tempera- ture of about 70*^ F. in winter. It must have a good ventila- tion, and be as free from dus|; as possible. The sensitizing tray may be of zinc, glass or porcelain ; the latter is prefer- able, if not too expensive. For the common run of studio work, a tray 18x22 inches in dimensions will answer all re- quirements ; but there is no restriction as to size, it may be large or small, to suit the convenience and purpose of the operator. Where carhon printing is carried on extensively, it is a very good policy to sensitize the tissue in large sheets ; it saves time and less handling. In summer the sensitizing tray must be placed into a 44 The Modern Methods of Carbon Printing. larger tray containing ice or ice water, to keep the solution cool and at an even temperature. This tray may be made of galvanized iron, or, for economy’s sake, may be of wood, lined with oil-cloth or rubber. Place the tray on a convenient stand or table, near a good strong, but yellow light, so as to be able to plainly see the sur- face of the tissue during the process of sensitizing. Then pour in the bichromate solution, which of course, has been previously well filtered, and the strength adjusted to the density or printing cjualities of the negatives it is intended to print from. The solution should stand at least one and one-half inches high, in the tray, and have a temperature ranging between 50° F. and 60° F. in summer and between 60*^ F. and F. in winter. The lower the temperature of the bath in summer, the less liable the tissue will be to reticulate, and the finer will be the quality of the pictures. The higher it is, the quicker will the solution be absorbed by the gelatinous coating, and the more liable will it be to cause reticulation or coarse, grainy prints. There are no specified sizes, into which the carbon tissue should be cut. The roll is 30 inches wide, and if a strip 18 inches wide is measured off, and again cut through in the middle, we have two pieces of 15x18 inches ; a very con- venient size to handle. Wdien ready to begin with the sensitizing operations, protect the hands with rubber gloves or finger cots, on account of the poison- ous nature, of the bichromate and its injurious effect upon the skin. Then remove the dust from both sides of the tissue with a camel’s hair duster, and taking it by the corners diagonally op- rubber ^finger posite, place it upon the sensitizing bath The Modern Methods of Carbon Printing. 45 and immediately push it under the surface of the solution with a flat camel’s hair brush or sponge. Rock the tray gently and re- move all the air-bells and scum that gathers on the back of the tis- sue with the camel’s hair brush or sponge. In about one minute, or as soon as the gelatine film has ab- sorbed enough of the solution to flatten it out, turn the tissue over rubber gloves. and pass the brush gently over the entire surface of the film, to remove all the scum or air-bells that might adhere thereto. Then again turn it face down, carefully avoiding any violent disturbance of the solution, which would cause air- bells, and always keep the tray in gentle motion. At the end of about three minutes the tis- sue will have flattened out and will begin to show signs of curling backward. At this stage it must be taken from the solution, and, after well draining,, lay it face down upon a clean plate of glass somewhat larger than the tissue. (In summer keep this glass cool. A good way to do this is to immerse it in cold water, and just before using it remove the water with a soft rubber squeegee, then pass the squeegee over it from center to side PHOTO CLIP, and remove all the superfluous solution. ) Then with a clean, dry blotter and roller scjueegee, or, if pre- ferred, a clean dry sponge remove all the remaining mois- ture, especially around the margin and sometimes on the surface, to insure a uniformly even surface of the tissue when dry. ^ 46 The Modern Methods op Carbon Printing. SEATS ATTACHED WITH PHOTO CLIPS. The tissue is then immediately taken from the glass and placed into a stretcher or after fastening slats to top and bot- tom with photo clips (Fig. lo), it is hung up to dry. In England, the most common mode of drying a carbon tissue, is to lay it over a curved cardboard like in Fig. ii. The above methods are ordinarily employed for the common run of studio work, and are sometimes employed in large estab- lishments. An English manufacturing concern has recently modi- fied their method of sensitizing carbon tissue. They immerse it in the usual way, but only for one minute, and then attach slats to top and bottom and without squeegeeing hang it up to dry. Wall uses a five per cent solution of bichromate and dips his tissue for 30 seconds in summer and ,45 seconds in winter, and without squeegeeing hangs it up to dry. He further advises the operator not to let the temperature of the bath exceed 79*^ F. (rather high) he probably meant F. Drying tissue on a squeegee or ferreotype plate, is prob- ably the very best and most practical way to handle a mod- erate amount of material. Drying it in this manner, the film is protected from dust and all injurious gases and vapors that might be present, and when it leaves the plate its surface is as smooth as glass, and will give perfect contact to the nega- The Modern Methods op Carbon Printing. 47 tive, and thus insure a picture as sharp as the negative will make it. DRAWING TISSUE OVER GLASS ROD. For carbon printing on a large scale, a machine may be constructed, which will sensitize tissue as it comes from the roll, and saves a great deal of time and labor. The tissue passes from the roll into the solution at a speed which, at a given length of time, passes it through the solu- tion and out at the opposite end, where it passes between two soft rubber rollers that do the squeegee act on the principle of a clothes wringer. The tissue enters , into the solution face upwards and passes over a flannel pad on the bottom of the tray. The scraping action of the flannel prevents any froth or air-bells from forming on the back o£ the paper, while the face is kept clear with a broad camel’s hair brush in the hands of an assistant. When the entire roll has passed through the solution, it is hung up in festoons in a properly constructed drying-room, having a good fresh air supply, a ventilator or exhaust fan driven by electricity or a small water motor, will keep the air changing and will dry the tissue quickly. If the air is laden with moFture a tray of lime or chloride of calcium must be placed in the fresh air supply; and the air Altered through gauze. The temperature of the room ought to be about F. Of course it stands to reason that all trays containing water or anything that would cause moisture, must be removed from the room. . 48 The Modern Methods op Carbon Printing. CHAPTER XI. THE DRYING OF SENSITIVE CARBON OR PIGMENT TISSUE. T TPON the proper drying of sensi- tized carbon tissue, depends to a great ex- tent, the successful . . . , DRYING TISSUE OVER CURVED CARD. termination of the development and final transfer of a perfect carbon picture. The room must be well ventilated and dry, and as free from dust, foul gases or vapors, as possible. To keep the air pure and in motion, an electric exhaust fan is of valuable service. An open chimney or fireplace will answer, providing the temperature of the room is not too high. Rapid drying of carbon tissue is very essential in warm weather. The qualities imparted to a tis- sue by proper drying are, good ad- hesiveness to any support or medium ; and an easy solubility, which induces a speedy develop- ment, and yields vigorous and brilliant pictures, with pure whites and velvety blacks ; beautiful half-tones and perfect gradations in all parts of the picture. The temperature of the drying room must be as low as possible in summer, and if the air is loaded The Modern Methods of Carbon Printing. 49 Avith moisture a tray containing lime or chloride of calcium must be placed near the tissue. In the cool days of Avinter a temperature of 70° F. at the beginning and a gradual increase of 75° F., AA’here it must be maintained until the tissue is dry. The most simple AA'-ay of drying tissue is to arrange sheets of cardboard curA^ed like Fig. ii or a sheet of tin covered Avith a blotter and arranged in like manner. Immediately after blotting off the superfluous solution, place the tissue face up OA'er the curved cardboard and place it in the air current. Another simple Avay is to fasten thin slats of AA’Ood at top and bottom Avith photo clips and suspend it on a line, like Fig. 10. It should be borne in mind that the air near the ceiling has a higher temperature and is drier than near the floor, consequently the tissue should be suspended high up in the room. Drying tissue on glass or squeegee plates is extensively practiced, and can be highly recommended. It keeps the film from being contaminated, and the plate and tissue may be Avrapped up in a porous but opaque paper and placed most anyAA’here, in a current of fresh air. There is no prescribed rule that must be strictly adhered 50 The Modern Methods op Carbon Printing. to in sensitizing or drying carbon tissue. The printer must be governed by the character of his negatives as well as the strength of his bichromate solutions. Paper sensitized in a strong bath should not occupy nearly as much time in drying as that sensitized in a weaker one. The most essential part about it is, that the tissue be thoroughly desiccated in a pure atmosphere, in the proper length of time required by the strength of the solution used, and the character of the negatives to be printed from. The length of time occupied in drying, ordinarily re- quires from three to five hours, and should never be allowed to extend over eight, or less than two hours. Between two and four hours for paper sensitized on a normal bath will be found about the correct time to impart the best printing qualities. Tissue that has occupied but a short time in drying ad- heres well to any support and develops readily in water of a moderate temperature ; but it is not nearly so sensitive as that which has occupied a longer time in drying. If such tissue is printed upon immediately when dry, especially if dried very rapidly, there will be a lack of gradation or the entire loss of half-tones. If such be the case, the best remedy is to tint the paper (expose the film side of the tissue to diffused light for a brief period) before it is placed upon the negative; that will invariably remedy the fault and yield the desired half- tones. As the paper grows older this difficulty will disap- pear, and when about two or three days old it will yield the best results. Carbon tissue dried slowly is much more sensitive to light, and prints softer than if dried out quickly, but, un- less the negatives are strong in contrast, the picture will have The Modeen Methods of Carbon Printing. 51 a dull, flat, sunken-in appearance, and the development will be slow and difficult. When the drying is extended over an unusual length of time, the film becomes insoluble and loses its adhesive prop- erties, and consequently becomes entirely insoluble and worthless. On the other hand, if the tissue is allowed to dry too quickly it Avill become very brittle and difficult to handle. Its sensitive properties will be greatly impaired, and its excessive solubility will result in the entire loss of half-tones or fine details in the picture, and, in a great many cases it will cause reticulation. Excessive solubility is there- fore, by no means a desirable cjuality, and it will be well to guard against too rapid drying, unless the bichromate bath is at least double strength, and contains a considerable amount of alcohol, and ammonia, and if high speed is desired a little chromic acid or sulphate of manganese would help matters considerably. A great many carbon printers prefer to sensitize in the evening and leave the tissue suspended until morning, when it is found dry and ready for use by the time printing opera- tions are commenced. Although this may be a very good plan and all right when the weather is favorable, and the condition of the at- mosphere in such a state that it will allow the tissue to be- come dry in about six or seven hours, I myself think it is best to sensitize at a time when the progress of the drying may be closely \vatched, and the tissue be taken down as soon as it has become sufficiently dry. When once dry it should never be left hanging exposed to the influence of the atmosphere, but should be put away in air-tight tin receptacles or boxes, especially if it is to be stored away for future use. Tin receptacles for storing sensitive carbon tissue should 52 The Modern Methods op Carbon Printing. be made perfectly air-tight, and large enough to permit enough chloride of calcium to be deposited at one end to absorb the moisture, should there be any. If left hanging too long, the film becomes horny and brittle and is difficult to manage ; and when wanted for use it will be found necessary to hang it over a pan of steaming water to allow it to absorb enough moisture to make it pli- able. This never has a good effect on the printing qualities of the tissue, however, especially in warm weather, and should be avoided if possible. Carbon tissue wanted for im- mediate use may be taken down when quite pliable. There are many devices for rapidly drying carbon tissue, of which the following is probably the best : A box or cup- board with shelves arranged like in Fig. 13, has a cone at- tached to it, at the narrow end of which is placed a ventilator or exhaust fan ; at the other end is a double shutter on hinges made to shut out all white light (shutter must be painted red) but admits the air freely. A slide made like the ones in the plate holder of a camera is so arranged as to shut off any space not in use. When the fan is set in motion The Modern Methods of Carbon Printing. 53 the air is rapidly drawn through the cabinet over the surface of the soft gelatine film which causes the moisture to quickly evaporate and thus hastens the drying of the tissue. If the atmosphere contains considerable moisture, place a tray of lime or chloride of calcium in front of the shutters and filter the air by screening the shutters with gauze or cheesecloth. MARTON’5 NEW RAPID PROCESS OF SENSITIZING AND DRYING CARBON TISSUE. Not until recently, has the carbon process been available for quick or immediate work, on account of the prolonged drying, and the time necessary to bring the tissue into proper condition for printing. There has been much experimenting done within the past few years, to overcome this one objectionable feature of the old process, and it affords me great pleasure to say that this has now been accomplished to the great satisfaction of the entire profession. Of the many improvements that have been made in the carbon process within the past twenty years, there are none that have been more appreciated, and that are of greater benefit to the professional carbon worker, than our new rapid method of sensitizing carbon tissue, is to the carbon printer and advanced amateur of today. It reduces this operation to the most simple form, and does away with the mussy and unpleasant method of soak- ing the tissue in a bath of bichromate until it becomes satur- ated, and then requires from 4 to 12 hours drying before it can be used; which sometimes is almost an impossibility, in a hof, moist atmosphere, unless the proper apparatus and arrangements for rapid drying are at hand. With this new method, the tissue can be made sensitive and dry, ready for 54 The Modern Methods of Carbon Printing. use in five minutes, or in about the same time it takes to put the tissue through the bichromate sensitizing bath, after the old method. The work is simple, clean and expedient, and in the mat- ter of economy, nothing better could be devised. Carefully prepare the sensitizing solution after the fol- lowing formula : Marten’s Chromic Sensitizer i ounce Water (distilled or boiled rain water, hot)... 8 ounces Alcohol or Columbian Spirit 8 ounces Snip. Ether i ounce Ammonia (88o) 14 ounce Dissolve the chromic salts in the hot water and when cool, gradually add the ammonia and shake well ; then add the mixture of alcohol and ether a little at a time, and again shake. Allow the precipitate to settle, and filter through cotton. Cover the funnel to keep the spirit from evaporat- ing. This sensitizer must be kept in a well-stoppered bottle and stored in a dark place when not in use. To Sensitize . — Place the tissue, film side up, on a clean surface, and apply the solution with a good soft brush or silken sponge. Pass the brush over the film, both ways, to distribute the solution as uniformly over its surface as pos- sible. If a drying box is at hand, the tissue will be dry and ready for use in five minutes, and will yield prints in every way equal to those printed on tissue that had been saturated with bichromate, and took hours to dry. The chromic sen- sitizer penetrates only into the immediate surface of the film, consequently there is but very little chromium salts brought into actual use by this process. So long as the immediate surface of the tissue is only affected by the sensitizer, the chromic salts may very easily be removed and the tissue rendered entirely insensitive to The Modern Methods of Carbon Printing. 55 light. Take two prints and pin them, back to back, and let them soak in several changes of clean, cold water for about fifteen or twenty minutes, then immerse in a 5 per cent solu- tion of anti-chrome for five or ten minutes and after again rinsing, hang them up to dry. Exposed tissue treated in this manner will be entirely insensitive to light, and may be developed at any future time. Development is affected in the usual way with the exception that there need be no precautions taken in regard to pro- tecting the tissue against light. 56 The Modern Methods of Carbon Printing. CHAPTER Xli. CARE OE THE SENSITIVE TISSUE. A S I have previously stated pigment tissue in a wet state ^ is not very seriously affected by ordinary diffused light ; but, when once dry, it is from three to six times as sensitive as albumen or aristo paper, and must, therefore, be well protected against the injurious effects of white or actinic light. Nothing definite can be said regarding the keeping quali- ties of a sensitive tissue. It is something that greatly de- pends upon local conditions and manner of treatment. Some- times, especially in the hot days of summer, tissue that has been sensitized one day, will be quite insoluble the next ; and then again, it will keep in good, soluble condition for several weeks, and sometimes for months, in winter if properly taken care of. Usually, a good carbon tissue, if properly sensitized and dried under favorable conditions, will, if stored in air-tight tin boxes or tubes, keep in good working order for two or three weeks in winter, and from four to six, and sometimes ten days in the summer. PRESERVING BOX FOR SENSITIVE TISSUE. The Modern Methods op Carbon Printing. 57 Carbon paper, intended to be stored for a considerable length of time, must be thoroughly desiccated in a pure at- mosphere, and then put face downward upon a clean piece of soft paper and rolled up film outward. The paper cover- ing the face of the tissue will prevent the hands from com- ing in contact with the sensitive film, and will otherwise protect it from injury. Paper rolled with the film outward is much easier handled during printing operations than when rolled the opposite way. The tin receptacle in which to store the roll of sensitive tissue should have a fairly good diameter and be long enough to allow a small quantity of chloride of calcium wrapped in tissue paper, to be stored at the top ( for the purpose of keep- ing the tube free from moisture. ) The roll of sensitive tissue must be well wrapped in pa- per to keep out all dust that might arise from the lime or cal- cium. A band of rubber tape placed around the rim of the cap or cover like on platinotype tubes will make the receptacle perfectly air tight. Tissue having the sensitizing agent incorporated during the process of manufacture, has much better keeping quali- ties than plain tissue made sensitive in a bichromate bath. FLAT PAPER HOLDER. A great deal also depends upon the ingredients and qual- ity of the material employed in the manufacture of the tissue, especially the gelatine. A pigment paper prepared with ordi- The Modern Methods op Carbon Printing. 58 • nary gelatine is soluble at a much lower temperature and has much better keeping cjualities than tissue made of the finer grades, but the latter yields the finest pictures. ' REMARKS. When carbon tissue in rolls has not been properly stored it will become dry and horny, and will be so brittle that it will be found quite difficult to handle without breaking or injuring the film. The only remedy for tissue in this condition, is to expose it to moisture until it becomes perfectly pliable. It can then be immersed into the sensitizing bath without difficulty or may be rolled face out and stored in tin receptacles, in which it will retain sufficient moisture to keep it pliable for future use. If the end of a roll of carbon tissue that has become dry and brittle be fastened in between two slats of wood and hung up in a damp place with the roll hanging down, the film will absorb the moisture and as it becomes pliable, it will gradu- ally unroll itself by its own weight without creasing or breaking, and may be handled with very little difficulty. The only way to keep tissue in a good pliable state is to store it in tin receptacles. Another splendid way to keep the tissue in a good manageable condition, is to take the roll when fresh and pliable, and roll it film side out around an inch roller. The film must, of course, be covered with a soft paper to prevent finger marks and other injurious contact. In this way the tissue is easily managed, and if it becomes dry or brittle there will be no danger of cracking or breaking the film. Squeegee plates that are used for the purpose of drying The Modern Methods op Carbon Printing. 59 sensitive tissue upon, must be well washed in hot water be- fore applying- the French chalk or ox gall. The plates must be perfectly dry and the chalk well rub- bed in over the entire surface. Dust off well with a camel’s hair duster, and then rub with a clean flannel until appar- ently all traces of chalk have disappeared. It is well to bear in mind that a bichromate solution of high strength will render the tissue extremely sensitive, and that the keeping qualities of very sensitive tissue are not as good as that of tissue sensitized on a bath of medium strength. For this reason it should be thoroughly desiccated in a pure atmosphere in summer, and stored away in air- tight tin receptacles in a dry, cool place. Never omit the lime or calcium at the top of the tube. A highly sensitive tissue has a tendency to produce soft- ness and produces flat, sunken-in appearing pictures, unless the negatives are sufficiently strong in contrast. It will re- ticulate and become very easily insoluble in warm weather. A carbon tissue that dries out cjuickly, has better keeping qualities than that which has occupied a longer time in dry- ing, but is not nearly so sensitive. It is very readily soluble and the development is cpuckly done. These qualities more than compensate for the slowness in speed. Bichromate of sodium is the least expensive and makes a good bath for summer use, but the tissue will absorb mois- ture more readily than if it had been sensitized on any other kind of a bath, and is therefore best suited for a dry at- mosphere. In hot weather a few drops of a ten per cent solution of bichloride of mercury will prevent reticulation. Never forget to remove the dust from the face and back of the tissue just before immersing it into the bichromate solution. And if there are any signs of mold or mildew it 60 The Modern Methods op Carbon Printing. must be removed with a soft chamois or tuft of filtering cot- ton, and then well dusted. e;ffects of tfmpfraturf and climatic conditions on SFNSITIVF CARBON TISSUE. Carbon printers in the different parts of the country, all have their trouble to contend with ; which arises from vari- ous causes, and are peculiar to the climatic conditions of the country which they live in. Thus, the high temperature of Southern climes causes excessive dryness of the tissue, and in localities where there is excessive moisture it hastens insolubility. The excessive cold in winter in the north also brings its trouble, but being dry it is much easier to overcome than excessive heat and moisture. The humidity of atmosphere in countries bordering on the Atlantic and Pacific oceans, has its peculiar effects upon the tissue, especially in the southern portions where excessive heat and moisture prevails at all seasons of the year. And likewise the excessively light and dry air and the bad w'ater of mountain and alkali countries, brings on its peculiar trouble. All these difficulties may easily be overcome by closely observing the rules regarding temperature and atmospheric conditions and paying strict attention to the directions given for the sensitizing and drying of the tissue, and the purity of the water used for transferring and development. The Modern Methods op Carbon Printing. 61 Pert II. CHAPTER I. The: ne:gative:. T N THE carbon, like in every other photographic printing process, the quality and fineness of the resulting pictures greatly depends upon the character and printing qualities of the negatives employed. Therefore, all negatives that are made expressly for car- bon printing should be made as nearly in accordance with the requirements of the process as possible, to obtain the best results that can be produced by this process. Although it is quite possible to obtain beautiful pictures from thin or medium grade negatives, yet to insure the most perfect results, it is best to employ negatives of good density and fine gradation. The qualities essential for the making of good carbon pictures are : 1. Brilliant, and yet soft and harmonious lighting. 2. Transparent and well illuminated shadows with plenty of detail ; brought out by a liberal exposure and careful de- velopment. 3. A clean, clear development that gives pureness and richness of tone, and the necessary snap so desirable for the production of fine and brilliant carbon pictures. Avoid as much as possible, inappropriate backgrounds and accessories. The former should be in harmony with the 62 The Modern Methods op Carbon Printing. subject and accessories, either light or dark as the case may be ; and the latter should be suited to the tone and style of the back ground, as well as color and style of drapery worn by the subject. A light ground requires delicate, dainty ac- cessories, and a dark background, massive and carved an- tique. Heavy, rich draperies and fine rugs with mounted heads, and the judicious use of fine vases, flowers and statu- ary, produce very elegant effects. It is not within the scope of this work to give a detailed description of the various methods now in vogue to produce negatives that are possessed of qualities prescribed for the production of artistic effects in carbon printing. I will, therefore, only give a few passing remarks upon this subject. There are numerous very clever workmen among the great army of photographers in this country, whose artistic ability and superior workmanship places them far above the average professional. Some of them have followed the paths of the great masters in painting and photography, and from them have adopted or chosen a style peculiar to their ideas of art in photography. To the latter the carbon process certainly must be a rev- elation, for it is a process capable of gratifying the most ex- travagant wishes or ideas entertained by the most fastidious photographer. The prevailing styles in which carbon pictures are now finished are rich and elegant. The carbon porcelains espe- cially, are becoming very popular. Pictures from ordinary negatives, if made by the single transfer process, will be reversed ; therefore, if it is desired to have them in their true positions, either the double trans- fer process must be resorted to or the negatives must be pre- viously reversed in order to bring the image into its proper position. The Modern Methods of Carbon Printing. 63 The work necessary to reverse a negative film for single transfer printing, is very simple, and may be accomplished by resorting to any of the well known methods now in use. Probably the most simple of all is to reverse the image in the camera, by simply turning the plate with the glass side to- wards the lens. Select a plate that is free from scratches or blemishes of any kind, and one that has as little curve to it as possible. ‘Clean the glass well and place a piece of red or black velvet or paper to the film side to prevent injury from the spring. If the plate is a thin one the focus need not be adjusted ; should it be a thick one, however, move the holder forward enough to allow for the thickness of the glass. This method gives good results and causes but little ex- tra work or trouble. Transparent celluloid films are well adapted for carbon printing. On account of the thinness of the film, they may be printed from either side without a perceptible difference in the sharpness of the image. The safest and best way, however, is to use stripping plates. These may be had in almost any brand, Orthochro- matic and Nonehalation, just as desired, and as a usual thing, they are plates of fine quality and give excellent re- sults. A good way to proceed is to retouch the negative before stripping then flow with a rather tough collodion or var- nish, and when dry flow again with a thick solution of chro- mated gelatine : Gelatine i ounce Water 8 ounces Chrome alum 20 grains Alcohol I ounce Glycerine i dram 64 The Modern Methods op Carbon Printino. Allow the gelatine to absorb all the water it will in about an hour, and then dissolve by gentle heat in a water bath. Dissolve the alum in hot water and add a little at a time while continually -stirring the solution. Then add an ounce of common alcohol in the same manner, and coat the plate resting on a level stand. The solution must be warm enough to flow evenly when poured upon the negative. This' is best done by pouring a sufficient quantity upon the center of the plate and guiding it to the sides with a feather. When the gelatine has set, stand the plate on end to dry. When dry, cut the film through to the glass about an eighth of an inch from the edge, and strip it from the glass. You will now have a tough film that will not curl and may be printed from either side, just as desired, by placing it against a clear glass. If necessary, more improvements may be made on the other side of the film with brush and pencil. To one who has never used stripping plates it may seem a very difficult proceeding, but such is not the case; after a trial or two, it will be found quite easy. The latest invention in stripping films is a heavy paper coated with a neg- ative emulsion. It is exposed the same as a plate and developed like bromide paper, hardened and mounted on a clear glass that has previously been coated with a chromated gelatine. When the film has become perfectly dry, the paper support is stripped, and the negative film re- mains firmly attached to the glass and may now be retouched and treated just like any other negative. The work is sim- ple, safe and easy, and promises to do wonders for the ad- vancement of the carbon process. PRISM. The Modern Methods of Carbon Printing. 65 Pictures made from ordinary or non-reversed negatives are brought into their proper position by resorting to the double transfer process. For those doing an extensive business in carbon print- ing, prisms or reversing mirrors are the proper things. PRISMS. Prisms that are accurately made so that the three surfaces work per- fectly in harmony with each other; and of glass free from all optical im- perfections; are quite as expensive as high class lenses. Unless a prism is perfect in every way, it will be found impossible to get absolutely sharp pictures with it. RE^VkRSING MIRRORS. Reversing mirrors, employed to correct the negative for single trans- fer printing, differ from the ordinary mirror, in that the glass is silvered on the surface exposed ; which must be op- tically plane. The work requires as much skill on the part of the optician as the making of a high grade lens. The mounting must be done in a well seasoned wood frame, loose enough to be free from pressure in every way. Even a slight pressure will curve the glass, though it be quite thick, which will cause distortion and make the image quite imperfect. 66 The Modern Methods op Carbon Printing. CHAPTER II. STRIPPING AND REVERSING NEGATIVES MADE ON ORDINARY DRY PEATES. O REVERSE the film of an ordinary dry plate the following mode of procedure will be found simple and reliable : Dissolve I ounce sulphite of soda and 2 ounces of alum in 15 ounces of rain water; filter, and immerse the negative in this solution for twenty minutes ; wash, dry, and coat the plate with a tough collodion to keep the film from expanding. Plain collodion (2 p. c.) 10 ounces Castor oil i dram As soon as the collodion has set (not dry) immerse the plate in the following solution contained in a rubber tray ; Alcohol 5 ounces Water (soft) 5 ounces Hydrofluoric acid i dram Rock the tray gently and avoid getting the fingers into the solution if possible. Hydrofluoric acid, when carelessly handled, is rather dangerous. After a few minutes the edges of the film will begin to rise ; it may then be stripped from the glass and washed for a few minutes in ec|ual parts of alcohol and water to which a few drops of ammonia have been added. A clear glass, previously coated with a partly insoluble gelatine and dried, is then slipped under the reversed film and gradually lifted out of the water. The Modern Methods op Carbon Printing. 67 Lay the plate holding the film down flat on the table and cover it with a rubber cloth, then apply the squeegee very carefully and bring the film and glass into intimate contact, which completes the operation. Hydrofluoric acid destroys the enamel on glass and therefore must be kept in rubber receptacles. The following is another good method : After develop- ment, the negative is fixed and washed in the usual way. Then place it for five minutes into a solution composed of : Water lO ounces Formalin i ounce Glycerine 2 drams Dry without washing. If the plates to be stripped have been dried and are probably old plates that have been re- touched, remove the retouching varnish with alcohol, and let them soak in clean, cold water for at least a half hour, then immerse for about ten minutes in the formalin and let dry as before. When dry coat with a collodion made after the following formula : Amyl Acetate i ounce Columbian spirit 2 ounces Ether i ounce Gun cotton 48 grains Let dry for a day and then cut around the edge with a sharp knife, and strip the film from the glass. To keep the film from curling, coat again on the opposite side. My favorite method is the following: Take a negative that has been dried and allow it to become well water- soaked and then immerse it into a 10 per cent solution of formalin to which add a few drops of glycerine, and let it dry without washing. When perfectly dry, cut the film through to the glass 68 The Modern Methods op Carbon Printing. about one-eighth of an inch from the edge, and flow it with a 2 per cent collodion, which is allowed to set, and is then rinsed under the top until the water flows smoothly over its surface. The plate is then immersed in : Water lo ounces Hydrofluoric acid i dram The most expedient way, however, is to cut the fllm through to the glass, and, without previously soaking, put it into the formalin solution for 5 to 10 minutes; then rinse until the water flows smoothly over the surface. Then im- merse into the Hydrofluoric acid solution as above. Rock the tray gently, and when the film begins to pucker up around the edge, lift the plate from the solution and press a moist piece of blotting paper, a trifle large than the nega- tive against the film. Now lift up one corner of the paper, and the negative film will adhere thereto as it is pulled away from the glass. The negative film now resting on the blotter is then carefully rinsed under the tap. Now moisten a piece of good, firm writing paper and press it against the film rest- ing on the blotting paper, then turn it over and carefully remove the spongy blotter and again rinse the film under the tap, to remove all traces of acid. A glass plate, which has previously been coated with an insoluble substratum, is now immersed in clean, cold water to soften the gelatine; then place the negative film resting on the paper in contact there- with, and carefully pass the squeegee over the back of the paper, to bring it in perfect contact with the glass ; now raise one corner of the paper and carefully remove it, leav- ing the negative film firmly attached to the glass, which then completes the operation. If the film is transferred to a very thin transparent cel- luloid it may be printed from on either side. Double coating it with collodion does almost as well. The Modern Methods op Carbon Printing. 69 fluoride; of sodium. Instead of hydrofluoric acid, fluoride of sodium may be used. Its action is somewhat slower, but the final results are the same and has the advantage of being handled with- out danger. This may be kept in glass bottles and in a dry state. The following is a good proportion for the average plate : Fluoride of sodium 2 drams Soft water 15 ounces Under ordinary conditions the film will begin to rise in five or six minutes. If pyrogallic acid had been used for de- velopment, a little addition of fluoride will hasten the action. If desirable, the negative film may be enlarged consider- ably by adding 20 grains of citric acid to the above solution and omitting the collodion. Place the detached film in cold water until the desired enlargement has been affected, and then mount on a clean glass plate as previously directed. HYDROCHLORIC ACID. Stripping with hydrochloric acid is a favorite method with a good many process workers. Nearly every one is fa- miliar with the use of this acid in their every day practice. It is considerably less dangerous than hydrofluoric acid and is easily obtainable. Will keep in glass bottles, and is not nearly so expensive. Prepare the negative as previously directed, unless it is desired to enlarge the film, and proceed in the following manner : Into a clean porcelain tray pour 10 ounces of distilled water, and add i ounce of the acid. Immerse the negative and rock the tray gently for a few minutes, then rub the edges slightly to start the film to rise. When the film has become entirely detached, rinse it in clean water and after turning it over transfer it to a clean glass plate as previously directed. 70 The Modern Methods of Carbon Printing. revi:rsing and Transferring the image to another PRATE BY CONTACT. Another very simple manner of reversing the image is by excessive over-exposure. This is an old method but has never been extensively practiced. The main reason is be- cause it takes just a little experimenting to find out the exact length of time to make a correct exposure on negatives of different densities and color. Usually the first trial is de- ficient in exposure or the plate is not fully developed. To be successful proceed as follows: Select a plate of medium speed and as flat as possible, and expose it under the negative to direct sunlight, or diffused light, in the open air. The length of exposure varies from three to thirty seconds, owing to the density of the negative and strength of the light. For a medium negative ten seconds will be sufficient. If the resulting negative is flat, foggy, and wanting in vigor, it is under-exposed, and the remedy is more time. If it comes up hard and harsh, it is overtimed and less time is the proper remedy. When once familiar with this method it may be turned to profitable advantage, and oftentimes the original negative can be improved upon. Artificial light may be employed instead of daylight if more convenient. The exposure varies according to the intensity of the light. For instance, for an ordinary gas flame at fifteen inches distance, minutes, instead of seconds that would be proper time by daylight, will be found about correct. A Welsbach incandescent gas burner is about equal to one- fourth the intensity of diffused daylight. When taking a negative from the dark room to the light, it should be well protected, and exposed as carefully as though it had been done in the camera. The Modern Methods op Carbon Printing. 71 The light must come direct and no oblique rays allowed to creep under the edges. After the exposure has been made, again protect the plate while taking it to the dark room for development, which is done in the usual way. When the exposed plate is examined by the light of the dark-room, a faint positive image will be visible, which re- mains on the plate even after development, but can be re- moved. The development is best done with old developer or one that contains considerable restrainer. When the plate is immersed into the developing solution it will immediately flash up and turn black all over the surface like a plate which has been fogged. This makes it impossible to judge the progress of the development by the appearance of the plate, and consequently must be done by time. The best way to proceed, is to immerse the plate as long as it takes to develop a normally exposed negative, and then add two minutes to make sure that it has not been under-developed. Fix the negative in the usual way and rinse in clean water, then immerse in a weak solution of cyanide of pot- ash, to which a few drops of tincture of iodine have been added, to remove the positive which appears as a slight veil on the shadows previously spoken of. This will clear it nicely; but must be handled with care — cyanide of potash is poison. Wherever this method is successfully employed, it will be found to have one advantage over those previously de- scribed — the original negative remains unaltered and may be used for the production of positive prints by any other process for which the reversal of the image is not required. The newest method of obtaining a negative from a nega- tive and a positive from a positive, exactly like the original, 72 The Modern Methods op Carbon Printing. excepting that they be reversed, is the acid permanganate of potash process. A good plate is amply exposed back of a negative, and developed with a developer capable of carrying the image to its full depth, which is strictly necessary in this case. The plate should be left in the solution until the image appears plainly on the back ; it sometimes gets a little foggy, which will do no harm whatever. After the plate has been fully developed, rinse it well in clean water and then immerse it into acid permanganate solution, composed as follows : Permanganate of potash 2 grams Sulphuric acid 20 c. c. Water 1000 c. c. This bath acts very quickly and when all of the black image has disappeared it may be taken out of the solution. The negative image thus formed is composed of non-reduced silver bromide. The following operations may take place in a good, strong light : The brown color caused by the formation of manganese binoxide from the permanganate must first be cleared away by immersion in a one per cent solution of oxalic acid. Then wash the plate well to get rid of the oxalic acid and redevelop with a good metol developer. Metol 10 grams Sulphite of soda 40 grams Caustic soda 5 grams Water 1000 c. c. The development, which takes place very rapidly is best done in a good, strong light. When the image has gained the proper strength rinse and stand on a rack to dry. The Modern Methods op Carbon Printing. 73 Fixing in hypo is not necessary after the second develop- ment. The quality of the resulting negative depends entirely upon the first development; which should be carried just as far as possible, fog or no fog. If the image is found too vigorous, it may again be re- duced in a solution of permanganate, and treated as before, to a bath of a one per cent solution of oxalic acid, and well rinsed. Should there be a tendency to softening or frilling in the permanganate bath, add a little alum, which will invari- ably correct that fault. Another way to make a negative from a negative : Make the following two solutions : No. I. Water looo parts Sulphite of soda 50 parts Hydrochinone 20 parts Caustic soda 20 parts No. 2. Water 100 parts Bichromate of potassium 2 parts Nitric acid i part Expose a dry plate under the negative and develop it until it can distinctly be seen from the back. Stop the de- velopment by plunging it into a solution of a 3 per cent solu- tion of boracic acid, and wash. After that immerse in open daylight into Solution No. 2. After the black image has been transformed into a yellow- ish-red one, wash it well, and place it into a dish containing 5 per cent solution of caustic soda. The picture will disap- pear, and after washing it is redeveloped in Solution No. i. The result will be a negative rich in detail, which is to be fixed and washed as usual. 74 The Modern Methods of Carbon Printing. CHAPTER 111. THE make-ready, or preparing THE NEGATIVE EOR PRINTING. OUPPOSING the operator has exhausted all his skill and artistic ability in producing a high-grade negative as far as lighting, pose, and composition is concerned; but has failed in his chemical or developing manipulations, to pro- duce a negative that has the right qualities required for car- bon printing. In such a case, the first step will be to find some means by which to improve or supply the deficient qualities not obtained in the development. No matter how excellent or perfect a negative may seem to be, it will always admit of some improvements being made on one part or another, by suitable methods. It is a well known fact among those familiar with the carbon process that a great many failures to obtain satisfac- tory results from apparently good negatives, are due to carelessness in the make ready, or preliminary preparations made by the printer upon the negative previous to exposing the tissue to light. It is therefore, well to bear in mind that all the time and labor skillfully and judiciously applied in improving the printing qualities of a negative, will be amply rewarded with beautiful and harmonious effects. Elegant draperies, fine laces, and also the backgrounds can be wonderfully improved by the master hand of a skill- ful printer. The Modern Methods op Carbon Printing. 75 Landscape negatives may be redeemed from flatness or too much contrast in like manner. Every good printer has a few dodges or tricks of his own invention by which to improve his negatives, and, for him, will probably be the best to employ. I will, therefore, only mention a few of the most practical methods in use. The best and most approved method for all purposes is a coat of matt varnish on the glass side of the negative : Sandarac lOO grains Mastic 25 grains Ether 3 oz. Benzole oz. If considerable contrast is desired, an addition of a few grains of iodine will give a tint that will answer this purpose admirably. For too much contrast, scrape off the high lights; also where there is white drapery. For flatness, cover the high lights and scrape off the shadows. If scrap- ing is found too troublesome, a transparent varnish such as mastic may be applied with a camel’s hair pencil, which will answer just as well. Very effective work in the way of retouching may be done on the matt varnish with graphite and stump ; and any amount of detail may be worked over and improved by this method. Another and similar method to the above is practiced ex- tensively in Germany. Make and apply the following solution to the glass side of the negative as you do varpish : Water 3 ounces Gelatine 3 drams Sugar I dram Alcohol 5 drams Aurine ,. . . 24 grains When sufficiently dry, scrape off whatever parts found 76 The Modern Methods op Carbon Printing. necessary, and apply a clean matt varnish. If found neces- sary again scrape off varnish, and print under tissue. These methods, if practically applied, will make wonder- ful improvements in the printing qualities of defective nega- tives. Carbon printers of the old school, and especially the English and French, employ a very fine tissue paper called mineral paper, with which they cover the glass side of the negative; and when there is considerable work to do they cover the face with a very fine grade of the same material. This paper, when cemented around the edges, lies smoothly and firmly to the surface of the negative, and ad- mits of very fine work being done with stump and pencil. For soft and mellow effects from a harsh contrasty nega- tive, I know of no better method than the employment of a light positive from such a negative. It must be placed ex- actly over the negative and printed in subdued light. Prob- ably an easier and cheaper way is to make a print on some old aristo platino paper and fix without toning. Then mount it face down on a clear glass with Gelatine i ounce Water ; 5 ounces Soak the gelatine in the water and dissolve by gentle heat ; then add slowly, about ten grains of chrome alum pre- viously dissolved in a little hot water. When dry, apply hot water with a sponge to the back of the print ; that will loosen the paper and allow it to be stripped off of the film, leaving a nice, clean positive. If found too troublesome to mount the print on glass and to remove the paper, a print made clear with and mounted onto the face of the negative, will answer nearly as well , but, of course, prints much slower. This is a splen- did method to improve large negatives. The Modern Methods of Carbon Printing. 77 For local application, and to obtain slight increase of contrast, Prussian blue (water color) will be found excel- lent. For considerable contrast, raw sienna, yellow lake, or chrome yellow are best. To block out parts of a negative apply Venetian red or Chrome yellow to the glass side of the negative. The: safe: fdgf. The purpose of the safe edge is mainly to have an easily soluable edge around the carbon picture, that will prevent puckering or washing up of the film and will give nice, clean cut margins, and will be a safeguard against injury to the pictures when removing the paper from the back of the film, at the beginning of the development. A strip of red, yellow, or green paper at least one-eighth of an inch in width ; or a mask of any shape or size the neg- ative will admit, without interfering with the parts to be printed from, is placed on the negative. For clean cut margins, such as are required for pictures developed on celluloid, porcelain, or etching paper, it is best to put the mask on the film side of the negative ; otherwise it had better be on the glass side. That will give a softly blended edge and the film will not frill, no matter how heavy the deposit. On large negatives, an edge of black varnish, instead of a paper mask, is the easiest to apply. Some opera- tors use a semi-opaque paper, which gives a partly printed edge and causes better adhesion of the tissue to the support around the margin. 78 The Modern Methods of Carbon Printing. CHAPTER IV. THE photometer. ' I ^HE exposure to light does not '*• leave any visible imprint upon carbon tissue. Therefore it is neces- sary to devise some means by which to ascertain the proper length of time ne- cessary to obtain prints of certain strength, and to make any required number of pictures having the same actinometer. density. There are several very simple methods in use, that will answer for a small amount of printing. The most simple is to select another negative of about the same density as the one to be printed from, and expose both for the same length of time, side by side, using aristo paper. Allow the paper, on the negative from which it is intended to make the car- bon pictures, to become about what would be called a light proof. The print taken from the negative used as an ex- posure meter is placed in a subdued light and is used to compare the following prints by. The manner of proceeding now is very simple. Every time a fresh piece of tissue is placed upon the negative an- other strip of aristo paper is placed upon the other and both exposed simultaneously, side by side. Whenever the aristo print reaches the same shade of the proof first printed take in the carbon negative and refill it with new tissue, and the other frame with fresh aristo. In this manner any number The Modern Methods op Carbon Printing. 79 of impressions may be made and all be perfectly uniform in density. There are a number of good and reliable photome- ters in use, of which Johnson’s is about the best for ordinary studio work. A small tin box with hinged cover, having a glass fas- tened into it, is so arranged that when a strip of aristo paper is placed underneath the glass it can be drawn out at the side as soon as the paper under the clear glass assumes the shade of the tint painted on the glass. This operation registers one tint and is repeated as many times as it is required by the negative printing the carbon tissue, to give a certain density. When reading the instructions how to construct and use an actinometer, it almost seems as though it would be diffi- cult and troublesome to put such an instrument to practical use; but that is not the case. Upon slight acquaintance it will be found very simple and more convenient than print- ing platinum or aristo paper. All there is to do, is to watch the photometer, and when the paper discolors to match the number of tints marked on the frames, turn them down or lay them in until all are finished, which will only take a few minutes; then refill the frames and repeat. marton’s photome;ter. A very simple and easily constructed photometer may be made as follows : Upon a small, dry plate make a series of five or six tiny negatives lengthwise across the plate. Num- ber every negative by marking the figures upon each one with opaque. Then take off a print, which when toned, will be of a rather light shade — tone it on the red order, so the color compares well with a newly printed picture. These are nicely trimmed and the strip pasted on the inside of the MARTON’S ACTINOMETER. back of the printing- frame and used as a standard tint. The plate is then covered on the glass side with one layer of tis- sue paper, stretched smoothly over the whole by cementing it at the edges. Another strip is then pasted over all except No. I and then another strip over all excepting Nos. i and 2, and so on, leaving one of the series out at each application of a layer of tissue. This photometer is placed into an ordinary printing frame and can be used to print a whole series of negatives as easily as one. A strip of aristo paper is used for printing; a roll is not required. The printed strip of paper is replaced by a new one at each change of tissue. To find the photometer test-number of a negative, expose a piece of aristo paper under the negative simultaneously with a strip of the same on the photometer. Print to a shade about a third or a fourth the density of a finished picture taken from the same negative, according to the rapidity of the tissue to be used, and the time that will probably elapse before development; then compare the printed strip on the photometer with the test pictures, or standard tint. The num- ber of the print that comes nearest the shade or density of the test picture, is the photometer number of the negative, and should be marked upon the frame. The Modern Methods op Carbon Printing. 81 When printing a number of negatives of different densi- ties, all that is required of the printer is to watch the photo- meter. As soon as a little picture upon the strip of aristo paper bearing the number of a negative appears to have the same shade or density as the test picture above it, take in or turn down all the frames bearing that number, and so on, until the board is cleared. Always handle the photometer as quickly as possible when there are other negatives depending upon its test. 82 The Modern Meth6ds of Carbon Printing. CMAPTER V. PRINTING OPERATIONS FINDING THE SPEED OF A NEGATIVE. T T SUALLY, the time required to print a light proof upon aristo paper, or the time it takes to print a picture about one-fourth the density required for aristo prints, will be about the right time of exposure for carbon pictures printed from the same negative under like conditions. Supposing the development to take place within a rea- sonable length of time. The modus operandi, then, how to find the proper speed of a negative, is to make a light print as stated above and at the same time expose a strip of the same paper in the photometer for exactly the same length of time. Mark the number of the tints and match all the fol- lowing prints to this one. Owing to the various stages of sensitiveness the tissue undergoes, the most reliable and safest plan, especially for beginners, is to expose a small piece of tissue by the photo- meter test, and another just a little longer. Then immerse the two pieces in cold water for a minute and bring in con- tact with single transfer paper and develop. This will re- quire but a few minutes and will tell exactly how to expose the tissue properly, and will save considerable time and trou- ble as well as loss of material. EXPOSING THE NEGATIVE TO EIGHT. When the negative has been properly made-ready after the foregoing directions and the safe edge applied, one of the most important operations of the whole process is next The Modern Methods of Carbon Printing. 83 in order — exposing the sensitive tissue to light under the negative. Before beginning the printing operations the pressure frames must be looked over and supplied with good, dry pads, made of felt and thin cardboard, and, as a prefect protection against moisture, a layer of rubber cloth may be added. This will insure a good, even contact all over the negative and should never be neglected if perfectly sharp pictures are desired. The springs ought to be good and stout to give the pres- sure necessary to insure perfect contact. The frames must be perfectly dry and free from dust; also brush off the negative well before placing it into the frame. When all is ready take a piece of carbon tissue from the pressure box and remove the dust from the face and place it carefully upon the negative. Use a subdued or yellow light for this operation, and bear in mind that the tissue must overlap the safe edge at least one-eighth of an inch ; if this is neglected there is apt to be trouble when it comes to the developing operations. A good way to equalize the speed of a number of nega- tives of different densities, is to cover the weak ones with so many layers of tissue paper as will retard their speed to about the same degree of the denser ones. When this is done, the difficulty of printing negatives of different densities is greatly reduced. A printer of limited experience will find it the safest and best plan to do his printing in the shade, especially in hot weather, unless the negatives are very dense, and require a very strong light. Never print with the frames exposed to the direct rays 84 The Modern Methods of Carbon Printing. of the sun in summer, unless the time of exposure is very short and the quality of the negative such as to require that manner of treatment. The best prints are made in sun- light at a medium temperature. Arrange a printing board that can be covered with either ground glass or with one or more layers of tissue paper. Leave the sides open to allow the air to pass freely, in summer. Should the board get hot in spite of this precau- tion, introduce a screw eye under each corner of the frame ; that will allow the air to pass through under the frame and keep it cool. After the frames have all been filled, place them under the glass, and the photometer in between them. \Vhen the proper tint has been reached, cover each negative with an opaque cardboard, or lay it face down upon a convenient table, until all the rest have finished printing; when the light is again subdued and the operation of refilling the frames gone through with ; or, if more convenient, change each negative as soon as prints are finished. The actinome- ter or negative used as an exposure meter is also supplied with fresh aristo paper. Place them out under the glass si- multaneously and repeat the operation until the required number of prints have been made. In cold, cloudy weather, prolong the exposure a little, the same as you would for a silver print ; and on a bright, warm day, cut it a little shorter. The action is more vigorous in warm weather than when it is cool. For the expert printer, there is a vast amount of latitude in carbon printing; both over and under exposure, if properly managed, may result in good prints nearly always. At this juncture it is well to bear in mind that when carbon tissue has once been exposed to light, the action is continuous, especially so in a warm, damp atmos- phere, and that due allowance must be made therefore, espe- The Modern Methods op Carbon Printing. 85 cially when a number of prints are taken from the same negative before development. Should the development be delayed for a considerable length of time this peculiar prop- erty will manifest itself in a marked degree, most usually re- sulting in over exposure. A splendid way of keeping exposed tissue before development, is to store it in perfectly dry tin receptacles, containing dry calcium chloride. Another and probably the best method is to use an anti- chrome check bath, which will be fully described further on. universal printing frame. Since there is no visible imprint by which to distinguish the difference, it sometimes happens that the tissue that has been exposed gets mixed with the unexposed. To avoid this trouble mark “Ex” on the back of each piece of tissue, as well as the number and top of the negative as it is taken from the frame after exposure. In case this precaution is forgot- ten breathe on the film of the tissue, and if it had been ex- posed the image will appear faintly, but will immediately dis- appear. Avoid touching the surface of the tissue with bare fingers as much as possible, especially when damp. Unless there are one or more assistants it is best to de- velop the print every hour or two; for, if the printer is not an expert in calculating the speed of the continuing action of light upon the tissue for a given length of time, the first 86 The Modern Methods op Carbon Printing. impression made will be much darker than those made at the end of the day. The best results are obtained by giving full time and developing immediately after exposure, which is the proper way to do where there are one or more assistants, equipped with the necessary apparatus, etc. The; carbon viGNE;TT:e. These beautiful pictures are the most difficult of all to make. The delicacy and beauty of carbon vignettes necessitates a very fine gradation in printing, and it seems as though most carbon workers neglect to familiarize themselves with this fact; consequently the majority of them make a failure of this class of work, simply because they are not familiar with the chemical action of light upon bichromated gelatine under certain conditions. Tissue sensitized in a bath containing 8 per cent of bi- chromate and 4 per cent of liq. ammonia, to which add 2 per cent of accelorine — has splendid keeping qualities and has a tendency towards softer gradations. When the tissue is new, it works with vigor and contrast; and when about two or three days old it prints softer and is therefore better suited for vignettes. For double transfer vignettes, prepare the surface of the temporary support with talc, and give it a substratum of bichromated albumen. This is prepared by adding some of the alkalin bath solution to a lo or 15 per cent solution of albumen. When two or three days old filter, and it will flow as even and smoothly as col- lodion. When dry expose the plates to light to harden the surface, and they are ready for use. Before transferring the tissue allow them to soak for a few minutes in clean water. The Modern Methods of Carbon Printing. 87 CHAPTER VI. the; continuous action ot tight. PROBABLY one of the most perplexing difficulties the carbon printer has to contend with is the curious phe- nomena of the continuous action or insolubilization that goes on after the tissue has been exposed to light. This peculiar property of bichromated gelatine sometimes tries the pa- tience of the carbon printer to its fullest extent, in one way, and in another, proves itself a great advantage in saving prints, which, without this continuous printing property, would be a failure and a total loss. This difficulty, if so it may be called, besets the carbon printer most seriously in warm weather; but if the proper provisions are made, it can very easily be avoided. Thus, unless the proper precautions have been taken, the tissue that has been exposed in the morning, if left for de- velopment until evening, will be found considerably too dark if not totally insoluble. The hardening action set up by the exposure to light progresses more rapidly in the presence of heat and mois- ture, than in a cool, dry atmosphere. This action may be easily observed in warm Aveather by leaving a piece of exposed carbon tissue to the influence of a warm, damp atmosphere for a given length of time, and an- other for the same time, in a dry, cool place and developed simultaneously. This experiment ivill plainly show that the increase in density went on quite rapidly, and would haA^e re- sulted in total insolubility of the former, had the action not been arrested in time by development. 88 The Modern Methods op Carbon Printing. On the other hand, it will be found that the piece of tis- sue which had been stored in a cool, dry place, for the same length of time, was very little affected and the increase in density of the latent image was hardly perceptible. It is therefore advisable to keep the tissue as cool and dry as possible after exposure to the hardening action of light. Or, if the developing rooms are so arranged as to al- low the development to be carried on conveniently, it will be found by far the best plan to develop immediately or at least every hour, especially in warm weather. It will thus be seen that strict attention must be given to the temperature and humidity of the atmosphere, and due allowance be made therefor in measuring the time of ex- posure, according to the length of time expected to elapse before the development takes place. The above applies to ordinary studio work only. Where carbon printing is carried on extensively, the printer usually has one or more assistants, and development is carried on simultaneously with the printing, and the difficulties caused by the continuous action of light are avoided. While this peculiar property of bichromated gelatine will often prove itself an annoyance and sometimes bring disappointment, it will also prove itself a blessing and a great advantage after the conditions pertaining to its application are properly understood. This will be found especially true when the solar printer takes advantage of this property, in making enlargements, or printing by artificial light. A fourth of an exposure made in the morning of a warm day, will, providing the tissue has been left to the influence of the atmosphere, through the agency of this continuous action of light, have gained sufficiently in strength, to de- velop as a fully exposed print in the evening ; and if the at- The Modern Methods of Carbon Printing. 89 mosphere is loaded with moisture, a few hours will suffice to gain the same result. It will thus be seen that the hardening action which be- gan with the exposure of the tissue to light, continued until it had increased the density of the latent image to a degree, that, if it had not been arrested in time, the resulting picture would have been too dark, if not entirely insoluble. The greatest care should be exercised in drying sensi- tive carbon tissue, not to expose it to white light; for just as soon as it is dry, no matter how slight it may seem to have been, this continuous action will assert itself in time and cause insolubility or lack of adhesion to the support, a trouble so often attributed to other causes. This peculiar action of light on bichromated gelatine can easily be arrested if desired, and the exposed tissue developed at any time afterwards to suit the convenience of the opera- tor; in fact it is immaterial when it is developed; if prop- erly stored it will keep indefinitely and will work just as well in ten years as if it had been developed the same day. The mode of procedure is very simple : Rinse the exposed tissue in clean, cold water until the soluble bichromate is pretty well washed out, then immerse it for twenty min- utes in a five per cent solution of antichrome and again rinse in several changes of clean, cold water and hang up to dry. The exposed tissue, made insensitive to light after the forgoing directions, is transferred and developed in exactly the same manner as when in a sensitive state, with the excep- tion that the precautions to protect it against light, need not here be regarded. THEORY OF THE LATENT IMAGE AND ITS DEVELOPMENT. The action of white light has a hardening effect upon bichromated gelatine, according to strength of solution used 90 The Modern Methods of Carbon Printing. and the penetrating power of the actinic rays to which it is exposed. Thus, if a piece of sensitive carbon tissue be exposed to light under a negative, the entire surface of the film will be rendered insoluble, excepting where the negative was so dense as to entirely obstruct the passage of light. Upon this insoluble film of pigmented gelatine is formed the latent image, to a degree, varying in strength and density, according to depth of penetration and actinism or probably better said, power of insolubilization, of the light to which it was exposed, through the varying densities and gradations of the negative ; thus forming a picture of insoluble pigmented gelatine with all the delicate detail, strength and vigor capable of being produced by the negative employed. The strength and brilliancy of the resulting picture also greatly depends upon the state of solubility the tissue is in and the amount of coloring matter contained in the film, as well as the depth of penetration by the actinic rays of light. The surface of the pigmented gelatine adhering to the paper upon which it is coated, remains entirely soluble, and by bringing the surface of the film into intimate contact with a suitable support that will keep it intact, the paper may read- ily be separated from the film, by immersing the tissue in hot water, thus exposing the soluble surface of the gelatine to the action of the water, which dissolves the unaffected parts, and with it, washes away all the pigment contained therein, and in that manner, reveals the picture in strength and gradation according to the quality of the negative employed. The Modern Methods oe Carbon Printing. 91 Pert 111. CHAPTER 1. The; single; transfe:r proce;ss — pre;liminary re;marks. ' I'^HE development of carbon pictures by single transfer **• is very simple and devoid of all difficult manipulations, and it is well to be thoroughly familiar with and understand this method first, before attempting to master the more dif- ficult double transfer process. The pictures made by this process from ordinary nega- tives, are reversed, on account of the tissue being transferred and developed upon another support, usually paper, cellu- loid, or opal glass. This transfer is absolutely necessary on account of the image being formed on the surface of the tissue exposed to the action of light, which has consequently become entirely insoluble. Therefore, in order to effect the development of the latent image, it is necessary to transfer the tissue to an- other support and accomplish the development from the back, where the light has not penetrated and the gelatine remained soluble or unaltered. Carbon pictures are developed by means of hot water which permeates the paper or original support and makes soluble the unaffected parts of the gelatine, which then al- lows the paper support to be removed, thus exposing the image to the action of the hot water, which dissolves and washes away all the soluble parts, and with it the pigment or coloring matter it contained, and thus clears the. image and affects the development. 92 The Modern Methods of Carbon Printing. principle op the singep transfer process. If a pigment paper, which has been previously exposed to the action of light under a negative, is allowed to absorb cold water until it begins to flatten out, is brought into inti- mate contact with a prepared paper, or any plain surface impervious to air or water, such as celluloid, porcelain, china, etc., it will firmly adhere thereto during the process of de- velopment, providing the proper conditions pertaining to the sensitizing and drying of the tissue have been strictly ad- hered to; and it will dry down with a beautiful smooth sur- face, where it remains in permanent contact with the support. This is called the single transfer process on account of necessitating but one transfer and the image being developed on its final support. This process is free from all difficulties and has within recent years been employed almost exclusively by the major- ity of carbon printers of this country. In former years it was seriously handicapped on account of the pictures being reversed when printed from ordinary non-reversed negatives, for v'^ant of safe and expedient methods of reversing the negative film. This serious obstacle, which prevented the process from coming into general use long ago, and which always was one of the chief hindrances, to its success has finally been over- come by the use of the modern stripping plate and the many excellent methods of stripping and reversing the films of ordinary dry plates. The reversal of the negative film, which enables the car- bon printer to produce correct pictures by this method, greatly simplifies the carbon process and is a decided step in advance of the older methods employed in by-gone years. At the same tiine a great deal of labor and expense is saved, say nothing about the failures, vexation, and disap- The Modern Methods op Carbon Printing. 93 pointment the double transfer method if not very carefully managed, often entails. The manipulations necessary to accomplish the reversal of an ordinary negative film, are far less difficult and much easier to perform than the operations of the double transfer process. siNGLi: Transfer supports. The single transfer paper is supplied by the manufac- turer of carbon tissue in rolls of about thirty square feet, and in three different grades — thin, medium, heavy and rough. Ordinarily, this paper is coated with a substratum of in- soluble gelatine, which may be distinguished from the un- coated side, when dry, by its luster. This gloss is not notice- able when wet, therefore as a precaution, mark the back of each piece of paper before immersion. To make a good single transfer paper take Gelatine (hard) i ounce Water i6 ounces Chrome alum 30 grains Soak the gelatine in the water for an hour and then dis- solve by gentle heat. Dissolve the chrome alum in two ounces of water and add it, a little at a time, to the former solution, stirring it well at each addition. Filter, and coat with a camel’s hair brush or float the paper on the surface and hang up to dry. Besides the ordinary single transfer papers, there are several grades of drawing paper ; medium and heavy rough matt surface or crayon paper ; and the white and toned etch- ing papers, which are used for artistic effects. These are all procurable at the stock dealers but can be easily prepared in the studio, however. Take one ounce of hard gelatine 94 The Modern Methods of Carbon Printing. and soak it in 20 ounces of cold water for an hour ; then dis- solve it in the usual way, and add while constantly stirring, 40 grains of chrome alum dissolved in a little hot water. Coat the paper with a soft sponge or camel’s hair brush, and hang it up to dry. Let this support soak in clean, cold water for at least ten minutes before making the transfer. Should the paper show signs of softening or become pulpy in the alum bath, remove it and let dry; then again immerse it until all the yellow stain disappears. The celluloid or opal glass used for single transfer pic- tures, has a delicate matt surface and works well without a substratum when the tissue is new ; but to be perfectly safe, it is best to give it a thin substratum of insoluble gelatine : Gelatine (hard) 30 grains Water 32 ounces Chrome alum 50 grains Let the gelatine become well water soaked and dissolve it in the usual way; then dissolve the chrome alum in a little hot water and add it to the gelatine; thoroughly mix and filter through cotton. Flow the solution over the surface, or coat by dipping the celluloid or opal glass into the solution, and hang it up or place on a rack to dry. Celluloid or opal glass may also be albumenized with a ten per cent solution of albumen ; add a few drops of forma- lin and filter before use. Carbon pictures on celluloid or porcelain are very artistic and probably the most beautiful pictures produced by photographic means. The exquisite delicacy and softness of these pictures, lends them a charm impossible to obtain by any other method. Carbon porcelains, and especially the sepias are suscept- The Modern Methods op Carbon Printing. 95 ible to a wide range of artistic treatment, both in mono- chrome and color. A good quality of Baryta paper makes a very fine sup- port for single transfer pictures. This may be greatly im- proved by immersing it in the same solution applied to cel- luloid as a substratum. Matt surface Baryta paper gives a beautifully soft sur- face to carbon prints. A good quality of this paper is, how- ver, very difficult to procure. Cut the required number of supports to the correct sizes, always a little larger than the tissue, and if there are small pictures, a number of them may be mounted upon one piece of support and thus save considerable time in the develop- ment. The platino backing papers now on the market, if coated with an insoluble substratum, also make a splendid single transfer paper. syste;matic arrange:me:nt or trays^ tanks, and drved- OPING APPARATUS. A tank or large tray containing cold water at a tempera- ture not exceeding 6o° F., is placed to the left. This tray must be large enough to allow the operator to conveniently manipulate a print and support under water. Next to this, place the mounting tray with the squeegee board — providing a transferring machine is not at hand. Then comes the hot water tray or developing tank. This must be filled with water at a temperature of about ioo° F. and if old tissue has been used 105° or 110° F., will be necessary. A small gas or oil stove must be so arranged underneath the tank as to admit the temperature being raised or lowered at will. For a description of hot water apparatus see chapter on “Hot water supply.” 96 The Modern Methods op Carbon Printing. MOUNTING TRAY WITH SQUEGEE BOARD. To the right of the developing tank place another tank or tray of cold water not above 60*^ F. in which the soft gela- tine film is allowed to stiffen and is then thoroughly rinsed before placing them into the alum bath. The alum tank or tray, which must be rubber, porcelain or earthenware, is placed near. From the alum bath the prints are again transferred to a cold water tray in which they are freed from the alum, which then completes the developing operations. The size of the trays is immaterial, as long as they are large enough to suit the purpose of the operator. A few weights of convenient size must always be kept at hand. These are easily made of any size by procuring tin boxes from the druggist and filling them with molten lead. When the lids are replaced, they make veiy neat and handy weights. The above directions are for development on a small scale. The Modern Methods op Carbon Printing. 97 CHAPTER II. THE TRANSEER or mounting THE EXPOSED TISSUE UPON The support eor deveeopment. SQUEGEE operation. * I ^HE water used for this purpose ought to contain as lit- '*■ tie foreign matter as possible and should be filtered through muslin. The temperature must not be higher than 68° F. or lower than 58° F. in winter, and must be kept between 50° and 60° F. or lower in summer. Melted ice water is the proper thing in very hot weather. A few drops of a saturated solution of carbonate of am- monia added to the water will cause a better adhesion. This should be done with great care, however, a little too much might cause trouble. New tissue does not require this addi- tion ; it should be used only for tissue which has partly lost its adhesive properties. 98 The Modern Methods of Carbon Printing. The transfer must be made in a subdued or yellow light on account of the tissue being very sensitive to white light. After it has once become well water-soaked only a very little of the former sensitiveness remains and if all the bichromate is washed out or it has been immersed in a bath of antichrome, it will when dry, be entirely insensitive to light. When all the preliminary arrangements have been made, immerse the single transfer paper, celluloid, or of whatever nature the support may be, face up into the cold water tray on the left and allow sufficient time to elapse for the water to expel every particle of air in the paper. The heavy rough papers, especially, should be soaked for at least a half hour. If this is not done it may give rise to blisters and numerous little air-bells and cause considerable trouble later on. To be thorough in this matter, pass a camel’s hair brush or silken sponge over the prepared surface of the paper be- fore bringing it in contact with the tissue, to remove all froth or air-bells adhering to its surface. Now put on rubber gloves to protect the hands and pull down the yellow curtains, or subdue the light. ( A yellow light is best. ) Then take a piece of exposed tissue and, after removing the dust from both sides with a camel’s hair brush, immerse it face down into the same cold water tray with the support. The water must be at least two inches deep, so that the tissue may be turned over without exposing it to the air in that state. This is very important, especially during warm weather. If the tissue does not remain completely submerged, at least until it begins to flatten out, there will be danger of reticu- lation. It should also be borne in mind, that when carbon tissue is immersed in cold water, it will absorb water until The Modern Methods of Carbon Printing. 99 the film is fully expanded, and loses its adhesive properties. Therefore, to cause a good adhesion to the support, it must be brought in contact before it is fully saturated, or when it lies flat and is about to turn backwards. All the manipulations necessary to affect the transfer must be done quickly and without delay, for the time is limited. Carefully remove all the air-bells that gather on the face and back — while the gelatine is swelling — with a camel’s hair brush. If these are not removed they are apt to cause spots. If the tissue is allowed to remain in the water consider- ably longer than is necessary to flatten it out, it will absorb too much water, and will adhere to the support with diffi- culty or probably will refuse to do so at all. At the same time it is well to guard against being too hasty. If the tissue is removed from the water and squee- geed to a support too soon, it will keep on swelling, and the \vater drawn out of the pores of the paper by the gelatine film, is replaced with air, which in consequence gives rise to a froth or the tiny little air-bell’s when the tissue is developed in warm water. This trouble arises more frequently on a support like celluloid or opal glass, therefore the tissue that is to be transferred to these supports, should be allowed to absorb water enough to be tolerably well saturated, and then let remain under pressure a little longer than a flexible support. As previously stated, a few drops of liquid ammonia or a little boracic acid added to the water will cause the tissue to adhere better to the support, especially if the tissue is not in good soluble condition. But it must be done with care — too much would cause trouble, especially the ammonia. Some operators use carbonate of soda in preference to ammonia. 100 The Modern Methods op Carbon Printing. Tissue dried upon a collodion film requires the addition of a little hydrochloric acid instead of boric acid or am- monia. As soon as the tissue touches the water it will begin to curl inward which is caused by the paper swelling or ex- panding more rapidly than the gelatine film. The curling up is best prevented by keeping the tissue down to the bottom of the tray. The gelatine film absorbs the cold water and expands gradually until it flattens out, when it immediately begins to curl the other way ; this is caused by the gelatine having a greater expansion than the paper. The moment it lies flat is the proper time to bring it in contact with the prepared surface of the support, and must then be immediately re- moved to the squeegee board or marble slab, and brought into intimate contact. Should it happen that the film be- comes fully saturated before it can be brought in contact with the support, transfer and take as much moisture out of the paper with a good heavy blotter, as possible, and then put it under heavy pressure for at least an hour, when it may be developed without any trouble. Large prints are best brought in contact with the sup- port under water. This is done by either immersing the support first and then the tissue or by slipping the support under the tissue at the proper time, and then lifting the two adhering pieces out of the water and placing them upon the squeegee board. The advantage by this mode of proceeding is the avoidance of air interposing between tissue and sup- port, which is sometimes quite difficult to remove with the squeegee. When the tissue is taken from the water and placed upon the support, lay the latter down upon a level slab or squee- gee board, first ; then dash some clean water over it, and as The Modern Methods op Carbon Printing. 101 soon as the tissue flattens out, immediately take it from the water and holding it by the corners diagonally opposite, let down the center flrst and then drop the corners. As soon as the wet tissue is placed in proper position upon the support, apply the squeegee; gently, to expel all the air and water, and then cover it with a rubber or thin oil-cloth and apply the squeegee more vigorously, to bring the adhering pieces into absolute contact. Instead of using a rubber cloth, a thin sheet of trans- parent celluloid may be used. This allows the tissue and support to be seen, which is an advantage in removing air and moisture. It is also much easier applied and does not ruffle up and cause ridges like the rubber. A scraper made of a tbin, firm, but flexible rubber, or a thin, flexible piece of wood may be used in place of a squeegee, when using a sheet of celluloid in place of a rubber cloth. After a thor- ough application of the squeegee to insure the proper con- tact, remove the rubber or celluloid and with a clean, soft cloth or sponge, or with a good, heavy blotter, remove all the remaining surface moisture from the back and especially around the edges of the tissue. If this is not done, it will cause the prints to become patchy and uneven and the edges will sometimes wash up during the development and the pictures be partly ruined. A soft, heavy blotter and roller squeegee probably does the work speedier than it could be done in any other way; but the trouble with a great many printers, I find, is that they use the blotter too long — it really ought to be used but once and then allowed to dry before it is used again. The blotter being wet in patches will absorb the mois- ture unevenly, and in that way causes a mottled or patchy appearance of the picture ; therefore a blotter must only be used once or twice and then allowed to dry. 102 The Modern Methods op Carbon Printing. The adhering pieces of tissue and support are now placed between thin, dry blotters, stacked one over the other and allowed to rest under pressure for from fifteen minutes to an hour, according to the condition of the tissue and the kind of support used. A good sign of sufficiency is when the yel- low stain of the bichromate appears on the back of the trans- fer paper. A new tissue, in good, soluble condition, requires less time than an old and probably slightly insoluble one. A smooth paper support needs less time than a rough one or such supports as celluloid or porcelain. These should re- main under pressure considerably longer, especially in win- ter. Prints resting upon transfer paper or other supports awaiting development, must be kept in a moist, cool place, and never be allowed to become dry. Sometimes it is not convenient to proceed with the de- velopment as calculated. If such be the case, remove the blotters from between the prints and either replace them with a sheet of glass or stack them together and place in a damp, cool place until ready to proceed with the develop- ment. Tissue transferred to celluloid or opal glass will give finer results when left to rest for a half hour or even an hour TRANSFERRING MACHINE. The Modern Methods of Carbon Printing. 103 in a cool place. Or, if a refrigerator is not at hand, a. good and safe plan is to plunge the transferred prints after they have remained under pressure the proper length of time into cold water, where they may remain an indefinite time — several hours would do no harm, so the water is kept cool. The transferring machine (Fig. 21) referred tO' in a pre- vious chapter, works on the principle of a clotheswringer or burnisher. Two rubber rollers are placed one above the other, and the platform is so arranged as to lead the adhering print and support in between the rollers. The tissue and support are placed between two sheets of celluloid and are passed through after the manner of burnish- ing pictures, and if the machine is in good working order, the mounting is rapidly and neatly done. The slight mois- ture sometimes left around the margin of the tissue must be removed with a dry sponge or cloth. The employment of a machine affords a great advantage over the ordinary methods for rapidity and cleanliness, and ought to be employed in every well-equipped carbon plant. te;mpe:rature; and crimatic conditions. In the hot days of summer and in southern climes it is best to use a plentiful supply of ice when making the trans- fer. A nice, cool basement or cellar can not be overesti- mated, at such times — the lower the temperature the better the results. Ten minutes will be sufficient time for the transferred tissue to rest before development; a longer time (in hot weather) would be detrimental, unless the tissue be stored in a refrigerator or cool, damp place. In the development proper, climatic conditions cut no figure, unless it be excessively cold. A newly developed print is very easily ruined, if, when taken from the develop- 104 The Modern Methods op Carbon Printing. ing tank, it is rinsed in water at a very low temperature. Blisters, reticulation, and granularity are sure to follow. Water at about 6o° or 70° F. will answer the purpose best. instructions tor using rough drawing and etching PAPERS AS EINAE SUPPORT IN SINGLE TRANS- FER PRINTING. In the transfer of the printed carbon image from its original paper support to another surface, an essential fea- ture to success, is to secure intimate contact between the two. With smooth surfaces, such as glass, celluloid and many kinds of paper, this is a comparatively simple matter, but the difficulties encountered are greater when dealing with the rough harsh surfaces and unyielding texture of drawing and etching papers, now so much in vogue for their artistic breadth of effect. A modified treatment becomes necessary, and by follow- ing the method now recommended and based on practical ex- perience, the chances of failure are reduced to a minimum. The transfer paper should be cut slightly larger than the printed tissue to be developed upon it. The cut pieces should be immersed in a dish of cold water for about two or three hours before required for use. Shortly before commencing operations replace the cold water by hot (about 150° Fah- renheit) and allow the paper to remain in it for half an hour, the object being to render the transfer paper quite supple and to expel all air, which, in the shape of bubbles, might prove a detriment. The tissue printed in the usual way is immersed in cold water until limp. Now remove the transfer paper from the hot water, laying it face upwards on a smooth rigid surface, such as a glass or zinc plate, and thoroughly flood it with cold water. The soaked tissue is now carefully brought into contact The Modern Methods of Carbon Printing. 105 face downwards, a few light, firm strokes of the squeegee being required to expel any air-bells and secure complete adherence. The adherent tissue and transfer are then placed between blotting boards for twenty minutes to half an hour before development, which is conducted in the usual manner. The principal points to observe are : — 1. To remove the tissue from the mounting water as soon as it becomes limp. 2. To use a soft squeegee, firmly, but without too much force. 3. Remove the backing paper from the tissue as soon as it will readily come away. 4. In hot weather the alum bath used after development, to be kept cool. If the film appears at all tender after de- velopment it is best to allow the print to dry first and treat with alum afterwards. 106 The Modern Methods of Carbon Printing. CHAPTER III. HOT WATER SUPPEY. T IS usually thought by those not familiar with the developing ma- nipulations of the carbon process that it requires an abundance of hot JT* water for that purpose, and that it is I T' f » I necessary to construct elaborate and i I B I expensive apparatus and machinery i-— I Ba to furnish an adequate supply. This t is a false impression. While it will found good policy to always have in readiness more than a sufficient C[uantity, the supply need not be so great. For a couple of dozen small prints an ordinary kettle full heated on an oil stove will answer very well. For a professional who does a moderate amount of work a small tank, such as an ordinary wash-boiler, will furnish a plenti- ful supply. A small geyser constructed as follows, will be found an excellent contrivance for heating water in a con- tinuous flow direct from the hydrant. Into a stout tin or copper reservoir of cylindrical shape, having a firm, stout bottom to it, is placed a coil of thin copper or block tin pipe, so arranged as to let the water enter at the top, and passing through the coil, leaves it at the bot- tom. This arrangement is placed upon an ordinary stove, or may be heated with a gas or oil stove, whichever is the most convenient. INSTANTANEOUS WATER HEATER. The Modern Methods op Carbon Printing. 107 When wanted for use, fill the reservoir with water and when heated to a boiling point turn on the water and let run slowly — keep the water boiling. A steady stream of hot water will be supplied by this simple contrivance which may be led to the developing tank or wherever it is required. Besides being very convenient to move about, this piece of apparatus has the advantage over one having an iron pipe, coiled around the inside or outside of a stove, that the water passing through the lead pipe will not clog up with a rust or alkali sediment and stop the flow. There are a number of types of geysers, or instantaneous water heating apparatus of this style manufactured ; mostly with coils of iron pipe on the inside, or around the outside of furnace like arrangements or large stoves. These are suited for large carbon printing establishments where hot water is required in a continuous flow. The new instantaneous water heaters now on the market, have a capacity sufficient to supply enough hot water for or- dinary gallery use, and are cheap and very convenient. 1 108 The Modern Methods of Carbon Printing. CHAPTER IV. the; de;veivOpme;nt — preliminary remarks. A LL THE operations prior to the development of the ^ latent image, are exactly the same, no matter whether intended for single or double transfer, or what the nature of the support may be. DEVELOPING operation. The greater part of the single transfer pictures are de- veloped on paper, which is probably the cheapest and best to use for ordinary studio work, because it involves fewer ma- nipulations and is therefore less difficult to manage, and, with ordinary care, gives uniformly good results. The Modern Methods op Carbon Printing. 109 For the above reason it is especially recommended to those making their first attempts at carbon printing. There are, as I have previously stated, quite a variety of excellent supports that may be employed for this purpose, such as matt-surface celluloid, porcelain, china, opal glass, and the finer grades of baryta paper. For artistic effects, rough drawing paper and a paper supplied by the manufacturers of carbon tissue called etching paper gives fine results. Car- bon pictures on celluloid or porcelain are very beautiful, and at present are the popular fad among the swell people. The smaller sizes of carbon pictures, developed with clean-cut margins on the heavier grades of celluloid, are rich and elegant in appearance, and are quite ready for de- livery, unmouted. In that way they are excellently suited for the album, for which purpose they are greatly preferred to pictures mounted on clumsy cards. The double transfer method of development is employed for pictures printed from ordinary non-reversed negatives, from which it is expected to produce pictures having a cor- 110 The Modern Methods op Carbon Printing. rect or non-reversed position. To accomplish this, the exposed tissue is first transferred to a temporary or intermediate support, upon which it is developed, etc. From this tempo- rary support it is again transferred to a final support, which brings the image into its correct position. By the latter method, pictures may be transferred to al- most any kind of support having a surface smooth enough to allow the film to be brought in perfect contact therewith ; usually paper, opal glass, ivory, metal, wood, canvas, etc. THi: DEVELOPMENT. When the transferred prints have remained under pres- sure the required length of time, the following order of manipulations will be found necessary for the successful de- velopment of single transfer pictures : First immerse the adhering tissue and support into a tank containing water at about 70° F. and allow it to become well saturated, which will, however, take but a few minutes. During this time carefully remove all the air-bells that gather on the back of the tissue and also on the transfer pa- per, with a camel’s hair brush or sponge ; but never use pres- sure enough to cause spots on the picture after development. The tissue is immersed in cold water first, as a matter of pre- caution, for the reason that the most common fault with be- ginners in carbon printing is the tendency to use water too hot. The safest and best plan is to begin with water at about 80° F. and increase the temperature gradually, or, if after the transfer, the print has rested under pressure for fifteen or twenty minutes, is immersed in cold water for a half hour or even an hour, it will develop very readily in water of a moderate temperature, providing of course the tissue was in good, soluble condition. Sometimes when the tissue is immersed in water of a The Modern Methods of Carbon Printing. Ill high temperature at the start, the film will be totally cov- ered with minute little air-bells, caused by the sudden expul- sion of air from the tissue by the hot water, of which usually enough become imprisoned to cause trouble. It is for this reason that we first immerse the transferred tissue in cold water ; it permeates the paper and film and thus expels all the air that is present, but does not develop the im- age. At the same time it dissolves and washes out a good part of the bichromate and in that way prevents any trouble that might arise from that source. It is prudent to start the development in water of about 90° F. and raising the temperature gradually until the dark pigment begins to ooze out around the edges of the tissue, which is a sign that the gelatine has become sufficiently solu- ble to allow the paper or original support to be removed from the back of the tissue. This takes place according to the state of solubility the tissue happens to be in. If in good soluble condition, usually at 95° or loo*^ F., otherwise at 105° or iio*^ F. or higher. Should this sign fail to appear within ten minutes raise the temperature gradually until the desired effect has been produced, which should be between 100° and 110° F. and at the highest at 130° F. When the pigment begins to ooze out freely all around the edge of the tissue the paper may be safely removed from the gelatine film. At this stage the tissue has been rendered almost en- tirely insensitive, and light may now be freely admitted, to enable the operator to' clearly observe the progress of the developing image, as it gradually emerges from beneath the dark mass of pigmented gelatine. The water in the developing tray must stand deep enough U2 The Modern Methods of Carbon Printing. to allow the tissue to be easily and safely handled under its surface. REMOVING THE PAPER When removing the paper or original support from the pigment film, place the fingers of the left hand firmly upon the upper margin of the support, and with the right hand take hold of the upper left hand corner and with a gentle, but steady motion, remove the paper by pulling it diagonally across to the lower right-hand corner. Do not hurry this operation, but proceed cautiously, and if the paper is re- moved with difficulty, on spots, wait patiently until the gela- tine becomes sufficiently soluble, and then proceed carefully until the paper has been removed. Usually, when the tissue is in good soluble condition, the paper is removed with ease, in fact it fairly drops off. The paper thus removed has served its purpose and is of no further use. Fold it, gelatine side together, and throw it aside. The film at this stage must remain carefully submerged, and not allowed to come to the surface until most of the bichromate has been washed out, and the development of the image has well progressed. The Modern Methods of Carbon Printing. 113 If this is not done, and the film exposed to the air for any length of time, reticulation or a very fine froth, causing tiny little air-bells, will cover the entire surface, and \yill totally ruin the picture. Sudden changes of temperature must also be carefully avoided. Cold water poured upon a print at this stage will cause a bad reticulation, or granulation of the film. The now exposed mass of pigmented gelatine is immedi- ately acted upon by the warm water, which gradually dis- solves all the unaffected gelatine, and with it, washes away the pigment it contained ; thus revealing the image as the development progresses. When the removal of the paper, or original support has been affected at a temperature of about loo'^ to 105° F., it is prudent, at this stage of the development, to lower the temperature of the developing tank to about 90® F. until it is seen from the action of the hot water, whether the tissue was correctly exposed or not. If the image begins to clear up very rapidly the tissue has been under-exposed, and if it is possible to lower the temperature, quickly, the print may be saved by developing it in water of about 80*^ F. When the removal of the paper from the back of tissue which was known to be in good soluble condition before ex- posure, takes place with difficulty, even in water of a high temperature , it is evident that the tissue had been rendered insoluble, or partly so, from over exposure or the continu- ous action of light. When this is found to be the case, raise the temperature gradually until the paper will strip without injury to the film, and then lower it to about 90^^ F. until the bichromate has been well washed out. Then again, raise the temperature gradually to a degree that will affect the solubility of the gelatine sufficiently to free the image of its superfluous pigment. 114 The Modern Methods of Carbon Printing. When hot water at 150° F. fails to have the desired ef- fect, the only remedy left is to apply an alkali; such as borax, ammonia, carbonate or bicarbonate of soda ; or, the chlorides of sodium, magnesium, barium, or zinc. These must, however, be used with care, especially those having an alkaline reaction, such as ammonia, on account of their liability of producing granularity or reticulation. The safest way to use these chemicals is to employ them in a very mild form, and let the action be long. I greatly prefer carbon-reducine to any of the alkalies on account of its mild and safe action. Common salt may be used to ad- vantage, but chloride of magnesium gives finer results. The judicious use of the chemicals named, especially the carbon- reducine, will, in the majority of cases accomplish the de- sired results. Hot water applied locally with a vessel having a long spout to it or with a small spray will effectually clear up dark masses of clogged up shadows, and will materially aid a tardy development. If the tissue has been prepared under favorable condi- tions, and the exposure was fairly correct, the gelatine will readily yield to the action of warm water, and will allow the paper to be easily removed. The image will clear up rapidly and the development will be accomplished without the least difficulty. The resulting pictures will appear with brilliant high lights, fine gradations, beautiful half-tones and soft, velvety shadows. Allow the picture to remain in the developing tank long enough to completely dissolve away the soluble gelatine and wash out all the loose pigment. When this has been thoroughly done, pour some clean water of about the same temperature as that of the developing tank, over the picture and allow it to drain. If there is no The Modern Methods of Carbon Printing. 115 coloring- matter in the drip, the development may be called complete. The newly developed print is then placed into a tray of clean, cold water (at about 60*^ F.) for a few minutes to stiffen the film, before it is put into the alum bath. It is well to be reminded here, that to obtain bright, clear pictures from thin, delicate negatives, it is necessary to em- ploy perfectly fresh tissue, sensitized on a bath of medium strength ; old tissue employed for negatives of this kind will yield flat, sunken-in appearing pictures ; and that dense, hard negatives requires tissue several days old, and must be sensitized on a bath of good strength. If a tissue suitable for the latter class of negatives is not on hand, expose a piece of new tissue to a diffused light for a few seconds to cause a slight insolubility over the entire surface. This will soften the harsh lights and will prevent the detail from be- ing destroyed by the hot water, and a soft, delicate picture will be the result. On the other hand, if a fresh tissue would be used, with- out taking these precautions, a harsh, chalky, black and white picture, devoid of all detail or half-tones would be the result. One more important item should be mentioned here, namely ; the difference in solubility of the different pigments, or coloring matter used in preparing the tissue. Some pig- ments are much more soluble than others and dissolve and wash away quite freely. When this is found to be the case due allowance should be made therefor by prolonging the exposure of the tissue while printing under a negative. Ex- pert carbon printers when using tissue of this kind, usually overprint a little, and towards the end of the development employ Avater of a high temperature. In this manner the resulting pictures will possess finer gradation and will ap- 116 The Modern Methods of Carbon Printing. pear more brilliant throughout. This will be found espe- cially true where there are masses of fine lace and white draperies. During the development care should be exercised in ma- nipulating the prints not to allow the hands to come in contact with the soft, gelatinous surface, for it is very easily injured when in that condition. It should be borne in mind that carbon prints always dry down a little darker than they appear in a Avet state, therefore, in order to have the proper intensity they should appear just a little lighter Avhen in a wet state. The Modern Methods of Carbon Printing. 117 CHAPTER V. MARTON's PDR^ElCTION DEVELOPING TRAY. IV /r OST unsuccessful attempts at carbon printing may be attributed to the lack of proper developing arrange- ments, or the use of crude and impractical methods and apparatus, such as are employed by carbon printers of the old school. MARTON’S PERFECTION DEVELOPING TRAY. For the ordinary run of studio work there has never been a better arrangement known than our Perfection De- veloping Tray. This is probably the most practical piece of apparatus ever invented, for ease of manipulation and rapid development of carbon pictures. It may be constructed of copper, which makes the lightest and neatest looking tray; but, where economy is an object, galvanized iron will an- swer the purpose just as well and will cost less than half as much. 118 The Modern Methods op Carbon Printing. The size is immaterial ; it may be large or small, to suit the purpose of the operator. Where carbon printing is car- ried on extensivel}^ it is of course, necessary to have a num- ber of these trays made in various sizes. Referring to the above cut, it will be seen, that one end resembles an ordinary tray ; attached to the opposite end is a reservoir A, which must be made deep enough to hold a good quantity of water, and be rounded at the bottom, so that it may be easily tilted or rocked, to agitate the water. A small gas stove, placed under the reservoir, will serve to heat the water and keep it up to any desired temperature during de- velopment. At C, where the tray joins the reservoir, is a narrow strip or bar ^ of an inch high ; this keeps the zinc plate that holds the pictures, in place, and at the same time forms a tray deep enough to keep the prints under water. size print by the four corners ; there may be one or a dozen, owing to their size. The transfer paper or celluloid, must of course, all be of a uniform size. Small pictures are placed close together as shown in the cut, and one clip holds two prints, where they join. These clips should not be of the light flimsy kind, but should be well made and have a good, strong spring. Leger & Son, Chicag'o, make the best clip for the purpose, or they may be bought in any window-display fixture store. retainer chip. The cut to the right shows the retainer or lit- tle clip used to hold the pictures in place. These are soldered onto a sheet of zinc, a suitable distance apart, to hold any given The Modern Methods op Carbon Printing. 119 c A The above cut shows the same tray with a reservoir at each end — Nos. i and 2. These are connected by pipes E. E. At A. we have a narrow bar, a ^ or ^ inch high, which forms a shallow tray B. B. The prints for development are placed into the tray as shown in these cuts. The water is dipped out of reservoir No. 2 and poured into the funnel shaped trough C. from which it flows down over the pictures with enough force to carry all the soluble gelatine and pigment with it, into reservoir No. i at D ; where it is again warmed up to the proper temperature, and finds its way back into reservoir No. 2. From which it is again poured over the prints — and is thus repeated until the pictures are developed. The funnel or trough may be supplied with muslin or cheese cloth, to filter or catch the coarser particles of pigment or dirt that may be floating in the water. To use the above apparatus, transfer the prints in the usual way; if on paper, let rest for ten or fifteen minutes; on celluloid, twenty or thirty minutes (in summer, cut the time short.) Then place them in rotation in cold water for at least ten or fifteen minutes — but an hour will do' no harm. 120 The Modern Methods op Carbon Printing This will expel the air and make the gelatine easily soluble, and consequently a quick development. Dip the water from the reservoir and pour it over prints at the upper end of the tray; from whence it flows down over the prints, back into the reservoir. Repeat, and rock the tray to agitate the water. An instructor of carbon printing recently paid me a visit. He had traveled extensively and had charged fifty to seventy- five dollars “a clip" as he called it to “put the boys on.” During his conversation he said, “Now you know very well, that all a good carbon printer can do is to get off fifteen or eighteen good prints a day, and it hustles him to do that.” Before he could say any more, I motioned for him to follow me and I took him to the developing room, where, as it hap- pened, I just had a lot of carbon prints transferred, ready for development. I got out my perfection developing tray and filled the reservoir with warm water ; then I took down a retainer for 1 6 cabinet pictures and filled it with the transferred prints and started to develop. In a remarkably short time, I had sixteen sparkling car- bon prints on the plate. My visitor Avas dumbfounded, and when he regained his speech, he exclaimed, “Sixteen, by thunder, and every one perfect, and you never touched them !” He then began to wonder why in the world he had never thought of such a simple arrangement himself. He felt just like bumping his head. Here he had worked and worried for twenty years over one little picture at a time, which, in the majority of cases, had to be made over to get a perfect print. He asked my consent to use the developing tray, and with a few other pointers he went away rejoicing. There are hundreds of professionals Avho are plodding The Modeen Methods op Cakbon Printing. 121 along in just the same way — were probably taught by just such a fellow as the one that called on me. THD pi;rfe;ction ve^rticar de;ve:roping tank. For a carbon plant or work on a more extended scale, the vertical developing tank (Fig. 28), is probably the best piece of apparatus ever invented. It lessens the developing manip- ulations to a great extent and makes it possible to develop two, three or five dozen prints, simultaneously, without splash or muss. This is a great advantage over the old method and en- ables the printer, not alone to turn out a vastly greater num- ber of prints in a day, but his work will be greatly superior, and the loss of prints from over-exposure will be reduced to a very small per cent. A great number of carbon printers in this country and in Europe, speak very highly of its efficiency and have permanently adopted it for their establishments. A glance at the above diagram will give a clear idea of its construction. The vertical tank proper is arranged to the right ; on the left or slanting side, is placed a movable plat- 122 The Modern Methods of Carbon Printing. form hinged at the end of the tank, and is so arranged as to allow the end projecting into the tank to be raised and low- ered at will. The water supply pipe is arranged at the end and sides of the deep part of the tank, and is fed by a double pipe ar- rangement leading from the hydrant and hot water appa- ratus. By means of the faucets, water at any desirable tem- perature may be supplied to the tank. The water enters at the top and passes down and out through the opening at the bottom. A waste pipe leading from this opening is so ar- ranged as to keep the water up to a certain level while the pictures are in process of development. When this apparatus is put to use it is first filled with water at about 90*^ or 100° F. and the platform raised to the level. Work is commenced by taking the transferred prints from the cold water tank and placing the same into the reser- voir of the developing tank, where it remains until the pig- ment begins to show signs of softening. When the dark pig- ment begins to ooze out freely around the edges of the tis- sue, it is transferred to the platform of the tank, where die original support is removed from the tissue. The movable end of the platform is then detached and allowed to drop down into the water, which enables the operator to remove the print now resting on its new support to the deep end of the tank, where it is suspended in a vertical position, without necessitating its removal from the water or exposing it to the atmosphere in that condition. The development of carbon pictures resting upon paper or thin celluloid supports is done by fastening the transferred prints on sheets of tin or zinc, having spring clips or retainers by which to fasten one or a dozen prints, as the case may be, and are so arranged that they may be suspended from fasten- The Modern Methods op Carbon Printing. 123 ings on a bar placed across the tank. All the transferred prints are treated in exactly the same manner, and when the last piece has been suspended, the water is turned on quite briskly. The force or downward flow of the water washes away the bichromate and carries down with it all the soluble gelatine and the coloring matter contained therein, and thus clears and develops the image in the most perfect manner. As soon as the bichromate has been well washed out and the image begins to clear, the picture may be lifted from the water, to observe the progress of the development. If some of the prints show signs of under exposure, lower the tem- perature to a suitable degree until all the weak prints have been developed, which are then removed to the cold water tray or tank ; and the temperature again raised to a degree suitable to complete the development of the remaining prints. Should any of the pictures be much too' dark or require local development, place them into a perfection developing tray and apply water of a high temperature, to those parts that need clearing. After giving this piece of apparatus a fair trial, its advantages over the old method will be appar- ent. Aside from being cleanly, it lessens the labor by short- ening the development to a wonderful degree ; then, too the pictures are not liable to be injured by handling during the process of development. When once suspended in the tank they are not disturbed, and need no further attention, (unless there are some that are undertimed,) until development is complete. RETAINER, 124 The Modern Methods of Carbon Printing. ARRANGEMENT OF TRAYS, TANK AND HOT WATER APPARATUS. The Modern Methods op Carbon Printing. 125 VERTICAL TANK. iron does very well for Whenever the vertical develop- ing tank is employed, it is neces- sary to also have vertical tanks in .which to suspend the developed pictures. These tanks may be made of wood and lined with rubber or oil- cloth for the alum bath, for large pictures; for small work, the or- dinary negative fixing bath holder may be used. Tin or galvanized hot or cold water tanks. 126 The Modern Methods op Carbon Printing. CHAPTER VI. thi; de;ve:lopme:nt op carbon pictures on heavy cellu- loid^ porcelain or opal glass. The best and most expe- dient way of developing car- bon pictures on heavy cellu- loid or porcelain glass, is by the tank method. These tanks or bath-hold- ers are made similar to the tanks commonly used for hypo or negative fixing baths, and are probably the most convenient piece of ap- paratus that could be devised for the purpose. They may be made any size, large or small, to suit the purpose or convenience of the operator. The 4x53^ and 5x7 plates are probably the most popular of the smaller sizes, and for these the ordinary fixing baths may be made use of, especially for the alum and clearing solutions. The hot, as well as the cold, water tanks are best made of galvanized iron or copper, and can be had at a small ex- pense. The mode of development is very simple. About 15 or 20 minutes after the transfer has taken place, fill a tank with clean, cold water at about 6o°F. and drop the plates or cel- luloid into the grooves. See that no air-bells gather on the ALUM TANK. The Modern Methods of Carbon Printing. 127 back of the print when first introduced. It is immaterial how long the prints remain in the cold water before development ; ten minutes, an hour, or even two or three hours, will do no harm ; but in a prolonged immersion, it is best to change the water at least once or twice, to get rid of the bichromate. The development may then take place to suit the conveni- ence of the operator. When ready to begin fill a tank with water at about 105° F. and then take the transfers from the cold water and drop them into the grooves of the hot water tank. If there are any signs of froth or air-bells gathering on the backs of the prints, pass over each transfer with a brush or soft sponge. When the gelatine softens and the pigment begins to ooze out quite freely, around the edges of the print, remove the plate to a tray containing water at about the same tem- perature of the hot water tank; then carefully remove the paper from the film and immediately return the plate to the tank. Proceed in like manner with all the other plates, then 128 The Modern Methods op Carbon Printing. let them remain in the hot water until the unaffected gelatine is well dissolved; then take them again in rotation, and place them into a perfection developing tray of a suitable size ; a tray-shaped arrangement designed purposely for clearing carbon pictures of their superfluous pigment. If the tissue happens to be in a good, soluble condition, a few dashes of warm water, dipped from the reservoir, will suffice to quickly clear up the print, and complete the devol- opment. Should it act a little slow, however, raise the tem- perature of the water gradually, to a degree that will pro- duce the desired effect. Over-printed pictures may be reduced by a continuous soaking in hot water ; should this remedy fail, however, add a little of a lo per cent solution of carbon reducer to the hot water. Be careful of an overdose of this reducing agent ; add it slowly, and in small quantities until the picture has sufficiently cleared up. The action may be stopped immedi- ately by plunging the plate into clean water at a moderate temperature. Should this reducing agent fail to have the desired effect, then the picture is beyond redemption, and may as well be discarded. Clean the plate while the film is still in a soft condition. After the development, rinse the pictures well in clean, cold water and place them for five minutes into a well-filtered solution (3 per cent) of common alum. Rinse in five or six changes of perfectly clean water and place them on a rack to dry. Should the pictures lack in clearness, or pureness of tone when taken from the alum bath, immerse them for five minutes in a three per cent antichrome clearing solution ; then rinse and place them on a rack to dry. The Modern Methods of Carbon Printing. 129 CHAPTER VII. CARBON PRINTING IN HOT WEATHER. TOURING the hot days of summer the carbon printer often finds it a very difficult task to obtain satisfactory results by ordinary means. He is therefore obliged to resort to various methods to overcome the difficulties brought on by an excessively high temperature. In the first place, we must have a room that is reason- ably cool and dry in which to sensitize and dry the tissue; the latter must be done in as short a time as possible. The printing must be done in the shade, or by electric light, for which the aristo lamp comes into splendid advantage now. Thin negatives, but snappy and full of details, are the proper thing for hot weather printing ; they require a weak bichro- mate bath, and can be easily and quickly printed in the shade. The developing may be done in a cool basement even though it be a little damp; but if such place is not available, plenty of cool water (ice water) is all that is necessary. In extremely hot weather, the sensitizing bath must be weak in bichromate, and contains a good per cent of ether and alcohol with a few drops of a lo per cent solution of bi- chloride of mercury added. The tissue may also be coated with plain collodion to prevent reticulation. This is done by fastening the tissue to a tablette or suitable board with thumb tacks. Coat it with a i or i^ per cent collodion; flowing the collodion over the tissue after the manner of coating a negative plate with varnish. Immediately after the collo- 130 The Modern Methods of Carbon Printing. dion has set, take the tissue from the board and immerse it in clean, cold water: agitate the water until all the greasy lines have disappeared and the water flows smoothly over the surface. It is then taken and hung up or placed, face up, on a board or plate of glass, so inclined as to drain the water well from the surface ; for the squeegee cannot be employed on account of the very tender surface of the collodion film. After the tissue has become perfectly dry, go over the surface with a waxing solution, after the manner of waxing a paper temporary- support ; this must, however, be polished in a way that nearh’ all the wax is rubbed from the surface. The paper is then ready to be sensitized the next day. The sensitizing is done in the usual manner with the ex- ception that the bath is much weaker and is used at a very low temperature. The squeegeeing is omitted on account of the collodion film, and the tissue is hung up in a current of pure air to dry. Tissue prepared in the above manner is of course in- tended for double transfer pictures; and must therefore, after exposure, be transferred to a waxed temporarv’ support for development. Another, and probably a more simple method is the fol- lowing : A perfectly clean glass is coated with ox gall i part, water 5 parts, and is allowed to dry. "Wlien dry, coat again with albumen i oz., water 10 oz., bichromate of ammonia i dram. When dry, expose the plates to a strong light for about 10 minutes or longer, to make the film insoluble, and the plate is ready for use. When the pigment tissue is taken from the sensitizing bath, it is squeegeed against the albu- menized plate, which is then placed in a good draught to dry. ^^’hen dr}’, it will strip from the plate with a smooth, bril- liant surface and will give splendid contact to the negative. The Modern Methods of Carbon Printing. 131 Tissue prepared in this manner is intended for single transfer pictures ; The insoluble albumen film over the sur- face of the tissue will hold and preserve all the details of the negative and will effectually prevent reticulation and granu- larity. For the best results, use the bath containing ether and alcohol and make up a new bath for each bath of tissue. Dry the tissue in a drying box having an exhaust fan at- tached to it. For quick or immediate work in hot weather, the new chromic sensitizer referred to in Chapter XI, page 50, is probably the best and most convenient to use. The tissue dries out very rapidly, and is ready for printing just as soon as dry. Make the transfer in a tray deep enough to allow all manipulations, such as turning, brushing over the surface of the film and attaching it to the support, to be done under the surface of the water. Give the tissue time to fully ex- pand or until it begins to turn backward, before placing it upon the support. The methods given above are, of course, extreme meas- ures, which may be resorted to should the ordinary methods fail to give satisfactory results. 132 The Modern Methods of Carbon Printing. chapter Vlll. THE USE OF ACIDS AND ALKALIES IN DEVELOPMENT. CIDS and alkalies are frequently made use of in the development as well as the reduction and clearing up of over-printed carbon pictures. Hydrochloric vfc/c?.— Over-printed carbon pictures that will not yield to the action of hot water, if first treated to a bath of hydrochloric acid in a one per cent solution, will then readily yield to the action of hot water, and the desired re- duction will be easily accomplished. Sulphuric Acid acts a little more energetic than hydro- chloric, but the general effect is about the same. Nitric Acid is sometimes used for the same purpose, but attacks the gelatine rather forcibly. Therefore, on account of the milder action of hydrochloric or sulphuric acids, these are preferable. Acetic and Citric Acids give similar results to those ob- tained with mineral acids ; but in a very diluted state, their action is much slower. A strong solution of acetic acid will, however, develop a carbon picture in a cold state. Liquid Ammonia attacks bichromated gelatine quite forcibly and must be used with care. A few drops added to the developing water will clear the image very rapidly. Carbonate of Ammonia acts similar to the liquid am- monia, but its action is considerably milder and much slower. Carbonate of Soda is a little milder in its action than ammonia, and has certain good qualities that recommend it to the careful worker. A one, to three per cent solution works moderately and is veiy easily controlled — the action may be The Modern Methods of Carbon Printing. 133 stopped at a moment’s notice. It is therefore preferable to ammonia. Caustic Potash and Soda quickly reduce a bichromated gelatine film, and therefore on account of their too forcible action, are unsuitable as reducers for over-printed carbon pictures. Chloride of Sodium is very mild in its action on exposed carbon tissue and is mostly used to clear up slightly over- printed pictures. Borax and Borasic Acid have a very mild effect on car- bon prints, and the action is very easily controlled. Chloride of Lime is highly recommended as a reducing agent for over-printed carbon pictures, but many printers prefer sodium chloride for a slight reduction. The action is milder and better under control. Sulphocyanide of Potash and Ammonia will develop pig- ment tissue in cold solution, but the action is slow and un- certain. A small addition to the hot developing water will aid materially in cleaning up and forcing a tardy develop- ment. Barium Chloride in a cold aquaous solution will develop carbon pictures but must be used with great care and judg- ment. If used to excess it will dissolve the entire film. Bichromate of Potash Avill dissolve the unaffected gela- tine, but its use is restricted more to photo-mechanical print- ing than the carbon process. In conclusion, it is well to mention that both acids and alkalies — the latter especially, must be used sparingly — in weak solutions and at a rather low temperature, to avoid reticulation or granulation. 134 The Modern Methods of Carbon Printing. GENERAL remarks. The most perplexing difficulty met with by the beginner in carbon printing, is insolubility of the tissue. This vexation will prey upon his efforts until he learns by practical experience, how to take proper care of his bi- chromate solutions and how to protect the sensitive tissue from foul air and dampness, and against exposure to such light as would set up a hardening action, no matter how faint it appears to be. While a slight exposure to white light would probably not prove injurious to the printing qualities of tissue in- tended for immediate use, it is well to bear in mind that the action is continuous; no matter how silght the exposure appeared to be, it will in time, penetrate the whole film and cause total insolubility. A very frequent cause of insolubility is the excessive use of — and sometimes a poor quality of — bichromate, in the sensitizing bath. It is best to use only the chemically pure and renew the solution frequently. The strength of the bath should be used with due regard to temperature and climatic conditions, and, whep employed at a high strength, the superfluous solution must always be carefully removed from the film before drying, by squeegee- ing it down upon a clean glass plate ; and from the back by the use of a good blotting paper. Drawing the tissue over glass rods must only be resorted to when the temperature of the solution is low (45^ F.) in cold weather. Slow drying in a warm, damp atmosphere is also a fre- quent cause of insolubility. , The air should be kept in motion and a medium to absorb moisture employed. Another source of trouble the inexperienced carbon The Modern Methods op Carbon Printing. 135 printer has to contend with, and one that often tries his mettle, is the reticulation and granulation of the film, and the pest of blisters or tiny little air-bells that sometimes cover the entire surface of the picture, both single and double transfer. Reticulation is brought on through various causes. Dry- ing the tissue too rapidly and leaving it exposed to the in- fluence of foul air or gases, is a common cause. Making the transfer in water of an unsuitably high temperature, and not allowing the tissue and support to remain in contact long enough before development, is another. The cause of the most frequent occurrence of this trou- ble, however, is found in the sudden changes of temperature that take place in the water of the developing tank. Always raising or lowering the temperature gradually, is the obvious remedy. To avoid reticulation in hot weather, do not forget to add lOO grains of salicylic acid or a few drops of a ten per cent solution of bichloride of mercury to the sensitizing bath. When used at a low temperature, and the tissue is dried out quickly, no trouble from this source need be expected. Granulation is frequently the outcome of an excessive or careless use of alkali in the sensitizing bath or developing tank. A very strong alum bath will also cause a similar trouble. Blisters and minute little air-bells are another source of annoyance that will puzzle the novice considerably during his first attempts at carbon printing. These little pests appear from various causes, and may easily be remedied. Blisters occur most frequently on single transfer paper and are caused mostly by creasing or break- ing the paper through careless handling, and from the lack of thoroughness in making the transfer. If sufficient pres- 136 The Modern Methods of Carbon Printing. sure is not applied in using the squeegee, to completely ex- pel all air from between the tissue and support, a few blis- ters may always be expected. A pin carefully introduced through the paper at the back is the only remedy. In trying to light up dark parts by local application of very hot water, is another source of blisters. This variety usually ruins the picture totally. In the greater number of cases the cause of the minute little bubbles or air-bells may be looked for at the beginning of the transfer. If the tissue is mountedaipon the support, before the film has had time to absorb sufficient water to cause it to lay flat, it will keep on swelling, and, while in the act of expand- ing it will absorb the water from the paper support, which in turn is replaced by air. This air, drawn into the pores of the paper, lodges close up to the film, and when the tissue is placed in warm or hot water at the be- ginning of the development, it immediately expands in ac- cordance with the temperature of the water, and when it is removed from the back of the tissue the film will then ap- pear covered with a froth. This froth may safely be at- tributed to the absorption of air into the pores of the paper during the expansion of the gelatine film, and is the direct cause of the little air-bells that cover a part or the entire surface of the picture. To radically expel the air from the pores of single trans- fer paper, place it in clean, cold water five minutes or longer, and then lay it face down upon a smooth, clean surface, cover it with celluloid or rubber cloth, and apply the squeegee with considerable pressure. Return it to the cold water tray face up and transfer the tissue to its surface. A print absolutely free from .''ir-bells will be the result. The Modern Methods op Carbon Printing. 1.37 Still another cause of the little air-bells is the presence of air in the pores of the tissue, which has been left adhering to the support for a considerable length of time before de- velopment. When tissue in this condition is placed into the develop- ing tank the hot water will cause the air to expand and a lot of blisters or air bubbles is the result. A safe and easy remedy for this trouble is tO' place the tissue into a tray of cold water for a few minutes, or longer if necessary and let the gelatine swell gradually, which will expel the air and the trouble will be avoided. Another cause that will produce the same effect, is letting the tissue rise above the surface of the water before it has been freed from the bichromate and superfluous pigmented gelatine, at the beginning of the development. It must, therefore, be carefully kept under the surface until pretty well developed, when it may be taken out of the water and the small rose applied for local development. When developing in the ordinary way, rock the tray or agitate the water in some way; otherwise the picture will be covered with little black specks. It often happens that the tissue absorbs water more rap- idly than usual and before the transfer can be effected it has absorbed too much. Whenever this happens the squeegee must be vigorously applied and the mounted print put under pressure for a longer time than usual. 138 The Modern Methods of Carbon Printing. chapter IX. REDUCTION OE CARBON PICTURES THE AEUM BATH CEEAR- ING SOLUTIONS ElNISHING. TT FREQUENTLY happens, that, from various causes, and more especially in summer time, carbon pictures will remain too dark in spite of any ordinary remedy that may be applied. Such pictures may be redeemed by resorting to any of the following methods : Carbon Reducine, is a chemical compound now in com- mon use in every carbon printing establishment, and can be highly recommended as a reducer for carbon pictures ; if used with judgment and care, its action is mild and safe and can always be depended upon, no matter how dark the pic- ture. The action may be stopped at a moment’s notice by simply immersing the print in clean, cold water. Make up a ten per cent solution, and dilute it according to the action desired and filter. Immerse the print into the cold solution until the proper reduction has taken place. Let the action be mild, which of course, takes time (several hours) and the picture will clear up gradually and to the best of satis- faction. Wash well in cold water and dry at a moderate temperature. If a more rapid action is desired, use hot water and add the reducer, a few drops at a time, until the desired reduction has taken place ; then wash in cold water and immerse in the alum bath. Another good reducer for carbon pictures, is sulphocya- nide of ammonia, but it is considerably more expensive than the reducine and must be handled with care on account of its poisonous nature. Dissolve one ounce of sulphocyanide The Modern Methods op Carbon Printing. 139 of ammonia in lOO oz. of pure water and add one drop of liquid ammonia. Immerse the print and rock the track until it is sufficiently reduced. If the action is not too rapid, the image will clear up nicely without shoA\dng any granularity or in any way effecting the quality of the picture. Persulphate of ammonia is another very effective remedy for carbon prints that remain too dark. To 32 oz. of pure water add 2 dr. of sulphuric acid c. p. To this add 125 grains of persulphate of ammonia ; immerse the dark print in this solution for a half hour and then proceed with the development in hot water as before. When sufficiently re- duced, treat the print to a 5 per cent solution of sulphate of sodium and rinse in clear water. Prof. R. Nemais recommends an acid permanganate of potash reducer : Permanganate of potash 0.5 gram Sulphuric acid C. P i c.c. Water 1000 c. c. Add the above solution a few drops at a time as may be required to the developing water, and observe closely the action it has on the gelatine film. When sufficiently reduced, rinse and clear the stain in a i per cent solution of oxalic acid. Bicarbonate of soda is used by many carbon nrinters to reduce over-printed carbon pictures, when water at a high temperature fails to have the desired effect. Before the introduction of carbon reducine, a favorite reducing agent in many establishments, was chloride of lime. A little of a saturated solution added to the developing wa- ter will usually have the desired effect. Its action is very mild and it does not cause softening or granularity of the film like some of the other chlorides. Use at a low temperature and let the action be slow. 140 The Modern Methods op Carbon Printing. THE ALUM BATH CLEARING AND FINISHING. When the development of a carbon print is complete, immerse it in cold water for about five minutes, and then into a solution of alum and sulphite of soda ; for the purpose of hardening the film and removing every trace of ‘yellow- ness caused by the bichromate still remaining in the film and support, which, if it were not thoroughly eliminated, would be a great hindrance to the permanence of the picture. On account of the extreme solubility of bichromate salts in a solution of sulphite of soda and common alum, a three or four per cent solution is usually employed by most carbon printers for this purpose. Dissolve three ounces of common potash alum (pow- dered) and two ounces of sulphite of soda in lOO ounces of soft water, and filter well. If hard water is used, add a few drops of sulphuric acid, to clear the solution before filtering. An immersion of about lo minutes will be sufficient to re- move all traces of bichromate, and will thoroughly harden the film. Heavy, rough supports require double the time that thin ones do ; and heavily coated baryta paper requires at least an hour to eliminate all traces of bichromate in the film. Adien using a plain alum bath it is advisable to use none but fresh solutions for each batch of prints. A two per cent chrome alum solution may be substituted for the ordinary potash alum, if a thorough induration of the film is desired. This bath will make the film very hard and tough, and much less liable to injury than if the former had been used, but the elimination of the bichromate is not af- fected and the cost is more than double; besides a strong solution is apt to stain or discolor the print. Sulphate of aluminum is also employed as a substitute The Modern Methods of Carbon Printing. 141 for common alum; but like chrome alum, does not possess any material advantage over the ordinary alum bath for hardening carbon prints. The following makes a fine bath for pictures to be dried out quickly by heat or in the sun : Powdered alum 6 ounces Sulphite of soda 3 ounces Glycerine 2 drams Water (soft) 64 ounces This bath has good keeping qualities and works well un- til exhausted. Filter well through cotton before using. Carbon pictures upon paper hardened in this bath, may be handled like albumen prints after once dry. They may be re-wetted and stacked up for mounting without the least fear of injury. When taken from the alum bath, the pictures are rinsed in cold water for about twenty minutes. This may be done in an ordinary tray, (unless there are a good many,) when it is best to suspend them in a vertical tank or bath, such as are used for negative fixing, or the vertical bath used for development. The water for this purpose ought to pass through a filter to remove all traces of sediment. When well washed, suspend the pictures in a room per- fectly free from dust, and allow a mild current of air to pass through the room. In this way they will dry out in a very short time, and are then ready to be mounted. Carbon prints cleared in a plain alum solution may be dried out quickly, if desired, by soaking them in a bath of alcohol for a few minutes, and then suspending them in the drying apparatus, subject to a smart current of air. Prints on celluloid should never be treated to alcohol, unless the bichromate has been thoroughly eliminated from the film. If such is not the case a greenish yellow stain will be the result. Ordinary 95 per cent alcohol must be used for 142 The Modern Methods of Carbon Printing. this purpose. Wood alcohol or Columbian spirit, will dis- solve the celluloid. Clearing Solution . — Some pigments are considerably af- fected with the bichromate and retain a yellowness that often proves fatal to the picture in the end. The bichromate af- fects the pigment picture in the same manner as hypo does the silver print ; it does not only spoil the tone or color, but will eventually ruin the entire picture. To eliminate all traces of .yellowness and restore the pur- ity of tone or color, as well as the absolute permanency of the picture, it must be treated to a bath of clearing solution. Make up a 5 per cent solution of antichrome and use it at about 60” F. in winter and below in summer. Rinse the prints in several changes of clean, cold water, after passing through the clearing bath. Finishing . — It is very important that both the film and glass side of the negative should be kept perfectly clean dur- ing printing operations, to avoid blemishes caused by dust or dirt. The retouching or spotting-out, may be done with any good spotting colors, but the best and most satisfactory results are obtained by softening a piece of unsensitized tis- sue of the same color as the print, in warm water, and to use the color for spotting. Specks and dark spots are cleared up with an etching tool, rubber erasers, etc. The Modern Methods of Carbon Printing. 14.3 chapter X. the; double; transe'e;r proce;ss. '' I ’'HE USE of the modern stripping plate and the many easy and reliable methods for reversing the negative film of ordinary dry plates, has brought this, once the only practical method of carbon printing, almost entirely into disuse — at least with all the up-to-date carbon printers. Of course, when it comes to making pictures upon un- even surfaces, or supports that are affected with the bichro- mate, the double transfer process is indispensable. The pictures for this method are printed from ordinary non-reversed negatives to make them appear right when fin- ished. For pictures upon uneven or rigid surfaces, the prints are transferred and developed upon flexible temporary supports of paper; otherwise opal or plain glass may be used, ac- cording to the kind of surface the resulting picture is to have. The flexible temporary support, is simply a good, tough paper, coated with a gelatine and shellac solution made after the following formula : A. — White shellac 30 grams Alcohol 100 c. c. m. Dissolve and filter through paper. B. — Gelatine (hard) 30 grams Water 500 c. c. m. Glycerine 5 c. c. m. Chrome alum i c. c. m. Soak the gelatine for an hour and dissolve in a hot water bath. Add this to solution A. a little at a time and stir well 144 The Modern Methods op Carbon Printing. at each addition. Then add the glycerine, and dissolve the chrome alum in a little hot water and after adding it, give the compound a thorough shaking up. Coat the paper with this milky solution, using a soft sponge or flat camel’s hair brush. Hang the paper upon a line and when it is thor- oughly dry, wax it, and it is ready for use. The flexible temporary support, furnished by the makers of carbon tissue is especially prepared for the purpose and can be had in sheets of 18x22 or larger. If this paper sup- port is properly taken care of, it can be used indeflnitely. Wax with the- following solution : Pure wax 40 grains Resin 24 grains Benzole 10 ounces Fasten the support onto a smooth surface with thumb tacks, and rub the solution over the surface with a clean flannel tuft. Allow the solvent to evaporate, which requires about ten minutes, at an ordinary temperature. Then polish with a clean, dry flannel, using a light, circular motion, to insure a smooth, even surface, and it is ready for use; but works best when a day old. Before making the transfer, immerse this support face up in clean, cold water, and let it remain until the water flows smoothly over the waxed surface. Then immerse the car- bon tissue into the same tray, and proceed exactly in the same manner as when making a transfer for development by the single transfer process. Do not forget to remove the superfluous moisture around the edge of the tissue after each transfer, and allow at least fifteen minutes to elapse before development. If more time is likely to pass than fifteen or twenty minutes before devel- opment, lay one print over the other, and cover with a glass. The Modern Methods op Carbon Printing. 145 (weighted down,) to keep them moist, or immerse them in cold water until ready to develop. POLISHING BOARD. WAXING SOLUTIONS. The following waxing solutions are used on plain or opal glass, and zinc plates, that serve the purpose of tempo- rary supports for developing pictures by the double transfer process. Through the agency of this medium the pictures are readily transferred from the temporary to the final support, which again reverses the image and brings the picture into its correct position. There are a number of good formulas in use of which the following are the best : No. I. Pure Beeswax 120 grains Dammar varnish 25 grains Pure benzine 25 ounces Pour the benzine into a clean, dry bottle, and then dis- solve the wax and add a little at a time and shake well ; then add the Dammar and shake until thoroughly mixed. When dissolved let stand until well settled, and decant the clear liquid for use. No. 2. Beeswax 75 grains Resin 35 grains Benzole (pure) 10 ounces Turpentine 8 ounces 146 The Modern Methods op Carbon Printing. Dissolve the wax in the benzole, and the resin in the tur- pentine and mix the two solutions thoroughly and let stand until clear. The above solutions are applied to the surface of the sup- port as evenly as possible with a flannel tuft, using slight pressure. When applied to ground glass or matt opal, noth- ing further need be done. A smooth surface, however, must be polished as soon as the solvents have evaporated. Polish with a clean, dry flannel, using a circular motion with a light pressure. Care must be exercised not to carry on the polish- ing to an extent that would remove too' much of the wax. Plates treated in this manner will work best when 12 hours or a day old. A rapid drying solution may be prepared as follows : Pure beeswax 40 grains Ether 6 ounces Alcohol 95 per cent 2 ounces Plates treated with this solution may be used a few min- utes after its application. To further improve the waxed surface of the support so that it will render the best results possible, immerse the waxed plates into a six per cent solution of a well Altered chrome alum, for about five minutes, after which the plates must be well rinsed in clean water and dried. This treat- ment will cause a better contact and will hold most perfectly all the fine details of the picture,, which it renders in a most perfect manner when transferred to the final support. The Modern Methods op Carbon Printing. 147 chapter XI. OPAIv AND GROUND GDASS AS TeIMPORARY SUPPORT. ^OR pictures i n the now prevail- ing style of matt fin- ish, it is necessary to employ a support having a matt sur- face, such as opal or ground glass. The opal is pref- erable to ground glass on account of its white surface, which makes it possible to better observe the progress of the development ; which is a great advantage, especially for beginners. DRYING RACK FOR The ground surface of the glass must be made perfectly ' clean, in a solution of potash, and well rinsed in soft water. When perfectly dry apply the waxing solution given in a previous chapter. This should be done in a room perfectly free from dust, and a medium temperature. Cover the surface as evenly as possible and polish in the usual way; then immerse the plate in the alum solution as previously directed. The most exquisite matt surface is produced upon collo- dionized opal glass. Dust the perfectly clean surface of the plate with talc or French chalk and rub it well with a flannel rag; then brush off the superfluous chalk with a camel’s 148 The Modern Methods op Carbon Printing. hair duster. Coat the plates with a good transfer collodion, and when set, immerse in clean, cold water and let remain until required for use. Just before making the transfer rinse in filtered water until it flows smoothly over the collo- dion surface. The transfer is made in the usual way, by immersing the tissue in the same tray, with the opal glass, and bringing the waxed surface and film in contact under water to avoid im- prisoning air between film and support. Then withdraw the support and adhering tissue carefully from the water and place it upon a level stand or table ; then cover it with the rubber cloth or celluloid and squeegee, first gently, to remove the water, and then quite vigorously, to bring support and film into intimate contact. Place one plate over the other and let them rest for at least twenty minutes or half hour before development is com- menced. Instead of flowing the plates with collodion, they may be coated with gelatine or albumen. The latter will hold all the fine details of the negative in a most perfect manner and is especially suited for carbon vignettes. Albumen (fresh egg) iV2 ounce Water 12 ounces Alkaline bichromate (3 per cent solution) ... .2 ounces Give the solution a thorough shaking up and filter through cotton. If let stand for a few days and then well filtered, it will flow over the talced surface of the plate as evenly and smooth as collodion. Plates coated with this substratum may be dried by gentle heat, and are then exposed to good, strong daylight to harden the film. Before transferring the exposed tissue wet the surface The Modern Methods of Carbon Printing. 149 well or immerse for a few minutes in a tray of clean, cold water. For a gelatine substratum, dissolve one ounce of good, hard gelatine in i6 ounces of water and add enough alka- line bichromate solution to give it a strong yellow color. Flow the talced plates in the usual way and when dry expose to light to harden the film the same as the albumen plates. 150 The Modern Methods op Carbon Printing. CHAPTER XII. DOUBLE transeer From polished glass for pictures hav- ing A brilliant surface. 'p\OUBLE transfer carbons with a brilliant glass-like en- amel, are probably the most beautiful of all the double transfer pictures made ; but, on account of the many failures in their production, they are likewise classed as being the most difficult to make of all the pictures produced by this process. The most serious difficulties encountered, usually arise in making the transfers ; either when mounting the tissue upon the temporary support, or, when transferring the developed print to its final support. The most perplexing difficulty, especially with the be- ginner, arises while making the first transfer ; and is usually caused by allowing air to become imprisoned be- tween the support and tissue, which gives rise to countless little shiny specks, and may be attributed to lack of thor- oughness in applying the squeegee. There are two different methods in use to prepare the plates for this process of development. One is called the dry, and the other the wet process. The dry process, although it take a little more time and entails a few more manipulations, IS probably the least difficult to master, and for beginners, as well as for ordinary studio work, is undoubtedly the best and most practical method of the two. After the plates have been waxed according to the direc- tions given, moisten a tuft of filtering cotton in benzine or alcohol, and wipe away an eighth or a quarter of an inch of The Modern Methods of Carbon' Printing. 151 the wax around the edge of the plate; then with a small camel’s hair brush give it an edge of the following insoluble substratum. Gelatine (hard) i ounce Water i6 ounces Salicylate of soda i dram Formalin i dram Soak the gelatine in the water for an hour ; then add the salicylate of soda, and dissolve in a water bath, by gentle heat. Add the formalin, and filter through muslin. This solution remains liquid, and will keep indefinitely, if properly taken care of. An edge composed of this mixture will become perfectly insoluble when dry, and will hold the collodion film firmly to the plate during the developing manipulations, which oth- erwise would be inclined to leave the glass, which would mean ruination to the picture. As soon as the edge is dry, the plates are ready to be coated with the collodion. The waxed plates must be perfectly free from dust, and contain no moisture. The room used for coating should be dry and have a temperature not above 65*^ or 70° F. Coating plates with enamel collodion is done in exactly the same manner as flowing a plate with varnish or similar solutions; by balancing the small plates on the hand and the large ones on some piA^'oted arrangement, which may be constructed to suit the convenience of the operator. When the collodion has set, the plates may be placed on a rack in a room having a higher temperature, and allowed to dry. Before the plates are ready to receive the exposed car- bon tissue, they are given a substratum, for the purpose of making the carbon film firmly adhere to the dry collodion. 152 The Modern Methods of Carbon Printing. Soak and dissolve in the usual Avay, i oz. hard gelatine in i6 oz. of water; then add 25 grains of chrome alum dis- solved in 2 oz. of hot water. Add the alum gradually and shake or stir well; should the solution become ropy, add a few drops of acetic acid to restore fluidity. Filter and apply with a brush or soft sponge. Should any air-bells arise take a strip of tissue paper and pass it over the surface, which will either break or bring them to one side. Another splendid substratum is made of the following: Pure rubber, i dram; pure benzine, i pint. Filter before use, and flow over the .plate like vaniish. To prepare the plates with this substratum, may seem somewhat lengthy and tedious ; but in reality it does not take as much time, providing everything is conveniently ar- ranged to do the work as it does to give a clear description of the process. Plates prepared in this manner are easily handled, hold the film well during development, and may be prepared and kept in stock ready for use. The following is another very simple and easy method of making double transfers. Perfectly clean glass or opal plates are well rubbed over with talc or French chalk, and then given an edge of insoluble gelatin (first wipe away an edge as above with alcohol) and then coated with the fol- lowing insoluble gelatin substratum. Gelatine (hard) 2 drams; water, 16 ounces; soak for an hour and dissolve by gentle heat, then add enough of the alkalin bichromate bath to give it a nice sherry color. Filter, and flow the prepared plates with this solution ; drain off the surplus and place on a level stand until the gelatine has set; when dry expose them to a strong light for 5 or 10 minutes to render the film insoluble and the plates are ready for use. Instead of talc, waxing solution may be used, if The Modern Methods op Carbon Printing. 153 preferable. This makes a most perfect substratum, and is cheap, besides giving the very best results. It is a well known fact that an insoluble gelatine substra- tum holds the details better than any other surface, and if the waxed surface of the temporary support has been treated to a 5 per cent solution of chrome alum, the final transfer will take place with ease and dispatch. 154 The Modern Methods of Carbon Printing. CHAPTER XIII. Transfer to dry coelodion plates. /^RDINARY glass plates coated with a 2 per cent collo- dion and dried, will give fine results and do not re- c[uire the careful handling of a collodion film in a moist state. Just before making the transfer, immerse the plates in clean, cold water for at least ten minutes, to allow the film to ab- sorb enough water to make it pliable. In making the trans- fer, the tissue is allowed to swell in cold water (50° F.) as usual, and when it flattens out take a plate and slip it, film side up, under the tissue, and bringing it in contact there- with, carefully lift it out of the water and place it upon the squeegee board. A thorough application of the squeegee is necessary to expel all the water and air from between the collodion and gelatine films and to form an absolute con- tact, otherwise the picture will be marred by the presence of little shiny specks on the face of the picture, which, being beneath the collodion film, cannot be removed. Carefully dry the back of the tissue, especially around the margin, with a soft towel, sponge, or blotting paper; also the glass side of the plate, and place between clean, dry blotters, one over the other, until they are ready for devel- opment. Allow the transfer to rest at least twenty minutes, or longer will do no harm, providing it is kept moist and cool, or has been placed in cold water. The developing manipulations are exactly the same as those given for single transfer pictures on opal glass or porcelain. The carbon film adheres well to a collodion sur- The Modern Methods of Carbon Printing. 155 face prepared in this manner, develops quickly and with less trouble than any other support of similar nature. If the tissue was in fairly good condition and the ex- posure approximately correct, the pictures will develop with- out the least difficulty, showing all the finest details in the lights, with transparent, velvety shadows. But, should the tissue be old and partly insoluble, or probably the exposure a little too prolonged, the development will then proceed with difficulty, and the pictures will appear dark, with veiled lights and heavily loaded shadows. On the other hand, should the exposure prove insufficient to produce a good, strong print, especially when the tissue is known to be in good condition and probably a little fresh, the development must take place with great care, or else the pigmented gelatine will dissolve away too quickly and leave a chalky black and white picture, devoid of all half-tones and with ver}^ abrupt shadows. It will thus plainly be seen that the greater part of success in carbon printing, depends upon the care exercised in exposing the tissue to light un- der the negative. With a good tissue a proper exposure will always give successful results. There is aconsiderable latitude in developing carbon pic- tures, which a printer, having a little skill and judgment can easily take advantage of. By increasing or modifying the temperature of the de- veloping bath, an over, or under exposed tissue can easily be developed with good results. Or, if that does not produce the desired results, an addi- tion of a little saturated solution of chloride of lime, in case of over-exposure, will probably have the desired effect. Should that fail, however, use carbon reducine, which, if used with good judgment, will clear the darkest print. From the above it will be seen that a successful development of 156 The Modern Methods op Carbon Printing. carbon pictures depends greatly upon the state of solubility the tissue happens to be in at the time of exposure and the time allowed to elapse before development takes place. As soon as the pictures have passed through the alum or hardening solution, and have been well washed in several changes of cold water they are ready to be transferred to the final support, which may take place at once if so desired ; but, it is not advisable, since the pictures will be greatly im- proved by allowing them to become thoroughly dry before making the transfer. The image will be much shaiper and will have gained considerably for the better in appearance. At the same time the pictures are less liable to prove a failure than if trans- ferred while in a wet state. Carbon pictures usully dry down a little darker than they appear while in a wet state. A slight allowance should therefore be made on that account, while printing the tissue as well as in the development. The Modern Methods op Carbon Printing. 157 CHAPTER XIV. THE WET PROCESS. nr' HE following method is used by most carbon printers of the old school ; and is, probably, as reliable as any, but is just a little more complicated; it requires great care in all the manipulations, to obtain successful results. The polished glass or opal plates are cleaned and waxed in the usual way; but do not need an insoluble edge, like those prepared for the previous method. Coat the plates with plain collodion. Alcohol 8 ounces Ether 8 ounces Gun cotton 130 grains Soak the cotton in the alcohol for den minutes previous to adding the ether. Add the ether and shake until dissolved. For immediate use, the collodion must be filtered, otherwise, allow it to settle and decant the clear liquid for use. Before coating, remove every particle of dust from the surface of the plates with a good camel’s hair brush, and coat them in the usual way. Pour the collodion on, in one steady stream, but not all onto one spot. The ether in the collodion would dissolve away the wax, and the collodion film would become firmly attached to the glass when dry, and thus make it very difficult, if not impossible, to make the final transfer; therefore, in pouring on the collodion, hold the bottle near to the plate and pour it in a semi-circle. When the collodion has set, which will take but a minute or two, according to temperature, immerse the plates in a tray or tank of clean, filtered water at about 50° F., and let 158 The Modern Methods op Carbon Printing. it remain for at least fifteen or twenty minutes. This is done to free the film of the solvents contained in the collodion, and to keep it in an unchanged or moist condition. When there are a number of plates to prepare, a grooved vertical tank such as the rubber hypo-bath holders, or a reservoir made after that fashion (figure 31) will be found handy and convenient. Before making the transfer, rinse the plates in well-fil- tered, cold water, to remove all traces of alcohol, and what sediment might have collected on the surface of the film. Transferring or mounting the tissue for development Arrange the tanks or trays in convenient order and fill the first one with cold water at a temperature not above 60° F., and in summer the results will be much better if it is still lower. This can easily be done by using ice. Then pull down the yellow curtain or subdue the light, and taking the tissue from the box, brush it on both sides with a camel’s hair duster, to remove every particle of dust adhering thereto. Now immerse it face down, with as little splash as pos- sible, and quickly remove all the air-bells and froth which gathers on the back of the paper, with a large, flat camel’s hair brush or soft sponge. Then turn it over carefully, keep- ing it under water, and gently pass the brush over the face of the film, and again turn it face down, always keeping it under water while turning. Just before it begins to straighten out, take a plate from the reservoir and after dashing some filtered water over it to remove all traces of alcohol, lay it face up in a convenient position upon the table, or squeegee board, then before the tissue has a chance to trim backward, remove it from the water; by taking hold of the corners diagonally opposite, bend it so as to allow the diagonal line The Modern Methods op Carbon Printing. J59 to touch first, and without draining, carefully place it upon the collodion film as near in the right position as possible. Should the tissue attach itself firmly to the collodjon film before it has its proper position on the plate the best way to proceed then, is to again immerse it in the water and carefully lift it from the plate. Then again place it upon the collodion film, as near the correct position as possible. After the tissue once lies flat, it firmly adheres to the collodion film, and it is not very safe to pull or drag it into position. The collodion film being very tender, it is easily ruptured. Lifting it off and replacing it is the quickest and safest way to proceed. Care should also be taken not to in- jure the collodion film that protrudes around the margin of the tissue, and extends to the edge of the plate. This can best be done by using a well waxed sheet of thin celluloid instead of a rubber cloth when squeegeeing the tissue to the plate. The celluloid lies smoothly over the back of the tissue and is not liable to be dragged into ridges or creased by the squeegee. Be very careful at the begin- ning; stroke gently from center to sides, and when the water and air has been well expelled use a little more pres- sure and give it a good, careful rounding up. When, on removing the celluloid, there are no ridges or raised places visible, which would indicate the presence of air between the tissue and collodion film, the transfer may be considered successfully done. Be sure to remove all superfluous moisture around the edges of the tissue, or else it will have a tendency to wash up or frill, and will not adhere properly during development. Cover the mounted tissue with a clean, dry blotter, and over it place a sheet of glass to keep it pressed down until an- other transfer has been made. This done, remove the sheet of glass and place this over the other (providing it is of the 160 The Modern Methods of Carbon Printing. same size) and proceed in like manner until all the exposed tissue has been transferred. As soon as the first transfer has been under pressure for about twenty minutes or a half hour, the developing operations may be commenced by plac- ing the plates and transferred prints in cold water. The development proper is carried on in exactly the same manner as in the single transfer process, with the exception that it requires greater care in the developing manipulations to keep from rupturing the collodion film. The image clears up very rapidly and is much easier developed than a single transfer picture. If the film on the first plate shows any tendency of washing up at the edges or leaving the plate, allow the rest to remain under pressure for at least an hour, and if necessary, still longer will do not harm, providing the back of the tissue is covered and kept moist and cool. The meaning of weighting down or using pressure should not be misunderstood. All the weight or pressure necessary is just enough to keep the edges of the tissue from curling back or a medium pressure. Heavy pressure causes dark spots, patchy prints, and an uneven development; and is otherwise injurious. When developed, the pictures are rinsed in clean, cold water, and placed into the alum bath for about five minutes. Wash well in clean water for twenty minutes or half hour, then take a tuft of filtering cotton or a soft brush and under a tap of filtered water carefully re- move all the sediment and place on a rack to dry. The Modern Methods op Carbon Printing. 161 CHAPTER XV. the; final transfe;r from a flexible support. T T IS not usually customary to transfer carbon or pigment pictures to their final supports before they have first be- come thoroughly dry. But, if desired, the final transfer may take place at once; after the prints have been well rinsed in clear, cold water and the last traces of bichromate as well as alum eliminated. The only advantage gained in making an immediate transfer, however, is merely a saving of time ; otherwise the pictures are greatly improved by allowing them to dry before being transferred. In drying, the print looses its relief, and at the same time the film goes over into a state of total insolubility, thus mak- ing the picture sharp and crisp, and otherwise greatly im- proving its appearance. Another advantage in allowing the print to become dry upon the transitory support is, that the film being in a hard- ened state, it is less liable to be injured during the transfer manipulations, and consequently gives uniformly good re- sults. For a beginner it is advisable to follow the latter course, but, should it be desirable to make the transfer immediately after development, a soft squeegee must be used and applied with gentle pressure. Of the intermediate supports available for double trans- fer printing, the flexible paper support is probably the most useful of all. From it, carbon pictures may be transferred to almost any kind of surface, such as paper, celluloid, porcelain. 162 The Modern Methods op Carbon Printing. opal glass, ivory, wood, canvas, metal, etc., providing the ground is light and has been prepared with an insoluble sub- stratum. MANNER OF preparing THE SURFACE OF FINAL SUPPORTS FOR DOUBLE Transfer pictures. The following chrom-gelatine substratum is especially recommended for celluloid or porcelain : Gelatine i ounce Water i6 ounces Chrome alum 20 grains Soak the gelatine in cold water for an hour and dissolve in a water bath. Then dissolve the chrome alum in a little hot water and add it to the gelatine, and thoroughly mix. The opal or celluloid must be perfectly clean and dry. Flow over the warm gelatine without creating any air bub- bles if possible, and place it upon a level stand or table. The print resting upon the flexible support, having pre- viously been soaked in cold water, is then well drained and placed upon the celluloid or opal plate, and squeegeed into intimate contact therewith and allowed to become perfectly dry. Celluloid or porcelain may also be coated with a sub- stratum of bichromated albumen, and dried. When ready to make the transfer, soak the print resting upon the flexible support, in cold water until limp, and then bring it into intimate contact with the albumenized surface of the sup- port. When dry, the picture will firmly adhere to the rigid support, and allow the temporary support to be stripped with ease. There are quite a variety of commercial final supports on the market now. Thin, medium or heavy, smooth or rough, tinted or plain, to suit every purpose. The final support commonly used, is a paper coated with The Modern Methods of Carbon Printing. 163 a partially insoluble gelatine substratum, incorporated with sulphate of baryta and a little ultramarine blue to give it a pearly tint. This support may be prepared in the studio after the following manner. Take — Gelatine (hard) ounces Sulphate of baryta ounces Chrome alum i8 grains Water (distilled) i6 ounces Allow the gelatine to soak in cold water as usual and dissolve in a water bath by gentle heat. Stir in the baryta and mix thoroughly ; then dissolve the chrome alum in a little hot water and add it to the mixture, a little at a time, and stir well. To coat the paper, roll it up tightly, with the face or smooth side out, then place it upon the solution and gradu- ally unroll it by drawing it, without stopping, from the solu- tion, after the manner illustrated in a previous chapter. When coated, hang up and allow it to become perfectly dry before using. A splendid final support may be made by floating a good quality of baryta coated paper, such as is used for coating with gelatine or collodion emulsion to make aristo paper, upon a gealtine solution, leaving out the baryta. Gelatine (medium) ounces Water lo ounces Chrome alum 15 grains Prepare as previously given and coat the paper in like manner. This makes a good and cheap support and is eas- ily prepared. To prepare drawing paper for use as a flnal support coat it with the following solution : Gelatine (hard) i ounce Water 12 ounces After the gelatine has been well water-soaked dissolve 164 The Modern Methods of Carbon Printing. it by gentle heat as previously directed, then dissolve 12 grains of chrome alum in 2 oz. of hot water and add it slowly to the gelatine. Apply the solution, warm, with a clean sponge or camel’s hair brush and hang the paper up to dry in a room free from dust. When dry give it another application and taking a print from the cold water tray, place it upon the prepared support and bring it into contact with enough force to expel all the air and superfluous solution. Allow it to become thoroughly dry before attempting to separate the picture from the provisional support. In transferring carbon pictures to wood or any other porous support, the pores must flrst be fllled with some good enamel, and then coated with an insoluble substratum. A print transferred from ground glass or matt opal will have a fine matt surface, and those from a flexible support will have a surface resembling that of an albumen print. As a basis for water color painting, or crayon work, these pic- tures are greatly superior to those made by any other pro- cess. First, on account of being absolutely, unchangeable, and then, on account of the many different shades of pig- ment tissue at command, from which it is possible to ob- tain prints in almost any tone, and will harmonize with the colors to be employed in painting; which must be considered quite an advantage. Prints to be used for water color painting ought to be fixed or hardened in chrome alum or the alum and sulphite bath, given on page 140. The final supports furnished by the different manufac- turers of carbon tissue are usually of an excellent quality, and give the best of satisfaction. Although there is no perceptible difference in the final result, each make of paper requires a somewhat different treatment, to obtain the same results. The Modern Methods of Carbon Printing. 165 The final support made by English manufacturers is al- lowed to remain in cold water for a half hour, or an hour, when it is ready for use ; or if in winter, immerse in warm water for just a moment or two, and then place it upon the carbon print, which had first been allowed to absorb cold water for just a few moments, and is then brought in contact by a gentle application of the squeegee. The other makes are immersed in water at about 115° F., and at the expiration of about two or three minutes, the surface of the paper becomes covered with a froth or little air-bells. As soon as the froth appears, the paper must im- mediately be withdrawn from the water and placed upon the carbon print, which had previously been soaked in cold water for a few seconds ; cover it with a sheet of celluloid or rub- ber cloth, and squeegee into contact with a gentle applica- tion of the squeegee. To make the transfer upon self-prepared paper, immerse the support in water at about 104° F. until the little air-bells appear. Then place it upon the carbon print, which has at the same time been allowed to absorb cold water, squeegee into contact and hang up to dry. If the final support is immersed in water too hot, the gelatine surface will dissolve entirely, and if brought in con- tact with a print, it will not adhere thereto. On the other hand, it sometimes happens that a support gets too old and the gelatine surface becomes insoluble and will not soften even in very hot water. Such a support is worthless and should be thrown away. It is always a good plan to first test the paper, to ascertain the state of solubility it is in, before attempting to transfer or make use of it. The final support is cut a little larger than the print, and a trifle smaller than the temporary support. 166 The Modern Methods op Carbon Printing. CHAPTER XVI. FiNAi, transfer From gfass or opal plates. \ HEN ready to make the transfer, immerse the pieces ^ ^ of final support which have been previously cut to the proper sizes, in clean, cold water for at least thirty minutes ; but an hour will not have an injurious effect, providing the water is pure and contains no foreign matter, such as iron, calcium, etc. When all the arrangements for making the transfer have been made, immerse a plate bearing a carbon print in tepid water for just a moment or two, and then lay it down upon a table or the flat level surface of a squeegee board. A piece of final support of a suitable size is then taken from the tank and immersed in warm water, for just a few seconds, to sof- ten the gelatine, and is then carefully placed upon the pic- ture. It is then covered with a thin sheet of celluloid or rubber cloth and brought into intimate contact by a gentle application of the squeegee. If a transparent glass had been used for a temporary support, it can readily be seen, by ex- amining the plate on glass side, whether the film and support is in absolute contact or not. If the surface shows little shiny specks or patches, it is evident that air has been imprisoned between the film and support and must be removed by a little firmer application of the squeegee. When the final transfer has been successfully made, place the plate upon a drying rack and let remain about an hour, after Avhich it is placed between clean dry blotters and al- lowed to become perfectly dry, which, according to tempera- The Modern Methods of Carbon Printing. 167 ture, requires from four to six hours. Avoid placing’ the rack into a strong current of air, especially in hot weather. The prints dry from margin to center and unless the proper precautions have been taken to prevent it, the edges of the picture will curl up as it gradually becomes dry, and a streaky and uneven surface will be the result. A good way to prevent the edges from curling up is to paste a second piece of final support over the first and have it large enough to lap over and paste it onto the back of the glass ; or, to attach thin, narrow strips of wood by means of photo clips, to two sides of the print, that will effectually prevent the print from leaving the support before it is thoroughly dry. When dry, the picture will strip with a uniformly even and smooth surface, either glossy or matt, whatever the nature of the temporary sup- port employed may be. Do not attempt to separate the print from the support until it is perfectly dry. Any attempt before that would prove fatal to the picture. In fact, it would be impossible to remove it, without tearing the print all to pieces. As soon as the picture has become thoroughly dry, pass the point of a knife all around the edge and peel it from the support. The picture now resting on its final support, if transferred from matt opal, will have a beautiful matt sur- face, which for artistic appearance, cannot be equaled by any other process. If the picture rests upon a collodion film, cut itthroughto the glass and pass the point of a knife under one corner of the print and peel it diagonally. The print will come off with a clean margin and an exquisitely brilliant surface. Should the pictures refuse to leave the support, however, or adhere to it in spots, especially in the high lights, when attempting to separate them from the support, it is plainly evident that the plates used for temporary supports were 168 The Modern Methods op Carbon Printing. not perfectly clean, and the waxing had been improperly done. Too vigorous rubbing when polishing will remove too much or all of the wax from the plates, and will cause the print to adhere firmly to the glass, from which it will be almost impossible to remove it without injury. About the only safe remedy, when such difficulties arise, is to heat the plate ; which in most cases, will have the desired effect. This trouble only occurs with polished, collodionized plates, how- ever, and hardly ever with opal or ground glass. Pictures developed on opal or ground glass may be trans- ferred to almosf any kind of flexible support in the follow- ing manner: Make a three per cent solution of gelatine and filter through fine muslin : Use at about F. The pictures resting upon temporary supports are coated with the gelatine solution, and placed upon a level surface, and the gelatine allowed to set; after which they may be stood on edge in a medium cool room free from dust and allowed to rest about an hour. The gelatine now being quite firm, moisten a piece of support of whatever nature it may be, to expand it, and then place it upon the gelatine-coated print and bring into inti- mate contact therewith by gently applying the squeegee. The paper will adhere firmly to the print, which when dry, may be readily stripped from the support. DOUBIvi; TRANSFER PICTURES ON CEEEUEOID OR OPAL GLASS. Carbon pictures upon celluloid or opal glass are some- what difficult to make, and with the inexperienced, fail- ures are numerous and discouraging. The main difficulty that most printers complain of, is refusal of the print to leave the support without loss of the fine details in the high-lights and half-tones of the picture, The Modern methods op Carbon Printing. 169 caused by the print becoming firmly attached to the tempo- rary support on those parts. To avoid this trouble is simple enough, if the following mode of procedure be adopted : Wax the temporary support well, and after polishing immerse it in a 6 per cent solution of well-filtered chrome alum, for about five minutes and let dry. The details will never stick to a support prepared in this manner, and the prints will strip clear and clean, without the least difficulty. Another very simple method for making double transfer pictures upon celluloid or porcelain, is to polish a sheet of smooth, single transfer paper with talc and then coat it with a lo per cent solution of bichromated albumen. To I, oz. of fresh egg albumen, add lO, ozs. of water, and enough alkaline bichromate solution to give it a strong yel- low color. Shake well and filter through cotton, then let stand at least 24 hours. Coat the prepared surface of the single transfer paper with this solution, and when dry, ex- pose it to a good strong light, for at least ten minutes to harden the film. This albumen substratum will hold the most delicate de- tails and the picture will strip without a flaw, presenting a very fine surface. The celluloid or opal glass must of course, be previously coated with chrome gelatine. Gelatine i ounce Water 16 ounces Chrome alum 15 grains Allow the transfer to dry for about an hour, and then lay it face-down flat upon a double thickness of heavy blot- ting paper, and let remain undisturbed until perfectly dry ; when the paper will readily strip, leaving the print firmlv attached to the support of celluloid or opal glass. 170 The Modern Methods of Carbon Printing. chapter XVII. MOUNTING AND FINISHING THF CARD MOUNTS. "^JEVER in the history of photography, has the market ^ been flooded with such a profusion of cards and mounts of every description, as at the present time. There are plain cards, book deckel and art folders, in an endless variety of beautiful and artistic designs : of which the art folders are by far the best and most suitable mounts for carbon pictures, ever introduced. The soft, mellow tints in which they are obtainable, har- monize beautifully with the tone or color of the picture, and by exercising good taste and a little judgment, perfect har- mony in color and design is obtainable ; an advantage never offered a carbon printer heretofore. Aside from the great variety of art folders, there are the platinot}rpe cards ; an elegant mount with plate sunken cen- ter and India tint, most suitable for large work, and probably the best mount obtainable for that class of pictures. Of course, for people of good taste, and those possessing a little skill and artistic ability, there is no end to producing hand- made mounts and folders ; which may be tastefully decorated to harmonize with the design and color, as well as the subject of the picture. Plain, oruinary and inappropriate mounts, instead of adding to the effect, detract from an otherwise beautiful picture, and make it common in appearance. While on the other hand, a well selected, tasty mount, will heighten the effect, and add to the beauty and charm of the picture. The latest innovation are beautiful cases and boxes, that are especially suitable for carbon pictures upon porcelain, etc. The Modern Methods op Carbon Printing. 171 mounting thi: prints. The mounting and finishing of carbon pictures, whether single or double transfer, does not differ materially from that of finishing aristo or platinum prints. Any good mountant of the non-cockling variety may be employed. Greater care must, however, be exercised in ap- plying the paste, so that it does not get on to the face of the print, and espiecially if it be in the nature of a cement. If, by accident, any of the paste should get onto the surface of the picture, carefully remove it as soon as possible with a wet sponge. The print, if in a wet state, is placed upon a clean slab or plate of glass, and the paste applied in the usual manner. Unless the prints have been thoroughly hardened in the sul- phite and alum bath, great care must be exercised in hand- ling them, when in a wet state. The soft and spongy film is very easily injured while in that condition, although it is very tough and hard when dry. The safest and best way, although it consumes consid- erably more time, is to allow the pictures to become per- fectly dry, and then, placing them face down upon a clean paper, apply the paste very carefully to the back of the print. Large pictures, especially, should be mounted in that way. Paper prints, well hardened in sulphite of soda and alum, if allowed to become dry, are re-wetted, and stacked up, one over the other, and the paste applied the same as on aristo prints. The care, which must necessarily be exercised in selecting or making a mountant for silver prints, is not necessary for carbon pictures. The body of the picture, as well as its tone or color, being 172 The Modern Methods op Carbon Printing. a pigment, is not decomposed by the paste. The only in- jurious effect a poor paste would have upon the picture, would be to turn the support yellow in time ; but the image, or picture proper, would not be effected. Double mounting carbon pictures on paper is another good method ; wet the prints and then squeegee them down upon a waxed plate, either ground or plain. At the same time, immerse some single transfer paper, which, when fully expanded is mounted, gelatine side out, upon the prints, resting on the ground glass. When perfectly dry, the pic- tures will strip from the glass with a fine surface and will not curl. Trim and mount, by tacking them at the comers like platinotypes. Pictures developed upon celluloid should be mounted with LePage’s glue, or a paste containing a quantity of glue. SPOTTING OUT BLEMISHES. Spotting double transfer pictures developed upon a col- lodion film must be done before making the final transfer. Prints mounted upon opal, ground glass, or paper sup- ports are best spotted out after the transfer. Rub the face of the print with a flannel tuft dipped in alcohol to remove all traces of wax ; the color will work easier and adhere bet- ter. Any good spotting colors, either oil or water colors, may be used for this purpose. A piece of unsensitized tissue, the same color of the print, dipped in warm water, will answer the purpose better than any other medium that could be employed. If water colors are used, a dilution of puri- fied ox gall in alcohol must be applied, and if oil colors are used, then first apply a solution of isinglass. Isinglass lOO grs. Water 6 oz. The Modern Methods of Carbon Printing. 173 SURFACING THF PRINTS. Soak for two hours and dissolve. Then add 6 oz. of alcohol. Although the matt surface of the carbon print is consid- ered very artistic and is greatly admired, there are a great many who like to see full detail all over the picture or at least an indication of gloss. A semi-gloss may be obtained in the following man- ner. After development rinse the picture well and drain, then flow with : Hard gelatine i oz. Formalin i dram (or as much as the gelatine will stand without precipi- tating.) Water lo oz. This will give the picture a protective coating, and will show up the definition better in the shadows. The following mixture will also answer the purpose ad- mirably, and will at the same time serve as a protection for the print : No. I. White wax i ounce Gum elemi i dram Oil of lavender i ounce Rectified benzine lo ounces Apply by rubbing over the surface of the print with a flannel tuft. Or, No. 2. White wax 6 ounces Mastic 3-4 ounce Rectified turpentine 25 ounces Apply with a flannel tuft. FnamFuing carbon prints. Pigment pictures with a brilliant glossy surface, may be produced by squeegeeing the finished carbon print to a pre- 174 The Modern Methods op Carbon Printing. pared glass or ferrotype plate ; or, it may be enameled in the usual way. Polish the surface of a perfectly clean glass plate with talc or French chalk, and coat it with a i per cent enamel collodion and let dry. Then make a plain solution of gelatine (hard) i oz., water i6 oz., dissolved in the usual way. When ready for work, take a collodionized plate and pour a little of the gel- atine upon it and at the same time cover or immerse the print into the gelatine, and lay it upon the prepared plate, then with the squeegee, remove all the superfluous solution and bring it into intimate contact with the glass. When dry, the picture will strip from the glass with an exquisitely brilliant surface. Enameled carbon pictures are very beautiful and have merits of their own. The high gloss of the collodion sur- face, gives the true depth of tone and vigor of the print, with all the delicacy and wealth of detail; which is partly lost in the matt or sunken-in surface of an ordinary carbon print. IMITATION OF BURNT-IN FNAMFUS. Carbon pictures, transferred to porcelain, china, opal glass, or any other suitable support, may be made to appear like burnt-in enamels, by coating them with Amber or Copal varnish, and then heating them to 150^, or 190'^ F., for several hours in an oven and slowly letting them cool. This operation, if repeated several times, makes a most perfect imitation. Instead of heating, the varnished surface may be treated with finely powdered pumice stone, and afterwards rubbed with tripoli and oil, and finally polished with chalk. If well done, this method produces most beautiful results, pictures that can hardly be distinguished from the real burnt- in enamels. The Modern Methods op Carbon Printing. 175 CHAPTER XVIII. CARBON PICTUREIS UPON IVORY AND IMITATION OPAL SUPPORT. TVORY is very easily affected with bichromate and other chemicals used in the carbon process. Therefore, it is impossible to develop carbon pictures directly upon a support of that nature. The double transfer process, however, en- ables us to overcome this difficulty by first developing the picture upon a flexible temporary support of paper, and then transferring it to the ivory in similar manner employed for opal or porcelain. The ivory tablets used for the purpose should be well cleaned, and must be as free from scratches and blemishes as possible. Should there be any scratches, however, carefully remove them with cuttle fish powder and clean water, rubbed over with a fine cork. When finished rinse in distilled water and dry with clean soft linen. Immerse the ivory into the warm gelatine solution, (gelatine 1^2 oz. ; alum lo gr., water lo ozs. ) face up, and then introduce the picture resting upon the flexible support, face down and bring the film and ivory into contact beneath the surface of the solution ; then remove the ivory and adher- ing print to the squeegee board, and carefully bring them into intimate contact by gently applying the squeegee. Set aside until perfectly dry and then peel the paper sup- port from the plaque, leaving the picture firmly adhering to the ivory support; which has remained clean and untar- nished. A little mythelated spirit applied to the surface of the print with a soft sponge or flannel, will remove all traces 176 The Modern Methods op Carbon Printing. of wax. The picture is then ready for treatment by any de- sired process. CARBON PICTURES ON METAE PLATES — THE MODERN daguerreotype. A carbon picture printed from a negative having a light ground, when transferred to a polished silver plate greatly resembles a daguerreotype. This picture, has been intro- duced as the modern daguerreotype, and bids fair to become’ one of the fads in picture making. The picture, resting upon a flexible support, is covered with an insoluble gelatine by means of a soft camels-hair brush, and is then placed upon the metal plate and sc[ueegeed in contact. When the picture has become perfectly dry, the inter- mediate support will peel off very readily, leaving the picture firmly resting upon the metal plate. With a gold bronze matt, and neatly framed in a plush frame, these pictures present a very rich appearance, and, furthermore, command a very respectable price. Carbon pictures upon matt aluminum, present a rather striking appearance, especially when printed in purple, brown, or sepia pigments. The deposit should be rather light and transparent. A light back-ground, and light drap- ery, usually give the best results. IMITATION OPAL SUPPORT. Before the introduction of matt surface celluloid, as a support for carbon pictures, some of the leading carbon prin- ters made pictures upon a support which closely resembled the opal, and the now very popular carbon picture on cellu- loid. The Modern Methods op Carbon Printing. 177 These pictures were very beautiful and not at all difficult to make, and brought a good profit to those who become pro- ficient in their production. The manner of proceeding is simply as follows : Take any picture that has been developed on a rigid tem- porar}^ support; which had previously been waxed, such as opal or plain glass plates, and brush it over with a thin coat- ing of isinglass, and allow it to dry. Then spot it, or tint and color it, in any way to improve its appearance, and coat it with collodion prepared after the following formula : Ether 15 ounces Alcohol 14 ounces Gun Cotton i ounce Soak the cotton in the alcohol for about ten minutes, and then add the ether, and shake it until dissolved. Then take a small bottle of Windsor & Newton’s water-ground zinc white, and dissolve it in one ounce of alcohol and add it to the collodion, a little at a time, shaking it well at each addi- tion. Any color, such as carmine or ultramarine wAy he added to give it a tint. Flow the collodion to completely cover the whole pic- ture and let it remain at rest until perfectly dry, which will require a least an hour in a good, dry atmosphere. Then paste a layer of heavy, tough paper over the back to support the film, and when perfectly dry, strip the print from the glass and trim and mount in the usual way. CARBON PICTURE;S WITHOUT TRANSFER. The latest improvement in carbon printing is claimed by D’Archy Power, M. D., of San Francisco. His discovery (?) consists in coating a thin film of either smooth or matt celluloid with a pigment compound, and then sensitizing the same, as he would carbon paper. 178 The Modern Methods op Carbon Printing. The safe edge may be dispensed with, and the exposure is made through the celluloid film in the usual way, which leaves the back of the pigment film unaltered, and all that is necessary after exposure, is to proceed with the development. The transfer and the intervening lo or 20 minutes under pressure are not required, and the development may take place at once. If the pigmented celluloid film is not procurable, the or- dinary carbon tissue may be sensitized in the usual way and squeegeed to a thin sheet of celluloid film. For this method a safe edge will be necessary and it also requires the extra work of removing the paper support from the back of the tissue; otherwise the work is the same. After the print has been hardened and washed, a piece of final support or any other suitable paper may be mounted on the back of the picture, or it may be tinted or painted, as may be desired. The picture is, of course, non-reversed. Dr. Power communicated his experience to the various photographic journals, and seems to put a high estimate upon the results of his discovery. About eight or ten years ago, I experimented on exactly these same lines, but my experience was quite different. I found that the celluloid, no matter how thin it was, destroyed the purity of the whites, as well as brilliancy of tone, or color in general ; and, compared with good single or double trans- fer pictures, they had a very cheap appearance, especially after the celluloid had become a little rubbed. Being satisfied of the impracticability of this method from an artistic point of view, I abandoned it, like probably a great many others have done before me. Since then I have noticed, that at intervals of every few years, someone stumbles onto this same idea. The Modern Methods of Carbon Printing. 179 In 1898 Mr. Ernest Human, a prominent carbon printer of London, hit upon the idea and had about the same experi- ence I had with it. It had never been mentioned by the pho- tographic press until brought into prominence by Dr. Pow- ers’ experience. Not until a perfectly colorless film of celluloid is obtain- able, will it be possible to obtain satisfactory results by this method. PIGMIINT PICTURi;S ON CANVAS AS A BASIS POR PAINTINGS IN OIIv COLORS. Pigment pictures on canvas make an almost perfect basis for pictures to be finished in oil colors. The many shades of tissue to select from, make it possible to produce a print that will be in perfect harmony with the colors of the paint- er’s palette, and are in every respect as permanent; and in some instances, much more so. Transferring pigment pic- tures to canvas as a basis for oil painting is done only in the larger sizes, as a rule. The smaller sizes are mounted upon supports such as ivory, celluloid, wood tablets, etc. These pictures are, of course, made by double transfer ; the print being first developed on a flexible support and then transferred to canvas, etc. The surface of the final support, of whatever nature it may be, must be prepared with a substratum of insoluble gelatine that will receive the print and permanently hold it in absolute contact therewith. Before applying the insoluble substratum to the surface of ordinary canvas, it must be well scoured with soap and brush. This must be done with great care, however, in order not to lay the canvas bare. After scouring, allow the surface to become thoroughly dry, and then coat with the following substratum : 180 The Modern Methods of Carbon Printing. Gelatine (hard) i ounce Water 12 ounces Dissolve in the usual manner, and add 30 grains of chrome alum dissolved in a little hot water, a little at a time, or one dram of formalin, and stir well. The warm solution is spread over the prepared surface as evenly as possible, with a sponge or brush, and allowed to become perfectly dry before another is applied. Before applying the solution for the third time, immerse the print resting upon the flexible support in cold water, and then apply another good even coating of the insoluble gela- tine to the canvas. This done, take the print from the water and carefully place it in position upon the canvas, and bring it into intimate contact with a soft rubber squeegee. It must then be left undisturbed until it is perfectly dry, when the support readily separates, leaving the print resting firmly upon the canvas. After receiving a substratum of isinglass it is ready for the brush of the artist. There is a commercial canvas, grained single transfer support obtainable, that makes a splendid imitation of can- vas. This may be rriounted on cardboard or muslin, and makes a fine substitute for the real thing. The print, which is usually in Sepia or Standard Brown, (Sepia for a blond and brown for brunettes), is first well coated with a solution of hard gelatine or isinglass, and is then ready to paint upon. The Modern Methods of Carbon Printing. 181 Part IV. CHAPTER 1. CARBON POSITIVE'S ON GPASS PRElTIMINARY RE;mARKS. T he value of carbon positives is becoming more and more apparent, as the process finds fit application in the different branches of photography. Carbon transparen- cies are important factors in the reproduction of reversed negatives for single transfer printing, and as a medium for the reproduction of enlarged negatives. For the latter pur- pose especially, no other process can in any way equal or ren- der such splendid and almost perfect results. The solar negatives made by this process will surpass in delicacy and fineness, all other negatives made for the pur- pose. The carbon lantern slide possesses the most perfect gra- dations from clear glass to the utmost opacity, which, when projected upon the screen, produces pictures with fine relief and brilliant and beautiful effects. In no other process, can the skillful printer find such a wide scope in which to exercise his artistic ability, as in the production of carbon window transparencies, both in mono- chrome and color. It will very readily be seen that the positives made by this process may be put to very profitable use, and the cost of its 182 The Modern Methods op Carbon Printing. production is much below, or at least not exceeding, that of those made by any other process. For strong, brilliant transparencies, to be viewed by transmitted light, it is necessary to employ a tissue that has been especially prepared for the purpose. This tissue is charged with a greater amount of pigment or coloring mat- ter, than is used for ordinary tissue, such as filtered India ink, or the like. For some purposes it should contain from a half to three-fourths more than the amount usually em- ployed, in the manufacture of ordinary carbon tissue ; which is necessary to yield sufficiently strong and vigorous posi- tives, as for instance those which are used for the reproduc- tion of carbon negatives. The special transparency tissue supplied by the man- ufacturers of carbon tissue is usually of a very excellent quality and gives the most perfect results. The production of brilliant effects, fine relief, and spark- ling transparencies, for windows as well as lantern slides, require sharp, crisp negatives, full of life and vigor, and not a trace of fog. Negatives of the weak, flat order are un- fit for the purpose, unless they are made sufficiently intense by redevelopment. The Modern Methods op Carbon Printing. 183 OiAPTER 11. thi: pre;paration op glass PLATLS, por window trans- PARpNCIpS^ LANTPRN SLIDPS AND NPGATIVPS. ' I ^ HE smooth surface of ordinary glass plates will not hold the carbon film in contact during the pro- cess of development, unless it be especially prepared for the purpose. Therefore, the first step toward making transpar- encies, etc., by the carbon process, is to prepare the surface of the glass plates upon which they are to be developed, with an insoluble substratum, that will hold the film in contact during development, and when dry, will cause it to ad- here firmly to the plate. The plate for this purpose should be flat, clear, and color- less, and as free from blemishes and imperfections as pos- sible. The first operation is to clean them with nitric acid, caustic soda or ammonia, or any of the well-known methods in use, and then rinse them well in filtered water, and place on a clean drying rack into a cupboard or room free from dust, until dry. While the plates are drying, prepare the following bi- chromated gelatine solution : No. I. Gelatine (hard) i ounce Water (soft) 30 ounces Bichromate of potash 80 grains Allow the gelatine to soak in the water for at least an hour, and then pour off the water, and add thirty ounces of boiled rainwater. Dissolve by gentle heat in a water bath, and add the bichromate in powdered form, which will quickly dissolve 184 The Modern Methods op Carbon Printing. in the warm solution, and then filter through a double thick- ness of fine muslin. Keep the solution at a temperature of about 85® F., or warm enough to flow evenly. The plates must be well dusted and then flowed with the chrome-gelatine, after the manner of coating plates with varnish or colloion. A little practice will teach the beginner how to flow the solution without causing air-bells and ridges. Put the plates into a room or cupboard where they are well protected from dust, and let them remain until perfectly dry, and then expose them to strong day-light for a few minutes, which has a hardening effect upon the gelatine and causes the substratum to become insoluble. Plates prepared in this manner keep indefinitely, and may be kept in stock for future use. The following method of preparing glass with an insolu- ble substratum is used quite extensively, although probably a trifle more difficult to prepare than the foregoing : Gelatine (hard) i ounce Water 20 ounces Chrome alum 20 grains Allow the gelatine to absorb as much water as it will in about one hour ; then pour off the surplus and add fifteen ounces of boiled rain-water, and dissolve by gentle heat in a water bath. Dissolve the chrome alum in the remaining five ounces of hot water, and add it to the gelatine a little at a time, by pouring it into the solution in a very thin stream, stirring the gelatine vigorously while making the addition. Should the gelatine show any signs of thickening or be- coming ropy ; add acetic acid, a little at a time, and stir well until it again becomes fluid, but no more. Repeat if the ad- dition of the remaining alum should have the same effect. Filter well before use. The Modern Methods of Carbon Printing, 185 This solution is applied in the same manner as the fore- going, by flowing, or with a soft brush. A very excellent substratum is made by dissolving one dram of pure rubber in benzine. Filter, and flow over the plate in the usual way. This makes a splendid substratum where the positives are to be tinted or colored with transparent colors, as the rubber, like collodion does not absorb the color. The following preparation will be found excellent for plates that are wanted for immediate use : Gelatine (hard) 2 1-2 drams Water 7 drams Glacial acetic acid i 1-2 ounces Alcohol 10 ounces Allow the gelatine to absorb water for an hour and dis- solve in a water bath. When dissolved, gradually add enough of ten per cent solution of chrome alum to thoroughly precipitate the gelatine. Drain off the water and dissolve the precipitated gelatine in the ounces of glacial acetic acid by gentle heat, then gradually add ten ounces of common alcohol and Alter. In applying this solution, warm the plate a little and flow like varnish or collodion. The plates dry Out rapidly and may be used just as soon as cool. The solution keeps indefinitely in a well-corked bottle. Another very excellent substratum may be made as fol- lows : Hard gelatine 4 drams Water 3 ounces Glacial acetic acid 6 drams Alcohol 20 ounces Formalin i dram Soak the gelatine and dissolve in the usual way; then add the ascetic acid and stir well, and then the alcohol, and lastly, the formalin. 186 The Modern Methods of Carbon Printing. CHAPTER 111. WINDOW TRANSPARENCIES IN MONOCHROME AND COLORS BY SUPERPOSITION OE VARIOUS PIGMENT TISSUES. HESE beautiful pictures are admired by everyone, but for all that, strange as it may seem, there are only a very few photographers who make them, or at least only a few that produce a presentable transparency. Window transparencies made by this process are very beautiful, on account of the rich coloring obtainable by this method. The special transparency tissue gives the best re- sults, but it is not strictly necessary to employ this for all pictures. Any color may be used with good results, and if the printer possesses a little skill and patience, it is possible for him to produce pictures in several different colors, and be right in line with the popular fad of making pictures in the colors of nature. Thus, a beautiful blue sky, with white, fleecy clouds, green trees and meadows, and red or brown buildings, etc., may be printed from the same negative, in distinctly different colors, by superimposing different colored pigment tissues, one over the other and thus produce pictures that are strikingly beautiful. Of course, pictures of this kind require considerable skill and a great deal of time, with an abundance of patience. The ordinary transparency that is intended to be tinted or colored with transparent water colors must be developed on plates with a collodion or rubber substratum. The three color positives require time but otherwise are not so difficult to make as mig'ht be supposed. The Modern Methods op Carbon Printing. 187 To begin with, mask the negative on the glass side with an opaque paper mask, having clean cut edges ; leave all the parts exposed which are to be printed in one particular color. Glue the mask at the corners and place a ground glass of the same size over the whole. This will serve to press the mask down smoothly and prevent any oblique rays or reflection from reaching too far under the mask. To blend one color into another, vignette the parts so they blend softly. Place the negative and ground glass into the lower left hand corner of the printing frame, and be very careful to place it in exactly the same position for every succeeding exposure. Each and every pigment tissue must be of exactly the same size and perfectly square and true. Each piece of tissue must be marked at top and bottom to avoid making mistakes. When sensitizing tissue for this purpose it should be squeegeed and dried against a ferrotype or squeegee plate. Cut the pieces of tissue all to exactly the same size, and when ready to print place it square into the corner like the nega- tive, and place all the following pieces, of whatever color they may be, in exactly the same position. This part of the printing requires strict attention in order to make all the dif- ferent films register properly. To print the next color remove the mask used for the preceding impression and mask the negative as before, leav- ing all the parts of some other color exposed. In this way every pigment is printed in exactly the same manner. Ev- ery color requires a different mask, and each color is pro- duced with a different tissue. The printing and developing manipulations are carried on in the usual way. The glass is prepared as given on page 185, and one film is superimposed over the other. Starting with the sky or blue, followed by the green, then the build- 188 The Modern Methods of Carbon Printing. ings, figures, rocks, etc., always bringing in the foreground last. For double transfer reverse the order and trans- fer the foreground first then the middle distance and lastly the sky, etc. If this is carefully done, all the films will regis- ter perfectly, so that when viewed by transmitted light, they appear as one film in so many different colors. A simple method to make the different parts register per- fectly is as follows : Cut a piece of white cardboard the exact size of the glass support upon which the picture is to be transferred. Mark in distinct lines the exact size of the tissue in its correct position, and when ready to place a film into position, place this card as square and exact under the glass as possible; then when the tissue flattens out take it by the two corners diagonally opposite and place it, very carefully, square into the lower left hand corner of the rect- angle marked upon the card. Squeegee this film in contact with the glass as perfectly as possible and let it rest for the proper length of time. Develop in the usual way and im- merse the print when developed in a weak solution of alum for one minute. Rinse in water at about 6o® F. for a few minutes and then proceed with the next film in exactly the same man- ner as the one just developed, only with a little more care, especially when placing the film in position. If possible this should be done, so that when it once lies flat it does nor need to be disturbed. The wet film just developed, might by pull- ing, be easily distorted, if not ruptured. Usually three films make quite an attractive picture, but four will be found better — say blue, green, red and brown, or sepia for landscapes. The most practical way to proceed is to make a light print in sepia or brown of the whole picture as it is, except- ing the sky, taking care not to get the shadows too dark. This print serves to give the required shading and gives the The Modern Methods op Carbon Printing. 189 picture a better defined and sharper appearance. Then fol- low with the other films as previously directed. It is best to dry a picture made in this manner slowly and in a hori- zontal position. To make pictures of this kind on paper or similar sup- ports it is best to make them by double transfer. An opal plate will answer the purpose better than any other for matt surface pictures. Cut all the pieces of carbon tissue of exactly the same size, and when the first impression has been transferred run a pointed lead pencil around the edge of the tissue ; the next piece of tissue is then placed exactly within this mark, and Avill register perfectly, with the one just de- veloped. Proceed in like manner with all the remaining prints. This kind of work will be found very interesting and sbould be given a trial by all carbon printers. In blending the distance of a landscape into the middle distance, let the distance be printed in the sky tint and be vignetted to blend softly into the green, and the latter vig- netted to blend in like manner. Use blue chalk tissue for the sky and sea green for the middle distance. 190 The Modern Methods of Carbon Printing. CMfJPTER IV. the; IvAnte;rn sride;. TN THIS charming branch of photography, the carbon slide will at once be recognized as greatly superior to those made by any other process. The range of tone or color at command, makes it possible to obtain almost any desired re- sults, while the nature of the process is such that any effect, from perfectly clear glass, producing pure, brilliant whites that blend into delicate half-tones, to the utmost opacity, may be obtained without the least difficulty. For brilliancy, fine relief and beautiful effects, the carbon slide cannot be surpassed, while the intensity of the white light usually employed for slide projection does not in the least affect it. This alone is sufficient recommendation, es- pecially where slides are made for scientific purposes. Very often these are difficult to procure and are quite valuable; therefore, they should by all means be absolutely permanent. Ordinary carbon tissue will give fair results, but for first- class slides it will be found necessary to prepare a tissue coated with a pigment compound containing an increased amount of very finely divided coloring matter, such as fil- tered India ink. Should warmth of color be desired to produce certain ef- fects, it is best to add color of a transparent nature, such as gamboge, madder, lakes, etc. The special transparency tissue supplied by the different manufacturers of carbon tissue is of an olive black color and is usually of an excellent quality. It is only obtainable in The Modern Methods op Carbon Printing. 191 bands, however, which makes it rather expensive where there is but a small amount of work to be done. One thing of importance is, that the transparency tissue must have a perfectly even or smooth surface, so that it can be brought into intimate contact with the negative, other- wise it would be impossible to obtain perfectly sharp posi- tives. To get the proper surface, the sensitized tissue, must be squeegeed against a glass, ferrotype, or hard rubber plate, and let remain until perfectly dry. After which it may be stripped and stored away in air-tight tin boxes for use. Tissue treated in this manner will have a smooth, glass- like surface and will give perfect contact, and should be at least three or four days old to give the best results. First-class positives require correspondingly good nega- tives to work from. Those that yield the best slides are per- fectly sharp and crisp, full of detail, clear, clean, and of good density. It is not necessary to reverse the negatives used for this purpose. The slide or transparency may be projected from either the film or the glass side of the plate, giving the same effect. The exposure required for lantern slides is just a little longer than for ordinary positives on paper, but not nearly so long as for positives used to make reversed or enlarged negatives. The glass used for first-class slides should be the best crystal glass, which is sold by all stock dealers for that pur- pose. Discard all imperfect plates, and select only those that are thin and perfectly flat. In order to insure perfect contact, the glass must be well cleaned and then polished with chrome alum dissolved in 192 The Modern Methods op Carbon Printing. alcohol, or they may be prepared after the manner given for positives in general. With the exception that a greater amount of care should be exercised, the developing manipulations are exactly the same as those for ordinary positives on opal glass. Making the transfer or squeegeeing the tissue to the plate, is where it is necessary to exercise the greatest care. If the tissue is stretched or drawn, as it sometimes is, it will distort the image, and the slide will be unfit to use. When the water used for development contains grit or a good deal of organic matter, it should by all means be fil- tered ; it makes a very marked difference in the final results. The alum bath must be well filtered and the slides in- tended to be 'colored in oil colors should remain immersed for a considerable time longer than ordinary carbons, to thoroughly harden the film ; this is strictly necessary where there is considerable brush work to do. Use the sulphite and alum hardener for that purpose. On the other hand, if it is intended to tint the slides with aniline dyes, or tone and intensify them, it is best to omit the hardener alto- , gether, or at least use a very weak solution of alum and im- merse for just a few minutes. An indurated or thoroughly hardened film will imbibe an aqueous solution with difficulty, if it all. As soon as the transparency has been thoroughly washed and dried, it is ready for the mask and cover glass, unless it is to be colored, which must be done first before it is mounted. TINTING OR COLORING LANTERN SLIDES. The best and most approved method of coloring lantern slides, is to tint them with aniline dyes. These are perfectly The Modern Methods of Carbon Printing. 193 transparent, show no grain and produce wonderfully bril- liant color effects. Colors especially prepared for this pur- pose may be bought at any art store or photographic stock house. Coloring or tinting lantern slides that will give beautiful and artistic effects upon the screen, requires consid- erable skill, and a great deal of patient practice. The best and most practical way for a beginner to pro- ceed, is to color a slide by artificial light, such as is used in the lantern. When thought to be properly done, project it upon the screen and . study the different effects. Then tint another and make the necessary alterations and improve- ments in shade and density of color, and test it as before. If this one is satisfactory it may be used for a sample and all the rest tinted by it in ordinary daylight. When the coloring has been successfull}^ done the slide is ready to be mounted in the usucil way. Any good slide representing some place of general in- terest; a good subject in genre, or one illustrating a broad stretch of beautiful scenery, if colored by a skillful hand, will, when projected upon the screen, enrapture the most cri- tical audience ; where on the other hand, a poorly tinted one will receive but little or no attention. Therefore, unless the colorist possesses some natural tal- ent, combined with the necessary good taste, and an abun- dance of patience; so that after a reasonable amount of practice he is able to color a slide in a presentable manner ; it is advisable for him to let a good slide alone. It will al- ways be better appreciated than a poorly colored one. A little practical experience will teach the lanternist the advantage and xnlue of transparencies made by this process. 194 The Modern Methods of Carbon Printing. CHAPTER V. toning and intensifying carbon pictures and TRANSPARENCIES. /^ARBON pictures and transparencies, weak or poor in color, may be greatly improved by toning and inten- sification. This is done mostly by the employment of col- oring matter or dyes, and reagents that act in harmony with chromic oxide. The dyes and coloring matter, if carefully selected, and the same amount of care exercised in their preparation, as well as application, will give an even smooth deposit with- out showing the least sign of granularity or opacity, and may, without hesitation, be applied to the most delicate parts of the finest lantern slide or transparency. When aniline dyes are used it is well to avoid such mordants as chrome alum or tannic acid. These are apt to greatly effect the brilliancy of the tone. Permanganate of Potash, dissolved in distilled water, and filtered, is one of the most useful toning, as well as intensifying agents we have. The color imparted to the print or transparency is of a more or less intense olive green, according to the strength of the solution employed, and is not very pleasant to the eye; but it is very valuable for the intensification of carbon nega- tives and positives, to which it imparts finer printing quali- ties than could be obtained by any other method. The strength of the solution varies according to the in- tensity and depth of color desired, from a one per cent to a The Modern Methods of Carbon Printing. 195 saturated solution. The following is employed for transpar- encies : No. I. Permanganate of potash i part Distilled water 250 parts No. 2. Water 250 parts Ammonia (aqua fort) part Sugar 14 part Immerse the transparency in clear, cold water for a few minutes, and then apply a solution of equal parts of Nos. i and 2. Tet remain until the desired color or intensity is ob- tained and then rinse thoroughly in clean water. The tone Avill be of a yellowish tint. Sepia Brown . — This color is obtained by first applying a one per cent solution of permanganate of potash and after- wards immersing the print in a weak solution of pyrogallic acid. Deep Black. — Apply, first, a one per cent solution of per- manganate of potash, and then gallic acid. A weak solution of sulphide of ammonia is usually employed as a clearing agent. W arm Brown . — Pyrogallic acid and nitrate of silver give fine warm black tones. Use hyposulphite of soda for clear- ing. Dark Purple . — The following give fine results ; No. I. Ferric Sulphate i dram Water (distilled) 2^4 oz. No. 2. Carbonate of Sodium 54 dram Water 2 l 4 oz. No. 3. Gallic acid i dram Water 254 oz. If the chemicals dissolve tardily, apply gentle heat. These solutions keep indefinitely. Filter carefully before use. The manner of toning is to employ the solutions separ- 196 The Modern Methods of Carbon Printing. ately in the order given from eight to twelve minutes, rins- ing after each application. Green . — For a green tone use pyrogallic acid for No. 3 instead of gallic. Dark Green . — A very dark green is produced by the em- ployment of tannic acid or catechu. Both the tannin and cat- echu have a tanning or hardening action on the gelatine. Wash thoroughly. Should it happen that the image, in dry- ing, has obtained a greater degree of intensity than is de- sired a solution of citric or oxalic acid will reduce it to any desired degree. Red . — Bichromate of potash, when followed by a solu- tion of nitrate of silver, gives a color similar to red challc. Clear with hyposulphite of soda. Carmine Red . — An ammoniacal solution of coraline, di- luted in water, produces a very fine color. Violet . — Alizarin dissolved in alcohol and diluted in lime water. A variety of tones, ranging from violet to purple may be produced by the employment of alizarin with the caustic alkalies. The intensity of color varies according to strength of solutions. Purple . — An ammoniacal solution of alizarin with ace- tate of lead gives a fine purple tone. Brozvn . — Ferrocyanate of potash with chloride of nickel make a very fine brown tone. Warm Sepia . — Nitrate of uranium with potassium ferro- cyanide, produce a splendid warm sepia. Green . — Extract of indigo and bichromate of potash pro- duce a green that is suitable for foliage and landscapes gen- erally. Another green is obtained with ; Sulphuric acid 6 cc. m. Water 240 cc. m. The Modern Methods op Carbon Printing. 197 Should any perceivable sign of reticulation appear dur- ing the use of any of the alkaline solutions, it is advisable to remove them at once, to a weaker solution. Blue.— Vor blue, extract of indigo will be found to answer best. Aniline is liable to fade. There are numerous other dyes and toning solutions that might be employed in toning and intensifying carbon pic- tures, but the list given will answer the requirements of the most fastidious carbon printers. IvOCAC TONING. Very agreeable color effects may be produced by toning the different parts of a picture or transparency with a brush. For instance, a landscape with green trees, rocky cliffs, and blue sky may easily be transformed into a colored picture by employment of the different toning agents given in this chapter. The manner of proceeding, is to lay the picture down upon a level surface and, without previously moistening the film, apply the toning solutions with a suitable camel’s hair brush. When enough has been absorbed by the film to give it the desired tone or color, remove the superfluous solution with a tuft of absorbent cotton or a piece of lint-less blotter. The toning solution, applied in this manner, should con- tain a little starch, gum arable or glycerine, to keep it from crawling or spreading too freely. The amateur finds more pleasure in this kind of work than the professional ; for the reason that it takes consider- able time and lots of patience, to do it, and to do it right. 198 The Modern Methods of Carbon Printing. CHAPTER VI. THE REPRODUCTION OE NEGATIVES FROM CARBON POSITIVES. T?OR THIS purpose, the carbon positive is greatly superior to all others, and if it were but for this purpose alone, it would amply repay every photographer for the trouble of acquainting himself with the working details of this valua- ble process. The exquisitely fine deposit of a carbon trans- parency faithfully renders the most delicate details and grad- ations of light and shade of the original negative. This superior quality of the carbon positive makes it possible to reproduce enlarged negatives of quite extended dimensions, without showing the least particle of structure, or grain ; and are equal, and very often superior, to the orig- inals. The negatives enlarged from carbon transparencies may be greatly improved, and the work on the .enlarged negative reduced by skillful touches of brush and pencil, both on the original negative and the intervening positive. The majority of printers, however, prefer to leave the original negative, and also, the positive, untouched, so as to get full detail into the enlarged negative, and in that way are enabled to produce a faultless likeness, and a picture that is equal, in every respect, to one made from an original nega- tive. The most approved method for producing enlarged neg- atives is to make a large positive, the exact size of the in- tended negative, by daylight in the copying camera, or by means of artificial light, with the enlarging lantern. Upon The Modern Methods of Carbon Printing. 199 this enlarged positive all the improvements possible may be made by carefully retouching it on both sides, and then making the large negative from it by contact, and again retouching the negative. This method involves more labor and expense, but pro- duces the most perfect results ; in fact, there is very little or no difference between these and original negatives. The negatives, unless it be for making solar enlarge- ments, are made on any good branch of dry plates. The posi- tives, only, are produced by the carbon process. These positives must be printed very deep, so that they appear greatly over-printed, and should always be printed upon transparency tissue, quite old, and dried against some rigid support, either glass or ferrotype plate. Otherwise the positive might not be perfectly sharp on account of the tis- sue not having a perfectly smooth surface, which would pre- vent it from coming in proper contact with the negative. One of the oldest methods and one that can be especially recommended, is, to coat the required number of plates with a I per cent collodion, which when set, is rinsed with filtered water until the greasy lines disappear, and dried, or, left in the water until wanted ; which might be several hours, with- out injury. When the printed tissue, immersed in the cold water, flattens out, take one of the collodion! zed plates, rinse it quickly under the tap and slip it under the tissue. Then bring it in contact with the plate under water and place it on the squeegee board, where it is brought into intimate contact with the squeegee. It is then allowed to rest a half hour and developed. Or, instead of collodionizing, the plates may be coated with a rubber substratum, which answers the purpose admir- 200 The Modern Methods of Carbon Printing. ably ; the tissue adheres well to either surface and the inten- sifier or redeveloping agents do not stain it as they would the gelatine substratum. Positives or negatives that may be printed from either side, are made in the following manner. The perfectly clean plates are first waxed and then coated with a heavy leather collodion, or with the following. Alcohol 4 ounces Ether 4 ounces Amyl acetate 8 ounces Gun cotton 240 grains Before coating, the waxed plates must be edged with rubber or chrome gelatine. After coating these plates must then be allowed to dry, and are then again coated with a very thin substratum of chrome gelatine, and when dry are then ready for use. Should the positive lack intensity or color, it may very easily be intensified by various methods of which the follow- ing is one of the best : No. I. Permanganate of potash i dram Water .30 ounces No. 2. Water 30 ounces Glycerine V2 ounce Ammonia (liquid) V2 ounce For use, mix equal parts of No. i and No 2. and im- merse the film until the desired color or density has been obtained, which is sometimes very quickly done. The color produced b)^ this method is an olive green, which is valuable in bestowing upon the negative or positive better printing qualities. Instead of using another positive film, an ordinary dry plate of a slow variety may be employed. Negatives of the same size as the positive are usually The Modern Methods op Carbon Printing. 201 made by contact. Reduced, or, enlarged negatives are made in the copying camera. The best way to make a negative from a positive liy con- tact, is to make it in the camera. Direct the lens towards a sheet of white paper or cardboard placed in a good, strong light, and then place the positive into the holder and a good brand of dry plate back of it ; make the ex- posure and develop in the usual way. 202 The Modern Methods op Carbon Printing. CHAPTER VII. CARBON e;nIvARGEME)NTS BY ARTIFICIAL LIGHT AND THE solar camera — The negative. xA.RBON enlargements, by either artificial light or solar camera, require thin, delicate negatives full of detail and fine printing qualities. For the production of negatives of this kind the carbon transparency serves as an almost perfect medium. The special transparency tissue, when dried against a rigid support, will produce positives of a superior quality, such as could not easily be equaled by any other process. When a satisfactory transparency has been obtained, re- peat the operation with it, and the result will be a negative, which may be improved in various ways to obtain the best results. The glass for this purpose, should be a thin, white crys- tal, as free from scratches and blemishes as possible, and should be coated with a substratum or rubber of collodion applied as given in the previous chapter. The developing manipulations are precisely the same as for single transfer pictures. It is not strictly necessary, however, to make a carbon negative. The positive may be placed into a copying camera and a negative made upon any good brand of dry plate. Or, if familiar with the wet process, a collodion negative will answer the purpose almost better than any negative dr)" plate made. Thin negatives, such as are used for aristo pa- per, may be printed from as they are, if electric light is the The Modern Methods op Carbon Printing. 203 illuminant; and the work of making- a duplicate negative may be dispensed with. The; ipnIvArging lante;rn. Almost every photographer engaged in the business to any extent in these days of bromide enlargements, is familiar with, or possesses, an enlarging lantern of some kind. The condensing lenses should be at least eight or ten inches in diameter. With these, it is possible to get a strong and even illumination, and uniformly exposed pictures, clear to the edges of the negative. enlarging lantehn. The best and most sensible, and the only way, to employ an enlarging lantern right, is to construct a permanent stand 204 The Modern Methods of Carbon Printing. for it, where it is handy and always ready whenever re- quired for use. The value of such an arrangement cannot be over-estimated. Nearly every one dislikes the trouble of arranging shaky tables, boxes, etc., every time there is a print to make. A permanent arrangement will do away with this bother and makes the enlarging lantern more popular in the studio. THE solar camera. The solar reflector will be found the most convenient for this class of work. These instruments are too well known to need any further mention here. The work is the same as that with the enlarging lantern, with the exception of the exposure, which must be considerably shorter. The acti- nometer is placed within the circle of illumination where it does not interfere. The developing is done in precisely the same manner as previously given for ordinary carbon pic- tures. Tbe recent improvements in electric lamps greatly facili- tates printing operations in the studio ; so that the photogra- pher who is equipped with one of the new photo-electric printing lamps is no more dependent on the suns rays ; but can turn out a uniform lot of prints in any kind of weather, and do it promptly. The Modern Methods of Carbon Printing. 205 The carbon printer is further greatly benefited by this system : The printing may be done where the atmosphere is dry and temperature moderate and uniform; which keeps the tissue in fine working order and produces the very best results. Another great benefit derived from the use of the electric light, are the splendid results obtafned with the enlarging lantern. Beautiful enlargements, almost equal to pictures made from original negatives, and they are as readily and cheaply produced as solar prints. The sensitive paper may be tacked up, and exposed in the same manner as bromide paper, with the exception that the actinometer must be placed in the circle of light, or a light print may be made on aristo paper and the exposure timed. The carbon tissue is then exposed for exactly the same length of time, and will be found approximately cor- rect. Probably the best and most expedient way of making carbon enlargements with the enlarging lantern is to polish a perfectly clean glass with waxing solution, after the man- ner of Avaxing a temporary support, for the double transfer process. Squeegee the sensitive tissue against the prepared surface of this glass, as it comes from the sensitizing bnth. When dry, clean the glass well, and make the exposure through the glass. The experienced workman will readily see the advantage in this manner of working. The picture will be uniformly sharp all over, and the tissue being already in contact with the glass and may be developed immediately after exposure, if intended for double transfer ; if for single transfer, it must be stripped from the glass, and transferred to whatever support it is desired, celluloid, paper, opal glass or porcelain. The sensitive tissue brought in contact with a clean glass is well protected from dust and foul gases, and therefore always produces nice, clean pictures. 206 The Modern Methods of Carbon Printing. CHAPTER VIII. failures, their cause and remedy. ^ I ^HE carbon process, like all other printing methods, re- quires a certain amount of practical experience to en- able one to become a thoroughly capable and proficient carbon printer. Until this is the case, failures will occur, which, in a moderate degree, are valuable lessons for the beginner in carbon printing. Were the process entirely devoid of difficulties and fail- ures, it would find but little favor among skilled workmen. It is the perplexities, and the difficulty to master them, that lend a certain charm to the process. The following are a number of failures that are apt to occur with beginners, but never trouble the expert : 1. Failure.— Aiio.Y sensitizing carbon tissue in the hot months of summer, the film softens and runs down in streaks. Cause . — The temperature of the drying room was too high, the bichromate solution was too warm, or the gelatine was of a poor quality. Remedy . — Cool the bath to 50° F. or lower, and if the tissue seems all right when taken from the bath, but starts to run down in streaks after it is hung up, it is plainly evi- dent that the room is too warm. Lower the temperature and increase the draught. An electric exhaust fan is the proper caper, or lay the tissue .flat until partly dry. 2. Failure . — The tissue cockles and cannot be brought in proper contact with the negative. The Modeen Methods of Carbon Printing. 207 Cause.— Tht superfluous solution was not evenly re- moved from the back of the tissue. Sometimes drying the tissue too quickly and too long will have the same effect. Remedy . — Remove the moisture from the back of the tissue as evenly as possible. Tissue in that condition must be allowed to absorb moisture enough to make it pliable; then, covering it with a clean piece of paper, roll it tightly around an inch (or larger) roller and let it remain for an hour. With the use of scjueegee plates this never occurs. 3. Failure . — The tissue does not adhere to the transfer paper, celluolid, etc., and when attempting to remove the paper support from the film, it is done with difficulty and usually tears through on the darker parts of the print, which is pulled from the support. Or, after the paper has been re- moved, it is impossible to cause the gelatine to become solu- ble, and the picture remains buried in an insoluble mass of pigment. Cause . — The insolubility of the tissue is either caused by a warm sensitizing bath ; a poor quality of bichromate ; drying too slowly, or it has in some way been exposed to white light, and continuous insolubilization ; the tissue was over-exposed, or left too long before development ; the tis- sue was too old. Remedy . — Remedies for the above failures suggest them- selves. Keep the tissue in total darkness until ready to use. After tissue has been excited for ten days in winter, insolu- bility may be expected. Four days in summer is about the limit unless a preservative such as accelorine is used. De- velop as soon as possible after exposure. 4. Failure . — The edges of the film wash up during de- velopment, otherwise no difficulty occurs. Cause . — The tissue was allowed to remain too long in the water before effecting the transfer, or the moisture on 208 The Modern Methods op Carbon Printing. the margin of the support was not blotted off after the transfer. Remedy . — As soon as the tissue flattens out place it upon the support and apply the squeegee. Sometimes when the negative is masked on the fllm side the heavy shadows will wash up where they are cut off abruptly. Mask on the glass side. Dry the back of the tissue as well as margin of the support well after making the transfer. 5. Failure . — The picture appears dark and heavy and is difficult to develop. Cause . — This is due either to over-exposure or the tissue had become partially insoluble. It was too old. Remedy . — Shorter exposure or the addition of a little bicarbonate of soda, or common salt, will sometimes help a tardy development. In obstinate cases use carbon reducer. Should this fail, the tissue is insoluble, and it would be a waste of time to do anything further with it. 6. Failure . — The picture develops too readily; appears chalky and without half-tones ; is too light. Cause . — A weak sensitizing bath, or the tissue being too new will cause this trouble, but usually it is caused by in- sufficient exposure to light, or water too hot at the begin- ning of development. Remedy . — A sensitizing bath of the proper strength. The tissue should be at least a day old in summer and three days in winter to give good results. Development must be started at a lower temperature. If the tissue is too fresh, expose it to diffused light a few moments or flow it with a I per cent collodion before putting it onto the negative and it will then probably work all right. 7. Failure . — The picture appears veiled with a fine, black network, reticulation, or it is granular. Causes . — This trouble appears mostly during hot weather The Modern Methods of Carbon Printing. 209 or is caused by immersing- the tissue in water of too high a temperature when effecting the first transfer. Too much alkali and sudden changes in temperature cause coarseness and granularity. Remedy . — Immerse the tissue in water at about 50° F. The addition of a little salicylic acid, or a few drops of a ten per cent solution of a bichloride of mercury to the sensitizing bath in summer, will cure this evil. Slow di*ying of the tis- sue, enough to cause a slight insolubility all over the surface, a weaker sensitizing bath, or a thin coat of collodion, are all effective remedies for this trouble. 8. Failure . — Tiny air bells that cause little shiny specks. Cause . — This trouble arises from air being imprisoned between the tissue and support ; the generating of carbonic acid gas between the film and support ; the development was commenced with water at too high a temperature; the wa- ter used to eliminate the alum was too cold. Use water at 65*^ or 70^ F. Remedy . — Before placing the tissue upon the support remove all the air bells and froth adhering to the surface with a soft camels-hair brush, then take it by the corners diagonally opposite and place the diagonal line upon the sup- port first, and then carefully let down the corners, apply the squeegee from center to side, and the trouble cannot be blamed to the transfer manipulations. Very often, and es- pecially with pictures on celluloid this trouble occurs be- tween the film and support, especially when very hot water has been used for development and the print was immersed in cold, hard water afterwards. Let the print soak in cold water for half hour before development and then raise the temperature gradually. Tap water coming from the hydrant under high pressure always contains a great deal of air, and 110 The Modern Methods op Carbon Printing. is almost unfit for developing carbon pictures. Soft water throughout the development always gives the best results. 9. Failure . — The tissue refuses to adhere to the support. The film rises when warm water is applied. Cause . — The tissue had remained in the cold water too long before it was transferred to the support ; or it had been exposed to foul air or gases, etc. On celluloid, the sub- stratum was too soft. Remedy . — Put the tissue under pressure for an hour, then start the development in water at a medium tempera- ture, and gradually increase it until the pigment begins to ooze out around the edge, then strip the paper from the back, lower the temperature and proceed carefully until the desired effect has been obtained. Use a good, hard gelatine for a substratum on celluloid. TO. Failure.— The. tissue does not adhere to the collo- dion plate (double transfer.) Cause . — The tissue was too old or had become partly insoluble. Remedy . — When the tissue is not fresh, or in warm weather, flow the collodionized plate with albumen, or a two per cent solution of hard gelatine containing a little chrome alum will answer. II. Failure . — The picture appears to be full of little black specks. Cause . — Particles of dirt or tissue imprisoned between the film and support, sometimes adhering to the surface. Often, when water has been used for several prints it be- comes full of little black particles that have become detached from the borders of the tissue. These adhering to the sur- face become imprisoned between the film and support and give rise to black specks. Remedy . — Use fresh water. The Modern Methods op Carbon Printing. 211 12. Failure . — The picture appears granular. Cause . — The paper was dried at a very high temperature, or had been exposed to bad air, or gases. The use of too much alkali ; or the tissue was not in contact with the sup- port long enough before it was developed. 13. Failure . — Pictures developed upon glass plate be- come reticulated. Cause . — The exposed tissue was immersed in warm, in- stead of cold water, when the first transfer was made. Remedy . — Make the first transfer in cold water. When developing, soak in cold water first, and then gradually raise the temperature to a point that will cause the solubility of the gelatine, then remove the paper and proceed with the development at a lower temperature. Use soft water at a medium temperature. Keep the print under water after the original paper support has been re- moved, until the bichromate is well washed out. 14. Failure . — The picture appears cloudy, especially in the lighter parts. Looks patchy. Cause . — Pressure of the fingers on the back of the tis- sue ; pouring hot water on the back of the tissue or the use of old blotters that are full of gelatine; the celluloid was not clean ; too heavy pressure on the squeegee. Remedy . — Avoid getting the fingers in contact with the face of the tissue, and the pressure of the hands against the moist paper on the back when effecting the first transfer. Use only clean blotters and see that the celluloid is perfectly dean. Do not use cpite as much pressure on the squeegee, and do not strike the tissue with much force when placing the squeegee upon it during transfer. 15. Failure . — The pictures refuse to leave the temporary support when making the final transfer. 212 The Modern Methods op Carbon Printing. Cause . — This trouble is caused entirely by the faulty waxing of the temporary support. Remedy . — Use none but pure wax, and immerse the plates in a 5 per cent chrome alum solution and rinse well before using. The addition of a little resin will help over- come the difficulty. New plates should be polished but very little, or not at all. After the plates have been re- waxed sev- eral times this trouble never occurs. 1 6. Failure . — It sometimes happens that the picture will not adhere to the final support. Cause . — This will happen when the gelatine is dissolved away from the surface of the support — the temperature of the water in which it was immersed to soften the gelatine, was too high. Or, if the print had been left too long in the alum, it will have the same effect. Remedy . — The remedies to overcome these difficulties suggest themselves. 17. Failure . — Pictures developed in the vertical tank are covered with froth causing tiny little white specks. Cause . — Sometimes rvater passing through certain kinds of heaters by direct pressure, is filled with air; this gathers in minute little air-bells upon the face of the film and gives rise to this trouble. Remedy . — Pass the water through some kind of a filter — chamois or fine muslin will do. Or see that it contains no air. POOR, WEAK, SUNKEN-IN, ELAT OR GREY PRINTS. Most usually result from negatives poor in cjuality. Like in the silver process, a good negative with lots of snap will produce a vigorous, fine-colored print, and a weak lifeless negative will make a poor grey print. The latter only occurs with the student or beginner ; of The Modern Methods op Carbon Printing. 213 course, the expert can tell at a glance when he sees a nega- tive, what to do, to get the best possible results. For weak, flat negatives in proper hands, can be made to yield good prints; CONDITIONS OF PFRMANFNCY. Fading and deterioration is as likely to occur with pig- ment pictures as with any other make. As a rule, they are considered permanent, which they certainly are if the pigments employed are not of a perishable nature. Gelatine, which is very extensively employed, in the pro- cess, is a durable substance, especially when endurated or hardened with alum. The coloring matter that enters into the make-up of car- bon tissue is chiefly composed of pure carbon or lamp black, and is probably the most imperishable substance employed as a coloring matter, in photography. Most of the pigments used as coloring matter, are just as permanent, and for this reason, carbon pictures may be regarded as abso- lutely permanent as far as the coloring matter is con- cerned, unless some of the other constituents of the tissue are of poor and umstable quality. In the majority of cases, fading and deterioration is plainly traceable to carelessness or lack of understanding on the part of the operator. If he neglects to thoroughly eliminate all traces of bichromate from the film or support, fading is sure to follow. A very strong solution of alum, will materially affect the print, and if not thoroughly eliminated from the sup- port, will ultimately bring ruin to the picture. Some pigments are effected by acids, and others by alka- lies ; therefore all the conditions pertaining to permanency must be studied and applied to good advantage to obtain the best results. 214 The Modern Methods of Carbon Printing Pert V. THE APPENDIX CHAPTER I. CARBON TISSUE. — HOW MADE^ AND THE MATERIALS RE- QUIRED IN ITS MANUFACTURE. — THE MANUFACTURE OF CARBON TISSUE IN THE STUDIO. Of the vast amount of carbon tissue annually consumed in this country, 75 per cent is of foreign manufacture. Some years ago a firm in Boston ventured into the man- ufacture of carbon tissue in this country, but for lack of encouragement, and the incongruities of the carbon process, at that time, it was again abandoned. Notwithstanding, that there is now a plentiful supply of excellent carbon tissue on the market, it will nevertheless stand the wide-awake and up-to-date carbon printer in hand to be perfectly familiar with, and fully understand its manu- facture, as well as its use. For that reason, and for the sake of completeness, I will give a full and lucid description of the entire process of manufacturing all kinds of pigment or carbon tissue in the studio. Before proceeding to describe the actual manufacture of the tissue, however, a little preliminary explanation regard- ing the different constituents that enter into its make-up, will here not be out of place. The Modern Methods of Carbon Printing. 215 In the first place, the paper used for this purpose should be rather tough, with an even smooth surface texture, and contain very little size, to be easily permiable by water. The gelatine is probably the most important factor in the manufacture of a good carbon tissue. There are several varieties of hard and soft gelatine especially suited for this purpose, on the market; of these. Nelson, No. i, is probably the best; it is, however, too readily soluble and for that reason must be mixed with a hard gelatine, such as Coig- nets or Winterthur. If a tough film is desired, an addi- tion of lo to 20 per cent of a good isinglass (Astrakhan Leaf ), must be added. Some of the soft gelatines, and es- pecially the American makes, are too freely soluble in warm water, and if employed in the manufacture of tissue, the re- sulting pictures will be weak and faded in appearance ; and especially in the hot days of summer, such tissue will y’dd very inferior results. On the other hand, if the gelatine is too hard and prob- ably contains considerable alum, the tissue will be spar- ingly soluble and it will consequently be impossible to ob- tain satisfactory results. The pictures will be heavy and veiled — and very flat. A gelatine suitable for carbon tissues should absorb from 12 to i8 times its weight of cold water in 24 hours; if it absorbs less, it is not so well suited for the purpose. There are some makes of gelatine that contain fatty substance, which, if used for carbon tissue, will be very in- jurious to the film, causing irregular light spots upon the pictures. Gelatine and pigment alone, would make a hard and very brittle tissue; therefore, to make it more pliable, we must add sugar, soap and glycerine, to the compound, which im- 216 The Modern Methods op Carbon Printing. parts to it the different qualities necessary to make a good tissue. An addition of sugar is recommended by most man- ufacturers, but it must be used with judgment; an excess will make the tissue too freely soluble and very brittle in dry, hot weather. From ten to twenty per cent in weight, of the dry gela- tine, will be the proportion to use, greatly depending upon the purpose for which it is intended. Glycerine makes the tissue very pliable and if used in excess, will show it considerably and also make it too freely soluble, causing great contrast, and loss of half tones. A moderate use of glycerine makes brilliant prints, with beautiful whites, and may be used to good advantage on weak, flat negatives. An addition of soap to a pigment compound causes a bet- ter distribution of the coloring matter, and causes the gela- tine to flow more evenly. It also make sthe tissue pliable, and greatly adds to its solubilit}-. Ten per cent in weight of the gelatine, is about the right proportion to use. Isinglass is often used instead of soap ; besides making the tissue more soluble, it makes a stronger, tougher film. The Modern Methods of Carbon Printing. 217 CHAPTER II. THE CHOICE OE PIGMENTS OR COLORING MATTER. choice of pigments, or coloring matter, in the man- nfacture of carbon tissue, is of the utmost import- ance; for the reason that richness and brilliancy of tone depend nearly, altogether upon the brilliancy and colorific power, as well as stability of the pigments or coloring matter used. Unfortunately, the most beautiful and brilliant colors of the painter’s palette, are the most fugitive, and the ones that should be the most carefully avoided in pigment print- ing, if absolutely permanent pictures are desired. There are, however, a great variety of other pigments available, aside from the unstable ones ; that may be safely employed in the manufacture of carbon tissue. With these and their combinations, the skillful operator is enabled to produce the most charming pictures, in a great variety of tones, that, for richness and beautiful color effects, surpass anything that has even been attempted by any other process. Cold, or dull and heavy pigments, should, if possible be avoided ; they make dull, lifeless pictures ; with a little warmth, the results will always be more pleasing. Often flatness and loss of vigor, is due to soluble col- oring matter, or the pigments are affected by the action of some of the chemicals used in the process. We will take, for example, ultramarine, which under ordinary conditions is said to be perfectly permanent, and is often referred to as the most staple of all the blues. 218 The Modern Methods op Carbon Printing. In the carbon process it is affected by a strong alum solu- tion and in the presence of nitric acid, it loses its beautiful blue color, leaving an earthy, yellowish-grey deposit. The true color or tone of a pigment picture, can only be seen in the half tones or middle tints, and cannot be judged from the color of the tissue as it appears before de- velopment. The commercial carbon tissue now obtainable, embraces at least twenty-five different colors ; of which wann black, engraving black, standard brown, sepia, lambert-type purple, sea green and red chalk, are the most used. For the benefit of those who are not familiar with the nature and properties of the various pigments, I will now give a short description of such colors, that may be safely employed in the manufacture of carbon tissue. DESCRIPTION OF PIGMENTS. Lampblack . — This is mostly a pure vegetable carbon of fine texture, obtained by burning resin or pine pitch, tur- pentine and camphor. Also from the imperfect combustion of bone oil or coal tar. It is not so intense or transparent as ivory black and much less brown in tone. It makes a. splen- did engraving black or transparency tissue. If a cold tone is desired, add indigo or cobalt blue. If warmth is wanted, add alizarin or Venetian red. It is a dense solid color and should be used sparingly. It is the most permanent black known, and is used extensively in the manufacture of india ink and printer’s ink. Ivory Black . — This is a rich, velvety black, of a brownish tone. It is obtained by calcining ivory in a closed crucible. Wfith the addition of a litle blue and red it makes a splen- did warm black; is as permanent as lampblack, but is con- siderably more expensive. The Modern Methods of Carbon Printing. 219 Drop Black. — Is a good black ; a little colder in tone than ivory black ; is much cheaper, and is perfectly permanent. Frankfurt Black. — (Blue Black.) This is made of char- coal and calcined prussian blue; also burnt vine-twigs and cocoanut shells. Is permanent. Venetian Red, or Scarlet Oehre. — This is an oxide of iron, prepared by calcining sulphate of iron with the addition of a little nitric acid. The result is, a peroxide of iron. It is considerably stronger, and has much more of a scarlet hue than light red, is considered perfectly permanent, and is a eery useful color in preparing the different shades of pig- ment tissue. Madder Lake. — These colors are extracted from the roots of the Rubia Tinctorum, and are the most permanent of the lakes. They are used in the carbon process chiefly, to en- rich and liven up other pigments. Cobalt Blue. — A silicate of cobalt and potassium, or a compound of cobalt and alumina. This is a brilliant blue, and probably the most permanent of all the blues. Ultramarine. — This beautiful color is made of silica alumina, soda and sulphur. It mingles well with all the other pigments and is thoroughly permanent, providing it does not come in contact with an acid, or is mingled with acid pigments. Acid solutions of every kind should be care- fully avoided to insure pemanency. A strong alum solution affects the color of artificial ultramarine. India Ink. — This is a fine opaque black body prepared of shellac, 20 parts, borax 40 parts, refined lampblack in water, 80 parts. That of Chinese manufacture is refined lampblack mixed with oil of sesamum (tilseed) and a little camphor. In the carbon process it is chiefly employed in the manu- 220 The Modern Methods of Carbon Printing. facture of transparency tissue, for which purpose it has. no equal. It is absolutely permanent. Van Dyke Brozvn. — This is a deep semi-transparent pig- ment. With the addition of a little alizarin and india ink, it makes a fine brown tissue. Is permanent. Burnt Umber. — Is an agreeable olive-brown color, and is perfectly permanent. Sepia. — Sepia is the ink of the cuttle fish, consisting of carbonaceous particles, and animal gelatine. It has a trans- parent, dusky brown color. The addition of a little burnt sienna will give it more life. It is a permanent and easy working color. Bistre. — This is made of the finer parts of beechwood root, and is extracted by a watery solution. It has an in- tense citrine-brown color and is employed for sepia tones. It is perfectly permanent. Burnt Sienna. — A reddish-brown pigment sometimes em- ployed in the manufacture of sepia tissue. Is considered permanent. Prussian Blue. — A good, powerful and yet transparent pigment ; consisting of carbon, nitrogen and iron ; it is fairly permanent, but not as much so as cobalt or ultra- marine. Mixed with gamboge, it makes a permanent, bright green color. The action of a strong alkali decomposes it ; but the em- ployment of hydrochloric acid will again restore its former color. Strong light will weaken its color, but when placed in darkness its former brilliancy returns. Cohalt Green. — This color is a compound of zinc and oxide of cobalt, and is considered perfectly permanent. Terre Verte. — Is a perfectly permanent color if not al- lowed to come in contact with acids. The Modern Methods op Carbon Printing. 221 The preceding list of pigments are the most desirable as well as the most permanent colors of the painter’s pal- ette, and may safely be employed in the manufacture of pigment tissue. Any of the above colors can be bought finely ground and in a moist state, contained in tubes or bottles of various sizes. 222 The Modern Methods of Carbon Printing. CHAPTER III. the: manufacture: of carbon tissuf in thf studio. HE manufacture of carbon tissue has assumed quite extended proportions and it is now ftirnished by the makers in a uniform and most excellent quality. Some of these tissues possess a very high degree of ex- cellence, which for rich and beautiful coloring, uniformity, and fine printing qualities, cannot be surpassed. While the manufacture of carbon tissue in the studio is not at all difficult, it must, of course, not be expected that an amateur or professional who undertakes to make a small batch of tissue, could equal in uniformity and quality of fineness, the products of the manufacturer who has all avail- able resources at his command, and probably possesses the most perfect machinery and apparatus, that modern skill and ingenuity can produce. It is nevertheless true, however, that some very excellent tissue can easily and profitably be made in the studio, if the instructions given in this treatise are strictly adhered to. Furthermore, to be successful, every expert carbon printer ought to understand perfectly, and should be thoroughly conversant with all the mechanical details as well as chemi- cal manipulations involved in the process and manufacture of carbon tissue. It will prove an advantage, not only in familiarizing him with the tissue in all the after manipulations, but it will enable him, to at once locate and overcome any difficulty that might arise at any stage of the process. The Modern Methods op Carbon Printing. 223 Where carbon printing is carried on extensively, odd shades are often in demand; not being obtainable commer- cially, it is certainly a great advantage if the operator can produce the desired article in the studio. Another great ad- vantage found in the manufacture of pigment tissue in our own laboratories, is that it can be made to suit any class of negatives we may desire to print from. For instance, if we wish to make a tissue that will yield a strong brilliant picture, from a thin flat negative, it is only necessary to increase the quantity of coloring matter, or re- duce the thickness of the translucent film composing the tissue, to obtain the desired effect. By this it will readily be seen, that by making a print upon a paper having a thin film of gelatine, containing an abundance of coloring matter, the resulting picture will be strong and brilliant, with vigorous contrasts and perfect gradations, impossible to obtain with tissue not suited for that class of negatives. And again on the other hand, by preparing a tissue with a thicker or more translucent film of gelatine, containing less coloring matter, hard negatives with excessive contrasts, may be made to yield soft and harmonious prints. Thus it is possible by judiciously preparing the pigment compound , to produce a tissue having the printing qualities so regulated as to greatly ameliorate the faults and imper- fections of weak, flat negatives and those that possess too much contrast, and are too harsh for ordinary printing methods. But of course, in view of all these possibilities, it should not be understood or expected, that the results obtained by these methods would be equal to the pictures produced from negatives possessing fine gradations or first class printing qualities. 224 The Modern Methods of Carbon Printing. The commercial tissue now procurable, is manufactured in a sensitive and insensitive state. Tissue in an insensitive state will keep indefinitely if stored away in a dry, cool place, and may be excited or made sensitive to light whenever desired for use. Sensitive carbon tissue has the exciting agent incorpor- ated in the pigment film with which it is coated, and is only obtainable in the immediate vicinity of the factory, on ac- count of its rapid deterioration, especially in hot weather. Its keeping qualities are limited to 3 or 4 days in summer and about two weeks in winter. This tissue will yield finer results, and is manipulated with less difficulty than that which is made sensitive as required. It is therefore advisable to purchase tissue whenever it can be obtained, in a fresh and workable state. The Modern Methods of Carbon Printing. 225 chapter IV. THE GELATINE COMPOUND. The first step in the manufacture of carbon tissue, is to prepare the preliminary jelly, as it is called. The following are a few of the best formulas known, and are highly recommended by all who have tried them. Gelatine (medium) loo to 130 oz. Sugar 20 oz. Soap •. 5 oz. Coloring matter 3 to 6 oz. Water 400 c. c. m. The proper way to prepare the above emulsion is to put the gelatine, sugar and soap into the cold water and let it soak for about an hour. During this time the gelatine will have absorbed enough water to soften it, and it will dissolve very readily. Place the vessel in a water-bath and gradually raise the temperature to 100*^ F. When it has all dissolved, stir well to mix the soap and sugar with the gelatine, and pour the solution into a vessel tapering towards the bottom. Let cool gradually, to allow all the impurities to settle to the bottom. When cold, drop the whole mass into a clean flat dish and re- move the sediment that gathered at the bottom, by cutting it away with a knife. The gelatine is then ready to be incorporated with the pigment or coloring matter. When mixing up the pigment compound, weigh out the coloring matter, and in a good size morter, grind it well together with a little warm gelatine. 226 The Modern Methods op Carbon Printing. Then melt the remaining gelatine and gradually pour it into the pigment mass, in the morter, and thoroughly mix ; then filter through fine muslin and the compound is ready for use. The following is also a very fine formula for preparing pigmented gelatine : Water (distilled) 25 ounces Gelatine (Nelson’s No. i) 400 grains Gelatine (Nelson’s amber) 3000 grains Soap (pure white) 200 grains Sugar I to 2 ounces Soak the gelatine for an hour, and add the soap and sugar, and, placing the mass in a water bath, dissolve by gentle heat. Mix the coloring matter with a little gelatine to the con- sistency of a thin S}Hup and then add the whole to the gela- tine and stir well ; when thoroughly mixed, filter through fine muslin and the compound is ready for use. If the pigment tissue is intended for immediate use it is best to add the sensitizing agent to the compound. To the above quantity of emulsion add 300 gr. bichromate of potash and from 50 to 150 grains of crystallized carbonate of soda. C. P. This will coat a roll of paper 30 in. by 12 ft. long. MIXING THE PIGMENTS OR COLORING MATTER. Any tone or color may be given to the tissue, and the quantity of coloring matter regulated to suit the density of the negatives to be printed from. Warm black, sepia, pur- ple, standard brown, sea green and red chalk, are colors that are mostly used for the ordinary run of studio work; all other shades are intended for special purposes, and are only in demand at times. The pigments or coloring matter usually employed, are The Modern Methods op Carbon Printing. 227 finely ground water colors, put up in tubes, bottles or jars, in a moist state. These pigments when fresh, contain about one-half their weight in water, for which an allowance must be made when used for coloring carbon tissue. WARM BLACK. Lampblack or India ink lOO grains Burnt umber 6o grains Carmine lake 94 grains Indigo 32 grains ENGRAVING BLACK. Chinese ink or lampblack 60 grains Indigo 30 grains Carmine lake 64 grains SEPIA. Sepia of cologne 550 grains Lampblack 68 .grains DARK BROWN. Lampblack 464 grains Indian red 94 grains Carmine lake 24 grains Vandyke brown 64 grains Indigo 38 grains RED BROWN. Vandyke brown 125 grains Carmine lake 156 grains India ink 94 grains PHOTOGRAPHIC BROWN. Chinese ink 125 grains Indian red • 156 grains Carmine lake 94 grains CHOCOLATE BROWN. Lampblack 48 grains Alizarin (dissolved in soda) 8 grains Peroxide of iron (dry hydrated) 32 grains Purpurine 8 grains 228 The Modern Methods of Carbon Printing. BLACK TRANSPARENCY TISSUE. Finest liquid India ink i8o grains Jelly 2 lbs. To obtain the very best results, dissolve one bottle of India ink in a quart of water and filter. Then evaporate the water and mix the color with the gelatine as previously directed. The tissue thus obtained will yield the most perfect re- sult, when employed for magic lantern slides or transparen- cies for carbon enlargements. The exquisitely fine deposit of color in these positives will admit of enlargements being made, of quite extended dimensions, without showing the least particle of structure or grain. RED TR.\NSPARENCY TISSUE. India ink 64 grains Indian red 90 grains Carmine lake ' 156 grains GRAPHITE TISSUE. Pictures printed in graphite resemble pencil drawings, and present rather a unique appearance. For some purposes they give very pretty and artistic effects. Grind the graphite well in a little glycerine before mix- ing with the jelly compound. RED CHALK. India red Carmine lake Lampblack 156 grains 90 grains 50 grains WARM SEPIA. Sepia of cologne 300 grains Burnt sienna 100 grains Indian red 50 grains Lampblack 50 grains The Modern Methods of Carbon Printing. SE\ GBEEN. Chrome green Cobalt blue India ink 200 srains lo grains 50 grains ITAKINE BLUE. Frankfurt blue 100 grams Alizarin 15 grains India ink 50 grains TISSUE FOR TEANSP.ARENCIES _\ND EtXTESN SLIDES. Gelatine (Nelson's No. i) 5 oz. Winterthur gelatine if oz. Rock candy 3 oz. White castile soap 2 oz. Distilled water 100 oz. Allow the gelatine to stand in the cold water for about an hour, then add the soap and candy and dissolve in a water bath, by gentle heat. \\*hen dissolved add the coloring mat- ter in the usual way ; mix and filter through muslin. To the above gelatine add the follo%\-ing proportions of coloring matter : Black. — Chinese ink 16 parts Vandyke brown 2 parts Venetian red 2 pans Violet Black. — India ink 20 pans Indigo 2 pans Carmine lake i pan Purple. — Chinese ink f pans India red 5 pans Burnt umber f pans Indigo I pan To prepare the pigment compound, take of the above gelatine 30 parts, coloring matter i part. Coat at about 95° F- The following formula is used by one of the most promi- nent carbon printing establishments in Germany : 230 The Modern Methods of Carbon Printing. Gelatine (Nelson’s No. i) 75 parts Gelatine (hard) 25 parts Pure white soap 5 parts Rock candy 25 parts Water (distilled) 300 parts Coloring matter 3 to 5 parts In a very dry atmosphere add 5 parts of glycerine in- stead of the soap. As a coloring matter add any of the compounds given in the foregoing chapter. The proportions depend somewhat upon the density of the negatives to be printed from ; if thin and delicate, add the full 5 parts ; and if dense and contrasty add less. There must be enough pigment, however, to make the film look quite opaque when coated on white paper. If the above tissue is intended to be used up in from three to six days in summer, and from six to ten days in winter, it is advisable to add the sensitizing agent to the pigment compound, and thus save the extra trouble of sen- sitizing and again drying the tissue. For the above amount of gelatine, dissolve 5 parts of bichromate of pdtash in 50 parts of water to which add about 70 grains of carbonate of soda, and filter. The tissue pre- pared in this manner, makes stronger and more brilliant prints than when coated in an insensitive state, and after- wards immersed in a bichromate solution. white; tissue. A white tissue may be prepared by mixing zinc white, flake white or Chinese white with the gelatine in place of col- oring matter. This tissue may be used for various purposes. The best results are obtained on dark red, purple or black supports, and printed from a positive instead of a negative. The Modern Methods of Carbon Printing. 231 Gelatine (medium) 20 oz. Sugar 10 oz. Glycerine i c. c. m. Sulphate of barium (neutral) Water 200 c. c. m. The sulphate of barium must be in a neutral state and enough added to make quite a heavy deposit. AVhen ready to coat, add 20 c. c. m. of a 10 per cent solution of bichro- mate of potash. For soft delicate details, coat at a low temperature and cause the gelatine to set as c[uickly as possible and for strong contrasts, coat the paper while the gelatine is warm, and let set slowly. This tissue is especially adapted for pictures of statuary — printed from positives. Printing this tissue an actinome- ter is superfluous, the print is visible in a brown tone on a yellow ground. Development takes place in the usual way. pocYCHROMq tissue;. A pigment tissue that produces rather striking effects, is composed of one or more layers of pigmented gelatine, each layer being of a different tone or color. Quite a variety of combinations may be made, but for general effects black and sepia, or black sepia and red, are good combinations. For landscapes or views, sepia, green and blue, give very artistic and beautiful effects. The blue being the top layer, covers the lights, the green, the middle distance and lighter parts in the foreground and the sepia the darker parts such as the trunks of trees, rocks, and deep shadows, etc. A careful printer can produce some very beautiful effects, and if skilled with brush and color can produce pictures that are truly beautiful. A similar process was patented by Baumgartner in 1882 and by Corwin Gitchell of San Fran- 232 The Modern Methods of Carbon Printing. cisco in 1896. These tissues are not obtainable commer- cially, but may be made in the studio to suit any purpose. The process of Corwin Gitchell probably produces the most novel effects. Being a modification of the carbon or pigment process, it consists in the use of a multiple colored pigment tissue, having the pigments or coloring matter strat- ified or arranged in three distinct layers or strata, according to the effect desired to produce. The printing, transfer and development of this style of tissue is done in exactly the same manner as the ordinary carbon tissue. In the resulting print, those portions which correspond to the ver}^ dense part of the negative will appear in the color of the upper stratum^ while those that rank next in density, will assume the color of the next stratum of pigment below, etc. For an illus- tration, we will take for instance, a landscape tissue, which is composed of three stratified layers of pigment, blue, green and brown. The sky, being the denser part of the negative, will only allow the light to penetrate to the upper strata, which is blue ; the foliage which is next in density will be penetrated to the second strata which is green ; and the trunks of trees, rocks and all deep shadows will be penetrated to the third or brown strata. The half-tones of the upper strata will be blue- green, and in the lower stratas an olive gray; which pro- duces a pleasant harmony of effects. A tissue suitable for sunset or moonlight effects, is com- posed of two layers of pigments, a purple or indigo with a dark brown below. The support or transfer paper used for this style of tissue may be tinted according to the effect desired to produce, thus, for a sunset or sunrise, it may be a pink or an orange, which gives beautiful mellow effects in the bright lights, and a va- riety of grays in the half-tones and darker shades. Thus a The Modern Methods op Carbon Printing. 233 great variety of effects can be produced with the use of these tinted grounds. A variety of tissue, suitable for portraiture may be pro- duced according to the color effects, desired. One style of tissue produces a light brown or pink in the high-lights ; which passes through several shades of brown and finally into a deep velvety black, in the shadows. This style of tissue gives a peculiar depth to the shadows im- possible to produce by any other method. The effects obtained are of the highest artistic value and are entirely different from anything ever produced by photographic methods. The character of the results, of course, depends greatly upon the proper selection of the pigments, and the ground upon which the picture is transferred, to produce certain effects. 234 The Modern Methods op Carbon Printing. chapter VI. PREPARING THE pigment COMPOUNDS. * I ^HE best and most expedient way to mix pigment com- pounds, is to grind the coloring matter in about three ounces of warm jelly and when well mixed, melt the remain- ing jelly and stir it into the three ounces containing the pigments; now thoroughly mix and filter through muslin, and the compound is ready for use. For mixing pigment compounds in large quantities, a suitable paint mill or mixer should be employed. PROPORTIONS OE COEORING MATTER. The exact proportions of coloring matter to use, depends considerably on the opacity and colorific power of the pig- ments employed, as well as the intensity of color sought for. For tissue to use upon ordinary negatives and for no special purpose, a drop of pigmented gelatine upon a white piece of paper should appear quite opaque ; if not, add more color. Most carbon printers prefer to use pigments that are inert or perfectly insoluble. When a soluble coloring matter is employed, the prints should not be treated to a prolonged washing or soaking ; or there will be a loss of brilliancy, and the prints will look flat and faded. For negatives of good printing qualities, about two per cent of carbon will be a good reliable proportion to use. It will be well to here again mention the fact that the real or actual color of a tissue is chiefly seen in the half- tones and lighter parts of the picture ; and that it is cqiite dif- ficult to distinguish the tone or color in the darker shades, es- pecially in the blacks. The Modern Methods op Carbon Printing. 235 Also, that an increase of color, will add vigor and con- trast to pictures printed from weak negatives ; and a de- crease of color, gives softness, where harsh contrasty nega- tives are employed. COMPOUND POR SPNSITIVP TiSSUp. In preparing a sensitive pigment compound the sensitiz- ing agent must be incorporated into the pigmented gelatine just before coating the paper. For tissue to be used on ordinary negatives, about one part of a saturated solution of bichromate of potash to ten parts of the gelatine compound will be found a good, reliable proportion. A compound having a large proportion of sensitizer is proportionately more rapid and is better suited for hard, con- trasty negatives ; but is considerably more difficult to man- age. Tissue of that order works best when about two days old. A compound with a small amount of sensitizer will make a slow tissue, which is easily handled and is best suited for weak negative. Works best when fresh. 236 The Modern methods of Carbon Printing. CHAPTER VII. COATING THE PAPER WITH PIGMENTED JELLY. ' I 'O APPLY a unifomi coating of pigmented gelatine of a given thickness over a sheet of paper, is usually re- garded as a somewhat difficult operation which it certainly is, if a clumsy or improper mode of working is adopted. But, if the proper methods are employed, it will be found surpris- ingly simple and easy; and one fair trial will serve to over- come all hesitation and backwardness, usually found among the uninitiated, and will convince the most skeptical that a batch of splendid tissue, may be coated in less time than it takes to explain the process. The success of the coating operations depends greatly upon the consistency of the gelatine compound. If the temperature is too high, a thin and insufficient coating will be the result ; in which case it must be repeated when the previous coating is dry, or the tissue would be useless. If the temperature is too low, it will be hard to obtain an e\ en coating, and the compound ivill be otherwise difficult to manage. If the temperature is maintained at about 90® Fahrenheit, and the room properly warm, the coating will be done with- out the least difficulty. In order to make the film set quickly it must be put in a cool room immediately after coating. Probably the most simple method of coating paper with a pigmented jelly is the following: Immerse a clean, flat sheet of glass into a tray of warm water; then immerse a The Modern Methods of Carbon Printing. 237 sheet of paper just a little smaller than the glass into the same tray. When the paper has expanded bring it in con- tact with the hollow side of the glass and place it upon a perfectly level surface; then immediately cover it with a lintless blotter and bring the paper into perfect contact with the glass, and while the paper and glass is still warm, care fully pour on a pool of the pigment compound and immedi- ately spread it over the entire surface as evenly as possible with a strip of glass. If any air-bells appear quickly draw them to the side while the jelly is in a fluid state, but never attempt it after it has set. Place the plate and pigment paper on a cool, level sur- face until the gelatine has set ; when the paper may be hung up to dry. This is done by attaching thin slats of wood at top and bottom with photo-clips and hanging it on a tightly-drawn line or wire until dry. Another method of coating pigment paper, which is probably a little more expedient than the former, is as fol- lows : First sponge the paper with clean, cold water, and place one sheet over the other ; then with the roller squeegee and a heavy blotter remove all superfluous moisture, cover with a clean sheet of glass and let rest for about an hour. COATING TRAY. 238 The Modern Methods of Carbon Printing. A double coating tray made of tin and constructed like the accompanying illustration will be found a very handy arrangement for the purpose. Pour the gelatine mixture into the small tray, and fill the lower one with warm water, and place a small gas stove underneath to keep up a uniform temperature. To coat, roll up the paper the narrow way, and carefully placing it upon the solution, take a hold of the corners oppo- site and immediately begin to pull it with an even upward motion, without stopping until the whole sheet unrolls itself and is pulled from the solution. If the temperature of the pigmented jelly was right to gii'e it the proper consistency to hold the paper in proper contact, it will be pulled from the solution with a smooth, even coating, and the film will be sufficiently heavy; should it not be heavy enough, however, repeat the operation when the first film is dry. Place the coated paper upon a clean, level surface, in a cool room until set ; then place in a moderate temperature where it is dry and the air stirring, to cause a more rapid evaporation. Under favorable conditions, the paper will dry out in from 4 to 6 hours. For the manufacture of carbon tissue on a more ex- tended scale, a machine for coating bands or endless rolls of 12 or 15 feet in length, may be constructed, as shown in the illustration. The Modern Methods op Carbon Printing. 239 The upper roller ought to be about 3^ inches in di- ameter; the lower one about 1^2 or 2 inches. The roller in the cen- ter of the frame, held by brackets should be about 2^4 inches in di- ameter. The mid- dle roller and the small one that car- ries the paper into the emulsion, must be just a little shorter than the width of the pa- per, for the rea- son that it must not be allowed to touch the solution, and the back of the paper is kept clean. The pur- pose of the mid- dle roller is to keep the uncoated side of the paper from coming in contact during coating operations. Sometimes a band of strong muslin is stretched over the rollers and the paper mn over this ; but it is hardly neces- sary when a good quality of paper is being used. COATING MACHINE. 240 The Modern Methods op Carbon Printing. The paper is cut in lengths of 12 or 15 feet and passed around the rollers, and the ends cemented together to make an endless roll. The emulsion tray is so arranged that the pigmented gel- atine may be maintained at a given temperature, and may be raised and lowered at will. When all is ready the crank is turned with a steady, uni- form motion, until the entire band of paper has been coated with the pigmented gelatine. At this juncture the paper is raised out of the emulsion tray and the band of coated paper is kept revolving until the gelatine has set, which will take but a few minutes. The speed of the rollers, when coating the paper must be airanged in accordance with the consistency of the gela- tine emulsion, and the thickness of film desired. The slower the paper passes through the pigmented gel- atine the thinner will be the film, and the faster, the heavier will it be. After the gelatine has set, the band is cut through and hung up on a hanger arranged for the purpose and left to dry. The drying should take place in from 4 to 6 hours. The time occupied in drying depends to a great extent upon the thickness of the pigment film and its composition. Soap, sugar and glycerine retard the drying ; also some of the pigments or coloring matter. If the paper is left ex- posed too long in a dry atmosphere, the film will become brittle and horny and quite difficult to manage; it should therefore, be taken down when quite pliable. The proper time to take it down, is when apparently all the moisture has disappeared, and before it begins to cockle and curl up. Cut it up into the desirable sizes and store it in tin pres- The Modern Methods op Carbon Printing. 241 sure lioxes, where it will remain pliable, and in good work- ing condition, indefinitely. To preserve rolls or large sheets of tissue place a sheet of soft paper over the face of the film, and roll it face out- ward around a small roller. The paper will protect the film from injury while the tissue is being handled. If the roll of carbon paper is placed within an air-tight tin receptacle, it will remain in good workable condition and may be cut up as desired for use. \Valter White conceived the idea of coating pigmented gelatine upon a non-actinic surface, such as red, green, yel- low or black paper, which when sensitized, is squeegeed against an ebonite or ferrotype plates, where it is left to dry. The only advantage of using tissue of this kind, is that it may be dried in any convenient place in daylight, and the film be protected from dust and injurious gases as well as light. An English manufacturing concern purchased Mr. White's patent, and the paper, or daylight tissue as it is called, is now obtainable commercially. 242 The Modern Methods of Carbon Printing CliAPTER VIII. A brikf history ot thi; carbon process. T ^AUQUELIN, in 1798, discovered chromium and chro- ~ mic acid; and observed that chromic acid and silver, formed a carmine red salt, which when exposed to light, turned to a purple red color. Mungo Ponton is supposed to have known of Vauque- lin’s discovery, and through it, was led to observe the sen- sitive nature of bichromate of potash when spread upon paper and exposed to light, when dry. In 1814, Joseph Nicephore Niepce discovered the action of the solar rays upon certain hydro-carbons, which were rendered insoluble wherever they had been exposed to the influence of light. In 1832, Dr. G. Suckow, of Jena, stated that bichromate of potash in contact with organic matter was reduced by the action of light, to a greenish brown color. In 1839, Mungo Ponton, was the first to observe the ac- tion of light upon sized paper impregnated with bichromate of potash. M. Becquerel discovered that through the action of chro- mic salts, organic substances, such as starch, gum, gelatine, etc., were rendered insoluble when exposed to the influence of light. In 1855, M. Poitevin invented the first real carbon pro- cess. He found that when a thick solution of gelatine, in- corporated with a coloring matter, had been made sensitive with bichromate of potash, and exposed to the action of light, it was rendered partly or wholly insoluble, according The Modern Methods op Carbon Printing. 243 to the penetrating power or actinism of the light to which it was exposed. His mode of development, however, was quite impracticable and consequently very difficult to ac- complish. The Abbe de Taborde, of France, J. C. Burnette, and M. Blair, of Perth, were experimenting on the same plan, and discovered that the surface of the pigmented film of a sensitive gelatine tissue, when in contact with a negative and exposed to light, became wholly insoluble; and that the in- solubility formed upon the surface of the film, prevented the warm water from getting to the soluble portion of the gela- tine on the back. This discovery clearly demonstrated that in order to obtain pictures having deep shadows and prop- erly graded half-tones, the development could only be af- fected from the back or opposite side. Shortly afterwards, M. Fargier invented and patented a process by which could be accomplished what was wanting in M. Poitevin’s process. It consisted in coating a glass plate with a sensitive pigmented gelatine, which, when dry, was exposed to the action of light under a negative. He then coated the exposed tissue with a tough collodion which, when set, was plunged into warm water; the warm water made soluble the unaffected gelatine in contact with the glass, which left the picture floating in the water, held together by the collodion film. This was turned over and brought gelatine side-uppermost upon a piece of prepared paper. The resulting pictures were thought at the time, to be exceedingly beautiful. The gradations and delicate half-tones obtained in this manner, surpassed all previous efforts in carbon printing. However, owing to the several difficult manipulations in- volved in this process, it never became practicably useful. 244 The Modern Methods op Carbon Printing. In 1864, J. W. Swan, of England, was awarded a patent on a pigmented tissue and the use thereof. His mode of procedure at first was very similar to M. Fargier’s, in so far that it consisted in coating a collodionized glass with a pigmented gelatine compound which, when dry was stripped from the glass, and thus was introduced the first carbon tissue. The invention of Mr. Swan’s tissue marked a very im- portant epoch in the history of the carbon process, and was followed by several other improvements of equal importance. The tissue was exposed, collodion side in contact with the negative, which allowed the application of warm water to the soluble gelatine at the back, and the developing ma- nipulations were most conveniently and successfully done. Yet for all that this was quite a step in advance of the meth- ods previously employed, it was apparent from the start that some means would have to be devised, by which to support the film during development. To this end Mr. Swan made a great many experiments, and finally invented a temporary support made of stout paper coated with an India rubber solution, and at the same time coating the collodion side of the tissue with the same, and then forcing the two surfaces into absolute contact by putting them through a press. The tissue supported in this manner by the India rubber paper, made the washing away of the soluble portions of the pig- mented gelatine at the back and all the developing manipu- lations comparatively easy to perform. The resulting pic- ture remained on the rubber film in relief, with all the fine detail and gradations possible to obtain from the negative employed. For the benefit of the student I will give the patent speci- fications of Mr. Swan’s Carbon Process. The Modern Methods op Carbon Printing. 245 CHAPTER IX. pati:nt specification of swan's carbon process. IV/TY INVENTION relates to that manner or style of photographic printing known as carbon or pigment printing. In this style of printing, carbon or other coloring matter is fixed by the action of light passing through a, nega- tive, and impinging upon a surface composed of gelatine, or other like substance, colored with carbon or other coloring matter, and made sensitive to light by means of bichromate of potash, or bichromate of ammonia, or other chemical sub- stance having like photographic property ; those portions of the colored and sensitive gelatinous surface which are pro- tected from the light by the opaque or semi-opaque portions of the negative, being afterwards washed away by means of water, while the parts made insoluble by light remain, and form a print. This kind of photographic printing, although possessing the advantage of permanency, and affording the means of insuring any required tone or color for the print, has not come into general use, because of the difficulties hith- erto experienced in obtaining by it delicacy of detail, and complete gradation of light and shade. “The difficulties referred to were more particularly ex- perienced in attempts to employ paper coated with the col- ored gelatinous materials, and arose from the fact, that, in order to obtain half-tone, certain portions of the colored coating lying behind or at the back of the photographically- impressed portions required to be washed away, and the em- ployment of paper in the way it has been employed hitherto, not only as a means of supporting the colored coating, but 246 The Modern Methods of Carbon Printing. also to form ultimately the basis or groundwork of the print, obstructed the removal of the inner or back portions of the colored coating, and prevented the obtaining of half-tone. “Now, my invention consists in the formation of tissues adapted to the manner of printing referred to, and composed of, or prepared with, colored gelatinous matter, and so con- structed, that while they allow, in the act of printing, free ac- cess of light to one surface of the colored gelatinous matter, they also allow free access of water, and the unobstructed removal of the non-aifected portions of the colored matter, from the opposite surface, or back, in the act of developing ; and I obtain this result either by the disuse of paper alto- gether, or by the use of it merely as a backing or temporary support of the colored gelatinous matter ; the paper, so used, becoming entirely detached from the colored gelatinous mat- ter in the act of developing, and forming no part of the print ultimately. “My invention consists, furthennore, in the special mode of using the said tissues, whereby superior half-tone and definition in the print are obtained as afoi'esaid, and also in a mode of transferring the print, after developing, from a temporary to a permanent support, so as to obtain a correc- tion in the position of the print in respect of right and left. In producing the photographic tissues referred to, I form a solution of gelatine, and for the purpose of imparting pli- ancy to the resultant tissue, I have found it advisable to add to the gelatine solution, sugar or other saccharine matter, or glycerine. To the said gelatinous solution I add carbon- aceous or other coloring matter, either in a fine state of divi- sion, such as is used in water-color painting, or in the state of a solution or dye, or partly in a fine state of division, and partly in solution. “With this colored gelatinous solution I form sheets or The Modern Methods op Carbon Printing. 247 films as hereafter described; and I render such sheets or films sensitive to light, either at the time of their formation, by introducing into the gelatinous compound bichromate of ammonia, or other agent of like photographic properties, or by applying to such non-sensitive sheets or films, after their formation, a solution of the bichromate, or other substances of like photographic property. This latter method I adopt when the sheet or film is not required for use immediately after its formation. I will, in my future references to the bichromate of ammonia or the bichromate of potash, or to other chemicals possessing analogous photographic proper- ties, denominate them ‘the sensitizer/ and in referring to the colored gelatinous solution, I will denominate this mixture ‘the tissue-compound / When the tissue to be produced is required for immediate use, I add the sensitizer to the tissue compound ; but, where the tissue is required to be preserved for some time before using, I prefer to omit the sensitizer from the tissue-compound, with a view to the tissue being made sensitive to light subsequently, by the application of a solution of the sensitizer. “With respect to the composition of the tissue-compound, it will be understood by chemists, that it may be varied with- out materially affecting the result, by the addition or sub- stitution of other organic matters, similarly acted upon by light, when combined with a salt of chromium, such as I have referred to. Such other organic matters are gum ara- bic, albumen, dextrine; and one or more of these may be employed occasionally to modify the character of the tissue- compound, but I generally prefer to make it as follows : I dissolve, by the aid of heat, two parts of gelatine, in eight parts of water, and to this solution I add one part of sugar, and as much coloring matter in a finely divided state, or in a state of solution, or both, as may be required for the produc- 248 The Modern Methods of Carbon Printing. tion of a photographic print with a proper gradation of light and shade. The quantity required for this purpose must be regulated by the nature of the coloring matter employed, and also by the character of the negative to be used in the print- ing operation. Where it is desired that the coloring matter’ of the print should consist entirely or chiefly of carbon, I prefer to use lampblack finely ground and prepared as for water-color painting, or I use India-ink; and where it is desired to modify the black, I add other coloring matter to produce the color desired. For instance, I obtain a purple black by adding to the carbon, indigo and crimson-lake, or I add to the carbon an aniline dye of a suitable color ; where the coloring matter is not a solution or dye, but solid matter in a fine state of division, such as India-ink or lampblack, I diffuse such coloring matter through water, or other inert liquid capable of holding it in suspension ; and after allowing the coarser particles to subside, I add, of that portion which is held in suspension, as much as is required, to the gelatine solution. In preparing tissue to be used in printing from negatives technically known as ‘weak,’ I increase the pro- portion of coloring matter relatively to that of the tissue- compound ; and I diminish it, for tissue or paper to be used in printing from negatives of an opposite character. “Having prepared the tissue-compound as before de- scribed, I proceed to use it as follows : For preparing sensi- tive tissue, I add to the tissue-compound more or less of the sensitizer, varying the quantity added, according to the na- ture of the sensitizer, and to the degree of sensitiveness to be conferred on the tissue to be produced from it. For ordinary purposes, and where the tissue-compound is made according to the formula before given, I add about one part of a satur- ated solution of bichromate of ammonia to ten parts of th'' tissue-compound ; and I make this addition immediately The Modern Methods of Carbon Printing. 249 previous to the preparation of the tissue, and I maintain the tissue-compound in the fluid state, by means of heat, during- the preparation of the tissue, avoiding the use of an unneces- sary degree of heat; I also filter it through fine muslin or flannel, or other suitable filtering medium, previous to use; and I perform all the operations with the tissue-compound, subsequent to the introduction of the sensitizer, in a place suitably illuminated with yellow or non-actinic light. In forming tissue upon a surface of glass, I first prepare the glass, so as to facilitate the separation of the tissue from it. For this purpose, I apply ox-gall to the surface of the glass (by means of a brush, or by immersion), and allow it to dry. The glass is then ready for coating with the tissue-com- pound, or I apply to the glass a coating of collodion, previous to the application of the coating of tissue-compound. In this case, the preparation with ox-gall is unnecessary. When collodion is used, the collodion may consist of about ten grains of pyroxyline in one ounce of mixture of equal parts of sulphuric ether and alcohol. I apply the collodion by pour- ing it on the surface to be coated, and draining off the excess and I allow the coating of collodion to become dry before applying the coating of tissue-compound. I generally use a plane surface on which to form the tissue, but surfaces of a cylindrical or other form may sometimes be used advantage- ously. In preparing sheets of sensitive tissue on a plane surface of glass, I prefer to use the kind of glass known as plate, or patent plate. Before applying the sensitive tissue- compound, I set the plate to be coated, so that its upper sur- face lies in a horizontal position, and I heat the plate to about the same temperature as the tissue-compound, that is, gen- erally, to about loo degrees, Fahrenheit. The quantity of the tissue-compound that I apply to the glass varies with circumstances, but is generally about two ounces to each 250 The Modern Methods op Carbon Printing. square foot of surface coated. After pouring the requisite quantity of the tissue-compound upon the surface of the plate, I spread or lead the fluid by means of a glass rod or soft brush, over the entire surface, taking care to avoid the formation of air-bubbles; and I keep the surface in the horizontal position, until the solidification of the tissue-com- pound. In coating other than plane surfaces, I vary, in a suitable manner, the mode of applying the tissue-compound to such surfaces. In coating a cylindrical surface, I rotate the cylinder in a trough containing the tissue-compound, and after having produced a uniform coating, I remove the trough, and keep up a slow and regular rotation of the cyl- inder until the coating has solidified. After coating the sur- face of glass or other substance as described, I place it in a suitable position for rapid drying, and I accelerate this pro- cess by artificial means, such as causing a current of dry air to pass over the surface coated, or I use heat, in addition to the current of air, or I place it in a chamber containing quick- lime, chloride of calcium, or other substance of analogous desiccating property. When the tissue is dry, I separate it from the surface on which it was formed, by making an incision through the coating to the glass, around the margin of the sheet ; or I cut through the cylindrical coating near the ends of the cylinder, and also cut the coating across, par- allel with the axis of the cylinder, when, by lifting one comer the whole will easily separate in a sheet. When the tissue- compound is applied over a coating of collodion, the film, produced by the collodion, and that produced by the tissue- compound, cohere, and the two films fonn one sheet. Some- times, before the separation of the coating from the glass, I attach to the coating a sheet of paper, for the purpose of strengthening the tissue, and making it more easy to manip- ulate. I generally apply the paper, in a wet state, to the dry The Modern Methods op Carbon Printing. 251 gelatinous surface; and having attached the paper thereto in this manner, I allow it to dry ; and I then detach the film and adherent paper from the glass, by cutting around the margin of the sheet, and lifting it off as before described. Where extreme smoothness of surface, such as is produced by moulding the tissue on glass, as described, is not of im- portance ; and where greater facility of operation is desired, I apply a thick coating of the tissue-compound to the surface of a sheet of paper. In this case, the paper is merely used as a means of forming, and supporting temporarily, the film produced from the tissue-compound; and such paper sepa- rates from the gelatinous coating in a subsequent stage of my process. In coating a surface of paper with the sensitive tissue-compound, I apply the sheet, sometimes of consider- able length, to the surface of the tissue-compound contained in a trough, and kept fluid by means of heat, and I draw or raise the sheet or length of paper off the surface with a regu- lar motion; and I sometimes apply more than one coating to the same sheet in this manner. After such coating, I place the coated paper where it will quickly dry, and seclude it from injurious light. “The sensitive tissue, prepared as before described, is, when dry, ready to receive the photographic impression, by exposure under a negative in the usual manner, or by ex- posure in a camera obscura, to light transmitted through a negative in the manner usual in printing by means of a camera. I prefer to use the sensitive tissue within two days of the time of its preparation. Where the tissue is not re- quired for immediate use, I omit the sensitizer from the tis- sue-compound, as before mentioned ; and with this non-sen- sitive tissue-compound I coat paper, glass, or other surface, as described in the preparation of the sensitive tissue or paper. In preparing sheets of non-sensitive tissue by means of glass. 252 The Modern Methods op Carbon Printing. as described, I use no preliminary coating of collodion. I dry the non-sensitive tissue in the same manner as the sen- sitive, except that in the case of the non-sensitive tissue, se- clusion from daylight is not necessary. “The non-sensitive tissue is made sensitive, when re- C[uired for use, hy floating the gelatinous surface upon a solution of the sensitizer, and the sensitizer that I prefer to use for this purpose is an aqueous solution of the bichromate of potash containing about two and a half per cent of this salt. I apply the sensitizer (by floating or otherwise), to the gelatinous surface of the tissue; and after this, I place it in a suitable position for drying, and exclude it from injurious light. “In applying to photographic printing the various modi- fications of the sensitive tissue, prepared as before described, I place the sensitive tissue on a negative in an ordinary pho- tographic printing-frame, and expose to light in the manner usual in photographic printing; or I place it in a camera obscura in the manner usual in printing by means of a camera obscura. When the tissue employed is coated with a film of collodion on one side, I place the collodionized side in contact with the negative ; or where it is used in the camera, I place the collodionized side towards the light pass- ing through the camera lens. Where the tissue is not coated with collodion, and where paper forms one of the surfaces of the tissue, the other surface being formed of a coating or film of the tissue-compound, I place this last-named surface in contact with the negative ; or, when using it in the camera, I present this surface towards the light transmitted by the lens. After exposure for the requisite time, I take the tissue from the printing-frame or camera, and mount it in the man- ner hereinafter described, that is to say, I cement the tis.sue, with its exposed surface, or, in other words, with that sur- The Modern Methods op Carbon Printing. 253 face which has received the photographic impression, down- ward, upon some surface (usually of paper) to serve tem- porarily as a support during- the subsequent operation of developing-, and with a ^dew to the transfer of the print, after development, to another surface; or I cement it (also with the exposed or photographically impressed surface downward), upon the surface to which it is to remain perma- nently attached. The surface, on which it is so mounted, may be paper, card, glass, porcelain, enamel, etc. Where the tissue has not been coated with collodion previous to ex- posure to light, I prefer to coat it with collodion on the exposed or photographically impressed side, before mount- ing it for development, but this is not absolutely necessai*y; and I sometimes omit the coating with collodion, more par- ticularly where the print is intended to be colored subse- quently. Or where I employ collodion, with a view to connect the minute and isolated points of the print firmly to- gether during development, I sometimes ultimately remove the film it forms, by means of a mixture of ether and alcohol, after the picture has been finally mounted, and the support of the film of collodion is no longer required. In mounting the exposed tissue or paper previous to development, in the temporai-y manner, with a view to subsequent transfer to another surface, I employ, in the mounting a cement that is insoluble in tbe water used in the developing- operation, but that can be dissolved afterwards, by the application of a suit- able solvent ; or one that possesses so little tenacity, that the paper or other support, attached temporarily to the tissue or paper by its means, may be subsequently detached without the use of a solvent. “The Cements that may be used for temporary mount- ing are very various, but I generally prefer to use a solution of India-rubber in benzole or other solvent, containing about 254 The Modern Methods op Carbon Printing. six grains of India-rubber in each ounce of solvent, and I sometimes add to the India-rubber solution a small propor- tion of dammar-gum, or gutta-percha. In using this cement, I float the photographically impressed surface of the tissue upon it, and I treat, in a similar manner, the paper or other surface intended to be used as the temporary mount or sup- port during development; and, after allowing the benzole or other solvent to evaporate, and while the surfaces coated with the cement are still tacky I press them strongly together in such a manner as to cause them to cohere. “When the photographically impressed, but still unde- I'eloped tissue is to be cemented to a surface, that not only serves to support the picture during its development, but also constitutes permanently the basis of the picture, I prefer to use albumen or starch paste as the cementing medium ; and where I employ albumen I coagulate or render it insoluble in water (by means of heat, by alcohol, or other means), after performing the cementing operation, and previous to developing. In the permanent, as in the temporary mode of mounting, I cement the tissue, with its photographically im- pressed surface dowmvards , upon the surface to which it is to be permanently attached. Atfer mounting the tissue, as before described, and allowing the cement used time to dry, where it is of such a nature as to require it, I then submit the mounted tissue to the action of water, sufficiently heated to cause the solution and removal of those portions of the colored gelatinous matter of the tissue which have not been rendered insoluble by the action of light during exposure in the printing-frame or camera. Where paper has been used as a part of the original tissue, this paper soon becomes de- tached by the action of the warm water, which then has free access to the under stratum or back of the colored gel- atinous coating, and the soluble portions of it are therefore The Modern Methods of Carbon Printing. 255 readily removed by the action of the water; and by this means the impression is developed that was produced by the action of light during exposure of the tissue in the printing- frame or camera, and the picture remains attached to the mount, cemented to the photographically impressed surface previous to development. I allow the water to act upon the prints during several hours, so as to dissolve out the decom- posed bichromate as far as possible. I then remove them from the water, and allow them to dry, and those not in- tended for transfer, but that have been permanently attached to paper, previous to development, I finish by pressing and trimming in the usual manner. Those which have been tem- porarily mounted, I transfer to paper, card, or other surface. In transferring to paper or card, I coat the surface of the print with gelatine, gum arabic, or other cement of similar character, and allow it to dry. I then trim the print to the proper shape and size, and place its surface in contact with the piece of paper or card to which the transfer is to be ef- fected, such piece of paper or card having been previously moistened with water, and I press the print and mount strongly together ; and, after the paper or card has become perfectly dry, I remove the paper or other supporting mate- rial, temporarily attached, previous to developrtient, either by simply tearing it off, where the cement used in the tem- porary mounting is of a nature to allow of this without in- jury to the print, or I apply to the temporary mount, benzole or turpentine, or other solvent of the cement employed, or I immerse the print in such solvent, and then detach the tem- porary mount, and so expose the reverse surface of the print ; and, after removing from the surface of the print, by means of a suitable solvent, any remains of cement used in the tem- porary mounting, I finish the print by pressing in the usual manner. If, however, the print be collodionized, and be re- 256 The Modern Methods op Carbon Printing. quired to be tinted with water-color, I prefer to remove the collodion film from the surface of the print, and this I do by the application of ether and alcohol. “Having now set forth the nature of my invention of ‘Improvements in Photography,’ and explained the manner of carrying the same into effect, I wish it to be understood, that under the above in part recited letters-patent, I claim : First, the preparation and use of colored gelatinous tissues in the manner and for the purpose above described. “Secondly, the mounting of undeveloped prints, obtained by the use of colored gelatinous tissues, in the manner and for the pui-pose above described. “Thirdly, the re-transfer of developed prints produced as above descril^ed, from a temporary to a permanent sup- port.’’ The Modern Methods op Carbon Printing. 257 CHAPTER X. ' I ^ HE next important improvement Mr. Swan made in the production o£ carbon tissue was a lasting one. For, with but few alterations, it remains the same to this day. He discarded the collodion film, which necessitated the trou- blesome manipulations of coating the glass, and simply coated a sheet of tough paper with the pigmented gelatine compound. After this tissue had been exposed to light un- der a negative, it was coated with a rubber solution and forced into contact with a rubber-coated paper the same as the collodion film previously described. The two adhering sheets were then put into warm water, which softened the gelatine in contact with the paper upon which it was coated, allowing it to be stripped from the pigment film, which remained resting on the rubber-coated paper. The soluble side of the film was thus exposed to the action of the warm water and the picture was developed, resting upon the rubber paper in beautiful relief. Printed from ordinary negatives, these pictures were reversed like the Daguerreoytpe, the right side being on the left or vis- a-vis. This, practically, was the first single transfer process. Although these pictures were very beautiful, they were, however, in many instances objectionable on account of their reversed positions. To overcome this difficulty, Mr. Swan devised another means by which the pictures were again reversed and the evil practically surmounted. His method of reversing the image was to transfer it to a tough paper support, which had previously been coated 258 The Modern Methods op Carbon Printing. with a partly insoluble gelatine, and put under pressure un- til dry. The India rubber coated paper was then moistened on the back with benzine, which caused the film to dissolve and the paper could be stripped, leaving the picture firmly ad- hering to the final support. This was the introduction of the double transfer process, by which many very excellent pictures have been made, and which were surpassed only very recently by the superior ex- cellence of our modern methods. However perfect the process seemed to be at the time, there yet remained one serious imperfection — the absence of a proper gradation, ranging from light to dark. Most of the pictures produced were one abrupt step from light to shade, and any approach to delicacy marked half-tones were ex- ceedingly rare. This caused the notion to prevail that the finest mechan- ical subdivision of a pigment could not equal in delicacy and fineness, the deposit obtained by the chemical reduction of the salts of silver or platinum. It was afterwards plainly proven, however, that this was not the cause of the difficulty ; but that it was the fault of the crude and impractical developing methods that caused the imperfection, instead of the pigments used. In 1867, Mr. J. R. Johnson introduced a method of de- veloping carbon pictures that was a decided step in advance of all previous inventions It lessened the expense as well as the number of manipulations to an extent that it has re- mained virtually the same for thirty years. His experiments were based upon the principle, that if a moist film be pressed into perfect contact with a flat, smooth surface, ivhich is impervious to air, it will firmly adhere thereto without the aid of an adhesive. The Modern Methods op Carbon Printing. 259 He found that this principle could be successfully em- ployed in the development of carbon pictures. The tissue was placed in cold water until it became limp, and was then placed upon a support and firmly squeezed into contact with its surface and developed. In this manner he transferred his tissue to either temporary or permanent supports with- out the aid of an adhesive preparation. The tissue, on its impervious support, was allowed to rest for a short time and was then placed in warm water, which dissolved the soluble gelatine at the back and allowed the paper to be removed, which revealed a dark mass of partially soluble pigmented gelatine. The soluble parts were then removed by the gentle application of warm water and the carbon picture in all its beauty was left resting upon the support. The greater part of all the carbon pictures produced in this country at the present time are developed in this man- ner upon matt surface, celluloid, or opal glass. Carbon pictures transferred to these supports are very beautiful and are becoming quite popular among the better classes. The only serious objection to Mr. Johnson’s improve- ment was that, like in Mr. Swan’s process, the image was reversed and to bring it into its proper position it had to be corrected by again transferring it to another support. In 1874, Mr. J. R. Sawyer invented a flexible temporary paper support to use in making pictures by the double trans- fer process. It is made by first coating a hard, tough paper with an insoluble gelatine, and then with an alkaline solution of lac. When thoroughly dry, it is rolled and polished. To use, it is necessary to apply a waxing solution which allows the free and easy separation of the carbon picture from the temporary to the final support. 260 The Modern Methods of Carbon Printing. The yielding- nature of this paper support has many ad- vantages over other temporary supports, especially where the pictures are to be transferred to an uneven or curved surface. Tate in the seventies, a Frenchman, M. Lambert, created quite a stir in Europe and later in this country, by exhibiting pictures with a brilliant, glass-like surface. His collection was probably the finest lot of carbon pictures ever exhibited in this, or any other country. I was a mere apprentice at the time, but after seeing this beautiful collection of pictures, I was so infatuated with this charming process that I have devoted a great deal of time and attention to it ever since. M. Lambert’s improvement, for which he obtained a patent, consisted in polishing a glass plate with a waxing solution and then coating it with plain collodion. Upon these collodionized plates he mounted the exposed carbon tissue, which, after development, was again transferred to a permanent support and then stripped from the glass and mounted on cards. The surfac'e of these pictures had all the brilliancy and luster of a polished plate glass and were exceedingly beau- tiful. Great interest was manifested in the process at that time, and M. Lambert’s method was eagerly taken up by many of the most prominent men of the profession ; but, un- fortunately, in spite of the great beauty of these pictures this method proved itself difficult and unprofitable, and the pro- cess gradually sank into neglect and silent forgetfulness, and for fifteen years was very little heard of, especially in Amer- ica. The fading products of the silver process again awak- ened a new interest in this seriously neglected process, and it has been steadily growing until it is now looked up to as the standard of perfection in photographic printing pro- cesses. A D VERTISEMENTS . I Marton’s New Rapid Sensitizer for Carbon Tissue The crowning success of all the late improvements in Carbon printing, and a most valuable process in hot weather. With this new chemical compound it is possible to sensitize, and have the tissue dry, ready for use in five minutes. No other method can equal this for rapidity^ and such beautiful and permanent results. The work is simple, neat, and clean, and economizes both time and material. 2 ounces, will make J2 ounces of solution . yo cents ounces, will make 64 ounces of solution . jy cents By maii, 5 cents extra for postage. Accelorine A chemical combination that keeps the sensitizing bath in fine working order And improves the keeping qualities of sensitive tissue to such an extent, that it will keep for months, without becoming insoluble or losing its sensitive properties. It makes the tissue easily soluble in water of a comparatively low temperature, and adds greater brilliancy to the image. 4 ounce can ..... yy cents 8 ounce can ..... yo cents By mall, lo cents extra for postage. Send Post or Express Money Order. No Stamps. The American Photo-Oleograph Co., BLOOMINGTON, ILL., U. S. A. II Advertisements. Antichrome Antichrome eliminates all traces of bi= chromate from the film and adds brilliancy and pureness of tone to carbon pictures, impossible to obtain by any other method. It is the only effective remedy against the Con- tinuous Action of Light, which it checks completely, and renders the exposed carbon tissue entirely insensi- tive to light, which may then be stored away and de- veloped at any future time. (Quarter pound package . . ' ^5 A Half pound package . . . j>y cents One pound package . . .do cents By mail, i cent per ounce added for postage. Carbon Reducine This is the only safe and effective remedy for, dark or over=printed carbon pictures known. It is the chemical agent that turns failure into suc- cess, and saves many fine pictures, that, without it’s use, would have been a failure, and a total loss. Every carbon printer is aware of the fact that with beginners, the majority of failures, are due to over- printing or the continuous action of light. 4 ounces ... . • ^5 tents 8 ounces ..... cents 1 6 ounces ... . . 6o cents By mail, i cent to the ounce added for postage. Send express or postal money order. (No stamps accepted) with order. The American Photo-Oleograph Co., BLOOMINGTON, ILL., U. S. A. A DVERTISEMENTS . Ill AUTOTYPE. AUTOTYPE CARBON TISSUE MADE BY THE AUTOTYPE CO.. LONDON. ENGLAND USED IN MAKING CARBON PRINTS, TRANS- PARENCIES, ETC., GIVING PER- MANENT PICTURES Nos. and colors; 93, Terra Cotta; 97, Warm Sepia; 100, Standard Brown; 103, Warm Black; 104, Engraving Black; 105, Sepia; 106, Red Chalk; 115, Lambertype Purple (for Portraits); 151. Sea Green; 152, Dark Blue; 165, Italian Green; 169, Platinum Black; 162, Brown Black ; 163, Blue Black, In Bands, 2 1-2 X 12 Feet, pet' band $2-75. 113, Portrait Brown, per band of 2^ by 12 feet, $ 3 . 00 . 107, Special Transparency, per band of by 10 feet, $3.60. SINGLE TRANSFER PAPER A fine paper coated with insoluble gelatine, forming a support for prints from reversed negative* or where the inversion of the image is of no consequence. No. 79. Fine, thin, for small work, band 25^ by 12 ft - - - - $1.50 No. 108. Medium thickness, band 2^ b> 12 ft _ . . - . 1.20 No. 116. Thick, for large work, band 2J^ by 12 ft ----- 1.35 ETCHING PAPER, SINGLE TRANSFER A rough-surfaced tone Et«*hing Paper for Single Transfer, yielding prints with broad artistic effect, and free from the glaze of an ordinary carbon print. By masking the negative, prints may be de- veloped on this paper wdth suitable margin, rendering mounting unnecessary. Band by 12 feet . - $1.60 Can vas-grained, sheets 22 X 30 inches, toned sheet . _ . _ .45 Canvas-grained sheets, 22 X 30 inches, white sheet _ _ . . .45 Aluminum coated, sheets 22 x 30 inches, sheet ----- .45 FINAL SUPPORT FOR DOUBLE TRANSFER Is a special prepared paper coated with gelatinous emulsion of a permanent white or tinted pig- ment. It supersedes the old Double T) an fer Paper by reason of its greater efficiency and the ease and simplicity of working with it. It will keep good for an inoefinite time, does not require hot water, and forms a permanent basis for the pigment print. No. 86. Medium thickness, band 2K X 12 feet - . - . . $ 1.30 No. 87. Fine, thin, for small work, band 2K X 12 feet - - , - 1.50 SAWYER’S TEMPORARY SUPPORT A Specially prepared paper coated with insoluble gelatine and solutions of certain lacs; prints can be developed upon it with the same ease and facility a*^ on the single Transfer Paper; when finished and place d in contact with the surface of the Autotype Final Support, the prints adhere firmly to it and the Temporary Support imparts a gloss similar to Albumen Paper. The Temporary Support may be used an indefinite number of times, only requiring to be rubbed over with the waxing solution to ensure the stripping of the print from its surface. Sheets, 18 X 23 inches, per sheet - - - - - - - ^5.35 Sheets, 18 X 23 inches, per doz 3.30 Sheets, 36 X 48 inches, per sheet - . - - - - - - 1.30 CUT SIZES 3 PKOS 1 DOZ. CARBON TISSUE. ' All colors, except assorted colors and No. 11/7 Transparency 6x7 in.. 50 cents 8 X 10 in.. ^.00 Assorted Colors and No. 107 Transparency 8 X 10 per packrge 5x 7 per package TRANSFER PAPERS. No. b’6 Doubl‘d Transfer 25c 45c No. 108 Single Transfer 20 c 40c a. 30 .65 cents SPOTTING COLORS AND SUNDRIES Sea Green, Engraving Black, Warm Black, Chalk, Red Chalk, Terra Cotta, Warm Sepia, Cool Sepia. Dark Blue, Brown Black, in porcelain pans Pan, 45 Burton’s Photometer, each - -- -- -- -- ^.75 Sawyer’s Photometer, each - -- -- -- - 2 .^ Johnson’s Actiometer, each - -- -- -- - 1.10 Waxing Compound for solution in turpentine, cake . - - - .25 Celluloid in sheets (White), for mounting above for transparencies, brooches, etc., etc. 20 X 50 inches, iO-1000 in. thick, per sheet ^1.25 Celluloid in Sheets (White), 20 X 50 inches, 20-1000 thick, per sheet ----- 2 . 00 Celluloid (White) in Cut Sizes; 5x7 in., 10-1000 in, thick, per doz 60 cents; 20-1000 thick, per doz ^.10 8x10“ “ “ “ ^51. 30; *’ “ “ “ 2.50 BOOKS ON CARBON PRINTING CLEAR INSTRUCTIONS ON WORKING THE CARBON PROCESS THE ABC MANUAL OF CARBON PRINTING, by the autotype company $ 1.25 CARBON PRINTING, by max boelte. price 50 cents COMPLETE OUTFIT FOR 5x7 PRINTS, $5.00 Circular of contents and descripti've printed matter free Orders for Autotype Co’s. Carbon Tissues promptly filled by the Agents GEORGE MURPHY INC., 57 e. 9th st., new york IV Advertisements. B IL 4 ' ■ * w . * t. Hot Water for Carbon Printing and for Every Purpose can be best supplied by a Humphrey Crescent Instantaneous Water Heater FOR USE WITH GAS Simple, Durable, Efficient, Economical Write today for Catalogue No. 7 to Photo Supply Dept, of Humphrey Co. Kalamazoo, Mich., U. S. A. ^IN PREPARATION CERAMIC PHOTOGRAPHY or the Art of making Indestructible Pigment Pictures on Porcelain, China, Fayance, Enameled Copper Plaques, or Opal Glass, After the methods devised by A. n. Marton. The Ceramic Gum Bichromate Process, by Opal. The Substitution Process, and the Latest Improved Dust-on Methods. with full and explicit instructions. HOW TO PAINT OR COLOR THE VITRIFIABLE IMAGE and the best and most practical methods for Firing Ceramic Photographs, etc. MARTON’S CARBON STUDIO BLOOMINGTON, ILL., U. S. A. Advertisements. V NO PHOTOGRAPHER questions our price on a large portrait— after they get the portrait. ISN’T THAT BETTER than an unsatisfactory portrait at a dollar or two less? WHAT’S A DOLLAR? The Sprague & Hathaway Co. West Somerville, Mass. Mr. Photographer. Dear Sir; — Our Cards add correct style to the photo. We manufacture one hundred and one beautiful styles of Cards. When you are in need of Cards insist on your stock dealers showing you ours before you decide to purchase. We know they will please vou. Yours very truly, Taprell, Loomis & Co., Chicago OUR SUPERFINE CARBON TISSUES ARE RICH AND BRILLIANT IN COLORING Very readily (but not excessively) soluble in water at a medium temperature, which gives them great latitude in development, and produces very artistic and beautiful effects. Send for detailed list and prices. THE AMERICAN PHOTO-OLEOGRAPH CO. BLOOMINGTON, ILL. Illustrated Artistic Kncyclopoedia Books and publications of high artistic value, fully illustrated by Academic studies of the nude. All photographs obtained from Nature with living models Illustrated Special Catalogue sent on demand. C. K L A R Y, Editor of “Le Photogramme” 17 Rue de Maubeuge - - PARIS, FRANCE VI Advertisements. AFTER OVER THIRTY YEARS IN THE PHOTO BUSINESS THE HOUSE OF HYATT STILL “STANDS FOR RELIABILITY” DEALERS IN PHOTOGRAPHIC SUPPLIES FOR EVERY PURPOSE, AND OF ALL KINDS. ALWAYS FRESH AND CLEAN. CAMERAS, LENSES, Etc. WE HANDLE MATERIAL FOR THE CARBON PROCESS CATALOG GRATIS H. A. HYATT SUPPLY CO. No, ^l6 £5* 'ilS Publishers of, ST. LOUIS, MO, 8th Street ThE PhOTO-MirROR U.S.A. Ajjvertisements. VII IF YOU ARE FAMILIAR with the sterling merit of the Ham- mer products you are acquainted WITH WHAT WE TERM Hammer Quality IT’S JUST A LITTLE BETTER than most others, and lots better than many. It’s seen in the grade of the glass, in the cleanliness of the emulsion, in the evenness of grain, and in all points that go to make a perfect photographic plate prepared to catch all the lens sees, and what is more to hold it. If you use our plates you know THE HAMMER QUALITY. If you don’t, it will cost but little to learn about Hammer Quality The Hammer Dry Plate Co. ST. LOUIS. NO. VIII Advertisements. It Pays to Remember that the value of a finished print depends upon the negative, also that the quality of the negative depends upon the plate. Your patrons are not interested In the plate but YOU ARE. That’s why it is important that a plate be used from which you may obtain the fullest range of color values, the greatest possiVile amount of detail and feeling of roundness and tonality in flesh and draperies. The Cramer Iso Plate interprets color values with great accuracy, portraying flesh tints, color of hair, eyes and draperies with correctness that astonishes those unfamiliar with this brand of plate. Another desirable quality they possess is speed; so essential in the pho- tographing of children and large groups. They are well worth a trial. Send for descriptive matter. “It’s all in the plate.” G. CRAMER DRY PLATE CO. ST. LOUIS, MISSOURI CHICAGO SAN FRANCISCO NEW YORK 39 State Street Room 38, 819 Market Street 93 University Place THE PHOTO-OLEOGRAPH PROCESS A combination of Painting and Photography that produces beautiful and almost life-like pictures. The process presents no difficulties in Photography and the painting requires no previous art training or experience with colors. WITM COLOR chart and full directions for painting Landscape and Portraiture. Handsomely bound in full cloth. Price cash with order, $2.00. The American Photo-Oleograph Co. Bloomington, III. Advertisements. IX ESTABLISHED 1884 McCABE & CO. Manufacturers of the Leading Styles in Fine Photographic Mounts We Deal Direct with Photographers Office and Factory 215 Pearl Street New York City X Advertisements. GET THE HABIT of reading The ST. LOUIS & CANADIAN PHOTOGRAPHER IT WILL PAY A World of facts, new ideas and up-to-date methods for only $2.00 PER YEAR ^ {If paid in Advance) SUBSCRIBE NOW MRS. FITZ-GIBBON-CLARK PUBLISHER 3210 Lucas Avenue ST. LOUIS, - - MISSOURI Advertisements. XI PRACTICAL BOOKS FOR PRACTICAL PHOTOGRAPHERS Professional Photography In two volumes, written by an English professional and covering the whole field. Price S1.00 Pictorial Composition By Henry R. Poore. Tells how to make pictures and how to analyze and judge them. Illustrated $1.50. Photographic Reference Book The latest and fullest cyclopedia of photographic information. 1000 references; processes, methods, formulae, etc.. By J. McIntosh. Price 75 CENTS. Toning Bromides By C. W. Somerville, an authority on this subject. Practical meth- ods and formulae. Price 50 CENTS. Practical Methods of Development The Photo. Miniature No. 66. A complete explanation of the Hurter & Drilfield system, the Watkins Method, and the Wallace Time system. Price 25 CENTS. The Art of Retouching By R. Johnson. Plain and practical instructions on retouching negatives, finishing prints. Illustrated SI. 00. The Camera Notes Process of Developing Platinotype Prints to Secure Vignettes and Colors Only 12 pages, but illustrated and practical. SI. 00. We Publish the Photo-Miniature Series of illustrated handbooks on photography at 25 cents each. Send for List, and our Complete Catalogue of Photographic Books TENNANT AND WARD 287 FOURTH AVENUE, NEW YORK XII Advertisements. Electric Citit®- Engraving Company 507-515 Washington 5t Buffalo, N .Y LoWest ‘^Prices^^est Wor'k. Write rou Prices & nSamplcs. Advertisements. XIII American Stamping and Embossing Co. M PHOTOGRAPHIC MOUNTS ENCLOSURES ENVELOPES CARRIERS, ETC. M 21 LjuSalle Street CHICAGO XIV Advertisements. To earn money, to save a little, to take soft and delicate pictures The Briggs Special Portrait Lens will do Free Trial Drop Z. T. Briggs & Co. a postal and you will get one of their 1905 Catalogues. Atchison, Kans. is the place where the lens man lives. ADVERTISEMENTS. XV The Carbon Process is simplified by using GGQQC3OQC3QO0OQGQ€3GGOGGOGGDCX3€je3C3G3CX3QQOGGG€3GGe3QG30OOOOC3Q0O I Rotograph Carbon Tissue | OnoG^ jtj0nQG€30G€jG0GQr3C3Q€3€30G0Q-'X3G0GG€3QQQQnGG0G00e3e3€3C3CX300d They develop with water much colder than any other make. They can he had in any cut size or length of roll. They are made in a greater variety of colors. They are about 25% less in price. : : : : : : : CARBON FOLIOS. The Carbon Emulsion Coated upon a celluloid film base, giving Non-Reversed Images without using double transfer or temporary support. Send for price list and other valuable information. ::::::: THE ROTOGRAPH COMPANY 771-773 East 164th Street NEW YORK XVI Advertisements. If You Are an amateur you have a choice of Several photo- graphic journals, but — If You Are a professional there is but One Wilson’s Photographic Magazine is up-to-date and all around. Every phase of the profession, artistic, technical and com- mercial, is practically and thoroughly treated by the ablest exponents in each particular field. Items of general interest in the photographic world, notes on the most recent scientific discoveries, newsy paragraphs on the latest and best of everything in the way of photographic goods, apparatus and literature — all these are regular features of “Wilson’s.” The price is $'i.oo because it worth it to every person interested in genuine, high-grade professional photography. If you want to spend only $i.oo buy four numbers of “Wilson’s” and get valuable information, rather than twelve numbers of a magazine that tells you what you already know or don’t care about. There’s no chance of you regretting subscribing. You certainly WILL regret NOT subscribing if you ever find out what you’ve missed, and can’t get the back numbers, and frequently you can’t. .$3.00 A Year Sample Copy, 25c. EDWARD L. WILSON 289 Fourth Avenue New York A DTERTITEMENTS . XVII Photo Era The American Journal of Photography. A journal with artistic and educational aims, covering the whole field of photography. Price, 25c a copy. Yearly subscription, ^2.50. Sample copies free. Art in Photography A bi-monthly publication devoted to the highest achievements of photographic art in America and other lands. Each number consists of five or more photogravures or original prints, and a num- ber of specially mounted photo-engravings. Price, $z per copy. Yearly subscription, $10. The Practical Photographer The most useful photographic monthly published. Complete treatment of a special subject each month, fully illustrated. Sin- gle copies, 25c. Subscription, $2.50 a year. The following numbers are available: ' I. Trimming, Mounting and Framing. 2. Printing on Bromide and Gaslight Papers. 3. Developing and Developers. , 4. After-Treatment of the Negative. 5. Work with the Hand Camera. 6. Platinotype Printing. 7. Landscape Work. 8. Architectural Work. 9. Photographic Retouching. 10. Winter Work. 11. Lantern Slide Making. 12. Pictorial Composition. 13. Animal Photography. 14. Gum-Bichromate Printing. 15. Floral Photography. 16. Portraiture. 17. Marine Photography. PHOTO ERA PUBLISHING COMPANT lyo Summer Street BOSTON, MASS. XVIII A D VEKTISEMENTS. The Photographic Times ' HE OLDEST American Photo- graphic Journal. Has been re- garded as the standard authority on photographic matters for over a gener- ation. Nineteen hundred and five is its thirty-seventh consecutive year of pub- lication. Each number has forty-eight pages of interesting photographic text, printed on fine paper from good type, and illustrated with many attractive half- tones. The cover for each month is printed in varying colors, and is or- namented with a different and pleasing photograph. The valuable and authoritative form- ulae furnished throughout the year are alone worth the price of the subscrip- tion. THE PHOTOGRAPHIC TIMES IS INDISPENSABLE TO BOTH THE AMATEUR AND PROFESSIONAL PHOTOGRAPHER. For 1905 CPECIAL FEATURES for the year will be. A WEALTH OF ILLUSTRA- TIONS in each issue showing examples of the work of the best American and foreign pictorialists. Articles on Gum Bichromate, Home Portraiture, Flower or Still Life Pho- tography, Home-made Apparatus, Ani- mal and Architectural Photography and many other topics of interest to pho- tographers generally. A SERIES OF MONTHLY PRINT COMPETITIONS FOR VALUABLE CASH PRIZES. Newsy Accounts of Camera Club happenings, convention notes, descrip- tions of the latest novelties and special- ties brought out by the leading manu- facturers and dealers, reviews of the newest works on photography, will en- able our readers to keep in touch with photographic developments. Subscribe nous through your nearest photo or news dealer, or to The Photographic Times Pub. Ass’n. 39 Union Square New York One dollar a year. Single copies ten cents. Advertisements. XIX The Air Brush A practical art tool for good work. Applies liquid color by jet of air on any surface known to art, enabling the artist to save time and drudgery work. Clean effects and all detail desired. As the Air Brush becomes better known, it is much more useful. Has many uses in the Photo Engrav- ing Department. The best cuts in the market are made from drawings made from the Air Brush. Circulars free. Address Air Brush Manufacturing Co. 136 Nassau St., Rockford, 111., U. S. A. XX Advertisements. ROUGH & CALDWELL STUDIO: NO. 122 WEST 29TH STREET, NEW YORK S High Art Backgrounds and Accessories We are in business to paint the very best Back- grounds that are required to make perfect pictures, and a Photographer’s ambition is to turn out the very best work possible, which makes our interests mutual, and in order to accomplish this it is nec- essary for him to use only the best Backgrounds, which are correct in Drawing, Perspective, and Atmospheric effect. This is our strongest card. Advertisements . XXI The Photographer No other Photographic Journal is SO up-to-the-moment SO well printed SO impartial SO interesting as The Photographer. It has features entirely its own. The Editor of Wilson's Photographic Magazines says: ‘‘The Photographer is a habit.” Jas. F. Smith, of Gainesville, Fla., says: “The Photographer is just the thing. No progressive photographer should be without it, and especially those in small towns.” Stein, of Milwaukee, writes: “Please send Nos. and as I wish to keep my file entact.” Giffin, of Wheeling, W. Va , says: “I am a constant reader of The Photo- grapher, and am free to say that, in my judgment, it fills a long felt want, inasmuch as the information given to the craftsman is always interesting, and as it takes a posi- tive stand between right and wrong.” We could quote from scores of other prominent photographers to the same effect. Become one of the big family of “Photographer” readers and be as up-to-date as they are. $2.00 per Year— ^2 Issues THE NATIONAL PHOTOGRAPHER, 30 West 13th Street, New York. is the American Photographic 'Journal ISSUED WEEKLY >:kl. i '■* • rv.jt/v ■A, ,•■ V'' ) y- I GETTY CENTER LIBRARY CONS 1 NH 740 M38 1905 BKS I c. 1 Marton, A. M. (Alber A ne» treatise on the modern methods of 3 3125 00350 0747