UC-NRLF GRAPHIC i^rxs UNIVERSITYo/miFORNIA \ COLLE6E of MINING DEPARTMENTAL LIBRARY BEQUEST OF SAMUELBENEDICTCHRISTY PROFESSOR OF MINING AND METALLURGY 1885-1914 ; The Scovill Photographic Series. Price, Per Copy. No. i. THE PHOTOGRAPHIC AMATEUR. By J. TRAILL TAYLOR. A Guide to .the Young Photographer, either Professional or Amateur. (Second Edition.) Paper covers Library Edition i oo No. 2. Out of print. No. 4--HOW TO MAKE PICTURES.-By HENRY CLAY PRICE. (Fourth Edition.) The A B C of Dry-plate Photography. Paper covers 50 Library Edition 75 No. 5. PHOTOGRAPHY WITH EMULSIONS. By Capt. W. DE W. ABNEY, R.E., F.R.S. A treatise on tie theory and practical working of Gelatine and Collodion Emulsion Processes. (Second Edition.) Paper covers, 75 Cloth bound i oo No. 6. Out of print. No. 7. -THE MODERN PRACTICE OF RETOUCHING NEGATIVES- As practiced by M. Piguepe, and other celebrated experts. (.Seventh Edition). Paper covers f 50 Library Edition 75 No. 8.-THE SPANISH EDITION OF HOW TO MAKE PICTURES. -Ligeras Lecciones sobre Fotografia Dedicados a Los Aficionados. Paper covers, 50 Cloth bound i oo No. p. TWELVE ELEMENTARY LESSONS IN PHOTOGRAPHIC CHEM- ISTRY. Presented in very concise and attractive shape. (Second Edition.) Paper covers. 50 Cloth bound 75 No. io. Out of print. No, ii. Out of print. No. i2.-HARDWICH'S PHOTOGRAPHIC CHEMISTRY.-A manual of photo- graphic chemistry, theoretical and practical. (Ninth Edition.) Edited by J. TRAILL TAYLOR. Leatherette binding 2 oo No. i 3 .-TWELVE ELEMENTARY LESSONS ON SILVER PRINTING. (Second Edition). Paper covers .:..... 50 i Price Per Copy. No. i 4 .-ABOUT PHOTOGRAPHY AND PHOTOGRAPHERS. A series of interesting essays for the studio and study, to which is added European Rambles with a Camera. By H. BADEN PRITCHARD, F.C.S. Paper covers, $o 50 Cloth bound 75 Iso. is.-THE CHEMICAL EFFECT OF THE SPECTRUM.-By Dr. J. M. EDER. Of value to Orthochromatic Workers. Paper covers 25 Cloth bound So No I6.-PICTURE MAKING BY PHOTOGRAPHY.-By H. P. ROBINSON. Author of Pictorial Effect in Photography. Written in popular form and finely illustrated. Paper covers 75 Library Edition T No. I7.-FIRST LESSONS IN AMATEUR PHOTOGRAPHY.-By Prof. RANDALL SPAULDING. A series of popular lectures, giving elementary instruction in dry-plate photography % optics, etc. (Second Edition). Leatherette binding 5P No. 18. Out of print. No. 19. Out of print. No. 20. DRY-PLATE MAKING FOR AMATEURS. By GEO. L. SINCLAIR, M.D. Pointed, practical, and plain. Leatherette binding 5 No. 2i. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO- GRAPHIC TIMES ALMANAC FOR i88 7 .-(Second Edition). Paper covers (postage, twelve cents additional) 5 Library Edition i oo No. 22. PHOTOGRAPHIC PRINTING METHODS. By the Rev. W. H. BURBANK. A Practical Guide to the Professional and Amateur Worker. (Third Edition.) Cloth bound ... i oo No. 23. A HISTORY OF PHOTOGRAPHY. -Written as a Practical Guide and an Introduction toils Latest Developments, by W. JEROME HARRISON, F.G.S., and containing a frontispiece of the author. Cloth bound i oo No. 24. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO- GRAPHIC TIMES ALMANAC FOR 1888. Illustrated. Second Edition. Paper (by mail, twelve cents additional) 50 Library Edition i oo No. 2 5 .-THE PHOTOGRAPHIC NEGATIVE. A Practical Guide to the prepar- ation of sensitive surfaces by the calotype, albumen, collodion, and gelatine processes, on glass and paper, with supplementary chapter on development, etc., by the Rev. W. H. BURBANK. Cloth bound. Reduced to i oo No. 26. -THE PHOTOGRAPHIC INSTRUCTOR. For the Professional and Amateur. By W. I. LINCOLN ADAMS and Prof CHARLES EHRMANN. Third edition. Paper covers i oo Library Edition i 5 o No. 27.-LETTERS ON LANDSCAPE PHOTOGRAPHY. By H. P.ROBINSON. Finely illustrated from the Author's own photographs and containing a photogravure frontispiece of the Author. Cloth bound i 50 No. 28. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO- GRAPHIC TIMES ALMANAC FOR 1889. (Out of print.) No. 29.-THE PROCESSES OF PURE PHOTOGRAPHY. By W. K. BURTON and ANDREW PRINGLE. A standard work, very complete and freely illus- trated. Paper covers 2 oo Library Edition 2 50 it Price Per Copy. No. 30.-PICTORIAL EFFECT IX PHOTOGRAPHY.-Bv H. P. ROBINSON. A new edition. Illustrated. Mr. Robinson's first and best work. Cloth bound $150 No. 31. A DICTIONARY OF PHOTOGRAPHY. For the Professional and Amateur Photographer. By E. J. WALL. Illustrated. Cloth bound 150 No. 32. PRACTICAL PHOTO-MICROGRAPH Y.-Finely illustrated. By AN- DREW PRINGLE. Cloth bound 2 50 Mo. 33. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO- GRAPHIC TIMES ALMANAC FOR 1890. Paper cover (by mail. 14 cents additional) 50 Library Edition (by mail, 15 cents additional) i o? No. 34 THE OPTICAL LANTERN. Illustrated. By ANDREW PRINGLE. In paper covers i oo Cloth bound i 50 No. 35.-LANTERN-SLIDES BY PHOTOGRAPHIC METHODS. By ANI.RRW PRINGLE. In paper covers 75 Library edition i 25 No. 36. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTO- GRAPHIC TIMES ALMANAC FOR 1891. Paper Covers 50 Library Edition (by mail, 15 cents additional i oo No. 37. PHOTOGRAPHIC OPTlCS-By W. K. BURTON. A Text Book for the Professional and Amateur. Illustrated. Paper covers i oo Library edition i 50 No. 38. PHOTOGRAPHIC REPRODUCTION PROCESSES.-By P. C. DL- CHOCHOIS. In press. No. 39. EL INSTRUCTOR FOTOGRAFICO. Paper covers i oo Library edition i 50 BY THE SAME AUTHOR. "The Photographic Negative" (Number Twenty-five of The Scovill Photographic Series.) A PRACTICAL TO THE PREPARATION OF SENSITIVE SURFACES BY THE CALOTYPE, ALBUMEN, COLLODION/AND GELATINE PRO- CESSES, ON GLASS AND PAPER, WITH SUPPLEMENTARY CHAPTER ON DEVELOPMENT, ETC., ETC. CONTENTS. CHAPTER. Preface. I. General Remarks on Sensitive Surfaces, etc. II. Preliminary Remarks on Exposure, Development, Fixing, etc. III. Calotype. IV. Sensitive Surfaces on Glass Preparation of the Glass. V. The Albumen Process. VI. The Old Collodion Process, Wet Plates. VII, The Collodion Process, Dry Plates. VIII. Collodion Emulsion Collodio-bromide of Silver. IX. The Gelatine Process. X. Coating the Plates. XI. Development. Fixing, etc. XII. Paper Negatives Stripping Films on Paper, Card-board, and Collodion. XIII. Failures in the Gelatino-bromide Process. XIV. Methods of Stripping Films from Glass Plates. XV. Color-sensitive Plates. XVI. Black and White Negatives. XVII. Instantaneous Photography. XVIII. Touching-up the Negative. XIX. Photo-micrography. XX. Micro-photography. XXI. The Transformation of Negatives into Positives. XXII. Obernetter's Method for the Direct Production of Negatives from Negatives. Index. It contains a Meisenbach Frontispiece of a pictorial subject from a negative made by the author. Full description of his method for making the Emulsion ; also, much other valuable information never before pub- lished. Profusely illustrated with cuts, two full-page pictorial Mosstypes, and more than two hundred pages of valuable reading matter. A companion to " Photographic Printing Methods." Price, cloth bound, reduced to.. ..$1.00. SOME OTHER PHOTOGRAPHIC PUBLICATIONS. Price per copy. THE KNACK Reduced to $0 25 EXPERIMENTAL SCIENCE. By GEORGE M. HOPKINS. 740 pages, 680 illustra- tions. By mail, post-paid 400 THE CHEMISTRY OF PHOTOGRAPHY.-By PROF. RAPHAEL MELDOLA 2 00 THE FERROTYPER'S GUIDE. Cheap and complete. For the Ferrotyper, this is the only standard work. Seventh thousand 75 THE PHOTOGRAPHIC STUDIOS OF EUROPE. By H. BADEN PRITCHARD, F.C.S. Clothbound 100 Paper cover 50 ART OF MAKING PORTRAITS IN CRAYON ON SOLAR ENLARGE- MENTS. {Third Edition.) By E. LONG 1 00 PHOTOGRAPHY APPLIED TO SURVEYING.-Illustrated. By LIEUT. HENRY A, REED, U. S. A. Cloth bound 2 50 HISTORY AND HAND BOOK OF PHOTOGRAPHY. Translated from the French of Gaston Tissandier, with seventy illustrations. Cloth bound 75 A COMPLETE TREATISE ON SOLAR CRAYON PORTRAITS AND TRANSPARENT LIQUID WATER COLORS. -By J. A. BARHYDT. Prac- tical ideas and directions given. Amateurs will learn ideas of color from this book that will be of value to them. And any one by carefully following the directions on Crayon will be able to make a good Crayon portrait 50 ART RECREATIONS. A guide to decorative art. Ladies' popular guide in home decorative work. Edited by MARION KEMBLE 2 00 AMERICAN CARBON MANUAL. For those who want to try the Carbon printing process, this work gives the most detailed information. Cloth bound 50 MANUAL DE FOTOGRAFIA. By AUGUSTUS LE PLONGEON. (Hand- Book for Spanish Photographers.) 1 00 SECRETS OF THE DARK CHAMBER. -By D. D. T. DAVIE 50 AMERICAN HAND-BOOK OF THE DAGUERREOTYPE. By S. D. HUMPHREY. (Fifth Edition.) This book contains the various processes employed in taking Heliographic impressions 25 THE PRACTICAL PHOTOGRAPHIC ALMANAC 25 MOSAICS FOR 1870, 1871, 1872, 1873, 1875, 1882, 1885. 1886, 1887, 1888, 1889 25 BRITISH JOURNAL ALMANAC FOR 1878, 1883, 1887 25 PHOTO NEWS YEAR BOOK OF PHOTOGRAPHY FOR 1870, 1871, 1887, 1888.. 25 THE PHOTOGRAPHER'S FRIEND ALMANAC 25 AMERICAN ALMANAC OF PHOTOGRAPHY 25 THE PHOTOGRAPHER'S BOOK OF PRACTICAL FORMULAS. Compiled by DR. W. D. HOLMES, Ph.B., and E. P. GKISWOLD. Paper covers 75 Cloth bound 1 50 PHOTO NEWS YEAR BOOK OF PHOTOGRAPHY FOR 1890 50 WALDACK'S PHOTO ALMANAC 25 THE LIGHTING IN PHOTOGRAPHIC STUDIOS.-By P. C. DUCHOCHOIS.... 75 BROMIDE PAPER AND HOW TO USE IT. A practical treatise, written by an expert, with a full-page illustration. Price, postpaid 25 N 00 00 oo 00 00 THE PHOTOGRAPHIC TIMES ANNUALS ARE A RECORD OF PHOTOGRAPHIC PROGRESS. Price, per copy, - - 5O Library Kdition, - - i oo Edition de t,uxe, 2 SO By mail, 12 cents extra. Contains five full-page illustrations An Exquisite Photo-Gravure, by Ernest Edwards. A Bromide Print, by the Eastman Company. A Silver Print, by Gustav Cramer, of St. Louis. Two Ittosstypes, by the Moss Engraving Company. 197 pages of Contributed Matter consisting of articles on various subjects, by 80 repre- sentative photographic writers of this country and Europe. Contains eight (8) full-page high-grade illustrations ; and over ninety (90) original con- tributions, written expressly for its pages, by the most eminent photographic writers of Europe and America. THE ILLUSTRATIONS COMPRISE: A Photo-Lithograph, showing an improved new process, by the Photo- Gravure Company of New York. A Photo-Copper-Plate Knjjraving of a Pictorial Landscape Subject, by E. Obernetter, of Munich. A itieisenbacli of "The Old Stone Bridge," by Kurtz. A 2inc Etching, from the Engraving, which is itself as fine as an Engraving, by Stevens & Morris. A Charming Child Portrait, t>y Crosscup & "West's improved process. Three Mosstypes of popular subjects. And 330 PAGES OF VALUABLE INFORMATION. 00 J ENTIRE EDITION SOLD. 8 I Contains the Following Full-Page Pictorial Plates: " Thomas Edison." A Portrait of the Eminent Electrician. George M. Allen & Co., New York. ** Babyhood." A Tinted Photo-Gravure. The Photo-Gravure Co. of New York. " Putnam's Escape." A Collection of Historic Views. The Crosscup & West Engraving Company, Philadelphia. "Southern Fruit." An Orthochromatic Study. The Electro-Light Engraving Company, New York. At the Barracks." A copy of the great Meissonier picture. William Kurtz, N.Y. Minstrel Party at John Brown's Eort." Photo-Engraving Com- pany, New York. Q * John Brown's Home and Grave." Lewis Engraving Co., Boston. ^^ ' Off Duty." An Instantaneous Study. William Kurtz, New York. _ . , Minnehaha Falls in Winter." Levytype Company, Philadelphia. ff\ ' Central Park." In the Menagerie. I. M Van Ness, New York. ' A Merry Tale." A Child Group. F. Gutekunst, Philadelphia. * The Van Rensselaer Manor House." Photo-Electro Engraving Company, New York. 'An Improvised Studio." Electro-Tint Engraving Company, Philadelphia. The Bats." A " Flash " Light Photograph in Howe's Cave. William Kurtz, N.Y. 'A Raider's Resort." Morgan's Favorite Rendezvous. M.Wolf, Dayton, Ohio. ' Group of Esquimaux." William Kurtz, New York. 4 Diatoms." Photo-Micrographs. William Kurtz, New York. Tropical Luxuriance." A Scene in Florida. Moss Engraving Co., N. Y. ' An Arctic Camp." Moss Engraving Company, New York. 4 Home of Edgar Allen Poe." Moss Engraving Company, New York. NEARLY 400 PAGES OF READING MATTER. vi THE American Annual of Photography and Photographic Times Almanac LARGER AND BETTER THAN EVER BEFORE. Oyer THity-six FULL-PAGE Illustrations. o?er One Hundred Original ContriDntions. PRICE: THE SAME AS USUAL,. In Paper Covers, 50 cents. Library Edition (cloth bound), $1.00. By Mail, 15 cents extra. SOME OF THE PICTORIAL ILLUSTRATIONS: A Fine Copper-Plate Engraving (Portrait Study). By the New York Photo-Gravure Company. "Attraction," "Temptation," " Satisfaction," a series of three hunting pictures. By R. Eickemeyer, Jr. The Solar Eclipse (December 22, 1889). By Prof. S. W. Burnham. "Three Little Kittens." By William M. Browne. 1 The County Fair." By J. P. Davis. A Portrait of Prof. Burnham. By Hill & Watkins. "I Love 'oo," (a charming child picture). By Fran! Daguerre Portraits. (Nine portraits of J. L. M. D Franklin Harper. M. Daguerre, including one never before published.) The Yacht " Volunteer," Before the Wind. By H. G. Peabody. Finish of Race Between Taragon and St. Luke. By J. C. Hemment. " Enoch Arden." A Portrait Study. By H. McMichael. " The Life Class." By Charles N. Parker. Portrait Study. By William Kurtz. " The Regatta." Two Yachting Pictures. By A. Peebles Smith. A " Flash " Picture. (Interior.) By Horace P. Chandler. " Contentment." By Miss Emilie V. Clarkson. Old Mill on the Bronx River. By John Gardiner. " Sailing the High Seas Over." By Harry Platt. The Great Selkirk Glacier Face. By Alexander Henderson. " Lightning." (Two Pictures.) By W. N. Jennings. " Down in the Meadows." " Forest Shadows." By G. De Witt. " In Chautauqua Woods." By " A Chautauquan." Raines Falls. By W. S. Waterbury. Besides many Pictures throughout the Advertising pages. is IT NOT SO? That Americans like the best of everything, and when the best costs the least they will buy it without urging. The more distinctively American such an article is, the greater will be their pride in it. It goes without saying that a full- jeweled watch is worthy of a good case, and that an Encyclopedia should be bound in something more durable than paper covers. The American Annual of Photography is now in world-wide favor, and commonly spoken of as an " Encyclopedia of Photographic Progress." It should be ordered with cloth binding (Library Edition), as it has, both in bulk and importance, outgrown paper covers. Other books, containing no more pages or information, sell for $3.00. In attractiveness they will not compare with The Photographic Times Annual for 1891, "which is the most profusely and handsomely illustrated Photographic Book ever published. "It makes this already valuable book simply invaluable." A CYCLOPEDIC INDEX TO THE AMERICAN AlCAl OF PHOTOGRAPH! AND PHOTOGRAPHIC TIES ALMANAC FOR 1891. 16 CYCLOPEDIC INDEX. LITMUS A coloring matter derived from orcella tinctoria, a lichen. Its blue color turns red when in contact with acids. Alkalines restore the blue color again 142. LUBRICATOR 348. M MAGNESIUM A metal of silvery white color, burns at a comparatively low temperature with extremely actinic and brilliant light 207. MAGNESIUM FLASH LIGHT Pure metallic magnesium reduced to fine powder. When blown forcibly through an intensely hot flame is instantaneously consumed and produces a highly actinic light. Originally the magnesium powder was mixed with substances evolv- ing oxygen, and when ignited produced a similar light 249, 207, 135. MANGANESE A metal of dusky white or grayish color, very hard and difficult to fuse 176. MASTIC The resinous exudation of Pistacia lentiscus, growing on the islands of the Grecian Archipelago, North Africa and Arabia. Yel- lowish white drops or tears, soluble in alcohol, chloroform, ether and benzole 105. MAYALL, S. E. A native of Ohio, dyer by trade. Embraced daguerreo- typing at an early date. Established a studio in Philadelphia, but emigrated to England, where he and his descendants are carrying on a lucrative business to the present day 28. MEADE. We find the brothers Harry and Charles R. Meade in possession of a Daguerrean studio in Albany, N. Y., as early as 1842. They repaired to New York city a few years later and had the first elegantly and sumptuously fitted up gallery at 232 Broadway, where their pro- ductions stood foremost 28. MERCURY CHLORIDE, MERCURIC CHLORIDE, OR CORROSIVE SUBLIMATE. A colorless, crystalline, semi-transparent mass, of metallic taste. It is soluble in water, alcohol and ether, and very poisonous 143. MICROSCOPE An optical instrument, consisting of a lens or combination of lenses for examining objects which are too minute to be viewed by the naked eye 278, 205, 117, 107, 71. MOLECULAR Belonging to, consisting of or residing in molecules 59. MONCKHOVEN, DR. D. VON Of Ghent, Belgium. Born 1834, died 1882; was an excellent chemist and physicist, who devoted himself chiefly v to the scientific side of photography 94 MONOCHROME Of one color 265. MONEY ORDERS, INTERNATIONAL 408. MORSE, PROF. SAMUEL F. B. American inventor of the telegraph. One of the earliest experimenters in photography, and more successful than others of his contemporaries. He remained an ardent admirer and promoter of the art during the whole of his useful life 28. MOUNT WITHOUT COCKLES 348. 24 PAGES 119 AI.I,. PRICE TEN CENTS. For sale by all dealers in Photographic Materials, or sent post-paid on receipt of price by the publishers, THE SCOV1LL & ADAMS CO. THE SCOVILL PHOTOGRAPHIC LIBRARY N91 THE 5COYILL PHOTOQRflPHIC LlBRdRY, No. 1. Price, in a Box, $5.25. Includes the following standard books in cloth binding (Library Edition): The History of Photography $i oo The Photographic Instructor (Second Edition) i 50 The Photographic Negative i 50 Photographic Printing Methods (Second Edition) i oo The Modern Practice of Retouching Negatives 75 The Photographic Times Annual for 1890 i oo $6 75 It will thus be seen that if the books were bought separately they would cost $6.75, but purchased in the "Library" they cost only $5.25, and are neatly packed in a strong box. An appropriate and practical holiday gift for a photographer. 1802 TWELVE STUDIES. A Collection of Photo-Gravures from Rep- resentative Negatives by Leading Photographic Artists in this Country and Abroad. TUB COLLECTION INCLUDES : " Dawn and Sunset "... .From the Negative by H. P. Robinson. "Childhood" " " H. McMichael. " As Age Steals On ". . . . " " J. F. Ryder. " A Portrait Study " B. J. Falk. " Solid Comfort " " John E. Dumont. " Ophelia " H. P. Robinson. " No Barrier " " F. A. Jackson. " El Capitan " " W. H. Jackson. " Still Waters " " " J. J. Montgomery. " Surf " James F. Cowee. " A Horse Race " George Barker. " Hi, Mister, May We Have Some Apples ! " From the Negative by Geo. B. Wood. Printed on Japanese paper, mounted on boards. Size, 11x14, tied with silk cord in a specially designed cover and put up in a neat paper box. PRICE, postpaid, - - $3.00. Wilson's Photographic Publications. For Sale by The Scovill & Adams Company. Price, Per Copy. WILSON'S QUARTER CENTURY IN PHOTOGRAPHY. By EDWARD L. WIL- SON, Ph.D. "The best of everything boiled out from all sources." Profusely illustrated, and with notes and elaborate index $4 oo WILSON'S PHOTOGRAPHICS. " Chautauqua Edition," with Appendix. By EDWARD L. WILSON, Ph.D. A most complete photographic lesson-book. Covers every department. 352 pages. Finely illustrated 400 THE PROGRESS OF PHOTOGRAPHY. By DR. H. W. VOGEL. Revised by Edward L. Wilson, Ph.D. Gives special consideration to Emulsion Photog- raphy, and has an additional chapter on Photography for Amateurs. Em- bellished with a full-page electric-light portrait by Kurtz, and seventy-two wood-cuts 300 BIGELOW'S ARTISTIC PHOTOGRAPHY, with photographs 4 oo HEARN'S STUDIES IN ARTISTIC PRINTING, with photographs 3 oo BURNET'S HINTS ON ART. ^facsimile reproduction of the costly original edition 4 oo PHOTO-ENGRAVING, PHOTO-ETCHING, AND PHOTO-LITHOGRAPHY. By W. T. WILKINSON. Revised and enlarged by EDWARD L. WILSON, Ph.D. Illustrated. 180 pages. Cloth bound 3 oo WILSON'S PHOTOGRAPHIC MAGAZINE. A semi-monthly magazine, illus- trated by photographs, $5 oo a year ; club rate with Weekly Photographic Times, 9 oo WILSON'S LANTERN JOURNEYS. By EDWARD L. WILSON, Ph.D. In three volumes. For the Lantern Exhibitor. Give incidents and facts in entertain- ing style of about 3,000 places and things, and travels all over the world. Per volume a oo PHOTOGRAPHIC MOSAICS, 1891. Published annually. Cloth bound, $1.00; Paper covers 50 xi Edited by W. I. LINCOLN ADAMS. IS ILLUSTRATED EVERY WEEK WITH A FULL PACE PICTURE, thus Including in the year FIFTY-TWO FULL. PAGE PICTURES, making it the best illustrated Photographic periodical in the world. Special numbers contain more than one high grade illustration; and there are published besides superb Photo-gravures, pictorial illustrations, by other photographic and photo- mechanical printing processes. The illustrations are carefully selected, and represent the best work of repre- sentative American artists. There are also copies of famous pictures, from time to time, to illustrate lessons in art for photographers, accompanied by instructive reading matter. The Editorials and Editorial Notes are of greatest practical value, as they are the result of actual practice and experiment, by the staff. LEADING ARTICLES by such acknowledged author- ties as Prof. W. K. BURTON, on SCIENTIFIC AND PRAC- TICAL SUBJECTS. ANDREW PRINGLE, on SUBJECTS OF GREATEST VALUE. P. C. DUCHOCHOIS, on CHEMICAL SUBJECTS. W. J. STILLMAN, on ART AND PRACTICAL SUB- JECTS. Prof. CHARLES EHRMANN, on DARK ROOM AND PRINTING PRACTICES. And frequent contributions from G. WATMOUGH WEBSTER, F.C.S., of England; CARLSRNA, CHARLES SCOLIK, Dr. EDER, Prof. SPITALER, Lieut.-Colonel VOLKMER, of Austria; Dr. LOHSE, Dr. SCHNAUSS, KARL SCHWIER, VICTOR SCHUMAN, and F. MUELLER, of Germany. Notes from the Every-day Gallery Experiences of such well-known PRACTICAL PHOTOGRAPHERS as W. H. SHERMAN, Prof. KARL KLAUSER, J. M. MORA, and One Year, H. McMlCHAEL, J. R. SWAIN, JOHN CARBUTT. Various Occasional Articles of a Practical Nature, and otherwise, by our favorite contributors: Rev. C. E. WOODMAN, Ph.D., C. D. CHENEY, D D S., HENRY M. PARKHURST, CHARLES WAGER HULL, C. W. CANFIELD, Rev. G. M. SEARLE, C. M. BROCKWAY, Miss ADELAIDE SKEEL. "Occasional Notes," by Prof. W. H. PICKERING, of Harvard College Observatory. The Chemistry of Photography, by W. JEROME HARRISON, F.G.S. Correspondence Scientific and practical discussion of important and interesting questions, by practi- cal photographers, and letters from all parts of the globe, by intelligent and observing correspondents. NOTES AND NEWS, PHOTOGRAPHIC SOCIETIES, THE CHAUTAUQUA SCHOOL OF PHOTOGRAPHY, QUERIES AND ANSWERS, OUR EDITORIAL TABLE, RECORD OF PHOTOGRAPHIC PATENTS AND COMMERCIAL INTELLIGENCE. $5 OO | Six Months, One Month's trial, - - 5Oc. $2 5O THE PHOTOGRAPHIC TIMES PDBLISHIHG ASSOCIATION, Publishers, 423 Broome Street, New York City. Xll . B. CHRISTY. PHOTOGRAPHIC Printing Methods : A PRACTICAL GUIDE TO THE PROFESSIONAL ^AMATEUR WORKER, BY THE REV. W. H. BURBANK. THIRD EDITION. NEW YORK : THE SCOVILL & ADAMS COMPANY, 423 BROOME STREET. 1891. 330 / I *4s>AStsW^ r COPYRIGHT, 1887, BY SCOVILL MANUFACTURING COMPANY. Preface to the Third Edition. THE appearance of a third edition of " Printing Methods " affords another opportunity of thanking the fraternity for the very cordial reception accorded to this effort to make better known our gentle craft of photography. The author has the best of reasons for believing that this little book has proved useful and helpful to many, and that it has therefore given a sufficient excuse for its existence. ~No material changes have been made in this new edition. Beyond the correction of the errors of the first editions nothing has been altered. The portrait and the brief biographical sketch of the second edition have been retained ; and the bromide print, by the Eastman Company, from an American film negative by Mr. W. J. Hickmott, of Hartford, Conn., and entitled " Brook on Conway Meadows," which appeared in the second edition, also reappears in this edition of the book. 303921 PREFACE. IN the following pages the author has aimed to collect in easily accessible form, information and formulas connected with the production of photographic prints. His purpose has been to impart the information in the simplest and most prac- tical way possible, and to avoid errors in the numerous form- ulas given, all of which he believes will stand the test of ac- tual use. Sufficient material was collected to have filled double the number of pages of this little volume, but since to have done so would have been unduly to have increased the cost of the book without enhancing its usefulness, the writer has ex- ercised his best judgment in the selection of the material at his command, giving only those methods which his own prac- tice or that of others commended as useful and practical. The work is rather one of compilation than of original re- search, and the author has not scrupled to make use of the work of others, giving due credit wherever the sources of in- formation were known to him. The opening chapters on the " Theory of Light" and its " Action on Sensitive Compounds" are merely condensed from "Abney's Handbook of Photography," and are given for the information of those who may care to know something of the chemical changes produced by the action of light upon the compounds most commonly used in photographic printing. The author's best thanks are due to Mr. W. I. Lincoln Adams and Dr. Charles Ehrmann, of the Photographic Times, for the very valuable advice and assistance which they have freely given him, and for their careful reading of the proof ; also to Mr. C. W. Canfield, for books furnished by him which were of great assistance in writing the chapters on " Carbon Prints" and " Photo-ceramics." In conclusion, the author ventures to express the hope that the following pages may prove useful to his brother amateurs to whom the book is respectfully dedicated. W. H. Burbank. Newburgh, X. Y., July, 188T. List of Photographic Works Consulted. ABXEY, W. DEW. " A Treatise on Photography." New York, 1878. D. Appleton & Co. ABNEY, W. DE W., and ROBINSON, H. P." The Art and Prac- tice of Silver Printing." New York, 1881. Scovill Manufacturing Company. GEYMET. "Traite Pratique des Emaux-Photographiques." Paris, 1885. Gauthier-Villars. GEYMET " Traite Pratique de Ceramique Photographique." Paris, 1885. Gauthier-Yillars. GEYMET. " Traite Pratique de Photogravure sur Zinc et sur Cuivre." Paris, 1886. Gauthier-Yillars. GODARD. " Artiste, Peintre, Decorateur." Paris, 1885. Gauthier-Yillars. HARDWICH, T. F. " A Manual of Photographic Chemistry." New York, 1886. Scovill Manufacturing Co. HUSXIK, J. " Die Heliographie." Yienna, 1878. A. Hartle- ben. HUSXTK, J. " Das Gesammtgebiet des Lichtdrucks." Yienna, 1880. A. Hartleben. JUST, E. A. "Der Positiv Process auf Gelatine-Emulsion- papier." Yienna, 1885. E. A. Just. LIESEGANG, PAUL E. "Le Procedeau Charbon." Paris, 1886. Gauthier-Yillars. MORCH, J. O. "Handbuch der Chemigraphie und Photochemi- graphie." Diisseldorf, 1886. E. Liesegang. KOBIXSOX, II. P. " Pictorial Effect in Photography." Phila- delphia, 1881. Edward L. Wilson. Roux, Y. " " Traite Pratique de Photographic Decorative." Paris, 1887. Gauthier-Yillars. Roux, Y. "Traite Pratique de Gravure Heliographique." Paris, 1886. Gauthier-Yillars. Roux, Y. " Manuel de Photographic et de Calcographie." Paris, 1886. Gauthier-Yillars. 8 PHOTOGRAPHIC WORKS CONSULTED. YOGEL, H. W. " Progress in Photography." Philadelphia, 1883. E. L. Wilson. WILSON, E. L. " Photographies." Philadelphia, 1883. E. L. Wilson. Much valuable information has also been derived from vol- umes of the British Photographic Annuals, from Wilson's " Mosaics," from the " American Annual of Photography for 1887," and from the columns of the Photographic Times and the other American Photographic journals, to all of which the author gratefully acknowledges his indebtedness. CONTENTS. INTRODUCTION: PAGE THEORY OF LIGHT ACTION OF LIGHT UPON SENSITIVE COMPOUNDS RESUME OF PRINTING PROCESSES 11 CHAPTER I. PRINTING WITH IRON AND URANIUM COMPOUNDS 17 CHAPTER II. THE SILVER BATH 25 CHAPTER III. FUMING AND PRINTING 33 CHAPTER IV. TONING, FIXING AND WASHING 41 CHAPTER V. PRINTING ON OTHER THAN ALBUMEN PAPER 51 CHAPTER VI. THE PLATINOTYPE 55 CHAPTER VII. PRINTING WITH EMULSIONS 65 CHAPTER VIII. MOUNTING THE PRINTS 90 CHAPTER IX. CARBON PRINTING 96 CHAPTER X. PRINTING ON FABRICS. 105 CHAPTER XI. ENLARGEMENTS 109 CHAPTER XII. TRANSPARENCIES AND LANTERN SLIDES . 132 10 CONTENTS. PAGE CHAPTER XIII. OPAL AND PORCELAIN PRINTING . . . 160 CHAPTER XIV. PHOTO-CERAMICS ENAMELLED INTAGLIOS 165 CHAPTER XV. PHOTO-MECHANICAL PRINTING METHODS 190 CHAPTER XVI. VARIOUS METHODS FOR PUTTING PICTURES ON BLOCKS AND METAL PLATES FOR THE USE OF THE ENGRAVER 205 CHAPTER XVII. RECOVERY OF SILVER FROM PHOTOGRAPHIC WASTES PREPARATION OF SILVER NITRATE, ETC 210 INTRODUCTION. THEORY OF LIGHT. THE almost universally accepted theory of light, and the one which explains the greatest number of observed phenomena, is that which is known as the wave theory. Light as such is merely a sensation. All space is assumed to be permeated with a fluid known as ether, capable of being acted upon by a light or heat source in such a way as to give rise to an unbroken and continuous series of waves. Of the original form of these waves we know nothing. In the case of unpolarized, or ordinary white light, they are supposed to be, and the supposition seem& to be substantiated by experiments, compounded of an infinite number of different undulations, each series differing in length from crest to crest. According as the length of these undula- tions vary, so do their effects differ. Those of a certain length, for instance, are able to affect the waves of the retina ; others affect nerves lying in the body, giving rise to the sensation of heat ; while others still are known only by their power of pro- ducing chemical combinations or decomposition in certain com- pounds. The perception of color is due to the varying lengths of the light waves, the shortest gives the sensation of a violet color, the longest that of a brilliant red, waves of intermediate lengths producing respectively the sensation of blue, green, yellow, or orange. The limits of the heat spectrum are at least as great as those of the color spectrum, while the limits of the chemi- cally active rays are known to be much greater. The term actinic has been applied to all those rays capable of effecting decomposition in any compound, and their range varies for every photographic substance, thus producing greater or less sensitiveness. It may be laid down as a fundamental and un- alterable law, that whenever light of any kind is absorbed by any body, work of some kind has been performed in that body. In the case of the compounds employed in photographic print- 12 INTRODUCTION. ing, that work is some chemical or physical change or decom- position. ACTION OF LIGHT UPON SENSITIVE COMPOUNDS. In order to understand something of the changes produced in various sensitive compounds, some knowledge of the ultimate structure of matter is necessary. We may consider every particle of matter to be made up of molecules, each molecule being further subdivived into atoms, the smallest divisible por- tions of matter. The arrangement of these atoms differs in various substances. When, for instance, the atoms of any compound are so arranged as to be incapable of forming mole- cules of a simpler type, a large amount of work would be re- quired to separate them, and the atoms are said to occupy a position of stable equilibrium, such, for instance, as that of a pyramid standing on its base. Substances in which the atoms are in this state of exceedingly stable equilibrium, are, of course, useless for photographic printing purposes, and are said to be insensitive to light. When, however, the atoms of a molecule are so arranged as to be capable of separating into more than one molecule, of less complex character it may be, it may happen that the atoms are in a condition of indifferent equilibrium, such, for instance, as that of the f rustrum of a pyramid standing on a narrow section parallel to its base. Compounds in which the atoms are in this state of indifferent equilibrium are, as a rule, easily affected by light, separating under its action, and arranging themselves in a different order. The sensitiveness of the molecules of such compounds to light depends upon the fact that the molecules are in a state of constant vibration. The effect of the successive impact of the waves of light is to increase the force of these vibrations until sufficient force is generated to cause the atoms to overcome the attraction bind- ing them together, when they arrange themselves in other groups, forming different compounds. The final effect of the waves of light in breaking down the original arrangement of atoms, may be compared to the break- ing down of a bridge under the increasing vibrations imparted to it by a body of troops marching over it in regular step, INTRODUCTION. although the bridge might be capable of bearing double the weight. In both, cases it is the regularity of the force com- municating the vibrations which produces the result. That this theory is correct is shown by the observed fact that the bodies employed for photographic purposes are chiefly affected by the shorter waves of light, the quickly repeated blows increasing more rapidly the force and extent of the vibrations, and pro- ducing a more rapid breaking up of the atoms. One more remark may serve to explain why in some print- ing processes the change in atomic composition is so great as to be visible to the eye, as in the case of prints on the ordin- ary silver paper ; while in others, the change is so slight that the eye detects no alteration in physical appearance, as, for instance, in prints on bromide paper. This difference is due to the fact that the number of molecules affected in a brief interval of time is so small that the atomic change is invisible to the eye, or so like in physical appearance to the former condition as to escape detection until the application of the developer has rendered the change visible. The difference between the two images is not one of chemical composition, but merely of the number of molecules changed. In the case of prints in silver the commonly accepted theory of the change produced by the action of light is that the molecule of silver chloride, Ag 2 Cl 2 , breaks up into one molecule of silver sub-chloride, Ag 2 Cl, and one of chlorine, Cl. But if silver chloride is exposed in the presence of free silver nitrate, as is the case with sensitized paper, then fresh silver chloride is formed and hypochlorous acid is liberated, which is a compound of oxygen and chlorine. In practice it has been found that the darkening of the silver chloride takes place much more rapidly when some chlorine absorbing sub- stance is present. Hence the common practice of fuming with ammonia, a chlorine absocber, although as vigorous prints may be produced by the addition of ammonium nitrate or potassium nitrate to the sensitizing bath. It is to be remarked that the above theory of the action of light upon a sensitive silver surface, which is that of Captain Abney, of England, is disputed by many photographic chem- ists in this country. Professor Newberry, of Cornell IJni- 14 INTRODUCTION. versity, a high authority, denies the existence of the sub- chloride, and claims that all the nitrate is converted into chloride. The subject is involved in great obscurity, and at present neither theory is to be implicitly accepted as the true one. Many organic substances are capable of forming definite compounds with soluble silver salts, and the effect of the action of light is then made more complex. In the case of albumen paper sensitized on a solution of silver nitrate, an albuminate of silver is formed, and by the action of light the silver is reduced to a condition of organic oxide, unaffected by sodium hyposulphite, which dissolves the undarkened albuminate. This is a brief statement of the action of light upon the compound of silver in common use by photographic printers, andi it will serve to explain the changes produced in com- pounds of other metals occasionally employed for printing purposes, the ferric and uranic compounds being reduced to ferrous and uranous, which are amenable to the action of vari- ous developing agents. Salts of other metals are, as a rule, too insensitive to the action of light to be of value even for con- tact printing. RESUME OF PRINTING PROCESSES. The fundamental principle underlying all the various meth- ods of photographic printing is that of molecular change pro- duced in the sensitive compound by the action of light. In most of the processes this change is visible in all its stages, subsequent manipulations only serving to change the color of the image and to give it greater permanence. To this class belong all the well-known printing-out methods, the general characteristic of all being the greater or less degree of visibil- ity of the impression when taken from the printing-frame ; the main point of difference being the nature of the sensitive medium employed, usually, iron, uranium, silver, or platinum and iron together. There is, however, an interesting class of printing methods in which the nature and extent of the molecular change pro- duced by the action of light is visible only after developing or INTRODUCTION. 15 reducing agents nave been employed; these bring out the latent image and affect its color tone. Each of these two classes of printing methods has advan- tages peculiar to itself , advantages which will probably pre- vent either from supplanting the other. Of the first group, that of printing-out methods, the chief advantages are the ease and certainty with which an image of any desired strength and modification can be obtained ; its adaptability to double or combination printing ; and the wide range of tone which it is possible to give to the finished print. Among the advantages of the second group we may mention the following : rapidity of reproduction ; artistic beauty of result ; and, probably, greater permanence. Historically speaking, the first family must claim precedence. It belongs to the antiquities of photography. It was ^he method first employed by the pioneers in photographic re- search; it is the one by which photography is generally known to the public of to-day, and it includes by far the greater number of printing methods commonly practised at the present time. It rightly, therefore, claims the first place in our consideration. PHOTOGRAPHIC PRINTING METHODS CHAPTER I. PRINTING WITH IRON AND URANIUM COMPOUNDS. ACCORDING to the investigations of Sir John Herschell, the double citrate of iron and ammonia is more readily acted upon by light than any of the other iron salts, the double oxalate of iron and potassium ranking next. As printing with the latter compound has none other than an experimental value, it will not be treated of in these pages. The law upon which the process of printing with salts of iron is based, is that the ferric salts are by the action of light reduced to the ferrous salts, which are capable of being acted upon by various toning agents, such as potassium ferri-cyanide, gold chloride, platinic tetrachloride, mercuric chloride, potas- sic bichromate, cupric chloride, etc. The developing solution most commonly employed is potas- sic ferri-cyanide, and for its" use two methods are adopted, one being to coat well-sized paper with the solution of the iron salt, dry, print, and tone on a solution of potassic ferri- cyanide. The other and more convenient method is to coat the paper with a mixed solution of iron and ferri-cyanide and to fix the print in water. If the first method be chosen, the following mode of pro- cedure is to be adopted : Citrate of iron and ammonia, 154 grains. Water (distilled), - 25 drains. Apply this solution to the paper with a brush or sponge, or float the paper on it from one to three minutes. When dry, expose under the negative until a faint image is visible. For 18 PHOTOGRAPHIC PRINTING METHODS. a blue print immerse in a solution of potassium ferri-cyanide, one to ten. When the image is fully developed or toned, wash thoroughly in water, adding a little citric or acetic acid to the first wash water. This will dissolve out all the soluble salts and leave the blue image unchanged. If a purple image is desired, immerse the print in a neutral solution of gold chloride ; gold, one grain, water, four ounces. The reduction of the gold takes place according to the law that the ferrous salts reduce salts of gold to the metallic state. To fix the pictures they are immersed in a bath of dilute hydrochloric acid and then well washed. This process gives the once noted chrysotype. Other tones may be produced by immersing the prints in a very dilute solution of platinic tetrachloride, mercuric chloride, cupric chloride, or potassic bichromate, of about the same strength as he gold solution mentioned above, always using the acid bath, followed by copious washing. These methods give very pleasing results and are worthy the attention of amateur printers. I cannot vouch for the permanency of prints so made, as I have not experimented with a view to test for permanency, but I have no doubt that the results are at least reasonably permanent if pure chemicals, water, and paper be used. Greater exposure will be found necessary with the salts of gold, platinum, etc., than when the ferricyanide is employed. An interesting method of developing prints on paper pre- pared with the double salt of iron and ammonia is to float them on a 40 grain solution of silver nitrate to which a few drops of gallic acid and acetic acid have been added. The silver nitrate is reduced to the metallic state by the ferrous salt, and the me- tallic silver is deposited where the ferrous salt was present. The gallic acid causes a further reduction of silver, and an image in metallic silver is formed, which is presumably per- manent, I now come to the more usual method of using the citrate of iron in conjunction with the ferricyanide, thus uniting sensi- tizer and developer. This process has simplicity to recommend it, and when at its best it gives very charming results. But to insure the highest degree of excellence in blue prints, the fol- lowing points must be most carefully attended to : PHOTOGRAPHIC PKIXTIXG METHODS. 19 1. The chemicals should be pure. 2. The paper must be free from deleterious matter. 3. A few grains of bromide should be added to the mixed solutions ; this confers greater keeping power to the paper, and adds to the density of the prints. 4. The first wash water should contain a little citric or h ydro- chloric acid, and the after washing should be most thorough. 5. The paper should be sensitized in a dim light, or pure whites will be unknown. 6. The paper should be sized. Albumen coagulated by heat is undoubtedly the best sizing, but the following arrow-root sizing will prove satisfactory : 1 54: grains of arrow-root, rubbed up with cold water, then poured into 25 ounces of boiling water, and 6 ounces of alcohol added. Float the paper on this solution for two or three minutes, and suspend to dry by the en 1 which left the solution last, in order to equalize the coating. Good blue prints can be made without attention to these points, but all the capabilities of the process will show them- selves only when they are observed, and the good workman will always try to bring out the best there is in every process he experiments with. Various formulae for sensitizing. 1. A Red prussiate of potash, - - 1 ounce. Water, - 8 ounces. B Citrate of iron and ammonium, - 1 ounce. Water, . 2J ounces. One part of B to two parts of A. 2. A Red prussiate of potash, - - 48 grains. Water, - 1 ounce. B Citrate of iron and ammonium, - 64 grains. Water, - - 1 ounce. (For dense negatives use 108 grains of citrate.) Keep solutions separate and in the dark, until wanted for use ; then mix A and B in equal parts, or one part of A with two parts of B, as less or more intense prints are desired. . 3. A Citrate of iron and ammonium, - - !_% ounces. Water, - 8 ounces. B Red prussiate of potash, - - 1}^ ounces. Water, - 8 ounces. 20 PHOTOGRAPHIC PRINTING METHODS. Mix equal parts when wanted. 4. A Citrate of iron and ammonium, - - 5}^ drams. Water, - - 5 ounces. B Red prussiate of potash, - - 6^ drams. Water, ? ounces. Mix equal parts immediately before using. Nos. 4 and 5 are recommended by the Photographic Times,. and are thoroughly reliable. 5. A Citrate of iron and ammonium, - 2 ounces. Water, - 8 ounces. B Red prussiate of potash, - - 2 ounces. Water, - - 8 ounces. Mix A and B in equal parts just before using. Keep solu- tions in the dark. To sensitize paper for blue prints, lay the paper on a piece of clean glass, clipping it at the corners. Apply the solution with a piece of soft sponge, squeezed into the mouth of a short bottle. Dip the sponge in the solution, and squeeze moderately dry ; than go over the paper in one direction ; again dip the sponge and go over the paper once more at right angles to the first strokes, carefully avoiding streaks, which will occur if the sponge contains too much of the solution. When sensitized, the paper should present an even golden hue. The paper should be dried in the dark and used at once. Print until the shadows are bronzed. If, after the paper is washed, the sky and highest lights are perfectly white, the color can be deepened by immersing the prints for a few seconds in the following solution : Saturated solution sulphate of iron, - 4 ounces. Sulphuric acid, - 4 drams. Water, - 4 ounces. Or the following : Acetate of lead, - - - 2 ounces. Water, - 8 " With the latter bath, the printing should be quite dark. To give blue prints a green tone, print rather light, well wash, and immerse in the following bath : Water, - 8 ounces. Sulphuric acid, - 1^ dram. PHOTOGRAPHIC PRINTING METHODS. 21 For brownish-black tones, injmerse for five minutes, after Trashing, in a solution of : Tannic acid, - 1 dram. Water, - 4 ounces. Then change to a solution of : Carbonate of soda, 1 dram. Water, - 5 ounces. Leave the prints in this solution for one minute ; then change back to the tannin solution. Repeat this until the print has assumed a deep wine color; than wash and dry. When dry, the print will be almost black, but the whites will have a slightly reddish tinge. The following process is recommended by the Scientific American for producing dark-brown tones : Dissolve a small piece of caustic potash in five ounces of water. Immerse the blue prints in this solution until they as- sume a pale orange-yellow color. When all the blue tint has disappeared, wash in clean water. Now dissolve a partly heaped -up teaspoon fui of tannic acid in eight or ten ounces of water. Place the yellow prints in this bath, and allow them to remain until they are as dark as you desire. Then take them out, wash well, and dry. SEPIA TONES. Wash the prints thoroughly ; place them in the tannin bath mentioned above, for a few minutes ; then change to the soda solution, and repeat several times, but be very careful not to allow the soda bath to act too long. LILAC TONES. These may be obtained by immersing the washed prints in a dilute solution of ammonia, but the color is not permanent, and numerous experiments of my own have thus far failed to remedy this defect. I have introduced some of the various ways which have been adopted to change the color of blue prints, more 'as a matter of interest to experiment-loving amateurs than because I believe them to have any practical value. In no case are the colors as brilliant as that of the original blue print, and the permanency of these metamorphized prints is more than 22 PHOTOGRAPHIC PRINTING METHODS. doubtful. That there is a future in store for the iron process I do not doubt, but I do not think that it will conie in any of these ways, but by some after treatment of prints made on paper sensitized with the iron solution alone, in some such way as platinum prints are produced, which are nothing more than a development of the iron process. In my own experiments I have met with the best results by subjecting prints on iron sensitized paper to the action of various toning agents, notably the tetrachloride of platinum in the proportion of one grain to an ounce of water, followed by subsequent washing in dilute hydrochloric acid, and a thorough washing in clean water. BLUE PRINTS. Collanchi^s Method. Well-sized paper is coated twice with a solution made as follows : Water, - - 90 parts. Citric acid, - f parts. Chloride of iron, | parts. Gum arabic, - - xV P ar ts. The prints are developed by floating on a twenty-four per cent, solution of ferricyanide of potassium. PizzeghiUZs Method. The following three stock solutions are made up : A Water, 100 parts. Gum arabic, - 20 parts. B Water, 100 parts. Chloride of iron, - 50 parts. C Water, - 100 parts. Ammonio-citrate of iron, - 50 parts. The sensitizing solution is as follows : Solution A, 20 parts. Solution B, - 6 parts. Solution C, 8 parts. The mixture immediately thickens, but after standing for some time it resumes its original tenuity. It is then ready for applying to the paper either with a brush or sponge, or prefer- ably by floating from two to three minutes. The paper prints very rapidly, and it is well to use slips of the sensitized paper to determine the proper exposure. The prints PHOTOGRAPHIC PRINTING METHODS. 23 are developed with a twenty per cent, solution of ferricyanide of potassium, either by brushing the solution on the face of the print or by floating. Whichever method be adopted care must be taken not to allow any of the developer to touch the back of the print. As soon as the print has gained sufficient vigor, it is rinsed in water, then immersed for a short time in dilute hydrochloric acid, and finally washed in clean water. POITEVIN'S PROCESS. This process is based on the fact that ferric salts possess the property of making gelatine insoluble. The paper is first floated on a warm solution of gelatine (1 to 15), to which some suitable pigment has been added. When dry, it is sensitized by immersion in the following simple solution : Ferric chloride, - - 480 grains. Tartaric acid, - 144 Water, - 10 ounces. The paper is dried in the dark. The effect of the action of light is to convert the ferric chloride to ferrous chloride in those parts on which the light has acted, thus rendering the gelatine coating soluble in hot water, where it is in contact with the ferrous salt. It will be seen, therefore, that a reversed positive is neces- sary to yield a positive print. When sufficiently printed, the image is developed by simple immersion in hot water. The insoluble parts remain on the paper and form the image. The great drawback to the process is the necessity of print- ing f rom reversed positives, but it is probable that this defect might be remedied. PELLETT'S PROCESS. BLACK LINES ox A WHITE GROUND. Gum, - - 385 grains. Sodium chloride, - 46 grains. Tartaric acid, - 62 grains. Perchloride of iron, 123 grains. Water to make up to - - 3% ounces. 24: PHOTOGRAPHIC PRINTING METHODS. Highly sized and smooth paper is to be evenly coated with this mixture, dried in the dark, and exposed under a negative. Develop with a saturated solution of ferricyanide of potas- sium. Fix in a 1-10 solution of hydrochloric acid. PRINTING WITH URANIUM SENSITIZING SOLUTION. 1. Nitrate of uranium, - - 616 grains. Water, 7^g ounces. DEVELOPING SOLUTIONS. FOR BROWN TONES. A. Ferricyanide of potassium, Nitric acid, Water, .... FOR GRAY TONES. B. Nitrate of silver, Acetic acid, Water, 15 grains. 2 drops. 8% ounces. 80 grains. 4 drops. 11 drams. The paper is floated eight minutes on the sensitizing bath. When dry, it is exposed under the negative, and then developed by floating on either of the baths A or B. After develop- ment, wash thoroughly in water slightly acidulated with hydrochloric acid. If the print when floated on solution B lacks vigor, add a few drops of a saturated solution of gallic acid. Uranium prints may be toned with gold, platinum, or other salts. PHOTOGRAPHIC PRINTING METHODS. 25 CHAPTEE II. THE SILVER BATH. The usual method of rendering paper of any kind sensitive to light is to float it for a varying length of time on a solution of silver nitrate, having previously salted it, if it be plain paper, with some chloride, usually chloride of ammonium. The function of the chloride is to convert the nitrate of silver into the chloride of the same metal. In practice it has been found that the strength of the silver bath should not fall below thirty grains of silver to the ounce of water, lest the albumen be dis- solved ; and that, save in exceptional cases, there is no need of a greater strength than sixty to sixty-five grains to the ounce. The precise strength necessary to produce the best results with any given brand of albumen paper depends upon the amount of chloride used in salting ; a paper weak in chloride requiring a weak bath, while one rich in chloride demands a strong one. In the absence of any intimation from the dealer of the strength of the salting of any paper, it may be determined by the following method, for which I am indebted to another volume of this series (" The Art and Practice of Silver Print- ing*'): " Cut up a quarter sheet of paper into small pieces, and place them in a couple of ounces of alcohol. This will dis- solve out most of the chloride, and should be decanted off". Another two ounces of alcohol should be added to the paper, and, after thoroughly soaking, should be decanted off and added to the other spirit. The spirit containing the chloride, may then be placed in a glass vessel standing in hot water, when it will evaporate, and leave the chloride behind. It may be weighed, but since it is better to know how much silver chloride would be formed, the residue should be dissolved in a few drops of water, and a little silver nitrate added. The silver chloride will be precipitated, and should be carefully washed with water, and then be filtered, the paper being 26 PHOTOGRAPHIC PRINTING METHODS. opened out and dried before a fire on filter paper. The chloride is then detached and weighed ; three and a half grains of silver chloride would show that a weak bath should be used, whilst ten grains would show that a strong bath was required." The strength of the negatives to be printed from has also to be considered in determining the strength of the sensitizing bath. A strong, hard negative will give better results on paper floated on a weak bath, say thirty-five grains to the ounce, and should be printed in the sun, for the reason that an intense light diminishes contrast. A weak negative on the other hand demands a strong bath, seventy-five or eighty grains to the ounce, and printing in diffused light to increase contrast. In cold weather the strength of the bath should be increased. Preparation of the Bath. First settle upon the strength of the bath and the number of ounces required ; then weigh out the requisite number of grains, placing a piece of filter paper in each scale-pan, as a safeguard against accidental impurities. Place the silver in a clean bottle, and add to it the proper amount of water, which should be distilled, or- boiled and fil- tered. If the water contains any chlorides, they will make their presence known by a milkiness in the solution, which should then be filtered. Your bath is now ready for imme- diate use, unless you wish to add some other soluble salts to it, as chlorine absorbers ; in this case, sodium nitrate or ammonium nitrate will serve your purpose, adding as much of either as your silver weighed. In hot, dry weather the addition of one of these salts will be found advantageous, as tending to pre- vent that excessive dryness of the paper which is fatal to the best results. The best prints are obtained from paper which is not entirely free from water, for the reason that with very dry paper the chlorine liberated by the action of light is apt to attack the albuminate of silver, one of the compounds formed when albumen paper is sensitized with silver. Many printers are in the habit of adding alum to the sensi- tizing bath, to prevent it from discoloring and to harden the albumen. The best way to add it, is to place a small piece of alum in the filter paper before filtering, or you may PHOTOGRAPHIC PRINTING METHODS. 27 add one grain of alum to every ounce of solution, and then filter. Never allow the bath to remain acid from the addition of nitric acid, as the acid attacks the albumen. Keep the bath neu- tral by the addition of a little carbonate of silver, which may be done by occasionally adding a few drops of sodium carbon- ate, which precipitates silver carbonate from a solution of sil- ver nitrate. FORMULAE FOR SENSITIZING BATH. FOR VERY STRONG NEGATIVES. 1. Silver nitrate, - - 35 grains. Water, 1 ounce. Print in full sunlight. FOR THIN NEGATIVES. 2. Silver nitrate, - - 80 grains. Water, 1 ounce. Print in the shade. 3. Silver nitrate, - - 60 grains. - Ammonium nitrate, 60 grains. Ammonia, - 2 minums. Water, 1 ounce. This is the bath I commonly use, and the resulting prints have always satisfied me. To keep it in good order, it is only necessary to strengthen as required, and to add a few drops of ammonia occasionally. The bath yields prints that tone with remarkable ease and richness with or without fuming ; preferably without. 4. Silver nitrate, 60 grains. Sodium nitrat, - - 60 grains. Alcohol, % dram. Water, - - 1 ounce. For prints on plain, resinized, gelatinized paper and leath- erized paper : 5. Silver nitrate, - - . - 60 grains. Gelatine, - - 5 grains. Water, - 1 ounce. C. W. HEARN'S. 6. Nitrate of silver, 40 grains. Distilled water, - - 1 ounce. To every twenty ounces of solution add one dram of saturated solution of carbonate of soda. The bath will at once assume a 2S PHOTOGRAPHIC FEINTING METHODS. creamy color; allow the solution to settle, then decant and filter. Carbonate of silver will deposit in the bottle, and this will take the organic matter from the bath and prevent it from discoloring. Allow the carbonate to remain in the bath, pouring the solution back upon after using. Then shake well and the bath will soon be ready for use again. Keep the bath up to its full strength and occasionally add a few drops of the carbonate of soda solution. THE AMMONIO-NITRATE OF SILVER BATH. Nitrate of silver, 2 ounces. Water, - 16 ounces. When the silver is dissolved, take one-fifth of the solution, and add strong ammonia drop by drop until the brown oxide of silver first formed is redissolved, and then add it to the re- maining four-fifths. Oxide of silver will again be formed, which is to be redissolved with pure nitric acid, care being taken to add only enough to redissolve the oxide. The solu- tion will be slightly alkaline, and is not liable to turn red un- less allowed to become impoverished of silver. This bath gives pure rich tones of a bluish-black, without the use of the gold toning bath, but a small amount of chlor- ide of gold should be added to the hypo bath. This bath, although increasing sensitiveness and deepening the intensity of the prints, is now but little used, for the rea- .sons that it does not coagulate albumen, that it is more liable to spontaneous change, and more easily discolored by organic matter, than the plain silver bath, and that free ammonia is liberated, which is a solvent of chloride of silver, which it attacks, giving rise to white lines and transparent markings. On plain paper it gives a velvety appearance to the prints, which can hardly be obtained with simple nitrate of silver. I have found that the method of applying it, recommended by Hardwich, is better than floating. The paper to be sensi- tized is laid down on blotting paper, and the solution evenly applied with a broad camel's-hair brush, used for that purpose only and kept scrupulously clean. PHOTOGRAPHIC PRINTING METHODS. 2 FLOATING THE PAPER. It will be found a great saving of time to float at least a half sheet of paper, 11 inches by 18, and for this size a tray 12 inches by 19, and 3 inches deep will be required. A wooden tray coated with asphalt varnish is cleanly and cheap. There should be enough of the bath poured in to cover the bottom of the pan to a depth of at least half an inch, and it should have been most carefully freed from all impurities before the sensi- tizing is begun. Impurities and air-bubbles are the two great enemies of the sensitizing-room. Now grasp the paper by the two opposite corners, albumen side down, bring the hands together, and lower the convex side to the surface of the bath ; separate the hands, and the paper will float on the surface. If it shows an obstinate tendency to curl up, gently breathe upon it. This difficulty may be overcome by placing the paper, the night before sensitizing, in a damp place. Now raise one corner and look for air-bubbles. If any are found, break them with the point of a glass rod, and again lower the paper. When it has floated the proper length of time, raise it by one corner very slowly, until another corner is free, which is then grasped by the other hand and the paper slowly withdrawn, allowed to drain a minute into a dish, and hung up by one corner to dry in the dark, or yellow light. Some sensitizers draw the paper over a glass rod placed at one end of the dish, but there is some danger of streaks ; others blot the paper when taken from the bath, but this practice is attended with danger, owing to the impurities present in most blotting-paper. If desired, the paper, when surface-dry, can be dried in a drying-box, which is easily made by con- structing a box 30 inches long, 14 inches long, and 10 or 12 inches deep, with a hinged or sliding door. In one end, cut a hole six inches in diameter, and cover it on the inside with an inverted tin dish of the proper size. Fasten the box against the wall, with the end in which the hole was cut, high enough fiom the floor to allow a lamp to be placed underneath. About two inches from the top, string some wires two inches apart ; on these suspend the paper by clips at two corners, close the door and light the lamp ; the paper will soon be dry enough for printing or fuming. 30 PHOTOGRAPHIC FEINTING METHODS. Time of Floating. This is largely determined by the strength of the bath ; a strong bath requiring, as a rule, longer floating than a weak one, for the reason that the albumen is coagulated more slowly ; from one to three minutes seems to be the common practice. MANAGEMENT OF THE SILVER BATH. To secure good results with any form of the silver bath, two points must be most carefully attended to, viz. : its strength and its freedom from impurities. Every sheet of paper sensitized, weakens the bath by depriving it of a portion of its silver. This loss must be made good, or the forgetful amateur will soon have the unpleasant surprise of seeing the albumen dis- solve off the paper into the bath. Two methods are employed to keep the bath up to its original strength ; one is to add a few drops of an 80-grain solution after every four sheets are sensitized. The other requires the possession of an argento- meter, or hydrometer, an instrument for testing the specific gravity of liquids;. the argentometer being an hydrometer graduated to register grains of silver to the ounce of water. To use it, the glass jar which accompanies the instrument is partly filled with the solution, the hydrometer gently dropped into it, and allowed to come to rest. The number of grains of silver to the ounce is known by the number of degrees on the scale to which the instrument sinks. This being know, and the total number of ounces of the solution measured, it becomes an easy matter to determine how much silver must be added to bring the bath up to its original strength. If you have a total quantity of 12 ounces of solution, and the hydrometer registers 35, while your original solution was made up at 60 grains to the ounce, the bath have evidently lost 25 grains for each ounce of solution. This amount, then, must be restored to it in the shape of fresh crystals of silver nitrate ; in this case 25 x 12, or 300 grains of silver. METHODS OF REMOVING IMPURITIES. The chief source of contamination to the bath is organic matter carried into it from the paper, in time causing a brownish or reddish discoloration of the solution, which must be PHOTOGRAPHIC PRINTING METHODS. 31 removed, since paper floated on such a bath is darkened and unevenly sensitized. Several methods are in common use to get rid of this discoloration. The earliest, and perhaps one of the best, is to add a teaspoonf ul of kaolin to the solution, which is then well shaken up. The organic matter adheres to the kaolin and soon settles to the bottom of the bottle with it. When this has taken place, the solution is filtered, and it is again ready for use. Another method, which has the advantage of delaying sensitizing but a moment, is to add 1 dram of a 10 per cent, solution of permanganate of potash to the bath. The theory of this addition is that the oxygen liberated from the permanganate oxidizes the organic matter, which then falls to the bottom of the dish. This method, although good in emergency, does not leave the bath absolutely pure. A favorite plan with many is to add a dram or two of a saturated solution of camphor, shake well, and filter ; repeating the operation if the bath is not decolorized by the first treat- ment. Still another method is to add a few drops of hydrochloric acid to the solution ; this forms chloride of silver, which settles to the bottom, carrying the impurities with it. This is a very effective method, but leaves the bath acid from the formation of nitric acid ; the solution must therefore be neutralized with ammonia or carbonate of soda. My own method is to add a few grains of sodium carbonate and set the bottle in the sun. The organic matter soon becomes oxidized, and finally settles to the bottom ; the solu- tion may then be filtered or decanted. To complete this part of the subject, I add a description of the boiling method which is sometimes necessary in the case of an old bath, which, in addition to organic impurities, contains an excess of the soluble salts with which the paper was salted. Evaporate the bath, by boiling or otherwise, to about half its bulk. Then add 10 drops of nitric acid for every 20 ounces of solution. Next add some granulated zinc ; this causes the sil- ver to precipitate in the metallic state ; the precipitation is complete in two or three hours ; pour off as much of the fluid as possible, and pick out all the zinc possible ; then add hydro- 32 PHOTOGRAPHIC FEINTING METHODS. chloric acid to dissolve the remaining pieces of zinc. Filter the solution, and wash the deposit on the filter paper once or twice with water. Then dry the filter paper in the oven ; remove the silver and place it in a crucible, which is to be brought to a red heat by any convenient means. ]S~ow cover the silver with nitric acid ; place the mixture in an evaporating dish and slightly warm it. When red fumes cease to appear, add more acid until nearly all the silver is dissolved. Evaporate off all the fluid, and set aside to cool ; then add water, but be sure to keep it over strength for the bath. Test with the argen- tometer, and add the amount of water necessary to give the proper strength for sensitizing. POINTS IN SENSITIZING. 1. Have the paper damp before silvering. 2. Before floating ascertain the condition of the bath as to strength and alkalinity. 3. Do not allow the paper to become bone-dry before print- ing if you wish to have rich prints. Of course, it must be dry enough not to adhere to the negative ; anything more than this is not only useless, but fatal to securing the best results. PHOTOGRAPHIC PKIXTIXG ME i HODS. 33 CHAPTER III. FUMING A X D PRINTING. Is FUMING necessary, or is it not ? This is a question on which the authorities differ. It is claimed that fuming pre- vents measles, yields pluckier prints, and makes toning more easy. In America, it is the almost universal practice, while it is by no means common in England and on the Continent. But it must be borne in mind that paper in which a little mois- ture is present, yields better prints than one which is perfectly dry, and that the prevailing humidity in England and the Con- tinent prevents the paper from becoming too dry. In the hot, dry summer weather of America, however, the paper quickly becomes over-dry, and fuming is resorted to to impart the necessary moisture. Paper sensitized on a bath containing nitrate of ammonia or sodium will require little or no fuming. My own practice is to use a strong sensitizing bath, float for t\vo or three minutes, dry without heat, and omit the fuming. If you wish to fume, however, the drying-box mentioned on page 29 can be used by placing a saucer containing a dram or so of strong ammonia in the box, and, about an inch above this, a frame carrying a fine-wire screen, to equalize the distribution of the fumes. Time of Fuming. It is impossible to give any precise in- structions on this point, so much depends on the quality of the negatives to be printed from, the strength of the bath, the quality of the paper, and the temperature. Hard negatives yield better prints on paper which has had very little fuming, as fuming promotes speedier bronzing in the shadows ; a weak negative can be made to yield better prints by fuming. Some brands of paper require more fuming than others, and in cold weather fuming is to be carried on longer than is necessary in warm weather. From 15 minutes to one hour may be taken as the limits. The paper must be thoroughly dry before fum- ing is begun. 34: PHOTOGRAPHIC PRINTING METHODS. Printing. It may be laid down as a rule, admitting no excep- tions, that a good negative is essential to a good print on silver paper, which does not take kindly to thin, foggy negatives. The negative must be plucky, having points of opacity for the highest lights, and almost clear glass in the deepest shadows, with an almost infinite range of tones between, if prints of the highest order are desired. Given such a negative, no special instructions for printing are needed, except to caution the operator against printing in direct sunlight, save in the case of extremely hard negatives. Print in diffused light, and do not take the print from the frame until it is a shade or two darker than it is intended to remain, as it reduces somewhat in the toning and fixing bath. If some parts of the negative print more rapidly than is desirable, they should be masked by cotton wool arranged roughly to follow the outline of the sub- ject to be masked. The Printing Frame. A frame that is at least one size larger than the negatives to be printed from is a great con- venience. In the first place, in the larger frame the negative will be printed to the very margins ; and in the second place, the larger frame will be a great help if it is desired to vignette clouds upon the print from another negative. A clear glass plate of the same size as the frame may be used to support the smaller negative. Place the negative in the frame, film up, and upon it lay the paper with the sensitive surface down, that is, next to the negative. Put the back of the frame in its place and press it down with the springs. The frame is now ready to be ex- posed to the light. Clouds may be printed in from a second negative by masking the sky of the original negative with a piece of card-board, cut in such a way as to follow the general outlines of the horizon; when the landscape is fully printed, the paper and the negative are removed from the frame, and the cloud negative sub- stituted, care being taken to select one harmonizing with the general sweep of the lines of the landscape, and that the light- ing of the clouds correspond with that of the view. The landscape is then masked with a piece of card-board, roughly cut to the horizon lines, disregarding isolated tree tops, etc., PHOTOGRAPHIC PRINTING METHODS. 35 projecting into the sky ; the masK is constantly moved up and down and sideways in order to secure a proper blending, but avoiding getting it above the horizon line. As the progress of the printing is easily seen by examination, the mask can be manipulated to favor slow printing places, and to retard the quicker ones.* Many landscapes are improved by vignetting, a process which often gives them a delightful air of vagueness and mystery. In the absence of a vignetting apparatus, a very fair makeshift can be made of a piece of card-board having an oval opening cut in it somewhat smaller than the negative. This is fastened about half an inch above the negative, the opening covered with a piece of ground glass or tissue, and the printing done as usual. I have found that very serviceable vignetters can be made of old paste-board boxes, large enough to cover the printing frame ; the opening is cut in the bottom, the sides are cut down to about two inches in depth, and the printing frame is covered with it. Odd-shaped prints, such as crescents, crosses, ovals, etc., are easily produced by cutting an opening of the size and shape desired in a piece of opaque paper, yellow post-office paper is good for the purpose, and placing this over that part of the negative which it is wished to print. Many very pleasing ef- fects can be secured by this simple expedient. PRINTING MAXIMS. 1. See that the paper is perfectly dry before placing it on the negative. 2. Place one or more pads of thick felt over the paper, to secure a firm and even pressure. * A very simple and effective method of printing-in clouds is given in "The Art and Practice of Silver Printing." The sky in the landscape negative, if it be weak or have any defects as is commonly the case, must be blocked out with black varnish on the glass side, the edge of the varnish being softened off where required by dabbing it with a dabber made of wash leather. When the landscape is printed, the negative is removed and the cloud negative substituted for it ; the paper is then properly adjusted and the whole frame is covered with a piece of zinc or card- board curved at one end. The accompanying cut will explain the method. The straight line is the sky negative, and its June tion with the landscape is partly covered with the curved shade. The printing must be done in diffused light. 36 PHOTOGRAPHIC PRINTING METHODS. 3. Do not open the back of the frame to examine the print in a strong light. 4. Print in the shade, or direct sunshine, according to the density of the negative. 5. Print until the shadows just begin to bronze, if the high- est lights do not show more than a faintly perceptible tinge of color. If they discolor badly, the negative will not yield the best results. 6. Sensitize the paper on a bath likely to give the best re- sults with the negatives to be printed. 7. To avoid co'ckling of the paper in the frame allow it to remain a few moments at the same temperature and state of atmospheric moisture under which the printing is to be done ; then place in the frame. 8. When using masks, keep them moving. 9. In vignetting, change the position of the frame occasion- ally to equalize the distribution of light. 10. Examine the print from the back as little as possi- ble. Try to judge of the progress of the printing by the amount of discoloration in the shadows visible through the negative. PRINTING ON READY-SENSITIZED PAPER. With the advent of amateur photography, methods were sought for preparing sensitized paper with good keeping quali- ties and capable of yielding prints of as high a grade of excel- lence as those from freshly-prepared paper, No great difficulty was experienced in conferring good keeping qualities, but to secure the excellence of fresh paper proved a task of no little magnitude. While I do not believe that it is possible without much extra pains and labor to secure as good prints on the ready-sensitized paper as on the freshly-floated sheets, I acknowledge the great convenience of having paper always ready for instant use, to strike off a proof or to make finished prints. It is certainly possible to make very beautiful prints on the prepared article if one does not care for the darkest tones possible with the fresh paper. The following method of working will, I believe, secure the best results with most of this paper. At least, it has never PHOTOGRAPHIC PRINTING- METHODS. 37 failed in my hands, and I, therefore, recommend it with great confidence. The fact that it is the method recommended by Mr. A. D. Fisk for the paper he sends out, and that I have found it to work equally well on all other brands which I have tried, in- duces me to recommend it as a perfectly satisfactory method. Two things must be most carefully attended to in using any brand of ready-sensitized paper: the free silver must be thoroughly washed away after printing, and the acidity of the paper must be reduced by an alkali bath before toning. Neglect of either of these points is to fail to secure the best possible results. The following stock solutions are to be made up, each being carefully filtered before use : 1. Gold chloride, - 15 grains. Distilled or boiled water, - - 7^ ounces. 2. Sodium bi-carbonate (best English), - 480 grains. Distilled or boiled water, - - Bounces. 3. Solution No. 2, % ounce. Water, - -12 ounces. No. 4. TONING BATH. Not to be made up until wanted for use. Solution No. 1, 1 ounce. Solution No. 2, - - 1 ounce. Distilled or boiled water, 15 ounces. No. 5. FIXING-BATH. Sodium hyposulphite, - 1 ounce. Sodium chloride, 24 grains. Water, - 5 ounces. The printing should be one or two shades darker than the tone desired in the finished print. When the printing is finished, immerse the prints, faces down, one by one, in clean water, being careful that each print is thoroughly wetted be- fore introducing another. Keep the prints in constant motion, turning them over now and then for five minutes. Pour off the water and add fresh ; continue this until there is no further trace of rnilkiness in the wash water. Place the prints in solu- tion No. 3, and allow them to soak while you prepare the toning bath No. 4. When the prints have soaked ten minutes 38 PHOTOGRAPHIC PRINTING METHODS. in No. 3, transfer them to a dish of clean water to rinse them off. ' Then transfer, one by one, to the toning bath, in which they are allowed to remain until they assume the proper tone, being constantly turned to insure equal toning. Tone to a purple or lilac, wash in two or three changes of water, and then place them for twenty minutes in the fixing bath No. 5 ; a further immersal for ten minutes in a fresh fixing bath will do them no harm. While in the fixing bath the prints should be turned occasionally. The usual thorough washing for two or three hours must follow. The toning bath, solution No. 4, contains two grains of gold, and will tone eight 5x8 prints ; if you have more than that number of prints to tone, increase the proportions of No. 4 and No. 5 accordingly. Never use the fixing or toning baths but once. The paper should be fumed 30 minutes. The first condition for a good print is a good negative. The "Photographic Times" says that "the baths best adapted to ready-sensitized paper are those with borax, acetate, phosphate or tungstate of soda, and a compound solution of these substances known by the name of French azotate," and recommends the following bath : STOCK SOLUTION. Chloride of gold and sodium, - 15 grains. Water, - 15 ounces. Pour two ounces of this into the toning dish, and test with litmus paper, make alkaline with sodium bi-carbonate, and then add twenty grains of acetate of soda and eighteen ounces of water. Allow the bath to stand for half an hour before using. The bath should have a temperature of about 65 deg. Fahr. I can vouch for the good results attainable with this bath y which is one eminently suited to cold weather, a time when success in toning is attended with some difficulty. WILLIS' PERMANENT SILVER PAPER. Float the paper as usual. When surface dry, blot off the edges and float the reverse side for about ten seconds on the following solution : Citric acid, - - - 462 grains. Water, - - - PHOTOGRAPHIC PRINTING METHODS. 39 Dry thoroughly, and store in a dark, dry place ; paper thus prepared and kept will keep good for at least three months. This same citric acid solution affords a simple means of pre- serving paper which it is desirable to keep for some time. It is only necessary to apply the acid with a sponge to the wrong side of the paper. This method is to be preferred to that in which the acid is added to the bath, since the acid does not come in contact with the silver, and being washed away before toning it does not injure the image, and toning is less tedious than when the acid is added to the bath. Preserving Sensitized Paper. A simple and effective method of preserving ordinary sensitized paper is to store the paper between sheets of blotting paper which have been pre- viously soaked in a saturated solution of sodium carbonate and well dried. A deep printing frame forms a good press for the paper and pads. Paper thus protected, if it has been floated on a bath containing a little alum, will keep good for a long time, and will give as fine prints as those made on freshly-prepared paper, and vastly superior to those made on most of the ready-sensitized paper found in the market. DEFECTS IN SILVER PRINTS. [From " Hardwich's Manual of Photographic Chemistry."] 1. The Print is Marbled and Streaky. These defects are often seen before the print is toned; if so, reject the prints. But more often they are visible only after the toning. Causes : a. The paper has been badly albumenized, the albu- men having been allowed to drain off in streaks. 5. The sen- sitizing solution may have drained off in the same way when the paper was hung up to dry, consequently the paper prints deeper where the current of silver has been running. It is easy to distinguish between these two causes of failure. In the first, the image is red and faint ; in the second, it is darker and deeper. Remedies : For the first case, reject the sample of paper ; for the second, blot the paper after sensitizing and before drying. 2. The Prints are Clean on the Surface, but Streaky when Examined by Transmitted Light. This is the measels and is sure to destroy the photograph within a very short time. 40 PHOTOGRAPHIC PRINTING METHODS. The appearance presented is that of a series of small, irregular yellow patches. These consist of sulphide of silver and lie in the texture of the paper. Causes : Too weak fixing solution ; imperfect fixation, or a bad sample of paper. The remedies are obvious. 3. The Print has a Cold and Faded Appearance when Finished. a. Too weak silver bath. 5. Too short a time of floating, c. The negative has not sufficient contrast, d. The print has been over-toned. The remedies are self-evident. 4. Spots on the Surface. Due, if white, to spots of dust either on the negative or the paper ; if black, to pin-holes in the negative. Spots due to metallic particles in the paper can always be distinguished from all other spots, as they have a small black nucleus surrounded by a circle of white. 5. The High Lights are Yellow. Either, $. The paper has become discolored through long keeping or excessive fuming ; or 1}. The fixing bath has been acid, or the action of a neutral one continued too long. 6. Intense Bronzing of the Shadows During Printing. Causes : a. Too strong a silver bath. 5. Excessive fuming ; or c.. Long-continued printing from a strong negative. 7. Yellow Spots on the Surface or Back of the Prints Caused by the contact with hyposulphite of soda. This salt should not be handled until the prints are toned. Mealiness. A name given to the small red or white spots which sometimes cover the surface of the prints. Dust on the negative or the paper is sometimes the cause, but more often the fault is due to the albumen. Paper which gives mealy prints should be returned to the dealer. The Print Refuses to Tone. Causes : a. Poor paper, b. Long keeping of the print before toning, c. The toning bath has been kept too long and lost its strength. In this case add more gold, or, better still, make up a new bath. PHOTOGRAPHIC PRINTING METHODS. 41 CHAPTEK IV. TONING, FIXING AND WASHING. No. 1. STOCK SOLUTION. A. Chloride of gold, - 1 grain. Water, - 20 ounces. B. Acetate of soda, - 15 grains. Water, - 1 ounce. C. Saturated solution of sulphate of copper. When solution is complete, add B to A, and add 10-15 drops of C, allow to stand at least 24 hours before using. Tone only until the half tones are somewhat bluish by reflected light. This bath will keep. No. 2. FOR BROWN TONES. Chloride of gold, - 1 or 2 grains. Acetate of soda, 60 grains. Water, - 36 ounces. Allow the solution to stand one hour, then add enough of a saturated solution of sodium bicarbonate to make the bath alka- line. Tone till the lights assume a delicate lilac tint. This bath will not keep. No. 3. FOK BLACK, YELVETY TONES. Water, - 8 ounces. Acetate of soda, - 15 grains. Chloride of sodium . - 15 grains. Nitrate of uranium, - 1 grain. Chloride of gold, 1 Dissolve the acetate and chloride first. Dissolve the uranium in one ounce of water, and neutralize with bicarbonate of soda solution; then add it to the acetate and chloride solution. Neutralize the gold with bicarbonate and add it to the bath. Test for alkalinity; if not alkaline, add enough bicarbonate solution to make it so. Allow it to stand some hours before using. Print deep and tone well. Will keep. 42 PHOTOGRAPHIC PRINTING METHODS- No. 4. FOR PURPLE AND BLACK TONES. Water, - 30 ounces. Gold, - 3 grains. Add a few drops of a saturated solution of carbonate of soda. Print deeply, and tone to color desired. Ready for in- stant use, but does not keep. No. 5. Chloride of gold, 1 grain. Tungstate of soda, 20 grains. Boiling water, - 8 ounces. Ready for use, as soon as cold. Keeps well. No. 6. FOR RICH PURPLE TONES. Phosphate of soda, - 20 grains Chloride of gold, 1 grain. Water, - 8 ounces. Ready for instant use ; but does not keep well. No. 7. PLATINUM BATH. Bichloride of platinum solution, 30 drops. Hypo, - 3 grains. Hydrochloric acid (C. P.), 5 drops. Water, - 5 ounces. The platinum solution is made by dissolving enough of the salt in one ounce of water to give it a rich, sherry color, a few grains will suffice. This bath is slow, but good. It should be warmed to 70 deg. Fahr., and the free silver should be well washed out of the prints, No. 8. BORAX BATH. Chloride of gold, - 1 grain- Borax, - 30 grains. Boiling water, 8 ounces. Ready for use when cooled down to 60 deg. Fahr. Gives rich brown tones, and keeps well. An excellent bath for ready- sensitized paper. No. 9. FOR SEPIA AND BLACK TONES. Chloride of gold, 2 grains. Sat. sol. chloride lime, - 2 drops. Chalk (precipitated) ... 3 grains. Boiling water, - - - - 16 ounces. PHOTOGRAPHIC PRINTING METHODS. 4:3 The chloride of lime solution is made by shaking a teaspoon- ful of the chloride in a pint-bottle full of water. When the solids have settled, decant the clear portion, which should be kept in the dark. Allow the bath to stand at least a day before using. It im- proves with age. For sepia, tone but very little, just off the red ; for a black, tone to a deep purple. No. 10. Equal volumes of No. 5 and No, 8. No. 11. CHARLES "W. HEARN'S TONING BATHS. WITH SAL SODA. A. Distilled or ice water, - 64 ounces. Acid sol. of chlo. of gold (4 grs. to 1 oz) - 1 ounce. Saturated solution of sal soda, - % ounce. Should be prepared one-half hour before use. No. 12. WITH CHLORIDE OF LIME. B. Water, - 40 ounces. Chloride of lime, - 5 grains. Chloride of gold, 4 grains. If the chloride of gold is acid, it may be neutralized with carbonate of lime. No. 13. WITH CITRIC ACID. A. Citric acid, 1 ounce. Water, - 20 ounces. B. Chloride of gold, 15 grains. Water, - - 15 ounces. STOCK SOLUTION. Take of A two and one-half ounces, and make slightly al- kaline with saturated solution of bicarbonate of soda ; of B one-half ounce and sixty-four ounces of water. When ready to tone take sufficient of the stock solution, which should never be less than three or four days old, and add thereto one ounce of gold solution B ; make alkaline with bicarbonate of soda. No. 14. THE PHOTOGRAPHIC TIMES TONING BATH. Into seven and one-half ounces of water put seven and one- half grains chloride of gold and sodium. Label the bottle 44: PHOTOGRAPHIC PRINTING METHODS. containing the mixture, Chloride of Gold Solution. Combine six ounces of water with one ounce of French azotate, to which* add one and one-half ounce of the chloride of gold solution. No. 15. THE CHAUTAUQUA TONING BATH. Dissolve fifteen grains of chloride of gold and sodium in fifteen ounces of water. Take of this solution three ounces, pour it in the toning dish, test for acidity with litmus paper, and neutralize with bicarbonate of soda, and add thirty grains of acetate of soda and thirty ounces of water. Prepare tho solution an hour before using it. If warm tones are wanted, add a little acetic acid to the first washing water. For this bath the sensitizing silver should be neutral, for which purpose a small portion of carbonate of silver should be kept in the silver stock bottle. No. 16. SPAULDING'S TONING BATH. STOCK SOLUTION. Water, - 15 ounces. Gold chloride 15 grains. To make up a toning bath for twenty cabinet size prints, take Water - 10 ounces. Soda bicarbonate, - 3 grains. Common salt, - 6 grains. Stock solution of gold, 3 ounces. No. 17. THE PRICE FORMULA. Into seven and one-half ounces of water dissolve fifteen .grains chloride of gold and sodium, then add to it 300 grains of acetate of soda and seven drops of a saturated solution of chloride of lime. This stock solution should be prepared at least twenty-four hours before being used. Take one-half ounce of it and mix with seven ounces of water. No. 18. FOR SEPIA TONES. A. Carbonate of potash, - 1 ounce. Water. .-.-.. 4 ounces. PHOTOGRAPHIC PRINTING METHODS. 45 B. Gold chloride, - , -15 grains. Water, - . 7^ drams. Solution A, after mixing and well stirring, is allowed to stand until clear, when it is filtered and bottled for stock. When wanted for use, add to ten ounces of water one dram of A and twenty drops of B. This will tone one sheet and gives a warm sepia. The bath will keep. No. 19. Equal parts of No. 6 and No. 18. This is a grand bath for rich warm tones, but it will not keep well. No. 20. For resinized, gelatinized, leatherized, and plain paper : STOCK SOLUTION. Gold chloride - 15 grains. Water, - 7* drams. * To make the bath, add two drams of the gold solution neutralized with a pinch of chalk, to ten ounces of hot water. Place two drams of acetate of soda in a quart bottle, and filter the above solution into it ; make the bulk up to twenty ounces. This bath can be used in a few hours, but it improves by keeping. When commencing to tone, place a few ounces of water in the dish, and add an equal quantity of the above solution. When the toning action begins to fail add more of the solution. This is the bath recommended by Mr. Henry Cooper, the originator of the resin process, and it will be found a very good bath for fine work. No. 21. SULPHO-CYANIDE OF AMMONIUM. Chloride of gold, - 1 grain. Sulphocyanide of ammonium, - - . 20 grains. Water, , 2 ounces. GENERAL DIRECTIONS. No very definite instructions can be given in regard to the actual operation of toning the prints. It may be laid down as a general rule with most toning baths that the free nitrate of silver should be well washed out, and that the proper amount of gold solution needed to tone the prints in hand, must be neutralized with precipitated chalk. One grain of gold is con- sidered sufficient to tone one sheet of paper, except in the case 46 PHOTOGRAPHIC PRINTING METHODS. oi ready-sensitized paper, which requires two grains at least to the sheet. When ready to begin toning, place the prints one by one into the bath, face down ; do not try to tone more than six prints at a time, unless you are using a large amount of toning solution. Keep the prints in constant motion, turning them over occasionally, and keeping careful watch over the progress of toning, If you wish the warm tones, sepia, brown and purple, remove the prints as soon as they show a lilac or purple tinge in the half tones. For black, tone till the prints appear some- what bluish, then remove, and wash in two or three changes of water before fixing. REMARKS ON THE GENERAL COMPOSITION OF TONING BATHS. It will be noticed that in all the formulae for toning solutions an alkali of one kind or another is added to the gold. This was not the practice of the early practitioners. Sulphur was the agent first used for imparting a pleasing color to silver prints, but the fugitiveness of the tones imparted by sulphur led to a search for other toning agents, and sulphur was soon discarded in favor of gold. Chloride of gold was added to the usual hyposulphite of soda fixing bath. This process was simplicity itself. The prints were immersed in the combined toning and fixing bath immediately after leaving the printing frame, no preliminary washing being necessary. The first ac- tion of the bath was to dissolve the unchanged silver salts, and to leave the image of the red color seen in a well-washed print. The red color soon passed into a blue or black and the toning was complete. It was soon found, however, that the tone thus produced was due partly to a deposit of gold and partly to the communica- tion of sulphur. The older the bath, the more fugitive the tints, for the reason that a freshly mixed bath toned the prints by a deposit of gold, while an old bath toned by sulphuration. Hence, the Sel d'Or bath, as the mixed bath was termed, was soon discarded in favor of alkaline solutions of chloride of gold, first introduced under the name of Button's alkaline toning bath. The philosophy of the addition of an alkali to the gold solution PHOTOGRAPHIC PRINTING METHODS. 47 is that an aqueous solution of gold deposits the metal on the surface of the print too rapidly to give a pleasing tone. Hardwich's theory is that the addition of an alkali to a solution of chloride of gold forms an oxide of gold which possesses no toning power, but which being decomposed by the excess of chloride of gold, enables a larger quantity of the metal to be thrown down without injury to the print from com- munication of chlorine. But the whole subject is involved in too much difficulty to allow any theory to gain universal acceptance. One thing, how- ever, is certain, viz., that it is not a matter of indifference what alkali is added since the more the action is retarded, the more ruby color becomes the deposit of gold. This is the reason why some alkalis give purple tones, while others give black. Much more might be written on this interesting subject, but enough has been said to give the operator an intelligent idea of the action of the toning bath, and of the reasons for the ad- ditions commonly made to it. A bath weak in gold, because slower in its action, is to be preferred to the more concentrated one usually employed. The slowness of the action produces a more even and firm deposit of gold and gives tones which will suffer little if any change during fixing. In this subject so good an authority as Mr. Andrew Pringle writes : " All processes of deposition of one substance upon another are more completely performed slowly than quickly. * * * # g o j n toning. 1 take it that we shall have a more complete deposit of metallic gold if we tone slowly by using a solution not too strong in gold chloride." And Prof. "W. K. Burton states that the more gold the image can be made to take, the better and more permanent the result. A rich deposit of gold is more surely given by slow toning than by the quicker method commonly used. THE FIXING BATH. Its Purpose. The fixing bath is used to dissolve out all the unchanged silver, which, even after toning, would darken on ex- posure to light. 48 PHOTOGRAPHIC FEINTING METHODS. Its Composition. The following is the best formula known tome : Hyposulphite of soda, - 4 ounces, Water, 20 ounces. Ammonia, - J^ dram. The ammonia serves a three-fold purpose : it prevents the possibility of an acid reaction, softens the albumen film, thus shortening the operation of fixing, and it has a tendency to pre- vent blistering. One ounce of solid hyposulphite will fix three sheets of paper. How long to Fix. The length of time required for complete fixation varies somewhat with different brands of paper ; from 15 to 20 minutes is about right ; and in order to be on the safe side, it is well to place the prints for ten minutes in a fresh bath to dissolve out the hyposulphite of silver formed in the first. MAXIMS FOR TONING AND FIXING. 1. Have your toning solution slightly alkaline, and at a tem- perature of about 60 deg. Fahr, 2. Tone to sepia, purple, or blue, according as warm, brown, or black prints are desired. 3. Keep the prints in constant motion in both toning and fixing baths, avoiding air bubbles. 4. Make the fixing bath alkaline with ammonia. 5. Use a fresh fixing bath for each batch of prints, and pass the prints through two fixing baths. 6. Wash thoroughly after toning. 7. Do not try to fix more than three sheets of paper with one ounce of hypo crystals. WASHING. The final washing must be most thorough. Whatever may be the true explanation of the fading of silver prints, it is cer- tain that permanency is promoted by a liberal deposit of gold, GDmplete fixation, and thorough washing. I know of no better method of washing the prints than that of allowing them to soak in a pan of clean water for two or three hours, taking them out one at a time every fifteen minutes, PHOTOGRAPHIC PRINTING METHODS. 49 allowing them to drain a moment or two from one corner, and then place them in another pan of clean water. It is a good plan also to lay the prints face uppermost on pieces of glass and then to give them a good sponging, using plenty of clean water. If this is done two or three times, and the prints changed every fifteen minutes, two or three hours' washing will eliminate nearly all traces of hypo. They should then be tested for hypo, using the following test solution : Permanganate of potash - 2 grains. Carbonate of potash - - 20 grains. Water - 40 ounces. A few drops of this solution should be added to a pint of the last wash water ; if any hypo is present the rose color of the original solution ' will change to a greenish hue. If this test detects hyposulphite, the prints may be immersed for a few moments in the following hypochlorite solution. STOCK SOLUTION. EAU DE JAVELLE. Dry chl. of lime (hypo chl. of lime), - 2 ounces. Carbonate of potash, - 4 ounces. Water, - 40 ounces. Mix the chloride of lime with 30 ounces of the water . dis- solve the carbonate of potash in the remainder. Mix, boil and filter. To use : to one ounce of the stock solution add twenty ounces of water. Soak the prints for ten minutes in this dilute solu- tion, and then wash for fifteen minutes. The prints are now reasonably certain to be free from hypo, and will have as high a degree of permanence as can be given to silver prints. A limited number may be washed well enough in a tray. Hock the tray occasionally or move them by continually slip- ping out the bottom one and placing it upon the top. The water should be changed seven or eight times, and during the earlier part of the process the changes should be more frequent than during the latter part. A thorough elimination of the fixing solution is essential to the permanence of the photo- graph. There is little danger, therefore, of continuing the 50 PHOTOGRAPHIC PRINTING METHODS. washing too long. Some even allow water to run over the prints all night. It is supposed bj many, however, that an excessively prolonged soaking in water weakens the print. THE HYPOCHLORITE OF ZINC HYPO ELIMINATOR. This eliminator, a favorite one with German and Austrian photographers, is now an article of trade under the name of Flandreau's S. P. C. Hypo Eliminator. Accompanying the package as purchased of the stockdealer, is a packet of iodide of starch, of dark purple color, which, when brought into con- tact with prints, or the water dripping from them, will bleach immediately if only a trace of hyposulphite be present. To remove these last traces of the obnoxious salt, a table- spoonful of Flandreau's S. P. C. Hypo Eliminator, added to one quart of the last washing water, and allowing the prints to remain therein for a few moments, and then rinsing them off again with pure water, will effect a thorough elimination, with- out which albumenized paper prints will always be liable to turn yellow or to fade. The eliminator should not be used in large proportions, as by too strong solutions the whole silver deposit might suffer. RULES FOR PRINTING AND TONING IN COLD WEATHER. 1. Sensitize on a silver bath sixty-five grains strong. 2. Keep the silver and toning baths at a temperature of TO deg. Fahr. 3. Before silvering, bring the paper to about the same tem- perature as the bath. 4. Dry the paper thoroughly before and after fuming. 5. Fume thirty to sixty minutes. 7. "Warm the negative and pads before printing. 8 Do not print in the cold outer air. 9. Have the wash water and fixing solution at the same temperature as the silver and toning baths. Observance of these rules will insure plucky and well-toned prints in the coldest weather. PHOTOGRAPHIC PRINTING METHODS. 51 CHAPTER Y. PRINTING ON OTHER THAN ALBUMEN PAPER. As there are many who dislike the gloss of albumen prints, a brief description of other papers is given. PRINTING ON PLAIN PAPER. Prints on plain paper form a good basis on which to color. The two most common formulae are the following : 1. Chloride of ammonium, , -. 60 to 80 grains. Citrate of soda, - 100 grains. Chloride of sodium, - 20 to 30 grains, . Gelatine, - 10 grains. Distilled water, :- 10 ounces. 2. Chloride of ammonium, - 100 grains. Gelatine, - 10 grains. Water, - 10 ounces. First swell the gelatine in cold water, then dissolve by heat in the ten ounces of water, .adding the salts. The solution is then filtered and the paper floated on it for three minutes. Sensitize on a sixty-grain bath of silver nitrate. Print deep, And wash, tone and fix as for albumen paper. Toning bath No. 20 is especially adapted for plain paper. Avoid over-toning. Excellent prints may be made on drawing paper by this method. PRINTING ON RESINIZED PAPER. The term resinized has been given to paper coated with resins in place of albumen. Such paper gives prints of wonder- ful softness and delicacy, and tones easily. The process deserves more attention than it has yet received. Three for- mulae are given, of which I would especially recommend No. 3 for the soft and delicately graded tints it gives. No. 1. BERTRAND'S. Immerse plain paper for three minutes in the following solution : 52 PHOTOGRAPHIC PRINTING METHODS. Alcohol, . 20 ounces. Benzoin, - 2 ounces. Chloride of cadmium, 1 ounce. "When dry, sensitize on a sixty-grain bath. Print deep, well wash, and tone in bath No. 21. Fix and wash as for albumen. No. 2. MR. HENRY COOPER'S. Frankincense, - - 10 grains, Mastic, 8 grains. Chloride of calcium, - - 5 to 10 grains. Alcohol, - 1 ounce. The paper is immersed in this solution and hung up to dry. "When dry it is smoothed with a hot iron and sensitized as usual ; sensitizing bath No. 5 is the one recommended by Mr. Cooper. The prints which should be deep are best toned on bath No, 20. No. 3. MR, HENRY COOPER'S. Coat the paper with an emulsion prepared as follows : Dissolve three ounces* of fresh white lac in twenty ounces of strong alcohol ; filter or decant, and add as much water as possible without precipitating the lac ; dissolve one ounce of the best white gelatine in twenty ounces of boiling water, first swelling the gelatine in cold water. When the gelatine is dissolved, add the lac solution, stirring vigorously. In case the gelatine is precipitated by the alcohol, add more hot water. The paper is to be immersed in this emulsion for three min- utes, or it may be floated on it for the same length of time. When dry, smooth with a hot iron, and float for two minutes on the following solution : Chloride of ammonium, - - 10 grains. Lactate of magnesium, 10 grains. Water, 1 ounce. When again dry, sensitize on a sixty grain bath, and print deep. If the prints are not vigorous enough, immerse them in the following bath : Citric acid, - 5 grains. White sugar, - 5 grains. Water, .-._.. 1 ounce. PHOTOGRAPHIC PRINTING METHODS. 53 This bath improves with use. Toning bath No. 20 works well with' this paper. Either of these processes give fine results on drawing paper. Resinized paper should be fumed until the paper prints blue, fifteen to twenty minutes is sufficient. Over-toning must be avoided. PRINTING ON LEATHERIZED AND GELATINIZED PAPERS. Very fine mat surface prints can be made on a salted paper known as leatherized paper. It is a strong, fine -surfaced paper and comes ready salted. It should be floated thirty seconds on A bath forty-five to sixty grains in strength, and fumed until it prints blue. Print rather deeply, thoroughly wash away the free nitrate, and tone on bath No. 20. The toning should not be carried too far, or weak prints will' be the result. Gelatinized Paper. This is the name which I have given to paper floated two to three minutes on a gelatine solution, then dried, and floated two minutes on the lactate of magne- sium and chloride of ammonium bath given above. When the paper is again dry it is floated two to three minutes on a silver bath, forty-five to sixty grains strong, and fumed for fifteen to twenty minutes. The printing should be deep, the free nitrate well washed out, and the prints toned on bath No. 20. The resulting prints are remarkable for softness, delicacy of gradation, and beauty of tone. As I have never seen the process described, I venture to re- commend it only after a thorough trial. The gelatine bath is compounded as follows : Gelatine, 10 grains. Chrome alum solution (1 to 50), - - 10 drops. Water, - 1 ounce. When solution is complete, filter and float plain paper on the bath for two minutes, avoiding air bubbles. Prints made on paper thus prepared cannot be distinguished from those made on resin ized paper, and it has the advantage of requiring a smaller number of chemicals. 54 PHOTOGRAPHIC PRINTING METHODS. With it the prints can be given a tone closely resembling the best work on bromide of silver paper, and by using draw ing-paper very artistic results may be obtained. I have recommended toning bath No. 20 for these rarely used processes for the reason that they all need but little ton- ing, and this bath is so weak in gold that there is little danger of. over- toning. Any other bath, however, can be used with good success if it is made weak in gold. PHOTOGRAPHIC PRINTING METHODS. 55 CHAPTEK VI. THE PLATIXOTYPE. THIS is the most recent advance in printing with iron salts. The process was worked out by Mr. W. Willis, Jr., and has been made the subject of a patent. The Willis process can be worked only by licensees, although I believe that tne ready- sensitized paper is supplied by the agents in this country to all who order it. But it is possible to work the platinum process without taking out a license, and I therefore give details which will enable any one to prepare his own paper. The directions are condensed from a pamphlet published, in Vienna, in 1882, by Pizzeghilli and Hubl. Plain paper, of an even, firm texture, is sized by floating for two or three minutes on one of the fol- lowing solutions : SIZING FOR PLATINUM PRINTS. Water, - 20 ounces. Gelatine, - 60 grains. Chrome alum, - 6 grains. Aniline blue (powdered), ... 10 to 20 grains. The gelatine is soaked in the water for one hour, and then dissolved with gentle heat. When nearly cool the chrome alum and the aniline blue are added and the solution filtered. The prints to be sized are floated or immersed a short time in this solution; No. 1. FOR BLUISH-BLACK TONES. Gelatine, 154 grains. Alum, - 46 grains. Alcohol, 7 ounces. , Water, - 28 ounces. The gelatine is first soaked in the water until soft, and then dissolved at a temperature of 140 deg. Fahr. When solution is complete the alum and alcohol are added, and the liquid filtered. 56 PHOTOGRAPHIC PRINTING METHODS. No. 2. FOR BROWNISH-BLACK TONES. Arrow-root, - 154 grains. Boiling water, 28 ounces. Alcohol, ? ounces. The arrow root is first rubbed up in cold water, and added to the boiling water ; then the alcohol is poured in and the solution filtered. In order to secure an even coating, it is best to refloat the paper when dry, and suspend the reverse way. No. 1. STOCK SOLUTIONS. Chloro-platinite of potassium, 80 grains. Water, - - 1 ounce. No. 2. Ferric oxalate solution as found in the trade. If the solution gives a precipitate with red prussiate of pot- ash, or becomes turbid when boiled with ten times its bulk of water, it should be rejected. [NOTE. The author has never experienced any difficulty in procuring ferric oxalate of Eimer & Amend, 205 to 211 Third Avenue, New York, but for the convenience of those who may wish to prepare it for themselves, methods for mak- ing both the potassic ferric oxalate and the ferric oxalate are given. Potassic Ferric Oxalate. Add neutral oxalate of potas- sium to chloride of iron solution and evaporate to crystalliza- tion. The resulting crystals are the salt required. Ferric Oxalate. This salt may be obtained by dissolving hydrated peroxide of iron in a strong solution of oxalic acid. Pizzeghilli recommends the following method : " Five hundred parts of ferric chloride are dissolved in water and precipitated by an excess of caustic soda ; after which the precipitate is well washed, and collected on a cloth. When the bulk of the water has run through, the material is poured from the filter, and 200 parts of pure crystallized oxalic acid added ; but this addition should be made in the dark, and the whole is allowed to remain at a temperature of 30 deg. C. for some days, in order that solution may be complete. PHOTOGRAPHIC PRINTING METHODS. 57 The liquid being now made up, if required, to the volume of 2,800 parts of water, a liquor is obtained which contains about one-fifth of its weight of ferric oxalate."] No. 3. CHLORATE OF IRON SOLUTION. Solution No. 2, 3i ounces. Chlorate of potash, - 6 grains- A. SENSITIZING SOLUTIONS. No. 1, 408 drops. No. 2, 374 drops. Water, .* 68 drops. B; gives more vigorous prints than A\ good for thin negatives : No. 1, - 408 drops. ' No. 2, - 306 drops. No. 3, - 68 drops. Water, - -, - . .- ; 68 drops. The paper to be sensitized should be fastened to a board by drawing tacks, and one of Solutions A or B evenly spread over it with a squeegee muffled in flannel, or a large brush, carefully avoiding streaks. The sensitizing should be done by yellow or feeble white light. As soon as the surface is dry, the sensitized sheets must be dried thoroughly at a temperature of 86 to 100 deg. Fahr. The mixed sensitizer must be used up within 15 or 20 minutes. The sensitized sheets and the prints must be preserved from the effects of moisture in a box containing a little dry chloride of calcium. All the subsequent operations are the same as recommended for the Willis process, of which the following very complete directions are taken from an article by Mr. L Edwards Ficken, published in u The American Annual of Photography" for 1887. " THE PLATINOTYPE PROCESS. " One has but to see a fair platinotype print to be struck by the charm of its softness and delicacy, and, if compared with 58 PHOTOGRAPHIC PRINTING METHODS. a silver print from the same negative, by its superiority in every way. In platinotype prints the whites have a higher artistic effect, the shadows a deeper richness, and the grays more value in the half-tones than can ever be obtained from the best silver print, the velvety feeling of the picture and the absence of glaze conducting largely to this. I have written before of the beauty of this process, comparatively little known here, but exceedingly popular on the other side, and it is sig- nificant that a recent number of the English Building News, one of the highest and most conservative professional papers, containing a notice of the Photographic Society's recent Ex- hibition in London, calls especial attention in high commenda- tion to the platinotype prints shown, and adds : ' The delicate gray tint is decidedly preferable to the purply tones which photographs usually have. It has been left to the platinotype process to show that artistic shades of black and gray can be produced.' There also appeared in our own PJiotographic Times (No. 259), an article on the process by Mr. G. Watmough Webster, whose opinion every one must respect, which so fully covers the ground that it leaves but the little I have said above to complement it. I can only say, almost in Mr. Webster's words, that to any one who has not tried the process, the sim- plicity and ease of its working and the beauty of the results will be simply a revelation. " I will endeavor now to describe it as clearly and exactly as possible that failure m#y be precluded ; and there should not be any failure if the following directions and hints are faith- fully followed. " I may premise that all the material, chemicals and paper, can be purchased ready for use, a great convenience for ama- teurs with their limited time, and simplifying greatly their labors. "Keeping Apparatus Dry. At the beginning it must be impressed upon the attention that unless all the material used in making prints the printing frame, negative, etc. are per- fectly dry, the resultant print will have a slaty color, instead of the warm, rich black it should possess. "Sensitizing the Paper. The first operation is the sensitizing of the paper for contact printing, for I would advise everyone PHOTOGRAPHIC PRINTING METHODS. 59 to sensitize their own paper just before using it. It is very little trouble, and the freshly prepared paper gives richer prints. This should be done in a room lighted by a yellow light, or not too strong gaslight. The sensitizing solution is made by dissolving fifteen grains of platinum salt in a quarter ounce of iron solution (the exact quantity for a sheet 1 8 by 2:3 inches), shaking the solution until the platinum salts are dis- solved. It must be used almost as soon as made, as it will not keep over half an hour. Place the paper to be sensitized, face upwards, on a sheet of plate glass having a wooden frame, so that it can be secured at the corners by thumb tacks ; pour the solution on the middle of the sheet and spread evenly over the entire surface with a wad of clean flannel. Allow no streak- ings to remain ; swab the solution first one way, then the other, across the paper with a light touch till it looks perfectly smooth. Now hang up by the corners till dry. This should take not under ten minutes, nor over twelve. If it dries too quickly, some of the image will float off in the developing bath and cause a loss of half-tone, and if it dries too slowly, the subsequent print will appear flat. "Drying the Sensitized Paper. If the air be very dry in the room where the paper is dried, it will be necessary to create a moister atmosphere, otherwise the sensitizing fluid sinks too deeply in the paper and gives a flat print. I obtain this moist- ness by pinning the paper above the bath tub, when the paper seems drying too rapidly on the surface, and turning on the hot water, the steam arising from it dampening the air very rapidly. After the paper seems dry, when it will have a lemon-yellow color, it is well to hold it for a few minutes in front of a stove to ensure its thorough dryness, protecting it, of course, from any strong white light. It can now be measured off and cut up for the size prints to be made, and put away till wanted. "Before describing how to preserve the sensitized paper, it may be well to give the caution always to put the iron solu- tion in a dark closet to keep it from the light, and always to use fresh flannel on the squeegee. "Preserving the Paper. In preserving the paper I use two tin tubes about four inches diameter, each having a receptacle 60 PHOTOGRAPHIC PRINTING METHODS. at the bottom containing dry chloride of calcium, to extract all moisture from the tubes and paper. One I label 'paper' and the other ( prints.' In the first I store the cut-up sensi- tized sheets, and in the other the prints as fast as made. Care must be taken to avoid all contact between the paper and the chloride, which would stain the print, producing white spots. " Printing. Printing is done as usual, the sensitized paper put over the negative in the ordinary printing frame and exposed to direct or diffused light, according to the character of the negative. The printing frame should be held for a few minutes before the stove, and a sheet of thin rubber put be- tween the negative and the cover of the printing frame. The correct exposure is ascertained by inspecting the paper in the usual way, but it is much more difficult at first to decide upon the proper exposure, as much of the detail and the most deli cate tones are invisible till the after development. This must be remembered. Practice, however, soon decides, and by carefully noting the following hints, little difficulty will be experienced even at the first. As a general rule the exposure is complete when the detail in the high lights becomes faintly visible. With very dense negatives, and rather dense nega- tives are best for this process, the printing should be continued until all the details in the lights are visible. During exposure the parts affected by light become of a pale grayish-brown color, and finally, perhaps, of a dingy orange tint under those parts of the negative which is clear glass or nearly so. Beware of over-exposure ^or thin negatives, and note that prints look .slightly darker when dried after development, and prints in half -tone only, if printed too dark, have usually a flat appear- ance. " The material for development is a flat-bottomed dish of agate iron ware, about 12 by 14 inches in size, to contain the developing solution, and a small gas stove, with ring burner, to place under it to heat the solution to the proper developing temperature, and a couple of porcelain-lined trays, 16 by 19 inches in size, to wash the developed prints in. " The development should be effected in a feeble white light, or by gaslight, and may be done at the end of the day's print- ing. PHOTOGRAPHIC PRINTING METHODS. 61 "Developing Solution. The developing solution is made by dissolving 12 ounces of oxalate of potash in 44 ounces of water, and made acid by the addition of 2|- drams of oxalic acid, or enough to turn blue litmus paper pink. This will give a depth of about half an inch in the tray for 8 by 10 prints. The potash is most readily prepared in hot water, add- ing the salts by degrees, and stirring till all is dissolved. The solution must now be heated to a temperature varying between 170 and 180 deg. Fahr., and this is the standard, though higher and lower temperature may be used, for which, reasons will be given later. "Development. The development of the prints is effected by floating them, face down, upon this hot solution of oxalate of potash for &few seconds, and is best performed by laying one end of the print upon the bath at the right hand of the tray, and sliding it evenly towards the left, lowering the print with an even movement and without stoppage, until it is entirely in contact with the liquid, where it must remain not less than five seconds. It may remain longer, as a prolonged floating does no great harm beyond unnecessarily softening the paper and its sizing ; and, in fact, it is my practice, after the first floating and appearance of the image, to float the print once or twice more in the deepest shadows only, to get all the possible depth out of them. "Just as in the appearance of the latent image when devel. oping the negative, which gives a never-ending pleasure, so will the same delight be felt in the appearance of the print after this floating for a few seconds on the hot solution. It is like magic ; the whole view flashes up, it seems instantaneous- ly, in all its beauty, and is the most full repayment for what little trouble has gone before. "As the heat of the developing solution is greater than the hands are accustomed to, take care not to injure the first prints by starting at the sudden shock of the touch on the fingers of the hot liquid. A little practice will soon enable one to almost avoid touching the bath at all. "Again a caution. Look out for crystals on the surface of the developing bath, and do not develop till these are dissolved or removed. Air bubbles must also be carefully avoided in 62 PHOTOGRAPHIC PRINTING METHODS. floating the prints, as they form white spots ; but if they should make their appearance, by any little inadvertence, im- mediately touch them once or twice to the bath, when they will be removed. " Prints having deep shadows, especially when over-printed, require a development of at least ten seconds. Subjects en. tirely in half-tone require only five seconds. Over-exposed prints must be developed at a temperature between 10 and 20 degrees lower than the standard, and under-exposed ones higher, although this will not always save the print, for with either extreme a little flatness may appear. k( It is best to try and give such exposures in the printing frame, as a uniform temperature at about 170 to 180 deg. Fahr., as already stated, will insure perfect results. "The, developing solution may be used almost indefinitely, although in this, as in all my other photographic work, I prefer fresh solutions ; but it must be kept in a dark closet, and, before using again, should be decanted from the crystals, which may have formed, and enough fresh solution of oxalate of potash added to bring the bath up again to the required quantity. " Washing the Prints* The developed prints must now be washed in at least three baths of a weak solution of hydro- chloric acid to thoroughly clean them. Citric acid may also be used, but I find the other more convenient. For the size of trays given above, one ounce of the hydrochloric acid to sixty -four ounces of water will be sufficient. Immerse the prints, face down, in the first acid bath, and let them remain there about ten minutes ; then remove to the second bath and treat in the same way. If they do not communicate to the last acid bath the slightest tinge of color, they may now be well washed in clear water, otherwise a third acid bath, per- haps sligHtly weaker, must be given them. While in the baths, move the prints about so that the solution washes them freely, but take care not to abrade them. " They are now finished, and need only drying to render them ready for mounting. " If, after drying, the prints are more or less yellow, it may come from the sensitizing fluid not having been acid enough. PHOTOGRAPHIC PRINTING METHODS. 63 Again, prints may appear strong, yet more or less fogged ; this may come from over-exposure in printing. The cure for this has already been given : reduce the temperature of the developing solution. " It is really all simpler than it reads ; the chemicals are few and easily used, the sensitizing of the paper is easily and quickly done, the printing is soon picked up, the development is almost purely mechanical, and the cleaning and washing entirely so. The ease of the whole thing, however, should not be the only temptation to try it ; its beauty is unapproach^ able and lends itself with equally good results to strong effects in portraiture and all atmospheric tones of landscape and marine views. " I would say, in conclusion, that there can be obtained from the Platiriotype Company, London, Eng., specially prepared paper in the sizing for the making of sepia-colored prints, which, for some subjects, is particularly beautiful, and a solu- tion for mixing with the ordinary oxalate of potash developer, which combines to give the finished sepia color. I have tried it with great success. Willis & Clements, of Philadelphia, supply .all the other material." PJatinnm prints may, I believe, be regarded as permanent, platinum black being one of the most stable colors, unaffected by atmospheric changes. The process is simplicity itself, and this, together with the exceeding beauty and artistic effect, would undoubtedly commend the process to art-loving ama- teurs, were they not deterred by the necessity of taking out a license. But I have found that the ready-sensitized paper will keep in good condition if placed in a box with a tight-fitting cover, with chloride of calcium sprinkled over the bottom, care must be taken to prevent the paper from coming in con- tact with the chloride, or white spots will show themselves in the prints when developed. Pizzeghilli's process, described above, gives prints of the highest degree of excellence, and the process is free to all. The chemical explanation of the formation of the image in platinum black is probably that the action of light converts the ferric oxalate to the ferrous state and that immersion in the hot solution of potassic oxalate immediately reduces the 64: PHOTOGRAPHIC PRINTING METHODS. platinum to the metallic state wherever it is in contact with the ferrous salt. The portion not so reduced remains in solution with the potassic oxalate. Directions for recovering this will be found in the chapter on " Wastes." Warm or sepia tones may be given to platinum prints by the following method, which is that of Signor Borlinetto : Dissolve nine and three-quarter ounces of neutral oxalate of potash in thirty-two and one-eight ounces of boiling water, and then add 154 grains of oxalic acid. When solution is complete, add three and a quarter ounces of a saturated solu- tion of chloride of copper; shake well to insure complete mixture. The printed proofs are immersed in this solution at a temperature varying from 170 to 200 degs. Fahr., and they soon tone to a rich sepia. The tint can be changed by raising or lowering the temperature. As soon as the prints have as- sumed the desired tint they are washed in the usual way in the acid bath, and then immersed for a short time in a one to twenty solution of sulphate of iron. They are then washed once in water made slightly acid with sulphuric acid, and after the usual half hour's washing in running water, they are hung up to dry. As these prints resist nitric, sulphuric, and even fluor- hydric acid, they are presumably permanent. AMERICAN FILM NEGATIVE. BY W. J. HICKMOTT, HARTFORD. CONf PRINTED ON EASTMAN'S PERMANENT BROMIDE PAPER-GRADE B. PHOTOGRAPHIC FEINTING METHODS. 65 CHAPTEK VII. PRINTING WITH EMULSIOKS. Gelatino-Bromide. The chief point of difference between printing on paper prepared with emulsions and printing on paper sensitized in the bath, is, that in the former case we have the sensitive compound of silver suspended in an exceedingly fine state of division, in a vehicle of gelatine or collodion ; whereas, in the latter we have a thin coating of an aqueous solution of the sensitive salt. Organic substances such as gela- tine or collodion are sensitizers of silver, and, in consequence, emulsion papers are more sensitive than papers floated on the bath, for the reason that the atoms of the molecules are in a state of less stable equilibrium in the former case than in the latter, and therefore are more easily separated by the action of light. The most common form in which emulsion paper presents itself to the amateur is the well-known bromide of silver paper, which is now a standard trade article. But since good results can be obtained on paper coated with a chloride of silver emul- sion, which, to the best of my knowledge cannot be purchased, full directions are given of the apparatus and chemicals needed to prepare different emulsions, together with directions for making the emulsions and coating the paper. Apparatus. This need not be of a very complicated or ex- pensive nature. First of all, some sort of a vessel is required as a water-bath, to hold the solutions, which have to be kept at a certain temperature. I have always used a common tin pail having a tightly-fitting cover. Two or three earthenware, porcelain, or glass vessels, of a pint or more capacity, a ther- mometer of the pattern used for taking the temperature of hot solutions, a supply of glass stirring- rods, a filter of some kind, and a Bunsen burner, spirit lamp, .or kerosene lamp, complete the modest plant required for making the various kinds of emulsion. 66 PHOTOGRAPHIC PRINTING- METHODS. A very compact and convenient digesting apparatus is found in the infants' food-warmer kept by most druggists. This con- sists of a covered porcelain-dish, which fits into a metal water- bath, the source of heat being a candle. A simple and efficient filter is easily made by tying two thicknesses of an old pocket-handerchief around the top of a fluted-top lamp chimney. The coating-room must contain the indispensable glass or stone slab, accurately levelled, and a supply of clean glass plates of a size corresponding to that of the paper to be coated. BROMIDE OF SILVER EMULSION. 1. Gelatine (soft), 42i grains. Bromide of potassium, - - 26 grains. Water (distilled), 1 ounce. 2. Nitrate of silver, - - 32& grains. Water (distilled), - - 1 ounce. Dissolve the bromide first, then add the gelatine, and dis- solve by gentle heat (95 deg. to 100 deg. Fahr.) ; bring the sil- ver solution to the same temperature, and add in a small stream to the gelatine solution, stirring vigorously, of course, in non- actinic light. Keep the mixed emulsion at a temperature of 105 deg. Fahr., for half an hour or an hour, according to the degree of sensitiveness required, previously adding one drop of nitric acid to every five ounces of emulsion. Allow it to set, squeeze through working canvas, and wash two hours in running water. In my own practice, I manage the washing easily enough by breaking the emulsion up into an earthen jar filled with cold water, and placed in my dark room sink. A tall lamp chimney, standing in the jar immediately under the tap, conducts the fresh water, to the bottom of the jar, and keeps the finely divided emulsion in constant motion ; a piece of muslin, laid over the top of the jar to prevent any of the emulsion running out, completes this simple, inexpensive, but efficient washing apparatus. The washing completed, you are ready to melt and filter the emulsion preparatory to coating the paper. When melted, and before filtering, it is well to add of glycerine and alcohol each about one- tenth of the whole bulk of the emulsion, the PHOTOGRAPHIC PRINTING METHODS. 67 glycerine preventing troublesome cockling of the paper as it dries, and the alcohol preventing air-bubbles, and hastening the drying. This addition made and the emulsion filtered, you are ready to coat your paper, which may be coated just as it comes from the stock dealer, plain Saxe or Rives, or better still, given a substratum of insoluble gelatine, made as fol- lows : Gelatine, - 1| grains. Water, - 1 ounce. Dissolve and filter; then add 11 drops of a 1:50 filtered chrome alum solution. The paper is to be floated for half a minute on this solution, avoiding air bubbles, and then hung up to dry in a room free from dust. The purpose of this sub- stratum is to secure additional brilliancy in the finished prints by keeping the emulsion isolated from the surface of the paper. If you are floating the whole sheet, now is the proper time to cut it to the size you wish to coat, but for anything less than 6^x8|- , I would recommend cutting in double or quadruple sizes, 8x10 for 5x8 and 4x5 prints, as the paper is easily cut down after the emulsion is dry. COATING. Apparatus. A stone, marble or glass slab large enough to hold at least half a dozen glasses of the size paper you are coat- ing, and most accurately levelled ; a dozen or more pieces of glass of the same size as your paper ; a porcelain or agate ware tray of the same size ; a ruby lamp ; a deep tray of a size to hold your jug of emulsion and the smaller tray ; a spirit or kerosene lamp enclosed in a box suitably ventilated and pro- tected against the egress of white light from the lamp inside, (this is easily secured by punching holes around the top and bottom of a tin box of suitable size, and covering it with another somewhat larger in every way, but without a top), and a goodly supply of spring clothespins, to be had of any hard- ware merchant for 20 cents a dozen. The above is a complete inventory of my own outfit. Having then provided yourself with these articles, with the addition of a squeegee muffled with a piece of soft flannel, an article which you can easily 68 PHOTOGRAPHIC PRINTING METHODS. make by procuring a piece of small black rubber tubing of the proper length, and placing it in the centre of a strip of flannel of equal length, and about two inches wide ; you then fold the flannel over on itself, thus enclosing the rubber tube, and fasten the whole between two narrow, thin strips of wood, drawing the rubber up close to the wood, you are ready for coating. For this purpose you must secure the temporary use of some small room in which the paper can be coated, hung up and left to dry. This room must meet three requirements : it must be dry, free from dust, and capable of being made absolutely light- tight during the drying of the paper. I am fortunate enough to have undisputed control of a small attic which serves ad- mirably. Into this room, provided with a table large enough to hold your marble slab, on which the slab is carefully levelled, you carry all the articles mentioned above. The spirit or oil lamp is placed in its box, on which stands the large tray previously filled with water at 100 deg. Fahr., and containing the jar of emulsion and the small tray filled with warm distilled water. The ruby lamp stands on a table in front of you ; the glasses well cleaned and warmed to blood heat, and the paper with the side to be coated uppermost are placed on the table at your right ; within convenient reach of your right hand stands the tray of warm water, and the levelled slab is within easy reach on your left. Turn the ruby lamp down as low as is consistent with the power of vision. Now immerse a sheet of the paper in the water in the small tray, leaving it there for a minute or two ; then place it accurately on one of the glass plates, and sweep off all superfluous water with the squeegee, at the same time removing all wrinkles and air bells, and place in an up- right position to dry slightly, while you prepare a second plate in the same manner. Now balance the first plate on the tips of the fingers and thumb of the left hand, and pour on a sufficient quantity of the emulsion, about 1 dram for every 10 square inches of paper. I use a silver soup ladle holding just enough to cover a whole plate. Gently tilt the plate from you until the further end is completely covered ; then as gently tilt it towards you until the emulsion completely covers the paper ; then carefully place it on the levelled slab to set. Con- PHOTOGRAPHIC PRINTING METHODS. 69 tinue this operation until the slab is covered, when the paper first coated will probably have become sufficiently set to be stripped from the glass and hung up by clothespins to dry, which in my room requires from six to ten hours. OTHER METHODS OF COATING PAPER WITH EMULSION. While the method of coating described above is the one pre- ferred by the author for coating a small quantity of paper, other means of securing the same result are available. A very good method of coating is to place the melted emulsion in a Red pigments j Madder lake ( Rose maddder ( Ivory-black D Black pigments -< Lamp-black D ( Blue-black D D signifies that these colors, being of good body, can be dabbed ; the others are useful for brush work only. Prussian blue is of great depth of color. It is invaluable for skies and flat tints generally. French ultramarine is a purer blue than Prussian blue, which has a tendency towards a greenish tint. A good effect is ob- tained by the union of this color with some of the crimson. For greens, made by mixing blue and yellow, Prussian blue is best. Verdigris is a very useful color for brush work. It is bright and transparent, and when a little Italian pink is added, forms 150 PHOTOGRAPHIC PRINTING METHODS. a brighter green for tinting foliage than the one obtained by mixing yellow lake with Prusian blue. As green shrubbery and foliage usually appear very dark in photographs, it is neces- sary in such cases to use the brightest tints available in order to produce any effect of color on the screen. Italian pink is the most useful yellow, is very transparent, and forms a good green with Prusian blue, and a good scarlet with crimson lake. It is very slow in drying, and should, therefore, be mixed with a quick drying varnish. Yellow lake not being perfectly transparent, appears darker on the screen than the above, producing more of a brownish effect ; but is quicker in drying. Gamboge is perfectly transparent, but so thin as to be nearly useless for slides. When laid on thick it produces an orange tint, and is useful for giving the effect of gold. It dries but slowly. Burnt sienna is- a brown pigment ; it is of good body, and dabs easily. With Prussian blue it forms a sober olive-green ; and supplies, with crimson, a good color for tiles or brick work. Not being perfectly transparent, it appears darker on the screen, for which allowance must be made. Burnt umber has a more sober hue ; but it has a good in- tensity, dabs well, and dries quickly. It is not perfectly trans- parent. Caledonian brown is more yellow in tone than the two pre- ceding, dries quickly, but being of less intensity is used only to a limited extent. Crimson lake is the most useful red tint. It possesses but mod- erate intensity, so that pale tints can be produced by dabbing. It is not perfectly transparent, and always appears darker on the screen than on the slide. Frequently a very transparent crimson for brush work may be obtained by diluting the pig- ment with turpentine, so as to be of a creamy consistency, and then allowing it to stand quietly for a little while. Usu- ally a part of the color settles to the bottom first, and when this occurs the upper part should be carefully poured off. The color that has settled will be found to be nearly opaque, while the other portion is clear and transparent. If left for hours to settle, nearly all the color will be precipitated, leaving the PHOTOGRAPHIC PRINTING METHODS. 151 turpentine nearly colorless ; some of the latter can be re- moved, a little mastic varnish may be added, and it will then be ready for use. If a little Italian pink is mixed with it, a bright scarlet is obtained. Madder lake and rose madder being nearly identical in char- acter, may be classed together. They are perfectly transpar- ent, and appear as bright pinks and crimsons on the screen. Possessing but little intensity, they are useless for dabbing, and require piling up on the slide to approach deep tints. Gamboge and Italian pink are sometimes added to enrich their color. Being very slow dryers, they should always be mixed with a quick drying varnish. Ivory-black, lamp-black and blue-black have characteristics in common ; they are all capable of being dabbed, and dry quickly. When diluted with varnish, they form good grays, and when mixed with the other pigments previously men- tioned, a great variety of sober tints can be obtained. The brilliancy of the colors depends largely upon the me- diums employed. The oils (nut, linseed and poppy) should be avoided, as they, tend to lower the transparency of the colors. The three mediums recommended by Mr. Scott are mastic varnish, japanner's gold size, and the well-known Robinson's medium, sold in large collapsible tubes. The tur- pentine used to thin the colors, should be of the best quality, but for the cleansing of brushes, etc., the common turpentine will answer. No oil color will answer without the addition of one or other of the three mediums mentioned ; a very little is, however, sufficient to insure transparency in the colors. For dabbing purposes it is not necessary to render the paint fluid with turpentine, but for brush work the color should always be thinned to a creamy consistency, so that the tint may be swum on to the glass. This fluidity of the color will allow the streaks produced by the hairs of the brush to quickly sub- side to a level surface, so as to give an even layer of paint. J apanner's gold size, being of a yellow tint, should only be used for warm tints. It is used for laying the larger washes of paint in brush work, and for mixing with pigments which of themselves are naturally slow in drying. Mastic varnish and gold size are quick in drying, and hence should be used 152 PHOTOGRAPHIC PRINTING METHODS. for the first washes of color, which have to be worked upon afterwards with extra touches. When Prussian blue is used to produce smooth tints, such as skies, etc., a little of Robinson's medium should be mixed with it, which will materially assist the dabbing process. The same addition may be made to burnt sienna and burnt umber for flat tints. If these mixtures are thinned with turpentine to a creamy consistence, they are fit for brush work, which can also be dabbed when required, after the turpentine has evapo- rated from the paint. When crimson lake, yellow lake, or Italian pink are used to produce flat tints by dabbing, a very little mastic varnish should be added, the quick drying property of which takes away the oiliness of the color, and hence renders it easier to produce an even tint. Dabbing. The greatest difficulty the beginner experiences is the laying of even tints of color, free from brush marks, spots, or other irregularities. The remarkable magnifying power possessed by the optical lantern renders it necessary for a sky tint, for instance, to be as smooth on the slide as to com- pare with stained glass. This evenness is produced by a special operation known as dabbing, of which frequent mention has been made in the preceding paragraphs. The dabbing process can be applied only to colors which possess considerable intensity, so that an extremely thin layer of the paint will suffice. The color has to be of a certain con- sistency, about that of a stiff paste. This condition may be produced by adding a little of Robinson's medium to colors which have great intensity of tint, and a very little mastic var- nish to the weaker colors, which have more oil in their compo- sition. The pigment, having been mixed with a suitable medium, a little of it is put on the slide, and is then spread about and rendered even by the action of the dabber. There are several kinds of dabbers ; one method requires a large, round camel's-hair brush, with the hair cut off in the middle of their length, so that they terminate in a flat surface instead of a point. The brush is then used to stipple the paint with, not by stroking, but with an up and down action. Another dabber, and a better one, consists of a short stick, PHOTOGRAPHIC PRINTING METHODS. 153 the end of which is formed into a miniature cushion by a thin, smooth piece of leather, or part of an old kid glove, being tied on, with a little cotton- wool within. A very small dabber of this description is handy to use for working the tint close up to an outline. But the cleanest and most useful dabber is one supplied to most persons by nature, one that is not likely to wear out or get mislaid, namely, the finger-end. Nothing can exceed the evenness of tint which a practiced hand can pro- duce by lightly tapping the paint on the glass he is working on, which gradually renders the color even and smooth. The finger to be selected is that which has the smoothest skin ; generally, the third finger of the right hand is the best. The skin has always a kind of furrowed surface, and some artists, hence, rub the end of the finger lightly on a piece of smooth sand-paper, by which some of the roughness is removed. This cure of the furrows is very temporary ; nature, in a day or two, indignant at this treatment of the cuticle, will retort by growing a skin thicker and rougher than at first, so it is better for beginners to use their dabbers as they find them. The marks caused by the furrows can easily be obliterated by going over the paint again with an extremely light and gentle tapping action of the finger, the position of the hand being altered from time to time, so that one set of furrow- marks shall cross another. In this process, practice is the best teacher. The condition of the surface which is to be dabbed upon should be observed when mixing up the tint. If the clear un- varnished glass is being worked upon, the paint should not be very stiff, otherwise it will be apt to leave bare spaces in the tint, caused by the color not adhering properly to the glass. In such a* case, a little of Robinson's medium should be added to soften the color. If the glass is varnished, as most photog- raphic slides are, the paint may be stiffer, as it holds better to the varnish, and it is then usually easier to make the tint smooth ; hence, it is best to varnish all glasses before the dab- bing process is commenced. A film of negative varnish is generally easy to work upon ; however, there are some var- nishes, containing Canada balsam and resin, which become soft and sticky when oil-colors are applied on the film ; such a 154 PHOTOGRAPHIC PRINTING METHODS. sample should be rejected for this purpose, as it will be im- possible to produce a good, even tint, by dabbing. When the photograph to be colored is made by the gelatino- bromide or chloride process, it is not necessary to varnish when oil colors are used. The gelatine forms an excellent surface to work upon free from scratches. If there are any abrasions of the film, it is then advisable to apply a coat of negative varnish, which will fill up these depressions and give a smooth^ even surface. In the case of water colors, on these plates it is, of course, absolutely necessary to varnish. Painting Skies. In tinting a landscape, the first thing to do, according to Mr. Scott, is to tint the sky. Prussian blue is always used for the blue skies ; when applied to the glass it is rendered smooth and even by dabbing. Crimson lake and Italian blue are used for sunsets, the different colors being gradually merged into one another by the finger alone. Hav- ing by this means produced a uniform or graduated tint it is usual to introduce clouds. The white cumulus clouds are the easiest. A stick, the size of a penholder, is cut to a tapering wedge-shape at one end ; over this wedge-point is stretched a piece of soft, clean wash-leather, about four or six inches square, the loose ends of the leather being gathered together and held by the fingers. With this single stump the paint can be wiped off where required, leaving a sharp, clean edge for the upper part of the cloud ; the lower portion of the cumulus is softened into the sky tint by dabbing. When the stump becomes charged with paint at the end, the leather is moved so as to bring a clean portion of it to the wedge-point. The fleecy cirrus clouds may be made by the stump, with clean leather over it, being used as a dabber, so as to slightly disturb and remove the sky tint in some places. Long, thin streaks of white cloud are produced by the wedge-stump with- out any leather covering, being gently tapped over the sky tint, so as to displace the color and leave irregular white lines, which may be softened slightly by dabbing it afterwards with a corner of the leather. In making the sky, it is usual to carry the color temporarily over objects in the foreground hence the wedge-stump is again required to remove the sur- plus paint from church steeples, roofs, etc., and the horizon PHOTOGRAPHIC PRINTING METHODS. 155 generally. Clouds, which are darker than the sky itself, are usually put on with the brush after the dabbed tint has be- come dry ; this is a difficult operation, as it is very easy to rum a sky in this way, so beginners are recommended to at- tempt only the lighter clouds in their first essays. Moonlight scenes are produced in a similar manner the blue tint is made darker by the addition of lamp-black or burnt umber ; a trace of gold size should be mixed with the colors to assist in dabbing deep tints. The moon is made by scrap- ing away the paint with a wedge-pointed stick of boxwood ; sometimes a sharp knife is used, in which case it is usual to cut through both the paint and the underlying varnish. Water Colors. There are some dissolving-view artists of good repute who use only water colors in their pictures. This method is more difficult for a beginner to learn, especially in the case of the sky tints. The list of colors available is nearly the same as the list of oil paints ; thus Prussian blue, indigo, gallstone, gamboge, brown pink, Italian pink, burnt sienna, burnt umber, sepia, bistre, crimson lake, carmine, and lamp- black, is a fair list of the most transparent water colors, which should be of the " moist " variety, sold in small porcelain cups. The mediums used to mix these colors with are pure water, ox-gall, and occasionally gum arabic and glycerine. The method of dabbing water colors is similar to that of oil paints ; if the color (which is sometimes easier to work with by the addition of a trace of ox-gall and glycerine) becomes too dry, it may be softened by breathing gently on it. In order to allow the tints to take nicely to the glass, it is usual to rub the surface over with a little ox-gall, to remove all greasiness. Water colors are not so safe to use as the oils, so far as per- manence is concerned. In some instances the colors have been found to have run together when slides were exposed to the great heat of a powerful lantern, after having been stored in a damp place ; in other cases the heat has caused the color to contract and shell off the glass in places. With regard to the dust which after a time is often found to have settled on the colors, it is usually a risky matter to remove it with a linen cloth in the case of a slide tinted with water colors ; an opera- tion of this kind may spoil the picture, as the cloth is liable to 156 PHOTOGRAPHIC PRINTING METHODS. produce streaks and lines of an undesirable character in the view. The crimson lake and carmine water colors, as they are sold, are not very transparent ; the beginner, therefore, is often at a loss when he desires a brilliant crimson or scarlet color, as the addition of ox-gall or gum arabic does not increase the transparency much. The moist color is taken from the porcelain cup and mixed with a few drops of glycerine ; a little ox-gall is also added, and the whole intimately mingled together into a pasty mass with the aid of heat and a few drops of water. The mixture is then put into the metal dish or saucer and gradually heated. The water will soon be expelled by the heat, and when steam ceases to rise the heat should be increased, care, however, being taken not to burn the pigment. The color of the pigment, viewed by reflected light as it lies in bulk in the dish, is a brick red up to this point ; but at a certain heat this color will suddenly change to black. This blackness is due to the crim- son becoming transparent, on the same*principle that a stained ruby glass looks black when placed on a dark surface. The color may then be allowed to cool, and will be found quite bright and transparent. The color may be thinned with water, and if it shows any tendency to return to its original semi- opaque condition when on the slide, it is only necessary to make the glass pretty hot after the painting is finished, so as to restore the transparency of the crimson, which may be ren- dered quite permanent by a little touch of mastic varnish, to prevent the color again attracting moisture. The ox-gall is added in order to stiffen the pigment ; if it were not used the glycerine, which is the real agent in rendering the carmine transparent, would keep it in a pasty condition, owing to its peculiar non-evaporating nature. The addition of a trace of glycerine to other colors will tend to prevent cracking and shelling off of the pigment when on the glass. The tints may be made of a better consistency for brush work by being mixed with ox-gall and a solution of gum arabic. The ox-gall sold by the artists' material dealers is rather expensive if used in quantity; it is supplied in little white pots in a stiff pasty condition, but is easily softened by PHOTOGRAPHIC PRINTING METHODS. . 15T warmth. A cheaper plan is to get some liquid ox-gall from the butchers' and boil it down to a proper consistency, but it is not a very pleasant operation, owing to its messiness and odor- ousness. If gum arabic is used to mix the colors with, a little lump sugar should be added to the solution, as it will then be less liable to chip off the glass when dry. Aniline Colors. The thought has doubtless occurred to many persons who have observed the brilliant tints of stuffs- dyed with aniline crystals, whether these could not be employed for coloring transparencies. There are many difficulties in the way, but it is quite possible to use these colors and produce effective and artistic slides with them. There is a remarkable property which is possessed by some of the aniline colors, namely, that of changing tint according to the acidity or alkalinity of the mixture. Thus the addition of a drop of ammonia may change a deep scarlet or crimson to a pale yellow, or vice versa. Supposing a picture colored with aniline tints was exposed successively to the fumes of ammonia and nitric acid, a great change would probably be perceived in some of the colors. This is one of the drawbacks of the process. The brilliancy of aniline colors exceeds that of most oil and water colors. The former can be made perfectly transparent, which is not usually the case with the two latter ; hence, for cliromatropes and other subjects where brilliancy of tint is of importance, they are well adapted. Flat tints produced by dabbing can be made with them as easily as with oil colors ; the warmer aniline colors especially compare favorably for such work with the corresponding tints in oils. Ordinary water colors can be easily used in conjunction with the aniline tints for instance, a Prussian blue sky tint may be merged by dabbing into an aniline orange color near the horizon. Oil colors can also be used after the aniline tints are laid on. This method is likely to preserve the aniline colors in their original condition by protecting them from the atmosphere and moisture. A sky may be commenced with aniline colors, and when dry another layer of colors in oil may be dabbed on without much fear of disturbing the underlying 158 PHOTOGRAPHIC PRINTING METHODS. tints. This method is occasionally useful for producing cloud and sunset effects. Let us take one of the packets of aniline dyes labelled u blue" ; we find that it contains a powder which will easily dissolve in cold water, and possesses considerable intensity of tint. A little ox-gall or gum arabic added will make it a very useful color for slide work ; it is used just as Prussian blue is in water color. It has complete transparency, and the tone inclines slightly to purple. Another packet labelled " scarlet," contains a powder also soluble in water. It is an expensive dye, and the penny packet contains a very small quantity, which is, however, suffi- cient for several slides. It may be treated in the same way as the aniline blue. This color being one of those liable to change according to its acidity, or otherwise, it is advisable to varnish the tint, after drying it thoroughly by warmth, with mastic varnish, to secure it from atmospheric influences. This remark applies to nearly all the aniline tints. The scar- let is a very bright and transparent color, and can be dabbed for sunset effects, etc. The packet labelled " yellow " is of a warm yellow tint, and can be treated as the above, being a water color. These ani- line water colors are preferable to the spirit colors in that they are less liable to change. The above will not lose their trans- parency, but may possibly change color if unvarnished. Spirit colors embrace most of the other dyes not previously mentioned, and are more difficult to manage. They quickly dissolve in methylated spirits, but are insoluble in cold water. If a little of the tincture is put on the glass it is remarkably transparent and vivid in tint so long as the color is liquid, but as soon as the spirit evaporates, which it does of course very quickly/ the tint becomes opaque and turns to a kind of bronze powder ; the tincture besides spreads in all directions, and is unmanageable for that reason alone, even if it retained its transparency. Hence something is needed to give consis- tency to the solution to prevent the spreading of the color. Gum arabic, being insoluble in spirit, cannot be used. Canada balsam is also non-effective, as the color becomes opaque on drying. The same may be said of shellac, sandarac, and other PHOTOGRAPHIC PRINTING METHODS. 159 resins, which require heat to enable them to dry in a trans- parent condition. It is possible to get transparent tints with collodion, but for slide work it is unsuitable, as it dries on the brush before it can be put on the glass. However, for certain work, collodion tinted with aniline colors may be applied by pouring it on the glass, so as to cover the whole surface, and returning the excess fluid to the bottle as is customary with wet-plate photography ; it is useless for local treatment with, the brush or for dabbing. The only substance that Mr. Scott was able to use with success was ox-gall, used in considerable quantity, so as to make the aniline tincture of a workable con- sistency. Ox-gall is freely soluble in spirits as well as water, and is suitable both for dabbing and brush work. Ox-gall only overcomes the difficulty of the spreading of the tincture ; it does not prevent the color becoming opaque on drying. As the tincture is transparent only so long as there is any spirit present, it would seem that fluidity is a necessary con- dition to maintain transparency. The addition of water, how- ever, to the tincture, produced a precipitate, and the color be- comes opaque. Glycerine, like ox-gall, dissolves easily in spirits of wine, and these two substances used together proved capable of transforming the aniline tincture into a suitable color for tinting slides, which could be thinned with spirit and was also capable of being dabbed. There are a number of dyes, which Mr. Scott calls spirit colors, that may be treated in this way, which are of great brilliancy and intensity. The spirit colors are generally warm in tint. There are magenta, crimson, orange, and yellow, for instance, in spirit colors ; cardinal, rose, and purple are also obtainable. If faint tints are desired of the above, more ox-gall is added ; glycerine should be sparingly employed, as if too much is used in proportion to the ox-gall, the color remains pasty, and re- fuses to harden. The tints of aniline dyes are too bright and vivid for many subjects, and are not readily mixed together to produce sec- ondary colors. Aniline dyes, therefore, seem more useful as an occasional accessory than as a complete system for the painting of slides ; but they are useful in cases where local tints of special brilliance are required. 160 i PHOTOGRAPHIC PRINTING METHODS. CHAPTER XIII. OPAL AND PORCELAIN PRINTING. ANY of the emulsions given in Chapter VII. can be used for coating the glass and the directions thus given for expos- ure and development, or toning, apply to the opal process. The emulsion given below is a very good one, and it can be prepared in a weak white light. For coating, however, it is better to work by yellow light. This emulsion is for printing- out, not development. Hard gelatine, 120 grains. Chloride of ammonium, - 20 grains. Citrate of potash, 40 grains. Water, - 5 ounces. Nitrate of silver, - - . - 120 grains. Place all the ingredients, except the silver, in a bottle capa- ble of holding ten ounces. Allow them to soak until the gela- tine is thoroughly softened. Then shake well, and add the silver in crystals. Shake again until the silver is dissolved. Place in a water bath at a temperature of 100 deg. Fahr., and digest for an hour at that temperature. Then cool down to 75 deg. Fahr., and add twelve ounces of alcohol. The emul- sion will be precipitated in a pasty mass. Let it stand for a couple of hours in the dark. Then pour off the fluid as closely as possible. Add three ounces more of alcohol and shake well. The alcohol is now poured off, five ounces of water are added, and, after half an hour's soaking, the emulsion is melted and filtered ; after which the plates, previously well cleaned, are coated. Opal glass is easily and cheaply had of any large dealer in glass. Before coating, the plates should be slightly warmed. For opals coat as thinly as possible. The coated plates are placed on a levelled slab to set, and when set racked away to dry in a well-ventilated room free from light and dust. Positives are printed on these plates exactly as they are on sensitized paper, but they print more rapidly. PHOTOGRAPHIC PRINTING METHODS. 161 In order to be able to judge of the progress of the printing one edge of the negative and the plate should be bound with gummed paper. This will permit the plate to be turned back for inspection and insure its registering accurately when again laid down on the negative. The printing must be deep, as the prints lose much in depth in the later manipulations. When sufficiently printed, the plates are well washed, and then toned in any good bath. The sulpho-cyanide of ammonium bath, given on page 45, will be found to give good results. Fix and wash as usual. For opals, by development, either Wellington's or Eder's methods given in Chapter VII., can be confidently recommended. If the opal plates are purchased ready-made, the directions inclosed with each box should be implicitly followed. OPALS BY THE POWDER PROCESS. Coat the glass with the following solution : Dextrine, - 4 drams. White sugar, - 4 drams. Bichromate of potash, - 4 drams. Glycerine, - 2 drops. Water, - 12 ounces. The coated plate is dried with gentle heat and exposed un- der a positive reversed as regards right and left. A few mo- ments' exposure to sunlight will suffice. The plate is then developed by dusting over "it with a fine camel' s-hair brush finely powdered ivory-black, to which has been added a little Indian red if a warm tone is desired. The action of light having made those parts of the plate acted upon by light, hygroscopic, the powder will adhere to them in proportion to the moisture which they hold. If any of the details are slow in coming up, gently breathe upon them and repeat the dusting. When the details are all out the plate is cleaned of all super- fluous powder, and the image fixed by pouring over it a satur- ated solution of boracic acid and alcohol. The plate is then dried by gentle heat, and exposed to light for a brief period, again dried, and placed in warm water 1 to dissolve out all the unchanged bichromate. After two changes of water a few drops of sulphuric acid 162 PHOTOGRAPHIC PRINTING METHODS. are added to harden the film ; after this acid treatment the plate is washed in two changes of water and allowed to dry. The treatment with boracic acid may be omitted, and the bichromate dissolved out in warm water immediately after development. If ordinary unreversed positions are used for printing, the image must be printed and developed on a glass plate previ- ously coated with the sensitive bath. After development and drying, the image is coated with plain collodion and transferred to the opal glass as described in the Chapter on Carbon Prints. PRINTING ON PORCELAIN. Collodion. 1. Gun Cotton (negative), - 60 grains. Alcohol, - 2 ounces. Ether, - 3 ounces. Powder finely 120 grains of silver nitrate and add it to 3 ounces of alcohol. Place the bottle in a water bath and bring the water to the boiling point ; continue the boiling until the silver is entirely dissolved ; when solution is complete pour it hot into the collodion with constant stirring. 2. Chloride of Strontium, - - 32 grains. Citric Acid, - 24 ounces. Reduce to a fine powder and dissolve in four ounces of alco- hol, add : Ether 4 ounces. Gun Cotton, - - CO grains. These two collodions will keep indefinitely, and are to be mixed in equal quantities when wanted for use. Preparation of the Plate. Coat the porcelain with albu- men from fresh eggs and water, using equal quantities of each. Dry without heat, then warm the plate and when cool coat with the mixed collodion. Dry over a spirit lamp. The Exposure. Bind one edge of the negative to the cor- responding edge of the porcelain plate and expose in a printing frame ; or, place the negative in the proper position on the porcelain, protect the back of the latter with yellow paper, and secure contact by using plenty of spring clips. PHOTOGRAPHIC PRINTING METHODS. 163 Toning. The plates are first washed in plain water, then in water containing a little salt, and toned in the following bath : Water, - 8 ounces. Gold solution (1 grain to 1 ounce), - 1 dram. When sufficiently toned, wash and fix in a 1 to 10 hyposul- phite of soda solution. The prints are then thoroughly washed. RED PRINTS. Red prints have two uses, one aesthetic, the other practical. ^Esthetic, when it is sought by means of them to reproduce the tone seen in some old-time engravings. Practical when they are used as a base for the relief plates or zinc etchings, so largely employed at present for illustrating newspapers, trade journals, price lists, etc. Several methods are in use to obtain the tone desired. The simplest and most common is to fix a print in silver without toning it. The print is transferred from the printing frame to a dish of clean water, and after a brief soaking it is placed in a dilute solution of acetic acid, after which it is treated with a solution of carbonate of soda to remove all traces of acid. After this treatment the print is fixed and washed as usual. A second method of producing red prints is by the carbon process, using red chalk or some similar pig- ment, instead of lamp-black or carbon. A third method is to float plain paper on a sixty grain solu- tion of nitrate of uranium. After ten to twenty minutes' ex- posure under the negative the print is developed by floating on a forty-five grain solution of red prussiate of potash. The print is well washed and finally immersed in a very dilute solution of nitric acid to clear the lights. The print is then fixed in a solution of alum. When wanted for the 1 draughts- man red prints are best made by the first method. The out- lines needed for the work in hand are sketched in India ink and the rest of the photograph bleached out in a strong solu- tion of bichloride of mercury which dissolves the silver, but leaves the India ink unharmed. The sketch thus made is used for the production in the camera of a negative of sufiicient intensity to produce a relief or etched plate. If the original print was an enlargement of 164 PHOTOGRAPHIC PRINTING METHODS. the subject to be reproduced, and the negative was reduced to the desired size, extreme sharpness and delicacy of line will be obtained. Ordinary Rives paper sized with gelatine, is salted on a bath containing twenty grains of chloride of ammonium or barium, and the same amount of citric acid to the ounce of water. It is then dried and sensitized as usual. PHOTOGRAPHIC PRINTING METHODS. 165 CHAPTEE XIY< PHOTO-CERAMICS. ONE of the most beautiful and permanent applications of photography is that of photo-ceramics, which is comparatively little known or practiced in this country. The author believes that careful study and intelligent fol- lowing out of the methods now to. be described, will enable -any skillful photographer to produce enamels of a high grade of excellence. The methods given are those now in use by the most skillful Continental producers of ceramic work, and may be relied 011 as trustworthy. FIG. 1. FIG. 2. THE APPARATUS. The Muffle Furnace. A muffle furnace of some descrip- tion is necessary for firing the enamels. They can be had in portable form of any large dealer in such materials, burning either coal or gas. When enamels of small size only are attempted, the form here illustrated and described will do good work. Its con- 166 PHOTOGRAPHIC PRINTING METHODS. struction is so simple that any good metal worker can con- struct it. Fig. 1 is the front elevation, and Fig. 2 the side elevation. The muffle, M, is made of moderately thick sheet brass, per- manently closed at one end, with a hinged or sliding door, provided with a peep-hole in front. The muffle slides into the furnace'on two iron bars let into the walls. One of these bars is seen in Fig. 2. The furnace walls, A, B, C, D, Fig. 1, are of thick iron plate and doubled, the space between being filled with ashes or some other non-conductor of heat. The furnace is sup- ported by four iron legs attached to the outer wall by screws, in order to be easily removed for convenience of transporta- tion. A chimney, E, also detachable, iits into a hole in the middle of the furnace top. Heat is generated by a Berzelius or Liebig spirit lamp, having two or more wicks, which stands on an iron tripod. The opening in the walls by which the muffle is introduced into the furnace must be of such a size and shape as to be completely closed when the muffle is in place. A shelf, !N", of thick iron plate, is fastened by brackets just underneath this opening. It is impossible to give any specific dimensions, as they are determined by the size of the muffle, which must be large enough to hold the largest piece of enamel likely to be fired. The height of the muffle need not be more than three inches, nor its other dimensions more than seven by nine inches. A muffle four by five, by two-and- one-half inches, is, perhaps, as large as can be advantageously used in this simple form of furnace. The furnace proper should be about seven inches high, and the legs about the same. The chimney is a O " / piece of iron pipe two inches in diameter, and about fifteen inches in height. The hot-air space surrounding the muffle may be one or two inches larger each way. The lamp must not be brought too near the bottom of the muffle, or it will not burn well. The Drying Box. Much of the success of the various methods given for enamels depends upon the way in which the drying is done. The form of drying box here illustrated, PHOTOGRAPHIC PRINTING METHODS. 167 IS Fig. 3, taken from " Schwier's Manual on Photo-Enamels, recommended . The box is made of strong sheet iron, and may be made ten to twelve inches square, and five to six inches high. The legs are of sufficient height to allow of the introduction underneath of the source of heat. These legs stand upon a wooden frame- work provided with stout thumb-screws, to secure a perfectly horizontal position of the slab on which the plates are dried. Upon the bottom of the box is placed a slate or marble slab, two or three inches thick, smoothly and squarely polished. FIG. 3. The top of the box is provided with a ventilating shaft opening into the interior. In the door are openings for the ingress of air, covered with a roof to shut out light. If desired, a thermometer may be attached in such a way as to have its bulb within the box. The slab is warmed to 100 deg. Fahr. by any convenient means, precautions being taken to insure this temperature being maintained. THE NEGATIVES. To secure the best results in the various ceramic processes the old wet collodion process should be employed in prefer- 168 PHOTOGRAPHIC PRINTING METHODS. ence to the gelatino-bromide process. Gelatino-bromide plates may, however, be used if one is content with results a trifle inferior to those obtainable on wet collodion plates. The two formulas given below for the preparation of the collodion will serve for all the processes described later. 1. FOR THE REPRODUCTION OF LINE DRAWINGS. Alcohol, 12 ounces. Ether, - - 19^ ounces. Azotic cotton, 185 grains. Iodide of cadmium, - 62 grains. Iodide of ammonium, 77i grains. Iodine, - - 7.7 grains. 2. FOR THE REPRODUCTION OF DRAWINGS, ENGRAVINGS, AQUARELLS, ETC., IN HALF-TONES. Alcohol, 12 ounces. Ether, - 19 ounces. Azotic cotton, 185 grains. Iodide of cadmium, - 62 grains. Iodide of ammonium, 62 grains. Bromide of cadmium, - 13 grains. Iodine, 3.8 grains. SENSITIZING BATH FOR Kos. 1 AND 2. Distilled water, 34 ounces. Nitrate of silver, - 1,234-J grains. Acetic acid, - 13 drams. DEVELOPER. Water, 34 ounces. Sulphate of iron, - , - 776 grains. Acetic acid, - 13J drams. Alcohol, - 13| drams. TNTENSIFIER. A. To be used after development and before fixing. 1. Water, - 16 ounces. Pyrogallic acid, - 77 grains. Citric acid, - 154 grains. 2. Distilled water, - - 16 ounces. Nitrate of silver, 77 grains. Acetic acid. - 2i drams. To use, mix equal parts of !Nbs. 1 and 2, and immerse the negative until proper density in gained. Wash well before fixing. PHOTOGRAPHIC PRINTING METHODS. 169 The ordinary bichloride of mercury intensifier with am- monia or sulphite of soda can also be used. Fixing. Either a saturated solution of hyposulphite of soda, or a one to fifty solution of cyanide of potassium. The glass used must be plate or patent plate. The follow- ing method of cleaning the glasses previous to coating is rec- ommended. Soak the glasses for an hour or two in a solution of bichro- mate of potassium to which has been added about one-third of its bulk of ordinary nitric acid. The glasses are then washed, wiped off with a piece of fine linen, and immersed for a few moments in a bath of iodized alcohol, and finally wiped per- fectly dry with a clean piece of chamois skin. The operations of coating and sensitizing are the same as customarily employed in the wet collodion process. Stripping Films. The negative or positive when perfectly dry is covered with a thin film of the following solution : Pure gutta-percha, 1 part. Chloroform, - - 30 parts. The image is covered with this solution by flowing, and the rubber film is allowed to dry. When dry a second coating is given to the negative of the following : Ether, 18 ounces. Alcohol, - - 12| ounces. Azotic cotton, 154 grains. Castor oil, ... - 15 drops. After the application of this solution the negative is allowed to dry in the open air. "When dry the film id to be cut through to the glass with the point of a sharp penknife, at a slight distance from the edges of the negative, or from that portion of it containing the picture to be used. The plate is then soaked in water with a piece of Japanese paper, which, after soaking until limp, is brought in contact with the prepared surface. After a brief interval one corner of both paper and film is separated from the glass with the point of a penknife, the paper and film are then taken be- tween the thumb and index finger, and the film pulled from the glass with its paper support. It is then dried between blotters, and when dry is ready for use. The use of East- 170 PHOTOGRAPHIC PRINTING METHODS. man's American films will greatly simplify this operation for those who are content to employ gelatine in place of collodion. They should, however, be developed with the ferrous oxalate developer. Positives. For positives, by contact, any of the dry plate methods given in Chapter YII. may be employed, preference being given to the albumen method or Levy's collodion pro- cess. M. Roux, in his work on Decorative Photography (" Traite Pratique de Photographic Decorative," etc.), recommends the following tannin process : " Well cleaned and polished patent plate glass is coated with the collodion given at the beginning of this chapter, sensitized as usual in the bath there given, and after immersion in dis- tilled water until all traces of greasiness have disappeared, the plate is washed under the tap for five or six minutes, and finally immersed for three minutes in the following bath : Water, 34 ounces. Tannin, - - 463 grains. Acetic acid, - 13 drams. < The plate is then dried in the drying-box. " These plates, kept in a dry place, will retain their good qualities for a fortnight, and will be found to yield very fine results." The time of exposure to diffused light is about five seconds for negatives of medium density. Before development the plates are well washed in running water and developed by flowing one of the following solutions over the collodionized surface : DEVELOPER FOR POSITIVES FROM NEGATIVES OF LINE DRAW- INGS. Equal parts of the following : 1. Water, - 16 ounces. Pyrogallic acid, - 77 grains. Citric acid, 154 grains. 2. Distilled water, - 16 ounces. Nitrate of silver, - 77 grains. Acetic acid, - - - - - *% drams. PHOTOGRAPHIC PRINTING METHODS. 171 DEVELOPER FOR POSITIVES CONTAINING HALF TONES. 1. Distilled water, - 32 ounces. Bromide oi potassium, - 617 grains. 2. Distilled water, 32 ounces. Pyrogallic acid, - 154 grains. 3. Distilled water, - 6| ounces. Strong ammonia, - . 5 drams. For the developer inix the above solutions in the following proportions : No. 1, - 2> drams. No. 2, - 7% drams. No. 3, - 46 drops. Fixation must be thoroughly done in a saturated solution of hyposulphite of soda. If the positives are to be used only on flat surfaces, it is only necessary to varnish them with any good negative varnish. If, however, they are intended to be used for printing on curved surfaces, they must be stript from the glass as de- scribed above for stripping negatives. THE FIRING OR BCRNING-IN. This operation is performed as with enamels painted by hand. The enamel plate is placed on a piece of fire-clay and gradually introduced to the full heat of the furnace, avoiding overheating, the muffle door being left open until the plate is well heated. The door is then closed and the plate allowed to remain in the muffle until the enamel glaze just melts. The plate should be turned occasionally, to insure equal firing, using for this purpose a wire set in a wooden handle with an inch or so of the other end bent to a right angle. The burning is a most delicate operation, and requires skill and attention to secure the best results ; given these, however,, with a little experience, enamels can be fired with almost abso- lute certainty. For further details for firing, the reader is referred to the section describing Mr. Watson's substitution method, at the end of this chapter. Even with the utmost care, the pictures, after firing, will sometimes have a dull or mat surface. They must, in this- case, receive a coating of flux, and be fired again. 172 PHOTOGRAPHIC PRINTING METHODS. The following fluxes are recommended by the best author- ities. 1. For Colors Containing Iron. Crystallized borax, red lead, pounded glass, equal parts of each. Mix and fuse for one hour in a crucible. Pour out into, water, then dry and powder fine upon a marble slab, with a glass muller. 2. For Colors Containing Gold. Silica (powdered), 1 part. Glass of borax, - - H part. Red lead, 5 8 ' part. 3. For Colors Containing Silver. Sand, 1 part. Litharge, - 2 parts. Glass of borax, - 1 part. 4. For General Use. Red lead, - 4 parts. Silica (powdered), - - 1 part. Powdered silica is obtained by calcining the purest flints three or four times in a crucible, washing each time ; it is then powdered in a porcelain mortar and sifted through a lawn sieve. RETOUCHING. Retouching is often necessary to fill up white spots, to clear up portions which are veiled or too dense, or to apply a differ- ent tint to various parts of the picture. This retouching is always to be done after the first firing, the enamel being again fired after retouching. Bare spots are filled in with a fine brush dipped in a solution formed by dissolving a small portion of the enamel powder, used to form the image, in a little spirits of lavender. The high lights are cleared up, if necessary, with a brush dipped in a 1 to 10 solution of fluorhydric acid and water. Touching up isolated spots in different tints is effected with enamel powders of the proper tints dissolved in essence of PHOTOGRAPHIC PRINTING METHODS. 173 lavender", enamelled by subjecting them to the action of the heat. As a rule, the colors are easily procured of the trade, those made by La Croix, of Paris, being thoroughly reliable. It is as well to sift the dry colors through a fine lawn sieve to re- move all coarse particles. Most operators will prefer to purchase the enamel mixtures ready made, but for the benefit of those who may wish to pre- pare them for themselves, a few formulas are given below. All the ingredients given in these formulas must be very pure, ground or pulverized very finely, and perfectly mixed together, STOCK MIXTURES. base in some of the formulas given, and quantities to suit the needs of the artist. Stock No. 1. These serve as a may be made up in Red lead, - White sand, Stock No. 1, Calcined borax, Calcined borax, Silica, - Red lead, Manganese, Stock No. 1, Borax, - Oxide of cobalt, Oxide of cobalt, Stock No. 3, Oxide of cobalt, Oxide of zinc, Stock No. 2, Oxide of cobalt, Oxide of zinc, . Stock No, 2, Stock No. 2. Stock No. 3. Gray. Indigo Blue. Turquoise Blue. Azure Blue* 3 parts. 1 part. 8 parts. 1 part. 5 parts. 3 parts. 1 part. 2 parts. 3 parts. 1 part. Part. 1 part. 2 parts. 1 part. 4 parts. 6 parts. 1 part. 2 parts. 5 parts. PHOTOGRAPHIC PRINTING METHODS. Emerald Green. Oxide of copper, Antimoniac acid, - Stock No. 1, Blue Green. Oxide of chromium, Oxide of cobalt, Stock No. 3, Jonquil Yellow for Flowers. Litharge, Silica, Oxide of antimony, Sienna clay, Sub-sulphate of iron, - Red oxide of iron, - Stock No. 2, Cassius's purple, - Chloride of silver, Stock No. 3, Cassius's purple, Stock No. 3, Peroxide of iron (calcined), Stock No. 3, Red. Carmine. Purple. Violet. JBlack Pigment. Oxide of copper, Oxide of cobalt, Oxide of manganese, Flint glass, Melt in a crucible and add of Oxide of copper, Oxide of manganese, 1 part. 10 parts. 30 parts. 1 part. 2 parts. 9 parts. 18 parts. 4 parts. 2 parts. 2 parts. iV part. 1 part. 3 parts. 2 parts. 10 parts. 10 parts. 2 parts. 10 parts. 1 part. 2 parts. 2 parts. \% parts. 2 parts. 12 parts. parts. 2 parts. The melted mixture is poured into water and then finely pulverized. White Pigment. (The white enamel glaze of commerce.) PHOTOGRAPHIC PRINTING METHODS. 175 Gold or Cassius's Purple. (Precipitate a solution of chloride of gold with salt of tin, and wash the precipitate.) PRACTICAL MANIPULATIONS. Four methods are in common use for producing photo- enamels, viz. : the Dusting-on Process ; the Pigment Process ; the Collotype Process ; and the Substitution Process. As the limits of this book will not admit of a detailed de- scription of all these methods, I have selected the Pigment and the Substitution Methods for detailed treatment, adding a brief resume of the Dusting-on Method, taken from the (British) " Photo. News Almanac " for 188T. PAVLOWSKY'S METHOD WITH PIGMENT PAPER. The following solution is made up : Best gum arabic, 385 grains. Water, - - 26 drams. When the gum is dissolved the solution is filtered through flannel, and the following mixture added : Enamel mixture, - - 248-308 grains. Honey, 10 grains. The mixed solution is poured out upon a marble or glass slab and thoroughly incorporated together. An addition of a solution of 6 grains bichromate of potash in a small quantity of hot water is then made, and the resulting mixture filtered through flannel. This solution must be kept in darkness for one week before using. A well-cleaned piece of plate glass is coated with the solu- tion and dried in the drying box at a temperature of about 110 deg. Fahr. The exposure to light is made as usual, the time required being about one-fourth of that required for silver paper. The exposed plate is then coated with plain collodion, and, as soon as the film is set, washed in cold water ; a sheet of unsized pa- per is then laid down upon the film, perfect contact secured with the squeegee, when the paper bearing the collodionized 176 PHOTOGRAPHIC FEINTING METHODS. tissue is easily stripped from the glass by first raising one cor- ner. The development is the same as described in Chapter for Car- bon Tissue. The developed tissue is first washed in diluted alcohol, and finally in absolute alcohol, and the picture transferred in the usual way to the object to be enamelled. When dry it is ready for firing. This method is well adapted to the production of enamels on curved and irregular substances. HUSNIK'S METHOD. Husnik coats paper with the following mixture : Gum arable, 3 parts. Water, - 30 parts. Filter well and add : White sugar, 1 part. Bichromate of potash, - 2 parts. Glycerine, 5 drops. Black enamel is thoroughly incorporated with this solution in sufficient quantity to give a non-transparent film. The remaining operations are the same as in Pavlowsky's method. LIESEGANG'S DUSTING-ON METHOD. The six stages are as follows : 1. A glass plate is coated with the sensitive mixture of organic matter and bichromate. 2. The plate is, after drying, exposed under a positive. 3. After the shaded parts of the plate have absorbed sufficient moisture, it is dusted with a verifiable pigment in fine pow- der. The united action of the bichromate and light so modify the deliquescent organic matter that it loses its property of ab- sorbing moisture from the air, and the exposed parts of the plate consequently refuse to hold the verifiable pigment. 4. The powder picture is coated with collodion, and then soaked in a slightly alkaline solution, in order to remove all traces of soluble materials. 5. The collodion film bearing the image is next floated off and laid on a tile or other suitable surface. 6. The image is vitrified or burned in. PHOTOGRAPHIC PRINTING METHODS. 177 The composition of the sensitive mixture may be varied considerably without any very material influence on the re- sult, but the following composition gives very excellent results in ordinary cases : Water, - 100 parts. Moist sugar, - 10 parts. Gum-arabic, - 10 parts. Bichromate of ammonium, 4 parts. This solution should be used within one or two days of its preparation, and ought to be filtered with the most scrupulous care, as any particle of dust or fibre is likely to cause a white spot on the finished work. The solution is poured on the glass plate after the manner of collodion, and after the plate has been held in a tolerably horizontal position for a few seconds, the excess of solution is quickly poured off, and the plate is set to dry on a kind of desk formed of a piece of sheet iron mounted at an angle of about 15 deg. with the horizon, and kept warm by a spirit lamp placed underneath ; but it is advisable to distribute the heat by means of a few layers of blotting paper placed under the glass, and the heat should not rise above a temperature which the hand can easily bear. It is best to use patent plate glass, and the greatest care must be exercised in cleaning it thoroughly. It is necessary that the positive under which the exposure is made should be quite dry, or even slightly warm, and in ordinary cases an exposure of one minute in sunshine, or ten minutes in diffused daylight, will sufilce ; but an actinometer should be used as in carbon printing. As soon as the exposure is finished, the plate is taken into the dark-room, placed on a white surface, and some of the enamel color is sprinkled on and worked round and about with a long-haired camel's-hair pencil, both the powder and the brush being perfectly dry. The image now gradually develops, and it is often necessary to shake the powder from off the plate and allow the moisture of the air to act on the film for a short period, after which the treatment with the enamel pigment is resumed. Should the picture appear hard, only the extreme dark shades appearing, the exposure has been too long; but if the image is flat, and all the high-lights are veiled, under-exposure is indicated. Just as in ordinary 178 PHOTOGRAPHIC PRINTING METHODS. silver printing, the image should appear a few shades over dark at this stage, as the enamel colors lose a little intensity when fired ; but if there should be any difficulty experienced in attaining the required vigor, it is advisable to very gently breathe on the plate previously freed from all loosely-adher- ing powder and then to proceed with the development. When the development is finished, all non-adherent powder should be removed by means of the brush, and any required retouching can be performed either by breathing on the plate and cautiously applying the pigment on the part requiring it, or by removing the pigment by friction with a tuft of cotton wool or a stump. The plate is next coated with a collodion containing from 1-J to 2 per cent, of pyroxyline, and about ^ per cent, of castor oil ; and after the film has set it is cleared away from the edges of the plate, so as to leave a clear border of about -J of an inch. The collodionized plate is next soaked in a 2 per cent, solution of caustic potash, until all traces of soluble chromium salts are removed from the film, and after a thorough rinsing in clean water, the plate is immersed in water containing enough nitric acid to make it taste about as sour as weak vinegar, where it should remain some hours. By now placing the glass bearing the film in a large vessel containing clean water, and gently manipulating the pellicle with the fin- gers, it becomes easy to detach the collodion film, which is then caught, collodion side downwards, on the enamel tablet or tile. Should it be necessary to vitrify the picture with the collodion side upwards, the final transfer must be made in a solution of sugar containing one-fifth of its weight of this ma- terial, as otherwise the collodion film would be liable to scale off. In this latter case, the collodion must be dissolved away before firing ; but when the collodion film is mounted down- wards on the enamel plate or tile, this proceeding is not necessary. The most convenient method of dissolving away the collodion film is by soaking the dried plate for a whole day in the fol- lowing mixture : Alcohol, ... 50 volumes. Ether, - - - - - 50 volumes. Oil of lavender, - - - * 100 volumes. Oil of turpentine, - - - -3 volumes. PHOTOGRAPHIC PRINTING METHODS. 179 The plate having been again retouched, if necessary, all is ready for the final operation, or the burning-in of the image. WATSON'S SUBSTITUTION METHOD. No better form of the substitution process exists than that of Mr. Watson, of Hull, which with some modifications made by Mr. !N". K. Cherrill, was published by the latter gentle- man. The following is Mr. Chen-ill's description of the process given in the " Photographic News Almanac " for 1886 : A piece of glass is cleaned with nitric acid, well washed, dried, polished, and coated three times with collodion. This stage reached, plunge the plate in the bath without letting the collodion get too much set ; if the setting be pro- longed, the result is not so good. A nitrate bath with me means a solution of thirty grains of pure nitrate of silver in one ounce of pure water, sunned all the while it is not in actual use, and, when used, rendered acid, in the proportion of two drops of pure nitric acid to a half gallon of solution. The plate remains in this solution till the greasy marks disappear ; it is then taken out at once, and placed in a funnel to drain ; it is allowed to drain not less than five minutes, and is then ready for the slide. I arrange the copying camera in the studio so that the light which passes through the negative to be copied comes only through one of the side lights, and I have no reflectors of any kind. Behind the negative, however, I place a piece of finely- ground glass, which renders the light perfectly even. For this beautiful adaptation I am indebted to the late Mr. Baden Pritchard, who showed me the plan at Woolwich. The lens I use is a Dallmeyer No. 2B. With this, with the arrangement I describe, the exposure is from five to twenty seconds. If the enamel to be taken is of small size, I prefer to have a mask on the negative, and to block out all light except that actually needed, as this enables me to take four or five images side by side, by simply pushing the camera dark slide a little way each time. The exposure and development of the image is a matter re- quiring the greatest care and attention, as on the complete sue- 180 PHOTOGRAPHIC PRINTING METHODS. cess of the transparency the whole process turns. The develop- ing solution is made as follows : Pyrogallic acid, - 12 grains. Glacial acetic, - 4 drams. Alcohol, - 4 drams. Water to fill a 12-ounce bottle. In warm weather this may be more dilute say, as far a& giving 20 ounces of water to the same quantity of pyro. Then, of course, more alcohol-will be needed. This should be made three days before it is used, as it is too vigorous in its action at first. On the other hand, it must not be kept too long, as then it deteriorates in the other direction. These are the characteristics in development which, according to my experience, must be obtained in order to secure a good result. The image must develop very slowly. The image must attain the exact density required at the same moment that it attains the right amount of detail in the high-lights. The image, when examined by reflected light, must not be "filling up" (if I may use the term) in the dark parts, or at least the " filling up " must only extend to a very few tones, and above the very darkest. The image, when examined by reflected light, should show, in fact, nearly all the drawing and shading of the subject ; while, of course, when seen by trans- mitted light, it should show up with extreme perfection. Ev- ery detail must be there, with a fair amount of density ; but heavy blacks are to be avoided. In actual practice I find it best to place the plate on a level stand during the last stage of development, right under the tap ; a full stream can thus be turned on at the exact instant at which it is required to stop the action of the developer. The plate must be well washed at this stage, and the fixing must be done with cyanide of potassium. I prefer a weak solution, and carefully avoid pouring it upon the face or other delicate parts of the picture. The washing should be copious, and it should follow as quickly as possible on the completion of the fixation. When the washing is complete, break off a small piece of the film at one corner of the plate, and direct a thin stream of water from the tap on this corner, making it strike on the bare PHOTOGRAPHIC PRINTING METHODS. 181 glass. The use of a camel's-hair brush here will facilitate rais- ing the edge of the collodion, so that a large jet of water can be got under the film ; this being directed in the proper man- ner, by tilting the plate, will effectually loosen the film from the glass. As soon as this is done, restore the plate to the hor- izontal position, and, with a pointed stick, like a penholder, break away from around the picture as much film as can well be spared. Clear off the broken pieces with the finger, and give a slight extra rinse under the tap. This must be gently done, as our film is all loose now, and may slip off if we are not very careful. Get about two or three ounces of water on the plate, holding it quite level, then, bringing the whole over a large dish filled a couple of inches deep with water, lower one end gently into the water, when the film will slip off into the dish without the slightest injury. If protected from dust, the film may be left at this stage quite twenty-four hours with- out any injury or deterioration. The next stage is the toning. To make up the toning bath just right is an important feature in the process. My procedure is as follows : Get a sixteen-ounce bottle, half fill it with water, put it into a saucepan, also half full of water, and set the whole arrangement on the fire, or over the gas, till the water in the sauce- pan comes to the boil. If the glass bottle does not crack under this trial, it may be used with safety. Place in the bottle a quar- ter of an ounce of potassio-chloride of iridium, fill it up with cold water, and set it in the saucepan again ; this tune, how- ever, do not boil the water in the saucepan, but place it where it will keep very hot. Shake the bottle occasionally. After about half an hour, remove the bottle from the hot water, and place it aside to settle and cool. When quite cold it will be fit for use. This solution will remain good any length of time. I have a suspicion that it improves by keeping, but I am not sure on this point. To make up the toning bath, proceed as follows : Place 12 ounces of pure water in a bottle, add to this 14 drams of the iridium solution. Shake it up well. ISTow add a few drops at a time, and shaking well between each ad- dition, 7 drams of a solution of chloride of gold (strength, 1 grain to 1 dram). The bath is then ready for immediate use, but is better after keeping. It keeps indefinitely. It is par- 182 PHOTOGRAPHIC PRINTING METHODS. ticular to note in this place that the solution in the indium bot- tle will have a nearly black sediment. This is simply undis- solved chloride. When all the clear solution has been used up, more water may be added, and this remainder used in the same manner as the first lot, but care must be taken that too much water is not added, as a quarter of an ounce of the chloride will not make two sixteen-ounce bottles full of the saturated solu- tion, but only about one and one-third, or one and a-half . To use the enamel toning bath proceed as follows : Pour some out into a clean dish to the depth of about half an inch. Stand near to this a large dish filled to the depth of one inch with clean water, and also a small dish with pieces of glass in it under water. The glasses may be about quarter-plate size, or such as will be found most convenient. Now take up one of these glasses, and slip it under the film containing a transparency to be toned, gently raise the glass to the surface (at the same time manipulating the film with a camel' s-hair brush held in the right hand) in such a manner that when the glass and film on it are lifted out of the water, there will be an edge of film (say) a quarter of a inch wide lapping over one edge of the glass. The action of the water, as the plate is taken out, will wash this piece or edge of film round to the back of the plate, and, by so doing, will fix the transparency on the glass in a very satis- factory manner. If care be taken that the edge where the film laps over is kept uppermost, or highest, a very considerable stream of water may be poured on the film without any dan- ger of it slipping. Having got the film on the glass, it should be rinsed under the tap in the manner just suggested, and the film may then immediately be transferred to the toning bath. To do this, turn the glass over so that the body of the film is underneath, lower it gently under the surface- of the solution, and, with a brush, disengage the lap of film where it had turned the edge of the plate, now, of course, uppermost. As soon as this is done, the film will move off into the solution free of glass, which can then be removed. When the film has floated free for about a minute, turn it over with the brush, and note carefully if the deepest shadows are toned through, so as to give one uniform tint to the whole film. Turn the film over and over, and move it about till this is effected, and, as soon as PHOTOGRAPHIC FEINTING METHODS. 183 it is so, remove it from the bath by the same piece of glass, used in the same manner, i.e., securing the film by making a little piece of it lap over to the back along one edge of the glass. Let the film drain a few moments, and then transfer it to the large dish of clean water. As soon as it is free of the glass in this dish, gently agitate the water with a brush, so as to wash away the toning solution still adherent to the film. I strongly object at this stage to washing the film under a tap dish washing is far preferable, and as little of that as pos- sible should be employed. As each print is toned in succes- sion it is placed in the same large dish of water. I use one that will take a half -sheet of paper. When all are finished so far, change them one by one into another dish of water, taking up each film with the glass as before described. This is all the washing they are to have. Now proceed to mount them on the tablets. First of all, pour back the toning bath and put away the dish it was used in, then set before you on the table two dishes, one filled about half an inch deep with am- monia solution, and the other about the same depth with clean water. Ammonia solution at 880 deg., 6 drams. Water, 12 ounces. This must be kept well corked. Half an ounce of this mixture diluted with one pint of wa- ter makes the bath, into which the films are to be plunged. Get a chair and sit down to the work, as it is far easier to manipulate the films if both arms can* rest on the table. Take off your watch and place it before you, so that you can see it as you work. Now place in the dish of clean water a clean glass, and on that an enamel tablet, carefully washed previ- ously. Now take another clean glass, and with it remove one of the toned films from the dish in which it was washed, and plunge the same into the ammonia bath. As the film enters the solution, take the time by the seconds' hand of the watch, and withdraw the film when it has been in twenty seconds ; plunge it as rapidly as possible into the water where the tablet is, disengage the glass, and slightly agitate the water in the dish to give the film a sort of wash. Now take up, with the left hand, the piece of glass on which the tablet rests, and PHOTOGRAPHIC PRINTING METHODS. raise it about half way to the surface ; then, manipulating with the brush, held in the right hand, bring the film to its proper position over the tablet. By raising the latter very gradually the film can be laid in its place in this way with the utmost certainty. As soon as the glass is fairly out of the water, place it with one edge raised a little, so as to drain. If the glass is placed at too steep an angle there is danger that the tablet will slip out, or, at any rate, get disarranged. It is proper to note, in this place, that the tablets being curved, the films will not lie flat without the exercise of a little care on the part of the operator. Care must be taken to avoid the formation of one ridge or two around the edges of the tablet, but the spare film should be made to lie as nearly as possible equally in all directions. If this is done with care, no puckers or laps will be found in the film when it is completed in the next stage of the proceedings. "When the films have got almost surface-dry, the tablets are to be removed from the glass plates in which they were lifted from the water. To do this, place the plate level, and, with a sharp-pointed stick, tear away the useless film around the edges of the tablet, slip a thin knife under the tablet, and lift it off the glass on to a sheet of blotting paper, and at once cover it with a large bell jar, or other glass vessel, to protect it from dust and accident. The picture is now ready for burning, and it should at this stage look like a finished enamel, and be as perfect in every respect, in the matter of light and shade and tone, etc., only it will be of a bluer shade of color than the finished result ; but it ought to have the same relative shade of color now as it is to have in the completed result. The tablet may be burned at once, or left many days, or even weeks, without change. I much prefer a gas muffle furnace for burning the enamels in, to one heated by coke ; whichever is used, it should be ready and at the full heat, a clear cherry red inclining to white, but by no means a full white heat ; too much heat is a mistake, as it renders the process unmanageable, and produces no good result to make up for the extra difficulty of work. The burning is a most delicate operation, and all the care and attention of the artist are required to secure the result at its very best point ; still, with care, I do not hesitate to say PHOTOGRAPHIC PRINTING METHODS. 185 that nine out of ten enamels can be burned to a successful issue. Take up one of the tablets and place it upon a piece of fire- clay in front of the muffle, but not too near, say at a distance of about six or eight inches. The fire-clay should be supported in such a manner as to tip the enamel towards the heat, so that the rays may fall upon it, as near as may be equally all over it. When it has been roasted in this manner a little while, move it a little nearer, and then a little nearer, examining it each time. As soon as the action of the heat has turned the color of the film brown in the least degree, it may be dealt with fearlessly ; the fire-clay, with the enamel on it, may then be placed level, just in the mouth of the muffle, where in a few moments the film will take all the shades of brown till it gets quite dark all over ; now push it into the heat. (A wire set in a wooden handle, and with about half-an-inch at the other end bent to a right angle, is a most useful tool in manipulating the fire-clay plates when in the muffle.) As soon as the plate is in the heat, watch it with great care ; it will seem to get perfectly black all over, and then almost on a sudden the whites of the picture will be seen coming out quite clear ; the moment this takes place, draw the tablet towards the mouth of the muffle, and remove it to the outside to cool a little gradually, and then take the tablet right away and place on wood to get cold. All beauty will by this time have disappeared from the enamel, the whites will stand out, and the few tones next to them will have some clearness, but all the other tones will be a dark and confused mass hardly distinguishable the one from the other. This is the true characteristic of a good enamel at this stage. It is now ready to glaze. The enamel glaze as prepared for photographic work can be had of most dealers in artists' materials. About a thimbleful of the glaze (which is a fine powder like flour) is placed in a small, narrow bottle say, a two-ounce medicine bottle and the bottle filled up about three parts with alcohol. This is marked " Glaze in alcohol." To make up the glazing mixture, take a two-ounce medicine bottle, and put in it half an ounce of uniodized collodion, such as would be used for negatives ; add to this a quarter of an ounce of methylated ether, and 186 PHOTOGRAPHIC PRINTING METHODS. half an ounce of alcohol ; now add as much water as it will take without throwing the gun-cotton down. To do this, set the tap to drip very slowly, and get one drop into the bottle ; shake violently, and then get another drop in, and repeat the shaking ; so go on till six or eight drops are added, which will be about enough. Shake up the bottle of " Glaze in alcohol," and let it rest about two minutes for the coarser particles to subside, then carefully add some of the upper part of the mix- ture to the diluted collodion enough to make it rather opaque and milky-looking will do. This is the glaze ready for use ; it must be well shaken up each time it is used. When the enamel is quite cold, balance it on the top of one finger if small, or near the edge of a piece of flat wood if large, and pour the glaze mixture over it ; then immediately tilt the enamel up to the vertical position, letting the glaze run off on to soft blotting paper, rocking the tablet in the meantime to prevent the formation of lines. When the collodion is set,, place the tablet in a muffle on a piece' of fire-clay, and gradu- ally introduce it to the full heat ; keep a careful watch now to see that the burning does not proceed too far. The glaze should only just melt. As soon as this is the case which will be seen by looking at the reflection of the bent wire held just above the tablet pull the enamel out, and, when a little cool, remove to a block of wood to get cold again. The image is now indellibly fixed, and it may be treated roughly with impunity. The picture is not, however, at its full beauty as yet, as, if all the baths etc., have been in good order, one glazing will not be sufficient. The whites will be glazed, or have a polished appearance, but the darks will be still of a mat surface, and not transparent in effect, as they should be. This is overcome by repeated glazings. "No en- amel is perfect that has not been glazed at least five times. The number of separate burnings (say, five or six) as here recommended give a totally different effect to what would be obtained by one great burn, with the glaze applied thicker. Those who wish to save themselves trouble will work in this way ; but anyone who wants to get the best results will not mind the trouble of five or six, or even a dozen glazes. When the glazing comes nearly to an end, there will be PHOTOGRAPHIC PRINTING METHODS. 187 found some little points where improvement is needed in the way of retouching. This point is very easily gained ; collect all the trimmings of films after they have been through the toning and ammonia baths, and all waste or torn films as well ; place them a few moments in the muffle on a piece of fire-clay ; they will instantly burn, and the ash is to be carefully collected and kept in a small bottle. A little of this may be put out on a palette, with a minute atom of the glaze powder, and one drop of some essential oil, and then well rubbed down with a muller. The paint so obtained may be used with fine brushes, dipped in turpentine, and, the work being burned into the enamel, will take the same color and surface as the rest of the picture. Ceramic colors may be applied to enamels, and burnt in with considerable success ; but I have found much difficulty hither- to in getting the red shades wanted about the lips and cheeks right. I have used the colors made by La Croix, of Paris. When an enamel has failed, it may be put on one side, and when there is a sufficient collection of them, the images may be dissolved off with fluoric acid, applied with a rag at the end of a stick ; and then, after washing, the tablet may be fired in the muffle till it melts to a good bright surface. If this be carefully done, the tablet so renewed will be as good as a new one. In this firing after cleaning, the image will often appear again when in the heat. If this be the case, the heat should be continued till a full glaze has been obtained, when the tab- let, after cooling, may be again treated with the acid, and again fired. Failures in enamels are of four distinct classes, which may be thus enumerated: Class I. Failures in development. Class II. Failures in the direction of getting poor, slaty ? bluish colors, which glaze all at once when put in the muffle. Class III. Failures in the direction of excessive blackness, just the opposite to the last. And Class IY. Failures in the glazing operation itself. With regard to the first class of failures, I would suggest that it is imperative that the development proceed slowly ; this seems to me the only condition of success. The photographer's knowledge of his business will enable him so to manage the light, lens, exposure, etc., of the film as to secure this necessary 188 PHOTOGRAPHIC PRINTING METHODS. condition. I do not think the developer I have given is by any means the only one that will do, though, as in my hands it succeeds the best, I never use any other. The second class of failures arises from there being too much gold in the toning bath, or rather, perhaps, too much in pro- portion. The third class arises from there being too much iridium, or too much in proportion. Both these may be avoided by a strict adherence to the formula I have given. The fourth class of failure the only one to be really feared is the most difficult to deal with. It is much more difficult to describe than to show. The chief thing to avoid in glazing is the getting an unequal layer of glaze on the tablet the first time. Until the first glaze is burned in, the picture will rub very easily, therefore a badly-laid glaze will be its ruin, as it cannot be removed. After the first glaze is burned, the enamel is safe, and any further error in the matter of pouring on the glaze, etc., can be rectified by simply washing it off again under the tap. Then, again, there is a possibility that, when too much glaze is used, the enamel will spoil by what I have, till recently, looked at as "burning out," but which I have since found out to be simply a sinking in of the image. The best remedies for all errors in glazing are to use plenty of alcohol in the collodion, and plenty of water ; and, at the same time, the smallest workable quantity of glaze, making more burns of it, but doing less work at each burn. ENAMELLED INTAGLIOS. A very beautiful application of photographic ceramics is the production of enamelled intaglios in copper, bronze, gold, sil- ver, etc. The process is a combination of photo-chemigraphic and photo-enamel methods. The metal plate is first covered with one of the sensitive mixtures as described in the Chapter on Photo-chemigraphy. It is then dried, exposed under an or- dinary intense positive, developed and etched. The lines of the plate are then filled with an enamel powder, which is burned in as in enamelling. PHOTOGRAPHIC PRINTING METHODS. For all the details relating to the production of the engraved plate the reader is referred to the Chapter on Photo-mechan- ical printing methods. For a black enamel the following mixture is recommended : Silver (powdered), r 38 parts. Copper, - - 72 parts. Lead, - 50 parts. Borax, 36 parts. Sulphur, 384 parts. The sulphur is fused alone, the silver and copper together, adding the lead when fusion is complete. The mixture is then placed in the retort containing the fused sulphur, closing the mouth of the retort tightly to avoid all danger of the mixture taking fire. As soon as the substances are well incorporated together, the borax is added, and the whole turned out into an iron mortar and finely pulverized. The enamel is then washed in water containing a little sal ammoniac, finishing up with water in which a little gum has been dissolved. The powder is applied with a wooden spatula to the well-cleaned plate. Great care is to be taken to have the filling-in lines well filled with the enamel. When all the lines are filled, all excess of powder is removed, and the plate placed in the muffle and fired as usual. When the fusion is finished the plate is removed from the muffle, cooled gradually, and polished with any good metal polisher. As the beauty of these enamelled intaglios depends upon harmonious contrast between the enamelled lines and the sur- face of the plate, enamel powders of different colors must be employed to secure the best results, using for this purpose amy of the powders given in the Chapter on Photo-ceramics. This process is capable of producing beautiful results, and being simpler than the process of producing surface enamels, the be- ginner is advised to commence with this simpler process before passing on to the more complex operations of enamelling. 190 PHOTOGRAPHIC PRINTING- METHODS. CHAPTEE XV. PHOTO-MECHANICAL PRINTING METHODS. THE term Photo-chemigraphic is used to designate a large class of methods in which photography is used to assist in the production of engraved or relief plates for printing from. All these processes may be described in general terms as consisting in the coating of a wood block or metal plate with a solution of asphalt or bichromatised gelatine, exposing the plate so pre- pared under a positive or negative ; developing the image by immersion in hot water to dissolve all the unaltered asphalt or gelatine, and finally etching with some acid to produce the relief or intaglio. Detailed description of some of the best of the methods in common use is given below. THE METAL PLATES. The metals most commonly employed in the various photo- chemigraphic or photo-mechanical processes are steel, lead, copper and zinc : the first three being most in use for the production of engraved plates, while zinc is used indifferently for both engraved and typographic plates. As it would be impossible in a general treatise like the present to discuss in detail all the manifold applications of photography to the production of heliographic or typographic plates, the author has selected two or three typical processes of each type for detailed treatment. The principle underlying the production of relief blocks or engraved plates is the same in either case, viz.: the insolubility of gelatine when treated with a bichromate and exposed to light. In the case of a relief block the parts to be etched, or bitten in, are the parts between the lines ; hence those parts must be protected from the action of light, as otherwise the gelatine film covering them could not be dissolved in hot water, and etching would therefore be impossible. For photo- PHOTOGRAPHIC PRINTING METHODS. 191 reliefs therefore, an ordinary negative is employed. For photo- intaglios, however, a reversed positive is required, since in this case it is the lines that are to be etched ; they must there- fore retain their solubility in order that the etching process may be possible. THE POSITIVES AND NEGATIVES. As it is imperative that these should be of extreme opaque- ness in those parts which are to protect the sensitive film from the action of light, and as the customary process of development rarely confers this quality, a method is given by which " black and white" negatives or positives, as these intense printing subjects are technically called, can be obtained. The method is the modified ferrous-oxalate development as recommended by J. O. Moerch in his valuable work on photo-chemigraphy, and is applicable only to gelatine plates. Herr Moerch adds to every eight ounces of the ordinary ferrous-oxalate developer fifty drops of a solution of one part of iodine and of iodide of potassium in 150 parts of water. With this developer and proper exposure, gelatine plates of a low degree of sensitiveness can be given all the opacity needed, if a few drops of bromide be added as soon as the image appears. INTENSIFYING. This should be resorted to only as a last resort. It would be far better to make another negative more correctly exposed. If, however, this is impracticable, Mr. John Carbutt's formula is undoubtedly the best ; as follows : 1. Bichloride of mercury, 4 drams. Chloride of ammonium, - - - 4 drams. Water, - 20 ounces. 2. Chloride of ammonium, , - - -.1 ounce. Water, - . . 20 ounces. 3. (a) Cyanide of potassium, - -, . - 2 drams. Water, - " .. f 16 ounces. (6) Nitrate of silver, 100 grains. Water, - -, v " v 4 ounces. Add (5) to (a) until a small amount of the precipitate re- mains undissolved. 192 PHOTOGRAPHIC PRINTING METHODS. The plate, after fixing, is most thoroughly washed and im- mersed in No. 1 until it is perfectly white ; it is then well washed and immersed in JSTo. 2 for a few minutes ; after wash- ing well, the plate is flooded with No. 3, when it turns in- tensely black. The plate is to be thoroughly washed after this treatment. By the above method it is easily possible to make negatives or positives suitable for line or stipple work on slow gelatine plates. If, however, the operator prefers collodion plates, the form- ulas given in the Chapter on Photo-enamels will give the best plates. THE METAL PLATE. For the sake of brevity and conciseness, zinc has been se- lected as the metal to be treated of in the following pages. The operations are the same for copper, steel, bronze or lead, differing only in the acids used for etching. The plates are carefully planished and polished with pumice stone. They are then ready for coating with the sensitive substance, but better results will be obtained if they are first given a coating of resin, as recommended by Mr. Roux in his book on heliographic methods (Traite Pratique de Gravure Heliographique), as follows : A box is constructed of a size proportioned to the size of the plates to be treated ; its height should not be less than twenty inches. At the top and bottom of one side hinged doors are cut about four inches from each end. Screws are then placed on the inside of each end to hold the plate. The box is mounted on tre'ssels in such a man- ner as to allow it to be easily rotated. Half a pound of finely powdered resin is placed in the bot- tom of the box, the door closed, and the apparatus given two or three rotations. After two or three minutes' rest the zinc plate is placed on the the screw-heads. In a short time it will be covered with an even deposit of the resin ; it is then taken from the box, placed on a wire toasting iron, and heated until the resin assumes the appearance of amber. It is then re- moved and dried. The heating must not be carried too far, lest the resin be converted into a varnish which would make etching impossible. When dry the plate is ready for coating. PHOTOGRAPHIC PRINTING METHODS. 193 SENSITIZING MIXTURES. The following solutions may be taken as types of the various mixtures in common use : 1. Dry albumen from eggs, - 15 to 20 parts. Water, 100 parts. Bicarbonate of ammonia, - 2} parts. The solution is allowed to settle, and then filtered and a few drops of ammonia added. 2. Albumen of one egg. Bichromate of potassium, - 30 grains. Water, 6 ounces. The bichromate is to be finely powdered and then dissolved in the water, and the solution added .to the albumen beaten to a froth. After settling, the solution is filtered. 3. Gelatine (hard), - 231 grains. Gelatine (soft), - 231 grains. Bichromate of potassium, 462 grains. Bichromate of ammonium, - - 308 grains. Water, - 9^ ounces. The gelatine is first swelled in a portion of the water, and then dissolved by gentle heat in the remainder of the water containing the salts. Filter. COATING THE PLATE. The plate is levelled, the mixture poured on and evenly dis- tributed by means of a triangular piece of soft paper. When evenly coated, the surplus is drained off into a reserve bottle to be filtered before using again. The coated plate is dried at 120 deg. Fahr. in the drying-box described in the chapter on Enamels, If the operator is in possession of a turning table having a pneumatic holder in the center, the plate may be dried very quickly by placing it on the table, previously moistening the rubber ring of the holder, inverting the table, and rotating it rapidly. Another way of coating and drying is to immerse the polished plate in water and flow the solution over it while wet, draining off the surplus, and drying the plate by holding it at an angle over a lamp, avoiding over-heating. All these operations should be performed in a subdued light. 194 PHOTOGRAPHIC PRINTING METHODS. THE EXPOSURE. The exposure varies in length according to the density of the printing medium and the intensity of the light. Generally from three to five minutes in full sunlight and from fifteen to twenty in diffused light will be sufficient. Experience is the only guide. DEVELOPMENT. This is effected in water to which has been added sufficient of some aniline dye to give it a decided tinge. This enables the progress of the development to be more readily observed. As soon as the details are well out, the plate is dried sponta- neously, or with gentle heat. It is then ready for etching. CLAUSNITZER'S METHOD OF DEVELOPING. The exposed plate, coated with solution No. 2, is inked up with a fine-grained lithographic roller, using thick transfer ink. It is then placed in a tray of cold water and the ink washed away from the non-exposed parts with a well- wet dabber of cotton. This is to be done with a gentle circular motion, be- ginning at one corner of the plate and working towards the center ; care must be taken to avoid washing away fine lines and marks. If the plate was over-exposed, the ink will stick ; if under exposed, the finer portions of the work will be washed away. When all the superfluous ink is removed, the plate is washed in water, and dried with gentle heat. When it has cooled down, finely-powdered resin is dusted over it and well rubbed in, all excess being removed. The plate is then warmed until the resin begins to melt ; it is then etched, dried, rolled up, washed, resinized, and again etched. These operations are repeated until the necessary relief has been obtained. This process gives a lithographic block. THE ETCHING. The biting-in is done by means of a dilute solution of an acid. The following are recommended : 1. For Zinc Plates. Perchloride of iron (well dried), 50 grains. Alcohol (Atwood's), - - - - 100 grains. PHOTOGRAPHIC FEINTING METHODS. 195 2. Perchloride of iron, 1 dram. Water, - 40 drams. Hydrochloric acid, - 30 drops. 3. Nitric acid, - - . - }. ounce. Water, - 10 ounces. -t. For Copper, Bronze, and Steel. Perchloride of iron, - 1 dram. Water, 35 drams. Hydrochloric acid, - - 20 drops. 5. For Aluminium. Hydrochloric acid, 1 ounce. Water, - 5 to 10 ounces. 6. For Gold and Platinum. Aqua regia. 7. For Silver. Nitric acid, - 1 ounce. Water, - - 10 to 30 ounces. 8. For Stone and Marble. Hydrochloric acid more or less diluted with water. $. Glass. Fluorhydric acid (liquid) for transparent lines on a mat sur- face, and fluorhydric acid gas for mat lines on a trans- parent surface. Ill all these formulas the proportions of the acid may be in- creased or diminished at will, but a weak solution will usually be found to give the best results. Before etching, the edges and backs of the plates should be covered with a varnish of bitumen of Judaea to protect it from the action of the etching fluid. The duration of the etching depends entirely on the depth desired. For engraved work the etching need not be very deep. From one-quarter to one-half an hour will be sufficient. When the etching is completed the plate is well washed, rubbed with a cloth to remove all traces of albumen or gela- tine, and polished with pumice stone. It is then ready for the press, unless it is desired to harden it in the galvanic battery, as will be presently described. 196 PHOTOGRAPHIC PRINTING METHODS. During the etching it is always well to keep the solution in constant motion in order to renew the portion which touches the plate. This may be done by locking the tray. The process of etching reliefs is more difficult than with en- graved plates. In the former case the biting-in must be deeper, and to avoid the undermining of the relief lines by the acid it is necessary now and then to remove the plate, rinse, and dry it with heat, apply resin, and again warm to melt the resin that it may flow down the sides of the relief lines, and continue the etching. This process is to be repeated till suffi- cient depth is obtained. HARDENING THE PLATE. When a large number of impressions are to be taken from the plate, it is necessary to protect it from wear by giving it a coating of some more resisting metal, such as iron or steel. M. Roux recommends the following method : The well- cleaned plate is attached to the negative pole of a Bunsen pile of five or six elements, and placed in a copper dish containing the following solution : Chloride of ammonium. - ... 8 ounces. Water, - ... 40 ounces. Two plates of sheet iron of equal size are then attached to the two wires of a pile, which enter the solution. Several days are required to complete the operation. The plate, when well coated, is rinsed in water, polished with rouge, and wiped dry with a wad of tine linen slightly oiled. All the above methods can be employed for the production of engraved or relief plates, as reversed positives or ordinary negatives are used to give the impression. The process of printing from these blocks lies outside thp province of this book to describe. COLLOTYPE. This name is given to a process of mechanical printing from glass plates coated with a thin film of bichromated gelatine. Full working details of the process as practiced in one of the largest establishments. in Vienna are here given. The glass for the machine press should be patent plate one half an inch PHOTOGEAPHIC PRINTING METHODS. 197 thick ; for the hand press, it need be no thicker than ordinary glass. Preliminary Coating. The glass is thoroughly cleaned and coated with the following : Soluble glass, * 3 parts. Albumen, - - - - 7 parts. Water, - - 9 to 10 parts. The soluble glass must be free from caustic potash. The mixture is to be carefully filtered and used fresh. Apply an even coat, drain off the superfluous liquid, and dry. When dried, rinse the plate in water and dry again. It is now ready for the next stage of the process. The Sensitive Film. Bichromate of potash, - 1 part. Gelatine, - 3 parts. Water, - 18 parts. The plate is warmed slightly on a slate slab, placed in con- tact with the surface of a water bath, and flooded with the above solution, leaving just enough to make a very thin film. As soon as coated, the plate is placed on the levelled shelf of a drying box and dried at a temperature of 122 deg. Fahr. The time of drying must not exceed three hours. Exposure. The time required for exposure is short, and can only be measured by the actinometer. Experience is the only guide. When the printing is done the plate is washed in cold water for an hour to remove the soluble bichromate. If upon removal from the washing water the plate has a decided yellow tinge it will take up too much ink when rolled, and fail to give clear impressions. When washed and dried the plate should have the appearance of ground and polished glass, the high- lights being almost transparent and the shadows opalescent. Etching the Plate. This is only necessary when the print- ing is done on the steam press. The following is the etching fluid: Glycerine, ..... 500 parts. Chloride of sodium, ... 15 parts. Water, - . . . . - 500 parts. 198 PHOTOGRAPHIC! PRINTING METHODS. The plate is immersed in this fluid for half an hour, during which time the image gains in relief. It is then dried without washing and is ready for printing from. Inking and printing can be learned only from practice, and this cannot be taught in books. It is best learned at the press. When the printing is done on the small hand lithographic press, the plate requires no etching ; merely moistening with glycerine and water is all that is needed to prepare the image for the ink. Inking. The best results are obtained by rolling once with thick ink, followed by an application of a thin ink. The plate is laid upon a bed of plate-glass ; a moist sponge is passed over the surface ; it is then rolled two or three times with a soft roller, covered with wash-leather ; then a roller of glue, charged with lithographic ink is applied, and then another charged with thin ink. The paper to be printed is laid down on the plate and the impression taken off. MR. BJLEY'S METHOD FOR AMATEURS. The Substratum. Ale, * 1 ounce. Silicate of soda, - 8 drops. Place in a bottle and shake well ; allow the mixture to settle for twenty minutes, then filter. The plate, thoroughly clean, is given a coating of this substratum and stood on end to dry. When dry another coating is applied in the same manner, and the plate stood on the opposite end to dry. The Sensitive Film. Soak 44 grains of soft gelatine one quarter of an hour in sufficient water to cover ; then dissolve in a water bath. Then pour upon it the following solution, hot, but not boiling : Water, - 4 drams. Bichromate of ammonia, - 6 grains. Mix well and filter. Flow the prepared plate with this mixture, using one-half an ounce for a 5 x 8 plate, and place on a levelled slab in the drying-box. It should dry in two hours. Expose under an ordinary negative for an hour, then wash PHOTOGRAPHIC PRINTING METHODS. 199 in cold water for one and a half hour, and dry in the open air. When dry, damp with a weak solution of glycerine and water, ink as described above, and take off impression at once. Drying-Box. The box is 20 inches high and 12 inches square. Two ledges carrying two thumb-screws each are placed about six inches from the top. A glass slab covered with two or three sheets of blotting paper rests on the ends of the screws, and is to be carefully levelled before the plate is put in. A piece of iron 6x4x3 inches, heated in the fire, rests on angle irons about 6 inches below the glass slab. Ventilation holes are bored at the top and bottom of the box. The heat should not exceed 120 deg. Fahr., and should be kept as near that point as possible. METHODS OF GRAINING TYPOGRAPHIC PLATES. The word " grain " is technically used to express the ink-hold- ing power of the printing block or plate. In the case of a subject in line it is only necessary to produce incised lines or grooves below the surface of the metal. But this method will be found insufficient where there are shadows or half-shadows. The ink will be wiped away from these unless means are taken to prevent it. The lines must be broken up into dots or dashes in order to give a block which can be printed from. Many ingenious methods of producing this result have been devised. Of these, three of the most valuable have been se- lected for description. The Ives' Method. This consists in obtaining a positive on a bichromated gelatine film, which is swelled until the light parts of the picture stand out in bold relief. A plaster mould or cast is made from this. The cast is then inked in the follow- ing manner: The elastic composition of glue and molasses used in inking-rollers, is made in flat sheets, furrowed by V- shaped depressions, crossed by others not quite so deep. This gives an inking surface made up of a series of tiny pyramids, standing close together, and the ink is applied in such a way as to ink both the tops and sides of the pyramids and the inter- vening depressions or ditches. The inking surface so prepared is pressed upon the white plaster cast, and when it is removed, a reproduction of the original picture is seen, only in little 200 PHOTOGRAPHIC FEINTING METHODS. blocks instead of in continuous tone. This is photographed, and from the picture in line or point thus produced a relief plate is produced by any of the usual methods. The Meisenbach Method. In this process the original pic- ture is photographed through a grating made by coating glass with an opaque film, through which transparent lines are closely cut and crossing each other. This grating is placed a short distance in front of the picture, and it produces the curi- ous effect of transforming the darker portions of the picture into thicker lines. The relief plate is made from this line effect. The Photo-lithographic and Photo-gravure Methods. In photo-lithographic work the grain is produced by transferring the image in ink as described above to a grained lithographic stone. In the photo-gravure process the grain is produced by sprink- ling emery powder on the mould which gives the granulated surface seen in all photo-gravures. The same effect is sometimes produced by dusting the nega- tive before printing with emery or gelatine powder. THE ART OF MAKING PHOTO-GRAVURES. At a recent meeting of the Photographic Section of the American Institute, Mr. Ernest Edwards, President of the Photo-gravure Company, read a highly interesting paper on " The Art of making Photo-gravures," which was listened to with the closest attention by all present. To illustrate the grain and line work of the different photo-mechanical print- ing processes, he projected them upon the screen with the sciopticon. At the conclusion of his lecture, Mr. Edwards' head printer, Mr. Solrnan, who was in attendance with his presses, made some prints from various plates, and Mr. Ed- wards presented each of his auditors with a souvenir illustra- tive of this important branch of photography. The follow- ing are extracts from Mr. Edwards's article as published in the Photographic Times : " If I may venture the prediction, I think the history of photography for the next decade will be the history of ortho- chromatic work. Surely, next to the production of the colors PHOTOGRAPHIC PRINTING METHODS. 201 themselves, there is nothing to be desired so much as the ren- dering of the true values of these colors. I place the ortho- chromatic or isochromatic negative as the highest point yet attained in negative-making, and as constituting the outcome to-day of that germ that was brought into being nearly a hun- dred years ago. ***** * " Kow let us consider for the moment what are the conditions necessary to be secured in a metal plate made by photography and suitable for plate-printing. In the case of a subject in line only, an incised line or groove must be made below the surface of the surrounding metal. The ink is dabbed or rolled into such lines, and the surface of the plate cleaned with cloths and the ball of the hand, leaving the ink only in the incised lines. This ink is transferred to paper by pressure, and be- comes the impression. This is all well enough in the case of lines, but it is clear it will not be sufficient where there are masses of shadow or half-shadow. The cloth, or the hand, will wipe away the ink from these masses of shadow, unless some- thing is done to prevent it. Of course, in line-engraving a series of lines may be made which forms a shadow, each of which series has an ink-holding capacity, and, out of which, the ink cannot be wiped. The closer these lines are together and the deeper they are, the stronger is the shadow produced, because the smaller is the amount of surface to be wiped clean. Again, to go a step further, a series of lines may be incised or engraved on a plate, and at right angles to these a similar series. In this way, assuming that the incised lines are Y-shaped, noth- ing will be left of the surface of the plate but a series of points, each of which is the apex of a pyramid and each of which prevents the cloth or the hand from wiping the ink out of that portion of the plate surrounding it. This is the essen- tial cardinal feature of a plate for plate-printing, and this is the essential cardinal feature which must be obtained in any photographically-produced plate of a similar kind. Whether formed in the way I have described, or whether the plate, is honeycombed with a series of cells, of which the walls reach to vthe surface of the plate, there must be an ink-holding capacity to the plate, which must not, therefore, simply be a 202 PHOTOGRAPHIC FEINTING METHODS. a plate in relief and depression. If that only were needed, ifc would be easy enough to make, by means of gelatine and bichromate, a picture or matrix in relief and depression from any photographic negative, and deposit copper on it till thick enough to print from. But such a plate could have no value, as it would have no ink-holding capacity, and, therefore, all the ink would be wiped out of it in the process of cleaning. Some device must be obtained by which this ink-holding capacity, or grain, as it is commonly called, shall be given to the plate. The solution of this problem has been sought by an army of experimentalists, and numberless ingenious devices have been utilized in order to solve it. It may be broadly stated that the production of a grain which shall be effective for the purpose and yet shall not be apparent in the finished picture, is the keystone of all methods or processes for mak- ing successful photo-gravure plates. * * # # * * * "You see we have here the aquatint device for graining, the keystone of success for his process, though possibly not under- stood to be so by him. Mr. Talbot then goes on to describe minutely the methods and the preparation of the chemicals- used for etching, and I can say that his descriptor , given nearly forty years ago, will serve as a text-book for the etcher of to-day. Altogether his process is marvellously close to the method of producing photo-gravure plates by etching as now practiced. "But of all these processes, with all the ingenious devices in- vented in connection with them, two only remain in general use to-day. One is the deposit, the other is the etching pro- cess. I venture to predict that finally the etching process will be master of the situation. Letting alone the greater facility and economy of production it offers, the results produced by it are equally good in the case of reproductions, and better in the case of photographic work directly from nature or life. I have stated that the etching process is the one used by our company, and the results are before you. I am bold enough to say that photo-gravure work in America to-day equals any in the world in the matter of reproductions, and excels any in the world in the matter of pure photographic work. I shall ask your PHOTOGRAPHIC PRINTING METHODS. patience a moment longer whilst I describe broadly our method of producing a photo-gravure plate. ******* " But I would like to say a word as to the advantages of pho- to-gravure as a method of photo-mechanical printing. It is not a cheap process. It cannot be printed with type. But just as a steel or copper-plate print has qualities which are not possessed by a wood-cut, a photo-gravure has qualities quali- ties which go without saying, not possessed by any method of typographic photo-engraving. What is known as the photo- gelatine process also produces results superior to the type method. Sut, although photo-gelatine work has a quality of its own, and is in some respects unexcelled, photo-gravure, in other respects, has advantages over it. A photo-gravure can be improved and altered as much as may be desired after the plate is made till just the result needed is obtained, and when obtained the printing ceases to be a source of anxiety, as the edition printed should always be uniform. The plate is good for subsequent editions which are exactly like the first whenever desired, and they are made without the further action of light. There is a strength and robustness, and the blacks are more nearly velvet in a good photo-gravure plate than in any other photographic method. And there is room for far greater artistic development in photo-gravure than in any other photographic method. 1 cannot forbear in this con- nection from adverting to an unfortunate tendency that exists among some manufacturers and some publishers to call photo- gelatine work by the name of photo-gravure. What is the sense of this ? Nothing in the world can beat the special qual- ities of gelatine printing qualities which photo-gravures do not possess. And nothing in the world can beat the special qualities of photo-gravures qualities which photo-gelatine prints do not possess. To my mind it is as much an outrage on photo-gelatine as on photo-gravure work to reverse the names. Yet the tendency is to do just this thing a serious mistake that will become, if not checked, a serious misfortune. Would there be any sense in calling a lithograph a steel-en- graving ? It would be just about the same as calling a photo- gelatine print a photo-gravure, and, though the result might 204: PHOTOGRAPHIC PRINTING METHODS. benefit the producer for the moment, it would be otherwise when the deception was discovered. " In going through all the ancient, yet modern, history of the development of photo-gravure, one can but ask that old, old question, f What is there new under the sun ?' " With the story before us of Fox-Talbot's process and the process of Pretch, of Woodbury's process, and of aquatint engraving, of steel-facing, and all the other tricks and turns, what is there new in what we are doing to-day ? Nothing, absolutely nothing. These men played the same play that we are playing, knew the words and the cues just as well as we do, only in one respect, one grand respect, is the situation changed. They played to empty benches. We have an audience largely in this vast new world an audience ready to applaud and to support all those results and efforts which tend to raise photog- raphy into art." PHOTOGRAPHIC PRINTING METHODS. 205 CHAPTER XYI. VARIOUS METHODS FOB PUTTING PICTURES ON BLOCKS AND METAL PLATE* FOR THE USE OF THE ENGRAYER. ALTHOUGH photo-mechanical methods have made great advances within the last few years, the results obtained by them remain still vastly inferior to those obtained by the older method of hand engraving. No photo-chemigraphic method has yet been made public which will give a good rendering to subjects in half-tone. There are several secret processes which give good results, but doubtless much of their excellence is- due to skillful touching up of the plate with the graver. A plate produced by any of the photo-mechanical meth- ods is necessarily lacking in that subtle interpretation of nature in various moods, which gives charm and value to a good im- pression from a hand-made block. While photo-engraving methods will probably always be de- ficient in this all-important quality, photography itself can ren- der great assistance in transferring to the block or metal plate accurately reduced or enlarged copies of any subject, leaving the artist free to interpret the subject in his own fashion. The methods given below are those which have been ap- proved by practical operators; they may, therefore, be em- ployed with perfect confidence. They all belong to that clas& of methods to which the name autographic has been given. Good Rives paper sized with gelatine is floated for three minutes on the following solution, taking great care to remove all air bubbles, as these will produce white spots in the devel- oped print : Water, - 34 ounces. Gelatine, - '-. ' - - 4f ounces. Isinglass, * - - - 1 ounce. Bichromate of potassium, - 231 grains. After floating, the paper is carefully removed from the bath and dried on a slightly inclined piece of wood or glass. The floating and drying must be done by yellow light. 206 PHOTOGRAPHIC PRINTING METHODS. As soon as the paper is dry it is exposed under a negative or a positive, the former for proofs in black on a white ground ; the latter for prints in white on a black ground. The time of exposure varies from two to ten minutes, ac- cording to the density of the negative and tie strength of the light. After exposure the print is soaked in cold water until all yellowness has disappeared ; it is then placed on a piece of glass, and inked with a soft roller charged with lithographic transfer ink. "When all the details are well out, the image is copied on wood, glass, or metal, in a lithographic press, the paper bear- ing the image having been previously placed face down on the block. After the impression is made on the block it is lightly washed with a sponge dipped in acidulated water, and when dry it is ready for the engraver. THE ASPHALTUM METHOD. The block or plate to be engraved is coated evenly with the following solution : Benzine, 17 ounces. Asphaltum (oriental), - - 308 grains. When the block is dry it is exposed under a negative or positive twenty minutes in full sunlight, or one hour in dif- fused light. The image is developed in turpentine, and when fully developed the plate is washed under a tap and allowed to dry spontaneously. It is then ready for engraving. COPYING MAPS, FLANS, ETC., WITHOUT A CAMERA. When tracings, maps, etc., are to be copied on the same scale, the method introduced by M. Yidal in 1883 can be used to advantage. The engraving or other object to be copied is immersed for twenty minutes in the following bath : Distilled water, - - 34 ounces. Caustic potash (pure), - 154 grains. Alcohol, - - - 13 drams. Acitate of soda, - - 771 grains. After immersion the paper is carefully withdrawn from the bath and placed on a piece of glass covered with a coating of PHOTOGRAPHIC PRINTING METHODS. 207 plaster-paris about one-eighth of an inch in thickness. As soon as the surface moisture has evaporated, turpentine in suf- ficient quantity to form a thin layer is rapidly poured over the paper and allowed to dry partially. The picture is then inked with a velvet roller charged with lithographic ink. The ink- ing is to be continued until all the lines appear black by reflected light. The print is then allowed to dry for fifteen minutes, when it is ready for the impression on the block in the press as described above. The impressed block can be engraved as usual. A very easy method of preparing metal plates for the engraver is to flow iodized collodion over them and expose them in the camera in the ordinary wet plate holder. The Collodion. Alcohol - - - - - - 16 ounces. Ether, ..... 16 ounces. Iodide of ammonium, , * - 62 grains, Iodide of cadmium, 46 grains. Bromide of cadmium, * - " . . 15 grains. Azotic cotton, - - 123 grains. The cotton, the iodides, and the bromide are first dissolved in the alcohol and the ether added when solution is complete. The collodion must be at least one day old before it is used, and should be decanted just before the plates are flowed. Preparing the Metal Plates. Before collodionizing, the plates should be varnished with a black engraving varnish, such as the following : Virgin wax, ..... 15% drams. Amber, - - - - - - 15% drams. Mastic, ..- - 15% drams. Resin, - j* , ,*- .- 7% drams. Black pitch, - 7% drams. Turpentine, - - 3^ drams. When the varnish is dry the collodion is flowed over the metal plate just as a glass plate is flowed. Exposure in the camera follows, and development is effected by pouring over the surface of the plate a sufficient quantity of the following solution : 208 PHOTOGEAPHIC PRINTING- METHODS. Water, - 34 ounces. Sulphate of iron, - 617 grains. Acetic acid, - - 7^ drams. Alcohol, - 7 T 7 7 drams. Sulphuric acid, - IY^ drams. The developer is allowed to act until all the details are well out. The plate is then washed and fixed by flowing over it sufficient of the following bath : Water, - 34 ounces. Cyanide of potassium, - - 462 grains. The plate is ready for the engraver as soon as it is washed and dried. The author finds that the gelatine emulsion given in a pre- vious chapter for bromide of silver paper is well adapted for this process, applying a very thin film to the plate. PHOTOGRAPHING ON WOOD. FREWING'S METHOD. Preliminary Preparation of the Block. The block is first coated with the following : Gelatine, ------ 2 drams. White soap, - 2 drams. Watei, - 16 ounces. The gelatine is to be soaked for some hours, and then dis- solved in a water bath. The soap is added in thin shavings, and the mixture well stirred with a glass rod ; after which powdered alum is added until the frothiness disappears. The solution is then strained through muslin. Coat the face of the block with this mixture and a little zinc white, giving it a very thin coating. Rub it in well and evenly, and set aside to dry. When dry the block is again coated with the following mix- ture, using a wide camel' s-hair brush, and applying the solu- tion with one sweep of the brush from end to end : Albumen, - 1 ounce. Water, - 5 drams. Sal ammoniac, - - 18 grains. Citric acid, 5 grains. Beat the albumen to a froth, and allow it to settle ; use only the clear part. Then add the sal ammoniac, stirring well with PHOTOGRAPHIC PELNTING METHODS. 209 a glass rod, and finally the citric acid. Coat the block, and when dry sensitize with the following solution : Nitrate of silver, - - 50 grains. Water, distilled, - 1 ounce. Pour a small quantity on the block, and spread it evenly with a glass rod, any surplus being preserved for use again after filtering. When dry, print under a reversed negative. Over-printing is not necessary, as the print does not lose in finishing. After printing, hold the block, face down, in a strong chloride of sodium solution for three minutes. The picture will fade slightly in this bath, but as the fixing-bath will bring back all the detail, this is of no consequence. Wash the block well under a spray of water, and fix by holding face down in a saturated solution of hypo for five minutes. Then wash for ten minutes under a spray, and set on end to dry. The block is then ready for the engraver. The image may be toned by any of the usual methods. IVES' METHOD. Whiten the block by putting on two or three drops of thick salted albumen ; then sprinkling on a little pure white lead, ,and spreading and mixing them with the ball of the hand until the coating is thin, smooth, and even. Set the block on end to dry. Then polish with a brush, and sensitize by covering the surface for two minutes with a sixty-grain solution of silver nitrate. Rub off with a blotter, and again set on end to dry. Then fume twenty minutes with ammonia, and expose under a reversed negative. When sufficiently printed, wash thirty seconds in running water, and tone and fix in a 1 to 6 hypo- sulphite of soda solution, to which has been added a pinch of carbonate of soda and a little chloride of gold. The block should be kept face down in this solution for twenty minutes, and then well washed and set on end to dry. It is then ready for the engraver. There seems to be little choice between these two methods, both being equally simple, and both leaving the block in good condition for the graver's tool. 210 PHOTOGRAPHIC PRINTING METHODS. CHAPTEK XVII. RECOVERY OF SILYER FROM PHOTOGRAPHIC WASTES, PREPARATION OF SIL- YER NITRATE, Etc. THE photographic practitioner will do well to save his wastes for treatment for the recovery of the silver and gold contained in them. Only an exceedingly small portion of the silver and gold used in the various operations appears in the finished negative or print. The remainder is dissolved out in the fix- ing bath, washing water, etc. These should therefore be placed in a convenient vessel and treated with zinc to precipi- tate the silver. 'No process of recovery is simpler or more effective than Dr. Stolze's method with hypo and zinc. The following description of the process is taken from the Photographic Times: " Chloride, iodide, and bromide of silver are the salts we find in photographic wastes, either when in a pure state or mixed with others, frequently soluble salts. One of the best methods to reduce them metallically is to dissolve them first in a saturated solution of hyposulphite of soda, diluted with one or two volumes of water, and subject the solution to the fol- lowing process : " Silver haloids in substance require simply to be dissolved, but when in emulsions, like residues in bottles, or failures in preparing them, the emulsion should first be reduced to shreds or nodules, and then thrown into the fixing bath till they have become semi-transparent, when the solution is squeezed from them, and the residue again subjected to the hypo bath. Very old emulsion, the viscosity of which has been partly or totally destroyed, must be solidified by slightly warming, and mixing with it a sufficient quantity of a five per cent, solution of chrome alum. " When all the silver has been dissolved, narrow strips of sheet zinc, previously cleaned with muriatic acid and well PHOTOGRAPHIC PRINTING METHODS. 211 washed with water, are placed in the solution. There is no absolute necessity of cleaning the zinc, still its pure metallic surface, freed from cuticles of oxide, accelerates the reduction of silver very considerably. When a number of zinc strips are suspended on different parts of the vessel holding the solution, a thorough reduction of the silver is effected in about forty- eight hours, but sometimes it will take longer time. The con- tents of the vessel should be stirred up frequently. A coarse black deposit settles upon the bottom of the vessel and the strips of zinc, from which it must be brushed occasionally, to allow more of it to precipitate. The precipitate consists of metallic silver, zinc, and some sulphide of silver, and before it is subjected to further operations it must be well washed in wa ter an easy matter on account of its coarseness and gravity. " Old fixing baths, accumulating in the photographer's labor- atory, may be utilized for the dissolving of emulsion remnants or haloids in substance, as long as they possess the power to do so. When perfectly well saturated, a little fresh hyposulphite solution may be added. " The clear liquid, from which the precipitate has been re,- moved, still contains traces of silver, which will be separated by heating. This amount of silver is insignificant if the opera- tion -has been conducted with care ; and if the zinc has re- mained in contact with the solution for about two days, it it so small that it can scarcely be detected by reagents. " The washed precipitate can then be dissolved in nitric acid, diluted with half its volume of water. The substance is not dissolved totally, and a black residue remains, consisting partly of impurities of the zinc, of chloride of silver (the consequence of impure nitric acid), or of gold, and should, therefore, be treated separately with aqua regia for its recovery. " The filtered solution of impure and acid nitrate of silver is then precipitated with a strong solution of common washing soda, as long as carbonate of silver is forming. An excess of soda is not important. " By repeated decantation and changes of distilled water, the precipitate is washed to perfection and then dissolved in ^chemically pure nitric acid. To avoid an excess of acid in the 212 PHOTOGRAPHIC FEINTING METHODS. solution, great care must be observed ; some of the carbonate of silver remaining undissolved is a guard against undue acid- ity. A more convenient plan would be to divide the precipi- tate, acid being added to four-fifths of it, till all effervescence has ceased. A decidedly acid solution will be the result, which may be neutralized by adding gradually small portions of the fifth part of the precipitate of carbonate of silver. By care- fully adding diluted nitric acid, when necessary, and carbonate again, an absolutely neutral solution can be obtained, which consists of chemically pure nitrate of silver. " By reducing the product to about ten per cent, and a slight acidulation, it can be used as a negative bath, or as a positive printing solution, by giving it alkalinity with carbonate of soda. " To evaporate the result to crystallization, or to fuse the nitrate of silver obtained, is useless ; neither of the operations can improve it, and would incur only a waste of time and labor. "A great part of the silver waste, not soluble in hyposul- phite of soda, comes from paper. Unfixed prints when not toned, had better be fixed, and the remnant be refused. The exceedingly small quantity of reduced silver, contained in them pays neither the cost of incineration nor refining. It is differ- ent with toned pictures, where gold and silver combined may still give returns sufficient to exceed the cost of labor and time. " The main condition in doing this is to incinerate the paper, which is quite a difficult piece of work. If the draft of the furnace is not strong enough, the combustion of the paper is not thorough, and large masses of carbon remain, which make the reduction of the metal a difficult operation; and if too strong, a great part of the paper will go up the chimney. A better method is to soak all the paper in a concentrated solution of saltpeter at a temperature of 100 deg. Fahr. The well-impreg- nated paper burns well, after being dried ; it needs no draft, and it can be consumed in an open vessel, where it burns with- out flame, glimmering away into ashes. Macerating the ashes in a five per cent, solution of sulphuric acid will dissolve the greatest part of foreign salts, leaving a residue of pure metallic PHOTOGRAPHIC PRINTING METHODS. 213 silver, soluble in nitric acid. The presence of gold will be indi- cated by a black powder, remaining after dissolution, which can be worked up with nitro-muriatic acid. The acid silver solution when treated with carbonate of soda, as described above, will give the same results. " The method given is evidently cheaper and more reliable than the one generally resorted to fey photographers, that is, by refining* 5 the ashes. If they contain much ashes a large quantity of saltpeter must be added with the flux, and no mat- ter how high the temperature of melting will be, some silver remains unreduced. Another part of it remains suspended in the flux, and sinks into the mass of the crucible. In large refineries, flux and crucibles are crushed, roasted and worked over again. To the photographer the other method is without doubt more profitable, as with it but a trifling loss of the prec- ious metal can occur. "To regain silver from the washings of albumen prints, most photographers use salt as a precipitant. This is quite correct so long ^s an excess of salt is avoided. Chloride of silver being soluble in chloride of sodium it happens invariably with careless operators that a part of the valuable and redis- solved silver precipitate is thrown away. Hydrochloric acid is preferable, for with it the danger of too much salt is out of the question. Still better is the precipitation with carbonate of soda, and a repetition of the process as described. "When the photographic papers have been salted with chloride of ammonium instead of with chloride of sodium, the nitrate of ammonia formed during the silvering of the paper partly prevents the formation of carbonate of silver. In such cases the supernatant clear liquid should be again tested for silver, and eventually be reprecipitated. "Remnants of emulsions can be liquified by hydrochloric or sulphuric acid, from which, after proper dilution, the silver bromide will precipitate, in which state it may be dissolved in hypo at once. " With all these methods, time and attention must be given to the work ; precipitations must be perfect, the clear waters being removed carefully, and the deposits washed thoroughly. In comparison with the older modes of working, those which 214 PHOTOGRAPHIC PRINTING METHODS. I have here described will be found to be far more reliable and economical." PLATINUM RESIDUES. Old developing solutions and acid baths containing platinum are placed in any convenient receptacle. Strips of sheet zinc are then suspended in the liquid. After three or four days a black precipitate containing platinum will deposit? on the bot- tom of the vessel. When a sufficient quantity of the precipi- tate has deposited, the liquid is poured off, the precipitate dried and sent to the refiner. PREPARATION OF SILVER NITRATE. Dissolve an old-fashioned silver dollar in nitric acid with gentle heat, and evaporate until crystals are formed. Wash the crystals on filter paper with dilute nitric acid, redissolve in water, and again evaporate to dryness. The resulting crys- tals may be used for the sensitizing bath. If adulteration with copper be suspected, the aqueous solution must bs treated with silver oxide before evaporation. The silver oxide is added in small quantities, until the blue or greenish color, due to the presence of copper, disappears. The copper will precipitate as a black powder, carrying with it all excess of silver oxide. To test the completeness of the substitution of silver for copper, place two or three drops of the solution in a glass measure, add a dram of water, and then add ammonia drop by drop until the resulting precipitate is redissolved. If no blue color is apparent the substitution is complete ; if not, more silver oxide must be added. When the substitution of silver for copper is completed, the solution is decanted and filtered. It is then tested with the hydrometer and distilled water added, if necessary, to give the proper strength. PREPARATION OF GOLD CHLORIDE. Bend a quarter-eagle gold piece, and place it in a wide- mouthed bottle ; then mix one dram of nitric acid with five drams of hydrochloric acid, and add about three drams of this mixture to the gold in the flask. Place the flask in the sun PHOTOGRAPHIC PRINTING METHODS. 215 until the gold is nearly all dissolved, occasionally shaking it. Then pour the clear liquid into a fifteen-ounce bottle, add a little more of the mixed acids to the gold, and when the latter is dissolved, pour the clear liquid into the fifteen-ounce bottle, adding to the liquid remaining in the flask eight or ten ounces of water. Shake well, and allow the white deposit, chloride of gold, to settle. While this is taking place, add gradually to the contents of the fifteen-ounce bottle small lumps of common whiting, until effervescence ceases, an indication that all the acid has been neutralized. Now add the water in the flask, and make up to fifteen ounces. This will give a slightly acid solution which will keep indefinitely if kept in darkness. The solution contains one grain of gold to each dram of water. ENCAUSTIC PASTE. (Dr. Eder's?) White wax, 28 drams. Gum dammar varnish, - 1 dram. Rectified essence of turpentine, 28 drams. This paste is to be kept in a well-stoppered bottle and thinned with turpentine whenever it thickens. To use, apply it to the mounted print with a flannel and pol- ish with a dry flannel. The paste gives a fine gloss and adds very much to the brilliancy of the prints. ENAMELLING ALBUMEN PRINTS. Patent plates of the required size are thoroughly cleaned, polished with finely powdered French chalk, and coated with plain collodion containing 1 to 1 percent, of azotic gun cotton and a little castor oil. The following formula will answer : Azotic gun cotton, - - 120 grains. Methylated alcohol, - 10 ounces. Methylated ether sulph., - - 10 ounces. Castor oil, - . - - 20 drops. These plates will keep indefinitely, and may be made 'in quantity, and stored in dust-proof boxes in a dry place. 216 PHOTOGRAPHIC PRINTING METHODS. "When ready to enamel the prints, a sufficient number of plates are washed in water until all greasiness disappears. One of the washed plates is placed collodion-side uppermost, in a dish filled with cold water. The print, previously soaked in cold water is placed face down upon the plate, the print and plate are then raised from the water, raising one end first. They are then placed between blotters, and all excess of moisture re- moved with the squeegee. Print and glass are now set aside to dry. When dry the print will leave the glass. APPENDIX. THE EEY. W. H. BUKBANK. The author of " Photographic Printing Methods," "The Photographic Negative," and other valuable contributions to photographic literature, was born in the city of Lowell, Mass., October 18th, 1853. In 1858 his parents removed to Vermont, and he, of course, went with them. Here the family resided until 1865, when they all made another move, and this time westward. Young Burbank lived successively in Indiana, Ohio and Kansas for the next four years, in 1869 returning eastward with his parents to Cambridge, Mass. Here he prepared himself for college at the Boston Latin and the Cambridge High Schools, entering Harvard University in 1872, and graduating in 1876. During the last two years of his University course much time was devoted to the study of fine arts under Prof. Charles Eliot Norton, and the year succeeding graduation was spent mostly in private study with Prof. Norton. Then followed three years of study at the Episcopal Theological School at Cambridge. Mr. Burbank' s first ministerial work was in a mission in a New Hampshire hamlet, under the shadow of the White Mountains; and here it was that he became interested in photography, his first camera being " a "Walker box." "With this instrument he scoured the entire country-side for miles surrounding his home, in search of the many picturesque views that abound in this region, and soon became an expert photographer. About 1882 he removed to the banks of the Hudson, and, with a larger camera, spent much time in field work. At Newburgh-on-the-Hudson, Mr. Burbank commenced the close 218 APPENDIX. study of photographic literature, which he has continued ever since, and the result of which and the experimental work it involved, was the production of the two contributions to the literature of photography, which are now so well and widely read. " Photographic Printing Methods " appeared first in July of 188T, because its need was the most apparent, there being no work on that subject then in the American market. Its companion, " The Photographic Negative," appeared later, in February of '88, and proved itself scarcely less popular than its predecessor. A second edition of the former work has been in demand for many months, more than five hundred copies of the book being sold within the first month after publication. This was an unprecedented sale for a photographic book. About this time Mr. Bur bank began to write for the Photo- graphic Times, contributing monthly since then, his review of " Pictures of the Month," and " Chips from an Amateur's Workshop," besides frequent reviews of French and other foreign photographic publications, as the result of his wide and careful reading, and for which his knowledge of the foreign languages so well fits him. He has also conducted a department devoted to amateur photography in The Art Amateur, since January 1st, 1889. And all this in addition to his regular parish duties ! In the summer of 1887 he carried a Scovill Detective Cam- era across the Atlantic, and did some photographic work on British soil. On returning to America again, he began the study of photo-engraving and photo-mechanical printing pro- cesses, becoming familiar with their practical manipulations, and since then writing considerably on this important depart- ment of photographic work. In the spring of 1888 he removed to Brunswick, Maine, where he found a wide field for his camera. Mr. Burbank is a devoted admirer of photography, and a close student of its literature. " In ten years," he says, " I hope to know some- thing abouFthe subject ;" and he continues his study and work as if he intended to know all about the subject. Mr. Burbank has done considerable in the making of emul- sion; bromide, chloride, and other papers; and in "The APPENDIX. 219 Photographic Times Annual for 1888," described a new cam- era and tripod head, of which numbers have since been made. He has also made a detective camera which is ingenious and useful. The portrait which embellishes this volume, as a frontis- piece, is an excellent one, made by A. O. Reed, of Brunswick, Maine ; and was reproduced from the negative, in Meisenbach, by William Kurtz, of New York. W. I. LINCOLN ADAMS. INDEX. A CTION of Light on Sensitive *^^ Compounds 12 Ammonia-Nitrate of Silver Bath, The, 28 Floating the Paper on 28 Time of Floating 28 Asphaltum Method of Printing on Blocks or Metals 207 Autographic Methods 205 Sensitizing 205 Exposure 205 Inking 205 Printing 206 T)LUE PRINTS 22 13 Collachi's Methods for Making. 22 Pizzeghilli's Method " ... 22 Poitivin's M " ... 23 Bromide Enlargements, Finishing on, 119 Crayon Finishing 120 Pastel " 121 Water Color and Indian Ink Fin- ishing 121 Bromide of Silver Emulsion, Printing with 66 Coating , 67 Other Methods of Coating 69 How to Use the Apparatus for Coating 71 Exposure 73 Development 73 Eastman's Developer 73 Clearing Solution 73 Fixing Bath 74 The Use of Bromide as a Re- strainer 74 Enamell ing ? 75 Another Method of Enamelling, 75 Flexible Prints 76 Straightening Unmounted Prints. 76 How to get Black Tones like Platinum 76 Sepia Tones 76 Ferrous-Citro Oxalate Developer 77 Preserving the Ferrous Oxalate Developer 77 Hints 77 Treating the Prints with Plati- num 78 Bromide Prints for Photo-Mechanical Engraving 79 /CARBON PRINTING 96 ^ Negatives Suitable for 96 Reversed negatives for 97 Drying the Sensitized Tissue 97 Developing Trays 98- Formulas for Single and Double Transfers 98 Pigment Solutions 99 Printing 100 Development 100 Single Transfers 100 Double " 101 Printing from ordinary negatives without transfers 102 Continuing Action of Light in. .. 103 Failures in 103 Collodio-Chloride Process, The 86 Coating the Paper 87 Toning 88 Collotype, The 196 Preliminary Coating 197 222 INDEX. PAGE The Sensitive Film 197 Exposure 197 Etching the Plate . . .* 197 Inking 197 Copying Cameras 119 Copying Maps, Plans, etc., Without a Camera . . .206 "PREFECTS IN SILVER PRINTS, ^"^ How to Overcome. 39 Marbled and Streaking 39 Clear on the Surface, but Streaky when examined by transmitted light 39 Cold and Faded Appearance 40 Spots on surface 40 High-Lights, Yellow 40 Intense Bronzing of Shadows du- ring Printing 40 Yellow Spots on Surface or Back 40 Mealiness. . . 40 Refusing to Tone 40 "P NLARGING 109 ^~^ Negatives for 109 The Light for 109 The Apparatus for 109 An Ordinary Camera for 109 An Improvised Apparatus for. . . . Ill The Eastman Apparatus for. . . . 112 An easily constructed Apparatus for 114 Apparatus for Electric Light. . . . 115 With the Oil Lantern 116 Enlargments, Table for 118 On Opal Glass 121 On Canvas 122 By the Powder Process 122 On Canvas in the Solar Camera. 123 In the Solar Camera by Develop- ment 124 Platinum in the Solar Camera. . . 125 From Enlarged Negatives 128 Carbon 128 By the Collodion Transfer Process 129 By the Photo-Crayon Process 130 Enamelling Albumen Prints 215 Enamelled Intaglios, the Process for Making 188 T^ABRICS, Printing on, by the Car- 1 bon Process 108 Ferric Oxalate, Preparation of 56 Fixing Bath, The 47 Its Purpose 47 Its Composition 48 How Long to Fix 48 Maxims for Fixing 48 Fuming 33 Time of . 33 /^ELATINO-BROMIDE EMUL- ^"r sion, Printing with 65 Apparatus 65 Gelatino-Chloride Paper, Printing on 82 The Emulsion 82 Development 82 Wellington's Method with Citric Acid 83 Eder's Method....- 84 Ferrous Nitrate Developer for. . . 85 Gelatino-Chloride Printing-out Paper 85 J. Barker's Method for Printing on 86 Printing, Toning and Fixing on . . 86 Gelatinized Paper, Printing on 53 Gold Chloride, Preparation of 214 RON COMPOUNDS, Printing with 17 The Law of 17 Two Methods of 17 Method for Obtaining Blue Prints 17 Purple Image 18 Methods" " Other Tones 18 Points to be attended to in 18 Various Formulas 18 To Sensitize Paper for Blue Prints 20 INDEX. 223 To Deepen the Color of Blue. . . 20 To Give Blue Prints a Green Tone 20 To Give Blue Prints a Brownish Tone.... 21 To Give Blue Prints Sepia Tones 21 To Give Blue Prints Lilac Tones 21 To Make Black Lines on a White Ground.. 23 T ANTERN SLIDES ' L -' On Wet Plates Coloring , Leatherized Paper, Printing on. Linen, Printing on Sizing Solution . . , Salting Solution O 142 142 148 53 I 105 105 1051 TV/f ECHANICAL PRINTING ... 190 1V1 The Metal Plates for 190 The Positives and Negatives for. . 191 Intensifying 191 The Metal Plate 192 Sensitizing Mixtures 193 Coating the Plate , 193 The Exposure 194 Development 194 Clausintzer's Method of Develop- ing 194 The Etching 194 Hardening the Plate 196 Mr. Riley's Method for Amateurs 198 Ives' Method of Graining Typo- graphic Plates for 199 The Meisenbach Method 200 The Photo-lithographic and Pho- to-gravure Methods 200 Mounting 90 The Card Mount for 90 Placing the Print in Position 90 Treatment of the Prints before. . . 91 Medium for 91 W. J. Stillman's Mountant 92 In Optical Contact with Glass. . . 92 On Plate Paper 94 Enlargements on Cloth 117 PAGE PAL PRINTING 160 The Emulsion 160 Coating 160 Printing 161 By the Powder Process 161 OASTE, Encaustic 215 Photo-ceramics 165 The Apparatus 165 The Negatives 167 Formulas for the Collodion 168 Sensitizing Bath 168 Developer 168 Intensifier 168 Fixing 167 Stripping the Films 169 The Firing or Burning-in 171 Retouching 172 Stock Mixtures for 173 Practical Manipulation 175 Pavlowsky's Method with Pig- ment Paper 175 Husnick's Methods 176 Liesegang's Dusting-in Method. . 176 Watson's Substitution Method. . . 179 Photo-gravures 200 The Process for Making 201 Graining 202 Etching 202 Advantages of 203 Photographing on Wood by Frewing's Method 208 Photographing on Wood by Ives' Method 209 Plain Paper, Printing on... 51 Platinotype, The 55 Sizing 55 Stock Solutions 56 Chlorate of Iron Solution 57 Sensitizing Solution 57 Keeping Apparatus Dry 58 Sensitizing the Paper 58 Drying the Sensitized Paper 59 Preserving the Paper 59 Printing 60 Developer 61 224 INDEX. Development 61 Washing the Prints 62 Porcelain Printing 162 Collodion 162 Preparation of the Plate 162 The Exposure 162 Toning 163 Potassic Ferric Oxalate, Preparation of 56 Preparing Metal Plates for the En- graver 207 The Collodion 207 Preparing the Plates 207 Developing 207 Fixing 207 Printing 34 The Frame 34 Printing Maxims 35 Printing Rules for Cold Weather 50 Preserving Sensitized Paper 39 D EADY-SENSITIZED PAPER, ** Printing on 36 Toning Bath 37 Fixing Bath 37 Recovery of Silver from Photographic Wastes 210 Recovery of Platinum from Resi- dues 214 Red Prints 163 Methods for Making 163 On Silvered Paper 163 By the Carbon Process 163 By the Nitrate of Uranium Pro- cess 163 Resinized Paper, Printing on 51 Bertrand's Method 51 Henry Cooper's Method 52 Resume of Printing Processes 14 CILVER BATH, The 25 *^ To Determine the Strength of Salting of any Paper 25 Preparation of the Bath 26 Formula for Sensitizing Baths for Strong Negatives 2 Formula for Sensitizing Baths for Thin Negatives 27 The Author's Favorite Bath 27 C. W. Hearn's Formula 27 Management of 30 Methods of Removing Impurities from 30 Points in Sensitizing 32 Silk, Printing on '. 105 Platinum Process for 105 The Carbon Process for 108 Silver Nitrate, Preparation of 214 T HEORY OF LIGHT, The 11 Toning 41 Stock Solution for ; 41 For Brown Tones 41 For Black, Velvety Tones 41 For Purple and Black Tones 42 For Rich Purple Tones... 42 For Sepia and Black Tones 42 For Sepia Tones 44 With Platinum Bath 42 With Borax 42 Charles W. Hearn's Toning Bath 43 The PHOTOGRAPHIC TIMES Ton- ing Bath 43 The Chautauqua Toning Bath. . . 44 Spaulding's Toning Bath 44 The Price Formula 44 Formula for Resinized, Gelatin- ized, Leatherized and Plain Paper 45 Sulphocyanide of Ammonia 45 General Directions 45 Remarks on General Composi- tion for Toning Baths 46 Maxims of Toning 48 Rules for Toning in Cold Weather 50 Transparencies > . . 132 Best Plate for 132 Exposure of 133 Printing 133 Developing 133 Fixing 134 Clearing 135 Washing 135 INDEX. 225 Mounting 135 By the Carbon Process 136 By the Albumen Method 137 By the Collodio-chloride Process 138 By the Gelatino-bromide Process 138 By the Gelatine-chloride Process 138 By Levy's Collodion Emulsion .. 139 By Carbutt's Method 142 T J RANlUM COMPOUNDS, ^ Printing with 24 Sensitizing Solution 24 Developing Solution for Brown Tones 24 Developing Solution for Gray Tones.. 24 \17ASHING 48 With Eau de Javelle 49 With the Hypochlonte of Zinc Hypo Eliminator 50 Willis' Permanent Paper, Piinting on . . 38 THE gcovill Adanis Compaq, 423 Broome Street, New York City, SUCCESSORS TO THE PHOTOGRAPHIC DEPARTMENT OF THE Scovill Manufacturing Company. Are Manufacturers, Importers of and Dealers in AN UNEQUALED VARIETY OF PHOTOGRAPHIC GOODS, EMBRACING Every Requisite of the Practical Photographer, Professional and Amateur. PUBLICATION DEPARTMENT. Publishers of "THE SCOVILL PHOTOGRAPHIC SERIES" (38 publications), the "Photographic Times Annual," etc., etc. Latest Catalogue of Photographic Books and Albums, and a copy of " How TO MAKE PHOTOGRAPHS" sent free on application. W. IRVING ADAMS, H. LITTLEJOHN, President cr 3 Treasurer. Secretary. A. 1. COLLINS MFG. CO., ISTo. 527 .Arch Street, PHILADELPHIA, PA., MANUFACTURERS OF PKoiogiaptieis' Cans AND CARD BOARD. Quality, the Best. Styles and Colors in Variety Unexcelled. THESE STANDARD GOODS ARE FOR SALE BY ALL PHOTOGRAPHIC MERCHANTS. BRANDS AND SENSITOMETER NUMBERS. G ABBOTT'S j&DRY PLATES TRADE MARK s "CELLULOID" FILMS, "ECLIPSE," Sen. 27. Is extremely sensitive, and specially intended for quick studio exposures, concealed and detective cameras, instan- taneous views, and magnesium flash-light photography. 11 SPECIAL," Sen. 23 to 25. For portraits, instantaneous views, outdoor groups, etc. Blue Label. This plate and our Ortho, Sen. 23 to 25, are the best plates for professionals and view work. "ORTHOCHROMATIC" Plates, Sen. 23 to 27, give correct color values. The best plates for landscapes, interiors, photo-micrography, portraiture in varied-colored draperies, photographing paintings, flowers, etc. "B" Plates, Sen. i6to2O. For landscape views and general photography. Admittedly the finest plate for professional and amateur all-around work. " B" PROCESS Plates, Sen. 12. For use by photo-lithographers, photo- engravers, and zinc-etchers in making intense and clear-line negatives. "A" GELATINO-ALBUMEN Plates. For lantern slides and copying. "A" GELATINO-ALBUMEN GROUND GLASS Plates, specially prepared for window transparencies. STRIPPING PLATES. For photo-mechanical printers. Emulsions " B " 20 and " Special " 23 to 25, kept in stock. " Eclipse " 27 made to order. "CELLULOID" FILMS TRANSPARENT Emulsion "B," Sen. 12, for producing intense negatives for photo-reproductive processes. "CELLULOID" FILMS-MAT-SURFACE.-Emulsions"Eclipse," Sens. 26 and 27 ; " Orthochromatic," Sens. 23 to 27 ; " Special," Sens. 23 to 25 ; " B," Sens. 16 to 20. CARBUTT'S Multum in Parvo LANTERN For use in developing room filling kits, developing nega- tives; making positives, etc. The Only Practical Lantern in the Market. Patented April 25, 1882. PRICE Lantern arranged for making positives by contact, JOHN CARBUTT, For Sale by all Dealers. Send to factory for descrip- live circulars and price-list. Wape Junction, Phila. TO PROGRESSIVE PHOTOGRAPHERS. The New Metal Yignetter, Patented May 31, 18*7. Kuhn's Sensitized Papgr Stretched and Dried, Paper dried with it lays per- fectly fat, and therefore better prints can be obtained. You can also cut your paper either lengthwise or crosswise of the sheet, as it neither stretches nor shrinks after- wards. In addition, it is very de- sirable for handling Bromide Paper. PRICE. 18 x 22 size, each $1 50 20x24 " ' 1 75 Producing the Black Background, or Ebony Photographs. Hundreds of these Vignet- ters are now in use, GIVING UNIVERSAL SATISFATION. They can be easily adjusted to any camera, and require no more trouble or expense than making plain photo- graphs. Every progressive photographer should have one. Its work will attract attention in your case and in- crease your business. Every one guaranteed. PRICE, each, $8.00. Sample Photographs made with it sent on application. Patented April 13, 1886. Improved Vignetting Attachment For Vignetting the Negative. LIGHT, STRONG and DURABLE. It is perfectly reliable and quickly adjusted to any lens by the meaus of a thumb-screw. It can be raised or lowered at will to any position desired by the operator, by simply pulling a cord, without leaving his position behind the camera. Patented September 6, 1887. PRICE, each, $3.50. These articles can be pro ured through your dealer, or II. .A-. IIY'-ZY.TT, Solo AND DEALER IN PHOTOGRAPHIC SUPPLIES OP EVERY DESCRIPTION, N. E. Cor. Eighth and Locust Streets, St. Louis, Mo. xvi MAX LEVY. Late M'g'r Levytype Co., Phila. Perfected Engraved Gratings or Screens FOR THE HALF-TONE PROCESS. THESE screens are each separately and accurately ruled, the lines being engraved deeply into the glass and filled with opaque enamel. The black lines are sharp, clear, and absolutely opaque, and the white spaces are clear glass, and each screen is protected by a cover glass thoroughly cemented to the ruled side. Negatives made with these screens develop perfectly clear in the finest dots or stipples. An operator in one of the leading establishments, after working with these screens, says : " Making HALF-TONE NEGATIVES wilh your screen? is as simple and easy AS LINE WORK." By reason of the perfect opacity of the lines and transparency of the shadows, these screens are incomparably superior to any made by photo- graphic means, the results obtained with them are better, and are obtained with far greater facility and certainty. In ruling large screens, local imperfections frequently occur, and they are cut to the most available sizes that will avoid all defects, yielding irregular sized plates of great perfection. These plates, especially the larger sizes of them, are very useful for experimenters, as well as for regular work, as a plate 5x7 or 5x8 is large enough to include the greater part of the work required even in a very large establishment. These I sell as TRIAL SIZES. They are all ruled crossed. Single rulings to order. 314" x 4^ up to 5 x 7, $5.00 to $12.00 ; 5 x 8, $15.00. PRICES ON APPLICATION. Send for circular descriptive of the PRISMATIC RECTILINEAR LENS for making negatives in reverse by direct exposure in the camera. MAX LEVY, 106 N. 6th Street, Philadelphia, Pa. xvii ]IIustratiVe ar?d pictorial 'of the hi^>be$t class oi?Iy by the PHOTOGRAVURE processes A'S A 1 ? Artistic periodical uMthoiM: Published EACH ISSUE OF "SUN AND SHADE" CONSISTS OF EIGHT OR MORE PLATES OF THE HIGHEST GRADE, ON PAPER 11X14. Single or sample copies are 40 cents each (except Nos. 1, 2 and 3, which are 60 cents each, and No. 4, $1.00 each). Yearly subscription, $4.00. Vol. I (in numbers), $5.47. Vol. II (in numbers), $4.00. Binding any volume in cloth, $2.50 extra. % Binding any volume in half morocco, $3.75 extra. Binders for current numbers, $1.50 ; by mail, $1.80. Back numbers are always kept in print. Order of any newsdealer or direct from the publishers. xviii FOR SILVERING, THE WATERBURY TRAYS ARE THE BEST AND CHEAPEST. These Trays are made by the AMERICAN OPTICAL CO, which of itself is a guarantee of the superiority of the wood work. Canvas is not re- quired for the seams, as the bottoms are seamless. The bot- tom rests on cross- strips a great im- provement, for stead- iness, over knobs at the corners," which were liable to be broken off, THE Waterloo] Trays are guaranteed not to warp or crack. Each. 15x19 Waterbury Trays $3 50 22x28 Waterbury Trays $6 50 19x24 500 25x30 900 For Sale by all Dealers in Photographic Requisites, and by THE SCOVILL & ADAMS COMPANY. xix Three Crown Albumenized Paper Is the choicest brand yet introduced. IT DOES NOT BLISTER. IF YOUR STOCK DEALER DOES NOT SUPPLY IT, SEND TO THE^SCOVILL & ADAMS COMPANY, Importer, 423 Broome Street, NEW YORK, and be sure that you get the GENUINE with the Three Crown trade-mark. Formula furnished with the paper. Sample Sheet sent upon Application. XX s. :F. a. READY SENSITIZED ALBUMEN PAPER. This Paper was expressly manufactured for and introduced by us to give to those who have not the skill, time, inclination or appliances to sensitize photographic paper preparatory to printing, an article of the finest quality and of uniform sensitiveness. PRICE LIST. Size. Per Package. 4^ inches, in light-tight packages, 2 dozen $0 30 4x5 7 x 8 '* xlO x22 18 45 55 80 85 1 10 1 65 per doz. 3 30 To save loss, rolls are not broken. For Making Blue and While Pictures. Our brand is a sure index of superiority in texture, the paper is better wrapped than any other, and is noticeably free from spots sireaks or flaws. This paper is extremely simple in its manipulation, and therefore very convenient for making proofs from negatives. It is also adapted for the icproduction of Mottoes, Plans, Drawings, Manuscript, Circulars, and to show representations of Scenery, Boats, Machinery, &c., for an engraver to copy from. The rapidity with which a print can be made with this paper is for numerous purposes, and to men in some occupations, a very great recommendation in its favor. Size FHICE I.ISX. Per Package 4x5 inches, in 2 dozen light-tight parcels $0 28 5 x 8 " 2 " " 50 6^x 8^ " 2 ' " 67 8 xlO " 2 " " 83 To save loss, parcels are not broken. In full rolls of 10 yards each, 30 inches wide, $3.50 per roll. THE DONALDSON STAR BROMIDE PAPER. No. "l," Smooth surface, thin, for proofs, positive print- ing, copying drawings, etc., by contact. No. " 2," Smooth surface, heavy, for positive printing, enlarging, and working in ink, oil and water colors. No. " 3," Rough surface, heavy, for positive printing, enlarging, and working in crayon, ink, water colors and oils. We recommend the No. "3" for enlargement, and Nos. " 1 " and "2" smooth surface paper for contact prints. Enlargements on our paper require no finishing when taken from good original negatives. i&F* This paper does not blister. Send for book of directions. PRICE LIST OF STAR BROMIDE PAPERS, Nos. "1,"" 2," or "3: CUT SHEETS. Size. Per Doz. $0 25 Size. 6x8 Per Doz. $1 00 Size. 17x20 Per Doz. $6 40 4 x5 40 6^x 8^ .... 1 10 18x22 7 50 50 8 xlO . . . 1 50 20x24 .. 9 00 4i/ fil/ 55 10 x!2 2 25 22x28 11 25 53/x6^ . 60 11 x!4 3 00 24x30 13 00 5 x7 65 12 x!5 . ... 3 25 25x30 .. 14 00 70 14 x!7 4 50 24x36 16 00 5 x8 . 75 16 x20 6 00 30x40. . . .22 50 Other sizes in proportion. If ordered in packages of less than one dozen, 25c. extra will be charged for packing. 10 in. wide, p. yd.. $0 56 11 12 14 62 68 79 IN ROLLS. 16 in. wide, p. yd..$0 90 1 00 1 12 1 24 24 in. wide, p. yd..$l 35 25 " " .. 1 40 30 " " .. 1 68 31 " " .. 1 75 xxii (Chloro-Bromide Emulsion.) (MANUFACTURED BY BRADFISH & HOPKINS.) ;1TH the introduction of Gelatino-Emulsion Paper a new era has been started in Photographic Printing, especially for the Amateur, who appreciates so many marked advantages in this paper over Sensitized Albumen Paper. After many and costly experiments Sensitized Emulsion Paper for direct printing out has been produced which far ex- cels any heretofore made, and which is guaranteed to be fully reliable in every respect. The paper is unexcelled FOR FINE RESULTS and SIMPLICITY OF OPER- ATION. Its KEEPING QUALITIES are unsurpassed, it being in good condition for months after manufacture. It will give the fine effects of fresh silver paper, without the necessary separate operations attending toning, fixing, etc. The different solutions are combined in one bath, making it specially desirable to the amateur, there being only two operations, toning and washing, then mounting the same as albumen or other paper. Any tone from a rich brown to a dark purple may be obtained, ac- cording to the time left in the toning bath. The print is permanent, can be burnished, also glac6d by squeegeeing on a ferrotype plate. PRICE LIST 0F 0ME6A PAPER. Size. Per Doz. Per Gr. Size. Per Doz. Per Gr. 8J4x4K 02 5x8 ....045 $450 4x5 025 $250 6^*8^ 070 8K*5K (cabinets trim'd)..0 30 225 8x10 090 4#x6}( " untrimmed).0 35 350 20x24 4 00 * dz. 2 85 5x7 040 400 20x24 pr sheet, 040 FULL AND EXPLICIT BISECTIONS ON EACH PACZASE. TONING SOL-UTION, For toning and fixing Aristotype, Omega, or Albumen Prints. Gives any tone and clear prints. 10 oz. Bottles 50 cents. Ferro Plates for Enamelling the Prints, 10 x 14 inches, 15 cents each. Preserve the Shadow Ere the Substance Fades! Preserve Your Prints From Fading! BEAD WHAT IS SAID ABOUT Flandreau's S. P. C. Hypo Eliminator. Taken from THE PHOTOGRAPHIC TIMES of June 3d, 1887. THE NEW HYPO ELIMINATOR. To the Editor of the PHOTOGRAPHIC TIMES. Dear Sir : In the number of your Journal for May 6, appears an editorial article entitled " Hypo Eliminator ; do they Eliminate ? " in which you strongly recommend the hypochlorite of zinc for removing the last traces of hypo from silver prints. In doing this you doubtless bring to the attention of photographers the most im- portant improvement in print washing that has been suggested since prints were first made. There is no doubt in my mind that the worst evil pertaining to silver prints, and that for which a simple and practical remedy is most needed, is the hypo that is not eliminated from them. Now that the means for accomplishing this desirable end in an effectual and perfectly harmless manner has been pointed out, what excuse can possibly exist for its not being at once universally adopted ? For one, I shall put it to use as soon as I can obtain a supply of the requisite material. Photographers are proverbially slow in introducing changes in their practice in which the immediate advantages are not tangible or visible. But here is something decidedly tangible. By using this agent the prints may be washed in half the time, with half the water, and what is much more, so thoroughly may the work be done that not a particle of hypo or sulphur shall remain in them. Surely this is an improvement which every conscientious photographer should lose no time in putting into practice. Not having practically tested the process I do not speak of it from actual experi- ence, but its application is certainly theoretically correct, and it seems impossible that there can be any drawback in its use. I trust thai at the coming Convention the merits of the New Hypo Eliminator will be fully discussed. Very respectfully, W. H. SHERMAN. Flandfeau'? $, p, (J, jlijpo Eliminator 1 OF Of which, tlie Letter Speaks so IF'a.vorgibly. IT IS HARMLESS ! IT IS EFFECTIVE ! It Saves TIME, PATIENCE, NEGATIVES and FEINTS, Do not prove the assertion that " PHOTOGRAPHERS ARE PROVERBIALLY SLOW IN IN- TRODUCING CHANGES IN THEIR PRACTICE," by delaying to procure this " most im- portant improvement in print- washing, which has been suggested since prints were first made." BUY A BOTTLE AT ONCE! IT OOJSTJS IBTJT IFX^TTT OIEKTTJS ! And is accompanied by a BOOK OF TEST PAPER, for detecting the slightest trace of Hypo in negative or print. Por sale by all Dealers in Photographic Eeqnisites, and by the The Scovill & Adams Company. PATENT APPLIED FOR. SCOyiLL PRINTING FRAMES. The Scovill Printing Frames are made of cherry, and have superior brass springs constructed on scientific principles. On the flat printing frames, these springs are secured by rivets and turn on brass washers, being held at the end by buttons made so that they cannot turn around. They are so constructed that a uniform pressure is obtained, thus insuring per- fect contact between the paper and the negative, and removing the danger of breaking the latter. The back-boards are also so arranged that the progress of the printing may be watched without danger of shifting the paper, and each frame has the tally shown in the illustration. For Regular Flat or Plates. Two-Thirds. J*{* "S:: Deep. ..$0 75 . 75 For E Plates. 13 x 16... 14 x 17... 16 x 20... 17x20... 18x22... *0x24... 24 x 3C... 35 x 45 < ?ular Flat or Two-Thirds. ....$2 25.. ...245.. .... 4 50 . .... 4 50.. .... 5 00.. .... 550.. Peep. .$2 75 .300 . 4 76 . 4 75 . 5 25 . 650 . 9 00 .16 00 22 00 *M x6M I 8 ]!,* 5 x8.. s* a* 10 x!2 . 11 x!4.. - . 40.. . 42.. . 50.. . 5&.. . 60.. . 75.. . 1 00.. . 2 00.. .. 75 .. 85 .. 85 .. 95 .. 1 25 .. 1 60 ..200 .. 2 50 30 x 60 SCOVILL FLAT PRINTING FRAMES. For Sale \>j all Dealers in Photo Goods. The SCOYILL PRINTING FRAME PADS. 1 st Quality, FOR GRAY. 3 x 4 Frames, in boxes, per doz $0 24 4x5 4ix 5 4ix 6i 5x7 5x8 14 16 17 18 33 36 38 54 57 84 1 44 2 16 2 88 4 08 , 5 04 5 28 6 48 8 40 The above goods are very desirable, and the demand for them is in- creasing. They are put up in boxes containing one dozen pads each. 8 xlO 10 x!2 11 x!4 xl7 x20 x20 x22 20 x24 ADT'S PATENT PRINTING FRAME. These Frames are now supplied (without extra charge) with Adt's Patent Support with which the frame can be stood on either end, and at four different angles, for ex- posure while printing. It is out of the way of the printer when introducing the paper, or examining the print, for when the frame lies or is held with back up, the support instantly drops upon its stops for rest, and is entirely out of the way of the hand of the printer, so that he may remove or open the back-board, or replace it, as if there were no support present. Being arranged close around the sides and ends of the frame, it occupies so little space as not to inter- fere with the packing or storage of the frames, and when the printer places his frame for exposure the sup- port readily finds its position for supporting the frame without any special manip- ulation. 8 1 - PRICKS. $0 50 4 ^x 5 4 . 50 . 50 60 5 5 gi *x 7 x. 8 . 65 . 65 75 8 10 xlO ... x!2 . 85 1 15 11 13 14 x!4 x!6 x!7 . . 2 15 . 240 . 2 80 When made with back to open lengthways, an additional charge of 10 per cent, will be added to the above prices. As will be seen by a glance at the cut, the adjacent edges of the parts of the back- board are beveled outward, and the hinges placed on the sides with their axes on a line with the surface. This permits the attachment to the face of the back-board of a Heavy, Continuous Elastic Felt Pad. This obviates the necessity of using a separate pad, which is so easily misplaced and lost. xxvi IRVING PRINTING FRAMES WITH ADJUSTABLE SUPPORTS, (PATENTED.) IRVING PRINTING FRAME, CLOSED. IRVING PRINTING FRAME, OPEN, FRONT VIEW. _, BACK VIEW. The IRVING FRAMES have valuable features which cannot be copied. They are in workmanship, design, and other respects, superior to all other printing frames. The continuous felt pads made especially to order for us, insure abso- lute protection and uniform pressure throughout. The Irving Patent Catches lock the back, so that when one flap is open there is not the slightest danger of the flaps, paper or negative slipping. The springs are cut by dies of specially tempered and tested metal, and are riveted to the backs with washers underneath to protect the wood- work. The IRVING FRAMES are made of cherry guaranteed not to warp or crack. The tally does not depend upon any other part of the frame to lock it, for the pointer will remain in place no matter what is done to other parts of the frame. Prices for Half or Two-thirds Opening Styles. 3Xx4# $0 45 5x7 '. $0 60 4x5 48 5x8 65 4^x5H 50 G%x8 l A 70 4^x6^ 55 8x10 80 When made with backs to open lengthways, ten per cent, is added to the foregoing prices, for the respective sizes. xxvii Fac-simile of Bronze medal awarded at the Boston Convention of the Pho- tographers' Association of America, August, 1889, to THE SCOVILL & ADAMS Co., for improvements in Pho- tographic Apparatus. This was the only medal awarded by the Association for this contest in which there were twenty competitors. 34087 m