Dr. William H. Trueman’s FRANKLIN INSTITUTE LIBRARY PHILADELPHIA, PA. Class Book.Ma6~.4r Accession -2.3. 3.s5. / Given by lit /x -/ - - 2-7 Digitized by the Internet Archive in 2016 https://archive.org/details/plrotogravureOOwilk PHOTOGRAVURE. A PHOTOGRAVURE BY W. T. WILKINSON. Author Photo Engraving , 1886 ; Photo Engraving , Photo Litho , and Collotype, 1890 ; Photo Etching and Lithography (New York), 1888; Photogravure, 1890; Photo-mechanical Processes, 1892. London : ILIFFE & SON, 3, ST. BRIDE STREET, E.C. 1895. Iliffe & Son, Printers, ' ( c c c c c c c c c c c c t C C C < C C C C c < 1 < ' ( < < ' ( ‘ ' c c 1 ( ( ( ( « ( < ( : : : Lon^q^ £nd jC^en'I'r^ ( ' c c ” c c C c c c c c ( i c c c c C C < C ( C C c c \ c c C c r C c C c c c c c CONTENTS. Introduction. CHAPTER. PAGE I. — Sensitising Carbon Tissue ... ... 12 II. — Making the Transparency ... ... 18 I II. —Laying the Etching Ground ... 24 IV. — Printing the Resist .. . 29 V. — Etching the Plate ... ... ... 35 VI. — Other Methods of Printing the Resist ... ... ... ... 39 VII. — Printing from: the Plate ... ... 45 7S 3 <5/ PHOTOGRAVURE. INTRODUCTION. The production of a photogravure print is at once the most interesting and simplest of the photo-mechanical methods. It yields results that are by far the most artistic and beautiful of any method of producing a photographic positive. A photogravure print, besides being of undoubted permanency, has all the charms of a mezzotint engraving, combined with the truth and delicacy of photography, without the meretricious glaze or flatness of an ordinary photograph. As a process, photogravure is extremely simple, yet it calls forth all the inherent skill as well as artistic ability of its workers, and its practice calls for no inordinate outlay for apparatus. The various manipulations are in themselves always interesting, and a welcome contrast to the usual methods of producing a photographic print. The production of a photogravure print may be divided into eight stages, viz. : 10 PHOTOGRAVURE. First. — From the negative a transparency is made. Second. — The transparency is masked with opaque paper in such a manner as to cut off all the subject not required in the finished print. Third. — Laying the ground on the copper plate, by dusting with finely-powdered resin, or asphaltum, this dust being fixed on the copper plate by heat. Fourth. — From the masked transparency a carbon negative is printed, which, being mounted and developed upon the prepared copper plate (third stage), forms the resist. Fifth. — With a ruling pen drawing the marginal line round the picture, and varnishing over the margin so as to protect it from the action of the etching fluid. Sixth. — Etching the plate in four or five solu- tions (each at a different strength) of per- chloride of iron. Seventh. — Cleaning off the resist, and further preparing the plate for the press. Eighth. — Inking the plate and pulling the proofs on damp paper. These eight stages do not run on separate lines, but dovetail one into the other, more or less, and PHOTOGRAVURE. 11 it will not be very convenient to give tbe instruc- tions in the same way, although we shall follow them as closely as possible. The first deviation will be the inclusion in one chapter of instructions as to how to sensitise the carbon tissue used for making the transparency (stage one), and, as it is a kindred subject for sensitising the tissue for the resist (stage four), with these exceptions we shall travel smoothly along the path as sketched above. CHAPTER I. Sensitising Carbon Tissue. For photogravure two sorts of carbon tissue are used, viz., transparency, stage one, and special autogravure for stage four. The first can be obtained in cut sizes, and in bands or rolls of thirty square feet, also in quarter and half bands, and either sensitive or insensitive. The sensitive is certainly very convenient, but in that condition does not keep very long, and if it cannot be used all at once the waste will be too great. Therefore, beyond mentioning the fact that sensitive tissue can be purchased, we will ignore it in these instruc- tions. and proceed as though it is purchased in an insensitive condition. The special autogravure tissue for stage four can only be had in quarter, half, or whole bands, and insensitive, so this must always be sensitised at home ; if the special autogravure tissue (of a light red colour) is not procurable, the ordinary red chalk, or, in fact, any of the ordinary tissues sold for the carbon printing process, may be used, but with the dark colours it is not so easy to PHOTOGRAVURE. 13 sec the etching through as the special autogravure or the ordinary red chalk tissues. For sensitising carbon tissue we will require a deep flat dish, either tin, or porcelain, or glass, a flat indiarubber scraper squeegee, a sheet of macintosh cloth a little larger than the largest plate to be made ; and, for the transparencies, some glass plates free from scratches about a quarter of an inch larger each way than the projected transparency, a chamois leather, some clean linen rags, a little French chalk in pepper castor, a little vaseline, lib. of plain enamel collodion, and a sensitising solution made up of Potash bichromate . . 3 ounces. Water . . ... ... 40 ounces. Dissolve, then add liquor ammonia one dram ; filter before use. After using, return to the bottle, and use over and over again until the solution begins to turn brown, which will happen much quicker in warm weather than in cold. The best way of drying carbon tissue is by mounting it when wet with film in contact with some smooth surface, such as glass, ebonite, or ferrotype plate. This answers a double purpose, viz., the film of bichromated pigmented gelatine, being dried between the glass plate on the one 14 PHOTOGRAVURE. side and the backing paper, is not so liable to be affected by atmospheric conditions as it is when hung up to dry bare, and the surface of the dried tissue, when stripped off the drying support, is so much better for getting absolute contact with the negative or transparency.' Transparency tissue should be dried upon a glass plate previously coated wiih collodion, which gives a softer and more suitable couche than can be obtained by mounting upon a thin film of insoluble gelatine, but the tissue for the resist (stage four) does not require the collodion film. Having determined upon the size of the negative from which the first plate has to be etched, viz., a negative 5in. by 4in., from which we are going to make a print 4in. by 3in., clean a few glass plates 64in. by 4fin., first with a rag dipped in spirits of wine or ammonia, then polish with a chamois leather. Now rub over with a linen rag- just touched v r ith a little vaseline; rub this well over the plate, and polish off with a clean linen rag, so that no streaks or smears betray the fact of grease being used. Now dust with a little French chalk; rub this well over the plate, and polish off. Now dust with a flat camel-hair brush, and coat with plain collodion. Then place the PHOTOGRAVURE. 15 plate to dry on a rack somewhere free from dust ; when dry, it is ready for mounting the wet tissue upon. These plates cleaned and collodionised will keep any length of time, so a supply can he prepared at once and stored for use in a grooved plate box. When the plates are new the greasing with vaseline should not be omitted, else the tissue is almost sure to stick when dry ; but after being used a few times the greasing may be omitted, and the French chalk only used. Great care must be taken that both the vaseline and French chalk be thoroughly polished off, else the tissue will have a cloudy surface. The glass plates being ready, cut your tissue into pieces 5in. by 4 in , and into a clean dish pour sufficient of the bichromate sensitising solution to fill it an inch deep. In this immerse a piece of the tissue, rub both sides carefully in succession with a soft brush, which will have the effect of at once breaking any air-bells that may form, allow the tissue to soak for three minutes, now slide a collodionised plate underneath the tissue whilst still in the solution, taking care not to scratch the collodion film, adjust the black side of tissue in contact with collodion film on glass plate, lift the two out of dish, lay the plate on a bench „ 16 PHOTOGRAVURE. cover over with the macintosh cloth, and at once squeegee vigorously, which will expel air and water from under the tissue, and attach it by atmospheric pressure to the collodionised plate, remove the macintosh, and stand the plate in a warm current of air to dry. When quite dry, the tissue can he stripped off the glass plate, and is ready for the printing frame. The drying must take place in a dark room, or in a room lit by artificial light only. The quicker it is dried the better, but the temperature should never exceed 75° or 80° F. The above is the best method of drying tissue for transparencies, but if not convenient to collo- dionise the plates it may be omitted, and the plates used just cleaned, greased, and French chalked ; or ebonite or ferrotype plates can be used, these only requiring a dry polish, and need not be polished with French chalk. When the tissue is dry, do not strip it from the plate until it is required, as it keeps far better on the plate, which, however, must be stored in a dry place, as any access of moisture (and the tissue is very hygroscopic) would soon set up incipient insolubility. Of course, it is understood that sensitive tissue be kept away from daylight until it is in the printing frame. PHOTOGRAVURE. 17 For sensitising autogravnre tissue (fourth stage) or any of the other tissues to be used for printing the resist, we require a slightly different sensitising bath, viz. : Potass bichromate . . 2 ounces. AVater . . . . . . 40 ounces. Dissolve, then add liquor ammonia one dram. This tissue is mounted upon glass plates, cleaned, greased, and polished with French chalk, but not collodlonised, or upon ebonite or ferrotype plates, sensitise for three minutes, and proceed exactly as given for the transparency tissue. The Autotype Co. supply their tissues with an opaque instead of semi-transparent hacking, which they call “ Daylight tissue,” and if this tissue be procured it can, if mounted upon ebonite or ferrotype plates, or upon an orange glass, or upon glass that has one side covered with an opaque pigment or paper, be dried in full daylight without injury, and will doubtless be found very convenient to many workers, as when it is used the whole operation of sensitising and drying can he done in full daylight, as carbon tissue is not sensitive whilst wet. R CHAPTER II. Making the Transparency. Before we can proceed with the transparency there are two operations to perforin, viz., to “ safe edge ” the negative, and to prepare some plates upon which to mount the exposed tissue previous to development. The negative is prepared either by running a narrow edging of black varnish all round, or by pasting narrow strips of opaque paper on the glass side of negative. This constitutes what is called the “ safe edge,” its object being to protect the- edges of tissue from the action of the light, as unless this is done the tissue would not stick to the support during development. The glass plate upon which the tissue is to be developed requires a coating of insoluble gelatine to enable the tissue to withstand the hot water. As mentioned in the last chapter, we are supposed to be working from a negative five by four, and as plates 6jin. by 4|in. were convenient for drying the tissue, so will that same size be convenient for PHOTOGRAVURE. 19 developing the transparency upon. So this being understood, take a dozen or so and soak in a bath of acid water, one ounce of acid to twent}' of water ; any acid will do, nitric, hydrochloric, or sulphuric. Then rub well on both sides with a clean rag, rinse under tap and flood with — Gelatine . . . . . . 1 ounce. Bichromate of potass . . 30 grains. Water . . . . . . 20 ounces. Use it warm, and filter before using. As the plates are coated place on a rack to dry, and when dry expose to daylight, which will make the thin film of gelatine quite insoluble, and as in this condition they will keep for any length of time a supply for future use can be prepared. Of course, there is nothing arbitrary in the choice of the size of negative here given, the only object being to prevent confusion, because, first we require a safe edge on the transparency tissue, which may be managed either so as to include till the subject by making the mask opening same size as negative, then cutting the tissue half an inch larger each way than the negative, or only part of the subject is used, the rest being masked with strips of opaque paper, or an edging of black varnish on glass side of negative. Secondly, the size of tissue 20 PHOTOGRAVURE. used for the transparency determines the size of glass plates, which must be larger than tissue both for drying it upon after sensitising, and again for developing it upon after exposure to light under the negative, so if these remarks are borne in mind there will be no difficulty about the proper size to use in each stage. The negative being “ safe edged ” and put into printing frame, strip a piece of the dry trans- parency tissue from its support, dust the negative, place the tissue in position, and close up the frame. Now, as the carbon process is a blind one, it is necessary to time the exposure by means of an actinometer, the best form of which is a nega- tive of as near the same characteristics as the one from which the transparency is to be made as is possible. Under this put a strip of silver paper — albumen or gelatino-chloride - and expose the two frames to light simultaneously, and, when the silver print is a little deeper than the usual depth a paper print is made, the probability is that the carbon tissue has been sufficiently exposed. But here a word of caution must be given— if other tissue than that made by the Autotype Co. be used, two such silver prints will be required to get a well-exposed transparency, for the simple reason PHOTOGRAVURE. 21 that autotype tissue prints in about half the time of that supplied by other makers. The tissue being exposed, it is placed in a dish of clean cold water, in which it is allowed to soak till the curling inward relaxes ; then slide a gelatinised plate underneath it, adjust the tissue in middle of glass plate, lift the two out of the water, and at once apply the squeegee to the back (this will expel air and water from between the two surfaces, and cause the print to adhere to the glass plate by atmospheric pressure). After standing for a few minutes, immerse the plate in _ a dish of w^ter at 120° F., and shortly the igmented gelatine will begin to ooze from under the backing paper, which can be stripped off and thrown away. At once rock the dish a little, then throw away the water and pour in more at 120° F. ; this will speedily wash away the soluble pigmented gelatine, and reveal the picture underneath. As soon as all the soluble matter is removed rinse under the tap and put away to dry. After the operation of development the quality of the transparency can be determined ; if there are any blemishes it will be useless ; and unless there is detail in the whites it is under-exposed, and an under-exposed transparency is useless. 22 PHOTOGRAVURE. A good transparency for our purpose should be well exposed, and if laid on white paper and examined by reflected light, should look like a much over-printed paper print. Transparencies with plenty of detail, but flat or wanting contrast, can be improved by flooding with a strong solu- tion of permanganate of potassium (strength quite immaterial so long as it is high) ; wet the transparency first, and let the permanganate act for about a minute. Wash after and dry. Should the negative be larger than the pro- jected photogravure print, or should it be desired to utilise a part only of the negativk, and that on an enlarged scale, then the transparency can be made in the copying camera by transmitted light, the negative being placed with the glass side next the lens, a gelatine dry plate being used to make the transparency upon ; and if the negative is too brilliant a harmonious transparency can be obtained upon a rapid plate ; whilst from a flat negative the best transparency can be got upon a lantern plate. In either case give a full exposure and develop with — No. 1. Hydrokinone Soda sulphite 100 grains. 120 grains. PHOTOGRAVURE. 23 Potass bromide ... ... 25 grains. Water to ... ... ... 20 ounces. No. 2. Soda carbonate (pure crystals) 4 ounces. Water ... ... ... 20 ounces. Use equal parts of Nos. 1 and 2, fix, and wash as usual. When the transparency is dry it can be retouched, and if any details would be better for a little work, the artist has his opportunity ; but anything of this sort done must be done well, or it should be left severely alone. As stated in Chapter I., we are supposed to be making a photogravure plate from a negative 5in. by 4in., and are going to utilise so much of the picture as will measure 4in. by 3in. ; there- fore, the next operation will be to paste on the film side of transparency narrow strips of opaque paper, so that all the image is blocked out except a space measuring 4in. by 3in., and when this is done, we are ready fcr printing the resist. CHAPTER III. Laying the Etching Ground. Laying the etching ground (or graining the plate) is one of the most important stages of our work, and one that requires great care and dis- crimination, as upon this ground depends the beauty of the ultimate print. This ground confers upon the plate the faculty of holding the ink in the darker portions of picture whilst the lighter ones are being wiped. This operation is done by placing the plate in a box in which some finely powdered asphaltum has been agitated, the dust thus caused settling on the plate, and then, being subjected to heat, this dust is made to adhere, and so make the etching ground. A photogravure box is here illustrated (fig. 1). It comprises a large rectangular box hung on centres D on a stand in such a manner that it can be rotated. The door at the bottom of A D is hinged H H to fall down, this door running the whole width of box, and being about six inches high ; the bottom F is usually studded PHOTOGRAVURE. 2o with nails, projecting up from bottom about two inches apart, or is fitted with transverse slips of w r ood, in order that the plate may be raised from the mass of powder that falls ; but the best plan is to leave the bottom plain as illustrated, and to Fig. i. have a small wire stand (like a domestic ironing stand) upon which to lay the plate during the dusting operation. The size of this box is very important, as the larger it is the better, a good minimum size being 24in. high ana 15in. square ; this size would answer for plates lOin. by 8in., but scarcely larger. The sides and top 26 PHOTOGRAVURE. of box inside should be covered with a smooth paper, so that the powder does not cling to them. This box has put into it about a pound of finely- powdered asphaltum, and it is ready for use. When commencing photogravure a very instruc- tive experiment to try is this : Rotate the box about a dozen times, then place inside (on the stand) a sheet of white cardboard. Allow this to remain inside for five minutes, then withdraw and examine, and it will be found to be covered with dust ; and it is precisely this dust that has to be deposited upon the copper plate, and heated so as to fix it up on the surface, and so form the etching ground. If the copper plate be put into the dusting box alone it is extremely difficult to get a nice even coating, but if it is put into centre of a larger plate this difficulty vanishes, therefore provide a sheet of glass 12in. by 10m., and paste upon it a sheet of smooth v T hite paper; place this on the stand, and the copper plate in the centre of this. Before proceeding to put the copper plate into the dusting box it must be properly cleaned, this being done with paste of washed whiting, to which is added a little ammonia, rubbed on with a pad of soft linen rag, and polished with another rag, PHOTOG RAVURE. 27 or chamois leather, a circular motion being given to both these operations. This being done, place the plate in the centre of stand as above (the paper-covered glass plate should be entirely freed from any dust that may have settled on it during a previous operation) . The box is then rotated from six to twelve times ; then, when brought to a stand- still, the sides and top are hit vigorously, which will have the elfefct of dislodging any large particles that may cling to the sides or top. Let the box stand about a minute — less if a coarse grain be required, more if a fine one, this being ruled by the nature of the picture to be etched, eg.) if the picture is full of heavy shadows a coarse grain will be best, but for a delicate picture, such as a light portrait, then the grain must be finer. Open the door, and having dusted the plate, insert the stand, close the door carefully, •and allow to remain for from five to ten minutes. .Now withdraw, and the margin of white paper will indicate the nature of the dust deposited. If this is satisfactory, and the plate is evenly coated, take hold of it with a pair of pliers, and place on the hot plate ; here the dust will quickly change colour as it melts and settles down. When melted remove from the hot plate, allow it to cool, and 28 PHOTOGRAVURE. examine undera magnifier, and the grain canbe seen in the form of little islands of resin surrounded by copper. As a rule, once graining is not sufficient, as the first dusting is apt to be coarse, so again rotate the box, let it stand quite five minutes (don’t omit the hitting every time of using), then insert the plate again, and let it remain ten minutes, withdraw, and heat ; with some subjects the dusting should be repeated four or five times, but experience is the only guide for this. The copper plate is now ready for receiving the resist. CHAPTER IV. Printing tiie Resist. Before proceeding to print the resist the trans- parency must be masked on the film side in such a manner as to cut off all the picture except that which is to form the photogravure print, and here the artist can show hiniself by so adjusting the proportions of the picture to the subject, by including just what should be included, and ruth- lessly cutting off that which artistic effect does not require. To many this is rather a huge task, as the idea of some photographers seems to be that photographs should never be trimmed more than the necessity of having clean edges calls for, any cutting away of superfluous foreground or sky being evidently looked upon as an act of van- dalism. Therefore, before masking the trans- parency, take a silver print from the same negative, and carefully trim it until the proper artistic effect is obtained, then take up your trans- parency, and mask it in the same proportion. For convenience we are working from a negative that allows up to a picture exactly 4in. by 3in., 30 PHOTOGRAVURE. so having masked our initial transparency to show this size, draw on the strips of paper exactly a quarter of an inch from the inside edge a line (see fig. 2). A, B, C, I) represent the edges of PHOTOGRAVURE. 31 transparency, E, E, Gr, II the inner edges of mask, I, Iv, L, M, P being the picture, whilst the letters R, R, II, 11 show where the line drawn on mask is situated. Now place the transparenc}^ in a printing frame, cut a piece of resist tissue (sensitised as directed in Chapter II.) exactly 4£in. by 3jin., place it on the transparency within the lines R, R, R, R, then the image of picture P will be exactl} T in the centre of resist tissue, mark- ing with lead pencil on back of tissue a X to show top of picture. Now fasten up back of printing frame and expose to light simultaneously with an actinometer, such actinometer being another trans- parency as near the same character as the one from which the resist is to be printed, the actinometer transparency having under it a strip of gelatino- chloride paper, and as soon as the silver paper is just short of being printed sufficient for a silver print, withdraw the carbon print from the light. As the most perfect results are (or ought to be) always aimed at, and as the carbon tissue is a little uncertain in its sensitiveness, it being less sensitive when newly prepared than when a few days old (it is also less sensitive when kept perfectly dry than if it has been, allowed to absorb moisture), therefore a trial exposure developed upon a piece- 32 PHOTOGRAVURE. of matt opal (which can be used over and over again if the carbon image is cleaned off whilst wet), then a careful examination of the result and comparison with the strip of gelatino-chloride paper, will enable the next exposure to be as near right as possible. This trial will also enable a determination being come to as to how the etching is to be carried on, whether all the five solutions are required, or how many, and which will be best to commence with — that being a most im- portant point. The carbon negative being exposed, it has to be mounted, and developed upon a copper plate upon which the etching ground has been laid ; in this case, the picture measuring 4in. by 3in., the copper plate should measure 4^in. by 3f in. To do this, provide a dish of clean cold water previously boiled and allowed to get quite cold in a well- corked bottle, the object of this being to get rid of air-bells, which are the cause of the bugbear of photogravure, viz., devils, so called. Pour this water into the dish as gently as possible, immerse the exposed tissue in it, and as soon as possible rub first one side and then the other with a soft sponge, which will overcome all tendency of the tissue to prevent the water soaking into the tissue evenly. AVhilst the tissue is soaking, wet the PHOTOGRAVURE. 33 copper plate, and rub this also with the sponge (the surface on which the ground is laid only need be rubbed) ; this will prevent the print being mounted upon a partially- wetted plate, which must be the case unless this precaution be observed. Now bring the surface of copper in contact with film side of tissue, adjusting the tissue in such a manner that the sides and top of picture will have half an inch margin, whilst the bottom of picture will have a margin of five-eighths of an inch. We are here supposing that the initial picture is an oblong one ; if it be upright, the dimensions of copper plate would have to be 4 fin. by 34in., the extra eighth of an inch at the bottom being neces- sary for artistic effect, especially if an imprint be put on the picture. Directly the tissue has been adjusted in its proper position, at once squeegee it down on to the copper plate, then put it under a weight with blotting paper behind it. After a few minutes under pressure proceed to develop with hot water at 120° F., changing the water when the backing has been stripped off, pour on fresh water at 120°, and when all the coloured pigment is washed away rinse under the tap, and put away to dry. When dry lay the plate on the bench, and with a good ruling pen and straight edge e ?A PHOTOGRAVURE. proceed to draw the marginal lines all round the picture, the pen being charged with stopping-out varnish. This being done, let the lines dry, then proceed to paint over with stopping-out varnish all the margin, laying on the varnish very care- fully, as the slightest hole in this coating of margin will cause trouble hereafter. When this is dry, the plate is ready for the etching fluid. CHAPTER Y. Etching the Plate. The etching mordant used is a solution of iron perchloride. This is dissolved in water, and, after neutralising with iron oxide, diluted to the requisite strengths as tested hv a Beaume’s hydrometer. To prepare a set of solutions, take seven pounds •of commercial perchloride of iron in a jar, pour over it as much hot water as the jar will hold, stir up well until the whole is dissolved, add one pound of oxide of iron, and pour the lot into an -enamelled iron saucepan, and boil gently until the whole is reduced in bulk to about one half. During the time required for this, stir up •occasionally, so that the oxide of iron gets well mixed, and the free chlorine is neutralised. Return to jar, filtering the solution through a felt filter. Now let it stand a few days, then proceed to test with the hydrometer. If the weather is cold, get the temperature of solution first with a thermometer (and, if required, raise it to 60 ° F.), and if the boiling has been sufficient 36 PHOTOGRAVURE. it ought to register about 48° or 50° Beaume. Now get tive bottles, each capable of containing- twenty ounces, and proceed to make by diluting with water five solutions of the following densities, viz., 45°, 42°, 40°, 36°, 32° ; label each bottle- according to the density of contents, and keep them on the shelf in proper order, 45° being No. 1, 32° No. 5. After each time of using,, return each to its own bottle, as they improve with use, merely replenishing at intervals so as to counteract the waste of pouring out and returning to the bottle. After being in use for some time- re- test with hydrometer, and when necessary make addition of strong stock solution, so as to- keep as near as possible to standard density. To etch a plate, provide five ebonite or celluloid dishes, lay them on the bench in a row, pour into- each dish sufficient for a depth of a quarter of an inch, standing the bottle from which the solution in the dish is taken in front of dish, so that no mistake is made over the return of mordant to its- own bottle. All being ready, the copper plate is placed face up in the first dish (that containing the solution at 45°). This, being dense and astringent, contracts the gelatine so that it can only penetrate the thinnest parts of resist corres- PHOTOGRAVURE. 37 ponding to the shadows of picture. Watch the action very carefully, and from the moment that the copper under the shadows begins to discolour allow one minute. Then remove into dish No. 2 (at 42°). Here the copper under the darker half- tones will be attacked ; allow a minute and a half in No. 2. Remove to No. 3 (40°), which will etch the middle half-tones, requiring a minute and a half also. Remove to No. 4 (36°), which, attacking the lighter half-tones, will require two minutes ; whilst No. 5 (32 °) will require three minutes to etch through the thick gelatine on the high lights ; but anyhow, allow about one minute after the last of the copper is discoloured. The etching being finished, plunge the plate into a weak solution of carbonate of soda or potash, then wash under the tap and rub off the carbon film, then wipe dry with soft cloth, remove the marginal varnish with a pad of cotton wool dipped in benzole, finishing the operation with one or two clean pads charged with clean benzole ; next use a pad of cotton wool dipped in a weak solution of caustic potash, wash this off, and finally use another pad dipped in water one hundred parts, sulphuric acid one part ; wash and wipe dry, and the plate is ready for proving. 38 PHOTOGRAVURE. The routine and time of etching: given above will not do for every plate, but must probably be varied with each and every plate etched. The whole of the five solutions will only be required when pictures with heavy blacks and full range of tones are etched. With other pictures, No. 2 or No. 3 will be best to start with. Judgment is required, and must be exercised, as it is only after experience is gained that the best method of procedure can be determined upon, especially as to the proper time for each stage of the etching operation, as to which to commence with, and when to stop the action of the last solution, whether immediately after all the copper is discoloured, or whether it is advisable to allow* a longer time. CHAPTER VI. Other Methods of Printing the Resist. There are two other methods of getting the resist image on the copper plate, the first being by using “ Warnerke’s Process Tissue.” This method has the advantage of being workable by artificial li^ht instead of daylight. The process is as follows : Under the carbon transparency place a piece of the Warnerke tissue, cut exactly the same size as given for carbon tissue, and expose to light ten seconds to a moderate diffused daylight, or a corresponding time to artificial light, then place the exposed tissue in a small developing dish containing cold water, soak for a few seconds, throw away the water, and proceed to develop the image just as a bromide print is developed, using the following developer : Stock Solution A. Water Pyrogallic gcid Citric acid ’.i.2 *; j.. ... 100 parts. 55,3 40 PHOTOGRAVURE. Solution B. W ater 100 parts. Liquor ammonia (*880) 12 „ Potassium bromide... 4 „ develop, take of Solution A ... 10 drops. Solution B ... .. 14 „ Water .. 14 ounce The object of development is not only to make the image visible, but also to render it insoluble in warm water ; and there is no other developer that does these things so well. The developer is allowed to act in the ordinary way until the image appears in all its details, and should the developer become discoloured before the image is fully developed, throw it away and mix fresh. When development is complete, wash under the taj) for a short time, then take*a copper plate upon which an etching ground has been laid (Chapter III.) ; wet this thoroughly, using a soft sponge to ensure perfect wetting of the surface, then immerse the plate in the same dish with the developed print, bring the two surfaces in contact under the water, adjust the tissue in position on the plate, lift from , the; water, and sqr.eege^ into, con) act. Now inlmerse; ' in < a ; di^h; ^containing ‘ warni water at PHOTOGRAVURE. 41 100° F. ; in a few seconds the paper can be stripped off and thrown away, then the emulsion not affected by the light is slowly dissolved in the warm water, which can be facilitated by gentle laving with the hot water, or by pouring from a jug. When all soluble gelatine is removed, wash in cold water, then drain for a minute and flood with alcohol half diluted with water, which will drive away any gelatine that may be left. Follow this with undiluted alcohol (methylated will do for this stage, but not for the first) ; after this allow to dry, and then the plate is ready foi% etching, which is done exactly as given in previous chapter, after ruling marginal lines and protecting margin with stcpping-out varnish. The second method is one in which the copper plate (after having the etching ground duly laid / upon it) is sensitised. For this method a carbon transparency, unless made from a reversed negative, cannot be used, a transparency made by contact on a dry plate being used instead. As this trans- parency has to be printed in contact with the metal plate, the masking out of the image must be done with very thin tinfoil, attached thereto with indiarubber solution. The sensitising solution is composed of 42 PHOTOGRAVURE. Gelatine (Nelson’s No. 1 photographic or x opaque) ... ... ... 1 ounce. Potassium bichromate ... ... 100 grains W ater ... ... ... ... 6 ounces. Put the gelatine into a jar, pour on the water, add the bichromate in fine powder when the gelatine is soft, place the jar in a pan of cold water, putting therein a nail or two upon which to stand the jar ; now put the pan on fire or gas stove, and gradually raise the temperature until the gelatine is melted, and the bichromate is dissolved, which must be assured by stirring with a glass rod. Filter through muslin, then take the plate with a ground laid on it, attach it to a whirler by the back (fig. 3), hold the plate face up in a horizontal position, and cover the surface all over with the gelatine solution (warm), then reverse the whirler as in cut, and whirl the plate gently. This will dis- tribute the gelatine in a thin even film on the plate, and ensure an equality of etching. Remove the plate from the whirler, hold it face up horizontally over a gas, paraffin, or spirit stove, keep it moving to and fro until the gelatine film is dry, or it may be dried in a closed box the bottom of which is of sheet iron, and under which a paraffin or gas stove is placed, the box being so PUOTOG KAVURE. 44 Fig. 3. When the film is dry, place it in position on the transparency in a screw pressure frame, and expose to light, timing the exposure with an actinometer like that mentioned for the carbon provided with ventilation holes as to have a good draught through it, and kept at a temperature not exceeding 90° F. 44 PHOTOGRAVURE. resist. When exposure is complete, the image should be plainly seen, a dark orange on a yellow ground ; the plate is now immersed in cold water, which must be frequently changed until the yellow colour is removed, leaving only the deepest shadows slightly coloured. Now remove from water, and immerse for five minutes in a ten per cent, solution of chrome alum, rinse under tap, and after blotting off the water allow to dry. When dry the marginal lines are ruled, the margin pro- tected with stopping-out varnish, and when this is dry the etching is proceeded with as given in Chapter V. \ CHAPTER VII. Printing from the Plate. For pulling proofs from a photogravure plate* we require a copper-plate printing press, an illustration of which is here given (fig. 4). The- fittings required (not shown in cut) are two blankets, one a thick one (called backing) next the roller, a thin one next the plate (called fronting), a sheet of millboard or of thin zinc the exact size of paper upon which the photogravure print is to be made. Upon this the plate is laid in the centre, the blankets are attached together to a string in centre of one end ; this string, passing over pulley A, is weighted so that they are kept up out of the way of the printer when placing the plate in position for printing and taking up. The requisite pressure is obtained and adjusted by means of screws at sides acting direct upon axle of roller. ^ The sheet of zinc or millboard upon w hich the plate is laid should have the exact position of 46 PHOTOGRAVURE A Fig. 4. plate marked upon it by lines in the centre, then the paper being laid to correspond with the zinc plate, the print can be made in true position each time. PHOTOGRAVURE. 47 The ink used for photogravure can be purchased in tubes of any desired colour, and of a sufficient strength to bear thinning with copper-plate oil. This ink is put on the plate with a soft linen rag, wiped with coarse muslin or another linen rag, finishing off with any soft muslin, the proofs being pulled upon paper previously well wetted w r ith a sponge, and stacked for a few* hours before using. To pull a proof the ink is mixed with a palette knife on a small slab, discretion being used as to whether strong or middle oil is required to be used. The plate is warmed on a heater until just hot enough for the hand to bear with comfort ; the linen rag, having been made into a pad of about four folds, is dabbed into the ink, which is worked well into the fabric. Lift up the warm plate, and smear the ink all over, working it well into the darker parts of the picture ; return the plate to heater, and, having folded into a pad the coarse muslin, or a fresh piece of linen rag, again lift the plate and wipe the ink off the whites, doing this very gently, turning the plate round and round, and doing the wiping towards the dark plates, finishing up with a pad of muslin. The progress of inking up can be seen, and the effect of the 48 PHOTOGRAVURE. picture accurately judged, so that there is no need to proceed to printing until the inking is just right. With the muslin wipe the margin as clean as possible, then take a fresh piece and just touch it with turpentine, and clean oft* the margin thoroughly from the least trace of ink. Lay the plate in position on the zinc plate or millboard, take a sheet of damp paper, lay this in position over the plate, put a thin sheet of cardboard over this, and pull through the press, the pressure of which has been previously adjusted by passing the plate through with the cardboard over it ; pull through once, then lift up the blankets, reverse the position of plate, and pull back again, then put the plate on the heater, zinc plate under it, and separate the print from the plate, and the photo- gravure print is done. For each separate print the operation of warming and inking must be repeated. No. 6. 1895 - 6 . ILIFFE & SON, 3, ST. BRIDE STREET, LUDGATE CIRCUS, LONDON, E.C. LIST OF PUBLICATIONS. PHOTOGRAPHIC BOOKS, &c. “Photography” Annual,— Edited by Henry Sturmey. A compendium s. d. of information and statistics of the year. Demy 8vo. (Cloth, gilt lettered, 3/6.) Paper cover (postage 7jd.) Vol. I., 1891, is out of print 2 6 The Encyclopaedia of Photography.— By Walter E. 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