ANTHONY'S PHOTO SERIES, No. 33. 
 
 CONTAINING 
 
 EXPLICIT INSTRUCTIONS 
 
 FOR 
 
 PROFESSION flflD flJWflTEUR PHOTOGRAPHERS, 
 
 BY 
 
 MAX BOLTE 
 
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 No. 59 i BROADWAY. 
 1897 
 
ANTHONY'S PHOTO SERIES, No. 33. 
 
 Carbon Printing, 
 
 CONTAINING 
 
 EXPLICIT INS TR UC IVONS 
 
 PROFESSIONAL AND AMATEUR PHOTOGRAPHERS, 
 
 BY 
 
 ♦ 
 
 MAX BO LT E . 
 
 1 Wew l£ork: 
 
 E. & H. T. ANTHONY & CO, 
 
 No. 591 BROADWAY. 
 
 1897 
 
Copyright, 1890, by E. & H. T. Anthony & Co. 
 
y ~pHE matter to be found in the following pages, from the hand of one 
 so well versed in the practical workings of this branch of the photo- 
 graphic art as the author, will, we think, be sought for by the many who 
 
 are devoting a portion of their study and experiment to this phase of it, 
 
 * 
 
 and we have therefore reprinted it from the “Bulletin,” where it appeared 
 as a serial, and send it forth in book form, with the hope that it may be 
 of service to many. 
 
 The Publishers. 
 
 New York, February, 1897. 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/carbonprintingcoOObolt 
 
CARBON PRINTING: 
 
 EXPLICIT INSTRUCTIONS FOR PROFESSIONAL AND AMATEUR PHOTOGRAPHERS. 
 
 BY MAX BOLTE. 
 
 CHAPTER I. 
 
 Introduction. 
 
 Of all materials known to chemistry, carbon is the most constant and resist- 
 ant to the influences of temperature and the hygrometric changes of the atmos- 
 phere. Looking at old manuscripts, or old engravings, which were produced by 
 writing or printing in carbon, we always find that the black characters and lines 
 remain black, even if centuries have passed over them, the paper, parchment, 
 or other supporting materials, meanwhile having faded or become yellow. Car- 
 bon having been employed as the essential coloring matter in all these, it has 
 proved to be the desideratum for the production of photographic pictures. 
 Even if the printing processes with silver salts have advanced much, it is well 
 known that pictures produced in this way (and having been made with the 
 utmost care) generally fade more or less in the course of years, even if they are 
 protected against the light. 
 
 The strain laid upon photographers in consequence of competition, often, un- 
 fortunately, causes them not to be so careful and cautious as they ought and 
 would like to be in the production of pictures; and, owing to these and other cir- 
 cumstances, it only too often happens that silver prints made by them sooner or 
 later show signs of alteration. This is due to lack of care, to which they had to 
 consent in order to make their business pay. Of course this is not always the 
 case, for there are, fortunately, many photographers who, by their merits and 
 conscientiousness, are in such a position as to be able to devote all their time and 
 a special carefulness to the production of as really good and permanent work as 
 possible, in order to maintain the high standing which they have been able to 
 reach through their ability and the artistic class of work they turn out. 
 
 Now, as regards the carbon process there is the great truth which predomi- 
 nates over all, viz., that carbon pictures produced in the way already described by 
 many authors, and practiced by a great number of well-known photographers 
 and amateurs, are stable and not subject to any such influences as are dangerous 
 to silver prints. There has often been made the apparently just remark by those 
 who do not know the carbon process, that it is a so-called “ blind ” process, i. e . , 
 it is in some way guess-work, or a process where the watching of the impression 
 produced by the light on the sensible pigment cannot be seen, controlled, and 
 modified. It has further been objected to this beautiful and interesting process, 
 that it is too delicate and claims too much care and constant precautions in order 
 to produce good prints. 
 
 But all these objections are made in a somewhat rash and inconside/ate 
 manner, for science and intelligence have given us an auxiliary which, as far as 
 caution and carefulness come into co-operation supplies us with a contrivance: 
 
2 
 
 more perspicacious than our own eye would be: the photometer or actinometer, 
 which was invented expressly for this purpose. By means of this little con- 
 trivance, carbon printing is rendered really easy, and the worker readily becomes 
 acquainted with its use, and soon acquires a security which in fact is surprising. 
 
 As far as precautions and carefulness are concerned, it is evident that any 
 such process will claim its just portion; but considering that the silver printing 
 process also claims them (the repeated washings of the prints, the gold toning bath, 
 the elimination of the hypo, etc.), it is evident that the balance inclines towards 
 the carbon process, so long as really permanent prints are desired. 
 
 The carbon process since it was invented has always been an interesting 
 subject to scientific men, and when we look over its history we find the names of 
 Poitevin, Regnault, Sutton, John Pouncy, Fargier, Swan, I. R. Johnson, Leon 
 Vidal, Dr. Van Monckhoven, Bolas, Woodbury, Dr. Liesegang and others, who 
 have all worked and made improvements upon it. Several treatises have been pub- 
 lished, all containing valuable formulas and recommendations, but very few are 
 written in such a detailed way as to enable a person to take up the carbon process 
 and, book in hand, make it a success. The principal object of the present treatise 
 is to enable any person to become a carbon printer, and special care has been 
 taken to give all the instructions as clearly as possible; giving the formulas for 
 the sensitizing baths, solutions, etc., plain and intelligible, in order to avoid to 
 the utmost the chances of a bad result; and it is hoped in a manner that will 
 enable any careful worker to follow up this process with not more trouble than 
 attaches to any work of a similar kind. 
 
 CHAPTER II. 
 
 Work-rooms. 
 
 A dark room (yellow glass windows or yellow artificial light are sufficient) 
 must be provided wherein to sensitize the carbon paper, and special care must be 
 taken that it is well ventilated and not in too close proximity to a kitchen, stable, 
 or water-closet. It is also necessary that it is a dry room, and that the floor be 
 clean and not covered with a carpet. The screens for keeping off the actinic 
 
 light ought by preference to be of dark smoked orange glass, combined witn 
 yellow (sunflower-color) tissue paper when it is the intention to sensitize during 
 
3 
 
 the daytime. However, as will be seen in the Chapter on Sensitizing, it is not 
 absolutely necessary to sensitize during the day, and it is even more convenient 
 to do it in the evening, when a simple sperm candle is all that is wanted to con- 
 duct these operations. 
 
 For the production of large quantities of carbon prints on a large scale, 
 there should be a dark room as described above. The late Dr. Van Monck- 
 hoven recommended a special contrivance, which at the same time gives a good 
 and abundant light with perfect and convenient ventilation. It consists of 
 
 double shutters, as in Fig. i, painted inside and out with a yellow color, and 
 having the angle uppermost. A window may be fitted to receive it. Mr. 
 Sarony, of Scarborough, England, uses a very convenient arrangement, which 
 will be easily understood by Fig. 2. 
 
 The rooms for development, mounting and retouching do not claim any 
 special preparations as regards light, for all these operations are conducted in 
 daylight. There should, however, be provided communications with the main 
 water-pipe and sink. It is good if the floor is covered with asphaltum, or has 
 stone paving. 
 
 For amateurs these contrivances are not necessary, or should be greatly 
 modified. The greater number are possessed of a dark room, and will easily 
 be able to make such alterations as will be indicated hereafter. The above rec- 
 ommendations as regards light, ventilation, proximity of kitchens, stable? or 
 water-closets, etc., must be borne in mind. Those, who do not possess a dark 
 room will also be able to make carbon prints if they follow the indications given 
 in the following pages. 
 
4 
 
 CHAPTER III. 
 Apparatus. 
 
 Trays. — Four different classes of trays are wanted: for sensitizing, a reservoir 
 tray, developing, and alum bath. Their size depends upon that of the plates 
 used and the dimensions of the pictures desired. For 8 x io plates the dimen- 
 sions of the trays ought to be as follows: Length, nj to 12 inches, breadth, 9^ 
 to 10 inches, depth, 5 to 6 inches. For sensitizing and developing same length 
 and breadth, but at least 10J inches deep for the reservoir tray, and only 2 to 2^ 
 inches for the alum bath. The 8x10 size for plates is very convenient, for it 
 allows that two 5 x 8 or smaller sized pictures can be developed at the same 
 time, thus simplifying the work very much. These trays should be made of stout 
 sheet zinc, not of tinned iron. It is also very convenient to procure one larger 
 tray, two to three inches longer and broader, and to use it, when the temperature 
 in summer rises above 70 to 75 degrees F. , as a cooling-bath for the sensitizing 
 and transfer manipulations. If convenient, all these trays may be coated with a 
 varnish made of asphaltum in benzine; however, it is not necessary. 
 
 Squeegee. — There should beat least two squeegees. They can be obtained 
 ready made and of different sizes. It is easy to make them by proceeding as 
 follows: Take a piece of wood say 8 by 3 by | inches, and give it the form as in 
 Fig. 3. Make a groove at the lower end, and place into it a piece of rubber- 
 
 Fig. 3. 
 
 cloth, three or four-ply, the same length as the wood and about two inches in 
 breadth; secure by means of some brass screws. Larger plates than 10 x 12 
 claim a squeegee of larger size. Mark one of them with a B and the other with 
 a 2 ] and use B only for the sensitizing of the paper and T for the transfers, as 
 will be explained later on. 
 
 India-rubber Cloth. — Two pieces of this cloth should be provided. As regards 
 size, they must be at least three inches larger every way than the plates for 
 which they will be used. They must be kept clean, and it is best to use one for 
 the sensitizing and provide it with a mark, say B, and reserve the other for the 
 transfer, marking it T. 
 
 Folding Racks. — There should be three. They are cheap and can be obtained 
 from any dealer in photographic materials. 
 
 Glass or Porcelain Plates. — These plates must be chosen according to the 
 size of the pictures to be produced. It is also left open to decide whether 
 ground or plain plates shall be used. Plain plates, glass or porcelain, produce 
 pictures (by means of the double transfer) with a high gloss; ground plates give 
 a matt surface. Beginners will do better in employing porcelain plates, which 
 render it more easy to estimate the strength of the picture when developing. 
 Large pictures, also transparencies, claim glass plates, for there is a difficulty to 
 obtain large porcelain plates free from defects, and their cost is exceedingly high. 
 
Transparencies cannot be estimated sharply as regards their degree of develop- 
 ment if they have been transferred to porcelain. 
 
 Collodion Bottle. — Cross’ filtering and pouring bottle is a very convenient 
 contrivance. It has the advantage that it is cheap and very handy, as no collo- 
 dion but that which passes through the filter comes into use. 
 
 Funnels . — There ought to be two funnels, either glass or india rubber, and of 
 convenient size, one to be used for sensitizing and the other for the alum bath; 
 and, in order to avoid confusion, they should be marked, the former 3 , and tne 
 latter A, and should only be employed for the designed purpose. 
 
 Thermometer . — Either a so-called bath thermometer, or one mounted on 
 glass, and with divisions in Fahrenheit and centigrade degrees is necessary. 
 
 Heating contrivances . — For large quantities of work a so-called “Geyser” is 
 recommended. It consists of a cylinder containing a spiral coil, and having an 
 opening at the top for connection with the water-pipe, and a valve at the lower 
 end. Underneath is a gas-burner. It heats the water very fast, and by regulat- 
 ing the burner and the valve of the water supply, any degree of heat can be given 
 to the water. Amateurs will not require such an apparatus, as they will not 
 want large quantities of hot water. It will be sufficient to procure a good single 
 or double-wick “ Summer Queen ” kerosene stove and a water-kettle of convenient 
 size. It is an absolute necessity to have a contrivance for heating water, for 
 without hot water nothing can be done. The kettle should hold at least half a 
 gallon; of course all depends on the scale of the work to be done. 
 
 Large establishments may be fitted out with some developing and washing 
 trays of large dimensions; the former resting on a sort of cradle and being sus- 
 pended at the center, are movable in the same manner as a see-saw. The water 
 supplies, cold and hot, should be placed over them, and there may be also pro- 
 vided some roses, which are very useful to give a final wash to the plates; or, the 
 roses from the hot water supply are used to clear up darker portions of the picture 
 under development. 
 
 Printing Frames . — The same class of printing frames as are generally employed 
 for silver prints may be used. There are however others made expressly for this 
 process and which have no folding back, since there is no necessity to open the 
 frames during the exposure to the light in order to see the progress made. The 
 frames must be kept free from dust and as dry as possible. It is good to cut 
 some pieces of impermeable paper or of rubber-cloth and lay between the tissue- 
 paper and the back plate of the printing frame. These pieces should be a little 
 larger than the carbon tissue. Very handy and convenient are the printing presses 
 invented by Mr. Sarony; they are too well known to require describing here. 
 
 Wood Clips — About two dozen or more are wanted They are cheap. The 
 most convenient are those that have a hook on the upper end, by which they 
 may be suspended on a rope or wire. 
 
 Drying Box . — For those who cannot arrange a special room (well ventilated, 
 dry, and not in too close proximity to a kitchen, stable, etc., as mentioned 
 already), a contrivance like this will enable them to take up this fine process. A 
 somewhat detailed description and illustration are necessary (see Fig. 4). The box, 
 A A A A, should have the following dimensions: Length, 3 to 31 feet, breadth, 
 2^ to 2\ feet, height, 2^ to feet. The boards ought to be one inch in thick- 
 ness, well joined, and, of course, perfectly light-tight. A door must be provided 
 opening the whole length, and fitting perfectly light-tight also. At one end of 
 

 the case, as near as possible to the top, make an opening, 0 3 , say f inch by 2 
 feet, parallel with the top, and place before it a light-trap, B , as indicated in Fig. 
 4. This trap can easily be made by any one who possesses a pocket-knife, some 
 nails, and a glue-pot. The arrow in the drawing indicates the course of the air 
 (passing through openings O 1 , O 2 and O 3 , which are all three of same length 
 and breadth), and the black spots show where the openings should be made. 
 There must be provided a board on which the zinc tray C, can rest, which must 
 be filled with chloride of lime. A door must also be made by which this tray 
 may be introduced and withdrawn, of course also light-tight. As the tray is 
 rather long, it will be best to make the door at the smaller end of the light-trap 
 and at its front. Also make a hole, ( 9 4 , opposite and diagonally across from the 
 former, i. e . , at or near the bottom of the case, A A A A, This hole should be 
 
 round and of 3 inches diameter. Attach to it the chimney tube, D. This tube 
 must have an elbow and a perforation at the height of the top of the case or 
 above, for the introduction of the gas-burner. If no gas can be obtained, the tube 
 should be provided with a drum or a cone, and in it should be placed a kerosene 
 lamp, resting on a cross-bar at about one inch from the bottom of the drum. 
 The area of the tube should exceed that of the opening, 0 3 , coming from the 
 light-trap, B, in order to produce a stronger draught. There should be placed 
 a light-trap, E } before this outlet of the air in order to prevent any light rays 
 proceeding from the burner in the chimney entering the case. It is sufficient to 
 join two small boards of say 10 by 4 by -J- inches lengthwise together and place 
 them before the opening inside of the case. Now extend some copper wires 
 parallel with the front side of the case and at about three inches from the top, from 
 one side to the other, and make them equi-distant from each other. For a box 
 of the above dimensions four or five wires will be all that is required, and will 
 
7 
 
 allow of hanging upon them from sixteen to twenty pieces of carbon tissue of 8 
 x io or larger, and this quantity is sufficient for one day’s work. It will dry in 
 a corresponding time, if properly managed. 
 
 The drying box should rest on trestles eighteen inches high, as indicated in 
 the drawing. The joints of the boards should be pasted over on the interior of 
 the case with some stout paper strips, and the front door must of course swing 
 outward. It is good to provide the rabbets of the door frame with some cloth 
 strips in order to exclude any dust or light which, without this precaution, might 
 find its way into the interior of the case. The whole contrivance ought to be 
 kept as clean and dry as possible. It is a good plan to place some heated bricks 
 in the box from time to time and allow them to cool off. This should be done 
 when the weather is damp, and of course by preference before the case is to be 
 used. In the course of this treatise we shall give some more explicit instructions 
 for the management of the drying box. 
 
 The above mentioned accessories, with the exception of the photometer, of 
 which a description and illustration will be furnished later, are the requisites 
 necessary. As regards scales, measures, weights, filtering and blotting-papers, 
 etc., these are generally at hand with any photographer or amateur. 
 
 CHAPTER IV. 
 
 Chemicals and Paper. 
 
 There are two chemicals which play an important role in this process. 
 Bichromate of potash (K 2 Cr 2 0 7 ) and bichromate of ammonia (NH 4 ) 2 
 Cr 2 0 7 , but as there is such an extraordinary difference of price between 
 the former and latter, without any equivalent benefit, we shall only speak 
 of bichromate of potash. This chemical should always be handled with the 
 greatest care, for it is strongly corrosive. Solutions of this salt taken internally 
 cause violent inflammation of the stomach and kidneys, accompanied by severe 
 vomiting (yellow) and diarrhoea. Bicarbonate of soda or magnesia should be 
 taken as soon as possible. There is not much danger, since cases where mistake 
 has led to the taking of these solutions internally are exceedingly rare. By far 
 the greater danger lies in the handling of the cold or warm solutions, in which the 
 carbon printer might have to immerse his fingers and hands. It should always 
 be borne in mind that these solutions, even if employed weak and tepid or cold, 
 cause strong irritation of the skin, and should there be any light scratches or 
 lesions of the skin on the fingers or hands, the inevitable consequence will be an 
 irritation of those wounds, with sometimes very disagreable consequences 
 and rather difficult healing. We strongly recommend not to allow the fingers 
 and hands to remain too long in the solutions. Rubber gloves should be used. 
 The cold sensitizing baths, although stronger in bichromate, are not as dangerous 
 as the warm, or sometimes even hot, developing bath, for as the pores of the skin 
 open by warmth, they are more likely to absorb the poison contained in these 
 solutions. Avoid also contact of the eyes or nostrils with the fingers which have 
 recently touched chromic salts. 
 
 Some months after having taken up carbon printing, I was surprised to find 
 myself with rather disagreeable sores and ulcers, which made their appearance on 
 
8 
 
 my fingers and hands, and I attributed them to impurity of my blood. The 
 physician whom I consulted admitted that he had never before seen such ulcers. 
 Business occupations compelled me to suspend carbon printing for about two 
 months, and the ulcers had by that time disappeared. When I again took up 
 carbon printing, having some slight scratches on the hands which I got by play- 
 ing with a cat, I noticed that they would not heal, showing much inflammation, 
 closing at the surface and forming pus. Some dreadful ulcers appearing in 
 much greater numbers also made their appearance, and this time they were of a 
 far more venomous character and for weeks resisted any treatment. I decided 
 to go to Germany and there I consulted three eminent physicians; two of them, 
 after careful examination, came to the conclusion that my case was analogous to 
 syphilitic disorganization. Subcutaneous injections of bichloride of mercury 
 with a slight addition of common salt were made. One of these injections 
 provoked an ulcer on the hip which kept me for eleven weeks in bed. Three 
 operations were made, cutting always the borders larger and employing chloride 
 of zinc for seventy-two hours to cauterize the bad flesh, etc. Visiting New York 
 about a year after this experience, I learned here that the disease from which I 
 was suffering was nothing else but bichromate of potash poisoning. The remedies 
 given to me were sulphide of calcium (two pills of an eighth of a grain daily 
 for one week ) and phenic acid in syrup (a tablespoonful morning and evening, 
 also for one week), and alternating these two for about six to ten months. This 
 was in 1884, and to-day I am assured that this treatment has entirely cured me, 
 and for more than eighteen months I have been well. 
 
 Waxing Solution . — To prepare this solution take 
 
 White (virgin) wax 1 ounce. 
 
 Benzole 100 ounces. 
 
 The wax must be scraped as fine as possible. Introduce it into a bottle, pour 
 on the benzole and shake well until entirely dissolved. Let it stand for a couple 
 of hours and decant the clear solution. Be sure that the bottles are absolutely 
 clean and free from water, for the least drop would render the solution turbid. 
 Only pure white or, still better, yellow wax, which is generally purer, must be 
 used, for if tallow is contained in it the solution will not give the high gloss 
 desired. If adulterated wax has been employed, an addition of one part of 
 rosin to ten parts of wax may be used. 
 
 Collodion . — The collodion should not contain more than one per cent, of 
 cotton and equal parts of alcohol and ether, i.e., 50 parts alcohol and 50 parts 
 ether. For those who do not know how to prepare the collodion, I will here 
 give a convenient method. Having weighed the right quantity, open the solu- 
 ble cotton and tuft it well; introduce it into a bottle somewhat larger than 
 required, and pour on some of the alcohol. Shake well, acid the remainder of 
 the alcohol, and again shake well until you see that the cotton is perfectly 
 soaked. Now add a small quantity of the ether and shake well; add more and 
 shake again, and so on until all the ether has been added. Allow the collodion 
 to stand for a couple of days, for new collodion does not work so well as old. 
 It may be used as it is however, if desired, or, if necessary, a slight addition of 
 carmine or aniline red may be used. These colors are first dissolved in alcohol, 
 and of this solution the necessary quantity is added to the collodion, which after 
 this addition h again well shaken. The collodion should either be decanted or, 
 better still, filtered through flannel, in order to have it as clear as possible. 
 
9 
 
 Alum Solution . — This is used — and cannot be dispensed with — after the devel- 
 opment of the carbon picture, as it serves to harden the gelatine and eliminate 
 any trace of bichromate of potash which might still be contained therein. For 
 double transfer pictures the solution must not be stronger than 2 to 100; for 
 single transfer it can be made as strong as 5 per cent. It is preferable to use 
 rain water, though any water can be used, but then from three to five drops of 
 sulphuric acid must be added in order to keep the solution clear. Before use 
 filter repeatedly, at least three times. It is best to use always fresh solution. 
 
 Carbon Tissue Paper . — Though it is not very difficult to prepare this paper, 
 as there are so many and reliable manufacturers who produce it in excellent 
 quality, any desirable shade, and at not too high prices, it will be better to take 
 advantage of their products, and save the carbon printer many an inconvenience 
 and failure. I therefore abstain from giving a description how to prepare it, which 
 would moreover l^ead to a somewhat lengthy discourse. There are however 
 some few items which should always be borne in mind: 1st. The fresher the 
 
 paper the better it will work. 2d. Always preserve the paper against dampness 
 and emanations from kitchen, stable or privies; it is almost absolutely necessary 
 to keep it in tin tubes or boxes, which should be as air-tight as possible. 3d. 
 The cutting of. the paper ought to be done with care, and the fingers should not 
 touch the gelatine side, for any such touching would leave a mark and some- 
 times show in the picture. During hot weather linen thread gloves should be 
 worn for this manipulation. The operation is often, especially during hot and 
 dry weather, a somewhat tiresome one, since the paper becomes so brittle that it 
 is scarcely manageable. It is therefore good to place it fora night in a cellar or 
 room where some damp clothes are hung up, unroll, but not cut it until 
 sufficiently softened. After cutting, the pieces should be kept under a weight or 
 in a printing frame and with the carbon sides face to face.* 
 
 CHAPTER V. 
 Sensitizing the Tissue. 
 The solution should be prepared as follows: 
 
 Bichromate of potash (finely pulverized) 3 ounces. 
 
 Carbonate of ammonia 7° grains. 
 
 Water 100 ounces. 
 
 and after complete solution it should be filtered repeatedly through flannel. Never 
 omit the carbonate of ammonia, as it much facilitates development. The solution 
 must be used at a temperature of 58 degrees and if still cooler it will be better. 
 It should stand at least 1 \ inches in the tray, and care must be taken that the 
 temperature does not rise during the sensitizing. Having dusted a piece of 
 carbon paper on both sides immerse it in the solution, carbon side up, and for 
 exactly two minutes , rocking the tray all the time, being careful that the paper 
 remains completely covered. Any air-bells that appear must be removed by the 
 
 * Single and double transfer paper, also flexible support paper will be described later on, when speaking 
 of their employment for their respective uses. 
 
10 
 
 duster. Withdraw the paper and immediately reimmerse in the solution, but 
 this time only for one minute and carbon side down. Pass the duster over it in 
 all directions, that no air-bells remain adhering to it, which sometimes produce 
 black spots in the lighter parts of the picture.* Having placed a stout glass 
 plate, somewhat larger than the sheet sensitized, on the table, take the sheet, 
 holding it by two opposite corners, and allow the solution to run off; and as 
 soon as drops form, lay it, carbon side down, upon the glass plate and cover it 
 with the rubber-cloth, glossy side up. Now take the squeegee, and by employing 
 at first a gentle pressure squeegee it in all directions and always from the center to 
 the edges. The rubber-cloth is now withdrawn, and by means of one or two 
 wood clips the paper is hung up to dry, either on some wires fitted up for this 
 purpose in the drying room or placed in the drying box. Serve all the sheets to 
 be sensitized in the same way. The squeegeeing of the paper may be 
 omitted if desired, but in hot weather it must he done. The drying is a very 
 important item, for the time which is occupied by it has a material in- 
 fluence upon its after behavior; if dried too quickly the paper will be found 
 much too brittle, will print slow, and be deficient in half tones; if too long in 
 drying it will most likely become insoluble and useless. The right time is from 
 six to ten hours. The sensitizing can be done in subdued daylight or, better 
 still, in the evening, using a sperm candle, but neither kerosene or gaslight. 
 Carbon paper when wet is not affected by light, but once sensitized and dry it is 
 from three to five times more so than albumen silver paper. Proper drying 
 imparts three qualities to the paper: ist. Vigorous prints, clear whites or high 
 lights, and well pronounced shadows; 2d. Easy adherence to the paper, glass, or 
 other transfer medium; 3d. Easy and short development. Some authors have 
 recommended to sensitize a couple of sheets at the same time, but I have found 
 that this is not to be advocated, as there is no secure way to avoid the air -bells, 
 which, if many sheets were sensitized together, would escape the attention of the 
 worker, but would show when developing and not easily be removed. It is 
 evident that the sensitizing solution, after having used it for a number of sheets, 
 gets weaker, and it is therefore prudent to take a fresh bath after a certain num- 
 ber of sheets, say ten to fifteen, have been immersed. As the bichromate of potash 
 is not an expensive chemical, there should not be a false economy with the bath, 
 and after use the solutions should be thrown into the sink. 
 
 Regarding the management of the drying room and the drying box, I will here 
 give some hints. The drying room should be as free from dust as possible, and 
 be guarded against any white light, and have a good air supply. The drying 
 box also must be dry, be well cleaned, and, before putting in the paper, the 
 chloride of lime box should be filled about a quarter inch high and the air current 
 established. Should there be much dampness in the air it will be found con- 
 venient to employ chloride of calcium, of which a sufficient quantity may be 
 introduced ad hoc , and placed in the drying box.*)* It is good also to remove any 
 vessels containing water or solutions, for their presence in the room would con- 
 tribute to lengthen the drying of the paper. 
 
 Frequently the paper after a short, but good, drying becomes rather brittle 
 
 *T.he paper first rolls up, but later on flattens out, and this is the right moment to withdraw it trom the bath, 
 t From time to time, and especially when the air is humid, some heated bricks should be placed in the dry* 
 in? box, of course hefore any paper is hung up to dry. 
 
11 
 
 and horny; in order to avoid this the sensitizing bath may be made up as 
 
 follows: 
 
 Bichromate of potash 3 ounces. 
 
 Carbonate of ammonia 70 grains. 
 
 Water 100 ounces. 
 
 and for each quart of the solution from one-fourth to one-half dram of glycerine, 
 but never more. When working in hot weather it will be found advantageous to 
 add to the preceding formula from 90 to 100 grains of salicylic acid, and it will 
 be found that the reticulation will be avoided. 
 
 Having sensitized in the evening, the paper will be found perfectly dry in the 
 morning, provided that everything was all right, and it may now either be exposed 
 to light under the negative, or placed in the preserving or magazine box. Of 
 course these operations must be performed in non-actinic light. Paper which has 
 * been sensitized without the addition of salicylic acid cannot be kept longer than 
 from three to five days, but those with salicylic acid will keep good, if preserved 
 against the action of the light and air, for as long as ten to fifteen days. It is 
 good to keep the sensitized papers in a light and air-tight box and underpressure. 
 
 CHAPTER VI. 
 
 Negatives and Printing. 
 
 The negatives which should be employed ought to be of good density and 
 must be provided with a so-called “safe edge,” i.e., some opaque yellow or 
 
 Fig. 5- 
 
 
 A 
 
 A AAJ 
 
 black paper strips pasted around the borders. These strips ought to be from 
 one-eighth to one-fourth of an inch wide. This is a necessity, for if there were 
 not a safe edge many a good print might be spoiled by a little carelessness, when 
 withdrawing the tissue paper from the transfer medium. 
 
 For double transfer the negatives as generally taken are all right, for the 
 picture will show right, i.e., the objects which are on the right side will come in 
 the picture on the right side also; but for the single transfer the negatives must 
 
12 
 
 be reversed, for this process gives pictures where the right side objects are shown 
 on the left side. This is due to a peculiarity of the carbon process — the prints 
 must be developed from the back. As it also reproduces in the most absolute 
 way any shades or gradations of the negative, it is necessary when printing from 
 thin negatives that they are covered on the glass side either by mineral paper or 
 matt varnish. The latter is preferable, as it admits that parts which should print 
 strong can be cleared up or scraped off. A very good formula to make the 
 
 varnish is as follows: 
 
 Gum sandarac (finely powdered) 4 parts. 
 
 Ether 36 “ 
 
 When dissolved add 
 
 Canada balsam 1 part. 
 
 Benzole . . . . 20 to 30 parts. 
 
 Filter. 
 
 The greater or smaller quantity of benzole produces a coarser or finer grain. 
 This varnish is employed on the back of the negative, which however should 
 not be warmed. If more density is wanted a second covering with the varnish 
 maybe given. The retouching can be done with the pencil, graphite and stump, 
 also with brush and colors, and parts which should print well may be lightened 
 up by means of a brush dipped in mastic varnish. Larger negatives may be 
 covered with mineral paper which was first soaked in water and blotted off. The 
 borders only must be gummed and the whole sheet drawn as tight as possible 
 over the plate. The retouching, by means of stump and pencil, should be done 
 on the paper when dry. Strong negatives do not require this, but thin negatives 
 will be much improved by it. The single transfer process requires reversed 
 negatives, which may be made either direct in the camera, placing the film side 
 of the plate against the holder (of course the focusing glass should be reversed 
 also, or its thickness taken into consideration when focusing), by means of a 
 prism placed before the lens, or by a mirror inclined 45 degrees to the axial light 
 rays. For these two modes the exposure should be about one-fourth longer. 
 Or reversed negatives by means of film may be used. Negatives of good density 
 turn out powerful, rich prints; thin negatives give flat pictures. By employing 
 weaker or stronger bichromate solutions there is a remedy, and from weak nega- 
 tives strong and powerful prints may also be made and vice versa . Much-in- 
 tensified negatives produce hard prints without any soft gradations, and such 
 prints should be exposed, either before or after printing, for a few seconds to 
 diffused daylight. 
 
 Photometer . — There are several styles, which all answer well. We shall only 
 speak of two, the scale photometer and the block photometer. The scale photom- 
 eter can be easily made by any one; it consists of a 4 x 5 glass plate, or smaller, 
 divided into twelve, sixteen, or more squares, and formed by the superposition of 
 pieces of mineral paper, the first square being covered with one piece, the second 
 with two, and so on until the last, which would have twelve or sixteen pieces 
 pasted one over the other.* A 4 x 5 printing frame is very suitable. The silvered 
 paper is laid against the corresponding square, the frame closed and exposed to 
 light, and when sufficiently printed the respective number will stand out white 
 on a brownish ground. The block photometer is a small box provided with a 
 
 * When all the papers are perfectly dry there should be inscribed the numbers from 1 to 12 (inverted) eith»« 
 with India ink or some red color. 
 
13 
 
 double cover. The upper cover has a round opening cut in it, and under it is 
 placed a glass plate divided into three sections, of which the two outer ones are 
 painted chocolate-brown (the tint which silvered paper shows when exposed to 
 direct sunlight for one and one-half minutes). In the case is placed a roll of 
 sensitized paper corresponding in breadth to that of the inner section of the glass 
 plate, or a little larger, and of any desired length. The end of this roll is drawn 
 over the lower cover of the box so that it stands out a little. The upper cover 
 is now closed and the photometer exposed to the light, and as soon as the 
 silvered paper shows the same color as the painted sections it is called one tint. 
 
 There is now the question how to apply the photometer to the printing. The 
 printing frames having been provided with negatives and sensitized papers, and 
 the photometer having a fresh portion of silvered paper under the opening men- 
 
 Fig . 6 * 
 
 tioned, are exposed together to the action of the light, and when the photometer 
 shows the required color, the carbon paper has been acted upon by the light in 
 the same way. How many tints, or what number of the scale photometer, re- 
 quires a negative of a certain density ? This question can only be answered by 
 practice, and the beginner most assuredly will have to sacrifice some prints in 
 order to learn how to estimate the density of the negatives in their relation to that 
 class of photometer which he has adopted. A negative of medium density mav 
 require from three to four tints, or even more if matt varnish or some strong re- 
 touching has been resorted to. The question which photometer shall be em- 
 ployed should be answered first, for it is prudent to always use the same pho- 
 tometer, as it much facilitates the work when the printer has got well accustomed 
 to its strength. The silvered paper for the photometer should always be of the 
 same strength of silver, for uniformity is absolutely necessary in order to be able 
 to rely upon the right working of all. The silvered paper is best made of Rives 
 paper, immersed for ten minutes in a io-grain solution of chloride of sodium, and 
 when dry may be kept ready for use. When required, float it for two minutes 
 on a 40-grain solution of nitrate of silver, and add about ten grains citric acid to 
 each ounce of the solution. The sensitizing of course must be done in the dark. 
 The paper preserves its whiteness for weeks when kept from light. 
 
u. 
 
 Having selected the negatives that are to be used, separate them according 
 to their density. The printing frames must be as free from dust as possible and 
 perfectly dry. The light should be subdued before the sensitized carbon paper 
 is resorted to. See that the negatives are free from dust, take a piece of carbon 
 paper, dust it well on both sides, and place it over the negative, gelatine side in 
 contact with it. Cover with a piece of rubber-cloth or a felt pad ( must be abso- 
 lutely dry), and close the back of the printing frame. When all the frames have 
 been filled in this way, expose to light and place the photometer close by them. 
 Watch the photometer, and when the required tints are reached, turn those 
 frames over which correspond. Proceed in the same way with all of them. The 
 requisite exposure given, the printing frames are taken back to the dark room 
 and emptied, and the printed carbon papers are now laid away in a light-tight 
 box, and, if possible, some pressure applied to them. 
 
 Should there be some hard negatives, it is best to expose the printed carbon 
 sheets for a few moments to daylight, which would give them a softer appear- 
 ance; but care should be taken not to allow the light to act too long. 
 
 The printing for double or single transfers is exactly the same, but for trans- 
 parencies a longer exposure to light*is necessary. 
 
 N. B. Care must always be taken never to employ damp tissue paper. 
 
 Since the gelatine side of the tissue is pressed in contact with the negative, it 
 is evident that if it retained the slightest adhesiveness on its surface it would be 
 dangerous to press it against the negative. However there is a very efficient 
 remedy, which was first employed by Mr. Swan; it is simply to dust the negative 
 and the carbon paper with some steatite (French chalk or talc). Of course the 
 dusting must be done in a careful way, and by means of a camel’s hair duster as 
 much as possible of the steatite should be removed. This imperceptible coating 
 offers two advantages: First, it is a discoverer; for if there is any moisture left in 
 the tissue, when passing the brush over it the steatite will adhere in patches to 
 any moist places, and will not spread in a scarcely perceptible coating. Second, 
 it prevents an excessive absorption of light in those parts of the carbon tissue 
 which are in such absolute contact with the negative as to prevent the reflection 
 from its back surface. The dusting of paper or negative, or both, does not cause 
 any imperfection in the print. 
 
 CHAPTER VII. 
 
 Single Transfer Process. 
 
 This process is free from any difficult operations and may be described as 
 follows: 
 
 The exposed carbon tissue , together with the single transfer paper , is placed in 
 a tray containing water of not over 58 degrees F, and after some minutes are with- 
 drawn together from the water, placed on a glass plate or wood board, and squeegeed 
 together. They must now remain in contact for at least fifteen minutes, and slight 
 pressure may be employed; placed in a tray containing lukewarm water, when the 
 tissue paper will separate from the transfer paper, leaving the carbon on the latter , 
 and the development is now completed. The developed picture is then placed in an alum 
 bath for ten minutes, well washed ' and hung up to diy. 
 
 Having subdued the light, a sheet of tissue is taken, dusted carefully on both 
 sides and immersed in the water contained in the tray, which must not exceed 
 
15 
 
 5 ft degrees F. The same is done with the transfer paper, but as many as five, or 
 even more, may be placed in at once, for it does not make any difference if they 
 remain some minutes more in the water. The tray containing the carbon tissue 
 is rocked all the while, and care must be taken that no air-bubbles remain 
 adherent to the tissue. It first curls, but must remain entirely immersed, or it 
 might reticulate (especially during hot weather) when this precaution was not 
 taken. After about two minutes the tissue flattens out, and this is the very mo- 
 ment to withdraw it from the water.* 
 
 The glass plate, which must be somewhat larger than the transfer paper, should 
 be clean and free from all dust. Place, the transfer paper, glossy side up , upon 
 the glass plate. Lay the tissue paper, carbon side down , upon the transfer paper, 
 cover with the rubber-cloth, and apply the squeegee from center to borders, first 
 using gentle pressure, and later applying more. Now withdraw the rubber-cloth 
 and examine, holding the papers horizontally against the light, if they have been 
 well pressed into contact. Remove any moisture which might be present at the 
 borders by means of a moist sponge or linen towel, and hang up to dry. As it 
 often happens during hot weather that the carbon tissue does not properly adhere 
 to the transfer paper, it is better to place the squeegeed papers between two glass 
 plates and put a weight on, leaving them under pressure for 15 to 20 minutes, 
 then suspend them to dry. Proceed with all the sensitized tissue and transfer 
 papers in the same way, and place the second on top of the first and so on, but 
 always cover them with a glass plate and use pressure. The same water which 
 has served for the first tissue and transfer paper may be used for all the rest, pro- 
 vided that its temperature does not rise above 58 degrees F The development 
 may be made after fifteen minutes, but not sooner. 
 
 As soon as the tissue papers have been moistened, daylight may be admitted, 
 for sensitized carbon paper is only sensitive to light when dry. 
 
 If there are small size tissue papers, as many as the transfer paper will hold 
 may be squeegeed into contact with it, thus simplifying the developing and other 
 operations very much. 
 
 The rubber-cloth should not be too thick, and must always be placed with 
 its cloth side upon the paper. 
 
 The water must stand at least four inches deep in the trays; better if deeper. 
 
 N. B. Never proceed to develop until the bichromate has entirely penetrated the 
 transfer paper , which is easily seen by the yellowish color it assumes . 
 
 Single Transfer Paper . — This is a water-proof paper, having on one side a 
 bright gioss. It is made in rolls exactly like the carbon tissue, covered on one 
 side with a gelatine layer rendered insoluble by the addition of chrome alum. 
 It may be also made as follows: Well-sized white paper is soaked for fifteen 
 minutes in a sufficiently strong solution of shellac in alcohol; or it may be soaked 
 in an aqueous solution of shellac, consisting of 3 parts of common unbleached 
 shellac and 1 part of borax boiled in 30 parts of water. Papers prepared by this 
 latter formula have a nice pink color. Single transfer papers can be bought the 
 same as the tissue paper, for they are made by the same manufacturers. 
 
 Development. — This operation can be conducted in full daylight, for it is 
 essential to be able to estimate the different degrees of developing in the pictures 
 
 * The carbon paper may be left longer in the water, even for hours, but during hot weather 1 would recom- 
 mend to leave it for about five minutes. 
 
16 
 
 Proceed as follows : Place your table, provided with hot (Summer Queen stove 
 or other contrivance) and cold water supply, conveniently. Prepare the alum 
 solution and filter it repeatedly, as will be explained later on. Be sure that your 
 hot water is boiling. Now take the first of the transferred papers and place it, 
 tissue side up, into the developing tray and pour cold water upon it. The water 
 must stand at least one inch deep in the tray. Rock it and be watchful to 
 remove any air-bells which may appear, for if not removed they will most likely 
 show later as black spots in the picture. Having soaked the papers, remove them, 
 add some hot water, rock the tray to mix the hot and cold, and reimmerse the 
 paper, continuing to rock the tray. Around the borders of the tissue paper will 
 appear black lines, and by and by the tissue paper will lift from the transfer paper, 
 which indicates that the gelatine of the former is sufficiently softened to allow of 
 its removal, and this must be done with care, withdrawing the carbon paper, 
 holding it by one corner, with a steady motion, keeping both papers under 
 water. 
 
 Having removed the tissue paper, there is now a black slimy mass of gelatine 
 before your eyes. In gently rocking the tray, the water by degrees washes away 
 all the gelatine which was not rendered insoluble by the action of the light, 
 and the picture appears with all its contrasts, half-tones and high lights. 
 
 Should the development go on too slowly, some more hot water must be 
 added, ahvays removing the pnnt from the tray before each addition. In case some 
 parts of the picture should remain too dark, hot water may be locally projected 
 upon those places, in which case its action will be mechanical. 
 
 Should water of 104 degrees F. not develop the picture, it indicates that the 
 exposure was carried too far. In order to remedy this there are two ways, either 
 to employ still hotter water (of say 1 12 to 115 degrees F.), or to add a few drops 
 of liquor ammonia fortis. When properly managed the picture will come out 
 all right. The development is finished when, holding it inclined, no more black 
 particles are visible in the water which runs off. The picture is now rinsed with 
 cold water of 60 to 70 degrees F. 
 
 If the exposure was right, and the negative not too thin, the picture on 
 development will be very vigorous, with all desirable half-tones, but if the ex- 
 posure was too short the deep shadows alone will appear, and the half-tones 
 during development will be gradually washed away, and if the development is 
 carried still further the entire image will disappear. 
 
 If the negative is too hard , the half-tones will disappear partially , and in such a 
 case the only remedy is to take paper which had been sensitized two days before. This 
 is the only recourse which the practical carbon printer has when a negative is too 
 dense. 
 
 N.B. (1.) Never employ the same water for soaking the print which has 
 served to develop or rinse a developed picture; always use fresh water. (2.) 
 Over- print a little, and after soaking the prints in cold water use hot water by 
 degrees up to 112 degrees F., and the prints will come out far more brilliant 
 and with greater contrasts than if printed exactly to their photometric degree 
 and developed with not such hot water. (3.) When, after soaking the print, 
 too hot water is employed, small air-bells will form, which are rather tenacious, 
 and unfortunately are not easy to get rid of. (4.) A good plan is to place the 
 picture carbon side down, after removal of the tissue paper, and to allow it to 
 develop automatically. 
 
17 
 
 Failures . — The most frequent failure is the non-adherence of the tissue to the 
 transfer paper, and during development the picture separates from the transfer 
 paper. This is due principally to a too rich bath of bichromate, and very often 
 happens during hot weather, the cause being that the tissue, during drying, be- 
 comes insoluble. 
 
 The strength of the sensitizing bath should be as follows: 
 
 Temperature from 68 to 76 degrees F 3 per cent. 
 
 “ “ 76 to 86 “ 2 “ 
 
 “ “ 86 to 92 “ 1 “ 
 
 Another cause of failure is the formation of many little air-bells when separat- 
 ing the tissue from the transfer medium. This is due to the fact, that for the first 
 soaking of tne paper too hot water had been employed. The remedy is water of a 
 lower temperature and longer soaking. The third failure is the so-called “ retie- 
 ulation,” of which we shall speak later on in particular. A slight alkalinity of 
 the developing water is favorable, since the gelatine is easier dissolved; however 
 too much (expressly added carbonate of soda or ammonia) causes reticulation 
 or makes the image granular. Acid water develops slower, but the pictures are 
 finer and stronger. 
 
 Alum Bath . — This bath is composed a 3 follows for single transfer: 
 
 Finely powdered alum 3 to 5 ounces. 
 
 Water 100 “ 
 
 If the water should be calcareous, which would make the solution turbid, from 
 3 to 5 drops of sulphuric acid must be added. For double transfer the 
 solution should not contain more than two per cent, of alum. This solution 
 must be filtered repeatedly before use, and as long as it keeps clean may be u^ed 
 over and over again; however, it is better always to use a fresh bath. 
 
 The alum bath cannot be dispensed with, for it not only hardens the gelatine, 
 but eliminates any trace of the bichromate which might still be present, and 
 which, if not neutralized, would impart an ugly greenish color to the picture. 
 The developed and well-rinsed pictures are placed for from 5 to 10 minutes in 
 the alum bath, and afterwards for at least 30 minutes in a tray containing cold 
 water, from which they are removed, rinsed again in cold water and hung up to 
 dry. The carbon picture when dry loses all its relief, and becomes rather 
 resistant to any rubbing; it even requires a little pressure to attack it with a 
 scraper. 
 
 Reliculation . — Unfortunately very often during hot weather this trouble makes 
 its appearance. The picture on development appears to be covered all over with 
 a fine black net-work which destroys its delicate appearance, and (holding the 
 picture horizontally against the light) looks as if it had lost all its gloss. This 
 defect can be produced at will by the carbon printer, for it is only necessary to 
 immerse the carbon paper, when effecting the transfer, in water of 88 degrees F. 
 instead of cold water. Therefore to avoid it employ water of not more than 58 
 degrees F., and use an ample supply in the tray, always keeping the paper under 
 its surface. The warmer the weather the cooler must the water be for the transfer 
 operations. The addition of salicylic acid to the sensitizing bath, as indicated on 
 page 11, has been recommended, and generally produces a good result. Too 
 strong sensitizing baths during warm weather also cause reticulation. 
 
 Relouching and Mounling . — The retouching of the picture is easy. It is first 
 rubbed over with finely powdered cuttle-fish bone. The stump should be charged 
 
18 
 
 with finely ground lamp-black and carmine, or, still better, caput mortuum . The 
 scraper can be used to produce bright high lights. After successful retouching 
 the picture is rubbed with a soft flannel tuft soaked in the following solution: 
 
 White wax I part. 
 
 Warm benzine iq carts. 
 
 Do not use till cold. The pictures allow of being burnished and may be rubbed 
 before or after; burnishing first and applying the wax lubricator later, gives a 
 better result. The mounting may be done in the usual way on Bristol board, 
 but care must be taken that the paste does not touch the picture side, for it would 
 not be easy to wipe it off, since the carbon print when moistened becomes rather 
 delicate. When in the right place cover it with a piece of stout paper and rub 
 down well to insure good contact with the card-board. 
 
 CHAPTER VIII. 
 
 Double Transfer Process. 
 
 The lighting of the room, exposure of the tissue to the light, etc., are all the 
 same as for single transfer, but as the picture comes right no reversed negatives 
 are required. The entire process can be summarized as follows: 
 
 The exposed carbon tissue is placed in cold water ; pressed on to a glass or porce- 
 lain plate , which has previously been rubbed with waxing solution ; developed with 
 warm water; passed through the alum bath ; dried; again placed in cold water and 
 pressed into contact with the double transfer paper , and ’ when perfectly dry , separated 
 from the plate. This process furnishes pictures with a high gloss. 
 
 Ordinary glass plates can be used, but if really fine work is desired it is neces- 
 sary to employ French glass of from 4 to 5 centimeters thick. Beginners do better 
 to use opal glass, for, as it is white, the intensity of the print is far easier seen. 
 It requires some practice to be able to estimate the strength of a carbon print on 
 glass. Ground plates furnish prints which are “matt,” i. e. , have a finely grained 
 appearance. The carbon picture takes exactly the same character as the support 
 employed, and special care must be used when selecting the plates, for any 
 scratch or defect in them will show in the carbon print. 
 
 Larger sized plates offer a great advantage, for they allow of simplifying many 
 of the operations, and it is just as easy to handle a 20 x 24 plate as a 10 x 8. Of 
 course they require larger developing, transfer and alum trays. 
 
 Having selected a faultless plate, it is first well cleaned by means of caustic 
 potash and some drops of liquor ammonia fortis, well dried and dusted, and then 
 taking a small piece of flannel, which is slightly dipped 'nto the waxing solution, 
 made as already described, the plate is carefully rubbed all over. After 30 
 minutes it is laid flat on a board, and by means of a dry, clean piece of white 
 flannel is polished. The polishing must be done with very slight pressure, in 
 order not to rub off the wax, for if this should happen the picture would not 
 separate from the plate. It is best not to polish new plates, but to employ them 
 waxed alone. Be careful never to breathe on a plate while waxing or polishing. 
 Should it be necessary to free it from the wax, rub with a piece of flannel well 
 soaked in benzine. The plates which have been used for transfer do not require 
 
any more cleaning, the particles of collodion or tissue which remain on them 
 can be scraped off with a flat table knife. Having waxed and polished the 
 plates they are now left on the folding rack, being careful to protect them against 
 dirt and dust. 
 
 Collodionizing . — This is done in the usual way, but for those who may be 
 unfamiliar with it, the following directions should be followed. A well-dusted 
 plate is taken, and holding it horizontally with the index, middle finger and 
 thumb of the left hand, the collodion is poured upon it (in a steady stream and 
 in sufficient quantity to well cover the plate) close to the left upper corner. 
 Allow the collodion to cover this end of the plate, then incline it a little to the 
 right side and the collodion will run to that corner. Now raise the upper part 
 of the plate and it will run towards the end where the plate is held, and from 
 there over to the right lower end, from which allow it to run into a second vial, 
 which meanwhile had been taken in the right hand. A little practice will soon 
 be acquired and not much collodion will be wasted. Plates uptoi4xi7 may 
 be col.'odionized in this way. For larger plates a very convenient contrivance is 
 a glass bottle with a cork, on which the plate is rested and directed by the left 
 hand. 
 
 N. B. ist. Always use filtering paper Between your fingers and the plate, for 
 if this is not done, spots frequently appear in the collodion where they have sup- 
 ported the plate, being due to the faster evaporation produced bv the warmth of 
 the fingers. 2d. Always pour enough collodion to fully cover the plate, for if 
 you again had to pour on more, lines and marks would appear where the first 
 and last pourings meet. 3d. Never pour the collodion on one place alone, 
 for the ether might dissolve the wax on the plate and the picture would not 
 separate. 
 
 Allow fully two minutes for each plate to get sufficiently dry, and immerse 
 in the reservoir tray, proceeding as follows: Place the plate in an upright and 
 slightly inclined position, collodionized side against t-he side of the tray, and see 
 that it is well covered by the water ; do the same with the following plates, which 
 
 Fig. 7. 
 
 The heavy lines indicate the collodionized side. 
 
 will easily be understood by a glance at the cut. Having immersed all the plates, 
 they must remain in the water for at least twenty-five minutes , but no harm will 
 ensue if they remain for hours. , 
 
20 
 
 N.B. ist. Allowing less than two minutes for the setting of the collodion 
 would produce an opalescent appearance in the lighter parts of the carbon 
 picture or breaking of the collodion film when separating the tissue for or during 
 development. Allowing more time makes the collodion too horny and the 
 carbon tissue will not stick to it. 2d. Be sure that the water in the reservoir 
 tray is perfectly clean, and protect it against any dust while the plates are in it, 
 for that would adhere to the collodion. 3d. When withdrawing a plate from the 
 tray it must always be washed all over with clean water, which should run off 
 freely from the plate and thus show that no more alcohol is present in the col- 
 lodion film. 
 
 First Transfer . — Having filled the tray with clean cold water (58 degrees or 
 less), and having subdued the light, take a carbon tissue sheet, dust it well on 
 both sides, and immerse it, carbon side up, in the water. Use the camel’s hair 
 brush to remove any adherent air-bells. Turn it over, and repeat this operation, 
 always keeping it under water , for if this is not done reticulation might appear. 
 
 The carbon paper first rolls up, but after about a minute it flattens out and 
 then rolls up again, this time with the carbon side outwards. When it begins to 
 lay flat, take a plate from the reservoir tray, give it a good wash with clean cold 
 water, and lay it, collodion side up, on the table or developing board. The 
 carbon tissue is now taken by two corners and the water allowed to run off, and 
 as soon as only drops form it is laid carefully, carbon side down, upon the col- 
 lodionized plate, care being taken that no air-bells remain between them. It is 
 a good plan to hold the carbon paper by two diagonally opposite corners, and 
 lower it, the center or sunken part first, upon the plate, and allow the sheet to 
 lay flat by itself. Care must be taken that it is placed well upon the plate, for 
 the collodion film does not stand much moving to and fro of the tissue paper. 
 Should it be necessary to remove the tissue, in order to place it more accurately, 
 it can be done, but before replacing it upon the plate it should be placed for a 
 moment in the cold-water tray. Being in its right place, the tissue is now 
 covered with the rubber-cloth (cloth side in contact with it) and the squeegee is 
 now applied, striking always from the center towards the borders and using first 
 gentle and afterwards a little more pressure. Bear in mind that the carbon tissue 
 should never lap over the plate, and care must be taken to cut the paper always 
 of such dimensions that, while wet, it is not so large as the transfer plate; £ to J 
 inch less each way will do. Remove the rubber-cloth and examine whether the 
 tissue is in intimate contact all over the plate. Should some places show which 
 appear as if a little raised, this indicates that there is air between the tissue and 
 the plate, and the rubber-cloth and squeegee must be employed again. 
 
 If the desired result is not obtained, the paper may be removed by gentl) 
 drawing it with an upward motion, and being very careful not to break the col- 
 lodion film. Then place the tissue paper again for one second in the cold water, 
 carefully replace upon the glass plate, and apply the rubber-cloth and squeegee 
 again. 
 
 If everything is found satisfactory, dry the borders of the paper and its back 
 by means of a soft towel or sponge, being careful not to hurt the projecting col- 
 lodion. The drying of back and borders of the tissue paper must never be omitted 
 Proceed in the same way with all the papers and plates and lay one on top of. the 
 other. 
 
 I-t sometimes happens that the borders of the tissue do not adhere to the col- 
 
21 
 
 lodion, and in such a case covering it with a glass plate and using pressure from 
 a quarter to half an hour will be necessary. 
 
 Development . — Having made the transfer, fifteen minutes at least must be 
 allowed before proceeding to the development, but an hour is better. The 
 development may be made still later, provided the papers are covered with a 
 glass plate to prevent them from drying. Developing sooner than ten minutes 
 after the transfer generally causes reticulation. It is not necessary to use a plate 
 for each tissue paper, for if there are, for instance, two pieces 5 x 8 of same ex- 
 posure, they may be transferred upon a 8 x 10 plate. After acquiring a little 
 practice in developing, no great difficulties will be met in handling plates on 
 which two or more prints have been transferred, and which are of different im- 
 pression. 
 
 As regards the development, it is good to again read over what was explained 
 when describing the single transfer process, as the manipulations are exactly the 
 same. 
 
 The alum bath must not be stronger than two per cent. The plates, after 
 being immersed in it,- are placed for half an hour in a tray containing clean cold 
 water of 60 or 76 degrees F., each getting a good wash, and are then placed on 
 the folding rack to dry, which takes about six hours. Never place the pictures 
 face to face, nor put them in an air draught or too warm a room, or the prints 
 might separate from the plates. The wet carbon pictures must also be carefully 
 protected against dust, for it would be very difficult to remove any that might 
 adhere to them. 
 
 Always use fresh water baths for each development, for if a picture is devel- 
 oped in the water which has been used for another, small carbon spots are likely 
 to appear in the second one. It is rather difficult to free a picture of these 
 small spots; applying a fine sable brush dipped in hot water sometimes succeeds, 
 but not always. 
 
 Rttouching and Spotting Out . — Should there be necessity for retouching, spot- 
 ting out or darkening certain places of the picture, it must be done before the 
 second transfer is made, for it would show too much when done after that. Re- 
 touching is done in two ways; either by means of oil colors and brushes, or with 
 the stump and finely ground lamp-black, carmine, caput mortuum, or graphite. If 
 the retouching is done with dry colors it is best to flood the carbon picture with 
 a solution made of 1 part glycerine in 25 parts water and allow it to dry. Plates 
 prepared in this way take the dry colors very readily. 
 
 Second Tra?isfer . — The so-called double transfer paper is also made by the 
 carbon paper manufacturers, and it will be found convenient to buy it. However 
 it may be prepared as follows: 10 ounces of gelatine are dissolved in 100 ounces ot 
 water; when liquefied from i-J to 2 ounces of glycerine are added, and while this 
 solution is still warm, 10 ounces of saturated solution of chrome alum are added, 
 but this must be done drop by drop and with thorough stirring. If a very fine 
 surface is wanted, a convenient quantity of sulphate of baryta may be added. 
 The baryta is placed upon a grinding slab and is finely incorporated while add- 
 ing the gelatine solution by degrees; the chrome alum solution is added last. 
 The covering of the paper is done by floating on or drawing it over the warm 
 solution. Fresh double transfer paper is soluble at about 95 degrees F. ; older 
 papers require a higher temperature, and often even boiling water will not have 
 any effect on them; in such a case the paper is useless. 
 
22 
 
 The second transfer manipulations can be conducted in full daylight. The 
 transfer papers having been cut a little smaller in size than the glass plates, are 
 placed, after having been dusted on both sides, in a tray containing clean cold 
 water (of 60 to 70 degrees). The tray should be well filled, and the papers 
 should remain from 5 to 10 minutes in the water, but an immersion of even two 
 hours would not produce any bad effects. One of the plates with the dry carbon 
 picture upon it is now carefully dusted and immersed for just one second in cold 
 clean water, placed upon the table, picture upwards, and a piece of the double 
 transfer paper is withdrawn from its tray and immersed in a tray containing hot 
 water (from 95 to 150 degrees or more, according to the solubility of the paper) 
 where it has to remain until the gelatinous covering of the paper becomes slimy. 
 It is now placed with its gelatine side downwards upon the glass plate. Being in 
 its right place, cover with the rubber cloth T, cloth side down, and apply the 
 squeegee, using first gentle and afterwards more pressure, and striking always from 
 the center to the borders. 
 
 N. B. (1.) Should water of 140 degrees F. not soften the gelatine of the 
 double transfer paper, a small lump of carbonate of soda, or a few drops of 
 liquor ammonia fortis may be added. If one or the other of these additions 
 does not produce the softening of the gelatine, it will be proof that the paper has 
 become insoluble, and fresh paper must be employed. (2.) If the water is too 
 hot, or if the double transfer paper remains too long in it, it may happen that 
 the gelatine will be liquefied, when it must not be used. If the water was not 
 hot enough, or the paper had not remained a sufficient time in it, it happens that 
 the transfer paper does not adhere well to the carbon print, and in drying there 
 will appear many brilliant spots in the picture, principally where the high lights 
 are, and around the outlines of the deep shadows. This same defect appears 
 also if the plate has been immersed in warm or hot instead of cold water. If 
 the cold water remains too long upon the carbon picture its final appearance 
 often will be granular. (3.) If, in drying, the transfer paper peels off the plate 
 without the carbon picture, this is generally from the picture remaining too long 
 in the alum bath, or that the water in which the transfer paper has been soaked 
 was too warm and dissolved the gelatine. (4.) If the paper, when dry, cannot be 
 separated from the plate, or at some places sticks to it (principally in the lighter 
 parts of the picture), it was caused by too hard rubbing the plate when polishing 
 the waxing solution; or that the flannel used for this operation was not dry; or 
 that the paper, when effecting the first transfer, had been left too long before 
 developing. 
 
 Having affected the second transfer, the plates are placed upon the folding 
 rack, where they have to remain until fully dry, which takes place in 3 to 6 hours, 
 according to the temperature and dryness of the air. During dry weather care 
 must be taken not to place the plates in a strong current of air, for the unavoid- 
 able consequence would be that the papers, either partially or in to/o, would sep- 
 arate from the glasses, showing an uneven gloss. When fully dry, the papers are 
 separated from the plates by inserting the blade of a pen-knife under one of the 
 corners. It comes off with a brilliant gloss. 
 
 In order to preserve this high gloss, when mounting the pictures on Bristol 
 board a special method as regards the paste or glue must be followed, for if the 
 pictures were covered on their backs with paste or glue they would lose their 
 gloss, and afterwards show only a brilliancy like albumen prints. The carbon 
 
23 
 
 pictures are trimmed to shape with large scissors; laid, with their carbon side 
 downwards, upon a glasi plate, and some strong and hot glue then applied only 
 to the borders; they are placed in position upon the card-board, covered with a 
 sheet of moderately stout paper, and pressed on by means of a paper-cutter, or 
 weighted with a heavy glass plate, or some other pressure is employed. Care 
 must be taken not to allow any glue to touch the carbon side, for it would take 
 away the gloss from that part of the picture. 
 
 An easy way to preserve the gloss of a carbon picture is the following: Half 
 an hour after having made the second transfer, paste upon the transfer another 
 somewhat larger sheet of ordinary paper which had been previously damped. 
 Turn over the borders to the back of the plate at two opposite sides and press 
 them on. Upon this second sheet three or more others may be pasted, thus form- 
 ing a card-board. The drying, of course, will take some hours longer, but the 
 appearance of a carbon print mounted in this way is really pretty, and compen- 
 sates for the trouble taken. When thoroughly dry, the picture may be separated 
 from the plates, as indicated above, and trimmed to shape. Three or fouj pieces 
 of double transfer paper may be used instead of the ordinary papers, but the 
 second sheet should always be larger than the plate and doubled to the back and 
 pasted on to it. This assures fast drying, and does not separate the paper from 
 the plate before being thoroughly dry. 
 
 CHAPTER IX. 
 
 Transfer to Supports Other than Glass. 
 
 Double Transfer w th Zinc Plaies . — There is only a small difference between 
 this and the former process. In place of glass or porcelain plates, zinc plates 
 are employed, and the collodionizing may be dispensed with. The appearance 
 of the picture depends upon the class of zinc plates used; i. e. , if finely polished 
 plates are used, glossy pictures like albumen prints; if granulated plates, pictures 
 without any gloss will result. The zinc plates should be well planed, free from 
 any defects on one side, and of about ^-inch thickness. New plates, or such as 
 have not been in use for some time, are covered with a layer of oxide, which 
 can only be removed with great trouble and which imparts a grayish color to the 
 first few pictures developed upon them. For use they must either be treated in 
 the same way as a glass or porcelain plates, or with the following solution: 
 
 Pure white or, preferably, yellow wax I part. 
 
 Rosin 1 “ 
 
 Benzoline or spirits of turpentine 5° P ar ts. 
 
 The plates after having been dusted are rubbed with a piece of soft linen or flannel 
 dipped in the above solution. Some minutes are allowed for drying, and then 
 they are polished in the same way as a glass plate. Only a gentle' pressure must 
 be employed whilst polishing. All the other operations as regards first transfer, 
 developing, alum bath, and second transfer are identical with those of glass plates, 
 only the retouching must be done after the second transfer. 
 
 Double Transfer with Flexible Supports.— The flexible supports are furnished 
 by any dealer in carbon materials, but for those who would like to prepare them, 
 the following information is given. 
 
A smooth white paper of sufficient strength is immersed for from 5 to 10 
 minutes in a nearly saturated solution of unbleached shellac (which imparts to it 
 a nice pink color), and is hung up to dry. The paper may also be treated with 
 an aqueous solution of shellac prepared as follows: 
 
 Uubleached shellac 4 parts. 
 
 Powdered borax “ 
 
 Boiled in water. 35 “ 
 
 Whilst this solution is still hot, the papers are immersed in it, one by one, for five 
 minutes, then withdrawn and hung up to dry. If these papers are required to 
 show a very smooth surface, they may be passed through the burnisher, which 
 should not be too hot. Before use the flexible supports must be treated with the 
 waxing solution, made as follows : 
 
 Pure wax I part. 
 
 Rosin 1 «* 
 
 Benzoline (heated in a water or sand bath) 50 parts. 
 
 Or \ part rosin and \ part gum dammar may be substituted. The waxing is don^ 
 in the same way as with zinc plates. 
 
 The flexible supports should always be a little larger than the carbon prints. 
 Immerse the support, glossy side uppermost, in a tray containing abundant and 
 pretty cold water. After about one minute they will flatten out. The carbon 
 paper is also immersed in cold water, either in the same tray or a second one, 
 freed from any air-bells, and brought into contact (under water) with the glossy 
 side of the support; withdrawn from the tray, placed upon a glass plate or smooth 
 board, and, applying the rubber-cloth and squeegee, pressed into intimate contact. 
 Having withdrawn the rubber-cloth, the borders and back of the carbon paper are 
 carefully wiped, and it is hung up to dry. Small sheets may be suspended by one 
 wood clip, larger sheets require from two to three. After from 1 5 to 30 minutes the 
 development may be made, proceeding in exactly the same way as already de- 
 scribed. The developed picture must remain for about ten minutes in an alum 
 bath of 2 per cent., and from there must be placed for about thirty minutes in 
 clean cold water. Soaking a piece of double transfer paper in cold and hot water 
 as described, it is placed upon the flexible support and squeegeed into intimate 
 contact. Both the rubber-cloth and squeegee employed for the second transfer 
 should always be used for this purpose only. Wipe the borders and back of the 
 transfer paper and hang up to dry. When fully dry it may be separated in the 
 usual way from the flexible support, which can be used repeatedly, all that is 
 necessary being to free it from any adhering carbon or paper particles; rub with 
 the waxing solution, and polish as indicated above. The polishing is best done 
 with a soft linen towel. The mounting of such pictures must be done only 
 when they are perfectly dry. They are trimmed by means of large paper 
 scissors. The best way to mount them is to pass a brush charged with thick 
 hot glue around the borders, and rub them on to the card-board. Paste or gum 
 arabic may also be used, but care must be taken not to get any paste upon the 
 picture side, the latter producing a less glossy appearance of the picture when 
 dry. 
 
 Retouching Transferred Pictures . — Transferred prints, without the employ- 
 ment of collodion, can be retouched in the same way as albumen prints, the only 
 precaution being to rub with a piece of linen dipped into benzoline or spirits of 
 
25 
 
 turpentine in order to free them from greasiness Parts of the picture which 
 would show too dark may be rubbed down with inely ground pi m ice-stone. 
 High lights are produced by the scraper. The st. mp, charged with a mixture 
 of equal parts of the finest lamp-black and carmine powder, may be used for the 
 larger parts to darken them. The retouching of small spots may te done by 
 taking a piece of carbon paper which has been dipped into hot water, and with a 
 fine brush taking from the liquefied carbon as much as is wanted to block up 
 the spot. In this case the retouching consists of the same material as the picture, 
 but in order to render these spots stable, the brush must be dipped into a weak 
 solution of chrome alum. 
 
 Burnishing and Varnishing. — Carbon pictures may be burnished in the same 
 way as albumen prints. In employing a heated burnisher however, the pictures 
 must be warmed before passing them through the rollers, for any trace of moisture 
 would show itself in a rather ugly way. The varnishing is best done by using a 
 saturated solution of wax in benzole; an alcohol varnish of medium strength or a 
 ten per cent, solution of gum dammar in benzole may also be employed. Rub- 
 bing the pictures with cerat or ceroline imparts a nice gloss to them, preserving 
 them effectually against any moisture. 
 
 Second Transfer of Pictures on Flexible to other Supports , as Alba or 
 Wood Plates , Canvas, Card-board, \ Porcelain , etc. — The carbon picture, after 
 having been dried upon the flexible transfer paper, may be retransferred to any 
 plane surface, provided tnai it is covered with gelatine. Carbon pictures on 
 alba plates or porcelain are of a really extraordinary beauty. The gelatine solu- 
 tion is prepared as follows: 20 ounces gelatine are dissolved in 400 ounces 
 water, and just before use a solution of 1 ounce chrome alum, dissolved in 20 
 ounces water, is added to it drop by drop, always whilst stirring vigorously. 
 This solution may be spread over the plate whilst still warm. A broad camel’s 
 hair brush may be used, passing it first lengthwise and afterwards crosswise over 
 the plate. Having been so covered, and care having been used to avoid air-bells 
 forming, the plates are allowed to dry. The transfer is effected as follows: The 
 flexible support, as well as the gelatinized plate, are immersed in cold water and 
 brought into contact; they are then withdrawn and the squeegee is applied with 
 gentle pressure. When fully dry the flexible transfer is withdrawn, leaving the 
 carbon print adhering to the plate or wood-board. For porcelain or opal plates, 
 or mica, the proceeding is exactly the same. The transfer to card-board, or into 
 a book or album, is made in the following way: The carbon print whilst still 
 wet is floated upon a warm solution of 1 part gelatine in 5 parts water, and 
 hung up to dry. Being quite dry it is again floated on a strong solution of 
 white sugar in water and dried again. The place which me carbon picture is to 
 occupy on the card-board or in the album is gelatinized by means of a brush 
 and allowed to dry. The carbon picture is trimmed to the desired shape; the 
 picture, as well as the gelatinized place, is moistened, and it is placed carefully 
 into position, always avoiding any air-bells between the two. Light squeegeeing 
 is applied and a light pressure is resorted to whilst drying. When fully dry, the 
 flexible support peals off by itself. The transfer of carbon pictures upon wood 
 plates for xylographic purposes, since an inverted image is warned, may be done 
 by simply effecting one transfer only and developing the picture when on the 
 wood. The plate is covered with the above-mentioned gelatine solution and 
 allowed to dry. The transfer is made exactly in the same manner as described 
 
26 
 
 under single transfer, and developmeni may be made after five minutes. The 
 picture is washed in cold water, no alum bath being used, and is allowed to dry 
 slowly without heat. 
 
 Second Transfer to Canvas for Oil Painting. — The important question to be 
 considered here is that such an absolute and intimate contact between the can- 
 vas and the carbon is secured that a peeling off of the carbon picture is almost 
 impossible. Canvas, as generally used by oil painters, is stretched upon a board 
 and its surface is rubbed all over with a strong bristle brush dipped in sufficiently 
 strong potash ley. The brush must be employed until the fiber of the canvas 
 shows, being careful not to rub so hard as to open the spaces between the 
 threads, which must by all means remain filled. When fully dry the canvas is 
 covered three times with a thin gelatine solution made as follows: 
 
 Gelatine 40 ounces. 
 
 Water 400 ** 
 
 to which, whilst still warm, a solution of 
 
 Chrome alum 1 ounce. 
 
 Water 20 ounces. 
 
 is added drop by drop. After each application of the gelatine the canvas is 
 allowed to dry thoroughly. The carbon print being upon the flexible support is 
 not allowed to dry, but while still wet is placed upon the canvas which has pre- 
 viously been wetted with cold water. Rubber-cloth and squeegee are applied in 
 the usual way, After drying the support is separated from the canvas. 
 
 CHAPTER X. 
 
 Transparencies — Colored Pictures. 
 
 Transparencies on Glass. — The ease and certainty, as well as the cheapness, 
 of this process will always induce its workers to adhere to it. The beautiful re- 
 sults obtained in carbon transparencies will most assuredly stand unrivaled. The 
 tissue required for transparencies is a special one, i. e. , it is charged with much 
 more coloring matter than the ordinary carbon tissue. Its sensitizing and dry- 
 ing is done in the same manner as already described. The exposure to the 
 light has to last at least double the time required for paper pictures. The 
 exposed paper is immersed in cold water and squeegeed to a well-cleaned glass 
 plate, allowed to remain in contact for ten minutes and developed. It is then 
 washed, passed through the alum bath, and dried. Plates with the carbon pict- 
 ures upon them which are destined for the magic lantern must be pasted to 
 clear glass plates, mounting them in the usual fashion; but those intended for 
 transparencies are mounted with ground glass. 
 
 Coloring Carbon Pictures. — Carbon pictures developed upon collodionized 
 plates may be colored in many ways. Since the gelatine absorbs the colors in 
 proportion to its thickness, fluid colors as well as solutions may be used, the 
 latter by double decomposition producing colored deposits. The coloring may 
 serve either to change the color of the carbon print; to strengthen, or better, to 
 intensifv it. A saturated, or diluted, solution of permanganate of potash flowed 
 over the still wet carbon print imparts to it a more or less intense olive-green 
 tint. This color is not very pleasant to the eye, but is of great importance for 
 
27 
 
 the multiplication of negatives, since it intensifies the image to a much higher 
 degree than the eye would be able to perceive. Beautiful purple tints are ob- 
 tained by the employment of purple solutions, or artificial alizarine dissolved in 
 water, to which some addition of liquor ammonia has been made. Aniline 
 colors may also be employed, but as they are not fast colors they should not be 
 used on pictures which are exposed to light, as window transparencies, etc. A 
 beautiful dark violet color is obtained by conforming to the late Dr. von Monk- 
 hoven’s formula, viz., three solutions prepared as follows: 
 
 A. 4 per cent, solution. 
 
 Sulphate of peroxide of iron 40 grams. 
 
 Water 1 liter. 
 
 B. 4 P er cent, solution. 
 
 Carbonate of soda, c. p 40 grams. 
 
 Water 1 liter. 
 
 C. 1 per cent, solution. 
 
 Gallic acid ro grams. 
 
 Water 1 liter. 
 
 The carbon picture is immersed for five minutes in bath A, washed with clean 
 cold water for a few seconds, and immersed for ten minutes in bath B, from 
 which it is withdrawn and washed again. Holding the plate against the light it 
 will be found to have assumed a slight reddish tint. The picture is now im- 
 mersed in the third bath, C, where it is allowed to remain a longer or shorter 
 time according to the degree of density which is desired. The print may be 
 withdrawn from the solution for examination as often as required. A thorough 
 washing is finally given and the plate allowed to dry. It is best not to print the 
 paper too strong. 
 
 A dark blue-black tint is obtained by using the following solutions. Extract 
 of logwood is dissolved in warm water, which solution when sufficiently cool is 
 poured upon the still wet carbon picture. After this application the print is 
 washed for a few seconds and a three per cent, solution of bichromate of potash 
 is applied for three seconds. These solutions, in alternation, may be applied 
 repeatedly until the desired tint is obtained. 
 
 It sometimes happens that the carbon tissue does not adhere well to the glass 
 plates, or, during development and the following manipulations, leaves it. When 
 this should happen it is better to proceed as follows. Instead of squeegeeing the 
 exposed tissue to the clean glass plate, a perfectly clean French glass plate, a 
 little larger than the intended print, is collodionized with clear collodion and 
 allowed to dry for some hours in a place free from dust. Before applying the 
 collodion this plate is not waxed; and must not be immersed in water, as is gener- 
 ally done to free the collodion from the alcohol. The carbon tissue is sensitized 
 in the usual way, placed carbon side down upon the collodionized side of the 
 plate, and squeegeed into intimate contact, and the plate with the sensitized 
 tissue upon it is allowed to dry. The carbon paper prepared in this way remains 
 sensitive and good for at least seven days, provided that the paper be covered 
 with a glass plate to protect it from the air. If a number of plates have been 
 prepared in this way they are laid one on top of the other, protecting the upper- 
 most, as stated above. Careful laying of the sensitized carbon tissue is absolutely 
 necessary, for if it once lays fiat it would not be possible to withdraw it from the 
 plate without tearing the collodion film. The drying will take about three hours. 
 
28 
 
 It is better to prepare these carbon sheets of larger size than required, for the 
 manipulations are almost the same for a large sheet as for a small one. Before 
 use for printing, the required size of the tissue is cut from the plate, leaving the 
 remainder in contact with the latter. Paper which has been prepared in this 
 way shows a highly brilliant, even surface, and will lay in most absolute contact 
 upon any negative, and as the optical contact is, so to speak, perfect, it will give 
 much sharper and finer prints than the tissue which was dried in the free air and 
 in the usual style. The exposure to light is affected in the same way as usual, but 
 before developing the paper is placed in a tray containing slightly acid water (i 
 part muriatic acid to 1,000 water). It must remain longer than usual in the water, 
 as it is essential that the gelatine absorb as much as possible, for without this pre- 
 caution it might easily become reticulated. When well saturated the paper is 
 placed upon a clean glass plate, and, without using the rubber-cloth, is squeegeed 
 into contact. Should the borders not adhere the paper may be weighted down 
 by a heavy glass plate, when, after thirty minutes, it will lay perfectly flat. The 
 development should never be made sooner than thirty to forty minutes after the 
 last manipulation. It is prudent to begin the development with rather luke- 
 warm water of not over 82 degrees F., and only later on to use hotter water. 
 
 Should the collodion peel off during development, it would be better to allow 
 two hours’ time for the paper to remain in contact with the plate before develop- 
 ment; or to collodionize or gelatinize the glass plate, or to flood the plate with 
 a thin solution of gutta-percha in chloroform. The paper adheres splendidly to 
 this last substratum, which must be perfectly dry before the application. Trans- 
 parencies sometimes require a little intensification, but when the plates have 
 K een gelatinized the following solutions cannot be employed, since they would 
 tint the substratum also. Transparencies on clear glass or on collodionized 
 plates may be treated with the following solutions: 
 
 No. I. 
 
 Permanganate of potash 4 parts. 
 
 Water 1,000 “ 
 
 No. II. 
 
 White sugar 2 parts. 
 
 Ammonia 2 “ 
 
 Water 1,000 “ 
 
 Equal parts of these solutions are mixed in a tray into which the transparency 
 is immersed for some seconds. Its color becomes a yellowish tint. This 
 way of intensification offers the advantage of only changing the actinic value of 
 the print without producing any granular deposit upon the plate, as the intensi- 
 fication with logwood and other materials always do. Retouching is done with 
 a leather or paper stump and the finest graphite powder. 
 
 Enlarging Small Negatives by Means of Artificial Light {Petroleum or Gas- 
 light). — The carbon process offers many great advantages for the production of 
 large prints by means of small negatives. The first and principal advantage is 
 that the enlargements are stable, which, considering the high price paid for such 
 class of work, is of great importance. Secondly, no other process allows of the 
 production with such ease and certainty of a good and convenient transparency 
 for enlarging as the carbon process does. And, thirdly, the results obtained are 
 of such beauty that no other process can furnish them. Besides, it must be 
 taken into consideration that any negative, provided that it is absolutely sharp, 
 
29 
 
 may be used. The proceeding is as follows. A positive is produced in the usual 
 way by the enlarging camera; the exposed tissue, after having been moistened, 
 is squeegeed to a clean glass plate and developed. This positive is placed in a 
 printing frame, and, using another sheet of sensitized cai*bon tissue, a negative is 
 produced. Or the positive is placed in the copying camera and by the wet proc- 
 ess a negative is produced, which now serves, after having been retouched, for 
 the reproduction of as many large prints as are desired. As stated before, the 
 transparency for enlarging requires a carbon tissue richer in color than that ordi- 
 narily used. For the successful production of a good transparency intended for 
 enlarging, it is necessary to employ the carbon paper prepared with collodion; 
 and furthermore, it is best to always gelatinize the plate to which the exposed 
 tissue will be squeegeed, for then reticulation will be avoided. The gelatinizing 
 for this purpose is best done as follows: 13 ounces of Nelson’s medium gelatine 
 
 are soaked for one hour in 400 ounces of cold water, which is now warmed to 
 produce liquefaction. When fully dissolved a solution of 1 ounce chrome alum 
 in 1 60 ounces water is added by degrees, vigorously stirring the solution, which 
 is kept warm and filtered through fine muslin. The glass plates are flooded 
 with this warm solution in the same way as if collodion was employed. The 
 plates so gelatinized are allowed to dry in a cool place free from any dust. The 
 plates may thus be prepared in advance, taking care to mark each one on the 
 back in order to know the gelatinized side. They are stored in cases of conveni- 
 ent size, laying the gelatinized sides face to face. 
 
 Before use these plates are carefully dusted, placed for one minute in cold 
 water, then carbon tissue is introduced, and when it flattens out is brought into 
 contact with the plate and, together with it, is withdrawn from the tray. The 
 squeegee is applied in the usual way and some pressure exercised upon it. It 
 
30 
 
 must remain under pressure for not less than ten minutes before it can be devel- 
 oped. 
 
 The enlarging lantern (Fig. 8) may be used with advantage. The condenser 
 should be of from 4 fo 6 inches and of double plano-convex construction. 
 Since the enlarging is done in the dark room no camera is required, and 
 all that is wanted is an easel or a conveniently constructed plate holder. 
 It is easy to make such arrangements on one wall of the dark room, 
 where it does not interfere with other work there, to fix a board on which to rest 
 the plate holder, or a board of suitable size on which the paper may be attached 
 by means of some tacks. The lantern is placed on a camera stand provided with 
 casters, and placed in position before the easel. The focusing is done upon a 
 white card, which shows much better than any ground glass. The way of insert- 
 ing the transparency in the lantern determines whether a reversed or right nega- 
 tive will be obtained. For pictures intended to be made by the double transfer 
 process the film side of the transparency must stand towards the condenser, for 
 the single transfer it must stand towards the enlargement. Enlargements pro- 
 duced by the double transfer process have a very beautiful appearance. The 
 retouching cannot be done upon the collodionized print when separated from 
 the plate, but there are four opportunities to retouch them: First, in the original 
 negative; second, on the carbon transparency; third, on the enlarged negative; 
 and finally, on the print whilst it is still in contact with the plate. All this re- 
 touching, so to speak, is invisible. Care should be taken not to overdo the re- 
 touching; a little practice will soon teach how far it may be carried. 
 
 The photometer also comes into use for enlargements produced by a solar 
 camera or by artificial light. It must be placed within the circle of illumination, 
 and in order to ascertain the time of exposure required, a strip of carbon paper 
 is exposed first and developed before undertaking the production of the enlarge- 
 ment. The enlarging lantern may be used with the lime light, an exposure 
 of corresponding duration being given. From twenty to thirty minutes will 
 be found sufficient. When a solar camera or lime light are used, the enlarge- 
 ment may be made direct from the small negative, thus saving the production of 
 a positive. Some operators also use for solar printing a small carbon transpar- 
 ency and develop the insolated carbon enlargement on glass, while after intensi- 
 fication with permanganate of potash it is employed for the production of large 
 prints. 
 
 Failures and Their Causes. 
 
 This chapter contains an enumeration of the failures to which the carbon 
 process is subject, since the old adage, “there is nothing perfect in this world/' 
 applies unfortunately to this beautiful process just as well as to any other. 
 
 Failures. 
 
 The black gelatine whilst sensitizing runs off 
 in streaks. 
 
 The same occurs whilst drying. 
 
 Particles of dust or fibers of the paper adhere 
 to the tissue after squeegeeing. 
 
 The tissue does not lay fiat in the printing 
 frame 
 
 Causes. 
 
 The sensitizing bath was too warm. 
 
 The bath was too warm; squeegee the tissue 
 plates on a glass or zinc plate and dry in 
 cooler room. 
 
 The plate was not clean, or the squeegeeing 
 had been done without the rubber-cloth. 
 
 The p?per has been dried too fast and should 
 be a’lowed to absorb a little dampness. 
 
31 
 
 The 11$ suv sticks to the negative. 
 
 The wax on ihe plate cannot be polished. 
 
 Small air-bells appear after laying the sensi- 
 tized tissue upon the glass plate . 
 
 The tissue does not stick to the plate , the borders 
 raise. 
 
 The tissue in developing docs not separate from 
 the plate , or the picture does not ev'loP, 
 remaining too dark. 
 
 The tissue lifts too quick from the plate and the 
 picture is too light . 
 
 Air-bells appear on the back of the tissue when 
 immersed in the developing bath. 
 
 The picture lif s on the borders whilst the col- 
 lodion remains. 
 
 The picture, together with the collodion, lifts 
 from the plate. 
 
 1 he collodion film breaks. 
 
 Dirt or particles of paper between picture and 
 plate. • 
 
 Air -bells bt tween the picture and the plate or 
 the flexible support. 
 
 The picture is full of small fissures. 
 
 The Picture appears granular or reticulated. 
 
 The picture swells up much when immersed in 
 7 vater, and moss -like excrescences appear in 
 the picture. 
 
 Reticulation of picture during development on 
 glass plates. 
 
 The paper was not dry enough, or the nega- 
 tive or pad was damp. Impermeable 
 paper or rubber-cloth should be laid be- 
 tween the tissue and the pad. 
 
 1 he piate was too cold, the wax was not pure, 
 or the polishing flannel was damp. 
 
 The paper was not a sufficient time in the cold 
 water, or had not been lowered with 
 enough care upon the plate. Withdraw 
 the tissue, remoisten and replace it. 
 
 It had remained too long in the water, was 
 over-exposed, or suffered from emanations 
 from kitchen, gas, etc. Apply pressure 
 for io to 15 minutes. A prompt way to 
 learn if the paper is still good is to apply 
 hot water to a small piece of unexposed 
 tissue, if the gelatine dissolves it is still 
 good. 
 
 The exposure was too long, or the transfer 
 was made too late after the exposure to 
 light. Hotter water, or a bath of two 
 per cent, carbonate of soda, or the addition 
 of a few drops of liquid ammonia may be 
 used ; or the paper is not good. 
 
 The exposure to light was too short. Develop 
 with cooler water. 
 
 The water was too warm. Begin with cold 
 water and raise its temperature by degrees. 
 The air-bells often show in the picture. 
 
 No safe edge had been used, or the paper was 
 spoiled. Too old, or affected by emana- 
 tions from gases. 
 
 The wax contains tallow. A slight addition 
 of ro$in to the waxing solution is the 
 remedy. The collodion had dried too 
 much before the plate was immersed in 
 water. 
 
 It is too soft or too fresh; addition of negative 
 varnish. The film was hurt. The bor- 
 ders of the plates are too sharp. 
 
 If they were not on the plate since the begin- 
 ning, they come from the water. 
 
 The tissue was not lowered carefully upon the 
 support, or the squeegeeing was not done 
 in the right way. 
 
 The paper was too long in the sensitizing bath, 
 or the bath was too strong or too warm. 
 
 The tissue was not left long enough in contact 
 with the support. Paper which has 
 suffered from emanations of gases, or 
 dried too fast, shows these defects very 
 often. 
 
 The sensitized paper is spoiled by emanations 
 from kitchen, stable, gas or closets. 
 
 The exposed paper had not remained a suf- 
 ficient time in cold water before affecting 
 the transfer. 
 
32 
 
 Small brilliant spots or air -bells appear in the 
 Picture. 
 
 Cloudy appearances , principally in the back- 
 ground of the picture. 
 
 Uhe picture shows no half tones. 
 
 '('he transferred and dry picture does not leave 
 the support , or sticks to it in some places. 
 
 The double transfer paper leaves the plate 
 without the carbon picture. 
 
 The picture is full of brilliant spots , principally 
 in the high lights and around the outlines. 
 The Picture is granular . 
 
 Same reason as the preceding. They form 
 some minutes after the transfer, and as 
 they are between the paper and the col- 
 lodion, there is no remedy. 
 
 If hotter water does not remove them then 
 they are due to the alcohol which was 
 still present in the collodion when making, 
 the transfer. 
 
 The negative was too dense. Expose the tis- 
 sue before or after printing for a few 
 seconds to daylight; or the paper was 
 dried too fast and consequently is too 
 soluble. 
 
 The proper flexible support or plate was not 
 well waxed; the waxing solution contains 
 too much rosin; the waxing was polished 
 off entirely; or the flexible support was 
 dried with too much heat. 
 
 It had been dipped in too hot water, or the 
 alum bath was too strong. 
 
 The transfer paper was soaked in too . cold 
 water. 
 
 The second transfer was made too late. 
 
ARBON TISSUE. 
 
 MADE BY 
 
 THE AUTOTYPE COJTPANY, LONDON, ENGLAND. 
 
 USED IN HAKING CARBON PRINTS, TRANSPARENCIES, ETC., 
 GIVING PERflANENT PICTURES. 
 
 NO. 
 
 IOO. 
 
 103. 
 
 104. 
 
 105. 
 106. 
 1 * 3 - 
 
 115. 
 
 I5i- 
 
 152. 
 
 PRICE PER BAND. 
 
 ...$ 2.75 
 
 107. 
 
 108. 
 
 79 - 
 
 f COLORS. SIZE OF BAND. 
 
 Standard Brown 2% x 12 ft. 
 
 Warm Black “ “ 
 
 Engraving Black “ “ 
 
 Sepia. “ “ 
 
 Red Chalk “ “ 
 
 Portrait Brown “ “ 
 
 Lambertype Purple (for Portraits). . . “ “ 
 
 Sea Green. “ “ 
 
 Dark Blue “ “ 
 
 Warm Sepia “ “ 
 
 Special Transparency Black 2 x 12 ft 3.60 
 
 Single Transfer, Med. Thick 2% x 12 ft. 1.20 
 
 “ “ Fine, Thin.... “ “ 1.50 
 
 DOUBLE TRANSFER FINAL SUPPORT. 
 
 86 . 
 
 87. 
 
 Medium Thickness 2]/ z x 12 ft $1.30 
 
 Fine, Thin, for Small Work “ “ 1.50 
 
 Sawyer’s Temporary Support, sheets 18 x 23 in., per sheet 35 
 
 “ “ “ “ “ “ dozen 3.80 
 
 “ “ “ “ 36 x 48 in. , per sheet 1.30 
 
 Waxing Compound, per cake 25 
 
 Johnson’s Actinometer, with Sensitive Paper 1.10 
 
 Sawyer’s “ “ “ “ 2.20 
 
 Burton’s “ “ “ “ 2.75 
 
 THE TEHPORARY SUPPORT, upon which are treated pigment prints from 
 ordinary negatives, permits of the prints being developed upon it with the same 
 ease and facility as did the Single Transfer, of which this takes the place. 
 This support can be used an indefinite number of times, only requiring to be 
 rubbed over with the Waxing Solution to insure the stripping of the print from 
 its surface. 
 
 THE FINAL SUPPORT is a special paper coated with a gelatinous emulsion of a 
 permanent white or tinted pigment. It supersedes the old Double Transfer 
 Paper by reason of its greater efficiency and the ease and simplicity of working 
 with it. It will keep good for an indefinite time, does not require hot water, 
 and forms a permanent basis for the pigment print. 
 
 ETCHING PAPER — Single Transfer. A rough-surfaced toned Etching Paper for 
 Single Transfer, yielding prints with broad artistic effect, and free from the 
 glaze of an ordinary carbon print. By masking the negative, prints may be 
 developed on this paper with suitable margin, rendering mounting unnecessary. 
 
 Band 2]^ x 12 feet $1.60 
 
 CELLULOID IN SHEETS— White. 20 x 50 inches, y^in. thick, per sheet, $1.25 
 - 20x50 “ Tinhi in - “ “ “ 2.00 
 
 iold only in full sheets. 
 
 34 97 °) 
 
 CUT SIZES. 
 
 Sepia. TRANSFER PAPER. 
 
 No. 86 Dble. Transfer. No. 108 Single Transfer. 
 
 $0.25 
 
 
 
 .50 
 
 25 
 
 
 •65 
 
 35 
 
 30 
 
 1. 00 
 
 45 
 
 ••• 40 
 
 
 i