Digitized by the Internet Archive in 2015 https://archive.org/details/practicalguideto00burt_0 PEACTICAL GUIDE TO PHOTOGRAPHIC AND PHOTO -MECHANICAL PRINTING PRACTICAL GUIDE TO PHOTOGRAPHIC & PHOTO-MECHANICAL PRINTING BY W. K. BURTON MARION AND CO. 22 and 23 SOHO SQUARE, LONDON, W. • 1887 Printed by R. & R. Clark, Edinburgh. t PREFACE I have to acknowledge the assistance of many who have aided me in getting the information necessary for the preparation of this book. I have freely made use of all kinds of publications on photographic matters in my efforts to acquire a practical acquaintance with processes. Wherever I can tell whence my knowledge has come I do so, but it is possible that in some cases I have not done so. With most of the processes de- scribed I have been familiar for some time. With others, whenever possible, I have recently made myself practically familiar, and when one has become familiar with a process he is liable to forget whence his know- ledge came. If, therefore, I have sinned in not acknowledging sources of information when I should have acknowledged them, I have sinned unwittingly. I must make special mention of one friend who has helped me more than others. The most difficult part of my task has been to get a knowledge of photo- mechanical processes. Here I have been most mate- VI PREFACE rially aided by T. Bolas. His lectures on the subject before the Society of Arts I have, of course, made free use of — they constituting the standard work on photo- mechanical printing in England ; but further than that, I have found Bolas ever ready personally to help me to overcome difficulties, to discover causes of defects, etc. In fact, his wide knowledge of the subject has been always at my command, requiring merely to be drawn on. Engineering College, Imperial University, Tokio, Japan, 31s* May 1887. INTRODUCTION The term “ Photographic Printing ” might, with propriety, be applied to any and every process for obtaining a positive photograph from a negative, — that is to say, for obtaining a picture with the gradations of light and shade somewhat as they are seen in nature, from one in which their values are reversed, the light shades being represented as dark portions of the image, the dark as light. It is usual, however, to confine the term to such pro- cesses as are applicable to a flexible support, generally paper, but sometimes cloth or other fabrics. It is the writer’s intention to use the term chiefly in this partially restricted sense, taking into consideration all processes which are actually practised for producing posi- tives on paper, cloth, etc., but not leaving entirely out of consideration those for producing positives (commonly called transparencies) on glass, on china, and so forth. The object of this work is to give practical instructions in the working of all processes which are in actual every- day use at this date, and the author’s attempt will be to make such instructions of so full a nature, that they may serve as a guide to any one who may wish actually to INTRODUCTION viii practise the processes. To make the work complete, pro- cesses which have at one time been popular, but which have been superseded by others, will be described ; but more briefly than those which are now actually used, the interest attaching to defunct processes being really little more than historical. In the cases of the most popular processes the chemical reactions will be briefly discussed, but the writer will avoid technical language as much as possible. He will also avoid all treatment of the purely artistic side of photographic printing, aiming to give such instructions only as may lead to that technical excellence which is one of the necessities of artistic work. CONTENTS Chap. I. Historical Sketch of Photographic Printing Processes. — Processes before that of Daguerre — The Daguerreotype — Talbot’s process — Toning of prints — Albumen used in printing— The carbon process — Uranium salts in printing — The platinotype process — The “blue process” — Processes requiring but short exposures, and suitable to direct enlarging — Gelatino- bromide printing — Gelatino - chloride processes Chap. II. Historical Sketch of Photo - Mechanical Printing Processes. — The Woodbury -type process — Ordinary engraving processes — Yery early photo-engraving processes — Fox Talbot’s photo - engraving processes — Modern photo-engraving processes — The Woodbury photo- engraving process — Klie’s process — Waterhouse’s process — Obernetter’s photo-engraving process — Photo-lithographic processes, etc. — Surface-printing processes, — The Licht- driick or collotype process — Type-block processes — The Pretch process — Meisenbach’s process — Woodbury block process — Ives’s process — Zuccato’s process — The repro- duction of line subjects ....... Chap. III. General Remarks on Contact Printing Chap. IY. Silver Printing. — Printing with ready sensi- ? tised paper ; trimming the prints PAGE 1 11 34 38 X CONTENTS PAGE Chap. V. Silver Printing ( continued ). — Toning ready sensi- tised paper 43 Chap. VI. Silver Printing ( continued ). — Fixing and wash- ing prints on album enised paper . . . . . 50 Chap. VII. Silver Printing ( continued ). — Albuinenising paper 57 Chap. VIII. Silver Printing ( continued ). — Tbe sensitising bath .......... 65 Chap. IX. Silver Printing ( continued ). — Floating and drying albumenised paper . . . . . . 73 Chap. X. Silver Printing ( continued ). — Printing, toning, fixing, etc. of paper sensitised on a neutral bath . . 80 Chap. XI. Silver Printing ( continued ). — Storing paper pre- pared on a neutral bath, fuming, etc 83 Chap. XII. Silver Printing ( continued ). — Printing on plain paper . 89 Chap. XIII. Silver Printing {continued ). — Various toning Formulae ; general remarks on toning — Toning and fixing in one bath — Tbe sel d'or or toning process — Tbe acetate bath — The gold and phosphate toning bath — The bicarbonate toning bath — General remarks on toning . 93 Chap. XIV. Silver Printing {continued ). — On the chemistry of the image of silver prints — To determine the quantity of chloride present in a sheet of albumenised paper . . 103 Chap. XV. Various Manipulations of Contact Printing. — Treatment of the negative before printing and during printing ; treatment of paper to suit certain negatives — The negative is too thin — The negative is too dense, giving prints which are hard — Local modifications of the negative 111 CONTENTS xi PAGE Chap. XVI. Various Manipulations of Contact Printing {continued ). — Cutting the paper — Cutting up paper . . 120 Chap. XVII. Various Manipulations of Contact Printing (i continued ). — Vignetting — Reversed vignettes — Vignettes with tinted margins . 125 Chap. XVIII. Various Manipulations of Contact Print- ing ( continued ). — Skies ; composition printing — Composi- tion printing ......... 136 Chap. XIX. Silver Printing. — G elatino-bromide of silver for printing ; direct enlarging — Contact printing with gelatino-bromide paper — Development — Fixing the prints — Pyro-developer for bromide paper — Stock solution — Warm tones with gelatino-bromide paper — Vignet- ting gelatino - bromide prints — Direct enlargement on gelatino - bromide paper — Vignetting direct enlarge- ments 146 Chap. XX. Silver Printing {continued). — “Rapid” printing process — Exposure of the paper — Developing the prints — Toning the prints — Fixing the prints . . . . 158 Chap. XXI. Silver Printing {continued). — Gelatino-chloride papers for printing out — Manipulation of gelatino-chloride paper— The manufacture of gelatino-chloride emulsion for printing out — (1) Chloride of silver emulsion — (2) Citrate of silver emulsion 164 Chap. XXII. Silver Printing {continued ). — Defects in silver prints and their remedies — The prints refuse to tone — The prints tone, hut the tone is more or less lost in subsequent operations — The prints tone unevenly — The high lights of the prints are yellow, not white as they should be — The • prints lack contrast — The shadows are heavy and lacking in detail — Bronzing of prints — The prints are mealy — Marks of various kinds on the prints .... 172 CONTENTS xii Chap. XXIII. Silver Printing ( continued ). — The treatment of residues — Disposal of the residues — To convert the silver got from residues into a printing bath — To precip- itate and redissolve an old sensitising bath Chap. XXIY. The Carbon Processes. — The powder or dusting -on process — The powder — The glass — The sensi tive mixture — The transparency — Preparing the plate — The exposure — Development of the image — Fixing the image — Defects in powder pictures — The powder process for intensifying negatives and for producing reversed negatives ... Chap. XXY. The Carbon Processes {continued). — The single transfer pigment process — The tissue — Preparations of the negative and exposure of the tissue — The development — Fixing the print — Under and over exposure — The con- tinuing action of light ....... Chap. XXYI. The Carbon Processes ( continued ). — The double transfer process — Rigid supports — Flexible supports Chap. XXYII. The Carbon Processes {continued). — Lam- bert type ; transparencies, lantern slides, opals, etc., in carbon — Transparencies in carbon — Opalotypes Chap. XXYIII. The Carbon Processes {continued). — Sensi- tising tissue — Strong and weak sensitising baths ; to print from over- thin and over-dense negatives — To in- tensify prints ......... Chap. XXIX. The Carbon Processes {continued). — The manufacture of tissue — Coating the paper with sensitive compound Chap. XXX. The Carbon Processes {continued). — Defects and remedies in pigment prints — Frilling of the film — Reticulation of the film — Streaks and spots in the prints — The prints are too dark — The prints are too light — The print developed on collodionised glass refuses to leave the support ........ PAGE 181 188 197 206 211 216 223 229 CONTENTS Chap. XXXI. The Platinotype Process. — Exposure of the paper — Development of the image — Fixing and washing the prints — Brown tones in platinotype — Sensitising of paper — Platinotype prints on linen and other fabrics Chap. XXXII. Mounting Prints. — Mounting albumenised paper prints, platinotype prints, etc., in the ordinary way — Dry mounting — Rolling and burnishing prints — En- caustic paste — Mounting prints that have been dried in optical contact with glass — Enamelling prints — Mounting prints in optical contact with glass for rims, etc. Photo-Mechanical Printing Processes. — Preliminary note Chap. XXXIII. Photo-Mechanical Printing Processes. — The Woodbury - type process — Preparing the sensitive tissue — The exposure — Development of the image — Pro- duction of lead moulds from Woodbury reliefs Chap. XXXI Y. Photo -Mechanical Printing Processes ( continued ). — Stannotype — The transparency — The relief or mould — Printing from Woodbury and Stannotype reliefs Chap. XXXY. Photo - Mechanical Printing Processes {continued). — Photo-lithography — Lithographic transfers — Photographic transfers from line subjects — Photo-zinco- graphy — Photo-lithography in half-tone .... Chap. XXXYI. Photo -Mechanical Printing Processes {continued). — Collotype — Preparation of collotype plates — The Albert-type — Husnik’s process — Exposure of the plates — Development of the plate — Printing from the plate — Printing by machine — The heliotype process Chap. XXXYII. Photo - Mechanical Printing Processes {continued ). — Etching transfers on zinc to produce relief blocks — Materials for etching ...... Chap. XXXYIII. Photo-Mechanical Printing Processes {continued ). — The asphalt process for the production of xiii PAGE 233 240 253 254 264 273 287 303 XIV CONTENTS line relief blocks — Preparation of the bitumen varnish — Coating the plates — Exposure and development of the plates — Etching the plate ...... Chap. XXXIX. Photo -Mechanical Printing Processes (i continued ). — Other methods of producing line relief blocks — The “instantaneous asphalt process” — Processes of casting from gelatine reliefs ..... Chap. XL. Photo - Mechanical Printing Processes ( con- tinued ). , — Processes for producing entaglio or engraved line plates . Chap. XLI. Photo -Mechanical Printing Processes {con- tinued). — Half-tone processes Chap. XLI I. Photo-Mechanical Printing Processes {con- tinued ). — Methods of obtaining half-tone in photo -litho- graphy — Transfer from collotype plate — Description of Husband’s papyrotint process Chap. XLIII. Photo-Mechanical Printing Processes {con- tinued ). — Methods of obtaining half-tone in phototype blocks — The use of a grained screen for producing a half- tone type-block — Woodbury process — Process of Ives and analagous processes ....... Chap. XLIY. Photo-Mechanical Printing Processes {con- tinued ). — Methods of obtaining half-tone in entaglio plates — Woodbury’s process — Klie’s process — The Waterhouse process — Sawyer’s process — Obernetter’s process Chap. XLV. The Production of Transparencies or Transparent Positives Chap. XLVI. Processes for Copying Plans or other Drawings in Blue. — T he ordinary “blue process” — Blue positive processes . PAGE 311 316 321 326 329 337 342 349 352 CHAPTER I HISTORICAL SKETCH OF PHOTOGRAPHIC PRINTING PROCESSES Processes before that of Daguerre All the photographic processes, before that which bears the name of Daguerreotype, appear to have been negative processes. The lighter shades of nature being shown as blacks, the darker shades as whites. To Nicephore de Niepce is due, so far as is known, the credit of producing the first photograph in the sense of a camera picture. Niepce had been for several years at work experimenting with various substances, but it was not before 1827 that he produced anything which could be called at all successful. Even then it was negatives only that he pro- duced 1 — a fact greatly in favour of his process, had the thought struck him to use his results as a means to an end, but not as pictures themselves. The idea does not appear to have struck him, however, or, if it did, he was unable to work it out, for we find him, in his correspond- 1 It is only fair to say here that Niepce described a method whereby he proposed to turn his negatives into positives — not to reproduce positives from them. This was by the use of fumes of iodine to darken the parts of his silver plate not covered with bitumen. I can scarcely imagine that the method was efficient for the purpose indicated ; but it seems quite possible that the use of iodine, as described by Niepce, laid the foundation of the iodide of silver process for which Daguerre commonly gets all the credit. B 2 HISTORICAL SKETCH OF ence, describing attempts he is making to get positives directly in the camera. This was first done, or at any rate the means of doing it was first published, in 1839 by Daguerre, who took all the credit to himself of the invention of the process, known as Daguerreotype, although it is becoming more apparent, the more the subject is investigated, that the credit was really due, at any rate in great measure, to Niepce, who had entered into a partner- ship with Daguerre, but who died before the results of their joint investigations were published. The Daguerreotype The Daguerreotype was a positive process. The image produced in the camera was a positive, and, therefore, there was no need to print from it, even had it been possible to do so. Talbot’s Process But almost at the very same time that Daguerre published the Daguerreotype process, — one month before, in fact, — Fox Talbot in this country announced the invention of a nega- tive process on paper. This was in 1839, but I can find no mention of any attempt to print or produce positives from the negatives till 1842, when Fox Talbot, in patent- ing his well-known calotype process, — a second and im- proved negative process, — mentions its applicability to the obtaining of positive copies from negatives. It is probable, however, that Talbot had used his original paper process, which was certainly far better suited to the purpose, for the production of prints. In this first process chloride of silver was formed on paper, and chloride of silver on such a support forms an excellent film for positive prints, in fact, it constitutes a process for printing used at times even to this day, and is probably a better process than some that have almost entirely replaced it. Fox Talbot’s second process, in which iodide of silver is used, is not nearly so applicable to the production of pleasing prints. It is pretty certain that the earliest prints that are still preserved, actually produced by Fox Talbot, are on paper PHOTOGRAPHIC PRINTING PROCESSES 3 which had been treated with chloride of silver. Some of these still remain in a very perfect state of preservation. Toning of Prints At a very early date in the history of silver printing it was observed that the colour of the prints, as they came from the hyposulphite bath used for fixing — that is to say, for the removal of the chloride of silver not acted on by light — varied, some being of a much more pleas- ing colour than others. It was found that the bath, after it had been kept for some time, gave deeper, darker coloured prints than when fresh. It was soon surmised that the darker colours with the older solution was due to the silver salts dissolved from the paper, and silver chloride was afterwards added to the hyposulphite bath for the express purpose of giving the dark colour, of toning, in fact, this being the first toning process that we have any record of. Gold, in the form of chloride, was subsequently used, first in an acid solution, afterwards mixed with the fixing- bath, then in the “ set d’or ” bath which contained only a small quantity of hyposulphite, and was used before the fixing bath, and finally in an alkaline solution before or after fixing. Albumen used in Printing The introduction of albumen was brought about, at a very early date, from the desire to keep the sensitive salts of silver as much as possible on the surface of the paper. The idea of the very high gloss now common did not suggest itself. In fact, in the older prints on albumenised paper there is to be seen no gloss at all, they are only dis- tinguishable from prints on plain paper by the somewhat finer detail that is to be seen. The gloss was a thing that came by degrees as the manufacturers improved their means of production. The gloss is considered by many, however, to be the reverse of an improvement. I have indicated the steps whereby the printing process, 4 HISTORICAL SKETCH OF which, in spite of all opposition, is the favourite process at this present day, has arisen. The results obtained by its aid leave but little to he desired in the way of beauty of colour and delicacy of detail, but, alas ! there is a terrible drawback to the process — the results are not permanent. It was not long after the very first prints were produced by Talbot that he observed that time had the effect of causing them to fade. Since the time mentioned much has been done to improve the permanency of prints by the favourite albumen process ; and there are to be found good authorities who do not hesitate to say that, with our pre- sent knowledge, a print on albumenised paper may be as permanent as the paper itself, if due precautions be taken. Whether this be so or not, the fact remains that since doubt was first thrown on the permanency of silver prints, experimentalists directed their attention to the working out of a process which should be undoubtedly permanent, in which the image should be formed of some substance which was known not to be subject to change. The Carbon Process The first process which really successfully fulfilled these conditions was the carbon process of Swan, in which the image was produced of carbon in a very fine state of divi- sion, held in suspension by gelatine. There were, how- ever, various steps leading up to the process of Swan. As early as 1839, Mungo Ponton published the fact that in certain conditions bichromate of potash is sensitive to light ; or, to speak more correctly, may form compounds or mixtures which are sensible to light. Thus he found that on soaking a sheet of paper with a solution of the salt, drying it in the dark, and afterwards placing it in bright light under an engraving, he got a faint yellow picture on an orange ground, which could be finer by simply washing it in water. This discovery formed the germ of the present carbon process, which is perhaps now the best known of all processes for producing permanent prints. It was subsequently discovered that various PHOTOGRAPHIC PRINTING PROCESSES 5 organic substances, such as gelatine, gum, starch, etc., were rendered sensitive by bichromate of potash, in the sense that when treated with it in solution, dried, and afterwards exposed to light, they were rendered insoluble in water. This was a great step, for it now became evident to Poitevin and others that there lay in this fact the poten- tiality of a practicable printing process, inasmuch as, by exposing under a negative, paper treated with, for example, gelatine, to which had been applied a solution of bichromate of potash, some parts (those which had been acted on by light) would be rendered insoluble, whilst others (those protected by the high lights, or dense parts of the negative), would remain soluble, and further, inasmuch as the soluble portion of the gelatine might afterwards be washed away with hot water. Various attempts failed, on account of the impossibility of getting “ half-tone.” Where the gelatine was rendered quite insoluble, as in the deepest shadows, it was all right, and the same was the case where it was left quite soluble, as in the highest lights. But in the half-tones the film consists of a surface of insoluble gelatine, with soluble gelatine behind, the soluble protected by the insoluble from the action of the hot water, used for development, and either failing to be dissolved by the water, or if dissolved, carrying away with it the insoluble outer surface, which should have remained to form the half-tone. J. C. Burnett, in 1868, got over the difficulty by the ingenious device of printing through the paper supporting the film of gelatine. By this arrangement all the gelatine rendered insoluble was next to the paper, whilst that left soluble was on the outer surface, and could readily be washed away. There are, however, obvious objections to printing through the paper, one being the additional length of time involved, another being the liability that there is for any grain in the paper to show in the print. Burnett’s process was therefore superseded by Swan’s. But whilst these various experimenters were working towards the process of Swan, which, to all intents and 6 HISTORICAL SKETCH OF purposes, is the carbon process of the present day, a per- manent process which, if restricted in its uses, was yet perfect, so far as it went, had been invented. Messrs. Gamier and Salmon, in 1858, described a process in which paper treated with citrate of iron, and exposed under a transparent positive, was brushed over with a dark powder, when a print was produced, the citrate of iron being naturally “ tacky,” and causing the adhesion of the powder, but being rendered hard and dry where acted upon by light, and in such parts not “ tacking ” any powder. The process, modified to a great extent, is slightly used at the present day under the name of the “ Powder Process.” J. W. Swan, in 1864, brought before the public what may be looked upon as really the first carbon process of any real value for practical printing. He produced what he called a “carbon tissue.” Gelatine was dissolved in water, in which also was dissolved bichromate of potash ; finally, carbon in a very fine state of division was intro- duced so as to form a “pigment.” Paper was then coated with the mixture, and was dried. It was afterwards exposed under negatives, an actinometer being used to time the exposure, as no visible image was produced. The print was now coated with a solution of rubber in benzine, and was cemented by passing it between rolls to a second rubber film. Warm water was applied till the gelatine next the paper (still soluble) was softened, when the paper could be stripped away, leaving only the gelatine, soluble and insoluble, with the pigment, etc. The insoluble gelatine was then washed away by the further application of warm water, till nothing but the image or picture was left. This image was now brought into contact with the paper intended to act as a final support, albumen being used to cause it to adhere ; and when the whole was dry, the application of benzine softened the rubber, and enabled the print to be stripped from the plate used for development. The only improvement of any importance which has been made on the process of Swan arose from the discovery, by J. R. Johnson in 1869, that it is quite unnecessary to cement the undeveloped print out of the support used PHOTOGRAPHIC PRINTING PROCESSES in development, for the reason that, if the tissue be placed in water, and be brought into contact with any waterproof support whilst the gelatine is still swelling, it (the tissue) will adhere firmly by atmospheric pressure. It had been observed previously by Yogel that cement was not at all times necessary ; but he had not noticed that the only condition necessary to secure adhesion with- out cement was that the support be impermeable to water. Johnson used ridged supports, such as sheets of zinc and opal glasses, but Sawyer some time ago patented a “ flex- ible support,” consisting of paper rendered impermeable to water by treatment with varnishes. The bichromate of potash is not always mixed with the gelatine before the paper is coated. A tissue prepared by coating paper with a mixture of gelatine, water, and colouring matter may be dried and put on one side. In this condition it will keep for a very long time, and it can be sensitised at any time by floating it on a solution of bichromate of potash in water. Uranium Salts in Printing A historical sketch of printing processes would be in- complete without some mention of the use of salts of uranium. These found very great favour with the photo- graphic public some twenty years ago, one of the claims of the process being that it gave results very much more permanent than those on albumenised pajDer with silver. To how great an extent time has proved this theory to be correct I am unable to say. The process has now dropped entirely out of use ; so far as I know, no single photographer at this date producing prints by its means. It was known in its most popular form under the title “ Wothly-type,” Wothly being the name of the inventor of a particular variety of the uranium process. He deserves, so far as I am aware, the credit of being the first to use collodion on paper for positive printing. Since his time collodion, holding in suspension chloride of silver, has been used as a film for positive printing with very good results. 8 HISTORICAL SKETCH OF The Platinotype Process Perhaps the process which most deserves notice after the carbon process of Swan is the platinotype process of Willis, patented in 1874, and now in general use. In this process paper is coated with a ferric salt, and also with a salt of platinum. When the paper is exposed under a negative, the ferric salt is turned into a ferrous salt wherever it is acted upon by light. Now a fernms salt has the power when it is in solution to reduce a platinous salt to metallic platinum, and ferrous salts are soluble in oxalate of potash. It is therefore possible by floating a print of the kind described — the image in ferrous salt, on a solution of oxalate of potash — to develop an image in platinum-black, — that is to say, in metallic platinum, in a very fine state of division. The oxalate of potash dissolves the ferrous salt, which latter immediately reduces the platinous salt. Platinotype prints are extremely delicate and beautiful in colour. They resemble in general appearance the very finest engravings, and it is claimed for them that they are absolutely permanent. The “ Blue Process ” An application of the action of the light on ferrous salts just explained has been made use of in a process much older than the platinotype. It is the well-known “ blue process ” used for the copying of plans, etc. It will be completely understood when I explain that ferri- cyanide of potassium takes the place of the salt of platinum in the platinotype process, and that ferri-cyanide of potassium forms a blue compound with a ferrous salt — in fact, forms Prussian blue. The compound is, however, formed without the necessity of dissolving the ferrous salt, and therefore 4he blue prints can be fixed in water only. These blue prints have for the most part been used in copying plans, the prints showing white lines on a deep blue ground ; but quite recently the process has come PHOTOGRAPHIC PRINTING PROCESSES 9 somewhat into fashion for printing from a certain class of landscape negatives. Processes requiring but short Exposures , and suitable to direct Enlarging For the production of enlargements it has always been considered advisable to have a process more rapid than any of those just described, because, unless very expensive appliances with large lenses, etc., be fixed up, the time taken to enlarge with any ordinary printing out process is enormously long. Even with the solar, enlarging arrange- ment just referred to, the photographer is dependent on bright sunshine. It is of course unnecessary to say any- thing as to the uncertainty of his having it in this country. When more than one enlargement is required, it is common to make an enlarged negative from which large prints are taken in the ordinary way, and this process is, as a rule, gone through even when only one print is wanted in any of the printing out processes ; but it has always been the desire of photographers, at least to be able to enlarge directly for some of their work without the intervention of a negative. Iodide of silver on paper (the calotype process without the oiling of the paper) was much used, a comparatively brief exposure giving an image which could afterwards be developed. Afterwards “ collodion transfers,” as they were called, were very popular. These were simply tran- sparencies on wet collodion films transferred from glass to paper. Gelatino-Bromide Printing Recently gelatino- bromide paper has been very much used for the purpose just indicated. I believe that Swan, the inventor of the carbon process already described, patented printing on paper coated with a gelatino-bromide emulsion as early as 1878. Certainly the first gelatino- bromide prints I ever saw were in his hands, and were shown in Edinburgh a little after that date. 10 PHOTOGRAPHIC PRINTING PROCESSES It was not, however, till several years after the date just mentioned that gelatino-bromide became at all popular. Since its first commercial introduction, however, it has gained very rapidly in popularity, and now it is used very extensively both for direct enlargement and contact printing. Its makers claim permanence for it, and there can at any rate be no doubt that prints produced on it are far more permanent than those on its rival — sensitised albumenised paper. Gelatino-Chloride Processes Quite recently two processes in gelatino- chloride of silver have gained great popularity. The one is a process by development, the other a process for printing out. The introduction of the former of these produced quite a sensa- tion in the photographic world in the years 1884-1885, the process being really the first in which prints having the appearance of those on albumenised paper could be produced with a short exposure to artificial light and sub- sequent development. I do not defend the photographic public in taking a print on albumenised paper as their standard, but such a print has undoubtedly been the standard till quite lately. Lately there has been a decided tendency towards an engraving black or deep gray as a standard. The second of the two emulsion processes mentioned is a gelatino-clow-citrate emulsion, — that is to say, an emulsion containing both chloride and citrate of silver, and also generally citric acid in excess. It prints out in the same way as sensitised albumenised paper, and is toned on a bath very similar to the old sel d’or bath already mentioned. At the last exhibition of the Photographic Society of Great Britain, there were exhibited prints in silver (pre- sumably chloride) on various papers, such as cartridge and drawing paper. They were produced by S. F. Mostyn Clarke. Some of these were decidedly artistic. I hope to be able to give particulars of the manner of production. CHAPTER II HISTORICAL SKETCH OF PHOTO-MECHANICAL PRINTING PROCESSES From the very earliest days of camera photography, it was in the minds of photographic experimentalists that it should be possible to print by mechanical means from blocks photographically prepared. That it should be possible to print in the printing-press from blocks which were really nature-blocks untouched (in the sense of draw- ing, hand-cutting, etc.) by hand. The problem has been most perseveringly attacked, with the result that many processes of greater or less degree of perfection have been worked out. The great difficulty to be overcome was the production of “ half-tone.” To produce two tones merely, a white and a black, as in the copy of a pen and ink drawing, was a comparatively easy matter ; but to produce besides these all the intervening gradations, such as we see in nature or in a good photograph, was a most difficult matter. Blocks produced by photo-mechanical processes may be divided into three groups : (1) Those in which the parts of the block intended to print black are sunk, cut, or etched under the general surface. These are known as entaglio blocks or plates. In these the ink is first applied generally to the surface, it is then rubbed off the elevation, and after- wards the remainder extracted from the depressions by the paper, thus forming an image dark in proportion to the depth of the depressions ; (2) processes in which a film is so treated that various parts of its surface differ in their 12 HISTORICAL SKETCH OF capacity for absorbing a greasy ink, or in repelling it, care- ful inking resulting in an image on the block, of intensity varying with the capacity of the different portions of the surface to absorb ink. This image in ink is afterwards transferred by contact paper; and (3) type blocks in which the elevations receive the ink which is afterwards taken up by the paper, the half-tone in such a case being produced by some sort of stipple, or lining, or grain, as in various kinds of engravings. In the case of the first two of the three groups of processes (especially the first of all) very careful inking up is required, and the proofs can only be pulled com- paratively slowly. In the case of the third process, the blocks can be printed in the ordinary way with type. Certain processes of the first two classes have been worked out to a very high pitch of excellence, but I must confess that I have never yet seen a print from a photo- mechanical type block produced at the same time as ordinary printed matter in a common printing machine which was quite satisfactory, but the rapid improvement which may be noticed holds out good hope that this much desired end may before long be attained. Besides the photo-mechanical processes mentioned above which reproduce half-tone, there are various processes for representing true tones only. These are most useful in reproducing plans and maps, pen and ink drawings, etc., and are, in many cases, superseding wood-engraving, as by their means the artist, drawing on white paper with black ink, may have his drawings reproduced with absolute accuracy, in place of being reproduced as the wood-engraver chooses, or is able to interpret them. To only one photo-mechanical process that I know of can the term “ half-tone ” be applied with the strictest accuracy. In this one process only is there the absolute and uninterrupted gradation that we have in a silver or a carbon print. In all others the half-tone impression is produced in a manner similar to that in which it is got in a wood-engraving. Printer’s ink in reality gives only one tone, black or a PHOTO-MECHANICAL PRINTING PROCESSES 13 deep colour. In an engraving there is really only one tone, or two if we include the whiteness or tint of the paper as one, the appearance of half-tone being produced by dots or lines of absolute black, having between them the white of the paper. The relative depth of the various half-tones is not due to variation of the colour of the ink, but to variation of the ratio of area occupied by black lines or dots, and of intervening white paper. Thus for a very dark shade the black lines or dots are broad or large, with but little space between them ; for a light shade the lines or dots are thin or small, and far apart. The Woodbury-type Process There is, however, as I have said, one photo-mechanical printing process in which there is a true gradation in the strictest sense of the word, in which the various shades are produced by varying thickness of a coloured transparent pigment, the darker shades being represented by greater thickness than the lighter. The process is known as the Woodbury-type, after its inventor, the late Walter B. Woodbury. Roughly, the process consists in producing an entaglio or sunk-in impression of the object to be reproduced, the deepest portions representing the darkest shadows. This mould is then filled in with transparent coloured ink, which is afterwards removed on a paper support. The first hint of the method of producing the entaglio image that I can discover is contained in a patent granted to A. L. Poitevin in 1855. A glass or other plate was coated with bichromated gelatine, it was dried, and was exposed under a negative, the result being that those portions which had been acted upon by light were rendered insoluble, whilst those which had been protected by the dense portions of the negative could be washed away, leaving a relief. From this relief there was then produced an entaglio, either by making an ordinary plaster of Paris cast, or by soaking the surface of the relief with reduced silver, and taking an electrotype mould of it. 14 HISTORICAL SKETCH OF It will be seen that the same objections apply to this method as to the early method of carbon printing. Only two tones could be correctly registered. This difficulty was got over by Woodbury in 1865 by applying the bichro- mated gelatine to thin plates of talc which could be printed from the back. From the reliefs thus gained, which gave a perfect representation of half-tone, electro- type moulds were produced as by Poitevin. It would appear that during 1864 both Swan and Woodbury had been working in the same direction, and it appears doubtful to whom should be given the credit so far. The step, however, which rendered the method actually applicable to practice certainly emanated from Woodbury, so that it is with justice that the process as now worked bears his name. There were certain mechanical difficulties in the way of getting perfect electrotypes from the gelatine relief blocks on account of their swelling in the electrotyping fluid. The discovery was, however, made by Woodbury that, if the gelatine reliefs were dried, they were so hard that they would produce an entaglio image in lead or type-metal by simple pressure, the gelatine actually sinking into the type- metal block. From this entaglio a casting on paper was made by pouring a warm mixture of water, gelatine, and transparent pigment into it, laying a sheet of paper on it, and bringing a platen down on it so as to squeeze out all the superfluous liquid. The platen was left down till the gelatine was set stiff, when it could be lifted, and the proof set on one side to dry. The process has been simplified in various details, but in all essentials remains as it has been described, unless we consider the quite recent process entitled Stannotype, almost the last outcome of Woodbury’s inventive genius to be but a modification of it. In this process an entaglio block is produced directly by exposing a film of bichromated gelatine under a transparency , and developing with hot Jwater. This block, when dry, is used to print from directly, tin- foil being used as a protective film to prevent the gelatine entaglio being attacked by the water of the pigment. PHOTO-MECHANICAL PRINTING PROCESSES 15 I have placed the Woodbury-type process before all other photo-mechanical processes, because, as I say, it is the only process which can be quite strictly termed a half- tone process. All the other processes which give a half- tone are printed in opaque ink, and the half-tone is got, as described above, in the case of engravings, some means being used to break up the surface of the block into lines, dots, stipple, or grain of some kind. Ordinary Engraving Processes Before considering the various photographic methods of printing by photography from entaglio plates wherein a simulation of half-tone is produced by such lines, dots, stipple, or grain, it may be well to say a word or two on ordinary engraving from metal plates, lest my readers be unacquainted with the general principles of the pro- cesses. Copper-plate line engraving may be taken as a typical case. A polished plate of copper is used, and lines are cut into the surface in either of two ways. The graver or dry point is used, and the lines are actually cut away or im- pressed by hand. This is generally called dry-point engraving. The results are very fine, but the work is difficult and tedious. An easier method is to cover the surface of the plate with a thin film of wax. This is scratched away in lines by needles with points more or less sharp, and the plate is afterwards treated with some etching fluid, which will eat away copper. This fluid does not act where the surface is protected by the wax, but eats away the copper where it is not. The wax is afterwards removed. The method of printing from such an engraving is as follows : — The whole surface of the plate is covered with printer’s ink by dabbing it on. Afterwards all except that which has sunk into the lines is removed by wiping the surface of the print first with a cloth, then with the hand. These operations require very great skill, the difference between the proof produced from a copper-plate engraving by one 16 HISTORICAL SKETCH OF who has no practice in the art of printing and one who is an adept at it being wonderful. The plate properly inked, paper is brought into contact with it, the paper is backed up with flannel or other some- what elastic padding, and the whole thing — plate, paper, and backing — is subjected to great pressure by drawing it between a metal plate and a roller. The paper is thus forced into contact with the ink in the lines, and an exact copy of them is the result. A process which is much more nearly allied to various half-tone photographic processes than line processes, is that known as “ mezzotint.” It depends in principle on the fact, that if the polished surface of the copper be merely roughened it will hold the ink, and will hold it in proportion to its roughness, a stipple being produced, in which the ratio of black to white is greater, the rougher the surface is. The first operation is to roughen the whole surface of the plate by means that it is not necessary here to mention. The engraver then works by smoothing those parts of the plate which are to represent the lights. He uses tools called scrapers and burnishers, smoothing to just such an extent as he knows by experience is necessary to produce the tint he requires. In aquatint a stipple is produced by covering the surface of the plate with a spirit varnish, which, in drying, cracks up into minute fragments. The plate thus being bitten with acid a half-tone, much resembling that of a crayon drawing, is produced. This is worth mentioning, as in a manner very similar to this was a stipple first produced in photo-engravings. # Very early Photo-Engraving Processes The earliest record that I can find of any process of the nature of photo-engraving is by Poitevin, who, in 1842, attempted to turn the Daguerreotype image into an engraved plate. He gives accounts of methods of producing both engraved (entaglio) and raised blocks, but it is not clear whether he expected to get a rendering of half-tones by PHOTO-MECHANICAL PRINTING PROCESSES 17 his processes, and it is quite evident that if he did he would be disappointed. His method was to electro-plate the exposed, developed, but unfixed Daguerreotype plate, when there was a deposit only on the lights (the parts represented by an amalgam of mercury), the unaltered iodide of the shadows refusing to take up copper from the solution. This produced an entaglio engraving. The method of producing a raised block depends on similar principles, but is somewhat complicated, and it is scarcely worth the space it would take to describe it in detail here. In 1843 Claudet patented in this country a process for etching the Daguerreotype plate with acid. His specifica- tion is not so clear as to make it quite comprehensible how he proposed to proceed, nor does it appear that he made any special provision for obtaining half-tone. Fox Talbot's Plioto-Engraving Processes The first engraving process of any real practical value appears to have been that of Fox Talbot, patented in 1852. In this process he makes use of the properties of bichromated gelatine. A steel plate is coated with a layer of this substance ; it is exposed under a transparent posi- tive, and is then developed with a solution containing vinegar and sulphuric acid. This washes away those parts of the gelatine which have not been acted upon by light, and, in fact, leaves a half-tone positive in gelatine differing from a carbon print only inasmuch as there is no pigment in the gelatine. The plate is then etched with a solution of “bichloride of platina,” which eats into the steel, and roughens it most when the gelatine has been washed away. Fox Talbot also patented at this time the first method of obtaining a grain for representing half-tone. He proposed to obtain it by impressing on the gelatine film, previous to its exposure under the negative, “the image of a piece of folded gauze or other suitable material. In 1858 Talbot improved his process by introducing the use of powdered resin for the production of a grain. A plate was coated with c 18 HISTORICAL SKETCH OF bichromated gelatine, and exposed as before. It was then covered with a little powdered resin, and heat was applied till this melted. The image in this case, when the film had been exposed and developed by simply soaking it in cold water, consisted of a positive image, varying in its different parts in permeability to water or any aqueous solution, those parts where the light acted most strongly being rendered quite impermeable. But besides this, the whole of the film was, so to speak, broken up into a grain, the spots of resin resisting the penetration of water, whilst the interspaces permitted it to pass. The plate was now at once etched by dipping it in a solution of per- chloride of iron, which ate away the metal wherever it reached it. The precise method of action is in this case worth fol- lowing, as it is typical of the manner in which an appear- ance of half-tone is sometimes obtained in photographic engraving processes by means of a grain. Where the light has acted most powerfully, the gelatine is rendered quite incapable of transmitting the etching fluid, and the metal then under these portions is not acted upon at all. Where the light has' acted a little less, the film is slightly permeable, but, of course, only where there is no resin. The interspaces between the resin are in such parts of the film represented by thin faint lines. But where no light has acted, the gelatine has remained quite soft ; it swells up, and readily transmits the etching fluid. It is true that it only permits it to pass where there is no resin on the surface, but the film being swelled up, the etching fluid passes more or less under the spots of resin. The action, in fact, spreads sideways, so that the inter- spaces are represented by broad lines, or indeed the action may go on so long that the resin-protected spots are com- pletely undercut, and that in the parts representing the deepest shadows the surface is etched throughout. We thus have a gradation quite complete from a surface not eaten into at all to one eaten away altogether, the inter- mediate gradations being represented by a net-like pattern, with the lines of varying thickness. Very excellent results PHOTO-MECHANICAL PRINTING PROCESSES 19 were obtained by the process of Talbot’s just described. Indeed, I have seen some that compare quite favourably with modern processes. The Woodbury process has been already described. It has been made subservient to the production of entaglio engravings, to be printed from in printer’s ink, as shall be described hereafter. Modern Photo-Engraving Processes Coming down to the consideration of modern processes, it may be at once stated that by various methods of photo- engraving results are being continually produced so perfect that it is difficult to imagine any improvement on them. At the same time, it must be admitted that full particulars of some of the best processes — those, it would be more correct to say, by whose aid the best results are produced — have not been published, and that, moreover, there is never any certainty as to how much hard work has been put on the engravings. Indeed, it may be confidently ^stated that, except very rarely, a plate is never printed from till it has had much hard work put on it. Thus by skilfully covering up some portions, and re-biting or re-etch- ing, the plate may be much improved. Again, the graver is used to give more depth in places, and the lights are improved by smoothing the copper with a smoothing tool. Photo-engraving is used, more than for anything else, for the reproduction, on a large scale, of pictures. The time required for the preparation of such a plate is, according to H. Trueman Wood , 1 reduced from years to months in the case of one of the most popular processes. In fact, the impression gained directly by photography on the plate can only be looked on as a basis for the work of the skilled engraver. 1 To save the trouble of continual reference, I here acknowledge my indebtedness to the gentleman just mentioned, whose book, Modern Methods of Illustrating Books, I have found most useful in enabling me to give short descriptions of processes with which I am not myself familiar. 20 HISTORICAL SKETCH OF The Woodbury Photo-Engraving Process The firm Goupil et Cie have long been famous for the remarkably fine photo-engravings that they produce. The precise process used has been kept secret, but it is supposed to be a modification of one by Woodbury. In this process a Woodbury relief is prepared exactly as in the Woodbury process already described, but that the bichromated gelatine has incorporated with it powdered glass. The relief is stamped into lead or type-metal, as in the case of the ordinary process, the difference, of course, being that the powdered glass produces a grain. From the lead block a copper-plate is got by double electro-plating. Klie’s Process Messrs. Annan of Glasgow produce very fine engravings by the process of Klie, which differs from that of Talbot, last described, only inasmuch as asphalt dust is used in place of powdered resin, and that this is spread on the copper-plate — that is, between the copper and the bichrom- ated gelatine film — in place of on the film. Waterhouse’s Process In 1880 Major Waterhouse described a process, giving what he termed a “ discriminating grain,” — that is to say, a grain in which the black spots or dots are of larger size (the interspaces consequently narrower) in the shadows than in the high lights. The process, I believe, was found to be somewhat defective in practice, but the principle of a “ discriminating grain ” is one, the importance of which cannot be exaggerated. In fact, it is only in virtue of a “ discriminating grain,” or something analogous to it, that any appearance of half-tone can be given by a process in which black ink is used. To make this clear, it must be borne in mind that the ink itself gives no half-tone ; that every point of an engraving surface must either print quite black or quite white. Now the mere introduction of a PHOTO-MECHANICAL PRINTING PROCESSES 21 grain throughout a whole picture, with spots and interspaces of equal size throughout, will not help in any way to render the representation of half-tone in a photograph possible. Two tones only can be produced in this way — that repre- sented by printing the grain on to white paper, and that represented by white paper alone, untouched, that is, by printer’s ink. What is required is a grain in which any proportion of area occupied by black, and area occupied by white, may be produced. The truth would appear to be that in the case of all the processes, except that of Waterhouse just mentioned, a discriminating grain has been produced rather by accident than by the design of the inventor. It was pointed out in the case of Talbot’s improved process how a discriminating grain was produced by the lateral action of the etching fluid. Besides this, there is to be taken into account the result of what has been termed the “ creeping action of light.” This is in reality a lateral action of light. When light acts on a film of any appreci- able thickness, the action tends to spread sideways to a less or greater amount, according to the intensity of the light, or the time that it is allowed to act. This may perhaps be explained by imagining an entirely hypothetical case. We shall suppose that in the sketch given here, 3 represents a copper-plate, 2 represents a sensitive film of such nature that wherever it is acted upon by light it will eat into (or allow some etching fluid to eat into) the copper-plate, whilst 1 is a graining screen made up of some thin opaque film, penetrated by minute holes of the same size, and at equal distances from each other. These holes are lettered A, B, C, D, E, F, and G. Now let us suppose that the whole is exposed to light of varying intensity, strongest at G, and gradually decreasing in strength towards A, as might be the case did the film represent a small portion of a sensitive substance exposed under a portion of the half- 22 HISTORICAL SKETCH OF tone of a negative. The ultimate result on the copper will be to pit it in somewhat the manner shown, the pits being not only deeper where the light has acted most strongly, but being broader also. Again, there may be a slight spreading action of ink itself. Thus if two lines be engraved or etched on a copper-plate, both of the same width, but one considerably deeper than the other, the deeper line may print out broader than the other. Somewhat in the manner that I have described has a more or less perfect “ discriminating grain ” been automati- cally produced in all, or nearly all, photo-engraving pro- cesses, although, in the case of some of them, it must be confessed that it is very difficult to see how the result is brought about. So far as I know, Major Waterhouse was the first to suggest a method directly intended for the production of a discriminating grain. As I have said, his process has not, so far as I have heard, been perfected in practice yet ; but it is probably not too much to say that on the production of a thorough discriminating grain will probably depend the invention of any photo-engraving pro- cess that will be capable of producing good results without a deal of hard work. In Waterhouse’s process a Woodbury relief, or a carbon image, is developed on a copper-plate. On to this is sifted fine sand, which has been waxed by placing some wax amongst a quantity of it, heating the mass, and keeping it stirred till it is quite cold. The grains of sand striking the surface of the film enter to some distance where the gelatine is soft, producing pits. They do not, of course, enter the bare parts of the copper at all, and, throughout the half-tones they enter just in proportion to the softness of the gelatine. The film is dried, the sand is removed, and an image with a “ discriminating grain” remains. This is reproduced in copper by double electro-plating, being first of all black-leaded, to make it a conductor of electricity. Sawyer, of the Aulotype Company, recently improved the process by introducing powdered plumbago into the gelatine, of which the film was produced, thus PHOTO-MECHANICAL PRINTING PROCESSES 23 avoiding the necessity of black-leading it. E. W. Foxlee has since that time produced some photo-engravings of very great perfection. I hope to be able to give particu- lars of his process further on. Obernetter’s Photo-Engraving Process The only process that I know of which differs in any- thing but matters of detail from those already described is that of Obernetter, which is both original and wonderfully ingenious. A positive is produced on a film of gelatine- bromide of silver very rich in the silver salt. The silver of the developed and fixed image is converted into chloride of silver by the action of a mixture of perchloride of iron and chromic acid. The film is then wetted and brought into contact with the surface of a copper-plate, which it etches, the chlorine leaving the chloride of silver to com- bine with the copper-forming chloride of copper, which is soluble in water. Photo-Lithographic Processes , etc. The processes that next come under consideration are surface-printing processes. Before entering into details of the action of these, it is desirable to explain very briefly the essentials of the ordinary lithographic process invented by Semfelder at about the end of last century. Put as briefly as possible, the process of lithography depends on the fact that, if the surface of slabs of certain porous stones be made greasy in parts, if the stone be then wetted and inked with a greasy ink, this ink will adhere only to the greasy parts of the stone, not to any other. It is then only necessary to produce on the stone a design in grease, or in any greasy fluid, either by drawing it directly on the stone or by transferring it from paper, when the stone may be printed from by damping it, inking it up, and bringing paper into contact with the surface. When we come to treat of the reproduction of line sub- jects, it will be seen that the lithographic process, pure and 24 HISTORICAL SKETCH OF simple, can be used for reproduction of a line subject through the intervention of photography. Meantime we have to consider processes similar to lithography in that they depend on the power of the surface to attract or repel a greasy ink, and applicable to the production of half-tone. Surface-Printing Processes The earliest record that I can find of any attempt at a photographic surface-printing process, by a greasy ink, is of 1854. In this year Guiseppe Devincenzi patented a process wherein he proposed to transfer a photographic image in a greasy ink on to a lithographic stone, and to print therefrom. As in many other cases of the earlier specifications of photographic inventions, the wording is so vague as to make it appear very doubtful whether the patentee himself understood his invention, and to make it very certain that he is incapable of making any one else understand it by a written description. Next year, how- ever, Poitevin described the process which has since come to be known as Lichtdriick in Germany, “Collotype” in England, with such clearness that, whatever improvements and modifications have since been made in practice, to him must be given the credit of the invention. The Liclitdruck or Collotype Process The collotype method depends on the fact that gelatine, in its natural state, when wetted and allowed to swell up, repels a greasy ink, whilst gelatine rendered insoluble by the action of bichromate of potassium and light refuses to absorb water, but takes a greasy ink freely. The following is, described as briefly as possible, the method of working the process. A sheet of glass or other hard substance is coated with a thin film of bichromated gelatine. This is dried very quickly, and is exposed under a negative. A faint image is seen after exposure. The plate is next washed in cold water, when those parts which have not been acted upon by light swell up. It PHOTO-MECHANICAL PRINTING PROCESSES 25 will readily be seen, if the explanations above have been followed, how two tones can be obtained — one a black, where the gelatine has been rendered quite inabsorbent of water ; the other a white, where the gelatine has swelled, and refuses to take any ink at all. During development there is, however, a curious action in the half-tones. The portions represented by half-tone do not merely become non-absorbent to a certain greater or less degree, but the surface reticulates or breaks up into a fine netlike series of markings. The precise nature of this marking, reticulation, or grain can scarcely be explained in words ; but it has the property of taking the ink in some parts whilst it refuses it in others, and thus produces a very fair rendering of half-tone. The size of the grain or reticulation varies. It is much easier to print from a coarse-grained plate than from a fine one, but the results are very inferior. In the best collotypic work the grain is not visible to the unaided eye at all. The printing from a collotype plate is performed pre- cisely as in the case of a lithograph. The plate is, that is to say, damped, inked up, and printed from. The inking up requires very considerable skill. The number of impres- sions that can be pulled direct from a collotype plate is limited. In 1861, however, Colonel Sir Henry James pro- posed to transfer an image from the collotype plate to stone or zinc for the purpose of enabling copies to be multiplied, to all intents and purposes, indefinitely. The purpose for which he intended this transfer process to be used was, it is true, only for the copying of maps and line subjects j but recently the process has been elaborated, and lithographic transfers of collotypes in half-tone are produced. Type Block Processes We now come to the last of the three methods of print- ing, namely, that by raised blocks. The method in ordinary printing from types and wood-engravings is, as every one will understand, of this nature. In the case of wood- engraving a flat wooden block is used, and all that is not 26 HISTORICAL SKETCH OF intended to print is cut away, the portion remaining in relief being inked and brought into contact with the paper. In the relief process, as in the entaglio, there is no true half-tone. The half-tone must, as in the cases already described, be represented by lines, dots, grain, or stipple of some kind. It may be remembered that Poitevin, in his very early experiments, pointed out methods of producing directly from the Daguerreotype both entaglio and relievo blocks, but there is no indication of any method of rendering the half-tones. Indeed, it is only of quite recent years that this has been accomplished with even an approach to success. When an entaglio reproduction in stipple or other half- tone from a photograph became possible, a block reproduc- tion became possible also, inasmuch as it was possible to transfer the impression to a zinc plate, and to etch this latter. The same also may be said of collotype. It is necessary, before seeing more of block processes, to explain this method of etching a zinc block. An image in fatty ink is transferred to the surface of the zinc block. This image is “ inked up ” as if it were to he printed from, but really to increase the thickness of the ink film so that it may he sufficient to withstand the effect of dilute acid. The hack and edges of the block of zinc are varnished so that they also may be protected from the action of the etching fluid, into which the whole block is now placed. The acid slowly etches or eats away those parts of the sur- face which is not protected by the fatty ink, leaving the latter in relief. Before sufficient depth of etching can he obtained, and to prevent the acid from undercutting the lines, various manipulations are gone through, the lines being several times treated with a further protecting film, and the etching being repeated. The difficulty with all blocks produced in the manner indicated when the stipple or grain is very fine — as is quite necessary for surface blocks — is to get sufficient relief, without which there is a tendency for the interspaces to become filled up with printer’s ink, and that conse- PHOTO-MECHANICAL PRINTING PROCESSES 27 quently, except in the case of the most skilful printing, the results are very poor. Even when the printing is most skilfully performed, and when, therefore, there is no tendency to smudginess, there is sometimes a tendency to flatness and a lack of range of half-tone. Besides the methods already explained of getting grain or stipple in entaglio tile engravings, or on surfaces such as collotype or lithographic plates, there are two which, although they might doubtless be used in entaglio or surface processes, are, I believe, as a matter of fact, now at least, used only in the production of surface blocks. I give them in the words of Mr. Trueman Wood. “ Copying mechanical network, stipple, or grain on one of the sensitive surfaces used in the production of the printing surface, or introducing granular material into the substance of one of these surfaces.” 1 This latter method is very similar to that of Wood- bury and that of Waterhouse, already mentioned, as applicable to photo-engraving. The Pretch Process As early as 1854 Pretch patented a process for making an electro-plate impression from a plate which had been coated with bichromatised gelatine, exposed under a line negative, and developed by washing the portions away, which had not been affected by light, with hot water. He subsequently made his method applicable to the production of a raised block for printing with type, by developing the exposed plate (the film on which had in this case been very rapidly dried) in cold water precisely as in the case of collotype. In fact he produced a collotype, but in place of printing from this directly, or transferring the image to stone, he made an electrotype cast of it, and used this as a raised block. The results obtained by this process are somewhat coarse, but are well suited to some subjects. It will be remembered that in the very first engraving (entaglio) process of Talbot, it was proposed to obtain a 1 “ Imparting stipple to a Woodbury film or analogous relief.” 28 HISTORICAL SKETCH OF grain or stipple by the use of “ the image of a piece of folded gauze or other suitable material.” This principle, so far as I know, has seldom or never been used for the production of entaglio engravings, but recently it has been greatly used for the production of raised blocks. When I say that the principle has been used, I mean that some body, such as gauze, having a pattern of opacity and transparency, has been used at some part of the process to give a grain to the surface. Thus gauze has been introduced between the negative and the sensitive surface used as a means of producing a surface block. Either actual gauze or a photographic reproduction of it on a film negative, or a reproduction of black crossed lines, or merely of black parallel lines, has been used. The same has been introduced in front of the negative in the camera, or the negative or a positive from it have been brought into contact with a piece of gauze or a stipple screen of some kind, and the two together have been copied in the camera. In fact the changes have been many in every conceivable way, always with the same ultimate object, to produce on a block which could be etched an image in some protective machine with the half-tones broken up into a uniform stipple. Of all these processes the same thing may be said. It is very difficult to see how they succeed at all. At first sight it would appear that they ought to fail, because, con- sidering that a block can only, at one point, print quite black or quite white, it is difficult to see how any half-tone is to be got from a pattern consisting of dots of equal sizes at equal distances, or of lines of equal breadth at equal distances. There is nothing in all this of the nature of a “discriminating grain.” Still the processes are more or less successful. Meisenbach’s Process A process of the nature just described was amongst several worked with greater or less success by Messrs. Bullock and Swan for some fifteen years, when it was PHOTO-MECHANICAL PRINTING PROCESSES 29 patented by Meisenbach of Munich in 1882. The follow- ing is a precise description of his process : — “ A transparent plate is hatched or stippled in parallel lines. A transparent positive is made of the object (which it is desired to depict). The two plates are joined, prefer- ably face to face. From the combined plates a definite negative is photographed in the ordinary manner. In order to cross-hatch and break the lines of the shading, the hatched or stippled plate may be shifted once or more during the production of the said definite negative. This negative is transferred in the usual manner to form a typographic block.” It will be seen that no special means are here used for the production of a discriminating grain, yet it is undeniable that such exists in ^the pictures produced by Meisenbach. If one of these be examined by the aid of a powerful magnifier, it will be found that the image in reality consists of equidistant dots. In the highest lights these are of course quite absent ; but in all other parts they are present. In the lightest shades, however, they are repre- sented by the minutest points, whereas in the shadow they are so large as to run into each other. If Meisenbach really produces the excellent results that he obtains by the method that he patented, one can only conclude that the discriminating grain results from the “ creeping action ” of light already treated of. Woodbury Block Process Of the various methods of producing type blocks by the aid of a Woodbury relief, it may be said, that in them there is a very thorough provision for obtaining a discrimi- nating grain. Woodbury himself worked at the production of type blocks from a gelatine relief, between which and the trans- parency under which it was printed there was introduced a screen of gauze or network, and producing, from the resulting grained impression, a block by pressure as already described in treating of the Woodbury process. I believe, 30 HISTORICAL SKETCH OF however, that the process has never been worked on any large scale. Ives's Process Ives followed in the track of Woodbury, and some fifteen years ago patented a process which appears to possess all the essentials for successful working. The principle which he introduced was the use of an impression in relief to crush down the grain of a paper with an even and marked grain. Where the relief was highest it flattened out the grain entirely, where it was lowest it did not even touch it. Between these two extremes there was a gradation of various amounts of flattening out. The relief being inked, the flattened por- tions of the grain only were blackened, and thus a print having half-tone represented in dots or spots of varying sizes was produced. This could either be copied in the camera, the negative being used for the preparation of a transfer, or the image could be directly transferred to a zinc block, which could then be etched. If a transfer were to be prepared, it was done in the following manner : — Transfer paper, consisting of paper coated with a film of bichromated gelatine, was exposed under the negative. Those parts which received the action of light (representing the dots) were rendered incapable of absorbing water, whilst the other parts (representing the parts of the paper not inked) retained the capacity. The parts which swelled with water repelled greasy ink — as already described in connection with collotype — whilst the hardened portions attracted it. The transfer paper could thus be inked up, an impression precisely corresponding to that got from the Woodbury relief resulting from this ink- ing, and this impression could be transferred to a zinc block, which could then be etched. Ives has considerably modified his process since it first came out, but the principle remains the same, and he has produced remarkably good results . 1 1 For details of these, see Canto’s Lectures on the Recent Improve- ments, in Photo- Mechanical Printing Methods , by Thomas Bolas, F. C. S. , printed by William Frounce, 10 Gough Square, Fleet Street, E.C. PHOTO-MECHANICAL PRINTING PROCESSES 31 Zuccato’s Process A process patented some years ago by Zuccato bears a good deal of resemblance to that of Ives. Zuccato, how- ever, in place of a grained paper, uses a block of lead or type-metal, the surface of which has been prepared by planing out very narrow grooves so as to have a series of minute pyramids. The plate is inked and the Woodbury relief is brought down on it, a piece of very thin paper being between the two. The pyramids are flattened out to a greater or less degree, producing larger or smaller spots or dots, which have a very clearly defined outline. Many other processes could be described, but they are all more or less on the lines of those already given. The Reproduction of Line Subjects The reproduction by the aid of photography of sub- jects in line I scarcely consider ought to come under the heading of photographic printing at all. It is really simply a mechanical printing process to the aid of which photography is called. Still the various processes are much worked, and some brief description of them may not be out of place, especially as the process, which is, perhaps, more used than any other, originated with the father of photography, Nic^phore Niepce. It is scarcely necessary to point out that any process which is capable of giving a print representing half-tone by stipple is also capable of reproducing a subject in line. Indeed the whole difficulty consists in contriving to get the representation of the half-tone, the representation of only two colours, a black and a white, being simple enough. In 1827 Niepce submitted to the Royal Society some pictures, taken on plates of metal covered with a film of bitumen of Judaea. The action of light on these films was to render them insoluble in various oils, in which they were otherwise soluble, so that, by giving a sufficiently long exposure in the camera, and afterwards developing with these oils, a sort of image was produced. 32 HISTORICAL SKETCH OF Niepce de Saint Victor, nephew of the last-mentioned, used the process for the copying of engravings. He ex- posed a copper -plate coated with bitumen under an en- graving or transparency he wished to copy, by which means all the bitumen, except that under the lines, was rendered insoluble. That representing the lines was then dissolved away, and the plate was etched by placing it in acid. Almost the very same process as this is that which is most commonly used at the present day for the reproduction of line subjects, except that raised entaglio blocks are gener- ally produced. A negative is prepared of the line subject to be repro- duced. It is necessary that this negative be as dense as possible, the lines being at the same time represented by bare glass. A plate of zinc is coated with a thin film of bitumen, and is exposed under the negative whereby the parts representing the lines only are rendered insoluble. The remainder is now dissolved away, when the block may at once be etched by any fluid that will eat into the zinc, the lines remaining as raised portions which can be printed from. A very favourite process for the reproduction of line subjects is that in which bichromated albumen is used. A plate of zinc is coated with albumen which has a certain amount of bichromate of potash dissolved in it. This film, when dry, is sensitive to light just as a bichromated gelatine film is, but it is far more sensitive, and requires only cold water to develop it, as albumen is, unlike gela- tine, soluble in cold water. The process gives very sharp, clean lines. After the film has been exposed — just as the bitumen film is exposed, but for a mere fraction of the time — and developed, the plate is etched. The etching may be done directly with an alcoholic solution of per- chloride of iron, as alcohol has the effect of rendering albumen quite insoluble and impermeable, or, the image may be inked up — the albumen taking the ink readily — and the plate may then be etched with acid. Both these methods are adapted to the finest work PHOTO-MECHANICAL PRINTING PROCESSES 33 where great precision is required. Where a less degree of fineness and precision are required, it is usual to have recourse to the transfer method already mentioned in connection with the production of raised blocks for type-printing. The transfer consists, as already explained, of a surface which repels greasy ink except in such parts as form the image. The image may be transferred to a lithographic stone, from which prints may be taken directly, or it may be transferred to a zinc plate, which can then be etched so as to form a relief block for printing. The method of Pretch has already been mentioned. In it a film of bichromated gelatine, on a rigid support, is exposed under a positive from a line subject. If the subject be an engraving or drawing on fairly transparent paper, and if it be required to reproduce it of the same size, it itself may be used as the positive. If not, a negative must be produced, and from that a positive by contact. The film is either developed by placing it in cold water, in which case the lines swell up, standing above the level of the rest of the surface, or in warm water, in which case the lines are dissolved away. An electrotype copy is thus made which, in the former case, will give an entaglio block, in the latter a relief block. Of all the methods described, wherein a relief block is gofc through the intervention of a negative of the line subject, it need scarcely be said that, if a positive be used, an entaglio plate will result. Many processes besides those described have been invented with the object of reproducing line subjects, but it is difficult to see any advantage that they possess over those already described, whilst they certainly appear to possess the disadvantage of being more complex in work- ing, or more expensive. D CHAPTER III GENERAL REMARKS ON CONTACT PRINTING The first and principal requisite for contact printing is a “ printing-frame.” Printing-frames are of various designs but in every case the object is the same — namely, to keep the sensitive film which is to be printed in close contact with the negative, and at the same time to provide means of examining, at any time, every part of the film, so as to see how the printing is proceeding. Provision for examina- tion is made by arranging that one part of the film shall be kept in close contact with the negative, whilst the other is separated from it. The simplest form of printing-frame is here illustrated. It is, in the writer’s opinion, not only the simplest (and cheapest), but also the best for all small sizes, certainly up GENERAL REMARKS ON CONTACT PRINTING 35 to whole plate (8|x 6-J-). It will be seen that it consists of a frame to hold the negative, and a back to keep the film in close contact with it. The back is made in two halves, hinged together. It is pressed by two springs against the film ; but either of these springs can be released, allowing one-half of the frame to be hinged back, so that the corre- sponding half of the print may be examined as it progresses. In the frame just described there is nothing in front of the negative to protect it from being damaged by the strain of the springs ; nor is anything necessary for small sizes. For large sizes it is, however, advisable to use the frame illustrated here, in which there is a plate-glass front, against which the negative lies. The back is somewhat different in form from that of the cheaper frames ; but the object to be effected is the same in both cases. It will readily be understood that, with a plate-glass frame, it is possible to print a negative of any size — from the largest that the frame will hold to one very considerably smaller. This is, of course, a convenience in many cases. With a frame having the back in two divisions only, there is a narrow portion of the print, opposite to the hinge, which can be seen only imperfectly, or not at all. This is an inconvenience in some cases, when the very part 36 GENERAL REMARKS ON CONTACT PRINTING of the picture that we want to print for, and which is the most important of the whole, comes in the centre. The difficulty is overcome by having the back in three pieces, hinged in two places, and with three springs. It is then possible to open any two of the three parts of the back at the same time. The backs of the frames are always covered with cloth of some kind. This is sufficient to secure contact in the case of very small sizes, say up to half-plate (6J x 4J), but for plates above this size pads of some sort are necessary. Pads are made specially for the purpose out of thick felt ; but the writer has found a thick pad made up of a number of sheets of blotting - paper to be quite as efficacious, although certainly not quite so convenient. Further requisites for almost every kind of printing are : flat dishes of the size of the largest pieces of paper to be manipulated. These are generally made of very common white earthenware, covered with a surface glaze, and dignified with the name of porcelain — which they certainly in no way resemble. The glaze very soon cracks, and the earthenware absorbs a quantity of water quite incredible, and also, of course, any salts which may be dissolved in the water. I can state, as a fact verified by my own observation, that when the glaze of an earthen- ware dish becomes thoroughly cracked and absorbs as much of a saturated solution of a soluble salt as it can, it will keep giving up this salt again to clean water for weeks even if the water be changed every day or two. A consideration of the facts just mentioned will make clear the advisability, if earthenware dishes be used, of confining one dish to one particular purpose, and to one only. I am glad to know, however, that recently there have been introduced dishes of real vitrified stoneware (granitine). These are non -absorbent, and if carefully washed after they are used for one purpose may afterwards be used for another. For most kinds of printing some arrangement for thoroughly washing the prints is required. This is specially the case with prints in silver on albumenised GENERAL REMARKS ON CONTACT PRINTING 37 paper. With these the washing requires to be very thorough, and many special appliances have been designed. Sundry of these will be illustrated when I come to treat in detail of the process commonly known as silver printing. With the appliances mentioned, the photographer will be in a position to commence the practice of silver printing, and most other departments of contact printing ; but as he goes on various other appliances (all of a simple nature) will be required. For other processes further appliances will be needed. These will be described as the necessity for treating on the use of them arises. CHAPTER IV SILVER PRINTING Printing with Beady Sensitised Paper — Trimming the Prints The article commonly entitled “ ready sensitised ” or “ pre- served ” paper is now a regular institution in photographic printing. It consists of paper albumenised and sensitised before it is sold. It has the advantage that it enables the printer to commence operations without first going through the processes of albumenising and sensitising — either or both. It is very largely used by amateur, and even by professional photographers, and, whether the beginner intends eventually to sensitise his own paper or not (he is not likely in any case to albumenise it), it is certainly advisable that he commence work with ready sensitised jmper. The paper is commonly sold in sheets measuring about 17 x 22 inches. Twenty-four of these make a quire. The paper is sent out wrapped up so that light cannot reach it. It may, however, be freely manipulated in gas or lamp light, or in dull daylight, such as there commonly is in the parts of an ordinary room remote from a window. The paper is cut roughly to the sizes required — that is to say, leaving a little margin- — before it can be put into the frame. It is a common custom to send out sensitised paper ready cut to certain standard sizes — carte and cabinet — and the convenience of this is certainly great. It is, how- ever, of course impossible, if the paper be cut, before print- ing, to the exact size, to do any trimming after printing ; and it often happens, unless the greatest care be taken in SILVER PRINTING 39 adjusting the paper in the frame, that the picture will he a shade too much to one side or the other, or too high or too low ; but in the matter of whether the printer pur- chases his paper ready cut or not, he must use his own judgment. A piece of paper is placed in contact with the negative in the printing -frame, and the frame is placed in the light. A word must be said as to the light that it is best to make use of for silver printing. It may probably be said that, for the great majority of negatives, the brightest light short of direct sunlight is the best to work in. Such a light as there is in shade during the brightest summer weather is excellent. It is sometimes difficult to get a place to print in where the direct rays of the sun do not reach at some time of the day. In this case the difficulty may be got over by stretching tissue paper (white of course) over the printing-frames. It is very convenient to have a number of light wooden frames made the size of the print- ing-frames ; tissue paper is stretched across the former, and they can be placed over the printing-frames at a moment’s notice. Some prefer for silver printing the effect of sun- shine filtered through tissue paper to shadow light. During the months of November, December, and January the brightest direct sunshine that there is is none too bright for ordinary printing, and indeed in London there are only about six or seven months when it is ever too bright, and even during these months the light is never too intense for more than a few hours of the day. It may be said that if, during printing in the sun, a negative gets perceptibly hot to the hand, it is probably printing too quickly. The converse, however, th'at if it is not perceptibly heated, it is not printing too quickly, will scarcely hold, as the sun’s heat rays are sometimes stopped in passing through the atmosphere in a much greater proportion than the chemical rays. If the negative be one with very bold contrasts, showing shadows too deep where the lights are printed out, or showing chalkiness in the lights where the shadows are 40 SILVER PRINTING already printed out — one, in fact, giving a hard print — it may be printed in the most brilliant sunlight available. This will produce a print somewhat less harsh than could be got in a less brilliant light. On the other hand, if the negative be slightly on the soft side, giving a print lacking in brilliancy, it is advisable to print it in a light consider- ably duller than the brightest light short of sunshine. In fact, it should be placed in so dull a light — either by alter- ing its position, or by placing several sheets of tissue paper over it — that it will take about an hour to print. It requires considerable judgment to be able to tell just how far the printing process should be allowed to proceed before the proof is removed from the frame. The print loses considerably during the various processes that it has to pass through after printing, and allowance must be made for this, the printing being carried so far that the proof, as it comes from the frame, appears considerably too dark. It is difficult to give more than a hint here of the allowance that must be made for alteration of the print during toning and fixing; but I may say roughly that the printing should be allowed to go on for nearly twice as long as is required to produce a pleasing result in the frame. If the negative has been a good one — or it were better, perhaps, to say one suited to silver printing — the appearance of the print as it comes from the frame will be as follows : Looked at as a whole the impression will appear considerably too dark, the brightest lights will be slightly coloured, but only slightly so, and the shadows will appear somewhat “ clogged up” on account of the fact that all the deeper shadows have gone to the darkest colour that it is possible to get with the paper by any length of printing. If the shadows be not as deep as the paper will print there is little or no chance that the finished picture will be vigorous or pleasing in colour. The prints, as they come from the frames, may be placed in any light-tight drawer or box, to remain till there is a sufficient number ready for toning. I strongly advise that the prints be trimmed before they are toned. A considerable saving of gold is so effected, SILVER PRINTING 41 not to mention the value of the clippings themselves ; but, besides this, there is very much less chance that the prints will be torn in going through the various baths if they be trimmed than if they be left with rough edges. In trimming certain small sizes, especially the standard ones for portraits, there is but little latitude as regards length and breadth, such prints being mounted with but a very narrow margin. In trimming such prints it is customary to use a “cut- ting shape,” which is simply a piece of thick plate-glass cut and accurately ground to the size of the finished print. The print is held against the under side of this. The fact that the glass is transparent permits of the adjustment of the print to its proper position. When it has been correctly adjusted, the projecting edges of paper are trimmed away by the aid of a pair of scissors, which should have very long blades. Some prefer to use a knife, laying the shape on the top of the print on a board, or, what is much better, on the top of a revolving table, which permits each edge consecutively to be brought into the most convenient position for trimming. I have said that in the case of some portraits the photo- grapher is pretty well tied down as to size and shape ; but it is not so in the case of landscapes, which are mounted with a wide margin, or with large portraits, which are commonly mounted in the same way. In these cases the exact size does not matter, nor does the precise relation of length to breadth. It is, therefore, possible, if it appear desirable, to trim a little off one end or edge of the picture, or off the top or the bottom, and there are remarkably few prints that are not improved by a more or less liberal use of the shears, cutting away, perhaps, an inch of foreground or half an inch at one side, and so forth. The majority of photographers, specially amateurs, appear to be afraid to use the scissors boldly, as if they grudged to reduce the size of their prints ; but in this matter they make a great mistake. I say emphatically do not hesitate to cut down the size of your print if an improved, though smaller, picture result from so doing. 42 SILVER PRINTING The best manner in which to trim prints, when the precise size does not matter, is to mark them out on the face with a pencil — not hesitating to mark a good bit to be cut away if necessary — using a T-square and a drawing- board, and afterwards to cut them with either a pair of scissors or a knife and rule. It is necessary to say a few words as to certain matters to be observed in the case of trimming. It has been observed by Norman Macbeth, a distinguished painter, that the best ratio of length to breadth in a picture is as the diagonal to the side of a square. Probably the truth of this matter is, that somewhere about two to three repre- sents the most pleasing relation of length to breadth in a picture. Certainly anything squarer than that indicated is but seldom pleasing to the eye. There are some cases in which it is quite necessary to have the sides, or the top and bottom of a print, parallel to some line in the picture. Thus, if there be a scene with the sea as the horizon line, the top and bottom of the print must be parallel with this line. Again, if any vertical buildings, or vertical objects of any kind, be introduced, it is necessary that the edges of the print be parallel with the vertical line of the side of the building. It sometimes happens that it has not been possible to keep the back of the camera quite vertical during the exposure of a plate on a very high building, and that there is a convergence of the vertical lines towards the top of the print. If this convergence be but slight, it does not, I think, seriously affect the value of the picture ; but care must be taken, when it exists, not to have one side of the building parallel with one side of the print, and the other edge of the building far from parallel with either side of the print. The difference must be split, and the edges of the prints must be made parallel with a vertical line, real or imaginary, down the middle of the picture. No horizontal line, excepting the sea horizon, should ever be taken as a guiding line in trimming prints. CHAPTER V SILVER PRINTING — Continued Toning Ready Sensitised Paper Various processes of toning of earlier date than the alkaline method of gold toning have been mentioned in the first chapter of this book ; but as they have all by this time completely given way to alkaline gold toning, they do not require further mention just now. Toning is certainly one of the most important operations in connection with silver printing, if it is not the most important. On the manner in which it is performed depends not only the beauty of the finished print, but also, in great measure at least, its permanence. There are many toning formulae differing more or less from each other, and in another chapter I give a number of them with a few remarks on each ; but here I propose to confine myself to the action of one only, describing carefully the various manipulations connected with its use. The bath I select is that known as “the borax bath.” My reason for selecting it is that it is very convenient, and especially for amateurs, or all who tone only at long or irregular intervals, because it may be made up for use at once, whereas many other baths require to be kept for some time before they will work at their best. Whatever toning formula is used the basis of it is chloride of gold . 1 1 A platinum salt is sometimes, but very rarely, used. The writer has used “platinum chloride,” sold by a dealer for the purpose of 44 SILVER PRINTING So-called chloride of gold is sold in small quantities in sealed tubes, each containing 15 grains. I say “so- called ” because, so far as I know, the article contained in the tubes is never the pure chloride, or terchloride of gold (AuC 1 3 ), but is a double salt of gold and potassium, or, probably in some cases, some other salt, with one or more equivalents of water of crystallisation. This being the case, “ 1 5 grains of chloride of gold ” gives no guarantee of any absolute quantity of the metal, which, of course, is the active agent in the toning process. Some makers, however, guarantee in each tube a minimum of metallic gold — generally 7 grains — and it is well to purchase only such tubes as bear this guarantee. The gold having been purchased, it is advisable to make it up into a stock solution at once, so that when a certain quantity of chloride is required, it is only necessary to measure off some of the liquid. The strength of solution commonly made up is 1 grain of chloride to 1 dram of water. A tube is placed in a 2 -ounce bottle, when it is broken by the aid of a glass rod, and then 15 drams of water are poured over it. A dram of this solution will then contain almost precisely 1 grain of chloride of gold. The toning solution, with borax, is as follows : — Chloride of gold . . . . 1 grain Borax . . . . . 60 grains Water . . 10 ounces About 1 grain of gold chloride will be required to tone the prints from a sheet of paper of the usual size (17 x 22 inches). Indeed, if the gold chloride be up to standard, a little less would probably do, but it is better to waste a little gold at the end of the operation than to have to add gold as the toning proceeds — although it is by no means impossible to make the addition if due care be taken to prevent the local action on the prints of the added gold. toning, working with the acetate bath given hereafter, merely sub- stituting the platinum salt for the gold. He got excellent black tones, and believes that the platinum salt might be substituted for the gold in any toning formula. SILVER PRINTING 45 We take then for each sheet of paper to be toned 1 dram of the chloride of gold solution. This is made up to about an ounce with water. A pinch of powdered chalk is put into the liquid and is shaken up with it. The object of the chalk is to neutralise any free acid which may be left with the gold chloride, and which might be hurtful during toning. After shaking or stirring up the chalk is allowed to settle down. Meantime, 60 grains of borax are dissolved in 6 or 7 ounces of hot water. When this latter solution has cooled down, the neutralised solution of gold chloride is added to it, and the quantity is made up to 10 ounces, 1 when the mixture is ready for use. The prints trimmed as described in the last chapter, and ready for toning, have to be washed in clean water, to get rid of the whole, or the greater portion, of the soluble salts still adhering to them. This washing may be performed in any vessel wherein it is convenient to manipulate the prints. I think the most convenient vessel of all is a deep sink of white glazed ware sold as “Butters’s pantry sink” by various manu- facturers of sanitary appliances. The sink has a plug at the bottom, and also an overflow pipe, so that the water may either be changed as often as is considered desirable, or may be allowed to flow into the sink and overflow by the overflow pipe, whilst the prints are turned over by hand. It is, however, not every printer — in fact of amateurs probably only a few — who are able and willing to fit up a special sink for printing purposes, and I must warn all from attempting to use a sink which is at other times used for negative work. In fact, the further all the operations of “ silver printing ” of any kind are done from the place where negative work goes on the better. Failing a special sink an ordinary wooden tub does excellently where a supply of water from a water-tap can be got. Galvanised iron tubes may be used if they are carefully coated inside with black varnish (bitumen in 1 This quantity is by no means an absolute one, as will be pointed out hereafter. 46 SILVER PRINTING benzine), or some other protective film ; but there is always a little risk of spotting the prints, unless the varnishing be carefully performed ; for if those ever come into actual contact with the zinc, or the iron which the varnish is sup- posed to cover, they will probably be acted upon. When it is necessary to tone and fix in a room where there is no supply from a tap, and where, consequently, the water must be brought in in a jug or can and carried away in a pail, it is, of course, advisable to economise water as much as possible, and in this case there is probably no more efficient way of washing than the lifting of prints from one flat dish to another. The method of proceeding is as follows : — Two dishes are used. Both are filled half or two-thirds with water. The prints are immersed one by one in the first face downwards, the water is then poured off, fresh is poured into the dish, and the prints are lifted one by one into dish No. 2. The water is now poured from both dishes, and fresh is poured in when the prints are transferred one by one, this time from dish No. 2 to dish No. 1. And so on the process goes till it is considered that the prints are sufficiently washed. So much for the method of washing. The extent of it and various other items come next for consideration. In giving instructions for manipulating ready sensitised paper, the difficulty presents itself that we have no absolute knowledge of how the paper is prepared. It is, in fact, prepared in many different ways, and probably to get the best possible results it would be necessary to treat each brand in a special manner. We may assume, however, that most of the different brands are preserved by the aid of an organic acid of some kind. At any rate there can be no harm in taking such precautions as will result in the elimination of this acid if it exist, as it would be harmful did it get the length of .the toning bath. One way of eliminating the acid is prolonged washing, the other is neutralisation by the use of an alkali, for example, carbonate of soda. I consider it best that the printer should be regulated in the matter of which method he uses by the colour SILVER PRINTING 47 which he wishes eventually to have. Every one who has ever looked at silver prints must have noticed that there is a wide range of colour. A range from a light brown, through a darker brown towards a purple, into a black — and if the process be carried to the extreme, into a dull slaty-gray colour. It is unfortunately the case that with many brands of ready sensitised papers it is not possible to push the toning to any colour much deeper than the brown without a general degradation of the print. With the best brands of paper, however, it is possible to get a good purple colour. In the case of almost all brands it is possible to get a very fine rich, warm, brown colour, which is, to the writer’s mind, a very beautiful one. He has already entitled it “ Payn Jennings ” brown, because it has been seen in great perfection in many pictures exhibited by that eminent artist. “ Ready sensitised ” paper really affords this brown better than most brands of paper sensitised at home. I shall take first the two extreme cases : one where a very warm brown (almost a red) is required, the other where a purple is wished. It will be noticed that whenever the prints are placed in water, the water turns somewhat milky on account of the precipitation from them of salts by the nitrate of silver washed from the paper. After two or three washings the milkiness should be but slight. If it be still very con- siderable one or two more washings may be given. At the end of this time the prints are laid in a bath containing about half an ounce of common salt to a pint of water, where they lie for five minutes. They are then washed in a few more changes of water, when they are ready for toning. I have mentioned that albumenised sensitised paper may be manipulated at all stages in either dull, white light or bright gas or lamp light. Dull white light is usually preferred for toning, at any rate to the brown colour, because it is more easy to judge of colour in such a light than in the yellow light of gas. If the weather is very cold the temperature of the toning bath may be raised a little, but it should never be 48 SILVER PRINTING made more than barely tepid — never should rise above 70° F. The prints being ready for toning, and the toning solution being in a flat dish, a print is placed into it. The print is turned over once or twice so as to ensure thorough saturation with the toning solution, and eventually is left face downwards in the bath. Another print is similarly treated, and so on till there are several in the solution. As regards the number that may be placed in the toning bath at one time, the operator must be entirely guided by his skill. A beginner should never have more than three or four prints in the solution at once, a thoroughly skilled toner may have as many dozen. In any case the prints must be kept in constant motion by lifting the one that is at the bottom of the dish from under the others, laying it face upwards for a moment on the top of the mass of prints, when it is examined to see if the colour has changed, and is then turned face downwards. It will have been observed that the prints assumed a very red colour in the salt and water, the red probably approaching very closely what is commonly called “ brick- red.” In the toning bath they will gradually change from a red to a rich brown colour. When the desired tint has been reached they are removed to a dish of clean water. If the purple tone be desired, the prints are washed just as described for the brown tone, but carbonate of soda (washing-soda) is substituted for the common salt. The toning also is performed in just the same way. It proceeds a good deal more rapidly ; but to get the purple has, of course, to be carried to a far greater extent. If, with the treatment just described, it be found impossible to get a purple tone, the prints, in place of becoming purple, pass to a colour quite indescribable, but certainly far from agreeable ; it may be concluded that the particular brand of paper used is not suitable for toning other than to a brown. If, however, the colour goes on deepening in a satisfactory manner, the only difficulty is to stop it at the right stage. This is best done, the writer thinks, by examining the SILVER PRINTING 49 colour by artificial transmitted light, by looking through the print at a gas or lamp light behind it. The reason for this is that a little of the colour, as seen by reflected light, is generally lost during the processes which have to be gone through after toning. It is the custom of the writer, when he is toning for a purple colour, to tone till all red or brown, by transmitted light, is gone, except in the very deepest shadow of the print. If a darker brown than the very light, warm, bright brown that I have described be desired, the prints may simply be washed for a considerable length of time before toning, till all trace, or all but the faintest trace, of milki- ness has vanished, and may then be passed at once into the toning solution. E CHAPTER VI silver printing — Continued Fixing and Washing Prints on Albumenised Paper The prints, as they come from the toning bath, are placed at once in clean water — are washed in several further changes of water when they are ready for fixing. The fixing agent is hyposulphite of soda, or hypo, as it is commonly called by photographers. Whilst writing of this chemical, it is well to mention that it is necessary to be most careful that no trace of it comes into contact with the print before the time of fixing, otherwise the total destruction of the latter is likely to ensue. Various strengths of hypo bath are advised for fixing. I am of opinion that the strong baths often recommended (4 or 5 ounces to the pint) are liable to cause deterioration of the colour of the prints, especially in the lighter tints. A very good authority on silver printing, Mr. W. Ayres, recommends a bath as weak as 1 ounce to the pint. His own silver prints certainly do not indicate the fault of lack of permanence, but still I should hesitate to advise the use of a bath so very dilute as 5 per cent. As a mean between the very strong and the very weak baths men- tioned, I advise one made by dissolving 2 ounces of hypo in each pint of water. Hypo is very cheap, and there can be no excuse for sparing it. It is, moreover, distinctly of advantage to use a large quantity of fixing bath. I recom- mend that not less than 1 pint for every sheet of paper to be toned be made up. SILVER PRINTING 51 It is of the utmost consequence that the fixing bath be not acid, and as many commercial samples of hypo have a slightly acid reaction, it is necessary to neutralise the bath, or still better, to make it slightly alkaline. Ammonia is, in the writer’s opinion, the best alkali to use for the pur- pose of neutralising the bath, because, whenever it is in excess, the fact is known by its imparting its very charac- teristic smell to the solution. Ammonia may be poured drop by drop into the fixing bath till it (the fixing solution) smells faintly of the alkali. The fixing bath should not be very cold (say never below 50° F.), and as hypo in dissolving renders much heat latent, cooling the solution greatly, it is often advis- able slightly to warm the fixing bath before it is used. On the other hand, its temperature should never exceed 70° F. The prints are placed in the bath one by one face down- wards, care being taken to press each one well below the face of the solution before another is placed above it. When they are all in the bath the lower print is pulled from under- neath the others and is laid face upwards on the top. This operation is gone through till all the prints have been pulled from the bottom of the pile to the top, and the whole thing is gone through again at the end of every five minutes till it has been done about four times, when fixing may be considered to be complete. If there are a great number of prints, it is better to lift them from one dish to another, both filled with the fixing solution, than to manipulate them entirely in one dish. The writer is of opinion that the chance of permanency of silver prints would be greatly enhanced if, after the usual time of fixing, they had ten minutes in a perfectly fresh fixing bath. It is to be distinctly understood that the same fixing bath must never be used twice for prints. If a number of prints have been fixed, the bath is worth saving for the silver it contains. Probably from half an ounce to an ounce of metallic silver may be recovered from each quire of paper fixed— the latter quantity, however, very rarely, if ever, in the case of ready sensitised paper. 52 SILVER PRINTING The prints once fixed have to be washed so as to eliminate every trace of hypo. The smallest quantity of the salt left in the paper may undoubtedly cause fading of the image. But the writer here wishes to emphasise the fact that there are other causes of fading besides want of washing, and that it is not right, if prints show signs of fading in a few years, to jump at the conclusion that insufficient washing is the cause. Insufficient fixing or acidity of the fixing bath are much more frequent causes . 1 I believe that the second fixing bath recommended above — rendered slightly alkaline — would do more for the per- manency of silver prints than all the washing machines in the world. Still a thorough washing is at least one of the condi- tions of permanence in silver prints, and some means should be taken to secure it. The essential for a thorough washing is, that the washing water should get thoroughly at the prints ; should, that is to say, act in quantities on both sides of each print. To secure this the prints must, by some means or another, be kept moving in frequently 1 Andrew Pringle, British Journal of Photography, September 24, 1886. SILVER PRINTING 53 changed water, or the water in changing must be caused to move between all the prints. One or other of these two objects is attained in most of the machines manu- factured for the special purpose of washing prints, the water, in entering the washing vessel, either causing the prints to keep in constant motion, or moving in rapid currents between the prints which do not move. I here illustrate two washing machines. The old-fashioned method of leaving the whole of a batch of prints in a tub or other large vessel, whilst water flowed constantly in from a tap and out over the edge, is probably about the least efficient of any, unless the prints be frequently turned over by hand one at a time. If they be not so turned over, they form into a mass at the bottom of the vessel, and there lie, the hypo, which is heavy, having scarcely any tendency at all to leave them. By, however, turning over the prints at frequent intervals (say once in half an hour), and having just previously completely emptied the vessel, and allowed it to fill up 54 SILVER PRINTING again, a very efficient washing is obtained in five or six hours. Perhaps the best way in which to secure the elimination of all the hypo from prints, if a washing machine he not used, is to wash as described above for three or four hours, then to take each print separately, to lay it on a sheet of clean glass, first face downwards, then face upwards, for a few minutes, whilst a stream of water plays on it. This method will be particularly efficient if the water used for the prints when washed separately is warm. The method described for washing prints before toning is efficient for washing them after fixing, if the photo- grapher has the patience to carry it on for an hour or two, or can employ any trustworthy person to do so. In this case the last few waters should be warm. The prints, once washed, may he mounted at once — wet, that is to say — although there are some objections to so doing (see Chapter XXXII.) on mounting prints. If, how- ever, itbe wished to dry them without mounting them, it is almost necessary to take some special means to prevent them from cockling up in a manner which makes them very difficult to handle afterwards. The best method of treating prints, so that they may lie flat, is to roll them in a rolling press, but many do not possess such an article, and for this reason I shall describe a way in which they may he made to lie flat without the use of such an expensive machine. The first thing is in any case to get them very nearly dry. A common way of doing this is by the use of drying boards. These are simply sheets of very thick blotting- paper chemically pure. Prints taken from the washing water and allowed to drain are blotted between two of these hoards, and are then placed between others, a pile being made of alternate drying hoards and prints. If the drying hoards be not kept in a very dry place, they should he each dried by warming it before the fire just before use. On the top of the pile of drying hoards and prints is SILVER PRINTING 55 placed a weight, and the whole is left for half an hour or longer, when it will be found that the prints are practically dry. They may now be piled on the top of each other, and be left between two boards under a weight, or better, in a letter-press, for a few days, when, if the surface of the paper has not been high, they will be found to be sufficiently flat and will remain so. If, however, the paper has been one of very high surface, it will tend to curl towards the albumenised side even after the prints have remained for a very long time under pressure. To render such prints flat, the best plan that I know of (next to rolling them in a machine) is to roll them, just after they come from the drying boards, tightly on a small roller, albumenised surface outwards. One print is then rolled tightly round the roller, which may be about 1 inch in diameter, the end of the next print is then caught under the end of the first, and it is tightly rolled up. This pro- cess is continued till any number of prints up to about wenty are rolled on the roller, a book -wrapper is then rolled up to make an outside covering, and the roll is put on one side for a few days, or till the prints are required. There are other methods of drying prints besides placing them between drying boards. Thus they may be blotted off and laid face downwards on drying boards or sheets of pure white blotting-paper. In this case they are rolled up, albumenised surface outwards, as just described, whenever they curl so far that further curling would mean a tendency to unmanageableness. This method is a good one for prints from whole plates or larger. In the case of very large sizes it is sufficient to lay the wet print across a wooden roller, albumenised side outwards, till it is all but dry, then to roll it up as described above. Some again place the prints face downwards on a string net, then place another net over them so as to prevent them from curling as they dry. Here let me insert a remark which might as well be inserted in almost any other place. Let the beginner who, on first attempting some apparently very simple manipula- 56 SILVER PRINTING tion, finds he has some difficulty in succeeding — if, for example, he tears his prints in attempting to roll them up — not conclude that the directions given him are neces- sarily wrong, hut consider that possibly a little practice is required on his part. CHAPTER VII silver printing — Continued Albumenising Paper Mention has already been made in the introductory chapters of albumenised paper. The advantage of paper coated with albumen, as it is in these days, is that a glossy surface is produced which gives a depth and transparency to the shadows, and a delicacy to the high lights which cannot be attained without some gloss, and that a great range of very beautiful tones are obtainable. It is quite true that many — and amongst them those who have a right to be considered authorities on the artistic side of the question — object to the glossy surface of albumenised paper very strongly ; and, further, that a great deal of the want of permanency of silver prints is probably due to the presence of the albumen. Still the fact remains that at the date of writing the albumen process is still the favourite, and that probably nine out of every ten photographic prints are produced by it. Indeed, so much more is it used than other processes employing silver that, when the term “ silver printing ” is used, it is always understood to mean printing on albumenised paper. Briefly speaking, the process is as follows : — Paper is coated with a solution of salt (chloride of ammonium gener- ally, but sometimes common salt, chloride of sodium) in albumen, egg -albumen alone apparently being suitable. The paper is then floated, albumenised side downwards, on a strong solution of silver nitrate, the result being that the 58 SILVER PRINTING albumen is “ coagulated ” or rendered insoluble in water, a double decomposition takes place between the silver nitrate and the chloride of ammonium in the albumen, silver chloride which is sensitive to light being produced ; and further, an action takes place between the albumen itself and the nitrate of silver, an organic compound sensitive to light, to which the term albumenate of silver has been given, being formed. It is usual in these days for the photographer to pur- chase his paper already albumenised, even if he do not purchase it ready sensitised as described in a former chapter. Albumenised paper is now so cheap and so reliable that there is no temptation to go through the very troublesome process of albumenising on a small scale. Still no book treating specially on silver printing would be complete without an account of albumenising paper, and for this reason I describe the process here. First as to the paper. There are at the present day — in Europe at any rate — practically only two brands of paper that are ever used for albumenising — namely, Rive and Saxe. These are both very beautiful plain papers of great purity, evenness, and fineness of texture. They can be had of almost all dealers in this country. They are made in various thicknesses — the thickness being always expressed in terms of the weight of a ream (480 sheets). Papers from 8 to 1 2 kilo, are commonly used for albumen- ising, but none under 10 kilo, is to be recommended for any but small work, and I should certainly not advise any photographer who wants to experiment on albumenising to try anything lighter. He will find 10 kilo. Rive or 12 kilo. Saxe excellent for his purpose. The size of the sheets is about 22 x 17 inches, and, of course, on a commercial scale they are coated whole. It will, however, be well at first not to attempt anything larger than a quarter sheet at a time. The albumen must be obtained by separating the whites of eggs from the yolks. This is done by cracking the shell across and lettinsr the white run out from between the two O halves without breaking the yolk. The writer must, how- ever, confess that, in the case of his own experiments in SILVER PRINTING 59 albumenising paper, he has always called in the assistance of one skilled in culinary operations for the breaking of the eggs and the frothing of the albumen to be described hereafter. Every egg will do for about two sheets of paper (with due economy somewhat more), but it must be borne in mind that there must always be a minimum quantity of albumen sufficient to cover the bottom of a dish somewhat larger than the paper to be floated, to a depth of at least quarter of an inch. This means about twenty eggs before a single quarter of a sheet can be floated. In separating the whites from the yolks of the eggs each white should be dropped singly into a cup, so that if the yolk by accident break and get mixed with the white, that egg only need be rejected in place of the whole of the whites already collected, or at any rate the very large quantity of the albumen that it would be found necessary to waste before every trace of the yolk is removed. It must be understood that no speck of the yellow of the yolk must be allowed in the albumen. The next question is as to the quantity of salt that it is well to use. Thirty years ago it was common to recom- mend a very large quantity — 20, 30, or even 40 grains being mentioned. Very much less salt is now, however, commonly used. I think I may pretty safely say that no commercial albumenised paper is salted with more than 10 grains of chloride of ammonium (or the equivalent in some other chloride) to the ounce, whilst I know that some of those which give exceedingly brilliant prints with deep shadows, and which give better results with a strong silver bath than a weak have less than half that quantity. 1 From what I can gather, 8 grains to the ounce is a common quantity of chloride of ammonium to use. For each ounce, then, of albumen that we have, we take 8 grains of chloride of ammonium, which is dis- solved in the smallest possible quantity of water, and is then added to the albumen. The quantity of chloride of 1 See chapters on “The Silver Bath” and on “The Chemistry of Silver Printing,” in the latter of which is given a method of determin- ing the amount of soluble chloride, which there is on a given area of paper. 60 SILVER PRINTING ammonium necessary for 20 ounces of albumen may be dissolved in 1 ounce of water. The albumen being “ salted ” has next to be beaten up into a very fine froth. An American egg-beater may be used, but it is common, when the process is conducted on a large scale, to use a bundle of birch twigs, the bark from which has been removed. In any case the “frothing” must be very thorough, otherwise streaks will be produced on the surface of the paper. When a very thorough froth has been obtained, the vessel containing the albumen (which, by the way, must be many times larger than is sufficient to contain the unfrothed whites) is placed on one side to settle. Probably it will be ready for filtering in about twenty-four hours, but it may be left for several days if desired. It is filtered before use through a couple of thicknesses of muslin. When floating is to be performed the salted albumen is poured into a flat dish, as already mentioned, to a depth of not less than quarter of an inch. The two faults liable to occur in floating the sheets are air bubbles, which form spots, having on them neither albumen nor salt, and there- fore, of course, practically unsensitisable, and streaks formed by unsteadiness in lowering the paper on to the albumen. It is commonly directed to hold the paper by opposite corners, allowing it to bag or sag down in the middle, to allow it to touch the albumen along the line of the bottom of the sag, and then to lower the two corners simultane- ously. I scarcely think, however, that this is the best method of working, as air bubbles are particularly liable to be formed. It is somewhat difficult to describe methods of manip- ulation in writing, but I shall endeavour, by the aid of a couple of cuts, to make clear what I consider to be the best method of floating paper either on albumen or on a sensitising bath. In both cuts C D is supposed to be the dish of albumen; A B the sheet to be floated. The operator stands at the end C of the dish facing it. SILVER PRINTING 61 The end A of the sheet is held in the left hand, whilst with the right hand the edge B is turned up as shown in Fig. 1, and is thus brought into contact with the albumen. The end A is then slowly and quite steadily lowered, whilst the end B is, so to speak, pushed along the surface of the albumen till, just before the process is complete, the sheet assumes the form shown in Fig. 2. A Fig. 2. It is well not to have the paper excessively dry before floating, otherwise it will have a strong tendency to curl away from the albumen at the edges. If it have been kept Fig. 3. for a few days in a cellar of not extraordinary dampness, it will probably be in good condition. Should it neverthe- less curl away from the albumen, it may be made to lie 62 SILVER PRINTING flat by gently breathing on the back of it ; but the best plan is to have some little blocks of wood, say 2 inches x \ inch x \ inch, to lay on the back of the paper and catch the curling edge, as shown in Fig. 3, where A and B show the little blocks. At the end of about a minute, or whenever the tendency to curl is over, if the time required be more than a minute, the paper is taken by two adjacent corners, and is drawn with an even motion off the albumen. It is then hung up to dry, by placing it, albumenised side outwards, across a roller of wood of such a thickness that there is no tend- ency to fold. Two inches or so is about tho best diameter for the rollers. The paper should be placed in a warm and well-ventilated room to dry. The warmth is especially necessary if a high gloss be desired. Indeed, in this case, a temperature of 80° or even more is not at all too great. The paper in drying tends to curl towards the albumen- ised side. It may, when quite dry, be straightened by rolling it up in the manner already described for prints, 1 but as, on account of the difficulty there is in afterwards floating albumenised paper which has been rolled up, it should, in the writer’s opinion, never be rolled up at all, —that is to say, till after it is sensitised. The sheets may be laid face downwards and carefully flattened out one at a time by hand, one being placed over another, and eventually a board may be placed on the pile with a weight on the top. In working on a large scale albumen may be purchased from egg merchants, who dispose of the yolks of eggs to confectioners, 2 or the eggs may be purchased, kept a few days and cracked, and the yolks may be sold to the confectioners. 3 It is customary in this country to use fresh albumen ; but the smell of some foreign papers proves conclusively that the albumen used is not fresh, and these papers some- 1 See Chap. VI. p. 55, 2 Abney and Robinson’s Silver Printing. 3 George Dawson, British Journal of Photography, September 10, 1886. SILVER PRINTING 63 times give particularly fine results. The gloss is very high, the prints are exceedingly rich, and tone to an excellent colour. It is commonly supposed that these papers are floated on putrid albumen, but the writer feels convinced that this statement is not strictly correct. That the albumen has undergone some decomposition appears certain, but that it is not a decomposition analogous to putrefaction appears from the fact that the smell although disagreeable enough, is very different from the well-known “ rotten eggs’ ” smell. Moreover, the writer’s experiments with albumen simply allowed to get putrid have resulted in something in no way approaching the samples of albumenised papers already referred to. I have been told by Otto Scholzig that the result is produced by fermenting the albumen, which is an altogether different thing from allowing it to become putrid. I am, however, unable to give any details of the process. If it be desired to give a tint to albumenised paper, a little colour is introduced in the albumen, enough to give the desired tint. Aniline colours are commonly used. I have been told by W. Ashman that Judson’s dyes answer very well. Double albumenised paper is produced by floating each sheet twice on the albumen. To prevent the coating acquired by the first floating from being dissolved off on floating a second time, it is necessary to coagulate it. This used generally to be done with damp heat by the aid of steam, but I believe that alcohol is now commonly used. At any rate it is quite efficient. The sheets being once floated and dried, are floated on, or dipped in a mixture of 4 parts of methylated spirits to 1 of water. To float on this is difficult, and I advise that any one, experimenting in this direction, dip the sheet entirely, although thereby there is some waste of spirit. The paper is once more dried and is then floated a second time. It is not necessary that the albumen for the first floating be salted at all. 1 Indeed, there would appear to be a 1 George Dawson, British Journal of Photography, September 10, 1886. 64 SILVER PRINTING distinct advantage in not floating it, as thereby the image is kept entirely on the surface of the paper, which is one of the chief objects in double albumenising. I am aware, however, that in some excellent brands of double albumen- ised paper both coatings of albumen are salted. Much of the paper sold as double albumenised is in reality only single albumenised. This can readily be proved by placing a piece of it in cold water, when all the albumen will be washed away, showing that there is no film of coagulated albumen. CHAPTER VIII silver printing — Continued The Sensitising Bath The so-called silver bath or sensitising bath for albumen- ised paper is simply a neutral solution of nitrate of silver. The strength of the solution is of some importance. In the very early days of silver printing, baths of what would now be considered of enormous strength were used. Some twenty years ago there was a reaction, and baths of very great weakness were the fashion. A happy medium appears now to have been struck, and there is no reason to suppose that it will soon require revision. It is customary to state the strengths of sensitising baths in terms of “grains to the ounce,” the meaning of this being that there are so many grains of the silver nitrate contained in each ounce of the sensitising bath. This is certainly far from being a scientific manner of stating strengths of solution, but as, in the case of a sensitising bath, a small percentage of error has no perceptible influ- ence on results, and as most photographers are still more accustomed to manipulate grains and ounces than grammes and cubic centimetres, I give strengths in grains and ounces. The older formulae for sensitising baths used to give quantities up to 120 grains to the ounce. The weak baths of the period of reaction went as low as 20 grains to the ounce, or, I believe, sometimes even lower. At the present day it is customary to recommend strengths of bath from 40 to 60 grains to the ounce. F 66 SILVER PRINTING The bath ought, according to certain theories, to vary somewhat with the amount of salt used in the albumen, with which the paper is coated, being stronger the greater the quantity of salt ; but I must confess that, working within the limits of salting now common, and within the limits of sensitising bath just mentioned, I have not found any ap- preciable benefit to arise from varying the strength of the sensitising bath with the amount of salt in the paper. On the contrary, I have sometimes found that a comparatively strongly salted paper gave a better result with a 40-grain bath than with a 60-grain, and a comparatively weakly salted paper a better result with the stronger bath. The best course to pursue in determining at what strength to work is, I think, to take the word of the albumeniser as to the strength of bath that it is best to use, bearing in mind that, whatever he says, it is probably best never to go below 40 grains, whilst it is never necessary to go above 60, — that is to say, for the ordinary run of work. I shall have a word or two to say after- wards on variations of the bath for what may be called abnormal negatives. If the albumeniser be unable to give any decided opinion as to the best strength of the bath, or, indeed, in any case if much paper requires to be sensitised, it is advisable to settle the matter experimentally by sensitising small pieces of paper on each of these experimental baths made up re- spectively to 40, 50, and 60 grains to the ounce, printing each under the same negative — one of good standard quality — finishing the prints, and comparing the results. The strength of the bath being determined, there need be no difficulty in mixing it up. If distilled water be at hand it is well to use such ; but if time be given for the precipitate which is formed to settle, any tap-water, of not more than ordinary impurity, may be used. It is a good thing to have a larger quantity of silver solution than is absolutely necessary to cover the bottom of the sensitising bath. I advise, for whole sheets, not less than a gallon, and a smaller quantity in proportion to the size of smaller dishes. For reasons mentioned hereafter SILVER PRINTING 67 it is advisable to have much more solution even than that mentioned if, as is the case in very large establishments, the sensitising is a continual and daily process. The bath once mixed up is ready for use immediately, if it has been made up with distilled water ; if tap-water has been used, after the precipitate which has been formed has had time to subside, the bottle containing the solution remaining during the subsidence in bright sunshine if possible. So far all is easy ; but a bath is liable, after use, to deteriorate in various ways. Thus, for example, a certain amount of the solution is licked up by every sheet floated ; but more than this, the remaining solution is left somewhat weaker after every operation. Then, again, a certain amount of organic matter is dissolved by the bath from the albumen of the paper used ; still further, there is, at times, a tendency on the part of the bath to become acid, which results in a fatal deterioration in the quality of the paper sensitised on it. To check the tendency on the part of the bath to become weaker, it is necessary to add a little silver nitrate from time to time. The best way in which to do this is to keep a stock solution of a strength twice that of the bath. A solution of 100 grains to the ounce, for example, for a 50 -grain bath, and to add at the rate of quarter of an ounce of this for every sheet sensitised. If a very small quantity of bath (say only 1 pint) be used, the strong solution should be added (quarter of an ounce) after a single sheet has been sensitised. On the other hand, if there be a gallon of solution, it is sufficient to add to it (2 ounces) after the sensitising of every eight sheets. The quantity of silver nitrate just mentioned will, if regu- larly added, keep both the strength and the amount of the bath fairly uniform, but there will still be a slight residuary variation. Probably both the strength and the quantity will slightly decline. In any case it is necessary to make an estimation of the strength of the bath from time to time. Certainly an estimation should be made after a quire of paper has been floated on each pint of solution. It were better to perform the operation oftener. 68 SILVER PRINTING Instruments entitled argentometers are sold for the pur- pose of estimating the strengths of silver baths. They are simply hydrometers rather roughly made. They are floated in a little of the sensitising solution placed in a small, tall jar, and the strength in grains to the ounce is at once read off on the stalk of the argentometer. These are very useful instruments for estimating the strengths of newly-prepared baths ; but I must say at once that, for estimating the strength of a bath which has been much used, and which contains a large quantity of nitrate of ammonium, or rather soluble nitrate in it, besides the nitrate of silver, the argentometer is absolutely useless. The only method to pursue is the volumetric method, and I wish to emphasise this strongly — by following instructions it is perfectly easy for any one, even absolutely ignorant of chemistry, to make a volumetric estimation exact enough for the require- ments of a sensitising bath, and he who will not go to the trouble of making such may at once give over all idea of working with anything like the highest success or with uniformity. The necessities for an estimation, quite nice enough for our purpose, are a burette holding 1000 grains of water, and a pipette holding 1 dram. A burette is simply a graduated tube, with a tap at its lower end, the zero being near the top, so that the quantity run out is read, not the quantity left in the tube. The burette is fixed so as to stand vertically. The pipette is a glass tube with an enlargement blown on it. It is drawn to a finish point at one end, and there is a mark on the portion of the tube between the enlargement or bulb and the end not drawn to a point. The pointed end is placed in any liquid, and the liquid is sucked up to the mark by applying the mouth to the other end. The result is that we have a small quantity of liquid very precisely measured off. The upper end of the pipette is stopped with the finger. By this means the liquid is retained in it till the finger is removed, when it will flow out into any vessel at will. The following solutions are now prepared : — SILVER PRINTING 69 ^ | Distilled water . ( Water ( Chromate of potassium . ( Bromide of potassium . 22 J ounces 87 J grains 1 ounce 1 0 grains When it is desired to make an estimation, a dram of the bath solution is taken from the bath by means of the pipette and is placed in a white vessel — a teacup does excellently — about an ounce of water is poured over this, and then 1 drop of B solution. This 1 drop will pro- bably turn the solution bright red. If it do not, more of the solution must be added drop by drop till the mixture is clearly red, but no more than is necessary to produce a distinct red colour must be used. The burette is filled up to the zero line with A solution, and the tap being opened, the liquid is allowed to pour into the cup with constant stirring. It will be observed that, as the solution from the burette touches the liquid in the cup, the red colour is discharged, but as stirring goes on it returns ; when, however, a certain point arrives, the return is very slow. The top of the burette must now be half closed so that the solution only drops into the cup. Immediately that the red colour has been permanently banished, the tap is closed, and the number opposite the surface in the burette is read off, bearing in mind always that the numbers read downwards. Each ten figures now read 1 grain to each ounce of bath, each one figure y 1 ^ grain. Thus if we read off 475 on the burette, it means that the strength of our bath is 47 ’5 or 47 J grains to the ounce, and so, if it had originally been of a strength of 50 grains to the ounce, it requires strengthening by 2J grains of silver nitrate to each ounce. The process, as described in writing, seems complicated, but it is far from being so. The writer has seen a girl go through it entirely by rule of thumb within a couple of minutes at the end of a day’s sensitising. There is a still simpler method of finding out, not the precise strength of a bath, but whether it is up to or above a certain standard. All that is wanted in the way of apparatus is a small pipette. The exact size does not 70 SILVER PRINTING matter. The smaller the better, as there is less of the silver bath wasted in the testing. A standard testing solution is made up of 7 grains of bromide of potassium for every 1 0 grains of nitrate of silver in the sensitising bath when up to standard. Thus if it be desired to keep the bath at 50 grains to the ounce, the testing solution is to be made up to 35 grains. The fill of the pipette of the testing solution is poured into a white vessel, and over it some twenty or thirty times as much water as the pipette holds, and a few drops of the chromate of potash solution. The pipette is thoroughly cleaned, and is refilled this time with the bath solution, which is now allowed to pour drop by drop into the white vessel with constant stirring. As each drop touches the surface of the liquid a red stain is produced, which, however, at first quickly vanishes with the stirring, but after a time more slowly. At a certain point the red discoloration refuses to go at all. If this point is reached before the pipette is empty, it proves that the bath is more than up to strength. If a few more drops of silver solution have to be added before the red colour becomes permanent, this proves that the bath requires strengthening. After some practice it is easy to guess pretty well how much too strong or too weak the bath is, but, of course, the method can by no means be termed an exact one for determining anything beyond the fact that the bath is too strong or too weak, or is of the normal strength. Next as to the tendency of the bath to become acid. Fortunately there is a very easy way of preventing this. It depends on the fact that carbonate of silver is insoluble in water or in a solution of nitrate of silver, but is in so far an insoluble salt that almost any acid will replace the carbonic acid of the carbonate, freeing the latter acid in the form of carbonic acid, as in which form it is free to escape, and producing a neutral salt. Or, as it is commonly put, carbonate of silver is insoluble in water, but is soluble in an acid neutralising it. It is from this evident that if we have carbonate of silver in our bath, it will remain as an insoluble and innocuous precipitate so long as the bath SILVER PRINTING 71 is neutral, but will at once be used up in neutralising any acid which may be introduced. If a solution of carbonate of potash or soda be added to a solution of nitrate of silver, the result is to throw down a precipitate of carbonate of silver. All that we have to do then to keep our sensitising bath neutral is to pour into it from time to time a few drops of a solution of (say) carbonate of soda, so that there is an appreciable amount of precipitate at the bottom of the stock bottle, and from time to time to shake up this precipitate and allow it to settle again. Fortunately the carbonate of silver also forms a medium for the precipitation of organic matter which may be dissolved in the sensitising bath. If such a bath be “ sunned,” — that is to say, be placed in a bottle of colourless glass in a bright light, — the organic matter will be oxidised so long as the solution is not acid, a black, dirty-looking powdery deposit being the result. If there be present in the solution carbonate of silver in a fine state of division, this, in settling down, will carry the oxidised organic matter with it. To keep our bath free from both acid and organic matter, it is then only necessary to keep always at the bottom of the stock bottle an appreciable amount of carbonate of silver (produced by pouring a little carbonate of soda into the solution), and occasionally to shake this up with the liquid, and place the latter in the brightest light available, pure sunshine if possible. When, after the bath has had a good deal of use, and the deposit of carbonate of silver and organic matter assumes the form of a black mass, the solution should be filtered, the filtrate being, of course, added to the silver. In those cases where sensitising goes on from morning till evening, as in some very large establishments, it is advisable to have at least one bath in work and one at rest in the sun. I know, at any rate, one case in which a sensitiser keeps a number of baths continually going, and for each at work keeps two at rest. Working baths as I have described, I believe that SILVER PRINTING there is no reason why a bath should ever break down altogether. It is true that there is a certain accumulation of soluble nitrate other than the silver nitrate (generally nitrate of ammonium) in the bath, but after a time this reaches a maximum beyond which it will not pass, and, so far as I can judge, even when this point is reached, the bath works no worse than when new. A method will, however, be given further on of precipitating and redissolv- ing a bath should it for any reason refuse, even after the treatment described, to give good results. CHAPTER IX silver printing — Continued Floating and Drying Albumenised Paper The “ silver bath ” has been already described, and direc- tions have been given for making it and keeping it in good condition. All that remains is to describe the method of sensitising the albumenised paper, or of “ floating,” as it is commonly called. In the first place, as regards the condition of the paper before it is laid on the surface of the bath. It should not be exceedingly dry, otherwise a great difficulty will be found in causing it to lie flat on the surface of the bath. It is a common thing to advise that the paper be kept in a damp cellar for several hours, or even a day or two, before it is floated. There can be no doubt that if this advice be taken, the paper will be in the best possible condition for floating after it comes from the cellar ; but it is not every one who has the use of such a place, and in any case it is a somewhat cumbrous manner of performing the damping. The way in which the writer has performed this operation is as follows : — The paper to be floated is placed on a shelf of any cupboard that can be devoted to the purpose — of course, where much paper is manipulated, it will be a small affair to construct such a cupboard — and under the shelf, on the floor or bottom of the cupboard, is placed a dish or bowl of boiling water. The steam or vapour soon diffuses through the whole of the cupboard and slightly damps the uppermost sheet of the paper on the shelf. The paper 74 SILVER PRINTING requires to be laid face downwards, otherwise it is liable to curl up. As the operation of floating goes on, the hot water in the dish may be renewed every half hour, or as often as may appear necessary to keep the top sheet of paper always a little damp. It is to be understood that no artificial damping — either in a damp cellar or anywhere else — is absolutely necessary for albumenised paper before it is floated. It is only to be considered that if damping be not resorted to, the trouble of floating will be greatly increased. The size of paper that is to be floated is a matter for some consideration. As a matter of course, where print- ing" is performed on a large scale, a whole sheet, measuring about 22 x 17 inches, will be floated at once; but when only a comparatively small quantity of paper is required for printing, the first cost of dishes of the size necessary to permit of the floating of a sheet 22 x 17, and of the solution necessary to fill such dishes, may certainly be con- sidered excessive. Those who print on a comparatively small scale, and who therefore incline to float smaller than whole sheets at a time, should be regulated by the possibility of cutting the paper up into useful sizes after sensitising in their choice of a size. It is to be borne in mind in this connec- tion that it is always less wasteful to trim something off the paper before sensitising than afterwards. Thus, if the size to be worked be 10 x 8, and it be decided to float pieces which will cut into two prints of that size, it will be seen that only two pieces for floating can be got out of half a sheet. But the size of a half sheet is about 17 x 11, whereas all that is wanted is 16 x 10, or even somewhat less than that if we consider that it is seldom possible to print quite up to the edge of a negative. It is therefore an economy (although it results in the waste of some albumenised paper) to trim an inch off each of two edges of the half sheets. It is a common custom with dealers to send out small quantities of albumenised paper in the form of a roll. There is no objection to this so long as the paper is not to SILVER PRINTING 75 be floated in sizes larger than about quarter sheet ; but if it be intended to float whole or even half sheets, the difficulty will be enormously increased if the paper has been rolled up. The operator should therefore be careful to desire that the paper be sent out flat. It always is so sent out when any considerable quantity is purchased. Concerning the actual action of floating I cannot do better than refer to the chapter on albumenising. The paper may be floated on the silver bath in precisely the same way in which it is floated on the albumen (see Chapter VII.) There are also the same precautions to be taken in pre- venting it from curling up on the surface of the liquid, so that the edges turn on to the back of the paper, and to dis- cover the presence of air bubbles. The paper should not, however, curl away much from the liquid if it have been damped as described, and air bubbles are much less liable to occur when the bath is kept free from organic matter than when it is not. After the paper has been floated for about half an hour, or till such time as the tendency to curl, it is lifted to see if any air bubbles adhere to it. If they do, they are caused to creep to the edge by laying the paper down on the bath very slowly, or, if this be found impossible, they are broken by the aid of a quill or a glass rod. The time of floating is one to which it is necessary to give some attention. The time necessary to convert the whole of the salt of the paper into chloride of silver, and also to form an organic compound with the albumen, varies considerably with circumstances. Thus it varies with the strength of the silver bath, but it sometimes comes about that a strong bath requires a longer time of floating than a weak one. The reason of this is that nitrate of silver has the effect of coagulating albumen — otherwise soluble in cold water — and that if the bath be very strong in silver nitrate, the coagulation of the surface is very rapid, and considerable time is required for any solution to penetrate the nearly impermeable film thus produced. The condi- tions are, however, very complex, and it is not at any time possible to tell for certain whether strengthening the bath 76 SILVER PRINTING may necessitate a longer or a shorter time of floating, especially as one item to be considered is the amount of salt in the film which determines the quantity of silver nitrate which must penetrate the surface of the film. Again temperature greatly influences the time taken for floating. Most chemical reactions proceed more rapidly at a high than at a low temperature, and the sensitising of paper is no exception to the rule. When I say that with a 50-grain bath, with the average of papers in the market, and with a temperature of 50 or 60 degrees, three minutes’ floating will give an excellent result, the statement cannot be taken as an absolute one, but only as a general one. It is very easy, however, to make a test to discover when the sensitising is complete, and as this test once performed the operator may give continually the same time of floating so long as the conditions remain constant, and be assured that he is giving the best length of time, I think it a pity that a printer should ever start sensitising under new conditions without making such a test. All that is necessary for the test is a solution of a few grains of chromate of potash to an ounce of water, and a small hair-pencil, with which a little of this solution may be brushed on to the back of a sheet of paper. A drop of the solution is brushed on to the very corner of the first sheet to be sensitised, or is brushed on to the centre of a small piece of albumenised paper devoted entirely to the test. The chromate of potash is yellow, and makes a lemon- coloured stain on the back of the paper ; after a minute or two, however, this stain begins to darken, proving that free silver nitrate has penetrated the albumen film, and is com- bining with the chromic acid of the chromate of potassium to form chromate of silver, which is of a deep red colour. The spot will eventually become quite deep ruby in colour, but it may be taken that, when it has acquired an orange colour, the sensitising may be considered as com- plete. The time occupied between the floating of the paper and the change of colour of the spot to orange is observed, and this is the right time for floating. SILVER PRINTING 77 The floating complete, the paper must be removed from the bath, and it is desirable to remove it so that it takes as little as possible of the bath solution with it. There are two ways of accomplishing this. One is to draw the sheet over a glass rod placed across one end of the bath ; another method, and one better, although it occupies more time, is simply to lift up the paper very slowly, which method will give as good a result as can be got in the way of economy. The paper is next hung up to dry. No special applica- tion of heat is necessary in drying, but the room in which the operation is performed — which may be the same as that in which sensitising goes on — should be well ventilated, and should never be allowed to get very cold. In fact, the temperature should never be allowed to fall below 50° F. There is no objection to an open fire in the room. Indeed, it is rather an advantage than otherwise. When paper is sensitised in large pieces — half a sheet or larger — it is best to hang it over rollers or thick cords, with the albumenised side outwards, to dry. When it is in smaller pieces than half sheet, it is liable to curl up so strongly in drying as to fall off the cord altogether. In this case it is best to hang it up by one corner either by a pin to the edge of a table, shelf, or other board, or to a lath, or to hang it (also by one corner) to a line by an American clip. It is a question whether or not the paper should be “blotted off” before it is hung up, photographers differing somewhat on this point. The writer’s opinion is that there is great convenience in so doing, at any rate if the following instructions be attended to, even if it only be from the saving of trouble that arises from having a number of sheets or pieces of paper hanging up all at different stages of dryness, and any one of them requiring at any time to be attended to, to prevent it from curling up into a per- fectly unmanageable state, as is the case when the sheets are hung up just as they come from the bath.j Either drying boards (already described) or sheets of blotting-paper guaranteed chemically pure are used. The size should be somewhat over that of the paper to be sensitised. SILVER PRINTING The sheet, as it comes from the sensitising bath, is laid face downwards on a sheet of the blotting-paper, another sheet of blotting-paper goes on the back of the sheet of sensitised paper, another sheet of sensitised paper (face downwards) on the top of this, and so on till the sensitising is done. A board and weight is then laid on the top of all for a few minutes, and the sheets are taken out — the pile having first been turned upside-down, so that those last sensitised get a little longer blotting than they otherwise would — after which it will be found that they are but slightly damp. They are then hung up either over rollers or by the corners as already described. It is to be noted that in the case of paper of very high surface blotting off is almost necessary, as otherwise the liquid runs into drops, or, as it is generally said, into “ tears,” which leave spots printing darker than the rest of the print. The blotting boards may be used over and over again till they refuse to act properly, when they are placed amongst other residue. If the Operator object to blot off, he may hang the sheets up to dry immediately that they come from the bath, in which case a small fragment of blotting-paper should be caused to touch the lower corner or corners of the paper. This will absorb some few drops of bath solution which would otherwise drop on to the floor. When a piece of paper is hung over a roller — unblotted — it should be hung SILVER PRINTING 79 somewhat on the “skew.” This will have the result of causing the liquid to flow to two corners, to which are applied the pieces of blotting-paper. The accompanying sketch will explain what is meant. The paper, whether it has been blotted off or not, must, after it has dried so much that it begins to curl badly, be treated in some way to flatten it, or at least to make it manageable. It is the custom with some to lay the sheets on the top of each other in a pile with a weight on the top ; but this operation is difficult, and leaves a mass of paper not quite dry, and in such a form that it will not speedily become quite dry. The writer has succeeded best by rolling the paper albumenised side outwards on a roller, causing the begin- ning of one sheet to lap under the end of the one that is to come next, as already described for albumenised paper. Twenty sheets or pieces are so rolled up with a piece of plain, or still better, albumenised but not sensitised paper round the whole. I must not omit to describe a method of rendering sensitised paper manageable. The paper, dried so far as is possible without its becom- ing unmanageable, is rolled within a continuous roll of plain paper. The operation is performed in the following manner : — A continuous roll of any ordinary white paper, some- what broader than the sheets to be sensitised, is procured. The end of this is rolled on to a wooden roller for a few turns, then a sheet of the sensitised paper is laid face downwards on that portion of the plain paper which lies between the two rolls, and the rolling on to the second roller being continued, the sensitised paper is carried in with the continuous roll of plain paper. After all the paper has been passed into the roller, and the whole has stood for an hour or two, the continuous paper is un- rolled, and the sensitised sheets, as they come out, are laid in a pile. The continuous paper should be thoroughly desiccated after each operation by rolling it from one roller to another in front of a hot fire. CHAPTER X silver printing — Continued Printing , Toning, Fixing , etc., of Paper Sensitised on a Neutral Bath The printing of paper prepared at home on a neutral bath is performed in precisely the same way as is printing on preserved paper ; but it will generally be found that the process proceeds rather more slowly, and that, more- over, the printing must generally be carried slightly further, as prints on ordinary paper lose, as a rule, a little more than do prints on preserved paper. It is, moreover, to be observed that when, as is sometimes the case in very dull weather, especially in London, the prints take a very long time in the frames, it is necessary to keep a piece of soda-steeped blotting-paper behind each, or otherwise they will be spoiled through the spontaneous darkening of the paper. It is usual to tone the prints on the paper we are speaking of, on the same day in which they are printed, but if they be replaced between the sheets of soda blotting-paper they may be left for some days. Paper once printed — and especially where no quite pure high lights are left — has less tendency to darken spontaneously than that which has not been printed. The first thing to be observed in connection with the toning and fixing of paper sensitised in the ordinary way on a neutral bath is, that there is much more silver washed out of it in the washings before toning than in the case of, at any rate, by far the greater number of brands of ready SILVER PRINTING 81 sensitised paper. It is for this reason worth the trouble to keep at least the first two washing waters for the sake of the silver they contain. For the same reason it is desirable to get the first two washings over as quickly as possible, there being a possibility that the whites of the prints will turn yellow if they be left for any length of time in a somewhat strong silver nitrate solution — especially if they be allowed to stick together. Prints on home sensitised paper are generally, as they come from the frames, of a much bluer colour than those on preserved paper, indeed they are sometimes of so deep a blue or purple as to appear as if they were already quite deeply toned. And it is obvious that there would, in this case, be great difficulty in observing the change which takes place in the toning bath. Very frequently the prints turn reddish during the washing ; but if, during the first two or three changes of water, no change in the colour of the prints takes place, it is necessary to have recourse to some way of bringing it about. The simplest way in which to do this is to put a little common salt into the next washing water. A very little will do — about half an ounce to the gallon is sufficient. It will be observed of paper prepared on a neutral bath that it is much easier with it to get a purple tone than with preserved paper. In fact, it may be said that, whereas a brown colour is most readily got with preserved paper, and is, as a rule, the best colour that can be obtained with it, a purple is most easily got with paper prepared on a neutral bath, and that this is generally the best colour that can be got. No special precaution is necessary, nor any treatment with soda, as in the case of preserved paper. The toning operation is simply pushed until the purple tone is reached. Indeed, in the case of many brands of paper, especially if sensitised on a fairly strong bath — say one of 60 grains to the ounce — the process may be pushed till an engraving black tone is reached. If, on the other hand, it be desired to get a warm brown with this paper, the prints should be treated after G 82 SILVER PRINTING they have had three or four washings with a strong solution of salt. Several ounces of salt to the gallon of water may be used ; but at any rate a solution so strong must be made up that the colour of the image turns to a bright red. It is probable that rather less gold will be used up by the home-made paper than by the preserved ; but the writer’s opinion is that there is less difference than is commonly supposed. It is certain that the operation of toning goes on much more rapidly — that the print darkens more quickly ; but this is no proof that less gold is being used up. After toning, the operations of washing, fixing, and again washing, are exactly the same as those described for ready sensitised or preserved paper. It is to be understood that the same bath may be used for paper prepared on a neutral bath as for preserved paper ; but as the toning generally proceeds more rapidly, it may be desirable to add more water. It should always be understood that the formulae given for toning are to be taken as approximate only. The amount of salt — neutral or alkaline — added, such as borax, for example, is generally fixed only by rule of thumb, and may be varied considerably without producing any appreci- able variation on the results. Again, as to the amount of water, or of dilution of the solution, this also can only be determined by experiment. It will be understood that the more dilute the solution the slower the action, that very quick action is to be avoided as it commonly leads to inferior tones, and that too slow action is to be avoided on account of the waste of time involved. If the strength of the solution be so adjusted that toning is complete in any time between about eight minutes and twenty minutes, the best results may be looked for. CHAPTER XI silver printing — Continued Storing Paper Prepared on a Neutral Bath , Fuming , etc. When paper has been prepared, as described in the last chapter, it will not keep as well as the preserved paper sold by the dealers. In a certain comparatively short period of time it will, without the action of light, turn more or less dark. The time that it will keep without any special precautions varies greatly with circumstances. Thus the weather modifies the time greatly. In hot, damp weather paper will not keep nearly so long as in cool, dry weather. Again, the purity or impurity of the atmos- phere has much to do with the length of time that paper will keep. For example, in the air of London paper turns dark more quickly than in the country, probably on account of the sulphur from the burning of coal. But the thing that has the greatest influence of all is the condition of the sensitising bath as regards purity. If this be much contaminated with organic matter there is little chance that the paper will keep good for more than twenty-four hours, if so long. Indeed, with all the conditions unfavour- able, sensitised albumenised paper will not remain wdiite for more than an hour or two. On the other hand, with the conditions all favourable, but without any special provision for preserving it, such paper will remain white for a week or ten days. In the case of ordinary everyday work, in average circumstances, paper may be depended on not to discolour to a degree 84 SILVER PRINTING which would make it useless in less than forty-eight hours ; but it is usual, when it is not preserved in any special way, to try to have the prints finished within twenty-four hours of the time when the paper is sensitised. One of the older methods of preserving sensitised albumenised paper is simply to keep it quite dry, in which condition it will keep for weeks. To secure complete dryness it is necessary to use some deliquescent material, which is generally chloride of calcium. The paper is placed in a tin tube with an air-tight lid, or in any other receptacle which is both light-tight and air-tight, and in the same receptacle there is placed some dried chloride of calcium, care being taken that the salt is not allowed to come into contact with the paper, otherwise the latter will be destroyed. A particularly convenient form of tube is made by the Platinotype Company. The lid contains a receptacle filled with asbestos, which has been soaked in a strong solution of chloride of calcium and has been after- wards dried. There is air communication between the receptacle and the body of the tube through a perforated sheet of metal, but the perforations are so fine that the chloride of calcium is quite confined to its own compart- ment. Paper that has been thoroughly desiccated, as in the calcium tube, must be allowed to absorb a little moisture before it is placed in the printing-frame, otherwise it will print poorly. It is sufficient to allow it to hang up for half an hour in any atmosphere not abnormally dry ; but the best plan is to fume with ammonia, by which operation the paper is certainly made quite as good as paper freshly prepared. The process of fuming will be described a little further on. The best method of preserving sensitised paper, in the writer’s opinion, is to use soda -treated blotting-paper or drying boards. A solution of carbonate of soda is made by dissolving 2 ounces or thereabouts of washing soda in each pint of water. Into this are dipped a number of sheets of blotting-paper, which are then dried and used as will be SILVER PRINTING 85 directed. If, as is the case with some kinds of blotting- paper, it be found impossible to remove whole, unfolded sheets from the solution, because the paper has become so tender that it tears, the sheets may be doubled before they are placed in the liquid, and being removed folded in two, may be so hung up to dry over a line. Of course,. in this case, the drying takes . somewhat longer than when they are unfolded. The sheets, once dry, are ready for use, and may be used over and over again. As the paper is sensitised and dried, — when it has reached the stage where it is just beginning to curl badly, — it is placed between two sheets of the soda paper, and a pile is made of alternate sheets of soda paper and sensitised paper. A weight is placed on the top of all. Paper so treated will keep for weeks, indeed months. I do not know whether the action of the soda has ever been entirely explained, but I have heard it suggested that it acts as a “sulphur trap,” preventing sulphur from getting to the sensitised paper from the atmosphere. This theory finds some corroboration in the fact that contact between the sensitised paper and the soda paper does not appear to be necessary to ensure the keeping of the former. If, for example, a roll of sensitised paper be wrapped up securely in soda paper, it will keep white for several weeks. Ammonia fuming of paper is a practice of many photo- graphers, especially in America. The advocates of fuming hold that the practice results in more brilliant prints. That this is the case with some brands of albumenised paper is quite undeniable, and it may indeed be taken that every brand of albumenised paper will print at its best if, after sensitising and before placing in the frames, it is fumed with ammonia. Another thing that is equally certain is that it will print considerably quicker if fumed. Still further, any difficulty that there may be in toning — and especially in getting purple tones — will pretty cer- tainly be lessened by fuming. The process of fuming consists simply in exposing the paper, after it has been sensitised and dried, to the action 86 SILVER PRINTING of the fumes of ammonia. Any arrangement which enables these fumes to act uniformly on the surface of the paper acts well. In America it is the custom to use drying boxes in which to dry the paper, and afterwards fume it. Any box or cupboard in which the paper can be hung up in separate sheets will serve the purpose of a fuming- box ; a saucer containing a little of liquor ammonia being placed in the bottom of it, and the paper being allowed to remain under the action of the ammonia for as long as is necessary to cause it to print in the frames to a deep and rich purple colour. The time taken will be from three to twenty minutes, according to various circumstances. Some paper requires more fuming than others. Again, the temperature modifies the time required, a shorter time being needed the warmer the weather. Further, as might be expected, the shape and size of the box influences the time required. The question is, however, easily settled by experiment. The paper must be fumed till it prints to a certain purple colour which, once seen, will always be recognised again. It may remain a very considerable time longer than is necessary to produce the desired result under the influence of the ammonia ; but it is possible to over-fume, the result being a dull, sunk-in appearance of the print. The only danger to be guarded against is unequal action of the ammonia, which will produce, in the end, an in- equality of tone. If the paper has been rolled up as recommended in the last chapter, or if it has been stored between sheets of soda paper, it may be hung up in the drying box by laying it across rollers or pieces of stout cord with the albumenised side outwards, the lower corners being clipped together with American clips to stop the tendency that there is for the paper to curl towards the albumenised side. Some operators wash their sensitised paper in order to preserve it. The result of washing is to remove the excess (or the greater part of the excess) of silver nitrate, which is the agent apparently most active in causing the paper spontaneously to darken. A little nitrate of silver must be left in the paper, otherwise brilliant prints cannot be produced even if fuming be resorted to. SILVER PRINTING 87 The writer’s experience is that it is difficult, or, indeed, practically impossible, just to strike the right amount of washing necessary to leave the quantity of silver nitrate required. Either the paper is washed too completely — in which case it will not print vigorously — or it is not sufficiently washed, in which case it will not keep much better than if it had not been washed at all. It is, however, by no means difficult to wash and re- sensitise on a weak bath if the photographer likes to take the trouble and has enough of dishes and space to work them in. At least three dishes, besides that used for the first sensitising, are required. I shall call the dishes Nos. 1, 2, 3, and 4. No. 1 is the ordinary sensitising bath ; No. 2 is a bath filled with clean tap -water; No. 3 the same ; No. 4 is a silver bath made up to a strength of 4 or 5 grains of silver nitrate to each ounce. The paper is floated on No. 1 bath as usual. It is then transferred to No. 2 — being simply floated as before. A second sheet is now floated on No. 1. When the time allowed for sensitising is over, the sheet on No. 2 is trans- ferred to No. 3, that on No. 1 is transferred to No. 2, and a new sheet is floated on No. 1. At the end of the next period the sheet on No. 3 is transferred to No. 4, that on No. 2 to No. 3, that on No. 1 to No. 2, and a new sheet is floated. Next time the sheet on No. 1 is hung up, the other three sheets each advance one stage, and so the thing goes on. After there has been floated to the amount of six sheets (17 x 22) for each pint of water in each of the baths Nos. 2 and 3, bath No. 2 is emptied into the residue tub, bath No. 3 takes its place, bath No. 2 is then filled with clean water, and takes the place of bath No. 3. For example, if baths Nos. 2 and 3 each contain a gallon (8 pints), forty-eight sheets may be sensitised before any change is made. The contents of bath No. 2 are then poured into the residue tub, — there will probably thus be at least 2 ounces of silver nitrate saved, — bath No. 3 takes the place of bath No. 2, another gallon of water is poured into bath No. 2, and it takes the third place. 88 SILVER PRINTING Bath No. 4 loses very little silver, but it does lose a little, and it must, therefore, of course, be kept up to strength. It should also be kept neutral like the sensitising bath — in fact, although its tendency to go out of order is very greatly less than that of the sensitising bath, it should be treated in precisely the same manner. Paper prepared as described should keep white for some weeks if merely kept from light, moisture, and impure air ; but it generally requires to be fumed before use. With- out fuming, however, it does excellently for hard negatives, giving from such softer prints than are likely to be got from unwashed paper. Paper prepared as directed, by washing and sensitising, will keep better than paper only partially washed, even if the precise amount required be hit upon, because the nitrate of ammonium produced during the first sensitising is quite washed away. This nitrate of ammonium, the writer finds, has a great influence in aiding the spontaneous darkening of paper, besides retarding the printing to quite an appreciable degree. CHAPTER XII silver printing — Continued Printing on Plain Paper The use of albumen as a coating for paper has for its object the production of a certain brilliancy and gloss not obtainable but by the use of some substance which seems to keep the image quite on the surface of the paper. That this gloss — or rather, perhaps one should say, the delicacy of detail which accompanies the gloss — is of advantage in the case of very small work can scarcely be denied ; but the larger the work the less need is there for the gloss, and indeed many authorities, excellent on the artistic side of photography, hold that any gloss is distinctly inartistic and should be avoided. However this may be, there can be no doubt that marvel- lously beautiful pictures may be made on plain, that is, unal- bumenised, paper ; and, moreover, that such pictures appear to be far more permanent than those on albumenised paper. The writer has access to a large number of prints taken from thirty to forty years ago. There are some of them on plain paper, and some of them on albumenised ; and, indeed, it may be said that there is every gradation between plain paper and what we now know as albumenised paper, because albumen was used in a very different way thirty years ago from that in which it is now used. A greater or less quantity of water was mixed with it, and the gloss was accordingly less or greater — sometimes so slight as to be scarcely perceptible. 90 SILVER PRINTING Of the prints referred to, it may almost be said that the fading has been proportional to the amount of albumen on the surface ; and further, that of the prints on paper the most thoroughly albumenised, scarcely one is other than considerably faded, whilst of those on paper without any albumen at all scarcely any are faded perceptibly, except where they have been mounted on boards. When they are so mounted they have been affixed by the edges only, and these edges are badly faded. The writer considers it a thing to be deeply regretted that the use of plain paper has gone so completely out of use as it has, and will feel that he has done useful work if his instructions are the means of making any photo- grapher give the old process a trial. As pointed out by Captain Abney, some idea of the results to be obtained by the use of plain paper may be gained by taking a piece of common albumenised paper and floating it face (albumenised side) upwards on the ordinary sensitising bath. The paper must be made distinctly damp before it is floated, otherwise it will curl very badly on the bath. After floating for the usual time, it is dried and printed with the back towards the negative, and is then toned in the ordinary way. If, as is quite likely, the operator finds it impossible to float it in this way, on account of its curling, he may dip it entirely. Saxe paper is well suited to the production of plain prints. The following method of working has given excellent results in the hands of the writer. It is taken, with very slight modifications, from Hardwich’s Photographic Chemistry. In 20 ounces of water there are placed 20 grains of gelatine, — Nelson’s No. 1 is suitable, — this is allowed to soak till it has swelled, when the water is heated to dissolve it. There are then added 60 grains of chloride of ammonium. Saxe paper is soaked in this solution. The time of soaking does not much matter so long as the paper is allowed very thoroughly to soften, and care is taken that no air bubbles adhere to it. It is then allowed to dry — and here it is to be observed that, as the paper is not SILVER PRINTING 91 albumenised, there is not the trouble that there is with the latter kind of paper of continually guarding against its curling up in an unmanageable way. This paper, when dry, may at once be floated on the ordinary silver bath used for albumenised paper. In this case the chromate test may be used for observing when the sensitising is complete. Very good results can in this manner be obtained, especially from very dense negatives ; but the writer has got far better results — especially as regards colour — by using the “ ammonia nitrate ” bath, prepared precisely as recommended by Hardwich.. By its means it is possible to get the richest imaginable purples. The following are Hardwich’s instructions : — “Dissolve 60 grains of nitrate of silver in half an ounce of water, and drop in ammonia until the precipitated oxide of silver is exactly redissolved. 1 * * Then divide this solution of ammonia nitrate of silver into two equal parts, to one of which add nitric acid cautiously until a piece of immersed litmus paper is reddened by the excess of the acid ; then mix the two together, fill up to 1 ounce with water, and filter from the milky deposit of chloride or carbonate of silver, if any be formed. “Ammonia nitrate of silver should be kept in a dark place, being more prone to reduction than the nitrate of silver.” It is objectionable to float paper on an ammonia nitrate bath, as the solution is very liable to be contaminated by such floating, both by organic matter and by the salt of the paper, which causes the liberation of free ammonia, which, in its turn, marks the paper. For this reason the paper must be damped with a brush. The writer has performed this operation in the following 1 Liquor ammonia is dropped into the nitrate of silver solution. A black precipitate is at once produced ; but as the addition of ammonia continues, the precipitate is redissolved. As the colour begins to lighten, the further addition of ammonia is very carefully made with stirring after each drop is added. If the operation is carefully done, the ‘ 4 ammonia nitrate” solution will barely smell of ammonia. 92 SILVER PRINTING manner : — A sheet of the paper is pinned by the corners to a clean board. A broad camel’s-hair brush, such as is some- times used for damping the sheets of copying books, is used to brush the liquid over the paper. The board is slightly inclined, and a liberal supply of the sensitising fluid being taken up by the brush is quickly drawn sideways along the upper edge of the paper. This operation is repeated, each sweep of the brush coming lower down, and when the whole of the surface has been damped, the brush, without further addition of sensitising solution, is used at right angles to the first lines of use ; the board being, during this operation, inclined in a different direction from the first time, so that the brush always works in horizontal lines. The board is then placed horizontally for a couple of minutes, when the paper is removed from it and hung up to dry. Plain paper prepared on the ordinary silver bath will keep just about as well as albumenised paper which has been sensitised ; but prepared on the ammonia nitrate bath it keeps very badly. Indeed, if the soda-blotting sheets be not used, it will generally keep for only a few hours. The plain paper is printed in just the same manner as albumenised paper. That prepared by floating on the ordinary bath will be found to print about as quickly as sensitised-albumenised paper. That prepared on the am- monia nitrate bath will print considerably quicker. Toning may be performed with the same toning bath as that used for albumenised paper; but the action will take place more quickly in most cases, and for this reason it is generally advisable somewhat to dilute the bath. Probably about 1 grain of chloride of gold to 16 ounces of water will be found to give good results. Fixing and washing are conducted in the same manner as with prints on albumenised paper. CHAPTER XIII silver printing — Continued Various Toning Formulae — General Remarks on Toning The number of toning formulae, the use of which has been recommended from time to time, is very great. Many of these are probably merely fanciful variations of others. There are, however, certain formulae which may be called “ standard ” formulae, inasmuch as they have been used by great numbers of photographers for a considerable time, and have each of them adherents who swear by some par- ticular one as against all others. In the historical sketch at the beginning of the book mention has been made of methods of “ sulphur ” toning, or toning without the aid of any gold at all. Such methods have not, so far as I am aware, any single adherent at this time, chemists having proved quite conclusively that the results of such toning must be very evanescent, and being in no way shaken in their conclusion from the fact that these results, in the form of very old sulphur-toned prints yet unfaded, appear to show proof of quite as much per- manence as is to be found in prints toned by the gold bath. There are many prints in existence toned with hypo and silver upwards of thirty years ago, which have all the appearance of being as fresh as ever. It is quite pos- sible, however, that this is really due to the fact that at the time referred to, it was the custom to use very dense negatives, a strongly salted paper, and a strong silver 94 SILVER PRINTING nitrate bath, so that prints of great boldness with a very heavy metallic deposit resulted. The reader may, in any case, like to try a “ sulphur ” toning bath. This consists essentially of a hyposulphite of soda solution, with dissolved in it a certain quantity of hyposulphite of silver. This latter may be produced by dissolving iodide, bromide, or chloride of silver in the fixing bath, but it is difficult to see that these haloids can have any advantage over nitrate of silver. The following bath, which is given by Hardwich, has worked well in the writer’s hands ; but as his experiments have only recently been performed, he cannot give any opinion as to the permanence of the results : — “ Nitrate of silver . 3 drams Hyposulphite of soda 1 . . 4 ounces Water ..... 8 ounces “Dissolve the nitrate of silver in 2 ounces of the water, then from the total quantity of hyposulphite of soda weigh out “ Hyposulphite of soda, 2 drams. “Dissolve this likewise in 2 ounces of the water, and the remainder of the hyposulphite in the other 4 ounces. Then, having the three solutions in separate vessels, pour the nitrate of silver at once into the 2 -ounce solution of hyposulphite, agitating the precipitated hyposulphite of silver rapidly. In a short time it will begin to decompose, passing from white to canary -yellow. When the orange- yellow begins to verge towards brown add the 4-ounce con- centrated solution of hyposulphite, which will at once com- plete the decomposition, a part of the precipitate dissolving and the remainder becoming perfectly black. After filter- ing out the black sulphuret of silver, the solution is ready for use.” This bath will tone but slowly. It is, however, pos- sible, if patience be exercised, to get a very fine black tone. 1 The writer prefers to use only one -half this quantity of hyposul- phite of soda. SILVER PRINTING 95 The bath may be used over and over again, being only kept up to quantity with a plain hypo solution. Indeed, it improves by use, as silver is added to it by every print that passes through it. It is advisable to fix the prints in a plain, neutral, or slightly alkaline fixing bath for quarter of an hour after fixing. Toning and Fixing in one Bath The following formula for toning and fixing in one bath is taken from the British Journal Photographic Almanac. The writer has used it experimentally, and has got good results with it, but prefers to perform the operations separately : — Chloride of gold Phosphate of soda Sulphocyanide of ammonium Hyposulphite of soda Water .... 1 grain 15 grains 25 „ 240 „ 2 ounces The objection to the use of such a bath is that, after a few prints have passed through it, silver is dissolved by the hyposulphite, and may cause toning precisely as in the case of the bath last described, so that it is never possible to be sure how much of the tone given is due to gold, how much to sulphur. This is especially the case if the bath be used several times over. The “ Set Tor ” or Toning Process This objection does not hold in the case of the sel Tor bath now to be described. Although a small quantity of hyposulphite of soda is used, it forms a compound with the gold which is also used, and/ does not (the writer believes) form hyposulphite of silver with the chloride of silver of the prints. The sel Tor bath was at one time a great favourite, and the substance sel Tor was an article of commerce. So far as the writer is aware, however, it is not now to be pur- 96 SILVER PRINTING chased. It is, however, very easily prepared. The follow- ing is the formula given by Hardwicli : — The gold chloride and the hyposulphite of soda are each dissolved in 2 ounces of the water, then the gold solution is poured into the hyposulphite of soda (not vice versa) slowly and with stirring. The hydrochloric acid is then added. It is quite necessary when using the bath to get rid of all the free silver nitrate of the prints, otherwise the bath will be at once spoiled. This is effected by the use of common salt in one of the washing waters as already described (Chapter V. p. 47). The bath acts quickly and gives good tones, which must be pushed pretty far, as there is generally a little falling off of colour in the fixing bath. This latter is made up in the ordinary way, but should be made so far alkaline with ammonia that it distinctly smells of this substance, so that the acid carried over by the prints may be imme- diately neutralised, or, what is better, the prints may be placed directly they are toned for a few seconds in a bath containing about quarter ounce of ammonia to each pint of water. In any case the washing between toning and fixing must be very slight. The “ acetate ” toning bath is perhaps, in spite of various drawbacks, the most popular bath at this day, especially with professional photographers, and it is likely that in all cases where toning goes on regularly from day to day it is the best bath that can be used. For those, however, who tone only occasionally, it is inconvenient, as it has to be made up at least twenty-four hours before it is used, if the best results are expected. Indeed some hold Chloride of gold Pure hyposulphite of soda . Hydrochloric acid Water . . . . 1 grain 4 grains 4 minims 4 ounces The Acetate Bath SILVER PRINTING 97 that an acetate bath should not be used till it is a week old. The formula is as follows : — Chloride of gold . . 1 grain Acetate of soda . . 20 to 30 grains Water . . . . 12 ounces The acetate of soda is dissolved in the water and then the gold is added. It is necessary to keep a considerable quantity of this bath in stock if it be decided to use it, for the reason that there must be enough to tone the largest batch of prints that is ever likely to be toned at one time. When toning is over the solution is not poured away, but is returned to the stock bottle, being, however, previously filtered. The necessity for this arises from the fact that, if any organic matter find its way into the stock bottle, it is liable to precipitate the gold. When the solution is returned to the bottle, about 1 grain of chloride of gold is added for each sheet, 22 x 17, that has been toned, or if, even with this addition, the bath gradually loses strength, a little more than a grain. The stock bottle should be kept in a dark place, as light is liable to cause a deposition and consequent loss of the gold. The Gold and Phosphate Toning Bath This bath is a favourite with many. It has the ad- vantage that it may be mixed up just before it is required ; but on the other hand, like most such baths, it will not keep. The formula is as follows : — Chloride of gold 1 grain Phosphate of soda 20 grains" Water ..... 12 ounces It is well in the case of both the last two formulae to neutralise the gold solution before it is added to the liquid by adding a pinch of powdered chalk to it, and allowing the chalk to settle. The Bicarbonate Toning Bath It is usual to call the borax, the acetate, and the phos- H 98 SILVER PRINTING phate toning baths “ alkaline ” baths ; but in reality the name is scarcely applicable, as the salts just mentioned are neutral or as nearly so as possible. The first toning baths were, as has already been mentioned, used without gold at all ; next came gold mixed with hyposulphite of soda, then sel Tor , and after that an acid gold toning bath. This has not been particularly described, as there are many objections to its use. The next bath that was proposed was the alkaline gold toning bath, — namely, that in which gold was used in conjunction with bicarbonate of soda. This bath has still many adherents, and although, as I have said, other baths have been termed “ alkaline,” they should more strictly be termed neutral , the bicarbonate bath being the only true alkaline bath that I know of. The formula is as follows : — Gold chloride .... 1 grain Bicarbonate of soda ... 5 grains Water . . . . . 12 ounces The bath is ready for use immediately that it has been prepared, but will not keep. General Remarks on Toning In each of the above formulae I have given a certain definite quantity of water ; but leaving out of the question the hypo and silver fixing bath and the hypo and gold, the amount of water in every bath — including the sel Tor — should rather be fixed by experiment than taken as an absolute quantity. It must be borne in mind that some papers tone more readily than others, even if sensitised on a neutral bath, that preserved papers generally take longer to tone than those sensitised on a neutral bath, and that various scarcely understood variations in the toning bath cause differences in the time taken for toning. Now the thing to be aimed at in the composition of a toning bath is that it should bring about the required change neither too slowly nor too quickly. It may be said that toning should never take less than ten minutes, and should per- haps take twice as long to get the best results. SILVER PRINTING 99 In this connection I would lay great stress on a fact commonly left out of consideration. This is, that the more gold actually used up in toning the better , as there is the greater chance of permanency in the results. As to this matter of permanency I would say a word. There are two different modes of fading ; or rather there is a fading, and another entirely different manner of de- terioration which should not be called fading at all. The latter consists in a yellowing of the white of the prints. It is a thing very commonly met with, and gives a print an exceedingly disagreeable appearance. It appears to be brought about greatly by damp and sometimes by light. It is certainly due — at least when in at all an aggravated form — to the incomplete fixing of the image, — that is to say, to the imperfect removal of the last trace of the silver in some form or other, probably in combination with sulphur. The action of the fixing bath is to convert the compounds of silver, not acted upon by light, into hyposulphite of silver which is insoluble in water, but is soluble in excess of hyposulphite of soda. For the complete removal of the last trace of silver compound other than what forms the image, three distinct processes are therefore necessary. First, the whole of the silver compounds must be converted into hyposulphite of silver, requiring a certain quantity of hyposulphite of soda ; second, this hyposulphite of silver must be dissolved in an excess of hyposulphite of silver, which excess must be large ; and thirdly, the last trace of the hyposulphite of soda, containing the hyposulphite of silver in solution, must be washed out of the print. To secure these objects, the use of an ample quantity of hyposulphite of soda is necessary, and the keeping of the prints in motion all the time they are in the bath, or, still better, the use of two fixing baths as already described. But something more is necessary, the baths must on no account be acid, as the presence of any acid seems to result in the formation of some silver compound insoluble in hyposulphite of soda — which silver compound is, I have not the smallest doubt, the most common of all causes of the yellowing of the whites of prints. I believe, indeed, 100 SILVER PRINTING that if prints were always carefully fixed in two baths, each containing a large quantity of a slightly alkaline solution of hypo, and were then fairly well washed, no yellowing need occur. Very complete removal of the hypo by washing does not appear to be necessary to prevent yellowing , the result of the presence of a trace of hypo being rather to prevent than to produce yellowing, but, on the other hand, to produce an actual fading of the image to be now described. The image of the print before toning consists of some compound of silver. There is some doubt as to what this compound is ; 1 but at any rate it appears to be something by no means very stable, for an image simply washed and fixed without being toned very soon fades, in the sense that the image is actually reduced in depth or intensity. When, however, we tone the print, what is known as a “ substitution process ” goes on, — that is to say, a certain portion of the silver compound is replaced by metallic gold. Now gold is, next to carbon, one of the most stable of substances. It therefore simply stands to reason that the more gold deposited on the image, or, to put it in other words, the greater the proportion of gold forming the image, the greater is the chance of permanency, whilst, could we replace the silver compound entirely by gold, we should have an image of a comparatively very high degree of per- manency. It may be asked why the toning process should not be continued till the substitution is complete, — that is say, till the image consists of gold entirely, in a very fine state of division, in which form it may be of any colour from purple to red, according to the degree of fineness of the division of the gold. The writer is unable to say why it should be impossible to carry the process far enough for complete substitution, but the fact remains that before such substitution is com- plete the picture takes a sunk-in, disagreeable tint, and that, therefore, it is necessary to stop the process whilst 1 See Chapter XIV. “On the Chemistry of Silver Printing,” p. 103. SILVER PRINTING 101 there is still some considerable amount of silver compound in the image. Still much may be done to keep the proportion of gold forming the image comparatively high. Thus it may be taken that whenever the toning proceeds very rapidly, the amount of gold deposited, by the time a certain tint is reached, is comparatively small, and the image, therefore, stands a correspondingly small chance of being permanent. Again the presence of free silver nitrate in the paper — as when it is but slightly washed before toning — accelerates, apparently, the change of colour without accelerating much the deposit of gold. In fact, it would seem as though the excess of silver nitrate acted in some way as a silver-toning agent, nor is this a thing at all absurd to suppose, if we consider the action of the hyposulphite of soda and silver toning bath. It may be said, then, that we increase the quantity of gold required to produce any particular colour by washing out the silver nitrate from the prints as completely as is com- patible with the gaining of the tone we require , 1 and by oning slowly. By these means it is certainly possible to produce such a deposit of gold that the removal of all the silver compound scarcely appreciably reduces the depth of the image. This removal — or, what comes to the same thing for the purpose indicated, a bleaching — of the silver portion of the image is a thing very easily done, so that every photographer may easily determine for himself how much of the depth of the image of his silver prints is due to gold, how much to silver. A saturated solution of bichloride of mercury is made up. If a print fixed, but untoned, be dipped in this, the image will entirely disappear. If, however, a very slightly toned print be dipped in the solution, some of the image will be left. In fact, just that portion of the image that is due to gold is left, whilst that which is due to silver is bleached till it is invisible. If the conditions have been 1 With some toning baths and some samples of paper a purple tone cannot be got if all the silver nitrate be washed away from the paper. 102 SILVER PRINTING such that as much gold as possible has been deposited, there may be a slight change of colour of the image, but there will be no perceptible reduction in intensity. In fact, there is a complete image in gold which, in all pro- bability, is very permanent. If the instructions given in a former chapter be carefully carried out, even a brown image may be made to consist of such a proportion of gold that it is not appreciably reduced by the bichloride of mercury solution. Of all false photographic economies, the falsest would appear to be that which attempts to save on the amount of gold deposited on the image. CHAPTER XIV SILVER PRINTING — Continued On the Chemistry of the Image of Silver Prints No work on printing would be at all complete without some few words on the formation of the image of a silver print. As, however, the writer does not pretend to any extensive knowledge of chemistry, he at once acknowledges his indebtedness to Captain Abney and to Hardwicli for the greater part of the following information. In all silver printing processes the silver is introduced in the form of silver nitrate ; but this salt itself is quite insensitive to light, as may be observed by the fact that it will, if pure, remain white for any length of time exposed to the strongest light in colourless glass bottles. In fact if, in the circumstances mentioned, silver nitrate discolour, this fact may, of itself, be taken as proof of the existence of some impurity in the form of some compound of silver, either organic or inorganic, other than nitrate of silver. In all the silver printing processes yet described, the principal sensitive salt has been chloride of silver, a molecule of which may be supposed to consist of 1 atom of silver and 1 of chlorine, and is represented by the sign AgCl. The relative weights of an atom of silver and one of chlorine are 108 and 35 ’5. If now we take of any salts one containing silver and the other chlorine such quantities that the weight of the silver in one and of the chlorine in the other are in the relation of 108 to 35 '5, we have the quantities necessary for the formation of chloride of silver, 104 SILVER PRINTING and to produce such chloride of silver it is only necessary to take a silver salt, in which the silver is said to have less affinity for the other component of the salt than it has for chlorine, and a chlorine salt, in which the chlorine has less affinity for the other component of the salt than it has for silver, and to bring the salts into close contact (as by dis- solving them separately in water and bringing the two solu- tions together), when chloride of silver will be formed. I !If, for example, we take nitrate of silver (AgN0 3 ) and chloride of ammonium (NH 4 C1) in the relative quantities, 10 and 3*15, we will have weights of silver (in the nitrate of silver) and chlorine (in the chloride of ammonium) having the relation of 108 to 3 5 ‘5, and as silver (Ag) has a stronger affinity for chlorine (Cl) than for nitric acid (N0 3 ), and chlorine (Cl) has a stronger affinity for silver (Ag) than for ammonium (NH 4 ), if each of the salts mentioned above be dissolved separately in water in the relative quantities mentioned, and the solution be mixed, the silver (Ag) and the chlorine (Cl) will fly together, forming chloride of silver (AgCl), and leaving over nitric acid (NO s ) and ammonium (NH 4 ), which will also combine, forming nitrate of ammonium (NH 4 N0 3 ). This double decomposition and double recombination is represented chemically by the following formula : — Nitrate of silver + Chloride of Chloride of silver + Nitrate of ammonium = ammonium AgN0 3 + NH 4 Cl = AgCl-f NH 4 N0 3 Supposing now, however, that the two salts, nitrate of silver and chloride of ammonium, are not precisely in amounts by weight proportionate to 10 and 3T5, but that there is a greater proportionate amount of either one or the other. The double decomposition will go on as before, the two new products being formed, but there will remain over some of one or other of the first compounds besides. To make this clear I shall take actual figures. I shall suppose II grains of silver nitrate and 3T5 grains of chloride of ammonium dissolved, the solutions being then mixed. Ten grains of the silver nitrate only will be used up, and SILVER PRINTING 105 besides silver chloride and nitrate of ammonium, there will remain over 1 grain of nitrate of silver. On the other hand, suppose 10 grains of silver nitrate taken, and 4 grains of nitrate of ammonium, there will remain over, besides the chloride of silver and nitrate of ammonium, 4-3*15 = *8 5 grain nitrate of ammonium. In the former case there is said to he nitrate of silver in excess or an excess of nitrate of silver, in the latter there is said to he chloride of ammonium in excess or an excess of chloride of ammonium. As a matter of fact it is practically impossible, even were it desirable, to so adjust the relative weights of two salts as to leave absolutely no excess ; but in such a case as the above, where both the initial salts, nitrate of silver and chloride of ammonium, are soluble in water, and where one of the resulting salts, nitrate of ammonium, is also soluble, whilst the other, chloride of silver, is insoluble, the result of mixing the two solutions is to throw down as a precipitate the insoluble salt, which may then be washed , so that the last trace of the nitrate of ammonium and of which- ever of the initial salts was in excess may be got rid of. The following experiments may be performed to illustrate the formation of chloride of silver, and of the effects of excess of silver nitrate and of chloride of ammonium : — Twelve grains of silver nitrate are dissolved in water in a test tube. This solution we shall call No. 1, and 3 grains of chloride of ammonium in test tube No. 2. This will give an excess of nitrate of silver. Ten grains of silver nitrate are dissolved in test tube No. 3, and 5 grains of chloride of ammonium in test tube No. 4. These two latter quantities will give excess of chloride of ammonium. In each case the amount of water should rather less than half fill the test tube. The contents of test tube No. 1 are now poured into No. 2, and those of No. 3 into No. 4. In both test tubes No. 2 and No. 4, there will be formed at once a thick, white precipitate. This is chloride of silver. The precipitates will gradually settle, after which the water is poured off. 106 SILVER PRINTING If now the two test tubes be taken into a strong light, such as sunlight, or even bright diffused light out of doors, the surface of the precipitate will darken in each case, but will darken more rapidly and to a greater extent in the case of the precipitate in No. 2 test tube when there is excess of silver nitrate, than in the case of that in No. 4 when there is excess of bromide of ammonium. There has been a great deal of discussion as to what the dark substance actually is ; but one thing that is quite certain is that its appearance is accompanied by the libera- tion of chlorine. Captain Abney believes it to be sub- chloride of silver. He believes that every 2 molecules of chloride of silver (AgCl) give up 1 atom of chlorine (Cl) having a molecule of 2 atoms of silver (Ag) and 1 of chlorine, and this compound he calls sub-chloride of silver. The supposed action is indicated chemically thus — Two molecules of silver _ One molecule of silver One atom of chloride sub-chloride chlorine 2(AgCl) - Ag 2 Cl + Cl At any rate of this we may be certain — chlorine is given off. Now this chlorine must go somewhere, and if there be near any substance with which it will readily combine — which will, so to speak, mop it up immediately that it is liberated, the action of liberation by light is much more active than it will be if there be no such substance. Nitrate of silver is such a substance, whilst nitrate of ammonium is not, and this is supposed to be the reason why the chloride of silver darkens so much more rapidly in presence of excess of silver nitrate than in presence of excess of nitrate of ammonium. The excess of silver nitrate has, however, a certain further action, inasmuch as it results not only in a quicker darkening, but to a certain extent, in a different colour from the beginning, the colour being bluer than it is without the nitrate of silver. Concerning this Abney states, “We have the best of reasons for believing that the blue colour is really due to a combination between the sub-chloride SILVER PRINTING 107 and the oxygen contained in the water and in the air.” If the reader now refers to the chapters on albumenising of paper and of sensitising, he will find that the result of these two processes is to produce paper having a film of albumen containing chloride of silver with nitrate of silver in excess. But we have, besides this, the albumen to con- sider, not as a mere vehicle for the silver chloride, because the albumen itself becomes sensitive, or, more strictly speaking, forms a sensitive compound when treated with nitrate of silver. This is proved by the fact that it is quite possible to get prints of a kind by the use of paper albu- menised without any salt at all in the albumen, and is still more conclusively proved by coating a plate of glass with pure albumen, allowing the film to dry, and dipping it for a time into the sensitising bath. We will then have a film quite sensitive to light. The action of silver nitrate on albumen is very marked. In the first place, it coagulates the albumen, or, in other words, renders it insoluble in water either hot or cold, whereas before it was soluble in cold water. It is true that there are other means — not involving, so far as is known, a new combination — whereby albumen can be coagulated. For example, any damp heat — as, for instance, that of steam — will have the effect. So, also, will the application of alcohol — as already mentioned in connec- tion with “double albumenising” (see Chapter VII.) But the action of the silver nitrate appears to be not only to coagulate the albumen, but to form an organic compound, to which the name of albumenate of silver has been given. It is this compound which is acted upon by light in the case of a film of pure albumen which has been acted upon by nitrate of silver; but the precise action of the light upon the albumenate of silver appears to be a very com- plicated one. At any rate there appears to be no precise information obtainable as to what the image on albumenate of silver consists of. Abney, however, gives very good reasons for supposing it to be a different compound from 108 SILVER PRINTING that produced by decomposition (by the action of light) of chloride of silver, either in the presence of excess of nitrate of silver or in its absence. We are thus enabled to arrive at the conclusion that the untoned image on albumenised paper consists of two different compounds of silver, the stability of either of which is, at any rate, rather doubtful. It may be well here to state that so far the remarks made apply in some measure to the gelatino-chloro-citrate printing-out paper to be hereafter mentioned ; but by no means entirely, inasmuch as the gelatine in this latter process is at no stage in contact with excess of silver nitrate, and there is probably no compound of gelatine and silver formed. On the other hand there is present citrate of silver, which is possibly reduced by light to a different com- pound of silver than is chloride of silver. Nevertheless the image gained by printing out on gelatino-citro-chloride coated paper may be looked upon as in many respects similar to that obtained by printing out on albumenised paper. On the other hand the images produced by the various development processes — to be hereafter described — must be looked on in quite a different light. They are com- posed, so far as our knowledge goes, of pure metallic silver. Going back to the consideration of the untoned image on sensitised-albumenised paper, we have to consider the process of toning this somewhat complex image. The subject has already been treated to a certain extent at the end of Chapter XIII., where it has been pointed out that the toning process consists in the substitution of gold in a very fine state of division for the silver, which enters into the combination just mentioned, and where it is insisted that the greater the amount of this substitution the greater is the likelihood of permanency of image. The image being toned, the object is to remove every trace of the sensitive compounds of silver which have not already been acted upon by light. These are the chloride of silver and the albumenate of silver. The substance used to dissolve out these compounds — or, as it is generally put, to fix the image — is hyposulphite SILVER PRINTING 109 of soda. This substance does not act directly on the chloride or albumenate of silver, but converts them, first of all, into hyposulphite of silver, which may be soluble in hyposulphite of soda. I say may be, because, according to Abney and others, there are two hyposulphites of silver formed, one, which is soluble, in the presence of an excess of hyposulphite of soda, the other, which is insoluble, in the presence of an excess of the silver compounds. The following formulae, representing the formation of the two compounds, are copied strictly from The Art and Practice of Silver Printing , by Abney and Robinson : — Silver chloride Sodium hyposul- phite f Insoluble I double form < hyposulphite I of silver and V sodium Sodium chloride AgCl + Na 2 S 2 0 3 = AgNaS0 3 + NaCl. Silver chloride { Sodium ) hyposul- /• form phite ) Soluble double hyposulphite’ V of silver and I sodium ) and / Sodium \ chloride 2AgCl + 3Na 2 S 2 0 3 = Ag 2 Na 4 3(S 2 0 3 ) + 2NaCl The first represents the action in presence of excess of silver compound ; in other words, when there is much too little hypo used for fixing. The latter represents the action when hypo is in excess, and it is almost unnecessary here to mention that a very large excess of hypo is always desirable when prints are to be fixed, but it is well to lay stress on the desirability, already mentioned, of having the bath distinctly alkaline — to savo any chance of its being acid — as an acid solution of hyposulphite of soda forms insoluble compounds of silver, even when the hypo is ever so much in excess, and therefore endangers the permanence of the prints. To Determine the Quantity of Chloride present in a Sheet of Albumenised Paper I said that I would describe a method of determining 110 SILVER PRINTING how much chloride has been used on a sheet of albumenised paper, in case the photographer may desire to use the knowledge as a guide to the strength of sensitising bath he will use. The method is precisely the converse of that used to determine the strength of the sensitising bath, and is very easily practised. A solution of nitrate of silver is made in distilled water containing 31 'J grains of the salt to each 1000 minims. A sheet of the paper to be tested is cut up into little bits, is placed in a glass measure, and about half a pint of distilled water is poured over it. The paper is allowed to soak for, say, an hour with frequent stirring, when enough chromate of potash is added to make the solution of albumen and chloride slightly yellow. The silver nitrate solution is now poured into a burette holding 1000 minims, and is slowly run into the mixture of paper, water, etc., whilst the latter is stirred. As the silver nitrate solution touches the water, it will produce a red stain which, however, disappears as the stirring goes on. After a time, however, it will disappear more slowly. The addition is now very cautiousty made, and just when the red colour becomes quite constant — no amount of further stirring sufficing to drive it off — the burette is read. Every 100 minims means that the sheet of paper was albumenised with albumen containing 1 grain of chloride of ammonium, or the equivalent of some other chloride. Thus, if 672 minims be read, the sheet of paper had 6*72 grains of chloride of ammonium in it. CHAPTER XV VARIOUS MANIPULATIONS OF CONTACT PRINTING Treatment of [the Negative before Printing and during Printing — Treatment of Paper to suit certain Negatives There are very few negatives which will give perfect prints “ right away,” — that is to say, placing them at once in printing -frames with paper behind them, and placing them to print in whatever light comes nearest to hand. Almost every negative is improved by a little hand-work of some kind or another, and there are not many which do not absolutely require it. Of actual retouching, as it is commonly understood, I intend to say no word here. Those who wish to acquire this art may consult Mr. Robert Johnson’s book, which appeared in the same series as this book appears in . 1 The kind of defects which can be remedied without actual retouching with the pencil on the film side of the negative are such as show certain considerable portions of the prints too light or too dark. These defects may be only local, requiring that a certain light be either made lighter or darker, or that a particular shadow be made darker or be relieved, or they may be general, amounting in the latter case to either hardness or flatness , — that is to say, the negative is of such nature that it will give a hard picture, the alternative being, according to the time of print- 1 A Complete Treatise on the Art of Retouching Photographic Nega- tives, and Clear Directions how to Finish and Colour Photographs, by Robert Johnson. Marion and Co. 112 VARIOUS MANIPULATIONS OF ing, chalky lights without detail or deep black shadows with- out detail ; or is of such nature that it gives too soft or flat a print, the alternative being, according to the time of printing, shadows having no depth or lights far from pure white. It must be understood that a negative which gives prints too hard or flat with one printing process does not of necessity do so with all processes. For example, a nega- tive which will give a perfect print on paper sensitised on a neutral silver bath will give a soft or even flat picture in platinotype, 1 a hardish print on most brands of “ pre- served ” albumenised paper, and a still harder one on gela- tino-citro-chloride paper. 2 It will thus be seen that it is difficult or impossible to fix a standard of density for a negative ; but we may arrive somewhere near it perhaps by first giving a description of a standard silver print, as it is commonly understood, and then stating under what conditions a standard negative will give such a print. The extremes of lights and shadows in a perfect silver print should be represented before toning and fixing by an approach to white (a slight tint), and by bronzing (a sort of metallic lustre that appears on albumenised-sensitised paper when it is printed very deeply), and after toning and fix- ing by pure white in the very highest lights — and darkness as great as the paper is giving in the deepest shadows. A negative which will give on albumenised paper, pre- pared on a neutral bath of fair strength (say 50 grains), such prints, when printing is allowed to go on in the brightest diffused light, may be termed a standard nega- tive, and any departure from it will be termed too thin or too dense. Although the standard above described is fixed entirely with relation to albumenised paper, and although it is true that every process will give from such a negative prints differing somewhat in range of depth as well as in colour, yet I think I am correct when I say that, granted a nega- 1 See Chapter XXXI. for description of this process. 2 See Chapter XXI. p. 170 for description of this process. CONTACT PRINTING 113 tive with the extremes of transparency and density such as I have described, and having the gradation between such extremes good, it will be possible to get a good print from it by any process capable of giving a good print at all. I shall now suppose that the negative varies from the standard either one way or the other, and shall state how the best can be made of it, first treating of the methods whereby matters may be improved without treating the negative in any way, and afterwards describing various ways of treating the negative. The Negative is too Thin For such a negative paper floated on a strong bath and for the full time only should be used, and printing should go on only slowly, the frames being placed where there is a subdued light. Paper prepared on a neutral bath should always be fumed when thin negatives have to be printed from on it. Some brands of “ preserved ” paper give stronger con- trasts than does paper prepared in the ordinary way. Such paper may be used for thin negatives. It should be observed that a little exposure of the sensitised paper to light at any time previous to fixing does much more harm in the case of that to be used (or which has been used) for printing from thin negatives. Now as to the negative itself. I leave out all mention of intensification, because a description of such is out of place in a book on printing ; but I cannot resist describing a process of great beauty whereby the effect of a moderate amount of intensification can be produced, and which may indeed be called a process for intensifying, but is applied to the side opposite to the film. The method is an appli- cation of the powder or “dusting on” process. This process will be fully described further on , 1 here I shall just point out the principle on which it depends. Films of certain substances, which are hygroscopic (tend to absorb moisture), cease to be so after exposure to light. If such a film be 1 See Chapter XXIY. p. 188. 114 VARIOUS MANIPULATIONS OF partly exposed to light and partly not, so that one part is not hygroscopic whilst another is, and if any pigment in the form of a light powder be brushed over the film after it has been in a moist atmosphere for a few minutes, the powder will adhere only to those parts which have not been affected by light, and which, therefore, are not hygro- scopic. If such a film be exposed under a negative and be afterwards developed with powder, a negative is the result. If under a positive, a positive. Now if the side of a negative on glass, opposite to the film, be cleaned, be coated with the substance used in the powder process, be then placed film -side upwards in light, and be afterwards developed with powder, the result is a second negative on the front of the glass, which serves to augment the first. Moreover, the second negative is not quite sharp, and the result of this is to give a charming softness to the resulting prints. Further than this, there is great control over the results produced, inasmuch as it is possible to modify the gradation of additional density conferred as well as the amount. Thus only a little ad- ditional brilliancy in the high lights is required, a long ex- posure is given when the powder “ takes ” only on the high lights. On the other hand, if it be desired to bring up the half tones as well as the high lights, the exposure is made short so that the powder takes, more or less, every- where but in the deepest shadows. It is possible by skilfully managing the process to in- tensify locally with the very best results. In the case of small negatives or even large ones where the glass is very thick, printing (through the glass) to act on the “ powder ” film should be done in direct sunlight, the negative being held with the plane of its surface at right angles to the rays of light. If the negative be large (say over whole plate) and the glass be not very thick, printing may be performed in diffused light. The conse- quent loss of definition of the “powder” image will not hurt the final result. Of course negatives, which have been treated in the way just described, must not be printed in direct sunlight. CONTACT PRINTING 115 When the method of local modification by working on tissue paper pasted to the back of the negative is treated, it will be seen that it is also applicable to the bringing up of high lights generally, although the process is of necessity somewhat tedious. The Negative is too Dense, giving Prints which are Hard If the negative be under-exposed as well as hard — if there be, that is to say, want of detail in the shadows — it is im- possible to get a perfect print from it either by treatment of the negative or by any other method ; but if the hard- ness be due merely to too great contrast, all the half tones being then in their correct proportion, the only defect being in fact that they range through too great a field, then it is possible by due treatment of the negative, at any rate, to get perfect prints. But first, for what can be done by treatment of the paper. In the first place, if the print be only a very little too hard when printing is performed in diffused light, probably all the improvement necessary will be brought about by printing in the brightest possible direct sunlight. A course frequently adopted with negatives that are just a little hard is to “ sun ” the paper before commencing to print. The operation consists simply in exposing the paper to light till it is very slightly tinted. One corner is covered with some opaque object — a penny, for example — or the paper may be held between the finger and thumb by one corner. The object is to have one portion not acted upon by light, so as to be able to tell how far the sunning has gone by being able to compare the tint pro- duced with whiteness. If the negative be not much too hard — only giving prints very slightly hard when the frame is exposed in full sunlight — then “ sunning ” may have all the desired result ; but if an attempt be made to overcome great hardness by excessive sunning, the results are sure to be bad. The paper should never have more than just a visible tint on it. Some photographers prefer to expose the back of the 116 VARIOUS MANIPULATIONS OF paper till the front is slightly tinted, claiming that they thus get a better result in this case than sunning from the front. If the photographer sensitise his own paper, he may get better results from one dense negative than he otherwise would by floating his paper only so long as is necessary to prevent it from giving mealy prints, — that is to say, prints having a certain mottled marking in the shadows. An experiment may be made by floating for half a minute only. The paper must be quite damp before it is floated, otherwise it will not have ceased to curl before the floating is over. Paper to be used for printing from hard nega- tives should not be fumed. Concerning the treatment of the negative, I may say that by far the best thing to do is to reduce it in the manner to be presently described. Strictly speaking, the reduction of the density of a negative comes no more within the scope of my present work than does the intensification ; but whereas there is no perfect method of intensification known, and those imperfect ones which are known are very widely known, there is a perfect method of reduction which is by no means as well known as it should be. I, therefore, have no hesitation in giving the method which, I believe, is due to Farmer. First of all, however, let me repeat what I have already said. If the negative be lack- ing in shadow detail as well as being too dense in the lights, on account of under-exposure, there is no use in attempting anything. It is only when the exposure has not been too short and when the hardness is due to over-development that the process to be described is of any value. If it has been observed immediately the negative has been fixed that it requires reduction, the process may pro- ceed immediately. If, on the other hand, the negative has been dried, it must be soaked in water till the film is evenly wetted. A fresh solution of hyposulphite of soda is made up. The strength does not very much matter. It may be that of the ordinary fixing bath, 5 ounces to the pint. A satu- CONTACT PRINTING 117 rated solution of ferri-cyanide 1 of potassium (red prussiate of potash) is made up. A few drops of the latter solution are poured into the hypo solution, and the mixture is ap- plied to the negative in a dish with constant rocking as in developing. The result will be a slight reduction of density. If it be not enough, a little more of the red prussiate of potash is poured into a measure, and the mixture is added to it, and the whole is once more flooded over the plate. When sufficient reduction has been brought about the plate is washed. There may be an objection to risking a valuable nega- tive by treating it in the way described lest it be destroyed — although there is little danger of this unless the operator be very careless. The writer, therefore, tried to find a process somewhat analogous to the powder process used for the intensification of negatives. The idea struck him that the “single transfer” carbon process 2 might be used in the same way as the powder process, but with the contrary effect, a reduction of contrast being brought about in place of an increase. Worked experimentally the method has succeeded admirably. The first thing necessary is to so harden the film of the negative that there need be no fear that it will be affected by the warm water used for developing the carbon image. It is indeed advisable, although not so necessary, to harden the film when intensification by the dusting -on process is to be performed. To effect this the negative is soaked for ten minutes in a saturated solution of chrome alum, it is then washed, and the film is dried. It is a curious fact that, although chrome alum acts at once on gelatine, its full effect in rendering it hard and insoluble does not ap- pear to take place till the gelatine has dried. The side of the plate opposite to the film has of course to be dried and thoroughly cleaned. A piece of sensitised carbon tissue is now damped and is squeegeed to the back of the negative, just as if the plate 1 Care must be taken not to use the yellow prussiate ferro-cyanide of potassium. 2 See Chapter XXV. p. 197. 118 VARIOUS MANIPULATIONS OF were a temjDorary support. The tissue is moved about in the water as little as possible, so as not to remove more of the bichromate than can be avoided. Pads of blotting- paper are placed both below and above the negative with tissue adhering, and a weight is laid on the top of all for quarter of an hour. The tissue has now to be dried. This must be done, of course, away from daylight ; but a fair amount of heat is allowable, as there is but little chance of running. When dry, an exposure is made through the negative, and development is carried on in the usual manner. As in the case of the powder process used for intensi- fication, the operator has considerable power over the gradation of the negative as well as over the extremes of contrast. Unless the negative to be treated show extraordinary contrast, the ‘‘transparency” tissue should not be used. Probably the “ photographic purple ” will be found the best colour for most cases. Local Modifications of the Negative When it is required locally to modify a negative so as to increase artistic effect, the best plan is to place tissue paper at the back of it, gumming it on by the edges only, and to work on the tissue paper with crayon pencil and stump. It requires considerable artistic taste to do this effectually, but no very great manipulatory skill, as the work, being at a little distance from the film, does not print quite sharp. It sometimes happens that a negative is faulty in that only one or two comparatively small portions of it are too dense, or even only one. In such a case the writer has proceeded with success in the following manner : — A piece of thick white blotting-paper is pasted on to the back of the negative, and with a danq) finger those parts of the paper, opposite to the parts of the image, which are too dense, are gently rubbed down till, looking through the negative, with the paper next the light, CONTACT PRINTING 119 it is seen that a harmonious result has been pro- duced. A negative so treated takes, as will readily be under- stood, a long time to print ; but it gives excellent proofs if due care have been taken. CHAPTER XVI VARIOUS MANIPULATIONS OF CONTACT PRINTING! Continued Cutting the Paper There are various manipulatory operations in connection with contact printing which must necessarily be described in a book on photographic printing. It is true that most of these are not peculiar to silver printing, but are practised in connection with other kinds of printing as well, and that the description of them might perhaps be better placed after all contact printing processes have been considered than here ; but I nevertheless incline to place the descrip- tions here, so that the work may form, leaving out the two first chapters and extending to the end of those on “ various manipulations of contact printing,” a complete set of instructions in the departments of printing which are commonly classed under the head of “ silver printing,” these being printing in chloride of silver on plain paper and printing in silver on albumenised paper. It is surely not necessary here to mention that various other processes of printing, although they are, strictly speaking, as much “ silver printing ” as those just mentioned, do not commonly have this title applied to them. In the case of contact printing processes, to be described hereafter, if instruction given here do not apply, the fact will be mentioned. Cutting up Paper The cutting up of any kind of sensitised paper, so as to leave as little waste as possible, is naturally a matter of CONTACT PRINTING 121 some little importance. For some reason best known to themselves, or perhaps not known at all, the paper-makers have forced upon photographers a standard size of sheet, which is about as unmanageable as could well be conceived. This is 17 x 22 inches. Concerning the best manner of cut- ting up sheets of this size so as to avoid waste, I do not think that I can do better than quote Marion’s Practical Guide to Photography , as I am not aware that the matter has elsewhere been gone more thoroughly into. “ It is desirable to have about ^ inch margin for trim- ming in the case of every print, but beyond this the less there is the better. We give overleaf a set of sketches show- ing how paper may be cut with the best advantage for differ- ent sizes. When the sizes are small there is no great diffi- culty in getting a very fair degree of economy. When they are large it is far more difficult. Indeed, for some large sizes the waste is excessive, unless smaller sizes he worked at the same time , in which case, by getting several different sized prints from each sheet, we may have fair economy. “We take first of all the smallest size which is likely to be required, namely, carte. The smallest divisions in Fig. 1 give sufficient for trimming on all sides, and it will be found that there are forty-two of them. “ Next we take cabinets, as this is the size next in popularity to the carte. “Fig. 2 shows how fifteen can be cut from a sheet. A strip 4 inches wide is first cut along one end of the sheet. This is divided into three pieces. The remainder of the sheet can then be cut up into twelve more. “ x 4J is a popular size for landscapes. The dark lines in Fig. 1 mark out nine pieces which are a little larger than this. A strip cutting into six cartes will remain. “ Whole plate, or 8J x 6J inches, is as near as possible double-cabinet size. The thick lines in Fig. 2 mark out six whole-plate prints, leaving a strip cutting into three cabinets. “ A sheet cut into four, as in Fig. 3, gives 10x8 prints, with some waste, but not very much. 122 VARIOUS MANIPULATIONS OF FIG I. FIG 3. 12X7 12 XIO 10X7 I0X 10 FIG 2. FIG 5. FIG 6. “ One of these 10x8 squares will of course cut into CONTACT PRINTING 123 four 5x4 squares, as shown in one of the top squares of the figure ; by cutting such a square in two as in a lower corner two 7J x 5 prints are got, there being in this case, however, a considerable margin of waste. “ The most troublesome size of all is the 12x10. In fact if no size but this be required from a sheet, the waste is excessive. In this case the manner of cutting shown in Fig. 4 is the only one to resort to. “The size 12 x 10 is, however, too nearly square for by far the majority of subjects, and a print of that size will, as a rule, be improved by cutting away from 1 to 2 inches of the width. The same refers to 10 x 8 prints. Fig. 5 shows one good way of cutting up a sheet when both 12 x 10 and 10 x 8 prints are required. It will be seen that there is one full size 12 x 10 print got. Another is 12 inches long but only 7 inches broad. The size will be found to give a very good picture from many 12 x 10 negatives. It may be cut down to 10x7 and make a somewhat narrow print from a 10 x 8 negative. There is another which without any further cutting is 10 x 7, whilst there is one 10 inches square which will serve for a full- sized 10 x 8 print. “Where 12 x 10 negatives are being printed from but no 10x8 ones, the method of division shown in Fig. 6 will be found very useful. “ There is one full-sized 12x10 print given ; two of which are of the preferable size, 12 x 8J ; and there is left a piece of paper which may be used for a 7J x 5 and a carte, or for a 7^ x 4J and a carte, or for a cabinet and two cartes.” No mention is made here of the size 15 x 12, which is one not very uncommonly worked since the introduction for general purposes of dry plates. Of this size, however, it is only necessary to say, that there will scarcely ever occur a case in which the picture will lose by cutting down the width to 11 inches, making the size 15 x 11 (15 x 10 will in most cases give a still better result), and that for this size there is no very great waste in cutting a sheet breadth- ways into two equal portions. 124 VARIOUS MANIPULATIONS OF CONTACT PRINTING Various attempts have been made to persuade manu- facturers to change the standard size of paper to 24 x 20, but so far as the writer is aware without success, on this side of the Atlantic, at any rate. The advantages of such a size over 17 x 22 are obvious. The sheet would cut without any waste into four 12 x 10 pieces or six 10 x 8. Seeing there is always a little loss round the margin of a negative, 8 x 6 is a very fair size to print from a whole plate negative (8J x 6J), and of these twelve could be cut from the sheet. Twenty cabinets could be cut with scarcely any loss by dividing the length into four parts and the breadth into five. Forty-eight cartes-de-visite could be got with but little waste by dividing the length into six, and the breadth into eight. There appears, however, but little chance of our at all speedily getting a sheet of albumenised paper 24 x 22 ; but this size has latterly been adopted by the Platinotype Company, whose productions will be referred to in connec- tion with platinotype printing. In cutting up sensitised or albumenised paper care should be taken to finger the surface as little as possible. This is indeed a remark that applies to the process at all stages. CHAPTEK XVII VARIOUS MANIPULATIONS OF CONTACT PRINTING — Continued Vignetting The vignetting of prints is not very difficult, and is an operation which for a certain class of effects gives very pleasing results. The art of vignetting dates from 1853, the name of the inventor, Latimer Clarke, at any rate if the testimony of the note written on a print which Mr. Lionel Clark has shown me is to be relied on. The note states that the print was produced in the year mentioned, and that it is undoubtedly the first vignetted photograph produced. As such it is interesting, but it would certainly in the present day be considered a very poor specimen of the printer’s art. The shading off — which indeed scarcely deserves the name of shading — is abrupt and irregular in form. When first vignetting became at all fashionable, and when the effect of shading off to pure white at the edges of the print was very much admired, a great mystery was made of the manner of production, and the secret was sold for large sums. It would have astonished the photo- graphers in those days not in the secret — and perhaps some of those in it — if they had been told that in the future perfect vignettes would be produced by the simple and apparently crude expedient of printing through a hole in a piece of brown paper; yet such is the case. The various appliances in this way of vignetting glasses, etc., which were once exceedingly popular, are going greatly 126 VARIOUS MANIPULATIONS OF out of fashion. Not because they are not useful in certain cases. They are. But because with care and skill as good results can be got by the use of a hole in any flat, thin, opaque substance as by any vignetting glass or such appliance ; whilst to produce really good all-round work, it is necessary to make each negative a study, and to modify the shape of the vignetting aperture according to the nature of the picture — a thing scarcely possible where vignetting glasses, etc., are used. Vignetting glasses, it should be explained, are plates of glass which have a non-actinic “ flushing ” — generally of a ruby colour — over the whole of the surface except an oval or pear shaped part of the centre. This part is clear — the flushing having been dissolved away by hydrofluoric acid — and there is a shading off between the clear part and the rest of the plate. Such glasses are very handy when it happens that one is at hand, the opening of which is of precisely the right size and shape, and this is the case sometimes, especially in landscape work, where it is desirable to have a perfectly oval-shaped — or, more strictly speaking, elliptical — picture. Before giving details of the manipulations in connection with vignetting, a word or two should be said as to the character of picture that will stand the treatment ; for it must be understood that by no means every negative, even of such that will give good pictures, will give an artistic vignette. It is a very common error with beginners to vignette every picture indiscriminately. They find that to vignette — in the sense of producing a shading off of the picture — is so easy that they are charmed with the process and apply it to every negative they have. Now I think it is not too much to say that only about one out of four or five negatives is suitable for making a vignette from, and that when it is, the utmost care and discrimination are necessary in either selecting a suitable board or glass, or in making and using one. I have not sufficient artistic knowledge to be able to say with confidence that I have analysed the qualities of the negatives that will give a good vignette and of those CONTACT PRINTING 127 that will not ; but so far as I can judge the following is correct : — A picture distinguished by softness and delicacy, and in which there is much small detail of a “ sketchy 55 nature, if I may use the word, is suitable for vignetting. Often a negative all but spoiled by over-exposure gives an excellent vignette ; whilst one in which there are strong and bold contrasts and effects of light and shade — especially if the shadows somewhat predominate — is unsuitable. One thing that appears to entirely disqualify a picture for vignetting is a large mass of shadow reaching the border of the vignette, which, were the picture not vignetted, would extend into the place occupied by the white margin in the vignette. Whatever general rules may he laid down, however, this is to be said. He who is possessed of artistic taste will know instinctively what to vignette and what not, better than one without such taste will know by studying any number of rules. A similar remark would apply to very many photographic operations. And now for the actual manipulations. I shall suppose in the first place a very simple case — namely, that in which a perfectly elliptical picture is required from the central part of a soft landscape negative, — that is to say, where it is not necessary or even desirable to suppress a little more of one side than of the other side of the negative, a little more of the top than the bottom, or of the bottom than the top. A vignetting glass, with an elliptical clear space some- what smaller than the required image, is taken, and is fixed in any way at a distance of about quarter of an inch in front of the negative. In the case of the common form of cheap frame it may simply be laid in front of the frame ; but the mistake must be avoided of supposing that the gradation of the tinted glass is sufficient, and of conse- quently placing the glass directly in front of — in contact with, that is — the negative. It appears to he impossible to so finely shade off glass that the mere printing of the shading gives a good vignette. It is necessary to give some additional shading by the diffusion of light. 128 VARIOUS MANIPULATIONS OF The frame with vignette glass is printed in diffused light, in shade, that is to say, every operation of printing being conducted in the usual manner. The effect will probably be somewhat improved by fixing a piece of tissue paper in front of the glass. This remark applies whether a vignetting glass or any other arrangement be used. A piece of opaque paper of any kind with an oval opening in it will work very nearly as well as a vignetting glass. It is simply fixed in any way across the front of the frame. It may be gummed on if it be flexible enough, and may be fixed with drawing-pins if it be stiff. Even common brown paper will do, and is indeed very commonly used ; but something stiff, such as millboard, is far more handy to work with. If the gradation be required to be somewhat abrupt, the opening is simply roughly cut, as shown in the diagram. If it be desired to make the gradation more soft, the vignetting board may be placed somewhat further from the negative. This, however, involves the use of a small CONTACT PRINTING 129 wooden frame, or some such arrangement, to keep the vig- netting board away from the printing-frame. A plan that has the same effect, using millboard, is to bend up the edge of the oval with the finger and thumb so as to raise it further from the glass. An attempt has been made to illus- trate the manner of doing this in the accompanying cut, which is supposed to represent such a vignetting board cut in half. A third, and a very excellent method, is to serrate the edge of the oval as shown here. The serrations may be made deeper the more gradation is required. Yet another way of bringing about the desired object — a very soft gradation — is to cut the hole in the opaque mask somewhat larger than it would be cut were no special means of softening to be adopted, and to gum on to the face of it several sheets of tissue paper, cutting through K 130 VARIOUS MANIPULATIONS OF each an aperture concentric with the larger aperture, — if we may be allowed to use the term for a figure which is not a circle, — but a little smaller either than the opening in the opaque screen or in the sheet of tissue paper which has been gummed on just before it. In some vignetters, made commercially, this plan is followed out, and the edge of the opening in each sheet of tissue paper is serrated. This appears to be almost an unnecessary refinement, but cer- tainly, if such vignetters happen to be of just the right size and shape, excellent results are obtained. In the early days of vignetting use was made of cotton- wool to a considerable extent, the wool being gummed or otherwise fixed to the inside of the opening in the opaque screen. So far as the writer knows this plan is but little used now, but he has found cotton-wool useful at times to check the tendency that there is, when the attempt is made to vignette certain subjects, for some part of the image to spread beyond the general outline of the vignette. When this tendency shows itself and cannot readily be checked, by fixing a little bit of paper to the inside of the opening — as will be presently explained — a little cotton- wool may be pushed lightly in between the edge of the opening of the vignette and that part of the negative which tends to print beyond the proper boundary. So far we have only considered the case of a vignette which is elliptical in outline ; but it happens very frequently — almost always in the case of portraits — that a perfect ellipse is not the best shape of vignette. Of course this is a matter in which the taste of the operator will show itself very greatly ; but it may be said that the outline of the opening of a vignetter suitable for a portrait is very often something approaching a pear-shape, the wide end of the opening being downwards. The outline must, however, somewhat follow the outline of the figure. I again borrow a cut from Marion's Practical Guide to Photography to illustrate the matter. In this a dotted line shows approximately the shape of opening that would be required to vignette a certain figure. Whilst on the subject of the vignetting of portraits, I CONTACT PRINTING 131 should say that the general characteristics of a portrait negative to be vignetted should be the same as those of a landscape negative — softness and delicacy — and that besides special attention should be paid to the background. The commonest background to use for a vignette is one which prints off a uniform light tint (not quite white, however) ; but it is by no means necessary that it be uniform. Any background which is the reverse of conspicuous, which has no tint deeper than a half tone, does well for a vignette. The thing to be particularly avoided is a dark background, or one of a pronounced type. A blanket placed so far behind the sitter as to be quite out of focus, generally makes an excellent background for vignettes. 132 VARIOUS MANIPULATIONS OF Even if the best of skill be exercised it is seldom, except when the conditions are very simple, that a suitable vig- netter can either be selected or made so as to give results altogether satisfactory without a little “ dodging.” Gener- ally the first proof will show that either a little too much of the subject is cut off at some place, or that it extends too far somewhere, or both defects are exhibited. If the subject is too much cut off anywhere, all that is necessary is to turn up the edge of the vignetter a little over the particular place, or to tear a little of it right away. If the subject incline at any point to extend too far, a piece of paper may be gummed on to the edge of the aperture, filling in a part of the latter ; or if this plan is not effica- cious, a little cotton-wool may be inserted between the edge of the opening of the vignetter and the negative as already described. It is always a good thing in vignetting to print through tissue paper, but it is specially so when the subject is a difficult one. In the case of a difficult subject it is sometimes neces- sary to take several proofs, and to modify the vignetter after each before a perfect result is got. It need scarcely be said that any spoiled pieces of paper — so long as visible prints can be got on them — are good enough to make trials with, and that when a vignetter well suited to a particular negative is got after several trials, it is a thing not to be thrown away till the operator is sure that he has got all the proofs off that negative. It is sometimes desirable to print the image right up to the edge of the plate in vignetting, and to allow the white margin to extend beyond the limits of the negative. For example, it may be desired not to lose any of the picture at either end of a 1 2 x 10 plate. In this case a good result will be got by printing the image on to the centre of a piece of paper 14x10 inches, or even a little larger, allowing the outside of the shading (or the commencement of the pure white) to be just over the two ends of the negative. If an attempt be made to produce such a vignette in the ordinary way, with no special precaution beyond placing the negative in CONTACT PRINTING 133 an extra large printing-frame, it will be found impossible to avoid printing the edges of the negative, which will show as dark lines beyond the image — in what ought to be the pure whites of the margin. By the following very simple arrangement the writer has been able to get over the difficulty : — A piece of nonactinic paper is taken. The outside is cut to the size of the print that is required or larger. From the centre is cut a piece about quarter inch smaller each way than the negative. For example, if the negative be 12 x 10, the opening in the mask is cut to about Ilf x 9f. This leaves a margin of about one-eighth inch for fixing the mask to the negative. The mask must be fixed with strong glue to the film side of the negative. The negative is then laid against the plate glass of a frame at least as large as the outside of the print required. The mask may be used to temporarily fix the negative to the plate glass by gumming the paper to the latter. The printing of vignettes may then go on in the usual way, the shading being if desired carried right up to the edge of the mask. The following cut shows the negative and the mask : — A is, of course, the negative, B the mask. The dotted line shows the edge of the negative ; the inner full line the inner edge of the mask. 134 VARIOUS MANIPULATIONS OF * Reversed Vignettes The reversed vignette, or vignette with a dark border, was at one time very much admired, and is still sometimes to be seen. It wants very considerable skill to produce such a vignette, unless the negative be specially prepared for it. The objection to so preparing the negative is that it requires a special arrangement in the camera, and that a negative, when so specially prepared, is not suitable for any purpose except the production of reversed vignettes. The manner of operating in the camera is as follows : An arrangement is made so that vignetters, consisting simply of pieces of stiff cardboard or board with openings in them, can be placed in the camera between the lens and the ground glass, and so that the distance between the lens and the vignetter can be so adjusted as to give the requisite softness to the edge of the shadow of the latter on the ground glass, the softness being greater the nearer the vignetter is to the lens and the larger the stop. The background should be dark. The camera is then so adjusted that the image of the figure on the ground glass falls into the proper position relative to the shadow of the vignetter. It will be quite evident that where the shadow of the vignetter protects the edges of the plate, causing them to be transparent after development, the margins of the paper will print black. The method of printing reversed vignettes from ordi- nary negatives is as follows : An ordinary vignette is first produced in the manner already described. The print so got (of course before ton- ing and fixing) is placed behind a plate of clear glass in an ordinary printing-frame. A piece of stiff cardboard of the size and shape of the image of the vignette (that is to say elliptical, or of a shape something approaching this) is cut out, and is fixed at a little distance over the image so as to protect it, whilst the margins of the print are left unpro- tected. The fixing is done by gluing a piece of cork to the plate of glass over the centre of the image, and gluing the piece of cardboard to the cork. The height of the CONTACT PRINTING 135 cork must be greater the softer is the vignette. When the arrangement described has been made, the frame is placed in diffused light till the' margin has printed quite black, when the proof is ready for toning. Some prefer not to vignette at all to begin with ; but to produce the reversed vignette direct upon an ordinary print, exposing till the image at the margins are completely obliterated, and indeed a little longer, otherwise the details in the dark margin will be liable to reappear to a slight degree during toning and fixing, producing a very un- pleasant effect. Vignettes with tinted Margins In some cases it is preferable to have the margins of a vignette tinted rather than pure white. This tinting is effected in the first of the two ways already described for producing a reversed vignette from an ordinary negative, but that the exposure of the margin is only carried on for a few minutes till a slight tint is acquired in place of till the margin is black. CHAPTER XVIII VARIOUS MANIPULATIONS OF CONTACT PRINTING — Continued Skies — Composition Printing No landscape having any artistic pretensions whatever can be allowed to have a perfectly white sky, or indeed, except in very few cases, can it be allowed to have a sky of one uniform tint. The production of a sky generally requires a separate printing, because landscape negatives scarcely ever show any trace of a sky. It is true that with the new orthochromatic plates this defect may perhaps be remedied to a very considerable extent, but probably it will always be at least a common practice to put in a sky artificially, or print it from another negative. The last -mentioned manner of producing skies is the commonest and moreover the best. It constitutes the simplest form of composition printing. I shall, however, first describe some other methods which are sometimes made use of for producing skies. The first is for producing a graduated sky merely. It may be applied when the sky prints quite or nearly quite white. In a very few in- stances it produces a really good effect ; but the best that can be said for it in most cases is that it gives a result somewhat better than a plain white or evenly tinted sky. It is produced simply by exposing the print to the light with the lower or landscape portion covered, and with some arrangement whereby a gradation of tint is produced, getting darker towards the top. This may very well be done by laying the print under a sheet of clean glass, CONTACT PRINTING 137 placing a thick book or other similar object over it, so as to shade the landscape portion, and then a sheet of cardboard or some such object over the book projecting beyond the edge of it over a portion of the sky. the cut will explain the arrangement. A is the sheet of glass with the print under it ; B is the book, or similar object ; and C is the piece of cardboard. Of course print- ing must be performed in diffused light. Care must be taken to allow C to project so far beyond the book that the front edge of the latter will not cause an abrupt mark on the print. Some operators prefer to use a piece of bent sheet- metal, as shown on the accompanying cut, laying the por- tion A directly on the sheet of glass ; but the writer prefers the arrangement just described, as it gives greater latitude of result. With a sky that prints a uniform tint, clouds may be put in by hand on the back of the negative, if the operator have skill enough. He may do this either by colouring 138 VARIOUS MANIPULATIONS OF direct on the negative or by stretching a sheet of tissue paper over it as already described in Chapter XY. page 118, the clouds being produced on this paper with charcoal and a stump. To produce an effect at all good and natural requires considerable artistic knowledge and skill, but once a sky is put in as described, there is the great advantage that printing may be proceeded with at once, no second operation being required to produce the clouds. If a sky prints with a tint, and it be determined to print clouds into the proofs from it by the aid of a separate cloud negative, it is necessary — unless the tint be very slight — to block out the sky. This may be done with Bates’s black varnish and a small camel’s-hair pencil. A steady hand is required, but there need be no great diffi- culty in performing the operation, as any varnish which has gone over the line between sky and landscape can be taken out by rubbing with a rag dipped in a little benzine. Care must be taken not to allow the varnish to run into a thick ridge next to the outline of the objects, otherwise there will be blurring of the print from want of contact between the paper and the negative. When the outline is carefully painted in, the rest of the sky may be quickly blocked out with a larger brush. Prints with white skies being once produced, it is necessary to select suitable cloud negatives for printing into these skies. I cannot here enter into the question of the production of such negatives. I can only say that, in the selection of particular clouds for a certain landscape, the photographer must be guided, as in so many other cases, by his artistic taste. Of course he will avoid such outrages as the use of clouds lighted from one side with a landscape lighted from the other, or of clouds taken near the sun with a landscape lighted from nearly in front, or from one side. If the skyline be nearly straight the same method may be used in printing in clouds as in producing a graduated sky, — that is to say, the print is placed behind a sky negative, being so adjusted that the clouds fall into suitable places, so as to “ compose ” with the rest of the picture. CONTACT PRINTING 139 The two are placed in a printing-frame, which must be of considerably larger size than either the print or the nega- tive, so as to allow of the free adjustment of the former with regard to the latter, without danger of having the paper folded at the edge of the frame, and the picture part of the print is shaded with a book or such like object, and a piece of cardboard. This method is only possible when the horizon line is nearly straight, or when only black or nearly black objects extend into the sky. It is the practice of some photographers to print clouds right across even comparatively light objects, such as a church spire, printing in the clouds only very faintly ; but the practice is one by no means to be recommended. With subjects where what I may call the “graduating method ” would have the result that the clouds would be printed over parts of the subject which are comparatively light in shade, the best way of working is to begin by making a “ mask ” to protect the landscape. The easiest way of doing this is to make a print — which may be on any piece of spoiled sensitive paper, and to cut very care- fully round the line between the sky and the landscape. The landscape portion of the print, untoned and unfixed, is then attached to the sky negative, albumenised side next the film. The fixing may be done by a drop of gum at each of the lower corners of the print, so adjusting the position of the negative and the mask that the clouds left uncovered are suitable for printing into the proofs. In cutting the mask care should be taken that, if an error be made at all, it be made in cutting away a little of the landscape rather than in leaving any of the sky, and this for the reason that, if the sky a little overlap the landscape, the overlapping is scarcely noticeable, whilst, if even the thinnest line perfectly white intervene between the land- scape and the sky the effect is conspicuous, and is con- spicuously bad. In adjusting the print against the masked negative, the same precautions must be observed. The sky must be made to overlap (a little) the landscape, rather than leave a space between the landscape and the sky. 140 VARIOUS MANIPULATIONS OF It will be readily seen that when a print has been arranged behind the sky negative, it may at once be put out to print in any light, and without any further shading. There need be no fear that the clouds will print through the mask, as the whites of this latter quickly blacken by the light, till the paper is quite opaque. But although no shading is necessary, it is generally advisable to shade to a certain extent, so that the sky may print somewhat more lightly at the horizon than at the zenith, and this for the reason that the sky — in this country at any rate — generally appears brighter or whiter near the horizon than nearly overhead. Where the special printing-frames made to facilitate com- pound printing is described a little further on, it will be at once seen that where it is desired to print skies into a number of similar prints which require the landscape to be marked out such frames will save much trouble, as the most difficult part of the process, without a special frame, consists in adjusting, with precision, the print behind the mask, or perhaps rather in preventing it from shifting its position whilst the back is being applied to the frame. Composition Printing Composition printing consists in producing a print, different parts of which are printed from different nega- tives, of which there may be two — as in the very simple case of the printing of skies into landscapes — or many, a dozen for example, in cases of very complicated figure subjects. The object of composition printing is to make photo- graphic pictures which, on account of the limitation of the powers of the lens, etc., cannot be produced at one time. I have read that the great master of photography as an art, 0. Gr. Rej lander, who was the first, or one of the first, to use composition printing successfully, was first lead to make use of more than one negative to produce- a photographic picture when, on attempting to carry out an idea he had of a group which involved figures both behind CONTACT PRINTING 141 and in front of a sofa, he found it impossible to get both into focus at one time. Rej lander worked in the days of wet plates, when ex- posures were comparatively very slow unless large apertures of lenses were used. At the present time such a difficulty as that described would be got over by forcing the figures into focus, by using a small stop, which is possible with the very rapid modern plates. And the possibility of using small stops is a reason why composition photography is practised less than it once was. It has other uses, however, than merely getting over the difficulty of focus. For example, it permits of figures being taken in the studio where there is a possibility of modifying the lighting, and of being printed into landscapes. It also enables figures, taken in the studio, to be printed into interiors where the exposure, even with modern plates, would put portraiture quite out of the question. In fact, it has many uses ; but the writer’s object is rather to describe the mere manipula- tions which have to be gone through rather than to discuss the subject generally, or from the artistic point of view. He advises those who wish to study the latter side of the subject to take up Abney and Robinson’s book on silver printing , 1 where it is treated very fully. I shall suppose first of all the simple case where it is desired to print a single figure into a landscape. A print is taken of the figure on a piece of sensitised paper. With a very sharp pen-knife the figure is cut out, keeping very closely to the outline. The result is two masks : one of the figure, which may be attached to that part of the land- scape subject which it is desired the figure should occupy, the other mask of all but the figure. This latter is used to cover up all the figure negative except the figure only. It is thus only necessary to print the figure first and to adjust the figure print carefully behind the landscape negative, when a composition is produced. It will be at once evident that a group of figures, which in the photograph run into each other, can be treated in the same way, or a number of 1 The Art and Practice of Silver Printing , by P. Robinson and Captain Abney, R.E., F.R.S. 142 VARIOUS MANIPULATIONS OF figures each on a separate negative, the figure negatives being masked out all but the figure, in the way that I have described — or by the use of black varnish as described for skies, if it be preferred — and the places in the landscape to be occupied by the figure being protected by the cut out prints of the figure. Let us now go one step further and suppose that it is desired to print a sky into the already composite subject. All that is necessary is to block out the sky of the land- scape negative, and to sacrifice one composition print of landscape and figure or figures for the production of a mask for the sky negative selected. It is assumed that the upper part of the figure intercepts the horizon line of the landscape. The cutting of the mask is along the horizon line and round that part of the subject which pro- jects above it. The mask is attached to the sky landscape as already described, and the sky is printed in just as though there were a landscape without figures. There are very many other “ dodges ” in connection with composition printing, but it is very difficult to explain them without an illustration showing the effects. In the book of Robinson and Abney, mentioned above, there is an excellent example of a composite print from six negatives. The subject is a particularly difficult one, and the descrip- tion of the method of printing, accompanied by a photo- graphic copy of the actual result, is most interesting. The only manipulatory difficulty that is likely to be met with in composite or combination printing is in accurately adjusting the print behind the second (and perhaps third, fourth, etc.) negative. I therefore describe a special frame which serves the double purpose of assisting in the adjust- ment of the masks, and in making the adjustment of the print under the various negatives a matter requiring no skill at all. I here give a drawing of the frame. It will be seen that the frame does not greatly differ from an ordinary one except inasmuch as there are, at one end, and beyond the negative, two punches marked c, c. CONTACT PRINTING 143 I shall now describe the method of using the frame — or frames rather, for one is needed for each negative used in printing a composite — and premising the description by saying that the frames must be all of the same size and somewhat larger than the largest negative that has to be used for the composite, and that, for the convenience in NSI. THE TINIER, working which the frames bring about, it is necessary to pay in some waste of sensitive paper. I take again the very simple case in which it is desired to print a figure into a landscape. The figure landscape is fixed in the centre of one of the frames by the aid of strips of paper and glue. A piece of sensitised paper of the whole size of the back of the frame is now placed in position, and the back being brought down, two holes are 144 VARIOUS MANIPULATIONS OF punched in one end of the piece of paper. After printing, the figure is carefully cut out, as already described. A second frame is now taken, and the landscape negative is placed in it. The mask representing everything except the figure is now placed on this frame with the albumenised side next the film of the negative, the punches of the second frame being made to pass through the two holes made in the mask by the punches of the first. The negative is adjusted under the mask till that part of it (the negative), which represents the space that is to be occupied by the figure, is under the opening in the mask. The mask is now removed, and the negative is fixed down to the plate glass of the frame by strips of paper or otherwise. The mask is readjusted over the landscape CONTACT PRINTING 145 negative, the mask representing the figure is adjusted over the landscape negative by the aid of the mask representing all but the figure , by making it fall into the place from which it was cut, and is gummed down to the surface of the negative. Printing may now proceed quite mechanically. Paper is cut to such a size that it will, when placed in the frames, project over the punches. The mask representing all but the figure is placed on the figure negative by the aid of the punches. A piece of fresh paper is placed over it and the figure is printed. The print of the figure is then placed in frame No. 2, making the punches of this frame pass through the holes of the paper produced by the punches of frame No. 1, and the landscape may be at once printed in. It will be evident that this principle may be extended to any number of negatives, a self-registering frame being used for each. 1 1 The frame just described is known as ‘ 4 Hemery’s Patent Automatic Self- Registering Printing-Frame.” There would appear to be something tautological in this high-sounding title ; but any way the frame is an ingenious and useful article. L CHAPTER XIX SILVER PRINTING Gelatino- Bromide of Silver for Printing — Direct Enlarging Printing on gelatino-bromide of silver has of late years become very popular. The process consists of impressing, with a very short exposure to light, an image on a paper- supported film of gelatino-bromide emulsion, and after- wards developing, generally with weak ferrous oxalate. The process was, I believe, patented by Swan nearly ten years ago. Certainly the first prints on gelatino- bromide I ever saw were in Swan’s hands some eight years ago ; but since then the process has been thrown open to the public, and gelatino-bromide paper is now sold by most dealers. The emulsion used is generally consider- ably slower than that with which plates are coated, the necessity for perfectly pure lights involving this. There are various advantages in the process. The colour in the first place is an engraving black. This is not admired by all ; but by those who have artistic know- ledge it appears to be generally preferred to the brighter colours of the process, commonly entitled “ silver'printing,” — that is to say, printing on albumenised paper. To the writer it appears that, although the colour (and he may add the surface) is not very well suited to very small work, it is suited to all other, and particularly to very large work. The precise degree of permanency offered by bromide prints is a matter at present under discussion, and there- fore I say nothing of the matter further than to state SILVER PRINTING 147 that prints by this process are almost certainly of a much more stable nature than those on albumenised paper, and that it is quite likely they are “ permanent ” in the sense that they will, if properly prepared, last as long as the paper which supports them. The great advantage of the process undoubtedly is, however, the shortness of exposure required. So brief is this that, in the case of contact printing, it is not usually advisable to print by daylight at all, as the exposure re- quired would be so short as to be quite beyond control. The exposure at two or three feet from a gas-burner will vary from a second or two to a minute, according to the density of the negative and the rapidity of the paper, the paper of different makers varying a good deal in sensi- tiveness. The great sensitiveness of gelatino - bromide paper as compared with other kinds of paper for positive printing renders it particularly well suited to direct enlarging, which shall be briefly described. Contact printing calling, how- ever, first for attention. Contact Printing with Gelatino-Bromide Paper The printing may be performed in the usual manner in the ordinary printing-frames, the paper being, of course, manipulated only in the dark room, and exposure being made at, say, three feet from an ordinary burner. As there is no visible image, it is necessary to determine the exposure by one or two trials. After this printing can go on for any length of time, as the light from an ordinary gas- burner varies so little that there need be no fear of irregu- larity in the results if the same exposure be given over and over again. A very ingenious machine has been invented by Urie of Glasgow for printing a number of impressions from a single negative. The paper in this case is used in a continuous band, which is brought under the negative, being moved on the length of the print after each exposure. The light is supplied by a gas-burner over the negative, a flat dish of 148 SILVER PRINTING water intervening to prevent any heating of the plate. The light is automatically lowered for an instant as the band travels. The exposure is determined by trial and error at first ; the machine is then regulated to give the same exposure over and over again, and may be left to its own sweet will. I here illustrate the appliance. Development It will be found that each maker of paper issues a for- mula for development, and it is well — as in the case of plates — to adhere to this formula, although it appears to be by no means necessary. What is necessary is that the developer be not very strong, and that it be distinctly acid. In fact, the writer has found an improvement in results to arise from the use SILVER PRINTING 149 of what might at first sight appear to be an enormous quantity of acid. Thus he has found that 3 per cent of citric acid or 1 per cent of sulphuric acid added to the mixed developer had no great retarding effect on the development, whilst it ensured lights of a pearly whiteness. This is, however, an amount which it is perhaps rash to use. About half of this quantity may, however, be made use of without any hesitation. The following developer may be taken as one which will give good results with almost any brand of paper : — Saturated solution of ferrous sulphate . 1 ounce Saturated solution of oxalate of potash . 4 ounces Water ...... 5 „ Citric acid 40 grains The paper (exposed) is first soaked in water, great care being taken to remove any air bubbles which may adhere 150 SILVER PRINTING to the surface. It is then placed (film side upwards) on the bottom of a white dish, and the developer is poured over it. The image will quickly appear and must be closely watched, for it must be borne in mind that there is no reduction of depth in the fixing bath. The print deep enough, is at once removed to a 2 per cent mixture of sul- phuric acid and water. It may remain here till others are developed if there are a number. When the negative is thin and full of detail — a particu- larly suitable negative for most brands of paper — the exposure must be short and the development must be comparatively protracted, occupying perhaps five to eight minutes. If, on the other hand, the negative be of full density, the exposure is prolonged to such an extent that, with a development such as that given to the print from the thin negative, the whole image would be enveloped in fog. In fact, the exposure must be increased more than in proportion to the density of the negative. The prints from the dense negative require but a short develop- ment. Very often not more than half a minute, and it is necessary to watch very closely to prevent the process from going too far, the result in such a case being a clogging of the shadows, and also, very likely, a degradation of the whites. If it be desired to get a good print from a very thin negative some restrainer may be added to the developer, but normally this is not required. It will be perceived that by varying the exposure and adjusting the developer to suit it, there is a great power of getting prints, having similar characteristics, from negatives varying very much in the matter of density ; but it must be understood — as indeed may be understood of any printing process — that from an under-exposed nega- tive no good result can be expected. The prints developed should be passed through three baths of weak sulphuric acid to remove the last trace of iron from the paper. SILVER PRINTING 151 Fixing the Prints After the developed prints have gone through the three acid baths, they are but slightly sensitive to light, and may be further manipulated with almost as much freedom as prints on albumenised paper, — that is to say, they may be freely exposed to gaslight, or even to very dull day- light. The acid must be got rid of before fixing, otherwise the permanence of the print will be endangered just as already explained in the case of a print on albumenised paper. The washing necessary to remove the last trace of acid is very great ; and it is therefore advisable, after washing for a few minutes, so as to get rid of the greater part of the acid, to place the prints for a few minutes in a weak solu- tion of washing soda. They are then placed in an ordinary fixing bath, such as is used for negatives, but it must be freshly mixed, and should be used only once. It may be retained afterwards for fixing negatives. The prints must be kept moving in the fixing bath. It is not very difficult to see when fixing is complete. Only a minute or two are required, but it is well to have the prints in the fixing bath from ten minutes to quarter of an hour. When fixed, they are washed just as carefully as are prints on albumen- ised paper. Pyro-Developer for Bromide Paper Very good results can be got on bromide paper by the use of almost any pyrogallic acid developer which is weak, contains a considerable quantity of restrainer, and a large quantity of sulphite of soda. The colour got — although it can only be called a black, like that got by the iron developer — is slightly different, and is preferred by some. Ammonia may be used as the alkali, but as a rule better results will be got by the use of carbonate of potash or of soda. The following carbonate of potash developer will be found to give good results : — 152 SILVER PRINTING Stock Solution \ Pyro ..... 1 ounce | Sulphite of soda ... 3 ounces A <{ Citric acid . ... ^ ounce | Bromide of ammonium . ,, [Water . . .up to 10 ounces Dissolve, with heat, the sulphite of soda in 6 ounces of water, add the citric acid and the bromide of ammonium, pour the liquid over the pyro, and make the quantity up to 10 ounces. [ Carbonate of potash . . 1 ounce B < Sulphite of soda . . 1 „ ( Water . . . up to 10 ounces To develop, take for each ounce of developer required 15 minims of A and 40 of B, and make up with water. The development will be slower than with iron. Warm Tones with Gelatino-Bromide Paper So far as I am aware, A. Cowan was the first to show that there is, at any rate in the case of some samples of bromide paper, a very appreciable range in the tone ob- tainable, an approach to a sepia tint being got by exposing many times as long as is necessary to obtain a black tone, and by using a very much restrained developer. Those who wish to experiment in this direction may try the result of giving an exposure twenty to forty times longer than is necessary for a black tone, and of adding 6 to 8 grains of bromide of ammonium to each ounce of the developer. Vignetting Gelatino-Bromide Prints Gelatino - bromide is particularly well suited to the production of vignettes. The vignetting is done in pre- cisely the same way as if the paper to be used were sensi- tised-albumenised paper, a piece of tissue paper being how- ever always used in front of the vignetter. If the negative be SILVER PRINTING 153 at all a difficult one to vignette, it will be found an advant- age to use albumenised paper for the test prints in making the vignette . 1 This remark applies to the production of vignettes for any printing process which does not permit of an examination of the image during progress in the printing-frame. Direct Enlargement on Gelatino-Bromide Paper As has already been mentioned, gelatino-bromide paper is particularly well adapted to direct enlargement. In fact, before its invention, direct enlargement was a thing scarcely practised except by large firms, who could afford to erect the ponderous arrangement known as a direct solar-enlarging camera, or by those who cared to go in for the somewhat difficult process of collodion transfers. Indeed, the practice of direct enlargement was a thing beyond the scope of amateur photographers, and even of the bulk of professional photographers ; but the advent of gelatino-bromide has changed all this, and to enlarge is now almost as easy as to make a contact print. I ought to explain that direct enlargement means en- largement without the necessity of first producing an enlarged negative as in many enlarging processes. Most readers of course understand the principle of direct enlargement ; but those who do not will readily con- ceive it by considering the action of the optical or “ magic ” lantern. In this a small transparency, placed behind an objective, produces a greatly enlarged image on a screen at some distance. If a sensitive film took the place of the screen, there would of course be produced on this film an image which, in the case of the ordinary positive lantern slide, would be a negative. With a negative used as the slide, however, it would be a positive, and the fact is that enlarging lanterns are optically the same in principle as “ magic ” lanterns. An enlarging lantern is shown here. This is used in a room, which is illuminated only with red or yellow light, as 1 See Chapter XVII. on vignetting page, 125. 154 SILVER PRINTING in the ordinary dark room. The image is received for focussing on a piece of ordinary white paper fixed to a board, the distance between which and the lantern can be adjusted. The further the paper is from the lantern the larger will be the image. The image having been' focussed quite sharp, the cap is placed on the lens, the plain paper is removed from the board — without disturbing the position of the latter — and the gelatino-bromide paper is fixed with drawing pins to the board. The cap is then removed and the exposure commences. This may vary from a min- ute to an hour. It is greater the greater the amount of enlargement. It varies as the square of the number of times that it is required to enlarge. For example, it is required to make two enlargements from the same negative: one twice as large, the other three times as large as the negative. These measurements are linear measurements, not square. Such enlargement is commonly expressed by saying that the one is a “ two-diameter ” enlargement, the other a “three diameter.” The exposures required for these two enlargements would vary as two squared (2 2 ) to three squared (3 2 ), — that is to say, as 4 to 9. The larger enlargement would require fully twice the exposure of the other. Of course the exposure required varies also with the density of the negative, with the lens used, and with the intensity of the light. It is well, if there is any doubt SILVER PRINTING 155 as to the time required, to expose a small piece of paper first on a part of the subject — such as the face — that will serve to indicate satisfactorily if the exposure is right or not, or if not right, will serve to give an idea of how much correction it requires. The exposure finished, development, etc., proceed pre- cisely as in the case of contact printing. The lantern is certainly the most convenient appliance for the production of direct enlargements, and it is, more- over, capable of producing the very best results, but it has one drawback. Except for enlarging from small negatives, it is a very bulky and expensive piece of apparatus. Indeed, I am not aware that dealers keep lanterns for enlarging from negatives larger than half-plate. If they are required to enlarge from larger negatives, they have to be specially made. The size that it is necessary to enlarge to is not of consequence. The best way in which to enlarge from any negative larger than half-plate, and a way, at least, as good as the lantern method for small negatives, is that by daylight. The method is really precisely the same, the only difference being that the negative, in place of being illuminated by artificial light, concentrated by a condenser, is illuminated by diffused daylight. A darkened room is necessary, and also a camera of some sort which will hold the negative, to be enlarged from, in such a position that it is illuminated by daylight from outside, and which will shut out all daylight except such as passes through the negative, and is required to form the image. Special cameras are made for the purpose of daylight enlarging and are very convenient. It is quite possible, however, to work with an ordinary camera. A dark slide, of the American pattern, in which the shutters draw completely out, is required, but otherwise any camera just as used in the field is fitted for enlarging work. The following cut will show the arrangement. C is an ordinary landscape camera, placed with its dark slide end against an opening cut in a shutter B. At A is the American dark slide, with both shutters withdrawn ; holding the 156 SILVER PRINTING negative to be enlarged from E is a board for holding the focussing paper, and afterwards the sensitive film. It is adjustable along the board D. F is a screen covered with white paper, and adjusted at an angle of about 45°, with a horizontal or perpendicular line. Its function is to show an even diffused light behind the negative. When the window looks to the north, it is possible, by sloping the board D, so that the camera has the sky behind it, to dispense with the board F. In working the arrangement, a rough adjustment for size of enlargement is made with the board E, and the final sharp focussing is performed by racking the front of the camera. The exposure will average perhaps a third or a fourth of that required with the lantern. The same rule as to the relation of number of times enlarged and exposure holds good in using daylight as with the lantern. A word as to the lenses best suited for enlarging. It is possible to enlarge with any lens ; but a single landscape lens is not suitable for enlarging from negatives of archi- tectural subjects, for the same reason that it is not suitable for photographing them. With the lantern it is almost necessary to use a portrait lens, or one of the modern very rapid forms of landscape lenses, on account of rapidity ; but in the case of daylight enlarging a lens of the rapid recti- SILVER PRINTING 157 linear or rapid symmetrical type is probably the most suitable. A single lens may, however, be used except for architectural subjects or others, with long straight lines near the margin of the subject. A thing to be avoided is the use of a lens of too short focus. The focal length of the lens used for enlarging should be at least half as great again as the length of the plate enlarged from. It is particularly necessary to observe this when a portrait lens is used. Vignetting direct Enlargements When it is desired to vignette a direct enlargement, the vignetting is done by shading the edges during the exposure with a shade having in the middle of it an opening, of the shape desired for the vignette, but much smaller. This vignetter is then fixed between the lens and the sensitive paper, but nearer the former. The right position must be determined by trial. The larger the aperture of the lens, and the nearer the shade to the lens, the greater the softness of gradation. If, therefore, the aperture of the lens be comparatively small, it is necessary to have a comparatively small opening in the vignetter, and to fix the latter nearer to the lens than if there be a large aperture. It is fortunately very easy to judge of the effect on the screen before the sensitive paper is pinned in position. CHAPTER XX silver printing — Continued “ Rapid ” Printing Process The process which bears the above name may be said to lie about midway between the gelatino- bromide process, already described, and the gelatino-citro-chloride process to be described in the next chapter. In the first-mentioned of these the paper is coated with a gelatino-bromide emulsion ; the exposure required is very short, and the range of tone is very small, the prints being of an engraving black, or of a colour approaching thereto, and being, therefore, not amenable to toning. In the second process the paper is coated with gelatino- citro-chloride emulsion, prints out like sensitised-albumen- ised paper, and is toned in a similar manner. The rapid paper is coated with a chloride of silver emulsion, or a bromo-chloride of silver emulsion, — that is to say, an emulsion consisting of both bromide and chloride of silver suspended in gelatine. The emulsion is slow, and is always, or at any rate sometimes, prepared in the pre- sence of a large quantity of free acid. It has been said by manufacturers of the paper that it is not of much con- sequence (the presence of free acid and other conditions being observed) whether the emulsion be of bromide of silver, or of chloride of silver, or of a mixture of both. Advantage is taken, in working the process, of the fact that, in the case of paper coated with an emulsion, such as that indicated, it is possible to get, by a very prolonged SILVER PRINTING 159 exposure — one several hundred times as long as that necessary to produce an image in all its detail — and the use of a weak and very heavily restrained developer, an image of a red colour, which may afterwards be toned with gold. The advantage of the process may be said to be that, by its means it is possible to produce, by exposures to artificial light, prints having all the range of tone that is shown in prints on albumenised paper. It is possible to get, in fact, a very wide range of really beautiful tones. There has, however, been found by some a difficulty in getting a number of prints of uniform tone. It is probable, however, that this difficulty would be over- come were the process as long practised and as well under- stood as has the process of printing on albumenised paper, or it might, indeed, be urged that “variety is charming.” Exposure of the Paper The paper is ordinarily exposed by contact, but the writer has seen some very fine enlargements done on it, the exposure being by daylight, with a rapid lens of the portrait form, and being pretty long even then. The exposure to artificial light would be so long as to be entirely out of the question. 1 The exposure required by contact is a second or two to ordinary diffused daylight, at a foot from an ordinary fish- tail gas-burner from three minutes, for a thin negative, upwards, perhaps about eight minutes being required for an average negative. By using a duplex paraffin-lamp as source of light, with a bright tin reflector behind it, and by placing the frame, say 8 inches from the light, the exposure may be reduced to or of those required with an ordinary fish-tail burner. No image is visible with a negative showing average contrast. With one of very strongly marked contrast the shadows will be just faintly visible. It may be useful, as a criterion of the exposure necessary, to say that in the 1 See Chapter XIX. for detailed descriptions“of enlarging by day light and artificial light. 160 SILVER PRINTING case of a quality of negative, by no means uncommon in modern dry-plate work, especially in the case of landscapes, one having bold contrasts, but a considerable veil even in the deepest shadows, a scratch made in the film — of course in practice quite at the edge — should just show faintly after exposure. The paper, being comparatively slow for development paper, may be manipulated in quite a bright red, orange, or yellow light, or even in a moderate amount of gas or lamp light. Thus, if it be not exposed for any very long time to the light, it may be manipulated at 10 to 15 feet from an ordinary fish-tail burner burning at its full strength. Developing the Prints The following may be taken as a typical developer for working “ rapid ” paper, although it is, of course, only fair to use, with any brand of paper, the formula recommended by the maker. The following solutions are made up : — A I B { Oxalate of potash . Bromide of ammonium . Warm water Sulphate of iron . Water . 4 ounces 100 grains 1 pint 1 ounce 20 ounces Both solutions are made perceptibly acid to test paper, and enough is taken of each in equal quantities to fill the developing dish to a depth of at least half an inch. This dish, by the way, must be at least an inch each way larger than the prints to be developed. The solutions are mixed just before development is to begin, by pouring the iron into the oxalate of potash solution, not the potash into the iron. The prints are placed dry in the developer, not more than two or three at a time, and are kept in continual motion till development is complete. The image must be watched very closely, as it loses nothing of its depth in the after processes, and must, therefore, on no account be allowed to develop to a deeper tint than is finally required. SILVER PRINTING 161 Indeed, the development is liable to continue for a little time, if the prints be placed, after development, simply in cold water. For this reason the writer recommends that a solution of bromide of ammonium — 10 grains to the ounce or so — be prepared, and that the prints be passed directly into this after coming from the developer. This solution will at once stop all action. Whether the prints go first into a dish of clean water or of a solution of bromide of ammonium, they must be passed within a few seconds into a second bath containing clean water, and then into a third, it being essential to prevent a tendency towards yellowness in the whites to wash the developer out of the paper very rapidly. The developer may be used for as many prints as can be developed within half an hour, but must not be used for a longer time than that after the first print has gone into it. The colour of the prints, as they come from the de- veloper, if it be desired to gain any colour other than an engraving black, should be something approaching a dusky or brick-red. The prints, after they have been washed, by being passed rapidly through three or four waters, and being left for a few minutes in the last, are passed into a saturated solution of alum, where they remain for quarter of an hour. They are then again washed by keeping them rapidly moving in changes of water for quarter of an hour, when they are ready for toning. I should mention that various other developers, besides that given, may be used with the paper, for example, ferrous citrate, or a simple aqueous solution of hydrokinone. Toning the Prints The following toning formula is that recommended by one maker of the rapid paper : — Acetate of soda . Chloride of lime (fresh) Chloride of gold Water 60 grains 4 „ 2 „ 1 pint M 162 SILVER PRINTING The water is poured hot into the acetate of soda and chloride of lime, and the gold is added when the solution has become cold. The prints, by the time that they have reached the toning stage, may be manipulated in dull daylight — in fact, just as prints on albumenised paper. The toning proceeds rapidly as judged by reflected light; but if the prints be removed from the toning bath when they have acquired the desired colour on the surface, they will “ go back ” to such an extent in the fixing bath as to appear wofully undertoned. If they be toned to a deep- purple by reflected light, they will give a fine brown after fixing. If any colour deeper than this is required, it is best to judge by looking through the prints. Warnerke recommends a bath for toning and fixing at one operation. Such a bath may be made by adding 1 grain of chloride of gold to each 4 ounces of a solution consisting of 5 ounces of hypo to the pint of water. Much trouble is saved by working in this way, and the method has the advantage, that by its use it is possible to judge more easily of the colour, because we can judge by reflected light, the prints not changing appreciably after they come from the bath. Fixing the Prints This operation is performed exactly as directed for prints on albumenised paper. If the prints have been toned in the bath just mentioned, it is by no means absolutely necessary that a second fixing bath be used ; but its use probably increases the chance of permanency in the prints. After fixing, the prints are washed in the same way as are prints on albumenised paper. The various methods adapted to finishing and mounting of prints on rapid paper w r ill be treated of in a future chapter on “ Mounting, En- amelling, and Finishing Prints. The greatest care must be taken to prevent any trace of hypo from getting into the developing solution, or of SILVER PRINTING 163 developing solution from getting into the toning bath, otherwise failure is certain to ensue. If vignettes be attempted, they should always be de- veloped in fresh solution, to ensure purity in the white margins. CHAPTER XXI silver printing — Continued Gelatino-Chloride Papers for Printing Out By reference to our chapter “ On the Chemistry of Silver Printing,” 1 it will be seen that the presence of nitrate of silver in excess is necessary to get a bold print in chloride of silver when albumen is the vehicle. Chloride of silver, without the presence of nitrate, giving but a poor image. The same remark applies when gelatine is the vehicle, except inasmuch as there are certain organic salts of silver which may be substituted for silver nitrate. There are objections to the use of free silver nitrate in connection with gelatine, because a compound of silver and gelatine is formed, which it appears to be impossible en- tirely to eliminate, and which, therefore, causes eventually a darkening of the whites of any prints which may be formed on a film of gelatine in presence of free silver nitrate. The same does not apply to such organic salts of silver as the citrate and acetate, whilst these have the effect, when used in conjunction with chloride of silver suspended in gelatine, of producing brilliant prints. The salts are produced in suspension in a solution of gelatine by what is known as the emulsion method. A few words on the preparation of the paper will be given at the end of the chapter ; but in the meantime I shall go on the assumption that the photographer has either made or purchased his paper, and wishes to print with it. 1 Chapter XIV. p. 103. SILVER PRINTING 165 The paper is sold by several firms under such names as “ Aristotype,” “Chloride of Silver,” “Emulsion Paper.” It keeps well, considerably better than the best preserved papers that the writer has had experience of, and is ready for use at any time. It gives prints of exceeding brilliancy, and is especially useful for getting impressions from very thin negatives. It will give a brilliant print from a nega- tive from which only very poor results can be got on albumenised paper. From this it might be inferred that, of necessity, it would give a hard print from a brilliant negative, and it is true that from a negative of the type which is all but too hard for printing on albumenised paper, but yet gives good results on such, only hard prints can be got on gelatino-chloride paper ; but with the ordinary run of good plucky negatives suitable for printing on albumenised paper, good results are to be got also on gelatino-chloride paper. The character of the prints on the two papers is entirely different, in a way that it is not easy to explain, but they are both good. The only drawback to the paper is its price, which is at present much greater than that of even the most expensive sensitised -albumenised paper. This ought not to weigh much with the photographer, who should never sacrifice excellence to cheapness, and I have no hesitation in saying that the results on gelatino-chloride paper are better than those on albumenised paper, at any rate when it is necessary, as it sometimes is, to make the best of a somewhat thin negative. It seems probable that the prints on gelatino-chloride paper are more permanent than those on albumenised paper, and this for two reasons : (1) Neither the gelatine nor the paper has during any part of the process been in contact with free silver nitrate, which is one undoubted cause of the fading of prints on albumenised paper ; and (2) more gold is taken up in the toning process. Indeed, the writer has reason to believe, as he will hereafter explain, that in this process it is possible entirely to replace the silver compound, replacing it entirely with gold to form the image. 166 SILVER PRINTING Manipulation of Gelatino-Chloride Paper The paper is printed in the usual way. The time taken is shorter than that required for albumenised paper, per- haps one-half as short or thereby. It is, as in the case of albumenised paper, necessary to allow for future reduction by over-printing in the first place. The prints when they come from the frame are set on one side and will keep, if desired, for months before they are toned. The following toning bath is a modification of that issued by a certain maker of the paper. It has been selected by the writer from a number tried by Mr. Lionel Clark, who some time ago showed the results of various developers on the gelatino-chloride paper : — Chloride of gold . Hyposulphite of soda Sulphocyanide of ammonium . Water . 1 grain 1 „ 20 „ 3 ounces The sulphocyanide of ammonium and the hyposulphite of soda are dissolved in 2 ounces of water, the chloride of gold in 1 ounce, and the gold solution is poured with stirring into the other. Somewhat more than 2 grains of chloride of gold is, in my experience, required for each 22 x 17 inch sheet of the paper ; but as it is possible to add gold as the process proceeds if it be found necessary, — as indicated by a stoppage of the action, — it is best to start with a quantity not larger than 2 grains of gold chloride to each sheet — 6 ounces of toning solution that is. It is scarcely possible to work with less than this, as any smaller quantity of solution is too little to permit of the manipulation of the prints in it. The prints are washed for a few minutes only — say three minutes — before toning, and here it may be well to give a word of warning. The gelatine, which is used in at least two commercial brands of the paper, is very soft and soluble, and care must be taken never to hold the paper by one place, between the finger and thumb, for any length SILVER PRINTING 167 of time, or portions of the film will be dissolved away. The writer has seen an operator holding a small print for a few seconds on the points of his fingers and thumb when, quite suddenly, the film dissolved away over the spot where handled at the back of the paper. Of course it will be thoroughly understood that the remarks just made apply only to the paper in the wet state. For the same reason that the paper must not, whilst wet, be handled care- lessly with warm fingers, so also care must be taken never to warm any of the solution through which the prints pass. Thus the toning solution must on no account be warmed if the process be progressing sluggishly, as it may be when albumenised paper is being worked. Indeed, when the weather -is very hot, it may be necessary to cool the solutions artificially with ice. They should never rise above a temperature of 65° F., — that is to say, any solutions used before the alum solution, which latter would probably do no harm were its temperature as high as 75° F. As the prints go into the toning solution a sudden (and generally a very disagreeable) change will probably take place. They will become of an exceedingly sickly yellow colour, and will possibly appear of a very uneven colour at this particular stage. This, however, is not of consequence, as the inequality of colour disappears as the toning pro- ceeds. It is a little difficult to judge of colour at first, the difficulty being somewhat the same as that mentioned in connection with the “ rapid” printing process in the last chapter. The case is not exactly the same, however. If we judge of the colour of our print by reflected light, by looking at it, it is sure to be undertoned eventually. If, on the other hand, we judge by looking through it, it will probably appear somewhat overtoned when complete, — that is to say, toned to a deeper colour than we saw when look- ing through it. By bearing in mind, however, that the eventual tone will be somewhere between that seen by looking at the print and that seen by looking through it, but somewhat nearer the latter, it is easy with a little 168 SILVER PRINTING practice to get good and uniform results. Again, as in the case of the “rapid” purple, if the prints be toned just till they show a dark purple when looked at , they will eventu- ally give a fine brown. One advantage the process has, it appears to be impos- sible to overtone in the sense in which it is possible to over- tone a print on albumenised paper. If a print on this latter paper be kept in the toning bath for too long a time the colour changes to a slaty tint, and all the depth and brilliancy of the print is gone. The chloride paper, on the other hand, appears never to go beyond an engraving black. The writer has left prints, already toned to a deep black, in a still active toning bath for a full half hour, and they have suffered no degradation of tone — have merely still remained black ; and this fact causes him to believe that it is possible with gelatino-chloride paper to replace the whole of the silver image with gold, and therefore to get prints of great permanency. The prints, when they have reached the right colour, are passed directly — without intermediate washing — into a fixing bath, which may be made up of — Hyposulphite of soda . . 2^ ounces Water ..... 1 pint They remain here for ten minutes or so, with frequent movement, and must then be carefully washed. This is about the most troublesome part of the business if an automatic washer of some kind be not used, because, as has already been stated, prints cannot be thoroughly washed unless they be kept continually moving ; and it is advis- able to manipulate the gelatino-chloride prints as little as possible till they have been in the alum bath. Still they can be changed from dish to dish by hand as described for prints on albumenised paper, if due care be taken. If they be kept constantly moving, half an hour of wash- ing is sufficient. After this washing the prints go into a saturated solution of alum for quarter of an hour. This greatly hardens the film, which may afterwards be manipulated with great freedom. The prints are now SILVER PRINTING 169 once more washed to rid them of the last trace of alum. A washing of quarter of an hour, with continual change of water and motion of prints, should be sufficient for this. The prints may be dried in the same way as prints on albumenised paper, but they must never be left for any time pressed between blotting-paper. So dried, they look very well if mounted and rolled ; but many prefer the exceedingly brilliant effect produced by mounting the prints wet on glass which has been treated with French chalk, allowing them to dry thereon, and then stripping them. The Manufacture of Gelatino-Chloride Emulsion for Printing Out The description of this process must be very brief, and is indeed inserted only for the sake of completeness, as it is probable that few will attempt to make their own gelatino-chloride paper. The most complete work on the subject that the writer knows consists of a series of articles by W. M. Ashman and E. Offord, running through the Photographic News for the years 1885 and 1886. The following information is abstracted from these articles. The instructions given are on the assumption that the reader is familiar with the ordinary manipulation of emulsion work. It would be impossible to afford space to describe these. Two separate emulsions are made in the following manner : — (1) Chloride of Silver Emulsion For this are taken — ( Ammonium chloride A < Gelatine I Water 53 420 20 grains >) ounces ( Silver nitrate ( Water 150 grains J ounce 170 SILVER PRINTING (2) Citrate of Silver Emulsion l Citrate of sodium A -• Gelatine . ( Water 30 100 3j grains ounces B Nitrate of silver Citric acid Water 45 80 grains ounce The gelatine in A of the chloride emulsion should be about one- third soft — say Nelson’s No. 1 — and two-thirds hard — say Heindrich’s. The gelatine in the citrate emulsion A is to be all hard. The solution A for the citrate emulsion is to be prepared as follows : — The gelatine is dissolved by soaking in 3 ounces of the water and warming. The citrate of soda is then dis- solved in the half ounce of water remaining, the solution is warmed, and is gradually added with stirring to the gelatine solution. The chloride emulsion is completed in the following manner : — The gelatine of solution A is melted by soaking and warming. The ammonium chloride is added, and when- ever it is dissolved, the solution B, slightly warmed, is added drop by drop with continual stirring. The emulsion is then put on one side till it is quite stiff, when it is ready to be washed by passing it through mosquito netting or very coarse canvas, and allowing it to remain for five minutes in each of three or four changes of water. It now requires only to be drained when it is ready for use. The citrate emulsion is mixed in precisely the same manner, care being taken not to raise the temperature of the solution higher than is necessary to secure thorough emulsification. It is washed just as described for the chloride emulsion, and then 15 grains of citric acid are added. The two emulsions are now remelted and mixed, and are ready to be used for coating paper. SILVER PRINTING 171 Any very pure paper, which is perfectly white and is well sized, may be coated with gelatino-citro-chloride emulsion ; but it is evident that commercial makers coat their paper with an insoluble, or semi-insoluble, substratum of gelatine, containing a white pigment. Probably the “ single ” transfer paper used in carbon printing would suit the purpose. The paper may be coated in any of the ways afterwards described for coating paper with carbon tissue, or may be coated as described by Ashman and Offord in their articles in the Photographic News already referred to. CHAPTEE XXII silver printing — Continued Defects in Silver Prints and their Remedies The worker at the various processes of silver printing is certain before long to come across various annoyances in the way of defects in one or other or all of the processes of silver printing that have been described. Sometimes the defects are more or less difficult to trace to their origin, and consequently to stop them is difficult ; but, as a rule, it is not necessary to do much more than mention the cause of the defect, when the remedy will readily be found. In the next few pages there are given all the defects with which the writer is acquainted, and their remedies when they are remediable. Each of the four principal silver printing processes that have been treated of — printing on albumenised paper, gelatino- bromide printing, “ rapid printing ” by development, and printing on gelatino-chloro-citrate paper — are all touched on. The Prints Refuse to Tone In the case of albumenised paper prints the cause may be any one of several. A good deal has been said on toning in previous chapters, and amongst other things it has been mentioned that preserved paper is much more difficult to tone than that prepared on a neutral bath, and that, more- over, double albumenised paper takes longer to tone than single. In a weak bath it may be found impossible to tone SILVER PRINTING 173 some brands of double albumenised-sensitised paper. The remedy is to strengthen the bath with chloride of gold. Another cause may be acidity of the toning bath, which should always be kept on the side of alkalinity. Again an extreme degree of cold may prevent the action of the toning bath completely. In this case it may be warmed, but should never be raised to a higher temperature than 70° F. If paper prepared at home refuses to tone, the sensitising bath should be looked to. If this be acid or be much loaded with organic matter, there is certain to be difficulty in getting a good tone. If a toning solution used time after time, such as the acetate, refuse to tone, it may be suspected at once that the gold has been thrown down. The bottle should be examined for any black powdery deposit which is really gold. A bath which is to be used repeatedly should be frequently filtered, as the presence of any organic matter in it is likely to throw down the gold, and when once it is thrown down, the bath may be at once rejected. Rapid Paper Prints . — If these prints refuse to tone, the cause probably is that the iron of the developer has not been thoroughly washed out of the paper, and that it throws down the gold from the toning solution. If, however, attention be paid to the directions given, this defect should not arise. In the writer’s experience the paper varies a good deal in its amenability to the toning process, some brands toning more readily than others, and indeed some batches of the same brand taking much longer to tone than others. If it be found that the prints take very long to tone, the amount of gold chloride should be increased, and the temperature should be raised a little , but should never be allowed to exceed about 65°, because a gelatine surface, even when it has been treated with alum, is not insoluble in warm water till it has once been dried. Gelatino-Chloro-Citrate Prints . — The writer has never had any trouble in toning these prints except when the toning bath has been too weak. Here, of course, the remedy is evident. Some, however, have complained that they have 174 SILVER PRINTING difficulty in toning the prints. Ashman has told the writer that where such difficulty exists, it may be overcome by soaking the prints previous to toning for a few minutes in a bath of sulphocyanide of ammonium of a strength of, say, 20 grains to the ounce. The Prints Tone , but the Tone is more or less Lost in Subsequent Operations Albumenised Paper Prints . — This is a very annoying defect, and one of by no means infrequent occurrence. The tone is all that could be desired in the toning bath, and then, when the prints reach the fixing bath, behold the lovely tone vanishes, and gives place to a dingy hue which can scarcely be described, but which all printers are sure to become only too familiar with at some stage of their experi- ence. It sometimes happens that the tone, lost when the prints first enter the fixing bath, is regained after they have remained there for a few minutes. This may be due to sulphur toning, but I believe it merely marks the com- pletion of fixing. One cause of loss of tone in the fixing bath undoubtedly is insufficient washing before toning. Another is acidity of the fixing bath. These two cases have already been discussed, and the remedy is moreover self-evident. Too strong a fixing bath may be another cause of falling off, especially with certain brands of paper. The writer believes that the fixing bath for prints on albumenised paper should never exceed in strength 3 ounces to the pint. Rapid Paper Prints and Prints on Gelatino-Chloro-Citrate Paper. — It has already been stated that a falling off of tone is a thing to be looked for in the case of prints on both these kinds of paper, and that it must be allowed for by pushing the toning operation further than would otherwise be considered necessary. Fortunately, there is not the same liability that there is in the case of prints on albumen- ised paper to overtone in the sense of going to a disagreeable slaty colour. Possibly a toning bath may some day be discovered for the papers just mentioned, SILVER PRINTING 175 which will permit the prints to be taken from the solution when they have attained that surface colour which it is desired that they should finally possess. The Prints Tone Unevenly With all kinds of silver prints there is one common cause for this defect, and it is the failure to keep the prints in motion during toning, and sometimes before. It is, of course, particularly liable to occur when the toning bath is very active, and the prints take but a few minutes to change colour. It may arise from fingering the prints too much, in which case the unevenness will be in the form of finger- marks toned less than the rest of the picture. Such marks, if on the back of the print, although very evident whilst the paper is wet, generally disappear when it is dry. If it be borne in mind that the amount of washing which a print receives before toning materially influences not only the time occupied by the process, but also the colour eventually obtained, it will readily be understood that, if the prints be not kept in motion during the washing which precedes toning, and if in consequence they are un- equally washed, unequal toning will probably ensue. The High ^ Lights of the Prints are Yellow , not White as they should he Albumenised Pajper. — The defect generally shows itself only, or at any rate most, in such prints as show wide expanses of white, or of what should be white, as, for example, in vignettes. It has already been mentioned that paper prepared on a neutral bath will keep but a short time, and that “pre- served paper ” will not keep for ever. Both turn brownjm time, and it is of course not to be expected that pure white can be got from paper tinted to begin with. Still the tint which comes with keeping is greatly reduced dur- ing toning and fixing, and is altogether of a much less objectionable nature than that to be described presently. 176 SILVER PRINTING It should always be borne in mind, in connection with paper prepared on a neutral bath, that it will turn colour as much in the printing-frame as anywhere else, and that, if more than a few hours are likely to be taken in printing, the paper should be backed with “ soda paper,” as already described. The yellowness that is most to be feared is that known as “ sulphurisation,” because it is supposed to be due to some sulphur compound. It very often appears in prints after a few years, and is then — wrongly, in the writer’s opinion — termed fading. Unfortunately it sometimes appears during the processes of toning and fixing. If the prints be allowed to stick together in the first washing water before toning yellowing is likely. They should be passed rapidly through the first water. Light during this washing or during toning, if sufficient to act on the prints, appears generally to produce the “sulphur- yellow ” or something quite similar to it in appearance. A slight trace of hyposulphite of soda in the toning solution may produce it, or acidity of either the toning or fixing bath, particularly the latter. I have already several times pointed out that the fixing bath should be slightly alkaline, and I now emphasise my remarks. When pre- served paper is used, any acid which may be in it should be got rid of either by repeated washings or by the use of soda to neutralise it, as already advised. Rapid Paper . — The prints on this paper are very liable to be yellow if due care be not taken. The cause generally is that the developing solution is used far too long, or that it is not rapidly enough washed out of the prints when they come from it. It is a considerable safeguard against yellowing to have the developing solutions acid as recommended. Bromide Paper . — Here again yellowness is probably due to the incomplete removal of the iron salts of the developer from the prints. The use of the acid baths recommended immediately after development, passing the print directly into the dilute acid without preliminary washing, will ensure absence of the defect, unless it is due to insufficient wash- SILVER PRINTING 177 mg after the acid bath. Care must be taken to remove all the acid from the prints before they go into the fixing bath. Gelatino-Chloro-Citrate Paper.. — The only cases of yellowing of prints on this paper that have come within the writer’s experience have been due to insufficient washing between fixing and treatment with alum, the alum evidently throw- ing down some sulphur compound from hyposulphite of soda left in the paper. The remedy is evident. The Prints Lack Contrast Albumenised Paper. — Leaving out of the question the quality of the negative, which may of course be responsible for the defect, lack of contrast is generally due to the use of too weak a sensitising bath or to too short floating of the paper on a bath strong enough. There is generally, in this case, as well as the want of contrast, a defect termed “ mealiness ” or “ measles,” which will be hereafter described. Bromide Prints. — Generally over-exposure is the cause of lack of contrast in these, but it may be due to too strong a developer or to one too old. An oldish developer — one which has been used a few times, and which has not been kept for very long, generally works exceedingly slow, but tends to give strong contrasts ; but if it be very old or completely worn out, it will fail to give contrast enough. Of course the defect may be due to faulty paper. If it be determined to use up paper which has been found to be faulty, in the direction of giving prints lacking in contrast, the best will probably be made of it by using a strong developer very heavily restrained with bromide, and by giving an ample exposure. A developer made up as fol- lows may be tried : — • Saturated solution of sulphate of iron . 1 part Saturated solution of oxalate of potash . 3 parts To each ounce of the mixture add 4 grains of bromide of ammonium N 178 SILVER PRINTING Rapid Paper. — Want of brilliancy in prints on this paper has always been due, in the writer’s practice, to over- exposure, it being necessary to strike with some accuracy the mean between that short exposure which will give a heavy, greenish-black image, and that long one which will give a red — and consequently tonable — image, but one lacking in contrast. Mr. Urie, the inventor of an ingenious automatic machine for rapid printing, already described, has told me that better contrast results from a short ex- posure to a bright light than from a long exposure to a dull light. The Shadows are Heavy and Lacking in Detail Albumenised Paper. — The defect is always due to the negative, and the methods of treating the negative, so as to avoid the defect — if it (the negative) be not under-exposed, in which case nothing will improve it — have already been treated. Something may be done, as also mentioned before, by sensitising this paper for only a very short time on the ordinary bath, or for a moderate time on a weak bath. Bromide Paper. — The defect can be got over to a great extent with this paper by giving a long exposure and stopping the development — which will be very rapid — at a comparatively early stage, thus getting the necessary detail in the lights before the shadows are “blocked up.” Rapid Paper. — The same may be said of prints on this paper as of those on bromide paper ; but there is scarcely the same power of correction. Gelatino-Citro-Chloride Paper. — As this paper tends to give vigorous prints even from thin negatives, it should not be used for those which show very much contrast, or the shadows are sure to be heavy. Bronzing of Prints Albumenised Paper. — The bronzing appears only in the shadows which, looked at from a certain angle, have a metallic lustre. Unless the bronzing is very marked, it will SILVER PRINTING 179 disappear in the fixing bath. If it makes its appearance to any very offensive extent, the sensitising bath should be weakened for the particular brand of albumenised paper that shows the defect. Gelatino-Citro-Chloride Paper. — In the commercial brands the defect appears only when negatives of too strong con- trast for use with this paper is used. Doubtless a modifi- cation in the preparation of the emulsion might result in a paper which would not bronze even with very strong nega- tives, but the writer has not enough experience on this point to be able to give information. The Prints are Mealy Albumenised Paper. — The defect consists in a mottled appearance of the shadows. It is generally due to lack of free silver nitrate on the surface of the paper, due to too weak a sensitising bath. The remedy here is self-evident. It may also be due to the use of an acetate bath which has not been kept long enough before it is used. Maries of Various Kinds on the Prints It is manifestly impossible to give a description of every kind of spot or blemish which may appear on a print, but mention may be made of one or two defects of the kind which are particularly liable to make their appearance. Albumenised Paper. — Marble -like markings are due to scum on the surface of the sensitising bath. Round white spots are due to air bubbles. Metallic spots — these are of any size from that of a pin - head upwards — are of irregular outline, and of a gray metallic lustre. They are supposed to be due to particles of iron in the paper or in the blotting sheets or boards with which it is dried. The spots are almost sure to make their appearance if the paper be left for a long time between blotting boards after sensitising. Bromide Prints and Prints on Gelatino-Chloro-Citrate Payer. 180 SILVER PRINTING — Black streaks extending for a greater or lesser distance across tlie print are generally due to a trace of hypo- sulphite of soda on the fingers or on the edge of the dish. The very smallest trace of this salt is sufficient to produce the defect. The developing dish and the fingers of the operator should be very carefully washed before develop- ment is attempted. CHAPTEE XXIII SILVER PRINTING — Continued The Treatment of Residues Every photographer who works any silver printing pro- cess on any hut the smallest scale will find it well worth his while to preserve the residues. Experienced photo- graphers speak of savings of from 50 to 75 per cent of the total amount of silver used by very carefully saving all waste. The residues are of several kinds. We may take — (1) All Waste Sensitised Paper . — Any piece of paper spoiled in whatever way, whether it has been printed on or not, should be saved. Trimming should, whenever possible, be performed before toning and fixing, etc. This is possible in all but development processes where it scarcely is. If the bulk of paper becomes very large, it may be burned at any time, the ashes only being kept. A large flower-pot or any such vessel will do to perform the opera- tion in. (2) Washings . — The washings of all kinds of sensitised paper in which there is a soluble salt of silver are worth preserving. Thus the washings of plain or albumenised- sensitised paper, whether the latter have been sensitised at home or not, and of gelatino-chloro-citrate paper should be kept. There is, however, no use in keeping the washings of “ rapid ” or bromide paper. In any case only the first two, or, at the very most, the first three washings are worth keeping. They should be poured away into a large vessel 182 SILVER PRINTING of any kind, and the silver should be precipitated in the form of chloride by the aid of common salt. It is a great convenience to use a little chromate of potash as an indi- cator to avoid the necessity of using a large excess of common salt, which is objectionable, as a means of pre- venting the possibility of there remaining any excess of silver nitrate, which means a dead loss. After the washing waters have been poured into the vessel, a small crystal of chromate of potash is added. The solution instantly becomes red. Common salt is now sprinkled into the water with stirring till the colour changes to white — which it will do quite suddenly — when it may be known that just enough salt to precipitate the silver has been added. The white precipitate, which is chloride of silver, will gradually settle ; when it has reached the bottom, it may be poured away, and the vessel is ready to receive the next batch of washing water. (3) Fixing Baths . — All fixing baths are worth keeping, whether plates or paper have been fixed in them. If the photographer is in the habit of precipitating the silver from his plate fixing baths, he need do nothing more than mix the paper fixing baths with the plate fixing baths ; but if he is not in the habit of so doing, the sooner he begins the better. The fixing baths must be poured into a vessel separate from the washing water, and the silver is precipitated in the form of sulphide of silver with sulphide of potassium, or “ liver of sulphur,” as it is commonly called. It is well to have a vessel with some kind of a lid for the fixing bath residue solution, as the sulphide of potas- sium is an instable body, and gives off sulphuretted hydrogen gas, when it is in the solid form or in solution, and the smell is very offensive. The smell is useful, however, to enable us to know when to add more sulphide. This we may begin by pouring a solution of a few ounces of sul- phide of potassium in a pint or two of water into a large vessel. It will smell strongly of sulphuretted hydrogen, and will continue to do so as we add used fixing baths till all the sulphide of potassium has been used up in pre- SILVER PRINTING 183 cipitating the silver out of the hyposulphide of soda solution. Then the smell will cease, and we know that it is time to add some more sulphide of potassium solution. The sulphide of silver settles to the bottom in the form*of a heavy muddy precipitate. As the vessel gets full, the water over the precipitate may be removed to make room for more fixing baths, care being taken to remove it only when the contents of the vessel smell of sulphuretted hydrogen, otherwise there will be some waste of silver. Disposal of the Residues Many silver refiners and such-like advertise that they give full value for residues of all kinds, and the residues in the various forms already described may be sent straight to the refiner, — that is to say, the burned paper in the first case, the chloride of silver collected from the bottom of the vessel and dried in the second case, and the sul- phide of silver similarly collected in the third case. A great deal of trouble is saved by sending the residues right away to a reducer, and there can be little doubt that most reducers are honest, returning the full value of the residues, less the small fee that they charge for reducing. But it is equally doubtless that some are either dishonest or very unskilful, and that in such cases the return is very disappointing. There is, at any rate, always some uneasi- ness where there is no means of imposing any check on the refiner, and therefore many prefer to reduce their own residues. With chloride and sulphide of silver — the precipitates got from the second and third kinds of residues mentioned — thoroughly washed and dried, there need be no uncer- tainty, as they contain a quite definite quantity of silver. Every ounce of sulphide of silver contains to within about a grain 7 drams of pure metallic silver, every ounce of chloride of silver contains almost precisely 6 drams of metallic silver. In calculating the money values of these residues, it must be borne in mind that, in accord- ance with the usual intelligence exhibited by us in the 184 SILVER PRINTING matters of weights and measures, we weigh chemicals , such as chloride and sulphide of silver, by apothecaries’ weight — 480 grains to the ounce ; when we use them in the laboratory, we sell and buy them by avoirdupois weight, with 43 7 \ grains to the ounce, 16 ounces to the pound. Silver and other precious metals, however, we buy and sell by troy weight, again 480 grains to the ounce, but 12 ounces to the pound. The following is one way in which the various residues may be treated if we wish to reduce them ourselves : — Over the paper ashes, placed in a large evaporating dish, there is poured a quantity of a mixture of 1 part of nitric acid to 4 or 5 parts of water. The acid and water are gradually raised to the boiling-point, and are kept at this temperature for some little time. The liquid will then contain most of the silver in the form of silver nitrate. It is separated from the ashes by straining through muslin ; common salt is added to precipitate the silver in the form of chloride, and this chloride is added to that got by pre- cipitating from the washings. The ashes are then treated with hyposulphite of soda solution to extract from them what silver may remain in them, and the hyposulphite solution is then added to the vessel for receiving old fixing baths. We thus have all our residues in the form of either chloride or sulphide of silver, and can, as has already been indicated, readily check their value if we send them to the refiner, all that is necessary being to wash them by adding clean water, stirring up the precipitate with this water, allowing it to settle, pouring off the water, repeating this operation two or three times, then drying the precipi- tate on a piece of blotting-paper or filter paper. It is a custom with some not to treat the paper residues with nitric acid at all, but to burn it merely, and place the ashes direct in the crucible, with the flux, as afterwards de- scribed, for reducing silver chloride. In this case there is no way of knowing beforehand how much silver the residues contain. Those who have the use of a furnace may themselves SILVER PRINTING 185 reduce the salts to the metallic state in the following manner : — The silver chloride, thoroughly dried, is mixed with twice its own weight of sodium carbonate, and the mixture is placed in a Stourbridge clay crucible having a cover. Heat is gradually applied. After a bright red -heat has been reached, the lid is occasionally lifted. After a time it will be observed that the silver has been reduced to a metallic state. At this stage the sulphide of silver may be added. The crucible is now once more covered, and the temperature is raised till a white-heat is reached. The heat is kept up for about twenty minutes, when the process may be considered complete. The molten silver may now be turned out into anything which will form a convenient mould for it to harden in ; or it may be turned into water, in which case it will be, as the term is, granu- lated , which means that it will be divided into small particles ; or it may be allowed to cool along with the crucible, and may be then removed by breaking this latter. It is commonly considered an advantage to granulate silver, if it is to be used for the production of nitrate of silver, by dissolving it in nitric acid ; but I have been told that “ cleaner ” silver nitrate may be obtained by using the silver in a lump than by granulating it. To Convert the Silver got from Residues into a Printing Bath To produce silver nitrate, it is only necessary to dissolve the pure silver obtained by the operations just described in nitric acid, and to “ recry stallise,” — that is to say, to con- tinue evaporating the liquid obtained by dissolving the silver till the bulk has crystallised ; to pour away the small quantity of liquid which remains, which is to be mixed with the next batch that is to be evaporated ; to redissolve in water the crystals left after the residue is poured off ; to evaporate once more and to pour away — to go also into the next batch — a residue of the second solution; and finally, to dry the crystals. The object of recrystallising is to get rid of all impurity, and especially of the last trace 186 SILVER PRINTING of free nitric acid, which would be objectionable in many cases where silver nitrate is used. In the case, however, of the preparation of a printing bath any small quantity of free acid may be neutralised, as hereafter described, and for that reason it is by no means necessary to go through the tedious process of recrystallising. The silver may be treated in the manner to be described. A mass of silver is placed in an evaporating dish, and is covered with a mixture of 1 part of nitric acid to 2 of water. Heat is gently applied by the aid of a sand bath. It will be observed that an action is set up indicated by a certain amount of effervescence. This will by degrees subside, when a little more acid is added. The action is thus kept up with the effect that the mass of silver will gradually be reduced. The addition of nitric acid should be stopped before the silver is entirely dissolved, the heat being kept up for, say, half an hour, after all action has apparently ceased. This will ensure a very close approxi- mation to neutrality in the solution, but will probably leave it still slightly acid. The silver left is taken out, and is retained till the next time of dissolving. We now have a very strong solution of slightly acid silver nitrate. This is diluted till it reaches the strength at which we wish to work our bath — 50 grains to the ounce or whatever it may be. Estimation of the strength may be made in the way described in Chapter XIII., or by the use of the argentometer if it be preferred, as there is not enough of any foreign salt present to upset the reading of this instrument. The addition to the new bath of a few drops of a solu- tion of carbonate of potash in the manner already advised in Chapter VIII., for the purpose of keeping the bath neu- tral, will be sufficient to neutralise any free nitric acid which may be present. Enough of the solution must be added to produce a distinct precipitate. To Precipitate and Redissolve an Old Sensitising Bath It sometimes occurs that a sensitising bath “goes SILVER PRINTING 187 wrong” or breaks down in an unexplained manner even when all the precautions mentioned in Chapter VIII. have been attended to. In such a case the best course to pur- sue probably is to precipitate the silver in the form of carbonate, and to redissolve the carbonate in nitric acid. This may be done in the following manner : — A satur- ated solution of pure carbonate of potash in distilled water is made, and this solution is poured into the bath which has broken down until the dense precipitate, which at first forms, ceases to be formed by further addition of the soluble carbonate. We now have all the silver at the bottom of our vessel in the form of carbonate of silver, which, as has already been said, is insoluble in water. It is necessary to wash this precipitate thoroughly. This is done by pouring off the superfluous fluid, adding distilled water, stirring up the precipitate with this, allow- ing it to settle, pouring off the water, and repeating the operation several times. Pure nitric acid is now cautiously added to the wet precipitate. A violent ebullition is at once set up, and the precipitate is partly dissolved. The acid is added very slowly till the whole of the carbonate of silver has disappeared. We have now a solution which is almost precisely the same as that got by dissolving the metallic silver in nitric acid, as just described ; indeed, except for the presence of slight accidental impurities, exactly the same, — that is to say, it is a strong and probably slight acid solution of silver nitrate. It is reduced to the re- quired strength and neutralised in exactly the same way as the solution got by dissolving the silver. It is better to dissolve all the carbonate of silver with the nitric acid, and afterwards to produce a little more carbonate of silver by the addition of carbonate of soda, than to stop the addition of nitric acid a little before all the carbonate is dissolved, as in the latter case the silver carbonate is likely not to be in a fine enough state of division to act as a means of carrying down the organic impurities of the bath as described in Chapter VIII. CHAPTER XXIV THE CARBON PROCESSES The Powder or Dusting-on Process The process known as the powder or dusting-on process is, as I have already stated, the oldest of all carbon pro- cesses. It was designed for use with paper or other sup- ports, but was never, so far as I know, very extensively used with flexible supports, and, apparently, is now only used for producing what are known as opalotypes — opal glass being the support. The general principle of the process has been already described. The appliances required are of the very simplest. Indeed, besides the dishes and so forth needed for fixing, the only essential is a large camel’s-hair brush of the mop form. The larger the better, but one of about 1J inch diameter will suffice. The Powder As regards the powder to be used, I believe that any colouring matter in the form of a very fine powder will do. The process having been intended as a permanent process, a colour consisting essentially of carbon was a.t first looked for, and was readily found in two different forms, — namely, lamp-black and plumbago, both nearly pure carbon ; but the operator may select his own colour from any of those that are kept at the colour shops in fine powder, bearing in mind that it is an essential that the grains of the powder be really small, and the smaller the better. THE CARBON PROCESSES 189 The Glass As to the glass, that known as pot opal serves well. It is essential, to get the most artistic results, that it should be what is called “ smoothed ” on one side, although it might perhaps be better to call it roughened, inasmuch as the smoothing consists in giving the otherwise polished surface of the glass a grain like that of ground-glass. The Sensitive Mixture There is a multitude of formulae for the powder process, almost any organic colloid body which is hygroscopic, and which is rendered sensitive to light by the addition of a certain amount of bichromate of potassium or bichromate of ammonium serving the required purpose. The following four formulae may be taken as typical : — Dextrine . No. 1. 4 drams Grape sugar 4 jj Bichromate of ammonia 4 55 Water 10 ounces Gum-arabic No. 2. 7 drams Grape sugar 3 55 Bichromate of potash 5 55 Water 10 ounces Honey No. 3. 90 grains Albumen 90 minims Bichromate of ammonia (saturated solution) . 150 55 Water 10 ounces Honey No. 4. 2 drams Glucose . 4 Albumen 3 5 5 Dextrine 90 grains Bichromate of potash 4 drams Water 10 ounces 190 THE CARBON PROCESSES These are taken from the British Journal Photographic Almanac (1887), with slight alterations, so as to make the measurements be in somewhat the same terms in the different formulae. The writer has tried various other formulae, but has failed to find any that worked perceptibly better than those given. It will be noticed that the last two contain albumen. This is a certain advantage, as the albumen being coagul- able with alcohol a ready means of fixing the image is afforded. On the other hand, the addition of albumen involves some additional trouble, as it is necessary to whip it up to allow the froth to settle, and to filter it as already described for albumenising paper. Nothing particular need be observed in the mixing up of the solution beyond the treatment of the albumen just mentioned. Sometimes a solution mixed up a week or two will work well, but there is no certainty of this, and it may be said that it is always well to coat the plates within two or three days of the mixing of the solutions, and if possible on the same day as they are mixed. Of course it will be understood that whatever solution is used must be filtered. Light appears to have but little action on the sensitive compound whilst it is yet in the form of solution. It keeps apparently just as well (or badly) in bright light as in darkness. The Transparency It is, of course, understood, at any rate it has been stated in previous chapters, that in working the powder process a negative is got from a negative, or a transparency from a transparency. The fact that a negative may be got from a negative is one well worth bearing in mind, as the powder process offers an excellent means of producing reversed negatives, such as are required for single transfer carbon printing and photo-mechanical printing, clear glass being of course used where reversed negatives are required in place of opal glass. THE CARBON PROCESSES 191 The production of reversed negatives, however, does not come within the scope of this work, nor in truth does the question of the production of transparencies ; but a word at least must be said of these latter. In the first place, if it is essential that the eventual powder picture be not reversed, the transparency from which it is imme- diately produced must be reversed, and must consequently be produced in the camera ; but I would refer the reader to the chapter on the double transfer process, p. 206, in which I give a number of cases where reversal of the image 1 is not of consequence. It is to be observed further that the transparency must be well exposed, so that the details in the high lights are brought well out. The exposure which would produce a good lantern slide or a pleasing window transparency is too short to produce a good trans- parency for reproduction purposes, which should have little or no glass left quite clear, should in fact have what I have sometimes heard called a “ mucked up ” look when con- sidered as an end, not as a means to an end. Preparing the Plate The opal plate is carefully cleaned with whitening and water, and is then flowed over with clean water. Whilst it is still wet, the sensitive solution is poured on to it so as to drive the water before it. A good deal of solution must thus be wasted, but this is not of very great conse- quence as the ingredients are very cheap. The excess of solution is now poured off. The writer must confess that, in working the process, he has found considerable difficulty 1 It is rather unfortunate that with photographers the term “ reversal of the image ” is sometimes used to mean two entirely different things : the one the reversal of position in the sense of making what was at the left side appear at the right side and vice versd, the other the reversal which arises from giving an enormously prolonged exposure when in place of a negative a positive is produced. It should be quite clearly understood that when we use the term in connection with any carbon printing process, we refer to the first of the two re- versals mentioned. 192 THE CARBON PROCESSES in getting an even coating of the sensitive mixture, or rather to get a coating that would remain even till the plate was dry ; but, on the other hand, he has found little or no evil to result from a slightly uneven coating. A very thin film is all that is necessary to cause the powder to stick, but a film considerably thicker seems to take the powder no more vigorously. The plate once coated has to be dried, and considerable heat is necessary to dry it. It may be placed in a hot oven, or in front of a bright fire. The film is not sensitive whilst it is wet, but it is extremely sensitive immediately that it is dry — probably it is no exaggeration to say that in some cases at least it is thirty or forty times as sensitive as sensitised-albumenised paper. For this reason it is necessary to be careful to what light it is exposed, and indeed the writer believes that exposure for some minutes even to a very bright fire may reduce the vigour of the finished print. He there- fore advises drying in the oven as mentioned. The plate dry, the transparency is warmed, the two are placed together film to film in an ordinary printing- frame, the back is adjusted, and everything is ready for the exposure. The Exposure It has already been stated that the plate is very sensi- tive. It follows that the exposure is very brief. Of course it depends greatly on the nature of the transparency ; but so remarkably sensitive are the films that, with a trans- parency of average density, the exposure may be in favour- able circumstances, with the most brilliant sunshine, less than quarter of a minute. Indeed, five or ten seconds may sometimes suffice. It is not generally advisable, however, to give such very short exposures as those mentioned, if for no other reason, than that they are not thoroughly under control. A quite visible image is produced, but as the plate cannot be examined during exposure — even if the operator possesses a frame allowing of the examination of an image on a ridged THE CARBON PROCESSES 193 surface — because the damp in the air would affect the result, it is necessary to use some means of estimating the time of exposure required. The writer in exposing has used as a rough actinometer a piece of sensitised-albumenised paper pinned to the edge of the printing-frame. A few trials with this will enable the operator to form a very fair estimate of the exposure required. With a transparency of average density, the time taken to secure a very light brown tint will probably be sufficient. Development of the Image When the weather is dry, development may begin at once, but when it is damp, it is advisable to slightly warm the plate before it is taken from the frame. This is done by laying the latter, with transparency and plate still in it, at such a distance from a fire that it will slowly warm. The objection to removing the plate cold from the frame in damp weather is that the film may absorb moisture so rapidly that development will be quite beyond control. With the plate slightly warm there need be no fear of this. The extreme sensitiveness of the plates has already been mentioned, and as it continues after exposure to daylight, care should be taken that a safe light is used during develop- ment. If this operation be conducted by daylight, there must be no more of it than is barely sufficient to enable the operator to work. It is probably safest to work by gas or lamp light, which is quite safe, unless the plate be held within a few inches of the flame. The plate is held in the left hand in a horizontal posi- tion, or, better, is laid on any flat surface. A small quantity of the powder is thrown on to the centre of it, and by a rapid motion of the brush is spread over the whole surface of the film. It must be kept in constant motion till the picture is fully out ; a little additional powder being added to replace any dusted by the brush over the edge of the plate. The image should begin to show before the end of a minute, — that is to say, the image in powder. It has o 194 THE CARBON PROCESSES already been explained that there is a quite visible image in the film itself. Nothing should, however, be done to hurry matters till after the end of a minute, or, if the plate has been warmed, till a little time after it has become as cold as the surrounding atmosphere. If at the end of the time specified no image appears, or if after it has appeared, it gains in strength but very slowly, the plate is gently blown upon. Some are in the habit of breathing on the plate, but this is a custom which is rather to be deprecated, as a frequent result is to make the film too damp, and to cause it to be covered all over with powder, producing impure high lights. The result of blowing is to cause a current of a mixture of the breath and surrounding air to impinge on the plate, and this should give just dampness enough to cause the image to come out, if it has not been over-exposed. Fixing the Image The object of fixing is to get rid of the yellowness of the bichromate of the film. This is accomplished by the aid of an acid in a mixture of alcohol and water ; the object of the alcohol being to prevent the film from being dis- solved away along with the powder, as would be the case were an aqueous solution of acid used. The following mixture has given satisfactory results in the writer’s hands : — Methylated spirit .... 8 parts Water . . . . 4 ,, Sulphuric acid . . . « . 1 part The water and sulphuric acid are mixed, and when the mixture is cool, it is added to the spirit. The whole is then flooded over the plate. If after, say five minutes, the colour has not disappeared, the liquid is flowed off the plate, and 2 parts of water are added. If the mixture still refuses to fix, further additions of water are made, but very carefully. If there be too little water, the colour will not be removed. If there be too much, the image will THE CARBON PROCESSES 195 go altogether, at any rate where no albumen is used in the sensitive fluid. It is a little difficult sometimes to strike the right proportion at once, but once it is hit upon, there need be no further difficulty so long as the same formula and the same samples of acid and spirit are made use of. The colour completely gone, the plate is soaked for some time in methylated spirit, to get rid of the last trace of acid, when it is set on edge to dry. The picture is now finished, but must be in some way protected, as anything beyond a touch will rub the powder off. If it be wished to retain the “ bloom ” of the powder, the plate must be framed with glass in front of it. If not, it is coated first with plain collodion, afterwards with any colourless negative varnish. Defects in Powder Pictures The commonest defect is a want of purity in the high lights. This may be due to too short an exposure, to incomplete drying before exposure, to too damp an atmosphere dur- ing development, or to defective sensitive liquid. Only a little experience and a few trials will show which of these errors is the cause of the mistake. If the error be traced to the solution, it is due to too much grape sugar, glucose, or honey. Want of brilliancy of the image is generally due to over- exposure — too large a proportion of the film being ren- dered non-absorbent of moisture. It may, however, be due to an attempt to develop in too dry an atmosphere, or to defective sensitising solution. For the former case the remedy has already been given. Concerning the latter, I may say that if the solution be not old, the fault lies in an insufficiency of grape sugar, glucose, or honey, or whatever is used to give the mixture the necessary hygroscopic character. The Powder Process for intensifying Negatives and for producing Peversed Negatives The manner in which the powder process may be used 196 THE CARBON PROCESSES to intensify a negative, by coating the plate with a sensitive film on the side remote from the image, exposing the former through the latter, and developing with powder, has already been mentioned. Little further need be added, except that every care must of course be taken to avoid damaging the negative film, and that it is advisable to treat it with chrome alum before it is coated with the sensitising fluid. If it has been varnished, it is quite necessary that the varnish be removed, or the fixing fluid will spoil both the varnish and the film under it. The powder process is very useful for the production of reversed negatives, — that is to say, those in which right takes the place of left, and vice versa . Of course clear glass is used in this case. The exposure may be slightly less than for pictures, as the absolute transparency ,of the shadows is not essential, whilst good shadow detail and dense lights are. The best powder to use is probably plumbago or black- lead. The image developed, fixed, and dried, must be coated first with collodion and then with varnish, as described above. All other operations are precisely as described for the production of pictures on opal glass. CHAPTER XXY the carbon processes — Continued The Single Transfer Pigment Process The writer, in treating the pigment carbon process, or what is commonly known simply as “ the carbon process,” intends to proceed as he did in describing the “silver printing process,” by treating first the manner of producing a picture on materials purchased ready for use, leaving over to future chapters the descriptions of the methods of pro- ducing these materials. He believes that the beginner will make the best progress if he confines himself to as few operations as possible, because then, if he find any defect occurring, he is not troubled with doubts as to whether it is due to defective manufacture of the material, or to his method of manipulating it. Of course, I do not mean to contend that manufacturers never issue defective material ; but the chances of defect are enormously smaller when material is produced on a large scale by experienced workers than when it is produced on a small scale by a beginner. When certain effects are required, it is likely that the photographer may find he gets the best results by making his own sensitive film or “ tissue,” as it is called, or, at any rate, by sensitising ready-made but unsensitised paper. The question is very much similar to that of albumenised paper, when the photographer who works on a small scale will probably find it best to purchase ready sensitised paper, whilst the printer on a large scale will likely find it 198 THE CARBON PROCESSES advisable to sensitise his own paper, possibly even to albu- menise it. The Tissue It will be already understood, if the first chapters of this book have been read, that the working of the pigment process depends on the fact that gelatine containing bichro- mate of potash or ammonium (or any of several other salts) remains soluble in hot water for some considerable time if it be kept in the dark, but becomes quite insoluble after a shorter or longer exposure to light. The tissue, then, is a film of gelatine containing bichro- mate and also a pigment consisting of some substance insoluble in water in a very fine state of division, this film being generally supported on paper. Practically any colour of pigment may be incorporated with the gelatine, the colour of the photograph produced depending of course on the colour of the pigment used. Certain colours are particularly suitable for photographic work, as, for example, brown, purple, black, and red (of the colour of red chalk). The two first are those generally used for portrait and landscape work, the two last generally for the reproduction of engravings, red chalk drawings, etc. The red is, however, very effective for a certain class of portraiture. Various other colours are useful for special purposes. Sensitive tissue may be obtained from Marion and Co. and the Autotype Company in this country. It should, of course, be kept from light and in as dry a place as possible. If these precautions be attended to, it will keep for at least a week, probably for two or three. It is possible at any time to discover whether the tissue is still in good condi- tion by taking a small piece of it, dipping it in cold water for a few minutes, then plunging it in water at about 120° F. If the coloured gelatine dissolves clean away, the tissue is still in good condition. If it do not dissolve away, or if a thin insoluble film come away from the surface of it, the tissue has become useless through long keeping. THE CARBON PROCESSES 199 Preparations of the Negative and Exposure of the Tissue A negative which will give a very brilliant silver print is best suited for carbon printing, although methods will be afterwards described of getting vigorous prints from com- paratively thin negatives. The only preparation the nega- tive requires is the application of a “ safe edge.” This is simply an edging of any opaque substance extending in- wards for about an eighth of an inch and applied to the back of the negative. Bates’s black varnish is the most convenient material to use, and this is very readily applied by tying a small colour brush to the side of its stick or handle, as shown in the sketch, the stick acting as a guide, and allowing the brush to be run rapidly round the negative. The reason for applying the safe edge is that without it the film may “frill” away from its support during the process of development. The printing may be performed in the common frames, but as it is never necessary to look at the image, the back does not need to be hinged. In the darker tissue the image is quite invisible. In the lighter colours there is a faint, visible image, by which it might be possible to judge of the exposure, but as opening the frame always means the possibility of access of damp to the film, it is best, even when printing light-coloured tissue, not to open the back. Indeed, some good authori- ties advise that a piece of American cloth be placed behind the tissue, so as to reduce the chance of the access of even the smallest amount of moisture. It is to be understood from the beginning that the tissue must, throughout all operations, be kept as dry as possible. The image not being visible, it is necessary to have recourse to an actinometer to judge of the exposure. Actinometers are of various forms, but they all depend on the use of ordinary sensitive paper, so placed that the darkening of it may be readily observed, and that the 200 THE CARBON PROCESSES amount of light may thus be roughly gauged. They may be divided into two classes : one in which the sensitive paper is exposed to the full printing light till it turns to a certain shade, when a second piece is substituted or the strip is moved on a stage, each time this is necessary being reckoned as “ one tint”; the other, in which a strip of sensitised paper is placed under a screen, having a series of gradations of density, each gradation being marked by an opaque number. With such an actinometer the portions of paper under the most transparent parts print first, as might be expected, whilst the rest takes comparatively longer to show such a tint as makes the opaque number appear visible. The most transparent part is marked 1, the next 2, and so on, and the last figure visible is the one which is read. Thus, if figures 1, 2, 3, 4, 5, and 6 are visible, but 7 is not, it is said that the actinometer has been exposed for 6 tints. A rough idea of the exposure necessary may be got by saying that the tissue generally issued ready sensitised is about as rapid as albumenised paper. This is, however, but a very rough statement. Many factors tend to alter the sensitiveness of the tissue, amongst others, long-keeping, which renders it more sensitive. It is well to ascertain, with some degree of precision, the rapidity of the tissue before beginning to print. If a graduated actinometer be used, it is readily ascertained by placing a narrow strip of the tissue and another of the sensitised paper alongside each other under the graduated screen, so that the light acts on both at the same time. The tissue is then developed as described hereafter, when, on comparing it with the strip of sensitised paper, due allow- ance being made for the reduction of vigour which the last-mentioned would undergo during toning and fixing, and for the fact that the tissue gains a trifle in depth in drying, ' a very fair estimate of the relative sensitiveness may be gained. With all precaution the beginner can only expect to make several failures, and to gain certainty in timing exposures only by experience, as the differences of density of various negatives can only be gauged by an experienced THE CARBON PROCESSES 201 eye, and the only method of proceeding at first is to try several different exposures till the right one is hit. Fortun- ately there is very considerable latitude in the exposure permissible, error being corrected during development. It is thus possible with some practice to expose with as much certainty as in the case of ordinary sensitised paper. The Development This is performed by the aid of cold and hot water only. The apparatus necessary consists of several dishes either of zinc or porcelain large enough to hold quite comfort- ably the tissue to be developed, a “squeegee ” a couple of inches longer than the breadth of the broadest print, a smooth board or sheet of zinc somewhat larger than the largest piece of tissue to be developed, and some “ single transfer paper.” This is white paper, coated on its surface with insoluble gelatine. Four baths should be used, although it is possible to do with only three, by using the first for both cold and hot water ; I shall assume, however, that four dishes are used, and shall number them 1, 2, 3, and 4. Nos. 1 and 2 should be large enough and deep enough to permit of the free manipulation of several sheets of paper in each. Into dish No. 1 is poured cold water, dish No. 2 is filled with water at from 100° F. to 110°. In No. 3 cold water, and in No. 4 a saturated solution of common alum. Into dish No. 1 is placed a piece of single transfer paper face upwards, and after a few minutes a piece of exposed tissue face downwards. The latter will at first curl face inwards, but after a minute or so it will begin to straighten itself out. Whenever it has become quite flat, or a little before, the two pieces of paper (the single transfer paper and the tissue) are pulled out of the water together. They are laid, transfer paper downwards, on the piece of smooth board or zinc, and the squeegee is applied vigorously to the back of the tissue. The two pieces together are then placed aside with a couple of sheets of blotting-paper below them 202 THE CARBON PROCESSES and another couple above. Further sheets of single transfer paper and of tissue are similarly treated till there is a pile between blotting sheets of perhaps a dozen exposed prints. If it be desired to develop only one or two prints for a trial, they should be left for quarter of an hour or twenty minutes before the next operation begins. If a dozen or so have been squeegeed down, the first will be ready for development by the time the last is added to the pile, and the pile may be turned upside down, so that the first will be at the top. The first print squeegeed down is now placed in the warm water. After it has been there for a few seconds, a little of the pigment will be observed to exude from between the two sheets of paper. Whenever this appear- ance becomes pronounced, the two are separated by the fingers at one corner, and the paper which originally sup- ported the tissue is drawn away, and is thrown on one side. Some warm water is now at once dashed by the hand on to the face of the print. The still soluble gelatine and pigment are washed away, and gradually the image shows itself, at first dimly and buried in pigment, by degrees becoming clearer as the high lights become purer. If the exposure has been correct, the development will occupy three or four minutes. It may be performed much more rapidly, but this is by no means desirable. Indeed, many good operators prefer to take a much longer time than that mentioned, contending that the slower the development, the more perfect the gradation of the tone. It is at any rate inadvisable to hurry the development in any way unless the picture is over-exposed. Development should be continued till the picture is just a shade lighter than it is finally required to be, because it gains a trifle in drying as already mentioned. Whenever it is considered that the picture is suffici- ently developed, it is placed in dish No. 3, which contains cold water. It is quite possible, after a little practice, to have THE CARBON PROCESSES 203 several prints in the developing bath at one time if they be not very large. The lowest one is constantly lifted to the top, and if it appear to be behind the others is treated by dashing water on its face so as to bring it up. Fixing the Print The object of fixing is merely, as in the case of the powder process, to get rid of any trace of the orange or yellow colour of the bichromate of potassium which may remain. The alum bath effects this object ; besides this, it has the effect of completely hardening the gelatine which forms the image, thereby making it less liable to injury from dampness, etc. The prints are allowed to remain in the alum solution till the last trace of yellow colour has disappeared. They are then washed, to get rid of the alum, and are hung up to dry. When dry they are finished. Under and Over Exposure It is possible, in the carbon process, to compensate con- siderably for errors in exposure by varying the develop- ment. The indication of under - exposure is that the print is too light, and is wanting in details of the high lights if no attempt be made to compensate the shortness of ex- posure. If it be observed that the picture is developing too quickly, it should at once be placed in cold water, whilst a bath of water of a temperature of only about 95° F. is prepared. And in this the development is con- tinued. It is very difficult to compensate for any but a very small error of exposure on the under-exposed side if the error be detected only after development has begun. Yery often, however, the discovery that one print has been under-exposed is an indication that a number of others suffer from the same defect. In this case a good deal may be done by beginning development at 95° F., and pro- ceeding very cautiously. 204 THE CARBON PROCESSES Over-exposure is more readily treated. The results of it are impurity of the high lights and heaviness in the shadows. In fact, the picture generally is too dark. In this case the temperature of the water should be raised somewhat, say to 120° F., and plenty of time should be given. It is better to allow a long time to reduce the depth of the print at a moderate temperature than to try to force the development with hot water, except in certain cases. These are where the negative is rather thin, and the prints, when nominally exposed, tend to give an image slightly lacking in contrast. The use of water up to 150° is admissible in such a case, but the writer prefers to keep the temperature not higher than 120° F., and to add a little ammonia — enough to make the water smell strongly — to the bath. If very hot water or warm water, with an addition of ammonia, be used to develop prints from a fairly dense negative, which have been very much over-exposed, the result will be hard prints. The Continuing Action of Light The curious action to which the above title has been given must never be left out of consideration in working the carbon process. By it is meant that, after the print has been taken from the frames, even if it be kept in absolute darkness, the action continues, so that it is possible, by giving a short exposure and keeping the prints for some time, to get proofs quite dark enough. Foxlee has shown that the action does not take place in an atmosphere that is quite free from moisture, and the fact that the amount of continuating action varies with the dampness of the air makes it difficult to take advantage of the action to shorten exposures, as it is never known precisely how long keeping will be necessary to compensate for a given shortness of exposure. Advantage has, how- ever, at times been taken of the continuating action. Abney says, an d as the re ^ e ^ °f print shrinks in drying by about ten times, this involves in the mould a relief of only about of an inch, 1 which is one that is not difficult to get if due precautions be taken. It will be evident that it is necessary to begin upon a film at least as thick as the relief required, and that initial thickness of film being sufficient, the depth or height of relief will be greater the greater the contrast in the nega- tive, and the less the amount of pigment in the film. Indeed the pigment may be left out altogether when a negative of only moderate density has to be worked with. From a “thin” negative no tolerable Woodbury-type need be expected. If it is necessary to work from such, a negative of great contrast must be got by taking a trans- parency from the thin negative on a slow plate, intensifying it, taking a negative from it, and if necessary intensifying this latter also. I shall suppose that a negative well suited to Woodbury- type work has been selected, — that is to say, one in which the gradation is good, but in which the extreme contrast between high light and shadow is somewhat more than would be considered desirable for the production of a silver print. The following formula, which is taken from the Photo- graphic News , will be found to give satisfactory results : — Preparing the Sensitive Tissue Nelson’s transparent sheet gelatine Sugar ..... ounces 1 ounce Glycerine 100 grains 1 Photographic News , September 14, 1883. 256 PHOTO-MECHANICAL PRINTING PROCESSES Phenol .... Indian ink Ammonia (strongest) . Bichromate of ammonium . Water . 300 grains 12 ounces 2 minims 2 grains 60 minims The gelatine is set to soak in about 10 ounces of the water. The Indian ink is dissolved in the remainder. The gelatine being thoroughly soaked is melted by the aid of heat, and to the solution are added the sugar, gly- cerine, phenol, and ammonia. The Indian ink and water are then added, and lastly, the bichromate of ammonium is stirred in, in a fine state of powder. Sheets of patent plate of the size of print desired, or rather larger, are pre- pared by thoroughly cleaning them, rubbing one side with French chalk, and coating it with a film of plain collodion, which is allowed to dry spontaneously. The plates and the solution being now ready, the former are warmed and are carefully levelled, the latter is raised to a temperature of about 140° F., and a measured quantity is poured on to each plate, and is carefully spread over it. About J ounce for each quarter plate (4J x 3J) will be found right, say 5 ounces per square foot. This film is comparatively very thick, and some special means have to be taken to dry it rapidly, otherwise it would be spoiled before the water was driven from it. The method used in drying Woodbury-type films is always one in which slightly heated air is caused to circulate first over dried chloride of calcium, then over the films. The chloride of calcium absorbs all (or practically all) the water from the air, which then very greedily absorbs the water in the films. Various forms of drying box have been designed for effecting the desired end. The illustration we give is taken from the Photographic News. It shows a box which will answer the purpose as well as any other. The films are ready to be placed in the box whenever the gelatine has set. I should have mentioned that all operations up to the point where the films are dry may be carried on in moderate_ daylight ; when they are dry, they PHOTO-MECHANICAL PRINTING PROCESSES 257 must be at least as carefully guarded from light as a sheet of sensitised-albumenised paper is. The chloride of calcium is used in small fragments, which should be dried just before they are required by heating them over a bright fire in an iron sand-pan or on A a shovel. The same chloride of calcium will serve an indefinite number of times if it be always dried before it is used. A thermometer should be used and the temperature should be raised to about 80° F. ; but should never, on any account, be allowed to exceed 85°. When the films are dry, they are separated from the glass by the aid of a penknife. They are best used at once, or within a day or two at the outside. Till they are put in the printing-frames, they must be carefully protected from damp by wrapping them up in tinfoil. The Exposure The quality of negative suitable for use to produce a Woodbury-type relief has already been described. It should have a “ safe edge ” run round it as in the case of carbon printing. The film is placed in the frame collodionised side next the negative, and a piece of tinfoil or a plate of glass is s 258 PHOTO-MECHANICAL PRINTING PROCESSES placed on the back of it to protect it from moisture. For the means of determining the length of exposure, I must refer the operator to the chapters on carbon printing. An actino- meter must be used with the Woodbury tissue as with carbon tissue, but the exposure must be somewhat longer, even after allowing for the unusually dense negative that is recommended. It is, however, rather an advantage than otherwise to print in full sunshine, the plane of the nega- tive being kept at right angles to the direction of the sun’s rays ; in such a case the exposure need not be very protracted. The image is visible if but little or no pig- ment be used, but it is not advisable to open the frame to examine it, lest the tissue be attacked by damp, which may have the effect of rendering it insoluble even in hot water, and therefore undevelopable. Development of the Image The exposure over the film is ready for development, which is performed in the same way as that of a carbon print, but takes a much longer time on account of the excessive thickness of the film. It is necessary to attach the tissue to some rigid support during development, to prevent it from collapsing altogether. There is nothing better for a support than glass, and . no better substance for fixing the tissue to the glass than rubber dissolved in benzine. The thick rubber solution, which is sold in tins, may be used, being thinned down with benzine or benzole, so that it will flow like collodion. The benzine should be as pure as it can be procured. Gum, or, if it be preferred, para, which is a very pure form of rubber, may be dissolved in benzole in such quantity — perhaps about 5 grains to the ounce — as will result in a liquid of the consistency mentioned. Glass plates are flowed with the solution as with col- lodion, but as little excess is poured off as possible, the plates being levelled till the rubber has set or assumed a “tacking” consistency, which may take an hour or two. A film is now brought into contact with a rubber-coated PHOTO-MECHANICAL PRINTING PROCESSES 259 plate by bringing the collodion side of the former into contact with the latter, care being taken to avoid air bubbles by bringing one edge of the film first in contact with the plate if the size be small, a line from one corner to another opposite if it be large. Pressure is now exerted to bring about close contact. If a rolling machine with rubber rollers be at hand, such as an ordinary wringing machine, it may be used, or a machine with metal rollers may be used by placing a thick sheet of rubber below the plate and another over the image to prevent breakage. The development is performed solely with hot water, and must proceed spontaneously, patience being the great thing necessary. Some means must be arranged for keep- ing the plate under water in a vertical plane. Nothing is better for this than a metal -grooved box, in which a number of plates can be developed at one time. At first the temperature should not exceed 110° F., or, perhaps still better, 105°, and the water should be changed fre- quently. When the bichromate salts have all been dissolved away, the water coming off quite colourless, the temperature may be raised till eventually it reaches as high perhaps as 150°, or even 160°. As already stated, time must be allowed, the development is seldom complete in less than two hours, and may take as long as two days. The progress of the action may be observed from time to time by removing the glass bearing the image from the water. It will be readily enough seen if there be pigment in the film, as the image should then appear as a perfect transparency. If there be none, the effect is best judged of by passing the finger over the film, when the relief can be judged of. A relief without pigment has by no means a very promising appearance, but this need by no means discourage the operator. Development should be continued when the parts of the film representing the high lights are dissolved away all but to the collodion. By this time, if the exposure have been right, the whole of the surface should be covered with modelling, but the highest relief should still represent the whole thickness of the film or nearly this, — that is to 260 PHOTO-MECHANICAL PRINTING PROCESSES say, but little gelatine should have been washed from the parts which represent the shadows of the print. If the exposure has been too long, great parts of the film will show the original surface, no gelatine having been washed from it at all, and prints with heavy dark shadows will result. If, on the other hand, the exposure has been too short, the whole thickness of the film will be so reduced that the relief will be but slight, and only weak, poor prints can be expected. Probably over-exposure might be compensated for to a certain extent by adding a little ammonia to the developing water, as is sometimes done in the case of over-exposed carbon prints. When it is judged that development is complete, the plate is rinsed for a few minutes in a stream of cold water. It is then placed for ten minutes in a 4 per cent solution of chrome alum to render it as little likely to be sub- sequently attacked by moisture as possible. It is then once more washed in cold, or tepid, water to get rid of the chrome alum, is allowed to drain till it has become surface-dry — till all drops of moisture have run from it that is to say — and is placed in a dish of methylated spirits to remain there for an hour. It is then allowed to dry like a dry-plate negative. When the film is quite dry, it is removed from the glass by inserting the point of a penknife under one corner and gently dragging it away. The rubber comes with it, but may be removed by laying the film on a flat surface and rubbing with the tips of the fingers. The rubber is thus rolled off in little balls. Any pin-holes in the negative or accidental marks which would print dark in the final print will show as projections on the gelatine relief, and may be removed by a strip of glass broken square across. A skil- ful Woodbury printer may, in this way, do much to improve a relief, but the beginner should confine himself to the removal of such sharp projections as will result, if left, in small dark spots. The relief having reached the stage indicated is ready to be used for the production of moulds in lead ; but “ it is not desirable to make immediate use of the relief, as it PHOTO-MECHANICAL PRINTING PROCESSES 261 continues to contract slowly for some hours after its removal from the glass plate ; and until it has attained its normal condition of equilibrium, it is liable to break up under the influence of pressure.” The most convenient method of storing away the reliefs is to make up books out of envelopes ; the open sides of the envelopes being directed inwards towards the back of the book. This arrangement affords great facilities for indexing the subject. 1 Production of Lead Moulds from JVoodbury Reliefs For the production of lead moulds from Woodbury reliefs all that is necessary is a machine for pressing the relief down on to the lead with sufficient pressure to drive the hard gelatine into the substance of the metal. But this “ all ” is something very considerable, as the pressure required is much greater than might be imagined — is, in fact, something enormous. It requires a pressure of nearly 4 tons per square inch of the surface of the relief, — that is to say, about 50 tons for a quarter plate, 200 tons for a whole plate ; the latter size being about the largest com- monly worked, chiefly on account of the great pressures required for larger sizes. Fortunately the manufacture of hydraulic presses for giving great pressures has now been brought to great per- fection ; the presses, moreover, being remarkably compact, and, considering the very great pressures given by them, very light. The length of stroke required for producing Woodbury moulds is also, fortunately, very small. A press, to give the greater of the two pressures mentioned (200 tons), may be purchased from Tangye Brothers, of Queen Victoria Street, London, for about £50. In addition to the press, a plate of steel is required to receive the relief. This may, with advantage, be an inch thick, or nearly so, and must be planed and scraped up as true as a surface-plate on its upper side. It has then fixed to it bars of steel, to prevent the lead from spreading at 1 Photographic News , March 21, 1884. 262 PHOTO-MECHANICAL PRINTING PROCESSES the edges when the pressure comes down ; the bars enclos- ing a sort of trough a little larger than the relief. The annexed cut will serve to illustrate the matter. A is the steel plate, B, B, B, B are the steel bars, which may be \ x | inch in section, slightly bevelled away at the inner edge as shown. They are fixed with set screws. C is the \© © B © ©/ © © © A © B B © © /© © B © ©\ lead plate, polished on its lower side, and smooth on both sides. The platen of the machine is made just to fit within the bars B, B, B, B, so that when it comes down it cuts off the edges of the lead plates. The relief is placed on the plate A, the lead plate is placed in position as shown, one or more thicknesses of millboard are placed on the top of it, the platen is brought down with full pressure, and when it has been raised and the lead is removed, it will be found that a perfect mould has been produced, and then may be multiplied almost indefinitely. The best moulds are produced when the relief is laid PHOTO-MECHANICAL PRINTING PROCESSES 263 with the collodionised side next to the steel plate ; but if all the steps of the process be followed, it will be seen that the result is a reversed print. If this be objectionable two courses may be followed. In the first instance a reversed negative may be produced. As the ordinary run of negatives are too thin for good Woodbury-type work, and as it would be objectionable to intensify them, thereby destroying them for ordinary work, it is very often advis- able to reproduce the negative, getting one showing greater contrast than the original as already described. If this be done, the opportunity should always be taken to reverse the reproduced negative, by taking either the transparency from the original negative or the reproduced negative from the transparency in the camera ; whichever is done, the plate photographed from being turned with its film away from the camera. If this be not done, the relief must be laid on the steel plate, with the collodion side uppermost, and the first few moulds must be rejected. Those following will be to all intents as sharp as if produced with the collodionised side downwards. The printing from a Woodbury mould is performed in the same way as that from a Stannotype relief, and is described in the next chapter, which treats of the latter process. CHAPTER XXXIV photo-mechanical printing processes — Continued Stannotype General Principles . — The reader of the last chapter will have perceived that the necessity for a hydraulic press in working the Woodbury-type process is quite enough to pre- vent it from becoming popular, in the sense of being worked by a number of photographers producing only on a small scale, or by amateurs. The object of the invention of the Stannotype process (also by Woodbury) was to do away with the necessity for the press. A consideration of the principles of the Woodbury process will make it evident that w r ere the gelatine relief produced from a positive, in place of from a negative, and could this relief itself be used as a mould for the direct production of prints, nothing further would be required. Now the only objection to the use of the gelatine relief itself as a mould is that the direct contact of the ink or pigment used in printing — which consists merely of gelatine and colouring matter in water — would destroy it, by reason of wetting it. This difficulty was overcome by Woodbury by the expedient, which appears as one that would be adopted as a matter of course after it has been explained, of protecting the relief by a sheet of tinfoil pressed into close contact with it. The Transparency As has already been said, the relief to be printed from PHOTO-MECHANICAL PRINTING PROCESSES 265 direct must be produced from a transparency, or dia-positive, in place of from a negative. This transparency may be made by any of the well-known processes for making transparencies. The same characteristics are required as for a negative for the Woodbury-type process — namely, a great range of density. Moreover, if a reversed print be not admissible, the transparency must be reversed. It must therefore, unless the negative is a reversed one, be prepared in the camera, or by single transfer in carbon. The last-mentioned process is the most commonly used — a carbon transparency being produced and being intensified with permanganate of potash, as already described in the chapters on carbon printing. Probably gelatino-chloride plates would give very good results. In whatever way the transparency is produced, it is necessary that it should have an edging of clear glass, and also that the highest lights should be quite clear. The edging may be J to T 3 ¥ inch in width. If the high lights be not quite clear, the high lights of the final prints will not be clear either ; or, to speak more precisely, if the high lights be not as transparent as the edging, they will not print white. If both have a slight tint of the same depth no ill will result. The Relief or Mould A suitable transparency having been produced, a relief is made from it in precisely the same manner as that described for the production of a Woodbury-type relief. I should perhaps, however, explain that the method described for making the tissue or sensitive film is only one of many that are in use. For example, the film may be first dried without the addition of bichromate, which may be afterwards added by sensitising in a 6 per cent solution of that salt. The tissue may be prepared by thoroughly wetting a piece of paper, laying it on glass, running the gelatinous solution on the paper, stripping the two together from the glass, hang- ing them up to dry in an ordinary room, and afterwards sensitising. I believe Woodbury himself used shallow glass 266 PHOTO-MECHANICAL PRINTING PROCESSES dishes which he slightly greased, into which he ran the gelatine solution. He allowed this to dry, then brought a piece of damp paper into contact with the upper surface. The paper adhered, the thick film of gelatine was drawn by it from the mould, the paper quickly dried, when the result- ing Hissue was sensitised in a solution of bichromate of potash and dried. Of course, when paper is used as a support, the side remote from the paper is brought into contact with the negative, that side is afterwards attached to glass either by india-rubber solution, as already described, or by coating the glass with gelatine containing a very small quantity of bichromate in solution and drying the film in sunlight. In the latter case the tissue is attached to the coated plate by bringing the surface of the former and the coated surface of the latter into contact under water, removing them to- gether, and leaving them for some time under pressure. These operations will be found fully explained in the chapters on the carbon process. When paper is used as a support, it will, of course, detach itself from the tissue as soon as development begins. The tissue having been prepared by any of the methods described, exposed, developed, and dried, is allowed to remain on the glass plate, which should be thick and quite flat. It is now only necessary to coat the surface with tin- foil when the mould is ready to be printed from. If only a few impressions — say a hundred or two — are required, ordinary tinfoil will serve the purpose ; but if a great number be needed, steel-faced foil made specially for Stannotype work should be used. A piece of the foil a little larger than the relief is exam- ined by holding it in front of a light to see if there are any pin-holes. If there are any it must be rejected, as the smallest pin-hole would allow the gelatine under the tissue to get wet, and would, if it led to no worse result, produce a white spot on each print from the swelling of the gelatine. PHOTO-MECHANICAL PRINTING PROCESSES 267 The tinfoil is laid out on a piece of glass, and is flattened with a velvet hat-brush or a piece of velvet stretched over the ball of the thumb. The relief is then prepared in the following way: — The edging, which is in high relief, is coated with a thick solution of rubber in benzine or in chloroform. When this is set, the whole surface is flowed with a thin solution of rubber, in the manner usual with collodion. The best rubber to use is gum para, and a good strength of solution is 2 grains to the ounce. Pure benzine will do very well as a solvent, but chloroform is preferred by some. 1 Whenever this film has set the sheet of tinfoil is brought carefully down on to the surface of the rubber, it is smoothed into rough contact with the velvet brush, and then is brought into intimate contact by passing the plate bearing the mould and the tinfoil sheet between two rubber rolls, the ordinary domestic wringing machine serving every pur- pose. The rolls are opened, the plate is inserted, and the rolls are closed across the middle of it. They are then worked first one way then the other for two or three times, when the mould may be looked upon as complete. Before printing from it, it is carefully oiled with a rag dipped in olive oil, which has been thinned down by the addition of about an equal quantity of thin paraffin oil. Printing from Woodbury and Stannotype Reliefs As has already been said, the process of printing from a relief is in fact a process of casting. Into the relief or mould a certan portion of a solution of gelatine and pig- ment is poured, paper is placed over this, by pressure the excess of pigmented gelatine solution is squeezed out, and what remains is allowed to set. It adheres to the paper and comes out a perfect casting of the mould, showing relief, and, as a secondary consequence of this relief, gradation of colour. The first essential for printing from reliefs is a suitable 1 See an excellent series of articles on Stannotype running through the British Journal of Photography for 1884. 268 PHOTO-MECHANICAL PRINTING PROCESSES paper, one that is with a perfectly smooth surface. To begin with, a good paper of even texture is selected, such as Rines’s photographic paper. This is then treated with a “ lac ” or sort of varnish which is made up as follows : — “ 4 ounces of borax and an ounce of carbonate of soda are dissolved in 3 pints of water. The solution is heated to the boiling-point, and a pound of white shellac is added, the boiling being continued till the whole is dissolved. When cold, the liquor is made up to its original volume, and a little carmine is added to give it a faint tint ; this being an advantage, as it renders it easy to distinguish the coated side of the paper.” The coating is then performed in the following manner : — “ The room in which the coating of the paper is carried on should be kept warm ; it is not desirable that the tem- perature fall below 90° F. The solution is filtered into a tolerably deep dish, this being inclined a little so as to give an increased depth of liquid in that part of the dish next the front edge of the table. Two sheets of paper are now taken and are held by opposite corners, so as to keep two edges in close contact, and this double edge is quickly immersed in the shallow part of the dish, after which the two sheets are rapidly drawn forward and brought out of the solution at the deep edge of the dish. The sheets adhere at the edges, but the liquid does not penetrate more than an eighth of an inch from the borders. The double sheets are now pinned up to dry, when they are separated, the most convenient course being to cut off a slip one-eighth of an inch from one edge and then to use a paper-knife. . . . Still another coating is required. ... A kind of emulsion of gelatine and resinous matter is made by dis- solving 1 part of gum benzine in 10 parts of alcohol. After the solution has been filtered, it is mixed with a warm solution of 1 part of gelatine and 9 parts of water, care being taken that violent agitation accompanies the mixing. The milky fluid is applied to the surface of the lac-coated paper by means of a soft cloth, it being sufficient to thoroughly moisten the surface.” 1 1 Photographic News , April 10, 1884. PHOTO-MECHANICAL PRINTING PROCESSES 269 The paper after it has dried requires now to be carefully rolled by passing a set of alternate sheets of paper and thin polished steel plates through a powerful rolling press. The paper, after it has been prepared as described, must be handled with the greatest care, as the smallest roughness produced by crumpling it will show as a blemish in the finished print. The next necessity for printing is a press. This is a comparatively simple piece of machinery. In fact, any press working with a platen which will give a moderate pressure, is applicable for Woodbury printing, but the press specially designed for the work and illustrated here will be found the most convenient. It will be seen that the press has something of the form of an ordinary letter copying press, but that the bow or arch is hinged at one end, so that it, with the platen, can be raised up. There are also three nuts on the screw. The object of these three nuts is to obtain (lj adjustment of distance between the bed of the press and the platen — in which latter is inserted a thick sheet of plate glass — for different thicknesses of mould ; (2) adjustment of angle of the platen in case of want of parallelism between the two faces of the mould ; and (3) adjustment of pressure to a desired amount, which can then be repeated by simply lowering the arch. 270 PHOTO-MECHANICAL PRINTING PROCESSES The mould is placed on the bed of the press, a piece of wet cardboard being placed under it to prevent breakage if it be a Stannotype mould. The three screws are loosened and the platen is allowed to come down on the relief. The screw immediately below the arch is now screwed upwards with some force. This applies the pressure. The top screw is now tightly screwed down. This connects the screw rigidly with the arch of the press. The lower screw, which clamps the ball -and -socket -joint connecting the screw with the platen, is now firmly turned home, when the platen is found to be rigidly connected with the arch, so that it will always come down with the latter to precisely the same position. The ink or pigment has next to be considered. This is, as has already been said, simply gelatine, water, and colour- ing matter. A hard gelatine should be selected. Heinrich’s gelatine for emulsion work will be found very suitable, and 1 part of this is dissolved in 5 parts of water. The amount of colouring matter required can only be discovered by experiment as it varies with the depth of the mould, being less the deeper the mould. As a rule Indian ink forms the body of the colour, and tone is given with carmine or some such colour. To save the trouble of grinding the ink, the liquid form sold by colourmen may be used, or “ colour for carbon printing ” may be obtained ready mixed to the required tint and tone from Newman, 24 Soho Square, London, W. A first trial may be made with so little colour in the ink that a drop of the com- pound on a sheet of glass is still somewhat transparent. George Smith, who is an authority on Woodbury-type printing, uses, for producing lantern slides by the process, a “ lamp-brown,” got by collecting the smoke from the tip of the flame of a small lamp burning benzine. The colour is very rich, and has the advantage of undoubted perman- ence, whereas, if carmine be used to give tone to lamp-black, the redness of the colour may fade through time, leaving black only. He also adds a little bichloride of mercury to the ink which prevents the gelatine from decomposing or becoming mouldy. PHOTO-MECHANICAL PRINTING PROCESSES 271 The jelly, consisting of 1 part gelatine, 5 parts water, will work well in summer, but may be found too stiff in winter. In this case more water is added and also more pigment. All being now ready for printing, and the mould having been oiled with the oily cloth already mentioned, the arch and platen of the press are lifted, enough ink is poured into the mould to form a pool of about half the diameter of the picture, a sheet of paper is carefully laid on it, some- what as a sheet of albumenised paper is laid on the silver bath, the platen is brought down, and the whole is left for a few minutes to allow the gelatine to melt. The print is then removed and is examined to find if the ink has been rightly compounded and if the press is properly adjusted. If the edges are not white, it shows that the pressure is not sufficient, or that the jelly is too strong. The pressure should be readjusted, screwing the screw immediately under the arch more tightly up than before. If the same defect still shows, the ink must be diluted with water. If the impression is generally too light, it shows that more colour- ing matter is requred in the ink. If the impression shows clear margins, but is generally too dark, it shows that there is too much colouring matter in the ink, and it must be diluted with jelly containing no colouring matter. Any of these points which require it having been adjusted, printing may proceed regularly. The oily cloth is wiped over the mould after each impression has been taken. The speed of printing is limited by the time required for the gelatine to set. When large numbers of prints are required, a number of moulds and presses are used, these being filled and emptied in succession. The thick edging of ink that adheres to the prints is removed with a spatula, and is kept for future use, as is also the ink that finds its way into the grove around the platen of the press. The prints are com- monly treated by immersion for five minutes in a 3 per cent solution of common alum before they are dried, so as to render them insoluble, and therefore less liable to be attacked by damp. After they have passed the alum bath, they are rinsed in water and are allowed to dry spon- 272 PHOTO-MECHANICAL PRINTING PROCESSES taneously. They are improved by heavy rolling after they are dry. The only drawback of the Woodbury-type and Stannotype processes is that it is not possible to get large surfaces of pure white, or of an even very light tint, and specially is this difficult at or near the margin of the picture. For this reason vignettes cannot be printed by these processes. CHAPTER XXXV PHOTO-MECHANICAL PRINTING PROCESSES — Continued Photo-Lithography General Principles. — The photographer, who has no know- ledge of ordinary lithography, can scarcely expect to be able to work photo-lithography, unless he call in the assistance of a skilled lithographer. To give full instructions in lithography would be quite out of place here. Indeed, it would involve a complete treatise quite as long as this whole book. I shall, how- ever, explain very briefly the manipulations of the simplest lithographic work, and refer the photographer to an excel- lent manual on lithography for further aid — namely, The Grammar of Lithography . 1 The principles on which the process of lithography depend have been very briefly explained in the introduc- tory chapters. The following are, briefly explained, the actual manipulations : — On a lithographic stone (which is a slab of a particularly homogeneous limestone found in certain parts of Germany, carefully ground on one surface) a drawing is made, or writing, etc., is done with an ink which consists essentially of grease dissolved in water by the aid of soap, which latter has the effect of rendering oily substances soluble in water. 1 The Grammar of Lithography , a practical guide for the artist and printer, by W. D. Richmond. London : Wyman and Sons, Great Queen Street, Lincolns Inn Fields, W.C., 1880. T 274 PHOTO-MECHANICAL PRINTING PROCESSES The ink contains black colour merely for the purpose of making the marking on the stone quite clear, and of enabling the draughtsman to see what he is doing. The designs must be reversed. The surface of the stone is now treated with very weak nitric acid to etch it as is said. The pro- cess is, however, not in reality an etching one — or rather, although the acid does very slightly etch or eat into the stone, this etching is not apparently the really useful func- tion of the acid. What it further does, and what is its essential function, is to neutralise the alkalinity of the soap, which in reality amounts to decomposing it. Soap consists of a combination of oil and alkali, the alkali being in excess, so that a certain quantity more of grease can be dissolved, or perhaps it would be more strictly correct to say emul- sified in a solution of the soap. When, however, the alkali is neutralised, the oil of the soap itself, and also any oil or grease that may be emulsified in it, are deposited. The application of the acid to the stone then releases the oil and grease, which sink into the substance of the stone, so that no amount of washing will eradicate it. Besides fluid ink crayons or “ chalks” may be used for drawing on the stone. These may be looked upon really as solidified ink. The stone having been etched is “gummed,” — that is to say, is washed over with a thick solution of gum-arabic in water. The precise action of the gum seems scarcely to be under- stood, but it is essential to the efficient working of the process. The gum “ takes ” on the parts of the stone where no ink has been, and appears almost to form a com- bination with the line. At any rate it cannot be washed out of it again with water. Zinc may be used in place of stone, the surface of the plate being, as a rule, previously grained with sand, and the gum solution being replaced by a mixture of gum, nut- gall extract, and phosphoric acid. Whether stone or zinc be used, the printing is performed in the following manner : — The surface is damped and is “ inked up ” by a roller which has been inked on a slab, on which is spread a film of lithographic printing ink This ink consists essentially PHOTO-MECHANICAL PRINTING PROCESSES 275 of a mixture of colour (generally lamp-black), with “ var- nish, ” the varnish consisting simply of linseed oil thickened with heat. The ink “ takes ” only on the parts that have been drawn upon, and when a sheet of paper is brought to bear on the surface with sufficient pressure, the ink is taken up by the paper, giving a perfect impression. The operations of damping, inking up, and printing may be repeated in- definitely. The machine used for printing is a very simple one, and as it is the same as is used for printing photo-lithographic 276 PHOTO-MECHANICAL PRINTING PROCESSES transfers, and may be used for collotype work (to be treated of hereafter), an illustration of it is given. Here E is the bed on which the stone is laid. This bed can travel from end to end of the frame, A, A, being caused so to do by turning the handle H. In travelling it passes under the “ scraper box ” C, which contains the scraper. This latter is simply a strip of box- wood, the length of the scraper box 3 or 4 inches deep and about 1 inch thick, faced on its lower edge with a strip of leather. In printing, the bed is caused to travel under the scraper, being pressed upwards by a mechanical contrivance actu- ated by the lever J. This causes the scraper to rub the back of the paper, which is placed on the stone with an even pressure. F is the tympan frame, whose function is merely to hold a stretched piece of leather or thin sheet metal to be inter posed between the paper and the scraper, so as to protect the former from being torn or otherwise damaged. Lithographic Transfers It has already been said that if drawing or writing be done directly on the stone it must be reversed. To obviate the necessity of writing, etc., in a reverse direction — a thing requiring some practice — the transfer method is used. Paper is coated with gelatine, gum, or starch, or mixtures of these, and of various other substances. Almost any substance which can be drawn on with lithographic ink, into which such ink will not soak, and which can be after- wards dissolved away by cold or warm water, will serve, the object being to interpose a soluble film, afterwards re- movable by the application of water, between the paper and the design in lithographic ink. The design being produced on the transfer paper, the latter is damped and is brought into contact with the stone, which may be dry, damp, warm, or cold according to the nature of the transfer paper and various other cir- cumstances. The stone or zinc plate and transfer paper PHOTO-MECHANICAL PRINTING PROCESSES 277 are now passed several times through the machine. The paper is removed by thoroughly damping it and treating it with warm water, and the composition is also washed away, leaving the design only on the stone, which is then etched, gummed, and printed from in the usual way. Transfers can also be taken from type work, woodcuts, etc., by taking impressions on these from transfer paper, and transferring these impressions to stone or zinc. Photographic Transfers from Line Subjects The principle on which photographic transfers from line subjects are made will now readily be understood if briefly described. Photographic transfer paper is prepared like ordinary transfer paper with gelatine, with sometimes additions of starch, gum, albumen, etc. It is, however, different from ordinary transfer paper, in that it is rendered sensitive by the addition of some bichromate of potassium or ammonium. The sensitive paper is exposed under a negative of a line subject, when the nature of that part of the surface affected by light is modified in a peculiar manner. If the exposed transfer paper be now rubbed all over with lithographic ink, this ink may subsequently be washed away from the portions which have not been acted upon by light, but adheres to those parts which have, so that an image in ink which may be transferred to stone is obtained. I give several formulae for composition wherewith to coat paper for photo-transfer films — No. 1. Pure gelatine .... 1 ounce Bichromate of potash . . . 1 ?? Water . . . . . 15 ounces The gelatine is soaked in 10 ounces of the water, the bichromate of potash is dissolved in the other 5 ounces. When the gelatine is thoroughly soaked it is melted with heat, and to the solution is added the bichromate solution. 278 PHOTO-MECHANICAL PRINTING PROCESSES This solution is poured into a dish at a temperature sufficiently high to keep it melted till as many sheets of paper as are required have been floated on it as described for albumenising paper (see Chapter YII. p. 60). The paper is dried in the dark, and is ready for use when dry. If it be preferred, the bichromate may be omitted ; and the tissue when dry may be sensitised on a 6 per cent solution of bichromate of potash. No. 2. The paper prepared with sensitive gelatine and dried is afterwards coated with the following solution : — Albumen . Ammonia (strongest) . Potassium bichromate Water 3 ounces 160 minims 160 grains 10 ounces The albumen is switched and filtered as for albumenis- ing paper (see Chapter YII.), but of course has no salt added to it. The potassium bichromate is added to the water, and the water and albumen are mixed. No. 3. Paper is coated with a simple solution of gelatine, which may be made of a strength of 10 per cent. This paper is, after the gelatine has set, treated by immersing it for ten minutes in a saturated solution of common alum. It is then washed in cold water, is dried, and is given a second coating of sensitive gelatine made up as by formula No. 1. The Negative . — Whichever formula is used, a negative has first to be prepared of the subject to be reproduced. This negative should show the lines quite clear, and the rest of the film very dense and opaque. Either wet plates or very slow dry plates will be found to be the best for producing such negatives. Exposure of the Sensitive Transfer . — The sensitive paper is exposed in the usual way. As the image is visible there need be no difficulty about this. The colour of the unex- posed paper is of course yellow on account of the presence PHOTO-MECHANICAL PRINTING PROCESSES 279 of the bichromate salt. In the case of the first two for- mulae the printing must be carried on till the lines assume a deep tawny colour. In the case of the third, the exposure is not carried so far, but is stopped when reaching what may be called a fawn colour. Inking and Development of the Transfer . — The transfer paper is developed in a slightly different manner according to the manner in which it is prepared. For either of the first two formulae it is necessary to cover the whole face of the paper with a thin film of transfer ink. The ink may be laid on with a sponge, the object always being to secure a very thin and even layer. The right thickness is indi- cated by the fact that the image is just visible through the ink but is no more than visible. The best way in which to get an even coating is probably to ink up the smooth face of a stone or metal plate with a lithographic roller, to place the face of the sensitive transfer in contact with this, and to pass the stone or plate through the press. The next part of the process consists in the removal of the ink from those parts of the transfer which have not been acted on by light. To effect this, if formula No. 1 has been used, the transfer is floated, inked side upwards, on a bath of water heated to about 100° F. After a time it will be seen that the surface stands in relief, the lines show- ing as depressions. The transfer is now removed, and is laid — still with the inked side upwards — on a stone or other convenient surface. Warm water is poured on to the surface, when, by the aid of very gentle sponging with a soft sponge, the ink will come away from all parts of the surface except those representing the lines. The applica- tion of the warm water is continued till all the gelatine is removed from the whole of the surface whence the ink has been washed. The sheet is then very thoroughly washed in several changes of cold water, and is hung up to dry, when it is ready for application to the stone. Some prefer to wash away the ink by the application of warm gum -water with a sponge, beginning to pour hot water on the surface only when the lines already stand clearly out. 280 PHOTO-MECHANICAL PRINTING PROCESSES If formula No. 2 has been used hot water is unnecessary, albumen being soluble in cold water. The process is just the same as that described, but cold, in place of hot, water is used. The paper is, that is to say, first floated, inked side upwards, on cold water, it is then laid on a stone, and the surface is washed with cold water. The proceeding in the case of formula No. 3 is quite different, the transfer being inked up in such a way that from the first the ink takes on the lines only. The name of Papyrotype has been given to this process. After exposure, the transfer is merely drawn through water. It is then squeegeed on to a lithographic stone or any other smooth surface, the edge next the operator being fixed to the surface by a little “cobbler’s wax” or any other convenient cement. A roller, which is either one covered with velvet or is of the composition of glue and treacle, or gelatine and glycerine, commonly used for making inking rollers for printing machines, is rolled on a slab, over which has been distributed very evenly an ink consisting of — Best lithographic chalk ink . . 4 parts Palm oil ..... 1 pint 1 The transfer is now carefully surface dried with blotting boards, and the roller is passed many times over it, working always away from the operator so as to keep the paper stretched. The lines gradually blacken, whilst the ink, if everything goes as it should, does not take on the rest of the surface at all. If the finest lines refuse to ink up, a thinner ink may be used till they do. Whenever the design is quite distinct in all its parts, the process may be considered as complete, and the transfer is hung up to dry. When dry the whole surface is exposed to light to render it insoluble. Transferring the Image to the Stone . — By whatever method the transfer is made, the image is transferred from it to the stone in the following manner : — The preparation of the stone is a regular piece of 1 Abney’s Instructions in Photography, p. 213. PHOTO-MECHANICAL PRINTING PROCESSES 281 ordinary lithographic work, which it is not proposed to describe here. It consists simply in obtaining a flat, polished surface by grinding, etc. The stone being ready to receive the transfer, the paper bearing the image is damped from the back. This may be done by laying it face downwards on a sheet of clean paper, whilst a damp sponge is worked over the back, or by first very evenly damping a piece of stout printing paper, laying this on the back of the transfer, a sheet of zinc or other waterproof material on the top of all, and leaving them together for some time. The stone is warmed either by placing it in front of a bright fire or by pouring hot water for some time on the face of it. In the latter case time must be allowed, after pouring the water on, for the heat of the stone to drive off the last of the surface moisture. The stone is now placed on the bed of the machine, care being taken to so adjust it, if necessary, by packing paper between it and the bed, that its surface is quite parallel with the edge of the scraper, and with the line of motion of the machine ; in other words, that the pressure of the scraper will be even over every part of it. The damp transfer paper is now laid on the stone, great care being taken that it does not move after the two surfaces have first touched. The tympan is brought down, and the bed of the machine is travelled under the scraper several times, the pressure of the latter on the back of the transfer paper being increased at each stroke by bearing more strongly on the lever. The scraper is now turned end for end in its box, and the bed is travelled several times more under considerable pressure. The back of the transfer paper is now liberally wetted with water, and after a little time it will be found that it can be removed, leaving the image on the stone. If cold water will not serve to render it removable, hot water may be used. Inking up the Impression . — Whenever the paper has been removed, the surface of the stone is wetted with gum-water applied with a sponge. The gum-water is simply a solution 282 PHOTO-MECHANICAL PRINTING PROCESSES of gum-arabic in water, and is made by allowing the gum to soak for several days in cold water. The precise strength of the solution is not of great consequence ; it is generally made up to a consistency something like that of olive oil. The stone is now allowed to cool, and is left till the gum is dry. The roller which is used for “ inking up ” in lithography is represented in the cut. It consists of a wooden roller with tapered handles at each end covered with flannel and then with calf- skin. It is held by the two leather handles shown in the cut, which allow it to revolve freely if desired, but permit, also of the application of a certain amount of drag by simply closing the hands on them. To get the roller into condition for work, the leather is saturated with olive oil or some grease that will not dry out, and is then rolled continuously for several days on a slab covered with lithographic varnish, the varnish, which adheres to the leather, being occasionally removed by scraping it off with a blunt knife. When a roller has to be laid on one side, after work, it is covered with tallow or lard, which is removed before work is begun again. The gum -water being quite dry on the stone, what remains on the surface is washed away with a damp cloth, the surface of the stone is evenly damped, and whilst it is damp, is inked up with ordinary lithographic ink, by pass- ing the roller first over a slab on which such ink has been very evenly distributed, and then over the surface of the stone, which surface must be kept quite damp during this time. Etching the Stone . — The etching is done with a very weak solution of nitric acid. No precise strength of solu- tion can be given. It is commonly directed to make the mixture of nitric acid and water “ about as strong as lemon juice,” but these directions can scarcely be considered as very definite. The following test may, however, be applied: — PHOTO-MECHANICAL PRINTING PROCESSES 283 A drop of the acid mixture is placed on the margin of the stone. If effervescence begins at once the acid is too strong. If there is no visible effervescence, even after some time, it is too weak. If a slight effervescence shows itself, after a few seconds, the strength may be considered as right. The acid is spread over the face of the stone with a sponge, is left on it for a few seconds, and is then removed with a damp cloth. Gum -water is once more applied, allowed to rest on the stone for some time, is wiped off, and then the stone is ready to be printed from. This operation cannot be described in all its detail here. It consists in damping the stone, inking up the image with the roller, applying paper, generally slightly damped, bring- ing down the tympan, and travelling the bed so that the scraper is brought to bear on the back of the paper, and removing the now complete print. These operations go on continuously, gum-water being applied to the stone if it be desired to interrupt the printing for even a little time. The inking of the stone is the part of the operation that requires most skill. To indicate the variations in result producible by variation in manner of rolling and in the extent to which the ink is thinned with “ varnish.” I quote from the Grammar of Lithography my reason for so doing being that what is said of inking a lithographic stone will, for the most part, apply also to collotype print- ing to be hereafter described. “ 1, Bearing heavily on the roller ‘feeds ’ the work more rapidly than bearing lightly on it. “ 2, Light pressure on the roller transfers but little ink to the stone, and also takes off some part of that which has been previously applied by heavy rolling. “ 3, Slow rolling produces similar results to heavy rolling. “ 4, Quick rolling produces similar effects to light rolling, consequently — “ 5, Slow and heavy rolling combined produce the maxi- mum feeding effect upon the work ; while 284 PHOTO-MECHANICAL PRINTING PROCESSES “ 6, Quick and light rolling combined has the greatest effect in clearing an over-inked job and making the work look sharp. “ A, Too little ink upon the roller will produce gray im- pressions under ordinary conditions of rolling. “ B, Too much ink will, on the contrary, give smutty proofs. “ C, Thin ink feeds the work very freely, and if too freely used will cause it to thicken and grow smutty. “D, Strong ink leaves the roller with difficulty and necessitates slow and laborious rolling.” Summing up — “ Slow heavy rolling with thin ink will produce the maxi- mum effect that can be obtained under similar conditions of temperature, and — “ Quick light rolling with strong ink will have the greatest possible tendency to bring the ink away from the stone.” Photo-Zincography The operations in zincography are very similar to those in lithography, a sheet of zinc from y 1 ^ to J inch in thick- ness being used in place of the stone, the surface being grained for direct writing or drawing, polished, as a rule, for transferring. The transfer is laid down precisely as directed for stone, after which it is etched with the following solution : — Decoction of nut-galls f pint Solution of gum (thickness of cream) \ „ Solution of phosphoric acid . . 3 drams The nut-gall decoction is made by steeping 1 ounce of bruised nut-galls in 1 pint of water for twenty-four hours. The solution of phosphoric acid is made by placing a number of sticks of phosphorus in a shallow bottle and pouring in water till the sticks are half -immersed, corking the bottle with a cork having a notch down one side to admit a little air, and leaving the bottle to stand for several PHOTO-MECHANICAL PRINTING PROCESSES 285 days. The water is then a weak solution of phosphoric acid, the thing desired. The same phosphorus may be used a number of times. This etching fluid is applied in the same way as is the weak acid to the stone. It is washed off and then the zinc plate is gummed in ; it is dried by the application of heat and we proceed as follows : — With a cloth moistened in turpentine, to each ounce of which a few drops of olive oil have been added, the surface of the plate is wiped till the image nearly disappears, care being taken to remove none of the gum. The ink roller is now applied, when, the surface being dry, the whole of it will be blackened. Whenever it is evenly black water is sprinkled on it and the rolling is continued, when the image begins to be cleared out again, the ink being rapidly removed from all parts which have not been impressed with transfer ink. Printing now goes on exactly as described in the case of a stone. Photo-Lithography in Half-Tone Strictly speaking, photo-lithography in half-tone is an impossibility, or at least a thing no means of doing which has as yet been discovered ; but it will readily be seen that if by any means a photograph in real half-tone is translated into a representation of half-tone by dots, cross-lines, stipple, or such-like, as we have it in various kinds of engravings, this could readily enough be reproduced by lithography, being, of course, transferred by the methods just described on to stone or zinc. There are various methods of producing grained inter- polation of half-tone, some of which are suitable to litho- graphy, whilst some, from the exceeding fineness of the grain, are not the result of an attempt to use them being a clogging of the impression. A special chapter will be devoted to the question of the different methods of obtaining grain applicable to litho- graphy, and here I shall only say that if a grained stone 286 PHOTO-MECHANICAL PRINTING PROCESSES be used in place of a polished stone, and an impression on transfer paper from a half-tone negative be transferred to it, an image will be the result, which, although very im- perfect as regards half-tone, may serve as a basis for hand- work. CHAPTER XXXYI photo-mechanical printing processes — Continued Collotype General Principles . — The name Collotype is now almost universally used in this country, and Lichtdriick in Germany, to designate the process of printing in greasy ink from a surface of gelatine. It has already been explained in the introductory chapters that if a film of bichromated gelatine be dried at a pretty high temperature, be exposed under a negative, be then washed in water and dried, it will, when treated in the same way as a lithographic stone, display similar properties, — will, that is to say, absorb water and refuse a greasy ink in certain places, whilst in others it refuses water, but subsequently takes ink. The portions which take water and not ink are those which have not been affected by light, whilst those which take ink readily are those which have been greatly affected by light. Between these two extremes is a complete gradation represented in reality by a reticulation or grain, but giving the impression, so fine is this reticulation, of a true half-tone. The close analogy between this process and that of lithography will be readily seen, and, in fact, it was in attempts to impress on lithographic stones images, which could be inked up like ordinary lithographic images, that collotype came first to be invented. Naturally one of the substances first applied to the surface of a stone in the 288 PHOTO-MECHANICAL PRINTING PROCESSES attempt to transfer an image to it was bichromated gelatine, and it was not for some considerable time that it was dis- covered that the stone in fact had nothing to do with the effect obtained further than inasmuch as it acted as a support for the gelatine film, and that other supports would do as well or better. The difficulty found in all the first attempts at collotype, or, as it was then generally called, photo-lithography, arose from the reason, that, after a few impressions had been taken, the film tore away from the support whether it were stone, a metal plate, or glass. The first real advance was made by Tessie de Motey, who used a copper-plate, the trichromate of potassium in place of the bichromate and a reducing agent. The copper in these circumstances had the effect of rendering the por- tion of the film in direct contact with it quite insoluble, and therefore making the adhesion very complete. This process, I thought, had become an affair of history only, having long passed out of use ; and was surprised, on recently visiting the works of Mr. Ernest Edwards of Brooklyn, New York, to see it in practical use. I am sorry that I cannot give precise formulae or instructions for working it, as it seems to be in Mr. Edwards’s hands a thoroughly practical working process. The copper -plates having the advantage over the glass plates now generally used of non-ability to breakage. In general use, the process of Tessie de Motey was soon superseded by that of Albert, in which a plate of glass was coated with a film of bichromated gelatine. When the film was dry, the plate was laid face downwards on a black surface, such as a piece of velvet, and was exposed to light. The light acting through the glass formed an insoluble sub- stratum which adhered very firmly to it and securely fixed to the plate a second coating of bichromated gelatine, to be afterwards exposed under a negative. This process is, I believe, still worked by some collotype printers ; but I believe that far the majority now use the process which is due to Husnik. In this process a plate of glass ground on one surface is used as the support, and PHOTO-MECHANICAL PRINTING PROCESSES 289 a mixture of water, glass, and albumen is used on this ground surface as a substratum for the final film. The principle adopted by Albert of exposure from the back of the glass is still made use of to a slight extent at the present day with Husnik’s process, as is also the discovery made long ago by Edwards, that the whole film might be acted on by alum to a certain extent, being thus toughened, and might yet be quite serviceable as a printing surface for greasy inks. Preparation of Collotype Plates The chief requirement for the preparation of collotype plates is a suitable arrangement for drying the films. These have to be dried at a temperature of 120° to 140° F. in some place where there is a free admission of air. Some dry over an arrangement of two cast-iron plates between which water is kept boiling, a shallow boiler in fact, the upper surface of which is fitted with three projections forming a tripod to hold each plate in a level position. If this arrangement be used, it is necessary to take precautions against dust by covering the plates with a framework having muslin stretched over it, or by some such plan. The water heater used in the open is much inferior to a drying box, much in the form of an oven, commonly used. In this latter arrangement the temperature may be adjusted to a nicety, whilst it is easy to guard against dust by stretching muslin over the air entrance passage. There are many forms of drying box with various means of heating them. I illustrate one overleaf. A is the body of the box, with air inlet B, outlet 0. D, D is a framework of iron with small projections carefully levelled, so that plates when placed on these will assume a horizontal position. The box is heated by a boiler E kept at the temperature necessary to heat the interior of the box to the desired degree by aid of the atmospheric burner F. A door G can be opened to place the plates in the box and u 290 PHOTO-MECHANICAL PRINTING PROCESSES to remove them. There must be a thermometer so arranged that, whilst the bulb is inside the box the index is outside, and can at any rate be read from the outside. Some appliance is necessary for filtering the sensitive compound, it is necessary to keep up the temperature to a certain degree during the whole of this process. A useful appliance is made for the purpose of filtering solu- tions which require to be kept hot. It consists of a funnel stand, with a hot- water jacket for the funnel. Such an arrangement may be used by the collotype printer ; but if he have a drying box, he can readily enough filter a gelatine solution by placing the funnel and receiving vessel in the box, or, indeed, he can keep the solution liquid by working in front of an ordinary open fire. The glass should be thick plate. For small sizes it need not be thicker than \ inch, but for large sizes it should be about f inch thick. The great essential is that it be perfectly flat. The production of a ground surface is so very simple that the photographer will probably prefer to produce it PHOTO-MECHANICAL PRINTING PROCESSES 291 himself when he requires it rather than to purchase it ready ground for him. Two plates of glass are taken, a little flower-emery and water are laid on the face of one, and the other is worked with a circular motion over it. The result in a very few minutes is a depolished surface. The chemical substances used for the films of the plates are all well known to the photographer, and the only one that calls for any particular mention is the gelatine. It will readily he believed that on the quality of this depends, in a great measure, the success or the reverse of the process. The qualities most desirable in a gelatine for collotype work are freedom from foreign bodies of any kind, and the property of withstanding long immersion in water, without either spontaneously becoming liquid, or absorb- ing a very great quantity of water. There are various gelatines in the market which are specially sold as suited to collotype work, and doubtless any of these got from a respectable dealer will serve the required purpose. Albert, who must be heard with respect on all matters pertaining to collotype, has the following remarks on the choice of a gelatine for the particular work we are con- sidering : 1 — Gelatines of excessive hardness and of excessive soft- ness are both ill-suited to collotype work ; the hard gelatine giving a film which soon breaks up in printing, the soft gelatine giving a plate from which vigorous im- pressions cannot be obtained. He recommends the use of “middling hard gelatine,” and mentions a special brand, that of F. Creutz of Michaelstadt, Hesse, as particularly good. He gives the following means of discovering whether a gelatine is suitable for collotype work as regards hard- ness : — Two portions of it are made up, one with bichro- mate of potassium (either of the two formulae to be presently given may be used), the other with bichromate of ammonium, substituted for the bichromate of potassium. Plates are coated with these solutions, and are dried at 1 Photographic, News, March 25, 1887, p. 185. 292 PHOTO-MECHANICAL PRINTING PROCESSES 120° F. If they both show a polished surface, the gela- tine is too hard. If they both show a mat surface, it is too soft ; if that prepared with bichromate of potassium show a mat surface, that with bichromate of ammonium a polished surface, the gelatine is of the right hardness. It may be taken then that if a gelatine is free from foreign substances, if it shows a good result when the test just described is applied, and if it will bear soaking for forty- eight hours in water at a temperature of 60° F., it is suitable for collotype work. The Albert-Type The above name has been given to Albert’s process. As some may like to give it a trial, I give briefly one of several modifications of the process which have been published — A. No. 1. Hard gelatine . . \ ounce Water .... 6 ounces No. 2. Bichromate of potassium . J ounce Water .... 6 ounces The gelatine is soaked and melted in the water with heat, and solutions 1 and 2 are mixed. B. Albumen .... 6 ounces This is made from fresh eggs, is beaten into a froth, and is then filtered. C. No. 1. Collotypic gelatine . Water . No. 2. Bichromate of potassium Water . 1 ounce 1 2 ounces 80 grains Ij ounce The gelatine of No. 1 is soaked in the water and melted by heat, and Nos. 1 and 2 are mixed together. A is filtered through cambric at a temperature of about PHOTO-MECHANICAL PRINTING PROCESSES 293 120° F. It is allowed to cool to about 100°, and B is added to it. The mixture is kept at a temperature not exceeding 100°, and the glass plates, previously carefully cleaned, as if they were to receive a collodion film for the wet process, are coated thinly with the solution. They are laid on a level slab till the gelatine has set, and are then dried in the dark at an ordinary temperature. When the film is dry, the plate is laid face downwards on a piece of black velvet, and is exposed to light till the colour changes from a bright yellow to a dark brown. It is then very thoroughly washed in warm water till the colour is entirely removed. The plate is now ready to receive the final coating, but may be kept almost indefinitely if it be desired. C is now heated to a temperature of about 150°, and is fil- tered through two thicknesses of cambric. Such plates as it is desired to use, already coated with the substratum as described, are raised to about the same temperature as the solution (150°), and are coated, the thickness of coating given being somewhat less than would be given to a dry plate. They are then placed in a horizontal position in the drying cupboard, the temperature is raised to about 140°, and is kept at that till the films are dry. The plates may be used whenever they are dry, or may be kept in a cool, dry, and of course dark place for several days if it be desired. Printing under the negative is done just as described for Husnik’s process ; after it is over, the films are sub- mitted to a long-continued washing to remove the whole of the bichromate ; they are then dried, and are ready to be printed from. Husnik’s Process I have given the above name to the process of collotype, now most commonly worked, because I believe Husnik was the first to publish the distinguishing feature of it — namely, the use of a substratum of water glass and albumen on a ground glass surface. If he was not the first actually to publish it, he was certainly the worker who had the chief 294 PHOTO-MECHANICAL PRINTING PROCESSES influence in popularising it. I have gained much assist- ance in my investigations in this process from the publica- tion of Schnauss on Collotype. 1 A. Albumen (switched) . Commercial water glass solution . Water . 8 ounces H 10 )> )> B. 1. Collotype gelatine Water . 1 ounce 12 ounces 2. Bichromate of ammonium 2 Water 80 grains ll? ounce The water glass solution in A should be of the con- sistency of syrup. The three ingredients are mixed, and are switched into a froth either by the aid of an American egg-beater, or by placing the mixture in a bottle with pieces of broken glass and violently shaking the bottle. The froth is then poured on the filter paper. The fluid which passes through is preserved. To prepare B, the gelatine is allowed to soak in the water for about an hour, when it is melted by the aid of heat; solution No. 2 is then added. The whole is now filtered through a double thickness of cambric, when it is ready for use. The plates are ground on one surface as already de- scribed. They are carefully cleaned, and are then coated with solution A. This flows readily over the surface. As much excess as possible is poured off, and the plates are dried in an inclined position at the ordinary temperature of the operating room. When dry they are thoroughly rinsed, and are once more dried. In this condition they will keep almost indefinitely. When it is required to use 1 Per Licht Pruck und die Photolithographic. Yon Dr. Julious Schnauss : Diisseldorf Ed. Leisegang’s Yerlag. 2 Albert recommends the use of bichromate of potassium rather than bichromate of ammonium, stating that many of the troubles which crop up in collotype work are due to the use of the latter salt. PHOTO-MECHANICAL PRINTING PROCESSES 295 the plates, they are coated with solution B in the following manner : — Such plates as are required are heated to a temperature of about 140° F., and the solution is heated to the same point. A plate is taken in the left hand, and is balanced on the tips of the finger and thumb ; a card mount being placed under it if it be found too hot for handling. A pool of the solution is now poured on the upper surface — that with the substratum, of course — and the plate is quickly tipped, so that some of the solution is poured off at each corner. The plate is now rocked slightly so as to cause the liquid to spread itself in a per- fectly even film, and is immediately placed in the drying box. It is impossible to say precisely how much solution should be left on the plate ; but it may be said that if the thickness of the film be right, the drying, at a temperature of 120° to 140° F. with a good supply of air, will take about an hour. Exposure of the Plates Unless reversal of the final prints is permissible, it is necessary to have reversed negatives to print from. There are various ways of producing these. The first and best, where it is possible, is to use a mirror or prism as a reflector in front of the lens of the camera. Another is to expose in the camera through the glass. It is unneces- sary to say that if this expedient be had recourse to, the back of the plate must be cleaned very carefully. The method of reproducing by the powder or “ dusting on ” process has already been mentioned. I am aware that some photo-mechanical printers pro- duce reversed negatives by taking advantage of the fact that a very long exposure produces, in the case of a dry plate, a reversed action of light, so that, giving a gelatino- bromide plate a very long exposure in contact with a negative, a negative is the result on development. I have seen excellent results produced in this way, but 296 PHOTO-MECHANICAL PRINTING PROCESSES must confess that my own experiments have not been very successful. A roundabout way in which to produce a reversed negative is to make, from the original negative, a trans- parency in the camera, turning the back of the negative towards the lens, and to make a negative by contact from a transparency. In the days of wet plates, it was a common thing to strip the film, which must not be varnished, from the plate, when exposure might of course be made in the printing-frame so as to give an image direct or reversed as might be desired, follows : — The method of stripping is as Gelatine . 3 ounces Glycerine . 1 ounce Water 15 ounces The gelatine is soaked in the water, is melted with heat, and the glycerine is added. This composition is poured over the film of the plate and is allowed to dry, when the double film of collodion and gelatine may be stripped away. I believe that stripping is not commonly resorted to in the case of gelatine dry plates, but it is quite possible to do it ; Plener having indicated how it may be done. The film is coated with the solution given above. It is then hardened by allowing it to soak for ten minutes in a saturated solution of chrome alum, is thoroughly washed in cold water, and finally left to soak for half an hour in a 25 per cent mixture of glycerine and water. The sur- face moisture is blotted off with blotting-paper, the film is dried, and the plate is placed in a weak solution of hydro- fluoric acid. This in time soaks through the film, dissolves away the surface of the glass, and causes the film bearing the negative to float away from the plate. The film is now squeegeed down to a sheet of vulcanite to dry. As regards general quality of a negative for collotype work, it may be said that one which is suitable for silver printing will also serve well for collotype. PHOTO-MECHANICAL PRINTING PROCESSES 297 It is advisable to use a collotype plate which will allow an inch of margin all around the negative ; and this margin is protected from light by an opaque paper mask glued to the edge of the negative and to the plate glass of the printing-frame. Special frames are made for collotype work, but an ordinary frame with plate glass front may very readily be adjusted so as to take the extra thickness of the plate glass bearing the gelatine film. The collotype plates are ready to be printed from when- ever they have cooled after coming from the drying box ; but they may be kept for several days in a cool dry place, carefully protected from light of course. It may be well here to say that in all the manipulations of collotype plates, from the coating to the washing after exposure — to be afterwards described — about the same precautions against actinic light should be taken as in the case of albumenised- sensitised paper. It is well to take this precaution even when the plate is wet, although in this condition it is by no means so sensitive as when it is dry. The plates may be kept for several days before they are used, and some prefer so to keep them, considering that better results are to be obtained from plates that have been kept for some time than from those that are quite new. The plate is exposed behind a negative in the usual manner, and the progress of the printing is observed from the back through the glass. The exposure is suffi- cient when the details of the high lights just begin to be visible. The colour of the image is a light brown on a bright yellow background. The exposure over, the plate is laid film side on a piece of black velvet, and a certain exposure is given from the back. It is difficult to tell exactly how long this exposure should be ; but it may be said that if a piece of sensitised- albumenised paper be exposed alongside of the plate, the latter will have had exposure enough when the paper has become dark chocolate colour. In high diffused light (not direct sunlight) five to ten minutes will be found to be long enough. 298 PHOTO MECHANICAL PRINTING PROCESSES Development of the Plate The plate is developed merely in cold water. When- ever it is placed in the water, a curious change takes place — the image shows in a certain relief, the high lights swelling up, at the same time the whole of the film, except those parts representing the deepest shadows, develops a fine grain of the nature of a reticulation. This grain should be so fine that it is barely visible to the naked eye. The development is continued by washing the plate with continuous changes of water till the last trace of bi- chromate is washed from the film, as indicated by the complete absence of colour in the washing water. The image will now be all but invisible but by reflected light, showing the relief ; the image by transmitted light being of a very faint brown colour. The plate is now laid for one hour in a 1 per cent solution of alum, is again thoroughly washed, is surface- dried with blotting-paper, or is soaked for five minutes in a bath of spirit, and is reared up to dry. It is well, if possible, to allow two or three days before the plate is used for printing, although it may be put in the machine when- ever it is dry. Printing from the Plate To teach collotypic printing to one quite unpractised in that or any analogous descriptions of printing merely by giving instructions is a thing that is quite impossible. A skilled lithographic printer, if the manipulations of collo- type printing be described to him, will very soon master the more delicate process ; the operator who is ignorant altogether of printing can expect to become expert only by long practice. His labours will certainly be greatly facili- tated if he can get a printer already skilled in working collotype to help him. The principles involved in collotype printing are the same as those in lithographic printing, but the process is in PHOTO-MECHANICAL PRINTING PROCESSES 299 every way more delicate than the ordinary run of litho- graphic work. The ordinary lithographic press may be used for collo- type printing ; but presses are made specially for the latter process which are better suited than lithographic presses for the special work for which they are designed. There is no gumming or etching in collotype printing as in lithography. The plate is simply damped, inked, and passed through the press ; but in damping it is a common practice to add to the water some deliquescent substances, which prevent evaporation and make it unnecessary to damp the plate again till a considerable number of prints have been pulled. This treatment with water and deli- quescent substances is commonly termed etching , although the name is really a misnomer. A quantity of this “ etching fluid ” may be made up as follows : — Water . . . . . 12 ounces Glycerine .... 1 pint Common salt . . . . 30 grains Or 2 parts of water may simply be mixed with 3 parts of glycerine. The plate is left for two hours in this solution, is surface- dried with blotting-paper, and is fixed to the bed of the press. If it be left wet on the under side, it will fix itself with sufficient strength without further cement of any kind, but it is common to fix it down with plaster of Paris. The outer edge of the plate is protected with a mask of paper, so arranged that it can be lifted away before inking and be replaced afterwards. This is to secure perfect white- ness of the margins. The ink is made up like lithographic ink, but it is commoner to use brownish or purple colours in place of black. It is also customary to use two thicknesses of ink, with two inking slabs, and two rollers. The thicker ink is applied first. It takes on the deepest shadows, only giving them strength. The thinner ink is 300 PHOTO-MECHANICAL PRINTING PROCESSES next used, and brings out the finer and more delicate details without harming the shadows. The paper used for large work is generally good quality sized printing paper. It is made slightly damp before use. For small and very fine work chalk-surfaced paper is used without damping. After a dozen or so of impressions have been pulled, or before that if the high lights show any indication of taking ink, the surface of the film is damped with the etching fluid. Some prefer to damp with plain water in place of a deliquescent fluid. In this case it is necessary to damp after each impression, a damping cloth being used. It must always be borne in mind that an indefinite number of prints cannot be expected from one collotype plate. There are, it is true, exceptional cases when the weather is cool, and when all other circumstances are favourable, when thousands of copies may be pulled from one plate ; but in average circumstances only a few hundreds can be expected, and there must be no disappointment if the film break down after a few dozen prints have been produced. Taking these circumstances into consideration it is desirable to make, in the first place, a number of collotype plates if a very large number of prints be desired. The prints are varnished or are left unvarnished accord- ing to the taste of the public for whom they are produced. Husnik recommends a varnish consisting of 1 part of gum- mastic and 2 parts of shellac dissolved in alcohol. Fre- quently a water varnish, made by dissolving shellac in a hot solution of borax, is used. Printing by Machine Concerning machine printing of collotype it is unneces- sary to do more here than state that machines are now commercially produced for the purpose of collotype printing, capable of turning out several thousand impressions in a day, and that these machines in skilled hands give excellent PHOTO-MECHANICAL PRINTING PROCESSES 301 results, the plates, according to Mr. E. Edwards, lasting better under them than under hand-presses. The Heliotype Process The process to which the above name has been given will be understood by the aid of a very brief description if the process of Husnik be first mastered. Heliotype differs from other collotype processes, in that the sensitive film before exposure is separated from the glass on which it is prepared, is manipulated as a film, and is then cemented down to a pewter plate for development and printing. Formulae — A. 1 Gelatine Glycerine Water 1J ounce 1 dram 1 2 ounces B. In Summer. Bichromate of potash 22 grains Chrome alum . 15 „ Water . . 12 drams In Winter. 30 to 40 grains 7 to 15 „ 1 2 drams Glass plates are ground on one side and are waxed, by pouring on to the ground surface a solution of white wax in ether, ahd afterwards polishing off as much as possible with a clean cloth. The plates are now heated, and the waxed sides are coated very thickly with the solution made up by mixing A and B and raising it to a temperature of about 140°. About as much solution is poured on to the plate as will lie on it without spilling off at one edge or another. Drying is now performed at the comparatively low temperature of 75° F. When the films are dry, they may readily be stripped from the glass. The ground or grained surface of the film has now to be exposed by placing it with the smooth surface on a piece 1 Abney’s Instructions. 302 PHOTO-MECHANICAL PRINTING PROCESSES of black velvet, and allowing the light of the sun to act on the other side. The exposure must be continued till the action of the light has just penetrated the film. To gauge the exposure a small portion of the film is cut away, and a mash of opaque paper with a small hole in it is made to cover this small fragment of film. The film covered with its mask is now placed under one edge of the film which is being exposed. Whenever the image of the hole in the mask appears visible in the film under it the exposure is sufficient. The smooth side of the film is now exposed under a negative in the manner already described for Husnik’s process. A polished pewter plate somewhat larger than the film is now coated with a solution of rubber in benzole — a strength of 5 or 6 grains to the ounce being a suitable one. The film is allowed to set, the plate is placed in water, the film is brought with its grained side into contact with the rubber film, the plate and film are removed from the water together, and the film is firmly squeegeed down. The film is edged with rubber solution to prevent water from penetrating, after which the plate is developed by washing with water till all bichromate has been washed from the film. The surface of the skin is dried with blotting-paper, after which printing may begin at once. CHAPTER XXXVII photo-mechanical printing processes — Continued Etching Transfers on Zinc to Produce Relief Blocks General Principles. — When prints are pulled from stones or plates in the way already described, the principle in- volved is quite different from that involved in pulling a print from type or from a wood block. In these latter cases the portions of the surface which are to print dark are raised above the others in place of being on the same level, and differing only in their power of attracting a greasy ink. The advantage of blocks with raised surfaces is that they may be “ set up ” with type and may be printed at the same time, whereas impressions from stone or zinc must be taken by a separate process. If it be considered that the ink which is transferred to a zinc plate, as described in Chapter XXXIV., is of a greasy nature and has the property of repelling all or almost all aqueous solutions, whilst the rest of the surface of the zinc has not, and if it be borne in mind that certain of these solutions — as, for example, nitric acid — have the property of dissolving away zinc whenever they come in contact with it, it will be seen that by simply placing a zinc plate in such a solution we should have a ready means of pro- ducing a relief block, the solution eating away those parts of the surface not protected by fatty ink, leaving those protected in relief. Unfortunately the process in practice is not quite so 304 PHOTO-MECHANICAL PRINTING PROCESSES simple as that just indicated, and this for two reasons. The fatty ink image, unless intensified in some way, has barely power of resistance sufficient to prevent the acid used from penetrating it to a slight extent, and making the lines porous or “ rotten,” and, moreover, the action of the acid is unfortunately not only vertical but also lateral, inclining to undermine and eat away the lines. The great difficulty in etching lies really in contriving, by various means, to prevent or counteract this lateral action of the etching fluid. The following is a fairly complete account of one of several methods of etching which differ a little from each other : — Materials for Etching Besides all that is necessary to produce a transfer on a zinc surface as already described, the following are needed for etching : — Sundry dishes rather larger than the plates to be etched, of white stoneware or other acid-resisting material, several broad, flat camel’s-hair brushes for brush- ing the bubbles from the surface of the plates, finely- powdered resin or colophony, and finely-powdered asphalt, also a special smooth or polished inking roller, made by rolling the ordinary leather roller in red lead and oil. Three baths of different strengths are commonly used in etching, and these strengths are generally made up by working to specific gravity, as commercial nitric acid is itself a substance of not very definite strength. The Baum6 hydrometer is usually employed for taking strengths. For average work the three baths may be made up as follows : — No. 1 bath .... 2° Baurne at 65° F. No. 2 bath .... 10° ,, ,, No. 3 or deep etching bath .18° „ „ These strengths are approximate only. Thus for very fine work it may be necessary to begin with a bath weaker even than No. 1, whilst for rough work a stronger bath may be used even at once. Again the baths quickly lose strength if in continual use. For this reason the first bath PHOTO-MECHANICAL PRINTING PROCESSES 305 has, after a time, to be rejected, bath No. 2 takes its place, bath No. 3 takes the place of bath No. 2, and a fresh “ deep etching bath ” is made up. The baths must be so arranged that a rocking motion can readily be given to them. A transfer is impressed on the surface of a polished zinc plate as already described, great care being taken to have the lines very perfect, and to ink them up with as much ink as they will stand without danger of spreading. A thin line of ink is then applied round the margin of the plate. There is now dusted over the plate with a dry camel’s- hair brush finely powdered asphalt. This adheres to the lines. The dusting process is continued for about one minute, by which time the ink is saturated with asphalt. The powder which rests on the other parts of the surface is carefully dusted away with the brush and with cotton- wool. The plate is now gently heated till the brown colour of the asphalt powder changes to a black, indicating that it has melted and become incorporated with the ink. At this moment more asphalt powder is dusted over the surface, which will adhere to that already melted. The excess is again carefully removed, and the plate is gently heated to incorporate the additional asphalt with that which was dusted on before. This second heating must be very carefully done lest the finer lines thicken by the spreading of the asphalt. The plate may now be laid in the weakest of the three etching baths. Whilst it lies therein, the surface is con- tinually worked over with a very soft brush, just allowed to touch the metal. This is to equalise the action of the acid. After two minutes the plate is removed from the acid, is rinsed with water, and the effect is observed. If the action has proceeded quite evenly, the plate is returned to the acid. If, on the other hand, any parts of the lines appear to be breaking down under the action of the acid — a thing which may be due to error in any of the operations previous to dipping the plate in the acid — such parts must x 306 PHOTO-MECHANICAL PRINTING PROCESSES be retouched or put in by hand, using a thick solution of asphalt in turpentine, the plate being previously dried by blotting off and gently heating. It is then returned to the acid bath for another period of two minutes, when it is again examined as before. If the lines be very fine, the plate will probably by this time have had all the etching that it can stand without further protection ; further etching endangering the lines by the under-cutting of the acid. Only experience can enable the operator to tell when he must stop the etching, but with work of average fineness, a third period of three minutes may be given. As soon as the finger-nail can catch on the margin line of the plate, the etching is deep enough. The plate is now thoroughly rinsed, and is dried by blotting off and gently heating. The temperature is raised to between 110° and 120° F., and very fine resin powder is dusted over it with a brush. The warm image holds the powder, and the excess can be removed by rubbing with a brush and cotton-wool, and finally by hard blowing. This blowing may be done with an ordinary pair of bellows, such as is in domestic use. Those who do zinc etching on a large scale commonly use a specially constructed bellows, which is in the form of a vertical cylinder, has a stand on the top for receiving the plates, and a tube which can be bent, so as to direct the blast on to any part of the image, whilst blowing is done by working a lever. The temperature is raised a little, and a second applica- tion of powdered resin is made, and the plate is cleaned as before by dusting and blowing. The heat is now gradually raised till it is seen that the resin begins to flow, so as to widen the lines. At this moment the plate is removed from the light, and- asphalt powder is dusted over it. This is caught by the now tacking resin. The plate is cleared of the excess of asphalt powder, the temperature is raised to about 150°, the operation is repeated, and the tempera- ture is raised till this last coating of asphalt powder thoroughly incorporates itself with the others. It will now be found that the sides of the lines have been covered with the flowing resin and asphalt with wonderful regularity. PHOTO-MECHANICAL PRINTING PROCESSES 307 Indeed, there appears to be no difficulty in securing the regularity of flow, the only real difficulty, or rather the only thing that requires great care, is the complete removal of the powder that falls on those parts of the plate between the lines. Any trace of resin or asphalt left there interferes greatly with the progress of the etching. The back of the plate is at this stage varnished with the solution of asphalt in turpentine, or with ordinary shellac varnish, and the plate enters the first etching bath once more. Here it is etched as before for periods of two minutes at a time, a careful examination being made at the end of each period. The finest lines are always examined to discover if there is any sign of breaking down, a magni- fying glass being used. If the operations of protecting the lines have been rightly done, the plate should stand at least two, very likely four periods, of two minutes each. This finishes the etching in the first etching bath, which is supposed to give the depth required between very close lines, this depth being much less than that needed between lines which are somewhat far apart and still less than is required for large spaces which must print white. The image is now cleaned with turpentine, the last trace of this being removed by rubbing the plate with saw- dust. If the etching has gone on as it should, the image will appear clearly with the original polished surface of the plate, the remainder of the surface being dulled with the acid. The image has now to be inked up again. The pol- ished roller and a very thin ink are used for this. The ink is made out of equal parts of paraffin, tallow, bee’s-wax, and ordinary printing ink. This ink has about the con- sistency of butter. It greedily licks up resin, and, when warmed with this latter so as to be incorporated with it, forms a solid but somewhat brittle substance. The plate is very carefully rolled up with this ink so that a very even coating is given. Scarcely any pressure is used, and only the tops of the lines should receive the ink. It is, however, impossible to prevent any large spaces between lines from taking the ink, nor is this of conse- 308 PHOTO-MECHANICAL PRINTING PROCESSES quence, only next all lines there must be an inked space of at least T V inch wide. The plate, inked up, is dusted with powdered resin till the ink will absorb no more of it. It is then dusted, and is warmed till the resin becomes tacky, but does not melt or spread. A second application of resin is now made again to saturation, the plate is cleaned of excess, the tempera- ture is raised to about 120°, and the plate is powdered with asphalt powder ; the excess is again removed, the temperature is raised to about 150°, once more asphalt is applied, and the excess is removed. The temperature is now raised till the resin and asphalt flows and shows a bright surface. The protective film is allowed to spread so that even the spaces between very fine lines are filled up, then, as has already been said, having been given all the depth that is required. The back of the plate is varnished as before, and the protective film is scraped away from those portions of the wide spaces between lines where the ink having taken, the resin and asphalt have taken also. The film being brittle, this removal is quite easy. Etching now proceeds in the second bath. It may be allowed to proceed during periods of three minutes each. At the end of each period the plate is examined as before, and any tendency to failure of the protective film is made good with the solution of asphalt in turpentine. As a rule three or four etchings of three minutes each will give a sufficient depth, but the best way in which to judge of the action is as follows : — A slight ridge will always show itself between where the etching in the first bath left off and that in the second began. This has, as will afterwards be explained, to be removed. The etching in the second bath should, how- ever, be allowed to proceed so far that, by under-cutting or lateral action, the ridge is reduced to quite a trifling size. The progress may always be examined by scraping away a little of the protective film on the margin of the plate. The plate, after sufficient etching has been given, is cleaned with turpentine and sawdust as before. The PHOTO-MECHANICAL PRINTING PROCESSES 309 progress of the action may be judged of by noticing whether what we may call the “ contour lines,” formed by the ridge just mentioned, everywhere run parallel with the lines ; if all has been properly performed, they will. The third etching comes now to be performed. The object of this is merely to eat away to a considerable depth those parts of the plate which are at some distance from lines. The image is inked up with the soft ink as before, but this time a large quantity of ink is used and is freely applied, so that it not only covers the tops of the lines but works its way down the sides of them to some distance, filling in also the spaces between very close lines. If the roller refuse to do this in any part, the ink is forced in with a dabber. The incorporating of resin and asphalt with the ink also goes on precisely as described before, the last heating allowing the covering to flow considerably. The large spaces between lines which may have taken ink are again scraped clean, the back is varnished, and etching goes on in the third bath. Periods of five minutes each are allowed in this bath, and progress is judged of as before. The action is allowed to proceed, that is, till the ridge between the result of the second and of the third etching is made quite small by the lateral action of the acid. Probably five or six periods of five minutes each will suffice. As a rule the protective film will stand the necessary etching without breaking down. If, however, it shows signs of giving way — other than those purely local, which can be corrected by hand-touching with asphalt solution — the plate must be cleaned, again inked up, etc. After the deep etching is over two more etchings are still necessary to remove the ridges left by the first three etchings. The plate is cleaned ; inking and dusting on are per- formed in such a way that the protective film spreads sufficiently to cover the ridge nearest the lines, but not the second ridge (produced by the final etching), and the plate 310 PHOTO-MECHANICAL PRINTING PROCESSES is etched for two or three periods of three minutes each in the second bath. The plate is once more cleaned for the last etching. It is very carefully inked up with the thinnest ink and the lightest possible pressure, and is dusted only once with asphalt powder, which is heated so as to spread but slightly, not so far as to the first ridge. The etching is performed with great care in the first bath, periods of one minute each being allowed. When the last ridge has dis- appeared the etching is finished. The plate is once more cleaned, any small portions of either of the ridges which may have been left on account of the irregular spreading of the protective film are removed with a graver ; the plate is mounted on wood, so as to have the regular height of type, and is then ready to be put up with ordinary matter for the press. The process which has been described is, as already stated, only one of several which are worked. It appears, however, to be the most easily worked of any. It is com- monly known as the “Austrian Method of Etching.” I have to mention my indebtedness to J. 0. Morch 1 for my knowledge of the details of the process, which I first acquired through his very clear description of it. The object of using first resin then asphalt in giving a protec- tive film is that the resin, melting at a much lower tem- perature than the asphalt, may be used as a means of attracting the latter at a moderate temperature, so that a thicker film is got than otherwise could be. 1 Eandbuch der Chemigraphie und Photochemigraphie. Nach eigenen Erfahrungen bearbeitet. Yon J. 0. Morch : Diisseldorf Ed. Leisegang’s Yerlag. CHAPTER XXXVIII photo-mechanical printing processes — Continued The Asphalt Process for the Production of Line Relief Blocks General Principles. — The method of producing surface blocks by the transfer method described in the last chapter has certain drawbacks. Thus the damping of the transfer paper produces a slight amount of distortion. This is so small that for the great majority of subjects it is not of consequence, but where great precision is necessary this distortion may be a serious drawback. Moreover, unless the process be carried out with the extremest skill, there is a liability to loss of delicacy in the finer lines. When distortion is inadmissible, or indeed, whenever the finest work is wished for, it is best to print directty on a film of asphalt on the surface of the zinc plate. Asphalt, bitumen, or mineral pitch, was used in camera photography in the very earliest experiments made by Niepce. In 1814 he made camera pictures by its aid. The substance is sensitive to light, inasmuch as, when dis- solved in benzole, chloroform, or other solvent spread in a thin film, and allowed to dry, light has the effect of ren- dering it no longer soluble in these fluids. The length of exposure necessary to render an asphalt film insoluble is very great, but it has been materially lessened by the discovery that a certain portion of the bitumen is soluble in ether, that this portion is quite insensitive to light, and that, if it be removed, what remains 312 PHOTO-MECHANICAL PRINTING PROCESSES is much more sensitive than is the bitumen before it is thus treated. If a zinc plate be covered with a thin film of varnish, made by dissolving in benzole, this residue left after dis- solving in ether as much of the bitumen as is soluble, if this plate be exposed under a line negative, and be then developed by dissolving the bitumen from those parts which have not been acted on by light, the result is an image in bitumen which may be etched in the manner described in the last chapter. Preparation of the Bitumen Varnish The older method of preparing the bitumen for photo- graphy was to powder the asphalt, and to soak it in ether till all that could thus be dissolved away was taken up by the ether. However carefully this process was carried out, a certain amount of ether-soluble bitumen was still left behind, with the result that the residue gave a film less sensitive than the asphalt was capable of giving. In 1885 Husnik proposed a modification of the process by which a varnish of great sensitiveness is obtained. The process is described in the Photographic News of July 3, 1885. The bitumen is reduced to a coarse powder, and is dis- solved in rectified turpentine. By allowing sufficient time the turpentine will dissolve a large quantity of the asphalt. In three days, if it be frequently stirred, one -third of its own weight. When the turpentine is thoroughly saturated ether is poured into the solution. The ether at first has the effect merely of thinning it ; but when about 2 parts of ether have been poured into 1 part of the bitumen solution, a doughy precipitate begins to fall. To discover if all the bitumen not soluble in ether has been precipitated, a little ether is placed in a test tube, and a few drops of the mixture of ether, turpentine, and bitu- men is poured into this liquid in the test tube. If a preci- PHOTO-MECHANICAL PRINTING PROCESSES 313 pitate results, it proves that all the available bitumen has not been thrown down ; and the addition of ether is con- tinued till, when the test is applied, the supernatant liquid simply mixes with the ether in the test tube. The solution is allowed to stand for twenty-four hours, when the supernatant fluid is poured away. The pre- cipitate which remains behind amounts to about half the original bitumen. Fresh ether is poured over the pre- cipitate, which is occasionally stirred up during two or three days. This causes it to become considerably firmer on account of the removal of the last trace of the turpen- tine, and also of the bitumen soluble in ether. The last portion of ether is retained to be used again, when it is desired to prepare sensitive bitumen again. The precipitate is removed with a bent strip of zinc from the vessel in which it was thrown down ; it is placed in a porcelain dish, and is allowed to remain in a warm place for several days, with occasional stirring to secure the com- plete removal of the ether, when there remains a hard, extremely brittle, glittering black mass, which is readily reduced to powder by hand. The prepared bitumen is powdered and is dissolved in benzole, the solution being made of such strength that it will flow like collodion, and to each 100 parts of the solu- tion is added 1 \ parts of turpentine. The benzole must be quite free from ether. If it is not, the varnish will flow in drops on the plate in place of flowing evenly. This defect can, however, be remedied by adding some chloroform to the varnish. Coating the Plates The object in coating a plate with bitumen varnish is to get a very thin but quite even film. The thinner is desirable, because the films at the lines must be rendered in- soluble not only on the surface but right through to the plate ; and if the film be thick, the exposure required for this will be excessive. It is possible to coat by hand, as a glass plate is coated with collodion ; but far the best results will be got by using a “ turn-table.” This is simply a disc 314 PHOTO-MECHANICAL PRINTING PROCESSES of metal placed horizontally, with an arrangement for clamping a plate down to it, and with appliances whereby it may be made to revolve rapidly on a vertical axis. The zinc plate is placed on the turn-table, varnish is flowed over it, and by the turning of a handle, the table is made to revolve rapidly. The result is a thin and per- fectly even coating of varnish. The thickness of the film should be such that the colour is only a light brown. Exposure and Development of the Plates As for all photo-mechanical line processes, it is desirable that the negative show the lines quite clear on a background as opaque as possible. The necessity for opacity is greater in the case of the bitumen process than in that of others. Also, as the contact in the frame is between two ridged surfaces, it is necessary that plate glass be used for the negatives. The plates should be laid on one side in the dark for some twelve hours so that the films may harden ; and just before exposure they are dusted with French chalk to remove any remains of tackiness. The exposure, if the lines of the negative be quite clear, and if the varnish be prepared as described, will be about fifteen minutes to the brightest sunshine or a correspond- ing time to diffused light. To develop the plate a mixture of benzole and turpen- tine is used. Benzole alone cannot be used as it is so energetic a solvent of bitumen that it would dissolve away even that which has been acted upon by light. Turpen- tine, on the other hand, acts too slowly . 1 It is well, how- ever, to begin with turpentine, and gradually to add benzole as appears necessary. The plate is simply flooded with the mixture when the parts of the film between the lines begin to dissolve. At the end it may be necessary to assist the action of the solvent by gentle rubbing with a 1 Bolas, Cantor Lectures, 1 1 Tlie Application of Photography to the Production of Printing Surfaces and Pictures in Pigment,” 1878. PHOTO-MECHANICAL PRINTING PROCESSES 315 tuft of cotton-wool or a very soft brush ; but the greatest care must be taken or the lines may be damaged. If the whole of the ether -soluble bitumen has been got rid of, the solvents should complete development without mechanical aid. Etching the Plate The etching is performed just as described in the last chapter, but that the plate may be placed in the first etching bath to receive a very slight etching without the application of powdered resin or bitumen, the thin bitumen coating already on the lines being much more resistant of acid than the mere ink coating given by the transfer process. The image got by the bitumen method is exquisitely clear and sharp if all has been properly performed. CHAPTER XXXIX photo -mechanical printing processes — Continued Other Methods of Producing Line Relief Blocks Gelatine and Albumen Etching Processes. — Either gelatine or albumen may be used in place of the bitumen in the etching process. The results are scarcely so delicate with gelatine or albumen as with bitumen, at any rate with gelatine they are not ; but the cheapness and ease of the process, and the comparatively short exposures required, make some prefer the colloid bodies to the bitumen. So much has already been said of various processes in which gelatine, rendered sensitive with bichromate of potash or ammonia, is used, that the briefest possible description of the use of this substance for producing line blocks will serve. The plate is thinly coated with a gelatine solution, which 3 made up as follows : — Gelatine .... 1 ounce Bichromate of potash i Ammonia . . 10 minims Water .... 20 ounces The plate is thinly coated either by hand or by the aid of the turn-table, an exposure, considerably shorter than would be required for the bitumen process, is given under a negative, and the plate is developed by washing for some time in cold water, then in water at a temperature of about 110°. PHOTO-MECHANICAL PRINTING PROCESSES 317 The following formula will be found to be a good one for the albumen process : — Dried albumen . 1 ounce Bichromate of ammonia 80 grains Water .... 6 ounces Or— White of egg 5 ounces Bichromate of ammonia 80 grains Water .... 1 ounce In the second formula the bichromate is dissolved in the water, and the solution is added to the albumen, which is previously switched. A zinc plate is thoroughly cleaned, is flooded with dis- tilled water containing a little ammonia, and is then coated with the albumen solution, preferably by the aid of the turn-table. The film should be dried at a moderate tem- perature, never rising above 120° F., lest the albumen be coagulated. The exposure required with an albumen film is very short. In fact, if the lines of the negative be quite clear, it may be considerably under one minute in bright sunshine. The plate is simply developed in cold water, in which the albumen, which has not been acted on by light, is soluble. When either gelatine or albumen has been used, the etching may go on till a certain relief is obtained, by applying an alcoholic solution of perchloride of iron to the plate. When a certain relief has been obtained, the plate may be inked up with the polished roller, and the etching may proceed as already described ; but a method, preferred by some, is to ink up the image before development, much as is done in the case of an ordinary transfer. By careful development the gelatine and albumen, along with the transfer ink, is removed from all parts except the lines. The plate is then etched in the manner already described for a transfer. 318 PHOTO-MECHANICAL PRINTING PROCESSES The “ Instantaneous Asphalt Process ” In this process an attempt is made to combine the advantages of the asphalt and of the albumen process. A plate is first coated with asphalt, which need not be specially treated to eliminate the ether -soluble portion. A second coating of sensitive albumen is given, the exposure is made, the albumen image is developed with cold water. That which remains on the lines forms a protective film, and the asphalt between the lines may be dissolved away with benzole. There are certain practical difficulties in working this process which, so far as I know, have not as yet been overcome. Processes of Casting from Gelatine Reliefs We come now to a brief consideration of a process entirely different from those which we have been consider- ing. It had its origin, I believe, with Poitevin and Pretch. A few words will make the general principle quite clear. If a plate be coated with a film of bichromated gelatine, if this film be exposed under a line negative, and the plate be simply soaked in cold water, but be not developed in warm water, the part of the film which has been pro- tected from light will swell up to a considerable extent, leaving the lines in deep relief. A casting from this swelled gelatine will now give the lines in high relief, and will form a printing block, if it be made in a suitable material, to stand the wear and tear of the printing press or machine. As a matter of fact a casting of such a nature cannot be made direct from the gelatine relief, but has to be made in a roundabout way. The following is the method recom- mended by Bolas P — Sheet gelatine is prepared by coating a waxed plate with a gelatine solution, and drying it at a moderate tem- 1 Cantor Lectures, “The Application of Photography to the Pro- duction of Printing Surfaces and Pictures in Pigment.” Six Lectures delivered before the Society of Arts, by Thomas Bolas, F. C. S. , London, 1878 , PHOTO-MECHANICAL PRINTING PROCESSES 319 perature. The solution may be made of 1 part soft gela- tine, 5 parts water. A sort of dish must be made of glass plate by piling up a rim of wax round the edge, or by some such method, and the solution must be poured in to a depth of about ^ inch. As the coating and drying of such a plate is a very troublesome affair, it is strongly recommended that the sheet gelatine be purchased from Mr. Cornelissen of Great Queen Street, London. “To make the gelatine solution sensitive to light, it is soaked in a 3J per cent solution of potassium bichromate till it becomes flaccid, it is then laid on a piece of clean (waxed) glass, and the excess of solution is removed by the application of the squeegee. The plate bearing the wet gelatine is then placed in a warm, photographically dark, place to dry, and when dry it can be easily separated from the glass by raising one corner with a penknife. We obtain, in this way, a flat sheet of sensitive gelatine, having a smooth surface and all ready for exposure under a negative, and the exposure may last from ten to twenty minutes in sunshine, or a correspondingly longer time in the shade.” The sheet is now allowed to soak in cold water for several hours. At the end of this time it will be found that the lines are in deep relief. The film is now squeegeed, exposed side upwards, on a plate of clean glass. It is made surface dry by dabbing with a clean cloth, and a little oil is applied and evenly distributed over the surface. Plaster of Paris is now poured on the film to a thickness of about an inch, care being taken to remove any air bubbles by the application of a camel’s-hair brush through the plaster. When the plaster cast has set quite solid, it, together with the gelatine film, is removed from the glass by a slid- ing motion. The gelatine film is now removed from the plaster cast by taking up one corner and slowly drawing it away. We have now a perfect relief block, but one in a sub- stance far too brittle to be printed from. From this block a cast is made in stearine. The plaster cast is heated to a temperature of about 120° F. by dipping it in hot water, and a casting is made on it of stearine, about an inch thick. 320 PHOTO-MECHANICAL PRINTING PROCESSES When this casting has thoroughly hardened, it is separated from the plaster of Paris, and the surface is powdered over with bronze powder to cause it to become a conductor of electricity. Bolas recommends particularly the powder made by Allan of Mansfield Place, Kentishtown, London, which is specially prepared for electrotyping purposes. The cast powdered with bronze powder is placed in the ordinary electrotyping bath, and when a sufficient quantity of copper has been deposited, the image thus got is backed up with type metal, and is mounted on a wooden block so as to be type high. As delicate results are not to be expected from the pro- cess just described as from an etching process. The boundaries of the lines, in place of being quite sharp, are somewhat rounded. This defect might be got over by exposing the film under a positive , and washing out the lines with warm water down to the glass, or to a thin sub- stratum on the glass, and taking a cast from the resulting deep relief plate ; but there are many practical difficulties in the way which have not, so far as I am aware, been entirely overcome. CHAPTER XL PHOTO-MECHANICAL PRINTING PROCESSES — Continued Processes for Producing Entaglio or Engraved Line Plates In entaglio line processes the lines are cut into the surface of the plate in place of being raised, and the process of printing consists in filling up the lines with ink, or rather covering the whole surface of the plate with ink, wiping that which is not buried in the lines away with a cloth, then bringing down with great pressure on the surface of the plate a sheet of paper backed with some more or less elastic back- ing. The ink is pulled out of the lines by the paper, giving, of course, a complete image of the engraving or etching. The advantage of any entaglio process when it is a case of hand-work is very evident. The artist draws or cuts on the surface of the plate the actual lines that are to appear, in place of going through the roundabout process of cut- ting away everything that is not to appear black, leaving the lines in relief. The consequent freedom of touch is very evident, and especially in the case of etchings. In hand-etching the work is done by a needle either on a thin film of wax on the surface of a copper-plate — the plate being afterwards etched — or directly on the surface of the metal, the work being more analogous to the work of the pencil and the pen than in any other kind of hand-work, producing directly blocks or plates capable of being printed from, except perhaps drawing or transfer paper for the lithographer, which again gives much coarser results than copper-plate etching. Y 322 PHOTO-MECHANICAL PRINTING PROCESSES In photographic reproduction processes the entaglio plate has no such advantage over the type block. In either case the artist’s work is the same. He draws on white paper with black ink. From this drawing a type block or an entaglio plate may be made at the will of the operator ; but there will be but little difference between prints from the two. Both will reproduce all the character of the artist’s drawing. It is true that if sufficient care be given to the printing, and if a very fine quality of paper be used, there will be somewhat more of delicacy in the case of the print from an entaglio plate than in that from a type block. Particularly will this be the case in copies of copper-plate etchings. In an etching of the kind just mentioned not only does the width of the lines vary, but to a certain small extent the depth or colour of them varies also. It is not an uncom- mon method for an etcher to put in the main part of his work on wax, to etch the plate, take a proof, and then put in what work appears to be required to modify the effect by the aid of the “ dry point,” — that is to say, simply scratching the surface of the copper ; these scratchings being of the smallest conceivable depth and holding so little ink that they do not actually print black, but of a gray or brown tint according to the nature of the ink that is used. There is no process really analogous to this in the case of printing from a type or raised block, although the printer may do something by packing up the back of the paper to different heights, so that the pressure on the surface of the block is different at different places. In reproducing an etching by photography, it is easy to reproduce the different depths of etching in the original as will be explained. It may be stated as a general rule that any process which is applicable to the production of a line type block is also capable of producing an entaglio plate if a transpar- ent positive be used in place of a negative. The most suitable metal for entaglio plates is copper. This is scarcely applicable where type blocks are required, as the great depth to which these have to be etched would make PHOTO-MECHANICAL PRINTING PROCESSES 323 the process very tedious with the harder metal ; the amount of etching or biting required for entaglio plates is, however, so exceedingly small, the deepest lines only requiring to be bitten to about °f an inch, that this difficulty does not stand in the way. The process which will be found the most suitable is the asphalt process. As has been explained, it is only in cases where the work is of the most delicate nature that the entaglio process offers any advantage over the type block process, and it is of course not desirable to lose any of the delicacy in the intermediate steps, as may be the case if gelatine or albumen be used, especially the former. The objection to using an engraved plate where a type block will give as good a result, is the comparative slowness of print- ing from the former, and the fact that it cannot be printed along with type. If the transfer method be used for the reproduction of a line subject, it is almost necessary to use zinc, which is by no means a very suitable metal for engraved plates. Moreover, where the area of the lines occupies but a small portion of the surface of the plate, certain precautions must be taken. The reason for these precautions is as follows : — If a transfer be made from the positive, which represents such a subject, the greater part of the surface of the trans- fer will ink up or will retain the ink after development, and on attempting to lay this down on a plate, it will slide over the surface and a smear only will be the result. To prevent this the positive is given a good wide edging of opaque colour, and whenever there is a considerable space between the lines, this is filled up with colour, leaving, how- ever, a space of at least ^ inch between the patch then put in and the line. This results in a transfer having a con- siderable amount of area without ink, and the image can readily be transferred to a plate. After it has been trans- ferred, and has been strengthened with resin and asphalt powder, the spaces are filled in by hand with asphalt varnish, when etching goes on as will be described. This process is only suitable where a few copies are required. The etching needed for entaglio plates is so small that 324 PHOTO-MECHANICAL PRINTING PROCESSES it is never necessary to build up the film of asphalt by powdering with resin, etc., and heating. I here assume that the asphalt process — which is the only one really suit- able for producing such plates — is used. The plate is exposed under the positive, is developed with a mixture of benzole and turpentine, and is placed at once in the etch- ing fluid. Nitric acid may be used for etching a plate such as that described, but the following is generally preferred : — Potassium chlorate ... 1 ounce Hydrochloric acid . . . 10 ounces Water ..... 50 „ A solution of perchloride of iron may be used. Such a solution has the peculiarity that, if it be quite saturated, it has little or no etching effect on copper, whereas, if the saturated solution be diluted even slightly, it bites quite readily. It is thus possible to regulate the process to a nicety. Whatever etching fluid or “ mordant ” is used, the amount of etching required will be found to be very slight. It can only be determined by experience. Whether it is desirable to stop the process in some of the lines by remov- ing the plate from the bath, rinsing it, drying it, and cover- ing then with bitumen varnish, is also a thing that can be determined only by experience. It is by so doing that the very fine lines of copper-plate etchings already mentioned are reproduced. If the albumen process be made use of, the etching should be done with an alcoholic solution of perchloride of iron. In whatever way the plate is etched, the protecting film is cleaned away from it when it comes from the etching fluid, and it is then ready for the copper-plate press. The process of printing is briefly as follows : — The plate is inked by rolling over it a roller which carries a thick film of ink on it, or the surface is dabbed all over. In any case, the whole surface of the plate must be covered with ink. The greater part of the excess is removed with PHOTO-MECHANICAL PRINTING PROCESSES 325 a cloth, and then finally with the flat of the hand, which has previously been covered by chalk to prevent the ink from adhering. This last process looks simple when per- formed by a skilled printer, but really requires much prac- tice. A sheet of paper is laid on the plate, and the two together go through the press, which generally consists of a flat heavy metal plate on which the plate is placed, and a roller which applies pressure to the back of the paper through a pad of blanketing or some other elastic substance. Sometimes a press with a platen coming down with great pressure is used. CHAPTEE XLI photo-mechanical printing processes — Continued Half-Tone Processes Preliminary Statement . — None of the processes that we have been considering since that of Stannotype is capable of giving a true half-tone. A little consideration will, how- ever, show that, if half-tone be represented by, or translated into, a stipple, lines, or into a stipple which is made up of dots or points, it might be reproduced either by photo- lithography, by the aid of a phototype block, or of an en- taglio engraving, there being in such a case no true grada- tion, but something in black and white which represents it, if we do not look too close. There are many ways in which a negative or a photo- graphic print may, with greater or less success, be broken up into a stipple, and it is a common thing to point out that if once a negative be so broken up, it may be repro- duced by any of the three methods just mentioned, and no doubt this is in a certain sense true. If a pretty wide stipple be got this may be transferred to a stone, and proofs may be pulled from a stone, or it may be transferred to zinc, and the zinc may be etched to produce a type block, or an entaglio plate may be made from it. But though all this is true, still, if a photograph be rendered in an exceedingly fine stipple — one so fine, say, that it is not visible to the naked eye — a very perfect entaglio plate may be made from it ; but if an attempt be made to produce a surface block from it, the fineness of PHOTO-MECHANICAL PRINTING PROCESSES 327 the grain will make it impossible to etch to such a depth as will give a printable block ; and if an attempt be made to transfer it to a stone and to pull prints, little more than a smear will be the result. It may be saiTgenerally, that whereas a fairly open stipple is necessary for producing lithographic work, a somewhat finer stipple may be used for type blocks, and a still much finer grain for entaglio plates. The coarse grain applicable to stone may be used for type blocks, but as a finer grain is admissible, it is advisable to use this latter. The still comparatively coarse grain applicable to a type block may be used for an entaglio plate ; but no better result will be got from the plate than from the block, whilst, as a finer grain may be used with the plate, it is certainly advisable to do so. This being the case, I have decided to treat the render- ing of half-tones under three different heads ; but here I must state that this part of my work must of necessity be by far the least complete of the whole. The general prin- ciples on which half-tone may be rendered have, it is true, been published ; but, as a rule, general principles only have been announced, and it may really be said that on these general principles almost less depends than on innumerable details of practice which have either been kept secret pur- posely, or which could not be published, inasmuch as they are really matters of practice — of manipulative skill — rather than of explicable method. The conjuror may explain the principle of some of his tricks. The sleight of hand, whereby he is able to deceive with them, comes only by a com- bination of skill and natural aptitude. Take, for example, type blocks. So far as I know these are produced, with any degree of real success, by three methods only. Dallas has for a long time produced them of excellent quality. In fact, he may be considered in this country as the pioneer of various photo-mechanical printing processes ; but his methods have never been divulged. The Meisenbach process is greatly worked, both by the firm bearing the name and others ; but it is almost certain that many unpublished points of detail are essential to the 328 PHOTO-MECHANICAL PRINTING PROCESSES wonderfully fine results that are got by some of those who work it. Of the Ives process almost the same may be said, whilst it may further, I believe, be stated that in its later developments certain appliances used by the inventor and specially manufactured for him are not purchasable by the public. The process of Ives is to my mind the most scien- tific of any grained half-tone process, yet others practically the same have failed in less skilled hands than those of Ives. I say that the three processes above mentioned are the only ones which are, to my knowledge, at all extensively used, yet other processes have been published, of which it might, I think, certainly be said that they contain the germs of as great success as do any of these three; but these pro- cesses have fallen quite flat for the want of that deter- mined work and constant attention to a thousand small details that are necessary for success with a photo- mechanical process. I think it might in fact be said that, in the matter of photo-mechanical processes, — perhaps particularly of type blocks, — the nature of the process is a smaller factor to determine success or failure than the worker of it. An intelligent worker, giving the time and attention necessary to work up a process, will get good results with any out of a dozen or two ; but such instruction as can be given in writing will be of but little aid. One without intelligence giving great time and care to working up the matter will fail with whatever process he attempts, and to him, too, written instructions will be of little avail. It is needless to say that a thorough knowledge of the manipulations of line processes is of the greatest advantage to one who intends to attempt half-tone processes. CHAPTER XLII PHOTO-MECHANICAL PRINTING PROCESSES — Continued Methods of Obtaining Half-Tone in Photo-Litliography Asset’s Process. — This process was one of the first that gave results of any degree of success in photo-lithography. The following is a brief description of the manipulation : — Unsized 1 paper of an even texture is taken. A starch solution, of somewhat less thickness than is commonly used for mounting or for such like purposes, is made up, and one side of the paper is thinly coated with this by the aid of a sponge. The paper is now dried, and is floated film side up- wards on a saturated solution of bichromate of potash till the colour indicates that the salt has penetrated the starch film through the paper. The sheet is then dried in the dark. The paper, after it has been treated as just described, is sensitive to light. It should not be kept for longer than a day or two before it is exposed. The negative for this process need not be reversed. It should be of good quality and brilliant. The exposure may be judged of by examination, being stopped when the finer details of the lights show themselves. The image is of a brownish colour. 1 Bolas recommends the use of blotting-paper, but the writer has found it very difficult to work such except in very small sizes on account of its extreme softness when wet. Rives’s paper may be soaked in very hot water to remove any size it may contain, and will be found to work well. 330 PHOTO-MECHANICAL PRINTING PROCESSES The sensitive tissue is now laid film side upwards on the surface of a bath of cold water till the bichromate is all washed out of the film through the paper. When the yellow colour has disappeared, the paper is dried first between blotting-paper and then in the open air. The paper has now to be heated to a very considerable extent. It is difficult to give precise directions as to how much it should be heated ; but it may be said that the heat should just be short of what will make the paper brittle or to discolour it. The heating may be done in front of a clear fire if the operation be performed with care. Asser himself, I believe, advised that the sheet be laid on a slab of marble that had been heated. Bolas advises the application of a hot iron to the back of the sheet, and the writer has found this to be a quite satisfac- tory plan. The effect of the heating is to cause the sensitive starch which has been acted upon by light to absorb lithographic ink with great avidity. The image is now damped by laying it for some time between sheets of wet paper under some pressure when it is ready to be inked up. It is laid on a piece of plate glass — the image upwards of course — the surface is blotted off with a piece of perfectly dry blotting-paper, and a roller charged with ink of medium thickness is passed over the surface. A granular image is thus produced, which may be transferred to a stone in the following manner : — Weak nitric acid is made up as directed for etching a lithographic stone (Chapter XXXIV.). A polished litho- graphic stone is warmed, as also described in that chapter. The inked Asser transfer is now damped on the back with the nitric acid mixture either by the aid of a sponge or by floating it, it is laid on the warm stone, and the rest of the process is performed exactly as described for an ordinary transfer. The stone .is then printed from in the usual manner. It will be understood that a much higher degree of skill in printing, and a greater accuracy in the press, are required when a half-tone subject is being treated than in the case of a line subject of the ordinary character. PHOTO-MECHANICAL PRINTING PROCESSES 331 Transfer from Collotype Plate An examination of photo-lithographic prints in half-tone which, in commercial practice, have been most satisfactory, can leave very little doubt that the grain which they show is one obtained by the reticulation of gelatine. Is, in fact, the same grain as is to be seen in collotype, ex- cept that it is more open than it is generally to be seen in the case of the latter process, in which the attempt is always made to keep the grain as fine as possible, and in which, in practice, it is kept so fine that it would give no satisfactory results if transferred to a lithographic stone. Pretch, at a very early date, took advantage of the reticulation which is now taken advantage of in the collo- type process, for the purpose of producing, by casting from the reticulated surface, type blocks representing half-tone, and it was a very small step to ink up the reticulated film to make a transfer from it to a stone, and to print from the stone. It was, nevertheless, only quite recently that the process became one of at all general applicability. In this country the process has been most successfully worked by Messrs. Sprague and Co. Unfortunately the details of the process as worked commercially have not been divulged, but it may be stated that, if an image, such as is produced in collotype work, but with a very open reticulation, be got, there need be no difficulty in making a transfer from this to a stone, and in printing from the stone. Fortunately, too, there is no need to take the many precautions which are necessary in the case of collotype surfaces from which a great number of prints have to be taken, to secure firm adhesion of the film to the support. These precautions, or at least some of them, tend to a fine grain. The following formula, which is due to Bolas, has been found to give a very open grain : — Gelatine ..... 6 parts Water ..... 60 „ 332 PHOTO-MECHANICAL PRINTING PROCESSES Bichromate of ammonia 1 1 part Chloride of calcium ... 2 parts A plate is prepared as in Husnik’s process of collotype, described in Chapter XXXVI., but a considerably thicker coating is given than would be considered desirable for collotype. The film is dried at a high temperature, say 140° or 150°. The exposure of the back of the plate to light is omitted. The plate is developed in the usual way and is inked up. An impression is taken on transfer paper, and is transferred to a stone in the usual way. Probably a better transfer will be obtained if some half dozen copies be first pulled on plain paper. It will be seen that if the process be performed as described, a reversed negative will be required as in the case of collotype printing ; whereas, if the collotype surface were applied directly, an ordinary negative might be used. Various methods have been suggested to enable the image to be directly transferred to the stone, a flexible support being the only essential. The use of gelatine skins, as in the heliotype process, and the use of a sensi- tive film supported on paper have been recommended. The following plan has been found to work experi- mentally : — A glass plate, at least half an inch larger each way than the desired print is taken. On this is laid a piece of wet paper, which is fixed down to the glass by a strong alcoholic solution of gelatine (see Chapter XXXII.) at the edges. On the paper is spread the solution given above, which is used to the extent of about 2 ounces per square foot. The plate is then placed horizontally in the drying box, which is raised to a pretty high temperature (say 140° F.). It is, when dry, exposed under a negative, 1 This is the quantity given by Bolas, who has worked the process much more than I have ; but I must state that I have succeeded better with a very considerably larger quantity of bichromate of ammonia. PHOTO MECHANICAL PRINTING PROCESSES 333 developed, — without exposure from the back, or the use of an alum bath, — and dried. The paper is now removed from the plate by cutting within the glued margin with a sharp knife. It is damped and is inked up, after which the image is trans- ferred to a stone by placing the flexible film thereon, and passing the two through the press. Since the above was written, J. Husband, Sergeant- Major, R.E., has published in the Journal of the Photo- graphic Society a process for “Practical Lithography in Half-Tone.” This is, so far as I know, the first time that a process has been published with all working details, and the publication is of great value. I quote it in its entirety here : — “ Description of Husband's Papyrotint Process “This process has been named papyrotint, being a modification of Captain Abney’s improved method of photo - lithography, named papyrotype. It is specially adapted for the reproduction of subjects in half-tone, such as architectural drawings in monochrome, or subjects from nature, and it is inexpensive. Its advantages over other methods of half-tone photo-lithography are, that a transfer can be taken in greasy ink, for transfer to stone or zinc, direct from any negative, however large, without the aid of a medium, the grain or reticulation being obtained simply by a chemical change. The transfer paper being in direct contact with the negative, the resulting prints are sharper than by those processes where interposed media are used ; whilst the same negative will answer either for a silver print, platinotype, or a transfer for zinc or stone. The advantage of being able to use a non-reversed negative is very great, now that gelatine plates have so largely super- seded those made with collodion. “ The method of manipulation is as follows : — Any good surfaced paper is floated on a bath composed of — 334 PHOTO-MECHANICAL PRINTING PROCESSES “ Gelatine (Nelson’s flake) Glycerine . Chloride of sodium (common salt) . Water . 8 ounces l i » Great care should be taken that the solution is not over- heated, and that the paper is coated without bubbles. It is then dried in a temperature of 60° F. The paper will take about ten hours to dry, and in this state will keep for years. When required for use, it should be sensi- tised by floating, or immersing, in a bath of — “ Bichromate of potash ... 1 ounce Chloride of sodium ... J „ Ferricyanide of potassium . . 100 grains Water . . . . .30 ounces This need not be done in the dark room, as the solution is not sensitive to light. “ The paper, after sensitising, is dried in a temperature of 70°, and in a dark room. When dry, it is exposed under any half-tone negative, in the ordinary printing frame. It is preferable to print in sunlight, and, for negatives of medium density, an exposure of three minutes is required ; but the exposure will vary according to the density of the negative. The correct time of exposure can best be judged by looking at the print in the frame. When the image appears on the transfer paper a dark fawn colour on a yellow ground, the transfer is sufficiently printed. It is put into a bath of cold water for about ten minutes, until the soluble gelatine has taken up its full quantity of water ; then taken out, placed on a flat piece of stone, glass, or zinc-plate, and the surface dried with blotting-paper. “ The action of the light has been to render the parts to which it has penetrated through the negative partly in- soluble, and, at the same time, granulated. A hard transfer ink is now used, composed of — “ White virgin wax ounce Stearine . . . . . i „ Common resin . . . . A ,, PHOTO-MECHANICAL PRINTING PROCESSES 335 These are melted together in a crucible over a small gas jet, and to them are added 4 ounces of chalk printing ink, and the mixture reduced to the consistency of cream with spirits of turpentine. A soft sponge is saturated with this mixture, and rubbed gently over the exposed paper (in this stage the nature of the grain can be best seen). An ordinary letterpress roller, charged with a little ink from the inking slab, is then passed over the transfer, causing the ink to adhere firmly to the parts affected by the light, and removing it from the parts unacted upon. It will be found that with practice, rolling slowly and care- fully as a letterpress printer would his forme, the ink will be removed by the roller according to the action that has taken place by light, leaving the shadows fully charged with ink, and the high lights almost clear, the result being a grained transfer in greasy ink. The transfer is next put into a weak bath of tannin and bichromate of potash for a few minutes, and when taken out the surplus solution should be carefully dried off between clean sheets of blotting-paper. The transfer is hung up to dry, and, when thoroughly dry, the whole of the still sensitive sur- face should be exposed to light for about two minutes. A weak solution of oxalic acid should be used for damping the transfer (about 1 in 100), and This should be applied to the back of the transfer with a soft sponge. After it has been damped about four times, it should be carefully put between clean sheets of blotting-paper, and the surplus moisture removed. A cold polished stone is then set in the press, and after everything is ready, the transfer is placed on the stone and pulled through twice. The stone or scraper is then reversed, and the transfer is again twice pulled through. A moderate pressure and a hard backing sheet should be used, care being taken not to increase the pressure after the first pull through. The transfer is taken from the stone without damping, when it will be found that the ink has left the paper clean. Gum up the stone in the usual way, but if possible let the transfer remain a few hours before rolling up. Do not wash it out with turpen- tine, and use middle varnish to thin down the ink. 336 PHOTO-MECHANICAL PRINTING PROCESSES “ It should have been mentioned that varying degrees of fineness of grain can be given to the transfer by adding a little more ferricyanide of potassium in the sensitising solution, and drying the transfer paper at a higher tempera- ture, or by heating the paper a little before exposure, or by adding a little hot water to the cold-water bath, after the transfer has been fully exposed ; the higher the tem- perature of the water the coarser the grain will be. The finer grain is best suited to negatives from nature, when a considerable amount of detail has to be shown. “ The coarse grain is best for subjects in monochrome, or large negatives from nature, of architecture, etc., where the detail is not so small. Even from the finer grain several hundred copies can be pulled, as many as 12,000 having been pulled from a single transfer, and this one would have produced a great many more if required.” CHAPTER XLIII PHOTO-MECHANICAL printing processes — Continued 'Methods of Obtaining Half-Tone in Phototype Blocks An image with a grain suitable for reproduction by photo- type having been obtained, the type block may be made by exposing, under a negative taken from this image, a zinc plate coated with bitumen, developing and etching, by transferring a print on transfer paper taken from this negative to a zinc plate and etching, or by using the image, if it be of the nature of collotype, as a matrix, from which a relief block may be cast as in the Pretch process. These methods of producing type blocks for line subjects have already been described, and of their application to half-tone subjects it should be enough to say that the manipulations are similar. Asserts Process , described in the last chapter, has been used for the production of type blocks, as explained by Bolas ; the image in grain being transferred to a zinc plate and this latter being etched ; but the writer is not aware that the process is worked commercially. By the Collotype Process a grain suitable for reproduction by type blocks may readily be produced. The grain may be made somewhat, smaller or closer than is admissible for photo-lithography. Dallas’s tint blocks would appear to owe their grain to a collotype film, but it is impossible to say whether the block is produced by transfer or by reproducing the reticulated surface of the film by electro- type. z 338 PHOTO-MECHANICAL PRINTING PROCESSES The Use of a Grained Screen for Producing a Half-Tone Type Block As far back as 1866 Messrs. E. and J. Bullock patented a method of interpreting half-tone by a grain, in which they superposed, on a transparent positive, a grained screen, and took a negative from the two together, this negative of course showing, as well as the image of the transparency, the grain of the screen. It is difficult to account, by any theory, for the fact that the mere breaking up of an image by introducing a grain gives the effect of half-tone by a process in which any one point must be represented by either black or white; but this subject has already been touched on in the introductory chapters. Probably the success of the process depends on certain factors — diffraction of light, perhaps, for example — which have not yet been considered in connection with it. At any rate we have nothing to do but to accept thankfully the fact that the result is a very fair representation of half-tone. The principle of Bullock has been re-patented times out of number, but the only thing in the way of a novelty which has been introduced is the modification of Meisen- bach, who introduces an arrangement whereby the grained screen, during the exposure for the reproduction of the final negative from the transparent positive and this screen, is slightly moved once or oftener so as to still further break up the grain. At first sight it would appear that such a movement was the one thing necessary to make the repro- duction of half-tone as a black and white grain absolutely hopeless ; but here, again, if we can judge by some of the effects obtained by the Meisenbach process, theoretical reasoning is at fault. There are two ways whereby the grain is principally pro- duced : one is the dusting of powdered asphalt on a plate of glass and the warming of this till the powder adheres to the glass. A method of evenly powdering a surface with asphalt will be considered in the next chapter. Another way, and the one most frequently used, is the photograph- PHOTO-MECHANICAL PRINTING PROCESSES 339 ing of something of the nature of netting. Actual wire- netting may be used, or any system of black cross lines on white paper may be photographed. If netting be used, it is photographed against a white background, which may be the sky. By using this method it is, of course, possible to produce a grain of any desired width or number of spots to the inch. A wet plate will be found the best for pro- ducing the grained plate. Processes have been patented in which an actual fine netting of thread is used in contact with the transparency in place of the photographic netting, but it is doubtful if good results can thus be got unless the transparency be made of much larger size than the desired photo block, as the grain will be far too coarse even if the finest netting be used. The following is a brief description of the manipulations of producing a type block by the method indicated, the grained screen having once been produced. A transparency is made by contact from the original negative. In contact with the transparency is placed the grained screen, the two being placed film to film. A copy is made from these in the camera in the usual way in which negatives are made from transparencies, or trans- parencies from negatives, the transparency being placed next the camera, and therefore the film side of this being away from the camera. From the negative thus got an image is printed directly on a zinc plate, on a film of bitumen, or on a piece of sensitive transfer paper, the image being in the latter case transferred to the zinc plate. Etching is then performed as already described. I should here say that when it is a case of etching an image in grain, it is necessary to begin with very weak acids and to exert the utmost care throughout. I do not know precisely what contrivance is used by the workers of the Meisenbach process for shifting the position of the screen during the exposure, but various mechanical arrangements whereby this might be done will suggest themselves to any intelligent worker. 340 PHOTO-MECHANICAL PRINTING PROCESSES Woodbury Process “ Woodbury exposes his ordinary relief 1 under a trans- parency with a piece of network interposed, the effect of this being to produce a decided grain all over the high portions of the resulting relief and no grain over the deep parts, inter- mediate portions being grained to an intermediate extent.” 2 The relief thus obtained is inked up, a transfer is taken from it and is laid down on a zinc block, which is then etched. The network need not be actual netting, but may be a transparent positive of any netlike pattern on a collo- dion film. It may thus be made as fine as is desired. Process of Ives and Analogous Processes The process of Ives is a very beautiful one, but is, at present at any rate, scarcely open to the public. The following is a description of it: — In general principle the process depends on the pressure of a half-tone relief on a surface more or less compressible, and consisting of a series of slight eminences forming a grain, as, for example, paper having a surface something like bookbinder’s cloth. The eminences are flattened out in proportion to the height of the relief, and if by any means the flattened portions be inked, the result is a grain repre- senting a half-tone on account of the greater size of the dots or grains in the darker than in the lighter parts. In fact, in the deepest shadows the eminences are entirely flattened, giving an even black tone, in the brightest lights they are not touched at all. Ives at first used a Woodbury relief, but afterwards he used a gelatine relief (undried) from a transparency, and made a plaster of Paris cast from this (see Chapter XXXIX.). A comparatively thin film produces sufficient relief when it is not necessary to resort to drying, and therefore a “ swelled gelatine relief ” is much more easily produced than a Woodbury relief. 1 Chapter XXXIII. p. 254. 2 Bolas, Cantor Lectures. PHOTO-MECHANICAL PRINTING PROCESSES 341 A rubber surface, which -has been formed into a series of V-shaped grooves and ridges, is inked, and is pressed on to the cast. The elastic surface does not touch the hollows. The V ridges are quite flattened out in the highest parts of the relief, producing a continuous black, and everywhere between the deepest and the highest parts they are flattened to a different degree, so as to give an even stipple. The image thus got is transferred to zinc and is etched. Zuccato’s method may be described as a modification of Ives. It is an exceedingly ingenious one. I do not know whether the use of the lead blocks to be described hereafter is open to the public ; but if it is, I should put down the process of Zuccato as about the most likely of any to be useful to one taking up the production of type blocks for the first time. The surface of a piece of type metal is formed into minute pyramids by planing V-shaped grooves across it in two directions. A Woodbury relief is produced, the type metal plate is thinly inked, a piece of very thin paper is placed on it, and this is pressed with great pressure between it and the Woodbury relief. The result is that the highest parts of the relief — representing the shadows of the picture — flatten out the pyramids till they are obliterated ; they are not touched by the deepest parts of the relief, intermediate parts flatten them to intermediate extents, and a half-tone image is the result on the paper, the half - tone being- obtained by dots of varying sizes. This image may be transferred directly to a zinc plate, or may be copied in the camera, a transfer may be made and transferred to the plate, which is then of course etched. There are many other methods of producing half-tone type blocks, but I think I have mentioned the principal. It is to be observed that much may be done in the etch- ing to help up a type block. Thus a solid shadow may be made anywhere it is required — or even a line if it be thought useful — by treating with bitumen varnish, whilst a high light may be put in by scraping away the protective coating. CHAPTER XLIV photo-mechanical printing processes — Continued Methods of Obtaining Half-Tone in Entaglio Plates It is to entaglio plates that we have to look for the finest results in photo-mechanical printing. Collotype and even type blocks give results which are in their way excellent, and which are useful for many purposes ; but they fall very far short of the results of certain entaglio processes which compare favourably in effect with the very finest hand - engraving, whilst they have the advantage of the accuracy of a photograph. In prints from type blocks there is alwaj^s some want, the grain is too conspicuous, there is a want of half-tone, or of intensity ; hut with proofs from entaglio plates it is otherwise. The utmost boldness is obtainable, the gradation of tone is perfect, and although, in a certain sense, a grain or stipple is essential, this may be so fine as to be quite imperceptible. In fact, the slight roughness or removal of polish given by the biting of copper by an etching fluid is enough to give the necessary grain. This was all that gave the grain to the greater number of the engraved plates which were produced by Fox Talbot, and from some of these prints were pulled almost as good as the best that have been made. Since then, however, the best results have been got where some special means have been used to get a stipple somewhat more marked than that got by the mere biting of the plate. A brief description of the principles involved in various PHOTO-MECHANICAL PRINTING PROCESSES 343 entaglio processes has been given in the second chapter, and it is unnecessary to say anything more of those which are not at the present day practically worked. Unfortu- nately not very much can be said even of those which have, because, as in the case of the production of type blocks, the greater number of workers of processes have kept secret those small details of practice which make success possible in place of failure, even when they have published the general principles of the processes, which they have not always done. Again, where details have been published, they, with the processes, have generally been patented, and they are therefore not open to the public. Several processes for the production of entaglio plates are open to the public, and fortunately of one of these, and that one which gives results equal to any, working details have recently been published. It must not, however, be expected that even when details are published success in working an entaglio half-tone process can be gained but by long and patient practice. The manipulation of a plate by such a process is a matter of the utmost delicacy at every turning. Before describing any processes used exclusively for the production of half-tone entaglio plates, I should mention that every process used for obtaining half-tone in type blocks has probably been at one time or another applied to the production of the same in entaglio copper-plates, and that at the time the Meisenbach principle is used for the purpose. The writer has seen .very successful prints from copper - plates, in which the grain was produced by this process, made by Mr. E. Edwards ; but he cannot help saying that he considered them to fall very far short of prints from plates produced by the same operator by a different process (Klie’s). A great deal, however, depends on taste. Woodbury's Process Woodbury, as was usual with him in all photo-mechani- cal processes, was to the front with a really practicable 344 PHOTO-MECHANICAL PRINTING PROCESSES engraving process. The general principle of his process has been described in the second chapter. It will be understood since the method of getting a Woodbury relief has been described. Such a relief is used, powdered glass, or some other gritty powder being incorporated with the gelatine. The relief is then pressed into a sheet of lead. Lead is too soft to print from, and the surface is therefore reproduced in copper. This is done by depositing copper on the lead plate by the electrotype process till a copper film of sufficient thickness to be manageable is obtained. On this, in its turn, is again deposited a copper film. It is said that the magnificent photo -gravure prints issued by Goupil and Co. of Paris are produced by this process. They have never been excelled by anything of the kind ; but it is said that a great deal of hard work is necessary before the plates are fit to be printed from. Klie's Process By this process the very finest results have been got. It is worked with great success in Glasgow by Annan Brothers ; in Brooklyn, United States, by Mr. E. Edwards, and by various operators on the Continent. Some of the results obtained by this latter the writer considers to be at least equal to anything that has been done in the way of photo-mechanical reproduction. Various details of working have been published, the most complete having appeared in the Photographic News 1 The following are the general principles of the pro- cess : — A copper-plate is covered with a fine powder of asphalt, which is caused to adhere by heating the plate, on this plate is developed a carbon negative , made by exposing a piece of tissue under a positive, and the whole is placed in an etching fluid. The powdered asphalt gives the grain, and the carbon negative permits the etching fluid to bite to a depth inversely proportionate to the thickness of the gelatinous film. It will be seen that the process differs 1 Photographic News, January 28, 1887. PHOTO-MECHANICAL PRINTING PROCESSES 345 from Talbot’s merely in the introduction of the asphalt powder to produce a grain. The practical details of the process are as follows : — The copper-plate is polished and is cleaned with whiting mixed to about the consistency of cream, and with some caustic soda added. The cleaning must be continued till, when the plate is rinsed with water, the water spreads evenly over it, not running in patches. This indicates that the last trace of the oil used in polishing has been got rid of. The plate has now to be covered with a fine powder of asphalt. There are various ways of doing this. In any case the asphalt must be first of all reduced to a fine powder. Mr. Ernest Edwards has told me that he covers his plates with powder simply by holding them in a shower of the dust allowed to fall through the air. The following is the description given in the Photographic News of the more elaborate method of Delechamp’s — a box revolving on an axis is used : — “ To make such a one, get a well-seasoned wooden box, about 4 feet high, dove-tailed and joined without crevices, including the top, which must be made a fixture ; the internal dimensions of the bottom must be large enough to carry the largest sized plate to be etched, and the inside had better be French-polished, or papered with a surface-glazed paper. At one of the sides close to the bottom make a 346 PHOTO-MECHANICAL PRINTING PROCESSES narrow door, hinged to the bottom of the box. It should be framed and panelled to prevent its warping. “To ensure the operator from being ‘powdered/ nail strips of sheet-rubber round the inside of the door, so that it will shut up nearly hermetically ; use a bar with a stout spring or screw to close it, as in a copying frame, then a few double-pointed nails driven into the base upon which the powder is settling will complete the affair, with the excep- tion of the axis, which will be better understood from the foregoing sketch.” To powder the plate the following operations are gone through : — “A quantity of finely powdered asphalt or resin having been placed in the box, the door is closed tightly, and it ” (the box, not the door) “ is turned over two or three times to shake up the powder. After the lapse of a minute or two, to allow the coarser particles to settle down, the door is opened and a previously cleaned plate is placed therein ” (in the box, not the door), “ poised on the points of the nails (which should project 1 inch from the bottom and all be equal in height), and the door is closed. Shoot the bolt F to keep the apparatus steady after having revolved it. “ The degree of granulation is entirely in the hands of the operator, as the longer the plate remains in the box the greater will be the quantity of powder deposited, and the finer will be the resulting grain, as there will be less surface exposed to the action of the mordant” (etching fluid). The plate is now heated in the flame of a Bunsen burner till the dull surface of the asphalt changes to a glossy coating ; at this moment the plate is removed from the flame. A transparent positive is made on glass in any of the various ways by which such positives can be produced. This positive must be reversed. It can therefore be most conveniently made by the carbon process (see Chapter XXVII. p. 214). A piece of ordinary carbon tissue is ex- posed under this positive, is squeegeed on to the copper-plate on which has been laid the grained asphalt surface, and is PHOTO-MECHANICAL PRINTING PROCESSES 347 developed in the usual way. The colour of the tissue is of no consequence, but it is advisable that there be but little pigment, so that the progress of the etching can be seen through the film. The etching fluid is a solution of perchloride of iron. As has been already stated, such a solution acts less vigorously when saturated than when diluted. Four solutions are made up ; the strongest is made so that it has a specific gravity of 40° Bennie, the weakest so that it indicates 30°, and the others of intermediate strength. In each solution a strip of copper is placed till the solution perceptibly changes colour. If this precaution be omitted the solution may act unevenly. The edges and back of the plate are varnished. The fluid may be kept on the plate either by building a wall of wax round the part that has to be etched, or by flowing it (the fluid) over the plate in a dish. The solutions are all used at a temperature of about 70° F. ; the strongest first, and after that the weaker ones in succession. The action can be watched through the film, and experience will show how long to let the various solutions act. The gelatinous image is removed with caustic alkali, and the asphalt with turpentine. If the shadows be not considered deep enough, the high lights and half-tones may be protected by going over the plate with a polished roller, and the shadows may be re-etched (see Chapter XXXVIII.). The Waterhouse Process Sand is waxed by placing it in an iron pot, heating it, placing some wax amongst it, removing from the source of heat, and continually stirring during cooling. A carbon print is produced on a surface of silvered copper by exposing a piece of tissue under a reversed negative, and developing it on the plate. The plate after development is placed in a falling shower of the waxed sand. It is dried, and the sand is brushed away. Small pits are left, forming a “ discriminating grain.” The surface 348 PHOTO-MECHANICAL PRINTING PROCESSES is blackleaded, and a cast is made from it in an electrotype bath. This cast is the printing plate. Sawyer’s Process In this process carbon tissue is used in which the pigment is replaced by powdered graphite. The developed picture is thus a conductor of electricity, and a cast can be made direct from it by electrotype. All that has been published about the process can be read in the Transactions of the Photographic Society of Great Britain . 1 Obernetter’s Process The principle of this process has already been described, but the writer is unable to give working details at the time of writing. The process is an exceedingly ingenious one, and likely, in the hands of skilled workers, to be very successful. 1 See Journal of the Photoqraphic Society of Great Britain for November 1885. CHAPTER XLV THE PRODUCTION OF TRANSPARENCIES OR TRANSPARENT POSITIVES The subject of transparent positives has been incidentally mentioned more than once in the foregoing chapters, but I think a few words on the subject generally are called for in a book on Printing Processes. Transparent positives are generally produced for one of three different purposes, either as an intermediate step in some process — as, for example, the powder process — as pictures to hang against windows or in such-like positions, or for lantern shades. The qualities necessary for these different purposes vary somewhat. Thus when a transparency merely serves an inter- mediate purpose, it is generally necessary to secure all the high light details in great strength, and it is almost impos- sible to do so without giving such an exposure that even the highest lights are slightly veiled. This necessitates slightly denser shadows than would be necessary with perfectly clear high lights, so as to retain contrast, and, in fact, a transparency used merely as a means for reproduc- tion of negatives or positives should, as a rule, be generally somewhat darker than is pleasing to the eye. In the matter of a transparency for decorative purposes, we must be guided entirely by taste. The transparency is in this case the finished picture, and should be made, as regards density, colour, and so forth, as the artistic know- ledge of the operator dictates 350 TRANSPARENCIES OR TRANSPARENT POSITIVES In transparencies for the lantern the matter is slightly different, and for the following reasons : — A veil in the high lights degrades the picture on the screen to a much greater degree than it does the slide itself merely looked on as a transparency ; again, the contrast on the screen always appears greater than that of the slide looked at against a light as a transparency. For these reasons it is necessary to secure, in lantern slides,, the most perfect transparency of high light and the extremest delicacy of image. Any process that will produce a good lantern slide is certainly good enough for the production of a transparency for any purpose. I therefore say a few words first on the methods applicable to the making of such slides. Various of the processes already described are well suited to the production of lantern slides, notably the Carbon process, the Woodbury-type , and th eStannotype processes, an essential condition for success with the two last -men- tioned processes being the use of glass that is quite flat. The wet collodion process and the collodio-bromide are both exceedingly useful for lantern-slide work, but it is beyond the scope of this work to consider them in detail. Gelatino-chloride plates have recently become very popular for lantern-slide work. Such plates are now a recognised commercial article. The exposure required by them is considerable, amounting to many hundred times that neces- sary for gelatino-bromide plates. By contact a second or two diffused daylight may be given, or a few inches of magnesium ribbon may- be burned at a distance of a foot or so — less or more, according to the density of the negative and the colour of transparency wished — from the negative. The exposure to lamplight is very long, amounting to perhaps quarter of an hour at a foot from an ordinary burner. It is, however, quite within reasonable limits if a bright light such as an albo-carbon burner or a duplex paraffin lamp be used. A very great range of colour is obtainable with gelatino- chloride. It is possible to get anything from an engraving black to claret colour according to exposure and develop- ment. TRANSPARENCIES OR TRANSPARENT POSITIVES 351 The developer is ferrous oxalate, ferrous citrate, or a mixture of the two. With a comparatively short exposure and ferrous oxalate a black colour is got, with a long exposure and strongly acid ferrous citrate a red colour, and anything between these two limits with intermediate exposures and mixtures of these developers. Instructions for compounding the developer in the various ways issued are sent with the plates. The films of gelatino-chloride plates are very transparent, and on account of their comparative insensitiveness a good deal of artificial light may be used in development, and it is therefore easier to regulate the density than in the ordinary bromide plates. Any of the processes before mentioned may be used for making ornamental transparencies. But for transparencies required for mechanical work a somewhat prolonged ex- posure would be generally advisable. Certain paper processes give very good results in orna- mental transparencies of large size. Thus if a print be made on gelatino- bromide paper, a somewhat longer ex- posure being given than for an ordinary print, and if the finished positive be treated by smearing the back of it with oil-vaseline, be laid on one side for twenty-four hours, and the excess of vaseline be then removed with a clean cloth, a very effective window transparency will result. Even common albumenised paper sensitised in the usual way may be used for such transparencies, the back of the paper being placed in contact with the negative, and exposure being continued till the desired effect is seen on looking through the paper. The slower makes of ordinary gelatino-bromide plates will make quite presentable transparencies if developed with a considerably diluted and well restrained ferrous oxalated developer. CHAPTER XLYI PROCESSES FOR COPYING PLANS OR OTHER DRAWINGS IN BLUE There are certain processes which are almost exclusively employed for the copying of plans or other drawings, and which are most useful for such purposes. In the case of one of them, which is very simply worked, the copy is in the form of a negative, — that is to say, it shows as white lines on a dark blue ground. For most purposes such a drawing is practically as useful as a positive drawing. If, however, a positive drawing — one that is showing dark blue lines on a white ground — be desired, the second or third of the three processes to be described must be used. The papers for either of the processes may be purchased ready prepared, and I may say that it will probably be found convenient so to purchase them unless work be done on a very large scale, and possibly even then, at any rate in the case of the positive processes. For whatever process is used it is desirable that the drawing to be reproduced be traced on tracing paper, or better, tracing cloth, of as transparent a nature as possible, with ink as opaque as possible. A little yellow colour may with advantage be added to the Indian ink used for such tracings. Where the process is regularly used, in workshops, etc., it is a common practice to omit the inking in of the draw- ing on drawing-paper, and to make a tracing of it on very transparent tracing cloths to serve as the standard drawing PROCESSES FOR COPYING PLANS IN BLUE 353 to be kept in the drawing office. This tracing then serves for the reproduction of blue copies for the shop, etc. The best effect is produced if all shading (to indicate sections, etc.) be done with inked lines ; but for rough work, as, for example, for detail drawings for shop use, colour may be used in the usual manner. Although the best results are got by copying tracings, it is possible to get quite useful results from drawings even on thick drawing-paper, a very long exposure being given to compensate for the opacity of the paper. By using the ordinary process — which gives a negative from a positive drawing — a positive is of course obtainable from an ordinary negative, and the blue colour of such positive is very effective for certain half-tone subjects ; for example, some sea-scapes. The prints, unfortunately, have generally a somewhat “ sunk-in ” appearance ; but the writer’s attention was attracted by some very brilliant blue prints in the store of Mr. Sam C. Partridge of San Francisco, and was told that the brilliant surface was obtained by the use of encaustic paste (see Chapter XXXII. on Mounting Prints). The process has the advantage that any kind of paper may be used with it. The Ordinary “ Blue Process ” To produce paper for this process, the following solu- tions are made up : — A. Potassium ferricyanide (red prussiate of potash) 5 ounces Water . . . . . . 20 B. Ammonia citrate of iron .... 5 ounces Water ....... 20 The two solutions are kept separately. When paper is to be prepared equal parts of each are taken, and paper is coated with the mixture simply by laying it on a flat board, and sponging the liquid over it with a clean sponge. As 354 PROCESSES FOR COPYING PLANS IN BLUE already mentioned, any kind of paper may be used, but for Gopying drawings a thin, smooth drawing-paper will be found to serve best. It is not necessary that the coating of the paper appear quite even so long as no parts are left bare. The paper is hung up to dry and may be used at once, or at any time within a few days of its manufacture. The exposure is long, five or six times that necessary for a silver print. Exposure is continued till all the print but the lines assume a bronzed appearance, or, in fact, as long as possible without much discoloration of the lines. The print after exposure is dipped in water, when the bronzed appearance turns to a bright blue, and the lines clear up. It is then washed till the water that comes from it is colourless, when it is finished. It will be observed that drawings and tracings must be placed with their backs in contact with the paper, otherwise the images will be reversed. Blue Positive Processes Pizzighelli’ s Process A. Gum-arabic .... 3 ounces Water ..... 15 „ B. Citrate of iron and ammonia lj ounce Water ...... 3 ounces C. Ferric chloride .... 1 ounce Water ..... 2 ounces D. Potassium ferrocyanide (yellow prussiate of potash) 2 ounces Water ..... 20 „ E. Hydrochloric acid 2 ounces Water ..... 20 „ PROCESSES FOR COPYING PLANS IN BLUE 355 A, B, and C are mixed, and paper is coated with it as soon as possible, just as described in the last process. The exposure is very short, being only about half or one-third that necessary with sensitised-albumenised paper. After exposure D is applied with a brush till the image appears blue on a white or bluish ground. If the ground be darker than very light blue, this shows that the exposure has been too short. The print is now dipped in E, which removes the slight tint from the ground and darkens the lines. It is washed and dried. Pellet's Process A. 1 Oxalic acid 5 grams Iron perchloride 10 3 ) Water .... 100 c. c. B. Potassium ferrocyanide H ounces Water .... 20 33 C. Hydrochloric acid 2 ounces Water .... 1 pint A is the sensitising solution, B is the developing solu- tion, and C is the clearing bath. The exposure is about the same as that for the last described process, and the manipulations are the same also. 1 Photographic News , April 5, 1878. THE END Printed by R. & R. Clark, Edinburgh. ADVERTISEMENTS i INDEX PAGE Adcock’s Patent Vignetter 89 Albums, Scrap . 92-95 Albums for Portraits Amateur Outfits or Sets . Backgrounds . Backs for Cameras . Blotting Boards Books — Practical Guide > ,, Art of Retouch- ing, etc. . ,, Photo and Photo- Mechanical Printing . Britannia Solution . Burnishers Camera Sets . Cameras, Enj albert ,, Academy- 95 6-25 75 43 75 5 > 19 • 5 • 73 74. 87 • 6-25 26, 27 General List . 42 Stands . 43 Cyclist or Min- lature . . 46 Middlemiss Patent . 47 , 48 Marion’s Metal Miniature 52, 53 ,, Detective Carriers for Cameras Cases for Cameras . Changing Bag Chemicals Cloud Negatives Compressed Pyrogallic Acid Cutting Shapes Developer Tubes Developing Sets „ Trays ,, . Tent Developing Dishes, Gran itine Developing Amateurs Negatives . Draining Racks Dropping Bottles . Dry Plates, Britannia „ Soho . 53 74 74 75 , 90 71 74 73 74 7 2 19, 70 74, 86 82 108 99 74 75 54 . 55 55 56 56 57 , 58 59-61 62 Academy Globe . Cowan’s Chloride Cowan’s Chloro- Bromide Cowan’s Portrait Chloride Cowan’s Gelatino- Chloride Marion’s Bevelled Bromide Opals * Chloride Plates on Oval Ground Glass . . 64 63 64 PAGE Dry Plates, General List 65 Marion’s Bromide Opals 67, 68 Dusting Brushes . . 75 Eastman’s Paper and Films . . . . 65, 69 Edward’s Washing Tank 87 Enlarging Apparatus 44, 45 Enlarging . . -99 Enlargements in Carbon . 100 ,, on Bromide Paper . 100 Fabrics, Non-actinic . 75 Ferro-Prussiate Process . 103 Finder, Newbold’s . 75, 87 Finishing . . *99 Focussing Cloths . . 75 ,, Glasses . . 33 ,, Screens . . 74 Forceps, Ebonite . . 75 Frames for Views . . 97 Funnels, Glass . . 75 Glass Frames . . . 97 ,, Measures . . 75 ,, Non-actinic . . 75 Grooved Boxes . . 74 Head Rests . . -75 India-rubber Gloves . 75 ,, Finger-stalls 75 Lamps for Developing 74, 81 Leather Cases for Cameras 74 Lenses, Marion’s . 32, 33 Voigtlander’s 34-38 39 40 41 74 72 9 i Ross 1 ,, Dallmeyer’s ,, Swift and Son’s Light-tight Boxes . MacDougald’s Developer Tubes _ . Magnifying Glasses Marion’s Specialties 109, ,, Novelties . Masks . Metal Frames. Metal Rim Transparency Frame Metal Rims for Photo graphs . Mounting Solution . Mounts, Cartes-de-Visite ,, Cabinet , , Large for Views or Portraits 76 ,, with Real Gold Bevelled Edge Note-Books Opals, Marion’s Bevelled Bromide . ,, Marion’s Bromide 67, 68 Papers, Ready Sensitised 62 ,, Marion’s Quick Printing . . 66 ,, Marion’s Bromide 66, 67 ,, Eastman’s . . 69 ,, Platinotype . 69 PAGE Photographs . . .96 Plate Boxes . . .85 Plate Holders . . *74 Print Cutting Knives . 75 Printing Frames . . 74 ,, Cowan’s . . 74 , 89 Printing from Amateurs’ Negatives . . 74, 99 Printing Sets, Nonpareil. 14 Student’s . 15 A.B.C. . 15 Oxford . 16 University 17 Engineer’s r8 Compact . 19 Superior 20-24 Empire . 25 Pyrogallic Acid . . 73 Ready Sensitised Papers 62 Retouching Pencils . . 75 ,, Leads . . 75 ,, Desks . . 83 ,, Materials . 84 Rolling Presses and Bur- nishers . . . .85 Scales and Weights. 75, 88 Shutters, Metal Drop . 49 , , Mahogany Drop . . 49 Ebonite Drop . 49 Cadett’s Lightning . 50 Kershaw’s Patent. . 51 Studio Pneu- matic Drop . 51 Studio, Cadett’s Patent. . 51 Leisk’s Patent Sky Shutter 107 Spotting Brushes . . 75 Spotting Medium . . 72 Squeegees . . -75 Talc . . . .91 Test Papers, Litmus . 75 Tracing Papers and Cloth 106 Transparency Frames . 64 Tripod Stands for Cameras 43 Ultra Sets . . . 6, 7 Unequalled Set . .12 Union Sets . . 12 Unique Sets . . 9, 10 United Set ... 8 Universal Set . . .12 Urie’s Patent Automatic Printing Machine ioj, 102 Useful Set . . .11 Utilitarian Set . .12 U Series Detailed Prices 13 Varnishes . . . 71 Ventilators . . . 75 Vignetting Frames . 74, 89 Vignetting Chair . 75, 88 Warnerke’s Actinometer . 86 Warnerke’s Sensitometer 84 Washing Apparatus . 79 | Washing Tank . 74, 87, 88 INTRODUCTION HOW TO SELECT AN APPARATUS MATE UR Photography has of late made such rapid progress, and found so much favour with all classes of the community as one of its most fascinating and educational pursuits, that it would be as well, perhaps, for us to give a few hints that may be of service to those desirous of taking it up. The chief cause of the great progress lay in the introduction of dry plates, which, being ready prepared for use, and of but small cost, save at least one half the trouble, annoyance, and mess that amateurs experienced in the old wet plate or “collodion” days, when the process was very properly called the “Black Art.” Again, there have been a vast number of improvements in the various apparatus employed, tending in all directions to make the taking of really first-class photographs both simple, easy, and clean. Seeing that the best of everything can now be obtained at so small a cost, we would earnestly advise beginners to avoid cheap apparatus, or rather the many so-called second-hand lots that are now offered ; for unless the purchaser can be sure of his apparatus, they are dear at any price. When selecting a set, the first things demanding consideration are the quality of lens and work- manship of camera. Many of our cheaper sets are really good. We have received great numbers of flattering testimonials for our “ Oxford ” and “ Student's ” sets, but of course they possess but little of the finish and higher qualities that are provided in the “ Superior ” sets, and which greatly aid the amateur in the production of his work, and tend to the more thorough enjoy- ment of it. The second point for attention will be the size of photographs desired. It would be well to give this every consideration, as a large picture can be taken with almost as much ease as a small one, and again, when finished, it is so vastly superior to the latter in boldness and vigour ; while the smaller picture can always be taken when required by the larger apparatus by means of what is known as an inner carrier. We must also mention that no damage is done to any apparatus when learning ; it would therefore be extravagant to buy a cheap set for that purpose, and then a more expensive one immediately afterwards. No doubt compactness and lightness are very desirable qualities, but they are, we think, not of such great importance as is sometimes imagined. A small cheap camera can always be obtained when needed. One other matter, and we close this brief introduction. Be content to persevere with 4 Introduction what you first decide to purchase ; having, for instance, got one brand of plates, stick to them. Nothing whatever is gained by the beginner trying first one brand and then another, while much very useful experience is lost. Our “Practical Guide to Photography” gives every information necessary; and with but a small amount of patience and practice, the novice cannot fail to produce such work as will do him credit, and be a source of endless amuse- ment and instruction both to himself and friends. It is specially recommended that from the very commencement a note-book, such as we supply at a shilling, and a cheap scrap album be obtained, for the purpose of noting every particular of each picture in the former, and of having a reference copy corresponding in number in the latter ; the comparison of the prints with the notes will afford many opportunities for profiting by past experience. Purchasers residing abroad would do well to note that the quantities of plates, etc., supplied with the sets are not sufficient stock for foreign orders where it may be difficult to replenish, therefore it will be wiser to order an extra supply of plates and chemicals, so as to save further expenses of freight. Each set is, however, quite complete with everything necessary for an immediate commencement of work. The Printing Sets are for taking the paper prints from the glass negatives (which are taken by the Photographic or Negative Set), and are sold separately, as in some instances amateurs prefer that pro- fessional photographers should do their printing. It is also more convenient for travelling, as the printing set need never be taken away from home. Our terms are in all cases “nett cash with order,” and the prices do not include packing cases, which, in the event of orders for abroad, should be tin lined. Feeling sure that nowhere can such good value be obtained at the prices, we have every confidence in introducing to your notice the following revised list. Should other descriptions of goods be required, we should be happy to obtain them to order, or to send estimates or particulars. MARION & CO. 22 & 23 Soho Square, London, W. Post Office Orders payable at Greek Street Post Office. Cheques crossed “ Bank of England.” Telegraphic Address — NOIRAM, LONDON. A dvertisements 5 MARION’S “PRACTICAL GUIDE TO PHOTOGRAPHY.” Price 2 s. 6d. each ; or 2 s. 9 d. free per post. *]d. extra for Foreign Postage NEW WORK, most clearly written, containing everything that an Amateur Photographer need know of the art, whilst quite free from unnecessary technicalities. Upwards of 8000 copies have been sold since the date of its publication. We believe it to be the best, most complete, and most readable book on the subject. “This book deals in a lucid and practical manner with the various operations connected with every department of the science .” — British Journal of Photography. “It is well worthy of the notice of professional photographers, for they will find in it many useful hints .” — Illustrated London News. “With such a book as this it would be difficult for the merest tyro to go astray.” — The Graphic. “A book that fully establishes the claims made in the title .” — The Daily Chronicle. “ It will be read even by professionals with interest .” — The Literary World. “A great many ladies practise photography for their amusement, and they will appreciate the instructions here given .” — The Queen. From F. K. CHILCOTT, Esq., Reeve Villa, Torquay. — “Your Guide is more explicit than any other .”— June 6, 1885. From Major PARRY, The Manor House, Torquay. — “As to the Manual of Photo- graphy, it is excellent, and there appears to be something to be learned from every line.” — September 30, 1885. A TREATISE ON THE ART OF RETOUCHING, AND FINISHING AND COLOURING OF PHOTOGRAPHS. Price 2s., and free per post 2s. 3 d. yd. extra for Foreign Postage to Countides of the Postal Union. Undoubtedly a clear and most exhaustive work on the different subjects by a master-hand. PRACTICAL GUIDE TO PHOTOGRAPHIC AND PHOTO-MECHANICAL PRINTING PROCESSES. By W. K. BURTON. MARION & CO., 22 & 23 Soho Square, London, W. NEW EDITION. REVISED AND ENLARGED. to Countries of the Postal Union. OPINIONS OF THE PRESS. By ROBERT JOHNSON. A NEW WORK NOW READY. 6 A dvertisements MARION’S NEW SETS OF PHOTOGRAPHIC APPARATUS. THE “U” SERIES. n^HESE Sets will be found of exceptionally good value. These -*■ Cameras are substantial and of good workmanship, and with the Lenses excellent portraits, views, and groups may be made. THE ULTRA SET. For Plates 6| x 4f . Best finish Mahogany, Leather Bellows Camera — the lightest and most compact Camera made — Double Extension, Rack Adjustment, Swing Back, Rising Front, Reversing Frame, 3 Double Book -Backs with Spring Shutters, good Rectilinear Lens, Instantaneous Shutter, and superior Folding Tripod. Price complete, <£8 : 8s. If fitted with Marion’s Superior View Lens, 41s. extra. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 7 MARION’S NEW SETS OF PHOTOGRAPHIC APPARATUS— • Continued. THE ULTRA SET. For Plates 8J x 6J. Camera, 3 Backs, Lens, Shutter, and Tripod, as described in Ultra Set for Plates 6\ x 4J. Price complete, £11. If fitted with Marion’s Superior View Lens, 38s. extra. MARION & CO., 22 & 23 Soho Square, London, W, 8 A dvertisements MARION’S NEW SETS OF PHOTOGRAPHIC APPARATUS— Continued. THE UNITED SET. For Plates 6\ x 4J. Good Mahogany Camera, Leather Bellows, no loose parts, very light, folding into small compass, and with Leather Handle, Rack and Pinion Adjustment, Reversing Frame and Swing Back, good Rectilinear Lens, fitted with Instantaneous Shutter and a good strong threefold Tripod. Price complete, £7 : 7s. If fitted with Marion’s Superior View Lens, 41s. extra. MARION & CO., 22 & 23 Soho Square, London, W. Advertisements 9 MARION’S NEW SETS OF PHOTOGRAPHIC APPARATUS— Continued. THE UNIQUE SET. For Plates 6J x 4}. Well-made substantial Mahogany Folding Camera, with Screw Adjustment, Reversing Frame, Double Swing, Sliding Front, Double Dark Slide, good -Rectilinear Lens, fitted with Instant- aneous Shutter and a good strong Sliding Tripod Stand. Price complete, £5 : 15s. If fitted with Marion’s Superior View Lens, 41s. extra. MARION & CO., 22 & 23 Soho Square, London, W. 10 A dvertisements MARION’S NEW SETS OF PHOTOGRAPHIC APPARATUS— Continued. THE UNIQUE SET. For Plates 8 J x 6J. Camera, Double Back, Rectilinear Lens, Instantaneous Shutter, and good strong Tripod, as described in the Unique Set for Plates 6J x 4}. Price complete, £8 : 8s. If fitted with Marion’s Superior View Lens, 38s. extra. MARION & CO., 22 & 2 3 Soho Square, London, W. A dvertisements 1 1 MARION’S NEW SETS OF PHOTOGRAPHIC APPARATUS— Continued. THE USEFUL SET. For Plates 6J x 4J. Strong Mahogany Folding Camera, with Rack and Pinion Adjustment, good View Lens, fitted with Shutter and a good strong Sliding Tripod. Price complete, £4 : 4s. MARION & CO., 22 & 23 Soho Square, London, W. Advertisements I 2 MARION’S NEW SETS OF PHOTOGRAPHIC APPARATUS— Continued. THE UNION SET. For Plates 4£ x 3|. Comprising — Strongly-made Mahogany Bellows Body Camera, very long Focus, Screw Adjustment, Double Swing Back, new Front Sliding Adjust- ment, and fitted with six of Marion’s Patent Compacta Envelopes — the lightest, cheapest, and most compact form of Slides made. Rectilinear Lens, Instantaneous Shutter, and good strong Folding Tripod. Price complete, £4 : 15s. THE UNION SET. For Plates x 4f . Camera, 6 Backs, Lens, Shutter, and Stand, as described above for Union Set. Price complete, £6 : 4s. THE UNION SET. For Plates 8^ x 6£. Camera, 6 Backs, Lens, Shutter, and Stand, as described above for Union Set. Price complete, £9. THE UTILITARIAN. For Plates 6£ x 4§. Leather Bellows Camera, 1 Double Back, Single Lens, and Tripod. Price complete, £3 : 10s. THE UNIVERSAL. For Plates 5x4. Strong Camera, 1 Double Back, Single View Lens, and Tripod. Price complete, £2 : 2s. THE UNEQUALLED. For Plates 4| x 3|. Well-made cheap Camera, 1 Double Back, Single View Lens, and Tripod. Price complete, £1 : is. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements MARION’S NEW SETS OF PHOTOGRAPHIC APPARATUS— Continued. co Eh H— I Pm Eh O O Eh O « Dh Pm w O CO w s w CO CO w o MH PCJ Ph C (/) w W as H a H -ft O O O O O vO vo vO O O vO I, 1 10O O 00 CJ O O O rt- •vj- O ^OOOO - O O O O O O S2 ^ vo VO VO vO VO vO VO VO VO o vO VO VO VO vO J3 cn ^OOOO O 0 0 O O SIR ^ VO VO 0 vo O 0 0 VO O O O O CO c3 ^ H H U1H 10 VO i_i vo 1-0 10 VO 41 HH 1— 1 HH hH hH hH ~ ~ ~ O O - - 0 0 O g j/j ^•OOOO O O VO vo O * y ^ 00 vo 0 00 N 0 • 0 r'H vo Hpq ^ 0 O hh 0 H 0 0 O 0 TJ T3 rt4i . ^•OO'OO VO 0 0 O VO ovo c . 0 *•§■3 h 0 rf O, - vooo vo co VO N N -vi- — Si VO gflm cl h ^ 10 CO VOVO M CO vt vo M Sen N O « O O U £ S' A 8 « ® » 1 * 43 43 £ 3 , £4 c ^43 Oh O VO P- ^ H|(M H|H U HW< O ^ H|Cq Ph co H|r- qbh jp |4 Ji s. ci & ; ^G > 0 J PM Q pM Q feO-n > 0-2 >0 i — 1 1 — 1 1— i Eh m EH i— i ps r 5 hi « .« hH hhwh H HW-|«h|wh MWMW W KW* a? M EHHtHEH EH Eh Eh Eh Eh §S^ ft cn^ 1-3 i&.< i$ C- 2 EHM i «hP ■‘ ££ ft w m 3 <1 G* H J25 E> i| w W W * ww H M EH Eh Eh MARION & CO., 22 & 23 Soho Square, London, W. m 1 4 A dvertisements MARI ON’S NONPAREIL SET. THE CHEAPEST AND BEST COMPLETE PHOTO -APPARATUS That has ever been made. Price 30s. Size of Plate, 4J x 3J. Comprising — 1 Mahogany Camera, with Double Back, 1 good Working Lens, a Tripod Stand, Focussing Cloth, 1 dozen Dry Plates, Dishes, Solutions, etc. etc., and Complete and clear Instructions how to work. NONPAREIL PRINTING SET, with Stock of Material, Dishes, Mounts, etc. etc. . 12s. 6d. This Set will be found just the thing for young people , and has been adopted in several Schools. From 0 SSMAN SKEVKY, Imperial Naval College, Halki, Constantinople. — “The Box is very well packed in tin, as your letter indicated. I am thoroughly satisfied with the Camera, it is so well made, finished, and complete ; the Printing Apparatus is the same. It far exceeds my highest anticipations .” — February 26, 1887. INSTRUCTIONS HOW TO WORK SUPPLIED WITH EACH SET. MARION & CO., 22 & 23 Soho Square, London, W. A Advertisements i MARION’S “STUDENT’S” OR BEGINNER’S SETS. FOR 5x4 NEGATIVES. These Sets are complete for immediate use. Comprising — CAMERA, with Double Dark Slide, Lens, Stand, 1 dozen Dry Plates, Chemicals, Lamp, Trays, etc. Packed in Cardboard Box complete. Price £2 : 10s. “A Marvel of Cheapness.” The above Set is complete with all the Apparatus and Material requisite for the production of a really good class Negative. Our aim has been to produce a useful Working Set at the minimum of cost. The Directions issued with each Set are written expressly for the Amateur who knows nothing whatever of Photography, and will, if carefully followed, enable such to produce a fairly good negative even at the first trial. We have every confidence in recommending this to Beginners. PRINTING SET for above, comprising all the Apparatus needful, as also a little stock of Material, £1 :5s. A SIMILAR SET, known as “ MARION’S A.B.C. SET,” takes Plates 4.4 x 3^, and is sold at £ 2 : 5s. for the Photo Set, and £1 : 3s. for the Printing Set. The description given above answers for both. If packed for the Country , 2s. extra is charged. Prices of Extras and Materials for Either Set. — P ortrait Lens (double combina- tion), 15s.; Leather Case to take Camera Slides, Lenses, and Focussing Cloth, xos. 6d. ; Extra Double Slide, 7s. 6d . ; Britannia Dry Plates, per dozen, is. yd. ; Solutions, Nos. 1 and 2, is. 6d. ; Alum, per bottle, 3d. ; Hyposulphite of Soda, in jar, 4 d . ; Ruby Lamp, is. iod. ; Trays, each, is. gd. From CHARLES S. SWAIN, Esq., Springwood Park, Kelso. — “I am very much pleased with the Student’s Set.” — July 15, 1884. From WILLIAM BELL, Esq., Northallerton. — “ I am much pleased with the Set.” — T tine 3, 1885. From Dr. SALTER, Devonshire Hospital, Buxton. — “I am very much pleased with the Set . . . and also with the resulting Photograph.” — August 6, 1885. From ALLAN D. GRIGG, Esq., Almagro, Buenos Ayres. — “ I have tried one of your Student’s Sets and find all the articles so good and well finished that I send for your new Illus- trated Catalogue.” — February 1, 1887. MARION & CO., 22 & 23 Soho Square, London, W. 1 6 A dvertisements THE “OXFORD” PHOTOGRAPHIC APPARATUS. To make Negatives 6 | x 4§ (Cabinet Size). I/*" Complete, with Lens , Camera , Stand , I dozen Dry Plates , Chemicals , Lamps , Trays , etc. , and ready for immediate use . Price <£5. The above Set is complete for working the popular Cabinet Size, suitable either for Portraits or Views. The Camera is well made, with leather bellows, and has two double dark slides ; thus four dry plates can be worked with it, without going_ again into the dark room. Printed in- structions are given with each Set sufficiently clear and precise for a Beginner. It must be noted, however, that the plates are fitted into the backs slightly different from the method given in the directions. The metal plate in the backs or slides is a fixture, consequently each of t the gelatine dry plates is fitted in coated side up- wards. The folding-board of the Oxford Camera is made rigid by turning the brass bars at its side round into the side of the Camera base. Packing Charge, if sent into the Country, 5^. Prices of Extras and Materials. Double Combination Portrait Lens^o 15 o Superior Lens for taking single Portraits 3 5° Leather Case, to take Camera, Slides, Lens, and Focussing Cloth . o 15 o Extra Double Slide . . . £0 xo 6 Extra Rapid Britannia Plates (per dozen) .. . . .030 Ordinary Britannia Plates (per dozen) 023 Travelling Candle Lamp . .050 PRINTING SET for the above, with supply of necessary apparatus and Stock of Material, 30 S. If Lens of the above Set is replaced with one of Marion’s Quick- Acting" Rectilinear Lenses, as supplied with the superior Sets, an additional £2 : 9s. is charged. This makes a very desirable change. From T. W. BEETON, 1st Class Armourer-Sergeant, 2d Suffolk Regiment, The Barracks, Cork . — “ I am in receipt of the Photo Set (Oxford), which arrived safely yester- day, and am very satisfied with it ; it is so well made, finished, and complete. It far exceeds my highest anticipations .” — April 15, 1885. From Major PARRY, The Manor House, Torquay. — “I am much pleased with the (Oxford) Photographic Apparatus you have sent me ; it is most complete in every way, and the Printing Apparatus is the same .” — September 30, 1885. From J. S. FOYERTY, Esq., H.M.S. “Excellent,” Portsmouth.— “ The Oxford Set arrived here on Friday, and I think it very good value indeed .” — January 15, 1887. From Mr. W. F. BURSLEM, Marine Villa, Sea Road, Abergele.— “ I have received the Oxford Set and tried it, and am very pleased .” — October 23, 1886. From J. JOHNSTONE Jun., Esq., Temple Court, Blackburn. — “I am glad to say I have succeeded beyond my expectations with your Oxford Set P—June 20, 1886. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisemen ts i 7 MARION’S “UNIVERSITY” PHOTOGRAPHIC SET. FOR NEGATIVES 8J x 6J. Comprising — Leather Bellows Body Camera, Screw Adjustments, Extending Back, Single Swing, and 3 Double Backs ; Strong Tripod in Twill Case, Single View Lens, 1 dozen Britannia Plates, Bottle of Britannia Solution, Liquid Ammonia, Alum, and Hypo ; Nest of 3 Ebonite Trays, Glass Measures, Ruby Candle Lamp, and Focussing Cloth. Contained in Black Polished Pine Case complete. Price £10. The unprecedented success which has attended the sale of our “ Student ” and “Oxford” Sets has induced us to comply with the repeatedly expressed desires of our friends, and to introduce the above Set for whole plates (8| x 6£), which is constructed as nearly as possible after the same manner. It will be patent to all, that with each increase of size there must be a proportionate rise in cost ; but the above Set has almost all the advantages of superior finished instruments, and, with careful usage, is in all respects fitted for the production of good class work. MARION & CO., 22 & 23 Soho Square, London, W. 2 I 8 A dvertisements PRINTING SET Suitable for the “University” Set, £2. PRICE OF MATERIALS, etc., that can be used with the “ University” Set : — s. d. Portrait Lens for Cartes and Cabinets . . . . . .800 Britannia Plates (8^ x 6U, ordinary series (per doz.) . . . .43 Ditto, extra rapid series (per doz.) . . . . . . .56 Bottle of Britannia Solution (half pint) . . . . . .36 Bottle of Ammonia Solution (half pint) . . . . . .09 Leather Case for Camera, and 3 Backs . . . . . .210 Packmg Charge , ij sent into the Country , 5.9. If Lens of above Set is replaced with one of Marion’s Quick-Acting Rectilinear Lenses, as supplied with the superior Sets, an additional £2 : 1 os. is charged ; this is worth consideration, as the other Lens is only a single one. We have also “The Engineer’s and Builder’s Photographic Set,” which answers to the above description, but takes plates from 12 x 10 downwards, and is fitted with a really good wide-angle Rectilinear Lens. The Camera has double swing, and the Set is supplied in case complete for use, and of excellent value. Price complete, £22. Printing Set suitable for above, in Box complete, £4. From BRADSHAW BARKER, Gt. Bowen, Queensland.— “d am thoroughly satisfied with the camera, etc. (Engineer’s Set), and have to thank you gratefully for your advice.” — June 29, 1885. MARION & CO., 22 & 23 Soho Square, London, W. Advertisements 19 THE COMPACT SET. For Plates 4£ x 3£. A light but strong Camera, Leather Bellows, Rack and Pinion, and with 3 Double Backs, 1 of Marion’s quick-acting Rectilinear Lenses, Focussing Cloth, and Water- proof Case to hold above, also Tripod Stand in Waterproof Case, Britannia Plates, Chem- icals, Dishes, etc. , all complete in polished black ebonised case N|j| measuring 14 in. x 9 in. x 9. Price £l : 15s. complete.^ Printing Set suitable for the “Compact” Set, in strong cardboard box, complete, 23s. This might well be called The LADIES’ Amateur Photographic Set, being so light and easy to work. MARION’S PRINTING SETS. For 4I x 3^ Plates, 23s.; for 5x4, 25s.; for 6 \ x 4j, 30s. In Strong Cardboard Boxes, comprising — Ready Sensitised Paper, Porcelain Dishes, Gold and Acetate of Soda for toning, Hypo for fixing, Blotting-Paper, Cutting Glasses, Mounting Boards, Mounting Solution, Printing Frames, etc. Clear and simple “ Instructions in Photographic PRINTING ” on application. DEVELOPING SETS FOR TOURISTS. We can speedily make to order Leather Cases, with lock and key, and parti- tions to contain anything desired in the way of developing apparatus and material ; packing them into the most compact form possible, so that the tourist may be sure of having everything he will want with him and nothing more. Marion’s “ Practical Guide to Photography.” Price 2 s. 6 d. Post Free , 2 s. 9 d. “A clearly-written, simple work has long been wanted for the beginner, and we have it before us in Messrs. Marion’s Book .” — Public Opinion. MARION & CO., 22 & 23 Soho Square, London, W. 20 A dvertisemen ts MARION’S SUPERIOR “HALF-PLATE” PHOTOGRAPHIC SET. Comprising — Best-make Spanish Mahogany Camera, Bellows Body, Rack Adjustment, Double Swing, Horizontal and Vertical Sliding Front, New Reversing Arrangement of Back to take Dark Slide either upright or oblong, 3 Double Backs, Marion’s No. 2 quick-acting Rectilinear Lens, Strong Sliding Tripod, Velvet Focussing Cloth, Leather Case (for Camera, Lens, 3 Backs, and Cloth), Waterproof Case for Tripod, \ gross B.D.P. Half-Plates, Bottles of Britannia Solution, Liquid Ammonia, Hypo, Alum, 1 Rocking Developing Tray, 3 Ebonite Trays, Zinc Washing Apparatus, Ruby Lamp, Glass Measures, Draining Rack, and 2 Inner Carriers to take Quarter-Plates when desired. Everything in the above Set is of excellent quality both in material and workmanship. There is every convenience that may be required both for A dvertisemen ts 2 i out and indoor practice. It will be noted that all essentials are included at a moderate cost consistent with quality ; and the possessor need have no fear but that his instrument will favourably compare with that of any brother artist whom he may meet, both in appearance and adaptability, while in durability it is surpassed by none. (For Whole- Plate Sets see next page.) Printing Set for above, containing all necessary apparatus and a proportionate supply of material to the 3 dozen Plates supplied with Photo Set, £2 : 5 s. We can also supply a set of precisely the same quality and con- struction as that above described, for the following sizes at prices appended : — For Plates 4J x 3J (“ Quarter-Plate,” 1 used for C.D.V. Pictures) J * ,, 5.x 4 (much approved ) amateur size) . . j „ x 5 (a very elegant size for photographs) . Printing Set. 10 : 1 os. £1 : 1 os. 14 : 14s. £2 : os. 18 : 1 os. £2 : 1 os. If desired the lens supplied with the above-mentioned “ Half- Plate ” Set can be replaced by a Voigtlander, Dallmeyer, or Ross, at following additional prices : — Voigtlander. No. OOA. £1 : 1 is. Dallmeyer. 8x5 Rapid Rectilinear. £2 :9s. Ross. 8x5 Rapid Symmetrical. £2 : 4s. From Captain MAXWELL, 64 th Regiment, Barbadoes, W. Indies.— “I acknow- ledge safe arrival of Photo Apparatus, which has given complete satisfaction, and was very well packed .” — July 12, 1885. From J. W. BACON, Esq., Bath Cottage, Southend Road, Hampstead, N.W.— “ I write to say that I am quite satisfied with the Apparatus (Superior Half-Plate), which you supplied to me. I enclose a copy of my first attempt, which was produced by carefully fol- lowing the instructions laid down in your Guide to Photography, without any other aid whatever .” — April 19, 1886. MARION & CO., 22 & 23 Soho Square, London, W. 22 A dvertisements MARION’S SUPERIOR “WHOLE-PLATE” PHOTOGRAPHIC SET SIZE OF NEGATIVE, x 6 \. Comprising — Best-make Spanish Mahogany Camera, Bellows Body, Rack Adjustment, Double Swing, Horizontal and Vertical Sliding Front, with new Reversing Arrangement to allow the Slides being used either upright or oblong, 3 Double Backs, Marion’s No. 3 Rectilinear Lens, Strong Sliding Tripod, Velvet Focussing Cloth, Leather Case (to hold Camera, Backs, Lens, Cloth, etc.), Waterproof Case for Stand, J gross B. D.P. Whole Plates, Bottle Britannia Solution, Liquid Ammonia, Alum, Hypo, 1 Rocking Developing Tray, 3 Ebonite Trays, Zinc Washing Tank, Ruby Lantern, 2 Glass Measures, Draining Rack, and 2 Inner Carriers to take Half-Plates when desired. Contained in Black Polished Pine Case , Co7nplete. Price £20. The above Set is complete in every respect, and well worthy the careful attention of intending purchasers. We can recommend each article for A dvertisements 23 durability, compactness, and finish. The advantage of a “Whole-Plate” Set consists in its being capable of use for smaller pictures when the larger and more effective size is not required. These Cameras are suited alike for Portraiture and Landscape work ; and when the effectiveness of the size of picture is fully estimated, it is usually thought that a Whole-Plate is, notwith- standing its being somewhat more bulky, the most desirable-sized instrument. Printing’ Sets, suitable for above, and containing all necessary apparatus, and a proportionate supply of material to the 3 dozen Plates supplied with the Photo Sets, ^3. Packing Charge , if sent into the Country , 6s. 6d. When the Lens is replaced by the following makes, an additional charge is made : — Voigtlander. — No. ia — £2 : 12s. No. 3— £4. :3s. Dallmeyer. — 8 \ X 6J, Rapid Rectilinear — £3 : 10. Ross. — 85X6J, Rapid Symmetrical — £2 :12s. {For smaller Size, “ Superior ” Sets, see preceding page.) MARION’S SUPERIOR “TEN BY EIGHT” PHOTOGRAPHIC SET SIZE OF NEGATIVE, 10x8. We supply this in the same form and completeness as the “Whole-Plate” Set ; the same description answering for both. This is a very effective photo- graphic size, and is largely used. A good size Photograph makes a better show in a collection than the smaller sizes ; and, as regards working, there is no greater difficulty in manipulation. Price of Photographic Set, complete, as above, £28; Printing Set, £4 :5s. From Lieut. J. W. MACGILLIVRAY, Fort-George, by Inverness. — “ I received the Whole-Plate Set you sent, and am well pleased with it and its belongings .” — March 12, 1886. From T. RIGG, Esq., Solicitor, Wigton, Cumberland. — “ I have received the Set, and am very much pleased therewith .” — October 6, 1885. From Count CHALLK, Grosspriesen, Elbe.— “ He is very glad to say that the (Superior Whole-Plate) apparatus works very well, and that he has got most gratifying results.” — October 5, 1884. From the Rev. E. A. ADAMS, St. John’s Road, Eastbourne. — “ I am extremely pleased with my Box and Camera and Set (10 X 8), and am glad I was persuaded to have it instead of the Whole-Plate .” — December 4, 1884. MARION & CO., 22 & 23 Soho Square, London, W. 24 A dvertisements MARION’S SUPERIOR TWELVE BY TEN PHOTOGRAPHIC SET Size of Negative, 12 x 10. Comprising — Best-make Spanish Mahogany Camera, Bellows Body, Rack Adjustment, Double Swing, Horizontal and Vertical Sliding Front, New Reversing Arrangement at the back to allow the Slides to be used either upright or oblong way, 3 Double Backs, Marion’s No. 5 Rapid Rectilinear Lens, Strong Sliding Tripod, Velvet Focussing Cloth, Leather Case (to contain Camera, the 3 Double Backs, Lens, Cloth, etc.), Water- proof Case for Stand, 3 dozen 12 x 10 Britannia Plates, Bottle Britan- nia Solution, Liquid Ammonia, Alum, Hypo, 1 Rocking Developing Tray, 2 Compo Trays, Zinc Wash- ing Tank, Ruby Lantern, 2 Glass Measures, Draining Rack, and 2 each Inner Carriers to take 10x8 and 8£ x 6£ Plates when desired. All in a Black Polished Pine Case , with divisions , and lined gree?i baize. Price £34. The above Set is of the best material, and complete in every respect for making - ^**- * — — ~ negatives. The Camera is suitable either ~ _ ^ for Field or Studio work, and is fitted with ua?.iON A a new arrangement for working the Backs, either horizontally or vertically, without disturbing the body of the Camera. _ This is a very great convenience for all kinds of Land- scape work. The 12X10 is an effective photographic size, and is largely used ; in fact, it will always be found that a good size photograph is far more effective and makes a better show in any collection than the smaller sizes, and as regards working there is no greater difficulty in using the 12 X 10 than in the smaller sizes. Printing Set, Apparatus, and Stock of Material suitable for the above, £5. Packing Charge , if sent into the Country, 7 s. 6 d. THE MIDDLEMISS PATENT CAMERA, of which a description is given on page 47, can, if desired, be substituted for the Cameras as described with any of our “Superior” Sets, without any difference in cost. MARION & CO., 22 & 23 Soho Square, London, W. A cLvertisements 25 THE EMPIRE PHOTOGRAPHIC SETS. Whole-Plate Photographic Set — Size of Negative, 84 x 6 \. Comprising — Well-seasoned finest Spanish Mahogany Camera, brass bound, Bellows Body, Screw Ad- justment, Double Swing, Double Sliding Front, Reversible Holder to take Dark Slide either upright or oblong, 3 Double Dark Slides, brass bound, Voigtlander’s Eury- scope Lens, superior Folding Tripod Stand, Cadett’s Patent Lightning Shutter, with Pneumatic Release, Velvet Focussing Cloth, best Solid Leather Case with lock (to contain Camera, 3 Slides, Lens, Shutter and Focussing Cloth), Waterproof Case for Stand, 3 dozen Britannia Dry Plates, Rock- ing Developing Tray, 3 Glass Trays, Marion’s Reflector Lamp, Marion’s Registered Automatic Plate Washer and Drainer, Bottle of Britannia Developing Solution, Liquid Ammonia, Alum, Hypo, 2 Glass Measures. All in a Solid Polished Maho- gany Case , lined green baize, with lock and key. Price £37. This Set is of the choicest work- manship and the best possible material. The Camera and Slides, being made of old-seasoned wood and brass bound, will stand any climate, either extreme cold or heat. The Voigtlander’s Eury- scope Lens has a world- wide reputation, and is suitable for portraits and groups, as well as landscapes. The Washing Tank, Developing Trays, etc., are of the latest improved pattern. We have made this set as perfect and of as fine a quality as it is possible to obtain. B. J. ARMSTRONG, Esq., R.M.S. “Esk,” t Barbadoes. — “I like the Empire Set very much, and already have had good results.” Printing Set — Apparatus and stock of tnaterial for above size , ^3 ; packing extra. 10 x 8 EMPIRE PHOTOGRAPHIC SET, complete in all respects as above, size of negative 10 x 8. Price £45. * Printing Set — Apparatus and stock of material for above size , f \ : 5a ; packing extra. 12 x 10 EMPIRE PHOTOGRAPHIC SET, complete in all respects as above, size of negative, 12 x 10. Price £55. Printing Set — Apparatus and stock of material for above size, ; packing extra. MARION & CO., 22 & 23 Soho Square, London, W. 26 A dvertisements Patent CAMERA AND CHANGING BOX IN ONE, CALLED AFTER THE INVENTOR, “THE ENJALBERT.” A. Camera open, showing the interior. B. Drawer with 8 slides, half drawn out. C. Bellows body. D. Front. E. Bottom Board with rack arrangement. a. Eight Slides or Carriers holding the Plates. be. Screws for moving the front with Lens vertically or horizontally. dd. Sockets for fixing the front when a long focus is required. e. Grooves corresponding to the slides in the drawers. The grooves are for the focussing glass. f. Screw to fix drawer in its place. g. Spring Screw to retain the slides, when drawn from the drawer and ready for exposure. h. Air-holes. Since the introduction of Dry Plates a want has been felt for a Camera that should combine in itself an arrangement for holding several plates, permitting of their exposure being made in rotation, thus avoiding the cumber- someness and inconvenience of several extra dark slides or backs, and which shall be also of light weight, yet strong and rigid. These requirements will be found fully met in the “Enjalbert.” The MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 27 simple way in which the difficulty is overcome of changing successive plates will, we are sure, be much appreciated, and will be admitted as superior to any other method employed. The total weight of the half-plate Camera, with its drawer complete, is under 4 lbs. Extra drawers are supplied, and being made to a gauge, are interchangeable in the Camera. Each drawer contains 8 Holders, and being light and compact, a large number of Plates may be carried at a minimum of weight and bulk. The Camera is adapted for use either upright or oblong way. It is easily set up. Its power of expansion or contraction allows the use of any Lens. Its front shifts in all ways. Focussing is easy, being adjusted by rack- work and fixed by a screw. The Camera is well balanced. The focussing-glass is in a supplementary groove in the body of the Camera. The sliding bottom board has a scale, so that any of the plates may be used after once focussing. SIZES AND PRICES. The Drawer with 8 Slides and the Ground Glass Screen included. 65 X 4 l> £10. I x 6 \, £13 : IOS. | 10 x 8, £15 : 10s. Made in Best Mahogany. ACCESSORIES. Telescopic Camera Stand, extra strong Extra Drawers, containing 8 Slides or Holders Do. do. Do. do. Inner Carriers ..... Do. ..... Strong Leather Case for Camera Do. do. Do. do. Strong Waterproof Case for Telescope Stand THE “ENJALBERT” SET. {IV. B. — Equal to a Catnera with 8 Double Backs.) Comprising Camera, Marion & Co.’s View Lens, Stand, 1 extra Drawer, 4 Inner Carriers, Leather Cases, 1 gross Britannia Dry Plates, Chemicals, Trays, Measure, Washing Apparatus, Lamp, Strong Box with partitions. No. 1. For Plates 6^x4!, £ 2 5 | No. 2. For Plates 8^x6^, ^30 No. 3. For Plates 10 x 8 (with only 4 Carriers), £ 39 . From FAIRFAX RHODES, Esq., Eskadel House, Beauty, N.B.— “ I am much pleased with the “Enjalbert” Set I got from you, and am astonished how soon I got into it, so as to print a good picture.”— July 14, 1884. 6 \ x 4 f 40/ 8£x6j 50/ 10 x 8 55/ 6£ x 4f 2/6 8 £x 6£ 3/ 6^x4! 30/ 8£x6i 35 / 10x8 40/ 10/6 MARION & CO., 22 & 23 Soho Square, London, W. 28 A dvertisemen ts THE NEW ACADEMY CAMERA. The arrow signifies the direction in which the wire spring must be turned and fixed into the tooth wheel when extra speed is required. The red star on disc is in centre when the shutter is ready for release. For the Tourist, for the Artist, for the Detective, and for the Military Man it will be found invaluable. The most complete, simple, and compact Camera ever invented. Mr. Driffield of Widnes has ingeniously contrived a FOCUSSING MIRROR to the Academy Camera. This makes the instrument much more handy to use ; it can be held to the body, and the focus is reflected from the mirror through a hole cut in the top of the Camera. The general make has also been much improved — in fact, there is no Hand Camera to be compared with it, when it is considered that each Camera has a drawer holding 12 plates, which can be exposed in rotation, and that this drawer can be safely changed in daylight for another drawer of non-exposed plates, and that also, after exposure, replaced. It will be manifest that a great convenience is offered, and that 6 dozen or 12 dozen plates may be carried in a very small compass, and all exposed in due order without requiring a dark tent. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 29 THE NEW ACADEMY CAMERA — Continued. The under tray is filled with 12 plates, film side towards the front of Camera ; of course this must be done in a photographer’s dark room, or in fact in any room from which the light is excluded, using our Candle-lamp with its ruby chimney. The tray is now slipped on to the under part of the Camera, and moved by the rack-work close up to the front. The plates are thus pro- tected from daylight, and the Camera may be taken anywhere. In photographing, the Camera is generally held against the body, or rested on any convenient place. Touch the little knob which is behind the Camera front on the left — this releases the ebonite revolving disc, which must be turned towards the right by means of the brass projecting head until it catches in a spring. It will be observed as the ebonite plate turns, the slot in it reveals the under lens. (This is the acting lens, its fellow above merely serving to focus with.) When the ebonite disc is pushed home, adjust the tray by the rack-work so that the brass finger on the other side of the Camera covers the first notch of the brass plate. Now turn the Camera upside down, lay hold of the brass-milled head at the back of the Camera and pull it outwards ; this leaves free passage for the plate to fall from the grooved tray through an opening at the bottom of the Camera. When the plate is heard to fall into the Camera, let go the milled head ; the spring released closes the apertures of the Camera and retains the plate in its proper position. The Camera is now turned over to its normal position, and the object to be photographed is focussed, the Camera being held a little distance from the eyes, or against the body ; the focus is obtained in No. 1 (Academy Camera) by pulling outwards or pushing inwards the brass wire projecting beneath the ground glass, until the object is sharp and distinct on the ground glass. Nos. 2, 3, and 4 have a rack and pinion on the top of the instrument for focussing. Now touch with the forefinger the brass knob on the right hand behind the Camera front. The ebonite disc is released, revolves, and exposes the plate, passes on, and is caught in the catch. The picture is now taken, and the plate is released by pulling outwards the brass -milled head at the back of the Camera — the plate falling through into its groove in the tray beneath. When the click of its fall is heard release the spring. P. S. — When the Plate has been dropped into the Camera from the tray , the tray must not be moved until the plate has been exposed and allowed to drop back again into its place in the tray. MARION & CO., 22 & 23 Soho Square, London, W. 30 A dvertisements THE NEW ACADEMY CAMERA — Continued. For another exposure repeat the operation, of course moving forward the tray by the rack-work till the brass finger points to the next notch. There is no difficulty in working — one point only requires care and judgment, viz. time of exposure. This difficulty can only be overcome by experience. The revolving ebonite disc moves at a greater speed, as the steel spring beneath the button on face of shutter is turned from left to right, and fixed in the toothed wheel. In dull weather it may be necessary even to hold it open by the hand. This is done by holding the brass head between the finger and thumb. The Negatives, though small, have perfect definition, give excellent sharp prints, and make good enlargements. THE PRICES BELOW INCLUDE THE LENSES. All these , except No. i, are fitted with Driffield s Patent Focussing Mirror. No. i. ACADEMY CAMERA, for Plates i| in. square, including a pair of Lenses and Tray with 12 Plates. Size of Camera, 4x3 in. Not fitted with Driffield" s Focussing Mirror ........ each £ 2 10 o (Extra Trays for ditto, 4/ each. i| in. Britannia Dry Plates, 1/ per dozen.) No. 2. ACADEMY CAMERA, for Plates 2 in. square, including a pair of Lenses and Tray with 12 Plates. Size of Camera, 9 x 7 x 4! in each 4 15 o (Extra Trays for ditto, 5/ each. 2 in. square Britannia Dry Plates, 1/3 per dozen.) No. 2A. Superior Workmanship. — Academy Camera, best mahogany, with a pair of Marion & Co.’s Rectilinear Lenses, Tray, and Porcelain Slab for Memoranda . . each 8 7 0 (Extra Trays, with Ivory Number Tablet, 6/ each.) No. 3. ACADEMY CAMERA, for Plates 3^ in. square, including a pair of Lenses and Tray with 12 Plates. Size of Camera, 10J x 6| x iof in each 600 (Extra Trays for ditto, 10/ each. 3^ in. square Britannia Plates, 1/6 per dozen.) No. 3A. Superior Workmanship. — Academy Camera, best mahogany, with a pair of Marion & Co.’s Rectilinear Lenses, Tray, and Porcelain Slab for Memoranda . . each 1 1 10 o (Extra Trays for ditto, with Ivory Number Tablet, 11/ each.) MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 3i THE NEW ACADEMY CAMERA — Continued. No. 4. ACADEMY CAMERA, for Plates 4^x3^ in., including a pair of Lenses and Tray with 12 Plates. Size of Camera, 1 1£ x 6§ x iof in each £7 10 o (Extra Trays for ditto, 12/ each. 4^ x 3! in. Britannia Dry Plates, 1/6 per dozen. ) No. 4 A. Superior Workmanship. — Academy Camera, in best mahogany, with a pair of Marion & Co.’s Rectilinear Lenses, Tray, and Porcelain Slab for Memoranda, each 13 12 o (Extra Trays for ditto, with Ivory Number Tablet, 13/ each.) CAPT. PLUCKER’S PATENT TELESCOPE STAND, with Metal Attachment for the Academy Camera. For No. 2 size, 42/ each ; for Nos. 3 and 4, 60/ each. ACADEMY CAMERA SETS, complete with every requisite for Photographic Negatives and Photographic Printing, fitted in mahogany box, comprising Camera and Lenses, Leather Case, 12 dozen Plates, Chemicals, Trays, Lamp, Measure, etc. Also material for Printing and Mounting. No. 1 SET 2 „ 3 „ 4 „ . £6 10 0 .950 . 11 15 0 . 13 15 0 The same as above, with superior workmanship, Camera, and Marion’s Rectilinear Lenses. No. 2 a SET 3A „ 4A £12 17 0 17 5 0 19 17 0 N.B.— PACKING EX TP A. From Captain PETERS, Citadel, Quebec, Canada.— To the Editor of Amateur Photographer.— “ I obtained some Photos that have never yet been equalled. I carried a Marion’s Academy Camera in my saddle through the whole campaign against Riel, obtaining about 60 splendid pictures, 4I X 3b including about a dozen taken under fire. . . . One was taken during a volley from the rebel pits, about 150 yards distant .” — August 4, 1885. From W. H. MALLOCH, Esq., Brahan Castle, Dingwall, N.B. — “ I am writing a line to say that I find the Academy Camera so satisfactory and so easy to work with, that I will return the small metal one. There are one or two details that might, I think, be improved ; but, taken as a whole, its action is most satisfactory, and has surprised, by its simplicity and completeness, many people to whom I have shown it .” — September 29, 1886. MARION & CO., 22 & 23 Soho Square, London, W. 32 A dvertisemen ts MARION’S LENSES. Marion & Co.’s Lenses have now been before the public for several years, and have won much approval. WE GUARANTEE EACH LENS PERFECT. QUICK-ACTING RECTILINEAR. METAL MOUNTS NICKELED. No. Size of Plates. Diam. of Lens. Back Focus. s. d. I. 44 X 34 and 5 x 4 i tV 6 42 0 2. 64 x 4! and 74 x 5 If 8 61 0 3 - 8| x 64 and 8x5 I 4 i 104 71 0 4 . 10 x 8 2 12 95 0 5 - 12 x 10 2 f 13! 142 0 J. ANDERSON, Chartered Bank of India, Calcutta.— “ I have seen one of your 71/ Whole-Plate Rectilinear Lenses as good as any of Dallmeyer’s.” WIDE-ANGLE RECTILINEAR LENSES. No. Size of Plates. Diam. of Lens. Back Focus. s. d. 6. 44 X 34 3 4 T 3 . 45 0 7 - 64 x 4 f 1 rV 2f 60 0 8. 84 x 64 i tV 5 80 0 9 - 10 x 8 t 1 1 I T"S 8 IOO 0 10. 12 x 10 2 nr 12 140 0 MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 33 MARION’S COMPOUND RECTILINEAR LENS. Fitted in case with com- binations for and ^ plates, price £5 ■ 5S. Thus we have one Lens serving for three sizes of plates. Directions for using. — The Lens as sent out is fitted with glasses for the ^ plate size of plate, and will be used so for that size. If required for £ plate, the Lenses 3B and 3H are unscrewed and replaced by those numbered f. When £ plate is the size desired, unscrew either -§ or 3B and 3H, replacing by PORTRAIT LENSES. 100. Serviceable Portrait Lens for C.D.V., i t 9 5 diameter, 4 focus . . .^180 101. ,, ,, for Cabinets, 3^ ,, ,, . . .250 102. Excelsior C.D.V. and Cabinet Lens, 2 t V ,, 3 5 o 103. For Promenade and Cabinet, will cover a whole plate, Nickel Mounts, quality guaranteed 1300 104. Extra Rapid C.D.V. Portrait Lens, Nickel Mounts 3 10 o 105. Extra Rapid Cabinet ,, ,, ,, 900 106. Extra Rapid Promenade and Cabinet Portrait Lens . . . . 10 o o 107. Portrait Lens for 10 x 8 Plates, diameter 4, focus 17, Nickel Mounts . . 20 o o Ross and Dallmeyer Lenses supplied at lozuest list prices. FOCUSSING GLASSES. These are of the greatest possible convenience in getting perfectly sharp pictures; we recommend their constant use. 5s. and 10s. 6d. each. From Captain A. POLLOCK, The Barracks, Belfast, Ireland. — “Your Lens is a very good one, and I got some excellent negatives with it .” — February 14, 1885. From JAS. HASLAM, Esq., Heywood, Ballinakill, Ireland. — “I cannot speak too highly of your goods, they are everything I could wish. The Lenses work beautifully.” — May 8, 1886. From W. HAWLEY, Esq., Spring Vale, near Ryde. — “The Lens you sent me on approval is an excellent one. . . . It is a great pleasure to work with such excellent material as yours, and I am extremely pleased with all .” — March 25, 1886. MARION & CO., 22 & 23 Soho Square, London, W. 3 34 Advertisements VOIGTLANDER’S NEW LENSES. [See that Voigtlandeds name is on the tube.) MARION & CO., Sole Agents, 22 & 23 SOHO SQUARE, LONDON. PORTRAIT EURYSCOPES. No. 3. No. 4. | No. 5. No. 6. No. 7. Aperture 2 ins. 2^ ins. 3 ins. 3 i ins. 4 ins. Equivalent F ocus No smaller sizes will be made. 7 t „ 9l >> ill „ 14J ,» i7l .. Size of Plate Carte de Visite size, according to length of studio. 1 Cabinet size, 1 according to | length of studio. Cabinet and Panel Size. Prices . £ 7 : 14 s. £11. £ 16 : 10 s. £22. £ 28 . No. 3, No. 4, No. 5 have Rack Movement, all others Rigid Settings. PORTRAIT EURYSCOPES (A). Rigid Settings. No. la. No. 2a. No. 3a. No. 4a. No. 5a. No. 6a. No. 7a. No. 8a. Aperture ij ins. i| ins. 2 ins. 2J ins. 3 ins. 3 l ins. 4 ms. 5 ins. Equivalent Focus 6£ „ » 8§ „ iof „ 13 „ 15 J „ * 9 i „ 25 ,, Size of Plate . Stereosc. 4 X 5 „ 5X6,, 6X8 „ 8X10,, j 10X 12,, 12X15,, 16X20,, Prices £ 5 : 10s. £6 :8s. £ 7 : 14 s. £11. £ 16 : 10 s. ' £22. £ 28 : 12 s. £ 52 : 5 s. Mr. Voigtlander's Description of the New “Portrait Euryscopes. ” These new lenses, unlike the portrait lenses of usual construction, composed of one cemented front objective, and the back objective, of two separated single lenses of entirely unsimilar shape, consist of two perfectly symmetrical and cemented objectives, resembling those of the Euryscopes, and offer important advantages over the said existing constructions. By uniting the two separated lenses of the back objective into one com- pound lens, a considerable amount of light formerly lost by the great number of reflecting surfaces has been saved, and by thus avoiding all “diffusion of light,” the new objective gives more intensive pictures and better definition. Besides, by the perfect symmetry of both the composing objectives a superior marginal definition and a more perfect illumination spread all over the picture have been obtained ; hence, with the same focal length as formerly, a larger extension of the surface can be used, i.e. the angle of view and the picture itself become larger. A dvertisements 35 VOIGTLANDER’S LENSES — Continued. They work without any distortion. These “Portrait Euryscopes” are manufactured of two systems as regards the intensity of action, the first system ; having the same proportion {i.e. ratio of aperture to focal length) as the portrait lenses of normal rapidity, but offer the advantages of a larger picture, greater depth of focus, and a generally im- proved picture. The second system, and this will be found to be most useful, has a little longer focal length, i.e. a little less amount of light ; however, it will prove to be still sufficiently rapid for all ordinary portrait work in the studio, except for taking children, etc., where the so-called extra rapid portrait lenses are indispensable, and, as we may mention here, in the construction of which no alteration takes place. Still a larger angle of view, still a greater depth of focus, are the properties in which this system excels the first, and consequently, besides for single portraits they will be most useful for taking groups in short studios, when the use of ordinary Euryscopes, on account of their too long focal length, is precluded. They will be excellent for instantaneous w r ork, inasmuch as a “ flare ” which can occur in portrait lenses when used in the open air does not exist. In fact, this system of the “Portrait Euryscopes,” on account of their ratio of aperture to focal length, will fill a gap in the series of the existing photo- graphic lenses, and we may state that their weight and shape are by far not so heavy and clumsy as those of the ancient long-focussed portrait lenses. We further wish to state herewith that the present construction of all existing systems of the Euryscopes will not be subject to any alteration. Reprint from the “ Photographischen Correspondenz,” No. 310, July 1886. Report of Committee of the Photographic Society of Vienna , appointed to test the new “ Portrait Euryscopes ” introduced by Fr. von Voigtlander. The undersigned have examined the new Portrait Euryscopes constructed by Chevalier von Voigtlander, of Brunswick, as to their capacity for taking portraits and groups, and have compared them with the Patzval Portrait Objectives made with separate hand lenses as hitherto used. The trials were carried out with a new Euryscope, one of 78 mm. = 3 in., and two of 104 mm. = 4 in. diameter of lens, and compared with ordinary portrait objectives of the same dimensions (with separate hand lenses) in taking single figures and groups. The Euryscope consists of symmetrical objectives in which the front and back lenses are cemented. The diameter of lens, width of focus, and illumination of the instruments tested will be seen in the following table : — Diameter of Lens. Equivalent Focus. Proportion of Aperture to Focus. Portrait Euryscope, No. 5A Portrait Euryscope, No. 7A 3 inches 4 inches 13 inches 19! inches i : 4 i 1 : 4 l 36 A dvertisemen ts VOIGTLANDER’S LENSES —Continued. The angle of the perspective field in the Euryscope possesses rather above 50°, while in an old 4 in. portrait objective it does not possess more than about 40°. The trials which have been made by the undersigned have shown that the results of the “ Portrait Euryscopes,” compared with those of the best portrait objectives, as made hitherto, and which we had at hand for comparison, are, as a rule, quite equal. The illuminating power of the “ Portrait Euryscopes” No. 5A and No. 7A in practical photographic experiments in the studio has been found to be quite equal to that of Voigtlander’s ordinary portrait objec- tives of normal focus ( i.e . 105 mm. (4^ in.) aperture, 478 mm. (18^- in. focus, giving proportion of aperture to focus of 1:4. 50), although the last named has a somewhat shorter focus than the first ; the reason of this is that the light in traversing the cemented back lenses loses less light than by traversing back lenses when separated. The delineation of the image in a portrait by the Euryscope is more defined than with the ordinary portrait objective ; the dis- tribution of the lines on the surface of the image is more enlarged, the vista is more uniformly illumined, and the angle of the perspective is larger. The Euryscope gives a more exact representation of the straight lines. The size of the image (plates) which the Euryscope gives in taking groups is shown by the following figures : The 4 in. Euryscope gives an image of 48 cm. (19 in.) diameter, whilst an ordinary 4 in. Voigtlander’s objective, with separated back lenses, gives an image of only 36 cm. (14 in.) diameter. The Euryscope answers to the requirements of all kinds of work in the photographic studio, and is specially suitable for taking groups in small studios, since it possesses a larger angle of perspective and a larger figure surface. In conclusion we may add that the new Voigtlander “ Portrait Euryscope ” is the first characteristic improvement in strong portrait objectives since the introduction of the portrait construction with separate back lenses forty years ago, by reason of the above-mentioned advantages. VICTOR ANGERER. CH. SCOLIK. Prof. J. M. EDER. Dr. JOS. SZEKELY. J. LOWY. VICTOR TOTH. FRITZ LUCKHARDT. O. VOLKMER. CARL WRABETZ. Vienna :, May 28, 1886. VOIGTLANDER'S NEW LENS, THE “PORTRAIT EURYSCOPE.” From the “ Photographic News ” of September 10, 1886. From Messrs. Marion and Co., who are acting as agents to Voigtlander, we receive a new portrait lens, which has just been put upon the market to replace the original Petzval form, a form which has held almost undisputed sway during the past forty years. The new instrument is virtually a combination of the modern symmetrical type, but having the lenses so large as to give a light intensity equal to that of the old portrait combination — that sent to us having an aperture of a trifle under 3 in. (the lenses are exactly 3 in.), with an equivalent focus of n| in., thus A dvertisemen ts 3 7 VOIGTLAN DER’S LENSES — Continued. representing an intensity of about {, or No. i of the Photographic Society’s Standard. Although the intensity may, numerically considered, be equal to No. I as applied to the old portrait lens (the only instrument hitherto manufactured with an aperture as large as ^), we should expect the actual working rapidity to be superior to the { of the old portrait combination ; as by the use of the cemented back combination two reflecting surfaces are avoided. As regards rapidity, then, we may take the new instrument as equal to the usual portrait combination ; while as regards equality of definition and flat- ness of field, it is enormously superior — unless, indeed, when flatness of field has been secured in the old portrait combination by a sacrifice of other qualities. With respect to absolute separating power, we must only make a statement as regards the particular instrument sent to us, for no two lenses can be identical in this respect. It is an instrument having an equivalent focus of nf in.; and with the full aperture of 3 in. , lines in the centre of field, at a distance from one another of a three-hundredth of an inch, are clearly separated — showing the instrument to be perfectly adapted for copying the finest work, a small stop being used, as a matter of course. We are informed that the instruments now manufactured range from 2 in. diameter, and 7| equivalent focus, to 5 in. in diameter, and 25 in. equivalent focus ; affording a selection suited for work ranging from carte-de-visite to the life-size head taken direct. This largest size, it will be noted, has an intensity of £ The lens, being symmetrical, can be used either way about, whether for portraiture, copying, or enlarging — a matter of some convenience when an instrument is, like the present, adapted for various classes of work, and is to be used on several cameras. The angle included is very considerably wider than that which was possible with the old form of portrait lens — a matter of convenience when, owing to the shortness of the studio, one is compelled to use a lens of short focus ; although we may say that for portraiture it is seldom, if ever, desirable to include a wide angle. We have no particulars as to the prices of the new “ Portrait Euryscope but, if the difficulties of constructing the deep meniscus lenses of large diameter, in relation to the focus, have been so far overcome by Voigtlander and Co. as to enable them to supply the new instruments at about the same price as the old portrait combinations, there will probably be a large demand. It should be mentioned that either combination of the lens now described may be used by itself on a larger plate, but in this case the marginal lines will not be quite straight. If the front lens is used, and with the stop at back, the distortion will be pincushion-like ; while if the back lens is used with the stop in front, the distortion will be of the “ barrel ” order. Of course, it is not quite fair to an optician to use a part of his lens, and to accredit him with the resulting faults in the image, but it is often useful to be able to extemporise an instrument of about double the normal focal length, and, in the case of a portrait, the distortion resulting from the use of half the lens would be so trifling as to be quite unnoticeable. MARION & CO., 22 & 23 Soho Square, London, W. 38 A dvertisements VOIGTLANDER LENSES. MARION & CO., Sole Agents. The new Patent “ EURYSCOPE ” is unequalled. We believe these world-renowned Lenses to be the BEST OBTAINABLE. 'Ihey possess every desirable quality, and in no single particular are they excelled by any Lenses sold. RAPID EURYSCOPE. No. Aperture. Equivalent Focus. Size of Landscape. | Size of Group. Price. 0 1 inch. 4§ inches. 4jX 3 * 4X3 ^360 00 <> 65 ;> 55 X 4* 45 X 3J 480 1 4 ,, H „ 6X5 55 X 4I 5 10 0 2 if „ 9 * „ 7X6 6X5 670 3 2 inches. 11 ,, 8£x 6£ 7X6 7 14 0 4 2* „ 14 „ io|x 8£ 8£x 6£ 1100 5 3 n i6| „ 13 X ioj ioix 8i l6 TO O 6 3* » 20 £ ,, 16 X13 13 Xn 22 O O 7 4 .. 23I 20 X 17 16 X 13 28 12 O 8 S .1 3 °i » 25 X 22 I 22 X18 52 5 0 MEDIUM RAPID EURYSCOPE. Equal in rapidity to the Lenses sold by other Makers as Rapid. No. Aperture. Equivalent Focus. Size of Plate. Price. oa 1 inch. 6 inches. 5X4 £>3 !5 0 ooa ii „ 81 „ 7 & X 5 4 12 0 ia >) I°! „ 8j X 6J 630 2a 1! „ 13 >, 10 X 8 7 5 0 3a 2 inches. r6 ,, 12 X 10 8 16 0 4a 2$ ,, 20 ,, 15 X 12 13 4 0 5a 3 24 18 X16 19 7 0 6a 3* „ 28 22 X18 25 6 0 7a 4 >> 32 >! 25 X 22 31 18 0 WIDE ANGLE EURYSCOPE. No. Aperture. Equivalent Focus. Large Stop. Small Stop. Price. 00 A inch. 3I inches. 4X3 5X4 £3 13 0 0 TJ5 ). 4I 5X4 li x 5 3 19 0 1 T5 )» 5 i 6 X 8X6 480 2 T5 )) „ 7ix si 9X7 4 19 0 3 T5 „ 7i ,, 8 J x 6J 10 X 8 670 4 1 )> 9 95 X 7i 12 X 10 870 5 ii „ x 5 .> 13 X xi 16 X 14 1100 6 i£ ,, 20 „ 17 XI 5 20 X 18 15 8 0 7 i| „ 25 » 21 X19 24 X22 20 9 0 8 2 inches. 32 „ 23 X2I 26 X 23 33 9 0 From BASIL S. O. DOBREE, Tyssul Cottage, 6 Daniel Street, Newport (Mon.)— “ Dear Sirs — It gives me great pleasure to be able to state that I am very pleased with the No. i Wide Angle Voigtlander you sent me some days since ; after putting it to the most severe tests with instruments specially made for testing lenses, we came to following results, which I beg to forward on another sheet, together with test of No. ooa Voigtlander. The faults found are so infinitesimal that I doubt whether two better lenses could be readily obtained.” We shall be pleased to send any of the above Lenses on trial for a few days. The measure- ments given, both as regards diameter and size of plate, are rather under than above. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 39 c n w co W •s CO CO o P 3 •o Si oo pq CO 525 pq >-q «a- pfa E“l PP >H C/2 2 s •a 'S & <5> <*=5 pp T3 Pi c<3 - !>> ho ,P Pi ft •r> aS I S> O O ® ■§ tQ rP & * ■a g 5 | >5 3 . p* M O ^ <4-1 ® O 1*1 as P O § O a 'fa ra P ^ g (U 2 § o^H i2 *-Kj§ « P ..fa, s-§ £2 „ o « « ^ O « i > < C C^i . _j bJO '* - ‘ .2 fa >H .5 ft5 03 tfatU o •^‘S .fail's 0 03 O fa fa ■5 2 3 0'S m 1 § 1 §3 w «■< h!o^ ^ C +-» C3 Jh cd g. ’-£■ 'S 1/1 ni rj ri > 3 u -fa :P 5 -0 s* H H f| in 03 w rC (J 0 fi Ph H'M HcqtdN H-vO t^OO "-i O d- O H W H M M CO 03 H(05 Hid .N co d- d- lo'O oo HI CJ VO CO -000 cl K> HH l-H H H N CO pq GO pq S h fa ^ «S ^ pq t/3 ho S *>» ft o O fl fa art ll 3 « PP •+= E-I 03 pq S | §| o <13 ft fa . s m rv k p **h *e in ft 3 F o oi m CL r ft ^ 1/3 P fa* tH t/3 +-> rC _ C <13 rt ft H <-< fa fab fa H ft! 2 ft3 o'o fa § o.£i^ - co pq OP «=fa pq <=> ft 3 fto rt « W -2 tJ 03 u- fa"fa 3 *2 • ~ p ^ g^ft ' ■ I ^ ^ O p Pi CO . X3 bo-fa O ^ 0 s CD 03 >1 C3 03 CT*fa3 jih 1 2 is s TJ Q, - O ^ O rC • s 3 - 1^1 bO Price. j 0000000000 O10OOOOOOOO co co co d- lcv-O r^-00 ft O Large Stop. I Hd Hd co co d- d- >o\o t^-oc O hi xxxxxxxxxx HH Hd co d- >0 r^oo 00 ft O d co in r r " ^ " O a Ph co d - >ovo i>.oo ft 0 ci 10 cn O hi d co d- lomo r^oo ft O z MARION & CO., 22 & 23 Soho Square, London, W. Larger sizes to order. I Larger sizes to order. 40 A dvertisements DALLMEYER’S LENSES. RAPID RECTILINEAR LENS (Patent). (Introduced 1866 .) Each Lens is supplied with a Set of Waterhouse Diaphragms. ( Observe ! The apertures of stops are too large to admit of being made in the form of a rotating diaphragm, as supplied with the “wide-angle” Rectilinear.) Each Lens marked below, with smaller stops, can be used for the next size larger view. Size of View or Size of Group or Diameter of Back Focus. Equi- valent Price, Rigid Price, Sliding ; Price, Rack and Pinion. Landscape. 1 Portrait. Lenses. F ocus. Setting. Tube. Inches. I Inches. Inches. Inches. Inches. £ S. d. £ S. d. £ s. d. 4i X 3i 1 Six 3i £ 3i 4 3 15 0 •• *5X4 ' 4 i X 3I 7 5 * 6 4 10 0 4 15 0 5 5 o 6X5 for 8X5 5X4 7 i 8J 5 10 0 600 6 10 0 84 X 64 6X5 *4 I0 i 700 7 10 0 800 xo X 8 84 X 6£ If 12I 13 900 9 10 0 10 s 0 12 x 10 10 X 8. French Size. 12 X 10 2 2* 15 16 17J 19* XI 00 11 10 0 12 5 0 13 X xi 15 X 12 16 18 22J 12 0 0 15 0 0 12 15 0 15 15 0 The X 3i Lenses are 18 X 16 IS X 12 3, 24 20 0 0 21 0 0 constructed 22 X 20 18 X 16 3f 28 3° 27 0 0 28 0 0 for lantern 25 X 21 22 X 20 4 31 33 32 0 0 33 10 0 pictures. * These Lenses are also well adapted for Stereoscopic Views, and can be had in pairs. To obtain the best results with the sizes larger than io x 8, always focus with No. j stop , whether the photograph is to be taken with a smaller or a larger one. WIDE-ANGLE RECTILINEAR LENS (Patent). The Lenses are mounted in Rigid Settings or Tubes, and each is furnished with a Rotating Diaphragm Plate. In the column below the largest size of plate covered by each Lens is recorded ; and if microscopic definition up to the corners be required, the smallest, or smallest but one, stop should be used. No. Largest Dimension of Plate. Diameter of front combination. Back Focus. Equivalent Focus. Price. Inches. Inches. Inches. Inches. \ £ s. d. *iAA 7 i X 4^ i 34 4 4 10 0 iA 84 X 6 % il 4t 54 I S 10 0 1 12 X 10 -1* 64 7, 7 10 0 2 15 X 12 2 74 84 10 10 0 3 18 X 16 2j 11 13 14 0 0 4 22 X 20 3, 14 154 20 0 0 5 25 X 21 34 17 .9 | 30 0 0 * This Lens is also well adapted for Stereoscopic Views. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 4i 02 a • g m fi M3 M >vQ 00 XT) O) js, >3V, N - co «5 5 ~ &svp IB N o* i vo . vo H - 1 <0 fcl CO © A Eh \p 2 0 0 VO vO vo O 0 O O 0 0 O 0 0 O 0 M 'M ^ M vO H- CO N to M ON Ov Ov !>. O CO 0 0 0 • r-H 4-» HH 1— 1 f— 1 HH HH HH 1 HH HH co CO \)- m LnvO ON Ov Ov 0 co vo M vo £ CVJ CO C jy c/5 c3 3 G ~ - - 5 R R ■go ' — i[CV| i-h| I *4 co|tJh rH|^C^|OOrH| < M ll CO|OCCO|^ rH|Cq rH|(M 3 M N CO CO H- Ph H'H’ r-djcq -H|(Mr-l!CV) 3 0 O d 0 1 l]>sjl n H- 5 7 8 00 00 0 0 0 HH CO i_n 00 cs VO w M cs > 1 — #N !> 1 li CO ^r 10 ITl VO 00 O 0 0 HH cs vo 00 M H" > •“i !-< *-* fH 1-1 M M O X X XXX X X X X X X X X X X X V Hn ,E3 10 vo 00 00 Ov O M M CO 10 00 vn 00 CO HH HH HH M HH HH HH M M * LT) vp in 00 ! VO [<. 0 ^ 1 l_H M ^ <0 o- rv hn ** •* .2 d 6 6 1 ^ 0 £ £ £ c /5 c /5 c /5 L H> MARION & CO., 22 & 23 Soho Square, London, W Extensively used by Professional Photographers where position will not allow the use of 16-inch focus. Ten per cent is allowed off the price of the above Lenses for cash with order. 42 Advertisements MARION & CO.’S CELEBRATED CAMERAS. We have every modern im- provement at hand, and can , with confidence , say that no- where are Cameras of better value obtain- able at the price than mentioned iti the followmg List. FOR PLATES, - ^ ^ "N. 5X4 1 6£x 4 | 7j x 5 8£x6£ 10X 8 12x10 Cheap Dry Plate Camera, with Bellows and 2 Double Backs, square, strong and useful ; screw adjustment 60/ 80/ no / 168/ 200/ Best make Spanish Mahogany Camera, Bellows Body, Rack Adjustment, Double Swing, Hori- zontal and Vertical Sliding Front, New Reversing Arrangement at the back to allow the Slides to be used either upright or oblong way, and 3 double backs 120/ *35 / 160/ !75 / 190/ ! 225/ 280/ The same style of Camera, but of more careful finish, has a Double Extension, and is in all respects a beautiful instrument, supplied with 3 double backs 153 / I 170/ 200/ 225/ 237/6 275/ 350/ Marion’s “Empire” Camera, pos- sesses every improvement, is of solid construction and beautiful finish, will stand any climate, sup- plied with 3 double backs 215/ | 260/ 320/ 37°/ Middlemiss Patent Camera, with 3 double backs. (For particulars see page 47) .... 160/ 190/ 220/ 290/ Enj albert Camera. (See special description page 26) 200/ i 270/ 300/ Excelsior Studio Portrait Camera, as used by a large number of Photographers ; including one Single Repeating Back i°S/ l 130/ ! 179/ 228/ MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 43 MARION’S CAMERAS — Continued. PRICES FOR EXTRA DOUBLE BACKS. FOR BEST MAKE OF SPANISH MAHOGANY CAMERA. For Plates 4$x3| 5x4 6^x4! 7^x5 8£x6£ 10x8 12x10 1 1/9 14/6 22/ 25/ 28/ 30/ 40/ FOR MIDDLEMISS PATENT CAMERA. 1 1/9 14/6 22/ 25/ 28/ 30/ 40/ FOR MARION’S EMPIRE CAMERA. 22/6 24/ 27/6 27/6 31/ 40/ 50/ TRIPOD STANDS The Union Folding Ash Tripod Stand for \ Plate, 10/6, for \ Plate Cameras . 14/ The Ultra Folding Ash Tripod Stand for ^ Plate, 18/, for y Plate Cameras . 22/ Student’s (as supplied with Set), in Oak 13/ Oxford (as supplied with set), in Mahogany . . . 1 8/ Superior, No. 1 (as supplied with \ Plate Set), in Ash . 22/ Superior, No. 2 (as supplied x Plate Set), in Ash . . 26/ Superior, No. 3, Extra Strong, in Ash .... 30/ 3-Fold Stand, in Polished Ash, folding to 20 inches in length, 6 inch head 21/, 8 inch 23/, 10 inch 24/. Captain Plucker’s Patent Metal Telescopic Tripod with Ball and Socket, Jointed Head. See Illustration . 25/ and 35/ Studio Camera Stands, on Cas- tors . . . From 50/ to ^5 MARION & CO., 22 & 23 Soho Square, London, W. 44 A dvertisements MARION'S ENLARGING APPARATUSES. ENLARGING APPARATUS. Can be strongly recommended as most efficient. It also serves as an effective Magic Lantern. We supply a special Par- affin lamp which gives a bright light. The Apparatus may be used in any room, provided all actinic light be excluded ; a hood, as shown in the woodcut, covers the lamp, to prevent any light escaping. Every part is movable, therefore the ad- justment is easy. We append directions for use, and we may add that the oper- ations are much simpler than they seem as described in the directions. Price of Apparatus complete, £6 : 13s. A very good Lens for use with the above is our No. io2, price £3 : 5J. MAGIC LANTERN AND ENLARGING APPARATUS COMBINED. Price £2 : 16s. Fitted with Portrait Lens (No. 100), £4 : 4s. Upright Easel Stand for ditto, 21s. The above Apparatus is made on the same principle as our £ 6 : 13s. Enlarging Apparatus, which has given such general satisfaction. The^fsame lamp is used, thus the illuminating power is equal. It|is fitted to take up to a | plate negative. Combining, as it does, the lantern and the enlarging, this Apparatus will be found both to the Amateur and Professional one of the most useful and one of the cheapest instruments ever offered. DIRECTIONS FOR USE.— The apparatus must be used in a darkened room from which all actinic light is excluded. It will, however, of itself give sufficient light to work by. Place it on a table or bench ; a flat board should rest on an upright easel — this latter to have wheels so that it might be moved backwards or forwards. Remove the hood or metal box which covers the lamp, and light the lamp in the ordinary manner. Now take out the slide from the wood upright, and into this slide fix the negative, and then replace into its former position. To the front of the Enlarging Apparatus must be fixed a lens (generally a J or £ plate portrait). Now adjust the bellows until an image of the size desired is thrown on the screen or board which rests on the easel (a sheet of white paper is attached to the board during this operation), and the exact focus is obtained by moving the easel stand backwards or forwards. To get the fullest power of illumination, the glass condensers as well as the lamp are made movable. There is one particular point which will be found to give the greatest light — this can only be discovered by adjustment. Now, the correct size of image, the sharpest focus, and the greatest illumination being obtained, replace the hood in its position ; this will shut out all light except that which comes from the lens. The white sheet of paper is removed from the board, and sensitive paper placed there instead. Care must be taken not to disturb the position of the easel, otherwise the focus will be lost. The exposure takes place, and will depend on the nature and sensitiveness of the paper used. A few words with respect to the lamp. Great care must be taken that the wick is always kept clean ; after using, the wick should be thoroughly trimmed. From FREDERICK PURDY, Esq., 35 Victoria Road, Kensington, W.— “Did you have a note from my late son, William F. Purdy, as to the good results of the Enlarging Apparatus he bought of you ? I know that being much pleased with it he intended to certify to its worth .” — July 28, 1884. From Captain the Honourable F. W. CHARTERIS, 30 Pont Street. — “I send a cheque for your account. I am much pleased with the Enlarging Apparatus .” — Jatiuary 20, 1885. Particulars of Special Papers for use with Enlarging Apparatus will be found on page 66. A dvertisements 45 MARION’S ENLARGING APPARATU SES — Continued. EXTRA LARGE ENLARGING APPARATUS. With a pair of 12-inch Condensing Lenses, and fitted with Carriers for Negatives from \ plate up to 12 x 10. Price £ 25. This Apparatus is fitted with Defrie’s Patent Lamp for Paraffin, which gives a very effective bright and white light. Will enlarge up to 6 feet. May be had fitted with Portrait Lens, £3 : 5s. extra. Directions for use as on page 44 — but this large size is fitted with a door at back to allow the working, instead of removing the hood as in the smaller sizes. We strongly recommend our Bromide Paper and Opals for use with these Apparatuses. Our Rapid Paper, also, is being used very effectively by many Photographers for Enlargements. MARION & CO., 22 & 23 Soho Square, London, W. 4 6 A dvertisements MINIATURE LANDSCAPE CAMERA. In Polished Mahogany, Leather Bellows, Rack Adjustment, Lens, Instantaneous Shutter, and 1 Double Dark Slide. Size of Plate 3 J x 2 j. Price 45s. Extra for Double Slides, 5/ each; Britannia Dry Plates, Extra Rapid Series for do., 2/3 per dozen ; Leather Case with Sling Strap for do., 7/6 each. WE RECOMMEND THIS CAMERA SPECIALLY TO CYCLISTS. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 47 MIDDLEMISS PATENT CAMERA. A N instrument that has been carefully planned to embrace all the possible improvements and advantages that can be desired in a Camera. STRENGTH, yet lightness. RIGIDITY, yet easily opened out or shut up. COMPACTNESS, yet of greater extension than usual. ALL THE SWING MOVEMENTS, yet no complicated mechanism. GREAT LENGTH OF FOCUS, yet can be reduced for the shortest focus of lenses. Fig. I. represents the Camera at its greatest exten- sion and placed upon the tri- pod ; a glance will show that the arrangement of struts is such as to secure the rigidity of the front that carries the lens, and the back that has to support the dark slide. The struts are held by movable set screws, and are so arranged that the Camera folds into very little compass. Fig. II. shows the Camera closed, but placed on the tripod ready for opening. The Camera is complete in itself, and there are no loose parts. Fig. I. RISING AND FALLING FRONT. — Both these movements are provided for, and can be worked easily and quickly. The exact centre is also obtainable in a moment by a reference to marks which are placed on the front of Camera. SHORT AND LONG FOCUS.— While Fig. I. shows that the Camera is capable of use with a single lens (long focus), Fig. III. shows that the back of Camera can be advanced so as to allow the use of a wide-angle lens without any of the foreground being cut off, owing to the projection of the base board. DOUBLE SWING BACK. — Both swings are provided in a simple manner, and can be used separately and independently. REVERSING FRAME. — No Camera can |be said to be^complete without this useful movement. This simply consists of the frame into which 48 A dvertisements the dark slide is inserted, being made to turn on its side, so that the slide may be put in horizontally or vertically without moving the Camera, but by the simple movement of revers- ing the frame referred to. This most desirable arrangement, if once used, will always be used. CHANGING LENSES. — Fig. IV. shows the manner by which various lenses can be used with the Camera, and also the rigid manner in which the front is held. Fig. III. DARK SLIDES.— Each Camera is fitted with three double slides in book form, whose shutters have double joints, and are also fitted with automatic springs to fasten them when they are pushed back after exposure. The focussing screen has double-jointed hinges. Every part of the Camera is of the best workmanship, and its principal features are fully protected by sealed patent. ; Prices as below. For plates . 6^ x 4I, ^8 o o ,, ,, . 8£x 6\, 9 10 o ,, ,, . 10 x 8, 11 o o ,, ,, . 12 x 10, 14 10 o ,, ,, . 15 x 12, 16 10 o From W. ST. J. BEALE, Esq., Church Aston, Newport, Salop. — “ I like the (Middlemiss Patent) Camera you sent me immensely .” — March ix, 1886. Mr. J. ANDERSON, Chartered Bank Fig. IV. of India, Calcutta. — “Your Middlemiss Patent Camera is much admired, and I have seen nothing to equal it, and it stands our heat and changes of weather perfectly.” From W. ST. J. BEALE, Esq., Church Aston, Newport.— “ I like my Middlemiss Camera more and more every day, and the Voigtlander Lens cannot be surpassed.” — August 12, 1886. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 49 SHUTTERS. MARION’S METAL DROP SHUTTER Is the simplest form made. Being of blackened brass, it neither warps nor corrodes, and is at once light and strong. The exposure can be varied by altering the angle of the drop, and also by the aid of elastic bands to quicken. Each Shutter is provided with a set of leather collars, so as to fit smaller lenses. No. i. Suitable for lens of § in. diameter . . 5/ No. 2. ,, ,, 2§ in. ,, . . 10/6 No. 3. ,, ,, 2I in. ,, . . 12/ Special sizes can be made to order. THE MAHOGANY DROP SHUTTER. Very simple and effective; the motive power is by an indiarubber band, and the speed of the fall can be varied. No. 1. With Aperture ij inch 5/6 each. No. 2. ,, if inch 6/6 ,, No. 3. ,, 2 inches 7/6 „ For all classes of work (other than instantaneous) this is one of the best shutters obtainable ; it is easily adjusted, very simple in construction, and the exposure is perfectly under control, the shutter only remaining open while pressure is put upon the ball. It works quite noise- lessly, and there is no vibration whatever. This shutter quite replaces the lens cap, and gives a moderately quick exposure when required, much quicker than is possible by hand. 4 So A dvertisements SHUTTERS — Contin ued. CADETT’S LIGHTNING EBONITE SHUTTER, With Cade it's Patent Pneumatic Arrangement. This latest invention of Mr. Cadett is a most ingenious arrange- ment, providing all exposures from indefinite duration to a very rapid one. The Shutter obtained the Silver Medal (highest award) at the International Inventions Exhibition. We recommend this as the “ Multum in Parvo ” of shutters, and also as a beautiful and ingenious piece of work. The exposures are quite under control, and are given without vibration. There is also an arrangement for focussing. No. i. Suitable for lens of if diameter . . . .30/ No. 2. „ „ 2§ „ 35 / No. 3. „ „ 3 i » 40/ No. 4. „ „ 32 », 45 / From G. M. BAINES, Esq., Quinta Nova, Carcavellas, Correis d’Ouras, Portugal. — “I have received the Cadett’s Lightning Shutter in good order, and find it an excellent piece of apparatus, combining all the requisites of an instantaneous and ordinary exposure — a great desideratum.” MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 5 SHU TT ERS — Continued. KERSHAW’S PATENT. This beautiful and compact Shutter is specially constructed for instantaneous work. The blind, with the hole in, is wound up before exposure, and, when released, is rapidly re -wound upon a spring roller. It is the smallest and simplest of any shutter yet introduced that will ' give exposures of the utmost rapidity ; and we are^sure it will meet with the approval of all desiring to take instantaneous photo - graphs. No. I. Suitable for lens of 2 in. diameter, and under, 18/ each. No. 2. ,, 2 \ in. ,, ,, 21/ „ No. 3. ,, 3 in. ,, ,, 24/ „ No. 4. jt 3^ in. ,, 30/ » CADETT’S PATENT PNEUMATIC DROP SHUTTER FOR THE STUDIO. Similar in ? 7 iake , and on the same principle, as the ‘ ‘ Ebonite Drop Shutter A but made in wood , and of a size to fit the largest portrait lenses. Price 24s. All our Pneumatic Shutters can be fitted with special long tubes, so that the exposure can be effected at a distance, and the operator can thus with the greatest ease photograph himself in groups, etc., by some such means as treading on the pear at the moment of exposure. CADETT’S PATENT PNEUMATIC STUDIO SHUTTER. Made to fit inside or outside the Camera. Price 42s. each. It has often been remarked by eminent Photographers that any arrangement which would enable persons to be photographed without their being aware of it would be a most useful one. All that has been done in this direction neces- sitated the operator being by the Camera ; here we have an instrument which permits him to be at any part of the studio that he pleases. When using with very rapid Plates, we recommend the operator to put a collar of velvet round the hood of the Lens ; thus the velvet flap lies against it, and is perfectly light-tight. MARION & CO., 22 & 23 Soho Square, London, W. 52 A dvertisements MARION’S METAL MINIATURE CAMERAS. This illustra- tion represents the Metal Mini- ature Camera in half size ; it will be seen that the Camera and 12 slides may easily be carried in the pocket. These Cameras meet a long felt want. They have an in- stantaneous shut- ter, and, being fit- ted with good lenses, give most effective and sharp little pictures. The 2x2 and 3^ x 3^ are con- structed nearly on the same model ; the sighting is done through the hole in the shutter. Focussing is easily effected. FOR PLATES l£ x i£. Camera, Lens, and Shutter, with £ s. d. one back 15 0 Camera, Lens, in brass, with revolv- ing shutter, instead of the drop, as shown in illustration . . . 1 15 0 Single Backs for same . . each 0 10 Extra Rapid Plates . . per dozen 0 13 Walnut Case, with Partitions, very- neat 0 7 6 FOR PLATES 2x2. Camera, Lens, and Shutter, with £ s. d. one back 2 5 0 Single Backs for same . . each 0 2 0 Extra Rapid Plates . . per dozen 0 13 Walnut Case, with Partitions, very neat 0 10 6 Complete Set, viz. : Camera and 12 Slides, in Polished Walnut Case, 6 dozen Plates, Trays, Chemicals, etc., necessary for development, and a supply of Printing Material and Apparatus. The above com- plete in Polished Mahogany Box . . . . . . 5 10 0 Complete Set, viz. : Camera and 12 £ s. d. Slides, in Polished Walnut Case, 6 dozen Plates, Trays, Chemicals, etc., necessary for development, and a supply of Printing Material and Apparatus. The whole com- plete in Polished Mahogany Box 4 0 0 FOR PLATES 3£ x 3|. Camera, Lens, and Shutter, with £ s. d. one back 4 4 0 Backs for 3J X 3J Camera . each 0 3 4 Extra Rapid Plates . . per dozen 0 13 Walnut Case, with Partitions for 12 Slides . ... . . 0 18 0 Complete Set, including 3J in. Camera, Lens, 12 Metal Slides, Polished Walnut Case, 6 dozen Plates, Trays, Chemicals, etc., necessary for development, and a supply of Printing Material and Apparatus. The above complete in Polished Mahogany Box . . 10 10 0 MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 53 THE METAL MINIATURE CAMERA MADE SPECIALLY FOR LANTERN SLIDES. F ITTED with a Voigtlander’s Rapid Euryscope Lens, which, when not in use, racks into the body of the Camera. The Lens is of the best construc- tion to secure sharp definition, so necessary in Lantern Slides, which, when thrown on .the screen, if the Negative be not sharp, will enlarge all defects ; besides the quality of Lens, the Metal Camera itself is so compact and handy that with 12 Slides it may be packed in about 8^ x 6 in. Price of Camera and one Back, £>*] : 14s. Extra Backs, 40s. per dozen. From the Rev. W. MARTIN, Fineshade Abbey, Stamford. — “The Rev. W. Martin received the Miniature Camera , and is pleased with it.” — October 17, 1884. From WILLIAM HAWLEY, Esq., Spring Vale, near Ryde. — “I have been trying the little instrument (ij X ij) lately, and am charmed with the results. The lens is an excel- lent one, and the definition wonderfully sharp. I regarded it at first as a toy, having no idea then of its capacity.” — November 14, 1885. From J. LATIMER, Esq., 41 Clarendon Street, Londonderry, Ireland. — “ The results given, for such a small thing, are wonderful.” — May 28, 1886. From R. H. BLYTH, Esq., Moffat, N.B. — “I am much pleased with this Camera (2 X 2), it is so portable and acts so well.” — March 9, 1886. MARION’S “PARCEL” DETECTIVE CAMERA (Patent). FOR PLATES 4i x 3 i- 'J'HIS Camera is made box- shape and neatly covered with brown linen -lined paper, and tied with string like an ordi- nary parcel, of which it has the exact appearance. The object is to disguise its real use, and to permit a Photograph to be taken without raising the slightest sus- picion. It is so constructed that it is always in focus for an object 6 feet or more distant ; after slipping the plates in from the holder, which may be done in daylight, it is only necessary to touch a spring to obtain a sharp Negative ; the Plate is then returned to its holder. These Plate-holders are made of india- rubber, impervious to light and atmosphere, and, being flexible and thin, are light, and will pack in a very small compass. The Camera is fitted with a good double combination quick-acting Lens. PARCEL CAMERA, complete £3 10 0 Extra India-Rubber Plate-Holders per dozen 10 0 Above Camera covered in Leather instead of Paper, with Leather Straps and Handle 4 4 0 MARION & CO., 22 & 23 Soho Square, London, W. 54 A dvertisements MARION & CO.’S BRITANNIA DRY PLATES. Manufactured at their Works, Southgate, Middlesex. From their cheapness and excellence are in universal use. IMPORTANT NOTICE. A trial of the present manufacture of these • l well-known plates is respectfully solicited. We give the utmost attention to the pre- paration, and must caution purchasers against the use of any not bearing the above name, “ MARION’S BRITANNIA DRY PLATES,” and Trade Mark, also label with woodcut of Southgate Works. ORDINARY RAPIDITY. Sizes. Per Doz. Sizes. Per Doz. iixij . • • 1/ 6| X 3 i . . 2/2 2X2 • ■ i /3 6J X 4j . . . 2/2 s£x 3 i • • . 1/6 6ix 4 | . . • 2/3 3 iX 2 § . . 1/6 7 iX 4 £ . . 2/10 4 iX 3 i . . . 1/ 7?X 5 • • 3/5 5X4 • • i /7 8JX6J . • 4/3 MARION & CO., 22 & 23 Soho Sqi Sizes. Per Doz. 9 Xfr7 . . . . 5 / 10X 8 . . . .7/3 12X10 . . . 10/ 15X12 . . . 18/ Special Sizes can be made to order. w. A dvertisements 55 THE NEW SERIES OF EXTRA RAPID” BRITANNIA PLATES. We believe these Plates are as quick as any in the market. Sizes. i|xi£ 2X2 3ix3i 3 ? x 2 f 4 i x 3 L 5 x 4 6| x 4 k Per Doz. Sizes. 1/3 6 ix 4 f 1/6 7 i x 5 2/4 8 ix 6* 2/4 9 X 7 i/3 10 x 8 2/ 12 x 10 2/9 15 x 12 Per Doz. 3/ 4/6 5/6 6/6 9/6 13 / 23 / MARION’S “80H0” DRY PLATES. Very rapid, and exceedingly rich in half tones. MEDIUM RAPID SERIES. 4i x 3£ 1/6 5 x 4 2/3 6 | x 4 ! 3/6 7l x 5 8 |x 6J 10x8 5/ 6/ 10/6 12 x 10 15/ per dozen. EXTRA RAPID SERIES. We have no hesitation in saying that these Plates are as rapid as any in the market, at the same time possessing all the qualities of a good plate. 4 i x 3 ^ 1/10 5 x 4 2/10 6| x 4 f 4/6 7 i x 5 8^ x 6 ^ 10x8 6/3 7/6 13/6 12 x 10 18/9 per dozen. MARION & CO., 22 & 23 Soho Square, London, W. 56 A dvertisements MARION’S ACADEMY DRY PLATES. < 3 | . 5/8 8£ x . . 21/ 5 x 4 • 8/ 10 x 8 . 36/ 6^x 4 | • 13 / 12 x 10 . 58 / 15x12 . . . . 96/ per gross. GILT-PAPER SLIPS, GUMMED, FOR BINDING TRANSPARENCIES. In Packets containing 6 Dozen strips 20 in. long. 3/ per packet. MARION & CO., 22 & 23 Soho Square, London, W. 6 4 A dvertisemen ts METAL RIM TRANSPARENCY FRAMES. TO HANG OR STAND. The Transparency having been made on the ground glass, a sheet of plain glass is placed against the film side, and the two glasses bound together with strips of gilt paper. The Transparency is then ready for insertion in the frame. 5 x 4 6£x4f Prices of Metal Rim Frames. Per Doz. 4/3 5/ 5/6 8* x 6* . io x 8 . 12 X IO . Per Doz. 6/8 9/8 12 / OVAL GROUND-GLASS TRANSPARENCY PLATES, COATED WITH COWAN’S CHLORIDE EMULSION, WITH METAL RIMS FOR FRAMING. We feel confident that a large trade is to be done in these Oval Transparencies mounted in the Metal Rims, which we have had specially made for the purpose. For Local Views alone we feel sure there is a large field open ; indeed, almost as great as the trade now existing in Rim Photographs. We supply the Oval Ground-Glass Coated Plates together with Rims and Plain Glass complete. Price for Oval Plates, Rims, and Glass Complete. 6| x \\ 7f x 6 \ 9 x 6| ii^ x 9§ 12/ 20/ 30/ 48/ per doz. MARION’S BEYELLED BROMIDE OPALS. FOR CONTACT PRINTING. These Plates are supplied with a Metal Stand as with the Mora Frame, and, printed in contact with good negatives, splendid results are obtained by simple development. Prices of the prepared Bevelled Opals with Metal Stand complete. | Plate. Promenade. Boudoir. Imperial. Panel. 15/ 18/ 24/ 5 1 / 72/ per doz. MARION & CO., 22 & 23 Soho Square, London, W. GENERAL DRY PLATE LIST. Advertisements 65 ^ 1 ^'cT'h^OO - a ~ ~ x c 55 ........ ,, Sulphite . . . . . . . T oning Solution (prepared) 3/6 per lb. i/3 „ i/3 „ i/3 „ 1/5 per oz. i/5 » 1/ per pint. /4 per lb. i/3 » 1/3 per pint. 3/ per lb. 1/6 the 2 bots. 3/ each. 1/3 each. 1/ \ pint. / 10 ,, 1/6 per bot. 1/8 per tube. 1/10 ,, /3 P er lb - / 3 per book. 1/ per bot. 1/6 „ /6 per oz. 1/4 per lb. 3/ „ 3/6 per oz. /3 per bot. 1/6 per 7 lbs. Tn ior I A VARNISHES. Hubbard’s Gelatine Negative 1/ per 4 oz. » „ ,, 3/ per pint. ,, Retouching 1/ per 3 oz. „ „ 4/ per pint. Soho Matt 1/6 per bot. Bate’s Black 1/ ,, , , , , . . . . . . . . . • /6 , , MARION 81 CO., 22 & 23 Soho Square, London, W. 7 2 A dvertisements MARION’S SPOTTING MEDIUM. This Medium is invaluable for remedying defects in Negatives and for Spotting Prints. It is particularly useful for Enamelled Prints, as, being perfectly insoluble, it will not run or wash off in the Gelatine Bath. Should the Medium harden on palette, it can easily be thinned by adding a little Methylated Spirit. Price 2s. per bottle. DEVELOPER TUBES (MACDOUGALD’S PATENT) . Sole Acents-Marion&co..22&23 Soho Square. London. W. These are two Glass Tubes with closed] ends — one containing Pyro and Bromide, the other Ammonia — and fitted into a Solid Block of wood so that they can be carried in the pocket, or sent per post. When required for use the ends are broken off and the Solution mixed with its proper quantity of water. Thus it is of very great convenience to be able to carry the Developer in its concentrated form, and to mix it with water only at the spot where development is required. To the Amateur this little Invention will specially recommend itself. Solution to make 12 ounces, is. Solution to make 24 ounces, 2 s. From JOHN S. L. LONG, Esq., Compton Park, Salisbury.—' “ MacDougald’s Devel- oper Tubes. — I have had some from you and am much pleased with them.” — September 2, 1884. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisemen ts 73 BRITANNIA SOLUTION. (Stock Solution No. i.) A concentrated and convenient Solution for developing Britannia Dry Plates. On the same day of using pour out i ounce of this Solution into 19 ounces of water; this forms Solution. No. 3 of our developing formula. It is mixed in equal proportions with Solution No. 2. This latter is so easily made up by every Photographer that we do not offer it in a separate bottle. It consists of 3 drachms of strongest liquid ammonia to one pint of water. The quantity of Solution that should be mixed together of Nos. 2 and 3 must depend on the size and number of plates to be developed, but always in equal parts of one to equal parts of the other. Price per 12 oz. bottle, 5s. This is sufficient to make the No. 3 Solution for about 220 J plates. Smaller bottles, 3/6. m r : : H ip i ! ■ ! d MARION * C? MARION’S COMPRESSED PYROGALLIC ACID. Price 2s. 6d. per Packet. In Cakes scored into 2 5 4-grain divisions, which separate easily. Put up in Packets of 4 Cakes. MARION & CO., 22 & 23 Soho Square, London, W. GENERAL LIST. 74 A dvertisements MARION & CO., 22 & 23 Soho Square, London, W. For Illustrations referred to, see pages 86-90. A dvertisements 7 5 SUNDRIES. Accessories of every description kept in stock. Background, Scenic. A large selection always on hand, 8 ft. X 7 ft. 6 in. wide, 50/ each. Background, Cloth, 8 ft. wide, various tints, very nice, 3/6 per foot ; any length cut ; samples per post. Background, “Empire” cloth in several neutral tints, any length cut — at per yard according to width required ; samples free. Black Paper Masks, in boxes of 3 doz. C.D.V., or 1 J doz. Cabinets, 1/ ; or 6 doz. lantern, 2/. Blotting boards, specially prepared for prints, 4/6 per quire. Changing bag as illustration, 12/ ; ditto square, 12/ ; ditto box (Cowan’s), 40/. Dropping bottles, 1/ and 1/4. Dusting brushes, camel’s hair, gd. to 2/6. Finder, Newbold’s, see illustration , 3/6 each, very useful. Focussing cloths, twill 2/6, velvet 6/. Forceps, Ebonite, 1/ per pair. Funnels, glass, 4> O 1 § Gj ^ - c3 § ° S ^ N O VO H CNVO'oo" u m m cn ro ro to o Pi & X X X X X X X mvO COCO o CN in xxxxxxxxx H®coH)«h|m 00 On CN covo On CN mvo H m h m CN CN 4 I 03 an m-? XXXXXXXXXX HqdccIccHm 00 On CN COVO On On CN mvo N whmmmCNCNCN rX .y OQ ^ m moo oo oo oo 0 0 0 0 • 0 h cn ro mvo t^oo on O nrocOfOforofOfOfOfO OOOOOOOOOO O COOnN NfH N h t*-CO oo _ b n 'S' oo" oo* ' rn"'o' 'o' h w ro^ mvo oo O VO ON O cn n ON H co xxxxxxxxxxxx HooccIooHcn Hn 00 On CN COVO ON On CN mvo ^ I s * mmhhmcncncncn co 6 ° v2U m moo coooco O O O O no . oo on o O M H CN ^ o o o m cn co ^ mvo r^oo on CNCNCNCNCNCNCNCNCN OOOOOOOOO MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 77 BEST TONED BOARDS FOR MOUNTING PHOTOGRAPHS. KEPT IN STOCK. With Plain or Fancy Marginal Line, printed in Red. No. Thickness. Size- -Inches. Size of Line. Per doz. Per gross. IO40 . 5-Sheet 8 X 6 54 X 3s i /5 14/8 IO41 . • 5 9 9 9h X 71 51 X 4 § i /9 17/8 IO42 . . 8 99 I2f X 9k 61 X 5 s 2/8 25/10 IO43 . . 8 99 134 X 10 4 8f X 6| 3/4 30 / IO44 . . 8 99 l6 X 13 IO| X 8f 5 / 47/7 IO45 . . 8 9 9 19 X 14 I2| X iof 5/9 49 / 1046 . . 10 99 19 X 14 I2| X iof 6/8 59/4 1047 . . 10 9 9 22 X 17 I 4 l X I2f 8/ 76/2 1048 . . 10 99 25 X 19 i6| X 141 9/6 93/9 IO49 . . 10 99 26 X 21 i8§ X 151 1 1/8 n 5/4 A SPECIAL MOUNT KEPT IN STOCK WITH RED LINES. (For High Class Work in Portraiture or Landscape.) The rich effect of this Mount is produced by printing a deep India Tint on a Toned or Cream-Coloured Board. The India Tint is surrounded by a line in red. No. Size- -Inches. Size of Tint. Per doz. Per gross. 1050 . . . 8 X 6 54 X 3f 2/4 24/8 IO 51 . . . 9s X 74 64 X 54 2/8 2 7/7 IO 52 . . . I 2 f X 9k 84 X 64 3/4 36/5 1053 • • . i3i X 104 94 X 74 4/ 40/6 IO 54 . . . 16 X 13 II X 9 5/8 58/2 1055 • • • 19 X 14 12 X 10 6/3 62 / 1056 (thicker) 19 X 14 12 X 10 7/ 70/1 1057 • • • 22 | X 17 14 X 12 8/8 86/3 1058 . . . 25 X 19 16 X 14 io/5 110/10 1059 . . . 26 X 21 18 X 15 13/4 132/8 MOTTO MOUNTS FOR SOUYENIRS, BIRTHDAYS, OR CHRISTMAS. Series. Per doz. jioo Openings for C.D.V.’s, assorted designs and tints . . . 5/6 J132 & 415 ,, Mounts, assorted mottoes in gold leaf, or relief 1/4 J143 Illuminated Cards, with openings for C.D.V.’s . . . 2/8 Jioi Openings for C.D.V.’s, assorted tints and designs in gold . 8/ J122 Cabinet Mounts, with six mottoes either Christmas or Birthday, satin-faced . ....... 2/8 J135 Cabinet Mounts, with six mottoes either Christmas or Birthday 9/6 J147 Openings for Cabinet photos, assorted designs in gold . . 8/8 N.B. — May be had upright or oblong. Please state which is required when ordering. MARION & CO., 22 & 23 Soho Square, London, W. 78 A dvertisements u «y u ^ LU CD Q O o -I < LU CC 'A o o g H g Ph p4 o Q £ o co H < P4 H O ru p4 o MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 79 Marion’s Registered Washing Apparatus. The great feature of this Apparatus consists in the rotary- movement of the prints, caused by the system of inflow and out- flow of the water. The prints are in constant motion with the water ; they circulate continuously in the trough from top to bottom, and never curl together. An hour and a half is sufficient to thor- oughly wash them. This has been certified to by the public analyst of Brighton, who tested a batch of prints washed in this time, and found not the slightest trace of Hypo. We have great confidence in recommending this Apparatus. Very little water is required after the tank is once filled, and it need only be run off for the purpose of cleaning, about once every ten days. Nos. . { Length Width Depth Prices 1 . 15 in. 18 ,, 19 ^ ,, 40s. 2. 3. 21 in. 30 in. 18 ,, igi ,, 19J ,, 2o£ ,, 50s. 60s. With Trough enamelled, extra , 2/3, 3/, 3/6. This tank is specially made to meet the wants of Amateurs. It is exactly the same as the other, but the trough is porcelain, and can always be kept per- fectly clean and fresh. The outside case is neatly japanned zinc, and has a good appearance. Made in one size only, 19 in. high, 13 in. wide, 14 in. long. Price 50s. From Dr. ALABONE, Lynton House, Highbury Quadrant, N.— “I have much pleasure in stating that, for the last eight months, I have been using your Washing Machine for Prints with perfect success. It is a most valuable adjunct. After remaining in the Washer from one and a half to two hours, the very last trace of Hypo is removed from the prints, thus saving an immense amount of time, and ensuring perma- nency of prints .” — October 24, 1885. MARION & CO., 22 & 23 Soho Square, London, W, 8o A dvertisements MARION’S CHEAP PRINT WASHER. As shown in Illustration, the supply of water is attached by means of a piece of india-rubber tubing to the piece of pipe projecting upwards, and this pipe entering at an angle causes the water to revolve round the tank, and is drawn off through the bottom by means of the syphon, so that the prints are kept constantly in motion, and have a continuous change of water. The prints are protected from any possibility of damage through the inflow and outflow of water by means of a drainer of perforated metal. Sizes. No. i. 14 in. diameter of circle x 5 in. deep No. 2. 18 in. ,, x 6 % in. ,, No. 3. 26 in. long x 20 in. wide x 6 \ in. ,, Price. 7/6 12/ 20/ For Prices of Negative Washing Apparatus see page 88. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 8 1 MARION’S DARK TENT AND DEVELOPING LAMPS. No. s. All our Lamps are now fitted with a new glass, flashed on one side with ruby, and the other with orange. This glass gives the great- est possible quality of light, and is yet perfectly safe for the most rapid plates. This glass can be supplied in any sizes for dark- room windows, etc. No. 3- No. 4 . 6 ■lii Inches- 82 A dvertisements PRICES FOR DEVELOPING LAMPS. No. Each. 1. For candle, with ruby cylindrical chimney . . . . . i/io Extra chimneys . . . . . . . . . . 1/ 2. For colza oil, or to fit over gas burner 5/ 3. Marion’s “Compact,” for candles, size shown .... 7/6 4. Triangular, for colza oil ; very nice, and gives a good light . .10/ 4 A. Ditto, larger size . . . . . . . . . . 15/ 5. “Reflector,” throws all the light on plate, and shades the eyes when working ......... 9/ 5 A. Ditto, for paraffin and larger, gives splendid light .... 23/9 MARION’S NEW PORTABLE DEVELOPING TENT AND TABLE. Price complete, 504 : 5 s. Our Tent is so devised that it may be fitted up indoors or out-of- doors. Stands 6 feet high, and is 3 feet square. Folds up in a compact form for travelling. The Table is fitted with developing sink and partition for chemicals. The Tent is lit by any artificial light when in use. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 83 MARION’S PERFECT RETOUCHING DESK. Fitted with Faber’s Pencils, Re- touching Medium, Water Colours, Brushes, Palette, Knife, and Pencil Pointer, complete in Drawer. In Polished Mahogany , In Pine Blacked . • 75/ . 60/ This is the most com- plete Desk ever invented, combining all thedesiderata |for a Retoucher. It has, addition to the com- fpletely fitted drawer, r several special features of its own. Provision is made for retouching neg- atives of any size up to 12 X 10, and it so con- structed that a portion only of the negative may be viewed through, so that the attention of the artist may uc centred, but in the case of groups the whole width may be left open. The silvered Glass Reflector may be easily adjusted to any angle, whilst the supports of front may be readily fixed to any desired elevation. ■COLE'S RETOUCHING DESK. Price 50s. There are some new features in this Instrument which make it an im- provement on other kinds in use. The platform on which the white paper or reflector is placed can be adjusted at any angle. There is a slit at the top of the instrument to allow the negative to slide through when it is desired to retouch parts of the negative, awkward to get at without this provision. The bar across front, on which the negative rests, can be shifted at different angles to facilitate working. The supports of front, as will be seen by the woodcut, can be screwed firmly at any desired elevation. The desk also forms a con- venient easel, on which finishing of enlargements may be done. It can be used for negatives from J plate to 10 X 12. Cheap Retouching Desks, in Blackened Pine, for whole, £, and J Plates, price 12/6. CheapjRetouching Desks, strong and serviceable, for 12X10 Plates, with Carriers for smaller sizes, price 25/. Pencil Cases and leads specially prepared for retouching any grade , u. each. MARION & CO., 22 & 23 Soho Square, London, W. 8 4 A dvertisemen ts MARION’S COMPLETE BOX OF FINISHING MATERIALS. Price 35s. Containing 18 half pans of Winsor and Newton’s moist water colours, as follow: — Ver- milion, Indian Yellow, Kose Madder, Cobalt, Aureolin, Chinese White, Vandyke Brown, Emerald Green, Sepia, Prussian Blue, Raw Sienna, Crimson Lake, Indigo, Light Red, Terre Verte, Burnt Sienna, Yellow Ochre, and Gamboge, in a Patent Spring Japanned Tin Box. Four brushes, knife, stumps, chalks, bottle of gum arabic, box of levigated pumice stone, and small pan of oxgall. WARNERKE'S STANDARD SENSITOMETER. Price 15s. Approved by a Committee comprising- several of the leading Members of the Photographic Society of Great Britain. This Instrument has been invented by Mr. Warnerke to serve as a standard measure of sensitiveness to all the Photographers of the world. All the Standard Sensitometers register alike, and never vary. Thus, if four Dry Plates made by four different makers register (when developed alike) in four different Sensitometers the figures 16, it can be depended on, as a matter of fact, that they will all require the same exposure. In practice, the actual exposure signified by a given number soon becomes a recognised and familiar fact. Instructions for using will be sent with each Sensitometer. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 85 MARION’S SELF-ADJUSTING ROLLING PRESS AND BURNISHER. Roller only (Rollers nickel plated), suitable for C.D.V. and Cabinets . 47/6 Burnisher only, C.D.V. and Cabinet, heated with Gas or Spirit . . 28/ Burnisher only, for Panels, etc 45/ The following are Self-Adjusting — For C.D.V.’s and Cabinets, fitted with Hot Rollers for Burnishing . For Imperials, Panels, etc. (9 in. Roller), fitted with Hot Rollers for Burnishing .......... £g For Photographs 12 in. wide (12 in. roller), fitted with Hot Rollers for Burnishing . . . . . . . . . . ,£15 The pressure adjusts itself according to the thickness of the Mount. There are no screws or levers ; the pressure is entirely self-acting. The Rollers are of hardened, polished steel, and the top one hollowed out to receive a burner, by which the Roller is heated. The glaze or burnish given by these Rollers is more glossy, and the photo is less scraped and pulled to pieces, than with an ordinary Burnisher. MARION’S ECONOMICAL PLATE BOXES. Japanned tin ; lighter, cheaper, and more convenient than wood, with grooves for 12 plates. £ plate . . . . 1/6 5 x 4 . 2/ J plate ..... 2/6 ll x 5 • 3/ 8* x 6* • 3/3 10 x 8 . 4/9 12 x 10 . 6/6 MARION & CO., 22 & 23 Soho Square, London, W. 86 A dvertisements By means of the Actinometer, the Actinic power of the light can be measured. It is based on the principle that a Phosphorescent Mineral, being exposed to light, acquires luminosity — the intensity of which is in direct proportion to the Actinic intensity of the existing light. The result is known by reading certain letters revealed by the luminous label, and a revolving label is provided, by which their relative values are easily found and the exposure determined. i2xio THE TRANSPARENT AND ROCKING DEVELOPING TRAY. Two advantages sure to be appreciated by all dry-plate workers are found in this Tray. Pivoted on a stand, the rocking motion flows the developing solution in a smooth even wave over the negative. Being made of papier-mache, with a glass bottom, when tilted up, the light from ruby lamp shines right through the glass bottom, and thus the development may be watched without touching the plate. 8/6 n/3 12/3 13/3 15/3 MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 87 CHEAP BURNISHER. Producing the brightest possible burnish ; can be heated spirit. New improved pattern. For C.D.V ,, Cabinets ......... ,, 8^ x 6^ . ,, 12 x 10 with gas or 34/ 45/ JOHN EDWARD’S WASHING APPARATUS. £ plate . 10/6 5X4 • 1 1/6 | plate [ . 12/4 7i x 5 • • 13/9 f plate . 14/ 10 x 8 . 16/ 12 x 10 . 19/6 This apparatus offers all the desiderata for a complete and thorough wash to the Plates. The water falls in a gentle shower ; when nearly full the over- flow syphon begins to work, so there will be a constant inflow and outflow. When the water is turned off the syphon sucks out the last drop, thus there is no fear of Hypo deposit remaining. MARION & CO., 22 & 23 Soho Square, London, W, 88 A dvertisements SELF-ACTING SYPHON TANK & DRAINER, FOR WASHING NEGATIVES (Registered). The advantage offered by this Tank is a continuous change of water without personal supervision. When the water arrives near the top, the Syphon commences to operate and swiftly empties the tank. The water from the tap, running in all the time, soon begins to refill it, and thus the operation goes on continuously, and the plates get repeated fresh baths soon after. A moderate supply of water answers the purpose well. The rack containing the plates can then be lifted bodily, and placed on the top to drain the plates. i plate, 13/; 5X4, 14/; i plate, 15/; 7JX5, 15/6; J plate, 16/; 10X8, 18/; 12X10, 20/. VIGNETTING CHAIR AND HEAD-REST COMBINED. 50s. Easily adjusted to any figure. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 89 NEW VIGNETTING FRAME. These Frames have each three thick slabs of wood with bevelled oval open- ings, each a different size. These slabs are placed in front of the Printing Frames, and are held in their place by two screws, but their positions may be shifted ; the oval holes being some dis- tance from the negative, permit the rays of light to slant, thus effecting a soft pleasing vignette. None Cheaper ! None Better ! | plate, 2/6 ; \ plate, 4/ ; \ plate, 5/2. ADCOCK'S PATENT VIGNETTER. A very useful and ingenious Vignetter, to be screwed on front of Printing Frame. For C.D.V., 3/ ; for Cabinet, 3/6 ; for { plates, 6/. COWAN’S SPECIAL PRINTING FRAMES, FOR OPALS. These Frames are specially prepared for printing Opal Pictures by contact, and allow the examination of the picture during the printing without the chance of the opal being shifted. 90 A dvertisements FOLDING CHANGING BAGS. Price 12 s. Light, cheap, effective, will fit all T ripods. Square ones for hand use can be had. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 9i MAGNIFYING GLASSES. FOR EXAMINING NEGATIVES AND PHOTOGRAPHS. (Best quality only.) Number 18 21 24 27 30 33 36 39 42 45 48 5i 54 Diameter in inches 2| 2f 23 3i 3 h 3t 4 4a 4i 4l German Silver Rims, ) ebonised handle. j ■ i/3 1 16 1/8 2/3 2/lO 3/2 4/ 4/4 5/8 5/8 6/4 7/4 8/ Burnished Gilt Rims, ) real ivory handle . | ■ 3/ 3/6 3/lO 4/8 5/8 7/10 7/10 9/ IO / 11/4 12/8 16/ 17/6 TALC. (Best quality.) Packet containing 25 pieces Carte-de-Visite size . . 3/6 „ „ 12 „ Cabinet size . . .12/ N.B . — Sold in packets as above only. MARION & CO., 22 & 23 Soho Square, London, W, 92 A dvertisements MARION’S SCRAP ALBUMS. If a print from every negative that an Amateur may have taken be mounted into a book, it will be surprising how interesting the collection will grow. Such a collection would show the advance in quality of work, and would also be a memento of time and places. When these Scrap Albums are used in conjunction with one of our Note-Books, in which the particulars relative to the exposure of each plate are minutely recorded, a fund of information is gradually accumulated which will, at a glance, enable the Amateur to prejudge any exposures at any time afterwards with confidence, being guided thereto by the success or non-success of the print before him. THE “OSTRICH ’ SERIES. These Scrap Books being bound in cloth, are at once neat and cheap. All books may be had in each size, bound either upright or oblong. With 36 Stout Paper Leaves. 1 With 24 Cardboard Leaves. ■No. Size Price. No. Size Price. R.M. 124 IO X 7 \ 1/6 R.M. I 29 IO X 7 % 2 /4 33 125 I I X 9 2 / )) 130 I I X 9 3 / 33 126 I 2i lx 10I 2/6 j j 131 I 2-1. X 10 i 3/8 33 127 15 X 1 1 3 / )> 132 15 X 1 1 4/6 33 128 1 7 X 12J 4 / 3 ) 133 1 7 X 12 6/6 MARION & CO., 22 & 23 Soho Square, London, W. A d vertisements 93 MARION’S SCRAP ALBUMS — Contd. HALF-BOUND SERIES. The Series R.M. i to R.M. 23 are of very good style and quality, open flat, and wear well. Are bound either upright or oblong. French Morocco, full gilt back, cloth sides, 60 stout cartridge leaves. French Morocco, full gilt back, 30 stout cardboard leaves, linen jointed. Morocco, hard grained, full gilt back and finish, 40 stout cardboard leaves, linen jointed, gilt edges. No. I Size. Price. No. Size. Price. No. Size. Price. R.M. 1 1 10 x 74 3 / R.M. 8 10 x 71 4 / R.M. 16 10 X 7 J 8/ „ 2 j 11 x 9 3/6 „ 9 II X 9 5 / „ 17 IIX9 10/ 5 J 3 12 X 9! 4/6 ,, 10 12 X 92 6/ „ 18 12 X 0 ,\ 12/ » 4 15 X II 6/6 „ 11 I2| X 104 7 / „ 19 \ 2 \ X IO^ 13 / j j 5 17 X \ 2 \ 9 / ,, 12 15 XII 10 / „ 20 I5 XII 16/ „ 6 I 7 |XI 4 | 12/ » x 3 17 X 12 \ 12/ ,, 21 17 XI2i 18/ » 7 21 X 15 15 / „ 14 17S x 14I 14/ „ 22 17I x 14I 24/ „ 15 21 X 15 1 7/6 „ 23 21 X 15 30/ FULL-BOUND SERIES. These Books are very Durable and the Best Obtainable. Anglo-Russia, extra gold lines, gilt roll, 30 stout cardboard leaves, linen jointed, gilt edges. Morocco, best Levant, blocked blind and gilt, 40 stout cardboard leaves, linen jointed, gilt edges. No. Size. Price. No. Size. Price. R.M. 62 IO X 7 \ 10/ R.M. 70 X O 16/ ,, 63 II X 9 12/6 ,, 7 i II x 9 17 / „ 64 12 X 9 14 / ,, 72 12 X 9 | 22/ ,, 65 121 X 10J 16/ „ 73 I 2 | X I <4 24 / „ 66 15 x 11 23 / „ 74 15 XII 30 / ,, 67 17 X 121 26/ „ 75 17 X 12 ^ 35 / „ 68 I 7 f x i 4 l 35 / „ 76 17I X I 4 f 45 / „ 69 21 X 15 42/6 ,, 77 21 X 15 50 / 94 A dvertisements MARION’S SCRAP ALBUMS— Continued. NEW PADDED SERIES. These Books are decidedly the most elegant, and better finished than any yet introduced. A special feature is the improved principle of jointing the leaves, which permits the books to be opened freely at any part. The leathers used in binding are all carefully selected, and the inlaid designs at the corners of the calf-bound series make these books very striking and effective. May be had either upright or oblong. Bound Seconds Morocco, Padded, Blind Lines. No. Size. Price R.M. 99/1 1 1 x 9 12/6 » 99/2 12 X 9 1 7/6 » 99/3 I5XII 22/6 Bound Best Gros Grained Morocco, Padded, Gilt Line. No. Size. Price. R.M. 921/1 II x 9 18/6 „ 921/2 12 X 25/ » 92 i /3 I 5 XII 30/ Bound Selected Calf, inlaid design at corners of covers, Padded. No. R.M. 920/1 „ 920/2 „ 920/3 Size. IIX9 12 X 9| I5XII Price. 24/ 31/6 42/ Scrap Albums, with Double Paper leaves suitable for showing unmounted Photographs, with or without linen fore-edge, bound in cloth, lettered “ Photographs.” The photographs are inserted by the corners into slits made in the leaves, the advantage being that two or more may be kept together in the same slit. They are easily removable, so that others can be substituted when desired. MARION & CO., 22 & 23 Soho Square, London, W, A dvertisements 95 MARION’S SCRAP ALBUMS —Continued. Sizes No. of Leaves. Plain Edges. Bound Edges. X 00 30 7/ 8/6 50 9/ 10/6 I2|X I0| 30 9/6 12/ 12^ X IOj 50 12/6 15/ 17" X 12^ 30 15/ 20/ 50 20/ 25 / A good variety of latest Editions of Stamp Albums always from 7s. 6d. to 30s. in Stock, PHOTOGRAPH ALBUMS. Marion & Co., being one of the largest firms of Album Manufacturers, have always a large stock of such goods of every description, ranging from the cheapest to the most costly produced. They will always be glad to show samples. “Punch,” December 24, 1881. — “ In acknowledgment of his having pro- duced the handsomest, most decorative, and most original Album for Photographs, we hereby decorate Mr. Marion {of Marion Co.) with his own Patent Clasp, and create him Duke of St. Albums. The Ptiblic will send him the Orders.” MARION’S MOUNTING SOLUTION for PHOTOGRAPHS. Is. per bottle. This Solution has been in use during the last five years in many large Photographic Establishments, and will be found to possess the following qualities : — It has no disagreeable smell ; It does not cockle the thinnest Mounts ; It does not discolour the Photograph ; It does not perish ; and it is easily used. DIRECTIONS FOR USE.— Place the bottle in warm water, or on a stove, till the Solution is melted. Apply it with a stiff brush (which must be perfectly dry) to the back of the Photograph. Let the Photograph thus coated remain for a few seconds, and then place it on the Mount and press it well down. The above packed, and free per post, is. 6d. Brushes for Mounting Solution, 8d. each. MARION & CO. ? 22 & 23 Soho Square, London, W* 96 A dvertisements SPECIAL ALBUMS OR Scrap Boohs for presentation MADE TO ORDER. ILLUMINATED ADDRESSES, TITLES, PAGES, Ac. BY SKILLED ARTISTS. ESTIMATES FURNISHED. PHOTOGRAPHS, &e., Put in Order, Cleaned, Mounted, Remounted, Titled, and Bound into Convenient Volumes . If Collectors will send their Photographs to us, numbered on the back in the order they wish them arranged, we can Mount, Roll, Title, and Bind them in any desired style. Locks, Clasps, Monograms, Crests Pierced and Engraved. Designs free of Charge when Orders are given. From BASIL P. ELLIS, Esq., 9 Southwick Crescent, Hyde Park.— “ The mounted photographs are capital, as also the copies of the two old photos .” — April 23, 1886. From the Rev. JAMES T. H. DU BOURLAY, Southgate Hill, Winchester.— “. . . They make two handsome volumes, and the mounting and binding leave nothing to be desired .” — January 9, 1886. From J. DYSON PERRINS, Esq., Davenham Bank, Malvern.— “ Mrs. Perrins is much pleased with the volumes of photographs which you have prepared for her, and I have much pleasure in handing you a cheque for the amount of your account, which please return receipted, and oblige .” — April 6, 1885. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisem en ts 97 NEW GLASS FRAMES WITH METAL SPRING BACKS. M2. M3. Bevelled-edged Glass, with narrow Gilt Border, ( PP^* * * and known as M2 each I Cabinet . . / 9 /11 Bevelled-edged Glass, with Gilt and Chocolate 1 G ’ \ h 1/1 Border, and known as M 3 each ( ; ; $ $ Several other Patterns in Stock. FRAMES FOR VIEWS. OBLONG. Easily adjusted, neat , and very effective. Bevelled-edged Glass, with narrow Gilt Border, each : — Cabinet x 5 t 10 x 8 1 1 2 x 7 i / 9 1/10 2/ 2/6 2/9 MARION & CO., 22 & 23 Soho Square, London, W. 7 98 A dvertisements METAL RIMS FOR PHOTOGRAPHS. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 99 FRAMING AND ENL ARGING. MARION’S Carbon nub Sillier fruiting Works, SOUTHGATE, near LONDON. FINISHING IN WATER COLOURS, BLACK AND WHITE, or OIL, by First-Class Artists. Enamelled Porcelain Enlargements from Amateurs' own Negatives burnt in. Enlargements on Bromide Paper, or in Carbon, on Paper, Canvas, or Opal, from either Negatives or Prints. Negative Retouching by First-Class Artists. Colouring of every description to suit requirements of Customers. Framing in Oak, Gold, Black and Gold, Imitation Ormolu, and every description. Prices on Application. ESTIMATES GIVEN POP ANY OF ABOVE, AND FOP ALL KINDS OF PHOTOGRAPHIC WORK. PRINTING FROM AMATEURS’ OWN NEGATIVES. £ 5x4 J 7i x 5 t 10x8 12 x 10 size of negative. 3/ 4/ 5/ 6/ 7/6 10/ 12/ per dozen prints. Varnishing , Spotting , and Mounting extra. DEVELOPING AMATEURS’ NEGATIVES. i 5x4 \ 7i x 5 t 10x8 12 x 10 size of negative. 5/ 6/ 9/ 10/6 12/ 15/ 21/ per dozen plates. PUBLICATION PHOTOGRAPHS. P ORTRAITS OF CELEBRITIES, in C. D.V., Cabinet, Promenade, and Panel Sizes. The Largest Stock in England. Marion’s Series of Eminent Political Men. Size of Permanent Print, 24 x 18. Gladstone, Beaconsfield, Bright, Northcote, etc. etc. From 1 to 3 guineas. Marion’s Series of Views — The Streets of London. Size 10 x 8 . 2s. each. Agents for Bourne & Shepherd’s Views of India; Stillfried’s Views of Japan; Laurent’s Spanish Cities, Churches, and Palaces, etc. etc. Frith’s Universal Photos. MARION & CO., 22 & 23 Soho Square, London, W. PERMANENT CARBON ENLARGEMENTS ON PAPER. IOO A dvertisements X W o S 3 i; M £> o S 3 J N N ^ fOrOOvO Ov Ov O OvOvO O N N rO 't 'shvO O N too O oooooooooo- OOOOvOOvOO VO VO00 M N Kroo 000*-'>-i— <>— O VO O >OK O M M N ro vovo 00 O M ^-00 VO HHHHHPfNNNNfO xxxxxxxxxxx vovo 00 O 't ^vo 00 O VO OO hhhNNNNN COfOvJ- N COT vovo tKOO Cv O 8 CC 'z LU •S Ol. e O Ph ro O 0 O on on co co >-• vo t^OO On On On H M c oooooooo £ s? £ o Cxi # > voroOOONONOO tl) H H _! OOOOOOOO c o s* 00 N IOVO COOMTt- H H H H (N W N a; ,£J xxxxxxxx m 0 1000 o cn ^-vo o HHHNNCiNfO No. h w ro mvo txco MARION & CO., 22 & 23 Soho Square, London, W, URIE’S PATENT AUTOMATIC PRINTING MACHINE. FOR PRINTING WITH MARION’S QUICK PRINTIN G’ PAPERS. A dvertisements IOI 102 A dvertisements URIE’S PATENT AUTOMATIC PRINTING MACHINE— Continued. From the “ British J ozirnal of Photography 6th November i88g. PHOTOGRAPHIC PRINTING BY MACHINERY. The new method of printing by machinery, invented by Mr. John Urie, of Glasgow, has just been formally brought under the notice of the public by Messrs. Marion and Co. Having seen the machine at work, we are in a position to give such an account of it as will enable our readers to understand its action. | Externally the machine consists of a long box, of about the dimensions of a foot and a half square, and of three times that length. In a recess in the centre is fixed a pad, over which a long band of printing paper passes, as it is being unwound from a spool at one side, upon a drum at the other. Surmounting this pad is a heavy metal frame containing the negative, this being hinged at one side so as to admit of its being raised when it is necessary to move the paper underneath ; and above this in turn are two gas burners. Certain clockwork in the interior is actuated by two weights as the motive power. The time of exposure is regulated by the adjusting of a barrel or drum containing spikes inserted in its periphery, and by which the duration may either be five seconds, three minutes, or anything between. To prevent the heating of the negative by the gas flames that are so near, a glass-bottomed trough of water is interposed. When we saw it in action the following movements took place : — The clockwork, when started, turned down the gas to a very low point, raised the weighty frame, in which the negative was fixed, to a height sufficient to enable the sensitive paper on the spool to be pulled forward a distance equalling the width of the negative, which was no sooner effected than the negative was immediately lowered again upon the paper, with which it remained in that close contact ensured by the weight of its frame. Simultaneously with this movement the gas flames were turned up to their full power, and remained so during the period previously determined upon as that necessary for impressing the image on the paper, the whin - of the machinery being heard all the time. At the expiration of this predetermined period down went the gas, the negative being then raised and the paper drawn forward the requisite distance ; when the negative resumed its place on the paper, the lights were turned up, and the whole process of exposure re-enacted. As the machine registers the numbers that are printed, the attendant may lock up the room and go away, ascertaining on his return the precise number that has been printed during his absence. To develop, the exposed paper is cut into suitable lengths, each containing thirteen prints in the case of cartes-de-visite, and is placed in a bath of ferrous oxalate, by which the latent image becomes visible, at first very faintly, although it soon acquires great vigour. The band of prints, having been washed, is then transferred to a bath containing alum solution, in which it remains ten minutes. Subsequently they are fixed by hyposulphite of soda. It will be understood that one print is identical with another in vigour and tone, and that these qualities are quite under the control of the operator. As many as two hundred cartes or cabinets may be printed in an hour by one machine. As regards quality of print, it is all that could be desired. Marion & Co. invite the attention of all who require a quantity of good photographs from a single negative, at the least possible cost and attention, to the above-mentioned apparatus, which is now being used with much success. With our Bromide Paper the production of excellent prints is simplicity itself. There is no dirt or staining necessary, and skilled labour (beyond a little practice) is not required. We should be happy to give full instructions to all purchasers. Price of the Apparatus for printing Carte-de-Visite and Cabinet complete . . £10 0 0 Price of Paper wound on the spool, ready for use, sufficient for Carte-de-Visite (spool) 0 2 0 „ „ ,, ,, Cabinet (spool) . .036 Japanned Metal Developing Dishes, 3 ft. 6 in. X 6J in. X 3 in., fori3 Cartes-de-Visite 0 6 0 ,, ,, ,, 3 ft. 7 in. X 7J in. X 3 in., for 7 Cabinets . .060 N.B. — Similar Trays are supplied for the Washing. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 103 MARION’S FERRO -PRUSSIATE^ OR BLUE PROCESS. Used in the Drawing Departments of the leading Shipbuilders, Railways, Engineers, Contractors, Architects, and others. By this process. Drawings , Patterns , Plans, etc., may be reproduced very quickly by simply using the Prepared Paper, Light , and Water. Of all the various methods for reproducing Drawing, Marion's Ferro- Prussiate Process is still the simplest and most practicable. No complicated apparatus is necessary. In using, place the paper in contact with the tracing, and put same out to print ; when sufficiently printed, the paper will be found to assume an olive tint with metallic reflections ; it is then taken out of the frame, and simply washed in cold water ; no toning or fixing required whatever. The water in which the print is washed will become yellowish, and the print will appear ; the water should then be changed, and the washing should cease as soon as the print attains the proper distinctness and tone. If the prints be washed in warm water, from 90 to 100 degrees, the result is more quickly obtained than if cold be used, and it cleanses the paper more effectually, rendering the print clearer. No dangerous acids or poisonous substances are used. Sample Sheets (and Print) Post Free, Is. 8d. No. 494. A good quality paper, for printing from transparent Drawings or Negatives. No. 515. Same as above, but a stronger and thicker paper. For workshop use. No. 507. A very thin paper, for making negative prints to print from, the result to be blue lines on white ground, or for Foreign Postage. No. 522. A fine paper for workshop use. No. 516. A strong useful cloth, that saves any after trouble in mounting. 494/65 494 Paper. 25 in. wide 8/ 515/65 515 Paper. 25 in. wide 5/6 494/75 3° 9/ 515/75 30 6/6 494/100 39 12/6 5I5/IOO 39 „ 8/0 507/65 507/75 507/100 507 Paper. 215 in. wide 30 „ 39 8/ 9 / 15/6 (All supplied in Rolls 32 feet long.) 522 Paper, 32 ft. long x 30 in. wide, 6s. 6d. 516 Ferro-Prussiate Tracing Cloth, 16 ft. long x 30 in. wide, 10s. 6d. The paper being very sensitive to light must be kept in the dark. This is imperative. MARION & CO., 22 & 23 Soho Square, London, W, 104 A dvertisements PRINTING FRAMES. These Frames are so constructed that they can be easily opened, in order to watch the process of printing. 1157 With Strong Glass, 4 i X 5 ii with two bars and springs .£0 FELT PADS for Regulating the 4 0 Pressure of 1160 6X8 >) »> . 0 5 6 Frames. 1162 9^X12 >> >> . 0 8 0 1/ 1164 ) > 12 X 14 >> n . 0 11 6 1/6 1167 5 > ,, 14 X 18 with three ,, . 1 1 0 3/ 1172 > ) 19 X26 ,, ,, . 2 0 0 4/ 1170 > J 21^X30 with four ,, . 2 9 6 4/6 1171 > ? 30 X43 with five ,, • 4 12 0 9/ 1171 bis ) > on stand and castors . 6 16 0 ii73 y > 99 39 ><56 with six bars and springs . 8 6 0 11/6 1173 bis 99 9 ) on stand and castors . 10 15 0 IRON SUPPORTS ON CASTORS (folding- up). To hold Printing Frame and Washing Dish, forming a table. 1193 Iron Support, on Castors, to hold Pressure Frame, 1171, and Washing Dish 883 £1 11 o 1194 ,, ,, ,, 1170, ,, ,, 882 166 1195 , ,, with Pressure Frame 1171, and Washing Dish 883 complete .............700 1196 Iron Support, on Castors, with Pressure Frame 1170, and Washing Dish 882 complete . 450 N.B. — If a Drawing Board be laid on the top of the Pressure Frame it serves as a useful Office Table , and being on Castors , may be easily moved about. For further particulars see page 106. ROUND ZINC CASES. To keep the prepared Paper in , to preserve it from the light . 26 in. . . 2/6 | 30 in. . 3/6 | 39 in. . . 5/ ZINC WASHING DISHES. No. 872. 8JX11 with two handles ... 2/ 873. iolxi3i „ „ 2/6 874. 12 X17I „ ,, 3/ 875. 15 X22 „ ,, 4/ 884. 21 X28 ,, ,, and tap to empty ....... 8/6 882. 23 X32 „ ,, 9 16 883. 32 X44 ,, ,, 17/6 885. 44 X60 ,, ,, ........... 35/ MARION & CO., 22 & 23 Soho Square, London, W, A dvertisemen ts 105 INSTRUCTIONS FOR USING MARION'S FERRO-PRUSSIATE PAPERS. White Lines on Blue Ground. The Drawing to be copied should be transparent and as white as possible. Paper or cloth of a yellowish tint is especially to be avoided. The face of the drawing must be placed against the glass of the Printing Frame, and the Paper No. 494 placed on the drawing, the prepared side on the hack of it. It is advisable that the paper should he somewhat larger than the drawing, so as to leave a margin exposed, to show the action of the light without the necessity of opening the Printing Frame. When it appears that the action of the light has had its proper effect, open the Printing Frame and turn back one corner of the paper, in order to see if it has reached the proper tints, as hereafter described. In the course of printing, the Ferro-Prussiate Paper assumes various tints — -first yellow, then greenish, greenish blue (a deep bluish gray), then a light gray, and lastly an olive with metallic reflections ; at this point the exposure must be stopped. Pay attention not to stop the exposure at the deep bluish gray tint, to which succeeds the light gray. Then, in any place not exposed to the full power of daylight, take the Print out of the Printing F rame, and immerse in clean water. The water will become yellowish and the print will appear ; the water should then be changed, and the washing should cease as soon as the print obtains the proper distinctness and tone ; over-washing will only lessen the intensity of the blue ground. The print should be placed between blotting paper, and afterwards dried by suspending the same on a line, to which it may be fixed by clips. A good guide, more especially when large drawings have to be reproduced, is to print a small drawing under the same conditions, taking care that both frames are simultaneously exposed to the same light, and then from time to time to tear off a piece of the paper in the test frame, and by holding the same under a tap of water, you will easily ascertain the state of the print in the larger frame. After washing, you obtain a print in which the dark or opaque parts of the drawing to be repro- duced are white, and the transparent parts are blue. The greater the action of the light the darker the blue. The cutting, placing and washing of the paper should be done quickly and in semi-obscurity, or by the light of a candle or lamp, so as not to affect its sensitiveness. Water of from 90 to 100 degrees cleanses the paper more effectually than cold, and the action is quicker. Blue Lines on White Ground. To obtain Prints with blue lines on white ground : First make a Negative print on Ferro- Prussiate Paper No. 507, such negative being obtained as follows : — Open the Printing Frame and place the drawing to be reproduced in it, with the back of the drawing against the glass, then place over the drawing a piece of Negative Paper No. 507, with the smooth surface against the face of the drawing, close the frame, and expose to light. The progress of the Negative print is rather difficult to verify and check, and in this process we strongly recom- mend the use of a second frame as a test frame. The Negative print on Paper No. 507 should be exposed at least three or four times as long as the positive prints with white lines on blue ground obtained on Paper 494. The N egative print, after proper exposure, should be washed in clean water and dried, as before mentioned, between blotting paper, etc., and if properly done should, when finished, show a clear dark blue on being held up to the light, or when lying on the surface, a dark slate colour. To obtain from the Negative thus made prints with blue lines on white ground, place the Negative print in the Printing Frame, the reverse or rough side against the glass, and thereon a piece of the paper No. 494, with the prepared side against the Negative, and operate as before for obtaining prints with white lines on blue ground. f.B . — Prints on thin paper for Foreign Postage and other purposes can be obtained — giving white lines on blue ground or blue lines on white ground. To accomplish this, Paper No. 507 is used in both cases. MARION & CO., 22 & 23 Soho Square, London, W, io6 A dvertisements NEW AND IMPROVED TRACING PAPERS AND CLOTH. These tracing papers and cloth are introduced as being specially suited for Ferro-Prussiate Printing ; but we are persuaded that their uniform excellence and quality, combined with their very moderate prices , will commend them for all classes of work. We shall be happy to send a sample book on application, and respectfully solicit the favour of a trial. The sub- joined prices are strictly nett. TRACING CLOTH. Dull Back for Colour or Pencil. No. 30 in. 40 in. M 75. 24 yards . . . 16/8 20/ TRACING PAPERS. M 5. M 10. M 20. M 30. M 40. Translucid — in sheets 30X40 in. 21 yards . . . . 30 in. „ .... 44 in. „ .... 31 in. ,, . . . .30 in. 7/ per quire 3/4 per roll . 6/8 9/ 2 >> 3 / „ • 42 in. 40 in. 44 in. 23/4 per roll. 13 0/ per ream. 5/10 per roll. 16/8 per roll. DIAPHANOUS SKIN TRACING PAPER. This paper (prepared by a new process) is extremely tough and transparent ; takes ink, oil, or water colour perfectly ; does not cockle or stretch with wash colour, or deteriorate with age ; and will be found an excellent substitute for tracing cloth. M 100. 21 yards . . .30 in. 3/6 per roll . . . 40 in. . 5/3 per roll. M 125. „ . . • .30 in. 5/3 • • *4° |n. • 7/ „ M 150. ,, . . . 30 in. 7/ ,, . . . 40 in. . 9/ ,, Marion & Co.’s Charges for Printing by Ferro-Prussiate Process on 494 paper. 12X14 14X18 19X26 21^x30 30X43 39*56 1/ 1/6 2/ 2/6 3/6 6/ per copy. Permanent Platinotype Printing from Negative. Cabinet 8gX6j 10X8 12X10 15* 12 7/6 11/6 15/ 18/6 22/ per dozen. 1/ 1/3 1/6 2/ 2/6 per copy. Ordinary Silver Prints from Negatives. Cabinet 85X6^ 10X8 12X10 15X12 5/ 7/6 10/ 12/ 15/ per dozen. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements 107 LEISK’S PATENT “SKY” SHUTTER. Fitted with Cadett’s Patent Pneumatic Release. In Landscape and Seascape Photography there has been a long -felt want of a Shutter which would permit of an ex- posure to the foreground about treble the length of that given to the sky, in order that the resulting photograph may have the advantage of the natural cloud effect which lends so much beauty to a picture. This Shutter fills that want — the shape of the aperture in the revolving disc being formed so as to fulfil the conditions named. The Shutter is made of ebonite — very light, and can be adjusted to any length of exposure, from about i-5oth part of a second to any length desired. It is fitted with Cadett’s Patent Pneumatic Release, and this, together with the construction of the Shutter, which reduces friction to the minimum, prevents vibration during exposure. INSTRUCTIONS FOR WORKING THE SHUTTER. To focus — take the projecting pin A between the forefinger and thumb of the right hand, and revolve the ebonite disc until the circular aperture is quite open, then slide the small brass catch B between the forks of the release catch C. Having focussed, slide back the catch B and revolve the disc to the left to complete the circle, when the projecting pin A will be found to catch in the forks of the release catch C. The Shutter is now set for exposure, but it must be first of all determined what length of exposure is considered necessary, and the Shutter set accordingly. Should it be desired to give an exposure of long duration and terminable at will, the small catch B is slid as far as it will go towards the outer ebonite rim. Upon squeezing the india-rubber ball it will now be found that the disc will revolve half way, leaving the circular aperture fully exposed until such time as the pressure on the ball is released, when the disc will complete its revolution. If a medium rapid exposure is required the catch B is slid back, and, upon the ball being squeezed, the disc will revolve without any hindrance whatever. To further quicken this speed the milied-head wheel on the back of the shutter is revolved from right to left. PRICES. No. 1. For Hood of Lens, size if ins. and smaller . . 25/ » 2. „ „ „ 2| ,, bare . . .33/ »» 3- „ „ >» .... 40/ MARION & CO., 22 & 23 Soho Sauare, London, W, io8 A dvertisements GRANITINE DISHES. WISH has been frequently expressed by Photographers, both in Photo- Journals and at the different Societies, that a Chi?ia Dish might be made to replace Porcelain as at present in use. The latter, as is too well known, soon gets the glaze cracked, and, in consequence, absorbs the solutions, and naturally contaminates any subsequent solution that may be poured into it. To avoid this evil a Staffordshire Manufacturer, who is also an Amateur Photographer, has bethought himself of a remedy, and to this end has produced a dish of hard non-absorbent material, which will resist the chemical action of the different Photo-solutions, and will even stand a great heat if the same be applied gradually. Other sizes will be made from time to time, but at present only those listed below can be supplied. Deep 5x4, 1/6 ; 7x5, 1/8; 8 x 6, 2/ ; 9x7, 2/4 ; 10x8, 3/; 12x10, 5/6 ; 13x11,6/9; 16x12, 13/9; 18x12, 19/; 19 x 15, 27/6 each. Shallow 5x4, 1/3 ; 8x6, 1/8 ; 10x8, 2/6 each. JVIARION & e o., j ink JLjettbs, 22 & 23 Soho Square, London, W. A dvertisements log MARION & CO.’S SPECIALTIES. THE BRITANNIA PLATES {Made at their Netv Works , Southgate , Middlesex ) are of excellent quality, thickly coated, and are giving great satisfaction. MARION’S BROMIDE OPALS, {Made at their factory , Southgate . ) So perfect are the tones, and so clear and even the emulsion, that very little artistic work is required to make a finished picture. COWAN’S CHLORIDE TRANSPARENCY PLATES. {Made at Marion’s factory , Southgate . ) These Plates are so well known for transparency work, almost any tone can be obtained by varying the exposure. MARION’S NEW “ BARTOLOZZI” OPALS. {Made at their factory, Southgate.') By contact printing with an exposure to magnesium ribbon the most charm- ing results can be obtained on the Opal Plates. With our Special Developer a beautiful sepia tone, like the Bartolozzi, is obtained very easily. MARION & CO.’S COLLAPSABLE DARK ROOM LAMP. The most compact Developing Lamp yet devised. It requires no fitting up, the release of a spring opening out the lamp ready for use, and being con- structed of a flexible material and tin, is the best lamp for travelling. MARION & CO., 22 & 23 Soho Square, London, W. I IO A dvertisemen ts MARION & CO.’S SPECIALTIES — Continued, MARION & CO.’S ALBUMENISED PAPERS. {Prepared at their factory , Southgate.') Only the best egg Albumen is used, and in their Best Thick Rives quality every sheet is picked. MARION & CO.’S READY SENSITISED PAPERS. {Prepared at their factory , Southgate . ) The best egg Albumen paper, carefully sensitised, gives excellent results and keeps well. MARION & CO.’S GELATINO-BROMIDE PAPER, for enlargements and contact printing. Very rapid, gives good tones and pure whites. MARION & CO.’S FERRO-PRUSSIATE PAPER, commonly called the “Blue Process.” Very simple to work, it has only to be printed and washed in plain water to fix. It has been used in the past principally for copying plans, but quite recently the process has come largely into fashion amongst amateurs for printing from ordinary negatives. MARION & CO.’S MOUNTS. {Made at their factory , Courbevoie , near Paris . ) Every care is taken in the manufacture, and the quality will be found unsurpassed for pureness of material and fineness of surface. VOIGTLA'NDER’S euryscope lenses, for portraits, groups, or views, cannot be surpassed. MARION & CO., 22 & 23 Soho Square, London, W. A dvertisements i MARION & CO.’S NOVELTIES. MARION & CO.’S UNIVERSAL 10% DEVELOPING SOLUTION. IN WOOD BOX, 15 s. ; LEATHER CASE, 36 s. A GREAT BOON TO ALL AMATEURS. The advantages of the io per cent Solution are that the greatest accuracy can be secured in large or small quantities with the least possible trouble, and, without the use of scales and weights, serves for all the leading makes of Plates. BROOKES’ PATENT LANTERN CAMERA for Plates 3J in. square. It may be used either with the hand or fixed on a stand. It is light, strong, and compact. There is a new arrangement to the Dark Slide, and other novelties of instruction. LEISK’S PATENT SKY SHUTTER for Hood of Lens size if in. and under, 25/; for 2§ in. and under, 33/ ; for 3^ in. and under, 40/. This Shutter reduces the Sky Exposure to one-third of that of the foreground, hence the clouds are beautifully rendered as they appear in nature. GRANITINE DISHES. The merits of these China Dishes are becoming known. They are im- pervious to all acids, and the cleanest, nicest, and safest dish for developing or sensitising. Prices, deep, 5 x 4, 1/6 ; 7x5, 1/8 ; 8 x 6, 2/ ; 9x7, 2/4 ; 10 x 8, 3/; 12 x IO, 5/6 ; 13 x 11, 6/9 ; 16x12,13/9; 18x12,19 /; 19x15,2 7/6. These sizes are the inside measurements. ACADEMY CAMERA WITH DRIFFIELD’S PATENT FINDER. The addition to the Academy Camera makes the instrument much more handy to work. It can be held to the body and the focus is reflected from the mirror through a hole cut in the top of the Camera. The general make has also been much improved, and in the hands of one who would use a little care no hand camera offers the same advantage. Made in four sizes, for plates ij in. square, 2 in. square, 3^ in. square, 4* x 3i- MARION & CO., 22 & 23 Soho Square, London, W. Printed by R. & R. Clark, Edinburgh.