:

[PiaOE ONE SHILLING.]

PHOTOGRAPHIC
PRINTERS'
ASSISTANT.
BY

WILLIAM HEIGHWAY,

AXTTHOB OF

Practical Portrait Photography,^^ Mthetics of Photography,^*

'
^0., Sfc.

LONDOJSr
PIPER & CARTER, 5, FURNIYAL STREET, HOLBORN.
1892.
The 'BRITANNIA' DET PLATES,
MANUFACTURED BY

22
MARION &LONDOlSr,
CO.,
& 23, SOHO SQUARE, W.,
AT THEIR FACTORY AT SOUTHGATE,
^rom thevr Ghe^cvpn&ss and SxoeUmc& are^ in universal uso.

A TRIAL OF THE PRESENT MANUFACTURE OF THESE WELL-KNOWN

PLATES IS RESPECTFULLY SOLICITED.

IMPORTANT NOTICE.
The BRITANNIA DRY PLATES are now being issued with
their speed number on each box, obtained by Hurter and DriflBleld's
system. By means of this number, used in conjunction with
Hurter &
Driffield's Actinograph, the correct exposure can be
easily and accurately determined. We
have found, by repeated
and exhaustive tests, that the results given by this method are
absolutely correct and thoroughly reliable. As we hold that the
production of a technically perfect negative is dependent upon an ac-
curate exposure, we have every reason to hope that the Actinograph
will supply one of the most pressing photographic needs of the day«
Price of Actinograph, arranged for use in England, Ireland, and
corresponding latitudes, 10/6.

ACTINOaRAPHS MAY BE SPECIALLY ORDERED WITH LIGHT SCALES

FOR ANY DESIRED LATITUDE.

Tli6 BRITANNIA Dry Plates are made in Fonr RaDities:—

J-Plate. i-Plate. 1-1 Plate.

ORDINAEY (Yellow Label) ... 1/- ... 2/3 ... 4/3 per doz.
RAPID (White Label) 1/3 ... 3/- ... 6/6 „
INSTANTANEOUS (Brown Label) 1/6 ... 3/8 ... 6/6 „
ACADEMY— Slow (Cream Label) 1/6 ... 3/8 ... 6/6 „
F17LI FBICE LISTS SENT FREE ON APPLICATION, AS ALSO FAUFHLET ON THE
trSE OF THE AOIIHOGBAPH.

22 & 23, Soho Square, London, W.

PHOTOGEAPHIC PEINTEES' ASSISTANT.
 PHOTOGEAPHIC
PRINTERS' ASSISTANT.

BY

WILLIAM HEIGHWAY,
AUTHOR OF
PRACTICAL PORTRAIT PHOTOGRAPH F, " ''ESTHETICS OP
PHOTOGRAPHY," ''HAKDBOOIC OP PHOTOGRAPHIC
terms/ ^
ETC., ETC.

i^ifth: edition.

LONDON
PIPER & CARTER, 5, FURNIVAL STREET, HOLBORN, E.G.

1892.
 LONDON :

PIPER AND CARTER, PRINTERS, FURNIVAL STREET, PIOLBORN, E.C.

 PREFACE.

The desire has been expressed by some among the

readers of Practical Portrait Photography,"

for fuller details of the manipulations in the process

of printing from the negative.

In response to this kindly invitation, the pages

following have been prepared from notes of practice.

Rather than the production of formulas, new and

empirical, the writer has striven to plainly set down

methods of working which have proved of service.

 CONTENTS.

CHAPTER I.

The Sensitising Eoom ... ... ... ... ... 1

CHAPTER II.

The Silver Bath 4

CHAPTER III.

Treatment of the Disordered Bath... ... ... ... 10

CHAPTER IV.
Albumenised Paper ... ... ... ... ... ... 16

CHAPTER V.
Sensitising the Paper 19

CHAPTER VI.
The Drying Room 22

CHAPTER VII.
Drying, Fuming, and Catting the Paper] 24

CHAPTER VIII.
Consideration of the Negative 27
 Vlll CONTENTS.

CHAPTEE TX.
The Printing Eoom ...

CHAPTER X.
Printing

CHAPTEH XI.
Toning Prints ...

CHAPTEE XIT.
Finishing the Prints

CHAPTEE XIII.
Durable Sensitised Paper ...

CHAPTEE XIV.
Imperfections in the Print...

CHAPTEE XY.
Failures in Printing, Toning, &c. ...

CHAPTEE XVI.
Printing on Plain Paper

CHAPTEE XYII.
Printing on Porcelain

CHAPTEE XVIII.
Enamelling or Glace Finish'*

CHAPTEE XIX.
Developed Prints

CHAPTEE XX.
Precepts for Printers
 PHOTOGRAPHIC
PRINTERS' ASSISTANT.

CHAPTER L
THE SENSITISING ROOM.
In general far too little attention is given to the convenience

and suitability of the several rooms set apart for the manipu-
lations of the printing process. In many galleries, well-found,

and even luxuriously furnished in other respects, the printers

are poked away into some awkward corner, and left to do
the best they can with the most indifferent accommodation.
To say nothing of the comfort of the workers, to whose
health no consideration is paid, the character of the work
produced is materially affected. The conditions which pro-
duce discomfort to the printer are, in a degree, prejudicial
to the work. If the printer is, in the winter, frozen, so, too,

are the chemicals ; and under the hot breath of the summer
sun, when the worker is faint, paper and chemicals also are i

affected. The quality of the manipulations is, at the same

time, consequent, in no small degree, on the comfort of the
operator. It can hardly be expected that the best work will
be produced when a printer labours under every disadvantage.
The temperature of the rooms set aside for the silvering

of paper, and other manipulations, is a matter of great

importance, as changes of temperature — especially to great
 2

extremes of heat and cold — ^have their influence for harm on

paper and chemicals.
Almost of equal importance to the proper arrangement and
fitting of the studio is the handiness and completeness of the
printing departments.
When a photographer earnestly intends to produce really
fine work, the state of his printing rooms should have his
early attention, and they must he rendered as convenient and
complete as possible.
A most important point to he observed is to keep apart the
different manipulations as much as is possible. Though we
often find much good work is, at times, produced under
the most adverse circumstances, yet much finer would
doubtless have been done with greater conveniences.
The Sensitising Room is a dark chamber, lighted either by
gas or a window shaded by movable blinds. Where there is

a window, the lower half of it is shaded by a yellow calico

blind, and a darker blind, which may be drawn down
according to the strength of the light, fixed above. The
light by which the manipulation of silvering the paper is

performed should be soft and diffused.

The dish holding the sensitising solution is placed on a
table near the window, where there is sufficient light for

working. Above the dish are fixed two or three clips to

hold the wet paper while it drains. The position of these

should allow the sheets, when held by one corner, to just
touch the edge of the dish, so that drainings from the paper
run down the side of the dish without splashing the back of
the sheet of paper floating on the solution.
The bath, when the sensitising of the paper is completed,
should be filtered back into a white glass bottle, and
 3

strengthened, if necessary, ready for use when required.

The dish in which the paper has been sensitised is rinsed

clean, and put away in a cupboard where it is protected from

dust. A sheet of bibulous paper should be placed under it.

Only the utensils required for use in the manipulations

conducted in this chamber should be kept here ; all others

ought to be banished, as they only harbour dust, and are in
the way.
Bath-dishes, bottles for the sensitising solution, funnels
and filtering papers, graduated measures, hydrometer for
testing the strength of the bath, litmus papers, and paper-
knife should be handily placed so that they may be readily
found when required for use.
The filtering of baths, negative and positive, may safely

be conducted in this room ; but boiling the disorganised bath

had best be done elsewhere —in an open and well-ventilated
place, apart from any manipulations.
The sensitising room — and, indeed, all the chambers set
apart for the manipulations of printing — should be kept
scrupulously clean and free from dust. The fioor had best
be mopped over with a damp mop every morning — not swept,
as a broom only sets the dust in motion. All shelves and
cupboards should be frequently wiped over with a damp
cloth.
 CHAPTER 11.

THE SILVER BATH-

In printing on paper prepared with albumen, in which a
certain quantity of a soluble chloride has been dissolved, and
subsequently floated on a solution of silver nitrate, there
results a formation of silver chloride in an exceedingly fine

state of division, which darkens on exposure to sunlight.

The visible effect of light is to darken the white surface of
the silver chloride, and a violet-coloured substance is formed,
and, if immersed in water, free chlorine will be found to
have been liberated.

The action of light is quite superficial, for, although the

action be continued until the depth of colour is intense, the
amount of reduced silver forming it is very small.
Our first consideration is naturally to the strength of
silver which will produce the best effects. In this we find

great diversity of opinion, some workers inclining to a strong,

and others to a weak, bath. To a certain extent, the
strength of the bath depends on the character of the paper
used ; that rich in chloride requiring a stronger solution than
the weakly salted paper.
At first sight, it might be assumed that the strong bath
 5

would sensitise the paper in a shorter time than the weaker

solution, so that, in respect of time expended in the operation,
there would be a gain ; but such is not the case. Further,
we might suppose that on a weak bath the paper would
take up less silver than when sensitised on a strong bath

this, too, is incorrect, for a certain definite amount of

silver combines with the chloride and organic substances

used in coating the paper, whether the bath be weak or
strong.
A strong solution of silver has the effect of hardening the
albumen surface, so that, for a time, there is repulsion
between the paper and the bath solution; while the weaker
solution, not affecting the albumen in this way, is readily-

absorbed, and if the floating of the paper be long continued,

the solution will penetrate the albumen and dissolve it.

There are, however, disadvantages, both in the long floating

of the sheet on a stronger bath, and the short floating on the
weak. With the former, though we get brilliancy and bold-
ness of the image, the bronzing in the shadows is a most
serious defect ; and with the latter the prints are weak and
poor, and have a sunken appearance.
The weak bath, too, feels the loss of silver taken up by
the paper to a greater extent than does the stronger, and is

not only more liable to contamination by causing a greater

dissolution of albumen, but is more affected by the presence
of impurities. In some cases the slightest excess of the time of

floating the paper dissolves the albumen from the surface,

and spoils paper and bath.

Eor general use, we find in one of medium strength the
remedy for these disadvantages, and a good, serviceable bath,
easily kept at its normal strength, suitable for most work,
 6

not subject to variation nor prone to getting out of order^

and when disorganised easily restored :

The Plain Silver Bath,

Silver nitrate ... ... ... 40 grains
Water 1 ounce

A small amount of solution is productive of many of the

evils noted as characteristic of the weak solution. The
amount of silver in it, being small, is soon exhausted. It is
contaminated after sensitising a sheet or two of paper only,
and requires doctoring every day or so. The depth of solu-

tion should not be less than an inch, and it is best to sensitise

in a bath which will contain at least a half sheet.

For strengthening the solution when required, a stock

solution of silver nitrate, sixty grains strong, dissolved in
distilled water should be kept, as a great deal depends on
,

maintaining an even strength. By this means only can

certainty of working be attained. The hydrometer indicates,

with sufficient exactness for this purpose, the strength of the

solution.

A great deal has been written about the water best adapted
for use in the sensitising bath for printing, as well as for

negatives. Generally, particular direction is given that

distilled water must be used. That this is best there can be

no question ; but the writer has found ordinary cistern water

serve the purpose exceedingly well, if treated in the manner
here given. When the silver is dissolved, make slightly
alkaline by the addition of a drop of ammonia solution (one
drop of ammonia in ten of water), and expose the solution
in a clear glass vessel to daylight for a few hours. The
solution will grow muddy, and then a brown precipitate will
 7

be thrown to the bottom of the vessel ; decant the clear

liquid, and filter.

By the plain silver nitrate bath, the finest results are

obtainable from any negative of proper density.
In the height of summer, the strength of silver, and the
time of floating the paper, should be slightly decreased, and
in the winter increased ; in the one case forty- five grains of
silver to the ounce being used, and in the other thirty-five.
With the silver nitrate other nitrates are sometimes used,
to suit special brands of albumenised paper.

One of the most generally used baths is the following :

Silver nitrate ... ... ... 40 grains

Ammonium nitrate ... ... 20
Water ... ... ... ... 1 ounce

made slightly alkaline by the addition of liquor ammoniae.

And to the same formula, the addition of five grains of lead

nitrate has been recommended.

This bath is well adapted for use with most brands of
paper, but requires care to keep it in working order above
that of the plain bath. Considerable observation and skill
are necessary when a complicated bath comes into use, and
for the printer whose experience is limited, it is best to use

a paper thoroughly understood, and a good reliable bath

which calls only for modification in extreme weather, and
with exceptional negatives.
In the narrow scope of these hints, it would not be pos-
sible to give the many variations of formulae used for print-
ing ; but this need not give the reader a feeling of the in-

completeness of the information given, as a great number of

formulae are misleading and confusing, rather than edifying.
 8

We shall, therefore, confiue ourselves to the consideration of

the formulse already given.
The solution should he kept, as far as possible, on the

surface of the paper. This necessity influences the duration

of the sensitising, especially where the bath is weak, and
the tendency of the solution is to dissolve the album enised
surface. Woolliness " and want of vigour in the image,
and the in-sunken appearance of the print already mentioned,

mark this fault.

To prevent this, alum is sometimes added to the silver
solution, its action being to harden the albumenised surface
of the paper, and prevent the silver sinking through.. It is
generally added by placing a small lump of alum in the filter

when filtering the bath. It is only necessary to do this

when the prints show the want, and only then when the fault
is known to be in the bath or too much will be dissolved.
;

The bath solutions, we have seen, are made alkaline. This

should not be very decided, and the addition of the alkali
should be carefully made. Liquor ammonise should not be
poured in undiluted, but drops of a solution in water, one in
ten, used when the silver solution shows an acid reaction.
This is ascertained by the use of litmus paper ; the red paper
ought not to change to blue quickly and strongly. Por ren-
dering the bath alkaline, bicarbonate of soda is sometimes
used, but the ammonia solution is to be preferred.

Ey some workers an acid sensitising bath is recommended.

The eff'ects obtained cannot be compared with those from an
alkaline solution, nor is the paper so sensitive. The value of
a bath acidified with citric acid will, however, be found in

the keeping qualities of the paper sensitised on it. In

changeable weather, when there is some uncertainty as to
 9

the use of the paper sensitised with sufficient rapidity to pre-

vent its becoming discoloured, the acid bath is extremely
serviceable. Por paper intended only to be kept a day or
two after sensitising, the bath should contain the faintest

trace of acid. A piece of blue litmus paper placed in the

solution ought not to turn red under thirty or forty seconds.

Tume the paper as required for use.

The use of nitric acid in the bath is not recommended, as
the prints resulting are weak and poor, and tone tamely.
Glycerine and alcohol are sometimes added, but the advan-
tage gained by the use of either is extremely questionable in
general work.
The acid bath, except for special purposes, is to be dis-

commended for three important reasons : first, that the

results are not so fine as those obtainable by the alkaline
bath ;
second, that the action is slower ; and third, the bath
is not so easily purified.
The alkaline bath may be placed in the sun, and all im-
purities are, by its action, thrown down, and may easily be
filtered out. Care in all cases will do away with the neces-
sity for continual doctoring of the solution. Pilter after each
time of using, and strengthen ; but do not worry the bath
until it begins to worry you. Test with litmus paper every
now and then, to see that the proper degree of alkalinity is
maintained.
A great amount of trouble and uncertainty is spared the
printer who is careful that the sensitising dishes are kept
clean. Directly the sensitising of the paper is completed,
return the solution to the bottle through the filter, rinse the
dish clean, and set it on edge on bibulous paper to drain in
a cupboard where it is protected from dust.
 CHAPTEE III.

TREATMENT OF THE DISORDERED BATH.

The sensitising bath soon becomes discoloured by the dis-
solution of albumen from the surface of the paper. With
some brands of paper, after a few sheets have been sensitised,

the solution assumes a deep colour, and the purity of the

whites of the print is seriously affected. This, in the case
of vignettes, is a fatal defect.

As we have already urged, care is necessary in the use of

the bath ; but this evil of colour is especially attributable

to the alkalinity of the bath, ammonia quickly affecting the

albumen. It is, however, too useful to be discarded, and

for this reason, in using it, we should be careful that too
much be not added.
Decolourisation of the bath may be effected in several

ways ; but of these, three commend themselves on the score

of efficacy, ease of application, and economy.
Por the renovation of a comparatively new bath, the
application of a dilute solution of potassium permanganate
and kaolin will be found most useful, and to serve every
purpose ; and for a somewhat worn bath, partial evaporation

or boiling.
 11

Potassium Permanganate. — The great advantage tlie use of

the permanganate offers is that of readiness. "With a stock
solution at hand

Potassium permanganate ... ... 20 grains

"Water ... 1 ounce

we may, -without great delay, purify the bath even while it

is in use ; but this need only be done in time of great

pressure.
Ordinarily the usage is, if after the completion of sen-
sitising the paper for the day the bath be much discoloured,

to add two drops of the permanganate solution to the bath,

and thoroughly mix by stirring with a glass rod. The bath

assumes a deep rose tint, which in a short time lightens. If

it rests at this, sufficient has been added; but if the tint dies
out entirely, another drop must be given, or yet other drops
until the solution is coloured. The quantity depends, of

course, on the bulk of the bath solution. The tinted bath

solution, placed in a clear white glass bottle, is stood in sun
or daylight until the rose tint disappears (say, after an hour
in sunlight) and the solution filtered clear.
Should the bath become discoloured during the sensitising
of the paper, the application of a drop or two of the

permanganate solution will often suffice, even without

filtration of the bath. It must be well mixed by stirrings

It is very important that too much should not be added.

Experience will, after a short time, guide the operator in
this, so that he will know exactly how many drops should
be poured in. Properly used, the permanganate is invaluable
for the purpose of decolourising the bath ; it is, therefore, a
pity that its use should fall into discredit because of the bad
 12

effects which arise from the haphazard application of it in

some eases.

Kaolin^ or porcelain clay, the purest form of disintegrated

felspar, is, too, a useful agent for purifying the bath.
A little of the kaolin is placed in the bottle containing the
bath solution, shaken up together for a little time, and then
allowed to settle. The clear liquid is decanted and filtered.

The kaolin may be left in the bottle, and the solution

added to it several times.
This method is, however, a very dirty one, and disagree-
able, and takes up more time than does the permanganate.
Kaolin sometimes contains chalk, and this renders it unfit

for the purpose of decolourising acid solution of silver nitrate.

The impurity may be removed by treating the kaolin with a
weak acid, and washing.
After a time the bath will, from various causes, require
more thorough renovation ; but until the methods just
described fail, it is well not to resort to boiling. On the one
consideration alone that it is a troublesome process, it should
be regarded as a last resort. Though simple enough in

itself, the process is, by want of care and lack of ordinary

precautions in operation, made the cause of a great amount

of failure and uncertainty.
When all else fails, and the sensitising solution is seriously
affected by the presence of organic matter, it may be restored
by heat. In this process it is only necessary to carefully
carry out the directions given, and guard against the entrance
of foreign substances.
Boiling the Bath, —At times a partial evaporation of
the solution is all that is required. In this case it is only

necessary to pour the solution into an evaporating dish, and

 13

place over the lighted jets of a gas-stove. Should the hath

not be alkaline, it must he rendered so by the careful addition.

of a solution of liquor ammoniae, with the precautions already

enjoined. "When the liquid is thoroughly heated it will grow
turbid and black, with a metallic scum on the surface.

Under this scum, after a time, the solution will clear, the

impurities being thrown down. At this stage, or when

about one-quarter or one-third of the solution has evaporated,
the gas of the stove may be turned off, and the solution
allowed to cool.

When perfectly cool, filter ;

and, having ascertained the
strength of the silver, add sufficient distilled water to reduce
to the original strength of the bath.
If distilled or pure water is not at hand, ordinary cistern
water may be used, but it should be added lefore subjecting
the bath to heat ;
diluting the solution, in the first place, and
boiling down as nearly as possible to the proper strength.
In this way we get rid of the impurities of the water with
those of the bath.
Fusing the Bath. — The operations described in the previous
process are in this carried out, but the evaporation is con-
tinued to dryness. The bath is now fused until all frothiness

disappears. Heat should now be withdrawn, and the mass

scraped down into the centre of the dish. When sufficiently

cool, enough nitric acid solution (one part in ten or twelve

of water) should be added to re -dissolve the silver with the
aid of heat. Again evaporate to dryness, and dissolve once
more in pure water, and filter.

The bath may now be made up to the required strength,

the organic matter having been rendered insoluble by fusing,

and the excess of acid dissipated.
 14

In boiling baths, certain precautions are necessary, or

accidents are likely to occur. A good porcelain dish should
be procured, and this will bear almost any amount of heat
but a sudden wave of cold air on the heated surface may crack
or break it.

Although it is not necessary to stand and watch the

process of boiling down a bath, it should not be forgotten
entirely, as, when all moisture has been evaporated, the dish
will break if longer subjected to flame.
The stove best adapted for the purpose is an upright iron
stove, with several jets of gas at the bottom, the flame of

which does not touch the dish.

Sometimes, by way of extra precaution, is used a ^ * sand

bath," or iron bath filled with fine sand, in which the
porcelain dish is stood. By the use of the sand bath a more
uniform heat is maintained, and danger of cracking the
porcelain dish is averted.
Iron dishes, lined with porcelain, should not be used, as
the surface is liable to fracture.

When nothing can be done to make a bath work, the best

plan to adopt is that of the
Precipitation of the Silver in a Metallic State, —Filter the
solution, and place in it strips of copper. After twenty or
twenty-four hours, test the solution for absence of silver by
taking a few drops in a tube, and adding a solution of common
salt. If there is no white precipitate, the silver has all

been reduced to a metallic state. Decant the liquid, and

wash the silver until the greenish colour observable, which
is due to copper nitrate, disappears. Place the metallic
silver in an evaporating dish, and gradually add one drachm
of nitric acid for each 150 grains of silver nitrate of the
 15

original solution, to dissolve the metallic silver. Dissolution

is aided by gentle heat. Boil down the solution to free it

of nitric acid, add distilled water, and then silver oxide,

gradually, until the greenish tint disappears. Filter, and

make up to the proper strength.
Or, by placing in the filtered solution clean, bright strips

of zinc, the silver will precipitate, as with the copper in the

foregoing. To get rid of the zinc, after picking out the
undissolved pieces of zinc, add a mixture of hydrochloric
acid, one part in ten of water, and boil ;
pour off the acid,
and well wash the silver. Place the mass in a filter, and
wash well with boiling distilled water. Dissolve with nitric
acid, as already described, filter, and make up to the required
strength.
 CHAPTER IV.

. ALBUMENISED PAPER.
It is not intended here to enter at length upon the preparation
of albumenised paper, as far more satisfactory results may be
obtained on that commercially prepared than the operator
could hope to attain by preparing it himself.

It will, however, be useful to note a few of the character-

istics of two well-known and generally used papers —the
Saxe and Eives — with some remarks on the mode of albumen-
ising, as much of the success depends on the observance of
these peculiarities.
Proper thought is not generally given to the special

adaptability of a paper for a certain purpose. Manufacturers

will, of course, urge that their paper is suitable in a like
high degree for all kinds of work ; but this is not so.

A few suggestions in one or two instances will serve for all.

The two papers we have mentioned are both subject to

defects, which appear to be the result of the method by which
they are prepared. A knowledge of these imperfections, and
their cause, may probably save the operator annoyance and
failure, and also be instructive in cases not immediately
connected with it.

Between the two papers mentioned, the great difference is

in the degree of toughness. The Saxe, being the stronger of

 17

the two, is therefore superior for prints of large size. It is,

too, also almost entirely free of iron spots. Pine detail in

the finished print on this paper may be secured. There is,

therefore, no question of its good quality. This is with

neither of the papers a matter of question.
The Eives paper, when wet, is very tender, especially when
in large pieces ;
hut, as it gives a more brilliant surface than
the Saxe, it is often prepared for small prints.
To explain the cause of some of the defects of commercial
albumenised paper, it is necessary to briefly allude to certain
details of its preparation. The paper is floated on a solution
of salted albumen —ammonium chloride dissolved in water,
and the albumen of eggs, nearly fresh, beaten up together,
and perfectly mixed ; sometimes a little alcohol is added.
If the mixture is not perfectly beaten up, flakes of animal
membrane will be left in the liquid, and these are the cause
of streaks on the surface of the paper ;
generally observable
on examination. The trouble these streaks cause is known
to every printer of any experience. Care should be exercised
that they are placed on a comparatively unimportant portion
of the negative.
A pause in laying the paper on the albumen solution is the
cause of a line across the paper ; this bronzes strongly under
the influence of light when the sheet is sensitised and ex-
posed.
Bubbles of air formed under the paper during the floating,
if not removed, cause a round spot of unalbumenised surface,
which in the print forms a defect.

Too extended floating on the albumen bath causes the

solution to sink into the paper, by the alkaline solution dis-
solving the sizing of the paper.
c
 18

The method used in drying the albumenised sheet has also

considerable influence over its character. The sheet having

been floated on the salted albumen, is sometimes suspended
by two corners, with pins, to dry ; and sometimes it is hung
over a rod to dry.
Ey the first mode of drying, where one edge is higher than
the other, we get a thicker edge of albumen on that portion
of the paper which was lower while the sheet was drying,
and the upper edge sometimes very thin. This inequality in
the thickness of the albumenised surface causes a disparity in
the quality of the prints, sometimes very great ; the lower
and thicker edge giving prints of great brilliancy, depth, and
beauty ; while those from the thinner edge, or that uppermost
in drying, are comparatively poor and tame, in consequence of
the thinness of the albumen surface.
With paper dried by the second method the sheet being —
hung over a rod with both edges hanging down the albumen —
runs down from the middle of the sheet to the edges. Here
we sometimes find a line of clotted albumen where the sheet
has rested on the rod. Such a sheet had best be cut through
the middle of the rod-mark to get these clots at the edge of
each half-sheet.
Every sheet of paper should be examined for these marks
before it is cut up or used, and the defects avoided or dodged,
so that they are not allowed to appear in the middle of a
print.

The portion of the paper richest in surface should be used

for the most important part of the picture.

A little observation in this regard will conduce to success,

and the absence of thought will be punished by the unnecessary
spoiling of many prints.
 CHAPTER Y.

SENSITISING THE PAPER.

Place tlie sensitising bath on the table, in a convenient
position, where there is sufficient yellow light by which to
work (see the chapter on the Sensitising Eoom). The bath
should be lengthwise to the operator. Pour in the solution,
on the surface of which no scum or bubbles should appear.

The paper should not be hard and dry, nor moist. In

summer it is best to place the sheets required for use in a
cool and rather damp place for some hours before sensitising.

Before placing a sheet on the bath, turn up a small portion

of each of the four corners, so that in examining the paper
and lifting it from the bath, it is not necessary to dip the
fingers into the solution to take hold of the paper. If the
sheet is at all dry, rub the thumb-nail gently round the
edges of the paper, at the lach, to prevent any sharp angles
which might be submerged, and allow the solution to run
over the back of the paper.
The length of the bath is before the operator, to his right
and left hand, and the paper should be held in such a manner
that it may be readily laid on the surface of the solution.
Take two diagonal corners between the thumb and first
 20

finger of each hand, the right being slightly the higher, and
let the paper assume a gentle curve between. Place the
portion of the paper near the left hand on the centre of the
solution, and as the sheet is gently drawn to its place on the
bath, steadily lower the right hand until the whole of the
sheet (with the exception of the four upturned corners) is in
contact with the solution.
Ey this means it will be found that the entire sheet is
drawn over a portion of the bath. This is done so that the

small air-bells, which form under the sheet, may be driven

to the edges.

If, as is sometimes done, the middle of the sheet is placed

in contact, and the two edges lowered together, the bubbles
of air are held in the centre, and much trouble and loss of

time result in getting rid of them.

After a few seconds, one or two corners may be raised to
see that the sensitising is progressing evenly.
Should there be, by any accident, any spots of silver on
the back of the paper, they should be removed by blotting
up dry with bibulous paper.
Sometimes the sheet, after being placed in contact with
the bath, shows a tendency to curl back. The paper is too
dry, and should have been placed in a damp atmosphere some
hours before sensitising. To make the sheet re-assume its

position on the bath, gently breathe on the back of the

curled portion until it falls back on the bath.
The time of sensitising depends on the strength of the
bath, and the temperature of the bath and atmosphere. It
is also influenced by the brand of paper used, the character

of the negative to be printed from, and the effect to be pro-

duced in the print. All these points can only be settled hj
 21

the printer at the time; and to correctly estimate these

requirements under ever- varying circumstances calls for the
exercise of thought.
Eoughly speaking, with the formulae given, from forty
to seventy seconds in the summer will suffice ; and in the
winter from sixty to one hundred seconds.
When the sheet has lain on the bath the required time, it

is slowly raised from the solution by the two left-hand cor-

ners, and drawn over the edge of the dish, or, what is better,

over a glass rod fixed at one edge of the sensitising dish. In

this way the surplus solution is removed from the sheet.
It is then fixed by one corner in a clip, and to the lowest

comer a piece of white blotting-paper is attached to absorb

the moisture.
Before sensitising a sheet of paper, any scum or impurities
should be removed from the surface of the bath with
blotting-paper. Care in this respect will save many pieces
of paper.

"When the sheets are partially dry, surface moisture

having evaporated, they are removed to the drying-room to
be more quickly dried by means of heat.
 CHAPTEE YI.

THE DRYING-ROOM.
To dry paper spontaneously is a mistake. As we have
already seen, it is necessary for the production of brilliant
prints that the formation of silver chloride he on the
surface of the paper. All our operations have been con-
ducted to that end, and now, if the paper is permitted
to dry spontaneously, all this will be rendered of no effect,

as the silver solution will sink through the albumen and

into the substance of the paper.
The sheet is allowed to drain and partially dry, and then
by heat, thoroughly.
The drying-room should be a separate chamber, fitted
with a row of gas jets or a stove, over which is hung a rack
with clips for holding the paper.
A light rack of three or four bars, apart six or eight
inches, is suspended about five feet from the floor. To the
bars wooden clips are affixed at intervals corresponding to
the lengths of the sheets of paper to be dried. One edge
of the paper is caught in these clips, and the sheets hung
down over the gas jets, which are fixed near the floor,

running the length of the rack. If any injury to the paper

is found to result from the light or heat of open gas jets^
 23

a very thin iron cover may be placed oyer them. With

this cover the gas should always be lighted a little time
before the drying commences, to heat the iron, so that the
operation of drying may not be delayed.
A small stove, with a piece of soapstone to cover it, may
take the place of the gas ;
but, especially if a quantity of
paper is silvered at one time, the stove is not nearly so
useful as gas.
If the paper evinces a disposition to curl in drying, sticks
of the length of a sheet of paper with a clip at each end are
provided, which, being fixed on the lower edge of the sheet,
weigh down the paper, and keep it straight. This also coun-
teracts the tendency of the sheets to stick together when any
slight draught of air agitates them.

The drying-room should be kept very clean, as any dust

flying about is attracted to the damp surface of the paper,
and causes defects in the print.

Care should also be exercised to guard against spots of

iron-rust rising from the stove or gas pipes. Eust should
not be allowed to accumulate.
In winter the drying-room should be warmed before com-
mencing the sensitising of the paper ; but in the height of
summer a few seconds over the gas will suffice to dry the
sheets ;
sometimes, indeed, even that may be dispensed with.
It is unnecessary to state that the light of the drying-room
should be very feeble, white light altogether absent, or the
paper will darken as it dries, and be rendered useless.
 CHAPTER YIL
DRYING, FUMING, AND CUTTING THE PAPER.
The sheet of paper having been sensitised, and the surplus
solution drained from its surface, is removed to the drying-
room.
Great care should be used in handling photographic paper,
especially when silvered, and more particularly when in a
damp state. The sheet may be lifted by the turned corners,
or at the extreme edge, as the fingers will leave marks on
the surface.
The sheets should not be allowed to stick together at any
time. In transferring to the drying-room a sheet may be
hung over the arm, silver side uppermost, and so carried
safely. Although not particularly sensitive in this state,

the damp sheet should not unnecessarily be exposed to day-

light.

Drying the Paper, — Hang the sheets over the gas or stove
by the clips fixed to the bars of the rack, and weigh down
the bottom edge of each with the sticks provided for the
purpose.
The clips of the rack and of the weights must be
scrupulously free from dust, or the particles will adhere
to the silvered surface, and waste of paper result.

The heat for drying should be diffused, but sufficient to

 25

quickly evaporate the moisture, for when the drying is slow,

the silver sinks into the paper, and the surface is lost.

If proper regard is paid to the quick and thorough drying

of the paper, the, surface will be brilliant, and fine, bright
prints may be obtained from it. Palse economy may urge
that spontaneous drying is best, but a trial of the two
methods will firmly establish the superiority of the quickly-
dried sensitised sheet over that allowed to dry spontaneously.
Fuming, — The advantage of fuming is now scarcely ques-

tioned. Pumed paper prints more quickly, and from it more

brilliant prints are obtainable. The toning of fumed paper
is more easily and satisfactorily conducted ;
and, as the toning
is to the fullest extent under control, every variety of tone

may be secured. The results are decidedly finer and richer.

Por the purpose of fuming paper, a box of sufficient size

to hold several sheets is provided. A rack fitted with clips,

and weights similar in character to those described for hold-

ing the paper when drying, are provided to receive the
sheets, each clip holding two sheets placed back to back.

The clips need not be more than two inches apart. A false

bottom, perforated with holes made by a large gimlet, is

fixed, and under this, on a tray, is placed the dish of liquor

ammonias. The tray should be arranged to slide in and out,
so that the ammonia dish may be put in the centre of the
bottom without difficulty. There should be three or four
holes at the bott^)m, and a few smaller holes in the lid of the

box, to create a draught. In most fuming-boxes this is not

provided ; but the advantage of having a gentle current of

air through cannot be over-estimated. The current of air

causes the fumes to circulate and evenly combine with the

silver, and prevents dampness of tlie sheet.
 26

This mode of fuming with the paper in a perpendicular

position is far superior to that in which the paper is laid

horizontally ; the paper is readily fixed in position, a more

even distribution of the fumes is secured, and the fuming m
effected in a shorter time. The paper is placed under th&
influence of the ammonia fumes for ten or fifteen minutes.

In damp weather it may be found necessary to slightly

dry the paper after fuming. The paper also evinces a ten-

dency to turn yellow at such times, and, to prevent this, a

few grains of chloride of lime may be added to the ammonia.
Its use is, however, not recommended, as it tends to enfeeble
the print. If used, the amount added to the ammonia should
be carefully regulated, and its action on the paper jealously
watched.
Cutting the Paper, —The sensitised sheet is very susceptible

to stains. Every place on which it is put should be very

clean. The fingers should never touch the sensitised surface.

A margin, above the size of the print required, should always

be allowed (larger as the size of the print increases), to allow
for tears and frayed edges.
An ivory paper cutter is best adapted for the purpose of
cutting, and each crease made should be decided and accurate.
It is a dangerous experiment to try to secure the largest
possible number of pieces of paper from a sheet, as the

failures which generally result from defective prints more

than balance the hoped-for gain.
Printing on paper cut to the exact size of the required
picture is, there can be no doubt, a very bad plan ; the waste,,
even with the greatest care and skill, is considerable.
 CHAPTER VIIL
CONSIDERATION OF THE NEGATIVE.
Peefect negatives are the exception rather than the rulej
and, although it would be mischievous to advise the printer

to encroach on the ground of the retoucher, yet he should

exercise some supervision over the cliche provided, and from
which he is expected to produce good prints.
Such instruction as the rectification of false lights, and
the lightening of shadows, are pernicious, as it suggests
that the printer should correct the work of the retouching
artist. This is palpably ridiculous. If the retoucher needs
this correction of the printer, depend upon it he has com-
mitted greater blunders against art, and should, therefore, be
removed.
"We must, therefore, infer that the negative has received
proper attention at the hands of the artist, or refer the

printer who possesses the very laudable ambition to excel a&

a retouching artist to the chapter on retouching in Practical
Portrait Photography.''^
It must not, however, be thought from this that printing
consists merely in putting negative and paper in contact in
a frame, and knocking off so many prints a day.

* Piper and Carter, 5, Furnival Street, Holborn, E.G.

 28

The negative should be studied, and thoughit given to tlie

treatment best adapted to it.

A negative much retouched in the background had best be

vignetted, to get rid of as much as possible of the defective
portion.
Thin Negatives should be printed in a very weak light, or

under white tissue paper.

A strong bath is best for sensitising the paper for thin or
weak " negatives, and the fuming extended to about double
the ordinary time.
Much, of course, depends on the character of the thin,
negative ; if it is the result of intention, and not of accident,
the probability is that its only fault (if fault it be) is its

thinness. Erom a negative such as this, there is no reason

why, with care, good prints should not be obtained. As a
quality of the negative, thinness is a good one if the artist
and dark room man are skilful, as all the delicate gradations
of light and shade are more fully developed than in the more
intense negative.
If the thinness is the result of accident, the negative is in
all likelihood worthless, and no amount of doctoring will

improve it. Should it be absolutely necessary to print from

a weak, flat negative, it should be carefully retouched, and
covered on the glass side with a varnish tinged with iodine.
This should be scratched from the shadows. Retouching on
this surface in pencil or Indian-ink may often aid in making
lip a picture. Masks of tissue paper pasted on the glass
side over the light portions of the negative, and worked
npon, sometimes give results worth the trouble of the
operation.
Intense Negatives. — These, with strong lights, and black,
 29

abrupt shadows, little detail, and plenty of harshness, are

very unsatisfactory and profitless.

With such negatives our object must be to reduce the

contrast as far as possible ;
and, as we have seen, the slower

the printing, the greater the contrast produced ; here we print

quickly to subdue the peculiarities of the negative.
A pink paper is sensitised on a weak bath, and the fuming
reduced to the shortest time. It is sometimes well to dis-
colour the paper by a slight exposure to light, especially if

the paper used is white. The pink paper, or the faint

discolouration of the white, does away with the blankness

of the lights, and gives a suggestion of detail.
Place directly in the sun's rays, and print for the shadows.
If any defects in the glass prove troublesome, a sheet of tissue
paper must be placed over the negative.
Brolcen Negatives, — At times it is necessary to print from
a negative which has been broken. If the fracture is simple,

and of such a character that binding the edges holds all the
pieces, the procedure is comparatively easy. Cut four pieces
of stout paper the length of the sides of the negative, and
one inch wide. Apply strong glue, and, having placed the
pieces of the negative properly in position on a light board,
stick one of the paper strips to each edge, one half of each

strip overlapping. Eub down to thoroughly stick the paper,

turn the negative over, and stick down on the other side the
overlapping strips.
The negative may be turned over without difficulty by the
use of two light boards slightly bigger than the negative ;

or two glasses. One is placed under, and on it the broken

negative adjusted. When the first half of the strips of paper

are fixed, place upon the negative the other board, turn the
 30

negative between the two boards over, lay them on the table,
remove the top board (that which was before underneath),
and finish the operation.

A negative broken into many small pieces is first put

together properly, and a piece of unsalted paper coated with
strong glue stuck firmly on the glass side, edges all round
overlapping. Turn the negative over and rub down the
overlapping edges on the collodion side, care being taken that
it does not encroach on any portion required in the print.
As the paper dries it will contract, and more closely draw
together the pieces. With castor oil, &c., the paper may be
rendered semi-transparent.
 CHAPTER IX.

THE PRINTING ROOM.

Here are conducted the operations of preparing the negatives
ior printing, fixing masks, preparing vignettes, filling the
frames, examining prints under exposure, &c., &c.
As will be seen at a glance, in most of these operations
strong light would be hurtful. To guard against the danger
of light afi'ecting paper or prints, the room is darkened by
yellow curtains over the windows, and receptacles are pro-
vided for paper and prints.
Convenient drawers for the different kinds of paper in use,
^nd one for prints, should be fitted in the room.
The drawers should be constructed with a lid in two parts,

hinged in the centre, so that when the drawer is pulled out,

light cannot penetrate to the interior. The front part of the
lid had best be so made that it cannot remain open unless
held. With this arrangement, even if the drawer is

inadvertently left open, little or no damage is done, as the

lid still protects the interior of the drawer. The top of the
lid is flush with the top edge of the drawer, not to impede
the movement. Such a lid is so easily made that no printer
need have the paper and print drawers unprotected. Failing
material or skill for one as described, a piece of stout card-
 32

board to fit the drawer may be used to cover the sensitised

paper in the drawer.
It is a wise precaution, and one entailing no trouble or
loss of time, to place paper and prints sensitised side down-
wards.
Shelves are fitted round the chamber for negatives, which
should be placed film side to the wall. A word of caution

with regard to the use of these shelves is necessary.

Every day, negatives from which the required number of

prints have been made should be removed from the shelves
of the printing room, and placed in the store racks. A
negative out of use is in the way, and stands in danger of

being spoiled.
An ivory paper-knife, a pair of scissors, glasses (ground
and plain) of various sizes for the frames, tissue paper, masks,
and cut-outs, should have places where they may be readily
found.
Too often a great accumulation of lumber is permitted,
the consequence of which is that necessary implements
are crowded out or buried. In the printing room there
should be a place for everything, and directly an imple-
ment is out of use, it should be returned to its place.

The Temperature of the room is a consideration of great

importance, as the paper is readily affected by extremes. A

stove in the winter, and perfect ventilation in summer,
should keep the room at an uniform and comfortable tempera-
ture all the year round.
—
Printing Stand, The stand in /\ form, with ledges on
both sides for holding the negatives under exposure, should
be well and firmly constructed of well-seasoned wood. Fur-
ther protection may be given to it by two or three coatings
 33

of paint. Castors are fitted to it, so that it may be easily

moved on the roof to secure the most favourable light. On a
stand of this construction, intense negatives, and those
covered with several thicknesses of tissue paper, may be
printed in direct sunlight, while the thinner negatives are
placed on the other side and printed in shade.
Printing Window, —In changeable, cold, and stormy
weather, when printing out of doors is impossible, the prints
are exposed under the glass of a window built out from the
printing room. Erom the window place, the sash being
removed, and, if necessary, the opening enlarged, a platform
is built. This is covered by a straight sash running from
the top of the opening to the outside of the platform, the
sides being boarded up. If the platform slopes downward, a
greater amount of space can be utilised, the platform being
then fitted with ledges on which to rest the frames.
Other stands for frames can be fitted above, and in an
ordinary window-place a great many frames may be exposed.
A northern aspect, if it can be secured, should be selected,
that the sun in changeable weather may not prove trouble-
some. This trouble, with any aspect, may be done away
with by the construction of a light frame, of the size of the

window sash, covered with tissue paper.

Especially if the printer has other occupations, and his
attention cannot be wholly given to his frames, should the
printing be done under cover.

D
 CHAPTER X.

PRINTING.

In the operation of making prints from a number of nega-

tives, such as come into the hands of a printer day by day in
an ordinary gallery, the exercise of care and thought is

necessary, allied to a considerable amount of experience.

Thought and carefulness are absolutely requisite, as much

to the^man who has printed for years, as for the beginner

who is making his first prints; the only difference being

that to the experienced printer the exercise of them is, from
long usage, almost a habit, while to the novice it may be a
matter of anxiety.
Filling the Frames. —In the operation of placing negative
and paper in the printing frames, seemingly so simple, con-

siderable care is requisite. It is an extremely easy thing to

break a negative. If the glass is dropped sharply into its

place, if the frame is warped, if the pad is unequal or too

thick, if the backboard of the frame is improperly placed,
this awkward accident may result. These instances are but
a few of many causes of this one of many failures. "With care
they may be all avoided.
It may be accepted as a good rule, that a negative ought
not to be placed in a frame without a plain glass on which to
 V

35

rest. Besides securing to a great extent the safety of the nega-

tive, in ordinary bright weather the print made under two
thicknesses of glass is better than that where the light passes
directly through the glass and film of the negative. Certain
cases, as that of a very intense negative, call for different

treatment, of course. Many first-rate printers do not use

these glasses in the printing-frames : ah ! well, dear reader,

when you are a first-rate printer, you — may do as you like !

The glass should be kept bright and clean on both sides.

The negative must be dusted with a broad, soft brush on the

collodion side, to remove any dust which would cause flaws
in the print. The glass side, too, should be perfectly clean.

See that each piece of paper is in its proper place on the

negative before putting the frame out in the light. Examina-

tion of each piece is necessary before placing it in the frame,

as defects from the albumenising, sensitising, &c., which

would pass unnoticed in the drapery, might spoil the print if

appearing on the face or background.

Guard against scratching the film of the negative in placing
the paper and pads in place.
Pads of blotting-paper or cloth are used to secure more
perfect contact between paper and negative. They should
not be too thick, nor unequal in substance.
See that the backboard fits well and is properly replaced,
or the print may slip when examined, or the glass break, or
the pressure be unequal, and the print, therefore, of imperfect
sharpness throughout.
The paper is placed in contact with the film side of the
negative ; the reversal of this order, or the placing of the
.unsensitised side of the paper on the negative, is to "be

liYoided.
 36

ITever force a negative into a frame ; use a larger frame,

or cut a strip from the negative. The frames should be of
hard and well-seasoned wood, otherwise in exposure to the
weather they will warp and play havoc with glasses placed
in them.
There is an art in handling negatives, frames, paper, &c.
It may seem an unimportant matter how a negative i&
handled, but it is not really so. The hand, well-trained
and experienced, may be distinguished at a glance in thia
one thing.
The benefit of acquiring a good style cannot be too strongly
impressed upon the beginner. At first the right way is as

easy as the improper ; but after a while, when habit has

impressed upon the printer an awkward or slovenly method
of working, it is difficult to reform it.

Exposing the Print, — Save in exceptional cases, the nega-

tive should not be exposed to the direct rays of the sun. The
strength of light which may be used depends on the character
of the negative, but ordinarily the print should be produced
in the shade.
Ee careful that stray rays of light, reflections, or shadows,
are not cast on the negative, or unequal prints will be the
result.

The picture should be darker than required in the resulting

picture, as there is a loss of colour in the subsequent mani-
pulations. Observation will guide the operator to a know-
ledge of the proper depth of colour required.
In examining a print, never expose it to the direct rays of
light. Strictly speaking (and in the case of a beginner the

rule must be made absolute), the frame should be taken into

a dark room. "When experience is gained, and a brief glance

 37

once or twice during the exposure is sufficient to determine

its progress, the printer may turn his back on the source of
light, and look at the print in the shadow of his person.

Pbinting Vignettes.

It is very important that the beginner should learn to

make a good plain print before he attempts the more difficult
varieties of prints.

To make a first-rate plain print — that is, one printed out

to the edge of the paper — very nice art is required ; but in
other styles, where effects not given on the negative are
produced, all the manipulative skill, with further qualities,

are called into play.

The Vignette is difficult in proportion to the beauty of

effect produced. The charm and tenderness of these pictures

strike everyone on looking at a perfect specimen of this style.

Delicate gradation and perfect balance are absolutely

necessary to success.
One of the greatest aids to the printer is to study the works
from the best galleries, and compare each specimen with,
similar prints of his own production. In this way he may
judge where his work falls short. The knowledge of error

is a great advantage to the operator who is determined to

excel, as he never relaxes his care and striving after a higher
excellence.

It is impossible to give very definite instruction for print-

ing vignettes, as the circumstances under which they are
produced are never alike. A few general hints may, how-
ever, be found useful ; but an artistic taste, and a true eye
for proportion, are absolutely requisite.

Proportion is not so much of the background, properly

 38

shaded off all round the head ; sometimes it is inequality to

produce the effect of equality.

In a shadow-picture this apparent anomaly is most forcibly
illustrated. Here we find, generally, that the background is

darker on the light side of the head, and lighter on the

shaded side. An even and '^perfect'' vignette would, in
this case, be untrue; the lighter part of the background
should be extended to produce balance.
Let us try and illustrate in a few words the action of light
in vignetting. For this purpose, cut a perfect oval in apiece

of cardboard, and place it correctly to a negative in a frame.

Wow hold the negative and masked frame out at arm's length,
and directly in front of you, up to the light. The image is

delicately graded off into obscurity, where it is lost under the

opaque portion of the mask. This is the proper position;
but draw one end of the frame slightly nearer to you, so that
it is not quite in front of you. Now the head appears to be
thrown on one side, there being a loss of background on that
side, and a gain on the other. This, then, proves that the
light must be directly in front of the vignette.
The vignetter is, as we have seen, made of cardboard
it is not always a perfect oval, but is based on that form, and
cut to suit the requirements of the particular negative to be
printed. This is a matter calling for considerable judgment
and taste. The edge of the vignetting card is cut all round
with teeth and slits, to add softness to the vignetting, and
the opening covered with tissue paper.
A point of importance is the distance between the vignet-
ting card and the negative. Grenerally they should be quite
half-an-inch apart, but the greater the distance, the smaller
should be the opening.
 39

The dark partof a background and black drapery sbould

oe more covered than the lighter portions.
After fixing a vignetting card to the frame, hold the frame
and negative up to the light as described, and study the
effect. A little alteration of the position may suggest an
improvement which should be carried out.
As the vignette approaches the oval, so are the beauty and
intention of the picture secured. The effect of halo corre-

sponding to the outline of the figure is abominable.

Eemember that the most perfect oval will not always
produce the effect of one. Do not work with a pair of
compasses, but use thought and taste.
Greying the Vignette is the darkening of the white margin
to the tint of the background. This may be effected by
taking the print on a sheet of glass and covering it with
another clean glass. Place over the printed portion, on top
of the glass, an oval card smaller than the vignette. In a
subdued light expose the print, keeping the oval card in
motion, and the glasses slowly revolving on the hand. The
motion of the card prevents the line which would otherwise
be printed, while the card protects the print, and the glasses
are kept revolving, so that all parts of the background may
be exposed alike.
ifever let the *'grey" background be darker than the
original vignetted.

Peinting Medallions, etc.

Several very artistic forms of printing have attained a large
measure of popular approval. Those based on the models of
the work of the best line engravers are to be followed, as sure
to prove satisfactory. Unfortunately, printers, in their
straining after novelty, have introduced a great deal of art
 40

of their own, of the credit of which no one would be inclined

to rob them. Let the reader do all in his power, by the
study of the truest art, to avoid the dangers which have
proved so fatal to many.
Of the styles in vogue the most popular, perhaps, is that
known as
The Medallion. —Eetween the negative film and the sensi-
tised paper a piece of opaque paper from which an oval has
been cleanly cut out is placed. The figure on the negative is
thus printed in oval form, outside which there is white paper.
This is sometimes left ia this state, but better effect may be
gained by taking the print on a piece of glass and covering
the printed portion with the oval cut from the paper, and
slightly shading the white margin by exposure to light. It
is well to place the oval a shade on one side, so that a fine
line of the print shows ; the effect of this, when shaded, is

that the line of the print exposed the second time is darkened,
and on the opposite side a fine line of white appears where
the oval has. covered the white paper and prevented its being
discoloured with the rest of the margin.
The figure to be printed in oval must be carefully arranged
by the artist, that the lines of the head and shoulders are well
balanced and proportional, or it will be difficult to arrange.
The proper position of the oval to the figure must be
maintained, or the figure will have the appearance of falling.
The oval forms commercially prepared had best be used.
Great skill is required to prepare them, and home-made ovals
and other forms are rarely satisfactory.

Care in the use of these papers is called for, as, when bent
and torn, they are worse than useless. When out of use
they should be kept in a box. Each cut-out and mask
 41

should be marked with a corresponding number, so that

there may be no difficulty in finding the right oval when it is

required for shading the margin.

The ovals had best be pasted on glass plates. It is almost
impossible to place them loose in position on the print, and
cover both with the glass, without shifting.
Arched Top- Forms ,
^c. — Several varieties of forms in
printing are in use —the oblong mask, the oblong with an
arched top, and an endless variety according to taste (or,
generally speaking, want of taste) of the printer. Too often
these are false to art, and are not to be commended.
A good picture needs no embellishment, and the result of
elaborate and ill-considered lines about the margin is to con-

fuse and falsify the composition of the figure.

The same remark may be applied to
Ornamental Borders, —A collection of zig-zags and un-
meaning lines, often strongly-printed and more prominent
than the figure, is in the worst possible taste.

The border should never be pronounced and clearly defined.

A faint suggestion of a design, as of a marbled marking, or of

the roughness of drawing paper, may be allowable ; but it

gives the idea either that the object portrayed is of sufficient

interest to command attention, or that the photographer
cannot rely upon his art to produce a picture.
These ornamental borders are printed from negatives taken
from designs specially prepared (as, in one of the instances
given, from a sheet of drawing paper, which produces the
best efi'ect for this purpose), and the form cut out pasted on.
The negative and form are then used in precisely similar
fashion to the clear glass and oval described earlier in the
chapter.
 42

Cameo Pictures. — The catneo press is used to raise the

surface of the card when mounted, the centre being pressed
upwards while an oval ring flattens the margin.

Vignettes to be finished in this style are printed with an

oval cut-out the size of the metal oval of the press, so that all
action of light is stopped at the edge of the cut-out.
For variety's sake, this margin is sometimes shaded darker
than the vignetted background, in the manner described for
the oval picture.
Oval pictures are also raised by pressure in the cameo press.
The effect produced by the cameo press is appreciated by
some, but it is doubtful whether it does not owe the popu-
larity it enjoys solely to the fact that it is a novel style.

Combh^ation" Peijsting.

Printing from two or more negatives calls for the exercise

of considerable taste, art-knowledge, and manipulative skill.

Taste and art-knowledge are absolutely necessary, or ludicrous

incongruities of effect may be perpetrated ; and manipulative
skill to surmount the difficulties of joining and attaining the
proper depth of colour in the printsf rom the different negatives.
Combination printing is more generally practised in the
making of compositions with natural landscape backgrounds.
From an art point of view nothing can be more satisfactory
than the successful carrying out of a well-intentioned picture

in this way ; and very great possibilities for the art have
been suggested. The great advantage of combination print-
ing is, that we may in the negative devote to each part more
attention than if the whole composition were photographed in
one negative. Indeed, effects impossible of attainment in
any other way are produced.
 43

If we take the simplest form, by way of illustration, a

single figure, three-quarter length, to obviate the difficulties

of the foreground. In the studio the lighting and pose are
arranged with a clear idea of effect required in the combina-
tion print. A negative of the scene required for the back-

ground is either takn especially, or selected from one in hand.

The figure is photographed with a white background, or
one very light, and from it a proof taken which may be used
for the mask. This is not toned or fixed. Cut out the
figure, and fix it face downwards on the portion of the land-

scape it should occupy in the picture.

Print the figure to the proper depth, and then lay over it

the masked background negative, the mask, of course, exactly

covering the printed figure. Examine before exposure, to
see that no hard, dark lines of the background touch the
figure, and tone down such with Indian ink, as occasion
requires. If a white line forms round the figure on the
second exposure, it will be necessary to scrape away the edge
of the mask a trifle.

If the figure negative has a dark background, it is stopped-

out with a mask formed by the background of the proof
already spoken of, or by a black varnish, before being
printed.

With full-length figures, the ground and foreground, with

such accessories as are necessary to the composition, are taken
and printed.
Groups may be made by printing one or more figure
negatives, and the background afterwards added ; but as the
negatives are multiplied, so, of course, are the difficulties.
The joins should be arranged as much as possible to come in
unimportant parts of the picture.
 44

It will be seen that, by means of combination printing, the

powers of the photographer are largely increased for the

production of pictorial effect, but in using it the artist must
guard himself against the chance of his fancy running wild.
All the parts of the composition must be true one to the
other, and all trickery avoided.
A sketch of the proposed composition should be prepared
before the several negatives are made.
Pictorial background negatives, for printing in combination

with portraits, are so well-known that they need no descrip-

tion. In great part they form a pleasant accessory to a

portrait; but in their use a great deal of discrimination is

requisite, absurd combinations being often made with them.

The floor of the figure negative should always be used
where a full-length is taken ; the background light. The
directions already given hold good with these backgrounds.
Perpendicular lines in the background should be adjusted
perfectly, or a tumble-down effect will be produced.
Generally, in all light portions of the figure, the mask
should most accurately cover the print ; but in dark drapery
and shadow the mask may be cut a trifle inside.

The frames should always, in printing the background,

directly face the light, and be, to secure a softer effect at the
joins, kept constantly in motion by being turned round.
 CHAPTER XL
TONING PRINTS.
It is still an open question whether the prints had best be
toned with the rough edges as they come from the frames, or
first cut. It is not a matter of supreme importance ; the best
reason in favour of the cutting before toning being that the
edges may be preserved, and the silver extracted. Against,
is urged the objection that the edges get worn in washing
and toning. We can only say we have not found it so

indeed, find that the rough edges are liable to tear.

Cutting the Prints is an operation calling for considerable
skill and taste.

The position of the figure on the print has a wonderful

effect on its appearance. If the print is cut down too near

the head the effect is to heighten the figure ; toomuch space
above the head dwarfs the figure. "With cuts at the side,

where the space behind the figure is reduced, the figure has

the appearance of backing out of the picture; too great space

behind and too little in front, suggest walking out of the

picture.

These, with the want of regard to the perpendicular of the

figure, roughly comprise the chief errors in cutting the print.
 46

Many other nicer points arise in individual practice, into

which lack of space will not allow us to enter.

The print is placed face upwards on a thick glass, and

over it is placed a bevelled glass cut to the size of the pic-
ture required. These glasses are to be obtained at all the
stock houses. Care must be exercieed that the glass occupies
its proper position on the print, and with a sharp knife the
edges are cut off. There will be experienced some difficulty

at first in making a clean, straight cut, but with careful

practice this will be surmounted. The knife will be found
easier to use than scissors. Improper cutting rapidly blunts
the knife and scissors.
Hold the glass firmly to prevent the print slipping, and
avoid tearing the edges of the paper, or wearing the edge of
the knife against the glass.
Proceed carefully, slowly if necessary at first, and always.
There is no gain of time in cutting a batch of prints quickly
and badly; the slowest time on record, if the work be well
done, is quicker.
The prints should be now subjected to thorough washing
until all the soluble silver is eliminated. This holds good
only with the acetate bath, as with others a small amount of
free silver should be left in the print, the washing not being
so thorough.

In a dish of clean water the prints are immersed, face

downwards, one by one. It is necessary that each print be
evenly and thoroughly wetted, or stains will result. They
are placed in face downwards to prevent the silver chloride

or carbonate which may be formed by the soluble chlorides

or carbonates in the water from being precipitated on the
surface of the print. In toning^ the gold is precipitated lOn
 47

these deposits, and the fixing bath of sodium hyposulphite

dissolves them away, leaving untoned spots.
The water in which the prints are washed should be

changed five or six times, until there is no appearance of

milkiness, if the toning bath used be the acetate.
The first washing of the prints may be continued two or
three minutes, and the water preserved, as it is rich, in
silver. It is placed in a tub, and the silver precipitated
with common salt each, evening, the clear water being
decanted and thrown away in the morning.

Acidifying the Prints. — Some printers make the final wash

in water slightly acidified with acetic acid, with the idea
that the prints tone better ; but there is really no warrant
for the assumption. Pree acid in the print may, with reason-
able grounds, be suspected as the cause in great part of their
want of permanency. A redness is given the print, which,
it is said, is an aid in determining the colour in toning.
This redness may be given by the immersion of the print in
water containing a faint trace of common salt ; but it is best
to wash only in plain water.

The Toning Eoom.

In this chamber several important operations are conducted.
The washing, toning, fixing, and the final washing, &c.
In these operations are employed agents antagonistic to
each other, and the greatest circumspection in their use must
be enjoined ; failure surely resulting on any want of care.

The sodium hyposulphite used in the fixing bath is the

deadly enemy to the toning bath and if the unfixed ; prints
are touched by any trace of the hyposulphite, ineradicable
stains will be formed. At any time other than when used
 48

for fixing the prints, the hyposulphite has a mischievous

effect. There is, however, no reason for fixing prints in
another room, because, without care, the danger would
scarcely be lessened.
The fixing bath must be' kept apart, and the operator
should never place his hands in it and proceed to other duties

before washing off the hyposulphite.

Splashes of sodium hyposulphite ought to be guarded
against, as the fine powder left after evaporation of the
"water may be carried about the apartment, and contaminate
washing waters or baths.
On a table near the window, shaded to secure diffusion of
the light, is placed the toning bath, and by it the dish
containing the washed prints.
Diffused light is better than yellow light, as the tones of

the prints may be more accurately judged. It is not, how-

ever, always possible to secure daylight, as the toniDg is

necessarily delayed to a late hour.

A large sink is fixed at one end of the room, in which stand
the washing-dishes. A good supply of water should be
obtainable, to secure the perfect elimination of the fixing
solution from the prints, &c.
The perfect washing of the prints after fixirg is a point of
such great importance that washing machines have been
invented, which are supposed to remove every trace of the
hyposulphite from the print ;
yet pictures wiU fade. An
ordinary porcelain dish, with a continuous supply of water,
and a syphon to draw off the water so as to constantly change
it, will answer every purpose. "Wooden vessels are ill

adapted to the purpose, as the hyposulphite contaminates

them«
 49

It is, however, very necessary that some means be taken

to give the prints a thorough washing, and without a good
supply of water this cannot be done.
The general arrangement of the room must depend greatly
on the accommodation at the command of the printer ; nor is

it a matter of importance so long as the considerations we

have laid before the reader are regarded.

The Toning Bath.

The object of toning is to give the print a more agreeable
tint than that which would result from its being placed in
the fixing bath directly after printing.
For this purpose a great variety of preparations of gold

chloride are used.

One of the most reliable and satisfactory under varying
conditions is that prepared with sodium acetate.
The gold is first dissolved in water, one ounce to each
grain of the gold, and kept as a stock solution.

The bath is made up as follows :

Sodium acetate ... ... ... 75 grains

Gold chloride ... ... ... 3
Water 30 ounces

This bath owes its value, beyond the beauty of results

obtainable by it, to its simplicity, uniformity, and reliableness.
When first prepared it is not at its best, but after a few
days it will be thoroughly satisfactory, and improve with age
if replenished from the stock solutions directly it shows signs
of failing.

Ey keeping the gold and the acetate in solution, the bath

may be constantly replenished as requii^d. These additions
E
 50

should always be made in the morning of the day it is

required for use.

The practice of adding gold to the bath directly before
using is productive of much mischief, and cannot be too
strongly reprobated. The bath should, every night after
having been used, be returned into a wide-mouthed bottle,

and in the morning decanted, and the gold solution added.

The prints should be thoroughly washed before toning, and
this done, the toning will be found to proceed very evenly.
The Carlonate of Soda Toning Bath is one very much used.
The prints are somewhat bleached by it, so that the depth of
printing should be deeper than when using the acetate bath.
Prepare as follows :

Sodium carbonate ... ... ... 45 grains

Gold chloride ... ... ... 3 ,,

Water 30 ounces

making up a fresh solution each time about an hour before it

is required for use.

This bath requires considerable experience to use success-
fully, as the prints show a variety of tints before that required

is arrived at. Watch the half-tones until they assume a

purplish shade, and then stop the action.
The Chloride of Lime Bath, which is suitable for white
and black pictures, but is extremely variable, is made as
under: —
Chloride of lime ... ... ... 4 grains
Gold chloride 3 „
Water 30 ounces

with a table-spoonful of chalk to neutralise acidity.

It may be used directly if it is made with hot water ; if

 51

with cold, a few hours should elapse between mixing and

using it.

Many other formulae might be quoted, but as by the first

two almost every class of work may be done, further methods

appear likely only to divert the attention.
The Citric Acid Bath has found favour with many, but
there is every reason to believe that, whatever of permanency
in the photograph is to be attained, it will be found in the

alkaline methods of toning and fixing.

Toi^iNO, Washino, Fixing, etc.

The prints have been thoroughly washed to remove all the

free silver, and the dish containing them is placed beside the
toning bath.

Toning. — Care must be exercised in placing the prints in

the bath, l^o trace of the toning solution must touch the
prints before they are placed in the bath, or spots would be
formed.
With the right hand take tbe prints from tlie washing-dish,
and drop them one by one on the toning solution, and with
the left hand submerge them. Each print must be thoroughly
and evenly wetted with the solution, or unequal toning will
be the result.
When in the bath the prints should be kept in motion to
prevent them sticking together.
A great number of prints should not be toned at one time,

even by the experienced printer, as an amount of care should

be bestowed on each print which cannot be given when a lot
of prints are in the bath. Then the most that can be done
is to get an even toning throughout, without regard to the
requirements of the individual print.
 52

Very often successful toning is looked upon as getting a

hundred or so of prints one tone of brown or purple ; but this
can scarcely be admitted as the perfection of toning. Eegard
to the character of the subject is necessary, and though we
cannot expect to represent nature, something of suggestion
may be made.
The difEerent tones are obtained by the length of time the
print remains in the bath.
Eed comes first in the scale ;
chocolate, by toning a little

longer ; and a rich dark brown by a trifling continuation of

the action of the bath. The purple tone is attained by

removing the print from the bath directly it shows the
required tint.
If the print is removed just at the moment the necessary
tone is reached, the continuing action of the solution in the
print will carry it a trifle further, which will compensate for

the bleaching quality of the fixing bath.

Hard, intense prints should be subjected to vigorous toning,
and be placed face downwards in the solution.

Weak prints require gentle toning.

The effect of toning face downwards is to quicken the

operation ; face upwards, to retard.
These remarks apply especially to the baths prepared by
the first two formulae.

The prints, as they are removed from the toning bath, are
placed in a dish of clean water, in which a little salt has been
dissolved, until all are finished. The bath should then be
poured back into the bottle ; and the prints placed in
The Fixing Bath,
Sodium hyposulphite ... ... 5 ounces
Water ... 30 „
Liquor ammonise 2 drachms
 53

Each print must be evenly wetted with the solution in

every part without delay, or stains are acquired. The hand
by which the prints are taken from the water must have no
trace of hyposulphite upon it, or the prints will be stained.
From the water take each print separately, in one hand, and
drop the print upon the surface of the fixing bath, and with
the other hand instantly submerge it. Keep the solution in

constant motion.
From ten to fifteen minutes is suflS.cient generally, but by
holding the prints up to the light it can easily be seen if the
whites are pure. A mottled, dirty yellow appearance
indicates insufficient fixing.
If blistering occurs in the prints after fixing, instead of
taking the prints from the bath, and directly placing them in
pure water, gradually dilute the bath, with the prints in it,

until nearly all the hyposulphite is absent ; then transfer the

prints to the washing- dish. Prints do not, however,
necessarily blister on the immediate transition from hypo-
sulphite to water. Salt in the washing water also remedies
the evil.

In winter the water used for making the bath should be

lukewarm.
Washing the Prints must be done in the most thorough
manner. There can be no doubt that the time of washing is,

in importance, quite secondary to the perfectness of the

changes. A running stream with a syphon arrangement,
whereby the water of the reservoir in which the prints are
held may be perpetually changed, is the only means of

thoroughly eliminating the hyposulphite.

 CHAPTER XIL
FmiSHING THE PRmTS.
The importance of an apartment set aside to the purposes^
of a

General Work Room cannot be too highly estimated. So

much of the beauty of the picture depends on the care and
skill in the mounting of the print, that it were well if more
watchfulness were bestowed on it than is usual. "Who has not
seen the dreadful effects of negligence and want of dexterity ?

In fact, the rule of-thumb in too great degree characterises

this branch.

Too often the work of mounting is carried on in the

reception-room during business hours, where the prosperity
of the gallery might well warrent an arrangement more
conducive both to the perfectness of the mounting and the
attention to customers. We have no desire to raise issues

as to the conduct of business, or to appear in the role of the

reformer ; but so far as the perfection in the manipulations of
which we are treating, we feel justified in speaking.

In the general work room, too, account should be kept of

the prints supplied to each order, and general supervision
kept over the printers in the discharge of the directions
given them.
 55

A check of some kind is necessary to prevent mistakes,

especially in the large establishment we are supposing
although few businesses are so large that all the departments
would command separation as here given, yet, modified to
suit the most humble gallery, we have not mentioned one
precaution it would be safe to disregard, if perfection is

desired.

Mounting the Prints, — Cause of fading is laid at the door

of the mounting materials used, and the complaint, in some

cases, is not without reason. Any acidity will surely cause

spots and fading, but if the common mounting agents are

used in a fresh state, there is no cause for suspicion. Of all

the substances in use, none are better than starch. The

only way to prepare it is to dissolve the starch to a stiff

paste with cold water, in a suitable basin ;

pour boiling
water over it, stirring well all the time, until, after it has

thinned, it has again stiffened. It is now thinned with hot

water to the required consistency. These directions must
be rigidly followed.
Gum-arabic is also an excellent mounting material. Take
the best quality, and dissolve in hot water ; the thick mass
is placed in muslin, the ends of which are gathered up to
form a bag, and the gum squeezed through by pressure from
the fingers.
The prints of one size are placed in a heap, face down-
wards, on a level board. The most suitable condition for

mounting is while they are still slightly damp, not wet, at

which time they are more manageable than when dry and
curled up.
Paste over the back of the top print of the heap evenly,
remove any hairs or lumps, and place in position on the card.
 56

Eub into contact with the hand, a sheet of clean writing

paper being placed between the hand and print, and rub
down more securely with a smooth, hard substance. The
bottom of a bottle serves better than anything. Slightly
bend the card back to counteract the contraction of the face

in drying.

Spotting,''^ —Accidental blemishes, as white spots from

dust on the negative, &c., are covered over by the application
of colour mixed with gum. In some galleries a great amount
of work is caused by faulty retouching, and by carelessness

in printing. All the failures with which we have to do

are preventable
Burnishing, —The prints are now rolled in a press. In
this operation it is necessary that care be exercised not to

stop rolling while a print is in the machine, or a line will be

marked on the card.

Good usage will preserve the burnisher for years, and save
the prints from many a scratch and hole.
Guard against dust settling on the print before rolling,

and keep the burnisher clean. When out of use, it should

be covered.
Encaustic Paste for waxing prints may be made by dissolv-
ing white wax by heat, and adding three-fourths the bulk
of spirits of turpentine. Place the wax in a china or glass
bowl, in a vessel containing boiling water, and dissolve the
wax. Gradually add the turpentine to the melted wax,
stirring well all the time. Add enough of an essence —say,
of cloves —to destroy the smell of the turpentine. This is

lightly rubbed over the print, the card being protected by a

mask.
 CHAPTER XIII.

DURABLE SENSITISED PAPER.

In uncertain weather it is of importance that paper may be
prepared without the danger of its spoiling if not at once
used.
The best method, because it does not necessitate any
change in the bath, is to place the sensitised paper in a
blotting-pad which has been thoroughly saturated in a
thirty- grain solution of sodium carbonate in water, and
dried. The sheets may be kept in the pad, under pressure,
until they are required for use. Pume the paper before
using.
Washed Paper. — By washing away a portion of the free
nitrate from the paper, we have an easy and sure method of
getting good keeping qualities without sacrificing uniformity
of results or sensitiveness.
When the paper has been sensitised in the ordinary
manner, it is drawn, face downwards, through three changes
of water. The paper should not, in any instance, be allowed
to rest on the baths of water, or the print will lack richness
and depth. Dry; and when required for use, fume for
j&fteen or twenty minutes.
 58

Citric Acid as a Preservative, — The use of a bath made up

with the silver nitrate acidified with citric acid has been
recommended ;
and, with the exception of a slight loss of
sensitiveness, the results are very satisfactory.

The bath is prepared as follows :

Silver nitrate ... ... ... 40 grains

Citric acid ... ... ... 20 ,,

Water (distilled) ... ... ... 1 ounce

Ploat the paper a rather longer time than with the alkaline
bath, and dry the paper thoroughly.
The paper is then put away between sheets of clean
blotting-paper, in a dry, dark place.
As it is required for use, fume double the ordinary time.
If the paper shows tendency to discolour in fuming, add to
the ammonia in the dish a little chloride of lime.
Before toning prints on paper sensitised in this way,
immerse in water containing a slight trace of ammonia, after

washing in the ordinary way. The toning-bath should be-

decidedly alkaline.
 CHAPTER XIY.

IMPERFECTIONS IN THE PRINT.

Failures in Preparing the Paper. —It is not always easy to
trace the cause of a defect appearing in the print. Many
defects may, from the evidence of appearance, be attributable
to several of the manipulations. It is therefore necessary,
when endeavouring to eradicate a fault, to carefully trace it

to its origin.

Por the reason of the similarity in appearance of certain

defects common to failure in several manipulations, it is of

importance that the reader, in consulting the appended list,

should remember that every defect is only set down as

possibly caused in the manipulation under which it is placed,

but that, as further study would show, it may be caused in

other ways.
Defects in Albumenised Paper, —A perusal of the notes on
albumenised paper will show that the commercially-prepared
paper may be at fault. This, however, is not so often the
case as workers perplexed with spots, streaks, stains, and
other troubles would like to believe. As often as not, the
fault is in the after-manipulation.
 60

The defects of paper are generally to be seen on examina-

tion before sensitising.
The principal fault of albumenised paper is in the
inequality of the surface. This may be readily traced by
observing the effect on different portions of one sheet under
one negative. Those from the thick end will give fine, rich

prints, while those from the thinner end are poor and
lustreless.

Spots and streaks of albumen are caused by carelessness of

the albumeniser, the spots being splashes on the sheet, and
the streaks from little rills running down the paper when
drying.
Metallic spots are particles of rust settled on the paper
when drying ; sometimes after albumenising, but more often
after sensitising.

Dry and horny paper should be kept in a cool, damp place

for some hours before it is sensitised.

Tear drops" are often caused by this toughness of the

paper. All spots of silver solution on the paper should be
blotted off with clean bibulous paper before the sheet is dried.
It is well to draw each sheet over a glass rod fixed at one
end of the sensitising- dish when the paper is taken from the
bath.
Defects in the Bath, — A too strong bath causes bronzing of
the shadows ; a weak bath, poorness of the print.
Scum, which causes a greyish stain to the paper, should be
removed from the surface of the solution before the sheet of
paper is laid on. Take two or three folds of blotting-paper,
and skim the scum from the surface.
Discolouration of the paper may be from the disordered
state of the solution.
 61

A too alkaline bath causes an in- sunken appearance of the

prints. An impoverished bath produces pictures poor, weak,
and flat.

Eed spots, and red prints, are often due to the same cause.
The bath turns brown. Treat, as already described, with
potassium permanganate, or kaolin. It is very probable the
solution is weak ;
clear, filter, and strengthen.
Failures in Sensitising the Paper, —White spots on the
paper are caused by bubbles of air allowed to remain under
the paper while on the bath. The sheet should be examined
as soon as fairly floated.

Tear drops, or small drops of silver solution adhering to

the sheet as it hangs to dry, should be blotted off with clean
blotting-paper. The paper was too dry.
The paper repels the silver solution for the same cause of
dryness.
Eapid discolouration of the paper is often caused by over-
sensitising.

Dullness of the prints, and an in-sunken appearance of the

image, may, too, be caused by over- sensitising.
Eronzing of the shadows also comes of too extended float-

ing of the paper.

Poor, weak prints are the effect of too short sensitising.
Disagreeable red tone of the prints may be caused by
insufficient floating.

Greasiness " of the paper is also attributable to the short

sensitising of the sheet, or from extreme coldness of the

solution.

Curling back of the sheet on the bath is due to the tough-

ness of the albumen coating. Breathe on the back of the
paper until it resumes its place on the solution.
 62

Inequality of prints is sometimes tlie effect of unequal

sensitising.

Stains on the paper after silvering are sure to appear if the

damp sheet is brushed against an unclean substance.
Dark stains on the back of the paper are from silver solu-
tion which has run over the paper.
Failures in Drying the Paper. — To counteract the tendency
to curl, weight the paper down as already described.
Tear drops should be blotted oft' with clean blotting-paper.
Stains arise from the sheets comiDg into contact, and stick-
ing together.
Imperfect and unequal drying causes many defects in the
print.

When the paper is left damp there is danger of its sticking

to the negative.
Failures in Fuming. — Over- fuming is the cause of blue,
cold prints. Sometimes a metallic appearance is given to
the picture.
Insufficient fuming causes the paper to print poorly. Red,
weak prints will result. The fault may be either from
using insufficient ammonia, or withdrawing the paper from
the fumes too soon.
Unequal faming, —unequal prints.

Failures in Cutting Paper. — Stains come from the fingers

improperly placed on the sensitised surface of the paper.

Dirty paper, from placing the sheet on an unclean table.
Careless and thoughtless cutting results in waste of paper.
This may be either from cutting up the paper into pieces too
small for the pictures, or with an unnecessarily large margin.
Practise on a sheet of ordinary paper of the size of the sensi-
tised sheet, or arrange by measurement.
 CHAPTER XV.
FAILURES IN PRmTING, TONING, ETC.

The negative, unless carefully handled, is in constant danger

of being broken. If unprotected by a glass bed, changes of

temperature will break it. Warped frames, and pads too

thick or unequal, will surely crack it. Flaws, ragged
cutting, and curvature of the negative glass are also a source

of danger.
White spots on the prints are caused by dust between the
paper and film. Brush the negative before laying on the
paper.
Double outlines come of carelessness in opening and
shutting the frame during the progress of the printing.
Weak lights in the print, from too frequent examination
in strong light.
Blurring, from unequal pressure. Perhaps the paper was
too large for the frame, or the pads uneven.
Unequal sharpness is caused by not placing the backboard
of the frame in its place, or from inequality of the pads.
Unevenly printed shadows are often caused by printing a
negative much retouched in the shadows in too strong light.

Harsh vignetting is a fault resulting from unskilful cutting

of the mask, or in placing it too near the glass.
 64

Vignettes of bad shape, from ill-shaped forms, or from light

creeping in at the sides.
Badly-shaped medallions caused by using unshapely forms,
or those which have lost sharpness by bad usage.
[Failure in greying " the vignette is generally caused by
too strong light, or want of skill in manipulation. The
printed-in background should never be darker than that of
the vignetted print.
Printed-in backgrounds must be used with circumspection.
Inappropriateness ; too great sharpness ;
strong lines touching
the figure; lines destroying the composition; bad joinings
printing over the figure ; white marks round the masked
portion of the print ;
moving the background out of position

— are a few of the dangers in manipulation which call for

artistic taste and knowledge, and the exercise of the greatest

care and skill.

Inartistic fancy-printing, from want of taste or skill.

Keep to plain work.

Pinger stains on the print. Avoid touching the sensitised

surface.

lailures in Washing the Prints hefore Toning, — Stains from

splashes in placing the prints in the washing- dish, or unequal
wetting.
Imperfect washing. Too short time of immersion, or from
the prints sticking together in the water.
Failures in Toning, —A bath containing too much gold will
act so rapidly that there is not sufficient time to examine the
progress of the toning. TJnevenness of tones comes of this
fault. Weakness of tone is also sometimes attributable to
this condition of the bath ; but may arise from the original
lack of vigour in the prints.
 65

A solution with but little gold delays or altogether stops

the operation.
Uneven toning may be caused by the prints sticking
together in the solution ; or from adding gold during the
time the prints are in the bath.
Inartistic toning is the result of want of taste. Generally
known as mechanical " toning, this fault shows itself in
the prints being all toned to one colour, regardless of artistic

propriety. The operator may have the greatest manipulative

skill, but no taste.

Prints refuse to tone when the bath is contaminated ; top

weak in gold ;
or, from being too cold.

Failures in Fixing. —Stains and streaks are formed in the

prints if unequally immersed in the solution.
Pinger marks appear when touched by hyposulphite- stained
hands.
Splashes in placing the prints in the solution are to be
avoided.
Yellow spots are caused by imperfect fixation.

Prints turn yellow when fixed in a worn-out bath ; and

when there is free acid in the solution.
Cloudiness is the sign that the prints are imperfectly
fixed.

Blisters'' may be avoided by using an alkaline fixing-

bath. The solution should not be cold.
Failures in Washing after Fixing. — Insufficient washing is

the cause of fading. After a short time the prints will turn
yellow.
Prints should not be allowed to stick together.
If bubbles form in washing, they should be broken up by
agitation of the water.
 66

Dishes used for the sodium hyposulphite should not be

used for washing.
Failures in Mounting and Finishing, —Yellow spots are
often caused by using old blotting pads in which there are
traces of sodium hyposulphite. Spots sometimes come from
using mounts in which are sulphur or soda.
Stains appear when the mounting material used is sour.

Spots and stains are also caused by having damp mounted

pictures in long contact.
In cutting the prints the position of the figure on the
print is to be regarded. Too great margin at the top dwarfs

the figure ; too little lengthens it. A proper proportion in

front and behind the figure should be left. {See remarks on
Cutting the Print).
Eidges in burnishing the print are the result of want of
care. The rollers should be kept perfectly clean to
prevent scratching the print. Too much pressure ought not
to be used, or the edges of the card will be injured.

Spotting the print requires skill and care, as the appear-

ance of the pictures may be easily marred.
 CHAPTER XVL
PRINTING ON PLAIN PAPER.

The high gloss secured in prints on albumenised paper is

generally preferred; but many persons of artistic culture

condemn the smoothness and polish as yulgar, and false to

art. There is, undoubtedly, a charm about a well-finished

albumen picture, although we may feel certain that it does

not possess qualities which can long hold our sympathies.

Prints on plain paper are free from this fault of highly
glazed surface, and it is almost matter for surprise that the
use of plain paper should be kept almost exclusively for
large prints, intended to be finished in chalk, Indian ink, &c.
Salting the Faper, — It is usual to select the side of the
paper having the finer grain, but in some cases the rougher
is more suitable to the work. Mark the paper at the back,
for guidance in after- operations,

Float, for fifteen seconds, on a bath prepared as follows :

Ammonium chloride ... ... 250 grains

Gelatine ... ... ... ... 15 ,,

Water ... ... ... ... 30 ounces

Dissolve the gelatine in hot water, and add the chloride.
Filter.

Each time after using this bath it should be filtered.

 68

Dry the salted paper in a warm room, and guard against

dust settling on the damp surface.

Sensitising plain paper is performed in precisely the same

manner as described for albumenised paper, and might be
done on the same bath, but for the fact that the plain paper
rapidly discolours the solution.

The bath, composed of

Silver nitrate ... ... ... 40 grains
Water ... ... ... ... 1 ounce
will give very good results.

The ammonio-nitrate bath is, however, the best adapted to-

plain paper. Prepare a solution of silver nitrate, 40-grains^

strong, in pure water. Add liquor ammonise until the
precipitate which forms is nearly re-dissolved, Filter. When
this bath is used, it is well to reduce the quantity of chloride

in the salting solution.

Fuming the paper is recommended, but with the use of the

ammonio-nitrate bath the time of fuming may be reduced

one-half.

Toning, ^c. —Plain prints, especially large ones, require

special care in washing, and will not bear too long soaking,
or the paper becomes tender. It is best to tone the plain

prints by themselves first, and carefully watch the process.

Cold tones are required where the prints are prepared for
artistic work.

Mounting, — The prints are mounted on stout cardboard \

if a matt is to cover it, the edges of the print need no

trimming.
Plain prints should on no account be burnished.
 69

General Remarhs. —Plain paper requires very careful treat-

ment in all stages of the manipulations. The face of the

print should never be touched, and in handling by the edges
it should be gently lifted. Under rough usage the paper is

sure to tear.
In washing, the running water should not be allowed to
fall on the print, or the paper will crease and break; and
every precaution must be exercised that the flow of water is

not strong enough to crumple up the sheet.

The secret of success in printing on plain paper is to secure
harmony between the salting and sensitising baths. That
secured, bold and brilliant prints will be obtained. Improper
treatment in the several manipulations produces defects
enumerated in the chapters on imperfections in the print.
 CHAPTER XVIL
PRINTING ON PORCELAIN.

Of all the photographic printing processes, none can rival in

charm and beauty the effects obtainable on porcelain plates.
Detrimental to the popularity of these pictures has been
the uncertainty in their production, and the early fading of
when made with the Collodio- Chloride Process.
the prints,
Erom practical test, the following formula is recommended
for obtaining, with uniform success, superior porcelain pic-

tures, possessing strength, beauty of tone, and permanency.

Alhumenising the Plate. —Dissolve three grains of strontium

chloride in four drachms of water, and add the white of one

egg, beaten to a stiff froth ; let it settle, and filter through
sponge.
Clean the porcelain plate by placing it in acid for several

hours ; wash thoroughly, and, when dry, wipe with flannel

dipped in alcohol, and rub dry with clean flannel. Eemove

particles of dust with a camel's hair brush, and pour on the
albumen cold, drying it over heat. Plates thus prepared can
be kept any length of time, and are ready for use at any
moment.
 71

Sensitising the Plate, —Dissolve one ounce of silver in

twelve drachms of water, by grinding the silver in a glass
mortar and adding the water.
Take of this four drachms into a clean graduated measure
or wide-mouthed bottle, and add thereto, by drops, liquor
ammonias, which will brown the solution ; continue adding
until it is clear. Add this to the other eight drachms of
plain silver ; this will brown all the solution ; add by drops
pure nitric acid, until it is clear, then add the twelve
drachms of silver thus treated to twelve ounces 95 per cent,
alcohol, stirring while adding ;
filter, and it is ready for use.
This solution will keep for any length of time, and when
it requires replenishing, make new, and mix with old ;
filter,

and it is ready for use.

When wanted for use, filter, and pour into a clean
sensitising dish. Warm the plate and tip it into the bath,

allowing it to remain therein two minutes for polished plates,

and three minutes for those with a ground surface ; remove

from the bath and let it drain, then flow with 95 per cent,
alcohol, pouring on the corner sufficient to cover the plate.

A repetition of this upon a different corner of the plate may

be required before it presents an even surface.
When the plate is drained, and dried by heat, it is fumed
from five to ten minutes. Should a vapour appear after
fuming, gently heat the plate, and it will disappear. Print
a shade deeper than for prints on paper.

Toning the Print, —When printed, place the plate in acid

water, in proportion of half an ounce of acetic acid to sixteen
ounces of water ; let it remain therein for several minutes,
or until the picture is changed to a uniform red tint ; then
 72

wash in several changes of water, or under a tap, and tone in

a solution prepared the same as for paper prints.
Examine the progress of the toning by transmitted light

care being taken not to over-tone the print.

Fixing, —When toned, wash, and place in the fixing

solution
Sodium hyposulphite ... ... 1 ounce
"Water 10 ounces

Fix from five to ten minutes, then wash under a running

stream from ten to fifteen minutes ;
dry with gentle heat.
For plain prints, or those to be tinted, plates with a
polished surface are used ; for fine artistic finish in colours,

plates with a ground surface produce the desired results.

Photographic prints upon watch- dials can be made in the
same manner. A few specimens made by this process, dis-

played in handsome velvet cases or frames, will result

profitably to any establishment.
 CHAPTER XVIIL
ENAMELLING OR " GLACE FINISH,"

To impart a high state of gloss to the paper print, a film of

gelatine is laid on the surface, and the picture and film
afterwards subjected to pressure in an embossing cameo press.
In the press, by means of forms, in polished metal, of

various shapes, diff'erent designs in relief can be secured to

suit the requirements of the print or the taste of the operator.

The materials required are Erench gelatine, plate glasses,

backing papers, collodion, scraper, and cameo press.

Preparing the Plate. —For success in the operation of

enamelling it will be found necessary to use only the best

polished plate glass, as every defect of the glass will be
marked on the surface of the gelatine. It should also be of
sufficient strength to bear the pressure put upon it in the

mounting of the prints.

Clean most thoroughly, and apply an edging of albumen

or gum-arabic.

The plate is now coated with collodion :

Ether 10 ounces
Alcohol ... ... ... ... 10 ,,

Pyroxyline ... ... ... 120 grains

Castor oil ... ... ... ... 10 drops

The more fluid the state of the collodion, the better.

 74

Prepare the plate one hour before it is required for use, sa

that the film may be thoroughly dried.

Preparation of the Gelatine, —Melt one ounce of gelatine

in eight ounces of water, in a stone or porcelain-lined vessel,
by placing it in a pan containing hot water. When melted,
strain the liquid through linen into a porcelain dish, this
dish being placed in a larger one, containing hot water, to
keep the gelatine lukewarm and in a liquid state.

The prints are placed in the gelatine and allowed to soak.

Manipulations.

First : See that the surface of the glass is fine and un-
injured, and perfectly clean.

Second Edge the

: plate, about one-eighth of an inch all

round, with albumen or gum-arabic.

Third : Coat the plate with collodion on the prepared side,

and dry for one hour before affixing the print.

Fourth : Before placing on it the print, warm the glass to

blood heat, to drive off any dampness that may be in the film.
Fifth : Place the prints in the gelatine, face upwards, for
five minutes.

Sixth : Take the prints one by one from the gelatine, and
place them face downwards on the collodion film. "With a
piece of glass, the edge nicely rounded, or a roller, press out
the surplus gelatine, not too forcibly, and with a damp
sponge wash over the back of the print.

The pressure should not be too great, as the object of it is

only to procure a smooth surface of the gelatine, and to drive

out bubbles. This operation must be conducted with
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 75

expedition and precision, before the gelatine has begun

to set.
Stand the plate on end for ten minutes, or until all the
prints have undergone the same operation.
The glass scraper, or the roller, should be placed in a vessel

of hot water when not in use, to keep the instrument free of

gelatine.

Seventh : By a similar operation to that just described,

Bristol board cards are fixed to the print. Cut the cards a
trifle smaller than the print, and soften in hot water. Dip
in the gelatine, and apply to the back of the print. Press
down as in the last operation, and dry.

Eighth : The enamelling being finished, stand them up,

face side towards the wall, and each separate ; allow them to
remain overnight ; then take a knife and rule, and cut inside
the gum and through the collodion, and a beautiful glace
photograph will peel off from the glass.

Two cabinets can be mounted on an 8 by 10 glass, and two

cards on a 5J by 7^ glass.

For mounting^ put the picture in the press and emboss it.

To prevent the convex surface from flattening in a short

time, emboss a ferrotype plate of the same size, and cut out
the raised part and place it between the picture and the card
for mounting, to keep the raised cameo in place.
Instead of using a glass pattern for cutting the pictures to
the desired sizes, it is best to have a thick paper or wood
form, with the shape of the medallion cut out. This has two
advantages : first, it prevents the surface of the picture from
being scratched; second, it ensures an equal and correct
margin around the medallion; they can also be used for
 76

pressing the pictures to the mount, as it leaves no mark on

the enamel.
Mount the picture by applying a little gelatine or mucilage
on the back, say a quarter inch from the edge ;
place on the
mount, then place the die on the picture, and put under a
weight for several hours. This completes the picture, and
with these practical instructions followed, nice work will be
the sure reward.
Bj making the gelatine nearly hot when putting on the
backing, the same solution answers for this operation.
Always strain the gelatine before using.
 CHAPTER XIX.
DEVELOPED PRINTS^
At times of the year when it is impossible either to obtain
large negatives direct from the object, or prints by contact in
the usual manner, the processes for obtaining prints by
development are serviceable.
The image on the paper may be produced by the brief
action of light through a negative in contact with the paper,
or by projection through the negative on to the surface of the

paper in the same way that a picture is thrown on a screen

by the magic lantern. For this, light of the sun or artificial

illumination may be used.

The Salting Solution is prepared as follows :

Potassium iodide ... ... ... 10 grains

Potassium chloride 40
Tapioca ... ... ... ... 20
Lemon-juice ... ... ... 16 minims
Distilled water ... ... ... 2 ounces
Dissolve the salts in the water, add the lemon-juice, and
boil. Mix the tapioca with a little cold water, and add to
the hot solution, stirring the while. The mixture should be
clear and free from lumps.
Erush the solution lightly over the plain paper, taking
care not to rub up the surface.
 78

Hang the paper up to dry. Sometimes light stains show

on the paper, but these disappear in the sensitising.
The paper having been thoroughly dried, is ready for
sensitising.

The Sensitising Solution,

Silver nitrate 40 grains
Citric acid ... ... ... 3
Water ... ... ... ... 1 ounce

Float the paper two minutes, and dry by gentle heat in a

warm, dark room.
The Negative for enlargement should be full of detail, thin,

and with a fine deposit of silver.

Do not varnish the film; but should retouching be

required, a dilute solution of gum-arabic will give a good
grain for the pencil. The advantages of the gum water are
that it does not colour the film, as many varnishes do; it is

free from ridges ; and is perfectly even.

The rubbing down of a varnish film to form a retouching

surface produces an uneven thickness, and a difference in
surface structure of the film, which causes unequal illumina-
tion. This is a serious defect in the magnified print.

The Exposure of the print is not carried beyond the faint

appearance of outline of the image.

Development, —Prepare a saturated solution of gallic acid,

and mix one part of this with four parts of distilled water.
On this float the print, face downwards. The progress of
development may be watched by lifting corners of the print
now and then. The image develops to a deep brown colour.
Wash in several changes of water for a few minutes.
Tone with gold, and fix in an alkaline solution of sodium
 79

liyposulphite. Wash thoroughly, to remove the fixing

solution.

Another Peocess.
The plain paper is immersed for two hours in a salting
solution made as under :
—
Sodium chloride 100 grains
Hydrochloric acid ... ... ... 6 minims
Distilled water ... ... ... ... 10 ounces

Dry thoroughly. Eloat for two minutes on the following

solution :
—
Sensitising Solution.
Silver nitrate 40 grains
Citric acid ... ... ... ... 1 grain
Distilled water ... ... ... ... 1 ounce

Dry ;
observing the same precautions as in the case of the
ordinary albumenised sheets.
Expose under the negative or in the camera until a faint
image appears.
In a dull light twenty to thirty seconds will ordinarily
suffice.

Development. — Take the print on a sheet of glass, and pour

over it sufficient to evenly cover the paper, of the following

solution :

Pyrogallic acid 2 grains

Citric acid ,
1 grain
Water 1 ounce

Some skill is necessary to cover the paper without stop-

page of the flow of solution over the print. The action of
the developer is almost as rapid as that for the collodion
 80

negative, and any cessation of the action produces lines on

the print.
As soon as the image has acquired the necessary strength,
the print is washed under the tap to stop the action of the
developer.
Wash thoroughly, and tone. Pix in sodium hyposulphite
— one ounce dissolved in ten ounces of water.

"Wash with the thoroughness enjoined in ordinary printing.

Pkocess with Albumenisei) Papee.

For this the Saxe paper is recommended.

Sensitise on a forty-grain silver nitrate bath acidified with
thirty grains of acetic acid.
Development is conducted with one part of a saturated
solution of gallic acid in four parts of water. Wash
thoroughly.
Tone, fix, and wash as usual, thoroughly.
Prints produced by this process cannot compare with those
of full exposure by contact under a good negative, but serve
well as a foundation for the work of the artist.

Finishing in Indian ink, chalk, colours, &c., the albumen-

ised surface needs to be abraded. To accomplish this, finely

powdered pumice-stone may be rubbed over with an artists^

leather blender.
 CHAPTEE XX.
PRECEPTS FOR PRINTERS.
Caeeftjlness and precision may be accounted the qualities
most useful to photographers.

Quickness should never be allowed to take the mean

position of a synonym for slovenliness and carelessness.
The deftness which comes of experience is power, never
incertitude. There is nothing haphazard in the rapid work
of the master ; but the pupil must not attempt to copy the
later manner of his master until he has surmounted the
early difficulties. There is no shirking responsibilities, nor
jumping into experience.

It cannot be deemed satisfactory, even by the most happy-

go-lucky worker, that, say, half-a-dozen prints from one
negative should emerge from the toning-bath bearing as
many different tones, from brick-red to purple ; or that other
six prints come out of the fixing-bath, illustrating failures

ranging through all the manipulations, from silvering the

paper to fixing the print. These examples may be thought
far-fetched ; but they are true, and not too far out of the
way to serve as warnings to many.
Printing is not merely placing the paper and negative
together in a frame, and sticking them outside in the light.
 82

Every print should be the best possible ; it should be beyond

the excellence of the negative. To attain this, thought,
skill, and attention are necessary.
Eegin by anxiously studying the best methods of working,
and, after a while, unconscious of effort, the right way will
be the natural.
Put intelligence into the print ! It may read strangely
this, as a direction for a mechanical operation. Mechanical
There is no such thing in photography. Even to handle a

negative or frame, properly, requires skill.

Eormulse and instruction are all very well, and very
useful — as they are made means to an end. After all,

instruction in Art holds to Art much the same relation that

the recipe for a pudding bears to the pudding itself. "We
would rather have the pudding — still the recipe is necessary.
In sensitising the paper, guard against the formation of

air-bells under the paper. When the sheet is properly in

place, lift the corners of the sheet, and break up any bubbles
which may have formed.
Dry the sheet carefully and thoroughly. Guard against
dust, and avoid brushing the sheet against dirty substances.
See that the paper is properly placed on the negative, that
defects in the paper may not come in an important part of
the picture, and that the piece of paper is large enough for
the required picture. Print in the shade.
In the toning and fixing solutions move the prints about,
so that they may not stick together.
Make the fixing solution alkaline, and use fresh hypo-
sulphite solution for each batch of prints. There is no
economy in a weak solution.
 English Weights and Measures.
APOTHECARIES' WEIGHT.
FLUID.
60 minims = 1 fluid dram.
8 drams = 1 ounce.
20 ounces = 1 pint.

SOLID MEASURE.
20 grains = 1 scruple = 20 grains.
3 scruples = 1 dram =60
8 drams = 1 ounce = 480
12 ounces = 1 pound.
The above weights are used by photographers. Chemicals
are sold by
AVOIRDUPOIS WEIGHT.
27i grains = 1 dram = 27^^ grains.

16 drams = 1 ounce = 60
16 ounces = 1 pound = 7,000 „

French Weights and Measures.

The unit of liquid measures is a cubic centimetre, "c.c,"
which measures 16*896 minims, and weighs 15*4: grains, or
1 gramme —the unit of solid measures.

1 cubic centimetre =17 minims (nearly).

34 „ „ =1 dram.
28| 5,
=1 ounce.
100 „ „ =3 ounces, 4 drams, 9 minims.

^or^l litre
'
| = 35 ounces, 1 dram, 36 minims.

As a gramme is equal to 15*4323 grains, in order to convert

grammes into grains, multiply the former by 15|.

Mems. — 1 minim equals 1 drop ; 1 drachm, 1 teaspoonful ;

2 drachms, 1 dessert spoonful ; 4 drachms, 1 table spoonful. A

halfpenny and threepenny piece weigh \ ounce ; florin and
sixpence, J ounce 3 pennies, 1 ounce
; 4 half-crowns and ;

1 shilling, 2 ounces ; 4 half-crowns, 4 florins, 2 pennies, 4 ounces.

A halfpenny equals 1 inch in diameter.
 INDEX.

Acid Bathj Silver, 8 Characteristics of Albumenised

Acidifying the Prints, 47 Paper, 16
Albumenised Paper, Character- Chloride of Lime Toning Bath, 50
istics of, 16 Citric Acid as a Preservative, 58
Albumenised Paper, Defects in, 59 Citric Acid Bath, 51
Albumenised Paper, Process with, Combination Printing, 42
80 Cutting Paper, 26
Albumenising Paper, 17 Cutting Paper, Failures in, 62
Album enising the Porcelain Plate, Cutting Prints, 46
70 Defects in Albumenised Paper, 59
Arched -Top Forms, 41 Defects in the Bath, 60
Arrangement of Printing Room, Developed Prints, 77
31 Developed Prints, Salting Solu-
Arrangement of the Sensitising tion, 77, 79
Room, 3 Developed Prints, Sensitising
Backgrounds, 43 Solution, 78
Bath, Citric Acid, 51 Developing Formula for Prints, 79
Bath, Defects in the, 60 Disordered Bath, Treatment of,
Bath, Fixing, 52 10
Bath, Formula for Plain Silver, 6 Drawers for Paper and Prints, 31
Bath, Fusing the, 13 Drying Paper, Failures in, 62
Bath, Preparation of Plain Silver, 7 Drying Rack, 22
Bath, Silver Acid, 8 Drying Room, 22
Bath, Silver, General Considera- Drying the Paper, 24
tions, 8 Durable Sensitised Paper, 57
Baths, Toning, 49 Enamelling, 73
Bath, Treatment of Disordered, 10 Enamelling, Coating Formula, 73
Boiling Disordered Bath, 12 Enamelling, Materials, 78
Borders, Ornamental, 41 Enamelling, Manipulations, 74
Broken Negatives, 29 Enamelling, Preparation of the
Burnishing Prints, 56 Gelatine, 74
Cameo Picture, 42 Enemelling, Preparing the Plate,
Carbonate of Soda Toning Bath, 73
50 Enamels, Mounting, 75
 INDEX. Ixxxv

Encaustic Paste, 56 Paper, Cutting the, 26

Exposiog the Print, 36 Paper, Defects in Albumenised, 59
Exposure of Developed Print, 78 Paper, Drying the, 24
Failures in Cutting Paper, 62 Paper, Durable Sensitised, 57
Failures in Drying Paper, 62 Paper, Failures in Cutting, 62
Failures in Fuming, 62 Paper, Failures in Drying, 62
Failures in Mounting and Finish- Paper, Failures in Preparing the^
ing, 66 59
Failures in Preparing the Paper, Paper, Failares in Sensitising, 60
59 Paper, Fuming the, 25
Failures of Printing, Toning, &c., Paper, Sensitising, 3 9
63 Paper, Washed, 57
Failures in Sensitising, 60 Paste, Encaustic, 56
Failures in Toning, 64 Plain Paper, General Ilemarks, 69
Failures in Washing Prints, 64 Porcelain Plate, Albumenising, 70
Failures in Washing after Fixing, Porcelain Plate, San^itising, 71
65 Porcelain Print, Fixing, 72
Finishing, Failures in Mounting Porcelain, Printing on, 70
and, 66 Porcelain Print, Toniog, 71
Finishing Prints, 54 Potassium Permanganate, 11
Fixing Bath, 52 Precipitation of Silver, 14
Fixing the Porcelain Print, 72 Preparation of Plain Silver Bath, 7
Formula for Plain Silver Bath, 6 Preservative, Citric Acid as a, 58
Frames, Filling the, 34 Printers, Precepts for, 81
Fuming Plain Paper, 68 Print, Exposing the, 36
Fuming, Failures in, 62 Printing, 34
Fuming the Paper, 25 Printing, Combination, 42
Fusing the Bath, 13 Printing on Plain Paper, 67
Gelatine for Enamelling, 74 Printing on Porcelain, 70
Glace Finish, 73 Printing Room, Arrangement of,
Greying the Vignette, 39 31
Heating Apparatus, 23 Printing Room, Temperature of
Imperfections in the Print, 59 the, 32
Intense Negatives, 28 Printing Stand, 3 3
Kaolin, 12 Printing WinHow, 33
Lime Toning Bath, Chloride of, 50 Prints, Acidifying the, 47
Medallion, The, 40 Prints, Burnishing, 56
Mounting and Finishing, Failures Prints, Cuttiog the, 46
in, 66 Prints, Developed, 77
Mounting Plain Prints, 68 Prints, Drawers for Paper and, 31
Mounting Prints, 55 Prints, Failures in Washing, 64
Negative for Enlargement, 78 Prints, Finishing, 54
Negative. Treatment of, 28 Prints, Mounting, 65
Negatives, Broken, 29 Prints, Spotting, 56
Negatives, Intense, 28 Prints, Washing, 46, 53
Negatives, Weak, 28 Salting Plain Paper, 67
Ornamental Borders, 41 Salting Solution for Developed
Paper, Albumenising, 17 Prints, 77, 79
Paper and Prints, Drawers for, 31 Sensitised Paper, Durable, 57
 Ixxxvi INDEX.

SensitisiDg Paper, 19 Toning Bath, Chloride of Lime,

Sensitising Paper, Failures in, 60 50
Sensitising Plain Paper, 68 Toning, Failures in, 64
Sensitising Eoom, Arrangement Toning, Preparing Prints for, 45
of the, 3 Toning Plain Prints, 68
Sensitising Room, Temperature Toning Room, The, 47
of the, 1 Toning the Porcelain Print, 71
Sensitising Room, Utensils for Toning, Washing, Fixing, 51
the, 3 Treatment of Disordered Bath,
Sensitising Solution for Deve- 10
loped Prints, 78 Treatment of Negative. 28
Sensitising the Porcelain Plate, 71 Troughs, Washing, 48
Silver Bath, Formula for Plain, 6 Utensils for the Sensitising Room,
Silver, Precipitation of, 14 3
Sodium Carbonate, 57 Vignette, Greying the, 39
Spotting Piints, 56 Vignette, The, 37
Temperature of the Printing Washed Paper, 57
Room, 32 Washing Prints, 46, 53
Temperature of the Sensitisicg Washing Prints, Failures in, 64
Room, 1 Washing Troughs, 48
Toning Bath, 49 Waxing Prints, 66
Toning Bath, Caibonate of Soda, Weak Negatives, 28
50 Work Room, General, 54

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