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The photographic news
- Bandzählung
- 27.1883
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- 1883
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1302, August 17, 1883
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Zeitschrift
The photographic news
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Band
Band 27.1883
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- Titelblatt Titelblatt I
- Register Index III
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Band
Band 27.1883
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516 THE PHOTOGRAPHIC NEWS [August 17, 1883. from the sheet, but as the edges sometimes fray in the toning and washing, it is better to leave a sufficient margin, so that when trimming the prints a clean and firm edge may be secured. The paper will keep good in a cool place for two or three months. The printing should not be so deep as when using albumenized paper, as collodio-chloride prints lose very little of their vigour in passing through the toning and fixing baths. Collodio-chloride prints may be kept for a considerable time before toning—two Or three weeks may elapse—but I prefer toning as soon after printing as possible. The toning bath is made as follows :— Stock Solution.—No. 1. Sulpho-cyanide of ammonium loz. 2 drachms Distilled water 60 ounces Hyposulphite of soda ... 9 grains Stock Solution.—No. 2. Pure gold 11 „ or Chloride of gold 22 „ Distilled water 60 „ Fixing Bath. Hyposulphite of soda ... 1 ounce Distilled water 12 ounces The gold I use for toning is prepared according to Col. Stuart Wortley’s formula, given in the Year-Book for 1871, page 91; and it gives in my hands more uniform results when toning collodio-chloride paper than I ever obtained with the ordinary commercial samples of chloride of gold. Why, I cannot tell, any further than that in pre paring your own chloride of gold you know exactly what you have at hand, and strength of the toning-bath is more under your control. This “ control ” is absolutely necessary to success with collodio-chloride papers, as I find that anything more than the strength given in the formula produces a flat eaten-out picture without any depth; while, on the other hand, too weak a toning bath gives heavy opaque brown tones. Thus, if the toning goes on too quickly, you lose depth and richness; if very slowly, a brown leathery tone is pro duced, which is far from satisfactory. The reason in the first case is that the prints pass so rapidly from brown to black, that before you can well get them removed from the bath, the point where richness lies is often lost. And in the second place, the sulphocyanide of ammonium solution in some measure destroys the trans parency and purity of the prints when they are left too long in contact with it. Particular care and attention must therefore be given to the toning bath, so as to have it neither more nor less than the strength stated, as collodio- chloride photographs are much easier stained in toning than prints upon albumenized paper; and when unequal toning does take place, it is more visible in the former than in the latter. In making up a bath, equal quantities of No. 1 and No 2 are mixed, plenty of chalk being added, letting the whole stand for from three to five hours before use. With some samples of this paper, the bath can be used at once; but with other sheets this is not the case, a deposit of gold taking place over the whole prints, and destroying the purity of the whites. It is better, therefore, to err on the safe side by making up the bath a consider able time before it is required, and thus be assured of having a uniformity in one’s photographs. W hen I have many prints to tone, I use two flat dishes capable of holding, say, a dozen prints each. 1 filter the solution into these dishes to the depth of one-fourth of an inch; were the liquid deeper, the prints would not keep flat. I wash in three changes of water; and as the prints generally curl up into tubes, I open each of them separately in the water, so as to get the surface uniformly washed. If this is not done, and done in each separate dish of clean water, uneven toning will be sure to take place. When the prints have been properly washed with a quick but gentle movement, I open up each picture, and lay it flat in the bath face downward ; and when the dish is full, I begin at the first and turn it over, brushing the face with a camel's-hair brush, and continue the process until the whole have been so treated, afterwards turning them back again into their former position, and so on without cessation, until the prints are ready to leave the bath. When stains occur in the course of toning, lift the print out of the solution, dip the brush in alcohol, and rub the spot slightly. Then immerse the print again, when it will be found that the stain has disappeared, and the print J has been saved. When fixing the prints, the same care is required in laying them separately in the fixing solution, turning them over, and keeping them in motion until they are fixed, which is completed, when the fixing bath is new, in from three to five minutes. When removed from the bath,the prints are immersed for a few minutes in three or four changes of water, and put under the tap for an hour or two. The water is then shut off, and they are left all night, and throughout the next day until the afternoon ; the water is changed now and again. The prints are then trimmed and mounted. The system in use amongst many of the profession, of cutting the prints to the exact size wanted before toning them, cannot be readily adopted with collodio-chloride pictures. In their case the paper should always be a little larger than is necessary, allowing not less than one-eighth of an inch to be cut off all round after the prints have been toned, fixed, and washed. The reason for this is that the edges of the prints are very curly, and the film becomes frayed in the course of washing ; by cutting away this frayed curly part, they are more easily and neatly mounted. As it is impossible to lay these prints upon blotting-paper and dry them in a flat state without cracking the surface, another method has to be put in practice for the purpose of trimming them. I use a piece of thin plate glass, cut to the exact size of what the carte-de-visite print should be, the edges being ground and the corners slightly rounded, so as not to scratch the picture. If the prints are more than ordinarily curly, I open them underneath the water, and lay the sheet of glass upon the face, and then lift both of them out of the water at once, the mois ture between the two enabling me to move and adjust ths glass over the print with the greatest ease. I then, with a pair of long-bladed scissors, cut along the four edges of the glass, and thus secure a straight clean-cut print, without damaging the surface of the photograph. The medium 1 use for mounting is starch, carefully boiled, as thick as possible. It is, while still warm, poured into the centre of a muslin cloth, the corners of which are drawn together and held firmly with the left hand, while the right hand presses the bag and causes the pure starch to exude through the interstices of the cloth—the result being a paste perfectly free from gritty matter, and of the right consistence for mounting. A sheet of thick plate glass is covered with a damp cloth, and the prints are lifted from the dish and laid upon it in a wet condition, the water on the face of the prints and the damp cloth preventing them from curling. They are then pressed quite flat with another cloth, and dried before they are starched. After the prints are mounted, dried, and spotted out, I roll them upon a hot steel plate ; they are then put up in dozens into paper and laid upon the machine plate, and when warm are rubbed over with “ Solomon paste,”* which gives them a richness and transparency they would not otherwise possess. If desired, these photographs may very easily be covered with “ Mawson’s print varnish ” or enamel collodion by coating them with a camel’s-hair brush of the same breadth as the card. In my own practice, however, I rarely • See “ Standard Foxmulw" in Ytaa-Boox,
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