Chapter IV: Introduction (2)

When set, squeeze through coarse canvas into cold water one half gallon and 1/4 lb. salt; let it remain for five minutes, then wash thoroughly.

The addition of two ounces of alcohol and enough water to make up to twenty ounces completes the process.

In the preparation of this or any gelatine emulsion the work may be carried on in daylight as far as the mixing of the bromide and silver, which must be done in a dark room by the aid of a lamp or gas light shaded by orange or ruby glass. Sufficient of this non-actinic light may be admitted to enable the work of washing the emulsion, and afterwards the coating of the plates, to be carried on with ease and comfort, as the emulsion when wet is only half as sensitive as when dry.

GELATINE EMULSION. B.

JARMAN.

Picked white Gum Arabic 75 grains
Bromide Ammonium 200 "
Gelatine 150 "
Water 10 oz.

Nitrate of silver 300 grains
Water 7-1/2 oz.

Dissolve in two jars in a vessel of water heated to 140 degrees F., stir each solution well with a separate rod or strip of glass, and when equally heated to 140 [p042] degrees the silver may be poured in a gentle stream into the gelatine gum solution by the aid of a safe light.

When all has been mixed and thoroughly stirred, cover the top of the dish and allow the temperature to be at 140 degrees for eight hours, occasionally stirring the emulsion during that time, which should be done in the dark.

At the end of that time there should be weighed out, of Nelson's soft gelatine 250 grains, and of French hard gelatine 150 grains.

This 400 grains of gelatine must now be added to the emulsion, and occasionally stirred until all of it is thoroughly dissolved and incorporated with the emulsion, which will take about a quarter of an hour; it is then poured out in a clean 12×10 deep porcelain dish to set, and should be allowed to set for forty-eight hours, when it may be wrung through a piece of coarse canvas and allowed to fall into a solution of

Common salt 1/2 lb.
Water 1 gallon

Let it remain in this for five minutes, then strain through a horse hair sieve and wash it well for an hour and a half. Allow the shreddy emulsion to drain well in the sieve for about a quarter of an hour; at the end of that time place it in a clean stone-ware jar to melt, with the addition of four drachms of saturated solution of nitrate of potash upon melting, which may be done by setting the jar into a dish of water at a temperature of about 120 degrees F.

It will be found on measurement to be nearly 25 ounces of emulsion; as soon as it is ready for filtering four ounces of methylated spirit may be mixed with it, [p043] to which have been added four drachms of an alcoholic solution of tannic acid, made by mixing ten grains of tannic acid with one ounce of alcohol; this is to prevent frilling.

The rapidity of the plates will be about eight times that of a wet collodion plate, which for all ordinary purposes will be as rapid as could be desired.

Dr. Eder, the distinguished German scientist (who is a great authority on gelatine emulsions, and has published a book on this subject), gives the two following formulæ:

GELATINE EMULSION. C.
EDER.
Bromide potassium 4 grams, equal to 61 grains.
Gelatine 7-1/2 to 8 grams, " 115 "
Water 50 c. c. " 1 ounce.
Nitrate of silver 5 grams, " 77 grains.
Water 50 c. c. " 1 ounce.

Dissolve the silver in water and precipitate it with ammonia. Continue the addition a few drops at a time, until the brown oxide of silver re-dissolves and the liquid looks as bright as pure water; the strength of the ammonia is immaterial.

The nitrate of silver may be warmed to 93 degrees F., and poured into the bromized gelatine a little at a time, continually stirring with a glass rod. Rinse the silver bottle with 10 c. c. about 1-1/2 drachms of water and add it to the emulsion, place the bottle containing the emulsion in a basin or saucepan of water heated to 90 degrees F., leave it therein from 15 to 30 minutes without further heat; after 30 minutes the emulsion is ready to be congealed previous to washing.

This emulsion never fogs, but it is imperative that [p044] in no part of the progress the temperature should exceed 100 degrees F., and it is a safe rule not to go beyond 90 degrees F. It is recommended to use French gelatine.

GELATINE EMULSION. D.
EDER.
Bromide of potassium 61 grains.
Gelatine 115 "
Water 1 oz. (plus)

The bromide of potassium must be pure and not alkaline, ditto the gelatine.

The bromized gelatine must be melted at 140 to 160 degrees, and then add 77 grains of silver nitrate in one ounce (plus) of water. The silver may be warmed to the same temperature as the gelatine, but this is immaterial. Rinse the silver bottle with three drachms of water and add it to the emulsion. The bottle with the emulsion is now put in a saucepan partly filled with hot water, covered to exclude all light, and the water in the saucepan set boiling, which should be continued for 25 to 30 minutes, then both water and emulsion cooled down to 90 degrees F., then add 340 minims of ammonia, stirring it thoroughly through the emulsion, which should be left for from 30 to 40 minutes at a heat of 90 degrees F., then it is ready to set and wash.

Dr. Eder says this last is quicker and better for portraits.

DESCRIPTION OF APPARATUS USED IN MAKING AND WASHING EMULSIONS.

THE DARK CHAMBER.

Any form of room that has running water in it, if there is a window, the better, unless the work is done [p045] at night. If in the daytime, shade the window with heavy red orange paper; if gas is used, shade the flame with a ruby globe or chimney, and cut a piece of tin to fit in the pipe below the burner to cut off rays of light falling through bottom opening of globe or chimney.

If there is no gas purchase a dry plate lantern.

Emulsion in the jelly and when wet on the plates is only half as sensitive as when dry, so that it is not necessary to distress one's self working in the dark.

When the silver and bromide are brought together and mixed, it should be done in this dark room. The solutions are poured into a glazed earthenware bottle, which can be tightly corked. When it is required that the emulsion should be heated, put the bottle into a tin pail, fill the pail with hot water and put on the cover and heat in any convenient manner; when it is necessary to examine the emulsion, remove the pail and contents to the dark room.

A thermometer for testing heat in liquids should be used to regulate the temperature.

A deep porcelain tray is the best dish for holding the emulsion, while it sets previous to washing. To prevent the emulsion from adhering to the tray it may be waxed carefully, but leave no surplus; when the emulsion has set as firmly as it will, it may be cut up into very small squares for washing, but probably the best way is to squeeze it through the meshes of very coarse canvas, such as ladies use for embroidering on with wool. The shreds may be permitted to fall into a fine horsehair sieve placed in a pan of very cold water and allowed to soak for a time, when the sieve may be raised, and the water will in a short time drain away [p046] from the shreds. This may be repeated until the water, when tested with silver solution, gives no precipitate of bromide.

After the emulsion is washed it must be melted and filtered before it can be used to coat plates. These manipulations must be performed in the dark room. For melting the emulsion use a small oil stove placed in a tin box, the open side placed to the wall; set the dish containing the emulsion on the tin box over the heat; or, a more perfect arrangement is to take a tin or sheet iron bake-pan, make a hole through the bottom near one end, and into the hole fix and solder a tin funnel, into which you can put a glass funnel that will hold a pint or more; set this pan on the tin box containing the oil or gas stove, the end of the pan containing the funnel projecting over the tin box towards you; fill the pan with hot water, which the heat of the stove beneath will keep hot; into it set the dish containing the emulsion to be heated or melted; when that has taken place pour into the funnel to filter, through loose absorbent cotton or a thin piece of chamois skin or flannel, as you prefer; the funnel will be kept warm by the hot water in the pan surrounding it.

Filter into a pitcher with a lip suitable for pouring from, or a small earthenware teapot would be better. You would be using the emulsion from the bottom, and thus avoid air bubbles; when all is filtered set the pitcher or pot into the hot water to keep of an even temperature.

TO PREPARE THE GLASS.

Soak the glass in strong lye or potash for a time, then wash carefully and put into acid, then wash [p047] again and albumenize with the white of one egg to six ounces of water without ammonia. The plates should be slightly warm when being coated.

COATING THE PLATES.

Hold the plate in the left hand, as you would for coating with collodion, flow with emulsion as you would with collodion, letting the surplus flow off the right hand lower corner, but do not let more than the gross surplus run off; retain enough to make a rather thick film; now move the plate so as to facilitate an even distribution of the film, then set the plate on the leveled cooling table.

THE COOLING TABLE.

This table should be a large slab of marble or slate with a perfectly plain and level surface; before using it should be cooled by placing ice or a refrigerating solution on it. The coated plates are laid on this level table, where the cold soon chills the emulsion, causing it to set, when they may be set up in racks and placed in the drying room or box, where in the course of a few hours, if the conditions are favorable, they will dry and are then ready for use.

THE DRYING ROOM.

The drying room, or box, as the case may be, must be kept cool, and if any current of air is induced it should be cool and constant, so that the drying may proceed with perfect regularity until the process is complete. Should the drying by any means be checked a line will be formed on the plate, showing where the drying stopped for the time.

Plates may be dried by a current of warm air, but [p048] they are much more likely to frill during development; and a very little heat will melt the coating.

If the plates are dried by an induced current of air, the process may be hastened by placing dishes, filled with chloride of calcium, in the air passage to the drying box or room. The chloride will absorb all the moisture from the air passing over it, and the dry air will take up the moisture from the plates.

When the chloride of calcium becomes too damp for further use, place the dishes containing it in an oven and drive off the moisture by heat, when the dry calcium may be again used. By employing such means the plates may be dried in a few hours.

After the plates have become dry, they should be packed in good light-tight boxes and kept in a dry room until wanted for use.

DEVELOPING ROOM FOR DRY PLATES.

Dry plates, ranging in rapidity from one-tenth to one-twentieth the time necessary for a wet collodion plate, are now commonly used in the studios of this country. Of course, plates of such extreme sensitiveness require great care in handling, and absolute freedom from any umpremeditated exposure to white light is necessary to their successful use.

It is therefore necessary that the dark room should be remodelled to suit the requirements necessary to the successful handling of such extremely rapid plates, and in this connection it is proposed to describe the necessary changes and alterations.

Any ordinary dark room may with little expense be fitted for dry plate work. First see that every chink or crevice which might admit white light is stopped or [p049] filled up, then fit the door or doors so that they will shut tight and remain closed.

For convenience of access to the room while work is proceeding, and for greater safety, it is well to erect a small porch or ante-room at each door, the entrance to which should be at right angles with the dark room door. The door to this porch and the dark room door should be fitted with springs to keep them closed. With this arrangement one can have access to the dark room at any time by closing one door before opening the other.

If the dark room is lighted by a window, it should be glazed with dark red orange glass, and if the exposure is toward the sun, it should be shaded with a green or ruby colored shade on a spring roller. If the sun never shines in the window, the shade is not necessary.

If the room is lighted by artificial light, the best way is to cut an opening in the wall or partition at the most convenient place, make a frame to fit or cover this opening, that will raise or slide, glaze it with red orange glass. On a shelf outside the opening place your gas-burner or lamp, with a large reflector behind, so as to reflect all the light through the glass into the room. If gas is used on the outside an argand burner will be the best, with a common white glass chimney for ordinary work, but for the most sensitive plates a light green or thin ruby chimney will be absolutely safe.

If a kerosene lamp is used, the common white chimney with full flame will be safe; and being outside, the room will not be heated by its flame, nor rendered offensive by its smoke and odor.

In front of the window or of the artificial light, [p050] erect a shelf or place a small table with a level top, which will support the developing dishes and bottles of developing solution, and on which the work of development may be carried on.

If the room is so situated that neither window nor gas may be used in the manner suggested, then procure Carbutt's Developing Lantern, which is a most convenient lantern, not only for developing, but for other purposes. See figure.

The dark room should be supplied with running water, and the more generous the supply, the better, as a dry plate requires much washing, and a large stream will do the work much quicker than a small one.

In many instances, however, where running water may not be had, the washing box may be used with advantage. If running water is used, be careful not to use too much pressure; by attaching a rubber hose to the faucet and passing it over a nail or hook above, the pressure may be reduced so that a full but gentle stream falls upon the plate.

Safe closets should be provided to contain all sizes of plates; or the new [p051] made by Anthony & Co., may be used instead, both for unexposed and for exposed plates awaiting development.

The dark room should be supplied with the necessary apparatus, such as developing trays, which are of japanned tin, of glass or india rubber; see cuts, JAPANNED IRON DEVELOPING TRAY, ANTHONY'S GLASS TRAYS, or the patented article, the GLASS BOTTOM DRY PLATE DEVELOPING TRAYS, [p052] and also the dishes to contain the fixing solutions, which may be trays or upright, like silver-bath dishes.

THE COMMON SENSE TRAY is a capital dish to contain the hypo and clearing solutions and is not expensive, and can be had of all sizes. All these dishes should be kept scrupulously clean when not in use.

There should be Graduates of the 16 oz. and the 8 oz. sizes, and also a minim glass measuring up to [p053] one fluid ounce, also one or more of Anthony's Combined Funnel and Filter, for filtering the various solutions.

There should be glass-stoppered bottles for containing the developing solutions, especially the pyro; also racks to hold the plates while drying; one finely adjusted scale with apothecary weights weighing to a 1/4 lb.; one camel's hair-brush, 3 inches wide, for dusting the plates before [p054] putting them in the holders for exposure, and also for removing sediment from the surface of the film after fixing and washing.

Thus fitted and furnished, the dark room is ready and well adapted for the most difficult dry plate work, and we will now proceed to the consideration of the

DEVELOPMENT OF DRY PLATES.

Every manufacturer of dry plates encloses in each box of plates packed for the market a formula for the development of the same.

The various manufacturers of dry plates, whose names will be found in the advertising pages in this book, each have a formula which in some respects differs from all the others, and it is but fair to the maker of the plate, that his formula should be used, unless the operator is of much experience and understands the requirements of each particular kind of plate.

Therefore, while formulæ are given in this connection, although they are known to be of the best, yet in the hands of inexperience they may result to no better advantage than the formula appropriate to the plate used; consequently, we do not urge their use above any other, but rather that to which the operator is most accustomed.

The alkaline pyro developer is now in general use among professional photographers in this country, and there remains no doubt that it is the best developing agent for dry plates that has yet been brought into use.

This developer is composed of pyrogallic acid and [p055] an alkali, either ammonia, sal soda, or carbonate of potash, which, in solution and of proper strength, forms the medium through which the pyro is applied.

To these is added bromide of potassium or ammonium, which is the restrainer, and occupies about the same position or performs the same function as acetic acid in the wet plate developer, and besides being a restrainer it greatly aids in securing intensity and printing quality; and when plates are overtimed in exposure its prompt use may result in securing a good negative.

Some plates require double the quantity of pyro that others do to produce the same quality of negative. After ascertaining the normal amount of pyro necessary to develop plates of a certain make, if it is desired to increase intensity add more pyro, if your plate is developing too intense or hard add more of the alkali.

DRY PLATE DEVELOPER, A.

No. 1.

Carbonate of Soda (Sal) 1 lb.
Carbonate of Potash 1 lb.
Yellow Prussiate of Potash 1 oz.
Bromide of Ammonium 1 oz.
Water 64 oz.

No. 2.

Pyrogallic Acid 1 oz.
Saturated Solution Sulphite Soda 15 oz.

Keep No. 2 in glass-stoppered bottle.

To develop one 8×10 plate, take of

No. 1 1 dr.
No. 2 1/2 dr.
Water 6 oz.

Put the exposed plate into the developing tray and [p056] pour the solution upon it, making sure that all parts of the plate are covered, and no air bubbles fixed to the surface; keep the dish in motion and in a short time the image will begin to appear; if properly timed the high lights will show up promptly, and in due time all parts will appear, and when detail is seen in the shadows take the plate from the dish and examine it by transmitted light. Note the gradations of light and shade; if they appear properly balanced, the plate has been properly timed in exposure. Return the plate to the dish and let the development proceed until the image sinks well into the film and you see nothing very clearly as it lies but the blacks.

Time is necessary in this process to secure enough intensity, and this stage is the most difficult in the process, there being no means by which to judge with any degree of certainty the density of the image before you. It is better then to proceed too far than not far enough, as a slow printing negative is far better than one that is too thin and weak.[1]

[1] These directions apply to all dry plates except the Stanley, which can be developed to any required density at sight, and loses none in the fixing solution.

When the image has sunk pretty well into the film examine it again by looking through it, and note well its appearance, so that if it is about right when fixed you may remember how it appeared if you wish to increase or diminish the intensity of your next plate.

If the plate has been overtimed it will show up quickly, almost at once; when such is the case quickly pour off the developer and flow the plate with water, washing it well, then prepare more developer with nearly double the amount of pyro and a few drops of a [p057] strong solution of bromide of ammonium, which add to the 6 oz. of water and pour on the plate; then take half the usual quantity of the No. 1 solution in a graduate and pour it, a few drops at a time, into the developing tray, watching the action closely and keeping the solution in motion.

The negative at this time probably shows all the detail of the subject, but without any gradation of intensity. If the changes just described have been made promptly you will soon observe that the high lights will begin to gain in strength. Keep up the action by adding more of the alkali, drop by drop, until you can proceed no farther.

The chances are that you will secure a printable negative, but not a very good one; and if it is a portrait the best thing to do is to throw it away and make a new one.

The plate should now be very carefully washed previous to fixing.

Should the film show signs of loosening from the edges of the glass and swell so as to form folds or frills, take it from the water and immerse it in a solution of alum, which will harden the film and stop the frilling. Then wash the film again and put it in the

FIXING SOLUTION.

Hyposulphite of Soda 1 lb.
Alum 1/4 lb.
Water 1 gal.

When the soda and alum are dissolved let it stand until all sediment settles to the bottom, then pour off the clear solution and use it to fix until from much use it becomes black and turbid, then make up and use a fresh solution. [p058]

The plate should be left in the fixing solution for fully five minutes after it appears thoroughly cleared, then take it out and wash until all traces of hypo are removed.

If the plate has not previously been in the alum solution it may now be put in the

CLEARING SOLUTION.

Alum 1/2 lb.
Citric Acid 2 oz.
Water 1/2 gal.

Keep this solution in a flat dish, and after the plate has been washed from the hypo put it in this solution for two or three minutes; if there are any remaining traces of hypo in the film it will be decomposed, the film will be hardened and freed from color; when this is accomplished wash again and set the plate up to dry.

While the alkaline pyro developer is the best and gives the finest printing quality to negatives, there are many who prefer (for other reasons) the

FERROUS OXALATE DEVELOPER.

No. 1.

Neutral oxalate of potash 1 lb.
Water 5 pints.

Acidify with oxalic acid and filter.

No. 2.

Protosulphate of iron 1 lb.
Water 2 quarts.

Filter and add 60 drops sulphuric acid.

No. 3.

Bromide of Ammonium 1 oz.
Water 10 oz.

The developer is prepared by mixing together in a [p059] graduate the quantity necessary to cover the plate in the following proportions:

Oxalate solution 3 parts.
Iron solution 1 part.
Bromide solution 1/8 part.

For instance, it will take about 8 ounces to cover an 8x10 plate in a flat dish; to make this quantity take of the

Oxalate 6 oz.
Iron 2 oz.
Bromide 2 drs.

Always pour the iron into the oxalate solution, then add the bromide, and having placed the exposed plate in the dish pour the developer upon it, covering the surface of the plate as quickly as possible and removing any air bells that may stick to the surface.

Keep the solution in motion on the surface of the plate and in a short time the image will begin to appear, the high lights first, then the intermediate shades, last of all detail will be seen in the shadows. Now pour the developer off, take the plate out of the tray and look at the back of it. If the subject or image can be distinctly seen it may be considered finished and only needs to be washed and fixed.

If the plate has been over-exposed, which will be indicated by the image appearing quickly, wash off the developer with water, add more bromide to the solution and immerse the plate again.

If, on the contrary, the plate has not had enough time, it will be indicated by developing very slowly and with a very thin and weak image; when such is the case add more of the iron solution, however, not more than to make the proportion of the iron nearly [p060] one-fourth of the whole solution. More than this proportion will cause a yellow precipitate, which will settle on the surface of the film and destroy it. If by this course you succeed in securing sufficient detail in the shadows, the negative may afterwards be strengthened.

It is as well, however, when a plate is found to be undertimed (and it is possible to make another from the same subject) to throw it away; it will scarcely repay further attention.

It will be seen that a considerable margin in time of exposure can be allowed and provided for. Yet none the less it is of the utmost importance to learn to give the correct and proper exposure to secure the finest results.

This, it is true, is not always possible, and as an under-exposed plate is lost, any error in exposure would better be in too much rather than in too little time.

It is said by some that by the use of citrate of soda almost any degree of over-exposure may be remedied, but there remains the fact that for a restraining agent to be of any value its application to a negative in development must be almost instantaneous upon the earliest discovery of the over-exposure.

When a large number of plates have been exposed and the first developed indicates that all have been overtimed, then a 50 per cent. solution of citrate of soda, used with judgment, might result in saving the lot.

When over-timing makes itself visible unexpectedly and it is feared that the development will have proceeded too far before the retarder can act, a good plan is to take the plate out of the dish and flow over it a solution of citric acid, containing a little chrome alum, [p061] which will immediately stop the action of the developer and give time to make other arrangements.

AMMONIA PYRO DEVELOPER.

No. 1.

Pyrogallic acid 1 oz.
Alcohol 4 oz.

No. 2.

Water 60 oz.
Bromide of ammonium 60 grs.
Strong liquor ammonia 2 drs.

To use, take of

No. 1 or pyro solution 1 dr.
No. 2 or ammonia solution 10 oz.

This will be enough to develop three or four 8×10 plates, if they are properly timed.

The above is one of the best forms of ammonia pyro developer; it gives negatives of very fine quality.

Many dry plates, on development with ammonia and pyro, show a green fog by reflected light, and a pink or red fog by transmitted light; this fog does not materially injure the printing quality of the plate, but spoils its appearance to the eye, and for that reason many establishments have given up the use of ammonia and in its place use soda or potash.

INTENSIFICATION OF DRY PLATE NEGATIVES.

From the difficulty of judging when the development has reached the right point, in consequence of the opacity of the gelatine film, many negatives are finished before they have acquired sufficient density in development. As a result of this, much attention has been given to the discovery and preparation of redeveloping or intensifying solutions, many formulæ [p062] for which have been published; among the best are the following:

INTENSIFYING SOLUTION. A.

Bichloride of Mercury 120 grains.
Dissolved in hot water 16 oz.

Add to this a strong solution of Iodide of Potassium drop by drop, until the red precipitate begins to redissolve, then add a few grains of hyposulphite of Soda, or enough to clear the liquid.

When required for use pour part of this solution into a tray of a suitable size for the plate, add an equal amount of water, then immerse the plate and keep the solution in motion. You will immediately notice a change in the color of the film; take the plate out, and if it has gained enough strength, wash it and set it up to dry; if not, give it more.

It is proper to state that this process is more effective if the plate has been dried after development.

When the plate has been thoroughly fixed and fully washed, it will intensify by this method, without change of color by transmitted light, and it will have secured a lovely printing quality rarely seen even in the most perfect negatives.

This solution may be used until it is exhausted.

ROCHE'S INTENSIFIER. B.

Water 10 oz.
Sulphate of Copper 100 grains.
Bromide of Potassium 100 "

When dissolved, this solution is ready for application and can be used repeatedly.

The negative, after fixing and washing, is immersed in the solution until it turns white. [p063]

Now remove it and wash slightly, then immerse it in old ferrous oxalate developer and allow it to remain until it becomes black entirely through the film. This method gives fine results and good printing color.

PRACTICALITIES.

Form the habit of noticing carefully the intensity of the illumination of the subject on the ground glass of the camera, so as to judge correctly the time of exposure, as much of the successful working of dry plates depends on the exposure; for although slightly under-exposed or much over-exposed plates may by suitable modification of the developer be saved and print good pictures, yet they will lack the glow and balance that are characteristic of the most perfect work.

Use a flat camel's-hair brush to remove any dust from the plate, before putting it in the shield for exposure.

Always keep your developing solution in motion on the plate.

Fix your negative very thoroughly; leave it in the hypo 5 or 6 minutes longer than it is apparently necessary.

Never use hypo after it becomes discolored or turbid and deposits a sediment.

Develop longer than you think necessary; a slow printing negative is preferable to a weak one.

Keep your dark room and its contents very clean and free from dust, and well ventilated.

RETOUCHING, OR STIPPLING THE NEGATIVE.

No photographic establishment in these days is considered to be well equipped that does not employ a skillful retoucher and provide all the apparatus and [p064] conveniences for the proper performance of this very important branch of the art.

It is within the memory of many photographers when this work of retouching was done on the positive, and some establishments were compelled to employ a large force of skilled hands to work up and finish the crude productions of the camera and the printing frame.

After the introduction of the carte de visite portrait, and later the Imperial card, and the consequent reduction in price, the expense of this work became such a burthen to photographers that they were compelled to perfect their mechanical operations to the utmost extent, and by every means to endeavor to avoid it.

It occurred then to some one of the retouching artists to do this work upon the negative once for all, and from this beginning the art of retouching the negative has reached its present high position.

Retouching, like stippling or hatching in miniature, is a work of art, skill in which is gained only by assiduous practice controlled by good taste, and it is the special work of the artist and not of the photographer.

While then it is not considered wise for the photographer to be his own retoucher any more than it is for every man to be his own lawyer or doctor, yet every photographer should know enough about the art and practice of retouching to appreciate good work and to detect the bad. And for that reason he should make a study of it both from the artistic and the mechanical points of view.

By such a course of study he will learn to produce that quality of negative that will require the least amount of improvement at the hands of the retoucher. [p065]

The work of retouching requires certain appliances to facilitate it, and its own special room or atelier. A small well-ventilated room having a window with a northern exposure is the best adapted for this work. This room should be supplied with the necessary conveniences, such as the retouching stand or frame, which in its earlier form is as represented in Fig 1, but which, after a time, became much improved upon; one form of improvement is shown in Fig. 2, but neither of these forms became universally used, as many artists fashioned their stands or frames to suit their individual [p066] taste or the requirements of their room or light. The march of improvement, however, is never delayed by such a condition of affairs, and was not in this case.

It became necessary on the part of those interested in the manufacture of such apparatus to produce something that should meet all requirements, and this has indeed been accomplished by the production of the desk represented in Fig 3, which is called the Novel Retouching Desk and is suitable for any size of negative under 25×30; it has a false top which can be pulled down to darken the space in front of the ground glass cut out.

The bed on which the negative is laid can be set at any inclination to suit the convenience of the artist.

By means of the slide-rest the negative may be moved up or down to any desired position.

It is handsomely made in hard wood, and would be quite an ornament to any retoucher's room. [p067]

Next in importance would be a varnishing table, a small table or bench supplied with a gas or oil stove. See Figs. 4 and 5.

Also Anthony's retouching varnish and varnish pot. See Fig 6, page 68.

A tin pot as shown in cut, with a filter and funnel in top; rubber stopper in spout.

The retoucher's room should also be supplied with

Faber's Siberian leads, full set,
Eagle lead pencils,
Metallic leads,
Camel's hair pencil brushes,
Camel's hair blender,
Guenther Wagner's retouch colors,
India ink,
Water colors, blue, white and red,
A coarse sharpening stone,
Fine emery paper. [p068]

The principal work of retouching, the stippling of the face, neck and shoulders when bare, and the hands, is done with Graphite or metallic leads, and directly upon the varnished or film surface.

The gelatine emulsion film is strong enough to take the pencil without varnish, and many prefer to retouch and even to print them before varnishing; but it is pretty generally conceded that gelatine negatives will receive the pencil better when varnished. [p069]

Before varnishing a gelatine plate, heat it as much as it will bear, so as to drive off all moisture from the film, then let it cool to the proper temperature before applying the varnish.

If the varnish used is too smooth or hard to take the pencil, a better tooth may be given it by the application delicately, to the parts to be retouched only, of a solution of rosin in turpentine, which should be allowed to stand and dry an hour or so before the retouching is done.

The work of retouching is very trying to the eyes; great pains should therefore be taken to ascertain the most favorable conditions of light and distance under which to work.

A negative should be kept at one angle and stationary while being retouched.

There should be as little lead used on a negative as is consistent with good work; make every touch tell to some purpose.

Note carefully the way the subject is lighted, and let the effect of the stippling be in that direction; you will thus be less likely to change the character or likeness of the face.

The lights and shadows should be caused to blend imperceptibly; this will give a harmonious effect.

Let the grain or stipple be seen in all parts suitable in fineness to the size of the head.

The refinements of negative retouching cannot be taught in books, although much has been written concerning the same.

Try to light your subject and develop your negative so as to get the utmost roundness or relief; then be careful not to destroy this modeling, but improve [p070] it by retouching, only doing so much work as to give a soft, clean-looking complexion.

Patient perseverance, close observation and trying again, will bring a certain degree of success, and while only the few can become first-class retouchers all may learn to improve their work by this great help to photography.

SILVER PRINTING.

It was long ago said that silver printing was doomed, that in a few more years it would be among the things that were.

Other processes have been introduced, have had their little day and have passed off, some of them of much merit, and, it was supposed, possessed of every element of permanency, but they were found wanting in some very important respect, and so not being able to hold their ground they passed into the limbo of neglected things.

Silver printing, however, still maintains the field against all comers, and does so by its intrinsic merits alone. No other process has equalled it in ease of production and in beauty of finish, and it is doubtful if any process has results of greater permanence, taking the best products of the process as samples.

The one defect of the process is the possibility of its products fading, but we must not judge of a process by its poorest examples, but rather by its best; if such should be the decision, there are at this day thousands of silver prints that are co-existent with the process and remain as perfect as it is possible for anything on paper to be after such a lapse of time.

A process that is so simple and easy that it can be [p071] acquired in a few hours, is predestined to careless working, slovenly manipulation, and to endless scamping at the hands of careless workers. What wonder then if prints fade which were only half made.

Suffice it that the process, intelligently and conscientiously worked, would never suffer from such an imputation.

THE PRINTING ROOM.

All professional photographers practice the silver printing process with more or less of success, as they bestow care and intelligence in the working and are zealous for the reputation of their work.

The proper handling of a negative by the printer requires as much study and skill on his part as does the posing and lighting of the subject in the studio; and the printing room should be as replete with every convenience for forwarding and improving the operations therein conducted, as any other department of the establishment.

This room is generally situated at the top of the house, and wherever situated, should be so arranged that the east, south and west sides may be opened to the sun, that his direct rays may be utilized from the earliest to the latest working hours. Part of the room should be partitioned off in such a manner, and illuminated in such a moderate degree, that the sensitized paper may not suffer from excess of light while the frames are being filled and the changes made.

The printing room outfit consists of the various sizes of printing frames, cardboard, tissue paper and cotton-wool for vignetting, and knives, long-blade scissors, and glass forms for cutting the paper to various sizes, [p072] light tight drawers to hold the prepared paper, shelves, and racks for the negatives.

Mucilage or paste and brushes.

Flat brushes for removing dust from negatives.

India ink and Opaque, with pencil brushes and lead pencils for spotting negatives.

THE SILVERING ROOM.

The silvering room may be also used for other manipulations in the process, such as fuming the paper and washing the prints, and should be furnished with all the conveniences for such work, which consist of

Nitrate of Silver.

Albumenized and plain paper.

A flat dish to hold the silver solution, of the size of
the largest paper to be floated.

A fuming box.

A bottle of concentrated Ammonia.

A gas or oil stove for drying the paper.

A dozen or more of Lockwood's patent photo clips.
Bi-Carbonate of Soda.

An Argento meter.

A 16 oz. Graduate.

A clock.

One agate evaporating dish, and 2 or 3 wide-mouth
glass bottles, that will hold the full quantity of silver
solution in use.

THE SILVER SOLUTION FOR PAPER.

A plain silver solution, of a strength of 30 grains of nitrate of silver to the ounce of water in hot weather, increasing to 60 grains in the coldest, with enough bi-carbonate of soda added from time to time to keep a small sediment of carbonate of silver in the bottom of [p073] the bottle or dish, is all that can be desired as a silvering solution for albumen paper. It only needs to be kept up to the proper strength by the addition of silver nitrate and water, when required; and when it shows signs of discoloration a little more soda and an hour's sunlight will keep it in good order the year round.

TO SILVER THE PAPER.

Albumen paper is sensitized by being floated for a time on the surface of this silver solution, albumen side down. For this purpose it is necessary that the solution should be held in a flat dish, like a tray, with sides from 1-1/2 to 2 inches high, and of a size suitable to the size of the sheet of paper to be floated; if a full sheet, then the dish should be 19×24, and may be of porcelain, agate ware, hard rubber, or any other kind that will resist the corrosive action of the silver solution.

Pour the silver solution into the dish; there should be enough to give a depth of at least half an inch. If there is any scum or dust on the surface after the air bubbles have subsided, take a long strip of tissue paper and draw the edge over the surface of the solution, which will remove the scum or any floating dust or air bells that may remain.

Place your paper on a bench or table, albumen up, and with a large tuft of cotton rub the surface, using a light friction over the whole; then turn the sheet of paper over and take between the thumb and first finger of each hand opposite corners diagonally across the paper, holding the corners up and near together; let the sag of the paper sink one end first, until it touches the solution, which can be plainly seen; then let the hands fall until the other end has reached the [p074] surface of the silver; then lower the corners gradually, until the paper lies flat on the solution, care being taken that none of the silver solution runs over the edge of the paper to the back.

The corners of the paper may now be gently raised to see if any air bubbles have attached themselves to the surface of the paper; if so, remove them and let the paper fall again to the solution. It will now be seen that the edges of the sides of the paper will begin to curl back, as if repelled from the solution. This may be permitted to a certain extent, but not so far as that the wet surface shall curl over against the back of the sheet. After a short time this action ceases and the rolled edges unroll and fall again upon the solution, which, when they have reached and lie flat, may be taken as an indication that the paper is sufficiently silvered, when it should be removed. With a small pointed stick raise the left corner farthest from you from the solution, take it between the thumb and first finger of the left hand and raise it very slowly, until the right hand far corner is off the solution. Take that corner between the right hand thumb and finger and continue to raise the paper, still very slowly, until it is clear of the solution; then hang it up to dry in a moderately dark place, or better still, place it face down, on a sheet of clean blotting paper, put another sheet over it and on that the next sheet that is silvered, and so on alternate sheets, until you have floated as many sheets as may be needed.

When this is done turn the papers over, bringing the sheet first silvered to the top, which on removing the blotting paper will be found surface dry at least, and may now be completely dried by artificial heat, or by [p075] hanging it up two sheets together, back to back, on lines with spring clips, until they dry spontaneously, when they are ready to be fumed.

FUMING THE PAPER.

The fuming box is usually a light-tight box with two compartments; the upper part has a door and should be sufficiently large to hold the amount of paper necessary for a full day's work, without crowding the sheets together or preventing a free circulation of the fumes between their surfaces.

The paper is taken from the lines, each two sheets back to back, the corners fastened with clips and set up on end in this compartment or hung on lines, as the case may be. When all the paper is in, shut and fasten the door and into the bottom compartment (which is usually a shallow drawer, and separated from the upper only by a lattice work of wood) place a saucer containing an ounce or two of strong liquor of ammonia, push the drawer in, thus closing the compartment, and leave for fifteen or twenty minutes, or until you are ready to use the paper.

When you remove the paper from the fuming box do not expose it to strong light until you have it in the printing frames, nor after that, until you have toned and fixed it. Take the spent ammonia from the box and pour it into a bottle; it is useful for other purposes. Many printers cut the paper to size before printing, others simply tear each sheet into halves, quarters, eighths or twelfths, and print them thus, trimming them afterwards, some before toning, others after they are finished and before wetting them for mounting. The most economical method is to trim before printing; [p076] all the trimmings should be carefully saved for the silver they contain.

TONING THE PRINTS.

A toning solution is composed of chloride of gold in water with enough carbonate of soda to make it slightly alkaline, and a pinch of common salt. The action of toning is merely the deposition upon the metallic silver in the print of a certain minute quantity of metallic gold from the solution, which deposit causes the change of color that may be seen while the toning is taking place.

The normal toning solution is varied endlessly by the addition of acetates, chlorides and nitrates of various metals and salts and of borax and chalk and such, the object being to produce unusual tones, such as sepia, blue, blue-grey, brown and black, but the richest and most agreeable tones may be produced as well by the simplest means.

THE TONING SOLUTION.

Water 1 quart.

Into this put half as many grains of pure chloride of gold as you have sheets of paper to tone; after adding the gold make the solution alkaline by adding enough of a strong solution of a carbonate or bicarbonate of soda to turn red litmus paper just blue; then add a pinch of salt, and the toning solution is ready for use. When half your prints are toned, or the toning proceeds too slowly, add more gold, allowing not over 1 grain of gold for each sheet of paper. When all the prints are toned, put the toning solution into a bottle to keep for the next time, when it will probably work better than at first; [p077] use it until it becomes badly discolored, then put it into a large bottle to save the waste gold.

The toning must be done in a flat dish that is as large as the largest print that requires to be toned.

Your toning solution being ready, the prints are now to be prepared for toning by being deprived of all excess of silver and free chloride not acted on by the light; in order to do this, put them one by one in a large dish full of water, in this dish keep them in motion for some little time, then prepare another dish containing the same amount of water slightly acidified with acetic acid, and remove the prints into this one by one as before, keeping them in motion; they will at once commence to turn red, and when they are so they may be taken out, the waters of these two washings must be saved for the silver contained therein.

The prints require two more waters after the acid, when they are ready for toning.

Immerse half a dozen or more of the prints, one at a time, in the toning solution and watch the change of color.

They may at first become a little redder from the action of the salt in the solution, but they will soon change to a brown and then to a bluish or grey brown. And when the faces have become as clear and white as to suit as finished pictures, remove them to fresh water and proceed with another batch until all are done.

FIXING THE PRINTS.

Hyposulphite of soda, about 1 lb. to a gallon of water, constitutes the fixing solution; its function is to dissolve all the chloride of silver that may remain in the prints after their previous washing and toning. [p078]

The prints should be immersed one at a time, and kept in motion so that the solution may have an equal action. When there are a large number of prints the dish containing the fixing solution should be correspondingly large, so that the prints may not be massed together but kept separate and free for the more perfect action of the fixing solution; they should be kept in motion until the fixing is completed, which will be in about 15 or 20 minutes. Some printers ascertain that the action is complete by holding the print up and examining it by transmitted light; if it looks mottled and uneven it is not fixed, but if you can see the fibre of the paper and all is clear, then remove the prints from the hypo into a dish containing brine or common salt and water, one by one as before, and keep them in motion in this brine until all are well saturated with it; then let fresh water run into the dish, which will gradually change the brine to clear water.