,transcriber's ,note3 ,inconsistent numbering of figures and references to figures have been retained as in the original publication4 ,illustration3 ,a ,specimen of ,woodburytype ,printing4 ,,the ,,art ,,and ,,practice ,,of ,,silver ,,printing4 ,,by ,h4 ,p4 ,,robinson ,,capt4 ,,abney1 ,r4,e41 ,f4,r4,s4 ,,the ,,american ,,edition1 ,,new ,,york3 ,e4 ,h4 ,t4 ,,anthony ,,co41 ,,no4 #eia ,,broadway4 #ahha4 ,,preface4 ,silver printing has been often doomed1 but it still survives4 ,other processes of photographic printing have been introduced1 nearly all of them having their individual merits1 especially that of permanency1 but all lacking in two essential qualities--ease of production and beauty of result4 ,in these particulars no process has ever approached the one to the working of which this little book is devoted4 ,the one defect of silver printing is the possibility of its results fading2 but surely it is better to be beautiful1 if fading1 than permanent and ugly4 ,it is better to be charmed with a beautiful thing for a few years1 than be bored by an ugly one for ever4 ,but is silver printing necessarily a fading process8 ,we have in our possession a large number of silver photographs produced from twenty to twenty-five years ago1 which are as perfect in tone and colour as when they were produced4 ,carefully prepared1 and properly kept1 a silver print should be as permanent as any other4 ,that silver prints should be permanent as well as beautiful1 has been the object of ,,the ,,authors4 ,,table ,,of ,,contents4 ,,chapter ,,page ,i4--,preliminary ,experiments #a ,,ii4--,preparation of ,albumenized ,paper #f ,,iii4--,the ,sensitizing ,bath #ac ,,iv4--,how to ,keep the ,sensitizing ,bath in ,order #bj ,v4--,silvering the ,paper #bf ,,vi4--,washed ,sensitive ,paper #ca ,,vii4--,cutting ,paper #cf ,,viii4--,printing-,frames #db ,,ix4--,preparing the ,landscape ,negative #de ,x4--,printing the ,landscape #di ,,xi4--,preparing the ,portrait ,negative #eg ,,xii4--,vignetting #fj ,,xiii4--,printing the ,portrait #fi ,,xiv4--,combination ,printing #gd ,,xv4--,toning #he ,,xvi4--,fixing the ,print #ib ,,xvii4--,washing the ,print #ie ,,xviii4--,printing on ,plain ,paper #ii ,,xix4--,printing on ,resinized ,paper #ajj ,,xx4--,printing on ,gelatino-,chloride ,emulsion ,paper #ajc ,,xxi4--,drying the ,prints #aje ,,xxii4--,mounting ,photographs #aaj ,,xxiii4--,defects in ,prints #aae ,,xxiv4--,encaustic ,paste #aag ,,xxv4--,enamelling ,prints #aai ,,xxvi4--,cameo ,prints #aba ,appendix #abc ,,chapter ,i4 ,,theory ,,of ,,silver ,,printing4 ,perhaps it may be wise1 first of all1 to give the reader some account of the manner in which the subject of silver printing is to be treated1 before entering into very minute details1 so that it may be followed as a whole1 instead of being studied in fragments1 a course which is sure to lead to failure1 from a want of comprehending what may have been skipped4 ,to understand the why and the wherefore of every detail is an essential in most occupations1 and it is wonderful that photographers are satisfied with the results of rule-of-thumb formul1 instead of reasoning out their utility4 ,in the following pages most of the theoretical considerations will be brought out in such a manner that everyone will be able to understand them1 provided only that there is a slight acquaintance with the name and properties of the chemicals which are dealt with4 ,,preliminary ,,experiments4 ,into a glass beaker put a couple of pinches of common salt1 which must be dissolved in a little water4 ,in a test-tube#a dissolve about an equal amount of silver nitrate 7,ag,n,o#c71 and add it to the salt solution4 ,we shall find that we have an immediate precipitate1 for chloride of silver will be formed by what is called double#b decomposition1 and there will remain in solution a soluble salt known as sodium nitrate4 ,when the silver chloride has settled down1 decant off the liquid1 and add water to it once or twice1 draining off each time4 ,divide the chloride into four parts1 placing each part on a strip of glass4 ,on two of them pour a little common salt solution1 and on the other two pour a little solution of silver nitrate2 take one of each pair1 and place it in a dark cupboard 7if warmed1 the quicker will be the operation7 to dry4 ,take the other two moist portions of chloride into the open air1 and expose them to daylight1 and note the results4 ,it will be seen that one of these will darken very rapidly to a violet colour1 whilst the other will remain much lighter1 though perceptibly blackening4 ,after a time the latter will appear to grow deeper1 whilst the former will become a deep black4 ,the one that blackens most rapidly will be found to be that one on which the silver nitrate was poured4 ,divide the slightly blackened chloride on the strip of glass into two portions1 and over one pour a little beer1 and over the other a weak solution of potassium nitrite1 and again note the difference4 ,it will be found that here the blackening commences anew1 but proceeds much more rapidly on that portion over which the nitrite was poured4 ,here are the experiments4 ,what do they teach8 ,potassium nitrite1 and silver nitrate1 are both inorganic salts1 and they both have an affinity for--that is1 tend to combine with--any of the halogens 7by which are meant such bodies as chlorine1 iodine1 bromine1 and fluorine74 ,in the former case we have silver chloride formed with a little hypo-chlorous acid2 in the latter we have a more difficult decomposition3 the potassium nitrite is decomposed into hydrochloric acid and potassium nitrate4#c ,we can tell that chlorine is liberated by the action of light on silver chloride1 since if we prepare some as above1 well wash it1 and expose it to light in pure water1 we shall find that the latter contains chlorine1 since a few drops of silver nitrate poured into it after exposure give a white precipitate4 ,if we make the same experiments with the dried portions of silver chloride as we did with the moist1 we shall obtain the same results1 with the exception that with the dried1 in which there is excess of salt1 there will be hardly any discolouration4 ,the experimentalist should also note that if the darkened chloride be broken up1 the interior retains its white colour in all its purity4 ,this tells us that the discolouration is almost confined to the surface1 hence it is useless1 for printing purposes1 to have such a mass of chloride as would be opaque1 since all but a very thin film would be unacted upon4 ,if the darkened chloride be examined closely1 it will be seen that the colour varies1 being bluer in the case of that which has silver nitrate in contact with it 7either moist or dry7 as compared with that which is darkened in contact with the potassium nitrite4 ,we have the best of reasons for believing that the blue colour is really due to a combination between the sub-chloride and the oxygen contained in the water or in the air4 ,the true colour of the sub-chloride is that which is exposed beneath an oxygen absorbent such as the nitrite4 ,practical printers are aware that albumenized paper containing a chloride is employed for producing silver prints1 and the probability is that the albumen must exercise some kind of influence on the resulting picture4 ,let us examine this1 and see what effect it can have4 ,carefully break an egg1 and separate the yolk from the white1 pouring the latter into a beaker4 ,beat up the white with a bundle of quill pens1 allow the froth to subside1 and then filter it4 ,pour a little of the filtered albumen 7the white of egg7 into a test-tube1 and add a little silver nitrate solution to it1 and expose the precipitate which falls to light4 ,it will be seen that it darkens rapidly1 assuming a foxy red colour4 ,take a couple of glass plates and coat them with plain collodion1 wash under the tap1 and whilst still moist flow albumen over them two or three times1 and set them up to dry4 ,when thoroughly dry1 plunge them for a few seconds into a weak solution of silver nitrate 7#cj grains to the ounce of water will suffice71 wash one under the tap1 and then allow both to dry again4 ,take both plates out into the light1 and note the results4 ,the one from which the silver nitrate has not been washed will darken very rapidly1 the other will take some time to start2 but if the exposure be sufficiently prolonged1 it will gradually assume a hue equally as dark as the other4 ,if we repeat these experiments with gelatine1 which is used as a sizing in some papers1 we shall find very much the same nature of things taking place1 the differences being so slight1 however1 as not to require detailed notice4 ,so far1 then1 we have considered the darkening properties of the silver compounds which are to be used by the printer1 but it remains to be seen what permanency of darkening they possess4 ,if we treat the darkened silver chloride solution exposed with the silver nitrate or the potassium nitrite to a solution of hyposulphite of soda or ammonia1 both of which are solvents of the white chloride1 we shall find that a residue of metallic silver is left behind4 ,if we treat the darkened albuminate of silver with the same agents1 we shall find that very little change is effected by them4 ,from this we may gather that the action of light on them is of a totally different nature4#d ,this is also most marked if we treat the two with hydrosulphuric acid solution 7sulphuretted hydrogen#e74 ,it will be found that the colour of the darkened silver chloride becomes more intense1 while the other is bleached1 or1 rather1 becomes of a yellow tint4 ,this last effect has an important bearing on the permanency of silver prints1 as will be more fully explained when considering the subject of fixing the print4 ,,chapter ,,ii4 ,,preparation ,,of ,,albumenized ,,paper4 ,in printing on albumenized paper we must divide the operations1 and give a detailed account of each4 ,in case the reader may desire to prepare his own paper1 we give the following formula and directions4 ,to prepare the albumen1 procure a sufficient number of eggs1 remembering that the white of a large egg will be about a fluid ounce2 have a cup to collect the yolks1 and a four-ounce measure at hand4 ,give the centre of the egg a smart blow against the top of the cup4 ,the shell can now be readily pulled in two1 the yolk remaining unbroken with part of the albumen in one half1 and the rest of the albumen in the other half of the shell4 ,take the halves1 one in each hand1 and pour the albumen from one to the other1 holding them over the small measure4 ,as the operation continues1 the yolk will gradually separate1 the white falling into the vessel below4 ,if conducted with care1 the whole of the latter will be collected without breaking the yolk4 ,if the yolk break1 some will be sure to find its way into the measure along with the white1 and this1 together with the white speck known as the tread1 must be rigorously taken out by means of a spoon4 ,the uncontaminated white is then poured into a large jar4 ,if the operator carefully collects the white of each egg into the four-ounce ounce measure first1 he will find his labour much diminished1 as it is awkward to get out the small pieces of yolk from a large quantity of albumen4 ,the eggs are thus broken1 and the white collected till there is a sufficient quantity for the purpose in hand4 ,suppose we are going to make up #bj ounces of solution1 then about #ah ounces of white of egg must be found in the jar4 ,one point to settle is the amount of salt to be used to each ounce of albumen4 ,it must be recollected that a medium quantity is the best for medium negatives2 anything between #bj and #dj grains per ounce may be used4 ,we prefer ourselves about #be4 ,supposing this quantity to be used1 we proceed to dissolve #ejj grains of chloride of ammonium in #b ounces of water1 and add it to the albumen4 ,it has been proved that as regards colour of the picture1 it does not matter what chloride is used4 ,to prevent crystallization1 it is better to use ammonium1 which contains a greater amount of chlorine than do sodium or potassium chlorides4 ,it must now be beaten up till it is in a froth4 ,this breaks up the fibrous matter1 and on subsidence the liquid will be found to be limpid4 ,the most convenient implement with which to beat up the albumen is the ,american egg-beater4 ,three or four minutes' work is quite sufficient to make the whole into a froth4 ,an ordinary culinary whisk1 such as is used in the kitchen1 may also be put into requisition1 or1 in default of that1 a bundle of quill pens4 ,a lesson in producing a froth can be learnt from the cook of the establishment4 ,when the salted albumen has settled it must be filtered1 which1 perhaps1 is best effected through a sponge1 though glass-wool is a capital substitute4 ,in either case a small1 loosely-fitting plug is placed in the neck of an ordinary funnel1 and1 after rinsing with cold water1 the albumen is poured in1 and allowed to filter through slowly4 ,it is advisable to avoid bubbles as far as possible1 and the accompanying arrangement will be found to avoid their formation4 ,the funnel is placed in the position shown 7fig4 #a72 the capillary attraction between it and the glass will cause the drops to trickle down the side1 and collect1 without bubbles1 at the bottom4 ,this little contrivance will be found of use in other operations besides that of silver printing1 and should be made a note of4 ,the albumen may also be filtered through one1 two1 or three thicknesses of muslin1 according to its fineness1 tied over the mouth of a bottle or beaker of which the bottom has been removed4 ,the albumen is placed in a vessel slightly larger than the filter1 which is allowed to sink gradually4 ,when full it is withdrawn1 and the fluid poured into the dish4 ,by this plan upward filtration is established4 ,the fluid may be poured into the filter itself1 and used in the ordinary manner4#f ,illustration3 ,fig4 #a4 ,illustration3 ,fig4 #b4 ,on a larger scale1 white of eggs in a fresh condition can be obtained from egg merchants who utilize the yolks by selling them to the grocers and confectioners4 ,albumen can be obtained by the gallon in this condition1 according to the price of eggs4 ,it will be evident that there is considerable economy in taking the whites wholesale4 ,as a rule1 about three gallons of albumen will coat two reams of albumenized paper4 ,mr4 ,england 7to whom we are indebted for so many of our remarks on albumenizing paper7 procures about the latter quantity at a time1 and beats it up mechanically in a large vat holding some fifty gallons1 in order to allow space for the froth4 ,he allows the albumen to rest four days before employing it1 and filters it through three thicknesses of flannel4 ,the quality of paper to be used varies considerably with the custom of the printer4 ,thus1 in some countries1 we find a much thinner paper used than in ,england4 ,the great desideratum is that it should be perfectly opaque to transmitted light4 ,a good test of this is to make a couple of black ink marks on a piece of white paper1 and then press down firmly the paper it is proposed to employ over this4 ,if the black ink marks are indistinguishable1 the paper will do as regards this quality1 as the light reflected from the surface which gives the impression of whiteness to the eye is much stronger than the light which penetrates through it1 and is absorbed by the black lines4 ,as to quality1 it is best to trust to the manufacturer1 those known as ,saxe and ,rives papers answering better than any other that we know of4 ,the ,rives is1 when moist1 a paper which is more easily torn than the ,saxe1 and1 consequently1 we recommend that the former be employed for small work1 such as portraits1 and the latter for large landscape prints4 ,in regard to the sizes to be albumenized1 it must be left to the operator to say what will be the most useful to him4 ,it is rarely advisable to albumenize less than a half sheet of paper1 the whole size of which is about #bb by #ah inches2 #aa by #ah is not an inconvenient size to manipulate4 ,at any rate1 a dish larger each way by a couple of inches than the paper must be procured1 and put on a level table4 ,the temperature of the room should be at least #ij1 in fact1 the hotter it is the more glossy will be the resulting paper4 ,the solution1 free from bubbles1 is poured in1 and should be of a depth of at least #a_/b an inch4 ,suppose the smaller size to be coated1 before commencing1 the paper is taken by the two opposite corners1 the hands brought together1 and the convex side brought on to the surface of the fluid2 the hands are then separated1 and the paper will gradually float on the surface4 ,one corner should be gradually raised to see that all air-bubbles are absent4 ,if there be any1 they should be broken with the point of a glass rod1 and the paper again lowered4 ,bubbles can usually be seen through the paper1 and1 instead of raising it1 a few gentle taps with the finger over the spot will generally move the bubble to the edge of the paper4 ,in practice1 some have found it well to moisten the surface of the paper with a damp sponge1 and when quite surface dry to albumenize it4 ,this should1 however1 be unnecessary4 ,the sheet should remain on the albumen a little over a minute1 when it could be gently raised by one corner and allowed to drain over a basin2 it is then caught by a couple of ,american clips and hung up to dry4#g ,illustration3 ,fig4 #c4 ,supposing a whole sheet is to be coated1 it will be found more convenient to take the sheet by the corners of one end1 one in each hand1 and to lower the surface near the end of the dish1 and gradually draw the paper over the side of the dish till the whole surface is flat4 ,bubbles can be got rid of as shown above4 ,two large dishes are usually employed1 and by the time the second sheet is floated in the second dish1 the first sheet of paper is ready for removal from the first dish4 ,the sheets1 when slowly removed from the bath1 are allowed to drain a few seconds1 and then thrown over wooden rods of some two inches in diameter1 which are removed to a rack1 and placed near a trough to collect the drainings4#h ,when drained sufficiently the rods are removed to other racks1 and the paper allowed to dry spontaneously4 ,it is the practice of some albumenized paper manufacturers to hang the sheets over a line1 uncoated side next the line2 but this is a mistake1 as it will nearly always be found1 on sensitising the paper and exposing it1 that a mark is left across the paper corresponding to the part where the string touched the back of the paper4 ,in practice we have found that each sheet of paper takes up about #a_/c oz4 of solution1 and1 of course1 its equivalent quantity of salt4 ,the principal difficulty in albumenizing paper is the occurrence of lines on the paper in the direction in which it was placed on the surface of the albumen4 ,any arrest of motion in floating the paper will cause them1 but more usually it is due to imperfect beating up of the solution4 ,some papers are not readily coated with albumen1 in which case the remedy given above may prove effectual2 or a little solution of oxgall may be equally well applied4 ,a want of gloss in the dried albumen may be due to too long a floating on the fluid1 or to floating and drying the paper in too low a temperature4 ,the explanation of the first cause is that albumen1 when fresh1 has an alkaline reaction1 due to the presence of a small quantity of soda1 which may be said to be its base1 and any alkali will dissolve the gelatinous sizing of a paper4 ,when the sizing is dissolved1 instead of remaining on the surface1 the albumen sinks into the paper1 and thereby the gloss is lost4 ,when albumen is stale it no longer possesses this alkaline reaction1 but has an acid reaction quite visible on the application of blue litmus paper to it2 the blue colour disappears and is replaced by a red tint4 ,when in the alkaline state1 the paper is much more difficult to coat1 but an acid condition means the production of inferior tones4 ,rolling the ,paper4--,the paper1 when dried1 is often rolled with a heavy pressure to improve the gloss2 a copper-plate press is found to answer admirably1 placing the albumenized side next the bed4 ,this rolling should not be necessary if attention be paid to the temperature of the preparation room4 ,the higher the temperature the finer will be the gloss1 as we have already said4 ,,chapter ,,iii4 ,,the ,,sensitizing ,,bath ,,for ,,albumenized ,,paper4 ,to render albumenized paper sensitive to light it has to be treated with a solution of silver nitrate1 and the most convenient method of applying it is to float it on a dish containing the silver salt in solution4 ,the first point to consider is the strength of the solution4 ,if we float albumenized paper 7face downwards7 on a solution of #aj grains of silver nitrate to the ounce of water1 we shall find1 what at first sight may seem to be remarkable1 that the albumen will be dissolved away from the paper1 and that there will be a precipitate left in the silver solution4 ,why is this8 ,it must be remembered that albumen is soluble in water3 it is coagulated or insoluble in water when combined with silver nitrate4 ,the fact is that the quantity of silver nitrate in the solution we have been experimenting with is too small4 ,the water dissolves the albumen first1 and then the silver has time to act upon it to form the insoluble albuminate4 ,if we soak paper in common salt1 and treat it in the same way with the same strength of solution1 we shall find that this is not the case3 the silver chloride will remain on the paper4 ,from this we learn two facts4 #ast4 ,that the silver solution has a greater affinity for the chloride than for the albuminate1 and that in an equal mixture of the two more chloride would be formed than albuminate2 in other words1 that the ammonium chloride would be totally converted into silver chloride long before the silver albuminate was formed4 #bnd4 ,that a certain strength of silver nitrate is necessary to prevent the albumen dissolving from off the paper4 ,this last fact has fixed the lowest strength of any sensitizing solution to be thirty grains to the ounce1 and even if this be taken as a limit1 it is necessary that the water should be rendered less active by holding some other soluble matter in its embraces4 ,this is usually effected by adding some other neutral and inactive nitrates4 ,there does not seem to be any theoretical limit to the amount of silver nitrate in solution1 but practically it rarely contains more than #hj grains to the ounce1 though occasionally we have heard of it being used of a strength of #ajj grains to the ounce4 ,the important point now presents itself4 ,how are we to fix the strength of the bath8 ,what principles must we follow8 ,to answer these questions we extract a passage from another work of this series4#i ,if a paper be coated with albumen 7say7 in which has been dissolved a certain quantity of a soluble chloride1 and floated on a silver solution1 both chloride and albuminate of silver are formed4 ,it depends1 however1 on the strength of the solution as to what proportions of each are present1 owing to the fact that the organic compound is much slower in formation than the chloride1 and has less affinity for the silver4 ,if the silver solution be not sufficiently strong1 the chloride may rob that portion of it with which it is in contact of all the silver before any 7or1 at all events1 sufficient7 albuminate has been formed1 the molecule being composed almost entirely of silver chloride4 ,the stronger the silver solution the more 'organate' will it contain2 whilst if it be very weak1 very little will be present4 ,hence it is with albumenized paper which is weakly salted with a silver chloride a weak sensitizing bath may be used1 whilst if it be rich in the chloride it must be of proportionate strength4 ,it will now be seen that the proportion of chloride to albumen has to settle the point4 ,we next have to consider the time during which the silver should be in contact with the paper when the floating is commenced4 ,let us take the case of a strong silver solution1 and consider the action that will follow4 ,immediately the paper is placed in contact with the solution1 silver chloride is formed1 and the amount of the silver nitrate in the layer of fluid in immediate contact with the surface being scarcely diminished by the formation of silver chloride1 the albuminate is formed almost simultaneously1 forming a film which is to a great extent impermeable to the liquid4 ,but even before this layer is coagulated1 the next layer of chloride will have been formed1 so that we may say we have one layer of albuminate and chloride of silver1 and one layer of chloride of silver alone4 ,the further penetration of the silver solution will be very slow2 hence1 for fully saturating both the albumen and the salt with silver1 the time of flotation must be prolonged4 ,for some purposes1 however1 this is not necessary1 as will be seen presently4 ,next let us trace the action of a weak solution1 not weak enough to dissolve the albumen off the paper1 but of the minimum strength4 ,the solution1 as before1 would immediately form the silver chloride1 but before the albumen had coagulated at the surface1 the solution would penetrate to the interior of the film1 and then the formation of the albuminate would proceed nearly equally throughout the whole of the interior4 ,evidently1 then1 in this case1 the contact of the silver solution would be less prolonged than in the former case4 ,if the floating be prolonged the silver solution in the interior will become weakened1 and partially dissolve the albumen and be carried by the water into the interior of the paper2 it will also partially dissolve off the surface1 and a negative printed on such a paper would have all the appearance of being dead in lustre1 and existing in the paper itself instead of on the surface4 ,we may thus summarize3-- #a4 ,a paper floated on a strong solution may require long floating4 #b4 ,a paper floated on a weak solution requires short floating4 #c4 ,and the strength of the solution may be between the #cj grains and #hj grains to the ounce of silver according to the amount of soluble chloride dissolved in the albumen on the paper when the negative is really good as regards opacity and delicacy4 ,the knowledge of the amount of chloride in the paper supplied by dealers has to be arrived at somehow1 and the following method will answer4 ,cut up a quarter sheet of the paper into small pieces1 and place them in a couple of ounces of methylated spirit4 ,this will dissolve out most of the chloride1 and should be decanted off4 ,another two ounces of spirit should be added to the paper1 and1 after thoroughly soaking1 should be decanted off1 and added to the other spirit4 ,the spirit containing the chloride may then be placed in a glass vessel standing in hot water1 when it will evaporate and leave the chloride behind4 ,it may be weighed2 but since it is better to know how much silver chloride 7,ag,cl7 would be formed1 the residue should be dissolved in a few drops of water1 and a little silver nitrate added4 ,the silver chloride will be precipitated1 and should be carefully washed with water1 and then be filtered1 the paper being opened out and dried before the fire on filter paper4 ,the chloride is then detached and weighed2 #c-a_/b grains of silver chloride would show that a weak bath should be used1 whilst #aj grains would show that a strong bath was required4 ,with most brands of albumenized paper directions are issued as to the best strength of silver nitrate solution for sensitizing1 and a fair estimate of the chloride present can be gained from such directions4 ,a weak solution loses much of its strength by each sheet of paper floated1 much more proportionally1 in fact1 than a strong solution1 since the same amount of fluid is absorbed by the paper in each case1 whilst the amount of silver abstracted from the whole is also equal1 which reduces the strength per ounce more with the former than with the latter4 ,a weak sensitizing solution1 therefore1 requires much more attention than a strong one3 crystals of silver nitrate must be constantly added to the former4 ,in practice and for general work1 then1 we recommend a moderately strong bath1 the method of making up of which we shall describe4 ,to make up #b pints of solution with a strength of #ej grains to the ounce1 we shall require #b1jjj grains of silver nitrate4 ,this is carefully weighed out in the scales1 a piece of filter paper being placed in each pan4 ,by adopting this plan freedom from all impurities that may cling to the pans will be avoided1 and the silver nitrate will be perfectly pure4 ,place the silver salt in a large clean bottle1 and add half-a-pint of water to it1 and shake it to dissolve it4 ,the best water for the purpose is distilled water2 but filtered rain1 pure spring1 or river water answers well4 ,if the water contain any chlorides1 it will be shown by a milkiness due to a formation of silver chloride4 ,this must be filtered out when the remaining pint and a-half of water is added4 ,the solution is now ready for use1 and1 being of the simplest character1 is not to be excelled1 though the addition of some soluble salts may be advantageous1 particularly in dry climates or in very dry weather4 ,such salts are found in sodium nitrate1 or ammonium nitrate1 as much as equal weights of either of these substances being added4 ,thus our formula would stand as follows were these additions made3-- ,original ,solution4 #a4--,silver nitrate #ej grains ,water #a ounce ,modified ,solution4 #b4--,silver nitrate #ej grains ,ammonium nitrate or sodium nitrate #ej ,water #a ounce ,the reason of the addition of the ammonium or sodium nitrate is that prints are better obtained on paper which is not absolutely free from water4 ,when very dry1 the liberated chlorine 7see page #cb7 is apt to attack the albuminate1 whereas it is deprived of much of its activity when it is able to be absorbed by water1 which1 in the presence of light1 is decomposed into hydrochloric acid and oxygen4#aj ,hydrochloric acid can attack the silver nitrate present in the pores of the paper1 and produce fresh silver chloride4 ,if the paper were quite dry1 the liberated chlorine would scarcely be able to attack even the silver4 ,moisture1 though very little1 is desirable4 ,in the excessively dry climate of ,india1 c41 in the summer1 one or other of these deliquescent salts should be invariably present for the purpose indicated1 unless fuming be resorted to4 ,the sensitizing bath should also never be allowed to be acid with nitric acid1 since the resulting prints would invariably be poor4 ,the best way of securing this neutral state is by keeping a little carbonate of silver at the bottom of the bottle in which the solution is kept4 ,a few drops of a solution of sodium carbonate added to the bottle over-night will secure this4 ,the reason why nitric acid is to be avoided is shown by placing a print in dilute nitric acid4 ,it is well known that darkened silver chloride is unaffected by it2 but the print will be found to change colour1 and to become duller and redder than if washed in water alone4 ,the nitric acid evidently attacks the albumen4 ,nitric acid decomposes the carbonate of silver 7which1 be it remembered1 is an insoluble body71 forming silver nitrate1 and liberating carbonic acid4#aa ,alum in the printing bath has also been recommended for preventing the bath from discolouring1 and it is effective in that it hardens the surface of the albumen2 but the ordinary explanation of its effect is defective4 ,if a solution of common alum be added to the silver nitrate we get silver sulphate 7which is best out of the bath1 and it is slightly soluble in the solution71 and aluminium nitrate is formed4#ab ,the same effect would be produced if aluminium nitrate were added to the bath solution4 ,we1 however1 give a means of adding it as recommended by some writers4 ,when filtering the solution1 put a small lump of alum in the filter paper1 and pour the solution over it1 or add one grain of alum to every ounce of solution1 and then filter4 ,,chapter ,,iv4 ,,how ,,to ,,keep ,,the ,,sensitizing ,,bath ,,in ,,order4 ,experience tells us1 however strong we may make the bath solution to coagulate the albumen on the paper1 that a certain amount of organic matter will always be carried into it4 ,at first this is not apparent1 since it remains colourless in the solution2 but after a time1 after floating a few sheets of paper1 the organic silver compound gradually decomposes1 and the solution becomes of a brown or red tint1 and if paper were floated on it in this condition there would be a dark surface and uneven sensitizing4 ,it is1 therefore1 necessary to indicate the various means that may be employed to get rid of this impurity4 ,the earliest1 if not one of the best1 is by the addition of white ,china clay1 which is known in commerce as kaolin4 ,a teaspoonful is placed in the bottle containing the solution1 and well shaken up2 the organic matter adheres to it1 and precipitates to the bottom1 and the liquid can be filtered through filter-paper or washed cotton-wool1 when it will be found decolourized4 ,another mode of getting the liquid out of the bottle is to syphon it off by any syphon arrangement1 and this prevents a waste in the solution from the absorption of the filtering medium4 ,the accompanying arrangement 7fig4 #d7 will be found useful for the purpose1 and can be applied to other solutions where decantation is necessary4 ,a is a wide-mouthed bottle holding the solution4 ,b is a cork fitting the mouth1 in which two holes have been bored to fit the two tubes1 ,d and ,c1 which are bent to the form shown4 ,when the kaolin has subsided to the bottom1 air is forced by the mouth into the bottle through ,c1 the liquid rises over the bend of the tube ,d1 and syphons off to the level of the bottom of the tube inserted into the liquid1 provided the end of ,d1 outside the bottle1 comes below it4 ,illustration3 ,fig4 #d4 ,illustration3 ,fig4 #e4 ,to bend a tube1 a common gas flame is superior to a ,bunsen burner4 ,the tube is placed in the bright part of the flame in the position shown2 by this means a good length of it gets heated1 and a gentle bend is made without choking the bore1 which would be the case were a point of a flame used4 ,another method of purifying the solution is by adding a few drops of hydrochloric 7muriatic7 acid to it4 ,chloride of silver is formed1 and when well shaken up1 carries down with it most of the organic matter1 but leaves the bath acid from the formation of nitric acid4#ac ,this must be neutralized unless a little silver carbonate is left at the bottom of the bottle as described at page #bj4 ,a camphor solution may also be added for the same purpose4 ,make a saturated solution of camphor in spirits of wine1 and add a couple of drachms to the solution1 and shake well up4 ,the camphor will collect the albumen1 and it can be filtered out4 ,in case the first dose does not decolourize it1 another one must be added4 ,another plan is to add potassium permanganate 7permanganate of potash7 to it1 till such time as the solution takes a faint permanent rose tint4 ,the theory is that the organic matter is oxidized by the oxygen liberated from the permanganate1 and falls to the bottom4 ,it is not strictly true1 however1 and the solution will never be as free from organic matter as when the other methods are employed4 ,the final and best method is to add a small quantity of sodium carbonate 7say #e grains71 and expose it to daylight4 ,when the organic matter becomes oxidized at the expense of the silver nitrate1 the metallic silver with the oxidized organic matter will fall to the bottom4 ,this plan answers admirably when time is no object1 but in dull weather the action is slow4 ,when once the precipitation fairly commences it goes on quickly1 and if a little freshly precipitated metallic silver be left at bottom of the bottle the action is much more rapid4 ,this is a wrinkle worth remembering in all photographic operations where precipitation is resorted to4 ,we have hitherto supposed that the only contamination of the bath is organic matter1 but it must be borne in mind that each sheet of paper floated on the solution transfers a certain amount of nitrate of the alkali#ad with which the albumen is salted4 ,illustration3 ,fig4 #f4 ,it will thus be seen that in an old bath there will be no need to add the soluble nitrates given in page #ag1 since they will be already formed4 ,when they are in excess the best plan is to precipitate the silver by some means1#ae but we select one which is easy of application1 since it requires no watching4 ,evaporate the solution to half its bulk1 and slightly acidify it with nitric acid 7#aj drops to the pint of solution will suffice72 throw some ordinary granulated zinc into the jar or bottle containing it2 the silver will now be rapidly thrown down in the metallic state1 and in the course of two or three hours the action will be complete4 ,next carefully pour off all the fluid as close as possible to the residue4 ,pick out all the lumps of zinc1 and add a little dilute hydrochloric acid to dissolve up all the small particles of zinc which may be amongst the precipitated silver4 ,filter the solution away1 and wash the residue once or twice with water4 ,take out the filter paper1 and dry it before a fire1 or in an oven1 and then detach the silver1 and transfer it to a small crucible1 which place1 with its contents1 over a ,bunsen burner or spirit lamp flame till it is red hot4 ,the heat will destroy all organic matter1 leaving a residue of carbonous matter behind1 which1 after subsequent operations1 will be eliminated by filtration4 ,next cover the silver with nitric acid1#af and in an evaporating dish slightly warm it over a spirit lamp or ,bunsen burner4 ,red fumes will appear1 and when all action has ceased1 more acid must be added till such a time that very nearly 7but not quite7 all the silver is dissolved up4 ,then evaporate off all the fluid and allow it to cool1 when water can be added to such an extent that it is over strength for the bath4 ,now measure the whole bulk of the solution in a glass measure1 and test by the argentometer for strength4 ,an argentometer is1 in reality1 an instrument for taking the specific gravity of a liquid4 ,it is as shown in the figure4 ,a ,b is a glass tube1 inside of which is a graduated scale showing grains2 ,c is a hollow glass cylinder1 which has a little glass ball filled with mercury4 ,when immersed in water1 the instrument sinks till the scale reads #j--that is1 ,a ,b is deeply immersed4 ,when any soluble salt is dissolved in the water1 the stem rises further4 ,if the soluble salt be silver nitrate1 the scale is made to read grains per ounce4 ,it is then evident1 if the bath contains any other soluble salt besides the nitrate of silver1 the readings will be untrustworthy4 ,supposing you have a total quantity of #aj-a_/d ounces of solution1 and the argentometer tells you it is of a strength of #aje grains to the ounce1 you must make a small calculation to see how much water you must add4 ,in #aj-a_/d ounces of solution there will be #aj-a_/d #aje or #ajgf-a_/d grains of silver nitrate4 ,if you want to make the bath #dj grains to the ounce1 you must divide this quantity by #dj1 which is very nearly #bg4 ,the original amount of fluid 7#aj-a_/d ounces71 when deducted from this number of 7#bg7 ounces1 will give you the amount 7#af-c_/d ounces7 of water that is to be added to give you a bath of the required strength4 ,when the water is added1 the solution should be filtered from the carbonaceous matter1 and the bath1 after neutralizing with sodium carbonate1 will be ready for use4 ,,chapter ,v4 ,,applying ,,the ,,silvering ,,solution ,,to ,,the ,,albumenized ,,paper4 ,as each piece of paper takes somewhere about five minutes to sensitize and hang up to dry1 it is evident that the larger the piece of paper sensitised the greater will be the saving in time in this operation4 ,practically a whole sheet of paper1 which is about #bb inches by #ah1 is the maximum ordinary size1 whilst it may be convenient to float a piece as small as #c-a_/d by #d-a_/d4 ,there is not much difficulty in floating either one or the other if ordinary care be taken1 but it is no use disguising the fact that large sheets are sometimes faultily sensitized even by experienced hands1 if the solution be not in a proper state4 ,the great enemy to success is the formation of bubbles on the surface of the solution1 and if it be at all contaminated with organic matter they are more liable to be met with than if the bath be new4 ,it may be taken as a maxim that no paper should be floated if1 to commence with1 the bath be not purified4 ,a flat dish of about #b-a_/b inches in height1 and an inch larger in breadth and length than the paper to be floated1 is used1 and the solution poured in to a depth of #a_/b inch4 ,the paper is grasped by the two hands as shown at page #aj1 so that a convex albumen surface is formed downwards1 which is placed diagonally across the dish and lowered on to the surface of the solution2 the hands are at the same time separated outwards1 so that the whole surface of the paper is caused to float on it without any arrest4 ,by this means all air is forced out before the paper1 and no bubbles should be beneath4 ,to make assurance double sure1 the paper is raised from the corners which were not grasped by the hands1 and if by any chance a small bubble should be found1 it is immediately broken by the point of a clean quill pen or glass rod4 ,before floating the paper the surface of the solution should be examined for scum or bubbles1 both of which may be removed by passing a strip of clean blotting-paper across it4 ,the dish employed should be scrupulously clean1 and in cold weather it is a good plan to warm both it and the solution before the fire previous to use4 ,in warm weather1 the albumen of the paper may be in a very horny condition1 which increases the liability to form bubbles4 ,the writers have found that if the sheet of paper be exposed to the steam passing from a kettle of boiling water for a few seconds 7moving it so that every portion shall come in contact with it7 just before sensitising1 the surface becomes more tractable1 and in a better condition for sensitizing2 keeping the paper in a moist atmosphere effects the same end4 ,the length of time for floating the paper depends on the subjects to be printed1 but1 as a rule1 three minutes with the #ej-;grain bath will be found to answer for the majority of negatives4 ,when the proper time has elapsed1 a corner of the paper is raised from the solution by means of a glass rod1 and grasped by the thumb and forefinger of the right hand4 ,it is then raised very slowly from off the solution till another corner is clear1 when that is grasped by the forefinger and thumb of the left hand2 and it is finally withdrawn entirely1 and drained a minute from the lowest corner into the dish4 ,it is next hung up to dry by a corner which should be fastened to an ,american clip 7fig4 #g7 suspended from a line stretched across the dark room1 taking care to keep the corner which last left the solution the lowest4 ,a piece of clean blotting-paper about one inch long by #a_/b an inch wide is brought in contact with this latter corner1 and adheres to it from the moisture4 ,this collects the draining from the paper whilst drying1 and prevents a loss of silver1 since it can subsequently be detached and placed amongst the residues for burning4 ,illustration3 ,fig4 #g4 ,illustration3 ,fig4 #h4 ,there is another mode of floating large sheets of paper1 which is sometimes recommended4 ,one corner is turned up about a quarter of an inch4 ,this is held by the forefinger and thumb of the left hand1 and the opposite corner of the diagonal held by the right hand4 ,the first corner is brought on the solution near the opposite corner of the dish to that towards which it will eventually be near4 ,the sheet1 having assumed a convex form1 is drawn by the left hand across the dish1 the right hand being gradually turned to allow the whole surface to come slowly in contact with the solution4 ,air-bubbles are said to be avoided by this means1 though for our own part we see no practical advantage in it over the last method4 ,illustration3 ,fig4 #i4 ,some operators also1 when lifting the paper from the dish1 pass it over a glass rod placed as in the figure1 in order to get rid of all superfluous fluid from the surface4 ,this is a poor substitute for withdrawing the paper slowly from the dish1 since capillary attraction is much more effective and even in its action than this rude mechanical means4 ,by those who do not possess patience1 however1 it may be tried4 ,some practical photographers also blot off the excess of silver1 but this is a dangerous practice unless there is a certainty that no anti-chlor has been used in preparing the blotting-paper4 ,for our own part we recommend the usual mode of draining the paper4 ,when surface dry1 it can be dried in a drying box4 ,the following is a kind which has been adopted by one eminent photographer1 and is excellent in principle4 ,over a flat and closed galvanized iron bath erect a cupboard4 ,fig4 #aj gives the elevation1 and fig4 #aa the section4 ,a is the bath1 ,d the cupboard1 which may conveniently be closed with a roller shutter1#ag ,b1 passing over c c1 and is weighted by a bar of lead1 so as to nearly balance the weight of the shutter when closed4 ,a couple of ,bunsen gas-burners1 ,e ,e1 heat the water in ,a2 the steam generated is carried up the flue ,f1 which also carries off the products of the combustion of the gas4 ,the paper may be suspended from laths tacked at the top of the cupboard by means of ,american clips4 ,illustration3 ,fig4 #aj4 ,illustration3 ,fig4 #aa4 ,,chapter ,,vi4 ,,washed ,,sensitive ,,paper4 ,for some classes of work sensitized paper may be washed with advantage previous to drying1 and there is much economy in this plan1 particularly in hot weather1 since it keeps of a purer white for a much longer period than where the silver nitrate is allowed to dry on the surface4 ,it may not be out of place to call attention to the action of silver nitrate on the paper4 ,if a stick of lunar caustic be applied to the skin when dried1 there is a peculiar burning effect produced1 and even in the dark the cuticle becomes discoloured1 though not black4 ,in the albumenized paper we have albumen and the gelatine sizing1 and these substances behave somewhat like the skin4 ,the gelatine particularly will become oxidized at the expense of the silver1 a reddish organic oxide being formed2 and again1 if the silver nitrate be alkaline or strictly neutral1 we have the same action occurring as when we precipitate metallic silver by means of an alkali1 and an organic body such as sugar of milk4 ,the gelatine takes the place of the latter4 ,when the free silver nitrate is removed1 the tendency for the spontaneous darkening of the paper is much diminished1 since the chloride and albuminate of silver are much less readily reduced than the nitrate4 ,the following plan is adopted for washing the paper3--,the paper1 after floating1 is drawn twice rapidly through a dish of rain or distilled water1 and1 unless some other substance which can absorb chlorine be added to the last wash water1 care should be taken not to soak out all the free nitrate1 as then the paper would produce flat prints4 ,it is then hung up to dry as before4 ,immediately before use it must be fumed with ammonia1 in order that the prints may be plucky1 and free from that peculiar speckiness of surface which is known to the silver printer as measles4 ,we can readily trace the measles to their source4 ,suppose all free silver nitrate is washed away1 and the paper be then exposed to light1 the chloride is rapidly converted into subchloride1 and chlorine is given off 7see page #e72 if there be nothing to absorb it at once it will attack the albuminate1 which is blackened at the same time1 and fresh chloride will be formed in little minute spots4 ,these discolour1 and are of different tint to the rest of the print1 and give rise to the appearance of measles4 ,this1 of course1 is not so marked when a little free silver nitrate is left in the paper2 but as what is removed is principally removed from the surface1 it may still be unpleasantly discernible4 ,fuming obviates it entirely if properly performed1 for chlorine and ammonia combine to form finally ammonium chloride1 a neutral and inactive salt4 ,any other chlorine absorber may be substituted2 thus citric acid1 potassium nitrite1 and many others are effective1 and cause vigorous prints to be produced4 ,perhaps the easiest way of giving the paper the necessary amount of ammonia is that recommended by ,colonel ,wortley4 ,this is to place overnight the pads of the printing-frame1 if they be of felt1 into a closed box in which is placed a saucer containing a couple of drachms of liquor ammoni1 and to withdraw them as required for the printing-frames4 ,the pads will be thoroughly impregnated with the vapour of ammonia1 and a couple or more prints1 in succession1 may be made before it is necessary to change them4 ,the ordinary method of fuming is that used in ,america4 ,hearn describes a box1 which is very convenient and simple in construction4 ,he says3 ,take any common wooden box1 large enough for the purpose1 and make a door of suitable size for it1 which1 when shut1 will totally exclude all light4 ,make a false bottom in this about six inches1 or so1 from the real one1 and perforate it with holes of about the same size that a gimlet would make4 ,these holes should be very numerous1 and at the centre there should be1 if anything1 a smaller number of them1 because the saucer containing the liquor ammonia is generally placed at the centre of the real bottom of the box4 ,for our own part we dislike the false bottom as constructed1 and recommend one of fine gauze1 and1 instead of placing half-an-ounce of ammonia in the saucer as ,hearn directs1 we prefer to soak half-a-dozen sheets of blotting-paper in ammonium chloride solution1 about #bj grains to the ounce1 and the same number of sheets soaked in lime water2 one sheet of each are placed together1 and ammonia is liberated by double decomposition2 calcium chloride being also formed4 ,this method is excellent in hot1 dry weather1 since it imparts a certain amount of moisture to the paper4 ,in damp weather it is a good plan to dry the vapour by sprinkling on the gauze calcium chloride1 which will rapidly absorb the aqueous vapour1 and will allow the ammonia to pass on unimpeded4 ,the sheets of paper are held at the top of the box by ,american clips1 suspended from laths about three inches apart1 and it is not a bad plan to fasten a lath on to their bottom edge by the same means1 to do away with their curling4 ,to fume a single piece of paper it may be pinned up to the inside of the top of the lid of a box1 and a drachm of ammonia sprinkled on cotton wool distributed at the bottom4 ,the point to be attended to is that the fuming shall be even1 and it is evident that the ammonia should rise equally from any part of the bottom of the box4 ,in the plan of the box given above1 the bottom of the sheet is apt to get a little more ammonia than the top4 ,the time of fuming depends on so many things that a rule can scarcely be given for it2 twenty minutes may be considered about the extreme limit4 ,if this sensitizing bath be acid1 the time must evidently be longer than when it is strictly neutral or slightly alkaline2 and if the negative be hard1 it will require to be less fumed than if it be of a weak nature1 since the action of ammonia is to cause rapid darkening in the deep shadows4 ,in hot weather the fuming should be shorter than in cold1 since the ammonia volatilizes much more rapidly when the temperature is high4 ,on the whole1 we recommend ,colonel ,wortley's plan of fuming the pads in preference to fuming the paper4 ,another mode of preserving the paper from discolouration is to add citric acid to the printing bath1 which is effective owing to the fact given at page #cb4 ,the following formula is a good one1 and has answered with the writer4 ,it is-- ,silver nitrate #ej grains ,citric acid #bj ,water #a ounce ,the paper is floated for the ordinary length of time1 when it is dried thoroughly and placed between sheets of pure blotting-paper4 ,it will keep in its pristine state for months1 if excluded from the air4 ,it is better to fume this paper strongly before use1 or the toning becomes a difficult matter4 ,ordinary sensitized paper may be preserved for a considerable time if1 when dry1 it is placed between sheets of blotting-paper saturated with a solution of carbonate of soda1 and dried4 ,washed sensitized paper is also improved in sensitiveness by floating it for a few seconds on-- ,citric acid #bj grains ,potassium nitrite #aj ,water #a ounce ,it can be fumed1 when dried1 in the usual manner4 ,in the ,,year-,,book ,,of ,,photography for #ahhj ,mr4 ,a4 ,borland recommends the following modification3-- ,he floats the paper on nitrate of silver1 as usual1 and after it has drained surface dry1 blots off any drops that may remain at the edges1 and then floats the back of the paper for about three minutes on the following bath3-- ,nitrate of soda #a ounce ,distilled water #af ounces ,this is rendered slightly acid by a little solution of freshly prepared citric acid in water4 ,the degree of acidity is regulated by litmus paper 7the blue specimen71 which should be slightly reddened by it4 ,after this solution has been mixed about ten minutes1 it is filtered1 and the paper floated4 ,mr4 ,borland says the paper keeps well1 and prints the same as ordinary paper1 and any tone may be produced4 ,,chapter ,,vii4 ,,cutting ,,paper4 ,we have often come across operators who have no really definite plan on which they cut up their paper for a day's work1 and they have little idea of the most economical place of dividing the sheets4 ,the following remarks by ,mr4 ,hearn1 which appeared in the ,,photographic ,,news1 #ahgd1 will be useful to the printer1 and1 being so extremely well described1 we take the liberty of reproducing them4 ,in cutting up the paper for printing1 due regard should be given to the materials employed4 ,in the first place1 the fingers should be free from anything that will stain or soil the paper1 and they should never touch the silvered side1 but always the back4 ,the hands should be perfectly dry1 free even from any perspiration1 for if this is not strictly regarded in the handling of the paper1 'finger stains' will appear on those parts of the paper with which the fingers come in contact4 ,to guard against this1 a rough towel should be suspended in a convenient place1 and the hands wiped upon it as often as may be found necessary--say once in every five or ten minutes4 ,an ivory newspaper cutter1 about eight inches long and an inch wide1 together with a suitable sized pair of shears1 will be all of the instruments necessary4 ,in cutting the paper for very large prints1 such as #ac by #af1 #ad by #ah1 #af by #bj1 c41 the beginner had best 7to obtain the right size7 lay over the sensitive paper the proper sized mat that is to be placed over the print when finished1 and then cut accordingly4 ,considerable paper can be saved in this way1 and printed in card size4 ,there should always be an assortment of different sized mats in the printing room2 one of each size will do1 which should be kept expressly for this purpose4 ,in cutting the paper for an #aa by #ad print1 the length of the sheet is generally placed before the printer1 and the paper bent over to the further edge of the sheet1 and then creased1 and thus cut into two equal pieces1 one of which can be used for the contemplated print4 ,i would recommend that instead of taking exactly one half of the sheet of paper1 as described above1 to take about an inch more than the half1 so as to allow for any slight tear that may happen along the edges of the paper during the washing1 toning1 c41 and also so as to be sure of having the paper wide enough for the different sized mats4 ,i have seen some nice prints printed upon the exact half of a sheet of paper1 which1 when taken from the final washing 7and the edges trimmed1 being slightly torn71 were then too narrow to be covered with the proper sized mats1 and had to be rejected2 whereas1 if in cutting this paper allowance had been made for this final trimming1 the prints would have been saved4 ,the rest of the sheet can be cut very well into sixteen or eighteen carte pieces4 ,in cutting cabinets out of a sheet1 fifteen is all that can very well be obtained1 and to get that number lay the sheet on a wide table1 or printing bench 7with the length of it running from right to left71 and divide it into three equal parts4 ,by laying the cabinet glass on these strips of paper1 and cutting the paper a little wider than the glass1 five cabinets can be obtained from each strip1 and fifteen out of the whole4 ,these pieces will be plenty large enough1 both in length and width2 besides1 this is a very convenient and economical way to cut the paper without waste4 ,illustration3 #bb inches ------------------------- ------------------------- #ah inches4 ------------------------- #d-b_/e #f inch4 inch ------------------------- ,fig4 #ab4 ,by a glance at the cut 7fig4 #ab7 it will be seen that the size of the pieces will be #d-b_/e by #f inches1 and consequently there will be more room for the width than there will be for the length4 ,the edges of the width side of the paper can be trimmed a little1 as there is usually some little tear1 or some other defect1 that can thus advantageously be got rid of4 ,often1 when there are only a few cabinets to be printed1 ,i take a quarter-sheet1 and bend over the length of it to about three-quarters of an inch of the opposite side1 crease it1 and then cut with the paper-knife4 ,you thus obtain a large and small piece2 the smaller one of these can be cut into four cards1 and the larger one can be cut in two1 and thus obtain two generous size cabinets2 or the printer can use the larger of the two pieces for printing the #d by #d size4 ,this is the way ,i obtain my #d by #d pieces when ,i wish them4 ,the beginner must remember that in bending over the length of a sheet of paper #ah by #bb inches in size1 the divided paper will be #aa by #ah inches in size1 which is termed1 in the language of the printing room1 half-sheet4 ,to obtain the quarter-sheet1 the length of the half-sheet is cut equally in two pieces1 and then the size will be #i by #aa inches4 ,a glance at fig4 #ac will show that either a generous size #d by #d1 or a couple of nice cabinet pieces1 together with four cartes1 can be easily obtained from a quarter-sheet4 ,to obtain thirty-two cartes1 quarter the sheet1 and divide each quarter into eight equal pieces4 ,illustration3 #i inches4 ----------- #dd ,cab4 ,cab4 ----------- #aa inches4 #a #b ----------- #c #d ----------- ,fig4 #ac4 ,illustration3 #i inches4 --------------- #cc --------------- #aa inches4 --------------- #ci inches1 ,stereoscope4 --------------- ,fig4 #ad4 ,to obtain thirty-six pieces out of a sheet1 it is necessary1 for convenience1 to first quarter it1 and then divide it into three equal strips 7fig4 #ad7 taken from the length of the paper4 ,the pieces1 as thus cut1 will measure #c-b_/c by #i inches1 which will answer admirably for the stereoscopic size4 ,each one of these strips of paper can be cut into three good sized cartes1 making nine out of a quarter1 and thirty-six out of a whole sheet4 ,forty-two cartes can be obtained very neatly by laying the sheet before you 7fig4 #d71 and dividing the length into seven equal parts2 when done1 each strip should measure #c-a_/g by #ah inches in size4 ,the whole number of pieces will be forty-two4 ,it will be seen that the size of the carte pieces 7#c by #c-a_/g inches7 only allows very little room for waste paper in trimming after printing1 and thus it will be found necessary to exercise some care in placing these pieces on the negative for printing4 ,illustration3 #ah inches4 ------------------------------ ------------------------------ ------------------------------ ------------------------------ #bb inches4 ------------------------------ ------------------------------ ------------------------------ ------------------------------ ,fig4 #ae4 ,to obtain the forty-two carte pieces from the sheet without waste1 great care is required in sensitizing the paper to prevent tearing1 and also to prevent silver from getting on the back of it2 in cutting it either the shears or the paper-knife should be used with care4 ,do not tear the paper with the hands1 as is very often done1 especially when the printer is in a hurry4 ,in making out the above1 ,i have considered the sheet of paper to be #ah by #bb inches in size1 but it is seldom that the sheet measures exactly this1 for the length often measures from one quarter to one inch more1 but never less1 while the width is invariably the same4 ,when this is the case1 a little better margin is allowed in cutting the sheet up1 which is a good thing1 especially when a large number of small pieces are to be obtained from the sheet4 ,forty-two pieces is all that should be obtained from a sheet of paper which measures #ah by #bb 7or #ah by #bb-a_/b1 c47 inches1 because the pieces of paper are now as small as they should be with safe results to the prints1 on account of bad edges1 c41 which it is often necessary to trim after printing4 ,there is a way to obtain forty-eight1 and even fifty-two pieces of paper from the sheet1 but ,i would not advise any of my readers to try to obtain that quantity1 as there are many disadvantages connected with it that more than neutralize the benefits4 ,the paper is sometimes cut up to the exact carte size1 and then printed up as it is1 thus saving the trimming of the prints after printing4 ,this is1 perhaps 7871 a good way1 but for the beginner it is very risky1 because the paper will have to be placed exactly on the negative1 or else the print will be worthless4 ,even to the experienced printer this is very difficult1 because the greatest care and skill are required to do it as it should be done2 then the inexperienced printer could not hope to do it successfully4 ,,chapter ,,viii4 ,,printing-,,frames4 ,illustration3 ,fig4 #af4 ,there are a variety of printing-frames in the market1 each of which may have something to recommend it2 and yet1 as a rule1 the simpler and more uniform the frames are1 the more handy are they for the printer1 since he rapidly becomes accustomed to handling them1 and knows their peculiarities4 ,the simplest pattern is one introduced by ,meagher1 as shown in fig4 #af4 ,the negative rests on india-rubber strips which line a framework of its exact size1 and a folding back1 as shown1 covers it4 ,the paper is pressed on to the negative by a pad1 and the back on that by means of two brass springs4 ,this is a very excellent pattern for cabinet pictures and cartes1 but we can scarcely recommend it for anything larger1 since even if it were possible to supply sufficient pressure to secure proper contact of the paper1 the negative would be in danger of being cracked4 ,illustration3 ,fig4 #ag4 ,for all sizes above cabinet1 the printing frame as given in the figure is the best4 ,the construction will be seen at once4 ,in the front part of the frame is a piece of thick plate glass 7depending for its thickness on the size of the frame74 ,on this the negative rests1 and over this again are the necessary pads and backboard1 which is clamped down by means of two cross-bars1 on which springs are fixed4 ,an increase of pressure may be given by increasing the thickness of the pad 7which may consist of smooth felt7 next the negative1 or by sheets of thick blotting-paper quite free from all folding marks4 ,sometimes the back of the frame is hinged in three pieces1#ah and this is almost essential for large prints 7say #b feet by #a foot #f inches71 since every part of the picture should be capable of examination during the progress in printing4 ,with a simple single hinged backboard this is impossible4 ,illustration3 ,fig4 #ad4 ,illustration3 ,fig4 #ae4 ,when large negatives are to be printed1 the plate glass front should always have at least an inch clear all round4 ,for smaller negatives 7say #ab by #aj and under7 half-an-inch clear is sufficient4 ,this allows a certain latitude in the position of the negative1 and enables the fingers to get at the paper without inconvenience4 ,in the frames in which the front of the negative is unsupported this cannot be the case1 and for this reason 7as well as those given above7 they are not recommended for large prints4 ,,chapter ,,ix4 ,,preparing ,a ,,landscape ,,negative ,,for ,,printing4 ,landscape negatives are rarely ever in perfect harmony for printing1 and much may be done by judicious doctoring of the best of negatives to secure the best of prints4 ,with moderate negatives it is absolutely essential that they should be improved4 ,let us take the example of a hard landscape negative1 which if printed so that the deep shades should show detail1 would show none in the high lights4 ,a piece of thin tissue paper 7the kind known as papier minerale is the best71 of the size of the negative1 is damped evenly with a sponge1 and carefully pasted on the back of the negative4 ,the negative is then held up to the light1 and the high lights carefully traced with a faint line by means of a pencil4 ,these are then cut out by means of a sharp penknife1 and a trial print taken in the shade4 ,if it be found that the shadows still print too deeply when the detail in the high light is visible1 another thickness of tissue paper may be applied1 cutting out this time1 perhaps1 the high lights and the half tones4 ,another trial print will show whether the object is attained4 ,if still not satisfactory1 crayon in powder from the scrapings of a stick of crayon1 or blacklead1 may be applied by a stump to the parts requiring it4 ,it may happen that the effects of the tissue paper may be seen in the print by the light penetrating beneath it1 and causing the edges of the shadows to print too dark4 ,in this case1 which may arise from the negative being taken on a thin glass plate1 the parts covering the high lights1 and which were cut out1 should be indented with a jagged edge such as this1 the dotted line showing where the cut would come if it had been cut out in a clean sharp line4 ,another mode which we have sometimes found successful1 though care is required in employing it1 is to coat the back of the plate with a very dilute emulsion of a quarter the ordinary consistency1 then to expose it1 through the negative1 and develop with one of the ordinary alkaline developers 7we prefer the ferrous oxalate71#ai and then fix4 ,this last film may be protected with a layer of albumen #a part of albumen to #be parts of water4 ,by this means the shadows become subdued and the contrasts diminished1 and there is no danger of any sharp demarcations in the shades being apparent4 ,illustration3 ,fig4 #af4 ,there is one way of improving a hard negative1 if taken on a gelatine plate1 which would probably be dangerous in the hands of a novice1 but which is most effective when used with skill and judgment1 but must be applied before the plate is varnished4 ,one of the most popular methods of reducing the density of an over-intensified gelatine negative is with a very weak solution of perchloride of iron4 ,the writers have found that the reducing agent may be applied locally4 ,let us suppose the case of a figure in a landscape in a light dress1 which produces a white patch in the print4 ,the negative should be placed in a dish of water1 then lifted up until the part to be reduced is just above the level of the water2 a solution of perchloride of iron should then be applied to the part with a camel's-hair pencil1 care being taken that it does not spread over the edges or run down the negative4 ,when this is found to be taking place1 the plate should be allowed to fall into the water2 it can then be lifted again1 and the operation proceeded with4 ,it is not easy to give any strength for the solution of perchloride of iron1 but it is best to begin weak1 and strengthen as required4 ,a saturated solution has been used in an obstinate case without any mischief being done1 but this required very careful watching4 ,for landscapes1 ,mr4 ,england has successfully used a strong solution of cyanide of potassium with the same object4 ,he moistens the parts of the gelatine plates which require reduction with water applied by a paint-brush1 and afterwards1 with another1 applies the cyanide4 ,the reduction can be watched as it progresses1 and by a judicious use of the brush no sharp line of demarcation between the reduced and unaltered parts is visible4 ,with a thin negative the tissue paper may be applied as before1 only in this case the shadows are left bare1 the half tones have one thickness of tissue paper over them1 the highest lights two or three4 ,an emulsion may be used in this case as well1 only instead of fixing the transparency which is at the back1 the precipitated silver is dissolved away by nitric acid1 and the developer applied again4 ,by this means1 the density in the high lights may be doubled if required4 ,it must again be repeated1 that in all cases the use of emulsion requires great care1 seeing that if any get on the varnished surface1 markings are sure to occur4 ,it sometimes happens1 especially with gelatine plates1 that the corners of one side of a negative print too dark4 ,this is very visible in sky and sea pictures4 ,the careful application of blacklead on the tissue paper on the back of the plate may often save a beautiful negative that would be otherwise useless4 ,in most landscape negatives there is a want of atmosphere 7by which we mean the haze always present in the air7 in the distance and middle distances1 and we have found that by applying one piece of tissue-paper to the back of the negative to cover the middle distance and distances1 and another to cover the distance alone1 atmospheric effect is produced4 ,the effect of atmosphere is usually shown by grey tones as compared with those of the foreground1 and the greyer they are the more distant should the objects be away in nature4 ,this effect is accomplished by the tissue-paper4 ,it must1 however1 be remembered that the lights of distant objects are greyer than those of the foreground1 hence the tissue paper must be used with judgment to prevent the distant lights from appearing too white4 ,this sometimes is effected by giving the lights in the foreground a covering of tissue paper4 ,we very much doubt if there exists any landscape negative which would not be improved by the use of tissue paper1 since photography often tends to do away with atmosphere4 ,we have1 in some cases1 strengthened the high lights on the film side with the paint-brush and ,prussian blue4 ,this requires skill1 and should be done very sparingly4 ,it may be objected that when these artifices are resorted to1 that the photograph must of necessity fail in regard to truthfulness4 ,the answer to this objection is quite easy to give4 ,if a photograph were true in itself1 they should never be resorted to1 but since it always falls short of the truth1 it is quite legitimate to give it the effect that a perfect process would do1 by which we mean one in which the intensity of the negative is exactly proportional to the intensity of the light producing it4 ,it has been shown in the ,,photographic ,,news of #ahgg1 that the gradations of a negative are never perfect1 and the use of the tissue paper1 c41 makes it more nearly in accord with nature4 ,these remarks1 of course1 have reference only to what we might call a good printing negative2 the advisability of doctoring poor negatives is scarcely open to argument4 ,improve as much as you like1 but be very careful not to overdo it4 ,,chapter ,x4 ,,printing ,,the ,,landscape ,,picture4 ,a trial print from a negative should first of all be taken1 to enable the operator to gauge as to how much is required to be done to it4 ,a piece of sensitized paper of the exact size of the plate is taken and examined by transmitted light in the dark room4 ,if there be any appearance of markings due to bubbles1 or of star-like metallic spots1 probably due to small particles of iron being in the albumen1 it need not be rejected altogether4 ,should there be any of these defects1 the sheet should be placed on one side to cut up into smaller sizes4 ,we will suppose that we are going to print a #ae by #ab negative4 ,a strong frame 7of the description given at page #dd7 must be employed1 and the thick plate glass carefully freed from all dust1 grit1 or stains4 ,the back of the negative is then placed in contact with it1 so as to occupy the centre of the frame4 ,the piece of sensitive paper is placed over it1 and the back placed loosely over it1 and is then carried face downward into the place where the printing is to be done1 and the frame is placed face downwards on the floor1 and left for a few minutes4 ,by this artifice the paper takes the same degree of humidity as the atmosphere1 and there will be no danger of any cockling1 and consequent 7as it is termed7 want of contact1 between the paper and the negative4 ,this is only necessary when there is any very great difference in the temperature of the drying room and the place where the prints are to be exposed1 and in some establishments the difficulty is met by carrying the whole supply of paper in a closed box into the latter place1 and allowing it to absorb any moisture that it can take up4 ,in any case1 the paper is next to be placed in absolute contact with the negative1 and we strongly recommend the use of sheets of blotting-paper cut to the proper size 7about four thicknesses will be sufficient71 and backed by a thick pad of closely woven and very smooth felt4 ,these latter are rather expensive1 but are very durable if ordinary care be taken of them4 ,the blotting-paper is useful in causing contact1 and also because any accidental presence of silver nitrate solution on the back of the sensitive paper is immediately detected1 and there is1 consequently1 no danger of carrying it to another print and spoiling it1 which it might do were it absorbed by the felt pad4 ,the back of the frame is then placed in situ1 and the hinged cross-piece brought down and secured by the fasteners4 ,if the springs be sufficiently strong1 the film of the negative should now be in absolute contact with the sensitive paper4 ,if there be any grit on the plate glass1 or adhering to the back of the negative1 it is highly probable that the glass plate will crack1 and if the plate on which the negative is taken be very curved1#bj the same disaster may be expected4 ,suppose the day to be bright1 and the negative fairly dense1 the frame may be placed for the trial print facing away from the sun 7if there be any7 so that it receives merely skylight1 and no direct rays4 ,when the transparent parts of the negative seem to have taken a fairly black or brown colour1 the print should be examined4 ,in practice we have found 7supposing the printing room be away from the dark room7 that a cloth of thin yellow calico is a useful adjunct during the examination4 ,the cloth is large enough to cover the frame and also the head of the operator4 ,one half of the back is loosened and raised1 the half pieces are pulled back1 and the paper will probably be found adhering to the negative1 and may require a little manoeuvring to separate it4 ,a very thin slip 7of the size of a toothpick7 of soft wood1 sharpened at one end1 is a good implement to employ1 as by inserting it the paper can be separated at one corner1 and then be raised by the fingers4 ,we have seen some printers blow against the paper1 as if they were separating the leaves of a book from one another1 but this method is to be deprecated1 since particles of saliva are apt to be carried on to the paper with the breath1 and to cause spots1 which often appear unaccountable4 ,should the print appear slightly deeper than it is required to remain1 it is probably ready to be withdrawn from the action of light1 but the remaining half of the paper must next be examined to see whether such is the case4 ,to do this the first half of the pressure-board of the frame which is loose must be pressed down once more into position1 the frame reversed end for end1 and the other half of the board opened4 ,if the print is large 7say #ae by #ab7 it is not advisable to look at much of it at once1 or for a longer time than can be avoided4 ,it constantly happens that on a warm day the paper contracts during the short time necessary for a proper examination of the print2 the consequence is1 that the paper does not fall on the same place on the negative when reflected1 and the result is a double print on the paper4 ,the printing being judged to be complete1 the paper is withdrawn by taking off pressure-board and pads1 and put away for the further operations of toning and fixing4 ,in one establishment we are acquainted with1 the prints when taken from the frame are placed in a box the lid of which is pierced by a hole covered with a dark cloth2 whilst others keep them in a press of blotting-paper4 ,the great point to attend to1 however1 is to keep them away from all actinic light2 and we should say1 further1 from all light1 since darkened silver chloride becomes oxidized in light which is usually considered to be non-actinic4 ,no doubt every printer is aware that the prints produced from the same negative and on the same sample of albumenised paper similarly sensitized vary considerably in richness and depth on different days4 ,for instance1 when the light is bad1 and when1 consequently1 the printing takes a long time1 the colour of the darkened surface will be found to be much duller than on a day when the light is powerful4 ,silver albuminate is much less sensitive to feeble light1 whilst in bright light the difference in sensitiveness is not nearly so marked1 and this may account in a certain degree for the difference2 but if any one takes the trouble to expose sensitised albumenized paper to bright light so as to darken1 and then to cover up half1 leaving the other half to be exposed to the light coming through ruby-glass1 it will be found that there is a difference in colour between the two portions1 and on toning the differences will be still more marked4 ,in dull weather the red and yellow rays bear a greater proportion to the blue and violet rays 7all of which enter into the composition of white light7 than they do on a bright day4 ,it is the blue and violet rays that reduce the silver chloride to the state of sub-chloride1 and then oxidize the latter2 yet it must be remembered that the red and yellow also oxidize the sub-chloride without being able primarily to produce it4 ,hence on a bright day1 when the printing is quick1 the red and yellow rays have but little time to do any work1 whilst on a dull day they have plenty of opportunity of oxidizing the sub-chloride as fast as it is formed4 ,the oxidized image is always more difficult to tone than one which is unoxidized1 hence the advantage of printing in a good light if possible4 ,the writers believe that one of the principal causes of the variation in tone of silver prints1 which is only too often to be seen1 is caused by this difference in length of exposure to the light4 ,the operator must now be supposed to be cognizant of the operations of toning and fixing which are to be described in subsequent chapters1 and that he has the finished trial print of the particular landscape negative before him4 ,he sees whether the middle distance or far distance is obtrusive1 and notes which portions require to be softened down by tissue paper1 or to be brought nearer by strengthening the high-lights1 and eventually forms a picture of it as it should be1 centring his imagination in it as built up round the point of principal interest4 ,he endeavours to see whether the sweeps of light and shade lead up to this principal object in the view1 and whether1 if light1 it is in contrast with an immediate dark part of the picture1 or vice versa4 ,knowing that this is one of the laws of art1 he next should endeavour practically to give effect to his imaginative picture by the judicious manipulation of tissue paper1 the crayon1 and the paint1 such as described in ,chapter ,,ix4 ,the next point to attend to is as to whether the picture requires clouds or not1 and if he have a stock of cloud negatives of the right size1 he must endeavour to pick out one1 a portion of which will compose well with the lines of the picture1#ba and at the same time be correct as regards light and shade4 ,when such a negative is selected1 it remains to print it in4 ,a white sky is an abomination1 and a plain tinted one without gradation is nearly as bad4 ,if1 therefore1 the operator has the heart and means to do this double printing1 he should never neglect to do it4 ,but we would here remind him that when a sky-negative has been used with a particular view1 it should always be devoted to that landscape4 ,nothing could be in worse taste1 or further from nature1 than to use the same sky with different landscapes4 ,we once saw a frame of sixteen views1 thirteen of which were backed with the same sky2 this was bad enough1 but the absurdity went further1 and in the same exhibition were landscapes by another photographer with the same sky6 ,the inference is that both these photographers bought their sky negatives1 printed them1 and exhibited them as their own--a proceeding to which a harsh name might be given4 ,to use a cloud negative properly1 the reader should consult the chapter on ,combination ,printing4 ,there is another artifice1 however1 that does away with the blank sky4 ,it is practised by some of the leading photographers in ,england1 and may be put in requisition instead of the more elaborate double printing4 ,in order to do this1 a not quite opaque sky--that is1 one which prints in a little--is necessary4 ,very effective clouds may be produced by a paint-brush and lamp-black1 ,indian ink1 or gamboge1 by painting them artistically at the back of the negative4 ,it matters not if the clouds so formed show sharp lines and dots1 since1 if the printing be done in diffused light1 the thickness of the glass plate on which the negative is taken shades these off1 and gives them the soft edges which are natural to clouds4 ,the clouds may take any of the usual shapes as seen in nature1 and the paint should not be applied too strongly1 but should have a certain amount of transparency4 ,in some negatives we have seen taken on dry plates1 the sky was very transparent1 and1 when printed in the ordinary manner1 showed a good deal more than perceptible tint4 ,yet1 by a judicious masking1 fleecy clouds floating in a light sky were produced1 which deceived the greatest connoisseurs in such matters4 ,we will now describe how such a negative should be prepared for printing4 ,black varnish should be carefully run round the sky-line on the face of the negative1 for about a quarter of an inch4 ,on the back of the negative the medium should cover the sky to within one-eighth of an inch of the sky-line1 and by this means a sharp but slightly softened edge of the distant landscape was projected4 ,the breadth of the black varnish border on the back was slightly greater than that on the film side of the negative1 being about an inch4 ,a piece of cardboard was also roughly cut out to the sky-line1 and left sufficiently broad so as to more than cover the sky when laid flat on it4 ,the negative with the clouds painted on it was now placed in the pressure-frame1 with the sensitive paper in contact with it4 ,outside the frame1 and corresponding with the sky-line1 the edge of the cardboard was placed1 a small bar to act as a weight was placed across it as shown in the figure1 and the top end supported by a couple of wooden pegs4 ,the printing took place in diffused light4 ,when the picture was withdrawn from the frame1 the sky1 being shaded gradually by the card1 was printed in lightly1 whilst the remaining portion of the negative received the full light2 the sky1 as is right it should be1 was darker near the zenith than toward the horizon1 where it was1 in fact1 white2 but since the clouds were printed in at the top1 the baldness of the white sky was avoided4 ,illustration3 ,fig4 #bj4 ,excellent clouds may also be produced by the stump and crayon on tissue paper1 many of the effects of delicate clouds being capable of being produced in this manner4 ,a certain amount of skill is required in producing them1 but nothing beyond that which a little practice can give4 ,we may add that1 instead of using this cardboard shade1 some printers prefer first to entirely mask the sky and print in the landscape1 than to mask the landscape1 and to use a movable screen over the negative1 drawing it backwards and forwards during exposure1 taking the precaution that the top of the sky receives the most exposure4 ,the method of using the cloud negative1 we have already said1 will be found in the chapter on ,combination ,printing4 ,above all things1 the printer must bear in mind that if there be any distance in the picture1 the sky1 when it meets the margin1 must be only very delicately tinted4 ,let it be remembered that a picture is often spoilt by printing in clouds too heavily4 ,the clouds for an effect should be most delicate1 with no heavy massive shadows which overwhelm those of the landscape itself4 ,we are only talking of the ordinary landscape when the effect of storms is not desired4 ,it is not within the scope of this work to show how a landscape and a sky negative may be printed into one plate to form a transparency from which a new negative may be made2 suffice it to say that1 by using collodio-chloride1 or by the use of a slow dry plate and exposing to candle light1 the former may be produced in almost the same way that the print is produced1 and a negative may then be produced in the camera or by a dry plate4 ,,chapter ,,xi4 ,,preparing ,,the ,,portrait ,,negative4 ,so much has been written on the subject of what is called retouching the negative1 that it would be a waste of space to enter very fully into details here4 ,it is now generally admitted that working on the negative is not only legitimate1 but that it is absolutely necessary1 if a presentable portrait is to be printed4 ,the only question is1 where to stop4 ,professional retouchers1 in too many cases1 do too much1 and by doing so they overstep the modesty of nature1 and turn the lovely delicacy1 softness1 and texture of living nature into the appearance of hard and cold marble statuary4 ,everything that is necessary to do to a portrait negative is very simple2 it should be corrected1 not remodelled4 ,freckles and accidental spots should be stopped out1 high lights may be strengthened1 and shadows softened4 ,we may here briefly indicate the technical methods of performing these operations4 ,some operators pour a solution of gum over the negative after fixing1 and when it is dry work upon the surface of the gum2 but it is better and safer to retouch the negative after it has been varnished4 ,the varnish must be allowed to become thoroughly hard before any working upon it is attempted4 ,a negative varnished at night should be ready to be retouched the next morning4 ,if very little has to be done to the negative1 it may be done at once without preparation2 but it is often advisable to prepare the surface of the varnish to take the lead pencil1 with which the greater part of the work is done4 ,this is done with retouching medium4 ,several preparations under this or similar names are sold by stock dealers1 all of them giving1 as far as we have tried them1 equally good results4 ,if the photographer prefers to make his own medium1 he may do so by diluting mastic1 or any similar varnish1 such as copal1 with turpentine4 ,apply the medium to the parts that it is intended to work on with the finger1 and allow to dry1 which it does in a few minutes4 ,place the negative on a retouching desk1 and commence to fill up with the point of the pencil all spots that are not required1 such as freckles or uneven marks4 ,some operators begin at the top of a face and work evenly downwards4 ,this is a bad plan1 and usually results in a mechanical flattening of the face2 it is better to fill in here and there as necessity appears to arise4 ,the high lights may now be strengthened1 taking care not to make them violent or spotty4 ,the shadows of the face will be found to require softening1 but the general shape of the shadows must not be altered1 and in modifying lines--such as the lines in the forehead and under the eye--take care not to remove them altogether4 ,an old man without wrinkles is an unnatural and ghastly object--the marble brow of the poet should be left to literature4 ,the best pencils to use are ,faber's ,siberian lead1 the hard ones in preference4 ,,hh and ,,hhh are the sorts usually employed4 ,the pencils must be kept very finely pointed4 ,to ensure this1 a piece of wood covered with glass cloth should be kept always at hand on which to grind the leads to a point4 ,sometimes there are portions of a negative that require more filling up than can be done with a pencil2 in this case water-colour must be employed4 ,indigo or ,prussian blue is1 perhaps1 best for the purpose1 because these pigments allow a more appreciable or visible quantity to be laid on without becoming opaque than any of the warm colours4 ,sometimes parts--such as the arm of a child--will print too dark when in contrast with a white dress2 in this case it will be necessary to paint over the part on the back of the negative1 or to cut out a piece of papier minerale to the shape1 and paste it over the dark part1 also on the glass side of the negative4 ,,chapter ,,xii4 ,,vignetting ,of the many varieties of small portraiture1 the vignette is1 perhaps1 the most popular1 and1 when well done1 is certainly the most refined and delicate4 ,two things are to be especially avoided in vignetting4 ,the form of the vignette should not follow the form of the figure closely1 as it is too often made to do1 and dark backgrounds should not be employed4 ,the qualities to endeavour to attain are softness of gradation1 and an arrangement of the forms of the vignette that shall throw out the head and figure1 and the resulting print should somewhat resemble a sketch1 finished if you like1 but sketchy in effect4 ,although the background should be light1 it ought not to be white1 but of a tint that would just throw up the white of a lady's head-dress4 ,if the background screen could be painted so that a little shade should appear over the shoulders of a sitter for a head1 or rather darker behind the lower part of a three-quarter figure1 so much the better would be the effect4 ,it would be difficult to find a case where gradation could not be of advantage in a background2 however slight1 it conduces especially to relief4 ,having stated what should be aimed at in vignettes1 we now come to the technical methods of producing them4 ,in many cases vignetting is considered to be a merely mechanical operation1 and very often looks like it4 ,perhaps the trade have more to answer for than the printer1 since the qualities of the wares advertised for the use of the vignetter are often exaggerated to such a degree that they are supposed to be suitable to any pictures4 ,vignette glasses are not so common as they used to be1 but they certainly are useful in some instances2 we almost think that the methods of producing vignetting apparatus which will be described shortly1 superior to them4 ,in case the printer should wish1 however1 to use these glasses1 here is a method by which he may produce them4 ,have a piece of orange glass1 flashed on one side only1 rather larger than the size of the picture to be vignetted4 ,take a rough print1 and trace round1 in the proper position on the glass with an ink line1 the point to which the picture should extend4 ,this should be marked on the unflashed surface of the glass--that is1 the surface on which the glass is uncoloured4 ,place the plate so marked on a white surface1 flashed side uppermost1 and make a solution of hydrofluoric acid and water1 #a part of the former to #c of the latter1 in a gutta-percha dish or bottle4#bb ,make a pad of flannel and cotton wool at the end of a stick1 about the size of a large nut1 and drop this into the solution4 ,dab this on the coloured surface of the glass in the central portions where the print is to be completely printed in1 gradually working out to the inked line4 ,always work from the centre to the edges1 and dilute the acid with a little water as it approaches the margins4 ,by degrees the flashing will be dissolved away in the centre1 and1 if properly performed1 the colour will gradually be eaten away1 till the glass is colourless in the centre1 and keeping its full shade of orange at the ink lines4 ,the glass is then washed1 and is ready for use4 ,the most popular plan of vignetting is with cotton-wool4 ,we believe that the greater part of the vignetting done in ,england is by this clumsy1 costly1 and difficult method4 ,it requires more time and attention than any other way of producing the same results4 ,its advantages are1 that it is more elastic1 and allows the operator more scope for attention than other methods4 ,in the hands of a person who has very great skill1 taste1 and patience1 it is undoubtedly most useful2 but when used by anything lower than the highest skill1 the results are almost always hard and inartistic4 ,the operation is thus performed4 ,a hole is cut in a piece of cardboard1 which is placed over the negative4 ,under the edges of the cardboard is placed cotton-wool1 which is lightly pulled out1 so as to slightly shade the vignette1 and produce the vignetting gradation4 ,the next methods of vignetting are dependent on simple laws of optics4 ,suppose you cut a round hole in a card1 say1 half-inch in diameter1 and so arrange it that all the light getting to a sensitive paper comes through this hole1 and that the card is for our experiment placed half-an-inch from the paper4 ,now place the hole so as to face the sky1 but so as the sun has no direct rays falling through the hole4 ,it will be found that the greatest darkening will not occupy a space exactly opposite the hole1 but be away from the side on which the light is brightest4 ,the dark round patch will be shaded gradually off till a line is reached where1 practically1 the light has no effect--that is1 if the surface of the card next the paper be blackened4 ,it will be noted1 however1 that the shading is not equal on both sides1 but that the gradation is most extended away from the side on which the light is brightest4 ,a good example of what is meant will be to try the experiment of placing the paper and card flat on the ground in the angle between two walls1 both of which are in shadow4 ,it will be seen that the brightest gradation takes place in the direction exactly away from the angle of the walls4 ,next repeat the experiment1 making the hole point to the sky1 which is equally illuminated and pointing well away from the sun4 ,it will be found that the gradations are equal1 and the greatest darkening exactly opposite the hole4 ,raise the card next to the height of one inch1 and the gradations will be found to be more extended and softer4 ,the reason of this can be well understood by a glance at the figures4 ,in both1 suppose ,a ,b to represent the section of the card1 and ,c ,d the hole in it1 and the dotted circle the sky1 and ,e ,f the paper4 ,take the points a1 b1 and c on the paper1 and let us in the three instances see what relative illumination they will receive4 a is opposite the hole1 and receives the light from a circle of sky of which d e is diameter1 and b from an ellipse of which h k is one diameter1 and e from an ellipse of which f g is one diameter4 ,in the first case1 where the card is #a_/b inch from the paper1 h k is about one-fifth of d e1 and g f about one-third of d f1 and since the ellipses vary as their two diameters multiplied together1 the point b would receive only one-twenty-fifth the light that a received1 and c about one-ninth4 ,illustration3 ,fig4 #ba4 ,illustration3 ,fig4 #bb4 ,in fig4 #ba the card is raised one inch from the paper1 and here f g is about three-quarters of d e1 and h k about two-fifths2 therefore1 in this case1 the light on ,b would be only four-twenty-fifths1 or about one-sixth of that acting on a1 and about nine-sixteenths or one-half nearly on c4 ,it is thus evident that the further away the card is1 the more extended will be the gradations4 ,again1 suppose1 in the last figure1 the bit of sky at g f was twice as bright as at d e1 then the amount of light acting on c would be the same as that acting on a4 ,it will thus be seen how important it is for proper gradation that the hole in the card should be exposed to an equally illuminated sky1 or that some artifice should be employed to render the illumination equal4 ,if we paste a bit of tissue paper over ,c ,d1 this is accomplished1 for then it becomes the source of illumination1 and it is illuminated equally all over1 since on every part it receives the light of the whole sky2 but this is not the case if it is transparent to diffused light1 and is never the case if it is exposed to direct sunlight1 since a shadow of the hole is always cast on the paper beneath4 ,if you choose to put another piece of tissue paper1 7say7 one inch above the hole1 and extending over the whole length of the card1 this difficulty is got rid of1 and this last piece of tissue paper illuminates that pasted over the hole ,c ,d1 and the gradations will then be nearly perfect4 ,now to apply the above to forming a vignetting block4 ,suppose we have a one-inch head to vignette and to show the shoulders and chest1 to be of the size of a carte-de-visite1 that the background is about a half-tone between black and white1 and that but a trace of it shall appear above the head4 ,to make a good vignette1 the graduation from black to perfect white should lie within a limit of half an inch for a carte size portrait4 ,the question then arises at what distance from the plate should a vignetting card be cut to help this object1 and what shape should be made the hole in the card4 ,we take it that one-fifth of the light necessary to produce a full black tone would hardly produce any effect on the sensitised paper2 knowing this and the size of the aperture1 we can calculate exactly what height the card could be raised4 ,take the breadth between the shoulders that is to be fully printed as #a-a_/b inches1 then by constructing a figure similar to figures #ah or #ai we shall find that the necessary height is about one-third of an inch4#bc ,illustration3 ,fig4 #bc4 ,by judiciously cutting out an aperture in the card and vignetting1 defects in a background may often be entirely eliminated from the print4 ,proceed in this way3 ,take a print of the portrait1 and cut out the figure in such a way as to get rid of the defective background1 and then place this on a piece of thick card 7we prefer a thick card1 since it will not sag easily1 and thus alter the gradation71 and cut out an aperture corresponding to it4 ,the outsides of most carte-de-visite frames are raised from the glass about one-third of an inch2 place the card on the front so that the aperture corresponds to the figure on the negative1 and tack it on to the frame4 ,the dotted lines 7fig4 #bc7 show the card fastened on to the frame1 and the opening left4 ,this latter may be covered with tissue paper1 and the frame placed in diffused light from the sky4 ,in some cases it may be necessary to use a larger printing frame than the ordinary carte frame1 in which case the operator should be able to make a vignetting apparatus raised at a proper height from the glass4 ,suppose it is required to raise the opening half an inch above the glass1 and that the card is #d-a_/d by #c-a_/b4 ,illustration3 ,fig4 #bd4 ,take the card and rule rectangles as shown 7fig4 #bd71 the inner one being #d-a_/d by #c-a_/b inches1 the next one #a_/b an inch outside that1 and the third #a_/b an inch outside that again4 ,cut out the outer rectangle entirely1 so that we have a piece of card of the size ,,abcd4 ,take a needle point1 and prick through the card at the points ,,efgh and join these points at the back of the card by lines4 ,now take a sharp penknife1 and1 having laid a flat edge along1 cut the card half through its thickness along ,,kl1 ,,lm1 ,,mn1 and ,,nk4 ,turn the card over1 and cut along the lines corresponding to ,,eh1 ,,hg1 ,,ge1 and ,,fe1 also half way through the thickness of the card4 ,turn the card over once more1 and cut out the shaded pieces at the corners4 ,now bend the card along the cuts1 and a raised block will result of this shape4 ,the corners are held together by pieces of gummed or albumenized paper1 and the block is ready for an aperture to be cut in it according to the portrait to be printed4 ,wooden grooves may be glued along the top of the vignetting frame1 into which cards containing other apertures can be slipped4#bd ,illustration3 ,fig4 #be4 ,the most practical method of vignetting1 a modification of the above1 and the one we always prefer in our own practice1 is as follows3-- ,illustration3 ,fig4 #bf4 ,take a piece of soft wood1 half an inch thick for a cabinet size--a thinner piece should be selected for a smaller picture--of a larger dimension than the negative2 in the centre of this cut a hole of the shape of1 but much smaller than1 the desired vignette4 ,one side of the hole should be very much bevelled away1 as represented in this section 7fig4 #bf74 ,place this block on the glass of the printing-frame1 bevelled side under1 the hole being exactly over the part of the negative from which the vignette is to be printed4 ,the hole must now be covered with tissue paper or ground glass1 and the frame placed flat on a table to print4 ,the size of the hole in relation to the size of the vignette will be easily ascertained by a little experience without the labour of elaborate calculations4 ,on dull days the tissue paper or ground glass may be omitted4 ,this method is very simple and effective4 ,a quantity of vignetting blocks of various sizes and shapes could be made by a carpenter1 or by the printer1 and should be always at hand4 ,a vignetting block should never be less than a quarter of an inch away from the glass1 otherwise the gradations will be too abrupt4 ,,chapter ,,xiii4 ,,artistic ,,methods ,,of ,,printing ,,the ,,portrait4 ,having described in the last chapter the various mechanical arrangements by which a simple vignette is produced1 we will now proceed to give some account of how that and other forms of printing can be turned to the most artistic account in portraiture4 ,the idea that printing is a mere mechanical operation was exploded long ago4 ,it is now recognized that the final result owes a good deal of its artistic effect to the way in which the negative is dealt with after it is varnished1 and especially to its treatment by the printer4 ,there are many varieties of vignettes1 and the method is useful in various ways4 ,plain ,vignettes4--,the usual vignetted portrait is that which represents a good-sized head and shoulders in the space allotted to the picture4 ,for a carte-de-visite1 a head measuring about #a-a_/d inches from the top of the head to the chin is a good proportion4 ,larger sizes are often made1 but they look coarse and vulgar1 as if the photographer had tried how much quantity he could give for the money1 regardless of quality2 and even if the quality is good1 the vulgar effect is still there4 ,for a cabinet size a head of #a-c_/d or #a-g_/h inches is quite large enough4 ,a very pretty style is that in which the gradation is carried out so gradually as only to end with the edge of the paper4 ,three-quarter ,length ,vignettes4--,a three-quarter length figure of a lady1 either standing or sitting1 makes a pretty picture2 for gentlemen1 a three-quarter vignette is not so good1 although it is admissible4 ,it is difficult to make the legs look anything but awkward when they are vignetted into empty space at the knee4 ,for three-quarter vignettes a light1 sketchy landscape background may be used with effect4 ,there are many varieties of what may be called fancy printing1 in which the vignette takes a conspicuous part4 ,the first style that we will consider is that of ,vignettes on a ,tinted ,ground4--,print a vignette in the usual way4 ,take it out of the frame1 and place it on a board covered with velvet or flannel1 to prevent the paper shifting4 ,cover the print with glass1 and place over the printed part a piece of black paper roughly torn to the shape1 and rather smaller than the vignette4 ,place the whole in the light until the white margin is slightly tinted1 or blushed1 as it is sometimes called4 ,the edges of the black mask should be slightly turned up or kept moving to prevent the junction of the tinting and the vignette being visible4 ,the above method represents a vignetted head on smooth grey paper1 and is useful to show up the high lights on the face2 but there is a modification of this effect1 in which the appearance of a sketch on rough drawing-paper is produced4 ,vignettes on ,rough ,drawing-paper4--,if1 instead of placing a piece of plain glass over the masked print1 a thin negative of some diaper or pattern had been used1 the design could have been printed on the paper instead of the even tint4 ,a very good negative for this purpose is made as follows3--,obtain a sheet of the roughest drawing-paper1 take a camel-hair brush dipped in thin sepia1 and brush it evenly over the paper2 the colour will fall into the depressions of the paper1 and make the roughness still more visible4 ,this should now be placed where a side light falls upon it1 and photographed4 ,a very thin negative is all that is required4 ,this negative should be used in place of the plain glass1 and1 if not printed too dark1 the effect of the delicate vignette inside the rough tint is very pleasing4 ,it is better when using negatives for this purpose to place them in pressure-frames1 instead of merely placing them or the print on the velvet board1 to print1 or perfect contact may not be obtained4 ,medallions4--,medallions of oval and other forms are now a good deal used for small portraits4 ,these are simply produced by gumming a mask1 made of black or yellow paper1 with an oval or other-shaped aperture1 on to the negative1 the mask preserving the part it covers white4 ,these masks can be bought from the dealers cheaper and better than they can be made4 ,eccentric shapes are1 usually1 in bad taste2 the oval and dome are quite sufficient for all purposes4 ,if1 instead of leaving the outside of the print--that protected by the mask--white1 it could be tinted1 the lights in the picture would have greater value1 and the effect be improved4 ,to do this1 the printed part should be covered with a black-paper disc corresponding with the mask used in printing1 the print covered with glass1 and exposed to the light until printed the required depth4 ,in performing this operation it will be found convenient to gum the disc to the covering-glass4 ,if texture could be added to this tinted margin1 then another element of beauty would be added4 ,this may be done in a similar manner to that described for vignettes1 by using a negative made from rough drawing-paper2 but1 in this case1 there is opportunity for a greater choice of objects from which to make the tinting negative1 such as grained leather1 marble of various kinds1 paper-hangings--when suitable patterns can be obtained--and from the borders of old prints4 ,in this1 as in many other things connected with photography1 there is a good deal of room for bad taste1 which the photographer must try to avoid4 ,he must remember that all these surrounding designs should assist the portrait1 and not distract the attention from it4 ,vignettes in ,ornamental ,borders4--,the writer has lately produced some effects that have given much pleasure by using designs specially drawn for the purpose4 ,the designs principally consist of an oval in the centre for the portrait1 and a tablet underneath1 on which the original of the portrait may sign his name4 ,these forms are surrounded by flowers and other objects conventionally treated4 ,the spaces for the portrait and name should be stopped out with black varnish1 so as to print white4 ,the easiest way to use these ornamental border negatives is as follows3--,first print the border negative2 you will then have a print with a white oval space in the centre4 ,place this print on the portrait negative1 taking care that it occupies the proper position in the oval4 ,this is easily ascertained by holding the print and negative up to the light4 ,it should then be placed in the frame and printed1 care being taken that the vignetted gradation does not spread beyond its limits over the border4 ,there is a good deal of variety to be got out of the combination of the mask and vignette4 ,here is one of them4 ,combination of ,medallion and ,vignette4--,vignette a head into the centre of the paper2 when this is done1 place over it a black paper oval disc1 taking care that the head comes in the centre under the mask4 ,place a piece of glass over the whole1 and print4 ,when the disc is removed1 the print will represent a vignette surrounded by a dark oval4 ,many variations may be made of this form of picture1 and there is much scope for skill and taste4 ,any of the tinting negatives above described may be used1 or they can be made from designs drawn on paper as we have already stated1 or from natural objects4 ,but if our reader has followed us clearly thus far1 he is now in a position to form combinations for himself4 ,this we recommend him to do1 for there is an additional beauty in anything in art that indicates a distinctive style or shows thought and originality4 ,there is too much tendency in portraitists to run in grooves1 which the universal prevalence of the two styles1 card and cabinet1 help to promote4 ,but we must caution the young photographer against the mistake of making changes for the sake of change4 ,the loud1 and the bizarre1 may attract foolish people1 but it is only the beautiful that will secure the attention of the cultivated and refined4 ,,chapter ,,xiv4 ,,combination ,,printing4 ,the scope of photography is wider than those who have only taken a simple portrait or landscape suppose4 ,it is almost impossible to design a group that could not have been reproduced from life by the means our art places at our disposal4 ,we do not mean to assert that such subjects as ,michael ,angelo's ,last ,judgment1 or ,raphael's ,transfiguration1 for instance1 have ever been done in photography2 but it is not so much the fault of the art1 as of the artists1 that very elaborate pictures have not been successfully attempted4 ,it has not been the failing of the materials1 unplastic as they are when compared with paint and pencils2 it has been the absence of the requisite amount of skill in the photographer in the use of them1 that will account for the dearth of great works in photography4 ,the means by which these pictures could have been accomplished is ,combination ,printing1 a method which enables the photographer to represent objects in different planes in proper focus1 to keep the true atmospheric and linear relation of varying distances1 and by which a picture can be divided into separate portions for execution1 the parts to be afterwards printed together on one paper1 thus enabling the operator to devote all his attention to a single figure or sub-group at a time1 so that if any part be imperfect1 from any cause1 it can be substituted by another without the loss of the whole picture1 as would be the case if taken at one operation4 ,by thus devoting the attention to individual parts1 independently of the others1 much greater perfection can be obtained in details1 such as the arrangement of draperies1 the refinement of pose1 and expression4 ,the most simple form of combination printing1 and the one most easy of accomplishment and most in use by photographers1 is that by which a natural sky is added to a landscape4 ,it is well-known to all photographers that it is almost impossible to obtain a good and suitable sky to a landscape under ordinary circumstances4 ,natural skies are occasionally seen in stereoscopic slides and very small views2 but ,i am now writing of pictures1 and not of toys4 ,it rarely happens that a sky quite suitable to the landscape occurs in the right place at the time it is taken1 and1 if it did1 the exposure necessary for the view would be sufficient to quite obliterate the sky2 and if this difficulty were obviated by any of the sun-shades1 cloud-stops1 or other inefficient dodges occasionally proposed1 the movement of the clouds during the few seconds necessary for the landscape would quite alter the forms and light and shade1 making what should be the sky--often sharp and crisp in effect--a mere smudge1 without character or form4 ,all these difficulties are got over by combination printing1 the only objections being that a little more care and trouble are required1 and some thought and knowledge demanded4 ,the latter should be considered an advantage1 for photographs1 of a kind1 are already too easy to produce4 ,of course1 when a landscape is taken with a blank sky1 and that blank is filled up with clouds from another negative1 the result will depend1 to a very great degree1 upon the art knowledge of the photographer in selecting a suitable sky1 as well as upon his skill in overcoming the mechanical difficulties of the printing4 ,it is not necessary here to enter into a description of the art aspect of the matter1 as that has often been discussed2 so we will confine ourselves to the mechanical details4 ,the landscape negative must have a dense sky1 or1 if it be weak1 or have any defects1 it must be stopped out with black varnish4 ,in this case1 it is better to apply the varnish to the back of the glass2 by this means a softer edge is produced in printing than if painted on the varnished surface4 ,with some subjects1 such as those that have a tolerably level horizon1 it is sufficient to cover over part of the sky while printing1 leaving that part near the horizon gradated from the horizon into white4 ,it may here be remarked that in applying black varnish to the back of a negative1 occasions will often be found where a softened or vignetted edge is required for joining1 where a vignette glass or cotton wool cannot be applied2 in such cases the edge of the varnish may be softened off by dabbing slightly1 before it is set1 with the finger1 or1 if a broader and more delicately gradated edge be required1 a dabber made with wash-leather may be employed with great effect4 ,illustration ,when an impression is taken1 the place where the sky ought to be will1 of course1 be plain white paper2 a negative of clouds is then placed in the printing-frame1 and the landscape is laid down on it1 so arranged that the sky will print on to the white paper in its proper place2 the frame is then exposed to the light1 and the landscape part of the picture is covered up with a mask edged with cotton wool4 ,the sky is vignetted into the landscape1 and it will be found that the slight lapping over of the vignetted edge of the sky negative will not be noticed in the finished print4 ,there is another way of vignetting the sky into the landscape1 which is1 perhaps1 better and more convenient4 ,instead of the mask edged with cotton wool1 which requires moving occasionally1 a curved piece of zinc or cardboard is used4 ,here is a section of the arrangement4 ,the straight line represents the sky negative1 and the part where it joins the landscape is partly covered with the curved shade4 ,skies so treated must not1 of course1 be printed in sunlight4 ,it is sometimes necessary to take a panoramic view4 ,this is usually done1 when the pantascopic camera is not employed1 by mounting two prints together1 so that the objects in the landscape shall coincide2 but this is an awkward method of doing what could be much better accomplished by combination printing4 ,the joining of the two prints is always disagreeably visible1 and quite spoils the effect4 ,to print the two halves of a landscape1 taken on two plates1 together1 the following precautions must be observed3 both negatives must be taken before the camera-stand is moved1 the camera1 which must be quite horizontal1 pointing to one half of the scene for the first negative1 and then turned to the remaining half of the view for the second negative4 ,the two negatives should be obtained under exactly the same conditions of light1 or they will not match2 they should also be so taken that a margin of an inch and a-half or two inches is allowed to overlap each other2 that is to say1 about two inches of each negative must contain the same or centre portion of the scene4 ,it is advisable1 also1 that they should be of the same density2 but this is not of very great consequence1 because any slight discrepancy in this respect can be allowed for in printing4 ,in printing vignettes with cotton wool1 or a straight-edged vignette glass1 the edge of the left-hand negative on the side that is to join the other1 taking care to cover up the part of the paper that will be required for the companion negative2 when sufficiently printed1 take the print out of the frame1 and substitute the right-hand negative2 lay down the print so that it exactly falls on the corresponding parts of the first part printed 7this will be found less difficult1 after a little practice1 than it appears71 and expose to the light1 vignetting the edge of this negative1 also1 so that the vignetted part exactly falls on the softened edge of the impression already done4 ,if great care be taken to print both plates exactly alike in depth1 it will be impossible to discover the join in the finished print4 ,if thought necessary1 a sky may be added1 as before described1 or it may be gradated in the light1 allowing the horizon to be lighter than the upper part of the sky4 ,perhaps the greatest use to which combination printing is now put is in the production of portraits with natural landscape backgrounds4 ,many beautiful pictures1 chiefly cabinets and card1 have been done in this way by several photographers4 ,the easiest kind of figure for a first attempt would be a three-quarter length of a lady1 because you would then get rid of the foreground1 and have to confine your attention to the upper part of the figure and the distance4 ,pictures of this kind have a very pleasing effect4 ,in the figure negative1 everything should be stopped out1 with the exception of the figure1 with black varnish2 this should be done on the back of the glass when practicable1 which produces a softer join2 but for delicate parts--such as down the face--where the joins must be very close1 and do not admit of anything approaching to vignetting1 the varnish must be applied on the front4 ,a much better effect than painting out the background of the figure negative is obtained by taking the figure with a white or very light screen behind it2 this plan allows sufficient light to pass through the background to give an agreeable atmospheric tint to the distant landscape2 and stopping out should only be resorted to when the background is too dark1 or when stains or blemishes occur1 that would injure the effect4 ,an impression must now be taken which is not to be toned or fixed4 ,cut out the figure1 and lay it1 face downwards1 on the landscape negative in the position you wish it to occupy in the finished print4 ,it may be fixed in its position by gumming the corners near the lower edge of the plate4 ,it is now ready for printing4 ,it is usually found most convenient to print the figure negative first4 ,when this has been done1 the print must be laid down on the landscape negative so that the figure exactly covers the place prepared for it by the cut-out mask4 ,when printed1 the picture should be carefully examined1 to see if the joins may be improved or made less visible4 ,it will be found that1 in many places1 the effect can be improved and the junctions made more perfect1 especially when a light comes against a dark--such as a distant landscape against the dark part of a dress--by tearing away the edge of the mask covering the dark1 and supplying its place by touches of black varnish at the back of the negative2 this1 in printing1 will cause the line to be less defined1 and the edges to soften into each other4 ,if the background of the figure negative has been painted out1 the sky will be represented by white paper2 and as white paper skies are neither natural nor pleasing1 it will be advisable to sun it down4 ,if a full-length figure be desired1 it will be necessary to photograph the ground with the figure1 as it is almost impossible to make the shadow of a figure match the ground on which it stands in any other way4 ,this may be done either out of doors or in the studio4 ,the figure taken out of doors would1 perhaps1 to the critical eye1 have the most natural effect1 but this cannot always be done1 neither can it be1 in many respects1 done so well4 ,the light is more unmanageable out of doors1 and the difficulty arising from the effect of wind on the dress is very serious4 ,a slip of natural foreground is easily made up in the studio2 the error to be avoided is the making too much of it4 ,the simpler a foreground is in this case1 the better will be the effect4 ,the composition of a group should next engage the student's attention4 ,in making a photograph of a large group1 as many figures as possible should be obtained in each negative1 and the position of the joins so contrived that they shall come in places where they shall be least noticed1 if seen at all4 ,it will be found convenient to make a sketch in pencil or charcoal of the composition before the photograph is commenced4 ,the technical working out of a large group is the same as for a single figure2 it is1 therefore1 not necessary to repeat the details2 but we give a reduced copy1 as a frontispiece to this volume1 of a large combination picture1 entitled ,when the ,day's ,work is ,done1 by ,mr4 ,h4 ,p4 ,robinson1 a description of the progress and planning of which may be of use to the student4 ,a small rough sketch was first made of the idea1 irrespective of any considerations of the possibility of its being carried out4 ,other small sketches were then made1 modifying the subject to suit the figures available as models1 and the accessories accessible without very much going out of the way to find them4 ,from these rough sketches a more elaborate sketch of the composition1 pretty much as it stands1 and of the same size1 #cb by #bb inches1 was made1 the arrangement being divided so that the different portions may come on #bc by #ah plates1 and that the junctions may come in unimportant plates1 easy to join1 but not easy to be detected afterwards4 ,the separate negatives were then taken4 ,the picture is divided as follows3-- ,the first negatives taken were the two of which the background is composed4 ,the division runs down the centre1 where the light wall is relieved by the dark beyond it4 ,these two negatives were not printed separately--it is advisable to have as few printings as possible--but were carefully cut down with a diamond1 and mounted on a piece of glass rather larger than the whole picture1 the edges being placed in contact1 making1 in fact1 one large negative of the interior of the cottage1 into which it would be comparatively easy to put almost anything4 ,the next negative was the old man4 ,this included the table1 chair1 and matting on which his feet rest4 ,this matting is roughly vignetted into the adjoining ground of the cottage negative4 ,the great difficulty at first with this figure was the impossibility of joining the light head to the dark background2 no amount of careful registration seemed equal to effect this difficult operation2 but if it could not be done1 it could be evaded4 ,several clever people have been able to point out the join round the head1 down the forehead1 and along the nose1 but we have never been able to see it ourselves1 because we know it is not there4 ,this is how the difficulty was got over4 ,the figure was taken with a background that would print as nearly as possible as dark as the dark of the cottage4 ,the join is nowhere near the head1 but runs up the square back of the old woman's chair1 then up the wall1 and across the picture1 over the head in an irregular line1 and descends on the old man's back1 whence it was easy to carry it down the dark edge of his dress and the chairs till it comes to the group of baskets1 pails1 c41 that fill up the corner4 ,on the other side1 the join runs along the edge of the table1 and finds its way out where the floor coverings come together4 ,the old lady was then photographed1 and is simply joined round the edge2 so also was the group in the corner1 and the glimpse of the village seen through the window4 ,at first sight1 it will appear difficult to place the partly-printed pictures in the proper place on the corresponding negative4 ,there are many ways of doing this1 either of which may be chosen to suit the subject4 ,sometimes a needle may be run through some part of the print1 the point being allowed to rest on the corresponding part of the second negative4 ,the print will then fall in its place at that point4 ,some other point has then to be found at a distance from the first2 this may be done by turning up the paper to any known mark on the negative1 and allowing the print to fall upon it2 if the two separate points fall on the right places1 all the others must be correct4 ,another way of joining the prints from the separate negatives is by placing a candle or lamp under the glass of the printing-frame--practically1 to use a glass table--and throwing a light through the negative and paper2 the join can then be seen through4 ,but the best method is to make register marks on the negatives4 ,this is done in the following manner4 ,we will suppose that we wish to print a figure with a landscape background from two negatives1 the foreground having been taken with the figure4 ,at the two bottom corners of the figure negative make two marks with black varnish1 thus 2 these1 of course1 will print white in the picture4 ,a proof is now taken1 and the outline of the figure cut out accurately4 ,where the foreground and background join1 the paper may be torn across1 and the edges afterwards vignetted with black varnish on the back of the negatives4 ,this mark is now fitted in its place on the landscape negative4 ,another print is now taken of the figure negative1 and the white corner marks cut away very accurately with a pair of scissors4 ,the print is now carefully applied to the landscape negative1 so that the mark entirely covers those parts of the print already finished4 ,the landscape is then printed in4 ,before1 however1 it is removed from the printing-frame1 if1 on partial examination1 the joins appear to be perfect1 two lead pencil or black varnish marks are made on the mark round the cut-out corners at the bottom of the print4 ,after the first successful proof there is no need for any measurement or fitting to get the two parts of the picture to join perfectly2 all that is necessary is merely to cut out the little white marks1 and fit the corners to the corresponding marks on the mask2 and there is no need to look if the joins coincide at other places1 because1 if two points are right1 it follows that all must be so4 ,this method can be applied in a variety of ways to suit different circumstances4 ,it is always well to have as few paintings as possible1 and it frequently happens that two or more negatives can be printed together4 ,for instance1 the picture we have been discussing--,when the ,day's ,work is ,done--is produced from six negatives1 but it only took three printings4 ,the two negatives of which the cottage is composed was1 as already explained1 set up on a large sheet of glass1 and printed at once2 the old man was also set upon another glass of the same size1 with the negative of the glimpse through the window2 and the old woman was printed in like manner1 with the corner group of baskets1 c4 ,so that here were practically three negatives only4 ,these were registered with corner marks so accurately that not a single copy has been lost through bad joins4 ,there are one or two things to consider briefly before concluding this subject4 ,it is true that combination printing--allowing1 as it does1 much greater liberty to the photographer1 and much greater facilities for representing the truth of nature--also admits1 from these very facts1 of a wide latitude for abuse2 but the photographer must accept the conditions at his own peril4 ,if he finds that he is not sufficiently advanced in knowledge of art1 and has not sufficient reverence for nature1 to allow him to make use of these liberties1 let him put on his fetters again1 and confine himself to one plate4 ,it is certain 7and this we put in italics1 to impress it more strongly on the memory7 that a photograph produced by combination printing must be deeply studied in every particular1 so that no departure from the truth of nature shall be discovered by the closest scrutiny4 ,no two things must occur in one picture that cannot happen in nature at the same time4 ,if a sky is added to a landscape1 the light must fall on the clouds and on the earth from the same source and in the same direction4 ,this is a matter that should not be done by judgment alone1 but by judgment guided by observation of nature4 ,effects are often seen1 especially in cloud-land1 very puzzling to the calm reasoner when he sees them in a picture2 but these are the effects that are often best worth preserving1 and which should never be neglected1 because it may possibly happen that somebody will not understand it1 and1 therefore1 say it is false1 and1 arguing still further on the wrong track1 will say that combination printing always produces falsehoods1 and must be condemned4 ,a short anecdote may1 perhaps1 be allowed here4 ,some time ago a photograph of a landscape and sky was sent to a gentleman whose general judgment in art was admitted to be excellent2 but he knew that combination printing was sometimes employed4 ,in acknowledging the receipt he said1 ,thank you for the photograph2 it is a most extraordinary effect2 sensational1 certainly1 but very beautiful2 but it shows1 by what it is1 what photography cannot do2 your sky does not match your landscape2 it must have been taken at a different time of day1 at another period of the year4 ,a photograph is nothing if not true4 ,now it so happened that the landscape and sky were taken at the same time1 the only difference being that the sky had a shorter exposure than the landscape1 which was absolutely necessary to get the clouds at all1 and does not affect the result4 ,another instance arose in connection with a picture representing a group of figures with a landscape background4 ,four of the figures were taken on one plate1 at one operation2 yet a would-be critic wrote at some length to prove that these figures did not agree one with another2 that the light fell on them from different quarters2 that the perspective of each had different points of sight2 and that each figure was taken from a different point of view6 ,these two cases are mentioned to show that it is sometimes a knowledge of the means employed1 rather than a knowledge of nature--a foregone conclusion that the thing must be wrong1 rather than a conviction1 from observation1 that it is not right--that influences the judgment of those who are not strong enough to say1 ,this thing is right1 or ,this thing is wrong1 no matter by what means it may have been produced4 ,,chapter ,,xv4 ,,toning ,,the ,,print4 ,if a print on albumenized paper be fixed without any intermediate process1 the result is that the image is of a red1 disagreeable tone1 and unsightly4 ,moreover1 it will be found that1 if such a print be exposed to the atmosphere1 it rapidly loses its freshness1 and fades4 ,in order to avoid this unsightliness1 resort is had to toning1 the toning1 in reality1 being the substitution of some less attackable metal for the metallic silver which forms a portion of the print4 ,the usual metal used for substitution is gold applied in the state of the ter-chloride4 ,it is not very easy to tell precisely how the substitution is effected2 the question is1 at present1 sub judice1 and1 therefore1 we propose to omit any theory that may have been broached4 ,it is sufficient to say that it is believed the first step towards the reduction of the gold is the production of a hydrated oxide1 and never metallic gold4 ,be that as it may1 if a finely-divided silver be placed in a solution of chloride of gold1 the silver becomes converted into the chloride1 and the gold is quickly reduced to the metallic state2 and since gold combines with more chloride than does silver1 it is manifest that when the substitution takes place1#be the metallic gold deposited must be very much less than the silver4 ,the colouring power of gold is1 however1 very great1 when in the fine state of division in which we have it1 being an intense purple to blue colour1 and a very little of this mixed visually with the ruddy or brown colour of the albuminate which has been discoloured by light gives1 after fixing1 a pleasing tone4 ,a picture1 when toned thus1 is composed of silver subchloride1 metallic gold1 and an organic compound of silver4 ,if a print be kept in the toning bath too long1 we are all aware that the image becomes blue and feeble1 and the same disaster happens when a toning bath is too strong1 i4e41 is too rich in gold solution4 ,the reason of this is1 that too much gold is substituted for the silver in the sub-chloride1 and there is in consequence too great a colour of the finely-precipitated gold seen4 ,to make a toning bath1 the first thing is to look after the gold4 ,there is a good deal of chloride of gold sold1 which is1 in reality1 not chloride of gold1 but a double chloride of gold and of some such other base as potassium1 and if it be paid for as pure chloride of gold1 it is manifest that the price will be excessive4 ,it is best to purchase pure chloride of gold1 though it may be slightly acid1 since subsequent operations correct the acidity4 ,in our own practice we get fifteen-grain tubes1 and break them open1 and add to each grain one drachm of water1 and in this state it is convenient to measure out4 ,thus1 for every grain of gold to be used1 it is only necessary to measure out one drachm into a measure4 ,in delicate chemical operations1 this would rightly be considered a rough method2 but for a practical photographer it is sufficiently precise4 ,now if chloride of gold alone were used1 it would be found that the prints1 after immersion in a dilute solution1 were poor and measley1 and practice has told us that we must add something to the solution to enable it to act gradually and evenly4 ,first of all1 the gold solution must be perfectly neutral1 and we know no better plan than adding to it a little powdered chalk1 which at once neutralizes any free acid4 ,it is not a matter of indifference what further retarder is added1 for the reason that the more you retard the action1 the more ruby-coloured becomes the gold1 and less blue4 ,a well-known experiment is to dissolve a little phosphorus in ether1 and add it to a gallon of water1 and then to drop in and stir about half a grain of chloride of gold4 ,phosphorus reduces the gold into the metallic state1 but when so dilute the reduction takes place very slowly4 ,the gold will1 however1 precipitate gradually1 but it will be in such a fine state of division that it is a bright ruby colour4 ,a very common addition to make to a toning bath is acetate of soda1 and if the gold be in defect1 the same appearance will take place in the solution4 ,if chloride of lime1 however1 be added instead1 and a commencement of precipitation of gold be brought about1 the gold will be of a blue colour1 having a slight tendency to purple4 ,in this case1 the grains of gold deposited are larger than when it is in the ruby state4 ,the tone of the print then depends in a large measure on the degree of rapidity with which the gold is deposited4 ,the quicker the deposit1 the larger and bluer the gold1 whilst an extremely slow deposition will give the red form4 ,it often happens that no matter how long a print is immersed in a toning bath1 it never takes a blue tone4 ,the reason will be obvious from the above remarks4 ,we now give some toning baths which are much used4 ,no4 #a4--;,gold tri-chloride #a grain ,sodium carbonate #aj grains ,water #aj ounces ,this bath must be used immediately after mixing1 since the gold is precipitated by the carbonate4 ,the tones given by this bath are purple and black4 ,the prints should be toned to dark brown for the purple tone1 and a slightly blue tone for the black tone4 ,no4 #b4--;,gold tri-chloride #b grains ,saturated solution of chloride of lime #b drops ,chalk a pinch ,water #af ounces ,the saturated solution of chloride of lime is made by taking the common disinfecting powder1 and shaking a teaspoonful up in a pint bottle4 ,when the solids have settled1 the clear liquid can be decanted off1 and corked up till required4 ,this is the solution used above4 ,it is as well to keep this solution in the dark room4 ,the water with this bath should be hot 7boiling better still71 and the bath may be used when it is thoroughly cool4 ,it is better1 however1 to keep it a day before using1 since1 when fresh1 the action is apt to be too violent1 and the prints are readily over-toned4 ,the tone with this bath is a deep sepia to black4 ,to get the first tone a very short immersion is necessary2 the prints should be almost red4 ,for a black tone the prints should be left in the solution till they are induced to be of a purple hue4 ,no4 #c is made as follows3-- ,sodium acetate #a drachm ,gold trichloride #e minim ,distilled water #ab ounces ,this bath is a most excellent one in many respects1 and should not be used under a week to get the best result4 ,as this is a long time to keep a bath1 it is as well to have two always on stock4 ,it keeps indefinitely if proper care be taken of it4 ,this produces a purple or brown tone1 according to the length of time the print is immersed in it4 ,now1 as to toning the print4 ,after the day's printing is done1 the prints should be placed in a pan of good fresh water1 in order to dissolve out all or a certain amount of silver nitrate that is invariably left in them4 ,a puncheon1 such as is used in dairies1 is very convenient4 ,it should be filled with water1 and the prints placed in one by one1 taking care that no one sticks to its neighbour1 as this would be a fruitful source of unequal toning4 ,most water contains a little carbonate of lime and chloride of sodium1 c42 the water will therefore become milky4 ,when the prints have been in the first water for ten minutes1 they should be removed to another vessel of water1 one by one4 ,the first wash water should be placed in a wooden tub1 with a tap let into it about six inches above the base1 together with a little common salt4 ,the salt forms chloride of silver1 which gradually precipitates1 and the clear water is then drawn off on the next day1 and the sediment is left undisturbed4 ,illustration3 ,fig4 #bg4 ,it now remains to see which toning bath is to be used4 ,if ,no4 #a or #c1 the whole of the free silver should as far as possible be washed away1 which may entail three or four changes of water2 the last two washings it will hardly repay to place in the tub2 the second washing should certainly be added to it4 ,if ,no4 #b toning bath be used1 a little free silver should remain in the print2 in fact1 the washing should be confined to two changes of water4 ,when toning operations are commenced1 the toning solution is poured off from any sediment that may be in the bottle containing it into a dish a couple of inches wider each way than the largest print which has to be toned4 ,if big prints have to be toned1 it is inadvisable to place more than a couple in the dish at the same time1 since there is a certain awkwardness in judging of the amount of tone given to a print which is 7say7 between two or three4 ,the prints should be placed face up in the solution1 and great care should be taken that liquid separates each print from the next one to it1 otherwise there will be patches of unequal toning4 ,the dish containing the prints in the solution should be gently rocked to secure a proper mixture of the solution which may have been robbed of its gold in those strata next surface of the prints4 ,the rocking is also advisable to cause any adhesion between two deep-toning prints impossible4 ,if the prints be of small size1 a dozen or more may be toned at one operation4 ,each print should be frequently brought to the surface of the liquid1 and examined in order to see how the toning action is progressing4 ,when one print is judged sufficiently toned1 it is removed to a dish containing pure water1 and another untoned print placed in the dish in its stead4 ,this operation is continued till all the prints are toned4 ,we have heard that it has been suggested to place the prints in water containing a little acetic acid or common salt1 in order to stop the toning action continuing from the solution which may be held in the paper4 ,the former is most undesirable1 acetic acid1 as we shall see presently1 decomposing the fixing bath4 ,as to the addition of common salt1 we can scarcely give a favourable opinion regarding it4 ,the addition of a chloride does1 in truth1 alter the colour of the deposited gold 7see ante71 and it may be this that gives rise to the opinion that it corrects toning action4 ,of one thing we have little doubt1 however1 and that is1 that the addition of any large amount of common salt will tend to turn the albumenate of silver into chloride1 which in fixing will materially weaken the print4 ,when giving the formula of the toning baths1 we have indicated the depth to which toning should take place4 ,one great point to attend to is1 that a print should not be a slatey colour when fixed1 and that can only be avoided by stopping the toning action when the print arrives at a blue-purple stage4 ,the toning bath1 when used1 should be replaced in the bottle1 and we recommend that it be kept in a dark place1 otherwise any chloride of silver which finds its way into the solution will darken and be a nucleus for the precipitation of gold from the solution4 ,the energy of the toning bath would1 in consequence1 be wholly gone4 ,it will be found that in very cold solutions formed in winter the toning action is much slower than in summer1 and we need scarcely point out that this due to the fact that cold invariably retards chemical action4 ,this retardation is not advantageous1 and it will be found positively hurtful as to the colour of the precipitated gold4 ,we therefore recommend that the toning solution and the dish in which it is to be poured should be warmed before the fire1 the former to a temperature of about #gj;,f41 and the latter a little higher4 ,by this means the toning action will take place as rapidly as in warm weather1 and the same tones be produced4 ,it must be remembered we are writing for all2 not for those alone who have an elaborate arrangement for keeping their operating rooms at a good temperature in all weathers1 but also for those who cannot afford the luxury4 ,it is for this reason that we have given the above directions4 ,,chapter ,,xvi4 ,,fixing ,,the ,,print4 ,sir ,j4 ,herschel was the first to point out that hyposulphite of soda would dissolve chloride of silver1 and subsequently it has been found that it dissolves almost every organic salt of silver4 ,in our early chapters we gave some examples of this4 ,when we add hyposulphite to a salt of silver1 such as the chloride1 we get one of two reactions1 the formation of a nearly insoluble double hyposulphite of soda and silver1 or a readily soluble one4 ,silver ,sodium ,chloride and ,hyposulphite ,ag,cl ,na#b,s#b,o#c form ,insoluble ,double ,sodium ,hyposulphite of and ,chloride4 ,silver and ,sodium ,ag,na,s#b,o#c ,na,cl ,and ,silver ,sodium ,chloride and ,hyposulphite #b;,ag,cl #c,na#b,s#b,o#c form ,soluble ,double ,sodium ,hyposulphite of and ,chloride4 ,silver and ,sodium ,ag#b,na#dc7,s#b,o#c7 #b,na,cl ,the first insoluble double hyposulphite is formed when there is only a small quantity of sodium hyposulphite present2 the soluble kind when the sodium hyposulphite is in excess4 ,since it is the soluble kind which we wish to form1 it is manifest that the presence of a sufficiency of hyposulphite in the fixing bath is necessary4 ,if not1 we have left the insoluble form on the paper4 ,if either of these two kinds of hyposulphite be made in a test-tube1 we can readily simulate the effect of atmospheric exposure4 ,if slightly acid water be added to the hyposulphite1 it will be seen1 when chloride of silver has been dissolved by the hyposulphite1 that the precipitate or solution commences to blacken1 sulphide of silver being formed4 ,on the other hand1 if we take albumenate of silver1 and dissolve it in hyposulphite of soda1 we shall find that the addition of acid gradually causes a yellow-looking compound to separate out1 and it is probably this body formed in the paper which causes the gradual yellowing of the whites of silver prints4 ,what is taught us1 then1 by this observation is1 that by thorough washing we must try and eliminate all traces of hyposulphite of silver1 and1 indeed1 of the hyposulphite of soda1 since the latter decomposes as rapidly in the presence of acid as does the silver compound4 ,the formula for the fixing bath which we recommend is3-- ,sodium hyposulphite #d ounces ,water #a pint ,ammonia #a_/b drachm ,the addition of the ammonia prevents any possibility of an acid reaction arising1 and otherwise softens the film of albumen and the size of the paper1 causing more rapid fixation and more thorough washing4 ,another thing the ammonia does is1 that it prevents1 in a great measure1 blistering of the film of albumen1 which is common in some highly-albumenized paper4 ,experience has shown that one ounce of solid hyposulphite will fix with safety three sheets of paper1 so that an idea can be formed of how much must be used for a day's printing4 ,the hyposulphite bath which has been used one day should never be used the next1 since it invariably contains the germs of decomposition in it from some cause or another4 ,indeed1 the appearance of the solution indicates this is so1 since it is usually of a yellow or brownish appearance4 ,the time required for fixing a print varies with the thickness of the paper used4 ,as a rule1 prints on the medium-sized paper require ten minutes' soaking in the bath1 whilst thick-size requires fifteen minutes4 ,whilst toning1 the dish containing the hyposulphite should be kept in a gentle rocking motion1 as in toning1 and for the same reasons4 ,prints may be examined from time to time1 to see how the fixing progresses4 ,when a print is not quite fixed1 small spots of dark appearance will be seen when it is examined by transmitted light4 ,the operation of fixing should be continued after these disappear for at least three or four minutes1 in order that the hyposulphite of soda in the dish may get impregnated with the double silver and sodium salt which is in the print1 and thus render washing more effectual4 ,it should be noted that the dish for fixing should be at least as long and wide as the dish used for toning2 that it should be deeper when1 as a rule1 all the prints are fixed at one time4 ,care should be taken that dishes which are used for sensitizing1 toning1 or fixing1 should not be used for anything else4 ,the glaze of porcelain dishes is often soft1 and frequently absorbs a certain amount of the solutions used4 ,thus1 if a porcelain dish be used for a solution of any aniline dye1 it will often be found that it is permanently stained4 ,colour in this last is merely indication of what happens with any other solution4 ,it will thus be seen that it is a mistake to use a dish for fixing when the glaze is cracked1 since old hyposulphite must find its way into the body of the fresh solution that may be used1 and thus institute a spontaneous decomposition1 and a consequent want of permanence in the print4 ,for our own part1 we believe that a gutta-percha dish is a safer dish to use than any other1 since it is impervious to any solution1 and can be well scoured after fixing1 and before being again brought into use4 ,we believe that much of the fading of prints may be traced to the use of unsuitable dishes for fixing4 ,,chapter ,,xvii4 ,,washing ,,the ,,print4 ,there are very many apparatus designed for washing prints2 but we believe that1 where few prints have to be treated1 careful hand-washing is as superior to machine-washing1 as hand-made paper is to machine-made4 ,in our own practice we take the prints from the fixing-dish1 and immerse them in a large puncheon of water1 and allow them to soak for five minutes1 after which we carefully pour off all the water1 and replenish with fresh1 in which we leave them for a quarter-of-an-hour4 ,after that we take the prints and place them on a glass slab1 and1 with a squeegee1 squeeze as much water as possible out of each separately2 this we repeat twice4 ,after two more washings of a quarter-of-an-hour1 we then wash for half-an-hour1 and1 with a sponge1 dab them as dry as possible1 and again immerse for half-an-hour4 ,after repeating this operation twice1 we allow a stream of running water to pour into the puncheon for a couple of hours1 carrying the stream through an india-rubber pipe1 at the end of which is a glass tube1 to the bottom of the puncheon1 and so that the pour of water goes against the side4 ,by this means there is a constant stir in the water1 and the water flows over the edge of the puncheon4 ,it is convenient to cut a notch in the top rim of the puncheon1 so that the water may find an exit before reaching the level of the rim4 ,the prints are then taken out1 sponged once more1 and dried4 ,by this arrangement we have got prints which are perfectly unfaded1 though they have been in existence eighteen years1 and have been to the tropics1 and in the dampest climates4 ,this method of washing1 though tedious1 should be applied to all prints2 but1 in the present day1 it can hardly be hoped that it can be immediately adopted1 on account of the attention it requires2 we therefore describe an apparatus which can be used4 ,it was designed by ,mr4 ,england1 and consists of a working trough1 as shown in the figure1 which is automatically worked by an overshot wheel4 ,we need not enter into the details of the invention1 as they are self-evident4 ,illustration3 ,fig4 #bh4 ,this washing arrangement causes the prints to be alternately soaking in water1 and draining4 ,whilst in the water they are perpetually being shaken apart by the movement of the tray1 and thus every part of the print gets washed1 and it is almost impossible for two prints to stick together4 ,in all washing apparatus there is a danger of air-bells forming on the surface of the prints while in the water1 but in this form there is the advantage that whilst draining the air-bells must break1 and so water on rising to the level of the prints can obliterate any of the evil effects which would be caused by their being perpetually remaining on one spot4 ,it is useless to attempt to describe other forms of the apparatus1 since there are so many2 we have chosen one which appears to us to be a satisfactory form4 ,the following tests for the elimination of hyposulphite are taken from another work of this series4#bf ,the following is a most delicate test4 ,make the following test solution3-- ,potassium permanganate #b grains ,potassium carbonate #bj ,water #a quart ,the addition of a few drops of this rose-coloured solution to a pint of water will yield a slightly pink tinge4 ,if there be any trace of sodium hyposulphite present1 this colour will give place to one of a greenish hue4 ,if the permanganate be not at hand1 the following well-known starch iodide test may be adopted3-- ,take about two drachms of water and a small piece of starch about the size of a small pea2 powder and boil the starch in the water till the solution is quite clear2 add one drop of a saturated solution of iodine in alcohol to this clear liquid4 ,it will now become dark blue4 ,of this solution drop two drops into two clean test tubes1 and fill up one with distilled water and the other with the water to be tested2 a faint blue colour should be perceptible in the first test tube4 ,in the second test tube1 should hyposulphite be present1 this blue colour will have disappeared1 the iodide of starch becoming colourless in its presence4 ,the best mode of comparing the two waters is by placing a piece of white paper behind the test tubes4 ,it frequently occurs that though sodium hyposulphite cannot be detected in the washing water1 it may be present in the paper itself4 ,the paper on which most prints are taken being sized with starch1 if a very weak solution of iodine be applied with a brush across the back of a print1 a blue mark will indicate the absence of the hyposulphite4 ,care must be taken that the iodine solution is very weak1 otherwise a part of the iodine will first destroy the trace of the salt1 and then the remainder will bring out the blue re-action4 ,we finish this chapter by quoting our maxims to be observed in printing4 ,maxims for ,printing4 #a4 ,the prints should have the highest lights nearly white1 and the shadows verging on a bronzed colour before toning4 #b4 ,place the prints1 before toning1 in the water1 face downwards1 and do not wash away too much of the free nitrate of silver4 #c4 ,the toning solution must be neutral or slightly alkaline1 and not colder than #fj4 #d4 ,tone the prints to purple or sepia1 according as warm or brown prints are required4 #e4 ,move the prints1 in both the toning and fixing solutions1 repeatedly1 taking care that no air-bubbles form on the surface4 #f4 ,take care that the fixing bath is not acid4 #g4 ,use fresh sodium hyposulphite solution for each batch of prints to be fixed4 #h4 ,wash thoroughly after and before fixing4 #i4 ,make a sensitizing bath of a strength likely to give the best results with the negatives to be printed4 #aj4 ,print in the shade1 or direct sunshine1 according to the density of the negative4 ,,chapter ,,xviii4 ,,printing ,,on ,,plain ,,paper4 ,prints on plain paper are sometimes of use2 for instance1 they form an excellent basis on which to colour4 ,they are of course duller than an albumenized print1 since the image is formed more in the body of the paper than on the surface4 ,the following formula may be used3-- ,ammonium chloride #fj to #hj grains ,sodium citrate #ajj ,sodium chloride #bj to #cj ,gelatine #aj ,distilled water #aj ounces ,or1 ,ammonium chloride #ajj grains ,gelatine #aj ,water #aj ounces ,the gelatine is first swelled in cold water1 and then dissolved in hot water1 and the remaining components of the formul are added4 ,it is then filtered1 and the paper is floated for three minutes1 following the directions given on page #aj4 ,if it be required to obtain a print on plain paper in a hurry1 a wash of citric acid and water 7one grain to the ounce7 may be brushed over the back of ordinary albumenized paper1 and1 when dried1 that side of the paper may be sensitized and printed in the ordinary manner4 ,for cold tones the wash of the citric acid may be omitted4 ,the toning and fixing are the same as described in ,chapters ,,xii4 and ,,xiii4 ,,chapter ,,xix4 ,,printing ,,on ,,resinized ,,paper4 ,the following is taken from another volume of this series4#bg ,to ,mr4 ,henry ,cooper we are indebted for a valuable printing process1 founded on substituting resins for albumen or other sizing matter4 ,the prints obtained by this process are very beautiful1 and lack that gloss of albumen which is often called vulgar and inartistic4 ,the following are the two formul which ,mr4 ,cooper has communicated to the writer3-- ,frankincense #aj grains ,mastic #h ,calcium chloride #e to #aj ,alcohol #a ounce ,when the resins are dissolved in the alcohol1 the paper is immersed in the solution1 then dried and rolled4 ,the sensitizing bath recommended is as follows 7though the strong bath given at page #abf will answer73-- ,silver nitrate #fj grains ,water #a ounce ,to the water is added as much gelatine as it will bear without gelatinizing at #fj ,fah4 ,the second formula gives very beautiful prints1 soft and delicate in gradation4 ,the paper is first coated with an emulsion of white lac in gelatine1 which is prepared as follows3-- #c ounces of fresh white lac are dissolved in #a pint of strong alcohol1 and after filtering or decanting1 as much water is added as it will bear without precipitating the lac2 #a ounce of good gelatine is soaked and dissolved in the pint of boiling water1 and the lac solution is added with frequent stirring4 ,if1 at any stage of this operation1 the gelatine is precipitated1 a little more hot water must be added4 ,the pint of lac solution ought1 however1 to be emulsified in the gelatine solution4 ,to use the emulsion1 it is warmed1 and the paper immersed in or floated on it for three minutes4 ,when dry1 the coated surface is floated in the following for a couple of minutes3-- ,ammonium chloride #aj grains #bh,magnesium lactate #aj ,when dry1 it is sensitized on a moderately strong bath 7that given on the last page will answer74 ,if more vigour in the resulting prints be required1 it is floated on3-- ,citric acid #e grains ,white sugar #e ,this last bath improves by use1 probably by the accumulation of silver nitrate from the sensitized paper4 ,any of the toning baths given in ,chapter ,,xii4 will answer1 though ,mr4 ,cooper recommends3-- ,solution of gold tri-chloride 7#a gr4 to #a dr4 of water7 #b dr4 ,pure precipitated chalk a pinch ,hot water #aj ounces #b dr4 of sodium acetate are to be placed in the stock-bottle1 and the above solution filtered on to it4 ,this is made up to #bj ounces1 and is fit for use in a few hours2 but it improves by keeping4 ,in commencing to tone1 place a few ounces of water in the dish1 and add an equal quantity of the stock solution1 and if the toning begins to flag a little1 add more of it from time to time4 ,with the resin processes over-toning is to be carefully avoided4 ,resinized paper may be obtained from most photographic dealers1 we believe1 and for some purposes is an admirable substitute for albumenized paper4 ,,chapter ,,xx4 ,,printing ,,on ,,gelatino-,,chloride ,,emulsion ,,paper4 ,mr4 ,w4 ,t4 ,wilkinson has recently brought forward the notion of using gelatine instead of albumen as a medium for holding the silver chloride in printing4 ,he uses the following formula3-- ,barium chloride #b1ddj grains ,gelatine #b1jjj ,water #bj ounces ,the gelatine is allowed to swell in the water1 and1 by the aid of heat1 is dissolved2 the barium chloride is then added4 ,next he prepares-- ,silver nitrate #a1gjj grains ,water #e ounces and adds this to the former1 little by little1 in a large bottle with much shaking1 or pours it slowly into the former in a large jar1 stirring briskly the whole time4 ,this makes an emulsion of silver chloride1 and is used without washing4 ,when required for use1 the gelatine1 which will have set when cold1 is swelled by placing the jar containing it in hot water1 and is then transferred to a dish4 ,the dish should be kept warm by being placed1 supported on small blocks1 in a tin tray 7about two inches larger in dimensions every way than the dish7 filled with hot water1 the temperature of which should be about #aej ,f4 to commence with4 ,saxe or ,rive paper may be coated by rolling the sheet face outwards1 and placing the edge of the roll upon the gelatine4 ,the two corners of the paper in contact with the solution are then taken hold of by the fingers1 and raised4 ,the paper will unroll of itself1 and take up a thin layer of the gelatine emulsion4 ,the sheet of paper is then suspended to dry4 ,all these operations are1 of course1 conducted in the dark room4 ,the behaviour of the paper in the printing-frame is precisely the same as albumenized paper1 and the washing and toning are conducted in the same way4 ,for a fixing bath is used-- ,sodium hyposulphite #b ounces ,water #bj ,the washing after fixing is more rapid than with albumenized paper4 ,it is washed in ten or twelve changes of water for ten minutes1 and then placed for five minutes in an alum bath made as follows3-- ,potash alum #e ounces ,water #bj ,the print is washed in a few changes of water1 and the prints are ready for drying and mounting4 ,the advantage of the alum bath is that the hyposulphite is destroyed into harmless products1 and the gelatine is rendered insoluble by it4 ,in the formula given there is large excess of chloride1 and we recommend that instead of using #b1ddj grains of barium chloride1 #b1jej grains be used4 7,mr4 ,wilkinson has used that amount of the barium salt that would be required exactly to convert #a1gjj grains of silver nitrate into silver chloride1 if the formula for barium chloride were ,ba,cl#c instead of ,ba,cl#b47 ,it will be seen that whichever formula is used1 there is no silver left to combine with the gelatine1 and hence the image will be entirely formed by metallic silver1 and not an organic salt of silver4 ,,chapter ,,xxi4 ,,drying ,,the ,,prints4 ,in many establishments the prints are taken direct from the washing water1 and hung up by ,american clips1 and thus allowed to dry4 ,when this is done1 the prints curl up as the water leaves the paper1 and they become somewhat unmanageable4 ,if prints have to be dried at all before mounting--and they must1 unless they are trimmed before toning--a better plan is to make a neat heap of some fifty or sixty of the same size 7say cartes71 place them on blotting-paper1 and drain for a time1 and then in a screw-press 7such as is used to press table-cloths1 for instance7 to squeeze out all superfluous water4 ,after a good hard squeeze the prints should be separated1 and the plan adopted by ,mr4 ,england carried out4 ,he has frames of light laths made1 of about #f feet by #c feet1 and over this frame is stretched ordinary paperhanger's canvas4 ,the prints are laid on this to dry spontaneously1 and they cockle up but very little4 ,the frames1 being light1 are easily handled4 ,after the squeezing is done1 supposing the room in which they are placed be not very damp or very cold1 the prints will be ready for trimming and mounting in a couple of hours4 ,to our minds there is nothing superior to this mode of drying1 since the squeezing in the press tends to eliminate every slight trace of hyposulphite which might be left in them4 ,trimming the ,prints4--,perhaps more prints are ruined in trimming than in any other way1 when the operator is inexperienced1 since it requires judgment to know which part of the print to trim off1 so that a right balance shall be kept4 ,in trimming landscape prints1 it is impossible to give any set rules2 the judgment as to what is artistic must be the guide4 ,of one thing we may be certain1 that1 unless the operator who took the original negative knows exactly how to balance his picture on the focussing-screen1 the print will always bear cutting down in one direction or the other4 ,such a clipping1 of course1 alters the size of the print1 which1 if it be one of a series1 will be a misfortune2 but1 on the other hand1 the artistic value of the individual print will be increased4 ,for portraits there are some few rules which should be followed in trimming4 ,always allow the centre of the face to be a little out from the central line of the print1 making more space on the side towards which the sitter is looking4 ,allow a carte or cabinet to be cut in such a way that1 if the sitter has been leaning on something1 it does not seem as if he had been leaning on nothing4 ,should there be an unintentional lean on the part of the sitter1 trim the print so that he appears in an upright position4 ,to trim the print1 there should be the various sized shapes in glass used4 ,thus there should be glasses with bevelled edges for the carte1 the cabinet1 and other sizes1 which can be laid on the print as a guide to the trimming4 ,the absolute trimming may be done either by shears or by a knife1 a leather cutters' knife being excellent1 since it is rounded1 and can be brought to a keen edge very readily4 ,when the knife is used1 the print is placed on a large glass sheet of good thickness1 the pattern placed over it1 and1 whilst this is held down by the left hand1 the knife is used by the right1 keeping it close to the edge of the pattern glass4 ,when shears are used1 the print is held against the pattern glass by the left hand1 and each side trimmed by one clip1 taking care to make the cut parallel to the edges of the pattern glass4 ,it requires a little practice to prevent clipping the glass as well as the paper1 but for small sized prints1 such as the carte1 the shears have a decided advantage over the knife4 ,for cutting out ovals1 ,robinson's trimmer is an excellent adjunct to the mounting-room1 and in this case ovals stamped out of sheet brass are used as guides4 ,illustration3 ,fig4 #bi4 ,the figure will show the action of the trimmer4 ,the small wheel is the cutter1 and1 being pivotted1 it follows the curve against which it is held4 ,it is better to cut out prints with this trimmer on sheet zinc in preference to glass1 the edge of the wheel being kept sharp for a longer time than where the harder glass is used4 ,to use the trimmer1 the print is placed on the sheet of zinc1 the oval mask 7or square mask1 with slightly rounded corners7 is placed in position on it4 ,the wheel of the trimmer is brought parallel to1 and against1 the edge of the mask1 the handle being grasped by the right hand1 the thumb to the left1 and the fingers on the right4 ,a fairly heavy downward pressure is brought to bear on the trimmer1 and at the same time the wheel is caused to run along the edge of the mask4 ,the cut should be clean1 and the join perfect1 if proper care be taken4 ,it is desirable to practise on ordinary writing paper before it is taken into use for prints4 ,square masks with very slightly rounded corners can be used2 the smaller the wheel1 the less curved the corners need be4 ,it will be seen that there is a limit to smallness of the wheel used1 since1 if too small1 the stirrup on which it is pivoted would rest upon the mask4 ,the larger the wheel the easier is the cutting4 ,with larger sizes than the carte or the cabinet1 mounting may often have to be delayed1 since it is easier to keep a stock of unmounted prints 7say landscapes7 unmounted than it is when they are mounted4 ,in this case the prints should be put away as flat as possible4 ,the plan of drying we have indicated takes out the curl1 but even then they will not be flat enough to be handily put away4 ,we therefore recommend the practice of stroking the prints4 ,a flat piece of hard wood1 about #a foot long and #a-a_/b inch broad1 and the thickness of a marquoise scale1 has its edges carefully rounded off4 ,the print is seized by one corner in one hand and unrolled2 the face of the print is brought in contact with a piece of plate glass4 ,the stroker1 held by the other hand1 is brought with its rounded edge on to the back of the print near the corner held by the first hand4 ,considerable pressure is brought upon the stroker1 and the print is drawn through between it and the plate4 ,the print is then seized by another corner and similarly treated4 ,by this means a gloss is put upon the print1 and the creases and cockles are obliterated4 ,the print is now ready for trimming4 ,it is well to have a square of glass with true edges cut to the size of the pictures4 ,the prints should be trimmed upon a sheet of plate glass1 a sharp penknife being used to cut them4 ,a rough test for ascertaining if the opposite sides are equal is to bring them together1 and see if both corners coincide4 ,it may sometimes be found useful to cut out a print into an oval4 ,the following method for tracing any ellipse may be employed3--,on a thickish piece of clean paper draw a line ,a ,b1 making it the extreme width of the oval required4 ,bisect it at ,o1 and draw ,d ,o ,c at right angles to ,a ,b4 ,make ,o ,c equal to half the smallest diameter of the ellipse4 ,with the centre ,c and the distance ,o ,b1 draw an arc of a circle1 cutting ,a ,b in ,e and ,f4 ,place the paper on a flat board1 and at ,e and ,f fix two drawing-pins4 ,take a piece of thread and knot it together in such a manner that half its length is equal to ,a ,f4 ,place the thread round the two pins at ,e and ,f1 and stretch it out to tightness by the point of a lead pencil4 ,move the pencil guided by the cotton1 taking care to keep it upright4 ,the resulting figure will be an ellipse4 ,modifications of this figure may be made by making a second knot beyond the first knot1 and placing the point of the pencil in the loop formed4 ,when the figure has been traced in pencil on paper1 it should be carefully cut out with a sharp penknife1 and placed on the print which is to be trimmed into an oval4 ,when so placed1 a faint pencil line is run round on the print1 and the cutting out proceeds either by scissors or penknife4 ,illustration3 ,fig4 #cj4 ,,chapter ,,xxii4 ,,mounting ,,photographs4 ,there are many photographers who1 unfortunately1 are quite indifferent as to the medium they use in mounting the trimmed photographs4 ,so long as the medium will cause the adherence of the back of the print to the cardboard employed1 they are perfectly satisfied1 whether it be paste fresh or sour1 or starch or gelatine in a similar condition4 ,if any of our readers have had the misfortune to have their rooms papered with rancid paste1 they will have noticed that the unpleasant smell attending it has not been removed from the room for weeks1 and that there is a liability of the return of the disgusting odour when the air is at all damp4 ,in this case the fact that decomposition is going on is detected by the olfactory nerves1 because the quantity is considerable4 ,it is none the less true1 however1 that every square inch of the surface of the wall paper is undergoing the same ordeal1 and that if it contains any colour1 c41 which would be affected by decomposing organic matter1 there would be but small chance of the paper retaining its fresh appearance4 ,were a silver print mounted with the same paste1 we need scarcely point out that danger to its permanency is to be apprehended4 ,paste1 we know1 is as a rule tabooed1 but there is no occasion for it to be so if care be taken that it is absolutely fresh when employed in mounting4 ,in looking for a mounting material1 we should endeavour to find something which does not readily take up moisture4 ,glue1 gelatine1 dextrine1 and gum are all inadmissible on this account2 on the other hand1 starch1 arrowroot1 cornflour1 and gum tragacanth1 when once dry1 do not seem to attract moisture4 ,referring to glue1 ,mr4 ,w4 ,brooks says#bi that he has recently seen many photographs which have been mounted with that medium1 and in some cases1 where the glue has been put on too thickly1 it swells up into ridges1 showing marks of the brush with which it is applied1 and each ridge after a time turns brown4 ,the same writer is not wholly in favour of starch1 but in our own opinion pure white starch is as good a material as can be met with4 ,to prepare it for use as a mountant1 a large teaspoonful of starch is placed in the bottom of a cup1 with just sufficient cold water to cover it4 ,this is allowed to remain for a couple of minutes1 after which the cup is filled with boiling water1 and well stirred2 the starch should then be fairly thick1 but not so thick as to prevent a brush taking up a proper supply for a good sized print4 ,we will suppose that we are going to mount a day's work of carte-de-visite prints4 ,in a former chapter we have said that it is desirable that the prints should be left damp4 ,if they are dried1 they should be slightly moistened1 and placed in a heap one above the other1 as by so doing the moisture is confined1 and one damping of all the prints is sufficient4 ,in our own practice we have1 as is natural1 all the prints with the faces downwards4 ,a stiff bristle brush is then dipped into the pot containing the starch1 and the starch brushed over the back of the top print4 ,this one is then carefully raised from the print beneath it1 and1 supposing it to have been properly trimmed1 it is laid upon the card1 and pressed down by means of a soft cloth1 and placed on one side to dry4 ,the next print is then treated in the same manner1 and so on4 ,by this plan no starch gets on the face of the prints1 which is a desideratum4 ,with a little practice1 just sufficient starch will be brushed on each carte1 and no more4 ,young hands1 however1 are sometimes apt to give more than a fair share to them2 in this case1 after pressing the print down with the soft cloth1 it may be useful to place on the print a piece of writing paper1 and press all superfluous starch out by a rounded straight-edge1 or an ivory or wooden paper knife4 ,the card in this case should be placed on a slab of thick glass1 so as give an even pressure4 ,the starch1 which will exude beyond the edges of the card1 should be carefully wiped off with a clean cloth4 ,this is of course a method to be adopted only in the case of bungling mounting1 but it is useful then1 and may save a carte4 ,it should be remembered that the less mounting medium used1 the greater is the chance of a silver print not fading4 ,to mount larger prints1 the back should be slightly damped1 and the brush with the starch applied with cross strokes1 so that every part is covered4 ,particular care should be taken that the corners and edges are not missed1 since it often necessitates re-mounting the print1 which is to be avoided as far as possible1 since it is a troublesome matter4 ,the rounded-edged ruler1 and the sheet of white paper1 is also useful here1 since over a large surface there is more difficulty in getting even layers of starch1 than over smaller ones4 ,when a print has to be mounted with a margin1 the places where the top corners have to come should be marked with a fine pencil point4 ,by a little dexterity1 the top edge of the print1 the back of which has been covered with starch in the manner described1 can be brought into the position indicated by these dots1 and be then lowered without puckers or folds4 ,it should be remembered that the print should just cover the pencil marks1 since it is almost impossible to erase blacklead with india-rubber1 if any starch should by accident get on it4 ,it is well to dry these prints under pressure1 since the cardboard is apt to cockle4 ,a couple of boards rather longer than the prints suffice for the purpose4 ,the mounted prints are laid between them1 a sheet of clean blotting-paper separating each1 and a few weights placed on the top board4 ,for prints of moderate size1 a table-cloth press is an excellent substitute4 ,as to the kind of mounts to be used1 opinions vary4 ,to our mind1 the simpler they are1 the better they look4 ,it is not rare to find a regular advertisement of the photographic establishment below a carte or cabinet print4 ,to say the least of it1 this is bad taste1 and we are sure it is bad art4 ,if the work be good1 it needs no recommendation2 and if it be bad1 the less of an advertisement that appears1 the better it is for the photographer4 ,at the back of a carte or cabinet is the place where any advertisement should appear2 but even here it may be overdone4 ,when we find the back of the carte got up with any amount of gold-lettering flourishes1 and no blank space on which the eye can rest without encountering some one especial merit of the artist1 we may expect to find on the front of the card the same kind of tawdry work4 ,it is seldom advisable to have the mount of a white colour1 though for cartes or cabinets1 in which the margin will be hidden in the album1 this is not of much consequence2 but for prints in which the margin shows1 it is generally advisable to have some slight tint visible1 preferably of a cream or buff colour4 ,there are some classes of work which will1 however1 bear a white margin1 but it is rarely the case2 and we advise1 as a general rule1 that there should be some tone on it1 to prevent its attracting the eye away from the picture by its whiteness4 ,black mounts are much in vogue at the present time1 and they are effective and artistic2 but chemical analysis has shown them not to be safe1 since they are enamelled with substances which are apt to induce fading4 ,a good and stable black mount is a desideratum1 which it is to be hoped will be found before long4 ,notwithstanding our preference for starch as a mountant1 we give a method of preparing glue for the same purpose4 ,the glue used should be light1 and as clean as possible4 ,it should be shredded and soaked in sufficient clean water to cover it for five or six hours2 any dust which may have adhered to it will find its way into the water4 ,the water should be poured off and replaced by an equal quantity of fresh4 ,the vessel containing it is heated over a small gas jet or spirit lamp until solution takes place4 ,the liquid is then thinned down with warm water till it is of proper consistency1 a point which is soon learned by a little practice4 ,an ordinary small glue pot will be found convenient4 ,it is sometimes useful to have at hand a mounting solution which will not cockle the mount1 and the late ,mr4 ,g4 ,wharton ,simpson gave a formula which is very good in this respect4 ,fine cut gelatine or shredded glue is swollen in the least possible quantity of water1 and this is boiled with alcohol1 with much stirring4 ,if #hj grains of ,nelson's ,no4 #a fine cut gelatine are taken1 #c dr4 of water should be used for making it1 and to it #b oz4 of alcohol be added4 ,when cool this sets into a jelly1 and can be used by letting the bottle into which it has been transferred stand in hot water4 ,prints can be mounted on foolscap paper with this medium without any serious cockling being apparent4 ,it should be recollected that no two batches of paper will mount exactly alike1 some expanding more than others4 ,it is well to mount a trial print before doing many1 to see exactly how the paper under manipulation behaves4 ,rolling the ,prints4--,after the prints have been under the hands of the retoucher1 they should be rolled in a rolling-press in order to give a brightness to the printed image4 ,it would be invidious to point out any particular press that should be used4 ,suffice it to say1 there are many excellent ones in the market4 ,the directions for cleaning and using the press are supplied with each machine2 we therefore refrain from saying anything about them4 ,,chapter ,,xxiii4 ,,defects ,,in ,,prints4 ,the bath solution is sometimes repelled by the paper1 and this is found chiefly in highly albumenized paper1 and is generally caused by the paper being too dry4 ,passing the sheet of paper over the steam from a saucepan will generally effect a cure4 ,small white spots1 with a black central pin-point1 are often met with in prints4 ,dust on the paper during sensitizing will cause them1 the grit forming a nucleus for a minute bubble4 ,all paper should be thoroughly dusted before being floated on the sensitizing bath4 ,grey1 star-like spots arise from small particles of inorganic matter1 such as ferric oxide1 lime1 c41 which are present in the paper4 ,they become more apparent by decomposition during the printing operations4 ,they may generally be discernible by examining the paper by transmitted light4 ,bronze lines 7straight7 occur through a stoppage during floating the paper in the sensitizing solution4 ,should the lines be irregular1 forming angles and curves1 it is probable that a scum of silver oxide1 c41 may be detected on the surface of the sensitizing solution4 ,a strip of blotting-paper drawn across the bath will remove the cause of the defect4 ,should the print appear marbled1 it may be surmised that the sensitizing solution is weak1 or that the paper has not been floated sufficiently4 ,in some cases it may arise from imperfect albumenizing2 but in ordinary commercial samples the cause can be easily traced4 ,red marks on the shadows may appear during toning1 and are very conspicuous after fixing4 ,they generally arise from handling the paper with hot1 moist fingers after sensitizing2 greasy matter being deposited on the surface1 prevents the toning bath acting properly on such parts4 ,weak prints are generally caused by weak negatives4 ,such can be partially remedied by paying attention to the strength of the sensitizing bath 7see ,appendix71 and by using washed paper4 ,harsh prints are due to harsh negatives4 ,they can generally be remedied by paying attention to the mode of printing1 as given in ,chapter ,,ix4 ,if the negative be under-exposed and wanting in detail1 there is1 however1 no cure for this defect4 ,a red tone is due to insufficient toning2 whilst a poor and blue tone is due to an excess of toning4 ,the whites may appear yellow from imperfect washing1 imperfect toning1 imperfect fixing1 or from the use of old sensitized paper4 ,should prints refuse to tone1 either the gold has been exhausted1 or else a trace of sodium hyposulphite has been carried into the toning bath by the fingers or other means4 ,a trace of hyposulphite is much more injurious to the print than a fair quantity of it4 ,should the toning bath refuse to tone after the addition of gold1 it may be presumed that it is contaminated by a trace of sodium hyposulphite4 ,a dark mottled appearance in the body of the paper indicates imperfect fixing1 combined with the action of light on the unaltered chloride during fixing4 ,if the fixing bath be acid1 the excess of acid combines with the sulphur1 and forms hydrosulphuric acid1 which will also cause the defect4 ,the cause of mealiness or measles in the print has been explained in page #cb4 ,,chapter ,,xxiv4 ,,encaustic ,,paste4 ,the value of an encaustic paste in improving the effect of photographic prints has become very generally recognised amongst photographers4 ,a good encaustic confers three special benefits on the print3 it gives depth1 richness1 and transparency to the shadows2 it renders apparent delicate detail in the lights which would otherwise remain imperceptible2 and it aids in protecting the surface1 and so tends to permanency4 ,one of the writers has in his possession prints that were treated with an encaustic paste thirteen years ago1 which retain all their original freshness and purity1 while prints done at the same time from the same negatives have gone1 to say the least of it1 off colour4 ,various formul for the preparation of encaustic pastes have been published1 and many of them very excellent4 ,the qualities required are1 easiness of application1 and the capacity of giving richness and depth without too much gloss1 and of yielding a hard1 firm1 permanent surface4 ,for a proper combination of all these qualities1 nothing has ever approached the paste of the late ,adam-,salomon1 of which the following is the formula3-- ,pure white wax #ejj grains ,gum elemi #aj ,benzole #bjj ,essence of lavender #cjj ,oil of spike #ae ,the wax is cut into shreds1 and melted in a capsule over a water bath4 ,placing it in a jar1 and the latter in a pan of hot water1 will serve4 ,powder the elemi1 and dissolve it in the solvent1 using gentle heat4 ,some samples of elemi are soft and tough1 and will not admit of powdering1 in which case it may be roughly divided into small portions1 and placed in a bottle with the solvents4 ,strain through muslin1 and add the clear solution to the melted wax1 and stir well4 ,it is then poured into a wide-mouthed bottle1 and allowed to cool4 ,the encaustic paste is put on the prints in patches1 and then rubbed with a light1 quick motion1 with a piece of flannel1 until a firm1 fine surface is obtained4 ,we give another simple formula which is efficient1 though we ourselves prefer the above4 ,white wax cut into shreds #a ounce ,turpentine #a and thinned down1 if necessary1 till it has the consistency of cold cream4 ,yet another is-- ,white wax #a ounce ,benzole #b ounces4 ,,chapter ,,xxv4 ,,enamelling ,,prints4 ,there are several modes of enamelling prints1 but there is none better than that described by ,mr4 ,w4 ,england1 which we quote in his words4 ,i have a glass having a good polished surface 7patent plate is not necessary71 and rub over it some powdered ,french chalk tied up in a muslin bag4 ,dust off the superfluous chalk with a camel's hair brush1 and coat with enamel collodion4 ,i find it an improvement to add to the collodion usually sold for the purpose #b dr4 of castor oil to the pint4 ,when the collodion is well set1 immerse the plate in a dish of water4 ,when several prints are required to be enamelled1 a sufficient number of plates may be prepared and put in dishes2 this will save time4 ,now take the first plate1 and well wash under a tap till all greasiness has disappeared2 place it on a levelling stand1 and pour on as much water as the plate will hold4 ,then lay the print on the top1 squeeze out all the water1 and place the plate and print between several thicknesses of blotting-paper to remove all superfluous moisture4 ,the plate1 with the print in contact1 should now be placed in a warm room to dry spontaneously1 when the print will come easily from the glass4 ,care should be taken not to attempt to remove the print till quite dry4 ,if the pictures required to be enamelled have been dried1 it will be necessary to rub over them some ox-gall with a plug of soft rag2 otherwise the water will run in globules on the surface1 and make blisters when laid on the collodion4 ,i may mention that prints done in this way lose their very glossy surface on being mounted1 but retain their brilliancy1 which ,i think is an improvement1 as ,i dislike the polished surface usually given to the print when gelatine is employed4 ,,chapter ,,xxvi4 ,,cameo ,,prints4 ,at one time there was a rage amongst photographers to produce cameos1 and1 for this purpose1 a special piece of apparatus was required to produce the embossing4 ,the figure will explain it4 ,illustration3 ,fig4 #ca4 ,the print1 after mounting1 was enamelled by coating a plate with collodion--as described above--and a thin film of liquid gelatine applied4 ,in some cases the carte itself was gelatinized1 dried1 and damped1 and placed in contact with the collodion film4 ,the carte was placed face downwards on the gelatine1 and placed under pressure till quite dry4 ,it was then removed1 and bore on its surface a high gloss caused by the collodion4 ,it was then ready for embossing1 which was effected by placing it in the above apparatus4 ,some people like the style2 and it will be seen that great variety in it may be made by printing sufficient depth of border round the cameo2 but1 for our own part1 we think that1 in an art point of view1 they are decidedly vulgar2 and besides which1 the surface of the cameo is readily scratched1 since it is raised4 ,we only give a brief account of what has been done in this direction1 not to encourage its adoption1 but rather to caution the photographer4 ,,appendix4 ,,reduction ,,of ,,over-,,exposed ,,prints4 ,mr4 ,england writes as follows to the ,photographic ,journal1 and we can unhesitatingly say that the method of reducing an over-printed proof is excellent4 ,a simple and certain method of reducing over-printed proofs has been one of the wants long felt by all photographers4 ,it is well known that in every photographic establishment even the most careful printers cannot always be sure of getting the exact depth of tone required1 and proofs occasionally get over-printed4 ,of course prevention is better than cure2 but1 when a remedy is necessary1 the method ,i am about to describe answers admirably4 ,i tried a great many experiments before ,i succeeded to my satisfaction4 ,i found that cyanide of potassium totally destroyed the print1 even when used moderately strong4 ,by using a weaker solution it was well under control1 and the exact depth could be readily obtained2 but during the washing to remove the cyanide the action of the latter continued1 and spoiled every proof4 ,i then tried several methods to arrest the action of the cyanide1 but without success4 ,it then occurred to me to use the cyanide in such a weak state that but little should be held in the paper1 only sufficient to reduce the print to the required depth2 for this purpose ,i made a bath of only four drops of saturated solution of cyanide to a pint of water4 ,the prints immersed at first showed no signs of getting lighter1 but after about an hour the most perfect results had been obtained with prints considerably over-printed4 ,with lighter pictures a less time is required4 ,proofs treated in this way lose nothing of their tone during the after-washing1 which should be thoroughly done1 and1 when dry1 retain all the brilliancy of an ordinary print4 ,the plan of using cyanide has1 we know1 often been proposed1 but with no success until1 we believe1 ,mr4 ,w4 ,brooks gave a formula which worked successfully with him4 ,another plan1 proposed by ,mr4 ,l4 ,warnerke1 for effecting the same thing is the use of ferric sulphate4 ,a weak solution is prepared1 and the print immersed in it4 ,the reduction takes place rapidly1 but evenly4 ,we need scarcely say that it is better not to have to use either of these remedies1 by avoiding over-printing2 but as mistakes will occur1 it is evident that the above will be of use at times4 ,,utilization ,,of ,,silver ,,residues4 ,all paper or solutions in which there is silver should be saved1 as it has been proved by experience that from #ej to #ge per cent4 of the whole of the silver used can be recovered by rigid adherence to the careful storage of wastes4 #a4 ,all prints should be trimmed1 if practicable1 before toning and fixing2 in all cases these clippings should be collected4 ,when a good basketful of them is collected1 these1 together with the bits of blotting-paper attached to the bottom end of sensitized paper during drying1 and that used for the draining of plates1 should be burnt in a stove1 and the ashes collected4 ,these ashes will naturally occupy but a small space in comparison with the paper itself4 ,care should be taken that the draught from the fire is not strong enough to carry up the ashes4 #b4 ,all washings from prints1 waters used in the preparation of dry plates1 all baths1 developing solutions 7after use71 and old toning baths1 should be placed in a tub1 and common salt added4 ,this will form silver chloride4 #c4 ,the old hyposulphite baths used in printing should be placed in another tub4 ,to this the potassium sulphide of commerce may be added4 ,silver sulphide is thus formed4 #d4 ,to ,no4 #a nitric acid may be added1 and the ashes boiled in it till no more silver is extracted by it4 ,the solution of silver nitrate thus produced is filtered off through white muslin1 and put aside for further treatment1 when common salt is added to it to form chloride1 and added to ,no4 #b4 #e4 ,the ashes may still contain silver chloride4 ,this may be dissolved out by adding a solution of sodium hyposulphite1 and adding the filtrate ,no4 #c4 #f4 ,no4 #b1 after thoroughly drying1 may be reduced to metallic silver in a reducing crucible#cj by addition of two parts of sodium carbonate and a little borax to one of the silver chloride4 ,these should be well mixed together1 and placed in the covered crucible in a coke fire1 and gradually heated4 ,if the operator be in possession of one of ,fletcher's gas furnaces he can employ it economically1 and with far less trouble than using the fire4 7,it is supplied with an arrangement for holding crucibles1 which is useful for the purpose47 ,after a time1 on lifting off the cover1 it will be found that the silver is reduced to a metallic state4 ,after all seething has finished1 the crucible should be heated to a white heat for a quarter of an hour4 ,the molten silver should be turned out into an iron pan 7previously rubbed over with plumbago to prevent the molten metal spirting71 and immersed in a pail of water4 ,the washing should be repeated till nothing but the pure silver remains4 ,the silver hyposulphite1 having been reduced to the sulphide by the addition of the potassium sulphide1 is placed in a crucible1 and subjected to a white heat2 the sulphur is driven off1 and the silver remains behind4 ,another method of reducing silver chloride to the metallic state is by placing it in water slightly acidulated with sulphuric acid together with granulated zinc4 ,the zinc is attacked1 evolving hydrogen1 which1 in its turn1 reduces the silver chloride to the metallic state1 and forming hydrochloric acid4 ,after well washing1 the silver may be dissolved up in nitric acid4 ,yet another method is to take sugar of milk and a solution of crude potash1 when the silver is rapidly reduced4 ,this requires careful washing1 and it is well to heat the metal to a dull red heat to get rid of any adherent and insoluble organic matter which may have been formed1 before dissolving it in nitric acid4 ,,to ,,print ,,from ,,weak ,,and ,,hard ,,negatives4 ,should a negative be found very hard1 a slight modification of the sensitizing solution will be found beneficial1 supposing the ordinary paper is to be used4 ,silver nitrate #cj grains ,water #a ounce ,the negative should in this case be printed in the sun4 ,the more intense the light1 the less contrast there will be in the print1 as the stronger light more rapidly effects a change in the albuminate than if subjected to weaker diffused light4 ,the reason for the reduction in quantity of the silver nitrate in the solution is given on page #ae4 ,to print from a weak negative1 the sensitizing solution should be3-- ,silver nitrate #hj grains ,water #a ounce ,the printing should take place in the shade2 the weaker the negative1 the more diffused the light should be4 ,if a negative be dense1 but all the gradations of light and shade be perfect1 the strong bath1 and1 if1 possible1 a strongly-salted paper1 should be used4 ,the printing should take place in sunlight4 ,,to ,,make ,,gold ,,tri-,,chloride ,,au ,,cl#c4 ,place a half-sovereign 7which may contain silver as well as copper7 in a convenient vessel2 pour on it half a drachm of nitric acid1 and mix with it two-and-a-half drachms of hydrochloric acid2 digest at a gentle heat1 but do not boil1 or probably the chlorine will be driven off4 ,at the expiration of a few hours add a similar quantity of the acids4 ,probably this will be sufficient to dissolve all the gold4 ,if not1 add acid the third time2 all will have been dissolved by this addition1 excepting1 perhaps1 a trace of silver1 which will have been deposited by the excess of hydrochloric acid as silver chloride4 ,if a precipitate should have been formed1 filter it out1 and wash the filter paper well with distilled water4 ,take a filtered solution of ferrous sulphate 7eight parts water to one of iron7 acidulated with a few drops of hydrochloric acid1 and add the gold solution to it2 the iron will cause the gold alone to deposit as metallic gold1 leaving the copper in solution4 ,by adding the gold solution to the iron the precipitate is not so fine as if added vice versa4 ,let the gold settle1 and pour off the liquid2 add water1 and drain again1 and so on till no acid is left1 testing the washings by litmus paper4 ,take the metallic gold which has been precipitated1 re-dissolve in the acids as before1 evaporate to dryness on a water bath 7that is1 at a heat not exceeding #bab ,f47 ,the resulting substance is the gold tri-chloride4 ,to be kept in crystals this should be placed in glass tubes hermetically sealed4 ,for non-commercial purposes it is convenient to dissolve it in water 7one drachm to a grain of gold74 ,ten grains of gold dissolved yield #ae4d grains of the salt4 ,hence if ten grains have been dissolved1 #ae4d drachms of water must be added to give the above strength4 ,,to ,,make ,,silver ,,nitrate4 ,silver coins are mostly alloyed with tin or copper4 ,in both cases the coin should be dissolved in nitric acid diluted with twice its bulk of water4 ,if tin be present there will be an insoluble residue left of stannic oxide4 ,the solution should be evaporated down to dryness1 re-dissolved in water1 filtered1 and again evaporated to dryness4 ,it will then be fit for making up a bath4 ,if copper be present1 the solution must be treated with silver oxide4 ,the silver oxide thus formed is added1 little by little1 till the blue or greenish colour has entirely disappeared4 ,this will precipitate the copper oxide from the copper nitrate1 setting free the nitric acid1 which1 in its turn1 will combine with the silver oxide4 ,the copper will fall as a black powder mixed with any excess of silver oxide there may be4 ,take one or two drops of the solution in a measure1 and add a drachm of water1 and then add ammonia to it till the precipitate first formed is re-dissolved4 ,if no blue colour is apparent1 the substitution of the silver for the copper is complete2 if not1 more silver oxide must be added till the desired end is attained4 ,distilled water must next be added till the strength of the bath is that required4 ,this can be tested by the argentometer4 ,if to a solution of silver nitrate a solution of potash be added1 a precipitate will be formed4 ,this is the silver oxide4 ,the potash should be added till no further precipitation takes place4 ,the oxide should be allowed to settle1 the supernatant fluid be decanted off 7a syphon arrangement is very convenient71 and fresh distilled water added to it4 ,this1 in its turn1 after the oxide has been well stirred1 should be decanted off4 ,the operation should be repeated five or six times1 to ensure all nitrate of potash being absent1 though its presence does not matter for a printing bath1 since this or some other nitrate is formed when the paper is floated4 ,,the ,,end4 ,,for ,photographic ,stock and ,apparatus1 ,artists' ,materials1 etc41 ,send your orders to the ,,mammoth ,,stock ,,house ,,of ,w4 ,r4 ,,reid1 #ceb #ced ,euclid ,avenue1 ,,cleveland1 ,,ohio4 ,entrekin's ,enamellers1 ,weston's ,burnishers1 ,magee's ,nitrate ,silver1 and other ,chemicals1 ,photo-,chrome ,outfits1 ,convex ,glass1 oval and square1 ,card size to #aj x #ab1 ,webster's ,transparent ,water ,colors1 ,parlor ,paste1 ,velvet ,frames1 ,square and ,oval ,walnut ,frames1 ,mouldings and ,linings4 ,,solar ,,printing4 ,,manufacturer ,,of ,reid's ,new ,negative and ,ferrotype ,collodion1 ,reid's ,new ,negative and ,ferrotype ,varnish1 ,reid's ,brilliant and ,extra ,brilliant ,non-blistering ,albumen ,paper4 ,no charge for packing boxes4 ,write for price-list4 ,special prices to large buyers and cash customers4 ,,jas4 ,h4 ,,smith ,wholesale ,dealer in ,,photographic ,,goods1 ,picture ,frames1 ,mouldings4 ,albums1 ,brackets1 ,mats1 ,picture ,cord1 ,glass1 ,patent ,window ,cornices1 etc4 ,,outfits ,a ,,specialty4 ,second-hand ,apparatus1 ,lenses etc41 ,bought1 ,sold or ,exchanged4 ,,best ,,goods ,,at ,,lowest ,,prices4 #bf ,,south ,,fifth ,,street1 ,,quincy1 ,,ill4 ,send for ,price-,lists4 ,a4 ,m4 ,,collins1 ,,son ,,co4 ,manufacturers of all kinds of ,,cards ,,and ,,cardboards ,,for ,,photographers ,,warehouse3 ,no4 #ebg ,arch ,street ,,philadelphia #bh1jjj square feet of ,floor room4 ,the largest force of ,employees4 ,largest ,stock in the ,united ,states4 ,,hiram ,j4 ,,thompson1 ,,jobber ,,in ,,picture ,,frames1 ,,mouldings1 ,,mirrors1 ,,albums1 ,,pictures1 ,,and ,,photographic ,,materials4 ,no4 #bei ,wabash ,ave41 ,,chicago4 ,send for my late ,catalogue4 ,photographic ,enlargements ,,by ,,the ,,platinotype ,,process4 ,,done ,,with ,,the ,electric ,light4 ,the ,platinotype ,prints are characterized by a ,beautiful ,tone1 ,perfection of ,detail1 ,pure ,whites1 and ,,absolute ,,permanence4 ,by the use of the ,electric ,light we are enabled to proceed without regard to the weather1 and can fill orders promptly without the delays usually attending ,solar ,printing4 ,send for ,price-,lists4 ,,thos4 ,h4 ,mc,c,o,l,l,i,n1 #fca ,,arch ,,street1 7,dealer in all ,photographic ,supplies47 ,,pa4 ,,philadelphia1 ,,pa4 ,,the ,,old ,,reliable6 ,p4 ,,smith ,,co41 ,,no4 #aba ,,west ,,fifth ,,street1 ,,cincinnati1 ,,ohio4 ,,and ,,branch ,,at ,,no4 #f ,,east ,,broad ,,street1 ,,columbus1 ,,ohio4 ,,where ,the ,amateur and the ,professional ,photographer ,,will ,,find ,,everything ,requisite for either the ,,wet or the ,,dry ,,plate ,,process4 ,dry ,plates and ,outfits in ,great ,variety4 ,velvet ,frames1 etc41 etc41 etc4 ,,mullett ,,bros41 ,,dealers ,,in ,photographic ,supplies4 #eah ,,walnut ,,st41 ,,kansas ,,city1 ,,mo4 ,western ,photographers6 look to your interests1 and purchase your stock and apparatus at the ,kansas ,city ,stock ,house1 thereby avoiding heavy freight bills and a great loss of time4 ,in addition to a full line of ,photo4 ,supplies1 we have also a large variety of ,,albums1 ,,silk ,,velvet ,,frames1 ,,picture ,,cord ,,and ,,nails1 ,,convex ,,glass1 ,,matts1 ,,etc41 ,,etc4 ,photographers in the ,east contemplating moving ,west will find it to their interests to purchase their goods here1 thereby saving a great expense in shipping4 ,having more than doubled our capital and room1 we are now able to compete in price and variety of goods with any house ,west of ,n4 ,y4 ,send a trial order and be convinced4 ,prompt and careful attention to all orders4 ,,milwaukee4 ,,gustavus ,,bode1 ,northwestern ,photographic ,warehouse and ,chemical ,laboratory1 #aa ,spring ,st41 ,milwaukee1 ,wis4 ,a ,,full ,,line ,,of ,,photographic ,,goods ,,and ,,artists' ,,materials1 --,,embracing-- ,apparatus1 ,chemicals1 ,glass1 ,albumenized ,papers1 ,frames1 ,albums1 ,views1 etc4 ,english1 ,german and ,american ,oil ,colors1 and all ,materials used in the ,fine ,arts4 ,,specialty4 ,nitrate of ,silver and ,chloride of ,gold made for photographic purposes4 ,gold and ,silver ,wastes refined4 ,satisfaction guaranteed4 ,,send ,,for ,,price-,,list4 ,,buffalo ,,photographic ,,warehouse4 ,david ,tucker ,co4 ,photographers' ,supplies4 #daj ,,main ,,st4 ,,buffalo1 ,n4 ,y4 ,,david ,,tucker4 ,s4 ,b4 ,,butts #ahfj ,national ,photographic ,emporium4 #ahha #bje ,w4 ,baltimore ,street1 ,,baltimore1 ,,md4 ,,richard ,,walzl1 ,proprietor4 ,dry ,plate ,outfits a ,specialty1 ,all the latest novelties in connection with the improved ,dry-plate ,processes furnished at the shortest notice4 ,any ,photographer who wants ,lenses1 ,cameras1 ,camera ,stands1 ,backgrounds1 ,chemicals1 ,glass1 ,albumen ,paper or in fact any ,photographic ,goods1 should send for our price-list and be convinced that it is to their interest to send their orders to us direct4 ,a trial order will convince the most skeptical4 ,photography in all its ,branches for the ,trade4 ,expert ,artists employed on the premises enable us to make this branch a great feature1 and we can always guarantee satisfaction4 ,our ,practical ,photographic ,publications are unequalled4 ,see testimonials in ,photographer's ,friend4 ,price-list sent free to any photographer4 ,,our ,,new ,,lenses ,,are ,,the ,,sensation ,,of ,,the ,,day--and the prices are so moderate they will astonish you4 ,you can try our lenses before you buy them4 ,if you want anything in the photographic line1 address ,,richard ,,walzl1 ,,baltimore1 ,,md4 ,,pa4 ,,pittsburgh1 ,,pa4 ,,john ,i4 ,,shaw1 ,successor to ,j4 ,w4 ,morrison1 ,,manufacturer ,,and ,,dealer ,,in ,photographic ,materials1 ,cameras1 etc41 etc41 ,nos4 #aj #ab ,sixth ,street1 ,,pittsburgh1 ,,pa4 ,mouldings1 ,albums1 ,oval1 ,square and ,arch ,top ,frames1 ,velvet and ,combination ,frames4 ,photographic ,dry ,plates and ,outfits for ,amateurs and ,professionals4 ,everything required in the practice of ,photography in all its forms4 ,,john ,i4 ,,shaw1 ,,pittsburgh1 ,,pa4 ,w4 ,j4 ,,hazenstab',s ,,new ,,photographic ,,stock ,,house1 #djf ,market ,street1 ,st4 ,louis1 ,mo4 ,is now opened and prepared to fill all orders for ,,photographic ,,goods1 ,at ,bed ,rock ,prices for ,cash4 ,general ,outfits for ,galleries a ,specialty4 ,remember ,i ,carry in ,stock3 ,am4 ,opt4 ,co's ,camera ,boxes and ,stand1 ,success ,camera ,boxes1 ,sam4 ,peck ,co4's ,camera ,boxes1 ,voigtlander ,son's ,portrait ,lenses1 ,darlot's ,portrait ,lenses1 ,darlot's ,quick-,working ,portrait ,lenses1 ,darlot's ,view ,lenses1 ,also the ,celebrated ,peerless ,portrait ,lenses1 known for their ,rapidity and ,depth4 ,and a ,large ,assortment of ,,card ,,stock4 ,,also ,,agent ,,for ,,cramer ,,norden',s ,,dry ,,plates1 ,,eastman',s ,,dry ,,plates1 ,,carbutt',s ,,dry ,,plates4 ,large ,assortment of ,frames and ,mats at very low prices4 ,small ,expense in carrying on my business enables me to sell for less money4 -- ,i ,attend to ,all ,orders ,personally4 -- ,send for ,trial ,order4 ,price-lists sent on ,application4 ,,wm4 ,j4 ,,hazenstab1 ,photographers' ,supply ,house1 #djf ,market ,street1 ,st4 ,louis1 ,mo4 ,n4 ,b4--,remember ,i give #e per cent4 discount for cash on all orders of #aj #jj or over4 ,e4 ,weiskopf1 ,manufacturer of ,optical ,lenses1 ,specialties3 ,condensers1 ,cosmorama ,lenses1 and ,magnifying ,mirrors1 ,no4 #ahb ,centre ,street1 ,new ,york4 ,,new ,,york1 ,oct4 #aj1 #ahha4 ,in view of the fact that the undersigned has aided in the production of many of the most artistic photographic pictures produced in this country during the last ten years1 pictures which have received gold and silver medals at ,philadelphia1 ,london1 ,paris1 ,amsterdam and other cities of the world1 he feels warranted in soliciting the patronage of photographers unacquainted with his works4 -- ,my recently introduced ,backgrounds comprise those suitable for the stocking of a ,new ,gallery1 as well as several suitable for making special ,exhibition pictures4 ,no4 ---- ,vienna ,tapestry4 ,no4 #dci4 ,new ,eastlake4 ,no4 #ddj4 ,the ,villa1 7,summer74 ,no4 #dce4 ,the ,winter ,road1 ,no4 #dcc4 ,the ,rustic ,wall4 ,no4 #dbf4 ,the ,palisades4 ,my ,three-,quarter ,length ,backgrounds are1 viz3 ,nos4 #dce1 #dcg1 #dch4 ,for ,special ,pictures ,i recommend my new ,portrait ,plaques--an entirely new article in ,portraiture4 ,several ,designs4 ,for suspending on ,backgrounds1 ornamenting ,fireplaces and ,sideboards1 my ,imitation ,dutch ,plaques are desirable and very popular4 ,,my ,,late ,,accessories ,,are3 ,no4 #cif4 ,the ,gambier ,rock4 ,no4 #cii4 ,eastlake ,fireplace and ,cabinet ,combined1 7very rich71 several movable parts4 ,no4 #cig4 ,the ,couch and set piece4 ,no4 #dad4 ,seavey's ,eastlake ,cottage and ,balcony4 ,no4 #dda4 ,the ,garden ,wall1 7#c parts74 ,no4 ---- ,the ,new ,garden ,seat1 7#c changes74 99 4 ,ye ,monthlie ,bulletin 4 ,a4,d4 of ,l4 ,w4 ,seavey his ,workeshop4 #ahha ,under the foregoing heading1 in the ,specialty columns of the several ,photographic ,journals of ,america1 will appear from month to month brief announcements of my new productions4 ,,lafayette ,w4 ,,seavey1 ,no4 #h ,lafayette ,place1 ,,new ,,york1 ,u4 ,s4 ,a4 ,,photographers' ,,supplies4 ,,frames1 ,,albums1 ,,velvet ,,goods4 ,,lowest ,,prices4 ,send ,for ,our ,bargain ,list4 ,,eureka4 ,,cramer ,,norden ,,and ,,eastman',s ,,dry ,,plates4 ,,american ,,opt4 ,,co4 ,,dry ,,plate ,,cameras1 ,,and ,,general ,,apparatus4 ,j4 ,c4 ,,somerville1 #ajji ,,olive ,,street1 ,near ,scholten's ,gallery1 ,,st4 ,,louis1 ,,mo4 ,,wilson',s ,,photographics4 ,a ,partial ,photographic ,encyclopedia4 ,by ,e4 ,l4 ,,wilson1 ,editor ,phila4 ,photographer1 ,photo4 ,mosaics1 etc4 ,a ,,standard ,,book for ,,all ,workers in ,photography4 ,,contents4 ,,lesson ,a4 ,treatment of the ,subject--,b4 ,the ,needful ,apparatus--,c4 ,the ,objective or ,lens--,d4 ,the ,dark-,room--,e4 ,preparation of the ,glass--,f4 ,chemicals and ,solutions--,g4 ,the ,manipulations--,h4 ,manipulatory ,miseries--,i4 ,retouching the ,negative--,j4 ,the ,glass ,studio--,k4 ,accessories and ,light--,l4 ,managing the ,model--,m4 ,printing on ,albumen ,paper--,n4 ,printing on ,plain ,paper--,o4 ,general ,remarks on ,printing--,p4 ,printing on ,various ,surfaces--,q4 ,printing ,perplexities--,r4 ,art in ,printing--,s4 ,mounting and ,finishing--,t4 ,photography ,outside--,u4 ,bromo-,gelatine ,emulsion ,work--,v4 ,vogel's ,collodion ,emulsion--,w4 ,enlargements and ,lantern ,slides--,x4 ,phototypes1 ,platinotypes1 and ,collodion ,transfers--,y4 ,wastes and ,their ,worth--,z4 ,metrical ,measuring--4 ,concluding ,confab--,index 7,six ,pages47 ,it is believed that this is the most valuable work ever offered to the working photographer4 ,it contains #ceb pages2 #g x #h-c_/d inch cover1 and is #a-a_/b inches thick4 ,more than #ajj illustrations4 ,it gives full details of all practical ,processes1 ,old and ,new1 ,public and ,secret4 ,among the latter are the ,phototype1 sometimes called the ,artotype process1 with examples2 many of the ,lightning processes2 the ,platinotype process2 the ,collodion ,transfer or ,megatype process1 and many others4 #eh pages are devoted to ,posing and ,lighting2 #cg pages give instructions in ,emulsion ,dry ,work2 #bi pages show how to ,build and ,use ,skylights2 #ajh pages furnish instructions for ,manipulating ,negatives2 #cg pages are applied to ,printing ,formula and ,dodges2 #age pages gives ,notes from ,authors all over the world4 ,it is printed on fine white paper1 made especially for it1 and sold at the low price of #d #jj ,,post-,,paid #d #jj4 ,for the beginner1 for the amateur1 for the photographic worker1 it is believed to be most complete4 ,no live photographer should fail to get it soon1 before his neighbor is ahead4 ,,edward ,l4 ,,wilson1 ,publisher and ,proprietor1 ,nos4 #iab #iad ,chestnut ,street1 ,philadelphia1 ,pa4 ,,douglass1 ,,thompson ,,co41 ,merchants in all ,requisites pertaining to the ,art-,science of ,photography1 ,photographers' ,booksellers1 ,stationers ,newsdealers1 #bbi #bca ,,state ,,street1 ,,chicago1 ,,ill4 ,a practical knowledge of the ,art-,science of ,photography gives us a special advantage in meeting the demands of the ,profession4 ,everything used in ,silver ,printing selected with greatest care and guaranteed of the highest order of excellence4 ,,prices ,,low4 ,all the ,,standard ,,brands of ,,albumen ,,paper we furnish under genuine marks and at lowest prices4 ,it will pay you to send for our ,catalogues1 ,bureau of ,information1 ,hints on ,burnishing1 etc1 ,,gayton ,a4 ,,douglass4 ,,all ,,free4 ,,henry ,g4 ,,thompson4 ,,attention ,,photographers6 ,brooklyn's ,head-,quarters --,,for-- ,photographic ,stock ,of ,every ,description1 ,at the ,,lowest possible ,c4 ,o4 ,d4 ,prices4 ,sent all over the ,united ,states at the shortest notice4 ,all the best ,brands of ,albumen ,papers and ,card ,stock1 etc41 etc41 kept constantly on hand4 --,send a ,trial ,order and be ,convinced4-- ,l4 ,h4 ,,wilcox1 #bcf ,fulton ,street1 ,,brooklyn1 ,n4 ,y4 ,the ,,best is the ,,cheapest4 ,listen not to the cries of venders of worthless imitations1 but buy the genuine1 and receive ,,full ,,value for your money4 ,dallmeyer ,lenses1 ,success ,cameras1 ,climax ,cameras1 ,e4 ,a41 ,g4 ,c4 and ,platyscope ,lenses1 ,handy ,head-,rests4 ,genuine ,n4 ,p4 ,a4 ,s4 ,m4 ,albumen ,papers1 ,with ,the ,,water-,,mark ,brilliant ,swiss ,albumen ,papers1 ,a4 ,d4 ,swiss ,albumen ,papers1 ,hovey's1 ,morgan's1 ,peerless1 ,clemons' ,hail ,columbia ,albumen ,papers4 ,,rapid ,,printing ,,paper1 ,,eastman',s ,,dry ,,plates1 ,,anthony',s ,,dry ,,plate ,,outfits4 ,chemicals of ,guaranteed ,purity and ,strength4 ,every ,requisite for the ,studio and ,field4 ,,send ,,for ,,illustrated ,,catalogue ,,and ,,price-,,list4 ,the ,most ,extensive ,line of ,velvet1 ,plush and ,ebony ,frames1 ,easels1 ,albums1 ,stereoscopes1 ,graphoscopes1 ,portraits of ,celebrities1 ,stereo4 ,views1 etc41 on this ,continent4 ,e4 ,h4 ,t4 ,,anthony ,,co41 #eia ,,broadway1 ,,new ,,york ,,city4 #eia ,h4 ,,extra ,,brilliant4 ,h4 ,,extra ,,and ,,morgan',s ,albuminized ,,papers ,fully #b1ejj reams of ,morgan's ,paper has been made and sold within the last year--equal to twenty million cabinet size pictures4 ,we expect to increase its sale the coming year to almost double the above1 judging from the demand of the last few months4 ,the pearl tint is used in greater quantities than the other tints4 ,send your orders for this brand of paper to ,j4 ,,haworth1 ,,dealer ,,in ,,photo4 ,,supplies4 #fbf ,arch ,street1 ,,philadelphia1 ,,pa4 ,,eastman',s ,gelatino-,bromide ,,dry ,,plates4 ,,reliable1 ,,rapid1 ,,instantaneous4 ,,the ,,best6 ,used by all ,professionals and ,amateurs in preference to any others4 ,complete ,instructions accompany ,each ,package4 ,eastman's ,gelatino-,bromide ,pellicle1 ,for those who wish to prepare their own ,plates4 ,manufactured only by the ,,eastman ,,dry ,,plate ,,co41 ,rochester1 ,n4 ,y4 ,e4 ,h4 ,t4 ,anthony ,co41 #eia ,broadway1 ,new ,york1 ,,send ,,for ,,circular4 ,,trade ,,agents4 ,andrew ,j4 ,smith1 ,,photographic ,,stock ,,depot4 ,,we ,,keep ,a ,,full ,,line ,,of ,photographic ,materials1 ,which we are ,selling as ,low as any house in ,new ,york or ,boston4 ,,dealer ,,in ,n4 ,p4 ,a4 and ,s4 ,m4 ,dresden1 ,hovey1 ,berlin1 ,morgan's and ,clemons' ,double ,albumenized ,paper1 ,nixon ,stokes' ,ferrotype ,holders1 ,collins1 ,son ,co's ,card ,stock of every description1 ,taber ,co's ,pebble ,mats1 etc41 ,powers ,weigtman's ,silver and ,chemicals1 ,anthony's ,ether1 ,iodides1 ,collodion and ,varnishes1 ,atwood's ,alcohol1 ,hyposulphite of ,soda1 ,sulphate of ,iron1 ,acetic ,acid1 and ,glass in any quantity4 ,dry ,plate ,outfits for ,amateurs ,photographers4 ,everything pertaining to the ,trade4 ,john ,dean ,co's ,plates4 ,large ,assortment of ,frames1 ,convex ,glass1 ,artists' ,materials1 etc41 etc4 ,n4 ,b4--,no charge for boxing4 ,your orders are solicited4 ,no4 #id ,westminster ,street1 ,,providence1 ,r4 ,i4 ,illustration3 ,,american ,,institute ,,new-,,york ,,highest ,,medal4 ,illustration3 ,the ,medal of ,superiority ,,awarded ,,to ,wm ,f4 ,ashe ,,for ,a ,,photographic ,,background ,,comb4 ,,staircase1 ,,balustrade ,,pedestal #ahgh4 ,,backgrounds ,for ,everybody6 ,fancy1 ,plain1 ,rembrandt1 etc41 etc4 ,,floor ,,cloths1 painted in ,oil1 ,suitable for ,interiors and ,exteriors1 ,,ashe',s ,,combination ,,staircase ,,balustrade ,,and ,,pedestal4 ,,ashe',s ,,patent ,telescopic ,,or ,extension ,pedestals4 ,,and ,,the ,,following ,,accessories3 ,,rocks1 ,,vines1 ,,bridges1 ,,vases1 ,,cabinets1 and ,,mantel-,,pieces in ,papier ,mach and in ,profile1 the latter interchangeable and with practical parts1 ,,doorways1 ,,cottage ,,windows1 ,,stairways1 ,,balustrades1 ,,sleighs1 ,,boats1 ,,vases1 ,,etc41 ,,etc41 in profile4 ,no extra charge to parties who furnish their own designs4 ,samples free4 ,w4 ,f4 ,,ashe1 #ajf ,,bleecker ,,street1 ,,new ,,york ,,city4 ,,the ,,mound ,,city ,,central ,photographic ,stock ,house1 7,h4 ,a4 ,,hyatt1 ,proprietor71 ,,no4 #daa ,,north #dth ,,street1 ,,st4 ,,louis1 ,,mo4 ,head-quarters in ,st4 ,louis for ,,all ,photographers4 ,we keep on hand everything new and of interest to the ,fraternity1 to be seen and examined at pleasure4 ,our stock is always complete and in keeping with the times4 ,it embraces1 with the ,,large and ,,varied assortment of ,,general ,,photographic ,,requisites1 the following ,,standard ,,brands ,,of ,,albumen ,,paper1 which you can always depend upon getting ,,fresh ,hovey's1 ,peerless1 ,eagle ,brand 7,dresden71 ,s4 ,m4 ,dresden1 ,morgan's1 ,clemons1 ,trapp ,munch1 --,,also-- ,plain and ,salted ,papers4 ,we carry the ,standard ,brands only4 ,there is no ,extra we cannot duplicate with some ,,regular ,,brand4 ,please remember this1 and if you desire fair treatment1 and low prices1 just send us a trial order1 note how promptly we serve you1 and the quality of goods you receive1 and we will be assured of your future favors4 ,our ,motto is to please1 and we guarantee satisfaction4 --,,outfits ,a ,,specialty4-- ,send for ,illustrated ,catalogue4 ,h4 ,a4 ,,hyatt1 #daa ,north #dth ,street1 ,st4 ,louis1 ,mo4 ,jno4 ,g4 ,hood4 ,,established #ahfe4 ,wm4 ,d4 ,h4 ,wilson4 ,,wilson1 ,,hood ,,co41 ,no4 #hbe ,,arch ,,st41 ,,philadelphia1 ,deal in all varieties of ,,photo4 ,,goods1 ,and solicit your orders1 for any article you may need1 including the following3 ,s4 ,m41 ,n4 ,p4 ,a41 ,c4 ,s4 ,double ,alb4 ,paper1 per ream1 #ce cts4 ,single #be ,morgan's ,double ,alb4 ,paper1 #cd ,single #cj ,all other brands supplied4 ,magee's ,nitrate ,silver1 ,magee's ,chloride of ,gold1 ,best ,hypo4 of ,soda1 keg #aab lbs4 #d #dh1 ,american ,optical ,co4 ,printing ,frames1 ,american ,optical ,co4 ,negative ,boxes1 ,american ,optical ,co4 ,retouching ,frames1 ,negative ,racks1 ,pans1 ,trays1 etc41 ,waymouth's ,vignette ,papers1 #a #jj per pack1 ,onion ,skin ,paper1 per dozen1 #be cts4 ,singhi's ,vig4 ,attachment1 #a #ej4 ,todd's ,vig4 ,attachment1 #a #ej4 ,hearn's ,artistic ,printing #c #jj4 ,hearn's ,practical ,printer #b #ej4 ,,complete ,,price-,,lists ,,free4 ,,sole ,,agents ,,in ,,united ,,states ,,for ,,the ,,ross ,,and ,,steinheil ,,lenses4 #ahgh ,,eagle ,,stock ,,house4 #ahha ,,george ,,murphy1 ,no4 #i ,west ,fourth ,street1 ,n4 ,y4 ,photo4 ,ferro4 ,materials4 ,,outfits ,a ,,specialty4 ,all ,goods sold for ,cash4 ,,manufacturer ,,of ,eagle ,negative and ,positive ,collodions1 ,eagle ,negative and ,ferro4 ,varnishes1 ,eagle ,retouching ,fluid1 ,eagle ,ground ,glass ,varnish4 ,,sole ,,agent ,,for ,hammenstede's ,collodions and ,varnishes1 ,photo4 ,chemicals of best quality4 ,,the ,,retoucher',s ,,outfit3 ,eagle ,new ,metallic ,pencil1 hard1 ,eagle ,new ,metallic ,pencil1 soft1 ,medium ,siberian ,lead1 ,artists' ,holder1 to fit all1 ,the most complete set offered4 ,,for ,,the ,,printer',s ,,department is offered ,eagle ,photo-,printing ,masks1 ,english ,white ,tissue ,paper1 ,thick ,yellow ,paper1 ,onion-,skin ,paper1 ,heavy ,blotting ,paper1 ,plain ,papers1 ,albumen ,papers of all brands4 ,am also ,agent for ,,brengel',s ,,salted ,,paper4 ,emulsion and ,gelatine ,dry ,plate ,materials1 ,emulsion and ,gelatine ,dry ,plates1 best brands1 ,backgrounds1 ,chairs1 ,accessories1 etc4 ,bargains in ,card ,stock4 ,bargains in ,apparatus1 ,lenses1 etc4 ,domestic and ,foreign ,,cash ,,orders ,shipped ,promptly4 ,four ,doors ,west of ,b'way4 ,,new ,,york4 ,,established ,,in #ahjb4 ,,factories3 ,waterbury1 ,conn41 ,new ,haven1 ,conn41 ,new ,york ,city4 ,scovill ,manufacturing ,co41 ,,manufacturers ,,and ,,dealers ,,in ,,all ,,articles ,,used ,,in ,,photography1 ,warehouse1 ,no's #dai #dba ,broome ,st41 ,,new ,,york4 ,w4 ,irving ,adams1 ,agent4 ,irving and all brands of ,albumen ,papers1 ,phenix ,collodion1 ,phenix ,varnish4 ,french and other ,chemicals4 ,scovill's ,new ,solid ,glass ,baths1 warranted4 ,osborne's ,picturesque ,foregrounds1 ,american ,optical ,co's ,celebrated ,cameras1 ,dry ,plates and ,dry ,plate ,apparatus1 ,lenses1 ,parlor ,paste1 ,etc41 ,etc41 ,etc41 ,etc4 ,,publishers ,photographic ,times and ,american ,photographer4 ,subscription price1 #b #jj per annum4 ,among its contributors are the leading men in the profession4 ,,founded ,,in #ahdb4 ,,the ,,new ,,england ,photographic ,stock ,house4 ,largest variety in the ,,united ,,states4 ,every ,article required by the ,amateur1 ,photographer1 ,picture and ,frame ,dealer1 ,frame ,maker and ,crayon ,artist4 ,,specialties4 ,original ,importers of ,imitation ,dallmeyer ,tubes4 ,sole ,agents for ,william's ,mitering ,machines4 ,n4 ,e4 ,agents for ,bryant's ,accessories4 ,sole ,agents for the celebrated ,berlin ,paper4 ,sole ,agents for the celebrated ,gem ,paper4 ,sole ,agents for ,burrill's ,portrait ,bust ,pedestal4 ,sole ,agent for ,burrill's ,neg4 ,high ,light ,reducer4 ,bryant's ,quick ,collodion1 ,celebrated for ,years4 ,dry ,plate ,outfits for ,amateurs4 ,every ,variety ,dry ,plate ,apparatus and ,materials4 ,anthony's and ,american ,optical ,co's ,manufactures4 ,dallmeyer1 ,morrison and ,voigtlander ,tubes on ,sale4 ,c4 ,h4 ,,codman ,,co41 ,formerly ,,geo4 ,s4 ,,bryant ,,co41 #cd ,bromfield ,st41 ,,boston4 ,,anthony',s ,,dry ,,plate ,,outfits ,most ,complete ,assortment in ,market4 ,illustration ,,light1 ,,portable ,,and ,,inexpensive4 ,,firm1 ,,substantial ,,and ,,practical4 ,the ,lenses supplied with these are superior to those furnished by ,any other ,house4 ,send for ,descriptive ,circular4 ,anthony's ,patent ,perfect ,dry ,plate-holder ,,best ,,in ,,the ,,world6 ,e4 ,h4 ,t4 ,,anthony ,,co4 #eia ,b'way1 ,,new ,,york4 ,,footnotes3 ,footnote #a3 ,such things as test-tubes should be found in every photographer's work room2 they cost little1 and are always useful for working solutions4 ,the sizes recommended are #c_/h-;inch1 #a_/b-;inch1 and #a-;inch diameter4 ,a dozen of each will not be out of the way4 ,footnote #b3 ,sodium ,silver ,silver ,sodium ,chloride and ,nitrate form ,chloride and ,nitrate4 ,na,cl ,ag,n,o#c ,ag,cl ,na,n,o#c ,footnote #c3 ,potassium ,chlorine and ,nitrite and ,water #b;,cl ,,kno#b ,h#b,o give ,hydrochloric ,potassium ,acid and ,nitrate #b;,h,cl ,,kno#c and ,silver ,chlorine1 ,nitrate1 and ,water #b;,cl ,ag,n,o#c ,h#b,o give ,silver ,hydrochlorous ,nitric ,chloride1 ,acid and ,acid4 ,ag,cl ,h,cl,o ,,hno#c ,footnote #d3 ,with the former we have this action-- ,silver ,silver ,liberated ,chloride gives ,sub-chloride and ,chloride4 ,ag#b;,cl#b ,ag#b;,cl ,cl ,with the latter the silver in combination with the organic matter1 which is in a state of oxide1 is probably reduced to the state of sub-oxide4 ,footnote #e3 ,sulphuretted hydrogen may be prepared by pouring dilute sulphuric acid on ferric sulphide4 ,the chloride or the silver compound1 when damped1 may be held over it1 taking care that no liquid is spirted up on to it4 ,footnote #f3 ,those who prepare collodio-albumen plates will find the upward filtration arrangement of immense value1 as bubbles are unknown by it4 ,footnote #g3 ,if bubbles are seen1 they must be broken1 and the sheet floated again for another minute4 ,footnote #h3 ,the drainings are added to the next batch of albumen which is prepared4 ,footnote #i3 ,instruction in ,photography1 #dth edition1 page #aba4 ,footnote #aj3 ,hydrochloric ,chlorine and ,water give acid and ,oxygen4 ,cl ,h#b,o ,h,cl ,o ,footnote #aa3 ,nitric ,silver ,silver ,carbonic ,acid and ,carbonate give ,nitrate and ,acid and ,water4 #b;,,hno#c ,ag#b;,,co#c #b;,ag,n,o#c ,,co#b ,h#b,o ,footnote #ab3 ,silver ,aluminium ,nitrate and ,sulphate 7,alum7 #f;,ag,n,o#c ,al#b7,,so#d7c give ,silver ,aluminium ,sulphate and ,nitrate4 #c7;,ag#b,,so#d7 #b;,al7,,no#b7c ,footnote #ac3 ,silver ,hydrochloric ,silver ,nitrate and ,acid give ,chloride and ,nitric ,acid4 ,ag,n,o#c ,h,cl ,ag,cl ,,hno#c ,footnote #ad3 ,suppose it is salted with ammonium chloride1 we have-- ,ammonium ,silver ,ammonium ,silver ,chloride and ,nitrate give ,nitrate and ,chloride4 ,,nh#d;,cl ,ag,n,o#c ,,nh#d,,no#c ,ag,cl ,footnote #ae3 ,several other methods are given in ,instruction in ,photography1 in the ,appendix4 ,footnote #af3 ,one part of nitric acid to #d parts of water4 ,footnote #ag3 ,the shutter may be made of ,american leather1 covered over with one quarter-inch strips of oak or well-seasoned pine4 ,the shutter should fit into a groove formed along the sides and bottom of the front of the cupboard4 ,footnote #ah3 ,in fig4 #ah the fastening for only one of the pressure-bars is given1 to avoid complication4 ,footnote #ai3 ,see ,instruction in ,photography 7page #fg71 fourth edition4 ,footnote #bj3 ,for this reason1 amongst others1 it is desirable that photographers should use glass for their negatives which is at least tolerably flat4 ,footnote #ba3 ,see ,pictorial ,effect in ,photography 7,piper and ,carter74 ,footnote #bb3 ,hydrofluoric acid is always supplied by chemists in gutta-percha bottles1 as it attacks glass4 ,a spare gutta-percha bottle can easily be procured4 ,footnote #bc3 ,this calculation is near enough for our purpose4 ,there are certain niceties which might be introduced1 such as the critical angle of the glass4 ,footnote #bd3 ,the boxes in which children's puzzles are often packed will give an idea of what is meant4 ,footnote #be3 ,silver subchloride and gold trichloride #c;,ag#b;,cl ,au,cl#c give silver chloride and gold4 #f;,ag,cl ,au ,footnote #bf3 ,instruction in ,photography1 #dth edition4 ,footnote #bg3 ,instruction in ,photography1 #dth edition4 ,footnote #bh3 ,or ten minims of ammonium lactate4 ,footnote #bi3 ,see ,mr4 ,w4 ,brooks' article in ,photographic ,almanac1 #ahha4 ,footnote #cj3 ,the crucible should be of ,stourbridge clay4 ,transcriber's ,note3 ,hyphenation1 variations in spelling and inconsistent numbering of1 and references to1 figures have been retained as in the original publication4 ,apart from spaces within compounds 7which have been removed71 formulae have been retained as originally published1 excepted where noted below4 ,on page #ha1 symbols resembling the left- and right-hand corners of a frame have been represented as and as in varnish1 thus 2 ,changes have been made as follows3 ,page #c ,nitric ,acid changed to ,potassium ,nitrate ,page #f ,if the operator carefully collect the white changed to ,if the operator carefully collects the white ,page #ad theoretical limit to amount changed to theoretical limit to the amount ,page #ai #b;,,agno#c changed to #b;,ag,n,o#c ,nitratem changed to ,nitrate4 ,page #bb ,ag,no#c changed to ,ag,n,o#c ,page #bc ,ammonium ,nitrate ,silver ,chloride changed to ,ammonium ,nitrate and ,silver ,chloride ,,nh#d1,,no#c changed to ,,nh#d,,no#c ,ag,no#c changed to ,ag,n,o#c ,page #dj #h inches4 changed to #ah inches4 ,page #da printer could not hope to do it successfully4 changed to printer could not hope to do it successfully4 ,page #df the ordinary consistency1 than changed to the ordinary consistency1 then ,page #di enable the operator to guage changed to enable the operator to gauge ,page #ec centreing his imagination in changed to centring his imagination in ,page #fd light on ,b would be only four twenty-fifths changed to light on ,b would be only four-twenty-fifths ,page #fe and cut out an aperature corresponding changed to and cut out an aperture corresponding ,page #ff at a proper heigth from changed to at a proper height from ,page #fi ,having discribed in the last changed to ,having described in the last ,page #gj as it sometimes called changed to as it is sometimes called ,page #ga and the effect be improved44 changed to and the effect be improved4 ,page #hc ,if he find that he is not changed to ,if he finds that he is not ,page #hg so dilute the reduction takes places very slowly changed to so dilute the reduction takes place very slowly ,page #hh common desinfecting powder changed to common disinfecting powder it as as well to have two changed to it is as well to have two ,page #ij a littler acetic acid or common salt changed to a little acetic acid or common salt ,page #ia must be rememberd we are changed to must be remembered we are ,page #ib when the sodium hypsulphite is changed to when the sodium hyposulphite is ,page #ie and1 with a squegee changed to and1 with a squeegee ,page #aja floated on-- changed to floated on3-- ,last page of advertisements ,,best ,,in ,,the ,,word6 changed to ,,best ,,in ,,the ,,world6