,photo-engraving1 ,photo-etching1 and ,photo-lithography in ,line and ,half-tone2 ,also ,collotype and ,heliotype2 ,by ,w4 ,t4 ,wilkinson1 ,revised and ,enlarged by ,edward ,l4 ,wilson4 ,illustration3 ,john ,c4 ,moss1 ,prest4 ,r4 ,b4 ,moss1 ,supt4 ,m4 ,a4 ,moss1 ,treasurer4 ,j4 ,e4 ,ramsey1 ,secretary4 ,h4 ,a4 ,jackson1 ,asst4 ,secy4 ,moss ,engraving ,co4 #ece ,pearl ,st41 ,new ,york ,illustrations of every ,description1 ,,for ,,books1 ,,newspapers1 ,,circulars1 c41 c4 ,send green stamp for circular4 ,send photograph1 drawing or print1 for estimate4 our ,specialty4 ,fine ,illustrated ,circulars by our ,moss-,type ,process4 ,illustration3 ,,specimen ,,of 8,,moss-,,type0 ,,engraved ,,by ,,the ,,moss ,,engraving ,,co41 #ece ,,pearl ,,street1 ,,new ,,york4 ,illustration3 ,,specimen ,,of 8,,moss-,,type0 ,,engraved ,,by ,,the ,,moss ,,engraving ,,co41 #ece ,,pearl ,,street1 ,,new ,,york4 ,illustration3 ,,specimen ,,of 8,,moss-,,type0 ,,engraved ,,by ,,the ,,moss ,,engraving ,,co41 #ece ,,pearl ,,street1 ,,new ,,york4 ,illustration3 ,g4 ,,cramer1 ,,st4 ,,louis4 ,,half-,,tone ,,zinc ,,etching4 7,,mosstype47 ,,from ,a ,,photograph4 ,,photo-,,engraving1 ,,photo-,,etching1 ,,and ,,photo-,,lithography ,,in ,,line ,,and ,,half-,,tone2 ,,also1 ,,collotype ,,and ,,heliotype4 ,,by ,w4 ,t4 ,,wilkinson1 ,,of ,,london4 ,,revised ,,and ,,enlarged ,,by ,,edward ,l4 ,,wilson1 ,,editor ,,of 8,,the ,,philadelphia ,,photographer10 ,,author ,,of 8,,wilson',s ,,photographics10 8,,wilson',s ,,quarter ,,century ,,in ,,photography10 8,,photographic ,,mosaics10 ,,etc4 ,,american 7,,third7 ,,edition4 ,illustration ,the camera is mightier than the pen or the pencil4 ,,new ,,york3 ,,published ,,by ,,edward ,l4 ,,wilson1 ,,no4 #hec ,,broadway4 #ahhh4 ,entered according to ,act of ,congress in the year #ahhh1 by ,,edward ,l4 ,,wilson1 ,in the office of the ,librarian of ,congress1 at ,washington1 ,d4 ,c4 ,illustration ,,preface4 ,the many kind letters ,i have received from ,america with regard to what must be called my first crude effort at bookmaking1 prompted the idea--after issuing a second and revised edition in ,england--of making an attempt to cater for the inhabitants of ,greater ,britain1 which1 under the able editorship of ,,mr4 ,,edward ,l4 ,,wilson will1 ,i have no doubt1 meet with approbation and be useful4 ,i have made many important additions to the last ,english edition4 ,w4 ,t4 ,,wilkinson4 ,,leicester1 ,,england4 99 99 99 99 99 ,besides revising the ,english edition and incorporating in proper place such additions as ,i have found useful in practice1 ,i have boiled down the best points from current publications in ,france and ,germany1 and added them4 ,more still1 with high regard for the author1 ,i add chapters and parts from1 the ,handbuch der ,chemigraphie und ,photochemigraphie1 by ,mr4 ,j4 ,o4 ,mrch4 ,thus1 ,i believe1 this work is made complete to date4 ,all the rest must come to the worker1 from industrious1 careful practice4 ,very rapid progress has been made in photo-reproductive processes during the past two years1 and improvements are announced almost weekly4 ,i invite all interested to keep me informed of what they discover4 ,if ,i am supplied with the proper addresses ,i shall publish and distribute what ,i learn4 ,,edward ,l4 ,,wilson4 ,,new ,,york1 ,may1 #ahhh4 ,,list ,,of ,,illustrations4 ,the ,reversing ,mirror 4 4 4 #aj ,the ,dark-room 4 4 4 #be ,the ,plate-support 4 4 4 #cg ,the ,whirler 4 4 4 #db ,the ,copying ,camera 4 4 4 #fg ,example of ,zinc ,etching 7low7 4 4 4 #hh ,example of ,zinc ,etching 7high7 4 4 4 #ij ,example of ,zinc ,etching 7round7 4 4 4 #ib ,the ,caliber-bridge 4 4 4 #ic ,the ,sieve 4 4 4 #ih ,the ,heating ,lamp 4 4 4 #ih ,the ,washing ,table 4 4 4 #ih ,example of ,photo-engraving 4 4 4 #aag ,example of ,half-tone ,engraving 4 4 4 #aah ,the ,dusting-box 4 4 4 #abd ,the ,transfer-board 4 4 4 #ada ,the ,drying-oven 4 4 4 #afg ,support for the ,drying-oven 4 4 4 #afh ,jacket for the ,drying-oven 4 4 4 #afh ,copper ,tank for the ,drying-oven 4 4 4 #afh ,interior plan for the ,drying-oven 4 4 4 #afi ,a ,new ,drying-oven 4 4 4 #agd ,the ,universal ,copying ,machine 4 4 4 #agh ,,contents4 ,,part ,i4 ,,photo-,,engraving ,,in ,,line4 ,,chapter ,i4 ,,appliances ,,for ,,making ,,photographic ,,negatives 4 4 4 #i ,,chapter ,,ii4 ,,the ,,wet ,,collodion ,,process 4 4 4 #aa ,,chapter ,,iii4 ,,photographic ,,manipulations 4 4 4 #bd ,,chapter ,,iv4 ,,apparatus ,,for ,,printing ,,upon ,,zinc 4 4 4 #ci ,,chapter ,v4 ,,printing ,,on ,,zinc ,,in ,,albumen 4 4 4 #de ,,chapter ,,vi4 ,,printing ,,on ,,zinc ,,in ,,bitumen 4 4 4 #dh ,,chapter ,,vii4 ,,direct ,,transfers ,,to ,,zinc 4 4 4 #ea ,,chapter ,,viii4 ,,etching ,,line ,,transfers 4 4 4 #ee ,,part ,,ii4 ,,photo-,,engraving ,,in ,,half-,,tone4 ,,chapter ,i4 ,,retrospective 4 4 4 #fc ,,chapter ,,ii4 ,,making ,,grained ,,negatives 4 4 4 #fe ,,chapter ,,iii4 ,,etching ,,in ,,half-,,tone 4 4 4 #fi ,,chapter ,,iv4 ,,printing ,,from ,,the ,,block 4 4 4 #gb ,,chapter ,v4 ,,the ,,transfer ,,of ,,the ,,drawing1 ,,and ,,its ,,treatment ,,before ,,etching 4 4 4 #gc ,,chapter ,,vi4 ,,hints ,,from ,,all ,,sources 4 4 4 #id ,,part ,,iii4 ,,photo-,,engraving ,,on ,,copper4 ,,chapter ,i4 ,,subjects ,,in ,,line 4 4 4 #aai ,,chapter ,,ii4 ,,half-,,tone ,,intaglios 4 4 4 #abb ,,chapter ,,iii4 ,,half-,,tone ,,intaglios--7,continued7 4 4 4 #abd ,,chapter ,,iv4 ,,half-,,tone ,,intaglios4 ,,electrotyping ,,methods 4 4 4 #abg ,,part ,,iv4 ,,photo-,,lithography ,,in ,,line4 ,,chapter ,i4 ,,photo-,,lithography ,,in ,,line 4 4 4 #abi ,,chapter ,,ii4 ,,paper ,,transfers 4 4 4 #acb ,,chapter ,,iii4 ,,paper ,,transfers--7,continued7 4 4 4 #acf ,,chapter ,,iv4 ,,toovey',s ,,negative ,,transfer ,,process 4 4 4 #aci ,,chapter ,v4 ,,photo-,,litho4 ,,transfers 4 4 4 #adj ,,part ,v4 ,,photo-,,lithography ,,in ,,half-,,tone4 ,,chapter ,i4 ,,photo-,,lithography ,,in ,,half-,,tone 4 4 4 #adc ,,chapter ,,ii4 ,,ink ,,photos 4 4 4 #add ,,chapter ,,iii4 ,,husband',s ,,papyrotint ,,process 4 4 4 #adg ,,part ,,vi4 ,,collographic ,,printing4 ,,chapter ,i4 ,,half-,,tone ,,photographic ,,negatives 4 4 4 #aea ,,chapter ,,ii4 ,,the ,,heliotype ,,process 4 4 4 #aeb ,,chapter ,,iii4 ,,the ,,collotype ,,process 4 4 4 #afc ,,chapter ,,iv4 ,,printing ,,from ,,the ,,collotype ,,plate 4 4 4 #aga ,,chapter ,v4 ,,the ,,new ,,home ,,printing ,,process 4 4 4 #agh xv ,,introduction4 ,the improvements made within the last twenty years in the art of printing books have not1 until recently1 been kept pace with by the methods of illustration4 ,wood engraving1 except for high class and expensive editions1 was crude1 whilst the use of engravings from copper or steel1 or of lithographs1 was also restricted to short and expensive editions4 ,the introduction of the zinc-etching process1 in which the picture is first drawn in line1 or stipple1 or chalk1 upon lithographic transfer paper1 then transferred to a plate of zinc and subjected to a process of etching in various baths of acid water1 marks a new era1 replete with great improvements in cheapness1 facility of production1 and artistic results4 ,this new process had scarcely been in good working order before it was seen that great improvements might be made by enlisting photography in its service2 because in its original form it was necessary that the design be made of the same size as the finished block1 which1 in many cases1 added too much to the expense4 ,but by introducing photography1 the size of the original was of no moment2 the lens could easily reduce that1 and at the same time preserve the proportions1 as well as fine down any crudity in the drawing4 ,the first methods of producing a photo-transfer1 were by making a negative from the original1 then paper coated with bichromated gelatine was exposed under this negative1 and the sensitive gelatine1 corresponding with the transparent portions of the negative 7representing the lines of the original71 being exposed to the action of light was made non-absorbent of water1 whilst the sensitive gelatine representing the white portion of the original being protected from the action of light by the dark portion of the negative1 still retained its affinity for water4 ,the consequence was that when a roller charged with fatty ink was applied to the wet print1 the exposed portions of the gelatine took the ink1 but the white portion being charged with water rejected it1 the result being a replica of the original in a fatty ink4 ,this was used as an ordinary lithographic transfer and could be transferred to zinc and etched in relief4 xvi ,such a process was not perfect1 and was not suitable for subjects which necessarily should be to scale4 ,so the next improvement was to place a plain mirror between the lens and sensitive plate1 so producing a negative in its proper position as regards right and left2 then from this reversed negative a print in fatty ink could be made direct on the zinc4 ,these transfers on paper1 or direct prints on the zinc1 are restricted entirely to what are generally termed 8subjects in line10 such as architectural drawings1 plans1 woodcuts1 engravings from steel or copper plates1 or lithographs in pure line1 in chalk1 or in stipple4 ,the attainment of effect of half tones by graduated works of color1 thinner or thicker1 or the smooth1 delicate gradations of a photograph1 are not permissible in relief blocks of this kind1 although for short numbers this class of subject could be utilized by employing the collotype1 heliotype1 or lichtdruck methods1 which render the half-tones without 7visible7 breaking up of the gradations4 ,the next step was to perfect the various 7published first in #ahed by ,fox ,talbot7 methods of mechanically breaking up the half-tones of a photograph1 and so giving a means whereby a photograph in all its delicacy may be used to illustrate a letter-press article4 ,of course1 during the progress of rendering photography applicable for relief blocks1 its usefulness for intaglio printing was not neglected4 ,and now having entered into very close competition with wood engraving and by modification of the collotype methods1 with lithography1 photography can now be used for the production of intaglio plates1 in half-tones as well as in line4 ,the methods by which the above results are attained furnish the text of the pages to follow2 and as each and every method given has been tried by the author1 the reader may be satisfied that the manual is1 as claimed1 practical4 ,w4 ,t4 ,,wilkinson4 #i ,,photo-,,engraving1 ,,etching1 ,,and ,,lithography4 ,,part ,i4 ,,photo-,,engraving ,,in ,,line4 ,,chapter ,i4 ,,appliances ,,for ,,making ,,photographic ,,negatives4 ,for all methods of heliographic printing a suitable photographic negative is absolutely necessary1 and to produce that negative good apparatus and pure chemicals1 used with skill and intelligence1 are indispensable4 ,the studio must be well lighted1 with a perfectly firm floor4 ,the dark-room should be kept for negative work only 7the room where the zinc printing is carried on being a separate room74 ,there must be a roomy sink in front of a good-sized window covered with a non-actinic medium 7yellow1 not orange71 such as two thicknesses of golden fabric1 so as to have plenty of light to see the progress of development by4 ,the copying camera must have a long bellows and should not be less than #ab by #aj1 fitted with rack-work1 so as to be able to get absolute sharpness in focussing4 ,it will be a great advantage1 and aid in adjusting the position on the focussing screen of the drawings to be copied1 if a vertical line be drawn1 and another horizontally1 so that they bisect each other exactly in the centre2 then from the centre1 mark and number each inch and half inch upon each of the four arms of the cross2 it can then be seen at a glance not only that the picture is in the centre1 but also that it is about the right size4 #aj ,the dark slide must be light-tight1 and made strong rather than for portability4 ,the lens should be rectilinear1 and should be capable of covering the largest size plate the camera will take quite sharp to the corners4 ,for a #ab by #aj plate a lens with an equivalent focus of about #ah inches will be best4 ,illustration3 ,fig4 #a4 ,to the lens must be fitted a reversing mirror of silvered glass1 mounted behind the lens by preference1 as such a style of mounting not only protects the surface of the mirror from the air1 but keeps extraneous light from affecting the brilliancy of the image4 7,fig4 #a47 ,the camera must be mounted upon a solid table fixed upon small grooved or flanged wheels1 such wheels running either upon rails fixed upon or in grooves cut into the floor1 at right angles to the wall against which the copying board is fitted4 ,the copying easel is placed perpendicularly in front of1 and perfectly parallel with1 the camera4 ,as a mirror is used1 the camera is sideways to the object1 not facing it1 as in copying direct4 ,the easel should be so contrived that it can be raised or lowered1 and moved right and left1 which double motion is managed by having the easel double2 the up and down motion should be obtained by hanging the back portion like a window sash1 the weights being exactly the weight of the whole easel1 and the pulleys over which the cords go1 not running too freely4 ,at the top and bottom of the back portions of the easel are projecting strips with a rabbet deep enough to allow the front or copying board to slide sideways1 but not loosely2 this front board should be painted a dead black with white lines in the centre from top to bottom and from side to side1 said lines being divided into inches and half inches1 from the centre1 so that the drawing may be pinned in the exact centre without trouble4 ,a convenient size for a copying board is #d feet high by #e feet wide4 ,in connection with the camera1 the only thing left to describe is the focussing cloth1 which should be quite opaque1 and of ample size to exclude all extraneous light from behind when focussing4 ,for focussing the image absolutely sharp1 a magnifying glass may be required4 #aa ,,chapter ,,ii4 ,,the ,,wet ,,collodion ,,process4 ,,the ,,collodion4 ,alcohol #cj ounces4 ,ether #dj ounces4 ,schering's ,celloidin99 #a-a_/b cakes4 99 ,hance's ,d4 ,c4 gun-cotton may be used instead of the celloidin4 ,cut the celloidin into thin strips1 or1 if it be hard1 break it up in a clean mortar1 and dissolve in the above mixture of alcohol and ether4 ,when dissolved1 this forms the collodion4 ,,the ,,iodizer is composed of3 ,bromide of ,zinc #aej grains4 ,iodide of ,zinc #cej grains4 ,alcohol #aj ounces4 ,when the salts are dissolved1 filter and add to the collodion4 ,the filtering is best done by placing a pledget of cotton-wool in the neck of a glass funnel and passing the iodizer through it4 ,to prevent evaporation1 lay a glass plate over the funnel4 ,the iodizer being added to the collodion1 shake them up thoroughly and allow to stand for a week to settle1 then decant into convenient bottles2 this collodion is ready for use in a week1 but will improve with age up to six months1 after which time it should be mixed with new4 ,when coating plates with collodion1 it is not a wise plan to pour the surplus from the plate back into the bottle from which it was poured4 ,pour it into another1 kept handy for the purpose1 the contents of which1 at the end of the day's work1 empty into the stock bottle after such a quantity as is sufficient for next day's consumption has been decanted into the pourer4 ,the best bottle from which to pour the collodion upon the plate is the tall capped bottle sold by the dealers as collodion pourers4 #ab ,,the ,,nitrate ,,of ,,silver ,,bath 7#a74 ,the silver bath is a most important factor in the production of good negatives4 ,it must be compounded with care and used with skill4 ,to make it1 dissolve #f ounces of nitrate of silver in #aj ounces of water1 then add #aj drops of collodion1 and shake up well2 then add #gj ounces of water1 and let it stand all night2 then filter through a pledget of cotton-wool packed loosely in the neck of a glass funnel1 into a clean bottle or jug2 then add #a drachm of nitric acid and let stand all night before trying4 ,such bottle or jug1 and also the glass funnel1 must be kept solely for use with the silver bath4 ,the bath holder may be an upright vessel of the ordinary pattern1 with a dipper with which to lower the plate into the solution2 or it may be a flat dish with a cover to keep out light and dust1 using a silver hook to lift the plate from the solution2 if the former shape be chosen1 let the dipper be of glass1 porcelain1 silver wire1 or of wood soaked in melted paraffine1 but on no account of ebonite1 as such a dipper will cause spots1 and derange the bath sooner or later4 ,if a flat dish be used1 the best form is of wood lined with asphaltum1 hanging on a cradle1 the lower end being a well to hold the solution2 in this form of bath the plate1 after sensitizing1 is drained thoroughly before taking it out4 ,this is a great convenience1 as not only is silver solution saved1 but the dark slide will last much longer4 ,the bath solution made up as above will be the right strength for work1 but as every plate sensitized therein1 takes away its modicum of silver1 after a certain time it must be strengthened1 as it is essential for the production of good work that the solution be kept at a proper strength4 ,the best way of doing this is to add a drachm or two of saturated solution of nitrate of silver1 after each day's work has been done1 and if the solution be worked in a flat bath1 it will be as well to pour it into a jug and filter it before using again2 with an upright holder1 this filtering will only require to be done about once or twice a week1 as any particles of dust1 etc41 subside and have not the same chance of falling upon the film as in a flat bath2 but the addition of the silver solution should be made1 and the solution well stirred up with the dipper4 ,in course of time a silver bath will become contaminated with organic matter from various causes1 and can also be supersaturated with ether and alcohol--with iodo-bromo or nitrate of zinc1 and will either refuse to work1 or only #ac yield imperfect films and thin images4 ,in such cases the best plan will be to take #bj ounces of the solution1 dilute it with clean water #fj ounces1 filter1 and add #f ounces of nitrate of silver1 and again filter1 when a new bath will be the result4 ,the silver in the rejected portion of the old bath should be precipitated as a chloride1 by the addition of a solution of common salt1 the precipitate dried and sent to a refiner1 together with the ashes of the filtering papers and blotting-paper used to drain the plates upon1 or to wipe the backs of the plates after leaving the bath and before putting them into the dark slide4 ,the silver solution named above1 is suitable for negatives of subjects in line1 but for the production of negatives with delicate half tones1 such as portraits1 landscapes1 or of the many subjects which are photographed direct1 then it will be necessary to provide another bath solution1 made and managed in the same way1 but only containing sufficient nitric acid to just redden litmus paper1 as a bath gives the finest half-tones when nearly neutral1 or only slightly acid4 ,it should be remembered that the deepest shadows are represented by clear glass in the negative1 to insure which would be impossible with the silver solution inclining ever so slightly toward alkalinity4 ,the nitrate of silver bath may be made up with distilled water1 if pure--that is1 if the water is bona fide distilled and not merely from waste steam2 if this cannot be guaranteed1 the best plan will be to get a gallon of tap water1 dissolve in it one ounce of nitrate of silver1 then add saturated solution of bicarbonate of soda1 until an alkaline reaction to litmus paper takes place1 then place the lot in white glass bottles1 and expose to the action of light for three or four days4 ,during that time the solution will1 first of all1 turn black1 and then will gradually become quite clear1 the organic matter--which if not removed1 would have caused trouble--falling in a black mass to the bottom4 ,now filter the purified water and use it for compounding the nitrate of silver bath1 but do not use it for any other purpose4 ,the strength of a nitrate of silver bath1 for line work1 should be thirty grains of nitrate of silver to each ounce of water1 and should not be allowed to fall below twenty-five2 and for half-tone negatives1 nitrate of silver should be thirty-five1 and not lower than thirty grains to the ounce4 ,be sure to keep all funnels1 bottles1 and dishes used for the silver bath1 separate and distinct from all others1 and never use them for any other purpose4 #ad ,,the ,,nitrate ,,of ,,silver ,,bath 7#b74 ,in the ancient days of photography1 when1 to say it was possible to prepare a dry plate nearly as sensitive as a wet collodion plate1 was to excite the risible faculties of the audience1 the above heading might almost always be seen in the journals1 and the amount of matter written under that heading would fill many good-sized volumes4 ,some writers went into the subject in a very elaborate manner1 whilst others would counsel very simple methods of preparation and management4 ,the directions given above for making a bath solution for line negatives1 will1 if carried out carefully and cleanly1 at once yield a solution giving good negatives4 ,after the bath has been mixed1 either with distilled water1 ordinary tap water 7in iron districts tap water should not be used71 or water that has been sunned and filtered1 as soon as the bulk has been made up to the eighty ounces1 the solution should be put away all night before it is tried1 then in the morning filter it carefully through a pledget of cotton-wool stuffed loosely in the neck of a perfectly clean funnel1 into a perfectly clean bottle or jug1 which must be kept entirely for use of the silver solution4 ,when the bath solution has been filtered it should be perfectly clear2 if it is at all cloudy or turbid1 the filtration must be repeated4 ,when the solution is perfectly clear and bright1 pour sufficient into a perfectly clean porcelain1 glass1 or papier-mach dish1 then take a clean plate 7polished1 or albumenized7 and coat it with collodion2 close the door of the dark-room1 and when the film of collodion is perfectly set1 raise one end of the dish containing the silver solution1 place one edge of the collodionized plate against the bottom of the upper edge of the dish1 then drop the plate upon the bottom of the dish1 and at the same time lower the dish2 by this means the silver solution will flow in an even wave over the surface of the collodionized plate2 now place the cover on the dish so as to exclude light and dust1 and allow the plate to remain in the solution for five minutes1 then with a silver hook lift the plate from the solution1 and allow it to drain 7remember that no light must get into the dark-room except what is filtered through either two thicknesses of golden fabric1 or one of canary medium72 when the plate has drained so that no solution drips from it1 place it into the carrier of the dark slide2 then close the dark slide and let it remain there for five minutes1 at the end of which time remove the plate to the sink1 and flood it with sufficient developer 7page #ag7 to just cover the film2 keep this solution flowing1 to and fro1 over the #ae plate for the space of two minutes1 then wash it under the tap until the surface is no longer greasy2 then apply the fixing or clearing solution 7page #ag7 until the whole of the yellow bromo-iodide is dissolved away2 again wash1 and take the plate into the daylight4 ,now comes the test2 if the film is perfectly transparent1 and clear as the glass itself1 the bath is all right2 but if there is the slightest deposit 7which can be removed by lightly rubbing the finger along the surface of the film71 then the solution will require the addition of a little nitric acid4 ,after this stir it well1 and after a rest of an hour or two try again1 repeat the addition of the nitric acid1 and try a plate2 repeat until the film1 after developing1 washing1 and fixing1 is perfectly clear1 and free from deposit and fog4 ,the bath is now in proper working order1 and if reinforced after each day's work with a sufficient quantity of saturated solution of nitrate of silver 7filtered71 kept free from contamination with other chemicals1 and carefully filtered occasionally1 it will remain in good working order for at least six months1 and then may be renewed by treating as directed on page #ab4 ,it will sometimes happen1 notwithstanding that extreme care and cleanliness is exercised in the management of the bath1 that it will not work properly1 and the reason why cannot easily be discovered4 ,in such a case1 steps must be taken to put the solution into working order4 ,in the case of rectifying a disordered bath1 there are many methods of procedure1 but the simplest1 and1 as a rule1 the most certain method1 is to render the solution alkaline by the addition of liquor ammonia1 adding the ammonia a little at a time2 then1 after well shaking1 test it with red litmus paper and continue the addition of ammonia until the red litmus paper is turned blue4 ,in this alkaline condition the solution should be poured into a large flat dish1 and exposed to the action of the sun4 ,that will speedily reduce and throw down in the form of a black precipitate1 any organic matter that may be in the bath1 and at the same time the heat of the sun will cause evaporation of the ether and alcohol left in the solution by the collodion plates4 ,the bath solution should be exposed to the sun for two or three days1 or until such time as suffices to render the solution clear1 and the precipitate entirely separated out4 ,but this cannot take place unless the solution is decidedly alkaline1 the presence of acid stopping the action of light4 ,do not be in a hurry about doctoring a bath solution 7in fact1 it will be far best to have two solutions1 one in use and one either resting or being doctored71 but give the light plenty of time to reduce the organic matter1 and also to #af volatilize the ether and alcohol2 then filter the solution through filtering paper 7don't use blotting-paper71 as if it is attempted to filter through a pledget of cotton-wool the fine precipitate of organic matter quickly clogs the wool and stops the filtering4 ,the doctored solution being filtered1 test it with a piece of perfectly fresh1 blue litmus paper1 and add nitric acid1 drop by drop--shaking well between the additions of acid--until the blue litmus paper just turns red4 ,do not add acid sufficient to make the litmus turn violently red1 unless the bath is for line negatives1 as a bath for half-tone negatives must be only just acid1 whereas a bath for line work must contain more acid4 ,if the color of the litmus paper shows that the alkali has been neutralized1 a plate is collodionized1 then immersed in the bath for five minutes1 then drained1 and placed in the dark slide1 or in a dark box for five minutes1 then flooded with the iron developer 7page #ag72 if1 upon the application of this the film should turn black1 add more nitric acid1 stir up thoroughly1 then try again1 repeating the trials until1 upon fixing the plate with the solution of cyanide of potassium1 the film of collodion is left upon the glass plate as clear as it was before it was immersed in the silver bath4 ,a little above here it is stated that less nitric acid is required in the bath for half-tone negatives than for line work1 and the question may well be asked where may the line be drawn8 ,the reply is that1 for half-tone work1 a piece of blue litmus paper should1 upon immersion into the solution1 turn red very slowly1 but when the bath is required for line negatives the blue litmus may at once indicate the presence of acid4 ,after a bath solution has been renovated in the above manner1 it should be tested for strength1 either by the volumetric method 7by preference71 or by means of the ordinary argentometer sold by the dealers1 and1 if1 after testing1 the strength is shown to be too great1 dilute with a sufficiency of sunned water 7page #ac72 and if not sufficiently strong1 add crystals of nitrate of silver to make up the strength to thirty or thirty-five grains per ounce4 ,a bath solution renovated as above1 will generally be found to work cleaner1 and yield brighter negatives than a new solution1 and it will also1 if carefully used1 last longer2 but it must be kept up to a proper working strength by the occasional addition of a little of a saturated solution of nitrate of silver4 ,the fact that the strength of the silver solution has got too low is shown by the presence of semi-opaque1 fantastic markings near the thick edge of the collodion film1 and also in conjunction with the presence of organic matter in #ag the deposition under the surface of the film of an extremely fine sand-like deposit1 which1 in the fixed negative1 develops into myriads of pinholes in the densest portions of the image4 ,,the ,,developing ,,solution4 ,first purchase seven pounds of commercial sulphate of iron 7copperas7 and put this into a gallon jug1 and fill it up with boiling water 7clean72 stir with a clean rod at short intervals for three or four hours1 then allow to stand until the sediment settles1 and the top portion of the solution is clear and bright2 then decant as much as possible into a bottle or bottles1 and label 8,saturated ,solution of ,iron40 ,then again fill up the jar with boiling water1 stir until as much as possible is dissolved1 so as to be ready by the time the stock in the bottle is exhausted1 and repeat the process until all the crystals are dissolved2 then wash out the jar1 reject the residue1 and begin again4 ,but bear in mind that1 unless there are crystals left in the solution after each addition of hot water1 it will not be saturated2 therefore1 before taking the solution into use1 be sure there are undissolved crystals in the jar4 ,for use1 take of ,saturated ,solution of ,iron #aj ounces4 ,acetic ,acid #d ounces4 ,water #gj ounces4 ,alcohol #a ounce to #e as required4 ,in the above solution1 the alcohol is added to enable the developer to readily assimilate with the sensitive film1 and the quantity requisite varies with the age of the silver bath1 or1 to be more correct1 with the quantity of plates sensitized therein4 ,at first1 little or no alcohol will be required1 but after a number of plates have been sensitized the developer refuses to flow evenly1 and seems disposed to run over the edges of the plate2 this is a sign that more alcohol is required1 and when more has been added the developer will flow evenly as before2 but when #hj ounces of developer require over #d ounces of alcohol to make it flow1 it is a pretty sure sign that the bath wants remaking4 ,the developer is applied to the plate after exposure1 from a straight-lipped cup1 or glass measure1 which should be kept for the exclusive use of this solution1 as the mixture of any of the other solutions with it will at once counteract its working power4 #ah ,,the ,,fixing ,,or ,,clearing ,,solution4 ,cyanide of ,potassium #c ounces4 ,water #bj ounces4 ,this solution is highly poisonous1 both in solution and vapor1 so it ought to be kept in an upright holder1 the plate being lowered into the solution on a dipper2 keep the solution well covered up1 so as to prevent evaporation as much as possible4 ,after being in use a short time this solution will become weak and should be strengthened by the addition in the evening of a lump or two of cyanide and then stirred up with the dipper in the morning2 the negative must not be left in this solution too long or the density of the film will be impaired1 but must be removed and well washed directly all the yellow iodide has been dissolved4 ,,the ,,intensifier4 ,no4 #a4 ,water #hj ounces4 ,chloride of ,ammonium #b ounces4 dissolve1 then add3 ,bichloride of ,mercury #b ounces4 dissolve1 and filter4 ,no4 #b4 ,liquor ,ammonia #j4hhj #e ounces4 ,water #bj ounces4 ,solution ,no4 #a is best kept in an upright holder1 as if kept in a flat dish there is always the danger of cutting the skin with the glass plate and getting the mercurial poison into the system4 ,no4 #b is kept in a well-stoppered bottle and only sufficient for each plate withdrawn as required4 ,another method of intensifying1 for those who object to the use of mercury1 is to bleach the negative in a solution of ,ferridcyanide of ,potassium 7,red ,prussiate of ,potash7 #f parts4 ,nitrate of ,lead #d parts4 ,water #hj parts4 dissolve and filter4 #ai ,when the plate is bleached1 wash it thoroughly under the tap1 taking care that the edges and corners of the film as well as the centre are washed1 then flood it with a sufficient quantity of ,nitric ,acid #a ounce4 ,water #hj ounces4 ,allow this to remain on a few seconds1 then wash1 and flood with a sufficient quantity of ,sulphide of ,ammonium #a part4 ,water #e parts4 which will at once turn the film an intense black2 again wash1 and flood with the nitric acid solution1 and again wash2 then the negative is allowed to dry4 ,this method of intensifying is cheaper than the other1 and if the washes of acid between and after the other two solutions are carefully done1 and the stench of the sulphide is not objected to1 then there is little or no difference in the results2 but if the acid washes are omitted or 7and7 the sulphide has not been kept corked1 and is consequently not fresh1 then there is great danger of a brown stain upon the lines1 which is more or less fatal to getting a good print on zinc4 ,for half-tone negatives1 instead of fixing or clearing with the cyanide of potassium1 the developer is washed off directly1 and then they are intensified at once by the application of a mixture of pyrogallic acid1 citric acid1 and nitrate of silver1 as follows3 ,no4 #a ,solution of ,pyrogallic ,acid #dj grains4 ,citric ,acid #cj grains4 ,water #bj ounces4 ,as much of this solution as will cover the washed plate is put into a small cup1 and flowed all over the film1 then returned to the cup1 and a few drops of ,nitrate of ,silver #cj grains4 ,water #a ounce4 is added4 ,then the mixture is poured over the film1 and rocked to and fro for a short time2 the intensifier is then returned to the cup1 the negative held up to the light1 and examined1 and if not intense enough1 the intensifier is again applied4 ,great care is requisite at this stage1 as if the process be carried on too #bj far the negative will be too intense1 and will either be spoiled1 or take an abnormal time to print2 practice and observation are the only guides to success4 ,the grand rules for half-tone negatives are1 collodion free from dust1 the glass plate clean1 the bath at its full strength and in good working order1 proper time allowed the plate in the sensitizing bath1 well drained1 afterward a good exposure1 develop until all details are out1 then wash thoroughly1 intensify with judgment1 wash well1 fix1 and again well wash1 and then1 but never till then1 open the dark-room door and examine your new negative by daylight4 ,in making the collodion1 soak the celloidin in the ether for about twelve hours before adding the alcohol2 be sure the ether is at least #j4gbe specific gravity1 and that the alcohol is very clean1 and free from gum4 ,after mixing the collodion and iodizer1 shake up well1 but do not do this before decanting4 ,always decant sufficient for next day's use1 into the bottle used for pouring1 over night1 so that it gets a chance to settle1 and allows the air-bubbles to escape4 ,keep the collodion in as cool a place as possible1 and in decanting it be very careful to do it away from fire1 or lighted gas or paraffine1 especially where flame is below the bottle1 as ether vapor does not rise1 but falls4 ,in hot weather and during long exposures1 wet plates are very prone to have a peculiar stain upon them1 called oyster-shell markings1 the remedies for which are careful draining before putting them into the slide1 and covering the bottom of the carrier with clean filtering paper1 so that the silver solution1 on draining down1 is absorbed by the bibulous paper instead of going back up the plate by capillary attraction4 ,in hot weather the back of the plate1 when put into the dark slide1 should be covered with a wet piece of red blotting paper1 or orange calico1 but not white2 a wet cloth laid in the camera will also tend to keep the plate moist4 ,these precautions1 however1 are not required unless the exposure is likely to exceed a quarter of an hour4 ,,protecting ,,the ,,collodion ,,film4 ,a collodion film1 when dry1 is very delicate1 and1 except for line work in the hands of an expert1 will require protecting4 ,this is usually done by slightly warming it 7when quite dry7 in front of a fire1 and then pouring over a sufficient quantity of thin spirit varnish4 ,after the superfluous varnish is well drained off1 dry by again holding it in front of the fire4 ,the spirit #ba varnish answers perfectly for ordinary work1 but for printing upon metal for relief blocks1 or upon glass for collotypes1 it will be best to use a benzole varnish1 such as is sold by dealers for protecting the films of glass positives or ferrotype pictures4 ,anthony's 8diamond0 varnish is good4 ,but the best plan of all is to use a water varnish1 made by dissolving half an ounce of borax in a quart of boiling water1 then adding a few pieces at a time 7stirring meanwhile71 one pound of ordinary shellac2 if the quantity of borax named does not suffice to make all the shellac dissolve1 add more1 a grain at a time1 until the shellac is dissolved2 then add half an ounce of white sugar1 cool and filter it4 ,when the negative is washed for the last time1 allow it to drain1 then flood with the above solution1 and let it dry4 ,this will be found a quicker1 cleaner1 and more satisfactory method of protecting the delicate film than with the spirit varnish4 ,,the ,,glass ,,plate4 ,the glass used as a support for the collodion film should be thin flatted crown of the best quality1 for the negatives1 as a rule1 are not required again after once the zinc is etched1 so that the film may be washed off1 and the glass used again1 which cannot be done so often if the glass be of bad quality2 flatness is a sine qua non1 as it has to be subjected to heavy pressure between a zinc plate and the front glass of a printing frame4 ,as a good and suitable negative is the foundation of success in the subsequent processes1 so is a properly cleaned glass plate the foundation of a successful negative2 unless the glass is chemically clean1 the collodion film will either be stained or marked1 or it will split off in drying1 therefore care and attention are requisite2 even in preparing a piece of glass for the reception of the film of collodion care is especially requisite1 as the want of it cannot be seen until after all the operations1 therefore the labor and time are not thrown away4 ,there are two methods of cleaning the glass plate3 one quite mechanical2 the other is a mixture of the mechanical and the chemical4 ,both are good4 ,the second is perhaps the best1 as it is simple and more certain4 ,in the first method the glass1 when new1 merely requires polishing with clean wash leather kept for this purpose4 ,the best way of doing this is on a flat board #bd by #ah inches1 or thereabouts1 #bb covered with good ,american oil-cloth1 glazed side out4 ,a plate laid upon this will not slip about when being polished4 ,both sides and edges of the plate must be well cleaned1 as one of the most prolific causes of derangement of the silver bath is from organic matter introduced by imperfectly cleaned glass plates4 ,one side of the plate1 if gently rubbed with the thumb nail1 will be found smoother than the other1 and is the suitable side for the support of the collodion film2 this side is polished with the leather until1 upon breathing gently upon it1 the film of moisture is quite free from marks or streaks1 not only in the centre but at the sides and corners4 ,it is absolutely necessary that the plate be chemically clean all over1 else the film of collodion1 upon drying1 will split1 and the negative be spoilt4 ,when the plate is clean1 an edging of ,india-rubber dissolved in benzole1 about an eighth of an inch wide1 is run all round the edge1 by means of a small camel's-hair brush tied to a stick1 the end of the stick being level with the point of the brush4 ,the stick acts as a guard against the brush going too far from the edge4 ,in the second method1 the new glass plate is soaked an hour or two in a mixture of #e ounces of common spirits of salt 7hydrochloric acid7 in #hj ounces of water4 ,after both sides of the plate are rubbed with a rag1 and well washed under the tap1 it is put in a dish of clean water4 ,when all the plates have been so treated1 they are taken out singly1 again well rubbed on both sides with another rag1 and well washed2 then the smoothest side having been selected1 it is twice flooded with a mixture of albumen and water1 draining the surplus into the sink each time of flooding4 ,the plate is then placed upon a rack to drain and dry2 the drying should be effected in a current of hot air freed from all dust4 ,the albumen mixture is composed of the white of one egg well beaten1 then diluted with #dj ounces of water and ten drops of liquor ammonia added1 and again beaten4 ,it must then be very carefully filtered through cotton-wool1 and used as above4 ,in placing the albumenized plates upon the drying rack1 care must be taken to face the coated sides all one way1 as when dry there is nothing to indicate to the eye which is the back and which the front4 ,the albumenized plates1 when dry1 should have the backs cleaned with a cloth or a leather before using1 so as to clear away any albumen which may have adhered during coating4 #bc ,albumenized plates stored in a dry place will keep good for months1 and do not require any edging with ,india-rubber1 as the most horny collodion film will not split off an albumenized plate4 ,glass plates that have been used1 and not varnished1 are freed from the films by being immersed in a mixture of hydrochloric acid and water for a few hours1 then washed under the tap1 well rubbed with a rag1 and put into clean water1 from which they are taken singly and coated with albumen2 or they may be allowed to dry1 and are then polished by means of the wash leather4 ,negatives that have been varnished are cleaned by first immersing in a hot solution of common washing soda until the film comes off1 then wash them under the tap1 rubbing well with a rag1 then immerse them in the acid solution so as to neutralize the alkali4 ,finally they may be treated as above4 ,the films that are removed from the glass plates must not be thrown away1 but should be carefully collected1 dried1 and sent to a refiner with the other silver waste2 a good plan for saving these films1 and at the same time keeping the acid and soda solutions clear of them1 is to filter each solution occasionally through an old felt hat suspended conveniently over the tanks1 using one for each of the tanks4 ,the polishing of the glass plate must not be done in the dark-room1 or the crop of comets1 spots1 etc41 upon the negatives will be exasperating in the extreme2 let this operation be conducted in a clean1 quiet corner of the studio1 where no other operation will disturb1 and where the fluff from dusters and leathers will not interfere with anything else4 #bd ,,chapter ,,iii4 ,,photographic ,,manipulations4 ,the chemicals being prepared1 they must be placed in the dark-room2 the collodion bottle should be placed on a convenient shelf close to the door1 and on a handy peg hang a broad camel's-or badger-hair brush1 for dusting the clean plate just previous to coating it with collodion2 the brush must not be used for anything else upon any pretence whatever4 ,the silver bath must be kept1 both in use and out of use1 in some convenient corner1 where there is no risk of getting any other chemical splashed into it4 ,for a bath holder a deep #ae by #ab porcelain or papier mach dish1 with a wooden or stout cardboard lid1 should be provided1 and this dish must always be thoroughly washed1 and wiped dry with a clean damp leather 7kept for the purpose71 both before use and after pouring the silver solution back into its bottle or jug4 ,or1 if the upright form be preferred1 be sure and have it large enough4 ,the developer should be placed on a shelf1 on the right of the sink1 the developing cup close by4 ,the fixing or clearing solution should be kept in an upright bath of glass1 porcelain1 or ebonite4 ,the intensifier ,no4 #a may be kept in a flat dish1 or in an upright holder1 at discretion2 but if in a flat dish1 the solution should be poured back into its bottle1 after each day's work4 ,keep the intensifier ,no4 #b in a stoppered bottle close to the sink4 ,the water varnish also is kept in a bottle or jug4 ,on a shelf close to the collodion1 the polished or albumenized plates may be stacked1 with the clean or prepared side facing the wall4 ,a pneumatic holder for attaching to the back of the plate during the operation of coating with collodion will be found very handy4 ,of course1 it is thoroughly understood that there is a sink in the dark-room1 and a good water supply is indispensable4 ,then1 again1 the window through which the light is transmitted1 must be #be covered with a non-actinic medium1 such as two thicknesses of golden fabric1 or one of canary medium2 do not stint the amount of light1 but have as much as possible1 so long as it is non-actinic4 ,no arbitrary plan for the dark-room need be followed1 but the novice will find the annexed plan useful to him in contriving for himself4 ,it is self-explanatory4 ,illustration3 ,fig4 #b4 ,everything being in readiness1 we will now proceed to make a line negative1 reserving a description of half-tone work to follow4 ,to begin3 wash the bath holder thoroughly1 and wipe it dry1 then pour into it sufficient silver solution to make the depth about half an inch2 dust the inside of the cover1 and put it over the dish2 now take a clean glass plate1 if it be polished1 see that it is edged with ,india-rubber1 and if albumenized1 be sure and clean the back--and attach it to a pneumatic holder2 then with a broad camel's-or badger-hair brush 7kept for this purpose only7 remove any particles of dust1 back and front2 now hold the plate in a horizontal position and pour upon it1 toward the right hand corner furthest away from the body1 a little more collodion than it is judged will be sufficient to cover it2 let the collodion run to the corner1 then incline the plate to the left1 and the collodion will run into the upper left-hand corner4 ,now by inclining the plate toward the body the collodion will flow into the lower left-hand corner1 and thence it is guided into the funnel placed in the bottle prepared for its reception2 during the time that this surplus is draining1 the plate must be gently rocked sideways1 so that the lines formed by the collodion1 in draining1 are merged1 leaving the film quite homogeneous4 ,as soon as the collodion ceases to drip1 release the plate from the pneumatic #bf holder1 and touch the lower ridge of the collodion2 if it is quite set1 close the door of the dark-room1 remove the lid from the bath holder1 then--holding the plate in the left hand--with the right hand raise the end of the bath holder1 as far as is possible without risking any of the silver solution running over the end of the dish resting on the bench2 now lay the plate 7with the collodion side up7 on the bottom of the dish1 then drop the plate into the solution1 and1 at the same time1 lower the end of the dish held up by the right hand1 which will cause the silver solution to flow in one even wave over the collodionized surface4 ,this operation must be done with dexterity1 as if the silver solution does not flow in an even wave the film will be marked1 and1 in the case of a half-tone negative1 the image will be spoilt4 ,therefore1 it is necessary to see that the plate and dish are lowered simultaneously1 so that the solution goes over the collodion film in one steady wave4 ,if the upright bath holder be used1 the plate is placed upon the ledge of the dipper1 and lowered slowly and steadily into the solution4 ,the plate will require an immersion of about three minutes for proper sensitizing1 and this interval--the bath being covered up to prevent the access of white light--may be utilized to give the final adjustment to the camera1 and to see that the drawing or print to be copied is properly in focus4 ,use a medium diaphragm in the lens for focussing1 and examine the image all over before deciding that it is sharp4 ,focus by preference about halfway between the centre of the picture and the edges1 and then1 after moving the rack to and fro until the proper sharpness is obtained1 take out the diaphragm and substitute the smallest sent out with the lens2 or if the picture to be taken be small and from a large original1 then the second1 or third1 smallest diaphragm may be used4 ,now remove the focussing screen from the camera 7note that the ground side of the glass has been next the lens7 and place the cap upon the lens2 close the door of the dark-room1 open the dark slide1 see that the proper carrier is in it1 then raise the plate from the bath slowly1 using a silver-wire hook for the purpose4 ,if the solution flows evenly over the film1 the plate is ready2 but if1 on the contrary1 the solution flows greasy1 then again lower the plate and rock the dish gently for a minute or two4 ,the film being fully sensitized1 the plate is carefully lifted out of the solution1 both hands holding the plate in such a manner as to avoid touching the film2 allow the solution to drain from the plate as much as possible1 then lean the plate against the wall1 the lower end resting upon a pad of clean blotting-paper1 so as to catch any further draining2 #bg now with a pad of blotting-paper or papier-joseph wipe the back of the plate as dry as possible2 this will prevent stains1 and keep the dark slide from rotting by the action of the silver solution4 ,the plate being drained1 lay a piece of thin filtering paper in each lower corner of the carrier1 so that the plate will rest upon the filtering paper1 which will catch any further drainings from the film1 and be a safeguard against stains4 ,now lay the plate face down in the carrier of the dark slide1 close the door1 and fasten it4 ,the dark slide is now carried to the camera1 and inserted in the grooves previously occupied by the focussing screen1 taking care that the sliding shutter is next the inside of the camera2 when pushed quite home1 cover the back with the focussing cloth2 pull out the shutter1 when the plate is ready for the exposure4 ,the time of exposure will vary very much with the time of the year1 and with the amount of light falling upon the object being photographed4 ,the exact time can be found out only by actual practice1 but the operator1 in time1 by observation1 will be able to guess it pretty correctly4 ,in taking the cap off the lens1 be sure that the camera is not shaken1 else the picture will be spoilt4 ,the exposure being made1 close the sliding shutter1 remove the slide to the dark-room1 and close the door2 lay the dark slide 7with sliding shutter down7 upon the bench1 open the back shutter1 and1 placing the pneumatic holder in the centre of the plate1 lift it out of the carrier4 ,take the plate to the sink1 and holding it face up1 in the left hand1 take the developing cup in the right1 and1 with a quick motion1 pour over the plate sufficient developer to cover the whole film2 the developer must go all over the film in one even wave1 for any hesitation in this will result in a stain2 pour upon the film only sufficient to cover it1 and be careful to spill as little as possible into the sink1 or else the image will be thin1 on account of the absence of free silver washed off by the wave of developer4 ,now rock the plate gently1 so as to keep the developer flowing to and fro over the film 7but keep it there1 don't spill it off7 and the image will soon appear1 faint at first1 but growing gradually darker1 the black lines of the drawing being white and the white paper black4 ,if the development be continued too long the lines will eventually be veiled2 therefore1 as soon as the finest details are out and well defined1 place the plate under the tap and allow #bh the water to well sluice the film all over2 as soon as it is properly washed1 which can be seen by the water flowing evenly over1 without greasy looking lines1 hold the negative up in front of the window1 and examine for spots or stains4 ,if there be any present that at all interfere with the picture1 at once reject the negative1 placing it in a pan filled with water1 to be washed off at leisure4 ,then start afresh4 ,the negative being satisfactory1 give it another rinse under the tap1 and place it in the cyanide bath1 where the unaltered iodide will speedily be dissolved4 ,then it is withdrawn1 and well washed under the tap4 ,whilst the water is washing over the front1 rub the back with the fingers or a sponge1 and then turn the plate over and allow the water to wash the back also4 ,it is now ready for immersion in the intensifier ,no4 #a1 where it remains until the film is bleached almost white4 ,then it is thoroughly washed1 drained1 and flooded with a small quantity of intensifier ,no4 #b1 which will at once turn the film to an intense black1 or if the action does not penetrate through to the back of the film1 continue the application until it does2 again wash1 then place the negative on a rack to drain4 ,when the water ceases to drip1 flood the plate twice with the filtered water varnish4 ,then place the negative on the rack to dry4 ,when dry1 it is ready for printing on zinc4 ,the negative may be varnished with a benzole varnish1 sold by the dealers under the name of positive or ferrotype varnish4 ,negative varnish may be used1 but unless very thin it is apt to be sticky and render the negative easily marked by the heavy pressure it is subjected to in the printing-frame4 ,now lay the finished negative face down upon a piece of clean white paper1 when1 if it is a good one1 all the details of the original will show through1 clearly and distinctly2 but if any of the details are missing or veiled over1 the negative will not do1 and another must be made4 ,this process does not always work satisfactorily1 but with care and cleanliness no serious fault should arise4 ,sometimes the bath may give what are called foggy images1 which are indicated by a veil over the lines4 ,these can often be wiped off with a pledget of cotton-wool4 ,the addition of half a drachm of nitric acid to the eighty ounces of bath solution1 thorough mixing1 and a rest for a few hours1 will end this difficulty4 ,if the dark-room window be not of the proper color1 fog will ensue2 therefore1 the non-photographic experimentalist had better call in the aid of a professional photographer in case of any difficulty in getting clear negatives4 ,wilson's ,photographics will be a profitable investment1 as it was published #bi before the advent of dry-plate photography1 when the wet process reigned supreme4 ,at the end of each day's work the silver solution should be carefully poured into the jug or bottle1 and allowed to stand all night2 then in the morning1 just before using1 it should be filtered4 ,the dish also must be carefully washed out and put away in a corner where it has no chance of being soiled4 ,such are the manipulations necessary for the production of a negative from a line subject--i4 e41 a drawing in black and white1 in which the whole of the picture is obtained by means of lines1 or stipple1 or by cross hatching4 ,flat washes of color not being permissible1 all effects of half tones1 etc41 are obtained by lines1 either thicker1 or thinner1 or closer1 or further apart4 ,such a negative is available for printing from1 direct upon zinc1 in either albumen or in bitumen1 for etching into relief1 or for printing from as a lithograph4 ,,the ,,use ,,of ,,gelatine ,,dry ,,plates ,,in ,,photo-,,engraving4 ,for making negatives for collographic printing either direct or by transfer1 gelatine dry plates may be used with as much certainty as the wet collodion1 so long as the operator can produce a result giving all the gradations of tone1 from the deepest shadow to the highest light2 and as there are so many excellent brands of plates in the market1 it would be worse than useless to name any brand here as having any distinct advantage over the rest1 more especially as the brand that the writer would be inclined to name1 would perhaps1 by the majority of readers1 be classed as a plate that they could not work4 ,this being so1 for half-tone negatives1 the author leaves the choice of the plate and the manner of working to the operator1 contenting himself with saying that the criterion of suitability of a negative for yielding good results by any of the processes treated of in this book1 leaving out of the question entirely negatives for line work1 etc4 7treated of in ,parts ,i41 ,,ii41 and ,,iii471 is the same for giving soft1 delicate1 and brilliant prints1 either in platinum1 carbon1 or on albumenized paper1 resting assured that a negative yielding a hard black and white1 or a dirty flat print1 by any of these three methods1 will not give results any different in collographic or transfer methods4 ,for line work negatives for printing upon zinc1 for etching1 or for transfers to stone1 ordinary gelatine dry plates are not useful1 as it is almost impossible to get that freedom from veil over the lines that it is absolutely necessary to have2 here the wet collodion is best as it is simplest1 easiest1 and cheapest4 #cj ,still there are times when the most ardent wet-plate worker is obliged to confess that the process has its shortcomings1 most especially in dull weather1 when it is necessary1 to get the result required1 to give exposures from thirty to sixty minutes2 then1 what with the plate drying and the want of pluck from the bad light1 it is impossible to get a result suitable for the work4 ,in this case the plate called the 8,process0 plate is a great boon4 ,it is fairly rapid1 and gives intense negatives1 without veil on the lines4 ,for making transparencies same size of original negatives1 the best plan is to place a large sheet of white paper in front of the copying camera1 and rack the lens out of focus1 taking care that the white sheet of paper is sufficient to illuminate the full size of the plate4 ,then in the dark-room place the negative in the carrier of the dark slide1 film side up1 and carefully dust the surface 7also seeing that the back of the negative is clean7 with a clean camel's-hair brush2 dust also the film of a gelatine dry plate1 and place it face down upon the negative1 close the slide1 and insert it into the grooves of the camera and expose to the light reflected through the lens from the white sheet of paper for from five to twenty seconds1 according to the density of the negative and the intensity of the light2 close the lens and the shutter1 and remove it into the dark-room for development4 ,by exposing a plate in this manner there is a far better chance of getting absolute contact between the two plates1 as the rays of light are parallel4 ,for making transparencies for printing upon copper-plates1 first of all make a grained negative the proper size1 then when this is varnished and touched up1 make from it as above a transparency upon a gelatine chloride dry plate1 by which process it is more certain to get a suitable result for the process than on a gelatine bromide dry plate4 ,no formula will be given here for developing these gelatine chloride plates as each packet has full instructions for development which must be followed implicitly4 ,for developing gelatine bromide dry plates for negatives1 or for transparencies1 the following1 a modification of the ,ilford formula1 will be found better than using formula where the ammonia and bromide are mixed together4 ,solution ,no4 #a4 ,pyrogallic ,acid #a ounce4 ,meta ,bisulphate of ,potash #a ounce4 ,bromide of ,potassium #a ounce4 ,water #hj ounces4 #ca ,solution ,no4 #b4 ,liquor ,ammonia #a_/b ounce4 ,water #aj ounces4 ,for a normal exposure equal parts of these are mixed just before using1 and for an uncertain exposure begin with two parts of ,no4 #a1 one part of water1 and one part of ,no4 #b4 ,,the ,,reproduction ,,of ,,negatives4 ,for the production of suitable collotype prints1 the first consideration is the negative1 from which the printing surface is to be made4 ,the requirements are1 a negative in which all the half-tones1 both in the lights and in the shadows1 are reproduced in their proper gradations2 the lights must not be too dense1 or the shadows too clear2 the blackest portion of the negative must be that part representing the highest light1 and the only clear glass1 that which represents the deepest shadow2 these negatives may be either wet collodion1 or on ordinary gelatine-bromide plates and reversed--i4 e41 the mirror must be used behind the lens4 ,if it is desired to produce a collographic block from a negative already in existence1 and which may not be retaken1 then it will be necessary to make another negative4 ,this may be done in many different ways2 but whichever way is adopted1 the first and most important step is the production of a transparent positive4 ,this transparent positive may be made on an ordinary gelatine-bromide plate1 or on a gelatine-chloride plate1 and then from the transparent positive a negative is made by transmitted light 7in the enlarging camera71 either the same size1 reduced or enlarged in size2 or instead of using this class of transparency1 by far the finest results can be got by making the transparency in carbon tissue1 which can be used for both transmitted light1 for enlarging or reduction in size1 and it can also be used for contact printing1 when the reproduced and reversed negative is required to be the same size as the original4 ,on page #bi directions are given for the manipulations when gelatine dry plates are used1 so here we will confine ourselves to the production of negatives from the carbon transparency4 ,first of all1 procure some carbon transparency tissue1 ready sensitized1 cut this into sizes at least half an inch larger all round than the negative1 then cut a brown paper mask to fit all round the negative1 and to protect the margin of tissue from the action of light2 this acts as a safe edge to the tissue1 enabling it to adhere to the glass support during the operation of development4 ,if it is only intended to reproduce a portion of the #cb original negative1 the safe edge may be made by putting the mask just round that portion of the image1 but if the whole of the negative is required1 put it in a printing frame with a plate glass front1 fix the brown paper mask outside the negative1 then place the sensitive carbon tissue the black side next the negative film1 and put in the backing1 and back1 and fasten it up4 ,next expose it to the light for four or five times the time requisite to get an ordinary silver print4 ,the carbon tissue having been exposed to light for the proper time1 it is taken into the dark-room1 the edges are turned up so as to form a dish1 and pinned upon a small board2 it is now coated with thin plain collodion1 the surplus being poured into a bottle kept for the purpose1 and the board gently rocked to and fro1 so as to prevent the collodion running in ridges1 or streaks4 ,now allow the collodion to dry1 then place the coated and exposed tissue in clean cold water until it is quite limp1 then slide underneath it a gelatinized glass plate a little larger all round than the tissue1 bring the gelatinized surface of the glass plate and the collodionized surface of exposed tissue in contact under the water1 taking great care not to abrade the collodion2 then lift the two out and lay the glass down upon a bench1 and cover it over with a piece of thin ,india-rubber1 or mackintosh1 or oil-cloth4 ,hold the cover firmly on the bench with the left hand2 with the right use a strong squeegee vigorously4 ,that will expel all the water from between the two surfaces 7collodion on the tissue1 and gelatine on the glass71 and so bring them into absolute contact2 now remove the cover1 lift the plate and examine the tissue through the glass1 and if there are no air-bells between the two surfaces the operation has been successful2 but if air-bells are present1 at once plunge the plate into cold water1 strip off the tissue1 and try again1 but be careful to be quick about it1 or there is a risk of the tissue absorbing too much water1 in which case great difficulty will be experienced in getting it to lie flat upon the gelatinized glass4 ,the gelatinized plate upon which the exposed and collodionized tissue is mounted is prepared as follows3 ,glass plates free from scratches and stains1 are placed in a weak mixture of hydrochloric acid and water1 and rubbed with a clean rag until free from grease and dirt2 they are then washed under the tap1 and whilst wet are covered with3 ,gelatine #a ounce4 ,water #bj ounces4 ,bichromate of ,potash #ae grains4 #cc ,soak the gelatine in the cold water until it is soft1 then melt at gentle heat1 add the bichromate1 and when dissolved1 filter1 and coat the cleaned plate two or three times1 throwing the surplus away each time of coating2 now stand the coated plate on a rack to dry4 ,any quantity of these plates may be prepared at a time1 and used when required4 ,when all the batch has been coated1 the rack may be removed into a warm corner1 free from dust1 until the plates are dry1 then expose the plates to the light for at least twenty minutes1 when they are ready for use for mounting the exposed and collodionized transparency tissue upon4 ,after the tissue is mounted upon the glass plate1 it is allowed to stand a few minutes1 then it is placed in a dish containing hot water 7#ajj ,f471 and as soon as the tissue compound shows signs of dissolving by exuding from under the paper1 lift the paper away1 then rock the dish1 and1 if necessary1 add more hot water2 then raise the plate and gently lave it with the hot water1 until the whole of the soluble pigmented gelatine is washed away1 leaving a transparent positive on the glass1 which merely requires washing under the cold water tap1 and drying1 to be finished4 ,now examine it closely1 and if it contains the whole of the details in the negative1 and is free from dust spots1 it may be put away to dry1 but if underexposed1 or overexposed1 or marred by spots not in the original1 then another must be done2 but if care is taken to dust the surface of the tissue1 and the film of the negative with a camel's-hair brush before printing1 and before collodionizing1 and also to see that both the collodion and the gelatine mixture are properly filtered1 and that the water in which the coated and exposed tissue is soaked is free from dirt1 then there will be no difficulty in getting a perfect transparency4 ,the transparency being obtained1 if it is desired to make a negative larger or smaller than the original1 the transparency is placed in the enlarging camera with the carbon film inside1 and the negative made the requisite size1 either on a dry plate or on a wet collodion plate4 ,if a negative the same size is required1 the transparency is placed face up in the carrier of the dark slide1 and the surface dusted2 then take a dry plate1 and having also dusted its film1 place it face down in contact with the transparency1 then close the dark slide and remove it to the camera1 which should be previously adjusted opposite a large sheet of white paper2 now put in the dark slide1 draw the shutter1 and expose to the sheet of paper1 and develop as directed on page #cj4 ,by exposing in this manner1 instead of direct to the light 7day or gas71 the #cd rays projected through the lens fall upon the dry plate quite parallel1 so securing sharp negatives4 ,in making reversed negatives for collographic printing when wet collodion is used1 it is not absolutely necessary to use the mirror1 as they may be made upon polished glass 7i4 e41 not albumenized7 dried1 then coated with gelatine1 again dried1 and stripped4 ,some brands of dry plates can also be stripped1 by first of all1 after drying1 coating them with ,india-rubber solution1 then with collodion1 and soaking in dilute fluoric acid2 but great care and patience must be exercised1 the preliminary trials being made upon negatives of no particular value4 ,,stripping ,,collodion ,,films4 ,negatives made by the wet collodion process can be easily stripped from the glass support1 and in such a condition are extremely handy1 especially for printing on collographic plates1 or on zinc or copper1 as1 the film being flexible1 contact is more easily secured4 ,when it is intended to strip the film1 the glass plate must be polished1 not albumenized1 and after the negative is dried1 strips of thick paper are pasted along the four sides of the negative1 with starch1 or a solution of gum tragacanth2 the negative is then placed on a levelling stand and a sufficient quantity of the following warm solution of gelatine is poured upon the plate 7which should be slightly warmed first7 and spread all over it by means of a glass rod3 ,gelatine #b-a_/b ounces4 ,sugar #a-a_/b ounces4 ,water #bj ounces4 ,soak the gelatine in the water until soft1 melt by gentle heat1 then strain through two or three thicknesses of fine muslin1 and pour upon the plate1 using three ounces for a plate #ab #aj2 more or less1 in proportion for different sizes4 ,the plate must be allowed to stay upon the levelling stand until the gelatine has quite set1 then put it on a rack to dry1 in a current of cold air1 for if heat be used the gelatine will melt4 ,when the gelatine is quite dry1 pass the blade of a penknife all around underneath the strips of thick paper1 when the negative film may be lifted away from the plate4 ,in this condition the negative may be stored away without risk of being broken1 the only condition being1 it must be kept free from dampness4 #ce ,another plan of stripping is to coat the dry negative with a thick solution of ,india-rubber in benzole1 and allow it to dry on a levelling stand2 then coat with a thick plain collodion1 to which a few drops of castor oil have been added4 ,when the collodion film is quite dry1 place the plate in a dish of clean water1 strip off the film from the glass1 then place the film between sheets of clean blotting-paper to dry1 or it may be allowed to dry on the plate4 ,old collodion negatives that have been varnished may be stripped1 but it is rather a risky operation1 and should never be attempted until a really good carbon transparency has first been obtained4 ,the first step will be to remove the varnish1 which is effected by soaking the plate in ,alcohol #a part4 ,ammonia #a drachm4 until all the varnish is removed1 then rinse in alcohol1 wash well under the tap1 dry1 paste slips of brown paper around the margin1 and finally level and cover with the warm gelatine1 dry and strip4 ,,the ,,reversing ,,mirror4 ,the mirror is a piece of perfectly plane glass1 coated on the surface with a thick film of pure silver1 and highly polished4 ,this silvered glass must be mounted in a mahogany box1 and fitted on the front of the camera1 the lens being fitted in front of the mirror1 see ,fig4 #a4 ,this mirror is placed in grooves at an angle of forty-five degrees from the axis of the lens4 ,so situated1 it receives the image projected by the lens1 and reflects it on the focussing screen1 or sensitive plate in the camera4 ,by this means a negative is obtained1 which1 when looked through with the film between the operator and the glass1 will present the image in its proper position1 whereas1 if the lens be used without the intervention of the mirror it will be necessary to have the glass between the eyes and the film1 to get the image in its proper position1 and as the generality of photographic negatives are taken without the intervention of the mirror1 they are called ordinary negatives in contradistinction to those made through the mirror1 which are called 8reversed0 negatives4 ,the silver surface of the mirror requires great care and attention to preserve its lustre4 ,if tarnished1 it will make the exposure in the camera longer1 besides which1 the cost of resilvering is too great to allow of the surface being spoiled through carelessness4 #cf ,at the end of each day's work1 remove the mirror from the box and warm it in front of the fire 7not over a gas flame7 just slightly1 then wrap it carefully in a piece of fine velvet1 which has also been previously warmed1 then wrap it up in a piece of ,india-rubber or macintosh cloth1 and put it in an air-tight box2 by doing this1 the mirror1 if well silvered at first1 will last for a year or two4 ,if the surface should become tarnished1 get a square of very fine chamois leather1 and place in the centre a pellet of cotton-wool2 then gather up the leather and tie the wool in the centre1 making a small globe about an inch and a half in diameter2 now warm the mirror1 and after dipping the leather globe into fine rouge1 proceed to polish gently with a quick circular motion1 using little or no pressure--take care in doing this that the mirror1 the leather1 and the rouge are quite dry1 else the silver coat will come away--verb sap4 ,in purchasing a mirror be sure and get it large enough to take the cone of rays from the lens it has to be used with2 for a lens three inches in diameter1 the plane mirror should measure about #h #c-a_/b inches4 ,the box to hold this mirror should be made square at the side1 fitting into the rabbet of the camera front1 so that when objects are to be photographed that will do better lying on the ground than when fixed against the wall1 the mirror can be placed to look down upon the object4 ,for silvering the glass1 one cannot do better than to quote the directions for working ,common's process given by ,major ,waterhouse in the ,photographic ,news4 8,the solutions recommended by ,mr4 ,common are three3 7#a7 ,nitrate of ,silver #a ounce4 ,distilled ,water #aj ounces4 7#b7 ,caustic ,potash #a ounce4 ,distilled ,water #aj ounces4 7#c7 ,glucose #a_/b ounce4 ,distilled ,water #aj ounces4 ,the above quantities are suitable for #bej square inches1 consequently1 an ordinary copy mirror #h #f would require rather more than two ounces of each solution1 and other sizes in proportion4 ,the caustic potash and distilled water must be quite pure4 ,ordinary caustic potash will not answer at all4 ,the best to use is known as pure by alcohol4 ,the glass surface to be silvered is carefully cleaned with strong nitric acid1 applied1 as recommended by ,mr4 ,browning1 with a ,buckle's brush1 then well #cg washed in clean water1 and after rinsing with distilled water1 laid1 face downward1 in a dish of distilled water until wanted4 ,before cleaning the glass1 it will be necessary to arrange for supporting it face downward in the depositing dish1 so that the surface to be silvered may be quite horizontal1 and just below the level of the fluid1 which should be about half an inch above the bottom of the dish4 ,i have generally used a large cork1 about four inches in diameter1 cemented to the back of the plate1 and fitted with three strings1 by which it could be suspended in a level position and adjusted to any height by winding the string over a roller placed at a convenient height above the dish4 ,when this arrangement is not available1 ,i fix on the back of the plate two ordinary wide-mouthed bottle corks of equal thickness1 in the positions shown in the figure1 and to these corks attach thin slips of bamboo running transversely across the plate1 and of sufficient length to rest on the sides of the dish1 thus3 ,illustration3 ,fig4 #c4 ,the slips of bamboo give the arrangement a certain amount of spring1 by which the height of the plate can easily be regulated1 by putting on weights until the surface of the plate is just below the level of the fluid in the dish4 ,to prepare the silvering solution3 ,a sufficient quantity of the silver solution1 ,no4 #a 7two ounces71 is put into a perfectly clean glass4 ,ammonia is dropped in until the precipitate first formed is just redissolved4 ,the same quantity of potash solution1 ,no4 #b1 as of silver is now mixed in1 and the precipitate again dissolved by ammonia4 ,a little more silver solution is then added to produce a distinct turbidity1 and distilled water to make up the quantity necessary to fill the depositing dish to about three-eighths or half an inch1 and the mixture is then filtered through cotton into another clean glass vessel4 ,the same quantity 7two ounces71 of filtered solution of glucose1 ,no4 #c1 as was taken of silver and potash1 is now mixed in1 and the whole is poured into a depositing dish 7which should preferably be of glass1 well cleaned with nitric acid74 ,the glass plate is then taken out of the distilled water and laid face downward on the silvering solution1 being supported1 as before described1 just above the surface1 so that the solution does not cover its back4 ,mr4 ,common places the requisite quantity of distilled water in the dish in #ch which the mirror has been remaining face downward1 and then1 having lifted the mirror up1 pours in the undiluted silvering solution1 together with the glucose solution1 stirs well together1 and then carefully lowers the mirror again into the dish4 ,almost immediately after the immersion of the plate1 the silvering action begins1 and1 if things are going on well1 a brilliant reflecting surface will be seen at the back of the plate1 and in forty minutes1 or even less1 a good deposit of silver will be obtained4 ,it is usually recommended to stop the action as soon as the silvering fluid appears clear and free from turbidity1 but it is not always easy to see this4 ,after silvering1 the plate is well washed1 finishing with distilled water1 and dried off quickly4 ,a slight cloudiness of the surface may appear1 and must be removed by polishing before the mirror can be used4 ,it is better to allow the mirror to remain a day or so before polishing1 in order to harden the coating4 ,to polish the plate1 it should be slightly warmed1 and perfectly dry1 and rubbed very gently in small circles with a piece of very soft and dry chamois leather1 afterward using a little jewellers' rouge4 ,mirrors should always be kept in a dry place1 and will require repolishing from time to time4 #ci ,,chapter ,,iv4 ,,apparatus ,,for ,,printing ,,upon ,,zinc4 ,a suitable negative 7the subject being in line1 not half tone7 having been obtained1 the next stage toward producing a relief block is to make from that negative a print in ink upon a sheet of zinc4 ,to do this a sheet of polished zinc is first of all subjected to the action of a solution of nitric acid1 alum1 and water4 ,it is then thoroughly washed1 placed in a machine called a whirler1 then coated with a solution of albumen 7white of egg7 and bichromate of potash2 this coat or film of bichromated albumen should be dried over a spirit lamp4 ,the negative is then placed1 face uppermost1 in a printing-frame1 the coated side of the zinc in contact with the face of the negative4 ,the negative is now exposed to the action of light4 ,the exposure being complete1 the frame is taken into a room lighted by yellow light1 gas1 or lamp-light1 the zinc plate is removed1 and its surface covered with a thin film of transfer ink1 by means of a type-printer's roller2 then the zinc plate is immersed in clean cold water and the image developed by gently rubbing it with a pledget of cotton-wool4 ,,polishing ,,the ,,zinc4 ,zinc plates suitable for photo-engraving can be obtained either in large sheets1 or cut to size as ordered1 and1 when new1 require polishing with a damp rag dipped in levigated pumice powder--i4 e41 pumice powder washed in water1 so as to get rid of all grit4 ,lay the plate upon a board covered with muslin and polish with a 8from-and-to0 the body motion1 not circular2 do not use a great deal of pressure1 the object being to get the plate highly polished with a perfectly smooth surface4 ,plates that have been printed upon1 and are not satisfactory1 may be cleaned and repolished4 ,plates that are scratched require polishing with emery cloth4 ,scratches interfere with the picture4 #dj ,to remove scratches1 sprinkle the face of the plate with turpentine1 then rub with a piece of ,,ff emery cloth stretched over a carpenter's cork-covered rubber4 ,use the same motion1 to-and-fro1 until all the turpentine has evaporated and the surface of the zinc is polished4 ,if the scratches are removed1 the plate is ready for use1 but if not1 then the operation must be repeated4 ,if the scratches are too deep for emery cloth alone1 first use a piece of fine pumice stone1 followed by snake stone1 pumice powder1 rotten-stone1 and rouge4 ,too much care cannot be taken with the zinc plate at this stage1 for1 after the block is etched1 if it is discovered that the plate has not been properly polished1 all will have to be done over again1 entailing a loss of time1 labor1 and materials4 ,remember1 that no matter what polishing agent is used1 the plate must be polished with a to-and-fro from the body motion1 not a circular motion such as is usual in polishing metal4 ,,graining ,,the ,,plate4 ,the next operation is to give the plate a slight tooth so that the sensitive solution will flow evenly over the surface4 ,do this by removing all traces of grease4 ,this graining is done in a wooden tray1 #bd inches by #ah by #f1 lined with asphaltum or gutta percha and mounted upon rockers2 it is quite necessary that the graining tray be of large size1 as if only a little larger than the plate the returning wave of acid water will mark the edges of the zinc4 ,into this tray pour a quart of clean water1 and add one drachm of nitric acid and one ounce of a saturated solution of common alum4 ,place the plate in this1 face up1 and commence rocking it at once or else the acid will mark the surface1 and it will require repolishing2 rock slowly for five minutes1 during which time the polished surface will give way to a fine matt1 like fine frosted silver4 ,now remove the plate and rinse it under the tap1 rubbing it gently with a fine sponge1 or a pledget of cotton to remove the scum or deposit formed by the acid4 ,the surface at this stage should be quite smooth2 if it is at all rough1 the acid is too strong1 and the solution must be diluted with water2 if the action of the acid is very slow1 then a little more must be added2 but it will only be necessary to add more alum when the plate is a bluish color instead of being a pearly gray4 ,a drop or two of acid will be required each time plates are to be grained4 ,in rubbing with sponge1 or a pledget of cotton when under the tap1 care #da must be taken not to scratch the surface of the zinc1 or else it will need repolishing4 ,,coating ,,the ,,plate ,,with ,,sensitive ,,albumen4 ,if the solution of albumen was poured over the plate and drained and dried1 the film would be too thick at the bottom and too thin at the top2 it is1 therefore1 necessary1 to insure an even film of sensitive albumen1 to subject the plate to a quick circular motion1 so as to spread the film of albumen evenly1 and to get rid of the surplus solution4 ,this is effected by placing the grained zinc in the jaws of an instrument called a whirler and made as follows3 ,two pieces of wood1 each half an inch thick1 twelve inches long1 nine inches wide at one end1 and six inches at the other2 upon the narrow end of one piece fix four screws1 a piece of iron the shape of a 1 the top end of which is shaped to fit into the socket of a carpenter's brace 7which must have the centre handle revolving1 not fixed72 the cross piece must be flat1 and pierced with four holes1 countersunk to admit of stout screws4 ,place the two pieces of wood together1 the piece between the two1 and with a piece of stout leather hinge the two together1 nailing the leather not only on the outside1 but upon the top also2 now screw a narrow batten on each of the pieces1 about an inch from the widest end1 to keep the wood from warping4 ,four inches from the top 7the hinge being the top7 bore a hole through both pieces1 and pass through a couple of strong leather laces2 by one end fix these on the outside of the cheek to which the iron is screwed1 and on the outside of the other cheek1 seven inches from the top1 hinge a piece of wood 7so as to fall toward the bottom7 #e inches by #b by #a_/b2 and in the centre of the batten screwed on to prevent warping1 fix a broad-headed nail or a turn-button1 over which the free end of the leather laces can be passed4 ,now about half an inch from each end drive through the wood1 six or eight wire nails one inch long in a line1 and so that the points project on the inside of each cheek4 ,next fix the top of the iron into the socket of the brace and the whirler is ready for use4 ,to use this instrument1 lay it upon the bench1 raise the upper jaw1 place the grained zinc behind the teeth 7face out7 close the jaw1 and after seeing that the face of the zinc is close up to the teeth1 tighten the shoe lace1 pass it over the hinged piece 7which is lying down close to the cheek71 and around the batten with two or three turns1 then pass it back and tie the loose ends around the iron shank at the top2 then raise the hinged piece1 which by straining on the #db leather laces will cause the jaws to grip the zinc plate tight and hold it in position4 7,see ,fig4 #d47 ,illustration3 ,fig4 #d4 ,the ,whirler4 ,now lift up the whirler from the bench1 grasping the handle of the brace firmly in the right hand4 ,hold it at arm's length1 and by a series of quick jerks set the plate revolving4 ,this will require a little patience to do evenly and rapidly1 but with practice it will become quite easy4 ,the plate is coated twice1 whirling it after each application of the sensitive mixture4 ,the whirler is then laid upon the bench1 and the hinge piece let down4 ,this relaxes the strain upon the leather laces1 and allows the jaw to be lifted and the plate removed4 ,an inverted revolving egg-beater may be made to serve for the same purpose4 ,,drying ,,the ,,coated ,,zinc4 ,the film of albumen now requires drying1 which should be done over a spirit lamp4 ,the best form of lamp is one of the small pocket spirit stoves sold by ironmongers1 and having the three supports for a kettle cut away4 ,the zinc is held over the flame and kept in constant motion1 so as to dry the film as quickly and evenly as possible2 no fear need be felt at applying too great a heat so long as the metal can be held comfortably in the fingers4 ,when dry1 the plate is ready for printing upon4 ,for drying large plates1 two or more of these stoves would be required1 but it is very easy to extemporize a suitable arrangement1 by laying a large pad of cotton saturated with spirits of wine in a tin dish1 and setting it on fire2 by this means a stove of any desired dimensions can be prepared quickly4 ,to extinguish such a flame1 cover it with a large sheet of zinc4 ,it must be borne in mind that the film on the zinc is now very sensitive to #dc light1 therefore the preparation of the film must be done in a yellow light1 as must also the operation of placing it in the printing-frame1 inking up1 and development2 gas or lamp light may be used1 as the film is not sensitive to artificial light of a low actinic power4 ,,the ,,printing ,,frame4 ,the printing-frames used for this purpose must be of the box pattern1 fitted with stout plate-glass fronts1 the cross bars behind being fitted with wooden screws1 instead of springs1 as absolute contact can only be obtained between the surfaces of the glass negative and zinc plate by means of screw-pressure4 ,the front glass of the printing-frame must be kept perfectly clean1 and especial care must be taken that no grit be upon either glass1 inside the frame1 or on the back of the negative1 else the negative will be broken4 ,,timing ,,and ,,exposure4 ,the time of exposure to light is measured by means of an actinometer1 which is simply an instrument in which is a strip of sensitive paper1 exposed under a graduated series of different thicknesses of translucent paper1 each division or gradation being distinguished by a number1 thus3 ,no4 #a has only one thickness of paper over it2 ,no4 #b1 two thicknesses1 and so on4 ,but on account of the ever varying intensity of the light1 a screen actinometer that is reliable is almost an impossibility4 ,the best must be closely watched in a bright light1 so that the tints are changed evenly4 ,johnson's actinometer is very simple and handy2 it consists of a cubical box with two lids1 the inner one serving to press the paper in contact with the glass of the outer lid2 the outer lid has a circular opening with a narrow rectangular strip in the centre transparent1 the rest of the glass being covered with pigment the color assumed by the sensitive paper after exposure to the light4 ,when the strip of sensitive paper inside has assumed this color1 it is called one tint2 the strip of paper is then pulled forward1 and another portion1 quite white is brought under the transparent portion of glass1 and when the light has turned that the color of the pigment1 that counts two tints1 and so on4 ,the paper used in the actinometer is ordinary albumenized paper4 ,the exposure of zinc in the printing-frame under a good line negative1 will be about six or eight tints in diffused light1 but in direct sunlight the exposure may be timed by the watch1 a suitable line negative never requiring more than from three to five minutes4 #dd ,,inking ,,the ,,exposed ,,zinc4 ,the sensitive zinc having been exposed to light under the negative1 next cover the surface with a thin coating of litho-transfer ink1 stone to stone4 ,for this purpose we require a type-printer's composition roller1 mounted upon a litho stock4 ,this roller must be perfectly smooth and cast in a solid mould1 as the line along the side1 formed by a split mould would render it useless for inking up a zinc plate4 ,a roller eight inches long by five or six inches in diameter is a useful size4 ,we also require an inking slab1 a palette knife1 a bottle of turpentine1 with the cork cut so that the turpentine can be sprinkled out without having to remove the cork1 a tin of transfer ink1 and a linen cloth or two4 ,the inking slab may be made of smooth iron1 or a suitable lithographic stone is good4 #de ,,chapter ,v4 ,,printing ,,on ,,the ,,zinc ,,in ,,albumen4 ,the negative being ready for printing1 select a piece of zinc a little larger each way than the picture1 polish1 then grain1 and after well washing it under the tap and gently rubbing it with a fine sponge1 or a pledget of cotton-wool1 place it in the whirler2 again rinse under the tap1 now invert the whirler and set it revolving2 then examine the surface of the zinc and see that there is no dirt on the surface1 but that it is quite smooth4 ,if it is not1 rinse it again under the tap1 and rub it gently with the sponge1 and again rinse4 ,this should quite free the zinc from any deposit of dirt4 ,now whirl it so as to get rid of as much as possible of the water1 then pour over the surface of the zinc sufficient to cover it1 of the following solution 7carefully filtered through cotton-wool73 ,albumen of one ,egg4 ,water #g ounces4 ,saturated ,solution of ,bichromate of ,potash #a ounce4 ,place the white of egg in a bottle containing a lot of small pieces of perfectly clean glass1 then add the water and shake it well for a minute2 then add the solution of bichromate and again shake it well4 ,now place a pledget of cotton-wool in the neck of a glass funnel1 and pass a few ounces of clean water through 7if this is not done1 there will be difficulty in getting the albumen to filter72 drain as much as possible of the water away1 and then filter the albumen into a clean bottle2 when all the solution has gone through1 remove the cotton-wool from the funnel1 which well wash1 then recharge with a fresh pledget1 pass some water through1 and again filter the albumen solution through1 this time into a ten ounce glass-measure1 which is to be used for pouring from upon the zinc4 ,the stem of the funnel should be long enough to reach the bottom of the glass measure1 so that the formation of air-bubbles be avoided1 which is impossible with albumen if the funnel is not below the surface of the filtrate4 ,of this1 pour over the zinc sufficient to well cover the surface1 letting any surplus go into the sink2 then set the whirler revolving1 coat again1 and #df again whirl2 now examine the surface1 and if it is free from dust1 spots1 and air-bubbles1 remove the zinc and dry it over the spirit stove4 ,but if either air-bubbles or dust be present1 wash them off under the tap1 and begin again4 ,the film being dry1 get the printing frame ready1 see that the surface of the glass inside is quite clean and free from grit1 as also the back of the negative1 taking special care that the ridge of varnish which often forms at the bottom of the negative be removed1 as the slightest inequality of surface will surely cause disaster directly the screws exert their pressure4 ,do not lay the negative into the frame flat upon the glass1 but slide it in from one side1 so as to carry any dust away from the glass front of the printing frame4 ,the negative being in the frame1 film side up1 lay the coated zinc upon it1 face down1 judging the proper position and placing the zinc flat down upon the negative2 now put a piece of brown paper over the back of the zinc1 then place the back of the printing frame in place1 fasten down the cross bars and apply the pressure screws1 evenly and gently4 ,do not screw one side tight before the other has been touched1 but screw down so as to tighten all as evenly as possible4 ,even pressure being applied1 see that the front of the frame is clean1 and then expose to direct sunlight for five minutes4 ,remove the frame to the dark-room1 unfasten the cross bars and remove the zinc1 taking great care to avoid scratching its film against the film of the negative4 ,after wiping the inking slab with clean linen place a piece of the transfer ink1 about the size of a small bean1 upon the upper corner1 sprinkle this with a little turpentine1 and mix them with the palette knife until they are of about the consistency of printing ink4 ,now with the palette knife spread some of this mixture as far as possible over the inking slab1 and then distribute it with the composition roller4 ,roll to and fro1 across and diagonally1 until there is a thin1 even coating of ink all over the slab 7not touching the corner where the ink was mixed with the turpentine7 and upon the roller2 if the mixture is too dry and refuses to spread1 sprinkle on a little more turpentine1 but do not use too much1 else it will take a long time to evaporate4 ,the roller having a coat of rather moist ink spread evenly upon it1 place the exposed zinc1 face up1 on a piece of clean white paper1 and proceed to roll it briskly to and fro1 using a moderate amount of pressure1 until the whole of the turpentine has evaporated2 it should leave a thin coat of ink with an even #dg matt surface1 not thick enough to quite hide the yellow film of the sensitive albumen1 as1 if it does hide it1 too much has been put on1 and it will most likely smear in development4 ,if1 after first applying the roller1 the ink on the zinc seems likely to be too thick1 at once wipe the roller dry1 and then roll the zinc briskly until the coat of ink is perfectly even and the turpentine evaporated4 ,at this stage everything depends upon getting the coat of ink even4 ,if there are patches of thick and patches of thin1 sprinkle some turpentine upon the slab1 quickly charge the roller1 and roll up the zinc again1 until the coat of ink is thin and even4 ,an even coat of ink being obtained1 the zinc is laid in a tray containing clean cold water of a sufficient depth to well cover the surface4 ,now take a pledget of cotton-wool and rub the surface gently1 when the ink covering the albumen protected from light by the black portions of the negative1 will wash away1 leaving the picture on the zinc in ink2 if the finer details do not develop easily1 continue the rubbing with the cotton-wool1 but be careful not to rub so hard as to scratch the ink lines4 ,all details being developed1 rinse the picture under the tap and put it away to dry1 which at ordinary temperature will take but a few minutes4 ,the chances of failure in this portion of the process are1 first of all1 air bubbles and dust spots in the film4 ,these will at once declare themselves4 ,the remedy1 is increased care and cleanliness4 ,if1 upon development1 some of the lines are missing1 then the zinc and the negative have not been in actual contact1 or if the finer lines wash away easily1 then the exposure has not been long enough2 whilst if it has been too long1 either the finer details are covered up or the whole refuses to part with any ink4 ,a satisfactory print1 showing all the lines of the original having been obtained1 dry1 by first blotting off the water1 then by gentle heat1 after which the zinc is ready for the etching room4 #dh ,,chapter ,,vi4 ,,printing ,,on ,,zinc ,,in ,,bitumen4 ,the process described in the previous chapter is most suitable for printing on zinc1 for blocks that are not overburthened with fine lines1 and is intended for rough printing2 and also1 when from want of sunlight1 and the exigencies of business1 the exposure has to be made by electric light2 but when the subjects are very fine1 and the blocks must be of the very best1 it will be better to print the image in bitumen2 then the first etching can be done without having to ink up previous to immersing in the acid bath 7which must be done after developing the inked albumen image71 so getting the sharpest possible results1 and also securing better depth to close work than when the inking up has to be done before biting in4 ,now the generally accepted idea of bitumen is1 that it requires such a long exposure to light as to be practically useless1 except for direct sun printing2 but that only stands good where the bitumen is not prepared properly and where too thick a film is used upon the plate4 ,by preparing the bitumen as described below and taking care to have a very thin film of the sensitive bitumen upon the zinc plate1 then the exposure either to sunlight or electric light is not more than double that of albumen4 ,there is one especial virtue in a bitumen film4 ,if by chance too much exposure to light has been given1 a prolonged immersion in the developing liquid 7turpentine7 will remedy the defect1 whereas if an albumen image be over-exposed it is quite spoiled1 and the work must be done again4 ,we are still upon the subject of line work1 and the same class of negative desirable for printing on an albumen film is necessary for printing upon bitumen1 viz41 the lines must be clear glass without veil1 and the rest of the negative must be sufficiently opaque to stop the passage of light4 ,the sensitive solution of bitumen is made by procuring a small quantity of photographic bitumen or asphaltum1 and powdering it in a clean1 dry mortar4 ,next take a clean and dry glass beaker1 half filled with methylated ether1 and pour into it the powdered bitumen1 stirring with a glass rod for a few minutes2 now cover the beaker with a piece of thin sheet ,india-rubber1 and upon that #di place a piece of plate glass1 so as to make the vessel as nearly air-tight as possible4 ,allow to stand a few hours1 then stir up again1 and again allow to stand1 this time all night4 ,then pour away the ether1 draining the liquid as closely as possible1 so as to get rid of all those constituents which are soluble in the ether4 ,now add some more fresh ether1 stir thoroughly1 and again allow to stand and settle1 putting on the cover as before1 so as to prevent evaporation4 ,after again settling1 the ether is poured off1 and all liquid and semi-liquid matter carefully drained away4 ,more ether is added1 and the operation is repeated until the added ether1 after standing all night1 is nearly or quite colorless4 ,the residue in the beaker is removed to a glass plate and spread out over its surface1 so that any ether remaining may quickly evaporate4 ,during this evaporation of the ether1 the bitumen must be protected from the action of white light4 ,by thus purifying with ether we get rid of those constituents of the bitumen which are not sensitive to light1 and thus we secure a film of bitumen sensitive to the action of light4 ,when the ether has evaporated1 take of the residue half an ounce and dissolve it in pure benzole 7free from water7 fifteen ounces1 allow it to stand all night1 then filter it through filtering paper 7placing a sheet of glass over the funnel to prevent evaporation74 ,it will keep six months4 ,new zinc plates will require polishing first with rotten stone1 and finishing with rouge1 but plates that have been used should be first polished with fine emery cloth1 followed by pumice powder1 then by rotten stone1 and finished with rouge1 remembering that a circular motion must not be used4 ,if1 after polishing1 the surface is at all greasy1 immerse it in the graining bath used for the albumenized plates1 wash well and rub away the scum2 then with a perfectly clean piece of blotting paper1 remove the water from the surface and dry it over the spirit flame4 ,to coat a piece of zinc with bitumen1 place it in the whirler1 and when fixed in position1 dust the surface with a clean camel's-hair brush2 then flow over it sufficient of the filtered bitumen solution in benzole1 then lower the whirler and set it in motion2 whirl rapidly for about a minute4 ,this will equalize the coat or film of bitumen and get rid of superfluous solution4 ,when taken from the whirler the plate will be ready at once for the printing frame4 ,these plates do not deteriorate1 and a stock of them may be prepared and stored away in the dark till wanted4 ,great care must be taken not to allow the slightest ray of daylight to fall upon them1 else the action once set up1 will continue1 and spoil the plate4 #ej ,on examining the zinc plate after removing it from the whirler1 it will be difficult to realize that there is really a sufficient film of bitumen on the zinc1 but there will be quite sufficient4 ,in printing upon bitumen from negatives that have been varnished1 it will be as well to rub the varnished surface of the negative with a pledget of cotton dipped in dry ,french chalk4 ,the same care in putting into the printing frame1 as enjoined in the chapter on zinc printing with bichromated albumen1 is requisite with these plates1 as is also the applying the pressure by means of the screws4 ,the exposure to light will vary from ten minutes in the sun1 to two or three hours in the shade4 ,,developing ,,the ,,image4 ,to develop1 place the exposed plate1 face up1 in a shallow tin tray1 and pour into the tray sufficient turpentine to cover the plate2 rock the tray so as to keep the solution in motion1 and 7if the exposure has been right7 the image will gradually make its appearance2 the bitumen protected from the action of light by the dense portions of the negative gradually dissolves away4 ,as the development approaches completion1 great care must be used1 and when the last detail is visible1 remove the plate1 and rinse it with water from a rose top2 now1 if the image is quite perfect1 immerse the plate at once in a mixture of nitric acid and water1 the acid being just strong enough to taste4 ,keep the tray containing this acid solution rocking for about a minute1 then remove the plate1 and wash it thoroughly1 rubbing it very gently with cotton-wool4 ,if the exposure under the negative has been barely sufficient1 the image will be too delicate for touching1 so before rubbing it with the cotton-wool1 try some portion of the margin1 and if that stands the friction1 it is all right2 if not1 be content with rinsing with water4 ,the immersion in the acid water will have removed the shiny appearance of the zinc1 and the matt surface will enable the operator to see if all the requisite details of the image are visible4 ,if not1 and they are covered with bitumen1 another immersion in the turpentine will complete the development2 but if any of the lines are rotten or the details are dissolved away1 the exposure has been too short1 and the plate will require repolishing and another exposure4 ,the image being satisfactory1 the water is blotted off with clean blotting paper and allowed to dry4 ,don't use heat for drying4 ,it may then be exposed to light for a few minutes4 ,this is not absolutely necessary1 although it tends to make the image finer4 ,the plate is now ready for etching in relief4 #ea ,,chapter ,,vii4 ,,direct ,,transfers ,,to ,,zinc4 ,we have now treated of the various stages necessary to obtain a photographic transfer upon zinc1 from a drawing or engraving1 in line1 in dot1 or in stipple1 first by making therefrom1 in the camera1 a negative--same size1 reduced1 or enlarged--and from that negative a print on zinc1 either in ink on an albumen basis1 or in bitumen4 ,these transfers can be used1 either for yielding re-transfers for lithographic press1 or 7as is at present our intention7 for etching into relief1 for use as blocks for printing from letter-press4 ,before proceeding to instruction for etching these photographic transfers into relief1 we will consider the method of dealing with the direct transfer of drawings1 in line or chalk1 to zinc1 without the intervention of photography4 ,for direct transfers to zinc1 the picture is drawn by the artist the exact dimensions of the finished block2 if in line1 on ordinary lithographic writing transfer paper1 in ordinary lithographic writing ink1 just in the same way that an ordinary line subject is treated for ordinary lithography4 ,if the subject is in chalk1 it may be drawn on a grained lithographic stone1 which is rolled up1 etched1 washed out1 again rolled up1 then the transfer is pulled2 or the picture may be drawn upon specially prepared transfer paper1 like ,josz's polygraphic transfer paper1 or other grained paper made for the purpose2 or the subject may already be on stone1 as a lithograph1 or it may be a copper-plate engraving1 in which case transfers are pulled and then put down upon zinc in the ordinary way4 ,in making drawings on lithographic transfer paper1 great care must be taken to avoid touching the surface with the fingers1 as finger-marks will transfer and roll up black4 ,in line work all lines must be firm and black2 no attempt must be made to get effect by using thin or pale ink4 ,in chalk work1 also1 the drawing must be firm and strong1 and the corrections and alterations made on the transfer1 not left to be done on the stone4 ,if the corrections or alterations are small1 they may be removed with an ink eraser1 or by careful washing with turpentine1 so that all the chalk is removed2 if the #eb correction be large1 paste a piece of clean transfer paper over the place1 spreading the paste as thin as possible2 gum must not be used4 ,the drawing on transfer paper being obtained1 the next step is to transfer it to stone2 then1 after rolling up and proving1 another transfer is made1 which is to zinc4 ,from an engraved copper plate a transfer is made on ,india or upon ,scotch transfer paper1 on either a copper-plate press or a lithographic press1 and then transferred direct to the zinc4 ,the engraved copper plate is first of all examined to see that all the old ink is out of the lines2 if not1 wash with turpentine and wipe quite dry2 then1 in a piece of clean linen rag1 tie up some plate re-transfer ink2 warm the copper plate1 either on the hot plate or over a ,bunsen burner1 until it can be barely held in the hand2 then1 holding it in a piece of cloth to protect the fingers1 rub in the ink tied up in the linen rag1 until sufficient is melted to well cover the surface1 taking care to see that the ink is rubbed well into the lines4 ,then take a piece of clean1 soft rag and wipe off the ink from the surface of the plate carefully1 so as not to remove it from the reversed lines2 this is best secured by wiping across the lines1 not with them4 ,when the surface of the plate is quite free from ink1 rub the lower part of the palm of the hand upon a ball of whiting1 and proceed to polish the surface of the plate4 ,do not get too much whiting upon the hand1 else it may stick to the ink and prevent it adhering to the transfer paper4 ,now place a piece of clean transfer paper 7,india or ,scotch71 a little larger than the plate1 face downward upon a piece of clean paper1 sponge the back with a damp sponge1 then let it lie a few minutes1 so as to get evenly damp all through4 ,now see that the press is ready4 ,if a copper-plate press is to be used1 see that the bed is free from grit1 and that the blankets are in place2 if a lithographic press is to be used1 put in a stone1 wipe it free from grit1 and see that the scraper is all right2 remove the tympan if of leather1 but if of zinc or millboard it is all right4 ,now put the inked and polished copper plate upon the stone1 and the damp transfer paper1 face down1 upon the copper plate2 then upon the transfer paper place a piece of printer's blanket1 turn down the tympan1 or put a piece of thin millboard over the blanket1 run the bed of the press under the scraper1 turn down the lever1 and1 if necessary1 adjust the pressure 7a good nip is necessary71 then run the bed through2 now raise the lever1 pull out the bed1 lift the tympan and blanket1 reverse the plate1 and pull #ec through again4 ,now gently warm the plate1 and carefully lift away the transfer paper1 which should contain the picture with every line firm and sharp2 if it is not so1 sufficient pressure has not been used1 or the transfer paper has been made too damp1 or sufficient ink has not been put into the lines4 ,the transfer1 either drawn in line or in chalk1 or from a plate1 being obtained1 it is next transferred to a polished litho stone4 ,of course1 the picture can be at once transferred to the zinc which it is intended to etch1 but it will be found best to first of all transfer to stone1 then from the stone pull a transfer1 and transfer that to the zinc1 so that in case of an accident during the etching another plate can be quickly prepared4 ,before placing them upon the stone1 the prepared transfers should lie in a damping book until evenly damp4 ,now take a polished litho stone and place it in front of a fire or in the sun until it is quite dry1 then place it upon the bed of the press1 and adjust the pressure2 then place the transfer upon the stone in such a manner that it lies without any slurring4 ,next place a piece of clean paper upon the transfer1 then the blanket1 lower the tympan1 run in the carriage1 lower the lever1 and pull through2 then lift the lever1 draw back the carriage1 turn the stone round and pull through again1 then sponge the back of the transfer with water and pull through again1 repeating the damping1 and pulling through three or four times4 ,now with a wet sponge saturate the back of the transfer with water1 and lift away the paper1 then wash away the composition1 leaving the image on the stone2 now cover it with thick gum solution1 and allow it to dry4 ,if more than one transfer is in hand at a time1 they are trimmed as closely as possible and pasted with very thin paste close together upon a large piece of paper1 and then all can be transferred at one operation4 ,the gum upon the stone being dry1 wash it off carefully with clean water1 then roll up with transfer ink4 ,clean away any dirt there may be with sponge and snake stone2 where the snake stone cannot be used1 a piece of pointed wood1 dipped into acid gum1 will clear way the dirt4 ,take care to have the wet sponge handy so as to prevent the acid spreading upon the work2 now roll up as strong as possible1 then etch1 by passing over water acidulated with nitric acid of such a strength that it just slightly effervesces when the stone is touched2 saturate a sponge with the weak acidulated water and go gently over the stone1 then with another sponge charged with clean water1 wash off the acid4 ,now again roll up with transfer ink as strong as possible1 and pull the transfer4 ,chalk drawings are transferred to stone in the same way1 then etched1 but the acid water is allowed to act a little longer than for a line transfer1 and after #ed washing away the etching solution1 the picture is washed out with clean turpentine1 then wiped with a sponge1 gummed in1 fanned dry1 moistened with a wet sponge1 and the water removed4 ,then the image is rolled up with transfer ink1 and the transfers pulled for subsequent etching4 ,to transfer to zinc1 take a piece of polished zinc and immerse it in the graining bath 7page #dj7 for about a minute2 then remove it1 wash it under the tap1 and rub it with soft sponge2 then wipe it dry with a soft rag1 and warm the plate slightly2 lay it upon a litho stone in the press1 lay the transfer 7which has been lying in the damping book7 upon the zinc plate2 lay upon the transfer the piece of blanket1 lower the tympan and pull through2 then damp the back of the transfer1 pull it through again2 then reverse the plate1 dampen the back of the transfer1 pull through again2 again dampen the back of the transfer1 and again pull through2 now saturate the transfer with water1 peel off the paper1 remove the composition1 and apply with a sponge a sufficiency of a solution of gum 7thickness of cream71 #e ounces2 decoction of nutgalls1 #aj ounces4 ,the decoction of nutgalls is made as directed on page #ef4 ,allow this to stay on the zinc for about a minute1 then wash off1 cover with plain gum1 fan dry1 and dip a sponge in gum and rub over the plate2 now dip a soft rag into the gum1 then into the etching ink 7page #eg7 mixed with a little cocoanut oil or mutton fat and middle varnish1 continuing the application of gum and ink until the whole of the picture is sharp1 black1 and strong4 ,be sure and keep the plate well covered with gum and the ink as thick as possible4 ,the plate is now dusted with finely powdered resin1 sponged with a wet sponge1 and then is placed in the etching trough containing water and just sufficient nitric acid to taste2 in this the plate remains about half a minute1 rocking the etching trough gently all the time2 now remove the plate1 wash it under the tap1 rubbing gently back and front with a sponge1 then dry by gentle heat2 next coat the back1 edges1 and margin and portions of the front which are too large to etch away1 with thin shellac varnish4 ,when dry proceed to etch as directed in the next chapter4 ,instead of inking up with the rag after etching with the acid gum1 wash off1 then roll up with a leather roller charged with the etching ink mixed with a little cocoanut oil1 and used as stiff as it is possible to work it1 until the image has taken in all possible1 damping the zinc with a sponge directly it shows any signs of getting dry2 then dampen slightly1 and repeat as above4 ,next immerse it in the etching bath as before2 wash well1 and dry2 coat the back1 edges and margin on the front with shellac varnish1 when the plate will be ready for etching4 #ee ,,chapter ,,viii4 ,,etching ,,line ,,transfers4 ,for etching transfers on zinc1 whether photographic or direct1 we shall require the following apparatus3 ,a slab of iron about #bd #ah inches and #a_/b or #a inch thick1 supported horizontally upon four legs1 and heated by an atmospheric burner1 arranged somewhat like a gridiron so that the heat is even all over4 ,a set of rollers on litho stock1 one of leather1 one of flannel1 and one or two glazed rollers1 the same as lithographers use for tint printing--we also require an etching box--i4 e41 a wooden tray1 #cj #bd inches1 and #h inches deep1 well made of seasoned wood1 lined with either pitch 7with a little tallow added71 or gutta-percha1 and mounted upon rockers4 ,this box will require a firm table for its support during the etching1 said table standing as close as convenient to a sink and water tap4 ,the other requisites used during etching1 are1 nitric acid1 turpentine1 gum ,arabic of a good quality1 some powdered nutgalls1 three or four sponges1 some finely powdered resin1 a flat camel's-hair brush1 a solution of shellac in spirits of wine1 and the following inks3 ,first the etching ink1 composed of beeswax one-quarter ounce1 ,russian tallow two ounces1 bitumen half an ounce1 middle varnish two ounces4 ,melt these together in a pan over a fire1 or ,bunsen burner1 stirring well during the operation1 so as to mix them thoroughly2 when all are melted1 add five ounces of ordinary letterpress printing-ink1 and thoroughly mix2 then allow to boil and continue the heat until the gas escaping from the bursting bubbles explodes upon the application of a lighted taper2 then remove all from the fire1 and allow to cool4 ,for a hard ink1 for use after the plate is etched deep enough1 and the resist is cleaned off1 mix ,beeswax #a_/b ounce4 ,resin #a ounce4 ,shoemaker's ,wax #a ounce4 ,black ,litho ,ink 7about #a a pound7 #b ounces4 #ef ,melt1 then cool and mix with turpentine to make it the consistency of soft soap4 ,now1 with these and a solution of gum ,arabic 7in cold water71 the thickness of cream1 add one-quarter pint of a decoction of nutgalls to each quart of gum solution4 ,the decoction of nutgalls is made by adding one-quarter pound of bruised nutgalls to one and one-half pints of water1 in an earthenware vessel 7not metal72 boil1 then allow to stand at the fire and simmer gently for six hours1 keeping the vessel covered over2 then allow to cool1 filter and add the proper quantity to the above gum solution4 ,we will assume that a suitable place is provided for carrying on the operations to be described1 in the shape of plenty of bench room1 and a good light to work by4 ,the first stage in etching a zinc plate in relief is1 to slightly warm it upon the hot plate1 then allow it to cool 7by-the-bye1 it will be very convenient to have a clean litho stone handy for placing the plate upon to cool quickly74 ,the plate being cold1 with a piece of soft sponge carefully smear it over with the gum solution1 allow the gum to dry1 spontaneously1 in a cold current of air2 if heat be applied the gum will crack and bring away the image from the plate4 ,whilst the gum is drying1 with a palette knife place equal parts of transfer ink 7page #dd7 and of etching ink 7page #ed7 upon one corner of the inking slab1 then thin to the consistency of cream1 with middle varnish1 thoroughly incorporating the three ingredients with the palette knife4 ,now place a little of this ink upon the leather roller and roll vigorously upon the slab1 so as to distribute the ink thoroughly upon both roller and slab2 be careful not to get too much ink on the roller1 nor to have it too thin2 in fact1 work the ink as stiff as is possible4 ,now lay the zinc upon a piece of clean paper1 and sponge it gently over with a wet sponge1 so as to loosen the film of gum1 then squeeze the sponge nearly dry1 and pass it over the plate again1 so as to insure it being evenly damp all over1 but be careful not to make it too dry4 ,now proceed to roll up1 by passing the charged roller to and fro over the plate1 using moderate pressure and slow motion1 recharging the roller at short intervals from the inking slab4 ,occasionally use the damp sponge so as to keep the plate sufficiently damp to resist the ink4 ,if the roller slides instead of rolling1 wipe it with an old linen rag1 which will remove the moisture2 then recharge the roller again upon the slab4 #eg ,the rolling is continued until the whole image is an intense black1 when it is carefully dusted over with very finely powdered resin applied with a broad camel's-hair brush1 taking care that all the image gets covered4 ,then rub it gently with a wet1 soft sponge and place it in the etching box containing a mixture of water and nitric acid1 the acid being only just perceptible to the taste4 ,the plate should remain in this for one minute 7the box being kept rocking72 it is then removed1 and thoroughly washed back and front under the tap4 ,rub it gently with a clean soft sponge4 ,this etching is merely to remove any traces of gum or dirt from the zinc which would interfere with the shellac varnish holding4 ,now dry the plates1 using gentle heat1 then coat the back with thin shellac varnish to protect it from the acid2 do the same to the margin of the picture on front1 also varnish the centre of any very broad whites up to half an inch of the image1 so that the acid dissolves no more zinc than is necessary4 ,now examine the image carefully1 and if any of the lines are defective touch them up1 and make any alterations and additions required4 ,the plate is now ready for the first etching1 for which purpose a little nitric acid is added to the water in the etching tray--precise directions cannot be given as to how much acid to add1 as so much depends upon the area of zinc on the plate that requires dissolving2 practice1 however1 will soon enable the operator to judge the proper quantity4 ,if too much acid is added1 the plate will quickly be covered with myriads of minute bubbles1 in which case it must be instantly removed1 well washed1 and the bath diluted with water before the plate is reimmersed4 ,if1 on the other hand1 there is too little acid present1 the action is too slow1 and more must be added4 ,the first etching must be carefully watched1 and the rocking continued1 until the application of the finger-nail to the margin shows that the zinc inside has been dissolved away to a depth of about the thickness of a visiting card4 ,the first etching is the most important of the whole1 as unless a sufficient depth be attained the sharp lines will not be obtained2 and as the ink is not yet capable of resisting too strong acid1 great care must be taken that the work is not damaged2 proceed cautiously1 adding acid from time to time as required4 ,as a rule1 the first etching will take from five to ten minutes 7the tray being kept rocking all the time74 ,when it is judged that the first etching has been carried far enough1 remove the plate from the tray1 wash it well under the tap1 rubbing gently with a #eh sponge1 so as to remove the scum left by the acid1 dry by means of gentle heat1 then allow it to cool4 ,when the plate is quite cold1 smear it over with gum solution1 and with a piece of cardboard1 fan the gum dry4 ,now sprinkle the inking slab with turpentine1 and with a cloth wipe the slab clean4 ,take a piece of etching ink and thin it with middle varnish1 mixing them well with the palette knife upon the slab2 now take the leather roller1 and with the palette knife place a little of the ink upon it1 and roll up on the slab until both roller and slab are well coated2 but on no account must there be too much ink1 nor must it be too thin4 ,now lay the zinc down on the bench1 on a piece of clean paper1 and with the wet sponge carefully wash off the gum2 then wipe all superfluous water off the plate1 and roll up with the leather roller charged as above2 roll the plate first one way1 and then the other1 keeping the zinc evenly damp all over1 else the ink will catch in the whites1 and probably spoil the picture4 ,when the rolling is completed1 and as much ink as possible has been piled on1 the zinc will be nearly dry4 ,if not1 allow it to stand in a cold current for a little time1 then take it to the drawer in which the powdered resin is kept1 and smear the plate all over with the powder4 ,now brush as much of the resin away as will come1 using the brush from all sides1 so that all the lines get evenly coated1 not only on the top1 but upon the sides2 this being done1 take a damp sponge and carefully remove the superfluous resin from the whites1 or unprotected zinc4 ,the plate is now ready for the second etching1 and the solution in the etching tray must be reinforced by the addition of a little acid2 but do not add too much at once4 ,it will be far best to add a little at a time1 and then1 as soon as the zinc shows there is no action going on1 add a little more2 an easy and simple method of ascertaining whether any acid be present or not is to wipe the bare metal with the tip of the finger1 and if that spot 7which will be brighter than the surrounding parts7 does not speedily resume its dingy color1 the acid is exhausted4 ,the plate being immersed in the solution1 set the tray rocking1 and pay attention to the remarks above4 ,at the end of ten minutes remove the plate from the tray1 wash it under the tap1 rub it gently with soft sponge1 then remove as much of the water as possible1 and examine the progress made by the acid4 ,this can be seen by the lines being bare below the ink1 in which case the etching has been carried far enough1 and if not stopped1 there would be danger #ei of under-cutting2 if1 however1 no progress has been made1 add a little more acid to the solution1 replace the zinc1 and rock again for another five or ten minutes4 ,the second etching being effected1 the zinc is carefully washed1 and the scum left by the acid is carefully sponged away2 now stand the zinc up near the hot plate1 so that it will get the benefit of a gentle heat1 and when quite dry lay it upon the hot plate 7which should be heated to a temperature of #abj to #aej ,f47 face up1 with a piece of brown paper between the zinc plate and the hot plate4 ,as soon as the zinc plate begins to get hot1 there will be a tendency to curl slightly away from the hot plate1 which1 if allowed1 would prevent the ink being evenly melted4 ,to prevent this1 take a brad-awl in each hand1 and press down the sides of the zinc1 taking care not to touch any of the picture4 ,allow the zinc to remain on the hot plate until the ink and resin are melted and run down to the bottom of the etching1 then remove it and lay it on the cold slab until the plate is cold4 ,when cold1 smear the plate with the gum solution1 fan it dry 7never use heat for drying the gum71 moisten with wet sponge1 roll up again 7use the leather roller71 using the ink pretty stiff on the inking slab2 keep the surface of the zinc well moistened4 ,when the roller gets too much water upon it1 pass a piece of damp cheese-cloth over it to remove the water2 then roll the roller vigorously on the slab until it again bites the ink4 ,continue rolling the zinc until all portions have received due attention from the roller4 ,n4 ,b4--,some of the closest work will be quite blocked up this time1 and each subsequent rolling will block up more and more1 until only the very open work will be left4 ,now allow the zinc to get dry1 then cover it with resin1 brushing from all sides1 so as to coat the sides of the lines as well as the top1 and then remove all superfluous resin from the whites with a damp sponge4 ,the zinc is now ready for the next etching1 for which more acid is added to the solution in the etching tray4 ,rock the tray carefully1 watching the zinc to see that the acid is neither too weak nor too strong1 until the progress can be seen by examining the plate2 the time1 with the proper quantity of acid1 is twenty to thirty minutes4 ,when the etching has proceeded far enough1 after washing and sponging1 again allow it to dry1 then place it upon the hot plate until the ink is melted and runs down the sides of the lines2 then cool1 smear with gum1 fan dry1 moisten with sponge1 and roll up as before2 dry1 cover with resin1 using a #fj camel's-hair brush1 then dampen with a sponge and give a fourth etching1 using the same precautions as to strength of acid and duration of rocking as before4 ,now cool the plate2 get a little more ink on the roller1 and roll the plate whilst cold4 ,when the surface of the lines has a nice even coat of ink upon each and all 7coarse and fine71 again warm the zinc on the hot plate until it is just too hot to hold in the fingers2 then cool it again1 varnish the back with shellac varnish1 then make a mark with a blunt point1 in the ink on the margin1 so as to lay a short line of zinc bare to the action of the acid4 ,the round of operations is repeated2 but for rolling up for the fifth and subsequent etching1 a flannel roller is used1 and more ink will be required upon the slab2 it will also require to be a little thinner4 ,for some subjects six or seven etchings will be required1 whilst for others--especially where there are whites that are too small for cutting out with a fret saw or router--ten or twelve etches will be required4 ,practice1 the best teacher1 will soon enable the operator to judge how many are required4 ,the etching having been carried as deep as is judged sufficient1 sprinkle the plate liberally with turpentine1 and with a stiff scrubbing brush loosen the ink from the lines1 and wash it off with a solution of ,american potash4 ,the plate being cleared from all ink1 etc41 is now examined carefully4 ,the sides of the lines will show each etching1 by a series of irregular steps4 ,if the plate be put into the press in this condition1 the chances are that before many copies had been made1 these steps would take more or less ink from the rollers1 and blur the image2 therefore1 before passing it into the hands of the printer1 the plate will require etching two or three times more1 to get rid of these irregularities4 ,this is done by warming the zinc on the hot plate1 and then1 whilst still warm1 rolling up with a fine glazed roller charged with the hard etching ink from a clean inking slab4 ,roll the zinc firmly1 first one way and then the other1 so that all the tops of the lines get well coated with ink2 now make a mark on the margin with a blunt point in the ink1 so as to lay a short line of zinc bare to the action of the acid4 ,next empty the etching tray1 put into it some clean water1 and add sufficient acid to make it taste like strong vinegar2 in this immerse the plate1 and keep rocking for ten or fifteen minutes1 or until the mark on the margin1 when felt with the finger-nail1 shows that it has attained a depth about the same as that obtained in the first etching4 #fa ,now wash the plate under the tap1 and wash off the ink with turpentine1 followed by a solution of ,american potash2 again wash and dry on the hot plate4 ,now examine1 and if the lines are free from the steps1 the plate is finished1 but if not1 the operation must be repeated until the steps are all removed4 ,be careful to cover the surface of the block thoroughly with the ink1 else the acid will spoil the picture4 ,the plate is now ready either for mounting for the press1 or for electrotypes being taken from it2 if the former1 the deep whites are cut away with the router or fret saw1 the edges are trimmed or bevelled1 holes are drilled and counter-sunk at convenient places1 for the insertion of nails or screws to fix the zinc to the wooden block1 to make the surface type high4 ,the object aimed at in the instruction in ,part ,i4 is the production of relief blocks on zinc from an original in black and white1 which original may be a drawing made purposely for reproduction1 or it may be from a drawing already in existence1 a woodcut1 or engraving1 the picture being rendered entirely in line1 or a chalk drawing may be used4 ,in fact1 any subject that is capable of being worked from either at a type press or by ordinary 7monochrome7 lithography4 ,washed drawings1 or oil or water color drawings are not applicable4 ,in fixing plans1 or drawings on the easel1 prior to photographing them1 if they are cockled1 and difficult to get flat1 pins may be placed anywhere1 so long as the lines are not interfered with1 for these pins may be painted out with a camel's-hair brush and gamboge or ,indian ink4 ,it is important that the plans or drawings be as flat as possible1 as if the lines are cockled1 they will not be photographed straight4 ,in photographing drawings on tracing paper or cloth1 a piece of white paper should be placed behind them4 ,when1 from an original of black lines on a white ground1 it is desired to make a reverse block--i4 e41 white lines on a black ground--a negative is first made from the original1 and from that negative a transparency is made2 and a print made upon the zinc from that transparency will be a reverse of the original4 ,thus far ,i have tried to make plain the details of a process which is as fascinating and as pretty as any in photography1 and which supplies results which could not be attained by the most expert workers two years ago4 ,and since those experts first obtained even tolerable results by zinc etching1 like #fb everything else in photography1 it has made wonderful progress4 ,at first we were delighted and content when a block was obtained with relief sufficient to enable us to print it upon an ordinary press with type4 ,but now we can get from the zinc surface all the qualities which are given by the lithographic stone4 ,indeed1 the process of zincography bears a very strong general resemblance to that of lithography2 of course1 it varies therefrom in matters of process detail4 ,the manipulations of zincography1 however1 are no more complicated in their nature than the details of printing1 etc41 from stone4 ,crayon drawings1 ink work in line and stipple1 rubber work1 in fact1 anything that can be drawn on stone can be drawn on properly prepared zinc1 with the exception of engraved lines 7intaglio71 the structure of the zinc not giving the yielding brittleness of stone4 ,the great departure made possible by zinc plates exists in the fact that they can be bent to the surface of a cylinder1 thus displacing the reciprocating bed and stop-cylinder of the lithographic press with the continuously rotating plate and impression cylinder of the zincographic press1 which1 at the same driving speed1 produces double the number of impressions printed on the lithographic press4 ,to ,mr4 ,bernard ,huber1 of the ,huber ,printing ,press ,company of ,taunton1 ,mass41 belongs the credit of designing the only ,american zincographic press in existence1 and which is now in successful operation in several lithographic establishments4 ,it is a thoroughly ,american machine in design and construction1 and while no glowing prophecies of its immediately taking the place of lithographic presses are indulged in1 yet this kind of press has its place and use1 and will by its qualities win favor in the trade4 ,many lithographers are beginning to give correct attention to zincography1 but few are willing to give the time and constant experimenting to the subject that has been given by ,messrs4 ,harris ,jones1 who during the past three years have operated the zincographic presses in their lithographic establishment known as the ,providence ,lithograph ,co4 ,having taken the selling agency of the ,huber zincographic press1 they offer to those who buy the press full instructions in zincographic surface printing4 ,these suggestions are given right here1 first because we are now about to take a step higher in zinc etching--a step which will lead us to results which lithography can scarcely equal in some particulars--and second1 because it is the policy of this work to withhold no information which the novice will need in supplying himself with a perfect outfit for doing the best of work4 ,for the same reason the advertisers have been chosen1 rather than received in the usual way4 #fc ,,part ,,ii4 ,,photo-,,engraving ,,in ,,half-,,tone4 ,,chapter ,i4 ,,retrospective4 ,the former chapters have treated entirely upon the production of blocks in line--i4 e41 where the picture has been made by a draughtsman1 the half-tones and gradations being communicated by a greater or less thickness of line1 or by dots1 or stipple1 or hatching4 ,the picture for such blocks may have been specially drawn for the process1 the same size or larger1 or it may be a copy of some woodcut or engraving already in existence1 but if it is desired to reproduce blocks from drawings1 paintings1 or photographs1 then an entirely different method must be adopted1 and the smooth gradations of half-tone levelled1 so to speak1 so as to bring the high lights and the shadows upon one plane4 ,in photographs from nature 7or from washed drawings or paintings7 the scale of gradations runs1 as it were1 in a series of short steps from the deepest shadow to the highest light1 and a block made1 say in bichromated gelatine1 from such a negative can give no half-tones1 as the inking roller could only touch the deep shadows properly4 ,now the subject of making photographs applicable for the illustration of letter-press1 instead of woodcuts1 has occupied the attention of experimentalists from the early days of the art-science1 as the records of the ,patent ,office show4 ,the first patent1 dated #aheb1 bears the honored name of ,mr4 ,fox ,talbot1 and although it is for intaglio printing1 and therefore a little out of place under the above heading1 still it claims our attention as giving a method for breaking up the half-tones of the photograph1 by placing muslin1 crape1 etc41 between the photographic cliche and the sensitive surface2 or a glass plate may be covered with fine lines1 or glass may be coated with powder1 which is caused to adhere4 #fd ,in #ahed1 ,paul ,pretsch broke up the half-tone by the reticulation of gelatine1 caused by the admixture with iodide of silver and bichromate of potash2 this was spread upon a silvered copper plate1 dried1 and exposed to light under the half-tone negative1 then washed in cold water and borax1 or carbonate of soda1 then in alcohol1 coated with copal varnish1 and immersed in a weak solution of tannin1 after which an electrotype could be made1 or a transfer made to zinc or stone4 ,in #ahee1 ,a4 ,j4 ,berchtold produced a grain by printing upon a photograph in black or in any color1 from a plate or block or other surface1 or by perforating or making strokes1 lines1 or dots upon it1 by roller or other instrument4 ,repatented in #ahhc1 by ,brown1 ,barnes1 and ,bell4 ,in #ahfj1 ,e4 ,j4 ,asser used starch1 and in #ahfe1 ,j4 ,w4 ,swan used a tissue of gelatine mixed with charcoal or other chemically inert grit2 in the same year ,messrs4 ,e4 ,j4 ,bullock published1 perhaps1 the most important specification1 describing all1 or nearly all1 practical methods of obtaining grain1 the most important of which are the placing of any fine fabric between the lens and the sensitive surface1 or between the camera and the object1 or copies of granulated or recticulated structures or fabrics could be used1 or such copy could be placed in contact with negatives1 and both copied together4 ,in #ahgi1 ,j4 ,w4 ,swan made negatives by moving1 during exposure1 the ,bullock's screen1 placed in front of a sensitive plate4 ,meisenbach's method1 patented a little later1 is somewhat similar4 ,if a ,woodbury relief is thinly coated with transfer ink1 and then laid upon a piece of ordinary litho transfer paper which has been embossed with lines1 or dots1 or stipple1 by being pressed in contact with wire gauze or an engraved plate1 and the inked relief and the embossed litho transfer are then subjected to heavy pressure1 a grained image is impressed upon the transfer paper1 which can be transferred to zinc1 and then etched in relief4 ,the method of making a grained negative to be now described1 shortly stated1 is done by interposing a screen1 either before the sensitive plate in the dark slide of the camera 7when copying a photograph7 or placing the screen behind a transparency on glass when transmitted light is used4 ,in the first instance the image projected upon the sensitive plate1 having first to pass through the screen1 is broken up by the dots upon the screen1 the result being a definite grained negative4 ,in the second instance1 the screen being placed in contact with the transparency1 a similar result follows4 ,the first method is most generally used1 as the print does not require the careful focussing necessitated by the second4 #fe ,,chapter ,,ii4 ,,making ,,grained ,,negatives4 ,,the ,,screen4 ,for making grained negatives1 the apparatus1 chemicals1 and manipulations described in ,chapters ,i4 and ,,ii41 ,part ,i41 for line negatives1 are required1 with perhaps a little increased care to secure clean and bright negatives4 ,the first requirement will be a proof1 on fine white paper1 from a machine-ruled plate1 or a plate with fine dots or stipple2 a favorite being plates ruled diagonally and straight1 either in single lines or crossed4 ,these plates must be of good size1 say #ah by #ae1 ruled with lines as fine as possible1 #ajj or #aej to the inch4 ,the ruled sheet must be perfect1 as any defect in it will be fatal4 ,such a proof being secured1 it should be carefully mounted with starch paste upon a stout piece of smooth cardboard1 and should be carefully shielded from all chances of being soiled1 as the slightest stain or mark upon it will unfit it for use4 ,as such a fine line is very difficult to focus1 especially in making the smaller screens1 it will be found a good plan to cut four narrow strips of good1 bold type1 and paste these at the four corners of the sheet1 just outside the ruling2 these slips of type will be easy to focus1 and will render the task of making the screens easier4 ,plates ruled with single lines1 either diagonally or horizontally1 may be used instead of the cross ruling1 and are by many preferred4 ,those in possession of a ruling machine may make these ruled sheets by ruling a large litho stone1 and pulling impressions from that stone4 ,if this is done once1 and done well1 the sheets will last a lifetime2 and if the stone be sufficiently large1 and the lines very fine1 the screens may be used for blocks #ae by #ab inches or larger4 ,to copy this ruled sheet1 remove the mirror from the lens1 and put the lens in the camera in its ordinary position2 then pin up the sheet on the easel1 and1 after seeing that the easel and camera are quite parallel1 proceed to make a series of negatives from the sheet1 making screens of various degrees of fineness1 varying from a coarse grain for a coarse photograph1 to the finest possible for #ff photographs full of delicate half-tone1 and from three inches to ten inches wide4 ,many subjects will need screens made especially for them4 ,the screens must be free from speck or stain1 and should be made upon very thin glass4 ,the nitrate bath should be in good condition1 and the collodion ripe4 ,such negatives take a good deal of time making1 but as they are the foundation of the process1 and with care will last for years1 the trouble must not be grudged4 ,the screen negatives being made1 they must be varnished with a good1 hard1 well-filtered varnish1 applied in a room quite free from dust4 ,the screens must be made by the wet collodion process4 ,the ordinary gelatine dry-plate is utterly useless for such work4 ,gelatino-chloride plates might do1 but the exposure is so very long that there is risk of shaking the camera during exposure4 ,,the ,,grained ,,negative4 ,for the first method a good vigorous photograph is selected1 placed in position on a copying board1 and the camera adjusted so as to get the image on the focussing screen the size wanted the mirror being used1 as the negative must be reversed4 ,a collodion plate is now prepared and well drained2 then one of the transparent screens is fixed in front of the carrier by drawing pins1 by passing strips of gum paper over1 or by fixing with fine tacks a piece of thin card at the top1 and one at the bottom1 slightly overlapping the screen1 and holding it firmly in a sort of rebate4 ,the carrier is now placed in the dark slide1 the sensitive plate in its place1 the door of the slide closed and fastened4 ,the exposure is now made in the camera1 and if the screen is properly transparent the time will not be very much more than when copying in the ordinary way4 ,the development of the exposed plate is done by means of the developer given in ,chapter ,i41 and the result must have all the details of the photograph1 while the lines of the screen must be clear and free from veil4 ,the negative is washed1 fixed in cyanide1 washed again and then intensified1 first immersing it in the solution ,no4 #a1 ,chapter ,i41 until bleached1 then thoroughly washed and blacked with ,no4 #b solution1 again washed1 and varnished with the water varnish1 or dried and varnished with benzole varnish4 ,for the second method we shall require1 instead of a paper photograph1 a transparency on glass4 #fg ,the transparency may be made on a gelatine dry-plate by printing in contact with the negative1 or an enlarged transparency may be made1 either on a dry plate or by the wet collodion process4 ,the transparency should be made by contact1 when the original negative is of larger size than the block required2 the enlarged transparency is used if the negative be smaller or the same size as the block4 ,the development of the transparencies on gelatine dry-plates will be treated of later1 but if wet collodion be used1 the manipulations will be the same as for negatives1 except that the image is in reverse gradations1 the lights being clear glass1 and the shades dense and black4 ,every detail in lights1 shadows1 and half-tones must show distinct and strong4 ,illustration3 ,fig4 #e4 ,for the production of these enlarged transparencies1 an enlarging camera will be required1 which may be provided by having an arrangement in front of the ordinary camera1 fitted like the accompanying figure1 consisting of two boxes1 one sliding within the other1 the negative from which the transparency is to be made being placed in a carrier at ,b4 ,in the illustration the sides are shown open1 but only for simplicity1 as they must be quite opaque4 ,in using such an arrangement1 the camera must be brought under the skylight of the studio1 and the light reflected through the negative1 by placing a large sheet of white paper at an angle of forty-five degrees in front of the negative4 ,another and perhaps better method will be to cut a hole in a dark-room at a proper height for the camera1 and fix the negative in the hole1 then adjust the focus upon the screen1 illuminating the negative by means of a reflector fixed at an angle of forty-five degrees4 ,the transparency being secured1 it is varnished1 and all blemishes or spots removed by means of a sable brush1 and a little carmine color2 it is then placed in contact with a suitable screen1 and the two together are inserted in the #fh place previously occupied by the original negative4 ,now adjust the camera so as to get the image on the focussing screen the proper size1 and proceed to make a grained negative by the wet collodion process exactly as described in ,chapter ,,ii41 ,part ,i41 and above4 ,when a negative containing all the details of the original negative broken up by the fine grain of the screen is obtained1 it may be dried and varnished1 and then it is ready for printing upon the zinc4 ,all pinholes1 etc41 should be stopped by means of a fine sable brush and ,indian ink4 ,the printing on the zinc should be done by the bitumen process1 ,chapter ,,vi41 ,part ,i41 as the albumen is not nearly so perfect4 ,if1 however1 the albumen process be preferred1 the printing is done in the same way as described in ,chapter ,v41 but extra care must be taken1 first1 that the zinc plate is thoroughly and evenly polished2 secondly1 that the graining bath is kept weak with plenty of alum in1 so as to have the grain on the plate as fine as possible2 thirdly1 that no speck of dust1 dirt1 or any air-bubbles be on the film after coating1 and that the whirling be effectually done so as to get the sensitive coating as even as possible4 ,the inking up requires no comment1 as it must be done as evenly and thinly as possible1 for both line and half-tone4 ,in development1 a little more energetic friction will be necessary1 but extreme care must be taken not to abrade the ink surface4 ,continue the rubbing until all the details are developed1 and bear in mind that the finished block will be exactly like the zinc after development4 ,in printing these half-tone zincs1 it often happens 7like printing in silver7 that to get the best results some portions will require less exposure than others4 ,the best way to stop back any portion or portions1 is to cover the front glass of the printing frame with whiting mixed with water to the consistency of thick cream2 apply with a rag over the places in the negative1 before exposing to light1 and at the end of one-third1 or in case of very deep shades1 one-half the exposure1 clean off the whiting and finish the exposure without any obstruction to the light4 ,the exposure to a grained half-tone negative will be one-half to double as long as a simple line negative4 ,a perfect print on the zinc must contain all the grain intact1 for if there is any break in its continuity1 it is of no use to proceed further with it4 ,the printing in bitumen requires no more comment than to say care is necessary to avoid dust4 ,the smallest speck will be likely to spoil an otherwise perfect print4 #fi ,,chapter ,,iii4 ,,etching ,,in ,,half-,,tone4 ,,when ,,the ,,print ,,is ,,in ,,albumen4 ,the zinc plate with the image upon it in ink1 is dried1 then warmed slightly on the hot plate1 cooled1 and coated with thick gum99 and fanned dry 7not dried by heat1 or the gum is certain to crack and bring away the image or part of it72 then wash it under the tap1 and rub it gently with a fine sponge so as to remove all gum from the ink1 but not from the zinc4 ,next proceed to roll up as directed in ,chapter ,v41 using the ,india-rubber roller charged with stiff ink4 ,the surface of the zinc should be kept well covered with water4 ,use as little pressure as possible1 but let the motion be fairly rapid1 and if any portions of the image should smear1 roll rapidly with slightly increased pressure4 99 ,see page #ee1 ,part ,i41 ,gum and ,nut-galls4 ,this operation of rolling up the image is the crucial one1 for unless it is done properly1 when it is finished1 the result is a strong black and perfectly even image2 it is of no use proceeding further with it1 for in fact the picture must be perfect4 ,the rolling up being done1 any touching up that may be required can now be done1 and any fine details clouded over1 or made indistinct by the grain1 strengthened or opened out4 ,additions should be made with transfer ink thinned with turpentine1 laid on with a very fine sable brush4 ,the whites are put in by scratching through the ink with a fine etching needle4 ,to rest the hand upon in doing this touching up1 so as to avoid touching the image1 a bridge is used made of a strip of smooth wood1 one inch wide1 quarter of an inch thick1 and sufficiently long to well span the plate2 at each end of this strip nail narrow strips a quarter of an inch thick to serve as the feet for the bridge to stand upon4 ,then the zinc may be slid under it without touching the surface against the under part of the bridge4 ,the zinc is now ready for the first etching in the rocking tray4 ,the nitric acid solution must be very weak indeed to the taste1 the presence of acid being just perceptible4 ,the time of immersion in the first bath must not be longer #gj than thirty seconds2 then the zinc is removed1 washed under the tap1 and gently rubbed with a sponge2 dry it gently on the hot plate1 allow the zinc to cool1 coat it with gum1 fan it dry1 rinse it under the tap and rub it with a sponge2 then again roll up1 when it is ready for the second etching2 that is done in the same bath as the first1 without any addition of acid4 ,keep the tray gently rocking for three minutes1 then again withdraw1 wash it under the tap1 rubbing with sponge1 coat with gum1 fan dry1 wash under the tap rubbing gently with sponge1 and again roll up1 using the ink on the roller a little thicker1 but stiff4 ,when the image has taken the ink equally1 place it on the hot plate and allow the zinc to get hot enough to melt the ink slightly2 then allow it to cool1 and place it in the etching bath1 slightly reinforced with a few drops of nitric acid4 ,immerse it this time for five minutes4 ,the operations of washing1 gumming1 rolling up1 etc41 are to be repeated until it is judged that the etching has been carried far enough4 ,the time of immersion in the acid solution with each etching may be lengthened1 but take special care to keep the bath weak until near the last etching1 when the strength may be slightly increased4 ,the resist is cleaned off with turpentine and a stiff brush1 and then a proof is pulled4 ,if further etching will improve it wholly or in part1 the plate is inked up and again subjected to the action of the acid bath4 ,if only portions require retching1 cover the rest with bitumen varnish2 but it will be scarcely safe to give more than one etching after cleaning off the original resist4 ,,when ,,the ,,image ,,is ,,in ,,bitumen4 ,a bitumen image is etched in the first bath in which the acid is just perceptible to the taste1 without any preliminary rolling up4 ,the duration of the first etching may be prolonged for three or five minutes2 then the plate is withdrawn and well washed4 ,remove any scum with a soft sponge2 then dry it in a cold current1 and smear it with gum1 fan it dry1 and roll up with a leather roller charged with stiff ink1 until all portions of the image have taken a film of ink4 ,now reinforce the nitrate bath with a few drops of nitric acid1 and again immerse the plate1 rocking the bath for ten minutes2 watch the picture carefully so that in case of undercutting the plate may be removed before any mischief is done4 ,the plate is again removed1 washed1 rubbed with a sponge1 and dried2 it is #ga then warmed on the hot plate1 so as to slightly melt the ink1 then allowed to cool1 smeared with gum1 fanned dry1 damped over with a wet sponge1 and rolled up1 the roller being charged with stiff ink4 ,the plate is now ready for another etching1 for which the bath must be strengthened by the addition of more acid4 ,the immersion 7rocking all the time7 may be fifteen or twenty minutes1 after which the plate is withdrawn1 washed1 rubbed with a sponge1 and if it is thought another etching would improve it1 the cycle of operations is repeated1 beginning with warming the zinc on the hot plate4 ,after the resist is cleaned off 7which with bitumen must be done first with turpentine and then with benzoline7 further etching may be given1 if deemed necessary1 first inking up well with the hard ink mentioned in ,chapter ,,viii41 and then reimmersing in a weak bath of acid and water4 ,if only a portion requires retching1 those parts that are not to be touched1 are protected by coating with bitumen varnish4 ,the plate being etched1 now requires finishing4 ,the outside zinc is removed with a circular saw and then the edges are filed and holes drilled at an angle1 so that the metal can be fixed upon the block4 #gb ,,chapter ,,iv4 ,,printing ,,from ,,the ,,block4 ,a half-tone block to give results commensurate with the care needed in its preparation1 must be handled by the machine man with care and consideration4 ,the blanket on the tympan or cylinder must be replaced with something harder1 else the soft pressure of the blanket will blur the print4 ,the block must also be made ready1 not by putting cut-outs on the tympan or cylinder1 but underneath the block1 and there as thin as possible4 ,the ink must be good and not too thin2 the rollers must be free from flaws and not too tacky4 ,in fact1 as much care is required on the press as during the photographic and subsequent operations4 ,indeed photo-engraving and zinc etching would have come into popular use more rapidly than they have1 if printers had been willing to give them the special 8making-ready0 attention they require4 ,despite all prejudice and indifference1 8process-engraving0 so called1 has made continuous improvement ever since it came into use1 and the good work goes on4 ,the most delicate gradations of light and shade discernible in nature1 may1 from the photographic plate1 be rendered in pure black and white by means of any of the methods given in this work4 ,all that nature displays1 and all that imagination compels1 may be reproduced indefinitely4 ,with regard to the storage and keeping of zinc blocks after using1 ,mr4 ,t4 ,bolas1 in the ,photographic ,news of ,september #bd1 #ahhf1 says1 8they should not be washed with the usual lye1 but should have a few drops of paraffine oil poured upon them2 and after this has been well rubbed in by a soft brush kept for the purpose1 the paraffine should be well wiped away with a soft cloth4 ,if the block is to be stored away for a long time1 it should be waxed4 ,the best way of doing this will be to make it rather warmer than is necessary to melt wax1 and then to rub it over with a piece of yellow bees'-wax1 after which the excess is wiped off with a piece of flannel40 ,sometimes zinc blocks are electroplated with copper or nickel 7a necessity when they are to be used for certain color work71 and such blocks should also be treated in the same way as the bare zinc1 as they cannot be safely cleaned with the lye solution4 #gc ,,chapter ,v4 ,,the ,,transfer ,,of ,,the ,,drawing1 ,,and ,,its ,,treatment ,,before ,,etching4 ,according to the methods of producing them1 classify the drawings as follows3 7a7 ,freehand drawings in crayon or ink1 drawn with lithographical chalk on rough paper1 or with pen and chemical ,indian ink on paper prepared for transferring4 7b7 ,lithographical transfer of engravings1 pen-and-ink crayon drawings1 or drawings on stone4 7c7 ,transfers from relief plates made in copper1 steel1 zinc1 or lead 7music74 7d7 ,anastatic transfers4 7e7 ,fat or resin prints from photographic negatives4 ,proceed as follows3 7a7 ,transfer of hand-drawing4--,place the drawing to be transferred with its face upon a sheet of clean1 white paper1 and moisten the back with a weak solution of nitric acid 7#a_/b ,baum71 by means of a sponge4 ,over-moistening causes obliteration of the drawing1 fringing of the single lines1 and the running together of the hatched portions4 ,the correct degree of moisture can be ascertained when the side prepared and drawn upon grows slightly sticky1 and when the drawing becomes glossy4 ,this will take place in from four to five minutes after moistening4 ,this time is to be spent in arranging the zinc in the press1 after having freed it from all greasiness4 ,place a card on the rolling press below the drawing and the zinc2 above it1 a sheet of good blotting-paper1 a sheet of ,bristol paper and are of pressing board2 then make a trial print with the press1 a clean piece of paper taking the place of the drawing4 ,the correct pressure is a matter of experience2 it is advisable to begin with a pressure less by one sheet1 in order to be able to increase it during the process of transfer4 ,in the lithographic press the ink-block is first to be adjusted2 since it needs a greater 8setting in0 than the rolling press1 the zinc must be cut larger4 ,it must extend three centimetres on all sides beyond the drawing4 ,the edges of the cut plate must be well ground off1 in order that the ink-block may not be #gd caught2 at all events1 it is advisable to have the latter smaller than the plate4 ,observe that the range of the press should be regulated2 then place the zinc directly1 without any intervening layer of paper1 on a solid stone2 lay upon it a clean sheet of paper1 a blotter1 a sheet of ,bristol paper1 and a pressing board well covered with tallow4 ,make a trial by drawing the sheet through at a moderate pressure4 ,if all is arranged1 the work of transfer can be started4 ,the temperature of the zinc should now be about #ce ,c4 ,place the drawing down carefully1 without moving it about2 upon it the blotter1 the ,bristol paper1 and a pressing board1 and draw it through three times with constantly increasing pressure2 turn the plate in a contrary direction1 and draw it through three times in the same manner4 ,now place a moistened sheet of good paper between the blotter and the drawing1 and draw through1 first with weak1 and then with strong pressure1 three times in both positions4 ,instead of turning the zinc1 the ink-block may be reversed4 ,this finishes the operation of transprinting1 and the next question is the loosening of the paper from the zinc4 ,here we can pursue two methods3 first1 we can have hot water and a porcelain tray at hand2 place the copied plate in the tray1 and pour the water upon it4 ,the coated layer bearing the drawing begins to separate from the paper4 ,shaking the tray promotes this action1 and soon the paper will loosen itself from the layer which remains attached to the zinc4 ,with the second method proceed thus3 moisten the back of the copied drawing1 thoroughly with a sponge and cold water2 allow it to soak in1 warm the plate to #fj-fe ,c4 and carefully rub all parts by hand4 ,the layer will again separate by degrees from the paper1 which latter we can then easily lift off from the plate4 ,on account of the strongly gelatinous layer1 crayons on grained paper should only be moistened moderately before and after the first rolling1 in order to avoid the coiling of the paper4 ,hand-drawings on paper without coloring require treatment with stronger acid 7,i recommend nitric acid1 #d ,beaum74 ,at the same time the drawing should be cut as close as possible4 ,to draw it through securely1 place it as usual upon the zinc1 and above it a piece of prepared copy paper moderately moistened1 and a trifle larger than the drawing1 then a blotter1 a ,bristol board1 and a thick card1 and draw through as before4 ,the coated copy paper sticks tight to the zinc after the first rolling2 it also retains the drawing in its first position1 and allows repeated rolling4 ,if the original was over-moist when #ge copying1 it sticks to the zinc and separates with difficulty2 if the moistening was just right1 two perfect copies can often be made from the same original4 ,i have attempted to copy drawings on a fatty zinc surface1 and to etch them strongly1 but1 far from being satisfied with the result1 ,i prefer the above method4 7b and c7 ,copies of lithographs1 type1 plates for printing of any kind1 plates for deep printing1 ,i make on well satinized copying paper992 in making the prints1 ,i employ a copying ink as thick as possible1 with the addition of a few drops of a thick solution of asphaltum in lavender oil1 rolling a long time with but little color1 so as to get a sharp rather than a heavy print4 99 ,instead of the paste-gelatine-chalk1 ,i prefer to prepare the surface with a decoction of semina psyllii4 ,plates for deep printing1 ,i heat equally throughout before applying the color4 ,instead of color1 ,i rub them with chemical ,indian ink1 wipe the surface carefully1 even polish it finally with a ball and some ,frankfort black4 ,i then draw it through and again heat it uniformly1 so that the copy comes off of itself4 ,fine1 sharp transfers1 with perfect relief1 are thus obtained4 7d7 ,anastatic copies are no longer of great value1 since they always turn out roughly and cannot compare with photographic copies4 ,although ,i possess a safe method1 ,i believe that ,i will have to omit it on account of the limited space of my work and the minute importance of the results4 7e7 ,photographic fat or resin prints should be treated like ordinary prints4 ,moisten them on the back with water--which is preferable to placing them between moistened blotting-paper1 since the drawing does not grow too wet--and wait till they are easily flexible4 ,drops of water on the film can and often do destroy the proof4 ,draw the plate through with increasing pressure and one intermediate moistening4 ,prints in fatty inks necessitate a temperature of plate of #ce ,c4 ,prints with dissolved etching varnish 7resin7 as a printing film should have from #ej-fj ,c4 ,when loosening the paper avoid warming1 but moisten well4 ,sticking of the gelatine film happens1 especially with ,husnik's paper2 a safe remedy is to dry the copy in strong light1 after developing4 ,old sensitized paper1 on the contrary1 seldom sticks at all1 and fresh paper should always be sought4 ,in printing with the rolling press1 ,i observe that the rollers of the press need only once to be regulated1 and that greater or less pressure can be attained by thicker or thinner covering of the print with sheets of paper4 ,this gives much greater security than can be had when constantly readjusting the rollers4 #gf ,,the ,,further ,,treatment ,,of ,,the ,,transfer4 ,should we now proceed directly to etch the copy1 the acid would act through the drawing1 which is as yet but loosely attached to the zinc1 and would at last cause the lines to appear broken1 if not destroy them4 ,it is1 therefore1 necessary to replace the loose copy by a possibly dense etching varnish1 attached fast to the zinc1 and to produce an intimate connection between the latter and the etching varnish4 ,here we meet a difference between the ,french and ,austrian methods4 ,the former1 totally based on the lithographic process1 favors the use of a resinous dense color as a strengthening material1 whereas the ,austrian method employs an ordinary copying color and endeavors to form an etching varnish by sprinkling and melting in a quantity of finely pulverized resin4 ,in the method of etching with copper sulphate1 it was attempted to restrict the corroding action of the sulphuric acid by the following method3 ,the drawing1 rubbed with color and thinly besprinkled with resin1 was slightly melted in1 then sprinkled and rubbed with the finest silver graphite or real water-gold4 ,it was thus made an electric conductor4 ,a thin coating of copper was then deposited on the drawing1 which1 in point of fact1 hindered the destruction of the film4 ,at the same time1 however1 the process became uncontrollable1 since often a deposit of amorphous copper became tightly fastened to the metallic surface4 ,the lateral action could not well be ascertained1 since the narrowest parts were often clogged with metal1 without preventing corrosion from below4 ,the ,french method of etching is this3 ,a thick solution of gum-arabic is mixed with extract of nutgalls2 this is carefully spread over the surface of the plate by means of a fine sponge1 and dried by a fan4 ,then a knife's point full of etching color 7composed of #ejj grammes chalk color1 #dj grammes coagulated mutton suet1 #dj grammes soap1 #abe grammes yellow wax1 #dj grammes margarin1 and #dj grammes oleine1 melted in the warm bath and passed through the color mill7 is dissolved in oil of turpentine1 and a portion of this solution is spread uniformly on the grinding stone by means of a fine sponge1 so that the latter contains a similar layer of color throughout4 ,the fatty gum film is then washed1 with a wet sponge1 free from fat and acid2 a fresh quantity of the gum and nutgall solution is poured out1 and the copy is by degrees strengthened by rubbing on the etching color with a sponge4 ,this is repeated until the drawing has attained the proper strength throughout4 ,the superposed layer of gum is then washed off1 the superfluous water is removed with a sponge1 a wet cloth1 and blotting-paper1 dried with a fan1 then gently warmed4 #gg ,now the plate is to be dusted with the finest pulverized resin1 consisting of equal parts of ,syrian asphalt1 washed in alcohol1 and of mastic2 the superfluous resin is removed with a brush and some cotton2 the plate is then carefully heated1 without beginning to melt the resin1 however4 ,this1 by the ,french method1 finishes the plate for etching4 ,only weak acid is safe for such a plate1 however4 ,according to the ,austrian method 7practised by me for several years71 we proceed as follows3 ,the copied plate is first copiously coated with a cold saturated solution of gallic acid1 and then with a pure solution of gum4 ,without allowing it to dry1 ,i remove the superfluous preparing materials with a wet sponge1 and pour on some fresh gallic acid1 as with an excess of acid the drawing assumes a more brilliant black color4 ,the strengthening with ordinary copying color ,i effect1 as the case may be1 with the rollers1 the sponge1 or by coating4 7a7 ,strengthening with the ,rollers4--,i roll out some thick copying ink with good1 rough rollers which have been frequently used1 and begin to roll the transfer plate while still damp1 without any pressure1 till its surface begins to dry4 ,i then grasp the handles of the rollers more firmly and blacken the dry plate uniformly1 giving it a thin coat of ink4 ,this done1 ,i moisten it a little and roll it regularly with rollers freshly treated with color1 so that the picture comes up harmoniously and strongly4 ,rolling off during drying keeps the gum solution from the drawing while drying on1 and keeps open the connection for rolling in4 ,before going further ,i will explain the terms used993 ,to roll in is to give color or ink1 and is done slowly1 with tightly grasped handles and certain pressure4 ,rolling off is effected with loosely grasped handles1 without pressure1 and quickly1 and is intended to draw off with the rollers any excess of color on the plate4 ,to work out or make the rollers means to bring fresh color on it from the grinding stone1 and is done with strong pressure and strong traction4 ,the correct management of the rollers rests in the wrists4 ,to reverse the rollers1 to change the handles1 means to turn the rollers around1 to make the left-hand handle the right-hand one1 and thus to correct irregularities in the distribution of color4 ,after every advance and return on the stone or plate to be blackened the rollers are newly adjusted4 ,the plate thus strengthened must be well #gh washed with clear water1 to be dried1 and at times even to be retouched with a brush and color dissolved in oil of turpentine4 99 ,color and ink are synonymous4 8,burn in0 and 8melt in0 mean the same4 7b7 ,blackening in with a sponge4 ,the initiatory etching is done with gallic acid1 the gum coating put on and additional gallic acid poured over2 then some turpentine solution of copy color1 the consistency of syrup1 is rubbed over the plate until the picture is uniformly strengthened4 ,if1 as may happen in hand-drawings1 the color should become massed and not attach itself smoothly1 it must be washed off with turpentine and then clean color must be rubbed on4 ,this operation requires great delicacy4 ,after having finished the blackening in1 rinse well1 dry with a sponge and thick blotting paper4 ,heat1 so as to vaporize the last remnants of dampness1 and retouch4 7c7 ,a peculiar method of strengthening1 nowhere described1 as far as ,i know1 is that of drying the plate after coating it with gum1 then washing the gum with water2 then1 after drying1 of covering the plate with a thin solution of wax1 asphaltum1 rosin1 and shellac in ether1 and of carefully coating the quickly drying film with gum4 ,the film remains on the lines of the copy1 but easily detaches itself from the bright metallic spaces1 which have an insoluble combination with the gallic acid and gum1 and are thus protected from the fat4 ,faults in strengthening are caused by the following3 a4 ,by ink which is too thick or too thin1 or which has not been well ground4 ,stripes are caused by the dissolving of the color which is already present4 b4 ,by excessive dampness on the plate 7it does not take the color2 the color in the sponge changes to a slimy emulsion74 c4 ,by too great pressure with the color sponge the fine parts are lost4 ,the same is the case with careless washing of the color of hand-drawings4 d4 ,in rolling on excessive moisture on the plate spoils the work4 ,the surface of the rollers becomes glossy and must be again inked4 e4 ,in pouring out the ink a very thick layer prevents the strengthening of the finest lines4 ,dirt on the plate often comes from handling the drawings2 it must be scratched off and the plate must be perfect before proceeding4 ,now comes the changing of the ink into an etching varnish4 ,but before beginning we must cover the free edges of the zinc for the distance of half a centimetre around the drawing with a solution of ink in turpentine2 the same applies to large white surfaces in the drawing1 which it is more convenient to cut out with a scroll saw4 ,then subject the plate to the finest asphaltum #gi powder1 passed through a hair-sieve1 and cover it by the dusting brush copiously with powdered rosin4 ,continue the rubbing on of fresh powder for a minute1 until the ink is saturated1 then dust out the superfluous powder with the dusting brush and fine cotton1 so that the metal is bright 7no film should be perceptible on looking over it74 ,the plate should now be heated to about #fj ,c41 till the color of the asphaltum changes from a coffee tint to a dead 7matt7 black4 ,place the plate in this condition a second time with the asphaltum1 which is again absorbed rapidly4 ,dust off carefully as before and burn in again till the color changes to a somewhat shiny black2 the yellow tint must be avoided1 because this degree of burning exposes the lights in the closest hatchings to the danger of running together4 ,thus the coat of color is changed into an etching varnish of excellent resistance and adhesion1 and the plate is ready for etching4 ,,the ,,etching ,,and ,,its ,,intermediate ,,treatment ,,before ,,mounting ,,the ,,clich4 ,introductory remarks4--,if we examine a wood cut or an electrotype with regard to the depth of its narrow and wide-line complexes1 we can at once determine a plane for the closest hatchings2 in a uniformly deep layer the lines lie at a moderate distance apart1 and those of the highest lights are very deep4 ,these three planes are situated higher or lower according to the very narrow or very wide series of lines4 ,this gives a natural division of the different stages of etching1 and1 according to the three depths1 we distinguish the sharp etching or etching on in which the engraving must advance far enough to place the narrowest portions sufficiently low2 middle etching1 which has to accomplish the same for the moderately narrow portions1 and deep etching1 which must attain sufficient depth for the highest lights4 ,on account of the lateral action of the acid it is impossible to etch down perpendicularly1 but a wider covering is taken for each stage4 ,of these wider coverings there remain after etching all around the relief two terrace like grades1 which must also be removed4 ,we have1 then1 in addition to the above1 three sorts of etching1 a round etching1 in which the grade remaining from the deep etching is to be removed1 and a clean etching1 or a removal of the wire-edge left after middle etching4 ,this natural subdivision is found in the old ,french method as well as in the #hj new method1 and both coating and the acids are of a strength proportionate to the different stages of the work4 ,we have already alluded to the lateral action of the acid2 it is a factor that taxes the care of the etcher in the highest degree4 ,in the beginning of the action of the acid1 the edge of the metal under the coating is exposed the more1 the longer the action lasts2 here1 of course1 the dissolving power becomes apparent4 ,the deeper we go1 the more the metal under the line is exposed1 and the action on the lateral edge continually increases4 ,in the effect of the acid we distinguish thence1 a perpendicular and a lateral action4 ,since the latter cannot be removed by changing the character of the acid1 we must give it a part in this process of dissolving metals1 but at the same time must invent a method which will prevent the lines from growing thin4 ,but in order to do this we must know the relation of the perpendicular to side action4 ,both are in proportion1 a result both of theoretical and practical consideration4 ,in order then to attain a certain depth of etching1 a proportional lateral protection must take place1 which is by degrees destroyed by the lateral action4 ,since this lateral action sets in at the beginning of the work1 the dimension of the line must be secured from the start4 ,this is done in the ,vienna method by the already mentioned formation of the etching varnish1 by means of dusting with resin and burning in1 by which an almost imperceptible growing of the width of line is attained4 ,the ,french method endeavors to correct this by using a very weak acid and a correspondingly thin coating1 but coating oftener and etching at every new coating1 as we shall see below4 ,also the coating for middle and deep etching must be arranged in accordance with the principles above elucidated4 ,as deep as the middle or deep etching is desired1 so wide must the lines be surrounded by etching varnish4 ,,etching ,,by ,,the ,,french ,,method4 ,we have already seen 7p4 #gf7 how a copy is made by the ,french method for etching1 and we now continue the development of this process4 ,into a tray pour #d litres of water at #ah ,c41 add #ae c4cm4 nitric acid and mix well by shaking4 ,then place the prepared plate into the bath and rock it for seven or ten minutes 7according to the fineness of the drawing71 rinse well with water1 remove the remaining water with blotting paper1 and1 finally1 dry thoroughly with a fan4 7,do not forget to dry the back47 ,now warm the plate from the back1 moving the flame about continually1 so as to secure uniform heating and prevent warping of the zinc4 ,the asphalt powder1 which is as #ha yet but loosely attached1 is more intimately connected with the subjacent ink through this heating process4 ,the combination becomes evident from the assumption of a black lustre4 ,with the appearance of this1 stop heating1 and lay the plate on a cold stone to cool4 ,this done1 spread some gallic acid over it with a soft sponge1 and without washing it off1 spread gum on the surface of the plate1 and hasten the drying with a fan4 ,mix some etching ink with varnish and work it out into a thin layer with good rough rollers4 ,if the rollers are in order1 wash the coat of gallic acid and gum from the plate1 remove superfluous water and roll in 7the manner similar to that used in lithography74 ,the surface of the plate should not be more than moderately damp1 so that the rollers may not slip4 ,if a coat of color has been uniformly deposited1 wash the plate with clean water1 remove the excess with a sponge and blotter1 dry by fan and remove all moisture by heating to #de ,c4 ,dust the warm plate again with asphaltum 7remove the excess71 and warm it a trifle to secure better adherence4 ,strengthen the bath by the addition of #ae c4cm4 nitric acid1 and etch again for seven or ten minutes under continued shaking4 ,then rinse the plate1 remove the water and dry with a fan1 and burn in the resin powder well4 ,careful inspection will now show a successful and uniform but still weak relief4 ,as before1 the plate is coated with gallic acid and solution of gum1 is dried1 washed1 and blackened in1 in which treatment one-third 8wax pomatum099 is mixed with the etching ink4 ,after washing and drying heat the plate up to #fj ,c41 thus causing an imperceptible widening of the drawing4 ,after coating dust once more with asphaltum1 warm it and cover only the back and the white rim around the drawing with a solution of shellac 7#a part ruby shellac in #aj parts spirits74 ,strengthen the bath with #bj c4cm4 of acid and bathe it for seven to ten minutes1 shaking the bath regularly4 ,continue until you see that the lateral action of the acid has almost wholly destroyed the lateral covering produced by heating4 ,do not1 however1 etch too long1 and do not mistake the over-hanging coat for the other4 ,then follow washing1 drying1 melting on some resin1 cooling1 coating with gum1 blacking in with equal parts of etching ink and 8wax pomatum10 then washing1 drying1 greater heating 7#gj ,c47 7so that by increasing the ink each line receives lateral protection71 cool and dust to excess with the finest resin dust4 #hb 99 ,wax pomatum is prepared by cutting beeswax into fine parts and covering it in a wide-necked flask with oil of turpentine4 ,in a few days a jelly-like mixture will remain1 which serves the above purpose4 ,as we have now reached the necessary depth for the narrowest portions1 we use1 instead of the asphaltum1 resin1 which melts easily and spreads out readily1 in order to attain protection for our middle etching4 ,strengthen the bath with #cj c4cm4 acid1 and bathe until the lateral action of the acid has reduced the lateral coating to a narrow edge4 ,then wash1 dry1 melt on some resin1 cool1 prepare with gum4 ,blacken in as before1 but employ one-third etching ink and two-thirds wax pomade and apply so thickly that all the narrowest spaces of the drawing are completely filled with color4 ,continue warming until the ink1 which was applied1 has well covered each line2 then dry and use resin as before4 ,the acid may now be strengthened by #ajj-aeh c4cm41 according to the strength of coating chosen4 ,bathing must be continued until the edge that has run off begins to grow narrow4 ,wash1 dry1 burn in resin1 cool1 coat with gum1 and blacken in by rollers with clean wax4 ,continue heating until each line is well covered by ink4 ,always dust until the ink is fully saturated and then heat gently4 ,strengthen the bath #bjj c4cm4 and begin the deep etching4 ,according to the depth to be attained repeat the manipulation of strengthening once or twice4 ,whenever a corrosion of the lateral coating becomes apparent1 coat freshly1 adhering to the above order of operation4 ,for obtaining the necessary depth ink is applied about ten times1 adding wax each time to facilitate the spreading when warming4 ,in order to attain a fine1 regular lateral coating1 great ability in manipulating the rollers is necessary1 since without such the correct degree of strengthening is never attained4 ,irregular coating leads1 of course1 to irregular melting of the ink2 one spot then is already sufficiently wide1 while another is not yet covered4 ,in such cases coating with a brush must be resorted to4 ,if the necessary depth is attained1 the plate is to be freed carefully from the coating with a brush and oil of turpentine1 and then placed in fresh sawdust1 which absorbs the oil of turpentine and leaves behind a clean surface4 ,now the work can be criticised in all its parts4 ,to every coating is a corresponding narrow edge of etching1 which is now to be removed in order to make the plate fit for printing4 ,to removing these edges we must devote our attention4 ,we begin with the top one1 and make preparations thus3 ,roll out on a clean1 warm stone with faultlessly smooth rollers a very thin gauze-like layer of etching ink4 ,likewise warm the zinc plate and roll it in all directions without pressure till the picture becomes beautifully black4 #hc ,pressure must not be employed1 but the coating must be obtained by renewed working out of the rollers on the color-slab1 and repeated coating4 ,when at last the desired strength is obtained1 dust with the finest asphaltum powder1 blow the traces of dust out of the hollows1 and warm till the layer becomes slightly brilliant4 ,next1 etch in a new bath of #djjj c4cm4 of water and #dj c4cm4 of acid for #g minutes1 wash1 and dry well2 then1 with more ink on the rollers1 coat the dried plate1 dust once with resin1 heat gently1 then apply the asphaltum and burn in strongly4 ,thus the first relief is protected laterally1 and the first grade can be etched down completely1 without endangering the drawing4 ,to remove the second grade1 we repeat washing1 and put on etching ink mixed with one-third wax4 ,rolling must continue till the narrowest spaces of the etching are completely closed4 ,then follow dusting with resin1 warming1 and placing the warm plate in the asphalt1 dusting1 removing the excess1 and finally burning in4 ,with this coating a further rounding of the grades can take place 7in a bath of #aj ,baum74 ,continue this process until all the grades are removed and the etching appears as perfect as a cast plate4 ,since hitherto all publications on chemigraphy have duly described this method1 ,i believe that ,i should not enter into further details1 improvements1 etc4 ,suffice it to call attention to weak points4 ,in view of the new method later to be described1 the reader may make a comparison between the two4 ,a very weak point is the method of strengthening based on the lithographic process of superimposing new color upon the old color4 ,in consequence of the repeated melting in of resin1 this latter acquires an uneven surface1 which can be blackened in only with great difficulty4 ,equally untrustworthy is the lateral protection by melting off1 which is only attained with safe uniformity by skilled workers4 ,and what is more1 with the weak coating at the beginning2 even weak acid often works its way through to the etching1 so that the finished etching appears slightly porous1 and gives no dense black print4 ,also shaking1 which is to promote the removal of the metallic mud and the gas bubbles from the lines of the etching1 has an unsatisfactory effect1 inasmuch as the single lines are often thus under-washed4 ,but the principal defect is that no accurate determination of the degree of each operation can be made1 everything depending on the delicate execution of the process4 ,the time that the etching of a correct1 deep clich requires by this method is from eight to ten hours4 ,this procedure also demands better trained hands #hd than the ,austrian1 which1 in large establishments1 is based on a division of labor1 and in which men trained in a single manipulation1 under good supervision1 accomplish the maximum work surely and excellently4 ,furthermore1 the expenses of the manufacture on a large scale are far greater1 since each etcher draws a greater salary than a workman skilled in a few manipulations1 such as the following method requires4 ,,the ,,austrian ,,method--,,the ,,etching ,,on4 ,i have already shown how a transferred plate should be prepared for etching by this method4 ,before proceeding to the details1 however1 we will prepare the etching baths1 which1 by the way1 may always be employed for several plates4 ,corresponding to the three steps of etching1 we require three baths of different concentration to be determined by means of an areometer with a ,baum scale4 ,the bath for etching on is prepared in strength of #b ,baum at a temperature of #ah ,c4 ,there must be a quantity sufficient to cover the plate to a depth of #d to #e centimetres4 ,the bath for middle etching requires #aj ,baum and a temperature of #ah ,c42 the bath for deep etching1 #ah ,baum4 ,these baths are prepared at the beginning1 and are used for the five successive stages of etching4 ,if1 after continued use1 the bath for deep etching should grow weak1 it may be used for middle etching4 ,for protecting the trays1 ,i recommend a coat of gutta-percha over a well-coated inner surface of asphaltum4 ,everything being ready1 immerse the prepared plate in the bath1 and with an etching-brush brush the surface of the plate uniformly for two minutes4 ,the hairs of the brush must only rest lightly on the metallic surface4 ,for determining time1 use sand-glasses of two1 three1 and five minutes4 ,after two minutes1 take the plate out of the acid1 wash it well with water1 and examine it carefully4 ,if the effect has not been uniform1 see that two minutes more can be safely given in the etching bath4 ,if by any sort of careless handling the plate has been injured1 dry it with blotting-paper1 vaporize the remaining dampness1 and cover the soiled spot with very thick solution of asphaltum in turpentine4 ,cool1 and continue brushing lightly for two minutes in the bath4 ,at the end of this time1 wash and examine again4 ,even now everything will be intact4 ,with very fine drawings1 however1 lateral action has already progressed so far that1 under all circumstances1 the exposed edges must be covered4 ,coarser drawings generally stand one or two minutes more4 ,to try the depth of etching3 with your finger-nail on the edge of the black #he rim1 feel how far the etching-on has proceeded4 ,as soon as the finger-nail catches1 the depth is sufficient1 and the sides of the lines may be covered4 ,for this operation the plate needs1 above all1 thorough washing1 drying on both sides by blotting-paper and gentle heat1 and a temperature of #de ,c4 ,at this temperature place the plate into the finest resin-powder1 and rub the latter several times over the warm drawing1 using for this purpose a fine brush4 ,the protection1 which has grown sticky through heating1 retains a thin coating of resin1 which1 after dusting off the bright metallic spots with a brush and fine cotton1 and after careful fanning off1 is reheated to about #ej ,c4 ,at this temperature the plate is returned to the white rosin1 receives a good dusting-in1 and being freed from excess as before1 is heated to about #fe1 so that the easily fusible rosin begins to spread out4 ,at this moment extinguish the light1 and put the plate into the asphaltum1 which will attach itself copiously to the sticky resin4 ,brush the plate well with the substance1 remove any excess from the bright spots1 heat to #hj ,c42 then place it again into the asphaltum1 brush it1 clean it by removing any excess1 and heat it to #ajj ,c41 when a complete combination of the resinous mass takes place1 and a uniform etching varnish is formed4 ,this last coating is extremely regular1 and it is wonderful to see the accuracy with which the lines have been covered4 ,beginners are warned to pay attention to the careful cleaning of the bright parts of the plate when brushing and dusting it2 should any resin remain behind1 it melts on1 and grows by degrees to a strong yellow tint1 which is very difficult to remove1 but very easy to guard against4 ,never forget to dust off the back4 ,while the plate is still hot1 lean it against the wall1 face in1 and the back covered with a solution of shellac4 ,now the plate is ready for further etching1 which is carried on for two minutes in the first bath4 ,at the end of two minutes1 wash and examine critically4 ,in almost every case we may etch for a third1 or even a fourth time4 ,it is1 however1 sufficient for the beginner to know that he has sufficiently etched in two spaces of two minutes each1 after preparing with resin4 ,trying and examining with the finger-nail on the black edge will show a fine relief4 ,should it be possible to etch for a third space of two minutes1 or even of one1 without danger1 it is preferable to do so4 ,it should be a rule to proceed as far as possible1 judging from the character of drawing and coating4 ,experience is easily gained in two or three trials1 since anything can be examined at any moment4 ,beginners would do well to use a magnifying-glass with good field of view in examining1 when they can observe the most sensitive portion1 and #hf all changes may easily be noticed4 ,the brush should be used lightly1 to prevent scratching4 ,usually1 it is fastened at right angles to a stick to protect the hands from the effect of the acid4 ,to raise the plates out of the tray1 lay a gutta-percha thread into the bottom of each tray1 fastened at one end to the top edge of the tray1 projecting over the same on the other side4 ,the plate is placed on the thread while etching4 ,it may be removed without touching the bath by pulling the free end of the thread4 ,as already remarked1 the spreading of ink on a surface which is more or less rough is difficult4 ,for this reason the plate1 when etched-on after my method1 is to be washed out with oil of turpentine4 ,a strong brush should be used for this1 and some of the oil rubbed over the plate without pressure4 ,you must cause a dissolving1 not a rubbing off1 of the coat4 ,on continuing the addition of turpentine1 the metal grows bright4 ,take1 then1 a handful of the coarsest of pine-wood sawdust and rub off the surface4 ,this removes instantly every trace of turpentine1 leaving a clean surface behind4 ,for the sake of security1 pour on more turpentine1 rub with a somewhat softer brush1 and remove again with clean sawdust4 ,it is important that the wash-table should always remain free from sawdust1 which latter should fall through the grating into a suitable receptacle4 ,if this rule is disregarded1 the wash-brush will soon be a conglomerate of sawdust and hairs4 ,sawdust and turpentine will stick to the brush so tightly that a new brush will have to be purchased4 ,now we again examine our work4 ,it is a mark of success if the relief still shows its original smoothness in all its parts1 and has nowhere grown porous4 ,all the parts must be clear in their correct proportional strength1 as seen in the transfer4 ,the treatment of the plate from the time of transfer to the close of the etching-on takes3 for the saving of the edges and the white portions of the drawing1 #b minutes2 for preparing twice with asphaltum1 #d minutes2 for varnishing the back and coloring the plate1 #d minutes2 for etching-on the lateral protection1 #d to #e minutes2 for preparing twice with resin1 asphaltum1 and varnishing1 #af minutes2 for renewed etching1 #d to #e minutes2 and for washing1 #e minutes--that is1 #cc minutes in all4 ,add #g minutes for inspection and retouching1 and #dj minutes will be the space allowed for etching-on4 #hg ,,middle ,,etching4 ,in order to give to the middle tints of the drawing the depth necessary for printing1 we begin with a new blacking-in4 ,we need for this purpose excellent1 smooth1 and hard rollers1 which are immersed in minium and linseed oil1 and are then left to dry for a short time4 ,contrary to the ,french method1 we need here a thin composition for the etching ink1 obtained by concocting equal parts of paraffine1 suet1 beeswax1 and ordinary ink1 prepared in an excess of good linseed oil4 7,ready-made color of right composition may be had of ,e4 ,liesegang1 in ,dusseldorf1 and other dealers47 ,this color1 when of right composition1 possesses the power of absorbing resin-powder1 and changes in combination with the same1 when heated1 to a compact1 very solid1 yet brittle mass4 ,of this color1 which is soft as butter1 take a portion on a knife-point1 and spread it upon the smooth rollers1 forming a perfectly uniform layer4 ,the complete covering is done by rolling1 changing the adjustment at intervals4 ,when a perfectly uniform1 oily coat is spread on the color-slab and the rollers1 begin rolling-in the washed plate4 ,do not exert any pressure1 but roll1 carrying the handles so as to black the relief only from the surface of the rollers4 ,of course1 it cannot be prevented1 and is of no consequence1 if ink attaches itself to the large white spots4 ,rolling continues till the oily brown coating has deposited itself uniformly4 ,exercise care in order not to get more ink on some spots than on others4 ,the plate1 now completely rolled1 is placed in the finely powdered resin1 with which it must be completely covered4 ,for the space of two minutes the oily color absorbs the powder1 which should1 therefore1 be strewn on it and rubbed off repeatedly4 ,if saturation in the cold has taken place1 dust off lightly with brush and cotton1 blow off well1 and heat uniformly to #ce ,c4 ,the resin should not melt now1 but should only grow sticky and combine intimately with the color1 which forms the binding material4 ,this change is observed immediately in the change resulting in the gray resin coat4 ,as soon as the change occurs 7beware of unequal heating71 again place the warm plate into the resin1 saturate as before1 dust out1 blow strongly on the bright1 metallic spaces1 to remove remaining traces of resin1 and heat to #ej-ee ,c4 ,at this temperature cover the film with fine asphalt powder1 dust off as before1 and heat to #fe or #gj ,c4 ,in this condition the plate is again saturated with asphalt1 and the layer1 after careful dusting and blowing1 is heated until it grows slightly #hh brilliant4 ,thus a complete coating is formed1 and the plate has the appearance of ,fig4 #f4 ,the black spots represent the dirt which has clung to the intensest lights1 and must be removed4 ,but before attempting this1 we varnish the back of our plate with a solution of shellac1 and cool it completely in water4 ,illustration3 ,fig4 #f4 ,now take a very coarse scraper1 ground with a sharp edge2 hold it between the index and middle fingers1 and scratch away the dirt from the light spots1 making the edge of the scratcher draw the strokes close together4 ,the brittle backing breaks off finely1 and in a few minutes the dirt is removed and the plate is ready for etching4 ,if 7which will only happen to beginners7 the drawing should be scratched1 the exposed spot must be covered1 by means of a brush1 with a thick1 warm solution of asphalt in turpentine2 the dirt which was scratched loose is brushed off1 and the plate goes into the bath for middle etching for about three minutes4 ,brushing and washing follow in the same way as in the previous operation4 ,at the expiration of three minutes inspect 7with or without a magnifying glass72 places that have been uncovered must instantly be covered with asphaltum1 as already directed4 ,etching is continued till the lateral coating no longer protects the first relief1 which generally takes place after the third period 7in about nine minutes7 in a new bath1 but requires twelve to fifteen minutes in an old one4 ,it is proved by the existence of only a narrow thread alongside of the relief4 ,the moment can be well ascertained4 ,if we wish to be sure of it we may do so by exposing the edge of the black rim at different places2 the width of the thread is then apparent1 and a safe conclusion may be drawn from the single spots as to the whole plate4 ,if not enough middle etching has taken place1 the thread remains wide and requires an extraordinary clean etching1 which may lead to the picture growing thin and endanger the finest lines4 ,care1 then1 is necessary to ascertain the right moment of suspending the middle etching1 and of continuing in the above-described manner with oil of turpentine1 brushing1 sawdusting1 and washing4 ,after drying and brushing off the sawdust with a strong brush1 we have the clean plate ready for examination4 ,we observe the grade of etching produced by #hi middle etching parallel to the contours of the different parts1 and can safely assert that the process has taken its natural course4 ,etchings without real deep places 7as high lights7 might here be etched clean--that is1 might undergo removal of the formed etching grade4 ,yet it is preferable to place the edge of the drawing as low as possible1 to prevent a tendency to crookedness1 so-called facetting1 and to get a deep edge for nailing the plate on wood4 ,the outward appearance of the etching improves considerably1 and the clich can be fastened much more securely4 ,the chemigraphist must endeavor to satisfy the demands of the printer in all respects1 and should omit nothing that serves to perfect his work4 ,thus only can he gain a good reputation both for himself and for his work4 ,,deep ,,etching4 ,having been successfully treated in the middle etching process1 the plate needs only depression of the larger light spots4 ,some simplify this part of the work by cutting out the highest lights by means of a chisel1 reverse ground4 ,this can easily be done after a little practice1 and often saves time and acid4 ,care should be taken with the chisel2 the plate should lie on a flat surface and the cutting twist be executed lightly and regularly4 ,if this course is decided upon and is applied to the highest lights1 proceed to the execution of the deep etching4 ,such chiselling does not happen in my laboratory1 since ,i prefer to etch all plates alike to their normal depth4 ,an excess of ink is now well spread over the rollers and the plate is rolled in all directions4 ,close up all the middle tints and give the acid room only in the densest lights4 ,this coating is done by warming the regularly covered plate to #ca ,c41 and allowing the ink to flow down rapidly and cover the recesses4 ,a second coating with slow manipulating of the rollers and manipulation of the handles without pressure1 will yield a sufficient coat from above4 ,if1 despite this1 certain parts should not be sufficiently blackened1 rub on more ink till the covering is sufficient and the side protection perfect4 ,as in middle etching1 we must proceed to the formation of an etching varnish by dusting with gums1 placing into resin1 by lightly rubbing this resin on in constantly renewed layers1 till the absorptive power of the ink ceases2 then warming and dusting warm with the same resin to complete saturation2 then raising the heat as above1 and dusting with asphaltum to saturation1 heating stronger and finally placing the hot plate into asphaltum1 which again secures all parts covered with ink and resin4 #ij ,at the different times of removing the dust1 pay particular attention to the bright metallic parts4 ,over-removal of dust removes resin from the layer2 under-removal leaves behind an obstinate yellow tint in the bright spots4 ,practice and experience readily prove the best teachers in this respect4 ,the final heating of the etching varnish must be pushed so far that an intimate connection is effected between all of its parts4 ,this is easily noticeable from the uniform gloss of the mass4 ,while still hot1 the back of the plate is carefully varnished and cooling is promoted by dipping it into cold water4 ,illustration3 ,fig4 #g4 ,but few spots are to be removed by chiselling 7see ,fig4 #g71 for the rollers have only blacked the middle of the highest lights4 ,these spots1 as indicated in middle etching1 are scratched bright with a chisel4 ,it is important always to scrape off the white edge around the drawing4 ,scratching of the plate does not even happen with beginners1 except in cases of gross carelessness4 ,if it does happen1 a good covering with the turpentine solution of asphalt must be used4 ,when this is all done properly we proceed to etch4 ,the process of etching by the aid of a brush is continued in periods of five minutes each4 ,it is necessary to examine the side covering carefully at the end of every operation2 a diligent brushing off of the surface is also to be recommended4 ,etching is continued until1 by degrees1 the lateral coating decreases and the grade grows narrower4 ,at this juncture--that is1 after about five to six operations 7twenty-five minutes7 the necessary depth is attained4 ,in few cases 7and almost always with beginners71 it happens that a single coating does not suffice for deep etching without endangering the plate4 ,in such cases wash the plate1 coat it a second time1 and form a second etching varnish4 ,when the depth is satisfactory the plate is washed and the new grade may be criticised4 ,after a proper examination1 we proceed to the ,,round ,,etching4 ,its object is to remove the last formed grade4 ,coat the plate with a very uniform coating of ink1 corresponding to the one used in middle etching4 ,a #ia criterion for correct coating is1 that only the grade caused by middle etching be covered1 while the grade from deep etching must remain exposed4 ,remember also that in heating the plate a further spreading is caused by melting4 ,to the inexperienced it may happen that the grade caused by deep etching is of variable width4 ,these places must be removed by working over with a graver before continuing1 as otherwise we will not attain symmetrical round etching4 ,the plate prepared for the latter treatment is only dusted once in resin1 and then blown out4 ,it is then heated to #de ,c41 and is dusted and heated twice with asphaltum at increasing temperature1 just as in both the previous processes4 ,nothing now remains to be scratched away4 ,after having varnished the back1 the plate is etched in the middle etching bath two or three times for three minutes4 ,at the end of each period examine whether another whole period is necessary1 or whether rounding the plate requires less time4 ,when this is over 7several parts1 which perhaps were already finished beforehand1 have been covered71 wash and approach the next problem1 the removal of the grade resulting from the middle etching4 ,this is called ,,clean ,,etching4 ,upon the clean1 smooth rollers spread thick transfer ink and roll it out perfectly4 ,it is advisable to warm the stone previously with a little alcohol1 which promotes the working out of the color4 ,when the surface of the color has become perfectly uniform the plate is rolled in slowly and without pressure4 ,pressure would deposit too much color in the finest recesses1 and prevent the clean etching and sharpening of the same1 thus causing lack of harmony in the prints4 ,it is better to coat the shadows with a pad1 as they require more color4 ,the plate1 thus blackened1 is to be dusted once with the finest asphalt powder1 then freed from excess by dusting off and blowing until the coating becomes brilliant4 ,clean etching then takes place in the bath for etching on1 in periods of one minute each1 and repeatedly until the last thread has disappeared4 ,now everything is ready for a proof1 and for subsequent mounting4 ,fig4 #f shows a print of the little picture given during the process of middle and deep etching1 and admits of an instructive comparison during the progress of the work4 #ib ,proofs are made from the cleaned plate 7the back of which has been scratched clean7 in the following manner3 ,upon a good lithographic roller place a quantity of the best ink and coat the etching uniformly4 ,help the shadows along by dabbing on some ink with a leather pad4 ,when this is done1 carefully rub off the excess in the lightest spots1 and fix the plate in the rolling-press2 place on it a sheet of well-calendered tissue paper1 next a sheet of writing paper1 a sheet of ,bristol paper1 and a cardboard4 ,with very little pressure 7the thickness of one cardboard less than in the transfer7 draw it through4 ,if the print is too weak1 place paper below1 sheet by sheet4 ,the stronger spots may be blackened separately4 ,illustration3 ,fig4 #h4 ,,finishing ,,and ,,mounting ,,the ,,plate4 ,the first thing to be done is the removal of the black edge left by etching and the sawing out of such spots in the drawing as were spared for this from the beginning4 ,the waste may be removed by means of a circular saw or a fine-toothed carpenter's saw4 ,do not1 however1 forget to leave behind a margin of about three millimetres for the purpose of nailing the plate to the wood4 ,the edges must be smoothed with a graver1 filed and chipped off to a suitable plane1 since sawing produces a sharp edge4 ,to remove the spots spared in the drawing1 bore a hole through the metal at that spot with an ,american gimlet1 introduce a scroll saw1 and thus cut out the metal4 ,the edge should be worked over with a dog-leg chisel4 ,by aid of the borer we also make the conical holes in the edge1 through which the nails are to be hammered4 ,elevations caused on the back of the plate by boring should be removed by filing4 ,the block of wood which is to raise the height of the plate to that of type should be cut from perfectly dry maple1 oak1 or mahogany wood4 ,with the plate it must just reach to the top of the type2 the sides must be parallel1 and all should be perfectly smooth4 ,cutting at right angles can be done with a circular saw or with the aid of a mitre saw used by printers for such work4 ,for exact examination of height1 #ic pass the block and zinc through the caliber-bridge 7,fig4 #i74 ,roughen the base and top surface of the block with a toothing-plane4 ,when convinced that the block fits perfectly1 nail the etching upon it1 taking care to drive the heads of the nails well into the holes provided for them1 otherwise they will show in the print4 ,if other small details are noticed1 they may be removed with a dog-leg chisel4 ,illustration3 ,fig4 #i4 ,this finishes the plate for delivery4 ,in the expounded explanation of my chemigraphical method1 the following arrangement may serve the beginner as a guide to the manipulations from the beginning to the end of the work3 #a4 ,planing the plate4 #b4 ,grinding it out4 #c4 ,freeing from fat1 and then testing its cleanliness4 #d4 ,transferring the drawing to the metal4 #e4 ,preparing the metallic surface after transfer4 #f4 ,strengthening the transferred drawing by rubbing1 rolling1 or flooding it as directed4 #g4 ,transmutation of the transferred drawing into a resisting etching varnish by double besprinkling and burning in of asphaltum1 subsequent to covering the edges and large light parts1 and after varnishing the back4 #h4 ,sharp or preliminary etching1 strengthening with resin powder1 and finishing preliminary etching4 #i4 ,washing and examining the work4 #aj4 ,coating with etching ink for middle etching4 #aa4 ,formation of the etching varnish by double dusting and increasing burning-in of 7a7 resin and 7b7 asphalt2 varnishing the back4 #ab4 ,chiselling out the lights of the picture4 #ac4 ,middle etching4 #ad4 ,washing and examining the result4 #ae4 ,coating for deep etching4 #af4 ,formation of etching varnish by dusting1 heating with increasing strength of resin and asphaltum2 varnishing the back4 #ag4 ,deep etching4 #ah4 ,washing out and examining4 #ai4 ,coating for round etching4 #bj4 ,formation of etching varnish by single dusting and warming of resin1 and double dusting and burning-in of asphaltum2 varnishing the back4 #ba4 ,round etching4 #bb4 ,washing and examining the plate4 #bc4 ,coating for clean etching4 #bd4 ,formation of etching varnish by single dusting and burning-in of asphaltum at a high temperature4 #be4 ,clean etching4 #bf4 ,washing and scraping the back4 #bg4 ,proofs4 #bh4 ,cutting out and mounting the plate4 #id ,,chapter ,,vi4 ,,hints ,,from ,,all ,,sources4 ,although the number increases almost every week1 there are but few persons who understand photo-reproductive processes in all their details4 ,those who do1 have been so chary of giving of what they know1 that our literature on the subject is very scanty indeed4 ,consequently1 as all the hints that are obtainable are very welcome1 ,i have collated a few from various sources1 and make a mosaics of them here for the general good4 ,every would-be photo-engraver1 if he is not already a skilled photographer1 should obtain and study a good photographic text-book4 ,if he proposes to make his own drawings1 he should also obtain ,burnet's ,essays on ,art4 ,the first will not only teach the best formula for the production of negatives1 but it will also enjoin the importance of being careful1 cleanly1 and exact in all the manipulations4 ,the second will teach how to draw according to the best rules of art4 ,remember always1 the old injunction1 whatever you are1 be best6 ,after the regular photographic manipulations are well looked after1 the preparation of the drawing should have attention4--,,edward ,l4 ,,wilson4 ,,as ,,to ,,the ,,drawing4 ,there are two separate and distinct styles of drawing for reproductive purposes1 whether the artistic engraver be employed1 or any of the means of automatic engraving be used4 ,these two methods are technically known respectively as fac simile drawing1 and drawing in wash4 ,the former consists in the sole employment of lines1 in which the shading is to be produced as well as the outline of a picture4 ,every line and mark that is subsequently to appear in the engraving must be traced in the original4 ,this description of drawing is applicable to wood engraving1 to line engraving upon copper or steel1 as well as to all the methods for automatically producing blocks for relief printing4 ,the line method is also universally adopted by etchers in intaglio4 ,successfully to prepare drawings for photographic reproduction it is essential that some knowledge should be possessed of the fundamental principles of #ie photography1 as well as an acquaintance with the capabilities of the particular process of production which is to be employed4 ,thus1 the material upon which the drawing is to be made should be of such a character as will yield a strong and well-defined contrast to the lines of the drawing2 while the pigment employed for the drawing should be as black as can be procured4 ,white ,bristol board of fine surface1 and the best ,india ink meet these conditions4 ,a blue-black does not form a desirable drawing medium1 but the introduction of red or orange into the composition should serve to intensify the photographic image4 ,to draw upon a dark orange-colored paper with a pale blue-gray ink would be simply to disregard all photographic principles1 for the photographic value of the paper and of the ink would be nearly equal1 and the drawing would consequently be lost4 ,uniformity of color in the drawing is also desirable1 and the artist should resist the natural tendency to express distance and to produce his effects by diminishing the intensity of color in parts of his picture4 ,from a drawing uniform in color a satisfactory negative is obtained2 but1 in the other case1 the photographer must estimate an average duration of exposure1 and will rarely escape the dilemma of some portions being overexposed while others are comparatively undeveloped4 ,this theory receives illustration from the fact that very good subdued effects can be obtained from well-executed pencil drawings1 where this uniformity of color is preserved4 ,a longer exposure may be required1 but every part of the picture will be equally developed4 ,to return to the matter of the paper used1 color is not the only important consideration4 ,if the surface of the paper is irregular and coarse in texture1 such as painters in water-color delight in1 good results must not be expected4 ,a negative1 taken in the ordinary way from a drawing made on such material1 would inevitably reproduce all the inequalities of the texture of the paper1 to the manifest injury of the more delicate parts of the drawing4 ,in reproductions from old prints or printed books1 the conditions and character of the paper present some of the greatest difficulties with which the photographer has to contend4 ,the ridges in the surface of the paper cast shadows which are too faithfully reproduced in the negative4 ,the employment of a diffusive rather than a direct light is the usual remedy1 but the best way of dealing with the difficulty is that employed in the studio of the ,autotype ,company4 ,the original is laid upon the floor under a strong light1 and the camera set at an angle of forty-five degrees4 ,mr4 ,alfred ,dawson informs me that he inclines to the opinion1 founded upon #if his extensive experience and untiring experiment1 that it is desirable to get rid of the surface of the paper altogether1 by covering it with a substance similar to an enamel4 ,in conclusion1 the conditions required in the successful preparation of drawings for photographic reproduction1 may be thus briefly summarized3 ,that a sufficient photographic contrast should exist between the pigment employed and the material upon which the drawing is made2 that a paper should be selected which is smooth and without water-mark1 and white2 that the drawing material may be pencil or ink1 in which blue is not a component4--,,james ,s4 ,,hodgson4 ,,fading ,,out ,,the ,,photograph4 ,for newspaper line work excellent results may be obtained by drawing over a photograph1 and then fading out the photographic parts not wanted4 ,there are several methods1 but the following is the most simple and the easiest to manage3 ,make a weak solution of cyanide of potassium and add a flake or two of iodine4 ,when the drawing is made with water-proof ink and on a photograph printed upon bromo-gelatine paper the above solution flowed over it will at once cause such portions of the image as have not been drawn upon with the ink1 to fade away and leave nothing but a fine ink sketch against a perfectly white background4--,,roberts ,,fellows4 ,,the ,,reversal ,,of ,,drawings 7,,negative ,,printing74 ,this very simple and very safe method is to be recommended especially for advertisements in papers and for titles of books1 and can be made both by aid of photography 7by a transparency7 and without it1 in the following manner3 ,make a copy1 on copy-paper1 of the drawing to be reversed1 using an ink of gum1 glycerine1 and aniline1 and transfer it carefully1 without using too much water1 when loosening4 ,dry the plate1 and pour over it a solution of #a part of asphaltum1 #a part ,venetian turpentine1 in #ah parts benzole2 then allow to dry upon a plate4 ,place the plate into a weak soda solution1 and develop with a fine pad of cotton1 till the drawing stands clear4 ,ordinarily ,i employ the following method3 ,a plate prepared for transfer is uniformly cleansed with gallic acid and then coated with gum1 as in the case of blackening a transferred drawing1 while both solutions are left to dry spontaneously4 ,this done1 the coating of gum and gallic acid is thoroughly washed off1 and the plate is carefully dried and gently warmed4 ,the transferred drawing must be made on #ig paper with an easily soluble layer composed as follows3 dissolve #ajj grammes of wheat starch--i4 e41 starch made of wheat--in #djj c4cm4 of rain-water2 raise #a litre of water to boiling and dissolve therein3 #ej grammes of common salt1 #ge grammes of glycerine1 #ej grammes of gelatine1 and #be grammes of molasses2 when these are well dissolved and taken up1 add slowly the wheat-starch1 stirring continually2 then allow to boil a short time so that we may dissolve it without an excess of water after the ordinary transfer of the picture4 ,when this has been done1 we wash it again with a soft brush and water1 dry1 dust twice1 and burn in thoroughly with asphaltum4 ,place the plate in a very weak bath of nitric acid 7#aj cubic centimetres of acid to #a litre of water71 and rock it lightly for about two minutes until the zinc changes color4 ,then wash1 dry1 and warm4 ,the combination of gum and gallic acid is broken up by this etching in all those places which were not protected through the transferred drawing1 and the latter itself1 in the subsequent blackening with chemical ,india-ink1 forms the coating and protection against a combination of the zinc below4 ,it is best to blacken it with a brush and to warm the plate until the ink has become dry4 ,now moisten again with gallic acid and gum1 wash the plate 7without great pressure7 with spirits of turpentine1 rub on more of the solution of gum1 and blacken as usual4 ,practice will insure safe working by this method4--,j4 ,o4 ,,morch4 ,,etching ,,apparatus4 ,it does not come within the province of this work to instruct in the preparation of inks and colors for etching or for printing1 since such articles are better purchased of the dealers ready prepared4 ,in all cases the choicest results are obtained by using the best apparatus and the purest materials4 ,there is no economy in 8getting on0 with the 8cheap40 ,a few hints as to some of the 8tools0 which are found convenient in practice3 ,for sifting the fine resin dust1 a machine is employed1 known to sieve manufacturers as 8the composition sieve40 ,it consists of the ordinary sieve1 having on each side a cover with a bottom of calf skin4 ,the sieve-bottom is made of the finest silk texture4 7,see ,fig4 #aj47 ,for fixing and melting-in of the drawing on metal1 ,i use a grate made of a wooden frame with diagonal iron rods4 ,this form is preferable to the ordinary grate1 because it allows the flame free access to the metal plate4 ,inasmuch as the heat is strongest in the centre1 the cross-bars protect the centre of the plate from burning and from warping4 ,the source of heat is either an alcohol #ih lamp 7,fig4 #aa7 in which cotton soaked in alcohol is ignited 7the cover shown in the drawing serves to smother the flame71 or a strong gas flame 7,bunsen burner74 ,the adoption of the latter mode is advisable4 ,illustration3 ,fig4 #aj4 ,the ,sieve4 ,illustration3 ,fig4 #aa4 ,formerly ,i employed a plain cast-iron heating-plate1 with a gas or a petroleum flame4 ,the zinc plate1 however1 being in direct contact with the hot surface1 warped very much4 ,i obviated that somewhat by covering the heating-plate with a piece of wire-gauze4 ,the strata of hot air thus obtained between the cast-iron and the zinc plate heats the latter equally throughout1 and prevents warping4 ,still ,i prefer the direct method4 ,for freeing the plate from resin-dust1 employ a strong pair of ordinary bellows4 ,the table 7,fig4 #ab7 for washing the coating material from the plate consists of a heavy framework1 upon which rests a wooden grate4 ,a massive table-board is not to be recommended1 as the dirty sawdust adheres to the same1 while with the other it easily falls through the openings into a box1 and leaves the table free and clear4 ,illustration3 ,fig4 #ab4 ,the measuring or calibre-bridge 7see ,fig4 #g7 serves to determine accurately whether the ready plates have the height of type4 ,a rule of forty #ii centimetres will suffice for any plate4 ,no plate should leave the workshop without having been tested as to its thickness or height on this instrument4 ,the zinc plane is of ordinary construction1 to the bottom of which is attached a double layer of hard wood4 ,the iron being arranged for scraping can be inserted in a position just the reverse of the ordinary plane4 ,the 8hand-bridge0 is a strong ruler1 thirty centimetres long1 and five centimetres wide1 to the ends of which are fastened two blocks of wood one centimetre high4 ,it serves as a support for the hand in retouching4 ,the rollers of the 8chemigraphist10 and also the pads1 are of greatest importance4 ,for etching by the ,french process we need a good1 rough roller1 and a faultless1 smooth one2 for the ,vienna process only the latter is needed1 in addition to a smooth1 tight leather ball or pad1 such as was used in the art of printing prior to the introduction of rollers4 ,a perfectly smooth surface is obtained by covering the rollers with a dryer1 and allowing them to dry in the open air4 ,a solution of shellac with camphor1 applied like furniture polish1 also yields a fine surface4--,j4 ,o4 ,,morch4 ,,the ,,best ,,drying ,,box4 ,after bichromatizing the gelatine sheet for printing the transfer image1 ,i proceed with the drying in a box constructed as follows3 ,the box has four walls or sides of cloth1 or any other stuff that allows the air to pass through1 and must have a solid bottom1 which will allow the attachment of a heating apparatus beneath it4 ,in this box is a cylinder which turns on its own axle1 and which can be set in rotation from the outside when the box is closed4 ,upon this cylinder the gelatine paper1 as we may call it1 is placed1 and the box closed4 ,a very equalizing drying is thus obtained1 by keeping the heating apparatus under the bottom of the box constantly at a steady1 uniform heat4 ,by these means1 it will be noticed3 #a4 ,that an uneven running down of the chrome-layer is avoided1 and uneven drying also positively prevented in consequence of the centrifugal force4 #b4 ,that the drying by the draft of air is regulated1 and at the same time the air can be driven to a more rapid current4 #c4 ,that the grain formed by this extraordinary method is unusually perfect1 and the nature of the grain more pleasing to the eye than when formed by chlorides4 #d4 ,that1 as already stated1 a rolling up or an uneven drying is hereby #ajj positively prevented1 as the paper is placed tight around the cylinder4 ,and now for the main advantage3 ,this so dried paper is ready for use1 and1 when exposed to light1 under a negative1 produces a perfect and correct picture1 which1 when rolled up with transfer ink and developed in water1 is ready for transferring direct on to the lithographic stone1 or on to a metal plate1 and to be further proceeded with as usual4--,,edward ,,meissner4 ,,to ,,produce ,,grain ,,on ,a ,,negative4 ,the negative is taken1 and a solid pigment of ,chinese ink sprinkled on it with the ,air ,brush1 by which it gets a wonderfully fine grain4 ,a coarser grain is made in a similar way1 by sprinkling with a knife over a tooth-brush that has been dipped in ,chinese ink4 ,the ,air ,brush1 however1 will always be found the most suitable instrument1 and now a wide field for its use is opened to artists of all classes4 ,instead of using ,chinese ink1 gamboge1 or any other solid and well-covering pigment may be used4 ,for the practical photo-engraver1 lithographer1 photo-lithographer1 and other men of experience in photo-mechanical processes1 no further explanation is required4 ,they will at once see the superiority of this process over everything that has hitherto appeared4 ,after the information we have just given1 they will all be enabled to do work by this process4 ,it will henceforward be easy to produce photo-lithographs for lithographic printing as well as printing plates for the type press without difficulty1 in a short time1 and at trifling expense4--,,fred4 ,,buehring4 ,,on ,,the ,,use ,,of ,,acids4 ,a few hints on use of the acids will form my contribution to your work3 ,in order to obtain a proper resistance and firmness in the lines1 it is necessary to prevent the acid from making the base that supports them too thin1 and to strengthen the base by giving the depression the form of a ,v1 and the base itself the form of an ,a4 ,the depth must be great enough in the broad blanks to prevent the roller from sinking 7although there is no danger of this when the lines are close together71 and thus soiling them4 ,a useless depth between very thin sides might weaken them2 but1 in the process employed1 the attack by the acid continues only in proportion to the width of the spaces to be excavated4 #aja ,these results are obtained as follows3 ,the prepared plate bearing the design is inked with a thick ink containing a little wax1 and is placed in a trough with acidulated water1 which slightly attacks the metal4 ,the trough is mounted so as to rock1 and is kept in motion by a lever actuated by a steam motor4 ,the water moves to and fro over the entire surface1 and keeps continually washing the parts that are not protected against its action4 ,no local saturation1 therefore occurs1 and the continuously renewed liquid attacks the bottom as well as the sides of the hollow4 ,the sides would soon be rendered too thin were the biting-in too long continued1 and for this reason the first attack is made with great care4 ,it is upon this that depends the sharpness of the proof4 ,the acid used is nitric1 so dilute that it is scarcely perceptible to the taste1 and in the proportion of about one and a half ounces to a quart of water4 ,the acidity is kept up by a small quantity of acid of #cf1 that falls drop by drop from a bottle provided with a cock4 ,after about a quarter of an hour1 the plate is taken out1 and the operation repeated as generally directed4 ,remember this3 ,at every new biting-in the acidity of the bath is increased1 and1 when the broad parts alone remain exposed to the attack1 acid of #f ,b4 may be used4 ,in this state1 the zinc plate1 taken from the bath and washed and dried1 is treated with benzine1 and then with potash1 in order to remove all fatty matter4 ,it may then be seen that the sides of the hollows do not exhibit a regular sloping surface1 but a series of ridges corresponding to the series of bitings-in4 ,as these might take the ink1 and affect the purity of the lights and shades1 it is necessary to remove them by an operation analogous to the first1 but carried on quickly in an opposite direction4 ,with this intent1 the plate1 well cleaned and heated upon the iron table1 is inked while hot1 with a composition formed of two parts printing ink and one part each of resin and beeswax4 ,this ink1 which can be used hot only1 descends along the sides of the depressions1 and when it has got half way to the bottom the plate is cooled1 and the inking is renewed so as to well cover the entire surface4 ,it must not be believed that in practice these operations can be conducted without extreme care4 ,a want of attention1 unsuitable ink1 or a too high or low temperature1 may lead to the loss or poor execution of the piece4 ,it is often objected that the lines in this style of plates have not the boldness of those produced by the graver4 ,it is not for us to answer the question whether this is a merit or a defect2 artists generally endeavor to employ paper with an irregular and granular surface1 and which is far from giving such boldness2 #ajb and he perhaps would be poorly appreciated who should present upon glazed paper a drawing made with the pen and resembling a picture made with the graver4 ,it is the artist's business to produce the work such as he desires the ,gilloteur to render it4--,,gillot4 ,,multiplication ,,of ,,zinc ,,etchings ,,by ,,galvanic ,,means ,,and ,,by ,,stereotyping4 ,multiplication of printing-blocks by galvanoplastic1 or stereotyping1 is not so easy as in case of woodcuts or type4 ,the main difficulty lies in some peculiarities of the process of etching1 especially if the plate has been produced by the ,french method4 ,the reproduction of a form is often impossible1 since the matrix is caught on certain rough spots and then tears1 thus rendering galvanoplastic reproductions imperfect4 ,having very frequent opportunity of making matrices from plates1 ,i call the etcher's attention to several points upon which the success of the work depends4 ,on no condition whatever may any parts of the plate be corroded from beneath1 as wax or gutta-percha will invariably tear when lifting off the impression 7mould74 ,in the second place1 the bottom of the etching must be perfectly smooth1 not rough2 the single grades1 left by etching1 must be removed1 and the lines must incline perfectly smooth toward the depth of the etching4 ,in stereotyping1 the process of drying presents special difficulties1 since with heat the wood warps and distorts the plate2 the cold process1 on the other hand1 does not give equally sharp impressions4 ,for this purpose ,i have mounted the plates on lead instead of on wood1 and am thus enabled to get sharp impressions and to apply hot drying4 ,instead of paste1 ,i employ light magnesia2 instead of oiling the plate before planing or rolling it in1 ,i give it a high polish with stearine oil and rouge by means of a circular brush1 and brush it once more with talc4 ,thus ,i am sure of success4 ,,preparing ,,zinc ,,plates ,,on ,,the ,,printer',s ,,press4 ,a wood-cut gives the outrunners of the finest portions in a plane which runs downward2 an etching1 on the contrary1 shows the whole engraving in one plane4 ,according to this the outrunners 7the borders7 often print somewhat hard1 unless care is taken to alleviate this fault4 ,this will be easy to the experienced workman4 #ajc ,starting from the fact that a zinc plate is easily bent1 place something under the back of the heavy portions in mounting1 and when nailing drive the nails tight in the white lights and on the edges2 thus the borders are deepened1 and print softer4 ,in this manner an experienced and practised hand can produce effects impossible in any other way4 ,for printing on rotary machines1 galvanos are used in many places4 ,but a zinc plate may be excellently fastened in the following manner3 ,clean the back well and solder the back with soft solder1 as is customary in galvanic backing4 ,then attach it lightly to its place on the wooden or metal block1 hammer or roll in the plate without paying special attention to the zinc plate1 dry the matrix1 and lift it from the form4 ,after preparing for casting take the zinc plate from the wooden block1 bend it while hot1 put it back into its position in the matrix1 cover the edges with tissue paper and paste1 dry the edges with an iron1 place into the casting apparatus and cast as usual4 ,in this manner the zinc plate 7metal1 cast from a matrix7 is in place at exactly the height of the type and will print excellently4 7,the face is to be slightly oiled before fastening in the matrix1 to prevent any sticking of the lead47 ,as a cover for the printing cylinder1 ,i have always found paper most serviceable1 although covers of ,english leather are also advantageous1 especially for large editions4 ,i should not recommend felt4 ,the rollers for printing zinc plates should be held with somewhat stronger tension than for printing of wood-engravings4 ,as a method of preparing1 ,i recommend the gradating of the lights and shades1 known to every intelligent machinist4 ,wherever possible1 highly calendered paper should be used1 as it gives the best results4 ,,etching ,,with ,,sulphate ,,of ,,copper ,,solution4 ,nitric acid may be replaced by sulphate of copper1 especially in the first periods of etching1 and etching can be obtained both in a galvanic way and by easy shaking of the tray4 ,the sulphuric acid of the copper sulphate combines with the zinc and the copper1 and when liberated1 precipitates as an amorphous1 muddy substance4 ,although this process has almost entirely fallen into disuse1 the most important points are treated of below4 ,the bath4--,dissolve pure copper sulphate 7of the strength of #i ,beaum7 at a temperature of #ae ,c4 ,etch galvanically in this bath by placing in it a clean #ajd copper dish4 ,the plate prepared for etching as per page #hd1 is rubbed bright at the four corners and four ,s-shaped narrow strips of sheet copper are so fastened to the bright zinc that the ,s-shaped end rises about three millimetres over the picture4 ,then place the plate face downward for three minutes into the bath1 above the copper plate1 which is electrically connected with the zinc by brass strips1 so that instantly a strong galvanic current is set up4 ,the etchings are found to be very satisfactory and interesting4 ,in three periods 7nine minutes7 a beautiful preliminary etching is obtained with rather perpendicular faces4 ,i cannot recommend etching by shaking1 as the sediment causes rupture of the finest lines4 ,,process ,,for ,,high ,,etching ,,in ,,relief4 ,experienced etchers can also apply their art to the reproduction of drawings by means of the printer's press1 in the following manner3 ,a plate1 ready for etching and free from grease1 is cleaned with weakly acidified water1 the remaining water drawn off with a blotter1 and the plate gently heated4 ,by means of a pad a fine paste of graphite is rubbed upon the surface2 it is then moderately heated and a very thin gauze-like layer of warm white wax is applied to the graphite surface4 ,after cooling the plate1 spread upon it a coat consisting of the finest orange-colored chrome yellow 7rubbed to a fine dough with water and gum74 ,in this ground layer we can erase as for deep etching4 ,brush the finished surface with writing ink dissolved in benzine 7using a fine wide brush74 ,the plate should be warm4 ,take a pad made of cotton1 dip it into water and work over the surface in small circles until the image has become well developed4 ,from this point we can continue according to the usual method4 ,j4 ,o4 ,m,,rch4 ,,the ,,running ,,of ,a ,,workshop4 ,the great competition demands of every chemigraphical business a ready1 productive organization1 which is also attentive to the rules of economy4 ,in following out the latter it is advisable to aim at a division of labor4 ,by giving to the single workmen more practice in each particular manipulation1 the quality of the work is also promoted4 ,to secure a lucrative trade1 we need the following helpers3 #a4 ,a foreman thoroughly acquainted with the whole process4 #b4 ,a photographic assistant1 who is skilled especially in straight line #aje reproduction1 and who aids in the copying of negatives4 #c4 ,a carpenter1 at the same time polisher of the zinc and finisher of the plates1 who will also assist at other things in general4 #d4 ,a first manipulator1 who understands blacking of the plates and the examination of the same throughout the whole process4 #e4 ,a man to form the etching varnish on the plates4 #f4 ,a man to scrape off4 #g4 ,a man to etch4 #h4 ,one to wash plates and to make himself generally useful4 ,with the aid of such a staff it is possible to produce #bjjj square centimetres of etching daily1 and by the addition of a ninth assistant the capacity can be raised to #cjjj square centimetres4 ,a first manipulator can be trained in three months1 a carpenter in the same time1 and the others in four to six weeks4 ,the head of the establishment will1 of course1 be doubly busy during these first months4 ,upon his abilities depends the success of the whole4 ,i think it is inadvisable to introduce etching into all the printing establishments1 as production on a small scale is far more expensive and less satisfactory4 ,but it is advisable to add to the chemigraphy a small lithographical laboratory4--,j4 ,o4 ,,morch4 ,,some ,,wrinkles ,,and ,,dodges4 ,as ,i had to stumble through to success like many others1 ,i gladly give a few little items of practice which may speed the work of others4 ,i like this for a sensitizing solution3 ,bichromate of ,potash in powder #a ounce4 ,water #ae ounces4 ,alcohol 7#iej7 #d ounces4 ,liquor ,ammonia #a ounce4 ,after ,i have sensitized the gelatine transfer paper ,i increase the surface quality by laying it upon a glass plate which has been heated very slightly indeed with vaseline4 ,i use a squeegee to secure close contact and then stand it up to dry1 say over night4 ,a slight start at one corner with a knife point will cause the paper to leave the glass readily4 ,it pays always to get the best material4 ,nothing is worse than a bad quality of zinc4 ,i use ,no4 #aj4 ,a strong1 well-made clotheswringer will answer for a time1 for making transfers1 when a lithographic press is not convenient4 ,the pressure should be uniform4 ,learn to be systematic until you are familiar with all the details of the work4 ,it might be well for you to make a numbered list of the necessary operations #ajf and paste it up where you can see it and refer to it handily4 ,accustom yourself to having a place for everything and everything in its place4 ,i have seen many an etching lost by disregard of this rule4--,c4 ,w4 ,,roche4 ,,carbon ,,printing4 ,in ,chapters ,,iii4 and ,,iv4 on engraving on copper1 the resist and relief are made by what is called in photographic nomenclature the carbon process--that is1 printing in gelatine to which has been added a suitable pigment4 ,this pigmented gelatine1 spread upon paper and dried1 is known in commerce as carbon tissue1 and is sold of various colors and degrees of density as regards the quantity of pigment incorporated with the gelatine4 ,for our purpose that tissue containing the minimum quantity of pigment is the best 7this only applies to the resist or relief on the copper1 not to the transparency necessary for printing the resist from2 in this case what is known as transparency tissue must be used1 and that is made with the maximum quantity of pigment 7,india ink7 incorporated with the gelatine71 but as the subject of making transparencies in carbon has already been treated of1 the present notes will be confined entirely to developing carbon prints upon copper for resists 7,chapter ,,iii4 for reliefs ,chapter ,,iv474 ,the carbon tissue of commerce is not sold in a sensitive condition2 therefore1 the first care will be to render it sensitive to the action of light1 which is done by immersion in a solution of bichromates of potash and ammonia4 ,first of all dissolve in eighty ounces of water one and a half ounces of bichromate of ammonia1 and one ounce of bichromate of potassium1 and filter4 ,then cut the carbon tissue into suitable sized pieces--i4 e41 pieces a little larger than the subject on the transparency or negative to be used1 and a little smaller than the copper plate upon which it is intended to develop the carbon print2 next select a sufficient number of glass plates quite free from scratches a little larger than the pieces of tissue1 now clean these glass plates carefully by polishing with clean linen or silk cloth free from lint1 then dust over with ,french chalk and again well polish2 then coat with thin plain collodion1 and when the film is well set place the collodionized plate in clean cold water until the greasy appearance that shows on the first immersion in the water has disappeared4 ,place the filtered bichromate solution in a clean dish1 then immerse the pieces of tissue1 one at a time1 taking care that no air bells are allowed to #ajg remain upon the surface2 if any form1 remove them by bursting them with the fingers4 ,after the tissue has been in the solution for three minutes1 take one of the collodionized and washed plates from the water and remove one of the pieces of tissue from the bichromate bath1 place the two face to face1 lowering the tissue gently down upon the collodion film1 then place the glass plate upon a bench1 lay a piece of ,macintosh cloth 7larger than the plate7 over the tissue1 and with a squeegee gently scrape along the ,macintosh2 this will bring the carbon tissue into contact with the collodion film1 and also expel superfluous bichromate solution1 but care must be taken not to remove too much of the bichromate else the tissue will be insensitive and print hard4 ,the plate is now placed upon a rack1 and all the remaining pieces being done in the same way are also placed upon the rack4 ,the tissue being thus squeegeed into optical contact 7the squeegee is made with a strip of soft rubber fixed between two pieces of wood7 with the collodionized glass1 it must be dried in the dark room in a current of warm air1 not higher than #fj ,f41 else the pigmented gelatine will melt and be useless 7bye the bye1 the bichromate solution in hot weather should be iced so as to keep the temperature below #ej ,f474 ,when the tissue is dry it is stripped from the glass and stored in a tin tube1 and care must be taken to keep it away from the light1 as if the tissue be once exposed to the light even for a short time1 the action will go on in the dark4 ,in treating of the transparencies1 it is mentioned that the subject on the transparency or negative is marked1 this being necessary to form what is called a safe edge to the carbon print4 ,if such a safe edge be not provided1 the carbon print will not adhere to the copper during development2 therefore1 the extreme edges of the tissue must be guarded from the light during the exposure in the printing frame4 ,the exposure to light under the negative or transparency must be timed by means of an actinometer1 which may be improvised by dividing a strip of tracing paper into ten spaces1 and numbering these spaces so3 #a #b #c #d #e #f #g #h #i #aj ,write the figures with good black ink and then cut other pieces of white tracing paper into strips of the same width4 #ajh ,now lay the piece of tracing paper with the numbers on it1 upon a piece of glass #d-a_/d #c-a_/d inches1 and fix it in the centre1 then place thicknesses of tracing paper over this so that space #b has three thicknesses of tracing paper1 space #c five thicknesses1 space #d seven thicknesses1 space #e eight1 space #f nine1 and so on up to #aj4 ,now if a piece of ordinary sensitive albumen paper is put into a frame behind this screen1 it will form an actinometer1 and when1 after exposure to light the figure #e is just visible1 five tints are registered4 ,this actinometer will with practice enable the operator to judge when the carbon tissue has been exposed sufficiently long2 the only guide that can be given1 is to err on the side of overexposure rather than underexpose4 ,the carbon tissue being exposed1 it is removed from the frame1 and placed in clean cold water2 then as soon as it begins to uncurl itself1 the copper plate is placed in the water1 and the two are brought into contact1 the tissue adjusted in position upon the copper1 then removed from the water1 and a squeegee applied vigorously to the back of the tissue1 applying the squeegee first one way and then the other4 ,now allow to stand a few minutes1 then immerse it in water at a temperature of #ij or #ie ,f41 and in a few minutes the pigmented gelatine will begin to ooze from under the paper backing1 which may now be stripped off and thrown away4 ,the copper plate may now be raised and gently laved with the hot water1 or it may be allowed to remain until the whole of the soluble gelatine is dissolved away1 leaving the picture upon the copper plate1 which is rinsed in cold water and dried4 ,for the purpose of copper plate work1 the image must be thoroughly well exposed1 every detail being impressed1 else it will be impossible to get a good photogravure2 therefore1 until the operator thoroughly understands the use of the actinometer it will be as well to make a few prints upon a piece of opal glass4 ,carbon tissue does not keep in a sensitive condition more than a month1 under the most favorable conditions1 the general time perhaps being a week4 ,the first sign of deterioration is generally shown when trying to mount upon the copper1 after soaking in cold water1 the tissue refusing to adhere after the application of the squeegee4 ,the best way to test the sensitive tissue is to take a small piece and immerse it in cold water for a minute1 then put it into water at #ie1 and1 if the coating dissolves off the paper the tissue is all right2 if it does not1 it is useless4 ,tissue will generally be found at its best about #aji three days after sensitizing1 and will gain rapidly in sensitiveness daily afterward4 ,carbon tissue can be made at home1 the following being the formula3 ,gelatine 7soft7 #aj ounces4 ,sugar #d ounces4 ,water #cj ounces4 ,dissolve the gelatine at as low a temperature as possible1 then add the sugar and churn thoroughly2 then add sixty grains of ,india-ink1 previously dissolved in a little water1 again churn1 then strain through muslin into a dish 7which dish is placed in another containing hot water74 ,now take two sheets of paper1 grasp one end tightly and drag them rapidly through the tissue compound1 and directly they are lifted clear of the solution let an assistant grasp the bottom and you dropping the top1 will reverse the sheets and keep the gelatine on the surface of the paper2 when the gelatine has set1 divide the two sheets and hang up to dry2 when dry the subsequent proceedings are the same as for commercial tissue4 ,,colas',s ,,black ,,process4 ,this process will often be found useful to reproduce a drawing on yellow tracing-paper1 so as to give a more suitable copy to photograph from4 ,coat with a fine sponge a hard1 well-sized paper1 with ,water #cjj parts4 ,gelatine #aj parts4 ,perchloride of ,iron 7dry7 #bj parts4 ,tartaric ,acid #aj parts4 ,persulphate of ,zinc #aj parts4 and dry in a dark-room4 ,when dry1 expose under the tracing until the greenish-yellow tint of the paper has disappeared1 except where covered by the opaque lines4 ,development is effected in a bath made by dissolving #bj parts of gallic acid in #bjj parts of alcohol and #ajjj parts of water2 then wash in plenty of clean water4 ,,mordants ,,for ,,etching4 ,i4 ,,mordants ,,for ,,steel4--,nitric acid forms the basis of most fluids for etching steel as well as for other metals4 ,acetic acid and alcohol are sometimes added1 and some formul contain nitrate of silver1 corrosive sublimate1 salts of #aaj copper1 etc4 ,iodine is also a most efficient mordant for steel1 and ,mr4 ,fox-,talbot used the chlorides of iron and platinum for etching his plates through the coating of bichromated gelatine4 ,plain ,acid ,mordant4--7,kruger47 ,first biting3 ,muriatic or ,nitric ,acid #a part4 ,water #h parts4 ,stronger3 ,acid #a part4 ,water #d parts4 ,deepest3 ,equal parts acid and water4 ,kruger4--,chromic acid1 diluted according to the effect to be produced4 ,this also serves for zinc1 copper1 and brass1 and bites with great ease and certainty1 making a good vertical cut4 ,ed4 ,turrell4 ,glacial ,acetic ,acid #d parts4 ,absolute ,alcohol #a part4 ,nitric ,acid 7specific gravity1 #a4bh7 #a part4 ,the acetic acid and alcohol are mixed and allowed to stand for half an hour1 then the nitric acid is added very gradually4 ,this mordant is applied from one to fifteen minutes1 according to the strength desired1 and may be strengthened by adding nitric acid4 ,etching ,solution with ,alcohol4 ,alcohol seems to be added with the object of softening the action in the first biting1 and of making the mordant bite at once4 ,for etching ,niepce de ,st4 ,victor's asphaltum plates1 ,m4 ,lemaitre used1 for the first biting3 ,nitric acid1 at #cf #a part4 ,distilled ,water #h parts4 ,alcohol1 at #cf #b parts4 ,and finished off with nitric acid and water1 without alcohol4 ,etching ,solution with ,nitrate of ,silver4 ,alcohol #f parts4 ,distilled ,water #i parts4 ,pure ,nitric ,acid #af4f parts4 ,nitrate of ,silver #j4hc parts4 #aaa ,the liquid improves by keeping4 ,before beginning1 wash the plate for a few seconds with dilute nitric acid 7at four per cent471 then apply the above mordant for about three minutes1 and wash off with distilled water containing six per cent4 of alcohol4 ,repeat the biting as often as may be necessary1 well washing between each operation4 ,deleschamps4--,glyphogen4 ,acetate of ,silver #h parts4 ,rectified ,spirits #ejj parts4 ,distilled ,water #ejj parts4 ,pure ,nitric ,acid #bfj parts4 ,nitric ,ether #fd parts4 ,oxalic ,acid #d parts4 ,this is recommended as being free from the defects of many of the other mordants1 and as giving a clean vertical bite4 ,several formul contain salts of copper4 ,roret4 ,nitric ,acid #fb parts4 ,distilled ,water #abe parts4 ,alcohol #ahg parts4 ,nitrate of ,copper #h parts4 ,iodine is recommended as a very efficient mordant for steel1 being free from the inconveniences caused by the disengagement of gas1 as when biting with nitric acid4 ,messrs4 ,schwarz and ,boehme give the following3 ,iodine #b parts4 ,iodide of ,potassium #e parts4 ,water #dj parts4 ,this may be further diluted up to #dj parts more water1 for etching the finest lines4 ,it gives good deep lines1 sharp1 and with clear edges even1 for the finest and closely ruled lines have no tendency to run one into the other4 ,the following resembles the etching fluids for copper1 commonly known as 8,dutch mordant40 ,cooley4 ,hydrochloric ,acid #e parts4 ,water #ie parts4 ,mix and add3 ,chlorate of ,potash #a part4 ,water #ej parts4 #aab ,cooley4--,for electric etching with the battery1 a solution of common salt is used4 ,,ii4 ,,mordants ,,for ,,copper4--,the most useful mordants for copper are nitric and nitrous acids1 more or less diluted with water4 ,latterly1 however1 a mixture of chlorate of potash and hydrochloric acid1 known as the 8,dutch mordant10 has come more into use4 ,for some purposes1 perchloride of iron in solution is a useful mordant1 particularly in photographic work with gelatine films4 ,these two latter mordants bite more quietly than the acids1 so that the lines are not so much enlarged1 and there is not the same risk of close lines running together and other inconveniences caused by the evolution of bubbles of gas4 ,acid ,mordants4--7,lalanne47 ,nitric ,acid1 at #dj #a part4 ,water #a part4 ,with a little old etching solution added1 or pieces of scrap copper4 ,malaret4 ,nitric or ,sulphuric ,acid #a part4 ,saturated ,solution of ,bichromate of ,potash #b parts4 ,water #e parts4 ,fizeau used for daguerrotype etching a mordant composed of nitric1 nitrous1 and hydrochloric acids4 ,dutch ,mordant4 ,fuming ,muriatic ,acid 7specific gravity1 #a4aij7 #aj parts4 ,water #gj parts4 ,to this add a boiling solution of ,chlorate of ,potash #b parts4 ,water #bj parts4 ,this may be diluted with from #ajj to #djj parts of water as required4 ,perchloride of iron1 more or less diluted in water1 is1 according to ,hamerton1 an excellent mordant4 ,it bites deep and clear1 without enlarging the line much1 and there is no ebullition1 as with nitric acid4 ,it is particularly useful in photographic etching through gelatine1 as the latter is insoluble in it4 ,in most cases the mordant is flowed over the plate1 or kept moving on it in the same way as a photographic developer4 ,such mordants are generally used for finishing off and deepening the light tints1 and are called eau fortis couler or passer4 ,the following formul are given3 #aac ,roret4--7,abraham ,rosse's47 ,strong ,white or ,distilled ,vinegar #c litres4 ,sal ,ammoniac #ahj grammes4 ,common ,salt #ahj grammes4 ,pure ,verdigris #abj grammes4 ,a little oxalic acid is sometimes added4 ,the solids are ground up1 and boiled in the vinegar4 ,acetic acid at #c1 or pyroligneous acid1 may be used in place of vinegar1 and1 if too strong1 more vinegar should be added4 ,the following1 used by ,callot and ,piranesi1 is similar and prepared in the same way3 ,strong ,vinegar #h parts4 ,verdigris #d parts4 ,sal ,ammoniac #d parts4 ,salt #d parts4 ,alum #a part4 ,water #af parts4 ,for relief etching use only #aj parts of water4 ,relief ,etching4 ,for etching copper in relief1 the following glyphogen is recommended by ,deleschamps3 ,nitrous ,acid1 at #cj #b ounces4 ,acetate of ,silver #f drachms4 ,hydrated ,nitric ,ether #af ounces4 ,the nitric ether is prepared by mixing two ounces each of nitric acid and alcohol1 and1 when the reaction commences1 stopping it by adding eight ounces of distilled water4 ,tint ,etching4 ,flour of sulphur mixed with oil forms a good composition for etching tints4 ,it can be applied with a brush4 ,for a flat tint1 ,hamerton says 8,oil the plate liberally with olive oil1 and blow flour of sulphur upon this40 ,the sulphur1 if allowed to remain on the plate1 will produce a flat tint1 more or less deep in proportion to the time it remains4 ,roret gives the following formula for tint etching3 ,bay ,salt #b parts4 ,sal ,ammoniac #a parts4 ,verdigris #a part4 ,these are pounded together1 and the mixture kept in a bottle4 #aad ,when required for use1 grind up a little in a glass with some syrup of old honey1 so as to make a mixture which flows readily4 ,it may be used with a brush like a color4 ,it is used after the bitings of aquatint plates with acid1 to give finish and vary the tints4 ,fielding 7for aquatint74 ,nitrous ,acid #a part4 ,water #e parts4 ,for the strongest touches1 nitrous acid and water1 equal parts1 applied with a feather or brush4 ,no4 #ai may also be used for this purpose1 either with or without a little gum4 ,hamman4--,dilute nitric acid at #ab 7sp4 gr4 #a4ji71 mixed with3 ,distilled ,water #ab parts4 ,alcohol #c parts4 ,this is said to give a grain in biting1 so that the ordinary grained ground may be dispensed with4 ,electric ,etching4 ,it has frequently been proposed to etch by means of electricity1 and in some cases it may be an advantage to do so4 ,the copper plate to be engraved is attached to the positive pole of a suitable battery and placed as anode in a solution of sulphate of copper1 or in water acidulated with sulphuric acid4 ,in suitable cases1 different degrees of depth may be given1 putting parts of the anode and cathode nearer together or further apart4 ,grove etched daguerrotype plates with a single pair of ,grove or ,bunsen cells1 by inserting the plate to be etched1 and a platinum plate of the same size1 in a wooden frame having two grooves a quarter of an inch apart4 ,the daguerrotype having been attached to the battery as anode1 and the platinum plates as cathode1 the frame is immersed in a suitable vessel filled with ,hydrochloric ,acid #b parts4 ,distilled ,water #a part4 ,contact is made for about half a minute1 after which the plate is removed from the acid1 washed thoroughly with distilled water1 then placed in a solution of hyposulphite of soda or ammonia1 and the deposit removed from the surface #aae with gentle rubbing with cotton4 ,it is again rinsed with distilled water and dried4 ,,mordants ,,for ,,zinc4 ,the comparative cheapness of zinc would give it an advantage over copper or steel for engraving or etching with the graver or point1 but it does not seem to be recommended for these purposes4 ,it is hard to cut with the graver1 and1 though it bites easily1 it is not suitable for fine work4 ,another defect is that it will not stand a long impression2 but this may be overcome by surfacing the plate with copper4 ,the principal uses of this metal for printing purposes are for surface printing or zincography in the same manner as lithography1 and for the process of biting in relief1 and zinco-typography or ,gillotage1 now so largely employed as a substitute for wood blocks4 ,it can also be engraved very delicately in the same style as engraving is done on stone1 through a coating of gum4 ,the etching fluids for zinc are of two entirely different kinds3 first1 mixtures of gum and weak acids used for preparing plates for zincographic printing in the lithographic press1 or for preliminary inking preparatory to being bitten in relief by the ,gillotage process2 and secondly1 mineral acid1 more or less dilute1 used for biting in relief and ordinary etching4 ,zincographic ,etching4 ,this kind of etching is more of a preparation of the plate for printing than engraving or biting1 the object being merely to fill up the pores of the metal with gum1 and prevent it receiving printers' ink from the roller elsewhere than on the lines of the drawing4 ,the solution most commonly employed for this purpose is a mixture of gum and decoction of nut-galls1 in use at the ,ordnance ,survey ,office1 ,southampton1 and given by ,sir ,henry ,james in his work on ,photo-zincography4 ,it is prepared as follows3 ,four ounces of ,aleppo galls are bruised and steeped in three quarts of cold water for twenty-four hours2 the water and galls are then boiled up together1 and the decoction strained4 ,the gum-water should be about the consistency of cream4 ,one quart of the decoction of galls is added to three quarts of the gum-water and to the mixture are added about three ounces of phosphoric acid1 which is prepared by placing sticks of phosphorus in a loosely corked bottle of water1 so that the ends of the sticks may be uncovered4 ,the oxidation of the phosphorus produces phosphoric acid1 which dissolves as fast as it is formed4 #aaf ,the etching solution should only just mark a piece of plain zinc4 ,in ,richmond's ,grammar of ,lithography the following modifications of this formula are given3 ,decoction of ,nutgalls #c_/d pint4 ,gum ,water as thick as ,cream #a_/d pint4 ,phosphoric ,acid ,solution #c drachms4 ,boil one and a quarter ounces of bruised nutgalls in one and a quarter pounds of water till reduced to one-third1 strain1 and add two drachms of nitric acid and four drops of acetic acid4 ,richmond recommends1 however1 the use of a simple decoction of galls without acid1 and gumming in after etching4 ,scamoni has the following1 by ,garnier3 ,boil about one and a half ounces of bruised gall-nuts in a pint of water till reduced to one-third1 filter1 and add two drops of nitric acid1 and three or four drops of muriatic acid4 ,for very fine work this may be weakened with water4 ,it is applied for about a minute1 then washed off1 and the plate gummed4 ,zinco-typographic ,etching4 ,in biting zinc plates in relief1 the acid generally used is nitric of different degrees of strength1 according to the nature and state of the work4 ,after the transfer is made1 the plate is etched with one of the foregoing preparations1 then inked in and dusted with finely powdered resin1 which adheres only to the lines4 ,this procedure is followed after every biting1 the plate being warmed to melt the resin and inky coating1 so that it may run down between the lines and protect them from the undercutting action of the acid4 ,kruger1 in his ,die ,zinkogravure1 recommends for the first relief etching1 nitric acid #cj to #dj drops to #ajj grammes of water1 applied for five minutes4 ,for each subsequent etching1 #h to #aj drops of acid are added for each #ajj grammes of water1 and the time is increased1 from five to fifteen minutes4 ,for the final etching of the broad lights he uses3 ,muriatic ,acid #d parts4 ,nitric acid #a part4 ,water #af parts4 ,to soften down the ridges between the lines the plate is inked and dusted as before1 and etched with dilute nitric acid at five per cent41 applied for a #aag minute1 and the inking1 dusting1 and etching repeated as often as may be necessary4 ,,the ,,difference4 ,finally1 in this department1 only the novice will require an explanation of the varied productions possible by means of the processes already given4 ,as actual examples1 reference may be had to the illustrations in this work4 ,figures #a1 #b1 and #c are specimens of line work1 zinc etchings made from pen and ink drawings4 ,the figures in the following chapter were made in the same way4 ,illustration3 ,fig4 #ac4 ,figures #d1 #e1 #f1 and #g1 as well as some others1 are zinc etchings reproduced from ,mr4 ,mrch's work4 ,with them more effort has been made to secure half-tone by a variety and quantity1 or filling1 in of lines4 ,the example below was made by using the objects 7ferns7 themselves as the negative1 without any interposition from photography1 and shows one of the possible applications of zinc etching4 ,it is delicate work and is very beautiful when carefully done4 ,an example of true half-tone1 obtained in the manner described in ,part ,,ii41 is the one which follows4 ,it was made by ,mr4 ,f4 ,e4 ,ives1 the earliest inventor of a half-tone process1 several years ago4 ,the larger examples of half-tone work which appear in this book are made after the most modern fashion and formul1 as described in ,part ,,ii41 and will serve well to show what the worker in this fascinating process may expect to reach after patient and persistent experiment4 ,when we look upon ,fig4 #a and see the very best that zinc #aah etching could do a few years ago1 and compare it with the ,mosstype and other half-tone pictures now possible1 we may well wonder at the growth of the art4 ,illustration3 ,fig4 #ad4 ,it has been attained by the careful and persistent plodding of a few4 ,many a method has been discarded for a newcomer1 and there is no telling what may come next4 ,photography has about revolutionized the illustration of books and magazines1 and has made the newspaper far more attractive than it was a few years ago4 ,it has made the faces of almost every renowned individual familiar in every land and in every household1 and the attractions of every known country have been so pictured by it that every intelligent child is familiar with them4 ,it has been said that process-engraving has supplanted wood-engraving4 ,this is not so4 ,how many newspapers were illustrated before process-engraving was made available8 ,how many works of the old masters and gems of the old museums abroad were made familiar to the lovers of pictures everywhere1 by wood-engraving8 ,instead of coming into the arts to take the place of another1 photo-engraving has made a place for itself and a market for itself4 ,moreover1 it is refining and educating the masses by creating a love for art1 where before its advent1 there was very little feeling for the beautiful4 ,its accomplishments have been marvellous1 and yet they have hardly begun4 ,the good photography has done in bringing the wood-engraver up to his duty in following the artist in every line and light and shade1 it will augment by teaching him how to secure the loveliest effects of nature4 ,it will make way for more wood-engraving as well as for more process-pictures if you choose to call them such4 #aai ,,part ,,iii4 ,,photo-,,engraving ,,on ,,copper4 ,,chapter ,i4 ,,subjects ,,in ,,line4 ,in printing from copper plates1 the ink1 instead of being spread on the surface of the plate by means of a flexible roller as in ordinary type printing1 is smeared over the previously warmed plate and thereby forced into the deep parts of the plate4 ,then1 after the surface is polished1 the paper picks out the ink from these cavities and so forms the picture4 ,therefore1 instead of using a negative for producing the resist1 a transparency is required2 and for the production of subjects in line1 the transparency must fulfil all the conditions laid down as required in a negative for the production of prints for zinc etching and for photo-litho4 transfers1 and must be from a subject in line or in stipple4 ,the negative is made the exact size required1 by the wet collodion process 7the lens being used without the reversing mirror74 ,this negative is intensified by immersion in the bichloride of mercury solution1 and after well washing is blackened by the application of ammonia1 as directed in ,part ,i4 of this book1 under the head of photographic manipulation4 ,the negative must be varnished1 and the margin outside the actual subject required to be shown in the copper plate1 must be masked by means of strips of tin-foil cut perfectly straight and laid in position squarely and symmetrically4 ,the object is to make this margin appear in the transparency as perfectly clear glass4 ,the masked negative is next placed in the carrier of the dark slide1 film up2 then a couple of thicknesses of blotting paper about the eighth of an inch square are laid on the extreme corners of the negative4 ,upon these pieces of blotting paper a sensitive wet collodion plate is placed face down4 ,the little squares of blotting paper serve to prevent the sensitive plate from touching the negative4 #abj ,the camera1 with the lens out of focus1 should be pointed to a large sheet of white paper2 insert the dark slide1 draw the shutter1 uncap the lens1 and the light reflected from the white sheet through the lens1 through the negative upon the sensitive plate1 will result1 after development1 in a transparent positive of the negative4 ,the time of exposure will1 of course1 vary and can only be found by experiment4 ,the operations of development1 etc41 are carried on as for a negative4 ,this method of making transparencies in the camera yields the best possible results1 as the rays of light are projected by the lens perfectly parallel1 and the resulting picture is far crisper than it is possible to obtain by exposing in the ordinary manner4 ,if the negative to be reproduced is already made1 and is larger than required1 mask the margin by means of the tin-foil1 place it in the holder of an enlarging camera1 film towards the lens if the negative was made without a mirror2 but if the mirror was used and the negative is a reversed one1 the film must be placed away from the lens4 ,the camera is now adjusted so as to get the image the size required1 then a sensitive wet collodion plate is used to receive that image and produce the transparency4 ,the transparency for printing upon a copper plate must1 when laid upon a piece of white paper1 allow every detail1 however minute1 to be perfectly distinct by reflected light4 ,if this is not so it will be impossible to get a good engraving on the copper plate4 ,the transparency being secured1 a plate of highly polished copper is cleaned with a little fine whiting and alcohol1 then flooded with water4 ,take care that all grease has been removed 7which will be detected by the water running in streaks72 next wipe the plate carefully with a clean1 soft cloth1 and place it in the jaws of the whirler mentioned in the chapter on the apparatus for zinc printing4 ,in the dark-room coat the copper plate with prepared bitumen 7see chapter on engraving on zinc in half-tone71 and set the whirler in motion4 ,when the film of bitumen is dry1 place it in contact with the transparency in a printing frame1 and expose it to the light 7sunlight1 if possible74 ,the time of exposure will depend very greatly upon the time of year and day1 but1 in direct sunlight1 ten to fifteen minutes will be about the time4 ,after exposure1 the copper plate is removed from the frame1 and placed in a dish containing turpentine4 ,keep it rocking until the image is developed by the unaltered bitumen being washed away1 then remove the plate from the dish1 #aba and wash it well under the tap4 ,when quite dry1 coat the back and edges of the copper with ordinary black varnish laid on with a camel's-hair brush1 so as to prevent the mordant to be used from attacking the back4 ,alterations and additions may now be made by means of transfer ink thinned with turpentine1 applied by a sable brush1 or by means of an etching needle or scraper1 remembering that the etching needle or scraper will make a black line and the transfer ink will cause a white mark1 or exactly the reverse of a type block4 ,the plate is now ready for etching in a ,saturated solution of ,perchloride of ,iron #b ounces4 ,water #aj ounces4 ,use a porcelain dish for the solution4 ,immerse the plate1 and keep it rocking for about ten or fifteen minutes1 then remove it1 and wash it under the tap1 rubbing it gently with cotton-wool4 ,after drying it1 warm it slightly1 then roll up with a glazed leather roller1 or a smooth ,india-rubber roller charged with the hard ink used during the clearing-up of the zinc block1 viz43 ,beeswax #a_/b ounce4 ,resin #a ounce4 ,shoemaker's ,wax #a ounce4 ,litho-printing ,ink1 black #b ounces4 ,melt together4 ,when cool1 mix with turpentine to the consistency of soft soap4 ,the roller is charged with this ink1 and the plate warmed and rolled up1 so as to close up the high lights and half tones1 leaving only the deepest portions bare4 ,immerse in the etching fluid again for about three minutes1 rocking during the immersion1 and finally wash the plate4 ,next remove the resist of bitumen1 by means of turpentine1 and take proofs in the press4 ,if deeper etching is required1 proceed as before4 ,the following is equally satisfactory1 and a little quicker3 ,fuming ,muriatic ,acid 7sp4 gr4 #a4aij7 #aj parts4 ,water #gj parts4 ,to this is added a boiling solution of ,chlorate of ,potash #b parts4 ,water #bj parts4 ,this is diluted for use by adding #a part to from #ajj to #djj parts of water4 ,the time of immersion in either of these mordants is ruled by the temperature of the room and of the liquids used4 ,one or two careful trials will soon give the desired information4 #abb ,,chapter ,,ii4 ,,half-,,tone ,,intaglios4 ,we now come to quite a different class of work1 namely1 the production of half-tone intaglio plates4 ,they may be produced in many ways1 each way giving results quite unlike the others4 ,the first process is based on the half-tone method given for typographic blocks1 modified to suit intaglio4 ,in this1 as in fact with ,,all methods1 we must first of all produce a satisfactory transparency4 ,that is best done by reproducing in an enlarging camera4 ,place the negative1 with the subject masked with tin-foil1 in the window1 then focus upon the ground-glass screen of the camera the requisite size2 then prepare a wet collodion plate1 and1 having fixed a grained screen99 in front of the carrier1 put the plate in its place1 then expose to the light and develop as directed for wet collodion pictures2 the result1 however1 will be a positive and not a negative1 and instead of the grain being interspersed through the high lights1 the shadows will be grained4 99 ,the grained screen is a copy from a proof from a fine ruled copper plate4 ,see ,chapter on 8,half-tone ,blocks on ,zinc40 ,the transparency must be made in this manner--i4 e41 from an ordinary negative with a screen in front of the sensitive plate1 so that the shadows and half tones are grained or broken up4 ,this would not be the case if the transparency was made from a negative grained for the production of a type block1 as in such a negative the blacks are represented solid and the lights and half-tones grained should be made on large sized plates4 ,the transparency made must fulfil all the conditions necessary for the production of type blocks--i4 e41 the film must be perfectly free from veil or fog2 it may be varnished or not4 ,the mark put upon the negative from which the transparency is made1 will cause the edges of the transparency to be quite clear4 ,coat a clean piece of polished copper with the bitumen solution1 using the whirler as before2 then #abc place the transparency in the printing frame1 film up1 and place the bitumen coated copper plate in position1 so that the image is quite in the centre of the plate3 fasten the printing frame and expose to the light4 ,the exposure will1 of course1 vary according to the strength of the light1 and should always1 if possible1 be made either in direct sunlight or by electric arc light4 ,the development is effected by immersion in turpentine1 and with the washing and drying1 has already been described4 ,the image on the copper plate being satisfactory1 it may be retouched1 if necessary1 then immersed in either of the etching fluids described in the last chapter4 ,rebiting1 if necessary1 may be done after rolling up with the resist ink there given1 but care must be taken in this rebiting to guard against interfering with the grain of the plate4 #abd ,,chapter ,,iii4 ,,half-,,tone ,,intaglios--7,continued74 ,the next process under consideration is that in which the grain is given to the copper plate by dusting it with fine powder of resin 7colophony7 or of asphalt4 ,to do this a dusting box is required1 which may be an ordinary aqua-tint box hung on centres for the purpose of revolving it when desired to cover large plates with the powder4 ,the following figure will illustrate a box suitable for small work4 ,illustration3 ,fig4 #ae4 ,the box should be eighteen inches high1 twelve inches wide1 and eight inches deep2 it may be made of cardboard with the inside quite smooth4 ,it should be closed all around except at ,a1 where there is a small door four inches high2 the bottom of the box is either studded with small nails or some coarse wire netting is stretched across1 upon which the copper plates can rest1 as near level as possible4 ,to use this box1 four ounces of resin or asphalt are powdered in a mortar until quite fine4 ,the powder is placed inside the box1 and the door closed2 the box is now vigorously shaken1 then placed on the table1 the door opened1 and a copper plate 7previously cleaned and polished7 is at once placed face up on the nails or wire netting4 ,by the time the door is opened and the copper plate or plates are in position1 the coarser particles of the resin will have subsided1 leaving only the fine dust floating in the interior of the box2 now close the door1 and leave the copper plate within until it is judged that it is powdered sufficiently1 which1 of course1 will be a matter for the operator to find out by practice4 ,when the plate has been sufficiently powdered1 it is carefully withdrawn and placed upon a hot iron plate and allowed to remain there until the resinous #abe powder is just sufficiently melted to adhere to the copper plate1 preserving as much as possible the separate existence of each atom of dust4 ,take care to stop the action of the heat before the resin is melted completely and made to run together and form a smooth surface4 ,the heat having acted long enough1 carefully withdraw the prepared copper from the hot plate and allow it to cool4 ,any desired quantity of these plates may be prepared and stored away for future use4 ,when they are required the grain may be selected to suit each picture1 as the operator can prepare at will 7after practice7 either a coarse or a fine grained ground4 ,instead of using a hot plate the resin may be melted over a gas flame1 but the hot plate will be found the best4 ,there is another method of laying this aquatint ground that is simple and novel1 viz41 by using the air brush4 ,those who are in possession of this instrument need no further instructions than to be reminded that ordinary bitumen dissolved in benzole1 or a resinous-spirit varnish1 is placed in the color reservoir1 and then the brush will coat the clean copper plate with an aquatint as fine or as coarse as required1 according to the distance between the plate and the 8brush40 ,another advantage with this method of laying the ground is1 the ground need not be even1 as in the dusting method1 but the artist may lay the ground coarse in some places and fine in others1 verb sap4 ,the next step in this process will be to get a transparency of the subject4 ,this may be made by any known process 7at last1 some one says we are getting away from the wet collodion7 so long as it is clean1 vigorous1 and free from fog4 ,the transparency being at hand1 that portion of it required to be transferred to the copper plate is carefully surrounded by a mask of tinfoil1 or of non-actinic paper1 which will serve as a safe edge to the carbon tissue to be used in making the negative resist1 as well as to keep the margin of the plate free from extraneous picture4 ,this done1 a piece of sensitive carbon tissue1 a little smaller than the copper plate1 which has been previously sensitized with bichromate of potash and dried1 is placed upon the masked transparency and exposed to light until sufficiently printed2 the tissue is then removed from the printing frame and placed in a dish of clean cold water2 then one of the copper plates with aquatinted ground is also placed in the water1 and the face of the tissue and the copper plate are brought in contact4 ,after adjusting the tissue on the copper #abf plate1 the two are withdrawn from the water1 laid upon a bench1 and a squeegee passed over the back of the tissue4 ,thus the driving away of the water from between the two surfaces will cause the tissue to adhere to the copper plate4 ,now let the plate stand a few minutes1 then immerse it in a dish of warm water at about #ij ,f4 ,as soon as the tissue compound is melted1 lift away the paper backing and throw it aside1 then gently lave the copper plate with the warm water until all the soluble pigmented gelatine is dissolved2 after that wash it under the tap1 and place it in a strong solution of alum for fifteen minutes1 and again wash and allow to dry4 ,when the gelatine image on the copper plate is quite dry1 the margin outside the picture is coated with bitumen or spirit varnish1 then the plate is placed in the etching bath of perchloride of iron 7see page #aba71 in which it is allowed to remain until the high lights under the thickest portions of the gelatine image just change color2 then remove it and wash it under the tap2 next clean off the resist image1 and after drying and cleaning up1 try a proof4 ,if necessary1 ink up as directed in ,chapter ,i41 page #aba1 and rebite4 ,to succeed with this process it is only requisite to have a well-laid ground1 a good1 vigorous transparency1 and the carbon tissue in good working order4 99 99 99 99 99 ,n4 ,b4--,in order not to confuse the above directions by interpolating the working details of carbon printing1 these will be given in a chapter further on1 together with formul for making suitable tissue4 #abg ,,chapter ,,iv4 ,,half-,,tone ,,intaglios4 ,,electrotyping ,,methods4 ,the preceding methods of obtaining intaglio plates have been by the etching process4 ,we now try another method whereby the printing plate is obtained by depositing a film of copper upon the photograph1 and from this copper electrotype the prints are to be made4 ,there are many ways of proceeding to make these copper intaglios1 the grain being obtained in many ways1 but the foundation is the same in all1 and consists of incorporating bichromated gelatine with grit of such a nature as to cause the image to be rough instead of smooth1 or else the roughness is given to an ordinary or modified so-called carbon image developed upon a silvered copper plate4 ,the silvered copper plates upon which the gelatine images are to be developed are prepared by dipping clean polished plates in a solution of cyanide of silver1 made by adding cyanide of potassium solution to a solution of nitrate of silver until there is a slight permanent precipitate4 ,the copper plate remains in this for three or four minutes2 it is then removed1 washed under the tap1 and dried4 ,the gelatine tissue compound is had by first of all making a jelly of ,gelatine 7soft7 #h ounces4 ,sugar #e ounces4 ,water #be ounces4 ,soak the gelatine until soft1 then melt it at as low a temperature as possible1 add the sugar and churn all for fifteen minutes2 then add to one-half of the jelly one ounce of finely powdered graphite1 and to the other half one ounce of a coarser powdered graphite4 ,churn these well together4 ,paper is coated with the above mixtures1 floating it first upon that containing the coarser graphite1 then after drying1 coat again by floating the paper upon the gelatine containing the fine graphite1 and again drying4 ,the paper is then sensitized by being immersed in a three per cent4 solution of bichromate of potash4 ,dry it in the dark4 ,after exposure to light under #abh a negative1 it is developed upon the silvered copper plate1 after which the electro is made4 ,another plan is to expose a piece of ordinary carbon tissue under a negative in the usual manner1 then develop it upon the silvered copper plate1 and sift over the wet gelatine image some finely powdered glass1 sand1 or emery which has been previously soaked in paraffine4 ,the gelatine is then allowed to dry1 when the grit is brushed away1 leaving the gelatine image all marked and pitted4 ,this pitted image is then black-leaded1 and the electrotype is taken from it4 ,another method is to place the newly developed carbon print on the copper plate1 inside the aqua-tint box1 ,chapter ,,iii4 7having previously shaken up the powder72 when it is well dusted over1 allow it to dry1 and then remove the powder by dissolving it out with either alcohol1 turpentine1 or benzole1 after which the electrotype is made4 #abi ,,part ,,iv4 ,,photo-,,lithography ,,in ,,line4 ,,chapter ,i4 ,this process is for making photographic reproductions of a subject in black lines on a white ground1 half-tones and shadings being indicated by hatching1 or stipple1 but no washes of color are permissible4 ,the object sought for from such a subject is to produce a transfer which can be laid down upon stone or zinc1 and proofs printed therefrom in the ordinary lithographic press or machine4 ,to gain this end there are three methods3 the first1 by printing upon paper prepared with bichromated gelatine1 the lines of which1 after exposure to light under a direct negative 7i4e41 a negative taken without a mirror behind the lens71 will retain ink1 whilst the gelatine protected from light absorbs water1 and rejects the ink4 ,the result is a replica of the original in fatty ink1 and may be transferred to stone or zinc1 and printed from by the usual lithographic method4 ,in the second method1 a print is made upon zinc from a reversed negative 7in the same manner as directed in ,chapter ,v41 ,part ,i47 in bichromated albumen1 which is rolled up in transfer ink1 and from that a transfer is pulled on ,scotch transfer paper1 which may then be transferred to stone or zinc1 and printed from at a litho4 press or machine4 ,in the third1 and by far the best method1 the print is made from a reversed negative on zinc1 in bitumen1 as directed in ,chapter ,v41 ,part ,i41 then rolled up in transfer ink1 the transfer pulled on ,scotch transfer paper1 then transferred to stone or zinc1 and printed from at a litho4 press or machine4 ,the defects inherent to the first method are1 first of all1 in the preparation of the gelatine paper2 this is tedious and messy4 ,then there is always danger of breaking the lines in transferring1 and also the difficulty of working exactly to scale4 #acj ,the second method is quick1 easy1 and simple1 the only drawback being a tendency of the lines to thicken4 ,with this and the third method there is no difficulty in getting absolute scale4 ,the third method is perfect1 and presents no drawbacks4 ,the two latter methods having been amply explained in ,part ,i41 it will not be necessary to redescribe them1 except to explain that when the print is made on the zinc in albumen1 it is gummed in1 fanned dry1 then damped off with a wet sponge1 followed by a damp cloth1 rolled up with transfer ink1 and the transfer pulled upon good ,scotch transfer paper4 ,the same remarks apply to bitumen prints4 ,for a transfer printed in bitumen1 the image is developed in turpentine1 and when this is completed1 wash the plate thoroughly under the tap1 then immerse it in the graining bath 7,part ,i41 ,chapter ,i41 page #bd71 and keep the tray rocking for a few minutes2 the effect of this will be to destroy the polished surface of the metal1 substituting a pearly matt surface1 which will show up the picture properly1 and allow the operator to judge whether any of the fine details are wanting2 if there are1 it will be necessary1 if the details are dissolved out1 to repolish the zinc1 first with pumice-stone1 then with snake-stone1 then with pumice powder1 finishing with fine rouge2 then coat with bitumen1 whirl1 and again expose to light1 giving this time1 longer exposure under the negative4 ,but if the fine details are buried in undissolved bitumen1 a further immersion in the turpentine bath will soon clear them2 then again wash under the tap1 immerse in the graining bath1 again wash1 then1 with a sheet of clean blotting paper1 remove the surplus water1 and allow the surface to dry in a cold current2 but beware of using heat1 as it has a tendency to make the bitumen image refuse ink in rolling up4 ,the zinc being dry1 it is gummed in1 fanned dry1 then the gum is washed off1 and the image rolled up with a leather roller charged with transfer ink4 ,as soon as the bitumen has taken the transfer ink all over1 a transfer is pulled upon ,scotch transfer paper1 which in turn is transferred to stone for printing from4 ,in rolling up these prints upon zinc1 care must be taken to keep the surface 7whether the image is in albumen or bitumen7 properly damp4 ,the preparation of paper transfers will be treated upon in the next chapter4 ,the negative from which these transfers are made1 must have all the characteristics of a good negative for printing on zinc for etched blocks1 viz41 the lines #aca must be represented by clear glass1 and those portions of the negative representing the whites of the original1 must be as near opaque as possible4 ,the subjects to which photo-lithography is applicable1 are those that are strictly in line1 or stipple1 or dots1 or cross hatched1 or chalk drawings2 in fact1 any subject that may be done by lithography1 or in black and white2 but no shading by color washes is permissible4 ,transferring to stone or zinc is done as follows3 ,first of all1 the transfer is trimmed to proper size2 it is then placed in a damping book1 made by placing wet sheets of brown or good printing paper alternately with dry sheets1 then placing all under a weight for a few hours1 until the whole of the book is evenly damp2 the trimmed transfer is allowed to remain here until limp2 it is then sponged on the back with a very little of oxalic acid 7half an ounce71 water eighty ounces2 now lay the transfer carefully down on a perfectly clean and polished stone1 backing the transfer with a piece of smooth paper4 ,having adjusted the pressure of the scraper on the stone1 pull through twice1 then reverse the stone in the press1 and pull through twice more4 ,then remove the backing and lift the transfer from the stone1 when the whole of the ink should be upon the stone1 leaving the paper quite clean4 ,now1 if the picture is quite satisfactory1 wipe the stone first with a wet sponge1 then with a damp cloth1 then gum in and allow to dry1 and1 if possible1 to stand with the gum on all night4 #acb ,,chapter ,,ii4 ,,paper ,,transfers4 ,paper for photo-lithographic transfers may be made by coating bank post paper or a good hand-made writing paper1 with ,gelatine 7,nelson's7 #b ounces4 ,water #bj ounces4 ,put the above into a wide-mouthed bottle or jar1 and allow the gelatine to soak until soft2 then place the vessel in a large saucepan containing cold water1 and set on a fire1 or over a gas-burner1 and by the time the water in the saucepan is hot the gelatine will be dissolved4 ,then add slowly 7stirring the gelatine with a glass rod7 one drachm of a ten-grain solution of chrome alum4 ,now strain the gelatine solution through fine muslin into a clean dish1 standing it in a larger dish containing hot water2 float the bank post paper upon this solution 7taking care to avoid air-bubbles7 for two minutes1 then lift it off slowly and hang it up to dry1 pinning it by two corners to the edge of a shelf4 ,when dry1 the operation is repeated1 but this time the paper is hung up to dry by the two opposite corners1 so as to equalize the coat of gelatine4 ,when dry a second time1 it must be floated for two minutes upon ,white of #e eggs4 ,water #ac ounces4 7,shake up well1 and filter into a cold dish47 ,paper prepared as above will keep for any reasonable length of time4 ,for use1 it is drawn slowly through a solution composed of ,bichromate of ,potash #a-a_/b ounces4 ,water #bj ounces4 ,alcohol #e ounces4 ,liquor ,ammonia #aj minims4 ,this being done1 the paper is again hung up to dry1 this time in a dark room4 ,when dry1 the paper should be laid face down1 upon a polished litho4 stone1 and be pulled through the press three or four times1 so as to get the surface as smooth as possible1 and insure absolute contact4 #acc ,this must be done in a yellow light1 or in a room lighted by gas or oil light4 ,the paper is now placed in contact with the negative1 in a printing-frame1 and exposed to light2 the exposure for such paper should be from five to fifteen minutes4 ,note well that these paper transfers are printed from negatives taken direct in the camera1 without the intervention of the mirror1 therefore negatives suitable for printing paper transfers will not do for printing upon zinc1 or vice versa4 ,the progress may be watched by undoing one side of the back of the frame1 and examining the image in the dark room2 but in damp weather this should not be done too often1 as the paper may expand or contract1 and blur the image4 ,the exposure to light under the negative being complete1 the print is removed from the frame in the dark room1 and is next coated with a thin film of ink as follows3 ,a smooth litho4 stone is carefully coated with a fatty ink by means of a leather roller1 extreme care being necessary to insure an even coat of ink over the stone2 this being attained1 the exposed print is laid face down 7the room being lit by yellow light or gaslight7 upon the inked stone1 then a piece of backing paper laid upon it1 and pulled through the press1 with a good nip upon it2 pull it through twice1 then reverse the stone on the press1 and again pull through twice1 which will leave a fine1 thin film of ink upon it4 ,now take the inked print1 and place it in a tray of clean1 cold water1 allow it to remain therein for five minutes1 then lay the print upon a piece of glass1 and rub it gently with a pad of cotton-wool--previously wetted in the water4 ,this will remove the ink from those portions of the paper that were protected from the action of light by the opaque portions of the negative1 representing the whites of the original4 ,the application of the pad of cotton-wool is continued until the whole of the picture is cleared from superfluous ink1 and the lines composing the image are evenly coated with ink4 ,the ink adheres only to those portions of the paper which the light has acted upon1 through the negative4 ,now wash the transfer under the tap1 then hang it up to dry4 ,when dry it is ready for transferring to stone or zinc4 ,to transfer to stone or zinc1 place the transfer first of all in the damping book1 and when limp place it upon a clean1 cold1 polished stone1 and pull it through the press4 #acd ,when transferred1 the image is treated in exactly the same manner as an ordinary transfer on stone or zinc4 ,the enamelled double transfer paper sold for double transfer carbon work may be used for photo-litho4 transfers by floating it upon ,albumen #e ounces4 ,water #bj ounces4 ,saturated ,solution of ,bichromate of ,potash #c ounces4 ,liquor ,ammonia #aj drops4 and then dried4 ,paper thus prepared must be kept in a dry air-tight case1 and just before using is laid face down upon a smooth litho4 stone1 and pulled through the litho4 press4 ,after this1 it is placed in contact with the negative in the printing frame1 and exposed to light until the details are visible4 ,although the progress of the action of light can be seen1 the frame must not be opened too often1 or the paper is apt to expand and blur the image4 ,after exposure the print is inked up1 developed1 and treated exactly as explained above4 ,the ink suitable for inking up the stone1 previous to laying upon it the exposed print1 is composed of ,best ,chalk ,litho4 ,printing ,ink #c parts4 ,mutton ,fat #a part4 ,put the ink and fat into a small iron or earthenware pot1 and place it over a ,bunsen burner1 or a paraffine stove1 or on the hot plate of a kitchen stove 7but not over an open fire72 allow the heat to melt the two ingredients1 stir so as to incorporate them thoroughly2 take great care not to allow it to catch fire2 if it does1 at once extinguish the flame1 as the firing would be apt to spoil the ink4 ,when thoroughly melted and incorporated1 pour into a tin1 or pot1 for use when cool2 the time occupied in making this ink will not exceed twenty minutes4 ,the mutton fat is obtained by dropping solid kidney suet 7shredded7 into a pan of clean boiling water1 then allowing to cool1 when the fat is taken off the surface of the water1 freed from damp and stored for use4 ,another formula for the preparation of paper1 to be inked up1 after printing in the same manner as the above transfers1 is to coat paper twice with the following preparation1 drying between each coat3 arrowroot1 #a ounce2 wet this thoroughly with #e ounces of cold water1 stirring well with a spatula1 adding more cold water1 if necessary1 to moisten the lot2 then pour over it #bj ounces of boiling water1 stirring all the time2 if1 when the #bj ounces are added1 #ace the arrowroot has not thickened1 add more boiling water until it does do so2 now add #a_/b an ounce of powdered bichromate of potash and stir until dissolved2 then strain through muslin into a warm dish and float the paper upon it whilst hot1 and dry at a temperature of #gj ,f4 ,if the bichromate of potash be omitted1 the paper may be prepared in quantity and stored away for future use1 being made sensitive by floating for five minutes upon ,bichromate of ,potash #a ounce4 ,water #be ounces4 ,paper for either gelatine or arrowroot transfers1 after keeping so long after preparation as to be useless1 should not be thrown away1 but should be again floated upon bichromated gelatine or arrowroot1 and after drying will give finer results than new paper4 ,prof4 ,husnik's photo lithographic transfer paper is obtainable in ,england and in ,america4 ,he recommends the following chromate bath3 ,bichromate of ,ammonium #a ounce4 ,water #ae ounces4 ,alcohol #d ounces4 ,liquor ,ammonia #a ounce4 ,keep well corked in a dark place4 #acf ,,chapter ,,iii4 ,,paper ,,transfers--7,continued74 ,prepare a solution of ,gelatine #e ounces4 ,sugar #a ounce4 ,water #bj ounces4 ,soak the gelatine in the water 7cold7 until quite soft1 then melt it by the application of heat 7nothing is better for this sort of work than a ,bain ,marie1 a domestic utensil with a porcelain pan enclosed in one of tin72 then add the sugar and stir well1 continuing the application of heat until a temperature of #aej ,f4 has been reached2 now strain the gelatine through muslin1 into a clean dish placed in a larger dish containing boiling water1 the heat from which will keep the solution of gelatine in a properly liquid state during the operation of coating the paper4 ,the best for these transfers is a good hand-made writing paper1 or good bank-post4 ,cut the paper into suitable sizes1 leaving a little extra margin at one end1 and float it upon the hot gelatine solution as above2 be careful in laying the paper upon the gelatine1 that air bells are avoided2 when the sheet is laid upon the surface1 raise it rapidly1 and throw it at once over a cylinder of cardboard or of wood1 and at once commence to revolve this cylinder rapidly1 first in one direction1 and as the limit of the length of paper is reached1 revolve it in the other1 which motion will alternately bring first one end uppermost and then the other4 ,by this means an even coating of gelatine upon the paper is secured1 which is not possible when the paper is hung up by clips directly it is taken from the surface of the hot gelatine4 ,the cylinder is kept revolving until the gelatine has set1 when it may be hung up to dry upon clips1 or laid face up1 over a line upon a piece of cardboard2 during the operation of revolving the cylinder1 any air bells formed in the gelatine coating may be removed by blowing or pricking them4 ,this1 to my mind1 is a most elegant method of coating small sheets 7up to thirty inches long7 with a coat of gelatine1 for which ,i willingly give the #acg ,royal ,engineers the credit1 it having been demonstrated to me by ,ex-sergeant ,dalton1 of that corps4 ,paper coated in this manner1 when dry1 is ready for sensitizing2 but if coated in the ordinary manner1 it should1 when dry1 be coated a second time and hung up to dry in the opposite way that it was the first time4 ,paper coated with gelatine solution as above1 may be stocked1 as the coating does not deteriorate with time2 but the operator must be careful not to allow the solution of gelatine to get below #abe during coating1 else the surface will be sticky4 ,the temperature of the drying room must not exceed #gj1 in fact1 #fj will be best4 ,paper so coated is sensitized by immersion for three minutes in ,bichromate of ,potash #b ounces4 ,water #ej ounces4 ,in hot weather this solution must be kept cool with ice4 ,when the time of immersion has expired the paper is removed1 and laid face down upon a sheet of glass free from scratches--which sheet of glass has been well polished with finely powdered talc 7or ,french chalk7--now squeegee the back of the paper vigorously1 to remove the superfluous solution and bring the surface of the paper into absolute contact with the glass plate4 ,the sheet of glass is now placed in a rack1 in the dark room1 until the paper is quite dry1 when it may be readily stripped off the glass1 and is ready for printing the transfer4 ,the operation of drying should be done in a current of air at a temperature of about #fj1 and the paper must be quite dry before attempting to strip it from the glass4 ,the exposure under the negative is the same as described in the previous chapter4 ,when sufficiently exposed1 the print is removed from the frame in the dark room1 and at once immersed in cold water1 where it is allowed to stay for five minutes1 when it is withdrawn and laid upon a piece of plate glass1 or a zinc plate1 the face being uppermost2 then the loose end of the paper 7provision for which must be made in cutting the paper7 is tucked under the plate1 so as to hold the transfer in position in the subsequent operations4 ,now take a glue roller 7the same as used for inking up the albumen image on zinc1 described in ,part ,i41 ,chapter ,,iv471 and having spread a little of the ink described in the last chapter 7chalk1 litho4 ink1 and mutton fat7 upon the slab1 charge the roller carefully with a thin coating of ink1 and then1 having #ach removed any moisture from the face of the transfer with a soft sponge1 apply the inked glue roller1 rolling one way only--i4e41 from the body 7presuming that the edge of paper tucked under the slab is next the body of the operator72 continue rolling until the whole of the lines forming the picture are coated with ink1 and the whites quite clean and free from ink4 ,if the roller should get wet from water oozing from under the transfer1 wipe it with a damp cloth and then roll it a few times on the inking slab1 and continue rolling the transfer4 ,be careful that the portion of the transfer representing the whites of the picture has absorbed its full modicum of water before beginning to roll up1 and also that there is not too much ink upon the roller4 ,when the transfer is successfully inked up1 it is hung up to dry1 and when dry is trimmed to size1 placed in a damping book1 and transferred to stone4 ,the exposed transfer1 after wetting1 and being placed upon the plate of glass1 or zinc1 may be developed in another way4 ,first remove the superfluous water from the surface with a soft damp sponge1 then rub it gently all over with a pad of cotton-wool dipped in a thin mixture of ink thinned with turpentine and well mixed with a palette knife 7this ink should be a little thicker than ordinary copying ink72 all the image must be covered with the ink4 ,the turpentine is then allowed to evaporate1 when by rolling with the glue roller from the body1 the ink will clear away from the whites1 leaving the lines sharp and distinct4 ,do not use too much pressure1 else the ink may be removed from the lines1 in which case cover the whole picture with a fresh coat of the thin ink1 and again roll off4 ,the subsequent operations are the same as for the other paper transfers4 ,the ink for this method is made by melting over a ,bunsen burner1 or paraffine stove1 ,chalk ,printing ,ink #d ounces4 ,beeswax #a_/b ounce4 ,stearine #a_/b ounce4 ,resin #c_/d ounce4 ,when these are melted and well stirred together1 set the mixture on fire and allow to burn for three minutes1 then extinguish by putting the cover on the pot or pan1 then pour it into a tin4 ,when cold it is ready for use4 ,in handling the sensitized gelatine paper for transfers1 every care must be exercised to keep the paper from being exposed to the action of light1 before and after exposure in the printing frame1 else there will be great difficulty in getting clean transfers4 #aci ,,chapter ,,iv4 ,,toovey',s ,,negative ,,transfer ,,process4 ,a good smooth paper is floated for five minutes upon finest picked ,gum ,arabic #e ounces4 ,water #ae ounces4 ,bichromate of ,potash #a ounce4 ,this is dried in the dark1 then exposed to light in a printing frame under a direct negative4 ,it is then laid1 face down1 upon a polished zinc or stone1 if a line subject1 or on a grained zinc or stone1 if a half-tone subject2 upon the back of the print several sheets of damp paper are laid1 and then the whole is subjected to very heavy pressure in a hydraulic press1 so that the water in the damp paper may be forced through the print and dissolve the gum in the unexposed parts of the sensitive gum coating 7which is still soluble74 ,the dissolved gum attaches itself to the stone1 whilst the exposed parts being rendered insoluble by the action of light1 the damp has no effect upon it1 and the stone is protected in those parts4 ,when the stone has been under pressure for a sufficient length of time1 to allow the small traces of gum in the deepest shadows to attach themselves to the stone1 the pressure is removed1 the stone withdrawn1 and the paper carrying the photographic print is carefully lifted up1 leaving the bare negative image on a gummed ground4 ,the stone is well dried1 and covered all over with a greasy ink applied by a roller or otherwise4 ,the ink is thus brought into contact with all parts of the stone or zinc unprotected by the gum4 ,the image is then washed out with turpentine1 and the gum removed by a damp sponge1 after which the stone or zinc is rolled up in the ordinary manner with a leather roller1 and is printed from in the ordinary manner4 ,of course1 it will not be expected that the best results are obtainable by so simple a process4 ,perhaps in no other branch of work does an outlay of thought and time 8pay0 so well as in the practice of these interesting photo-printing methods4 #adj ,,chapter ,v4 ,,photo-,,litho4 ,,transfers4 ,,to ,,develop ,,photo-,,litho4 ,,transfers4 ,to develop photo-litho4 transfers on paper there are two methods4 ,the first and oldest is1 after exposure1 to coat a smooth litho4 stone with a thin layer of transfer ink1 by means of a leather roller1 then to lay the exposed print face down upon this inked stone1 and pull it through the press4 ,of course1 this must be done in a dark room1 or by gas or oil light1 as daylight would spoil the transfer4 ,now the inked and exposed transfer is placed in water at #hj ,f41 and allowed to remain for three or four minutes1 when it is taken from the water and placed upon a plate of glass1 and the superfluous ink is removed by means of a sponge dipped in the hot water4 ,if the negative has been sufficiently opaque1 and the exposure right1 the image will quickly develop1 the lines retaining the ink1 while that upon the whites will come away4 ,hot water is used where the coating is of gelatine only2 if gum arabic1 or albumen has been used1 then1 after inking up on the stone1 the transfer must be developed in cold water1 and cotton-wool used to remove the ink from the whites1 rubbing very carefully with very little pressure4 ,paper prepared with a thick coat of gelatine may be developed in another way2 after removing it from the printing-frame1 the transfer is inked up on the stone1 then placed in a dish of cold water and left there for five or ten minutes2 then removed and placed upon a thick glass slab1 the end tucked under so that when placed on the bench the slab will press the paper and keep it in position4 ,now1 with a sheet of clean blotting-paper1 remove the water from the transfer1 using pressure with the hands from the end tucked under the slab2 then1 with a glue roller1 roll from the tucked under end until the image is developed4 ,instead of inking the transfer up when dry1 the transfer may be placed in the cold water directly it is taken from the printing-frame1 and allowed to remain for ten or fifteen minutes1 during which time the image will swell1 by the whites absorbing water4 ,now place upon the glass slab 7one end being tucked under71 and remove the superfluous water first with a #ada sponge1 then with a damp cloth2 now dip a sponge in transfer ink thinned to the consistency of cream by turpentine1 and dab all over the damp transfer1 then allow it to stand until the turpentine has evaporated4 ,next take the glue roller and roll the transfer until the whites are clear2 only roll one way--i4e41 from the end tucked under the slab4 ,the transfers being developed1 they are rinsed with clean water1 and hung up to dry in a current of cool air4 ,if dried at too high a temperature1 the transfers will be inferior1 and difficult to handle4 ,illustration3 ,fig4 #af4 ,instead of using a slab of glass1 and tucking the end of the transfer underneath1 a proper developing-board may be used as follows3 ,a is a clamped board #ah inches by #ab inches1 by #a inch thick2 ,b is another #d inches by #ab inches2 these are hinged together at ,c1 the hinges being let into the boards underneath4 ,now1 if the transfer be laid upon the board ,a1 the end placed in the aperture ,c1 then the pressure of the roller will cause the piece ,b to clamp the paper quite tight4 ,a few little differences in manipulation are required by the various transfer papers found on sale in the market4 ,for this reason ,i add the instructions given by ,prof4 ,husnik for his transfer paper4 ,making the paper sensitive4--,pour the solution in a shallow glass or porcelain dish 7such as photographers use71 take hold of the paper on two opposite ends1 dip one end 7prepared side upward7 in the solution1 and draw the paper through so that the whole surface is covered evenly with the solution2 drain off and hang it up for drying in a dark room4 ,pins may be used for this purpose4 ,never reverse the paper in hanging it up4 ,wet only as much of the paper as you intend using at every one occasion4 ,in hot summer weather the so prepared paper must be used within a few hours4 ,in cold and damp weather it keeps good for three days4 ,after the paper has passed through the bath the prepared side of it must not be brought in contact with anything whatever1 as the least touch will create a spot in the picture4 ,for pouring back the solution into the bottle use a glass funnel4 ,it is very advisable to run the sensitive #adb paper on a polished stone or metal plate through a lithograph press to give a smooth surface4 ,the development of the picture can begin after the mentioned time and is to be accomplished with a fine1 solid1 and very soft sponge1 rubbing in circle-form with it over all parts of the picture until all the ink is washed out of the lights1 the lines becoming clear and distinct and the shade properly open4 ,the water must be changed several times1 passing always with the sponge delicately over all parts of the picture to remove all uncleanliness from it4 ,but never go over the picture with a dry sponge4 ,after washing the picture clean it is laid between damp printing paper and slightly pressed with the hands to remove the superfluous water4 ,was the exposure of the picture too long it will be very difficult1 yea1 impossible to develop it4 ,too short an exposure will lose the fine lines4 ,the proper time of exposure will easily be learned4 ,for very fine reproductions the paper should be dried and inked in the following manner3 ,take a pane of glass1 coat it with a fatty substance1 as tallow or wax dissolved in benzine2 wipe the glass clean1 so as to leave only a trace of fat on2 lay the paper in the solution about one minute1 drain off and then lay the paper face down on the glass1 removing all air bubbles by rubbing over the back with a rubber straight edge1 or better1 a squeegee4 ,when dry1 the paper will leave the glass easily and will have a glass-like surface4 ,the inking4--,take common lithographic transfer ink1 mix with it one-fourth part of the photo-lithographic ink and coat a smooth stone with an even tint1 taking care not to make it too thick 7a smooth lithograph or composition roller will answer74 ,lay the printed picture face down and run it through the press with a good pressure2 the picture will be covered with an even tint1 showing the picture through it4 ,the development is the same as above described4 ,this later method gives excellent results4 ,transferring4--,when all the water is removed from the picture1 and while damp1 lay it on the stone and make the transfer with the same care as other transfers are made1 starting with a very light pressure2 and if the paper sticks to the stone1 increase the pressure4 ,it is advisable to wash the stone with pure turpentine1 and dry it before transferring4 #adc ,,part ,v4 ,,photo-,,lithography ,,in ,,half-,,tone4 ,,chapter ,i4 ,this process1 like photo-engraving1 has been the subject of many applications to the ,patent ,office1 but the first notable progress was made by ,messrs4 ,bullock1 in #ahfe4 ,they seem to have gone into the subject thoroughly1 as the elaborate and practical specifications prove1 but although the patentees issued some fine specimens of their work1 and advertised the sale of prepared paper1 nothing came of it4 ,messrs4 ,bullock's method comprises the printing from grained stone tile1 or a stone upon which has been laid a transfer1 from a stipple plate1 or a plate engraved in lines or dots--upon sensitive transfer paper in stiff ink4 ,the sensitive paper1 with such imprint upon it1 is exposed to light under a negative1 the specks of ink forming a medium for breaking up the half-tones4 ,suitable grain may be obtained from machine stippled plates1 as well as from grained stone4 ,half-tone photo-lithography may also be made by making1 from a proof pulled from a machine stipple1 or a ruled plate1 or a grained stone1 a wet1 collodion negative1 which1 being stripped from its glass support 7by any of the means mentioned in the chapter on stripped films7 is placed between the ordinary half-tone negative and the sensitive surface--zinc1 coated with bichromated albumen1 or with bitumen1 or either of the transfer papers treated of in ,part ,,iv4--the result will be a grained transfer4 ,grained zinc1 coated with bichromated albumen1 or with bitumen1 and exposed under a very thin half-tone negative1 will also yield transfers suitable for a good many subjects1 but the most successful methods are modifications of the collographic printing processes4 ,transfers made by any of the methods mentioned in the following chapters may be transferred to polished zinc1 and then etched in relief1 as directed in ,part ,i4 #add ,,chapter ,,ii4 ,,ink ,,photos4 ,the various methods named in the last chapter for breaking up and transferring to stone the delicate half tints of a photograph from nature1 are in a great measure rather crude and do not give the fine results yielded by the following modification of the collotype process1 nor are they so certain and simple in their working4 ,the production of ink photos is as follows3 ,a plate of flat copper is grained by means of graining sand and a piece of litho4 stone1 the sand being put through a fine sieve 7about #abj holes to the inch74 ,the copper plate being1 first of all1 well polished and without scratches1 is placed upon a flat board1 the graining sand is then sieved over it1 and moistened1 then with a light1 firm motion of the wrist1 the whole of the surface is evenly ground4 ,the operation of graining is very difficult to describe1 except to say that the stone muller is shuffled all over the plate until the polished surface of the copper is replaced by an even matt4 ,renew the sand when necessary4 ,do not try to get through the operation rapidly by taking large circles1 else scratches are sure to result4 ,the copper plate being grained1 it is well washed1 back and front1 so as to free it from all grit1 then coated whilst wet with ,stale ,beer 7not lager7 #e ounces4 ,water #e ounces4 ,silicate of ,soda 7syrupy7 #a ounce4 ,tannin #a grain4 ,shake well1 then filter2 coat the plate twice and stand it on a rack to drain and dry4 ,when dry swill the plate under the tap and again dry4 ,these plates may be prepared in advance1 as they improve by keeping4 ,now prepare the following solutions3 ,best ,cologne ,glue #a ounce4 ,water #aj ounces4 ,when dissolved add ,bichromate of ,potash1 in powder #cj grains4 #ade ,stir until dissolved1 then add ,nitrate of ,silver #cj grains4 ,dissolved in ,water #a ounce4 ,stir well1 then add ,chloride of ,calcium 7crystals7 #aj grains4 ,dissolved in ,water #a ounce4 ,stir up well1 then add ,acetic ,acid #a_/b drachm4 ,again stir4 ,warm the coated copper plates by letting them lie upon the slab of the drying oven4 ,the drying oven is described in the chapter on collotype printing1 and for this process the slab should be at about a temperature of #aej ,f4 ,now strain the above mixture through muslin into an invalid's cup with a long spout1 and holding the warm copper plate horizontally on the palm of the left hand1 proceed to pour over it as much of the gelatine mixture as will well cover it4 ,do not have a very thick film1 else the grain will be too coarse2 nor too thin1 or there will be no grain at all4 ,practice will soon enable the operator to apportion the proper quantity to each plate4 ,as a rough estimate1 about one fluidounce of the mixture for a plate #ab #aj will be required4 ,the plate being coated1 it is placed on the slab of the drying oven and left there until dry4 ,that will take from one and a half to two hours4 ,the exact temperature at which to dry these films cannot be arbitrarily stated1 as so much will depend upon the picture which is to be printed2 therefore1 a few experiments will be necessary before settling down to an exact form of working4 ,a good plan that answers admirably is to raise the water in the tank of the drying oven to boiling point before coating the plate1 then coat the plate1 lay it on the slab1 let the water in the tank boil for a few minutes then turn out the gas and let the plate dry4 ,the plate being dry it is exposed under a good ordinary 7reversed7 negative until the whole of the details are well out4 ,time the exposure by means of an actinometer4 ,after exposure under the negative1 remove the plate from the printing frame and in the dark room cover it with litho4 transfer ink by means of a leather roller1 taking care that the whole of the surface is well coated with the ink4 ,now place it in clean cold water for three or four hours1 then with a soft #adf sponge remove as much of the ink as will come away4 ,this operation will take time1 as every care must be had not to scratch the film4 ,now rinse the plate under the tap and allow it to dry4 ,when dry soak it in cold water for half an hour1 then place it on the press 7an ordinary letter press71 and with a sponge and soft cloth remove the superfluous water from the film2 then roll up with a leather roller charged with litho4 transfer ink as thick as can be worked4 ,when the image is properly inked up pull a transfer upon good ,scotch transfer paper4 ,perhaps the first two or three pulls will not be satisfactory2 therefore1 it will be best to pull a few before using the transfer paper1 damping and wiping between each pull just in the same way that is done in printing from a lithographic stone4 ,a good transfer being obtained1 it should be given to a lithographer to put it down upon a grained stone1 an operation which requires great skill and experience4 ,the student's interest will be best consulted by not attempting to give a description of how to transfer to a grained stone4 ,another formula for a sensitive coating for the copper plate is ,gelatine #a ounce4 ,water #f ounces4 ,soak the gelatine till soft2 then melt1 and add one drachm of bichromate of potash in powder2 stir until dissolved2 add twenty grains of good fresh dextrine and let the mixture cool to about #abj ,f42 then add one drachm of liquor ammonia and six ounces of alcohol4 ,the subsequent operation of coating1 etc41 is the same as above4 #adg ,,chapter ,,iii4 ,,husband',s ,,papyrotint ,,process4 ,this is a process for the production of photo-lithography in half-tone1 direct from the negative1 without the intervention of a collotype plate from which to pull the transfer1 and is a distinct step in advance4 ,this process has been named papyrotint1 being a modification of ,captain ,abney's improved method of photo-lithography1 named papyrotype4 ,it is specially adapted to the reproduction of subjects in half-tone1 such as architectural drawings in monochrome1 or subjects from nature1 and it is inexpensive4 ,its advantages over other methods of half-tone photo-lithography are1 that a transfer can be taken in greasy ink1 for transfer to stone or zinc direct from any negative1 however large1 without the aid of a medium1 the grain or reticulation being obtained simply by a chemical change4 ,the transfer paper being in direct contact with the negative1 the resulting prints are sharper than by those processes where interposed media are used2 whilst the same negative will answer either for a silver print1 platinotype1 or a transfer for zinc or stone4 ,the advantage of being able to use a non-reversed negative is very great1 now that gelatine plates have so largely superseded those made with collodion4 ,the method of manipulation is as follows3 ,any good surface paper is floated twice on a bath composed of ,gelatine 7,nelson's ,flake7 #h ounces4 ,glycerine #a-a_/b ounces4 ,chloride of ,sodium 7,common ,salt7 #b ounces4 ,water #ej ounces4 ,great care should be taken that the solution is not overheated1 and that the paper is coated without bubbles4 ,it is then dried in a temperature of #fj ,f4 ,the paper will take about ten hours to dry1 and in this state will keep for years4 ,when required for use1 it should be sensitized by floating on1 or immersing in1 a bath of ,bichromate of ,potash #a ounce4 ,chloride of ,sodium #a_/b ounce4 ,ferridcyanide of ,potassium #ajj grains4 ,water #cj ounces4 #adh ,this need not be done in a dark-room1 as the solution is not sensitive to light4 ,the paper1 after sensitizing1 is dried in a temperature of #gj1 and in a dark room4 ,when dry1 it is exposed under any half-tone negative1 in the ordinary printing frame4 ,it is preferable to print in sunlight1 and1 for negatives of medium density1 an exposure of three minutes is required2 but the exposure will vary according to the density of the negative4 ,the correct time of exposure can best be judged by looking at the print in the frame4 ,when the image appears on the transfer paper of a dark fawn color1 on a yellow ground1 the transfer is sufficiently printed4 ,it is put into a bath of cold water for about ten minutes1 until the soluble gelatine has taken up its full quantity of water2 then taken out1 placed upon a flat piece of stone1 glass1 or zinc plate1 and the surface dried with blotting paper4 ,the action of the light has been to render the parts to which it has penetrated through the negative partly insoluble1 and at the same time granulated4 ,a hard transfer ink is now used1 composed of ,white ,virgin ,wax #a_/b ounce4 ,stearine #a_/b ounce4 ,common ,resin #a_/b ounce4 ,these are melted together in a crucible over a small gas-jet1 and to them are added four ounces of chalk printing ink1 and the mixture reduced to the consistency of cream with spirits of turpentine4 ,a soft sponge is saturated with this mixture and rubbed gently over the exposed paper 7in this stage the nature of the grain can be best seen74 ,an ordinary letter-press roller1 charged with a little ink from the inking slab1 is then passed over the transfer1 causing the ink to adhere firmly to the parts affected by the light1 and removing it from the parts unacted upon4 ,it will be found that with practice1 rolling slowly and carefully as a letter-press printer would his form1 the ink will be removed by the roller according to the action that has taken place by light1 leaving the shadows fully charged with ink1 and the high lights almost clear1 the result being a grained transfer in greasy ink4 ,the transfer is next put into a weak bath of tannin and bichromate of potash for a few minutes1 and when taken out the surplus solution should be carefully dried off between clean sheets of blotting paper4 ,the transfer is hung up to dry1 and when thoroughly dry1 the whole of the still sensitive surface should be exposed to light for about two minutes4 ,a weak solution of oxalic acid should be used for damping the #adi transfer 7about #a in #ajj71 and this should be applied to the back of the transfer with a soft sponge4 ,after it has been damped about four times1 it should be carefully put between clean sheets of blotting paper1 and the surplus moisture removed4 ,a cold polished stone is then set on the press1 and when everything is ready the transfer is placed on the stone and pulled through twice4 ,the stone or scraper is then reversed1 and the transfer is again twice pulled through4 ,a moderate pressure and a hard backing sheet should be used1 care being taken not to increase the pressure after the first pull through4 ,the transfer is taken from the stone without damping1 when it will be found that the ink has left the paper clean4 ,gum up the stone in the usual way1 but1 if possible1 let the transfer remain a few hours before rolling up4 ,do not wash it out with turpentine1 and use middle varnish to thin down the ink4 ,it should have been mentioned that varying degrees of fineness of grain can be given to the transfer by adding a little more ferridcyanide of potassium in the sensitizing solution1 and drying the transfer paper at a higher temperature1 or by heating the paper a little before exposure1 or by adding a little hot water to the cold water bath1 after the transfer has been fully exposed2 the higher the temperature of the water1 the coarser the grain will be4 ,the finer grain is best suited to negatives from ,nature1 when a considerable amount of detail has to be shown4 ,the coarse grain is best for subjects in monochrome1 or large negatives from ,nature1 of architecture1 etc41 where the detail is not so small4 ,even from the finer grain1 several hundred copies can be pulled1 as many as #abjj having been pulled from a single transfer4 ,it would have produced a great many more if required4 #aea ,,part ,,vi4 ,,collographic ,,printing4 ,,chapter ,i4 ,,half-,,tone ,,photographic ,,negatives4 ,in all the processes and methods treated of up to ,part ,,iii41 the photographic negative has been what may properly be termed1 a black and white negative1 the lines being rendered clear1 and the portions representing the whites of the original being as near black as possible4 ,the extremes of clearness and opacity in these negatives are obtained by having the nitrate of silver bath kept and worked in a very acid state2 then the opacity is obtained by intensifying with a solution of mercury followed by ammonia4 ,now for the methods to be treated of in this part4 ,an entirely different class of negative is required in which the half-tones are fully preserved1 both in the shadows1 and in the lights4 ,these half-tone negatives may be made either by the wet collodion process1 or upon ordinary gelatine dry plates4 ,for producing them by the wet collodion process1 directions are given on page #aa4 ,in the processes treated in ,part ,,ii4 the aim has been to get the photographic half-tone broken up in such a manner that the picture could be reproduced by the same means as an ordinary wood block1 but in collographic printing the half-tones are not 7visibly7 broken up1 the gelatine holding the ink in exact proportion to its exposure to light1 thereby giving a print with the smooth gradations of an ordinary photograph4 ,the collographic methods are called 8heliotype0 and collotype4 ,they are analogous in principle1 but differ in detail2 the heliotype is printed from a film of gelatine1 which1 after being dried upon a plate of glass1 is stripped off1 exposed to light under a reversed negative1 then mounted upon a plate of pewter to support it during the operation of printing from4 ,the collotype printing surface is the film of gelatine upon the glass or metal plate upon which it was dried4 ,note also the different printing methods4 #aeb ,,chapter ,,ii4 ,,the ,,heliotype ,,process4 ,a heliotype print is made in an ,albion or other type-printing press1 from a film or skin of bichromated gelatine1 which1 having been dried upon a plate glass 7finely ground and waxed71 is stripped off1 then exposed to light in an ordinary printing-frame1 under a reversed negative1 then removed from the frame1 laid face down upon a piece of black velvet1 and the back of the skin exposed to light for a short time4 ,the skin is next mounted upon a pewter plate1 coated with a thin film of ,india-rubber1 and placed upon the bed of the press1 where the skin is covered with water from a sponge1 and is allowed to soak for twenty or thirty minutes4 ,it is then inked up1 first with one roller1 and then with another of a slightly different composition2 the margin of the skin is then covered with a mask1 with a suitable opening cut in it1 then the paper that is to receive the image is put into position upon the mask4 ,the picture is then printed4 ,the above is a rough outline of the process2 now for the working details4 ,first of all1 it will be necessary to understand that the gelatine skin from which the picture is printed must be of such a size as to allow a margin outside the actual picture of at least two inches all around1 so that the rollers used in inking up will not overlap the margin1 and strip the skin away from the pewter plate upon which it is mounted4 ,for pictures #aj by #ab1 and under1 a convenient size for the heliotype skin will be #ba inches by #ae inches1 so the present chapter will treat entirely of skins #bb by #af1 and the sizes of rollers1 etc41 given1 as well as formulas for quantities of gelatine1 etc41 will be those most suitable for that size of skin2 so if larger skins are adopted1 the quantities here given must be modified accordingly4 ,the first consideration will be the apparatus and materials necessary4 ,the first thing that commands attention is the press--an ,albion or other typographic hand press--7the pressure necessary to print from a heliotype skin must be vertical1 not scraping1 therefore a lithographic press will not do74 ,the press must have the bed fitted with several thicknesses of ,kamptulican sufficient to nearly bring a sheet of thick zinc type high--8nearly0 is said1 because #aec due allowance must be made for the pewter plate 7one-eighth of an inch in thickness7 upon which the heliotype skin is mounted4 ,inside the tympan place a piece of good blanket1 and also provide a loose blanket to lay over the paper when placed in position for receiving the impression4 ,the press must be fastened down to the floor1 as plenty of pressure will be required in printing2 a bench will be required close to the press1 upon which either one large inking slab or two small ones can be placed1 as well as the stock of printing papers1 and a dish of water4 ,a couple of good sponges are also required1 as well as a supply of thick plate paper1 to blot off the superfluous water4 ,,the ,,rollers4 ,the quality of the print from a heliotype skin depends greatly upon having good rollers at hand for inking the image2 therefore1 the preparation of the rollers 7two7 must be made with every care4 ,get the usual printing office pattern1 with handles in the centre4 ,the stocks of these rollers are to be coated with ,india-rubber sponge1 upon which is cast a mixture of gelatine1 etc4 ,first of all1 procure two #ab-;inch rollers with handles complete1 and get the stocks coated with ,india-rubber sponge a quarter of an inch thick2 then1 with strong twine tie down about a quarter of an inch from each end1 trimming off the edges outside the string1 so as to make them nice and round2 now place one of the stocks in position upon the base socket of a #ae-;inch seamless roller mould1 then carefully smear the inside of the mould with a rag saturated with whale oil 7taking care that the whole of the surface of the mould is smeared with the oil72 now place the mould in position over the stock1 put the loose socket in position at the top1 when it is ready for receiving the composition for the inking roller1 made as follows-- ,scotch ,glue #a pound4 ,gelatine #a pound4 ,soak all night in sufficient cold water to cover it4 ,in the morning squeeze out the superfluous water1 and in a suitable size glue kettle1 8,baine ,marie10 or a jar placed in a pan of water1 melt over a fire or ,bunsen burner1 then add #a pound of green treacle1 mix1 and add #b ounces of castor oil1 #a ounce of glycerine2 stir well until all are thoroughly mixed1 then pour into a warm jug1 and from the jug pour into the mould as gently as possible2 when the mould is full1 take a piece of wood1 and tap the outside of the mould all round1 from bottom to top4 ,that will cause any air bubbles that may be imprisoned in the mixture to rise #aed to the surface2 then1 if the mixture in setting should shrink1 pour in more until the mould is quite full4 ,now allow to stand for #ab or #ah hours1 then remove the mould from the block1 the socket from the top of the mould1 then gently push the roller out4 ,if due precautions have been taken1 it ought to come out quite smooth4 ,if it does not1 the composition must be melted off in hot water1 and the roller recast4 ,composition for the clearing roller--,scotch glue1 #a pound2 gelatine1 #b pounds2 green treacle1 #a_/b pound2 castor oil1 #b ounces2 glycerine1 #a ounce4 ,the glue and gelatine are soaked as before1 then melted and mixed with the other ingredients4 ,the stock 7covered with ,india-rubber sponge7 is placed inside the greased mould1 and the roller cast exactly as before4 ,the rollers being pushed out of the mould1 trim the ends square with the ends of the stock1 then dip the ends of each roller in hot water placed in a saucer to a depth of half an inch1 until the composition is slightly softened4 ,in this condition the sharp edges are rounded off with a damp cloth wound round the fingers4 ,the object of thus rounding the edges is to prevent the roller marking the picture when rolling up the image4 ,these rollers are not fit for use directly after casting1 but should be placed on the handles1 and washed with turpentine on a slab1 then allowed to hang for two or three days1 and occasionally washed over with a rag dipped in alcohol4 ,when in use the inking roller should never be washed1 but if the ink upon it requires cleaning off1 it should be done by rolling it upon a clean piece of hard paper4 ,when put away after a job1 the roller should be coated with fatty ink4 ,clear it for work next time by rolling it on the paper4 ,the clearing roller will require keeping free from a superfluity of ink by washing4 ,instead of making the roller composition1 and casting rollers1 some of the high class composition sold for type printing may be used1 or the rollers may be obtained ready cast1 which will1 perhaps1 be found far more economical in the long run4 ,,preparation ,,and ,,care ,,of ,,the ,,rollers4 ,leather rollers when new should first of all be warmed in front of a brisk fire1 and when warm rubbed with a piece of ,russian tallow until the leather will not absorb any more4 ,then allow the roller to stand twelve hours #aee and repeat the operation2 then take some middle varnish1 smear some of it along the roller1 and on a clean slab roll vigorously1 and repeat the operation two or three times1 scrape the roller with the grain1 then roll up in varnish1 allow to stand all night1 scrape again1 roll up again next day1 scrape1 then roll up with collotype ink1 scrape and roll up1 repeating this until the roller takes the ink evenly4 ,after each time of using1 scrape the roller before putting away1 and if1 after using1 the roller is likely to be some time before being wanted again1 after scraping smear it with ,russian tallow1 and wrap it up in paper1 scraping it before rolling it up in the ink again4 ,glue rollers should be hung up after use in a cold place1 and before being put away should be coated with fatty ink1 and just before using should be rolled clean upon a piece of rather fluffy paper2 washing glue rollers in turpentine is not to be recommended1 as it tends to harden them1 and deprives them of their feeding quality4 ,glue rollers can be bought ready cast1 and it is advisable to so buy them2 any dealer in typographic material will supply them of a suitable quality1 if the purpose for which they are required be stated at the time of ordering4 ,the 8durable0 composition being very good for collographic printing1 it may be purchased and used for the rollers1 for printing from a heliotype skin1 instead of the mixture given previously4 ,for roller ,no4 #b1 add two ounces of gelatine previously soaked in cold water1 and as much water squeezed out as is possible1 then add this to the 8durable0 composition1 and stir until the gelatine is melted and well incorporated with the composition4 ,these rollers may be cast upon the bare stock1 without the ,india-rubber sponge1 if preferred1 but the ,india-rubber sponge makes the roller much lighter for use1 which is a great consideration when long numbers are printed straight away4 ,these remarks are applicable to the rollers used in the work described in the previous chapters4 ,too much care cannot be given to the rollers4 ,the skilled printer who has feeling for his work will soon learn to regard his rollers as the magic wands which produce his results4 ,and well he may4 ,the ink used for heliotype printing is the best chalk ink as purchased in tins1 brought to working consistency by mixing with lard1 the two ingredients being well mulled on the slab4 ,varnish must not be used1 lard being the best4 ,cocoanut and olive oil are also good4 #aef ,,heliotype ,,skin is composed of a mixture of gelatine1 glycerine1 chrome alum1 bichromate of potash1 and water1 dried upon a slab of thick plate glass4 ,the surface of the plate glass must be very finely ground with emery powder 7great care being taken that there are no scratches or holes1 or they will spoil the skin71 then thoroughly cleaned1 and waxed with a solution of beeswax in benzole1 a good plan being to first of all smear the glass with the wax1 and then polish as much off as possible with an old linen duster 7clean71 then sprinkle with clean benzole1 and with a fresh duster polish the plate thoroughly1 noting well that wax marks will spoil the skin4 ,this waxing need not be done every time a skin is made1 but at intervals of every three or four skins4 ,the waxed glass requires levelling1 so that the gelatinous mixture will set of an even thickness2 therefore1 a levelling stand must be provided1 as well as a good and true spirit level4 ,the gelatinous mixture is dried in an oven 7see ,drying ,oven in chapter on ,collotype71 at a temperature not exceeding #hj ,f41 the time occupied being from thirty to forty hours4 ,,the ,,pewter ,,plate4 ,the skin after exposure to light under the negative1 etc41 is mounted by means of a squeegee upon a plate of pewter #ba by #ae by #a_/h of an inch in thickness1 and well polished4 ,this plate is cleaned with benzole and coated with a solution of ,india-rubber in benzole 7well filtered7 and dried4 ,,the ,,mask4 ,to prevent the margin of paper upon which the ink picture is printed1 being dirtied1 it is necessary1 after rolling up1 to lay a mask over the skin1 this mask having an opening in the centre the size of the picture4 ,paper suitable for this purpose is made by coating bank-post paper with a mixture of one part of gold size1 and two parts boiled oil2 this mixture is laid on the paper evenly with a sponge1 then hung on a line to dry2 when dry it is ready for use4 ,,the ,,heliotype ,,skin4 ,to prepare a skin #bb by #af1 weigh out two ounces of a good gelatine1 and soak it in ten ounces of cold water until soft1 then place it in the porcelain #aeg vessel of a 8,bain ,marie10 the outer vessel being duly provided with the requisite quantity of cold water2 now place it over the fire or ,bunsen burner1 and stir until the gelatine is just melted1 then add two drachms of glycerine2 stir well1 so as to mix thoroughly1 and raise the temperature to #abe ,f42 add two ounces of solution ,no4 #a1 and two drachms of solution ,no4 #b2 stir well1 then remove from the fire or ,bunsen1 and strain through muslin into a jug or beaker2 now tie over the jug or beaker a clean piece of muslin1 when the mixture is ready for pouring upon the ground side of thick plate glass1 waxed1 properly levelled1 and slightly warmed4 ,begin by pouring in the centre of the plate1 and gradually enlarge the circle until all the gelatinous mixture is out of the jug or beaker1 then with a strip of clean card coax the gelatine to the edges4 ,now examine the film for air bubbles1 which1 if present1 must be removed1 either by pricking with a quill toothpick1 or by coaxing to the edge with a piece of card4 ,as soon as the mixture has thoroughly set 7which it soon does71 remove it to the drying box4 ,of course1 the requisite quantity of gelatine for more than one skin may be melted at once1 but it will be better only to strain into the pourer1 from the 8,bain ,marie10 sufficient for one plate at a time1 remembering that the quantity now given is for one plate only2 therefore1 if two1 three1 four1 or more plates are to be dried at once1 the quantities given above must be increased accordingly4 ,the stock solutions named above are compounded as follows3 ,no4 #a4 ,bichromate of ,potash #a ounce4 ,water #bj ounces4 ,no4 #b4 ,chrome ,alum #a ounce4 ,water #bj ounces4 ,the temperature of the drying box must not exceed #hj ,f41 and the time occupied will be from thirty to forty hours1 during the whole of which time the temperature must be steadily maintained1 but not exceeded4 ,when the skin is dry1 with the point of a penknife separate the edges from the glass1 and then lift the skin away1 when it is ready for exposure to light under the negative4 ,if it is desired to keep the skins a few days before using1 they may be stored between sheets of dry brown paper in a drawer1 or in a tin tube4 #aeh ,it will be just as well to remark here that the dry heliotype skins are sensitive to light2 therefore1 the drying oven must be in a room illuminated by yellow light1 or by artificial light1 and the skins must not be exposed to daylight until they are in the printing frame4 ,,printing ,,the ,,picture4 ,the heliotype skin is now ready for exposure under the negative1 which is done in a printing frame #bd by #ah inches1 provided with a plate glass front4 ,the negative must be reversed 7i4 e41 instead of being taken direct in the usual way1 a reversing mirror is used74 ,the margin of the negative must be protected by a mask1 with an opening cut the size and shape of the intended picture1 the outside edges of the mask being sufficient to cover the rest of the skin4 ,to print1 the back of the negative is cleaned1 then laid with the film uppermost1 in the centre of the plate glass front of the printing frame2 the mask is then laid in position1 the opening in the centre being adjusted so that exactly the amount of picture required will be printed upon the skin4 ,the rest of the skin is protected from the action of light by the opaque margin of the mask4 ,now lay the skin1 with the matt surface 7i4 e41 the side that was in contact with the ground side of the glass plate during the process of drying7 next the film of the negative2 upon this lay a piece of dry black velvet1 then a sheet of thick felt1 then the back of the printing frame1 fasten up1 turn it over and see that the front of the glass is clean2 then the frame is ready for exposure to light4 ,,exposure ,,to ,,light should be made in a good diffused light1 and its duration timed by means of an actinometer 7see page #ajg74 ,as the time of exposure to light will vary according to the quality of the negative1 no precise rule can be made1 the best way being to get a small negative as near the same density as the other1 cut off a piece of the skin1 and placing it in a frame1 expose to light at the same time as the big frame1 and occasionally examine the progress of the small strip of skin in the dark room4 ,a very good idea of the exposure of the big one can thus be had4 ,a heliotype skin is properly printed as soon as the details in the half-tones show themselves4 ,of course1 it should be understood that the small negative must be exposed to light at the same time and place as the big one4 #aei ,,sunning ,,the ,,back ,,of ,,the ,,skin4 ,the exposure to light under the negative being completed1 remove the skin from the printing frame1 and lay it with the side that has just been in contact with the film of the negative1 upon a piece of black velvet1 covering the margin of the skin outside the picture with strips of brown paper--these strips not quite touching the picture2 now cut off a strip of the skin1 say a quarter inch wide by one inch long1 and double it lengthways1 then cut a hole in a piece of brown paper and place the doubled piece of skin under it4 ,now remove the skin to diffused light1 and as soon as the shape of the hole can be seen upon the undermost half of the small strip1 the sunning of the skin has gone far enough1 and it is ready for mounting upon the pewter plate4 ,the test here given for timing the sunning of the exposed skin is suitable1 when a good ordinary negative has been used1 but if a negative somewhat flat1 or thin1 has been used1 then less sunning will be required1 and if a very intense negative1 the time of sunning must be increased1 the object of the sunning being to reduce the relief caused by deep shadows4 ,,mounting ,,on ,,the ,,pewter ,,plate4 ,the pewter plate upon which the exposed and sunned heliotype skin is mounted for printing from1 must be well polished1 free from scratches or other marks1 the size being #ba by #ae by #a_/h of an inch in thickness4 ,this plate is polished with a soft duster1 then coated with a solution of ,india-rubber in benzole 7about the consistency of sweet oil71 the solution being poured on1 and flowed to the corners and edges2 then the plate is placed upon a levelling stand1 and the ,india-rubber allowed to dry4 ,this ,india-rubber solution is made by dissolving ,india-rubber solution1 as sold in tins at any ,india-rubber warehouse1 in benzole or benzoline4 ,when the solution is made it must be filtered through paper1 or strained through five or six thicknesses of fine muslin1 as the presence of any grit between the surface of the pewter and the skin would at once ruin the picture4 ,the ,india-rubber film being dry1 place the pewter plate in a tray of clean water1 the water being about a quarter of an inch deep2 now trim the skin with a sharp pair of scissors to a little smaller than the pewter 7#bj-a_/b by #ad-a_/b71 then lay the skin1 face up1 upon the surface of water1 and at once lift the pewter plate from the water1 keeping the skin in position by grasping the two top corners with the two forefingers4 ,now lay the pewter on the bench1 and #afj with a nice1 soft squeegee bring the skin into contact with the ,india-rubber film4 ,this mounting must be done rapidly1 as if the skin gets a chance of absorbing water it will frill1 and be spoilt4 ,the back merely requires moistening1 and the squeegee1 in expelling the water1 brings it into contact with the ,india-rubber film4 ,now1 with the squeegee1 remove all the water from the plate1 and then brush round the edges with some ,india-rubber solution1 so as to reduce the chance of water1 to be used subsequently1 from getting under the skin4 ,,printing ,,from ,,the ,,skin4 ,now place the pewter on the bed of the press1 and with a clean sponge cover the picture with clean1 cold water1 in sufficient quantity to form a pool about one-eighth of an inch deep1 care being taken that the water does not extend as far as the edges of the skin4 ,the water is allowed to remain on the skin for five minutes2 it is then soaked up1 and a fresh supply added1 and this operation is repeated at intervals for twenty or thirty minutes1 the object being to partly remove the bichromate1 and also to allow the gelatine that has not been rendered insoluble by the action of light1 to absorb sufficient water to enable it to repel the ink from the roller4 ,when it is judged that the image has been sufficiently soaked1 with the sponge remove as much water as possible1 then lay a clean sheet of paper upon the skin2 upon the paper lay the loose blanket1 lower the tympan1 run the bed of the press under the platen1 then pull over the lever1 and subject to as much pressure as the press will give1 allowing the pressure to 8dwell0 for a minute or two4 ,this is to 8smash0 down the highest relief in the skin1 which1 unless so smashed down1 would interfere with the roller feeding the ink in the deepest shadows4 ,the skin is now ready for inking up with ,no4 #a roller1 charged with the best litho4 ink mixed with a little lard1 just sufficient1 and no more1 to make the stiff ink distribute on the slab1 the ink and the lard being thoroughly incorporated1 either with a stiff palette knife or with a muller4 ,the ink and lard being thus well mixed upon the slab1 gather up the compound and place it in one corner of the slab4 ,for ,no4 #b roller take a portion of the above mixture and add to it a little more lard1 and mix well1 then place this in one corner of the other inking slab4 ,with the palette knife touch the roller ,no4 #a at short intervals with little dabs of the first ink1 then roll it vigorously on the slab up and down1 and then #afa across and sideways1 until the ink is evenly distributed over the roller and the slab2 now with the roller proceed to ink up the image4 ,use plenty of pressure1 and turn the roller first one way1 then the other1 until the image shows itself vigorous and strong4 ,now take ,no4 #b roller charged 7in the same way as ,no4 #a7 with ,no4 #b ink well distributed 7but do not use quite so much as with ,no4 #a71 and with a light pressure go over the inked image2 this inking will fill up the light half-tones and clean up the image generally4 ,before pulling an impression take a sheet of mask paper 7which must be a little larger than the pewter plate71 and in the centre cut a clean1 sharp opening the size the picture must be4 ,this mask1 with the oiled side down1 is adjusted in position on the skin2 then turn back the edge furthest from the operator1 and upon the extreme edge of the pewter place a few small dabs of stiff ink1 return the margin of the mask over these dabs of ink1 and rub down2 these dabs of ink serve to keep the mask in position1 when turned back for each inking up4 ,if the margin of the mask paper projects over the pewter plate1 and outside the bed of the press1 it must be turned down1 else it will tear when the bed of the press is run in4 ,the mask being laid in position to protect the margin of the print1 lay a piece of matt enamel paper on the inked up and masked image1 back this first with a sheet or two of clean blotting paper1 then with a loose blanket2 lower the tympan1 and run the bed of the press under the platen and pull over the lever4 ,the pressure requisite to pull an impression from a heliotype skin requires the full strength of an ordinary man to pull over the lever4 ,now examine the print1 and if it is flat and dirty1 the skin has not been soaked sufficiently before inking up1 so remove the ink left by the paper by washing it over with a rag soaked in turpentine1 then wash with a wet sponge1 blot off the surplus and with the sponge again put a pool of water over the image1 and allow it to soak for about five minutes2 again wipe it off with a sponge1 smash down and ink up again4 ,if the image is black and white without half-tones1 the fault may lie in the negative1 which perhaps is too hard2 or if that is all right1 then the skin has not been sufficiently exposed in the printing frame1 in which case it may be at once thrown away1 as no amount of coaxing will make it yield a good print4 ,or it may be that the skin is too damp1 in which case rub it gently with the water sponge1 on which a few drops of alcohol have been sprinkled2 then blot off1 ink up again1 and pull another proof4 #afb ,if the back of the skin is 8sunned0 too much1 the print will suffer by being dirty and flat1 and will require sponging over with a little of the ten per cent4 mixture of ammonia in water2 then blot off1 and again ink up2 take care and keep the ammonia sponges away from the other sponges4 ,if the deep shadows show a white margin and are difficult to ink up1 the skin has been exposed under the negative for too long a time2 and if 8smashing0 down does not remedy the defect1 the only chance of saving it will be to allow the skin to get thoroughly dry1 and then 7say the next day7 to soak it up again for an hour4 ,spots on the margin of the print may be removed by carefully painting them over with a camel's-hair brush charged with dilute cyanide of potassium1 carefully washing afterward to prevent spreading4 ,each time the image is inked up1 the mask must be laid back1 so as not to interfere with the roller2 then after inking up1 it is again laid in position1 so as to protect the margin of the paper upon which the print is made4 ,it must be borne in mind that the first print from the skin will not be the best it is capable of giving1 therefore1 before any of the above-named dodges are resorted to1 the image should be inked up and proofs pulled four or five times2 as a generul rule perfection will not be attained until about ten or twelve prints are made1 using each time a good paper1 as a soft spongy one will not pick up the ink on the skin4 ,of course1 a plain black ink will not suit every class of subject1 therefore1 when the operator requires a different tint or color1 it must be made by a judicious blending of stiff ink of the proper colors mixed with lard as given above4 ,when a distinct change of color is required1 it is not a good plan to wash ,no4 #a roller1 but have a separate ,no4 #a roller for each color4 ,no4 #b roller may be washed for such a purpose4 ,if it is desired to print two tints1 the darkest tint is applied with the ,no4 #a roller1 the lightest with the ,no4 #b roller4 #afc ,,chapter ,,iii4 ,,the ,,collotype ,,process4 ,this process1 roughly described1 consists in carefully grinding with fine emery1 a plate of thick glass1 then coating it with a mixture of white of egg1 or of stale beer and silicate of soda4 ,after the plate is dried it is rinsed in water1 and dried again1 then warmed1 and coated with a thin film of bichromated gelatine4 ,this coating is then dried in a suitable oven1 after which the plate is exposed to light under a reversed negative1 followed by a short exposure of the back of the film to light1 then washed in cold water until the whole of the bichromate is removed from the film1 when the plate is allowed to dry4 ,it is next soaked in cold water1 then in a mixture of glycerine and water1 after which it is placed upon the press1 and the printing proceeded with4 ,as in lithographic printing1 the size of the paper upon which the picture is printed determines the size of the stone upon which the transfer is made1 so as to give a good margin1 not only large enough to prevent the paper being marked by the edge of the stone1 but also to allow plenty of room for working the roller2 so in collographic printing1 the glass plate upon which the picture is to be made must be sufficiently large to allow a margin of at least four inches all round the outside of the picture4 ,this is not only requisite for the reasons that hold good in litho4 printing1 but for the additional one of giving plenty of room for the manipulation of the mask used to protect the margin of the print4 ,collographic plates should also be sufficiently large to prevent their edges from cutting the composition rollers used for inking the image2 for instance1 a roller nine inches long should never be used upon a plate less than twelve inches wide4 ,collographic films are made upon good patent plate-glass half an inch thick1 free from scratches1 with the edges nicely bevelled to avoid cutting the rollers2 this bevelling the plates is absolutely necessary for use upon the machine1 but is not so important for the hand press4 ,to prepare plates for use they are first ground with fine emery powder4 ,to do this place one plate upon a smooth board or a couple of bearers across the sink1 sprinkle with fine emery powder 7sifted through book muslin71 then with #afd water4 ,now1 with another plate on the top1 proceed to grind with a circular motion1 continuing the grinding until the emery is worn smooth2 then renew the supply of emery1 sprinkle with water and again grind until the emery is smooth2 now work well with water1 squeegee dry1 and examine the surface2 if it is evenly ground the plates are ready for the next stage4 ,if they are not ground all over1 cover them again with emery and water1 and continue to grind until the surfaces are of an even matt all over4 ,the plates being ground1 they are well rinsed under the tap1 and both sides are well rubbed with a rag to free them from all particles of grit1 etc41 then flood them with a mixture of ,liquor ,ammonia #a ounce4 ,alcohol #a ounce4 ,water #e ounces4 rub this well in with a clean rag1 and again well wash with clean water1 then allow to drain and flood with ,,the ,,preliminary ,,coating ,,of ,stale ,beer #e ounces4 ,water #e ounces4 ,silicate of ,soda 7,waterglass7 #b ounces4 made up an hour or two before using1 and filtered4 ,the wet plate is covered with this two or three times1 and then placed on a rack to dry4 ,when all the plates in the batch are coated the rack should be removed to the drying oven and the plates dried in sit1 not lying down4 ,be as careful as possible to prevent any of the beer and silicate mixture from getting on the back of the plate1 as it interferes with the running of the image afterward4 ,plates may be prepared with the preliminary coating in quantity1 as the coating hardens and improves by being kept4 ,when the coating on the plates is quite dry rinse them under the tap and again dry them1 this time quite spontaneously4 ,lastly1 they are placed upon the slab of the drying oven to get sufficiently warm before being coated with the sensitive mixture4 ,the sensitive mixture must be made exactly as follows1 as everything depends upon the time and temperatures named3 ,first of all1 take thirty ounces of pure water and add ten drops of a saturated solution of chrome alum2 shake up well and allow to stand ten minutes2 if the water is very slightly opalescent1 it is #afe quite satisfactory1 but if there is any tinge of green then too much chrome alum has been used1 and it must be thrown away and another lot made4 ,then add two and one-half ounces of fine gelatine and allow it to soak until soft1 then place it in the 8,baine ,maire0 and melt the gelatine1 stirring all the time4 ,raise the temperature to #abe ,f4 and keep it thus for fifteen minutes2 next add #aej grains of bichromate of potassium in fine powder1 stirring until dissolved1 and raise the temperature to #aej ,f4 ,strain the mixture through muslin into a porcelain jar and allow it to cool1 keeping it in jelly at least twelve hours before using it4 ,this sensitive mixture does not work well if used to coat plates with directly it is made2 therefore1 it must be made up some time in advance4 ,it keeps well1 in fact improves1 with keeping1 up to about seven days4 ,in remelting for use1 only melt just sufficient for the plates to be coated1 as it does not improve it to melt it too often4 ,plates coated with the above mixture are dried at a temperature of from #ajj to #abj ,f4 in from two hours to three hours1 and have a splendid grain4 ,here is another formula the mixture from which does not keep1 but must be made and used directly4 ,it is the formula most frequently used by the writer4 ,plates prepared with it can be dried1 at lower temperatures1 in from twenty to fifty minutes4 ,it is also the best formula when copper plates are used instead of glass1 of which mention will be made at the end of the chapter4 ,soak two and one-half ounces of gelatine in fifteen ounces of water until quite soft1 then place all in the 8,baine ,maire0 and melt at as low a temperature as possible2 when melted add #ajj grains of bichromate of potash and #ej grains of bichromate of ammonia both in fine powder1 stirring until dissolved2 now put in the thermometer1 and raise the temperature to #adj ,f4 and keep it there for ten minutes2 then allow to cool to #abe ,f4 and add the following mixture1 stirring vigorously the while3 fifteen ounces of alcohol and five ounces of a saturated solution of borax in alcohol4 ,mix the two before pouring them into the hot gelatine4 ,with some gelatines the addition of this mixture will cause a slight coagulation of the gelatine1 and it will stick to the stirring rod2 therefore1 the solution must be stirred until the coagulated gelatine is redissolved2 then strain it through muslin into the pourer and at once use it by pouring it over the warm plates4 ,one of the best vessels to use as a pourer is an invalid's cup with a spout at the side4 ,the above quantity of mixture is sufficient for sixteen plates #af #ac inches2 #aff therefore1 if only four are to be coated1 which is the quantity that the drying oven to be described will take1 the above quantities must be divided by four4 ,now if the first formula be used1 take sufficient of the jelly1 melt it and strain it through muslin2 then take one of the plates from the drying oven--which plate should be just warm enough to be comfortably held on the palm of the hand--carefully brush it over with a dusting-brush1 so as to remove any particles of dust that may have adhered and balancing the plate on the palm of the hand1 pour over it sufficient of the warm gelatine to just cover it4 ,a #af #ac plate will take a little less than two ounces of the gelatine mixture4 ,take care not to spill any4 ,next place the plate upon the hot slab1 and coat the rest in the same way4 ,when all are done close the door of the oven and do not open it again until the plates are dry4 ,with the second formula the modus operandi is the same1 except1 of course1 that instead of melting the already made jelly1 the mixture made as above directed is used directly after mixing4 ,the plates being dry they are ready for exposure1 which need not necessarily take place at once1 as if stored away in the dark and away from damp they will keep two or three weeks4 ,the exposure to light is made in a box-pattern frame1 the negative having a mask in front of it to protect the margin of the plate from the light4 ,the negative used must be reversed--i4 e41 the image must be in its right position on the negative when viewed through the film1 not as ordinary negatives are--through the glass2 therefore1 a mirror must be used in making the negative1 or a skin negative may be used2 or1 if neither is practicable1 the negative must be reproduced by one of the methods already given4 ,the exposure to light in the printing frame will vary according to the density of the negative1 and the strength of the light1 and should be continued until the image can be seen well defined upon the gelatine film when examined in the dark-room1 by opening one-half of the back of the frame4 ,the exposure being complete1 lay the printing frame face down upon a table in the light1 remove the back and packing1 and expose the back of the film to the light for a short time1 without in any way disturbing the position of the collotype plate or the negative4 ,this exposure of the back of the image to the light has a twofold advantage1 one being that it helps to weld the sensitized gelatine film to the surface of the plate1 and so enables it to stand the wear and tear of printing2 the other1 that it reduces the relief of the picture1 and so gives the inking roller a better chance of feeding the deep shadows4 #afg ,the duration of the exposure of the back of the film to the light will vary very much with the subject in hand2 if it be one with slight contrasts1 a much shorter time will be required than where the picture contains a lot of very heavy shadows4 ,the next step will be to remove the plate from the printing frame1 and immerse it in clean cold water for five or six hours1 or for such a time as suffices to remove the whole of the bichromate from the film4 ,the plate is then placed in the rack to dry spontaneously1 and should be allowed to stand for at least twelve hours afterward before printing from1 so as to give the film a proper chance to become thoroughly hard4 ,we now have a collotype plate which has undergone the following operations1 viz43 ,a plate of thick glass ground with fine emery until of an even matt surface4 ,then it is washed and coated with the preliminary coating of beer and silicate of soda and dried4 ,then rinsed in cold water and again dried4 ,next placed on the warm slab of the drying oven until just warm enough to hold on the palm of hand4 ,then coated with the sensitive mixture1 either ,no4 #a or ,no4 #b1 and placed in the oven until dried4 ,then exposed to the light under a reversed negative in a printing frame until the details of the image are well out4 ,then the back of the plate is exposed to the light for a short time4 ,then it is placed in clean cold water until the bichromate is removed4 ,at last the plate is dried1 after which it is ready for the printer4 ,illustration3 ,fig4 #ag4 ,now1 before proceeding further1 it will be as well to touch upon various points of procedure1 and also to describe what may be reckoned the most important piece of a collotype plant1 viz41 the drying oven4 ,figure #ag gives a drawing of the oven as it stands on the table for use1 the #afh dimensions being from the top to the bottom of the frame #e feet by #c feet #d inches wide by #c feet deep4 ,the top ,a1 and the back1 are covered with matched boards well seasoned2 the sides and front1 ,b1 ,b1 ,b1 ,b1 are made of frames #b inches by #a inch1 covered with canvas sufficiently close to exclude light1 but still open enough to let out the heat slowly4 ,the door ,c is also a frame covered with canvas1 #bd inches square1 sliding upward in grooves1 and balanced by means of weights4 ,d is the jacket of iron upon which a copper tank rests1 the jacket serving to carry the tank and to protect the wood-work from the gas flame used to warm the water in the tank4 ,e is a sliding door in the jacket for the purpose of lighting the gas burner4 ,f ,f are the projecting ends of a levelling arrangement forming the base of the oven1 these ends being fitted with good1 strong screws working upon iron plates let into the top of a strong table upon which the oven is placed4 ,the distance between the two lower rails or styles is #f inches1 which is also the height of the iron jacket4 ,d ,g is a tube let into the jacket to carry off the products of combustion from the gas4 ,h is a tube with a screw nozzle1 for filling the tank4 ,illustration3 ,fig4 #ah4 ,illustration3 ,fig4 #ai4 ,illustration3 ,fig4 #bj4 ,figure #ah is the base of the oven1 ,a ,a ,a being the three points where the levelling screws are placed2 this base is formed of good #d by #c inch quartering1 the other dimensions being as marked4 ,this base stands on the table1 the oven on the top1 without any fastenings4 #afi ,figure #ai1 the jacket of sheet iron well wired1 with a tube at one corner1 for carrying off the products of the combustion of the gas1 and a hole at the other corner to carry the projecting tube from the tank1 by which it is filled4 ,figure #bj1 the copper tank1 the outside dimensions of which are #cg by #ca inches1 the flange fitting on top of the jacket2 the depth of the tank in the centre is #c inches2 the inlet pipe is #a inch bore1 and #f inches long1 the bend being taken high enough to be about #b inches above the top of the tank4 ,the base is placed upon the table1 then the iron jacket on the top of the base2 then the copper tank is fitted into the top of the jacket2 upon the top of the tank is placed a slab of marble or slate #cg-a_/b by #ca-a_/b inches1 cemented by means of plaster-of-,paris4 ,the wooden top of the oven is fitted into position1 the canvas being nailed on last4 ,but1 before doing this1 it will be as well to fix the bearers as at ,c ,c ,c1 ,fig4 #ba1 with corresponding ones on the other side1 so that slats may be placed across for the purpose of holding heliotype plates1 and for drying transfer paper1 etc4 ,the interstices between the edges of the slab and woodwork should be made good1 either by means of wooden laths or cement4 ,illustration3 ,fig4 #ba4 ,the oven being erected1 the first thing to do will be to fill the copper tank with water2 then level the slab by means of the screws1 or if the bottom ends of the base are shod with sheet iron1 wedges may be used to level with4 ,the drying oven must be kept in a room at a uniform temperature of about #fj ,f4 ,in using the oven after the plates are dry 7after rinsing71 place a piece of clean1 dry1 brown paper upon the slab1 then place on this paper four plates #af by #ac inches--which are the size and quantity for which the dimensions of the oven have been calculated2 then place a thermometer between the plates1 and close the oven4 ,after the water has been brought to boil1 the plates will be ready for coating2 but1 if the thermometer registers over #abj1 turn off the gas1 coat the plates1 again close the door1 and let the plates dry4 ,one of the first things the student must do is to familiarize himself with the oven4 ,note the time taken to bring the water to boil2 the temperature of the #agj slab1 and the time taken for the temperature to fall after turning off the gas4 ,a day spent at this will teach far more than it is possible to do by writing4 ,do not try to improve the oven by having the door to open any other way than by sliding4 ,if made to open in or out1 a draught of air is created which will cause mischief4 ,petroleum1 instead of gas1 may be used for heating the water4 ,instead of using glass plates for carrying the collotype film1 copper or brass plates may be used4 ,they should be grained with fine sifted graining sand and a stone muller1 then washed with plenty of fresh water1 and coated with ,stale ,beer #e ounces4 ,water #e ounces4 ,silicate of ,soda 7syrup7 #b ounces4 ,tannin #a grain4 ,prepare the mixture three or four hours before using1 and filter it carefully4 ,the subsequent operations are the same as with glass1 except that the sunning of the back of the film must be dispensed with1 and the second formula for the bichromated gelatine mixture must be used1 as the first one gives too high a relief for copper4 ,plates that have been used are cleaned again for further trial1 by immersing them in a pickle of ,american potash or concentrated lye1 then well washing1 regrinding1 washing1 and finally coating with the beer and water-glass substratum1 exactly as before mentioned4 #aga ,,chapter ,,iv4 ,,printing ,,from ,,the ,,collotype ,,plate4 ,collotype plates are usually printed from1 upon a typographic press1 but the best press is one with a cylinder1 like the lithographic machines4 ,such presses give a more even pressure1 and at the same time will enable more impressions to be made in a given time4 ,in the chapter on heliotype printing1 a description is given for preparing the tympan for printing from the heliotype skin1 and that description holds good for collotype plates2 but we shall require a slate slab1 the full size of the bed of the press1 and a little under half an inch in thickness1 upon which to fix the collotype plate by means of plaster of ,paris4 ,the press being ready1 take the dried plate1 and soak it for half an hour in clean cold water4 ,after that wipe it with a clean soft rag1 and scrape any gelatine from the back that may have found its way there2 spread as evenly as possible some fine plaster of ,paris over the slate slab on the bed of the press1 then damp with sufficient water to make the plaster the consistency of cream1 and lay the damp collotype plate in the centre1 and press it well down1 working it a little so as to get it level and well bedded in2 allow the plaster to form a ridge all round the edges outside the plate1 levelling these ridges by running the finger over the moist plaster1 so that they do not project above the face of the plate4 ,now cover the collotype plate with a mixture of ,glycerine #e ounces4 ,water #aj ounces4 ,ox-gall a little4 ,allow this fifteen minutes to permeate the film1 taking care that it covers the whole of the surface evenly4 ,whilst the plate is thus soaking up1 get the inking slab clean1 and the two rollers ready1 viz43 ,an ordinary lithographic roller1 for inking up the heavier portion of the image1 and a composition roller for inking the half-tones and clearing the image2 then mix the ink to the desired shade by taking some stiff ink from the tin1 and mixing to the proper consistency with a little olive oil4 ,the ink must not be made thin1 but just sufficiently softened to work up with #agb the palette knife4 ,the ink used must be very finely ground by machinery with a minimum of olive oil4 ,this1 in hand grinding1 is difficult to do1 and the presence of too much varnish in the ink is prejudicial to the production of bright collotype prints4 ,the ink being mixed1 a little is taken up on the point of a palette knife and smeared along the face of the leather roller and then worked vigorously upon the inking slab1 until the ink is thoroughly distributed upon both roller and slab4 ,do not attempt to thin the ink so as to lessen the labor of distributing the ink1 as that will only render the collotype print flat and weak4 ,the ink must be stiff and spare4 ,now remove the soaking fluid with a very soft sponge1 and blot off with fine plate paper1 then proceed to roll up with the leather roller1 until the image just shows nicely on the plate4 ,do not attempt to get it to take sufficient ink to look black4 ,next take the composition roller1 and a little ink thinned with lard to about half the consistency of that used with the leather roller1 and touch it here and there with the palette knife holding this thinner ink1 and roll up on another slab until the ink on the slab and roller are quite even2 now apply the composition roller to the image inked up by the leather roller1 and roll with a light pressure and quick motion4 ,this will complete the inking up of the image4 ,now take a piece of the mask paper mentioned for heliotype printing1 and having cut out a suitable aperture1 place it in position upon the plate1 then put a piece of paper in position upon the mask2 upon this paper fix a large sheet of smooth waste paper1 then loose the blanket1 lower the tympan1 run the bed of the press under the platen1 and after adjusting the pressure1 pull over the lever1 run out the bed1 and examine the proof4 ,from that deduce whether the ink is too thin1 or too thick1 or not enough1 or too much4 ,damp with a sponge dipped in water1 then blot off or remove the surface water with a damp soft rag1 then ink up again1 and repeat until a suitable print is the result4 ,some collotype blocks require the ink far thinner than others1 therefore it will be the aim of the printer to try various degrees of ink with each plate until the best result is attained4 ,the best prints are got1 as a rule1 from a roller that seems to have very little ink upon it1 but the ink thoroughly well distributed over both slab and roller4 ,to print from a collotype plate it is necessary that those portions of the film which have not been exposed to the light--and from them in proportion as the gradation of tone progresses to the shadows--must be charged with moisture to enable them to resist the greasy ink2 if plain water be used for this it would #agc be troublesome to get sufficient in the film to resist the ink1 and at the same time enable the roller to feed the image without slipping4 ,therefore glycerine is used1 mixed with water1 and with various hygroscopic substances1 to which the term 8etching fluids0 has been given4 ,this term is a misnomer1 and quite out of place1 8damping fluids0 being the best4 ,in addition to the damping fluid previously given1 a few others are here appended1 each having their advantages under certain conditions3 ,glycerine alone or with water4 or1 ,glycerine #e ounces4 ,water #e ounces4 ,hyposulphite of ,soda #a_/b drachm4 or1 ,glycerine #e ounces4 ,water #e ounces4 ,nitrate of ,potash #a drachm4 or1 ,glycerine #e ounces4 ,water #e ounces4 ,ammonia #aj drops4 or1 ,glycerine #e ounces4 ,water #e ounces4 ,common ,salt #cj grains4 or1 ,glycerine #e ounces4 ,water #e ounces4 ,chloride of ,lime #a drachm4 ,the last one must only be used when it is desired to take away a tint1 and if used too often1 will be very likely to destroy the image altogether4 ,during the printing from a collotype block1 the number of impressions that may be pulled without redamping1 will vary very much with each block4 ,sometimes as many as eight or ten may be pulled1 but the average will not exceed two4 ,as soon as there is a tendency to flatness1 take a sponge containing a little of the damping fluid1 and go over the film with it1 then wipe it off #agd with another sponge1 or a piece of damp cloth 7soft71 then blot it off with a piece of good blotting paper1 and ink up again4 ,in fact1 as a rule1 it is best to damp for each print4 ,good printing paper must be used for collotype prints1 and for very fine work a fine neat enamel paper will be best4 ,coarse hand-made papers1 however much admired1 must soon break up the delicate image4 ,illustration3 ,fig4 #bb4 ,i will describe another drying oven1 the heating arrangement of which is the same as the other1 but the superstructure is much smaller4 ,it will require more care during the time the coated plates are drying to keep the temperature down1 but it has the advantage of allowing a thermometer being inserted in the lid in such a manner as to allow the temperature of the interior being seen at a glance4 ,still another advantage is1 it takes up much less room4 ,it measures inside #ah inches wide by #cb inches long1 and #i inches deep to the top of the slab4 ,the thickness of the slate slab and of the copper tank should be the same as in the larger oven2 the lid at the top should be made solid and have an orifice in the centre through which the thermometer is pushed4 ,the sides of the oven should be covered with one or two thicknesses of good red flannel4 ,the only thing that calls for particular attention in these ovens is the copper tank1 which should 7especially the top7 be made of good1 stout sheet copper1 otherwise the water on being heated has a tendency to make the copper bulge1 and elevate the slab4 ,by that means the care which should be taken in levelling the slab will be lost1 as this elevation will put it all out4 ,before putting the superstructure in position1 the slab must be cemented to the top of the copper tank by means of plaster-of-,paris2 this is important1 as a much more even heat is thus obtained4 ,now1 whichever oven is decided upon1 it must be erected in a room free from draught1 where it can be kept at a temperature of #gj ,f41 as the quality of the collotype plate is much influenced by the temperature of the room in which it is prepared4 ,so1 too1 is the oven in which it is dried1 especially if below #fj1 for then it is very difficult to get good results1 as the plate chills when taken from the oven1 and the film is almost sure to prove rotten during the printing4 #age ,in the summer time1 if the room gets too hot1 the gelatine solution is apt to get frothy1 and then dry hard and glossy1 instead of with a nice half-mat surface4 ,it is then best to prepare the plates only in the early morning4 ,the temperature at which to dry the collotype plates will vary according to the subject to be printed upon them1 as some subjects will require a finer grain than others4 ,but a few intelligent experiments will soon enable the operator to judge of the temperature required2 #ge ,f4 is the lowest1 and #abj ,f4 the highest temperature giving good1 bright blacks4 ,one of the great secrets in collotype is to give a double coating to the plate4 ,i find it really a great advantage so to do4 ,i found this out quite by accident4 ,one day1 when ,i went to use some plates1 ,i found that they had not been properly levelled1 and that the coating was thin at one end1 and thick at the other4 ,this happened to three out of a batch of four1 the other one being all right2 so1 in a fit of laziness1 or hurry1 or something1 ,i decided on recoating the three1 and did so4 ,when ,i came to print from the three twice coated and the one once coated1 ,i was agreeably surprised at the difference2 the pictures on those twice coated were much more vigorous4 ,since then ,i have tried the experiment exactly1 and always get the same uniformly excellent results4 ,the second coating is applied as soon as the first is dry2 but this second coat cannot be applied so well if the plate be held on the hand1 therefore a levelling stand should be used1 and the gelatine poured on the centre and coated over the surface by means of a glass rod4 ,the proper quantity of gelatine solution requisite for a plate #af by #ac inches is #b ounces for each coat4 ,note well that all of it is left on the surface of the plate1 not some on the table4 ,when once the coated plates have been placed in the oven1 and the lid is closed down1 they must not be disturbed until they are dry2 this will be in two or three hours1 according to the thickness of the coating of gelatine4 ,if removed before they are dry1 there is danger of marking the film4 ,after the second coating of gelatine is dried1 the plate will be all the better if kept a few hours before being printed upon1 care being taken to store it in the dark1 or somewhere free from damp and gas fumes4 ,by the bye1 the oven must be placed in a room illuminated by yellow light--i4 e41 daylight filtered through yellow glass1 cloth1 or paper2 or else the room must be lighted by gas or oil light4 ,the negative to be printed from should have all the parts that are intended #agf to be quite white in the finished print1 stopped out with ,india ink or ,gihon's opaque1 and the limit of the picture should be masked by very thin tinfoil1 cut quite straight and gummed upon the film side of the negative4 ,the rest of the margin of the plate must be protected by a brown paper mask4 ,the best printing frames for collotype printing are of the box 7or 8deep07 pattern1 with plate glass fronts4 ,they should be about two inches deep1 and the bars behind quite plain--i4 e41 without either screws or springs4 ,the back board should also be dispensed with1 the pressure being got by means of wedges4 ,the advantage of these frames is that the picture can be examined without undoing the back1 and without risk of shifting the plates4 ,after printing1 the plate should be placed in a zinc vessel like a plate box fitted with a siphon1 so that the water can be kept constantly changed1 until the bichromate is removed2 then the plate is drained1 and1 after being wiped with a soft cloth1 is put away to dry4 ,now then1 beginners1 do not be in a hurry to try your first plate on the press directly it is free from the bichromate1 as no plate will give a good result until it has been dried down4 ,before putting it on the press1 soak it for half an hour in water1 then half an hour in glycerine and water in equal parts1 and1 finally1 wipe it1 and proceed to ink up the press4 ,the safest plan is the one mentioned1 viz41 bedding up slate with plaster-of-,paris4 ,another plan is to place on the iron bed of the press a piece of thin felt1 then a slab of glass1 upon which are placed two thicknesses of wet blotting-paper2 upon these place the collotype plate 7the back of which is free from any gelatine that may have run over after coating72 then1 if a chase be placed on the press1 the plate may be blocked in position by means of a few pieces of furniture tightened by means of quoins4 ,in the above only glass slabs are treated of2 but brass plates1 about one-eighth of an inch thick1 will be found safer1 and more economical than glass1 and yield results just as good4 ,they may be fixed upon a block of hard wood by means of a screw 7countersunk7 at each corner4 ,if an ordinary type press is not at hand1 brass plates may be printed from upon a litho4 press4 ,whether the plate will require damping each time will depend greatly upon each individual plate and the subject4 ,with some1 damping must be done each time2 with others1 once only for four1 six1 up to a dozen pulls2 but1 of course1 the temperature of the room in which the printing is conducted will be an important factor in determining this point4 ,when the print is flat1 and the whites degraded1 then damp the plate before again inking up4 #agg ,to insure even prints1 care must be taken to keep the roller well charged with ink4 ,much more could be written on this subject1 but practice will be the best guide4 ,a word as to bedding the glass slab on4 ,with a properly prepared leather litho4 roller1 charged with ink mixed with a little olive oil and varnish1 brought to a working consistency with a muller on a smooth slab 7be sure that the ink on the roller is evenly distributed71 after wiping the plate carefully with a soft1 damp cloth1 proceed to ink up the image slowly and carefully2 then1 when all the ink possible has adhered to the image1 take the glue roller and apply it three or four times1 which will clear the image wonderfully4 ,now put the mask in position--either a cut-out1 or four narrow strips of bank-post coated with gold size and oil1 and then dried--then put a piece of mat enamel paper in position1 then a piece of common printing paper on top1 then a piece of blanket2 lower the tympan1 run in the bed1 and press1 and1 if the pressure is not too much1 the prints will be just as good2 but1 if too much pressure be used1 the paper will be creased and spoiled1 and the collotype image is in danger of being cut4 #agh ,,chapter ,v4 ,,the ,,new ,,home ,,printing ,,process4 ,there is a method of making reproductions from photographs without any photographing process further than that required to supply the print4 ,any good photograph with a matt surface may be traced over with the ink supplied for the purpose by the inventor of the process1 or with the ordinary lithographic autographic ink1 which comes in sticks like ,india-ink1 and then the superfluous portions faded away 7or not7 as directed on a preceding page4 ,from that or from a crayon sketch1 music1 a written letter1 plans1 or circulars1 in fact1 from anything written with the proper ink with a pen or printed1 reproductions may be made4 ,the principal appliances needed are the 8,universal ,copying ,machine0 and its accessories4 ,illustration3 ,fig4 #bc4 ,where the results desired need not be of as high a grade as those made by the ,collotype processes1 or where there is not time to make a zinc etching1 this method will serve a good purpose and produce satisfactory results4 ,the zinc plates used for etching will serve to hold the transfers4 ,the methods for cleaning the plates1 already given1 will serve here also4 ,the machine should be securely fastened to a table and the bearings must be kept well oiled4 ,write1 draw1 or trace the original with a steel pen and the ink1 on well calendered paper1 not too thick4 ,for drawing1 a fine pen is the best4 ,then lay it1 written side up1 in a shallow dish1 cover the paper with the transfer solution1 leave it from four to five minutes4 ,if the writing is several days old1 leave it longer--about ten minutes4 ,lay it between blotting paper and dry gently by rubbing with the hand or a cloth4 ,then lay it1 written side down1 upon the polished plate1 pass it from four to six times under the iron roller1 having first placed a pasteboard over it4 ,to prevent slipping1 it is well to cover the original with a sheet of blotting paper before putting the pasteboard #agi over it4 ,if you are not sure your press is screwed up evenly1 run the plate through two or three times1 then turn it end for end and pass it through as many times the other way4 ,illustration ,place upon the small distributing roller as much printer's ink as will go upon the point of a knife1 then holding the handle with the left hand1 press it upon the inking roller1 and turn the crank1 moving the distributing roller from side to side1 until the ink is evenly distributed4 ,see that the rollers are an equal distance apart at each end1 so as to print evenly4 ,the original is now carefully removed4 ,after washing the plate gently with a sponge and water and drying it1 also gently1 with a clean cloth1 rub the whole printed or written side of the plate1 by means of a cloth or sponge1 with mixture ,no4 #a1 not pouring the mixture directly upon the writing1 but upon an unprinted place upon the surface and rubbing over the whole plate4 ,wash off immediately with sponge and water1 and dry gently2 then pour about twenty drops of ,no4 #b upon the plate1 not directly upon the print1 and rub over the whole surface1 so that there is a thin coating of it over the whole surface4 ,this prevents the ink from sticking to the part of the plate not covered with writing or print4 ,if there is too much1 the paper of the copies will be yellow1 and the negative may be injured4 ,now lay the plate upon the pasteboard and pass it under the inking roller 7the pressure does not need to be strong72 it falls before the iron roller2 place a sheet of clean paper upon the negative1 lay a pasteboard over it1 and pass it under the roller4 ,for the first impression it is well to pass it under several times1 until the negative comes out clearly and distinctly4 ,from time to time1 after every ten or twelve impressions1 apply ,no4 #b2 if the paper used for printing is very coarse or porous1 it may be necessary to apply ,no4 #b oftener4 ,as soon as the impressions become faint1 apply a little more ink in the manner described4 ,after applying fresh ink1 apply ,no4 #b4 ,only when too much ink is put on or unevenly distributed1 or when the plate is not covered with the thin coating of ,no4 #b1 or not properly cleaned1 can the negative or plate become soiled4 ,if this should happen from any of these causes1 remove the spots carefully by means of a cloth wet with preparation ,no4 #b4 ,if the ink hardens on the rollers remove it with lye or washing soda4 ,if you wish to interrupt the work1 the plate must be washed with a wet sponge1 to remove the preparation1 and then dried with a cloth4 ,on using again1 apply ,no4 #b1 as before4 ,if the plate has not been used for several days1 apply both ,no4 #a and ,no4 #b4 ,do not use woollen cloths4 ,the mixtures ,no4 #a and ,no4 #b are supplied with the press4 #ahj ,thus it will be seen that photographs may be reproduced by many processes and in quantities to accommodate all sorts of demands4 ,as an averment of what the future holds1 our book is brought to a close by the following quotation from a recent issue of a daily newspaper3 8,some time ago the ,evening ,post gave an account of a new process by which books were being reproduced in this country directly from photographic plates1 and it was said that the field for such business would probably grow in proportion to the ease and certainty with which this kind of work could be done4 ,under this process the most important work issued so far has been seventeen volumes of the ,encyclopdia ,britannica1 this production being sold at half the price asked for an ,american reprint already in the market1 and at one-third of the price of the imported book4 ,in order to make this reproduction1 the sheets of the ,english volume are carefully photographed1 and the glass negative placed over a thick sheet of specially prepared gelatine and exposed to the sun4 ,wherever the dark film upon the glass negative prevents the light from reaching the surface of the gelatine1 this substance remains insoluble in water4 ,wherever the light penetrates1 the gelatine undergoes a chemical change which makes it soluble4 ,after an exposure to the sun or electric light for some minutes1 the gelatine sheet is washed with water and the result is a plate in relief1 every black line upon the glass negative being in high relief1 and everything else washing away under the sponge4 8,until the last few years1 it had been very difficult to get this relief sufficient to print from1 but by improvements in the process effected by a number of different inventors1 this result has been obtained4 ,the gelatine sheet having been hardened1 an electrotype is made from it which is put into the printing press4 ,owing to chance1 the gelatine sheet itself was used one day for printing from directly1 and it was found that a larger number of good copies could be made from the gelatine direct than from the hardest electrotype4 ,the only drawback to the use of the gelatine plate itself in the printing press is its liability to crack1 for no reason that has as yet been discovered4 ,if some way is found of making the gelatine plate durable1 it would be used entirely in place of an electrotype1 as it costs almost nothing and can be made quicker than an electrotype40 ,the way has been 8found0 and zinc etching is doing the work4 ,finally1 the essays of ,john ,burnet1 8,on the ,education of the ,eye10 8,on ,composition10 and 8,on ,light and ,shade10 copies of which are hard to get for #ajj1 have recently been reproduced by one of the processes given in this book1 full size1 and is sold at #d4jj4 ,there is a great future ahead for all process work4 #aha ,,index4 ,acid1 lateral action of the1 #hj ,acids1 on the use of1 #ajj ,actinometer1 to make an1 #ajg ,air brush1 grain with the1 #ajj ,albumen1 coating the zinc plate with sensitive1 #da etching in half tone1 #fi printing on the zinc in1 #de ,albumenized zinc plate1 inking the1 #df ,albumenizing the glass plate1 #ba ,alcohol lamp1 the1 #ih ,all sources1 hints from1 #id ,apparatus etching1 #ig for printing upon zinc1 #ci ,appliances for making negatives1 #i ,as to the drawing1 #id ,austrian method1 etching on1 #hd middle etching1 #hg ,bath1 the nitrate of silver1 #ab1 #af1 #bg ,beer1 preliminary coating of1 #afd1 #agj ,bitumen1 printing on zinc in1 #dh etching in half tone1 #gj image on zinc1 developing the1 #ej solution1 to make the1 #dh ,black process1 ,colas's1 #aji ,blackening in with a sponge1 #gh ,block1 printing from the half tone1 #gb ,board1 the developing1 #ada ,box1 the best drying1 #ii ,bridge1 the calibre1 #ic ,calibre-bridge1 the1 #ic ,camera1 the enlarging1 #fg ,carbon printing1 #ajf tissue for reproductions1 #cb ,chiseling illustrated1 #ij ,clean etching1 #ia ,clearing solution1 the1 #ah the glass1 #ba ,coating the zinc plate with sensitive albumen1 #da ,colas's black process1 #aji ,collodion process1 the wet1 #aa film1 protecting the1 #bj stripping1 #cd ,collotype process1 the1 #afc sensitizing solution for1 #afd film1 exposure at the back of the1 #aff exposure of the1 #afe operations1 the1 #afg plate1 printing from the1 #aga the finished1 #fg process1 drying oven for the1 #afg1 #agd ,copper1 mordants for1 #aab photo-engraving on1 #aai in line1 #aai relief1 mordants for1 #aac solution1 etching with sulphate of1 #ajc ,damping fluids for collotype printing1 #agc ,dark-room1 the1 #be ,deep etching1 #hi ,developer for wet plates1 #bd for gelatine dry plates1 #cj ,developing the albumen image on the zinc plate1 #db the bitumen image on the zinc plate1 #ej the paper transfer1 #ach ,developing-board1 the1 #ada ,difference in processes1 the1 #aag ,direct transfers to zinc1 #ea ,drawing1 transfer of the1 #hc as to the1 #id treatment of the1 #gc ,drawings1 ,colas's process for reproducing1 #aji for photo-engraving1 #ea1 #gc the reversal of1 #if ,dry plates in photo-engraving1 #bi ,drying-box1 the best1 #ii ,drying oven for the collotype process1 #afg1 #agd the zinc plate1 #db ,dusting-box1 the1 #abd ,dusting sieve1 #ih the transfers1 #ed ,electrotype methods for half-tone intaglios1 #abg ,engraving1 photo-1 in half tone1 #fc ,enlarging camera1 the1 #fh ,etching apparatus1 #ig clean1 #ia cleaning the1 with a scraper1 #hh deep1 #hi illustrated1 #ij finishing and mounting the1 #ib fluids for collotype prints1 #agc galvanic process of1 #aja in half-tone 7albumen71 #fi 7bitumen71 #gj in relief1 high1 #ajd intermediate treatment1 #gi line transfers1 #ee manipulations of the process of1 #ic middle1 ,austrian method1 #hg and deep1 illustrated1 #hh mordants for1 #aji for electric1 #aac for relief1 #aac for tint1 #aac for zinc1 #aae on copper1 #aba order of the manipulations1 #hf round1 #hh the ,austrian method1 #hd illustrated1 #hh the first zinc1 #eg the ,french method of1 #gf1 #hj the second zinc1 #eh with sulphate of copper solution1 #ajc zincographic1 #aae ,exposed zinc1 inking the1 #dd ,exposure and timing1 #dc of the collotype film1 #aff at the back1 #aff ,fading out the photograph1 #if ,faults in strengthening1 #gh ,finishing and mounting the etching1 #ib ,fixing1 solution1 the1 #ah ,fluids1 damping1 for collotype printing1 #agc etching1 for collotype printing1 #agc ,french method of etching1 #gf1 #hj ,further treatment of the transfers1 #af ,galvanic process for etching1 #ajb ,gelatine dry plates in photo-engraving1 #bi ,gillotage 7,gillot's process71 #aja ,glass1 albumenizing the1 #bb plate1 the1 #ba silvering the1 for mirrors1 #cf ,grain on a negative1 to produce1 #ajj ,grained negatives1 making1 #fe transparencies for1 #ff ,graining the zinc plate1 #dj ,half-tone photo-engraving1 #fc etching in 7albumen71 #fi 7bitumen71 #gj block1 printing from the1 #gb intaglios1 #abb1 #abd photo-lithography in1 #adc ,heliotype process1 the1 #aeb skin1 the1 #afj printing the1 #aeh mounting on pewter1 #aei ,high etching in relief1 #ajd dusting-box for1 #abd electrotype method for1 #abg ,hints from all sources1 #id ,husband's papyrotint process1 #adg ,ink for transfers1 hard1 #ee ,inking the exposed zinc1 #dd transfers1 #ed ,ink-photos1 #add ,intaglios1 half-tone1 #abb1 #abd dusting-box for1 #abd electrotype methods for1 #abg ,intensifier1 the1 #ah ,lamp1 the alcohol1 #ii ,lateral action of the acid1 #hj ,line1 photo-engraving in1 #i on copper in1 #aai photo-lithography in1 #abh ,line transfers1 etching1 #ef ink for1 #ef ,making grained negatives1 #fe ,manipulations in etching1 order of the1 #hf ,manipulations of the etching process1 #ic ,manipulations1 photographic1 #bd ,mask1 the1 #aef ,middle etching1 ,austrian method1 #hg ,french method1 #hj ,mirror1 the reversing1 #aj1 #ce ,mordants for copper1 #aab for etching1 #aji ,mounting and finishing the etching1 #ib the clich1 before1 #gi the zinc etching1 #fa ,negative printing1 #if to produce grain on a1 #ajj transfer process1 ,toovey's1 #aci washing1 #ai1 #bh ,negatives1 appliances for making1 #i making grained1 #fe screen for grained1 #fe the reproduction of1 #ca transparencies for grained1 #ff ,nitrate of silver bath1 the1 #ab1 #af ,oven for the collotype process1 drying1 #afg1 #agd using the1 #afh ,paper transfers1 #acb1 #acf developing the1 #ach sensitizing solution for1 #acg ,papyrotint process1 ,husband's1 #adg ,pewter plate1 mounting on the1 #aei the1 #aef ,photo-engraving1 half tone1 #fc ,photo-engraving in line1 #i ,photograph1 fading out the1 #if ,photographic manipulations1 #bd negatives1 appliances for making1 #i ,photo-inks1 #add ,photo-lithographic transfers1 to develop1 #adj ,photo-lithography in half-tone1 #adc in line1 #abi ,plate1 graining the zinc1 #dj the glass1 #ba the pewter1 #aef ,polishing the zinc1 #ci ,pomatum wax1 how to make1 #ha ,positives for negative reproduction1 #ca ,preparation of the rollers1 #aed ,preparing the printing press1 #agf ,printing1 carbon1 #ajf collographic1 #agb damping fluids for1 #agc etching fluids for1 #agc ,printing frame1 the1 #dc ,printing from the collotype plate1 #aga from the half-tone block1 #gb press1 preparing etchings for1 #ajb preparing the1 #agf process1 the new home1 #agh the heliotype skin1 #afj upon zinc1 apparatus for1 #ci in albumen1 #de in bitumen1 #dh ,processes1 the difference in1 #aag ,process1 the collotype1 #afc the heliotype1 #aeb the wet collodion1 #aa ,protecting the collodion film1 #bj ,relief1 high etching in1 #ajd ,reproduction of drawings1 ,colas's process1 #aji ,reproduction of negatives1 the1 #ca with carbon positive1 #cb ,retrospective1 half-tone photo-engraving1 #fc ,reversal of the drawings1 #if ,reversing mirror1 the1 #aj1 #ce ,rollers1 the1 #aec preparation of the1 #aed ,room1 the dark-1 #be ,round etching1 #ij ,running of a workshop1 #ajd ,screen for grained negatives1 the1 #fe ,sensitometer1 to make a1 #ajg ,sensitizing solution1 a good1 #aje ,sensitizing solution for paper transfers1 #acb for the collotype process1 #afe ,sieve1 dusting1 #ih ,silver bath1 the nitrate of1 #ab1 #af ,silvering the glass 7for mirrors71 #bf ,skin1 the heliotype1 #aef mounting on pewter1 #aei printing from the heliotype1 #afj printing the heliotype1 #aeh ,solution1 clearing the1 #ah developing the1 #ag fixing the1 #ah intensifying the1 #ah ,sources1 hints from all1 #id ,stereotyping1 zinc etching by1 #ajb ,strengthening1 faults in1 #gh ,french process1 #hb ,stripping collodion films1 #cd ,sulphate of copper solution1 etching with1 #ajc ,table1 the washing1 #ih ,timing and exposure1 #dc ,toovey's negative transfer process1 #aci ,transfer process1 ,toovey's negative1 #aci and treatment of the drawing1 #gc of the drawing1 #gc1 #hc paper1 #acb1 #acf ,transfers1 developing the1 #ach dusting the1 #ed etching line1 #ee further treatment of the1 #gf ink for line1 #ef inking the1 #ed photo-litho1 #adj to develop1 #adj ,transfers to zinc1 direct1 #ea ,transparencies for grained negatives1 #ff ,transparencies1 how to make1 #cj ,transparent positive1 making the1 #abj sensitizing the1 #acg ,treatment before mounting1 #gh ,washing1 ,austrian process for1 #he ,french process for1 #hc ,washing table1 the1 #ih the negative1 #ai ,wax pomatum1 how to make1 #ha ,whirler1 the1 #db ,work-shop1 running of the1 #ajd ,wrinkles and dodges1 #aje ,zinc1 apparatus for printing upon1 #ci direct transfers to1 #ea etching the first1 #eg by galvanic means1 #ajb by stereotyping1 #ajb mounting the1 #fa the second1 #eh the manipulations of1 #ic in albumen1 printing on the1 #de in bitumen1 printing on the1 #dh inking the exposed1 #dd plate1 developing the albumen image on the1 #dg the bitumen image on the1 #ej inking the1 #ed graining the1 #dj coating with sensitive albumen1 #da drying the1 #db whirling the1 #db inking the albumenized1 #df the1 to coat with bitumen1 #di polishing the1 #ci preparing on the press1 #ajb ,zincographic etching1 #aae printing press1 the1 #fb ,,advertisements ,illustration3 ,e4 ,h4 ,t4 ,,anthony ,,co4 ,no4 #eia ,broadway1 ,new ,york4 ,,manufacturers ,,and ,,importers ,,of ,photographic ,instruments and ,supplies ,,sole ,,proprietors ,,of ,,the ,,satchel ,,detective1 ,,schmid ,,detective1 ,,climax ,,detective1 ,,cameras ,,fairy1 ,,novel1 ,,and 8,,the ,,phantom ,,camera10 the ,champion ,light ,weight of the ,world4 ,,use ,,anthony',s ,,celebrated 8,e ,a0 ,,trade-,,mark ,,chemicals4 ,,supplied ,,by ,,all ,,dealers4 ,,bromide6 ,,bromide6 ,,bromide6 ,,anthony',s ,patent ,reliable ,bromide ,paper ,,for ,,contact ,,printing ,,and ,,enlargements4 ,rapid for ,artificial ,light4 ,slow for ,daylight4 ,,send ,,for ,,illustrated ,,catalogue4 ,illustration3 ,fred'k ,w4 ,devoe4 ,james ,f4 ,drummond4 ,j4 ,seaver ,page4 ,f4 ,w4 ,devoe ,co4 ,cor4 ,fulton and ,william ,streets1 ,new ,york4 ,manufacturers of ,,artists' ,,materials1 ,,drawing ,,instruments1 ,,fine ,,brushes1 ,,ready ,,mixed ,,paints ,,and ,,varnishes4 ,fine ,dry ,colors for ,lithographers4 ,white and ,tinted ,hand-made ,papers1 ,ingres1 ,crayon and ,torchon1 ,gelatine ,paper1 ,magnifying and ,diminishing ,glasses1 ,grained ,papers for ,process ,drawing1 ,crayons1 ,india ,ink1 ,roulettes1 etc41 8,imperishable0 ,paste for ,mounting ,photographs4 ,,supplies ,,for ,,oil ,,painting1 ,,water ,,color ,,painting1 ,,sketching1 ,,porcelain ,,and ,,china ,,painting1 ,,pastel ,,painting1 ,,miniature ,,painting1 ,,crayon ,,and ,,lead ,,pencil ,,drawing1 ,,etching1 ,,chromo ,,photography1 ,,tapestry ,,painting1 ,,textile ,,designing1 ,,modeling ,,in ,,wax ,,and ,,clay1 ,,lustre ,,painting1 ,,pen ,,and ,,ink ,,drawing1 ,,repouss ,,work1 ,,fresco ,,and ,,scene ,,painting1 ,,making ,,wax ,,flowers ,,and ,,fruit1 ,,etc4 ,,etc4 ,,coffin1 ,,devoe ,,co41 ,chicago1 ,ill4 ,f4 ,w4 ,,devoe ,,co41 ,fulton ,st4 cor4 ,william1 ,new ,york4 ,catalogues of our various departments to dealers1 on application4 ,illustration3 ,,the ,huber ,rotary ,zincographic ,press4 ,this press was designed and is now in successful operation for printing from zinc plates the kind of work hitherto produced from stone in the lithographic press2 and by reason of its continuous rotation many more impressions per hour can be produced than by the stone method4 ,colors are printed by it in perfect register and with no loss of brilliancy or change of the color4 ,the advantages of the use of zinc plates are fully set forth in our circular ,no4 #a1 8,zincography0 which will be mailed to lithographers on receipt of their address4 ,to purchasers of the zincographic press1 we give full instructions in zincography1 and the chemical nature of the various preparations1 etc41 without extra charge4 ,harris ,jones1 ,sole ,selling ,agents1 ,no4 #ca ,pearl ,street1 ,providence1 ,r4 ,i4 ,illustration3 ,a4 ,m4 ,collins ,mfg4 ,co4 ,no4 #ebg ,arch ,street ,,philadelphia4 ,makers of all kinds of ,cards required by ,photographers4 ,illustration3 ,,allen ,,brothers1 ,,detroit1 ,,mich41 ,are ,sole ,agents for this ,continent1 for ,the ,best ,lenses in the ,world ,as well as the ,cheapest1 ,,the ,,suter ,,lens4 ,price ,lists and ,testimonials ,sent on ,application4 ,a complete supply in stock of every requisite for ,,photography1 ,,photo-,,engraving1 ,,photo-,,etching1 and ,,photo-,,lithography4 ,illustration3 ,,carbutt',s ,,dry ,,plates ,,for ,,all ,,kinds ,,of ,photo-,mechanical ,reproduction4 ,,stripping ,,plates for ,photo-,gelatine ,printing1 ,sensitometer #bb1 kept in stock1 and made to order more or less sensitive when desired4 ,,stripping ,,plates1 giving great contrast1 for the ,zinc-,etching ,process1 ,sensitometer #ad to #af4 ,,process ,,plate ,b1 #ad to #af1 capable of giving clear glass lines and great density in ground1 for ,photo-,engravers4 ,,for ,,copying ,,colors ,,carbutt',s ,,orthochromatic ,,plates will be found the greatest improvement in ,dry ,plate making4 ,they are kept in stock of ,normal ,sensitometer #bb1 but made to order more or less sensitive as may be required4 ,they are used extensively by ,f4 ,e4 ,ives1 ,philadelphia1 and the ,photo-,gravure ,co41 ,new ,york4 8,if ,i may venture the prediction1 ,i think the history of photography for the next decade will be the history of orthochromatic work4 ,surely next to the production of the colors themselves1 there is nothing to be desired so much as the rendering of the true values of these colors4 ,i place the orthochromatic negative as the highest point yet attained in negative making1 and as constituting the outcome to-day of that germ which was brought into being nearly one hundred years ago40--,extract from ,ernest ,edwards' article on 8,the ,art of ,making ,photo-,gravures40 8,with reference to the ,orthochromatic ,plates4 ,the ,photo-,gravure ,co4 is greatly pleased with its success in the use of your plates of this description4 ,they enable us to obtain results which otherwise would be impossible1 and to do work that otherwise we should have to decline1 placing a great power in the hands of an intelligent operator44440--,ernest ,edwards1 for ,photo-,gravure ,co41 ,brooklyn1 ,february #ac1 #ahhh4 ,,carbutt',s ,,dry ,,plates can be obtained of all ,dealers in ,photo ,materials1 or direct from the ,,keystone ,,dry ,,plate ,,works1 ,wayne ,junction1 ,john ,carbutt1 ,proprietor4 ,,philadelphia1 ,,pa4 ,,send ,,for ,,price ,,list ,illustration3 ,,the ,,latest ,,novelty ,,out4 ,the ,new ,magic ,vignetter1 7,illustration3 ,patented ,may #cast1 #ahhg47 ,for producing the ,popular ,black ,background or ,ebony ,photographs4 ,endorsed and in use by the ,leading ,photographers of the ,united ,states4 ,no more trouble or expense than making plain photographs4 ,it is easily attached to any camera by fastening it on the inside of the diaphragm of the box 7as shown in the cut74 ,the opening can be adjusted to the proper size by simply turning the thumb-screw4 ,focus and expose as usual4 ,every one guaranteed4 ,,price1 ,,each1 #h4jj4 ,for sale by all dealers in ,photographic ,goods4 ,sample photographs of work done with it furnished on application to ,h4 ,a4 ,,hyatt1 ,sole ,agent1 ,dealer in ,photo ,supplies of ,every ,description4 ,n4 ,e4 ,cor4 ,eighth and ,locust ,streets1 ,,st4 ,,louis1 ,,mo4 ,illustration3 ,,the ,,air ,,brush4 7,illustration3 ,medals3 ,american ,institute #ahhd1 ,franklin ,institute #ahhe1 ,franklin ,institute #ahhg47 ,the ,brush applies dilute liquid pigment by a jet of air4 ,to photographers producing large work1 its use is especially recommended in place of crayon1 and for water colors4 ,with equal skill on the part of the artist1 the work is accomplished with far more elegance1 and with wonderful saving of time4 ,the ,brush will be sent upon trial4 ,the ,air ,brush has been found one of the most useful helpers in ,process ,engraving that has ever been discovered4 ,see instructions given in this book4 ,for full description1 terms1 and any particulars desired1 address1 ,,air ,,brush ,,manufacturing ,,co4 #fi ,nassau ,street1 ,,rockford1 ,,ill4 ,illustration3 ,,violet ,lightning ,flash ,compound1 7,,brutum ,,fulmen47 ,pictures ,made in the ,darkness4 ,do not waste ,,dry ,,plates trying to make ,,negatives ,,at ,,night ,,with ,,cheap1 ,,frouzy ,,mixtures4 ,use the best4 ,sure ,pop4 ,no ,animal ,charcoal4 ,no ,chlorate of ,potash4 ,no ,acid4 ,,violet ,,lightning ,,flash1 the most powerful light under the sun4 ,price1 ,per ,bottle1 #ge ,cents4 ,write for particulars and catalogue of all ,photographic ,materials4 ,,buchanan1 ,,bromley ,,co41 ,manufacturers1 ,,philadelphia4 ,illustration3 ,,the ,,gundlach ,,photographic ,,lenses ,,manufactured ,,by ,,the ,,gundlach ,,optical ,,co41 ,,rochester1 ,n4 ,y4 ,,are ,,the ,,best ,,in ,,the ,,world ,,for ,,all ,,kinds ,,of ,photo-,mechanical ,work4 ,send for ,descriptive ,price ,list4 ,for sale by dealers in ,photo4 ,goods4 ,illustration3 ,,the ,,universal ,,copying ,,machine ,,copies ,,print1 ,,writing1 ,,type-,,writing1 ,,wood-,,cuts1 ,,lithographs1 ,,crayon ,,drawings1 ,,printed ,,or ,,written ,,music1 ,,etc4 ,the original is written with our copying ink or with our ribbon1 and then1 by a simple and sure process1 transferred to a plate1 from which any number of copies can be taken4 ,print is transferred to the plate without spoiling the original1 and then copied like writing4 ,a great number of copies can be made from one original4 ,as printer's ink is used1 all impressions are alike clear and legible1 and can be of any color desired4 ,the negitive can be kept for years1 or it can be removed in a minute1 and the plate used over and over again4 ,this process has been awarded medals at recent exhibitions in different ,european cities1 and is patented in ,great ,britain1 ,germany1 ,france1 ,belgium and the ,united ,states4 ,it is simple1 cleanly1 not liable to get out of order2 can be used in any climate1 and is not affected by the weather4 ,its importance to men of business1 teachers in day and ,sunday schools1 photographers1 musicians1 and others1 is obvious4 ,the samples sent out are printed by ourselves1 and on the ,universal ,copying ,machine4 ,price of machine with outfit1 plate #i #ac-a_/b inches1 legal-cap size1 #bj4jj4 ,price1 with process to copy print1 etc41 #e4jj extra4 ,ribbons for different type-writers1 #a4jj each4 ,larger machines can be furnished1 if desired2 but this is a very convenient size4 ,samples of work sent free of charge4 ,,universal ,,copying ,,machine ,,co41 ,j4 ,r4 ,,palen1 ,treasurer4 ,no4 #acdc ,arch ,street1 ,philadelphia4 ,illustration3 ,,the ,,favorite ,photo ,supply ,house ,,at ,,louisville1 ,,ky4 ,w4 ,d4 ,gatchel1 ,agt4 ,,we ,,carry ,,in ,,stock ,a ,,very ,,large ,,supply ,,of ,the ,choicest ,apparatus1 ,best ,dry ,plates1 ,pure ,photo4 ,chemicals1 ,best ,albumen ,paper1 ,collins' ,card ,stock1 ,picture ,frames1 and ,mats4 ,,all ,,of ,,which ,,are ,,sold ,,at ,a ,,reasonable ,,profit4 ,our trade is constantly growing1 without noise or advertising4 ,our customers tell of their satisfaction to their friends1 and that is how it is done4 ,we have goods for all1 and invite your orders4 ,illustration3 ,boston ,photogravure ,company4 #bg ,boylston ,st4 ,boston4 ,gelatine ,printing 7,phototype71 ,photo-engraving1 ,photo-lithography1 ,photographing on ,wood4 ,our ,phototypes can be seen in the finest ,art ,books ever issued in this country4 ,whoever uses ,photographs in quantity can save a large per cent4 by our ,gelatine ,printing4 ,permanent ink in any color on any kind of paper4 ,,represented ,,in ,,new ,,york ,,by ,brandon ,moses1 #eb ,beaver ,st4 ,illustration3 ,,wilson-,,hood-,,cheyney ,,co4 ,,limited4 ,,john ,g4 ,,hood1 ,,chairman4 ,,wm4 ,d4 ,h4 ,,wilson1 ,,treasurer4 ,,jos4 ,p4 ,,cheyney1 ,,secretary4 ,sole ,u4 ,s4 ,agts for the ,,ross ,,lens ,which has no equal for producing ,negatives for ,photo-,engraving1 ,etching1 and ,lithography4 ,,dealers ,,in ,,photo4 ,,supplies4 ,no4 #iaj ,,arch ,,street1 ,,philadelphia4 ,illustration3 ,a4 ,,wild1 ,,general ,,agent ,,for ,prof4 ,j4 ,husniks ,,photo-,,lithographic ,,transfer ,,paper #acd ,,seneca ,,st ,,buffalo ,n-,y4 ,send for ,estimates and further ,information ,,the ,,best ,,process ,,in ,,the ,,world ,,for ,,reproductions ,,of ,,all ,,kinds ,,of ,,line ,,drawing1 ,,steel ,,prints ,,and ,,lithographs4 ,,furnishes ,,transfer ,,prints ,,to ,,lithographers ,,of ,,all ,,classes ,,of ,,line ,,work1 ,,also ,,from ,,wash ,,drawings ,,and ,,photographs ,,at ,,the ,,lowest ,,prices4 ,illustration3 ,,fuchs ,,lang ,,new ,,york ,,and ,,chicago4 ,,manufacturers ,,of ,,all ,,materials ,,for ,,the ,,zinc ,,etching ,,process4 ,,practical ,,instructor ,,of ,photo-,engraving and ,zinc ,etching ,,processes4 ,,comprising ,a ,,full ,,explanation ,,of ,,drawing1 ,,photography1 ,,wash-,,out1 ,,swelled-,,gelatine1 ,,and ,,zinc-,,etching ,,processes4 ,,by ,,alex4 ,f4 ,w4 ,,leslie4 ,,published ,,by ,,fuchs ,,lang1 #bi ,warren ,st41 ,new ,york4 #gi ,dearborn ,st41 ,chicago4 ,factory3 #ig-aja ,n4 ,third ,st41 ,brooklyn1 ,e4 ,d41 ,n4 ,y4 ,,second ,,enlarged ,,and ,,revised ,,edition4 ,,price1 #a4jj4 ,illustration3 ,,the ,,inland ,,printer ,,is ,,the ,,universally ,,recognized ,leading ,trade ,journal in the ,printing ,industry4 ,no4 #ahc ,,monroe ,,street1 ,,chicago4 ,as an ,advertising ,medium to ,reach the ,trade it has no ,equal4 ,,as ,a ,,technical ,,instructive ,,journal ,it is ,indispensable alike to ,employer and ,employe4 ,containing each month from #cj to #dj pages of ,reading ,matter4 ,its ,pages teem with ,articles of ,interest2 ,it ,advocates no ,crotchets2 ,supports no ,cliques2 ,is ,fearless in ,attacking ,abuses1 and ,seeks the ,greatest ,good to the ,greatest ,number4 ,subscription1 #b4jj per ,year4 ,single ,copy1 #bj ,cents4 ,,no ,,free ,,sample ,,copies ,,sent4 ,to stimulate interest in the ,best ,printers' ,journal published1 we make this offer3 ,any one sending us five yearly subscriptions1 we will place his name on our subscription list for one year2 to any one sending us ten yearly subscriptions1 we will present a bound copy of either ,vol4 ,,ii41 ,,iii41 or ,,iv41 and pro rata4 ,the ,inland ,printer ,co41 ,publishers1 ,chicago4 ,illustration3 ,the ,photo-,gravure ,company ,no #hec ,broadway ,new ,york ,,some ,,opinions ,,of ,,the ,,press4 ,new ,york ,evening ,post4 8,as a work of pure illustration it is unique4 8,unequalled by any similar collection produced on this side of the ,atlantic4 ,for the ,photo-,gravures not even this qualification need be made4 8,several of these are gems of their kind1 and will surprise even photographers who are not fully conversant with the recent advance in that branch of engraving1 in which the ,photo ,gravure ,co4 stands unsurpassed now1 when it is a question of dealing with negatives from nature40 ,philadelphia ,sunday-,school ,times4 8,the pictures like those of ,the ,art ,review1 are the work of the ,photo-,gravure ,company1 which has here produced a distinctly ,american art work unexcelled in the present season40 ,new ,york ,mail and ,express4 8,reproduced by the ,photo-,gravure ,company in a most admirable manner4 ,they are not to be described1 however1 for there is a charm about them1 interfused in their soft lights and tender shadows1 which evades words40 ,philadelphia ,times4 8,one of unusual beauty4 8,the execution of nearly all of them is admirable40 ,the ,nation4 8,our publishers have hardly begun to realize the resources which this process offers for the decoration of books1 with a very slight enhancement of the cost40 ,new ,york ,independent4 8,these illustrations are reproduced in deliciously soft tones by the ,photo-,gravure ,company1 of ,new ,york40 ,the ,evening ,transcript1 ,boston4 8,a volume of unusual beauty4 8,most of the illustrations are perfect gems40 ,the ,public ,ledger1 ,philadelphia4 8,the result is an art production by chemical and mechanical processes1 that is in its way comparable to the best work of the engraver or etcher4 ,it is something far beyond the ordinary work of the photographer1 and may be considered the highest development of his art40 ,the ,new ,york ,commercial4 8,admirably reproduced by ,photo-,gravure40 ,the ,commercial ,gazette4 8,here again1 the advance of the ,american engraver's art is strikingly apparent40 ,the ,literary ,world4 8,we wish always to be sparing in the use of superlatives1 and guarded in the use of strong language1 and to preserve carefully what reputation we have for a conservative and temperate judgment2 but restraint is hard to bear in speaking out our minds about the work which1 at the present writing1 lies open on the editorial table4 8,the ,photo-,gravures introduced here and there by way of border decorations are exquisite1 and the occasional vignettes dropped upon the corner of a larger plate introduce a charming irregularity and variety40 ,the ,susquehanna ,evening ,transcript4 8,the illustrations are the finest we ever saw in a newspaper supplement40 ,,photo-,,lithographic ,,and ,,photo-,,mechanical ,,printing ,,of ,,every ,,description4 ,catalogues of our ,publications on application4 ,estimates of work cheerfully furnished and correspondence solicited4 ,portfolio of specimens1 worth #aj1 containing examples of all our processes1 forwarded on receipt of price1 #a4jj4 ,illustration3 ,,get ,,the ,,best ,,photographic ,,books4 ,,the ,,whole ,,art ,,in ,,two ,,books4 ,wilson's ,quarter ,century in ,photography4 ,,the ,,largest ,,and ,,best ,,photographic ,,instruction ,,book ,,ever ,,issued4 ,by ,,edward ,l4 ,,wilson1 ,editor of the 8,philadelphia ,photographer10 ,author of 8,wilson's ,photographics10 etc4 #d4jj4 8,the best in the ,english language40--,photographic ,news4 #d4jj4 ,chapter ,i4 ,the ,history of ,photography4 ,,ii4 ,the ,theory of ,photography4 ,,iii4 ,light4 ,,iv4 ,the ,camera4 ,v4 ,about ,lenses4 ,,vi4 ,the ,diaphragm1 or ,stop4 ,,vii4 ,glass-house ,construction4 ,,viii4 ,under the ,skylight4 ,,ix4 ,the ,application of ,art ,principles4 ,x4 ,outdoor ,operations4 ,,xi4 ,exposure1 or the ,question of ,time4 ,,xii4 ,concerning ,chemicals4 ,,xiii4 ,dark-room ,contrivances4 ,,xiv4 ,negative-making--8,wet40 ,,xv4 ,negative-making--8,dry40 ,,xvi4 ,negative-making--8,paper and ,film40 ,,xvii4 ,retouching and ,doctoring the ,negative4 ,,xviii4 ,printing on ,albumenized ,paper4 ,,xix4 ,printing--,drawbacks and ,defects2 ,causes and ,remedies4 ,,xx4 ,printing-room ,particulars4 ,,xxi4 ,peculiar ,printing ,processess4 ,,xxii4 ,color-,sensitive ,photography--,isochromatic--,orthochrom atic4 ,,xxiii4 ,photo-engraving4 ,,xxiv4 ,lantern ,slides and ,transparencies4 #ebh ,pages--#chf ,illustrations4 ,with a ,complete1 ,classified ,index4 ,quarter ,century is equivalent to several volumes in one4 ,it contains the best practical points on photography that have been published during the past #be years1 by over #bej well-known workers and writers in our art1 all arranged with great care--clipped of all superfluous matter--and condensed into a satisfactory1 common-sense instruction book1 the usefulness of which will never change or wear out4 #d4jj4 ,wilson's ,photographics4 #d4jj4 ,by ,,edward ,l4 ,,wilson1 ,editor of the 8,philadelphia ,photographer10 ,author of 8,wilson's ,quarter ,century in ,photography10 etc4 ,over #fjjj copies sold4 #ajjj ,testimonials4 ,every ,artist needs it4 ,entirely different from ,quarter ,century4 ,a4 ,treatment of the ,subject4 ,b and ,c4 ,the ,needful ,apparatus4 ,d4 ,the ,dark-room4 ,e4 ,preparation of the ,glass4 ,f4 ,chemicals and ,solutions4 ,g4 ,the ,manipulations4 ,h4 ,manipulatory ,miseries4 ,i4 ,retouching the ,negative4 ,j4 ,the ,glass ,studio4 ,k4 ,accessories and ,light4 ,l4 ,managing the ,model4 ,m4 ,printing on ,albumen ,paper4 ,n4 ,printing on ,plain ,paper4 ,o4 ,general ,remarks on ,printing4 ,p4 ,printing on ,various ,surfaces4 ,q4 ,printing ,perplexities4 ,r4 ,art in ,printing4 ,s4 ,mounting and ,finishing4 ,t4 ,photography ,outside4 ,u4 ,bromo-,gelatine ,emulsion ,work4 ,v4 ,vogel's ,collodion ,emulsion4 ,w4 ,enlargements and ,lantern ,slides4 ,x4 ,phototypes1 ,platinotypes1 and ,collodion ,transfers4 ,y4 ,wastes and their ,worth4 ,z4 ,metrical ,measuring 4 ,concluding ,confab--,appendix4 ,a full1 careful ,index4 #aaj ,illustrations4 #b full-page plates4 ,burnet's ,art ,essays4 ,a curiosity1 as well as a valuable work4 ,three in one3 ,essay on the ,education of the ,eye2 ,essay on ,light and ,shade2 ,essay on ,composition4 ,about #adj illustrations1 all reproduced by the ,heliotype process1 taught in this book4 #d4jj4 ,originals are scarce at #ajj4jj4 ,i also publish the oldest and best ,,photographic ,,magazine twice a month4 ,every number accompanied by a full-page lovely photo study4 ,sample ,copy ,free4 ,every person1 firm1 and family interested in the beautiful should have it4 8,should be scattered broadcast over the whole land40--,abell ,son1 ,oregon4 8,is the boon companion of the country photographer40--,h4 ,a4 ,cudding1 ,new ,york4 8,always contains something of benefit to the fraternity40--,c4 ,p4 ,mc,dannell1 ,pennsylvania4 8,has come to me since #ahfd1 and ,i will not do without it0--,j4 ,r4 ,schorb1 ,south ,carolina4 8,i have had it for nearly twenty years40--,c4 ,e4 ,orr1 ,illinois4 8,will continue to me as long as it is conducted in the present excellent manner40--,james ,s4 ,patterson1 ,tennessee4 ,subscribe ,now4 #e4jj a ,year2 #b4ej for ,six ,months2 #a4be for ,three ,months2 #cj ,cents per copy4 #a4jj ,premium in books for a new subscriber with your own4 ,circular ,souvenir ,free4 ,,edward ,l4 ,,wilson1 #hec ,broadway1 ,new ,york4 ,illustration3 ,a4 ,,wittemann1 ,publisher and ,printer for the ,trade of ,souvenir ,albums ,,photo ,,views ,,of ,american ,scenery1 ,cities1 and ,resorts4 ,nos4 #eh and #fj ,reade ,street1 ,,new ,,york4 ,correspondence with ,photographers solicited4 ,illustration3 ,,the ,,albertype ,,co4 ,nos4 #eh and #fj ,reade ,street1 ,,new ,,york4 ,photo-,mechanical ,printing ,,illustrative4 ,,decorative4 ,,commercial4 ,,reproduction ,,of ,scenery1 ,architecture1 ,interiors1 ,portraits1 ,works of ,art1 ,designs1 ,engravings1 ,patterns1 ,machinery1 ,manufactures1 and objects of all kinds4 ,for ,quickness1 ,accuracy1 and ,delicacy there is no superior to the ,albertype ,process4 ,,transcriber',s ,,note ,original spelling and grammar are generally retained1 with a few exceptions noted below4 ,a few missing full stops were supplied silently4 ,original italics looks like this4 ,the original page numbers are shown like this3 #ig4 ,the original pagination is screwy4 ,the ,introduction is on pp4 xv-xvi1 and then the next page is numbered #i4 ,there are no pp4 #a-h4 ,illustrations have been moved from within paragraphs to between4 ,blank pages have been removed4 ,footnotes have been moved from within paragraphs to between paragraphs4 ,ditto marks have been removed1 with text restructured as necessary to retain the original meaning4 ,similarly1 large curly brackets--used to combine information on more than one line of text--have been removed4 ,the original ,index employed white space to indicate words or phrases to be regarded as repeated from the text line above4 ,this edition employs instead the character ,u#bjae ,,horizontal ,,bar 1 one for each word to be repeated4 ,page #cf4 ,the left double quotation mark has no mate1 but is retained as printed4 ,page #gc4 ,the phrase 8sheet of ,bristol paper and are of pressing board0 is retained as printed4 ,page #hd4 ,the second at was removed from 8strength of #b ,baum at at a temperature04 ,page #ajc4 ,changed zince to zinc1 in 8take the zince plate04 ,page #acd4 ,changed 8throughly melted0 to 8thoroughly melted04 ,page #adj4 ,changed 8with a a glue roller0 to 8with a glue roller04 ,page #ada4 ,changed 8difcult to handle0 to 8difficult to handle04 ,page #ahb1 entry ,exposure4 ,changed 8timeing0 to 8timing04 ,likewise1 on page #ahd1 the entry ,timeing was changed to ,timing4