,,bromoil ,,printing ,,and ,,bromoil ,,transfer ,,by ,,dr4 ,,emil ,,mayer ,,president ,,of ,,the ,,vienna ,,club ,,of ,,amateur ,,photographers ,,authorized ,,translation ,,from ,,the ,,seventh ,,german ,,edition ,,by ,,frank ,,roy ,,fraprie1 ,s4,m41 ,f4,r4,p4,s4 ,,editor ,,of ,,american ,,photography ,illustration ,,american ,,photographic ,,publishing ,,co41 ,,boston #ag1 ,,massachusetts #aibc ,,copyright1 #aibc ,,by ,,american ,,photographic ,,publishing ,,co4 ,manufactured in the ,united ,states of ,america ,electrotyped and printed1 ,march1 #aibc ,,the ,,plimpton ,,press ,,norwood,,mass,u,s,a ,,preface ,the bromoil process has always been one in which it has seemed difficult to attain success4 ,though many books and articles on the subject have been published1 every writer seems to give different directions and every experimenter to have difficulty in following them4 ,the consequence is that almost every successful experimenter with this process has developed methods of his own and has frequently been unable to impart them to others4 ,one reason for this has been that each make of bromide paper varies in its characteristics from the others and that methods1 which are successful with one1 do not always succeed with another4 ,various bleaching solutions have been described1 and1 as the bleaching solution has two functions--bleaching and tanning1 which progress with different speeds at different temperatures--a lack of attention on this point has doubtless been a frequent cause of unsuccess4 ,little attention has also been paid to the necessity for observing the temperature of the water used for soaking the print4 ,the author of the present book has investigated these various points very carefully1 and for the first time1 perhaps1 has brought to the attention of the photographic reader the need for an accurate knowledge of the effect of these different variables4 ,in the following book he describes only a single method of work1 without variations until the process is learned1 though he does describe various methods of work which may be used to vary results by the experienced worker4 ,his method of instruction is logical and based on accepted educational principles4 ,he describes one step at a time fully and carefully1 explains the reasons for adopting it1 and then proceeds to the next step in like manner4 ,we feel sure that every reader1 who will be reasonably careful in his methods of work and will follow these instructions literally1 will learn how to make a good bromoil print4 ,after attaining success in this way1 the variations may be tried1 if desired4 ,while the author gives instructions for testing out papers to see if they are suitable1 it may be advisable to record here the results of some ,american and ,english workers4 ,h4 ,g4 ,cleveland in ,,american ,,photography for ,february1 #aibc1 recommends1 in addition to the papers specially marked by their makers as bromoil grades1 the following3 ,eastman ,portrait ,bromide2 ,p4 ,m4 ,c41 ,nos4 #g and #h2 and ,wellington1 ,cream ,crayon ,smooth1 ,rough1 or ,extra ,rough4 ,he suggests that a rough test may be made of a new brand of paper by placing a small test strip in water at #abj to #adj ,fahrenheit for a few minutes and then scraping the emulsion surface with a knife blade4 ,if the coating is entirely soft and jelly-like1 it will probably be suitable for the process4 ,if it is tough and leathery1 it will be unsuitable1 and1 if a portion of the coating is soft but the other portion tough1 then it will also be unsuitable4 ,his experience is that ,wellington ,bromoil paper is entirely suitable for the process4 ,chris ,j4 ,symes in ,the ,british ,journal of ,photography for ,december #a1 #aibb1 recommends for bromoil the following ,english papers3 ,kodak ,royal1 white and toned2 ,vitegas1 specially prepared for bromoil2 ,barnet ,cream ,crayon ,natural ,surface1 ,rough ,ordinary and ,tiger ,tongue4 ,for transfer1 he has found the following suitable3 ,kodak ,royal1 white and toned2 ,kodak ,velvet2 ,barnet ,smooth ,ordinary2 and ,barnet ,semi-matt ,card4 ,the reader who is interested in bromoil transfer1 will find the directions of ,mr4 ,guttmann on this process slightly different from those of ,dr4 ,mayer in minor points1 but the worker who is far enough advanced to essay this difficult process will be able to recognize these discrepancies and choose the process which seems more useful to himself4 ,metal etcher's presses for transfer are sold at comparatively high prices in the ,united ,states1 but second hand ones may often be found in the larger cities4 ,small wooden mangles with maple rolls may be had at fairly low prices from dealers in laundry supplies1 and have been found to be useful4 ,following the style of the ,german original1 italics have been freely used for the purpose of calling attention to the most important stages of the process1 rather than for the ordinary purposes of emphasis4 ,grateful acknowledgment is made to ,mr4 ,e4 ,j4 ,wall for assistance in the first draft of the translation1 and also in revision of the proofs4 ,,frank ,,roy ,,fraprie4 ,,boston1 ,february1 #aibc4 ,,contents ,,page ,,preface iii ,,contents vi ,,preliminary ,,remarks #a ,,chapter ,i ,,production ,,of ,,the ,,bromide ,,print--,definition of ,perfect ,print--,the ,choice of the ,paper--,development--,control of the ,silver ,bromide ,print--,fixation #aj ,,chapter ,,ii ,,the ,,removal ,,of ,,the ,,silver ,,image--,bleaching--,the ,intermediate ,drying #bi ,,chapter ,,iii ,,the ,,inking-,,up--,the ,production of the ,differential ,swelling--,the ,properties of the ,relief and ,its ,influence on the ,character of the ,picture--,effect of ,warm ,water--,effect of ,ammonia--,the ,utensils--,brushes--,the ,inks--,the ,support--,removal of the ,water from the ,surface of the ,print--,the ,brush ,work--,use of ,dissolved ,inks--,use of ,rollers--,resoaking of the ,print during the ,working-up--,removal of the ,ink from the ,surface--,failures--,alteration of the ,character of the ,picture by the ,inking--,the ,structure of the ,ink--,different ,methods of ,working--,hard ,ink ,technique 7,coarse-grain ,prints7--,soft ,ink ,technique--,sketch ,technique--,large ,heads--,oil ,painting ,style--,night ,pictures--,prints with ,white ,margins--,the ,swelled-grain ,image--,mixing the ,inks--,polychrome ,bromoils #ch ,,chapter ,,iv ,,after-,,treatment ,,of ,,the ,,finished ,,print--,defatting the ,ink ,film--,retouching the ,print--,refatting of the ,print--,application of ,ink to ,dry ,prints #ajd ,,chapter ,v ,,transfer ,,methods--,simple ,transfer--,combination ,transfer with ,one ,print-plate--,shadow ,print--,high ,light ,print--,combination ,transfer from ,two ,prints #aae ,,chapter ,,vi ,,oil ,,vs4 ,,bromoil #acd ,,chapter ,,vii ,,bromoil ,,transfer1 by ,eugen ,guttmann--,the ,bromoil ,print--,the ,choice of the ,paper--,the ,machine--,printing--,combination ,printing with ,one ,bromoil--,the ,value of ,combination ,printing--,retouching and ,working-,up--,drying #adb ,,chapter ,,viii ,,the ,,preparation ,,of ,,bromoil ,,inks1 by ,eugen ,guttmann--,the ,varnish--,powder--,colors--,tools--,pra ctice of ,ink ,grinding--,ink ,mixing--,permanency--,ink ,grinding ,machines #agf ,,bromoil ,,printing ,,and ,,bromoil ,,transfer ,,preliminary ,,remarks ,we all know what great progress photography has made in the last few years4 ,the most obvious sign of this advance is the fact that it has gradually escaped from the practice of literal reproduction of the objects seen by the lens1 and slowly attained to the rank of a recognized means of artistic expression1 so that it can justly be considered as a new branch which has grown out of the old tree of reproductive art4 ,this pleasing development may primarily be ascribed to the fact that the practice of photography1 which was originally confined almost exclusively to professional workers1 has gradually spread and has become a means of recreation to the multitude in their leisure hours4 ,it was the amateur who demanded new methods and apparatus and thus gave a new impulse to photographic manufacturing4 ,improvements of the most fundamental character were made in optical apparatus1 in the construction of cameras of the most varied types1 and in the fabrication of plates and films4 ,an extraordinary number of novelties has appeared in these lines in the course of time2 modern photographic apparatus makes possible the solution of problems which would not have been attempted a few years ago1 and improvements are still appearing4 ,the situation in the matter of printing processes is quite different4 ,we are provided with apparatus and sensitive material for the production of the photographic negative1 in a perfection which leaves nothing to be desired4 ,to produce a print from the negative1 however1 we had until recently no positive processes which were not well-known to previous generations4 ,this may be confirmed by a glance at any photographic textbook written around #ahhj4 ,the various printing processes1 platinum1 bromide1 carbon1 and gum1 which were until recently the alpha and omega of printing technique1 had been known for decades4 ,compared with the methods for the production of negatives1 printing methods showed practically no advance2 they remained in complete stagnation4 ,we can scarcely consider as an exception certain new methods brought forward in recent years1 which proved unsuccessful and quickly disappeared from practice4 ,these facts can only be explained by remembering that the positive processes1 which were available to photographers and with which they had to be satisfied1 were rather numerous and offered a considerable variety of effects4 ,nevertheless1 a single characteristic was common to all previously known photographic printing processes--their inflexibility4 ,each of these processes1 in spite of its individual peculiarities1 could do nothing more than exactly reproduce the negative which was to be printed4 ,it was possible to produce certain modifications of the negative image as a whole1 by printing it darker or lighter1 or by using a harder or softer working process4 ,changes on the negative itself for the purpose of giving a more artistic rendering must1 however1 always be very carefully thought out in advance and effected by retouching1 often difficult and not within the power of every photographer1 or by other methods which change the negative itself4 ,if such modifications of the negative proved unsuccessful1 it was irreparably lost2 if they succeeded1 the plate1 as a rule1 could no longer be used in any different manner4 ,the possibility of undertaking radical changes which might realize the artistic intentions of the worker on the print itself1 in order to save the negative1 and especially of planning and carrying out the deviations from the original negative1 which expressed the worker's artistic feelings1 during the printing1 was not afforded by any previously known printing methods4 ,a single exception was found in gum printing1 if the production of the image was divided into a series of partial printings4 ,each of these phases1 however1 was in itself incapable of modification except for the possibility of doing a certain small amount of retouching2 nevertheless1 by means of efficient management of the single printings and by properly combining them1 beautiful artistic effects could be obtained4 ,this1 however1 required an extraordinary amount of practice and skill1 and a very considerable expenditure of time1 and it must also be remembered that the failure of one of the last printings often destroyed all the previous work4 ,also1 in gum printing1 to have a reasonable expectation of success1 the work must be thought out from the very beginning and carried out in exact accordance with a plan from which it was scarcely possible to deviate during the work1 even when it became apparent that the desired result could not be satisfactorily obtained4 ,the possibility of planning results during the course of the printing and carrying them out directly on the print itself did not previously exist4 ,the first process to bring us nearer to this ideal and make possible a freer method of working was oil printing4 ,the technique of this process consisted in sensitizing paper which had been coated with a layer of gelatine1 by means of a solution of potassium bichromate1 and of printing it under the negative4 ,the yellowish image was then washed out2 the bichromate had1 however1 produced various degrees of tanning of the gelatine1 corresponding to the various densities of the silver deposit in the negative4 ,the lighter portions1 which had been protected from the action of light by the dense parts of the negative1 retained their original power of swelling and could therefore later absorb water4 ,the shadows1 however1 corresponding to the transparent parts of the negative1 were tanned1 had lost their absorptive power1 and had become incapable of taking up water4 ,consequently1 the high lights swelled up fully in water1 the shadows remained unchanged1 and the middle tones showed various degrees of swelling corresponding to the gradation of the negative4 ,if the print was blotted off and greasy inks spread upon it by means of a properly shaped brush1 the inks were entirely repelled by the swollen high lights which had absorbed water1 and completely retained by the fully tanned shadows1 while the middle tones1 in proportion to the amount of tanning1 retained or repelled the greasy ink more or less completely4 ,in this process1 for the first time1 there was found a possibility of changing various parts of the image absolutely at the worker's will1 even during the progress of the work4 ,by the use of harder or softer inks it was possible to color the swollen high lights more deeply1 or to hold back the shadows so that they did not take up all the ink that was possible4 ,it was possible to leave certain parts of the print entirely untouched and work up other parts to the highest degree2 in short1 oil printing opened the way to free artistic handling of the print4 ,thus1 the oil process was the first photographic printing process in which we were completely emancipated from the previous inflexibility which ruled in all printing4 ,nevertheless1 a number of disadvantages attach to oil printing which hinder its general use4 ,the most important shortcoming of this process is that bichromated gelatine as a printing medium can only reproduce a comparatively short scale of tone values4 ,the production of prints from contrasty negatives is therefore impossible1 for the shadows are much overprinted before details appear in the high lights1 or on the other hand1 there is no detail in the lights if the shadows are fully printed4 ,this difficulty can be only partly overcome by the most skilful use of inks of various consistency4 ,it is indeed possible to ink up the lights by the use of very soft ink1 but this does not replace the missing details2 and overprinted shadows1 which it is tried to improve by keeping down the quantity of ink applied1 appear empty4 ,thus it happens that most of the oil prints yet exhibited show a certain muddy family likeness1 which1 at first1 when the process was new1 was considered to be advantageous on account of the novelty of the effect1 but later received deserved criticism4 ,a second disadvantage of the oil print is the fact that it is not possible to observe the progress of the printing on the bichromated gelatine film4 ,the brownish image on a yellow background is very deceiving1 and it is usually necessary to determine the proper amount of printing for each individual negative by actual experiment1 and to make additional prints by means of a photometer4 ,another inconvenience of other previously known printing processes1 to which oil printing is also subject1 comes from the fact that the great majority of negatives are now made with small cameras4 ,on account of the extraordinary perfection of modern objectives1 the small negatives produced by modern hand cameras can be enlarged practically without limit4 ,the advantages of a portable camera are so considerable that large and heavy tripod cameras have practically gone out of use1 except for certain special purposes4 ,on the other hand1 however1 direct prints from small negatives are1 as a rule1 entirely unsatisfactory from an artistic standpoint4 ,if we desire to use any of the previously mentioned positive processes1 including oil1 to produce artistic effects1 we must first make an enlarged negative4 ,this requires1 in the first place1 the production of a glass transparency from the small negative1 from which we may prepare the desired enlarged working negative4 ,various workers held various views as to whether this requirement were a help or a hindrance1 but it was universally accepted as a necessity4 ,the way from the plate to the enlarged negative1 nevertheless1 always remained uncertain1 tedious1 and expensive4 ,simple as it may appear to be1 it includes a whole series of stages where it is possible to come to grief4 ,at every single step lurks the danger that undesired changes of gradation in the negative may result from inaccuracy in exposure and development1 from the use of improperly chosen sensitive material1 and from various other causes1 and even if these factors are all correctly handled1 there is still an unavoidable loss of detail4 ,therefore the path from the small original negative to the enlarged negative necessary in previously used processes is neither simple nor safe4 ,naturally it was also necessary to travel this wearisome path in working the oil process1 when it was desired to make large prints from small negatives4 ,when it was announced in ,england that ,welborne ,piper had discovered a process which started from a finished silver bromide print instead of from a gelatine film sensitized with bichromate1 new vistas were opened4 ,if the process should prove to be practically useful1 we could consider that all the previously mentioned difficulties were overcome at a single stroke4 ,the principle of this process1 bromoil printing1 is the removal of the silver image from a finished silver bromide print by means of a bleaching solution while1 simultaneously with the solution of the silver image1 the gelatine film is tanned in such a way in relation to the previously present image that the portions of gelatine which represent the high lights of the image preserve their capability of swelling1 while the shadows of the image are tanned4 ,therefore the bromoil process is a modification of oil printing1 based not upon a bichromated gelatine film1 but upon a completed bromide print4 ,this represents extraordinary progress4 ,the two previously mentioned disadvantages of oil printing are completely avoided in the bromoil process4 ,we now have at our command the far longer scale of tone values of bromide paper and we can use the great possibilities of modification allowed by the highly developed bromide process4 ,the difficulties of printing are completely removed1 for we have at our command a perfectly visible image as a starting point4 ,a further advantage which can not be too highly estimated is inherent in the bromoil process3 complete independence of the size of the original negative4 ,when ,i began my investigations in the field of bromoil printing1 the process had1 as far as practical value went1 only a purely theoretical existence1 as is the case in the early days of most photographic processes4 ,the fact that it was possible to produce images on a bleached bromide print by the application of greasy inks was well established4 ,the practical application of the process was absolutely uncertain and only occasionally were satisfactory results obtained4 ,most of the prints produced in this way were flat and muddy4 ,it is easy to understand that the process could find no widespread popularity while it was so incompletely worked out4 ,the researches1 which ,i then began1 showed that most bromide papers took up greasy inks after development by any method and subsequent bleaching of the image4 ,the pictures thus obtained1 however1 were muddy1 flat1 and not amenable to control1 and therefore were less satisfactory than the bromide prints from which ,i had started4 ,during the course of my work1 ,i have succeeded in obviating these difficulties1 in the first place1 by preparing a satisfactory bleaching solution1 next1 by determining what properties bromide paper must possess in order to give perfect bromoil prints1 and1 finally1 by working out a series of other necessary conditions1 which ,i have described in this book and which must be adhered to if the process is to work smoothly and certainly1 and produce satisfactory results4 ,the bromoil process1 which is now completely mastered1 offers1 in brief1 the following advantages3 ,simplicity1 certainty and controllability of the printing material2 ,independence of the size of the negative and easy production of enlarged artistic prints2 ,freedom in the choice of basic stock and its surface2 ,the possibility of freely producing on the print any desired deviations from the negative1 during the work2 ,full mastery of the tone values without dependence on those of the negative2 ,independence of daylight1 both in printing and in working up the print2 ,the possibility of the most radical alterations of the print as a whole and in part during the work2 ,freedom of choice of colors2 ,the possibility of preparing polychromatic prints with any desired choice of colors1 and complete freedom in the handling of the colors2 ,the possibility of comprehensive and harmonious modifications of the finished print2 ,the possibility of producing prints on any desired kind of non-sensitized paper by the method of transfer4 ,the description of working methods will be divided into the following phases3 ,i4 ,production of the bromide print2 ,,ii4 ,removal of the silver image2 ,,iii4 ,application of the ink2 ,,iv4 ,after-treatment of the finished print4 ,,chapter ,i ,,production ,,of ,,the ,,bromide ,,print ,failures in the bromoil process in the great majority of cases can be ascribed to the fact that the basic bromide print was not satisfactory4 ,therefore the method of preparation of the bromide print or enlargement deserves the most careful consideration1 for the bromide print is the most important factor in the preparation of a bromoil print4 ,the beginner1 especially1 can not proceed too carefully in making his bromide print4 ,because of the extraordinary importance of this point1 we must first define what is here meant by a perfect bromide print4 ,in deciding how to produce a satisfactory bromide print as a basis for a bromoil1 we must exclude from consideration esthetic or artistic grounds4 ,the bromide print must be technically absolutely perfect1 that is1 it must have absolutely clean high lights1 well graded middle tones1 and dense shadows4 ,especial stress must be laid on the brilliancy of the high lights4 ,it is best to compare these high lights with an edge of the paper which has not been exposed and is not fogged or1 even better1 with the back of the paper4 ,the highest lights should show scarcely a trace of a silver precipitate and must therefore be almost as white as the paper itself4 ,negatives which do not allow of the production of prints as perfect as this should not be used while the bromoil process is being learned4 ,this apparently superfluous definition of a perfect bromide print has to be given in this way1 because it only too often occurs in practice that the worker himself is not clear as to what is meant by the expression1 perfect bromide print4 ,this may be partly ascribed to the fact that the silver bromide process--whether rightly or wrongly need not be determined here--has not been properly appreciated among amateurs who are striving for artistic results4 ,bromide printing has frequently been considered not to be satisfactory as an artistic means of expression1 and has therefore been considerably neglected4 ,in many quarters it is considered as just good enough for beginners4 ,nevertheless1 the bromide process is per se an uncommonly flexible method and gives1 even with a very considerable amount of overexposure or underexposure1 that is1 even when very badly handled1 results which are considered usable4 ,it is even possible that an improperly made bromide print1 one for instance1 which is soft and foggy1 might in some circles be considered as esthetically more interesting than a perfect print4 ,this is an undeniable advantage of the process4 ,it may also become a danger1 if an imperfect bromide print is used as a starting point in the bromoil process4 ,if anyone is not sure on this point1 let him compare his own bromide prints with such samples as are frequently shown by manufacturers in window displays and sample books4 ,he will then see what richness of tones and wealth of gradation are inherent in the process4 ,if1 however1 an imperfect silver bromide print is used as a starting point for a bromoil1 it can not be expected that the latter will display all the possibilities of this process4 ,if the bromide print is muddy1 the work of inking will be difficult1 and it will be impossible to obtain clean high lights4 ,if it is underexposed and too contrasty1 it can not be expected that the bromoil will show details in the high lights which were lacking in the bromide print4 ,if the worker himself does not know that his silver bromide print is faulty1 he is inclined to ascribe the difficulties which he finds in making the bromoil print and his dissatisfaction with the results1 to the bromoil process itself4 ,most of the unsatisfactory results in bromoil work must be ascribed to the imperfect quality of the bromide print which is used1 and this is the more important as this lack is not perceptible to the eye after the bleaching is completed4 ,whoever1 therefore1 desires to successfully practice bromoil printing1 must first decide impartially and critically whether he actually knows how to make bromide prints1 and must acquire full mastery of this process4 ,the technically perfect bromide print made from a properly graded negative can1 as will later be described1 have its gradations changed in the bromoil process without any difficulty1 and thus be made softer or more contrasty4 ,the advanced bromoil printer who is a thorough master of the technique of the process will therefore easily be able to work even with poor negatives2 when making his bromide prints from such negatives1 he will consider the ideas which he intends to incorporate in the bromoil print and will make his bromide print harder or softer than the negative and at the same time retain the necessary cleanness of the high lights4 ,the best starting point for a bromoil print1 however1 especially for the beginner1 is and must be a bromide print as nearly perfect as possible4 ,a suggestion for the certain obtaining of such prints may be added here4 ,when we are working with a negative with strong high lights1 judgment as to the freedom of the bromide print from fog by comparison with an unexposed edge is not difficult4 ,this is not the case with negatives which show no well marked high lights4 ,in such cases it is advisable to determine what is underexposure by making test strips in which details in the high lights and middle tones are lacking and1 working from this point1 determine by gradual increase of exposure the correct time which gives a perfectly clean print4 ,,the ,,choice ,,of ,,the ,,paper4--,one of the most important problems is to find a suitable paper for the process4 ,not all of the bromide papers which are on the market will give satisfactory results4 ,it is only possible to use papers whose swelling power has not been too completely removed in process of manufacture by the use of hardeners4 ,the principle of the bromoil process is that a tanning of the gelatine shall occur simultaneously with the bleaching of the silver bromide image4 ,as we have already remarked1 this does not affect the high lights and leaves them still absorbent1 while the shadows are tanned and therefore become incapable of taking up water4 ,the half-tones are tanned or hardened to an intermediate degree and therefore can take up a certain amount of water4 ,therefore1 in place of the vanished silver image1 we get a totally or partially invisible tanned image in the gelatine film4 ,the variously hardened parts of the gelatine film1 corresponding to the various portions of the vanished bromide image1 display the property acquired through different degrees of tanning by the fact that the portions of the gelatine which remain unhardened and which correspond to the high lights of the silver image formerly present1 absorb water greedily4 ,consequently they swell up and acquire a certain shininess1 because of their water content2 in addition they generally rise above the other parts of the gelatine film1 which contain little or no water1 and give a certain amount of relief when they are fully swelled4 ,the portions of the film in which the deep shadows of the bromide image lay are completely tanned through1 can therefore take up no water1 and remain matt and sunken4 ,this graded swelling of the gelatine film becomes more apparent1 the higher the temperature of the water in which the film is swollen4 ,if1 however1 the paper was strongly tanned in the process of manufacture1 the gelatine has already lost all or most of its swelling power before it is printed and1 although the bleaching solution in such cases can indeed remove the silver image1 it can no longer develop the differences of absorptive power which are necessary for a bromoil print2 for1 although the bleaching solution can harden an untanned gelatine layer1 it cannot bring back the lost power of swelling to a film which is already hardened through and through4 ,therefore bromide papers which have already been very thoroughly hardened in manufacture show no trace of relief after bleaching1 and very slight1 if any1 shininess in the lights4 ,this is the case especially with those white1 smooth1 matt1 heavyweight papers which are especially used for postcard printing4 ,when such papers are taken out of the solutions1 as a rule1 these run off quickly and leave an almost dry surface4 ,it is generally not possible to make satisfactory bromoil prints on such papers4 ,it is true that the image can be inked by protracted labor2 it is1 however1 muddy and flat and1 as a rule1 cannot be essentially improved even by the use of very warm water4 ,other types of bromide paper which have not been so thoroughly hardened may show no relief after bleaching1 yet1 after the surface water has been removed1 they do show a certain small amount of shininess in the high lights when carefully inspected sidewise4 ,with such papers the necessary differences of swelling can generally be developed if1 as will later be more completely described1 they are soaked in very warm water or in an ammoniacal solution4 ,it is rare to find in commerce silver bromide papers which have not been hardened at all1 or only very slightly hardened1 in their manufacture4 ,such papers1 because their films are very susceptible to mechanical injury1 are not likely to stand the wear and tear of the various baths4 ,on the other hand1 as a rule1 they usually produce a strong relief even in cold water1 and therefore tend to produce hard prints4 ,the greatest adaptability for bromoil printing may be anticipated from bromide papers which are moderately hardened during manufacture4 ,to determine whether a given brand of bromide paper is suitable for bromoil work1 an unexposed sheet of the paper should be dipped in water at a temperature of about #cj ,c4 7#hf ,f47 and the behavior of the gelatine film observed4 ,if this swells up considerably and becomes slippery and shiny1 the paper has the necessary swelling power and can be used with success4 ,on account of the great variety of bromide papers which are on the market1 we have a very wide choice as regards the thickness and color of the paper and the structure of its surface4 ,it may be remarked here that papers of any desired surface1 even rough and coarse grained papers1 can be used for bromoil printing1 as easily as papers with a smooth surface4 ,the difficulties experienced with very rough surfaced papers in some other processes do not exist in bromoil4 ,because of the elasticity of its hairs1 the brush carries the ink as easily into the hollows of the surface as to its high points4 ,the thickness of the paper is of no importance in bromoil printing1 except that the handling of the thicker papers is easier1 because they lie flatter during the work and distort less on drying2 also1 as a rule1 thick papers are easier to ink4 ,gaslight papers can also be used if their gelatine films satisfy the above mentioned requirements4 ,therefore we have the widest possible choice in the printing materials for bromoil4 ,a great number of bromide papers of different manufacturers are well suited for bromoil printing2 it is1 however1 advisable to make a preliminary investigation as to the amount of hardening they have undergone1 for it occasionally happens that different emulsions of the same brand show quite different grades of hardening1 so that on one occasion it is possible to make bromoil prints on them without the least difficulty1 while the same paper at another time may absolutely refuse to take the ink4 ,on account of the great popularity of the bromoil process in recent years1 it can be easily understood that some manufacturers might seek a wider sale for their products by claiming for them a special suitability for this process4 ,it is therefore a wise precaution to previously test even those brands which are advertised as specially adapted for bromoil printing1 and not to depend too much on such claims4 ,,development4--,the processes of tanning in the film of a bromide print1 produced by the bleaching of the silver image1 which will be described later1 are of an extremely subtle nature4 ,we must therefore endeavor to avoid all causes for damage in this process and especially everything which tends to harden the whole film even to the slightest degree4 ,any tanning1 which affects the whole gelatine film1 has the same effect as general fog in a negative4 ,it is well known that almost all the developers used in photography have more or less tendency to harden the gelatine film4 ,a very considerable damage to the bromoil print through the use of a tanning developer might naturally be imperceptible to the eye4 ,yet this may at times manifest itself in a very undesirable and disturbing form1 especially when the bromide paper has been so much hardened in manufacture that it possesses only just the necessary qualification for bromoil printing4 ,it may then happen that the last remainder of swelling capacity can be taken from the paper by the use of a tanning developer4 ,however desirable it might be and however it might simplify the process to be able to use any desired developer in producing the bromide print1 to avoid trouble it must be observed that the use of developers which tan the film may seriously influence the result1 even though it is possible to get some kind of prints in many cases4 ,if the worker is absolutely sure that the bromide paper which he is using is not strongly hardened and is therefore well suited for bromoil printing1 he may undertake development with any one of the ordinary developers which he prefers4 ,the developers1 which do not exercise a hardening influence on the gelatine1 are the iron developer and amidol 7diamidophenol hydrochloride74 ,as the iron developer is not really suited to this purpose on account of certain unpleasant qualities inherent in it1 it is advisable to use amidol for the development of bromide paper for bromoil printing whenever possible1 and the best developer is composed as follows3 ,amidol #a4g g #ab4c gr4 ,sodium sulphite1 dry #aj g #gg gr4 ,water #ajjj ccm #af oz4 ,the sodium sulphite is first dissolved in water1 and the easiest way is to pour the necessary quantity of water into a developing dish and sprinkle the pulverized or granular dry sodium sulphite into it while the dish is constantly rocked2 solution takes place almost instantly under these conditions4 ,larger lumps1 which would stick to the bottom of the dish1 must be immediately stirred up4 ,as soon as the sodium sulphite is dissolved1 the amidol should be added and this will also dissolve immediately4 ,the addition should be made in the order described1 for1 if the amidol is dissolved first1 the solution is often turbid4 ,if dry sodium sulphite is not available1 double the quantity of crystallized sulphite may be used4 ,the amidol developer should be freshly prepared each time that it is used1 as it does not keep in solution4 ,the measurement of the quantities of amidol and sulphite given above does not need to be made with the most painstaking care1 as small variations in the quantities are unimportant4 ,in using amidol developer the greatest care must be taken to avoid allowing amidol powder1 in even the smallest quantity1 to come into contact with the bleached print ready for bromoil printing4 ,even the finest particles of amidol1 although invisible to the naked eye1 will produce yellowish brown spots on the gelatine which penetrate through the film and into the paper itself4 ,these dots and spots1 especially if1 as is usual1 they occur in large numbers1 will make the print completely useless1 and it is impossible to remove them4 ,if amidol developer is not available1 any other developer which is desired may be used4 ,as we have already stated1 however1 certain possibilities of failure are to be anticipated1 but will not necessarily occur4 ,every effort should be made to produce a bromide print as perfect as possible1 with clean high lights4 ,the best bromide prints or enlargements for bromoil printing are those which are correctly exposed1 but are not developed out to the greatest possible density4 ,a print which is thus fully developed is very satisfactory as a bromide but offers certain difficulties in bromoil printing1 which will be described later4 ,therefore the development should be stopped as soon as the lights show full detail without any fog1 but before the shadows have reached full density4 ,the deepest shadows should then be of a deep greyish black1 but should not be clogged up4 ,when a bromide print is properly exposed1 there is sufficient time between the appearance of the details in the lights and the attainment of the deepest possible black in the shadows to easily select the proper moment for cessation of development4 ,it is1 however1 desirable not to go beyond this stage of development1 for the reason that a very dense silver deposit distributed completely through the gelatine emulsion to the paper support is not easily bleached out4 ,when this difficulty occurs1 the bleaching solution is generally1 but incorrectly1 blamed for it4 ,if1 in spite of this difficulty1 complete bleaching is attained1 the shadows of the image usually retain a yellowish color which cannot be removed by the baths which follow the bleaching4 ,if it is intended to ink up the whole surface of such a print1 this discoloration of the shadows is not important1 for it will be completely covered by the ink4 ,but if the print is to be treated in a sketchy manner1 and some parts of its surface are not to be inked1 this cannot be successfully done on account of the yellowish coloring of the shadows4 ,underexposure must be carefully avoided1 for details which are not present in the bromide print will1 of course1 not appear in the bromoil print4 ,overexposure will occasionally give usable results1 if the development of the overexposed print is stopped at the proper point4 ,in such cases1 we must usually expect some deposit in the high lights and consequently a certain fogging of the image1 though this can often be overcome1 at least partly1 by swelling the print at a higher temperature4 ,perfect prints cannot be expected1 if the basic print is lacking in quality4 ,if the overexposure is not too great1 the print can be improved to a certain extent by clearing it in very dilute ,farmer's reducer4 ,treatment with this reducer has no deleterious effect on the later processes4 ,the ,farmer's reducer should only be used for a slight clearing up of too dark parts of the bromide print2 for this purpose the parts of the moist print which are to be reduced should be gone over with a brush dipped in very dilute reducer and immediately plunged into plenty of water1 to avoid any spreading of the reducer into other parts of the image4 ,developing fog should naturally be avoided as much as possible4 ,fogging of the bromide print is caused by the formation of a more or less dense silver precipitate without any relation to the image over the whole surface of the print4 ,as the bleacher takes effect wherever metallic silver is present in the film1 the result in such cases is a general tanning of the film1 which is detrimental to the production of the necessary differences in swelling power in the gelatine4 ,the tanned gelatine image is then also fogged4 ,consequently the best results may be obtained from very brilliant1 but not excessively developed1 bromide prints4 ,we must also avoid falling into the opposite extreme in the development of the bromide print1 by getting too thin prints lacking in contrast4 ,in prints which are too thin1 only a very small quantity of metallic silver has been reduced in the development1 and this lies wholly on the surface of the film4 ,such prints usually show full detail1 but the contrasts between the lights and the shadows are too small4 ,since the tanning produced by the later bleaching occurs because of the presence of metallic silver in the film1 and since its intensity depends on the quantity of this silver1 we cannot obtain the necessary difference in swelling power by bleaching the film of prints which are too thin because of insufficient development4 ,the result is a weak tanned image in the gelatine film2 bromoil prints thus produced can consequently only exhibit a very short scale of tone values1 and this cannot be essentially lengthened by the use of the bromoil process alone4 ,such bromide prints may find a special application in combination transfers1 which will be described later4 ,it is also possible1 under certain circumstances1 to use incomplete development as a method for producing soft bromoil prints from contrasty negatives4 ,,control ,,of ,,the ,,silver ,,bromide ,,print4--,although in bromoil printing the most various renderings can be obtained from a perfect bromide print1 by variation of the temperature of swelling and by proper handling of the inking1 it is also possible1 under some circumstances1 to vary the final result by proper treatment during the making of the bromide print1 especially when we are not dealing with normal negatives4 ,if1 for instance1 we have to deal with a very thin negative1 it is possible that even the extreme possibilities offered by the bromoil process are not sufficient to insure the attainment of the desired modulation1 for1 as will later appear1 the possibility of increasing the difference in swelling in the film is limited by the limited resisting power of the gelatine4 ,in such cases1 we must take advantage of the accumulation of all possible aids and therefore1 in making the bromide print1 do all that is possible in order to bring out desired objects1 which are only indicated in the negative and do not show sufficient detail4 ,therefore1 if we desire to increase the contrast of the negative in the final print1 we should use a harder working paper and add potassium bromide to the developer4 ,if we desire to get soft prints from a contrasty negative1 we may use different methods4 ,the simplest way is the use of a very rapid and consequently soft working paper4 ,ordinarily1 however1 this method is not sufficiently helpful4 ,we must therefore also use suitable methods in later steps of the process1 such as making the difference in swelling in the gelatine layer as small as possible in order to bring down the contrast1 or inking up with soft inks4 ,a very reliable process for the production of soft prints or enlargements1 even from contrasty negatives1 is the following3 the proper exposure for the densest portions of the negative should be first determined by means of a trial strip2 then a full sized sheet of paper is exposed for exactly the time which has been determined1 soaked in water until it is perfectly limp1 and then placed in the developer4 ,as soon as the first outlines of the image appear1 the print is placed in a dish of pure water and allowed to lie there1 film down4 ,as soon as development has ceased1 the print is taken out of water1 dipped into the developer for an instant1 and then immediately put back into the water4 ,this method requires considerable time for full development1 but produces prints or enlargements of especial softness4 ,in this process1 the developer which is absorbed by the film is soon exhausted in reducing the heavy deposit in the shadows1 so that their development ceases1 while enough developer still remains unexhausted in the other portions of the image to keep on developing4 ,with very dense negatives1 developer warmed to #be ,c4 7#gg ,f47 can be used for the production of soft prints1 but it must be very much diluted and carefully used1 for development proceeds very quickly4 ,very soft prints may also be obtained by bathing the exposed bromide prints for about two minutes in a one per cent solution of potassium bichromate before development4 ,this solution is thoroughly washed out of the print1 and it is then developed4 ,yet with very hard negatives all these remedies frequently fail1 because the high lights are almost completely opaque to light because of their density4 ,in such cases the negative itself must be improved4 ,the ammonium persulphate reducer usually recommended for such plates1 which acts more strongly on the lights than on the shadows1 is1 however1 too uncertain in its action and may imperil the negative4 ,it is better to adopt ,eder's chlorizing method1 which enables one to improve too contrasty negatives in a convenient and certain manner4 ,the principle of this process is as follows3 the metallic silver of the negative is converted into silver chloride1 which is again developed4 ,this redevelopment is accomplished in such a way that the silver chloride on the surface of the film is first reduced to metallic silver2 if development is continued1 the reduction is continued to the bottom of the film4 ,the delicate details1 lying on the surface of the film1 are thus first developed1 while development of the overdense high lights1 in which the silver deposit extends right through to the glass1 is finished only after some time4 ,it is therefore possible to stop development at the instant at which the shadows and half-tones are completely redeveloped1 while the overdense high lights are1 for instance1 only half developed1 and therefore only half consist of metallic silver1 the lower half being still silver chloride4 ,if the development is interrupted at this stage and the negative placed in a fixing bath1 the still undeveloped silver chloride is dissolved4 ,the shadows and half-tones thus retain their original values1 and only the overdense deposits in the shadows are reduced4 ,if the development is not stopped at this stage1 but is carried through to completion1 the negative is obtained unaltered1 and the process can be repeated4 ,if the second development is stopped too soon1 the negative may be endangered and a very thin negative1 lacking in contrasts1 obtained4 ,the practical application of the chlorizing process is effected by bleaching the negative in the following solution3 ,cupric sulphate #ajj g #a oz4 ,common salt #bjj g #b oz4 ,water #ajjj ccm #aj oz4 ,as soon as the negative is completely bleached1 which should be judged not only by transmitted light but also by examination from the glass side1 it should be well washed and immersed in a slow-acting developer4 ,all these processes can be carried out in daylight1 and the second development of the negative is best controlled by frequent examination of the glass side4 ,development should be stopped when the shadows and half-tones are blackened1 and there is still a whitish film of silver chloride in the high lights4 ,observation of the negative by looking through it is not advisable1 for the negative very soon appears dense by transmitted light1 because the metallic silver formed in development masks the silver chloride4 ,as soon as the development is considered to have gone far enough1 the plate should be rinsed and then fixed and washed in the usual manner4 ,after a few trials1 the judgment of the correct stage at which to stop development presents no difficulty4 ,i ordinarily use the chlorizing process in the following way1 which practically excludes any possibility of failure3 the negative is completely bleached in the solution just mentioned1 and then washed for five minutes4 ,it is then developed in any desired developer until it shows by transmitted light practically the same density1 though in a brownish color1 as it had before chlorizing4 ,it is then rinsed off1 placed in a solution of hypo1 not stronger than two per cent1 and carefully watched by light passing through the plate2 it is taken out as soon as the desired stage is reached1 well washed1 and dried4 ,in this modification of the chlorizing process the condition of the plate can be observed at every stage4 ,the final negative1 to be sure1 does not consist of pure metallic silver1 but as a rule of a combination of silver and silver chloride2 but such negatives are sufficiently permanent for making prints and enlargements on bromide paper4 ,it is also advisable to lessen the harsh contrasts in a normal negative1 either by masking the more transparent parts on the glass side1 or by holding them back in printing or enlarging4 ,briefly1 every possible means should be employed in order to obtain as good and harmonious a bromide print as possible4 ,the beginner is strongly recommended1 however1 in his first trials with bromoil1 to start as far as possible with normal negatives and correct1 and especially very clean1 bromide prints4 ,the use of this process for the improvement of the results from difficult negatives should be left for more expert workers4 ,it is often desired to provide landscapes with clouds1 and this can be easily attained if enlargements are used as the basis for bromoil prints4 ,acceptable results are given by a process1 which has often been recommended4 ,this is1 after blocking out the sky on the negative1 to enlarge the landscape1 develop the print and again place it while still wet on the enlarging screen and expose for the clouds1 disregarding the existing image1 and then develop the clouds4 ,i might describe here another process for obtaining clouds1 because it is especially suitable for the bromoil process4 ,if there is no object in the negative which is cut by the upper edge of the plate1 it is extremely easy to introduce clouds into such a landscape1 and at the same time lengthen out the picture at the top4 ,a cloud negative suitable for the landscape is chosen1 and the relative exposures for the landscape and clouds found as accurately as possible by test strips4 ,the landscape negative is then focused on the enlarging screen so that there is plenty of paper above the upper edge of the plate1 and then the exposure is made while the upper part of the paper is covered with a card1 which is kept moving constantly between the light source and the enlarging screen1 so that the upper edge of the plate is not imaged on the screen4 ,after the exposure is finished1 the paper is shifted down on the screen until the upper edge of the paper comes at the place which was previously occupied by the edge of the plate1 the landscape negative is changed for the cloud negative1 and the clouds are exposed on the upper and hitherto unexposed part of the enlarging paper1 while the landscape is protected from exposure by means of a piece of card1 shaped like the previous one for the sky1 and continually moved to avoid a sharp line of separation4 ,in the subsequent development a perfectly uniform picture is obtained1 in which there should be no visible trace of its compound nature4 ,obviously1 in the preparation of the bromoil print1 it is advisable to employ to the utmost the many possibilities which bromide printing offers4 ,thus too thin parts of a negative may be held back by proper blocking out on the back and numerous other possible modifications1 which have been described in textbooks and technical journals1 but which cannot be further dealt with here1 may be profitably employed4 ,,fixation4--,the developed bromide print should be well rinsed and fixed in the usual way4 ,if the rinsing is omitted or is too superficial1 complete or partial reduction phenomena may occur in the fixing bath1 and make the print unusable4 ,the bromide print should be left in the hypo solution for about #aj minutes1 and care should be taken1 if several prints are simultaneously treated1 that they do not stick to one another4 ,then should follow thorough washing for removal of the hypo2 if traces of hypo remain in the film1 the subsequent bleaching is rendered more difficult1 as the image does not disappear but only turns brownish4 ,while it is feasible to subject the bromide print to the bleaching process1 as soon as it comes from the washing1 an intermediate drying is an advantage2 for the gelatine gains greater resistance by this drying4 ,,chapter ,,ii ,,the ,,removal ,,of ,,the ,,silver ,,image ,,bleaching4--,the bleaching process has the purpose of making the bromide print1 correctly prepared according to the previously described method1 suitable for the bromoil process4 ,to this end the silver image must be made to disappear and in its place that condition of the gelatine produced which renders it possible for it to take up the greasy ink4 ,the bleaching solution has1 therefore1 two functions3 it must remove the metallic silver1 imbedded in the gelatine film1 which forms the bromide image1 and at the same time cause a tanning of the gelatine film corresponding to the image that disappears4 ,in the place of the silver image there then exists an invisible tanned image in the gelatine film4 ,there are a large number of chemical compounds known to photographic technique1 which enable us to dissolve out the metallic silver imbedded in the gelatine film4 ,such are1 for example1 the many reducers which have found practical application4 ,many of these chemicals also cause changes in the gelatine simultaneously with the solution of the silver4 ,but not one of the hitherto known bleaching solutions possesses the double power required of it3 solution of the silver image and corresponding tanning of the film4 ,some produce too great a tanning which acts upon the whole film1 and the result in inking-up is muddy flat prints1 which do not lend themselves to artistic modification4 ,with other bleaching solutions a differential tanning of the gelatine is produced1 but at the same time they so alter the surface of the gelatine that it becomes glossy all over1 and only takes even soft inks with difficulty4 ,my experiments have led to the compounding of a bleach which completely fulfils the requirements set for it2 the silver image is quickly and completely removed1 while simultaneously a tanning of the film1 strictly analogous to the disappearing image1 is effected2 easier and more certain inking-up is rendered possible1 and besides this the advantage is obtained that the differences of relief1 produced in the gelatine by the bleaching process1 can be influenced to a wide degree by varying the temperature of the water4 ,the composition of this bleaching solution1 which prepares the gelatine film in the most perfect manner for the bromoil print1 is as follows1 three stock solutions being required3 ,i4 ,cupric sulphate #bjj g #b oz4 ,water #ajjj ccm #aj oz4 ,,ii4 ,potassium bromide #bjj g #b oz4 ,water #ajjj ccm #aj oz4 ,,iii4 ,cold saturated solution of potassium bichromate4 ,a concentrated bleach is made by mixing3 ,solution ,i4 #c parts ,solution ,,ii4 #c parts ,solution ,,iii4 #a part ,to every #ajj ccm of this mixture should be added #aj drops of pure hydrochloric acid 7#aj drops to #c oz474 ,this concentrated bleach will keep indefinitely and should be diluted before use with three to four times its volume of water4 ,the use of a more concentrated solution is not advisable1 as irregularities frequently occur in consequence of too rapid bleaching1 especially towards the margins of the prints4 ,the color of the concentrated bleach is green1 or when diluted1 yellowish2 the solution must be absolutely clear4 ,when the stock solutions are mixed there is usually some cloudiness1 but this is cleared up by the hydrochloric acid4 ,by standing for a long time at low temperatures a precipitate is sometimes formed1 but this is of no moment4 ,the compounding of this bleach should be made with the greatest accuracy4 ,inaccuracies or modifications in its composition are serious1 because although the solution does not lose in bleaching power1 yet the invisible tanning action is then often not completed in the desired manner4 ,too great an addition of hydrochloric acid for example1 accelerates the process of bleaching1 but the inking-up of prints thus bleached is frequently difficult4 ,if the bleaching of the shadows of the bromide prints goes on slowly1 the reason as a rule lies in the fact that the prints were overdeveloped and have an excessively dense silver deposit4 ,the bromide prints should be immersed in this bleaching solution1 after previous soaking in cold water4 ,if they have been correctly made1 the image rapidly grows weaker and after a few minutes its greyish-black color changes into a pale citron yellow4 ,if the bromide print was developed too far1 the bleaching takes rather longer1 as the shadows1 developed right through to the base1 require a lengthy period for solution4 ,if several prints are to be bleached at once1 the best procedure is to place one print in the solution and turn it film side down when the first traces of bleaching are noticeable4 ,then the next print should be immersed with the film up and by thus proceeding gradually it is possible to bleach a large number of sheets simultaneously in the one dish4 ,continual movement will prevent the formation of air bells4 ,if air bells adhere to the film1 they protect those places from the action of the bleach and dark points or spots of unchanged metallic silver remain1 the subsequent bleaching of which naturally prolongs the process4 ,the same applies to prints which lie on top of one another4 ,with too slow bleaching1 the hydrochloric acid may be gradually increased1 at the most to double that prescribed2 one should not hasten the bleaching process by warming the solution4 ,the bleaching is rapidly effected in warm solutions2 yet generally the film of moderately hardened papers is so altered that they swell up too much even in cold water and take the ink badly or not at all4 ,the dilute bleaching solution will keep and may be used repeatedly as long as it acts2 when it becomes exhausted1 the slowing up of the bleaching cannot be hastened by the addition of hydrochloric acid4 ,the chemical reactions in the bleaching bath are1 according to ,dr4 ,p4 ,r4 von ,schrott1 as follows3 #b;,cu,br ,ag #b;,ag,br ,cu,br ,the cuprous bromide1 ,cu,br1 which is formed1 reduces the bichromate as follows3 #c;,cu,br #f;,cr,o #c;,cu,br #c;,cu,cr,o ,cr,o4,cr,o ,it sometimes happens that bromide prints1 in spite of long immersion in the bleaching solution1 apparently will not bleach and only change their color to brown4 ,the reason for this usually unimportant phenomenon is1 as a rule1 that such prints have not been sufficiently washed and still contain hypo4 ,it may also happen that prints which have lain on top of each other in washing are badly washed in parts2 then the image bleaches1 but the film shows dark patches or streaks at those places which still contain hypo4 ,such apparently unbleached prints should be left for about #aj minutes in the bleaching solution2 the disturbing coloration1 whether of the whole picture or only of parts1 disappears completely in the subsequent baths1 even when the image had apparently remained at full strength4 ,if such a print1 apparently not bleached or spotty1 is immersed in the sulphuric acid bath mentioned below1 the discoloration of the film is quickly removed by its action2 the print then often passes through a phase in which it appears to be a negative1 the secondary image becoming visible on the yellow ground1 and then bleaches out completely4 ,with such prints it may also happen that it is only noticed after removal of the stain that unbleached traces of the silver image still remain4 ,then the bleaching must be repeated4 ,if the color of the bromide print only changes to brown even after protracted immersion in the bleaching solution1 otherwise retaining full gradation1 and remaining unchanged even in the sulphuric acid bath1 though it bleaches out in the hypo1 the print cannot be inked4 ,the reason for this difficulty is improper composition of the bleaching solution1 or occasionally improper development and fixation of the bromide print4 ,it may also be due to excessive use of the bleaching solution2 #c to #d ccm 7#ej to #gj minims7 of concentrated bleaching solution should be allowed for every #ac by #ah cm 7#e by #g7 print4 ,obviously all these processes may be carried out by diffused daylight4 ,the bleached-out prints should be repeatedly washed1 until the drainings are quite clear1 and should then be immersed in the following bath3 ,sulphuric acid1 pure #aj ccm #gg min4 ,water #ajjj ccm #af oz4 ,in this bath any remaining color disappears quickly and completely1 and prints1 which have apparently wholly or partially resisted bleaching1 are also very rapidly decolorized in this bath4 ,any spots and streaks also disappear4 ,if1 however1 there is anything left1 then the bleaching was not complete1 and unreduced metallic silver remains in the film4 ,after the sulphuric acid bath the prints should show the pure color of the paper base2 the film side ought to be hardly different from the back in color4 ,with prints that have been overdeveloped1 a certain slight variation of color remains in the film1 which1 however1 in no wise prejudices the inking-up4 ,if there are still some spots1 they are usually due to a slight precipitate lying on the surface of the film1 which can be easily swabbed off4 ,when this point of colorlessness is reached1 and it usually requires only a few minutes1 it is useless to leave the prints longer in the acid bath4 ,they should be washed in repeated changes of water and immersed in the following fixing bath3 ,hypo #ajj g #a oz4 ,water #ajjj ccm #aj oz4 ,the use of this fixing bath is essential and is based on the following considerations4 ,during the bleaching process a secondary silver bromide image is formed in the gelatine film4 ,this secondary image is not visible on white and yellowish bromide papers1 because it is whitish-grey4 ,if a bleached print1 which has not been fixed1 is exposed for a long time to daylight a distinctly visible blue-grey image is formed1 which naturally is troublesome in the further operations4 ,this secondary image of silver bromide is completely removed1 however1 by the fixing bath4 ,the ordinary acid fixing baths can also be used without disadvantage for fixing4 ,if the sulphuric acid is not sufficiently washed out1 decomposition of the fixing bath may ensue1 which will be made apparent by the unpleasant smell1 and which is prejudicial to the action of the bath4 ,care should be taken that the prints do not stick to one another in the fixing bath and that they are thoroughly fixed out1 as the secondary bromide image that is not removed will make its appearance in insufficiently fixed places and may cause darker patches4 ,washing then completes the preliminary preparation of the prints4 ,for the sake of completeness it should be mentioned that the prints may be immersed in the bleaching solution in the darkroom after the first development1 and can be fixed after the solution of the silver image4 ,this shortened process is1 however1 uncertain and can not be recommended4 ,,the ,,intermediate ,,drying4--,after the bleaching process outlined in the previous section the print must be dried without fail4 ,while drying after the development and fixation of the bromide print is advisable but not absolutely necessary1 the intermediate drying after bleaching is of the greatest importance4 ,it is possible that the later operations may be successful in spite of neglect of this recommendation4 ,as a rule1 however1 various mishaps occur when the intermediate drying is omitted4 ,in many cases the ink can only be caused to adhere with difficulty1 in others1 not at all2 sometimes the inking will proceed up to a certain point and then suddenly completely stop4 ,sometimes the image appears as a negative1 that is to say1 the ink is taken up by the high lights and rejected by the shadows4 ,all these failures will be obviated by the intermediate drying at this stage4 ,whether this intermediate drying takes place rapidly or slowly is practically immaterial2 naturally it ought not to be so prolonged that the gelatine suffers4 ,the prints thus prepared can either be again soaked in water and immediately worked up1 or kept and treated at any time4 ,it is very convenient1 especially for an amateur1 to have a stock of such ready prepared and dry prints1 because he is then in a position to work when he finds time and opportunity4 ,the prints1 prepared and dried as has been described1 will keep indefinitely4 ,with correct treatment there can be seen on the gelatine film of the dry print scarcely a trace of the bleached-out image2 only in the very deepest shadows a slight coloration of the film1 tending to grey1 can sometimes be noticed4 ,it is advisable1 therefore1 to mark the print on the paper side before bleaching1 as otherwise it is subsequently difficult to distinguish this4 ,before we go any further1 the whole preliminary process is summarized once more3 ,development1 ,fixation1 ,washing1 ,bleaching1 ,short washing1 ,sulphuric acid bath1 ,short washing1 ,fixation1 ,washing1 ,intermediate drying4 ,,chapter ,,iii ,,the ,,inking-,,up ,,the ,,production ,,of ,,the ,,differential ,,swelling4--,in the chapter on the bleaching we fully explained the processes which take place in the gelatine film under the action of the bleaching solution1 and that the most important result of the bleaching process1 aside from the disappearance of the silver image1 is the formation of different degrees of swelling corresponding to the primary image1 which in their totality form the tanned image produced in place of the photochemical image by the bleaching4 ,for the success of the bromoil print1 it is now of the utmost importance that the different capabilities of swelling1 now latent in the gelatine film1 should be satisfactorily utilized4 ,it is obviously possible to produce this swelling in very different degrees4 ,the colder the water used for the swelling1 the smaller the difference between the lights and shadows1 while the warmer the water the more this difference is accentuated4 ,if1 for example1 a print prepared for the bromoil process is placed in cold water and allowed to swell for some minutes1 the existing capacity for swelling will only be excited to a slight degree4 ,the high lights of the invisible image only take up a little water1 and when dry are differentiated from the shadows under oblique visual examination by a very delicate gloss or not at all4 ,if this picture is now worked-up with greasy ink1 a print is obtained with a short scale of gradation1 and its tone values are usually less satisfactory than those of the original bromide print4 ,if1 on the other hand1 the print is placed in very warm water1 the swelling of the gelatine reaches a maximum4 ,the high lights are very much swollen1 even the half-tones are somewhat raised1 and the shadows1 which do not absorb water1 appear sunken4 ,the result of the swelling in such warm water in this case is the formation of a very pronounced relief1 that is not only visible1 but is almost perceptible to the touch4 ,if such a picture is inked up1 a bromoil print is obtained1 the contrasts of which are much stronger than those of the original bromide print4 ,between these two extremes there is obviously a whole series of intermediate stages1 the suitable employment of which permits of the most varied gradations4 ,as already mentioned1 the capacity for swelling of the different makes of bromide papers is not the same in baths of the same temperature4 ,this fact1 however1 argues neither for nor against the usefulness of the various bromide papers4 ,it makes necessary1 to be sure1 a certain care in the use of a paper1 the qualities of which are unknown4 ,if one has to deal with such a paper1 the prepared print should first be soaked in quite cold water2 it should then be removed from the water1 placed on a support1 dried in the manner to be later described1 and examined by oblique illumination as to whether the high lights show by a slight gloss that they have absorbed water4 ,this will be the case if the image shows well swollen high lights2 if they are not present1 it will hardly be possible to find distinctly glossy places4 ,in any case one may begin with the inking-up1 prepared1 as will be explained later1 to increase the swelling if necessary during the inking-up by immersion in warm water4 ,if on the other hand1 the print1 when taken from the cold water1 distinctly shows places where differences of swelling are shown by a gloss or even a delicate relief in the film1 the work may be proceeded with1 without further trouble4 ,under any circumstance one should be careful at first in the production of the differential swelling4 ,there should rather be no relief than too pronounced a one2 for differences of swelling that are too small can be easily and satisfactorily increased during the work2 on the other hand it is scarcely possible again to reduce too strong a relief4 ,while learning1 or when using an unfamiliar brand of paper1 it is therefore advisable to allow the sheet to swell first in cold water and to carefully begin the inking-up4 ,only if this is not satisfactory1 should a warmer bath be used and the inking again tried4 ,this method is1 however1 dealt with more fully in the section of ,chapter ,,iii1 entitled 8,different ,methods of ,working0 7page #he74 ,,the ,,properties ,,of ,,the ,,relief ,,and ,,its ,,influence ,,on ,,the ,,character ,,of ,,the ,,picture4--,in order that the following explanations may be understood1 an important property of the prepared and dried gelatine film must be mentioned4 ,the film of the prepared print1 in which the differences of swelling necessary for the formation of the bromoil print are latent1 develops variations of relief when it is placed in water4 ,then the untanned high lights absorb water1 as already described1 while the hardened shadows do not absorb it4 ,the result of this process is the formation of those swellings1 which1 when they have attained a certain degree1 are characterized by the formation of a relief4 ,a definite degree of swelling corresponds to a definite temperature of water4 ,this swelling disappears again if the film is dried4 ,the gelatine has1 however1 acquired the property of again attaining the same degree of swelling when immersed in water at any time after drying1 even if the temperature of this water be a good deal lower4 ,a print1 for example1 on which a certain relief has been produced in water at #ce ,c4 7#ie ,f47 and which has given up this water again because of drying1 again attains the same relief if immersed in ordinary tap water at #aj ,c4 7#ej ,f474 ,if1 however1 this print after drying is immersed in water at #dj ,c4 7#ajd ,f471 that is in hotter water than that first used1 a still higher relief is obtained1 and again in a similar manner1 after drying1 it will attain this higher relief when immersed in water at any lower temperature4 ,the degree of swelling that is once attained can1 therefore1 so far as the resistance of the gelatine film will permit1 be increased1 but it cannot be reduced1 if the print as a whole is not subjected to a tanning1 as with formaldehyde1 a process that is not easily controllable4 ,this peculiarity of gelatine makes it necessary to go to work carefully in the formation of the relief1 so as not to carry the latter too far4 ,if the work is begun on a too low relief this can be easily increased to the necessary height1 as will be shown later1 absolutely without any regard to any inking up that may have been done4 ,on the other hand1 if the formation of the relief has once been carried too far1 as a rule the print can not be used1 although reduction of the excessive swelling by a tanning agent may be attempted4 ,the property of the gelatine film1 just described1 offers a further convenience for the bromoil worker2 for he can bring the bleached and dried print to the necessary degree of relief in water of suitable temperature1 and1 if he does not wish to work it up at once1 it can be dried and laid aside until needed4 ,in working-up such prints he is then1 as a rule1 relieved of the necessity of obtaining warm water4 ,the question how far the swelling of the film has to go or in other words what kind of a relief should exist1 if any1 in order to obtain a harmoniously graduated bromoil print1 is extremely difficult to answer4 ,a few practical trials quickly give the ability to judge this correctly4 ,if a well-modulated negative is used1 one in which the differences of gradation between the high lights and the shadows are not too great1 the swollen gelatine film after drying should show a very delicate but still noticeable relief2 yet the high lights of the print should scarcely be raised above the shadows1 and should not show too marked a gloss4 ,the visibility of the relief is essentially determined by the character of the print4 ,the more contrasty the bromide print was1 the more easily are the different degrees of swelling made apparent by the formation of a visible relief4 ,a picture with sharp outlines and great contrasts1 such as an architectural study1 easily gives a distinct relief visible in all its details4 ,pictures with softer gradation1 as1 for instance1 delicate portraits1 behave differently4 ,one can not expect a striking relief in such prints4 ,if this should be forced by warming the water1 the bromoil print may easily attain an undesirable harshness4 ,with portraits1 one should therefore be satisfied when the outline of the profile against the background1 the contours of the eyes and the mouth1 are raised to a barely visible extent from the gelatine base4 ,at the same time very dense parts1 like a white collar1 a lady's light dress1 lace1 etc41 may show a very distinct relief1 even when the sharper lines of the face scarcely stand out in relief4 ,yet even in such cases the features can be recognized by the different gloss of the high lights and shadows under oblique observation4 ,naturally some attention must be paid here to the particular views of the operator4 ,if strong contrasts are desired1 greater differences of swelling must be used2 if1 on the other hand1 softly modulated effects are sought1 distinct relief must be avoided4 ,in any case it is advisable not to attain this at once1 but to get it as needed during the working-up by the use of water gradually increasing in temperature4 ,it must be laid down as an axiom that the efficiency of a relief should never be judged by the eye alone1 but should always be carefully tested out by inking-up with the brush4 ,the degree of swelling is correctly estimated at the first attempt when1 in inking-up1 the picture appears quite clearly after a little hopping1 and this may happen if the character of the image is right1 even though no relief could be seen4 ,the stronger the relief formed by warming the water1 the more contrasty the bromoil print will be4 ,nevertheless there is a certain limit which should not be overstepped4 ,if the print is warmed in the water bath so much that an excessive relief1 which can almost be felt with the finger1 is formed1 in which deeply cut lines alternate with highly glazed places in relief1 then the high lights are so saturated with water that under no circumstances will they take ink2 even the softest inks will not adhere to them4 ,thus we obtain harsh highlights without details1 while the deeply sunken shadows literally fill up with ink and become sooty4 ,if the formation of the relief has been driven so far1 it is not advisable to treat the print with ink4 ,the forcing of the relief to the extreme possible limit is only justified when working with a flat negative1 in order to obtain as rich a gradation as possible from a flat print4 ,also1 this should not be done all at once before the commencement of the inking-up1 but effected gradually during the work4 ,working in this way1 extraordinarily successful results can be obtained and the contrast of the bromoil print can be made far more rich than that of the original bromide print4 ,the limit lies only in the resisting power of the gelatine film and the flatter the bromide print was the sooner this is reached4 ,the upper limit of temperature permissible for the water can hardly be defined2 it depends entirely on the hardness of the gelatine film4 ,it may happen that it is necessary gradually to go almost to the boiling point4 ,films that are hardened right through will withstand even boiling water without forming a relief4 ,if1 in warming the print1 the melting point of the gelatine is approached1 those parts which are but slightly tanned1 such as the high lights1 and especially any unexposed edges1 begin to show a granular structure1 and finally1 when the heating is carried further1 to melt4 ,in the development of the relief great care should be taken that no part of the print remains dry1 and1 if the film is placed face down1 air bubbles should be avoided4 ,if the print is placed face up in the dish1 no part of it should project above the water1 as it will then not absorb enough water2 if the swelling has already taken place and a part of the film projects above the water 7and this frequently happens1 as the print1 which at first lies on the bottom of the dish1 after some time rises to the surface71 the relief of the exposed parts goes down after some time1 since the water evaporates from them into the air4 ,such insufficiently swollen parts1 or those which have dried out1 behave exactly as though they had been tanned more than the other parts of the surface4 ,they have been able to absorb little or no water1 or have lost the absorbed water by evaporation4 ,they therefore take the ink1 like the tanned shadows1 far more readily than they would if they had retained the right amount of water1 and far more ink adheres to them than should be the case and than adheres to the correctly swollen parts of the film4 ,thus patches of different form and size are formed at these places by the stronger adherence of the ink4 ,yet by renewed soaking of the print in the water these neglected places may be easily brought anew to the correct degree of swelling1 and as far as concerns small spots caused by air bells1 can be easily corrected4 ,if larger patches of the film are insufficiently swollen1 after the application of the ink they are usually much darker than the rest of the surface1 and in such cases it is not always easy to obtain again the necessary evenness of the ink2 it is then often necessary to ink up the whole print much more strongly than was originally planned1 or to remove the whole film of ink4 ,besides the warm water bath there is also another means at our command to produce the differences of swelling4 ,this is the use of ammonia4 ,a4 ,l4 ,lumire and ,seyewetz1 in a treatise published in #aiac1 on the resistance of gelatine to alkalis1 found that cold solutions of ammonia did not attack gelatine but caused it to swell more4 ,if a bleached print is immersed in an aqueous one per cent solution of ammonia1 the film attains in a very short time the highest degree of swelling of which it is capable1 without the gelatine in the high lights being softened or damaged4 ,the estimation of the height of the relief1 which is so important for the successful carrying out of the inking1 is scarcely possible with the ammonia bath1 as it is extremely difficult to gauge its action4 ,therefore1 it should only be used in those cases in which the highest swelling is absolutely necessary1 as for instance1 when using papers which have been strongly hardened in the manufacture1 or with prints with very poor contrasts4 ,a further application is with the transfer process1 in which on the one hand it permits of the use of very soft inks and on the other hand enables one to keep the gelatine very resistant4 ,full details on the transfer of bromoil prints will be found in a later chapter4 ,in very extreme cases1 one may try to combine the action of the warm water and the ammonia bath1 and use a warm ammonia bath4 ,the to #c per cent solution of sodium carbonate recommended by ,e4 ,guttmann acts even more energetically than the ammonia solution4 ,as is obvious from the foregoing remarks1 it will be as well to work usually with water baths and leave the ammonia bath for a last resource1 the more so as in the swelling of prints in this bath certain troublesome phenomena may appear1 which do not occur when using the water baths4 ,sometimes the bleached image reappears in the ammonia bath in a brown color2 sometimes small white spots appear on the prints which will not take the ink and which1 as can be determined by examining them by transmitted light1 also exist in the substance of the paper2 finally the gelatine film sometimes swells all over1 so that the ink is not taken up anywhere4 ,prints which are failures in consequence of the use of the ammonia bath1 should be dried and can be again treated in a warm water bath4 ,,the ,,utensils4--,for the application of the ink the following are required3 ,brushes4--,a best quality oil-printing brush with very elastic hairs cut on the slant1 the so-called stag's-foot brush1 should be used4 ,to apply the ink1 a brush should be used with a working surface of from #a to #b cm 7 to #a in47 diameter2 by diameter is meant the length of the longer axis of the elliptical surface produced by the slanting cut of the brush4 ,for working-up very small surfaces or for placing accents of color1 a brush of about cm 7 in47 measurement should be used4 ,in certain cases still smaller brushes may be useful4 ,such brushes are only used for working up details2 they are only aids for special work4 ,for the application of the ink generally1 only the larger brushes should be used4 ,it is far more difficult to apply the ink evenly with small brushes than with the larger ones1 so that their use may cause needless discouragement4 ,the application of the ink is effected by placing the whole working surface of the brush charged with ink on the print1 and then slowly lifting it up2 this results in a deposition of ink corresponding to the working surface of the brush used4 ,the smaller the brush the more often it must be applied1 and therefore1 the greater the probability of irregular inking1 especially in those parts where the brush marks overlap4 ,also small brushes are handled less conveniently than larger ones and smear easily4 ,the first thing to do in inking a bromoil is to obtain a good1 even1 thin film over the whole surface1 to get a general impression of the whole effect4 ,only then is one in a position to judge how the tone values should be varied4 ,the use of too small a brush unduly protracts this first operation and makes it difficult4 ,the brushes should be elastic but not too soft4 ,too soft brushes smear1 that is to say1 they deposit the ink in a thicker layer at their edges than in the middle and produce elliptical rings of ink1 which must always be evened out by hopping4 ,in determining the size of the brush1 the size of the bromoil print must be taken into account4 ,generally it is easier to work with brushes of from #a to #b cm 7 to #a in47 in diameter4 ,for large sizes up to #cj #dj cm 7#ab #af in47 brushes of even #d or #e cm 7#a or #b in47 may be used4 ,such brushes are not cheap1 but are practically indestructible1 if they are properly cleaned every time after use4 ,the brushes are sold in tubular paper cases2 these latter should be preserved and the brushes1 after cleaning1 put back into them1 so that they are covered and the hairs do not get ruffled4 ,in order to preserve the brushes and keep them in good working order1 they must be cleaned as soon as the work is finished1 otherwise the ink left in them sets and makes the hairs brittle4 ,brushes of long swine bristles with cut ends may also be used2 with these especially1 clean prints are quickly attained4 ,they are superior to hair brushes of poor grade4 ,the cleaning of the brushes is best effected as follows3 ,pour into a deep dish a readily volatile fat solvent1 such as benzol1 trichlorethylene1 carbon tetrachloride 7carbona71 etc42 but not turpentine1 for if this be used the brushes cannot be used sometimes for days4 ,dip the brush into the liquid and press out the solvent on the edges of the dish1 and stroke the brush vigorously on a piece of lintless linen1 which should be used for this purpose only4 ,the solvent can be used1 ignoring the opacity which it soon assumes1 as long as it will dissolve the ink4 ,only the hairs of the brush should be dipped in the solvent1 but not the binding1 as in some cases the cement with which they are fastened may be attacked4 ,the ,inks4--,theoretically1 any ink prepared with a fatty medium is suitable for bromoil printing4 ,in order to give satisfactory results1 the inks must satisfy two conditions3 they must have the correct consistency and their medium must be soluble in benzol4 ,as regards the consistency of the ink it should be noted that the prepared film in its swollen condition1 that is when the lights are saturated with water1 absolutely repels greasy inks only when this swelling attains the highest possible degree2 a case which one seldom needs and which will usually have to be avoided4 ,if this swelling is not carried to the limit1 the high lights1 in spite of the water they hold1 will take up the greasy ink1 yet usually only when the ink is very soft4 ,the swollen high lights thus repel ink of thicker consistency1 while they take the softer inks more easily in proportion as they become thinner4 ,that the tanned shadows also take hard ink is natural1 for they do not contain1 or contain only to a very small extent1 the water which repels the ink4 ,from these considerations it follows that in many cases satisfactory results cannot be obtained by using ink of only one consistency4 ,the hard or heavy ink should have about the consistency of table butter1 and it should be possible to spread it into an even smooth film on a glass plate with light pressure4 ,the soft or light ink should have about the thickness of honey and should spread under the knife without noticeable pressure4 ,collotype or copper-plate printing inks of various makes are frequently usable4 ,as a rule1 however1 they must be tested as to their usefulness for our process2 their consistency is frequently too hard1 and sometimes they are not taken up by the film or cannot be distributed well1 even when they are considerable diluted with linseed oil varnish1 in spite of an apparently correct consistency4 ,the nature of the ink is not only influenced by the greasy substance used as a medium1 but also by the material of the coloring matter itself4 ,this is why many inks1 in spite of their apparent softness1 work tenaciously or 8short10 while sometimes inks of hard consistency smear4 ,if occasionally the dilution of an ink of too hard consistency appears necessary1 this is best effected with linseed oil varnish1 which1 however1 should not contain any driers4 ,if the work has been begun with a stiff ink of a certain shade and it is desired to retain this tone to the end1 it is advisable not to use a thin ink for dilution1 but to thin down the stiff ink with varnish4 ,inks of too hard nature are not practicable4 ,such were necessary in the oil-printing process4 ,in the bromoil process1 which is much less sensitive to the consistency of the ink1 their use merely means a needless loss of time4 ,an ink of correct consistency is easily taken up and produces quick drawing without smearing1 while too hard inks are difficult to apply and soon refuse to take if they are not diluted4 ,it is extremely simple and advantageous to prepare the inks oneself1 as outlined by ,e4 ,guttmann in ,chapter ,,viii1 p4 #agg4 ,the process recommended by him is to place the powdered colors on a matt glass plate and rub up with varnish by means of a muller or pestle4 ,this procedure is considerably facilitated1 if1 according to my suggestion1 a few drops of a readily volatile oil-solvent be added4 ,the ink is thus immediately liquefied and can be quickly and perfectly rubbed up4 ,the solvent evaporates during the grinding1 which is much easier than in the old way1 and the ink again acquires the desired character without suffering in any way4 ,as a palette for the ink the best thing is a piece of waxed or parchment paper1 fastened on a white support1 such as a card4 ,such a palette has the advantage that after use it can be discarded without cleaning4 ,moreover the color value of the ink can be fairly easily determined on it4 ,if necessary old negatives1 or other glass1 may be used as a palette1 and their use also makes cleaning unnecessary1 which is an unpleasant and messy job4 ,a small quantity of ink should be taken and distributed as thinly and evenly as possible on the palette4 ,a thick layer is not convenient1 as then the brush takes up too much ink and too much is deposited at a time on the bromoil print4 ,the film of ink should show as smooth and uniform a surface as possible2 thicker ridges should be avoided1 because the brush is thus more strongly inked in spots and therefore transfers the ink unevenly to the print4 ,the distributed ink should be perfectly homogeneous and flexible4 ,a thin layer of ink sets to a skin on its surface after a short time and then cannot be used4 ,this setting also takes place in the body of the ink and becomes evident by the formation of a delicate skin or hard crumbly particles on the surface of the ink4 ,these must always be removed2 such hardened inks can only with difficulty be distributed on the palette4 ,finally it should be mentioned that hard inks may be slightly softened by warming4 ,,the ,,support4--,a stout glass plate or drawing board should be used as a support1 and inclined at an angle of about #cj degrees by propping up at the top2 a damp and elastic pad must be placed on the glass or board4 ,this pad is not for the purpose of keeping the print damp during the working-up1 as is usually stated2 on the one hand this is superfluous in view of the possibility of repeated soaking1 which is to be described later1 and on the other hand it would not produce the desired result4 ,it is erroneous to suppose that the water which passes from the damp support to the paper side can equalize the loss of water which the film suffers by evaporation from its surface4 ,the pad should1 therefore1 only be so damp that the bromoil print adheres firmly to it1 when under the brush4 ,the pad should absorb and hold moisture2 but this should not be imparted to the brush when it touches the pad in working-up the edges1 otherwise water will be carried on to the print and cause spots4 ,for this reason damp blotting paper or filter papers should be absolutely rejected for the pad4 ,if such papers are used for the damp pad1 the brush1 which in working the edges must inevitably touch them1 will not only take up water but also the paper fibers and1 transferring them to the print1 cause trouble4 ,moreover1 sheets of paper in a damp state are difficult to lay smooth and are scarcely usable4 ,the best material for the pad is the copying sheets used for copying books1 which consist of two layers of linen with an intermediate film of rubber4 ,such sheets have the advantage that when damp they always remain flat and smooth4 ,a damp piece of linen1 doubled and smoothed out1 is also simple and certain4 ,the pad must lie absolutely flat1 because any ridges become most unpleasantly visible in inking-up1 particularly with thin papers1 as the brush always slips from the highest parts of the ridges and causes inequalities in the print4 ,,removal ,,of ,,the ,,water ,,from ,,the ,,surface ,,of ,,the ,,print4--,after the prepared print is removed from the water and laid on the pad1 the water adherent to its surface must be removed4 ,this is best effected in the following way3 ,take a large1 absorbent1 lintless cloth1 spread it smoothly over the print1 and press it gently with the flat of the hand4 ,by repeating this1 the water is easily removed without endangering the film2 whether the drying is complete can be judged by examining it obliquely4 ,the freedom of the cloth1 used for drying the print1 from fluff and lint is of great importance4 ,if the cloth gives up fibers to the surface of the print1 these cannot be seen at first4 ,in inking-up1 innumerable minute dark spots and lines appear on the film1 as the deposited fibers take the ink very strongly and thus suddenly become visible4 ,it is frequently erroneously assumed that such troublesome defects come from the brush4 ,this is seldom the case2 on close examination these fibers will be seen to be particles of the textile material4 ,when possible1 linen that has been frequently washed should be used for the drying4 ,when the water is to be removed from a print that has already been inked and again soaked1 care should be taken that the cloth is freed from any folds by damping and subsequent drying1 for such folds can1 when pressed on the print1 damage the film of ink4 ,although this is not of material importance1 as such faults can be easily evened out by hopping1 yet these small precautions avoid unnecessary trouble4 ,sidewise or wiping movements of the cloth should be carefully avoided1 especially if the print has already been inked1 because the ink is unnecessarily smeared by the wiping4 ,after removal of the cloth one should make sure by examining the print obliquely that the water has been completely removed from the surface4 ,it is advisable to keep several cloths ready for drying off the film1 for this will have to be done fairly frequently during the work4 ,care should be taken to remove most carefully every trace of water2 water which is picked up by the brush causes spots1 for the drops of water in the brush keep the ink away from the points of contact4 ,in such cases it will be seen that white spots make their appearance in different parts of the print1 continuously shifting their position during the work4 ,by perfect drying off1 these phenomena1 which are in any case not necessarily important as regards the final result1 can be avoided4 ,in drying off a print already inked-up1 the cloth will as a rule remove some ink from the surface2 such cloths should not be used again until they have been washed1 because they may transfer ink to a place where it is not wanted4 ,,the ,,brush ,,work4--,the prepared print1 lying flat on the pad1 and with its surface freed from adherent water1 should now be inked up4 ,before beginning the application of the ink a little stiff ink1 at least as large as the working surface of the brush1 should be placed in a corner of the palette4 ,this should be spread out flat1 thin and free from ridges2 then the knife should be wiped and a little soft ink spread in another place4 ,the brush should now be pressed down on the hard ink already distributed on the glass plate1 and the ink dabbed very carefully from the brush on a clean place of the palette4 ,one should never go with the brush direct from the ink itself to the print1 as this will form a spot which it is difficult to work out4 ,it is of the greatest importance always to work with a brush that has been well dabbed out and in which the ink is evenly distributed4 ,if the brush has not been sufficiently dabbed out it leaves on the print a quantity of small1 much darker and usually linear particles of ink1 which cannot be distributed or are only removable with difficulty4 ,such spots must then as a rule be removed by the method described on page #gb4 ,the whole brush technique is based on the following principle3 if the brush charged with ink is placed on the print and allowed to remain there for a moment1 and then slowly lifted up1 the ink remains on the image4 ,if it is set down sharply and quickly lifted 7the so-called 8hopping071 it removes ink4 ,in the first inking-up of a print1 the swelling of which has been correctly carried out1 the application of the ink may be effected by a gentle dabbing4 ,a very thin film of ink is thus produced and almost simultaneously correctly distributed4 ,the brush should always be held by the extreme end between two fingers1 never by the middle or near the hairs4 ,the more lightly and more delicately the brush is managed the better it works4 ,it is best to begin the work at some characteristic place of the picture1 which is well known to the worker2 the ink should first be spread as delicately and evenly as possible on a small spot1 avoiding1 as far as possible1 going over the same place twice with fresh ink4 ,when the place selected has been covered with a light film of ink1 the surface should be hopped over with light movements1 when1 with correct preparation of the print1 the outlines will soon appear4 ,a bromoil print correctly prepared1 and with swelling suitable to the ink used1 is easily recognizable by the fact that the image appears delicately but distinctly under the very first strokes of the brush4 ,if this does not happen even after some time1 either the degree of swelling of the print is too low or there is some fault in the preparation of the print1 such as1 for instance1 unsuitable paper1 a poor bromide print1 errors in bleaching1 etc4 ,the longer the hopping continues1 the more distinct the details should become4 ,then the application of the ink should be continued in places adjacent to those already worked up1 until finally the whole surface of the print has been evenly gone over with ink and the image is visible in all its details1 although still very thin and delicate4 ,it is advisable to use a rough print from the negative as a guide4 ,beginners usually make the mistake of jumping from one spot to another without filling up the intervening parts4 ,this makes the work more difficult4 ,inking up should be carried out continuously by passing from those places already worked on to those not inked up4 ,if it is noticed that the places which were first inked up appear too pale compared to their surroundings1 since they have still too little ink1 they should be inked up more strongly4 ,too dark spots should be evened out with the brush by removing the excess of ink and depositing it on the less inked parts4 ,the amount of ink used on the print is very small2 that which is first taken up by the brush lasts for a long time4 ,it is not necessary to have frequent recourse to the ink spread on the palette by the knife1 but is much better to take up1 as long as possible1 fresh ink from the spot on the palette on which the brush was dabbed4 ,on the other hand1 however1 every application of the brush to the print should actually deposit some ink on the print4 ,if those parts touched by the brush do not increase in intensity1 it must be determined whether the dark places on the palette from which ink is supposed to be taken1 are actually giving up ink2 for if the film of ink remaining on the palette is too thin1 fresh ink must be deposited and distributed on it by the brush4 ,care should be taken not to overload the brush with ink1 for then the hairs stick together1 distribute the ink badly on the print and1 moreover1 frequently leave large coherent particles of ink on the film1 thus causing spots4 ,as the brush is cut on the slant1 it may happen that in dabbing out the brush on the palette and in the application of the ink to the print1 the front and longer part of the brush is used more strongly4 ,then the ink collects at the back edge of the brush and causes spots when the brush is used more vigorously4 ,in many cases it is possible to complete the print with the hard ink alone4 ,if it is noticed that the hard ink does not take well on the print and is removed again in lifting the brush1 its consistency is too stiff for the work4 ,one should not then continue to use it1 but should soften the ink in the following manner3 ,first place the brush in the hard ink and dab it out well in another place on the palette4 ,now dip the ends of the brush hairs carefully and very lightly into the soft ink and dab out the very small quantity of the soft ink taken up by the brush on the same spot1 on which the hard ink has been previously distributed4 ,there is thus formed on the palette as well as in the brush a mixture of the two inks4 ,now try carefully whether the now softened ink adheres well to the print1 by placing the brush lightly on a light place of the print4 ,if it leaves behind a light trace of ink without any trouble1 the consistency is correct2 but if this does not happen1 the ink must be diluted again in the same way with the soft ink4 ,if on the other hand the brush leaves behind a strong trace of ink from a light touch1 the ink is too soft and requires the addition of some hard ink4 ,it is not advisable to mix the soft and hard inks on the palette with the knife1 as it is very difficult to strike the right consistency in this way4 ,this applies to all mixtures and dilutions of the ink which may be necessary in the course of the work1 as in strengthening a colored ink with black1 or in the preparation of any desired tint by admixture of different inks1 and finally in softening inks with varnish4 ,in all these cases mixing of the inks on the palette with the knife puts too much ink into use2 also1 as long as the ink is on the palette1 one cannot estimate with the necessary exactitude either the tint or the consistency4 ,the correct procedure is rather first to go with the brush to the first color and distribute this on a clean place1 then set the same brush in the second color and make the mixture on the palette by dabbing4 ,then the mixture thus obtained should be tested as to its shade of consistency by gentle application to the print1 and more of one or the other ink added in the same way with the brush4 ,it should be noted that inks of a soft consistency go a very long way2 the whole surface of the brush should never be dipped into such inks1 but only the point of the brush4 ,softening of the inks with varnish should be effected in the same way4 ,when the first inking up is finished1 the addition of ink of the same consistency is continued until the print is completed or will no longer take ink1 which1 as has already been pointed out1 is known by the fact that the newly applied ink no longer adheres1 but that the brush removes it from the print4 ,then one proceeds to a further dilution of the ink by taking more soft ink with the brush and adding it to that already mixed1 and continues the work4 ,the use of the unmixed soft ink is not even necessary in many cases4 ,if1 however1 it proves to be necessary1 it should be used1 but with care1 for a brush stroke which puts too much soft ink on any part of the print1 especially in the shadows1 causes a patch4 ,the beginner will work most easily and successfully if he always keeps the applications of ink as delicate as possible and obtains depth only by a repeated and even coating of ink1 fully distributed every time4 ,if a place should still turn out to be too dark1 one can try removing the excess of ink1 if it be a hard one1 with a clean brush4 ,if a dark patch is formed by too vigorous application of a mixed or even a soft ink1 another brush should be dipped into the hard ink1 dabbed out1 and the spot removed with this brush4 ,moreover1 such places can as a rule be easily rectified after the second soaking of the print1 which will be described presently4 ,if the fault cannot be removed in this way1 the ink must be partially or entirely removed1 according to the instructions in ,chapter ,,iii1 page #gc1 and the work begun anew4 ,this should be done without hesitation by the learner if the application of the ink does not succeed as he desires2 the prepared print can be used for practice like a school slate by washing it off after each attempt with a solvent of the greasy medium4 ,for the application and the hopping off of the ink for large areas of the print one should always use the whole working surface of the brush4 ,smaller surfaces or outlines should be worked up with the front edge of the slantingly-cut brush2 in laying on the ink one should never continue with the point1 because this bends and gives unpleasantly sharply defined ink edges4 ,in order to cover a place with ink very thoroughly1 one should hold the brush firmly1 give it a slight twist and then raise it up straight and slowly4 ,if it is desired to coat a whole print evenly with ink1 it should be applied in stripes over the whole print1 the brush being pushed forward and not necessarily completely lifted up from the surface4 ,the brush is pressed down firmly1 the pressure relaxed a little1 the brush moved forward half its width1 then pressed again1 and so on4 ,in this way with a little experience there may be produced perfectly even ink stripes which bring out the outlines of the image and which are made close together until the whole print has been gone over1 when one begins with the hopping4 ,with papers with marked structure these stripes are best made in the direction of the structure and not at right angles4 ,especial care should always be taken that the shadows of the print1 which take the ink most easily1 are not too strongly inked up1 and one should try by light hopping to bring out all the desired details at the very first application of the ink4 ,when the shadows have once taken too much ink1 it is not easy to clear them up by brush work alone4 ,the inking up of large deep shadows must always1 therefore1 be very carefully done4 ,such parts of the picture are the most strongly tanned and therefore take the ink very readily and hold it very tenaciously4 ,they should therefore never be touched with a brush freshly charged with ink1 but one should work on the heavier shadows only when the brush has given up the greater part of its ink to the less sensitive parts of the image4 ,even then it always contains enough ink for the darker parts of the print4 ,the first application of ink in the shadows1 especially1 ought never to be heavy and cannot be kept too delicate4 ,when the desired details in the shadows appear to be well defined1 they should then be strengthened4 ,but even this should not be effected by a single thick coating of ink1 but by successive additions of thin ink films and hopping after each4 ,especial emphasis must be laid on the statement that all details1 which it is desired to have in the finished print1 must be brought out by the first application of the ink4 ,if parts of the image are strongly inked up before the desired details have appeared1 it is difficult to develop these later4 ,on the other hand1 detail1 which has been brought out in the first inking1 cannot be suppressed by any further skilful application of ink1 but only strengthened4 ,these phenomena can on the other hand be successfully used to prevent the appearance of undesirable details in the picture4 ,if for artistic reasons one desires to suppress detail and work flatly1 the parts in question should be inked up from the start more strongly and evenly1 and the hopping be either entirely omitted or stopped before the details which are to be omitted are brought out4 ,for beginners especially1 it is useful in applying the ink1 as well as in hopping1 to lift the brush after every few strokes and examine the results obtained1 so as to decide on further procedure4 ,one should accustom oneself to examine the print from time to time at a certain distance1 while it is being worked on2 for the correct impression as to whether the tonal values are correctly chosen1 can be gained only at a greater distance2 it is then seen more easily and clearly whether or not individual parts of the print carry too much or too little ink4 ,particular parts of the print1 which one wishes to have more contrasty1 should be gone over after the hopping with a wiping motion of the brush2 the ink is thus removed from the raised parts of the relief4 ,if one goes too far in this1 the inking can be done over again in the usual way4 ,if it is desired to free a brush from the soft ink1 it should be dipped into hard ink specially spread on the palette for this purpose1 and dabbed out well on a clean place1 and this operation repeated two or three times1 using each time another part of the palette4 ,at the end of this manipulation the brush will practically no longer contain anything but hard ink4 ,when one has once learnt the initial steps of brush technique1 in the course of time one fails to notice the difference between the laying on and the hopping off of the ink4 ,the hand in time acquires an instinctive handling of the brush1 which takes care at once of both the application and the distribution of the ink2 if the proper relation between the consistency of the ink and the degree of swelling of the gelatine has been hit upon1 a simplified handling of the brush comes of itself1 because then the application of the ink is especially easy4 ,when1 with papers of rough surface1 the grain of the paper remains white in the shadows1 in spite of hopping1 such places should be treated by going over them with the inked brush with light pressure with a rotary motion4 ,practice teaches that there is always a definite consistency of ink which corresponds to a definite degree of swelling and with this the print may be executed from start to finish4 ,if the operator has learnt by experience what ink consistency corresponds to the existing swelling of the film1 he will prepare his ink of the suitable consistency1 and is then in a position to carry out the work uninterruptedly without any new mixing of the ink4 ,it is a little difficult for the tyro to answer the question as to when the application of the ink should be stopped1 that is to say1 when the print may be looked upon as finished4 ,there is frequently a temptation to consider the print finished when it is very delicate yet completely visible in all its details4 ,the beginner often lacks the courage to apply more ink at this stage2 he usually believes also that the print will take no more ink1 because1 as has been mentioned above1 the part of the palette from which he has hitherto taken the ink1 gives up no more4 ,such prints1 which recall sketchy pencil drawings1 deceive one during the work1 but only satisfy later if this particular technique is suited to the character of the picture1 which is certainly not always the case4 ,one must therefore carefully consider during the work whether one should actually stop4 ,the second danger lies in the opposite direction1 and is due to the fact that1 led on by the constantly increasing vigor of the image1 one cannot rightly decide when to stop4 ,the danger here is that one is tempted by the vigor of some part of the picture to make the other parts also as strong in color1 until by such continued action the print is immersed in the deepest gloom1 which becomes still more gloomy after defatting the finished print4 ,such excess must be avoided as a rule4 ,experience and taste soon teach one to hit the happy mean4 ,the first1 delicate and general application of ink1 which may be considered as a guide print1 is in many cases somewhat wearisome1 especially when the picture has large areas of rich1 deep shadows4 ,with correct preliminary treatment of the print there are no real difficulties in the preparation of such a guide print4 ,yet the work1 especially with large sizes1 is really time-consuming and also offers1 when considered from the artistic standpoint1 but little interest1 since the actual creative work of the operator only begins after the guide print is finished2 only then is he in a position to actually give expression to his artistic feelings by suitable inking of the different parts4 ,since1 therefore1 the work in the preparation of the guide print is actually quite mechanical1 it is natural to make use of any means which enables one to facilitate and hasten this work4 ,for this there may be used1 but only by the expert worker1 a method based on the following considerations3 ,if an ink of suitable consistency is dissolved in a suitable solvent1 such as benzol1 carbon tetrachloride1 trichlorethylene1 etc41 the pigment is very evenly disseminated in this solvent4 ,if the latter again evaporates1 the ink deposits in an even coating1 unchanged in its nature4 ,it is therefore1 possible1 in the first application of the ink1 to use such a solvent on the print and by its aid the wearisome mechanical work of the first inking may be rapidly and easily carried out4 ,in practice the method of procedure is as follows3 there is first produced1 on the print which is to be worked up1 a relief which is vigorous enough to sufficiently develop all the detail in the shadows4 ,an ink which is fairly stiff for this degree of swelling is chosen2 the brush is first dipped in the solvent and then into the ink1 which has been thinly spread on the palette4 ,after a few dabbings on the palette the ink solution with which the brush is charged is spread on the print with a hopping motion and distributed with the same brush as evenly as possible4 ,if the distribution becomes difficult in consequence of evaporation of the solvent1 the brush should be again dipped in the solvent1 and then the distribution can be easily completed4 ,the film of ink thus obtained should be fairly thin1 but must not be quite even4 ,after the complete evaporation of the solvent1 the ink is worked up with a clean brush1 with which the guide print can be finished without trouble and in the briefest time4 ,there are also other variations of this method of the application of dissolved inks4 ,for instance1 one may first apply some ink with the brush to the print and then distribute it with a second brush dipped in the solvent2 one may also prepare a solution of the ink in a dish and paint it on the picture1 or bathe the whole print in a solution of the ink4 ,all these variants1 especially the last two1 have1 however1 certain disadvantages1 so that the procedure first outlined is to be preferred4 ,after the guide print is prepared in this way1 the further application of the ink is carried out in the normal manner4 ,the solvent is most conveniently chosen so that it is not too volatile1 as for instance heavy benzol4 ,but it ought not to contain any oil4 ,when placed on the surface of the hand1 it should evaporate fairly slowly1 but without leaving any trace of grease4 ,certain failures1 which sometimes appear in this process1 must be mentioned4 ,if the film of ink is too thin1 it can be repeated without further trouble in the same way1 with rather more ink4 ,if1 on the other hand1 too much ink is applied1 a complete image is immediately formed without any possibility of the shadows being worked up4 ,in this case the ink must be again removed by the solvent4 ,if individual parts of the picture are too dark1 from too much ink1 it is sufficient to go over these parts with a brush dipped in the solvent1 in order to clear them up4 ,if1 after evaporation of the solvent1 great irregularities in the distribution of the ink are seen1 as for instance1 spots and streaks which cannot be easily worked out1 the print should again be placed in water2 after drying off1 the evening-up may be carried out without difficulty4 ,if in hopping with the second clean brush the image does not appear at once without trouble1 either the relief was too low1 or the ink too soft1 or the solvent contained oil4 ,the ink can obviously be placed on the bromoil print not only with the brush but with any other suitable ink carrier1 such as rollers4 ,yet by this the process is rendered more mechanical and deprived of all those great advantages1 which distinguish it from all other printing methods4 ,especially1 the possibility of local treatment is mostly lost2 the unlimited command of the tonal values and the structure of the ink can only be guaranteed by the use of the brush4 ,the only offset to this loss is a gain in speed4 ,agility1 however1 is not sought after in artistic labors4 ,if one wants to prepare a lot of prints quickly1 it is better to use the bromide process1 which is especially suitable for such a task1 and thus save the trouble of the bleaching and the other processes necessary in making bromoil prints4 ,,resoaking ,,of ,,the ,,print ,,during ,,the ,,working-,,up4--,resoaking the print during the inking up1 without regard to the existent film of ink1 is one of the most important aids in the bromoil process4 ,this procedure is based on the following considerations3 ,it has already been pointed out that the prepared gelatine film possesses the property of again assuming after drying the same degree of relief which was imparted to it by the warm water bath4 ,when a swollen print is taken out of the water and placed on the pad for working up1 evaporation immediately begins at the surface of the film2 the gelatine1 therefore1 continuously gives up water to the surrounding air during the work1 and more quickly in proportion as the air is drier and warmer4 ,as has already been mentioned1 the damp pad does not alter this1 since the supply of water from the pad through the paper is not sufficient to restore the water content of the film4 ,therefore1 while one inks up one part of the print1 all other parts gradually lose their water2 and since it is this water which renders the gelatine1 after its tanning1 capable of repelling or taking the greasy ink1 the work gradually becomes more and more difficult4 ,the gelatine film1 which feels smooth when the film is removed from the water1 especially in the high lights and any exposed margins1 becomes gradually leathery4 ,it may still take ink1 but the distribution of this1 and especially the development of the drawing and the details1 become more and more difficult4 ,if1 however1 the print1 which is partly or entirely inked up1 is again placed in water and this time in cold water1 the gelatine film very rapidly absorbs this and again attains the same degree of relief that it had at first4 ,sometimes it appears as though a marked clearing up of the image takes place in the water2 the high lights become cleaner1 and many details appear in the shadows which were not visible during the working-up4 ,on the other hand1 with some inks the picture appears to become weaker under the water4 ,this1 however1 is only an illusion and is of no importance1 as in drying1 or in again going over the picture with the brush1 the image again attains the previous depth and color and still greater clearness4 ,here also1 one must take care that the print is completely immersed and that no air bells adhere to the film1 since those places to which the water does not have access do not reswell1 and on further work may give rise to spots4 ,in removing the print from the water the inked-up surface should not be touched with the fingers1 or finger prints will remain in the ink4 ,the print should therefore be taken hold of by the edges4 ,while the print is soaking in the water1 the bringing out of the details1 especially in the shadows1 may be facilitated by stroking those parts with the tip of the finger or a swab of absorbent cotton4 ,in the same way dirt which has collected on the surface during the work may be removed4 ,in the latter case one may also use more vigorous friction1 even though the ink film is thus removed1 since the removal of the troublesome particles is more important than saving the thin film of ink1 which can be easily renewed4 ,the print is then removed from the water1 placed on the pad1 and dried as previously by spreading over and pressing down a lintless cloth1 although because of the film of ink any wiping action should be avoided4 ,then when the brush work is resumed1 it can be completed in an extraordinarily easy manner4 ,it should be specially noted that the print must be worked up after this second soaking with the same brush as before1 which need not be recharged with ink4 ,only after the print has been hopped in this way1 should fresh ink be applied4 ,during the work1 the bromoil print1 as a rule1 will scarcely retain the necessary degree of dampness longer than a quarter of an hour1 and not this long in dry and warm weather4 ,the resoaking of the print should be undertaken without hesitation as often as any difficulty in the distribution of the ink is met with2 for this saves a great part of the brush work1 and almost automatically brings out contrasts and details4 ,especially while learning the process and later with more difficult prints1 the work is most conveniently divided as follows3 first application of the ink and distribution by hopping1 as long as it is easy2 resoaking the print2 drying off and hopping anew with the brush not freshly charged with ink2 second application of the ink and hopping of the ink now applied2 another soaking1 and so on4 ,the operation may be repeated as often as desired without the film taking any harm4 ,because of the possibility of always bringing the print to the correct degree of relief during the brush work by means of resoaking1 there is absolutely no limit to the size of the bromoil print4 ,one can simply finish a part of a print of any desired size and then1 after another soaking1 go on to the next part and so on until the whole print is inked4 ,if the relief of the film corresponds to the desires of the operator1 the bromoil print may be finished completely in this way4 ,if it is seen that the relief is not sufficient to give the desired modeling and contrast1 the resoaking may be effected with warmer water than was used at first4 ,yet1 until the worker has completely mastered the process1 this should be done carefully and the temperature of the water gradually raised by adding hot water1 in steps of not more than five degrees1 until the requisite relief is attained4 ,the use of a thermometer is here absolutely essential1 for the estimation of the temperature of the water by the hand is quite unreliable and may lead to the greatest errors4 ,this applies to all water baths used in the bromoil process4 ,at this point it should be noted that a print1 which on account of its characteristics has to be placed at the beginning in very hot water to attain the necessary relief1 is usually covered with very tiny air bells1 which can easily be overlooked2 they must be removed by wiping under water so as to avoid troublesome spots4 ,if the relief of the whole print is satisfactory1 but1 because of the character of the negative1 a few places in the deep shadows do not show the necessary details1 the desired shadow detail might possibly be attained by increasing the whole relief1 yet at the same time the relief in the rest of the image would be carried too far4 ,in such cases1 the places which should be relatively more swollen can be separately more highly swollen while the rest of the surface of the print retains the original relief1 by pressing on them a cloth soaked in warm water or a suitably formed swab of absorbent cotton4 ,a still stronger effect is obtained when such places are painted with a water-color brush charged with a one per cent solution of ammonia1 either on the film or1 after previously marking the outlines1 on the back4 ,when the relief of the gelatine has been increased by soaking in water which is warmer than that used for the first bath1 certain precautions must be observed in removing it from the water4 ,it frequently happens1 when using certain inks1 that the water which runs from the film causes streaks and spots1 and that evening these out is at least troublesome and frequently very difficult4 ,this action1 which does not occur when resoaking in a bath of the same or a lower temperature1 is explained by the fact that the greasy medium of the ink is liquefied by the high temperature of the water1 and runs down irregularly or mixes with the water and is carried off by it4 ,there are thus formed on the film of ink marks which show the form of the streams of water which have run off4 ,such troubles may be avoided by bringing the support close to the dish in which the print is soaked1 lifting the print out of the water as far as possible in a horizontal position and placing it in the same position on the support1 and immediately spreading the previously dried cloth over it and carefully drying4 ,by observing this precaution1 the running off of the water from the film1 which is the cause of this difficulty1 is prevented4 ,any traces left by the cloth1 used for drying off1 can be easily evened out again by the brush4 ,by making use of this soaking of the print during the work1 the bromoil printer is absolutely unlimited in the time used for his work and is not driven by any necessity for haste4 ,he can continue his work in peace and without hurry1 and devote himself to any particular part of his picture at will1 without being afraid that other parts will meanwhile lose their capacity for being worked up4 ,,the ,,removal ,,of ,,the ,,ink ,,from ,,the ,,surface4--,if1 in the application of the ink1 a fault occurs1 which for any reason cannot be corrected with the brush1 or if one sees in the course of the work that the ink film is not satisfactory in tonal values or shading1 the print would have to be discarded1 if it were not possible to remove the ink without damage to the film4 ,this is feasible1 however1 without any special difficulty2 one need not1 therefore1 throw away such a print1 but after removal of the ink can again ink it up1 but this time with avoidance of the previous fault4 ,if there are only small faulty places1 the ink may be removed from the print as it lies on the pad1 as follows3 ,cut a small piece of transparent1 waxed paper1 or1 lacking this1 of thin smooth white paper of approximately the shape of the overinked spot1 but slightly larger1 and place it on the faulty spot1 turning up a little corner so as to be able to lift the paper again4 ,then rub with the finger tip carefully and pull off4 ,the ink is thus removed from the bromoil print and transferred to the paper4 ,if the removal is not complete1 the operation is repeated with a second piece of waxed paper4 ,if very small places1 as1 for instance1 the eyes of a portrait1 have to be dealt with1 the rubbing should be done with a round stick1 such as a penholder4 ,by inking again1 the part that has been thus removed may be replaced without any trace of a correction4 ,if the whole film of ink is to be removed from a bromoil print1 a soft dry cloth or better still a swab of absorbent cotton should be soaked in benzol or other solvent1 and the picture washed with it4 ,the medium of the ink is dissolved by the benzol and the ink taken up by the wiping cloth4 ,every stroke must be made with a clean portion of the swab1 which must frequently be soaked again with benzol1 otherwise the ink dissolved by the benzol and taken up by the swab will be again put down on the paper4 ,if1 after washing with benzol some traces of ink still remain on the film1 the print should be immersed in water1 but only after the benzol has completely evaporated not only from the film but also from the fibers of the paper1 and it should then be gently wiped with the finger4 ,even if the film still shows a slight tint after this1 the working-up may be begun again successfully1 since the traces of the previous inking disappear under the new application of ink4 ,this complete removal of the ink with benzol may also be repeatedly effected4 ,beginners can1 therefore1 use any prepared print several times for experiments4 ,but experts should not think of washing an unsatisfactory print with benzol4 ,those who possess a transfer machine can remove the film of ink mechanically in the simplest way by transfer4 ,if it is desired to remove the ink from very small portions of the print1 this is most easily effected by repeated use of art-gum1 which should be sharpened to a point4 ,after every application of the art-gum1 a fresh surface of the gum must be used1 so that the ink is not again transferred to the picture4 ,it should be noted1 however1 that repeated use of the gum on the same spot may cause blisters4 ,,failures4--,to assist the beginner1 some possible failures will be here described4 ,it may happen that during the inking the print becomes covered with fibers and small hairs of the most different shapes4 ,this phenomenon may sometimes become so troublesome that a successful print appears problematical4 ,it is frequently incorrectly assumed that these impurities are caused entirely by the brush4 ,hairs that have fallen from the brush are always recognizable as such1 for they are straight1 relatively thick1 lie entirely on the surface of the film1 and can be easily removed4 ,when there is an excessive appearance of fibers1 they are due to the use of an unsuitable cloth for drying4 ,the fibers are of the most different shapes1 from dots to recurved and entangled lines4 ,from the fact that they always appear most strongly and frequently during the inking up1 it is frequently erroneously assumed that they are caused by the brush used for the inking1 or that dust is deposited from the air2 this is not so4 ,a dirty brush may be to blame2 mostly1 however1 they are fibers of very different shapes1 which are brought on to the damp and somewhat tacky gelatine film by the pressure of an unsuitable cloth1 which is not free from lint1 and they are held fast by the gelatine and torn from the cloth as this is lifted4 ,at first these thin and almost transparent fibers are not visible4 ,but they take the ink1 and thus it happens that they seem to appear in ever increasing numbers during the inking4 ,if individual fibers 7which may come from an otherwise suitable cloth71 or brush hairs that have fallen out1 have to be removed1 this is readily effected by art-gum1 worked to a point with the fingers4 ,with such a point long fibers can be very easily lifted from the film1 while the tiny cloth fibers cling very firmly to the film4 ,a small white spot1 where the gum point has touched1 remains1 as this removed the ink also from the gelatine4 ,such points can be completely closed up by repeatedly going over them with the brush4 ,single hairs or fibers lying on the surface may be allowed to remain1 when they occur in places where for any reason one must not destroy the ink film2 they can be very easily removed from the film with a sharp instrument in the after treatment of the finished print2 usually they leave scarcely any mark4 ,if1 on the other hand1 the fibers have appeared in large numbers1 the print should be immersed in water and one should try to remove them by gentle friction with the tip of the finger1 which is generally successful1 even if the film of ink is also removed at the same time4 ,if1 however1 the fibers adhere so firmly that they cannot be removed in this way1 which is particularly likely to happen in the shadows1 the whole coating of ink must be removed in the manner outlined in the previous section1 page #gc4 ,the only safeguard against the appearance of this difficulty is the use of a material as free from lint as possible for drying the film4 ,it may happen that the print takes the first hard ink instantly and very readily1 but that even with long hopping clearness of the details is not obtained2 the picture indeed shows up well1 but remains muddy1 as even the high lights retain the ink and become darker with further application of the ink4 ,then1 as a rule1 the requisite relief has not yet been attained1 and the print must be placed in warmer water4 ,if all the instructions for the development of the bromide print1 the bleaching and the swelling have been adhered to1 and success is still wanting1 then the fault lies in the paper1 which was hardened too much in manufacture4 ,the bromoil process is based on the fact that the shadows are tanned more than the high lights1 and that then the tanned places take up more ink than the untanned4 ,if the whole film was completely hardened from the start1 there cannot be more tanning added by the bleaching1 and the ink will take everywhere1 in the lights and in the shadows4 ,if the high lights of the picture completely repel any grade of ink1 while this adheres thickly in the shadows1 then the formation of the relief has been forced too far4 ,if the print takes the ink neither in the high lights nor the shadows1 there is either a fault in the preliminary preparation1 as1 for instance1 bleaching in too warm a solution1 or one too strongly acidified1 or the print has been acted on too energetically by the ammonia bath4 ,in the last case the print may be dried and again swollen in water4 ,if large or small irregular spots which take the ink more strongly than the surrounding parts1 are formed during the inking1 the reason is either that the prints have lain one on top of the other in the preliminary baths1 or the film has been prevented from swelling by air bubbles1 or by having risen out of the water4 ,thus certain places are less well prepared or are not swollen1 and therefore behave as though they had been more strongly tanned1 that is to say1 they take even the first ink strongly and stand out from their surroundings as spots and streaks4 ,sometimes such spots are improved by putting more ink on the print2 if they are not of large area and are in the less important parts of the picture1 they may be ignored1 as they can be removed from the finished print without special trouble1 as will be explained later4 ,if1 however1 the spots have a large area1 or occur in an important part of the picture1 for instance1 in the eyes of a portrait1 it is preferable to stop further work4 ,as a matter of fact1 all such blemishes may be removed by after treatment of the print1 but the trouble entailed by the correction of large faults is greater than the work of preparing a new print4 ,sometimes darker spots or streaks of irregular outline show themselves during the work1 which from their shape cannot be ascribed either to air bubbles or to partial sinking of the relief4 ,then there are probably irregularities in the gelatine coating1 for which the preliminary treatment of the bromide print is not responsible4 ,if the print shows a satisfactory relief1 but still takes the ink badly or not at all1 the reason is in the incorrect composition of the bleaching solution1 or the omission of the intermediate drying after bleaching4 ,finally it may happen that the image appears almost as a negative during inking-up1 since the high lights take the ink quicker than the shadows4 ,this phenomenon appears when the intermediate drying after bleaching has been omitted1 or if the work has been begun with too soft an ink4 ,in such cases1 if too much ink has not been applied1 the fault can be corrected by further working-up with a hard ink4 ,if this is of no use1 all the ink must be removed from the faulty places in the manner already described4 ,if during the inking-up small irregular white spots in groups show themselves and shift their places1 then there are drops of water in the brush or on the print4 ,the print should be dried1 the brush also1 and the spots hopped dry and worked over4 ,yellow or brown spots and patches1 which often appear during the work1 increasing in number and continually enlarging1 or even penetrating through the film into the fiber of the paper1 are to be ascribed to the fact that particles of amidol were deposited on the film before the soaking of the print4 ,when these particles dissolve in water they cause the trouble just described4 ,if there are merely scattered spots of this kind which have not penetrated the paper1 they may be scraped out of the finished print and then retouched4 ,the real remedy1 however1 is in keeping the amidol carefully closed and as far as possible not in the same room as the prepared prints4 ,ink streaks1 which a print treated with a soft ink shows when it is taken out of the warm water1 only appear when the print is placed in a slanting or vertical position2 they can be avoided by taking the print from the water and immediately bringing it into a horizontal position on the support and rapidly drying1 so that the water cannot run off4 ,the failures caused by the use of the ammonia bath were described on page #df4 ,,alteration ,,of ,,the ,,character ,,of ,,the ,,picture ,,by ,,the ,,inking4--,if the inking is carried out exactly according to the previous instructions1 which have been given chiefly for the benefit of beginners1 the result will be a picture which1 as regards gradation1 will be like the original bromide print before it was bleached4 ,the finished bromoil print1 produced by a perfectly even application of ink over the whole picture by means of successive additions1 each thoroughly worked over with the brush1 differs from the original bromide print in coloration1 structure1 more extended gradation1 and change in the character of its surface4 ,as the worker is at liberty to stop at any desired stage of the work1 he can obtain from the original bromide print1 according to his taste1 a delicate light-toned bromoil or a very rich and highly modulated print1 or any intermediate stage between these two extremes4 ,yet these possibilities by themselves alone would not justify the conversion of the original bromide print into a bromoil4 ,the substitution of a new photographic positive process for an old one is only justified if the new process accomplishes something essentially different and above all something better4 ,but absolutely uniform working over of the bleached bromide print with greasy inks does not completely fulfil this postulate4 ,mere changes of gradation of the whole picture or of its color can certainly be attained by simpler photographic methods4 ,the extraordinary advantages of the bromoil process lie in other directions4 ,bromoil printing1 for instance1 permits us to ink any individual part of the print more or less1 or even not at all1 at will2 it is possible to give enormous brilliance and aerial perspective to the high lights2 they may show when finished every tonal value represented in the negative2 it is also possible to darken them to an extraordinary extent by the application of more or softer ink4 ,on the other hand1 the shadows may be kept perfectly light by omitting to ink them or by very delicate treatment1 or1 by successive applications of the ink1 they may be strengthened to very great intensity and yet retain all their details4 ,the worker has wide opportunity for control in the local treatment of his prints4 ,his dependence on the negative is limited to the drawing1 while in the treatment of the tonal values he is absolute master4 ,most of the other positive processes are dependent on the negative for their extremes of depth and of delicacy2 the bromoil process does not know this dependence4 ,if it is desired to obtain a delicate picture from any negative1 one uses only a little ink1 and hops it off thoroughly2 then there may be obtained from even the most contrasty negative a delicate print1 but one thoroughly worked out in all its details4 ,on the other hand1 there is practically no limit to the continued application of ink2 the film is still capable of taking up more ink1 long after the limits of artistic pictorial effect have been passed4 ,the result is that in the bromoil process vigor and depth of the shadows can be produced in any desired intensity4 ,the most striking advantage of the process lies1 however1 in the possibility of changing the tonal values of any individual portion of the print at will4 ,if for example1 a negative was used in making the original bromide print which had been taken without any attention to the requirements for getting correct tones1 by suitable treatment in making the bromoil one can obtain an approximately correct print without special trouble1 since one can1 for instance1 convert an absolutely clogged-up sky1 which is pure white in the bromide print1 to a suitable grey tone by the use of soft ink1 and at the same time lighten foliage which is too dark2 a flat print1 wanting in plasticity1 may be improved by making objects in the foreground more vigorous1 and accentuating appropriate parts of the middle distance4 ,it is easily possible to supply the lacking aerial perspective of certain kinds of prints4 ,in portrait work in the bromoil process1 skilful workmanship renders one absolutely independent of the nature of the background4 ,a light background can be made dark1 a dark one light4 ,in portraits taken out of doors1 the small details of the background that are out of focus or obtrusive may be omitted1 toned down or completely remodeled4 ,unpleasing details of the clothing or the hair can be omitted or so far softened down that they are no longer disturbing4 ,we are able to accentuate certain parts of the picture to make them dominant1 while other parts of the image may be treated very sketchily2 in short1 the possibilities of control which this process offers are almost inexhaustible4 ,i will now try to outline the methods of carrying out some of these modifications1 as far as is possible without practical demonstration4 ,the beginner is first of all recommended to use a proof print from the negative as a check1 so that he may have a clear idea as to what changes he needs to make1 and so that further1 in carrying out his ideas1 he does not change neighboring parts of the print which should remain unchanged4 ,the simplest example of control is the lightening of the shadows4 ,this is done by very careful application of the ink1 which is stopped before the shadow parts become too dark4 ,one should avoid touching such parts later with the brush1 when it is charged with soft ink4 ,if light portions are to be made darker1 the procedure depends upon the size of the parts involved4 ,extensive parts of the picture in high relief1 as for instance the sky1 should be gone over as evenly as possible with a suitable soft ink1 and with this1 simultaneously1 by going lightly over the lighter places and applying it more heavily here and there1 clouds may be put in4 ,the evenness of the inking is of the greatest importance here1 as it cannot later be hopped off very much2 frequently in such cases the ink only lies on the surface1 without adhering firmly2 if left untouched1 it combines intimately with the surface when the print is dry1 but is easily removed by hopping4 ,it is possible to change the outlines of neighboring parts of the image2 if too dark edges are formed1 they can be easily softened by after treatment of the finished print4 ,in some cases it may be necessary to add considerable quantities of varnish or linseed oil to dilute the ink4 ,the darkening of too light places may be also effected by dabbing ink with the brush on the finished dried print1 which the print then naturally takes all over4 ,if tiny light patches are to be made darker1 the point of the large brush1 or if necessary of a very small brush should be used1 avoiding any disturbance of surrounding parts1 as far as possible4 ,such changes are difficult only when the bright spots that are to be worked out are in immediate contact with very dark parts4 ,the process is much simpler when parts of the print of medium tones1 which are surrounded by lighter parts1 are to be darkened4 ,if1 for instance1 the eyes of a portrait are to be darkened1 ink should be applied to the whole of the eye with a small brush1 and then hopped off4 ,a tree trunk1 which must be brought out in relief1 should be covered throughout its whole length with soft ink1 and the ink should then be worked over1 by hopping it from the lighter toward the darker parts4 ,in practice1 the bringing together of neighboring tones1 which differ considerably in value1 can be easily effected by hopping off the ink from the darker parts with a brush that has not been freshly charged with ink1 and depositing it on the lighter parts4 ,the lightening of too dark places can also be attained by going over them with a perfectly clean brush that has not been dipped in the ink4 ,isolated high lights can be accentuated by touching them with a pointed water-color brush1 dipped in water2 then the film swells and repels the ink4 ,stained high lights or too dark middle tones may be lightened by wetting a brush of proper size by means of a wet cloth and then lightly hopping with this the places which are to be corrected4 ,the brush picks up the color1 but must be immediately cleaned by rubbing it on a clean portion of the palette1 after which it may be again wet and used again4 ,clouds can be worked into dark parts of the sky in this way4 ,,the ,,structure ,,of ,,the ,,ink4--,independently of the surface of the paper on which the work is done1 the structure of the coating of ink can be influenced by the nature of the brush work4 ,if a brush well charged with ink has its full surface placed firmly on the gelatine film and then slowly lifted up1 an impression of the surface of the brush remains2 the individual hairs or groups of hairs of the brush have each deposited a part of the ink that they had taken up1 and a very coarse-grained spot of ink is produced4 ,if we now hop1 that is1 dab with quick light blows of the brush1 the ink begins to be distributed1 since it is taken away from the lighter parts and taken up by the shadows4 ,the drawing of the picture thus appears under the brush1 at first with a very coarse grain and without many details4 ,the longer one hops and thus distributes the ink1 the finer becomes the grain1 and it especially becomes much finer on the addition of softer ink4 ,the bromoil printer hence has it completely within his power to limit the division of the ink to any desired coarseness of grain1 assuming1 of course1 that he has suited the consistency of the ink to the degree of relief1 and is therefore able to completely finish the print with the original ink without adding any softer4 ,prints may thus be prepared1 which because of their coarse structure1 resemble certain graphic methods4 ,but1 when this is intended1 the application of the ink must be carried on as evenly as possible from the beginning1 so that it needs very little hopping off1 for any considerable amount of hopping unavoidably produces a finer grain4 ,even if the use of softer inks is necessary1 a coarse structure can be obtained by suitable brush work4 ,the longer1 however1 the ink is distributed by hopping1 the finer becomes the structure of the ink film and the smoother the surface4 ,the most perfect smoothness is also attainable1 if it is desired for any reason4 ,for this a not too volatile solvent should be used1 such as heavy benzol4 ,the method of using this is as follows3 when the print has been fully inked and is complete1 though still somewhat coarse-grained1 a cloth should be wet with the benzol1 and the brush lightly pressed thereon and then passed quickly over the desired parts of the picture4 ,at first a smeared spot is formed on the surface of the print2 by continued gentle hopping the spot is gradually worked out1 and by continued working we get a fineness of detail1 equal to that of printing-out paper4 ,it is true that even the highest lights acquire a delicate film of ink1 so that a print treated in this way is somewhat low in key4 ,if the hopping with the brush charged with benzol is not continued until the finest possible grain is attained1 a misty effect may be produced1 with some suppression of the finest details2 a method which is frequently useful in the production of landscapes4 ,by suitable ink and brush technique the effect of any other known photographic printing process may be attained in bromoil printing1 from the rich-in-detail gloss of collodio-chloride paper to the characteristic effects of gum-bichromate4 ,yet the far-reaching possibilities which bromoil places at our command really only begin where most of the other processes end4 ,,different ,,methods ,,of ,,working4--,in the following pages some of the different methods of technique1 which the bromoil process permits1 will be briefly sketched4 ,obviously1 however1 the description of these methods cannot be made complete without practical demonstration4 ,nor can all conceivable methods of working be mentioned1 as individual treatment of the process can be varied in many ways4 ,we will first describe the method of working which is most suitable for the beginner1 because it offers tolerable certainty to those who have not yet mastered the process4 ,the beginner1 in order to obtain good results1 must start with a bromide print as clean and well-modeled as possible1 and its high lights should not be fogged in the least4 ,he should place the print1 bleached and prepared exactly according to the methods detailed in this book1 in water at about #ah ,c4 7#fe ,f471 leave it there for a few minutes1 dry its surface1 and begin the application of the ink with the stiffer ink1 which should be thinly applied and then worked over until the hopping brings out no further detail4 ,if the drawing of the image does not quickly appear upon hopping the print1 and the result is only a detailless patch of ink1 the original temperature of the soaking bath must be increased4 ,then the print should be again immersed in the water1 left for two minutes1 and again dried4 ,the work of hopping is now continued with the same brush with which the print was originally treated1 and without its having been again put into the ink4 ,as a rule the mere placing of the print in water again will have increased the contrasts1 and new details will have appeared1 which can be considerably accentuated by now going over with the brush4 ,only when the print has been again worked over1 should fresh ink be carefully applied with the brush2 this should then be distributed by hopping1 and the print again soaked in water4 ,the procedure thus outlined3 application of the ink1 hopping1 soaking1 going over it with the empty brush1 fresh ink application1 hopping1 soaking1 and so on1 is continued as long as the print gains in strength and depth1 without becoming dull or muddy4 ,if1 however1 this point is reached1 the inked print should be immersed in water at a rather higher temperature and left in it for some minutes4 ,the print is then further treated with the brush1 without fresh inking1 and will soon become much clearer in the high lights4 ,if the clearing thus obtained is not sufficient1 the temperature of the water bath should be increased by a few degrees1 but not more than #e ,c4 7#i ,f47 at a time4 ,as the high lights become clearer it may happen that the stiff ink will no longer be taken up4 ,then it is necessary to soften it a little4 ,this method of working will guarantee to the beginner the attainment of good results with tolerable certainty4 ,,hard ,,ink ,,technique 7,coarse-grain ,prints74--,if it is desired to prepare a bromoil print of rough surface and coarser character1 the worker must be able to finish the print exclusively with a relatively hard ink4 ,for this it is necessary to determine by trial the temperature of the water bath at which the film of the print acquires a relief which is absolutely suitable for the stiff ink4 ,when this degree of relief has been found1 the print should be inked up strongly but evenly from the very start1 so that one is not compelled to go over individual places several times with the brush4 ,thus the coarse structure of the ink is obtained4 ,the use of hog's bristle brushes is also efficacious in coarse-grained work4 ,,soft ,,ink ,,technique4--,this method of working is used on the one hand for the preparation of low-toned misty effects1 on the other hand to obtain fully and richly modeled prints4 ,in the first case the bromide print should be correctly exposed1 but not completely developed2 while in the second case it should be thoroughly developed4 ,the print is then1 according to the choice of the operator1 either brought at once to a fairly high relief1 or only gradually raised to the same relief during the application of the ink4 ,then1 in the course of inking1 a point is soon reached at which the stiffer ink is repelled by the high lights and perhaps also by the lighter half-tones1 and during the hopping is again taken up by the brush4 ,then the ink should be carefully softened with linseed oil or varnish1 and the whole print gone over with the softer ink4 ,prints which are executed in the soft ink technique are characterized by a specially fine velvety surface after defatting4 ,,sketch ,,technique4--,if one proposes to completely work up certain parts of a print and leave the rest treated in a sketchy manner1 and possibly to omit some parts altogether1 one should begin by working up the part which should stand out4 ,thus1 in a portrait1 the head should be first worked up2 then proceed systematically1 with the ink remaining in the brush1 to sketch in the clothing and the background1 and perhaps leave unimportant parts of the print completely untouched4 ,to facilitate the work1 disturbing details or a too prominent background may be removed or reduced on the bromide print1 before bleaching1 with dilute ,farmer's reducer4 ,if1 when the work is finished1 the parts that have not been inked are visible through their relief and glossiness1 these traces of the uninked picture completely disappear in drying1 if the original bromide print was not developed too vigorously4 ,if one contemplates producing a vignette1 it is absolutely unnecessary to obtain this by the use of masks or vignetters when making the bromide print4 ,the effects which result from the suitable treatment of the bromoil print are far more free and beautiful4 ,if certain parts of the picture are to be accentuated and all the rest is to be rendered visible1 even if only sketchily1 one may also work in the reverse way4 ,the whole picture should be given a thin coating of ink1 as even as possible1 which should be hopped only just enough to barely bring out the drawing4 ,then work out those parts1 to which attention is to be directed1 keeping as closely as possible to the outlines4 ,when these1 the most important parts of the print1 are finished1 it is frequently seen that the rest of the picture is too delicate4 ,this should then be gone over again with the ink as at first1 without completely working it up1 until the correct tonal value is attained4 ,then the necessary harmony is obtained by going over the outlines with the brush4 ,,large ,,heads4--,the far-reaching possibilities of the bromoil process offer special advantages for the free modification of tones in portraits4 ,it is advisable to take the portraits with a neutral or dark background4 ,the only exception is when a head is to be done in red chalk1 when a white background is preferable4 ,starting from such a negative in bromoil printing the background may be kept1 according to choice1 either light or very dark1 or be shaded4 ,one precaution should1 however1 be observed in every case2 before starting on the head itself1 the background should be worked in lightly from the margins toward the head1 so that no dark line may be formed when working on the outlines of the portrait4 ,if this shows during the work1 it must be worked down to harmony with the background at once before it gets too dark4 ,one can1 therefore1 from a given negative1 produce at will either a fully worked-up head against a dark ground1 or a light1 sketchy image on the light background of the paper1 or any intermediate stage4 ,if1 as previously suggested1 parts of the picture are to be treated sketchily1 while others are to be fully worked up1 the parts which should appear sketchy are allowed to remain coarse-grained1 while the structure gradually becomes finer in passing into the worked-up portions4 ,no portion1 however1 should be made perfectly structureless4 ,bromoil prints thus worked up are much more artistic than those pictures which are known by the name of photo-sketches4 ,the latter usually show a head1 printed with all the gradation and fullness of detail given by printing-out paper4 ,the tone becomes gradually lighter toward the edges1 where we find some strong lines1 imitating the character of a line drawing1 all surrounded by a perfectly white background4 ,to the trained eye the technique of such photo-sketches is abominable1 for the contrast between the inimitable detail of the head and the perfectly blank background is so great that it cannot be bridged over by the effort to imitate the manner of an etching4 ,on the other hand1 such problems can be solved in an artistic way with our process1 for the head may always be produced in a rather coarse grain1 so that it dovetails harmoniously into the sketchily treated surroundings4 ,,oil-,,painting ,,style4--,if it is desired to prepare portraits which resemble reproductions of oil paintings1 one should proceed as follows3 the head should be first inked in considerably deeper than it should appear in the final print2 then1 if the head is on a light background1 it will appear vigorous1 even if not much ink is used4 ,if1 however1 the background is dark and heavy1 the inked-up head will appear considerably lighter because of the contrast4 ,for this style of work it is best to select a warm dark brown ink4 ,when the head is finished1 some very soft ink of the same shade should be placed very thickly in the corners and margins of the picture1 and this should be worked from all sides towards the head1 which naturally must not be touched with the soft ink4 ,finally the blending of the head with the background should be very carefully done4 ,in the lower part of the portrait the clothing should blend into the background in a similar manner2 only one must take care in making the negative that no light pieces of drapery or accessories are used1 because they cannot be easily completely covered4 ,any lighter accents1 which may be desired in the background1 should be made by removing the ink with a clean brush4 ,one may thus make the head stand out in a dark oval1 or attain similar painting effects4 ,prints prepared in this way ought not to be defatted1 as they then lose their similarity to oil paintings4 ,they must be left to dry for several days1 in a place free from dust1 until the thickly-applied ink has hardened4 ,,night ,,pictures4--,twilight and night effects can be easily obtained from ordinary negatives by carefully swelling the bleached print so that the differences of relief existent in the print are only slightly brought out4 ,then the capacity of the lights and shadows for taking the ink is not so very different1 and the gradation is shorter4 ,a second possibility of obtaining the same effect is offered by using mainly soft ink1 which1 as is well known1 adheres to a certain extent even in the high lights of the print2 only the soft ink must be applied very carefully and thinly in the shadows1 so that these do not become choked up with ink4 ,in this way one may make night pictures from daylight exposures1 accurately corresponding in tone values to night exposures4 ,previous practice has been to use either underexposed negatives or overexposed prints for such effects2 in both cases the night effects were gloomy1 but false in tone values1 and usually without details in the shadows4 ,in bromoil printing the gradation can be shortened as described1 without loss of drawing1 and one can simulate perfectly the short scale and mysterious gloom of night4 ,if the too dense sky of the negative cannot be sufficiently darkened by the use of soft ink1 its inking should be postponed till the print is dry4 ,,prints ,,with ,,white ,,margins4--,if it is desired to obtain bromoil prints with margins of the natural paper1 the negative should be masked with clean-cut black safe-edges of lantern slide binding strips1 or one may use a mask1 and print or enlarge on a sheet of bromide paper large enough to leave unexposed margins of the desired width4 ,in making enlargements the mask1 cut out of rather thin card1 should be pinned on the enlarging screen over the sheet of bromide paper4 ,after bleaching such a print the tanned image will appear slightly depressed within a strongly swollen1 white frame of less tanned gelatine4 ,the inking is done without any attention being paid to this unprinted edge4 ,in consequence of its strong relief this gelatine does not take any ink from the brush1 or1 at most1 a mere trace4 ,when the print is finished1 the ink is easily wiped from the white margins by means of a damp cloth1 which removes this ink with the greatest ease4 ,the finished and dried print is enhanced in effect if a plate mark is impressed in this wide white margin4 ,,the ,,swelled-,,grain ,,image4--,coarse-grain printing in bromoil has previously depended on a very carefully determined relation between the degree of relief of the film and the consistency of the ink1 which had to be so chosen that the ink was not very easily taken up by the film4 ,if inking was then skilfully done1 the structure of the face of the brush was visible to a certain extent all over the print and gave the effect of a more or less coarse and irregular-grained image4 ,it was obviously necessary for the success of a print of this type that no portion of the image should be gone over several times with the brush1 for1 if this was done1 the structure was obliterated and the spot in question became smooth4 ,since1 also1 the requirement that the degree of relief must be rather high for the chosen consistency of the ink could never be fulfilled by the shadows1 since these always take the color easily1 we often obtained an undesired smoothness of effect in the shadows4 ,for this reason typical coarse-grain prints could not always be produced with certainty4 ,i therefore endeavored to improve the technique of bromoil in this respect and to work out a grain method which could be depended upon with certainty in every case4 ,the basic thought was that the fundamental basis for making a coarse grain print should be a part of the film itself1 and ,i endeavored to prepare the latter so that a grain structure could be produced which should equally underlie all parts of the image4 ,such a grain structure can theoretically be obtained in the following way3 if we allow a properly prepared uninked bromoil print1 which has been brought to the proper degree of relief1 to dry off a little and then spray it by means of an atomizer with extremely fine liquid drops1 the film will again swell up under every drop1 but only under these2 and when we ink up1 we obtain a definite grain effect which1 however1 only persists if the inking is completed before the sprayed-on water grain again dries out4 ,such a relief grain is not permanent1 because the subsequently swollen portions of the film cannot retain the difference in swelling4 ,this process1 therefore1 has only experimental interest and practically can be used but rarely4 ,to make the swelled grain useful1 the secondarily swollen points of the film must permanently retain the difference in swelling which has been imparted to them4 ,to attain this end1 ,i start from the fact that portions of the gelatine which are treated with alkaline solution will swell much more in a bath of warm water than spots which have not been thus handled4 ,if1 therefore1 the desired grain can be applied to the film by means of an alkaline solution1 all the elements of the grain will swell up more strongly in the water bath than their surroundings1 and will therefore protrude above the rest of the film and thus attain and retain a better degree of swelling than the latent tanned image4 ,the next step was obviously a practical treatment of the film by spraying it as evenly as possible with extremely fine drops of an alkaline solution4 ,it soon appeared that the greatest attention must be paid to the type of apparatus with which the spraying was to be done4 ,any atomizer whose spray combines fine and coarse drops is useless4 ,any atomizer which is worked by blowing with the mouth or by intermittent blasts of a pump is unsuitable1 for at the instant when the stream of air is interrupted1 a certain quantity of liquid remains in the mouthpiece and is thrown out by the next blast of air in the form of coarse drops4 ,therefore1 only continuously functioning atomizers can be used1 preferably those types which are actuated by double rubber bellows4 ,only with such atomizers is it possible to count with a fair degree of certainty on the production of a system of uniformly fine drops4 ,ammonia1 which has previously been generally used in bromoil printing as a swelling agent1 cannot be used to produce such a grain1 because the ammonia gas volatilizes in great part in its passage through the air4 ,a five per cent solution of potassium carbonate has been found to be most satisfactory4 ,the next question is at what stage of the process the swelled grain should be produced4 ,making it on the dry print is not permissible1 because the droplets are taken up too greedily by the dry film and diffuse quickly and irregularly4 ,the safest method of working is to place the bleached and dried print in cold water until it becomes limp1 then blot it off until quite dry on the surface1 and then treat it4 ,the practical method of producing the swelled grain is as follows3 the print1 which has been swelled in cold water and thoroughly dried off1 is placed on a horizontal support and the atomizer set in action2 as soon as it works with complete uniformity1 it is passed back and forth across the print as evenly as possible under continuous observation1 until the whole print is uniformly covered with a layer of extremely fine drops4 ,the most important precaution is the continuous observation of the print while the spraying is being done1 and this is best done by having the light fall on the print at as small an angle as possible4 ,the practical way to do this is as follows3 the print is laid on a table near the window4 ,the operator sits in front of the window and gets both his eye and the atomizer very slightly above and in front of the print4 ,under these conditions there is a reflection of light in every single drop1 which makes the observation of the distribution of the drops very easy4 ,at the instant when the whole film seems to be uniformly covered with dew1 the atomizer is quickly turned away from the print4 ,it is necessary to be thoroughly familiar with the action of the atomizer which is being used2 with most atomizers the finest drops1 on account of their lightness1 fall downwards not very far from the mouthpiece1 while others project their finest drops to a greater distance4 ,the sprayed print1 which naturally cannot be touched on the film side1 must be left undisturbed for a certain period1 which must be determined by experiment1 for it depends1 among other things1 on the temperature of the room and the peculiarities of the paper which is used4 ,an approximate idea may be had by considering these points3 the longer the potassium carbonate solution lies on the print1 the more the finest drops evaporate1 while somewhat larger drops continue their action1 so that the grain becomes coarser through longer action4 ,a coarse grain can also be obtained by the use of coarse drops4 ,if the drops are allowed to dry completely1 the diffusion produced during this longer time results in an extra swelling of the whole film1 without any grain effect4 ,after a sufficient time has elapsed1 the potassium carbonate solution is removed from the film by rinsing or blotting off1 and the print is swollen to the necessary degree4 ,it is obvious that much lower temperatures must be used for this than if the print had not been treated with the graining solution1 for the drops of the potassium carbonate solution cover a considerable fraction of the surface of the print4 ,the fact that the greater portion of the surface of the print has been affected by the spray makes it apparent that the alkaline solution cannot be replaced by a tanning solution1 for the greater portion of the film would become less capable of swelling if such a solution were used1 and therefore the latent tanned image would be destroyed4 ,when the print is blotted off after swelling1 it should show a scarcely visible relief when looked at by light falling from the side4 ,the actual effect of the grain cannot be perceived until after the inking has been done4 ,the prints obtained in this way have1 if the treatment has been successful1 a very beautiful grained structure which extends over the lights and shadows quite evenly4 ,it is possible to work on such a print quite normally without having to harmonize the degree of relief and the consistency of the ink with great accuracy4 ,especially is it possible to work up any given part of the print as long as desired with the brush without endangering the structure2 on the contrary1 it is improved by this treatment4 ,for bromoil transfer1 there are the following special advantages3 every new transfer has exactly the same coarseness of grain1 if this is imparted to the film once for all4 ,in combination transfer1 the grain persists in spite of the fact that several impressions are made on the same paper1 because the swelled-grain elements are re-impressed in the same spots1 if the registration is accurate4 ,finally1 it might be well to mention a few causes of failure which frequently occur in the first experiments4 ,if the print appears to be covered with many small white spots at a certain distance apart but not in contact1 the grain is too heavy and therefore does not take up enough ink4 ,in this case1 after rinsing1 the print may be sprayed once more1 carefully and not too heavily4 ,larger white spots on the print show that when the grain was made large drops were produced by the atomizer4 ,if such drops are noticed while spraying1 the print should be immediately placed in water1 dried off and sprayed again4 ,if the print shows spots of rather large area which do not take ink and only show irregular ink spots here and there1 it has been sprayed too long1 that is1 too much potash solution was applied1 and the print is then useless as it cannot be corrected4 ,in addition1 such a print may be easily recognized after swelling1 for a coarse grain pattern will be clearly visible on the film4 ,this swelled-grain process permits of very beautiful and characteristic results1 yet1 like all variations1 it assumes a solid knowledge of the bromoil process1 and must be practically used over and over again before it can be applied with certainty4 ,,mixing ,,the ,,inks4--,as has already been mentioned1 we have at our command for bromoil not only black and brown1 but any other color of ink in various shades4 ,as a rule1 however1 colored inks are somewhat too bright to be used pure2 moreover1 as a rule they can only be had commercially in a fairly soft consistency4 ,this is actually no disadvantage1 as one is often forced by the consistency of the ink to do what is counselled by good taste1 that is to tone down the colored ink with hard black ink4 ,it is not practicable to make a mixture of hard black ink with the colored with the knife on the palette1 because it is difficult to hit the exact shade with certainty in this way4 ,it is better when using green1 blue or any other colored ink to mix the inks with the brush on the bromoil print itself4 ,first one should go over the whole print very delicately with hard black ink and almost complete the drawing by hopping4 ,then the work should be continued as would be done if we were mixing hard and soft ink1 merely replacing the soft black ink by the colored one4 ,then the work should be continued with the mixed ink2 if the exact shade has not been hit1 more or less of one or the other color is taken up by the brush until the desired color effect is obtained4 ,it is immaterial that those parts of the print on which one has tested the mixture show a little too bright or too dark a tone4 ,by going over these again with the final correct color these places1 though perhaps only after resoaking1 will reach the proper tone1 as the ink in the brush and that already on the print quickly mix to a uniform value4 ,if1 in the course of the work1 it appears that the mixture of this and the colored ink1 the color tone adhere properly1 it is not advisable to attempt further softening by the addition of soft black ink4 ,by the mixture of this and the colored ink1 the color tone already decided on will be altered4 ,in such a case varnish or linseed oil must be used to soften the mixed ink4 ,,polychrome ,,bromoils4--,prints of two or more colors have previously been made1 aside from the three-color process printed from three-color separation negatives1 chiefly by the gum-bichromate process1 by coating the print successively in different colors4 ,after each coating the negative was printed1 usually with masks1 and the unnecessary parts of each colored coating were washed away during development4 ,the preparation of a polychrome gum print is extremely tedious and uncertain4 ,not the least of the difficulties is the fact that in consequence of the addition of the chromate the color effect cannot be determined with accuracy until the print is finished and the chromium salts are removed4 ,moreover1 as a rule the color layers are perfectly distinct and the color mixtures formed by their juxtaposition must be accepted as they happen to come4 ,a correction of the colors during the work is not easily effected4 ,the bromoil process1 on the other hand1 is in its very essence preminently suitable for work in several colors1 and offers all the possibilities which have previously been lacking4 ,without any special preliminary preparation the worker can apply any number of different colors to one and the same print at one sitting2 he can harmonize them to each other during the progress of the work1 combine neighboring colors by working them into each other on the print and easily correct any error that may occur4 ,it is true that the execution of a bromoil print in polychrome requires complete mastery of the process2 an indispensable condition is a perfect command of the handling of brush and ink4 ,therefore1 experiments in polychrome bromoil printing can only be recommended to those who have the monochrome process absolutely at their fingers' tips4 ,if a negative is to be printed in several colors1 the worker must first be absolutely clear as to his artistic scheme and know exactly in what color each individual part of the print must be executed2 he must further be sure that the chosen colors harmonize with each other4 ,he will not always be satisfied with the colors to be found in commerce1 but must prepare the necessary inks for himself4 ,at first pictures should be chosen which contain large areas of uniform coloration1 and as few colors as possible should be used4 ,if you are not perfectly familiar with the print1 it is necessary to have a proof as a guide1 so as not to overstep the outlines of the different parts of the image which are to be individually colored4 ,the best way of setting to work is as follows3 first select the color necessary for one or more of the larger areas of the picture1 for instance green for the foliage1 and work up these areas completely1 until they have acquired the requisite vigor and detail4 ,such parts of the outlines as are adjacent to lighter1 and hence more strongly swollen parts of the print1 need be given no special attention1 for color that does not belong on them may easily be removed again with the damp cloth1 as previously mentioned4 ,on the other hand it is well to work carefully with every outline which lies next to a darker part of the picture which is finally to be of another color4 ,here it is best not to apply the ink right up to the boundary1 but to complete the inking with a small brush only after the adjacent parts are coated with their own color4 ,if1 however1 such outlines are overstepped and the adjacent parts are colored with an ink that should not be applied to them1 this should be removed with a very wet cloth1 twisted to a fine point1 by gentle rubbing4 ,during this the print should remain on the pad4 ,if the incorrectly inked portions are small in area the ink may be removed with art-gum4 ,when the first large areas are finished1 the print should be again soaked in water1 as it will probably have dried somewhat1 then dried off1 and another part of the picture dealt with1 with a fresh color4 ,if the adjacent colors are properly chosen1 the result1 with objects which have no sharp outlines but merge into one another1 will be that the adjacent parts will spontaneously blend into a harmonious transition of color4 ,parts of the picture which have the same basic color must not be done throughout in one and the same shade2 thus large stretches of vegetation1 which extend into the distance1 should be executed in front in a yellowish green1 and should be shaded back into a bluish green and insensibly into blue in the distance2 such transitions can be effected without difficulty4 ,if in the shadows there are small parts which require another color1 they should be inked with a very bright color1 which is then reduced by going over the whole surface at one time4 ,if it is found that a mistake has been made in any color1 that part of the print may be cleared of ink as described on page #gb1 and the work repeated4 ,if it should finally appear that individual colors are too glaring or that the whole color scheme is too harsh1 it is possible to go over individual parts or the whole print with some suitable color1 so that the colors already applied are improved by a slight admixture of this covering color4 ,such a procedure shows most emphatically what advantages there are in the possibility of mixing and toning down the colors on the print itself4 ,as a rule1 to tone down too bright colors1 these portions or even the whole print are gone over with black ink1 but if necessary other colors may be used for the same purpose4 ,thus1 for instance1 a picture in which there are brown roofs1 yellowish-green foliage1 a sky of a pronounced blue shade and water of another blue1 can be made harmonious by going over the whole print very lightly with the blue of the sky4 ,thus the vegetation will lose some of its yellowish tone1 and all other colors1 without losing their own characteristics1 will acquire a certain unity4 ,if the sky parts of a picture are swollen too much1 their uniform inking is not easy4 ,then it is advisable to ink up the sky only on the dry print1 as is suggested on page #aab4 ,because the tonality of any color1 which has already been applied1 can be altered with the brush1 polychrome bromoil printing affords very great possibilities4 ,obviously good taste and a sound color sense are indispensable requisites1 for without them there is danger of producing the undesirable effects characteristic of certain colored postcards4 ,it may also be remarked that the colors1 after defatting1 have a somewhat less pronounced brilliancy1 as they lose their gloss4 ,in polychrome bromoil printing1 the choice of too small sizes is not to be recommended4 ,the larger the picture is1 the larger also are the areas which may be uniformly treated and1 therefore1 the easier it is to keep within the outlines4 ,within the limits of this chapter1 it is not possible to teach polychrome bromoil printing1 only to outline its fundamentals4 ,the unlimited freedom which it offers will certainly in the course of time produce many excesses in color4 ,for this1 however1 we should condemn1 not the process itself1 but those who have abused it4 ,in general it will be as well not to approach too closely the actual colors of the objects represented1 but to work for the attainment of artistic effects4 ,we must1 however1 in any case avoid even the most remote imitation of the painter2 we cannot arrive at the solution of the problem of natural colors on paper by the polychrome bromoil process4 ,,chapter ,,iv ,,after-,,treatment ,,of ,,the ,,finished ,,print ,the film of ink on the dried bromoil print after the completion of the brush work is as a rule not very tender1 except where much soft ink lies on the surface4 ,it is not advisable1 however1 to put the print under pressure1 as for instance in a printing frame1 for under strong pressure the ink may still partially offset on the adjacent paper1 so that the image is damaged4 ,no pressure should be applied until after the removal of the fatty medium1 which is described later4 ,when the brush work is completed1 the whole surface of the bromoil print shows a slight gloss1 caused by the fatty medium of the ink4 ,the shadows show a stronger sheen1 especially in those places where there is more soft ink1 for soft inks contain more medium4 ,the surface of the print1 so far as the gloss is concerned1 is like that of a finished gum print4 ,but with the latter the gloss cannot be removed2 when it is desired to get rid of the unpleasant property of gum prints1 that the shadows are more glossy than the rest of the print1 it is necessary to make the whole print glossy by painting it with a solution of gum4 ,this is also the case with the carbon process4 ,with the bromoil process1 on the other hand1 it is easily possible to remove the gloss entirely4 ,the shininess of a finished bromoil print is especially unpleasant when seen sideways1 but1 in certain cases1 it imparts depth to the picture and may be made fairly inoffensive by glazing the print4 ,prints which are to keep their gloss must be exposed to the air for some days1 protected from dust1 until the ink has completely hardened4 ,until this has happened1 the surface of the picture1 especially where the ink is soft1 is sensitive and ought not to be touched4 ,,defatting ,,the ,,ink ,,film4--,before removal of the fatty medium from the ink1 the print must be absolutely dried out4 ,it must be so dry that it rings sharply when the finger is snapped against it4 ,also1 the dish in which the defatting is to be carried out must not contain the slightest trace of moisture1 otherwise trouble will be caused4 ,an easily volatile solvent of the fat1 such as benzol1 trichlorethylene1 carbon tetrachloride1 etc41 should be poured into the dish1 and the print immersed in the liquid and allowed to remain for some minutes with constant rocking4 ,on account of the danger of fire from the vapors of benzol1 no naked flame should be allowed in the room4 ,carbon tetrachloride 7carbona71 on the other hand1 is non-inflammable2 its solvent action1 and that of the trichlorethylene1 on fats1 is much more rapid than that of benzol4 ,the film of ink is1 as a rule1 not damaged by the solvent1 though care should be taken with prints which have been executed wholly or mostly in soft ink4 ,with such prints it may happen that the ink is entirely dissolved in parts1 or that irregular sharp lines and streaks are suddenly formed4 ,soft ink prints should1 therefore1 be allowed to dry for several days before they are defatted4 ,by the use of very energetic solvents1 such1 for instance1 as trichlorethylene and carbon tetrachloride1 soft ink prints1 as a rule1 are completely dissolved4 ,benzol is1 therefore1 to be preferred in all cases4 ,the print should be removed from the liquid without touching the ink film1 softened by the solvent4 ,this evaporates fairly quickly1 and now the bromoil print has an absolutely matt surface of great beauty4 ,it is here naturally assumed that the fatty medium of the ink is soluble in benzol1 which is usually the case4 ,the solution of the medium from the fatty ink1 besides the removal of the gloss1 has also the effect of fixing the surface of the picture and making it more resistant4 ,while the film of ink before the defatting is fairly tender1 it afterwards has a stability at least equal to that of a pencil drawing4 ,the surface of the finished bromoil print is generally at least as little liable to damage as the film of prints prepared by other photographic methods4 ,it seems as if the very minute grains of pigment contained in the fatty ink are made firmly adherent by the drying of the somewhat tacky gelatine film and therefore remain fixed even after the removal of the fatty medium4 ,it is only from places in which a specially thick layer of soft ink was deposited1 that a trifle of pigment dust can sometimes be removed by light friction4 ,the defatting is therefore a procedure which is advisable in most cases and only after this is the bromoil print actually complete4 ,after it has been carried out1 the image consists of pure mineral pigment adhering firmly to the gelatine4 ,it is self-evident that a print treated in such a way is absolutely permanent1 provided that the inks used are non-fading1 which is almost always the case4 ,one can also subsequently moisten or soak the print without any danger if1 for example1 it is to be mounted on cardboard4 ,,retouching ,,the ,,print4--,the defatted bromoil print is susceptible to the most far-reaching mechanical modification4 ,the picture now consists1 as already mentioned1 entirely of extremely fine particles of pigment adhering to the film about as strongly as the lines of a pencil drawing4 ,this pigment can also now be treated with rubber exactly like a pencil drawing4 ,the ink1 as far as it was put on by degrees1 can also be removed by degrees from any desired place by proper measures4 ,in the finished bromoil print the deepest shadows are formed by a comparatively thick layer of pigment1 while the lights have only a very delicate coating of ink4 ,we are consequently able to diminish the thickness of the film by proper treatment1 removing it layer by layer1 so that the shadows become more transparent1 or the film of ink may be entirely removed1 so that the gelatine base is laid bare4 ,the best tool for this is a piece of a hard rubber eraser sharpened to a fine point with sandpaper or a file4 ,it is also advisable to use a very soft sharpened eraser for treating very light places4 ,every part of the print which is to be lightened should now be gone over with the point of the rubber in fine lines very close together4 ,the ink powder1 which is taken up by the rubber1 must be removed from time to time by rubbing the rubber on the sandpaper1 or it will be left on the print again in the form of dark lines4 ,if gentle rubbing with the eraser does not have the desired effect1 it should be used more energetically4 ,sometimes the ink adheres so firmly that the rubber must be used quite vigorously in order to remove it4 ,on the other hand1 where soft ink has been applied1 one must work very lightly1 or more ink may be removed than is desired4 ,important details of the picture may be completely taken out with the rubber without getting down to the paper1 if the work is done carefully4 ,thus1 for instance1 unsharp figures in the foreground of a street scene1 disturbing details in the background of a portrait1 undesirable details of a landscape1 such as telegraph wires1 ugly poles1 trees1 etc41 may be removed almost without leaving a trace behind4 ,if this treatment does leave visible marks1 they can be easily made to disappear with brush and ink4 ,for removing or lightening tiny spots or lines1 or for removing brush hairs and similar imperfections left during the inking1 one may use a sharp lancet or penknife1 or a steel needle set in a handle4 ,yet in the use of these sharp instruments one must be careful to scrape the surface very gently and carefully1 or the gelatine film may be cut1 which leaves noticeable marks4 ,the possibility of removing the ink from the finished print in layers by the use of an eraser1 without leaving any trace1 gives the bromoil printer another means for modifying the tone values of the print at will4 ,if preconceived ideas were not fully carried out in the application of the ink1 because tiny places could not be properly worked out with the brush1 or because they were overlooked1 the desired change of tone values can now be effected2 with the aid of the rubber1 also1 especially effective lights may be added to the picture4 ,if1 in the application of the ink1 large areas were not quite uniformly treated1 they can be corrected now without trouble4 ,dark spots of ink can be easily removed with the rubber1 and it is often easier to even out a rather broken surface with the eraser than with the oil-printing brush4 ,bare spots1 white points1 and other defects of the image1 or places from which too much ink has been removed with the eraser or penknife1 are best spotted with water-color of proper shade1 or in the case of brownish-black prints1 even with charcoal4 ,the defatted film takes the water-color easily and places treated with it remain perfectly matt2 on the other hand1 retouching with lead pencil should be avoided whenever possible1 as this always produces a certain shininess1 which is rendered particularly prominent by the dull surface of the rest of the print4 ,a bromoil print which has not been defatted may also be retouched in the same way1 but the parts worked up with the rubber are then noticeable4 ,filling up spots on such prints is best effected with oil-printing ink1 applied with a water-color brush dipped in heavy benzol so as to dilute it4 ,it is thus possible in the bromoil process to produce very comprehensive changes with rubber1 needle and ink1 without destroying the character of the picture4 ,with some experience this work is done so quickly and easily that it is not necessary to retouch the negative at all1 even with portraits4 ,the removal of imperfections in the complexion or the softening of too sharp features can be effected much more quickly and with more certainty as to the effect on the finished bromoil print than on the negative1 especially as retouching on the negative shows up unpleasantly in enlarging4 ,the possibilities of after-treatment of a bromoil print are manifold4 ,thus1 for instance1 by means of the eraser very natural appearing clouds can be rubbed into the cloudless sky of a landscape not taken with an orthochromatic plate1 if in inking the sky is properly darkened4 ,in the background and subordinate planes of a portrait1 a certain draughtsmanlike character can be attained by suitable delicate strokes with the rubber4 ,ugly lines of the hair or clothing which could not be suitably dealt with in the inking-up1 can now be altered with a little skill4 ,a dull landscape may be made more lively by picking out a few lights4 ,finally1 it may be mentioned that it is also possible to change the color of the paper base of the print1 though this is best done before the application of the ink4 ,commercial bromide papers as a rule are only obtainable in white or yellowish tints4 ,another tone may be imparted to the paper1 for instance reddish or bluish for certain effects2 this is effected by swelling the bleached and fixed bromoil print in a dye solution which has been found suitable by preliminary trial with white paper4 ,the paper fibers and the gelatine assume the desired color and the print after soaking is removed and worked up as usual2 this staining may also be done with finished prints4 ,,refatting ,,of ,,the ,,print4--,as already mentioned1 the finished bromoil print shows on its surface places with different degrees of gloss1 since the parts of the picture which took a good deal of ink1 as for instance the shadows1 are more shiny than the rest4 ,in order to remove these sometimes unpleasant effects2 the finished bromoil print can be immersed in a fat solvent1 which completely removes the glossy medium from the ink film4 ,after the evaporation of the solvent the bromoil print has a perfectly matt surface4 ,frequently1 however1 this complete dullness of the surface does not please the worker1 because1 especially with soft ink prints1 it causes a marked loss of brilliancy4 ,it is thus necessary to choose between a brilliant surface with unequally glossy places1 or a uniform matt surface4 ,i have undertaken experiments to place in the hands of the bromoil printer a means of imparting to his prints any desired degree of gloss1 after removal of the unpleasant uneven shininess4 ,attempts to obtain brilliancy by the use of ordinary varnishes failed4 ,whether the varnish was sprayed on or the print was immersed1 there was always a certain damage to the surface1 since the ink film1 which lies rather loosely in the form of powder on the defatted soft ink prints1 combined irregularly with the varnish and caused some trouble4 ,i was finally successful with the following plan1 which is a logical consequence of the nature of the bromoil print and the varnish inks used in making it4 ,dissolve from #e to #aj ccm of linseed oil varnish in #ejj ccm of benzol 7#gg to #aed minims to #af oz474 ,then the defatted and perfectly flat print is completely immersed in this solution for one minute and hung up to dry4 ,perfect flatness of the print is necessary1 otherwise troublesome markings are formed in drying1 which1 however1 may be removed without difficulty by repeating the process4 ,irregularities may also be caused by supporting the print by the fingers on the back before hanging it up2 the warmth of the fingers evaporates the solvent more quickly1 so that spots are caused4 ,the print should only be handled by the edges until it is dry4 ,after the evaporation of the solvent1 the linseed oil varnish dissolved therein is very evenly distributed throughout the whole film of ink2 this restores to the ink a part of its varnish which was removed in the defatting1 but more evenly distributed1 so that now the whole print shows a gloss1 which is hardly noticeable1 but which considerably increases the brilliancy4 ,if this gloss is not sufficient1 more varnish should be added to the bath2 if it is too strong1 more of the solvent is added4 ,in this way any degree of gloss desired can be obtained4 ,if it is too strong1 it can be removed again with benzol4 ,when the bromoil print is to be retouched it should be defatted before retouching and afterward treated as just described1 so that the varnish bath may also act on the retouched places4 ,if no retouching is required1 then the defatting can be effected in the varnish bath1 which then effects a kind of equalization1 since the shadows rich in varnish give up the medium1 while the other parts of the picture take it up4 ,by the use of weak varnish baths for after treatment of defatted bromoil prints1 surfaces of velvety appearance may be obtained4 ,,application ,,of ,,ink ,,to ,,dry ,,prints4--,when the gelatine film has been swollen to the highest possible relief even the very soft inks take only with difficulty and in consequence frequently irregularly4 ,sometimes the formation of such places is unavoidable1 especially when prints with very great contrasts have to be used4 ,we are then forced to choose a relief which permits the inking of the darkest parts of the print4 ,the warm water1 or ammonia1 bath requisite for this acts so strongly on the slightly tanned or untanned parts1 that an excessive relief is obtained1 and then the ink takes with difficulty or not at all4 ,this most frequently happens with skies which are very dense in the negative4 ,such parts of the print1 resistant while it is wet1 can1 however1 be inked up without difficulty after the print has been allowed to dry4 ,then they are inked up with a brush1 using an ink of the same tint and consistency as was used in making the bromoil print itself4 ,the dry gelatine takes the ink quite evenly1 and in this way any desired tone from the most delicate to the darkest may be obtained4 ,by omitting to ink in suitable places1 clouds may be imitated1 and if necessary these may be worked up by retouching4 ,with polychrome bromoils1 when the skies are too swollen1 one should carefully remove all areas of ink which project from the landscape into the sky1 and this is also advisable in monochrome work4 ,the best thing to use for this1 especially with complicated outlines1 is a water-color brush dipped in two per cent solution of ammonia1 which easily removes the obtrusive ink from the gelatine4 ,larger areas should be carefully rubbed with a point of wet linen or with the finger tip wrapped in a wet cloth4 ,in this way the highly swollen parts of the gelatine are completely freed from ink2 then the print should be dried and the sky inked up as desired in the manner described above4 ,the method of applying the ink to the dry film is valuable for obtaining other effects1 as is more fully described in the next chapter1 on bromoil transfer4 ,in bromoil1 photographic printing has been enriched by a process that can fulfil every wish of the photographer who is striving for artistic results4 ,it combines in itself all the advantages of previously known processes1 but surpasses them all in the possibility of general and local control1 and especially in the fact that control can be effected at will at any desired step of the process from the beginning to the end1 that it need not extend over the whole print but may be limited to particular parts1 and that the results of the control are visible immediately1 during the work4 ,not the least important1 however1 is the fact that the flexibility of the process enables one to immediately repair any error without impairment of the print4 ,when it is further considered that the bromoil process is independent of the size of the negative1 that it permits the operator to use any support1 any structure1 any grain and any color1 we should be warranted in saying that the bromoil process is the process of the future for amateurs striving for artistic results4 ,,chapter ,v ,,transfer ,,methods ,,simple ,,transfer4--,bromoil prints1 which have been inked up but not defatted1 can be effectively used as print-plates1 from which pulls on any desired plain paper can be taken4 ,the process of making such transfers is simple and certain and opens a whole series of new possibilities to the amateur4 ,briefly the method is as follows3 ,the greasy ink on a finished bromoil print lies on a gelatine film4 ,if the inked print is brought into contact with any uncoated paper and passed between two rolls under pressure1 the ink transfers from the bromoil print to the paper4 ,obviously the picture thus produced is laterally reversed1 which must be kept in view in preparing bromoil prints for transfer4 ,bromide enlargements to be used for transfer should1 therefore1 be made reversed4 ,the bromoil print can again be inked up after this process and again used for transfer2 with bromide papers with resistant gelatine films this process may be repeated many times4 ,the advantages which bromoil transfer offers are as follows3 in the first place we attain the end so often sought of being able to use any suitable paper for making photographic prints1 which opens a new field for artistic endeavor4 ,obviously1 also1 any desirable oil-printing ink can be used1 so that the whole gamut of colors is at the command of the operator4 ,the personal control of the tone values of the print1 which attains its maximum development in bromoil printing1 is equally possible in bromoil transfer4 ,the picture is obtained on an uncoated paper and1 therefore1 the prints are of a character which hitherto could scarcely be obtained4 ,the finished prints1 if the paper is properly chosen1 can be retouched as much as desired4 ,from a single bromoil print a whole series of impressions can be obtained1 which may either be all alike or quite different4 ,they can be made heavy or light1 in one or more colors1 or even in polychrome1 according to how the re-inking is done4 ,the transfer process is also very cheap1 as the papers used are naturally much cheaper than photographic printing papers4 ,moreover1 one can make the pulls from small bromoil prints on larger sheets1 so that the picture may be suitably surrounded with white margins4 ,the following details should be observed in the preparation of bromoil transfers3 ,the bromoil print designed to be used as a print-plate can be made on papers of the characters described in ,chapter ,i1 page #ac4 ,the bromide paper need not necessarily be free from structure1 for with the pressure to which the sheet is subjected in the transfer1 the effect of the structure is lost4 ,the structure of the bromide paper may also be reduced by passing the bleached print through the rollers of the transfer machine under heavy pressure before inking4 ,the bromide print or enlargement must be kept very clean and free from fog1 since the cleanness of the high lights plays a very important part in the transfer4 ,the inking is done in the usual way2 only one should use all possible means to obtain the greatest possible cleanness of the high lights1 and good modulation4 ,after inking-up1 any brush hairs and especially any little particles of ink that are not broken up must be removed1 as the latter are especially troublesome in the transfer4 ,the process succeeds best when the bromoil print has as high a relief as possible4 ,such a relief facilitates and requires the use of inks of soft consistency2 soft inks adhere to the gelatine film far less firmly than harder ones and1 therefore1 transfer very much more easily to the transfer paper4 ,a simple experiment makes this fact very clear3 if the tip of the finger is placed on a part of the bromoil print worked-up with hard ink1 some of the ink sticks to the finger1 but at the most there is formed on the print an impression of the tip of the finger1 as the place touched still retains the greater part of its ink4 ,if1 however1 the tip of the finger is placed on a part of the print worked up with soft ink1 the latter will be almost entirely removed4 ,this may serve to show why bromoil prints which have been entirely or chiefly worked up with hard ink cannot be entirely transferred to the transfer paper4 ,the shadows especially1 when covered with hard ink1 are likely to appear much reticulated in consequence of the imperfect transfer of the ink4 ,to obtain with certainty a faultless bromoil transfer1 soft ink should therefore be used2 the softening of the ink must naturally not exceed a certain limit1 because otherwise the high lights will take the ink and a clean pull cannot be obtained4 ,in order to be able to use a soft ink successfully1 the relief of the bromoil print must as a rule be kept rather high2 hence usually water baths of suitably high temperature should be used4 ,it may1 however1 happen1 especially with contrasty prints1 that the gelatine in the high lights becomes too soft1 and if it is not already damaged when taken from the warm water1 it pulls off in inking-up or in the transfer4 ,in order to avoid this1 it is best to use the ammonia bath described on page #de4 ,bromoil prints which are to be used for transfer must1 as already mentioned1 always be kept very clean4 ,this is necessary for the following reasons4 ,in the transfer the ink on the high lights transfers completely in every case to the transfer paper1 for the high lights are in the highest relief1 and the ink adheres to them very lightly4 ,on the other hand the ink is generally not completely removed from the shadows1 as they have the lowest relief and1 in consequence of their tanning1 the ink adheres to them more tenaciously4 ,thus it happens that the transfer is usually somewhat shorter in gradation than the original bromoil4 ,allowance must be made for this1 and the bromoil print should be made considerably more brilliant than the transfer ought to be1 unless low-toned transfers are intentionally sought4 ,in order to obtain clean1 sharp edges the bromide print when dry should be cut to the desired size and a small tab of paper left at one corner1 which is useful for hanging it up in the further processes1 whereby any damage to the film of the picture itself is avoided4 ,this little tab should be cut off just before inking4 ,if a plate mark is desired1 the print should be made with a suitable narrow white margin4 ,the finished bromoil print can be immediately used for the transfer4 ,if it is not used at once1 it remains fit for transfer until the ink begins to harden4 ,any desired kind of paper may theoretically be used for the transfer2 but obviously1 the success of the transfer greatly depends on the choice of the paper4 ,the finest effects are obtained on matt and absorbent1 but strong and well-made papers1 the very best being papers intended for copper-plate printing4 ,as the ink penetrates into the fiber of such papers to a certain extent1 they give beautiful transfers with an absolutely matt surface4 ,absorbent papers also make it possible to transfer almost all of the ink from the bromoil4 ,it is different with sized or highly calendered papers4 ,with these1 the ink only penetrates a very little way because of the film of size4 ,the ink1 therefore1 lies chiefly on the surface of the transfer and appears glossy in the shadows2 also1 as it is not sufficiently absorbed by the transfer paper1 the transfer of the ink from the bromoil to the paper is usually not complete4 ,it is advisable1 when using calendered paper1 to remove the gloss by preliminary dipping in water4 ,other kinds of paper also frequently give better transfers1 if they are first moistened2 this is most easily done by dipping them in water and then drying them between two blotters4 ,papers which are inclined to blister because of short fibers easily split in transfer1 as parts of the surface of the paper adhere to the high lights of the print and tear away4 ,such papers may be made available for transfer1 if they are coated with two per cent wheat starch paste and allowed to dry 7,process of ,e4 ,guttmann74 ,this is prepared by stirring up #b g 7#fj gr47 of wheat starch in a little cold water1 and adding to the mixture #ajj ccm 7#c oz47 of actually boiling water1 stirring well and allowing to cool4 ,the blistering of weak papers must be differentiated from the sticking to the transfer paper of parts which are too much swollen2 in this case the surface of the paper remains undamaged1 but the gelatine film of the high lights is torn off and adheres to the transfer paper4 ,as a rule1 this only occurs with those parts that are swollen too much1 when too great pressure is used in the transfer4 ,the preliminary sizing of the transfer paper with wheat starch prevents this also4 ,parts of the gelatine film which have high relief may also be protected from sticking to the transfer paper by a slight coat of varnish4 ,the best machine to use is that described by ,e4 ,guttmann on page #aec4 ,it has proved satisfactory in every way1 especially as it permits accurate and easy regulation of the pressure of the rolls4 ,if such a press is not available1 an ordinary burnisher can be used4 ,the simultaneous movement of the rolls in burnishers is produced as a rule by two gear wheels4 ,the inaccurate fitting of the gear teeth1 however1 causes periodic irregularities in the pressure1 which cause trouble in the transfer4 ,in order to prevent this one of the gear wheels should be removed1 so that the simultaneous movement of the rolls is produced by the pressure alone4 ,a burnisher is useful for the preparation of transfers only if it is possible to obtain sufficient pressure on the rolls4 ,on the other hand it is difficult to obtain with this machine the necessary regulation of the pressure during the transfer1 which is described in the following paragraph4 ,the following is the procedure in transferring4 ,a blanket must first be interposed between the rolls of the press4 ,the best thing to use for this is two or four thin smooth cards1 which may be covered at top and underneath with two sheets of thin linoleum4 ,the latter are not absolutely necessary4 ,the print may now be introduced into the machine either by entirely removing the blankets1 or by rolling them out far enough so that the middle sheets can be easily bent away from one another4 ,the position of the transfer on the transfer paper should be marked with a pencil1 and1 if a plate mark is desired1 a piece of cardboard cut to the proper size should be properly placed on the transfer paper1 and the whole passed through the machine4 ,the transfer paper1 thus prepared1 should be laid on a perfectly flat white blotter1 and the bromoil print1 which should be held very carefully by the extreme edges1 should be lowered to the position on the transfer paper previously marked with the pencil4 ,any small ink marks thus caused can be easily worked out later4 ,the back of the print should be dried with a white blotter and then a second sheet of the same size as the bottom one placed on it4 ,the transfer paper with the print lying on it is thus placed between the two sheets of blotting paper1 so that the water pressed out in the transfer may be readily absorbed4 ,if attention is not paid to this precaution1 it may easily happen that the transfer paper1 as a result of partial moistening by means of water pressed out of the bromoil1 may become wrinkled or distorted4 ,then the two blotters1 with the transfer and the print between them1 are placed between the two middle cards and the transfer begun4 ,the principle of gradually increasing the pressure in this1 which was introduced by ,e4 ,guttmann1 has proved satisfactory in practice4 ,one begins first with a light pressure1 so that the transfer passes through the rolls with scarcely noticeable resistance4 ,then the pressure should be increased a little by tightening the upper wheel of the machine1 and the work continued in this way until a certain1 not very high pressure of the rolls is obtained1 which one soon learns to estimate with a little experience4 ,one can now1 or at any later stage1 take the transfer paper with the adhering print out of the press and1 holding one part of the print firmly down on the transfer paper1 with the hand or a straight edge1 lift the free end carefully1 in order to ascertain whether any and how much of the ink has been transferred from the print to the transfer paper4 ,according to the result of this observation1 the print is either entirely lifted off or the transfer continued with increasing pressure4 ,in this way1 with careful management of the work1 one is absolutely certain of obtaining the best possible results in transferring4 ,still1 my opinion differs from that of the inventor as to the reason for the satisfactory action of the gradual increase of the pressure4 ,what happens is that in the initial passage under low pressure the print is immediately firmly attached to the transfer paper1 so that its shifting on the transfer paper1 which previously very frequently occurred1 is avoided4 ,when this adherence is once attained1 we can proceed at once to that pressure of the rolls which is the most favorable for the transfer of the ink1 if we are sure of it4 ,this frequently happens when one has already made transfers from a print4 ,with still unknown conditions1 naturally the gradual increase of pressure is advisable4 ,the print1 removed after the completion of the transfer1 can be again inked up immediately or later1 and again transferred4 ,naturally it must first be immersed in water1 so that it can again take up that which it has lost in the transfer4 ,in the new inking-up one can use as desired the same ink or another color1 and also alter the print as seems best4 ,if the bromoil print1 which has been once used for transfer1 is to be again used for the same purpose1 it is well to completely remove any adherent traces of ink by going over it with a swab of cotton soaked in a solvent4 ,it may then be dried and can be used again at any desired time4 ,when transfers have been repeatedly made from a bromoil print1 it may happen that the film blisters4 ,this phenomenon is usually only noticeable when the print is again immersed in water after the transfer2 as long as the blisters are not too numerous1 they do not cause much trouble in the transfer4 ,the answer to the question as to how often a bromoil print can be transferred depends on the resistance of the gelatine film4 ,in practice it has been observed that the number of possible transfers varies between five and twenty-five4 ,the transfer process can also be used in bromoil printing as a method to free a print that has been too heavily inked from the excess of ink2 such a print is passed through the machine together with any completely smooth paper which is free from folds1 until it has given up its excess of ink to the paper1 and it can then be soaked and inked up anew4 ,the process of application of ink to the dry print1 outlined in ,chapter ,,iv1 can also be used to advantage in the transfer process4 ,any bare spots on the finished transfer can be inked up at will1 by dabbing on ink of any tone value with the oil-printing brush2 thus the sky1 which may not be satisfactory1 may before transfer be wiped quite clean on the print1 the outlines of the landscape cleared up with a brush dipped in ammonia water if necessary1 and the values of the sky put in on the finished transfer4 ,this procedure is particularly advisable in polychrome transfers1 with which a blue sky flecked with clouds can be easily obtained in this way4 ,the subsequent application of ink to the finished transfer finally offers the possibility1 by tinting the whole transfer with a very delicate coating of a suitably chosen ink1 of imparting a different mood to the picture4 ,thus1 for instance1 one may give a transfer made on white paper a faint yellowish tint2 it may be effective to surround the picture with a border of this tint1 using a suitable mask to obtain sharp outlines2 this yellowish tint is only visible in the high lights1 as it does not show in the deep shadows4 ,in similar fashion a darker tint surrounding the print may be put on with ink and brush4 ,it is obvious that the transfer1 especially when fresh from the press1 can be easily and thoroughly retouched with rubber1 water-color or charcoal2 first of all those places should be treated from which the ink has been removed in consequence of the unavoidable touching of the print with the fingers1 or to which the ink has not transferred for any reason4 ,with transfers fresh from the press1 any places that are too dark can be easily lightened with the rubber4 ,the transfer very soon dries4 ,obviously it does not require defatting4 ,the inks act better on the absorbent transfer paper than on the bromoil print itself1 as they sink into the paper instead of remaining on the surface of a gelatine film4 ,the final result no longer resembles a bromoil print1 but has its own individual character and is a product which it is difficult to compare with the bromoil print as regards esthetic effect4 ,the bromoil print has a certain charm which is lacking in the transfer and vice versa4 ,in any case the transfer process is worth attention1 since on the one hand it can be of practical value because of the possibility of the duplication of bromoil prints1 and on the other hand it enables one to use varieties of paper which were not hitherto available to the amateur4 ,,combination ,,transfer4--,in order to render possible the reproduction of every possible tonal value of the negative1 ,i have worked out the combination transfer process outlined in the following paragraphs4 ,the essence of this process lies in the fact that two or more transfers can be made on one transfer sheet1 which differ so much in their quality that each of them reproduces a different series of tone values1 which then supplement one another on the transfer4 ,this is attained either by executing the two superposable transfers with inks of different consistency1 or by the use of two prints of different gradation to make one transfer4 ,,combination ,,transfer ,,with ,,one ,,print-,,plate4--,the bromoil print used as the print-plate must be made on a sheet of bromide paper1 which reproduces the tone values of the negative as closely as possible1 without showing any hardness4 ,the lights must be clean and all the half-tones present2 it is1 however1 neither necessary nor desirable that the shadows should be too dense4 ,in making the bromide print from a moderately difficult negative one should use the process1 outlined on page #bc1 or developing slightly and then completing the development in a dish of water4 ,bromide prints of this kind are necessary because they satisfy the most rigorous requirements in the high lights and half-tones1 while the depth lacking in the shadows is produced by the repeated transfer4 ,on the print thus prepared two bromoil prints1 differing entirely from each other in character1 are made1 one of which we will call the shadow print 7,kraftdruck7 and the other the high light print 7,lasurdruck74 ,this phraseology does not coincide1 however1 with the similarly named terms which are familiar in gum printing2 the middle-tone print usual in gum-printing is wanting here and is also unnecessary1 since each of the two partial prints contains a part of the middle tones1 and1 therefore1 when added together1 they give a picture perfectly correct in tone4 ,the shadow print is executed by inking up with a stiff ink1 so adjusted to the relief that only the deep shadows and a part of the half-tones take the ink1 while the delicate half-tones are lost and the highest lights remain absolutely uninked4 ,having suitably adjusted the ink to the relief1 one should also use the corresponding brush technique1 which was described as hard ink technique on page #hg4 ,the use of a hog's hair brush is advisable4 ,perfect cleanness of the high lights1 which is very important1 should be assured by the use of art gum4 ,the shadows must show the full drawing1 but ought not to be overinked4 ,this shadow print should now be transferred to the transfer paper2 when it leaves the press1 the registration marks must be immediately applied1 so that the subsequent transfer may come exactly in the same place4 ,it may be remarked1 that the matching of the print to the transfer does not offer the slightest difficulty in practice1 and that the registration marks can often be omitted entirely1 especially with prints which are inked right up to their edges1 because bromoils1 in making which rather thick paper is used1 leave a fairly strong impression on the transfer paper1 into which one can fit the print in the subsequent transfer4 ,at the same time it is safe to use the following simple registration arrangement in every case4 ,when the transfer is taken from the press1 draw1 by means of a rule1 two parallel lines perpendicular to the side edges of the print1 running over onto the transfer paper about one centimeter or one-half an inch apart4 ,also draw with the rule a line perpendicular to the upper surface of the print1 also running over onto the transfer paper4 ,in preparing for the next partial print1 the side lines are first to be brought into exact coincidence and then the upper line4 ,this insures exact coincidence for the subsequent prints4 ,after transfer of the shadow print1 the bromoil is again immersed in water1 in which it must remain for some time1 so that it again becomes saturated with water4 ,only then does it regain the same size as it had at first1 for the expansion caused by the absorption of water is quite considerable4 ,if the bromoil is not left long enough in the water before the second printing1 it will be slightly smaller than in the first transfer and the combination print will not be sharp4 ,,high ,,light ,,print4--,the inking up of the high light print is effected with soft ink1 so as to produce a very thin and smooth film of ink2 yet here too the high lights must be kept as clean as possible4 ,then this high light print is transferred by means of the above described registration arrangement1 when as a rule the combination transfer is finished4 ,it may happen that one has inked up one or other of the prints too lightly4 ,in this case either the shadow or the high light print may be repeated1 but the amount of ink applied for this supplementary impression must be very carefully judged1 in order to avoid an overinking of the combination transfer4 ,by the manner of inking the constituent prints and judgment in the quantity of ink applied1 the final result may be controlled through a wide range at will2 one can1 for instance1 by emphasizing the shadow print rather than the high light print1 get more contrasty effects1 or1 by emphasizing the high light print1 end with very soft effects4 ,the order in which the two prints are transferred is immaterial4 ,in any case1 however1 care must be taken that the transfer paper is well dried out after making the first transfer2 for it always takes up some moisture in the press and then appears slightly wrinkled and distorted4 ,if the second transfer is made on such a damp transfer paper1 the result will obviously be complete or partial want of sharpness in the combination transfer4 ,after the first transfer1 therefore1 the transfer paper should be hung up to dry spontaneously1 not by heat1 as otherwise it may alter in size4 ,the process just outlined for combination transfer from a single print will in most cases perfectly reproduce the tone values of an ordinary negative4 ,if negatives with a very long gradation have to be dealt with1 then the following process may be used4 ,,combination ,,transfer ,,from ,,two ,,prints4--,the underlying idea in using two prints is to overcome the impossibility of completely reproducing an extended scale of tones on bromide paper1 by the use of two prints1 which are so made that they divide the scale of tones in such a way that one end of the scale is represented by one print and the other end by the other4 ,therefore we make from the negative one hard print with well modulated shadows and only the darker half-tones4 ,this is obtained by short exposure and suitable development4 ,the high lights should show no deposit of silver4 ,when master of the process1 it is possible to include more or less of the middle half-tones in this partial print which is intended for the shadow print1 according to the final result desired1 and this can be readily regulated by the length of the exposure4 ,the fewer middle tones the shadow print contains1 the more contrasty will be the combination transfer4 ,the second partial print is the high light print1 and must1 therefore1 be kept as delicate and soft as possible1 and include all the delicate middle tones up to the highest lights4 ,the latter may even be very slightly veiled1 yet only so far that after swelling absolutely pure whites can be obtained4 ,no further demonstration is needed to prove that a combination of these two partial prints can include the whole scale of tone values of the longest-scaled negative2 for the partial print destined for the high light print-plate gives every possible half-tone1 while the other1 intended for the shadow print1 imparts full depth to the shadows without burying the details1 and strengthens the half-tones1 but does not affect the clearness of the high lights4 ,the combination transfer is now prepared from these two prints1 which are transferred in succession to the transfer paper1 the order being immaterial4 ,for this an accurate superposition of the two partial prints is absolutely essential4 ,this must be accomplished by making the two prints of exactly the same size1 with the images in exactly the same position on the paper4 ,this may be done by masking the negative with black lantern-slide strips gummed on the film for contact prints and on the glass for enlargements4 ,the strips must be absolutely straight and the slightest curvature avoided in sticking them down4 ,two prints or enlargements1 prepared from such a negative1 can easily be registered4 ,the desired end may also be obtained by printing or enlarging the two bromide prints under the same straight-edged mask4 ,care must be taken here that the image occupies exactly the same place in the mask for both prints4 ,this is easily accomplished with various commercial printing machines4 ,in enlarging1 a mask made of stiff card can be hinged to the easel4 ,the prints or enlargements thus made should be very carefully trimmed along the white margins and the difference in size ought not to exceed one-tenth of a millimeter 7one two-hundred-fiftieth of an inch74 ,further1 as different papers have different degrees of expansion1 it is necessary to use the same kind of paper for the two partial prints1 and it is best to take it from the same packet4 ,it is also necessary to make both prints in the same direction of the paper fibers1 for the expansion is different with and across the run of the paper4 ,one of the partial prints is transferred just as in the previous method4 ,the registration marks are also made as was previously described1 only the pencil marks must be placed exactly at the same points on the two partial prints1 which can be done by exact measurement4 ,with this process1 also1 the registration is not difficult in practice and the careful worker will find that the impression in the transfer paper caused by the first partial print1 supplemented by the two lines on the edges1 is sufficient4 ,the inking up of the two partial prints is effected in the same way as was outlined for the process with one print-plate4 ,both variants of combination transfer offer operators with a little dexterity a wide range of possibilities4 ,by suitable treatment of the partial prints the tone gradations can be controlled at will4 ,the resultant transfer will be softer or harder1 as the shadow or the high light print predominates2 it is possible to omit certain portions in either of the prints or subsequently print in more deeply any parts which need special strengthening2 the two prints may also be executed in different shades of ink1 with suitable discretion1 and double tones thus obtained4 ,it is also possible to print in clouds from a separate negative4 ,combination transfer is also well suited for polychrome transfers1 since it renders possible the overlaying of a delicate black impression with different color tones4 ,again1 since all the possibilities of control offered by the bromoil process are available1 an almost unlimited new field of activity is given by combination transfer4 ,finally1 there is still another field in which the combination transfer allows remarkable effects4 ,if one has a negative with excessive contrasts1 as for instance1 a dark arch with a vista of a sunny landscape1 a satisfactory print can be made without difficulty by means of combination transfer4 ,one partial print should be so made that it reproduces as correctly as possible the details of the dark part of the negative1 in this case the arch1 irrespective of the fact that the sunny landscape will be partly underexposed4 ,another partial print is then exposed for the sunny landscape1 when naturally the details of the arch are completely lost4 ,one may even go further still1 since the two partial prints may be prepared from two negatives taken from the same standpoint1 the one being exposed for the high lights and the other for the shadows4 ,a combination transfer1 correctly executed from two such partial prints1 gives a result in which both the darker and the lighter parts of the negative are reproduced in suitable tone values4 ,it may also be mentioned that multiple transfer renders it possible to apply plenty of ink to calendered and1 therefore1 non-absorbent papers1 and thus permits of the attainment of deep shadows1 full of detail1 on such papers4 ,in the various kinds of multiple transfer here outlined principles have been introduced into the transfer process which have been used in the gum-bichromate process and many graphic reproduction processes1 in order to produce wide ranges of tone values by several printings on one print4 ,yet the means of attaining this end are novel1 namely1 either different consistency of inks with one print-plate1 or the use of two different print-plates for one transfer4 ,in my first publications on such combination transfer processes1 ,i mentioned still a third possibility of obtaining the desired end1 namely the preparation of two partial transfers from one print by using two different degrees of relief4 ,the process first outlined1 using different consistencies of ink with one print1 is1 however1 to be preferred to the process in which two reliefs are used1 wherefore the latter was not further proceeded with4 ,the value of the transfer process has been so increased by the methods just outlined that it is capable of solving the most difficult photographic problem1 and by its aid even negatives can be printed1 which cannot be satisfactorily rendered even in bromoil4 ,while hitherto the transfer process was only an offshoot of the bromoil process it is1 since the introduction of combination transfer1 at least as valuable and in many cases even surpasses it4 ,,chapter ,,vi ,,oil vs4 ,,bromoil ,,oil ,,printing ,,and ,,bromoil ,,printing4--,oil printing and bromoil printing are frequently considered as two different photographic processes4 ,from this premise different conclusions have been drawn1 thus for instance1 that oil printing is more suitable for certain subjects and that bromoil printing is to be preferred for other purposes4 ,there has also been discussion as to which of the two processes deserves the preference1 which produces the finer artistic effects1 and so on4 ,all these discussions are1 however1 superfluous1 for the assumptions on which they are based are erroneous4 ,oil printing and bromoil printing are actually not two essentially different techniques4 ,in both cases there is one and the same process2 oil and bromoil printing are basically identical4 ,this can be proved both theoretically and practically4 ,the theoretical considerations are as follows3 in most photographic processes the chemical property of certain substances of being changed by action of light is used for the production of the final image4 ,such photochemical processes only play a preparatory rle in oil and bromoil printing4 ,the production of the final image is here based on a physical property of the gelatine1 namely on its innate possibility of being tanned or hardened4 ,in oil and bromoil printing an image is first formed in the gelatine photochemically4 ,this image is1 however1 not the final one2 it is merely a means to an end4 ,its actual purpose is the attainment of a suitable tanning of the gelatine4 ,the photochemically produced image is therefore removed1 but in such a way that simultaneously with the elimination of the image1 the gelatine which carried it is proportionately tanned in the lights and shadows of the picture4 ,only by this tanning is the gelatine made ready for the production of the final picture4 ,the purpose of these preliminary steps is the production of the tanned image in the gelatine1 which by itself is invisible or scarcely visible4 ,after carrying out the preliminary processes the result is a pure gelatine film1 which shows places of greater and lesser tanning corresponding to the photochemical image which has disappeared and which1 therefore1 has greater or lesser capacity for swelling in these places4 ,if at this stage there are still chemicals in the film they are of no value for the further processes4 ,if a gelatine film thus prepared is swollen in water1 the untanned places suck up water1 while the tanned parts do not take it up4 ,fatty inks1 applied with suitable brushes1 are then repelled by those parts of the gelatine which hold the water1 while the tanned parts of the film freely take the greasy ink4 ,the final image1 therefore1 is not formed until the inking-up of the film with greasy inks4 ,this technique may1 therefore1 be most suitably characterized by the name 8inking-up process40 ,the usual names oil print and bromoil print merely designate1 although in terms which are terminologically unsatisfactory1 two methods of preparing the base for the inking-up process4 ,oil and bromoil printing are1 therefore1 nothing more than the two methods which have hitherto been at our disposal for the production of a tanned image in gelatine4 ,both methods lead to the same result2 only the bromoil method is by far the more complete technically1 as is shown in the following discussion4 ,in oil printing1 printing is effected direct on a bichromated gelatine film4 ,the chromate image is only faintly visible and is not easy to judge4 ,from its nature it has a very short scale of tones and1 therefore1 only gives satisfactory prints from soft harmonious negatives1 while with more contrasty negatives it must inevitably fail2 if with such negatives the high lights are correctly printed1 the shadows have long lost all details2 if the shadows are correctly exposed1 the high lights are wanting in detail4 ,control of the chromate image is only possible to a very moderate extent4 ,this chromate image is washed out and leaves behind as a result the tanned image in the gelatine1 in which all the disadvantages of the short scale of tones are inherent1 and which besides this can be far less easily inked-up than a tanned image prepared by the bromoil method4 ,the process of bromoil printing has been fully explained in this book2 a direct comparison of the two processes will be made very briefly4 ,a correct print is prepared on a suitable bromide paper1 either by contact or enlargement4 ,through the possibility of using direct enlargement1 the enlarged negative1 necessary in oil printing1 is done away with4 ,the bromoil image1 in contradistinction to the chromate image is visible1 and can be controlled in the most varied ways to attain the desired artistic effect4 ,it has a much greater scale of tones than the chromate image2 and this can in addition be increased in the subsequent processes far beyond the possible gradation of the bromide print4 ,the resulting bromide image is then removed by a bleaching solution containing bichromate1 and in this way the tanned image is formed in the gelatine4 ,oil printing and bromoil printing1 therefore1 lead to the same result2 but the tanned image1 obtained by way of the bromoil print1 is qualitatively of much greater value1 for it has a much better gradation4 ,the opinion is frequently expressed that it is a specific property of the oil print to give pictures of a peculiarly artistic character4 ,it is1 however1 absolutely erroneous to assume that the same effect cannot be obtained in a bromoil print4 ,as already mentioned1 the tanned images produced in the two methods are alike1 but the bromoil print may have a far longer scale of tones4 ,the rich gradation of the bromoil print is however not present from the beginning1 but is only produced by allowing it to swell in water of suitable temperature4 ,the warmer the water used1 the longer is the scale of tones1 naturally within definite limits4 ,in bromoil printing it is therefore entirely at the choice of the operator whether he will or will not make use of the long scale of tones which the process can give4 ,if cold water is used for the soaking1 the gradation of the tanned image is much less than that of the oil print or the bromide image4 ,by the choice of a suitable temperature of the water1 the short gradation of the oil print with all its peculiarities can be exactly obtained4 ,with higher temperatures the gradation may be finally increased far beyond that of the original bromide image4 ,if one knows and has mastered the properties of the tanned image produced by the bromoil print1 one may easily obtain the same effects as with oil printing2 one can1 on the other hand1 obtain incomparably more than with the latter4 ,no limitation is imposed on artistic aims by the imperfection of the tanned image4 ,the following shows the practical comparison of the two methods3 if we have before us prints with gelatine films which contain tanned images1 of which one has been produced by the oil process1 the other by bromoil1 they behave absolutely alike in the inking-up1 for the bromoil print receives1 by soaking in cold water1 a gradation which is just as short as that of the oil print4 ,the two prints absolutely cannot be differentiated in practice1 and are indistinguishable1 if the paper1 on which the gelatine film is supported1 or the structure of the gelatine1 does not give one a hint4 ,in such cases it is impossible to determine from the finished print whether the picture was made by oil or bromoil printing4 ,the portfolios of some of my friends furnish striking proof of this2 the authors themselves can no longer recall by which of the two processes some of their earlier pictures were made4 ,nevertheless the opinion is often held that one can obtain pictures of much finer artistic quality by means of oil printing1 because the prints thus made have a characteristic tonality and better treatment of masses4 ,this opinion may be explained by the fact that oil printing has been used longer and is better known than bromoil1 and that first class bromoil prints have not often been exhibited in public until recently4 ,especially1 it has not been widely known how manifold are the effects that can be produced by the different methods of working described in this book4 ,there is also another explanation4 ,whoever has completely mastered any process and has kept in view a definite artistic purpose1 will as a rule find that the process will give him the results which he desires4 ,it is now an indisputable fact that even such an imperfect process as oil printing has many times1 because of this very imperfection1 led to results which have been proclaimed as artistic4 ,if for instance1 an oil print is made from a contrasty negative1 the process cannot correctly reproduce the tone values of the negative4 ,the short gradation sets a limit to the inking-up1 before the tone values of the negative are fully developed4 ,the result is then certain to be a gloomy print with heavy masses4 ,technically1 however1 this means nothing more than that the high lights are not clean and the shadows lack detail4 ,this does not imply that the resultant picture may not have an artistic effect4 ,the question is only whether this effect was actually tried for or whether necessity was not made a virtue and the imperfections of the process called an advantage4 ,without question1 the worker who intentionally strives for a given artistic effect can attain this easily and certainly by means of bromoil4 ,if1 however1 he has no definite aim1 but allows himself to be blindly driven on1 as it were1 by the idiosyncrasies of the process1 it may happen that he will obtain quite another result4 ,the greater gradation of the bromide print may induce him to keep on working on the picture until he finally obtains a print1 which exactly corresponds in tone values with the gradation of his contrasty negative1 which could not happen with the oil print4 ,in such cases one often hears the opinion expressed that the special quality of the oil print cannot be attained in bromoil1 and that a similar result could be obtained by any process1 even printing-out paper4 ,but the fault does not lie in the bromoil process1 but in the fact that the worker has not mastered it1 and has been carried beyond his aim by its greater possibilities4 ,oil printing is satisfactory when one desires a shorter gradation than is present in the negative2 beyond this1 however1 it fails4 ,bromoil printing1 on the contrary1 permits on the one hand the shortening of the tone gradations of the negative to any desired extent1 on the other hand1 however1 the extension of the gradation beyond that of the negative4 ,it offers1 therefore1 to the artistic aspirant a far greater liberty and in every respect a technically more perfect and therefore more effective instrument4 ,by bromoil printing1 therefore1 one can prepare at will from a given negative1 either a low-toned picture without detail1 or one richly modeled and full of detail and vigor4 ,oil printing does not offer this alternative4 ,if1 in spite of all this1 erroneous ideas as to assumed fundamental differences between oil and bromoil printing1 and particularly as the special suitability of oil printing for certain effects are still disseminated1 the reason usually lies in the fact that many who have previously worked in oil have drawn erroneous general conclusions from their first and naturally imperfect results in bromoil printing4 ,they overlook the fact that even the worker experienced in oil printing must first learn bromoil printing and then practice it thoroughly in order to master it4 ,the oil printer does not bring to it anything beyond a brush technique1 which is not sufficient for every bromoil print4 ,everything else must be newly acquired2 especially an actual mastery of the technique of bromide printing1 which many lack1 though they believe they possess it4 ,conservative thought easily overvalues its own possessions and is likely to show itself somewhat antagonistic to new accomplishments which cost new efforts4 ,the worker who spares no trouble to make himself a thorough master of bromoil printing will be in possession of a technique which renders feasible1 by its extraordinary many-sidedness and capacity of expression1 the solution of the most difficult problems of artistic photography4 ,,chapter ,,vii ,,bromoil ,,transfer ,,by ,,eugen ,,guttmann ,the idea of transferring a bromoil print to an ordinary1 uncoated paper was first introduced by the ,english and later further worked out by the ,french4 ,the ,germans turned to this new process comparatively late1 but obtained fine results4 ,yet the practice of this beautiful form of artistic photography was limited to a small circle of adherents1 and even to-day1 when bromoil printing1 thanks to the instruction of some excellent textbooks1 has become known to almost all artistic workers1 one cannot state that it enjoys wide popularity4 ,this may well come from the fact that not everyone has the absolutely necessary printing machine1 and that the substitutes for this machine1 such as burnishers and washing mangles1 cannot bring out all that lies in the process4 ,in addition1 when the process was first introduced1 the transfers were never strong enough1 and were mostly muddy and flat4 ,this happened because1 in the first years of the process1 strong and vigorous shadows were not produced on the paper4 ,the ,english and ,french improved this by pigmenting the shadows of the bromoil print much more strongly than was needed for this process4 ,they stated that the chromated film took the ink very readily in the shadows1 but parted with it again very unwillingly4 ,thence they concluded that1 in order to be able to transfer much ink to the paper1 a surplus of ink must be imparted to the shadows2 they thus corrected the tone values by deepening the shadows1 and contended that they produced their beautiful transfers in this way4 ,i have never seen an ,english transfer1 but plenty of the ,french1 which were said to have been prepared in this way4 ,from my own experiments extending over a long period1 ,i doubt whether the depth in the shadows could be attained in this way1 and can only assume that very important particulars have not been made known in the excellent publications on this process4 ,a simple reasoning1 without any trial1 also leads to the same conclusion4 ,if1 for instance1 ,i overink the shadows by imparting to them more ink than the tone values require1 then ,i smother all the details in them and in the transfer ,i shall obtain a black1 absolutely detailless patch4 ,the ,english and ,french contend1 however1 that all details1 which are made invisible by overinking the bromoil print1 become visible again in the transfer4 ,they thus explain the matter approximately as if we were dealing with a carbon print1 in which the whole film is 8reversed0 during the development4 ,this is absurd4 ,a moderate overinking will obviously give better shadows1 but this limitation is of no advantage4 ,for an important advance in the direction of the production of vigorous shadows in the transfer we are indebted to the work of ,hanns ,benndorf1 which was described in an article1 8,the ,technique of the ,bromoil ,transfer ,process0 7,phot4 ,rundschau1 #aiad1 ,heft #i1 #aj74 ,he used the method of printing in superposition common to all gum printers1 since he first pigmented the original print in a normal manner but with weaker shadows1 printed it and then inked up a second time1 treating this time merely the shadow parts which were to be strengthened1 and then printed it on the first transfer4 ,the results were actually very good4 ,but the process still required considerable dexterity2 its chief difficulties appear to me to lie in the fact that in the second pigmenting it is uncommonly difficult to so bring out the shadows that they do not appear too deep in the final print1 and the middle tones and high lights are thus out of tone4 ,the process is very suitable for bringing out individual parts of the shadows4 ,on the other hand a considerable advance in the development of the process was made by ,dr4 ,emil ,mayer1 and this consisted of giving to the bromide print by exposure and development a particular character only suitable for this purpose4 ,fuller details of this are given under the heading 8,combination ,transfer with one ,print ,plate10 page #abe4 ,in most publications on bromoil transfer1 directions are finally given to pass the finished bromoil print quickly once through the machine with a heavy pressure of the rolls1 and at the most twice4 ,this advice has received my special attention1 because ,i found that in this way good as well as bad transfers could be obtained2 but ,i decidedly could not count on always obtaining equally good results4 ,i noticed that things went well when ,i had a pressure on the rolls which was suitable for the bromoil print and the structure of the paper4 ,getting this correct pressure was pure luck4 ,if the pressure was too great1 then ,i indeed got all the ink on the paper1 but the shadows were wanting in detail and flat2 if on the other hand it was too weak1 the shadows remained much too grey4 ,hence ,i came to the idea of so adjusting the rolls that ,i printed at first with only a light pressure4 ,i then had as a result a transfer which was absolutely white in the highest lights1 yet showed all the gradations of the bromoil print in the high lights as well as in the finest and fine half-tones4 ,the shadows1 on the other hand1 were grey and not filled up1 for much of their ink still remained on the bromoil print4 ,then ,i again inked the same bromoil print and printed again as before1 but did not take the paper from the machine1 observing the transfer by carefully lifting the bromoil print4 ,it was exactly as described above4 ,now ,i allowed the paper 7the lower part of which was still held by the rollers1 further details of which will be found in the section 8,printing07 to again come into contact with the bromoil print1 screwed down the central spindle to increase the pressure1 and passed the pack again through the machine4 ,the result was highly satisfactory4 ,the highest and the high lights1 as well as the half-tones1 remained as they appeared at the first pull1 but the shadows were fully filled up and completely transferred from the bromoil print to the paper4 ,thus ,i had discovered the principle of printing with increasing pressure of the rolls4 ,further experiments led me to improve the method1 and the following instructions give all necessary explanations and directions4 ,i must remark that from the start ,i used a machine the arrangement of which permitted me to see the print during the printing1 and with which the pressure on the rollers could be regulated at will4 ,the transfer is not only a step toward the greater development of the bromoil print1 it is so beautiful in its results that no other photographic process1 with the exception of gum printing1 at all approaches it4 ,by the transfer process1 photography has made its first entry into the ranks of the graphic arts4 ,no positive process1 other than bromoil transfer and gum printing1 has overcome the oft-bewailed shortcoming of photography1 that there is no sun in the picture1 as well as these two processes4 ,it is even possible in them to use as the highest light the pure white of the paper4 ,in this respect transfer still has the advantage of offering a more rapid if not an easier technique4 ,certainly the ordinary bromoil print also gives excellent results4 ,its whites are1 however1 formed by the photographic film1 and this is its only disadvantage4 ,there is1 however1 always a difference of beauty between a bromoil print and its transfer1 the appreciation of which is purely subjective4 ,we can accept it as certain that feeling in a picture printed in bromoil is attainable by simpler means than in the more difficult transfer4 ,the photographic artist will decide for the one or the other according to the results desired4 ,,the ,,bromoil ,,print4--,for every transfer there must be a bromoil print1 complete in every part4 ,that is an indispensable requirement for those who desire to practise transfer4 ,that a perfect bromoil print can only be prepared from a perfect bromide print is generally known4 ,it is not my province to describe both processes fully1 for that was long since done by various writers in excellent works4 ,but it is my duty to give some hints as to the way in which the bromoil print should be prepared in order to obtain the best possible results by my new printing technique1 which will later be fully described4 ,the transfer printer must always keep in view the fact that he must prepare the way for his final artistic results in all previous phases of the technical preparation of his print4 ,he will1 for this reason1 in a careful and well planned working up of the negative1 bring out the characteristics and feeling of his ideal result by toning down or suppression of such parts of the picture as may be necessary1 a task which has nothing in common with the process generally called retouching4 ,he will also make the bromide print1 whether by contact or enlarging1 with greater deliberation and care than is used in most cases4 ,too much reliance in this respect is often placed on the omnipotent technique of bromoil1 which allows us to carry out the most far-reaching alterations on the print4 ,this can certainly be done2 but perhaps this way is even more difficult than taking every necessary precaution right from the start and producing it correctly--in one word3 creating it4 ,far too little use1 for example1 is made in enlarging of bolting cloth1 chiffon1 or some such open-meshed fabric which1 according to requirements1 may be used with wide or narrow mesh1 or even doubled1 two pieces in contact preferably with the threads at an angle of #de4--,trans44 ,used with discretion1 this gives valuable assistance in producing an artistic softening of contours and contrasts4 ,the same purpose is attained in perhaps even greater perfection1 by using the procedure recommended by ,l4 ,vernouille of ,vienna4 ,in this method of enlarging two sheets of tissue paper1 of the size of the enlargement1 are laid upon the film side of the bromide paper1 and the exposure is made through these two sheets4 ,it is important that the time of exposure be exactly determined2 this is about double that of the usual enlargement4 ,the tissue paper must be perfectly white and free from imperfections1 black specks and folds1 etc4 ,besides these tricks a slight want of sharpness may be used to give the desired effect1 or also the interposition of ruled screens between the film and the negative4 ,if it is desired that the bromoil transfer shall show a canvas effect similar to that of oil paintings1 the simplest procedure is as follows4 ,a piece of cloth is cut from a material which has the necessary structure1 slightly larger than the size of the print1 and laid flat on a stiff support such as pressboard4 ,then a new piece of carbon paper1 such as is used in typewriting1 as thin and free from faults as possible1 is cut to the same size1 immersed in water1 allowed to drain1 and placed smoothly on the material2 a second sheet of pressboard is then placed on top and the whole subjected to a strong pressure1 say between the rollers of a burnishing machine or washing mangle2 if one has not these1 then in a copying press4 ,the carbon paper shows when dry the perfect structure of the material4 ,if this structure paper is now placed between the paper and the negative1 or in enlarging in contact with the paper1 the bromide print shows this structure together with a very plastic rounded image1 and a longer exposure is not necessary4 ,i consider this procedure better than the use of the commercial structure screens1 since one is free in the choice of the material from fine lawn to the coarsest canvas1 while among the commercial articles there is seldom one which is quite satisfactory1 and of course no such variety4 ,the final size of the picture must be drawn on the bromide print in pencil before the bleaching1 for the positions of the edges cannot be determined on the bleached-out print1 especially when the bleaching is complete4 ,after the bleaching and drying are finished1 the pencil marks should be cut through with a sharp knife on a glass plate1 and the print is thus given the desired size4 ,from this point on1 one should be most careful not to touch the print with the fingers1 except on the back1 which can be easily done with a little care1 by always lifting up the edge with a knife4 ,it is immaterial what bromide paper is used4 ,it may have any surface1 be thick or thin1 though thick paper is to be preferred4 ,for prints and transfers which should show the greatest possible fineness and modeling1 it is better to choose a smooth bromide paper4 ,the prepared print is swollen and pigmented as in making an ordinary bromoil print4 ,it is not necessary1 when planning to make a transfer1 to produce a higher relief by a warm water or ammonia bath1 which requires the use of softer inks and limits artistic freedom in working up4 ,one's whole attention must be focused on a single point3 the shadows must be clean1 the lights pure white4 ,if this condition be neglected a good transfer cannot be expected4 ,deviations from this fundamental requirement are only permissible for those who have absolutely mastered the printing technique1 and who1 therefore1 can foresee the results with certainty4 ,one must take into account the fact that the transfer process has a very marked tendency to lower the tones4 ,the high lights and fine half-tones always appear somewhat darker in the transfer than in the bromoil print1 while the shadows1 with correct printing1 remain the same4 ,it is1 therefore1 absolutely necessary to lighten up the high lights and the fine half-tones just as much as they lose in brilliancy in the transfer4 ,obviously no description is of any value on this point2 a few experiments made for this purpose will quickly put one on the right track4 ,the fact that the bromoil print is trimmed before being placed on the pad has caused some nervous souls to be afraid that water may thus come from the support through the brush on to the film1 but this is not likely to occur4 ,the pad should be arranged by first laying on the glass plate a thoroughly wet copying sheet2 on top of this a second sheet is laid1 equally wet and with no air-bubbles between4 ,the water is completely dried off the surface of the second sheet with the aid of a sheet of lintless blotting paper1 and then one can work all day long even in summer in the greatest heat without changing the support2 there will always be enough moisture to produce adhesion between the sheet and the support1 but one will never carry a drop of water on to the print with the brush4 ,,the ,,choice ,,of ,,the ,,paper4--,the pigmented gelatine film gives up its ink when it is brought into contact with paper under pressure2 from which it seems that theoretically paper of any quality may be used for the transfer4 ,in practice the matter is not quite so simple1 for every paper surface possesses an individual character which definitely influences the ink transfer and the final result4 ,papers may be roughly classified as rough1 medium and smooth1 obviously with many intermediate grades1 each of which may be divided into sized1 half-sized and unsized sorts4 ,whether a rough1 medium or smooth structure is to be chosen1 must be decided from a purely artistic point of view1 and in this decision the character of the subject and the effect desired are of equal importance4 ,it is different1 however1 as regards sizing4 ,the quality of the picture frequently depends on a correct decision on this point4 ,this is at once clear when we consider that unsized paper is much more porous than half-sized or fully-sized paper1 and thus can remove the ink much faster and more completely from the bromoil print4 ,if1 for example1 a bromoil is transferred with a certain roll pressure on copper-plate paper1 that is1 on a very absorbent porous paper1 the ink will be quickly transferred to it1 whereas a sized paper1 under the same conditions1 that is1 with the same pressure on the rolls1 will take up only a small part of the ink4 ,a comparison of the two transfers would then show that the shadows on the copper-plate paper are blocked up and have lost many details1 while those on the sized paper appear much too light1 which is readily understood1 as the porous paper has taken up all the ink1 the sized paper merely a portion of it4 ,how far these properties of papers can be equalized or used will be dealt with in the section on 8,printing40 ,in choosing the paper destined for the transfer1 therefore1 attention not only has to be paid to the structure1 which must serve the artistic purpose1 but one must be certain of the amount of sizing2 this latter is necessary so that one may correctly carry out the actual printing process4 ,as a basic principle the worker should use only pure rag paper and avoid all paper containing wood pulp4 ,although theoretically it cannot be disputed that any paper is suitable for transfer1 it is also practically accepted and undoubtedly correct that beautiful prints can only be prepared on good papers1 and the artistic photographer should not be induced by any consideration to use other than the best materials4 ,all the commercial drawing and water-color papers of all tints and structure1 made by reliable firms1 can be recommended4 ,extraordinarily fine results are obtained on copper-plate printing paper1 which may be obtained in white and yellowish tints4 ,equally as good1 and specially suitable for certain effects1 are the ,japanese and ,chinese papers4 ,the stock of paper should be kept in a dry place and free from dust4 ,printing should only be effected on dry paper4 ,damp paper is used when it is very coarse-grained and rough1 as then the ink is more easily taken in the depressions4 ,such sheets are best dampened by immersing them for some minutes in water1 allowing to drain and passing them through the machine between two sheets of calendered lintless blotting paper with strong pressure2 they are then immediately ready for printing4 ,if one has to deal with very absorbent papers1 with which1 especially in the pure whites1 there is always danger that in spite of careful printing the gelatine film may adhere to the surface of the paper and thus spoil both bromoil print and transfer paper1 the paper should be given a slight sizing4 ,the preparations to be used for this should be those used by the gum printer3 gelatine hardened with alum1 chrome alum or formaldehyde4 ,but these solutions must be applied warm and then the original brightness of the paper suffers4 ,it is1 therefore1 more advantageous to use the cold preliminary coating recommended by von ,hbl to prevent the sinking-in of the platinum-iron solution for platinotype2 #b g 7#fj gr47 of rice or wheat starch or arrowroot should be rubbed up with a little water and added with constant stirring to #ajj ccm 7#c oz47 of boiling water4 ,when quite cold the solution should be applied evenly to the paper with a swab4 ,the application must result in a slight matt gloss on the paper without any damp places anywhere4 ,when dry it is ready for use4 ,the longer the paper is kept after this preliminary preparation1 the better it is4 ,the beginner will be well advised always to use one and the same quality of paper until he has succeeded in attaining full command of the printing technique2 ,i have already pointed out that papers of different surfaces take the ink from the bromoils with different degrees of ease or difficulty4 ,similar differences also occur with increase of pressure4 ,when the operator has once become perfectly familiar with the necessary adjustments of pressure with one sort of paper1 he will be able without difficulty to estimate the degree of pressure for other papers4 ,at the start it is advisable to use a good1 half-sized moderately rough drawing or water-color paper4 ,it may be remarked that transfers may be made on silk or other textile fabrics as well as on paper4 ,if permanent results are desired1 care must be taken that pure fabrics are chosen1 that is1 such as are not filled1 as is usually the case with silk4 ,as the fillers are usually metallic salts1 they may easily have a destructive chemical effect on the inks4 ,,the ,,machine4--,in order to obtain a good transfer1 a machine is required which must satisfy to the fullest extent two requirements3 the pressure on the rolls must be capable of being regulated at will before and during the printing1 and one must be in a position to examine the condition of the print at any time1 without danger that the bromoil print and the transfer paper will shift4 ,by pressure on the rolls is meant the distance between the two cylinder surfaces4 ,illustration3 ,,fig4 #a ,the autographic metal hand press1 model ,a1 as supplied by the firm of ,hugo ,carmine1 ,vienna ,,vii1 at comparatively reasonable prices with different lengths of rolls1 is almost an ideal machine for our purpose4 ,it is shown in ,fig4 #a and consists1 as will be seen1 of a massive metal stand1 which may easily be screwed to any table4 ,through the center goes the lower roll or printing cylinder1 which is prepared of an elastic material1 and this stands at the same height as the two tables seen on both sides4 ,above this lower1 immovable roll1 there is the upper one1 which can be set higher or lower as required by the central spindle1 in the center of which is the wheel4 ,the central spindle is so arranged that the upper roll can be raised or lowered by screw gears at the right and left1 the arrangement being such that absolutely even pressure is exerted at the two ends4 ,on the right screw gear there is a notch in the form of an ,i1 which with every half revolution of the central spindle moves the length of one tooth forwards or backwards1 according to the direction chosen1 so that it is always possible to produce an absolutely determinable pressure4 ,the rolls1 after the setting of the pressure1 are rotated by the handle visible on the right4 ,this is the whole machine4 ,its dimensions are determined by the length of the rolls1 and these are chosen as may be needed4 ,one with #dj cm 7#af in47 rolls ought to be sufficient for most work4 ,it may be possible to rig up existing burnishers or washing mangles4 ,whether good results can be obtained therewith1 ,i cannot say from my own experience4 ,the care of the machine is very simple2 it needs only to be oiled from time to time4 ,although this1 or any other suitable machine1 is so simple in construction1 and its manipulation is so easy1 yet one ought not to forget that he who uses it ought not to be a machine4 ,the printer must be very familiar with his press1 if it is to give its best4 ,whoever does not believe this should ask an etcher1 who will soon tell him how much a good printer can add to a copper-plate print4 ,,printing4--,in order to obtain from any bromoil print one or more pulls on uncoated paper1 one requires1 besides a printing machine1 also--experience4 ,before ,i proceed with the technical description of the whole process it will be as well that we become perfectly clear as to the conditions under which transfer takes place4 ,bromoil printing has been described as a direct derivative of the collotype process1 and it is4 ,this very close relationship1 however1 is merely because of the common property of the exposed and swollen chromated gelatine film1 but does not extend to the method of execution1 in which bromoil printing displays an independent technique4 ,the primary difference lies in the support3 collotype uses a glass plate as the support for the chromated image1 bromoil printing uses paper4 ,this causes a variation in the subsequent procedure1 especially when the bromoil print is not the final result1 but merely the means for making the transfer4 ,the application of the ink to the swollen gelatine also is quite different in collotype and bromoil printing1 and the transfer of the ink to the paper by means of a machine is done differently1 all of which are based on the differences of the support4 ,the bromide print1 which is taken as the starting point in bromoil printing1 should be made on a paper as dense in structure as possible2 thick paper1 therefore1 is advisable1 because the film remains damp longer during the work of pigmenting1 and also because all subsequent manipulations are carried out more easily with thick than with thin papers4 ,in the collotype process1 on the other hand1 the chromated film is carried on glass4 ,when it comes to printing1 it is clear1 from what has been said1 that the bromoil print not only contains the moisture which is absolutely necessary in making it1 but also that which is in the fibers of the paper4 ,the whole of this dampness is pressed out of the paper fibers and the film1 during the printing1 and combines with the ink to a kind of emulsion4 ,this emulsion-like mass is brought on to the paper by the machine1 not the ink alone1 as in collotype1 the chromated film of which holds only that moisture which is requisite for its swelling1 while its support1 the glass1 can retain no moisture4 ,it is also the fact that the amount of moisture in the collotype film is so small that the formation of this emulsion practically does not occur4 ,from these comparisons and explanations it also follows that the printing technique of the two processes must differ4 ,i have dealt with these facts with more completeness because it is commonly assumed that the printing of a bromoil print must be carried out like that of a collotype print1 and most of the failures result from ignorance of the differences discussed4 ,so1 while the collotype matrix only gives up its ink1 the bromoil matrix gives up a mixture of ink and water to the paper4 ,this emulsion is so constituted that it readily adheres to the paper where it is in the finest state of division1 but where it is thicker it is more difficult to made it adhere4 ,in other words3 the high lights and the most delicate and medium half-tones readily transfer to the paper under light pressure1 while darker half-tones and the shadows must receive a stronger pressure1 from which it again follows1 that in order to obtain from a bromoil print a transfer equally good in all its tones1 ,i must print with gradually increasing pressure4 ,that is the reason that induced me to use a machine1 with roll pressure which can be varied at will1 as ,i have described more fully in the chapter on 8,the ,machine40 ,the procedure in printing must now be very accurately described1 and takes place as follows3 ,the pressure which the rolls exert on the bromoil print and the paper as they pass through must be absolutely even1 at every point4 ,in order to make the pressure more uniform than the rolls of even a good machine can give alone1 it is necessary to imbed the print and the paper in a press-pack4 ,this press-pack generally consists of two pressboards 7hard1 thick1 glazed pasteboard71 at the bottom1 an ordinary pasteboard1 a copper-plate blanket1 that is a thick felt1 and another ordinary pasteboard4 ,on this pasteboard the bromoil print is laid1 and on this the printing paper4 ,on this printing paper there are now placed in order another copper-plate blanket1 an ordinary pasteboard and finally two pressboards4 ,before1 however1 we pass a press-pack1 thus prepared1 through the rolls1 it must be explained in fuller detail1 which is best done from an actual example4 ,let us assume that we have a print prepared as described in the chapter 8,bromoil ,printing10 ready for transfer4 ,its size shall be #af #ba cm 7#f #h in474 ,our intention is to print this on paper of the dimensions of #cj #dj cm 7#ab #af in471 and to surround it with a plate mark4 ,as the size of the paper is #cj #dj cm 7#ab #af in471 the four pressboards1 the three ordinary pasteboards and the two copper-plate blankets should be cut exactly #cb #db cm4 ,the two pressboards are accurately superposed on a table and then the pasteboard and the blanket are placed on top4 ,on the last1 as already stated1 another pasteboard is placed1 which must1 however1 be previously marked with pencil guide lines1 for on it are to be laid the bromoil1 the paper and the plate-mark pattern4 ,as we wish to surround the print1 which is #af #ba cm1 with a plate-sunk mark1 we must cut a sufficiently large pressboard to impress this mark4 ,let us say we wish to surround our vertical print with a margin which shall be #a cm 7 in47 wide above and right and left1 but #b cm 7 in47 below1 then we must cut the pressboard #ah #bd cm 7#g #i in474 ,when we have done this we mark on it with a pencil exactly the position of the #af #ba cm bromoil print4 ,now we find on the #cb #db cm pasteboard the position at which we wish to have the #ah #bd cm pressboard just cut 7as a rule this will be a little above the center71 and fasten it there very lightly with library paste or mucilage4 ,the #ah #bd cm pressboard now lies on the #cb #db cm pasteboard4 ,as the size of the paper is only #cj #dj cm1 this will leave a margin of #a cm on all sides1 and this future position of the paper should be accurately marked with the pencil on the pasteboard4 ,extreme care having been taken that all the lines are parallel and the measurements correct1 we can now place in the press-pack the bromide print and the transfer paper1 and proceed to print4 ,illustration3 ,,fig4 #b ,a pasteboard ,b the plate-mark pattern ,c the location guides for the transfer paper ,d the location guides for the bromoil print4 ,the marking of the individual layers may be done very simply and accurately if it is carried out as shown in the accompanying diagram4 ,this marking of the layers has also the advantage that we may use it for all sizes with slight alterations for individual cases4 ,the lay-out is very easy4 ,the pasteboard which carries the plate-mark pattern is cut accurately right-angled and must be about #b cm 7 in47 larger all around than the transfer paper that is to be used4 ,on this board we now draw1 exactly #b cm below the upper edge1 a sharp line with ink that will not smear1 such as waterproof drawing ink1 stopping exactly also #b cm from each edge4 ,then this line is bisected and the center point marked zero2 right and left of this zero point we now draw equally distant upright lines1 about cm 7 in47 apart1 which are numbered #a1 #b1 #c1 444 to the ends of the line4 ,like divisions are drawn on the plate-mark pattern1 or if this is not to be used1 at the place it should occupy4 ,the bromoil and the transfer paper are now laid down with the help of these lines so that the upper corners are equidistant from the zero point1 which can be very easily done4 ,these location guides are also very convenient in combination printing4 ,we now have lying in front of us one on top of each other3 two pressboards1 an ordinary pasteboard1 the copper-plate blanket and the pasteboard with the plate-mark pattern and the marks for locating the paper4 ,now the bromoil print is lifted from its pad by passing a knife under its edges1 and laid carefully with its back on the worker's left hand4 ,thus the print can be laid down face up without danger of damage on the plate-mark pattern1 adjusting it by the position guide before sliding out the hand1 all without touching the face of the print4 ,great care must be taken that the print lies absolutely flat4 ,it will adhere to the pasteboard without any aid except its own moisture4 ,now we take the printing paper1 hold it at the upper third of its surface with the two hands and bring the upper edge to coincide with the pencil lines on the pasteboard which carries the plate-mark pattern1 taking care that it does not touch this pasteboard4 ,when the edge of the paper and the pencil lines coincide1 the paper is carefully allowed to drop into position from the top to the bottom4 ,it now lies on the bromoil print2 now1 holding it very gently on the bromoil print with one hand1 the previously prepared copper-plate blanket is spread out with the other hand over the paper and pasteboard1 and the two pressboards are placed on the cloth in the same way4 ,care should be taken that the whole arrangement is fairly evenly made up1 so that none of the edges of the boards or blankets project beyond others4 ,if this precaution be omitted it may happen that the transfer paper is squeezed into wrinkles running from the edges to the middle1 which may even encroach on the print itself4 ,these squeezed-in wrinkles1 which1 if the pressure be great1 may appear like sharp cracks1 make the print useless4 ,this whole manipulation is rather difficult to perform at first1 but it is learnt very rapidly1 especially if the first experiments are made with a damp sheet of paper the size of the bromoil print instead of the print itself1 and one thus becomes expert4 ,when the press-pack has been made up in the above-described manner1 it should be taken firmly in both hands1 so that nothing can shift1 and the upper edge placed on the machine table and guided between the rollers1 the separation of which must be such that they just grip the pack without exerting any pressure4 ,this separation must be determined by experiment4 ,the pack should then be gently drawn through until about #d cm 7#a in47 of its lower edge remains protruding4 ,shifting is then no longer possible4 ,the rolls should now be tightened1 for which purpose the central spindle should be given six to eight half revolutions4 ,the exact pressure cannot be prescribed1 but it will always be better to begin with light pressure4 ,the handle is again turned and the pack drawn through the press1 until its upper edge sticks out about #d cm 7#a in474 ,this process is repeated four times--twice in each direction4 ,if1 after the fourth revolution1 we carefully lift up the upper layers including the paper--obviously while the lower edge is still held fast for about #d cm by the rolls--we can inspect the first impression and will see that the high lights and fine half-tones have already given up all their ink1 while the deeper tones still look very flat4 ,the paper should be allowed to drop back again gently1 and then the other layers4 ,then the pressure is increased by giving the central spindle about three or four half-turns1 as1 after the first impression1 there is little danger to either bromoil or transfer through heavier pressure1 and the pack is again passed through the rolls1 but only twice1 once in each direction4 ,if the print is now examined again it will be found that the full half-tones and the lighter shadows are already transferred1 but that the deep shadows do not appear in full tones4 ,then the printing is repeated with still greater roll pressure1 three or four more half-turns of the central spindle2 again the pack should only go twice through the rolls4 ,another examination should now show the print in full vigor in all its details4 ,if1 however1 it should happen1 especially when using rough papers1 that the shadows do not yet appear quite deep enough1 one should print again twice with increased pressure4 ,all the ink which was on the bromoil print will now be transferred to the paper2 if the printing was carried out properly the bromoil will look as if it had not been pigmented at all4 ,it should never be forgotten that the rolls ought never to be so strongly screwed down that they can only be started by great effort2 they must always move easily1 and with little muscular effort4 ,repeated slow passage of the press-pack through moderately tightened rollers is always more advantageous than a single printing under very heavy pressure4 ,heavy pressure not only endangers the bromoil1 since the gelatine film1 especially in the lights1 adheres to the paper and tears when removed1 but the transfer also1 because the water1 pressed out quickly and with great force1 is deposited in the ink in the form of fine globules4 ,after evaporation1 which takes place very quickly1 these places show curious1 light1 circular or elliptical spots1 which produce the general impression of a picture painted in the pointillist manner--an undesired effect which1 however1 may occasionally be satisfactory4 ,it is very advisable to turn back the central spindle before finally taking the press-pack out of the machine1 as otherwise one may uselessly and prematurely ruin the components of the press-pack4 ,the bromoil can be immediately immersed in water and again pigmented--as was done at first1 or with different ink4 ,this process may be repeated until the paper breaks down1 with careful treatment in printing and suitable stout bromide paper1 up to twenty times4 ,if the pressure of the rolls was too great1 then the film shows blisters1 which at first1 and if they only appear here and there1 are harmless1 even when they occur on important parts of the print4 ,if their number increases1 however1 it is better to make a new bromoil4 ,if the bromoil is to be kept for future work1 then it should be allowed to become bone dry1 in order to dissolve off any grease with benzol or other solvent1 exactly as is done with a bromoil print in defatting4 ,prints thus treated can be used again after any lapse of time4 ,this method of printing is proper for either monochrome or polychrome impressions4 ,in conclusion the fact may be mentioned--first published in ,france1 ,i believe--that bromoil prints1 which in the course of making have been soaked in ammonia water1 can be more easily transferred1 and that there is less danger of the bromoil print and the paper sticking together1 even with very strongly absorbent papers4 ,robert ,demachy has stated that transfers can also be prepared by removing the ink1 not by a press1 but with a solvent1 such as benzol1 by moistening the paper with this solvent and then bringing it into contact with the pigmented bromoil4 ,my experiments in this direction could not be brought to a conclusion1 as at the time ,i undertook them a suitable solvent was not available4 ,i had only succeeded in determining that it is very important that the bromoil print should be allowed to dry thoroughly--from six to eight hours--and that then a less volatile solvent than benzol1 such as heavy benzine1 or best of all1 gasoline or petroleum ether1 can be used4 ,if the bromoil print is laid on a sheet of paper and moistened with this1 then pressure in a printing frame is sufficient in order to obtain a transfer4 ,a machine is not required4 ,the pictures which ,i have obtained in this way have not been satisfactory1 up to the present time2 the cause of the failure obviously was that ,i lacked experience as to the necessary degree of moistening and the duration of contact4 ,as stated1 for lack of materials1 ,i was obliged to discontinue experiments4 ,,combination ,,transfer4--,the process just described permits the transfer of all that was in the bromide print4 ,if1 however1 it is a question of improving the inadequate gradation of a bromide print from a long-scale negative1 we must use other means4 ,bromide paper has only a limited scale of tones and therefore cannot reproduce the full modulation of a negative of full gradation4 ,if the details in the shadows are to be retained in such a case1 then the high lights will appear bare2 if well-modeled high lights are desired1 then we risk blocked-up shadows4 ,this difficulty has been largely overcome by ,dr4 ,emil ,mayer1 by the introduction of a combination printing process for bromoil transfer1 of which full details will be found on page #abe4 ,he starts from the above-mentioned fact that bromide paper does not reproduce the whole scale of tones of the negative1 when this is too long1 and therefore divides the tones of the negative into two parts by exposing one bromide print only for the shadows and the adjacent half-tones1 and a second merely for the high lights and the lighter half-tones4 ,he then transfers these two constituent prints in superposition and thus obtains the full gradation of the negative4 ,it is thus possible therefore to lengthen the scale of tones of the negative4 ,if1 however1 it is merely desired to extend the scale of tones of the bromide print1 then it is sufficient to make the combination transfer from one print only1 which must1 however1 be prepared in a way differing slightly from the usual4 ,i will not repeat here the theory of the two kinds of combination transfer1 which may be found in an earlier chapter by ,dr4 ,mayer 7page #abe71 but in giving my own instructions for the practical performance of the process1 ,i have essentially adhered also to ,dr4 ,mayer's instructions1 with his full permission4 ,,combination ,,printing ,,from ,,two ,,bromoils4--,it has frequently been pointed out in the literature of the gum process that the best positive transparencies may be obtained from a long-scale negative by making two positives from the one negative and then bringing these two positives into superposition2 for this combination1 one positive must be fully exposed and developed soft1 the second1 on the other hand1 kept hard by a very short exposure and full development4 ,if these two positives are laid film to film1 8there is obtained10 as von ,hbl wrote as early as #ahih1 in applying this method to gum printing 7see ,eder1 ,das ,pigmentverfahren1 der ,gummi-1 ,oel- und ,bromldruck1 ,halle1 #aiag71 8a result which often surpasses1 in truth and fidelity to the original1 a normal print from the negative4 ,in such a combined print the high lights are derived from the short1 the shadow details from the long-scale negative2 the two images supplement each other and reciprocally increase the brilliancy4 ,it is also possible to make good defects in the negative or the printing process40 ,this same principle is used in our process1 although not exactly as in gum printing4 ,the process itself is not difficult4 ,it is necessary to make two perfectly registered bromide prints1 which is most easily done by always placing the printing frame in the same position in filling1 as for instance by fitting the same two sides into a rigid iron angle fastened on a drawing board1 or1 in enlarging1 by using a right angled piece of strong1 black card glued to the enlarging easel1 and fitting the paper into this angle4 ,i have prepared a simple and absolutely certain arrangement for securing registering prints by having a beveled-edge rectangle cut out of sheet iron #b mm 7 in47 thick1 the opening being somewhat smaller than the bromide paper4 ,thus1 for instance1 for #bd #cj cm 7#i #ab in47 paper1 the cut-out is only #bc #bi cm 7#i #aa in474 ,care must be taken in this work1 however1 that the bromide paper for both prints is taken from the same packet1 since only identical papers expand absolutely equally in the baths and contract equally in drying4 ,although the paper used by the manufacturer may be of the same quality1 yet it may not always be handled exactly the same in coating1 so that a registration of the prints may not be possible when one uses paper prepared at different times4 ,the first print is now very fully exposed and developed soft1 just long enough so that the high lights and upper half-tones are well brought out4 ,when this is attained1 development is stopped without paying attention to the shadows1 which will be full of detail1 but weak4 ,the second print is exposed as briefly as is required for the perfect reproduction of the shadows1 with the use of a hard-working developer4 ,as soon as the shadows appear in full depth1 the print should be rinsed and fixed4 ,the print then shows1 besides the shadows1 only the transition into the half-tones4 ,it is not easy to give more accurate instructions for the preparation of the bromide prints1 as the work must be carried out differently according to the negative4 ,only1 as a hint1 and nothing more1 it may be stated that in a print where exposure of about twelve seconds was required for the complete printing of the high lights and half-tones1 the shadow print needed only about three seconds1 or about one-fourth the exposure4 ,this ratio obviously alters in accordance with the depth and quality of the shadows in the negative1 and must be left to the feeling and experience of the worker4 ,when the two prints have been developed1 fixed1 washed and dried1 they should be tested for equality of size by measurement with a millimeter scale4 ,then rule pencil lines around the edges of the prints very exactly1 and treat them in the usual way in the bleaching bath1 the second fixing and washing4 ,when thoroughly dry the pictures should be cut along the pencil lines with absolute accuracy1 and their registration again tested4 ,it is advisable to write on the back before bleaching 8high light print0 and 8shadow print40 ,pigmenting is effected as usual4 ,practically1 one should always begin with the high light print1 as this is intended to give the finest modeling in the high lights and half-tones1 while the shadows are treated so that they show all the details1 but no depth4 ,this order of working leaves one absolutely free in the treatment of the fine tones1 independent of the depth of the shadows4 ,these depths are produced in the transfer in any desired strength by means of the second bromoil4 ,if1 however1 the work is started in the reverse way1 by printing the shadows first1 then the half-tones and high lights must be adjusted to the existing depth1 which may produce a dislocation of the tone values1 even to a destruction of the whole desired effect4 ,the best way is therefore to direct the whole attention in the first place to the lighter parts of the picture1 and to suit the shadows to these4 ,when the high light print is completed as desired1 the transfer may be made4 ,the bromoil print is placed on the location guides1 described in the previous chapter on 8,printing40 ,then the transfer paper is placed on its guide and pencil lines very carefully drawn across the edges of the back1 on to the pasteboard4 ,then it is printed4 ,the picture will now appear in full beauty as regards the lighter tones1 but obviously as a whole will be flat1 since the shadows are grey and without depth4 ,now we proceed to the working up of the shadow print1 which when complete should appear absolutely bare of high lights and light half-tones4 ,no protective measures to prevent the sticking of the non-pigmented parts to the transfer paper are necessary1 as these white portions of the shadow print are already covered from the first transfer4 ,the print is now placed exactly on the marks made on the plate-mark pattern before the first transfer1 the first transfer also brought into the same position by the marks on its back and their prolongations1 which is very simple in practice1 and is then printed4 ,the transfer now shows the full gradation of the negative1 or the sum of the gradations of the two bromide prints1 which1 however1 will be enhanced in effect by the plastic softness produced by the double printing4 ,if it should be necessary to strengthen any part of the print1 to deepen any shadow1 we can again pigment the necessary portion of the proper bromoil and transfer it to the picture by a third printing1 for it is thoroughly practicable to superimpose as many impressions as may appear necessary from an artistic standpoint4 ,this method of combination printing from two bromoils is the best attainable result in the present state of the art1 but contains also the germ of future developments1 especially as regards color photography1 which problem appears to me to be most easily solvable in this1 purely artistic1 way4 ,only it is necessary to find an artist who can conduct the various printings with such fine color sense that the final result will actually produce the impression of a work of art in color1 not that of a colored photograph1 which has unfortunately hitherto been the case with all experiments in this direction4 ,this is obviously nothing more than a hope for the future4 ,for the present we must content ourselves with what has actually been attained1 which is no more and no less than to bring us close to our aim1 ability to consider and use the photographic plate merely as a foundation for our graphic art4 ,,combination ,,printing ,,with ,,one ,,bromoil4--,it is frequently not easy to reproduce perfectly in the transfer the whole scale of tones present in a given bromide print2 or at least in many cases a high degree of skill must be employed4 ,it is consequently often very much simpler to make two transfers from the same bromoil1 one being inked up for the light parts1 while the other is used to fill out and deepen the shadows4 ,the practical execution of the process is as follows3 the bromide print is swollen in the normal way and pigmented with a soft ink suitable for the high lights1 the shadows being very lightly inked4 ,the transfer obtained from this bromoil print shows all the details in the high lights1 with grey shadows4 ,the print is now immersed in cold water to swell again and then inked up with a hard ink1 so that only the shadows and the adjacent half-tones are fully worked up4 ,this print is now transferred to the same paper1 so that a transfer is obtained in which the scale of tones of the bromide print is considerably lengthened4 ,a second method of making two transfers from one bromoil is first to swell it normally1 then ink up thoroughly and transfer4 ,it is then highly swollen with ammonia and the shadows only treated with hard ink4 ,the result of the second transfer on the first one is again full gradation in the print4 ,this method1 however1 is not very advisable1 as the print cannot be used again if the second transfer is not successful4 ,it is better to adhere to the first method1 and preferable to use two inks of different consistency rather than two differing degrees of relief4 ,if1 however1 the combination transfer from a single bromoil is to give the best possible gradation1 the exposure and development of the bromide print must be properly done1 the process being essentially that of ,benndorf1 referred to on page #adc4 ,the bromide print must be fully exposed and developed very soft2 the image then seems flat1 and yet every gradation of tone present in the negative is actually shown in the bromide print4 ,if a print thus prepared is treated with inks of two consistencies1 the best results are obtained4 ,,the ,,value ,,of ,,combination ,,printing4--,with the aid of combination transfer it is possible to solve problems in the bromoil printing process1 which were hitherto unsolvable1 and ,dr4 ,mayer correctly remarks at the end of his treatise3 8,the transfer process has advanced to the first place and in future in the hands of the expert1 bromoil printing is likely to be considered as a process of secondary importance40 ,i was early convinced that transfer would replace bromoil printing and am absolutely of the opinion that combination transfer will do its share in making my opinion universal4 ,still ,i do not believe that it is necessary to use combination printing in all cases4 ,i would especially warn the beginner against using it exclusively2 he should rather endeavor to make simple transfers starting from a perfect bromide and a perfect bromoil print1 for by this means he will attain much more certainty in printing technique4 ,only when he has absolutely mastered this technique1 should he begin experiments in combination transfer from one bromoil4 ,every worker should endeavor to use the technique of combination transfer for the execution of an artistic idea1 rather than for overcoming technical difficulties in single transfer4 ,then it will1 however1 always give excellent results4 ,aside from the solution of such problems as views from a dark space into a brilliantly lighted distance1 or pictures of falling water in conjunction with its dark surroundings1 etc41 it will be especially useful to the portraitist in treating his backgrounds4 ,combination transfer from two originals will1 however1 be most valuable artistically1 when there is a question of combining sharply defined parts of a picture with softer parts4 ,thus1 for instance in a landscape1 we may make a sharp print and1 by the use of bolting cloth1 one with soft outlines2 the parts which it is desired to emphasize will be worked up on the former and artistic softening added from the latter4 ,briefly1 the possibilities are so many that they can hardly be indicated1 not to speak of describing them in full4 ,this is1 besides1 hardly necessary1 for the worker who has reached full mastery of combination transfer is necessarily so far advanced artistically1 that he will find out for himself all that is necessary4 ,,retouching ,,and ,,working ,,up4--,a good bromide print can only be prepared from a good negative4 ,so says the expert bromide printer4 ,the bromoil printer requires a faultless bromide print as the fundamental condition4 ,the transferrer1 finally1 will not use an imperfect bromoil print for transfer4 ,i belong to the school which would produce a photographic picture only by purely photographic means1 without1 however1 being too orthodox2 ,i would not1 therefore1 repeat the whole laborious making of a bromoil print1 because ,i might not think it photographic to spot out with water-color a small spot the size of a pin's head1 or to remove a small particle of ink with the etching knife4 ,this is actually not retouching1 but there are people who consider these changes as such4 ,by retouching ,i mean the justly condemned excessive 8working up0 of a positive print1 that is a change of values on the finished print4 ,that should not be done4 ,bromoil printing is still that exquisite process which permits the correction of false tones1 the suppression of undesirable and the emphasis of the most characteristic details in the most extensive way during the work4 ,i consider it objectionable to leave all faults which occur during the long process of picture making1 for the sake of convenience1 to be improved on the positive print4 ,but if it does become necessary to use retouching on the transfer1 it can be done with a soft eraser4 ,an excellent means of working up larger areas has been described by ,dr4 ,mayer 7see page #abc71 which consists in working on the transfer with the same brush and the same ink as was used in making the bromoil4 ,thus clouds may be imitated by pigmenting the white surface and then working in the clouds with the eraser1 etc4 ,since1 however1 this and other improvements can be carried out1 not only as well1 but even better on the bromoil print itself1 it is advisable to do so much with the brush that nothing remains to be done on the transfer4 ,,drying4--,as soon as the transfer leaves the press1 it is finished1 but as the ink is very easily smeared it is advisable to leave it exposed to the air for two or three days4 ,after the lapse of this time the ink has usually hardened4 ,very heavily inked prints require from eight to ten days to dry and may be considered as absolutely dry when the oily sheen which can be seen immediately after printing1 especially in the shadows saturated with ink1 is replaced by a velvety1 perfectly matt surface4 ,retouching can be begun about one or two hours after it has left the machine4 ,a transfer should not be mounted1 for it looks best as it is1 if the margin is sufficiently large4 ,,conclusion4--,the technical difficulties of making a good transfer are not small1 and to overcome them requires a certain degree of skill in the worker1 which other processes do not require to an equal degree4 ,by 8workers0 ,i mean especially amateurs1 not those professionally skilled in the graphic arts4 ,after overcoming these difficulties1 caused chiefly by the materials1 there is a certain feeling of satisfaction in having actually produced a work of art4 ,by using the different techniques of bromoil printing3 soft ink1 hard ink1 sketch1 and coarse grain1 one can obtain transfers of such beauty as may confidently be said can be attained by no other process4 ,there is unlimited possibility of variation2 and this alone assures the bromoil transfer process preminence over any other method of printing4 ,that a transfer can be used as a basis for working up with pastel and water-color need only be incidentally mentioned1 because such work is outside of pure photography and it is unnecessary to express an opinion as to the artistic value of such productions in this place4 ,the photographer should always adhere to the fundamental law3 ,do not forsake photographic methods4 ,,chapter ,,viii ,,the ,,preparation ,,of ,,bromoil ,,inks ,,by ,,eugen ,,guttmann ,everyone who devotes himself to the higher aims of photography1 and studies the works of painters1 must learn to see with the artist's eye if he will apply his knowledge in pictorial presentation of his subjects4 ,in the same way the bromoil printer should become more familiar with the working tools of the painter1 and especially with the most valuable material at his command1 the ink1 than has hitherto been the case4 ,when we look back on the history of painting1 we note the often-mentioned fact that not only the old masters of all schools1 ,italian1 ,german and ,dutch1 but also the later generations till about the middle of the last century1 ground their own colors4 ,they did this not merely to be assured of the most perfect purity and thus absolute permanency1 but also because they wanted to obtain the greatest possible brilliancy4 ,as regards the purity of the materials used--the colors and the mediums--there is no doubt that to-day1 thanks to the high perfection of manufacturing methods1 this can usually be depended upon2 but as regards the brilliancy1 no positive instructions of any kind for obtaining this have come down to us4 ,the painters took their secrets with them to the grave4 ,but as the result of exhaustive research1 together with advances in the manufacture of colors1 we can assume with some certainty that the masters of past times attained vigor in their colors chiefly by the finest possible grinding of the colors and by a relatively small addition of medium4 8,it may sound paradoxical10 says ,professor ,th4 ,petruscheffsky in one of his treatises on the technique of painting1 8but it is1 however1 true1 that in oil painting oil should be avoided as much as possible40 ,the old masters knew this and acted accordingly1 and the modern manufacturer also knows it1 and replaces any excessive quantity of oil in the medium1 which is mixed with the pigments to bring them into a paintable form1 by other substances1 for instance turpentine1 and certain resin solutions1 which have no binding properties2 during the work these substances evaporate and leave behind the color with very little medium4 ,these facts the bromoil printer must know1 for he should also use colors from which he can get the very best possible results4 ,the ink is one of the most important parts of his equipment4 ,this fact was fully recognized by ,english1 ,french1 and ,german manufacturers1 and inks were obtainable that left nothing to be desired4 ,at the outbreak of the war the position of affairs was immediately altered4 ,it was not possible to use ,english and ,french sources of supply and the ,german supply gradually failed4 ,what was furnished as ink for the oil process was suitable for anything else but that--a soft1 smeary and smearing mess1 which did not permit any finer working up of the picture1 and required so high a relief that individuality in the work was excluded4 ,these conditions induced me to try and prepare the necessary inks myself1 and after many trials and exhaustive experimental study of the manufacture of artist oil colors ,i finally succeeded in reaching my goal4 ,,inks ,,and ,,brushes4--,my starting point was a great desire to make a hard ink1 since ,i recognized that this consistency was the necessary starting point to be able to use any degree of relief4 ,i further desired to attain a mixture of color and medium which should be as perfectly homogeneous and as fine as possible1 and moreover to provide a palette1 which should not only satisfy all requirements of the bromoil printer1 but also give him only fast colors1 perfectly suitable for the transfer process and soluble in benzol4 ,command of a hard ink--which can be suitably softened to meet any need--is very necessary to the bromoil printer1 if clean shadows are to be obtained4 ,as already mentioned1 it has long been known among painters that the colors appear purer and more luminous when they contain as little medium as possible4 ,in order to be able to apply such stiffly ground colors1 the painters use bristle brushes1 which do not produce the same results as hair brushes4 ,naturally there is nothing to prevent the bromoil printer from using bristle brushes1 only they must fulfil certain requirements4 ,the literature of bromoil printing gives many hints on this point1 but ,i have not been able to locate a practical use of these brushes4 ,some years ago ,i had made1 by a manufacturer who makes excellent hair brushes for our process1 bristle brushes in stag's foot shape4 ,the result was extraordinarily gratifying4 ,these brushes do not drop their bristles nor do they suffer from the troublesome breaking off of the points1 they do not pick up the dust and do not smear even when very soft inks are used1 because the bristles1 unlike hairs1 do not cling together4 ,they can be easily and thoroughly cleaned and are obviously very lasting1 and in addition cost only a fraction of what must be paid for really good hair brushes4 ,as regards the size one is not limited1 as with the hair brushes1 to small sizes1 since the hog's bristle brushes can be made of any desired diameter1 even #aj1 #ae or #bj cm or more 7#d1 #f or #h inches or more7 so that the working up of large prints is considerably facilitated4 ,two conditions must1 however1 be carefully observed for good results4 ,first1 these brushes must actually be made from the very finest cut bristles and1 before they are used1 they must be repeatedly and very thoroughly cleaned1 because they are very dirty when purchased4 ,the principal advantage of these brushes is that they enable one to use considerably harder inks than is possible with hair brushes1 which results in much greater clearness of the shadows4 ,when this clearness of the shadows is obtained1 one can always use a hair brush for working up the finer half-tones and high lights4 ,this is1 however1 not necessary1 at least in the majority of cases4 ,i have not noticed any disadvantage in the use of these brushes2 the gelatine has never been pierced1 even in the highest reliefs4 ,although ,i am averse to anything that may smack of advertising1 yet ,i will state here the source of these brushes1 because the expert manufacture of these tools1 so important in our handicraft1 is not found everywhere in equal perfection1 and because ,i believe that it will be of considerable service to those wanting brushes4 ,the brush manufacturer is ,magnus ,bhler1 ,wien ,,vii1 ,breitegasse #d1 ,austria4 ,illustration3 ,,fig4 #c ,i might add a word here as to the cleaning of brushes in general1 whether hair or bristle4 ,it is usually recommended to wash out the ink with benzol or similar solvent1 carbon tetrachloride1 trichlorethylene1 etc4 ,a really thorough washing is never obtained with these2 and the brushes almost always give up a greater or lesser quantity of small particles of ink to the new print when used again4 ,the following process is much better4 ,the brush to be cleaned should be dipped into lukewarm water and then rubbed firmly on a piece of ordinary soap 7soft soap is better71 so that it takes up as much soap as possible4 ,then the soap should be worked up into a lather on the palm of the hand and washed off4 ,if this is repeated a second time and the brush is then rinsed two or three times in lukewarm water1 repeatedly changed1 the brush will be far cleaner than can be obtained in any other way4 ,after it has been well rinsed and shaken out it should be put into its tube and hung up by the handle in a place free from dust to dry 7see ,fig4 #c74 ,this vertical position has the effect of facilitating the draining of the moisture from the quill base1 where it otherwise collects4 ,any brush thus treated will be dry in a few hours4 ,the finest hair brushes are not damaged at all by this treatment1 which is commonly used by painters4 ,,the ,,preparation ,,of ,,the ,,bromoil ,,inks4--,the preparation of the bromoil inks is very simple4 ,the following are necessary3 ,linseed oil varnish of the thickest consistency2 ,powder colors2 ,a rubbing plate2 ,a pestle2 ,a springy spatula 7palette knife72 ,a stiff spatula1 the so-called ink knife 7putty knife74 ,the following sections will give the necessary information as to the properties and nature of each item in this small arsenal4 ,,the ,,varnish4--,only such varnish should be used as is prepared from linseed oil and chemically pure4 ,its color should be light to brownish-yellow or at most reddish-brown4 ,dark brown or blackish-brown varnish points to adulteration4 ,the smell is that of linseed oil and is not exactly pleasant1 but it should not smell badly4 ,in the latter case one may reckon with certainty on the addition of fish or resinous oil4 ,one principal requisite of this varnish is that it should be absolutely clear4 ,the varnish is produced of various consistency1 from quite fluid to quite viscous1 and this is one of the principal properties1 to which the bromoil printer must pay special attention1 for every degree of consistency demands and must have only one definite quantity of color1 otherwise the resultant ink will not satisfy the desired end4 ,more as to this later4 ,i used for all my experiments and later for all actual mixing the linseed oil varnishes1 ,no4 #a and ,no4 #b 7chemically pure7 of the firm of ,kast ,ehinger1 of ,stuttgart1 which have always given me excellent results1 without failures4 ,excellent also is the somewhat less stiff 8collotype varnish40 ,but any other varnish1 if it only has the right consistency and is not adulterated1 must also give good inks1 though great care must also be taken as to clearness and color4 ,warning should be made against oils similar to varnish1 which can be recognized by a cloudy appearance and a very unpleasant rancid odor4 ,they harden very quickly and thus become useless and are very costly4 ,the stiff varnish is very viscous1 like thick syrup4 ,in the cold it thickens with the formation of a thin skin on the surface4 ,on a hot water bath1 it again obtains its original character4 ,well corked up1 good varnish will keep for years2 it even becomes better by long storage4 ,it is most convenient to fill the varnish into small wide-mouthed bottles1 holding from #bj to #dj g 7about an ounce71 with ground-in stoppers1 as one can note its appearance at any time through the glass4 ,in taking the varnish out of the bottle1 care must be taken that none gets on the inside of the neck1 or else the bottle can only be opened with difficulty through the varnish gumming it up4 ,,powder ,,colors4--,only such colors should be used as are fast both to light and air4 ,the following may be selected with absolute certainty3 ,for black3 bone black1 ivory black1 crayon sauce2 ,for brown3 burnt umber1 burnt sienna1 burnt dark ochre2 ,for yellow3 cadmium1 light and dark1 yellow ochre1 light and dark2 ,for red3 ,english red1 light and dark1 ,indian red2 ,for blue3 indigo1 ultramarine1 cobalt blue2 ,for green3 cobalt green1 light and dark1 ,bohemian and ,veronese earth2 ,for white tones3 zinc white4 ,the bromoil printer obviously does not need all these4 ,one representative of each group will be quite sufficient1 and ,i should state that when colors are obtainable in both light and dark shades1 the light one should always be chosen4 ,the colors must be very finely ground2 it will not be necessary1 or only exceptionally1 to prepare the powder colors oneself1 for they can be obtained commercially in every high grade store dealing in painters' materials4 ,if1 however1 this becomes necessary1 then the lumps of color should be crushed on a stone or glass with a flat muller1 and the coarse granular masses thus formed kneaded with a little water1 or1 better still1 some alcohol and then thoroughly ground4 ,the mass should be allowed to dry thoroughly and the process repeated two or three times4 ,the finer the powder is rubbed up in this way the finer the tone it will give4 ,the coarse color powders1 often found in drug stores1 are not suitable for our purpose2 they are used more for industrial purposes4 ,aniline colors1 or those brightened with anilines1 should be absolutely avoided1 as they stain the gelatine and thus spoil the print4 ,on the other hand ,i call the attention of all bromoil printers to the pastel colors1 which can be used with excellent results4 ,they offer many advantages over the powder colors1 since among the hundreds of color shades1 in which they can be obtained1 it is easy to choose that which is most suited for the subject4 ,the tints are ready to use1 while with the powder colors the desired tint can only be obtained by mixtures4 ,these colors have the further advantage of covering much more strongly1 even to obtaining brush texture2 they are somewhat more difficult to apply to the print1 because of the fact that they are mixed with a medium which is from its nature not so well adapted to our process4 ,those1 however1 who have well mastered the brush technique1 will easily overcome this small hindrance4 ,if the pastel colors are used one should only take those of reliable manufacture1 such as those made according to ,mengs' formulas1 which are everywhere obtainable under the name of ,meng's pastel pencils1 though this does not mean that those of other makes will not give excellent results4 ,,the ,,rubbing ,,plate4--,for this we use a thick plate glass slab1 ground on one side1 about #ae by #bj cm 7#f #h in474 ,,pestle ,,or ,,muller4--,a pestle of glass is the best4 ,the head must be round1 not flattish1 and have a matt surface4 ,,spatulas4--,it is necessary to have a flexible spatula 7palette knife7 about #a cm 7 in47 wide and a stiff one1 an ink or putty knife1 about #d to #e cm 7#a to #b in47 wide4 ,now that we have become conversant with all the necessary materials1 ,i come to the3 ,,practice ,,of ,,ink ,,grinding4--,as ,i have mentioned above1 the purpose of the work is to obtain an ink of as stiff a character as possible4 ,to this purpose1 after the vessel in which the varnish is kept has been allowed to stand at least #aj minutes in hot water1 or an hour in winter1 we remove from it by means of a wood or glass rod a very small quantity of the varnish1 spread it on a glass plate and rub it with the pestle so that it covers a surface of #c to four qcm 7- sq4 in474 ,to the varnish thus spread out we add with the flexible spatula a small quantity1 about as much as will lie on the end of a pocket knife blade1 of the powder color and rub it with the pestle until certain that the color is absolutely mixed in4 ,if too little color has been taken1 more should be added and rubbed again until a firm doughy mass is obtained which has a slaty and not oily gloss1 and can scarcely be worked with the pestle4 ,now with the springy spatula the whole ink mass is pushed together from the edges to the middle to make a little heap1 and the ink that remains on the pestle scraped off and added to it2 the whole mass should then be again worked up with the pestle and this procedure repeated two or three times4 ,then the ink is ready4 ,it must be so hard that a brush set into a small quantity of the ink that has been taken from the heap with the stiff spatula and spread out in a thin film1 neither takes up the ink nor gives it up again to white paper4 ,in order to make it fit for use1 one must add to this thin film one small drop1 not more1 of pure linseed or poppy oil1 petroleum1 light copper-plate printing varnish1 or medium1 and mix it well with the ink with the stiff spatula4 ,petroleum can be highly recommended for the softening medium4 ,one can use the ordinary lamp petroleum1 but the so-called purified petroleum is better4 ,it ought only to be added to the ink drop by drop4 ,now the brush will take up and give up the ink4 ,if it should not be sufficiently soft1 the procedure should be repeated1 but always carefully1 so that too much linseed oil is not added and thus the ink made too soft4 ,if we use the pastel instead of the powder colors it is not necessary to break these up first4 ,small pieces broken from the pencils dissolve readily in the varnish4 ,it would seem permissible to assume that the whole work of dilution with linseed oil could be saved by not adding so much color to the varnish1 but by proceeding with the inking-up as soon as the ink is taken up by the brush1 but this is not the case4 ,as ,i have stated above under 8,varnish10 every degree of consistency of the varnish requires a definite quantity of color4 ,if one adds too little color1 the paste will be too soft for bromoil printing1 and cannot be spread4 ,too much color is hardly possible with the stiffest consistency2 the limit lies when the color no longer dissolves in the varnish4 ,too little1 on the other hand1 results in the ink smearing on the print4 ,it is1 therefore1 absolutely necessary in using very thick varnish to absolutely saturate it with color4 ,not going far enough in this direction1 or the omission of the preliminary warming of the varnish1 are the only sources of failure4 ,in working with varnish of lighter consistency1 it will be necessary to stop the addition of color as soon as the slaty gloss appears4 ,if the grinding of the ink were to require as long as it takes to read this description1 the waste of time would be considerable4 ,actually the whole work may be carried out in two or three minutes if one uses the methods suggested1 and after a little experience is gained1 which soon comes after a few trials4 ,long before the water for the bromoil print is hot1 the ink will be ready4 ,,ink ,,mixing4--,as it is not always possible to use existing colors1 and it is necessary in many cases to alter the shades for artistic effects1 the basic colors must be diluted with other colors4 ,this can be effected in many ways1 best by adding another color to the predominant color powder during the mixing4 ,bone black is specially valuable for this purpose4 ,this is by itself an unpleasant color1 for it is a discordant brown-black which can hardly be used alone4 ,if other colors1 however1 are added to this bone black it produces beautiful tones4 ,thus1 for instance1 the addition of a minimum of blue 7indigo or ultramarine7 gives a deep1 velvety black2 if a little more blue is added1 we obtain a beautiful blue-black4 ,a little bone black mixed with burnt umber gives a fine warm black1 and so on4 ,the tone of crayon sauce is especially beautiful1 if it is used without the addition of any other color1 and especially that quality obtainable under the name of ,sauce ,velours is particularly excellent4 ,another kind of color mixture is that in which black is taken as the fundamental color 7which is desirable when it is not desired to mix up ink for each print7 and then instead of diluting the stiff ink with linseed oil or other diluent1 an ordinary good copper-plate ink or even ordinary oil colors are used4 ,by this method of working ,i can shade and soften in one operation1 and it is highly advisable to use it when it is desired to obtain different tints easily4 ,the method of mixing is very important and ,i will therefore give some examples4 ,if to the stiff black ink 7bone black71 ,i add a little indigo oil color1 ,i have at once a deep black2 the addition of vandyke brown or burnt umber gives a magnificent brown2 a fine dark green is obtained with light cadmium2 this dark green becomes blue-green when ,i add a little indigo4 ,an admixture of caput mortuum shows violet tones2 red tube colors1 such as ,indian or ,pompeian red1 ochre1 etc41 give various reddish brown nuances4 ,these additions can be varied in manifold ways1 dependent only on what tube colors are at hand4 ,it is strictly necessary1 however1 that only the least possible quantity of tube color should be added1 about as much as the head of a good-sized pin1 to keep the ink from becoming too soft and going beyond the desired tint4 ,when a suitable shade has been attained1 all further dilution must be effected with linseed oil1 petroleum1 etc4 ,when ,i specially recommended the ,mussini or ,fiedler colors1 it was because they are prepared with resin oils and are therefore specially suitable for our purpose4 ,but all other good oil colors can be used4 ,when ,i write briefly only oil colors1 ,i mean obviously artists' oil colors1 and not others which may be used for other purposes than for artistic painting4 ,finally the black may be diluted with linseed oil to the usable consistency of hard ink and also diluted on another part of the palette with oil color or copper-plate ink of another shade to the consistency of a soft ink1 and then both colors may be mixed either on the print or in the brush4 ,very fine gradations may also be produced as follows3 the bromoil print is pigmented as usual to obtain as clear shadows and clean high lights as possible1 with not too high a relief4 ,when the print is completely finished1 it should be placed in a #b per cent cold solution of ammonia1 this allowed to act for two minutes and then rinsed for one minute in clean water4 ,then the print1 which is considerably swollen1 should be very carefully dried off1 so that no ink comes off on the cloth1 and the latter leaves no imprint of its structure4 ,now the whole print is gone over with a clean brush1 on which is a very little pure oil color4 ,by thus using light1 transparent 7lasur7 colors1 and only such ought to be used for this purpose1 the print may be given an extremely delicate film of ink1 through which the first image shines with full vigor4 ,this gives an effect similar to that which the gum printer obtains by multiple printing4 ,according to whether the whole or only parts of the print are gone over with the 8lasur0 color1 the most varied effects are obtained1 such as deepening of the shadows1 or lowering of the high lights1 or both4 ,it is naturally impossible to describe this process exactly in print4 ,much must be left to artistic feeling1 without which hair-raising color discords will probably be produced4 ,still1 in order to give the beginner some starting point1 it may be mentioned that black1 brown or red tones may be easily treated with inks shaded towards grey1 blue with pure grey1 and so on4 ,the following summary of color mixtures for the beginner is also given3 red-brown is obtained by mixing bone black1 ,indian red1 and possibly dark alizarin lake2 violet results from bone black with red and blue2 dark green1 from black1 cadmium and blue2 brownish-green1 from black and indigo2 bright green1 from a little black with cadmium and indigo2 red chalk1 from black1 brown and ,indian red4 ,the individual tints will obviously vary considerably1 according as more or less of any given color is taken4 ,this is entirely a matter of taste and must be left to the judgment of the individual4 ,when the stiff ink is ready on the glass plate1 it is advisable to carry out all further manipulations on a white porcelain palette or tile1 because the mixtures can be much more easily judged in tone and consistency on these white supports4 ,the mixtures are best made with the stiff spatula 7putty knife74 ,,permanency4--,the permanency of home-made inks prepared by oneself is satisfactory if they are preserved from dust and air4 ,my inks have kept for periods exceeding three months1 with the most satisfactory results4 ,illustration3 ,,fig4 #d ,,ink-,,grinding ,,machines4--,for all ordinary purposes the inks prepared in the manner just described are perfectly satisfactory4 ,for inks1 however1 which must be extremely fine this method of mixing is not sufficient1 therefore1 ,i had a small machine constructed 7,fig4 #d71 which consists of two rollers turning in opposite directions4 ,the hand-ground inks are placed on these rollers and kneaded with strong pressure for two or three minutes4 ,the whole machine is #be cm high and #bj cm wide 7#aj #h in471 and can be conveniently fastened on the corner of any table4 ,the resultant inks are of a fineness and quality which have not been bettered by large manufacturers4 ,,additions ,,to ,,the ,,inks4--,if it is desired that the inks should dry matt on the bromoil print1 so that the defatting with benzol may be omitted1 then one should add to the home-made inks a small quantity of one of the following mixtures3 7a7 ,beeswax #a g 7#ae gr472 melt by heat and add with stirring #bj drops of linseed oil4 ,as it cools a salve-like mass is formed4 ,or3 7b7 #a g 7#ae gr47 kieselguhr 7infusorial earth7 rubbed up with linseed oil to a quite thin fluid paste4 ,it should be noted that these mixtures1 in consequence of their content of linseed oil1 make the inks softer4 ,books on ,photography ,optics for ,photographers1 by ,hans ,harting1 ,ph4,d4 ,translated by ,frank ,r4 ,fraprie1 ,s4,m41 ,f4,r4,p4,s4 #bcb pages4 ,cloth1 #b4ej4 ,chemistry for ,photographers1 by ,william ,r4 ,flint4 #bnd edition4 #bah pages4 ,cloth1 #b4ej4 ,pictorial ,composition in ,photography1 by ,arthur ,hammond4 #bcd pages1 #di illustrations4 ,cloth1 #c4ej4 ,photo-,engraving ,primer1 by ,stephen ,h4 ,horgan4 #ha pages4 ,cloth1 #a4ej4 ,cash from ,your ,camera4 ,edited by ,frank ,r4 ,fraprie1 ,s4,m41 ,f4,r4,p4,s4 #hg pages4 ,paper1 #a4jj4 ,pictorial ,landscape ,photography1 by the ,photo ,pictorialists of ,buffalo4 #beb pages1 #ee illustrations4 ,cloth1 #c4ej4 ,photographic ,amusements1 by ,walter ,e4 ,woodbury4 #ith edition4 #abh pages1 #ajj illustrations4 ,cloth1 #a4ej4 ,practical ,color ,photography1 by ,e4 ,j4 ,wall1 ,f4,c4,s41 ,f4,r4,p4,s4 #bdh pages4 ,cloth1 #c4jj4 ,bromoil ,printing and ,bromoil ,transfer1 by ,dr4 ,emil ,mayer4 ,translated by ,frank ,r4 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