,transcriber's ,note ,italic text displayed as3 italic ,tinting and ,toning of ,eastman ,positive ,motion ,picture ,film ,price #b4ej ,second ,edition--,revised ,eastman ,kodak ,company ,rochester1 ,n4 ,y4 #aiah ,,preface ,owing to the difficulty of obtaining foreign made dyes1 a revision of the first edition of this publication has been made necessary4 ,as the result of an exhaustive series of tests of the products of the ,national ,aniline ,chemical ,company1 ,incorporated1 ,new ,york ,city1 it is now possible to recommend a number of ,american made dyes suitable for the tinting of motion picture film1 and those recommended in this book are in most cases equal in every respect to those previously obtained abroad4 ,to date1 it has not been possible to obtain a thoroughly satisfactory blue dye1 film tinted with the ,cine ,blue recommended being too red1 especially before drying4 ,a more suitable dye will no doubt be available in due course4 ,the number of sample tints has been curtailed to twelve1 and these are given merely for guidance4 ,it is intended that the various formulas should be altered to suit individual requirements4 ,the chapter on toning has been thoroughly revised1 a number of tones having been eliminated and others substituted4 ,the formula for the copper tone has been improved1 while the formulas for green tones requiring the use of vanadium chloride have been eliminated in view of the expense and difficulty of obtaining satisfactory vanadium chloride4 ,with the samples at present on the market it has not been possible to prepare a single-solution toning bath which would keep for any reasonable length of time4 ,attention is drawn to the new method of dye toning#a recently worked out in our ,research ,laboratory4 ,this consists in first treating the film in the copper toning bath and then immersing the washed film in a solution of a basic dye1 the dye attaching itself to the image and leaving the gelatine clear4 ,although specific directions are given for obtaining five tones only by this method1 as further dyes are available1 those suitable for toning purposes will be published in due course4 ,the method of producing sulphide tones has been changed to one of simple re-development with sodium sulphide1 the addition of hypo to the sulphide solution having been eliminated4 ,by commencing with thin positive film of the correct density1 and using a plain solution of sodium sulphide for re-development1 satisfactory transparent tones are obtainable with precision4 ,the formulas for the iron and uranium tones are the same as in the first edition4 ,,eastman ,,kodak ,,company1 ,,rochester1 ,n4 ,y4 ,august1 #aiah4 ,tinting and ,toning of ,eastman ,positive ,motion ,picture ,film ,in the production of motion picture film it is becoming more common to vary the color of the film either by toning or tinting or by a combination of the two processes4 ,toning consists in either wholly or partially replacing the silver image of the positive film by some colored compound1 the clear portions or highlights of the image1 consisting of plain gelatine1 remaining unaffected and colorless4 ,tinting1 on the other hand1 consists of immersing the film in a solution of dye which colors the gelatine itself1 causing the whole picture on the screen to have a veil of color over it4 ,,part ,i4 ,,tinting ,in 8tinting0 the following factors must be taken into consideration3 ,nature of the ,dye ,employed ,dyes are chemically of two different types1 acid and basic2 so-called acid dyes are the alkali salts of organic acids1 while basic dyes are the chlorides1 sulphates1 etc41 of organic bases4 ,for the tinting of film only 8acid0 dyes have been considered since it is not possible to make a complete selection from basic dyes alone1 which would necessitate the use of acid and basic dyes in admixture--a procedure highly undesirable and in many cases impossible4 ,any dye suitable for admixture with others to produce intermediate tints should possess the following properties3 ,a4 ,the dye should be inert and not attack the gelatine or support4 ,this is of fundamental importance as the gelatine coating of dyed film in many cases has a tendency to lose its flexibility1 giving rise to what is known in the trade as 8brittleness40 ,several dyes when employed at a concentration of #a attack gelatine readily at #gj degrees ,f4 and vigorously at #hj degrees ,f41 especially in presence of small amounts of acid1 producing a marked softening and often partial dissolution of the film4 ,the effect is roughly proportional to the concentration of the dye and to the temperature1 and varies with each individual dye4 ,experience has shown that the gelatine coating of film which has been softened in this way by the dye becomes 8brittle0 on subsequent projection4 ,the actual factors in the production of brittleness are3 #a4 ,the hydrolysing action of acid which in many cases is added to assist dyeing4 ,in case a solid acid is employed the heat encountered during projection will greatly accelerate this hydrolysis4 #b4 ,the corrosive action of the dye itself4 ,dyes vary considerably in this respect according to their particular composition4 ,so far1 it has not been possible to make any general classification of dyes in this connection1 though nitro compounds appear to be particularly corrosive in their action4 #c4 ,the presence of impurities in the dye4 ,these take the form of excessive amounts of loading material such as sodium sulphate or chloride1 or small traces of iron1 the latter having a tendency to harden the film considerably4 ,in all the above cases1 the physical nature of the gelatine is altered1 whereby it loses its property of remaining resilient under normal conditions of temperature and humidity1 resulting in 8brittleness40 ,a suitable test as to whether a dye has any propensity to produce brittleness is to incubate a sample of film1 half of which has been dyed1 for about #dh hours at #bab degrees ,f4 ,if any difference in brittleness is noticeable between the dyed and the undyed portions so treated after the film has been allowed to stand in the air for some time1 the dye is unsuitable for tinting4 ,apart from the above1 most dyes when used at a concentration of #a and at #hj degrees ,f4 produce more or less softening of the gelatine1 which may be prevented by3 7a7 ,use of only dilute solutions4 ,except in very special cases1 a dye solution stronger than #j4e is seldom required1 the usual strength employed being about #j4b1 at which concentration softening is unusual4 7b7 ,use of a minimum amount of volatile acid in the dye-bath or omission of the same whenever possible4 7c7 ,by working at temperatures not higher than #gj degrees ,f4 7d7 ,by slight hardening of the film before dyeing and subsequent softening by glycerine1 as described below3 ,b4 ,the dye should not 8bleed0 to any considerable extent when the film is washed2 in other words1 the rate of removal of the dye should be slow and only a slight amount should wash out in a period of1 say1 five minutes4 ,in tinting1 bleeding is of very considerable importance1 since1 during the periods between rinsing after dyeing and the placing of the film on the drying rack1 any drops of water on the surface of the film become more or less saturated with dye1 and these after drying remain as spots and irregular markings which are very apparent on the screen4 ,it is possible in some cases to modify this bleeding by an acid 8stop bath10 or by adding acid to the dye-bath2 though it may be considered a general rule that the bleeding of a dye is a property peculiar to itself4 ,in making a selection of dyes therefore1 it is necessary to choose only those whose propensity for bleeding is a minimum4 ,c4 ,the rate of dyeing should be only slightly affected by the addition of acid to the dye-bath1 although most acid dyes are more or less sensitive to acid4 ,in case the rate of dyeing is appreciably affected by the addition of acid it is possible to take advantage of this fact since a much weaker dye solution may be employed to obtain a given tint1 while an apparently exhausted bath may be revived by adding a small trace of acid4 ,only a volatile acid such as acetic acid should be used since this will evaporate on drying1 while the strength of the acid in the dye-bath should not exceed 4#je or one part in #bjjj1 otherwise softening of the gelatine is liable to occur1 especially if the temperature exceeds #gj ,f4 ,in the case of a bath containing a mixture of dyes1 owing to the fact that acid affects some dyes more than others1 as the dye-bath becomes exhausted and the acid content changes1 the tint obtained will gradually change also4 ,it is only possible therefore to use acid with any degree of certainty in the case of dye-baths containing a single dye4 ,d4 ,the dyes should not fade on exposure to heat or light and should not be 8dichroic0 or change color on dilution4 ,moreover1 the wear and tear of the film should not be impaired in any way after dyeing1 and even after incubating for #dh hours at #bab degrees ,f41 afterwards allowing the film to humidify1 no difference should be discernible between dyed and undyed film so treated4 ,e4 ,the dye should not be affected by the acid fixing bath since any fixing solution accidentally splashed thereon1 would destroy the dye immediately4 ,in view of the large number of tints required in commercial work1 it is undesirable to keep a separate dye-powder for the preparation of each particular bath1 but rather to prepare the same by admixture of three or more dyes4 ,if three only are employed1 mixing must be conducted with great precision in order to reproduce any given tint1 but this difficulty is removed by the use of intermediate colors4 ,the following six standard dyes have been chosen as fulfilling the above conditions as nearly as possible1 and by suitably mixing solutions of these1 almost any desired tint may be obtained4 ,name ,used in ,formula ,commercial ,name ,cine ,red ,serichrome ,blue ,r 0 ,scarlet ,crocein ,scarlet ,,moo 0 ,orange ,orange ,a ,concentrated 0 ,yellow ,niagara ,fast ,yellow 0 ,green ,ammaco ,acid ,green ,l 0 ,blue ,buffalo ,fast ,blue ,r ,these dyes are obtainable from the ,national ,aniline ,chemical ,co41 ,inc41 ,new ,york ,city4 ,the strength of the dyes may vary slightly from batch to batch1 but this variation is usually so small as not to materially affect the nature of the tint obtained from any particular formula4 ,the ,cine ,blue dye appears much redder by artificial light than by daylight1 especially before drying the film1 as do all tints containing ,cine ,blue4 ,the following formulas are given merely for guidance and should be altered to suit individual requirements4 ,when matching any color view only by artificial light4 ,,formulas ,,for ,,tinting ,,at #fe ,f4 ,tint ,number on ,chart ,avoirdupois ,metric ,time of ,tinting #a4 ,cine ,red #h ozs4 #bej grams ,acetic ,acid 7,glacial7 #c ozs4 #ajj grams ,water #ej gals4 #bjj liters #e minutes #b4 ,cine ,red #h ozs4 #bej grams ,water #ej gals4 #bjj liters #aj minutes #c4 ,cine ,scarlet #h ozs4 #bej grams ,acetic ,acid 7,glacial7 #c ozs4 #ajj grams ,water #ej gals4 #bjj liters #e minutes #d4 ,cine ,orange #h ozs4 #bej grams ,acetic ,acid 7,glacial7 #c ozs4 #ajj grams ,water #ej gals4 #bjj liters #d minutes #e4 ,cine ,orange #a lb4 #ejj grams ,water #ej gals4 #bjj liters #aj minutes #f4 ,cine ,yellow #h ozs4 #bej grams ,water #ej gals4 #bjj liters #aj minutes #g4 ,cine ,yellow #d ozs4 #abe grams ,cine ,green #h ozs4 #bej grams ,water #ej gals4 #bjj liters #aj minutes #h4 ,cine ,green #ac ozs4 #djj grams ,water #ej gals4 #bjj liters #aj minutes #i4 ,cine ,green #h ozs4 #bej grams ,cine ,blue #h ozs4 #bej grams ,water #ej gals4 #bjj liters #aj minutes #aj4 ,cine ,blue #h ozs4 #bej grams ,water #ej gals4 #bjj liters #aj minutes #aa4 ,cine ,blue #d ozs4 #abe grams ,water #ej gals4 #bjj liters #aj minutes #ab4 ,cine ,blue #h ozs4 #bej grams ,cine ,red #d ozs4 #abe grams ,water #ej gals4 #bjj liters #aj minutes ,method of ,mixing ,dissolve the solid dyes in as small an amount of hot water as possible1 and filter through fine muslin4 ,pour hot water over any residue remaining1 which should only be slight1 in order to ensure thorough solution of the dye1 and dilute the solution in the tank to the required volume at #fe degrees ,f4 ,nature of ,positive ,film ,only good snappy positive film may be successfully tinted1 since tinting tends to reduce contrast4 ,the depth of the tint obtained depends on the following factors3 ,nature and ,strength of the ,dye-bath ,except in special cases such as fire scenes1 sunset and moonlight effects1 and the like1 it is very undesirable to employ strong tints1 since apart from the displeasing effect and irritation to the eye1 the dyes produce a slight softening of the gelatine film when used at #hj degrees ,f4 in #a solution4 ,should it be necessary to employ concentrated baths in summer1 either cool the dye-bath or use a suitable hardener4 ,this will be unnecessary if hardener is employed in the fixing bath after development1 but otherwise if formalin 7#dj7 be added to the dye-bath to the extent of #a volume to #djj volumes of dye solution1 no trouble will be encountered4 ,during the winter months1 when it is advisable to treat all film after developing and fixing1 with glycerine1 the latter may be incorporated with the dye-bath1 thereby eliminating an extra operation4 ,the strength of the glycerine should be #b1 or two volumes per one hundred volumes of dye solution4 ,in most cases1 however1 the addition of glycerine considerably retards the rate of dyeing1 so that in order to obtain the same degree of tinting within a period of ten minutes1 the concentration of the dye-bath should be increased accordingly4 ,when delicate tints are employed1 the effect is both to remove the contrasty black and white effect1 and to add a touch of warmth to the black deposit of silver1 even in cases where the highlights are insufficiently stained to be noticeable4 ,the result in many cases is equal to that obtained by partial toning1 for example1 tint ,no4 #aa gives the effect of a blue-black tone4 ,temperature of ,dye-bath ,although temperature has little effect on the rate of dyeing with the dyes recommended1 when used without the addition of acid it is advisable in all cases to work at #fe to #gj degrees ,f4 in order to produce uniform results and remove any danger of softening the film4 ,time of ,dyeing ,in order to duplicate any particular tint with a given dye-bath the film may be dyed either by time or by inspection4 ,dyeing by time is reliable if the dye-bath does not contain acid1 though if acid is present1 in time the acidity decreases1 causing a slowing down of the rate of dyeing so that it becomes necessary to judge the progress of dyeing by inspection4 ,if two or more tints of the same color are required1 in order to reduce the number of individual dye-baths to a minimum1 it is better to vary the time of dyeing rather than to vary the dilution of the bath1 providing the time of dyeing for the lighter tint is not less than one minute1 which time is considered a minimum for the production of uniform results and for complete control of the dyeing operations4 ,the time of dyeing also depends somewhat on the previous handling of the film4 ,film which has been fixed in a bath containing ordinary1 or chrome alum1 dyes more quickly than that treated with plain hypo and hardened with formalin4 ,it is probable therefore1 that small traces of alum are left in the film even after prolonged washing1 which serve as a mordant for the dye4 ,the film samples herewith shown were fixed in the regular acid hypo bath1 so that if for any reason the tints indicated are not obtained in the time stated1 then either the time of dyeing or the dilution of the dye-bath should be altered accordingly4 ,should the film for any reason be over-dyed1 a small portion of the dye may be removed by washing for #aj to #ae minutes1 though the nature of the dyes will permit only slight mistakes to be rectified in this manner4 ,life of the ,dye-baths ,this averages about #dj1jjj feet per #ej gallons of dye-bath4 ,the baths may be revived at intervals by the addition of more dye1 though this procedure is uncertain and it is generally advisable to mix fresh solution4 ,the addition of a trace of acetic acid 7#a part in #ajjj7 will revive an apparently exhausted bath though as stated above1 it is only advisable to do this in the case of baths containing a single dye4 ,method of ,procedure ,either the 8drum0 or 8rack0 method may be employed1 and in either case after dyeing for ten minutes 7during which time the drum or rack should be agitated to ensure even dyeing and prevent accumulation of air bubbles7 the film should be given a thorough rinse in plain water4 ,before drying films on racks it is advisable to set the rack at a slight angle for a few minutes1 to enable the surplus water to drain off more readily through the perforations4 ,if drums are used for drying it is advisable to remove the surplus water by whirling the drum previous to drying4 ,if uniform results are to be obtained1 film should never be passed through the projector before either tinting or toning4 ,how to ,obtain ,intermediate ,tints ,the twelve tints above are given merely as examples2 other tints may be readily obtained by making a trial with a small amount of solution on a short length of film1 taking care to match the tint in artificial light and not by daylight1 since any dye containing ,cine ,blue appears redder by artificial light than by daylight4 ,when matching think of the tint as being made up of one or more of the colors1 red1 yellow1 and blue4 ,colors such as orange are made by mixing yellow and red1 violet by mixing red and blue1 and green by mixing yellow and blue4 ,browns are obtained by mixing all three colors red1 yellow1 and blue4 ,when comparing any two particular tints1 it is usual to say that one is redder1 yellower or bluer than the other1 and the two may therefore be matched accordingly4 ,choice of ,tint ,almost any tint if delicate may be employed with advantage1 though for general use those ranging through pink1 rose1 orange1 yellow1 pale green and pale blue are to be recommended2 others are for special purposes4 ,it is always desirable to obtain harmony in color1 especially when combining tinting with toning1 so that the combination is pleasing to the normal eye4 ,for local tinting and hand coloring1 the above dyes are likewise satisfactory4 ,,troubles ,,in ,,tinting ,streaks and ,uneven ,coloring ,cause a4 ,grease on the film4 ,never project film before tinting4 b4 ,slight bleeding and insufficient squeegeeing when on the drying rack4 ,always carefully remove any surface moisture from the film with a damp chamois1 before drying4 ,sludge in the ,dye-bath ,this is due to the precipitation of the dye by small traces of alum or iron in the water supply4 ,in many localities water is purified by adding alum1 and only the smallest trace need be present to throw some of the dye out of solution4 ,frothing of the ,dye-bath ,this occurs only when tinting on the drum with ,cine ,scarlet1 ,cine ,orange1 and ,cine ,green1 but no inconvenience will be caused if the drum is revolved slowly4 ,,footnotes3 #a ,the patent rights to this method are being secured by us1 but it may be freely used for toning motion picture film manufactured by the ,eastman ,kodak ,company4 ,,part ,,ii4 ,,toning ,as distinct from tinting1 a toned image consists of a color image embedded within a layer of colorless gelatine1 so that while the highlights are clear1 the shadows are colored4 ,the coloring matter may consist of an inorganic colored compound or a dye1 or of a mixture of both1 and by wholly or partially replacing the black and white silver image by one or more of these substances1 a colored image is produced4 ,it is1 of course1 important that the colored compound should be as transparent as possible so that the full tone will be apparent on projection4 ,in this respect1 while some samples of toned film appear colored in the hand1 they produce a substantially black and white image on projection1 so that when judging any particular tone1 it is absolutely necessary to view the image on the screen4 ,of the various inorganic colored compounds1 the metallic ferrocyanides are the most suitable for toning purposes of which3 ,iron 7ferric7 ferrocyanide is blue1 ,copper ferrocyanide is red1 and ,uranium ferrocyanide is reddish brown4 ,it is the object in toning to replace the metallic silver composing the image more or less by one of the above compounds or by a mixture of these4 ,in this way intermediate tones are obtained4 ,toning may be effected either by a single solution process or a two solution process4 ,two ,solution ,process ,this consists of first converting the silver image into silver ferrocyanide by a suitable bleaching bath1 thoroughly washing1 and acting upon the ferrocyanide image with a metallic salt1 usually in presence of an acid1 the metallic ferrocyanide being produced by double decomposition4 ,the reaction1 however1 is never complete1 so that the image is mixed with undecomposed silver ferrocyanide which tends to make the image opaque1 but at the same time it also adds 8body0 to the latter4 ,providing allowance is made in the original positive for this intensification1 good tones are obtained4 7,see ,tone ,g47 ,single ,solution ,process ,instead of the two separate baths used above1 a single solution may be employed consisting of a metallic ferricyanide dissolved in a suitable solvent 7say1 an alkali salt of citric1 tartaric1 or oxalic acids7 in presence of an acid and certain other salts4 ,on immersion of the positive film in this solution the silver image is converted to silver ferrocyanide1 while the colored ferrocyanide is formed simultaneously and combined with it4 ,in either of the above cases in view of the fact that the metallic ferrocyanide is deposited in a colloidal condition in presence of the gelatine of the film1 its state of division and the nature of the tone are usually affected by the presence of certain salts1 changes of temperature1 concentration of the baths and other factors which must be maintained constant in order to obtain uniform results4 ,with such single baths it is possible to secure tones which are unobtainable by a two solution process1 though as such single solutions are sensitive to light and rapidly attack foreign metals which may be present in the shape of faucets1 etc41 such solutions are comparatively unstable and require care in their use4 ,,dye ,,toning ,owing to the limited number of colored inorganic compounds available for toning purposes1 it is possible to obtain only a limited range of tones by the above methods4 ,in view of the possible wide range of colors obtainable by the use of dyes1 it has long been considered that a satisfactory method of producing a dye image would be the ideal method for toning purposes4 ,as a result of recent work in our ,research ,laboratory1 it is now possible to recommend such a method of toning which depends upon the fact that certain inorganic compounds1 including copper ferrocyanide1 have the property of mordanting certain basic dyes1 so that when they are immersed in a solution of the dye the latter attaches itself to the mordant1 which in turn becomes colored4 ,the most suitable dyes for dye toning are those which do not readily dye gelatine so that on immersing1 say1 a sample of copper toned film in a weak solution of the dye containing a little acid1 the dye becomes mordanted to the image1 while the highlights consisting of clear gelatine remain colorless1 the resulting tone being a combination of the color of the toned film and the dye4 ,full particulars are given under tones ,j1 ,k1 ,l1 ,m and ,n4 ,nature of the ,positive to be ,toned ,since most toning processes either intensify or reduce the original image1 in order to obtain uniform results1 commence toning with positive film of the correct density4 ,three standards of positive film have been chosen3 ,thin1 ,medium and ,normal4 7,see chart47 ,the 8,thin0 and 8,medium0 standards are obtained by giving a slight overexposure and a shorter time of development4 ,the exact degree of intensification which takes place in any particular case will soon be learned after a few trials4 ,nature of the ,developer ,any good ,elon-,hydrochinon1 ,kodelon-,hydrochinon1 or straight ,hydrochinon formula will give satisfactory tones1 though in the case of ,tone ,g an ,elon-,hydrochinon developer is essential in order that a rich olive color may be obtained4 ,for toning1 it is necessary that the developed film should be entirely free from fog1 since a thin veil becomes intensified in most of the toning processes4 ,fog may be caused by3 7a7 ,oxidation of the developer1 noticeable by the brown coloration produced after continued use4 ,the remedy is to renew the developer4 7b7 ,carelessness in compounding the developer4 ,the usual mistake consists in adding the carbonate to the ,elon and ,hydrochinon without previously adding a portion of sulphite to prevent oxidation4 ,it is not advisable1 however1 to add the whole of the sulphite to the ,elon and ,hydrochinon in the first place1 otherwise the ,elon may precipitate4 ,mixing the developer with water which is too warm will often cause fog4 7c7 ,the presence of copper1 brass1 and tin1 the fumes from sodium sulphide1 etc41 in the developing baths are to be strictly avoided4 ,a salt of copper if present only to the extent of one part in #aj1jjj will produce fog on cine positive film4 ,fixing ,this operation should be complete and1 if possible1 carried out in two consecutive baths and followed by thorough washing1 otherwise uneven coloring will result4 ,in order to eliminate any possibility of uneven toning it is always advisable to tone immediately after washing and before drying4 ,control in ,toning ,as in the case of tinting1 the nature of the tone obtained with the various solutions depends on the following factors3 a4 ,the nature and dilution of the toning solutions4 ,except in those cases where it is recommended to revive the bath by adding more acid1 it is not advisable to modify the composition or dilution of the various solutions1 as these have been adjusted to give the best results4 b4 ,temperature of toning4 ,in most cases a change of temperature from #fj to #gj degrees ,f4 has merely the effect of changing the time of toning4 ,it is advisable1 however1 to maintain the temperature of the various solutions between #fe degrees and #gj degrees ,f4 c4 ,time of toning4 ,except in the case of tones ,f and ,g when toning proceeds to a limit1 the nature of the tone produced varies with the time of toning1 reaching a limit in from #aj to #ae minutes1 so that in a shorter time intermediate tones are produced4 ,since most of the toning processes intensify the original image1 if an intermediate tone is required1 it is usually necessary to commence toning with denser film than when toning is to be carried to the limit4 ,see tones ,b1 ,c and ,d4 ,when producing intermediate tones1 it is therefore possible either to tone in the normal bath for a given time or in a diluted bath for a longer time4 ,in order to reduce the number of individual toning baths to a minimum it is recommended to vary the time of toning rather than to vary the dilution of the bath and to judge the tone by inspection4 ,since the strength of the toning bath falls off with use1 inspection is necessary in all cases except ,tones ,f and ,g4 ,before commencing work with any bath1 it is advisable to make a test on a short length of film4 ,permanency of ,tones ,the permanency of the tones produced largely depends on the care exercised throughout the various operations4 ,the silver sulphide image may be considered permanent1 though in the other cases1 where more or less silver ferrocyanide is present1 the toned image is not absolutely permanent1 being somewhat soluble in hypo and affected by fumes of sulphuretted hydrogen4 ,in the case of the iron and uranium tones1 the colored ferrocyanides are dissolved by alkali such as sodium carbonate1 so that the toned film should not be washed for too long a time in water which is at all inclined to be alkaline4 ,in no case however1 if the instructions are carefully followed will the toned image deteriorate during the active life of the film4 ,moreover1 so far as can be ascertained1 the wear and tear of film which has been toned by the methods recommended is in no way impaired1 though by virtue of the hardening action of most of the toning baths on the gelatine it is advisable1 especially during the winter months1 to immerse the film for three or four minutes in the usual #b glycerine bath after toning4 ,should film have to be stored for long periods of time1 toning is inadvisable1 nor is it advisable to tone valuable film unless duplicates are available4 ,the life of the toning bath has been carefully investigated in each case1 the term 8life0 being considered as the total length of film capable of being toned by a given volume of fresh solution when toning is conducted continuously and without interruption4 ,in all cases it is false economy to exhaust a toning bath to the limit and thus obtain inferior tones1 since the cost of the chemicals employed is insignificant compared with the value of the film being treated4 ,since the figures given represent the capacity of the bath for toning under the best conditions1 they only apply providing the baths are kept covered as far as possible when not in use1 to exclude light1 and providing no foreign metallic surface1 however small1 is allowed to come into contact with the solution4 ,as mentioned above1 single solution baths are not intended for occasional use4 ,in such cases two-solution methods should as far as possible be employed1 although it has only been possible to recommend the latter for the production of sulphide and blue-green tones4 ,stability of the ,solutions ,all toning solutions containing potassium ferricyanide are sensitive to light1 the ferricyanide being reduced to ferrocyanide4 ,therefore when not in use the tanks should be carefully covered so as to screen the solutions from sunlight4 ,it is also very important that no metallic surface however small should come in contact with the solutions2 any metal pegs on the racks or pins used to hold the film together will gather the tone in preference to the film1 causing the formation of sludge4 ,plain wooden racks with or without wooden pegs should be used1 and metal faucets replaced by wooden plugs4 ,if any considerable amount of sludge forms in the tank at any time1 it is due either to incorrect mixing1 the action of light1 or to the presence of foreign metallic substances4 ,,tone ,a ,tone ,a ,red 7,copper7 ,positive ,employed--,normal ,after immersion of the well washed film in water for one minute1 bathe in the following3 ,avoirdupois ,metric ,copper sulphate #a lb4 #aa ozs4 #hjj grams ,ammonium citrate 7neutral7 #e lbs4 #c ozs4 #bejj 0 ,potassium ferricyanide #a lb4 #aa ozs4 #hjj 0 ,ammonium carbonate #ac ozs4 #djj 0 ,water to #ej gals4 #bjj liters ,dissolve each ingredient separately in as little water as possible1 mix the filtered solutions so obtained in the order given1 and dilute to the required volume4 ,the solution obtained should be light green in color and perfectly clear4 ,the ammonium carbonate should be almost transparent and free from white powder1 and should be dissolved in cold water1 while the ammonium citrate employed should be neutral4 ,most samples contain acid1 which acid would neutralize the ammonium carbonate and affect the resulting tone4 ,the free acid is usually citric acid1 and should be neutralized with a solution of ammonia using litmus as indicator4 ,temperature of ,toning--,to obtain the best results the temperature of the bath should be from #fe degrees to #gj degrees ,f4 ,time of ,toning--,five to ten minutes4 ,time of ,washing--#aj minutes4 ,life of ,bath--,with use the bath precipitates a brown sludge of copper ferrocyanide1 and in consequence becomes weaker by virtue of the loss of copper1 though #ej gallons of the solution will tone about #aj1jjj feet of film4 ,it is necessary to keep the film entirely submerged in the tank1 or constantly in motion when on the drum1 otherwise if the film is frequently examined1 especially during the first few minutes of toning1 streaks are liable to occur4 ,,tone ,b ,tone ,b ,red 7,uranium7 ,positive ,employed--,thin4 ,immerse the well washed film in the following3 ,avoirdupois ,metric ,uranium ,nitrate 7,neutral7 #af ozs4 #ejj grams ,potassium ,oxalate 7,neutral7 #af ozs4 #ejj grams ,potassium ,ferricyanide #f ozs4 #bjj grams ,ammonium ,alum #b lbs4 #abjj grams ,hydrochloric ,acid #aj #a quart #ajjj cc4 ,water to #ej gals4 #bjj liters ,mix in the order given4 ,the solution obtained should be perfectly clear and pale yellow in color4 ,in view of the fact that the nature of the tone is influenced largely by the acid content1 it is very important that the uranium nitrate should contain no free acid1 and this may be assured by neutralizing a solution with dilute ammonia until a slight permanent precipitate is obtained4 ,it is convenient to keep stock solutions of the above 7say1 #aj solutions7 from which a new bath may be expeditiously compounded4 ,a #aj hydrochloric acid solution is one containing #aj parts by volume of the concentrated acid per #ajj volumes of the final solution4 ,temperature of ,toning--#fe degrees to #gj degrees ,f4 ,time of ,toning--,ten minutes4 ,since this and the following single solution methods of toning produce a marked intensification of the silver image--which intensification increases with the time of toning--it follows that the nature of the tone changes with time also4 ,the composition of the bath has been so adjusted that the maximum effect is produced in about #aj minutes1 the tone passing through a series of changes from brown to red during this time4 ,it is therefore possible to obtain intermediate tones by withdrawing the film from the bath at shorter intervals1 though in such cases the contrast of the original black and white film should be adjusted accordingly1 since with slight toning very little intensification takes place4 7,see tones ,c and ,d47 ,time of ,washing--,ten to fifteen minutes4 ,the highlights will become clear in the above time1 though a thin yellowish brown veil may remain in the clear gelatine as a result of the intensification of minute traces of fog1 but this has no effect on projection4 ,if the bath is working correctly the yellowish veil is only just perceptible1 but if appreciably visible1 then either the film was fogged during development1 or the bath was not compounded correctly4 ,washing should not be carried out for too long a period1 especially with water inclined to be alkaline1 because the toned image is soluble in alkali4 ,life of ,bath ,fifty gallons of solution will tone about #ejjj feet of film without any appreciable change in the tone1 after which the rich tone tends to flatness as a result of a deficiency of acid in the bath4 ,at this point the bath may be revived by the further addition of acid to the extent of the original amount1 when a further #ejjj feet may be toned4 ,at this stage the richness of tone falls off rapidly and the bath should be thrown away4 ,used intermittently over a period of several days the life of the bath is approximately the same4 ,with continued use a slight brownish flocculent precipitate may form in the bath1 but this should only be slight1 otherwise it is caused by incorrect mixing1 the action of light1 or by contact with a metallic surface4 ,,tone ,c ,tone ,c--,red ,brown 7,uranium7 ,positive ,employed--,medium ,the toning formula employed and the instructions to be followed are the same as for ,tone ,b1 the time of toning being about #e minutes at #fe degrees to #gj degrees ,f4 ,,tone ,d ,tone ,d--,brown 7,uranium7 ,positive ,employed--,normal ,the toning formula employed and the instructions to be followed are the same as for ,tone ,b1 the time of toning being about #c minutes at #fe degrees to #gj degrees ,f4 ,,tone ,e ,tone ,e--,sepia 7,uranium and ,iron7 ,this particular tone is obtained by suitable mixture of red and blue toning solutions4 ,by varying the proportions of these baths1 tones varying from red to sepia may be obtained4 ,the following is only one of the many tones produced by this method4 ,increase in the proportion of the iron bath makes the tone colder1 and vice versa4 ,positive ,employed--,medium ,immerse the well washed film in ,solution for tone ,b 7red brown7 #e vols4 ,solution for tone ,h 7blue7 #a vol4 ,time of ,toning #c to #d minutes at #fe degrees to #gj degrees ,f4 ,the instructions regarding method of procedure1 life of bath1 etc41 are exactly the same as for tone ,b4 ,,tone ,f ,tone ,f 7,sulphide7 ,positive ,employed ,with a thin positive a warm brown tone is obtained1 while with denser film the effect is that of a blue-black tone4 ,avoirdupois ,metric ,a4 ,potassium ,ferricyanide #h lbs4 #e ozs4 #djjj grams ,potassium ,bromide #b lbs4 #b ozs4 #ajjj grams ,water to #ej gals4 #bjj liters ,b4 ,sodium ,sulphide 7crystal7 #b lbs4 #b ozs4 #ajjj grams ,water to #ej gals4 #bjj liters ,a trace of iron in the sodium sulphide will do no harm providing the solution is boiled and the precipitated iron sulphide allowed to settle before use4 ,the well washed positive is thoroughly bleached in ,a1 washed for #e minutes1 and immersed in solution ,b until the film is thoroughly toned4 ,temperature of ,toning--#fe degrees to #gj degrees ,f4 ,time of ,toning--,four to five minutes4 ,time of ,washing--,ten to fifteen minutes4 ,life of ,baths ,the toning baths ,a and ,b are comparatively stable and will keep until exhausted4 ,,tone ,g ,tone ,g--,olive ,green 7,iron7 ,positive ,employed--,thin to medium4 ,the best tones are only obtainable on film developed in an ,elon-,hydrochinon developer4 ,thoroughly bleach the well washed film in3 ,avoirdupois ,metric ,a4 ,potassium ,ferricyanide #bj lbs4 #ab ozs4 #aj1jjj grams ,ammonia 7concentrated 4#hi7 gal4 #b liters ,water to #ej gals4 #bjj liters ,time of ,bleaching--,two to five minutes4 ,after washing for #aj to #ae minutes1 tone in the following at #fe degrees to #gj degrees ,f43 ,avoirdupois ,metric ,b4 ,ferric ,alum 7,ferric ,ammonium ,sulphate7 #d lbs4 #b ozs4 #bjjj grams ,potassium ,bromide #b lbs4 #b ozs4 #ajjj grams ,hydrochloric ,acid 7concentrated7 #ac ozs4 #djj cc4 ,water to #ej gals4 #bjj liters ,time of ,toning ,toning should be complete in from #c to #e minutes4 ,time of ,washing--,ten to fifteen minutes4 ,if the highlights are stained blue1 or if the image will not completely tone in the shadows1 this is due to insufficient washing after bleaching4 ,when bleaching1 it is important to examine the film as little as possible1 otherwise streaks are liable to be produced due to the action of the air at those parts where the solution drains off the film4 ,it is also important to tone immediately after bleaching and washing4 ,life of ,baths ,bleach ,a4 ,providing the solution is screened from the light and kept covered to prevent the undue escape of ammonia1 the bath keeps fairly well1 but if it shows any signs of weakening1 it should be revived by the addition of a further quantity of ammonia equal in amount to that originally used4 ,if so revived at intervals1 #ej gallons will bleach #dj1jjj feet of film before exhaustion4 ,solution ,b4 ,fifty gallons of solution ,b will tone #cj1jjj feet of film without further addition of acid1 when it should be thrown away4 ,,tone ,h ,tone ,h ,blue 7,iron7 ,positive ,employed ,thin or ,medium1 according to result desired4 ,tone in the following3 ,avoirdupois ,metric ,potassium ,bichromate #ge grains #e grams ,ferric ,alum 7,ferric ammonium sulphate7 #h ozs4 #he grs4 #bej grams ,oxalic ,acid #a lb4 #d ozs4 #fjj grams ,potassium ,ferricyanide #f ozs4 #bjj grams ,ammonium ,alum #b lbs4 #b ozs4 #ajjj grams ,hydrochloric ,acid #aj #f ozs4 #bjj cc4 ,water to #ej gals4 #bjj liters ,the method of compounding this bath is very important4 ,each of the solid chemicals should be dissolved separately in a small quantity of warm water1 the solutions allowed to cool1 filtered into the tank strictly in the order given1 and the whole diluted to the required volume4 ,if these instructions are followed1 the bath will be a pale yellow color1 perfectly clear1 and will remain so for a considerable period4 ,time of ,toning--,five to ten minutes at #gj degrees ,f4 ,time of ,washing ,wash for ten to fifteen minutes until the highlights are clear4 ,a very slight permanent yellow coloration of the clear gelatine will usually occur1 but should be only just perceptible1 when it will have no effect on projection4 ,if the highlights are stained blue1 then either the film was fogged during development or the bath was not compounded correctly4 ,washing should not be carried out for too long a period1 especially with water inclined to be alkaline1 because the toned image is soluble in alkali4 ,life of ,bath ,if the acid is renewed to the extent of the original amount after toning each #ejjj feet1 the bath is capable of toning #ae1jjj feet per #ej gallons of solution4 ,if even after revival1 the tone remains flat1 the bath is exhausted and should be thrown away4 ,after continued use1 a slight bluish sludge will collect in the bath1 but this is not harmful4 ,should this form1 however1 to any appreciable extent1 it is due either to incorrect mixing1 the action of light1 or to contact with metallic surfaces4 ,,tone ,i ,tone ,i--,pale ,blue 7,iron7 ,the instructions are as for ,tone ,h with the following modifications3 ,positive ,employed--,normal4 ,time of ,toning--,two to four minutes according to depth of tone desired4 ,,new ,,tones ,,tone ,j ,tone ,j--,red 7,dye ,tone7 ,by first toning in ,tone ,a1 washing1 and then immersing the copper toned film in an acid solution of a basic dye1 the dye is mordanted to the toned image1 thus modifying the color4 ,nature of ,positive--,medium ,tone for five to ten minutes in solution as for ,tone ,a1 and after washing for ten minutes immerse in the following dye-bath4 ,avoirdupois ,metric ,safranine ,a 7,national ,aniline and ,chemical ,co41 ,inc47 #g ozs4 #bjj grams ,acetic ,acid 7,glacial7 #cb ozs4 #ajjj cc4 ,water to #ej gals4 #bjj liters ,time of ,toning ,five to ten minutes1 according to depth desired4 ,temperature of ,toning--#fe degrees to #gj degrees ,f4 ,time of ,washing ,usually only a slight rinse in water is necessary4 ,if the highlights are stained1 the film should be washed for five or ten minutes or until clear4 ,stained highlights are caused either by insufficient washing after toning1 too strong a dye-bath1 or an incorrect amount of acid in the dye-bath4 ,,tone ,k ,tone ,k--,orange 7,dye ,tone7 ,the instructions are exactly as for ,tone ,j1 substituting the following dye-bath4 ,avoirdupois ,metric ,chrysoidin #c,r 7,national ,aniline and ,chemical ,co41 ,inc47 or ,chrysoidin ,y 7,extra7 #b ozs4 #cbj grs4 #hj grams ,acetic ,acid 7,glacial7 #cb ozs4 #ajjj cc4 ,water to #ej gals4 #bjj liters ,,tone ,l ,tone ,l--,violet 7,dye ,tone7 ,the instructions are exactly as for ,tone ,j1 substituting the following dye-bath3 ,avoirdupois ,metric ,methyl ,violet 7,national ,aniline and ,chemical ,co41 ,inc47 #b ozs4 #cbj grs4 #hj grams ,acetic ,acid 7,glacial7 #cb ozs4 #ajjj cc4 ,water to #ej gals4 #bjj liters ,intermediate ,dye ,tones ,the depth of the dye tone is determined by the time of immersion both in the copper toning bath and in the dye-bath4 ,pale tones may therefore be obtained either by giving a short bath in ,tone ,a and fully dyeing1 or by toning for a longer time and giving a short immersion in the dye-bath4 ,by mixing the dye-baths ,j1 ,k1 and ,l in varying proportions intermediate colors may be obtained just as in tinting4 ,,tone ,m ,tone ,m--,pale ,red 7,dye ,tone7 ,positive ,employed--,normal ,tone for one to two minutes in ,tone ,a1 wash for ten minutes and then immerse in the following dye-bath4 ,dye solution for ,tone ,j1 one volume4 ,dye solution for ,tone ,k1 one volume4 ,when the desired tone is obtained rinse until the highlights are clear4 ,compound ,tones ,,tone ,n ,tone ,n--,copper-,iron-,dye ,tone4 ,by first partially toning the black and white film 7,medium7 in ,tone ,a for three to four minutes at #fe degrees to #gj degrees ,f41 so that the half-tones are completely toned but the shadows only partially1 washing for ten minutes and then completing the toning process in the blue toning bath ,h1 the residual silver in the shadows is toned blue4 ,in this way a double tone is obtained1 the shadows appearing dark blue and the half-tones reddish brown4 ,by immersing the film toned in this manner in the ,chrysoidin dye-bath as given under ,tone ,k1 the dye is mordanted to the half-tones which contain copper ferrocyanide1 producing the effect indicated4 ,combined ,tinting and ,toning ,in many cases pleasing effects may be obtained by tinting film which has already been toned1 the result being that the clear portions or highlights assume the color of the dye1 while the shadows and half-tones project a tint intermediate between that of the dye and the toned deposit4 ,considerable judgment is necessary1 however1 in choosing suitable tints to blend with any given tone4 ,the most successful combination of toning with tinting is in the production of sunset and moonlight effects over water1 by first toning blue and then tinting orange1 red or yellow4 ,the following combinations will cover most cases required3 ,tones ,a1 ,b1 ,c1 ,d1 ,e1 ,f1 ,j1 ,k1 ,l4 ,tints ,nos4 #b1 #e1 #f4 ,tones ,g1 ,h1 ,i4 ,tint almost any delicate shade4 ,it is considered unnecessary to illustrate every combination of tone and tint above1 so that only typical examples are given4 ,it must be noted that toned film 7except tones ,a and ,f7 absorbs the dye more quickly than untoned film1 so in order to duplicate appended samples1 the dye-baths should be diluted accordingly4 ,very pleasing effects may also be obtained by locally tinting toned film1 the color being applied either by hand with a brush1 or by stencilling4 ,equipment ,the equipment necessary for systematic tinting and toning is essentially the same as that required for development1 consisting of the usual tanks and racks or small drums1 only it is advisable that they should be used for this purpose exclusively and1 if possible1 occupy a separate room to exclude any possibility of contaminating the developing solutions by the copper or sulphiding bath1 which would cause development fog immediately4 ,the 8drum0 system1 on account of the expense involved in apparatus and the larger space required for manipulation1 is not to be recommended for tinting and toning operations1 though for operation on a small scale1 a small wooden drum revolving in a shallow wooden tank is most efficient and economical4 ,when the tank and rack system is employed1 the tanks should be of slate or other resistive material1 and have an outlet at the bottom in the form of a hard-rubber stopcock or a plain wooden plug4 ,the racks or drums may be of wood1 but if metal pegs are employed on the racks they should be coated with acid-resisting paint such as asphalt1 since the presence of any metallic surface in the toning baths will cause contamination and effect a precipitation of sludge4 ,the frames should not be interchanged but kept separate either for tinting or toning to prevent contamination of one bath with racks previously employed in another4 ,this also applies to the small drum system4 ,for instance1 a pink tint would be ruined by using a rack which had previously been immersed in a deep blue dye-bath1 unless that particular rack had been thoroughly washed4 ,in the case of delicate tinting1 however1 no harm is done providing the racks have been previously coated with the following waterproof varnish3 ,avoirdupois ,metric ,hard paraffin #c lbs4 #afjj grams ,carbon tetrachloride #aj gals4 #dj liters ,before treatment it is preferable to immerse the racks which have been previously used for developing1 in a #a solution of hydrochloric acid for two or three minutes1 wash for fifteen minutes and thoroughly dry4 ,the well-dried racks are then dipped in the above solution and the excess liquid drained off1 when the varnish dries almost immediately4 ,the varnishing should be repeated at intervals4 ,mixing ,solutions ,developers1 toning solutions and dyes should be mixed in crocks of glazed earthenware or enameled iron1 using warm water where necessary and ensuring thorough solution by stirring with a wooden paddle1 which should be thoroughly washed after each operation4 ,having thus dissolved the chemicals in as small a quantity of warm water as possible1 filter through fine muslin and make up the bath with cold water1 so that the final solution will be at approximately the correct temperature4 ,the chemicals employed should be pure 7for the samples1 8,e,k,co40 tested chemicals were used71 and in cases where a good water supply is not available1 only distilled water should be used4 ,troubles in ,toning ,most difficulties met with in toning may be traced to one or more of the following causes3 ,uneven ,toning ,this may be due to3 a4 ,grease on the film4 ,never project film before tinting or toning4 b4 ,drying spots on untoned film4 ,if possible1 always tint or tone film immediately after washing and before drying4 c4 ,examination of the film too frequently during toning1 causes an oxidation of the toning solution in places where the solution fails to drain from the film4 d4 ,insufficient or uneven washing of the film after bleaching and before toning 7,tones ,f and ,g74 ,white ,spots ,white spots are produced by particles of hypo or carbonate dust or splashes of a solution of these1 settling on the toned film4 ,the toned image consists of silver together with more or less silver ferrocyanide and the ferrocyanides of uranium1 iron and copper as the case may be4 ,silver ferrocyanide is soluble in hypo while uranium and iron ferrocyanides are soluble in a solution of sodium carbonate1 strong ammonia1 etc41 so that the white spots indicate those parts where the toned image has been dissolved away4 ,irregular white spots may also be formed if the film is imperfectly squeegeed after washing and before drying1 especially if the wash water is slightly alkaline4 ,when a spot of water on the toned film evaporates1 the small amount of alkali present in the water becomes more concentrated and finally dissolves away more or less of the tone1 leaving a white spot on the film4 ,white spots due to these causes may be prevented by immersing the film for a few seconds in a 4#e solution of glacial acetic acid after toning and before placing on the drying rack4 ,stained ,highlights ,are caused by3 a4 ,traces of fog on the film before toning4 b4 ,an improperly compounded toning bath4 ,all solutions when new should be perfectly clear4 c4 ,premature exhaustion of the bath4 ,this is due either to the action of light or to the presence of some metal in the tank in the shape of screw heads1 faucets1 pins1 etc41 which gather the tone and cause the formation of sludge4 ,it is important to keep all solutions containing potassium ferricyanide exposed as little as possible to daylight1 to use only wooden racks with wooden pegs1 and to cover all metal parts very carefully with acid resisting paint4 d4 ,in dye-toning1 stained highlights are due either to insufficient washing after toning with copper1 too strong a dye-bath1 or an incorrect amount of acid in the dye-bath4 ,tints ,illustration3 #a ,illustration3 #b ,illustration3 #c ,illustration3 #d ,illustration3 #e ,illustration3 #f ,illustration3 #g ,illustration3 #h ,illustration3 #i ,illustration3 #aj ,illustration3 #aa ,illustration3 #ab ,illustration3 tint ,illustration3 tint ,illustration3 tint ,illustration3 tint ,illustration3 tint ,illustration3 tint ,illustration3 tint ,illustration3 tint ,illustration3 tint ,illustration3 tint ,illustration3 tint ,illustration3 tint ,tones ,illustration3 ,thin ,illustration3 ,medium ,illustration3 ,normal ,illustration3 ,a ,illustration3 ,b ,illustration3 ,c ,illustration3 ,d ,illustration3 ,e ,illustration3 ,f ,illustration3 ,g ,illustration3 ,h ,illustration3 ,i ,illustration3 tones ,illustration3 tones ,illustration3 tones ,illustration3 tones ,illustration3 tones ,illustration3 tones ,illustration3 tones ,illustration3 tones ,illustration3 tones ,illustration3 tones ,illustration3 tones ,illustration3 tones ,tinted and ,toned ,illustration3 ,j ,illustration3 ,k ,illustration3 ,l ,illustration3 ,m ,illustration3 ,n ,illustration3 ,tone ,j ,tint #f ,illustration3 ,tone ,c ,tint #a ,illustration3 ,tone ,c ,tint #d ,illustration3 ,tone ,c ,tint #f ,illustration3 ,tone ,h ,tint #b ,illustration3 ,tone ,h ,tint #f ,illustration3 ,tone ,h ,tint #h ,illustration3 tinted and toned ,illustration3 tinted and toned ,illustration3 tinted and toned ,illustration3 tinted and toned ,illustration3 tinted and toned ,illustration3 tinted and toned ,illustration3 tinted and toned ,illustration3 tinted and toned ,illustration3 tinted and toned ,illustration3 tinted and toned ,illustration3 tinted and toned ,illustration3 tinted and toned ,transcriber's ,notes pg #bi ,changed3 the tanks shoud be of slate to3 the tanks should be of slate