THE REDUCTION AND TONING OF BROMIDE PRINTS
The subsequent manipulations with bromide paper do not differ materially
from those with negatives. The support being paper of course makes some
difference and the fact that while in the negative we aim to get printing
density and printing color only, in the positive we aim to please the eye,
makes another. But generally speaking, it may be said that whatever we can
do with the negative we can do with bromide paper, that is, in so far as
the emulsion itself is concerned.
The first operation to be taken up is the reduction of prints which are
too dark. This can best be effected just after the prints come from the
hypo. A few grains of red prussiate of potash are dissolved in a suitable
quantity of water, the latter being barely tinged, not of a strong yellow
color. If the print is too dense throughout, it can be immersed without
previous washing in this solution. Reduction should take place gradually,
and this is best accomplished with a weak reducer. If the tray be rocked
gently the reduction will be quite uniform. If, however, only a portion of
the print needs reduction, this can be effected by applying the
ferricyanide solution locally with a brush or bit of absorbent cotton.
Extreme care is needed in this operation. In this way unduly deep shadows
can be softened, veiled high lights brightened, or almost any modification
obtained which may be deemed desirable. When reduction is almost completed
quickly rinse the print in running water and then wash thoroughly. If the
print has been dried, it is only necessary to soak it for a few moments in
a fresh fixing bath, when the ferricyanide can be applied as before.
Latterly the toning of bromide prints has become popular. There are many
methods and innumerable formulae. Here we shall concern ourselves with the
sulphide method which best fulfills the three chief requirements, namely:
(1) Certainty of results; (2) the use of few baths; (3) the production of
permanent prints. Processes which, as regards color, vigor, etc., are
beyond the control of the worker, are of very little practical use.
Equally so, if the toning involves a whole string of operations, the final
outcome of which is usually--a spoilt print. And, lastly, a process
which--however satisfactory it may be in other respects--impairs the
undoubted permanency of a black-developed print is not one worthy of
adoption. In one or two other respects, processes vary chiefly as regards
the depth or intensity which the print must have in order to produce the
most satisfactory result when toned. Thus, prints to be toned with uranium
require to be distinctly on the pale side, whilst those for sulphide
toning are best a little vigorous. One or two other methods, on the other
hand, require the use of the costly gold or platinum salts. The latter,
except under exceptional circumstances, are far better employed in the
legitimate form of platinotype or other platinum paper; bromide prints
toned with platinum will probably cost more, and will never have the
absolute permanence peculiar to the platinum print.
Placed in rough order of merit, the processes available are: Sulphide
toning (hypo-alum toning is a cheaper, slower, and not quite so effective
form of this method, whilst the thio processes represent sulphide toning
at its best); copper toning; toning by re-development. These methods
differ, not only in the results which they give, but also as regards the
perfection with which each attains its particular effect; on the principle
of the lady in the play who spoke the "absolute truth under the
circumstances," each may claim to be included among the really serviceable
processes.
In the sulphide process, the image which, in a black-developed print,
consists of metallic silver in fine division, is converted into silver
sulphide, a substance which in the ordinary way is also black, but when
produced in a fine condition on a photographic print is brown to sepia
color. Silver sulphide is a most permanent substance. Therefore a
sulphide-toned print should be permanent, too, a conclusion which is fully
borne out in practice. A sulphide-toned print is at least as permanent as
the bromide from which it is made. The image of the latter is susceptible
to practically only one agent likely to come in contact with it, namely,
sulphur fumes from burning gas, which partially sulphurize it and give
rise to iridescent markings resembling those due to stale paper. Now, as
the sulphide-toned print is the result of this sulphurizing process
carried out with intention to a state of completeness, the result should
be--and proves to be in practice--immune to this one cause of defacement.
In converting the silver image into one of silver sulphide, the method is
to first act on (bleach) the silver image with some reagent which will
change it into a compound of silver susceptible to the action of sulphide.
Iodine has been used for this, giving an image of silver iodide. Bromine
gives one of silver bromide. A mixture of potass bichromate and
hydrochloric acid gives silver chloride, as does also a solution of
chlorine, though in the former case the presence of the chromium compounds
affects the color obtained. But the best of the lot is a solution of the
two substances potassium ferricyanide and potassium bromide, which forms
an image of silver ferrocyanide and silver bromide. Both of these are
converted into silver sulphide when treated with a solution of sodium
sulphide. In the case of the hypo-alum process, in which the prints are
toned direct (without bleaching) in a mixture of hypo and alum, the image
is also changed into silver sulphide, but only to a partial extent.
Theoretically, the method is not so good as sulphide proper; it is much
more inconvenient in practice except on a commercial scale, while the
results cannot be said to quite equal those by the sulphide process as
regards permanency.
So much by way of theory. We will now give the formulae for the two
solutions required in the sulphide process. The first of these is the
"bleach," or oxidizing mixture of bromide and ferricyanide. Within
reasonable limits, the proportions of these salts and the quantity of each
in the solution does not matter very much. Each chemical can, if desired,
be kept in a separate solution if care be taken to keep the mixture in the
dark,--that is, in a cupboard where it will not be exposed constantly to
daylight. The ferricyanide suffers in time by exposure to daylight; but,
as both it and the bromide are comparatively cheap and serve for a large
number of prints, there is no need to take excessive care. The
ferricyanide-bromide mixture, however, keeps very much better than a plain
solution of ferricyanide alone. Formulae which place the salts in separate
solutions are a mistake.
As good a formula as any is: Potass ferricyanide, 300 grains; potass
bromide, 100 grains, water 20 ounces; Ammonium bromide may be used in
place of the potassium salt in the above formula; the difference is not
marked, but the ammonium compound tends to give a somewhat warmer brown or
sepia. In the case of many formulae, it will be noticed that equal
quantities of bromide and ferricyanide are recommended. Although, as just
stated, variations in the formula are not at all marked in their effects,
a proportion of bromide over one-quarter of the ferricyanide does tend
towards the yellowish color of which complaints are now and again heard. I
want to make it clear that the opportunities for going wrong with the
bleacher are very small indeed. Without encouraging the reader to be
careless let it be said that "any old formula" (of ferricyanide and
bromide) for the bleacher will prove successful. Not so, however, in the
case of the sulphide solution, which requires to be very carefully made up
and used.
Sulph_ide_, not sulph_ite_. The material for the toning or darkening of
the bleached print is the chemical substance, sodium sulphide, of the
formula Na_2S.9H_2O. This is purchased as small crystals which greedily
absorb water and rapidly become almost liquid if not properly corked. Not
that this totally unfits the sulphide for use. Sulphide which has gone
liquid will at all times be found to work perfectly, but it is of course
open to suspicion, and, in any case, it is not possible to know what is
the strength of a solution made up with such a supply. For this reason, it
is best to make up the sulphide into solution of 20 per cent strength, and
add this to water to make the toning bath. And it is here that a caution
must be noted. The weak working solution, which is only about 1 to 2 per
cent strength, keeps very badly indeed, and should be made up fresh from
the stock solution at the time of toning each batch of prints. This is one
of the most necessary items to bear in mind in using the sulphide process.
Sodium sulphide is sold in various degrees of purity, and the label on the
bottle is not always in exact correspondence with the condition of the
substance inside, but the two forms which must be adhered to for sulphide
toning are the ordinary "pure" and the "pure for analysis." The former can
be obtained from any reliable drug store or photographic dealer. It comes
in small lumps, yellowish to greenish in color; when dissolved in water
the solution will be yellow, and will usually show a deposit which must be
filtered off. This sulphide will give tones which are sepia brown with
most papers. In the case of the "pure-for-analysis" sulphide, which is the
recrystallized variety, the salt will be pure white and will form a quite
colorless and clear solution in water. The tone given by this kind of
sulphide is usually of a more purplish color. The distinct difference
between the two commercial varieties of sulphide should not be overlooked,
as it allows the worker to modify the process usefully when dealing with
papers differing (as all papers do) to a slight extent in their
adaptability to sulphide toning. The purer form has certainly much better
keeping properties than the other, but either, if made up in 20 per cent
solution, keeps for a month or two at least--which is enough for all
purposes. The chief difference between the two is noticed in the diluted
or working solutions. That of the purest sulphide _may_ be kept and used
again, though it is not really good policy to do so.
The supply of sulphide should therefore be dissolved as soon as purchased,
as follows: _Stock sulphide solution_--20 per cent; sodium sulphite 4
ounces; water to make 20 ounces. The actual toning solution is made up at
the time of treating the prints by mixing the above stock with water, as
follows: _Sulphide toning bath._--Stock 20 per cent solution 3 ounces;
water to make 20 ounces.
This makes a bath which contains about one per cent real sulphide,
corresponding with about a 3 per cent solution of the sulphide as
purchased. If the bath is much weaker, the tone obtained is usually not
quite so good; while, if it is stronger, there is danger of the print's
blistering while toning, or afterward in the washing water. Indeed, some
papers need to be toned in a weaker bath, and require also to be fixed in
an alum-hypo fixing bath (see later), so that the strength of the toning
bath given above may be taken as the maximum, and used at half or
one-third strength, as circumstances show to be necessary. And, to repeat
the caution once more, the toning bath is to be thrown away as soon as the
prints have been passed through it. With these points in our mind as to
the making up of the solution, we can come to the process proper.
The prints require to be well washed and free from hypo before being
placed in the bromide-ferricyanide bleacher, because any hypo in
conjunction with the ferricyanide will form the well-known Farmer's
reducer, and cause patchiness of the prints. It is immaterial whether the
prints are taken direct through the toning process or dried in the
meantime. Some workers contend that the toning process is more regular if
the prints are dried before bleaching. In either case, immersion in the
bleacher will cause the fully developed bromide to disappear, leaving only
a faint brown image behind. In some cases the image is fainter than in
others, the difference appearing to depend chiefly on the developer
employed. Developers with a liability to stain will give prints which do
not bleach out so completely as those made with cleaner working
developers. But, in all cases, two to three minutes' action of the
bleaching solution will be ample; if all pure black is not gone in this
time, it is a sign that the bleach is becoming exhausted. The prints
should be kept constantly on the move whilst in the solution, and turned
over and over to ensure equal action. They are then given quite a brief
rinse in running water--half a minute to a minute--and then transferred to
the sulphide solution, where they should darken to the full brown or sepia
tone in a few seconds. It is well always to leave them here for twice to
three times the period required to give the full tone. A wash of half an
hour will remove the salts left in the film.
Granted that bleacher and sulphide are in proper working order, there is
one further factor in the making of sepia prints which is of vital
importance, and that is the proper preparation of the print itself. A good
sulphide tone presupposes a good black and white bromide. Not only that,
defects in the bromide which may lie latent while the print is untoned
come to light in the sulphide bath. This applies to uneven fixation (due
to omission to keep prints moving in the hypo bath) and fingering of the
surface; while, as regards the original development of the print, making
the best of a wrong exposure will not do when sulphide toning is in view.
A print that is forced by long development will suffer in tone, the result
being colder and less satisfactory as regards vigor. Full exposure, and
development which is complete in the normal time for a perfect black
print, are the conditions for a good sepia tone, and, when a batch of
prints is being put through, it is well to take steps to preserve a
uniform time of development in order to secure an identical tone
throughout.
There are many different formulas for the uranium toning of bromide
prints, and I suppose that most of them have given good results with the
workers who published their methods. Of those which I have tried, however,
none has yielded the results which I have been enabled to obtain from my
own formula--my own in that I arrived at it by patient experimenting. It
may be that this formula is not wholly original with myself. At any rate,
I do not claim anything for it except that it works, with me, better than
others I have tried.
The requirements for toning bromide prints with uranium are: 1 ounce of
uranium nitrate; 1 ounce of potassium ferricyanide (the red crystals); 1/2
pound bottle of acetic acid--c. p. glacial preferred; water; a supply of
blotting paper, to be kept exclusively for this purpose, and a few
absolutely and chemically clean trays.
The expense attached to these toning processes is slight. Uranium nitrate
costs from forty to sixty cents per ounce, and an ounce will last a long
time. Potassium ferricyanide costs about twenty cents per pound, and a
pound is ample for a lifetime. Glacial acetic acid is a little more
costly, but a half-pound bottle will prove a good investment. It is used
also, as the reader will recall, in making acid hypo for acid fixing.
To prepare the toning baths, dissolve the ounce of uranium nitrate in 10
ounces of water. The water should be distilled if this is easily
obtainable, and the solution should be kept in an orange-glass bottle or
an ordinary bottle protected from light by a non-actinic paper wrapping.
Dissolve the ounce of potassium ferricyanide in 10 ounces of water. Keep
this also in an orange-glass bottle, well corked. There are many cautions
about this particular salt, and it has been said that it will not keep in
solution. In my practice I find no difficulty whatever in the use of a
solution six months old, despite the difficulties mentioned in the
text-books.
To tone the bromide prints, first note that the prints should have been
developed and fixed and washed just as usual. It is necessary that prints
to be toned shall contain no trace of hypo. To secure this, the prints
should be specially prepared for toning by being again thoroughly washed,
as any hypo remaining in the print will cause spots and streakiness. With
care at this stage the toning will give clean and bright prints, which
should be as permanent as the original bromide print.
I cannot give the reason why, but, as a general rule, bromide prints tone
better if the print has been dried after washing and rewet just before
toning. There may be a chemical reason for this, but I am inclined to
think that it is a physical one, viz., that the emulsion is softer after
its first washing than after having been dried and wet, so that it allows
toning solution to get into the film more quickly. This naturally results
in more rapid toning, and quick toning does not yield as good prints as a
slower and more gradual building up of the color image.
Having the print ready for toning as here outlined, take 1 dram of the
uranium solution, add 1/2 dram of acetic acid and then 5 ounces of water.
In a separate graduate put 1 dram of ferricyanide solution and 5 ounces of
water. Just before toning, pour these two solutions together into the
third graduate and use immediately. To proceed, lay the rewetted print
face up in a clean tray and flow the freshly made toning bath (the two
solutions combined) over the print. The print and tray must be kept in
motion by gentle rocking during the toning operation. The toning solution
tends to throw a red precipitate as it works. This precipitate should not
be permitted to settle on the face of the print. Some workers tone their
prints face down, but I do not advocate this, as it is important to take
the print from the toning bath at just the right moment, and, as the
toning process is short (six or seven minutes is usually sufficient even
for the deepest red) you need to watch the print all the time. In the
toning operation note that a constant quiet motion of the tray, to keep
the solution moving over the print, is essential to success.
I have already given, in an earlier paragraph, the order in which the
colors come. But that order was for a normal print. Some prints behave
differently, and it is in the control of these unavoidable variations with
different prints that skill and success come. A print of a half-tone
subject against a jet-black background, a portrait, for instance, will
hardly follow the normal order in the appearance of colors. This because
the half-tones will be brown and even red-brown before the toning solution
has changed the dense black deposit of the background at all. If the
toning was stopped at this stage, some very pretty effects in double
toning might result.
From this explanation of the toning process, the discerning reader will
perceive the need for caution in selecting the best kind of a print for
uranium toning. Thus a print which has a bald-headed sky will tone only in
the body of the print, but if there is any tint at all to the sky, it also
will tone, giving an effect not much to be desired except for sunset or
sunrise pictures. If white high-lights are desired in the toned print,
they must be white originally and not the least bit fogged. As
double-toned effects in a print are not usually desirable, those prints
having deep black shadows or dark masses will be avoided. The best kind of
print for this method of toning is one fully exposed and slightly
under-developed, since, when the uranium does take hold of the shadows, it
makes for an increase of contrast.
Experience is the best teacher, and I could not begin to describe in
detail what the reader can himself ascertain from a few experiments. Some
prints needing contrast should be carried far in the toning solution;
others, not needing contrast, will give better results if they are toned
only through the browns, and so on. The reader who can spend a Saturday
afternoon with a few bromide prints, varying in character, will learn more
from his experimenting than I could tell him in many pages. For these
experiments waste or imperfect black prints can be used with practical
economy, the chief object being to watch the progress of toning and
chemical changes.
When the desired tone is reached, remove the print from the toning
solution and wash quickly and well in running water for fifteen minutes.
If washed too long, the color of the print will fade and a dead and
lifeless print will result. If not washed long enough, the yellow of the
ferricyanide will remain in the print, robbing its gradations of
brightness and purity of color and impairing the permanency of the print.
A big advantage in this method of toning is its wonderful adaptability.
There is no hard and fast rule as to the proportion of the chemicals to
the bulk of water used. Try two drams of each of the two solutions; then
three drams of each, but watch that the print does not get beyond you in
toning. The only practical difference in my formula and others that I have
seen is that I make my stock solution weaker than that ordinarily advised
and use less of it to a certain amount of water, because I prefer slow
toning and the accompanying ease of control which the flash-in-the-pan
formula does not admit. Quick toning, like quick development, tends to
block the shadows in the print, and if you once get bronzed shadows the
print is practically hopeless. Not quite ruined, however, as a bath in a 5
per cent solution of sodium carbonate will discharge the color and then,
if the print is faded, it may be redeveloped in an alkaline developer such
as metol-hydro. But before it is retoned the print must be thoroughly
washed, as the presence of sodium carbonate does not permit the toning
solution to do its work.
Finally, I may say that, while a bath of acetic acid and water is often
advised to stop the toning action in this method, I have never found it
necessary.
All the thin varieties of bromide paper curl badly in drying. If they are
to be kept unmounted it is well to immerse them in water to which has been
added a few drops of glycerine. This will ensure their lying flat after
drying. A solution of 2 ounces of glycerine in 25 ounces of water is
advised when it is desired to make bromides on heavy rough paper remain
flat, after drying, for book illustration and similar purposes.
If one is trying to rush through a bromide print, it can be trimmed while
wet by placing it on a sheet of stiff paper and cutting through both.
The paper will be found to cockle the mounts badly in drying. Aside from
the glue mountant, formula for which accompanies the paper, I know no
preventive except to mount the prints while dry with the dry mounting
tissue. As the paper when wet stretches one way considerably, as much as a
third of an inch on a ten- or twelve-inch length, provision must be made
in trimming, especially if mounts with centers of a given size are used.
The paper being covered with an emulsion which in warm weather is very
soft while wet, mounting is somewhat more difficult than with some of the
other papers. My method is to mount not more than half a dozen at once,
placing them face down, one on top of the other, on a glass or ferrotype
plate, blotting off the surface water and spreading the paste over the top
one in the usual way. I place this on the mount and then stretch over it
smoothly a damp handkerchief or piece of very thin rubber cloth, rubbing
the print down with my hands, seldom using the squeegee and then very
lightly. By this method abrasion of the surface seldom results and
air-bells are unknown. Owing to the strong contracting power of the paper
in drying, the mounting paste must be used freely, especially at the edges
of the print.
Apart from the methods of procedure here given, there are innumerable
modifications covering every detail of contact printing and enlarging on
bromide paper. Most of these have been given careful trial as published,
but few have quite fulfilled the expectations they created.
BOOKS.
Manuals dealing with the manipulation of the various brands of paper may
also be obtained, generally _gratis_, from the various manufacturers of
bromide paper or their American agents as follows: The Eastman Kodak Co.,
Rochester, N. Y.; The Defender Photo Supply Co., Rochester, N. Y.; J. L.
Lewis, New York City.
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Series B--F 6.3
[Illustration]
The finest lens at any price for portraits, views or enlarging.
Send for Price List and "Photo Developments."
* * * * *
FRANK J. CURRY
_Importer, Manufacturer and Dealer in Photo Goods of Every Description._
812 Chestnut Street
Philadelphia, Pa.
For Enlarging
Bausch & Lomb-Zeiss Tessar IIb-F:6.3
because of its excellent optical corrections.
The =Tessar= has a flat field allowing exposures at full aperture.
No danger from vibration because of long exposure.
Saves exposure time on dense negatives.
For Sale by Dealers.
Send for Booklet 70 H, "Useful Tables for the Photographer," free on
request.
Contains tables on enlarging.
_Our name, backed by over half a century of experience, is on all our
products--lenses, microscopes, field glasses, projection apparatus,
engineering and other scientific instruments._
[Illustration]
Bausch & Lomb Optical Co.
NEW YORK WASHINGTON CHICAGO SAN FRANCISCO
LONDON ROCHESTER, N.Y. FRANKFORT
You see the picture before you on the ground glass, right up to the moment
of exposure and are sure of success if you use
REFLEX CAMERAS
FOR YOUR CAMERA WORK OUT-OF-DOORS AND AT HOME
[Illustration]
REFLEX CAMERAS EXCEL
all other similar types in curtain velocity, ease and speed of operation,
simplicity of construction, freedom from outside mechanism, perfect
workmanship.
REGULAR 4×5 and 5×7
LONG-FOCUS 4×5 and 5×7
JUNIOR REFLEX 3-1/4×4-1/4 (fixed focus)
Price $12, with either one Holder or Adapter.
_Ask any independent dealer or write for catalogue and sample print to_
REFLEX CAMERA CO.
Newark, N. J.
GOERZ CAMERAS
ARE UNIQUE IN THE HAND CAMERA LINE
OUR NEW VEST-POCKET TENAX
is the finest pocket camera ever made. It measures, closed,
3/4×2-3/4×3-1/2 inches. Equipped with Compound Shutter, all speeds up to
1-250 second. We furnish with it a purse case containing six nickel
holders for plates 1-3/4×2-5/16 inches. Our fine enlarging apparatus, made
especially for use with this camera, will afford good enlargements of
various sizes up to 5 × 7 inches.
Our =Ango=, =Manufoc Tenax= and =Folding Reflex= are all splendid cameras
for the professional photographer and ambitious amateur.
They show the same high qualities of workmanship which distinguish
GOERZ LENSES
Get our new illustrated catalog from your dealer or direct from
C. P. GOERZ AMERICAN OPTICAL CO.
OFFICE AND FACTORY: 317 EAST 34TH STREET, NEW YORK
Dealers' Distributing Agencies: For Middle West, Burke & James, Chicago.
Pacific Coast, Hirsch & Kaiser, San Francisco.
[Illustration]
HOW TO MAKE YOUR CAMERA PAY
Here are books you'll surely want to read! For they show how you can
increase your ability to make money with your camera. They tell how to
make prints for book, magazine and newspaper publishers, and show how you
can make money during spare time.
The LIBRARY of AMATEUR PHOTOGRAPHY
contains the boiled-down experience of years. Collier's, Leslie's and
dozens of publications are always glad to consider any interesting
photographs. They pay from three to five dollars apiece. A score of other
profitable branches are covered. Here are the money-making facts you have
wanted. These books are just from the press.
Now is the time for you to get full information. We have interesting
literature to mail upon receipt of your postal. Write now for our special
offer to LIVE AMATEURS.
AMERICAN PHOTO TEXTBOOK CO.
608 Adams Avenue SCRANTON, PA.
Enlarging Simplified
The all by daylight way of making enlargements is with the
Brownie Enlarging Camera
No focusing--no dark-room--no experience necessary when Velox is used.
Just the few simple directions for finishing the prints.
The enlargement retains all the quality of the negative. The results are
certain.
[Illustration]
THE PRICE
No. 2 Brownie Enlarging Camera, for 5 × 7 Enlargements
from 2-1/4 × 3-1/4 negatives, $2.00
No. 3, ditto, for 6-1/2 × 8-1/2 Enlargements
from 3-1/4 × 4-1/4 negatives, 3.00
No. 4, ditto, for 8 × 10 Enlargements from 4 × 5
negatives (will also take 3-1/4 × 5-1/2 negatives), 4.00
EASTMAN KODAK COMPANY,
ROCHESTER, N. Y.
_All Dealers._
[Illustration]
Prints by Gaslight
VELOX increases the number of negatives that are worth printing from.
The results from contrasty negatives are softened by the use of "Special"
VELOX--improved brilliancy is secured from flat negatives by using
"Regular" VELOX.
_ASK FOR THE VELOX BOOK._
NEPERA DIVISION,
EASTMAN KODAK COMPANY,
ROCHESTER. N. Y.
_All Dealers._
End of Project Gutenberg's Bromide Printing and Enlarging, by John A. Tennant