The Dictionary Of Photography

A True Historic Record Of The Art & Practice Of Photography 100 Years Ago.

Home | About | Photography | Contact

bad prints, or add 100 grs. of chloride of silver, and leave fof twenty-four hours, filter, and add
Chloride of gold ... ... ...... !5grs.
,, .. ammonium ... ...... 30 ..
Distilled water ............ 6 ozs.
The same directions for using this bath as for No. 19. The author prefers the use of No. 19, and fixing separately, as with this there is no certainty as to when the gold is exhausted and sulphur toning begins. The prints change to a bright yellow, and run the scale of colours to a brilliant purplish black. Both these, Nos. 19 and 20, may be used for albumenised paper prints.
A few Maxims for Toning. Prints should be thoroughly freed from free silver, except in the case of all baths containing chloride of lime and sulphocyanides; with these free silver is an absolute necessity. After toning, the prints should be invariably placed in a bath of salt, and washed in one or two changes of water; this prevents any further toning action, and a whole batch of prints may be toned before hypo is touched in any shape or form. It is absolutely necessary to keep the toning bath, dish, or fingers uncontaminated by any other chemicals, or spots and stains will be the result. The prints should be handled as little as possible before toning, and they should be kept in constant motion whilst toning, which operation should be conducted in weak daylight, it being more difficult to judge of the true tone by artificial light. When prints are given a preliminary bath of salt and water, a brilliant brown tone, called " Payne Jennings Brown," results, this artist invariably using this bath - a preliminary bath of carbonate of soda, and fuming the paper before printing, tending to give purple tones.
Loss of Tone in Fixing. This is so often a complaint that no excuse will be made for an attempt to explain this annoying defect. Some baths are particularly liable to it; and some samples of gold, which the author has tested to try and find a reason for this defect, were contaminated with chloride of copper, most likely an accidental adulterant from the use of an alloy of gold and copper in the shape of scrap gold, old jewellery, or coins, for the production of the auric salt. If copper be present, part of the image would be toned by a coloured compound of copper, which would dissolve in the hypo. Many years ago the