The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1900-04-06
x.-PRINTING AND FINISHING
BY FELIX RAYMER.

! about making pictures is to decide on
what printing paper to use. In view
of the fact that there are 50 many diff
ferent kinds and brands on the market
ii would seem TO be almost a hopeless
task and more so when we hear each
manufacturer claiming his product to
be the very best. II might be said,
however. that the printing out pa
pers-that is, the paper that the image
is printed out to a full depth and after
ward toned to the proper color-are di-
vided into two classes, viz, collodion
and gelatin. The developing out" pa
perS are those papers where the image
is developed out something like the de-
%veloping OF the negative. This being
the case, Of course the first thing TO
decide on is which is wanted, a print
ing out" paper or a developing out"
J paper. We shall consider a collodion
printing out" paper by way Of il
l~ustration. Such paper can be OBJ
tanned from any stock house IN
the country. Before we begin
printing it is necessary to have two
or three printing frames These should
be the ans size Gnteriors) as the
negatives. The printing frame Us sim
ply a shallow box with a back fitting
in with W springs for pressing it into
close contact with the negative. Place
the negative In the frame with the film
side up or toward you. Now take q
sheet OF paper from the box it comes in
and place the film side of the paper in
contact with b film of the negative.
Place the back in the frame and press
the springs into position. The film side
OF the paper is glossy and is easily
recognized. After the negative and
paper have been placed in the frame
they are ready for printing. This
should be done in the shade, or if in
the direct rays Of the sun one or two
thicknesseS Of tissue paper should
cover the opening. If the tissue paper
is preferred all that is necessary is to
glue n tissue all around the frame
over the negatives and then place the
frame u on the window sill or shelf
facing the sun. If the printing is done
IN the shade no tissue paper will be
needed. Go over the negatives very
carefully with a camel's hair busting
brush and remove all dust and lint Just
before fixing negative and % to
the frame. The prints should remain
l n the frame until they are about two
shades darker than wanted in the fin
ished print. They can be examined at
any time during the process by open
ms AGAL NAS AIdLDE. AdEG nQOuAQ De
taken not 20 allow a strong light 10
strike the paper when examining the
PRINT. The pictures Will tone much
lighter h they appear when printed.
me next process is that of tOning. It
is IN this process that the pictures are
given their final lasting color. The
inst thing to do in toning a collodion
gloss print il to get il into such a con-
ditiOn that it viii not curl. Take a
| smooth h0rrnD7 Trov nra -or,- IT, -
water enough to cover the bottom TO
a depth of about one-half inch. slide
the prints into this face down one at
a time and pack thom tightly one on
top Of another all over the bottom Of
the tray in an irregular mass. Be sure
that each print is thoroughly wet be
fore placing another on top Of il and
do not pile the prints directly on top
OF each other, but let only a part Of
one cove the one beneath II. This will
give an irregular heap and prevent
their curling Over each other at the
edges. When all the prints are in pour
off the water and pour on fresh water.
about the same quantity; rock the tray
back n forth for about five minutes.
holding the prints fiat. This prevents
the edge of one print from leaving a
red streak On another print. After
rocking the tray pour eff the water and
press the prints down fiat with the
palm Of the hand and allow all the
water TO drain OF. after which stand
the tray up on edge and let the pictures
drain for five minutes. Go through
this washing process again and again,
giving the prints at least six changes
Of fresh water. The better way to do
this Is to have two washing trays and
TO handle prints from one to another.
The prints are then ready for the ton
ing bath, which is made as follows:
Water ounces
SALT grains
Saturated solution acetate soda..h ounce
Arlsto gold dram
Then add of a saturated solution Of
borax enough to turn red litmus paper
blue in about five minutes.
This bath should be made and LET
stand for several hours before used.
Make it one day and use it the next.
Place the prints in this bath one at a
time and do not put in more than can
be easily attended to or streaked tones
may be the result. 1t should take about
eight minutes for each print to tone
IN this bath. If it requires a longer
time d enough of the gold 70 bring
the speed of the bath up TO that point.
Zone in this bath until the tone wanted
has been reached, then take out and
place in clear water until all are toned.
After toning give them two changes
or fresh water, after which the pictures
are ready for the fixing bath. This
consists of ~hypo-sulphite of soda to
test fifteen grains by the hydrometer.
Place all the prints into the bath one
at a time and leave them in il for if
teen minutes, when they should be
washed in running water for n hour
They are then ready for mounting.
Notes.. Yellow whites Indicate too
much borax in the gold bath. ?. Pink
whites show too little borax in the
gold bath. 3. The baths, both gold and
hypo, should be at a temperature of
about IS degrees. T. The salt in the old
bath is to restrain the high lights and
prevent them from overcoming and al
lowing the shadows and high lights to
tone up evenly together. 5. The gold
is the toning agent or that which
hchanges the tone of the print. G. The
acetate Of soda gives richer tone 7
The red htmus paper spoken of for
testing the gold bath Is q paper which
will change TO a blue if it is put into
an alkali solution. There is aIso a
blue HtmuS paper which will change II
a red if put into an acid soIntion
Either color can be obtained from a
stock dealer. Keep the TWO in separate
bottles. cOrked tightly, as air affects
them.
Courses Of Instruction.
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