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diff --git a/36446.txt b/36446.txt new file mode 100644 index 0000000..087960b --- /dev/null +++ b/36446.txt @@ -0,0 +1,3095 @@ +The Project Gutenberg EBook of Photogravure, by Henry R. Blaney + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Photogravure + +Author: Henry R. Blaney + +Release Date: June 17, 2011 [EBook #36446] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK PHOTOGRAVURE *** + + + + +Produced by Chris Curnow and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + + + + + + + + + [Illustration: THE S. & A. PHOTOGRAPHIC SERIES.] + + Edited by W. I. LINCOLN ADAMS. + + + No. 1. THE PHOTOGRAPHIC AMATEUR. + By J. TRAILL TAYLOR. A Guide to the Young Photographer, either + Professional or Amateur. (Second Edition.) Paper covers =$0.50= + + No. 4. HOW TO MAKE PICTURES. + By HENRY CLAY PRICE. (Fourth Edition.) The A B C of Dry-Plate + Photography. Out of print. (See No. 26) + + No. 5. PHOTOGRAPHY WITH EMULSIONS. + By Capt. W. DE W. ABNEY, R.E., F.R.S. A treatise on the theory + and practical working of Gelatine and Collodion Emulsion + Processes. (Second Edition.) Paper covers =.75= + + No. 7. THE MODERN PRACTICE OF RETOUCHING. + As practiced by M. Piquepe, and other celebrated experts. (Eighth + Edition.) Paper covers, =50= cents: Library Edition =.75= + + No. 8. THE SPANISH EDITION OF HOW TO MAKE PICTURES. + Ligeras Lecciones sobre Fotografia Dedicados a los Aficionados, + Cloth bound, =75= cents. Paper covers =.50= + + No. 9. Out of print. + + No. 12. HARDWICH'S PHOTOGRAPHIC CHEMISTRY. + A manual of Photographic Chemistry, theoretical and practical. + (Ninth Edition) Edited by J. TRAILL TAYLOR. + Leatherette binding =2.00= + + No. 13. TWELVE ELEMENTARY LESSONS ON SILVER PRINTING. + (Second Edition.) Paper covers =.50= + + No. 14. ABOUT PHOTOGRAPHY AND PHOTOGRAPHERS. + A series of interesting essays for the studio and study, to which + is added European Rambles with a Camera. By H. BADEN PRITCHARD, + F.C.S. Paper covers, =50= cents. Cloth bound =.75= + + No. 15. THE CHEMICAL EFFECT OF THE SPECTRUM. + By Dr. J. M. EDER. Cloth bound, =50= cents. Paper covers =.25= + + No. 16. PICTURE MAKING BY PHOTOGRAPHY. + By H. P. ROBINSON, author of Pictorial Effect in Photography. + Written in popular form and finely illustrated. Library Edition, + =$1.00=. Paper covers =.75= + + No. 17. FIRST LESSONS IN AMATEUR PHOTOGRAPHY. + Out of print. (See Amateur Photography, by W. I. LINCOLN ADAMS.) + + No. 20. DRY PLATE MAKING FOR AMATEURS. + By GEORGE L. SINCLAIR, M.D. Pointed, practical and plain. + Leatherette binding =.50= + + No. 21. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTOGRAPHIC TIMES + ALMANAC FOR 1887. + (Second Edition.) Paper cover (postage, 12 cents + additional) =0.50= + Library Edition (postage, 12 cents additional) =1.00= + + No. 22. PHOTOGRAPHIC PRINTING METHODS. + By the Rev. W. H. BURBANK. A Practical Guide to the Professional + and Amateur Worker. Cloth bound. (Third Edition) =1.00= + + No. 23. A HISTORY OF PHOTOGRAPHY. + Written as a practical guide and an introduction to its latest + developments. By W. JEROME HARRISON, F.G.S., and containing a + frontispiece of the author. Cloth bound =1.00= + + No. 24. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTOGRAPHIC TIMES + ALMANAC FOR 1888. + Illustrated. (Second Edition.) Paper (by mail, 12 cents + additional) =.50= + Library Edition (by mail, 12 cents additional) =1.00= + + No. 25. THE PHOTOGRAPHIC NEGATIVE. + A Practical Guide to the Preparation of Sensitive Surfaces by the + Calotype, Albumen, Collodion, and Gelatine Processes, on Glass + and Paper, with Supplementary Chapter on Development, etc., by + the Rev. W. H. BURBANK. Cloth bound. Reduced from $1.50 to =1.00= + + No. 26. THE PHOTOGRAPHIC INSTRUCTOR FOR THE PROFESSIONAL AND AMATEUR. + Being the comprehensive series of Practical Lessons issued to + the Students of the Chautauqua School of Photography. Revised + and enlarged. Edited by W. I. LINCOLN ADAMS, with an Appendix + by Prof. CHAS. EHRMANN. (Fourth Edition, enlarged and revised.) + Paper covers =1.00= + Library Edition =1.50= + + No. 27. LETTERS ON LANDSCAPE PHOTOGRAPHY. + By H. P. ROBINSON. Finely illustrated from the author's own + photographs and containing a Photogravure frontispiece of the + author. Cloth bound. =1.50= + + No. 29. THE PROCESSES OF PURE PHOTOGRAPHY. + By W. K. BURTON and ANDREW PRINGLE. A standard work, very + complete and freely illustrated. Price, in paper covers, =$2.00=. + Library Ed. =2.50= + + No. 30. PICTORIAL EFFECT IN PHOTOGRAPHY. + By H. P. ROBINSON. A new edition. Illustrated. Mr. Robinson's + first and best work. Cloth bound =1.50= + + No. 32. PRACTICAL PHOTO-MICROGRAPHY. + By ANDREW PRINGLE. Fully illustrated. Cloth bound =2.50= + + No. 33. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTOGRAPHIC TIMES + ALMANAC FOR 1890. + Paper cover (by mail, 14 cents additional) =.50= + Library Edition (by mail, 14 cents additional) =1.00= + + No. 34. THE OPTICAL LANTERN. + Illustrated. By ANDREW PRINGLE. Paper covers, =$1.00=. + Cloth bound =1.50= + + No. 35. LANTERN SLIDES BY PHOTOGRAPHIC METHODS. + By ANDREW PRINGLE. Paper covers =75= cents. Cloth bound =1.25= + + No. 36. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTOGRAPHIC TIMES + ALMANAC FOR 1891. + Paper covers (by mail, 15 cents additional) =.50= + Library Edition (by mail, 15 cents additional) =1.00= + Cyclopaedic Index for 1891 Annual =.10= + + No. 37. PHOTOGRAPHIC OPTICS. + A Text-Book for the Professional and Amateur. By W. K. BURTON. + Paper covers, =$1.00=. Library Edition =1.50= + + No. 38. PHOTOGRAPHIC REPRODUCTION PROCESSES. + Illustrated. By P. C. DUCHOCHOIS. Paper covers, =$1.00=. + Cloth =1.50= + + No. 39. EL INSTRUCTOR FOTOGRAFICO. + Paper covers, =$1.00=. Library Edition =1.50= + + No. 40. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTOGRAPHIC TIMES + ALMANAC FOR 1892. + Out of print. + + No. 41. THE CHEMISTRY OF PHOTOGRAPHY. + By W. JEROME HARRISON. Cloth bound =3.00= + + No. 42. PICTURE MAKING IN THE STUDIO. + By H. P. ROBINSON. Paper covers, =50= cents. Cloth bound (Library + Edition) =1.00= + + No. 43. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTOGRAPHIC TIMES + ALMANAC FOR 1893. + Edited by W. I. LINCOLN ADAMS. + Paper covers (postage extra, 15 cents) =.50= + Cloth bound (Library Edition) (postage extra, 15 cents) =1.00= + + No. 44. THE LIGHTING IN THE PHOTOGRAPHIC STUDIO. + By P. C. DUCHOCHOIS. A new edition. Paper covers, =75= cents. + Cloth bound (Library Edition) =1.00= + + No. 45. THE GRAMMAR OF PHOTO-ENGRAVING. + By H. D. FARQUHAR. Illustrated. The most complete text-book yet + published on this subject. Price, in paper covers, =$2.00=. Cloth + bound (Library Edition) =2.50= + + No. 46. INDUSTRIAL PHOTOGRAPHY. + Illustrated. By P. C. DUCHOCHOIS. Being a description of the + various processes of producing Indestructible Photographic Images + on Glass, Porcelain, Metal, and many other substances. Paper + covers, =50= cents. Cloth bound =1.00= + + No. 47. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTOGRAPHIC TIMES + ALMANAC FOR 1894. + Edited by W. I. LINCOLN ADAMS. + Paper covers (postage extra, 15 cents) =.50= + Cloth bound (Library Edition) (postage extra, 15 cents) =1.00= + + No. 48. ARISTOTYPES AND HOW TO MAKE THEM. + Giving a complete description of the manufacture and treatment of + Gelatino and Collodio-Chloride Papers. By WALTER E. WOODBURY. + Illustrated. Paper covers, =$1.50=. Library Edition =2.00= + + No. 49. THE ENCYCLOPAEDIC DICTIONARY OF PHOTOGRAPHY. + Containing over 2,000 references and about 400 illustrations. By + WALTER E. WOODBURY. In press. + + No. 50. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND PHOTOGRAPHIC TIMES + ALMANAC FOR 1895. + With over 200 illustrations In paper covers. Postage extra =50= + Cloth bound. (Library Edition.) Postage 15 cents extra =1.00= + + No. 51. THE PHOTO-GRAVURE PROCESS. + By =Henry R. Blaney=. A very complete and practical book, written + by an Expert. In paper covers, =50= cents. Cloth bound (Library + edition). =1.00= + + For sale by all dealers in Photographic goods, booksellers, + and sent, post-paid, on receipt of price, by the publishers, + + THE SCOVILL & ADAMS COMPANY OF NEW YORK, + SEND FOR BOOK CATALOGUE. 423 BROOME STREET. + + * * * * * + + + A Selected List of Books + FROM THE SCOVILL & ADAMS CO.'S BOOK CATALOGUE. + + Price per Copy. + Amateur Photography. + A Practical Guide for the Beginner. By W. I. LINCOLN ADAMS. + Illustrated. Paper covers, =50c.=; cloth bound =$1.00= + + Lantern Slides and How to Make Them. + By A. R. DRESSER. A new book, very complete and practical =.25= + + Photography at Night. + By P. C. DUCHOCHOIS. Illustrated. 108 pp. Paper covers =1.00= + + Bromide Paper and How to Use It. + Written by an Expert, with a specimen Bromide illustration =.25= + + The Knack. + Written expressly to help the beginner in perplexity, reduced + to =.25= + + Photographic Lenses; Their Choice and Use. + By J. H. DALLMEYER. A special edition, edited for American + photographers. In paper covers =.25= + + The Chemistry of Photography. + By Prof. RAPHAEL MELDOLA =2.00= + + The Photographic Image. + By P. C. DUCHOCHOIS. A Theoretical and Practical Treatise on + Development. Paper covers =1.50= + Cloth bound =2.00= + + The Ferrotyper's Guide. + For the ferrotyper, this is the only standard work. Seventh + thousand =.75= + + The Photographic Studios of Europe. + By H. BADEN PRITCHARD, F.C.S. Cloth bound, =$1.00=; paper + covers =.50= + + Art of Making Portraits in Crayon on Solar Enlargements. + (Third edition.) By E. LONG =1.00= + + History and Hand-Book of Photography. + With seventy illustrations. Cloth bound, reduced to =.50= + + Crayon Portraiture. + Complete instructions for making Crayon Portraits on Crayon Paper + and on Platinum, Silver and Bromide Enlargements; also directions + for the use of Transparent Liquid Water Colors, and for making + French Crystals. By J. A. BARHYDT. A new edition. Paper covers, + =50c.=; cloth bound =1.00= + + Art Recreations. + Ladies' popular guide in home decorative work, with a + chapter on photography. Edited by MARION KEMBLE =1.00= + + American Carbon Manual. + For those who want to try the carbon printing process, this + work gives the most detailed information. Cloth bound. + Reduced to =.50= + + Manual de Fotografia. + By AUGUSTUS LE PLONGEON. (Hand-book for Spanish + Photographers.) =1.00= + + Secrets of the Dark Chamber. + By D. D. T. DAVIE =.50= + + The Photographer's Book of Practical Formulas. + Compiled by Dr. W. D. HOLMES. Ph.D., and E. P. GRISWOLD. + Paper covers, reduced from =75c.= to =30c.=; cloth bound, + reduced from =$1.50= to =.60= + + American Hand-Book of the Daguerrotype. + By S. D. HUMPHREY. (Fifth edition.) This book contains + the various processes employed in taking heliographic + impressions =.25= + + * * * * * + + + AN ANNOUNCEMENT! + + We have made arrangements with the NEW YORK PHOTOGRAVURE COMPANY by + which we are enabled to offer a series of magnificent Photogravures + at a very low price. + + The first is that which has been already published and described by + us, being the "COURT OF HONOR," at the World's Fair. The companion + to this is in preparation, and will shortly be ready. It represents + a view of the "ADMINISTRATION BUILDING AND COURT OF HONOR," looking + up from the Peristyle. These two pictures form a magnificent + souvenir of the World's Fair, and imperishable ones, which have not + been approached in artistic or technical excellence. Each measures + about 18 x 22 inches, and they are printed in the best style, on + paper 24 x 32 inches. + + The next two pictures are photogravures from negatives made by Mr. + JOHN E. DUMONT, of Rochester, and form admirable companion pictures. + Their titles are, "NO DOUBT," and "IN DOUBT," and represent, in one + case, a monk with a winning hand of cards, and having no doubt what + his play is to be. In the other, a monk holding a hand of cards + which evidently is a losing one, and, as evidently, he is in doubt + as to what to play. + + The story of these pictures is admirably told, and with all the well + known skill of Mr. DUMONT. + + The next in the series is a "LANDSCAPE WITH SHEEP," by Mr. ROBERT S. + REDFIELD, of Philadelphia, and can well pass for a reproduction of a + painting by VERBECK HOVEN, not that it is in any sense a copy of any + picture, being entirely original, but in sentiment and feeling + equaling the best and most artistic work of the painter. As a + companion to this, "A STORM AT BRIGHTON" is published. This was one + of the prize pictures at the recent exhibition of the joint + Societies of Amateur Photographers of Boston, Philadelphia and New + York. It is exceedingly effective as a study of cloud and motion of + water, and forms an admirably suggestive study for artists. It is + from a negative by Mr. ERNEST EDWARDS, President of the New York + Photogravure Company. + + The well-known picture of "Flirtation" has also been engraved for + this series, and will be very popular. This picture (it will be + remembered) appeared in the American "Annual of Photography" for + 1892. + + With the exception of the two first, all these pictures measure + about 16 x 12 inches for size of work, and are printed on etching + paper, 22 x 28 inches. + + The uniform price of all is $2.00 each. For sale by all dealers. + + Other subjects will follow, from time to time. + + These Photogravures will be sent, post-paid, by mail, + carefully packed, on receipt of price. + + THE SCOVILL & ADAMS COMPANY. + + * * * * * + + + Twelve: Photographic: Studies. + + THE THIRD EDITION. + + A Collection of Photogravures from the Best Representative + Photographic Negatives by Leading Photographic Artists. + + COMPILED BY W. I. LINCOLN ADAMS. + + THE COLLECTION INCLUDES + + "Dawn and Sunset," H. P. Robinson. + "Childhood," H. McMichael. + "As Age Steals On," J. F. Ryder. + "A Portrait Study," B. J. Falk. + "Solid Comfort," John E. Dumont. + "Ophelia," H. P. Robinson. + "No Barrier," F. A. Jackson. + "El Capitan," W. H. Jackson. + "Still Waters," J. J. Montgomery. + "Surf," James F. Cowee + "A Horse Race," George Barker. + "Hi, Mister, may we have some Apples?" Geo. B. Wood. + + Printed on Japan Paper, Mounted on Boards. Size, 11 x 14, in + ornamental Portfolio and a Box. Price, $3.00. + + Sent, post-paid, on receipt of price, by + The Scovill & Adams Company. + + * * * * * + + + Artistic Landscapes + FROM NATURE. + + Representing The Four Seasons. + + These plates were made from photographs taken direct from nature. + They have been most beautifully reproduced by the highest grade + (copper-plate) process of the New York Photogravure Company. The + plates measure 6 x 8 inches, but are printed on extra heavy plate + paper 11 x 14 inches in size. Each picture is printed in a tint + especially appropriate for the season which it represents, and the + entire set of photogravures are in every way =worthy of framing=. + + The negatives were photographed from nature by Mr. W. I. LINCOLN + ADAMS, and they have been _enthusiastically praised wherever shown_. + + What GEORGE INNESS, America's greatest landscape painter, says of + these photogravures: + + "They are very charming, and should prove extremely useful in the + development of the landscape art of our country." + + They are sold singly or in sets. + + Price, per copy $0.50 + The Set of Four 1.50 + + Sent, post-paid, to any address, on receipt of price, by + The Montclair Photogravure Publishing Company, + MONTCLAIR, N. J. + + * * * * * + + + THEODORE METCALF CO. + + Chemicals + Fine, Rare and Crude, of every description. + + From the many years we have dealt in this class of supplies, we claim + to be leaders in this branch of the drug trade, and by constantly + replenishing and increasing our stock, and at once procuring or + manufacturing all new chemical products, we are able to do full + justice to all orders. + + : Pure Chemicals : + FOR PHOTOGRAPHIC AND PROCESS WORK. + + Bromide of Potassium. + Bichromates. + Ammonium, Potassium and Sodium. + Powdered Dragon Blood, Light Colored and Dark. + Metcalf Powdered Bitumen of Judea. + + :: ALSO :: + + Syrian Asphaltum. + Benzole, Chemically Pure, + + By Can or Barrel. + + Etc., Etc., Etc. + + Boston, U. S. A. + + * * * * * + + + The Grammar of Photo-Engraving. + + By H. D. FARQUHAR. + + (Number Forty-five of the Scovill Photographic Series.) + + CONTAINING INSTRUCTION IN + + Drawing, Chemistry and Optics, as applied to Photo-Engraving. + + AND A PRACTICAL TREATISE ON THE ART OF + + HALF-TONE, ZINC ETCHING, SWELLED GELATINE, LITHOTYPE AND + CHALK PLATE ENGRAVING, AS PRACTICED IN THE UNITED STATES. + + ILLUSTRATED. + + The object of this book is to present to the constantly increasing + number of persons seeking after practical knowledge in the art of + process engraving, a comprehensive and totally reliable text-book. + The book has been written with a view to instruct the amateur as + well as the professional, and the writer has always had in mind the + beginner, counting no detail too trivial to be fully described. + + It has been written for the most part in the leisure hours, after + practical service during the day in a photo-engraving establishment, + so that the instruction goes directly from the shop to the pupil. It + has been the author's hope, in writing this book, to so carefully + describe every branch of work connected with the subject, that the + beginner, who knows absolutely nothing about it, may become a + practical photo-engraver from a careful reading of the work. + + CONTENTS: + + Chapter I.--Drawings for Photographic Reproduction. The Materials + Required. + + Chapter II.--Chemicals used in Photo-Engraving. + + Chapter III.--Apparatus and the Workshop. + + Chapter IV.--Photographic Processes as Employed in + Photo-Engravings. Preparation of the Chemicals. + + Chapter V.--Causes of Failure. Remedies. + + Chapter VI.--The Half-Tone Process. Screen Plates. + + Chapter VII.--Zinc Etching. Preparation of Chemicals Used in Zinc + Etching. + + Chapter VIII.--Etching in Half-Tone. + + Chapter IX.--Blocking and Finishing. Tools and Materials. + + Chapter X.--Swelled Gelatine Process of Photo-Engraving. + + Chapter XI.--Lithotype Engraving for Color Work. + + Chapter XII.--Photographing on Wood and Other Processes. + + Price, in paper covers $2.00 + " cloth bound (Library Edition) 2.50 + + For sale by all dealers in Photographic Materials, and sent, + post-paid, on receipt of price, by the publishers, + + THE SCOVILL & ADAMS COMPANY, + 423 Broome Street, New York City. + + * * * * * + + + + + [Illustration: A ROADSIDE COTTAGE IN THE CATSKILLS + E. EDWARDS PHOTO. N.Y PHOTOGRAVURE CO.] + + + + + PHOTOGRAVURE. + + + BY + HENRY R. BLANEY. + + + _With Introduction and Additions by the Editor._ + + + NEW YORK: + THE SCOVILL & ADAMS COMPANY. + 1895. + + + + [Illustration] + + Copyright, 1895. + THE SCOVILL & ADAMS COMPANY. + + + + +CONTENTS. + + + PAGE + INTRODUCTION BY THE EDITOR.--Early History of Photogravure-- + Woodbury's Process--Other Methods, 5 + + CHAPTER I.--The Negative.--Quality best Suitable.--Necessity + for Reversing.--Methods of Obtaining Reversals.--The Powder + Process, 9 + + CHAPTER II.--The Transparency.--The Carbon Process.--Cutting + up the Tissue.--Sensitizing.--Drying.--Exposing.--Continuing + Action of Light.--Development.--Carbutt's Transparency + Plates, 15 + + CHAPTER III.--The Carbon Tissue.--Sensitizing and Exposing.-- + The Actinometer, 22 + + CHAPTER IV.--Cleaning and Graining of the Copper Plate Plate-- + Grade of Copper Necessary.--Where and How to Buy it, 25 + + CHAPTER V.--Development of Negative Resist on the Copper + Plate.--Preparation for Biting with Acid through the + Gelatine, 29 + + CHAPTER VI.--The Acid Baths.--How to Make Them and Method + of Biting through the Gelatine, 32 + + CHAPTER VII.--Cleaning and Polishing the Plate, with Tools + Necessary for Retouching, 37 + + CHAPTER VIII.--Printing from the Plate.--Steel Facing, 39 + + CHAPTER IX.--Materials Necessary for Photogravure--List of + Firms Supplying Them, 41 + + CHAPTER X.--Books and Articles on Photogravure, 1888-1893, 44 + + + + +[Illustration] + +INTRODUCTION. + + +About the year 1820 Nicephore Niepce made the discovery that bitumen, +under certain conditions, was sensitive to light. He dissolved it in oil +of lavender, and spread a thin layer of the solution thus obtained upon +stone. This he exposed under a drawing (making the paper transparent by +waxing), and after sufficient exposure, oil of lavender was poured on. +Those portions of the bitumen which had been exposed to the action of +the light had become insoluble, and so remained while the lines which +had been protected by the drawing were dissolved away. By treating the +stone with an acid these lines were bitten or eroded, and could be +printed from. Niepce afterward employed metal plates instead of the +stone. + +Here we have the foundation for a number of printing processes of the +present day, including photogravure. + +For many years, however, progress in processes for intaglio printing was +very slow. In 1852 Talbot introduced a process termed photoglyphy, and +in 1854 Paul Pretsch, of Vienna, patented a process which he termed +photogalvanography. In 1870 the late Walter B. Woodbury, inventor of +the Woodburytype process, suggested to M. Rousselon, of M. M. Goupil & +Co.,[A] a process which he had discovered, and which he describes[B] +as follows: + +"The method, as perhaps many of your readers know, is based on the fact +that some pigments used in carbon printing have an unpleasant habit of +granulating when mixed with gelatine and bichromate, destructive to +their use in carbon printing and Woodburytype, but bearing the essence +of success in an engraving process where grain is necessary. The origin +of this method was simply owing to my getting some bad reliefs, in which +this effect was first noticed. Out of this arose the photo-engraving +process which, as I said before, is now claimed as the invention of a +Frenchman. But I am digressing. + +"This relief, possessing a suitable grain, could, by hydraulic pressure, +be made to transfer its minutest details to metal without any loss to +fineness, so giving a plate possessing all the properties of a +mezzotint. The methods hitherto used of electrotyping would have proved +useless, as all detail would have been lost. The same thing applies to +the new method I am now about to bring before your readers. The latter +process of getting the grain transferred to a hard metal remains the +same; but the novelty is in the method of producing the grained plate. +To those who have practiced the process of enameling, as used by Geymet +and Alker, and others, my description will be better understood. + +"I first coat a thin, polished steel plate (zinc will answer) with a +very thin coating of gum, glucose, and bichromate as used for enameling. +This I dry rapidly, and, while still warm and desiccated, expose under a +glass positive. On removal from the frame after exposure the plate is +made to take up a slight amount of moisture by breathing on it. + +"During this stage I brush or dust over it any hard powder, such as +emery, powdered glass, etc, but these I keep of different degrees of +fineness or coarseness. No. 1, is of a coarse quality, and is used +first; No. 2 is finer; and No. 3 is of the finest grain obtainable. +These are obtained by passing through muslin of different degrees of +fineness. Having in the first stage of moisture used the No. 1, or +coarsest, powder, after a time No. 2 is dusted over and adheres to the +middle tints, while the very finest tones, which have almost lost their +sticky qualities by the exposure to light, are treated to No. 3. + +"Now we possess a granular picture having all the true qualities +required in a photo-engraved plate, or, rather, such as will give a +reverse in metal having these qualities. The steel or zinc plate is then +to be exposed to light to completely harden the mixture all over, and is +then treated exactly as in my other engraving process; that is, pressed +into soft metal by hydraulic pressure, electrotyped, and then the +surface is aciercised or coated with steel. The dark parts are thus +represented by a coarse grain, the middle tints by a medium grain, and +the finest shades by the most infinitesimal particles, thus meeting all +requirements necessary to a successful photo engraving process." + +This process was taken up by a Frenchman and claimed by him as his own +invention. The chief difficulty with it was that the plates before being +perfect require the work of a skillful engraver, sometimes for weeks. +They were therefore very costly, six dollars per square inch being +charged for the making of the plate alone. + +Klic's process, 1886, was the next important improvement in photogravure +or intaglio printing, and since then many other processes and +improvements have been introduced by Obernetter, Waterhouse, Colls, +Zuccato, Sawyer and others. + +In the following chapters Mr. H. R. Blaney gives a working description +of the process as practiced to-day by many of the leading firms in this +and other countries. This originally appeared in the columns of THE +PHOTOGRAPHIC TIMES, but I have made many additions that I have imagined +may be of value to the student. A dividing line will be found between +Mr. Blaney's writings and my own additions. + + THE EDITOR. + + [A] Now Boussod, Valadon et Cie. + + [B] _British Journal Almanac_, 1874. + + + + +CHAPTER I. + +THE NEGATIVE. + + +Any negative may be used for photogravure, that is, taken from nature, +or from a painting or engraving, provided it is reversed, and, in the +case of paintings, should, in addition, be on an orthochromatic plate. +The negative should be soft and brilliant, well exposed, and not hard or +under-exposed. A reversed negative is always necessary if the print from +the copper plate is required to be similar in regard to right and left, +or if no other means are to be taken, to reverse the image upon the +copper plate. Professionals use stripping plates especially made for +this purpose for small work, or the reversed negative may be made in the +copying camera. A fairly good reversed negative can be made by contact +in the printing frame from an albumen print from the original negative, +the print made transparent with white wax by being placed on a piece of +warm, clean metal and the wax rubbed over the face. To have the negative +reversed, the print should first be placed, face out, against the glass +of the printing frame, with its back against the sensitive surface of +the transparency plate, the back closed in and exposed to a large lamp +for about five seconds. Every care must be taken that you use the best +of negatives, carefully retouched if necessary, as the professional +photographic etchers have informed me that (from their standpoint) the +success of the whole process depends on the quality of the original +negative and the care taken in artistic retouching. + + * * * * * + +It will often happen in commercial photogravure work that plates have to +be made from all kinds of original negatives. In cases where these are +flat from over-exposure it is well to make a carbon transparency; +intensifying the image with a strong solution of permanganate of potash, +and from this make a fresh negative upon a slow or Carbutt transparency +plate. + +Mr. Horace Wilmer says: "The class of negative most suitable is such as +gives a good result by any of the printing processes. A bright sparkling +negative will always give a good plate, but I do not find that any +satisfactory results can be got from a soft flat negative. The negative +should be as perfect as possible. It is absolutely useless to work from +a faulty negative. Contrasts on it may be increased by retouching. Such +contrasts are desirable because the tendency of the etching is to reduce +them somewhat." + +Perhaps the simplest way of obtaining a reversed negative is by placing +the dry plate in the slide film inside and exposing through the glass, +of course after allowing in focusing for the thickness of the glass +plate. With the wet-collodion process, usually the method employed by +large photomechanical printers, this method can be used because it is +a simple matter to carefully examine the glass plate to be employed, +but it will be obvious that with the ordinary dry plate all the +imperfections of the glass, such as dirt, scratches, air-bubbles, etc., +will be clearly reproduced in the image. + +Another method largely employed to produce reversed negatives direct, is +by means of a mirror or prism placed either before or behind the lens. +The prism is the more convenient, but if large sizes are used it becomes +a costly piece of apparatus. The mirror, which should be a plane of +glass silvered on its surface, is a less expensive affair. By either of +these means the reversed negatives can be made direct without suffering +the least in quality. + +With celluloid or other flexible films, printing can, of course, be done +from either side. Practical men, however, say that, except with the +very thinnest films, there is an undoubted loss of sharpness in the +grain when these films are reversed and with some mechanical processes. + +Against this, however, it may be said that better contact can be +obtained in printing than if the film were upon a piece of uneven glass, +as is often the case, for by backing it with a piece of plate-glass +perfect contact is ensured everywhere. + +We come now to the method of stripping the film from the glass. If the +negative is made by the collodion process the matter is a simple one. +The glass is treated with French chalk previous to collodionizing. After +the negative is made and dried it is laid on a leveling stand and a +solution of gelatine poured on it. When dry, it is readily stripped by +running a knife all round. With ordinary dry-plates the method usually +recommended is to immerse them in dilute hydrofluoric acid. The +difficulty often experienced here is in the lateral expansion of the +film. This will largely depend upon the plate, or rather the quality of +the gelatine used. There are, however, two methods of securing the films +to some medium unaffected by moisture, and so prevent expansion or +distortion. The first is that recommended by Mr. A. Pumphrey and the +second by Mr. H. J. Burton, modified descriptions of which are given in +a recent number of _The British Journal of Photography_. If the negative +is varnished this is removed. A thin film of gelatine is moistened in a +dilute solution of hydrofluoric acid, one part of acid to sixty of +water. This gelatine film is secured on paper by a coating of +india-rubber. + +The action of the dilute acid is to soften the gelatine, making it very +adhesive. It can, in this state, be readily attached to the negative by +squeegeeing. The acid in the film passes through the negative, and +releases it from the glass. It can then be lifted off and pinned to a +flat surface to dry. The paper can afterward be stripped off, when dry, +by moistening the back with a little benzole to dissolve the +india-rubber. In this manner we get the stripped negative in exactly the +same size as when on the glass, to which it can be restored at any time +desired. + +Burton, in his method, employs collodion in place of paper as the +support. The negative is first coated with a thick collodion, and this +is allowed ten minutes or so to set. It is then immersed in plain water +until the film loses all appearance of greasiness. A few drops of +hydrofluoric acid are added to the water, and the dish gently rocked. +The film will soon detach itself, when the plate should be at once +rinsed. Another plate previously coated with gelatine, and dried, is +placed in the dish, and the released film, after reversing, is floated +upon it, the two removed together, and allowed to dry. + +So far we have only treated upon reverse negatives, either obtained at +once or reversed afterward. It often happens, however, that we have an +ordinary negative, which is required to be reversed. This negative may +be a valuable one, and the risk involved in stripping it be too great. + +Another simple method of obtaining a reversed negative is by means of +the powder process. Although this process is an old one, it appears to +be but little known, for what reason we have never been able to define. +It is by no means difficult, and by its means a negative can be obtained +direct from a negative without the intermediate positive transparency. + +The principle of the process is this: An organic tacky substance is +sensitized with potassium dichromate, and exposed under a reversed +positive to the action of light. All those parts acted upon become hard, +the stickiness disappearing according to the strength of the light +action, while those parts protected by the darker parts of the positive +retain their adhesiveness. If a colored powder be dusted over, it will +be understood that it will adhere to the sticky parts only, forming a +visible image, the same being a reproduction of the positive printed +from. The process is very useful for the production of lantern slides +and transparencies, or for the reproduction of negatives. Any of the +following formulae may be employed for the manufacture of the organic +substance:-- + + +SOLUTION A. + + Gum arabic 25 grammes + Grape sugar 60 grammes + Purified honey 15 grammes + Alcohol, 40 deg 15 c.c. + Water 60 c.c. + + +SOLUTION B. + +Saturated solution of ammonium dichromate. + +Two solutions to be mixed together before using in proportions 15 A, +25 B, 50 water. + + +WOODBURY'S FORMULA. + + Gum arabic 60 grains + Glucose 45 grains + Glycerine 10 minims + Potassium dichromate 30 grains + Distilled water 2 ounces + + +OBERNETTER PROCESS. + + Dextrine 60 grains + White sugar 75 grains + Ammonium dichromate 30 grains + Glycerine 2 to 8 minims + Distilled water 3 ounces + +The gum is first dissolved and the remainder of the ingredients added. +It may be necessary to warm the solution in a hot water bath to dissolve +it. It is then filtered through flannel or clean muslin, and preserved +for use in well-stoppered bottles. With this solution clear glass plates +are coated and dried by a gentle heat over a small spirit lamp. The +plate while still warm is exposed under a reversed positive[C] for from +two to five minutes in sunlight, and from 10 to 20 minutes in diffused +light. The image is then but slightly visible. On removing from the +printing frame the plate is laid in the air (protected from light) for a +few minutes to absorb a little moisture from it. The next process is the +"dusting on." If the image is required to be black, fine Siberian +graphite is spread over it with a soft flat brush. This will adhere to +the parts unaffected by light, giving an image of the positive. Any +colored fine powder maybe used, giving images in various colors. When +fully developed the excess of powder is dusted off and the film coated +with collodion. After this it is well washed to remove the unaltered gum +and dichromate salt. The film may, if desired, be detached from the +plate and used for enamels, ivory, wood, textile fabrics, opals, etc. + +[Illustration] + + [C] Reversed as regards right and left. + + + + +CHAPTER II. + +THE TRANSPARENCY. + + +Regular transparency gelatine dry plates are the handiest for making +positives, especially for amateurs, if one does not care if the subject +is in reverse, or if one has a reversed negative to work from. There is +a "special" carbon tissue, price $4.00 per roll of 2 x 12 feet, made by +the Autotype Company, of London, England, with full instructions +appended; by a system of double transfer, reversed negatives may be +obtained with this tissue. The "special" tissue is only to be used for +the transparency. A safe edge of black paper is required on the +transparency, pasted up exactly to the edge of the picture, on the glass +side; it comes, sold in strips, gummed, ready for use, about 1/4 inch +wide; this is required, as the tissue used for the negative resist on +the copper plate, which is printed from the transparency, must have a +safe edge, shielded from the light, or it will not attach itself to the +copper plate, the tissue coming inside half way. The screw pressure +printing frame should have a piece of heavy felt for backing the +transparency. + +The following instructions for making carbon transparencies will no +doubt be found useful: + +The carbon tissue prepared for this process consists of paper coated +with gelatine containing carbon, lamp-black, or other pigments. + +The Autotype Company, of London, manufacture a special "transparency" +tissue. + +CUTTING UP THE TISSUE is performed by unrolling it gently upon a zinc +cutting plate, cut square and true, with the inches marked at the bottom +and right-hand side. By using a T square and observing the numbered +inches marked on the plate, it will not be difficult to cut the tissue +to any dimension. If the tissue is very curly and unmanageable it should +be kept down with convenient weights. After cutting it up to the +required sizes, which should be conveniently smaller than the dish to +be used for sensitizing, it should be kept flat under a metal plate. + +SENSITIZING THE TISSUE is the next operation. This is performed in a +solution of potassium dichromate rendered alkaline with ammonia. Tie +over the mouth of a two-gallon jug a piece of muslin, to form a kind of +bag, into which place fifteen ounces of potassium dichromate, then fill +up the jug with water and allow it to stand until the dichromate is +dissolved and the solution becomes cold. It is sometimes advisable to +regulate the quantity of dichromate. In hot weather, or for very thin +negatives, the proportion of water should be doubled, while for very +hard negatives only half the quantity should be used. In very hot +weather it is often advantageous to replace about 30 per cent. of the +water with the same quantity of alcohol. + +The operation of sensitizing the tissue must be carried on in a room +lighted by a window covered with a yellow blind. A flat dish of +porcelain, glass, or _papier mache_, a squeegee, and a sheet of glass or +zinc larger than the tissue, will be required. + +The solution is poured into the dish, and should be at least two inches +deep. The tissue is then immersed in it, and the air-bells that form +immediately brush away from both sides with a broad camel's-hair brush. +The temperature of the bath should not be higher than 60 deg. Fahr.; and +the time of immersion should be from three to five minutes. After the +tissue has remained in the solution for the allotted time it is gently +removed and laid face downward upon the glass or zinc plate, and the +back squeegeed, removing all superfluous solution. The tissue is +removed from the glass and laid over a sheet of cardboard, bent into the +form of an arch, to dry. + +Another method (H. J. Burton's) of sensitizing carbon tissue is to lay +it flat on a sheet of clean blotting paper, and sponge on the back a +very strong sensitizing solution composed as follows: + + Potassium dichromate 4 ounces + Liquid ammonia fort 1 ounce + Water 20 ounces + +First mix the ammonia with the water, then grind up and add the +dichromate. + +DRYING THE TISSUE should be accomplished in a room perfectly free from +the noxious fumes of other chemicals, and lighted only by non-actinic +light. Tissues sensitized during the evening should be dry on the +following morning. It should then be cut to the sizes required and kept +flat in a pressure frame, or other similar contrivance. + +EXPOSING THE TISSUE.--The tissue can be exposed behind the negative in +an ordinary printing frame, or in special frames having no joint in the +back, as no image is visible. The negative must be furnished with a safe +edge, made by painting an edge about one-eighth of an inch round the +negative with black varnish, or by pasting on strips of red or black +paper. Exposure must be judged by an actinometer. A very suitable +instrument for timing the exposure of carbon tissue is Sawyer's +actinometer. It consists of a rectangular tin box with a glass lid, +bearing twelve tints graduated from slight discoloration to a degree of +opacity, representing the extreme amount of deposit upon the lights of +the densest negatives, each division of this screen of tints bearing a +number in opaque pigments; and a roll of sensitive paper is placed in +the box, and the end pulled forward so as to pass under the tints. When +this arrangement is placed in the light, the silver paper commences to +discolor underneath the graduated screen, beginning of course at the +lightest, but the number on the tint being in an opaque pigment is +preserved white, and serves to register the progress of printing; for +if, when the lid is opened, the number one, for instance, shows clearly +on a tinted ground, the instrument is said to have registered one tint; +by that time the number two will have begun to make its appearance, and, +if sufficient exposure be given, the light will print through the whole +scale by successive steps, and show up the numbers, one to twelve. With +an instrument of this kind it is evident that, by exposing alongside the +carbon tissue and determining the number of tints required for the +proper exposure of that negative, the same number of tints with the same +negative will always prove right. A little practice will enable one to +judge the number of tints required for every class of negative. + +It will be well to remark here that freshly sensitized tissue will +produce inferior pictures to that used a day or two after; the pictures +are not so hard, and there is less danger of the high-lights being +washed away. + +CONTINUING ACTION OF LIGHT.--If the carbon tissue after exposure to the +light, be kept in the dark for a little time the effect on the print +will be precisely the same as if the exposure to light had been +prolonged. This continuing action of light may often be utilized to +advantage. Pictures known to be under-exposed will, if kept till +morning, by that time have acquired the same force as if they had +received the proper exposure. + +DEVELOPMENT consists simply in dissolving the gelatine unaffected by +light, with hot water as the solvent. + +Immerse the exposed tissue in a bath containing cold water. It will +first of all curl up, but afterward lay flat and limp. It is then placed +in another bath containing cold water together with a sheet of glass +which has previously been coated with a 5 per cent. solution of +gelatine. Bring them together face to face, draw them out, and force +into close contact with a large squeegee; then place between blotting +paper for five or ten minutes. In squeegeeing, the tissue should be +uppermost, and a sheet of American cloth laid over it to prevent the +squeegee from damaging it. + +Development should not be attempted for at least twenty minutes, during +which time the glass, with the tissue on it, should be placed between +sheets of blotting paper, and kept under pressure to insure its +adherence to the glass support. After that time it is placed in a dish, +and water heated to a temperature of 100 deg. F. added. The colored +pigment will at once commence to ooze out of the edges, and after a +little time the paper originally holding the carbon film may be removed +with the hand. Then, by gently leveling the picture with the hand, the +superfluous gelatine will be washed away, and if the exposure has been +correct a perfect image should remain. A certain amount of control can +be kept over an autotype picture. An over-exposed print will show itself +by insolubility of the gelatine, and the high light refusing to be +washed clear. The temperature should be raised considerably, and hot +water poured over with a jug. If this fails to reduce the intensity, add +a little ammonia to the water as a last resource, though the better plan +is to make another print, giving less exposure. Under-exposure results +in over-solubility of the gelatine. The half-tones will be washed clean +away. It is rarely an under-exposed print can be saved. All that can be +done is to reduce the temperature of the water. Development should never +be hurried; the slower it is the better the gradation of tone in the +results. + +After development is complete the bichromate salt is discharged, and the +image rendered perfectly insoluble by well washing in cold water and +placing in a dish containing a 5 per cent. solution of potash alum, +after which it is again washed and dried. + +Another method of making a transparency and one that involves less +trouble is by means of the transparency plates which are now in the +market. Of these we have tried Carbutt's with the greatest success. For +these the following instructions are given: + +The requisites are, a deep printing-frame a size larger than the +negative to be used, with a flat glass bottom clear and free from +scratches (crystal plate is best), a dark-room Lantern, or other +artificial light, and Keystone Gelatino-Albumen Plates. Transparencies +can be made same size of negative by contact and exposure to artificial +light, or enlarged or reduced in the camera by daylight, with equal +perfection in result. To make transparencies by contact place one of the +Keystone thin crystal glass transparency plates over the negative in +printing-frame, lay piece of dark soft material over it, close down the +back, and expose to the light of the lantern or to a gas flame or other +artificial light, for 10 to 30 seconds, according to density of +negative, at a distance of 20 inches from the flame. Use the following +developer: + + +EIKONOGEN AND HYDROCHINON DEVELOPER. + +A. + + Metric Weight. Avoirdupois Weight. + + 600 c.c.m Distilled Water 20 ounces + 120 grammes Sulphite of Soda Crystals 4 ounces + 22 grammes Eikonogen 330 grains + 101/2 grammes Hydrochinon 160 grains + 960 c.c.m Water to make up to 32 ounces + +B. + + Metric Weight. Avoirdupois Weight. + + 600 c.c.m Distilled Water 20 ounces + 60 grammes Carbonate of Potash 2 ounces + 60 grammes Carbonate Soda Crystals 2 ounces + 960 c.c.m Water to make up to 32 ounces + +For use take 1 ounce (30 c.c.) of A, 3/4 ounce (25 c.c.) of B, with 4 +ounces (120 c.c.) of water. + +More of A will increase density, more of B will increase detail and +softness. Temperature of developer should not vary much below 65 deg. +nor above 75 deg. The after treatment is same as with any other +developer. + +Let the development continue until the blacks look quite strong, and +detail showing in the high-lights; wash off developer, then immerse in + + +CARBUTT'S NEW ACID FIXING AND CLEARING BATH. + + 4 c.c.m Sulphuric Acid 1 drachm + 480 grammes Hyposulphite of Soda 16 ounces + 60 grammes Sulphite of Soda 2 ounces + 30 grammes [D]Chrome Alum 1 ounce + 1920 c.c.m Warm Water 64 ounces + +Dissolve the hyposulphite of soda in 48 ounces (1440 c.c.m.) of water, +the sulphite of soda in 6 ounces (180 c.c.m.) of water; mix the +sulphuric acid with two ounces (60 c.c.m.) of water, and pour slowly +into the sulphite soda solution, and add to the hyposulphite; then +dissolve the chrome alum in 8 ounces (240 c.c.m.) of water and add to +the bulk of solution, and the bath is ready. This fixing bath will not +discolor until after long usage, and both clears up the shadows of the +negative and hardens the film at the same time. + +Let remain two or three minutes after transparency is cleared of all +appearance of silver bromide. Then wash in running water for not less +than half an hour to free from any trace of hypo solution. Swab the +surface with wad of wet cotton, rinse, and place in rack to dry +spontaneously. Then varnish with plain collodion. + + [D] N. B.--During cold weather use only half the quantity + of Chrome Alum in above. + + + + +CHAPTER III. + +THE CARBON TISSUE--(SENSITIZING AND EXPOSURE). + + +The carbon tissue used as a resist, which is mounted on the copper +plate, is made by the Autotype Company, London, England. No. 100 +Standard Brown is the right grade to use, though I have reached good +results with No. 103. The No. 100 is a heavier grade than No. 103, and +requires two or three minutes longer exposure than the latter. Use a +deep printing frame with a screw pressure to secure absolute contact, +which is known by iridescent markings appearing on the glass of the +printing frame. A Johnson's actinometer is very useful to time the +exposure. From 4 to 6 tints are necessary. Experience here is the only +guide, as the light varies as well as the density of the negative and +the sensitiveness of the tissue. If one does not have an actinometer, a +slip of albumen paper may be used; as soon as the paper has reached the +darkest point, which is then called one tint, extend it so that a fresh +portion comes out to the light, and so on for the different tints. In +September, for instance, the darkest tint is reached in about 3 to 4 +minutes; two tints and a half or 8 minutes in the shade at midday on a +clear day in September is about right,--this is understood to be with +medium negatives and No. 103 tissue sensitized within three days. + +You should over-expose rather than under-expose, allowance being made +when the acid is used. Print deeply, so that, on development, the +negative tissue on the copper plate shows all the detail clearly in the +shadows. The tissue should not appear very dark on the plate. The copper +should show up through the gelatine clearly and brightly. The thinner +the negative tissue, the quicker the biting of the acid. + + +SENSITIZING THE TISSUE. + +The carbon tissue comes only in rolls of 21/2 feet by 12 feet, price +$3.00, not cut. It is not sold in a sensitive condition. Full +instructions with each roll for sensitizing. Tap water will do, but I +would suggest distilled water for making the sensitizing solution of +bichromate of potassium. + + Bichromate of potassium 1 ounce + Water 16 ounces + Alcohol 1/2 drachm + Ammonia 12 drops + +The best way to sensitize the tissue, is to place the tissue face up, +keeping it flat so that the solution reaches all parts at once, removing +all air bubbles, and rubbing in the solution with the fingers until +pliant; the time of immersion is three minutes in winter, two minutes in +summer. The hands should be washed directly after handling the solution, +and care must be taken that there are no cuts on the fingers, as the +solution is very harmful, but if due care is exercised and the hands +well washed immediately with soap, little, if any, trouble will be +experienced; use rubber finger tips as much as possible. Keep the +temperature of the solution at 70 deg. both in summer and winter. Take a +piece of glass free from scratches (an inch larger all round than the +tissue); have the glass ready cleaned with ammonia and talcum powder of +fine whiting, squeegee the sensitized carbon tissue directly from the +solution on to the glass and place to dry at night in a light-tight box; +it will be dry in the morning. + +The tissue is in the best condition for three days after sensitizing; it +can be used up to seven days; it gradually increases in sensitiveness +from day to day. After a week or ten days has elapsed, it is hard to +manage and becomes unreliable. When the tissue is dry take a sharp knife +and cut inside the edge, and strip off one corner. Fairly good results +can be reached by simply drying over a curved piece of pulp board, +which is tied with string on each end, but squeegeeing on glass gives a +sharper result. The addition of ammonia and alcohol to the sensitizing +solution makes it easier to strip the paper from the copper plate, after +the carbon tissue is mounted on the plate, and enables one to develop +the resist in the water at a lower temperature than without it, thus +avoiding pits in the darker portions and white specks or bubbles in the +lights, should the water reach too high a temperature. + +[Illustration] + + + + +CHAPTER IV. + +THE CLEANING AND GRAINING OF THE COPPER PLATE, AND GRADE OF COPPER +NECESSARY, AND WHERE AND HOW TO BUY IT AT REASONABLE PRICES. + + +The best copper is recognized by its rosy lustre. Pure copper only +should be used. It can be purchased ready polished and beveled from +several firms in New York. The best way, if large quantities of plates +are required, is to buy the copper in the rough of one firm and have it +polished by another, and bevel it yourself if necessary with a file and +burnish it by hand, or the firm who polish it will do the beveling for +you. + +The Scovill & Adams Co. supply copper-plates of the finest quality, +ready polished, for photogravure work. + +Total cost by this method about one-third less than by purchasing ready +made. It makes a copper plate 1/16 grade, 9 x 11, cost about $1.10. +Order your copper 1/16 in. grade up to 10 x 12; larger sizes 1/8 in. +grade. If you use 1/16 in. grade above this size, the plate is liable to +buckle. Be sure the plate is free from pits and scratches and with a +high polish. Have what the polishers and engravers call a rouge polish. +If they do not supply it, rouge it yourself with powdered rouge and +turpentine, using a ball of absorbent cotton over a large piece of +smooth cork. A good way to buy rouge is in the stick; it is more +economical. Rub the wet cotton on it and the right quantity is assured. +Pits in the copper may be taken out by tapping upon the back with a nail +set, using a small piece of polished steel to lay the face of the plate +on, and localizing the spot with a pair of calipers. The part raised by +the tapping, cut away with the scraper, then rub the spot with Scotch +stone and water, then a piece of engraver's charcoal (cut to a pencil +point), with machine oil; then burnish with the regular engraver's +burnisher and sperm oil, finishing with rouge and refined turpentine. + +When the plate is well polished, make a strong solution of caustic +potash (C.P.), which comes in sticks, as strong as possible, as long as +it does not stain the copper. It should register about 40 deg. with an +actinometer used to test silver solutions. + +Take a piece of absorbent cotton and clean the copper with potash (by +the way, use finger tips); rinse under tap for five minutes, then a +fresh piece of cotton with alcohol at 95 per cent., rinse again with +water, and place in warm water for final rinsing; stand up on corner, or +place in drying frame usually used for negatives; allow to drain. Should +any stains appear, it must be recleaned and all the operations repeated +until it drains off without streaks, for these streaks and spots of +stain are caused by the caustic potassa, which is difficult to remove. +It is as hard to get rid of from the copper as hyposulphite is from a +negative. These streaks retard the acid on the copper wherever they +appear, and cause defects in the recording of the original tones of the +negative. + +The plate is then ready for graining. + + +II.--GRAINING THE COPPER PLATE. + +A grain is required on the copper plate so that the tones will be +reproduced, as copper has not a sufficient grain of its own. The grain +is given to the copper plate by dusting it with powdered Syrian +asphaltum or resin. Have a paste-board box made 18 inches high, 12 +inches wide and 8 inches deep, perfectly air-tight, with a small door +running the whole length on the widest side, an inch or two from the +bottom. Have the inside of the box perfectly smooth; place within the +box 4 ounces finely powdered Syrian asphaltum (sold by Messrs. Theodore +Metcalf & Co., Tremont Street, Boston, Mass.); it is difficult to find +in New York. Shake the box vigorously, place on table, insert a piece of +wood an inch high made in shape of cross (or open square, or have +netting of wire raised an inch from the bottom of the box); the copper +plate, previously cleaned, is at once placed face up upon it. Instead of +shaking the box it can be arranged upon supports (see fig. 1), and +revolved. + +[Illustration: FIG. 1.] + +Close the door instantly, and let the plate remain about two minutes; +carefully remove the plate and place it on a Florence oil lamp, holding +the plate with a hand vise, watch carefully until the powder disappears +from the surface and the plate slightly smokes, then stand aside to +cool. Do not keep the plate too long on the heater, or the particles of +dust will run together, forming an impenetrable varnish over the plate. +This part of the process is not difficult, but requires practice. +Preserve each atom of dust as much as possible, examine with magnifying +glass and, when cool, test with finger nail; if it rubs off easily, it +has not been heated enough; then the plate must be re-cleaned and again +powdered. To get a good all-round working grain, suitable for medium +subjects, the plate should be placed at once in the box after shaking; +thus the coarser particles that fall first, and the finer, which +gradually settle, will combine after two or three minutes. + +Many combinations will be suggested to the student by practice to suit +the subject; for instance, waiting for two minutes and then inserting +the plate, gives a fine grain for delicate subjects. Powdered dragon's +blood (resin) in combination with asphaltum makes a beautiful grain; a +separate box may be used for the dragon's blood; the asphaltum first +dusted on the plate, then inserted in the dragon's blood box for twenty +or thirty seconds, then melted together. The dragon's blood melts first, +then the asphaltum. + +The air brush is also used by professionals; it throws a resinous spirit +varnish, coarse or fine, as required. + +[Illustration] + + + + +CHAPTER V. + +DEVELOPMENT OF NEGATIVE RESIST ON THE COPPER PLATE, AND PREPARATION FOR +BITING WITH ACID THROUGH THE GELATINE. + + +Have a wooden box made 24 inches long, by 12 inches high, 12 inches +wide, with door 6 inches high on side, fastened with hinges, top and +bottom of box open; cover top with sheet zinc. Place inside Florence oil +lamp; the door is valuable to regulate the heat. On top of box place +deep porcelain tray, 11 x 14, fill with water half full; in the water +place two pieces of plate glass 1/2 inch high and 4 inches long, on +which to place copper to keep it from the bottom of the tray. Slide the +copper plate into the water, removing all air bubbles, keeping the +fingers off the surface of the plate. Take the sensitized and exposed +tissue and place face down in the cold water (65 deg.) sliding it +gradually in at further end of the paper so as to avoid air bubbles; the +instant the paper curls backward, place it over the copper plate and +remove it quickly from the water. This has to be done with celerity or +it will be found difficult to mount the tissue with the squeegee on the +copper, and also it should be exactly placed with reference to the top +and sides of the copper; all this, of course, to be done under water, +never allow it to slip up out of it. Place plate on table and squeegee +into place, stroking firmly from the centre, each way. Place face down +on clean blotting paper, under heavy weight for fifteen minutes. While +plate is under pressure (which is necessary to enable the gelatine to +expand and attach itself to the plate), start the lamp gradually, and by +the time the paper is ready the water should register on the thermometer +75 deg. Slide the plate under water removing air bubbles as they +appear, with a ball of absorbent cotton; when the heat of the water +reaches 90 deg. Fahr., the gelatine commences to ooze from all around +the edges of the paper, and after the plate has remained in the water +about ten minutes after the showing up of the gelatine (at the +temperature from 90 to 95 deg.), take a pin and carefully raise the +paper at the corner, gradually pulling away the paper toward the +opposite corner, keeping the hand close to the water; should the +gelatine which adheres to the plate appear to lift, wait a few minutes +longer and start another corner. After the paper is stripped from the +plate, gently develop the negative resist with a piece of fresh +absorbent cotton, delicately rubbing the surface, edges first, and lave +the plate up and down in the water, keeping the temperature steadily at +90 to 95 deg., by raising or lowering the lamp. (Should the paper be +under-exposed and appear very black on the copper, develop at 100 to 110 +deg., not over. If over-exposed it will appear very thin, and the heat +of the water must not go over 90 deg.; it will strip at 88 to 90 deg.) +Then the negative image gradually appears, the darks first, which are of +course the brightest portions; when all detail appears in the shadows +and the negative stands out clear and bright, take it out of the +dark-room (which is lighted with an ordinary lamp), and gently wash +under the tap with clean and cold water at 65 to 70 deg. + +Dry the resist with alcohol, pouring it over the plate from one end, +starting with half alcohol and half water, gradually adding more alcohol +and eliminating the water, until a final flooding with absolute alcohol +is reached; use fresh solutions of alcohol and water for each copper; +don't use old alcohol for anything except cleaning the copper at the +end, and for removing the spirit varnish. Stand up to dry against the +wall, face out, and standing square on the bottom of the plate, in the +same position as you flooded it with alcohol; it will be dry in twenty +minutes if rightly flooded. The bare copper should now be protected by a +strong varnish in alcohol (it must flow freely off the brush); a good +varnish for this purpose, and the best I know of, is an etcher's +asphaltum stopping-out varnish, sold by Messrs. Devoe & Co., New York; +price 50 cents per bottle. Should it get thick as you come to the bottom +of the bottle, add a little spirits of lavender until it flows again +freely. Take an architect's ruling pen and carefully rule a line with +the varnish up to the edge of the picture, making it exactly true with +the sides of the plate and the space on each side of the work the same +with the top, the bottom space slightly larger; make sure that it +slightly comes inside the picture. Keep the rule away from the surface +of the gelatine, as it is very delicate. Then cover all the rest of the +copper, protecting the bare parts and bevel, and bringing the varnish up +to the line. Allow to dry hard; about twenty minutes will do. Form a +wall about the resist, with walling wax, about an inch high; make a lip +at one corner, the further left hand one, for instance; see that there +are no leaks. There are several grades of wax, but Liedel & Co.'s is the +best; when ordering you should give the name as modeling wax; gray is a +good color. Pans can be used made of tin and varnished, or porcelain +trays, protecting the back and edges of the plate with varnish, but I +find the wax very helpful, especially on large plates. + + + + +CHAPTER VI. + +THE ACID BATHS.--HOW TO MAKE THEM AND METHOD OF BITING THROUGH THE +GELATINE. + + +Perchloride of iron C.P. is the acid generally used for this purpose; it +is a still acid, and if the room is well ventilated no harm to health +results, but care must be taken to air the baths after making to get rid +of the surplus chlorine. + +Four baths are used, each of different strengths, the strongest is used +first, the weakest last. I quote from the catalogue of the Boston Art +Museum, of the exhibition illustrating the technical methods of the +Reproductive Arts and Photo-Mechanical Processes, held January 8, 1892: +"Photo-aquatint (photogravure) for the production of half-tone intaglio +plates from photographs from nature, paintings, etc. A dry aquatint +ground is laid on a metal plate, and over this is mounted a gelatine +negative film, made by the pigment printing process. To obtain this +negative film a _reversed_ positive on glass has first to be made. The +reason why this positive must be reversed will become clear when the +nature of the manipulations in the pigment printing process, which +involves the turning of the film, are considered. The film mounted on +the plate is a washout relief, thickest in those parts which are to show +white in the impressions from the plate, and gradually growing thinner +toward the darkest parts, where it is thinnest. The film acts as a +'resist' to the mordant, allowing it to pass freely in the thinnest +parts, and less freely as it increases in thickness. If, however, the +film were mounted on the bare plate, and the biting then proceeded with, +the result would be of no practical use, as the plate would present +merely shallow hollows, incapable of holding the ink, and which would +therefore be wiped out in the attempt to clean the surface of the plate. +This is, however, prevented by the aquatint ground, which allows the +mordant to circulate only in the channels around the resinous particles +of which it consists, and thus produces a grain precisely as in ordinary +aquatinting. The mordant used in perchloride of iron, which is a 'still +mordant,' _i.e._, one which does not evolve bubbles of gas. An +effervescent mordant cannot be used as the bubbles rising under the film +would tear it up. In biting, successive baths of varying strength are +made. + +"A strong solution of perchloride of iron penetrates only the thinner +parts of the film, whereas a weaker acts also through the thicker parts. +The biting, therefore, begins with a strong solution, which acts only in +the darkest parts, and followed up with weaker and weaker solutions, +which continue the biting in the darks and at the same time carry it on +gradually toward the lights. If necessary, the plate is worked over with +the burnisher to brighten the lights, and with roulettes, etc., to +strengthen the darks." + +Purchase nine (9) pounds of perchloride of iron in crystals (45 cents +per pound), take a wide-mouthed gallon jar, place within half a gallon +of distilled water, add the iron until it tests 30 deg. by a Beaume +hydrometer, pour off enough to fill a one-litre glass stoppered bottle, +after filtering through absorbent cotton. Keep adding the iron to the +jar until the strength of each bath is reached. To the strongest +solution add half a drachm of C. P. muriatic acid, and to the weakest +half a drachm C. P. nitric acid; the nitric acid is added so that in the +last biting a good final nip is given to the copper. + +I here give my own formula, with those recommended by others. + +The four (4) baths should be well aired for a day (in broad pans) in the +open air before filtering. + + +FORMULA FOR ACID BATHS. + +(H. R. BLANEY.) + + No. 1 should register to Beaume's scale 42 deg. + No. 2 " " " " " 37 deg. + No. 3 " " " " " 33 deg. + No. 4 " " " " " 30 deg. + +The temperature of the bath to be at 63 deg. Fahr. when tested. + +(DENISON'S.) + +No. 1 should be made to register Beaume's scale, 45 deg., the percentage +of perchloride in this solution is 47, and the specific gravity 1.444. + + No. 2, 40 deg.; percentage, 41; spec. grav. 1.375 + No. 3, 38 " " 38; " 1.339 + No. 4, 35 " " 35; " 1.313 + No. 5, 27 " " 27; " 1.225 + +From an article in the _Photographic News_ (English), Nov. 1, 1889, as +practiced in India. + + +BITING BATH. + +(WATERHOUSE.) + + No. 1, sp. grav., 1.444; ap. per ct. of Fe_{2}, Cl_{6} = 47 + No. 2, " 1.375; " " 41 + No. 3, " 1.339; " " 38 + No. 4, " 1.313; " " 35 + No. 5, " 1.225; " " 27 + +A stronger solution of 48 deg. has been tried (by the above) but has no +penetrating power through even the thinnest film. + + +ANOTHER FORMULA. + +For large plates, 20 lbs. perchloride of iron and distilled water, until +weight amounts to 1.500 grammes per 1000 c.c. From this four (4) +solutions are made, at + + No. 1, 42 deg. Beaume; spec. grav. 1.420 + No. 2, 38 " " " 1.375 + No. 3, 35 " " " 1.330 + No. 4, 31 " " " 1.285 + +The plate is now ready for biting. Keep a record of the bitings, and +length of time for each one, for after-study; also note the time of +exposure of the tissue, age of same, etc., etc. + +Pour the acid from a glass graduate with one sweep over the plate, +removing all bubbles with a feather, noting the time of immersion so as +to guide you. Start with 42 deg., having ready the 37 deg. in another +graduate, watch carefully the action of the acid, and if the resist has +been properly printed, the action of the acid will show after a minute; +if longer it means a generally longer biting for each bath. + + +AVERAGE BITINGS. + + 42 deg., No. 1 5 minutes + 37 deg., No. 2 5 minutes + 33 deg., No. 3 2 minutes + 30 deg., No. 4 2 minutes + + Temperature of bath at 70 deg. Fahr., with No. 103 tissue. + +Total of different bitings, from 10 to 25 minutes, according to depth of +printing. It always varies. There is no hard and fast rule; you must in +time learn to judge by your eye alone. The acid will first attack the +thinnest part of the film, wherever that may be, and when the darkening +of the copper ceases to spread to the next thickest parts, instantly +pour off the acid, and pour on the 37 deg. Do not allow the atmosphere +to act on the gelatine while biting any longer than is necessary to pour +off one bath and quickly pour on a new one. The 37 and 33 deg. baths are +for the middle tones, the 30 deg. for the most delicate ones. The action +of each bath is cumulative, the 37 deg. biting a little where the 42 +deg. had bitten, the 33 deg. doing the same for those before it, besides +taking care of itself, and the 30 deg. attacking all more or less. +During the biting with the 30 deg. solution, it should be continued +until the whites just turn color, and a minute beyond; that is, the +copper should begin to show a very little under the thickest and darkest +film. + +(Note that in the carbon resist the shadows are transparent and the high +lights are opaque.) + +The length of the last biting very seldom is over two minutes. It is +better to overbite your darks, and underbite your lights, if you vary +any. + +The amount of moisture in the air and the heat of the day influences the +length of biting. In hot weather in summer it is very difficult to work +the process, the walling wax being discarded and the copper (back and +edges protected by varnish) placed in a porcelain tray, surrounded by +ice-water and kept at 65 to 70 deg., and the acid pured over the plate +to the depth of one inch. + +[Illustration] + + + + +CHAPTER VII. + +CLEANING AND POLISHING THE PLATE, WITH TOOLS NECESSARY FOR RETOUCHING. + + +When the biting is finished rapidly place the plate under the tap and +rinse thoroughly, breaking away the film with your fingers; it seems to +have rotted under the action of the acid and is easily removed. + +Remove the walling wax, clean off the varnish with chloroform or +turpentine, or alcohol first, and chloroform last. This leaves a dim +picture on the plate, with a kind of scum over it; wet the plate with +turpentine and start heavily with rouge, rubbing to and fro equally all +over the plate with a ball of absorbent cotton; continue this treatment, +using less and less rouge and more turpentine until you give the final +polish to the high lights with a clean dry piece of cotton. Be very +careful not to overdo in rouging; the scum (if the biting of the plate +is of medium strength) should clear from the plate with hardly a touch, +and with very little rouging. Some plates require a great deal of +rouging; it then generally means that you must look to your sensitizer. +I again draw your attention to the rouging; here is where any artistic +feeling you may possess will come into play with taste and patience. + +After the plate is rouged sufficiently, an engraver's burnisher is used +to clean up the highest lights and to modify others. Two or three +roulettes of different fineness are valuable to touch up any darks that +need deepening; it matches very well with the grain, but I am always +trying to dispense with the use of the roulettes; one ought to get it +with the acid alone. A No. 6 sewing needle in a holder (dentist's +pin-holder, screw end) is necessary to touch out occasional white +specks. You will have plenty of them at first unless you look out +carefully for dust on the film; keep all your solutions constantly +attended to by occasional filtering, and don't use your sensitizing +solution more than half a dozen times; keep it well corked; if it gets +old it scums the plate too much. + +[Illustration] + + + + +CHAPTER VIII. + +PRINTING THE PLATE AND STEEL FACING. + + +Before final finishing by hand a working proof should be printed from +the plate by an expert plate printer, by which, what the plate needs can +be determined before final proving. + +Have the plate proved on different papers, and with different colored +inks, so as to judge the effect. Imperial Japan is the best paper, +besides etching paper, India, thin Chinese and Japanese papers. The cost +of proving per single proof is 25 cents for a 4 x 6 plate on Imp. Japan, +about $2.00 per doz. same paper; etching paper, about $5.00 per +100--less for large quantities. + +A second-hand D press, suitable for printing large or small editions or +for proving, can be bought in Boston or New York for from $75 to $100. +For instructions in printing see Hamerton's "Etchers and Etching." + + +STEEL FACING. + +The life of a photogravure plate without steel facing does not last much +beyond 75 impressions, so that if an edition is needed, send the plate +to any good printer who will have it steel-faced for you; their charges +are very moderate, about 50 cents for a 4 x 6 plate. The steel-facing is +accomplished by first making the plate chemically clean, as before +preparation for graining, only be very thorough in using an old +tooth-brush to get out the dirt and in addition use chloroform before +using potash. Then solder a copper wire on to the back. The negative +wire is attached to the copper plate. To the positive pole of the quart +Smee battery is fastened a bright steel plate same size of copper, in a +gallon jar. The plates are hung from glass rods 1/2 inch apart, a +sufficient quantity of the following solution to be poured into the jar: + +(DENISON'S.) + + Warm water 20 ounces + Ammonium chloride 3 ounces + Sulphate of iron and ammonia 4 ounces + +Filter, and let stand for 24 hours. Five (5) minutes will cover the +plate with a thin film of steel. + + +(OBERNETTER'S.) + +"Place the copper plate in a porcelain tray on the bottom of which rests +a brightly burnished copper wire, the negative pole. + +"The anode on the positive pole, a bright steel plate, is suspended over +the copper plate, and kept in motion while the circuit is closed. A +precipitate of steel, resembling silver in appearance, must instantly +occur upon the copper plate, any air-bells to be removed. Five minutes +is sufficient to deposit a perfect steel coating." Grease the plate +after steel facing, to keep off the rust. Formula: + +(OBERNETTER'S.) + + Distilled water 1 litre + Chloride of ammonium 60 grammes + Proto sulphate of iron 30 grammes + Iron alum 30 grammes + +[Illustration] + + + + +CHAPTER IX. + +MATERIALS NECESSARY FOR PHOTOGRAVURE, AND LIST OF FIRMS SUPPLYING THEM. + + +_Materials._ + + Printing Frame (deep), 8 x 10, screw pressure, $8. + Roll Carbon Tissue, No. 100; Standard Brown, $3. + Johnson Actinometer, $1.25. + Beaume Hydrometer, $1.25 (with glass). + Silver " (argentometer) 75c. + Engravers' Scraper, $1.75, best grade. + " Burnisher, $1.75, " + Powder Box for graining (paste-board), $1. + Powdered Syrian Asphaltum, $1 per pound. + Nine (9) pounds Perchloride of Iron (C. P. crystals), 45c. per pound. + Stick Rouge, 20c. + Turpentine, 20c. (refined). + Alcohol (95 per cent.). + Modeling Wax, $1.25. + One Ps. Scotch Stone, 25c. + One dozen Glass Blowers' Charcoal, $2.00 per dozen sticks (for + polishing copper). + One pound Absorbent Cotton, 50c. + One pound Caustic Potash C. P. (sticks). + One Porcelain Tray, deep, 11 x 14, $3.50. + One Florence Hand Lamp, 75c. + One Squeegee. + Three Roulettes, $1.50 each. + Hand Vise, 75c. + Calipers, 50c. + Dairy Thermometer, 25 c. + One bottle Etchers' Varnish, 50c. + One ounce Chloroform, 20c. + Six ounces Bichromate Potassium. + One pound Concentrated Ammonia. + + +LIST OF FIRMS SUPPLYING MATERIALS FOR PHOTOGRAVURE. + +The Scovill & Adams Co., 423 Broome Street. Photographic Materials and +Photo-Engravers' Supplies. + +Messrs. Bestgen & Co., 1001 Washington Street, Boston, Mass. Polishers +of Copper Plates. + +Mr. George Schard, 116 Wooster Street, New York. Polisher Copper Plates. + +Mr. Jos. Wheeler, 299 Washington Street, Boston, Mass. Printer of +Photogravures. + +Messrs. J. H. Daniels & Co., Oliver Street, Boston, Mass. Printers of +Photogravures. + +Messrs. Frost & Adams, Cornhill, Boston, Mass. Engravers' and Etchers' +Supplies. + +Messrs. F. W. Devoe & Co., Fulton Street, New York. Engravers' and +Etchers' Supplies. + +Messrs. Fusch & Lang, 29 Warren Street, New York. Engravers' Supplies. + +Mr. Alfred Sellers, 58 Fulton Street, New York. Engravers' Supplies +(screw pressure printing frames). + +Messrs. John Sellers & Sons, 17 Dey Street, New York. Engravers' +Supplies. + +Messrs. Eimer & Amend, 18th Street and 3d Avenue, New York. Chemists, +Glassblowers Charcoal. + +Messrs. Theodore Metcalf & Co., Tremont Street, Boston, Mass. Chemists. + +Messrs. Kimmel & Voigt, 242 Canal Street, New York. Expert Photogravure +Printers. + +Messrs. Whitely & Co., Centre Street, New York. Polisher of Copper +Plates. + +Messrs. Gilderslieve & Co., 18th Street, New York. Blankets for Press. + +Mr. Charles Creedner, 19 South William Street, Room 4, New York. Japan +Paper. + +Mr. Geo. B. Sharp, 13 Baxter Street, New York. Copper Plates. + +Messrs. F. A. Ringler, 21 Barclay Street, New York. Steel Facing Copper +Plates, Printers of Photogravures. + +Messrs. Leidel & Co., 901 6th Avenue, corner 51st Street, New York. +Modeling Wax; Etchers' Supplies. + +Thomas Hall (Electrician), Bromfield Street, Boston, Mass. Hydrometers +(Smee's Battery), etc. + +New York Steel and Copper Plate Co., 171 Wallabout Street, Brooklyn, +N. Y. + +Mr. Jas. Moffet, 159 Wooster Street, New York. Copper Plates in the +Rough. + +[Illustration] + + + + +CHAPTER X. + +BOOKS AND ARTICLES ON PHOTOGRAVURE. PUBLISHED FROM 1888 TO 1893. + + +LA PHOTOGRAVURE facile et a bon marche. Par l'Abbe Ferret. Paris. 1889. +Price, 1 fr. 25 cents. + +Manuel d'Heliographie et de Photogravure en Relief. Par G. Bonnet. 1890. +Paris. 2 fr. 50 cents. + +Photogravure. By W. T. Wilkinson. 1890. London, E. C. Published by +Messrs Iliffe & Son, 3 St. Bride Street. Price, 1_s._ 6_d._ + +Photo-Engraving and Photo-Etching. By W. T. Wilkinson. Sold by The +Scovill & Adams Co., New York. Price, $3.00. + +Hamerton's "Etchers and Etching." Roberts Bros., Boston, Mass. Price, +$4.00. + +Photo-Etching in India. Article in _Photographic News_ (English), +November 1, 1889. + +"Photogravure, or Photographic Etching on Copper." By Herbert Denison. A +lecture delivered before the Photographic Society of Great Britain. +Printed in THE PHOTOGRAPHIC TIMES, April 21st, 1893, and following +issues. + +Photogravure or Photo-Etching. Article in _Wilson's Magazine_, +1890-1891. + +Notes on Photo-Aquatint. Catalogue of Exhibition, Illustrating the +Reproductive Arts and Photo-Mechanical Processes. Address S. R. Koehler, +Boston Art Museum, Boston, Mass. + + * * * * * + + + + + Merck's Pyrogallic Acid + + + will be found, upon comparison, to be _superior_ in every respect to + all other brands on the market. Its distinctive points of superiority + are: + + 1ST.--ABSOLUTE PURITY + 2D.--PERFECT CRYSTALLIZATION + 3D.--IMMACULATE WHITENESS + 4TH.--EXTREME LIGHTNESS + 5TH.--MODERATE COST + + (Its price is not higher than that of any other make.) + + [Illustration] + + + Merck's Pyrogallic Acid + + produces the highest intensity to be desired in a photographic plate, + and, at the same time, the finest detail in light and shade required + for the most perfect printing negative. + + Under ordinary precaution, it retains all its superior qualities + undiminished for an indefinite length of time. + + WHEN ORDERING SPECIFY "=MERCK'S.=" + TO BE HAD OF ALL DEALERS. + + + TESTIMONIALS. + + + "I have tested Merck's pyro carefully in comparison with the other + pyros at present on the market, and I find that it is superior to + any and all of them." + + Prof. CHARLES EHRMANN, + Instructor of the Chautauqua School of Photography. + + + "I shall, in future, certainly use no other pyro but Merck's. The + best is always good enough for me." + + ALFRED STIEGLITZ, + Editor _American Amateur Photographer_. + + + "Merck's Pyrogallic Acid will be found a very superior article. Its + purity is absolute, with quick crystallization and immaculate + whiteness. In use, it produces the highest intensity that can be + desired in the negatives. The detail in light and shade is perfect, + producing printing qualities unsurpassed by any pyro we have ever + used." + + ST. LOUIS AND CANADIAN PHOTOGRAPHER. + + + "Merck's pyro has undergone a severe test in my hands. I find it to + possess many qualities which give it superiority over all other + makes. Authorities place the solubility of pyro as one part in two + of water. I found one ounce of Merck's to dissolve readily in 1:7 of + water at 60 deg.. It is extremely light, pure, and of a fine white + color, giving rich negatives full of vigor and sparkling + brilliancy." + + WALTER E. WOODBURY, + Editor of _The Photographic Times_. + + + "I have used Merck's Pyrogallic Acid, and prefer it to all others." + + B. W. KILBURN, + Official Photographer (Stereoscopic), at the Columbian World's + Fair, and San Francisco Mid-Winter Exposition. + + + "I have tried Merck's pyro and must certainly say it is the best I + ever used. The results I have obtained with it are remarkably fine." + + W. B. POST, + Amateur Photographer, New York. + + + MORENO STUDIO, Fifth Ave., New York. + + "I have been using Merck's pyro in my studio, and am very well + pleased with it. It is clean, gives brilliant negatives, and is + reliable, one day's work being exactly the same as another's." + + A. MORENO. + + + "I have been using Merck's pyro, and am ready to indorse the high + praise which you have found it entitled to: 'that it is superior in + point of purity, lightness and solubility' to any like product that + I have seen. In fact, 'the new and improved process' seems to reach + in its result the point beyond which it is impossible to go--that + is, perfection. This was my impression at first sight, and using + serves only to confirm it. + + In my opinion, pyro stands at the head of all developers of dry + plates, and I am much mistaken if Merck's pyro, when known, does not + lead all brands of pyro." + + W. H. SHERMAN, + Professional Photographer, Milwaukee. + + * * * * * + + + Scovill & Adams Photo-Engraving Materials, + Combined in a small outfit for Half-tone Photo-Engraving. + + The articles contained in this outfit are all that is necessary for + the Half-tone Process, except when the installation of large and + expensive machinery is warranted. + + 1 10 x 12 American Optical Co. Enlarging, Reducing and + Copying Camera, fitted with Patent Screen Plate + Holder $56.00 + 1 Camera Swing 20.00 + 1 Copy Board 2.00 + 1 Max Levy Screen, 133 lines to the inch, 10 x 12 80.00 + 1 Max Levy Screen, 150 lines to the inch, 10 x 12 95.00 + 1 Rectilinear Lens, Rapid Paragon, 10 x 12, w. D. 68.00 + 2 2-qt. Funnels, glass, 25c. .50 + 6 8-oz. " " 12c. .72 + 1 pkg. No. 33 Filtering Paper .75 + 2 Hydrometers, 50c. 1.00 + 2 11 x 14 Glass Baths in Studio Box, $7 14.00 + 1 Rubber Dipper .60 + 1 2-gall. Evap. Dish 3.00 + 2 10 x 12 Porcelain Trays, $1.66 3.32 + 2 10 x 12 Vulcanite Trays, $1.75 3.50 + 2 16-oz. Graduates, 75c. 1.50 + 4 4-oz. " 30c. 1.20 + 1 9 x 11 Printing Frame, 1-in. glass 9.50 + 1 8 x 10 Retouching Frame 3.75 + 2 large Neg. Racks 6.00 + 1 13-in. French Hand Roller 7.00 + 1 Composition Roller, 12-in. 4.00 + 2 Pincers 2.00 + 2 Acid Brushes 3.50 + 1 Ink Spatula 1.00 + 1 Hook for cutting Zinc Plates 1.50 + Retouching Brushes .50 + 1 gal. Absolute Alcohol 4.00 + 31/2 lbs. Ether 2.63 + 4 oz. Pary's Gun Cotton, 50c. 2.00 + 4 oz. Iodide Potass., 30c. 1.20 + 2 oz. Resubl. Iodine, 35c. .70 + 3 lbs. Nitrate Silver Crystal, $8.50 25.50 + 1 lb. Absorbent Cotton, 1 lb. packages .75 + 5 lbs. Protosulph. Iron, 10c. .50 + 1 lb. Citric Acid .70 + 1 " Bichloride Mercury 1.00 + 5 " Cyanide Potash 3.25 + 1 " Glycerine .30 + 5 b'ks Blue Litmus Paper, 5c. .25 + 1 lb. Aqua Ammonia fort. .32 + 1/2 lb. Nitric Acid, C. P. .45 + 1 gall. Benzole 1.50 + 1 lb. Bichromate Ammonia .75 + 1 " Caustic Potash .15 + 8 " Com'l Nitric Acid, 45c. 3.60 + 1 " Ferri Chloride, 1 bot. .30 + 1 " Rubber Cement, 1 can .30 + 1 " Nitrate Lead, 1 bot. 1.00 + 1 " Ferricyan. Potash, 1 bot. 1.00 + 1/2 " Transfer Ink 2.50 + 1/2 " Engraver's Charcoal 1.50 + 1 " Pumice Stone .10 + 5 " Sulphate Copper, 40c. 2.00 + 2 " 3/8-in. Brass Pins, 40c. .80 + 1 " Lith. Ink, black 3.50 + 2 galls. Le Page's Liquid Glue, $2.25 4.50 + 1 Shoot Board and Plane 25.00 + 1 set Engraving Tools 1.50 + 1 " Finishing " 2.50 + 1 1/2-in. Flat File .50 + 1 1-in. " .85 + 1 set Ass'd Sable Pencils, Nos. 1 to 6 .62 + 1 Darlot Focusing Glass 2.50 + 1 5-in. Engraver's Pad, filled 1.00 + 1 Egg Beater .30 + 1 set Roulettes 6.00 + 1 ream Proof Paper 10.00 + 1 16-oz. plain Collodion Vial .55 + 1 lb. best Dragon's Blood .85 + Polished Zinc Plates, sq. in. .01 + " Copper " " .011/4 + + SEND FOR THE PHOTO-ENGRAVERS' CATALOGUE to + THE SCOVILL & ADAMS CO., 423 Broome St., N.Y. + + * * * * * + + + Copying Cameras + FOR + PHOTO-ENGRAVING. + + The Scovill Enlarging, Reducing and Copying Cameras. + + With S. & A. Photo-Engravers' Adjustable Screen Plate Holder. + + [Illustration] + + No. 61. Size, 61/2 x 81/2, 4 ft. bed Price, $38.00 + " 62. " 8 x 10, 5 ft. bed " 43.00 + " 63. " 10 x 12, 5 " " 56.00 + " 64. " 11 x 14, 5 " " 68.00 + " 65. " 14 x 17, 6 " " 80.00 + " 66. " 17 x 20, 7 " " 95.00 + " 67. " 20 x 24, 7 " " 118.00 + + _Special sizes and styles made to order._ + + The form of construction of this Camera is made apparent + by the illustration here shown. + + * * * * * + + + SCOVILL + COPYING CAMERAS. + + With S. & A. Photo-Engravers' Adjustable Screen Plate Holder. + + [Illustration] + + These Cameras are made of hardwood, shellacked, not varnished. + Naturally they are without swing, but in every requisite they are + complete; and for this particular service, as well as others, the + American Optical Company's make is sought for before all others. + Such varied lengths of bed are required and ordered, that we can + only give a price list for Copying Cameras with the regulation + length of bed. We make them to order of any length of platform + desired, either rigid or detachable, and with either single or + double bellows. + + Estimates promptly and cheerfully furnished. + + No. 70. 61/2 x 81/2, with bed 3 feet in length Price, $33.00 + " 71. 8 x 10, " 33/4 " " 38.00 + " 72. 10 x 12, " 4 " " 46.00 + " 73. 11 x 14, " 41/2 " " 53.00 + " 74. 14 x 17, " 5 " " 66.00 + " 75. 17 x 20, " 6 " " 72.00 + " 76. 20 x 24, " 6 " " 98.00 + + _Larger sizes made to order._ + + When ordering Copying Camera, please give length of cone, if that is + needed. + + * * * * * + + + The S. & A. Photo-Engravers' Adjustable Screen Plate Holder. + + [Illustration] + + (Patent applied for.) + + This Holder, as is shown in the cut above, is a great improvement + over any heretofore manufactured for photo-engraving purposes. Its + principal points of superiority are, briefly: + + First.--The ease with which it is adjusted for different size plates + and screens, by a simple sliding movement of the two inside frames + to or from the centre, and thus dispensing with the expensive and + troublesome use of kit frames. + + Second.--The convenience by which the screen plate is accurately + adjusted to the sensitized plate by means of the metallic sliding + adjusters. (Heretofore it has been necessary to do the adjusting by + means of inserting different thicknesses of cardboard, paper, etc.) + + Third.--Different thicknesses in the screen plates are allowed for + by means of a spring which always holds the plate in accurate place, + no matter what its thickness may be. + + Fourth.--A graduated scale on each screen adjuster makes it easy to + always insure absolute accuracy in determining the distance of the + screen plate from the wet plate. + + Fifth.--The simplicity of construction and excellent workmanship of + the entire holder, being made, as it is, in the factory of the + famous American Optical Company. + + And, altogether, it is an ingeniously designed and beautifully + constructed holder, which will be found of indispensable aid to the + practical photographer. + + These holders are thicker than the ordinary plate holders, and if it + is desired to use them on a camera the ground glass of which is + focused for the ordinary plate holder, a new ground glass frame is + necessary in order to adjust the focus. When ordering a holder to + fit a camera in use, send the old holder or the old ground glass + frame, so that the new ones can be made to fit the camera. Also + state the size of largest and smallest screen plate to be used in + holder. + + It is made in various sizes. Prices as follows: Frames _only_; + for Ground Glass. + + 8 x 10 size $15.50 $1.50 + 10 x 12 " 21.00 1.50 + 11 x 14 " 26.50 1.88 + 14 x 17 " 29.00 2.25 + 17 x 20 " 32.50 2.63 + 18 x 22 " 36.00 2.63 + 20 x 24 " 40.75 3.00 + + If adjustment from the outside of holder is desired, add $2.00 to + above prices. + + THE SCOVILL & ADAMS CO., 423 Broome St., New York City. + + * * * * * + + + The Scovill Printing Frames for Photo-Engraving. + + [Illustration] + + The Printing Frames made by the American Optical Co. for + photo-engraving are like everything else manufactured by this + factory, of the highest degree of perfection, and the utmost care + was given to the comparative distance of screws so as to produce an + even pressure. Many negatives have been either ruined or snapped by + the use of imperfect Printing Frames. + + [Illustration] + + The American Optical Co. Printing Frames for photo-engraving are the + only safe ones on the market. + + PRICES. + + 8 x 10, including one-inch glass $8.00 + 10 x 12, " " " 11.02 + 9 x 11, " " " 9.50 + 11 x 14, " " " 13.00 + 14 x 17, " " " 19.00 + + Larger and special sizes made to order. + + * * * * * + + + To Photo Engravers: + + Having systematically undertaken the improvement of photo engravers' + appliances, we follow the S. & A. Photo Engravers' Adjustable Screen + Plate Holder, and the S. & A. accurately adjusted Photo-Engraving + Printing Frames, with the + + S. & A. + Photo-Engraving Etching Tub, + + to which we call the attention of those interested in this business. + We extend to them a cordial invitation to examine the same at our + salesrooms. + + [Illustration] + + These Photo-Engraving Etching Tubs will "fill a long felt want" with + the photo engravers, as they are constructed so as to resist the + strongest acids, and combine the features suggested by practical + experience. + + The tub measures, inside, 481/2 inches long, 201/4 inches wide, + and 7-5/8 inches deep, and the price of same is $10.00. + + Very truly yours, + + =The Scovill & Adams Co.= + + * * * * * + + + [Illustration] + + IN OLDEN TIMES + + people were satisfied to worry along with whatever crude appliances + came easiest to hand.... + + =The material progress= of the nineteenth century, however, has + created a demand for a higher order of mechanical products than was + formerly deemed essential, and this is peculiarly the case with.... + + Process Engravers. + + =To meet this demand=, the firm of JOHN ROYLE & SONS have devoted the + best part of their time, for the past 25 years, to the improvement of + the mechanical accessories to Process Engraving, and with what + success is best testified to by the fact that their machinery is + used exclusively by the _best_ Process Engravers, both in the United + States and abroad. + + JOHN ROYLE & SONS, + Paterson, N. J., U. S. A. + + * * * * * + + + Chrome=Gelatine and + Photo=Gelatine. + + Chrome-Gelatine is a perfected modification of the three-color + printing process. It is so named from the Gelatine process of + printing being used to produce the resulting pictures, which are + allowed to be really wonderful, and which may be reproductions from + original Oil Paintings, Water-colors, Views from Nature, Objects of + Still Life, Textile Fabrics--indeed, all classes of work copied from + originals in color. The results, in all cases, are produced from + three-color negatives. Artists, whose works have been reproduced by + this method, express their satisfaction of the results in the + highest terms, without qualification. + + N. Y. Photogravure Co. + 137 West 23d Street, + New York. + + * * * * * + + + Photogravure and Aquarelle + + (_Photogravure in Colors._) + + Photogravures are of all classes of subjects. + + An important modification of this process has recently been perfected + (patent applied for), by which the delicacy of the gelatine print is + maintained, at the same time that great strength and color is produced + in the shadows. The plates thus made are very durable, and show but + little wear after many thousands of impressions have been produced. + Moreover, they require no finishing or handling after having been + etched, and are quite easily printed. + + Aquarelles are printed from photogravure plates, inked up locally in a + variety of colors. When the whole of the plate has been so inked, the + impression is pulled. The results are beautiful, but the process of + printing is exceedingly slow--three or four impressions a day, only, + being obtainable from a moderate sized plate. + + N. Y. Photogravure Co. + 137 West 23d Street, + New York. + + * * * * * + + + Publications + + THE N. Y. PHOTOGRAVURE CO. has on hand thousands of subjects of all + classes, available for the purposes of illustration, and at the + service of its customers. The newest and best subjects are being + continually added to this collection. Sets of illustrations selected + with the greatest care and skill, for any desired purpose. + + The N. Y. Photogravure Co. + 137 West 23d Street, + New York. + + * * * * * + + + SUN AND SHADE. + + An Artistic Periodical. + Published Monthly. + + Forty cents a number. Four dollars a year. Each number contains eight + exquisite Photogravures, Photo-gelatines or Color Prints, by the + new Chrome-gelatine process, printed on paper 11 x 14 inches, with + descriptive letter-press. Six volumes are now complete, price $4.00 + each. Each volume contains nearly one hundred plates. The whole six + volumes form a complete gallery of current art. + + "SUN AND SHADE reproduces not only the most notable paintings + and portraits, but the best work of amateur and professional + photographers. If it gave nothing but the latter work it would be + deserving of the most liberal patronage that it receives; but it is + an admirable record of the greatest paintings at the Metropolitan + Museum of Art, of living American players, of portraits of celebrated + Americans, of great American painters, with reproductions of their + work, and it is a monument of the N. Y. Photogravure Co., which is a + monument of artistic New York." + + The N. Y. Photogravure Co. + 137 West 23d Street, + New York. + + * * * * * + + + ALFRED SELLERS & CO. + + MANUFACTURERS OF ZINC COPPER AND BRASS PLATES FOR Photo-Engravers. + + Printing Frames, Etching Tubs, Etching Powders, Rollers, Etc. + + SELLERS' SPECIAL TRANSFER. + ETCHING AND PROVING INKS. + + Inking Slabs, Chemicals (Chas. Cooper & Co.'s), Formulas, and + all Supplies for Photo-Engravers. + + Photo-Engraving Taught + IN ALBUMEN, BITUMEN, OR THE ENAMEL PROCESS. + + TRY THE NEW RUSSELL ETCHING POWDER. + + Supplies in General. Send for Price List. + + 59 Beekman Street, New York, N. Y. + U. S. A. + + * * * * * + + + [Illustration: E. C. MEINECKE. ERNEST BURTT. H W ROWLAND. + + PHOTO-GRAVURE. + PHOTO-GELATINE. + PHOTO-LITHOGRAPHY. + LITHOGRAPHY. + PHOTO-ENGRAVING. + TYPE-PRINTING. + + WORKS. BROOKLYN. N.Y. + + E. C. MEINECKE & CO. + ROOM 5. 63 WEST 22ND STREET. + NEW YORK.] + + The favorable comments received from all sources testify to the + unrivaled results obtained by the PHOTOGRAVURE PROCESS, as worked + by our method. + + In reviewing a set of photogravures of the Clifton Water Garden, + from negatives by the proprietor, Mr. S. C. Nash, the _Florists' + Exchange_, says: + + "In his work he has been ably seconded by Messrs. E. C. Meinecke & + Co., of New York, the makers and printers of the plates. Without + fear of contradiction, we state there is no method of reproducing a + picture to compare with the photogravure process, except, possibly, + the expensive and tedious steel plate. For fidelity to detail, + sharpness of outline, contrast of light and shadow, breadth and + depth, and absolute fidelity to life, we choose this. + + The Photogravure Process _IS THE BEST FOR_ + + =Book Illustrations= + =Art and Trade Catalogues= + =Calendars, Menus, Etc.= + + where the most artistic results are desired. Either + + =PLATES SUPPLIED= + + combining the BEST WEARING QUALITIES with the most Artistic + Finish, or editions ready for the binder. + + Your correspondence is solicited, and a trial order requested, which + will be executed promptly and in the best manner. + + * * * * * + + + =AMATEURS!= + + In order to get the =Best Results= You must use the + + =CRAMER PLATE= + + Manufactured by + + =G. Cramer Dry Plate Works, St. Louis, Mo.= + + =Your Dealer does not KEEP Cramer Plates, he SELLS them.= + + * * * * * + + + =If you want to secure the best Photogravure results,= + =Then you must use the best plates, and these are= + =Wuestner's "White Label" 50 Sens. Plate.= + + =WUESTNER'S= + =New Eagle Dry Plate Works.= + + For Sale by all Dealers. + + * * * * * + + + [Illustration: OUR BUSINESS is to sell EVERYTHING USED IN PHOTOGRAPHY + DOUGLASS & SHUEY CO. III STATE ST. CHICAGO.] + + =Photogravure Worker.= + + =Have you tried= + =THE ORIGINAL= + + ZEISS LENS? + + =NO?= + + _BETTER DO SO AT ONCE._ + + THE SCOVILL & ADAMS CO. + HAVE THEM! + + * * * * * + + + =ZEISS-ANASTIGMAT LENSES= + + =Manufactured by= + =BAUSCH & LOMB OPTICAL CO.= + + =ARE UNAPPROACHED for all Process Work, and are rapidly + displacing other forms of Lenses.= + + =515-543 N. St. Paul Street, Rochester, N. Y.,= + =New York City, Corner Fulton & Nassau Sts.= + + * * * * * + + + [Illustration: THE PHOTOGRAPHIC TIMES + + AN ILLUSTRATED MONTHLY MAGAZINE + DEVOTED TO THE INTERESTS OF + ARTISTIC & SCIENTIFIC PHOTOGRAPHY + + THE PHOTOGRAPHIC TIMES PUBLISHING + ASSOCIATION 423 BROOME STREET NEW YORK + + EDITED BY WALTER E. WOODBURY.] + + Each number contains from 50 to 60 Illustrations! + besides a magnificent PHOTOGRAVURE FRONTISPIECE. + + The Most "up to date" Photographic Magazine in the world. + + ALL THE BEST AND LATEST IMPROVEMENTS CHRONICLED BY THE BEST WRITERS. + + Reproductions of all the finest photographic work from all parts of + the world. + + * * * * * + + + A FEW UNSOLICITED OPINIONS OF + The Photographic Times. + + "It is a daisy."--Hon. A. A. ADEE. + + "It is a veritable triumph of photographic literature."--J. J. + CARTER. + + "One of the finest illustrated magazines received by us is THE + PHOTOGRAPHIC TIMES."--_Chenango Telegraph._ + + "If my opinion is of any value, I will tell you that it is far and + away ahead of anything that has ever been attempted."--H. J. AIKEN. + + "You have certainly reached the very height of possibilities in a + photographic magazine."--ARTHUR J. BENTON. + + "The photographic art has hitherto had no better exponent, and the + publishers of this magazine are determined to keep at the head of + the literature of their profession. The many original articles are + fully illustrated."--_The Portland Transcript._ + + "Be sure and continue sending it. Can't keep house without it."--J. + E. CRAIG. + + "It is a beauty in every sense."--CHAS. WAGER HULL. + + "The subject-matter, the number and quality of the illustrations, + the typographic work and the general appearance of THE PHOTOGRAPHIC + TIMES, monthly, are, separately and collectively, cause for hearty + congratulation. Permit me to hereby extend mine, together with + sincere wishes for your continued success."--C. D. CHENEY. + + ________________ 189 + + The Photographic Times Publishing Association, + =423 Broome Street, New York, N. Y.= + + _Please send me_ =The Photographic Times=, _commencing with_ + _______________ 189 , _for_ _______________ _to my address_: + + _Name_, ______________________________________ + _P. O._, _____________________________________ + _County_, ____________________________________ + _State_, _____________________________________ + + Subscription rates, one year, $4.00; six months, $2.00; three months, + $1.00; single copies, 35 cents. + + Remit by Express, Money Order, Draft, P. O. Order, or Registered + Letter. + + Subscriptions to THE PHOTOGRAPHIC TIMES received by all dealers + in photographic materials in this and foreign countries; also by + The American News Company and all its branches. + + * * * * * + + + =The Photographic Appetite= + + increases by what it feeds on. The beginner is usually content to + start with a modest outfit, but as interest grows the hunger for more + artistic results calls for better facilities so that the apparatus + must constantly be of a more improved pattern and contain all the + latest fixings, till finally the question of improvement is entirely + one of the value of the lens. + + 4 x 5 Size + + The Empire, =$5.00= + The New Waterbury, =$15.00= + The Henry Clay 2d, =$15.00= + The Waterbury, =$25.00= + The Henry Clay, Jr. =$30.00= + The Henry Clay, =$50.00= + + To suit this growing appetite we make a line of camera boxes unequaled + for workmanship and convenient appliances. We can supply any stage of + hunger, and make to order to suit any whim. Any photographic question + cheerfully answered. Send for our Catalogue. + + The Scovill & Adams Co. + 423 Broome Street, New York. + + * * * * * + + + ANTHION-SCHERING + The Best Hypo Eliminator. + + + DIRECTIONS FOR USE. + + THE SOLUTION. + + Five grammes (75 grains) =Anthion= are dissolved in one litre (one + quart) of luke-warm distilled water. The solution keeps for at least + one month. + + + A. For Gelatine Plates. + + _a._ The plate (13 x 18 centimetres--5 x 7 inches) or film, after + fixing, is allowed to drain and then washed for about five minutes + in a dish with about 600 cubic centimetres (20 fluid ounces) water; + it is then again allowed to drain. + + _b._ Afterward it is laid in a second dish with 200 c.c. (7 fluid + ounces) =Anthion solution=, and again allowed to remain for five + minutes with occasional stirring. + + _c._ The plate is then once more laid in 600 c.c. (20 fluid ounces) + fresh water, exactly according to direction _a_. + + _d._ The operations _b_ and _c_ are repeated. + + The plate is then =free from fixing soda=. (In order to determine + this, proceed as follows:) + + + Test. + + To be certain that all the fixing soda is completely destroyed, + proceed as follows: Several c.c. (half to one teaspoonful) of the + last washing water are poured into a test-tube, and three or four + drops silver nitrate solution (1 to 20) added. A white precipitate + generally forms. If this gradually acquires a =yellow= tint, fixing + soda is still present. + + In such a case operations _a_ and _b_ are to be repeated. + + + B. For Positive Paper Prints. + + The operations are carried out as under A, but instead of one plate + five fixed copies (13 x 18 c.c.--5 x 7 inches) are taken, allowed to + drain one by one, then laid singly in water (vide _a_), afterward in + =Anthion solution= (vide _b_), then again in water (vide _c_), again + in =Anthion solution= (vide _d_), and finally in water. + + =It is important that the paper prints are frequently separated in + the different baths.= If the prints stick together, the solution + does not penetrate and cannot act. + + + = IMPORTANT = + + For large plates and prints it is not only necessary to use larger + dishes, but also more liquid, both =Anthion solution= and water. An + excess of =Anthion= or of water is decidedly useful, but less is + disadvantageous. + + The above directions for washing relate to those who have no + continual flow of water at hand. + + If a continual flow of water is obtainable, it is advisable to wash + the plates or prints in flowing water for a quarter of an hour, and + then dip in the =Anthion solution= and test the result as above. + + Send orders to your Dealers, or to + The Scovill & Adams Co., New York. + + * * * * * + + + When purchasing a Developer please be particular to specify + Schering's the oldest and most favorably known brand. + + _Put up with labels and seals as per fac-similes here given._ + + [Illustration: ONE OUNCE =PYROGALLIC ACID= RESUBLIMED + From E. SCHERING, MANUFACTURING CHEMIST, BERLIN, GERMANY.] + + THE STANDARD OF THE LAST--THIRD--EDITION OF THE GERMAN PHARMACOPOEIA. + + See that you get the Genuine "Schering's." Excelled by none. + + Send Orders to your Dealers, or to + THE SCOVILL & ADAMS COMPANY, NEW YORK. + + + + + +End of the Project Gutenberg EBook of Photogravure, by Henry R. Blaney + +*** END OF THIS PROJECT GUTENBERG EBOOK PHOTOGRAVURE *** + +***** This file should be named 36446.txt or 36446.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/6/4/4/36446/ + +Produced by Chris Curnow and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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