The want of adherence can also result from the tissue having been too much damped by long immersion before being applied on the support. In this case, it suffices to place the whole under pressure for fifteen or twenty minutes, covered with a sheet of blotting paper, to avoid this cause of failure. One should always do it before developing.

The image does not adhere on the collodion film. The plate has not been immersed long long enough to eliminate the ether and alcohol from the collodion: water must run smoothly on the film before effecting the transfer.

The development is done too soon after the tissue has been applied on the plate.

tissue did not lie flat on the negative during the exposure-time. This does not happen when the tissue has been dried on a support; when stripped off it is perfectly flat.

The image does not adhere on the permanent support. The gelatine of the transfer paper kept for a long time is completely insolubilized. It becomes soluble by immersion in a hot solution of common salt to which has been added a little ammonia.

Small brilliant spots on the image when transferred on the permanent support. Due to air bubbles. Cause: the image laid on and squeegeed without care

CHAPTER V.

THE RETOUCHES. THE COLORING.

The retouches and the coloring should be done on the temporary support before transferring.

The retouches are made with the colored gelatine dissolved from the tissue-not sensitized -from which the carbon image has been ob

We have advised to talc the plate instead of waxing it.

The image adheres strongly to the temporary support and cannot be stripped off. Plate not well waxed or talced. This never happens when celluloid is employed as a support.

The image cannot be well developed. The tissue has been sensitized with an old bichromate bath in use-Partly insolubilized by keeping, etc. See above.

The image washed off in places when developed. Bubbles of air interposited between the tissue and the support. The tissue has not been properly laid on the support on its removal from the water, lower it down on the support gradually, commencing at one end, one end, and in squeegeeing commence to rub from the

center.

The image too dark, impasted. Over-exposure. Develop with salted water.

The image weak. Under-exposure. It may be intensified. See Chapter VI.

Spots of insensitiveness Bubbles of air on the tissue when sensitizing-The same between the tissue and the temporary support.

The image partly blurred, cotoneous. The

small cup and pour over a small quantity of very warm water. When the matter is dissolved, remove the paper, evaporate to the proper consistency, add a drop of carbolic acid, and keep for use.

The retouches can also be made with a mixture of colors, in proportion such as to reproduce the color of the image, diffused in diluted. albumen.

To intensify the shadows one retouches with colors in powder applied with a stump; a mixture of umber, madder lake, and lampblack, for example, passed through a fine sieve. In order that the powders adhere well, the proof, while still damp after developing, should be flowed with a solution of 3 drachms of glycerine in 8 ounces of water.

The retouches and the coloring with water colors should be protected from the action of water, when transferring on the permanent support, by a coating of plain collodion at

I: 200.

The oil colors and water colors must be laid in thin layers.

For transparencies, the couleurs a l'albumine of L. Encause* are much employed. They are not all quite permanent, which is certainly objectionable.

(To be Continued.)

*Sold by J. Reygonda ud, Paris, Franee.

We take great pleasure in announcing the fact that the The American Annual of Photography and Photographic Times Almanac" for 1899 is now on the market, and we think it will be found to be the finest work of the kind that has ever been issued. This may appear to be a conceited remark to make, but, as the editor, we make no claims of our own. The success of the book is due to the generous manner in which our friends have contributed valuable articles and interesting and artistic pictures.

The frontispiece of the book is a striking portrait study by Mr. F. H. Day, printed by the photogravure process. A charming child study by Mr. Harold Baker, the well-known English photographer, faces the title page. Mr. F. H. Day contributes the first article on portraiture and the camera, illustrated with a number of his original studies. An article on Exeter Cathedral, by the Rev. Mr. Perkins, follows, and it will make many of our readers regret that they are unable to make a trip abroad, even if only to photograph this venerable and interesting edifice.

How to obtain brown tones on platinotype paper is explained by the Rev. Joseph Beanland, who has made a special study of this method of producing positive pictures. The next article comes all the way from Australia, and describes a convenient rocking table for development, and the illustration and description will enable any one to make one for himself.

Most of our readers have read of the interesting experiments made by Mr. W. A. Eddy, in photographing with a camera attached to a kite or series of kites. In an article on the subject he explains his method and illustrates it with five or six pictures made from a great altitude.

Some photographs of vacuum tubes and X-Rays are most interesting. "The Advantages of Camera Club Membership" is the title of an interesting article written by Mr. William D. Murphy, President of the N. Y. Camera Club. In it he endeavors to explain what an ideal

The famous chair that has been occupied by two hundred thousand sitters is the subject of the next article, and contains a number of interesting anecdotes by the late Napoleon Sarony.

The value of photography to taxidermists is explained in an interesting article on the subject by Dr. R. W. Shufeldt, whose entertaining contributions on photographing animals have been so much appreciated by the readers of the PHOTOGRAPHIC TIMES. The article is illustrated by numerous pictures showing the way in which photography is employed.

We have no doubt that many of our readers have been entertained by the absurd nonsense regarding photography in natural colors which has appeared in many of our daily papers. The foundation of the majority of these effusions is a process invented by Professor Joly, and Dr. J. Stewart Gibson gives a very complete description of the method.

We presume that few Americans who intend traveling abroad will miss the little town of Stratford-on-Avon, the birthplace of Shakespeare. Mr. Walter Sprange gives a good description of the old place and illustrates it with a number of views of the principal buildings. Mr. H. P. Robinson treats his readers to some interesting reminiscences of the days gone by, written in his well-known style.

In the human face we soon learn that some subjects are far more favorable than others for photographic experiment, and learning this, the beginner does well to avoid needless worry by careful selection and study. This is the text of an article by Mr. J. Wells Champney, the well-known portrait artist, and he illustrates it with a number of charming little pen-and-ink sketches.

Did you ever see a three-legged horse? If not, you will find the photograph of one in the "Annual." This is made by Mr. Charles Reid, and is an interesting example of the manner in which photography can sometimes deceive. Simultaneously with the exposure he noticed

naturally regretted that the plate was spoiled, but being curious to know what sort of an impression had been made by the sudden fling, he developed it and found to his great astonishment a horse with three legs-the fourth having been actually flung away.

Mr. Alfred Stieglitz gives a short talk on the progress of pictorial photography in the United States, and deplores the lack of good exhibitions. Those who are fond of micrography will be interested in the article of Mr. W. H. Walmsley on the photography of opaque objects. The article is illustrated with several examples. Mr. E. B. Core, who makes a specialty of photographing children, tells us about his methods in his entertaining way, and illustrates the article with some charming child studies.

Space permits us to mention only a few of the many interesting and entertaining articles contained in the volume. There are others on hand-camera work, the use of photography by handwriting experts-how to make different kinds of photographic apparatus-three color process printing-photographing woodland scenery, clouds, flowers, etc., etc..

Regarding the illustrations, we might mention that there are over three hundred of these, all of which have been carefully selected from a large number, and are examples of the work of the principal photographers, amateur and professional, all over the world.

A CORRESPONDENT Writes us as follows: "I have never seen any method given for keeping track of exposures, when one is on a vacation or trip and obliged to postpone all developments for a considerable time, and the plan I adopted this summer may be of assistance to some amateurs anticipating the summer's pleasures and experiences.

My double plate-holders are numbered on each side. A small notebook is always with

me.

Before starting on my day's tramp, I head a new page in the book, “Series A,' "B," "C," etc., as the case may be, with the general characteristics of the day, the date, etc. After making an exposure I note the subject, diaphragm, time, plate, etc., and any other fact that will assist me when I develop, some weeks later, and my memory of particulars has faded.

Every night after a day's "hunt," I fill my holders, and pack the exposed plates in the boxes from which I take the new ones, carefully sealing each box with adhesive strips and labeling it according to the series in the book of notes. I am careful to put them in the box

in an inverse manner, so that the first exposure will be on top or the last one placed therein. I pack the plates face to face, and as I do not put any paper or separator between the plates I can pack fourteen in the usual box. I have never had any bad results from packing this way, and have kept plates over two months before developing.

By referring to the record and the labels on each box, I can get any particular plate I want with no trouble.

I advise amateurs to fill their holders in the dark. It will make them feel independent and save them much annoyance when there is no safe dark-room handy.

This lesson was taught me by experience in the White Mountains. One of the large hotels there was said to have a dark-room for the convenience of the photo-tourist and guest. I wanted to fill my holders one morning, but I didn't, when I went into that dark-room, and found that I could almost read a newspaper by the light of the sun.

The result was that I did not obtain several negatives that I wanted and would have had if I had followed the above advice.

By gently biting the corner of a plate one can tell which side has the film on, without injury, if the sense of feeling cannot be relied upon.

IN a town like Hajiu and a country like Turkey, writes a subscriber, the photographer has to contend with difficulties far beyond the ordinary. He has to bring his plates, paper, and chemicals from abroad, usually from America. If these survive the vicissitudes of the journey-sometimes extending over two months -it is only by a rare chance that they escape the careful scrutiny of Customs officials. All chemicals imported into the country have to be examined by a government analyst, lest they may be such as can be converted into gun powder or dynamite. Sensitized paper is examined in open daylight to see that it does not contain insurrectionary writings, while boxes containing dry plates must be opened to be assured that they are not filled with bullets. Then if one out of ten reaches the forlorn amateur he is expected to use that in taking photographs of the local government officials, and that gratis of course. He has to give at least that much baksheesh to be allowed to stay in the country. Is it any wonder if, under such circumstances, the poor amateur is at times tempted to crowd more than one scene on to a single plate.

THIN NEGATIVES.

BY OSBORN THORNBERY.

Thin negatives, which are mostly caused by underexposing and under-developing, and sometimes by over exposure, may be improved by being intensified by one or other of the formulæ given below.

The mercurial intensifier, although it is said to be unpermanent, remains the most practical for general use, and is the most popular. Before intensifying, the negative should be well washed so as to eliminate any hypo that has remained in the film, otherwise it will cause the mercury to curdle on the negative in lumps, which cannot be removed. The negative should be placed in a dish, and a saturated solution of mercuric chloride (bichloride of mercury) poured over it, and well rocked till bleached right through. Care must be taken in using the mercury, as it is deadly poison. The negative may now be washed for two hours; this is not absolutely necessary, but it conduces to greater permanency. Then place in a solution of water 10 oz., ammonia .880 10 minims, till black right through, then swill and dry. Instead of using the above ammonia salution, sulphite of soda 1 in 5 may be used, but it is not recommended, as it does not give so much density as ammonia. Another intensifier in which mercury is used is Monckhoven's, the formula for which is:

and left for five minutes; it should then be taken out and laid flat to dry. This must be done in the dark, as the plate when dry is sensitive to light. When thoroughly dry, it should be placed, film side down, on a piece of black velvet, and exposed from five to fifteen minutes, according to the thinness of the negative. The deep shadows are influenced in such a manner that the gelatine becomes insoluble, the half tones in proportion, and the high lights are not acted upon. The negative should now be well washed, and placed in a weak solution of aniline red or yellow. The high lights will absorb most color, and the half-tones in proportion, leaving the deep shadows without any color, thus making a negative which will give a more brilliant print. The uranium intensifier has several advantages over the intensifiers given above; it is cleaner to use, is not so poisonous, and if the intensification is not suitable it can easily be reduced, or more greatly intensified at will. formula recommended is the following:

The

When clear, pour over the plate, which should have been well washed. When the negative appears red all over, it should be removed and washed under the tap for about three minutes, till all the greasiness disappears. If too dense, the negative may be reduced by washing under the tap. Now, with regard to partial intensification for the improvement of dark shadows, transparent spots, flaws, etc., in negatives. It is rarely resorted to by photographers, and yet it is one of the easiest operations. The negative to be operated upon must first be moistened, not saturated, with water. It must then be held in a horizontal position about three inches above the table so as to allow the light to go underneath, that the effect may be observed and checked as soon as the desired result is [reached. A couple of bottles of bichloride of mercury of different strengths will be needed, one a saturated solution and the other weaker. Three camel hair brushes, a basin of water, and a bottle containing a solution of strong ammonia. Now, take a brush and dip in the weak solution of mercury and carefully go over the thin part. If the solution does not bleach quickly, dip the brush in the stronger solution. Care should be taken that the edges do not become too sharply defined; this may be prevented by dipping one of the camel hair brushes in water and occasionally going over the edge. When bleached right through, the negative should be allowed to soak in water for about a quarter of an hour and then held over the fumes of the ammonia bottle till blackened right through. If the fumes are not strong enough, the negative may be placed in a solution of ammonia 10 minims, water 10 oz. If the above directions are carefully followed out no difficulty will be found in greatly improving the printing qualities of the negatives. Prints from thin negatives may be greatly improved by covering the negative during printing with a piece of green glass.-The Amateur Photographer.

CYANIDE OF SILVER IN INTENSIFICATION.

BY J. VON GOTTFRIED.

DR. MONCKHOVEN'S formula for intensifying negatives by means of mercury followed by cyanide of silver is a fruitful source of discussion, recommendation, and condemnation. Of late there have been many papers published on the subject by leading men of the photographic world, tending to prove, on the one hand, the instability of the black deposit, and, on the other, to show its permanence. One of the great troubles met with in using this means of intensification is the staining of the gelatine film of the negative when exposed to the light for printing purposes. The film turns a pink or red color, the intensity usually varying with the thickness of the gelatine. At other times the film turns a pale yellow during the final washing. Up to the present, no remedy has been found to get rid of these stains, but preventive measures can be taken against their appearance. The second stain, the pale yellow one, is due, I believe, to impure water; water containing too many chlorides and sulphates. The stain does not appear if the first two or three washings are done with distilled water, to get out the bulk of the silver cyanide, followed by the usual washing in ordinary water. The other stain is of a widely different nature, and can be prevented by a sim

54

to decomposed ammonium sulphocyanide and to silver prints toned in the sulphocyanide bath and improperly washed before fixing, suggested the possibility of am monium sulphocyanide being formed in the film during the blackening by cyanide of silver of a bleached negative. It is a plausible theory whether true or not, and the remedy based on the theory does its duty well. In a negative film there is always a possibility of a trace of hypo or of one of the thiosulphites of silver remaining. In any of these there is sulphur held in somewhat loose combination. The action of the solution of silver cyanide in potassium cyanide on the bleached image is complex, and amongst other things ammonia is formed, making its presence known by its smell. With the sulphur, ammonia, and cyanide all together in the same film, it requires no great stretch of the imagination to see that there is a possibility of ammonium sulphocyanide being formed.

To show how easily this salt produces a lovely pink stain, it is only necessary to tone a gelatino-chloride print in the usual sulpho-cyanide bath, and fix the same without washing. If, after fixation, the print be merely rinsed for four or five minutes and dried, the high lights will be of a fairly good white, but if the same print be exposed to sunshine for a while, the whole of the paper turns to a rich pink or even crimson. This same thing, I believe, is the cause of cyanide-intensified negatives turning red on insolation. The remedy, other than close attention to proper fixing and thorough washing of the negative, is to boil the silver-cyanide solution till there is no further evolution of ammonia, and no more black precipitate formed. The solution is filtered whilst hot, and, on cooling, a small portion of cyanide of silver separates and settles, which tends to keeps the solution in proper condition The use of alum for hardening the gelatine film is not conducive to clean results; a choice variety of multi-colored stains very often makes its appearance, and, yet other times the film remains clear. That the black deposit is permanent I have every reason to believe, when I look at some old negatives intensified eight years ago, and which seem, to my eyes, to be as clear and as black now as they when I first took them out of the drying-rack.— The Photogram.

A NOTE ON COLORING BROMIDE PRINTS BY

DEVELOPMENT.

BY W. J. BROOKE.

In the winter the photographer's fancy lightly turns to thoughts of bromide printing; and, indeed, since the introduction of late years of the platino-matt-surfaced papers, one could, for most things, hardly desire anything better. The great drawback is the want of latitude in the color of the finished print. The intense black or delicate gray may indeed be admirably suited to some purposes and subjects, but occasions arise when the need of a warmer color is felt, and recourse must be had to uranium toning or the alum hypo bath recommended by the Eastman Company. No doubt both methods can yield good results, but the latter is generally atrociously slow, and the former almost maddening by the various pranks it can play when it lays itself out. Either the edges of the print are far and away redder than the center, or else one finds that, despite most careful wash

[January

ing, portions of the image obstinately refuse to tone at all. By the following method warm-toned bromides can be obtained with an ease and certainty quite unapproached by uranium or any other method.

It is well-known to all lantern-slide workers that lantern plates (especially those containing chloride of silver) are capable of giving any tone from black to red by variations in the exposure and subsequent development. If, therefore, we take a developed and fixed bromide print, and after thorough washing convert the silver into silver chloride, and expose to light and redevelop with variously-restrained developers, one may obtain tones varying from warm black to brownish red. There are several chlorinizing agents at our command. Either one may use ferricyanide of potassium followed by hydrochloric acid (in which case the gelatine may be so stained by the ferricyanide as to render the stain almost immovable), or we may employ a solution of cupric or ferric chloride, or, again, a mixture of potassium bichromate, hydrochloric acid, and a little nitric acid. The two best methods are the ferric chloride and the bichromate.

An ordinary bromide print is taken, and after proper fixing and washing, it is immersed in a solution composed of 10 per cent. solution of ferric chloride till the image disappears, or nearly so. It is then taken out and well washed. As, however, a certain amount of the iron salt remains in the paper, precipitated doubtless by the impurities of the washing water, a second bath of hydrochloric acid (1-60) is used, and the print rinsed in one or two changes of water. The whole of this procedure need not exceed a quarter of an hour, as the print may be removed direct from the ferric chloride to the acid, and washed afterwards. This is best done entirely in daylight, though lamplight will do also.

Having got our image changed from metallic silver to chloride, it only remains to re-develop it in developers variously restrained to obtain the different colors.

For this amidol is eminently suitable, and the developer composed of the following solutions:

For warm black tones take A, 5 gr.; B, 2 oz.; C, 5 minims. This will cause the print to develop up fairly quickly, but with a slightly warm tone. If a still warmer tone is desired, we then employ a solution composed of A, 5 gr.; B, 2 oz.; C, 20 minims; water, 2 oz. This will take about five to ten minutes to develop up to full density.

For a still more red color we use the same developer as above, with the addition of 40 minims of the C solution.

It will be seen that in this latter case the whole developer will contain 15 gr. of potassium bromide, and this amount (15 gr. to four oz. of developer) should not be much exceeded, as in that case development is rendered so slow as to be irksome If, therefore, we desire to get yet redder colors, we must do so by diluting the developer to six or eight ounces. This (provided that the above instructions are properly carried out) should yield a decidedly red print, which, on drying, will yield a pleasing warm brown.