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diff --git a/old/69127-0.txt b/old/69127-0.txt deleted file mode 100644 index fdb5071..0000000 --- a/old/69127-0.txt +++ /dev/null @@ -1,5941 +0,0 @@ -The Project Gutenberg eBook of Bromoil printing and bromoil transfer, -by Dr. Emil Mayer - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Bromoil printing and bromoil transfer - -Author: Dr. Emil Mayer - -Translator: Frank Roy Fraprie, S.M, F.R.P.S. - -Release Date: October 10, 2022 [eBook #69127] - -Language: English - -Produced by: Charlene Taylor and the Online Distributed Proofreading - Team at https://www.pgdp.net (This file was produced from - images generously made available by The Internet - Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK BROMOIL PRINTING AND BROMOIL -TRANSFER *** - - - - - - - BROMOIL PRINTING - AND - BROMOIL TRANSFER - - BY - DR. EMIL MAYER - PRESIDENT OF THE VIENNA CLUB OF AMATEUR PHOTOGRAPHERS - - _AUTHORIZED TRANSLATION - FROM THE SEVENTH GERMAN EDITION_ - - BY - FRANK ROY FRAPRIE, S.M., F.R.P.S. - EDITOR OF AMERICAN PHOTOGRAPHY - - [Illustration] - - AMERICAN PHOTOGRAPHIC PUBLISHING CO., - BOSTON 17, MASSACHUSETTS - 1923 - - COPYRIGHT, 1923 - BY AMERICAN PHOTOGRAPHIC PUBLISHING CO. - - _Manufactured in the United States of America_ - _Electrotyped and printed, March, 1923_ - - THE PLIMPTON PRESS - NORWOOD·MASS·U·S·A - - - - -PREFACE - - -The bromoil process has always been one in which it has seemed difficult -to attain success. Though many books and articles on the subject have -been published, every writer seems to give different directions and -every experimenter to have difficulty in following them. The consequence -is that almost every successful experimenter with this process has -developed methods of his own and has frequently been unable to impart -them to others. One reason for this has been that each make of bromide -paper varies in its characteristics from the others and that methods, -which are successful with one, do not always succeed with another. -Various bleaching solutions have been described, and, as the bleaching -solution has two functions—bleaching and tanning, which progress with -different speeds at different temperatures—a lack of attention on this -point has doubtless been a frequent cause of unsuccess. Little attention -has also been paid to the necessity for observing the temperature of the -water used for soaking the print. The author of the present book has -investigated these various points very carefully, and for the first time, -perhaps, has brought to the attention of the photographic reader the need -for an accurate knowledge of the effect of these different variables. - -In the following book he describes only a single method of work, without -variations until the process is learned, though he does describe various -methods of work which may be used to vary results by the experienced -worker. His method of instruction is logical and based on accepted -educational principles. He describes one step at a time fully and -carefully, explains the reasons for adopting it, and then proceeds to -the next step in like manner. We feel sure that every reader, who will -be reasonably careful in his methods of work and will follow these -instructions literally, will learn how to make a good bromoil print. -After attaining success in this way, the variations may be tried, if -desired. - -While the author gives instructions for testing out papers to see if they -are suitable, it may be advisable to record here the results of some -American and English workers. H. G. Cleveland in AMERICAN PHOTOGRAPHY -for February, 1923, recommends, in addition to the papers specially -marked by their makers as bromoil grades, the following: Eastman Portrait -Bromide; P. M. C., Nos. 7 and 8; and Wellington, Cream Crayon Smooth, -Rough, or Extra Rough. He suggests that a rough test may be made of a -new brand of paper by placing a small test strip in water at 120° to -140° Fahrenheit for a few minutes and then scraping the emulsion surface -with a knife blade. If the coating is entirely soft and jelly-like, it -will probably be suitable for the process. If it is tough and leathery, -it will be unsuitable, and, if a portion of the coating is soft but the -other portion tough, then it will also be unsuitable. His experience is -that Wellington Bromoil paper is entirely suitable for the process. Chris -J. Symes in _The British Journal of Photography_ for December 1, 1922, -recommends for bromoil the following English papers: Kodak Royal, white -and toned; Vitegas, specially prepared for bromoil; Barnet Cream Crayon -Natural Surface, Rough Ordinary and Tiger Tongue. For transfer, he has -found the following suitable: Kodak Royal, white and toned; Kodak Velvet; -Barnet Smooth Ordinary; and Barnet Semi-matt Card. - -The reader who is interested in bromoil transfer, will find the -directions of Mr. Guttmann on this process slightly different from -those of Dr. Mayer in minor points, but the worker who is far enough -advanced to essay this difficult process will be able to recognize these -discrepancies and choose the process which seems more useful to himself. - -Metal etcher’s presses for transfer are sold at comparatively high prices -in the United States, but second hand ones may often be found in the -larger cities. Small wooden mangles with maple rolls may be had at fairly -low prices from dealers in laundry supplies, and have been found to be -useful. - -Following the style of the German original, italics have been freely used -for the purpose of calling attention to the most important stages of the -process, rather than for the ordinary purposes of emphasis. - -Grateful acknowledgment is made to Mr. E. J. Wall for assistance in the -first draft of the translation, and also in revision of the proofs. - - FRANK ROY FRAPRIE. - -BOSTON, February, 1923. - - - - -CONTENTS - - - PAGE - - PREFACE iii - - CONTENTS vi - - PRELIMINARY REMARKS 1 - - CHAPTER I - - PRODUCTION OF THE BROMIDE PRINT—Definition of Perfect Print—The - Choice of the Paper—Development—Control of the Silver Bromide - Print—Fixation 10 - - CHAPTER II - - THE REMOVAL OF THE SILVER IMAGE—Bleaching—The Intermediate - Drying 29 - - CHAPTER III - - THE INKING-UP—The Production of the Differential Swelling—The - Properties of the Relief and Its Influence on the - Character of the Picture—Effect of Warm Water—Effect of - Ammonia—The Utensils—Brushes—The Inks—The Support—Removal - of the Water from the Surface of the Print—The Brush - Work—Use of Dissolved Inks—Use of Rollers—Resoaking of the - Print during the Working-up—Removal of the Ink from the - Surface—Failures—Alteration of the Character of the Picture - by the Inking—The Structure of the Ink—Different Methods of - Working—Hard Ink Technique (Coarse-grain Prints)—Soft Ink - Technique—Sketch Technique—Large Heads—Oil Painting Style—Night - Pictures—Prints with White Margins—The Swelled-grain - Image—Mixing the Inks—Polychrome Bromoils 38 - - CHAPTER IV - - AFTER-TREATMENT OF THE FINISHED PRINT—Defatting the Ink - Film—Retouching the Print—Refatting of the Print—Application of - Ink to Dry Prints 104 - - CHAPTER V - - TRANSFER METHODS—Simple Transfer—Combination Transfer with One - Print-plate—Shadow Print—High Light Print—Combination Transfer - from Two Prints 115 - - CHAPTER VI - - OIL VS. BROMOIL 134 - - CHAPTER VII - - BROMOIL TRANSFER, by Eugen Guttmann—The Bromoil Print—The - Choice of the Paper—The Machine—Printing—Combination Printing - with One Bromoil—The Value of Combination Printing—Retouching - and Working-Up—Drying 142 - - CHAPTER VIII - - THE PREPARATION OF BROMOIL INKS, by Eugen Guttmann—The - Varnish—Powder—Colors—Tools—Practice of Ink Grinding—Ink - Mixing—Permanency—Ink Grinding Machines 176 - - - - - -BROMOIL PRINTING AND BROMOIL TRANSFER - - - - -PRELIMINARY REMARKS - - -We all know what great progress photography has made in the last few -years. The most obvious sign of this advance is the fact that it has -gradually escaped from the practice of literal reproduction of the -objects seen by the lens, and slowly attained to the rank of a recognized -means of artistic expression, so that it can justly be considered as -a new branch which has grown out of the old tree of reproductive art. -This pleasing development may primarily be ascribed to the fact that the -practice of photography, which was originally confined almost exclusively -to professional workers, has gradually spread and has become a means of -recreation to the multitude in their leisure hours. It was the amateur -who demanded new methods and apparatus and thus gave a new impulse -to photographic manufacturing. Improvements of the most fundamental -character were made in optical apparatus, in the construction of cameras -of the most varied types, and in the fabrication of plates and films. -An extraordinary number of novelties has appeared in these lines in the -course of time; modern photographic apparatus makes possible the solution -of problems which would not have been attempted a few years ago, and -improvements are still appearing. - -The situation in the matter of printing processes is quite different. We -are provided with apparatus and sensitive material for the production -of the photographic negative, in a perfection which leaves nothing to -be desired. To produce a print from the negative, however, we had until -recently no positive processes which were not well-known to previous -generations. This may be confirmed by a glance at any photographic -textbook written around 1880. The various printing processes, platinum, -bromide, carbon, and gum, which were until recently the alpha and -omega of printing technique, had been known for decades. Compared with -the methods for the production of negatives, printing methods showed -practically no advance; they remained in complete stagnation. We can -scarcely consider as an exception certain new methods brought forward -in recent years, which proved unsuccessful and quickly disappeared from -practice. - -These facts can only be explained by remembering that the positive -processes, which were available to photographers and with which they had -to be satisfied, were rather numerous and offered a considerable variety -of effects. Nevertheless, a single characteristic was common to all -previously known photographic printing processes—their inflexibility. -Each of these processes, in spite of its individual peculiarities, -could do nothing more than exactly reproduce the negative which was to -be printed. It was possible to produce certain modifications of the -negative image as a whole, by printing it darker or lighter, or by using -a harder or softer working process. Changes on the negative itself for -the purpose of giving a more artistic rendering must, however, always be -very carefully thought out in advance and effected by retouching, often -difficult and not within the power of every photographer, or by other -methods which change the negative itself. If such modifications of the -negative proved unsuccessful, it was irreparably lost; if they succeeded, -the plate, as a rule, could no longer be used in any different manner. -The possibility of undertaking radical changes which might realize the -artistic intentions of the worker on the print itself, in order to save -the negative, and especially of planning and carrying out the deviations -from the original negative, which expressed the worker’s artistic -feelings, during the printing, was not afforded by any previously known -printing methods. A single exception was found in gum printing, if the -production of the image was divided into a series of partial printings. -Each of these phases, however, was in itself incapable of modification -except for the possibility of doing a certain small amount of retouching; -nevertheless, by means of efficient management of the single printings -and by properly combining them, beautiful artistic effects could be -obtained. This, however, required an extraordinary amount of practice and -skill, and a very considerable expenditure of time, and it must also be -remembered that the failure of one of the last printings often destroyed -all the previous work. Also, in gum printing, to have a reasonable -expectation of success, the work must be thought out from the very -beginning and carried out in exact accordance with a plan from which it -was scarcely possible to deviate during the work, even when it became -apparent that the desired result could not be satisfactorily obtained. - -The possibility of planning results during the course of the printing and -carrying them out directly on the print itself did not previously exist. - -The first process to bring us nearer to this ideal and make possible a -freer method of working was oil printing. The technique of this process -consisted in sensitizing paper which had been coated with a layer of -gelatine, by means of a solution of potassium bichromate, and of printing -it under the negative. The yellowish image was then washed out; the -bichromate had, however, produced various degrees of tanning of the -gelatine, corresponding to the various densities of the silver deposit -in the negative. The lighter portions, which had been protected from -the action of light by the dense parts of the negative, retained their -original power of swelling and could therefore later absorb water. The -shadows, however, corresponding to the transparent parts of the negative, -were tanned, had lost their absorptive power, and had become incapable of -taking up water. Consequently, the high lights swelled up fully in water, -the shadows remained unchanged, and the middle tones showed various -degrees of swelling corresponding to the gradation of the negative. If -the print was blotted off and greasy inks spread upon it by means of a -properly shaped brush, the inks were entirely repelled by the swollen -high lights which had absorbed water, and completely retained by the -fully tanned shadows, while the middle tones, in proportion to the amount -of tanning, retained or repelled the greasy ink more or less completely. - -In this process, for the first time, there was found a possibility of -changing various parts of the image absolutely at the worker’s will, -even during the progress of the work. By the use of harder or softer -inks it was possible to color the swollen high lights more deeply, or to -hold back the shadows so that they did not take up all the ink that was -possible. It was possible to leave certain parts of the print entirely -untouched and work up other parts to the highest degree; in short, oil -printing opened the way to free artistic handling of the print. - -Thus, the oil process was the first photographic printing process in -which we were completely emancipated from the previous inflexibility -which ruled in all printing. - -Nevertheless, a number of disadvantages attach to oil printing which -hinder its general use. The most important shortcoming of this process -is that bichromated gelatine as a printing medium can only reproduce -a comparatively short scale of tone values. The production of prints -from contrasty negatives is therefore impossible, for the shadows are -much overprinted before details appear in the high lights, or on the -other hand, there is no detail in the lights if the shadows are fully -printed. This difficulty can be only partly overcome by the most skilful -use of inks of various consistency. It is indeed possible to ink up -the lights by the use of very soft ink, but this does not replace the -missing details; and overprinted shadows, which it is tried to improve by -keeping down the quantity of ink applied, appear empty. Thus it happens -that most of the oil prints yet exhibited show a certain muddy family -likeness, which, at first, when the process was new, was considered to be -advantageous on account of the novelty of the effect, but later received -deserved criticism. A second disadvantage of the oil print is the fact -that it is not possible to observe the progress of the printing on the -bichromated gelatine film. The brownish image on a yellow background -is very deceiving, and it is usually necessary to determine the proper -amount of printing for each individual negative by actual experiment, and -to make additional prints by means of a photometer. - -Another inconvenience of other previously known printing processes, to -which oil printing is also subject, comes from the fact that the great -majority of negatives are now made with small cameras. On account of -the extraordinary perfection of modern objectives, the small negatives -produced by modern hand cameras can be enlarged practically without -limit. The advantages of a portable camera are so considerable that large -and heavy tripod cameras have practically gone out of use, except for -certain special purposes. On the other hand, however, direct prints from -small negatives are, as a rule, entirely unsatisfactory from an artistic -standpoint. If we desire to use any of the previously mentioned positive -processes, including oil, to produce artistic effects, we must first make -an enlarged negative. This requires, in the first place, the production -of a glass transparency from the small negative, from which we may -prepare the desired enlarged working negative. - -Various workers held various views as to whether this requirement were -a help or a hindrance, but it was universally accepted as a necessity. -The way from the plate to the enlarged negative, nevertheless, always -remained uncertain, tedious, and expensive. Simple as it may appear to -be, it includes a whole series of stages where it is possible to come -to grief. At every single step lurks the danger that undesired changes -of gradation in the negative may result from inaccuracy in exposure and -development, from the use of improperly chosen sensitive material, and -from various other causes, and even if these factors are all correctly -handled, there is still an unavoidable loss of detail. Therefore the path -from the small original negative to the enlarged negative necessary in -previously used processes is neither simple nor safe. - -Naturally it was also necessary to travel this wearisome path in working -the oil process, when it was desired to make large prints from small -negatives. - -When it was announced in England that Welborne Piper had discovered a -process which started from a finished silver bromide print instead of -from a gelatine film sensitized with bichromate, new vistas were opened. -If the process should prove to be practically useful, we could consider -that all the previously mentioned difficulties were overcome at a single -stroke. - -The principle of this process, _bromoil printing_, is the removal of the -silver image from a finished silver bromide print by means of a bleaching -solution while, simultaneously with the solution of the silver image, -the gelatine film is tanned in such a way in relation to the previously -present image that the portions of gelatine which represent the high -lights of the image preserve their capability of swelling, while the -shadows of the image are tanned. - -_Therefore the bromoil process is a modification of oil printing, based -not upon a bichromated gelatine film, but upon a completed bromide -print._ This represents extraordinary progress. The two previously -mentioned disadvantages of oil printing are completely avoided in the -bromoil process. We now have at our command the far longer scale of -tone values of bromide paper and we can use the great possibilities -of modification allowed by the highly developed bromide process. The -difficulties of printing are completely removed, for we have at our -command a perfectly visible image as a starting point. A further -advantage which can not be too highly estimated is inherent in the -bromoil process: _complete independence of the size of the original -negative_. - -When I began my investigations in the field of bromoil printing, the -process had, as far as practical value went, only a purely theoretical -existence, as is the case in the early days of most photographic -processes. The fact that it was possible to produce images on a bleached -bromide print by the application of greasy inks was well established. -The practical application of the process was absolutely uncertain and -only occasionally were satisfactory results obtained. Most of the prints -produced in this way were flat and muddy. It is easy to understand -that the process could find no widespread popularity while it was so -incompletely worked out. The researches, which I then began, showed -that most bromide papers took up greasy inks after development by any -method and subsequent bleaching of the image. The pictures thus obtained, -however, were muddy, flat, and not amenable to control, and therefore -were less satisfactory than the bromide prints from which I had started. -During the course of my work, I have succeeded in obviating these -difficulties, in the first place, by preparing a satisfactory bleaching -solution, next, by determining what properties bromide paper must possess -in order to give perfect bromoil prints, and, finally, by working out -a series of other necessary conditions, which I have described in this -book and which must be adhered to if the process is to work smoothly and -certainly, and produce satisfactory results. - -The bromoil process, which is now completely mastered, offers, in brief, -the following advantages: - -Simplicity, certainty and controllability of the printing material; - -Independence of the size of the negative and easy production of enlarged -artistic prints; - -Freedom in the choice of basic stock and its surface; - -The possibility of freely producing on the print any desired deviations -from the negative, during the work; - -Full mastery of the tone values without dependence on those of the -negative; - -Independence of daylight, both in printing and in working up the print; - -The possibility of the most radical alterations of the print as a whole -and in part during the work; - -Freedom of choice of colors; - -The possibility of preparing polychromatic prints with any desired choice -of colors, and complete freedom in the handling of the colors; - -The possibility of comprehensive and harmonious modifications of the -finished print; - -The possibility of producing prints on any desired kind of non-sensitized -paper by the method of transfer. - -The description of working methods will be divided into the following -phases: - - I. Production of the bromide print; - II. Removal of the silver image; - III. Application of the ink; - IV. After-treatment of the finished print. - - - - -CHAPTER I - -PRODUCTION OF THE BROMIDE PRINT - - -_Failures in the bromoil process in the great majority of cases can be -ascribed to the fact that the basic bromide print was not satisfactory._ -Therefore the method of preparation of the bromide print or enlargement -deserves the most careful consideration, for the bromide print is the -most important factor in the preparation of a bromoil print. _The -beginner, especially, can not proceed too carefully in making his bromide -print._ - -Because of the extraordinary importance of this point, we must first -define what is here meant by a perfect bromide print. - -In deciding how to produce a satisfactory bromide print as a basis for a -bromoil, we must exclude from consideration esthetic or artistic grounds. - -_The bromide print must be technically absolutely perfect, that is, it -must have absolutely clean high lights, well graded middle tones, and -dense shadows._ Especial stress must be laid on the brilliancy of the -high lights. It is best to compare these high lights with an edge of the -paper which has not been exposed and is not fogged or, even better, with -the back of the paper. The highest lights should show scarcely a trace -of a silver precipitate and must therefore be almost as white as the -paper itself. _Negatives which do not allow of the production of prints -as perfect as this should not be used while the bromoil process is being -learned._ - -This apparently superfluous definition of a perfect bromide print has to -be given in this way, because it only too often occurs in practice that -_the worker himself is not clear as to what is meant by the expression, -perfect bromide print_. This may be partly ascribed to the fact that the -silver bromide process—whether rightly or wrongly need not be determined -here—has not been properly appreciated among amateurs who are striving -for artistic results. Bromide printing has frequently been considered not -to be satisfactory as an artistic means of expression, and has therefore -been considerably neglected. In many quarters it is considered as just -good enough for beginners. - -Nevertheless, the bromide process is _per se_ an uncommonly flexible -method and gives, even with a very considerable amount of overexposure -or underexposure, that is, even when very badly handled, results which -are considered usable. It is even possible that an improperly made -bromide print, one for instance, which is soft and foggy, might in some -circles be considered as esthetically more interesting than a perfect -print. This is an undeniable advantage of the process. It may also -become a danger, if an imperfect bromide print is used as a starting -point in the bromoil process. If anyone is not sure on this point, let -him compare his own bromide prints with such samples as are frequently -shown by manufacturers in window displays and sample books. He will then -see what richness of tones and wealth of gradation are inherent in the -process. _If, however, an imperfect silver bromide print is used as a -starting point for a bromoil, it can not be expected that the latter will -display all the possibilities of this process._ If the bromide print is -muddy, the work of inking will be difficult, and it will be impossible -to obtain clean high lights. If it is underexposed and too contrasty, -it can not be expected that the bromoil will show details in the high -lights which were lacking in the bromide print. If the worker himself -does not know that his silver bromide print is faulty, he is inclined -to ascribe the difficulties which he finds in making the bromoil print -and his dissatisfaction with the results, to the bromoil process itself. -Most of the unsatisfactory results in bromoil work must be ascribed to -the imperfect quality of the bromide print which is used, and this is -the more important as this lack is not perceptible to the eye after the -bleaching is completed. _Whoever, therefore, desires to successfully -practice bromoil printing, must first decide impartially and critically -whether he actually knows how to make bromide prints, and must acquire -full mastery of this process._ - -The technically perfect bromide print made from a properly graded -negative can, as will later be described, have its gradations changed in -the bromoil process without any difficulty, and thus be made softer or -more contrasty. The advanced bromoil printer who is a thorough master of -the technique of the process will therefore easily be able to work even -with poor negatives; when making his bromide prints from such negatives, -he will consider the ideas which he intends to incorporate in the bromoil -print and will make his bromide print harder or softer than the negative -and at the same time retain the necessary cleanness of the high lights. - -The best starting point for a bromoil print, however, especially for the -beginner, is and must be a bromide print as nearly perfect as possible. - -A suggestion for the certain obtaining of such prints may be added here. -When we are working with a negative with strong high lights, judgment -as to the freedom of the bromide print from fog by comparison with an -unexposed edge is not difficult. This is not the case with negatives -which show no well marked high lights. In such cases it is advisable to -_determine what is underexposure_ by making test strips in which details -in the high lights and middle tones are lacking and, working from this -point, determine by gradual increase of exposure the correct time which -gives a perfectly clean print. - -THE CHOICE OF THE PAPER.—One of the most important problems is to find -a suitable paper for the process. Not all of the bromide papers which -are on the market will give satisfactory results. _It is only possible -to use papers whose swelling power has not been too completely removed -in process of manufacture by the use of hardeners._ The principle of -the bromoil process is that a tanning of the gelatine shall occur -simultaneously with the bleaching of the silver bromide image. As we -have already remarked, this does not affect the high lights and leaves -them still absorbent, while the shadows are tanned and therefore become -incapable of taking up water. The half-tones are tanned or hardened to an -intermediate degree and therefore can take up a certain amount of water. -_Therefore, in place of the vanished silver image, we get a totally or -partially invisible tanned image in the gelatine film._ - -The variously hardened parts of the gelatine film, corresponding to the -various portions of the vanished bromide image, display the property -acquired through different degrees of tanning by the fact that the -portions of the gelatine which remain unhardened and which correspond -to the high lights of the silver image formerly present, absorb water -greedily. Consequently they swell up and acquire a certain shininess, -because of their water content; in addition they generally rise above -the other parts of the gelatine film, which contain little or no water, -and give a certain amount of relief when they are fully swelled. The -portions of the film in which the deep shadows of the bromide image lay -are completely tanned through, can therefore take up no water, and remain -matt and sunken. This graded swelling of the gelatine film becomes more -apparent, the higher the temperature of the water in which the film is -swollen. - -If, however, the paper was strongly tanned in the process of manufacture, -the gelatine has already lost all or most of its swelling power before it -is printed and, although the bleaching solution in such cases can indeed -remove the silver image, it can no longer develop the differences of -absorptive power which are necessary for a bromoil print; for, although -the bleaching solution can harden an untanned gelatine layer, it cannot -bring back the lost power of swelling to a film which is already hardened -through and through. - -Therefore bromide papers which have already been very thoroughly hardened -in manufacture show no trace of relief after bleaching, and very slight, -if any, shininess in the lights. This is the case especially with those -white, smooth, matt, heavyweight papers which are especially used for -postcard printing. When such papers are taken out of the solutions, as -a rule, these run off quickly and leave an almost dry surface. It is -generally not possible to make satisfactory bromoil prints on such -papers. It is true that the image can be inked by protracted labor; -it is, however, muddy and flat and, as a rule, cannot be essentially -improved even by the use of very warm water. Other types of bromide paper -which have not been so thoroughly hardened may show no relief after -bleaching, yet, after the surface water has been removed, they do show -a certain small amount of shininess in the high lights when carefully -inspected sidewise. With such papers the necessary differences of -swelling can generally be developed if, as will later be more completely -described, they are soaked in very warm water or in an ammoniacal -solution. It is rare to find in commerce silver bromide papers which -have not been hardened at all, or only very slightly hardened, in their -manufacture. Such papers, because their films are very susceptible to -mechanical injury, are not likely to stand the wear and tear of the -various baths. On the other hand, as a rule, they usually produce a -strong relief even in cold water, and therefore tend to produce hard -prints. The greatest adaptability for bromoil printing may be anticipated -from bromide papers which are moderately hardened during manufacture. - -To determine whether a given brand of bromide paper is suitable for -bromoil work, an unexposed sheet of the paper should be dipped in -water at a temperature of about 30° C. (86° F.) and the behavior of -the gelatine film observed. If this swells up considerably and becomes -slippery and shiny, the paper has the necessary swelling power and can be -used with success. - -On account of the great variety of bromide papers which are on the -market, we have a very wide choice as regards the thickness and color of -the paper and the structure of its surface. It may be remarked here that -papers of any desired surface, even rough and coarse grained papers, can -be used for bromoil printing, as easily as papers with a smooth surface. -The difficulties experienced with very rough surfaced papers in some -other processes do not exist in bromoil. Because of the elasticity of -its hairs, the brush carries the ink as easily into the hollows of the -surface as to its high points. - -The thickness of the paper is of no importance in bromoil printing, -except that the handling of the thicker papers is easier, because they -lie flatter during the work and distort less on drying; also, as a rule, -thick papers are easier to ink. - -_Gaslight papers_ can also be used if their gelatine films satisfy the -above mentioned requirements. Therefore we have the widest possible -choice in the printing materials for bromoil. - -A great number of bromide papers of different manufacturers are well -suited for bromoil printing; it is, however, advisable to make a -preliminary investigation as to the amount of hardening they have -undergone, for it occasionally happens that different emulsions of the -same brand show quite different grades of hardening, so that on one -occasion it is possible to make bromoil prints on them without the least -difficulty, while the same paper at another time may absolutely refuse to -take the ink. On account of the great popularity of the bromoil process -in recent years, it can be easily understood that some manufacturers -might seek a wider sale for their products by claiming for them a -special suitability for this process. It is therefore a wise precaution -to previously test even those brands which are advertised as specially -adapted for bromoil printing, and not to depend too much on such claims. - -DEVELOPMENT.—The processes of tanning in the film of a bromide print, -produced by the bleaching of the silver image, which will be described -later, are of an extremely subtle nature. We must therefore endeavor to -avoid all causes for damage in this process and especially everything -which tends to harden the whole film even to the slightest degree. Any -tanning, which affects the whole gelatine film, has the same effect -as general fog in a negative. It is well known that almost all the -developers used in photography have more or less tendency to harden the -gelatine film. A very considerable damage to the bromoil print through -the use of a tanning developer might naturally be imperceptible to -the eye. Yet this may at times manifest itself in a very undesirable -and disturbing form, especially when the bromide paper has been so -much hardened in manufacture that it possesses only just the necessary -qualification for bromoil printing. It may then happen that the last -remainder of swelling capacity can be taken from the paper by the use of -a tanning developer. However desirable it might be and however it might -simplify the process to be able to use any desired developer in producing -the bromide print, to avoid trouble it must be observed that the use of -developers which tan the film may seriously influence the result, even -though it is possible to get some kind of prints in many cases. _If the -worker is absolutely sure that the bromide paper which he is using is not -strongly hardened and is therefore well suited for bromoil printing, he -may undertake development with any one of the ordinary developers which -he prefers._ - -The developers, which do not exercise a hardening influence on -the gelatine, are the iron developer and amidol (diamidophenol -hydrochloride). As the iron developer is not really suited to this -purpose on account of certain unpleasant qualities inherent in it, it is -advisable to use amidol for the development of bromide paper for bromoil -printing whenever possible, and the best developer is composed as follows: - - Amidol 1.7 g 12.3 gr. - Sodium sulphite, dry 10 g 77 gr. - Water 1000 ccm 16 oz. - -The sodium sulphite is first dissolved in water, and the easiest way -is to pour the necessary quantity of water into a developing dish and -sprinkle the pulverized or granular dry sodium sulphite into it while the -dish is constantly rocked; solution takes place almost instantly under -these conditions. Larger lumps, which would stick to the bottom of the -dish, must be immediately stirred up. As soon as the sodium sulphite -is dissolved, the amidol should be added and this will also dissolve -immediately. The addition should be made in the order described, for, -if the amidol is dissolved first, the solution is often turbid. If dry -sodium sulphite is not available, double the quantity of crystallized -sulphite may be used. - -The amidol developer should be freshly prepared each time that it is -used, as it does not keep in solution. The measurement of the quantities -of amidol and sulphite given above does not need to be made with the most -painstaking care, as small variations in the quantities are unimportant. - -In using amidol developer the greatest care must be taken to avoid -allowing amidol powder, in even the smallest quantity, to come into -contact with the bleached print ready for bromoil printing. Even the -finest particles of amidol, although invisible to the naked eye, will -produce yellowish brown spots on the gelatine which penetrate through -the film and into the paper itself. These dots and spots, especially if, -as is usual, they occur in large numbers, will make the print completely -useless, and it is impossible to remove them. - -If amidol developer is not available, _any other developer which is -desired_ may be used. As we have already stated, however, certain -possibilities of failure are to be anticipated, but will not necessarily -occur. - -_Every effort should be made to produce a bromide print as perfect as -possible, with clean high lights._ - -The best bromide prints or enlargements for bromoil printing are those -which are _correctly exposed, but are not developed out to the greatest -possible density_. A print which is thus fully developed is very -satisfactory as a bromide but offers certain difficulties in bromoil -printing, which will be described later. _Therefore the development -should be stopped as soon as the lights show full detail without any -fog, but before the shadows have reached full density._ The deepest -shadows should then be of a deep greyish black, but should not be clogged -up. When a bromide print is properly exposed, there is sufficient time -between the appearance of the details in the lights and the attainment -of the deepest possible black in the shadows to easily select the proper -moment for cessation of development. It is, however, desirable not to -go beyond this stage of development, for the reason that _a very dense -silver deposit distributed completely through the gelatine emulsion to -the paper support is not easily bleached out_. When this difficulty -occurs, the bleaching solution is generally, but incorrectly, blamed for -it. If, in spite of this difficulty, complete bleaching is attained, the -shadows of the image usually retain a yellowish color which cannot be -removed by the baths which follow the bleaching. If it is intended to ink -up the whole surface of such a print, this discoloration of the shadows -is not important, for it will be completely covered by the ink. But if -the print is to be treated in a sketchy manner, and some parts of its -surface are not to be inked, this cannot be successfully done on account -of the yellowish coloring of the shadows. - -_Underexposure_ must be carefully avoided, for details which are not -present in the bromide print will, of course, not appear in the bromoil -print. - -_Overexposure_ will occasionally give usable results, if the development -of the overexposed print is stopped at the proper point. In such cases, -we must usually expect some deposit in the high lights and consequently -a certain fogging of the image, though this can often be overcome, at -least partly, by swelling the print at a higher temperature. Perfect -prints cannot be expected, if the basic print is lacking in quality. -If the overexposure is not too great, the print can be improved to a -certain extent by clearing it in very dilute Farmer’s reducer. Treatment -with this reducer has no deleterious effect on the later processes. The -Farmer’s reducer should only be used for a slight clearing up of too dark -parts of the bromide print; for this purpose the parts of the moist print -which are to be reduced should be gone over with a brush dipped in very -dilute reducer and immediately plunged into plenty of water, to avoid any -spreading of the reducer into other parts of the image. - -_Developing fog_ should naturally be avoided as much as possible. -Fogging of the bromide print is caused by the formation of a more or -less dense silver precipitate without any relation to the image over -the whole surface of the print. As the bleacher takes effect wherever -metallic silver is present in the film, the result in such cases is a -general tanning of the film, which is detrimental to the production of -the necessary differences in swelling power in the gelatine. The tanned -gelatine image is then also fogged. - -_Consequently the best results may be obtained from very brilliant, but -not excessively developed, bromide prints._ - -We must also _avoid falling into the opposite extreme in the development -of the bromide print, by getting too thin prints lacking in contrast_. -In prints which are too thin, only a very small quantity of metallic -silver has been reduced in the development, and this lies wholly on -the surface of the film. Such prints usually show full detail, but the -contrasts between the lights and the shadows are too small. Since the -tanning produced by the later bleaching occurs because of the presence -of metallic silver in the film, and since its intensity depends on the -quantity of this silver, we cannot obtain the necessary difference -in swelling power by bleaching the film of prints which are too thin -because of insufficient development. The result is a weak tanned image -in the gelatine film; bromoil prints thus produced can consequently only -exhibit a very short scale of tone values, and this cannot be essentially -lengthened by the use of the bromoil process alone. Such bromide prints -may find a special application in combination transfers, which will be -described later. It is also possible, under certain circumstances, to -use incomplete development as a method for producing soft bromoil prints -from contrasty negatives. - -CONTROL OF THE SILVER BROMIDE PRINT.—Although in bromoil printing the -most various renderings can be obtained from a perfect bromide print, -by variation of the temperature of swelling and by proper handling of -the inking, it is also possible, under some circumstances, to vary -the final result by proper treatment during the making of the bromide -print, especially when we are not dealing with normal negatives. If, -for instance, we have to deal with a very thin negative, it is possible -that even the extreme possibilities offered by the bromoil process are -not sufficient to insure the attainment of the desired modulation, for, -as will later appear, the possibility of increasing the difference in -swelling in the film is limited by the limited resisting power of the -gelatine. In such cases, we must take advantage of the accumulation of -all possible aids and therefore, in making the bromide print, do all -that is possible in order to bring out desired objects, which are only -indicated in the negative and do not show sufficient detail. - -_Therefore, if we desire to increase the contrast of the negative in the -final print_, we should use a harder working paper and add potassium -bromide to the developer. - -_If we desire to get soft prints from a contrasty negative_, we may -use different methods. The simplest way is the use of a very rapid and -consequently soft working paper. Ordinarily, however, this method is not -sufficiently helpful. We must therefore also use suitable methods in -later steps of the process, such as making the difference in swelling -in the gelatine layer as small as possible in order to bring down the -contrast, or inking up with soft inks. - -A very reliable process for the production of soft prints or -enlargements, even from contrasty negatives, is the following: the -proper exposure for the densest portions of the negative should be first -determined by means of a trial strip; then a full sized sheet of paper is -exposed for exactly the time which has been determined, soaked in water -until it is perfectly limp, and then placed in the developer. As soon as -the first outlines of the image appear, the print is placed in a dish of -pure water and allowed to lie there, film down. As soon as development -has ceased, the print is taken out of water, dipped into the developer -for an instant, and then immediately put back into the water. This method -requires considerable time for full development, but produces prints or -enlargements of especial softness. In this process, the developer which -is absorbed by the film is soon exhausted in reducing the heavy deposit -in the shadows, so that their development ceases, while enough developer -still remains unexhausted in the other portions of the image to keep on -developing. With very dense negatives, developer warmed to 25° C. (77° -F.) can be used for the production of soft prints, but it must be very -much diluted and carefully used, for development proceeds very quickly. -Very soft prints may also be obtained by bathing the exposed bromide -prints for about two minutes in a one per cent solution of potassium -bichromate before development. This solution is thoroughly washed out of -the print, and it is then developed. - -Yet with very hard negatives all these remedies frequently fail, because -the high lights are almost completely opaque to light because of their -density. In such cases the negative itself must be improved. The ammonium -persulphate reducer usually recommended for such plates, which acts more -strongly on the lights than on the shadows, is, however, too uncertain in -its action and may imperil the negative. It is better to adopt _Eder’s -chlorizing method_, which enables one to improve too contrasty negatives -in a convenient and certain manner. The principle of this process is as -follows: the metallic silver of the negative is converted into silver -chloride, which is again developed. This redevelopment is accomplished in -such a way that the silver chloride on the surface of the film is first -reduced to metallic silver; if development is continued, the reduction -is continued to the bottom of the film. The delicate details, lying on -the surface of the film, are thus first developed, while development of -the overdense high lights, in which the silver deposit extends right -through to the glass, is finished only after some time. It is therefore -possible to stop development at the instant at which the shadows and -half-tones are completely redeveloped, while the overdense high lights -are, for instance, only half developed, and therefore only half consist -of metallic silver, the lower half being still silver chloride. If the -development is interrupted at this stage and the negative placed in a -fixing bath, the still undeveloped silver chloride is dissolved. The -shadows and half-tones thus retain their original values, and only the -overdense deposits in the shadows are reduced. If the development is not -stopped at this stage, but is carried through to completion, the negative -is obtained unaltered, and the process can be repeated. If the second -development is stopped too soon, the negative may be endangered and a -very thin negative, lacking in contrasts, obtained. - -The practical application of the chlorizing process is effected by -bleaching the negative in the following solution: - - Cupric sulphate 100 g 1 oz. - Common salt 200 g 2 oz. - Water 1000 ccm 10 oz. - -As soon as the negative is completely bleached, which should be judged -not only by transmitted light but also by examination from the glass -side, it should be well washed and immersed in a slow-acting developer. -All these processes can be carried out in daylight, and the second -development of the negative is best controlled by frequent examination -of the glass side. Development should be stopped when the shadows and -half-tones are blackened, and there is still a whitish film of silver -chloride in the high lights. Observation of the negative by looking -through it is not advisable, for the negative very soon appears dense -by transmitted light, because the metallic silver formed in development -masks the silver chloride. As soon as the development is considered to -have gone far enough, the plate should be rinsed and then fixed and -washed in the usual manner. After a few trials, the judgment of the -correct stage at which to stop development presents no difficulty. - -I ordinarily use the chlorizing process in the following way, which -practically excludes any possibility of failure: the negative is -completely bleached in the solution just mentioned, and then washed -for five minutes. It is then developed in any desired developer until -it shows by transmitted light practically the same density, though in -a brownish color, as it had before chlorizing. It is then rinsed off, -placed in a solution of hypo, _not stronger than two per cent_, and -carefully watched by light passing through the plate; it is taken out as -soon as the desired stage is reached, well washed, and dried. In this -modification of the chlorizing process the condition of the plate can be -observed at every stage. The final negative, to be sure, does not consist -of pure metallic silver, but as a rule of a combination of silver and -silver chloride; but such negatives are sufficiently permanent for making -prints and enlargements on bromide paper. - -It is also advisable to lessen the harsh contrasts in a normal negative, -either by masking the more transparent parts on the glass side, or by -holding them back in printing or enlarging. Briefly, every possible means -should be employed in order to obtain as good and harmonious a bromide -print as possible. - -_The beginner is strongly recommended, however, in his first trials with -bromoil, to start as far as possible with normal negatives and correct, -and especially very clean, bromide prints._ The use of this process for -the improvement of the results from difficult negatives should be left -for more expert workers. - -It is often desired to provide landscapes with clouds, and this can -be easily attained if enlargements are used as the basis for bromoil -prints. Acceptable results are given by a process, which has often been -recommended. This is, after blocking out the sky on the negative, to -enlarge the landscape, develop the print and again place it while still -wet on the enlarging screen and expose for the clouds, disregarding the -existing image, and then develop the clouds. - -I might describe here another process for obtaining clouds, because it -is especially suitable for the bromoil process. If there is no object in -the negative which is cut by the upper edge of the plate, it is extremely -easy to introduce clouds into such a landscape, and at the same time -lengthen out the picture at the top. A cloud negative suitable for the -landscape is chosen, and the relative exposures for the landscape and -clouds found as accurately as possible by test strips. The landscape -negative is then focused on the enlarging screen so that there is plenty -of paper above the upper edge of the plate, and then the exposure is made -while the upper part of the paper is covered with a card, which is kept -moving constantly between the light source and the enlarging screen, so -that the upper edge of the plate is not imaged on the screen. After the -exposure is finished, the paper is shifted down on the screen until the -upper edge of the paper comes at the place which was previously occupied -by the edge of the plate, the landscape negative is changed for the -cloud negative, and the clouds are exposed on the upper and hitherto -unexposed part of the enlarging paper, while the landscape is protected -from exposure by means of a piece of card, shaped like the previous one -for the sky, and continually moved to avoid a sharp line of separation. -In the subsequent development a perfectly uniform picture is obtained, in -which there should be no visible trace of its compound nature. - -Obviously, in the preparation of the bromoil print, it is advisable -to employ to the utmost the many possibilities which bromide printing -offers. Thus too thin parts of a negative may be held back by proper -blocking out on the back and numerous other possible modifications, -which have been described in textbooks and technical journals, but which -cannot be further dealt with here, may be profitably employed. - -FIXATION.—_The developed bromide print should be well rinsed and fixed in -the usual way._ If the rinsing is omitted or is too superficial, complete -or partial reduction phenomena may occur in the fixing bath, and make the -print unusable. - -The bromide print should be left in the hypo solution for about 10 -minutes, and care should be taken, if several prints are simultaneously -treated, that they do not stick to one another. Then should follow -thorough washing for removal of the hypo; if traces of hypo remain in -the film, the subsequent bleaching is rendered more difficult, as the -image does not disappear but only turns brownish. While it is feasible -to subject the bromide print to the bleaching process, as soon as it -comes from the washing, _an intermediate drying is an advantage_; for the -gelatine gains greater resistance by this drying. - - - - -CHAPTER II - -THE REMOVAL OF THE SILVER IMAGE - - -BLEACHING.—The bleaching process has the purpose of making the bromide -print, correctly prepared according to the previously described method, -suitable for the bromoil process. To this end the silver image must -be made to disappear and in its place that condition of the gelatine -produced which renders it possible for it to take up the greasy ink. -_The bleaching solution has, therefore, two functions: it must remove -the metallic silver, imbedded in the gelatine film, which forms the -bromide image, and at the same time cause a tanning of the gelatine film -corresponding to the image that disappears. In the place of the silver -image there then exists an invisible tanned image in the gelatine film._ - -There are a large number of chemical compounds known to photographic -technique, which enable us to dissolve out the metallic silver imbedded -in the gelatine film. Such are, for example, the many reducers which have -found practical application. Many of these chemicals also cause changes -in the gelatine simultaneously with the solution of the silver. But not -one of the hitherto known bleaching solutions possesses the double power -required of it: solution of the silver image and corresponding tanning -of the film. Some produce too great a tanning which acts upon the whole -film, and the result in inking-up is muddy flat prints, which do not lend -themselves to artistic modification. With other bleaching solutions a -differential tanning of the gelatine is produced, but at the same time -they so alter the surface of the gelatine that it becomes glossy all -over, and only takes even soft inks with difficulty. - -My experiments have led to the compounding of a bleach which completely -fulfils the requirements set for it; the silver image is quickly and -completely removed, while simultaneously a tanning of the film, strictly -analogous to the disappearing image, is effected; easier and more -certain inking-up is rendered possible, and besides this the advantage -is obtained that the differences of relief, produced in the gelatine by -the bleaching process, can be influenced to a wide degree by varying the -temperature of the water. The composition of this bleaching solution, -which prepares the gelatine film in the most perfect manner for the -bromoil print, is as follows, three stock solutions being required: - - I. Cupric sulphate 200 g 2 oz. - Water 1000 ccm 10 oz. - - II. Potassium bromide 200 g 2 oz. - Water 1000 ccm 10 oz. - - III. Cold saturated solution of potassium bichromate. - -A concentrated bleach is made by mixing: - - Solution I. 3 parts - Solution II. 3 parts - Solution III. 1 part - -To every 100 ccm of this mixture should be added 10 drops of pure -hydrochloric acid (10 drops to 3½ oz.). This concentrated bleach will -keep indefinitely and should be diluted before use with three to four -times its volume of water. The use of a more concentrated solution is not -advisable, as irregularities frequently occur in consequence of too rapid -bleaching, especially towards the margins of the prints. - -The color of the concentrated bleach is green, or when diluted, -yellowish; the solution must be absolutely clear. When the stock -solutions are mixed there is usually some cloudiness, but this is -cleared up by the hydrochloric acid. By standing for a long time at low -temperatures a precipitate is sometimes formed, but this is of no moment. -The compounding of this bleach should be made with the greatest accuracy. -Inaccuracies or modifications in its composition are serious, because -although the solution does not lose in bleaching power, yet the invisible -tanning action is then often not completed in the desired manner. Too -great an addition of hydrochloric acid for example, accelerates the -process of bleaching, but the inking-up of prints thus bleached is -frequently difficult. If the bleaching of the shadows of the bromide -prints goes on slowly, the reason as a rule lies in the fact that the -prints were overdeveloped and have an excessively dense silver deposit. - -The bromide prints should be immersed in this bleaching solution, -after previous soaking in cold water. If they have been correctly -made, the image rapidly grows weaker and after a few minutes its -greyish-black color changes into a pale citron yellow. If the bromide -print was developed too far, the bleaching takes rather longer, as -the shadows, developed right through to the base, require a lengthy -period for solution. If several prints are to be bleached at once, -the best procedure is to place one print in the solution and turn it -film side down when the first traces of bleaching are noticeable. -Then the next print should be immersed with the film up and by thus -proceeding gradually it is possible to bleach a large number of sheets -simultaneously in the one dish. Continual movement will prevent the -formation of air bells. If air bells adhere to the film, they protect -those places from the action of the bleach and dark points or spots of -unchanged metallic silver remain, the subsequent bleaching of which -naturally prolongs the process. The same applies to prints which lie on -top of one another. - -With too slow bleaching, the hydrochloric acid may be gradually -increased, _at the most_ to double that prescribed; one should not hasten -the bleaching process by warming the solution. The bleaching is rapidly -effected in warm solutions; yet generally the film of moderately hardened -papers is so altered that they swell up too much even in cold water and -take the ink badly or not at all. The dilute bleaching solution will keep -and may be used repeatedly as long as it acts; when it becomes exhausted, -the slowing up of the bleaching cannot be hastened by the addition of -hydrochloric acid. The chemical reactions in the bleaching bath are, -according to Dr. P. R. von Schrott, as follows: - - 2CuBr₂ + Ag₂ = 2AgBr + Cu₂Br₂ - -The cuprous bromide, Cu₂Br₂, which is formed, reduces the bichromate as -follows: - - 3Cu₂Br₂ + 6CrO₃ = 3CuBr₂ + 3CuCrO₄ + Cr₂O₃.CrO₃ - -_It sometimes happens that bromide prints, in spite of long immersion in -the bleaching solution, apparently will not bleach and only change their -color to brown._ - -The reason for this usually unimportant phenomenon is, as a rule, that -such prints have not been sufficiently washed and still contain hypo. - -It may also happen that prints which have lain on top of each other in -washing are badly washed in parts; then the image bleaches, _but the film -shows dark patches or streaks at those places which still contain hypo_. -Such apparently unbleached prints should be left for about 10 minutes in -the bleaching solution; _the disturbing coloration, whether of the whole -picture or only of parts, disappears completely in the subsequent baths_, -even when the image had apparently remained at full strength. - -If such a print, apparently not bleached or spotty, is immersed in the -sulphuric acid bath mentioned below, the discoloration of the film is -quickly removed by its action; the print then often passes through a -phase in which it appears to be a negative, the secondary image becoming -visible on the yellow ground, and then bleaches out completely. With such -prints it may also happen that it is only noticed after removal of the -stain that unbleached traces of the silver image still remain. Then the -bleaching must be repeated. - -If the color of the bromide print only changes to brown even after -protracted immersion in the bleaching solution, otherwise retaining full -gradation, and remaining unchanged even in the sulphuric acid bath, -though it bleaches out in the hypo, the print cannot be inked. The reason -for this difficulty is improper composition of the bleaching solution, or -occasionally improper development and fixation of the bromide print. It -may also be due to excessive use of the bleaching solution; 3 to 4 ccm -(50 to 70 minims) of concentrated bleaching solution should be allowed -for every 13 by 18 cm (5 by 7) print. - -Obviously all these processes may be carried out by diffused daylight. -The bleached-out prints should be repeatedly washed, until the drainings -are quite clear, and should then be immersed in the following bath: - - Sulphuric acid, pure 10 ccm 77 min. - Water 1000 ccm 16 oz. - -_In this bath any remaining color disappears quickly and completely_, and -prints, which have apparently wholly or partially resisted bleaching, -are also very rapidly decolorized in this bath. Any spots and streaks -also disappear. If, however, there is anything left, then the bleaching -was not complete, and unreduced metallic silver remains in the film. -_After the sulphuric acid bath the prints should show the pure color of -the paper base; the film side ought to be hardly different from the back -in color._ With prints that have been overdeveloped, a certain slight -variation of color remains in the film, which, however, in no wise -prejudices the inking-up. If there are still some spots, they are usually -due to a slight precipitate lying on the surface of the film, which can -be easily swabbed off. When this point of colorlessness is reached, and -it usually requires only a few minutes, it is useless to leave the prints -longer in the acid bath. They should be washed in repeated changes of -water and immersed in the following fixing bath: - - Hypo 100 g 1 oz. - Water 1000 ccm 10 oz. - -The use of this fixing bath is essential and is based on the following -considerations. During the bleaching process a secondary silver bromide -image is formed in the gelatine film. This secondary image is not visible -on white and yellowish bromide papers, because it is whitish-grey. If a -bleached print, which has not been fixed, is exposed for a long time to -daylight a distinctly visible blue-grey image is formed, which naturally -is troublesome in the further operations. This secondary image of silver -bromide is completely removed, however, by the fixing bath. - -The ordinary acid fixing baths can also be used without disadvantage -for fixing. If the sulphuric acid is not sufficiently washed out, -decomposition of the fixing bath may ensue, which will be made apparent -by the unpleasant smell, and which is prejudicial to the action of the -bath. Care should be taken that the prints do not stick to one another -in the fixing bath and that they are thoroughly fixed out, as the -secondary bromide image that is not removed will make its appearance in -insufficiently fixed places and may cause darker patches. - -Washing then completes the preliminary preparation of the prints. - -For the sake of completeness it should be mentioned that the prints may -be immersed in the bleaching solution in the darkroom after the first -development, and can be fixed after the solution of the silver image. -This shortened process is, however, uncertain and can not be recommended. - -THE INTERMEDIATE DRYING.—_After the bleaching process outlined in the -previous section the print must be dried without fail._ While drying -after the development and fixation of the bromide print is advisable but -not absolutely necessary, _the intermediate drying after bleaching is -of the greatest importance_. It is possible that the later operations -may be successful in spite of neglect of this recommendation. As a rule, -however, various mishaps occur when the intermediate drying is omitted. -In many cases the ink can only be caused to adhere with difficulty, in -others, not at all; sometimes the inking will proceed up to a certain -point and then suddenly completely stop. Sometimes the image appears -as a negative, that is to say, the ink is taken up by the high lights -and rejected by the shadows. All these failures will be obviated by the -intermediate drying at this stage. Whether this intermediate drying takes -place rapidly or slowly is practically immaterial; naturally it ought not -to be so prolonged that the gelatine suffers. - -The prints thus prepared can either be again soaked in water and -immediately worked up, _or kept and treated at any time_. It is very -convenient, especially for an amateur, to have a stock of such ready -prepared and dry prints, because he is then in a position to work when -he finds time and opportunity. The prints, prepared and dried as has -been described, will keep indefinitely. With correct treatment there can -be seen on the gelatine film of the dry print scarcely a trace of the -bleached-out image; only in the very deepest shadows a slight coloration -of the film, tending to grey, can sometimes be noticed. It is advisable, -therefore, to mark the print on the paper side before bleaching, as -otherwise it is subsequently difficult to distinguish this. - -Before we go any further, the whole preliminary process is summarized -once more: - - Development, - Fixation, - Washing, - Bleaching, - Short washing, - Sulphuric acid bath, - Short washing, - Fixation, - Washing, - Intermediate drying. - - - - -CHAPTER III - -THE INKING-UP - - -THE PRODUCTION OF THE DIFFERENTIAL SWELLING.—In the chapter on the -bleaching we fully explained the processes which take place in the -gelatine film under the action of the bleaching solution, and that -the most important result of the bleaching process, aside from the -disappearance of the silver image, is the formation of different degrees -of swelling corresponding to the primary image, which in their totality -form the tanned image produced in place of the photochemical image by the -bleaching. - -_For the success of the bromoil print, it is now of the utmost importance -that the different capabilities of swelling, now latent in the gelatine -film_, should be satisfactorily utilized. It is obviously possible to -produce this swelling in very different degrees. The colder the water -used for the swelling, the smaller the difference between the lights -and shadows, while the warmer the water the more this difference is -accentuated. If, for example, a print prepared for the bromoil process -is placed in _cold water_ and allowed to swell for some minutes, the -existing capacity for swelling will only be excited to a slight degree. -The high lights of the invisible image only take up a little water, -and when dry are differentiated from the shadows under oblique visual -examination by a very delicate gloss or not at all. If this picture is -now worked-up with greasy ink, a print is obtained with _a short scale -of gradation, and its tone values are usually less satisfactory than -those of the original bromide print_. If, on the other hand, the print -is placed in _very warm water_, the swelling of the gelatine reaches -a maximum. The high lights are very much swollen, even the half-tones -are somewhat raised, and the shadows, which do not absorb water, appear -sunken. The result of the swelling in such warm water in this case is -the formation of a very pronounced relief, that is not only visible, but -is almost perceptible to the touch. If such a picture is inked up, a -bromoil print is obtained, _the contrasts of which are much stronger than -those of the original bromide print_. Between these two extremes there is -obviously a whole series of intermediate stages, the suitable employment -of which permits of the most varied gradations. - -As already mentioned, the capacity for swelling of the different makes -of bromide papers is not the same in baths of the same temperature. This -fact, however, argues neither for nor against the usefulness of the -various bromide papers. It makes necessary, to be sure, a certain care -in the use of a paper, the qualities of which are unknown. If one has -to deal with such a paper, the prepared print should first be soaked in -quite cold water; it should then be removed from the water, placed on -a support, dried in the manner to be later described, and examined by -oblique illumination as to whether the high lights show by a slight gloss -that they have absorbed water. This will be the case if the image shows -well swollen high lights; if they are not present, it will hardly be -possible to find distinctly glossy places. In any case one may begin with -the inking-up, prepared, as will be explained later, to increase the -swelling if necessary during the inking-up by immersion in warm water. If -on the other hand, the print, when taken from the cold water, distinctly -shows places where differences of swelling are shown by a gloss or even -a delicate relief in the film, the work may be proceeded with, without -further trouble. - -Under any circumstance one should be careful at first in the production -of the differential swelling. _There should rather be no relief than too -pronounced a one_; for differences of swelling that are too small can be -easily and satisfactorily increased during the work; on the other hand it -is scarcely possible again to reduce too strong a relief. While learning, -or when using an unfamiliar brand of paper, it is therefore advisable -to allow the sheet to swell first in cold water and to carefully begin -the inking-up. Only if this is not satisfactory, should a warmer bath -be used and the inking again tried. This method is, however, dealt with -more fully in the section of Chapter III, entitled “Different Methods of -Working” (page 85). - -THE PROPERTIES OF THE RELIEF AND ITS INFLUENCE ON THE CHARACTER OF THE -PICTURE.—In order that the following explanations may be understood, -an important property of the prepared and dried gelatine film must be -mentioned. - -The film of the prepared print, in which the differences of swelling -necessary for the formation of the bromoil print are latent, develops -variations of relief when it is placed in water. Then the untanned -high lights absorb water, as already described, while the hardened -shadows do not absorb it. The result of this process is the formation of -those swellings, which, when they have attained a certain degree, are -characterized by the formation of a relief. - -A definite degree of swelling corresponds to a definite temperature of -water. This swelling disappears again if the film is dried. _The gelatine -has, however, acquired the property of again attaining the same degree -of swelling when immersed in water at any time after drying, even if the -temperature of this water be a good deal lower._ A print, for example, -on which a certain relief has been produced in water at 35° C. (95° F.) -and which has given up this water again because of drying, again attains -the same relief if immersed in ordinary tap water at 10° C. (50° F.). If, -however, this print after drying is immersed in water at 40° C. (104° -F.), that is in hotter water than that first used, a still higher relief -is obtained, and again in a similar manner, after drying, it will attain -this higher relief when immersed in water at any lower temperature. - -_The degree of swelling that is once attained can, therefore, so far -as the resistance of the gelatine film will permit, be increased, but -it cannot be reduced_, if the print as a whole is not subjected to a -tanning, as with formaldehyde, a process that is not easily controllable. -This peculiarity of gelatine makes it necessary to go to work carefully -in the formation of the relief, so as not to carry the latter too far. -If the work is begun on a too low relief this can be easily increased -to the necessary height, as will be shown later, absolutely without any -regard to any inking up that may have been done. _On the other hand, if -the formation of the relief has once been carried too far, as a rule the -print can not be used_, although reduction of the excessive swelling by a -tanning agent may be attempted. - -The property of the gelatine film, just described, offers a further -convenience for the bromoil worker; for he can bring the bleached and -dried print to the necessary degree of relief in water of suitable -temperature, and, if he does not wish to work it up at once, it can be -dried and laid aside until needed. In working-up such prints he is then, -as a rule, relieved of the necessity of obtaining warm water. - -_The question how far the swelling of the film has to go or in other -words what kind of a relief should exist, if any_, in order to obtain a -harmoniously graduated bromoil print, is extremely difficult to answer. -A few practical trials quickly give the ability to judge this correctly. -If a well-modulated negative is used, one in which the differences of -gradation between the high lights and the shadows are not too great, the -swollen gelatine film after drying should show a very delicate but still -noticeable relief; yet the high lights of the print should scarcely be -raised above the shadows, and should not show too marked a gloss. - -The visibility of the relief is essentially determined by the character -of the print. The more contrasty the bromide print was, the more easily -are the different degrees of swelling made apparent by the formation of a -visible relief. A picture with sharp outlines and great contrasts, such -as an architectural study, easily gives a distinct relief visible in all -its details. Pictures with softer gradation, as, for instance, delicate -portraits, behave differently. One can not expect a striking relief in -such prints. If this should be forced by warming the water, the bromoil -print may easily attain an undesirable harshness. With portraits, one -should therefore be satisfied when the outline of the profile against -the background, the contours of the eyes and the mouth, are raised to -a barely visible extent from the gelatine base. At the same time very -dense parts, like a white collar, a lady’s light dress, lace, etc., may -show a very distinct relief, even when the sharper lines of the face -scarcely stand out in relief. Yet even in such cases the features can -be recognized by the different gloss of the high lights and shadows -under oblique observation. Naturally some attention must be paid here to -the particular views of the operator. If strong contrasts are desired, -greater differences of swelling must be used; if, on the other hand, -softly modulated effects are sought, distinct relief must be avoided. In -any case it is advisable not to attain this at once, but to get it as -needed during the working-up by the use of water gradually increasing in -temperature. - -_It must be laid down as an axiom that the efficiency of a relief should -never be judged by the eye alone, but should always be carefully tested -out by inking-up with the brush._ The degree of swelling is correctly -estimated at the first attempt when, in inking-up, the picture appears -quite clearly after a little hopping, and this may happen if the -character of the image is right, even though no relief could be seen. - -_The stronger the relief formed by warming the water, the more contrasty -the bromoil print will be._ Nevertheless there is a certain limit which -should not be overstepped. If the print is warmed in the water bath so -much that an excessive relief, which can almost be felt with the finger, -is formed, in which deeply cut lines alternate with highly glazed places -in relief, then the high lights are so saturated with water that under no -circumstances will they take ink; even the softest inks will not adhere -to them. Thus we obtain harsh highlights without details, while the -deeply sunken shadows literally fill up with ink and become sooty. If the -formation of the relief has been driven so far, it is not advisable to -treat the print with ink. - -The forcing of the relief to the extreme possible limit is only justified -when working with a flat negative, in order to obtain as rich a gradation -as possible from a flat print. Also, this should not be done all at once -before the commencement of the inking-up, but effected gradually during -the work. Working in this way, extraordinarily successful results can -be obtained and the contrast of the bromoil print can be made far more -rich than that of the original bromide print. The limit lies only in the -resisting power of the gelatine film and the flatter the bromide print -was the sooner this is reached. - -The upper limit of temperature permissible for the water can hardly be -defined; it depends entirely on the hardness of the gelatine film. It may -happen that it is necessary gradually to go almost to the boiling point. -Films that are hardened right through will withstand even boiling water -without forming a relief. - -If, in warming the print, the melting point of the gelatine is -approached, those parts which are but slightly tanned, such as the high -lights, and especially any unexposed edges, begin to show a granular -structure, and finally, when the heating is carried further, to melt. - -_In the development of the relief great care should be taken that no -part of the print remains dry_, and, if the film is placed face down, -air bubbles should be avoided. If the print is placed face up in the -dish, no part of it should project above the water, as it will then not -absorb enough water; if the swelling has already taken place and a part -of the film projects above the water (and this frequently happens, as -the print, which at first lies on the bottom of the dish, after some -time rises to the surface), the relief of the exposed parts goes down -after some time, since the water evaporates from them into the air. Such -insufficiently swollen parts, or those which have dried out, behave -exactly as though they had been tanned more than the other parts of the -surface. They have been able to absorb little or no water, or have lost -the absorbed water by evaporation. They therefore take the ink, like the -tanned shadows, far more readily than they would if they had retained -the right amount of water, and far more ink adheres to them than should -be the case and than adheres to the correctly swollen parts of the film. -Thus patches of different form and size are formed at these places by -the stronger adherence of the ink. Yet by renewed soaking of the print -in the water these neglected places may be easily brought anew to the -correct degree of swelling, and as far as concerns small spots caused by -air bells, can be easily corrected. If larger patches of the film are -insufficiently swollen, after the application of the ink they are usually -much darker than the rest of the surface, and in such cases it is not -always easy to obtain again the necessary evenness of the ink; it is then -often necessary to ink up the whole print much more strongly than was -originally planned, or to remove the whole film of ink. - -Besides the warm water bath there is also another means at our command -to produce the differences of swelling. This is the use of _ammonia_. -A. & L. Lumière and Seyewetz, in a treatise published in 1913, on the -resistance of gelatine to alkalis, found that cold solutions of ammonia -did not attack gelatine but caused it to swell more. - -If a bleached print is immersed in an aqueous one per cent solution of -ammonia, the film attains in a very short time _the highest degree of -swelling of which it is capable_, without the gelatine in the high lights -being softened or damaged. The estimation of the height of the relief, -which is so important for the successful carrying out of the inking, is -scarcely possible with the ammonia bath, as it is extremely difficult -to gauge its action. Therefore, it should only be used in those cases -in which the highest swelling is absolutely necessary, as for instance, -when using papers which have been strongly hardened in the manufacture, -or with prints with very poor contrasts. A further application is with -the transfer process, in which on the one hand it permits of the use of -very soft inks and on the other hand enables one to keep the gelatine -very resistant. Full details on the transfer of bromoil prints will be -found in a later chapter. In very extreme cases, one may try to combine -the action of the warm water and the ammonia bath, and use a warm ammonia -bath. The ½ to 3 per cent solution of sodium carbonate recommended by E. -Guttmann acts even more energetically than the ammonia solution. - -As is obvious from the foregoing remarks, it will be as well to work -usually with water baths and leave the ammonia bath for a last resource, -the more so as in the swelling of prints in this bath certain troublesome -phenomena may appear, which do not occur when using the water baths. -Sometimes the bleached image reappears in the ammonia bath in a brown -color; sometimes small white spots appear on the prints which will -not take the ink and which, as can be determined by examining them by -transmitted light, also exist in the substance of the paper; finally the -gelatine film sometimes swells all over, so that the ink is not taken -up anywhere. Prints which are failures in consequence of the use of the -ammonia bath, should be dried and can be again treated in a warm water -bath. - -THE UTENSILS.—For the application of the ink the following are required: - -_Brushes._—A best quality oil-printing brush with very elastic hairs -cut on the slant, the so-called stag’s-foot brush, should be used. To -apply the ink, a brush should be used with a working surface of from 1½ -to 2½ cm (⅝ to 1¼ in.) diameter; by diameter is meant the length of the -longer axis of the elliptical surface produced by the slanting cut of -the brush. For working-up very small surfaces or for placing accents of -color, a brush of about ½ cm (³⁄₁₆ in.) measurement should be used. In -certain cases still smaller brushes may be useful. Such brushes are only -used for working up details; they are only aids for special work. For the -application of the ink generally, only the larger brushes should be used. -It is far more difficult to apply the ink evenly with small brushes than -with the larger ones, so that their use may cause needless discouragement. - -The application of the ink is effected by placing the whole working -surface of the brush charged with ink on the print, and then slowly -lifting it up; this results in a deposition of ink corresponding to -the working surface of the brush used. The smaller the brush the more -often it must be applied, and therefore, the greater the probability -of irregular inking, especially in those parts where the brush marks -overlap. Also small brushes are handled less conveniently than larger -ones and smear easily. The first thing to do in inking a bromoil is to -obtain a good, even, thin film over the whole surface, to get a general -impression of the whole effect. Only then is one in a position to judge -how the tone values should be varied. The use of too small a brush unduly -protracts this first operation and makes it difficult. - -The brushes should be elastic but not too soft. Too soft brushes smear, -that is to say, they deposit the ink in a thicker layer at their edges -than in the middle and produce elliptical rings of ink, which must always -be evened out by hopping. - -In determining the size of the brush, the size of the bromoil print must -be taken into account. Generally it is easier to work with brushes of -from 1½ to 2½ cm (⅝ to 1¼ in.) in diameter. For large sizes up to 30 -× 40 cm (12 × 16 in.) brushes of even 4 or 5 cm (1½ or 2 in.) may be -used. Such brushes are not cheap, but are practically indestructible, if -they are properly cleaned every time after use. The brushes are sold in -tubular paper cases; these latter should be preserved and the brushes, -after cleaning, put back into them, so that they are covered and the -hairs do not get ruffled. - -In order to preserve the brushes and keep them in good working order, -they must be cleaned as soon as the work is finished, otherwise the ink -left in them sets and makes the hairs brittle. - -Brushes of long swine bristles with cut ends may also be used; with these -especially, clean prints are quickly attained. They are superior to hair -brushes of poor grade. - -_The cleaning of the brushes_ is best effected as follows: Pour -into a deep dish a _readily volatile_ fat solvent, such as benzol, -trichlorethylene, carbon tetrachloride (carbona), etc.; but not -turpentine, for if this be used the brushes cannot be used sometimes for -days. Dip the brush into the liquid and press out the solvent on the -edges of the dish, and stroke the brush vigorously on a piece of lintless -linen, which should be used for this purpose only. The solvent can be -used, ignoring the opacity which it soon assumes, as long as it will -dissolve the ink. Only the hairs of the brush should be dipped in the -solvent, but not the binding, as in some cases the cement with which they -are fastened may be attacked. - -_The Inks._—Theoretically, any ink prepared with a fatty medium is -suitable for bromoil printing. In order to give satisfactory results, the -inks must satisfy two conditions: they must have the correct consistency -and their medium must be soluble in benzol. As regards the consistency -of the ink it should be noted that the prepared film in its swollen -condition, that is when the lights are saturated with water, absolutely -repels greasy inks only when this swelling attains the highest possible -degree; a case which one seldom needs and which will usually have to be -avoided. If this swelling is not carried to the limit, the high lights, -in spite of the water they hold, will take up the greasy ink, yet usually -only when the ink is very soft. _The swollen high lights thus repel ink -of thicker consistency, while they take the softer inks more easily in -proportion as they become thinner._ That the tanned shadows also take -hard ink is natural, for they do not contain, or contain only to a very -small extent, the water which repels the ink. From these considerations -it follows that in many cases satisfactory results cannot be obtained by -using ink of only one consistency. - -_The hard or heavy ink_ should have about the consistency of table -butter, and it should be possible to spread it into an even smooth film -on a glass plate with light pressure. _The soft or light ink_ should have -about the thickness of honey and should spread under the knife without -noticeable pressure. - -_Collotype or copper-plate printing inks_ of various makes are frequently -usable. As a rule, however, they must be tested as to their usefulness -for our process; their consistency is frequently too hard, and sometimes -they are not taken up by the film or cannot be distributed well, even -when they are considerable diluted with linseed oil varnish, in spite of -an apparently correct consistency. - -The nature of the ink is not only influenced by the greasy substance used -as a medium, but also by the material of the coloring matter itself. This -is why many inks, in spite of their apparent softness, work tenaciously -or “short,” while sometimes inks of hard consistency smear. - -If occasionally the dilution of an ink of too hard consistency appears -necessary, this is best effected with linseed oil varnish, which, -however, should not contain any driers. If the work has been begun with a -stiff ink of a certain shade and it is desired to retain this tone to the -end, it is advisable not to use a thin ink for dilution, but to thin down -the stiff ink with varnish. - -_Inks of too hard nature_ are not practicable. Such were necessary in -the oil-printing process. In the bromoil process, which is much less -sensitive to the consistency of the ink, their use merely means a -needless loss of time. An ink of correct consistency is easily taken up -and produces quick drawing without smearing, while too hard inks are -difficult to apply and soon refuse to take if they are not diluted. - -It is extremely simple and advantageous to prepare the inks oneself, as -outlined by E. Guttmann in Chapter VIII, p. 177. The process recommended -by him is to place the powdered colors on a matt glass plate and rub -up with varnish by means of a muller or pestle. This procedure is -considerably facilitated, if, according to my suggestion, a few drops -of a readily volatile oil-solvent be added. The ink is thus immediately -liquefied and can be quickly and perfectly rubbed up. The solvent -evaporates during the grinding, which is much easier than in the old way, -and the ink again acquires the desired character without suffering in any -way. - -_As a palette for the ink_ the best thing is a piece of waxed or -parchment paper, fastened on a white support, such as a card. Such a -palette has the advantage that after use it can be discarded without -cleaning. Moreover the color value of the ink can be fairly easily -determined on it. If necessary old negatives, or other glass, may be used -as a palette, and their use also makes cleaning unnecessary, which is an -unpleasant and messy job. - -A small quantity of ink should be taken and distributed as thinly and -evenly as possible on the palette. A thick layer is not convenient, as -then the brush takes up too much ink and too much is deposited at a time -on the bromoil print. The film of ink should show as smooth and uniform -a surface as possible; thicker ridges should be avoided, because the -brush is thus more strongly inked in spots and therefore transfers -the ink unevenly to the print. The distributed ink should be perfectly -homogeneous and flexible. A thin layer of ink sets to a skin on its -surface after a short time and then cannot be used. - -This setting also takes place in the body of the ink and becomes evident -by the formation of a delicate skin or hard crumbly particles on the -surface of the ink. These must always be removed; such hardened inks can -only with difficulty be distributed on the palette. Finally it should be -mentioned that hard inks may be slightly softened by warming. - -THE SUPPORT.—A stout glass plate or drawing board should be used as a -support, and inclined at an angle of about 30 degrees by propping up at -the top; _a damp and elastic pad_ must be placed on the glass or board. -_This pad is not for the purpose of keeping the print damp during the -working-up, as is usually stated_; on the one hand this is superfluous -in view of the possibility of repeated soaking, which is to be described -later, and on the other hand it would not produce the desired result. It -is erroneous to suppose that the water which passes from the damp support -to the paper side can equalize the loss of water which the film suffers -by evaporation from its surface. The pad should, therefore, only be so -damp that the bromoil print adheres firmly to it, when under the brush. -The pad should absorb and hold moisture; but this should not be imparted -to the brush when it touches the pad in working-up the edges, otherwise -water will be carried on to the print and cause spots. _For this reason -damp blotting paper or filter papers should be absolutely rejected for -the pad._ If such papers are used for the damp pad, the brush, which in -working the edges must inevitably touch them, will not only take up water -but also the paper fibers and, transferring them to the print, cause -trouble. Moreover, sheets of paper in a damp state are difficult to lay -smooth and are scarcely usable. - -The best material for the pad is the _copying sheets_ used for copying -books, which consist of two layers of linen with an intermediate film of -rubber. Such sheets have the advantage that when damp they always remain -flat and smooth. A damp piece of linen, doubled and smoothed out, is also -simple and certain. The pad must lie absolutely flat, because any ridges -become most unpleasantly visible in inking-up, particularly with thin -papers, as the brush always slips from the highest parts of the ridges -and causes inequalities in the print. - -REMOVAL OF THE WATER FROM THE SURFACE OF THE PRINT.—After the prepared -print is removed from the water and laid on the pad, the water adherent -to its surface must be removed. This is best effected in the following -way: Take a large, absorbent, lintless cloth, spread it smoothly over -the print, and press it gently with the flat of the hand. By repeating -this, the water is easily removed without endangering the film; whether -the drying is complete can be judged by _examining it obliquely. The -freedom of the cloth, used for drying the print, from fluff and lint is -of great importance._ If the cloth gives up fibers to the surface of the -print, these cannot be seen at first. In inking-up, innumerable minute -dark spots and lines appear on the film, as the deposited fibers take -the ink very strongly and thus suddenly become visible. It is frequently -erroneously assumed that such troublesome defects come from the brush. -This is seldom the case; on close examination these fibers will be seen -to be particles of the textile material. When possible, linen that has -been frequently washed should be used for the drying. - -When the water is to be removed from a print that has already been inked -and again soaked, care should be taken that the cloth is freed from any -folds by damping and subsequent drying, for such folds can, when pressed -on the print, damage the film of ink. Although this is not of material -importance, as such faults can be easily evened out by hopping, yet -these small precautions avoid unnecessary trouble. Sidewise or wiping -movements of the cloth should be carefully avoided, especially if the -print has already been inked, because the ink is unnecessarily smeared by -the wiping. After removal of the cloth one should make sure by examining -the print obliquely that the water has been completely removed from the -surface. - -It is advisable to keep several cloths ready for drying off the film, for -this will have to be done fairly frequently during the work. _Care should -be taken to remove most carefully every trace of water; water which is -picked up by the brush causes spots_, for the drops of water in the brush -keep the ink away from the points of contact. In such cases it will be -seen that white spots make their appearance in different parts of the -print, continuously shifting their position during the work. By perfect -drying off, these phenomena, which are in any case not necessarily -important as regards the final result, can be avoided. In drying off a -print already inked-up, the cloth will as a rule remove some ink from -the surface; such cloths should not be used again until they have been -washed, because they may transfer ink to a place where it is not wanted. - -THE BRUSH WORK.—The prepared print, lying flat on the pad, and with its -surface freed from adherent water, should now be inked up. - -Before beginning the application of the ink a little stiff ink, at least -as large as the working surface of the brush, should be placed in a -corner of the palette. This should be spread out flat, thin and free from -ridges; then the knife should be wiped and a little soft ink spread in -another place. - -The brush should now be pressed down on the _hard ink_ already -distributed on the glass plate, and the ink dabbed very carefully from -the brush on a clean place of the palette. _One should never go with -the brush direct from the ink itself to the print, as this will form a -spot which it is difficult to work out. It is of the greatest importance -always to work with a brush that has been well dabbed out and in which -the ink is evenly distributed._ If the brush has not been sufficiently -dabbed out it leaves on the print a quantity of small, much darker and -usually linear particles of ink, which cannot be distributed or are only -removable with difficulty. Such spots must then as a rule be removed by -the method described on page 72. - -The whole brush technique is based on the following principle: if the -brush charged with ink is placed on the print and allowed to remain there -for a moment, and then _slowly_ lifted up, the ink remains on the image. -If it is set down sharply and _quickly_ lifted (the so-called “hopping”), -it removes ink. In the first inking-up of a print, the swelling of -which has been correctly carried out, the application of the ink may be -effected by a gentle dabbing. A very thin film of ink is thus produced -and almost simultaneously correctly distributed. - -The brush should always be held by the extreme end between two fingers, -never by the middle or near the hairs. _The more lightly and more -delicately the brush is managed the better it works._ - -It is best to begin the work at some characteristic place of the picture, -which is well known to the worker; the ink should first be spread as -delicately and evenly as possible on a small spot, avoiding, as far as -possible, going over the same place twice with fresh ink. When the place -selected has been covered with a light film of ink, the surface should -be hopped over with light movements, when, with correct preparation of -the print, the outlines will soon appear. _A bromoil print correctly -prepared_, and with swelling suitable to the ink used, _is easily -recognizable by the fact that the image appears delicately but distinctly -under the very first strokes of the brush_. If this does not happen even -after some time, either the degree of swelling of the print is too low -or there is some fault in the preparation of the print, such as, for -instance, unsuitable paper, a poor bromide print, errors in bleaching, -etc. The longer the hopping continues, the more distinct the details -should become. Then the application of the ink should be continued in -places adjacent to those already worked up, until finally the whole -surface of the print has been evenly gone over with ink and the image is -visible in all its details, although still very thin and delicate. It is -advisable to use a rough print from the negative as a guide. - -_Beginners usually make the mistake of jumping from one spot to another -without filling up the intervening parts._ This makes the work more -difficult. Inking up should be carried out continuously by passing from -those places already worked on to those not inked up. If it is noticed -that the places which were first inked up appear too pale compared to -their surroundings, since they have still too little ink, they should -be inked up more strongly. Too dark spots should be evened out with the -brush by removing the excess of ink and depositing it on the less inked -parts. The amount of ink used on the print is very small; that which is -first taken up by the brush lasts for a long time. It is not necessary to -have frequent recourse to the ink spread on the palette by the knife, but -is much better to take up, as long as possible, fresh ink from the spot -on the palette on which the brush was dabbed. - -_On the other hand, however, every application of the brush to the print -should actually deposit some ink on the print._ If those parts touched by -the brush do not increase in intensity, _it must be determined whether -the dark places on the palette from which ink is supposed to be taken, -are actually giving up ink_; for if the film of ink remaining on the -palette is too thin, fresh ink must be deposited and distributed on it by -the brush. - -Care should be taken not to overload the brush with ink, for then -the hairs stick together, distribute the ink badly on the print and, -moreover, frequently leave large coherent particles of ink on the film, -thus causing spots. As the brush is cut on the slant, it may happen that -in dabbing out the brush on the palette and in the application of the -ink to the print, the front and longer part of the brush is used more -strongly. Then the ink collects at the back edge of the brush and causes -spots when the brush is used more vigorously. - -In many cases it is possible to complete the print with the hard ink -alone. _If it is noticed that the hard ink does not take well on the -print and is removed again in lifting the brush_, its consistency is too -stiff for the work. One should not then continue to use it, but should -_soften the ink_ in the following manner: First place the brush in the -hard ink and dab it out well in another place on the palette. Now dip the -ends of the brush hairs carefully and very lightly into the soft ink and -dab out the very small quantity of the soft ink taken up by the brush on -the same spot, on which the hard ink has been previously distributed. -There is thus formed on the palette as well as in the brush a mixture -of the two inks. Now try carefully whether the now softened ink adheres -well to the print, by placing the brush lightly on a light place of the -print. If it leaves behind a _light_ trace of ink without any trouble, -the consistency is correct; but if this does not happen, the ink must be -diluted again in the same way with the soft ink. If on the other hand -the brush leaves behind a _strong_ trace of ink from a light touch, the -ink is too soft and requires the addition of some hard ink. _It is not -advisable to mix the soft and hard inks on the palette with the knife, as -it is very difficult to strike the right consistency in this way._ - -This applies to all mixtures and dilutions of the ink which may be -necessary in the course of the work, as in strengthening a colored ink -with black, or in the preparation of any desired tint by admixture of -different inks, and finally in softening inks with varnish. In all these -cases mixing of the inks on the palette with the knife puts too much ink -into use; also, as long as the ink is on the palette, one cannot estimate -with the necessary exactitude either the tint or the consistency. The -correct procedure is rather first to go with the brush to the first -color and distribute this on a clean place, then set the same brush in -the second color and make the mixture on the palette by dabbing. Then the -mixture thus obtained should be tested as to its shade of consistency -by gentle application to the print, and more of one or the other ink -added in the same way with the brush. It should be noted that inks of -a soft consistency go a very long way; the whole surface of the brush -should never be dipped into such inks, but only the point of the brush. -Softening of the inks with varnish should be effected in the same way. - -When the first inking up is finished, the addition of ink of the same -consistency is continued until the print is completed or will no longer -take ink, which, as has already been pointed out, is known by the fact -that the newly applied ink no longer adheres, but that the brush removes -it from the print. Then one proceeds to a further dilution of the ink -by taking more soft ink with the brush and adding it to that already -mixed, and continues the work. The use of the unmixed soft ink is not -even necessary in many cases. If, however, it proves to be necessary, it -should be used, but with care, for a brush stroke which puts too much -soft ink on any part of the print, especially in the shadows, causes a -patch. _The beginner will work most easily and successfully if he always -keeps the applications of ink as delicate as possible and obtains depth -only by a repeated and even coating of ink, fully distributed every -time._ If a place should still turn out to be too dark, one can try -removing the excess of ink, if it be a hard one, with a clean brush. If -a dark patch is formed by too vigorous application of a mixed or even a -soft ink, another brush should be dipped into the hard ink, dabbed out, -and the spot removed with this brush. Moreover, such places can as a rule -be easily rectified after the second soaking of the print, which will -be described presently. If the fault cannot be removed in this way, the -ink must be partially or entirely removed, according to the instructions -in Chapter III, page 73, and the work begun anew. This should be done -without hesitation by the learner if the application of the ink does not -succeed as he desires; the prepared print can be used for practice like a -school slate by washing it off after each attempt with a solvent of the -greasy medium. - -For the application and the hopping off of the ink for large areas of the -print one should _always use the whole working surface of the brush_. -Smaller surfaces or outlines should be worked up with the front edge of -the slantingly-cut brush; in laying on the ink one should never continue -with the point, because this bends and gives unpleasantly sharply defined -ink edges. _In order to cover a place with ink very thoroughly, one -should hold the brush firmly, give it a slight twist and then raise it -up straight and slowly._ If it is desired to coat a whole print evenly -with ink, it should be applied in stripes over the whole print, the brush -being pushed forward and not necessarily completely lifted up from the -surface. The brush is pressed down firmly, the pressure relaxed a little, -the brush moved forward half its width, then pressed again, and so on. In -this way with a little experience there may be produced perfectly even -ink stripes which bring out the outlines of the image and which are made -close together until the whole print has been gone over, when one begins -with the hopping. With papers with marked structure these stripes are -best made in the direction of the structure and not at right angles. -_Especial care should always be taken that the shadows of the print, -which take the ink most easily, are not too strongly inked up, and one -should try by light hopping to bring out all the desired details at the -very first application of the ink._ When the shadows have once taken too -much ink, it is not easy to clear them up by brush work alone. The inking -up of large deep shadows must always, therefore, be very carefully done. -Such parts of the picture are the most strongly tanned and therefore take -the ink very readily and hold it very tenaciously. They should therefore -never be touched with a brush freshly charged with ink, but one should -work on the heavier shadows only when the brush has given up the greater -part of its ink to the less sensitive parts of the image. Even then it -always contains enough ink for the darker parts of the print. The first -application of ink in the shadows, especially, ought never to be heavy -and cannot be kept too delicate. When the desired details in the shadows -appear to be well defined, they should then be strengthened. But even -this should not be effected by a single thick coating of ink, but by -successive additions of thin ink films and hopping after each. - -Especial emphasis must be laid on the statement that _all details_, which -it is desired to have in the finished print, _must be brought out by the -first application of the ink_. If parts of the image are strongly inked -up before the desired details have appeared, it is difficult to develop -these later. On the other hand, detail, which has been brought out in the -first inking, cannot be suppressed by any further skilful application of -ink, but only strengthened. - -These phenomena can on the other hand be successfully used to prevent the -appearance of undesirable details in the picture. If for artistic reasons -one desires to suppress detail and work flatly, the parts in question -should be inked up from the start more strongly and evenly, and the -hopping be either entirely omitted or stopped before the details which -are to be omitted are brought out. - -For beginners especially, it is useful in applying the ink, as well as -in hopping, to lift the brush after every few strokes and examine the -results obtained, so as to decide on further procedure. - -One should accustom oneself to examine the print _from time to time -at a certain distance_, while it is being worked on; for the correct -impression as to whether the tonal values are correctly chosen, can -be gained only at a greater distance; it is then seen more easily and -clearly whether or not individual parts of the print carry too much or -too little ink. - -Particular parts of the print, which one wishes to have _more contrasty_, -should be gone over after the hopping with _a wiping motion of the -brush_; the ink is thus removed from the raised parts of the relief. If -one goes too far in this, the inking can be done over again in the usual -way. - -If it is desired to free a brush from the soft ink, it should be dipped -into hard ink specially spread on the palette for this purpose, and -dabbed out well on a clean place, and this operation repeated two or -three times, using each time another part of the palette. At the end of -this manipulation the brush will practically no longer contain anything -but hard ink. - -When one has once learnt the initial steps of brush technique, in the -course of time one fails to notice the difference between the laying on -and the hopping off of the ink. _The hand in time acquires an instinctive -handling of the brush, which takes care at once of both the application -and the distribution of the ink_; if the proper relation between the -consistency of the ink and the degree of swelling of the gelatine has -been hit upon, a simplified handling of the brush comes of itself, -because then the application of the ink is especially easy. - -When, with papers of rough surface, the grain of the paper remains white -in the shadows, in spite of hopping, such places should be treated by -going over them with the inked brush with light pressure _with a rotary -motion_. - -_Practice teaches that there is always a definite consistency of ink -which corresponds to a definite degree of swelling_ and with this the -print may be executed from start to finish. If the operator has learnt -by experience what ink consistency corresponds to the existing swelling -of the film, he will prepare his ink of the suitable consistency, and is -then in a position to carry out the work uninterruptedly without any new -mixing of the ink. - -It is a little difficult for the tyro to answer the question as to _when -the application of the ink should be stopped_, that is to say, when the -print may be looked upon as finished. There is frequently a temptation -to consider the print finished when it is very delicate yet completely -visible in all its details. The beginner often lacks the courage to apply -more ink at this stage; he usually believes also that the print will -take no more ink, because, as has been mentioned above, the part of the -palette from which he has hitherto taken the ink, gives up no more. Such -prints, which recall sketchy pencil drawings, deceive one during the -work, but only satisfy later if this particular technique is suited to -the character of the picture, which is certainly not always the case. -One must therefore carefully consider during the work whether one should -actually stop. - -The second danger lies in the opposite direction, and is due to the fact -that, led on by the constantly increasing vigor of the image, _one cannot -rightly decide when to stop_. The danger here is that one is tempted by -the vigor of some part of the picture to make the other parts also as -strong in color, until by such continued action the print is immersed in -the deepest gloom, which becomes still more gloomy after defatting the -finished print. Such excess must be avoided as a rule. Experience and -taste soon teach one to hit the happy mean. - -The first, delicate and general application of ink, which may be -considered as a guide print, is in many cases somewhat wearisome, -especially when the picture has large areas of rich, deep shadows. With -correct preliminary treatment of the print there are no real difficulties -in the preparation of such a guide print. Yet the work, especially with -large sizes, is really time-consuming and also offers, when considered -from the artistic standpoint, but little interest, since the actual -creative work of the operator only begins after the guide print is -finished; only then is he in a position to actually give expression to -his artistic feelings by suitable inking of the different parts. - -Since, therefore, the work in the preparation of the guide print is -actually quite mechanical, it is natural to make use of any means which -enables one to facilitate and hasten this work. - -For this there may be used, but only by the expert worker, a method based -on the following considerations: - -If an ink of suitable consistency is dissolved in a suitable solvent, -such as benzol, carbon tetrachloride, trichlorethylene, etc., the -pigment is very evenly disseminated in this solvent. If the latter again -evaporates, the ink deposits in an even coating, unchanged in its nature. - -It is therefore, possible, in the first application of the ink, to use -such a solvent on the print and by its aid the wearisome mechanical work -of the first inking may be rapidly and easily carried out. - -In practice the method of procedure is as follows: there is first -produced, on the print which is to be worked up, a relief which is -vigorous enough to sufficiently develop all the detail in the shadows. -An ink which is fairly stiff for this degree of swelling is chosen; the -brush is first dipped in the solvent and then into the ink, which has -been thinly spread on the palette. After a few dabbings on the palette -the ink solution with which the brush is charged is spread on the print -with a hopping motion and distributed with the same brush as evenly -as possible. If the distribution becomes difficult in consequence of -evaporation of the solvent, the brush should be again dipped in the -solvent, and then the distribution can be easily completed. The film of -ink thus obtained should be fairly thin, but must not be quite even. - -After the complete evaporation of the solvent, the ink is worked up with -a clean brush, with which the guide print can be finished without trouble -and in the briefest time. - -There are also other variations of this method of the application of -dissolved inks. For instance, one may first apply some ink with the -brush to the print and then distribute it with a second brush dipped in -the solvent; one may also prepare a solution of the ink in a dish and -paint it on the picture, or bathe the whole print in a solution of the -ink. All these variants, especially the last two, have, however, certain -disadvantages, so that the procedure first outlined is to be preferred. - -After the guide print is prepared in this way, the further application of -the ink is carried out in the normal manner. - -The solvent is most conveniently chosen so that it is not too volatile, -as for instance heavy benzol. But it ought not to contain any oil. When -placed on the surface of the hand, it should evaporate fairly slowly, but -without leaving any trace of grease. - -Certain failures, which sometimes appear in this process, must be -mentioned. If the film of ink is too thin, it can be repeated without -further trouble in the same way, with rather more ink. If, on the other -hand, too much ink is applied, a complete image is immediately formed -without any possibility of the shadows being worked up. In this case the -ink must be again removed by the solvent. If individual parts of the -picture are too dark, from too much ink, it is sufficient to go over -these parts with a brush dipped in the solvent, in order to clear them up. - -If, after evaporation of the solvent, great irregularities in the -distribution of the ink are seen, as for instance, spots and streaks -which cannot be easily worked out, the print should again be placed -in water; after drying off, the evening-up may be carried out without -difficulty. - -If in hopping with the second clean brush the image does not appear at -once without trouble, either the relief was too low, or the ink too soft, -or the solvent contained oil. - -The ink can obviously be placed on the bromoil print not only with the -brush but with any other suitable ink carrier, such as _rollers_. Yet by -this the process is rendered _more mechanical_ and deprived of all those -great advantages, which distinguish it from all other printing methods. -_Especially, the possibility of local treatment is mostly lost_; the -unlimited command of the tonal values and the structure of the ink can -only be guaranteed by the use of the brush. The only offset to this loss -is a gain in speed. Agility, however, is not sought after in artistic -labors. If one wants to prepare a lot of prints quickly, it is better -to use the bromide process, which is especially suitable for such a -task, and thus save the trouble of the bleaching and the other processes -necessary in making bromoil prints. - -RESOAKING OF THE PRINT DURING THE WORKING-UP.—_Resoaking the print during -the inking up, without regard to the existent film of ink, is one of the -most important aids in the bromoil process._ - -This procedure is based on the following considerations: It has already -been pointed out that the prepared gelatine film possesses the property -of again assuming after drying the same degree of relief which was -imparted to it by the warm water bath. When a swollen print is taken -out of the water and placed on the pad for working up, evaporation -immediately begins at the surface of the film; the gelatine, therefore, -continuously gives up water to the surrounding air during the work, -and more quickly in proportion as the air is drier and warmer. As has -already been mentioned, the damp pad does not alter this, since the -supply of water from the pad through the paper is not sufficient to -restore the water content of the film. Therefore, while one inks up one -part of the print, all other parts gradually lose their water; and since -it is this water which renders the gelatine, after its tanning, capable -of repelling or taking the greasy ink, the work gradually becomes more -and more difficult. The gelatine film, which feels smooth when the film -is removed from the water, especially in the high lights and any exposed -margins, becomes gradually leathery. It may still take ink, but the -distribution of this, and especially the development of the drawing and -the details, become more and more difficult. - -_If, however, the print, which is partly or entirely inked up, is again -placed in water and this time in cold water, the gelatine film very -rapidly absorbs this and again attains the same degree of relief that -it had at first._ Sometimes it appears as though a marked clearing up -of the image takes place in the water; the high lights become cleaner, -and many details appear in the shadows which were not visible during the -working-up. On the other hand, with some inks the picture appears to -become weaker under the water. This, however, is only an illusion and is -of no importance, as in drying, or in again going over the picture with -the brush, the image again attains the previous depth and color and still -greater clearness. - -Here also, one must take care that the print is _completely immersed_ and -that no air bells adhere to the film, since those places to which the -water does not have access do not reswell, and on further work may give -rise to spots. In removing the print from the water the inked-up surface -should not be touched with the fingers, or finger prints will remain in -the ink. The print should therefore be taken hold of by the edges. - -While the print is soaking in the water, the bringing out of the details, -especially in the shadows, may be facilitated by stroking those parts -with the tip of the finger or a swab of absorbent cotton. In the same way -dirt which has collected on the surface during the work may be removed. -In the latter case one may also use more vigorous friction, even though -the ink film is thus removed, since the removal of the troublesome -particles is more important than saving the thin film of ink, which can -be easily renewed. - -The print is then removed from the water, placed on the pad, and dried as -previously by spreading over and pressing down a lintless cloth, although -because of the film of ink any wiping action should be avoided. Then when -the brush work is resumed, it can be completed in an extraordinarily easy -manner. - -It should be specially noted that the print must be _worked up after this -second soaking with the same brush as before, which need not be recharged -with ink_. Only after the print has been hopped in this way, should fresh -ink be applied. - -During the work, the bromoil print, as a rule, will scarcely retain the -necessary degree of dampness longer than a quarter of an hour, and not -this long in dry and warm weather. - -_The resoaking of the print should be undertaken without hesitation as -often as any difficulty in the distribution of the ink is met with; for -this saves a great part of the brush work_, and almost automatically -brings out contrasts and details. Especially while learning the process -and later with more difficult prints, the work is most conveniently -divided as follows: first application of the ink and distribution -by hopping, as long as it is easy; resoaking the print; drying off -and hopping anew with the brush not freshly charged with ink; second -application of the ink and hopping of the ink now applied; another -soaking, and so on. The operation may be repeated as often as desired -without the film taking any harm. - -Because of the possibility of always bringing the print to the correct -degree of relief during the brush work by means of resoaking, _there is -absolutely no limit to the size of the bromoil print_. One can simply -finish a part of a print of any desired size and then, after another -soaking, go on to the next part and so on until the whole print is inked. - -If the relief of the film corresponds to the desires of the operator, -the bromoil print may be finished completely in this way. _If it is -seen that the relief is not sufficient to give the desired modeling and -contrast, the resoaking may be effected with warmer water than was used -at first._ Yet, until the worker has completely mastered the process, -this should be done carefully and the temperature of the water gradually -raised by adding hot water, in steps of not more than five degrees, until -the requisite relief is attained. The use of a _thermometer_ is here -absolutely essential, for the estimation of the temperature of the water -by the hand is quite unreliable and may lead to the greatest errors. This -applies to all water baths used in the bromoil process. At this point it -should be noted that a print, which on account of its characteristics has -to be placed at the beginning in very hot water to attain the necessary -relief, is usually covered with very tiny air bells, which can easily -be overlooked; they must be removed by wiping under water so as to avoid -troublesome spots. - -If the relief of the whole print is satisfactory, but, because of the -character of the negative, a few places in the deep shadows do not show -the necessary details, the desired shadow detail might possibly be -attained by increasing the whole relief, yet at the same time the relief -in the rest of the image would be carried too far. In such cases, the -places which should be relatively more swollen can be separately more -highly swollen while the rest of the surface of the print retains the -original relief, by pressing on them a cloth soaked in warm water or a -suitably formed swab of absorbent cotton. A still stronger effect is -obtained when such places are painted with a water-color brush charged -with a one per cent solution of ammonia, either on the film or, after -previously marking the outlines, on the back. - -When the relief of the gelatine has been increased by soaking in water -which is warmer than that used for the first bath, certain precautions -must be observed in removing it from the water. It frequently happens, -when using certain inks, that _the water which runs from the film causes -streaks and spots_, and that evening these out is at least troublesome -and frequently very difficult. This action, which does not occur when -resoaking in a bath of the same or a lower temperature, is explained -by the fact that the greasy medium of the ink is liquefied by the high -temperature of the water, and runs down irregularly or mixes with the -water and is carried off by it. There are thus formed on the film of ink -marks which show the form of the streams of water which have run off. -Such troubles may be avoided by bringing the support close to the dish -in which the print is soaked, lifting the print out of the water as far -as possible in a horizontal position and placing it in the same position -on the support, and immediately spreading the previously dried cloth -over it and carefully drying. By observing this precaution, the running -off of the water from the film, which is the cause of this difficulty, -is prevented. Any traces left by the cloth, used for drying off, can be -easily evened out again by the brush. - -By making use of this soaking of the print during the work, the bromoil -printer _is absolutely unlimited in the time used for his work and is not -driven by any necessity for haste_. He can continue his work in peace and -without hurry, and devote himself to any particular part of his picture -at will, without being afraid that other parts will meanwhile lose their -capacity for being worked up. - -THE REMOVAL OF THE INK FROM THE SURFACE.—If, in the application of the -ink, a fault occurs, which for any reason cannot be corrected with the -brush, or if one sees in the course of the work that the ink film is -not satisfactory in tonal values or shading, the print would have to be -discarded, if it were not possible to remove the ink without damage to -the film. This is feasible, however, without any special difficulty; one -need not, therefore, throw away such a print, but after removal of the -ink can again ink it up, but this time with avoidance of the previous -fault. - -_If there are only small faulty places, the ink may be removed from the -print as it lies on the pad, as follows_: - -Cut a small piece of transparent, waxed paper, or, lacking this, of thin -smooth white paper of approximately the shape of the overinked spot, but -slightly larger, and place it on the faulty spot, turning up a little -corner so as to be able to lift the paper again. Then rub with the finger -tip carefully and pull off. The ink is thus removed from the bromoil -print and transferred to the paper. If the removal is not complete, the -operation is repeated with a second piece of waxed paper. If very small -places, as, for instance, the eyes of a portrait, have to be dealt with, -the rubbing should be done with a round stick, such as a penholder. - -_By inking again, the part that has been thus removed may be replaced -without any trace of a correction._ - -If the whole film of ink is to be removed from a bromoil print, _a soft -dry cloth or better still a swab of absorbent cotton should be soaked in -benzol or other solvent, and the picture washed with it_. The medium of -the ink is dissolved by the benzol and the ink taken up by the wiping -cloth. - -Every stroke must be made with a clean portion of the swab, which must -frequently be soaked again with benzol, otherwise the ink dissolved by -the benzol and taken up by the swab will be again put down on the paper. -If, after washing with benzol some traces of ink still remain on the -film, the print should be _immersed in water, but only after the benzol -has completely evaporated not only from the film but also from the fibers -of the paper_, and it should then be gently wiped with the finger. Even -if the film still shows a slight tint after this, the working-up may -be begun again successfully, since the traces of the previous inking -disappear under the new application of ink. - -This complete removal of the ink with benzol may also be repeatedly -effected. _Beginners can, therefore, use any prepared print several -times for experiments._ But experts should not think of washing an -unsatisfactory print with benzol. Those who possess a transfer machine -can remove the film of ink mechanically in the simplest way by transfer. - -_If it is desired to remove the ink from very small portions of the -print_, this is most easily effected by repeated use of _art-gum_, which -should be sharpened to a point. After every application of the art-gum, -a fresh surface of the gum must be used, so that the ink is not again -transferred to the picture. It should be noted, however, that repeated -use of the gum on the same spot may cause blisters. - -FAILURES.—To assist the beginner, some possible failures will be here -described. - -It may happen that during the inking _the print becomes covered with -fibers and small hairs of the most different shapes_. This phenomenon -may sometimes become so troublesome that a successful print appears -problematical. It is frequently _incorrectly assumed_ that these -impurities are _caused entirely by the brush_. Hairs that have fallen -from the brush are always recognizable as such, for they are straight, -relatively thick, lie entirely on the surface of the film, and can be -easily removed. When there is an excessive appearance of _fibers_, they -are due to the use of an unsuitable cloth for drying. The fibers are of -the most different shapes, from dots to recurved and entangled lines. - -From the fact that they always appear most strongly and frequently during -the inking up, it is frequently erroneously assumed that they are caused -by the brush used for the inking, or that dust is deposited from the air; -this is not so. A dirty brush may be to blame; mostly, however, they are -fibers of very different shapes, which are brought on to the damp and -somewhat tacky gelatine film by the pressure of an unsuitable cloth, -which is not free from lint, and they are held fast by the gelatine and -torn from the cloth as this is lifted. At first these thin and almost -transparent fibers are not visible. But they take the ink, and thus it -happens that they seem to appear in ever increasing numbers during the -inking. If _individual_ fibers (which may come from an otherwise suitable -cloth), or brush hairs that have fallen out, have to be removed, this is -readily effected by _art-gum_, worked to a point with the fingers. With -such a point long fibers can be very easily lifted from the film, while -the tiny cloth fibers cling very firmly to the film. A small white spot, -where the gum point has touched, remains, as this removed the ink also -from the gelatine. Such points can be completely closed up by repeatedly -going over them with the brush. - -Single hairs or fibers lying on the surface may be allowed to remain, -when they occur in places where for any reason one must not destroy the -ink film; they can be very easily removed from the film with a sharp -instrument in the after treatment of the finished print; usually they -leave scarcely any mark. - -If, on the other hand, the fibers have appeared in large numbers, the -print should be immersed in water and one should try to remove them -by gentle friction with the tip of the finger, which is generally -successful, even if the film of ink is also removed at the same time. If, -however, the fibers adhere so firmly that they cannot be removed in this -way, which is particularly likely to happen in the shadows, the whole -coating of ink must be removed in the manner outlined in the previous -section, page 73. - -The only safeguard against the appearance of this difficulty is the use -of a material as free from lint as possible for drying the film. - -It may happen that _the print takes the first hard ink instantly and -very readily_, but that even with long hopping clearness of the details -is not obtained; the picture indeed shows up well, but remains muddy, -as even the high lights retain the ink and become darker with further -application of the ink. Then, as a rule, the requisite relief has not yet -been attained, and the print must be placed in warmer water. If all the -instructions for the development of the bromide print, the bleaching and -the swelling have been adhered to, and success is still wanting, then the -fault lies in the paper, which was hardened too much in manufacture. The -bromoil process is based on the fact that the shadows are tanned more -than the high lights, and that then the tanned places take up more ink -than the untanned. If the whole film was completely hardened from the -start, there cannot be more tanning added by the bleaching, and the ink -will take everywhere, in the lights and in the shadows. - -_If the high lights of the picture completely repel any grade of ink_, -while this adheres thickly in the shadows, then the formation of the -relief has been forced too far. - -If the print _takes the ink neither in the high lights nor the shadows_, -there is either a fault in the preliminary preparation, as, for instance, -bleaching in too warm a solution, or one too strongly acidified, or the -print has been acted on too energetically by the ammonia bath. In the -last case the print may be dried and again swollen in water. - -_If large or small irregular spots_ which take the ink more strongly -than the surrounding parts, _are formed during the inking_, the reason -is either that the prints have lain one on top of the other in the -preliminary baths, or the film has been prevented from swelling by air -bubbles, or by having risen out of the water. Thus certain places are -less well prepared or are not swollen, and therefore behave as though -they had been more strongly tanned, that is to say, they take even the -first ink strongly and stand out from their surroundings as spots and -streaks. Sometimes such spots are improved by putting more ink on the -print; if they are not of large area and are in the less important parts -of the picture, they may be ignored, as they can be removed from the -finished print without special trouble, as will be explained later. If, -however, the spots have a large area, or occur in an important part of -the picture, for instance, in the eyes of a portrait, it is preferable -to stop further work. As a matter of fact, all such blemishes may be -removed by after treatment of the print, but the trouble entailed by the -correction of large faults is greater than the work of preparing a new -print. - -Sometimes darker spots or streaks of irregular outline show themselves -during the work, which from their shape cannot be ascribed either to air -bubbles or to partial sinking of the relief. Then there are probably -irregularities in the gelatine coating, for which the preliminary -treatment of the bromide print is not responsible. - -If the print shows a satisfactory relief, but still takes the ink -badly or not at all, the reason is in the incorrect composition of the -bleaching solution, or the _omission of the intermediate drying_ after -bleaching. - -Finally it may happen that the image _appears_ almost _as a negative_ -during inking-up, since the high lights take the ink quicker than the -shadows. This phenomenon appears when the intermediate drying after -bleaching has been omitted, or if _the work has been begun with too soft -an ink_. In such cases, if too much ink has not been applied, the fault -can be corrected by further working-up with a hard ink. If this is of no -use, all the ink must be removed from the faulty places in the manner -already described. - -If during the inking-up _small irregular white spots in groups_ show -themselves and shift their places, then there are drops of water in the -brush or on the print. The print should be dried, the brush also, and the -spots hopped dry and worked over. - -_Yellow or brown spots and patches_, which often appear during the work, -increasing in number and continually enlarging, or even penetrating -through the film into the fiber of the paper, are to be ascribed to the -fact that particles of amidol were deposited on the film before the -soaking of the print. When these particles dissolve in water they cause -the trouble just described. If there are merely scattered spots of this -kind which have not penetrated the paper, they may be scraped out of -the finished print and then retouched. The real remedy, however, is in -keeping the amidol carefully closed and as far as possible not in the -same room as the prepared prints. - -_Ink streaks_, which a print treated with a soft ink shows when it is -taken out of the warm water, only appear when the print is placed in a -slanting or vertical position; they can be avoided by taking the print -from the water and immediately bringing it into a horizontal position on -the support and rapidly drying, so that the water cannot run off. - -The failures caused by the use of the ammonia bath were described on page -46. - -ALTERATION OF THE CHARACTER OF THE PICTURE BY THE INKING.—If the inking -is carried out exactly according to the previous instructions, which have -been given chiefly for the benefit of beginners, the result will be a -picture which, as regards gradation, will be like the original bromide -print before it was bleached. The finished bromoil print, produced by -a perfectly even application of ink over the whole picture by means of -successive additions, each thoroughly worked over with the brush, differs -from the original bromide print in coloration, structure, more extended -gradation, and change in the character of its surface. As the worker -is at liberty to stop at any desired stage of the work, he can obtain -from the original bromide print, according to his taste, a delicate -light-toned bromoil or a very rich and highly modulated print, or any -intermediate stage between these two extremes. - -Yet these possibilities by themselves alone would not justify the -conversion of the original bromide print into a bromoil. The substitution -of a new photographic positive process for an old one is only justified -if the new process accomplishes something essentially different and above -all something better. But absolutely uniform working over of the bleached -bromide print with greasy inks does not completely fulfil this postulate. -Mere changes of gradation of the whole picture or of its color can -certainly be attained by simpler photographic methods. The extraordinary -advantages of the bromoil process lie in other directions. - -_Bromoil printing, for instance, permits us to ink any individual part of -the print more or less, or even not at all, at will_; it is possible to -give enormous brilliance and aerial perspective to the high lights; they -may show when finished every tonal value represented in the negative; -it is also possible to darken them to an extraordinary extent by the -application of more or softer ink. On the other hand, the shadows may -be kept perfectly light by omitting to ink them or by very delicate -treatment, or, by successive applications of the ink, they may be -strengthened to very great intensity and yet retain all their details. - -_The worker has wide opportunity for control in the local treatment of -his prints. His dependence on the negative is limited to the drawing, -while in the treatment of the tonal values he is absolute master._ Most -of the other positive processes are dependent on the negative for their -extremes of depth and of delicacy; the bromoil process does not know -this dependence. If it is desired to obtain a delicate picture from any -negative, one uses only a little ink, and hops it off thoroughly; then -there may be obtained from even _the most contrasty negative a delicate -print, but one thoroughly worked out in all its details_. On the other -hand, there is practically no limit to the continued application of ink; -the film is still capable of taking up more ink, long after the limits -of artistic pictorial effect have been passed. The result is that in -the bromoil process _vigor and depth of the shadows can be produced -in any desired intensity_. The most striking advantage of the process -lies, however, in the possibility of changing the tonal values of any -individual portion of the print at will. - -If for example, a negative was used in making the original bromide -print which had been taken without any attention to the requirements -for getting correct tones, by suitable treatment in making the bromoil -one can obtain an approximately correct print without special trouble, -since one can, for instance, convert an absolutely clogged-up sky, which -is pure white in the bromide print, to a suitable grey tone by the use -of soft ink, and at the same time lighten foliage which is too dark; a -flat print, wanting in plasticity, may be improved by making objects -in the foreground more vigorous, and accentuating appropriate parts of -the middle distance. It is easily possible to supply the lacking aerial -perspective of certain kinds of prints. In portrait work in the bromoil -process, skilful workmanship renders one absolutely independent of the -nature of the background. A light background can be made dark, a dark -one light. In portraits taken out of doors, the small details of the -background that are out of focus or obtrusive may be omitted, toned -down or completely remodeled. Unpleasing details of the clothing or the -hair can be omitted or so far softened down that they are no longer -disturbing. We are able to accentuate certain parts of the picture to -make them dominant, while other parts of the image may be treated very -sketchily; in short, the possibilities of control which this process -offers are almost inexhaustible. - -I will now try to outline the methods of carrying out some of these -modifications, as far as is possible without practical demonstration. - -The beginner is first of all recommended to use a proof print from the -negative as a check, so that he may have a clear idea as to what changes -he needs to make, and so that further, in carrying out his ideas, he does -not change neighboring parts of the print which should remain unchanged. -The simplest example of control is the _lightening of the shadows_. This -is done by very careful application of the ink, which is stopped before -the shadow parts become too dark. One should avoid touching such parts -later with the brush, when it is charged with soft ink. - -If light portions are to be made darker, the procedure depends upon -the size of the parts involved. Extensive parts of the picture in high -relief, as for instance the sky, should be gone over as evenly as -possible with a suitable soft ink, and with this, simultaneously, by -going lightly over the lighter places and applying it more heavily here -and there, clouds may be put in. The evenness of the inking is of the -greatest importance here, as it cannot later be hopped off very much; -frequently in such cases the ink only lies on the surface, without -adhering firmly; if left untouched, it combines intimately with the -surface when the print is dry, but is easily removed by hopping. It is -possible to change the outlines of neighboring parts of the image; if too -dark edges are formed, they can be easily softened by after treatment of -the finished print. In some cases it may be necessary to add considerable -quantities of varnish or linseed oil to dilute the ink. The darkening of -too light places may be also effected by dabbing ink with the brush on -the finished dried print, which the print then naturally takes all over. - -_If tiny light patches are to be made darker_, the point of the large -brush, or if necessary of a very small brush should be used, avoiding -any disturbance of surrounding parts, as far as possible. Such changes -are difficult only when the bright spots that are to be worked out are -in immediate contact with very dark parts. The process is much simpler -when parts of the print of medium tones, which are surrounded by lighter -parts, are to be darkened. If, for instance, the eyes of a portrait are -to be darkened, ink should be applied to the whole of the eye with a -small brush, and then hopped off. A tree trunk, which must be brought -out in relief, should be covered throughout its whole length with soft -ink, and the ink should then be worked over, by hopping it from the -lighter toward the darker parts. In practice, the bringing together of -neighboring tones, which differ considerably in value, can be easily -effected by _hopping off the ink from the darker parts_ with a brush -that has not been freshly charged with ink, _and depositing it on the -lighter parts_. The lightening of too dark places can also be attained by -going over them with a perfectly clean brush that has not been dipped in -the ink. Isolated high lights can be accentuated by touching them with -a pointed water-color brush, dipped in water; then the film swells and -repels the ink. _Stained high lights or too dark middle tones_ may be -lightened by wetting a brush of proper size by means of a wet cloth and -then lightly hopping with this the places which are to be corrected. The -brush picks up the color, but must be immediately cleaned by rubbing it -on a clean portion of the palette, after which it may be again wet and -used again. Clouds can be worked into dark parts of the sky in this way. - -THE STRUCTURE OF THE INK.—Independently of the surface of the paper on -which the work is done, _the structure of the coating of ink can be -influenced by the nature of the brush work_. If a brush well charged with -ink has its full surface placed firmly on the gelatine film and then -slowly lifted up, an impression of the surface of the brush remains; the -individual hairs or groups of hairs of the brush have each deposited a -part of the ink that they had taken up, and a very coarse-grained spot -of ink is produced. If we now hop, that is, dab with quick light blows -of the brush, the ink begins to be distributed, since it is taken away -from the lighter parts and taken up by the shadows. The drawing of the -picture _thus appears under the brush, at first with a very coarse grain -and without many details_. The longer one hops and thus distributes -the ink, the finer becomes the grain, and it especially becomes much -finer on the addition of softer ink. _The bromoil printer hence has it -completely within his power to limit the division of the ink to any -desired coarseness of grain_, assuming, of course, that he has suited -the consistency of the ink to the degree of relief, and is therefore -able to completely finish the print with the original ink without -adding any softer. Prints may thus be prepared, which because of their -coarse structure, resemble certain graphic methods. But, when this is -intended, the application of the ink must be carried on as evenly as -possible from the beginning, so that it needs very little hopping off, -for any considerable amount of hopping unavoidably produces a finer -grain. Even if the use of softer inks is necessary, a coarse structure -can be obtained by suitable brush work. _The longer, however, the ink is -distributed by hopping, the finer becomes the structure of the ink film_ -and the smoother the surface. - -_The most perfect smoothness is also attainable_, if it is desired for -any reason. For this a not too volatile solvent should be used, such as -heavy benzol. The method of using this is as follows: when the print has -been fully inked and is complete, though still somewhat coarse-grained, -a cloth should be wet with the benzol, and the brush lightly pressed -thereon and then passed quickly over the desired parts of the picture. At -first a smeared spot is formed on the surface of the print; by continued -gentle hopping the spot is gradually worked out, and by continued working -we get a fineness of detail, equal to that of printing-out paper. It is -true that even the highest lights acquire a delicate film of ink, so -that a print treated in this way is somewhat low in key. If the hopping -with the brush charged with benzol is not continued until the finest -possible grain is attained, a misty effect may be produced, with some -suppression of the finest details; a method which is frequently useful in -the production of landscapes. - -By suitable ink and brush technique the effect of any other known -photographic printing process may be attained in bromoil printing, from -the rich-in-detail gloss of collodio-chloride paper to the characteristic -effects of gum-bichromate. Yet the far-reaching possibilities which -bromoil places at our command really only begin where most of the other -processes end. - -DIFFERENT METHODS OF WORKING.—In the following pages some of the -different methods of technique, which the bromoil process permits, will -be briefly sketched. Obviously, however, the description of these methods -cannot be made complete without practical demonstration. Nor can all -conceivable methods of working be mentioned, as individual treatment of -the process can be varied in many ways. - -We will first describe the method of working which is most suitable _for -the beginner_, because it offers tolerable certainty to those who have -not yet mastered the process. - -The beginner, in order to obtain good results, must start with a bromide -print as clean and well-modeled as possible, and its high lights should -not be fogged in the least. He should place the print, bleached and -prepared exactly according to the methods detailed in this book, in water -at about 18° C. (65° F.), leave it there for a few minutes, dry its -surface, and begin the application of the ink with the stiffer ink, which -should be thinly applied and then worked over until the hopping brings -out no further detail. If the drawing of the image does not quickly -appear upon hopping the print, and the result is only a detailless patch -of ink, the original temperature of the soaking bath must be increased. -Then the print should be again immersed in the water, left for two -minutes, and again dried. The work of hopping is now continued with the -same brush with which the print was originally treated, _and without its -having been again put into the ink_. As a rule the mere placing of the -print in water again will have increased the contrasts, and new details -will have appeared, which can be considerably accentuated by now going -over with the brush. Only when the print has been again worked over, -should fresh ink be carefully applied with the brush; this should then -be distributed by hopping, and the print again soaked in water. The -procedure thus outlined: application of the ink, hopping, soaking, going -over it with the empty brush, fresh ink application, hopping, soaking, -and so on, is continued as long as the print gains in strength and depth, -without becoming dull or muddy. If, however, this point is reached, the -inked print should be immersed in water at a rather higher temperature -and left in it for some minutes. The print is then further treated with -the brush, without fresh inking, and will soon become much clearer in -the high lights. If the clearing thus obtained is not sufficient, the -temperature of the water bath should be increased by a few degrees, but -not more than 5° C. (9° F.) at a time. As the high lights become clearer -it may happen that the stiff ink will no longer be taken up. Then it is -necessary to soften it a little. This method of working will guarantee to -the beginner the attainment of good results with tolerable certainty. - -HARD INK TECHNIQUE (_Coarse-grain Prints_).—If it is desired to prepare a -bromoil print of _rough surface and coarser character_, the worker must -be able to finish the print exclusively with a relatively hard ink. For -this it is necessary to determine by trial the temperature of the water -bath at which the film of the print acquires a relief which is absolutely -suitable for the stiff ink. When this degree of relief has been found, -the print should be inked up strongly but evenly from the very start, so -that one is not compelled to go over individual places several times with -the brush. Thus the coarse structure of the ink is obtained. The use of -hog’s bristle brushes is also efficacious in coarse-grained work. - -SOFT INK TECHNIQUE.—This method of working is used on the one hand for -the preparation of low-toned misty effects, on the other hand to obtain -fully and richly modeled prints. In the first case the bromide print -should be correctly exposed, but not completely developed; while in -the second case it should be thoroughly developed. The print is then, -according to the choice of the operator, either brought at once to a -fairly high relief, or only gradually raised to the same relief during -the application of the ink. Then, in the course of inking, a point is -soon reached at which the stiffer ink is repelled by the high lights -and perhaps also by the lighter half-tones, and during the hopping is -again taken up by the brush. Then the ink should be carefully softened -with linseed oil or varnish, and the whole print gone over with the -softer ink. Prints which are executed in the soft ink technique are -characterized by a specially fine velvety surface after defatting. - -SKETCH TECHNIQUE.—If one proposes to completely work up certain parts -of a print and leave the rest treated in a sketchy manner, and possibly -to omit some parts altogether, one should begin by working up the part -which should stand out. Thus, in a portrait, the head should be first -worked up; then proceed systematically, with the ink remaining in the -brush, to sketch in the clothing and the background, and perhaps leave -unimportant parts of the print completely untouched. To facilitate the -work, disturbing details or a too prominent background may be removed -or reduced on the bromide print, before bleaching, with dilute Farmer’s -reducer. If, when the work is finished, the parts that have not been -inked are visible through their relief and glossiness, these traces of -the uninked picture completely disappear in drying, if the original -bromide print was not developed too vigorously. If one contemplates -producing a vignette, it is absolutely unnecessary to obtain this by the -use of masks or vignetters when making the bromide print. The effects -which result from the suitable treatment of the bromoil print are far -more free and beautiful. - -If certain parts of the picture are to be accentuated and all the rest is -to be rendered visible, even if only sketchily, one may also work in the -reverse way. The whole picture should be given a thin coating of ink, as -even as possible, which should be hopped only just enough to barely bring -out the drawing. Then work out those parts, to which attention is to be -directed, keeping as closely as possible to the outlines. When these, the -most important parts of the print, are finished, it is frequently seen -that the rest of the picture is too delicate. This should then be gone -over again with the ink as at first, without completely working it up, -until the correct tonal value is attained. Then the necessary harmony is -obtained by going over the outlines with the brush. - -LARGE HEADS.—The far-reaching possibilities of the bromoil process offer -special advantages for the free modification of tones in portraits. It -is advisable to take the portraits with a neutral or dark background. -The only exception is when a head is to be done in red chalk, when a -white background is preferable. Starting from such a negative in bromoil -printing the background may be kept, according to choice, either light or -very dark, or be shaded. One precaution should, however, be observed in -every case; before starting on the head itself, the background should be -worked in lightly from the margins toward the head, so that no dark line -may be formed when working on the outlines of the portrait. If this shows -during the work, it must be worked down to harmony with the background at -once before it gets too dark. One can, therefore, from a given negative, -produce at will either a fully worked-up head against a dark ground, -or a light, sketchy image on the light background of the paper, or any -intermediate stage. - -If, as previously suggested, parts of the picture are to be treated -sketchily, while others are to be fully worked up, the parts which should -appear sketchy are allowed to remain coarse-grained, while the structure -gradually becomes finer in passing into the worked-up portions. No -portion, however, should be made perfectly structureless. Bromoil prints -thus worked up are much more artistic than those pictures which are known -by the name of photo-sketches. The latter usually show a head, printed -with all the gradation and fullness of detail given by printing-out -paper. The tone becomes gradually lighter toward the edges, where we -find some strong lines, imitating the character of a line drawing, all -surrounded by a perfectly white background. To the trained eye the -technique of such photo-sketches is abominable, for the contrast between -the inimitable detail of the head and the perfectly blank background is -so great that it cannot be bridged over by the effort to imitate the -manner of an etching. On the other hand, such problems can be solved in -an artistic way with our process, for the head may always be produced -in a rather coarse grain, so that it dovetails harmoniously into the -sketchily treated surroundings. - -OIL-PAINTING STYLE.—If it is desired to prepare portraits which resemble -reproductions of oil paintings, one should proceed as follows: the head -should be first inked in considerably deeper than it should appear in the -final print; then, if the head is on a light background, it will appear -vigorous, even if not much ink is used. If, however, the background -is dark and heavy, the inked-up head will appear considerably lighter -because of the contrast. For this style of work it is best to select a -warm dark brown ink. When the head is finished, some very soft ink of -the same shade should be placed very thickly in the corners and margins -of the picture, and this should be worked from all sides towards the -head, which naturally must not be touched with the soft ink. Finally the -blending of the head with the background should be very carefully done. -In the lower part of the portrait the clothing should blend into the -background in a similar manner; only one must take care in making the -negative that no light pieces of drapery or accessories are used, because -they cannot be easily completely covered. Any lighter accents, which may -be desired in the background, should be made by removing the ink with -a clean brush. One may thus make the head stand out in a dark oval, or -attain similar painting effects. Prints prepared in this way ought not to -be defatted, as they then lose their similarity to oil paintings. They -must be left to dry for several days, in a place free from dust, until -the thickly-applied ink has hardened. - -NIGHT PICTURES.—Twilight and night effects can be easily obtained from -ordinary negatives by carefully swelling the bleached print so that the -differences of relief existent in the print are only slightly brought -out. Then the capacity of the lights and shadows for taking the ink is -not so very different, and the gradation is shorter. A second possibility -of obtaining the same effect is offered by using mainly soft ink, which, -as is well known, adheres to a certain extent even in the high lights of -the print; only the soft ink must be applied very carefully and thinly in -the shadows, so that these do not become choked up with ink. - -In this way one may make night pictures from daylight exposures, -accurately corresponding in tone values to night exposures. Previous -practice has been to use either underexposed negatives or overexposed -prints for such effects; in both cases the night effects were gloomy, -but false in tone values, and usually without details in the shadows. In -bromoil printing the gradation can be shortened as described, without -loss of drawing, and one can simulate perfectly the short scale and -mysterious gloom of night. If the too dense sky of the negative cannot -be sufficiently darkened by the use of soft ink, its inking should be -postponed till the print is dry. - -PRINTS WITH WHITE MARGINS.—If it is desired to obtain bromoil prints -with _margins of the natural paper_, the negative should be masked with -clean-cut black safe-edges of lantern slide binding strips, or one may -use a mask, and print or enlarge on a sheet of bromide paper large enough -to leave unexposed margins of the desired width. In making enlargements -the mask, cut out of rather thin card, should be pinned on the enlarging -screen over the sheet of bromide paper. After bleaching such a print the -tanned image will appear slightly depressed within a strongly swollen, -white frame of less tanned gelatine. The inking is done without any -attention being paid to this unprinted edge. In consequence of its strong -relief this gelatine does not take any ink from the brush, or, at most, a -mere trace. When the print is finished, the ink is easily wiped from the -white margins by means of a damp cloth, which removes this ink with the -greatest ease. The finished and dried print is enhanced in effect if a -plate mark is impressed in this wide white margin. - -THE SWELLED-GRAIN IMAGE.—Coarse-grain printing in bromoil has previously -depended on a very carefully determined relation between the degree -of relief of the film and the consistency of the ink, which had to be -so chosen that the ink was not very easily taken up by the film. If -inking was then skilfully done, the structure of the face of the brush -was visible to a certain extent all over the print and gave the effect -of a more or less coarse and irregular-grained image. It was obviously -necessary for the success of a print of this type that no portion of -the image should be gone over several times with the brush, for, if -this was done, the structure was obliterated and the spot in question -became smooth. Since, also, the requirement that the degree of relief -must be rather high for the chosen consistency of the ink could never -be fulfilled by the shadows, since these always take the color easily, -we often obtained an undesired smoothness of effect in the shadows. For -this reason typical coarse-grain prints could not always be produced with -certainty. - -I therefore endeavored to improve the technique of bromoil in this -respect and to work out a grain method which could be depended upon with -certainty in every case. The basic thought was that _the fundamental -basis for making a coarse grain print should be a part of the film -itself_, and I endeavored to prepare the latter so that a grain structure -could be produced which should equally underlie all parts of the image. - -Such a grain structure can theoretically be obtained in the following -way: if we allow a properly prepared uninked bromoil print, which has -been brought to the proper degree of relief, to dry off a little and -then spray it by means of an atomizer with extremely fine liquid drops, -the film will again swell up under every drop, but only under these; -and when we ink up, we obtain a definite grain effect which, however, -only persists if the inking is completed before the sprayed-on water -grain again dries out. Such a relief grain is not permanent, because the -subsequently swollen portions of the film cannot retain the difference -in swelling. This process, therefore, has only experimental interest and -practically can be used but rarely. - -To make the swelled grain useful, the secondarily swollen points of the -film must permanently retain the difference in swelling which has been -imparted to them. - -To attain this end, I start from the fact that portions of the gelatine -which are treated with alkaline solution will swell much more in a bath -of warm water than spots which have not been thus handled. If, therefore, -the desired grain can be applied to the film by means of an alkaline -solution, all the elements of the grain will swell up more strongly in -the water bath than their surroundings, and will therefore protrude -above the rest of the film and thus attain and retain a better degree of -swelling than the latent tanned image. - -The next step was obviously a practical treatment of the film by spraying -it as evenly as possible with extremely fine drops of an alkaline -solution. It soon appeared that the greatest attention must be paid -to the type of apparatus with which the spraying was to be done. Any -atomizer whose spray combines fine and coarse drops is useless. Any -atomizer which is worked by blowing with the mouth or by intermittent -blasts of a pump is unsuitable, for at the instant when the stream -of air is interrupted, a certain quantity of liquid remains in the -mouthpiece and is thrown out by the next blast of air in the form of -coarse drops. Therefore, only continuously functioning atomizers can be -used, preferably those types which are actuated by double rubber bellows. -Only with such atomizers is it possible to count with a fair degree -of certainty on the production of a system of uniformly fine drops. -Ammonia, which has previously been generally used in bromoil printing as -a swelling agent, cannot be used to produce such a grain, because the -ammonia gas volatilizes in great part in its passage through the air. A -five per cent solution of potassium carbonate has been found to be most -satisfactory. - -The next question is at what stage of the process the swelled grain -should be produced. Making it on the dry print is not permissible, -because the droplets are taken up too greedily by the dry film and -diffuse quickly and irregularly. The safest method of working is to place -the bleached and dried print in cold water until it becomes limp, then -blot it off until quite dry on the surface, and then treat it. - -The practical method of producing the swelled grain is as follows: the -print, which has been swelled in cold water and thoroughly dried off, is -placed on a horizontal support and the atomizer set in action; as soon as -it works with complete uniformity, it is passed back and forth across the -print as evenly as possible under continuous observation, until the whole -print is uniformly covered with a layer of extremely fine drops. The most -important precaution is the continuous observation of the print while the -spraying is being done, and this is best done by having the light fall on -the print at as small an angle as possible. The practical way to do this -is as follows: the print is laid on a table near the window. The operator -sits in front of the window and gets both his eye and the atomizer very -slightly above and in front of the print. Under these conditions there is -a reflection of light in every single drop, which makes the observation -of the distribution of the drops very easy. At the instant when the whole -film seems to be uniformly covered with dew, the atomizer is quickly -turned away from the print. - -It is necessary to be thoroughly familiar with the action of the atomizer -which is being used; with most atomizers the finest drops, on account of -their lightness, fall downwards not very far from the mouthpiece, while -others project their finest drops to a greater distance. The sprayed -print, which naturally cannot be touched on the film side, must be left -undisturbed for a certain period, which must be determined by experiment, -for it depends, among other things, on the temperature of the room and -the peculiarities of the paper which is used. An approximate idea may -be had by considering these points: the longer the potassium carbonate -solution lies on the print, the more the finest drops evaporate, while -somewhat larger drops continue their action, so that the grain becomes -coarser through longer action. A coarse grain can also be obtained by -the use of coarse drops. If the drops are allowed to dry completely, the -diffusion produced during this longer time results in an extra swelling -of the whole film, without any grain effect. - -After a sufficient time has elapsed, the potassium carbonate solution -is removed from the film by rinsing or blotting off, and the print -is swollen to the necessary degree. It is obvious that much lower -temperatures must be used for this than if the print had not been treated -with the graining solution, for the drops of the potassium carbonate -solution cover a considerable fraction of the surface of the print. -The fact that the greater portion of the surface of the print has been -affected by the spray makes it apparent that the alkaline solution -cannot be replaced by a tanning solution, for the greater portion of the -film would become less capable of swelling if such a solution were used, -and therefore the latent tanned image would be destroyed. When the print -is blotted off after swelling, it should show a scarcely visible relief -when looked at by light falling from the side. The actual effect of the -grain cannot be perceived until after the inking has been done. - -The prints obtained in this way have, if the treatment has been -successful, a very beautiful grained structure which extends over the -lights and shadows quite evenly. It is possible to work on such a print -quite normally without having to harmonize the degree of relief and the -consistency of the ink with great accuracy. Especially is it possible to -work up any given part of the print as long as desired with the brush -without endangering the structure; on the contrary, it is improved by -this treatment. For bromoil transfer, there are the following special -advantages: every new transfer has exactly the same coarseness of grain, -if this is imparted to the film once for all. In combination transfer, -the grain persists in spite of the fact that several impressions are made -on the same paper, because the swelled-grain elements are re-impressed in -the same spots, if the registration is accurate. - -Finally, it might be well to mention a few causes of failure which -frequently occur in the first experiments. If the print appears to be -covered with many small white spots at a certain distance apart but not -in contact, the grain is too heavy and therefore does not take up enough -ink. In this case, after rinsing, the print may be sprayed once more, -carefully and not too heavily. - -Larger white spots on the print show that when the grain was made large -drops were produced by the atomizer. If such drops are noticed while -spraying, the print should be immediately placed in water, dried off and -sprayed again. If the print shows spots of rather large area which do -not take ink and only show irregular ink spots here and there, it has -been sprayed too long, that is, too much potash solution was applied, and -the print is then useless as it cannot be corrected. In addition, such a -print may be easily recognized after swelling, for a coarse grain pattern -will be clearly visible on the film. - -This swelled-grain process permits of very beautiful and characteristic -results, yet, like all variations, it assumes a solid knowledge of the -bromoil process, and must be practically used over and over again before -it can be applied with certainty. - -MIXING THE INKS.—As has already been mentioned, we have at our command -for bromoil not only black and brown, but any other color of ink in -various shades. - -As a rule, however, colored inks are somewhat too bright to be used pure; -moreover, as a rule they can only be had commercially in a fairly soft -consistency. This is actually no disadvantage, as one is often forced -by the consistency of the ink to do what is counselled by good taste, -that is to tone down the colored ink with hard black ink. It is not -practicable to make a mixture of hard black ink with the colored with the -knife on the palette, because it is difficult to hit the exact shade with -certainty in this way. It is better when using green, blue or any other -colored ink _to mix the inks with the brush on the bromoil print itself_. -First one should go over the whole print very delicately with hard black -ink and almost complete the drawing by hopping. Then the work should be -continued as would be done if we were mixing hard and soft ink, merely -replacing the soft black ink by the colored one. Then the work should be -continued with the mixed ink; if the exact shade has not been hit, more -or less of one or the other color is taken up by the brush until the -desired color effect is obtained. - -It is immaterial that those parts of the print on which one has tested -the mixture show a little too bright or too dark a tone. By going over -these again with the final correct color these places, though perhaps -only after resoaking, will reach the proper tone, as the ink in the brush -and that already on the print quickly mix to a uniform value. - -If, in the course of the work, it appears that the mixture of this and -the colored ink, the color tone adhere properly, it is not advisable -to attempt further softening by the addition of soft black ink. By the -mixture of this and the colored ink, the color tone already decided on -will be altered. In such a case varnish or linseed oil must be used to -soften the mixed ink. - -POLYCHROME BROMOILS.—Prints of two or more colors have previously been -made, aside from the three-color process printed from three-color -separation negatives, chiefly by the gum-bichromate process, by coating -the print successively in different colors. After each coating the -negative was printed, usually with masks, and the unnecessary parts of -each colored coating were washed away during development. The preparation -of a polychrome gum print is extremely tedious and uncertain. Not the -least of the difficulties is the fact that in consequence of the -addition of the chromate the color effect cannot be determined with -accuracy until the print is finished and the chromium salts are removed. -Moreover, as a rule the color layers are perfectly distinct and the color -mixtures formed by their juxtaposition must be accepted as they happen to -come. A correction of the colors during the work is not easily effected. - -_The bromoil process, on the other hand, is in its very essence -preëminently suitable for work in several colors, and offers all the -possibilities which have previously been lacking. Without any special -preliminary preparation the worker can apply any number of different -colors to one and the same print at one sitting; he can harmonize them to -each other during the progress of the work, combine neighboring colors by -working them into each other on the print and easily correct any error -that may occur._ - -It is true that the execution of a bromoil print in polychrome requires -complete mastery of the process; an indispensable condition is a perfect -command of the handling of brush and ink. Therefore, experiments in -polychrome bromoil printing can only be recommended to those who have the -monochrome process absolutely at their fingers’ tips. - -If a negative is to be printed in several colors, the worker must first -be absolutely clear as to his artistic scheme and know exactly in what -color each individual part of the print must be executed; he must further -be sure that the chosen colors harmonize with each other. He will not -always be satisfied with the colors to be found in commerce, but must -prepare the necessary inks for himself. - -At first pictures should be chosen which contain large areas of uniform -coloration, and as few colors as possible should be used. If you are not -perfectly familiar with the print, it is necessary to have a proof as a -guide, so as not to overstep the outlines of the different parts of the -image which are to be individually colored. - -The best way of setting to work is as follows: first select the color -necessary for one or more of the larger areas of the picture, for -instance green for the foliage, and work up these areas completely, -until they have acquired the requisite vigor and detail. Such parts of -the outlines as are adjacent to lighter, and hence more strongly swollen -parts of the print, need be given no special attention, for color that -does not belong on them may easily be removed again with the damp cloth, -as previously mentioned. On the other hand it is well to work carefully -with every outline which lies next to a darker part of the picture which -is finally to be of another color. Here it is best not to apply the -ink right up to the boundary, but to complete the inking with a small -brush only after the adjacent parts are coated with their own color. If, -however, such outlines are overstepped and the adjacent parts are colored -with an ink that should not be applied to them, this should be removed -with a very wet cloth, twisted to a fine point, by gentle rubbing. -During this the print should remain on the pad. If the incorrectly inked -portions are small in area the ink may be removed with art-gum. - -When the first large areas are finished, the print should be again -soaked in water, as it will probably have dried somewhat, then dried -off, and another part of the picture dealt with, with a fresh color. -If the adjacent colors are properly chosen, the result, with objects -which have no sharp outlines but merge into one another, will be that -the adjacent parts will spontaneously blend into a harmonious transition -of color. Parts of the picture which have the same basic color must not -be done throughout in one and the same shade; thus large stretches of -vegetation, which extend into the distance, should be executed in front -in a yellowish green, and should be shaded back into a bluish green and -insensibly into blue in the distance; such transitions can be effected -without difficulty. If in the shadows there are small parts which require -another color, they should be inked with a very bright color, which is -then reduced by going over the whole surface at one time. - -If it is found that a mistake has been made in any color, that part of -the print may be cleared of ink as described on page 72, and the work -repeated. If it should finally appear that individual colors are too -glaring or that the whole color scheme is too harsh, it is possible to -go over individual parts or the whole print with some suitable color, so -that the colors already applied are improved by a slight admixture of -this covering color. - -Such a procedure shows most emphatically what advantages there are in the -possibility of mixing and toning down the colors on the print itself. As -a rule, to tone down too bright colors, these portions or even the whole -print are gone over with black ink, but if necessary other colors may be -used for the same purpose. - -Thus, for instance, a picture in which there are brown roofs, -yellowish-green foliage, a sky of a pronounced blue shade and water of -another blue, can be made harmonious by going over the whole print very -lightly with the blue of the sky. Thus the vegetation will lose some -of its yellowish tone, and all other colors, without losing their own -characteristics, will acquire a certain unity. If the sky parts of a -picture are swollen too much, their uniform inking is not easy. Then it -is advisable to ink up the sky only on the dry print, as is suggested on -page 112. - -Because the tonality of any color, which has already been applied, can -be altered with the brush, polychrome bromoil printing affords very -great possibilities. Obviously good taste and a sound color sense are -indispensable requisites, for without them there is danger of producing -the undesirable effects characteristic of certain colored postcards. It -may also be remarked that the colors, after defatting, have a somewhat -less pronounced brilliancy, as they lose their gloss. - -In polychrome bromoil printing, the choice of too small sizes is not to -be recommended. The larger the picture is, the larger also are the areas -which may be uniformly treated and, therefore, the easier it is to keep -within the outlines. - -Within the limits of this chapter, it is not possible to teach polychrome -bromoil printing, only to outline its fundamentals. The unlimited freedom -which it offers will certainly in the course of time produce many -excesses in color. For this, however, we should condemn, not the process -itself, but those who have abused it. In general it will be as well not -to approach too closely the actual colors of the objects represented, -but to work for the attainment of artistic effects. We must, however, in -any case avoid even the most remote imitation of the painter; we cannot -arrive at the solution of the problem of natural colors on paper by the -polychrome bromoil process. - - - - -CHAPTER IV - -AFTER-TREATMENT OF THE FINISHED PRINT - - -The film of ink on the dried bromoil print after the completion of the -brush work is as a rule not very tender, except where much soft ink lies -on the surface. It is not advisable, however, to put the print under -pressure, as for instance in a printing frame, for under strong pressure -the ink may still partially offset on the adjacent paper, so that the -image is damaged. No pressure should be applied until after the removal -of the fatty medium, which is described later. - -When the brush work is completed, the whole surface of the bromoil print -shows a slight gloss, caused by the fatty medium of the ink. The shadows -show a stronger sheen, especially in those places where there is more -soft ink, for soft inks contain more medium. The surface of the print, -so far as the gloss is concerned, is like that of a finished gum print. -But with the latter the gloss cannot be removed; when it is desired to -get rid of the unpleasant property of gum prints, that the shadows are -more glossy than the rest of the print, it is necessary to make the whole -print glossy by painting it with a solution of gum. This is also the case -with the carbon process. - -_With the bromoil process, on the other hand, it is easily possible to -remove the gloss entirely._ The shininess of a finished bromoil print -is especially unpleasant when seen sideways, but, in certain cases, -it imparts depth to the picture and may be made fairly inoffensive -by glazing the print. Prints which are to keep their gloss must be -exposed to the air for some days, protected from dust, until the ink has -completely hardened. Until this has happened, the surface of the picture, -especially where the ink is soft, is sensitive and ought not to be -touched. - -DEFATTING THE INK FILM.—Before removal of the fatty medium from the ink, -_the print must be absolutely dried out_. It must be so dry that it rings -sharply when the finger is snapped against it. Also, the dish in which -the defatting is to be carried out must not contain the slightest trace -of moisture, otherwise trouble will be caused. - -An easily volatile solvent of the fat, such as benzol, trichlorethylene, -carbon tetrachloride, etc., should be poured into the dish, and the -print immersed in the liquid and allowed to remain for some minutes -with constant rocking. On account of the danger of fire from the -vapors of benzol, no naked flame should be allowed in the room. Carbon -tetrachloride (carbona), on the other hand, is non-inflammable; its -solvent action, and that of the trichlorethylene, on fats, is much more -rapid than that of benzol. - -The film of ink is, as a rule, not damaged by the solvent, though -care should be taken with prints which have been executed wholly or -mostly in soft ink. With such prints it may happen that the ink is -entirely dissolved in parts, or that irregular sharp lines and streaks -are suddenly formed. Soft ink prints should, therefore, be allowed -to dry for several days before they are defatted. By the use of very -energetic solvents, such, for instance, as trichlorethylene and carbon -tetrachloride, soft ink prints, as a rule, are completely dissolved. -_Benzol is, therefore, to be preferred in all cases._ - -The print should be removed from the liquid without touching the ink -film, softened by the solvent. This evaporates fairly quickly, and _now -the bromoil print has an absolutely matt surface of great beauty_. It is -here naturally assumed that the fatty medium of the ink is soluble in -benzol, which is usually the case. - -_The solution of the medium from the fatty ink, besides the removal of -the gloss, has also the effect of fixing the surface of the picture and -making it more resistant._ While the film of ink before the defatting is -fairly tender, it afterwards has a stability at least equal to that of a -pencil drawing. The surface of the finished bromoil print is generally at -least as little liable to damage as the film of prints prepared by other -photographic methods. It seems as if the very minute grains of pigment -contained in the fatty ink are made firmly adherent by the drying of the -somewhat tacky gelatine film and therefore remain fixed even after the -removal of the fatty medium. It is only from places in which a specially -thick layer of soft ink was deposited, that a trifle of pigment dust can -sometimes be removed by light friction. - -_The defatting is therefore a procedure which is advisable in most cases -and only after this is the bromoil print actually complete._ After it has -been carried out, the image consists of pure mineral pigment adhering -firmly to the gelatine. It is self-evident that a print treated in such a -way is absolutely permanent, provided that the inks used are non-fading, -which is almost always the case. One can also subsequently moisten or -soak the print without any danger if, for example, it is to be mounted on -cardboard. - -RETOUCHING THE PRINT.—The defatted bromoil print is susceptible to the -most far-reaching mechanical modification. The picture now consists, -as already mentioned, entirely of extremely fine particles of pigment -adhering to the film about as strongly as the lines of a pencil drawing. -_This pigment can also now be treated with rubber exactly like a pencil -drawing. The ink, as far as it was put on by degrees, can also be removed -by degrees from any desired place by proper measures._ - -In the finished bromoil print the deepest shadows are formed by a -comparatively thick layer of pigment, while the lights have only a -very delicate coating of ink. We are consequently able to diminish the -thickness of the film by proper treatment, removing it layer by layer, -so that the shadows become more transparent, or the film of ink may be -entirely removed, so that the gelatine base is laid bare. - -The best tool for this is a piece of a hard rubber eraser sharpened to a -fine point with sandpaper or a file. It is also advisable to use a very -soft sharpened eraser for treating very light places. - -Every part of the print which is to be lightened should now be gone over -with the point of the rubber in fine lines very close together. The ink -powder, which is taken up by the rubber, must be removed from time to -time by rubbing the rubber on the sandpaper, or it will be left on the -print again in the form of dark lines. If gentle rubbing with the eraser -does not have the desired effect, it should be used more energetically. -Sometimes the ink adheres so firmly that the rubber must be used quite -vigorously in order to remove it. On the other hand, where soft ink has -been applied, one must work very lightly, or more ink may be removed than -is desired. - -_Important details of the picture may be completely taken out with the -rubber_ without getting down to the paper, if the work is done carefully. -Thus, for instance, unsharp figures in the foreground of a street scene, -disturbing details in the background of a portrait, undesirable details -of a landscape, such as telegraph wires, ugly poles, trees, etc., may be -removed almost without leaving a trace behind. If this treatment does -leave visible marks, they can be easily made to disappear with brush and -ink. - -For removing or lightening tiny spots or lines, or for removing brush -hairs and similar imperfections left during the inking, one may use a -sharp _lancet or penknife_, or a steel needle set in a handle. Yet in the -use of these sharp instruments one must be careful to scrape the surface -very gently and carefully, or the gelatine film may be cut, which leaves -noticeable marks. - -The possibility of removing the ink from the finished print in layers -by the use of an eraser, without leaving any trace, gives the bromoil -printer another means for modifying the tone values of the print at will. -If preconceived ideas were not fully carried out in the application -of the ink, because tiny places could not be properly worked out with -the brush, or because they were overlooked, the desired change of tone -values can now be effected; with the aid of the rubber, also, _especially -effective lights_ may be added to the picture. - -_If, in the application of the ink, large areas were not quite uniformly -treated, they can be corrected now without trouble. Dark spots of ink can -be easily removed with the rubber, and it is often easier to even out a -rather broken surface with the eraser than with the oil-printing brush._ - -Bare spots, white points, and other defects of the image, or places -from which too much ink has been removed with the eraser or penknife, -are best spotted with _water-color_ of proper shade, or in the case of -brownish-black prints, even with charcoal. The defatted film takes the -water-color easily and places treated with it remain perfectly matt; on -the other hand, _retouching with lead pencil should be avoided whenever -possible_, as this always produces a certain shininess, which is rendered -particularly prominent by the dull surface of the rest of the print. A -bromoil print which has not been defatted may also be retouched in the -same way, but the parts worked up with the rubber are then noticeable. -Filling up spots on such prints is best effected with oil-printing ink, -applied with a water-color brush dipped in heavy benzol so as to dilute -it. - -It is thus possible in the bromoil process to produce very comprehensive -changes with rubber, needle and ink, without destroying the character -of the picture. With some experience this work is done so quickly and -easily that it is not necessary to retouch the negative at all, even -with portraits. The removal of imperfections in the complexion or the -softening of too sharp features can be effected much more quickly and -with more certainty as to the effect on the finished bromoil print than -on the negative, especially as retouching on the negative shows up -unpleasantly in enlarging. - -The possibilities of after-treatment of a bromoil print are manifold. -Thus, for instance, by means of the eraser very natural appearing clouds -can be rubbed into the cloudless sky of a landscape not taken with -an orthochromatic plate, if in inking the sky is properly darkened. -In the background and subordinate planes of a portrait, a certain -draughtsmanlike character can be attained by suitable delicate strokes -with the rubber. Ugly lines of the hair or clothing which could not be -suitably dealt with in the inking-up, can now be altered with a little -skill. A dull landscape may be made more lively by picking out a few -lights. - -Finally, it may be mentioned that it is also possible _to change the -color of the paper base of the print_, though this is best done before -the application of the ink. Commercial bromide papers as a rule are only -obtainable in white or yellowish tints. Another tone may be imparted -to the paper, for instance reddish or bluish for certain effects; this -is effected by swelling the bleached and fixed bromoil print in a dye -solution which has been found suitable by preliminary trial with white -paper. The paper fibers and the gelatine assume the desired color and the -print after soaking is removed and worked up as usual; this staining may -also be done with finished prints. - -REFATTING OF THE PRINT.—As already mentioned, the finished bromoil print -shows on its surface places with different degrees of gloss, since the -parts of the picture which took a good deal of ink, as for instance the -shadows, are more shiny than the rest. In order to remove these sometimes -unpleasant effects; the finished bromoil print can be immersed in a fat -solvent, which completely removes the glossy medium from the ink film. -After the evaporation of the solvent the bromoil print has a perfectly -matt surface. - -Frequently, however, this complete dullness of the surface does not -please the worker, because, especially with soft ink prints, it causes -a marked _loss of brilliancy_. It is thus necessary to choose between -a brilliant surface with unequally glossy places, or a uniform matt -surface. I have undertaken experiments to place in the hands of the -bromoil printer a means of imparting to his prints any desired degree -of gloss, after removal of the unpleasant uneven shininess. Attempts -to obtain brilliancy by the use of ordinary varnishes failed. Whether -the varnish was sprayed on or the print was immersed, there was always -a certain damage to the surface, since the ink film, which lies rather -loosely in the form of powder on the defatted soft ink prints, combined -irregularly with the varnish and caused some trouble. I was finally -successful with the following plan, which is a logical consequence of the -nature of the bromoil print and the varnish inks used in making it. - -Dissolve from 5 to 10 ccm of linseed oil varnish in 500 ccm of benzol -(77 to 154 minims to 16 oz.). Then the defatted and perfectly flat print -is completely immersed in this solution for one minute and hung up to -dry. Perfect flatness of the print is necessary, otherwise troublesome -markings are formed in drying, which, however, may be removed without -difficulty by repeating the process. Irregularities may also be caused by -supporting the print by the fingers on the back before hanging it up; the -warmth of the fingers evaporates the solvent more quickly, so that spots -are caused. The print should only be handled by the edges until it is dry. - -After the evaporation of the solvent, the linseed oil varnish dissolved -therein is very evenly distributed throughout the whole film of ink; -this restores to the ink a part of its varnish which was removed in -the defatting, but more evenly distributed, so that now the whole -print shows a gloss, which is hardly noticeable, but which considerably -increases the brilliancy. If this gloss is not sufficient, more varnish -should be added to the bath; if it is too strong, more of the solvent is -added. In this way any degree of gloss desired can be obtained. If it is -too strong, it can be removed again with benzol. When the bromoil print -is to be retouched it should be defatted before retouching and afterward -treated as just described, so that the varnish bath may also act on the -retouched places. - -If no retouching is required, then the defatting can be effected in -the varnish bath, which then effects a kind of equalization, since the -shadows rich in varnish give up the medium, while the other parts of the -picture take it up. - -By the use of weak varnish baths for after treatment of defatted bromoil -prints, surfaces of velvety appearance may be obtained. - -APPLICATION OF INK TO DRY PRINTS.—When the gelatine film has been swollen -to the highest possible relief even the very soft inks take only with -difficulty and in consequence frequently irregularly. Sometimes the -formation of such places is unavoidable, especially when prints with -very great contrasts have to be used. We are then forced to choose a -relief which permits the inking of the darkest parts of the print. -The warm water, or ammonia, bath requisite for this acts so strongly -on the slightly tanned or untanned parts, that an excessive relief is -obtained, and then the ink takes with difficulty or not at all. This most -frequently happens with skies which are very dense in the negative. - -Such parts of the print, resistant while it is wet, can, however, be -inked up without difficulty after the print has been allowed to dry. -Then they are inked up with a brush, using an ink of the same tint and -consistency as was used in making the bromoil print itself. The dry -gelatine takes the ink quite evenly, and in this way any desired tone -from the most delicate to the darkest may be obtained. By omitting to ink -in suitable places, clouds may be imitated, and if necessary these may be -worked up by retouching. - -With polychrome bromoils, when the skies are too swollen, one should -carefully remove all areas of ink which project from the landscape into -the sky, and this is also advisable in monochrome work. The best thing -to use for this, especially with complicated outlines, is a water-color -brush dipped in two per cent solution of ammonia, which easily removes -the obtrusive ink from the gelatine. Larger areas should be carefully -rubbed with a point of wet linen or with the finger tip wrapped in a -wet cloth. In this way the highly swollen parts of the gelatine are -completely freed from ink; then the print should be dried and the sky -inked up as desired in the manner described above. - -The method of applying the ink to the dry film is valuable for obtaining -other effects, as is more fully described in the next chapter, on bromoil -transfer. - -In bromoil, photographic printing has been enriched by a process that -can fulfil every wish of the photographer who is striving for artistic -results. It combines in itself all the advantages of previously known -processes, but surpasses them all in the possibility of general and local -control, and especially in the fact that control can be effected at will -at any desired step of the process from the beginning to the end, that it -need not extend over the whole print but may be limited to particular -parts, and that the results of the control are visible immediately, -during the work. Not the least important, however, is the fact that the -flexibility of the process enables one to immediately repair any error -without impairment of the print. When it is further considered that the -bromoil process is independent of the size of the negative, that it -permits the operator to use any support, any structure, any grain and any -color, we should be warranted in saying that the bromoil process is the -process of the future for amateurs striving for artistic results. - - - - -CHAPTER V - -TRANSFER METHODS - - -SIMPLE TRANSFER.—Bromoil prints, which have been inked up but not -defatted, can be effectively used as print-plates, from which pulls -on any desired plain paper can be taken. The process of making such -transfers is simple and certain and opens a whole series of new -possibilities to the amateur. Briefly the method is as follows: - -The greasy ink on a finished bromoil print lies on a gelatine film. If -the inked print is brought into contact with any uncoated paper and -passed between two rolls under pressure, the ink transfers from the -bromoil print to the paper. Obviously the picture thus produced is -laterally reversed, which must be kept in view in preparing bromoil -prints for transfer. Bromide enlargements to be used for transfer should, -therefore, be made reversed. - -The bromoil print can again be inked up after this process and again used -for transfer; with bromide papers with resistant gelatine films this -process may be repeated many times. - -The advantages which bromoil transfer offers are as follows: in the -first place we attain the end so often sought of being able to use any -suitable paper for making photographic prints, which opens a new field -for artistic endeavor. Obviously, also, any desirable oil-printing ink -can be used, so that the whole gamut of colors is at the command of the -operator. - -The personal control of the tone values of the print, which attains its -maximum development in bromoil printing, is equally possible in bromoil -transfer. - -The picture is obtained on an uncoated paper and, therefore, the prints -are of a character which hitherto could scarcely be obtained. - -The finished prints, if the paper is properly chosen, can be retouched as -much as desired. - -From a single bromoil print a whole series of impressions can be -obtained, which may either be all alike or quite different. They can -be made heavy or light, in one or more colors, or even in polychrome, -according to how the re-inking is done. - -The transfer process is also very cheap, as the papers used are naturally -much cheaper than photographic printing papers. Moreover, one can make -the pulls from small bromoil prints on larger sheets, so that the picture -may be suitably surrounded with white margins. - -The following details should be observed in the preparation of bromoil -transfers: - -The bromoil print designed to be used as a print-plate can be made on -papers of the characters described in Chapter I, page 13. The bromide -paper need not necessarily be free from structure, for with the pressure -to which the sheet is subjected in the transfer, the effect of the -structure is lost. The structure of the bromide paper may also be reduced -by passing the bleached print through the rollers of the transfer machine -under heavy pressure before inking. _The bromide print or enlargement -must be kept very clean and free from fog_, since the cleanness of the -high lights plays a very important part in the transfer. The inking is -done in the usual way; only one should use all possible means to obtain -the greatest possible cleanness of the high lights, and good modulation. -After inking-up, any brush hairs and especially any little particles of -ink that are not broken up must be removed, as the latter are especially -troublesome in the transfer. - -The process succeeds best when the bromoil print has as high a relief -as possible. Such a relief facilitates and requires the use of inks of -soft consistency; soft inks adhere to the gelatine film far less firmly -than harder ones and, therefore, transfer very much more easily to the -transfer paper. A simple experiment makes this fact very clear: if the -tip of the finger is placed on a part of the bromoil print worked-up with -hard ink, some of the ink sticks to the finger, but at the most there -is formed on the print an impression of the tip of the finger, as the -place touched still retains the greater part of its ink. If, however, -the tip of the finger is placed on a part of the print worked up with -soft ink, the latter will be almost entirely removed. This may serve to -show why bromoil prints which have been entirely or chiefly worked up -with hard ink cannot be entirely transferred to the transfer paper. The -shadows especially, when covered with hard ink, are likely to appear much -reticulated in consequence of the imperfect transfer of the ink. - -_To obtain with certainty a faultless bromoil transfer, soft ink should -therefore be used_; the softening of the ink must naturally not exceed a -certain limit, because otherwise the high lights will take the ink and -a clean pull cannot be obtained. In order to be able to use a soft ink -successfully, the relief of the bromoil print must as a rule be kept -rather high; hence usually water baths of suitably high temperature -should be used. It may, however, happen, especially with contrasty -prints, that the gelatine in the high lights becomes too soft, and if it -is not already damaged when taken from the warm water, it pulls off in -inking-up or in the transfer. In order to avoid this, it is best to use -the ammonia bath described on page 45. - -Bromoil prints which are to be used for transfer must, as already -mentioned, always be kept very clean. This is necessary for the following -reasons. In the transfer the ink on the high lights transfers completely -in every case to the transfer paper, for the high lights are in the -highest relief, and the ink adheres to them very lightly. On the other -hand the ink is generally not completely removed from the shadows, as -they have the lowest relief and, in consequence of their tanning, the -ink adheres to them more tenaciously. Thus it happens that the transfer -is usually somewhat shorter in gradation than the original bromoil. -Allowance must be made for this, and the bromoil print should be made -considerably more brilliant than the transfer ought to be, unless -low-toned transfers are intentionally sought. - -In order to obtain clean, sharp edges the bromide print when dry should -be cut to the desired size and a small tab of paper left at one corner, -which is useful for hanging it up in the further processes, whereby any -damage to the film of the picture itself is avoided. This little tab -should be cut off just before inking. If a plate mark is desired, the -print should be made with a suitable narrow white margin. - -The finished bromoil print can be immediately used for the transfer. If -it is not used at once, it remains fit for transfer until the ink begins -to harden. - -Any desired kind of paper may theoretically be used for the transfer; -but obviously, the success of the transfer greatly depends on the choice -of the paper. The finest effects are obtained on matt and absorbent, -but strong and well-made papers, the very best being papers intended -for copper-plate printing. As the ink penetrates into the fiber of -such papers to a certain extent, they give beautiful transfers with -an absolutely matt surface. Absorbent papers also make it possible to -transfer almost all of the ink from the bromoil. It is different with -sized or highly calendered papers. With these, the ink only penetrates -a very little way because of the film of size. The ink, therefore, lies -chiefly on the surface of the transfer and appears glossy in the shadows; -also, as it is not sufficiently absorbed by the transfer paper, the -transfer of the ink from the bromoil to the paper is usually not complete. - -It is advisable, when using calendered paper, to remove the gloss by -preliminary dipping in water. Other kinds of paper also frequently give -better transfers, if they are first moistened; this is most easily done -by dipping them in water and then drying them between two blotters. - -Papers which are inclined to blister because of short fibers easily split -in transfer, as parts of the surface of the paper adhere to the high -lights of the print and tear away. - -Such papers may be made available for transfer, if they are coated -with two per cent wheat starch paste and allowed to dry (Process of E. -Guttmann). This is prepared by stirring up 2 g (60 gr.) of wheat starch -in a little cold water, and adding to the mixture 100 ccm (3½ oz.) of -actually boiling water, stirring well and allowing to cool. - -The blistering of weak papers must be differentiated from the sticking to -the transfer paper of parts which are too much swollen; in this case the -surface of the paper remains undamaged, but the gelatine film of the high -lights is torn off and adheres to the transfer paper. As a rule, this -only occurs with those parts that are swollen too much, when too great -pressure is used in the transfer. The preliminary sizing of the transfer -paper with wheat starch prevents this also. Parts of the gelatine film -which have high relief may also be protected from sticking to the -transfer paper by a slight coat of varnish. - -The best machine to use is that described by E. Guttmann on page 153. It -has proved satisfactory in every way, especially as it permits accurate -and easy regulation of the pressure of the rolls. If such a press is not -available, an ordinary burnisher can be used. The simultaneous movement -of the rolls in burnishers is produced as a rule by two gear wheels. -The inaccurate fitting of the gear teeth, however, causes periodic -irregularities in the pressure, which cause trouble in the transfer. In -order to prevent this one of the gear wheels should be removed, so that -the simultaneous movement of the rolls is produced by the pressure alone. -A burnisher is useful for the preparation of transfers only if it is -possible to obtain sufficient pressure on the rolls. On the other hand -it is difficult to obtain with this machine the necessary regulation of -the pressure during the transfer, which is described in the following -paragraph. - -The following is the procedure in transferring. A blanket must first -be interposed between the rolls of the press. The best thing to use -for this is two or four thin smooth cards, which may be covered at -top and underneath with two sheets of thin linoleum. The latter are -not absolutely necessary. The print may now be introduced into the -machine either by entirely removing the blankets, or by rolling them -out far enough so that the middle sheets can be easily bent away from -one another. The position of the transfer on the transfer paper should -be marked with a pencil, and, if a plate mark is desired, a piece of -cardboard cut to the proper size should be properly placed on the -transfer paper, and the whole passed through the machine. The transfer -paper, thus prepared, should be laid on a perfectly flat white blotter, -and the bromoil print, which should be held very carefully by the extreme -edges, should be lowered to the position on the transfer paper previously -marked with the pencil. Any small ink marks thus caused can be easily -worked out later. The back of the print should be dried with a white -blotter and then a second sheet of the same size as the bottom one placed -on it. The transfer paper with the print lying on it is thus placed -between the two sheets of blotting paper, so that the water pressed out -in the transfer may be readily absorbed. - -If attention is not paid to this precaution, it may easily happen that -the transfer paper, as a result of partial moistening by means of water -pressed out of the bromoil, may become wrinkled or distorted. Then the -two blotters, with the transfer and the print between them, are placed -between the two middle cards and the transfer begun. The principle of -gradually increasing the pressure in this, which was introduced by E. -Guttmann, has proved satisfactory in practice. One begins first with -a light pressure, so that the transfer passes through the rolls with -scarcely noticeable resistance. Then the pressure should be increased -a little by tightening the upper wheel of the machine, and the work -continued in this way until a certain, not very high pressure of the -rolls is obtained, which one soon learns to estimate with a little -experience. One can now, or at any later stage, take the transfer paper -with the adhering print out of the press and, holding one part of the -print firmly down on the transfer paper, with the hand or a straight -edge, lift the free end carefully, in order to ascertain whether any and -how much of the ink has been transferred from the print to the transfer -paper. - -According to the result of this observation, the print is either entirely -lifted off or the transfer continued with increasing pressure. In this -way, with careful management of the work, one is absolutely certain of -obtaining the best possible results in transferring. Still, my opinion -differs from that of the inventor as to the reason for the satisfactory -action of the gradual increase of the pressure. What happens is that in -the initial passage under low pressure the print is immediately firmly -attached to the transfer paper, so that its shifting on the transfer -paper, which previously very frequently occurred, is avoided. When this -adherence is once attained, we can proceed at once to that pressure of -the rolls which is the most favorable for the transfer of the ink, if -we are sure of it. This frequently happens when one has already made -transfers from a print. With still unknown conditions, naturally the -gradual increase of pressure is advisable. - -The print, removed after the completion of the transfer, can be again -inked up immediately or later, and again transferred. Naturally it must -first be immersed in water, so that it can again take up that which it -has lost in the transfer. In the new inking-up one can use as desired -the same ink or another color, and also alter the print as seems best. If -the bromoil print, which has been once used for transfer, is to be again -used for the same purpose, it is well to completely remove any adherent -traces of ink by going over it with a swab of cotton soaked in a solvent. -It may then be dried and can be used again at any desired time. - -When transfers have been repeatedly made from a bromoil print, it may -happen that the film blisters. This phenomenon is usually only noticeable -when the print is again immersed in water after the transfer; as long -as the blisters are not too numerous, they do not cause much trouble -in the transfer. The answer to the question as to how often a bromoil -print can be transferred depends on the resistance of the gelatine film. -In practice it has been observed that the number of possible transfers -varies between five and twenty-five. - -The transfer process can also be used in bromoil printing as a method to -free a print that has been too heavily inked from the excess of ink; such -a print is passed through the machine together with any completely smooth -paper which is free from folds, until it has given up its excess of ink -to the paper, and it can then be soaked and inked up anew. - -The process of application of ink to the dry print, outlined in Chapter -IV, can also be used to advantage in the transfer process. Any bare -spots on the finished transfer can be inked up at will, by dabbing on -ink of any tone value with the oil-printing brush; thus the sky, which -may not be satisfactory, may before transfer be wiped quite clean on -the print, the outlines of the landscape cleared up with a brush dipped -in ammonia water if necessary, and the values of the sky put in on the -finished transfer. This procedure is particularly advisable in polychrome -transfers, with which a blue sky flecked with clouds can be easily -obtained in this way. - -The subsequent application of ink to the finished transfer finally offers -the possibility, by tinting the whole transfer with a very delicate -coating of a suitably chosen ink, of imparting a different mood to the -picture. Thus, for instance, one may give a transfer made on white paper -a faint yellowish tint; it may be effective to surround the picture with -a border of this tint, using a suitable mask to obtain sharp outlines; -this yellowish tint is only visible in the high lights, as it does not -show in the deep shadows. In similar fashion a darker tint surrounding -the print may be put on with ink and brush. - -It is obvious that the transfer, especially when fresh from the press, -can be easily and thoroughly retouched with rubber, water-color or -charcoal; first of all those places should be treated from which the ink -has been removed in consequence of the unavoidable touching of the print -with the fingers, or to which the ink has not transferred for any reason. -With transfers fresh from the press, any places that are too dark can be -easily lightened with the rubber. - -The transfer very soon dries. Obviously it does not require defatting. -The inks act better on the absorbent transfer paper than on the bromoil -print itself, as they sink into the paper instead of remaining on the -surface of a gelatine film. The final result no longer resembles a -bromoil print, but has its own individual character and is a product -which it is difficult to compare with the bromoil print as regards -esthetic effect. The bromoil print has a certain charm which is lacking -in the transfer and vice versa. In any case the transfer process is worth -attention, since on the one hand it can be of practical value because of -the possibility of the duplication of bromoil prints, and on the other -hand it enables one to use varieties of paper which were not hitherto -available to the amateur. - -COMBINATION TRANSFER.—In order to render possible the reproduction -of every possible tonal value of the negative, I have worked out the -_combination transfer process_ outlined in the following paragraphs. The -essence of this process lies in the fact that two or more transfers can -be made on one transfer sheet, which differ so much in their quality that -_each of them reproduces a different series of tone values_, which then -supplement one another on the transfer. - -This is attained either by executing the two superposable transfers -with _inks of different consistency_, or by _the use of two prints of -different gradation_ to make one transfer. - -COMBINATION TRANSFER WITH ONE PRINT-PLATE.—The bromoil print used as the -print-plate must be made on a sheet of bromide paper, which reproduces -the tone values of the negative as closely as possible, without showing -any hardness. The lights must be clean and all the half-tones present; -it is, however, neither necessary nor desirable that the shadows should -be too dense. In making the bromide print from a moderately difficult -negative one should use the process, outlined on page 23, or developing -slightly and then completing the development in a dish of water. Bromide -prints of this kind are necessary because they satisfy the most rigorous -requirements in the high lights and half-tones, while the depth lacking -in the shadows is produced by the repeated transfer. - -On the print thus prepared two bromoil prints, differing entirely from -each other in character, are made, one of which we will call the _shadow -print_ (Kraftdruck) and the other the _high light print_ (Lasurdruck). -This phraseology does not coincide, however, with the similarly named -terms which are familiar in gum printing; the middle-tone print usual in -gum-printing is wanting here and is also unnecessary, since each of the -two partial prints contains a part of the middle tones, and, therefore, -when added together, they give a picture perfectly correct in tone. - -The _shadow print_ is executed by inking up with a stiff ink, so adjusted -to the relief that only the deep shadows and a part of the half-tones -take the ink, while the delicate half-tones are lost and the highest -lights remain absolutely uninked. Having suitably adjusted the ink to -the relief, one should also use the corresponding brush technique, which -was described as hard ink technique on page 87. The use of a hog’s hair -brush is advisable. Perfect cleanness of the high lights, which is very -important, should be assured by the use of art gum. The shadows must show -the full drawing, but ought not to be overinked. This shadow print should -now be transferred to the transfer paper; when it leaves the press, the -_registration marks_ must be immediately applied, so that the subsequent -transfer may come exactly in the same place. It may be remarked, that -the matching of the print to the transfer does not offer the slightest -difficulty in practice, and that the registration marks can often be -omitted entirely, especially with prints which are inked right up to -their edges, because bromoils, in making which rather thick paper is -used, leave a fairly strong impression on the transfer paper, into which -one can fit the print in the subsequent transfer. - -At the same time it is safe to use the following simple registration -arrangement in every case. - -When the transfer is taken from the press, draw, by means of a rule, two -parallel lines perpendicular to the side edges of the print, running over -onto the transfer paper about one centimeter or one-half an inch apart. -Also draw with the rule a line perpendicular to the upper surface of the -print, also running over onto the transfer paper. In preparing for the -next partial print, the side lines are first to be brought into exact -coincidence and then the upper line. This insures exact coincidence for -the subsequent prints. - -After transfer of the shadow print, the bromoil is again immersed in -water, in which it must remain for some time, so that it again becomes -saturated with water. Only then does it regain the same size as it had -at first, for the expansion caused by the absorption of water is quite -considerable. If the bromoil is not left long enough in the water before -the second printing, it will be slightly smaller than in the first -transfer and the combination print will not be sharp. - -HIGH LIGHT PRINT.—The inking up of the high light print is effected with -soft ink, so as to produce a very thin and smooth film of ink; yet here -too the high lights must be kept as clean as possible. Then this high -light print is transferred by means of the above described registration -arrangement, when as a rule the combination transfer is finished. - -It may happen that one has inked up one or other of the prints too -lightly. In this case either the shadow or the high light print may be -repeated, but the amount of ink applied for this supplementary impression -must be very carefully judged, in order to avoid an overinking of the -combination transfer. By the manner of inking the constituent prints -and judgment in the quantity of ink applied, the final result may be -controlled through a wide range at will; one can, for instance, by -emphasizing the shadow print rather than the high light print, get more -contrasty effects, or, by emphasizing the high light print, end with very -soft effects. - -The order in which the two prints are transferred is immaterial. In any -case, however, care must be taken that the transfer paper is well dried -out after making the first transfer; for it always takes up some moisture -in the press and then appears slightly wrinkled and distorted. If the -second transfer is made on such a damp transfer paper, the result will -obviously be complete or partial want of sharpness in the combination -transfer. After the first transfer, therefore, the transfer paper should -be hung up to dry spontaneously, not by heat, as otherwise it may alter -in size. - -The process just outlined for combination transfer from a single print -will in most cases perfectly reproduce the tone values of an ordinary -negative. If negatives with a very long gradation have to be dealt with, -then the following process may be used. - -COMBINATION TRANSFER FROM TWO PRINTS.—The underlying idea in using two -prints is to overcome the impossibility of completely reproducing an -extended scale of tones on bromide paper, by the use of two prints, which -are so made that they divide the scale of tones in such a way that one -end of the scale is represented by one print and the other end by the -other. - -Therefore we make from the negative one hard print with well modulated -shadows and only the darker half-tones. This is obtained by short -exposure and suitable development. The high lights should show no deposit -of silver. When master of the process, it is possible to include more or -less of the middle half-tones in this partial print which is intended for -the shadow print, according to the final result desired, and this can be -readily regulated by the length of the exposure. The fewer middle tones -the shadow print contains, the more contrasty will be the combination -transfer. - -The second partial print is the high light print, and must, therefore, -be kept as delicate and soft as possible, and include all the delicate -middle tones up to the highest lights. The latter may even be very -slightly veiled, yet only so far that after swelling absolutely pure -whites can be obtained. No further demonstration is needed to prove that -a combination of these two partial prints can include the whole scale -of tone values of the longest-scaled negative; for the partial print -destined for the high light print-plate gives every possible half-tone, -while the other, intended for the shadow print, imparts full depth to the -shadows without burying the details, and strengthens the half-tones, but -does not affect the clearness of the high lights. - -The combination transfer is now prepared from these two prints, which -are transferred in succession to the transfer paper, the order being -immaterial. For this an accurate superposition of the two partial prints -is absolutely essential. This must be accomplished by making the two -prints of exactly the same size, with the images in exactly the same -position on the paper. This may be done by masking the negative with -black lantern-slide strips gummed on the film for contact prints and on -the glass for enlargements. The strips must be absolutely straight and -the slightest curvature avoided in sticking them down. Two prints or -enlargements, prepared from such a negative, can easily be registered. -The desired end may also be obtained by printing or enlarging the two -bromide prints under the same straight-edged mask. Care must be taken -here that the image occupies exactly the same place in the mask for both -prints. This is easily accomplished with various commercial printing -machines. In enlarging, a mask made of stiff card can be hinged to the -easel. The prints or enlargements thus made should be very carefully -trimmed along the white margins and the difference in size ought not to -exceed one-tenth of a millimeter (one two-hundred-fiftieth of an inch). -Further, as different papers have different degrees of expansion, it is -necessary to use the same kind of paper for the two partial prints, and -it is best to take it from the same packet. It is also necessary to make -both prints in the same direction of the paper fibers, for the expansion -is different with and across the run of the paper. - -One of the partial prints is transferred just as in the previous method. -The registration marks are also made as was previously described, only -the pencil marks must be placed exactly at the same points on the two -partial prints, which can be done by exact measurement. With this -process, also, the registration is not difficult in practice and the -careful worker will find that the impression in the transfer paper caused -by the first partial print, supplemented by the two lines on the edges, -is sufficient. - -The inking up of the two partial prints is effected in the same way as -was outlined for the process with one print-plate. - -Both variants of combination transfer offer operators with a little -dexterity a wide range of possibilities. By suitable treatment of the -partial prints the tone gradations can be controlled at will. The -resultant transfer will be softer or harder, as the shadow or the high -light print predominates; it is possible to omit certain portions in -either of the prints or subsequently print in more deeply any parts -which need special strengthening; the two prints may also be executed -in different shades of ink, with suitable discretion, and double tones -thus obtained. It is also possible to print in clouds from a separate -negative. Combination transfer is also well suited for polychrome -transfers, since it renders possible the overlaying of a delicate black -impression with different color tones. Again, since all the possibilities -of control offered by the bromoil process are available, an almost -unlimited new field of activity is given by combination transfer. - -Finally, there is still another field in which the combination transfer -allows remarkable effects. If one has a negative with excessive -contrasts, as for instance, a dark arch with a vista of a sunny -landscape, a satisfactory print can be made without difficulty by means -of combination transfer. One partial print should be so made that it -reproduces as correctly as possible the details of the dark part of -the negative, in this case the arch, irrespective of the fact that the -sunny landscape will be partly underexposed. Another partial print is -then exposed for the sunny landscape, when naturally the details of the -arch are completely lost. One may even go further still, since the two -partial prints may be prepared from two negatives taken from the same -standpoint, the one being exposed for the high lights and the other for -the shadows. A combination transfer, correctly executed from two such -partial prints, gives a result in which both the darker and the lighter -parts of the negative are reproduced in suitable tone values. It may also -be mentioned that multiple transfer renders it possible to apply plenty -of ink to calendered and, therefore, non-absorbent papers, and thus -permits of the attainment of deep shadows, full of detail, on such papers. - -In the various kinds of multiple transfer here outlined principles have -been introduced into the transfer process which have been used in the -gum-bichromate process and many graphic reproduction processes, in order -to produce wide ranges of tone values by several printings on one print. -Yet the means of attaining this end are novel, namely, either different -consistency of inks with one print-plate, or the use of two different -print-plates for one transfer. - -In my first publications on such combination transfer processes, I -mentioned still a third possibility of obtaining the desired end, namely -the preparation of two partial transfers from one print by using two -different degrees of relief. The process first outlined, using different -consistencies of ink with one print, is, however, to be preferred to -the process in which two reliefs are used, wherefore the latter was not -further proceeded with. - -The value of the transfer process has been so increased by the methods -just outlined that it is capable of solving the most difficult -photographic problem, and by its aid even negatives can be printed, which -cannot be satisfactorily rendered even in bromoil. While hitherto the -transfer process was only an offshoot of the bromoil process it is, since -the introduction of combination transfer, at least as valuable and in -many cases even surpasses it. - - - - -CHAPTER VI - -OIL _vs._ BROMOIL - - -OIL PRINTING AND BROMOIL PRINTING.—Oil printing and bromoil printing -are frequently considered as two different photographic processes. From -this premise different conclusions have been drawn, thus for instance, -that oil printing is more suitable for certain subjects and that bromoil -printing is to be preferred for other purposes. There has also been -discussion as to which of the two processes deserves the preference, -which produces the finer artistic effects, and so on. - -All these discussions are, however, superfluous, for the assumptions on -which they are based are erroneous. Oil printing and bromoil printing are -actually not two essentially different techniques. In both cases there -is one and the same process; _oil and bromoil printing are basically -identical_. This can be proved both theoretically and practically. - -_The theoretical considerations_ are as follows: in most photographic -processes the chemical property of certain substances of being changed -by action of light is used for the production of the final image. -Such photochemical processes only play a preparatory rôle in oil and -bromoil printing. The production of the final image is here based on -a physical property of the gelatine, namely on its innate possibility -of being tanned or hardened. In oil and bromoil printing an image is -first formed in the gelatine photochemically. This image is, however, -not the final one; it is merely a means to an end. Its actual -purpose is the attainment of a suitable tanning of the gelatine. The -photochemically produced image is therefore removed, but in such a way -that simultaneously with the elimination of the image, the gelatine -which carried it is proportionately tanned in the lights and shadows of -the picture. Only by this tanning is the gelatine made ready for the -production of the final picture. The purpose of these preliminary steps -is the production of the tanned image in the gelatine, which by itself -is invisible or scarcely visible. After carrying out the preliminary -processes the result is a pure gelatine film, which shows places of -greater and lesser tanning corresponding to the photochemical image which -has disappeared and which, therefore, has greater or lesser capacity for -swelling in these places. If at this stage there are still chemicals in -the film they are of no value for the further processes. - -If a gelatine film thus prepared is swollen in water, the untanned places -suck up water, while the tanned parts do not take it up. Fatty inks, -applied with suitable brushes, are then repelled by those parts of the -gelatine which hold the water, while the tanned parts of the film freely -take the greasy ink. The final image, therefore, is not formed until the -inking-up of the film with greasy inks. - -_This technique may, therefore, be most suitably characterized by -the name “inking-up process.” The usual names oil print and bromoil -print merely designate, although in terms which are terminologically -unsatisfactory, two methods of preparing the base for the inking-up -process._ - -Oil and bromoil printing are, therefore, nothing more than the two -methods which have hitherto been at our disposal for the production of a -tanned image in gelatine. - -Both methods lead to the same result; only the bromoil method is by far -the more complete technically, as is shown in the following discussion. - -In oil printing, printing is effected direct on a bichromated gelatine -film. The chromate image is only faintly visible and is not easy to -judge. From its nature it has a very short scale of tones and, therefore, -only gives satisfactory prints from soft harmonious negatives, while -with more contrasty negatives it must inevitably fail; if with such -negatives the high lights are correctly printed, the shadows have long -lost all details; if the shadows are correctly exposed, the high lights -are wanting in detail. Control of the chromate image is only possible -to a very moderate extent. This chromate image is washed out and leaves -behind as a result the tanned image in the gelatine, in which all the -disadvantages of the short scale of tones are inherent, and which besides -this can be far less easily inked-up than a tanned image prepared by the -bromoil method. - -The process of bromoil printing has been fully explained in this book; -a direct comparison of the two processes will be made very briefly. A -correct print is prepared on a suitable bromide paper, either by contact -or enlargement. Through the possibility of using direct enlargement, the -enlarged negative, necessary in oil printing, is done away with. The -bromoil image, in contradistinction to the chromate image is visible, and -can be controlled in the most varied ways to attain the desired artistic -effect. It has a much greater scale of tones than the chromate image; and -this can in addition be increased in the subsequent processes far beyond -the possible gradation of the bromide print. The resulting bromide image -is then removed by a bleaching solution containing bichromate, and in -this way the tanned image is formed in the gelatine. - -_Oil printing and bromoil printing, therefore, lead to the same -result; but the tanned image, obtained by way of the bromoil print, is -qualitatively of much greater value, for it has a much better gradation._ - -The opinion is frequently expressed that it is a specific property of the -oil print to give pictures of a peculiarly artistic character. - -It is, however, absolutely erroneous to assume that the same effect -cannot be obtained in a bromoil print. As already mentioned, the tanned -images produced in the two methods are alike, but the bromoil print may -have a far longer scale of tones. - -The rich gradation of the bromoil print is however not present from the -beginning, but is only produced by allowing it to swell in water of -suitable temperature. The warmer the water used, the longer is the scale -of tones, naturally within definite limits. - -_In bromoil printing it is therefore entirely at the choice of the -operator whether he will or will not make use of the long scale of tones -which the process can give._ - -If cold water is used for the soaking, the gradation of the tanned image -is much less than that of the oil print or the bromide image. _By the -choice of a suitable temperature of the water, the short gradation of -the oil print with all its peculiarities can be exactly obtained._ With -higher temperatures the gradation may be finally increased far beyond -that of the original bromide image. - -If one knows and has mastered the properties of the tanned image produced -by the bromoil print, one may easily obtain the same effects as with oil -printing; one can, on the other hand, obtain incomparably more than with -the latter. No limitation is imposed on artistic aims by the imperfection -of the tanned image. - -The following shows the _practical comparison_ of the two methods: -if we have before us prints with gelatine films which contain tanned -images, of which one has been produced by the oil process, the other by -bromoil, they behave absolutely alike in the inking-up, for the bromoil -print receives, by soaking in cold water, a gradation which is just as -short as that of the oil print. _The two prints absolutely cannot be -differentiated in practice_, and are indistinguishable, if the paper, on -which the gelatine film is supported, or the structure of the gelatine, -does not give one a hint. - -_In such cases it is impossible to determine from the finished print -whether the picture was made by oil or bromoil printing._ The portfolios -of some of my friends furnish striking proof of this; the authors -themselves can no longer recall by which of the two processes some of -their earlier pictures were made. - -Nevertheless the opinion is often held that one can obtain pictures -of much finer artistic quality by means of oil printing, because the -prints thus made have a characteristic tonality and better treatment of -masses. This opinion may be explained by the fact that oil printing has -been used longer and is better known than bromoil, and that first class -bromoil prints have not often been exhibited in public until recently. -Especially, it has not been widely known how manifold are the effects -that can be produced by the different methods of working described in -this book. - -There is also another explanation. Whoever has completely mastered any -process and has kept in view a definite artistic purpose, will as a -rule find that the process will give him the results which he desires. -It is now an indisputable fact that even such an imperfect process as -oil printing has many times, because of this very imperfection, led to -results which have been proclaimed as artistic. If for instance, an oil -print is made from a contrasty negative, the process cannot correctly -reproduce the tone values of the negative. The short gradation sets a -limit to the inking-up, before the tone values of the negative are fully -developed. The result is then certain to be a gloomy print with heavy -masses. Technically, however, this means nothing more than that the -high lights are not clean and the shadows lack detail. This does not -imply that the resultant picture may not have an artistic effect. _The -question is only whether this effect was actually tried for_ or whether -necessity was not made a virtue and the imperfections of the process -called an advantage. _Without question, the worker who intentionally -strives for a given artistic effect can attain this easily and certainly -by means of bromoil._ If, however, he has no definite aim, but allows -himself to be blindly driven on, as it were, by the idiosyncrasies of -the process, it may happen that he will obtain quite another result. -The greater gradation of the bromide print may induce him to keep on -working on the picture until he finally obtains a print, which exactly -corresponds in tone values with the gradation of his contrasty negative, -which could not happen with the oil print. In such cases one often hears -the opinion expressed that the special quality of the oil print cannot -be attained in bromoil, and that a similar result could be obtained by -any process, even printing-out paper. But the fault does not lie in -the bromoil process, but in the fact that the worker has not mastered -it, and has been carried beyond his aim by its greater possibilities. -_Oil printing is satisfactory when one desires a shorter gradation than -is present in the negative; beyond this, however, it fails. Bromoil -printing, on the contrary, permits on the one hand the shortening of the -tone gradations of the negative to any desired extent, on the other hand, -however, the extension of the gradation beyond that of the negative._ It -offers, therefore, to the artistic aspirant a far greater liberty and in -every respect a technically more perfect and therefore more effective -instrument. By bromoil printing, therefore, one can prepare at will from -a given negative, either a low-toned picture without detail, or one -richly modeled and full of detail and vigor. _Oil printing does not offer -this alternative._ - -If, in spite of all this, erroneous ideas as to assumed fundamental -differences between oil and bromoil printing, and particularly as the -special suitability of oil printing for certain effects are still -disseminated, the reason usually lies in the fact that many who have -previously worked in oil have drawn erroneous general conclusions from -their first and naturally imperfect results in bromoil printing. They -overlook the fact that even the worker experienced in oil printing must -first learn bromoil printing and then practice it thoroughly in order -to master it. The oil printer does not bring to it anything beyond -a brush technique, which is not sufficient for every bromoil print. -Everything else must be newly acquired; especially an actual mastery -of the technique of bromide printing, which many lack, though they -believe they possess it. Conservative thought easily overvalues its -own possessions and is likely to show itself somewhat antagonistic to -new accomplishments which cost new efforts. The worker who spares no -trouble to make himself a thorough master of bromoil printing will be in -possession of a technique which renders feasible, by its extraordinary -many-sidedness and capacity of expression, the solution of the most -difficult problems of artistic photography. - - - - -CHAPTER VII - -BROMOIL TRANSFER - -BY EUGEN GUTTMANN - - -The idea of transferring a bromoil print to an ordinary, uncoated paper -was first introduced by the English and later further worked out by -the French. The Germans turned to this new process comparatively late, -but obtained fine results. Yet the practice of this beautiful form of -artistic photography was limited to a small circle of adherents, and -even to-day, when bromoil printing, thanks to the instruction of some -excellent textbooks, has become known to almost all artistic workers, one -cannot state that it enjoys wide popularity. This may well come from the -fact that not everyone has the absolutely necessary printing machine, and -that the substitutes for this machine, such as burnishers and washing -mangles, cannot bring out all that lies in the process. In addition, when -the process was first introduced, the transfers were never strong enough, -and were mostly muddy and flat. This happened because, in the first years -of the process, strong and vigorous shadows were not produced on the -paper. The English and French improved this by pigmenting the shadows of -the bromoil print much more strongly than was needed for this process. -They stated that the chromated film took the ink very readily in the -shadows, but parted with it again very unwillingly. Thence they concluded -that, in order to be able to transfer much ink to the paper, a surplus -of ink must be imparted to the shadows; they thus corrected the tone -values by deepening the shadows, and contended that they produced their -beautiful transfers in this way. I have never seen an English transfer, -but plenty of the French, which were said to have been prepared in this -way. From my own experiments extending over a long period, I doubt -whether the depth in the shadows could be attained in this way, and can -only assume that very important particulars have not been made known in -the excellent publications on this process. A simple reasoning, without -any trial, also leads to the same conclusion. If, for instance, I overink -the shadows by imparting to them more ink than the tone values require, -then I smother all the details in them and in the transfer I shall obtain -a black, absolutely detailless patch. The English and French contend, -however, that all details, which are made invisible by overinking the -bromoil print, become visible again in the transfer. They thus explain -the matter approximately as if we were dealing with a carbon print, -in which the whole film is “reversed” during the development. This is -absurd. A _moderate_ overinking will obviously give better shadows, but -this limitation is of no advantage. - -For an important advance in the direction of the production of vigorous -shadows in the transfer we are indebted to the work of Hanns Benndorf, -which was described in an article, “The Technique of the Bromoil Transfer -Process” (_Phot. Rundschau_, 1914, Heft 9, 10). He used the method of -printing in superposition common to all gum printers, since he first -pigmented the original print in a normal manner but with weaker shadows, -printed it and then inked up a second time, treating this time merely -the shadow parts which were to be strengthened, and then printed it on -the first transfer. The results were actually very good. But the process -still required considerable dexterity; its chief difficulties appear to -me to lie in the fact that in the second pigmenting it is uncommonly -difficult to so bring out the shadows that they do not appear too deep -in the final print, and the middle tones and high lights are thus out of -tone. The process is very suitable for bringing out individual parts of -the shadows. - -On the other hand a considerable advance in the development of the -process was made by Dr. Emil Mayer, and this consisted of giving to the -bromide print by exposure and development a particular character only -suitable for this purpose. Fuller details of this are given under the -heading “Combination Transfer with one Print Plate,” page 125. - -In most publications on bromoil transfer, directions are finally given to -pass the finished bromoil print quickly _once_ through the machine with -a _heavy_ pressure of the rolls, and at the most _twice_. This advice -has received my special attention, because I found that in this way good -as well as bad transfers could be obtained; but I decidedly could not -count on _always_ obtaining equally good results. I noticed that things -went well when I had a pressure on the rolls which was suitable for -the bromoil print and the structure of the paper. Getting this correct -pressure was pure luck. If the pressure was too great, then I indeed got -all the ink on the paper, but the shadows were wanting in detail and -flat; if on the other hand it was too weak, the shadows remained much too -grey. - -Hence I came to the idea of so adjusting the rolls that I printed at -first with only a light pressure. I then had as a result a transfer which -was absolutely white in the highest lights, yet showed all the gradations -of the bromoil print in the high lights as well as in the finest and fine -half-tones. The shadows, on the other hand, were grey and not filled up, -for much of their ink still remained on the bromoil print. Then I again -inked the same bromoil print and printed again as before, but did not -take the paper from the machine, observing the transfer by carefully -lifting the bromoil print. It was exactly as described above. Now I -allowed the paper (the lower part of which was still held by the rollers, -further details of which will be found in the section “Printing”) to -again come into contact with the bromoil print, screwed down the central -spindle to increase the pressure, and passed the pack again through the -machine. The result was highly satisfactory. The highest and the high -lights, as well as the half-tones, remained as they appeared at the first -pull, but the shadows were fully filled up and completely transferred -from the bromoil print to the paper. - -Thus I had discovered _the principle of printing with increasing pressure -of the rolls_. Further experiments led me to improve the method, and the -following instructions give all necessary explanations and directions. - -I must remark that from the start I used a machine the arrangement of -which permitted me to see the print during the printing, and with which -the pressure on the rollers could be regulated at will. - -The transfer is not only a step toward the greater development of -the bromoil print, it is so beautiful in its results that no other -photographic process, with the exception of gum printing, at all -approaches it. By the transfer process, photography has made its first -entry into the ranks of the graphic arts. No positive process, other -than bromoil transfer and gum printing, has overcome the oft-bewailed -shortcoming of photography, that there is no sun in the picture, as -well as these two processes. _It is even possible in them to use as the -highest light the pure white of the paper._ In this respect transfer -still has the advantage of offering a more rapid if not an easier -technique. - -Certainly the ordinary bromoil print also gives excellent results. Its -whites are, however, formed by the photographic film, and this is its -only disadvantage. There is, however, always a difference of beauty -between a bromoil print and its transfer, the appreciation of which is -purely subjective. We can accept it as certain that feeling in a picture -printed in bromoil is attainable by simpler means than in the more -difficult transfer. The photographic artist will decide for the one or -the other according to the results desired. - -THE BROMOIL PRINT.—_For every transfer there must be a bromoil print, -complete in every part._ That is an indispensable requirement for those -who desire to practise transfer. - -That a perfect bromoil print can only be prepared from a perfect bromide -print is generally known. It is not my province to describe both -processes fully, for that was long since done by various writers in -excellent works. But it is my duty to give some hints as to the way in -which the bromoil print should be prepared in order to obtain the best -possible results by my new printing technique, which will later be fully -described. - -The transfer printer must always keep in view the fact that he must -prepare the way for his final _artistic results_ in all previous phases -of the technical preparation of his print. He will, for this reason, -in a careful and well planned working up of the negative, bring out -the characteristics and feeling of his ideal result by toning down or -suppression of such parts of the picture as may be necessary, a task -which has nothing in common with the process generally called retouching. -He will also make the bromide print, whether by contact or enlarging, -with greater deliberation and care than is used in most cases. Too much -reliance in this respect is often placed on the omnipotent technique of -bromoil, which allows us to carry out the most far-reaching alterations -on the print. This can certainly be done; but perhaps this way is even -more difficult than taking every necessary precaution right from the -start and producing it correctly—in one word: creating it. - -Far too little use, for example, is made in enlarging of bolting -cloth, chiffon, or some such open-meshed fabric which, according to -requirements, may be used with wide or narrow mesh, or even doubled, -two pieces in contact [preferably with the threads at an angle of -45°.—Trans.]. Used with discretion, this gives valuable assistance in -producing an artistic softening of contours and contrasts. The same -purpose is attained in perhaps even greater perfection, by using the -procedure recommended by L. Vernouille of Vienna. In this method of -enlarging _two sheets of tissue paper_, of the size of the enlargement, -are laid upon the film side of the bromide paper, and the exposure -is made through these two sheets. It is important that the time of -exposure be exactly determined; this is about double that of the usual -enlargement. The tissue paper must be perfectly white and free from -imperfections, black specks and folds, etc. - -Besides these tricks a slight want of sharpness may be used to give the -desired effect, or also the interposition of ruled screens between the -film and the negative. - -If it is desired that the bromoil transfer shall show a canvas effect -similar to that of oil paintings, the simplest procedure is as follows. A -piece of cloth is cut from a material which has the necessary structure, -_slightly_ larger than the size of the print, and laid flat on a stiff -support such as pressboard. Then a new piece of carbon paper, such as is -used in typewriting, as thin and free from faults as possible, is cut to -the same size, immersed in water, allowed to drain, and placed smoothly -on the material; a second sheet of pressboard is then placed on top and -the whole subjected to a strong pressure, say between the rollers of a -burnishing machine or washing mangle; if one has not these, then in a -copying press. The carbon paper shows when dry the perfect structure of -the material. If this structure paper is now placed between the paper -and the negative, or in enlarging in contact with the paper, the bromide -print shows this structure together with a very plastic rounded image, -and a longer exposure is not necessary. I consider this procedure better -than the use of the commercial structure screens, since one is free -in the choice of the material from fine lawn to the coarsest canvas, -while among the commercial articles there is seldom one which is quite -satisfactory, and of course no such variety. - -The final size of the picture must be drawn on the bromide print in -pencil before the bleaching, for the positions of the edges cannot be -determined on the bleached-out print, especially when the bleaching is -complete. After the bleaching and drying are finished, the pencil marks -should be cut through with a sharp knife on a glass plate, and the print -is thus given the desired size. From this point on, one should be most -careful not to touch the print with the fingers, except on the back, -which can be easily done with a little care, by always lifting up the -edge with a knife. - -It is immaterial what bromide paper is used. It may have any surface, -be thick or thin, though thick paper is to be preferred. For prints and -transfers which should show the greatest possible fineness and modeling, -it is better to choose a smooth bromide paper. - -The prepared print is swollen and pigmented as in making an ordinary -bromoil print. _It is not necessary, when planning to make a transfer, to -produce a higher relief by a warm water or ammonia bath_, which requires -the use of softer inks and limits artistic freedom in working up. One’s -whole attention must be focused on a _single point_: the shadows must be -_clean_, the lights _pure white_. If this condition be neglected a good -transfer cannot be expected. Deviations from this fundamental requirement -are only permissible for those who have absolutely mastered the printing -technique, and who, therefore, can foresee the results with certainty. - -One must take into account the fact that the transfer process has a very -marked tendency to lower the tones. The high lights and fine half-tones -always appear somewhat darker in the transfer than in the bromoil print, -while the shadows, with _correct printing_, remain the same. It is, -therefore, absolutely necessary to lighten up the high lights and the -fine half-tones just as much as they lose in brilliancy in the transfer. -Obviously no description is of any value on this point; a few experiments -made for this purpose will quickly put one on the right track. - -The fact that the bromoil print is _trimmed_ before being placed on the -pad has caused some nervous souls to be afraid that water may thus come -from the support through the brush on to the film, but this is not likely -to occur. The pad should be arranged by first laying on the glass plate -a thoroughly wet copying sheet; on top of this a second sheet is laid, -equally wet and with no air-bubbles between. The water is completely -dried off the surface of the second sheet with the aid of a sheet of -lintless blotting paper, and then one can work all day long even in -summer in the greatest heat without changing the support; there will -always be enough moisture to produce adhesion between the sheet and the -support, but one will never carry a drop of water on to the print with -the brush. - -THE CHOICE OF THE PAPER.—The pigmented gelatine film gives up its ink -when it is brought into contact with paper under pressure; from which -it seems that theoretically paper of any quality may be used for the -transfer. In practice the matter is not quite so simple, for every paper -surface possesses an individual character which definitely influences the -ink transfer and the final result. - -Papers may be roughly classified as rough, medium and smooth, obviously -with many intermediate grades, each of which may be divided into sized, -half-sized and unsized sorts. Whether a rough, medium or smooth structure -is to be chosen, must be decided from a purely artistic point of view, -and in this decision the character of the subject and the effect desired -are of equal importance. It is different, however, as regards _sizing_. -The quality of the picture frequently depends on a correct decision on -this point. This is at once clear when we consider that unsized paper -is much more porous than half-sized or fully-sized paper, and thus can -remove the ink much faster and more completely from the bromoil print. -If, for example, a bromoil is transferred with a certain roll pressure -on copper-plate paper, that is, on a very absorbent porous paper, the -ink will be quickly transferred to it, whereas a sized paper, under the -same conditions, that is, with the same pressure on the rolls, will take -up only a small part of the ink. A comparison of the two transfers would -then show that the shadows on the copper-plate paper are blocked up and -have lost many details, while those on the sized paper appear much too -light, which is readily understood, as the porous paper has taken up all -the ink, the sized paper merely a portion of it. - -How far these properties of papers can be equalized or used will be dealt -with in the section on “Printing.” - -In choosing the paper destined for the transfer, therefore, attention -not only has to be paid to the structure, which must serve the artistic -purpose, but one must be certain of the amount of sizing; this latter is -necessary so that one may correctly carry out the actual printing process. - -As a basic principle the worker should use only _pure rag paper_ and -avoid all paper containing _wood pulp_. Although theoretically it -cannot be disputed that any paper is suitable for transfer, it is also -practically accepted and undoubtedly correct that _beautiful prints_ can -only be prepared on _good papers_, and the artistic photographer should -not be induced by any consideration to use other than the best materials. - -All the commercial drawing and water-color papers of all tints and -structure, made by reliable firms, can be recommended. Extraordinarily -fine results are obtained on copper-plate printing paper, which may be -obtained in white and yellowish tints. Equally as good, and specially -suitable for certain effects, are the Japanese and Chinese papers. - -The stock of paper should be kept in a dry place and free from dust. - -Printing should only be effected on _dry_ paper. Damp paper is used when -it is _very coarse-grained_ and rough, as then the ink is more easily -taken in the depressions. Such sheets are best dampened by immersing them -for some minutes in water, allowing to drain and passing them through the -machine between two sheets of calendered lintless blotting paper with -strong pressure; they are then immediately ready for printing. - -If one has to deal with very absorbent papers, with which, especially in -the pure whites, there is always danger that in spite of careful printing -the gelatine film may adhere to the surface of the paper and thus spoil -both bromoil print and transfer paper, the paper should be given a slight -sizing. The preparations to be used for this should be those used by the -gum printer: gelatine hardened with alum, chrome alum or formaldehyde. -But these solutions must be applied warm and then the original brightness -of the paper suffers. It is, therefore, more advantageous to use the -_cold_ preliminary coating recommended by von Hübl to prevent the -sinking-in of the platinum-iron solution for platinotype; 2 g (60 gr.) -of rice or wheat starch or arrowroot should be rubbed up with a little -water and added with constant stirring to 100 ccm (3 oz.) of boiling -water. When quite cold the solution should be applied evenly to the paper -with a swab. The application must result in a slight matt gloss on the -paper without any damp places anywhere. When dry it is ready for use. The -longer the paper is kept after this preliminary preparation, the better -it is. - -The beginner will be well advised always to use one and the same quality -of paper until he has succeeded in attaining full command of the -printing technique; I have already pointed out that papers of different -surfaces take the ink from the bromoils with different degrees of ease -or difficulty. Similar differences also occur with increase of pressure. -When the operator has once become perfectly familiar with the necessary -adjustments of pressure with _one sort_ of paper, he will be able without -difficulty to estimate the degree of pressure for other papers. At the -start it is advisable to use a good, half-sized moderately rough drawing -or water-color paper. - -It may be remarked that transfers may be made on silk or other textile -fabrics as well as on paper. If permanent results are desired, care must -be taken that pure fabrics are chosen, that is, such as are not filled, -as is usually the case with silk. As the fillers are usually metallic -salts, they may easily have a destructive chemical effect on the inks. - -THE MACHINE.—In order to obtain a good transfer, a machine is required -which must satisfy to the fullest extent two requirements: the pressure -on the rolls must be capable of being regulated at will before and during -the printing, and one must be in a position to examine the condition of -the print at any time, without danger that the bromoil print and the -transfer paper will shift. By pressure on the rolls is meant the distance -between the two cylinder surfaces. - -[Illustration: FIG. 1] - -The autographic metal hand press, model A, as supplied by the firm -of Hugo Carmine, Vienna VII, at comparatively reasonable prices with -different lengths of rolls, is almost an ideal machine for our purpose. -It is shown in Fig. 1 and consists, as will be seen, of a massive metal -stand, which may easily be screwed to any table. Through the center goes -the lower roll or printing cylinder, which is prepared of an elastic -material, and this stands at the same height as the two tables seen on -both sides. Above this lower, immovable roll, there is the upper one, -which can be set higher or lower as required by the central spindle, in -the center of which is the wheel. The central spindle is so arranged -that the upper roll can be raised or lowered by screw gears at the right -and left, the arrangement being such that absolutely even pressure is -exerted at the two ends. On the right screw gear there is a notch in the -form of an I, which with every half revolution of the central spindle -moves the length of one tooth forwards or backwards, according to the -direction chosen, so that it is always possible to produce an absolutely -determinable pressure. The rolls, after the setting of the pressure, are -rotated by the handle visible on the right. - -This is the whole machine. Its dimensions are determined by the length of -the rolls, and these are chosen as may be needed. One with 40 cm (16 in.) -rolls ought to be sufficient for most work. - -It may be possible to rig up existing burnishers or washing mangles. -Whether good results can be obtained therewith, I cannot say from my own -experience. - -The care of the machine is very simple; it needs only to be oiled from -time to time. - -Although this, or any other suitable machine, is so simple in -construction, and its manipulation is so easy, yet one ought not to -forget that he who uses it ought _not_ to be a machine. The printer must -be very familiar with his press, if it is to give its best. Whoever does -not believe this should ask an etcher, who will soon tell him how much a -good printer can add to a copper-plate print. - -PRINTING.—In order to obtain from any bromoil print one or more pulls on -uncoated paper, one requires, besides a printing machine, also—experience. - -Before I proceed with the technical description of the whole process it -will be as well that we become perfectly clear as to the conditions under -which transfer takes place. - -Bromoil printing has been described as a direct derivative of the -collotype process, and it is. This very close relationship, however, -is merely because of the common property of the exposed and swollen -chromated gelatine film, but does not extend to the method of execution, -in which bromoil printing displays an independent technique. The primary -difference lies in the support: collotype uses a glass plate as the -support for the chromated image, bromoil printing uses paper. This -causes a variation in the subsequent procedure, especially when the -bromoil print is not the final result, but merely the means for making -the transfer. The application of the ink to the swollen gelatine also is -quite different in collotype and bromoil printing, and the transfer of -the ink to the paper by means of a machine is done differently, all of -which are based on the differences of the support. - -The bromide print, which is taken as the starting point in bromoil -printing, should be made on a paper as dense in structure as possible; -thick paper, therefore, is advisable, because the film remains damp -longer during the work of pigmenting, and also because all subsequent -manipulations are carried out more easily with thick than with thin -papers. In the collotype process, on the other hand, the chromated film -is carried on glass. When it comes to printing, it is clear, from what -has been said, that the bromoil print not only contains the moisture -which is absolutely necessary in making it, but also that which is in -the fibers of the paper. The whole of this dampness is pressed out of -the paper fibers and the film, during the printing, and combines with -the ink to a kind of emulsion. This _emulsion-like mass_ is brought on -to the paper by the machine, _not the ink alone_, as in collotype, the -chromated film of which holds only that moisture which is requisite for -its swelling, while its support, the glass, can retain no moisture. It -is also the fact that the amount of moisture in the collotype film is so -small that the formation of this emulsion practically does not occur. -From these comparisons and explanations it also follows that the printing -technique of the two processes must differ. - -I have dealt with these facts with more completeness because it is -commonly assumed that the printing of a bromoil print must be carried -out like that of a collotype print, and most of the failures result from -ignorance of the differences discussed. - -So, while the collotype matrix only gives up its _ink_, the bromoil -matrix gives up a mixture of _ink and water_ to the paper. This emulsion -is so constituted that it readily adheres to the paper where it is in the -finest state of division, but where it is thicker it is more difficult -to made it adhere. In other words: the high lights and the most delicate -and medium half-tones readily transfer to the paper under light pressure, -while darker half-tones and the shadows must receive a stronger pressure, -from which it again follows, that in order to obtain from a bromoil print -a transfer equally good in all its tones, _I must print with gradually -increasing pressure_. - -That is the reason that induced me to use a machine, with roll pressure -which can be varied at will, as I have described more fully in the -chapter on “The Machine.” - -The procedure in printing must now be very accurately described, and -takes place as follows: - -The pressure which the rolls exert on the bromoil print and the paper -as they pass through must be absolutely even, at every point. In order -to make the pressure more uniform than the rolls of even a good machine -can give alone, it is necessary to imbed the print and the paper in -a press-pack. This press-pack generally consists of two pressboards -(hard, thick, glazed pasteboard), at the bottom, an ordinary pasteboard, -a copper-plate blanket, that is a thick felt, and another ordinary -pasteboard. On this pasteboard the bromoil print is laid, and on this -the printing paper. On this printing paper there are now placed in -order another copper-plate blanket, an ordinary pasteboard and finally -two pressboards. Before, however, we pass a press-pack, thus prepared, -through the rolls, it must be explained in fuller detail, which is best -done from an actual example. - -Let us assume that we have a print prepared as described in the chapter -“Bromoil Printing,” ready for transfer. Its size shall be 16 × 21 cm (6¼ -× 8¼ in.). Our intention is to print this on paper of the dimensions of -30 × 40 cm (12½ × 16½ in.), and to surround it with a plate mark. As the -size of the paper is 30 × 40 cm (12½ × 16½ in.), the four pressboards, -the three ordinary pasteboards and the two copper-plate blankets should -be cut exactly 32 × 42 cm. - -The two pressboards are accurately superposed on a table and then the -pasteboard and the blanket are placed on top. On the last, as already -stated, another pasteboard is placed, which must, however, be previously -marked with pencil guide lines, for on it are to be laid the bromoil, -the paper and the plate-mark pattern. As we wish to surround the print, -which is 16 × 21 cm, with a plate-sunk mark, we must cut a sufficiently -large pressboard to impress this mark. Let us say we wish to surround our -vertical print with a margin which shall be 1 cm (⅜ in.) wide above and -right and left, but 2 cm (¾ in.) below, then we must cut the pressboard -18 × 24 cm (7½ × 9½ in.). When we have done this we mark on it with a -pencil exactly the position of the 16 × 21 cm bromoil print. Now we find -on the 32 × 42 cm pasteboard the position at which we wish to have the 18 -× 24 cm pressboard just cut (as a rule this will be a little above the -center), and fasten it there very lightly with library paste or mucilage. -The 18 × 24 cm pressboard now lies on the 32 × 42 cm pasteboard. As the -size of the paper is only 30 × 40 cm, this will leave a margin of 1 cm -on all sides, and this future position of the paper should be accurately -marked with the pencil on the pasteboard. Extreme care having been taken -that all the lines are parallel and the measurements correct, we can now -place in the press-pack the bromide print and the transfer paper, and -proceed to print. - -[Illustration: FIG. 2 - -A = pasteboard - -B = the plate-mark pattern - -C = the location guides for the transfer paper - -D = the location guides for the bromoil print.] - -The marking of the individual layers may be done very simply and -accurately if it is carried out as shown in the accompanying diagram. -This marking of the layers has also the advantage that we may use it for -all sizes with slight alterations for individual cases. The lay-out is -very easy. The pasteboard which carries the plate-mark pattern is cut -accurately right-angled and must be about 2 cm (¾ in.) larger all around -than the transfer paper that is to be used. On this board we now draw, -exactly 2 cm below the upper edge, a sharp line with ink that will not -smear, such as waterproof drawing ink, stopping exactly also 2 cm from -each edge. Then this line is bisected and the center point marked zero; -right and left of this zero point we now draw equally distant upright -lines, about ½ cm (³⁄₁₆ in.) apart, which are numbered 1, 2, 3, ... to -the ends of the line. Like divisions are drawn on the plate-mark pattern, -or if this is not to be used, at the place it should occupy. The bromoil -and the transfer paper are now laid down with the help of these lines so -that the upper corners are equidistant from the zero point, which can -be very easily done. These location guides are also very convenient in -combination printing. - -We now have lying in front of us one on top of each other: two -pressboards, an ordinary pasteboard, the copper-plate blanket and the -pasteboard with the plate-mark pattern and the marks for locating the -paper. - -Now the bromoil print is lifted from its pad by passing a knife under -its edges, and laid carefully with its _back_ on the worker’s left hand. -Thus the print can be laid down face up _without danger of damage_ on the -plate-mark pattern, adjusting it by the position guide before sliding -out the hand, all without touching the face of the print. Great care -must be taken that the print lies absolutely flat. It will adhere to -the pasteboard without any aid except its own moisture. Now we take the -printing paper, hold it at the upper third of its surface with the two -hands and bring the upper edge to coincide with the pencil lines on the -pasteboard which carries the plate-mark pattern, taking care that it does -not touch this pasteboard. When the edge of the paper and the pencil -lines coincide, the paper is carefully allowed to drop into position from -the top to the bottom. It now lies on the bromoil print; now, holding -it _very gently_ on the bromoil print with one hand, the previously -prepared copper-plate blanket is spread out with the other hand over -the paper and pasteboard, and the two pressboards are placed on the -cloth in the same way. Care should be taken that the whole arrangement -is fairly evenly made up, so that none of the edges of the boards or -blankets project beyond others. If this precaution be omitted it may -happen that the transfer paper is squeezed into wrinkles running from the -edges to the middle, which may even encroach on the print itself. These -squeezed-in wrinkles, which, if the pressure be great, may appear like -sharp cracks, make the print useless. This whole manipulation is rather -difficult to perform at first, but it is learnt very rapidly, especially -if the first experiments are made with a damp sheet of paper the size -of the bromoil print instead of the print itself, and one thus becomes -expert. - -When the press-pack has been made up in the above-described manner, -it should be taken firmly in both hands, so that nothing can shift, -and the upper edge placed on the machine table and guided between the -rollers, the separation of which must be such that they just grip the -pack _without exerting any pressure_. This separation must be determined -by experiment. The pack should then be gently drawn through until about -4 cm (1½ in.) of its lower edge remains protruding. Shifting is then no -longer possible. The rolls should now be tightened, for which purpose -the central spindle should be given six to eight _half_ revolutions. -The exact pressure cannot be prescribed, but it will always be better -to begin with light pressure. The handle is again turned and the pack -drawn through the press, until its upper edge sticks out about 4 cm (1½ -in.). This process is repeated four times—twice in each direction. -If, after the fourth revolution, we carefully lift up the upper layers -including the paper—obviously while the lower edge is still held fast -for about 4 cm by the rolls—we can inspect the _first impression_ and -will see that the high lights and fine half-tones have already given up -all their ink, while the deeper tones still look very flat. The paper -should be allowed to drop back again gently, and then the other layers. -Then the pressure is increased by giving the central spindle about three -or four half-turns, as, after the first impression, there is little -danger to either bromoil or transfer through heavier pressure, and the -pack is again passed through the rolls, but only twice, once in each -direction. If the print is now examined again it will be found that the -full half-tones and the lighter shadows are already transferred, but -that the deep shadows do not appear in full tones. Then the printing is -repeated with still greater roll pressure, three or four more half-turns -of the central spindle; again the pack should only go twice through the -rolls. Another examination should now show the print in full vigor in all -its details. If, however, it should happen, especially when using rough -papers, that the shadows do not yet appear quite deep enough, one should -print again twice with increased pressure. All the ink which was on the -bromoil print will now be transferred to the paper; if the printing -was carried out properly the bromoil will look as if it had not been -pigmented at all. - -_It should never be forgotten that the rolls ought never to be so -strongly screwed down that they can only be started by great effort; they -must always move easily, and with little muscular effort._ _Repeated -slow_ passage of the press-pack through _moderately tightened rollers_ -is always _more advantageous than a single printing under very heavy -pressure_. - -Heavy pressure not only endangers the bromoil, since the gelatine film, -especially in the lights, adheres to the paper and tears when removed, -but the transfer also, because the water, pressed out quickly and with -great force, is deposited in the ink in the form of fine globules. After -evaporation, which takes place very quickly, these places show curious, -light, circular or elliptical spots, which produce the general impression -of a picture painted in the pointillist manner—an undesired effect which, -however, may occasionally be satisfactory. - -It is very advisable to turn back the central spindle before finally -taking the press-pack out of the machine, as otherwise one may uselessly -and prematurely ruin the components of the press-pack. - -The bromoil can be immediately immersed in water and again pigmented—as -was done at first, or with different ink. This process may be repeated -until the paper breaks down, with careful treatment in printing and -suitable stout bromide paper, up to twenty times. - -If the pressure of the rolls was too great, then the film shows blisters, -which at first, and if they only appear here and there, are harmless, -even when they occur on important parts of the print. If their number -increases, however, it is better to make a new bromoil. - -If the bromoil is to be kept for future work, then it should be allowed -to become bone dry, in order to dissolve off any grease with benzol or -other solvent, exactly as is done with a bromoil print in defatting. -Prints thus treated can be used again after any lapse of time. - -This method of printing is proper for either monochrome or polychrome -impressions. - -In conclusion the fact may be mentioned—first published in France, I -believe—that bromoil prints, which in the course of making have been -soaked in ammonia water, can be more easily transferred, and that there -is less danger of the bromoil print and the paper sticking together, even -with very strongly absorbent papers. - -Robert Demachy has stated that transfers can also be prepared by -removing the ink, not by a press, but with a solvent, such as benzol, by -moistening the paper with this solvent and then bringing it into contact -with the pigmented bromoil. My experiments in this direction could not -be brought to a conclusion, as at the time I undertook them a suitable -solvent was not available. I had only succeeded in determining that -it is very important that the bromoil print should be allowed to dry -thoroughly—from six to eight hours—and that then a less volatile solvent -than benzol, such as heavy benzine, or best of all, gasoline or petroleum -ether, can be used. If the bromoil print is laid on a sheet of paper and -moistened with this, then pressure in a printing frame is sufficient in -order to obtain a transfer. A machine is not required. - -The pictures which I have obtained in this way have not been -satisfactory, up to the present time; the cause of the failure obviously -was that I lacked experience as to the necessary degree of moistening and -the duration of contact. As stated, for lack of materials, I was obliged -to discontinue experiments. - -COMBINATION TRANSFER.—The process just described permits the transfer -of all that was in the bromide print. If, however, it is a question of -improving the inadequate gradation of a bromide print from a long-scale -negative, we must use other means. Bromide paper has only a limited -scale of tones and therefore cannot reproduce the full modulation of -a negative of full gradation. If the details in the shadows are to be -retained in such a case, then the high lights will appear bare; if -well-modeled high lights are desired, then we risk blocked-up shadows. - -This difficulty has been largely overcome by Dr. Emil Mayer, by the -introduction of a combination printing process for bromoil transfer, -of which full details will be found on page 125. He starts from the -above-mentioned fact that bromide paper does not reproduce the whole -scale of tones of the negative, when this is too long, and therefore -divides the tones of the negative into two parts by exposing one bromide -print only for the shadows and the adjacent half-tones, and a second -merely for the high lights and the lighter half-tones. He then transfers -these two constituent prints in superposition and thus obtains the full -gradation of the negative. It is thus possible therefore to lengthen the -scale of tones _of the negative_. If, however, it is merely desired to -extend the scale of tones of _the bromide print_, then it is sufficient -to make the combination transfer from one print only, which must, -however, be prepared in a way differing slightly from the usual. - -I will not repeat here the theory of the two kinds of combination -transfer, which may be found in an earlier chapter by Dr. Mayer (page -125), but in giving my own instructions for the practical performance of -the process, I have essentially adhered also to Dr. Mayer’s instructions, -with his full permission. - -COMBINATION PRINTING FROM TWO BROMOILS.—It has frequently been pointed -out in the literature of the gum process that the best positive -transparencies may be obtained from a _long-scale_ negative by making -_two_ positives from the one negative and then bringing these two -positives into superposition; for this combination, one positive must be -_fully exposed_ and _developed soft_, the second, on the other hand, kept -_hard_ by a _very short exposure_ and _full development_. If these two -positives are laid film to film, “there is obtained,” as von Hübl wrote -as early as 1898, _in applying this method to gum printing_ (see Eder, -_Das Pigmentverfahren, der Gummi-, Oel- und Bromöldruck_, Halle, 1917), -“a result which often surpasses, in truth and fidelity to the original, -a normal print from the negative. In such a combined print the high -lights are derived from the short, the shadow details from the long-scale -negative; the two images supplement each other and reciprocally increase -the brilliancy. It is also possible to make good defects in the negative -or the printing process.” - -This same principle is used in our process, although not exactly as in -gum printing. The process itself is not difficult. It is necessary to -make two perfectly registered bromide prints, which is most easily done -by always placing the printing frame in the same position in filling, -as for instance by fitting the same two sides into a rigid iron angle -fastened on a drawing board, or, in enlarging, by using a right angled -piece of strong, black card glued to the enlarging easel, and fitting the -paper into this angle. I have prepared a simple and absolutely certain -arrangement for securing registering prints by having a beveled-edge -rectangle cut out of sheet iron 2 mm (⅟₁₈ in.) thick, the opening being -somewhat smaller than the bromide paper. Thus, for instance, for 24 × 30 -cm (9½ × 12 in.) paper, the cut-out is only 23 × 29 cm (9⅟₁₆ × 11⅜ in.). -_Care must be taken in this work, however, that the bromide paper for -both prints is taken from the same packet_, since only identical papers -expand absolutely equally in the baths and contract equally in drying. -Although the paper used by the manufacturer may be of the same quality, -yet it may not always be handled exactly the same in coating, so that -a registration of the prints may not be possible when one uses paper -prepared at different times. - -The _first_ print is now _very fully_ exposed and developed soft, just -long enough so that the high lights and upper half-tones are well brought -out. When this is attained, development is stopped _without paying -attention to the shadows_, which will be full of detail, but weak. - -The second print is exposed as briefly as is required for the perfect -reproduction of the shadows, with the use of a hard-working developer. -As soon as the shadows appear in full depth, the print should be rinsed -and fixed. The print then shows, besides the shadows, only the transition -into the half-tones. It is not easy to give more accurate instructions -for the preparation of the bromide prints, as the work must be carried -out differently according to the negative. Only, _as a hint_, and nothing -more, it may be stated that in a print where exposure of about twelve -seconds was required for the complete printing of the high lights and -half-tones, the shadow print needed only about three seconds, or about -one-fourth the exposure. This ratio obviously alters in accordance with -the depth and quality of the shadows in the negative, and must be left to -the feeling and experience of the worker. When the two prints have been -developed, fixed, washed and dried, they should be tested for equality -of size by measurement with a millimeter scale. Then rule pencil lines -around the edges of the prints very exactly, and treat them in the usual -way in the bleaching bath, the second fixing and washing. When thoroughly -dry the pictures should be cut along the pencil lines with absolute -accuracy, and their registration again tested. It is advisable to write -on the back before bleaching “high light print” and “shadow print.” - -Pigmenting is effected as usual. Practically, one should always begin -with the _high light print_, as this is intended to give the finest -modeling in the high lights and half-tones, while the shadows are -treated so that they show all the details, but no depth. This order of -working leaves one absolutely free in the treatment of the fine tones, -independent of the depth of the shadows. These depths are produced in -the transfer in any desired strength by means of the second bromoil. If, -however, the work is started in the reverse way, by printing the shadows -first, then the half-tones and high lights must be adjusted to the -existing depth, which may produce a dislocation of the tone values, even -to a destruction of the whole desired effect. The best way is therefore -to direct the whole attention in the first place to the lighter parts of -the picture, and to suit the shadows to these. - -When the _high light print_ is completed as desired, the transfer may be -made. The bromoil print is placed on the location guides, described in -the previous chapter on “Printing.” Then the transfer paper is placed -on its guide and pencil lines very carefully drawn across the edges of -the back, on to the pasteboard. Then it is printed. The picture will now -appear in full beauty as regards the lighter tones, but obviously as a -whole will be flat, since the shadows are grey and without depth. - -Now we proceed to the working up of the shadow print, which when complete -should appear absolutely bare of high lights and _light_ half-tones. No -protective measures to prevent the sticking of the non-pigmented parts -to the transfer paper are necessary, as these white portions of the -shadow print are already covered from the first transfer. The print is -now placed exactly on the marks made on the plate-mark pattern before the -first transfer, the first transfer also brought into the same position by -the marks on its back and their prolongations, which is very simple in -practice, and is then printed. The transfer now shows the full gradation -of the negative, or the sum of the gradations of the two bromide prints, -which, however, will be enhanced in effect by the plastic softness -produced by the double printing. If it should be necessary to strengthen -any part of the print, to deepen any shadow, we can again pigment the -necessary portion of the proper bromoil and transfer it to the picture by -a third printing, for it is thoroughly practicable to superimpose as many -impressions as may appear necessary from an artistic standpoint. - -This method of combination printing from two bromoils is the best -attainable result in the present state of the art, but contains also the -germ of future developments, especially as regards color photography, -which problem appears to me to be most easily solvable in this, purely -artistic, way. Only it is necessary to find an artist who can conduct the -various printings with such fine color sense that the final result will -actually produce the impression of a _work of art_ in color, not that of -a colored photograph, which has unfortunately hitherto been the case with -all experiments in this direction. This is obviously nothing more than a -hope for the future. For the present we must content ourselves with what -has actually been attained, which is no more and no less than to bring -us close to our aim, ability to consider and use the photographic plate -merely as a foundation for our graphic art. - -COMBINATION PRINTING WITH ONE BROMOIL.—It is frequently not easy to -reproduce perfectly in the transfer the whole scale of tones present in -a given bromide print; or at least in many cases a high degree of skill -must be employed. It is consequently often very much simpler to make _two -transfers_ from the _same_ bromoil, one being inked up for the light -parts, while the other is used to fill out and deepen the shadows. - -The practical execution of the process is as follows: the bromide print -is swollen in the normal way and pigmented with a _soft ink_ suitable -for the high lights, the shadows being very lightly inked. The transfer -obtained from this bromoil print shows all the details in the high -lights, with grey shadows. The print is now immersed in cold water to -swell again and then inked up with a _hard ink_, so that only the shadows -and the adjacent half-tones are fully worked up. This print is now -transferred to the same paper, so that a transfer is obtained in which -the scale of tones of the bromide print is considerably lengthened. - -A second method of making two transfers from one bromoil is first to -swell it normally, then ink up thoroughly and transfer. It is then highly -swollen with ammonia and the shadows only treated with hard ink. The -result of the second transfer on the first one is again full gradation -in the print. This method, however, is not very advisable, as the print -cannot be used again if the second transfer is not successful. It is -better to adhere to the first method, and preferable to use two inks of -different consistency rather than two differing degrees of relief. - -If, however, the combination transfer from a single bromoil is to give -the best possible gradation, the exposure and development of the bromide -print must be properly done, the process being essentially that of -Benndorf, referred to on page 143. - -The bromide print must be fully exposed and developed very soft; the -image then seems flat, and yet every gradation of tone present in the -negative is actually shown in the bromide print. If a print thus prepared -is treated with inks of two consistencies, the best results are obtained. - -THE VALUE OF COMBINATION PRINTING.—With the aid of combination transfer -it is possible to solve problems in the bromoil printing process, which -were hitherto unsolvable, and Dr. Mayer correctly remarks at the end of -his treatise: “The transfer process has advanced to the first place and -in future in the hands of the expert, bromoil printing is likely to be -considered as a process of secondary importance.” - -I was early convinced that transfer would replace bromoil printing and am -absolutely of the opinion that combination transfer will do its share in -making my opinion universal. Still I do not believe that it is necessary -to use combination printing in all cases. I would especially warn the -beginner against using it exclusively; he should rather endeavor to make -simple transfers starting from a perfect bromide and a perfect bromoil -print, for by this means he will attain much more certainty in printing -technique. Only when he has absolutely mastered this technique, should -he begin experiments in combination transfer from one bromoil. - -_Every worker should endeavor to use the technique of combination -transfer for the execution of an artistic idea, rather than for -overcoming technical difficulties in single transfer._ - -Then it will, however, always give excellent results. Aside from the -solution of such problems as views from a dark space into a brilliantly -lighted distance, or pictures of falling water in conjunction with its -dark surroundings, etc., it will be especially useful to the portraitist -in treating his backgrounds. - -Combination transfer from two originals will, however, be most valuable -artistically, when there is a question of combining sharply defined parts -of a picture with softer parts. Thus, for instance in a landscape, we -may make a sharp print and, by the use of bolting cloth, one with soft -outlines; the parts which it is desired to emphasize will be worked up on -the former and artistic softening added from the latter. - -Briefly, the possibilities are so many that they can hardly be indicated, -not to speak of describing them in full. This is, besides, hardly -necessary, for the worker who has reached full mastery of combination -transfer is necessarily so far advanced artistically, that he will find -out for himself all that is necessary. - -RETOUCHING AND WORKING UP.—A good bromide print can only be prepared from -a good negative. So says the expert bromide printer. The bromoil printer -_requires_ a faultless bromide print as the fundamental condition. -The transferrer, finally, will not use an imperfect bromoil print for -transfer. - -I belong to the school which would produce a photographic picture only -by purely photographic means, without, however, being too orthodox; I -would not, therefore, repeat the whole laborious making of a bromoil -print, because I might not think it photographic to spot out with -water-color a small spot the size of a pin’s head, or to remove a small -particle of ink with the etching knife. This is actually not retouching, -but there are people who consider these changes as such. - -By retouching I mean the justly condemned excessive “working up” of a -_positive_ print, that is a change of values on the finished print. That -should not be done. - -Bromoil printing is still that exquisite process which permits the -correction of false tones, the suppression of undesirable and the -emphasis of the most characteristic details in the most extensive way -_during the work_. - -I consider it objectionable to leave all faults which occur during -the long process of picture making, for the sake of convenience, to -be improved on the positive print. But if it does become necessary to -use retouching on the transfer, it can be done with a soft eraser. An -excellent means of working up larger areas has been described by Dr. -Mayer (see page 123), which consists in working on the transfer with -the same brush and the same ink as was used in making the bromoil. Thus -clouds may be imitated by pigmenting the white surface and then working -in the clouds with the eraser, etc. - -Since, however, this and other improvements can be carried out, not only -as well, but even better on the bromoil print itself, it is advisable to -do so much with the brush that nothing remains to be done on the transfer. - -DRYING.—As soon as the transfer leaves the press, it is finished, but as -the ink is very easily smeared it is advisable to leave it exposed to -the air for two or three days. After the lapse of this time the ink has -usually hardened. - -Very heavily inked prints require from eight to ten days to dry and may -be considered as absolutely dry when the oily sheen which can be seen -immediately after printing, especially in the shadows saturated with ink, -is replaced by a velvety, perfectly matt surface. - -Retouching can be begun about one or two hours after it has left the -machine. - -A transfer should not be mounted, for it looks best as it is, if the -margin is sufficiently large. - -CONCLUSION.—The technical difficulties of making a good transfer are -not small, and to overcome them requires a certain degree of skill in -the worker, which other processes do not require to an equal degree. By -“workers” I mean especially amateurs, not those professionally skilled -in the graphic arts. After overcoming these difficulties, caused chiefly -by the materials, there is a certain feeling of satisfaction in having -actually produced a work of art. By using the different techniques -of bromoil printing: soft ink, hard ink, sketch, and coarse grain, -one can obtain transfers of such beauty as may confidently be said -can be attained by no other process. There is unlimited possibility -of variation; and this alone assures the bromoil transfer process -preëminence over any other method of printing. - -That a transfer can be used as a basis for working up with pastel and -water-color need only be incidentally mentioned, because such work -is outside of pure photography and it is unnecessary to express an -opinion as to the artistic value of such productions in this place. The -photographer should always adhere to the fundamental law: Do not forsake -photographic methods. - - - - -CHAPTER VIII - -THE PREPARATION OF BROMOIL INKS - -BY EUGEN GUTTMANN - - -Everyone who devotes himself to the higher aims of photography, and -studies the works of painters, must learn to see with the artist’s eye if -he will apply his knowledge in pictorial presentation of his subjects. -In the same way the bromoil printer should become more familiar with -the working tools of the painter, and especially with the most valuable -material at his command, the ink, than has hitherto been the case. - -When we look back on the history of painting, we note the often-mentioned -fact that not only the old masters of all schools, Italian, German and -Dutch, but also the later generations till about the middle of the last -century, ground their own colors. They did this not merely to be assured -of the most perfect purity and thus absolute permanency, but also because -they wanted to obtain the greatest possible brilliancy. - -As regards the purity of the materials used—the colors and the -mediums—there is no doubt that to-day, thanks to the high perfection of -manufacturing methods, this can usually be depended upon; but as regards -the brilliancy, no positive instructions of any kind for obtaining this -have come down to us. The painters took their secrets with them to the -grave. But as the result of exhaustive research, together with advances -in the manufacture of colors, we can assume with some certainty that -the masters of past times attained _vigor in their colors_ chiefly _by -the finest possible grinding of the colors and by a relatively small -addition of medium_. “_It may sound paradoxical_,” says Professor Th. -Petruscheffsky in one of his treatises on the technique of painting, -“_but it is, however, true, that in oil painting oil should be avoided as -much as possible_.” - -The old masters knew this and acted accordingly, and the modern -manufacturer also knows it, and replaces _any excessive quantity_ of oil -in the medium, which is mixed with the pigments to bring them into a -paintable form, by other substances, for instance turpentine, and certain -resin solutions, which have no binding properties; during the work these -substances evaporate and leave behind the color with very little medium. - -These facts the bromoil printer must know, for he should also use colors -from which he can get the very best possible results. - -The ink is one of the most important parts of his equipment. This fact -was fully recognized by English, French, and German manufacturers, and -inks were obtainable that left nothing to be desired. At the outbreak -of the war the position of affairs was immediately altered. It was not -possible to use English and French sources of supply and the German -supply gradually failed. What was furnished as ink for the oil process -was suitable for anything else but that—a soft, smeary and smearing mess, -which did not permit any finer working up of the picture, and required so -high a relief that individuality in the work was excluded. - -These conditions induced me to try and prepare the necessary inks -myself, and after many trials and exhaustive experimental study of the -manufacture of artist oil colors I finally succeeded in reaching my goal. - -INKS AND BRUSHES.—My starting point was a great desire to make a _hard -ink_, since I recognized that this consistency was the necessary starting -point to be able to use any degree of relief. I further desired to attain -a mixture of color and medium which should be as perfectly homogeneous -and as fine as possible, and moreover to provide a palette, which should -not only satisfy all requirements of the bromoil printer, but also give -him only fast colors, perfectly suitable for the transfer process and -soluble in benzol. - -Command of a _hard ink—which can be suitably softened to meet any -need_—is very necessary to the bromoil printer, if _clean shadows_ are to -be obtained. As already mentioned, it has long been known among painters -that the colors appear purer and more luminous when they contain as -little medium as possible. In order to be able to apply such stiffly -ground colors, the painters use bristle brushes, which do not produce -the same results as hair brushes. Naturally there is nothing to prevent -the bromoil printer from using _bristle brushes_, only they must fulfil -certain requirements. The literature of bromoil printing gives many hints -on this point, but I have not been able to locate a practical use of -these brushes. Some years ago I had made, by a manufacturer who makes -excellent hair brushes for our process, bristle brushes in stag’s foot -shape. The result was extraordinarily gratifying. These brushes do not -drop their bristles nor do they suffer from the troublesome breaking off -of the points, they do not pick up the dust and do not smear even when -very soft inks are used, because the bristles, unlike hairs, do not cling -together. They can be easily and thoroughly cleaned and are obviously -very lasting, and in addition cost only a fraction of what must be paid -for really good hair brushes. - -As regards the size one is not limited, as with the hair brushes, to -small sizes, since the hog’s bristle brushes can be made of any desired -diameter, even 10, 15 or 20 cm or more (4, 6 or 8 inches or more) so that -the working up of large prints is considerably facilitated. - -Two conditions must, however, be carefully observed for good results. -First, these brushes must actually be made from the _very finest cut_ -bristles and, before they are used, they must be _repeatedly and very -thoroughly cleaned_, because they are very dirty when purchased. - -The principal advantage of these brushes is that they _enable one to -use considerably harder inks_ than is possible with hair brushes, which -results in _much greater clearness of the shadows_. When this clearness -of the shadows is obtained, one can always use a hair brush for working -up the finer half-tones and high lights. This is, however, not necessary, -at least in the majority of cases. - -I have _not_ noticed any disadvantage in the use of these brushes; the -gelatine has never been pierced, even in the highest reliefs. - -Although I am averse to anything that may smack of advertising, yet -I will state here the source of these brushes, because the expert -manufacture of these tools, so important in our handicraft, is not found -everywhere in equal perfection, and because I believe that it will be of -considerable service to those wanting brushes. The brush manufacturer is -Magnus Bühler, Wien VII, Breitegasse 4, Austria. - -[Illustration: FIG. 3] - -I might add a word here as to the cleaning of brushes in general, whether -hair or bristle. It is usually recommended to wash out the ink with -benzol or similar solvent, carbon tetrachloride, trichlorethylene, etc. -A really thorough washing is never obtained with these; and the brushes -almost always give up a greater or lesser quantity of small particles -of ink to the new print when used again. The following process is much -better. The brush to be cleaned should be dipped into lukewarm water and -then rubbed firmly on a piece of ordinary soap (soft soap is better), so -that it takes up as much soap as possible. Then the soap should be worked -up into a lather on the palm of the hand and washed off. If this is -repeated a second time and the brush is then rinsed two or three times -in lukewarm water, repeatedly changed, the brush will be far cleaner -than can be obtained in any other way. After it has been well rinsed and -shaken out it should be put into its tube and hung up by the handle in a -place free from dust to dry (see Fig. 3). This vertical position has the -effect of facilitating the draining of the moisture from the quill base, -where it otherwise collects. Any brush thus treated will be dry in a few -hours. The finest hair brushes are not damaged at all by this treatment, -which is commonly used by painters. - -THE PREPARATION OF THE BROMOIL INKS.—The preparation of the bromoil inks -is very simple. The following are necessary: - - Linseed oil varnish of the thickest consistency; - Powder colors; - A rubbing plate; - A pestle; - A springy spatula (palette knife); - A stiff spatula, the so-called ink knife (putty knife). - -The following sections will give the necessary information as to the -properties and nature of each item in this small arsenal. - -THE VARNISH.—Only such varnish should be used as is prepared from linseed -oil and chemically pure. Its color should be light to brownish-yellow -or at most reddish-brown. Dark brown or blackish-brown varnish points -to adulteration. The smell is that of linseed oil and is not exactly -pleasant, but it should not smell badly. In the latter case one may -reckon with certainty on the addition of fish or resinous oil. One -principal requisite of this varnish is that it should be absolutely -_clear_. The varnish is produced of various consistency, from quite -fluid to quite viscous, and _this is one of the principal properties, to -which the bromoil printer must pay special attention, for every degree of -consistency demands and must have only one definite quantity of color_, -otherwise the resultant ink will not satisfy the desired end. More as to -this later. - -I used for all my experiments and later for all actual mixing the linseed -oil varnishes, No. 1 and No. 2 (chemically pure) of the firm of Kast & -Ehinger, of Stuttgart, which have always given me excellent results, -without failures. Excellent also is the somewhat less stiff “collotype -varnish.” But any other varnish, if it only has the right consistency and -is not adulterated, must also give good inks, though great care must also -be taken as to clearness and color. - -Warning should be made against oils similar to varnish, which can be -recognized by a cloudy appearance and a very unpleasant rancid odor. They -harden very quickly and thus become useless and are very costly. - -The stiff varnish is very viscous, like thick syrup. In the cold it -thickens with the formation of a thin skin on the surface. On a hot water -bath, it again obtains its original character. Well corked up, good -varnish will keep for years; it even becomes better by long storage. It -is most convenient to fill the varnish into small wide-mouthed bottles, -holding from 20 to 40 g (about an ounce), with ground-in stoppers, as -one can note its appearance at any time through the glass. In taking -the varnish out of the bottle, care must be taken that none gets on the -inside of the neck, or else the bottle can only be opened with difficulty -through the varnish gumming it up. - -POWDER COLORS.—Only such colors should be used as are fast both to light -and air. The following may be selected with absolute certainty: - - For black: bone black, ivory black, crayon sauce; - For brown: burnt umber, burnt sienna, burnt dark ochre; - For yellow: cadmium, light and dark, yellow ochre, light and dark; - For red: English red, light and dark, Indian red; - For blue: indigo, ultramarine, cobalt blue; - For green: cobalt green, light and dark, Bohemian and Veronese earth; - For white tones: zinc white. - -The bromoil printer obviously does not need all these. One representative -of each group will be quite sufficient, and I should state that when -colors are obtainable in both light and dark shades, the light one should -always be chosen. - -The colors must be very finely ground; it will not be necessary, or -only exceptionally, to prepare the powder colors oneself, for they can -be obtained commercially in every high grade store dealing in painters’ -materials. If, however, this becomes necessary, then the lumps of color -should be crushed on a stone or glass with a flat muller, and the coarse -granular masses thus formed kneaded with a little water, or, better -still, some alcohol and then thoroughly ground. The mass should be -allowed to dry thoroughly and the process repeated two or three times. -_The finer the powder is rubbed up in this way the finer the tone it will -give._ The _coarse_ color powders, often found in drug stores, are not -suitable for our purpose; they are used more for industrial purposes. - -_Aniline_ colors, or those brightened with anilines, should be absolutely -avoided, as they stain the gelatine and thus spoil the print. On the -other hand I call the attention of all bromoil printers to the _pastel -colors_, which can be used with excellent results. They offer many -advantages over the powder colors, since among the hundreds of color -shades, in which they can be obtained, it is easy to choose that which is -most suited for the subject. The tints are ready to use, while with the -powder colors the desired tint can only be obtained by mixtures. These -colors have the further advantage of covering much more strongly, even -to obtaining brush texture; they are somewhat more difficult to apply to -the print, because of the fact that they are mixed with a medium which is -from its nature not so well adapted to our process. Those, however, who -have well mastered the brush technique, will easily overcome this small -hindrance. - -If the pastel colors are used one should only take those of reliable -manufacture, such as those made according to Mengs’ formulas, which are -everywhere obtainable under the name of _Meng’s pastel pencils_, though -this does not mean that those of other makes will not give excellent -results. - -THE RUBBING PLATE.—For this we use a thick plate glass slab, ground on -one side, about 15 by 20 cm (6 × 8 in.). - -PESTLE OR MULLER.—A pestle of glass is the best. The head must be round, -not flattish, and have a matt surface. - -SPATULAS.—It is necessary to have a flexible spatula (palette knife) -about 1 cm (⅜ in.) wide and a stiff one, an ink or putty knife, about 4 -to 5 cm (1½ to 2 in.) wide. - -Now that we have become conversant with all the necessary materials, I -come to the: - -PRACTICE OF INK GRINDING.—As I have mentioned above, the purpose of the -work is to obtain an ink of as stiff a character as possible. To this -purpose, after the vessel in which the varnish is kept has been allowed -to stand at least 10 minutes in hot water, or an hour in winter, we -remove from it by means of a wood or glass rod a very small quantity of -the varnish, spread it on a glass plate and rub it with the pestle so -that it covers a surface of 3 to four qcm (½-¾ sq. in.). To the varnish -thus spread out we add with the flexible spatula a small quantity, -about as much as will lie on the end of a pocket knife blade, of the -powder color and rub it with the pestle until certain that the color is -absolutely mixed in. If too little color has been taken, more should be -added and rubbed again until a firm doughy mass is obtained which has a -_slaty and not oily gloss_, and can scarcely be worked with the pestle. -Now with the springy spatula the whole ink mass is pushed together from -the edges to the middle to make a little heap, and the ink that remains -on the pestle scraped off and added to it; the whole mass should then be -again worked up with the pestle and this procedure repeated two or three -times. Then the ink is ready. It must be so hard that a brush set into -a small quantity of the ink that has been taken from the heap with the -stiff spatula and spread out in a thin film, neither takes up the ink nor -gives it up again to white paper. In order to make it fit for use, one -must add to this thin film _one_ small drop, not more, of pure linseed -or poppy oil, petroleum, light copper-plate printing varnish, or medium, -and mix it well with the ink with the stiff spatula. Petroleum can be -highly recommended for the softening medium. One can use the ordinary -lamp petroleum, but the so-called purified petroleum is better. It ought -only to be added to the ink drop by drop. Now the brush will take up and -give up the ink. If it should not be sufficiently soft, the procedure -should be repeated, but always carefully, so that too much linseed oil is -not added and thus the ink made too soft. If we use the pastel instead -of the powder colors it is not necessary to break these up first. Small -pieces broken from the pencils dissolve readily in the varnish. It would -seem permissible to assume that the whole work of dilution with linseed -oil could be saved by not adding so much color to the varnish, but by -proceeding with the inking-up as soon as the ink is taken up by the -brush, _but this is not the case_. - -As I have stated above under “Varnish,” every degree of consistency of -the varnish requires a definite quantity of color. If one adds too little -color, the paste will be too soft for bromoil printing, and cannot be -spread. Too much color is hardly possible with the stiffest consistency; -the limit lies when the color no longer dissolves in the varnish. Too -little, on the other hand, results in the ink smearing on the print. -_It is, therefore, absolutely necessary_ in using very thick _varnish_ -to _absolutely saturate_ it with color. _Not going far enough in this -direction_, or the omission of the preliminary warming of the varnish, -_are the only sources of failure_. In working with varnish of lighter -consistency, it will be necessary to stop the addition of color as soon -as the slaty gloss appears. - -If the grinding of the ink were to require as long as it takes to read -this description, the waste of time would be considerable. Actually the -whole work may be carried out in two or three minutes if one uses the -methods suggested, and after a little experience is gained, which soon -comes after a few trials. Long before the water for the bromoil print is -hot, the ink will be ready. - -INK MIXING.—As it is not always possible to use existing colors, and it -is necessary in many cases to alter the shades for artistic effects, the -basic colors must be diluted with other colors. This can be effected in -many ways, best by adding another color to the predominant color powder -during the mixing. _Bone black_ is specially valuable for this purpose. -This is by itself an unpleasant color, for it is a discordant brown-black -which can hardly be used alone. If other colors, however, are added to -this bone black it produces beautiful tones. Thus, for instance, the -addition of a minimum of blue (indigo or ultramarine) gives a _deep, -velvety black_; if a _little_ more blue is added, we obtain a beautiful -blue-black. A little bone black mixed with burnt umber gives a fine _warm -black_, and so on. - -The tone of crayon sauce is especially beautiful, if it is used without -the addition of any other color, and especially that quality obtainable -under the name of _Sauce Velours_ is particularly excellent. - -Another kind of color mixture is that in which black is taken as _the -fundamental color_ (which is desirable when it is not desired to mix up -ink for each print) and then instead of diluting the _stiff_ ink with -linseed oil or other diluent, an ordinary good copper-plate ink or even -ordinary _oil colors_ are used. By this method of working I can shade -and soften in one operation, and it is highly advisable to use it when -it is desired to obtain different tints easily. The method of mixing is -very important and I will therefore give some examples. If to the stiff -black ink (bone black), I add a little indigo _oil_ color, I have at -once a deep black; the addition of vandyke brown or burnt umber gives a -magnificent brown; a fine dark green is obtained with light cadmium; this -dark green becomes blue-green when I add a little indigo. An admixture -of caput mortuum shows violet tones; red tube colors, such as Indian or -Pompeian red, ochre, etc., give various reddish brown nuances. These -additions can be varied in manifold ways, dependent only on what tube -colors are at hand. It is strictly necessary, however, that only the -least possible quantity of tube color should be added, about as much as -the head of a good-sized pin, to keep the ink from becoming too soft and -going beyond the desired tint. When a suitable shade has been attained, -all further dilution must be effected with linseed oil, petroleum, etc. -When I specially recommended the Mussini or Fiedler colors, it was -because they are prepared with resin oils and are therefore specially -suitable for our purpose. But all other _good_ oil colors can be used. -When I write briefly only _oil colors_, I mean obviously _artists’ oil -colors_, and not others which may be used for other purposes than for -artistic painting. - -Finally the black may be diluted with linseed oil to the usable -consistency of hard ink and also diluted on another part of the palette -with oil color or copper-plate ink of another shade to the consistency of -a soft ink, and then both colors may be mixed either on the print or in -the brush. - -Very fine gradations may also be produced as follows: the bromoil -print is pigmented as usual to obtain as _clear_ shadows and _clean_ -high lights as possible, with not too high a relief. When the print is -completely finished, it should be placed in a 2 per cent cold solution -of ammonia, this allowed to act for two minutes and then rinsed for one -minute in clean water. Then the print, which is considerably swollen, -should be very carefully dried off, so that no ink comes off on the -cloth, and the latter leaves no imprint of its structure. Now the whole -print is gone over with a clean brush, on which is a _very little pure -oil color_. By thus using light, transparent (_lasur_) colors, and -only such ought to be used for this purpose, the print may be given an -extremely delicate film of ink, through which the first image shines with -full vigor. This gives an effect similar to that which the gum printer -obtains by multiple printing. - -According to whether the whole or only parts of the print are gone over -with the “lasur” color, the most varied effects are obtained, such as -deepening of the shadows, or lowering of the high lights, or both. - -It is naturally impossible to describe this process exactly in print. -Much must be left to artistic feeling, without which hair-raising color -discords will probably be produced. Still, in order to give the beginner -some starting point, it may be mentioned that black, brown or red tones -may be easily treated with inks shaded towards grey, blue with pure grey, -and so on. - -The following summary of color mixtures for the beginner is also given: -_red-brown_ is obtained by mixing bone black, Indian red, and possibly -dark alizarin lake; _violet_ results from bone black with red and blue; -_dark green_, from black, cadmium and blue; _brownish-green_, from black -and indigo; _bright green_, from a little black with cadmium and indigo; -_red chalk_, from black, brown and Indian red. - -The individual tints will obviously vary considerably, according as more -or less of any given color is taken. This is entirely a matter of taste -and must be left to the judgment of the individual. - -When the stiff ink is ready on the glass plate, it is advisable to -carry out all further manipulations on a white porcelain palette or -tile, because the mixtures can be much more easily judged in tone and -consistency on these white supports. The mixtures are best made with the -stiff spatula (putty knife). - -PERMANENCY.—The permanency of home-made inks prepared by oneself is -satisfactory if they are preserved from dust and air. My inks have kept -for periods exceeding three months, with the most satisfactory results. - -[Illustration: FIG. 4] - -INK-GRINDING MACHINES.—For all ordinary purposes the inks prepared in -the manner just described are perfectly satisfactory. For inks, however, -which must be extremely fine this method of mixing is not sufficient, -therefore, I had a small machine constructed (Fig. 4), which consists -of two rollers turning in opposite directions. The hand-ground inks are -placed on these rollers and kneaded with strong pressure for two or three -minutes. The whole machine is 25 cm high and 20 cm wide (10 × 8 in.), and -can be conveniently fastened on the corner of any table. The resultant -inks are of a fineness and quality which have not been bettered by large -manufacturers. - -ADDITIONS TO THE INKS.—If it is desired that the inks should dry matt -on the bromoil print, so that the defatting with benzol may be omitted, -then one should add to the home-made inks a small quantity of one of the -following mixtures: - -(a) Beeswax 1 g (15 gr.); melt by heat and add with stirring 20 drops of -linseed oil. As it cools a salve-like mass is formed. Or: - -(b) 1 g (15 gr.) kieselguhr (infusorial earth) rubbed up with linseed oil -to a quite thin fluid paste. - -It should be noted that these mixtures, in consequence of their content -of linseed oil, make the inks softer. - - - - -Books on Photography - - -Optics for Photographers, by Hans Harting, Ph.D. Translated by Frank R. -Fraprie, S.M., F.R.P.S. 232 pages. Cloth, $2.50. - -Chemistry for Photographers, by William R. Flint. 2nd edition. 218 pages. -Cloth, $2.50. - -Pictorial Composition in Photography, by Arthur Hammond. 234 pages, 49 -illustrations. Cloth, $3.50. - -Photo-Engraving Primer, by Stephen H. Horgan. 81 pages. Cloth, $1.50. - -Cash from Your Camera. Edited by Frank R. Fraprie, S.M., F.R.P.S. 87 -pages. Paper, $1.00. - -Pictorial Landscape Photography, by the Photo Pictorialists of Buffalo. -252 pages, 55 illustrations. Cloth, $3.50. - -Photographic Amusements, by Walter E. Woodbury. 9th edition. 128 pages, -100 illustrations. Cloth, $1.50. - -Practical Color Photography, by E. J. Wall, F.C.S., F.R.P.S. 248 pages. -Cloth, $3.00. - -Bromoil Printing and Bromoil Transfer, by Dr. Emil Mayer. Translated by -Frank R. Fraprie, S.M., F.R.P.S. 199 pages. Cloth, $2.50. - - PRACTICAL PHOTOGRAPHY SERIES - Edited by Frank R. Fraprie, S.M., F.R.P.S. - Editor of _American Photography_ - - 1. The Secret of Exposure. - 2. Beginners’ Troubles. - 3. How to Choose and Use a Lens. - 4. How to Make Prints in Color. - 5. How to Make Enlargements. - 6. How to Make Portraits. - 7. How to Make Lantern Slides. - 8. The Elements of Photography. - 9. Practical Retouching. - 10. Practical Printing Processes. - 11. Modern Development. - -_Each volume sold separately._ Cloth, $1.00; paper, 50 cents. - -American Photography Exposure Tables, 101st thousand. 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