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diff --git a/old/69127-h/69127-h.htm b/old/69127-h/69127-h.htm deleted file mode 100644 index 07d4217..0000000 --- a/old/69127-h/69127-h.htm +++ /dev/null @@ -1,7859 +0,0 @@ -<!DOCTYPE html> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta charset="UTF-8" /> - <title> - The Project Gutenberg eBook of Bromoil printing and bromoil transfer, by Dr. Emil Mayer. - </title> - - <link rel="icon" href="images/cover.jpg" type="image/x-cover" /> - - <style> /* <![CDATA[ */ - -a { - text-decoration: none; -} - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1,h2 { - text-align: center; - clear: both; -} - -h2.nobreak { - page-break-before: avoid; -} - -hr.chap { - margin-top: 2em; - margin-bottom: 2em; - clear: both; - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; -} - -img.w100 { - width: 100%; -} - -div.chapter { - page-break-before: always; -} - -ul { - list-style-type: none; -} - -li { - margin-top: .5em; - padding-left: 2em; - text-indent: -2em; -} - -p { - margin-top: 0.5em; - text-align: justify; - margin-bottom: 0.5em; - text-indent: 1em; -} - -table { - margin: 1em auto 1em auto; - max-width: 40em; - border-collapse: collapse; -} - -td { - padding-left: 2.25em; - padding-right: 0.25em; - vertical-align: top; - text-indent: -2em; - text-align: justify; -} - -.tdc { - text-align: center; - padding-top: 0.75em; - padding-left: 0.25em; - text-indent: 0; -} - -.tdr { - text-align: right; - padding-left: 0.25em; - text-indent: 0; -} - -.tdpg { - vertical-align: bottom; - text-align: right; - padding-left: 0.25em; - text-indent: 0; -} - -.box { - margin: auto; - max-width: 35em; - padding: 0.5em; - border-top: double black; - border-bottom: double black; - border-left: thin solid black; - border-right: thin solid black; -} - -.box .double-underline { - margin: auto; - width: 90%; - border-bottom: double black; -} - -.caption { - text-align: center; - margin-bottom: 1em; - font-size: 90%; - text-indent: 0em; -} - -.center { - text-align: center; - text-indent: 0em; -} - -.figcenter { - margin: auto; - text-align: center; -} - -.larger { - font-size: 150%; -} - -.pagenum { - position: absolute; - right: 4%; - font-size: smaller; - text-align: right; - font-style: normal; -} - -.right { - text-align: right; -} - -.smaller { - font-size: 80%; -} - -.smcap { - font-variant: small-caps; - font-style: normal; -} - -.titlepage { - text-align: center; - margin-top: 3em; - text-indent: 0em; -} - -.x-ebookmaker img { - max-width: 100%; - width: auto; - height: auto; -} - -/* Illustration classes */ -.illowp100 {width: 100%;} -.illowp30 {width: 30%;} -.x-ebookmaker .illowp30 {width: 100%;} -.illowp61 {width: 61%;} -.x-ebookmaker .illowp61 {width: 100%;} -.illowp66 {width: 66%;} -.x-ebookmaker .illowp66 {width: 100%;} -.illowp75 {width: 75%;} -.x-ebookmaker .illowp75 {width: 100%;} - /* ]]> */ </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Bromoil printing and bromoil transfer, by Dr. Emil Mayer</p> -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. 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. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Bromoil printing and bromoil transfer</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Dr. Emil Mayer</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Translator: Frank Roy Fraprie, S.M, F.R.P.S.</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: October 10, 2022 [eBook #69127]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>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.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK BROMOIL PRINTING AND BROMOIL TRANSFER ***</div> - -<p><span class="pagenum"><a id="Page_i"></a>[i]</span></p> - -<p class="titlepage larger">BROMOIL PRINTING<br /> -<span class="smaller">AND</span><br /> -BROMOIL TRANSFER</p> - -<p class="titlepage"><span class="smaller">BY</span><br /> -DR. EMIL MAYER<br /> -<span class="smaller">PRESIDENT OF THE VIENNA CLUB OF AMATEUR PHOTOGRAPHERS</span></p> - -<p class="titlepage"><i>AUTHORIZED TRANSLATION<br /> -FROM THE SEVENTH GERMAN EDITION</i></p> - -<p class="center"><span class="smaller">BY</span><br /> -FRANK ROY FRAPRIE, S.M., F.R.P.S.<br /> -<span class="smaller">EDITOR OF AMERICAN PHOTOGRAPHY</span></p> - -<div class="figcenter titlepage illowp66" style="max-width: 12.5em;"> - <img class="w100" src="images/imprimatur.jpg" alt="" /> -</div> - -<p class="titlepage">AMERICAN PHOTOGRAPHIC PUBLISHING CO.,<br /> -<span class="smaller">BOSTON 17, MASSACHUSETTS<br /> -1923</span></p> - -<p><span class="pagenum"><a id="Page_ii"></a>[ii]</span></p> - -<p class="titlepage smaller"><span class="smcap">Copyright</span>, 1923<br /> -BY AMERICAN PHOTOGRAPHIC PUBLISHING CO.</p> - -<p class="center smaller"><i>Manufactured in the United States of America</i><br /> -<i>Electrotyped and printed, March, 1923</i></p> - -<p class="titlepage smaller">THE PLIMPTON PRESS<br /> -NORWOOD·MASS·U·S·A</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_iii"></a>[iii]</span></p> - -<h2 class="nobreak" id="PREFACE">PREFACE</h2> - -</div> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_iv"></a>[iv]</span> -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.</p> - -<p>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 <span class="smcap">American Photography</span> -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 -<i>The British Journal of Photography</i> for December 1, -1922, recommends for bromoil the following English -papers: Kodak Royal, white and toned; Vitegas, -specially prepared for bromoil; Barnet Cream Crayon<span class="pagenum"><a id="Page_v"></a>[v]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p class="right"><span class="smcap">Frank Roy Fraprie.</span></p> - -<p class="smaller"><span class="smcap">Boston</span>, February, 1923.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_vi"></a>[vi]</span></p> - -<h2 class="nobreak" id="CONTENTS">CONTENTS</h2> - -</div> - -<table> - <tr> - <td></td> - <td class="tdpg smaller">PAGE</td> - </tr> - <tr> - <td><span class="smcap">Preface</span></td> - <td class="tdpg"><a href="#PREFACE">iii</a></td> - </tr> - <tr> - <td><span class="smcap">Contents</span></td> - <td class="tdpg"><a href="#CONTENTS">vi</a></td> - </tr> - <tr> - <td><span class="smcap">Preliminary remarks</span></td> - <td class="tdpg"><a href="#PRELIMINARY_REMARKS">1</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">CHAPTER I</td> - </tr> - <tr> - <td><span class="smcap">Production of the Bromide Print</span>—Definition of Perfect - Print—The Choice of the Paper—Development—Control - of the Silver Bromide Print—Fixation</td> - <td class="tdpg"><a href="#CHAPTER_I">10</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">CHAPTER II</td> - </tr> - <tr> - <td><span class="smcap">The Removal of the Silver Image</span>—Bleaching—The - Intermediate Drying</td> - <td class="tdpg"><a href="#CHAPTER_II">29</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">CHAPTER III</td> - </tr> - <tr> - <td><span class="smcap">The Inking-up</span>—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</td> - <td class="tdpg"><a href="#CHAPTER_III">38</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">CHAPTER IV</td> - </tr> - <tr> - <td><span class="smcap">After-Treatment of the Finished Print</span>—Defatting the - Ink Film—Retouching the Print—Refatting of the - Print—Application of Ink to Dry Prints</td> - <td class="tdpg"><a href="#CHAPTER_IV">104</a><span class="pagenum"><a id="Page_vii"></a>[vii]</span></td> - </tr> - <tr> - <td colspan="2" class="tdc">CHAPTER V</td> - </tr> - <tr> - <td><span class="smcap">Transfer Methods</span>—Simple Transfer—Combination - Transfer with One Print-plate—Shadow Print—High - Light Print—Combination Transfer from Two Prints</td> - <td class="tdpg"><a href="#CHAPTER_V">115</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">CHAPTER VI</td> - </tr> - <tr> - <td><span class="smcap">Oil vs. Bromoil</span></td> - <td class="tdpg"><a href="#CHAPTER_VI">134</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">CHAPTER VII</td> - </tr> - <tr> - <td><span class="smcap">Bromoil Transfer</span>, 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</td> - <td class="tdpg"><a href="#CHAPTER_VII">142</a></td> - </tr> - <tr> - <td colspan="2" class="tdc">CHAPTER VIII</td> - </tr> - <tr> - <td><span class="smcap">The Preparation of Bromoil Inks</span>, by Eugen Guttmann—The - Varnish—Powder—Colors—Tools—Practice of - Ink Grinding—Ink Mixing—Permanency—Ink Grinding - Machines</td> - <td class="tdpg"><a href="#CHAPTER_VIII">176</a></td> - </tr> -</table> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_1"></a>[1]</span></p> - -<h1>BROMOIL PRINTING AND BROMOIL TRANSFER</h1> - -<h2 class="nobreak" id="PRELIMINARY_REMARKS">PRELIMINARY REMARKS</h2> - -</div> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_2"></a>[2]</span> -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.</p> - -<p>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<span class="pagenum"><a id="Page_3"></a>[3]</span> -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.</p> - -<p>The possibility of planning results during the course -of the printing and carrying them out directly on the -print itself did not previously exist.</p> - -<p>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<span class="pagenum"><a id="Page_4"></a>[4]</span> -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.</p> - -<p>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<span class="pagenum"><a id="Page_5"></a>[5]</span> -printing opened the way to free artistic handling of -the print.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Another inconvenience of other previously known<span class="pagenum"><a id="Page_6"></a>[6]</span> -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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_7"></a>[7]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>The principle of this process, <i>bromoil printing</i>, 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.</p> - -<p><i>Therefore the bromoil process is a modification of oil -printing, based not upon a bichromated gelatine film, -but upon a completed bromide print.</i> 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: <i>complete independence -of the size of the original negative</i>.</p> - -<p><span class="pagenum"><a id="Page_8"></a>[8]</span></p> - -<p>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.</p> - -<p>The bromoil process, which is now completely mastered, -offers, in brief, the following advantages:</p> - -<p>Simplicity, certainty and controllability of the printing -material;</p> - -<p>Independence of the size of the negative and easy -production of enlarged artistic prints;</p> - -<p><span class="pagenum"><a id="Page_9"></a>[9]</span></p> - -<p>Freedom in the choice of basic stock and its surface;</p> - -<p>The possibility of freely producing on the print any -desired deviations from the negative, during the work;</p> - -<p>Full mastery of the tone values without dependence -on those of the negative;</p> - -<p>Independence of daylight, both in printing and in -working up the print;</p> - -<p>The possibility of the most radical alterations of the -print as a whole and in part during the work;</p> - -<p>Freedom of choice of colors;</p> - -<p>The possibility of preparing polychromatic prints with -any desired choice of colors, and complete freedom in -the handling of the colors;</p> - -<p>The possibility of comprehensive and harmonious modifications -of the finished print;</p> - -<p>The possibility of producing prints on any desired kind -of non-sensitized paper by the method of transfer.</p> - -<p>The description of working methods will be divided -into the following phases:</p> - -<table> - <tr> - <td class="tdr">I.</td> - <td>Production of the bromide print;</td> - </tr> - <tr> - <td class="tdr">II.</td> - <td>Removal of the silver image;</td> - </tr> - <tr> - <td class="tdr">III.</td> - <td>Application of the ink;</td> - </tr> - <tr> - <td class="tdr">IV.</td> - <td>After-treatment of the finished print.</td> - </tr> -</table> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_10"></a>[10]</span></p> - -<h2 class="nobreak" id="CHAPTER_I">CHAPTER I<br /> -<span class="smaller">PRODUCTION OF THE BROMIDE PRINT</span></h2> - -</div> - -<p><i>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.</i> 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. <i>The beginner, especially, can -not proceed too carefully in making his bromide print.</i></p> - -<p>Because of the extraordinary importance of this point, -we must first define what is here meant by a perfect -bromide print.</p> - -<p>In deciding how to produce a satisfactory bromide -print as a basis for a bromoil, we must exclude from -consideration esthetic or artistic grounds.</p> - -<p><i>The bromide print must be technically absolutely perfect, -that is, it must have absolutely clean high lights, -well graded middle tones, and dense shadows.</i> 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. <i>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.</i></p> - -<p><span class="pagenum"><a id="Page_11"></a>[11]</span></p> - -<p>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 <i>the worker himself -is not clear as to what is meant by the expression, -perfect bromide print</i>. 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.</p> - -<p>Nevertheless, the bromide process is <i>per se</i> 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. <i>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.</i> If the -bromide print is muddy, the work of inking will be difficult,<span class="pagenum"><a id="Page_12"></a>[12]</span> -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. <i>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.</i></p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_13"></a>[13]</span></p> - -<p>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 <i>determine what is underexposure</i> -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.</p> - -<p><span class="smcap">The Choice of the Paper.</span>—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. <i>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.</i> 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. <i>Therefore, in place -of the vanished silver image, we get a totally or partially -invisible tanned image in the gelatine film.</i></p> - -<p>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<span class="pagenum"><a id="Page_14"></a>[14]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_15"></a>[15]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_16"></a>[16]</span> -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.</p> - -<p>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.</p> - -<p><i>Gaslight papers</i> 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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_17"></a>[17]</span></p> - -<p><span class="smcap">Development.</span>—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. <i>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.</i></p> - -<p>The developers, which do not exercise a hardening -influence on the gelatine, are the iron developer and<span class="pagenum"><a id="Page_18"></a>[18]</span> -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:</p> - -<table> - <tr> - <td>Amidol</td> - <td class="tdr">1.7</td> - <td>g</td> - <td class="tdr">12.3</td> - <td>gr.</td> - </tr> - <tr> - <td>Sodium sulphite, dry</td> - <td class="tdr">10</td> - <td>g</td> - <td class="tdr">77</td> - <td>gr.</td> - </tr> - <tr> - <td>Water</td> - <td class="tdr">1000</td> - <td>ccm</td> - <td class="tdr">16</td> - <td>oz.</td> - </tr> -</table> - -<p>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.</p> - -<p>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.</p> - -<p>In using amidol developer the greatest care must be -taken to avoid allowing amidol powder, in even the<span class="pagenum"><a id="Page_19"></a>[19]</span> -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.</p> - -<p>If amidol developer is not available, <i>any other developer -which is desired</i> may be used. As we have -already stated, however, certain possibilities of failure -are to be anticipated, but will not necessarily occur.</p> - -<p><i>Every effort should be made to produce a bromide -print as perfect as possible, with clean high lights.</i></p> - -<p>The best bromide prints or enlargements for bromoil -printing are those which are <i>correctly exposed, but are -not developed out to the greatest possible density</i>. 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. <i>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.</i> 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 <i>a very dense silver deposit distributed completely -through the gelatine emulsion to the paper support -is not easily bleached out</i>. When this difficulty<span class="pagenum"><a id="Page_20"></a>[20]</span> -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.</p> - -<p><i>Underexposure</i> must be carefully avoided, for details -which are not present in the bromide print will, of -course, not appear in the bromoil print.</p> - -<p><i>Overexposure</i> 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.</p> - -<p><span class="pagenum"><a id="Page_21"></a>[21]</span></p> - -<p><i>Developing fog</i> 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.</p> - -<p><i>Consequently the best results may be obtained from -very brilliant, but not excessively developed, bromide -prints.</i></p> - -<p>We must also <i>avoid falling into the opposite extreme -in the development of the bromide print, by getting -too thin prints lacking in contrast</i>. 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,<span class="pagenum"><a id="Page_22"></a>[22]</span> -under certain circumstances, to use incomplete -development as a method for producing soft bromoil -prints from contrasty negatives.</p> - -<p><span class="smcap">Control of the Silver Bromide Print.</span>—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.</p> - -<p><i>Therefore, if we desire to increase the contrast of the -negative in the final print</i>, we should use a harder working -paper and add potassium bromide to the developer.</p> - -<p><i>If we desire to get soft prints from a contrasty negative</i>, -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<span class="pagenum"><a id="Page_23"></a>[23]</span> -as possible in order to bring down the contrast, or inking -up with soft inks.</p> - -<p>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.</p> - -<p>Yet with very hard negatives all these remedies frequently -fail, because the high lights are almost completely<span class="pagenum"><a id="Page_24"></a>[24]</span> -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 -<i>Eder’s chlorizing method</i>, 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<span class="pagenum"><a id="Page_25"></a>[25]</span> -negative may be endangered and a very thin negative, -lacking in contrasts, obtained.</p> - -<p>The practical application of the chlorizing process is -effected by bleaching the negative in the following -solution:</p> - -<table> - <tr> - <td>Cupric sulphate</td> - <td class="tdr">100</td> - <td>g</td> - <td class="tdr">1</td> - <td>oz.</td> - </tr> - <tr> - <td>Common salt</td> - <td class="tdr">200</td> - <td>g</td> - <td class="tdr">2</td> - <td>oz.</td> - </tr> - <tr> - <td>Water</td> - <td class="tdr">1000</td> - <td>ccm</td> - <td class="tdr">10</td> - <td>oz.</td> - </tr> -</table> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_26"></a>[26]</span> -density, though in a brownish color, as it had before -chlorizing. It is then rinsed off, placed in a solution -of hypo, <i>not stronger than two per cent</i>, 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.</p> - -<p>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.</p> - -<p><i>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.</i> The use of this process for the -improvement of the results from difficult negatives -should be left for more expert workers.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_27"></a>[27]</span></p> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_28"></a>[28]</span> -which have been described in textbooks and -technical journals, but which cannot be further dealt -with here, may be profitably employed.</p> - -<p><span class="smcap">Fixation.</span>—<i>The developed bromide print should be -well rinsed and fixed in the usual way.</i> 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.</p> - -<p>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, <i>an intermediate drying is an -advantage</i>; for the gelatine gains greater resistance by -this drying.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_29"></a>[29]</span></p> - -<h2 class="nobreak" id="CHAPTER_II">CHAPTER II<br /> -<span class="smaller">THE REMOVAL OF THE SILVER IMAGE</span></h2> - -</div> - -<p><span class="smcap">Bleaching.</span>—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. <i>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.</i></p> - -<p>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<span class="pagenum"><a id="Page_30"></a>[30]</span> -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.</p> - -<p>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:</p> - -<table> - <tr> - <td class="tdr">I.</td> - <td>Cupric sulphate</td> - <td class="tdr">200</td> - <td>g</td> - <td class="tdr">2</td> - <td>oz.</td> - </tr> - <tr> - <td class="tdr"></td> - <td>Water</td> - <td class="tdr">1000</td> - <td>ccm</td> - <td class="tdr">10</td> - <td>oz.</td> - </tr> - <tr> - <td class="tdr">II.</td> - <td>Potassium bromide</td> - <td class="tdr">200</td> - <td>g</td> - <td class="tdr">2</td> - <td>oz.</td> - </tr> - <tr> - <td class="tdr"></td> - <td>Water</td> - <td class="tdr">1000</td> - <td>ccm</td> - <td class="tdr">10</td> - <td>oz.</td> - </tr> - <tr> - <td class="tdr">III.</td> - <td colspan="5">Cold saturated solution of potassium bichromate.</td> - </tr> -</table> - -<p>A concentrated bleach is made by mixing:</p> - -<table> - <tr> - <td>Solution I.</td> - <td>3 parts</td> - </tr> - <tr> - <td>Solution II.</td> - <td>3 parts</td> - </tr> - <tr> - <td>Solution III.</td> - <td>1 part</td> - </tr> -</table> - -<p>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<span class="pagenum"><a id="Page_31"></a>[31]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_32"></a>[32]</span> -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.</p> - -<p>With too slow bleaching, the hydrochloric acid may -be gradually increased, <i>at the most</i> 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:</p> - -<p class="center">2CuBr₂ + Ag₂ = 2AgBr + Cu₂Br₂</p> - -<p>The cuprous bromide, Cu₂Br₂, which is formed, reduces -the bichromate as follows:</p> - -<p class="center">3Cu₂Br₂ + 6CrO₃ = 3CuBr₂ + 3CuCrO₄ + Cr₂O₃.CrO₃</p> - -<p><i>It sometimes happens that bromide prints, in spite of<span class="pagenum"><a id="Page_33"></a>[33]</span> -long immersion in the bleaching solution, apparently -will not bleach and only change their color to brown.</i></p> - -<p>The reason for this usually unimportant phenomenon -is, as a rule, that such prints have not been sufficiently -washed and still contain hypo.</p> - -<p>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, <i>but the film shows dark patches -or streaks at those places which still contain hypo</i>. -Such apparently unbleached prints should be left for -about 10 minutes in the bleaching solution; <i>the disturbing -coloration, whether of the whole picture or only -of parts, disappears completely in the subsequent baths</i>, -even when the image had apparently remained at full -strength.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_34"></a>[34]</span> -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.</p> - -<p>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:</p> - -<table> - <tr> - <td>Sulphuric acid, pure</td> - <td class="tdr">10</td> - <td>ccm</td> - <td class="tdr">77</td> - <td>min.</td> - </tr> - <tr> - <td>Water</td> - <td class="tdr">1000</td> - <td>ccm</td> - <td class="tdr">16</td> - <td>oz.</td> - </tr> -</table> - -<p><i>In this bath any remaining color disappears quickly and -completely</i>, 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. <i>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.</i> 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:</p> - -<p><span class="pagenum"><a id="Page_35"></a>[35]</span></p> - -<table> - <tr> - <td>Hypo</td> - <td class="tdr">100</td> - <td>g</td> - <td class="tdr">1</td> - <td>oz.</td> - </tr> - <tr> - <td>Water</td> - <td class="tdr">1000</td> - <td>ccm</td> - <td class="tdr">10</td> - <td>oz.</td> - </tr> -</table> - -<p>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.</p> - -<p>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.</p> - -<p>Washing then completes the preliminary preparation -of the prints.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_36"></a>[36]</span></p> - -<p><span class="smcap">The Intermediate Drying.</span>—<i>After the bleaching -process outlined in the previous section the print must -be dried without fail.</i> While drying after the development -and fixation of the bromide print is advisable but -not absolutely necessary, <i>the intermediate drying after -bleaching is of the greatest importance</i>. 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.</p> - -<p>The prints thus prepared can either be again soaked -in water and immediately worked up, <i>or kept and treated -at any time</i>. 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.</p> - -<p><span class="pagenum"><a id="Page_37"></a>[37]</span></p> - -<p>Before we go any further, the whole preliminary -process is summarized once more:</p> - -<ul> -<li>Development,</li> -<li>Fixation,</li> -<li>Washing,</li> -<li>Bleaching,</li> -<li>Short washing,</li> -<li>Sulphuric acid bath,</li> -<li>Short washing,</li> -<li>Fixation,</li> -<li>Washing,</li> -<li>Intermediate drying.</li> -</ul> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_38"></a>[38]</span></p> - -<h2 class="nobreak" id="CHAPTER_III">CHAPTER III<br /> -<span class="smaller">THE INKING-UP</span></h2> - -</div> - -<p><span class="smcap">The Production of the Differential Swelling.</span>—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.</p> - -<p><i>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</i>, 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 <i>cold water</i> 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<span class="pagenum"><a id="Page_39"></a>[39]</span> -this picture is now worked-up with greasy ink, a print -is obtained with <i>a short scale of gradation, and its tone -values are usually less satisfactory than those of the -original bromide print</i>. If, on the other hand, the print -is placed in <i>very warm water</i>, 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, <i>the contrasts of which are much stronger -than those of the original bromide print</i>. Between these -two extremes there is obviously a whole series of intermediate -stages, the suitable employment of which -permits of the most varied gradations.</p> - -<p>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,<span class="pagenum"><a id="Page_40"></a>[40]</span> -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.</p> - -<p>Under any circumstance one should be careful at first -in the production of the differential swelling. <i>There -should rather be no relief than too pronounced a one</i>; -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” (<a href="#Page_85">page 85</a>).</p> - -<p><span class="smcap">The Properties of the Relief and its Influence -on the Character of the Picture.</span>—In order that -the following explanations may be understood, an important -property of the prepared and dried gelatine film -must be mentioned.</p> - -<p>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<span class="pagenum"><a id="Page_41"></a>[41]</span> -have attained a certain degree, are characterized by the -formation of a relief.</p> - -<p>A definite degree of swelling corresponds to a definite -temperature of water. This swelling disappears again -if the film is dried. <i>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.</i> 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.</p> - -<p><i>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</i>, 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. -<i>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</i>, although reduction of the excessive swelling by -a tanning agent may be attempted.</p> - -<p><span class="pagenum"><a id="Page_42"></a>[42]</span></p> - -<p>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.</p> - -<p><i>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</i>, 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.</p> - -<p>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<span class="pagenum"><a id="Page_43"></a>[43]</span> -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.</p> - -<p><i>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.</i> 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.</p> - -<p><i>The stronger the relief formed by warming the water, -the more contrasty the bromoil print will be.</i> 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<span class="pagenum"><a id="Page_44"></a>[44]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><i>In the development of the relief great care should be -taken that no part of the print remains dry</i>, 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<span class="pagenum"><a id="Page_45"></a>[45]</span> -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.</p> - -<p>Besides the warm water bath there is also another -means at our command to produce the differences of -swelling. This is the use of <i>ammonia</i>. A. & L. Lumière -and Seyewetz, in a treatise published in 1913, on the<span class="pagenum"><a id="Page_46"></a>[46]</span> -resistance of gelatine to alkalis, found that cold solutions -of ammonia did not attack gelatine but caused it -to swell more.</p> - -<p>If a bleached print is immersed in an aqueous one per -cent solution of ammonia, the film attains in a very -short time <i>the highest degree of swelling of which it is -capable</i>, 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.</p> - -<p>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<span class="pagenum"><a id="Page_47"></a>[47]</span> -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.</p> - -<p><span class="smcap">The Utensils.</span>—For the application of the ink the -following are required:</p> - -<p><i>Brushes.</i>—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.</p> - -<p>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<span class="pagenum"><a id="Page_48"></a>[48]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_49"></a>[49]</span></p> - -<p><i>The cleaning of the brushes</i> is best effected as follows: -Pour into a deep dish a <i>readily volatile</i> 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.</p> - -<p><i>The Inks.</i>—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. <i>The swollen high lights thus -repel ink of thicker consistency, while they take the -softer inks more easily in proportion as they become -thinner.</i> 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.<span class="pagenum"><a id="Page_50"></a>[50]</span> -From these considerations it follows that in many -cases satisfactory results cannot be obtained by using -ink of only one consistency.</p> - -<p><i>The hard or heavy ink</i> 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. <i>The soft or light ink</i> should have -about the thickness of honey and should spread under -the knife without noticeable pressure.</p> - -<p><i>Collotype or copper-plate printing inks</i> 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><i>Inks of too hard nature</i> are not practicable. Such -were necessary in the oil-printing process. In the bromoil -process, which is much less sensitive to the consistency<span class="pagenum"><a id="Page_51"></a>[51]</span> -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.</p> - -<p>It is extremely simple and advantageous to prepare -the inks oneself, as outlined by E. Guttmann in Chapter -VIII, <a href="#Page_177">p. 177</a>. 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.</p> - -<p><i>As a palette for the ink</i> 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.</p> - -<p>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<span class="pagenum"><a id="Page_52"></a>[52]</span> -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.</p> - -<p>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.</p> - -<p><span class="smcap">The Support.</span>—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; <i>a damp -and elastic pad</i> must be placed on the glass or board. -<i>This pad is not for the purpose of keeping the print -damp during the working-up, as is usually stated</i>; 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. <i>For this reason damp -blotting paper or filter papers should be absolutely rejected -for the pad.</i> If such papers are used for the<span class="pagenum"><a id="Page_53"></a>[53]</span> -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.</p> - -<p>The best material for the pad is the <i>copying sheets</i> -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.</p> - -<p><span class="smcap">Removal of the Water from the Surface of the -Print.</span>—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 <i>examining it -obliquely. The freedom of the cloth, used for drying -the print, from fluff and lint is of great importance.</i> -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<span class="pagenum"><a id="Page_54"></a>[54]</span> -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.</p> - -<p>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.</p> - -<p>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. <i>Care should be taken to remove -most carefully every trace of water; water which -is picked up by the brush causes spots</i>, 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.</p> - -<p><span class="pagenum"><a id="Page_55"></a>[55]</span></p> - -<p><span class="smcap">The Brush Work.</span>—The prepared print, lying flat -on the pad, and with its surface freed from adherent -water, should now be inked up.</p> - -<p>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.</p> - -<p>The brush should now be pressed down on the <i>hard -ink</i> already distributed on the glass plate, and the ink -dabbed very carefully from the brush on a clean place -of the palette. <i>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.</i> 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 <a href="#Page_72">page 72</a>.</p> - -<p>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 <i>slowly</i> lifted up, the ink remains on the image. -If it is set down sharply and <i>quickly</i> 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.</p> - -<p><span class="pagenum"><a id="Page_56"></a>[56]</span></p> - -<p>The brush should always be held by the extreme end -between two fingers, never by the middle or near the -hairs. <i>The more lightly and more delicately the brush -is managed the better it works.</i></p> - -<p>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. <i>A bromoil print correctly -prepared</i>, and with swelling suitable to the ink used, <i>is -easily recognizable by the fact that the image appears -delicately but distinctly under the very first strokes of -the brush</i>. 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.</p> - -<p><i>Beginners usually make the mistake of jumping from -one spot to another without filling up the intervening -parts.</i> This makes the work more difficult. Inking up -should be carried out continuously by passing from those<span class="pagenum"><a id="Page_57"></a>[57]</span> -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.</p> - -<p><i>On the other hand, however, every application of the -brush to the print should actually deposit some ink on -the print.</i> If those parts touched by the brush do not -increase in intensity, <i>it must be determined whether -the dark places on the palette from which ink is supposed -to be taken, are actually giving up ink</i>; 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.</p> - -<p>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.</p> - -<p>In many cases it is possible to complete the print -with the hard ink alone. <i>If it is noticed that the hard<span class="pagenum"><a id="Page_58"></a>[58]</span> -ink does not take well on the print and is removed again -in lifting the brush</i>, its consistency is too stiff for the -work. One should not then continue to use it, but -should <i>soften the ink</i> 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 <i>light</i> 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 <i>strong</i> trace of ink from a light touch, the ink is too -soft and requires the addition of some hard ink. <i>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.</i></p> - -<p>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<span class="pagenum"><a id="Page_59"></a>[59]</span> -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.</p> - -<p>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. <i>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.</i> 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,<span class="pagenum"><a id="Page_60"></a>[60]</span> -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, <a href="#Page_73">page 73</a>, -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.</p> - -<p>For the application and the hopping off of the ink -for large areas of the print one should <i>always use the -whole working surface of the brush</i>. 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. <i>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.</i> 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<span class="pagenum"><a id="Page_61"></a>[61]</span> -best made in the direction of the structure and not at -right angles. <i>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.</i> 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.</p> - -<p>Especial emphasis must be laid on the statement that -<i>all details</i>, which it is desired to have in the finished -print, <i>must be brought out by the first application of -the ink</i>. 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.</p> - -<p><span class="pagenum"><a id="Page_62"></a>[62]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>One should accustom oneself to examine the print -<i>from time to time at a certain distance</i>, 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.</p> - -<p>Particular parts of the print, which one wishes to have -<i>more contrasty</i>, should be gone over after the hopping -with <i>a wiping motion of the brush</i>; 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.</p> - -<p>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.</p> - -<p>When one has once learnt the initial steps of brush<span class="pagenum"><a id="Page_63"></a>[63]</span> -technique, in the course of time one fails to notice the -difference between the laying on and the hopping off -of the ink. <i>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</i>; 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.</p> - -<p>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 <i>with a rotary motion</i>.</p> - -<p><i>Practice teaches that there is always a definite consistency -of ink which corresponds to a definite degree -of swelling</i> 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.</p> - -<p>It is a little difficult for the tyro to answer the question -as to <i>when the application of the ink should be -stopped</i>, 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<span class="pagenum"><a id="Page_64"></a>[64]</span> -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.</p> - -<p>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, <i>one cannot rightly decide -when to stop</i>. 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_65"></a>[65]</span></p> - -<p>For this there may be used, but only by the expert -worker, a method based on the following considerations:</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>There are also other variations of this method of<span class="pagenum"><a id="Page_66"></a>[66]</span> -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.</p> - -<p>After the guide print is prepared in this way, the -further application of the ink is carried out in the -normal manner.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_67"></a>[67]</span></p> - -<p>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.</p> - -<p>The ink can obviously be placed on the bromoil print -not only with the brush but with any other suitable ink -carrier, such as <i>rollers</i>. Yet by this the process is rendered -<i>more mechanical</i> and deprived of all those great -advantages, which distinguish it from all other printing -methods. <i>Especially, the possibility of local treatment -is mostly lost</i>; 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.</p> - -<p><span class="smcap">Resoaking of the Print During the Working-up.</span>—<i>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.</i></p> - -<p>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<span class="pagenum"><a id="Page_68"></a>[68]</span> -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.</p> - -<p><i>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.</i> -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.</p> - -<p>Here also, one must take care that the print is <i>completely -immersed</i> 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<span class="pagenum"><a id="Page_69"></a>[69]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>It should be specially noted that the print must be -<i>worked up after this second soaking with the same brush -as before, which need not be recharged with ink</i>. Only -after the print has been hopped in this way, should fresh -ink be applied.</p> - -<p>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.</p> - -<p><i>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</i>, and almost automatically brings -out contrasts and details. Especially while learning the<span class="pagenum"><a id="Page_70"></a>[70]</span> -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.</p> - -<p>Because of the possibility of always bringing the print -to the correct degree of relief during the brush work -by means of resoaking, <i>there is absolutely no limit to -the size of the bromoil print</i>. 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.</p> - -<p>If the relief of the film corresponds to the desires -of the operator, the bromoil print may be finished completely -in this way. <i>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.</i> 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 <i>thermometer</i> -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,<span class="pagenum"><a id="Page_71"></a>[71]</span> -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.</p> - -<p>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.</p> - -<p>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 <i>the water which runs from -the film causes streaks and spots</i>, 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<span class="pagenum"><a id="Page_72"></a>[72]</span> -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.</p> - -<p>By making use of this soaking of the print during the -work, the bromoil printer <i>is absolutely unlimited in the -time used for his work and is not driven by any necessity -for haste</i>. 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.</p> - -<p><span class="smcap">The Removal of the Ink from the Surface.</span>—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.</p> - -<p><i>If there are only small faulty places, the ink may be -removed from the print as it lies on the pad, as follows</i>:</p> - -<p>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<span class="pagenum"><a id="Page_73"></a>[73]</span> -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.</p> - -<p><i>By inking again, the part that has been thus removed -may be replaced without any trace of a correction.</i></p> - -<p>If the whole film of ink is to be removed from a bromoil -print, <i>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</i>. The medium -of the ink is dissolved by the benzol and the ink taken -up by the wiping cloth.</p> - -<p>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 -<i>immersed in water, but only after the benzol has completely -evaporated not only from the film but also from -the fibers of the paper</i>, 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.</p> - -<p>This complete removal of the ink with benzol may -also be repeatedly effected. <i>Beginners can, therefore, -use any prepared print several times for experiments.</i><span class="pagenum"><a id="Page_74"></a>[74]</span> -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.</p> - -<p><i>If it is desired to remove the ink from very small -portions of the print</i>, this is most easily effected by repeated -use of <i>art-gum</i>, 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.</p> - -<p><span class="smcap">Failures.</span>—To assist the beginner, some possible -failures will be here described.</p> - -<p>It may happen that during the inking <i>the print becomes -covered with fibers and small hairs of the most -different shapes</i>. This phenomenon may sometimes become -so troublesome that a successful print appears -problematical. It is frequently <i>incorrectly assumed</i> that -these impurities are <i>caused entirely by the brush</i>. 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 -<i>fibers</i>, 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.</p> - -<p>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,<span class="pagenum"><a id="Page_75"></a>[75]</span> -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 <i>individual</i> 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 <i>art-gum</i>, 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.</p> - -<p>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.</p> - -<p>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, <a href="#Page_73">page 73</a>.</p> - -<p><span class="pagenum"><a id="Page_76"></a>[76]</span></p> - -<p>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.</p> - -<p>It may happen that <i>the print takes the first hard ink -instantly and very readily</i>, 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.</p> - -<p><i>If the high lights of the picture completely repel any -grade of ink</i>, while this adheres thickly in the shadows, -then the formation of the relief has been forced too far.</p> - -<p>If the print <i>takes the ink neither in the high lights -nor the shadows</i>, 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.</p> - -<p><i>If large or small irregular spots</i> which take the ink<span class="pagenum"><a id="Page_77"></a>[77]</span> -more strongly than the surrounding parts, <i>are formed -during the inking</i>, 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.</p> - -<p>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.</p> - -<p>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 <i>omission -of the intermediate drying</i> after bleaching.</p> - -<p>Finally it may happen that the image <i>appears</i> almost -<i>as a negative</i> during inking-up, since the high lights<span class="pagenum"><a id="Page_78"></a>[78]</span> -take the ink quicker than the shadows. This phenomenon -appears when the intermediate drying after bleaching -has been omitted, or if <i>the work has been begun -with too soft an ink</i>. 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.</p> - -<p>If during the inking-up <i>small irregular white spots in -groups</i> 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.</p> - -<p><i>Yellow or brown spots and patches</i>, 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.</p> - -<p><i>Ink streaks</i>, 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.</p> - -<p><span class="pagenum"><a id="Page_79"></a>[79]</span></p> - -<p>The failures caused by the use of the ammonia bath -were described on <a href="#Page_46">page 46</a>.</p> - -<p><span class="smcap">Alteration of the Character of the Picture by -the Inking.</span>—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.</p> - -<p>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.</p> - -<p><i>Bromoil printing, for instance, permits us to ink any -individual part of the print more or less, or even not<span class="pagenum"><a id="Page_80"></a>[80]</span> -at all, at will</i>; 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.</p> - -<p><i>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.</i> 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 <i>the -most contrasty negative a delicate print, but one thoroughly -worked out in all its details</i>. 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 <i>vigor and depth of the shadows can be produced -in any desired intensity</i>. 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.</p> - -<p>If for example, a negative was used in making the -original bromide print which had been taken without<span class="pagenum"><a id="Page_81"></a>[81]</span> -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.</p> - -<p>I will now try to outline the methods of carrying out -some of these modifications, as far as is possible without -practical demonstration.</p> - -<p>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<span class="pagenum"><a id="Page_82"></a>[82]</span> -should remain unchanged. The simplest example of -control is the <i>lightening of the shadows</i>. 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.</p> - -<p>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.</p> - -<p><i>If tiny light patches are to be made darker</i>, 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<span class="pagenum"><a id="Page_83"></a>[83]</span> -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 <i>hopping -off the ink from the darker parts</i> with a brush that has -not been freshly charged with ink, <i>and depositing it -on the lighter parts</i>. 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. <i>Stained high -lights or too dark middle tones</i> 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.</p> - -<p><span class="smcap">The Structure of the Ink.</span>—Independently of the -surface of the paper on which the work is done, <i>the -structure of the coating of ink can be influenced by the -nature of the brush work</i>. 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<span class="pagenum"><a id="Page_84"></a>[84]</span> -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 <i>thus appears under the brush, at first -with a very coarse grain and without many details</i>. 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. <i>The bromoil printer -hence has it completely within his power to limit the -division of the ink to any desired coarseness of grain</i>, -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. <i>The longer, however, -the ink is distributed by hopping, the finer becomes the -structure of the ink film</i> and the smoother the surface.</p> - -<p><i>The most perfect smoothness is also attainable</i>, 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<span class="pagenum"><a id="Page_85"></a>[85]</span> -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.</p> - -<p>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.</p> - -<p><span class="smcap">Different Methods of Working.</span>—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.</p> - -<p>We will first describe the method of working which -is most suitable <i>for the beginner</i>, because it offers -tolerable certainty to those who have not yet mastered -the process.</p> - -<p><span class="pagenum"><a id="Page_86"></a>[86]</span></p> - -<p>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, <i>and without its -having been again put into the ink</i>. 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<span class="pagenum"><a id="Page_87"></a>[87]</span> -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.</p> - -<p><span class="smcap">Hard Ink Technique</span> (<i>Coarse-grain Prints</i>).—If it -is desired to prepare a bromoil print of <i>rough surface -and coarser character</i>, 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.</p> - -<p><span class="smcap">Soft Ink Technique.</span>—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<span class="pagenum"><a id="Page_88"></a>[88]</span> -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.</p> - -<p><span class="smcap">Sketch Technique.</span>—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.</p> - -<p>If certain parts of the picture are to be accentuated -and all the rest is to be rendered visible, even if only<span class="pagenum"><a id="Page_89"></a>[89]</span> -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.</p> - -<p><span class="smcap">Large Heads.</span>—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.</p> - -<p>If, as previously suggested, parts of the picture are<span class="pagenum"><a id="Page_90"></a>[90]</span> -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.</p> - -<p><span class="smcap">Oil-Painting Style.</span>—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<span class="pagenum"><a id="Page_91"></a>[91]</span> -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.</p> - -<p><span class="smcap">Night Pictures.</span>—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.</p> - -<p>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<span class="pagenum"><a id="Page_92"></a>[92]</span> -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.</p> - -<p><span class="smcap">Prints with White Margins.</span>—If it is desired to -obtain bromoil prints with <i>margins of the natural paper</i>, -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.</p> - -<p><span class="smcap">The Swelled-Grain Image.</span>—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<span class="pagenum"><a id="Page_93"></a>[93]</span> -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.</p> - -<p>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 <i>the fundamental basis -for making a coarse grain print should be a part of the -film itself</i>, and I endeavored to prepare the latter so -that a grain structure could be produced which should -equally underlie all parts of the image.</p> - -<p>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<span class="pagenum"><a id="Page_94"></a>[94]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_95"></a>[95]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_96"></a>[96]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_97"></a>[97]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_98"></a>[98]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="smcap">Mixing the Inks.</span>—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.</p> - -<p>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 <i>to mix the inks with the -brush on the bromoil print itself</i>. First one should go -over the whole print very delicately with hard black<span class="pagenum"><a id="Page_99"></a>[99]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="smcap">Polychrome Bromoils.</span>—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<span class="pagenum"><a id="Page_100"></a>[100]</span> -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.</p> - -<p><i>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.</i></p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_101"></a>[101]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_102"></a>[102]</span> -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.</p> - -<p>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 <a href="#Page_72">page 72</a>, 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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_103"></a>[103]</span> -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 <a href="#Page_112">page 112</a>.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_104"></a>[104]</span></p> - -<h2 class="nobreak" id="CHAPTER_IV">CHAPTER IV<br /> -<span class="smaller">AFTER-TREATMENT OF THE FINISHED PRINT</span></h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p><i>With the bromoil process, on the other hand, it is -easily possible to remove the gloss entirely.</i> The shininess -of a finished bromoil print is especially unpleasant<span class="pagenum"><a id="Page_105"></a>[105]</span> -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.</p> - -<p><span class="smcap">Defatting the Ink Film.</span>—Before removal of the -fatty medium from the ink, <i>the print must be absolutely -dried out</i>. 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.</p> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_106"></a>[106]</span> -as trichlorethylene and carbon tetrachloride, soft ink -prints, as a rule, are completely dissolved. <i>Benzol is, -therefore, to be preferred in all cases.</i></p> - -<p>The print should be removed from the liquid without -touching the ink film, softened by the solvent. This -evaporates fairly quickly, and <i>now the bromoil print -has an absolutely matt surface of great beauty</i>. It is -here naturally assumed that the fatty medium of the ink -is soluble in benzol, which is usually the case.</p> - -<p><i>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.</i> -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.</p> - -<p><i>The defatting is therefore a procedure which is advisable -in most cases and only after this is the bromoil -print actually complete.</i> 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<span class="pagenum"><a id="Page_107"></a>[107]</span> -soak the print without any danger if, for example, it is -to be mounted on cardboard.</p> - -<p><span class="smcap">Retouching the Print.</span>—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. <i>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.</i></p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_108"></a>[108]</span> -hand, where soft ink has been applied, one must work -very lightly, or more ink may be removed than is -desired.</p> - -<p><i>Important details of the picture may be completely -taken out with the rubber</i> 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.</p> - -<p>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 <i>lancet or penknife</i>, -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.</p> - -<p>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, <i>especially -effective lights</i> may be added to the picture.</p> - -<p><i>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<span class="pagenum"><a id="Page_109"></a>[109]</span> -with the rubber, and it is often easier to even out a -rather broken surface with the eraser than with the oil-printing -brush.</i></p> - -<p>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 -<i>water-color</i> 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, <i>retouching -with lead pencil should be avoided whenever possible</i>, -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_110"></a>[110]</span> -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.</p> - -<p>Finally, it may be mentioned that it is also possible -<i>to change the color of the paper base of the print</i>, 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.</p> - -<p><span class="smcap">Refatting of the Print.</span>—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.</p> - -<p>Frequently, however, this complete dullness of the<span class="pagenum"><a id="Page_111"></a>[111]</span> -surface does not please the worker, because, especially -with soft ink prints, it causes a marked <i>loss of brilliancy</i>. -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.</p> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_112"></a>[112]</span> -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.</p> - -<p>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.</p> - -<p>By the use of weak varnish baths for after treatment -of defatted bromoil prints, surfaces of velvety appearance -may be obtained.</p> - -<p><span class="smcap">Application of Ink to Dry Prints.</span>—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.</p> - -<p>Such parts of the print, resistant while it is wet, can,<span class="pagenum"><a id="Page_113"></a>[113]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_114"></a>[114]</span> -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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_115"></a>[115]</span></p> - -<h2 class="nobreak" id="CHAPTER_V">CHAPTER V<br /> -<span class="smaller">TRANSFER METHODS</span></h2> - -</div> - -<p><span class="smcap">Simple transfer.</span>—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:</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_116"></a>[116]</span></p> - -<p>The personal control of the tone values of the print, -which attains its maximum development in bromoil -printing, is equally possible in bromoil transfer.</p> - -<p>The picture is obtained on an uncoated paper and, -therefore, the prints are of a character which hitherto -could scarcely be obtained.</p> - -<p>The finished prints, if the paper is properly chosen, -can be retouched as much as desired.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The following details should be observed in the preparation -of bromoil transfers:</p> - -<p>The bromoil print designed to be used as a print-plate -can be made on papers of the characters described -in Chapter I, <a href="#Page_13">page 13</a>. 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. <i>The bromide print or enlargement -must be kept very clean and free from fog</i>, 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<span class="pagenum"><a id="Page_117"></a>[117]</span> -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.</p> - -<p>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.</p> - -<p><i>To obtain with certainty a faultless bromoil transfer, -soft ink should therefore be used</i>; 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<span class="pagenum"><a id="Page_118"></a>[118]</span> -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 <a href="#Page_45">page 45</a>.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Any desired kind of paper may theoretically be used<span class="pagenum"><a id="Page_119"></a>[119]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_120"></a>[120]</span></p> - -<p>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.</p> - -<p>The best machine to use is that described by E. -Guttmann on <a href="#Page_153">page 153</a>. 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.</p> - -<p>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<span class="pagenum"><a id="Page_121"></a>[121]</span> -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.</p> - -<p>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.<span class="pagenum"><a id="Page_122"></a>[122]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_123"></a>[123]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The process of application of ink to the dry print, -outlined in <a href="#CHAPTER_IV">Chapter IV</a>, 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<span class="pagenum"><a id="Page_124"></a>[124]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_125"></a>[125]</span> -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.</p> - -<p><span class="smcap">Combination Transfer.</span>—In order to render possible -the reproduction of every possible tonal value of -the negative, I have worked out the <i>combination transfer -process</i> 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 <i>each of them reproduces -a different series of tone values</i>, which then supplement -one another on the transfer.</p> - -<p>This is attained either by executing the two superposable -transfers with <i>inks of different consistency</i>, or by -<i>the use of two prints of different gradation</i> to make -one transfer.</p> - -<p><span class="smcap">Combination Transfer with One Print-Plate.</span>—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 -<a href="#Page_23">page 23</a>, 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,<span class="pagenum"><a id="Page_126"></a>[126]</span> -while the depth lacking in the shadows is produced by -the repeated transfer.</p> - -<p>On the print thus prepared two bromoil prints, differing -entirely from each other in character, are made, -one of which we will call the <i>shadow print</i> (Kraftdruck) -and the other the <i>high light print</i> (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.</p> - -<p>The <i>shadow print</i> 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 <a href="#Page_87">page 87</a>. 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 <i>registration marks</i> 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,<span class="pagenum"><a id="Page_127"></a>[127]</span> -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.</p> - -<p>At the same time it is safe to use the following simple -registration arrangement in every case.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="smcap">High Light Print.</span>—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.</p> - -<p>It may happen that one has inked up one or other of<span class="pagenum"><a id="Page_128"></a>[128]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="smcap">Combination Transfer from Two Prints.</span>—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<span class="pagenum"><a id="Page_129"></a>[129]</span> -by one print and the other end by the other.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.<span class="pagenum"><a id="Page_130"></a>[130]</span> -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.</p> - -<p>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.</p> - -<p>The inking up of the two partial prints is effected<span class="pagenum"><a id="Page_131"></a>[131]</span> -in the same way as was outlined for the process with -one print-plate.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_132"></a>[132]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_133"></a>[133]</span> -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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_134"></a>[134]</span></p> - -<h2 class="nobreak" id="CHAPTER_VI">CHAPTER VI<br /> -<span class="smaller">OIL <i>vs.</i> BROMOIL</span></h2> - -</div> - -<p><span class="smcap">Oil Printing and Bromoil Printing.</span>—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.</p> - -<p>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; <i>oil and bromoil printing are -basically identical</i>. This can be proved both theoretically -and practically.</p> - -<p><i>The theoretical considerations</i> 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<span class="pagenum"><a id="Page_135"></a>[135]</span> -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.</p> - -<p>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.</p> - -<p><i>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.</i></p> - -<p>Oil and bromoil printing are, therefore, nothing more -than the two methods which have hitherto been at our<span class="pagenum"><a id="Page_136"></a>[136]</span> -disposal for the production of a tanned image in gelatine.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_137"></a>[137]</span> -resulting bromide image is then removed by a bleaching -solution containing bichromate, and in this way the -tanned image is formed in the gelatine.</p> - -<p><i>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.</i></p> - -<p>The opinion is frequently expressed that it is a specific -property of the oil print to give pictures of a peculiarly -artistic character.</p> - -<p>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.</p> - -<p>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.</p> - -<p><i>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.</i></p> - -<p>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. <i>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.</i> -With higher temperatures the gradation may be finally -increased far beyond that of the original bromide image.</p> - -<p>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<span class="pagenum"><a id="Page_138"></a>[138]</span> -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.</p> - -<p>The following shows the <i>practical comparison</i> 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. -<i>The two prints absolutely cannot be differentiated in -practice</i>, 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.</p> - -<p><i>In such cases it is impossible to determine from the -finished print whether the picture was made by oil or -bromoil printing.</i> 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.</p> - -<p>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.</p> - -<p>There is also another explanation. Whoever has -completely mastered any process and has kept in view<span class="pagenum"><a id="Page_139"></a>[139]</span> -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. <i>The question is only whether -this effect was actually tried for</i> or whether necessity -was not made a virtue and the imperfections of the -process called an advantage. <i>Without question, the -worker who intentionally strives for a given artistic -effect can attain this easily and certainly by means of -bromoil.</i> 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,<span class="pagenum"><a id="Page_140"></a>[140]</span> -but in the fact that the worker has not mastered it, and -has been carried beyond his aim by its greater possibilities. -<i>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.</i> 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. <i>Oil printing does not offer -this alternative.</i></p> - -<p>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<span class="pagenum"><a id="Page_141"></a>[141]</span> -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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_142"></a>[142]</span></p> - -<h2 class="nobreak" id="CHAPTER_VII">CHAPTER VII<br /> -<span class="smaller">BROMOIL TRANSFER</span></h2> - -<p class="center"><span class="smcap">By Eugen Guttmann</span></p> - -</div> - -<p>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<span class="pagenum"><a id="Page_143"></a>[143]</span> -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 <i>moderate</i> -overinking will obviously give better shadows, but this -limitation is of no advantage.</p> - -<p>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” (<i>Phot. Rundschau</i>, 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<span class="pagenum"><a id="Page_144"></a>[144]</span> -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.</p> - -<p>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,” <a href="#Page_125">page 125</a>.</p> - -<p>In most publications on bromoil transfer, directions -are finally given to pass the finished bromoil print quickly -<i>once</i> through the machine with a <i>heavy</i> pressure of the -rolls, and at the most <i>twice</i>. 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 <i>always</i> 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.</p> - -<p>Hence I came to the idea of so adjusting the rolls<span class="pagenum"><a id="Page_145"></a>[145]</span> -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.</p> - -<p>Thus I had discovered <i>the principle of printing with -increasing pressure of the rolls</i>. Further experiments -led me to improve the method, and the following instructions -give all necessary explanations and directions.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_146"></a>[146]</span> -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. -<i>It is even possible in them to use as the highest -light the pure white of the paper.</i> In this respect transfer -still has the advantage of offering a more rapid if -not an easier technique.</p> - -<p>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.</p> - -<p><span class="smcap">The Bromoil Print.</span>—<i>For every transfer there -must be a bromoil print, complete in every part.</i> That -is an indispensable requirement for those who desire to -practise transfer.</p> - -<p>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.</p> - -<p>The transfer printer must always keep in view the -fact that he must prepare the way for his final <i>artistic<span class="pagenum"><a id="Page_147"></a>[147]</span> -results</i> 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.</p> - -<p>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 <i>two sheets of tissue paper</i>, 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.</p> - -<p><span class="pagenum"><a id="Page_148"></a>[148]</span></p> - -<p>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.</p> - -<p>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, <i>slightly</i> -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.</p> - -<p>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,<span class="pagenum"><a id="Page_149"></a>[149]</span> -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.</p> - -<p>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.</p> - -<p>The prepared print is swollen and pigmented as in -making an ordinary bromoil print. <i>It is not necessary, -when planning to make a transfer, to produce a higher -relief by a warm water or ammonia bath</i>, which requires -the use of softer inks and limits artistic freedom in -working up. One’s whole attention must be focused on -a <i>single point</i>: the shadows must be <i>clean</i>, the lights -<i>pure white</i>. 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.</p> - -<p>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 <i>correct printing</i>, 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.</p> - -<p><span class="pagenum"><a id="Page_150"></a>[150]</span></p> - -<p>The fact that the bromoil print is <i>trimmed</i> 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.</p> - -<p><span class="smcap">The Choice of the Paper.</span>—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.</p> - -<p>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 <i>sizing</i>. -The quality of the picture frequently depends on a -correct decision on this point. This is at once clear when<span class="pagenum"><a id="Page_151"></a>[151]</span> -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.</p> - -<p>How far these properties of papers can be equalized -or used will be dealt with in the section on “Printing.”</p> - -<p>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.</p> - -<p>As a basic principle the worker should use only <i>pure -rag paper</i> and avoid all paper containing <i>wood pulp</i>. -Although theoretically it cannot be disputed that any -paper is suitable for transfer, it is also practically accepted -and undoubtedly correct that <i>beautiful prints</i> -can only be prepared on <i>good papers</i>, and the artistic -photographer should not be induced by any consideration -to use other than the best materials.</p> - -<p>All the commercial drawing and water-color papers of -all tints and structure, made by reliable firms, can be<span class="pagenum"><a id="Page_152"></a>[152]</span> -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.</p> - -<p>The stock of paper should be kept in a dry place and -free from dust.</p> - -<p>Printing should only be effected on <i>dry</i> paper. Damp -paper is used when it is <i>very coarse-grained</i> 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.</p> - -<p>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 <i>cold</i> 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<span class="pagenum"><a id="Page_153"></a>[153]</span> -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.</p> - -<p>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 <i>one sort</i> 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.</p> - -<p>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.</p> - -<p><span class="smcap">The Machine.</span>—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.</p> - -<p><span class="pagenum"><a id="Page_154"></a>[154]</span></p> - -<div class="figcenter illowp100" id="figure1" style="max-width: 43.75em;"> - <img class="w100" src="images/figure1.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_155"></a>[155]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The care of the machine is very simple; it needs only -to be oiled from time to time.</p> - -<p>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 -<i>not</i> 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.</p> - -<p><span class="smcap">Printing.</span>—In order to obtain from any bromoil<span class="pagenum"><a id="Page_156"></a>[156]</span> -print one or more pulls on uncoated paper, one requires, -besides a printing machine, also—experience.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_157"></a>[157]</span> -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 <i>emulsion-like mass</i> is brought -on to the paper by the machine, <i>not the ink alone</i>, 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.</p> - -<p>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.</p> - -<p>So, while the collotype matrix only gives up its <i>ink</i>, -the bromoil matrix gives up a mixture of <i>ink and water</i> -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>I must print with gradually increasing pressure</i>.</p> - -<p>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 “<a href="#CHAPTER_VII">The Machine</a>.”</p> - -<p><span class="pagenum"><a id="Page_158"></a>[158]</span></p> - -<p>The procedure in printing must now be very accurately -described, and takes place as follows:</p> - -<p>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.</p> - -<p>Let us assume that we have a print prepared as described -in the chapter “<a href="#CHAPTER_I">Bromoil Printing</a>,” 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.</p> - -<p>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<span class="pagenum"><a id="Page_159"></a>[159]</span> -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.</p> - -<p><span class="pagenum"><a id="Page_160"></a>[160]</span></p> - -<div class="figcenter illowp61" id="figure2" style="max-width: 35.9375em;"> - <img class="w100" src="images/figure2.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 2</span></p> - <p class="caption">A = pasteboard</p> - <p class="caption">B = the plate-mark pattern</p> - <p class="caption">C = the location guides for the transfer paper</p> - <p class="caption">D = the location guides for the bromoil print.</p> -</div> - -<p><span class="pagenum"><a id="Page_161"></a>[161]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>Now the bromoil print is lifted from its pad by passing -a knife under its edges, and laid carefully with its -<i>back</i> on the worker’s left hand. Thus the print can -be laid down face up <i>without danger of damage</i> 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 <i>very gently</i> on the bromoil print with one hand, the<span class="pagenum"><a id="Page_162"></a>[162]</span> -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.</p> - -<p>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 <i>without exerting any pressure</i>. 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 <i>half</i> 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<span class="pagenum"><a id="Page_163"></a>[163]</span> -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 <i>first impression</i> 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.</p> - -<p><i>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.</i> <i>Repeated slow</i> passage -of the press-pack through <i>moderately tightened rollers</i><span class="pagenum"><a id="Page_164"></a>[164]</span> -is always <i>more advantageous than a single printing -under very heavy pressure</i>.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>This method of printing is proper for either monochrome -or polychrome impressions.</p> - -<p><span class="pagenum"><a id="Page_165"></a>[165]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="smcap">Combination Transfer.</span>—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<span class="pagenum"><a id="Page_166"></a>[166]</span> -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.</p> - -<p>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 <a href="#Page_125">page 125</a>. 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 <i>of the negative</i>. If, however, it is merely desired -to extend the scale of tones of <i>the bromide print</i>, -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.</p> - -<p>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 (<a href="#Page_125">page 125</a>), 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.</p> - -<p><span class="smcap">Combination Printing from Two Bromoils.</span>—It -has frequently been pointed out in the literature of the -gum process that the best positive transparencies may<span class="pagenum"><a id="Page_167"></a>[167]</span> -be obtained from a <i>long-scale</i> negative by making <i>two</i> -positives from the one negative and then bringing these -two positives into superposition; for this combination, -one positive must be <i>fully exposed</i> and <i>developed -soft</i>, the second, on the other hand, kept <i>hard</i> by a <i>very -short exposure</i> and <i>full development</i>. If these two positives -are laid film to film, “there is obtained,” as von -Hübl wrote as early as 1898, <i>in applying this method -to gum printing</i> (see Eder, <i>Das Pigmentverfahren, der -Gummi-, Oel- und Bromöldruck</i>, 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.”</p> - -<p>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.). <i>Care must be<span class="pagenum"><a id="Page_168"></a>[168]</span> -taken in this work, however, that the bromide paper -for both prints is taken from the same packet</i>, 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.</p> - -<p>The <i>first</i> print is now <i>very fully</i> 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 <i>without paying attention -to the shadows</i>, which will be full of detail, but weak.</p> - -<p>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, <i>as a hint</i>, 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<span class="pagenum"><a id="Page_169"></a>[169]</span> -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.”</p> - -<p>Pigmenting is effected as usual. Practically, one -should always begin with the <i>high light print</i>, 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.</p> - -<p>When the <i>high light print</i> 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.</p> - -<p><span class="pagenum"><a id="Page_170"></a>[170]</span></p> - -<p>Now we proceed to the working up of the shadow -print, which when complete should appear absolutely -bare of high lights and <i>light</i> 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.</p> - -<p>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 <i>work of art</i> in color, not that -of a colored photograph, which has unfortunately -hitherto been the case with all experiments in this direction.<span class="pagenum"><a id="Page_171"></a>[171]</span> -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.</p> - -<p><span class="smcap">Combination Printing with One Bromoil.</span>—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 <i>two transfers</i> from the <i>same</i> bromoil, -one being inked up for the light parts, while the other -is used to fill out and deepen the shadows.</p> - -<p>The practical execution of the process is as follows: -the bromide print is swollen in the normal way and pigmented -with a <i>soft ink</i> 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 <i>hard ink</i>, 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.</p> - -<p>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<span class="pagenum"><a id="Page_172"></a>[172]</span> -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.</p> - -<p>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 <a href="#Page_143">page 143</a>.</p> - -<p>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.</p> - -<p><span class="smcap">The Value of Combination Printing.</span>—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.”</p> - -<p>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<span class="pagenum"><a id="Page_173"></a>[173]</span> -mastered this technique, should he begin experiments -in combination transfer from one bromoil.</p> - -<p><i>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.</i></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="smcap">Retouching and Working Up.</span>—A good bromide -print can only be prepared from a good negative. So -says the expert bromide printer. The bromoil printer -<i>requires</i> a faultless bromide print as the fundamental -condition. The transferrer, finally, will not use an imperfect -bromoil print for transfer.</p> - -<p>I belong to the school which would produce a photographic<span class="pagenum"><a id="Page_174"></a>[174]</span> -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.</p> - -<p>By retouching I mean the justly condemned excessive -“working up” of a <i>positive</i> print, that is a change -of values on the finished print. That should not be done.</p> - -<p>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 <i>during the work</i>.</p> - -<p>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 <a href="#Page_123">page 123</a>), 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.</p> - -<p>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.</p> - -<p><span class="smcap">Drying.</span>—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<span class="pagenum"><a id="Page_175"></a>[175]</span> -days. After the lapse of this time the ink has usually -hardened.</p> - -<p>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.</p> - -<p>Retouching can be begun about one or two hours after -it has left the machine.</p> - -<p>A transfer should not be mounted, for it looks best -as it is, if the margin is sufficiently large.</p> - -<p><span class="smcap">Conclusion.</span>—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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_176"></a>[176]</span></p> - -<h2 class="nobreak" id="CHAPTER_VIII">CHAPTER VIII<br /> -<span class="smaller">THE PREPARATION OF BROMOIL INKS</span></h2> - -<p class="center"><span class="smcap">By Eugen Guttmann</span></p> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_177"></a>[177]</span> -that the masters of past times attained <i>vigor in -their colors</i> chiefly <i>by the finest possible grinding of the -colors and by a relatively small addition of medium</i>. “<i>It -may sound paradoxical</i>,” says Professor Th. Petruscheffsky -in one of his treatises on the technique of painting, -“<i>but it is, however, true, that in oil painting oil should -be avoided as much as possible</i>.”</p> - -<p>The old masters knew this and acted accordingly, -and the modern manufacturer also knows it, and replaces -<i>any excessive quantity</i> 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.</p> - -<p>These facts the bromoil printer must know, for he -should also use colors from which he can get the very -best possible results.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_178"></a>[178]</span> -oil colors I finally succeeded in reaching my goal.</p> - -<p><span class="smcap">Inks and Brushes.</span>—My starting point was a -great desire to make a <i>hard ink</i>, 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.</p> - -<p>Command of a <i>hard ink—which can be suitably softened -to meet any need</i>—is very necessary to the bromoil -printer, if <i>clean shadows</i> 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 <i>bristle brushes</i>, -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<span class="pagenum"><a id="Page_179"></a>[179]</span> -very lasting, and in addition cost only a fraction -of what must be paid for really good hair brushes.</p> - -<p>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.</p> - -<p>Two conditions must, however, be carefully observed -for good results. First, these brushes must actually be -made from the <i>very finest cut</i> bristles and, before they -are used, they must be <i>repeatedly and very thoroughly -cleaned</i>, because they are very dirty when purchased.</p> - -<p>The principal advantage of these brushes is that they -<i>enable one to use considerably harder inks</i> than is possible -with hair brushes, which results in <i>much greater -clearness of the shadows</i>. 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.</p> - -<p>I have <i>not</i> noticed any disadvantage in the use of -these brushes; the gelatine has never been pierced, even -in the highest reliefs.</p> - -<p>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.</p> - -<div class="figcenter illowp30" id="figure3" style="max-width: 12.5em;"> - <img class="w100" src="images/figure3.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 3</span></p> -</div> - -<p>I might add a word here as to the cleaning of brushes -in general, whether hair or bristle. It is usually recommended<span class="pagenum"><a id="Page_180"></a>[180]</span> -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<span class="pagenum"><a id="Page_181"></a>[181]</span> -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.</p> - -<p><span class="smcap">The Preparation of the Bromoil Inks.</span>—The -preparation of the bromoil inks is very simple. The following -are necessary:</p> - -<ul> -<li>Linseed oil varnish of the thickest consistency;</li> -<li>Powder colors;</li> -<li>A rubbing plate;</li> -<li>A pestle;</li> -<li>A springy spatula (palette knife);</li> -<li>A stiff spatula, the so-called ink knife (putty knife).</li> -</ul> - -<p>The following sections will give the necessary information -as to the properties and nature of each item in -this small arsenal.</p> - -<p><span class="smcap">The Varnish.</span>—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 <i>clear</i>. -The varnish is produced of various consistency, from<span class="pagenum"><a id="Page_182"></a>[182]</span> -quite fluid to quite viscous, and <i>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</i>, otherwise the resultant ink will not satisfy the desired -end. More as to this later.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="smcap">Powder Colors.</span>—Only such colors should be used<span class="pagenum"><a id="Page_183"></a>[183]</span> -as are fast both to light and air. The following may be -selected with absolute certainty:</p> - -<ul> -<li>For black: bone black, ivory black, crayon sauce;</li> -<li>For brown: burnt umber, burnt sienna, burnt dark ochre;</li> -<li>For yellow: cadmium, light and dark, yellow ochre, light and dark;</li> -<li>For red: English red, light and dark, Indian red;</li> -<li>For blue: indigo, ultramarine, cobalt blue;</li> -<li>For green: cobalt green, light and dark, Bohemian and Veronese earth;</li> -<li>For white tones: zinc white.</li> -</ul> - -<p>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.</p> - -<p>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. <i>The finer the powder is rubbed up in this -way the finer the tone it will give.</i> The <i>coarse</i> color -powders, often found in drug stores, are not suitable for -our purpose; they are used more for industrial purposes.</p> - -<p><i>Aniline</i> colors, or those brightened with anilines, should -be absolutely avoided, as they stain the gelatine and<span class="pagenum"><a id="Page_184"></a>[184]</span> -thus spoil the print. On the other hand I call the attention -of all bromoil printers to the <i>pastel colors</i>, 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.</p> - -<p>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 <i>Meng’s pastel pencils</i>, -though this does not mean that those of other makes -will not give excellent results.</p> - -<p><span class="smcap">The Rubbing Plate.</span>—For this we use a thick -plate glass slab, ground on one side, about 15 by 20 cm -(6 × 8 in.).</p> - -<p><span class="smcap">Pestle or Muller.</span>—A pestle of glass is the best. -The head must be round, not flattish, and have a matt -surface.</p> - -<p><span class="smcap">Spatulas.</span>—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.</p> - -<p>Now that we have become conversant with all the -necessary materials, I come to the:</p> - -<p><span class="pagenum"><a id="Page_185"></a>[185]</span></p> - -<p><span class="smcap">Practice of Ink Grinding.</span>—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 <i>slaty and not oily gloss</i>, -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 <i>one</i> 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<span class="pagenum"><a id="Page_186"></a>[186]</span> -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, <i>but this is not the case</i>.</p> - -<p>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. <i>It is, -therefore, absolutely necessary</i> in using very thick <i>varnish</i> -to <i>absolutely saturate</i> it with color. <i>Not going far enough -in this direction</i>, or the omission of the preliminary -warming of the varnish, <i>are the only sources of failure</i>. -In working with varnish of lighter consistency, it will -be necessary to stop the addition of color as soon as the -slaty gloss appears.</p> - -<p>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<span class="pagenum"><a id="Page_187"></a>[187]</span> -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.</p> - -<p><span class="smcap">Ink Mixing.</span>—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. <i>Bone black</i> 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 <i>deep, velvety black</i>; if -a <i>little</i> more blue is added, we obtain a beautiful blue-black. -A little bone black mixed with burnt umber -gives a fine <i>warm black</i>, and so on.</p> - -<p>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 -<i>Sauce Velours</i> is particularly excellent.</p> - -<p>Another kind of color mixture is that in which black -is taken as <i>the fundamental color</i> (which is desirable -when it is not desired to mix up ink for each print) and -then instead of diluting the <i>stiff</i> ink with linseed oil or -other diluent, an ordinary good copper-plate ink or -even ordinary <i>oil colors</i> 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<span class="pagenum"><a id="Page_188"></a>[188]</span> -to the stiff black ink (bone black), I add a little indigo -<i>oil</i> 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 <i>good</i> oil colors can be used. -When I write briefly only <i>oil colors</i>, I mean obviously -<i>artists’ oil colors</i>, and not others which may be used for -other purposes than for artistic painting.</p> - -<p>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.</p> - -<p>Very fine gradations may also be produced as follows: -the bromoil print is pigmented as usual to obtain as -<i>clear</i> shadows and <i>clean</i> high lights as possible, with not -too high a relief. When the print is completely finished,<span class="pagenum"><a id="Page_189"></a>[189]</span> -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 <i>very -little pure oil color</i>. By thus using light, transparent -(<i>lasur</i>) 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The following summary of color mixtures for the beginner -is also given: <i>red-brown</i> is obtained by mixing -bone black, Indian red, and possibly dark alizarin lake; -<i>violet</i> results from bone black with red and blue; <i>dark -green</i>, from black, cadmium and blue; <i>brownish-green</i>, -from black and indigo; <i>bright green</i>, from a little black -with cadmium and indigo; <i>red chalk</i>, from black, brown -and Indian red.</p> - -<p>The individual tints will obviously vary considerably,<span class="pagenum"><a id="Page_190"></a>[190]</span> -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.</p> - -<p>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).</p> - -<p><span class="smcap">Permanency.</span>—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.</p> - -<div class="figcenter illowp75" id="figure4" style="max-width: 25em;"> - <img class="w100" src="images/figure4.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 4</span></p> -</div> - -<p><span class="smcap">Ink-Grinding Machines.</span>—For all ordinary purposes<span class="pagenum"><a id="Page_191"></a>[191]</span> -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.</p> - -<p><span class="smcap">Additions to the Inks.</span>—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:</p> - -<p>(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:</p> - -<p>(b) 1 g (15 gr.) kieselguhr (infusorial earth) rubbed -up with linseed oil to a quite thin fluid paste.</p> - -<p>It should be noted that these mixtures, in consequence -of their content of linseed oil, make the inks softer.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="box"> - -<div class="double-underline"> - -<p class="center larger">Books on Photography</p> - -</div> - -<p>Optics for Photographers, by Hans Harting, Ph.D. Translated -by Frank R. Fraprie, S.M., F.R.P.S. 232 pages. Cloth, $2.50.</p> - -<p>Chemistry for Photographers, by William R. Flint. 2nd edition. -218 pages. Cloth, $2.50.</p> - -<p>Pictorial Composition in Photography, by Arthur Hammond. -234 pages, 49 illustrations. Cloth, $3.50.</p> - -<p>Photo-Engraving Primer, by Stephen H. Horgan. 81 pages. -Cloth, $1.50.</p> - -<p>Cash from Your Camera. Edited by Frank R. Fraprie, S.M., -F.R.P.S. 87 pages. 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