Brief General Instruction

73. Introduction

Introduction. Preceding chapters have dealt particularly with the fundamental principles of handling glossy printing-out papers, as far as securing an average warm tone is concerned. These chapters must be thoroughly understood before proceeding to secure purple tones, as the producing of the colder tones requires simply a slight variation in the printing of the paper and in preparing the toning bath.

74. The tone of the print is governed, to a great extent, by the likes or dislikes of the individual worker, some persons preferring a warm, while others are partial to a deep or cold tone. For commercial purposes the latter is more acceptable. In either case, however, all that is required is correct printing for the tone desired and to have the toning bath work evenly.

75. Printing

Printing. For purple tones it is necessary to print fully two shades darker than you desire the finished print; therefore, the printing will be one shade deeper than when warm tones are desired. Pay no attention to the shadows.

76. Washing

Washing. Wash through six changes of clear water, handling the prints over each time, in order to thoroughly remove all free silver and preserving chemicals.

77. Toning

Toning. The gold bath used to secure purple tones is slightly different from that employed for the producing of warm tones.

Chloride of Gold.......................................

15 grs.

Pure Water......................................

15 OZS.

Acetate of Soda................................

4 OZS.

Pure Water......................................

10 ozs.

Borax Crystals.............................

2 ozs.

Hot Water.............................

6 ozs.

81. Preparing The Toning Bath

Preparing The Toning Bath. In a 2 quart bottle or jar, pour

Water.........................

0 ozs.

Stock Solution No.1...........................................................

.1 oz.

Stock Solution No.2...........................................................

2 ozs.

82. Thoroughly shake the bottle containing this solution and allow it to stand for 10 hours, if possible. It may be used, however, inside of 2 hours, but better results will be secured if the bath is thoroughly ripened before being used. When ready to tone pour the solution into the toning tray; then mix in a graduate, 6 drams of Solution No, 1 and 4 drams of Solution No. 3, allowing it to stand for 5 minutes, when it may be poured into the toning tray and thoroughly mixed with the rest of the bath.

83. Place a piece of red litmus paper in the bath and gradually add a little more of Solution No. 3 until the red litmus paper turns in 2 minutes. This bath must be only slightly alkaline.

84. Before attempting to tone a number of prints, test the bath first with one print, and see that the shadows tone in about 8 minutes time and that the highlights clear in this time. Any shade from a warm cherry to a deep purple may be obtained, depending upon the depth of toning. The longer the prints remain in the bath the more purple or deeper will be the tone. If extremely cold tones are desired, less borax must be used, for a strong alkaline solution will cause yellow whites.

85. The color of the print must not be judged by-looking upon the surface - hold the print up to the light and look through it, bearing in mind that it will dry a couple shades darker; therefore, if the tone is carried to a deep purple when examining it by transmitted light, a blue black color will result when the print is dry, and the whites will no doubt be muddy, for any tone on glossy paper carried beyond a warm purple will give unsatisfactory results.