This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
407. Collodio carbon or any collodion matte surface paper lends itself quite naturally to warm tones, and by means of the different formulae employed any desired shade ranging from a brick red to a yellowish brown can be produced depending entirely, of course, upon the manipulation of the formula employed and the preference of the photographer.
Printing Quality Of Negatives. While beautiful sepias can be made from any negative which is suitable for collodio carbon or matte papers, you will find soft, brilliant negatives, full of detail, give the finest sepia prints. Do not misunderstand what is meant by a soft negative. A thin, under-exposed or under-developed negative is not a soft negative. A negative fully timed, fully developed - not over-developed, but developed so the highlights as well as the shadows are filled with detail - printing fairly rapid, is a soft negative.
Proper Depth Of Printing. For the toning formula given in this instruction, print two shades lighter than for black and white prints. The same rules govern the varying printing qualities of negatives for sepia, as for black and white prints.
Washing. It is equally as essential for the sepia tones as it is for the black and white prints, that the preserving chemical be entirely eliminated from the paper before toning. This can only be accomplished by thorough washing according to previous instruction. It will require at least from 6 to 8 changes of water, depending on the condition of the paper. Fresh paper requires more washing than old. Between each change the prints must be picked over and over.
411. When thoroughly washed tone in the following bath, which should be made up at least two hours before using:
Acetate Soda (Sat. Sol.)............................
. .6 drs.
Chloride of Gold (Stock Sol.)................................
... 1 Oz
It is essential that this bath be made up at least two hours before using, to insure thorough ripening.
Toning. To tone proceed as before directed, toning first one or two test prints. If you find that the whites bleach add more borax. Tone until the highlights are clear and the shadows a bright cherry red. This bath must not be too strong and yet must not tone too slowly. The proper tone will be reached in from two to four minutes. When your prints reach the proper stage, that is, when the prints are clear, place them in fresh water. Most failures are caused from over-toning in the gold bath; so work cautiously and tone only sufficiently to remove the yellow from the print, leaving the shadows very red but clear and crisp. Always judge the prints by looking through them by transmitted light.
413. As you proceed with your toning occasionally pick the prints over in clear water, so they will not become matted together. If the batch of prints is an unusually large one, occasionally change the water. As a large number of prints will carry a considerable amount of gold from the toning bath into the wash water in which the prints may continue toning, a change of the wash water is recommended after half the batch has been toned. When all the prints are toned, wash through two clear waters
IN HARBOR Study No. 13 See Page 386 By Wm. H. Phillips.
PORTRAIT Study No. 14 By Rudolf Eickemeyer.
(using plenty of water), and place in the following checking bath: