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.
Using Old Toning Bath. The regular toning bath should be saved, and when you desire to tone again add one-half fresh bath to the old. A bath of this kind will give better results than a perfectly fresh one. Where the special acetate toning bath is employed, however, it should be used only once and then discarded. When large batches of prints are to be toned, the regular bath is to be preferred, as more uniform tones are secured with it than with any specially prepared bath. Allowance must be made for drying, as all prints dry fully one shade darker and colder than they appear when wet. After the prints are toned they should be washed and fixed in the usual manner.
Ferrotyping Prints. If you do not wish to mount your prints they can be dried flat, and a beautiful glossy finish may be obtained by squeegeeing them onto a ferrotype plate. Provide yourself with half a dozen ferrotype plates. These plates are a Japan tin, similar to the old tintype plate, but are made in a heavier weight. They are supplied, when desired, in a larger size than is ordinarily used for tintype purposes. The small size can be purchased from photo supply houses at 10 to 15 cents a sheet. First, clean the plate with clear water and before placing the prints in contact swab the plate with the following solution:
100. After the paraffine is dissolved, with a tuft of cotton apply it to the plate, which must be perfectly clean and dry. Rub over the entire plate and finally polish dry with clean cotton or cloth, being careful to remove all of the paraffine that appears on the surface, as enough will remain to do the work. Next place the print in contact. A good plan is to immerse the ferrotype plate in the tray of water with the prints and bring the print in contact with the ferrotype plate while both are beneath the water. In this way most of the air-bells will be expelled. Next lay the ferrotype plate on a perfectly level surface and squeegee by covering with a dry blotter and rolling thoroughly with a print roller to expel all remaining air-bells.
101. After having rolled the prints perfectly dry on the ferrotype plate and expelled all air-bells, set the plate up on edge and allow the prints to dry until they drop off or can be removed easily by raising one corner with the penknife. Should the prints stick, the plate has not been properly prepared and the prints must be soaked off by placing back into the water. Then carefully clean the plate again and apply the paraffine solution. With a little care and practice no trouble will be experienced.
102. If desired these prints may be kept in an unmounted state. However, should you intend to mount them later - after rolling the prints dry - apply a coating of paste to the back of each print while it is still on the ferrotype plate. Any of the prepared or starch pastes will work very nicely. Allow the paste to dry with the print. We would recommend the use of prepared paste for this purpose. Although prints will dry a little slower when pasted, the paste will dry good and firm as the print dries, and will be found to adhere well to the mount when remoistened. The pasted backs of prints will not interfere with their handling unmounted and they can be kept in this condition as long as desired. When you wish to mount them, it can be done without losing the gloss, by either moistening the part of the card on which you are going to mount the print or by moistening the back of print. In the former case, after moistening the card lay your print on the card in proper position and weight it down - of course always be sure to put a piece of dry paper over the glossy surface of the print before you lay any weight on it. This weight will press the print firmly on the card and the moisture on the card will dampen the paste on the print sufficiently to make it stick firmly, yet it will not injure the high gloss secured by ferrotyping. Or, you can moisten the back of the print with a damp sponge, only wetting it sufficiently to make the paste soft. Then by laying the print on the card and weighting as stated above, the paste will take a firm hold. Both methods can be adopted if desired - slightly dampening back of print and also card.
103. There is no danger of injuring the gloss on the print, provided you do not touch the surface with wet fingers or allow anything damp to come in contact with the face of the print. A good squeegee roller is necessary for mounting the dry prints which have been dampened in this way.
104. The Eastman Kodak Company manufacture a dry mounting tissue which is easily applied, and the prints will lay flat without curling even on the very thinnest mounts. The use of this tissue is fully described in the trimming and mounting section of this volume.
105. Softening of Prints During Manipulation - In event of prints softening during manipulation, where ice water cannot be obtained and a film hardener must be employed, we would recommend the following: If it is possible to carry the prints through the gold bath without softening, should they soften after the toning bath, place them in a hardening bath of formalin 1 ounce, water 9 ounces. Handle prints in this bath until the film becomes thoroughly toughened, then place them in plain water and give one change of water before fixing.