476. Sepia Tones On Aristo Platino Paper

Sepia Tones On Aristo Platino Paper. For rich sepia tones the paper should have age enough to print a rich cherry red color.

478. Print fully one shade darker than for plain gold toning, carefully avoid printing too deep. Wash prints in three changes of clear water and immerse in the following bath:

479. Handle prints over in this bath until they have turned a decidedly yellow color, which will take from two to eight minutes; then wash in four changes of clear water and tone in the following bath:

480. Tone in this bath until by transmitted light the yellow has disappeared, the highlights have cleared, and the prints are a rich cherry color. This takes from five to eight minutes. After prints are toned, throw into clear water made slightly alkaline with liquid ammonia. Then wash in four changes of clear water and fix in plain hypo (15° hydrometer test) from fifteen to twenty minutes, or until the desired color is obtained; then wash and mount same as usual.

481. Should warmer tones be desired, proceed as follows: After prints are through the platinum bath as given in the above formula, throw into water made slightly alkaline with ammonia; wash through four waters and place prints in the following:

482. Handle prints in this alum bath five minutes; then wash through three changes of clear water and fix in plain hypo bath, 15 grain strong, hydrometer test, for from fifteen to twenty-five minutes, or long enough to clear the yellow and bring the print to a rich cherry color. Wash and mount same as usual.

483. Principal Causes Of Failures

Principal Causes Of Failures. Printing too dark. Too much of No. 1 causes bleachings. Not toning enough in platinum bath causes yellow prints. Not fixing until prints are clear and the yellows are out, will give yellow prints.

484. Notes

Notes. All sepia prints should be washed quickly and mounted, ten to twelve changes of water being sufficient. Continued soaking in water that is alkaline will darken the tone.

485. Carefully test the hypo bath. If not alkaline, add a few drops of liquid ammonia, or enough to turn red litmus paper blue in three or four minutes.

486. Continued fixing will give darker tones.

487. Practice Work

Practice Work. All negatives do not produce good sepia prints. Medium strength, snappy negatives are the best. However, for the experience to be gained, it

. is advisable to make prints from different classes of negatives, following instructions closely regarding the depth of printing, etc., and observing the appearance of the prints from the different negatives as they enter and leave the various baths. As the final color or tone is governed in the toning bath, a little manipulation here will enable you to produce almost any effect desired.

488. A liberal number of experiments should be made and each of the different baths should be given a trial and a record proof kept of the results of each bath. Only by comparing the prints can you readily decide which bath is preferable to employ. Should you meet with failures during the manipulation, refer to the Difficulty Department which will undoubtedly advise as to the cause, prevention and remedy for your trouble. Careful notes should be made on all test prints and they in turn should be filed in the proof file for future reference.