3138. To Tone a Picture

3138.    To Tone a Picture. The print is now taken by two corners and immersed in the gold or toning bath.' At first the print will begin to bleach, and turn a warm red color, which soon changes into a beautiful warm black. Put in the prints one by one, keeping them separated or constantly in gentle motion, when the changes already spoken of will occur. When a deep purple or warm black is obtained, remove them to a basin of clean water, and rinse them until all are toned, when they are ready for immersion in a fixing bath, to render them permanent.

3139. To Prepare a Fixing Bath

3139.      To Prepare a Fixing Bath.

Take water, 6 ounces; hyposulphite of soda, 1 ounce. This solution dissolves from the paper all of the chloride of silver that has not been acted upon by the light, hut does not injure the picture or image. The usual time for leaving the print in this hath is about 15 minutes. If the print is held up to transmitted light before it is placed in this solution, it will appear quite opaque and cloudy in what should be the clear parts of the picture. After the print has been in the bath the proper time this will disappear, and the print have a clear, translucent effect. The print should now be washed in 2 or 3 waters, and left to soak in a dish of water all night. In the morning it can be hung up to dry, and then mounted, as the taste of the experimenter may suggest. If the saving of time is an object, the print, after coming from the fixing bath, can be rinsed in water and passed through a common clothes-wringer a few times, each time being dipped in clean water, when the print will be found to be perfectly washed. When properly fixed, as already described, they are to be washed, and finally mounted on card or bristol board. The best paste for this purpose is common laundry starch.

3140. Precautions to be Observed in Making a Picture

3140.    Precautions to be Observed in Making a Picture. When directions are given to prepare and keep the sensitive paper in a dark room, it should, of course, be understood that daylight only is to be excluded; gas or candle light will do no harm. A window closely covered with yellow paper completely filters the light of all actinic or chemical power, and consequently will do no harm. Be careful that not a drop of the fixing solution gets into the gold or toning bath. After the final process of fixing, take the greatest care that the prints do not again come into contact with the hyposulphite of soda. Soda is good - indispensable in its place, but exceedingly harmful out of its place. So keep all the dishes and fingers free from it. In all of the manipulations, observe the most perfect neatness. Handle the prints with the tips of your fingers, and always with deliberation and care. If the silver solution grows weak by use - a mealy look to the prints indicates it - add a few grains of nitrate of silver. If by use it turns a dark wine color, and the paper is not white when dry, set the solution in clear sunlight for a day or two and it will clear. Filter before using again. The soda (fixing) bath should not be used more than 2 or 3 times. Where prints are only occasionally made, a fresh bath should be made each time of printing. The gold (toning) bath works quicker when warmed to about blood heat, Prints will then tone in from 2 to 6 minutes. Prints on plain paper will tone quicker than on albumenized. If prints are undertoned they will present a warm brown appearance; if toned too much, a cold steel color. A little experience will soon indicate the precise amount of toning required.