THE S. & A.
Photographic
SERIES.

Edited by
W. I. LINCOLN ADAMS.

No. 1. THE PHOTOGRAPHIC AMATEUR.
By J. Traill Taylor. A Guide to the Young Photographer, either Professional
or Amateur. (Second Edition.) Paper covers. $0 50

No. 4. HOW TO MAKE PICTURES.
By Henry Clay Price. (Fourth Edition.) The A B C of Dry-Plate Photography.
Out of print. (See No. 26)

No. 5. PHOTOGRAPHY WITH EMULSIONS.
By Capt. W. de W. Abney, R.E., F.R.S. A treatise on the theory and
practical working of Gelatine and Collodion Emulsion Processes. (Second
Edition.) Paper covers. 75

No. 7. THE MODERN PRACTICE OF RETOUCHING.
As practiced by M. Piquepé, and other celebrated experts. (Eighth Edition.)
Paper covers, 50 cents; Library Edition. 75

No. 8. THE SPANISH EDITION OF HOW TO MAKE PICTURES.
Ligeras Lecciones sobre Fotografia Dedicados a los Aficionados, Cloth
bound, 75 cents. Paper covers. 50

No. 9. Out of print.

No. 12. HARDWICH’S PHOTOGRAPHIC CHEMISTRY.
A manual of Photographic Chemistry, theoretical and practical. (Ninth
Edition) Edited by J. Traill Taylor. Leatherette binding. 2 00

No. 13. TWELVE ELEMENTARY LESSONS ON SILVER PRINTING.
(Second Edition.) Paper covers. 50

No. 14. ABOUT PHOTOGRAPHY AND PHOTOGRAPHERS.
A series of interesting essays for the studio and study, to which is added
European Rambles with a Camera. By H. Baden Pritchard, F.C.S.
Paper covers, 50 cents. Cloth bound. 75

No. 15. THE CHEMICAL EFFECT OF THE SPECTRUM.
By Dr. J. M. Eder. Cloth bound, 50 cents. Paper covers. 25

No. 16. PICTURE MAKING BY PHOTOGRAPHY.
By H. P. Robinson, author of Pictorial Effect in Photography. Written
in popular form and finely illustrated. Library Edition, $1.00. Paper
covers. 75

No. 17. FIRST LESSONS IN AMATEUR PHOTOGRAPHY.
Out of print. (See Amateur Photography, by W. I. Lincoln Adams.)

No. 20. DRY PLATE MAKING FOR AMATEURS.
By George L. Sinclair, M.D. Pointed, practical and plain. Leatherette
binding. 50

No. 21. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND
PHOTOGRAPHIC TIMES ALMANAC FOR 1887.
(Second Edition.) Paper cover (postage, 12 cents additional). 50
Library Edition (postage, 12 cents additional). 1 00

No. 22. PHOTOGRAPHIC PRINTING METHODS.
By the Rev. W. H. Burbank. A Practical Guide to the Professional and
Amateur Worker. Cloth bound. (Third Edition). 1 00

No. 23. A HISTORY OF PHOTOGRAPHY.
Written as a practical guide and an introduction to its latest developments.
By W. Jerome Harrison, F.G.S., and containing a frontispiece of the
author. Cloth bound. 1 00

No. 24. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND
PHOTOGRAPHIC TIMES ALMANAC FOR 1888.
Illustrated. (Second Edition.) Paper (by mail, 12 cents additional). 50
Library Edition (by mail, 12 cents additional). 1 00

No. 25. THE PHOTOGRAPHIC NEGATIVE.
A Practical Guide to the Preparation of Sensitive Surfaces by the Calotype,
Albumen, Collodion, and Gelatine Processes, on Glass and Paper, with
Supplementary Chapter on Development, etc., by the Rev. W. H. Burbank.
Cloth bound. Reduced from $1.50 to 1 00

No. 26. THE PHOTOGRAPHIC INSTRUCTOR FOR THE
PROFESSIONAL AND AMATEUR.
Being the comprehensive series of Practical Lessons issued to the Students
of the Chautauqua School of Photography. Revised and enlarged. Edited
by W. I. Lincoln Adams, with an Appendix by Prof. Chas. Ehrmann.
(Fourth Edition, enlarged and revised.) Paper covers. 1 00
Library Edition. 1 50

No. 27. LETTERS ON LANDSCAPE PHOTOGRAPHY.
By H. P. Robinson. Finely illustrated from the author’s own photographs
and containing a Photogravure frontispiece of the author. Cloth bound. 1 50

No. 29. THE PROCESSES OF PURE PHOTOGRAPHY.
By W. K. Burton and Andrew Pringle. A standard work, very complete
and freely illustrated. Price, in paper covers, $2 00. Library Ed. 2 50

No. 30. PICTORIAL EFFECT IN PHOTOGRAPHY.
By H. P. Robinson. A new edition. Illustrated. Mr. Robinson’s first
and best work. Cloth bound. 1 50

No. 32. PRACTICAL PHOTO-MICROGRAPHY.
By Andrew Pringle. Fully illustrated. Cloth bound. 2 50

No. 33. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND
PHOTOGRAPHIC TIMES ALMANAC FOR 1890.
Paper cover (by mail, 14 cents additional). 50
Library Edition (by mail, 14 cents additional). 1 00

No. 34. THE OPTICAL LANTERN.
Illustrated. By Andrew Pringle. Paper covers, $1.00.
Cloth bound. 1 50

No. 35. LANTERN SLIDES BY PHOTOGRAPHIC METHODS.
By Andrew Pringle. Paper covers 75 cents. Cloth bound. 1 25

No. 36. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND
PHOTOGRAPHIC TIMES ALMANAC FOR 1891.
Paper covers (by mail, 15 cents additional). 50
Library Edition (by mail, 15 cents additional). 1 00
Cyclopædic Index for 1891 Annual. 10

No. 37. PHOTOGRAPHIC OPTICS.
A Text-Book for the Professional and Amateur. By W. K. Burton.
Paper covers, $1.00. Library Edition. 1 50

No. 38. PHOTOGRAPHIC REPRODUCTION PROCESSES.
Illustrated. By P. C. Duchochois. Paper covers, $1.00. Cloth. 1 50

No. 39. EL INSTRUCTOR FOTOGRAFICO.
Paper covers, $1.00. Library Edition. 1 50

No. 40. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND
PHOTOGRAPHIC TIMES ALMANAC FOR 1892.
Out of print.

No. 41. THE CHEMISTRY OF PHOTOGRAPHY.
By W. Jerome Harrison. Cloth bound. 3 00

No. 42. PICTURE MAKING IN THE STUDIO.
By H. P. Robinson. Paper covers, 50 cents. Cloth bound (Library
Edition). 1 00

No. 43. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND
PHOTOGRAPHIC TIMES ALMANAC FOR 1893.
Edited by W. I. Lincoln Adams.
Paper covers (postage extra, 15 cents). 50
Cloth bound (Library Edition) (postage extra, 15 cents). 1 00

No. 44. THE LIGHTING IN THE PHOTOGRAPHIC STUDIO.
By P. C. Duchochois. A new edition. Paper covers, 75 cents. Cloth
bound (Library Edition). 1 00

No. 45. THE GRAMMAR OF PHOTO-ENGRAVING.
By H. D. Farquhar. Illustrated. The most complete text-book yet published
on this subject. Price, in paper covers, $2.00. Cloth bound
(Library Edition). 2 50

No. 46. INDUSTRIAL PHOTOGRAPHY.
Illustrated. By P. C. Duchochois. Being a description of the various
processes of producing Indestructible Photographic Images on Glass, Porcelain,
Metal, and many other substances. Paper covers, 50 cents. Cloth
bound. 1 00

No. 47. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND
PHOTOGRAPHIC TIMES ALMANAC FOR 1894.
Edited by W. I. Lincoln Adams.
Paper covers (postage extra, 15 cents). 50
Cloth bound (Library Edition) (postage extra, 15 cents). 1 00

No. 48. ARISTOTYPES AND HOW TO MAKE THEM.
Giving a complete description of the manufacture and treatment of Gelatino
and Collodio-Chloride Papers. By Walter E. Woodbury. Illustrated.
Paper covers, $1.50. Library Edition. 2 00

No. 49. THE ENCYCLOPÆDIC DICTIONARY OF PHOTOGRAPHY.
Containing over 2,000 references and about 400 illustrations. By Walter
E. Woodbury. In press.

No. 50. THE AMERICAN ANNUAL OF PHOTOGRAPHY AND
PHOTOGRAPHIC TIMES ALMANAC FOR 1895.
With over 200 illustrations In paper covers. Postage extra. 50
Cloth bound. (Library Edition.) Postage 15 cents extra. 1 00

No. 51. THE PHOTO-GRAVURE PROCESS.
By Henry R. Blaney. A very complete and practical book, written by an
Expert. In paper covers, 50 cents. Cloth bound (Library edition). 1 00

For sale by all dealers in Photographic goods, booksellers, and sent, post-paid, on receipt of price, by the
publishers,

THE SCOVILL & ADAMS COMPANY OF NEW YORK,
SEND FOR BOOK CATALOGUE.                                         423 BROOME STREET.

A Selected List of Books

From the Scovill & Adams Co.’s Book Catalogue.

Price per Copy.

Amateur Photography.
A Practical Guide for the Beginner. By W. I. Lincoln Adams. Illustrated. Paper covers, 50c.;
cloth bound. $1 00

Lantern Slides and How to Make Them.
By A. R. Dresser. A new book, very complete and practical. 25

Photography at Night.
By P. C. Duchochois. Illustrated. 108 pp. Paper covers. 1 00

Bromide Paper and How to Use It.
Written by an Expert, with a specimen Bromide illustration. 25

The Knack.
Written expressly to help the beginner in perplexity, reduced to 25

Photographic Lenses; Their Choice and Use.
By J. H. Dallmeyer. A special edition, edited for American photographers. In paper covers. 25

The Chemistry of Photography.
By Prof. Raphael Meldola. 2 00

The Photographic Image.
By P. C. Duchochois. A Theoretical and Practical Treatise on Development. Paper covers. 1 50
Cloth bound. 2 00

The Ferrotyper’s Guide.
For the ferrotyper, this is the only standard work. Seventh thousand. 75

The Photographic Studios of Europe.
By H. Baden Pritchard, F.C.S. Cloth bound, $1.00; paper covers. 50

Art of Making Portraits in Crayon on Solar Enlargements.
(Third edition.) By E. Long. 1 00

History and Hand-Book of Photography.
With seventy illustrations. Cloth bound, reduced to 50

Crayon Portraiture.
Complete instructions for making Crayon Portraits on Crayon Paper and on Platinum, Silver and
Bromide Enlargements; also directions for the use of Transparent Liquid Water Colors, and for
making French Crystals. By J. A. Barhydt. A new edition. Paper covers, 50c.; cloth bound. 1 00

Art Recreations.
Ladies’ popular guide in home decorative work, with a chapter on photography. Edited by Marion
Kemble. 1 00

American Carbon Manual.
For those who want to try the carbon printing process, this work gives the most detailed information.
Cloth bound. Reduced to 50

Manual de Fotografia.
By Augustus Le Plongeon. (Hand-book for Spanish Photographers.) 1 00

Secrets of the Dark Chamber.
By D. D. T. Davie. 50

The Photographer’s Book of Practical Formulas.
Compiled by Dr. W. D. Holmes. Ph.D., and E. P. Griswold. Paper covers, reduced from 75c. to
30c.; cloth bound, reduced from $1.50 to 60

American Hand-Book of the Daguerrotype.
By S. D. Humphrey. (Fifth edition.) This book contains the various processes employed in taking
heliographic impressions. 25

AN ANNOUNCEMENT!

We have made arrangements with the New York Photogravure
Company by which we are enabled to offer a series of magnificent
Photogravures at a very low price.

The first is that which has been already published and described by
us, being the “COURT OF HONOR,” at the World’s Fair. The companion
to this is in preparation, and will shortly be ready. It represents
a view of the “ADMINISTRATION BUILDING AND COURT OF
HONOR,” looking up from the Peristyle. These two pictures form a
magnificent souvenir of the World’s Fair, and imperishable ones, which
have not been approached in artistic or technical excellence. Each
measures about 18 x 22 inches, and they are printed in the best style, on
paper 24 x 32 inches.

The next two pictures are photogravures from negatives made by
Mr. John E. Dumont, of Rochester, and form admirable companion
pictures. Their titles are, “NO DOUBT,” and “IN DOUBT,” and
represent, in one case, a monk with a winning hand of cards, and having
no doubt what his play is to be. In the other, a monk holding a
hand of cards which evidently is a losing one, and, as evidently, he is
in doubt as to what to play.

The story of these pictures is admirably told, and with all the well
known skill of Mr. Dumont.

The next in the series is a “LANDSCAPE WITH SHEEP,” by
Mr. Robert S. Redfield, of Philadelphia, and can well pass for a reproduction
of a painting by Verbeck Hoven, not that it is in any sense a
copy of any picture, being entirely original, but in sentiment and feeling
equaling the best and most artistic work of the painter. As a companion
to this, “A STORM AT BRIGHTON” is published. This
was one of the prize pictures at the recent exhibition of the joint Societies
of Amateur Photographers of Boston, Philadelphia and New York.
It is exceedingly effective as a study of cloud and motion of water, and
forms an admirably suggestive study for artists. It is from a negative
by Mr. Ernest Edwards, President of the New York Photogravure
Company.

The well-known picture of “Flirtation” has also been engraved for
this series, and will be very popular. This picture (it will be remembered)
appeared in the American “Annual of Photography” for 1892.

With the exception of the two first, all these pictures measure about
16 x 12 inches for size of work, and are printed on etching paper, 22 x 28
inches.

The uniform price of all is $2.00 each. For sale by all dealers.

Other subjects will follow, from time to time.

These Photogravures will be sent, post-paid, by mail, carefully
packed, on receipt of price.

THE SCOVILL & ADAMS COMPANY.

Twelve : Photographic : Studies.

THE THIRD EDITION.

A Collection of Photogravures from the Best Representative Photographic
Negatives by Leading Photographic Artists.

COMPILED BY W. I. LINCOLN ADAMS.

Printed on Japan Paper, Mounted on Boards. Size, 11 × 14, in ornamental
Portfolio and a Box. Price, $3.00.

Sent, post-paid, on receipt of price, by

The Scovill & Adams Company.

Artistic Landscapes

FROM NATURE.
Representing
The Four Seasons.

These plates were made from photographs taken direct from
nature. They have been most beautifully reproduced by the
highest grade (copper-plate) process of the New York Photogravure
Company. The plates measure 6 x 8 inches, but are printed on
extra heavy plate paper 11 x 14 inches in size. Each picture is printed
in a tint especially appropriate for the season which it represents, and
the entire set of photogravures are in every way worthy of framing.

The negatives were photographed from nature by Mr. W. I. Lincoln
Adams, and they have been enthusiastically praised wherever shown.

What George Inness, America’s greatest landscape painter, says of
these photogravures:

Sent, post-paid, to any address, on receipt of price, by

The Montclair Photogravure Publishing Company,
MONTCLAIR, N. J.

THEODORE METCALF CO.

Chemicals

Fine, Rare and Crude, of every description.

From the many years we have dealt in this class of supplies,
we claim to be leaders in this branch of the drug
trade, and by constantly replenishing and increasing our
stock, and at once procuring or manufacturing all new
chemical products, we are able to do full justice to all
orders.

: Pure Chemicals :
FOR PHOTOGRAPHIC AND PROCESS WORK.

Bromide of Potassium.
Bichromates.
Ammonium, Potassium and Sodium.
Powdered Dragon Blood, Light Colored and Dark.
Metcalf Powdered Bitumen of Judea.
:: ALSO ::

Syrian Asphaltum.
Benzole, Chemically Pure,
By Can or Barrel.
Etc., Etc., Etc.

Boston,                                         U. S. A.

The Grammar of Photo-Engraving.

BY H. D. FARQUHAR.

(Number Forty-five of the Scovill Photographic Series.)

CONTAINING INSTRUCTION IN

Drawing, Chemistry and Optics, as applied to Photo-Engraving.

AND A PRACTICAL TREATISE ON THE ART OF

Half-Tone, Zinc Etching, Swelled Gelatine, Lithotype and
Chalk Plate Engraving, as Practiced in the
United States.

ILLUSTRATED.

The object of this book is to present to the constantly increasing
number of persons seeking after practical knowledge in the art of
process engraving, a comprehensive and totally reliable text-book. The
book has been written with a view to instruct the amateur as well as the
professional, and the writer has always had in mind the beginner,
counting no detail too trivial to be fully described.

It has been written for the most part in the leisure hours, after practical
service during the day in a photo-engraving establishment, so that
the instruction goes directly from the shop to the pupil. It has been
the author’s hope, in writing this book, to so carefully describe every
branch of work connected with the subject, that the beginner, who knows
absolutely nothing about it, may become a practical photo-engraver
from a careful reading of the work.

CONTENTS:

For sale by all dealers in Photographic Materials, and sent, post-paid,
on receipt of price, by the publishers,

THE SCOVILL & ADAMS COMPANY,            
423 Broome Street, New York City.

[Pg 1]

PHOTOGRAVURE.

BY
HENRY R. BLANEY.

With Introduction and Additions by the Editor.

NEW YORK:
THE SCOVILL & ADAMS COMPANY.
1895.

[Pg 2]

Copyright, 1895,
The Scovill & Adams Company.

[Pg 3]

CONTENTS.

[Pg 4]

[Pg 5]

INTRODUCTION.

About the year 1820 Nicéphore Niepce made the discovery
that bitumen, under certain conditions, was sensitive to light.
He dissolved it in oil of lavender, and spread a thin layer of
the solution thus obtained upon stone. This he exposed under
a drawing (making the paper transparent by waxing), and
after sufficient exposure, oil of lavender was poured on.
Those portions of the bitumen which had been exposed to
the action of the light had become insoluble, and so remained
while the lines which had been protected by the drawing
were dissolved away. By treating the stone with an acid
these lines were bitten or eroded, and could be printed from.
Niepce afterward employed metal plates instead of the stone.

Here we have the foundation for a number of printing
processes of the present day, including photogravure.

For many years, however, progress in processes for intaglio
printing was very slow. In 1852 Talbot introduced a process
termed photoglyphy, and in 1854 Paul Pretsch, of Vienna,
patented a process which he termed photogalvanography.
In 1870 the late Walter B. Woodbury, inventor of the Woodburytype
process, suggested to M. Rousselon, of M. M. Goupil
& Co.,[A] a process which he had discovered, and which he
describes[B] as follows:

“The method, as perhaps many of your readers know,
is based on the fact that some pigments used in carbon
[Pg 6]printing have an unpleasant habit of granulating when
mixed with gelatine and bichromate, destructive to their
use in carbon printing and Woodburytype, but bearing
the essence of success in an engraving process where
grain is necessary. The origin of this method was simply
owing to my getting some bad reliefs, in which this effect
was first noticed. Out of this arose the photo-engraving
process which, as I said before, is now claimed as the invention
of a Frenchman. But I am digressing.

“This relief, possessing a suitable grain, could, by hydraulic
pressure, be made to transfer its minutest details to metal
without any loss to fineness, so giving a plate possessing all
the properties of a mezzotint. The methods hitherto
used of electrotyping would have proved useless, as all
detail would have been lost. The same thing applies to
the new method I am now about to bring before your
readers. The latter process of getting the grain transferred
to a hard metal remains the same; but the novelty is in the
method of producing the grained plate. To those who have
practiced the process of enameling, as used by Geymet and
Alker, and others, my description will be better understood.

“I first coat a thin, polished steel plate (zinc will answer)
with a very thin coating of gum, glucose, and bichromate as
used for enameling. This I dry rapidly, and, while still
warm and desiccated, expose under a glass positive. On removal
from the frame after exposure the plate is made to
take up a slight amount of moisture by breathing on it.

“During this stage I brush or dust over it any hard powder,
such as emery, powdered glass, etc, but these I keep of
different degrees of fineness or coarseness. No. 1, is of a
coarse quality, and is used first; No. 2 is finer; and No. 3 is
of the finest grain obtainable. These are obtained by passing
through muslin of different degrees of fineness. Having
in the first stage of moisture used the No. 1, or coarsest,[Pg 7]
powder, after a time No. 2 is dusted over and adheres to the
middle tints, while the very finest tones, which have almost
lost their sticky qualities by the exposure to light, are
treated to No. 3.

“Now we possess a granular picture having all the true
qualities required in a photo-engraved plate, or, rather,
such as will give a reverse in metal having these qualities.
The steel or zinc plate is then to be exposed to light to
completely harden the mixture all over, and is then treated
exactly as in my other engraving process; that is, pressed
into soft metal by hydraulic pressure, electrotyped, and then
the surface is aciercised or coated with steel. The dark
parts are thus represented by a coarse grain, the middle tints
by a medium grain, and the finest shades by the most infinitesimal
particles, thus meeting all requirements necessary to
a successful photo engraving process.”

This process was taken up by a Frenchman and claimed by
him as his own invention. The chief difficulty with it was
that the plates before being perfect require the work of a
skillful engraver, sometimes for weeks. They were therefore
very costly, six dollars per square inch being charged
for the making of the plate alone.

Klic’s process, 1886, was the next important improvement
in photogravure or intaglio printing, and since then many
other processes and improvements have been introduced by
Obernetter, Waterhouse, Colls, Zuccato, Sawyer and others.

In the following chapters Mr. H. R. Blaney gives a working
description of the process as practiced to-day by many
of the leading firms in this and other countries. This originally
appeared in the columns of The Photographic Times,
but I have made many additions that I have imagined may
be of value to the student. A dividing line will be found
between Mr. Blaney’s writings and my own additions.

THE EDITOR.

[Pg 8]

[Pg 9]

CHAPTER I.

The Negative.

Any negative may be used for photogravure, that is, taken
from nature, or from a painting or engraving, provided it is
reversed, and, in the case of paintings, should, in addition,
be on an orthochromatic plate. The negative should be soft
and brilliant, well exposed, and not hard or under-exposed.
A reversed negative is always necessary if the print from
the copper plate is required to be similar in regard to right
and left, or if no other means are to be taken, to reverse the
image upon the copper plate. Professionals use stripping
plates especially made for this purpose for small work, or the
reversed negative may be made in the copying camera. A
fairly good reversed negative can be made by contact in
the printing frame from an albumen print from the original
negative, the print made transparent with white wax by
being placed on a piece of warm, clean metal and the wax
rubbed over the face. To have the negative reversed, the
print should first be placed, face out, against the glass of the
printing frame, with its back against the sensitive surface of
the transparency plate, the back closed in and exposed to a
large lamp for about five seconds. Every care must be
taken that you use the best of negatives, carefully retouched
if necessary, as the professional photographic etchers have
informed me that (from their standpoint) the success of the
whole process depends on the quality of the original negative
and the care taken in artistic retouching.

It will often happen in commercial photogravure work
that plates have to be made from all kinds of original nega[Pg 10]tives.
In cases where these are flat from over-exposure it is
well to make a carbon transparency; intensifying the image
with a strong solution of permanganate of potash, and from
this make a fresh negative upon a slow or Carbutt transparency
plate.

Mr. Horace Wilmer says: “The class of negative most
suitable is such as gives a good result by any of the printing
processes. A bright sparkling negative will always give a
good plate, but I do not find that any satisfactory results
can be got from a soft flat negative. The negative should
be as perfect as possible. It is absolutely useless to work
from a faulty negative. Contrasts on it may be increased
by retouching. Such contrasts are desirable because the
tendency of the etching is to reduce them somewhat.”

Perhaps the simplest way of obtaining a reversed negative
is by placing the dry plate in the slide film inside and exposing
through the glass, of course after allowing in focusing
for the thickness of the glass plate. With the wet-collodion
process, usually the method employed by large photomechanical
printers, this method can be used because it is a
simple matter to carefully examine the glass plate to be
employed, but it will be obvious that with the ordinary dry
plate all the imperfections of the glass, such as dirt, scratches,
air-bubbles, etc., will be clearly reproduced in the image.

Another method largely employed to produce reversed
negatives direct, is by means of a mirror or prism placed
either before or behind the lens. The prism is the more
convenient, but if large sizes are used it becomes a costly
piece of apparatus. The mirror, which should be a plane of
glass silvered on its surface, is a less expensive affair. By
either of these means the reversed negatives can be made
direct without suffering the least in quality.

With celluloid or other flexible films, printing can, of
course, be done from either side. Practical men, however,[Pg 11]
say that, except with the very thinnest films, there is an
undoubted loss of sharpness in the grain when these films
are reversed and with some mechanical processes.

Against this, however, it may be said that better contact
can be obtained in printing than if the film were upon a
piece of uneven glass, as is often the case, for by backing it
with a piece of plate-glass perfect contact is ensured everywhere.

We come now to the method of stripping the film from the
glass. If the negative is made by the collodion process the
matter is a simple one. The glass is treated with French
chalk previous to collodionizing. After the negative is
made and dried it is laid on a leveling stand and a solution
of gelatine poured on it. When dry, it is readily stripped
by running a knife all round. With ordinary dry-plates the
method usually recommended is to immerse them in dilute
hydrofluoric acid. The difficulty often experienced here is
in the lateral expansion of the film. This will largely
depend upon the plate, or rather the quality of the gelatine
used. There are, however, two methods of securing the
films to some medium unaffected by moisture, and so prevent
expansion or distortion. The first is that recommended
by Mr. A. Pumphrey and the second by Mr. H. J. Burton,
modified descriptions of which are given in a recent number
of The British Journal of Photography. If the negative is
varnished this is removed. A thin film of gelatine is moistened
in a dilute solution of hydrofluoric acid, one part of
acid to sixty of water. This gelatine film is secured on
paper by a coating of india-rubber.

The action of the dilute acid is to soften the gelatine,
making it very adhesive. It can, in this state, be readily
attached to the negative by squeegeeing. The acid in the
film passes through the negative, and releases it from the
glass. It can then be lifted off and pinned to a flat surface[Pg 12]
to dry. The paper can afterward be stripped off, when dry,
by moistening the back with a little benzole to dissolve the
india-rubber. In this manner we get the stripped negative
in exactly the same size as when on the glass, to which it
can be restored at any time desired.

Burton, in his method, employs collodion in place of paper
as the support. The negative is first coated with a thick
collodion, and this is allowed ten minutes or so to set. It is
then immersed in plain water until the film loses all appearance
of greasiness. A few drops of hydrofluoric acid are
added to the water, and the dish gently rocked. The film
will soon detach itself, when the plate should be at once
rinsed. Another plate previously coated with gelatine, and
dried, is placed in the dish, and the released film, after
reversing, is floated upon it, the two removed together, and
allowed to dry.

So far we have only treated upon reverse negatives, either
obtained at once or reversed afterward. It often happens,
however, that we have an ordinary negative, which is
required to be reversed. This negative may be a valuable
one, and the risk involved in stripping it be too great.

Another simple method of obtaining a reversed negative
is by means of the powder process. Although this process
is an old one, it appears to be but little known, for what
reason we have never been able to define. It is by no means
difficult, and by its means a negative can be obtained direct
from a negative without the intermediate positive transparency.

The principle of the process is this: An organic tacky substance
is sensitized with potassium dichromate, and exposed
under a reversed positive to the action of light. All those
parts acted upon become hard, the stickiness disappearing
according to the strength of the light action, while those
parts protected by the darker parts of the positive retain[Pg 13]
their adhesiveness. If a colored powder be dusted over, it
will be understood that it will adhere to the sticky parts only,
forming a visible image, the same being a reproduction of
the positive printed from. The process is very useful for
the production of lantern slides and transparencies, or for
the reproduction of negatives. Any of the following formulæ
may be employed for the manufacture of the organic substance:—

Solution A.

Solution B.

Two solutions to be mixed together before using in proportions
15 A, 25 B, 50 water.

Woodbury’s Formula.

Obernetter Process.

The gum is first dissolved and the remainder of the ingredients
added. It may be necessary to warm the solution in
a hot water bath to dissolve it. It is then filtered through
flannel or clean muslin, and preserved for use in well-stoppered
bottles. With this solution clear glass plates are coated
and dried by a gentle heat over a small spirit lamp. The
plate while still warm is exposed under a reversed positive[C]
[Pg 14]
for from two to five minutes in sunlight, and from 10 to 20
minutes in diffused light. The image is then but slightly
visible. On removing from the printing frame the plate is
laid in the air (protected from light) for a few minutes to
absorb a little moisture from it. The next process is the
“dusting on.” If the image is required to be black, fine
Siberian graphite is spread over it with a soft flat brush.
This will adhere to the parts unaffected by light, giving an
image of the positive. Any colored fine powder maybe used,
giving images in various colors. When fully developed the
excess of powder is dusted off and the film coated with collodion.
After this it is well washed to remove the unaltered
gum and dichromate salt. The film may, if desired, be
detached from the plate and used for enamels, ivory, wood,
textile fabrics, opals, etc.

[Pg 15]

CHAPTER II.

The Transparency.

Regular transparency gelatine dry plates are the handiest
for making positives, especially for amateurs, if one does not
care if the subject is in reverse, or if one has a reversed
negative to work from. There is a “special” carbon tissue,
price $4.00 per roll of 2 × 12 feet, made by the Autotype
Company, of London, England, with full instructions appended;
by a system of double transfer, reversed negatives
may be obtained with this tissue. The “special” tissue is
only to be used for the transparency. A safe edge of black
paper is required on the transparency, pasted up exactly to
the edge of the picture, on the glass side; it comes, sold in
strips, gummed, ready for use, about ¼ inch wide; this is
required, as the tissue used for the negative resist on the
copper plate, which is printed from the transparency, must
have a safe edge, shielded from the light, or it will not attach
itself to the copper plate, the tissue coming inside half way.
The screw pressure printing frame should have a piece of
heavy felt for backing the transparency.

The following instructions for making carbon transparencies
will no doubt be found useful:

The carbon tissue prepared for this process consists of
paper coated with gelatine containing carbon, lamp-black, or
other pigments.

The Autotype Company, of London, manufacture a special
“transparency” tissue.

Cutting up the Tissue is performed by unrolling it gently
upon a zinc cutting plate, cut square and true, with the inches
marked at the bottom and right-hand side. By using a T[Pg 16]
square and observing the numbered inches marked on the
plate, it will not be difficult to cut the tissue to any dimension.
If the tissue is very curly and unmanageable it should
be kept down with convenient weights. After cutting it up
to the required sizes, which should be conveniently smaller
than the dish to be used for sensitizing, it should be kept
flat under a metal plate.

Sensitizing the Tissue is the next operation. This is
performed in a solution of potassium dichromate rendered
alkaline with ammonia. Tie over the mouth of a two-gallon
jug a piece of muslin, to form a kind of bag, into which place
fifteen ounces of potassium dichromate, then fill up the jug
with water and allow it to stand until the dichromate is dissolved
and the solution becomes cold. It is sometimes advisable
to regulate the quantity of dichromate. In hot weather,
or for very thin negatives, the proportion of water should be
doubled, while for very hard negatives only half the quantity
should be used. In very hot weather it is often advantageous
to replace about 30 per cent. of the water with the
same quantity of alcohol.

The operation of sensitizing the tissue must be carried on
in a room lighted by a window covered with a yellow blind.
A flat dish of porcelain, glass, or papier maché, a squeegee,
and a sheet of glass or zinc larger than the tissue, will be
required.

The solution is poured into the dish, and should be at least
two inches deep. The tissue is then immersed in it, and the
air-bells that form immediately brush away from both sides
with a broad camel’s-hair brush. The temperature of the bath
should not be higher than 60 deg. Fahr.; and the time of
immersion should be from three to five minutes. After the
tissue has remained in the solution for the allotted time it is
gently removed and laid face downward upon the glass or
zinc plate, and the back squeegeed, removing all superfluous[Pg 17]
solution. The tissue is removed from the glass and laid over
a sheet of cardboard, bent into the form of an arch, to dry.

Another method (H. J. Burton’s) of sensitizing carbon
tissue is to lay it flat on a sheet of clean blotting paper, and
sponge on the back a very strong sensitizing solution composed
as follows:

First mix the ammonia with the water, then grind up and
add the dichromate.

Drying the Tissue should be accomplished in a room perfectly
free from the noxious fumes of other chemicals, and
lighted only by non-actinic light. Tissues sensitized during
the evening should be dry on the following morning. It
should then be cut to the sizes required and kept flat in a
pressure frame, or other similar contrivance.

Exposing the Tissue.—The tissue can be exposed behind
the negative in an ordinary printing frame, or in special
frames having no joint in the back, as no image is visible.
The negative must be furnished with a safe edge, made by
painting an edge about one-eighth of an inch round the
negative with black varnish, or by pasting on strips of red or
black paper. Exposure must be judged by an actinometer.
A very suitable instrument for timing the exposure of carbon
tissue is Sawyer’s actinometer. It consists of a rectangular
tin box with a glass lid, bearing twelve tints graduated from
slight discoloration to a degree of opacity, representing the
extreme amount of deposit upon the lights of the densest
negatives, each division of this screen of tints bearing a number
in opaque pigments; and a roll of sensitive paper is placed
in the box, and the end pulled forward so as to pass under
the tints. When this arrangement is placed in the light, the
silver paper commences to discolor underneath the graduated[Pg 18]
screen, beginning of course at the lightest, but the number
on the tint being in an opaque pigment is preserved white,
and serves to register the progress of printing; for if, when
the lid is opened, the number one, for instance, shows clearly
on a tinted ground, the instrument is said to have registered
one tint; by that time the number two will have begun to
make its appearance, and, if sufficient exposure be given, the
light will print through the whole scale by successive steps,
and show up the numbers, one to twelve. With an instrument
of this kind it is evident that, by exposing alongside
the carbon tissue and determining the number of
tints required for the proper exposure of that negative, the
same number of tints with the same negative will always
prove right. A little practice will enable one to judge the
number of tints required for every class of negative.

It will be well to remark here that freshly sensitized tissue
will produce inferior pictures to that used a day or two after;
the pictures are not so hard, and there is less danger of the
high-lights being washed away.

Continuing Action of Light.—If the carbon tissue
after exposure to the light, be kept in the dark for a little
time the effect on the print will be precisely the same as if
the exposure to light had been prolonged. This continuing
action of light may often be utilized to advantage. Pictures
known to be under-exposed will, if kept till morning, by that
time have acquired the same force as if they had received
the proper exposure.

Development consists simply in dissolving the gelatine unaffected
by light, with hot water as the solvent.

Immerse the exposed tissue in a bath containing cold
water. It will first of all curl up, but afterward lay flat
and limp. It is then placed in another bath containing cold
water together with a sheet of glass which has previously
been coated with a 5 per cent. solution of gelatine. Bring[Pg 19]
them together face to face, draw them out, and force into
close contact with a large squeegee; then place between
blotting paper for five or ten minutes. In squeegeeing, the
tissue should be uppermost, and a sheet of American cloth
laid over it to prevent the squeegee from damaging it.

Development should not be attempted for at least twenty
minutes, during which time the glass, with the tissue on it,
should be placed between sheets of blotting paper, and kept
under pressure to insure its adherence to the glass support.
After that time it is placed in a dish, and water heated to a
temperature of 100 deg. F. added. The colored pigment
will at once commence to ooze out of the edges, and after a
little time the paper originally holding the carbon film may
be removed with the hand. Then, by gently leveling the
picture with the hand, the superfluous gelatine will be
washed away, and if the exposure has been correct a perfect
image should remain. A certain amount of control can be
kept over an autotype picture. An over-exposed print will
show itself by insolubility of the gelatine, and the high
light refusing to be washed clear. The temperature should
be raised considerably, and hot water poured over with a
jug. If this fails to reduce the intensity, add a little
ammonia to the water as a last resource, though the better
plan is to make another print, giving less exposure. Under-exposure
results in over-solubility of the gelatine. The
half-tones will be washed clean away. It is rarely an under-exposed
print can be saved. All that can be done is to
reduce the temperature of the water. Development should
never be hurried; the slower it is the better the gradation
of tone in the results.

After development is complete the bichromate salt is
discharged, and the image rendered perfectly insoluble by
well washing in cold water and placing in a dish containing
a 5 per cent. solution of potash alum, after which it is again
washed and dried.[Pg 20]

Another method of making a transparency and one that
involves less trouble is by means of the transparency plates
which are now in the market. Of these we have tried Carbutt’s
with the greatest success. For these the following
instructions are given:

The requisites are, a deep printing-frame a size larger
than the negative to be used, with a flat glass bottom clear
and free from scratches (crystal plate is best), a dark-room
Lantern, or other artificial light, and Keystone
Gelatino-Albumen Plates. Transparencies can be made
same size of negative by contact and exposure to artificial
light, or enlarged or reduced in the camera by daylight,
with equal perfection in result. To make transparencies by
contact place one of the Keystone thin crystal glass transparency
plates over the negative in printing-frame, lay piece
of dark soft material over it, close down the back, and expose
to the light of the lantern or to a gas flame or other
artificial light, for 10 to 30 seconds, according to density of
negative, at a distance of 20 inches from the flame. Use
the following developer:

Eikonogen and Hydrochinon Developer.

For use take 1 ounce (30 c.c.) of A, ¾ ounce (25 c.c.) of B,
with 4 ounces (120 c.c.) of water.[Pg 21]

More of A will increase density, more of B will increase
detail and softness. Temperature of developer should not
vary much below 65 deg. nor above 75 deg. The after treatment
is same as with any other developer.

Let the development continue until the blacks look quite
strong, and detail showing in the high-lights; wash off developer,
then immerse in

Carbutt’s New Acid Fixing and Clearing Bath.

Dissolve the hyposulphite of soda in 48 ounces (1440 c.c.m.)
of water, the sulphite of soda in 6 ounces (180 c.c.m.) of water;
mix the sulphuric acid with two ounces (60 c.c.m.) of water,
and pour slowly into the sulphite soda solution, and add to
the hyposulphite; then dissolve the chrome alum in 8 ounces
(240 c.c.m.) of water and add to the bulk of solution, and the
bath is ready. This fixing bath will not discolor until after
long usage, and both clears up the shadows of the negative
and hardens the film at the same time.

Let remain two or three minutes after transparency is
cleared of all appearance of silver bromide. Then wash in
running water for not less than half an hour to free from
any trace of hypo solution. Swab the surface with wad of
wet cotton, rinse, and place in rack to dry spontaneously.
Then varnish with plain collodion.

[Pg 22]

CHAPTER III.

The Carbon Tissue—(Sensitizing and Exposure).

The carbon tissue used as a resist, which is mounted on
the copper plate, is made by the Autotype Company, London,
England. No. 100 Standard Brown is the right grade to use,
though I have reached good results with No. 103. The No. 100
is a heavier grade than No. 103, and requires two or three
minutes longer exposure than the latter. Use a deep printing
frame with a screw pressure to secure absolute contact, which
is known by iridescent markings appearing on the glass of
the printing frame. A Johnson’s actinometer is very useful
to time the exposure. From 4 to 6 tints are necessary.
Experience here is the only guide, as the light varies as well
as the density of the negative and the sensitiveness of the
tissue. If one does not have an actinometer, a slip of albumen
paper may be used; as soon as the paper has reached the
darkest point, which is then called one tint, extend it so that
a fresh portion comes out to the light, and so on for the
different tints. In September, for instance, the darkest tint
is reached in about 3 to 4 minutes; two tints and a half or
8 minutes in the shade at midday on a clear day in September
is about right,—this is understood to be with medium negatives
and No. 103 tissue sensitized within three days.

You should over-expose rather than under-expose, allowance
being made when the acid is used. Print deeply, so
that, on development, the negative tissue on the copper plate
shows all the detail clearly in the shadows. The tissue
should not appear very dark on the plate. The copper
should show up through the gelatine clearly and brightly.
The thinner the negative tissue, the quicker the biting of the
acid.

[Pg 23]

Sensitizing the Tissue.

The carbon tissue comes only in rolls of 2½ feet by 12 feet,
price $3.00, not cut. It is not sold in a sensitive condition.
Full instructions with each roll for sensitizing. Tap water
will do, but I would suggest distilled water for making the
sensitizing solution of bichromate of potassium.

The best way to sensitize the tissue, is to place the tissue
face up, keeping it flat so that the solution reaches all parts at
once, removing all air bubbles, and rubbing in the solution
with the fingers until pliant; the time of immersion is three
minutes in winter, two minutes in summer. The hands
should be washed directly after handling the solution, and
care must be taken that there are no cuts on the fingers, as
the solution is very harmful, but if due care is exercised and
the hands well washed immediately with soap, little, if any,
trouble will be experienced; use rubber finger tips as much
as possible. Keep the temperature of the solution at 70 deg.
both in summer and winter. Take a piece of glass free from
scratches (an inch larger all round than the tissue); have the
glass ready cleaned with ammonia and talcum powder of fine
whiting, squeegee the sensitized carbon tissue directly from
the solution on to the glass and place to dry at night in a
light-tight box; it will be dry in the morning.

The tissue is in the best condition for three days after
sensitizing; it can be used up to seven days; it gradually
increases in sensitiveness from day to day. After a week or
ten days has elapsed, it is hard to manage and becomes unreliable.
When the tissue is dry take a sharp knife and cut
inside the edge, and strip off one corner. Fairly good results
can be reached by simply drying over a curved piece of pulp[Pg 24]
board, which is tied with string on each end, but squeegeeing
on glass gives a sharper result. The addition of ammonia
and alcohol to the sensitizing solution makes it easier to strip
the paper from the copper plate, after the carbon tissue is
mounted on the plate, and enables one to develop the resist
in the water at a lower temperature than without it, thus
avoiding pits in the darker portions and white specks or
bubbles in the lights, should the water reach too high a
temperature.

[Pg 25]

CHAPTER IV.

The Cleaning and Graining of the Copper Plate, and
Grade of Copper Necessary, and Where and How
to Buy It at Reasonable Prices.

The best copper is recognized by its rosy lustre. Pure
copper only should be used. It can be purchased ready
polished and beveled from several firms in New York. The
best way, if large quantities of plates are required, is to buy
the copper in the rough of one firm and have it polished by
another, and bevel it yourself if necessary with a file and
burnish it by hand, or the firm who polish it will do the
beveling for you.

The Scovill & Adams Co. supply copper-plates of the
finest quality, ready polished, for photogravure work.

Total cost by this method about one-third less than by
purchasing ready made. It makes a copper plate 1/16 grade,
9 × 11, cost about $1.10. Order your copper 1/16 in. grade up
to 10 × 12; larger sizes 1/8 in. grade. If you use 1/16 in. grade
above this size, the plate is liable to buckle. Be sure the
plate is free from pits and scratches and with a high polish.
Have what the polishers and engravers call a rouge polish.
If they do not supply it, rouge it yourself with powdered
rouge and turpentine, using a ball of absorbent cotton over
a large piece of smooth cork. A good way to buy rouge is
in the stick; it is more economical. Rub the wet cotton on
it and the right quantity is assured. Pits in the copper may
be taken out by tapping upon the back with a nail set, using
a small piece of polished steel to lay the face of the plate on,
and localizing the spot with a pair of calipers. The part
raised by the tapping, cut away with the scraper, then rub[Pg 26]
the spot with Scotch stone and water, then a piece of
engraver’s charcoal (cut to a pencil point), with machine oil;
then burnish with the regular engraver’s burnisher and
sperm oil, finishing with rouge and refined turpentine.

When the plate is well polished, make a strong solution of
caustic potash (C.P.), which comes in sticks, as strong as
possible, as long as it does not stain the copper. It should
register about 40 deg. with an actinometer used to test silver
solutions.

Take a piece of absorbent cotton and clean the copper
with potash (by the way, use finger tips); rinse under tap
for five minutes, then a fresh piece of cotton with alcohol at
95 per cent., rinse again with water, and place in warm water
for final rinsing; stand up on corner, or place in drying
frame usually used for negatives; allow to drain. Should
any stains appear, it must be recleaned and all the operations
repeated until it drains off without streaks, for these
streaks and spots of stain are caused by the caustic potassa,
which is difficult to remove. It is as hard to get rid of from
the copper as hyposulphite is from a negative. These streaks
retard the acid on the copper wherever they appear, and
cause defects in the recording of the original tones of the
negative.

The plate is then ready for graining.

II.—Graining the Copper Plate.

A grain is required on the copper plate so that the tones
will be reproduced, as copper has not a sufficient grain of its
own. The grain is given to the copper plate by dusting it
with powdered Syrian asphaltum or resin. Have a paste-board
box made 18 inches high, 12 inches wide and 8 inches
deep, perfectly air-tight, with a small door running the whole
length on the widest side, an inch or two from the bottom.
Have the inside of the box perfectly smooth; place within[Pg 27]
the box 4 ounces finely powdered Syrian asphaltum (sold by
Messrs. Theodore Metcalf & Co., Tremont Street, Boston,
Mass.); it is difficult to find in New York. Shake the box
vigorously, place on table, insert a piece of wood an inch
high made in shape of cross (or open square, or have netting
of wire raised an inch from the bottom of the box); the
copper plate, previously cleaned, is at once placed face up
upon it. Instead of shaking the box it can be arranged upon
supports (see fig. 1), and revolved.

Fig. 1.

Close the door instantly, and let the plate remain about
two minutes; carefully remove the plate and place it on a
Florence oil lamp, holding the plate with a hand vise, watch
carefully until the powder disappears from the surface and
the plate slightly smokes, then stand aside to cool. Do not
keep the plate too long on the heater, or the particles of dust
will run together, forming an impenetrable varnish over the
plate. This part of the process is not difficult, but requires
practice. Preserve each atom of dust as much as possible,
examine with magnifying glass and, when cool, test with
finger nail; if it rubs off easily, it has not been heated
enough; then the plate must be re-cleaned and again pow[Pg 28]dered.
To get a good all-round working grain, suitable for
medium subjects, the plate should be placed at once in the
box after shaking; thus the coarser particles that fall first,
and the finer, which gradually settle, will combine after two
or three minutes.

Many combinations will be suggested to the student by
practice to suit the subject; for instance, waiting for two
minutes and then inserting the plate, gives a fine grain for
delicate subjects. Powdered dragon’s blood (resin) in combination
with asphaltum makes a beautiful grain; a separate
box may be used for the dragon’s blood; the asphaltum first
dusted on the plate, then inserted in the dragon’s blood box
for twenty or thirty seconds, then melted together. The
dragon’s blood melts first, then the asphaltum.

The air brush is also used by professionals; it throws a
resinous spirit varnish, coarse or fine, as required.

[Pg 29]

CHAPTER V.

Development of Negative Resist on the Copper Plate,
and Preparation for Biting with Acid through
the Gelatine.

Have a wooden box made 24 inches long, by 12 inches high,
12 inches wide, with door 6 inches high on side, fastened with
hinges, top and bottom of box open; cover top with sheet
zinc. Place inside Florence oil lamp; the door is valuable
to regulate the heat. On top of box place deep porcelain
tray, 11 × 14, fill with water half full; in the water place two
pieces of plate glass ½ inch high and 4 inches long, on which
to place copper to keep it from the bottom of the tray. Slide
the copper plate into the water, removing all air bubbles,
keeping the fingers off the surface of the plate. Take the
sensitized and exposed tissue and place face down in the cold
water (65 deg.) sliding it gradually in at further end of the
paper so as to avoid air bubbles; the instant the paper curls
backward, place it over the copper plate and remove it
quickly from the water. This has to be done with celerity
or it will be found difficult to mount the tissue with the
squeegee on the copper, and also it should be exactly placed
with reference to the top and sides of the copper; all this,
of course, to be done under water, never allow it to slip up
out of it. Place plate on table and squeegee into place,
stroking firmly from the centre, each way. Place face down
on clean blotting paper, under heavy weight for fifteen
minutes. While plate is under pressure (which is necessary
to enable the gelatine to expand and attach itself to the
plate), start the lamp gradually, and by the time the paper
is ready the water should register on the thermometer 75 deg.[Pg 30]
Slide the plate under water removing air bubbles as they
appear, with a ball of absorbent cotton; when the heat of
the water reaches 90 deg. Fahr., the gelatine commences to
ooze from all around the edges of the paper, and after the
plate has remained in the water about ten minutes after the
showing up of the gelatine (at the temperature from 90 to 95
deg.), take a pin and carefully raise the paper at the corner,
gradually pulling away the paper toward the opposite corner,
keeping the hand close to the water; should the gelatine
which adheres to the plate appear to lift, wait a few minutes
longer and start another corner. After the paper is stripped
from the plate, gently develop the negative resist with a
piece of fresh absorbent cotton, delicately rubbing the surface,
edges first, and lave the plate up and down in the
water, keeping the temperature steadily at 90 to 95 deg., by
raising or lowering the lamp. (Should the paper be under-exposed
and appear very black on the copper, develop at
100 to 110 deg., not over. If over-exposed it will appear
very thin, and the heat of the water must not go over 90 deg.;
it will strip at 88 to 90 deg.) Then the negative image
gradually appears, the darks first, which are of course the
brightest portions; when all detail appears in the shadows
and the negative stands out clear and bright, take it out of
the dark-room (which is lighted with an ordinary lamp), and
gently wash under the tap with clean and cold water at 65 to
70 deg.

Dry the resist with alcohol, pouring it over the plate from
one end, starting with half alcohol and half water, gradually
adding more alcohol and eliminating the water, until a final
flooding with absolute alcohol is reached; use fresh solutions
of alcohol and water for each copper; don’t use old alcohol
for anything except cleaning the copper at the end, and for
removing the spirit varnish. Stand up to dry against the
wall, face out, and standing square on the bottom of the[Pg 31]
plate, in the same position as you flooded it with alcohol; it
will be dry in twenty minutes if rightly flooded. The bare
copper should now be protected by a strong varnish in
alcohol (it must flow freely off the brush); a good varnish
for this purpose, and the best I know of, is an etcher’s
asphaltum stopping-out varnish, sold by Messrs. Devoe & Co.,
New York; price 50 cents per bottle. Should it get thick as
you come to the bottom of the bottle, add a little spirits of
lavender until it flows again freely. Take an architect’s
ruling pen and carefully rule a line with the varnish up to
the edge of the picture, making it exactly true with the sides
of the plate and the space on each side of the work the same
with the top, the bottom space slightly larger; make sure
that it slightly comes inside the picture. Keep the rule away
from the surface of the gelatine, as it is very delicate. Then
cover all the rest of the copper, protecting the bare parts
and bevel, and bringing the varnish up to the line. Allow to
dry hard; about twenty minutes will do. Form a wall about
the resist, with walling wax, about an inch high; make a lip
at one corner, the further left hand one, for instance; see
that there are no leaks. There are several grades of wax, but
Liedel & Co.’s is the best; when ordering you should give
the name as modeling wax; gray is a good color. Pans can
be used made of tin and varnished, or porcelain trays, protecting
the back and edges of the plate with varnish, but
I find the wax very helpful, especially on large plates.

[Pg 32]

CHAPTER VI.

The Acid Baths.—How to Make Them and Method of
Biting through the Gelatine.

Perchloride of iron C.P. is the acid generally used for
this purpose; it is a still acid, and if the room is well ventilated
no harm to health results, but care must be taken to
air the baths after making to get rid of the surplus chlorine.

Four baths are used, each of different strengths, the
strongest is used first, the weakest last. I quote from the
catalogue of the Boston Art Museum, of the exhibition illustrating
the technical methods of the Reproductive Arts and
Photo-Mechanical Processes, held January 8, 1892: “Photo-aquatint
(photogravure) for the production of half-tone intaglio
plates from photographs from nature, paintings, etc.
A dry aquatint ground is laid on a metal plate, and over this
is mounted a gelatine negative film, made by the pigment
printing process. To obtain this negative film a reversed
positive on glass has first to be made. The reason why this
positive must be reversed will become clear when the nature
of the manipulations in the pigment printing process, which
involves the turning of the film, are considered. The film
mounted on the plate is a washout relief, thickest in those
parts which are to show white in the impressions from the
plate, and gradually growing thinner toward the darkest
parts, where it is thinnest. The film acts as a ‘resist’ to the
mordant, allowing it to pass freely in the thinnest parts, and
less freely as it increases in thickness. If, however, the film
were mounted on the bare plate, and the biting then proceeded
with, the result would be of no practical use, as the
plate would present merely shallow hollows, incapable of[Pg 33]
holding the ink, and which would therefore be wiped out in
the attempt to clean the surface of the plate. This is, however,
prevented by the aquatint ground, which allows the
mordant to circulate only in the channels around the resinous
particles of which it consists, and thus produces a grain
precisely as in ordinary aquatinting. The mordant used in
perchloride of iron, which is a ‘still mordant,’ i.e., one which
does not evolve bubbles of gas. An effervescent mordant
cannot be used as the bubbles rising under the film would
tear it up. In biting, successive baths of varying strength
are made.

“A strong solution of perchloride of iron penetrates only
the thinner parts of the film, whereas a weaker acts also
through the thicker parts. The biting, therefore, begins
with a strong solution, which acts only in the darkest parts,
and followed up with weaker and weaker solutions, which
continue the biting in the darks and at the same time carry
it on gradually toward the lights. If necessary, the plate is
worked over with the burnisher to brighten the lights, and
with roulettes, etc., to strengthen the darks.”

Purchase nine (9) pounds of perchloride of iron in crystals
(45 cents per pound), take a wide-mouthed gallon jar, place
within half a gallon of distilled water, add the iron until it
tests 30 deg. by a Beaumé hydrometer, pour off enough to
fill a one-litre glass stoppered bottle, after filtering through
absorbent cotton. Keep adding the iron to the jar until the
strength of each bath is reached. To the strongest solution
add half a drachm of C. P. muriatic acid, and to the weakest
half a drachm C. P. nitric acid; the nitric acid is added so
that in the last biting a good final nip is given to the copper.

I here give my own formula, with those recommended by
others.

The four (4) baths should be well aired for a day (in broad
pans) in the open air before filtering.

[Pg 34]

Formula for Acid Baths.

(H. R. Blaney.)

The temperature of the bath to be at 63 deg. Fahr. when tested.

(Denison’s.)

No. 1 should be made to register Beaumé’s scale, 45 deg., the percentage
of perchloride in this solution is 47, and the specific gravity 1.444.

From an article in the Photographic News (English), Nov. 1, 1889, as
practiced in India.

Biting Bath.

(Waterhouse.)

A stronger solution of 48 deg. has been tried (by the above) but has
no penetrating power through even the thinnest film.

Another Formula.

For large plates, 20 lbs. perchloride of iron and distilled water, until
weight amounts to 1.500 grammes per 1000 c.c. From this four (4)
solutions are made, at

The plate is now ready for biting. Keep a record of the
bitings, and length of time for each one, for after-study; also
note the time of exposure of the tissue, age of same, etc., etc.[Pg 35]

Pour the acid from a glass graduate with one sweep over
the plate, removing all bubbles with a feather, noting the
time of immersion so as to guide you. Start with 42 deg.,
having ready the 37 deg. in another graduate, watch carefully
the action of the acid, and if the resist has been properly
printed, the action of the acid will show after a minute; if
longer it means a generally longer biting for each bath.

Average Bitings.

Total of different bitings, from 10 to 25 minutes, according
to depth of printing. It always varies. There is no hard
and fast rule; you must in time learn to judge by your eye
alone. The acid will first attack the thinnest part of the
film, wherever that may be, and when the darkening of the
copper ceases to spread to the next thickest parts, instantly
pour off the acid, and pour on the 37 deg. Do not allow the
atmosphere to act on the gelatine while biting any longer
than is necessary to pour off one bath and quickly pour on a
new one. The 37 and 33 deg. baths are for the middle tones,
the 30 deg. for the most delicate ones. The action of each
bath is cumulative, the 37 deg. biting a little where the
42 deg. had bitten, the 33 deg. doing the same for those
before it, besides taking care of itself, and the 30 deg. attacking
all more or less. During the biting with the 30 deg. solution,
it should be continued until the whites just turn color, and a
minute beyond; that is, the copper should begin to show a
very little under the thickest and darkest film.

(Note that in the carbon resist the shadows are transparent
and the high lights are opaque.)[Pg 36]

The length of the last biting very seldom is over two
minutes. It is better to overbite your darks, and underbite
your lights, if you vary any.

The amount of moisture in the air and the heat of the day
influences the length of biting. In hot weather in summer
it is very difficult to work the process, the walling wax being
discarded and the copper (back and edges protected by
varnish) placed in a porcelain tray, surrounded by ice-water
and kept at 65 to 70 deg., and the acid pured over the plate
to the depth of one inch.

[Pg 37]

CHAPTER VII.

Cleaning and Polishing the Plate, with Tools Necessary
for Retouching.

When the biting is finished rapidly place the plate under
the tap and rinse thoroughly, breaking away the film with
your fingers; it seems to have rotted under the action of the
acid and is easily removed.

Remove the walling wax, clean off the varnish with chloroform
or turpentine, or alcohol first, and chloroform last. This
leaves a dim picture on the plate, with a kind of scum over
it; wet the plate with turpentine and start heavily with rouge,
rubbing to and fro equally all over the plate with a ball of
absorbent cotton; continue this treatment, using less and
less rouge and more turpentine until you give the final polish
to the high lights with a clean dry piece of cotton. Be very
careful not to overdo in rouging; the scum (if the biting of
the plate is of medium strength) should clear from the plate
with hardly a touch, and with very little rouging. Some
plates require a great deal of rouging; it then generally
means that you must look to your sensitizer. I again draw
your attention to the rouging; here is where any artistic
feeling you may possess will come into play with taste and
patience.

After the plate is rouged sufficiently, an engraver’s burnisher
is used to clean up the highest lights and to modify
others. Two or three roulettes of different fineness are
valuable to touch up any darks that need deepening; it
matches very well with the grain, but I am always trying to
dispense with the use of the roulettes; one ought to get it
with the acid alone. A No. 6 sewing needle in a holder[Pg 38]
(dentist’s pin-holder, screw end) is necessary to touch out
occasional white specks. You will have plenty of them at
first unless you look out carefully for dust on the film; keep
all your solutions constantly attended to by occasional filtering,
and don’t use your sensitizing solution more than half a
dozen times; keep it well corked; if it gets old it scums the
plate too much.

[Pg 39]

CHAPTER VIII.

Printing the Plate and Steel Facing.

Before final finishing by hand a working proof should be
printed from the plate by an expert plate printer, by which,
what the plate needs can be determined before final proving.

Have the plate proved on different papers, and with different
colored inks, so as to judge the effect. Imperial Japan
is the best paper, besides etching paper, India, thin Chinese
and Japanese papers. The cost of proving per single proof
is 25 cents for a 4 × 6 plate on Imp. Japan, about $2.00 per
doz. same paper; etching paper, about $5.00 per 100—less
for large quantities.

A second-hand D press, suitable for printing large or small
editions or for proving, can be bought in Boston or New
York for from $75 to $100. For instructions in printing see
Hamerton’s “Etchers and Etching.”

Steel Facing.

The life of a photogravure plate without steel facing does
not last much beyond 75 impressions, so that if an edition
is needed, send the plate to any good printer who will have it
steel-faced for you; their charges are very moderate, about 50
cents for a 4 × 6 plate. The steel-facing is accomplished by
first making the plate chemically clean, as before preparation
for graining, only be very thorough in using an old tooth-brush
to get out the dirt and in addition use chloroform before using
potash. Then solder a copper wire on to the back. The negative
wire is attached to the copper plate. To the positive pole of the
quart Smee battery is fastened a bright steel plate same size
of copper, in a gallon jar. The plates are hung from glass[Pg 40]
rods ½ inch apart, a sufficient quantity of the following
solution to be poured into the jar:

(Denison’s.)

Filter, and let stand for 24 hours. Five (5) minutes will
cover the plate with a thin film of steel.

(Obernetter’s.)

“Place the copper plate in a porcelain tray on the bottom
of which rests a brightly burnished copper wire, the negative
pole.

“The anode on the positive pole, a bright steel plate, is suspended
over the copper plate, and kept in motion while the
circuit is closed. A precipitate of steel, resembling silver in
appearance, must instantly occur upon the copper plate, any
air-bells to be removed. Five minutes is sufficient to deposit
a perfect steel coating.” Grease the plate after steel facing,
to keep off the rust. Formula:

(Obernetter’s.)

[Pg 41]

CHAPTER IX.

Materials Necessary for Photogravure, and List of
Firms Supplying them.

Materials.

List of Firms Supplying Materials for Photogravure.

The Scovill & Adams Co., 423 Broome Street. Photographic
Materials and Photo-Engravers’ Supplies.

Messrs. Bestgen & Co., 1001 Washington Street, Boston,
Mass. Polishers of Copper Plates.

Mr. George Schard, 116 Wooster Street, New York. Polisher
Copper Plates.

Mr. Jos. Wheeler, 299 Washington Street, Boston, Mass.
Printer of Photogravures.

Messrs. J. H. Daniels & Co., Oliver Street, Boston, Mass.
Printers of Photogravures.

Messrs. Frost & Adams, Cornhill, Boston, Mass. Engravers’
and Etchers’ Supplies.

Messrs. F. W. Devoe & Co., Fulton Street, New York.
Engravers’ and Etchers’ Supplies.

Messrs. Fusch & Lang, 29 Warren Street, New York.
Engravers’ Supplies.

Mr. Alfred Sellers, 58 Fulton Street, New York. Engravers’
Supplies (screw pressure printing frames).

Messrs. John Sellers & Sons, 17 Dey Street, New York.
Engravers’ Supplies.

Messrs. Eimer & Amend, 18th Street and 3d Avenue, New
York. Chemists, Glassblowers Charcoal.

Messrs. Theodore Metcalf & Co., Tremont Street, Boston,
Mass. Chemists.

Messrs. Kimmel & Voigt, 242 Canal Street, New York.
Expert Photogravure Printers.[Pg 43]

Messrs. Whitely & Co., Centre Street, New York. Polisher
of Copper Plates.

Messrs. Gilderslieve & Co., 18th Street, New York. Blankets
for Press.

Mr. Charles Creedner, 19 South William Street, Room 4,
New York. Japan Paper.

Mr. Geo. B. Sharp, 13 Baxter Street, New York. Copper
Plates.

Messrs. F. A. Ringler, 21 Barclay Street, New York. Steel
Facing Copper Plates, Printers of Photogravures.

Messrs. Leidel & Co., 901 6th Avenue, corner 51st Street,
New York. Modeling Wax; Etchers’ Supplies.

Thomas Hall (Electrician), Bromfield Street, Boston, Mass.
Hydrometers (Smee’s Battery), etc.

New York Steel and Copper Plate Co., 171 Wallabout
Street, Brooklyn, N. Y.

Mr. Jas. Moffet, 159 Wooster Street, New York. Copper
Plates in the Rough.

[Pg 44]

CHAPTER X.

Books and Articles on Photogravure. Published from
1888 to 1893.

La Photogravure facile et à bon marché. Par l’Abbé
Ferret. Paris. 1889. Price, 1 fr. 25 cents.

Manuel d’Heliographie et de Photogravure en Relief.
Par G. Bonnet. 1890. Paris. 2 fr. 50 cents.

Photogravure. By W. T. Wilkinson. 1890. London, E. C.
Published by Messrs Iliffe & Son, 3 St. Bride Street. Price,
1s. 6d.

Photo-Engraving and Photo-Etching. By W. T. Wilkinson.
Sold by The Scovill & Adams Co., New York. Price,
$3.00.

Hamerton’s “Etchers and Etching.” Roberts Bros., Boston,
Mass. Price, $4.00.

Photo-Etching in India. Article in Photographic News
(English), November 1, 1889.

“Photogravure, or Photographic Etching on Copper.” By
Herbert Denison. A lecture delivered before the Photographic
Society of Great Britain. Printed in The Photographic
Times, April 21st, 1893, and following issues.

Photogravure or Photo-Etching. Article in Wilson’s
Magazine, 1890-1891.

Notes on Photo-Aquatint. Catalogue of Exhibition, Illustrating
the Reproductive Arts and Photo-Mechanical
Processes. Address S. R. Koehler, Boston Art Museum,
Boston, Mass.

Merck’s Pyrogallic Acid

will be found, upon
comparison, to be
superior in every
respect to all other
brands on the market.
Its distinctive
points of superiority
are:

1ST.—ABSOLUTE PURITY

2D.—PERFECT CRYSTALLIZATION

3D.—IMMACULATE WHITENESS

4TH.—EXTREME LIGHTNESS

5TH.—MODERATE COST

    (Its price is not higher
than that of any other
make.)

WHEN ORDERING SPECIFY “MERCK’S.”

TO BE HAD OF ALL DEALERS.

TESTIMONIALS.

“I have tested Merck’s pyro carefully in comparison with the other
pyros at present on the market, and I find that it is superior to any and
all of them.”

Prof. Charles Ehrmann,
Instructor of the Chautauqua School of Photography.

“I shall, in future, certainly use no other pyro but Merck’s. The
best is always good enough for me.”

Alfred Stieglitz,
Editor American Amateur Photographer.

“Merck’s Pyrogallic Acid will be found a very superior article. Its
purity is absolute, with quick crystallization and immaculate whiteness.
In use, it produces the highest intensity that can be desired in the negatives.
The detail in light and shade is perfect, producing printing
qualities unsurpassed by any pyro we have ever used.”

St. Louis and Canadian Photographer.

“Merck’s pyro has undergone a severe test in my hands. I find it
to possess many qualities which give it superiority over all other makes.
Authorities place the solubility of pyro as one part in two of water.
I found one ounce of Merck’s to dissolve readily in 1:7 of water at 60°.
It is extremely light, pure, and of a fine white color, giving rich negatives
full of vigor and sparkling brilliancy.”

Walter E. Woodbury,
Editor of The Photographic Times.

“I have used Merck’s Pyrogallic Acid, and prefer it to all others.”

B. W. Kilburn,
Official Photographer (Stereoscopic), at the Columbian World’s Fair, and
San Francisco Mid-Winter Exposition.

“I have tried Merck’s pyro and must certainly say it is the best I
ever used. The results I have obtained with it are remarkably fine.”

W. B. Post,
Amateur Photographer, New York.

Moreno Studio, Fifth Ave., New York.

“I have been using Merck’s pyro in my studio, and am very well
pleased with it. It is clean, gives brilliant negatives, and is reliable,
one day’s work being exactly the same as another’s.”

A. Moreno.

“I have been using Merck’s pyro, and am ready to indorse the high
praise which you have found it entitled to: ‘that it is superior in point
of purity, lightness and solubility’ to any like product that I have seen.
In fact, ‘the new and improved process’ seems to reach in its result
the point beyond which it is impossible to go—that is, perfection. This
was my impression at first sight, and using serves only to confirm it.

In my opinion, pyro stands at the head of all developers of dry
plates, and I am much mistaken if Merck’s pyro, when known, does not
lead all brands of pyro.”

W. H. Sherman,
Professional Photographer, Milwaukee.

1

Scovill & Adams Photo-Engraving Materials,

Combined in a small outfit for Half-tone Photo-Engraving.

The articles contained in this outfit are all that is necessary for the
Half-tone Process, except when the installation of large and expensive
machinery is warranted.

Send for the PHOTO-ENGRAVERS’ CATALOGUE to
THE SCOVILL & ADAMS CO.,                                         423 Broome St., N.Y.

2

Copying Cameras

FOR

PHOTO-ENGRAVING.

The Scovill Enlarging, Reducing and Copying Cameras.

With S. & A. Photo-Engravers’ Adjustable Screen Plate Holder.

Special sizes and styles made to order.

The form of construction of this Camera is made apparent
by the illustration here shown.

3

SCOVILL
Copying Cameras.

With S. & A. Photo-Engravers’ Adjustable Screen Plate Holder.

These Cameras are made of hardwood, shellacked, not
varnished. Naturally they are without swing, but in every
requisite they are complete; and for this particular service,
as well as others, the American Optical Company’s make is
sought for before all others. Such varied lengths of bed are
required and ordered, that we can only give a price list for
Copying Cameras with the regulation length of bed. We
make them to order of any length of platform desired, either
rigid or detachable, and with either single or double bellows.

Estimates promptly and cheerfully furnished.

Larger sizes made to order.

When ordering Copying Camera, please give length of cone, if that is
needed.

4

The S. & A. Photo-Engravers’ Adjustable Screen
Plate Holder.

(Patent applied for.)

This Holder, as is shown in the cut above, is a great improvement over any heretofore
manufactured for photo-engraving purposes. Its principal points of superiority are,
briefly:

First.—The ease with which it is adjusted for different size plates and screens, by a
simple sliding movement of the two inside frames to or from the centre, and thus dispensing
with the expensive and troublesome use of kit frames.

Second.—The convenience by which the screen plate is accurately adjusted to the sensitized
plate by means of the metallic sliding adjusters. (Heretofore it has been necessary
to do the adjusting by means of inserting different thicknesses of cardboard, paper, etc.)

Third.—Different thicknesses in the screen plates are allowed for by means of a spring
which always holds the plate in accurate place, no matter what its thickness may be.

Fourth.—A graduated scale on each screen adjuster makes it easy to always insure absolute
accuracy in determining the distance of the screen plate from the wet plate.

Fifth.—The simplicity of construction and excellent workmanship of the entire holder,
being made, as it is, in the factory of the famous American Optical Company.

And, altogether, it is an ingeniously designed and beautifully constructed holder,
which will be found of indispensable aid to the practical photographer.

These holders are thicker than the ordinary plate holders, and if it is desired to use
them on a camera the ground glass of which is focused for the ordinary plate holder, a
new ground glass frame is necessary in order to adjust the focus. When ordering a holder
to fit a camera in use, send the old holder or the old ground glass frame, so that the new
ones can be made to fit the camera. Also state the size of largest and smallest screen plate
to be used in holder.

It is made in various sizes. Prices as follows:

If adjustment from the outside of holder is desired, add $2.00 to above prices.

THE SCOVILL & ADAMS CO., 423 Broome St., New York City.

5

The Scovill Printing Frames for Photo-Engraving.

The Printing Frames made by the American Optical Co. for photo-engraving are like
everything else manufactured by this factory, of the highest degree of perfection, and the
utmost care was given to the comparative distance of screws so as to produce an even
pressure. Many negatives have been either ruined or snapped by the use of imperfect
Printing Frames.

The American Optical Co. Printing Frames for photo-engraving are the only safe
ones on the market.

PRICES.

Larger and special sizes made to order.

6

To Photo Engravers:

Having systematically undertaken the improvement of
photo engravers’ appliances, we follow the S. & A. Photo
Engravers’ Adjustable Screen Plate Holder, and the S. & A.
accurately adjusted Photo-Engraving Printing Frames, with
the

S. & A.
Photo-Engraving Etching Tub,

to which we call the attention of those interested in this
business. We extend to them a cordial invitation to examine
the same at our salesrooms.

These Photo-Engraving Etching Tubs will “fill a long
felt want” with the photo engravers, as they are constructed
so as to resist the strongest acids, and combine the features
suggested by practical experience.

The tub measures, inside, 48½ inches long, 20¼ inches
wide, and 7⅝ inches deep, and the price of same is $10.00.

Very truly yours,

The Scovill & Adams Co.

7

IN OLDEN TIMES

people were satisfied to worry along with whatever
crude appliances came easiest to hand….

The material progress of the nineteenth century,
however, has created a demand for a higher order
of mechanical products than was formerly deemed
essential, and this is peculiarly the case with …

To meet this demand, the firm of John Royle &
Sons have devoted the best part of their time, for
the past 25 years, to the improvement of the mechanical
accessories to Process Engraving, and with
what success is best testified to by the fact that their
machinery is used exclusively by the best Process
Engravers, both in the United States and abroad.

JOHN ROYLE & SONS,
Paterson, N. J., U. S. A.

8

Chrome=Gelatine ^{and . .}
Photo=Gelatine.

Chrome-Gelatine is a perfected modification of the three-color printing
process. It is so named from the Gelatine process of printing being
used to produce the resulting pictures, which are allowed to be really
wonderful, and which may be reproductions from original Oil Paintings,
Water-colors, Views from Nature, Objects of Still Life, Textile Fabrics—indeed,
all classes of work copied from originals in color. The results,
in all cases, are produced from three-color negatives. Artists,
whose works have been reproduced by this method, express their satisfaction
of the results in the highest terms, without qualification.

N. Y. Photogravure Co.
137 West 23d Street,
New York.

Photogravure ^and Aquarelle
      (Photogravure in Colors.)

Photogravures are of all classes of subjects.

An important modification of this process has recently been perfected
(patent applied for), by which the delicacy of the gelatine print is
maintained, at the same time that great strength and color is produced
in the shadows. The plates thus made are very durable, and show but
little wear after many thousands of impressions have been produced.
Moreover, they require no finishing or handling after having been
etched, and are quite easily printed.

Aquarelles are printed from photogravure plates, inked up locally
in a variety of colors. When the whole of the plate has been so inked,
the impression is pulled. The results are beautiful, but the process of
printing is exceedingly slow—three or four impressions a day, only,
being obtainable from a moderate sized plate.

N. Y. Photogravure Co.
137 West 23d Street,
New York.

9

· · Publications · ·

THE N. Y. PHOTOGRAVURE CO. has on hand
thousands of subjects of all classes, available for the
purposes of illustration, and at the service of its customers.
The newest and best subjects are being continually added
to this collection. Sets of illustrations selected with the
greatest care and skill, for any desired purpose.

The N. Y. Photogravure Co.
137 West 23d Street,
New York.

SUN AND SHADE.

An Artistic Periodical.
Published Monthly.

Forty cents a number. Four dollars a year. Each number contains
eight exquisite Photogravures, Photo-gelatines or Color Prints, by the
new Chrome-gelatine process, printed on paper 11 × 14 inches, with descriptive
letter-press. Six volumes are now complete, price $4.00 each.
Each volume contains nearly one hundred plates. The whole six volumes
form a complete gallery of current art.

“SUN AND SHADE reproduces not only the most notable paintings
and portraits, but the best work of amateur and professional photographers.
If it gave nothing but the latter work it would be deserving
of the most liberal patronage that it receives; but it is an admirable
record of the greatest paintings at the Metropolitan Museum of Art, of
living American players, of portraits of celebrated Americans, of great
American painters, with reproductions of their work, and it is a monument
of the N. Y. Photogravure Co., which is a monument of artistic
New York.”

The N. Y. Photogravure Co.
137 West 23d Street,
New York.

10

ALFRED SELLERS & CO.

MANUFACTURERS OF

ZINC COPPER AND BRASS PLATES
FOR
Photo-Engravers.

Printing Frames, Etching Tubs,
Etching Powders, Rollers, Etc.

SELLERS’ SPECIAL TRANSFER.
ETCHING AND PROVING INKS.

Inking Slabs, Chemicals (Chas. Cooper & Co.’s), Formulas,
and all Supplies for Photo-Engravers.

Photo-Engraving Taught

IN ALBUMEN, BITUMEN, OR THE ENAMEL PROCESS.

TRY THE NEW RUSSELL ETCHING POWDER.

Supplies in General.     Send for Price List.
59 Beekman Street, New York, N. Y.
U. S. A.

11

E. C. MEINECKE · ERNEST BURTT · H W ROWLAND ·

E. C. Meinecke & Co.
63 WEST 22^ND STREET.
Room 5.           New York.

PHOTO-GRAVURE.
PHOTO-GELATINE.
PHOTO-LITHOGRAPHY.
LITHOGRAPHY.
PHOTO-ENGRAVING.
TYPE-PRINTING.

WORKS. BROOKLYN. N.Y.

The favorable comments received from all sources testify
to the unrivaled results obtained by the Photogravure Process,
as worked by our method.

In reviewing a set of photogravures of the Clifton Water Garden,
from negatives by the proprietor, Mr. S. C. Nash, the Florists’ Exchange,
says:

The Photogravure Process

IS THE BEST FOR

where the most artistic results are desired. Either

PLATES SUPPLIED

combining the BEST WEARING QUALITIES with the most Artistic
Finish, or editions ready for the binder.

Your correspondence is solicited, and a trial order requested, which
will be executed promptly and in the best manner.

12

AMATEURS!

In order to get the

Best Results

You must use the

CRAMER PLATE

Manufactured by

G. Cramer Dry Plate Works,

St. Louis, Mo.

13

WUESTNER’S
New Eagle Dry Plate Works.

For Sale by all Dealers.

14

OUR BUSINESS IS TO SELL EVERYTHING USED IN PHOTOGRAPHY
DOUGLASS & SHUEY CO. III STATE ST. CHICAGO.

Photogravure Worker.

Zeiss * Lens?

NO?

BETTER DO SO AT ONCE.

THE SCOVILL & ADAMS CO.
HAVE THEM!

15

ZEISS-ANASTIGMAT
LENSES

Manufactured by

BAUSCH & LOMB          
          OPTICAL CO.

ARE UNAPPROACHED for all
Process Work, and are rapidly
displacing other forms of
Lenses.

16

EDITED BY
WALTER E. WOODBURY.

The Photographic Times

An Illustrated Monthly Magazine
devoted to the interests of
Artistic & Scientific Photography.

THE · PHOTOGRAPHIC · TIMES · PUBLISHING ·
ASSOCIATION · 423 · BROOME · STREET · NEW · YORK

besides a magnificent : : : : : :
PHOTOGRAVURE FRONTISPIECE.

Photographic Magazine
in the world.

The Most
“up to date”

ALL THE BEST AND
LATEST IMPROVEMENTS CHRONICLED BY THE BEST
WRITERS.

Reproductions of all the finest photographic work
from all parts of the world.

17

A FEW UNSOLICITED OPINIONS OF

The · Photographic · Times.

“It is a daisy.”—Hon. A. A. Adee.

“It is a veritable triumph of photographic literature.”—J. J. Carter.

“One of the finest illustrated magazines received by us is The
Photographic Times.”—Chenango Telegraph.

“If my opinion is of any value, I will tell you that it is far and
away ahead of anything that has ever been attempted.”—H. J. Aiken.

“You have certainly reached the very height of possibilities in a
photographic magazine.”—Arthur J. Benton.

“The photographic art has hitherto had no better exponent, and
the publishers of this magazine are determined to keep at the head of
the literature of their profession. The many original articles are fully
illustrated.”—The Portland Transcript.

“Be sure and continue sending it. Can’t keep house without it.”—J.
E. Craig.

“It is a beauty in every sense.”—Chas. Wager Hull.

“The subject-matter, the number and quality of the illustrations,
the typographic work and the general appearance of The Photographic
Times, monthly, are, separately and collectively, cause for hearty congratulation.
Permit me to hereby extend mine, together with sincere
wishes for your continued success.”—C. D. Cheney.

Subscription rates, one year, $4.00; six months, $2.00; three months,
$1.00; single copies, 35 cents.

Remit by Express, Money Order, Draft, P. O. Order, or Registered
Letter.

Subscriptions to The Photographic Times received by all dealers
in photographic materials in this and foreign countries; also by The
American News Company and all its branches.

18

The Photographic Appetite

increases by what it feeds on. The beginner
is usually content to start with a modest outfit,
but as interest grows the hunger for more artistic
results calls for
better facilities so that
the apparatus must
constantly be of a more
improved pattern and
contain all the latest
fixings, till finally the
question of improvement
is entirely one of
the value of the lens.

To suit this growing
appetite we make a line
of camera boxes unequaled
for workmanship
and convenient
appliances. We can
supply any stage of
hunger, and make to order to suit any whim.
Any photographic question cheerfully answered.
Send for our Catalogue.

The Scovill & Adams Co.
423 Broome Street, New York.

19

ANTHION-SCHERING
The Best Hypo Eliminator.

DIRECTIONS FOR USE.

THE SOLUTION.

Five grammes (75 grains) Anthion are dissolved in one litre (one
quart) of luke-warm distilled water. The solution keeps for at least
one month.

A. For Gelatine Plates.

a. The plate (13 × 18 centimetres—5 × 7 inches) or film, after fixing, is
allowed to drain and then washed for about five minutes in a dish with
about 600 cubic centimetres (20 fluid ounces) water; it is then again
allowed to drain.

b. Afterward it is laid in a second dish with 200 c.c. (7 fluid ounces)
Anthion solution, and again allowed to remain for five minutes with occasional
stirring.

c. The plate is then once more laid in 600 c.c. (20 fluid ounces) fresh
water, exactly according to direction a.

d. The operations b and c are repeated.

The plate is then free from fixing soda. (In order to determine this,
proceed as follows:)

Test.

To be certain that all the fixing soda is completely destroyed, proceed
as follows: Several c.c. (half to one teaspoonful) of the last washing
water are poured into a test-tube, and three or four drops silver
nitrate solution (1 to 20) added. A white precipitate generally forms.
If this gradually acquires a yellow tint, fixing soda is still present.

In such a case operations a and b are to be repeated.

B. For Positive Paper Prints.

The operations are carried out as under A, but instead of one plate
five fixed copies (13 × 18 c.c.—5 × 7 inches) are taken, allowed to drain one
by one, then laid singly in water (vide a), afterward in Anthion solution
(vide b), then again in water (vide c), again in Anthion solution (vide d),
and finally in water.

It is important that the paper prints are frequently separated in
the different baths. If the prints stick together, the solution does not
penetrate and cannot act.

= IMPORTANT =

For large plates and prints it is not only necessary to use larger
dishes, but also more liquid, both Anthion solution and water. An
excess of Anthion or of water is decidedly useful, but less is disadvantageous.

The above directions for washing relate to those who have no continual
flow of water at hand.

If a continual flow of water is obtainable, it is advisable to wash the
plates or prints in flowing water for a quarter of an hour, and then dip
in the Anthion solution and test the result as above.

Send orders to your Dealers, or to
The Scovill & Adams Co.,                New York.

20

ONE OUNCE
PYROGALLIC ACID
RESUBLIMED
From E. SCHERING,
MANUFACTURING CHEMIST, BERLIN, GERMANY.

THE STANDARD OF THE LAST—THIRD—EDITION OF THE GERMAN PHARMACOPŒIA.

See that you get the Genuine “Schering’s.” Excelled by none.

Send Orders to your Dealers, or to

THE SCOVILL & ADAMS COMPANY, NEW YORK.