Photography - It's Principles and Practice

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PHOTOGRAPHY
ITS PRINCIPLES AND PRACTICE
By
C. B. NEBLETT
Member of the Faculty of Texas A. and M. College
Fellow of the Royal Photographic Society of Great Britain
Editor, The Month in Applied Photography, Photo-Era Magazine
SECOND EDITION
LONDON
CHAPMAN & HALL, LTD.
ELEVEN HENRIETTA STREET, w.c. 2
1931
COPYRIGHT,
1927, by D. VAN NOSTRAND COMPANY
1930, by D . VAN NOSTRAND COMPANY, INc.
All Rights Reserved
This book, or any parts thereof, may not
be reproduced in any form without
written permission from the publishers.
First Published, January 1927
Second Printing, August 1928
Second Edition, November 1930
Printed in the U.S. A.
LANCASTER P R S S ~ INC.
LANCASTER, PA.
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TO MY PARENTS
and
A VERY DEAR FRIEND
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PREFACE TO SECOND EDITION
In the tl).ree years that have elapsed since the appearance of the first
edition, the results of continued investigation of the principles of the
photographic process have been such as to render necessary a thorough
revision of certain portions of this work. Much of that portion of the
chapter on emulsions which deals with the nature of the sensitivity
centers has been rewritten-to bring this section into line with recent in-
vestigations on this subject. Several alterations have been made to
the chapter on orthochromatics and the material on the chemical con-
stitution of color sensitizing dyes is new.
The chapter on the latent image has been 4trgely rewritten; the older
theories, such as the sub-halide, are discussed frankly from the his-
torical viewpoint and the emphasis has been placed, where it properly
belongs, on the modern theories of latent image formation. In view
of the current discussion regarding the usefulness of H. and D. speeds,
it has been thought advisable to add to the chapter on sensitometry a
section on H. and D. speeds and effective speeds. A new section has
been added on -the reciprocity function and the more generally used
polarization photometers have taken the place of the now obsolete H. ,.
and D. instrument, a description of which was included in the fi tip(:;
edition because its principle is more easily understood by the student /
than the more complex polarization instruments.
Other additions include a table of the properties of the more com-
mon developing agents, sections on the exhaustion of developing solu-
tions through continuous use, development at high temperatures, the
newer theories of the fixing process, and a revision of the material on
the characteristics of printing papers.
It is a pleasure to acknowledge the suggestions and criticisms of my
good friend Dr. S. E. Sheppard and the helpful advice of many others,
especially Dr. C. W. Burchard, Professor of Organic Chemistry at
this institution.
COLLEGE STATION, TEXAS
January 4, 1930
v
c. B. NEBLETTE, F.R.P.S.
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PREFACE TO FIRST EDITION
Manifold as are the applications of photography in all branches of
science and industry and great as has been the increase in our knowl-
edge of its basic principles in recent years, comprehensive and ade-
quate instruction in the subject has been largely neglected by our uni-
versities and technical institutions. Despite its daily application to
the practice of almost every branch of science and industry, and in-
deed in every walk of life, as well as its importance from the stand-
point of pure science, there is not, within the knowledge of the writer,
a single university or technical institution in this country which offers
a thorough and complete course in the science and practice of photog-
raphy.
The literature of photography is widely scattered among a large
number of journals, some of which have long since disappeared, while
until comparatively recently no worthy attempt had been made t?-
wards the abstracting and indexing of photographic information.
Excluding papers in the periodical press, photographic literature can
for the most part be divided into two classes : (I) works of an ele-
mentary nature designed for the beginner and paying but scant at-
tention to the fundamental scientific basis of the subject and (2)
works of an encyclopedic nature designed principally for reference
purposes, such as Dr. J. M. Eder's monumental work in German, the
Ausfuhrliches Handbuch der Photographie and Fabre's Traite En-
cyclopedique de Photographie in French. Valuable as these works
may be, they are not textbooks in the true sense of the word and there
is in fact no work dealing both with the science as well as the practice
of photography which is especially adapted for use as a text.
The present work is an attempt to meet that need. It embraces the
features which several years' experience i11 the teaching of the subject
has shown. the writer to be desirable in a work designed for college
instruction. No attempt has been made to compile a complete treatise
on the subject, while at the same time the fact has been kept in mind
that a superficial treatment of the subject, one which is concerned with
effects rather than causes and with operations rather than scientific
principles, is undesirable in a work of collegiate grade. Accordingly
vii
Vlll PREFACE TO FIRST EDITION
it has been the aim of the writer throughout to present as clearly and
as concisely as possible the fundamental principles of the science of
photography, omitting nothing of primary importance necessary to an
understanding of the subject and paying particular attention to the
proper coordination of the facts to one another.
The practical side has not been lost sight of, however, and several
of the chapters deal with their subject more from the standpoint of
technique rather than science. These, it is hoped, will render the
work useful not only to the studen.t but to the gractical worker as well.
An apology, perhaps, is due for the omission of certain subjects and
for the brief treatment accorded to others. This was, however, to a
certain extent, demanded by the scope of the work which is that of a
text rather than a treatise. Accordingly a large number of the un-
settled controversies have either been omitted, or but briefly treated,
as it was felt inadvisable to consider in a work of this nature subjects
which still await satisfactory solution.
Footnotes throughout the text will show the extent to which I am
indebted to others, while to the following authorities I desire to place
on record my appreciation of their services: Dr. C. E. K.
Mees, Dr. S. E. Sheppard, Dr. A. P. H. Trivelli, all of the Eastman
Research Laboratory; Mr. F. F. Renwick; Dr. Walter Clark of the
British Photographic Research Association; Dr. Hermann Kellner of
the Scientific Department, Bausch and Lomb Optical Company; Carl
J. Reich of the Gundlach-Manhattan Optical Company; Mr. George
E. Brown, Editor of the British Journal of Photography; Mr. Frank
Roy Fraprie and Mr. E. J. Wall of American Photography, Drs.
Walters and Davis of the Bureau of Standards; and Miss Bess
Spence of this institution who has assisted me in seeing the work.
through the press. To all others who i1ave assisted in the preparation
of this work in any way, a cordial acknowledgment of appreciation is
also due.
c. B. NEBLETIE
CoLLEGE STATION, TEXAS, 1926
CONTENTS
CHAPTER I. The Development of Photography. . . . . . . . . . . . . . . I
Introduction. The Development of the Camera. Jean Baptiste
Porta. The Camera Obscura with Lens. Early Records of the
Photochemical Action of Light. The Forerunners-Davy and
Wedgwood. Life and Work of Joseph Nicephore Niepce. Life
and Work of Jacques Mande Daguerre. The Daguerreotype Proc-
ess. Later History of the Daguerreotype. The Positive Process
of Bayard. Life and Work of Henry Fox-Talbot. The Calofype
Process. Miscellaneous Paper Processes. Introduction of Glass.
Scott-Archer and the Introduction of Collodion. The Collodion
Process. Inconveniences of the Collodion Process. Modifications
of the Collodion Process. Introduction of Collodion Emulsion. In-
troduction of Gelatino-Bromide Emulsion. Improvements in the
Gelatino-Bromide Process. Development of Printing Processes with
Silver Salts. Platinum Printing Processes. Printing Processes
with Bichromated Colloids.
CHAPTER II. The Camera and Darkroom. . . . . . . . . . . . . . . . . . . 38
The Box Camera. The Miniature Camera. Folding Hand Cam-
eras. The Professional Camera. The Reflex Camera. The Prin-
cipal Adjustments of Cameras. The Swing Back. The Reversible
Back. Other Movements. Shutters. Tripods. The Darkroom.
Ventilation. Size. Arrangement. Water Supply. The Illumina-
tion of the Darkroom. The Safelight. 1The Efficiency of Dark-
room Safelights Trays, Tanks, Commercial Tanks and Gradu-
ates. Miscellaneous Features.
CHAPTER III. Photographic Optics. . . . . . . . . . . . . . . . . . . . . . . . . 65
Introduction. Refraction of Light. Dispersion. Lenses and Image
Formation. Image Formation according to the Gauss Theory. The
Position of the Nodes. The Principal Focus of a Lens-Focal
Length. Focal Length and Size of Image. Angle of View. Con-
jugate Focal Distances. Extra Focal Distances. Theory of Depth
of Focus. Factors Controlling Depth of Focus. The Intensity of
the Image. Speed of Lenses-Systems of Diaphragm Notation.
Effective Aperture. Loss of Light in Lenses Due to Absorption
and Reflection. Variation in Relative Aperture with Distance of
Subject.
CHAPTER IV. The Aberrations of the Photographic Objective.. 89
Introduction. Chromatic Aberration. Spherical Aberration. Coma.
Curvative of Field. Distortion. Astigmatism. Flare and Flare
Flare Spot. Unequal Illumination.
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CHAPTER V. The Photographic Objective .......... , ....... 105
PART I. THE AsnGMATS: The Single Collecting Lens. The Single
Achromat. Semi-Achromatic or Soft-Focus Lenses. The Aplanat
or Rapid Rectilinear. The Petzval Portrait Lens.
PART II. THE ANASTIGMATS: Introduction. Cemented Symmetri-
cal Anastigmats. Alternate Form of the Double Anastigmat. The
Four Glass Element-the. Protars. The Five Glass Element. Sym-
metrical Lenses with Air-Spaces. The Gauss Construction. Stein-
hell's Unofocal. Graf Variable and Anastigmat. Beck's Neostig-
mat and Isostigmat. The Plasmat. Dallmeyer's Stigmatic. Ru-
dolph's Early Protars. The Unar. The Tessar. Combination of
Air Space and Cemented Surface-Later Developments. Serrac.
X-Press. Radiar. The Cooke Triplet. Development of the Cooke
Triplet after H. D. Taylor. The Aviar. Aldis. Heliar, Dynar.
Pentac. Ernostar.
PART III. THE TELEOBJECTIVE: The Compound Tete-
objective. Early Fixed-Magnification Teleobjectives. Anastigmatic
Fixed-Magnification Teleobjectives. Dallmeyer's Adon.
CH"'-PTER VI. The Photographic Emulsion .................. 149
Introduction. The Two Classes of Emulsions. General Outline
of Operations in Emulsion Preparation. Gelatine. Light Sensitive-
ness of Silver Salts. The Preparation of Emulsions. Emulsifica-
tion. Gelatino-Bromo-Iodide Emulsions. Digestion of the Emul-
sion. Fog. Theory of Digestion. Eliminating the Soluble Salts.
The Silver Bromide Grain of Photographic Emulsions. The Sensi-
tivity of the Silver Halide Grain. Grain Size and Distribution and
Its Relation to the Photographic Properties of Emulsions.
CHAPTER VII. Orthochromatics .................... . ....... 168
Light and Color-the Spectrum. Visual and Photo-Chemical Lumi-
nosity. History of Dye Sensitizing. Known Facts Regarding Color
Sensitizing. Constitution of Color Sensitizers. Color Sensitizing
Dyes. Color Sensitizing by Bathing. Hypersensitizing. The The-
ory of Light Filters. Orthochromatic Filters. Contrast Filters.
Orthochromatic Methods in Landscape Photography. Orthochro-
matic Methods in Portrait Work. Photographing Color Contrasts.
CHAPTER VIII. The Latent Photographic Image ............. 194
Photo-Physical and Photo-Chemical Change. The Latent Image.
Hydrogen Peroxide. Intensification with Hydrogen Peroxide.
Sodium Arsenite. Reversal by Chemical Reagents vs. Reversal by
Light. Photo-Regression. Physical Development of the Latent
Image after Fixation. The Photosalts. Action of Oxidizing and
Halogenizing Agents on the Latent Image. Visible Darkening of
the Ag Halides. The Latent Image. Modern Conceptions of the
Mechanism of Exposure.
CONTENTS xi
CHAPTER IX. Sensitometry .. ; . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209
What is Sensitomefry? Re5ume of Sensitometric Investigation.
Standard Light Sources. Sensitometers. Relation of Time and In-
tensity. Densitometers. Opacity-Transparency-Density. Ex-
posure and Development of Sensitive Materials for Speed Deter-
mination. Relation of Exposure and Growth of Density. ,The
Characteristic Curve. The Significance of the Characteristic
Curve. Inertia as an Inverse Measure of Speed. Variation of the
Inertia. Effective and H. and D. Speeds. Wedge Methods of
Sensitometry. The Perfect Negative. Density-Exposure Relation
and Correct Reproduction. Latitude of Sensitive Materials. De-
velopment apd the Reproduction of Contrasts. Constant Density
Ratios. An Important Difference. Development and Contrast.
Gamma as a Measure of Contrast. Gamma and the Characteristic
Curve. Calculation of <:;amma. Gamma Infinity.
CHAPTER X. The Exposure of the Sensitive Material . . . . . . . . . 240
The Problem. Light Intensity and Exposure. .The Subject. Speed
of Plate. Speed of Lens. Determination of ' the Time of Exposure.
Exposure Meters. Corrections for Special Subjects. Visual Meters,
Types, Principles and Use.
CHAPTER XI. The Theory of Development. . . . . . . . . . . . . . . . . 253
Introduction. The Invasion Phase. The Chemical Reaction within
the Cell-The Reduction Phase. The Precipitation Phase. De-
velopment as a Reversible Reaction. The Action of Sulphites, Solu-
ble Bromides and Alkali in Organic Developing Solutions. The
Physical Chemistry of the Developing Process. The Induction
Period. The Velocity of Development. The Velocity Constant.
Calculation of the Time of Development for a Given Gamma. Ef-
fect of Temperature on Development. Calculating the Temperature
Coefficient. Time of Development at Various Temperatures. The
Action of Soluble Bromides in Development. The Relative Reduc-
ing Energy of Developing Agents.
CHAPTER XII. Organic Developing Agents . .. . . . ... ........ 276
Developing Power. Classification of Developing Agents. Organic
Developing Agents. The Significance of Group Relations. De-
veloping Characteristics of Organic Developers. Formulae for
Principal Developing Agents. Formula for Combined Developers.
CHAPTER XIII. The Technique of Development. .... . . ... ... 293
Introduction. The Sulphites in Development. The Alkalis in De- .
velopment. The Value of Desensitizers. The Development of De-
sensitizing Agents. Desensitizing in Practice. Development by In-
spection. The Watkins System. of Factorial Development. What
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xu CONTENTS
Determines the Factor. Accuracy of the Factorial System. Thermo
Development. The Watkins System of Thermo Development. De-
veloping Speeds of Commercial Plates. Developers. Instructions.
Thermo-Development with Glycin. The Efficiency of Time De-
velopment. Development at High Temperatures.
CHAPTER XIV. The Laws of Fixation and Washing... . . . . . . . 314
Action of Sodium Thiosulphate on the Silver Halides. The Mecha-
nism of Fixing. Influence of the Concentration of Thiosulphate and
Temperature on Time of Fixation. Influence of Ammonium Chlo-
ride on the Rapidity of Fixation. When are Plates Fixed? Ex-
haustion of the Fixing Bath. The Fixation of Prints. Plain Fixing
Baths. Acid Fixing Baths. Acid Fixing and Hardening Baths.
Troubles with the Acid Fixing and Hardening Bath. Extra Hard-
ening Baths. The Mechanism of Washing. The Efficiency of
Washing Devices. The Washing of Prints. Methods of Deter-
mining the Presence of Thiosulphate. Hypo Eliminators.
CHAPTER XV. Defects in Negatives ...... . ......... . ...... 333
The Why of Defects. Thin Negatives. Dense Negatives. Fog on
' ' Negatives. Local Fog. General Fog due to Light. Chemical Fog.
Dichloric Fog. Developer Stains. Silver Stains. Miscellaneous
Stains. Ti'ansparent Spots. Opaque or Semi-Opaque Spots. Mis-
cellaneous Troubles .
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' 'L'HAPTER XVI. Intensification and Reduction. . . . . . . . . . . . . . . 345
PART I. REDUCTION. The Three Oasses of Reducers. Farmer's
Reducer. Mercury and Cyanide. Iodine Cyanide. Belitiski's. Per-
manganate. Bichromate. Proportional Reducers. Super-propor-
tional Reducers. Theories of Super-proportional Action. Practice
of Persulphate Reduction. Intensification, Definition, Methods and
Characteristics. Mercury Intensifiers. Monkhoven's. Mercuric
Iodide. Silver Intensifiers. Chromium Intensifiers. Uranium.
Sulphide. Lead. Copper. Sensitometry of Intensification. Local
Reduction and Intensification.
CHAPTER XVII. Printing with Silver Salts. . . . . . . . . 364
PART I. DEVEWPING PAPERS : Characteristics of Printing Papers.
Adapting the Paper to the Negative. Developing Papers. Expo-
sure. Developers. The Safelight. Development. Factorial De-
velopment. 'The Proper Factor: The Short Stop. Fixing. Wash-
ing. Drying. Alteration of Contrast Reduction and Intensifica-
tion of Prints. 1The Glazing of Prints.
PART II. GELATINE P-0-P: Toning. Instantaneous Toning.
Black Tones with P-0-P. Fixing.
CONTENTS
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CHAPTER XVIII. Projection Printing. . . . . . . . . . . . . . . . . . . . . . 390
Introduction. Fixed Focus Enlarging Cameras. Apparatus for
Projection Printing with Daylight. Apparatus for Projection Print-
ing with Artificial Light. Self-focusing Apparatus for Projection
Printing. Illuminants for Projection Printing. The Mercury-
Vapor Lamp. The Electric Arc. Incandescent Lamps. Securing
Even Illumination without Condensers. The Condenser in Projec-
tion. Condensing Lenses with Diffusing Media. The Projection
Lens. The Projection Easel. The Negative for Projection Print-
ing. The Technique of Projection Printing. Focusing. Determin-
ing Exposures in Projection Printing. Relative Exposure, Scale
and Aperture in Enlarging or Reduction. Enlarging from Small
Negatives. Introducing Clouds in Enlargements. Enlarged Nega-
tives.-Sensitive Materials.-Exposure. Development.
CHAPTER XIX. Lantern Slides and Transparencies ........... 419
The Negative. Lantern Plates. Printing Frame for Contact Print-
ing Exposing. Printing by Projection. Developers. Develop-
ment. Fixing, Washing and Drying. Masking. Spotting. Bind-
ing. Advertising Slides. Toning of Lantern Slides by Restrained
Development. Physical Development. Colors on Development with
Thiocarbamide. Toning of Lantern Slides. Reduction, .and In-
tensification of Slides. f>.';' ,
CHAPTER XX. The Toning of Developed Silver Images ...... .
Introduction. The Sulphur Toning Processes-the Print. The
Hypo-alum Process. Zanoff's Controlled Hypo-alum Method. Sul-
phur Toning with Acid Hypo. Toning with the Polysulphides.
Single Solution Sulphur Toning Processes (Shaw's Process). The
Indirect Process of Sulphide Toning. Rebleaching of Sulphide
Toned Prints. Indirect Sulphide Toning with Intermediate Develop-
ment. Mercury Sulphide Toning (Bennett's Process). Toning with
Copper. Toning with Uranium. Iron Toning Processes. Toning
with Vanadium. Minor Toning Processes.
CHAPTER XXI. Platinotype and Iron Printing Processes. . . . . . 452
Introduction. Theory of the Process. Commercial Papers and their
Treatment. Exposure. Development. Variations in Contrast.
Variations in Color. Silver Platinum Papers. The Kallitype Proc-
ess. Blue Printing.
CHAPTER XXII. Printing Processes Employing Bichromated
Colloids. I. (Carbon and Carbro) . . . . 462
The Chemistry of Pigment Printing with Bichromated Colloids.
The Carbon Process. Carbon Tissues. Double and Single Trans-
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XlV CONTENTS
fer. Sensitizing the Tissue. Exposure. Development. Double
Transfer. Transferring to Rough Papers. 'The Carbro Process.
The Bromide Print. Sensitizing the Tissue. Transfer. Redevel-
opment of the Bromide Print: Development of the Carbro. Car-
bon on Bromide. Multiple Printing.
CHAPTER XXIII. Printing Processes Employing Bichromated
Colloids. II. (Gum-Bichromate and
Allied Processes) . . . . . . . . . . . . . . . . . . . . 48 r
Introduction. Materials. The Negative. Formulas. Effect of
Varying Proportions of the Coating Mixture. Coating. Drying.
Exposure. Development. Registration. Gum-Bromide and Gum-
Platinum. The Powder Processes. Formula of E. ]. Wall. Res-
inopigmentype.
CHAPTER XXIV. Printing Processes Employing Bichromated
Colloids. III. (Oil, Bromoil and Trans-
fer ................... . ............. 494
Introduction. Materials for the Oil Process. Papers for the Oil
Process. Brushes. . Pigments. Sensitizing. Exposing. Pigment-
ing. Incorrect Exposure. Drying and Mounting. Duvivier's Proc-
ess. The Bromoil Process. The Choice of the Paper for the 'Bro-
. mide Print. The Production of the Bromide Print. Bleaching of
the Bromide Print. Chemical Theory of the Bleaching Operation.
Fixing. Producing the Relief. Pigmenting. N amias Method of
Pigmenting. Defatting the Finished Bromoil. Bromoil Transfer.
The Bromide Print. Preparation of the Bromoil. The Transfer
Paper. The Transfer Press. Transferring the Pigment. Zaeper-
nick's Chemical Transfer Method. Multiple Transfer.
CHAPTER XXV. Copying. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Introduction. Apparatus for Copying. Methods of Illuminating
the Print. Copying Cameras. The Objective for Copying. Focus-
ing. Copying to Scale. Exposures in Copying. The Copying of
Subjects in Pure Black and White. Development of Process Plates.
Copying .Photographs or Like Subjects in Monochrome. The Pho-
tography of Colored Objects. Photography of Small Objects in
the Studio.
CHAPTER XXVI. Natural Color Photography ..... . . . ....... 537
Introduction. Processes of Direct Color Photography-The Bleach
Out Process. Processes of Direct Color Photography-Processes
of Light Interference. Natural Color Photography by Trichromatic
Methods. Making the Three Color-Sensation Negatives. Additive
and Subtractive Three-Color Photography. Subtractive Printing
Processes. Multi-Color Screen Plates. The Autochrome Plate.
CONTENTS
The Compensating Filter. Handling of the Autochrome Plate.
Exposure. Development. Reversal of the Image. Varnishing.
After-Treatment of Autochromes. The Agfa Color Plate. u p l i ~
eating Processes of Screen-Plate Color Photography. The Duplex
Method.
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APPENDIX. A List of the More Important Reference Works on
Photography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
REFERENCES TO TECHNICAL JoURNALS .......... . ..... .... 561
INDEX ................... . . .. . .. .. ....... . .......... .. 603
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ILLUSTRATIONS
FIG.
1. The camera obscura from an old print. (Courtesy of the Smithsonian
Institution) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2. Johann Heinrich Schulze. (From Eder's biography).. .. .. . ... . .. .. .. 6
3. Thomas Wedgwood. (Chalk drawing, author unknown). .. .. . .. ... ... 7
4 Joseph Nicephore Niepce (Courtesy of the Societe Fran<;aise de Photo-
graphic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
4a. Birthplace of Niepce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Io
4b. Statue to Niepce.. . . ... . . ...... ..... . ... . . ...... .. . . . .. .. . . . ... . ... Io
s. A heliographic print by Niepce, I824. .. . . . ... . . . . . .. . . . . ... . . . . . . . . . II
6. Louis Jacques Mande Daguerre... .. . . .. .. . .. . . . . ... . . . . . . . . . .. ..... . I2
7 Tomb of Daguerre. (Courtesy of the Societe Fran<;aise de Photo-
graphic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . I4
8. Fuming cabinet for the Daguerreotype process. . . . . . . . . . . . . . . . . . . . . . . I 5
9. Developing box for the Daguerreotype process . . . . . . . . . . . . . . . . . . . . . . . I6
IO. An early Daguerreotype portrait. Often stated to be the first portrait
by photography. . . . . . . . . . . . . . . . . . .. . . .. . . . .. . . .. .. . . . . . .. . . . . . . I 7
II. William Henry Fox-TalboL . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . I9
12. Frederick Scott Archer. Drawing from an old print reproduced in J.
Werge-The Evolution of Photography . .. . . . ... . . . . .. .. . ... . . .. . 22
I3. The "wet collodion process in the field. (From an old manual) . . . . . . . . 24
14. Portable laboratory for field use with wet collodion . . . . . . . . . . . . . . . . . . . 25
15. Dr. Richard Leach Maddox . . ... . .. . ... ... . . . . ... . . ...... . . .. . .. .. .. 27
I6. Typical miniature camera for plates and for roll film. . . . . .. .. . . . . . . . 39
I7. Hand cameras for plates and for roll film. . . . . . . . . . . . . . . . . . . . . . . . . . . 4I
I8. Professional view camera ... . . , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
19. Principle of the reflex camera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
20. Principle of the swing back. Use of the swing back for securing
greater depth of focus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
21. Ventilation of the darkroom. (Courtesy of Eastman Kodak Company) 53
22. Floor plan of darkroom for amateur use .. . .. . . . .. . . . . ..... . . .... .. . 54
23. Eastman indirect darkroom lamp .. . ..... . . . . . ... . . .. . . . .. . . ... .. . . . . 57
24. Design for indirect darkroom lamp. (Krug, American Annual of Pho-
tography, I922) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
25. Eastman developing lamp. . . .. . .. . ... .. . .... . . . .. . . . . . . . .. . . . .. . . .. 58
26. W ratten darkroom safelight lamp .. .... . . ...... . . . .. . . . . .. . .. . . .. . . . 58
27. Drying cabinet for plates and films. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
28. The principles of refraction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
29. Refraction in a medium with parallel sides . . . . . . . . . . . . . . . . . . . . . . . . . . 67
30. Refraction in a prism.. .... . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
31. Dispersion in a prism.... . . . .. . . . .. ...... .. .. .. ... ... ... . ...... .. .. . 68
32. Principal forms of simple lenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
33 Image formation with positive or converging lenses . . . . . . . . . . . . . . . . . . 69
xvii
xviii ILLUSTRATIONS
34 Course of light pencils through a negative lens . .... . . . . . . . . . . . . . . . . . 69
35. Image formation according to the Gauss theory. . . . . . . . . . . . . . . . . . . . . 70
36. Image formation according to the Gauss theory. . . . . . . . . . . . . . . . . . . . . . . 70
37. Position of the nodes in common forms of simple lenses. . ........ . . . . . 7I
38. Table for the calculation of angle of view. . . . . . . . . . . . . . . . . . . . . . . . . . . 73
39. Graphic illustration of the principle of depth of focus. (Von Rohr).. 79
40. Intensity of the optical image. (Brown).... . ... ..... ............... 8I
41. Chromatic under correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
42. Chromatic over correction.. .. .. . .. .. .. .. .. . .. .. . .. .. . .. .. .. .. .. .. .. 90
43. Irrationality of dispersion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9I
44 Spherical aberration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
45. Coma. (Kellner) ................ .......... . . . ....... . ....... .. .... 94
46. Two forms of coma. (Piper) ... ........ . ................. .. . .. . .. . 9S
47 Curvature of field. (Under-correction)...... ..... ... . .... . ..... .. .. 96
48. Curvature of field. (Over-correction).. . . . ......... .... . . ... . ...... 96
49. Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
so. Under and over correction for distortion. . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
SI. Astigmatic deformation. (Kellner) . .. .. ........... .... . ............ Ioo
52. Optical flare. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IOI
53. Constriction of aperture for the marginal pencils. (Brown) . . . . . . . . . . 102
54 Greater focal length of marginal pencils resulting in lower intensity.
(Brown) ... . .. .. ... . ............... ; ..... ....... ..... . ......... I03
55. The angling of the oblique ray. (Brown) ................... ..... ... I03
56. Relation between the angle of view and the diminution of the optical
intensity of the image. (Zschokke) ....................... .' .... I04
57. Wollaston's meniscus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ros
.s8. The Chevalier or French landscape lens. . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . ro6
59. Grubb's landscape lens. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ro6
6o. Dallmeyer's rapid landscape lens ......... .... , . . . . . . . . . . . . . . . . . . . . . . I06
6r. Goddard's landscape lens-Dallmeyer's rectilinear landscape lens ....... 107
62. Sutton's triplet ...... . .. . .. .. ....................................... I09
63. Dallmeyer's triple achromatic ............................ . ....... . . . . 109
64. Harrison and Schnitzer's Globe lens ..... . ........ . . .... :. . . . . . . . . . . . 109
65. 'The Aplanat or R. R . . . ... ... . . ..... .... ... .............. ....... ... 110
66. Portrait of Petzval ..... . ......... ... . .. . .. ... . . . . . . . . . . . . . . . . . . . . . . 1 1 I
67. Petzval's portrait objective ....... . .................................. II2
68. Modifications of the Petzval portrait objective. ((a) Dallmeyer, (b)
Voigtlander, (c) Zinc-Sommer) .............. . .................. 112
6g. Cooke F /r.s modification of the Petzval constr.uction. . . . . . . . . . . . . . . . . I 13
70. The Goerz Dagor .... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I IS
71. Watson's Holostigmat. ... . ... .. ....... : ... ....... . . .. .. ... . ... ..... I 16
72. The Collinear and Orthostigmat of Voigtlander and Steinheil. ........ II6
73. Rudolph's Protar Series VIla ... . ........... ....... ................ II7
74. The T-R anastigmat. ..... . .. ... ....... . .... . .. ....... . ...... ... : ... 118
75 The Celor and Syntor of Goerz .... .... .. ........................... II9
76. The Dogmar of Goerz ............................................. I20
l 77 The Gaussian objective . ........ .. .... . ...... . . ...... .. , ...... . ..... 120
ILLUSTRATIONS xix
78. Rudolph's Planar; ............. ... . ................ . . . . .. ......... . .
121
79. Koiimorgen' s Aristostigma t ........ . . . ..... . .. . . ..... .. . ...... . . . .. .
122
Bo. Lee's T. T. H. Opic ........... . .. .. . , ........... , . . .. . . . . . ..... .... .
122
81. 1The Leiss Biotar F /1.4 ...... . ..... . ...... . ....... . .. . . . . .. . ... . .. . . 123
82. Rudolph's Plasmat .... . .. . .. .. , .. . . . . ....... .. . . ... ..... . ... .. .. . .. . 123
83. Steinheil Uno focal ..... . : ....... . ............... .. . . . . .. . ... . . . .... . 125
84. Graf Anastigmat ... . ....... . .. .. .. . ......... .... .. . . . . ..... ...... . .
126
85. Beck's Isostigmar .... : . .. .. . . . . . . ............ . . . . . . .. . . . .......... . 127
86. Beck's N eostigmar ... . . . ...... . . . .. . .. . ....... . . . .. . . . . . . .......... .
128
87. Daiimeyer Stigmatic ..... . . . . . .. ..... . ... . .. ... . . .. .. . .. . ... . .... . . .
128
88. Rudolph's unsymmetrical Protar . . . .. ............ . ....... . ....... . .. . 129
89. Rudolph's Unar ................. . .. . .............. . .. . . ......... .. . 130
90 Rudolph's Tessar ....... . .. . .... . .. .. ....... . .. . . .. . . . .... .. .... . .. . 131
91. Daiimeyer Serrac ........ . ..... . : .. . ...... . ... . ................ .... . 132
92. Ross X-press .. . ..... . .. .. .. ... ... ............. . ... ... . .. ..... . .... . 133
93\. Gundlach Radiar . .. . . .. . . . . . ... . . .... .. ........ . .. .... ..... . . . . . .. . 133
94. Cooke triplet. . . ... .... ...... ... .. ....... .. ..... . .. .. .. .. ......... . . 134
95. Action of the central diverging lens . ............ . . . .. ......... . .... . 135
<;)(). Cooke A viar .. ........ .. . .... .. .. . . ...... . ............ .. ...... . .. . . .
136
97. Aldis Series IIa . .' ............ . .... . ........... ... . .. .. . . .. .. . .. .. . . 137
98. Aldis Series II and III ....... .. . .. . . .. . ..... .. ... . . . .. . . .... .... .. .
99. Harting's Heliar ......... . . . .. . ... .. .......... .... .. . . .. . ........ . . .
137
_,..:t!
137 :-!'
100. Harting's Dynar ......... . ... .. . . . . . .......... . . . . . .. .. . ........ .. . 138
"!
101. Daiimeyer's Pentac ... . ..... . .. . . .. ...... . ....... : . . , .. . .... . ..... . . 138
102. The Ernostar . . ................. .. ..... .. . . . . ... .. . . . .. .... .. . .... . 139
103. Dailmeyer's compound teleobjective .. . ..... .. ..... . ...... . ...... .. . . .
104. Petzval's orthoskop . . ........ . . .. ... . ..... . ........ . . . . . . . .. .. .. : . . .
141
~ ~ : : . : ~
142
105. Martin's Bis-Telar ... . . .. ... .. .. .. . . ......... . . .. . .. . . . . ....... . .. . 143
Io6. Zeiss Magnar . ........ : . . . .. .. .. . . ... ......... .. . .. ... .. . . . .. ... .. . . 143
107. Ross Telecentric .. ... ... . . .. ..... . . . ... . ........... . . .' . . ..... . ... . . 143
Io8. Daiimeyer large Adon . . .. . .. . . .. . . ...... .. ......... . ........ . ..... . 143
109. Booth teleobjective ...... .. .... . . . ... ... ........ . .. . .. . ........... . . 144
110. Radiar teleobjective ......... . ... . . . . ..... .. .. . . . .. ... . . . .......... . 145
1 II. Cooke Telekinic F /3.5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
1 12. Zeiss Teletessar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . 146
113. Ross Tel eros. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
114. Lee's T. T. H. 'Telephoto .. .... . . . . . ...... . ... . .. . ..... .. ....... . . . . 146
ns. Voigtlander's Tele-Dynar .... . ... .... .... . ......... . .... . ...... . .... 146
n6. Daiimeyer's Adon .. . ....... . . . .. .. . ...... . .......... .. ........ . .' ... 147
II7. Emulsion press ................ . .. . ..... .. . .. ..... . . .. . . . . .......... 161
n8. Photographic emulsion under microscope ....... . .. . .. . . .. ......... . .. 162
119. Size frequency distribution of silver halide grains in a portrait film
and lantern slide emulsion . . ..... ..... . ........ . ... . ........... . . 166
120. Three-color print of the spectrum
121. Visual luminosity of the spectrum after Abney ....... . . . . . . . . . . . . . . . 169
122. Spectral sensitiveness of the silver halides. . . . . . . . . . . . . . . . . . . . . . . . . . . . I 70
XX
ILLUSTRATIONS
I23. Spectral Sensitiveness of a Gelatino-bromo-iodide Emulsion Color-
Sensitized with Various Dyes . . . ...... . . .... ..... .... . ..... . .... . 178
I24. Portrait on ordinary and panchromatic emulsions ... . ............ .... . 188
I2Sa. Photograph of manuscript in blue with red corrections using a green
filter .... .. . .. .......... .. .. . ....... ..... . . ...... ... .. ... .... . 190
I2Sb. Photograph of manuscript in blue with red corrections showing use of
red filter . . . . .. . . . ...... .. .......... .. ............ . ............ . 190
I26. Wood sections on ordinary and panchromatic plates. (Courtesy of
IIford Ltd.) ... . . ....... ........... . . . .......... . .............. . I92
I27. Chapman Jones plate speed tester ...... .. ... .... ... .. . . ... .. ... . .... .
212
128. H. and D. sector wheel and exposing apparatus ....... . ....... . .... .. . 212
I29. Densitometers. (I) (2) Filmograph; (3) Sanger-Shepherd
Density Meter .. ... . . .... .... ..... ...... . ... ........... . . . ..... . 215
I3o. Illustrating the relation of opacity, transparency and density . ..... . . . .
218
I3I. The characteristic curve .. . .................... .. ... . ......... . .... .
222
I32. Step chart illustrating the theory of the characteristic curve .... . . . . .. . 223
I33 Characteristic curve secured by crossed wedges ................ . ..... 227
I34 Latitude and the characteristic curve ........... . ...... . . .. . . ... ..... . 231
I35. Development and constant density ratios . .. .... . . ... . . .. . . ........... 231
136. The geometry of gamma. (Brown) ... .... .. . . .... .. . . . . .. . .. . . .... 236
137. Sea and sky . .. .... .. .... . . . . .... . ... .. . . . ...... . ... . . ....... . .. . .. . 242
138. Sea view and shipping ..... . . . . . . . . . . . .. . ...... . . . . .. . . .... .. .. .. ... 243
139. Open landscape ... .. ... .... .. . ... ... . . .... ... . . . .. .. ... . . . .... ..... . 243
I40. Average landscape . . ..... . .. : .. .. ....................... . . . . ........ 244
141. Outdoor portrait .. ... ... ... .. ...... . ........... . .. . . . . . . . . . . . . . . . . . . 245
142. The Invasion phase of development. (Mees) .. ... ... . .... ...... . . .. . 254
143, Growth of density with time of development. (Neitz) ..... . ... ...... 260
144. Curve showing growth of density with time of development. (Neitz) . . 260
145. H. and D. method for calculating the time of development for given
gamma .... . . . ...... .. ..... . .. . .. .. . ... . . . . . . . . . . ... ..... ..... 264
{
146. Watkins method of calculating the T. C. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
147. Stokes time development chart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 I
'\ 148. Effect of a soluble bromide in the developing solution on the plate curve, '272
I49 Density depression with a soluble bromide. (Neitz) ..... .. ........... 273
ISO. Effect of soluble bromide on the densities. (Watkins) ..... . .. . .. .... 273
151. Influence of temperature on time of fixation ..... ... .... ..... .. .. .... 316
152. Influence of concentration of hypo on time of fixation. . . . . . . . . . . . . . . . 3 I 7
153. Influence of ammonium chloride on the time of fixation . . ...... .... ... 319
154. Windoe' s washing apparatus . ....... ....... . . . .... . . .. .. ... .. ....... 328
rss. ITrox washer for roll film .. . ................. ...... ... . .... . ..... . . 329
I$6. Sensitometric action of different reducers. (Neitz and Huse) ... . .... 346
I$7. Action of a proportional reducer on the plate curve. (Neitz and Huse), 350
158. Sensitometry of photographic intensification. (Neitz and Huse) .. .. .. 361
159. Bench for local reduction. ( British journal of Photography) ........ 363
16oa. 16ob, 16oc. Adapting the scale of the printing paper to the negative ..
161. Printing machines for amateur and for professional use .............. 373
I62. Effect of time of development upon the characteristic curve of paper
. emulsions .... . . ...... .... .... ... . .. . . .... ...... .. .. ... . ... ... 376
}
1
ILLUSTRATIONS xxi
163. Electrically operated print washer. (Pako) .. . ............... . ...... 379
164. Centrifugal water pressure type of print washer. (Halldorsen) ...... . 380
165. Rotary belt dryer. (Sickle) ............. . . . .................. .. .. . . 381
166. Principle of proj ection printing ......... . ......... ... . . . . ........ . .. 390
167. Box enlarging camera ......... . .. . , ... .... .. ..... . ... ....... .. . ... . . 391
168. Daylight enlarging camera ...... . .... ...... . . . .... .. .. . .. . ..... . ... . 392
169. Projection printing apparatus for use with daylight. .......... . .. . ... 393
170. Enlarging lantern for artificial light. ........................ .. . ... .. 394
171. Proper position of the carbons of an arc light for use with alternating
current . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
172. Parallax reflector for use with incandescent electric sources . . ... . . . .. 398
173. Securing even illumination with five incandescent electric sources .. . .. . 398
174. Forms for the lighthouse us-ing reflected light. (Wall) .. . .. . .... . . .. . 399
175. The function of the condenser . .... . ... . .... . ............ . . . ........ . 400
176. Conjugate foci in enlarging ................. . . ....... .... ....... . . .. 401
177. Adjustment of the light source with condensers ....... . .. . .. . . . .. . . . . 402
178. Loss of light between condensers due to the use of a long focus lens for
projection. (Candy) .................. . ........... . ........ . ... 404
179. Loss of covering power owing to the use of short focus projecting lens
with condensers. (Candy) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
180. Ingento enlarging easel for use with printing frame ... . .............. 406
181. W estminister enlarging easel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
182. Scatter of light by negatives. (Callier) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
183. Graduating focusing scale for enlarging. (Lockett) ........... . ..... 412
184. F and S Lantern slide printing frame ... .... . ..... ... . ......... . . .. .. 420
185. Century lantern slide camera for reduction .. . .............. .. ... . .... 421
186. Slide making by reduction using daylight ..... . ...... .. .. . ...... . ... . 422
187. Device for holding lantern plate in position when using enlarger f or
lantern slide making by reduction. (Charles ) ." ........... . . . .. . . . 423
188. Actinometers for carbon printing ............. . ....... . ........ . . . .. . 468
189. Squeegee board for car bro. (Farmer) ....... . ............... ...... . 476
190. Curves showing the influence on contrast of variations in proportions
of gum, pigment and sensitizer in the gum-bichromate process.
(Anderson) ... . ............... . . . . . .. . . .. ......... . ........ . . . 484
191. Owens' frame for multiple printing ... .. . ... ......... .. .. . . .... .. . . . 487
192. Zerbe's method of registration ......... . ............. .. ........ .. : .. 489
193. Proper position of the brush in pigmenting. (Mortimer and Coult-
hurst, The Oil and Bromoil Processes) . ......... .. ... . . . .... . ... sao
194. Results in pigmenting. (Partington) ........ .. ........ . .. .. ... . ..... 510
195. Transfer presses .... .............. . ...... . .. .... .......... ..... ... . 515
1g6. Frett's transfer press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
197. Copying stand ..... ... ........... . ..... ... . .. ............ . ..... . .. . . 520
1g8. Book holder for copying............ . ... . . .. .. .... ... ... . .... . . .... . 520
199. Illumination of the copy using daylight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
200. Copying apparatus for artificial light. (Rose, The Commercial Pho-
tographer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
xxii ILLUSTRATIONS
201. Method of securing white or black backgrounds. (Photo. courtesy of
D.] . Pratt) .... . . .. .... ... . .. . . . .. .... : ......... .... .. .. . ...... 536
202. Sanger Shepherd three-color camera . . . . . . .. . .. ... . . .. ... .. ..... . . ... 541
203. Butler's one-exposure, three-color camera . . .. . . ... . . . .. .. .... . . .. .. .. 541
204. Autochrome screen. X 12S : . . . . . . ... .. . .. : . . . . . . . . . . . . . . . . . . . . .". 547
205. Duplex screen . .. . .... ... .. . ... . . . .. . .... .. .. . . . . . . . . . . . . . . . . . . . . . . . 554
)
'I

CHAPTER. !
THE DEVELOPMENT OF PHOTOGRAPHY
Introduction.-Photography is the science of obtaining images
of objects by the action of light on sensitive substances. The word
photography is due probably to Sir John Herschel and is derived
from two Greek words ( cf>w<> =light, ypacpta =write) meaning to
draw by light.
The two sciences of optics and chemistry form the basis of pho-
tography, the former being concerned with the production of the
image in the camera, the latter with the composition and treatment of
the sensitive surface which reproduces the image cast upon it by the
lens.
The Development of the Camera.-The invention and development
of the camera forms a most important phase in the history of pho-
tography. Camera is a Latin word originally meaning art enclosure
with a vaulted, or arched, cover, but in course of time came to mean
a room. Thus the camera obscura means a dark ro?m, except for
the illumination which comes through the small opening which serves
as the lens. (Fig. r.) We do not know by whom, or at what date,
the principle of the camera obscura was first discovered. There was,
properly speaking, no invention of the camera obscura, for the prin-
ciple is a natural phenomenon which must certainly have been ob-
served many times by man without having excited any particular
interest until someone more enterprising than the rest set about to
find the cause of the phenomenon and its possible applications. At
whatever date this may have taken place, we have at least a reference
to the principle of the camera obscura as early as the time of Aris-
totle. This learned Greek in his Problemata published about 350 B.C.
refers to the fact that the image of the sun formed by the rays of light
passing through a square aperture appears circular. He also noted
the amplification of the image as the distance from the aperture is
increased. Even a man with his intellect, however, appears to have
been unimpressed, so that the camera o9scura, properly speaking, es-
caped him and he has really no place in its history.
1
2 PHOTOGRAPHY
From the time of Aristotle there is no mention of the camera
obscura for many hundred years. Alhazen in his Thesaurus Opticcc
written in the eleventh century, although not published until 1572,
seems to have been more or less familiar with its principle although
he does not mention it specifically. Roger Bacon in his Perspectiva,
published in 1267, has a passage which many have taken as the first
description of the camera obscura, but it is so indefinite that it may
(Court esy of the Smithsoni an lnsfi tuticu)
Frc; . r. The Camera Obscura f rom an Old Print
be equally as well regarded as applying to the projection of images.
There are other passages in his Opus M a jus which seem to indicate a
knowledge of the principles of the camera obscura but these likewise
are couched in such vague terms that we are hardly justified in
crediting him with the discovery of the camera obscura.
The first precise and complete account of the camera obscura is to
be found in one of the unpublished manuscripts of Leonardo da
Vinci quot ed by Venturi in his Essai sur le:s Ouvrages physico-
mathematiques de L eonardo da Vinci which was published at Paris
in 1797. The following is Venturi' s translation of the passage in the
works of Leonardo:
The following experiment shows how objects send their images to intersect
on the albiginous humor inside the eye. When the images of illuminated objects
enter into a very clark chamber by a small round aperture, if you receive these
images in the interior of the room on a piece of white paper placed at some dis-
THE DEVELOPMENT OF PHOTOGRAPHY 3
tance from the aperture, you will notice on the paper all the objects in their
proper forms and colors : they will be lessened in size and will be reversed, and
that in virtue of the intersection already noticed. If the images come from a
place lit by the sun, they will appear as if painted on the paper, which should be
very thin and looked at from behind. The aperture should be made in a very
thin piece of sheet iron.
Leonardo then goes on to give a diagram showing the arrange-
ment of the aperture and screen and the course of the light rays. The
manuscript is undated, but as Leonardo died in I 5 I9 it probably dates
from several years previously. It is noteworthy that he does not
refer ~ it in any way as an invention, which would lead one to be-
lieve that he was not sure of having been the first to describe the same.
In Cce.sariano's translation of Vitruvius' Treatise on Architecture,
published at Como in I52I, there is a passage referring to the camera
obscura as having been discovered by a Benedictine monk, Don Pap-
nuito. Libri in his Historie des sciences mathematiques en Italie
(Paris, I84I) says that although this is the first published description
of the camera obscura, the observations of Leonardo must certainly
have been made at an earlier date.
Maurolycus, an eminent mathematician of Messina, in his Photismi
de Lumine et Umbra ad Perspectivam et radiorum incedentiam fa.-
cientia, published in I6I I, but fini shed in I 52 I , treats the subject
mathematically and gives several theorems relating to the passage of
light through small apertures and was apparently well acquainted
with the formation of images in this way.
The next references to the camera obscura are found in Germany,
where we find Erasmus Reinhold and his pupils Gemma Frisius and
others using the same to observe eclipses of the sun without danger
to the eyes. Reinhold probably used the camera obscura in this way
as early as I 540.
Jean Baptiste Porta.-The connection of Jean Baptiste Porta with
the discovery of the camera obscura arises from a passage in his
Magia Naturalis, a remarkable work published in Naples, 1553, when
he was fifteen years of age. Although there are at least five accurate
and precise descriptions of the camera obscura prior to the time of
Porta, still he is popularly credited with its discovery. It is quite
likely that this misconception arose from the fact that Arago, the
eminent secretary of the French Academy of Sciences, in his address
before that body on the occasion of the presentation of the details of
4 PHOTOGRAPHY
the Daguerreotype process took the opportunity to make a few re-
marks on the historical phases of the subject in which he referred to
the work of Porta with the camera obscura. There is nothing to
show that Arago had investigated the subject thoroughly and, al-
though he did not distinctly credit Porta with the discovery of the
camera obscura, the prominence given him by one of Arago's emi-
nence established him in the popular mind as the inventor of the
camera obscura. As a matter of fact, Libri, a colleague of Arago,
in a work on the history of the mathematical sciences in Italy, already
referred to, called attention to the work of Leonardo and several
others who anticipated Porta in the discovery of the camera obscura.
This work, however, apparently never reached the photographic
fraternity, with the result that year after year the writers , of text-
books in referring to Porta as the inventor of the camera obscura,
firmly established the myth in the popular mind and it was not until
the appearance of Dr. Eder's Geschichte der Photographic, and the
work of Waterhouse, that the work of Porta's predecessors was
properly brought before the photographic world.
1
The Camera Obscura with Lens.-The first definite description of
a camera obscura with a lens is found in a work on perspective, La
Pratica della Prospectiva, by a Venetian nobleman, Daniello Barbaro,
which was published at Naples in 1568. In 1585, seventeen years
after the appearance of this work and four years prior to the ap-
pearance of the second edition of Porta's M agia N aturalis, in which
the description of the camera obscura with lens occurs, another
Venetian nobleman, Giovanni Battista Benedetti, in a book of mathe-
matical and physical observations published at Turin, again refers
to the camera obscura with lens.
The lens used by Barbaro and Benedetti was planoconvex in form.
Kepler, who took up the study of the camera about the beginning
of the seventeenth century and investigated it thoroughly both theo-
retically and practically, was the first to perceive the advantage of a
compound objective composed of concave and convex lenses. In his
Dioptrice published in 161 I, he deals with the principles of refraction,
of image formation, and the properties of various forms of lenses
and their combinations. He speaks of the disadvantages of the plano-
convex form as regards the small field and the advantages of the use
1
For a biography of Porta and an account of his predecessors see Bull. Soc.
franc. Phot., 1923, IO, 52.
of a concave lens with the convex. Kepler really did a great deal
towards placing the optics of the camera on a firm foundation, a
branch of his work which has not received the attention which it de-
serves.
Early Records of the Photochemical Action of Light.-The tan-
ning of the skin by light is one of the many common evidences of the
action of light which could hardly escape the attention of man, even
in the savage state, but this action is so slow that it is not sufficiently
striking to excite more than casual interest. More than 300 years
before Christ, Aristotle observed that the green ~ o o r of plants was
due to light, for plants which had become bleached in the dark turned
green again on exposure to light. The first observation on record of
the action of the atmosphere on silver is by Pliny about roo A.D., but
his observations are probably only a record of the action of the at-
mosphere on metallic silver. In the eighth century, however, J abir
Ibn Hayyam, often called Geber, observed the darkening of silver
nitrate on exposure to atmospheric action.
In 1556 Georgius Fabricus recorded the fact that crude silver
chloride, or horn silver, an ore frequently found in the mines of
Frieburg, darkens on exposure, and Boyle, an early English chemist,
writing about r686 speaks of the sensitiveness of gold.
In 1725 a Russian field marshal prepared a remedy in which ferric
chloride is used, using the action of light to reduce it to the ferrous
state.
That the darkening of the silver salts is due to light and not to
the action of various vapors of the atmosphere was first definitely re-
corded by Johann Henrich Schulze in 1727. (Fig. 2.) While ex-
perimenting at an open window with a solution of chalk and aqua
regia, which accidenfally contained a trace of silver, he was surprised
to find . that the surface of the solution which was exposed to light
had changed to a dark purple color, while the body of the solution re-
moved from the light had not changed. Following up his observa-
tions, he made a fresh solution of chalk and aqua regia, which he
exposed to light under precisely the same conditions as the first so-
lution. As this mixture was unaffected, he rightly concluded that
the sensitiveness of ;We first solution had been due to the trace of
silver. Cutting a stencil in opaque paper he placed the same around
a bottle containing some of the mixture and exposed it to light. In
this way the words or sentences were accurately and distinctly re-
6 PHOTOGRAPHY
produced on the chalk sediment and the result was looked upon as
a marvel by ignorant people.
FrG. 2. Johann Heinrich Schulze. (From Eder's biography)
\iVhile Schulze was undoubtedly the first to secure an image by the
agency of light, his work, although far in advance of his time, is
hardly sufficient to earn for him the title " Discoverer of Photogra-
phy " such as has been given him by Eder and others. The work of
Schulze was a great advance, and we are certain a great stimulus to
later work along similar lines, but as he made no attempt to use the
camera obscura, nor to "fix " the image which he obtained, it seems
hardly fair that he should be termed "Discoverer of Photography."
2
In 1763, Dr. William Lewis published an account of his investi-
gations on the cause of the di scoloration of bone, ivory, wood, etc.,
when treated with silver nitrate and exposed to light, and in his His-
tory of Discoveries Relating to Light, Vision and Color, Dr. Joseph
Priestley refers to the previous work of Schulze and Lewis. The
principal interest, however, which we have in this work of Priestley
2
For an interest ing biography of Schulze see Heinrich Schulze-
Der Lebenslauf des Erfinders des Ersten Pholographischen Verfahrens und des
Begrunders der Geschichte der Medizen. Wien, 1920.
A full translation of Schulze's paper describing his researches with silver salts
appeared in the Photographic Journal for r8g8, 38, 53.
- ------- -----------
is its connection with a later experimenter, Thomas vVeclgwood, who
without doubt was led to the subject through its pages.
In 1777, Carl vVilliam Scheele noted the influence of various colors
on the rate of darkening and found that blue and violet light were
much more active in darkening silver nitrate than reel or orange.
Scheele also investigated the chemical changes involved in the darken-
ing of silver chloride and discovered that the effect of light on thi s
substance is to cause the evolution of chlorine.
Herschel in r8oo discovered the heat rays beyond the visible reel,
and the foll owing year Ritter discovered, by photographic means,
the existence of t he very active ultra-violet beyond t he visible violet.
Frc. 3. Thomas Wcclgwood. (Chalk drawing, author unknown)
I
The Forerunners-Wedgwood and Davy.-Neglecting the wor k
of Boulton in 1777, Charles in r78o, and Lord Brougham in 1795,
whose claims to the previous discovery of photography are too vague
to be seriously considered, we arrive at the important work of Weclg-
8
PHOTOGRAPHY
wood, who made the first definite step towards the discovery of pho-
tography.
Thomas Wedgwood, fourth son of the great potter Josiah Wedg-
wood, was born the fourteenth of May I77I. (Fig. 3.) On account
of his delicate health, most of his education was conducted at home
and he had as tutor a Mr. Alexander Chisolm, who had formerly
acted as secretary to Dr. William Lewis and from whom Wedgwood
was no doubt able to learn of the work of Schulze and the others who
had preceded him.
Wedgwood, together with Humphrey Davy, then a rising young
chemist, repeated the work of Schulze with silver nitrate and were
able to make prints of leaves, and similar objects, but were unable to
prepare a paper sufficiently rapid to permit of its use in the camera
obscura. Davy made some important additions to the work of
Schulze. He found that silver chloride was more sensitive than the
nitrate, and using the concentrated light of a solar microscope, he
was able to secure images of small stationary objects on his silver
chloride paper. But neither Wedgwood nor Davy were able to find
a means. of " fixing" the i111age, or dissolving the unacted-upon silver
salt so as to render the image permanent. The poor health of W edg-
wood was no doubt partly responsible for this, and subject
was abruptly terminated by his death at the early age of thirty-one
years. After his death, a joint paper, written probably by Davy, was
brought before the Royal Institution and appeared in the' Journal for
1802 under the following title: An Account of a Method of Copying
Paintings upon Glass, and of Making Profiles by the Agency of Light
on Nitrate of Silver, by T. Wedgwood with observations by H. Davy.
Davy does not appear to have paid any attention to the subject
after the death of Wedgwood and no further work on photography
was done in England until the researches of Talbot beginning about
1835 While the work of Talbot logically follows that of Wedgwood
on account of the close similarity of the methods adopted by the two
experimenters, we must first consider the important work of Niepce
in France, whose researches began about 1812.
The Life and Work of Joseph Nicephore Niepce.-Joseph
phore Niepce (Fig. 4), the first man to obtain a permanent photo-
graph, was born at Chalons-sur-Saone on March 7, 1765. His father
was a man of means and Nicephore and his brother, Claude, had a
tutor in language and science in which both early showed especial
(,
)
interest. Designed for the Church by hi s parents, the Revolution
upset hi s plans, and Nicephore joined the army in 1792 and ser ved two
years in Italy, when ill health compelled him to resign his commission
(Cc. urtesy of !.he Societe Francaise de Photographit:)
FT(;. 4 J oseph Nicephore Nicpce
~ m l return to his country estate, where, having married, he spent t he
remainder of hi s long life in scientific pursuits, of which photography
was by no means t he least . His brother Claude, to vvhom he was
devotedly attached, resided with him unti l 1811, when, in order t o
further his scientifi c work, he left for Paris and finally to Kew in
England. Unfortunately Niepce left no wri tten account of his work
and our only source of informati on is from hi s correspondence to
his brother Claude. In r827 Nicephore visited hi s brother Claude in
England and brought with him some prints and a paper which he
hoped to bring before the Royal Society, but having refused to make
public the methods employed for making the prints, the rules of
the Society compelled them to refuse the communication.
The same year he met Daguerre in Paris and after overtures lasting
10 PHOTOGRAPHY
F1G. 4a. Birthplace o N iepce
FrG. 4b. Statue to Niepce
two years the two investigators signed articles of partnership to con-
tinue for ten years, during which time the two would work to their
joint advantage. Niepce made no further advance on his process
after this date and on his death in 1833, in his sixty-eighth year, his
son Isidore succeeded him in the partnership.
Frc. s. A Heliographic Print by Niepce, 1824 J
The basis of the process worked out by Niepce was the discovery
that bitumen of Judea or "Jews' pitch" becomes insoluble upon ex-
posure to light. Niepce dissolved bitumen of Judea in oil of lav-
ender and spread a thin layer on stone or metal plates. The sensi-
tized plate was then exposed for several hours under the transparent
drawing to be reproduced, after which the pl ate was immersed in
oil of lavender which dissolved the parts unaltered by light, leaving
the plate bare in these places and accurately reproducing the outlines
of the drawing. By treating the metal plate with acid, an image in
relief was produced from which prints could be secured in an ordi-
nary printing press. One of these early prints, elating from 1826, is
the Cardinal plate, illustrated in Fig. S
A letter of Niepce recently discovered by G. Cromer
3
shows that
Niepce was successful in the use of the camera obscura as early as
1826. The letter describes what is perhaps the first permanent re-
3 Bull. Soc. franc. ?hot., 1922, g, 6g.
2
12 PHOTOGRAPHY
production of a natural object by photographic means. The time of
exposure required was from six to eight hours, so that, while Niepce
may be said to have discovered photography, his process was of little
practical value. Nevertheless we must not lose sight of the fact that,
although far from perfect, his process was the first by which a
permanent reproduction might be secured by photographic means and,
furthermore, he was the first to successfully make use of the camera
obscura, so that to Niepce belongs a large share in the di scovery of
photography.
Frc. 6. Louis J acques Man de Daguerre
The Life and Work of Jacques Mande Daguerre.-Jacques Mande
Daguerre (Fig. 6), who invented the Daguerreotype, the first practi-
cal process of photography, was born at Cormeilles, a small village
about ten miles from Paris, on November r8, 1787. His father was
court crier of the village and his mother from one of the village fam-
ilies. During the Revolution his father lost his position and moved
to Orleans, where the young Daguerre grew up. He was educated in
the public schools of France and early showed especial aptitude for
drawing; producing, it js said, creditable portraits of his parents and
friends at the early age of thirteen. At the age of sixteen, he left
Orleans to begin life in Paris. There he finally secured employment
with Degotti, a flourishing scene painter, and at this the young
Daguerre made rapid progress, soon equalling, and finally excelling
his master, so that his services were much sought after by the lead-
ing theaters. During the years r8r6 to r82r he assisted Piel"re Pre-
vost with his panoramic paintings of the cities of Europe and during
this time it is probable that he first became acquainted with the camera
obscura.
In the production of the large paintings required for the diorama,
which he opened in Paris in either 1822 or 1823, Daguerre frequently
made use of the camera obscura and it was the remarkable beauty
and perfection of the image produced by this instrument that led him
to attempt to find a way by which the image might be m7-de perma-
nent. His investigations seem to have begun about r824. VTwo years
later he received word, probably from Chevalier, an optician from
whom he had been in the habit of purchasing the apparatus necessary
for his experiments, that the s u ~ j e t was also occupying the attention
of a man in the Provinces, Joseph Nicephore Niepce. Daguerre im-
mediately wrote to Niepce suggesting an exchange of secrets, but let-
ters to Niepce received but curt replies until 1827 when Niepce was
called to England on account of the serious illness of his brother
Claude. Stopping in Paris he met Daguerre and cordial relations
were established between the two investigators. On December 5,
r829, the two workers signed an agreement of partnership to continue
for ten years, during which time each would work to their mutual
advantage. After the death of Niepce in 1833, if not before,
Daguerre discarded the method of the elder investigator and started
out on different lines. In 1835 he informed Isidore Niepce, who had
succeeded to his father's interest in the partnership, that he had
reached a certain amount of success, and after two years more of
perfecting details, a company was formed to buy out the process for
the sum of 200,000 francs. This, however, was a failure and in their
extremity the two were forced to appeal to the Government.
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Daguerre showed specimens, and placed a written account of his
process in the hands of Arago, the eminent physicist and astronomer,
in January 1839. Arago was impressed with the possibilities of the
process and brought the inatter to the attention of the Home Minister,
to whom Arago's endorsement was sufficient, and on his recommenda-
tion the Government awarded Daguerre a life pension of 6,000 francs
yearly and to Isidore Niepce one of 4,000, on the condition that the in-
vention be published without patent, this money being paid by France
" for the glory of endowing the world of science and of art with
one of the most surprising discoveries that honor their native land,"
to quote the official document. The stipulations were agreed to and
in August of the same year (I 839) the details of the proce.ss were
made public before the Academie des Sciences. Interest 111 the process
spread rapidly and the inventor made a small fortune in the sale of
apparatus for the process. Daguerre died at Petit-sur-Marne in
1851 at the age of sixty-three, having lived to see the science take a
large and important place in the affairs of the world. (Fig. 7)
The Daguerreotype Process.-The Daguerreotype process occu-
pies such an important place in the history of photography that an
extended description of the same will not be out of place.
A silver plate, or copper plate covered with silver, is rubbed with
tripoli and olive oil and polished with rouge and cotton wool to ob-
tain a highly polished, perfectly smooth, faultless surface. This
polished plate is placed with its polished side down in a fuming
FrG. 8. Fuming Cabinet for the Daguerreotype Process
cabinet (illustrated in Fig. 8) on the bottom of which is a thin layer
of iodine crystals. As the iodine evaporates the vapors come in con-
tact with the silver and form silver iodide. After passing through
16 PHOTOGRAPHY
several successive changes of color, the surface of the silver phte
becomes blue and when this stage is reached the plate is removed,
placed in the holder, and exposed. Exposure with such a plate for
three to four hours produces only a faint 'impression of the silver
iodide and if it had not been for the accidental discovery of the latent
image, and the possibility of developing the image by chemical means,
Daguerre would have fared no better that his predecessors. For-
tunately, however, Daguerre discovered that mercury had the power ,
of bringing out the visible image, so that the exposure necessary was
shortened to three or four minutes. The discovery of the latent
image, and the possibility of developing the same, was the greatest
step towards the realization of practical photography made by
Daguerre and one which must forever entitle him to a high place
among those who have contributed to the advancement of the science.
Development is conducted in a developing box (illustrated in Fig.
FIG. 9 Developing Box for the Daguerreotype Process
9). The heat of the spirit lamp under the dish of mercury causes
the mercury to condense on those parts of the image affected by ex-
posure to light and the image gradually develops as more and more
mercury is deposited until a complete reproduction of the original is
obtained. For fixing, Daguerre at first used common salt, but soon
after the publication of the process Herschel called attention to the
use of "hypo " which was immediately adopted.
4
4
The chemical reactions involved in the Daguerreotype process cannot be said
to be fully understood even at the present time. For a very complete discus-
sion of the same see Waterhouse, "Lessons from the Daguerreotype," Photo. !.,
1899, 39, 6o, and 1898, 38, 45.
Later History of the Daguerreotype.-Daguerre's early plates re-
quired an exposure of three to four minutes but the following year
( r84o) a London science lecturer, Mr. Goddard, discovered the fact
that a combination of bromine and iodine was much more sensitive
than either alone and a great increase in rapidity was secured, while
the time of exposure was reduced by the introduction of the really
wonderful Petzval portrait lens by Voigtlander the following year.
The first attempts at portraiture appear to have been made in
America. The claims of Dr. J. W. Draper and Robert Cornelius of
Philadelphia to have made the first human portrait by photography
have been reviewed by L. T. W. in the British Journal of Photog-
raphy. It appears that the portrait of his sister was made by Dr.
Draper on March 31, r84o, while Robert Cornelius opened a studio
for the Daguerreotype process in Philadelphia on February r8, r840.
As Cornelius must certainly have made experiments before opening
a studio professionally it appears that he, and not Draper, was the
first to make a portrait by the Daguerreotype process. Draper's por-
Frc. ro. An Early Daguerreotype Portrait
Often stated to be the first portrait by photography
trait, reproduced in Fig. ro, is the first Daguerreotype portrait which
is now in existence, none of the results of Cornelius being in existence,
so far as known.
5
5
Brit. J. Phot., 1920, 67, p. 420.
18 PHOTOGRAPHY
The Daguerreotype process lasted only about ten years or untii the
discovery of the wet collodion process by Scott-Archer in 1851. It
was almost entirely a portrait process and was not used for landscape
and other exterior work to any extent.
The Positive Process of Bayard.-Bayard, one of the founders of
the Societe Francaise de Photographie, demands a few lines for the
positive process which he worked out prior to the announcement of
the Daguerreotype. On June 24, 1839, two months before the details
of the Daguerreotype process were made public, Bayard exhibited
a collection of silver prints made by a method entirely different from
that employed by any of the early workers. His process produced
a positive print direct and without development. Paper was soaked
in 'a solution of ammonium chloride, dried, floated on silver nitrate
and after drying in the dark it was exposed to daylight until com-
pletely darkened. Before exposure, it was placed in a solution of
potassium iodide and exposed while wet in the camera. The action
of light bleached the paper, producing a positive result which was
washed and fixed in potassium bromide. The prints were permanent
and some are said to be in existence at the present day.
The Life and Early Work of William Henry Fox-Talbot.-Wil-
liam Henry Fox-Talbot (Fig. II) was born February II, 1800, at
the ancestral home of the Talbots, Lacock Abbey, in Wiltshire. He
was of an old and well-established family, the Talbots ranking among
the oldest families in England, whiie his mother was a daughter of
the Earl of Ilchester. He was educated at Harrow and Cambridge,
leaving the University in 1821 with highest honors, and for two years
was a member of parliament, but politics did not interest him and he
retired in 1835 to devote the' remainder of his life to science. Talbot
was a versatile experimentalist; his earlier years were devoted to
photography, but in later years he wrote on a wide range of subjects,
as spectrum analysis, inscriptions in Egypt, the optical phenomena
of crystals and integral calculus, while apparatus in the memorial
collection at the Royal Photographic Society speak of his interest in
electrical and physical science.
Talbot relates in his Pencil of Nature, published in London 1844,
that in 1833 he was sketching on the shores of Lake Como in Italy
with the camera obscura, but without much success owing to his lack
of knowledge of drawing. On his return to England in January the
year following he determined to follow up the work of Schulze and
Wedgwood on the action of light on silver salts. His first experi-
ments with silver nitrate and silver chloride were unsuccessf ul, as the
paper was not sufficiently sensitive to light. As a result of many
trials, Talbot found that a far greater degree of sensitiveness was
obtained with silver chloride if a weak solution of salt was employed,
Frc. rr. Willi am Henry Fox-Talbot
producing what he termed an "imperfect" chloride, which was very
much more sensitive to light. Using paper prepared in this manner
he was able to readily obtain prints of tracings, leaves, etc., as had
Weclgwood and Davy before him and with whose work he was fa-
miliar. Talbot, however, was successful where earlier investigators
had failed; he found that a solution of common salt would dissolve
the unacted-upon salts and render the image permanent. In 1835 he
found that the sensitiveness of his paper was greatly increased by
giving it successive washings in salt and silver and exposing it
while still wet. With paper so prepared he made a picture of his
home, Lacock Abbey, using the camera obscura during this same year
(1835).
20 . PHOTOGRAPHY
The details of Talbot's process, which the inventor styled "Photo-
genic Drawing," were first made public in a communication to the
Royal Institution by Faraday on January 25, 1839, and a week later
(January 31, 1839) Talbot himself read a paper on the subject before
the Royal Society, of which he was a member. This was Talbot's
first paper, and it will be observed that it was published almost eight
months before the details of the process were made
public.
The Calotype Process.-The principal work of Talbot, however,
was the Calotype process invented by him in 1840. In this process
silver iodide was used, the paper being impregnated with silver iodide
and immediately before exposure was washed over with a mixture of
gallic acid and silver nitrate. After an exposure of about a minute,
the image was developed in gallic acid and silver nitrate. Talbot had
at last grasped the idea of a developer for bringing out the latent
image. After fixing and drying, the paper negative was placed over
a similar sheet of sensitized paper and exposed to obtain the positive
proof. The process was fully described by Talbot before the Royal
Society on June 10, 1841.
It is practically certain that in the use of gallic acid to increase the
sensitiveness of his paper, and also as a developer, Talbot had been
anticipated by an English clergyman, Rev. J. B. Reade, but as the
latter did not publish an account of his work, Talbot's discovery was
independent and original with him.
Miscellaneous Paper Processes.-The work of Talbot was soon
estimated at its true value by a French investigator, Blanquart-Evard.
A process devised by him was practically identical with that of Talbot
except for the employment of silver chloride instead of iodide. N u-
merous other processes were invented by various workers, none of
which are of more than historical interest, and these we will merely
mention, referring those who may desire further information to
Robert Hunt's Treatise on Photography published in London 1854
Amphitype-invented by Sir John Herschel.
Anthotype-invented by Sir J oh11 Herschel.
C atalysotype-invented by a Dr. Wood.
Chromatype-process using chromic acid.
Chrysotype-invented by Sir John Herschel.
Energiatype-invented by Robert Hunt.
Fluorotype-so called from use of salts of fluoric acid invented by
Robert Hunt.
'
The Introduction of Glass.-Paper is not an ideal medium for
negatives owing to its relatively coarse grain, which destroys fine de-
tail, and its opacity, which makes printing slow. To overcome these
difficulties Sir John Herschel early attempted to substitute glass, but
his process was unsuccessful because he did not recognize that images
of sufficient opacity can be obtained 9nly in the presence of albumen,
gelatine, or some similar substance, which is capable of attracting and
combining with the silver salts. The need of such a substance was
recognized by Niepce de Saint Victor, a nephew of Nicephore, who
was responsible in 1847 for a method in which albumen was used.
The white of an egg was beaten up with potassium iodide and com-
mon salt and the clear liquid poured over a glass plate and allowed to
dry. In this . state the plates could be kept for some time. Im-
mediately before exposure the plate was dipped in a bath of silver
nitrate, which cau!?ed the formation of a sensitive silver-chloro-iodide
within the pores of the albumen. The plate was exposed either wet
or dry and developed in gallic acid. Although no gain in rapidity was
made by the albumen process, the results were much clearer and the
negatives P,rinted more rapidly, so that the process was immensely
popular .until the introduction of collodion.
Scott-Archer and the Introduction of Collodion.-In 1847 Schon-
bein and Bottcher discovered gun cotton and the following year
Maynard of Boston showed that the same might be dissolved in a
mixture of alcohol and ether to produce a substance of a viscid na-
ture which is termed collodion. In 1849 Le Gray, a French investi-
gator, suggested the use of collodion in photography and in a book
published in 1850 Robert Bingham, assistant to Faraday, suggests the
use of collodion in place of albumen, but the credit for the invention
and publication of a workable process employing collodion is due to
Frederick Scott-Archer. (Fig. 12.)
The inventor of the collodion process was born at Stortford in
1813 and in early life became a sculptor. He took up the Calotype
process in 1847, it is said, for the purpose of making- records of his
work. We do not know just when he began experimenting with col-
lodion but in 185o his collodion process was so far advanced that he
described it to a few friends, from whom he received some assistance,
and the ,following year the details of the process were published in
The l i ~ m i s t for March 185!. Archer appears not to have recog-
22 PHOTOGRAPHY
nized the value of the process, for he did not patent it, but so com-
plete and perfect was hi s process that it at once took the place of all
other processes, remaining supreme in the field for almost thirty
years, and is even to-clay unsurpassed for certain branches of work.
F ri.. 12. I'rederick Scott-Archer. Drawing from an old print reproduced 111
]. Werge- Th e Evolution of Phot ograpliy
Archer was a fertile inventor and made several minor additions to
photographic processes which we do not have the space to record,
but was a poor business man, and upon his death in May 1857 in
practicaily a state of poverty, the sum of 747 pounds was raised by
subscription among friends, and shortly afterwards, Mrs. Archer
having passed away, the Government granted the children a pension
of fifty pounds a year as "their father was the discoverer of a sci-
entific process of great va lue to the nation from which he had reaped
little or no benefit."
\
The Collodion Process.-The following is an outline of the col-
lodion process :
6
1. Prepare pyroxyline by immersing cotton wool in equal parts of
nitric and sulphuric acids for fifteen seconds, after .which wash
thoroughly in water.
2. Dissolve the pyroxyline in a mixture of equal parts of sulphuric
ether and absolute alcohol to obtain collodion.
3 Add some soluble iodide, and also a little
4 Pour on a clean glass plate and allow to set. . .
5 Take the coated plate into the darkroom and immerse in a bath
of silver nitrate (thirty grains to the ounce of water) for a minute.
Here a chemical change takes place resulting in the formation of a
sensitive silver-bromo-iodide in the pores of the collodion.
6. Place plate in holder and expose.
7 Take plate back to darkroom and develop by pouring over it a
solution of water, acetic acid, and pyrogallic acid.
8. Fix by immersion in a bath of sodium thio-sulphate ("hypo").
After the introduction of collodion, photography for the first time
became really popular. Out of this newborn interest in the subject
arose several institutions which were stand until the present time
and to exercise a favorable influence on the further developments of
the science. The Royal Photographic Society was founded in 1853
as the Photographic Society of London, and the following year the
Societe Francaise de Photographie was organized at Paris. In 1854
the well-known British Journal of Photography was established as a
monthly, becoming a weekly in 1859, while the year previous had wit-
nessed the birth of the P holographic News.
Inconveniences of the Collodion Process.-While a notable ad-
vance. upon all previous processes, the collodion process was subject
to several grave objections. It is absolutely necessary that the plates
be exposed and developed as quickly as possible after their prepara-
tion before the surface has had time to dry. For this reason the wet
plate process, while well adapted to the studio, is not so suitable for
landscape work, or for general amateur use. A heavy equipment
had to be carried in the form of a tent, sensitizing bath, developing
trays, fixing and developing solutions, and a plentiful supply of pure
6
For a full description and formula see: Wet Collodion Photography, by C.
W. Gamble; The Wet Collodion Process, Arthur Payne.
24 PHOTOGRAPHY
water. Some idea of the inconveniences of outdoor photography with
the collodion process may be had from Fig. 13 and Fig. 14; the former
shows the photographer " en route " with hi s outfit and the latter the
outfit in use in the field. Sometimes the outfit was arranged to be car-
FrG. 13. The 'vV ct Collodion Process in the Field
(From an old manual)
ried on a cart drawn by a donkey, an example of which is in the
museum of the ]).oyal Photographic Society of Great Britain. Fur-
thermore if the exposure was a long one, as might easily be the case
with interiors where exposures run to several hours, the surface of
the plate dried and the picture was spoiled. Lastly in cold weather
the sensitizing bath, solutions, water supply and pla.tes would freeze,
so that photography in winter, or in cold climates, was well nigh im-
possible.
Despite these obvious drawbacks, some of the work of this period
ranks with the best that photography has produced. The work of
Rejlancler, the portraits of Solomon, Mrs. Cameron, and much of
the famous work of H. P. Robinson were all clone with collodion, and
will ever remain as notable tributes to the enthusiasm and energy of
these untiring workers.
Modifications of the Collodion Process.-To overcome the defects
of the collodion process J ohn Spiller and william Crookes in 1854
7
proposed the use of a deliquescent salt, such as magnesium nitrate,
to keep the collodion moist and allow it to be kept several hours be-
fore use. The same year George Shadbolt and Maxwell-Lyte advi sed
the use of honey and grape sugar to prevent evaporation. The most
successf ul method, however, was the col lodi o-albumen process devised
FrG. 14. Portable Laborat ory for Field Use with Wet Collodion
by Taupenot in I8SS
8
In this process the plate after having been
coated with iodized collodion in the usual manner was then flowed
with albumen and allowed to dry, when it was immersed in a bath
of silver nitrate, washed and dri ed. The plates so prepared were
very slow, about six times slower than ordinary collodion, but would
keep well and were rather extensivel y used by landscape workers.
In 1855 Dr. Hill Norris of Birmingham described a process
9
in
which the plates were first washed in water and then immersed in
pyrogallic acid, after which they were dried and kept until wanted.
The following year he took out a patent for a collodio-gelatine process,
the sensitive collodion plates being covered with a solution of gelatine
in order to prevent its condensation on drying and to keep in a sensi-
tive state. Dry plates so prepared were placed on the market and
large numbers were sold between I855-1866.
Among other processes having as their object the production of dry
7
Philosophical Magazine.
8
La Lumiere, Sept. 8, r8ss.
9
Jonr. Phot. Soc. of London (R. P. S.), May r8ss.
-
26 PHOTOGRAPHY
plates we may mention the tannin process of Major Russel, intro-
duced in 1861 ; the albumen-beer process of Capt. Abney, 1874; the
resin process of the Abbe Desprats and the oxymel process of
Llewelyn.
The Introduction of Collodion Emulsion.-The term emulsion ls
properly applied to a liquid holding another immersable liquid in sus-
pension in an extremely fine state of division. In photography the
term is a misnomer for a mechanical suspension of a solid sensitive
salt of silver in a finely divided state in a substance such as collodion,
albumen or gelatine. While Gaudin, and Dixon and Fry
10
had met
with some success in the preparation of a workable collodion emulsion,
it remained for Sayee and Bolton to work out the first satisfactory
method for the preparation of a suitable collodion emulsion for
graphic purposes in r864Y These workers added nitrate of silver to
a bromized collodion thus producing a sensitive bromo-silver collodion.
Plates coated with this emulsion were flowed over with tannin and
dried. Later improvements consisted in increasing the amount of
silver and the addition of tam1in directly to the emulsion. Many
others added suggestions of importance, among whom may be men-
tioned Carey Lea, Col. Stuart Wortley, George Dawson, Thos. Sutton
and W. J. Stillman. 1
excess silver salts were removed by washing the plates after coating.
For several years after the introduction of collodion emulsion the 1
In 1871 Sutton suggested the use of a "corrected " emulsion in which
the proportions of bromide and silver were so adjusted as to leave
neither in excess, but because of the practical difficulties in determin-
ing the proper proportions the method is not satisfactory.
In 1874, Bolton showed that the emulsion might be washed before
the plates were coated
12
and the following year Rev. Canon Beechey
described
13
a similar method using pyrogallic acid as a preservative.
This method was perhaps the most reliable and uniform method of
preparing collodion dry plates, and plates so prepared became an
article of commerce. While not so rapid as ordinary wet collodion,
the Beechey plates were sufficiently rapid for exterior work, requiring
an exposure of from 30 to 6o seconds with a diaphragm equivalent
to F /16.
10
La Lumiere, Aug. 1853; Photo. News, 1861, p. 193.
11
Brit. J. Phot., September 9, 1864.
12 Brit. J. Phot., Jan. 16, 1874.
1a Brit. J. Phot., Oct. 1, 1875. Harrison, History and Handbook of Photog-
Appendix.
The Introduction of Gelatino-Bromide Emulsion.- The first record
of the application of gelatine to photography was the unsuccessful at-
tempt of Niepce de Saint Victor in 1847 as a vehicle for holding silver
iodide on glass plates.
In 1853, Gaudin gave a formula for what we would now term
gelatine-iodide emulsion but his method was not practical. His exper-
iments, however, led him to recognize the fact that bromide of silver
is more sensitive in combination with gelatine than iodide of silver.
The use of gelatine as a preservative of wet coll odion by Nor ris in
1856 we have already noticed under collodion emulsion.
FIG. rs. Dr. Richard Leach Maddox
In 1868, W. H. Harrison
14
published the results of his experiments
on the emulsification of silver bromide in gelatine but his method was
of no practical value, the principal significance of his work being the
use of an alkaline developer.
While Le Gray, Smith, Harrison and Sutton had either suggested
14
Brit. ! . Phot., Jan. 17, r868.
28 PHOTOGRAPHY
the use of, or had experimented with gelatine, it is to Dr. R. L. Mad-
dox (Fig. 15), an English amateur, that we owe the first really work-
able method of preparing gelatino-bromide emulsions. His method
was fully described in an article in the British Journal of Photography
for September 8, 1871, under the following title: "An Experiment
with Gelatino-Bromide." The introduction of gelatine pointed the
way to plates of a higher degree of sensitiveness than had been pos-
sible with collodion, so that while the process of Dr. Maddox was not
revolutionary and complete in itself as was that of Scott-Archer, it
marks an epoch in the development of photography.
In the method described by Dr. Maddox, silver bromide was formed
in the presence of gelatine, the emulsion containing an excess of silver
and a small amount of aqua regia. Without further treatment the
emulsion was coated on glass plates, dried, and exposed. Develop-
ment was conducted with pyrogallic acid and intensification with pyro
and silver nitrate followed.
With our present knowledge it is not hard to see why Dr. Maddox
did not meet with complete success. He does not seem to have real-
ized the necessity for washing the emulsion so as to remove the excess
silver salts, although this was regularly done with o l l o d i ~ n emulsion
processes. Consequently the presence of the excess salts ot silver and
the nitric acid from the aqua regia acted as a restrainer and made the
plates very slow.
It is noteworthy that Maddox haQ some idea of the ripening
processes which have meant so much to the development of the
gelatino-bromide process, as he tried to increase the sensitiveness of
his plates by fuming with ammonia (a method that had been pre-
viously applied to albumen paper) but without success.
Very little attention was paid to the work of Maddox at the time,
but two years later Burgess advertised a gelatino-bromide emulsion
in the English photographic journals.
15
The method employed by
Mr. Burgess in the preparation of his emulsion was never published
and did not prove to be a commercial success, but he was the first to
show that excellent results could be obtained on gelatine, and that
gelatino-bromide emulsion could be produced which was equal in
sensitiveness to wet collodion.
Improvements in the Gelatino-Bromide Process.-The same year
that Burgess introduced his emulsion commercially, King and John-
son described independently of each other two methods for removing
15
July 18, 1873.

THE DEVELOPMENT OF .PHOTOGRAPHY 29
the excess of silver salts from the emulsion. King's method con-
sisted in placing the emulsion in a container of vegetable parchment
or bladder; the whole being immersed in a large vessel of water, un-
der which circumstances the soluble salts pass outwards through the
parchment into the water. Johnson's process, described in the same
issue of the British Journal of Photograph'y/
6
advised the use of an
excess of soluble bromide-a point of great importance-and plain
washing of the shredded emulsion in running water to eliminate the
excess salts. On account of its simplicity and effectiveness this
method has been generally adopted.
In November of the same year Richard Kennett, an amateur re-
siding in London, took out a patent
17
for a method which he discov-
ered of preserving the emulsion and the following month announced
his " sensitive pellicle " which was nothing more than a dried, sensi-
tive gelatino-bromide emulsion. The pellicle was quite successful and
remained on the market for about ten years.
In 1874 Bolton suggested that only a small part of the gelatine be
used for preparing the emulsion, the rest being added afterwards-a
procedure which later proved of great value when the effect of heat
on the emqlsion was discovered. The same year Stas observed that
several forms of silver bromide are possible and that heating formed
the most sensitive compound.
18
The same year ( 1874) gelatine plates
first appeared on the market, manufactured by the Liverpool Dry
Plate Co. Bromide paper appeared at the same time.
In 1878 Bennett showed that the sensitiveness of gelatino-bromide
emulsion might be greatly increased by keeping the emulsion at a
temperature of 90 degrees Fahr. for five to seven days.
19
This added
a great impetus to the development of gelatino-bromide emulsion and
another firm of dry plate makers took the field-Messrs. Wratten
and Wainwright.
The prolonged stewing of the emulsion at 90 degrees, however, was
not only troublesome but led to trouble owing to the partial decom-
position of the gelatine, so Mansfield announced in 1879
20
that this
long and troublesome process could be avoided by forming the bro-
mide of silver in a weak solution of gelatine which was then boiled
16
November 14, 1873.
17
B. P. No. 3782 of November 20, 1873.
18
Annales de Chimie, Fifth Series, vol. III, p. 289.
1
9 Brit. J. Phot., March 29, 1879.
2o Brit. J. Phot., August 22, 1879.
30 PHOTOGRAPHY
for ten to fifteen minutes, the remainder of the gelatine being added
when the solutivn had cooled. Emulsification in a portion of the
gelatine, the remainder being after digestion, was a repetition
of the advice given by Bolton in
In May 1879 Captain Abney showed that a good emulsion might
be formed by precipitating silver bromide in gJ.ycerine, the precipitate
after two or three washings with water being mixed with the proper
amount of gelatine to form the emulsion. The object of this method
was to save the trouble of washing the emulsion in order to eliminate
the excess silver salts as required in the usual process.
In 1877 Johnson described the use of an aqueous solution of am-
monia for the ripening of gelatino-bromide emulsion.
21
Not much at-
tention seems to have been paid to this communication, however, and
it was not until Monkhoven in 1879
22
suggested that the increased
sensitivity of the emulsion produced by prolonged heating might be
due to a change in the molecular state of the silver bromide along the
lines of the work of Stas and showed that silver bromide might be
changed from the ordinary to the most sensitive green state by treat-
ment with ammonia that much interest was taken in the subject. The
following year Eder investigated the matter very thoroughly and per-
fected a process using ammoniacal silver oxide and later discovered
the advantageous influence of ammonia and ammonium carbonate on
the ripening of gelatino-bromide emulsion in the cold.
28
The follow-
ing year Abney showed the advantage to be gained from the use of a
small amount of iodide in gelatine emulsions. The addition of iodide
at first reduced the speed of the emulsion to a certain extent, but gave
clearer negatives having greater density. A small percentage of
iodide is used in nearly all modern plates.
In the meantime, the spread of gelatino-bromide emulsion had been
exceedingly rapid and by 1882 gelatine emulsion had almost com-
pletely displaced collodion, except for some few specialized purposes.
The Introduction of Film.-The introduction of the dry plate
made unnecessary the dark tent, the nitrate of silver bath, and other
inconveniences of the wet-collodion process, and resulted in a large in-
crease in the number of amateurs. The next step in the simplification
and consequently the popularization of photography was the introduc-
tion in 1884 of the stripping film of Eastman and Walker of Rochester,
21 Brit. J. Phot. Almanac, 1877, p. 95
22 Brit. J. Phot., October 17, 1879.
2s Sitzungsber. Akad. Wiss. Wien, 188o, 81, 679. . . .
N. Y. This was a gelatino-bromide emulsion coated on paper in such
a way that after development and fixing, the image could be stripped
from the paper support and dried on glass. This film was supplied in
rolls and a roll holder was provided to adapt it to the plate cameras
then in common use. From the standpoint of the general public, this
was a great advance but the process was still intricate and difficult for
the amateur on account of the delicate handling demanded in trans-
ferring the image from paper to the final glass support. Four years
later the stripping film with its paper base gave way to a transparent
base of nitrocellulose. The discovery of a new base of the sensitive
emulsion equal in every way to glass and with the added advantages of
being flexible, light and unbreakable combined with the introduction 0f
the daylight loading roll film camera ( r89r) brought photography
within the reach of all.
Development of Printing Processes with Silver Salts.-The de-
velopment of positive printing processes begins with Fox-Talbot's
Calotype process in 1841, although it was not until after the inven-
tion of the collodion process that much progress was made in this
line.
For printing from his early negatives, Fox-Talbot employed what
we to-day term the salted paper process. Paper of suitable surface
and texture is immersed in a weak solution of salt, after whicl:f it is
dried, and in this state it may be kept indefinitely. Just before use,
it is sensitized in silver nitrate and dried, after which it is exposed to
. daylight under the negative to be reproduced. When the image is
sufficiently dark, the print is removed and toned in a solutior: of gold
chloride which is followed by fixing in a bath of " hypo." Talbot's
early prints, however, were not toned, as gold toning does not seem to
date back further than 1849. We will have more to say regarding
plain salted paper later on as it is to some extent in use at the present
time.
Le Gray appears to have been the first to suggest coating the paper
with albumen before sensitizing in order to obtain a higher gloss, al-
though Fox-Talbot is often credited with the same. Albumen paper
was quite popular and practically the only paper used from r86o-
r88s.
A method o'f using collodion in place of albumen was described by
G. Wharton Simpson in r864
24
and collodio-chloride of silver papers
24
Photographic Y 1865, p. 63.
32 PHOTOGRAPHY
were introduced commercially by Obernetter of Munich two years
later, but the process did not attl'act much attention until the introduc-
tion of a much improved product by Liesegang of Dusseldorf in 1886.
Gelatino-chloride papers appear to have been first employed by
Palmer and Smith as early as 1866, but no details were published.
Full details for the preparation and use of gelatino-chloride papers
were published by Abney
25
in 1882 and, papers of this type were in-
troduced commercially two years later by Obernetter of Munich and a
few years later by Liesegang of Dusseldorf and Ilford of London.
The above papers are all members of the class known as printing-
out-papers; that is, they produce a visible image upon exposure and
there is no after development. The now popular developing papers
appear to have had their prototype in a process used by Blanquart-
Evrard in 1851, but it was not until 1874, after paper coated with
gelatino-bromide emulsion had been introduced by the Liverpool Dry
Plate Company, that developing papers made any headway. In 188o
Morgan and Kidd established a factory at Richmond (England) and
in 1885 Eastman of Rochester introduced the machine coating of paper
in the roll with gelatino-bromide emulsion after which gelatino-bromide
paper began to assume importance as a printing process.
Directions for the preparation and use of emulsions of silver chloride

for positive printing were published by Eder and Pizzighelli in 1881.
26
The first papers of this type were introduced commercially by Dr. E.
Just of Vienna in 1883 and shortly afterward in England by Edwards
and Warnerke but "Velox" introduced in American by the Nepera.
1
Chemical Company from the formula of Dr. Leo Baekeland was the
first to achieve wide popularity. Its successful introduction paved the
way for a large number of similar papers in all important countries.
The use of gelatino-chloro-bromide emulsions for positive printing
was introduced also by Eder and Pizzighelli in 1883.
27
Chloro-bromide
emulsions are especially adapted to the production of warm-tone images
and papers of this class are widely employed for portrait work at the
present time. Many lantern slide plates and positive cinematograph
films are also coated with emulsions of this type.
Platinum Printing Processes.-In 1832 Herschel discovered that
25
Phot. News, 1882, 24, 300. -;.
26
Die Pho.fographie mit Chlorsilbergelatine mit Chemischer Entwicklung,
Vienna, 1881.
27 Phot. News, 1883, 25, 98.
'(
light had a reducing action on platinum compounds, especially in the
presence of an organic salt such as ferrous oxalate. Hunt in 1854
tried to turn this to account by coating paper with ferric oxalate and
platinic chloride, but he failed to realize an essential point, the two
salts must be in solution before the reaction can take place. It is to
William Willis Jr. that we owe the platinum process in its present
form. He took out his first patent in 1873, a second in 1878 and the
last in r88o. Under the last patent, paper is coated with a mixture of
potassium chloroplatinite and ferric oxalate. This is exposed under
the negative until the image is sufficiently printed when it is removed
and placed in a solution of potassium oxalate, in which the reduced
iron salt is soluble, and as it is dissolved by the oxalate it attacks the
platinum compound and reduces it to the metallic state. After im-
mersion in several baths of hydrochloric acid to remove the iron salts
which remain, the print is washed and dried.
Sensitiveness of Chromic Compounds and Bichromated Colloids.-
The first to observe the sensitiveness of chromium compounds to
light appears to have been Mungo Ponton, an Englishman, who in
1839 discovered that paper soaked in a bichromate and dried was
sensitive to light. The following year Becquerel discovered that
when the paper was sized with starch it became more sensitive and
he decided that the sensitiveness of the chromium compound was due
to the presence of organic substances used for sizing the paper. In
1852 Fox-Talbot found that when bichromate is mixed with gelatine
and exposed to light the gelatine is rendered insoluble. In 1855
Alphonse Poitevin discovered that if a colored substance be added to
gelatine, sensitized with potassium bichromate, and exposed to light
under a negative, the unaffected parts might be washed away leaving
an image formed by the cf.llored substance held in the insoluble gela-
tine formed as a result of the action of light. This was the founda-
tion of the carbon and gum-bichromate processes. Poitevin also dis-
covered that a bichromated gelatine film when exposed to light and
allowed to swell in water 'would take a greasy ink on the exposed
portions but not on the unexposed portions. From this he developed
a process of photomechanical printing known as collotype and at a
later date the processes of oil and bromoil, based on the same prin-
ciple, were brought out by others. Poitevin may thus be termed the
father of printing processes employing bichromated colloids.
The Development of the Carbon and Gum-bichromate Process.-
,
...
...
34 PHOTOGRAPHY
In 1858 John Pouncy of Dorchester, England, was granted a patent
for a carbon process based upon the same principles as that of
Poitevin. His method consisted in brushing over paper a mixture of
bichromatized gelatine and carbon: the paper after drying being ex-
posed under the negative and developed in water. His results were
far from satisfactory, however, because the half tones were lacking.
The same year the Abbe Laborde showed the reason for this saying:
" In the sensitive fi.lm, however thin it may be, two distinct surfaces
must be recognized, an outer and an inner which is in contact with
the paper. The action of the light commences on the outer surface.
In the washing, therefore, the half tones loose their hold on the paper
and are washed away."
The same year J. C. Burnett, Blair and Schouwaloff to overcome
this defect suggested the expedient of exposing from the back of the
paper, but in 186o Fargier in France showed that the best way was
to coat the exposed film with collodion, then transfer it to glass and
then wash away the soluble gelatine from the back. This method,
however, was too complicated for general use.
In 1864 J. W. Swan patented carbon tissue, which is simply paper
coated with gelatine and pigment, which, after sensitizing in bichro-
mate, is exposed under the negative and transferred before develop-
ment to another support. The tissue backing is then stripped off
leaving the pigmented gelati11:e on the new support. Development is
effected by washing away the soluble gelatine in water. This was
the first really practical process of pigment printing in which the pig-
ment is incorporated with the bichromated colloid before exposure.
The gum-bichromate process, now so popular among pictorialists of
a certain class, is nothing more than Pouncy's carbon process which
he described before a meeting of the Photographic Society of London
in 1858. It was brought to the front about 1895, largely as the re-
sult of the work of Robert Demachy, Ch. Puyo and other French
pictorialists. Abroad, it passed out upon the advent of the oil and
bromoil processes but in America it has held its ground and is still
popular in many quarters.
In 1873 Marion
28
found that a sheet of paper immersed in bichro-
mate and exposed to light so as to produce a faint image will transfer
its image to a sheet of pigmented carbon tissue when the two are
placed in contact with one another. This is due to the fact that there
is left in the image some chromate of chromium, the salt formed as
28
Brit. J. Phot., 1873, p. 342 .
a result of the action of light on the bichromate, and this diffuses into
the pigmented tissue and renders it insoluble just as if it had been
exposed to light. Manly in 1899 introduced
29
a process of pigment
printing based upon this principle under the name of ozotype. This
failed to catch on, however, and in 1905 the same worker introduced
30
his ozobrome process. In this a sheet of ordinary carbon tissue was
. i soaked in a solution containing potassium bichromate, potassium fer-
ricyanide and potassium bromide. It was then placed in. contact' with
an ordinary bromide print which had been previously soaked in water
to become limp.
After being kept under pressure for several minutes the carbon
tissue was stripped from the bromide print, squeezed to its final sup-
port and developed as usual. The bromide print thus takes the place
of the negative, so that an enlarged negative is not required when
prints larger than the original negative are desired, nor is daylight
necessary at any stage. Ozobrome for a while was quite popular but
finally fell into disuse. It was revived, however, in an improved form
by H. F. Farmer in 1919 under the name carbro and in its improved
form has become so popular that it is again bringing carbon printing
back to the attention of amateurs and professionals and may eventually
supersede carbon, except where critical definition is required.
The Development of the Oil and Bromoil and Powder Processes.-
A second process was worked out and patented by Poitevin in which
a bichromated gelatine film without pigment was exposed under a
negative. This gelatine film upon exposure to light under the nega-
tive became more or less insoluble in various portions according to
the gradations of the negative. When immersed in water, the soluble
gelatine absorbs water and becomes so charged with water that it
will repel a greasy ink, while the shadows, being insoluble, do not ab-
sorb water n ~ will accept the ink. Accordingly when a roller
charged with greasy ink is passed over the paint, an image is formed
in greasy ink which adheres to the shadows but not to the highlights
of the print. This process was the forerunner of a number of photo-
mechanical processes, which are beyond the scope of this work, and
the oil, bromoil and powder processes.
Poitevin's patent of 1855 is not very explicit, but in 1858 Asser was
granted a patent for a process based upon the same principle and in
which very precise directions were given.
29 British Patent No. 10,026/I899.
30 British Patent 17,007/1905.
36 PHOTOGRAPHY
Two years previously the Due de Luynes through the Societe Fran-
coise de Photographie had offered a prize of 10,000 francs to the per-
son discovering a process by which absolutely permanent prints might
be produced. The President of the Societe, M. Regnault, the fa-
mous chemist, in announcing the offer called attention to the perma-
nency of carbon and suggested that experiments be conducted with a
view to obtaining prints in carbon. Two Frenchmen, Garnier and
Salmon, starting from Poitevin's patent of 1895 worked out a process
in which the bichromated gelatine was exposed to light under the
negative, then soaked in water and pure finely divided carbon dusted
over it. The carbon adheres only to the unexposed parts and in this
way an image is secured. This was the beginning of the so-called
powder processes.
Rawlings' process of oil printing ( 1904) is actually little more than
a modification of the process covered by Poitevin's patent of 1855.
Rawlings advised the use of brushes rather than a roller for applying
the ink, thus making possible the control of the various tones of the
print by varying the amount of ink deposited. This feature served
to attract various workers who wished to have a ready means of alter-
ing the tone values of their prints and the process rapidly gained in
popularity among pictorialists.
In 1889 Howard Farmer found that when a gelatine film contain-
ing finely divided silver, as in a negative or positive, is immersed in a
bichromate, the gelatine in contact with the metallic silver is rendered
insoluble exactly as though it had been exposed to light in these por-
tions. Upon this property of a bichromated colloid is based the
bromoil p ~ o e s s The first suggestion of the rationale of this process
is due to E. J. Wall.
31
It was taken up and worked out practically
by C. Welborne Piper.
32
Conclusion.-With this our history of the development of photog-
raphy must be brought to a close. Many are the names and processes
which we have been compelled to barely mention and not a few have
been omitted altogether, while all have been treated in outline only,
so . that only a general idea of their essentials has been gained. It is
hoped, however, that this short account has been of sufficient interest
to encourage the student to follow up the subject by outside reading
in larger and more comprehensive works and to assist in this worthy
end a short list of the leading historical works on photography is
appended.
31 Phot. News, 1907, sr, 299.
32 Phot. News, Aug. 16, 1907.
GENERAL REFERENCE VVoRKs
BROTHERs-A Manual of Photography. London, I899
BROWN-VVho Discovered Photography? Photo-Miniature, No. 6o. I903.
CoLSEN-Memoires des Createurs des Photographie. Paris.
EnER-Geschichte der Photographie. Halle a/S.
EnER-]ohann Heinrich Schulze. I9I7.
FouQu:E-Sur \'Invention de Ia Photographie. Paris, I867.
HARRISON-The History of Photography. London and New York, I88s.
..
LITCHFIELD-Tom VVedgwood, The First Photographer. London.
PoTONNIEE-Histoire de Ia Decouverte de Ia Photographie. Paris, I925.
ScHIENDEL-Geschichte der Photographie.
SHEPPERLEY-A History of Photography. London, I929
TISSANDIER-History and Handbook of Photography. London, I874
VVERGE-The Evolution of Photography .
CHAPTER II
THE CAMERA AND DARKROOM
I. THE CAMERA
The Box Camera.-The simplest and the cheapest possible camera
which you can purchase is one of the box form. Such cameras are
cheap because they. are made in large quantities by machinery and
because they do not have the capabilities and adjustments of more
expensive models. Naturally they are more limited in their scope
and cannot be used for a wide range of work. However, since they
are simple and easily operated they form an excellent camera for
the beginner, who has not yet become familiar with the various ad-
which render the more expensive instrument capable of
handling a wide range of subjects more efficiently.
Box cameras are supplied in several sizes from I % x 2y;i to
33!.4 x 50 inches and in both roll film, pack and plate models,
although the last named have practically disappeared from the com-
mercial market. On account of the greater bulk of the camera the
smaller sizes are most popular and since the roll film or film pack
models are lighter and more convenient to use they have practically
superseded plate cameras of this type. Box cameras are generally
fitted with cheap single achromatic lenses which cannot be used at a
larger aperture than F / I6. In bright light, from 8 to 3 o'clock, snap-
shots may be made if the subject is open and not in shadow. Under
other conditions the camera must be placed on a firm support and a
time exposure given. Since the positions of both lens and fi lm are
fixed it is impossible to focus and the lens is so placed that all objects
from infinity to within IO to IS feet of the camera are defined with
satisfactory, if not critical sharpness. This avoids one of the dif-
ficulties of the beginner and hence such cameras, under the proper
conditions of light, give good results with the minimum of trouble
and skill on the part of the user.
The Miniature Camera.-The miniature camera, or V.P. camera
as sometimes termed, ranges in size from 40 x 6 em. ( 1.77 x 2.36
inches) to 60 x9 em. (2.56x3.5 inches), is more expensive, and
38
THE CAMERA AND DARKROOM 39
1s designed to be fitted for a wide range of serious work with the
minimum of inconveni ence to the owner when not in use. The par-
ticul ar feature of these cameras is their portability. They are small
and light, so that they may be carried in an ordinary pocket without
annoyance and brought into use quickly and with the minimum of
effort when desired for use. At the same time such cameras are
capable of really seri ous work, when they are handled with skil1, since
when fitted with good lenses the small negatives enlarge readily to
medium sizes. A typical example of an instrument of this type is
shown in Fig. r6.
When purchasing a camera of this kind it is well to remember that
although they are rather expensive it is well to get the best and espe-
cially to secure a good lens since good sharp defini t ion will be required
for subsequent enlargement, while a large aperture will enable snap-
shots to be made when otherwise impossibl e. Another important
thing to examine is the soundness of construction. While a certain
FIG. r6. Typical Miniature Camera f or Plates and for Roll Film
sacrifice in stability is necessary in order to prevent undue weight and
size it is desirable that the instrument be sufficiently strong to with-
stand long-continued usage.
Many cameras of this type are rather overloaded with adjustments
and movements, which are useful at certain times but are more often
simply a hindrance to fast work. In the opinion of the writer the
following are the most important features of a miniature camera :
r. Body of aluminum or better Duraluminum.
2. A platform so that the lens is covered when the camera is folded.
40 PHOTOGRAPHY
3 When opened the front should lock with the lens in focus for
objects at a medium distance, say IS to 30 feet.
4 Further focussing should be provided for with either a lever or
pinion, conveniently located.
S The focussing scale, shutter speed and diaphragm scales should
all be visible from the top of the camera so that any adjustments may
be made while the subject is being followed in the finder. In the
case of cam,eras designed for use with direct view finders the shutter
and diaphragm scales should be visible from the viewpoint of the
eye when following the subject in the finder.
6. The finder should be placed as close as possible to the lens in
order that the correspondence between the two may be as perfect as
possible.
7 The lens should be a high-grade anastigmat, with a large aper-
ture, as F j 4-5 or larger, in a shutter with a wide range of speeds from
one second to I/200.
The advantages as regards convenience certainly lie with the min-
iature camera using roll film but many of the disadvantages of plates
are removed wlien small sizes are used. Thus weight becomes neg-
ligible, and the only remaining difficulties are those of loading and
unloading plate-holders, while the advantages of focussing and selec-
tion of particular plates for different purposes are valuable to the
serious worker. At the same time when facilities are lacking for
the use of plates, film packs may be used in an adapter which may be
loaded or unloaded in daylight and focussing done just as with plates.
Film packs thus offer the same advantages as both films and plates.
In the last few years a new class of miniature camera using standard
35 mm. motion picture film has become prominent. The picture area
in the case of these cameras ranges from the standard motion picture
size, % x I inch (IS x 24 mm.) to double this size, or. I x I 0 inches
( 24 x 36 mm.). When constructed with a high degree of precision
and fitted with the better grades of anastigmat lenses, these cameras
become very capable instruments. The short focus objectives, with
which they are fitted, have great depth of focus and thus render practi-
cal the use of much larger apertures than on larger cameras which must
be fitted with lenses of tonger focal length. With good optical defi-
nition, the fine grain of commercial motion picture film allows of con-
siderable enlargement without loss of definition.
Folding Hand Cameras.-Folding hand cameras are made in sizes
from 2)4 x 334 to 4 x 5 inches (or from 6.5 x 9 to 9 x I2 em.) in both
i
I
.,
\
film and plate models. There is without doubt a greater demand for
this class of instrument than any other- a fact which is evident from
the wide range of models provided by the various manufacturers. For
one thing, the contact prints arc sufftciently large to satisfy the require-
ments of the average amateur, whil e the instrument itscl f, although
less portable than the miniature camera, is easily slipped into the coat
pocket or slung over the shoulder by means of a leather st rap.
Roll film models of this class call for the barest mention since they
are the cameras in general use by the larger body of amateurs. They
are ideally fitted to the needs of most amateurs for whom the camera
is only a method of keeping a record of their happy experiences on
trips and during vacation. For serious photographic work of a gen-
FIG. 17 . Hand Cameras for Plates and for Roll Film
era! nature they are not so well adapted since they are not provided
with means of focussing on the ground-glass, and consequently can-
not be used for copying and work of a similar nature. For t hi s r ea-
son many prefer to purchase one of the light plate cameras and usc
film-pack whenever the advantages of li ghtness and daylight loading
are important.
The more expensive plate cameras of this class are exceedingly ver-
satile instruments and are capable of doing almost anything that the
average photographer is likely to demand. They are fitted with re-
versible backs so that pictures may be made either vertically or hori-
z.ontally without turning the camera on its side and many of them
have a long bellows which enables them to be used for copying and
42 PHOTOGRAPHY
photographing small objects. In addition, the long extension oermits
the use of long-focus lenses, which for portraiture and certain kinds
of landscape work are very desirable.
Some of these cameras are also fitted with a swing back which en
abies the plate to be kept in a vertical position while the bed of the
camera is tilted upward in order to include the whole of a tall object
on the plate. Various other features are supplied on the different in-
struments such as rising and falling front, wide angle bed for using
wide angle lenses, and sometimes sliding fronts are fitted. Since these
cameras are always fitted with a finder and focussing scale they may
be either held in the hand or placed upon a tripod. They are thus
suitable for both the most exacting work and at the same time may
be used as a hand camera whenever desired. There is little ques-
tion that this is the most efficient instrument for really serious photo-
graphic work which the amateur can buy. Typical examples of hand
cameras for both plates and film are shown in Fig. I7.
The Professional Camera.-The view and studio cameras in gen-
eral use by the professional photographer do not differ greatly from
the folding plate camera which we have just described. They are
usually more substantial and consequently more bulky, while they are
of larger size-the ordinary sizes being 5 x 7, 7 x 11 , 8 x IO and
I I X I4 inches. In addition to greater stability, the movements fitted
to professional cameras have a wider range of adjustment than those
of the more compact hand camera, which is not intended for such a
broad range of work. Not only are the adjustments fitted to the pr.J-
fessional camera of greater latitude, but there are, in the better ones,
adjustments which are not found on the hand camertt. These provide
the extreme range of movement necessary in technical phot9graphy.
The lens board is also larger so that long focus lenses of large aperture
may be accommodated. In addition there is provision for focussing
from either the back or the front-a valuable feature when wide angle
lenses are in use, since in this case focussing may be done from behind
and there is no danger of a part of the camera bed appearing in the
picture. Some cameras of this type known as banquet cameras, made
for such work as their name indicates, have an arrangement by .which
the lens may be tilted downward while keeping the plate vertical, so
that large groups may be photographed from above with the minimum
of distortion (Fig. I8).
The studio camera is in general similar to the view camera except
that it is much heavier and larger, the rising front is dispensed with
as is also front focussing. The lens board is larger so that the large
bulky portrait or anastigmat lenses of long focus and large aperture
may be readily accommodated.
The Reflex Camera.-The principle of the reflex camera requires
a word of explanation since it is radically different from any of the
cameras which we have already described. Fig. 19 shows a typical
reflex in cross section. The rays of light from the object pass through
Frc. 18. Professional View Camera
the lens and are reflected by the mirror to the focussing screen at
the top of the camera, where the image is of course in its normal
unreversed position, i.e. right side up. Behind the mirror is the focal
plane shutter and behind this the sensitive plate. The focal plane
shutter consists of a long opaque curtain with apertures of varying
lengths, any one of which may be made to pass across the front .of
the plate at a high speed. When the image has been focussed on the
5round-glass and the exposure lever is depressed the mirror swings
up out of the way and forms a light-tight joint with the focussing
screen. As soon as the mirror reaches this position it automatically
operates the shutter. Thus two distinct operations are performed in
the interval between the action of the exposure lever and the actual
exposure. First the mirror is released and swings up, and then an
aperture in the curtain of the focal plane shutter passes over the
plate and makes the exposure. However, in a well-made reflex the
mirror and shutter are so well coordinated that the t ime interval is
not more than rj ro to I/ 5 of a second.
The reflex camera offers several distinct advantages possessed by
3
44 PHOTOGRAPHY
no other camera, which renders it well worth its cost, which is neces-
sarily rather high owing to the care needed in manufacturing and
properly adjusting the intricate mechanism. The image can be seen
in full size, right side up on the focussing screen until just before the
exposure is made. Thus the reflex is superior to the folding film
camera in that it is possible to focus accurately on the ground-glass
and not have to depend upon focussing scales. It is superior to the
FrG. r9. Principle of the Reflex Camera
ground-glass focussing plate camera in that the image is right side up
so that composition and placement of the subject is simpler and also
in the fact that the exposure can be made immediately without the
operations of closing the lens, inserting the plate-holder, withdrawing
the slide, etc. Furthermore, very rapid exposures are possible since
the ordinary focal plane shutter works up to a maxtmum speed of
rjrooo second.
THE CAMERA AND DARKROOM
45
Aside from its expense, the principal objection to the reflex is its
bulk and weight. There is no doubt that where portability is an im-
portant factor the average reflex is rather out of question. The
334 x 434 instrument weighs from four to five pounds and occupies
a space of approximately 5 x 5 x 6 inches, while the 4 x 5 size is cor-
respondingly larger. The first mentioned size is the more popular of
the two. For those who demand portability and yet desire reflex ad-
vantages the 2,0 x 3.0 size may be rtcommended, while the 5 x 7 size
is practically obsolete except among professional workers.
To overcome the bulk of the box form reflex many manufacturers,
especially in foreign countries, have placed folding models on the
market. These are much more costly, and are neither as substantial
in construction nor do they possess the usual bellow extension, extent
of rising and falling front, etc., so that at present the box form type is,
perhaps, still the best. While especially suitable for photographing
objects in rapid motion, the reflex is by no means limited to work of
this class. Indeed for all ordinary work it is the most certain and con-
venient instrument to use. It is of course not suited to architectural
work when a swing-back is required and in most cases cannot be well
used for copying, but for all general work in the field or at home the
reflex is ideally adapted.
The Principal Adjustments of Cameras.-The principal adjust-
ments of cameras are the rising and falling front, the vertical swing
or swing-back as it is commonly termed, the horizontal or side swing,
and the reversible back.
The rising and falling front is an arrangement for raising or
lowering the position of the lens in order to increase or decrease the
amount of foreground included. While at times necessary in all
kinds of work, it is particularly valuable in architectural work where
it is necessary to include the whole of a tall building. The amount
which the lens may be raised is usually expressed as a fraction of the
greatest length of the plate. Thus if the rising front on a 4 x 5
camera allows the lens to be raised one inch above its normal central
position the degree of rise is said to be I/5. The amount which the
lens can be raised varies in different makes of cameras but is always
greater in view cameras than in the more compact hand and stand
cameras.
Wide limits of rising front are sometimes required in exacting
cases and at any rate it is well to secure a camera allowing .the maxi-
46
PHOTOGRAPHY
mum rise and fall for a camera in its class as the reserve rise will at
times help one out of difficulty. To secure the full advantages of a
camera having extreme rise, a well-corrected lens with a reserve
covering power is required, since when the lens is raised above its
normal position it is the margins of the field rather than the center
that are used and consequently the greater the demand for good cor-
rection, since the definition of a lens is never so good near the margins
as at the center. Reserve covering power is needed in order that the
plate may be completely covered when the lens is fully raised.
While many film cameras are provided with a rising and falling
front its utility is in this case somewhat doubtful, since the finder
cannot be relied upon to show just what is included when the lens
is not in its normal position. Several makes of cameras, however, are
fitted with self-adjusting finders which more or less accurately indi-
cate the exact limits of the picture when the lens is raised above its
normal position.
The Swing-Back.-The swing-back is an adjustment for swinging
the back of the camera at an angle to the bed so that the plate may
be kept in a vertical position, when the camera is pointed upwards in
A
~ ~
~ ~
(a) .8
---
----
B
(
FIG. 20. Principle of the Swing Back
Use of the swing back for securing greater depth of focus
order to include a lofty subject on the plate. In a of Fig. 20 the
camera is supposed to be absolutely level so that the parallel lines of
the subject A and B are represented by parallel lines A' and B' in the
image formed by the lens L. In this case there is no distortion.
However, when the camera is tilted upwards as in b of Fig. 20 the
sensitive plate is no longer parallel with the subj ect AB and conse-
quently the parallel lines A and B of the subject are represented as
converging lines in the image. However, if the camera is fitted with
a swing-back, the plate can be brought to a vertical position by prop-
erly adjusting the back and distortion will be avoided although the
bed of the camera be tilted upwards. However, as will be observed
from c of Fig. 20, the axis of the lens is no longer at right angles to
the sensitive plate, but crosses it obliquely, so that the use of a small
diaphragm is necessary to obtain sharp focus over the entire area.
The size of the diaphragm required depends upon circumstances and
can only be determined by examination of the ground-glass image.
The other use of the swing-back is in focussing different planes at
varying distances from the camera sharply, without using small dia-
phragms. Suppose we are required to photograph the side of a hill
on which A and B represent objects of interest which it is necessary to
focus sharply without the use of small diaphragms. With the plate in
the horizontal position CD it is evident that the distance ED is greater
than AC and that only one of these objects can be sharply focussed
unless a small diaphragm is used. However, if the swing-back is ad-
justed so that the sensitive plate occupies the position DE, the distance
of the plate from A is increased while BD remains the same. By
watching the focussing screen while making these adjustments it is
easy to bring about some compromise which will allow a larger stop
to be used than would otherwise be possible. In every case in which
the axis of the lens is not at right angles to the plate a certain amount
of distortion results, so that this movement cannot be used for certain
kinds of work, but on landscapes, portraits, etc., the small amount of
distortion may pass unnoticed. Indeed in some cases it is a positive
advantage since it emphasizes the nearer objects. At any rate the
worker must determine for each particular case, by. examination of
the image on the ground-glass, whether the distortion is objectional
or not.
Swing Front.-The swing front is an adjustment which is very
useful at times and which unfortunately is included on very few
cameras, even those built exclusively for professional use. When the
front is hinged at the base, as in some reflex and stand cameras, the
chief function of the swing lens is to provide an increased amount of
rising front when employed with the swing back. when the camera
is tilted upward and the back adjusted vertically so as to preserve the
48 PHOTOGRAPHY
parallelism of upright lines in the picture, the shift in the image is
proportional to the tilt given the camera, but if the camera is provided
with a swing front, the lens may be made parallel to the back thus we
include still more of the sky and less of the foreground so that we
secure, in effect, an extreme rise of front which is frequently very
necessary, as in photographing a modern skyscraper. Furthermore,
the lens is parallel to the plate, so that less stopping down will be re-
quired for sharp definition.
Even of greater service is a swing front which swings from the lens
rather than the base of the camera front. A swing of this description,
when used in conjunction with the rising front, may effectively take
the place of the swing back. If, when the lens is thus raised extremely
high, the lower corners of the plate are badly illuminated or cut off,
the lens can be tilted slightly upward and the illumination on the plate
will be restored without material shift of the image. Another advan-
tage in the use of the swing front is that by pointing the lens slightly
upward or downward it is possible to obtain increased depth of focus
without the distortion which is produced when the swing back is used
for the same purpose. In this way objects near the camera can be
brought into sharp focus at the same time that the distance is sharp
and with a comparatively large stop. The use of the swing lens in
this manner, however, presupposes the use of a lens which has a sharp
field larger than the plate.
The Reversible Back.-The reversible back allows the back of the
camera to be reversed so that the picture can be made either hori-
zontally or vertically without turning the camera on its side. This is
a very convenient feature and is found on all of the more expensive
plate cameras except those which must be made extremely compact.
It cannot be had on any roll film camera, all of which must be re-
versed when a horizontal picture is required. Some cameras are fitted
with what is termed revolving backs instead of reversible backs.
These serve the same purpose but, as their name indicates, they are
revolved from one position to the other without being detached from
the camera.
Other Movements.-Some cameras are also fitted with side swings
which allow the plate to be adjusted with reference to horizontal ob-
jects. While at times valuable, the horizontal or side swing is not
nearly so important as the vertical swing or swing-back, and for that
reason it too is found only on the professional view camera and the
more expensive hand and stand cameras.
The sliding front is an adjustment fitted to only a few cameras and
these are generally view cameras for professional use. When two
pictures are made on the same plate, the lens may be moved to each
side in order that the center of the field may be used.
There are many other adjustments fitted to various makes of
cameras which are not sufficiently universal in application to require
attention.
Shutters.-Photographic shutters may be conveniently divided
into four classes according to whether they are placed before, between
or behind the lens or in the position of the focal plane. Of the first
class little need now be said for shutters of this class have almost com-
pletely disappeared. The few types of behind-the-lens shutters re-
maining are used almost wholly for studio portraiture. This leaves us
then the two classes of shutters in general use, namely, the between-
the-lens, or diaphragm shutter as it is sometimes termed from its close
proximity to the diaphragm, and the focal plane shutter.
The between-the-lens shutter consists of from three to five blades of
thin steel or hard rubber, which open and close from the center, the
time during which the leaves are open being controlled either by an
air-brake or a chain of gears. Most of the later shutters, such as the
Ilex, the Wollensak, and the Compur, to mention only a few well-
known makes, belong to the last named class. The shutters controlled
by a chain of gears are generally more accurate in their timing than
those controlled by pneumatic means although this is not always the
case. The accuracy of timing in most shutters, even of the best types,
leaves much to be desired.
The speeds marked on most shutters are only approximate and the
actual speeds not infrequently show considerable departure from the
marked values. The difference between marked speed and actual
speed is generally most evident in the shorter exposures. The ex-
posure marked I / 250 is seldom more than I / 200 and frequently much
less. The lower speeds; on the whole, show less deviation, although it
i!' not altogether uncommon to find a shutter which shows but little
variation in actual speed between the indicated speeds 9f I / 25 and
I / IOO of a second. Shutters, the speeds of which are approximately
correct when new show considerable variation after a season or two,
although the modern gear-controlled shutters are less likely to " go
off " than the others.
The focal plane shutter is thus termed because it operates close to
the f o e ~ plane and immediately in front of the sensitive material. It
50 PHOTOGRAPHY
consists of a light-tight curtain pierced with slits of various width.
This curtain is carried on two rollers, one o which is under tension.
When the exposure lever is released, the curtain rolls off of one roller
on to the other, making the exposure as the open slit passes in ro!1t
of the plate or film. A wide range of exposures may be had by vary-
ing the size of the slit in the curtain and by increasing or decreasing
the tension, which controls the speed at which the slit is drawn past
the plate or film.
With a focal plane shutter the actual speed values correspond more
closely to the marked values than with the between-the-lens shutter, ex-
cept when old and the tension weakened. The efficiency of the focal
plane shutter is higher than that of the between-the-lens shutter, effi-
ciency being taken as the actual amount of light which reaches the
plate in a given time of exposure. No matter what the exposure, the
leaves of a diaphragm shutter take some time to open and close. Thus
the lens is working at full aperture for only a portion of the exposure.
With the focal plane shutter, however (provided the shutter is placed
close to the surface of the sensitive material) , the full aperture of the
lens is utilized, so that considerably more light reaches the plate or
film in a given exposure time than with a between-the-lens shutter.
The efficiency of the best diaphragm shutters varies between so-6o per
cent; that of the best focal plane shutters between 8o-9o per cent, so
that there is a distinct advantage in the use of focal plane shutters at
the higher speeds.
Tripods.-Metal tripods have largely replaced the wooden variety
except for use with the larger professional cameras. A great many of
the light and compact metal tripods are lacking in stability and are
suitable only for the lightest cameras. Nothing is more annoying
than a wobbly tripod and except where weight and size are the deter-
mining factors, the lighter metal tripods should be avoided. While a
trifle less compact, those tripods in which the members are hinged so
that the legs open up in the manner of a folder have greater strength
and are more easily erected, as the sliding type with time tends to give
trouble from bending.
Few metal tripods have a head which allows the camera to be tilted
except by unequally spreading the legs. Tilting and revolving tripod
heads, however, may be bought quite reasonably and are almost in-
dispensable. Special stands have been introduced for home portrait
and general interior work by a number of firms. The leg braces and
central elevating post of these make their use preferable to the usual
form of tripod for interiors or wherever there is danger of slipping.
Lens-Hoods.-Lens-hoods are necessary when the lens is pointed
towards the source of light and advisable at all times, especially with
compactly mounted, large-aperture, anastigmat lenses. These, unlike
the older lenses, generally have no projecting hood, while their short
barrel length, large aperture and more complex construction all favor
the formation of internal reflections which reduce the brilliancy of the
image. The general disregard of lens-hoods is simply another instance
in which the craze for compactness and simplicity has got the best of
what is the better practice so far as optical performance is concerned.
So little is the value of the lens-hood appreciated at the present time
that it is almost impossible to find a really efficient lens-hood for a
small camera. Any black lined tube, however, which projects as far
as possible in front of the lens without cutting into the picture, serves
the purpose, whatever it may lack in convenience.
Finders.-Finders are of two general types: (1) reflecting and
( 2) direct. The reflecting type is that usually fitted to hand cameras
and consists essentially of a small camera obscura with a slip of mirror
at an angle of 45 degrees to the lens, so as to reflect the image to the
top. Most of the finders fitted to hand cameras are too small to be
used to the best advantage. Furthermore, they do not show the image
as it will be recorded by the lens. The customary finder shows only
approximately what will be included in the picture. The separation
between lens and finder is not important for distant objects but is for
very close objects, say within 5 to 6 feet. Consequently, a finder
which indicates correctly the field included with a distant object may
fail to do so with a close one. When the lens is raised or lowered the
image in the finder is not altered proportionately. This limits the use
of the rising front on roll film cameras. The " Sybil" finder of
Messrs. Newman and Guardia, however, provides for this by a set of
number marks and the " Idento " finder of Messrs. Adams has an
automatic masking arrangement which insures correspondence when
lens is raised or lowered. ,
The direct finder may be a rectangular lens on which the image is
viewed from a sight rod, or it may be simply a wire frame the di-
mensions of the picture area, attached to the lens or shutter mount
having a sighting rod on the side of the camera. Either form is pre-
ferable to the reflecting finder: ( 1) it allows the use of the camera at
eye-level, which is usually preferable to waist-level, ( 2) it is much
52 PHOTOGRAPHY
easier to follow moving objects and (3) the size of the image is larger.
Direct finders may also be made to compensate for the raising or
lowering of the lens although in most cameras this is not done.
II. THE DARKROOM
The Size of the Darkroom.-The important part played by the
darkroom in the quality and volume of the work produced is not as
fully realized as it should be. As a consequence, we have many dark-
rooms which are mere makeshifts, which are ill arranged and result
in serious loss of valuable time and materials, and in some cases in-
jurious to the health of the photographer and to the sensitive ma-
terials he uses. It is well w o ~ t while to pay particular :itt$!ntion to
making the darkroom an orderly, well-arranged place, which is both
healthful and pleasing, a place which one will not object to living in.
The size of the darkroom is in most cases determined by the cir-
cumstances attending to its location. The proper size is determined
by the character as well as the volume of work carried on. For the
average amateur there is no particular advantage in a room larger
than ten by twelve feet, while about six by six feet may be regarded
as the minimum. The advantages of a workroom about eight by ten
or ten by twelve feet are : the greater ease in heating and ventilating,
and less danger from stray light from openings in the walls or from
around the door or window. A room with these dimensions allows
an enlarging lantern to be installed and provides room for separate
benches and sinks for different operations, as plate changing, plate
developing, printing, washing, etc.
For commercial work no definite size can be stated, as this will de-
pend upon the class of work and upon the volume of business. In any
case, room should be provided to allow sufficient space for each op-
eration so that there may be a separate and distinct place for each
operation and for the materials and equipment required for this par-
ticular operation. When this is done things are not so often mis-
placed, broken, overlooked or destroyed. For a large business it is
an advantage to divide the workroom into several smaller workrooms
each of which is equipped and used for one particular purpose and
no other. Thus we may have one moderate-sized room for plate
changing and development, another for printing, and still another for
the storage of chemicals and for preparing solutions. Of these three
rooms in most cases the printing room requires to be the largest, and
the room for developing next in size, while the chemical storage room
may be comparatively small since it is not in constant use. If only
a small amount of enlarging is done the apparatus may be installed in
the printing room, but if enlarging forms an important part of the
business it is well to provide a separate place for this purpose.
Stlt:;t:;EJT0 LOCATION 0;
.5HOUt.D be ON Ocl"r.:s;DE ..,..,,_L.
IF R.>tBL
nco
PAIN T TIVSIOE tiAT
J/VtJIAIV R0
(
(Courtesy of Eastman Kodak Company)
Frc. 2!. Ventilation of the Darkroom
Ventilation.-A matter of particular importance, to which little or
no attention is generally paid, is proper ventilation. In the opinion
of the writer it is undesirable to have as a darkroom one which is
permanently dark. If conditions will permit, it is far better to have a
room which includes at least one window, or more if the room is
large, which is provided with a tight-fitting, light-proof blind which
may be quickly opened to admit air and light and as quickly closed for
work. While this will be of considerable service in ventilating the
darkroom, and may be sufficient for the amateur who only works for
a short period of time, something more is required in large establish-
ments where the room is used throughout the day. Here it is neces-
sary to provide light-proof air vents in order to allow the entry of
fresh air and if the exit vents are fitted with suction fans so much
the better. We illustrate in Fig. 21 a plan for the ventilation of the
54 PHOTOGRAPHY
workroom which will be found quite satisfactory. A ten-inch pro-
peller fan will handle about 300 cubic feet of ai r per minute and is
large enough for a room containing about 4000 cubic feet of air.
While this may seem elaborate and unnecessary expense, it can be
proved that the gain in general effici ency more than compensates for
the initial cost while t he good will of t he employee cannot be estimat ed
in dollars and cents.
Arrangement.-The arrangement of the darkroom is a matter de-
serving particular attention. In laying out the floor space t he aim
should be to allow plenty of space to enable an operati on t o be car-
ried on quickly and efficiently without hindrance to other work which
may be going on at the same time. To do this there should be a
separate place for the materials and apparatus for each operation and
this should be convenient to the place where the work is carried on
so that articles required may be readily accessible. Forethought along
these lines and careful planning of the workroom with a view to the
requirements will save much time and labor later.
Two very suitable arrangements for the amateur are shown in
c
c
Frc. 22. Floor Plan of Darkroom for Amateur Use
Fig. 22, one for a room and the other for a closet which is to be con-
verted into a workroom. It will be observed that in both cases the
space for loading plates and developing is placed behind the door
where there is less danger from stray light. The space for loading
plate holders or development is marked A in both floor plans, while
B represents the sink in which the fixing bath and washing tanks are
kept. The enlarging lantern may be conveniently placed in either at
C and a separate bench for the printing machine and cabinets for
papers and plates may be placed along one of the free sides of the
room.
The Water Supply (Sinks).-As a large amount of water ts re-
quired for most photographic operations, the water supply is an im-
portant item in the location of the darkroom, which should be lo-
cated, if possible, so that water may be easily installed. For while
running water is not an essential, at least for the amateur who works
at intervals, though it may be regarded as an absolute necessity for the
professional, it is a decided convenience and adds much to the pleasure
of the work. Owing to the location of the darkroom it may be im-
possible to install running water either because the mains are not
available or the cost is prohibitive. In such cases the amateur will
find a very good substitute in a large water cooler of about five gallon
capacity. This should be fitted over the sink in such a position that
the tap is conveniently located for the drawing of water for the dilu-
tion of solutions and rinsing of plates after development. A similar
container may be placed below the sink. Operations which require
a large amount of water, as the washing of plates or prints, will then
be carried out in another room where running water is available.
Opinions vary regarding the proper size and the construction of the
sink. In the opinion of the writer it is a mistake to have a sink
smaller than 18 by 36 inches. A sink of this size is just sufficient to
carry a cold and a hot water tap together with the negative fixing
tank, which should always be kept in the sink in order that there may
be no danger from hypo infection. Larger sinks offer advantages in
that they may contain in addition the negative washing box and the
print washer or other similar apparatus. On the other hand they
quite frequently occupy valuable room and are otherwise objectionable
because they keep the room damp and unpleasant and cause metal
goods, as the enlarging lantern, to rust. In arranging for the sink
the worker must be guided by his own requirements and by the space
available. The sink itself may be of wood coated with a waterproof
paint, such as Probus ; of cement, of enameled steel, or of lead: Steel
e n ~ e l e d sinks are perhaps the most satisfactory and are really the
cheapest in small sizes but are obtainable only on special order in
very large sizes and are also very expensive. Large sinks are there-
fore generally made of either cement or wood coated with a water-
proof paint. Taking into consideration the labor involved in con-
structing the same, the wood sink is the cheaper and is perfectly sat-
isfactory, provided it is kept well coated with a water-, acid- and
alkali-proof paint. In the laboratories of the Division of Photog
56 PHOTOGRAPHY
raphy at The Pennsylvania State College, the writer for several years
had two wooden sinks, covered with an alkali- and acid-proof paint,
in almost constant use and they have proved perfectly satisfactory.
The only precaution to be taken is to renew the coating of paint once
or twice a year. The majority of sinks, however, are made of con-
crete, which is resistant to all acids and alkalies of such strength as
are used in ordinary photographic practice. The following directions
for the manufacture of a large concrete sink were given at a meeting
of the Photographers' Association of America some twelve or thir-
teen years ago. A framework of half-inch boards is first built on
the support where the sink is to be placed, and on this a thick layer
of cement and sand in the proportion of cement two parts and sand
three parts is laid, about an inch thick. While this is setting, an in-
ner framework of half-inch boards, about two inches shorter than
the outer one and without any bottom, is prepared and when the bot-
tom layer of cement is set, this inner framework is rested upon it,
and the tops of the inner and outer framework are kept steady at a
distance of about an inch apart by two strips of wood attached at
distances at the top. This forms a mould between the two frame-
works and the bottom layer of cement, and into this mould more
cement mixture is poured and allowed to set. The waste pipes
should be put in before the cement sets and placed a little below the
surface to allow for the shrinkage which occurs upon drying. To
strengthen the sink large nails, or pieces of iron or steel, may be im-
bedded in the cement and if thoroughly covered they will not rust.
When the cement has become thoroughly hard the forms may be re-
moved and work begun immediately. If the somewhat rough surface
is objected to for any reason the cement may be coated with any of
the compounds used for finishing cement surfaces and will then be
perfectly smooth and resistant.
In fitting taps over the sink care should be taken that they are. not
so low that large graduates or containers cannot be placed under them.
Placing the taps too high is also to be avoided owing to the trouble
from splashing. A height of about fifteen inches from the bottom of
the sink is a fair distance.
The Illumination of the Darkroom.-There are two systems of
darkroom illumination, direct and indirect. Indirect light, while hav-
ing been adopted by some large commercial houses, has been neglected
by the amateur and even by the average professional. The advantages
of indirect light are many, as will soon be observed by one who installs
it, and the amount of lig-ht which may be present in the darkroom with-
out danger of fog on even the most sensitive of modern plates, when
handled with r easonable precautions, will astonish one. As a m t t ~ r
of fact most darkrooms are too clark and in the end not so safe as sup-
posed, since it is necessary to work quite close to the light- not one of
which is really safe. An overhead 1 ight will give an even, diffused
F1c. 23. Eastman Indirect Darkroom Lamp
li ght all over the room and there is no difficulty in finding articl-os
which may be required.
Lamps for indirect lig-hting are supplied by the Eastman Kodak
Company (Fig. 23) but there is nothing to prevent the worker from
Wirinz Diagram s
Frc. 24. Design for Indi rect Darkroom Lamp.
(Krug, American Annual of Photography, 1922)
making his own if he so desires, as the construction is quite simple.
The light-box itself (see Fig. 24) is made of thin sheet iron and is
8 x ro x 60 inches in size. There are two ventilators, one in one side
----------
58 PHOTOGRAPHY
and one in the bottom of the box, which must be made so as to prevent
any white light from passing. The interior of the box is painted with
a matte white or aluminum paint and the electric socket is placed so <1s
to bring the filaments of the bulb nearly in the center of the box. The
top is hinged so as to permit of changing the safelight to suit emulsions
of different character. The box is suspended from the ceiling by four
chains or wires attached to each corner and the electric light cable is
brought down from the wall tap which should be close by. To secure
ihe full advantage of the light the ceiling should be a white matte;
however, if this is not the case a sheet of Beaver board about four feet
square and painted white may be fixed to the wall directly above the
light. Under these conditions the illumination will cover an area about
sixteen feet square so that additional light will be needed for a large
room. A 25- or 40-watt bulb will supply sufficient light; very large
bulbs will melt gelatine safelight screens. The safelights used will, of
course, be those which are adapted for the type of sensitive material in
use. This matter we will consider shortly.
A very convenient lamp for the development of prints or enlarge-
FrG. 25. Eastman Developing
Lamp
FrG. 26. Wratten Darkroom Safelight
Lamp
ments or for either time or factorial development, where there is no
occasion for examining the negative by transmitted light, is the
rendant light (Fig. 25). As the safelights are interchangeable the
same light may be used for developing either plates or prints, the
safelights being changed as the occasion demands.
Among the many excellent types of lamps on the market for
direct illumination the Wratten (Fig. 26) may be mentioned for the
facility with which the safelights may be changed, for perfect ventila-
tion, and for the uniform and safe illumination by using only reflected
light. .
All the lamps which we have mentioned are for electric light only
and certainly no one who has access to electric current will use any-
thing_ else. Where gas or oil must be used the best plan is to place
the light outside of the darkroom itself and arr;:mge a holder for the
safelight in the wall of the room. Where this cannot be done it is
necessary to purchase one of the gas or oil lamps obtainable from
dealers. In purchasing examine first the size of the lamp (5 by 7
inches should be regarded as the minimum size for the safelight) ;
second the arrangement for changing safelights for different plates ;
and third see that the ventilation is well taken care of. Most com-
mercial oil lamps are deficient on all of these points but more par-
ticularly the second and third. Do not make the mistake of buying a
cheap lamp, but examine carefully the various models and do not
hesitate to pay a fair price for a well-built and efficient lamp which
will fulfill your requirements.
The Safelight.-The term safelight is in a sense a misnomer as
there is really no such thing as a "safe" light, for any light that is
bright enough for the eye to observe will affect a plate if it is ex-
posed to it sufficiently long. It is entirely a matter of time. It is well
to remember that, regardless of the screen used for development, the
plate should be exposed to the light as little as possible, only at the
beginning of development to see if the plate is evenly covered and
then towards the end of development to determine when the plate
should be removed, and the tray should be kept covered at all other
times. Under these conditions it is possible to use a fairly bright
light for development with comparative freedom from fog.
In the earlier days of photography when plates were not nearly
so rapid or as c0lor sensitive as they are at the present time, the com- .
mon materials used were ruby glass and canary fabric. While both
of these materials pass a considerable amount of active light, they
were satisfactory with the plates then in use and indeed are still
widely used, but with the advent of the modern highly color-sen-
sitive plate the ruby glass screen is giving way to the modern safe-
light, composed of certain dyes, which are selected so that the com-
60 PHOTOGRAPHY
bined transmission is that to which the plate for which it is designed
is least sensitive. These screens are made by severai manufacturers,
in different series, for plates of different color sensitiveness, or they
may be made at home, but as there are many excellent screens at very
reasonable prices on the market it is a mistake and false economy to
make one's own.
The Efficiency of Darkroom Safelights.-With any darkroom
screen we naturally wish to secure the maximum safety with the
greatest visual intensity, or in other words the brightest light that is
safe for the plate. Thus, if a plate is sensitive only to the ultra-violet,
violet, and blue, and is insensitive to green and red, either a green or
a red safelight might be used with safety. The most efficient of the
two screens, and therefore the best choice for practical work, would
depend upon the relation between the sensitiveness of the plate and
the sensitiveness of the eye for any particular color. The visual in-
tensity is higher for the green than the red, but the latter has less ac-
tion on the plate, so that w"ith ordinary plates where a fair volume of
light may be used, the red screen is used in preference to the green,
but in the special case of the panchromatic plate, which is sensitive
to practically the entire visible spectrum, so that only a very small
volume of light may be used, the green is chosen because of its greater
visual intensity.
The standard of safety adopted for the products of at least one
manufacturer of screens is that no effect should be produced on the
plate when it is exposed to the safelight at a distance of one meter
for thirty seconds. Most screens will produce fog if rapid or highly
color-sensitive plates are exposed to their action tor much over a half
minute. A good working test of safety is to place a plate facing the
safelight and about two feet away and expose part of it for thirty
seconds, leaving part of the plate unexposed by covering it with sev-
eral coins, or a piece of black paper. If the plate shows signs of fog,
after development in total darkness for the usual time, the light is un-
safe for the plate and either a weaker light source should be used, the
plate handled at a greater distance from the lamp, or the safelight
should be changed to one which more nearly transmits light to which
the plate is insensitive.
Before leaving the subject of safelights we would again caution the
worker about exposing plates to the safelight more than is absolutely
necessary. This is particularly important when loading holders and
THE CAMERA AND DARKROOM . 61
before the plate is placed in the developing solution, as the sensitive-
ness decreases as development proceeds, so that a light which may be
safe for examining the plate when partly developed may be relatively
unsafe for the same plate in the dry state. It is not a difficult matter
to learn to load plates in the dark and it is far more satisfactory to do
so. With time development there is no necessity for observing the
plate at all unless greater or less contrast than the normal is desired,
and then it is not necessary to examine the plate until developmept is
nearly complete. The same applies to development by inspection.
Particular care must be taken when the factorial method of develop-
ment is used, since in this case the plate must be held rather close to
the light at the beginning of development in order to observe the time
of appearance of the image. This difficulty may be overcome by the
use of a desensitizer.
Trays, Tanks and Graduates.-Trays having the same dimensions
as the plate used are really convenient only for special operations
such as reducing, intensifying, etc., and it is far better to purchase de-
veloping trays which will accommodate at least four plates at a time.
There is very little to choose between hard-rubber, porcelain, or steel
enamel trays. All withstand all ordinary photographic solutions.
While the first are expensive and easily broken, the second are rather
expensive and also somewhat clumsy on account of their weight, and
the last has the disadvantage that the enamel becomes chipped in time
and exposes the metal to the action of the solutions. Composition
trays are as satisfactory as any and if broken can be replaced with
less outlay than any of the others.
Now that tank development is so largely employed by both the
amateur and the professional it may be well to say a word regarding
the tanks for the development of plates and also those adapted to the
use of roll film. Practically all of the tanks on the American market
which are designed for the use of plates are made of nickeled steel
and fitted with a waterproof cover so that the tank may be turned
over on its end in order to agitate the developer and prevent uneven
density. In several of the tanks on"the market provision is made for
pouring in the developer through a light-proof trap after the plates
have been loaded into the tank. Then, when development is complete,
the developer may be poured out through the same tap and replaced
by pure water for rinsing and finally by the fixing bath. Thus all
operations except the loading of the tank with plates may be done
62 PHOTOGRAPHY
in full daylight, while it is quite an easy matter to load the tank with
plates without a darkroom by using a changing bag. Other tanks
have very ingenious loading devices which enable the tank to be
loaded quickly without the danger of touching the sensitive surface or
exposing the plate to the light very long. The Kodak film tank is an
example of the all-by-daylight method of developing roll film whose
use is too well known to require more than a brief mention.
Only three sizes of graduates are required for all ordinary purposes,
although others may be useful at times. The sizes most generally re-
quired are a one-ounce minim graduate, one of about 8 ounce capacity
and a larger one of 16 or 32 ounce capacity. For the larger sizes the
cheap tumbler graduates having pressed instead of engraved lines are
sufficiently accurate. By paying somewhat more one can secure
graduates having opaque graduations whicp can readily be seen in
the darkroom, so that there is no uncertainty in preparing solutions
while developing. Two special forms of graduates also require at-
tention, viz. : the graduated beakers used by chemists which are prac-
tically unbreakable, and the combined graduate and mortar and pestle
which is extremely useful for powdering chemicals or crushing tablet
developers, as the Tabloid or Scaloid products.
It is essential that all trays, tanks, and graduates be kept thoroughly
clean. Many of the stains and other defects which perplex the
amateur and trouble the professional at times are due to unclean trays
or other similar equipment. One of the most effective means of
rapidly removing any ordinary chemical impurity from a vessel is
by the use of a solution of potassium bichromate and sulphuric acid.
The proportions are not so very important and the following will be
found about right:
Water to make ... .. ..... . ........... . .. .. . ... . 32 ounces (1,000 c.c.)
Potassium bichromate .. .. ............. . . . ... ... 4 ounces (125 gms.)
Sulphuric acid (commercial) ............ .. . . ... 4 ounces (125 c.c.)
This is poured into the vessel and will act in a minute or so, when
after a rinse or two and some S\Wl.bbing with a tuft of absorbent cot-
ton the tray or graduate will be chemically clean and available for any
photographic operation. The solution should be kept in a glass-stop-
pered bottle, as it will destroy a cork.
Commercial Tanks.-In commercial establishments where a larger
volume of work is done, the use of open tanks is general. The sensi-
tive material, whether plates, cut film or roll film is carried on suitable
hangers through the operations of developing, fixing and washing.
The tanks for use with plates and cut films hold from I to 30 gallons
of developer and accommodate from I to 2 dozen plates or cut film at
a time. The larger tanks used for the development of roll film hold
from ID-50 gallons of developer and take from ID-50 rolls at a
time. With such installations, it is not the usual practice to discard
the developer after each batch of plates or film but to keep the solution
up to normal strength by the addition of fresh solution.
Lately, there have been introduced for the development of roll film
automatic developing machines which carry the loaded film hangers
through the developing, rinsing, fixing and washing tanks without at-
tention on the part of the operator. These machines are capable of
developing up to 500 rolls of film per hour and require the services of
but two men; one to attach the rolls of film to the conveyor and one to
remove the films in the drying room. They have proven entirely suc-
cessful and are used in a number of the larger photo finishing plants.
Some Miscellaneous Workroom Features.-It is always advisable
to keep the major part of the stock of sensitive materials on hand
outside the workroom but provision ought to be made to keep those
which are constantly in use where needed in the workrooms and in
such quantities as may be required. To this end it is well to con-
struct tight wooden cabinets to contain all plates, films and papers
in general use not only in order that such materials may be kept in
an orderly condition but to preverit injury by the moisture always
present in the workroom. Such cabinets may also be provided for
containing loaded and unloaded plate holders and for the weighing
and mixing of chemicals.
The drying of plates and films is a matter of some moment, espe-
cially in large commercial establishments where it is necessary to dry
batches of plates or films at a uniform rate day in and day out re-
gardless of the weather conditions outside. We illustrate in Fig. 27
a small ~ b i n e t designed for plates or cut film and intended more par-
ticularly for the serious amateur or small professional. For a larger
establishment and where provision must be made for drying roll film
more elaborate equipment is necessary. The size of the cabinet will be
governed largely by the number of films handled in a batch and the
number per day. It should be sufficiently large, however, to contain
all the films it is likely to be called upon to handle at one time with-
out undue crowding and ample space should be allowed for the cir-
64 . PHOTOGRAPHY
culation of air on all four sides and through the center. Either slid-
ing or swing doors may be provided, while if desired one may place
doors on two opposite sides, the films direct from the washing tank
being inserted from one side and removed from the other after dry-
ing. To secure a thorough and even circulation of air it is advisable
to provide both the bottom and top of the cabinet with an air cabinet.
Both the upper and lower walls of the bottom air cabinet should be
made perforated, using Yz inch holes spaced two inches apart each
way. The holes of the two walls should not coincide, however, or
FrG. 27. Drying Cabinet for Plates and Films
the purpose of the air chamber will be defeated. The bottom of the
upper air chamber should also be perforated and provision made at
the top for the installation of a suction fan to create a current of air
through the cabinet. Provision for suspending the films will natu-
rally depend upon the type of hangers employed and can be worked
out by the individual to meet his own particular case. Heat may be
used for drying if a thorough even circulation .of air is assured but
not otherwise. The best results are obtained at 95 degrees Fahr. and
a thermometer should be kept within the cabinet and in plain view
to see that this temperature is not exceeded.
Drying cabinets for roll film are an article of commerce and may
be obtained from a number of dealers should the worker prefer not
to build his own.
Such cabinets may also be used for drying prints on squeegee
plates. Commercial apparatus for this purpose is also available.
CHAPTER III
PHOTOGRAPHIC OPTICS
Introduction.-According to the theory now generally accepted,
light is a wave motion in an elastic medium known as ether. The
vibratory motion of the molecules of a body are communicated to the
ether and a transverse wave spreads out in all directions with a velocity
of approximately 300,ooo,ooo meters per second. When this wave
motion strikes the eye it produces the sensation which we . term light.
We distinguish between luminous and illuminated bodies : the
former radiate light of themselves, the latter are simply bodies on
which the rays from a luminous source fall. Among the former are
included the sun, all artificial lights as oil, gas, electric and magnesium,
and every body heated above a certain point. Illuminated objects com-
prise all bodies in the unobstructed path of rays from a luminous
source. The intensity of illumination on an illuminated body depends
upon the strength of light at the source, the distance of the illuminated
body from the light source and the density of the intervening medium.
While light waves spread out in all directions from the source, the
vibrations which reach any point travel a straight line joining that
point and the source. This is known as the rectilinear propagation of
light.
A cone of rays from a luminous point is known as a light-pencil,
and is said to be homocentric to all other pencils which proceed from
the same luminous point. The central line of this light-pencil is
termed the axis. If we follow the rays from the source they are said
to be divergent; in the opposite direction, convergent.
Refraction of Light.-In a homogeneous medium the path of a ray
of light is always straight, but the passage of the ray from one medium
to another, in general, alters both its velocity and its direction. The
alteration in the direction of a ray upon passing from one medium to
another is known as refraction. The angle which the incident ray
makes with the normal to the surface at the point of separation of the
two mediums is known as the angle of incidence, while the angle of
the refracted ray to the normal is known as the angle of refraction.
A ray (see Fig. 28) A moving in a medium 1 meets at B the surface
65
66 PHOTOGRAPHY
CD separating the medium 1 from a denser medium 2 . Upon striking
the surface CD, the ray is divjded into two rays BE and BF, the
former the reflected and the latter the refracted ray. The angle of the
reflected ray is equal to the angle of the incident ray, so that the angle
of incidence equals the angle of reflection. When the ray passes from
one medium to another of greater density, as from air to glass, the re-
L
FrG. 28. The Principles of Refraction
fracted ray BF is bent towards the normal, but when passing from a
dense medium to one of lesser density the path of the refracted ray lies
away from the normal.
The angle of deviation of a ray upon passing from one medium to
another is known as the index of refraction. Since refraction is due
to a change in the velocity of light the refractive index of a medium is
equal to
the velocity of light in air or a vacuum
the velocity of light in the given medium
The amount which the refracted ray deviates from the direction of
the incident ray, or the index of refraction, can be determined from
the size of the angles ABL and BFL'. Thus the angle BF = ABL
- BFL'. Or, where i is the angle of incidence, r the angle of refrac-
tion and D the deviation, the value of D is obtained by the following
equation:
D = (i- r).
Thus far we have only considered refraction at one surface. When
we have a plate of a dense medium, as glass, a ray of light is refracted
both upon entrance and also upon emergence. Let ABCD (Fig. 29)
be a block of glass with sides AB and CD parallel. The ray of light
- - -- - - ~ = ~ .
'
PHOTOGRAPHIC OPTICS 67
a strikes the surface AB at l. This ray is refracted from the normal
on entering the denser medium and proceeds to c. Upon passing from
the surface CD into a medium of lesser density, refraction again occurs
FrG. 29. Refraction in a Medium with Parallel Sides
but this time towards the normal. Since AB and CD are parallel, the
normals are parallel and the emergent ray is parallel to the incident
ray. There is a lateral displacement but not a change in direction.
However, if the sides are not parallel the course of the ray is altered
as shown in Fig. 30, in which the cour-se of the light ray is traced
FrG. 30. Refraction in a Prism
through a prism. The ray proceeding from a meets at l the side of
the glass prism ABC. It is refracted towards the normal, n- n, and
follows the course indicated by l- c reaching at c the surface of the
glass prism ABC. On passing out of the prism into air refraction
occurs again, but this time away from the normal along the line cd.
The total angle of refraction is thus equal to the angle at o.
D = (i -(i') - (r - r').
Dispersion.-So far we have considered only monochromatic light
or light having one definite color, but in practice we do not deal with
monochromatic light but with daylight, or at least a light source hav-
ing a wider range of emission than one narrow band of the spectrum.
68 PHOTOGRAPHY
When white light is passed through a prism the different rays are not
all refracted to the same degree but according to their refrangibility;
those of short wave-length, as blue and violet, being refracted to a
greater degree than those of longer wave-length, as orange and red
(Fig. 31). The angular separation between the constituents of a ray
FIG. JI. Dispersion in a Prism
of composite light produced by refraction of the ray 111 passing
through another medium is known as dispersion.
Dispersion was formerly thought to be dependent upon refractive
power so that substances having a high refractive power necessarily
had a high dispersive power. This is now known to be incorrect and
it has become possible to prepare glasses with high refractive power
and low dispersion and vice versa. Dispersion results in what is
termed chromatic aberration, the correction of which is of considerable
importance in photographic objectives and will be fully treated in the
following chapter on the aberrations of the objective.
Lenses and Image Formation.-There is a very close similarity be-
tween a lens and a combination of prisms and in fact we may consider
FrG. 32. Principal Forms of Simple Lenses
a lens as a prism having an indefinite, or infinite, number of sides.
Single lenses are divided into two classes according to whether they
are diverging or converging; the former are known as negative lenses,
the latter as positive. The principal forms of converging and diverg-
ing lenses are shown in Fig. 32. It will be observed that the former
are thicker at the center than at the edges, while the latter are thicker
at the edges than at the center.
The position and character of the image formed by a positive lens
will be seen from Fig. 33 In this case AB represents an object
FrG. 33. Image Formation with Positive or Converging Lenses
placed at a distance from the lens which is much greater than the focal
length of the lens. For purposes of illustration the course of only
three rays proceeding from the objed points will be shown. The
three rays from A pass through the lens and are refracted so that they
intersect one another at A', while the rays from B intersect at B' in a
similar manner. Likewise the rays from any point on the line AB on
passing through the lens will be refracted and form a corresponding
point on the line A' B'.
1
The image in this case is real and inverted.
The point at which the rays begin is termed the object point and the
point at which they intersect after having passed through the lens is
known as the image point or the focal point, while the distance from
a point"in the lens known as the nodal point to the focal point is known
as the focal length.
From Fig. 34 it will be observed that a negative, or dispersing, lens
A
FIG. 34. Course of Light Pencils through a Negative Lens
forms no real image but only a virtual one since the focal point lies
between the lens and the object.
Image Formation according to the Gauss Theory.-We owe to
Gauss the conception of the nodes and nodal planes of a lens, also
called principal or Gauss points after their discoverer. If the positions
of these are known, the image can be constructed from the object
1
We are assuming, of course, a fully corrected lens.
I
70 PHOTOGRAPHY
without knowing anything about the actual course traversed by the
rays in their passage through the various glasses.
In Fig. 35 are shown the nodes N
2
N
1
in a single lens. A ray of
Frc. 35. Image o r m a ~ o n According to the Gauss Theory
light entering at an angle so that it reaches the node at N
2
(node of
admission) acts as if it was carried parallel to the axis to N
1
(node of
emergence) after which it continues on in a straight line. If we
imagine the planes P
2
P
2
andP
1
P
1
passing through the nodes N2 and
N
1
parallel to the axis, we will see that a ray of light, as ab, parallel to
the axis on reaching the lens passes undeviated to the plane of emer-
gence and is there bent so that it passes through the focal point. If
the lens is reversed the node of admission becomes that of emergence
and vice v ersa. Thus every lens may be said to have a front focus and
a back focus, the former measured from the node of admission, the
latter from the node of emergence, to the focal point.
In Fig. 36 N
1
and N
2
are the nodes of a lens, P
1
P
1
and P
2
P
2
the
FrG. 36. Image Formation According to the Gauss Theory
corresponding nodal planes, F
1
and F
2
are the front and rear foci re-
spectively, so that F
1
N
1
is equal to F
2
N
2
Let ab represent an object
having its lowest point on the lens axis bb
1
The position of point a
in the image may be found by drawing two rays AP
1
parallel to the
axis and thence through the rear focus F
11
the other ray through the
front focus F
2
to the plane of admission P
2
and thence parallel to the
axis. The meeting point of these two rays (a
1
) is the image point of
a. Any other point may be found in like manner, and hence if the
position of the nodal planes is known the rays can be traced through
the lens whether the curves or glasses of objective are known or
not.
The Position of the Nodes.-The positions of the nodes and nodal
planes in a 1Pns vary with the type of lens. In Fig. 37 the posi-
FIG. 37
tions of the nodal planes are shown for a number of the common types
of single lenses. The light is assumed to be passing from left to right
in the direction indicated by the arrow which also indicates the axis
of the lenses. Na and Ne represent the nodes of admission and emer-
gence respectively. When the curves are equal the nodes are centrally
placed; when the curves are unequal the nodes lie nearer the side hav-
ing the greatest curvature. When a lens has a plane surface one node
lies at the vertex of the convex surface, while in the case of a meniscus
lens one node lies outside of the lens, or " free." In combinations of
lenses the positions of the nodes vary considerably. They may lie
within the lens itself near the diaphragm, in front of, or behind the
lens. When the nodes are situated a considerable distance in front of
the lens we secure a great focal length with a short distance between
the rear of the objective and the ground-glass. This is the principle
upon which the teleobjective is based.
2
The Principal Focus of a Lens-Focal Length.-When the object
is at an infinite distance from the lens so that the incident pencils of
light are parallel on entering the lens the focus of the emergent
pencil constitutes the principal focus of the lens. Since either side
of the lens may face the subject, there are two principal foci, both
of which are equidistant from the node of emergence but on op-
posite sides of the lens.
2
For a more complete discussion of the nodes and their action see Piper,
The First Book of the Lens, pp. 31-32 and 45-49
72 PHOTOGRAPHY
The distance between the back surface of the lens and the sensitive
plate constitutes what is called the " back focus." It bears no definite
relation to the focal length and its only value is to indicate the bellows
extension necessary. ~ e term is now seldom used except in connec-
tion with telephoto lenses.
Focal Length and Size of Image.-Assuming a concrete distance
between lens and subject, the greater the focal length of the ob-
jective the larger the size of the image. Except with very near ob-
jects, the size of the image varies directly as the focal length of the
objective. Thus with a given distance between lens and subject the
image produced by a twelve-inch lens is twice as large as that pro-
duced by a lens with a focal length of only six inches. Stated dif-
ferently, to obtain a given size of image the distance between the lens
and the object decreases as the focal length.
While the perspective produced by a lens is always scientifically ac-
curate, regardless of the distance between the lens and the subject,
it does not necessarily accord with our established idea of perspective.
Owing to the fact that the eye is a long focus instrument and accus-
tomed to viewing objects at a relatively great distance, photographs
made with the lens very close to the subject appear to possess violent
and unnatural perspective to the eye, so that the result is unsatis-
factory to our resthetic sense even though it may be scientifically ac-
curate.
Perspective is determined entirely by the distance between the lens
and the subject and is independent of the focal length of the lens,
but since in practice when using a lens having a short focal length the
tendency is to get close to the object in order to secure an image of
satisfactory size, short focus lenses have gained the reputation of
producing violent and disagreeable perspective. There is, however,
no actual foundation for this, for if the distance between the lens
and the subject is the same the perspective of identical sections of
the subject will be the same. Thus if two plates of the same size
are exposed, using two lenses of different focal lengths at the same
distance from the subject, one plate will include very much more of
the subject than the other. However, if this latter is trimmed so as to
include the same portion of the subject as the other the two prints
will be identical, except in size. Consequently a lens of long focal
length gives superior perspective only because the distance between
'
"
the lens and the subject must be greater for an image of a given size.
The choice of a suitable focal length is governed by the size of the
plate and the requirements of the subject. In certain cases short focus
objectives must be used in order to include all of the subject from
a given In such cases violent and unnatural perspective
cannot be avoided and must be accepted. Generally, however, there
are no such limitations and the focal length is, within certain limits, a
64
Stze of
I
L
j
v 62
Plales
I 1/
J / /
60
3h3i 4.6
I/ 58
3fx4;f
5.4
I II 1/
v 56
31x51 6.4
!/
v 54
4x5 6.4
h
II 1/
/' 52
4!x6f B.

v /' 50
5x7 8.6
r-
I/ /' 48
5 x8 94
/"" .::;,':>J 1/
v
46
6}xBf 10.7 I
II

/ / 44
7x9 ll4
'/

/
v
42
8lfl0 129
I I / '\
/
/ v 40
/0)(/2 15.7
/

I/ 38
II x 14 /l9
I /
/

/
36
t4xl7 2?.1
I
/ / / 34
t6x20 25.5 j
I / / /

./ v 32
18x22 28.5
I
If
/ v I/ 30
20x24 313
. /_
1/
/
v
/
6 0 ./
28
Inches
1/ / 1/
v 26
" . J v v / 1./ v v
24
'); .
5t
f-
!/ /
v
1./
22
Yr /
v
./
v 20
/'1 1/ / <;:)
(!)IS,(.
/ / v v
4 0
v
18
0
v
.......
_...f.' 16
/I /
0./
./
o
--
14
I I////
/ (:1
/
1--
--
12
II ////
/
?.o
........
........
-
- J.Q-
_10
Ill.'//././ v
./
to
-
-
-
8
11/P/; .__, .......
......

-
-
-
6
..............
'--
p
-
I
4
-
:-- I
2

Focal length 1n Inches
Frc. 38. Table for the Calculation of Angle of View
"'
.,
.c:
" .!:
'
.:
.!!
..
0:
....
0
c;
<::
0
..
..
c
matter of convenience. For all general work it is well to choose a
lens the focal length of which is equal to, or slightly greater than,
the diagonal of the plate. For pictorial work or portraiture, how-
ever, longer focus lenses are desirable and for such work lenses hav-
74
PHOTOGRAPHY
ing a focal length two, or even three, times the diagonal of the plate
are used.
3
Angle of View.-The angle of view of any objective is the angle
. subtended by two lines drawn from the node of emergence to the
corners of the plate in use. The shorter the focal length of the lens
in relation to the size of plate the greater the angle of view and the
more of the subject included from a given viewpoint.
It is often of advantage to be able to calculate the maximum angle
of view for a given lens on a certain sized plate and to render this
a simple matter we have reproduced a chart by which this information
can be simply and rapidly secured.
The maximum angle of view possible with any lens depends upon
the relation between its focal length and the size of the plate which
it will cover with satisfactory definition. For a given size of plate,
the shorter the focal length of the lens the greater is the angle of
view, while on the other hand, the larger the plate which a lens of
given focal length will cover with sufficiently critical definition the
greater is its angle of view. Thus a lens of six inches focal length
will .include a much greater angle if used on a 5 x 7 plate than the
4 x 5 for which originally designed. Most lenses, however, particu-
larly if of high speed, will not cover satisfactorily a plate much larger
than that for which they are designed unless considerably stopped
down. Some lenses, such as those built on the "Tessar" construc-
tion, do not increase in covering power to any extent when stopped
down and naturally their angle of view is limited by the plate for
which they are designed to cover. A lens made to cover with sat-
isfactory definition a field large in proportion to its focal length is
termed a wide angle lens. While no definite rules exist for classifying
lenses according to angle, lenses including an angle of less than 45
degrees may be considered as narrow angle; those including angles
from 45 to 75 degrees as medium angle, and any lens including an
angle above 75 degrees as a wide-angle objective.
Conjugate Focal Distances.-When the distance of the subject is
less than infinity, any object point and its corresponding image point
are termed conjugate foci, and the distance from the object point to
the nodal plane of admission and that from the image point to the
3
For a complete discussion of the fundamentals of perspective see paper by
]. C. DoHman in the Photographic Journal, 1923, 63, 31 s. The same paper
will also be found in the British Journal of Photography, 1923, 70, 411.
' .
PHOTOGRAPHIC OPTICS
75
nodal plane of emergence form what are termed the conjugate focal
distances. These distances are interdependent and connected by a
certain formula.
Let u represent the distance of the object, v that of the image, and
f the focal length of the lens. Then
I I I
-=-+-
f u v
If the values of any two of the above terms are known it becomes
a simple matter to find the other from the following: . .
From the formula
f = __!!!!___.
v+u
fv
u=--
v-j
fu.
v=--
u-j
. = ~ + .
f u, v
it will be evident that when the distance of the object and that of
the image are equal (i.e. u equals v) both distances are equal to 2f.
The image is thus the same size as the object and the term symmetric
foci, applied by Prof. Thompson, is apt.
The linear ratio of the object and the image is expressed as
Distance of image (v)
. .
Distance of object (u)
but for purposes of calculation it is much simpler to express the
ratio in terms of u and f, or v and f (f representing the focal length
of the lens). From Fig. 36, representing the principles of image
formation according to the Gauss theory, it will be seen that triangles
abF
2
and F
2
N
2
P
2
are similar, whence
N2P2 F2N2
--=--
ab bF2.
By construction, N
2
P
2
is equal to a
1
b
1
and F
2
N
2
is equal to f and
bF
2
equals v-f.
4
76 PHOTOGRAPHY
Therefore,
Image= R = _f_.
Object u- f
From triangles a
1
b
1
F
1
and P
1
N
1
F
1
I mage = R = v - f .
Object f
Extra Focal Distances.-From the las't two formulce it is evident
that calculation is made much simpler when the distance of the ob-
ject or the image is reckoned from the front or rear focal point re-
spectively. These distances which are therefore u-f and v- f are
known as the extra distances. The extra focal distance of the
object is denoted by Ev and that of the image by Eu.
Therefore,
Ew = v- f = JR,
E,.=
In other words, the extra focal image distance is equal to the focal
length of the lens mult-iplied by the ratio of image to object, while the
extra focal object distance is equal to the focal length divided by the
ratio of image to object.
Calculations of the conjugate distances can be made quite simply
by considering the distance between the image and the object to be
divided into five separate distances. These are:
r. The extra focal distance-focal length multiplied by the number
of times of reduction or enlargement.
2 . One focal length.
3 The nodal space-generally negligible.
4 One focal length.
S The extra focal distance-focal length divided by the number of
times of reduction or enlargement.
In the case of reduction (I) and (2) are on the object side of the
lens, but when enlarging (5) and (4) are on the object side of the
lens and (I) and ( 2) on the image side. When copying same size
(I) and ( 5) are alike and are equal to one focal length, so that the
whole distance from object to image is equal to four focal lengths, if
the nodal space be neglected.
-.
The above are the fundamental formula: covering the relation of
the conjugate foci when enlarging or reducing and almost any re-
quired calculation relating to the sizes and distances of object and
image may be worked out from the formula: above.
4
Theory of Depth of Focus.-In explaining the theory of depth of
focus, more properly termed depth of field, use will be made of the
illustration developed by Moritz von Rohr.
5
In Fig. 39 let 0
3
0
2
0
1
represent an object, parts of which are at
different distances from the lens L. For the sake of simplicity the
latter is represented without the nodes necessary for a complete rep-

F
F1c. 39. Graphic Illustration of the Principle of Depth of Focus. (Von Rohr)
resentation of its action. Suppose the lens to be focused on Ou a
point image I
1
will then be formed on the focussing screen or sensi-
tive plate. With the focussing screen, or the sensitive plate, at this
point it is clear that the image of 0
2
is formed at I
2
behind the screen
and that of 0 lL at I
3
in front of the screen. In other words the posi-
tion of the image point varies with the distance of the object point
and the lens cannot produce a point for point image upon a plane
subject unless the subject itself is a plane surface. When this is not
the case, rays proceeding from object points nearer to, or farther
from, the lens than the plane focussed for do not produce a point
4
Numerous formul;e for the calculation of the various problems pertaining
to scale in optical reproduction were given by Mr. George E. Brown in the
British Jou-rnal of Photography for 1921, 68, pp. 702-705.
s Zur Geschichte und Theorie des Photographischen Teleobjectiv. 1897. Also
Eder's Jahrbuch for 1906.
78
PHOTOGRAPHY
image on the focussing screen but instead a circular disk. However,
owing to the fact that the eye has its limits of definition and cannot
appreciate critical sharpness, these disks may appear as point images
to the eye if their diameter is less than a certain size which is termed
the circle of confusion. The circle of confusion thus represents a
circle of the largest diameter possible without producing perceptible
unsharpness to the eye. The largest circle which will appear as a
point to the eye is a variable dimension depending upon the distance
from which the photograph is viewed. It is found that at a distance
of 12 inches, which is a normal viewing distance for prints up to ap-
proximately 8 x 10, a circle with a diameter of not more than I/Ioo
of an inch will appear as a point to the normal eye. Consequently this
has to a certain extent been adopted as a standard for satisfactory
definition in photographic work. It is to be noticed that this value
applies to the finished print but not necessarily to the original negative.
For instance when a negative is enlarged the standard requires to be
reduced in proportion to the degree of enlargement in order that the
circles of the enlarged print may not exceed the maximum permissible
diameter. Where negatives are to be subsequently enlarged the circle
of confusion should not exceed I/250 of an inch in diameter and in
cinematography still less departure from critical sharpness is allow-
able: in this latter case the diameter of the circle of confusion allow-
able is about Ij6oo of an inch. Hence, the better plan of expressing
the circle of confusion is in terms of the viewing distance, as adopted
by Continental writers, rather than the adoption of an arbitrary stand-
ard.
According to the latter view, the permissible circle of confusion is
not a definite value, but a variable, which depends upon the distance
from which the print is viewed. It is found that any object, regard-
less of size, will appear as a point to the eye when v.iewed at a dis-
tance equal to, or greater than, 3.400 times its diameter. This is
equivalent to the very small angle of 1 minute (or a 5,400 part of a
right angle). In order to be sharply perceived the angle must be
at least 5 minutes, hence objects subtending angles of 1'-4' are per-
ceived more. or less distinctly and appear practically sharp to the eye.
This view of the variable standard of the admitted disk of confusion
has much to commend it, and in view of the widespread practice of
enlarging from small negatives it would probably be better if it were
universally adopted and the older method of an arbitrary standard
abandoned.
6
Factors Controlling Depth of Focus.-The factors which control
depth of focus are:
1. The focal length of the objective.
2. The aperture of the lens.
3 The distance of the plane in sharp focus.
4. The permissible diameter of the circle of confusion.
5. The presence of spherical aberration.
The extent of field in sharp focus, other conditions remaining con-
stant, is greater the shorter the focal length of the lens. The depth
of field varies inversely as the square of the focal length, if near ob-
jects be excepted. It is for this reason that fixed-focus cameras and
cameras focussed by scales are generally fitted with lenses of the short-
est focal length consistent with the size of image required for the plate
in use.
Increasing the rapidity of the lens reduces quite rapidly the depth of
focus. Thus with a lens of six inches focal length focussed on infin-
ity, all objects up to 2o.feet of the camera will be sharp if the lens is
used at F /I6. If the lens is opened up, however, say to F j 4, then
the depth of focus will only extend from infinity to within 75 feet of
the camera. The differenct! in the extent of field in sharp focus at
different apertures is even more noticeable when a plane comparatively
near the camera is focussed for.
From what has already been said it will be evident that depth of
focus in any given case will depend considerably upon the standard
of definition adopted as satisfactory. Thus the depth of focus will
be much greater if a circle of confusion equal to I/ IOO of an inch is
accepted as satisfactory in place of I/250 inch or less. For contact
prints up to 8 x 10 the former standard is satisfactory but when
smaller negatives are enlarged up to that size the latter standard, or an
even higher value, must be adopted if the resultant enlargement is to
appear critically sharp on inspection at the normal viewing distance
of 12 inches.
The presence of spherical aberration increases the apparent depth of
focus since it destroys critical definition and as a result there is no
6
For a full discussion of the two methods and the factors on which the same
are based see "Theory and Practice of Depth of Focus " by George E. Brown
in the British J Oil mal of Photography, 1922, p. 476 et seq .
. ----- - - ~ - - - - - - - - - - - - - - - - - -
80 PHOTOGRAPHY
clear dividing line between that portion of the subject which is sharp
and that which is unsharp. An excellent example of this is seen in the
modern soft-focus objectives which have greater depth of focus than
other objectives of the same focal length and aperture because the
difference between the portions in focus and those slightly distant
from the plane focussed on is not so readily noticeable, and also
because a circle of confusion greater than 1/loo of an inch is ac-
cepted as permissible. If the depth of such an objective be considered
from the latter viewpoint, it is quite possible that it might have no
depth whatsoever since the circles of confusion would nowhere be less
than 1/IOO of an inch in any part of the field.
The Intensity of the Image.-The intensity cif the image formed by
the lens is naturally a matter of considerable importance since on it
depends the time of exposure required to impress the image on the
sensitive film or plate. It is evident that where other conditions are
constant the times of exposure with any two lenses will be in inverse
proportion to the intensity, or brilliancy, of the image which they
project on the sensitive material. Neglecting for the moment losses
in the incident light due to absorption or reflection by the glasses of
which the lens is composed, the intensity of the image on the axis is
the volume of light admitted divided by the area over which it is
spread. The intensity of the image at points removed from the axis
is naturally dependent to a certain extent upon the optical perform-
ance of the lens, but the intensity of the image on the axis is governed
solely by the volume of light passing through the lens divided by the
area over which it is spread in order to form the image.
The volume of light admitted is of course dependent upon the area
of the diaphragm aperture. Since the areas of circles are to one an-
other as their diameters squared the volume of light transmitted by
any two lenses is directly proportional to their diameters squared.
Thus the volumes of light passed by any two lenses having an aperture
of d
1
and d
2
are to one another as d
1
2
: dl.
In case the light from d
1
and d
2
is spread over the same area, in
other words the two lenses form an image of the same size, the in-
tensity of the image will be directly proportional to d/ and d/. Thus
the intensity of the image) s proportional to d
2

Suppose, however, a lens with an aperture of diameter d
1
(Fig.
40) has a focal length of f
1
If 0 be a luminous point in an ,,object
at such a distance from the lens that the incident rays are practically
PHOTOGRAPHIC OPTICS
81
parallel, then the image will be formed at the principal focus of the
lens f
1
and may be represented by F
1
Fp Now suppose this lens is
replaced by another having the same aperture but with a focal
FIG. 40. Intensity of the Optical Image. (Brown)
length twice as great as {
1
so that {
2
= zf
1
Then the image F
2
F
2
will be twice as large as that of F
1
F
1
Hence
(
Diameter)
F1F1
(
Diameter)
FzFz
(I)
But the areas of the images F
1
F
1
and F
2
F
2
are to one another as the
squares of their diameters, hence we may write (I) as follows:
(FtF1)2' (F2Fz)
2

(z)
the areas of F
1
F
1
and F
2
F
2
are proportional to the correspond-
ing focal lengths squared. As the aperture, d, is constant, the inten-
sity of the image is thus inversely proportional to the focal length
squared, or f
2

Hence we have
volume of light proportional to d
2

area of image proportional to f" '
the intensity of the image, then, is represented by the expression
If this is written (d/ f)
2
, the djf expresses the ratio between the aper-
ture and the focal length and is termed the aperture ratio.
Speed of Lenses-Systems of Diaphragm Notation.-The aperture
ratio d/ f affords a convenient means of expressing the speed of lenses.
It is evident that the intensities of two lenses are to one another as the
squares of their aperture ratios. Thus if the aperture ratios of two
82 PHOTOGRAPHY
lenses are represented as d
1
/f
1
and d
2
/ f
2
respectively, the relative in-
tensities are as
(ddfi)
2
+ (d2/!2)2.
Hence if the intensities of the image are expressed by the aperture
ratios d/ f, the relative intensities may be found by squaring both
ratios and finding the relation between the squares.
It is not customary, however, to mark lenses according to the in-
tensity of the image, but according to the exposure required, which is
of course in inverse proportion to the intensity, for as the brilliancy
of the image is increased the time of exposure is proportionately de-
creased. Accordingly the diaphragm numbers on lenses represent not
the intensities but rather the reverse of these or the " slowness " of
the lens.
In I88I a committee of the Royal Photographic Society of Great
Britain advised that an aperture ratio of I : 4 be adopted as standard
and a series of aperture ratios chosen so that each successive aperture
would have an area one half that of the preceding, in order that the
exposure required fo.r each. successive aperture be double that for the
one immediately preceding and avoiding altogether the necessity of
squaring the aperture ratios in order to find the relative exposures for
the various apertures.
Since a circle of one half the area has a diameter equal to Ijy 2 the
series of ratios becomes
d I I I I I I I
-- - - --
f
4 s.6 s II.3 16 22.6
32
45
64
or in terms of f /d
4
5.6 8 Il.3
I6 22.6
32
45
64
Relative exposure required
2
4
8 I6
32 64
I28 256
It was further advised that in the case of lenses having a maximum
aperture ratio intermediate in value between any of the above the
F / number, obtained by dividing the aperture by the focal length, be
marked upon the mount. Accordingly we have lenses bearing F / num-
bers of F/ 4.5, F I 4.7, F / 6.3, F / 6.8, etc. The relative exposure re-
quired for any of these F / numbers may be found by squaring it and
the nearest F / number in the series and dividing one by the other.
. .
Effective Aperture.-In the above sections the area of the aperture
has been assumed to be the same as the actual area of the diaphragm,
d. This is correct where the diaphragm is in front of the lens as in
such cases the diameter of the pencil of light which can pass through
the lens is obviously equal to the diameter of the diaphragm. In the
case of photographic lenses having the diaphragm between the com-
ponents, the diameter of the pencil of light which passes through the
lens may be much greater than the actual diameter of the aperture,
owing to the fact that the front lens acts as a condenser and converges
the incident rays so that a pencil larger than the actual aperture may
pass through. The diameter of the pencil which is converged so as
to pass through the diaphragm constitutes what is termed the effective
aperture.
A practical illustration of the difference which may occur between
the effective and the actual aperture due to the converging action of
the front component was given some years ago by Dr. Zschokke for the
Goerz Dagor, a double, symmetrical anastigmat the halves of which
are identical. When the front component is used alone in its normal
position in front of the diaphragm the effective aperture due to the
"coning" action of the front lens is F / I I 3 When the rear com-
bination is used behind the diaphragm the effective aperture coincides
with that of the diaphragm and is reduced to F / I3.6. The brightness
of the image is therefore nearly one and a half times greater in the
first case than in the second, a difference due solely to the converging
action of the front component.
The difference in the effective and the actual aperture may be even
greater with lenses of different design. Thus in the Aldis F / 6 lens
the actual diameter is only about .87 of the effective aperture.
It is evident upon further consideration of the matter that the effec-
tive aperture will vary according to which end of the lens faces the
subject unless both components are identical. In the case of the Aldis
F / 6 the components are dissimilar and the aperture when the lens is
reversed, with regard to the subject, is only F j6.9 or for all practical
purposes F 17
With a lens having the diaphragm in front, the effective aperture
varies to a certain extent with the distance of the subject, owing to the
fact that the incident pencil of light is divergent rather than parallel.
This effect, known as inconstancy of aperture, is so small in most cases
that for practical purposes it may be disregarded.
It is evident that it is the effective, rather than the diaphragm, aper-
84
PHOTOGRAPHY
ture which must be considered in calculations regarding the intensity
of the image. Hence it is more accurate to say that fhe aperture
ratio d/f is
the effective aperture
focal length of lens
than simply the aperture divided by the focal length as before.
Visual methods of determining the effective aperture have been de-
scribed by C. Welborne Piper and by Jobling and Salt,
7
but perhaps
the method most generally useful consists in focussing the lens on a
very distant object and replacing the ground-glass by a card, or other
thin opaque material, pierced with a pinhole on the optical axis. A
lighted candle, or electric bulb, is then placed next to the pinhole. It
is evident that since the latter is at the focus of parallel rays, light from
a source in this position will emerge from the lens as a parallel pencil
of a diameter equal to the effective aperture. The circle correspond-
ing with the effective aperture may be obtained by pressing a scrap of
bromide paper against the lens and exposing, or by outlining the same
on a sheet of thin paper.
Loss of Light in Lenses Due to Absorption and Reflection:-The
statement is often made that all lenses require identical exposures when
used at the same relative aperture, but this is not strictly true as owing
to the differences among lenses in the amount of light lost from ab-
sorption and reflection by the glasses of which the objective is com-
posed, the actual intensity of the images may vary considerably, not-
withstanding the fact that all are marked with the same F /number.
The amount of light lost by absorption and reflection in photographic
objectives is greater than might be at first supposed. The question
has been several times investigated
8
and it has been shown conclusively
that the loss varies from ro per cent in the simplest single lens to
nearly so per cent in the case of many of the more complex lenses and
that few modern anastigmats transmit more than two thirds of the
incident light.
The losses from absorption do not amount to as much as those due
7
Jobling and Salt, Brit. J. Phot., 1922, 69, 108. "Piper, Brit. J. Phot;, 1917, 64,
272.
8
Cheshire, Brit. J. Phot., 1912, 59, 597, 645. Zschokke, Brit. J. Phot., 1912, 59,
823. Odencrants, S. I, P., 1925, 5, 87. Forch & Lehrmann, Kinotechnik, 1928,
10, 3. Moffett, Phot. J. Amer. , 1920, 59, 44 Nutting, Phot. J., 1914, 54, 187.
Goldberg, Der Aufbau des Photographischen Bildes; Enzyk. der Photog1aphio!,
Hft. 99, pp. 23-43. (W. Knapp, Halle A/S. 1924.)
to reflection. For this reason it is desirable to keep the number of
reflecting surfaces in a lens to the minimum. Dr. Zschokke showed
that of two lenses with an aperture of F / 6.8, the one a symmetrical
doublet having four reflecting surfaces ( Dagor), the other composed
of four single lenses having 8 glass-to-air surfaces ( Syntor), the light
transmitted by the former amounted to 88.77 per cent to 6s.r6 per
cent for the latter. Consequently the first lens (Dagor) at an aper-
ture of F/ 7-5 is actually as rapid as the second (Syntor) at its fQll
aperture of F / 6.8.
The percentage of light transmitted by representative types of
modern anastigmats has been measured by Odencrants and more lately
Forch and Lehrmann. The following table summarizes the result of
their investigations:
Loss oF LIGHT IN PHoTOGRAPHIC OBJECTIVES
Objective Marked F /value Transmission Effective F /value
Ernostar .. ...... . .. . Fj2
46.6% F/3.I
Riio . .. .. . . . ... .. .. . F/2
5
8. I % F/3.26
Kinoplasmat .. .. . . ..
F/ r.5 38.7%
F/2.82
Planar ...... . .. . . . . .
F/4.5 52.2% F/ 5.65
Tessa r .. ..... . .. . . . .
F/3.5 6o.o% F/4.64
Tessar ... . ... . . ... ..
F/4.5 63.5% F/5.94
Dogmar . . .. ... ... . .
F/4.5 52-7% F/6.39
Aviar .. ....... . .. ..
F/4.5
49-7%
F/6.65
Collinear . .... . .... . F/6.3
53-4%
F/ 8.67
From what has been said, it is evident that the F / riumber is by no
means an accurate indication of the speed of the lens, as it does not
take into account the losses due .to absorption and reflection and these,
as we have seen, are sufficient to cause considerable differences in the
intensity of the image. Perhaps as time goes on we will find a more
efficient method based, perhaps, upon the time required to produce a
definite amount of photochemical action. At any rate, regardless of
the angle from which the matter is attacked, a method of expressing
speed which takes into consideration the loss of light due to reflection
and absorption would certainly be a step in the right direction.
Variation in the Relative Aperture with Distance of Subject.-We
have seen before that the size of the image varies with the distance of
the object from the lens. As the size of the image increases as the
object is brought nearer the lens, so does the conjugate focal distance,
z, increase. When the distance of the object is sufficiently great, so
that the rays of the pencil of light entering the lens are
86 PHOTOGRAPHY
parallel, the conjugate focal distance, v, is equal to the focal length,
f. The intensity of the image is then expressed as d
2
/f2. However,
if the object point is brought closer to the lens, the conjugate focal
distance, v, is no longer equal to f, but becomes progressively greater
as the object nears the lens. It is evident then that as long as the
aperture remains constant, the intensity of the image will be repre-
sented by d
2
/ v
2
rather than d
2
/f2. As the conjugate distance varies
with the distance of the object, it is _apparent that the intensity of the
image, and therefore the time of exposure, will vary with the distance
of the object point.
In the vast majority of cases where the object is relatively distant
from the lens, a condition applying to practically all exterior work
and embracing the larger number of subjects, the variation in the
aperture ratio is so small as to be practically insignificant in practical
work, but in photographing very small objects, copying, enlarging,
lantern slide reduction and similar work the variation becomes a mat-
ter of considerable importance and must be taken into consideration
in calculating the time of exposure. There are two ways in which this
may be done. The distance from the rear nodal plane to the sensitive
plate or film may be measured and the F /value calCulated from d
2
/v
2
,
but as this method requires a knowledge of the position of the rear
nodal plane and the effective aperture it is not as convenient as the
second method. This consists in basing the exposure on the nominal
F / value as marked upon the lens and increasing it according to the
camera extension, v, by multiplying by v
2
/ f
2

However, as these calculations are usually required only in copying
and similar work, it becomes more convenient to draw up a table tak-
ing as a standard the exposure required for copying full size (4 times
that required with a subject 24 times the distance of the focal length)
and entering the result of the calculation for relative exposures for
various extensions by the scale of reduction produced. The follow-
ing table of the relative exposure for varying proportions of the image
to the original was calculated by Mr. W. E. Debenham several years
ago and will be found very convenient in indicating the correction in
exposure to be made when copying on various scales. Other methods
of making these calculations are given in the chapter on lantern slides
and copying.
....
{
"
..
PHOTOGRAPHIC OPTICS
Proportion of Image to Proportionate
Original (Linear) Exposures
Il30 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0. 0 0 0 0 0 . . 0 0 1.07
I/20 ... ... . .... . .............. . I.IO
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 . 0 0 1.21
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .. 0 01.27
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 . . 0 0 0 .. 0 01.36
.. .. . .. ........ . . ..... r.56
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 . 0 .2.25
0 0 0 0 0 0 0 0 0 0 0 0 0 0. 0 0 0 0 ... 0 0 0 0 0 .. 0 .3.06
1/Io
1/8
I/6
1/4
Ilz
314
2
3
4
5
6
7
8
9
10
II
12
13
14
15
16
17
18
19
:.?0
(Same Size).. . . . . . . . . . . 4
0 0 0 0 0 0. 0 .. 0 0 0 0. 0 0 0 0 0 . . 0 0 9
0. 0 0 0 0 0 0 0 0. 0 0 0 0 0. 0 0 0 0 0 0 0 . . . .. 0 16
0 0 0 0 0 0 0 0 ... 0. 0 0 0 0 0 0 0 0 0 0 0 0 . . 0 0 25
36
0 0 0 0 0 0 0 0. 0 0 0 0 0 0 0 0 0 0 0 0 0. 0 0 0 .. 0 0 49
64
8I
0 0 0 0 0 0 0 0 0 0. 0 0 0. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 100
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 I2I
0 0 0 0 .. 0 0 0 .. 0. 0. 0 0 0 0 0 0 0 0 0 0 0 .. 0 144
0 0 0 0 0 0 . . ... 0 0 0. 0 0 0 0 0 0 0 0 0 0 0 0. 0 0 169
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .. 0 0 0 .. 0 0 196
0 0 0 0 0 0. 0 0 0 0 0 0 0 0 0 0 0 0 0 0. 0 0 0 .. . 0 0 225
0 0 0 0. 0 0 0 0 0 0 0 0 . . 0 0 0 0 0 0. 0 0 0 0 .. . 0 256
0 0 0 0 0 0 0 0 0 0 0 0 0 0. 0 0 0 0 0 0 . . 0 0 . .. . 0 289
0 0 0 0 0 0 0 0 0. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 . . 0 0 324
0 0 0 0 0 0. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 .. 0 0 361
0 0 0 0 0 0 0 0. 0 0 0 0 0. 0 0 0 0 0 0 0 . . .... ' 0 400
0 0 0 0 0 0 0 0 0 0 0 0 0 0. 0 0 0 0 0 0 0 0 0 0 . . . 0 0 441
GENERAL REFERENCE WoRKs
87
Exposures Proportioned
to that Required when
Copying Same Size
.27
.28
3
-31
-34
39
.56
-76
I
2.25
4
6.25
9
I2.25
16
20.25
2$.
30.25
36
42.25
49
56.25
64
72.24
81
90.25
100
110.25
BECK AND ANDREws-A: Simple Treatise on Photographic Lenses.
BoLAS AND BRowN-The Lens.
CoLE-Photographic Optics.
CzAPSKI-Theorie der Optischen Instrumente.
EDER-Die Photographischen Objectiv. 1910.
FABRE-Traite Encyclopedique de Photographic. Vol. I and Supplements.
GLEICHEN-Theorie der Modernen Optischen Instrumente.
HARTING-Optics for Photographers.
LuMMER-Contributions to Photographic Optics.
MIETHE-Photographischen Optik.
MoESSARD-L'Obj ectif Photographique.
NuTTING-Outlines of Applied Optics.
PIPER-A First Book of the Lens.
ScHMIDT-Vortriige iiber photographische Optik.
88 PHOTOGRAPHY
ScHROEDER-Die E-!emente der Photographischen Optik.
STEINHEIL AND VolT-Handbook of Applied Optics.
SouTHALL-Geometrical Optics.
SouTHALL-Mirrors, Lenses and Prisms.
TAYLOR-System of Applied Optics.
TAYLOR, J. TRAILL-Optics oi Photography and Photographic Lenses.
VoN RoHR-Theorie und Geschichte der Photographischen Objectiv.
de I'Objectif Photographique.
WALLON-Choix et Usage des Objectifs Photographiques.
..,
CHAPTER IV
ABERRATIONS OF THE PHOTOGRAPHIC OBJECTIVE
Introduction.-In a perfect lens image every point in the object will
be represented by a corresponding point on the flat surface receiving
the image. It is impossible to realize this ideal and still preserve the
speed required for photographic purposes because of the defects or
aberrations to which lenses are subject. The more important of these
aberrations are:
Chromatic aberration,
Spherical aberration,
Coma,
Curvature of field,
Distortion,
Unequal illumination,
Astigmatism.
We will consider at some length the causes, effect on the image and
manner of correction of each of these.
Chromatic Aberration.-Chromatic aberration is a defect caused by
the dispersing properties of glass which prevents a lens from trans-
mitting white light from a point of the object to a similar point of
white light in the image. In other words the ray of light on passing
through the lens is broken up into its component colors, the foci of
which do not coincide but are situated at varying distances along the
aXIS.
The violet rays come to a focus at Fv (in Fig. 41), the red at Fr
and the blue, green, yellow, and orange rays to intermediate points be-
tween Fv and Fr. The image formed at Fv is that produced by the
violet rays, that at Fr by the red rays but in each case there will be
superimposed on this image the images produced by the other colors,
so that no matter where the sensitive plate is placed between Fv and Fr
we cannot secure a sharp image because of the intermingling of the
other images, which are not brought to the same focus.
In the early days of photography when emulsions were practically
89
~ j
90 PHOTOGRAPHY
insensitive to any but the violet and blue rays, it was the common prac-
tice to rack the lens towards the plate a distance sufficient to place the
plate at the focus of the violet image. As the plate had little or no
sensitiveness for the less refrangible rays, the definition was not seri-
ously affected. With modern color-sensitive materials, this is no
longer the case.
Axis
r
FIG. 41. Chromatic Under Correction
With a converging or positive lens, chromatic aberration takes the
form shown in Fig. 41, where vis the focus of the violet and y of the
yellow rays respectively. This is known as chromatic undercorrection.
With a diverging or negative lens, we have a different case, which
is represented in Fig. 42 and is termed chromatic overcorrection.
FIG. 42 Chromatic Over Correction
The method employed in correcting chromatic aberration will now
be evident. When a positive and a negative lens of equal power are
combined the combination is rendered achromatic. That is to say,
it transmits white light as such, but on the other hand the two lenses
being of equal but opposite power neutralize one another so that the
light rays are not refracted and consequently no image can be formed.
However, if the positive lens has a slightly higher refractive index
than the negative lens and the latter a higher dispersion than the
former, the dispersions may be neutralized without destroying the
refracting power so that the lens may be at once convergent and
achromatic.
For the sake of simplicity we have been considering only two colors,
violet and yellow, assuming that if these are brought to the same o m ~
mon focus the other colors will be brought to the same point. How-
ever, this is not the case and with two pieces of glass it is only pos-
sible to bring two colors to a common focus. This difficulty is due to
the fact that the relative dispersions of glass are not the same
ABERRATIONS OF PHOTOGRAPHIC OBJECTIVE 91
throughout the spectrum. Thus the total dispersion of one glass may
be twice that of another and lenses from the two glasses may bring
any pair of colors together but will not bring the other colors to the
same focal point unless the dispersion of one glass is double that of
the other in every part of the spectrum. In most glasses, however,
the relative dispersion ts not constant and the degree of dispersion
A c D E F G H
I
I
I I
I
'
0
. '
I 0
I
:
I
I :
0
A' c'
D' E' F' G' H'
FIG. 43
Irrationality of Dispersion
varies with the wave-length of the light as shown in Fig. 43 This is
known as the " irrationality " of dispersion.
The pair of colors chosen for exact coincidence of focus depends
upon the purposes for which the lens is designed. Thus in instru-
ments for visual use, as the microscope, the green and orange are
generally chosen because they, together with the yellow which lies be-
tween them, are the brightest colors to the eye. since the
plate is more sensitive to the ultra-violet, violet and blue than to light
of longer wave-length, the colors chosen for photographic purposes are
the violet, which lies midway between the very active ultra-violet
and the slightly less active blue, and yellow, which is used for focus-
sing on account of its luminosity.
For all ordinary purposes lenses corrected for only two colors are
satisfactory, since the other colors are either brought very close to the
common focus or are so much less active that they do not affect the
sensitive plate sufficiently to destroy the definition. A lens corrected
for two colors is termed an achromat, or is said to be achromatic.
The colors which are not brought to an exact focus form what is
termed the secondary spectrum.
In three-color process work it is necessary that three colors, instead
of two, be brought to the same focus in order that the three negatives
may be equally sharp and of the same size. By the introduction of
other glasses with the proper calculations it has become possible to
92 PHOTOGRAPHY
produce lenses in which three colors are brought to the same focal
point. These are referred to as apochromats, or are said to be
apochromatic. These are generally much slower than other lenses
and are not used to any considerable extent for work other than that
for which they are designed, since achromatic correction is sufficient
for a,ll ordinary photographic purposes.
Spherical Aberration.-Spherical aberration results from the use
of lenses, the surfaces of which are spherical. In a lens with spherical
surfaces the rays of light near the margin of the lens are refracted dif-
ferently from those nearer the axis so that the two do not come to a
focus at the same point. If it is a converging lens, the marginal rays
are brought to a focus closer to the lens than those nearer the axis,
while in a dispersing lens the virtual focus is greater for the marginal
rays than for the rays nearer the axis. The converging lens is said to
be spherically undercorrected , the dispersing lens overcorrected.
Fig. 44 represents the condition of spherical undercorrection. The
parallel rays h
11
h
2
, h
8
, h
4
on passing through the lens form image
points at different distances from the lens, those passing through the
margin of the lens having a shorter focus than those passing through
the lens at a point nearer the axis. By taking the distances of the rays
from the axis as ordinates and the distances from the image point for
the axial zone as abscissce we may construct a curve showing the degree
of undercorrection present.
Bearing in mind that a negative lens forms only a virtual image,
parallel rays entering from the right will form virtual image points
at different distances to the right of the lens as shown in the dotted
lines of Fig. 44 By using h
1
, h
2
, h
3
, h
4
as ordinates and the image
distances as abscissce, in the same manner as before, a curve can be
constructed which shows the degree of spherical overcorrection.
The method of correction consists in compensating the undercor-
rection of a positive lens by combining it with a negative lens whose
overcorrection is sufficient to cause the marginal pencils to come to a
focus at the same point as the axial pencils. It will be remembered
that chromatic correction was corrected in a similar manner by balanc-
ing two lenses of opposite errors. To correct for chromatic aberra-
tion it is necessary that the lenses possess certain definite focal propor-
tions. Now it is possible to make a lens with a definite focal length in
..
rection cannot be made absolutely alike. Fig. 44 shows a lens which \,
have the relative focal lengths necessary for chromatic correction and
at the same time make them of such shapes as will correct spherical
aberration. Thus since chromatic aberration may be said to depend
on the focal length of the lenses and spherical aberration on their
shapes it is possible to correct both of these errors in the same com-
bination simultaneously.
In practice it is virtually impossible to completely correct an objec-
I
C'l1leu: o . ~ O H
GIR.CLE Ofl COHf"V&IOH
- --t-- - -
/ ~
FlG. 44. Spherical Aberration
tive for spherical aberration since the curves of over- and undercor-
rection cannot be made absolutely alike. Fig. 44 shows a lens which
has the spherical aberration corrected for the center and a zone near
the margin. The rays h
2
and h
3
do not come to the same focus so that
by taking their distances and the distance of the rays from the axis,
according to the 'methods used above, it is possible to construct a curve
showing the amount of spherical aberration remaining in the combina-
94
PHOTOGRAPHY
tion. Perfect correction would be indicated by a straight line but a
certain amount of uncorrected spherical aberration remains in even
the very highest grade lenses. .
Coma.-Coma is the name applied to the spherical aberration of
the oblique rays of light on passing through the lens.
From Fig. 45 it will be seen that the course of oblique rays on pass-
ing through a lens is completely unsymmetrical. The rays below the
FrG. 45. Coma. (Kellner)
axis of the lens are bent more sharply than those above the axis and
thus do not meet in a common point but in a series of points. Assum-
ing that the sensitive plate is placed at any one of these points of inter-
section it is evident that we will not secure an exact image point be-
cause all of the rays from the corresponding point in the object are
not refracted to the same point in the image. In practice instead of a
sharp, well-defined point we secure a small pear-shaped spot which
seriously affects critical definition.
In Fig. 46, A represents the condition known as outward coma, the
points of the pear-shaped blur facing away from the axis of the lens.
If the position of the lens is reversed we have the reverse effect be-
cause the upper ray is refracted the most and the effect of inward coma
is produced. In this case, as the name indicates, the points face the
axis.
The amount of coma present in any objective may be shown graphi-
cally by a curve obtained in much the same manner as that which we
have previously used as an expression for spherical 'aberration (Fig.
45). This curve shows the distances of the different points of inter-
..
.l
tr
.
section measured along the axis of the oblique pencil from a plane laid
through the ideal image point. Perfect correction is indicated by a
straight line, but as coma is one of the most difficult aberrations to re-
move, the line is in practice always slightly curved, for while great
strides have been made in overcoming coma, most modern lenses still
show measurable amounts.
Coma is corrected in two ways: by the use of a diaphragm and by
compensation. From the illustration it will be seen that a diaphragm
placed in front of the lens will remove the majority of the oblique
pencils of light and thus reduce the amount of coma. The principal
Frc. 46. Two Forms of Coma. (Piper)
method, however, is by neutralizing the inward coma of one lens with
an equal amount of outward coma in another lens. If the two lenses
in Fig. 46 are combined the outward coma of one is neutralized by the
inward coma of the other and if we assume that the amounts of coma
present are equal but opposite powers, it is evident that complete
neutralization will take place and that the pair as a whole will be free
from coma. Further; since it can be proved that opposite forms of
coma are given by simply reversing the curvatures of the lens, it is
possible to find an intermediate form of lens which is practically free
from coma-a discovery utilized by Mr. H. Dennis Taylor in the well-
known Cooke triplet objective.
Curvature of Field.-As the surfaces of the sensitive materials em-
ployed in general photography are always plane, it is essential that the
image formed by the lens likewise be plane in order that sharp defini-
tion be secured over the entire plate. This means that the focus of
96 PHOTOGRAPHY
the oblique pencils of light must lie in the same plane as that of the
axial pencils. With all single lenses, however, the focal points of the
oblique and axial pencils do not lie on the same common plane but on
a curve.
With a positive lens (Fig. 47) this curve is concave to the lens
since the axial pencils come to a focus at a while the focus of an
FrG. 47. Curvature of Field. (Under Correction)
oblique pencil is at b rather than at c. When the image curve is con-
cave to the lens the condition is known as positive curvature of field.
It may also be referred to as under correction for curvature of field.
With a negative lens (Fig. 48) the image field is again curved but
tltis time the curve is convex to the . lens and the condition is then
Frc. 48. Curvature of Field. (Over Correction)
known as negative curvature of field or sometimes as over correction
for curvature of field.
The actual curvature of the image with an uncorrected lens varies
with the radii, glass, thicknesses of glass, separation of the component
lenses and with the position of the diaphragm and the distance of the
object. The curvature of field of a positive lens may be removed by
the introduction of a negative lens if the latter is sufficiently powerful
and placed at the proper distance. A perfectly flat field is not to be
expected in any lens, however; least of all in one of the older construc-
tions, such as the Petzval portrait lens, or the aplanat, where a com-
promise must be made between curvature of field and astigmatism.
In the anastigmats the curvature of field is less pronounced, but even
here all objectives show a slight departure from absolute flatness, but
the degree of positive or negative curvature is, in the majority of
cases, not sufficient to cause serious trouble.
L
Frc. 49. Distortion
Distortion.- There are several kinds of distortion but the only one
which we intend to discuss in this place is that due to the inability of
the objective to reproduce a straight line as such. It is a very objec-
tionable fault in a number of branches of work such as copying, archi-
tectural photography and the majority of all scientific work.
The following diagram will help in explaining without the aid of
mathematics the general manner in which distortion is produced. Let
N
1
and N
2
(Fig. 49) be the nodal planes of admission and emergence
respectively of the lens L, and let BC be a diaphragm placed at some
distance in front of the lens. The solid lines represent parallel rays
of light from a distant object passing through the diaphragm, BC, to
the lens, L, and from thence to a focus at f. Let xN and xN' be
parallel lines drawn thro!!gh tne nodal planes of incidence and emer-
gence. Let d be the point on the image _ plane where the line N' d
intersects it. d is therefore the true position for the rays, but owing
to the fact that a simple lens bends the marginal rays more than the
central ones, the image point lies not at d, its true position, but at f , a
point nearer the center.
When the diaphragm is placed before the lens we have what is
termed barrel distortion, a state of affairs represented in Fig. 50.
When the diaphragm is placed behind the lens the form of distortion
is reversed and is in this case known as pincushion distortion. It is
98 PHOTOGRAPHY
preferable, however, to call the first negative and the second positive
distortion.
The method employed in
equal but opposite errors.
correcting distortion is to combine two
It has been pointed out that with the
~ ~
IIIII f
111111 r
illlllll
Frc. so. Upper : Negative or "barrel-shaped" distortion. Center: Positive
or " pincushion" distortion. Lower : Correction of distortion by compound lens
in which the negative distortion of one lens is balanced by the positive distortiot
of the other.
diaphragm before the lens we have negative distortion, while when the
diaphragm is placed behind the lens we have positive distortion. Then
if we use two separate combinations, placing the diaphragm at the
proper point between the two, the positive error of one will be neutral-
ized by the negative error of the other and a rectilinear or non-distorted
image will be produced.
Astigmatism.-Astigmatism is one of the most serious of the aber-
rations and is at the same time one of the most difficult to correct.
While it is not strictly accurate to say that an astigmatically corrected
objective was possible only after the introduction of the newer varieties
of glass following the investigations of Abbe and Schott, since Martin
as well as Beck
1
have shown that anastigmatic objectives may be con-
structed without these glasses, the products of the J ena glass works
have played an important part in the development of the anastigmatic
1
Martin in t he Omnar produced by Emil Busch, Beck in the Neostigmar
Series.
objective, the series of barium crowns being particularly notable for
having contributed largely to the rapid development in objectives of
this type. The anastigmatic objective may be said to date from the
introduction of the Protar by Rudolph in r89o.
2
Astigmatism is an. error which affects only those light pencils which
pass through the lens obliquely. It is due to the lens converging the
oblique pencils of light to two separate focal lines rather than a point.
Astigmatism differs .from spherical aberration in that the !after affects
the central as well as the marginal definition, while pure astigmatism
is an error found only on points removed from the axis. Spherical
aberration of the oblique pencils may als9 exist and has already been
discussed under Coma.
When a pencil of light falls obliquely on the surfaces of the refrac-
tive medium the course of the rays in the different planes becomes dis-
similar and we must distinguish between two special planes. One of
these is the plane which passes through the principal ray of the oblique
pencil and is represented as the plane of the drawing. This is termed
the meridional plane. Perpendicular to this is the equatorial plane.
The condition of astigmatic deformation is shown in Fig. 5 I.
3
The
pencil of the light from the window bars at the center of the -field passes
along the axis and hence the image at the focal point is an exact point
for point image, chromatic aberration being assumed to be absent.
The pencil from the window bars on the margin of the field, however,
passes through the lens obliquely and in so doing the two planes be-
come unequally refracted and come to a focus at different points.
Consequently we do not secure a perfect image of those points which
lie removed from the axis but instead we have a series of image points.
Thus the vertical bar comes to a focus (t) before the horizontal bar
and when the former is sharp the latter is not. If the position of the
ground glass is altered in the direction of s the horizontal bar is brought
. to a focus while the image of the vertical bar become.s less and less
sharp. Hence it is impossible to secure a sharp image of both at the
same time no matter in what position the ground-glass is placed. The
distance between the focus of the rays in the meridional and those in
the equatorial plane forms what is termed the astigmatic difference.
From the sectional illustration representing the appearance of the
cross bar when the ground-glass occupies various positions between
2 D. R. P. s6,IQ9-April I8go.
3
Courtesy of Dr. Hermann Kellner and the Soci ety of Motion Picture Engi-
neers.
<fi"
100 PHOTOGRAPHY
the astigmatic image points t and s, it will be seen that there is a point
where both lines are equally sharp although neither is critically sharp.
This point represents what is termed the circle of least confusion. If
the image point lies near the axis, or the outstanding error is small,
the diameter of the circle of least confusion may be so small as to be
for all practical purposes a point image. The lens is then considered
to be astigmatically corrected and is termed an anastigmat.
Unfortunately, however, the difficulties of the designer do not end
here. Generally when the astigmatic zones have been removed and
astigmatic correction secured the image points lie on a curve and not
FIG. sr. Astigmatic Deformation. (Kellner)
on a plane perpendicular to the axis of the objective. Further calcula-
tion is then necessary in order to bring all of the astigmatic image
points as close to a plane surface as possible. When this is accom-
plished we have what is termed an anastigmatically flattened field.
Flare and Flare Spot.-Both flare and flare spot, can hardly be
termed aberrations as they are not concerned with the formation of
the primary image, but as they are properties of lenses which affect
the character of its image it seems well to treat them at this point.
There are two kinds of flare, one caused by reflection of light from
a bright object within the lens mount and generally termed flare spot
and that due to reflection of light from the surfaces of the lenses
themselves. The former may be termed mechanical flare and the !at-
\
ter optical flare. The "first can be avoided and there is little danger
of flare from this source with a lens of a reputable manufacturer,
unless old or damaged. Second-hand lenses should be carefully ex-
amined for unblackened spots on the mount before purchasing, while
the same cause may be looked for when an old lens suddenly begins to
give flat foggy images.
Optical flare cannot be avoided completely in any lens, and a lens
may be excellently corrected otherwise but still useless on account of
strong flare. Fig. 52 will illustrate the manner in which optical flare
FIG. sz. Optical Flare
is produced. Let a and a' represent two parallel rays of light passing
through the diaphragm and then through the lens an.d coming to a
focus at b. There is a certain amount of reflection at each surface
and in the case of the second surface the light is reflected back to the
first surface, where it is again reflected back and reaches the plate at
c and c'. If the focus of the secondary reflected image is near the
same plane as the lens image, a definite spot is formed which destroys
critical definition and gives a hazy, foggy effect. Any increase in the
number of glasses in the objective increases the number of reflecting
surfaces and hence the greater danger from flare in the more complex
forms of modern lenses than in the old single achromat. In addition
the deeper the curves of the individual glasses the greater the per-
centage of light reflected and consequently the greater the danger of
flare. The presence of air spaces increases the number of reflecting
surfaces so that of two lenses of the same glasses and of the same
design the amount of flare will be greater theoretically in the lens in
which the components are separated by air spaces.
Some forms of modern anastigmats are more subject to flare than
others and with all it is advisable to take all possible precautions to
remove all sources of the same. Much can be done by the habitual use
of an efficient lens hood which really ought to be regarded as an in-
tegral part of every ultra rapid objective.
102 PHOTOGRAPHY
Unequal Illumination.-With every collecting lens, regardless of
construction, the center of the field is more strongly illuminated than
the marginal portions. This falling off in intensity towards the mar-
gins of the field is known as unequal illumination, or diminution of
intensity, and is due to two general causes, one of which is regular
and common to every lens and the other of which varies with the lens
and is dependent upon the construction of the mount.
The regular diminution in intensity is due to three distinct causes:
I. The constriction of the aperture for oblique rays.
2. The greater focal length of the marginal rays.
3 The angling of the marginal rays to the focal plane.
The manner in which the constriction of the aperture occurs is
indicated in Fig. 53, where aa and bb represent the limiting rays of
a direct pencil which can pass through the diaphragm ab. cc and dd
represent an oblique pencil of light having the same diameter as aa bb.
Frc. 53. Constriction of Aperture for the Marginal Pencils. (Brown)
It is easily seen that the whole of this oblique pencil cc dd cannot pass
through the diaphragm ab because it meets the same at an angle and a
portion of the pencil of light is cut off by the diaphragm as indicated
by the shaded portions and by the sections of the aperture A and B.
Therefore the effective area of the diaphragm is less for an oblique
pencil than for a direct pencil and consequently the intensity of the
oblique pencil after passing through the lens is less than the intensity
of the direct pencil.
The second point to be considered is the fact that the focus of the
oblique pencils is at a greater distance from the lens than the central
pencil. This is shown in Fig. 54, where ab represents the distance of
the focus for a central light pencil and ac that for an oblique pencil.
It is evident that ac is greater than ab, or in other words the oblique

'
pencils have further to travel before coming to a focus than the central
pencils, which again means that their effective value is less.
Another cause of unequal illumination lies in the angling of the ob-
lique pencil. The oblique pencil does not strike the plate perpendicu-
Frc. 54. Greater Focal Length of Marginal Pencils Resulting in Lower
Intensity. (Brown)
larly, as do the central pencils, but at an angle. Thus in Fig. 55 the
surface on which it would fall perpendicularly is RS, which is at the
angle cSR to the sensitive plate cb. The area of each image point,
represented by ES, becomes cS and the intensity from this cause is
therefore less than that of the central pencils as SE : cS.
The amount of the reduction in the intensity of the image at any
point removed from the axis due to the above causes may be calculated
Frc. 55. The Angling of the Oblique Ray. (Brown)
mathematically provided there is no obstruction of the oblique rays by
the lens mount to be considered. Formul;:e for calculating the diminu-
tion in the intensity of the lens image at various distances from the
axis were given by R. H. Bow as early as 1866.
4
This relation is rep-
resented in Fig. 56;
5
the angles of view subtended by the diagonal of
the plate are marked along the top of the graph, while the numbers
4
Brit. J. Phot., r866, 13, r6o.
5
Zschokke, Brit. J. Phot., I9I7, 64, 203.
-- __ _____.J
104 PHOTOGRAPHY
below are the ratios of the diagonal of the plate to the focal length of
lens corresponding to the angle of view marked on the top line above
the graph. The vertical line is marked in exposures, or intensity
units, starting with a unit intensity of one on the base.
The other cause of unequal illumination lies in the obstruction of
the oblique pencils by projecting lens mounts. This occurs whenever
the aperture of the lens is very large in proportion to the length of the
mount itself. Mo.st modern lenses, particularly anastigmats, are very
compactly built with their components close to the diaphragm and the
illumination is consequently more uniform than in the case of older

7
v
'
/
/
/
v
:...--
-

-
1
.1 ~ .6 .a 1.. ~ ~ v. 1. 1.a u 1.1 t. 1.6 1.a
Dicrg;nal d.i.vid.od. b3 jocal L&1t.$tlt.
FIG. s6. Relation between the Angle of View and the Diminution of the
Optical Intensity of the Image. (Zschokke)
lenses, such as the Petzval portrait objective, which have a much larger
distance between the components in proportion to the relative aperture
than do modern anastigmats.
GENERAL REFERENCE WoRKS
The various aberrations of photographic objectives are considered in practi-
cally all of the reference works given in the bibliography following chapter III.
The following may be recommended as being especially suitable.
HARTING-Optics for Photographers. (English translation by Fraprie.) 1912.
LuMMER-Photographic Optics. (English translation by Thompson.) 1903.
VoN RoHR-Theorie und Geschichte des Photographischen Obj ektivs. 1899.
j
,J
CHAPTER V
THE PHOTOGRAPHIC OBJECTIVE
Introduction.-Thi s chapter is a bri ef survey of the common types
of lenses and the principles employed in their construction. The num-
ber of lenses which differ but sli ghtly from a few well-establi shed con-
structions is almost without number and owing to the limitations of
space it is impossible to treat all of these. Accordingly the chapter
will be devoted to the more important principles of construction which
have been widely copied on account of their admitted excellence.
PART I. THE AsTIGMATS
Single Lenses.- It is impossible to correct a single lens in any way,
hence it is unable to give sharp definition except with a very small
diaphragm with the consequent sacrifice of speed. The spherical
aberration is at the minimum when the lens is double convex and the
radii of the surfaces are in the proportion of r : 6. Such a lens, how-
ever, is useless photographically because it fails to cover a flat field
satisfactorily. Even with small stops the image is sharp only in the
center of the field and rapidly falls off towards the margins. In r8r2
Wollaston showed that a much better image could be obtained with a
concavo-convex, or meniscus, lens than with the usual bi-convex.
Woll aston's meni scus (Fig. 57) with the concave side towards the sub-
Ftc. 57. \,Yoll aston's Meni scus
ject gives an image of satisfactory sharpness over a limited field when
medium- sized stops are used. Since chromatic aberration cannot be
corrected in a lens composed of a single piece of glass, the visual and
chemical foci do not coincide and a correction must be made after
lO!i
106 PHOTOGRAPHY
focussing. The amount of this correction is equal to the focal length
of the lens divided by the v constant of the glass of which it is com-
posed. With the glass generally used for lenses of this type the differ-
ence of the two foci, or the chromatic difference, is equal to about 2
per cent of the focal length. The principal use of lenses of this type
now is for diffused focus, impressionistic photography.
Single Achromatic Lenses.-In the preceding chapter it was shown
FIG. sS. The Chevalier or French
Landscape Lens
Frc. 59. Grubb's Landscape Lens
how it is possible to correct both chromatic and spherical aberration at
the same time by cementing to a single collecting lens a dispersing lens
of the proper power. A lens so constructed is termed an achromat,
or is said to be achromatic, i.e. chromatically corrected. Such lenses
may be comparatively well corrected spherically and are able to give
sharp definition over a field of medium extent when used at a maxi-
mum opening of about F / I4 to F jr6.
Many lenses of this type were constructed in the early days of
photography. In 1857 Grubb patented an achromatic lens composed
Frc. 6o. Dallmeyer's Rapid Landscape Lens
of two concavo-convex meniscus lenses cemented together, the glass
nearer the diaphragm being of crown and the other of flint (Fig. 59).
In r864 Dallmeyer introduced his "Rapid Landscape Lens" which is
similar to the above (Fig. 6o) but differs in the introduction of a third
l
107
meniscus of crown glass for the purpose of securing better correction.
In 1869 Goddard described a lens having the form shown in a of
Fig. 61. For the purpose of securing better correction a convexo-
concave meniscus of flint was added to the usual combination of crown
and flint, an air space separating the meniscus from the double-con-
-:ave negative iens. In the Dallmeyer " Rectilinear Landscape Lens "
patented by Dallmeyer in 1888 the same principle is followed, the two
cemented lenses being of crown glass and the separated meniscus of
flint. This construction represents, perhaps, the highest attainment of
Frc. 6r (a). Goddard's Landscape Lens (b) Dallmeyer's Rectilinear Land-
scape Lens
a lens of this class. It has a relative aperture of F / 14 and produces
an image of satisfactory sharpness over a comparatively large field.
The author has used one of these lenses for certain kinds of work for
years and has found it perfectly satisfactory.
Semi-achromatic Objectives or the Anachromats.-The use of
partially corrected lenses at a large aperture so as to secure diffused
images may be said to date from the introduction of such lenses by
the French pictorialist, M. Puyo, and the construction of the Dan-
meyer-Bergheim for Mr. Bergheim, a painter, in 1896.
All of the lenses within this class are only partially corrected for
chromatic or for spherical aberration and to this they owe the peculiar
diffusion or " enveloping image " expressed so admirably by the French
word" {lou." The Struss Pictorial Lens and the Kalosat are concavo-
convex meniscus lenses of the type represented by Wollaston's me-
niscus. The Smith Semi-achromatic, and Synthetic, the Spencer Port-
land, the Gundlach Single Achromatic, Bausch and Lomb Plastigmat,
Degen Objectif Anachromatique, Hermagis Eidoscope, Koristka Ars
and Dallmeyer Soft-Focus are all lenses resembling the single achro-
matic lenses previously mentioned in construction, but differing from
5
108 PHOTOGRAPHY
them in the use of a much larger aperture and less thorough correction
spherically. The majority of these lenses are c'hromatically corrected
although the chromatic aberration of some is only partially carried out.
The Gundlach Hyperion, Wollensak' Verito and Smith Visual-Qual-
ity are double lenses formed of two components alone are es-
sentially single achromatic lenses. In the Hyperion three foci are
available as both components may be used separately. In the Verito
two foci only are available as only the back component may be used
alone while the components of the Smith Visual-Quality cannot be used
separately. The Dallmeyer-Bergheim is a semi-achromatic lense con-
structed on the telephoto principle. It consists of a single positive and
a negative lens, the space between the two being adjustable by rack
and pinion. Varying the distance between the two elements alters the
focal length so that the single objective is equal to a battery of lenses
having a fixed focal length. The lens is not chromatically corrected
and a correction must be made after focussing. The maximum aper-
ture is F j 6.s.
Many of the longer foci anastigmats, which are used principally for
portrait work, and also some of the Petzval type portrait lenses are
fitted with diffusing devices which introduce a amount of aber-
ration and soften the critical sharpness of the fully corrected image.
The Double Achromat-Aplanat or Rapid Rectilinear.-The single
objectives all possess, in addition to astigmatic deformation, coma,
curvature of field and incomplete spherical correction, the very serious
defect known as distortion. That is, straight lines cannot be repro-
duced as such but are rendered as parts of curves and as the diaphragm
must be placed before the lens with a single objective, the distortion is
barrel shaped. By constructing a symmetrical objective consisting of
two achromats the diaphragm may be inserted between the two so that
the barrel distortion of one element is balanced by the pincushion dis-
tortion of the other and the fault entirely corrected. In addition,
owing to the superior correction which may be effected with the sym-
metrical construction, a larger working aperture, and consequently
greater speed, is secured.
Thomas Ross appears to have been the first to make symmetrical ob-
jectives. Ross, however, does not seem to have realized the advan-
tages of the symmetrical construction in eliminating distortion and for
reducing the amount of aberration so that a larger aperture may be
obtained.
In 1858, Thomas Sutton described a symmetrical triplet objective
1
THE PHOTOGRAPHIC OBJECTIVE 109
composed of a pair of single, collecting lenses with a double-concave
negative lens between (Fig. 62) and in r86o Dallmeyer introduced a
lens of similar construction (Fig. 63) in which all three elements were
cemented achromats. The same year Harrison and Schnitzer brought
out the "globe lens" (B. P . 2496j r86o). This consisted of two
Frc. 62. Sutton's Triplet Frc. 63. Dallmcyer's Tripl e Achromatic
cemented achromatic elements and was termed the globe lens because
the outer surfaces formed portions of spheres having a common center
(Fig. 64). It was free from distortion but as it was not well cor-
rected spherically it had to be used with a comparatively small stop.
It was therefore soon replaced by the Aplanat and rapid rectilinear uf
Steinheil and Dallmeyer r espectively.
A great advance was made in 1866 when Steinheil of JVIlinchen in-
........
......
Frc. 64. Harrison and Schnitzer's Globe Lens
troduccd a symmetrical obj ective which he termed the Aplanat (Fig.
65). About the sam'e time, or shortl y thereafter, J. H. Dallmeyer of
London independently discovered the same construction which he
patented under British Patent r64r and 2502 of r866. Steinheil evi-
dently reached the conclusion that astigmatism would be lessened if the
refractive indices of the two glasses employed in constructing the
single achromats of a symmetrical objective were more nearly equal.
Therefore instead of emplo,Ying flint and crown glasses, as had his
predecessors, he used instead two flint glasses. Dallmeyer also used
two flints.
110 PHOTOGRAPHY
The first of Steinheil's Aplanats had a relative aperture of F / 8;
while an even more rapid objective designed for portrait work was
patented at a later date. The Aplanat is made in several series having
various speeds according to the requirements of the work for which
they are intended. Roughly these series may be termed the universal
Aplanat, the group Aplanat, the portrait Aplanat, and the wide-angle
Aplanat.
It is the universal Aplanat with which the public is most familiar.
This has an aperture of about F j 8 and in many cases allows separate
use of the components at F / 14 to F j 16. At these apertures the defini-
tion is satisfactory for all but the most critical work or where the re-
sults must be subsequently enlarged. The correction for chromatic
FIG. 65. The Aplanat or R. R.
aberration and distortion is very good but there is a small amount of
spherical aberration, curvature of field and astigmatism remaining.
However, where high speed is not required and the lens may be safely
stopped down to a small opening, the rapid rectilinear is perfectly
satisfactory and is an objective which does not involve a large outlay.
The various makes are all made according to practically the same
formula and there is no advantage in our discussing the various lenses
individually.
Practically all wide-angle lenses which are not anastigmats are of
the Aplanat construction. For this purpose curvature of field requires
to be kept as low as possible while coma and spherical aberration
must be highly corrected : therefore the average wide-angle aplanat
has' a small maximum opening, generally about Fj 16 to F j 18.
The Petzval Portrait Lens.-The construction of the Petzval por-
trait lens by VoigtHinder in 1840 from calculations by J oseph Petzval,
a mathematician of Vienna, may be said to mark the beginning of the
serious designing of photographic objectives, as well as the beginning
of portrait photography. Before this time the photographer had at
his disposal only the single lens with a small aperture and with the in-
sensitive materials then available the exposures were so long that por-
traiture was practically out of question, except under the most favor-
able conditions. The Petzval portrait lens however changed all this
and with its aperture of F j 6, which was almost immediately increased
to F I 4 by Andrew Ross, portraiture for the first time became really
Frc. 66. Portrait of Petzval
practicable. The development of photography owes much to Petzval's
achievement, for coming directly after the discovery of the daguerre-
otype it made that process of practical value and thus immensely in-
creased the importance of the subject to the general public.
The Petzval lens consists of four lenses in two combinations (Fig.
67). The front combination consists of a positive lens of crown glass
cemented to a negative lens made of flint glass, while the rear combina-
tion consists of two separate lenses, the negative lens being convexo-
112
PHOTOGRAPHY
concave and of flint, while the positive lens is double-convex and made
of crown. It is completely unsymmetrical and, because of its good
correction for spherical aberration and coma, the central sharpness is
excellent. It is free from distortion and is chromatically corrected.
In opposition to these valuable features it has faults which limit its
)
Frc. 67. Petzval's Portrait Objective
usefulness and have caused it to be practically replaced by the later
anastigmats, except for studio portraiture. It is not astigmatically
corrected, it covers a very small field, has a decided curvature of field,
and owing to its length there is a considerable amount of vignetting,
or a diminution of intensity towards the margins, which renders it un-
suitable for landscape or other work requiring sharp definition from
I
I
Frc. 68. Modifications of the Petzval Portrait Objective. Upper, Dallmeyer;
Center, Voigtlander; Lower, Zincke-Sommer
corner to corner of the plate. Nevertheless, appearing as it did before
any serious attention had been paid to the subject of photographic
lens designing, it marks a most brilliant achievement-the greatest
single achievement in the annals of the photographic objective.
Petzval's original construction has been several times modified by
later opticians in order to improve its performance. The most im-
portant changes are those of Dallmeyer, Voigtlander and Zincke-Som-
mer.
In r866 J. H. Dallmeyer modified the original Petzval design so as
to obtain better spherical correction. The change consisted in revers-
ing the glasses of the rear combination, placing the flint glass in the
rear, the lens in other respects remaining practically unaltered (Fig.
68) .
In 1879 (D. R. P. 5761/ 1879) Voigtlander changed the back com-
bination to a plano-convex collecting lens of crown to which he ce-
mented a concavo-convex lens of flint, the air space being removed
completely (Fig. 68).
In 1870 H. Zincke-Sommer further modified the original design in
order to obtain an increase in the relative aperture. The change con-
sisted in placing the positive lens before the negative and leaving an
air space between as shown in Fig. 68. The relative aperture was by
this means increased to F j2.3.
Practically all of the modern portrait lenses, which are not anastig-
matic, are constructed according to the Petzval formula, or on calcu-
lations based upon the same, and it is beyond the scope of this work
to discuss the various lenses of this class now on the market and little
of practical value would be gained by so doing.
----(&
Frc. 6g. Cooke F /I.S Modification of the Petzval Construction
Lately patents have been taken out for developments of the Petzval
construction for use in cinematography. One of these (B. P. 258,092
of 1925) by Warmisham is for an objective of the type illustrated in
Fig. 69, and having a relative aperture of F j r.5.
The other patent (B. 1?. 299,983 of 1927) by H. W. Lee is for a
114
PHOTOGRAPHY
combination in which the front doublet of the Pctzval lens is replaced
by a triplet anastigmat. The back doublet may be of the original
Petzval form but better correction is secured by interchanging the two
back components; i.e., placing the Petzval doublet between the dis-
persive element and the rear collective element of the triplet . This
results in a lens of aperture F j r.8 with an anastigmatically flattened
field of about 35 degrees.
PART II. THE ANASTIGMATS
Introduction.-Regardless of how well they may be corrected other-
wise all the lenses which we have hitherto investigated contain a seri-
ous amount of astigmatism. The character, cause, and correction of
astigmatism were discussed in the preceding chapter and if the mat-
ter is not clearly in mind this section of the chapter should be re-
viewed before proceeding.
Steinheil made one step towards the correction of astigmatism in
the construction of the Aplanat but complete correction was possible
only after the production of the newer varieties of glass by the Jena
Glass Works. In order to correct spherical aberration in a cemented
system it must have a surface convex to the medium of higher re-
fraction, while in order to correct astigmatism the surface must be
convex to the medium of lower refractive index. With the varieties
of glass known before the introduction of Jena glass the refracting
power increased in the same ratio as the dispersing power and it was
impossible to .make a spherically corrected achromat that would also
be anastigmatic.
However after the introduction of J ena glass it became possible
to make the collecting lens of glass having higher refraction and lower
dispersion than the dispersing lens and thus secure astigmatic correc-
tion. The old achromat made of ordinary crown and flint could be
corrected spherically but not astigmatically; the new achromat, how-
ever, while corrected astigmatically cannot be spherically corrected.
However, by combining the ordinary crown and flint of the old achro-
mat with the barium crown glass of the new achromat it became pos-
sible to correct both astigmatism and spherical aberration in the same
lens. By combining two such achromats both of which are individ-
ually corrected to form a symmetrical objective a larger aperture be-
comes possible together with correction for curvature of field, coma,
and distortion. This is the principle followed in the construction of
.'1
most of the symmetrical lenses as the Goerz Double Anastigmat Dr
Dagor, the V oigtlander Collinear, Turner-Reich Anastigmat, etc.
The other method is to use two dissimilar combinations, one of which
is spherically corrected while the other is astigmatically corrected,
the two when placed on opposite sides of the diaphragm forming an
unsymmetrical objective which is completely corrected as a whole but
not individually. This is the principle followed in the construction
of most of the high-speed anastigmats such as the Tessar, Heliar, etc.
Cemented Symmetrical Objectives.-The Double Anastigmat.-The
Goerz Double Anastigmat, better known in this country as the Dagor,
is a symmetrical objective consisting of two similar combinations each
of which is composed of three lenses (Fig. 70). The indices of re-
Frc. 70. The Goerz Dagor
fraction of the three glasses increase as we pass from one glass to
another in the direction of the incident light, i.e. from the diaphragm,
as we are considering the single element. Hence the first cemented
surface is convex to the medium of lower refraction satisfying the
requirements for spherical correction. The second cemented surface
is convex to the medium of higher refraction and thus satisfies the
requirement for astigmatic correction. Consequently the single ele-
ment of three cemented lenses is corrected both spherically and astig-
matically in a very simple manner.
The Dagor is excellently corrected. Its single elements do not
equal the best corrected single lenses, but at an aperture of F / 13 give
a degree of definition that is satisfactory for most purposes. The
relative aperture of the symmetrical objective is F j 6.8 for the shorter
foci and somewhat less for the longer. Particularly noticeable is the
wide field which is critically defined at large apertures and also the
extension of this field by the use of smaller stops. In this respect the
Dagor is hardly to be surpassed by any other objective.
Among other lenses which are constructed according to practically
the same principles may be mentioned the following :
116 PH OTOGR.A.PH Y
Meyer Double Aristostigmat, F j 6.8, F /5-4, F I 4.2,
Plaubel Triple Orthar, F 16.8 and F 15-4,
Koristka Meridan, F 16.8,
Hermagis Aplanastigmat, F 16.8,
Zeiss Amatar, F /6.8,
Degen Double Anastigmat " N ormos," F j 6.3, F 17-4,
Wray Universal Anastigmat, F 16.8.
Alternate Form of the Double Anastigmat.-The principle em-
bodied in the design of the Double Anastigmat just described is sub-
. ject to several alterations. A second arrangement consists in the use
FrG. 7I. Watson's Holostigmat
of two negative lenses, one having a lower, the other a higher index
of refraction than the interposed positive lens (Fig. 71). Here the
arrangement of cemented surfaces is reversed, the indices of re-
fraction of the three glasses decreasing as we pass away from the
diaphragm. This form of the double anastigmat has been made for
several years by Watson of London as the H olostigmat in two series,
one with a maximum aperture of F I 4.6 and the other F j 6. I. The
Steinheil S atz-anastig111at also has this design. Practically there is
FrG. 72. The Collinear and Orthostigmat of Voigtlandcr and Steinheil
little difference in this form and the one previously described and the
corrections of both may be equally well carried out.
A further modification (Fig. 72) , which was adopted in the manu-
facture of both the Collinear and the Steinheil Orthostigmat, consists
of a meniscus of low refraction interposed between a double-convex
positive lens of high refraction and a double-concave negative lens
117
of medium refraction. If the central meniscus having low refraction
is made quite thick the correction can be carried out very well so that
the single elements may be used separately if stopped down. The
relative aperture of the Collinear of Voigtlander is F/ s.6 while the
Steinheil Orthostigmat is made in series up to a maximum aperture of
F/ 6.8.
The Four Glass Protars.-Rudolph's earlier Protars
were unsymmetrical anastigmats consisting of two dissimilar com-
binations, one being an old achromat spherically corrected and the
other a new achromat astigmatically corrected. With the exception
of a series for wide-angle work these are no longer made. The series
VIla Protar with which we are most familiar is a symmetrical anastig-
matcontaining two like combinations each of which consists of an
FrG. 73 Rudolph's Protar, Series VIla
old and a new achromat (Fig. 73). The single clement thus consists
of four cemented lenses, the two nearest the diaphragm comprising
the new astigmatically corrected achromat, while the other pair are
similar to the old Steinheil aplanat and form the spherically corrected
old achromat.
This single element is the basis of the convertible Protar Series
VIla. The speed of the single element;; is F/ 12.5 and because of the
increase in the number of glasses to four the lens is excellently cor-
rected, its nearest competitors as regards definition being the single
elements of the three glass type previously described. When a single
element is used separately it should always be placed behind the
diaphragm, as it is corrected for rays incident in that direction. When
the complete double objective is used the element having the longer
focal length should be placed in front, as the correction of the double
118 PHOTOGRAPHY
objective depends on having the course of the light rays between the
two elements parallel. In comparison with objectives formed of
three-lens elements, the single element of the four-lens element is
superior but the same does not necessarily hold for the double ob-
jective.
The design of the Ross Combinable is identical but by changes in
the glasses used it has been possible to increase the aperture of the
single element to F /I I and the double objective to F IS-S without sac-
rificing in any way the corrections of the objective. The principal
change consists in the use for the double-concave negative lens, of
fluor-crown glass having very low refraction and dispersion for the
boro-silicate crown glass usually used.
The Five Glass Element.-Before the introduction of the anastig-
mat a form of the aplanat was made consisting of three instead of two
lenses for the purpose of securing better correction. When the in-
troduction of the newer glasses made possible the construction of the
new astigmatically corrected achromat Turner and Reich added the
new achromat to their former three glass aplanat to form the Turner-
Reich anastigmat (Fig. 74). This has an aperture of F / 6.8 and is
FrG. 74 The T-R Anastigmat
distinguished qy the excellent correction of its single elements. Espe-
cially noticeable is the great covering power of the lens at full aper-
ture, which is greatly increased if a smaller stop is used, and the lens
may then be used as a wide-angle lens on a plate much larger than
that for which it was originally designed. In this respect the Turner-
Reich anastigmat is unsurpassed.
Symmetrical Lenses with Air Spaces-Celor and Syntor of Goerz.
-In a cemented system of three lenses containing a bi-concave and
a bi-convex lens with an interposed collecting meniscus of low refrac-
tion, such as the Steinheil Orthostigmat, anastigmatic flatness is se-
cured and spherical aberration corrected by the use of two spherical ce-
THE PHOTOGRAPHIC. OBJECTIVE 119
mented surfaces, one of which acts as a collecting and the other as a
dispersing lens. In the Celor and Syntor of Von Hoegh (Fig. 75) the
interposed collecting meniscus is replaced by an air space, so that it
consists essentially of a double-convex collecting lens separated from
a double-concave negative lens by an air space having the form of
il positive meniscus. Corresponding to the three-lens system this two-
lens system contains two contact surfaces, one of which is collecting
and the other dispersive, but the contact surfaces are between air and
not glass of low refraction. The two-lens system may thus be re-
garded as a system derived from the three-lens element by decreasing
FIG. 75. The Celor and Syntor of Goerz
the necessary power of refraction of the enclosed meniscus until it
becomes equal to the refractive index of air, or unity. Then it be-
comes possible to eliminate the central meniscus and replace it with
an air lens, simplifying the construction and making the lens easier
to manufacture.
Lenses made according to this design were introduced by Goerz
about 1900 in two series, the C elor having a relative aperture of F / 45
and the Syntor with a relative aperture of F/ 6.8. The spherical and
astigmatic errors of this design are small and can be practically
eliminated or at least to the same degree as in the three glass element,
but complete removal of coma is impossible. While coma may be
entirely absent in a cemented element of three glasses, complete
comatic correction is impossible for an element of two separate lenses
without the loss of anastigmatic flatness of field, hence objectives of
this class have a certain amount of coma which increases as the aper-
ture is enlarged. Lately calculation has shown that better comatic cor-
rection may be secured by departing slightly from absolute symmetry
in design and an objective of this type but not completely symmetrical
120 PHbTOGRAPHY
has been introduced by Goerz as the Dogm,ar (Fig. 76}. The single
elements of the two-lens system can be used separately only with very
small stops, as its corrections are not nearly so complete as the ce-
mented three glass element.
A symmetrically constructed objective, each half of which is com-
posed of four glasses arranged in pairs with a meniscus shaped air-
Frc. 76. The Dogmar of Gocrz
space between them, was patented by Warmisham in 1925 (B. P.
26o,8or). The objective has an aperture of F / 4-5 and gives good
definition over a field of 70. This is supplied by Taylor, Taylor
and Hobson especially for aerial mapping. ~
The Gauss Lens.-The Gauss objective is derived from the Gauss
telescope and in its simplest form consists of two menisci separated
from each other by an air space and having their concave sides fac-
ing the incident light (Fig. 77). This type of construction is par-
Frc. 77. The' Gaussian Objective
ticularly favorable for reducing spherical aberration and may also be
well corrected chromatically and astigmatically.
In 1896 Paul Rudolph calculated for Carl Zeiss of J ena an ob-
jective along the lines of the Gauss construction, which was placed
upon the market as the Planar (Fig. 78). The Planar differs from
the essential form of the Gauss construction as shown in Fig. 77 by
the replacement of the inner menisci by two cemented lenses. These
two lenses are made of glasses having identical refractive index but
different dispersions. Therefore the inner cemented lenses act as a
single lens so far as the refractions of any single color are concerned,
while owing to the difference in the dispet:sive values of the two
glasses the amount of chromatic aberration may be altered simply
by changing the curves of the two cemented surfaces which separate
the two mediums of different dispersion. In this way the chromatic
aberration of the two cemented lenses may be made to equalize the
chromatic aberration of the two outer lenses so that satisfactory col0r
correction may be obtained at the same time that the astigmatic anJ
spherical errors are corrected. The relative aperture of the Planar
is F 13-5, but owing to the presence of considerable coma the defini-
tion at this aperture is not critical and stopping down is necessary for
critically sharp definition. The Planar is no longer made, having
FIG. 78. Rudolph's Planar
been replaced by the unsymmetrical anastigmats which have approxi-
mately equal speed and superior correction.
H. Kollmorgen was the first to show that the Gaussian objective
might be chromatically corrected without altering its form or affecting
its astigmatic correction. Kollmorgen's method was to make each
combination of an anomalous glass pair; i.e. the coefficient of refrac-
tion of the collecting lens with low dispersion must be as large or
larger than the dispersing lens. A construction from calculations by
Kollmorgen was placed upon the market by Hugo Meyer of Goerlitz
in Germany as the Aristostigmat. This objective (Fig. 79) is made
in- several series from F /4- 5 to F / 6.8. The strict symmetrical con-
struction is departed from in the larger aperture series in order to ob-
tain better comatic correction. Especially notable is the large flat field
of this objective which is a characteristic of the Gaussian construction.
There is a considerable amount of coma, however, which limits the
effective aperture when critical definition is required.
Identical in construction with the Meyer Aristostigmat is the Ross
Homocentric which is made in four series: F / s.6, F j 6.3, F j 6.8 and
F /8. The single elements of the last three series may be used alone.
122 PHOTOGRAPHY
The Plaubel Double Orthar appears to be of similar construction.
It is made in two series with relative apertures of F j 6.3 and F /6.8.
The Omnar of Emil Bush is along the same lines but the corrections
were worked out in a different manner. In the Omnar the two glasses
Frc. 79. Kollmorgen's Aristostigmat
have different indices of refraction, the negative lens having the
higher refracting power than the positive, while in the previously de-
scribed construction both lenses have practically identical indices of
refraction but varying dispersions. The Omnar can be made without
the use of any of the newer varieties of Jena glass and is completely
anastigmatic. The chromatic and spherical aberrations are well cor-
rected and the objective is notable for its large fl at field. Coma, how-
ever, is present as in all lenses of this construction.
Frc. &>. Lee's T. 1T. H. Opic
In 1920 Taylor, Taylor and Hobson and H. W. Lee patented an
improved form of the Gaussian construction which was later intro-
duced as the Cooke Series 0, Opic F/2. This objective (Fig. So)
consists of six components symmetrically arranged but not identical,
two of which are simple meniscus collecting lenses of dense barium
crown nv r.6. Between these lenses are two compound dispersive
components each consisting of a plano-convex collecting lens of light
flint cemented to a plano-concave dispersing lens of barium crown.
The difference in the refractive indices of the two cemented lenses
must be at least 0.03. The lens has an aperture of F 12 with an angle
of view approximately equal to lenses of similar focal lengths working
at F I 45 Since its introduction it has been extensively employed in
FIG. 81. Zei.ss Biotar F / I.4
press photography, for theater snapshots, and other work requiring
short exposures in poor light.
The Zeiss Biotar F lr.4 is a Gaussian type of objective which is
shown in Fig. 81. The corrections compare favorably with those of
the Tessar series F I 45 and the lens is suitable for color work. It is
made in four focal lengths: 25 and 35 millimeters for 16 millimeter
cinematograph cameras and 45 and 75 millimeters for standard cine-
matograph cameras (B. P. 297,823 of 1927).
The Plasmat of Dr. Paul Rudolph.-In 1918 Dr. Paul Rudolph, the
FIG. 82. Rudolph's Plasmat
designer of the Planar, Unar, Tessar, Protar and numerous other
objectives, calculated a symmetrical objective known as the Plasmat
which was placed upon the market by Hugo Meyer of Goerlitz and
Suter of Basel, Switzerland. The Plasmat (Fig. 82) consists of two
124 PHOTOGRAPHY
similar combinations, each of which is composed of a plano-convex
or convexo-concave collecting lens cemented to a double-concave dis-
persing lens and a thin meniscus separated from the cemented pair
by an air space. The greatest curvatures are all concave to the dia-
phragm. The relative aperture is F I 4 for the double lens composed
of two F /8 elements of equal focal power and F 155 for a double
objective composed of two elements of unequal focal lengths.
The original Plasmats were followed seven years later by two ad-
ditional series intended especially for cinematography. These have
relative apertures of F / 2 and F / !.5 and are known as the Kino-
Plasmats (U. S. P. 1,565,205). The construction is fundamentally
the same as in the earlier series, the pair of interior me-
niscuses, however, are turned the opposite way from those in the
earlier series. The separate components of these lenses are not de-
signed for use separately.
In the designing of the various anastigmats which have been de-
scribed, it has been the aim of the constructors to obtain the most per-
fect image of an object plane upon an image plane ; i.e., the conditions
as exist in copying. The planes before and behind this object plane
vary in sharpness with their distance from the plane of sharp focus
and with the aperture and focal length of the lens. The depth of field
as calculated mathematically is based upon a theoretical lens free from
all defects whatsoever. As no objective is perfect, the depth of focus
may be less than that indicated by mathematical formulae. The more
thoroughly corrected a lens, the more nearly will its representation of
depth approach that of the perfect lens.
In the ordinary anastigmat the spherical correction is not equally
perfect for each color. Rudolph claims to have accomplished this in
the Plasmat. Owing to this superior correction of the spherical aber-
rations for the different colors, the Plasmat has a greater power of
definition; the range of sharp reproduction covers a greater depth of
image. Rudolph's claim that the Plasmat shows a greater depth of
focus than other lenses of the same optical constants, has aroused a
great deal of discussion in optical circles. That small differences in
correction can influence depth is denied by many. Rudolph claims
that his Piasmat has shown this to be true; others are yet unconvinced.
Dr. Zschokke,
1
for instance, claims that the greater depth and plasticity
in the rendering of the planes is due to the presence of a small amount
of uncorrected chromatic aberration.
1
Phot. Ind., 1921, p. 257.
Two lenses which outwardly resemble the Plasmat have been pat-
ented by Hasselkus and Richmond for Ross Ltd. of London (B. P.
295,519 of 1927) and by Carl Zeiss (B. P. 278,338 of 1926). The
purpose of both of these is to provide a convertible lens of large aper-
ture and possessing a large corrected field. The Ross Airo constructed
from the above patent has an aperture of F I 4 and covers an angular
field of 70 degrees and is especially recommended for aerial map mak-
ing. The Zeiss Orthometar designed for the same purpose has an
aperture of F I 45 and a field of 65 degrees.
Steinheil's Unofocal.-The usual method of correction for spheri-
cal, astigmatic and other aberrations is, as we have seen, the opposi-
tion of powerful lenses of different powers so as to secure compensa-
tion of the opposing kinds of aberration. In the Unofocal calculated
Ly Steinheil the conditions necessary for securing an anastigmatically
F1c. 83. Steinheil Unofocal
flat field are met with lenses 'of very low power free from excessive
curvatures and glasses of great thicknesss, both of which react favor-
ably on the performance of the objective.
In the Unofocal (Fig. 83) there are two double-concave dispersing
lenses interposed between two exterior collecting lenses, the general
appearance of the objective closely resembling the Celor and Syntor
of Goert. The construction of the Unofocal, however, is based upon
an entirely different principle and should not be considered to be in
. any way allied to the objectives j1.1st named. In the first place all
four lenses are made of glass having the same refractive
index and are all of the same focal power. If the lenses were placed
in contact this would result in complete neutralization, so that the
126 PHOTOGRAPHY
system would no longer have a positive focus, but by slightly separat-
ing the elements a converging system having a positive focus is se-
cured. Spherical aberration is corrected by two refractions in the
same direction assisted by the relations of the lenses and the facing
surfaces. Flatness of field is made possible by the use of glass having
nearly the same refractive index, while achromatism is secured by
suitably balancing the dispersions of the glasses.
This design makes possible the construction of an anastigmat which
owing to its shallow curves and simple construction is easily manu-
factured. The performance of the lens is excellent.
The Unofocal is made by Steinheil in several series, the maximum
having a relative aperture of F I 45
There are several other lenses on the marker which are based upon
the Steinheil principle. Among those which depart but little from the
original design the Gundlach anastigmat may be mentioned. This has
a relative aperture of F j6.3.
The Graf Anastigmat and Variable.-The Steinheil Unofocal is a
symmetrical lens, the two glass pairs on either side of the diaphragm
being identical. In 1911 an American, Christopher Graf, designed
FrG. 84. Graf Anastigmat
an unsymmetrical anastigmat based upon the Steinheil design, which
was introduced several years later as the Graf Anastigmat.
In this objective (Fig. 84) the two inner dispersive lenses a,re
identical with respect to each other and are symmetrically placed.
The exterior collecting lenses, however, while similar are not identi-
cal either in form or position.
An especially notable feature of this construction is the most ex-
cellent quality of secured by lessening the separation be-
tween the dispersing lenses and the front collecting lens. The ob-
jective is mounted in an adjustable mount in order that the amount of
-

.
diffusion may be regulated by the worker to suit the demands of the
subject. The displacement of the collecting lens lengthens the focus
of the system, and since the actual aperture remains unaltered, the
speed consequently becomes less. The relative aperture of the ob-
jective when adjusted for full correction is F 13.8; when set for the
maximum usable degree of diffusion, F I 45
The Beck Isostigmar and N eostigmar.-These lenses were intro-
duced by Beck Limited of London, the former in 1906 and the latter
in 1910. They differ fr?m the lenses which we have previously de-
scribed in that they do not obey the so-called " Petzval condition."
According to the Petzval condition in order to secure an anastigmatic
objective with a flat field the sum of the focal powers of the individual
surfaces, when divided by the product of the refractive indices on
FrG. 85. Beck's Isostigmar
either side of the surface, should be zero. These lenses were worked
out on certain lines which do not take the Petzvel condition into con-
sideration, so that these lenses do not obey the same.
The Isostigmar is a five-lens system (Fig. 85), all of the lenses being
of low power and uncemented. The two exterior are collective; the
three interior dispersive. By careful calculation of the curves and the
separation of the components an objective can be calculated which is
very well corrected for spherical and astigmatic errors together with
coma. It is made in several series with a maximum aperture of F 135
in the shorter foci and F I 45 in the longer.
The N eostigmar is a later introduction and is simpler in construc-
tion. The single combinations are better and can be used at a larger
aperture. It is a four-lens objective of unsymmetrical construction
)
128 PHOTOGRAPHY
(Fig. 86). The two exterior lenses are collecting; the interior dis-
persing. Convertibility is secured by removing the third or fourth
lens and using the remainder of the system. The Neostigmar is made
in several series with apertures of F /6 and Ff77 One o( these
series is especially notable for the large field covered with satisfactory
definition at Fj 6.3 and may be used as a wide-angle lens.
The Dallmeyer Stigmatic.-The opposition of a spherically cor-
rected glass pair and an astigmatically corrected glass pair, a method
adopted by Rudolph in his early Protars, suffers from the disadvantage
FIG. 86. Beck's Neostigmar FIG. 87. Dallmeyer Stigmatic
that simultaneous correction for astigmatism and spherical aberration
is impossible at a large aperture. The conditions necessary to the re-
moval of spherical aberration ipso facto increase the amount of astig-
matism; hence the objective cannot be well corrected for large aper-
tures.
In the Stigmatic, calculated for J. H. Dallmeyer by H . L. Aldis, this
difficulty is overcome in a novel way. The complete objective (Fig.
87) consists of two new glass pairs to one of which has been added a
strongly converging meniscus lens separated by an air space. The
two cemented surfaces of the two elements formed of a new glass pair
enable astigmatic correction to be obtained, while the addition of the
thin, strongly converging meniscus lens enables the opposite spherical
effect to be compensated for without affecting the astigmatic correc-
tion. The Stigmatic could therefore be made to work at larger aper-
tures than the Rudolph objective. It was formerly made in several
series, the largest with an aperture of F / 4, but is now made in only one
series with an aperture of F /6.
Rudolph's Early Protar Lens.-Earlier in this chapter we referred
to the different methods adopted by Emil Von Hoegh and Paul
Rudolph for the correction of astigmatism in photographic objectives.
In the pages immediately preceding we traced the development of the
symmetrical objective from the double objective formed by the union
- - - ----.- - ------
of two of the three glass elements as patented by Von Hoegh and
Goerz in 1893. In the following pages we propose to trace the de-
velopment of the unsymmetrically constructed objective from Ru-
dolph's early Protar lens.
Paul Rudolph of the Carl Zeiss W erkstatte at J ena was one of the
first to take advantage of the newer glasses introduced by the Jena
Glass Works in the construction of photographic lenses. The first of
Rudolph's anastigmatic objectives with which we are concerned was
introduced in 1890 under the name Protar. This objective (Fig. 88)
Frc. 88. Rudolph's Unsymmetrical Protar
consi sted of two glass pairs, one being the old normal glass pair made
from the old glasses, the other the abnormal glass pair made from the
newer varieties of Jena glass. One of the combinations has a positive
astigmatic difference, i.e. the focal length of the rays in the primary
section is greater than in the secondary section; while the other com-
bination has a negative astigmatic difference, the focal length of the
rays in the primary section being less than in the secondary section.
By proper construction, the two opposite effects may be so balanced as
to compensate one another so that there is no sensible astigmatic differ-
ence when the complete objective is said to be an anastigmat.
In the normal glass pair the refractive index of the positive lens is
lower than. the adjacent negative lens, while in the abnormal glass pair
the positive lens is of higher refractive index than the negative. Both
components are separately achromatized, but are not necessarily of the
same focal power, as one component may be strongly positive while
the other may act simply as a corrective system for the whole. This
construction because of its relatively small aperture is no longer made,
except for wide-angle objectives where its extensive field makes it very
suitable. The wide-angle Protar has this form.
The Introduction of Air Spaces-the Unar.-Some nine years
after, Rudolph realized the advantages to be gained from replacing the
cemented surfaces by air spaces having opposite power. This princi-
130 PHOTOGRAPHY
pie was applied to the construction of the Unar introduced by Carl
Zeiss in 1899. Several forms of objectives constructed on this princi-
ple were described by Rudolph, from which that illustrated in Fig. 89
was adopted for the commercial product.
It will be observed that this objective consists of two pairs of glass
surfaces, each pair consisting of two surfaces which face one another,
i.e. which belong to two consecutive lenses and are separated by an air
space but not by the diaphragm. The powers of both pairs of facing
surfaces are of opposite sign, the first having a positive astigmatic
difference, the second a negative astigmatic difference. The effect of
the two pairs of facing surfaces of opposite power is similar to the
Frc. 89. Rudolph's Unar
result obtained in the early Protar of 1890, by the difference in
the refractive indices of the crown and flint lenses in the cemented
components of the doublet. Just as the two cemented surfaces, one
convex to the medium of higher refraction, the other to that of lower
refraction, produce opposite effects of astigmatism, so do the pairs of
facing surfaces of opposite sign produce the opposite effects of astig-
matism which may be completely compensated by making the two op-
posite effects of equal power. The introduction of the air space en-
ables a greater degree of correction to be obtained, as the number of
elements of correction are considerably increased.
The aperture of the Unar was F j 6. It is no longer made, having
been replaced by the Tessar introduced by Rudolph in 1902.
Combination of Air Space and Cemented Surface-the Tessar.-
In 1902 Rudolph patented the objective issued by Carl Zeiss as the
Tessar. The Tessar may be described as a combination of the early
Protar and the Unar. It consists (Fig. 90) of four lenses divided
into two groups which are separated by the diaphragm. The first
group contains a collecting and a dispersing lens separated by an air
space having a negative effect. The second group consists of a ce-
131
mented negative and a positive lens, the cemented surface having a
positive effect.
In the early unsymmetrical Protar lens the opposite effects by which
astigmatic correction is secured are derived solely from the action of
the cemented surfaces. In the Unar the said correction is based on
the opposite powers of the two pairs of facing surfaces. In the
Tessar these opposite astigmatic effects are obtained by giving to the
power of the cemented surface the opposite sign to that presented by
the facing surfaces of the other group of lenses.
The series of F / 4-5 Tessars was followed by one having a relative
FIG. go. Rudolph's Tessar
aperture of F 13-5 and built to substantially the same formula (B. P.
273,274 of 1926) and later a series for cinematograpli cameras anrl
small cameras working at F j 2.7 (B. P. 256,586 of 1925).
With the object of improving the comatic correction of the original
Tessar, a modified construction was calculated by Bielicke in 1925
(U. S. P . I,558,073); this probably forms the basis of the B. and L.
Tessar Series Ic, F I 45
In 1917 as a result of calculations by Merte of the Technical staff of
Carl Zeiss the spherical corrections of the original Tessar were im-
proved and the Tessars now produced by Zeiss are probably built ac-
cording to this later formula which differs from the original, however,
only in the types of glass and the curvatures of' the individual glasses
(U. s. P. I ,476,195).
On account of its excellent corrections which place it among the
best of photographic objectives, and its relatively simple construc-
tion which makes it more easily manufactured than other lenses of
more complex construction, the Tessar construction has been widely
copied and since the patents have expired in practically all countries
132 PHOTOGRAPHY
there are numerous lenses by various firms which are essentially identi-
cal with the Tessar. The following lenses are of the Tessar type:
Aldis ... . ...... .. . . .... . ... . .. Series I . .. .. ... .. .. ..... .. . F I 45
Ernemann . ..... ....... ... ..... Ern on . . ... . .. . .. . ... . .. . . . F I 45
Kodak . . . .... .. ....... .... .... Anastigmat .. . ........ .. . . . FI4.5
Koristka .. .. .. .. .. ............ Sideran ... . . . . . . ... . .. . ... . FI45
Krauss .. ... ... .. .. . ... . .. . .. . Trianar .. . . . . .. . . . . .... . . . . F I 45
Laack .... . ......... . ... . . . .. . Dialytar . .. .. . ... .. .. .. ... . F /4.5
Piau bel . ............ .. ....... . Anticoma ..... . . . . .. .... . .. F I 4.5
Riidersdorf .... . ...... . .. .... . Acomar ... . .... . ......... . FI4.5
Salmoirach . . . . ...... . .. . ...... Phoebus . . . ... . . .. .. . . . . . .. F I 4.5
Schneider .. .. ...... . .. . .. .. ... Xenar ...... . .. . ... . .. .. ... F I 4.5
Tiranty .... .. . .. ..... . ........ Trans par ......... . . .... . . . F I 4.5
Wollensak .. ......... ..... ... . . Velostigmat Ser. II . . .. . ... . F I 45
Combination of Air Space and Cemented Surfaces-Further De-
velopments.-In 1912 Dallmeyer Limi'ted patented (B. P. 27,518 of
I
I
Frc. 91. Dallmeyer Serrac
1912) an objective on the principle of the Tessar which was introduced
commercially as the Serrac. This objective (Fig. 91) is identical in
design with the Tessar but the glasses are changed and necessarily the
radii. In the Tessar the first and fourth glasses are the same, having
high dispersion, while the second is of glass having a lower refractive
index but higher than the third lens, which is made of glass with a
medium refractive index. In the Serrac, as in the Tessar, the first
and fourth lenses are of glass with a high refractive index but, unlike
the Tessar, the second and third lenses are composed of identical
glasses having a medium refractive index. The use of the same glasses
..
for both of the dispersing lenses makes it possible to secure complete
astigmatic correction with shallower radii than is possible in similar
systems in which one of the lenses is composed of glass with a high
refractive index and low dispersion and the other of low refraction
and high dispersion and this reacts favorably on the other corrections.
The Dalmac F 135 issued by Dallmeyer Limited is a recalculation
of the Serrac, only such changes having been made as were necessary
to secure satisfactory performance at the larger aperture.
In 1913 Ross Limited patented the X-press (B. P. 29,637 of 1913),
a lens based upon the same principle as the Zeiss Tessar but differing
from it in the use of a rear element consisting of three glasses instead
of two (Fig. 92) . The first lens of the rear component is made of
FrG. 92. Ross X-press FIG. 93. Gundlach Radiar
glass with low refraction, the second with medium refraction and the
third with high refraction. The gradual increase in the indices of
refraction together with the two cemented surfaces available enables
the complete objective to be so corrected that the usual errors are at a
minimum for this type of construction. Both cemented surfaces in
the rear component are collective in effect.
In 1921 the Gundlach Manhattan Optical Company of Rochester,
N. Y., introduced the Radiar (Fig. 93), a lens resembling the Ross
X-press in the use of a rear element of three glasses but differing from
it in that one of the cemented .surfaces is collective while the other is
dispersive. The three glass element was adopted because it allows a
different selection of glasses and affords more latitude in balancing the
powers of the component parts of the system.
The Uncemented Triplet-the Cooke Lens.-The triplet design
was applied to the construction of photographic objectives at a very
early date. As early as 1841, Andrew Ross made for Fox-Talbot a
134 PHOTOGRAPHY
triplet which consisted of a concave dispersing lens of flint, interposed
between two equi-convex collecting lenses of crown, and some years
later Sutton worked out a similar construction, while in r86o Dall-
meyer issued his " Triple ach1omatic lens" in which each of the three
components consists of a cemented collecting and dispersing lens sepa-
rately corrected for chromatic aberration.
The Cooke lens patented by Mr. H. Dennis Taylor, however, cannot
properly be considered as a development of the earlier triplets. Al-
though both are triplets, the construction of the Cooke is based on a
radically different principle, and the two can be said to be similar only
in outward appearance. In none of the earlier triplets is the power of
the negative lens more than a small fraction of the sum of the collect-
ing lenses, and the idea of utilizing the dispersing lens for flattening
the image, and correcting marginal astigmatism, apparently never oc-
curred to these men.
Frc. 94. Cooke Triplet
The Cooke lens is a simple triplet (Fig. 94) consisting of a double-
concave dispersing lens interposed between two double-convex collect-
ing lenses. The two collecting lenses are identical and are designed
to be practically free from coma; this result being secured by the use
of an intermediate form of lens in which the inward coma of one
surface is neutralized by the outward coma of the opposite surface.
The burden of correcting the entire system is thrown upon the central
dispersing lens, which fulfills a threefold office : ( r) It flattens the
final image and corrects marginal astigmatism, producing a flat astig-
matic field; ( 2) it corrects the color aberrations of the c-onvergent
lenses and makes the complete system achromatic; (3) it corrects the
residual spherical aberration of the two collecting lenses and renders
the final image aplanatic. The action of the negative lens in securing
a flat field, free from astigmatism, may be explained with the aid of
Fig. 95 L and N are respectively a positive and negative lens of
equal focus and made of the same materials. With primary sections
of the oblique pencils, the image formed by the positive lens, L, is
curved spherically, p-P, but the interposition of the negative lens, N,
throws back the image to the plane Q-Q' which is flat because the
curvature errors of the positive lens, L, are exactly neutralized by the
opposite curvature of the negative lens, N.
Owing to the fact that this arrangement would result in consider-
able distortion, and to the fact that its corrections to a certain extent
depend upon the distance of the subject, the single collecting lens is
divided into two which are alike in power and shape but turned in
opposite directions. The positive focal power of the two converging
Frc. 95. Action of the Central Diverging Lens
lenses is approximately equal to the negative focal power of the
central dispersing lens.
Considering the simplicity of construction and the limited number
of elements which the designer possessed to correct the usual aberra-
tions, the Cooke lens is well corrected and at the time of its introduc-
tion (r895) surpassed the anastigmats then known in sharpness of
definition over the usable angle of view. Especially notable is the al-
most complete absence of coma.
The Cooke triplet construction is followed by Taylor, Taylor and
Hobson of Leicester, England, in the construction of several series of
lenses ranging in speed from F/ 3.1 to F/8. The more rapid series
intended for portrait work in the studio naturally are corrected for a
much smaller field than those of smaller relative aperture. Owing to
the simplicity of the Cooke triplet construction, its performance and
to the fact that the patents have now expired, numerous manufacturers
issue under various trade names objectives based upon the same princi-
ple. We mention a few:
Aldis ................ . ..... . .. Series 0 .. ... ... . ... ... .... . F/3
Goerz . ..... . ...... . . . ... . . ... . Hypar ........ .... . ...... . F / 3-5
Ri.idersdorf . .................. (Portrait Anastigmat)
Rodenstock ................... Eurynar (Older models) ... . F/4-5
136
PHOTOGRAPHY
Rietschel ...................... Tular ..................... F /6.3
Salmoirach .................... Orion .................... . F/4-5
Staebel ....................... Kaloplast,
Steinheil ...................... Cassar .................... F /3.5
Zeiss .......................... Triotar ...... ............. . F /3.5
of the Triple Objective after H. D. Taylor-the
Cooke Aviar.-In 1918 Arthur Warmisham patented a modified form
of the Cooke lens which consists of four simple spaced lenses, two of
which are collective and two dispersing. It is essentially a Cooke
construction, the idea of a split divergent lens having occurred to Mr.
H. D. Taylor in 1898, who was granted a patent for a modification of
the triplet in which the central dispersing lens was developed into two
FIG. g6. Cooke Aviar
similar lenses of lower individual power (B. P. 12,859 of 1898). This
objective, however, had no advantages over the earlier triplet and was
abandoned. By making a special study of coma, Warmisham was able
to develop an objective of this type which has a larger flat field than
the triplet.
The original Aviar as used extensively by the Royal Air Force in
the latter years of the World War called for the use of a highly re-
fractive baryta crown glass for the front collecting lens. This glass,
however, is not very stable and discolors on prolonged exposure to
the atmosphere. Accordingly in 1928 Warmisham recalculated the
formula to permit the .use of a more stable baryta crown without affect-
ing the degree of correction (B. P. 312,536 of 1928).
Development of the Triplet Objective after H. D. Taylor-the
Aldis Lens.-Three objectives of this firm demand attention. Series
Ila Fj6.3 (Fig. 97) may be regarded as a development of the triplet
construction of H. Dennis Taylor as described in British Patent No.
1699 of 1899. The central dispersing lens is separated from the front
collecting lens by a small air space having a positive effect. The rear
collective lens is separated from the front element by the diaphragm.
..
.
I
"
,,
In the original Cooke triplet the collecting lenses are approximately
equal in focal power, here the front collecting lens is much more
powerful than the rear.
FIG. 97. Aldis Series IIa
Series II and Series III may also be considered as having been
evolved from the Cooke triplet, although they fall into entirely ' differ-
ent classes. In both of these (Fig. 98) the front collecting lens is
cemented to the central dispersing lens w i l ~ the rear collecting lens of
FIG. 98. Aldis Series II and III
low power is placed some distance from the cemented element. Series
II has a relative aperture of F /6 ; Series III of F 177
Triplets with a Pair of Collecting Cemented Surfaces-the Heliar.
-In 1900 Hans Harting calculated for Voigtlander an objective
FrG. 99. Harting's Heliar
which is essentially a development of the simple triplet of H. Dennis
Taylor, which was introduced commercially as the H eliar.
In the Heliar (Fig. 99) the triplet construction is plainly evident
from the general similarity of the design. The development made
138 PHOTOGRAPHY
by Harting consists in replacing the single collecting lens of the
original triplet of H. Dennis Taylor by a cemented element of two
glasses. By increasing the number of elements of construction and the
introduction of cemented surfaces the initial errors of construction are
lessened and excessive curvatures avoided so that the corrections are
more easily and fully carried out, resulting in better field covering
at a large aperture. The aperture of the Heliar is F / 45 in all sizes
FIG. IOQ. Harting's Dynar
and the area of the field covered with satisfactory sharpness is greater
than that of the simple triplet.
The Dynar.-Two years later Harting calculated for Voigtlander
a similar construction but with the glasses of the cemented com-
ponents reversed in position so that all three dispersing lenses are
placed together. This construction was introduced as the Dynar
(Fig. roo) ; and was made principally for hand cameras and has a
maximum aperture of F / 6.
The Pentac.-While the Pentac issued by J. H. Dallmeyer from cal-
culations by Lionel Barton Booth is described in British Patent Speci-
fication No. rsr,5o6 as a development of the Tessar, the single col-
FIG. IOI. Dallmeyer's Pentac
lecting lens of the former being replaced by a cemented component
consisting of a collecting and dispersing lens with collecting cemented
surface, examination shows that the Pentac has more in common
with the Heliar and particularly the Dynar than with the Tessar (Fig.
r
I
I'
101). Both the Dynar and the Pentac are five-lens systems con-
sisting of a double-concave negative lens interposed between two col-
lecting elements formed of a cemented collecting and dispersing lens
and both the exterior lens and the cemented surface are collective in
effect.
By rigid calculation an objective has been calculated which has an
unusually large aperture of F j 2.9 and can be well corrected up to a
focal length of 12 inches.
The Ernostar.-This objective of Ernemann of Dresden is based
upon the Cooke triplet. The front collecting (Fig. ro2) lens of the
F1c. 102. The Ernostar
latter, however, has been replaced in the new objective by two elements,
each composed of two cemented lenses, the front lens of each pair
being collective and the rear lens dispersive in effect. The two ele-
ments are separated from one another by an air space having a disper-
sive effect. The action of this complex front component is to secure
greater convergence of the incident rays so that the path of the ray
after passing through the central negative component may be either
converging or parallel and not diverging as in the original triplet of
H. Dennis Taylor. The division of the front member into two sepa-
rate components increases the number of elements at the disposal of
the calculator, since there are four glasses and an air space, and this
has enabled the corrections to be carried to a high degree of perfec-
tion notwithstanding its large relative aperture of F / 2. The spherical
aberrations, astigmatism and zonal errors are almost completely re-
moved and the field is flat and free from distortion. So completely
has the chromatic correction been carried out that the objective may
be considered to be sphero-achromatizecl and apochromatic.
2
A more simple construction for a triplet with a relative aperture of
F /I.8 has been patented by Warmisham (B. P. 280,392 of 1926).
2
British Patents 186,917/1921, I9I,702Ir922, 193,376/rg22, 232,531/r924. Klug-
hardt, Phot. Ind., 1924, p. roo8.
6
140
PHOTOGRAPHY
The first collecting member and the central diverging member are both
cemented doublets, while the rear collecting member is a simple collect-
ing lens. Thus, there is secured a 6 glass-to-air surface lens with an
aperture of F /I.8. ,
PART III. THE TELEOBJECTIVE
Principle of the Teleobjective.-If we take two lenses made of the
same glass and having equal but opposite powers, one being negative
and the other positive, it is evident that if they are placed in contact
with one another the converging power of the positive lens will be
exactly balanced by the dispersing power of the negative lens and
there will be no alteration in the direction of the incident ray. The
combination thus neutralized has no real focus, or it may be said to
have infinite focal length. However, if we separate the positive and
negative lenses the focal length will gradually shorten until finally
we reach the zero position where the focal distance is equal to the
focal length of the positive lens, the negative lens then being without
effect on the focus. The negative lens may thus be said to take a
portion of the image produced by the positive lens and magnify it.
The amount of the magnification depends upon the focal length of
the objective which in the teleobjective is determined by the distance
between the positive and the negative lenses. This distance between
the lenses, . or .6., increases as the focal length decreases and vice
~ ~ e r s a
The separation of the two lenses also brings about another change.
When the two are in contact the principal point coincides with the
common lens vertex, but as the components are separated the prin-
cipal point moves away from the lens in the direction of the subject.
Since the focal length is the distance from the principal point to
the point of intersection of the convergent rays, the distance from
the focal plane, or the ground-glass, to the lens is less than the equiva-
lent focal length. Hence we are able to make use of a long focus
objective without a bellows extension of corresponding length. This
is the principal point of value of the teleobjective.
The Compound Telephoto Objective.-The earliest use of a negative
lens in the above described manner is found in the Galilean telescope.
Its first use for photographic purposes is credited by Harting to J.
Porro in r851.
3
The matter, however, remained unnoticed by the
3
Optics for Photographers, English translation, p. 185.
141
optical world at large until the latter part of the nineteenth century
when it was independently invented by several opticians and is now
made by nearly all manufacturers of photographic lenses.
As a typical example of the compound teleobjective we may men-
tion the design patented by Dallmeyer in his English patent No. 21,933
of 1891. The positive component of this system is the well-known
Petzval portrait lens; the posterior negative element is a symmetrical
double combination as illustrated in Fig. 103 and is chromatically
FrG. IOJ. Dallmeyer's Compound Teleobjective
and spherically corrected. The two elements are mounted in a tube
fitted with an adjustable screw by which the separation of the posi-
tive and negative components may be altered to secure any desired
degree of magnification.
Most manufacturers are in a position to fit, to such of their ob-
jectives as may pe suitable, a negative combination similar in general
construction to the above. When ordering the negative lens the ob-
jective to be used as the telepositive should be sent to the manu-
facturer in order that the two may be properly adjusted.
The advantages of variable focal length and size of image to-
gether with short bellows extension are important features and if it
was not for the serious disadvantage of lack of speed, which con-
siderably limits its usefulness, the compound teleobjective would be
widely used. It is not difficult to understand the reason for the lack
of speed when we consider the principle upon which the teleobjective
is based. The image formed by the positive lens is enlarged (spread
over a larger area) by the negative lens; therefore the intensity of the
image is less and a longer exposure is required. The higher the
degree of magnification the greater the exposure required. Mathe-
matically the aperture of a teleobjective may be expressed as
Djf::,
fl !1
where D is the aperture of the positive objective,
142 PHOTOGRAPHY
[
1
the focal length of the positive lens,
[
2
the focal length of the negative lens, and
A the separation of the positive and negative lenses.
Furthermore some stopping down of the positive lens is nearly al-
ways necessary in order that the aberrations of the negative lens
(which cannot be completely corrected because the distance between
the two elements is subject to considerable variation according to
the requirements of the subject) do not unduly interfere with the
central definition. This still further lengthens the time of exposure so
that hand camera work and the photography of moving objects be-
comes possible only in very exceptional cases. For this reason the
compound teleobjective is of value only for a limited type of work
and has been almost completely replaced by the modern fixed-mag-
nification, high-speed, anastigmatic teleobjective.
Early Fixed-Magnification Teleo bjectives.-While it is impossible
to secure a very large aperture with the compound teleobjective, if
we fix once for all the separation of the positive and negative ele-
ments so that we secure a fixed degree of magnification we are en-
abled to considerably increase the working speed of the combination
and without any loss of definition. Strictly speaking, the first fixed-
--':>>>---------- --- ------
----- -.;>----
FrG. 104. Petzval's Orthoskop
magnification teleobjective was the Orthoscopic lens worked out by
Petzval and introduced commercially by Dietzler in r8s6. This ob-
jective (Fig. 104) consists of a front positive combination similar to
that of the ~ e g u l r Petzval portrait lens and a back negative com-
bination with a bi-concave and concavo-convex lens, the two being
chromatically corrected so that the objective consists essentially of
143
two achromats, one of which is collecting and the other dispersing.
This rear component magnifies the image in just the same way as in
the compound teleobjective but as the usual corrections have to
be made for only one degree of magnification, and not an entire
series as in the other case, it becomes possible to give to the whole
objective an aperture considerably in excess of that which is possible
with the compound teleobjective.
The possibilities of the Orthoscopic construction were not realized
at that time, however, and with the advent of the aplanat it ceased to
be made. It was not until 1905 that the first of the modern fixed-
focus teleobjectives was introduced, the Bis-Telar of Emil Busch
This was designed by K. Martin and was composed of two cemented
doublets (Fig. 105) and had a relative aperture of F 19 and a mag-
nification-ratio of r %. Soon afterwards Zeiss brought out the Mag-
-@
ID

rn
IDJ
)t
FIG. IOS. Martin' s Bis-T elar FIG. ro6. Zeiss Magnar
nar (Fig. ro6). This was calculated by Rudolph and Wandersleb
and had a magnification-ratio of 3 times with an aperture of F j ro.
The positive component was a doublet and the rear a triplet.
The Anastigmatic, Fixed-Focus Teleobjective.-Designers then
began to turn their attention towards the more complete astigmatic
correction of the teleobjective. In 1912 Ross Limited issued from
F IG. !07. Ross Telecentric FIG. Io8. Dallmeyer Large Adon
the calculations of Stuart and Hasselkus the Telecentric;a fixed-focus
teleobjective, the positive component of which was a cemented triplet
and the rear component a cemented doublet (Fig. 107). "This was
144 PHOTOGRAPHY
issued in two series, one working at F 154 and the other at F j 6.8.
Two years later Lan-Davis patented (B. P. II85 of 1914) an anastig-
matic teleobjective which was introduced by J. H. Dallmeyer Limited
as the Large Adon. This objective (Fig. 108) consists of a positive
component containing a cemented collecting and dispersing lens form-
ing an achromatic pair but with considerable remaining spherical aber-
ration. The rear dispersing component consists of either two or three
cemented lenses which form an achromatic combination and are so
corrected spherically as to compensate for the spherical aberration of
the front member. In this way a comparatively well-corrected objec-
tive with an aperture of F j 45 was obtained.
The same year Lionel Barton Booth calculated and patented (B. P.
3096 of 1914) a four-lens construction in which the members of the
positive element were separated by an air space. This had a relative
aperture of F /5.8 and was a notable improvement over earlier objec-
tives of this class as regards definition and was made by Taylor, Taylor
and Hobson in considerable quantities for the use of the British Air
Force during the World War.
From the standpoint of the manufacturing optician it was desirable
to eliminate, if possible, the air space between the two members of the
positive element. This problem was solved by Booth, who in 1920
FIG. 109. Booth :Teleobj ective .
took out two patents (B. P. I39,7I9 and I5I,507) for fixed-focus,
anastigmatic teleobjectives, each element of which consists of a ce-
mented doublet (Fig. rag) . This construction was introduced by J.
H. Dallmeyer Limited in several series as the Dalton. Series VI, XVI
and XVIII have a magnification of 2 times and relative apertures of
F j 5.6, F 17-7 and F j 6.5 respectively. Series XVII has a relative
aperture of F j 6.8 and a magnification of 20 times.
A similar construction was patented by H. W. Lee (B. P. rg8,958)
and introduced by Taylor, Taylor and Hobson as the Cooke Telic.
This has a relative aperture of F 155 and a magnification-ratio of 2
times.
The Radiar telephoto anastigmat (Fig. I IO) introduced by the
Gundlach-Manhattan Optical Company is of similar construction.
FIG. IIO. Radiar Teleobjective
The positive member consists of a cemented doublet with a front col-
lecting lens of barium crown and a dispersing lens of heavy flint, while
the rear member consists of an inner dispersive lens of barium crown
and an outer collecting lens of light flint.
The telephoto lenses already described show a small amount of dis-
tortion which, for general purposes, is not of serious importance. A
non-distorting telephoto as constructed by Taylor, Taylor and Hobson,
has the form shown in Fig. III (B. P. 222, 709 of I924) . The
-- _ ---J-
FIG. III. Cooke Telekinic F/3.5
"barrel-shaped" distortion produced by separating the two elements
of the rear dispersive member is neutralized by the opposite type of
distortion introduced in the front member by the addition of a collect-
ing meniscus, thus resulting in orthoscopy. The Cooke Telekinic
F 133 has this form.
In the Tele-tessar of Zeiss the rear component is composed of two
cemented meniscii the positive member is placed nearest the diaphragm
and not on the exterior as in the case of the Dallmeyer Dallons and the
Cooke Telic (Fig. II2). The Tele-tessar has a relative aperture of
F 155 and a magnification-ratio of 2 times.
146 PHOTOGRAPHY
In order to construct a fixed-magnification teleobjective with a mag-
nification above two and maintain an anastigmatically flat fiel.d at the
same time it becomes necessary to increase the number of elements.
In the Teleros introduced by Ross Limited from calculations by Stuart
FIG. 112. Zeiss Tele-tessaar
and Hasselkus the rear component is a cemented triplet in which two
negative lenses enclose a positive member of glass having lower re-
fraction and higher dispersion (Fig. IIJ). The objective has a re-
FIG. 113. Ross Teleros
lative aperture of F 15-5 and a magnification-ratio of slightly over two
times. H . W. Lee has also patented a fixed-focus teleobjective (Fig.
II4) in which the rear component is a triplet with a positive lens of
FIG. II4. Lee's T. T. H. Telephoto FIG. 115. Voigtlander's Tele-Dynar
low refraction between two negative members of high dispersion.
This is manufactured by Taylor, Taylor and Hobson and has a relative
aperture of F 155 and a magnification-ratio of 3
The Telc-Dynar of Voigt!ander also has a rear element of three
members, two of which are cemented and the other separated by an air
space (Fig. I 1 5). Several other manufacturets have departed from
the simpler constructions already described, but as they are for the
most part unknown in this country we do not propose to discuss them
further.
The Adon.-Before leaving the subject of the teleobjedive mention
should be made of a construction invented by Dallmeyer and utilized
in the construction of the Adon.
If the positive and negative elements of a tele-compound are sepa-
rated by a difference equal to the difference of their focal lengths,
- :
t:-- ------------------ - ----------------------- __ .,.,
<jUvalent fo<AIIn9th
+
' d,fz '
Nej<ilve lru forms irtU<>/ of r-1 ;,...,.
for,.. 1>y po>ll"a 1,. 1 f
1
F1c. II6. Dallmcyer's Adon
incident parallel rays emerge parallel and an ordinary objective fo-
cussed for parallel rays when applied to the rear of this combination
will form an image at the focal plane of the ordinary objective, the
magnification of the image depending upon the ratio of the focal
lengths of the positive and negative lenses (Fig. u6). To maintain
the actual F value of the photographic objective for any degree of
148 PHOTOGRAPHY
magnification the parallel pencil emerging from the magnifying sys-
tem must be as large as the aperture of the objective to which it is ap-
plied, therefore the exterior positive element of the enlarging system
must be as many times greater in diameter as the lineal degree of
magnification desired. Thus we work without loss of speed, the
effective aperture being the same as that of the objective alone. This
principle, however, can only be used with objectives of moderate
diameter and for low degrees of magnification.
EDER-Die Photographischen Objectiv.
FABRE-Encyclopedique de Photographie.
GLEICHEN-Lehrbuch der Geometrischen Optik.
GLEICHEN-Theorie der Modernen Optischen Instrumente. (The English
translation by McElwain and Swan contains a table of modern objec-
tives which is not found in the original German edition.)
HARTING-Optics for Photographers. (English translation by Fraprie.)
LuMMER-Contributions to Photographic Optics. (The English translat ion by
Thompson contains two chapters on British objectives which are not
found in the original.)
Puyo AND PuLLIGNY-Les Objectifs Anachromatiques.
TuRRIERE-L'Optique lndustrielle. 1920. (The most complete work on the
later anastigmats.)
VoN RoHR-Theorie und Geschichte der Photographischen Objektiv.
CHAPTER VI
THE PHOTOGRAPHIC EMULSION
Introduction.-Properly speaking, the use of emulsions in photog-
raphy dates from the publication of the first practical method of pre-
paring collodio-bromide emulsion by Sayee and Bolton in September
1864 but it is in connection with gelatine that the term emulsion is
generally associated. The gelatine emulsion which has played such
an important part in the development of photography dates from the
investigations of an English amateur, Dr. Richard Leach Maddox,
whose paper describing the preparation of a sensitive gelatine emul-
sion was published in the British Journal of Photography for Sep-
tember 8, 1871. His method, however, was not a practical one and
gelatine emulsion on a basis similar to that now in use did not appear
until several years later. Although a gelatine emulsion had been
placed upon the market as early as 1873 by Richard Kennett, gelatine-
bromide emulsion of practical utility may be said to have first ap-
peared in 1878 after the discovery of the great increase in sensitive-
ness to be secured by the application of heat to the finished emulsion.
In the meantime three very important points had been cleared up.
King and Johnson had shown the necessity for the removal of the
soluble salts from the emulsion and indicated means of effecting this;
the last named worker had also shown the importance of using an
excess of soluble bromide rather than an excess of silver salt; while
Bolton had suggested that the emulsion be formed in a small amount
of gelatine and the remainder added at a later stage-a method which
became very valuable after the discovery of digestion processes with
heat.
As is fairly well known, the gelatine emulsion which forms the
sensitive coating of our plates and films consists primarily of a highly
sensitive form of silver bromide and gelatine. If silver bromide is
formed in aqueous solution by the double decomposition of a soluble
bromide, as potassium bromide, and silver nitrate and the nitrate
allowed to stand a short while, the silver halide will begin to pre-
.cipitate upon the sides and bottom of the vessel. However, if the
149
150 PHOTOGRAPHY
silver bromide is formed in the presence of an aqueous solution of
gelatine instead of water the solution is at first clear and slightly
opalescent and on standing becomes milky or creamy. On standing
the silver halide does not precipitate out of solution, as in the case of
water, but remains in a homogeneous state. This mixture of finely
divided silver halide and gelatine is termed gelatino-bromide emulsion.
It is not really an emulsion, however, in the sense in which that term
is used in colloid chemistry, but a solution of gelatine carrying in sus-
pension minute crystals of solid silver halide. In its simplest form an
emulsion may consist purely of silver bromide and gelatine, but at
times a small percentage of another halide, chiefly the iodide, but
sometimes the chloride, may be added. The available evidence at the
present time indicates that in such cases the silver iodide, or chloride
as the case may be, is held atomically dispersed within the silver bro-
mide and neither combine schematically with the latter nor exists sepa-
rately as individual crystals. The processes of emulsion making are
therefore concerned with the formation of a uniform, homogeneous
suspension of a sensitive form of silver bromide in a solution of
gelatine.
Gelatine.-Gelatine belongs to that class of substances known as col-
loids from the Greek Ko.\Aa meaning glue. The substances of this
class were termed colloids by a Glasgow chemist, Graham, who found
that certain substances in solution such as albumen, glue and gelatine
do not pass through an animal membrane, while solutions of crystal-
line substances such as common salt do. To the former class of sub-
stances Graham applied the term colloids; to the latter class crystal-
loids. In colloidal solutions the subdivision of the particles is not so
high as in the case of the crystalloids and it is for this reason that
they do not pass through filter materials and membranes. Two other
terms, sol and gel, were also introduced by Graham. To the liquid
solution of a colloid he applied the term sol; to the jelly the term gel.
The value of gelatine for photographic emulsions is due to its
unique physical properties as well as its chemical composition. The
easy reversibility of the transition from the sol to the gel and vice
versa, or
Hydrosol= Hydrogel,
is of paramount importance for photographic purposes and it is in
this respect that gelatine is distinctly superior to any other colloid.
THE PHOTOGRAPHIC EMULSION 151
Gelatine swells in cold water but does not dissolve. Hot water dis-
solves it, but on cooling it again forms a jelly even if the concentra-
tion of the solution is as low as 1 per cent. The formation of the
jelly from the sol is termed setting and the reverse reaction melting
and the temperatures at which the change of state takes place as
setting points and melting points. Technical gelatines are broadly
classified as hard, medium and soft. A hard gelatine solidifies quickly
and becomes quite hard, offering considerable resistance to reswelling.
A soft gelatine is exactly opposite in character, solidifying slowly and
reswelling quite easily. For emulsions a hard gelatine is easier to
work, especially in summer or in hot climates, as the emulsion ad-
heres to the support better and does not soften unduly in development.
Hard gelatine, however, develops slowly, owing to the fact that the
penetration of the film by the developing solution is more difficult.
Accordingly, in practice the emulsion maker uses a medium gelatine,
combiqing hard and soft gelatines in the proportions which his experi-
ence has taught him to be the best for general purposes.
Aside from acting as an emulsifying medium, gelatine acts as a
protective colloid. If silver bromide is formed by the combination
of solutions of silver 1;1itrate and potassium bromide, using a slight
excess of the latter, and the precipitated silver bromide washed to
remove all traces of extraneous salts it will be found that on the
application of a developer the silver bromide will be immediately re-
duced whether exposed to light or not. Sheppard and Mees attrib-
ute the protective action of gelatine to the insulation of the nuclei
of the silver bromide grain with which effect is associated a delay in
the aggregation of the silver amicrons to form larger nuclei,l
Authorities have largely been at a loss to account satisfactorily for
the fact that emulsions of much higher speed may be prepared with
gelatine than with any other colloid. The earlier conception of the
value of gelatine being due to its functioning as a photochemical
sensitizer by absorption of halogen has largely been abandoned. Until
only a few years ago it was a disputed point as to whether gelatine
should be regarded as being directly responsible for the high sensi-
tiveness of our modern sensitive materials or whether it acted merely
as a passive medium facilitating the growth of the most sensitive
form of the silver halide grain. Another disturbing factor was the
1 For an interesting discussion of this subject see "Note on the Function of
Gelatine in Development," by Dr. T. Slater Price. Phot. !., 1925, 65, 94
152 PHOTOGRAPHY
action of various gelatines on emulsion sensitiveness. From the
earliest days of gelatino-bromide emulsion it had been known that
emulsions prepared in precisely the same manner but with different
samples of gelatine might vary greatly in light sensitiveness. After
methods of determining the size-frequency distribution of gr:ains of
silver halide in emulsions had been evolved it was possible to show
that emulsions having the same physical characteristics as regards
size of grain and size-distribution of grains might vary considerably
in light sensitiveness. A long series of investigations in the Eastman
Research Laboratory brought to light the existence of what is termed
Gelatine-X, the presence of which in ordinary gelatine is largely re-
sponsible for photographic sensitiveness. This Gelatine-X has been
found to be analogous to allyl mustard oil and to be an allyl isothio-
cyanate (C
3
H
5
NCS) which reacts readily with ammonia to produce
a thiocarbamide, e.g.
/ NHR
R N : C : S NH3 C-S
"'NH2
Experiments show that the group
--N--
C=S
--N--
is of fundamental importance for photographic sensitizing. Photo-
graphically
2
active gelatine contains only from I part per I,ooo,ooo
to I per 300,000 of the sensitizing substance and the presence of such
an exceedingly small amount in a complex, many-sided substance like i
gelatine accounts for the fact that after fifty years we are just dis-
covering the reason for reactions which have been observed since the
earliest days of gelatine emulsions.
The sensitizing action of thiocarbamide increases with the concen-
tration up to a certain point, which varies with the particular emulsion,
and then falls off. The fog increases steadily with increase in the
thiocarbamide, and rapidly after the maximum speed is passed. With
a particular emulsion examined by Sheppard, an increase in speed
from I9 H. and D. to 3000 H. and D. was recorded, this maximum
being obtained with a concentration of 0.0I46 g. of thiocarbamide to
each IOO g. of silver halide.
3
2
Sheppard, Phot. !., 1925, 65, 380.
a Sheppard, Phot. !., 1926, 66, 399.
Many other substances have since been found to act as sensitizing
agents. Among these are: codein, diethyldiamine/ iminazole deriva-
tives (B. P. 27IA75 of r926, I. G. Farbenindustrie), sodium trithion-
ate, tetrathionate (B. P. 255,846 of r 9 2 ~ I G. Farbenindustrie) and
thiazole and cystine compounds (B. P. 246,800 and 258,237 of I925---
l. G. Farbenindustrie). Increasing the sulphur content of gelatine
increases the sensitizing properties and the treatment of gelatine with
sodium sulphide or carbon disulphide for such a purpose has been pat-
ented by the I. G. Farbenindustrie, B. P. 283,222 of r927.
Theourea, mustard oil, and most of the above sensitizers are in-
effective when the emulsion is kept in a neutral state and digested by
boiling rather than ammonia. The I. G. Farbenindustrie, however,
find that the gelatine employed in emulsions of this type may be sensi-
tized by the organic disulphides (B. P. 283,223 of r927).
The Two Classes of Emulsion.-Sensitive emulsions may be divided
into two classes: (a) those in which the silver halide is formed in the
presence of an excess of silver nitrate and (b) those in which the
silver halide is formed in the presence of an excess of the soluble
halide. Aside from wet collodion, the first class consists principally
of emulsions for positive printing out processes such as collodio-
chloride and gelatine P. 0. P. or similar silver printing papers which
produce a visible image upon exposure. The function of the excess
silver salt is to act as an absorber for halogen. The second class
includes both negative and positive emulsions for development and
may be further divided into two classes: (a) those which are used
without further treatment after emulsification and (b) those which
are submitted to a process of digestion, known technically as ripening,
for increasing the sensitiveness and the density-giving powers. This
process of ripening consists either of treating the emulsion at rela-
tively high temperatures or in the use of ammonia, and will be dis-
cussed in greater detail elsewhere. It is sufficient to say for the
present that in the preparation of emulsions for positive printing,
where a high degree of sensitiveness is unnecessary, ripening plays
little or no part, the silver bromide, or silver chloride, being emulsi-
fied in such a way as to obtain a very fine grain. In the preparation
of highly sensitive emulsions for negative processes, however, ripen-
ing plays a very important part.
General Outline of Operations in Emulsion Preparation.-The gen-
4 Lumiere and Seyewetz, Rev. franc. Phot., 1925, 6, 291.
154 PHOTOGRAPHY
eral outline of the processes involved in the preparation of gelatine
emulsion is as follows :
r. The gelatine is allowed to swell in cold water and finally dis-
solved by the application of heat.
2. The soluble halide, or halides, are dissolved in water.
3 The required amount of silver nitrate is dissulved in water.
4. The solution of soluble halide is next added to the colloid medium.
5 The solution of silver nitrate is added to the colloid medium.
6. The silver salt and soluble halide unite by double decomposition
to form a silver halide. Thus in the case of silver nitrate and potas-
sium bromide the reaction is represented by the following equation:
AgNOa + KBr --) AgBr + KNOa.
Silver
nitrate
Potassium Silver
bromide bromide
Potassium
nitrate
. 7 washing, combined with shredding, to completely remove the
last traces of soluble salts ..
8. The process of digestion; by standing from 10-20 hours at ordi-
nary temperatures or by heating sometimes up to boiling temperature,
or treatment with ammonia, in the case of gelatine emulsions.
Usually, in the case of gelatine emulsions, the silver bromide is
formed in only a portion of the gelatine, the remainder being added
immediately after digestion. In this way the danger of destroying the
setting power of the gelatine by heat is avoided.
Light Sensitiveness of the Silver Halides.-The three silver hal-
ides used for photographic emulsions are, in order of their sensitive-
ness to light, the bromide, chloride and iodide. Of the three the
bromide is much the more important; the chloride and iodide are
never used alone but only in combination with the bromide. Slow
emulsions for positive printing in which after processes of ripening
play a minor part are usually composed of a combination of the bro-
mide and chloride while high speed negative emulsions contain gen-
erally in addition to the bromide a small percentage of iodide. This
does not exist separately in the emulsion, however, but enters ~ t o the
structure of the silver halide grain. As regards ease of reduction by
reducing agents such as photographic developers, the order is chloride,
bromide and iodide. Silver bromide precipitated in the absence of
colloid media such as gelatine is immediately reduced by developers
and is therefore mechanically and chemically unsuited for photographic
~
li
l
purposes. It was formerly believed that there are several modifica-
tions of silver bromide but later work
5
has shown that all the various
forms of silver bromide from the colloidal suspensions of ultra-micro-
scopic particles to the microscopically visible particles of I to 4 microns
in diameter are crystals of the same family and represent simply dif-
ferences in dispersity or particle size.
The Preparation of Emulsions.-The student will have perceived by
this time that emulsion making is a very exacting and complex process
which demands, not only a thorough training in the chemistry of col-
loids and in physical chemistry, but also a large amount of applied
knowledge with respect to the operations of emulsion making which
can only be gained from actual experience. Our knowledge of the
fundamental principles involved in the processes of emulsion making
are still unsatisfactory and the subject is in fact more of an art than a
science. What we know about the preparation of emulsions and the
influence of various factors on the properties of the finished emulsion
has been gained entirely by empirical experimentation extending over
a long range of years. While constant experimenting has shown the
emulsion maker the conditions essential to the preparation of emul-
sions of high sensitiveness, we know but little of the fundamental
causes involved, the ultimate differences which we find from one
emulsion to another, and between different particles of the same
emulsion. Work on some of these problems is being conducted at
the present time and it is probable that some of these points may be
cleared up in the near future. Owing to their commercial value it is
difficult to say to what extent these matters will become common
knowledge.
While in discussing the preparation of gelatine emulsions it will
be ,necessary to divide the subject into three heads-emulsification,
ripening or digestion, and washing-it should not be assumed that
these operations are entirely separate and distinct and independent of
each other, but on the contrary that they are closely related and
mutually interdependent upon one another. The sensitiveness of the
silver halide grain is influenced by practically every feature of its en-
vironment from the time of its emulsification to coating. The con-
centration and proportions of the various substances, the temperature
at which the various operations are conducted, the character of the
5
Trivelli and Sheppard, The Silver Bromide Grain of Photographic Emulsionr,
D. Van Nostrand, New York, 1921. Wilsey, Phil. Mag., 1921, 42, 262; 1923, 46,
487.
156 PHOTOGRAPHY
gelatine used, the alkalinity or acidity of the emulsion during digestion
and the time occupied in the various operations, all influence the sen-
sitiveness and character of the emulsion to a marked degree. Thus
if emulsification has not been conducted under conditions which are
favorable to the formation of relatively large grains of silver halide
as well as the proper proportion of the various sized grains, no man-
ner of digestion will produce a highly sensitive emulsion. In other
words, it is not possible to convert a low speed emulsion into one of
high speed simply by digestion; if an emulsion of high sensitiveness
is determined upon, it must be borne in mind from the beginning and
conditions provided which are favorable to the formation of the most .
sensitive grains of silver halide. Hence while for purposes of dis-
cussion the various operations will be treated separately, it is to be
understood that in reality they are closely related to one another and
not separate and distinct as the manner of treatment might indicate.
Emulsification.-When silver nitrate and potassium bromide are
mixed in the presence of gelatine it is usual to use an excess of the
latter salt. In the presence of gelatine, free silver nitrate is easily
decomposed during the process of digestion and the emulsion fogs
on development. In theory, it should be possible to use equivalent
amounts of silver salt and soluble bromide so that neither would be
in excess, but it is not possible in practice and therefore it is usual to
use an excess of soluble bromide. The proper proportion between the
two is a matter of dispute. Dr. J. M. Eder, the celebrated Austrian
authority who took a very active part in the development of gelatine
emulsions, favored a proportion of 5-4. Sir William Abney, the
eminent English investigator, favored a ratio of IS-II; while Ben-
nett and Wilson advised I r-7 when using ammonium bromide, and
W. K. Burton 42-25. ,
The presence of excess soluble bromide either during precipitation
or subsequently during digestion is an essential condition of that part
of the ripening process which consists in growth in the size of the
silver halide grain. This is because silver bromide is more soluble in
solutions containing a soluble bromide and the greater solubility re-
sults in the formation of larger crystals. An excess of soluble bro-
mide also has the effect of reducing the danger of fog in the prepa--
ration of highly sensitive emulsions.
In making rapid gelatine emulsions a concentrated solution of silver
nitrate is added to a solution of soluble bromide of similar concen-
-
tration in the presence of gelatine and an excess of soluble bromide.
The slight clouding which appears might lead one to assume that the
two do not react immediately to form silver bromide but exist sepa-
rately for some time. This is not so, for it has been found that silver
nitrate and a soluble bromide react at once, even in the presence of
gelatine, according to the equation
AgN03 + KBr -) AgBr + KNOa.
If the emulsion is examined with a microscope from time to time
as additional silver solution is added, a gradual growth in the number
of silver halide grains is observed. At the same time, it will also be
observed that the grains already formed are increased in size, show-
ing that not all of the silver solution added goes to form new grains
of silver halide but that some is added to those already existing. Con-
sequently, the grains of silver halide grow, not only in number, but
also in size, with the addition of the solution of silver nitrate. The
size of the silver halide grain formed depends upon the amount of
free potassium bromide present, the temperature and the concentra-
tion and rate of addition of the silver solution.
The freshly precipitated emulsion, especially if emulsified at a low
temperature and under conditions favoring the formation of very small
particles of silver halide, is very fine grained and relatively transparent
but is only slightly sensitive. When digested by heat or ammonia its
speed increases from roo to rooo times.
6
Gelatino-Bromo-Iodide Emulsions.-The addition of a small per-
centage of iodide to gelatino-bromide emulsions was advised by Penny
in r878 and was studied in detail by Abney
7
and by Eder.
8
The use of iodide makes possible a higher degree of digestion with-
out danger of excessive fog and leads to emulsions of higher sensitive-
ness. Emulsions containing iodide work cleaner than those of pure
silver bromide and give brighter negatives with greater contrast and
density. The addition of iodide also changes the spectral sensitivity
of the emulsion. As the percentage of iodide is increased there is a
definite and progressive shift in spectral sensitiveness towards the
longer wave-lengths,
9
until the emulsion contains as much as 30 per
- . cent iodide, after which the characteristic spectral sensitivity of silver
iodide alone is obtained.
6
See Eder, Handbuch der Photographie, I, 24 (Ed. 1902).
7
Abney, Phot. News, 188o, 174, 1g6.
8
Eder, Ausfuhrliches Handbuch der Photographie.
9
Huse and Meulendyke, Phot. ]., 1926, 66, 306.
158 PHOTOGRAPHY
It was formerly thought that the addition of iodide resulted in the
formation of a complex of bromo-iodide of silver,
10
but it is now
known that the silver iodide enters into the crystal structure of the
silver bromide crystal. X-ray diffraction studies have shown that the
effect of silver iodide is to produce an enlargement of the crystal
lattice (Wilsey). The increased sensitiveness of silver bromide when
mixed with silver iodide is regarded as being due to the state of strain
set up by the presence of the silver iodide incorporated in the silver
bromide crystal structure.
11
The larger crystals have been found to
contain a higher percentage of silver iodide than the smallerP Also
in a given emulsion, the large grains are relatively more sensitive than
the smaller. While the difference in the percentage of silver iodide
present may be the cause of the higher sensitivity, evidence has been
obtained which shows that the higher sensitiveness is not due to silver
iodide alone.
Digestion.-When first mixed, the emulsion is very slow, no matter
what formula has been employed, and quite unsuited for use for any-
thing but contact printing paper. If the emulsion after mixing is al-
lowed to stand at ordinary temperatures for several days the sensitive-
ness to light increases. Digestion, or " ripening," of the emulsion at
ordinary temperatures is known as cold ripening. The degree 0
sensitiveness thus obtained, however, is still too low for general use.
Rapid negative emulsions may be broadly divided into two classes :
( 1) acid or neutral emulsion digested by heat, and (2) alkaline emul-
sions digested with ammonia, or the alkaline carbonates, either alone
or in combination with heat. As a rule, the first class are employed
only for the slower emulsions and the more rapid emulsions are pre-
pared with ammonia.
The addition of ammonia to the emulsion was advised by Johnson
in 1877 but it was not until after the investigations of Eder in 188o
that it was used with much success.
13
Eder also found that the alka-
line carbonates, such as ammonium and sodium carbonate could be
used in place of ammonia, but neither has been found to be as effective.
The ammonia may be added shortly after emulsification and digestion
carried out at normal temperature, or by heat, or the emulsion may he
10
Eder, Photographie mit Bromsilbergelatine, 1903, p. II7-122.
11
Trivelli, Reweil des Travaux Chimiques des Pays-Bas, 1923, 42, 714.
12
Renwick, Phot. J., 1924, 64, 36o. Sheppard and Trivelli, Journal of Franklin
Institute, 1927, 827.
1
3 Sitzungsber, Akad. Wiss. Wien., 1880, Sr, II, 687.
partly digested by heat and the ammonia added after the emulsion has
cooled down to about 30 degrees centigrade. Only a very small per-
centage of ammonia is required. More than a few per cent increases
the grain size unfavorably and produces emulsions which fog easily
in development. The exact amount of ammonia which may be em-
ployed depends largely upon the type of gelatine used, the conditions
under which the silver halides are rrecipitated and the method of diges-
tion.
The function of ammonia in ripening is apparently closely con-
nected with the formation of the sensitizing substances such as allyl-
thiocarbamide described by Sheppard and Punnett.
Under given conditions of digestion the sensitiveness varies with
the hydrogen-ion concentration. With a given emulsion the sensitive-
ness increases with increasing time of digestion to a maximum point
which varies with the pH (or hydrogen-ion concentration) .
14
While it might be concluded that the change in sensitiveness with
hydrogen-ion concentration is due to the amount of silver sulphide de-
rived from the silver bromide-thiocarbamide reaction, this does not
seem to be entirely the case, for it has been demonstrated that the
sensitiveness of an emulsion, which is lowered upon the addition of
acid, is immediately restored when the hydrogen-ion -concentration is
brought back to its original value.
15
Fog.-Over digestion produces a coarse granular emulsion, the
particles of which are visible to the eye in some cases, while the plate
fogs in the developer, blackening whether exposed to light or not. All
methods of obtaining an extremely sensitive emulsion lead to plates
which fog in development. When digested by heat, fog appears
earlier in neutral emulsions than in those which are slightly acid and
for this reason a trace of acid is sometimes added to make sure that
the emulsion is in a slightly acid state. Too much acid, however, is
harmful as it delays digestion and affects the gelatine. Alkaline emul-
sions are completely digested at low temperatures and tend to produce
fog if digestion for a high degree of sensitiveness is attempted. The
addition of iodide to emulsions tends to prevent fog, as does the pres-
ence of an excess of soluble halide, while, as already mentioned, the
addition of a trace of acid to emulsions which are digested by means
of heat materially reduces the danger of fog. The danger of excessive
14 Rawling and Glassett, Phot. J., 1926, 66, 495.
15
Rawling, Phot. J., 1927, 67, 42. Sheppard and Wightman, Phot. ]., 1929, 6g,
22.
160 PHOTOGRAPHY
fog is of course much higher with high speed emulsions than with low:
in fact a certain amount of fog is inseparable from an extremely sensi-
tive emulsion, but the amount is so small, under favorable conditions of
manufacture, as to be of little consequence.
Theory of Digestion.-There is a progressive growth in the size of
the crystals of silver halide during the process of digestion. The
smaller grains disappear, combining with the larger grains until the
largest crystals reach a diameter at times equal to 8 microns. It has
long been supposed that the increase in sensitiveness in digestion is
connected with, if not directly due to, the growth in the size of the
crystals of silver halide, for it is well established that in general the
larger crystals are more sensitive than the smaller. On the other hand,
it is possible to prepare low speed emulsions having grains which are
appreciably coarser than those of most ultra-rapid emulsions. The
relation of size of grain to sensitivity may be expressed by saying that
the increased size of grain is a necessary but not a sufficient condition
for high sensitivity. The size of grain may be regarded as the ca-
pacity factor in the production of the sensitizing specks of silver sul-
phide, or metallic silver, or possibly both combined.
Many theories of the process of digestion have been advanced; the
earlier ones postulated the partial reduction of silver halide to sub-
halide or the formation of a gelatino-silver halide complex, the later
ones the formation of colloid silver.
16
The recent work of Sheppard on the sensitivity promoting substance
in gelatine, while it does not exclude the possibility of colloid silver
formation as a factor in the process of digestion, makes it clear that an
important, if not the primary factor, in the process is the formation of
sulphiding sensitizers and their interaction with silver halide to form
highly sensitive nuclei of silver sulphite on the silver halide grain.
Eliminating the Soluble Salts.-After the extra gelatine has been
added to the digested emulsion, it is well shaken up and then poured
out into a porcelain tray and allowed to set. The time required for
setting will vary according to the type of gelatine used, the temperature
and also the humidity of the surrounding air. Two hours is generally
sufficient and often very much less is required. When the emulsion
has set it is ready for washing to remove the soluble salts.
16
Eder, Ausfuhrliches Handbuch der Photographic, III, 37 (r8go) . Luther,
Die Chemischen Vorgange in der Photographie, 1899. Luppo-Cramer, Phot.
Korr., 1904, 41, 164. Luppo-Cramer, Kolloidchemie und Photographie, 1920.
Renwick, J. Soc. Chem. Ind., 1920, 156T, 39; Brit. J. Phot., 1920, 67, 447, 463.
In dealing with small quantities the emulsion is gathered up in a
canvas bag which is placed under the surface of clean cold water and
by gentle pressure the emulsion is forced through the interstices of
the canvas. For this purpose the canvas should be as coarse as pos-
sible. A mesh of about 8 lines to the inch is sufficiently fine. This
divides the emulsion up into fine shreds and enables the soluble salts
to quickly pass out in running water. Generally the operation is re-
peated once or twice and the shreds left in running water for one or
two hours.
In manufacturing emulsions commercially, presses of the type shown
in Fig. I I7 for power or hand operation are used. The bottom of the
"
llll
-
I==>
.
fl-------11'
ll-----,1
II II
ii I!
'I j!
I L---::---J I
FrG. rr7. Emulsion Press and Washer
cylinder, which may hold from IS to ISO liters of emulsion, consists of
a nickel-wire screen which cuts the emulsion up into fine shreds.
Washing is done in cylinders of about the same capacity through which
water is constantly flowing. In some washing equipment, mechanically
operated stirrers are provided to keep the shredded emulsion in motion
and thus reduce the time required for washing.
The emulsion may now be regarded as complete, but it is customary
to add a small amount of chrome alum in order to harden the gelatine
162 PHOTOGRAPHY
slightly so that it will adhere to the plate in coating and also remain
firm during development, fixing, etc. Since our purpose in this chap-
ter is to di scuss the subject of emulsions from a theoretical standpoint
and not with the idea of enabling the student to prepare his own plates,
the operations of coating, drying and packing will be omitted. For
information on these points reference should be made to larger and
more comprehensive works on the subject.
The Silver Bromide Grain of Photographic Emulsions.- \iVhen ex-
amined under a high power microscope, the photographic emulsion is
seen to consist of numerous semi-transparent and practically opaque
grains of silver halide imbedded in gelatine. These grains of silver
halide are definit ely crystalline (Fig. u8)
17
and of various forms and
JoJG. I 18. The Photographic Emul sion under a Microscope
sizes; the most constantly recurring forms being triangles and hexa-
gons, some of which are irregular, while all have rounded corners, but
occasionally a long rod-shaped crystal is observed. . The grains also
vary in transparency, some being almost completely transparent while
others are nearly opaque. Since the opaque grains behave in exactly
the same way as the transparent grains, there is no justification for
assuming that they are different substances. In addition to these there
are ultra-microscopic grains which are beyond the limit of visibility
with the highest power of the microscope. Recent investigation has
l7 The emul sion shown in F ig. n8 has been greatl y diluted in order that the
individual crystal s may be more cl ea rl y seen. Ordinary emul sions as used for
coating of plates and film consist o[ many layer s of such grain s and contain
f rom 10 to 25 billi on of such crystal s to the squar e inch.
shown that these are also crystalline and have substantially the same
structure as those of larger dimensions.
18
There is no evidence for
the existence of non-crystalline silver bromide in photographic emul-
sions.
The size of the silver halide grains in commercial emulsions ranges
from the ultra-microscopic particles of less than one micron to grains
as large as 3 or 4 microns. In positive emulsions the larger number
of grains are either ultra-microscopic or very small, while in the case
of highly sensitive negative emulsions, although a large number of
ultra-microscopic grains are present, the majority of. the grains are of
microscopic size, while all are of course definitely crystalline.
The Sensitivity of the Silver Halide Grain.-Microscopical investi-
gation has shown that in spite of the enormous number of grains of
silver halide and their close proximity to one another, each individual
grain affected by light acts as a single unit and there is no trans-
ference of development from one grain to another, unless the two are
grouped together in absolute contact; a state of affairs characteristic
of some emulsions.
21
It has also been found that a grain is either
made developable by a certain amount of light or it is not developable.
Thus, we do not get partial development for a certain exposure fol-
lowed by more for a longer exposure but up to a certain amount of
light action the grain is undevelopable and after that amount is
reached it is rendered completely developable. The amount of light
required to make a grain developable represents what is termed the
sensitivity of the grain.
Investigation of the number of grains made developable by a given
exposure shows that all the grains are not equally sensitive; because
under such conditions all the grains would become developable as soon
as the exposure reached a certain value. Microscopical examination
at high powers shows that the grains of silver halide differ widely in
size and on counting the number of grains made developable in given
size-classes, it is found that in one and the same emulsion the sensi-
tivity increases with the size of the grain. This does not necessarily
mean that all large grains are more sensitive than smaller ones, for
with different emulsions the reverse is often true,
22
but if we keep to
the satne emulsion the larger grains are on the average more sensitive
than the smaller. There are, however, differences in sensitivity among
grains of the same size and shape in the same emulsion. Sensitivity is,
18
Wilsey, Phil. Mag. (1922), 42, 262.
164 PHOTOGRAPHY
therefore, not wholly a function of the size of grain, but is due to an
inherent difference in the grain itself.
Long ago Abegg and Eder suggested that in the process of digestion
a trace of the silver halide is reduced to either a sub-halide, or to silver. ,
These traces they referred to as "ripening centers." These served as
centers for further reduction by light to form the latent image. The
existence of specially sensitive spots in the grain of silver halide is now
well established. Liippo-Cramer and Renwick supposed these spots,
centers, nuclei, or specks, as they are variously termed, to consist of
colloid silver.
23
However, the work of Sheppard and his
on the sensitizing substances in gelatine seems to prove beyond all
doubt that the sensitivity centers are composed of silver sulphide,
which is produced as a result of a chain of reactions between the
sensitizing substance and the silver halide (see page I 52).
24
These submicroscopic specks of silver sulphide are distributed at
random in, or on the surface, of the grains. It is believed that they
cause a strain in the crystal of silver halide creating around them a
sphere of weakness in the crystal structure which increases the sensi-
tivity of the grains.
We will leave to a later chapter a discussion of the manner in which
these sensitivity centers function in the formation of the latent image.
Grain-Size Distribution and its Relation to the Photographic Prop-
erties of Emulsions.-Inves'tigation having shown that the individual
halide grain is the photochemical unit of the photographic plate, the
properties of the emulsion representing simply the sum of the prop-
erties of the individual grains modified by their positions in layers, a
study of the effect of grain-size distribution in emulsions and its rela-
tion to photographic properties is of great importance. For if emul-
sion sensitiveness is merely a matter of grain-size distribution the
emulsion maker has only to provide the conditions favorable to the
growth of crystals of the proper size in order to produce emulsions of
the highest possible sensitiveness or having any other required
erties. On the other hand, should it be shown that photographic
21 Svedberg, Phot. J., 1922, 62, 183. Slade and Higson, Proc. Roy. Soc., 1920,
A g8, 154. Trivelli, Righter and Sheppard, Phot. !., 1922, 62, 407. Trivelli,
Brit. J. Phot., 1922, 6g, 687.
22 Sheppard, Phot. !., 1921, 51, 400. Renwick, ibid. , 1921, 51, 3133.
zs Liippo-Cramer, Kolloidchemie und Photographie. Renwick, Brit. J. Phot,
1921, 67.
24 Phot. !., 1925, 65, 38o.
properties are not wholly, or only partially, controlled by grain-size
distribution but by other factors as well, the line of investigation must
naturally be directed along entirely different lines.
Before I895 Haddon and Banks called attention to the probability uf
some relation between the size of grains and the sensitiveness of an
emulsion and Mees in I9I5 suggested that "inasmuch as emulsions
are not homogeneous, but contain grains of all sizes, the sensitiveness
of the emulsion will depend upon the distribution of the different
sizes of grains, as will also the shape of the characteristic curve."
25
Slade and Higson as the result of some investigations on the action of
light on an emulsion containing grains of very nearly the same size
and only one layer thick also concluded that the properties of the
emulsion are determined mainly by the relation of the different sizes
of grains to one another and the quantity of each present.
26
Svedberg
found that for every class of grains of nearly the same size in the
emulsion there is a distinct characteristic curve.
27
The matter was not fully investigated in a quantitative manner until
I92I when Sheppard, Wightman and Trivelli of the Eastman Re-
search Laboratory published the first of a series of papers on the
subject (see bibliography). They attacked the problem by photo-
micrographing the grains of various emulsions at a magnification of
2000 times and then enlarging the negative five times, so that the
actual magnification equalled Io,ooo times. The developed grains
of a given area were then measured and divided into classes accord-
ing to size. The data secured in this manner may be represented
graphically by plotting the number of grains of each class as ordinates
against the sizes of the grains as abscissce. In Fig. I I9 are shown
photo-micrographs of the emulsion of a portrait film and a Standard
slow lantern plate together with curves showing the size-frequency
distribution of each. It will be observed that the grains of the posi-
tive emulsion are all comparatively small and uniform, the range be-
ing from about 0.2 to I micron. The high speed portrait film, on the
contrary, shows an extended range of sizes from about 0.2 micron to
as high as 2.7 microns with a maximum close to 0.5.
A correlation of these facts and the photographic properties of
emulsions is to be the subject of further investigation. The data
which has been accumulated shows definitely that the relative speed
2 5 J. Franklin lnst. , 1915, 179, 141.
26
Phot. J., 1919, 59, 26o.
27 Z. Wiss. Phot., 1920, 20, 36.
166 PHOTOGRAPHY
of an emulsion increases rapidly with an increase in the average size,
and range of size, of the grains contained in the emulsion. Several
other interesting relations have been indicated in the course of the in-
vestigation and these points are now being investigated. At the
A
100
SIZE - FREQUENCY CURVE
A= STANDARD SLOW LANT!RN SLIDE
B = PAR SPEED PORTRAIT PILM
"0
2.5 3.0
B
DIAMETIR IN j(
FIG. I 19 . Size Fr equency Di stribution of Sil ver Halide Grains in a Portrait
l'ilm and Lantern Slide Emul sion
present time all that can be definitely stated is that there is apparently
a very close connection between grain size and size-frequency and
the photographic properties of emulsions.
J
..
I
I !'
THE PHOTOGRAPHIC EMULSION
ABNEY-Photography with Emulsions.
AnNEY-Treatise on Photography.
ABNEY-Instruction in Photography.
BuRTON AND PRINGLE-Processes of Pure Photography.
BROTHERS-A Manual of Photography.
EDER-Ausfurliches Handbuch der Photographie.
EDER AND V ALENTA-Beitrage zur Photochemie.
LUPPO-CRAMER-Kolloidchemie und Phot ographie.
LuTHER-Die Chemische Vorgange in der Photographie.
MEES AND SHEPPARD-Theory of the Photographic Process.
167
SHEPPARD AND TRIVELLI-:-The Silver Halide Grain of Photographic Emulsions.
TrssANDIER-History and Handbook of Photography.
V ALENTA-Photographische Chemie und Chemikalienkunde.
WALL-Photographic Emulsions.
CHAPTER VII
ORTHOCHROMATICS
Light and Color. The Spectrum.-White light consists of a
number of wave-movements of various lengths and rate of vibration.
When white light is passed through a prism refraction and dispersion
take place and the rays are sorted out into waves of different lengths
and rate of vibration, producing what is known as the spectrum. The
short waves are the most refrangible so that violet is refracted the
most and red the least, while green and yellow are refracted to an
intermediate extent and occupy a position between the violet and
blue on one side and the orange and red on the other. The position
of any color in the spectrum in respect to other colors is, therefore, a
measure of its refrangibility, or the length of the ether wave.
Although the spectrum consists of a continuous band in which the
colors graduate into one another, it is customary to recognize seven
colors in the visible portion: violet, indigo, blue, green, yellow, orange
and red.
For purposes of reference, it is necessary to have some recognized
means of referring to any desired portion of the spectrum. Such a
purpose is fulfilled by the Fraunhofer lines. These are narrow dark
lines traversing the spectrum and occurring at fixed points so that
they form a convenient means of designation for any part of the
spectrum. In Fig. 120 the spectrum is reproduced by the three-
color process and the positions of the principal Fraunhofer lines are
shown. The numbers beside the lines refer to the wave-lengths in
Angstrom units. An Angstrom unit is equal to I/ IO,ooo,ooo of a
millimeter and is the unit of measurement used in specifying the
length of light waves. As we will have occasion to refer to these lines
and wave-lengths, the student should study the three-color print care-
fully and learn the lines and their relative positions in the spectrum.
Visual and Photo-Chemical Luminosity.-Of the colors which
form the visible spectrum, yellow is the most luminous to the eye.
The relative visual intensities of the various colors of the spectrum
168
;::
:>
E

00
c:
' <I:
. 5
_L:
CD
c:

"
>
"'

7594
7186
6867
6563
5896
5270
5184
4861
4308
3969
3934
1\:1
:-
7594
7186
6867
6563
5896
5270
5184
4861
4308
3969
3934
l. Prismatic Spectrum. - 2. Spectrum produced by diffraction grating.
(Showing the principal Fraunhofer lines.)
print of t he Solar Spectrum.
! 20
c:
:>
E

""
c:

.5

_L:
CD
c:

"
>
'"

~ I
\: ,,
< ~ : ... t:l
r .
0 "
,r
ORTHOCHROMATICS 169
are illustrated in Fig. 121 from Abney/ the heights of the curve
above the horizontal line giving the relative intensity. It will be ob-
served that the maximum intensity is very close to the D line. On
either side of this point the visual intensity of the colors decreases,
the drop of the curve being especially noticeable in the blue and
violet.
If a sensitive plate is exposed in a.spectrograph and the densities,
which are a measure of the work accomplished by light, are plotted
as above, we will find that the silver halides have a totally different
DARK VIOLET BLUE &l!EtN rmow R!D DARK
FIG. 121. Visual Luminosity of the Spectrum after Abney
sensitiveness from that of the eye and that the maximum sensitive-
ness of the plate is found in the violet, while in the yellow near the
D line, where the maximum visual luminosity lies, the plate is prac-
tically insensitive. It will be still more instructive if instead of an
ordinary plate we use the silver halides themselves. Draper, Hunt,
Herschel and, more notably, Abney studied extensively this action of
the spectrum on the silver halides and the latter gives the following
curves which show the sensitiveness of the chloride, bromide and
iodide of silver to the spectrum (Fig. 122).
2
The dotted lines in-
dicate the extension of sensitiveness resulting from extreme lengthen-
ing of the exposure.
The result of mixing the halides is to secure slightly more sensitive-
ness in the blue-green but in no case does the increase begin to ap-
proach the visual luminosity curve of the spectrum. (See Meldola,
Chemistry of Photography, p. 208.)
1
Instruction in Photography, Ioth Ed., p. 6.
2 Instruction in Photography, IOth< Ed., p. g. Also see Meldola, Chemistry of
Photography, p. 255.
170 PHOTOGRAPHY
Since the visual luminosity of the spectrum is so totally different
from the activity of the spectrum, it follows that an
ordinary plate containing only the silver halides cannot reproduce
colors in their proper relation to one another. Blue objects appear
much lighter in photographs than they do to the eye, while yellow is
reproduced as black. As a typical example, we may take the case
of an orange on a blue velvet cloth. Now of the two, the orange is
much the lighter, so much so that the blue appears dark in com-
B A
1.
II.
III.
FIG. 122. Spectral Sensitiveness of the Silver Halides. I. Silver Chloride.
II. Silver Bromide. III. Silver Iodide
parison. When photographed, on an ordinary plate: what do we get?
The brilliant orange is a dark grey, almost black, while the blue has
turned out almost white and, therefore, the color rendering is totally
false. Many other examples might be given to show the false render-
ing of color given by ordinary plates.
The incorrect rendering of color was for a long time a serious ob-
stacle to the progress of photogra.PhY but fortunately means have
been found which overcome this difficulty and there is now no dif-
ficulty in securing proper color values if the proper materials and
skill are used. This notable advance has been made possible through
the discovery of the fact that certain dyes render the silver halides
sensitive, not only to the violet and blue, but also to the green, yellow
and red.
Chemical Constitution of Sensitizing Dyes.-H. W. Vogel in 1873
discovered that the sensitivity of the silver halides could be extended
to the less refrangible rays by certain dyes.
3
Vogel found that naph-
thalene red, magneta, methyl violet, cyanin were effective as sensi-
tizers.4 A number of other dyes were found to act as sensitizers but
a Ber., 1873, 6, 1302.
4
Ber., 1875, 8, 95, 1635
..
'
'
.
ORTHOCHROMATICS 171
as these have with but one exception been supplanted by later dyes, we
will not stop to consider them here. The exception is eosine, the
sensitizing properties of which were discovered by Waterhouse in
1875 This is a powerful green and yellow sensitizer. The flu?-
rescein derivative erythrosine is more generally used, however, for the
iso and orthochromatic plates of commerce, owing to its greater sensi-
tizing range especially in the yellow and the beginning of the orange.
5
Prior to 1903 the dyes which had been found to function as sensi-
tizers were from widely different classes of dyestuffs. In that year
Konig discovered the sensitizing properties of the isocyanine dyes and
since that time the principal sensitizers have been among the cyanines.
The various dyestuffs used for sensitizing are all formed from
benzene which is likewise the source of the organic developing agents.
Benzene has the formula C
6
H
6
and was shown by Kekule to have a
5
Eosine and erythrosine are derivatives of the xanthene skeleton
0 0
CO
,/'
t'
c
H
which is similar to the parent substance of the acridine dyes,
and the flavine group.
NH NH
ceo
,/'
t'
CH
NH NH
ceo/
c
6
Sensitizers have been found in both of these groups ; the cyanines, however,
are much the more important.
7
172 PHOTOGRAPHY
structural formula wh.ich may be represented as a hexagon with the
carbon and hydrogen atoms linked together around the six points:
-CH

CH-""/-CH
I
CH
The substitution of nitrogen in the fourth position in the benzene
nucleus produces pyridine. The union of a benzene nucleus and
pyridine produces quinoline. The substitution of the - CHa group
for hydrogen in quinoline leads to quinaldine.
c c
HCN

CHl) ) c- CH3
CCN
H
Substitution of the - CH
3
group produces lepidine.
H
C C C- CH3

/ -CH
CCN
H
The cyanines result from the linking of lepidine and quinaldine by a
ORTHOCHROMATICS 173
chain of one or three CH groups. When the two are united thus
we have the true cyanines.
The sensitizing properties of cyanin were discovered by Vogel in
1875. It was for a long time the only sensitizer for red but on ac-
count of its tendency to fog and its general unreliability, it has been
completely replaced by the isocyanines and carbocyanines.
In 1903 the first of the isocyanines, Ethyl Red, was introduced.
6
This is ah excellent sensitizer which shows a fairly even band of sensi-
tiveness from the ultra-violet to orange. Ethyl Red was followed by
a whole series of isocyanine dyes, which surpass it in sensitizing
power. These were discovered by Konig and placed on the market by
Farbwerke vorm Meister Lucius and Bruning.
7
These were the sensi-
tizers Pinachrome, Pinaverdol, and Orthochrome T. Similar sensi-
tizers were introduced by Bayer
8
as Perikol, Isokol and Homokol.
In the isocyanines the linking- CH group 'is substituted in the 2: 4'
position; consequently ethyl red (I : I Diethylisocyanjne Iodide) has
the formula:
H
CCC
c ~ ~ - c H - -
c - / ~ / ~
CCN I I I
I ~ / \ /
C2Hs N
/ ~
C2H I
In I905 another very valuable series of sensitizing dyes, the carbo-
cyanines, were discovered by Konig. These are more powerful red
6
Miethe, Chem. Ind. , 1903, 26 (3) 54
7
D. R. P. 167,159 and 167,770 of 1903.
s D. R. P. I s8,o78, 170,648 and 170, 049:
174 PHOTOGRAPHY
sensitizers than the isocyanines. The best known sensitizer in this
class is Pinacyanol. The carbocyanines differ structurally from the
isocyanines in that the linking between the two nuclei is effected not
by a : CH group but by the three-carbon chain, : CH CH: CH.
Thus 2 : 2' -carbocyanine ( Pinacyanol, Sensitol Red, etc.) has the
formula:
I: I' Diethyl-2: 2'--carbocyanine Iodide.
9
The 4 : 4' carbocyanine
/""'/""' - - -
w-cH- cH- cH('(I
N . '\-/ /
! N
C2H5 /""'
C2H5 I
was prepared byAdams and Haller in I920 and called Kryptocyanine.
10
It is a powerful sensitizer for the extreme red and the infra reel.
Besides the true cyanines, there are related compounds which are
formed when one or both of the quinoline nuclei are replaced by o t h r ~ r
nuclei. In thiocyanine the two quinoline nuclei are replaced by benz-
thiazole nuclei. No sensitizers of importance have been found in this
group but in the thioisocyanines, Mills and Braunholtz
11
have found
a series of dyes which are powerful green sensitizers.
-CH :C-S
(
Y'i xl
/ ~ ~
NRX NR
9
Hamer and Bloch, Phot. J., 1928, 68, 21.
1o ]. Amer. Chem. Soc., 1920, 42, 2661.
11 Trans. Chem. Soc., 1922, 121, 2004.
12 J. Opt. Soc. A mer., 1926, 12, 397
'f

ORTHOCHROMA TICS 175
A cyanine, the composition of which has not been described, was
separated from Kryptocyanine by Clarke
12
and introduced by the
Eastman Kodak Company as neocyanine. It is the most powerful
infra-red sensitizer known.
It does not seem possible at the present time to attempt to establish
any rel ationship between the sensitizing properties of a dye and its
chemical constitution.
Known Facts Regarding Color Sensitizing.-The most valuable
work on the theory of dye sensitizing has been done by Eder from
which the following facts are summarized:
13
1. The dye must stain the silver halide grain.
2 . Vigorous sensitizing dyes are substantive dyes. That is, they dye
substances directly without a mordant. Staining of the silver halide
grain is no proof of color sensitizing. .
3 A dye sensitizes for the rays which it absorbs or more accurately
the rays absorbed by the dyed silver halide.
4 The maximum of sensitiveness lies at about the same place as
the maximum absorption of the dye, with a slight shift towards the
red. Stated more correctly, the maximum of sensitiveness agrees with
the maximum absorption of the dyed silver halide.
5 A dye having a narrow band of absorption sensitizes a narrow
band while dyes having broad bands of absorption give broad bands of
sensitiveness.
6. The brilliancy of the dye appears to have no special influence.
7 The sensitizing power of a dye does not appear to be dependent
upon either its fugitive character or its fluorescence.
8. No relation can be found between sensitizing power and the
chemical composition of the dye.
There are two methods of dye sensitizing: (I) bathing an ordinary
blue-sensitive plate in a solution of the dye and ( 2) incorporating the
dye with the emulsion. In general, greater sensitiveness results from
the first method but plates prepared by the latter method appear to
keep better.
The amount of dye reguired is very small. The usual degree of
concentration varies from I part in 1000 to I part in 75,000.
It is found that in order to sensitize, a dye must combine with the
silver halide. Whether there is chemical or molecular combination we
do not definitely know. Eder has elaborated the latter theory,
14
and
13
Ausfiihrliches Handbuch der Photographie, vol. III, p. 150. Grundlage der
Photographie mit Gelatine-Emulsionen.
14 Beitriige zur Photochemie, vol. III, p. 75.
176 PHOTOGRAPHY
assumes that the vibrations are absorbed by the colored compound and
photochemical decomposition then occurs. The researches of Luppo-
Cramer and Traube/
5
if they do not prove the existence of chemical
combination between the silver halide and dye, show that there is a
very close connection between the two. It is found that it is impos-
sible to remove the last traces of dye from an emulsion even with re-
peated washings. Moreover, the plate after washing still shows the
characteristic absorption and sensitiveness of the dyed silver halide.
Eder's third conclusion is practically the same as Draper's law, which
is the foundation of orthochromatics, and states that only those rays
can act chemically on a body which are absorbed by it. Light which
passes through a substance or is reflected from it cannot have any
chemical action.
According to Eder/
6
neither the maximum point of absorption of the
dye nor the maximum point of absorption of the dye in gelatine agree
with the maximum point of sensitiveness of the dyed silver halide.
The maximum photographic sensitiveness lies further to the red by
about 20 millimicrons than the maximum absorption point of the dye
in gelatineY That dyes having narrow intense bands of absorption
would produce similar bands of sensitiveness is to be expected from
the third conclusion (Draper's Law) while the reverse would also be
expected. It is also well established experimentally by the work of
Von Hiibl/
8
Monpillard/
9
and Valenta.
20
Theories of color sensitizing involving the fugitive character of the
dye have been advanced. If this was the case, one would expect the
dyes having the least stability to light to be the best sensitizers. Ex-
amination does not show this to be the case. For. instance, cyanin is
very unstable while erythrosine is quite stable, yet of the two the latter
is by far the most powerful sensitizer. Also, dicyanine is extremely
unstable and a weak sensitizer, while rose Bengal is fairly stable and
yet a good sensitizer. Evidently then there is no connection between
the fugitive character of a dye and its sensitizing action.
It is easily seen how a dye which is fluorescent, if added to the emul-
sion, might produce color sensitiveness but this theory fails when it is
15 Brit. f. Phot., 1907.
16 Beitriige zur Photochemie, III, p. 35.
17 This may be explained by Kundt's Law or Wiedemann's theory. See "Re-
cent Work in Color Sensitizing," Wall, Brit. f. Phot., 1907, 51, 4o6-407.
18 Brit. f. Almanac, 1906, 771, and 1907, 744-
19 Bull. Soc. Franc. Photo. , 1go6, vol. 132.
2o Beitriige .wr Photochemie, HI, pp. 153 and 163.
ORTHOCHROMATICS 177
shown that some sensitizing dyes, as erythrosine, are not fluorescent.
Many other fluorescent dyes of similar composition are not sensitizers.
There is no apparent connection between chemical composition and
sensttlzmg properties. The number of useful dyes is small. Good
sensitizers are found in almost all classes of dyes, while dyes differing
greatly in stability to light and chemical constitution often show re-
markable similarity as sensitizers. While there must be some connec-
tion between sensitizing properties and chemical composition such a
connection has yet to be discovered.
Color Sensitizing Dyes.-Erythrosine is the most widely used
sensitizer for green and yellow although there are other more powerful
sensitizers without the decided depression in the blue-green near
520 11# which is characteristic of erythrosine (see spectrogram in Fig.
r 23). The advantage of erythrosine over more powerful sensitizers,
such as pinaverdol, is that the sensitizing action of erythrosine ends
abruptly at s8o 11-11- while the others continue further into the orange
and red. Erythrosine dyed plates can thus be developed in a red
light while plates sensitized with the newer isocyanines such as
pinaverdol cannot. Pinaflavol, the composition of which has not been
published, is one of the few dyes sensitizing specifically for the green.
Another is 2-p-dimethylamino-styrylpyridine 'methiodide which was pre-
pared by Mills and Pope
21
in 1922. The sensitizing curve of pin::t-
flavol reaches from about 58o-480 11-11- with a maximum at about 530.
The sensitizing action of 2-p-dimethylaminostyrylpyridine methiodide
extends to about 6oo 11-11- These green sensitizers are of value more
particularly for sensitizing the green plate in three-color photography.
Ethyl Red, the first of the isocyanines, has been completely replaced
by the more powerful sensitizers, orthochrome T (p-toluquinaldin-
quinolinmethylcyanin bromide), pinaverdol (p-toluqujnaldin-quinolin-
methylcyanin bromide) and pinachrome (p-ethoxyquinaldin-p-meth-
oxyquinolinethylcyanin bromide). Orthochrome T and pinaverdol
are essentially green and yellow sensitizers (see spectrograms in Fig.
123). Neither has the depression in the blue-green characteristic of
erythrosine. Pinaverdol is a stronger blue-green sensitizer than
orthochrome and its action extends farther into the orange, ending at
630 11-11- The sensitizing action of pinachrome extends even farther
into the red ending approximately at 650 11-11- Pinachrome forms an
excellent sensitizer for color-sensitive plates where high red sensitivity
is not required. For panchromatic plates with a high red sensitivity,
21
J. Chem. Soc. (London), 1922, 121, 946.
178 PHOTOGRAPHY
EASTMAN 40
PINACHROME
ACRIDINE ORANGE
PINACHROME VIOLET
ERYTHR'OSINE & AMMONIA
PANTOCHROME
RHODAMINE B PINACYANOLE
PINAFLAVOL NAPHTHACYANOLE
ORTHOCHROME T DICYANINE A
PINAVERDOL K RYPTOCYANINE
NEOCYANINE
F1c. 123. Spect ral Sensitiveness of a Gelatino-bromo-iodide Emul sion,
color-sensitized wit h var ious dyes
ORTHOCHROMATICS 179
pinachrome is combined with pinacyanol, an extremely energetic red
sensitizer, the sensitizing action of which extends to approximately
690 JLJL (see spectrogram) . As pinacyanol does not sensitize to green
it is generally used with pinachrome or pinaverdol to fill up the de-
pression in the green. Pinachrome violet, a later introduction, com-
bines more readily with orthochrome, pinaverdol and pinachrome than
does pinacyanol and sensitizes more strongly to red. Pinachrome
violet and pinachrome, or orthochrome, make an excellent sensitizer for
panchromatic plates where an even sensitizing action from the blue-
green to the red is wanted.
22
Pantochrome as a sensitizer resembles
pinachrome violet very closely; the sensitizing action, however, is more
even; the minimum near 500 JLJL being less than with pinachrome
violet. Pinachrome blue and pinacyanol blue are two later introduc-
tions, the sensitizing action of which reaches farther into the red than
does pinacyanol itself ; pinachrome blue sensitizing to approximately
68o JLJL and pinacyanol blue to 750 JLJL Like pinacyanol, neither is a
green sensitizer. N apthacyanole (I, I diethyl di-,6'-naphthcarbocyanine
nitrate) is a strong red sensitizer which shows a maximum at 690 JLJL
in the deep red. As a green sensitizer it is even less energetic than
pinacyanol and as it does not combine well with green sensitizers, it is
suitable principally for work in which high red sensitiveness is re-
quired.
Dicyanine was for a long time the only known sensitizer for the
extreme infra-red, as with ammonia it has been possible to reach
1000 JLJL In order to get good sensitizing, however, ammonia must be
added to the dye bath and this tends to produce heavy fog. It is a
very difficult dye to work, owing to its erratic behavior, and its use has
been confined principally to infra-red spectrography. Dicyanine A is
an ethoxylated dicyanine which is slightly more powerful as a sensitizer
than Dicyanine. Dicyanine is now being replaced even for spectrog-
raphy by two later introductions, kryptocyanine and neocyanine. The
sensitizing action of the former is greater than that of dicyanine up to
825 p.JL beyond which dicyanine is superior. N eocyanine, however,
sensitizes strongly to 900 JLJL while with longer exposures the mercury
line at I I28.8 JLJL has been recorded. Both kryptocyanine and neo-
cyanine work clean and free from fog and may be added to the emul-
22 Bloch and Renwick found (Brit. J. Phot., 1920, 67, 304) that aurine (di-
methyl-amidoimino-diphenylmethane) which is not in itself a sensitizer increases
the color sensitivity of plates sensitized with the isocyanines and carbocyanines
and tends .to restrain the fogging tendencies of these sensitizers.
180 PHOTOGRAPHY
sion before coating or used for bathing. Plates sensitized with krypto-
cyanine are furnished by the Eastman Kodak Company as " Extreme
Red Sensitive Plates" and the neocyanine plates as "Infra-Red
Sensitive Plates."
Color Sensitizing by Bathing.-Most sensitizing dyes may be
added directly to the emulsion before coating and this is the general
practice in the preparation of the color-sensitive plates of commerce.
Plates bathed after coating in solutions of the sensitizing dyes usually
have a higher degree of color sensitivity but, if the evidence available
can be accepted, do not keep so well as those in which the dye is in-
corporated in the emulsion prior to coating.
The dyes used for sensitizing may be purchas'ed in the solid state or
in a solution at a concentration of I : rooo, except in a few cases in
which the dye does not keep in solution. For the experimenter, who
requires only a small quantity of a dye, it is best, where possible, to
purchase the I : rooo solution. In handling the dye solutions, it should
be remembered that they are all sensitive to light so that they should
be kept away from strong light.
The character of the plate is one of the most important factors in
successful color-sensitizing by bathing. As a rule, ultra-rapid plates
are very prone to give excessive fog after sensitizing and medium
speed, clean-working plates are to be preferred. There is, however,
no way of estimating the suitability of a given plate except by actual
trial.
Absolute cleanliness is essential at every point and many of the fail-
ures met with in color sensitizing may be traced to chemical con-
tamination. Either a tray or a grooved tank may be used for the
sensitizing bath; the latter is obviously the more convenient where a
number of plates are to be bathed. In either case the solution should
be agitated every now and then or it will settle down. Glass trays, or
tanks, are to be preferred as they are more easily kept clean. The
tray or tank used to hold the dye solution should be used for no other
purpose.
The time of bathing depends to a certain extent on the temperature
and more on the concentration of the dye solution. As one never
knows what correction to make for higher or lower temperatures, it is
best to maintain a temperature of 20 degrees centigrade as closely as
possible. At this temperature and for the concentrations given .in the
table below, the time of bathing ranges from I to 5 minutes.
The treatment after bathing varies with the particular dye employed.
;t
ORTHOCHROMATICS 181
Some require a brief rinse in methyl alcohol, others immersion in a
weak bath of ammonia; some should be washed in distilled water,
others should not be washed at all. The precise treatment to follow in
each case is indicated in the table which follows.
Regardless of the particular dye employed, the plate should be dried
as rapidly as possible as the rate of drying greatly influences the color
. sensitivity and keeping quality. With some dyes the plate must be
dried in from 1 to 2 minutes if the plates are to keep more than a few
clays without fog, and in general not more than 5 minutes should be re-
quired. A drying cupboard is almost a necessity, but lacking this, one
may use one of the electric hot-air dryers as used by hairdressers or an
electric fan.
The table on page 182 shows the dilution of the sensitizing dye
for stock solutions; the composition of the sensitizing bath n ~ the
treatment after bathing. The methods indicated are based for the
greater part on a paper by Dundon, Color Sensitizing Photographic
"' Plates by Bathing.
23
Hypersensitizing of Color Sensitive Materials.-The color sensi-
tiveness of emulsions which incorporate the more efficient sensitizing
dyes such as pinacyanol, or a combination of pinachrome violet and
pinachrome, is sufficient for all ordinary requirements. There are,
however, a few special cases, notably aerial photography, which call
for still greater color sensitiveness in order to permit of short ex-
posures with dense, haze-penetrating filters. To reach this end vari-
ous methods of hypersensitizing color-sensitive plates and film have
been worked out. From the practical point of view, all are more or
less open to the same objection; namely, the material after treatment
does not keep at all well and begins to show fog in a very few days
after treatment.
J acobsohn
24
recommends for the hypersensitizing of panchromatic
material a bath consisting of :
Ammoniacal silver chloride, stock solution ... ... . . . ... . . . ..... 4 cc.
Distilled water ... ...... .. . . .. .... . ......... .... . .... ........ 200 cc.
This solution will serve for six 9 x 12 centimeter (30 x 4:Y.4 inches)
plates, or their equivalent. The time of bathing at 18 degrees centi-
grade (65 degrees Fahr.) should be two minutes. The same precau-
tions as to cleanliness and rapid drying must be observed as when
sensitizing plates with dyes.
23 A mer. Phot., 1926, December.
24
A mer. Phot., 1929, 70; B1it. J. Phot ., 1929, 76, 315.
182 PHOTOGRAPHY
CoMPOSITION OF BATHS FOR CoLOR SENSITIZING BY BATHING
(The stock solution of the dye referred to in the table is a I: 1000 solution of
the dye in methyl alcohol except in the case of Pantochrome, Kryptocyanine and
Neocyanine which is I: 2000 and Dicyanine A and Naphthacyanole which is
I: 5000.)
Sensitizing solution
Dye
Stock
Remarks
Water dye Alcohol Ammonia
solution
-------------------------------
Erythrosine
Rhodamine B
Pinachrome
(Sensitol Green)
Orthochrome
Pinaverdol
Pinacyanole
Pinachrome violet
(Sensitol violet)
Pantochrome
N a phthacyanole
Dicyanine A
Kryptocyanine
Neocyanine
Pinachrome violet and
Pinachrome
IOO 20 2 (28%)
100 10
100 2
IOO 2
so
IO
6o 20 20 4 (28%)
soo
2 (I % )
75
25
Distilled water 500
Alcohol 250
Pinachrome violet I : 1000 7
Pinachrome I : woo 7
Immerse in 2% solut ion
of ammonia prior to
bathing. Wash 3 min-
utes after sensitizing.
Time of bathing 2 min-
utes. Dry without
washing.
Time of bathing 3-4 min-
utes. Rinse well in
methyl alcohol after
sensitizing and dry as
rapidly as possible.
utes. Rinse I minute in
methyl alcohol and dry.
utes. Rinse well in
methyl alcohol and dry.
Mix wat er and alcohol
and cool to 50 F. Add
dye and allow 5 mm-
utes to mix with the
solution, then stir in the
ammonia. Time of
bathing 4 minutes with
constant agitation.
Rinse in methyl alcohol
and dry rapidly.
Time of bathing 3-4 min-
utes. Rinse in methyl
alcohol and dry as rap-
idly as possible.
Time of bathing I minute.
Rinse in methyl alcohol
and dry rapidly.
Time of bathing 3 to 4
minutes.
ORTHOCHROMATICS 183
The ammoniacal silver chloride solution referred to is compounded
by dissolving 1.5 grams (23 grains) silver nitrate in 50 cc. (about 2
ounces) of distilled water. Hydrochloric acid is then added to this
solution as long as a white precipitate of silver chloride is seen to be
formed. The clear solution is now poured off, the vessel filled with
distilled water, shaken, allowed to settle and then poured off. This
. operation is repeated a second time, after which the precipitate is dis-
solved in 200 cubic centimeters (7 ounces, 20 min.) of ammonia 0.190.
This ammoniacal silver chloride stock solution (which keeps well) is
used in preparing the hypersensitizing solution, which does not keep.
By this treatment the general color sensitivity is increased from 2.5
to 75 times, depending on the type of plate or film employed.
' The Theory of Light Filters.-With our present knowledge of
emulsion making it is impossible to make a plate having the same
sensitiveness to colored light as the eye. No matter what dye, or
combination of dyes, is used the action of the blue and violet remains
stronger than it should be. All emulsions are also extremely sensitive
to ultra-violet, while this is invisible to the eye. To eliminate the
action of the ultra-violet and diminish the action of the violet and
blue so as to secure a closer approximation to the sensitiveness of
the eye, it is necessary to use colored screens which, by absorbing
these colors either completely or partially, cause the less refrangible
rays to affect the plate in approximately the same proportion as they
do the eye. An orthochromatic filter should, so far as possible, com-
pletely absorb the ultra-violet without absorbing any of the visible
spectrum completely, but it must absorb the blue and violet to such an
extent that the photographic effect on the plate will be equal to the
visual effect of those colors. Filters which accomplish these p u r p s ~ s
are known as orthochromatic, compensation, ray, or correction filters.
While in most cases we desire faithful color rendering, there are
times when accurate color rendering will not produce a satisfactory
result and it is necessary to deliberately sacrifice truthful color ren-
dering in order to bring out the colors satisfactorily. This is due to
the fact that there are two kinds of contrast by which objects are
picked out from their surroundings by the eye. We may have color
contrast where the difference lies purely in color or we may have tonal
difference where the color is the same in both cases but the two areas
are different in depth. In the latter case, any plate will properly re-
produce the contrast provided it is properly exposed and developed.
184 PHOTOGRAPHY
In the first case, if the two colors, say green and red, are photo-
graphed on an ordinary plate, which is insensitive to these colors, both
are represented by black and consequently there is no contrast. If a
panchromatic plate which is sensitive to the entire visible spectrum is
used with the proper compensation filter, we secure a uniform field of
gray without any contrast because of the fact that the two areas are
different only in color and not in depth or darkness. Therefore, in
order to bring out the contrast between the two colors, it will be neces-
sary to sacrifice the correct rendering of either the green or red.
If a filter which transmits nothing but green light is placed in front
of the lens during the exposure, the green will be reproduced light
while the red will be absorbed in passing through the filter and will
reproduce dark. If, instead of the green filter, one passing a narrow
band in the orange-red is substituted, the red will be reproduced as
light while the green is dark because the green rays from the object
are absorbed in the filter and fail to reach the plate. Filters which
show a narrow band of transmission and are used to pick out colors
from their surroundings are known as contrast or selection filters.
Color Sensitive Plates with Incorporated Filter Dyes.-Regardless
of the particular sensitizing dye, or combination of sensitizing dyes
used, the added color sensitiveness to the less refrangible rays . does not
equal that for the blue and violet. If a yellow filter dye is added to
the emulsion, this dye will act as a color screen for the depths of the
emulsion when coated on a plate or film base. The screening effect on
the grains of silver halide next to the surface will be slight, but the
screening effect of the dye will become more apparent as we go deeper
into the emulsion. Plates in which a yellow filter dye is incorporated
to reduce the sensitiveness of the plate to blue and violet light are
known variously as self-screen, non-filter, anti-screen, auto-filter, etc.
The dye usually used is filter yellow K. Meister, Lucius and Briining
supply a mixture of erythrosine and filter yellow K as Pinortho I, and
Pinachrome and filter yellow K as Pinortho II.
Orthochromatic Filters.-A filter which reduces the blue and
violet to the point at which the photographic effect of the different
colors corresponds to the brightness of the colors to the eye (a con-
clition which may be defined as perfect orthochromatic reproduction)
is too dense for practical use as the exposure is increased to a pro-
hibitive extent. Consequently, it is customary to consider as a fully
correcting filter one which absorbs sufficient of the more active rays
ORTHOCHROMATICS 185
to render the photographic action about equal for all of spectrum to
which the plate may be considered sensitive.
To find the absorption curve of a filter which will give correct color
rendering on a plate or film we require first to know the sensitiveness
of the plate to the various colors. If we photograph the spectrum on
the plate in question and express in densities, which are a measure of
the work accomplished by light, as a function of wave-length, we ob-
tain a curve which shows the sensitiveness of the plate to the colors of
. the spectrum. Then, if from the ordinates of this curve we subtract
those of the curve representing the visual brightness of the spectrum,
we obtain a curve showing the absorption which the filter must possess
to produce perfect color reproduction with that particular plate or film.
The practical consequences are that for best results the orthochro-
matic filter for any particular plate or film should be that advised by
the maker for his product. Small differences in manufacture lead to
differences in color sensitivity even where the same dyes are used;
consequently a filter which may be regarded as a fully correcting filter
for one plate may not absorb sufficient blue and violet rays to com-
pensate for the lower color sensitivity of another plate.
Since the color filter absorbs the more active rays, its use necessi-
tates an increase in exposure. The amount which the exposure must
be increased, under like conditions, when a filter is used is known as
the " factor" of the filter. Thus a filter which under the same con-
ditions doubles the exposure required by the plate without a filter is
said to have a factor of 2. The factor of a given filter depends upon
the light source by which the exposure is made and the spectral range
of the sensitive material. The greater the relative intensity of the
light source in that portion of the spectrum transmitted by the filter,
the lower the factor of the filter. The multiplying factor of the usual
yellow filter, for example, is much less with clear, incandescent electric
light than with daylight, owing to the greater abundance of long-wave
radiation in the former as compared with daylight.
The expression, "a 2 x filter," is meaningless, therefore, unless the
plate and the nature of the light source are specified. Where a filter
is stated to be a 2 x filter for a certain plate or film, the use of daylight
or an artificial light source approximating daylight, i.e., the white flame
arc, or blue incandescent lights, is assumed.
The following table will give one an idea of the extent to which the
factor of a filter is altered by changes in the light source and the char-
acter of the plate.
. I
186 PHOTOGRAPHY
FACTORS FOR A YELLOW FILTER (K3 ) ON O RDI NARY (PORTRAIT FILM) ON ORTHO-
CHROMATIC (COMMERCIAL 0RTHO) AND PANCHROMATIC (CoMMERCI AL PAN-
CHROMATIC FILM) TO DAYLIGHT, WHITE FLAME ARC, CLEAR MAZDA
LAMP AND CooPER-HEWITT MERCURY VAPOR TuBES
Daylight .. ... .. ... .. ... . . . . .
White flame arc .... . ... . . . . . .
Clear Mazda ....... . .. . . . .. .
Cooper-Hewitt ... . . .. ....... .
Ordinary
32
8
3
20
Orthochromatic
I2
8
3
32
Panchromatic
45
3
r.s
5
The use of any filt er in glass alters the focus of the lens, so that
focusing should be done with the filter in place. For long focus and
telephoto lenses the use of filters cemented in optical flat glass is ad-
visable as filters of ordinary optical glass may affect the definition of
the objective.
Orthochromatic Methods in Landscape Photography.-There is by
no means complete agreement concerning the value of orthochromatic
methods among landscape workers. Some workers pin their faith to
an ordinary plate owing to the better representation of atmosphere.
Others use color-sensitive plates of the iso type with just enough cor-
rection to render the clouds with the landscape while still others in-
sist on complete color correction and use panchromatic plates with
fully correcting filters.
The best methods in practice depend upon the results desired. The
pictorialist who revels in atmospheric effects of early morn or late
afternoon and evening will find the ordinary non-color-sensitive plate
better adapted to his requirements than color-sensitive plates because
the very deficiency of the plate causes it to emphasize the features
which he desires. The appearance of atmosphere is due to the light
rays reflected from dust particles in the air and these rays are always
either blue or violet, except at sunset or sunrise when they may be
tinged with yellow and orange. Ordinary plates are very sensitive
to the blue and violet and also the invisible ultra-violet, which is
present in the atmosphere to a considerable extent, and, therefore,
emphasize any suggestion of atmosphere.
Many workers employ orthocromatic methods only to the extent of
securing printable clouds in their landscapes. For this purpose a com-
paratively light screen is all that is necessary. Full exposure should
be given, otherwise the sky portion of the negative is thin and the
foreground has excessive contrast, sometimes appearing as if snow
ORTHOCHROMATICS 187
was present. The depth of filter will be determined very largely by
the strength of the clouds. If these are strongly marked a very light
filter is all that is necessary, while stronger filters are necessary for the
thin delicate clouds often observed. Care should be taken not to over-
correct the sky (which will be done if a strong filter is used), as the
clouds lose much of their delicacy and charm when this is done.
For distant views of mountain scenery and over cities with their
enveloping haze of smoke and mist and for aerial photography stronger
filters are required. Haze results from blue and violet light reflected
by tiny particles in the atmosphere and can be removed by the use of
filters which absorb the radiation which these particles reflect. The
stronger the haze and the lower the initial contrast of the subject, the
deeper the filter required. Strong yellow filters requiring from 3 to
5 times increase with panchromatic plates, or film, or the various filters
provided for aerial photography enable the photographer to secure
practically any details which may be visible to the eye, while the use
of deep red filters and highly red-sensitive plates will often enable de-
tails to be photographed which cannot be sharply perceived by the eye.
Orthochromatic Methods in Portraiture.-Concerning the value of
color-correct rendering in portraiture, Dr. Mees says:
25
" In no
branch of photography is the reproduction of colored objects in mono-
chrome of greater importance than in portraiture and in no branch
is it in greater danger of being ignored. The flesh tints, with which
the portrait photographer is mainly concerned, are chiefly of a red-
dish nature, while the yellow and brown shades of hair and the va-
riety of eye-colors apart altogether from the clothing cause every sit-
ter to present a distinct problem in color reproduction."
Figure 124A is a. print from a negative made on an ordinary non-
color-sensitive portrait plate. Ordinary plates are sensitive only to
the violet and to blue, rays which are almost completely absorbed by
the skin. The result is that an ordinary plate fails to reproduce the
texture of the skin properly and produces excessive contrast which
emphasizes all of it's lines and imperfections. The various shades of
brown, golden and red hair are difficult to photograph properly and
all sorts of dodges are used by operators to secure a passable render-
ing of the same. In most cases when the proper tint is secured the de-
tail of the shadows in the hair is lost. The wrinkle which exists
around the eyes is often a comparatively deep shade of red and is
25
Photography of Colored Objects.
188 PHOTOGRAPHY
....
ORTHOCHROMATICS 189
reproduced too dark with an ordinary plate and the retoucher in
lightening the same often destroys the strength of the eye by taking
out the wrinkle entirely.
In Fig. 124B is shown a portrait of the same subject under identical
conditions excepting that a color-sensitive plate and filter were used
in making the original negative. The material used was the East-
man Panchromatic film and a K2 filter requiring an increase in ex-
posure of 30 times. The marked improvement in the rendering of
flesh tones and skin texture is quite evident. While the result may
not yet be entirely satisfactory and some further retouching may be
necessary, considerably less time will be required for this operation
since most of the retoucher's work has been done for him, and owing
to the comparatively small amount of retouching required on the lat-
ter negative there is less danger of losing the facial expression of the
subject in that operation.
Ultra-rapid panchromatic plates and film of portrait quality are now
available so that there is no longer any real objection to the exclusive
use of color-sensitive materials for general portrait work. With day-
light, light filters may be used without unduly lengthening exposures
while with artificial lights, such as the clear incandescent lamp and the
open arc with the so-called " panchromatic " carbons, no filter is re-
quired for the average subject. With artificial lights, such as those
mentioned, having a great abundance of long-wave radiation, pan-
chromatic materials are distinctly faster than non-color-sensitive ma-
terials having the same speed to daylight because they are especially
sensitive to the long-wave radiation of these light sources. It is only
a question of time before the use of color-sensitive materials will be-
come universal.
Photographing Color Contrasts.-We referred to this subject under
the subject of color filters but we now wish to devote some space to
the application of the same in practice.
To photograph a color as black a filter must be employed having an
absorption band in the wave-lengths of the particular color to be
rendered as black. In other words to photograph any given color as
black it must be photographed through a sharp cutting filter which
completely absorbs the color of the subject. No. rays of light re-
flected from the subject will then reach the plate and the color will be
as black as it can be made.
To render a color as white it must be photographed not in its ab-
..
190
PHOTOGRAPHY
moat valuable of the year ia the
I , I
Hiatorie de la Decouverte de la Photographie by Georgea Pctonniee
lpubliahed by Montel-Paria). In thia work the hiatory of photo-
graphW iacovered completely from ita inception to the death of
Daguerre in 1851. The aeoond volume{to appear aoon)will
the work and bring it down to modern timea. Another work
of the year ia the of the Developed
by."t.!il.Rou,which 1a Number 4 of the aeriea of Jonographa on the
lfheory issued by the Reaearch
Eastman Company. Many of the more important
and deaena1t1zing dyes are diacuased in a work by

Green &: Co., Hev1 York)
Frc. rzsa. Photograph of Manuscript in Blue with Red Corrections using
Green Filter
Perhapa the moat valuable publication of the year ia the
Hiatorie de la Decouverte 4-e la Photographie by Georgu Po.tonniee
lpubliahed by Montel-Paria). In work the hiatory of photo-
graphW ia covered. completely from ita inception to the death of
Daguerre in 1851. The aeoond volume to appear aoon will complete
the work and bring it do'lm to modern time .Another work
of the year ia the Phyaica of the Developed Photographic
by f.lil.Roaa,which ia Number 4 of the aeriea of monograph on th8
theory of photography iaaued by the Reaearch laboratory of the
Eastman Kodak Company. Many of the more important aenaitixing
and deaenaitizing dyea are diacuaaed in a work by
'Dyeatuffa derived from Pyridine,Q.uinoline,Acridine and xanthene".
(longamanns Green &: Co., Hev1 York)
Frc. 125b. Photograph of Manuscript in Blue with Red Corrections
showing Use of Red Filter
ORTHOCHROMATICS 191
sorption band but in its reflection band. In other words, any color
will be reproduced as light if it is photographed through a filter of its
own color.
Red objects absorb blue and green light.
Green objects absorb blue and red light.
Dark Blue objects absorb green and red light.
Yellow objects absorb blue light.
Magenta or purple objects absorb green light.
Light blue or blue-green objects absorb red light.
Suppose, for instance, we have a manuscript typewritten in blue ink
with corrections in bright red. We desire to make one photograph
showing the manuscript complete with corrections and another show-
ing the text without the alterations. What filters must we employ?
If an ordinary, non-color sensitive plate without a filter is employed we
will probably find that while the alterations in red stand out while the
blue of the original text is quite faint. An orthochromatic plate with
a compensating filter will make the blue typewriting somewhat darker
but for the greatest possible contrast we must employ a contrast filter
which completely absorbs both blue and red. Such a filter would
transmit a narrow band in the green and would give us the result
shown in Fig. r:zsa. To eliminate the corrections we must reproduce
red as white while making blue dark, accordingly we would select a
contrast filter transmitting red, such as the Wratten A or F. This
would give us the result shown in Fig. r25b. Should it be required to
photograph the corrections alone, eliminating the original blue type-
written text, this might be accomplished by the use of a dark blue filter,
such as the Wratten C.
One of the best examples of the value of orthochromatic methods
and the application of the principles of color contrast occur in photo-
graphing furniture. In Fig. 126 are shown comparative photographs
of wood sections on ordinary and panchromatic plates with proper
filters and the immense improvement in results obtained by the use of
the latter is at once evident. If red mahogany, for instance, is photo-
graphed on an ordinary plate, no trace of the grain is visible, while
increasing the exposure merely results in bringing up a large number
of scratches imperceptible to the eye. However, by using a panchro-
matic plate with an orange-red filter the scratches disappear and the
~ r i n of the wood is brought out.
In photographing furniture, success depends chiefly upon the selec-
192 PHOTOGRAPHY
(Coltrlesy of Jl.ford Ltd. )
On
Ordinary
Pla t e
On
Pa nchro-
matic
Pl a t e
I ~ J < : . 126. Wood Secti ons on Ordinary and Panchr omati c P la tes
ORTHOCHROMATICS 193
tion of the proper filter for the subject. For mahogany the greatest
contrast is obtained by using an orange-red filter such as the Wratten
A. With yellow woods like oak, satinwood, and walnut, the deep yel-
low filter as the W ratten G will be of greatest service. Care must be
taken not to exaggerate the contrast of inlaid furniture and the mat-
ter must be compromised, using either a fully correcting orthochro-
matic filter as the K3 or one of deep yellow or orange-red.
In general it is best to depart from orthochromatic rendering only
when absolutely necessary. Whenever there is doubt, it is good policy
to make one exposure with an orthochromatic filter in addition to that
made with the contrast filter which is judged to be correct.
BIBLIOGRAPHY
BAKER-Orthochromatic or Isochromatic Photography.
EoER-Uber die Chemischen Wirkungen des Farbigen Lichtes.
EDER AND VALENTA-Beitrage zur Photochemie und Spectralanalyse.
HDBL-Die Photographischen Lichtfilter.
HDBL-Die Orthochromatische Photographie.
KoNrG-Das Arbeiten mit Farben empfindlichem Platten.
MF.Es-Photography of Colored Objects.
WEIGERT-Die Chemischen Wirkung des Lichtes.
CHAPTER VIII
THE LATENT IMAGE
Photo-Physical and Photo-Chemical Change.-Nearly every body
undergoes some change when exposed to light. The change may be
slow or it may be remarkably rapid, as in the case of the silver halides,
according to the nature of the body, and it may be either physical or
chemical in character. In the first case the change consists in an
alteration of the appearance or properties of the substance but unac-
companied by any change in composition, while in the second case the
composition, as well as the properties of the substance, are altered.
As an example of a physical change due to the action of light we may
take selenium, which in darkness is a non-conductor of electricity but
becomes a conductor when exposed to light. Yell ow phosphorus, a
highly inflammable substance, is gradually converted by the action of
light into a red phosphorus with entirely different properties. Pow-
dered non-crystalline selenium gradually becomes crystalline upon ex-
posure to light. . Certain metallic salts, such as the crystalline chloride
or iodide of silver, nickel sulphate, and zinc selenate, experience a
change in crystalline form under the influence of light. In all such
cases it should be observed that no chemical change has taken place.
Crystalline and non-crystalline selenium are both selenium and have
the same composition, while the same is true of the forms of yellow
and red phosphorus and of soluble and insoluble sulphur. The change
which has taken place is due to some alteration in the arrangement of
the molecules but not to such an extent as to cause a chemical change.
Regarding the chemical changes due to light, Eder has made the
following general statements:
1. All kinds of light from the ultra-violet to the infra-red, whether
visible or not, have some photo-chemical action. The rate of action
may vary to a considerable extent, but there is no kind of light that is
absolutely without effect on a body if the time is sufficiently prolonged.
2. Photo-chemical action is produced only by such rays as the body
absorbs (Draper's Law), so that the chemical action of light is closely
related to optical absorption.
3 The sensitiveness of a body towards rays of a definite refrangibil-
ity is increased by the admixture of other substances which absorb
the same rays.
194
THE LATENT IMAGE 195
4 A substance is, as a rule, decomposed faster by a given color
when it is mixed with a body which absorbs one of the products re-
sulting from the photo-chemical decomposition.
The action of light may . bring about either decomposition or com-
bination. Examples of the former occur in nearly all photographic
processes while a familiar example of the latter is the union of chlorine
and hydrogen, to form hydrochloric acid according to the equation:
H
2
+ Cl
2
= 2HCI.
Moisture is essential to the above reaction and it is possible that a cer-
tain amount of water is required for all photo-chemical reactions.
Thus the action of light may be either reducing or oxidizing in
character, depending upon the nature of the substance under its in-
fluence.
The Latent Image.-When light is allowed to fall on a photographic
plate, or upon silver halide precipitated from solution, the silver bro-
mide is altered in some unknown way because a reducing agent, or
" developer," is able to darken the silver bromide exposed to light
more rapidly than that which has not been exposed. We say that the
light has produced a " latent image " because it is invisible to the eye
but susceptible tci certain reducing agents, and it is our problem to de-
termine the nature of this change and of what this latent image con-
sists. The nature of the change which occurs when a silver halide is
exposed to light is still an unsolved problem, despite much speculation
and the enormous amount of experimental work which has been done
by the most eminent scientists in an attempt to reach a solution of the
problem. While this work has not enabled us to reach any definite
conclusion, it has been of very real value as many facts regarding the
character and reactions of the invisible image have been established
which must of necessity be taken into consideration when forming a
working theory of the latent image. Therefore it seems advisable to
review some of the more important experimental work by various
authorities, which has a definite bearing on the nature and composition
of the latent image, before proceeding to a discussion of the theories
advanced to explain the same.
Artificial Latent Images.-Towards the end of the last century, W.
J. Russell found that many substances were able to act on a photo-
graphic plate in some manner so as to make it developable without any
exposure to light. The number of substances which would act in this
manner was very great, and included freshly scratched metals, espe-
I
I
I
I
I
\ I
'>,J
!
196
PHOTOGRAPHY
cially zinc and magnesium, many fats and volatile oils, and numerous
other natural organic bodies like wood, straw, blood and resin. The
activity of all these materials was traced to the formation of hydrogen
peroxide as a .result of the superficial oxidation of the substances in
moist air. The vapor and solution of hydrogen peroxide itself ex-
hibited the phenomenon to a much more marked degree.
Since Russell's first experiments, a vast number of materials have
been discovered which, when applied to a plate, make it developable
in absence of exposure to light. For instance solutions of many mild
reducing agents such as sodium arsenite, very dilute ferrous oxalate,
sodium hypophosphite and stannous chloride, dilute acids, certain
neutral salt solutions and some dyes can all act on a plate to give some
sort of latent image. The materials which have been most investigated
in this respect are sodium arsenite and hydrogen peroxide. Their ac-
tions on the plate show an extraordinary parallelism with the action of
light. A study of the fogging action of peroxide and arsenite should,
therefore, be of assistance in shedding some light on the nature and
formation of the latent light image, and on the nature of the sensi-
tiveness of the grains in a photographic emulsion.
Hydrogen Peroxide.-The action of hydrogen peroxide increases
with increase in time of treatment
2
of a plate by a solution of definite
concentration, and with increase in concentration of the solution, for
a given time of treatment, giving rise on development to a density-
exposure curve similar in form to the well-known /-shaped character-
istic curve for exposure to light. On prolonged treatment with per-
oxide the curve shows a definite reversal portion, as in the case of
light exposure. The characteristic curve for peroxide treatment varies
in the same way with time of development as does the normal curve
for exposure to light. Plates most sensitive to light are also most
sensitive to peroxide, and the bigger grains in an emulsion are, on the
average, mote sensitive than the smaller ones to both light and per-
oxide.
Intensification with Hydrogen Peroxide.-Treatment of a plate
with hydrogen peroxide at concentrations below that at which fog is
produced increases the developability of the image. This fact, first
noticed by Liippo-Cramer,
3
has been studied in detail by Wightman,
4
2
S. E. Sheppard and E. P. Wightman, !. Franklin Inst., 1923, 195, 337
3
Liippo-Cramer, Phot. Korr., 1915; 52, 136.
4
Wightman, Brit. J. Phot., 1927, 74, 447
.,
'
) .
. '
r.
Trivelli ,
5
Sheppard
5
and Quirk,
6
of the Kodak Research Laboratories
!Jy whom it is termed intensification of the latent image.
Studies of the effect of hydrogen peroxide on single-layer "plates
show that the number of developed grains in a given area affected by
light following treatment with hydrogen peroxide is greater than the
sum of those acted upon separately by light and hydrogen peroxide.
If it is assumed that the sensitivity centers of the silver halide grains
vary in size and that the effect of light is to increase these centers
proportionately, that is to produce latent image centers of various
sizes, some of which are large enough to make the grains developable
while others are not, then the effect of hydrogen peroxide is evidently
to increase the smaller sized latent image centers to the size necessary
to render them developable. Just how the hydrogen peroxide acts in
bringing this about is still a matter of doubt; the most likely explana-
tion is that the hydrogen peroxide reacts with the small amount of
soluble bromide in the plate to set free very small quantities of r o m i n ~
which according to the theory of Hickman (to be discussed later) re-
acts with the silver sulphide of the sensitivity speck in such a way itS
to produce silver and thus enlarge the development center.
The effect of hydrogen peroxide varies with the concentration and
time of treatment and is greater for fast plates than for slow. It is
prevented entirely by desensitizing the plate in chromic acid or by the
removal of the soluble bromide in the plate by the action of silver
nitrate.
Intensification of the latent image as produced by hydrogen peroxide
is not a property of fogging agents generally as other agents such as
methylene blue which produce fog are unable to cause intensification.
Silver nitrate appears to be the only other substance possessing this
property.
Sodium Arsenite.-Sodium arsenite gives a characteristic curve
similar to that for light, and with a well-defined reversal portion.
Plates faster to light seem also to be more sensitive to the action of
arsenite. The distribution of the latent image due to arsenite treat-
ment has been studied in the same way that Svedberg and Toy studied
the distribution of the latent light image due to light, by making
statistical measurements on the " reduction centers " shown up by
partial development of the emulsion grains. The " reduction centers "
in the silver halide grains in an emulsion can be shown up after treat-
5 Wightman, Trivelli, and Sheppard, J. F. !., 1925, 200, 335.
6 Wightman and Quirk, J. F. ! ., 1927, 203, 26r; 204, 73r.
198 PHOTOGRAPHY
ment with arsenite in a manner similar to that in the case of light, and
they are found to be distributed among all the grains, and topographi-
cally on the individual grains themselves, according to the same laws
as are found to hold in the case of exposure to light.
It is possible, by using the p-phenylenediamine-.silver sodium sulphite
mixture, to develop physically, after fixation, the latent image due to
sodium arsenite. Treatment of a plate with chromic acid solution
desensitizes it to the action of sodium arsenite in the same way as to
light action. In the desensitization of a plate to light by chromic acid,
it is found that a preliminary exposure to light before bathing in
chromic acid greatly accelerates the rate of desensitization. That is,
the latent image is attacked by chromic acid much more readily than
the sensitive nuclei themselves. The same is found to hold if the
"preliminary exposure" is treatment with sodium arsenite solution.
6
The formation and reaction of the latent arsenite image are thus
very similar to those of the latent light image.
Reversal by Light.-With a short exposure to light we get a latent
image which on development yields a negative. If the exposure is
lengthened considerably the image becomes positive instead of negative
when developed, while still further exposure will produce a second
negative and it is probable that the cycle may be repeated indefinitely,
although owing to the enormous exposures required no one has been
Cl ble to go past the second negative stage.
No photographic process is, strictly speaking, free from the effects
of reversal, but rapid gelatino--bromide plates are more subject to the
defect than a comparatively insensitive plate, such as wet-collodion.
The reactions which result in reversal are still obscure; in view of
the action of absorbents of halogen such as derivatives of hydrazine
and phenylenediamine and sodium nitrite in delaying reversal, it seems
possible that it is caused by excess of released halogen, i.e., bromine,
which attacks the latent image and reduces the developability of the
grain by rehalogenizing the silver nuclei.
7
Reversal by Chemical Reagents.-The function of exposure of a
plate is to affect the grains at the points of sensitivity in such a way
that nuclei are formed which are sufficiently big to act as deposition
centers for the development process. The function of fogging agents
such as have been considered must be a similar one. In the reversal
process with light it is probable that the function of prolonged ex-
6 Clark, Phot. !., 1923, 63, 237; 1924, 64, 91.
7
Phot. ! ., 1914, 54, 250.
posure is to make the depositioo centers inactive again. It is sug-
gested by some that this could occur by some sort of " retrogressive "
action, the centers reverting to their original state; but actually such
a reversion seems to be thermodynamically impossible as long as
the light stimulus is .acting. The more probable result of prolonged
exposure is to bring about some " progressive " action which so changes
the centers as to make them no longer able to function as centers for
development. How this occurs is not clear. In the case of arsenite,
however, a very satisfactory explanation is found in assuming that on
prolonged treatment the arsenite peptizes the nuclei formed in the first
stages of its action, and so makes them too small to function in de-
velopment. This view is supported by the experimental observation
that sodium arsenite can peptize colloidal silver in gelatin, and also
that it can destroy the latent image left after fixation of an exposed
plate, so that it cannot be physically developed.
8
It is seen, then, that although latent image formation is similar in
the case of arsenite and of light, the reversal process is probably quite
different in the two cases. The presence of the latent image alone is
a sufficient condition for reversal by arsenite, but for reversal by light,
the silver halide itself must also be present. Hydrogen peroxide solu-
tion can also peptize colloidal silver and destroy the latent image, so
that an explanation of reversal by peroxide solution similar to that
advanced for arsenite is satisfactory. In the case of reversal by ex-
posure to hydrogen peroxide vapor, however, it is more difficult to con-
ceive that it is due to peptization.
9
Although it is difficult . to obtain really direct evidence concerning the
way in which many fogging agents act, and result$ and opinions con-
cerning their action are somewhat conflicting, enough reliable data have
been obtained to indicate that the study is of great importance for the
theory of photographic sensitivity. In fact, it has played an important
part in leading up to the modern conception of sensitivity as due to the
presence on the silver bromide grains of traces of some substance not
silver bromide.
Photo-Regression.-With a daguerreotype plate, development has
l to be done immediately after the exposure as the image cannot be
retained for more than a few hours and gradually grows weaker after
exposure. The same condition of affairs applies to the wet collodion
8
Phot. J., 1924, 64, 363.
9
Phot. !., 1924, 64, 363. Cf. also Wightman, Trivelli and Sheppard, ]. Frank-
lin lnst., 1925.
200
PHOTOGRAPHY
plate, although here the loss of the image may be ascribed to the
physical condition of the collodion which requires a certain amount of
moisture. With gelatine plates the image is remarkably permanent
and instances are on record where gelatine plates have been success-
fully developed several years after exposure.
10
The gradual disappearance of the image after exposure and before
development is termed photo-regression, and appears to be a process
exactly the reverse of that which produces the latent image. Accord-
ing to Baekeland
11
photo-regression is more apparent on images
which have received less than normal exposure. The developing
agent used for developing appears to have no effect on the final result.
The factors which appear to have the greatest influence on the rate at
which the image disappears are temperature and humidity, while the
presence of alum or free acid in the emulsion also plays an important
part. The higher the temperature and the humidity in which plates
are stored after exposure and before development the more rapid is
the disappearance of the image. Plates or papers which contain alum,
or those in which the emulsion is in an acid state, are more subject
to rapid disappearance of the image than plates which do not contain
alum, or in which the emulsion is in a neutral or slightly alkaline state.
According to Liippo-Cramer the size of grain has an influence, small-
grained emulsions showing regression more rapidly than those of
coarser grain.
The phenomenon of photo-regression is interesting in that it shows
that the sensitive plate has a certain faculty of self-recovery from the
effects of light and any workable theory of the latent image must
satisfactorily explain the reason for the same, before it can receive
serious consideration.
Action of Oxidizing Agents on the Latent Image and on Sensi-
tivity.-The latent image is either reduced or entirely removed by
oxidizing agents. Substances such as potassium cyanide, acid po-
tassium permanganate, acid ammonium persulphate, chromic acid
when used with sulphuric acid or potassium bromide and cupric, ferric
and mercuric salts, when used with a halide, completely destroy the
latent image.
12
Destruction of the latent image by oxidizers, however, does not
1o H. ]. Channon, "Effect of Time on the Latent Image," Phot. ! ., 1917, 57, 72.
72.
11 Zeit. wiss. Phot., I905. 3, s8.
1e Bullock, Brit. !. Phot., 1927, 74, 590.
,-
- - - - - - - - - - - - - - - - - - - - - - - - - - ~ - - - - ~ ~ - - - - - - - - - - - - - - - - - - - - ~ ~ - - - - - - - - - - - - - -
\
..
THE LA TENT IMAGE 201
necessarily result in the destruction of the sensitivity of the unexposed
emulsion. Chromic acid, to name one substance the action of which
has been the subject of considerable investigation, r educes the latent
image much more than it does sensitivity. With ammonium persul-
phate the difference is even greater than with chromic acid. The re-
duction of sensitivity in the unexposed grain hy chromic acid varies
with the size of the grain, the loss in sensitivity being greater for the .
large grains than the small.
13
If the sensitivity centers of the grains
consist of silver sulphide as indicated by the work of Sheppard, and
the latent image of colloidal silver, then it is evident that the difference
in the action of certain oxidizers on the latent image and sensitivity
can be explained as being due to the greater resistance of the latter to
attack. Experiments by Clark
14
on silver and silver sulphide solu-
tions seem to indicate that this is the case.
Clark found that oxidizers which attack silver sulphide have a strong
desensitizing action on certain emulsions but that ammonium persul-
phate has a much smaller effect. Laboratory experiments on prepared
colloidal silver sulphide indicated that it is not attacked by ammonium
persulphate, while, of course, it is well known that persulphate dis-
solves metallic silver. The slight desensitizing action of ammonium
persulphate is explained by Clark as being due to the fact that the
sensitivity centers do not consist wholly of silver sulphide but of silver
sulphide and colloid silver. Persulphate att acks the latter but not the
former thus slightly lowering sensitivity. The sensitizing action of
colloidal silver as reported by Renwick
15
and Weigert
16
support
Clark's assumption that the sensitivity centers consist not necessarily
of silver sulphide alone but possibly silver sulphide and colloidal silver.
Physical Development of the Latent Image after Fixation.-If a
plate is fixed in hypo directly after exposure one would assume that
the image would be destroyed, since hypo is a solvent of the silver
halides. Such, however, is not the case for as shown by Young in
1858 with wet collodion and by Kogelmann, Sterry, Neuhauss,
Lumiere and Seyewetz and others with gelatine emulsion, the latent
image is not destroyed by fixing but may be developed in a physical
developer, i.e., a developing solution containing in addition to the
13
Sheppard, Trivelli, and Wightman, Trans. Faraday Soc., 1923, 19, 306.
Clark, Phot. J., 1924, 64, 91.
14
Clark, Brit. J. Phot. , 1927, 74, 227.
15
Renwick, J. Soc. Chem. Ind., 1920, 39, 156 .
10
Weigert, Physik. Z., 1921, 22, 674.
t _____ . __ _____.
202 PHOTOGRAPHY
developing agent a silver salt capable of forming silver in the nascent
state.
17
Physical development is supposed to be due to the attraction of
the nuclei of the latent image for the nascerit silver of the developing
solution. Assuming this explanation to be correct, then any solution
which will reduce a silver salt to the nascent condition should be able
. to develop the image, although not a developing agent in the com-
monly accepted sense of the term.
To confirm this point Lumiere and Seyewetz
18
tried as a developer
a solution of silver sulphite in excess of sodium sulphite and formalde-
hyde. No image was obtained, however, showing that the nuclei left
after fixation are incapable of attracting nascent silver. However, if
the fixed-out plate be first immersed in paraphenylenediamine or
amidol the nuclei acquire the property of attracting the nascent silver
and physical development becomes possible.
From this they concluded that the latent" image left after fixing can-
not consist of a silver halide, as this would be dissolved in the fixing
bath, nor can it consist of metallic silver, unless its property of attract-
ing nascent silver has been destroyed by unknown factors. Owens
19
has since shown that the latent image after fixing probably consists of
silver surrounded by silver sulphide so that no deductions as to the na-
ture of the latent image can be drawn from the image which remains
after fixing.
The Photosalts.-In 1887, a brilliant American chemist, Carey Lea
of Philadelphia, succeeding in preparing compounds of silver chloride
which contain less halogen than the original chloride, by treating
ammoniacal solutions of silver chloride with ferrous sulphate, wash-
ing the precipitate, and then treating with hydrochloric acid. A large
number of these compounds were prepared by their discoverer and
were called " photosalts," because he considered them identical with
the compounds formed when silver chloride is exposed to light. The
photosalts were considered to be definite chemical compounds by their
discoverer, but most investigators took the view that the combination
17
Young, Photographic News, 1858, I, 165. Kogelmann, "Die Isolierung der
Substanz der Latenten, Photographischen Bilder." Graz, 1899. Sterry, Photog-
raphy, 18g8, p. 26o. Neuhauss, Phot. Rund., 1899, vol. 36, 257 and 1904, vol. 41.
Lumiere and Seyewetz, Bull. Soc. f ranc. Phot., 1911, pp. 264, 373; 1924, vol. 16g.
Compt. Rendus, 1924, 179, 14. Li.ippo-Cramer, Phot. Rund., 1924, 61, 7&:>.
1
8
Phot. Revue, 1925, 37, 48.
19 Phot. J., 1929, 6g, :278.
' . , .
.
' ..
' ,.
was more of the character of a " lake," or a physical combination of
the altered and unaltered haloids. A theory that the latent image
consisted of a solid solution of silver sub-bromide in silver bromide
was advanced by Lea himself
20
and was supported by Luppo-Cramer
and Lorenz.
21
Some very valuable experimental work on the preparation and
composition of the photosalts has been done by a number of German
photo-chemists in recent years and especially by Reinders and
Weigert.
Image Transference.-According_ to Renwick, Eder and Pizzighelli
in 1881 were the first to show that an exposed silver chloride plate
could be converted by treatment with potassium bromide into silver
bromide without any loss of the developable condition. In other
words it is possible to transfer the latent image from one halide to
another without destroying its capacity for development in those
parts where the light acted. This phenomenon is known as "image
transference."
22
The .Visible of Ha.lides to of
the hahdes of silver, the chlorme, bromide, and 10d1de darken VISibly
on exposure to light. Scheele showed in 1777 that when silver chloride
Jarkens the halogen is liberated. As a result of the work of Schwarz
and Gross/
3
and particularly of Hartung
24
using a specially sensitive
micro-balance, it is now well established that in the case of all three of
the halides, halogen is liberated when the visible darkening takes place.
The presence of substances which by absorbing halogen act as "halo-
gen acceptors " increases the degree of darkening and Hartung has
shown that silver bromide in vacuo in the presence of a bromine ac-
ceptor can result in the loss of over 90 per cent of the bromirie. The
darkening in vacuo in the absence of a halogen acceptor is slight and
impermanent.
It was formerly believed that the result of the liberation of halogen
was the formation of a sub-halide, that is, a halide containing less halo-
gen than the normal. Attempts to prepare definite sub-halides of
silver in the laboratory have met with conflicting success, and it ap-
20 Lea, American Jour. Sci. (3) , 33, 1887, 349, 48o.
21
Luppo-Cramer, Phot. Korr. (19o6), 43, 388, 433. Lorenz, Phot. Korr.
( 1901), 38, 166.
22
Brit. J. Phot., 1920, 67, 447, 469.
2
3 Z. Anorg. Chem., 1924, 133, 389.
24
J. Chem. Soc., 1924, 125, 21g8.
8
204 PHOTOGRAPHY
pears that the sub-halides of silver which were prepared by Von
Bibra
25
and V ogel,2
6
for example, are compounds of finely divided
silver and unaltered silver halide. The photosalts of Carey Lea were
regarded as definite sub-halides by their discoverer but subsequent in-
vestigation has shown these to be absorption-compounds of colloid
silver with silver halides.
The work of Schwarz and Gross and that of Hartung has at last
shown quite definitely that the products of the visible decomposition of
the silver halide in light are metallic silver and halogen.
The Latent Image.-It is_ obvious that if we assume that the latent
image differs from the visible image which is formed by longer ex-
posure to light, only in degree and not in kind, the latent image could
have been regarded as consisting of a sub-halide of silver up to very
recent times ( 1924). Sub-halide theories were supported by a large
number of authorities, notably Sir William Abney and Dr. J. M. Eder,
who in the earlier editions of his Handbuch der Photographie staunchly
defended the sub-halide theory.
Others objected that there was absolutely no evidence that a libera-
tion of halogen took place with the short exposures required for the
formation of the latent image and pointed to the fact that attempts to
prepare silver S!Jb-halides in the laboratory had met with inconclusive
and contradictory results, and finally that there was no good reason for
assuming that what holds true for the visible image is likewise true for
the invisible latent image. The sub-halide theory is riow only of his-
torical interest.
Many of those who objected to the sub-halide theory on the ground
that the amount of light energy required for the formation of the
latent image is insufficient to cause photochemical decomposition as
postulated by the sub-halide theory, proposed physical theories which
assumed that the result of light was to set up an internal strain within
the molecule of silver bromide and cause the atoms to pull apart from
each other. The effect of the molecular strain is to render the com-
pound less stable so that it is more easily reduced to metallic silver by
reducing agents such as photographic developers. Proponents of such
theories pointed out that such reactions could conceivably take place
with a very short exposure to light which would be very unlikely to
result in actual photochemical decomposition of the silver bromide.
25 !. fur Prak. Chem., 2, 12-55.
~

Phot. Mitt., 36, 334
The fact that the latent image is formed at extremely low temperatures
(- 180 o C.) was advanced
27
as additional evidence for a physical
rather than a chemical basis of latent image formation.
The x-ray crystal analysis of crystals, however, leads to the conclu-
sion that no chemical molecule, in the .sense of a specially combined
atom-pair silver bromide exists, but rather a space-lattice of silver ions
and bromine ions held together by the electrostatic attractions of the
oppositely charged ions, and under such conditions there is little basis
for physical theories which involve a molecular strain.
Guthrie in 1850 first advanced the theory that the latent image con-
sists of metallic silver. He thought that the action of light resulted in
the formation of small centers of metallic silver on which the image
was built up by the further deposition of silver with the developers used
for the wet-plate process. Comparatively little attention was paid to
this theory until it was revived by Abegg
28
in 1899. The original con-
ception of the metallic silver theory has undergone considerable modi-
fication in the past few years and has been transformed into what is
termed the colloid silver theory.
According to the colloidal silver theory, a sensitive emulsion consists
not simply of silver halide in gelatine but a trace of a highly unstable
form of colloidal silver in solid solution formed as a result of reduc-
tion of some of the silver halide to silver in digestion with heat or
ammonia. Renwick advanced the theory that the action of light is to
coagulate amicrons of colloid silver to form larger particles which
serve as centers for development.
29
The Modern Conception of Latent Image Formation.-In recent
years it has become widely held that the action of light in forming the
latent image is to cause the bromine ion in the silver halide to lose an
electron, which is then accepted by a silver ion to form a metallic silver
atom, so that the latent image consists of small centers of metallic
silver on the surface of the silver halide grains of the emulsion.
30
Direct analytical chemical proof of this hypothesis is of course diffi-
cult owing to the infinitesimal quantities of silver involved; the only
evidence in support of such a hypothesis is that afforded by the chemi-
cal reactions of the latent image. These, while not proving that the
27 Dewar, Proc. Roy. Inst., 13, 695.
2s Brit. J. Phot., 1899, 46, 1g6.
2
9 Brit. J. Phot., 1920, 67, 447, 463.
30
Sheppard and :Trivelli, Phot. J., 1921, 61, 403. Fajans, Chem. Ztg., 1921, 45,
666.
206 PHOTOGRAPHY
latent image does consist of silver, are not inconsistent with the view
that it is silver.
31
Investigations by Toy of the photo-electric properties of the silver
halides lend additional support to the hypothesis suggestecl.
32
It has
been known for a long time that the silver halides possess both photo-
electric and photo-conductivity properties. By the former is meant
the complete liberation of electrons from the salt under light action,
and by the latter (sometimes called the internal photo-electric effect)
the freeing of electrons internally, resulting in a change in conduc-
tivity with the illumination. Theories of the latent image based on
the photo-electric effect were brought forward by Allen
33
and by
Audubert,
34
but Toy
8 5
has shown that the silver halides do not show
the true photo-electric effect at wave-lengths greater than 28o p. white
the photographic effect of light, of course, extends to much longer
wave-lengths than this, so that there is, apparently, little foundation for
a photo-electric theory of photographic exposure.
While the silver halides do not exhibit the true photo-electric effect
under the conditions of ordinary exposure, there are so many striking
similarities between the photo-conductivity effect with the silver halides
and the photographic effect that one is inevitably led to the conclusion
that the latter as well as the former is due to the loosening of electrons
from the halide ions.
The photo-conductivity effect is produced with the silver halides by
light of practically all wave-lengths to which the same halide is light
sensitive. Like the photographic effect, it is influenced but little by
extremely low temperatures and can be produced with light of prac-
tically the same intensity as is required to produce a developable effect.
The photographic reaction can take place in an exceedingly short
time, as is shown by the practical use of exposures of I / IOOO of a
second and less. It has been shown by Toy that the photo-conductivity
effect can be detected within 0.001 of a second after the illumination is
applied and in all probability begins instantaneously with the illumina-
tion. 36
'
at Bullock, The Chemical Reactions of the Photographic Latent Image. Mana-
graph No. 6 from the Kodak Research Laboratories, 1927.
32
Toy, The Mechanism of the Latent Image Formation. Proceedings of the
Seventh International Congress of Photography, London, 1928.
33 Photo-Electricity, 2d Edition, p. 247.
34 Camp. rendus., 1924, 179, 1046.
3
" Phil. Mag., 1927, 3, 482.
36
Toy, Nature, 1929, 123, 679. Sheppard, Phot. ]., 1928, 68, 397
The Role of the Sensitizing Nuclei-Until the discovery of the
sensitivity centers and the general realization of the essentially dis-
perse nature of the photographic emulsion, all theories of the latent
image were based upon the action of light on a homogeneous grain of
silver halide. The discovery of sensitizing nuclei consisting of either
silver sulphide, or silver sulphide and colloid silver, has added to the
problem of the latent image that of sensitivity. There is no longer any
doubt of the existence of these sensitizing nuclei and but little doubt
that they are composed of silver sulphide, or possibly, silver sulphide
and colloid silver. How the nuclei promote sensitivity is another ques-
tion. which is not so clear.
First, it may be pointed out that the sensitizing nuclei cannot be re-
garded as centers of special sensitiveness, or the spectral sensitivity of
an emulsion would be that of silver sulphide and not silver bromide,
37
nor does it appear likely that they act as photocatalysts, accelerating
the photochemical decomposition of the silver halide. If the sensitiz-
ing nuclei are not in themselves photosensitive, nor can they accelerate
the photochemical decomposition of the silver halide, how then can
their undeniable influence on the sensitivity of the grain be explained?
Photographic sensitivity implies developability, i.e., a grain is not
sensitive unless it can be converted into silver by a developer. Now in
order that a grain may be developable it must have somewhere on, or
near, its surface a particle of silver above a certain minimum size.
Sheppard is of the opinion that the sensitizing nuclei sensitize for
development rather than exposure. In other words, the effect of the
nuclei is not to facilitate the decomposition of the silver halide, but to
concentrate the photochemically reduced atoms of silver about them-
selves so as to form a nucleus of metallic silver sufficiently large to
render the grain developable.
It is suggested that these sensitizing nuclei cause in their immediate
neighborhood, depending upon their size, more or less strain in the
silver halide crystal, resulting in changes in the positions of the elec-
trically charged atoms, or ions, of silver and bromine in the crystal,
thus creating spheres of weakness which serve to concentrate the photo-
effect around the sensitizing center. According to this theory, the
sensitivity centers do not play an active part in exposure. Their role
is regarded as being purely passive and 'a result of the deformation
produced by their presence in the structure of the silver halide grain.
38
37
Sheppard, Third Colloid Symposium Monograph.
38
Sheppard, ibid.
208 PHOTOGRAPHY
A chemical viewpoint of the action of the sensitizing nuclei has been
suggested by Hickman.
39
According to this hypothesis the silver sul-
phide nuclei serve as an absorber of the bromine set free by the action
of light on the silver halide of the grain surrounding it. This bromine
attacks the silver sulphide resulting in the formation of free silver so
that the total amount of silver produced is considerably greater than
would be formed simply by the action of light on the silver halide.
While it may not be impossible for such a reaction to take place under
the conditions which probably exist in the silver halide grain, in no in-
yestigation of the interaction of silver sulphide and bromine in the
laboratory has the formation of silver been observed. .
Still another hypothesis of the action of the sensitivity centers has
been tentatively advanced by Trivelli.
40
As the silver halides have
been shown to be photoconductive, and there is some basis for the as-
sumption that in the silver halide grain there may exist a certain
amount of finely divided silver as well as silver sulphide, Trivelli sug-
gests that when light falls on the grain, the greater photoconductivity
of the sensitivity nuclei as compared with the halide produces a differ-
ence in electrical potential which results in the electrolytic deposition of
silver in contact with the sensitivity center and thus assists in building
up a particle of silver sufficiently large to render the grain developable.
Useful as these various pictures of the mechanism of the sensitivity
nuclei may be as working hypothesis, much experimental work will
have to be done before the true facts are established.
BIBLIOGRAPHY
GENERAL REFERENCE VVoRKS
ANDRESEN-Das Latente Lichtbild.
CAREY LEA-Ko!Ioides Silber un die Photohaloide. (Translation by Luppo-
Cramer, 2d Ed., 1921.)
EDER AND V ALENTA-Beitrage zur Photochemie und Spectralanalyse.
LuPPO-CRAMER-Photographische Probleme.
39
Phot. !., 1927, 67, 34.
40
Phot. !., 1928, 68, 14, 67.
CHAPTER IX
SENSITOMETRY
What is Sensitometry?-The merest beginner soon realizes that ex-
posure is by far the most important operation in picture making, and
the one presenting the greatest difficulties on account of the variable
factors which must be taken into consideration in calculating the
proper duration of the exposure. One of the most important of
these factors is the speed, or the sensitiveness, of the plate to light.
Methods by which the sensitiveness of plates are determined come
under the heading of sensitometry. While sensitometry is concerned
primarily with methods of speed determination, this is not its only
value, for in determining the speed of the plate we learn a great deal
concerning its characteristics and properties, so that we may define
sensitometry, in its broadest sense, as the study of the reproduction of
light and shade by sensitive materials.
General Resume of Sensitometric Methods.-As early as 1848,
Claudet devised an instrument, which was termed a " photograph
meter," for determining the speed of the daguerreotype plate. This
instrument gave to various portions of a plate exposures which in-
crease in geometrical progression as 1, 2, 4, 8, 16, etc. The shortest
exposure producing a visible impression on the sensitive material is
taken as a measure of the speed of that material. Thus if the light-
est visible deposit on one plate is produced by an exposure of 10
seconds, while the time required for another material is double this,
or 20 seconds, the relative speeds of the two are as 1 : 2. This method
of determining the speed of plates by reference to the lowest exposure
which produces a visible deposit is termed the threshold or Schwellen- !
wert method. While it obviously gives some idea of the relative
sensitiveness of different materials to light, it is not very reliable,
except where the mere shape of an object is desired, for the test in-
dicates the minimum exposure required to produce a visible image
and is in no sense a guide to the exposure necessary for the proper
rendering of gradation. Moreover it is possible to considerably alter
the results by variations in exposure and development.
209
I
. I
210 PHOTOGRAPHY
Such was the state of affairs when Hurter and Driffield, two British
amateurs, began their classical researches on plate speed determination
which resulted in 1890 in the system of sensitometric investigation
named after them-the H. and D. system. Briefly the H. and D. sys-
tem differs from the threshold method in that the speed of a sensi-
tive material is determined from. several densities rather than one
and affords a better indication of the sensitiveness, properties and
characteristics of the plate than can be secured from a single density. '
Further, the final result is not influenced to quite the same degree by
variations in development, or other after treatment. It is hard to
estimate the real importance of the work of Hurter and Driffield.
Their work resulted in much more than merely a method of determin-
ing the speeds of sensitive materials. It is hardly too much. to say
that it indicated for the first time the rationale of the photographic
process and that a large part, if not the greater part, of our present
conception of the theory of photography had its inception at the
hands of Hurter and Driffield.
Instruments. for Sensitometric Investigation.-In plate speed de-
termination by the Hurter and Driffield system we need: first. a
standard light source for exposing plates; second, an instrument,
known as a sensitometer or exposure machine, for impressing a series
of exposures in a definite ratio on different sections of the sensitive
material; .and third, an apparatus for measuring the deposits obtained
upon development of the exposed material.
Standard Light Sources.-Daylight is not suitable for plate speed
testing because of its variability both in intensity and color, or spectral
distribution. The principal requirements of a suitable light source for
plate speed testing are, ( 1) that it should be accurately reproducible
not only in intensity but also as regards spectral distribution in order
that the speeds of sensitive materials of different classes as determined
in different laboratories may be directly compared, and ( 2) that it
5hould be reasonably constant in intensity over fairly long periods of
time. Hurter and Driffield used the standard English candle ; later
workers adopted the Harcourt pentane and the Hefner amyl-acetate
lamps . These sources are easily reproducible and constant but are
deficient as regards the color of the light which, as compared with day-
light, is distinctly yellowish .to orange and consequently higher speed
values are obtained for color-sensitive plates than for non-color-sensi-
tive plates having the same speed to daylight.
\
'
SENSITOMETRY 211
No unscreened light has exactly the same spectral distribution as
daylight although the magnesium flame approaches it closely.
1
A
fairly close approximation to daylight is possible, however, with the
acetylene flame or incandescent electric light when used in conjunction
with suitable filters. To secure a flame of constant intensity and ac-
curate reproducibility, a special burner devised by Mees and Sheppard
is generally employed. The light emitted by the acetylene flame is
modified by a filter such as the Wratten gelatine filter No. 7I or the
Davis-Gibson liquid filter.
2
The tendency in recent years, however, has been towards the use of
standardized incandescent electric lamps. These score on the point of
convenience but require careful control as not only the intensity hut
the color of the light varies with the voltage.
3
Sensitometers.-Sensitometers, or exposure machines, are used
for producing on. the sensitive material a series of exposures increas-
ing in a definite ratio. This series of exposures may be produced
either by varying the light intensity acting on the different sections of
the plate, or by increasing the time of exposure by definite amounts.
A series of exposures produced by variation of the intensity of the
light is called an intensity scale while that produced by varying time is
called a time scale.
Intensity scales may be produced by (I) varying the distance be-
tween the light source and the sensitive material for the different ex-
posures; ( 2) by using different areas of a uniformly lighted source;
and (3) by the use of a series of screens of known absorbing power.
The last method is the only one now in general use. These screens
are generally made of pigmented ge'latine following the suggestion of
Goldberg and fall into two classes : (I) the so-called optical wedge in
which the gradation from light to dark is continuous; and (2) step
wedges consisting of a series of steps of increasing density. Such
wedges are widely used to expose the sensitive material for speed de-
termination where extreme accuracy is not essential.
4
The Chapman Jones plate speed tester (Fig. I27) is an example of
an intensity scale. The squares numbered from I to 24 are filled
1
For instructions on the use of magnesium see Eder, Brit. 1. Phot., 1925, 72,
444; Zeit. phys. Chem., 1929, 141, 321.
2 Brit. J. Phot., 1928, 75, 432.
3
Jouanst, Sci. et Ind. Phot., 1925, 5, 122. Bailland, ibid., 1925, 5, 125. Walsh,
Phot. !., 1925, 65, 52.
4
Goldberg, Brit. !. Phot., 1910, 57, 642, 664. Ferguson, Phot. !., 19II, 51, 405.
Renwick, Ibid., 19II, 51, 414.
212 PHOTOGRAPHY
with pigmented gelatine of incre;-ts ing opacity so that each numbered
step represents a decrease in exposure fo the sensiti ve materia I placed
beneath as the square root of 2 . The plate to be tested is placed be-
hind this scale in a special plate holder and the whole exposed to the
light of a standard candl e at a di stance of one met er ( 39-37 in.).
10 u
20 21 I 9
......

2 9 12 19 22
2

5

3 8 13 18 23
-:-
4 14 17 24

PLATE TESTER
5 6 15 16 25

,.. ..
Frc. 127. Chapmari Jones Plate Speed Tester
Time scales are realized most easil y by the enwloyment of a sector
wheel. That of Hurter and Driffield (Fig. 128) contains nine aper-
tures, each angle being twice the preceding, so that the ratio of ex-
posures is in geometrical progression. This revolving wheel is en-
closed in a light-tight box carrying at one end the standard light and
FIG. 128. H. and D. Sector Wheel and Exposing Apparat us
at the other, behind the sector, the sensitive material to be tested
(Fig. 128).
The objection to a sector wheel is that the exposure is intermittent
rather than continuous and the photographic effect of an intermittent
exposure differs from a continuous exposure of the same lengt h of
time by an amount which depends upon the intermittency and the
speed of the sensitive material. For thi s reason time scales producing
SENSITOMETRY 213
a continuous exposure are to be preferred. Exposure machines of
this class have been devised by L. A. Jones, G. I. Higson and others
and are now extensively employed in commercial plate testing.
6
J Relation of Time and Intensity in Photographic Exposure. The
Schwarzschild Constant.-Bunsen and Roscoe as a result of their
investigations on the darkening of silver chloride papers established
what is called the reciprocity law according to which the photochemi-
cal effect (or blackening produced) is the product of time and in-
tensity, time being a reciprocal of intensity, or vice versa. It was
shown by Abney, however, that the photographic plate does not ex-
actly obey the reciprocity law and that the effect produced by a given
exposure depends upon the actual values of intensity and time and not
simply on their product.
6
Schwarzschild, as the result of a series of investigations on the re-
lation of time and intensity in photographic exposure suggested that
the relation might be written as
7
E ' [tP,
where E stands for the effective exposure, or photographic effect; I
and t for intensity and time, and p a constant which Schwarzschild
thought to be independent of the actual intensities and of the sensitive
material.
Later work
8
has shown that for each plate there is an optimum in-
tensity of light which produces the greatest developable effect. The
value of this optimum intensity depends chiefly on the speed of the
plate or film. In the region of the optimum intensity the reciprocity
law is approximately followed; only for lower intensities than the
optimum is Schwarzschild's rule approached. It has also been shown
that the maximum density developable for a given exposure depends
upon the intensity of light acting, decreasing as this becomes less.
Lastly, the magnitude of the reciprocity failure increases greatly as
the emulsion speed, or sensitivity of the emulsion, decreases and is ap-
parently greater with color-sensitive than with non-color-sensitive ma-
terials.
5
On the intermittency error see Abney, Treatise on Photography, p. 391; Mees
and Sheppard, Investigations; Formstecher, Phot. Ind., 1927, 25, 575; Weinland,
J. Opt. Soc. A mer., 1927, 15, 337; Davis, Bureau of Standards Scientific Paper,
No. 528.
6
Treatise on Photography, p. 395.
7
Phot. Korr., 1899, 36, 109, 17i.
8
Jones, Huse, Hall and Briggs, Proc. Seventh International Congress of Pho-
tography, Heffer, Cambridge, 1929.
.I
214 PHOTOGRAPHY
There are two consequences of the failure of the plate to obey the
reciprocity law which are of importance in sensitometry. The first is
that the failure of the plate to obey the reciprocity law is a serious ob-
jection to the use of intensity scales such as wedge screens; the second
is that the intensity of the light source used for plate speed testing can-
not be ignored. In the sensitometers in common use at the present
time, the intensity of light is far below the levels usual in actual photo-
graphic practice. A " high intensity]" sensitometer has been designed
by Jones to meet this discrepancy.
9
Densitometers.-Photometers designed particularly for the meas-
urement of photographic densities are termed densitometers. They
may be divided into two classes according to whether they measure the
density directly or by comparison with a known density. All densi-
tometersare alike in that they provide means for reducing the intensity
of a standard light in a known manner, to match with a similar beam
of light which has passed through the density to be measured.
The intensity of the comparison light may be reduced in a known
manner by several methods, as for instance ( 1) by varying the distance
of the light, (2) by the use of adjustable rotating sectors, (3) by
polarization and ( 4) by the use of absorbing material such as the
optical wedges mentioned previously.
The densitometer employed by Hurter and Driffield in their classical
investigations was an instrument of the first class; the well known
bench photometer based on the law of inverse squares, the two beams
being brought together for comparison on a grease spot, as in the
1
)
Bunsen photometer which is familiar to every student of elementary
physics. Densitometers with rotating sectors were used by Abney and
more recently by Jones.
10
The most widely used instruments, how-
ever, have been those employing polarization and of these the most
popular are the Hiifner and the Martens.
The construction of the Martens densitometer is shown in Fig. I2(ja.
One of the beams of light from an electric lamp placed at M proceeds,
as shown by the arrow, to the totally reflecting prism q, whence it is
reflected through the negative p and is rendered convergent by the lens
l passing through the aperture i into the actual photometer head. It
then passes through the Wollaston prism, W and the bi-prism Z, then
through the nicol N and through the converging lenses h and k to the
eye placed at D. The other beam proceeds to the total reflecting prism
9
Proc. Seventh Internat. Congr. Photo., Heffer, Cambridge, 1929.
1
o J. Opt. Soc. A mer., 1923, 8, 231.
SENSITOMETRY 215
p and thence through the Wollaston prism, the bi-prism, the Nicol and
reaches the eye at D. Thus there is produced at D two contiguous
fields, one formed by the beam of light which has passed through the
FrG. 129a. Martens Densitometers
fl
FrG. 129b. Sanger-Shepherd Density Meter FrG. 129c. Filmograph
density; the other the comparison beam. The intensity of the latter
can be reduced by the rotation of the Nicol N and the densities deter-
mined from the angle of rotation required to produce equality in the
two fields.
Densitometers employing absorbing screens, usually in the form of
calibrated optical wedges, are more properly termed density com-
parators, for their measurement of density consists simply in com-
parison with a known density. A large number of density comparators
216 PHOTOGRAPHY
using optical wedges have been described (see bibliography) and while
not quite so accurate as the polarization type in the hands of the expert,
have nevertheless found wide employment on account of their conveni-
ence. The simpler instruments of this type are perhaps the best
adapted of any type of densitometer for student use, being of simple
construction, relatively inexpensive, easy to use, not likely to get out of
order and sufficiently accurate for all but work of the highest precision.
Two inexpensive density comparators well adapted for student use are
the Sanger-Shepherd Density Meter,
11
and the Densitometre Filmo-
graph.12 The first consists essentially of a shallow, light-tight box
(Fig. 129b) having in the top two holes, a and b, under each of which a
mirror is fixed so as to reflect the light to the eye-piece at D, but the
mirror under hole b covers only half the hole so that the eye looking in
the eye-piece sees a complete circle, one half of which is formed by .the
light from a and the other half from b. The density to be measured is
placed over b and its value determined by adjusting the optical wedge
over a until equality is obtained.
In the Densitometre Filmograph ( 1 29c) the two small cabinets
shown each house a 50 watt lamp. The density to be measured is
placed over the opening of the lamp-house to the right and the intensity
of the light from the other light is reduced by means of the neutral
wedge until equality is obtained in the eye-piece.
Although more expensive, two forms of density comparators, the
Goldberg Densograph and the Densitometre Filmograph Enregistreur,
which automatically plot the characteristic curve of the emulsion as the
densities are measured, deserve mention.
Visual densitometry is to a large extent subject to the personal
equation and the same readings are rarely obtained by different work-
ers. On this account the tendency in recent years has been towards
the development of physical photometers using photoelectric cells.
One instrument of this type, designed by the British Photographic Re-
search Association has proved entirely satisfactory.
13
It may be pointed out that the density of a photographic deposit is
not a definite, unvarying amount but that it depends to a certain ex-
tent on the method of measurement. The photographic deposit is not
homogeneous, as assumed by Hurter and Driffield, but is a light-scat-
tering medium and consequently the Lambert-Beer law of absorption
11
Made by the E. E. S. Color Filter Co., 1 Montague St., London, W. C. r.
12
Made by Etablishments Filmograph, 47, rue de Bagneux, Montrouge, France.
13
Phot. J., 1927, 67, 176, 324.
SENSITOMETRY 217
(to be referred to later) does not hold. The subject has been com-
pletely investigated by Callier, F . F. Renwick and F. C. Toy. It has
been shown that densities measured by parallel rays differ markedly
from those measured by scattered light secured by placing the deposit
in contact with opal glass. Renwick has shown that even then the
apparent density is reduced by inter-reflection between the opal glass
and the negative.
Opacity-Transparency-Density.-Since we must continually make
use of a number of terms having reference to the absorption of light
by the developed silver deposit, it is well that we become familiar with
the laws governing the absorption of light and the terms used in con-
nection with the same.
Opacity is the term applied to the resistance of a substance to the
passage of light. In other words, it may be expressed as the light
which i:nust fall on one side of the substance in order that a light of
unit intensity be transmitted. Mathematically, this may be expressed
as
I!l:c,
I being the incident and I :c the transmitted light.
Transparency is just the reverse of this, being a measure of the
.fraction of the incident light which passes through the substance, or
I:c/I,
I being the incident and I:c the transmitted light as before.
In 1890 Hurter and Driffield introduced the conception of densitv.
This they termed the amount of light stopping substance in the de-
posit and defined as the logarithm of the opacity or the -logarithm of
the transparency.
D = log
10
(opacity)= log
1 0
(I..jlj,
D=-log
10
(transparency) =-log
10
(I.ji).
This conception of the density of a photographic deposit was based
upon the Lambert-Beer law of absorption. Lambert's law states that,
in passing through equal layers of a material, equal proportions of the
light which traverses them are absorbe-d. Mathematically then, if I
is the intensity which penetrates the surface, and I :c the amount which
has escaped absorption at a depth of x, then
I:c=I-k:c,
where the constant k IS the absorption-coefficient for that particular
218 PHOTOGRAPHY
substance. This law suggests that absorption is a molecular effect,
each molecule absorbing a definite amount of the light incident upon it.
Now in solutions the number of molecules is proportional to the
concentration. Therefore the total absorption of a solution depends
upon the concentration and the thickness of the layer traversed by the
beam of light. If m is the concentration, then the law for absorption
in solutions would be expressed as
f x = [-'""'".
This is known as Beer's law. From the above it follows that
k = log J - log J., .
mx
When logs are taken to base ro, k is called the absorption constant, or,
as defined by Hurter and Driffield, the density.
Within certain limits density is proportional to the mass of silver
per unit area, or D = pM, where D is the density, M the mass of
silver and p a constant termed the f;/wtometric constant. For an area
of roo square centimeters having a density of I, Hurter and Driffield
obtained a value for p of .OI3I gram of metallic silver. Ecler ob-
tained .0103 and Sheppard and Mees .OI03 I.
---
--
-
F I G. 130. Illustrating the Relat ion of Opacity, Transparency and Density
Perhaps the relation of opacity, transparency and density may be
made plainer with the aid of the following step wedge (Fig. I30).
In this we have four sections of increasing density, each additional
density being clue to the superimposition of an equal density. That is
to say, in section I, we have no silver deposit; in section 2, a silver
deposit of a definite value; in section 3, two such deposits and so to N
layers. The tabl e on opposite page then shows the relation between
the opacities, transparencies and densiti es of the various sections.
The first line gives the number of layers of silver deposit. The second
line shows the transparency expressed as power? of the fraction which
SENSITOMETRY 219
LIGHT OF INTENSITY J
No. layers of silver deposit ..... . 0 I 2
3
N
Transparency . . . .. . ..... . . .. . ..
I
GY Gr Gr Gr
I
Transparency . .... . .. . . . . . . . . . .
I I I I I
-
-
- -
(3)N I
3 9
27
Opacity ...... .. . ... . ........ . . I
3 9
27
(3)N
Density . . . . . . . . .. . . .. . . .. .. . . 0
477 954
1.43
--
is the transparency of one film. The third line shows these multiplied
out, and the fourth gives the inverse of these or the opacity while the
last line gives the log to a base of ro, or what Hurter and Driffield
term the densities.
Exposure and Development of the Sensitive Material for Speed
Determination.-Before proceeding with the exposure of the sensitive
material for the purposes of speed determination it is necessary to
adopt a standard unit of exposure. The photographic effect of a
given exposure depends upon three things: the intensity of the light
source; its distance from the sensitive material, and lastly the duration
of the exposure. Hence the standard unit of exposure.must concretely
specify the unit intensity of the light source, its distance from the
sensitive material, and the unit of exposure. The standard adopted
by Hurter and Driffield and now accepted as an International standard
is the Candle-Meter-Second (C. M. S.) which means the exposure of
the sensitive material for one second, to a light-source with an in-
tensity equal to one candle power, at a distance one meter from the
light.
,_the material to be tested is first cut into strips I x 4?4 inches, the
strips of sensitive material being preferably cut from the center of a
large specially coated sheet in order to avoid any irregularity in the
thickness of the coating. Two of the strips are placed in a specially
made plate holder which is placed in the exposing machine. Only a
small section of each strip is exposed, the remainder being reserved as
a " fog strip " which is used to determine the density due to the fog-
ging of the emulsion. This fog density is subtracted from the total
' densities as obtained from the densitometer readings in order to get the
true densities due to the action of light on the sensitive material.
14

14
The fog density as determined from the unexposed strip is assumed to be
the same over the entire plate regardless of the density. It has been found, how-
220 PHOTOGRAPHY
The exposure completed, the test strips are ready for developmentl
As the speed of an emulsion varies to a certain extent with different
developing agents and different concentrations of the same developer,
it is necessary to adopt a standard developing solution if the results are ,\.
to be comparable. A suitable formula is as follows :
15
Paramidophenol hydrochloride ... . .... . ... . . . .. .. .. . .... .
Sodium sulphite (anhydrous) ... . ...... . ... . . . .. . ... . .. .
Sodium carbonate (anhydrous) . . .... .. .. . . . . . . . . .. . .... .
Water to make .. . .... . . . ........ .. . .... . . . . . . .. . ... .. . .
725 g.
100.0 g.
100.0 g.
1000 cern.
No soluble bromide may be added to the developing solution as, due
to its restraining action on the lower densities, it introduces an ele-
ment of uncertainty which is best avoided.
In practice two strips are usually developed at the same time, but
one for twice the time of the other. The reason for this will appear
later.
It is most important that the test strips be uniformly developed. It
has long been recognized that when the test strips are developed in a
tray in the ordinary manner, development is by no means uniform
over the entire strip, resulting in erratic density values. Rapid distri-
bution of the developing solution over the strips is necessary and to
secure more uniform development than is possible simply by rocking
the tray, Clark suggested the use of a deep dish and a comparatively
large volume of developer j_{ept in motion by a broad, soft-haired brush
passed repeatedly over the surface of the plate. This does no damage
if correctly used and results in very uniform development.
16
The temperature of the developing solution should be 65 o Fahr.
This temperature is maintained by placing the tray or tank holding
the developing solution in a large water bath the temperature of which
is controlled by a thermostat.
After fixing, washing and drying, the densities of the various por-
tions of the strips are determined by measurement in the densitometer,
ever, that fog decreases with increased densities so that the addition of density
due to fog cannot be eliminated by subtracting a uniform amount from all
densities. On the subject of fog correction, see: Wilsey (Phot. J., 1925, 65, 454)
and Pritchard (Phot . J., 1927, 67, 447).
15
Sheppard, Proc. Seventh International Congress of Photography, London,
1928.
1 6
Tank developing apparatus i!l which agitation is secured by the use of
plungers or stirring have been described by Harrison and Dobson (Phot. J., 1925,
65, 89) and Sheppard and Crouch (Proc. Seventh International Congress of Pho-
tography, London, 1928).
SENSITOMETRY 221
every precaution being taken to eliminate all sources of error so as to
obtain the most accurate measurements possible. A note of the vari-
ous densities and the duration of the exposure which produced them
is made as each density is measured and with this information we
are in a position to see what has been the reaction of the plate to the
various exposures.
The Relation of Exposure and the Growth of Density.-A strip
exposed in a sector sensitometer contains nine exposures, a range of
I: 5I2. This range is amply sufficient for the purposes of speed de-
termination, but as we wish, for purposes of demonstration, to in-
vestigate the effect of increased exposure on the growth of density
over an even wider range we will assume that a number of strips have
been exposed in such a way that we have obtained a range of ex-
posures from I C. M. S. to over half a million C. M. S. In the table
below we have placed opposite this series of exposures the densities
obtained by Hurter and Driffield in an actual test. (See H. and D.
Memorial Volume, p. I03.)
Exposures in C. M. S. Densit ies
I ..... ... ... ... .. .. . .o6o
2 . . . . . . . . . . . . . . . . . . . .100
4 ........ . : .. .. ..... -340
8 . . . . . . . . . . . .. . ' ... . . 500
16 . . . . . . . . . . . . . . . . . . . -715
32 . ... .. ... . ... . ..... 940
64 .. ' .. . . ... .. . . .. ... 1.345
!28 ...... . . ' .. . . .. ' . . . !.875
256 . ...... . . ...... . .. . 2.290
Differ ence
0.100
0.180
o.r6o
0.215
0.225
0-405
0. 530
0.415
512 . . . . .. . . . ... . . .. . .. 2. 5'35 .. ... . ..... . .. ' ... . . 0.245
r,o24 . . . . . . . . . . . . . . . . . . . 2.985 . . . . . . . . . . . . . . . . . . . o-450
2,048 . . .... . . .... .. . .... 3.II 5 . . . . . . . . . . . . . . . . . . . 0.130
4,096 . . . ... .. . .. ... .. ... 3.280 . . . . . . . . . . . . . . . . . . . 0.165
8,192 . . .... ....... . .. . . . 3-405 . . . . . . . . . . . . . . . . . . . 0.125
16,384 .. ...... ... . .. . . .. . 3.5o8 . . . . . . . . . . . . . . . . . . . o.1o3
32,768 . . . . . . . . . . . . . . . . . . . 3-47 4 . . . . . . . . . . . . . . . . . . . - 0.034
65,563 .. . . ... . .. .. .. . ... . 3.28o ...... .. . ... .. . .. . . -0.194
13.1,072 . ... .. . . ..... . .. . . . 3.128 .. . . . . .. .. ... . ..... -0.152
262, 144 .... . .. ... . . ....... 2 .g20 .. .... ... . . . . ... . . . - 0.2o8
524,228 . . . . . . . . . . . . . . . . . . . 2.464 . . . . . . . . . . . . . . . . . . . - 0.456
If you have had the patience to go through the above table carefully,
as you should do, you will observe that at first every time the exposure
is increased there is practically an equal increase in the density, finally
the increase in density for each additional increase in exposure becomes
practically a constant and the differences in the last column show no
222
PHOTOGRAPHY
change, excepting of course that due to experimental errors, and finally
the growth of density for each additional exposure begins to grow
less and less until a point is reached where additional exposure de-
creases rather than increases the total density.
The Characteristic Curve.-It is rather hard to get these points
clearly fixed in the mind when the results are set up in tabular form.
It is much easier to comprehend this relation between exposure and
density by graphic presentation. This might be done by plotting
density against exposure but in practice the density is plotted against
v
....... "'
.3 .0
I/
1\
1/
1\
I
2.0
I
1.0
I
v
v
v
....--
0
0 I 2 4 8 16 32 64 &Cup to . .. .. ..... .. ...... . ..... 524.288
Exposure Seconds
FIG. 131. The Characteristic Curve
the logarithm of the exposure instead. There are two reasons for
this: ( 1) The range of the two variables is quite different, for while
the densities run to about 3, the exposures range as high as a half-
million C. M. S., so that no real information can be secured from a
curve in which density is plotted directly against the expcisure. ( 2)
There is no simple law between exposure and density so that no part
of the curve will be a straight line representing an equal addition of
density for each increase in exposure. Accordingly the density is
plotted against the logarithm of the exposure instead of against the
exposure directly.
The exposure-density relation when plotted out in this manner pro-
SENSITOMETRY 223
duces what is termed the characteristic curve of the emulsion and
takes the general form illustrated in Fig. 131. It represents graphi-
cally the growth of density with increased exposure and summarizes in
a handy and tangible manner most of the physical characteristics of
the sensitive material, so that once we have obtained the characteristic
curve of any material we are in a position to predict, not only its
speed, but its various other characteristics.
The Significance of the Characteristic Curve.-In an effort to
bring home to the student in a still simpler manner the real significance
of the characteristic curve we . will attempt to explain the various
Exposure
FIG. 132. Step Chart Illustrating the Theory of the Characteristic Curve
relations with the aid of Fig. 132. In this the steps are supposed to
represent the various exposures and their height the amount of the
corresponding density. We have divided the entire curve into three
divisions, the significance of which we will shortly explain.
The fiJ.;st period is characterized by a rapid increase in density as
the exposures increase, the increase in density being approximately
proportionate to the increase in the exposure. The relation existing
within this period is shown by the following results of Hurter and
Driffield:
Exposure 20 C. M.S. (1) .. . . ... ... Density, .I25 . . ......... Relative, I.
Exposure 16o C. M. S. (8) .. ..... . ... Density, I.OSS .... . ...... Relative, 8.4
With increasing exposures we reach the second period in which the
addition of density for each increase in exposure becomes to all in-
tents and purposes a constant. Within the limits of this period, repre-
sented by the straight line portion of the characteristic curve (Fig.
r 3 r ),, each time the exposure is doubled there is an equal addition to
. I
224 PHOTOGRAPHY
the density. That is to say that while the exposures increase in geo-
metrical progression the densities increase in arithmetical progression,
or for example:
Exposures . . . . . . . . I
Densities . . . . . . . . .. o
2
4
2
8
3
16
4
32
5
128
7
256
8
This relation between exposure and density has a special significance
of great importance which will appear later.
Passing on to the third period it will be observed that the steps are
growiv,g less and less for each exposure and finally a point is reached
where there is absolutely no increase in density, after which increased
exposure results in a decrease in density. This last portion of the
curve (not shown in Fig. 132) known as the period of reversal is of
great theoretical importance but, as it is reached only with enormous
exposures, it has no significance in practice and thus we leave it, re-
ferring the student to the literature of the subject for further infor-
mation.
J Inertia as an Inverse Measure of Speed.-When the straight line
portion of the characteristic curve is produced so as to cut the log E
base line, as shown in Fig. IJI, an exposure is indicated which was
termed by Hurter and Driffield the inertia. The inertia is an inverse
measure of the speed of the plate: that is to say, a slow plate has a
high inertia while a rapid plate has a low inertia.
The precise significance of the inertia as a measure of speed is some-
what difficult to define. The exposure which it represents is not the
" threshold exposure " (the minimum exposure necessary to produce a
measurable density) nor does it indicate the maximum exposure which
will give proper rendering of the gradations of the subject, but an ex-
posure somewhere between these extremes, and Hurter and Driffield
claimed that practically it indicated the beginning of the period of ex-
posure in which correct gradation is secu'red.
The H. and D. numbers seen on boxes of plates and films are ob-
tained by dividing a factor
17
of 34 by the value of the inertia. Thus
a plate having an inertia of 54 will have an H. and D. speed of
\i
-...
Variation of the Inertia.-While the precise significance of the
inertia is somewhat clouded Hurter and Driffield could have found no
17
For the origin of the factor of 34 see Ferguson, Phot. J. , 1926, 66, 514.

SENSITOMETRY 225
other point so stable and so little susceptible to variation from which
to calculate the sensitiveness of sensitive materials. Both Hurter and
Driffield and also Sheppard and Mees have shown that, provided the
plate does not contain free bromide, the value of the inertia is un- .
affected by variations in the time of development.
18
The value of the
inertia is also unaffected by variation in the temperature of the de-
veloping solution (except with developers of very low reducing energy
as hydrochinon) or by variations in the concentration, or composition,
of the developer.
19
Hurter and Driffiefd also claimed that the inertia
was constant for all reducing agents, but Mees and Sheppard were able
.to show that this was not strictly true. According to the results ob-
tained by these investigators there are two general classes of sensitive
material, one class gives practically identical values for the inertia re-
gardless of the developing agent, while the other class gives a some-
what lower value with ferrous oxalate than with organic developers
such as p)irO, metol, etc.
20
Although the inertia is constant with increasing time of development
this is not true if the plate contains free bromide, or if the developing
solution contains a soluble bromide. In this case there is a lateral shift
of the curve towards the right with a consequent increase in the value
of the inertia and lower sensitiveness. However if development is pro-
longed the restraining action of a soluble bromide on development be-
comes less and less and the inertia point gradually shifts to the left,
finally reaching almost the same value as would have been secured had
the developing solution been free from soluble bromide.
21
It is for
this reason that all developers used for speed testing must not contain
a soluble bromide, otherwise the speed of the plate will depend upon
the degree of development and concordant readings will be difficult to
obtain. J
Effective Plate Speeds and H. and D. Speeds.-While the value of
18 H. and D. Memorial Volume, pp. II9-I20. Mees and Sheppard, Investiga-
tions, p. 282. Later investigations, however, indkate that this statement is open
to question and is not definitely settled as was formerly believed. See Shep-
pard, Phot. J., 192(), 66, 190.
19 Mees and Sheppard, Investigations, p. 283, also 173.
2o Mees and Sheppard, Investigations, p. 284.
21
There is some question as regards this latter statetpent. Nietz in the Theory
of Development, the latest authoritative work on the subject, was unable to con-
firm the previous statements of Hurter and Driffield and Mees and Sheppard.
He remarks, however, that the results obtained were obscured in many cases by
fog so that the 'Conclusions may not be correct.
226 PHOTOGRAPHY
the work of Hurter and Driffield can hardly be over-estimated, the fact
remains that the precise manner adopted by them for expressing the
speed of a plate is not all that could be desired. At the present time
the H. and D. system forms a convenient method of expressing the
relative speeds of different sensitive materials under certain standard-
ized conditions; it is not regarded, however, as an absolute or final ex-
pression of the effective speed of a given material.
The H. and D. system largely ignores that portion of the character-
istic curve generally referred to as the " foot"; or what Hurter and
Driffield designated the period of underexposure, assuming it to be of
little consequence in actual practice. According to the theories of
Hurter and Driffield the foot of the curve will be employed in prac-
tice only where underexposure is unavoidable; under normal condi-
tions when sufficient exposure can be given, the straight line portion,
which they designated the period of correct exposure, will be em-
ployed. In general practice, however, the foot of the cur;ve is not
ignored; and the densities in the average negative which represent the
shadow gradations do not lie on the straight line portion of the curve,
where, according to the H. and D. system, they ought to be, but on the
foot of the curve within the period of underexposure. Nor is this the
case only when underexposure is unavoidable; as a matter of fact the
foot of the curve is used for the shadows in general practice where
plenty of time can be given. Investigation has shown that due to the
limitations of positive printing materials the gradation in the shadows
of the print correspond more closely to the visual impression of the
subject when the foot of the curve is used than when the straight line
period of correct exposure is employed.
Now, when the foot of the curve is used the actual speed of the plate
is higher than that obtained by the H. and D. method which is based
upon the use of the straight line portion of the curve. The effective
speed of the plate, therefore, will depend on the extent to which it is
possible to use the foot of the curve for the rendering of the shadows.
This will depend upon the general shape of the characteristic curve.
If the curve is of the type having a long straight-line portion and a
very short foot the effective speed may be practically the same as the
H. and D. speed, but if the curve is of the type having a long foot with
a gentle slope then the effective speed may be much greater than the
H. and D. speed determined in the usual manner by the extension of
the straight line portion of the curve to the log E base.
Then there is the case of certain ultra-rapid plates, the curve of
\
SENSITOMETRY 227
which shows practically two st raight line porti ons ; the long foot being
practically a straight line but less steep than the second straight line
portion which follows with increased exposure. ln such cases, speci-
fi cation of speed in t erms of the inertia is subj ect to many uncertain-
ti es. A portrait photographer, for example, may use the long foot of
the curve almost exclusively. To him the plate may have a speed of
say 6oo H. and D. A press photographer who looks for greater con-
trast and density in his negatives, will use the steeper straight line por-
tion of the curve and for him t he same plate may have a speed of only
350 H. and D. The effective speed of a plate or ft!m, therefore, de-
pends upon t he shape of the characteristic curve and t he way in which
the plate is used and it does not seem possible to express by a single
number the absolute speed of a plate or fihn.
22
Wedge Methods of Sensitometry.-Since the introduction of a
simple method of manufacture by E. Goldberg in rgro, neutral tint
wedges have been rather extensively used in photographic sensitometry.
Luther's method of obtaining the characteri stic curve directly with-
out troublesome calculations by means of graded neutral tint wedges
is particularly mgemous. A square neutral-gray wedge of known
F1c. IJJ. Cha racteri stic Curve Secured by Crossed 'vVedges
gradation, increasing in density say from o to 6, or an intensity-range
of transmitted light from I to r ,ooo,ooo, is taken and the plate to be
examined is exposed behi nd thi s wedge to a standard light source and
22
For a method of expressing pl at e speeds in t erms of the least mini mum
g radient of the curve, see Jones, Proc. S eventh fnt ernational Congress of Photog-
mphy, London, 1928, and Sheppa rd, Phot. J., 1926, 66, rgo.
228 PHOTOGRAPHY
developed to a high contrast. When dry the negative is placed over
the wedge used for exposure but at right angles to the same. When
observed by transmitted light the characteristic curve is seen as a
rather diffused line. To sharpen this line a print is made on a process
plate which is developed to the limit in order to secure the maximum
contrast and from this a print is made on vigorous gaslight paper, the
boundary being reduced, locally if necessary, with a ferricyanide re-
ducer in order to obtain a clear, sharp-cut line. The resulting curves
may be scaled by impressing on the transparency the necessary scales,
one of the unit lines of the log intensity scale being made coincident
with a position line on the plate for which the effective exposure is
known. The characteristic curve of a sensitive emulsion, as deter-
mined by the use of crossed wedges, is illustrated in Fig. 133.
The Perfect Negative.-We have now described the manner in which
the sensitiveness of sensitive materials is determined and this was
the primary object of the researches of Hurter and Driffield, who
are largely responsible for the method which we have just described.
The most valuable work resulting from the sensitometric investiga-
tions of Hurter and Driffield, however, has been the relation of the
same to the reproduction of tonal values by the photographic process.
The function of photographic processes is to reproduce as faith-
fully as possible the shape and tones of natural objects. Accurate
drawing is an optical concern and strictly speaking is only indirectly
connected with photographic processes. The truthful reproduction of
tone and gradation, however, is a function of the sensitive material
and is thus distinctly apart of the photographic process. It is along
these lines that the work of Hurter and Driffield has been the most
fruitful, for they were the first to show the conditions governing the
reproduction of tone by sensitive materials and its limitations.
A negative is said to be a perfect representation of the subject when
its opacities are proportional to those parts of the subject which they
represent . Thus with a subject having a range of intensities from r
to 64 all negatives having the following opacity-ratios would be cor-
rect reproductions of the original, because in each case the relations
between the various opacities and the corresponding portions of the
subject are the same.
Light intensities of subject. . . ...... .. . .. . I 2
4
8 I6
32 64
Opacities ............. . . . .... .. .. . . .. . ... 0 I 2
4
8 I6
32
%: 0
I 2
4
8 I6
% %: 0
2
4
8
SENSITOMETRY 229
The relation between the light intensities, opacities and transpar-
encies of a perfect negative may be evident from the following:
Light intensities of subject . .... .... . .. I 2
4
8 I6
32
Opacities .. . .... .. ..... . ... .. . . I 2
4
8 I6 32
Transparencies . .. .. . .... . .. .. ... . .. .. I I/2 I/4 I/8 I!r6 I/32
The Density-Exposure Relation and Correct Reproduction.- We
have previously investigated the relation existing between exposure
and density for the purposes of plate speed testing; we are now
about to discover the relation which it has to the subject of tone re-
. production.
When we perceive in nature a uniform transition from dark to
light we may be sure that the intensity of the light increases more
nearly in geometrical than in arithmetical progression, for in the lat-
ter case the transition from dark to light is abrupt and harsh. Con-
sequently, since in most objects the light intensities increase in geo-
metrical progression, the opacities of a negative which is a faithful
reproduction of the subject must also increase in geometrical progres-
sion. Density we have previously defined (page 217) as the loga-
rithm of the opacity, hence with a series of opacities increasing in
geometrical progression the densities increase in arithmetical progres-
sion. This relation may perhaps be clearer from the following nu-
merical example:
Light intensities of subject ...... . ......... ... I 2
4
8 I6
32
64
Densities .. ......... . .. .. .. .... . . . .. . .. I 2
3 4 5
6
7
Opacities .. .. ................ ... ..... . . I 2
4
8 I6
32 64
The mathematician calls each term of an arithmetic series which
corresponds to any given term of a geometric series, the logarithm of
that term; and the law which alone would produce absolutely true
tones in photography would be expressed by saying that the quantity
of silver reduced on the negative, or the density, is proportional to
the logarithm of the light intensity.
From our discussion of the characteristic curve (page 222) it
will be remembered that the curve is obtained by plotting density
. against the logarithm of the exposure. This curve is not a straight
line, as would be the case if the densities increased in arithmetical
order over the entire range of exposure, but on the contrary has an
f shape which was divided into three portions, the lower concave
portion, the straight line portion and the convex portion.
230
PHOTOGRAPHY
Attention has also been called to the fact that in the lower concave
portion the densities increase on the same order as the exposures, or
in geometrical progression. The light transmitted is therefore in
arithmetical progression, producing a harsh, abrupt transition from
dark to light which is characteristic of under exposure. This period
is therefore termed the period of under exposure.
In the straight line portion of the curve it is evident that the den-
sities increase as the logarithm of the exposure, or
dD/d log
10
E =constant.
Since this is the condition which has been shown to be essential to
proper reproduction, this period is termed the period of correct rep-
resentation or the period of correct exposure. In the convex portion
of the curve the densities increase in less than arithmetical progres
sion; consequently, the proper separation of the separate exposures is
not secured and the result is flat and lifeless. This period is termed
the period of over exposure.
The period of reversal is without significance so far as the subject
of tone reproduction is concerned.
Latitude of Sensitive Materials.-The capacity of a given sensitive
material in the matter of tone rendering is therefore determined en-
tirely by the length of its straight line portion. It is in this respect
that sensitive materials differ widely. Plates to be used for por-
traiture, and other work in which a long scale of tones must be ac-
curately reproduced, must have a long straight line portion so that
the whole range of light intensities can come within the straight line
portion of the curve of the sensitive material. Plates for commercial
and other work of this nature where greater contrast is required and
where the subjects do not possess such a long range of light intensities
do not have this long straight line portion with its accompanying
power of exact reproduction.
The length of the straight line portion of the characteristic curve
represents what is commonly termed the latitude of the sensitive ma-
terial. Latitude in exposure depends upon two things :
I. Upon the extent of the straight line portion of the sensitive ma-
terial.
2. The range of light intensities in the subject.
Let us suppose a sensitive material having a long straight line por-
tion capable of rendering a range of exposures from 1-64 (Fig. 134).
Now if we have a subject with a range of exposures from 1-16 (rep-
resented by the arrows) it will be evident that the exposure may be
. r
SENSITOMETRY 231
increased four times without forcing any of the tones into the pe-
riod of over exposure. However, if the range of light intensities in
the subject is increased to 1-32, then the exposure could be in-
0
F1G. 134. Latitude and the Characteristic Curve
creased only twice without forcing some of the exposures beyond the
straight line portion. In the first case the sensitive material would
be said to have a latitude of exposure of 1-4; in the second case 1-2.
Log Exposure
FIG. 135. Development and Constant Density Ratios
.. .
I
l
l
J
l
I
232 PHOTOGRAPHY
Hence the latitude in exposure possessed by a given sensitive material
is a relative term depending upon the range of light intensities in the
subject.
Development and the Reproduction of Contrast.-While correct
exposure is absolutely necessary for correct rendering, it alone is not
sufficient, for the time of development also plays a part. It is the
function of exposure to secure the proper relationship between the
densities and the light intensities which produced them. The densities
are, however, only a half-way step towards the realization of a per-
fect negative. It will be remembered that it is the opacities which
must be proportional to light intensities which produced them. While
development is without effect on the relationship of the densities, it
does affect very markedly the ratio of the opacities, so that it follows
that development is a very important factor in securing correct re-
productiO;ll . .
Constant Density Ratios.-The effect of the time of development
on a series of densities may perhaps be made clear with the aid of
Fig. 135. The two series of gradations represent two sensitometric
strips which have received identical exposure but different times of
development. Series A we will assume to have received 4 minutes
development; series B 2 minutes. The equal rise in the steps of each
staircase indicates that the relationship of the densities is the same in
both cases and consequently the density ratios are not altered by varia-
tion in the time of development. This is what is meant by the law of
constant density ratios, which was first enunciated by Hurter and
Driffield in 1890.
23
In confirmation of the law of constant density ratios we reproduce
the following experimental data from an investigation of Hurter and
Driffield:
Exposttres
I 2
4
8
Density1 (4" development) .. . . .. ... ...
o.ns
I.OOO I.I80 1.250
Ratio of densities D1 . .. . ... . . ....... . . I.O 1.29 I. 52 I.6I
Density. (r2" development) . , ....... . . 1.260 r.66o 1.96
2.08
Ratio of densities D . . .. . .. . . . . ... . . . I.O I.JI I. 55
I.65
I
Ratio D1/D2 .. . ... . .. . ....
I.63
I.66 I.66 r.6o
23
" Photo-chemical Investigations," J. Soc. Chem. Ind. (r8go), g.
"'"
..
I

\
'
SENSITOMETRY 233
Thus it is evident that, within the limits of experimental error, evi-
dence supports the law of constant density ratios. Since the ratio of
the densities is unaffected by the time of development, it is evident
that the ratio is a function of the exposure and that unless the ex-
posure has produced the proper relationship between the densities and
the light-intensities which produced them correct reproduction is im-
possible.
An Important Difference.-But while the density ratios are unaltered
by the time of development, the opacity ratios are, the effect of an in-
creased time of development being to considerably increase the ratio
of the opacities. Upon re-examination of the two staircases of Fig.
155 it will be observed that while the progression of the densities is
the same in both cases, the amount by which the densities differ, in-
dicated by the height of the individual steps, is considerable and that
the total range of A is much greater than B. Numerical data, from
an experiment of Hurter and Driffield, which shows how development
affects the ratio of the opacities, without altering that of the densities,
follows:
-
I 2
3 4 5
Exposure Density Density Opacity Opacity
C. M. S. ratio ratio
----
Strip r, Developed 4" .. . . . ..... I.25 -310 r.o 2.04 r.o
2.5 -520 I.67
3-31
I.62
5-0 -725 2-33 5-30 2.59
Strip 2, Developed 8" ....... . , . I.25
530
r.o
3-38
r.o
2.5
-905
I.70 8.03
2-37
5-0 1.235 2.33 17.18 5.08
Strip 3, Developed 12
11
I.25 .695
r.o
4-95
r.o
2.5 I.I40 I.64 13.80 2.78
5-0 r.625
2-33 42.17 8.51
It will be observed that all three strips received identical $cposures,
but varying times of development. Column 3 shows that the density
ratios are practically identical in all three cases, indicating that the
increased time of development is without effect on the density ratios.
Column 5, however, shows that the opacity ratios have increased con-
siderably with increased time of development. Thus in the first strip
the ratio of the minimum and maximum opacities is 1-2.59; in the
second strip the ratio is r-5.08; while in the third strip the ratio has
increased to r-8.51.
234 PHOTOGRAPHY
V Development and Contrast.-We now see clearly the relation be-
tween exposure and development and the part each plays in securing
a faithful reproduction of the subject as it appears to our visual
senses. Exposure is responsible for the proper relationship between
the tones, while development determines the differences between the
tones. The amount of this difference is determined solely by the dura-
tion of development and constitutes what is termed the contrast. Con-
trol in development is confined entirely to the length of time which
the developer is allowed to act. The growth of no one density may
be restrained or increased without affecting the others proportionately .
. Erroneous exposure cannot be corrected by any alteration whatsoever
in development, for if the proper relationship between the densities
has not been secured by giving the correct exposure, then no amount
of development will supply that relationship which must exist between
density and exposure for correct reproduction.
Thus there is one, and only one, time of development which will
give a technically perfect negative. The proper time of development
for a technically perfect negative is that time of development which is
required to produce a series of opacities which are directly propor-
tional to the light intensities which produced them.
In practice, however, owing to the differences in the properties of
various printing media, it may be advisable either not to reach this
exact proportionality or in other cases it may be advisable to exceed
it in order that the visual appearance of the positive print may cor-
re.ctly reproduce the original subject. It must be remembered that
the negative is only a means to an end. It is the positive print which
is the final result and regulation of the contrast of the negative to
meet the requirements of the printing medium is not only proper but
necessary.
Gamma.as a Measure of Contrast.-Hence we require not only a
means of measuring contrast after it is obtained but also a means of
calculating the time of developmen( required to reach any given
stage of contrast. For this purpose use can hardly be made of the
opacities on account of the mathematical complexity which controls
their growth and therefore it is common to express the degree of
contrast in terms of densities . and log exposures, the units of. the
characteristic curve. To the degree of contrast expressed in terms
I
!
.
SENSITOMETRY 235
of density and log exposure, Hurter and Driffield gaye the term
gamma ( y) which has since been generally adopted.
Gamma is the ratio of the density range of the negative to the
range of the logarithms of the exposures producing them. Or in
other terms
Difference in maximum and minimum densities of a given series
Difference in the logarithms of the corresponding exposures
or again
where D
1
and D
2
are the minimum and maximum densities of the cor-
responding exposures E
1
and E
2

Aside from being an expression of the degree of contrast in the
negative, gamma also expresses the relation between the contrast of
the negative and the subject which it represents. If the value of
gamma is less than one the contrast is less than that of the subject,
while if it is more than one the contrast is greater than the subject,
provided that in each case the range of exposures fall within the
straight line portion of the characteristic curve. The application of
gamma as a measure of contrast holds only within the period of cor-
rect exposure. Under-exposure produces the effect of high gamma,
while over-exposure has the reverse effect, but in both cases the dif-
ference in the densities is not proportional to the difference in the
logarithms of the exposures and gamma as a measure of contrast fails
to have any real significance.
Gamma and the Characteristic Curve.-If we connect the various
densities of the two staircases of Fig. 135 with a straight line, it is
evident that the angle which this line makes with the log exposure
base is greater the longer the time of development. In other words
the longer the time of development, or the higher the value of gamma,
the steeper the slope of the straight line portion to the base. The
slope of the straight line portion of the curve, or the angle which it
makes with the log exposure line, is thus a measure of the amount of
difference between the densities, or, in other words, of gamma.
This relation may be expressed in a very simple manner by means
of a little geometry applied to the characteristic curve.
9
236 PHOTOGRAPHY
By giving.a plate two exposures denoted at A and B (Fig. 136) on
the log exposure scale, we obtain densities denoted by the heights of
the vertical lines AC and BD. The horizonal lines OA and OB,
therefore, measure the log exposures in like terms.
2.0
~ 1 . 5
~
"' c
~ 1 . 0
.5
,.A
v
/f'
~ ~
/
0_.
~
E- .3

LogE .5
1.0

0
I
I
I
:A
3
10
t
1.0
/
vr
I
:
I
I
- ~ E
I
I
I
I
:s
~
100
+
2.0
v
/
G
/
I<
2.0
I
.5"'
E
E
<0
1.0<!>
.5
1000
t
3.0
Frc. 136. The Geometry of Gamma. (Brown)
Now apply the formula which we have previously arrived at from
our definition of gamma, that is:
D2- Dr
'Y = .
log E2 - log Er
In the diagram draw CE parallel to the log exposure base line OB.
BD- AC DE DE
Then gamma= OB- OA = AB = CE.
Now this ratio DEICE is one way of measuring the angle CDE
or (J (theta). It is the tangent of the angle fJ (theta), the ratio of the
side (in any right angle triangle) opposite one of the other angles to
the side connecting this opposite side to the angle :
. perpendicular .
the ratto b of tngonometry.
ase
This tangent of the angle fJ (theta), or tan fJ, as it is called, is equal
to gamma, for it is plain from the diagram that the angle DCE is
equal to the angle CPA, which is the angle of the slope of the straight
line portion of the characteristic curve.
2 4
24
I am indebted to Mr. George E. Brown for the above method which is taken
from his "Hurter and Driffield Doctrine" in the British Journal of Photog-
raphy, 1921, 68, 374
:..,
)
SENSITOMETRY
237
The Calculation of Gamma.-It would be possible to measure the
angle and find the value of its tangent in the published tables but
there is a much simpler way of finding the value of tan (} by using
the chart itself.
From the point 100 on the log exposure scale draw a line (HG in
Fig. 136) parallel to the straight line portion of the characteristic
curve (CD in Fig. 136) until it intersects with a perpendicular drawn
through the 1000 point on the log exposure scale ( G in Fig. 136). It
is clear that since HG is parallel to CD the angle KHG is also equal to
(} and therefore tan KHG is equal to tan (} or gamma. Tan KHG,
however, equals GKjHK which in turn equals GK/1 since the dif-
ference between the log of roo (= z) and the log of 1000 (= 3) is I.
Therefore if we mark on the vertical line KG a scale which cor-
responds with that on the opposite side of the chart, the point where
the parallel line from H meets the scale indicates the gamma without
any calculation at all. This method of calculating gamma was de-
vised by Hurter and Driffield.
A slightly different method but based upon the same mathematical
principle is used by Mr. Alfred Watkins. A distance is measured off
on the log exposure scale equal to 10 times the value of the inertia
obtained by projecting the straight line portion of the curve until it
intersects with the log exposure scale. At this point erect a perpen-
dicular line to intersect with the characteristic curve. The density
at the point of intersection is equal to gamma. Thus in Fig. 136 the
value of the inertia is 0.3 and
10 X 0.3 = 3-0.
Erecting at 3 a perpendicular to the log exposure scale it is found
that this perpendicular intersects the characteristic curve at a density
of about 0.8 and is identical with the value secured by the previous
method.
The value of gamma may also be calculated from any two densities
within the straight line portion of the curve from the formula
-y=
log E2 - log E1
The graphical methods, however, are much more convenient.
Instruments have been devised by which gamma may be obtained
238 PHOTOGRAPHY
without calculations or plotting of densities: consideration of these,
however, is beyond the scope of this work.
25
The time of development necessary to obtain any given gamma
when the time of development for other values of gamma is known
will be given later in the chapter on the theory of development.
Gamma Infinity.-The amount of contrast, and therefore the value
of gamma, since gamma is the numerical expression of contrast, in-
creases with the time of development up to a certain point; beyond
this point no further increase occurs, in fact, after this stage has been
reached, lengthened development reduces rather than increases the
value of gamma owing to the intervention of fog, the effect of which
is greater on the lower densities than on the higher. The maximum
amount of contrast or, in other words, the highest gamma obtainable
with any given material is termed gamma infinity (Yeo ) .
The value of gamma infinity depends chiefly upon the sensitive
material, although experimentally small variations are secured with
different developing agents.
26
High speed emulsions for portrait
work have a low gamma infinity as a high degree of contrast is never
required in portrait work : in fact material tending to give a high
gamma would be a disadvantage. In commercial, landscape and
general exterior work greater contrast is required and sensitive ma-
terials made for these purposes are made to develop to higher values
of gamma infinity than those made for portrait work. The greatest
contrast of all is secured with plates of the process type as used for
copying line work in black and white where absolutely clear lines to-
gether with a field of the greatest possible opacity is required.
Gamma infinity may be determined experimentally, but as it in-
volves the measurement of very high densities and since these may be
more or less affected by the fog produced on long development, the
process is subject to large experimental errors and the values of
gamma infinity are generally determined by calculation from lower
values of gamma. It will be remembered that in exposing the sensi-
tive material in the sensitometer two strips were exposed under
identical conditions and that these strips were later developed under
like conditions; the duration of development, however, varying as
I :2.
25
See: Watkins, Phot. J. (1912) , 52, zo6; also Photography, Its Principles
and Applications. Renwick, Phot. J. ( 1914), 54, 163.
26 Nietz, Theory of Development, p. 102.
SENSITOMETRY 239
A method of calculating gamma infinity from the values of two
sensitometric strips developed so that
was first worked out by Mees and Sheppard in I9QJ.
27
From certain
mathematical data based upon the velocity of development they calcu-
lated the following expression of gamma infinity in terms of lower
gamma:
'Y I 'Y2
'Y"' = I- e-kl = I- e-kl2
This formula, however, is not so simple as that of Renwick:
28
( 'YI)2
'Y"' = ..,...--'-::....::.:... __
(2'YI) - 'Y2
A graphical method of determining gamma infinity which avoids all
calculation has recently been worked out by Renwick and will be
found extremely convenient.
29
EDER-Systeme der Sensitometrie des Plaques Photographiques. (French trans-
lation by E. Belin, 1902.)
EDER AND V ALENTA-Beitrage zur Photochemie.
FERGusoN-Hurter and Driffield Memorial Volume. With excellent bibliog-
raphy to 1920.
LoBEL-Manuel de Sensitometric.
MEES AND SHEPPARD-On the Theory of the Photographic Process.
2 7
P hot. J. ( 1903) , 43, 199.
2s Phot. J., 19II, 51, 213.
29
Phot. J., 1923, 63, 331. For two other methods see: Renwick, Phot. J., 1914,
54, 165-6. Krohn, Phot. !., 1914, 54, 166-7.
CHAPTER X
THE EXPOSURE OF THE SENSITIVE MATERIAL
The Problem.-The problem in the exposure of the sensitive ma-
terial is to find that time of exposure which is necessary under the
prevailing conditions of light, subject and diaphragm to produce for
each tone in the subject a proportionate density in the negative, so that
the densities representing the tones of the subject may all lie within
the straight line portion of the characteristic curve.
There are four factors which determine the correct time of ex-
posure:
I. The intensity of the light.
2. The subject.
3. The speed of the lens (or the diaphragm used) .
4 The sensitiveness of the plate or film.
Light Intensity and Exposure.-The intensity of natural light is de-
termined by the time of day and time of year, by disturbances in the
atmosphere and by latitude.
Based upon investigations of Bunsen and Roscoe, Scott of Dublin
in 1880 drew up a series of tables showing the variation in the in-
tensity of daylight due to time of year, time of day and latitude.
Assuming equal conditions the table on page 241, therefore, indicates
telative exposures for different seasons and latitudes.
The countries south of the equator have their maximum light value
in December, instead of June, therefore, if the positions of the months
in the above table are exactly transposed, the table will' apply both
to the Southern and Northern hemispheres.
Atmosphere.-If the intensity of sunlight was unaffected by the a't-
mosphere and physical obstructions the simple table above would be
an accurate guide to photographic exposures. But the intensity of
sunlight is markedly affected by the presence of clouds or dust par-
ticles in the air. Clouds at times may increase the intensity of sun-
light by reflection, but more often they decrease its intensity. Such
alteration is extremely difficult to estimate except by chemical means
240
THE EXPOSURE OF THE SENSITIVE MATERIAL 241
VARIATION IN EXPOSURE FROM MORNING UNTIL EVENING FOR DIFFERENT
LATITUDES
By R. de B. Adamson, B.Sc.
British Journal Photographic Almanac
MORNI NG
Lati-
North Hemisphere South Hemisphere
tude
I2 II IO
9
8
7
6
5 4
- -
- - - -
-
June I I I I! Ii
2
3 4
8 December
May, July I I I! I! I!
2
3
6 IO Jan., Nov.
April, Aug.
I! I! I! I!
2
3
6 -
-
Feb., Oct.
60 Mar., Sept.
I! I!
2 2
3
6 - - - Mar., Sept.
Feb., Oct.
3 3 3
6 - -
-
- - April, Aug.
Jan., Nov.
4
6 8 - -
- -
-
-
May, July
December 6 8 - - -
- - - -
June
- - - - - - -
June I I I I I!
2
3 4

December
May, July I I I I! I!
2
3
6 -
Jan., Nov.
April, Aug. I
I! I! I!
2
3
6 - - Feb., Oct.
55
Mar., Sept.
I!
I.l
I!
2
3
6 - -
-
Mar., Sept.
2
Feb., Oct. 2 2
3 4
8 - - - - April, Aug.
Jan., Nov.
3 3 4
8 -
-
-
- -
May, July
December
4 4
6 -
- - - - -
June
-
-
- - - -
-
June I I I I
I!
2
3
6 - December
May, July I I I I! I!
2
3
8 - Jan., Nov.
April, Aug. I I
I! I!
2
3
6 - - Feb., Oct.
50 Mar., Sept.
I! I! I! I!
3
6 - - - Mar., Sept.
Feb., Oct. 2 2 2
3
6 - - - -
April, Aug.
Jan., Nov.
3 3 3
6 - - - - - May, July
December
3 . 4
6 - - - -
-
-
June
- - - - - - -
June
! i
I I
I!
2
3
- -
December
May, July
A
I I I I!
2
4
- -
Jan., Nov.

April, Aug. I I I
I! I!
3
6
- -
Feb., Oct.
40 Mar., Sept. I I
I! I!
2
4
- - - Mar., Sept.
Feb., Oct.
I! I! I!
2
4
- - - - April, Aug.
Jan., Nov.
I!
2 2
3
6 - - - - May, July
December 2 2
3 4
8 -
- - -
June
-
- -
- - - -
June
A
i
I I
I!
2
4
-
- December

May, July
i
3
I I
I!
2 6 -
-
Jan., Nov.

April, Aug.
i
I I I! I!
3
8 - - Feb., Oct.
300
Mar., Sept. I I I I! 2
4
- - - Mar., Sept.
Feb., Oct . I I I! I!
3
6 -
- - April, Aug.
Jan., Nov.
I! I! I!
2
4
- - - - May, July
December
I! I! I! 2
4
- - -
-
June
- - - - - - -
I2 I 2
3 4 5
6
7
8
AFTERNOON
I
242
PHOTOGRAPHY
and although the eye after experience may be able to approxin1ately
determine its visual intensity, it cannot estimate its actinic intensity
and it is this with which we are concerned. Towards evening, when
the sun approaches the horizon, there is a marked decrease in the ac-
tinic power of the light, but the eye detects little, if any, difference and
it is difficult to estimate exposures under these conditions. The fol-
lowing will give an idea of the relative intensity of light under dif-
ferent conditions of cloudiness, but is only approximate, as there are
many degrees of cloudiness and the eye cannot readily estimate the
extent to which the passage of actinic light is impeded by the same.
Intense light (best possible light) ................ . ......... . .
Bright diffused light (sun behind clouds, but still bright)... . .. r.s
Light clouds (shadows visible)... . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Heavy clouds (no shadows).... . ....... . ....... .... .... .... . 3
V cry heavy clouds ............. . ...................... .. . .. . 4-5 or more
The Subject.-The majority of the subjects in general photography
may be divided into six classes : Sea and Sky, Sea Views and Ship-
Frc. 137. Sea and Sky
ping, Open Landscape, Average Landscape, Outdoor Portraits, In-
teriors and Indoor Portraits.
Class I. Sea and S ~ y . - A subject, such as Fig. 137, which con-
sists of sea and sky, receives the maximum amount of light, since
there are no obstructions of any kind, while at the same time the
amount and color of the reflected light is high, as few subjects reflect
so large a proportion of the incident light as water the blue color
of which is decidedl y actinic. Unit Factor r.
Frc. 138. Sea View and Shipping
Class II. Sea Views and Shipping.-Should the subject contain
vessels within one hundred feet, the exposure would have to be in-
creased on account of the near presence of a deeper shadow than
Frc. 139. Open Landscape
common. Snow scenes, which contain no near dark objects and
panoramic views, require about the same exposure as sea views with
2
4
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Class V. Outdoor Portraits.-Portraits in the shade require from
8 to IO times the exposure of Class I (SEA AND SKY). Condi-
tions in this class of work vary to such extremes that it is difficult to
fix a factor, but that given will serve as a guide.
Frc. 141. Outdoor Portrait
Class VI. Interiors and Indoor Portraits.-For the same reason.
it is almost impossible to fix a factor for indoor portraits or interiors.
Perhaps the factors of fifteen and twenty respectively will fit average
conditions.
Under equal conditions of light and color, exposure is unaffected by
the distance of the subject and in a clear atmosphere, such as Switzer-
iand or our own West, there are times when all objects beyond
twenty-four times the focal length of the lens require the same ex-
posure. In most parts of the country, however, there is a blue haze in
the air which possesses high actinic value and consequently shortens
the exposure required for distant objects.
246 PHOTOGRAPHY
Summarizing the factors for the different classes of subject we
have:
Class I
Oass II
Class III
Class IV
Class V
Class VI
Class VII
Sea and sky ........ . ...... . ....... . . ... .. .... . .-. . . . I
Sea views with shipping ............ .. ..... . . . . . . . .. 2
Open landscapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Average landscape ... .. .. ... ... .. . .... .. . ... . .... . .. 6
Portraits in shade ... . ............ ... . .. ... ... .... . . 8-Io
Indoor portraits .................... .. .... . .. . .. ... . I o-- I 5
Interiors ...... ...... .. .... ... . .................... IS-20
Speed of Plate.-Owing to the absence of any universal standard
in sensitometric methods, the plate speeds of one manufacturer can-
hot be compared with those of another. At the present time the only
reliable basis of speed comparison for the plates of different makers
are the tables issued by the makers of the Watkins and the Wynne
meters, the American Photography exposure tables and the Bur-
roughs-Wellcome Handbook. These lists include practically all the
plates on the market in English-speaking countries.
TABLE SHOWING CORRESPONDENCE OF SYSTEMS OF PLATE SPEED DETERMINATION
By L. P. Clerc, in Revue Francaise from British l ournal of Photography, I922,
6g, 200
Scheiner Eder-Hecht H.&D. Watkins Wynne Relative
I
42
7
II F/2I I
2
46
9
I3 F/24 1.27
3
48
I2
I7
F/2I 1.62
4
so IS
22
F/30 2.07
5 53
I9
28
F/34
2.64
6
56 24 36 F/38
3-36
7
58 31
45 F/43
4.28
8 6I
40 58 F/49 545
9
64 so
74
Ffss 6.95
IO 66
64
94
F/63
8.86
II 68 82 I22 F/7I II.3
I2
7I I04 I 53 F/79 I44
I3
74
I33 I96 F/90 I8.3
14
77
I70 250 F/IOI
234
IS
So 2I6
3I7
F/II4 29.8
I6 82 276 405 F/I29
379
I7 84 35I SIS F/145
483
I8 86
448
66o F/I65 61.6
I9
88
570
840 F/I96 7s.s
20
90 727 1065 F/209 IOO.O
Another disturbing factor which fortunately. is seldom sufficient
to cause serious trouble is the variation in speed of different batches
of the same brand of plate.
While every possible means is taken to ensure the uniform speed
of every batch of plates turned out, it is beyond human skill to secure
complete uniformity and even with the best of attention and care to
all processes, large variations in speed will: now and then occur.
Sometimes the variation may be as large as so per cent but this is
unusual, although variations of IO per cent are not uncommon. It
would be a gain in accuracy and a distinct advantage to the practical
worker to know the actual speed, secured by a laboratory test of each
batch of emulsion, for each box of plates he uses.
Speed of Lens.-Under given conditions the time of exposure de-
pends upon the intensity of the image produced by the lens. The
optical conditions which determine the intensity of the image have
been discussed already; here it is sufficient to state that in practice
relative exposures are indicated with sufficient accuracy by relative
apertures.
The variation in the intensity of the image with different objectives
at the same relative aperture due to differences in the amount of light
lost by absorption or reflection (see page 84) is in most cases within
the limits of errors in exposure. The only , time in which it would
seem to be of practical consequence is in the case of some of the ex-
tremely rapid lenses used for cinematography where owing to the
complex optical construction the intensity of the image is less than
indicated by the relative aperture. The failure of photographic ma-
terials to obey the reciprocity law (page 213) is, with rapid plates
used under ordinary conditions, so small as to be well within the lati-
tude of the emulsion; only in the case of slow plates or films exposed
in weak light does it become of consequence.
Determination of the Time of Exposure.-There are three methods
in common use by which photographers determine the proper time to
expose:
1. The empirical.
2 . By the use of tables.
3 Exposure meters.
The first method calls for but the briefest comment. The so-called
gift of exposure which many photographers claim to possess does not
exist. The ability to estimate the time of exposure under given con-
ditions by examination of the image on the vround.:glass or other like
means consists simply in the comparison of present conditions with
past experiences and were it not for the remarkable latitude of sensi-
248 PHOTOGRAPHY
tive materials such methods would end in failure. While it is possible
for one as a result of extensive experience under certain conditions to
estimate with a fair degree of accuracy the time of exposure under
similar conditions, for most workers and especially for the beginner,
the occasional worker or for one who works under varied conditions
such methods are inaccurate and unreliable.
Reliable tables or exposure scales are much more satisfactory and if
properly used will yield a high percentage of printable negatives, but
here again a certain amount of judgment is needed, which is only ob-
tained by experience, in order to properly classify the character of
light, whether intense, bright, cloudy-bright, etc. While one gains
-ability in this respect with experience, even the trained eye is by no
means an accurate judge of the actinic intensity of light, so that tables
and scales are only another step toward the solution of the problem.
The only way to ensure success in exposure is by the use of exposure
meters which actually measure the chemical activity of the light at the
time of the exposure.
Exposure Meters.-There are two general types of exposure
meters : (I) the actinometer, which measures the chemical strength
of the light by the darkening of sensitized paper and ( 2) visual meters,
which determine the strength of the light by photometric methods.
The two standard meters of the first class are the Watkins and the
Wynne. Besides these there are several others, the Imperial, Photo-
meter M. and V., Haka-Expometer, Metropose Michant, Steadman
and Beck. The first named are made in watch form and both de-
pend upon the darkening of sensitive paper to a standard tint which,
however, differs in the two meters. In practice there is little to choose
between them. The Wynne has a lighter standard tint and requires
only one fourth the time to make a test of the light as the Watkins,
but a separate quarter-tint dial can be obtained from the manufac-
turers of the latter. In the Watkins meter, the stop is placed against
the plate speed number and therefore the scales do not need to be ad-
justed as long as the same plate, or stop, is in use. The Wynne indi-
cates at the same time the exposure fo.r all stops, but must be reset
whenever there is a change in the light value. Properly used, there is
no question as to the accuracy of either.
The rule for the use of the meter is to : Test the light in the shadiest
part of the subject in which full detail is required. Therefore, if the
subject is an open field, take the direct sunlight; if under the shade of
trees, take the strength of the light where the subject is seated. Hold
the meter to face the light that falls on the subject, not to face the
camera nor the subject itself. In most cases, hold the instrument to
face the sky but where _ the main light does not come from the sky,
hold the meter so as to face the main source. The time required for
the paper to reach the standard tint may be measured by a watch, by
a pendulum or may be counted. All in all, the latter is to be preferred,
but the worker must be able to count seconds accurately-a matter
which is not difficult after a little practice with a watch. One of the
best methods of timing seconds mentally is to repeat, audibly if neces-
sary, some phrase which one can easily speak in a second, such as, for
instance, one-thousand-and-one, one-thousand-and-two, etc. Most
people's seconds are half-seconds. The watch is satisfactory, but
with the pendulum it is difficult to watch both the meter and the bob
at the same time. The stop-watch meters are accurate but expensive.
It is easier to judge the proper matching of the two tints if the instru-
ment is held at arm's length and the tint viewed through half-closed
eyes. The important thing to observe, and the whole secret to the
successful use of a meter, is the time required for the sensitive paper
to reach the darkness of the standard tint. Color is not to be con-
sidered. Having found the time, it is called, it .re-
mains to set the scales and read off the proper exposure. Full direc-
tions accompany each meter and the reader is referred to these for
further details.
Should over or under exposure occur consistently when all of the
above precautions have been taken, it may be corrected by a change
iri the speed of the plate. Thus, if over exposure occurs using plate
speed 180 for Seed L Ortho plates, use a higher speed, say 250, while
a lower plate speed, say 130 or 90, would be necessary if under ex-
posure occurs with 180. Once the plate speed which gives the re-
sults desired has been found, it should be adhered to and used as the
basis of all calculations. It is seldom necessary to make smaller altera-
tions in plate speeds than so per cent. Thus a change from 90 to 100
would not be noticed and 130 might be used without noticeable
alteration.
In the case of indoor portraits or interiors the time required for the
determination of the actinometer time is lessened by the use of lighter
tints for purposes of calculation. Thus with the Watkins meter the
first visible darkening of the sensitive paper requires exactly 1j16 of
the time necessary for the standard tint. One can, therefore, take the
time in minutes or seconds for the sixteenth tint, multiplying this value
250
PHOTOGRAPHY
by sixteen to obtain the full actinometer time. In the case of interiors
or still life one may expose the plate and meter at the same time, the
diaphragm employed being such that the camera exposure is equal to
the actinometer exposure for either the sixteenth or quarter tint.
Tables for this purpose are given in the instruction booklet accom-
panying each meter.
Corrections for Special Subjects.-For all ordinary subjects, as
open landscapes, average landscape views, trees, portraits in shade,
buildings, groups and interiors, no correction is necessary and the ex-
posures indicated by the meter will be found about right. There are a
few subjects, however, which require alterations in the meter reading
-because of their high actinic color and on account of exceptional re-
. fleeting power. The following table gives the proper alteration to be
' made for the more important of these exceptional subjects:
J
Sky or sea and sky.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . r/ro indicated exposure
Snow or glacier scenes, sea views with shipping, black
and white prints.......... ... ... .. .............. )4 indicated exposure
Open landscapes, lake views, river banks from the
water, copying half-tone photos. . . . . . . . . . . . . . . . . . Y, indicated exposure
Very dark colored objects as old furniture and dark
paintings in a non-actinic color .. . . . . . . . . . . . . . . . . r Y, indicated exposure
Visual Exposure Meters.-The actinometer measures the light
falling on the subject; the visual meter the light reflected from the sub-
ject. In the earlier instruments of this type, such as the Heyde, the
lea Diaphot and the McMurty, the subject is viewed through an optical
wedge, which for convenience is circular, and this is revolved past the
eye until the detail in the shadows of the subject is barely visible. The
proper exposure is then determined from the scales of the instrument
at this setting. Meters of this type are convenient in use, have no
sensitive paper to vary, and take into consideration the variations in
the nature of the subject, but introduce other errors of their own.
In the first place, while the light sensitivity of the eye is for all
normal eyes roughly about the same, the form sensitivity varies con-
siderably. One person will thus be able to distinguish detail in a light
so dim that another can see nothing clearly. Consequently, the point
at which detail in the shadows seems to disappear will be different for
the two individuals. Again, personal conceptions of what constitutes
visibility of shadow detail varies with different people. The net re-
sult is that the personal equation plays a large part in the successful
use of meters of this type and the photographer must first learn to
use the meter and then apply a correction to its readings to account for
his personal error in the use of the meter.
Secondly, it is well known that the eye is able to adjust itself to
variations of light intensity over a fairly wide range. Thus on com-
ing into a darkened room the eye soon adjusts itself to the weaker
illumination and we shortly begin to see detail that was totally invisible
when we entered the room. Consequently, the exposures indicated by
the meter will not accurately represent the real difference in the in-
tensity of the illumination on the t wo subjects. The result is that an-
other correction factor has to be applied to the meter readings for in-
terior work. ,J
The' major difficulties in the use of the detail obscuring types of
visual meter have been cleverly overcome in the J ustophot and the
Cinophot of Dr. Mayer. In these a translucent figure is substituted
for the detail of the subject, and the illumination on this figure is re-
duced by closing an iris diaphragm until the eye is no longer able to
distinguish the numeral. Since the figure is either clearly visible, or
not at all, the difficulty met with in the use of the older " detail-obscur-
ing " type is entirely avoided.
Compensation for the variations introduced by the nature of the sub-
ject and the adaptability of the eye to the intensity of light is provided
for by the use of figures of varying transparency according to the sub-
ject. Four separate figures are provided; the densest for open sub-
jects in strong light; the second for overcast skies, or darker sub-
jects; a third for heavy foliage, or brilliantly lit interiors, and a fourth
for dense forest scenes and dark interiors. In the practical use of the
meter, however, one does not bother about the proper figure to employ
for a given subject and light condition but simply uses the darkest fig-
ure which can be seen with the iris diaphragm of the instrument fully
open and the meter pointed at the subject.
Thus the difficulties formerly experienced in the use of exposure
meters of the visual type have been almost completely eliminated in the
newer ' design which represents undoubtedly the most practical s t ~ u
ment of its type ever constructed.
J Visual photometers in which the intensity of the light reflected from
the subject is measured by comparison with a source of known intensity
furnished by a small electric light run from a battery represent a new
class of exposure meter. There are two instruments of this type on
the market: the Bell and Howell Photo-meter and the Luxmetre
Filmograph, a French product. In the Bell and Howell instrument,
252 PHOTOGRAPHY
the standard source of illumination is a small flashlight bulb operated
by a single flashlight dry cell. The intensity of this light source is
controlled by a rheostat. An image of the lamp is brought into the
field of view adjacent to the subject by a simple optical device and by
adjusting the rheostat, the intensity of the image of the standard
source is reduced until it matches that of the subject. The proper time
of exposure is then shown on the scales attached to the rheostat lever.
With this instrument one may measure not only the general illumina-
tion over the whole subject, but when required the intensity of the light
reflected from any portion of the subject. In many cases this is a
decided advantage.
The Luxmetre-Filmograph is based upon the same general princi-
ples as the Bell and Howell Photo-meter, but a graduated wedge is
used to reduce the illumination of the standard light source instead of
a rheostat.
The use of a photo-electric cell instead of the eye for the measure-
ment of the reflected light has been several times suggested and one or
two exposure meters using photo-electric cells have been patented but
thus far none have appeared on the market. It would seem that both
size and weight as well as cost would hinder the widespread use of this
type of meter.
BouRSAULT-Calcul du temps depose en Photographie.
CLEMENT-Methode practique pour determiner exactment le temps depose en
photographie.
FRAPRIE-The Secret of Exposure.
Outdoor Exposures, Photo-Miniature No. 54
Exposure Indoors, Photo-Miniature No. 157.
STEADMAN-Unit Photography and Actinometry.
WATKINs-Manual of Exposure and Development.
Correct Exposure-How to Secure It, Photo-Miniature No. ros.
VIDAL-Calcul des temps de pose et Tables photometriques.
...
CHAPTER XI
THE THEORY OF DEVELOPMENT
Introduction.-Like nearly all photo-chemical reactions, develop-
ment is a complex and many-sided process. It is neither entirely
chemical, nor physical, nor physico-chemical, but is a composite of all
three. The first step in the process of development is the diffusion of
the dev:eloping solution through the gelatine which carries the exposed
silver halide grains in suspension. This constitutes what is termed
the invasion phase and is entirely a matter of physics, being controlled
by the physical laws of diffusion. Once the developing solution has
reached the silver grain which has been acted on by light a reaction
takes place in which the exposed silver halide is converted to metallic
silver. This stage is chemical in character and may be termed the
1eduction phase. The silver so formed, we will find, is in solution and
before the image is formed precipitation must take place. This is
termed the precipitation phase and is chemical in character. The pre-
cipitation of silver results in a density and the difference between the
densities produced by the action of varying intensities of light produces
contrast. The growth of density and the growth of contrast are con-
trolled by both the physic:\1 and the chemical phases of development
and hence these are physico-chemical in character.
Thus we find that development may be broadly divided into three
divisions:
1. The physical viewpoint. .
2. The chemical viewpoint.
3 The physico-chemical viewpoint.
We will accordingly investigate the theory of the subject in this order.
The Invasion Phase.-The general properties of gelatine and the
structure of the photographic emulsion were considered in the chapter
on Emulsions, where we found that the photographic emulsion con-
sists essentially of exceedingly minute particles of silver bromide held
in colloidal suspension in gelatine. The exact structure of gelatine is
still an unsettled matter, but it will suffice for our purposes if we rep-
resent by Fig. 142 the structure of the gelatine in which the grains of
silver bromide are imbedded. The structure is of course very ir-
253
254
PHOTOGRAPHY
regular, probably there is no definite structure, but the illustration will
serve to illustrate the physical conditions of development. From an
examination of this figure it will be observed that a jelly consists of a
large number of cells which are intersected in all directions by pas-
a b
FrG. 142. The Invasion Phase of Development. (Mees)
sages. The cells and passages contain a weak solution of jelly while
the walls consist of a very much s ~ r o n g r film of gelatine, the whole
resembling a sponge filled with water. In b of the figure we have
indicated by a black dot the grain of silver bromide in each of these
cells of gelatine. Remembering that the individual grain is the limit-
ing factor in development, we are now in a position to trace the course
of a molecule of developing solution which is passing through the
jelly on its way to the exposed grain of silver bromide.
Beginning at the surface of the film, a molecule of the developing
solution rapidly diffuses through the passages and arrives at the cell
wall. Here the gelatine is more resistant and the penetration is less
rapid. Once the molecule has passed through the cell wall, chemical
reaction proceeds immediately. The rapid diffusion of the developing
solution through the passages is termed macro-diffusion, while the
much slower penetration of the cell wall, which constitutes the second
phase of the physical action in development, is termed micro-diffusion.
The first phase is of exceedingly short duration and is complete within
a very few seconds after the developer is applied. The second may
require from several seconds to more than a minute. Both stages
must be accomplished before the grain of exposed silver halide can be
converted to metallic silver, and since this is necessary to produce the
image, three stages of development, four in fact, have taken place when
the image appears. Owing principally to the exhaustion of the de-
veloper as it penetrates the depth of the film, the exposed grains
which lie near the surface are the first to be reduced, while those which
THE THEORY OF DEVELOPMENT 255
are buried deeper within the film develop more slowly. Hence all
three phases are taking place at the same time but in different parts of
the film.
The Chemical Reaction within the Cell-the Reduction Phase.-
Development is essentially a process of chemical reduction. Accord-
ing to the earliest theory of importance the process consisted in the
reduction of the exposed silver bromide to metallic silver by the de-
veloping agent, the liberated bromine combining with the alkali to
form an alkaline bromide. This reaction may be represented by the
following equation in which D represents the developing agent:
AgBr Ag + NaBr +D.
While apparently satisfactory, this theory really explains very little.
For instance, it offers no explanation of the manner in which the de-
veloping agent is able to reduce the exposed silver halide to metallic
silver. Accordingly later explanations are based on the theory of
ions, which can explain more exactly the nature of the reaction which
takes place. We know that chemical reaction can take place only in
solution and the theory of solutions teaches us that a salt in solution
is split up into the so-called ions which are atoms of the elements
carrying an electric charge. Metallic or basic ions carry a positive
( +) charge and are called cations, while acid ions carry a negative
charge and are termed anions. Thus common salt (sodium chloride,
NaCl) when dissolved in water is disassociated into the sodium cation
and the chlorine anion. In the form of an equation this reads
CI-
and in the case of AgBr this becomes
AgBr Ag+ Br-.
A salt so disassociated is termed ionized.
According to the view most generally accepted in the scientific world
of to-day, the first stage of the reduction phase consists of the disasso-
ciation and ionization of the exposed silver halide and the developing
solution which has penetrated the cell wall and dissolved the silver
bromide. As the two are both ionized there is an exchange of ions
between the two. The silver cation receives an anion from the de-
veloper which is sufficient to remove its positive charge and neutralize
it. It then ceases to be an ion and becomes metallic silver. The
hromide anion is fixed in the form of a metallic or organic bromide
I
I
I

256 PHOTOGRAPHY
aGcording to the character- of the developing agent. Owing to tbe ex-
ceedingly complex nature of the organic developing agents and to the
secondary reactions which take place it is difficult to be more exact on
this point. The only reducing agent whose action may be said to be
fully understood is ferrous oxalate, although hydrochinon follows a
fairly simple reaction when used without a sulphite. The reaction
with hydrochinon is as follows:
AgBr __, Ag+ - Br-
-OH -0--Na+
0 + 2NaOH-> 0 + H,O
-OH -O-Na+
Hydrochinon Ionized hydrochinon
0
/""
+ 2Ag++Bc- I I
""'1/ 0
+ 2Ag + 2Na++Br--
l
Metal
The ionized hydrochinon 'loses two anions which unite with and neu-
tralize the two silver cations forming metallic silver, the two oxygen
ions combine to form quinone and the bromine anion unites with the
sodium cation to form sodium bromide. This completes the first stage
of the reduction process and constitutes the reduction phase.
The Precipitation Phase.-We may now picture 'to ourselves the
second phase of the chemical reaction within the cell, known as the
precipitation phase. The metallic silver formed is in colloidal solu-
tion, and as the reaction proceeds more and more silver will be formed
until the solution becomes saturated with respect to silver. The re-
action must then stop, unless the silver is induced to precipitate. Some
germ or nucleus is necessary in order to induce precipitation and the
production of this nucleus is the function of the exposure. The sub-
stance forming the latent image is thus the germ which induces the
silver to _deposit and by so doing produces the inwge. "As silver is
deposited, the concentration of silver solution within the cell is conse-
quently lowered, and the reaction is increased, the deposited silver thus
acting auto-catalytically (but only for the individual grain). The low
solubility of silver is sufficient explanation of the localization of de-
velopment to the individual grain."
1
Investigation has shown that any trace of a nucleus is sufficient to
render all of the silver bromide in that cell developable. Hence, pro-
vided the cell has complete access to the developing solution, there is
no partial development of any cell; it 'is either completely developed
or not at all.
Development as a Reversible Reaction.-The arrows in the above
equation indicate that development from the chemical standpoint may
be considered as a reversible reaction. This has been experimentally
proven for the iron developer and for quinol. Mees and Sheppard
2
have shown that a solution of potassium ferri-oxalate and potassium
bromide act on a developed negative to produce silver bromide. With
hydrochinon, quinone and potassium bromide act on an exposed and
developed plate to form quinol and silver bromide. This reverse ac-
tion is largely prevented by the presence of the alkali and sulphites,
always used with organic developers, so that the first oxidation product
of the reducing agent is further oxidized by air and by the silver bro-
mide and the reaction is then no longer reversible.
The Action of Sulphites, Soluble Bromides and Alkali in Organic
Developing Solutions.-The Action of Sulphites.-Sodium sulphite
is customarily added to all organic developing agents for the purpose
of preserving the developer and preventing oxidation and consequent
staining of the gelatine by the solution when in use. Notwithstanding
its universal application its action is but little understood. There are
four possible ways in which the sodium sulphite may aid in prevent-
ing oxidation of the developing solution:
1. The sulphite may be more readily oxidized than the developing
agent.
2. The reverse may be true; but the sulphite may regenerate the de-
veloping agent.
3 The two may form a complex salt which is less subject to oxida-
tion than either alone.
4 There may be no protective action, but only a division of oxida-
tion, half of the oxygen going to the sulphite and half to the developer.
This, as pointed out by Bancroft, would mean an actual though not
theoretical decrease in the rate of oxidation.
The first we know definitely to be a fallacy, as many of the organic
1 Mees, Phot. J., 1910, so, 403.
2
Zeit. wiss. Phot., 1904, II, 5.
258 PHOTOGRAPHY
developing agents are more easily oxidized in solution than sodium
sulphite. The experiments of Mees and Sheppard
3
with hydrochinon
support the second explanation, but they were working under different
conditions than those of actual practice. It is doubtful that any re-
generation of the developing agent occurs with other developers than
hydrochinon. There is at any rate no experimental evidence for any
but hydrochinon at the present time. The third and fourth seem to
be nearer the truth, for we know that hydrochinon and sulphite enter
into combination and it is quite possible for the combination to be less (.
subject to oxidation than either alone. But, like many other matters
of everyday photographic practice, this is still an unsolved problem
theoretically.
According to Rzymkowski,4 the first stage in the oxidation of a de-
veloper containing sulphite by the oxygen of the air is the formation of
a sulphate and a thiosulphuric acid derivative of the developing sub-
stance, R-S-S0
3
H, which is then hydrolysed to the hypothetical com-
pound R-SOH. The easily oxidizable SOH group is selectively con-
verted to the sulphonic group S0
3
H, and in this manner the active
groups of the developing substance are protected from oxidation.
5
The Action of Soluble Bromides.-The addition of a soluble bro-
mide slows development by diminishing the degree of ionization of the
silver bromide and by lowering the concentration of the silver cations
which lowers the velocity with which the reaction proceeds to the
saturation point. Hence the precipitation phase is delayed, because
of the delay in reaching a saturated solution of silver within the cell.
The influence of a soluble bromide is felt chiefly in the earlier stages of
development.
6
The Function of the Alkali.-Accor.ding to the theory of develop-
ment outlined in the preceding pages the reducing agents used for
photographic development are considered as pseudo-acids having very
small ionization constants but forming strongly dissociated salts. The
function of the alkali is to assist in the ionization of the reducing agent
and produce ionized salts, as in the case of hydrochinon
-OH NaOH -0' .. . Na
0
-OH
+
/ ~
~ l
NaOH -0' ... Na
s Zeit. wiss. Phot., 1904, II, 7
4 Phot. Ind., 1928, 26, 627.
5 See also Pinnow, Phot. Rund., 1923, 6o, 27; Zeit. Wiss. Phot., 1922, 22, 72.
6
See Arch. wiss. Phot., 1900, II, 76. Eder's Jahrbuch, 1904.
,,
THE PHYSICAL CHEMISTRY OF THE DEVELOPING PROCESS
The Induction Period.-Even with the most energetic developers a
short space of time elapses between the application of the developing
solution and the first appearance of the image. This period is termed
the induction period. The causes which produce this period are in
general two: (I) the time required for the developer to penetrate the
film, including both the macro and micro pLtses of diffusion referrec'
to in a previous section, and ( 2) the time required to saturate the solu-
tion with silver in order that silver may be deposited and form a visible
image. The actual duration of the induction period is controlled by
the nature of the developing agent, metol and other energetic agents
having a shorter period of induction than the lower energy developers
as hydrochinon and glycin, the <:oncentration of the developing solu-
tion, temperature and the presence of a soluble bromide. A soluble
bromide such as potassium bromide materially increases the duration
of the induction period, particularly with developers of low energy.
Soluble iodides on the other hand have an accelerating effect and
shorten the period of induction.
7
The well-known Watkins method of factorial development is based
upon the induction period. Watkins' principle is that for any develop-
ing agent the time required to produce the visible image is an accurate
indication of the speed of development and is a certain definite fra<:-
tion of the time necessary to reach any given stage of contrast. Any
variation in concentration or temperature, etr:., which would affect the
time of development necessary to reach a grven degree of contrast
affects the time of appearance proportionately. In other words
Ta=WTa,
where Tis the time for density D, Ta the time of appearance and W
a constant depending on the developer.
This statement is sufficiently near the truth to be of practical ap-
plication but both theory and experiment show that this simple relation
does not hold exactly. The Watkins method of factorial develop-
ment will be referred to again in the chapter on The Technique of De-
velopment.
The Velocity of Development.-After the induCtion period is
passed the growth of the image may be rapid or slow according to the
conditions under which the process takes place. The principal factors
7 For a full explanation of this interesting reaction see Sheppard and Meyer,
Phot. !., 1920, 6o, 12.
260 PHO'fOGRAPHY
which determine the rapidity of development are the same as those
which influence the period of induction.
A knowledge of the velocity of development is essential to the calcu-
lation of the time required to reach a given stage of contrast ( y) and
is most conveniently and accurately determined by the method of
D
T,
Std Log c
FrG. 143. Growth of Density with Time of Development. (Nietz)
Nietz.
8
It has been shown in the chapter on sensitometry that a
series of plates exposed under identical conditions in a sensitometer
and developed for varying times from f
1
to t <> produce a series of
H. and D. curves the straight line portions of which meet in a point
(Fig. 143). If we take any fixed exposure on the log exposure base
D
T
Dev. (Min.)
FrG. 144. Curve Showing Growth of Density with Time of Development
(Nietz)
and erect a perpendicular line we have the information desired, i.e.
the growth of density with development since the time of exposure for
each of the densities is constant. By plotting D
10
D
2
, etc., as a func-
8 Theory of Dwelopment, p. 8o.
..
,_
tion of the time we get a curve of the exponential type (Fig. r44)
which shows that density increases rapidly at first and then less and
less rapidly as development proceeds until finally a point is reached
where development apparently stops and there is no further increase
either in density or contrast. This, it will be readily seen, is in agree-
ment with conditions observed in everyday practice.
The explanation of this progressive diminution in the velocity at
which density increases is quite simple, although it is a difficult matter
to find a mathematical expression which will cover all conditions.
After development for any length of time short of that required to
produce the maximum density, we have three kinds of grains present:
A. Developed grains.
B. Developable but undeveloped grains.
C. Undevelopable grains.
The A grains thus represent the density already attained; the A and
B grains together the maximum density which can be secured exclusive
of fog. The B grains, therefore, are the only ones subject to develop-
ment and as the reaction proceeds the number of B grains will become
less and less until finally when all are developed the process must stop.
Thus the density undeveloped at any timet will be (D"'-D), where
D is the density developed at any time t and D"' the maximum den-
sity. Supposing that the rate at which the developer reduces the ex-
posed but undeveloped grains is a constant and independent of the
number of grains (as is actually the case) and that the rate of diffusion
remains unaltered, we can express the rate of development or dD I dt as
dD
- = k(D -D)
dt
00
'
where k is a constant determined by the rate at which the exposed
grains are reduced by the developing agent. This formula fits the
case fairly well with acid developers over a moderate range but wide
variations are observed with most alkaline developers and other more
complex equations have been suggested to account for the various fac-
tors involved. A comprehensive review of later work on the velocity
of development and development velocity equations will be found in
The Theory of Development by A. H. Nietz.
The Velocity Constant.-Now while the number of undeveloped
grains constantly grows less and less as development proceeds, the rate
at which the grains are attacked by the developing agent remains con-
.I
262 PHOTOGRAPHY
stant. Thus if we have a total of 100 developable grains present at
the beginning of development and at the end of the first minute of de-
velopment one half of this number or so have been reduced to the
metallic state, then at the end of the second minute of development the
developing agent will have reduced to metallic silver one half of the
grains which remain or 25, and so on as the time of development is
prolonged. In other words, the developing agent reduces to the
metallic state a definite proportion of the remaining developable grains
for each unit of time which it is allowed to act. This proportion is
termed the velocity constant of development. It is usually denoted
by k.
The velocity constant at the same temperature and with the same
emulsion varies with the developer. It is different with different
plates, being influenced by the conditions prevailing during the manu-
facture of the plates.
To determine the value of the velocity constant, k, we require to
know the values of gamma for two sensitometric strips simultaneously
exposed and developed for different times, of which one is double the
other. The values of y
1
and y
2
having been found, k may be calculated
from the following equation :
9
I 1'1
k
tl 1'2 - /'1
The calculations are rendered simpler by the use of the following
table worked out by Mees and Sheppard. To use this table divide
y
2
by h and against the value of this dividend in the table is the
value of k for 5 minutes The value of k for any other
time of development may be found by dividing 5 by the number of
minutes development and multiplying by the value of k for 5 minutes.
Thus if in a certain case the value fork is given in the tables as .215, k
for 2 minutes development will be
k = .!2 X .215 = .538.
2
Calculation of the Time of Development for a Given Gamma.-
We are now in a position to calculate the time of development required
to obtain a given gamma with any particular developer. While in all
sensitometric work it is desirable that plates be developed to a gamma
equal to unity, in practical work it is often desirable, owing to the re-
quirements of different printing mediums, to develop to lower or even
9
Mees and Sheppard, Phot. !., 1903, 43, 48; Phot. !., 1904, 44, 297.
.S
,,
higher values of gamma than unity. Thus negatives to be printed on
carbon or platinum require to be developed to a higher gamma than
those destined for use with developing-out papers. Then again it is
usually desirable to develop different subjects to different gammas and
consequently it is an advantage to be able to calculate the time of de-
k
0.005
0 .010
0.015
0.020
0.025
0 .030
0.035
0 .040
0.045
0.050
0.055
0.060
0.065
0.070
0.075
0.080
0.085
0.090
0.095
0.100
0.105
0 . 110
o.n5
0.120
0.125
0 . 130
0.135
0.140
0.145
0.150
0.155
0.160
0 . 165
0.170
0.175
0.180
0.185
0.190
0.195
0.200
1.977
1-952
1.928
1.903
1.88o
1.858
1.837
1.817
1.797
1.778
1.759
1.741
1.724
1.717
1.691
1.675
1.66o
1.644
1.628
1.612
1.596
1.580
1.565
1.551
1.537
1.523
1.510
1.496
1.484
1 -472
1.460
1.448
1.437
1.426
1.415
1.405
1.396
1.387
1 .377
1.368
a for a
O.OOI
ink
0.0050
0 . 0048
0.0050
0.0046
0.0044
0.0042
0.0040
0.0040
0 .0038
0.0038
0 .0036
0.0034
0 .0034
0.0032
0.0032
0.0030
0 .0032
0.0032
0 .0032
0.0032
0.0032
0.0030
0.0028
0.0028
0.0028
0.0026
0.0028
0.0024
0 .0024
0.0024
0.0024
0.0022
0 .0022
0.0022
0.0020
0.0018
0.0018
0.0020
0 .0018
0.0020
k
0.205
0.210
0.215
0.220
0.225
0.230
0.235
0.240
0.245
0.250
0.255
0.260
0.265
0.270
0.275
0.280
0.285
0.290
0.295
0.300
0.305
0.310
0.315
0.320
0.325
0 .330
0.335
0.340
0.345
0.350
0 .355
0.360
0.365
0.370
0.375
0.380
0.385
0.390
0.395
0.400
1-358
1.349
1.341
1.332
1.324
1.316
1.308
1.301
1.294
1.286
1.278
1.271
1.264
1.257
1.251
1.245
1.239
1.233
1.227
1.221
1.216
1.210
1.205
1.200
1.195
1.191
1.186
1.182
1.178
1.174
1.169
1.165
1.161
1.157
1.154
1.150
1.147
1.143
1.139
1.136
a for a
0.001
ink
0.0018
0.0016
0 .0018
0.0016
0.0016
0 .0016
0.0014
0.0014
0.0016
0.0016
0.0014
0.0014
0 .0014
0.0012
0.0012
0.0012
0.0012
0.0012
0.0012
0.0010
0.0012
0.0010
0.0010
0.0010
o.ooo8
0.0010
o.ooo8
o.ooo8
0.0008
0.0010
o.ooo8
0.0008
0.0008
o.ooo6
o.ooo8
0.0006
0.0008
0.0008
o.ooo6
velopment to reach any gamma which may be desired. This is a com-
paratively simple matter if we have determined the gammas of two
sensitometric strips simultaneously exposed and developed for different
times so that one is double the other. These constants having been
determined, the time of development required to reach any other
264
PHOTOGRAPHY
gamma may be found either by the graphical method of Hurter and
Driffield
10
or that of Mees and Sheppard.
11
The graphical method of Hurter and Driffield can be most simply
explained by an .example. Suppose y
1
to be 0.82 and. y
2
to be 1.36.
Take an ordinary H. and D. chart, such as used for plotting the char-
acteristic curve, and call the base line divisions " Minutes of Develop-
ments " and the ordinates " Gammas " : then there are three points
ou6 Ol12 oe.zs 2s 2 s 5 1o 20 .., ~ ? to:>
"
'20"
"
lAND.SCAP[ 13
00
R[
AR0111ECTU
PORTRAil .a
/
IT,.J ~
/
c 1 i
,.
.&2
1
i
j
I l
j
,, ,.,
/v
65
/
j
1 Yl
j
'
.,
~ 7
,, , .
. 7
.
'
:! ' 3 ~ ,10 z )0 50 0 100 2.00
0 I 2 '3 '4 .S '6 7 8
MINUTES 'DEVELOP,I:D- 2.& 3.15 5.75
I
i
I
'
'
I
Frc. 145. H. and D. Method for Calculating the Time of Development
for Given Gamma
through which a curve may be drawn-o, 0.82 and 1.36. Suppose y
1
( 0.82) to have been produced by three minutes development and y
2
(1.36) 'Yith six minutes; then y
1
(0.82) is plotted on the 3 minute
line and y
2
on the 6 minute line. A curve is then drawn through these
points and zero. Then the time of development for any desired
gamma may be obtained by drawing a horizontal line from the left-
hand scale until it cuts the curve and dropping a perpendicular from
the point of intersection to the base. In the example shown the times
required to reach gammas of o.8o, r and 1.30 are found to be 2.8o,
3-75 and 575 minutes respectively.
For the second method as developed by Mees and Sheppard the
values of gamma infinity ( yoo) and the velocity constant of develop-
ment ( k) require to be known. Methods of calculating these con-
stants have already been given: for the former on page 239 and the
latter on page 262.
The values of these constants having been calculated for the case in
10
Hurter and Driffield, On the Control of the Development Factor. Phot. ].,
1903, 43, 16.
11
Mees and Sheppard, Phot. !., 1903, 43, 48, 199.
..
j
hand, the time of development for any desired gamma may be ob-
tained from the equation
"'t = 'Y>(I- e-kt).
The actual calculations are rendered quite simple by. the use of the
tables (page 266) worked out by Drs. Mees and Sheppard for values
,4, of (I- e-kt) and corresponding values of kt.
12
t From the above
or
"'t
'Y>
Gamma required _
Gamma infinity -
(I- e-k').
Therefore to obtain the time of development for a given gamma,
divide the required gamma by the gamma infinity of the plate. In the
second column of the tables find the nearest lower value of (I- e-kt)
corresponding to the dividend. Opposite this in the first column of
the tables will be found the value of kt corresponding to that obtained
for (I- e-kt). Divide the value of kt as given by the value of k, as
previously found by calculation, and the result is the time of develop-
ment required to attain the desired gamma.
For example:
Then
Gamma infinity = I .6,
Velocity constant= .IS,
Gamma required = o.8.
o.8- 5 = (I - e-kt).

The nearest value of (I- e-Tct) in the tables which corresponds to .s
is .s034, corresponding to a kt of .700. Dividing this by the velocity
constant (k) .IS we obtain 47 minutes, or 4 minutes and 42 seconds,
which is the time of development for a gamma of o.So.
Effect of Temperature on Development.-In common with nearly
all chemical reactions, the rate of development is considerably in-
fluenced by temperature. The effect of temperature on the time of
development was first studied quantitatively by Houdaille in I903
13
whose work wa.s followed up with a more complete investigation by
12
Phot. 1., 1904, 54, 297-8.
1
3
Bull. Soc. Franc. Phot., 1903, 19, 256 .
...
f
I
~
266
PHOTOGRAPHY
TABLE OF CORRESPONDING VALUES OF kt AND I - e-kl FOR DETERMINATIQN OF
TIME OF DEVELOPMENT FOR REQUIRED GAMMA OF PLATE OF GIVEN k AND 1'
00
(Mees and Sheppard, Photographic Journal, November, 1904, page 297)
diff. for
diff. for
kt I e ~ .OI kt kt I - e ~ . OI kt
.ooo .000
)
1.200 .6988
)
.025
.02
.0095
1.225
-7059
.0029
r : . ~
.050 .046
1.250 -7I 3I
.075 .073 1.275 -7203 "
.IOO .0952
)
1.300
7275
)
. 125 .II74
.oo86
1.325
7339
.0026
.150 .1387 1.350 -7403
.175
.1600 1.375 7469
.200 . I813
)
1.400
7534
)
.225 . 2082 1.425 -7592
, .
.oo77
.0024
~
.250 .2252 L.450 .7651
.275
.2422 1.475
.7710
300 .2592
)
1.500
7769
)
325
.2769
1.525 7822
_.
350' .2945
.007I
1.550 .7875
.0022
i .
375
3I21 1.575 7928
400 3297
)
1.600 798I
)
425 3458
.0064
1.625 .8029
.0021
,,
450
3617
I.65o .8077
'
475 3776
1.675
.8125
.500
3935
)
1.700 .8173
)
525 4085
.0057
1.725
.82I5
.OOI7
550 4234
1.750 .8259
575 4373
1.775
.8303
.6oo .
4512
)
1.800
.8345
)
.625 464I
.0052
1.825 .8387
.OOI6
.650
4772
1.850 .8426
.675 4903
1.875 .8465
700 5034
)
I.900 .8504
)
.725 5I38
.0047
1.925 .8539
.OOI4
750
.5281 1.950 .8575
.775 5394
1.975
.86II
.8oo
5507
)
2.000 .8647
)
if --
.825 5613
.0042
2.025
.8680
.OOI3
.85o
5714
2.050 .8712
.875 5827
2.075 .8744
900 5934
)
2.100 .8776
)
925
.6031
.0038
2.125 .8805
.OOI2
950
.62I8 2.I50 .8834
975
.6225 2.175
.8863
1.000 .6322
)
2.200 .8892
)
1.025 .6485
.0034
2.225 .89I9
.00105
1.050 .6547
2.250 .8945
1.075
.6609 2.275 .897I
1.100 .6671
) .003'
2.300 .8997
)
1.125 .6741
2.325 902I
.00096
1.150 .6830 2.350 .9045
I.I75 .6909 2.375 .9069
'

l
lr.)
------
TABLE OF CORRESPONDING VALUES OF kt AND I- e-kt FOR DETERMINATION OF
TIME OF DEVELOPMENT FOR REQUIRED GAMMA OF PLATE OF GIVEN k AND -y
00
(Mees and Sheppard, Photographic Journal, November, I904, page 297)
kt
2.400
2.425
2-450
2-475
2.500
2.525
2.550
2.575
2.6oo
2.625
2.650
2.675
2.700
2.725
2-750
2.775
2.800
2.825
2.850
2.875
2.900
2.925
2.950
2.975
3.000
3.025
3-050
3-075
3-IOO
3.I25
3-I50

I - e-l<t
90931
91I3
9I35
9I57
9I79 1
9I97 f
92I7
9237
-92571
9274
9292
93IO
93281
9344
9360
9376
9392
;9408
94I2
9426
9450
. 9463
9476
9489
9502
9513
9525
9537
9549
9559
9570
958I
1
1
1
)
(Continuation of p'lg-e 266)
dilL for
.OI kt
.ooo86
.00078
.0007I
.00064
.ooo58
.00052
.00047
.00043
kt
3.200
3.225
3250
3275
3300
3325
3350
3375
3-400
3-425
3450
3475
3500
3-525
3550
3575
3.600
3.625
3650
3675
3700
3725
3750
3775
3.800
3.825
3850
3875
3900
3950
3975
4.000
x - e-11
9592
960I
9611
962I
963I
9639
9648
9657
9666
9014
9682
9690
9698
9706
97I3
9720
9727
9732
9739
9746
9753
-9758
9764
9770
9776
9780
9786
9792
9798
9807
9812
9817
diff. for
.ox kt
1
1
1
1
1 .000'6
1
1-0002'
1 ""'
Ferguson and Howard, Alfred Watkins and Mees 9-nd Sheppard.U
The ratio of the velocity constant, k, for any two temperatures is a
measure of the effect of temperature on the velocity of development
within this particular range and for that particular developing agent
and is termed the temperature coefficient of development (T.C.).
The range of temperature chosen in practice is 10 C. (18 F.) so that
14
Ferguson and Howard, Phot. J., I 9QS, 4S, II8. Ferguson, Phot. J. , I9o6,
46, 182. Mees and Sheppard, lmestigations. Sheppard, .T. Chem. Soc. (Lon-
don), March, 1906. Ferguson, Phot. J., I9IO, so, 412. Mees, Phot. J., I910,
so, 4IO. Watkins, Phot. J., I9IO, so, 411. Watkins, Phot. J., 1909, .49, 367.
10
268 PHOTOGRAPHY
the expression for the temperature coefficient becomes
The temperature coefficients of a few of the more common developing
agents are as foiJows:
Pyro-soda without bromide ... . ..... . .... ... .. .. ........ . .. ... 1.5
Pyro-soda with bromide .. ......... . .. . .... . .. . ......... ... . . 1.9
Rodinal, azol, certinal, etc . . ...... .. .. . . . . . . . . . . . .... .. . . ..... 1.9
Metol-quinol (no bromide) ...... . .... ... . . . . .. . .. ........... 1.9
Glycin .............. ... . . .. .. .... . .. .. . ... . ..... .... . ...... 2.3
Rytol ............ .... . .. .... .. .. . .. . .. . . ... . . .... . ......... 2.2
Hydrochinon ..... . .. . . . . . ... . . .... ...... . .. .. . ... .. .. . .. .. .. 2.25-2.4
As a general rule the temperature coefficient appears to be a char-
acteristic of the developing agent, being for the most part unaltered
by changes in the proportion of alkali to the developing agent, or by
dilution, but it is much higher when bromide is used.
Mees and Sheppard have shown that there is also a variation in
the temperature coefficient with different plates, so that a calculated
T.C. for a given developer will not necessarily hold if a change is
made to another brand of plates. The temperature coefficient is ap-
proximately constant, however, for different batches of the same
plate.
With certain developing agents of low energy, such as hydrochinon,
low temperature not only slows development but has an action similar
to that of a soluble bromide at normal temperature, i.e. the inertia is
lowered and the lower tones retarded.
Calculating the Temperature Coe:fficient.-As we have already seen,
the time of appearance of the image is an indication of the velocity
of development, hence we may calculate the effect of temperature on
the rate of development with a given developing agent from the dif-
ference in the time of appearance of the image at two different t r n ~
peratures. A plate is exposed and then divided into two pieces (or
two identical exposures made). One of these is developed at any
convenient temperature and the time of appearance noted. The other
is developed at a temperature several degrees higher or lower; !0 C.
( I8 F.) being a convenient difference. The time of appearance at
this temperature is noted.
We now have the time of appearance at two different temperatures
and from this the temperature coefficient may be calculated by the
j
'
following formula:
(log Ta - log ta) X 10 _ I f T C f 0 C
To _ to - og o . . or 10 .
In other words, the difference in the logarithms of the two times of
appearance, multiplied by 10 and divided by the differen"ce in degrees
Centigrade of the two respective temperatures, is equal to the loga-
rithm of the T.C.
1
G
Thus if the times of appearance are 30 and 20 seconds at 17.5 C.
(63 F.) and 25 C. (77 F.) respectively, we have
log 30 = 1.477
1
} from log tables.
log 20 = 1.3010
Difference = .1761
X 10 10
+ 7-5
= 1.761
.2348
log of 1.72 = temperature coefficient.
A very ingenious graphical method devised by Mr. Alfred Watkins
is even simpler and avoids ali calculations whatsoever._. The starting
point on which his method is based is the fact that the time of develop-
ment required to protluce an equal gamma increases in logarithmic
proportion while the temperature increases arithmetically. The
times of appearance having been found for two different tempera-
tures, a slip of paper is laid on the log scale of Fig. 146 and the times
of appearance laid off against the corresponding values of the log scale.
Beneath the marks are placed the respective temperatures. This slip
of paper is then laid on the fan-shaped diagram and adjusted so that
the two marks cut the lines of the two temperatures, the edge of the
paper falling along one of the horizonal lines. The point where the
paper slip intersects the radial temperature lines is marked with the
proper temperature coefficient.
16
As a result of extensive research, Watkins gives the following T.C.
for several common developing agents:
Pyro-soda (Watkins thermo formula), no bromide ........... . 1.5
Pyro-soda (Watkins thermo formula), with bromide ......... 1.9
15
Ferguson, Phot. J., 19!0, so, 414; see also Phot. J., 1900, 46, 182.
1
6
For other methods see Ferguson and Howard, Phot. J., 1906, 46, 182.
T
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3
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THE .THEORY OF DEVELOPMENT 271
Pyro-soda (Hurter and Driffield formula) ... . .. . .. .. ...... . 1-48
Pyro-soda (Kodak powders) ... . . . .. : ... . ........ . ......... 1.9
Pyro-soda (IIford formula) ........ : ... . ..... .. . . . . . . ...... 2.04
Rodinal (also azol, victol and certinal) ....... . .. . . . . . . .. .... 1.9
Metol-hydrochinone (Watkins thermo formula) .. . . .. . .. . .. . 1.9
Glycin ..... .. .......... . ..... .. .. . ......... . . . .. . . .. . . ..... 2.3
Hydrochinon ............ . ...... .. . . . . ... . ..... .. . . ........ 1.4 --2.25
(Sheppard and Mees) find . . . . . . . . . .. .... .. .. . . . . ..... . 2.2o-2.8o
Ortol .. . .. ." . ................... . . . . . .... .. ... . . . . .. . . . .... 2.06
Time of Development at Various Temperatures.-The time of de
velopment required to reach any given gamma and the T.C. for the
same plate and developer having been obtained, the time of develop-
ment at various temperatures is very easily found. Place the edge of
.a sheet of paper on the horizontal line corresponding to the T .C. of
the developer and mark off the points of intersection with the tempera-
ture lines. Transfer this paper to the log scale, placing opposite the
time of development in minutes or minutes and a fraction, the cor-
20
1.8
16
14
12
10
'
'
'
'
'
'
c.o 8
~
"'
~ 6
.!: 5
., 4
E
'
'
'
'
i= 3
' 2
'
:"..
'
'
.
30
.......
[""-....
.......
............
~
'
~
-......
...
...
......
'-....
.......
60. 70
Temp. F.
FJG. 147. Stokes Time Development Chart
responding temperature at which the examination was made. This
having been done the times of development at other temperatures
necessary to reach the same gamma . may be written down directly
from the log scaleY .,
17
This simple graphical method of drawing up a table for the time of de-
velopment at various temperatures was first indicated by Mr. Alfred Watkins.
272 PHOTOGRAPHY
There is, however, no actual necessity for knowing the temperatm:e
coefficient in order to determine the time of development for various
temperatures. Since the time of development for a given gamma
progresses logarithmically as the temperature progresses arithmeti-
cally, if the time of development at two different temperatures is
known, a straight line drawn through these two points when plotted
on a log scale of times of development as ordinates against an even
division scale of temperatures as absciss;e (Fig. 147) will indicate, for
all practical purposes, the time of development at all intermediate
points. This method is due to Mr. W. B. Stokes.
18
The Action of Soluble Bromides in Development.-The customary
<J.ddition of a certain amount of soluble bromide, which is nearly al-
ways potassium bromide, to a developing solution for the purpose of
preventing " fog" materially affects the normal course of develop-
ment.
For an unbromided developer the inertia is constant with increasing
times of development, but this is not true in the case of a developer
containing a soluble bromide in which case at the same degree of de-
velopment there is a lateral shift of the curve to the right. This is
illustrated in Fig. 148
19
where the solid lines represent the curves of
-- Unbromided
----- Bromided
Frc. 148. Effect of a Soluble Bromide in the Developing Solution on the
Plate Curve
the unbromided developer for three different degrees of development
and the dotted lines the curves of the bromided developer for similar
degrees of development. It is evident that if the curves of the
bromided developer are produced below the log E base they will meet
in a common point. As the concentration of bromide is increased
1s Brit. J. Phot., 1921, 68, 97
19 Sheppard, Photography as a Scientific I mplement, p. 151.
Jhis point of intersection moves slowly downward as shown in Fig.
;49 The amount of the downward shift, termed the density depres-
sion, produced with a given concentration of bromide, is dependent
upon the developing agent, being in general greater with low energy
developers as hydrochinon than with those of greater energy such as
paraminophenol and metol.
FIG. 149. Density Depreosion with a Soluble Bromide. (Nietz)
Bromide is without effect on the velocity constant k,
20
and investi-
gation shows that its effect on the general velocity of development is
felt chiefly during the earlier stages; the induction period and that
immediately following.
Perhaps an even more readily comprehensible method of presenting
--
--
~ 1 = = = ~ [
==- ---1 ----1
C D
FIG. 150. Effect of Soluble Bromide on the Densities. (Watkins)
the action of a soluble bromide in development is that adopted by
Watkins in the Tatkins Manual. Fig. rso represents a subject of
four gradations for a given d e g ~ e e of development in an unbromided
20
Nietz, Theory of Development, pp. 124, 170.
274 PHOTOGRAPHY
developer. The lower illustration represents the same exposure de-
veloped to the same stage in a bromided developer. It will be observed
that, while the contrasts of both are equal, the action of bromide has
reduced the tones considerably and this depression is more noticeable
in the lower tones than the higher. In fact the addition of bromide
has prevented the lowest tone from appearing at all. The effect of
bromide is to actually reduce the speed of the plate. As the time of
development is increased and a higher gamma is reached, the lower
tones will develop out, so that in order to restrain the development
of the shadow detail in over exposed plates development must be com-
pleted before the bromide has lost its restraining action. The use of
bromide for this purpose, however, falsifies the gradation of the
negative.
Theoretically gamma infinity is unaffected by the reasonable addi-
tion of bromide, but in practice, owing to the absence of fog, the print-
iF g contrast of a negative developed to the same gamma may be higher
for the bromided than for the unbromided developer.
The restraining action of bromide is greater on fog than on the
image, hence, even in cases of underexposure, a small amount of
bromide may be advisable in order to prevent the appearance of fog
due to development being forced beyond the usual limits in order to
secure all possible shadow detail.
The Relative Reducing Energy of Developing Agents.-The effect
of a soluble bromide at the same concentration varies with the develop- _
ing agent but is constant and characteristic of that particular agent. i
Use was made of this property by Sheppard and Mees to compare
different developing agents as to their relative reducing or developing
energy known as the reduction potential. For a given concentration
of bromide under fixed conditions the depression of density will be
dependent upon the ability of the developer to overcome the resistance
of the bromide. Developing agents of greater energy will require
larger amounts of bromide to produce the same depression of density
than those of lower energy ; hence the .concentration of bromide re-
quired to produce a given density depression will be in direct pro-
p o ~ t o n to the energy of the developing agent.
21
Taking the bromide concentration required to produce a given de-
pression of density as unity, Nietz obtained the following scale rep-
resenting the relative eneriies of the more common developing agents:
7
1
See Sheppard and Mees, lmestigations, p. r88. Nietz, Theory of Develop-
ment.
Ferrous oxalate ..................................... . ........ 0.3
p-phenylene diamine hydrochloride (no alkali) .... .. . . ........ . 0.3
p-phenylene diamine hydrochloride (with alkali) ... ............ 04
Hydrochinon ........................ . . . . . ; . . . . . . . . . . . . . . . . . . . r.o Standard
p-phenyl glycin (glycin) ........ .... . . .... . .. . ...... , ......... r.6
Hydroxylamine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.0
Toluhydrochinon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.2
p-amidophenol (hydrochloride) .. : ... .. .... ... .... . ............ 6.0
Chlorhydrochinon (adurol) .................... . ............... 7.0
Dimethyl p-aminophenol sulphate ....... ... ......... . . .. ...... 10.0
Monomethyl p-amlnophenol sulphate (metol) ................ : .. 20.0
Diamidophenol (amidol) ...................................... 3o--40
In general the higher the value of the reducing energy the higher
is gamma infinity, but there are several exceptions which are not yet
_fompletely understood. Contrary to what might be expected, there
appears to be no direct relation between the fogging power of a de-
veloper and its reducing energy or reduction potential.
EDER-Ausfiihrliches Handbuch Photographie, vol. IV, 1905.
HOBL-Entwicklung der Photographischen Bromsilbergelatineplatte, 1922.
LuTHER-Die chemischen Vorgange in der Photographie, 1899.
N1ETz-Theory of Development, 1922.
RErss-Entwicklung der Photographischen Bromsilberge:atinetrockenplatte.
SEYEWETz-Le Negatif en Photographie, 1922.
" I
CHAPTER XII
ORGANIC DEVELOPING AGENTS
Developing Power.-The sensitive emulsion, as we have seen, con-
sists of certain halide salts of silver in an extremely fine state of
division held in a colloidal medium. We have already considered in
the chapter on the latent image the various theories proposed to explain
the nature of the change which occurs when the sensitive silver salts
are exposed to light. While we do not know the composition of the
latent image, we do know that there are certain chemical compounds
which possess the property of reducing to metallic silver those grains
of silver halide which have been affected by light. Such chemical sub-
stances are known as developers since they" develop," or render visible,
the latent image formed by light. All developing agents are reducers,
but not all reducers are capable of photographic development by any
means. We are not yet in a position to say definitely what constitutes
developing power; i.e. what must be the chemical composition of a
substance in order that it may function as a developer. The general
conclusions of Li.tmiere and Andresen bearing on this subject will be
discussed later.
While in common speech a developer is taken to mean either the
developing agent or the solution used for development, in this chapter
we are concerned primarily with the developing agent and all reference
to a developer applies to a particular agent such as metol, pyro, etc.,
and not to a developing solution as applied to the plate. This is al-
ways termed the developing solution.
Classification of Developing Agents.-A comparatively large num-
ber of substances possess the property of developing exposed silver
halide but for various reasons only a few of these are of practical
value. Eder
1
divides all possible developing substances into three
classes:
1. Those which develop a definite part of the latent image before fog
sets in. ( Comm011 developers. )
t Ausfiihrliches Handbuch der Photographie, p. 288 et seq.
276
ORGANIC DEVELOPING AGENTS 277
2. Those which develop energetically with a minimum of alkali but
produce serious fog. (Powerful developers.)
3 Those which scarcely develop the latent image at all even with a
maximum of alkali and yet develop fog vigorously.
A somewhat more comprehensive classification is adopted by Nietz.
2
1. Developers having too low reducing energy to be useful practically,
e.g. ferrous citrate.
2. Developers giving undesirable reaction products in developing, e.g.
hydrazine.
3 Developers too powerful for ordinary use, e.g. triamidophenol.
4 Developers of practical utility, e.g. all ordinary developing agents,
metol, pyro, paramidophenol, etc.
Only this last class will be discussed in the present chapter although
references are made to several of the others in the bibliography at the
close of the chapter.
The Source of Organic Developing Agents.-Benzene, the source
of the numerous aniline and phenol dyes, from which the organic de-
veloping agents are derived, was discovered by Faraday in 1825, but
it was not until 1866 that its structural formula was determined by
Kekule. This consists of a hexagon with the carbon and hydrogen
atoms linked together around the six points.
CH
CH-l))-CH
CH- -CH
I
c
H
(I)
0
(2)
1. The structural formula of benzene after Kekule.
(3)
2. Its abbreviated form generally referred to as the benzene nucleus.
3 The points of substitution.
The atoms of hydrogen at any of the six points of substitution may be
replaced by atoms of chlorine, hydroxyl, or amino groups, and, as a
substance with entirely different groperties is formed according to the
2
Theory of Development, p. 14.
278 PHOTOGRAPHY
group substituted and the point at which substitution is 'made, it can
be readily seen that a very large number of compounds become pos-
sible. By substituting chlorine, hydroxyl or amino groups in the first
position we secure:
-Cl
0
Chloro-benzene
-OH
0
Hydroxy-benzene
or Aniline
None of these compounds has any developing power. However, if we
replace the two hydrogen atoms at positions I and 2, at I and 3, or at I
and 4, we get three hydroxy-benzenes having the formula C
6
H
4
(0H)"
and identical in composition but differing in constitittion.
-OH
0-0H
Ortho-
hydroxy-benzene
or Pyrocatechin
-OH
/""-
l)-oH
Meta-
hydroxy-benzene
or Resorcin
-OH
0
-OH
Para-
hydroxy-benzene
or Hydroquinone
Substitution in the I and 2 positions is termed the ortho position, I and
3 the meta position, and I and 4 is termed the para position. Of the
three compounds two are developers, para-hydroxybenzene being the
agent known as hydroquinone while ortho-hydroxybenzene is known
commercially as pyrocatechin. The third compound, meta-hydroxy-
benzene or resorcin, has little or no developing power.
The developing properties of hydroquinone were discovered by
Abney in I88o. As a developer, hydroquinone is rather slow and
tends to strong contrast. It is very sensitive to low temperature and
should not be used below 50 Fahr. (I0 C.) Alone hydroquinone
is employed chiefly for copies of black and white originals where a
high degree of contrast is essential. A suitable formula will be found
on page 287. For general work it is usually combined with metol.
Pyrocatechin is a more energetic developer than hydroquinone and
less sensitive to low temperature. It is now little used.
By replacing the hydr.9gen atom in the second position of para-
hydroxybenzene, or hyclroquinone, with chlorine, Hauff produced
monochlor-hydroquinone (C
6
H
3
Cl(OH)
2
) which was introduced com-
mercially as Adurol. Schering substituted bromine in the same way
and obtained mono-bromo-hydroquinone (C
6
H
3
Br(OH)
2
) which also
was introduced as Adurol.
-OH -OH
o-Cl
-OH
o-Bc
-OH
Hydroquinone Adurol (Hauff) Adurol (Schering)
Adurol is a more energetic developer which works somewhat softer
than hydroquinone, standing, in this respect midway between hydro-
quinone and the rapid soft-working developers such as metol and para-
minophenol. It is not as sensitive to low temperature as hydro-
quinone and has a longer useful life. It is usually used in combina-
tion with metol.
Having dealt with the developing agents formed by substituting two
hydroxyl groups in the benzene nucleus, let us see the effect of adding
a third. There are three positions also which we can obtain by this
treatment: that in which all three groups are close together, or ad-
jacent; that in which two are contiguous, and the third separated by
one position; and lastly that in which the groups are symmetrically
placed.
-OH
(1-0H
\/-OH
Pyrogallol Phloroglucinol
-OH
0-0H
-OH
J, 2, 4 Trihydroxy
benzene
These are known as adjacent, asymmetrical and symmetr ical tri-
hydroxybenzenes or as pyrogallol, oxyhydroquinone and phloroglucinol.
Pyro is the only one of these substances used as a developer.
Pyro has been in use longer than any other organic developer and is
still extensi:vely used. Its character as a developer depends largely on
the concentration at which it is employed; strong solutions develop
rapidly with strong contrast while weaker solutions act more slowly
and with less contrast. of pyro oxidize rapidly and in de-
velopment the reduction of the pyrogallol on the silver image results
280 PHOTOGRAPHY
in a super-imposed stain image which gives to the pyre-developed
negative its characteristic brownish-black color. The intensity of the
stain image can be controlled by the proportion of sodium sulphite
used.
Precisely the same condition of affairs applies when the substitution
is made with amino groups instead of hydroxyl groups. Thus we
may have ortho, para, or meta aminophenols, or we may substitute
instead two amino groups or one amino and one hydroxyl group thus
producing a whole series of amino-hydroxybenzenes. Pursuing the
same idea further we may replace one of the hydrogen atoms with a
methyl group (CH
3
).
For example if we introduce an amino group in place of a hydrogen
atom in the fourth position in phenol we obtain para-amino-phenol
which is well known as the base of such prepared developers as
Rodinal, Azol, Activo!, etc.
-OH

0
-NH2
Phenol Paraminophenol (base)
Paraminophenol when used with the alkaline carbonates is a rapid,
sofFworking developer which readily produces detail but builds up
density and contrast only with prolonged development. When made
up in alkaline solution with the alkaline carbonates, the free base is
liberated on standing and there is a gradual loss of developing power.
Paraminophenol is more generally employed in the form represented
by the so-called "Rodinals " which will be noticed later.
The introduction of a second amino group produces eli-amino-phenol
or the familiar amidol.
-OH

l)
NH2
Paraminophenol
-OH

-NH2
Diaminophenol or Amidol
Amidol differs from all the developers already mentioned in that it
can develop without an alkali and may be used in an acid solution. It
is a very rapid developer; the image appears quickly, but density and
contrast are added only on prolonged development. Stock solutions
of amidol loose their developing power in from one to two days with-
out the visible discoloration which accompanies the oxidation of other
developing agents. Amidol is used principally for the development of
prints. As it develops fog when used in alkaline solution, care should
be taken that the sodium sulphite employed does not have an alkaline
reaction. This may be corrected by the addition of sodium bisulphite.
Stock solutions of amidol which will keep for several days may be
prepared by the use of neutralized sulphite prepared as follows :
Sodium sulphite (dry).... ..... . . .... .. . .... .. 2 oz.
Potassium metabisulphite . . . . . . . . . . . . . . . . . . . . . . Yz oz.
Water to make. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 oz.
91.2 gm.
22.8 gm.
1000 cc.
Boiling for several minutes improves the keeping quality of this solu-
tion.
The developer is prepared as follows :
Amidol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 gr.
Stock solution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 oz.
Water to . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 oz.
4.2 gm.
200 cc.
1000 cc.
A number of other methods of preserving solutions of amidol have
been suggested. N amias advised the use of boric acid in the propor-
tion of 25 grains to the ounce of solution; Crowther,
3
the use of
glycollic acid in proportion to I / 10 the quantity of sodium sulphite;
BuneV the addition of lactic acid one part to fifty of the solution; and
Desalme,
5
the use of tin chloride 1: 25.
There are four more developers which may be regarded as being de-
rived from paraminophenol, namely, Edinol, Metal, Glycin and Ortol.
Edinol is the sulphate of oxymethyl-paraminophenol; the relation-
ship to paraminophenol being clear from the structural formula:
OH
I
(""CH20H H SO
y ~
NH2
a Brit. J. Phot., 19 20, 67, 642.
4
Bull. Soc. Franc. Phot., 1921, , "!!90.
5 Brit. J. Phot., 1921, 68, 3 59 .
282 PHOTOGRAPHY
As a developer Edinol is fairly energetic and is free from any tendency
to stain or cause fog. It may be used alone but is more generally
employed in combination with adurol or hydrochinon.
If paraminophenol be taken, and one hydrogen atom of the amino
group be replaced by a methyl group we secure mono-methyl-paramino-
phenol. The sulphate of this is sold commercially as metol.
-OH
0
-NH2
Paraminophenol
-OH
0
+ H2S04
2
-NH-CHa
Metol
Metol was introduced commercially by Hauff in 1891, the metol issued
at that time being dimethylparamino-meta-cresol, the cresol base being
abandoned later in favor of phenol.
6
Metol is one of the most conspicuous members of the class of soft-
working developers which include also paraminophenol and diamino-
phenol, or amidol. Metol is seldom used alone but generally with
hydroquinone or adurol; the rapid soft-working character of metol
being supplemented by the greater density-giving powers of hydro-
quinone or adurol. Although metol is much more energetic than
hydroquinone, a combination of the two is more rapid than either
alone, due to the fact that metol brings out the detail of the image very
quickly while hydroquinone adds the density and contrast necessary for
good printing quality. The combined metol-hydroquinone developer
is one of the most popular in existence.
Glycine is produced by inserting the carboxyl group in place of a
hydrogen atom in the methyl group of metol, being para-oxyphenyl-
glycine ..
-OH
(""'
~
I
NH.CH2COOH
Glycine
6
The patents taken out for metol' covered only its use as a developer and did
not disclose either its composition or preparation. Methods of preparing mono-
methyl-paraminophenol, or "mt\'tol," however, were discovered in several quarters
during the World War. See Ermen, Phot. J., 1923, 63, 223.
I
I
J
ORGANIC DEVELOPI NG AGENTS 283
As a developer glycine is slow but P?werful, and is especially notable
for the fine-grain of the reduced silver and the freedom from veil even
in the absence of a soluble bromide. It keeps well in solution and is
especially adapted to continuous use in tanks.
7
Ortol is a mixture of hydroquinone and the sulphate of methyl-
orthoaminolphenol. The probable formula is
Ortol
Used alone, Ortol bears a close resemblance to pyro, not only as
respects the color of the image, which is brownish-black, but in the
progressive appearance of the image. As with pyro, the highlights
appear first, followed by the half-tones and lastly the shadows; this
gradual building up of the image is quite different from the action of
metol and other rapid developers in which the highlights, half-tones,
and shadows appear at very nearly the same time and density is built
up later. Ortol, unlike pyro, however, does not stain and in solution
keeps much better.
There are two other developers derived from benzene, diphenal and
I?araphenylene diamine; these, however, are not very important. The
last is occasionally used for lantern slides and transparencies on ac-
count of the very fine-grained images which is produced and would be
useful for line work were its contrast-giving properties greater.
I
OH-( ""--
1 I_
-"'(
- ~ - N H
-l -
1
NH2HCl ..
Diphenal
7
See, Brit. J. Phot., 1928, 75, 514.
Paraphenylene diamine
284 PHOTOGRAPHY
If two benzene nuclei are joined together, as shown below, we ob-
tain a body called naphthalene. If we introduce into this hydroxyl,
amino and sulphonic acid groups we obtain a substance which may be
termed (3 amino, {3
1
naphthol, {1
3
sulphonic acid, known to photogra-
phers as Eikonogen.
()()
Naphthalene
NH2
_)))) -OH
S O H - ~
1
-
Eikonogen
As a developer Eikonogen Is rapid, though not so energetic as
metol, and tends to give very soft images. It is generally used with
hydroquinone in order to secure greater density. Solutions of Eiko-
nogen do not keep as well as those of metol and the combination of
metol and hydroquinone has almost completely replaced Eikonogen.
A chemical compound of metol and hydroquinone was introduced by
Lumiere in 1903 as metoquinone. Chloranol, another developer in-
troduced by Lumiere, is a compound of hydroquinone and methyl-
paraminophenol. Hydramine, a chemical combination of hydroquinone
and paraphenylenediamine was also introduced by Lumiere. All of
these combinations are of minor importance.
The relationship of the various developing agents and some of the
methods of derivation are shown in the following family tree of the
coal-tar developers as compiled by Dwight R. Furness.
8
All of the
methods are not shown, only those of importance are dealt with for the
sake of simplicity.
The Significance of Group Relations.-Most of our knowledge of
the structure of developing agents and the relation of the structure to
developing properties is due to A. and L. Lumiere and to Andresen.
The papers of these investigators have established some general rules
for the structure of compounds which possess developing power. It
is now generally accepted that the presence of hydroxyl or amino
groups, either alone or in combination, is necessary in order that a
substance may function as a developer.
With substances which contain in one benzene nucleus at least two
8
Phot. !. of Amer., 1918, ;. 337
285
hydroxyl groups, two amino groups, or one hydroxyl and one ammo
group:
1. The substance is a developer only when the groups are in the
ortho or para position. Meta compounds, so far as known,
have no developing power.
z. In general para compounds possess greater energy than do ortho
compounds.
LIGHT TAR OIL MEDIUM OIL HEAVY TAR OIL
I Many Procivcfs
Benzene Toluene X.xlene Phenol Nar.hthalene Lubricating_QjJ

Sodium-or.,amido p, naRhthol Q.sulphonate
("Eikonogen ")
Sodium -am idonaP.hthold isul phonate

?Diogen ")
Nitrooenzene Benzaldehyde
Phenyl-hvlroxylamine Andine
- -'-'-'-'y:--: -- :---:-r-
ParamiaoQhenol Quinone
Resorcin
=r=
T
. .1 . I
.L!,gm ... oresorcn Diamidoresocrn
(''Reducin")
("Rodino/"= Hydroguinone
hydrochloride) - - --
NitroP.henol
-c=
Paramid!phenol OrthoJmidoP.henol
12= oxy_f2henyJ.:
gJ.ycocoll
("Giycin"J
Methyl:
orthoamidoP.henol
(+H.r,droquinone =
Orto/")
Monomethyl.:
P-aramidophenol
., ("Seal of "J
sulphate)

I I
Monobrom- Monochlor-
b.ydroguinone
("A duro/")
3 The di-oxy-benzenes are more powerful than the amidophenols
which are in turn more powerful than the diamido benzenes.
4 The developing power is not destroyed by additional hydroxyl or
amido groups.
J In the naphthalene series it is not necessary that both groups be
joined to the same nucleus. The general rules re-
garding developing function do not apply to this group.
A
g
e
n
t

C
H
A
R
A
C
T
E
R
I
S
T
I
C
S

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F

P
H
O
T
O
G
R
A
P
H
I
C

D
E
V
E
L
O
P
I
N
G

A
G
E
N
T
S

S
o
l
u
b
i
l
i
t
y

K
e
e
p
i
n
g

P
r
o
p
e
r
t
i
e
s

o
f

S
o
l
u
t
i
o
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s

i
n

g
m
s
.

p
e
r

j

i
n

g
m
s
.

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i
t
e
r

1
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i
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o

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i
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6. The substitution of chlorine or bromine for hydrogen increases the
developing energy.
7 A substance containing two hydroxyl groups requires an alkali,
while substances containing two amino groups or one hydroxyl
and one amido group do not require an alkali.
In substances containing three hydroxyl or amino groups either
alone or in combination :
I. Symmetrical arrangements, as 1, 3, 5, have no developing power.
Other arrangements differ in developing energy but no definite
rule has been found to apply.
2 . Hydroxyl-phenols, containing three hydroxyl groups, can develop
without alkali but are not practical when so used.
3 Increasing the n u m ~ r of amino groups increases the energy of the
developing agent.
Phenolate Compounds.-Towards strong alkalis paraminophenol
acts as an acid, therefore if the hydrogen atom of the hydroxyl group
is replaced by an alkali metal such as sodium, a phenolate compound
results having in this case the formula C
6
H
4
0NaNH
2
or sodium para-
minophenolate. This is actually the substance formed when a solu-
tion of caustic soda is added to a paraminophenol developer in order to
redissolve the precipitated free base. Advantage is taken of this fact
to prepare highly concentrated solutions of paraminophenol which
simply require dilution with water in order to be ready for immediate
use. It is in such form that paraminophenol has achieved its greatest
popularity under the names of Rodinal, Citol, Azol, Activo!, Certinal,
Paranol and Kalogen. These are all patented substances, but a de-
veloper of similar composition can be prepared by the formula to
follow:
Bring to a boil 250 cc. of pure water and, when just before the boil-
ing point, add a few crystals of potassium metabisulphite; when these
are dissolved add 20 grams of paraminophenol hydrochloride and
finally 6o grams of potassium metabisulphite. The mixture is stirred
until all of the metabisulphite has dissolved, and there is then added,
with constant stirring, liquid commercial caustic soda sufficient to re-
dissolve the aminophenol base. The mixture becomes thick at first
owing to the precipitation of the aminophenol base and as the caustic
soda is added gradually clears up owing to the precipitated base going
into solution. The addition oi caustic soda should be stopped just
290 PHOTOGRAPHY
before all of the paraminophenol base is dissolved and the solution
made up to 400 cc., placed in a rubber-stoppered bottle and allowed to
cool. It "is very important that a small quantity of paraminophenol
base be left undissolved as the least excess of caustic soda causes the
solution to be unstable, rapidly turning brown and losing developing
power. This is the only trick in the operation and must be carefully
observed. A solution properly prepared will keep almost indefinitely.
Should an excess of caustic soda be added by mistake, the matter may
be remedied by the addition immediately of a solution of sodium hi-
sulphite until a slight precipitate of paraminophenol is formed.
15
Fine-Grain Developers.-The degree of inhomogeneity, or as com-
monly termed, the graininess of the developed image assumes consider-
able importance when the negative is to be subsequently enlarged. It
is necessary at this point to draw a distinction between the grain of the
individual silver grain and the graininess which results from the ag-
gregation or clumping of these. It is the latter which is the cause of
the graininess observed in ordinary enlargements ; the effect of the
individual grains is evident only upon much higher magnification.
Absolute graininess varies with different emulsions, being, in gen-
eral, greater with rapid than with slow materials, and increases with
the contrast, or y, of the negative.
Physical development results in an image of finer grain and the use
of paraphenylene was recommended for this purpose by A. and L.
Lumiere and A. Seyewetz
16
in 1904. Development with parapheny-
lene, however, is a very exacting process and the contrast of the image
is too low for ordinary requirements. Furthermore, a considerable in-
crease in exposure is required. Later they recommended the use of
paraphenylene diamine with a weak alkali, such as borax, which re-
sults in more rapid development and higher contrast, with but little in-
crease in the size of grainY
At the present time, however, the most practical developer for secur-
ing fine grain for subsequent enlargement seems to be the special
metol-hydroquinone-borax formula developed by the Kodak Research
Laboratories. This is as follows :
1
5
Metal and Manomet may also be used to prepare developers of this charac-
ter. For full directions see Ermen, Brit. f . Phot., 1920, 67, 6rr; see also pp. 61o-
61r.
1 6 Bull. Soc. F1anc. Phot., 1904, 20, 422.
17
S. I. P., 1927, 7, 107. ,.
..
Metol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1'5 gr.
Sodium sulphite (anhydrous) ...... .. ............ 768 gr.
Hydroquinone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 gr.
Borax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IS gr.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 oz.
2 gm.
100 gm.
5 gm.
2 gm.
1000 cc.
291
The metol is dissolved first in a small quantity of water; a quarter
of .the sulphite next in hot water, the hydroquinone added, and this
solution is then added to the solution of metol. The remaining sul-
phite is now dissolved in additional water, the borax added and this
solution added to the other, water being added to bring the total bulk
to 16 ounces or 1000 cc.
18
The finer grain is due apparently to the high sulphite content as well
as to the low alkalinity.
19
On this last account, development is com-
paratively slow, requiring 15-25 minutes at 65 Fahr.
Developers for Continuous Use.-It is the general practice in the
larger commercial establishments and in motion picture processing
laboratories to develop in large tanks holding several gallons of de-
veloper until the solution ceases to function properly. while from a
theoretical standpoint, it is far better, particularly with highly sensi-
tive panchromatic materials, to use a fresh solution for each batch of
plates or film, in practice, satisfactory negative quality is secured by
continuous use of the developer provided the solution is discarded
when it has reached its effective limit.
In the choice of the developing agent for continuous use in tanks,
both the keeping qualities of the solution and the rate of exhaustion
are of importance. As regards keeping qualities, an exact comparison
between the figures obtained by Hiibl and Milbauer (table on page
286) is difficult owing to experimental differences; both agree, how-
ever, in assigning superior keeping qualities to glycin, followed by
pyrocatechin and adurol. The studies of Strauss
20
on the effect of
repeated use of developers shows that metol has the longest useful life
followed by paraminophenol, edinol, ortol, adurol, glycin, pyrocatechin,
hydroquinone, and, much worse than the others eikonogen and pyro.
Metol-hydroquinone, or preferably metol-adurol, metol-glycin, and
glycin, therefore, appear on theoretical considerations, to be the most
suitable for continuous use in tanks. The widespread use of metol-
18 Brit. J. Phot., 1928, 75, 74
19
Cf. Veldmann, Das Atelier, 1928, 35, 30.
20
Phot. Ind., 1925, p. 309.
. I
I
-I
292 PHOTOGRAPHY
hydroquinone and glycin in the processing of motion picture film by
automatic machinery indicates that in practice these developers have
been found best adapted to continuous use.
GENERAL REFERENCE VVORKS
EoER-Ausfiihrliches Handbuch der Photographie.
SEYEWETZ-Le Negati en Photographie.
' -
CHAPTER XIII
THE TECHNIQUE OF DEVELOPMENT
Introduction.-The chemical and physico-chemifal basis of the
process of development and the chemical and photographic properties
of the organic compounds used for development have formed the sub-
ject of the two preceding chapters. In this, the last chapter on the
subject, we will be concerned for the most part with the more prac-
tkal aspects of the matter-the technique of development.
The developing solution as applied to the plate consists of four in-
gredients : the developing agent itself ; the preservative, generally
sodium sulphite; the alkali, one of the alkaline carbonates usually ; and
the restrainer, potassium bromide. Amidol is an apparent exception
to this as no alkali is added, but it is probable that the hydrolysis of
the sulphite which is always used furnishes the sodium to form a
phenolate which is the actual developing agent. Then again the re-
strainer is quite often omitted, particularly in negative developing
solutions, but generally we may say that the developing solution con-
sists of the developing agent, the preservative, the alkali, and the
restrainer. The part played by each of these in the process of de-
velopment has already been considered; there remain, however, a few
matters of practical importance regarding the use of the sulphites and
alkalis in development. These matters it is proposed to take up in the
present chapter, together with desensitizing as applied to photographic
development, and finally the three principal methods of development:
inspection, factorial and thermo.
The Sulphites in Development.-The use of sodium sulphite as a
preservative in solutions of the organic developing agents appears
to have been first suggested by Berkeley in 1882.
1
The theory of its
action has already been discussed (page 257).
There are two forms of sodium sulphite in general use, the an-
hydrous and the crystalline, the latter containing seven molecules of
1 Phot. !., 1882, 22; Brit. J. Phot., 1882, 29, 47; Phot. News, 1882, 26, 41.
<01
293
2!:14 PHOTOGRAPHY
water of crystallization having the formula Na
2
S0
3
7H
2
0. Calcu-
lating the molecular weights of the two forms we have
Na
2
S0
3
= 126
Na
2
S0
3
7H
2
0 = 252.
Thus 126 parts of the anhydrous are equivalent to 252 of the crystal-
line salt, or, in other words, the anhydrous form is just exactly twice
as strong as the crystal. Hence when usi.ng anhydrous sulphite in a
solution calling for crystals only one half of the amount called for by
the formula should be used. As the crystal form is in almost uni-
versal use in England whereas the anhydrous is in general use in
this country, this fact should be borne in mind when making use of
formulas from an English source.
No matter which salt is used it is rare to find it pure, and com-
mercial varieties are likely to contain from 2 to as much as 10 per
cent of impurities principally as sulphates or as carbonates. While
theoretically one ought to test each batch, this is unnecessary since
an excess is always used. Of the two forms the anhydrous keeps
better in the dry state and for this reason is to be preferred over the
crystalline form.
Stock solutions of sulphite do not keep well and it is advisable to
prepare at one time no more than it is expected to use within a week
to ten days. Specially prepared solutions of sulphite containing al-
cohol or potassium metabisulphite, however, may be kept much longer.
The addition of 10 per cent of alcohol has a beneficial effect on the
keeping properties while the so-called " neutral sulphite " Is even
more effective. Most commercial sulphite is slightly alkaline and
this affects the keeping properties, hence the addition of just sufficient
acid to neutralize the sulphite is often advised. Sulphuric is the best
of the strong acids for this purpose although oxalic and citric acid are
often used. Perhaps the most effective means of preserving sodium
sulphite solutions is by the use of potassium metabisulphite as follows:
Sodium sulphite (dry) ..... . .. . ...... . ... . ..... . 2 oz.
Potassium metabisulphite . .. . . .. . .. . . ... .. ... . .. . 0 oz.
W atcr to make ..... . .... . .. ... ... . ........... .. . 20 oz.
100 gm.
25 gm.
1000 cc.
Dissolve at ordinary temperature, then raise to the boiling point and
finally allow to cool.
2
2 The addition of small quantities of hydrochinon as a preservative of stock
of SlJiphite has recently been suggested. See J ourn. Camera Club of
London, 1923, I, 3.
'
THE TECHNIQUE OF DEVELOPMENT 295
In place of sodium sulphite the corresponding potassium and am-
monium sulphites have been recommendeCI, as have also potassium
metabisulphite and sodium bisulphite lye, but owing to the cheapness
and efficiency of sodium sulphite none of these compounds have ever
been widely adopted.
3
In the case of a developing agent producing a stain image, the pro-
portion of sulphite controls the intensity of the stain. Thus in the
case of pyro, increasing the amount of sulphite will decrease the
amount of stain to a point where the image is almost pure black, while
if the sulphite is decreased the intensity of the stain will gradually
increase, passing from black to warm-black, and finally to yellowish-
brown. With non-staining developers the proportion of sulphite does
not have any decided influence on the color of the deposit, acting prin-
cipally as a preservative of the developing solution.
The Alkalis in Development.-When alkaline development was first
introduced by Russel in 1862 the alkali in common use was ammonia
and pyro-ammonia continued to be the favorite developer for many
years. Even as late as 1900 pyro-ammonia was still considerably
used for negative work. Owing, however, to its volatile nature its
action is erratic and uncertain and at present ammonia has been com-
pletely replaced in all but a few instances by the fixed alkalis such as
the alkaline carbonates and hydroxides.
Of these the carbonates are the most widely used, particularly
sodium carbonate. Potassium carbonate is used in some special cases,
while the hydroxides are occasionally used with hydrochinon and
glycin, or for the production of phenolate compounds from par-
amidophenol.
There are three carbonates of sodium, the bicarbonate or acid car-
bonate, the sesqui-carbonate and the normal carbonate. Only the lat-
ter is suitable for development. The normal carbonate exists in three
forms, the anhydrous N a
2
C0
3
, the monohydrate containing one mole-
cule of water and having the formula N a
2
C0
3
H
2
0 and the crystalline
having ten molecules of water of crystallization and consequently be-
ing N a
2
C0
3
IOH
2
0. Calculating the molecular weights of the three
forms:
3
Ammonium sulphite, Eder, Phot. Korr., 1885, 22, III. Potassium metabi-
sulphite, Mawson and Swan, Brit. J. Almanac, 1887, p. 139; 1888, pp. 316 and 346.
Sodium bisulphite lye, Gilder, B. J. Almanac, 1891, p. 718 .
...
296 PHOTOGRAPHY
Crystalline N a
2
C0
3
roH
2
0
46 + 6o + r8o = 286,
Monohydrate N a
2
C0
3
H
2
0
46 +6o + r8 = 124,
Anhydrous N a
2
C0
3
46+ 6o = ro6.
Consequently we see that ro6 parts ~ anhydrous sodium carbonate
are equal to 124 of the monohydrate and 286 of the crystalline form.
The anhydrous carbonate is therefore approximately 2.8 times as ef-
ficient as the crystalline. As a matter of fact, however, the pure an-
hydrous carbonate is not often met with, the usual dry or so-called
"anhydrous carbonate" being in reality the monohydrate, Na
2
C0
3
-
. H
2
0 . This is slightly stronger by twice than the crystalline salt as
286 : 124 :: roo : 43-4 It is quite accurate enough, however, for all
practical purposes to take the efficiency of the ordinary dry sodium
carbonate as being twice that of the crystalline form. The monohy-
drate is generally used in this country, the crystalline form, however,
is still used in England-a fact which must be borne in mind when
using formulas from that country, as, unless specified as dry, the
quantities always represent crystal carbonate.
The monohydrate is to be preferred to the crystalline salt owing
to the fact that it is more stable, as it does not effloresce or lose its
water of crystallization. The crystal carbonate owing to its larger
water content is also more apt to absorb carbon dioxide from the air.
This unites with the carbonate to form bicarbonate, a substance of no
practical value in development.
There is no settled proportion of alkali which should be used with
any given plate or developing agent. Variations within reason have
no other practical effect than increasing or decreasing the velocity of
development. The existence of an optimum concentration of alkali
beyond which no further increase in velocity occurs when the alkali
is increased has been shown by Ermen.
4
Except in the case of hy-
drochinon, this optimum concentration equals about I per cent of the
anhydrous salt. Increasing the carbonate above this point does not
increase either the velocity of the developer, nor the density, but
probably does increase the amount of fog and for this reason should
be avoided.
Not much use is made of the caustic alkalis, such as the sodium and
~ Phot. J., 1'922, 62, 123.
.
Jl
~
potassium hydroxides, except for the preparation of paramidophenol
developers and with such slow acting agents as hydrochinon and glycin.
When used with hydrochinon, the caustic alkalis form a more active
developer, which works more rapidly and softer than that produced by
the use of the alkaline carbonates and one which is less affected by
temperature. Owing to their supposed tendency to fog and to their
. action on gelatine there exists a certain prejudice in the minds of
many photographers against the use of the caustic alkalis. While with
the more energetic developing agents no real advantage attends the
use of the same over the alkaline carbonates, the caustic alkalis may
be used with complete success if care be taken to use the proper
amount The following table shows the developing equivalence of the
alkalis and in what proportion one should be substituted for another.
Sodium Potassium
Sodium Sodium Sodium Potassium
carbonate carbonate carbonate carbonate
hydroxide hydroxide
Na,COa Na,co,.H,o Na,COaroH,O K, co,
So 112 106 124 286 138
I. 1.40 1.325 1.550
3575
1.725
0.714
I.
0.946
1.106
2.553
1.232
0.755 1.057 I. 1.170 2.699 1.302
0.323 0.452 0.428 I.
I.I55 557
0.280
0.392 0.371 0.434
I. 0.483
0.580 0.812 0.768 0.899 2.072 I.
A number of other substances have been suggested for use in place
of the alkaline carbonates and hydroxides but few have come to be
used extensively. Sodium tribasic phosphate was suggested by
Lumiere in 19o6 but has never been widely used. Acetone CH
3
CO CH
3
was also recommended by Lumiere and has found some
favor, particularly in conjunction with pyro. Its action is to combine
with the sulphite to form acetone sulphite, the sodium set free com-
bining with the developing agent to produce the phenolate which is the
actual reducing agent. Its principal advantages are its freedom from
fog, somewhat less stain than when the alkaline carbonates are used
and no softening action on the gelatine film. . Pyro-acetone for the
latter reason makes a very efficient hot-weather developer. Formalde-
hyde was introduced by Lumiere in 1898 but has not proved to be very
efficient with any agent except hydrochinon in conjunction with which
it produces a contrast working developer especially suitable for line
copies and similar work in black and white.
6
5
Sodium tribasic phosphate, Eder's Jahrb., 18, 10, 190. Acetone, Bull. Soc.
franc. Phot., I8g6, p. 5s.E; 1897, p. 550. Formaldehyde, Eder's Jahrb., 1898, 12,
419.
298
PHOTOGRAPHY
The Value of Desensitizers.-One of the mos't noteworthy addi-
tions to photographic technique during the last few years has been
the introduction of efficient desensitizing agents which by reducing the
sensitiveness of the plate enable development to be conducted in a
much brighter light than that which may be used otherwise. The
great sensitiveness of the modern dry plate has made their develop-
ment a matter of real difficulty for no light which is sufficiently bright
to be of much value in practice may be used without danger of fog.
Particularly is this true for plates which are extremely sensitive to
color, such as the modern panchromatic for which no light is really
safe and time and temperature methods are the only satisfactory
manner of development. The use of a desensitizing agent, however,
enables plates of the very highest sensitiveness to be developed with
comparative safety in a bright yellow or orange light, thus considerably
facilitating development by either the inspection or factorial methods.
Desensitizing Agents.-Aithough there are some scattered refer-
ences in photographic literature prior to I920 on the subject of de-
sensitizing agents (see Wall, Amer. Phot., I92I, 15, 65I, Dec.) pheno-
safranine, introduced as a result of the investigations of Dr. Luppo-
Cramer, was the first really practical desensitizing agent. Phenosafra-
nine used at a concentration of I : 2000 reduced the sensitiveness of an
extra rapid plate to I/750 of its original sensitiveness without any .
effect whatever on the latent image so that no increase in exposure is
required. A. and L. Lumiere and A. Seyewetz found that toluylene
red I : 1000, aurantia I : 1000, picric acid I : IOO are all desensitizers
but not so efficient as phenosafranine.
6
Pinakryptol, pinakryptol green and pinakryptol yellow are three de-
sensitizers of unknown constitution introduced by the Farbewerke
vorm, Meister, Lucius and Bruning- as the result of the investigations
of Dr. E. Konig, B. Homolka and Robert Schuloff. Both pinakryptol
and pinakryptol green are colored substances and form highly colored
solutions but neither has any staining action on gelatine and are conse-
quently superior in this respect to phenosafranine which stains strongly.
The desensitizing effect of both is as high, if not higher, than that of
phenosafranine. Pinakryptol slows development, but with pinakryptol
green the rate of development is unaffected.
With both the reduction in sensitiveness is much greater for the
blue rays than for the red so that with red-sensitive, panchromatic
plates there is danger of fog. This difficulty has been overcome by
6
Brit. !. PJa.ot., 1921, 68, 351, 370.
!-
. ,

the introduction of pinakryptol yellow which is a more effective de-
sensitizer for the rays of longer wave-length. Its desensitizing power,
however, is destroyed by sodium sulphite so that it cannot be added to
the developing solution as can pinakryptol and pinakryptol green but
must be used as a separate bath and followed either by a bath of
pinakryptol green or a developing solution containing .005 per cent
pinakryptol green .
Basic Scarlet N, a red dye made by the Compagnie des Matieres
Colorantes of France was found to be an active sensitizer by the Re-
search Laboratdry of Pathe Cinema. According to Moreau it con-
sists of a mixture of chrysoidin and phenosafranine. As compared
with pinakryptol green, it is stated to be more effective in preventing
fog.
Mercury cyanide, the use of which as a desensitizer has been pat-
ented by the I. G. Farbenindustrie,
7
is the only desensitizing substance
of practical utility yet found among inorganic substances. Ac-
cording to Mayer and Walter,
8
the actual desensitizer is the complex
K
2
Hg(CN)
4
As a desensitizer, mercury cyanide is as powerful as
any of the organic substances known and is less prone to produce fog.
It cannot be used as a preliminary bath, however, and is slowly pre-
cipitated in developers. It cannot be used with pyro. In use, 0.3
gram mercury cyanide is added to each liter of developer (4.6 gr. to
35 oz.) .
Desensitizing in Practice.-Either phenosafranine, pinakryptol,
pinakryptol green or basic scarlet N. may be used as a preliminary
bath, or as an addition to the developing solution. When used as a
preliminary bath, phenosafranine is used at a dilution of I: 2000,
pinakryptol, pinakryptol green and Basic Scarlet N at I : sooo. An
immersion of two minutes is sufficient, although longer immersion is
not objectionable in the least. After this the plate may be removed
and development conducted in a bright yellow or orange light.
If the desensitizer is added to the developing solution, from two to
three minutes should be allowed to elapse before turning on the brighter
light. According to Dr. Luppo-Cramer, the action of phenosafranine
is complete within one minute and pinakryptol green within practically
the same time. Pinakryptol, however, is slower in action and requires
about two minutes and in practice it may be well to increase these
times slightly in order to be sure that the action is completed.
7
B. P. 280,525 of 1926; Brit. ! . Phot., 1928, 75, 233
8
Brit. !. Phot., 1928, 75, 6g2.
11
300 PHOTOGRAPHY
If the desensitized plate or film is exposed to bright orange or red
light before it is placed in the developer or before the image has ap-
peared the latent image will be bleached. Keep the plate covered the
first few minutes of development.
Used as a preliminary bath, pinakryptol green increases fog with
nearly all developers but particularly so with pyro. With glycin,
elon (not metol-hydroquinone) and rodinal, however, there is little in-
crease of fog.
9
Pinakryptol green is more effective when added to the
developer than when used as a preliminary bath; a concentration of
r/25,000 in the developer being equal in desensitizing power to
1/5,ooo used in a preliminary b t h ~ There is also less tendency to
produce fog when the desensitizer is added to the developing solution.
10
On the other hand, most developers tend to precipitate upon the ad-
dition of pinakryptol green. This is especially true of hydroquinone,
less so with adurol, and pyro, while glycin, rodinal, paraminophenol
and metol are not precipitated. With metol-hydroquinone, and prob-
ably with other developers, the desensitizing action exists at least as
long as the activity of the developing solution.
Desensitizing affects the Watkins factor, reducing it in the case of
pyro and amidol and increasing it in the case of hydroquinone, which
it raises from a low-factor, slow-working agent to a high-factor, soft-
working developer. Phenosafranine has, in fact, been advised by
Liippo-Cramer as a cheap substitute for metol with a hydroquinone
developer.U
According to Hiibl,I
2
with hydroquinone the factor varies from 53
with phenosafranine, to 4.6 with pinakryptol yellow and 2.6 with
pinakryptol. With a metol hydroquinone developer containing 3 parts
metol to one of hydroquinone, the change in the factor is insignificant.
With pyro and amidol the factor must be reduced one third.
Development by Inspection.-The first and perhaps the still most
widely used method of development, certainly by the older workers,
consists in visual examination of the plate from time to time. Deter-
mination of the time of development by inspection is largely a matter
of experience. It is not a method which is founded upon any definite
scientific basis, nor one which can be expressed in terms which convey
any exact information to another worker. Continuous experience
9
Dundon and Crabtree, Brit. J. Phot., 1926, 73, 404.
10
Ibid.
11
S. I. P., 1921, I, 69; Phot. Ind., 1921, p. 534
<2 A mer. Phot., 1925, xg, 642.
under standardized conditions, and this only, will enable one to achieve
success in developing by inspection. It is true that there are a large
number of tips or dodges which are used by the experienced worker
as a guide, and which are often recommended to the beginner when in
search of assistance, but these in the absence of similar experience
convey no .exact meaning and are applicable only to those conditions
under which they originated. Under other circumstances and in other
hands such indications may be wide of the mark and positively mis-
leading.
Actual photometric measurement of several sensitometric strips is
sufficient to show how unreliable any attempt to estimate contrast by
the eye is likely to be and when it is remembered that in development
such estimation is made still more difficult by the presence of an
opalescent film of silver halide which increases the apparent opacities,
but decreases the ratio of the opacities, or the contrast, it is at once
evident that development by inspection is subject to exceedingly large
errors and that it is a method which can be practiced successfully only
after considerable experience with a given plate and other standardized
conditions.
With incorrect exposure the matter becomes still more complicated.
The delayed appearance of the image and the slow increase in density
and shadow detail in the case of under exposure leads to over develop-
ment in the hope of securing greater density and more shadow detail.
As a result the contrasts, which are already too great, are increased
and matters are made worse instead of better. Likewise in dealing
with over exposure the rapid appearance of the image and the quick
growth of density lead one to remove the plate before the proper stage
of contrast has been reached. This again is just the reverse of what
should be done as it lessens the contrasts, which owing to over ex-
posure are already insufficient.
While a large number of experienced photographers develop by in-
spection, with results in every way comparable to those obtainable by
any other method, nevertheless, it must be said that it is a more or less
haphazard, unsystematic method of working which lacks the precision
which is required of a process as important as that of development.
While it is true that none of the commonly used methods of develop-
ment are theoretically more than approximations to the required con-
dition, nevertheless we think that it may be said that either the fac-
torial or thermo methods are more certain and less subject to error
than is development by inspection. It is at any rate not a method for
...
302 PHOTOGRAPHY
the beginner, nor even for the advanced worker who works only at
intervals and under varying conditions. For these, either the fac-
torial or thermo methods are to be preferred.
The Watkins System of Factorial Development.-Considerable in-
formation concerning the velocity of development is supplied by the
time of appearance of the image. In 1893 Mr. Alfred Watkins, the
well-known authority on exposure and development, found that the
time of appearance is an indication of the speed of development and
that 'any variation in the dilution of the developing solution, the tem-
perature, or the alkali, affects the time required to reach a given
density, or value of gamma, in the same way that it affects the ap-
pearance of the image. In other words
TD = WTA,
where Tv is the time for density, D, T A the time of appearance and
W is a constant. It is this constant, W, which is termed the Watkins
factor.
With any given developing agent the factor depends upon the degree
of contrast or gamma which it is desired to reach. Once the factor is
found for any given set of conditions the time of development can
always be readily determined by multiplying the time of appearance
by the proper factor.
What Determines the Factor.-The factor is dependent principally
upon the developing agent. The presence of a soluble bromide, how-
ever, has a decided effect. The factor does not change for different
plates, except in the case of a very few plates containing a much
larger amount of iodide than usual. Neither is it altered by varia-
tions in the amount of the alkali nor by the dilution of the solution,
except in the case of pyro and amidol. With these the factor varies
with the strength of the solution. Within the range of temperatures
generally utilized for development, there is comparatively little altera-
tion in the Watkins factor with most developing agents. There is a
slight variation, however, with some agents at extreme temperatures.
The following factors are suggested for a start, but the experience
of the photographer and the requirements of his particular printing
medium may lead him to think an alteration of the factor desirable.
If after the first few trials, using the factors as given, the negatives
indicate that greater contrast would be desirable, the factor should be
increased, while if the negatives show too much contrast a lower fac-
tor should be used in the future. Hence the following factors should
..,
..
not be considered as final but on the contrary as suggestive only; to be
used until experience shows a higher or lower factor to be better suited
to the requirements of the individual.
Adurol . . . . . . . . . . . . . . . . . . . . . . . 5
Pyrocatechin . . . . . . . . . . . . . . . . . . 10
Hydrochinon (min-KBr)....... 5
Hydrochinon (max-KBr).. . . . . ~
Eikonogen . . . . . . . . . . . . . . . . . . . . 9
Glycin (Carb. Soda) . ........... 8
Glycin (Carb. Potash) ... . ..... 12
Paramidophenol . . . . . . . . . . . . . . . 16
Certinal . . . . . . . . . . . . . . . . . . . . . . 30
Amidol (2 gr. to the oz.) ...... 18
Rodinal ........ . ............. 40
Ortol ... .. ... . ... . .... . ..... . . IO
Edinol ... . .. .. . .............. zo
Metol .... . .. . . .. ... . . . . . . . .... 30
Quinomet . . . . . . . . . . . . . . . . . . . . . 30
Pyro-soda
Without With
Potassium Erom:de Factor Potassium bromide Factor
I gr. to the oz.. . . . . . . . . . . . . . . . 18 J4 gr. KBr per oz . . . . .... . ...... 9
2 gr. to the oz.. . . . . . . . . . . . . . . . 12 0 gr. KBr per oz.. . . . . . . . . . . . . . 5
3 gr. to the oz.. . . . . . . . . . . . . . . . 10 :J4 gr. KBr per oz . ... . . ...... . . . 40
4 gr. to the oz.. . . . . . . . . . . . . . . . 8 I gr. KBr per oz .... . . ..... . . .. 4
Pyro-acetone-about double the above.
The factor of a combination developer containing two or more de-
veloping agents depends upon the proportions of the various agents to
one another. If in equal parts, the factor is simply the average of
the factors of the two agents. But if, for instance, the developer
contains 2 parts hydrochinon to one of metol (3 parts in all) the fac-
tor is put down for all three parts and the sum divided by 3, or
5 + 5 + 30 =
13
.Ys.
3
A combination developer containing pyro, however, does not conform
to this rule and its factor must be determin_ed by trial.
Accuracy of the Factorial System.-The principle upon which the
factorial method is based is open to, and has been made the subject of,
some criticism. Although careful investigation has shown that there
is not in all cases that definite and fixed relationship between the time
of appearance and the time of development for a given gamma as as-
sumed by the Watkins factorial method, in the vast majority of cases
the departure from this relationship is comparatively small and with-
out any particular significance in practical work. There are in all
three sources of error in the factorial system. These are as follows :
...
304 PHOTOGRAPHY
I. The difficulty in observing the correct time of appearance.
2. Occasional variations in the Watkins factor.
3 Variation of the time of appearance with the degree of exposure.
Several years ago Mr. A. Lockett conducted a number of investiga-
tions with six different persons to determine the seriousness of the
errors in observing the time of appearance and concluded that:
I. What is called the personal equation in factorial development is
of comparatively small importance, provided average care be used:
being, in fact, much less likely to cause variatipn in results than with
the old system of judging development by inspection.
2. Although a developer with a medium factor is probably prefer-
able, there is practically no more fear of variable results with a large
developing factor than with a small one-given reasonable care in ob-
serving the time of appearance.
3 Some individuals are habitually quicker than others in observing
the appearance of the image; but, as a rule, this variation is uniform
and may be allowed for by an alteration in the factor.
4 Within limits a slight error in observing the appearance of the
image has no serious results.
13
Now that development may be conducted in bright yellow light, or
even in white light in some cases, thanks to the introduction of satis-
factory desensitizing agents, the difficulties in observing the appear-
ance of the image are removed and errors from this source are practi-
cally negligible. Desensitizing also removes another objection to the
factorial system which was formerly of some importance. To observe
the appearance of the image it was necessary to hold the dish close to
the safelight and this greatly increased the danger of fog, particularly
with color sensitive plates. All danger of fog from this source has,
of course, been completely removed by desensitizing.
Much has been made by critics of the factorial system of the fact
that the Watkins factor is subject to variation with different batches of
the same plate and developing agent. While it may be true that such
inconstancy in the Watkins factor occurs, it is only fair to say .that in
practice it is negligible and cannot be said to constitute a serious ob-
jection to the method.
The variation of the time of appearance with the degree of exposure
is the weakest point of the factorial system. It is a matter of common
knowledge that the time of appearance of the image in development is
greater for under exposure and less for over exposure than for normal
13 Brit. !. P'ftot., 1906, 53, 464.
.i
exposure. Since the time of appearance is directly proportional to the
time of development by the factorial method, the time of development
varies with the time of appearance. Consequently under exposures
receive longer and over exposures shorter development than do normal
exposures. As we have already seen, the time of development required
to reach a given stage of contrast ( y) is independent of the time of ex-
posure and hence under and over exposures should receive the same
development as a normal exposure. Mr. Watkins advises as a means
of lessening this s o u r ~ of error that several plates be developed at one
time and the mean time of appearance taken. This is of course better
than taking the time of appearance from a single exposure, but is at
best only an approximation.
With plates which have received correct, or nearly correct, exposure
factorial development is perfectly satisfactory and in some respects the
most desirable method of development. Where correct exposure can-
not be ensured, thermo development is to be preferred.
Thermo Development.-Development for a fixed time at a certain
temperature was indicated by Hurter and Driffield in their first paper
" Photochemical Investigations, etc.," before the Liverpool Section of
the Society of Industrial Chemistry in 1892.
Mees and Sheppard, in a number of papers constituting in general
a comprehensive review of the work of Hurter and Driffield in sensi-
tometry and other allied problems relating to photographic theory, de-
veloped the mathematical relations between the time of development
and gamma and the effect of the velocity constant of development ( k)
and maximum contrast, or gammainftnUy on the time of development.
Their investigations, besides extending our knowledge of the physico-
chemicar factors in development, established accurate means of calcu-
lating the time of development for any desired gamma.
In 1903, Houdaille made the first quantitative observations on the
rate of development at different temperatures. Two years later Fergu-
son and Howard gave particulars of a method of calculating the times
of development at different temperatures and a year later the former
published the results of a more complete investigation with mathemati-
cal formulce for the calculation of the temperature coefficient.
The fundamentals of thermo development were now established, but
it remained for Mr. Alfred Watkins, by his carefully compiled tables
of the developing speeds of commercial plates and times of develop-
ment at various temperatures adapted for use with any plate, to elimi-
nate the necessity f ~ r the individual to calculate by an exacting lab-
306 PHOTOGRAPHY
oratory test the constants for his own particular case. This handicap
removed, thermo development became exceed_i ngly simple and was
widely adopted both by amateurs and professionals.
The Watkins System of Thermo Development.-The time of de-
velopment required to reach a given stage of contrast, or gamma, de-
pends upon:
I. The maximum contrast obtainable ( Yoo).
2. The velocity constant of development ( k).
3 The temperature coefficient (T.C.).
Methods of calculating these factors and from them the time of de-
velopment at various temperatures for any given gamma have already
been given (pages 262 to 265) and from these the student can de-
termine for himself the proper times of development at various tem-
peratures with the particular plate and developer to which he is ac-
customed. However, as many have neither the facilities nor the in-
clination to make these calculations for themselves and yet desire to
use the thermo method, in the following pages we will reproduce
Watkins' tables of commercial plates and times of development.
The Watkins system takes into consideration the developing speed
of the plate, the developer and the effect of temperature on the rate of
development. All commercial plates are divided into eight classes ac-
cording to the time required to reach a gamma of 0.9. These classes
are termed Very Very Quick, Very Quick, Quick, Medium Quick,
Medium, Medium Slow, Slow, Very Slow, and designated by the
letters VVQ, VQ, Q, MQ, M, MS, S, and VS respectively. Instead
of varying the time of development for each class of plates, the neces-
sary allowance is made by altering the dilution of the developer so that
at a normal temperature of 66 F. plates of each class require the same
time of development. This reduces the number of scales of times of
development to two-one for tray and one for tank development-and
considerably simplifies the system. Six different developers are
adapted tor use with the tables which will be given shortly. These in-
clude pyro-soda, metol-quinone, Rodinal, Azol, Citol and Certinal.
Developing Speeds of Commercial Plates.-
Barnet- Portrait Isonon . .. ....... . . .. .. M
Ultra Rapid . . . . . . . . . . . S Anchor . . . .. . ... . . . MQ
Super Speed Ortho ........ ...... S Commercial. ........... . . .. ... MQ
Studio soo . .. ......... . ...... . MS
Medium lso .. ..... .... . .. ... . . M
Press .... .... .. .,. ... . . . ..... . .. VS Commercial I son on ... . . . . ..... M
Studio 400 ........ ... . . . .. .. MS
Contrast .. .. .......... .. . . .. . . Q
Studio Or tho 400 . ... . . .. . ..... M Postal .... . ...... .. ... .. ...... Q
Red Seal .............. . . .. . . .. M Double-coated according to brand
Self Screen Ortho ....... . .... .. MQ Eastman Film-
Red Diamond .... . .. . . . . .. .. .. MS Portrait Par Speed .. .. . ..... . .. MS
Special Rapid . . .... . ...... . ... MS Super Speed .............. . ... VS
Ordinary . ... . ..... . . .. . . . .... MQ Commercial . .. . ...... . . . .. . . .. MS
r a ~ r Commercial Ortho .... . . . ...... MS
Hi-Speed ... . ....... .. ....... VS Panchromatic .. ...... .... . . ... MQ
Speed-0-Krome .. . ... .. . .. . ... S Non-Curling Speed ............. S
Crown ... . ... .. . ... .... . .... . S Premo Speed ... .... ... ........ S
Banner-X .................. . .. S Cine Super Speed .... . ......... VS
Instantaneous Iso . .. . . . . . .. . ... M Cine Ordinary ............ . . ... S
Cine Panchromatic ..... . ... . ... MS Screened Chromatic ....... . .... Q
Positive Cine . ......... .. . .. ... MQ Empress . ..... . .. . ..... . ..... . Q
Ensign- Rapid Process Panchromatic ..... VVQ
Film .......... . ...... . .. .. ... MS Ordinary ............. .. ...... Q
Gem- Zenith Extra Sensitive Film ..... VS
Gold Label .... . .... . .. . . . . .. .. S Zenith Film . . . ... . ........ . ... MS
Salon X pres ........... . ....... VS Special Rapid Film .... .. ...... MS
Salon ..... .. ..... . ... . . . ...... S Empress Film ... . ............. VQ
Salon Isochromatic ............. Q lllingworth-
Portrait ............ . ......... S Studio Extra Fast .......... . .. . VS
Colour Screen ......... . . . ..... M Fleet .................. . ...... MS
Meteor ..... ........... . . ..... VQ High Rapidity . .... . . . . .... . ... S
Isochromatic . ......... . . . ... .. M Ortho Fast ............. . . . .. .. MS
Panchromatic Tricol .. . ...... . . Q Studio Ortho Fast. .. .. .... . ... M
Universal ............... . .. ... M Ultra Rapid ............ . .. .. .. S
Slow Universal. .. . ...... . ..... MQ Special Rapid ... . ............. S
Gevaert- Non Screen . . : .. . . . ... . . . .. .. . MQ
Sensima ... .... ... . ..... : . , ... VS Medium ... . ...... . ........... MQ
Ultra Rapid . ....... . .... . ..... MS Ortho Medium .. .... .. . .. .. ... MQ
Orthochrome .... ... . . . . .... . .. MS Ordinary ........ . . . .......... MQ
Special Rapid ... . .. . . . ........ S Imperial-
Anti-Halo .............. . . .. ... MS Eclipse ...... . . ... . . . .. .. . .... S
Filtered Ortho ... ... . .. . .. . . . .. MQ Flashlight ........... . .... .. ... S
Ortho Anti-Halo ...... . . . ..... . MS Special Sensitive ..... ... .. ... .. S
Cine Film . . ... . ...... . . .. ... .. MQ S. S. Ortho . ... . ... . .. . . .. .. ... MS
Hammer- Panchromatic A ..... . ......... Q
Special Extra Fast .... . . . .. .. .. MS Panchromatic B .. . ..... . . ... .. VQ
Extra Fast. ......... . . . .. . .... MS Special Rapid . ....... .......... MS
Slow ............ . .... ........ Q Special Rapid Ortho ........... MS
Commercial Ortho ............ . Q Non-Filter Ortho .... ... .. . . . . . Q
Ortho Extra Fast . . . . . . .... . .. . MS Sovereign . .. ...... ..... ....... M
Ortho Slow .. . ........ . ....... Q Ordinary ............... . . . ... MQ
Ortho Double-Coated .. .. . . .. .. MS Fine Grain Ordinary . ......... . VVQ
Aurora Non-Halation ..... .. ... MS Landscape ...... .. ...... . ..... Q
Photo Postal . ...... . .... . . ... . VVQ Film . . .... .. . ... . . . . . . .... ... MS
'
'
308 PHOTOGRAPHY
Ilford- Lumi'ere & Jougla-
Zenith 6so . . ... . .. ......... . .. VS Maxima ....... . ..... .... . . ... M
Zenith 400 .... . ..... ......... . S Portrait Instantanee . .. . ... . .. . M
Press . .. .. .. .. ....... ..... .. . . VS Grands lnstantanee ... . .... .... MQ
Monarch ... , . ... .. . . .... . .... VS Ortho, Yell ow and Green .... . .. Q
Special Rapid Panchromatic . .... MQ Ortho, Yellow and Red .. . . . . . . . Q
Most Rapid Versatile .. . .... . . .. MS Intensive .. . .. . . ... . .. ..... . . M
Versatile Ortho .. . ..... . . ... . . . Q Panchromatic . .. . . . . . . . .. . .. .. VQ
Special Rapid . . ....... . .. . .... M Instantanee .. . . .. . . . . .. . ...... MQ
Rapid Chromatic . . .. ... .... .. . Q Extra Rapide ... .... ... . .. . ... MQ
King's Own .. ...... ... ...... .. M Film ........ .. ...... . ... ..... MS
Versatile Rapid .. .. .. .. . ... .. .. M Reproduction ..... ... ..... .. . . MQ
Chromatic .. . . .. . . .... . .. . .... M Q Panchromatic Procede . ..... .. . . Q
Plavik Film .. . .............. .. MQ Paget-
Cine . ..... . .. .. ....... . ... ... M XX .. . .. ............... . . . ... MS
N.C. Speed .. ... .. . . .... . ..... S XXX ... ... ... ........ . .... . . MS
Sigma Ortho .... .. ... . . . .. .... S Process Panchromatic . . .. . .. . .. M
Marion- S. F. Orthochromatic .. . .. . . .. . . S
! so Record ..... . ...... .. . . .... Q Special Rapid ...... .. . .. . .. ... S
Record . . ... ... . .. . . .. . ....... S Professional Medium .... . .. . .. . S
Panchromatic ... .. .. . .. . . . .... VS Portrait ..................... . S
Brilliant . .... .. ...... . . . ... . . . MQ Professional Extra Rapid ... ... . VS
P. S . . ...... .. .... .. ...... . ... MS Extra Special Rapid R .......... VS
Instantaneous . . . ... . .... . . . ... MS Ordinary Panchromatic . .... .... MS
Iso ..... .. . .. . .... . . .......... M Hurricane .. . .. .... .. .... ...... S
Portrait . . . .. .. . ..... . ..... . .. M Extra Special Rapid Ortho .... . . S
W.B . .. . .... . . . ... .. . . . .. .. . . M Seed-
Ordinary . .... . .. . . . ... .. .. .. . MQ Graflex . . ... ....... ... ... . . ... VS
Stanley- Gilt Edge ... .. ................ VS
so ... . . . . ..... . .. .. . .. .. ..... M Color Value .. . ... ....... . . . ... M
Commercial . . ... . ... . .. ...... Q L Ortho ... .... ... . ........ . .. M
Wellington- 26X .... . .. .......... . ... . . .. M
Super Xtreme . ... .. . .. . .. . .... VS Non-Halation L Ortho ......... MS
Xtreme ......... . .. . .. .. .... . . VS Tropical ...... . .... .. . . . .. ... M
Studio Anti-Screen . .. .. . . . . . ... S Panchromatic .......... . . . . . . . Q
Press .. . . . . ... ...... .. . .. . .. . . VS 23 .. .. . .... . . ... .. . ... .. .. .. Q
Special Extra Speedy ..... . ... .. S Process ..... ..... . ... . .. . .. ... Q
Extra Speedy .... .... . . . ...... MS Standard-
Speedy Portrait . . . .. .. .. .. .... MS Extra Imperial. .... ... . . ...... M
Speedy .. . . . . .. . . . .. . . ...... .. S Orthonon . .. .. ... . ..... . . .. .. . M
Anti-Screen . . ......... ... . .... M Polychrome ....... . .. .. .. ... .. M
I so Speedy ....... . .. .. .... .... M Wratten & Wainwright-
Ordinary . . ...... ...... . .. . . .. Q Panchromatic . . .. ... .. . ... .... Q
Film .... . . .. . . . . . ........ .... M Process Panchromatic .......... Q
Wratten M (backed) ... . . . .. . . . Q
Developers.-Thermo Pyro-Soda:
A. Potassium metabisulphite................ . . 8o gr.
Pyro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . r6o gr.
Sodium sulphite (dry) . . . . . . . . . . . . . . . . . . . . r oz.
Water to make....... . ..... . ........ . .... IO oz.
B. Sodium carbonate (dry) . . . . . . . . . . . . . . . . . . . 2 oz.
Potassium bromide. . . . . . . . . . . . . . . . . . . . . . . . 40 gr.
Water to make. . . . . . . . . . . . . . . . . . . . . . . . . . . ro oz.
r6.7 gm.
35.5 gm.
91.2 gm.
IOOO CC.
r82.4 gm.
8.35 gm.
rooo cc.
Thermo-Metol Hydrochinon (as modified by F. R. Fraprie):
A. Potassium metabisulphite . ........ . .... . . 6o gr. 6.25 gm.
Metol . . . . . . .... . . . ..... . ........... . .. .
Hydrochinon .. .. . ........ . . . ... . ... . .. .
Water to make ....... . ... . ............. .
B. Sodium sulphite (dry) . . . ...... .. ....... .
Sodium carbonate (dry) .. . ......... . ... .
Water to make ............. ... ......... .
Dilution of developer. VVQ
Pyro-Soda ....... .. . . I
Metol-Hydrochinon ... 1 Yz
VQ
1;\-i
2
Q
I;li
2%
MQ
2}i
3Yz
30
gr.
90
gr.
20 oz.
oz.
I0 oz.
20 oz.
M
3
4Yz
3.125 gm.
9375 gm.
rooo cc.
45.6
gm.
78
gm.
rooo cc.
MS s
vs
4 5
6%
6 8 IO
drams of each stock to be diluted to make a total of 3 ounces for tray or IO
ounces for tank.
Rodinal, Azol, Citol,
Certinal ........ . . 20 26
35 45
6o 8o
IOS IJS
minims solution to be made to a total of 3 ounces for tray or 9 ounces for tank.
In metric measure
VVQ VQ Q MQ M MS s vs
M-Q . . . . ... . . . .. 30 4I
55 73 94
I25 I6S
2IO for tray
9
I2 I6 22 28
38 so
65 for tank
Pyro-soda . . ...... 4 I
55 73 94
I25 I6S 2IO 280 for tray
I2 I6 22 28
38 so 6S 84 for tank
Certinal, Rodinal,
Azol, Victol . . .. . 13 17 23 30 40
53
70 90 for tray
43 575 775
10
13
18
24
30 for tank
The above figures are cc. and are to be diluted to a total volume of
IOOO CC.
Instructions.-The use of the system is simplicity itself. Deter-
mine by reference to the table the developing speed of the plate or
film and mix the developer as directed for that class, using water
which has attained the same temperature as the room in which de-
velopment is conducted. This avoids any variation in the temperature
of the solution during..development. The temperature of the developer
310 PHOTOGRAPHY
having been determined, find the time of development by reference to
the table of temperatures. In a safelight, or total darkness, flow the
plate with the developer, or if using a tank, immerse the cage contain-
ing the plates in the solution and start the darkroom clock. If a
timer is not available an ordinary watch may be used. As there is nn
necessity whatsoever for observing the plate during development, the
tray may be covered with a light-excluding cover and the white light
turned on in order to observe the time at which development started.
When the time of development has expired, turn out the white light
, and remove the plate.
TABLE OF TIME OF DEVELOPMENT AT VARIOUS TEMPERATURES
Degrees Degrees Cent. Time in Time for
Fahr. to nearest half tray tank
-
So 27.0
3U
12
7S
26.0
3Y2
13
76
245 3% 14
74 235 4
IS
72 22.5
4U
16
70
21
4Y2
17
6S 20
5
ISU
66
19
sU I9Y2
64
IS
s%
21
62
17 6U 22Y2
6o 16 6Y2 24
ss 145 7
26
56 135 7Y2
2S
54
12.5 s
30
52 u.s SY2 32
so
10
9U 34
4S
9
10
37
46
s IO% 40
44 7
IIY2
43
42
6 I2U 46
40
45 I3U
49
If the first trial does not produce a negative having the proper
amount of contrast to suit your individual case, classify the plate one
class nearer VS for more or one class towards VVQ for less contrast.
The Thermo Method with Glycin.-The following formula and
system for the use of glycin according to the \iVatkins thermo method
is due to Mr. Arthur Purdon and was published in American Photog-
raphy.
THERMO-GLYCIN
Stock Solution
Water to make . .... . . .... ... . . . ... . .............. 500 cc. or 10 oz.
Potassium carbonate (dry) . . . . . . . . . . . . . . . . . . . . . . . 30 gm. or 28o gr.
Sodium sulphite (dry)........ . ........ . .......... 10 gm. or 90 gr.
Glycin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 gm. or 140 gr.
Cc. of Stock to be Drams of Stock to be
made up to 300 cc. made up to ro oz. for
for Tank or 90 Tank or 3 oz. for
Plate Class cc. for Tray Tray
VVQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 1Y,
VQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7% 2
Q ...... . ....... . ................ . .... lOY, 2%
MQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13% 3%
M ... . . .. .. . .... . . ... .. .. . . . .. ......... 18 4%
MS ... .. . . ...... . ... . ... . . .. .......... 24 6
s .. ... .. ... . ... ... ....... ............. 30 8
vs ..... ... .. ..... .. ... ..... .. ........ 40% 10
Temperature-Time Table
Temp. Time
Degrees Minutes
Fahr.
So
78
76
Tank
. . . . . . . . . . . . . . . . . . .. . . .. . .... 10
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IlyS
... .. .. . . . .. .... . ........ . .. . ... 12Ys
74 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13%
72 ........ . ......... . ... . ... . . .... 4 ~
70 . . . .. .............. . . . .... . . . ... 16
68
66
64
62
Temperature coefficient, 2.2.
17
18%
20
21%
Time
Minutes and Seconds
Tray
2M. so S.
3M. IO s .
3M. 30 S.
3 M. so S.
4 M. 13 S.
4 M. 3S S.
SM.
SM. 20 S.
S M. 36 S.
6 M.
The Efficiency of Time Development.-As has been stated previ-
ously the time of development depends upon
r. The maximum contrast of the plate ( y oo).
2. The velocity constant of development ( k).
3 The temperature coefficient (T.C.).
The application of any rules found for one particular batch of a
particular plate to a different batch of the same plate must depend on
these factors remaining constant. As a matter of fact, however, com-
paratively large and unordered variations in these factors occur with
different batches of the same plate regardless of the extreme care taken
by the manufacturers to secure uniformity in their products. The
maximum contrast ( y
00
) of a plate is reasonably constant from batch
to batch, but varying circumstances ofttimes introduce considerable
vanatwn, amounting in some cases to 30 or 40 per cent. The velocity
constant of developryent varies considerably with different batches of
the same plate. This is due largely to the rate at which the plates art>
312 PHOTOGRAPHY
dried, which even in the elaborate systems used by manufacturers is
subject to some variation. In addition an alteration in the charactet
of the gelatine used for a batch of plates may seriously alter the factor.
Furthermore, as has already been mentioned, the temperature coeffi-
cient is not independent of the plate, consequently a table of times of
development at various temperatures which is applicable to one plate
may not be applicable to another which develops at the same rate at a
normal temperature. The temperature coefficient, however, varies but
slightly with different batches of the same plate ..
Therefore it appears that thermo development can only be accurately
conducted when the values for the controlling factors ( y,., and k) are
known for each batch of plates. Unfortunately manufacturers have
not yet seen their way to do this, nor, except in a few. isolated cases,
have they adopted the plan of indicating the time of development for
each batch of plates. This has been done by a few manufacturers in
the case of panchromatic plates, but with the vast majority of plates
no information is given of the way, nor the extent, to which they differ
from previous batches of the same plate. It would be a decided step
in advance if the manufacturers could be induced to indicate for each
batch of plates the time of development required to reach gammas of
say o.8, 1, and 1.3 with the developers regularly advised for use with
the plate.
Nevertheless where such information is lacking and development is
alike for all batches of the same plate, thermo development is a singu-
larly uniform process which yields a surprisingly high percentage of
satisfactory results. Such errors as may occur from variations in the
governing factors are comparatively small and seldom sufficient to be
of serious consequence. It is perhaps this more than anything else
which has prevented the individual testing of each batch of plates by
the manufacturer, who holds, and it must be admitted with a show of
reason, that such variations as do occur are not of sufficient importance
to warrant the labqr and expense involved in the testing of each
individual batch of plates. Nevertheless, in spite of the extreme care
taken by manufacturers to keep their product uniform, considerable
variations between different batches of plates occur occasionally and
consequently laboratory testing of each batch of plates by the manu-
facturer would be a distinct gain in scientific accuracy and thorough-
ness.
Development at High Temperatures.-The important thing to
avoid in the developing of plates and film at high temperatures is to
prevent u n u ~ swelling of the gelatine in the warm solutions. The
actual hardening of the gelatine by a preliminary bath of formaline or
a combination of formaline and sodium sulphate as in the Ilford
tropical hardner (B. P. 128,337 of 1918) is essential only at ex-
tremely high temperature. When the temperature of the solutions
does not exceed 90 Fahrenheit it is sufficient to simply prevent undue
swelling of the gelatine during development. If a rapid developer is
used so that development is complete within three to four minutes, ab-
normal swelling of the gelatine may be prevented by the addition of one
part of sodium sulphate to each ten parts of the developing solution.
Sodium sulphate does not harden gelatine, but only depresses swelling,
consequently after development the gelatine must be permanently
hardened with either a ten per cent solution of formaline, or with
alum. If alum is used, the gelatine will be more thoroughly hardened
if sodium sulphate is added to the alum solution ; due to the fact that
the sodium sulphate prevents swelling while the alum ts hardening.
The following formula is suitable:
Sodium sulphate (crystals) ...... . . .. ..... . ..... I lb. I2o gm.
Potassium chrome alum. . . . . . . . . . . . . . . . . . . . . . . . 3.84 lb. 30 gm.
Water .......................... .. ........... I gal. Iooo cc.
The film or plate should be rinsed briefly after removal from the
developer and before being placed in the hardening bath. To prevent
the formation of blisters and alum stains, sensitive material should be
kept on the move for about one half minute after immersion in the
alum solution. If this is not done, stains will be formed on the sur-
face of the gelatine which are very difficult to remove. This will
occur also if the bath has been overworked or is old, and a fresh bath
should be prepared at least once a 'day as solutions of chrome alum do
not keep at high temperature.
After three minutes immersion in the hardening bath, the plate or
film may be transferred to the usual and fixing bath for fixing. After
fixing it may be washed for five minutes in running water up to 90
Fahrenheit without danger.
BLECH-Stand-Entwicklung.
BROWN-Developers and Development.
HuBL-Entwicklung der photographische Bromsilbergelatineplatten. I922.
LuPPO-CRAMER-Negativ Entwicklung Bei Hellem Lichte. I922.
RENGER-P ATZSCH-Die Stand-Entwick!ung. I920.
SEYEWETz-Le Negatif en Photographie. I922.
WATKINs-Watkins' Manual. 19I8.
WATKINs-Photography-Its Principles and Applications. 1927.
--Modern Methods of Development. Photominiature, No. 139.
CHAPTER XIV
FIXING AND WASHING
The Action of Sodium Thiosulphate on Silver Halide.-Only a few
substances are capable of dissolving the silver halides and a still
smaller number are of practical value for fixing. Of these only two
are of sufficient importance to justify mention. These are potassium
cyanide and sodium thiosulphate, commonly termed sodium hypo-
sulphite or hypo, but the hyposulphite is an entirely distinct chemi-
cal. Potassium cyanide is much too powerful for use with gelatino-
bromide emulsion as it tends to dissolve silver and thus weaken the
lower deposits of the negative and for this reason sodium thiosulphate,
which is free from such action, is generally used. The use of the
thiosplphates is due to Sir John Herschel who drew attention to their
solvent action on the silver halides in a paper in the Edinburgh Philo-
sophical Journal in 1819.
1
The precise chemical reactions involved in the fixing process are still
somewhat obscure. According to the earlier theories, based upon the
compounds isolated by Herschel,2 the thiosulphates dissolve silver
halide by uniting with it to form a compound of silver-disodium thio-
sulphate according to the reaction :
( 1) 2AgBr + N a
2
S
2
0
3
= 2N aBr + Ag
2
S
2
0
3
(silver thiosulphate),
( 2) Ag
2
S
2
0
3
+ N a
2
S
2
0
3
= Ag
2
S
2
0
3
N a
2
S
2
0
3
( silver-monosodium-thiosulphate),
(3) Ag2 S20 3 Na2 S2 0
3
+ Na2 S20
3
= Ag2S2 0 " 2Na2S20 3
( silver-disodium-thiosulphate) .
The silver thiosulphate formed in equation (I) is supposed to be .
insoluble in water but soluble in sodium thiosulphate, being trans-
formed into silver-monosodium-thiosulphate (equation ( 2)) which,
like the first salt, is insoluble in water but soluble in sodium thiostil-
1
Phil. J ourn., vol. I, pp. 8, 396.
2
/bid. ...
314

FIXING AND WASHING 315
phate, in which it is converted into silver-disodium-thiosulphate ( equa- .
tion (3)) ,which is soluble in water.

as a result of a later investigation of the subject, concludes
that it is extremely doubtful that reaction (I) actually takes place, and
as all attempts to prepare the compound AgeS
2
0
3
2Na
2
S
2
0
3
failed,
but instead a compound having the formula N a
5
Ag
3
( S
2
0
3
)
4
3HeO
was found, the following equations are probably more accurate repre-
sentations of the reactions which take place in fixing:
r. AgBr + Na
2
S
2
0
3
= NaBr + NaAgS
2
0 3,
2. 3NaAgS
2
0,. + Na
2
S
2
0
3
= Na
5
Ag
3
(S20
3
)
4

The removal of the unaltered silver halide may therefore be con-
sidered to consist of two operations: (I) the conversion of the in-
soluble halide into soluble double salts by sodium thiosulphate and ( 2)
the removal of this double salt by washing in water.
The Mechanism of Fixing.-The mechanism of fixing has been
studied by Sheppard and Mees
4
and by Warwick
5
who by very dif-
ferent experimental methods reached substantially the same conclu-
d

sions. Without discussing in detail the experimental metho s of
these investigators, for which purpose the original papers should be
consulted, we propose to deal briefly with their principal conclusions.
The fixing bath dissolves per unit of time a constant fraction of
the mass of silver bromide existing in the film at the origin of the in-
terval of time considered. The amount of silver bromide left in the
negative at any time can therefore be expressed mathematically as
where a is the original amount of silver bromide in the negative; k,
the fraction dissolved per unit time; z, the amount remaining after n
units of time. The value of this fraction, which may be termed the
velocity constant of fixation, depends upon the temperature and the
concentration of the fixing bath and is independent of the amount of
silver bromide in the film, the quality of the gelatine, or previous
tanning of the film by formaline or similar agents but is always
greater, under identical conditions, with silver chloride emulsions than
with silver bromide emulsions and for the same silver halide is more
rapid with a decrease in the size of grain.
3
Phot. ! ., 1929, 6g, 314.
4
Investigations, Phot."' !., 1906, 46, 235.
5
A mer. Phot., 1917, pp. 585, 639.
\
316
PHOTOGRAPHY
The simplest explanation of the known facts is that the rate of
fixation is determined primarily by the penetration of the sodium thio-
sulphate through the film, the chemical action being rapid compared
with this.
Influence of the Concentration of Sodium Thiosulphate and Tem-
perature on the Time of Fixation.-The investigations on the theory
of fixation by Sheppard and Mees were concerned primarily with the
velocity rather than the time of fixing which last is of more interest

\
'
1\
\
\
\
1\
\

'
\
\.
!'-..
U4l
i!1>il
['..
"' "
...._
-
'I--
'r--.
'r---.
.
10 2.o :)o 'io so &go
Of fiXING.. !lATHS ( CENTIG.li.I\Dt:)
Frc. ISI. Influence of Temperature on Time of Fixation
to the practical photographer. The influence of temperature and the
concentration of the fixing bath on the time of fixing, or more exactly
the semi-total time, or the time of clearance, was carefully studied by
C. Welborne Piper in 1913 and the results published in the British
Journal of the same year.
6
The results obtained for the effect of temperature on the time of
fixing were plotted in the form of a series of curves (Fig. 151).
These show that the time of fixing varies approximately in inverse
ratio to the temperature so long as small variations of. temperature
alone are considered. The curves also show that the effect of tem-
perature varies greatly with the concentration of the fixing bath, a
bath of 40 per cent showing less variation with a given range of tem-
perature than those of lower or higher concentration. The effect of
..
6
Brit. !. Phot., 1913, 6o, 59.
temperature is especially noticeable with very strong solutions. Thus
from the curve representing a concentration of 70 per cent it appears
that at a temperature of 20 C. several hours would be required for
the clearance of the film and according to Piper there is doubt that
complete fixing would ever take place under such conditions. With
high temperatures the differences in the time of fixing for baths of
various concentrations become less noticeable and it is probable that
at a suffi ciently high temperature the time of fixat ion would be the
same for all baths regardless of concentration, since all the curves
are of similar character and tend to meet in a point to the right of
the graph. This is a matter difficult to prove or disprove experi-
mentally owing to the softening of the film at the high temperatures
involved.
Figure 152, from Piper's paper, gives the curves for the effect of
varying concentrations at the same temperature, the time in minutes
30
15 '
14 40'
'
1\
\
0'
w?C!
5
I 1\
. \
J
1\. VI
Ill
50
"\
['..
/
j
1--.
"'
V::
v
1/
jll 60
50 40 t2Q I"
!;,... v
v vv
70.
60
7
10% 20% 30% 40% 50% 60% 70% BO'r"\
Strength of Hypo Solutions ( Per Cent l
FIG. 152. Influence of Concentration of Hypo on Time of Fixation
being plotted against the concentration and the curves representing
the results obtained for temperatures of 14, 20, 30, 40, 50, 6o, and 70
C. (57, 68, 86, 104, 122, 140, rs8o F.).
Influence of Ammonium Chloride on the Rapidity of Fixation.-
Ammonium thiosulpllate was recommended as a fixing agent in place
318 PHOTOGRAPHY
of the commonly used sodium salt by Spiller in I868. Although it is
much more rapid in action than sodium thiosulphate, it does not equal
the latter in general adaptability and owing to this, and to its higher
cost, it has never been widely used.
The investigations of C. Welborne Piper
7
have well established the
fact that for each thiosulphate the rate of fixation is more rapid at a
certain concentration which is variable with each of the three thio-
sulphate salts investigated. With ammonium thiosulphate and sodium
thiosulphate the concentrations at which the maximum rapidity of fix-
ing is secured are IS and 40 per cent respectively. At IS per cent,
ammonium thiosulphate is approximately twice as fast as the sodium
salt at 40 per cent. The rate of fixation is practically identical at a
concentration of 33 per cent. Above this point the sodium salt is the
more rapid while at lower concentrations the ammonium salt is the
more rapid.
The rapidity of fixing is considerably increased by the addition of
ammonium chloride to the solution of sodium thiosulphate. The in-
crease in rapidity is probably due to the partial conversion of the
sodium thiosulphate into the corresponding ammonium salt, but ap-
parently some undetermined factor also plays a part in the reaction,
since the reaction is not as fast when the proportion of ammonium
chloride is sufficient to completely convert the sodium salt to the corre-
sponding thiosulphate as when a lesser amount is used. Thus the in-
crease in rapidity of fixing cannot be due entirely to the conversion of
the sodium thiosulphate into the ammonium salt.
The effect of adding various amounts of ammonium chloride to
solutions of sodium thiosulphate at various concentrations was care-
fully investigated by Lumiere and Seyewetz In I908
8
and by C. Wel-
borne Piper in 1914. The results obtained by the latter investigator
are shown in Fig. 153. From this it will be observed that for each
concentration of thiosulphate there is a certain definite proportion of
ammonium chloride which produces the maximum degree of accelera-
tion. On increasing the proportion of ammonium chloride beyond the
optimum point, the acceleration diminishes, the rate of diminution in-
creasing with the concentration of sodium thiosulphate. The chart
does not show the effect of adding ammonium chloride to a bath of
sodium thiosulphate above 40 per cent for, since no acceleration takes
place under these conditions, the result would be of no practical value.
7
Brit. J. Phot., 1914, 6r, 193, 437, 458, su.
8
Bull. Soc. lj;anc. Phot., 1908, p. 217.
The maximum rapidity of fixing is secured by the use of a 15 per
cent solution of sodium thiosulphate containing y,i of its weight of
ammonium chloride. The following formula is suitable for a rapid
fixing bath for use in newspaper and similar work:
Sodium thiosulphate ("hypo")... . .... . .. IS oz.
Ammonium chloride. . . . . . . . . . . . . . . . . . . . . . 4 oz. so gr.
Water to make .................. . . . . . . . . IOO oz.
ISO gm.
37-5 gm.
IOOO CC.
The double salts of silver formed in the fixing bath containing am-
monium chloride were shown to be less stable than those formed in a
15
10
1\
\
\
\-
5
\
'\.
0
0
I
\
I
.__
/
><
-
v
I
4 0 ~
/
I
/
v
I
/
v
/
/ 10%
/
v
v
v
--
20%
-
10 20
FIG. I53 Influence of Ammonium Chloride on the Time of Fixation
plain bath of thiosulphate by Lumiere and Seyewetz, consequently
rapid fixing baths containing ammonium chloride are more rapidly
exhausted than plain solutions of sodium thiosulphate and cannot be
used for as many plates or films.
The addition of free ammonia increases the rapidity of fixing in
much the same way as ammonium chloride. Owing, however, to its
disagreeable odor and its tendency to produce a type of fog known as
" dichroic " it is never used in practice.
When are Plates Fixed?-The time of fixation is not as important
in general photographic practice as an accurate means of determining
when fixation is complete. A rule found in many textbooks directs
..
320 PHOTOGRAPHY
that the negative be left in the fixing solution as long again as is re-
quired for the disappearance of the opalescent coating from the back
of the plate. Recent investigations by Lumiere and Seyewetz
9
have
shown that in a fresh fixing bath this extra time is unnecessary as
fixation is complete when the opalescent coating has completely dis-
appeared from the back. When the fixing bath contains less than 2
per cent of silver salts dissolved from previously fixed plates, fixing
is still completed when the opalescent coating disappears, but when the
amount of silver salts is in excess of 2 per cent, or 20 grams per liter
( 96 grains to .IO ounces), the removal of unaltered silver salts is in-
complete and the residual salts are not removed by prolonging the im-
mersion of the plate in the solution. However, if the plate is then
transferred to a fresh bath all residual silver salts will be removed.
The use of two fixing baths is therefore advisable unless one cares to
make up a fresh fixing bath for each batch of negatives and discards
it immediately after use. In the first case, the first bath is used nearly
to the point of exhaustion, the negatives being transferred from this
solution to a fresh one in which they are allowed to remain for five
minutes. The first bath is then discarded and its place taken by the
second bath which is in turn replaced by a freshly prepared solution.
When the plate is allowed to remain in the first bath until completely
cleared, then transferred to the second bath for five minutes, there is
no danger of imperfect fixation, hence this plan is strongly recom-
mended in preference to the somewhat haphazard methods generally
advised.
Exhaustion of the Fixing Bath.--While it would be well if photog-
raphers could be induced to use a small quantity of a fresh fixing bath
for each plate or film, discarding the bath immediately after use, this
is seldom, if ever, done in practice, the same bath being used continu-
ously until its slow action indicates that its fixing power is exhausted.
A knowledge of the number of plates, films, or prints which can be
fixed in a given volume of bath is thus of considerable practical value,
as it enables one to determine when the bath is exhausted and prevents
the risk of imperfect fixation owing t'o the use of an overworked fixing
bath. It is evident that the number of plates which may with safety be
fixed in any given quantity and strength of bath is dependent upon the
amount of the .various halides which can be completely dissolved by a
given amount of sodium thiosulphate. The order of solubility of the
three halides is chloride, bromide, iodide. Determinations of the
9
Brit. f. P h o ~ . 1924, 71, 172.
. . '
solubilities of the halides in hypo have been made by Valenta, Lumiere
and Seyewetz, Strauss, and by Lehrmann and Busch.
10
There are serious discrepancies in the results and further work is
desirable. The earlier investigations, conducted on a basis of silver
bromide, indicated that a fixing bath could be regarded as having been
exhausted when the silver content equalled 2 per cent. In view of
later work, in which the influence on fixation of the small amounts of
silver iodide present in most emulsions has been more thoroughly in-
vestigated, this fi gure appears to be much too high and according to the
latest determinations, the practical limit seems to be from o.6-o.7 per
cent. With an average single-coated plate, this point is reached, ap-
proximately, when a 3?4 X 4?4 plate is fixed in one ounce of 10 per
cent hypo. A 20 per cent solution of hypo has greater fixing capacity
but not in direct ratio to the concentration.
The point at which the fixing bath is exhausted may be determined
with sufficient accuracy for all practical purposes by immersing a strip
of film or bromide paper in the bath until clear, washing for several
minutes under the tap followed by immersion in a I per cent solution
of sodium sulphide. The formation of a brown coloration indicates
that the soluble halides have not been completely removed by the fixing
bath and that a fresh bath should be substituted.
The Fixation of Prints.-Warwick in 1917
11
and Lumiere and
Seyewetz again in 1924 have called attention to the very short time
required for the fixation of bromide and gaslight prints. Both in-
vestigators have shown that fixation is a matter of only a few seconds,
being approximately twenty to thirty seconds in 25 per cent thiosul-
phate and only slightly greater in a fixing bath containing bisulphite.
The rapid fixation of paper prints is doubtless due to the porous nature
of the support which allows the reaction to proceed from both sides of
the emulsion.
It does not follow from the above, however, that such short periods
of fixation are sufficient under the conditions of ordinary practice. In
the above experiments the prints were separately fixed in fresh fixing
solutions, a totally different state of affairs from that presented in
practical work where large numbers of prints are added to the same
solution. When dozens of prints are being treated at the same time,
the time required for fixing is necessarily dependent upon the time
10
Berichte, 1894, 103 ; Bull. Soc. Franc. , 1907, p. 104; Phot. ] ., 1907, 47, rz9;
Phot. Ind., 1925, p. 881, 911; Brit. J. Phot., 1927, 74, 91, 105.
11
A mer. Phot., 1917, II, 639 .
..
322 PHOTOGRAPHY
which the print is exposed to the action of the fixing bath. This is a
matter of moving the prints around in the bath individually so that
each becomes completely exposed to the solution. It is evident that
under such conditions the time required for perfect fixation will be
much greater than those advised by Warwick and by Lumiere and
Seyewetz whose results were obtained with the use of individual fixing
baths. On the other hand, the investigations show that in cases of
rush work prints fixed individually in fresh baths for 20 to 30 seconds
may be expected to be reasonably permanent.
Plain Fixing Baths.-Although fixing is accomplished by thiosul-
phate alone, plain solutions of sodium thiosulphate are not much used
in practical photography. This is due to the fact that the bath soon
becomes discolored from the oxidized developer carried over on the
surface of the negatives or prints fixed in it, and these oxidized prod-
ucts stain the negatives or prints. There is also a tendency in warm
weather for the gelatine to swell excessively and become soft, produc-
ing frilling and any number of other troubles either while in the fixing
bath itself or in the washing which follows. So far as the first objec-
tion is concerned staining of negatives or prints in a plain fixing bath
may be largely prevented by immersing the negative or print in a weak
bath of acid before placing in the fixing bath. Even when an acid
fixing bath is used, the use of a weak acid bath prior to fixing prevents
the bath from becoming discolored and lessens danger of stain. A
weak bath of acetic acid (I ounce 28 per cent acetic acid to 32 ounces
of water) is to be recommended for this purpose, especially in the case
of prints or when pyro is used as a developer.
From Piper's investigations on the influence of the concentration of
the bath on the rapidity of fixation (pp. 340-341) it appears that if a
bath giving the maximum speed of fixing and the least affected by
temperature is desired this would be attained by the use of a solution
of approximately 40 per cent. Various other considerations, however,
intervene to make the employment of somewhat weaker solutions de-
sirable. The abrupt transition from a strong thiosulphate solution to
plain water produces a strong tension in the swollen film, which in hot
weather gives rise to blisters and frilling and may even cause the whole
film to leave the glass. On this account it is usual to employ a weaker
solution of approximately 25 per cent, such as is obtained by adding
4 ounces of crystal thiosulphate to r6 ounces of water.
A convenient way of preparing plain fixing baths is to dissolve one
pound of thiosulphate in about r6 ounces of warm water and when
..
dissolved add cool water to 32 ounces. Every two ounces of this stock
solution therefore contains I ounce of thiosulphate. To make up
baths of different strengths it is diluted as follows :
Tlliosulphate required
for each 20 ounces
of bath Stock solution Water
8 oz ..... . ............... .. ......... . ....... 16 4
6 ......... . .. . ..... ... ... .. .... . .. ... . . .... 12 8
5 .......... . .. .. ... .. . . .... . ... .... . ... .. . . 10 IO
4 ................... . . ... . .. . . .... . ... .. . .. 8 12
3 ... . . .. . . .. . . ... . .. . ......... .. ....... ... . 6 14
2 ..... . .. . . . . . .. .. . . .. . .. ... ........ .. .. . .. 4 16
Acid Fixing Baths.-The addition of acid to the fixing bath for the
purpose of combining the acid clearing bath frequently necessary for
the removal of yellow oxidation stain when a plain fixing bath is used
with the fixing bath itself and thus avoiding a separate operation was
advised by Lanier in r88g. If an acid is added directly to a solution
of thiosulphate the latter is decomposed and sulphur is precipitated.
Lanier showed, however, that if a weak acid such as citric, acetic,
formic or tartaric be used the precipitation of sulphur may be avoided
by first combining the acid with a solution of sodium sulphite. When
this is done the bath remains clear and there is no precipitation of
sulphur unless there is an excess of acid present.
The most convenient method of preparing an acid fixing bath is by
the use of sodium bisulphite which may be regarded as an acid sul-
phite, having the formula NaHS0
3
The following is an excellent
formula:
Sodium thiosulphate ("hypo") . . . . . . . . . . . . . . . . . . . 16 oz.
Sodium bisulphite................... . ..... .. ..... 3 oz.
Water to make .............................. .... 64 oz.
228 gm.
'42 gm.
1000 cc.
In large establishments the bisulphite may be made up as a so per cent
stock solution. One part of this stock solution to each 20 parts of
plain fixing bath will be in the correct proportion.
Potassium metabisulphite may be used in place of sodium bisulphite.
The following formula is suitable:
Sodium thiosulphate. . . . . . . . . . . . . . . . . . . . . . . . . . 6 oz.
Potassium metabisulphite. . . . . . . . . . . . . . . . . . . . . . 0 oz.
Water to make. .. .. .. .. .. . .. .. . .. .. .. .. .. .. .. 20 oz.
274 gm.
22.5 gm.
1000 cc.
A formula using citric acid and sodium sulphite originated by
1
324
PHOTOGRAPHY
Lanier was strongly advised by Sir vVilliam Abney. The formula
follows:
Citric acid .......... ... . .. ........ . ...... . .. .
Sodium sulphite (dry) .. . ..... ... ... . ........ .
Mix in I oz. (30 cc.) of water and add to
~ o z
~ o z
Sodium thiosulphate. . . . . . . . . . . . . . . . . . . . . . . . . . 4 oz.
Water to make . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 oz.
14-3 gm.
15.6 gm
228 gm.
1000 cc.
Acid Fixing and Hardening Baths.-The third type of fixing bath,
the acid fixing and hardening bath, is an acid bath to which an alum
has been added to harden the gelatine and prevent softening and frill-
ing with its attendant troubles in hot weather. The ingredients are
generally an acid, sodium sulphite and alum and their function and
formula are given in the following table :
1 2
Constituent Function Formula
Sodium thiosulphate . . ...... . Fixing agent proper, dissolves
silver halide . . ... .. ......... .. Na,S,O, 5H,O
Acid . ...... . . .. ........ .. .. Clearing agent, promotes swell-
ing and increases the speed of
fixing, reduces stain and col-
oration and regulates hardening
agent (4) ..................... H,SO,
(Sulphurous or
organic acid)
Sulphite ...... . . . ...... . .... Protects thiosulphate against
decomposition by the a c i d.
Anti-stain and anti-oxidant . ... Na,SO,
(Sodium sulphite)
Alum . .... .. ........ .. .. .. Hardens gelatine, pre v en t s
frilling and softening ......... K,SO, AI, (SO,) ,,
(Potash alum)
K,SO, Cr,(SO,),
(Chrome alum)
The following fotmula using potassium alum is an excellent one for
plates, films and papers :
Sodium thiosulphate ("hypo") ..... . .... ... .... 16 oz.
Water to make . ................. .. .......... .. 64 oz.
Dissolve separately and add to the above
Powdered alum ...... .. .................... . .. .
Acetic acid 28 per cent .. .... .. .... ... ... ..... . .
Sodium sulphite (dry) ............... ......... .
Water to make .......... ...... ....... . ........ .
Yz oz.
3 oz.
Yz oz.
5 oz.
228 gm.
1000 cc.
31 gm.
186 cc.
31 gm.
312 cc.
1
2
The che111ical theory of the acid fixing bath has been fully discussed in a
paper by Sheppard Elliot and Sweet of the Eastma.n Research Laboratory in
the Journal of the Franklin Institute for July, 1923, 195, 45.
In mixing the last solution, or hardener, it. is best to use two separate
solutions. Dissolve the alum and sulphite each in a few ounces
amount of water. Then add the acid to the sulphite solution, mix the
two and add to the solution of thiosulphate. The hardener may be
made up as a stock solution if desired as its keeping qualities are good.
Troubles with the Acid Fixing and Hardening Bath.-Since it
represents a compromise between certain physico-chemical factors and
practical conditions, the acid fixing and hardening bath is frequently
a source of trouble owing to the fact that the exact balance between
the various substances has not been secured when compounding the
same.
If the bath turns milky on standing it is due to the acid attacking
the thiosulphate and precipitating sulphur. This may result from
three causes:
r. Too much acid, or too strong acid. Most formulas call for No. 8
or 28 per cent acetic acid and not the C.P. or Glacial.
2. Too little sulphite, bad sulphite, or high temperature of the solution.
3 Incorrect mixing. If the method advised above is followed there
will be no trouble on this score.
If the milkiness disappears on standing it is due to the use of insuffi-
cient acid, or not enough hardener to overcome the alkalinity of the
developer brought over on the surface of the prints or negatives.
If the bath does not harden this is due to the use of insufficient or
impure alum, or to the fact that the bath is alkaline or neutral rather
than acid. The hardening action of alum is due to aluminum sul-
phate and some grades do not have the proper proportion of this sub- .
stance and accordingly must be used in greater quantity in order to
secure equivalent action.
Extra Hardening Baths.-In very hot climates or other exceptional
conditions, a bath having an even greater hardening action than that
above may be an advantage and in such cases the following bath, as
worked out by Mr. J. I. Crabtree of the Eastman Research Laboratory,
will be found very satisfactory:
Sodium thiosulphate ("hypo").. .. .. . .... . . 5 oz.
Sodium sulphite (dry) . . . . . . . . . . . . . . . . . . . . . I oz.
Formaline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 fl . oz.
Water to make ..... . . . ... . ... . .. . ........ . 20 oz.
228 gm.
45.6 gm.
125 cc.
IOOO cc.
Although this bath has not the keeping properties of the ordinary acid
fixing and hardenin bath it will keep for at least a week at a tempera-
ture of I00 F.
326 PHOTOGRAPHY
Owing to the irritating . vapors of formaline, it is well to keep the
bath in a tank with a tight fitting cover when not in use.
The Mechanism of Washing.-Following fixing, the next step is
to remove the thiosulphate from the film. This is most generally
effected by simple washing in water, although certain substances known
as " hypo eliminators " are occasionally used.
The rate of the elimination of thiosulphate from photographic films
of gelatine has been investigated a number of times: by Haddon and
Grundy, Lumiere and Seyewetz in 1910, Vvarwick in 1917, Elsden
the same year and by Hickman and Spencer in 1922.
1 3
It has been found that, in general, thiosulphate diffuses from the
film expotentially with time as was stated by Mees and Sheppard in
their Investigations. In other words the amount removed in a unit of
time is proportionate to the concentration present at the beginning of
the period. Thus if the original concentration is 10 grams and at the
end of five minutes' washing, one half of this, or 5 grams, is removed,
then, if the plate is changed to an equal volume of fresh water or kept
in the same flowing stream, in other words if the conditions present in
the first period are duplicated, the amount removed in this second
period will be one half of that which remains or 2.5 grams. The
third period will remove 1.25 grams, the fourth 0.75 gram, etc.
This law may be expressed mathematically. Thus the quantity of
thiosulphate washed out of the film in a period of t minutes from the
start is given by
dM
dt
k(A- M),
where A is the quantity of thiosulphate originally present, k the elimi-
nation constant for the film (so per cent in the above example).
Then
and therefore
A
log A_ M= kt.
Then
I A
k =-log
t A-M
13
Lumiere and Seyewetz, Bull. Soc. franc. Phot., 1910. Warwick, A mer.
Phot., 1917, p. ~ 7 ; Brit. J. Phot., 1917, 64, 26r. Elsden, Phot. ! ., 1917, 57, 90;
Brit. J. Phot., 1917, 64, 120. Hickman and Spencer, Phot. J., 1922, 62, 225.

which may be written
I (initial concentration in film)
k =- log . .
t concentratiOn at t1me t
The value of k is independent of the initial concentration and may
be obtained from
I (Concentration at time t 1 )
k=--log .
t2 - t1 Concentration at time t2
From which the time required to reach any limiting concentration
C L is given by :
I Ctn
tL = k log CL + tn.l4
So much for mathematical methods which are interesting as they
show theoretically to what extent the thiosulphate may be reduced by
a given amount of washing. There is some doubt, however, as to
their value when applied to practical work. Naturally the above
formulas may only be used when the rate of diffusion from the film
follows the exponential law and it is by no means established that this
is always the case. Hickman found that under certain conditions the
rate of elimination followed the exponential law very closely but under
other conditions contradictory results were obtained.
The Efficiency of Washing Devices.--The most comprehensive
study of the efficiency of various types of washing devices which has
yet been made is that by Hickman and Spencer. Owing to the errors
in estimating very small amounts of thiosulphate by the usual starch-
iodide method and also to the fact that such tests do not necessarily
represent the concentration of thiosulphate in the film, since this may
be higher than that of the wash water, and also to the fact that the
thiosulphate remaining in the film may be localized in spots rather
than distributed uniformly throughout the film, it was decided to in-
vestigate the matter by using a colored dye which diffuses from gela-
tine films in the same way as thiosulphate and hence would indicate
not only the efficiency of the washing device by the time required for
the disappearance of the dye, but would also indicate whether the
action was uniform over the whole plate. A dye having the required
properties was found in tartrazine, which upon test was found to dif-
fuse from the film in the same manner as thiosulphate but much slower,
H Hickman and Spencer, Ibid .
.,
328 PHOTOGRAPHY
alterations in the rate of washing therefore affect plates dyed in tar-
trazine in the same way as those containing thiosulphate, but to a
different extent.
Investigation of several types of washing devices by this means
showed that all are more or less inefficient. While the water chang-
ing properties of the washer are of importance, agitation of the water
is equally important, for the time required for the elimination of the
dye was not always in proportion to the water changing properties
of the device, but on the other hand varied considerably, under con-
ditions otherwise identicai, according to the agitation of the wash
water. Thus plates placed in an inclined trough in which a constant
stream of water was running from the tap washed more rapidly as the
slope of the trough was increased. Since the amount of water which
flowed over the plates was the same in both cases, it is evident that the
velocity of the water over the plate is a factor of considerable im-
portance. Tank washers were found to be of varying efficiency ac-
cording to the provisions made for the exchange of water, but none
were found to equal in efficiency the simple inclined trough.
- - - - 6 - - ~
FrG. 154. Windoe's Washing Apparatus
A modification of the trough washer described by Windoes in
American Photography several years ago is, in the opinion of the
writer, one of the most satisfactory devices to be had for the washing
I
'
'
"
)
of plates. The principle and construction of the apparatus are made
clear in Fig. 154. The plates are placed film side up on each of the
shelves and the whole rack placed under the tap. The water flows in
a thin, fast moving stream over the surface of the plate and then over
the edge of the shelf on to the next plate and so on down to the bot-
tom plate. Of course the top plate will be completely washed a little
sooner than those beneath it owing to the fact that it receives fresh
water directly from the tap while the others receive water partially
laden with hypo from the plates above; this is of no serious conse-
quence and the last plate will be washed much more quickly than in
the conventional tank washer.
For the washing of roll film in the strip the writer knows of no
FrG. rss. Trox Washer for Roll Film
means more efficient than the Trox film washer supplied by George
Murphy Incorporated, 57 East Ninth Street, New York City. This
little device (Fig. 155} sends a thin spray of fresh water down both
sides of the film which results in quick and effective elimination of
hypo.
In cases where the amount of water available is limited, attention
may be drawn to the fact that the greatest efficiency will be obtained
by dividing the available supply into as many changes as possible with-
out making each change too small to cover the plates or film. Ten
gallons of water applied in ten changes of one gallon each is much
more effective as regards removal of hypo than the same quantity in
two changes of five .gallons each.
The Washing of Prints.-It has always been supposed that under
330 PHOTOGRAPHY
similar conditions prints could be washed free from hypo in the same
or even less time than plates owing to the fact that the hypo would
be able to diffuse from both sides. This was based upon the assump-
tion that the diffusion of hypo from papers followed the same ex-
ponential law as found for plates. Hickman and Spencer, however,
have shown that such is not the case.
15
While the larger part of the
hypo is removed from the emulsion in a comparatively short time
(as much as 90 per cent being removed by two minutes' washing under
certain conditions and with certain papers) a certain amount is
tenaciously retained by the fibers of the paper support and this is
difficult of removal. For this reason much longer times of washing
are required for prints than for plates or films . Prints on thin papers
should be washed at least thirty minutes in a running stream of water
while the thicker double weight papers should receive from one to
one and one half hours' washing. Increasing the velocity of the water
or the flow of water over the prints does not decrease the time of
washing correspondingly, as in the case of plates. Provided the
prints are kept separated the removal of the hypo retained by the
paper base appears to be largely a matter of time and not of amount
of water or the velocity employed.
Unfortunately washing devices for prints are even more unsatis-
factory than those supplied for plates. No really efficient and entirely
satisfactory apparatus for the washing of batches of prints has yet
been devised. The greatest difficulty arises in keeping the prints
properly separated in order that the water may have complete access
to the surface of each print. To this end it is advisable to avoid
overloading of the washer and to separate the prints now and then
by hand if necessary.
The additional safety afforded in the case of both prints and nega-
tive materials by squeeztng after washing so as to remove all surplus
water is not often realized. The water adhering to the gelatine film
always contains SOJ1ie hypo, even if to a very small degree, and the re-
moval of the bulk of this water by squeezing removes much hypo.
Furthermore, it prevents the formation of drops which concentrate the
small amount of hypo left into centers, in which it may be sufficiently
great to cause fading.
Chemical Tests for Hypo.-To determine the thoroughness of the
elimination of hypo from a batch of films or prints, any of the chemical
1
5 Phot. !., 1925, 65, 443.
'
~ ~ ~
tests for the presence of hypo may be applied to the drippings from
the surface of a negative, or print, collected for that purpose in a test
tube. If to this water a few drops of the following permanganate
solution are added, the appearance of a greenish-yellow color is an
indication of the presence of hypo :
Potassium carbonate ......... . . . ... . ....... . . : 5 gr.
Potassium permanganate.. . . .. .. . ... . . ... . .... % gr.
Distilled water to.. . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 oz.
gm.
0 .1 gm,
1000 cc.
The change is rather slow, however, when the quantity of hypo is
very small and from a practical standpoint the use of iodine starch in
the form advised by Clark and Jelley is preferable.
16
Two stock solutions are made:
A. Iodide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 oz.
Potassium iodide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 oz.
Water to .... .. .. .... ... .... . ... . ............ . 10 oz.
B. Sodium azide ............. .. . . . .. . ............ 4 oz.
Water to ... .. .... . . .. .. . ..... . . .. . ........... 10 oz.
roo gm.
100 gm.
1000 cc.
100 gm.
1000 cc.
A starch mixture is also prepared by mixing 90 grains ( 6 gm.) of
soluble starch with cold water and adding this to 7 oz. ( 200 cc.) of boil-
ing water. On cooling, dilute to 2'5 ounces ( 8oo cc.) and add 6o
minims of Solution A (3.25 cc.) and 235 minims of Solution B (13
cc.) diluting finally to a total of 35 ounces ( rooo cc.). This stock
solution keeps well and for use is diluted with one hundred parts of
water. If a small qu;ntity of this solution is placed in a test tube and
the drippings from a negative or print are collected in the tube, the
blue color of the solution will be immediately discharged if hypo is
present.
Hypo Eliminators.-Many attemp'ts have been made to find a sub-
stance which is capable of destroying hypo or converting it to some
substance which can be quickly washed out of the gelatine film.
Lumiere and Seyewetz in 1902 as the result of an investigation of the
efficiency of a number of oxidizing agents as hypo eliminators recom-
mended for this purpose ammonium persulphate, potassium percar-
bonate and sodium peroxide, which in solution immediately hydrolizes
into caustic soda and oxygen. This is, I believe, the first indication
of caustic alkalis as hypo eliminators.
1 7
Gaedicke in 1906 again called attention to the fact that ammonium
1
6
Brit. J. Phot., 1929, 76, 714.
17
Bull. Soc. franc. Phot., 1902, p. 270.
12
/
332 PHOTOGRAPHY
thiosulphate is more quickly eliminated from gelatine films than the
corresponding sodium compound and suggested that the negative,
after one minute's washing under the tap, be transferred to a tray con-
taining a 10 per cent solution of ammonium chloride, then washed in
four changes of water.
18
The danger in this procedure is the very
rapid decomposition of. the ammonium hyposulphites formed, this
being much more rapid than the sodium compound.
19
A. Chaniou
20
published some notes on the use of sodium bicar-
bonate but owing to the experimental methods employed his conclu-
sions are unconvincing and there is some question as to the accuracy
of the results obtained by him.
21
A. E. Amor
22
gives details of some investigations on the action of
caustic soda at various concentrations and on ammonium persulphate,
hydrogen peroxide and potassium permanganate. A 0.2 per cent
solution of caustic soda and potassium persulphate were found to be
the two most efficient. eliminators but neither represents a decided su-
periority over washing in running water provided that this is properly
used. The infinitesimal trace of hypo adsorbed by the gelatine and
silver image can be displaced a little more quickly by the use of a
mildly alkaline bath, shortening the time of washing by five or ten per
cent. There is no saving of time, however, since a minute's longer
washing would do as much as an eliminator bath of the same duration.
Altogether, then, it appears that there is no advantage whatsoever in
the use of the so-called " eliminators " of hypo. Plenty of water
(>roperly applied is still the secret of thorough hypo elimination.
EDER-Ausfiihrliches Handbuch der Photographie, 1905.
MEES AND SHEPPARD-Theory of the Photographic Process, 1907.
VALENTA-Photographische Chemie und Chemikalienkunde, 1922.
1s Phot. Woch., Jan. 30, 1go6, p. 41.
1 9 Lumiere and Seyewetz, Brit. J. Phot., 1go8, 55, 417.
2
Compt. rend., 1923, II7, 482.
21 L. P. Clerc, S. I. P., 1923, 3 . 16.
22
Brit. J. Phot., 1925, 72, 18.
CHAPTER XV
DEFECTS IN NEGATIVES
Their Cause and Remedy
The Why of Defects.-The troubles of the amateur are due to non-
observance of the simple physical and chemical laws upon which the
operations of exposure, development and the after processes of fixing
and washing are based. Most photographic work is conducted in a
haphazard, totally unscientific way. Rule-of-thumb methods, while
reasonably certain in the hands of the experienced professional, who
works under standardized conditions, are unsuited to the variable c o n ~
ditions under which the average amateur works and, when we add to
this the carelessness and want of accuracy shown by the average
amateur, it is not surprising that he meets with a great variety of
troubles. In dealing with photographic products, we are dealing with
highly sensitive and complex chemical products which naturally de-
mand careful treatment, and we must exercise accuracy and care or
we are sure to have trouble. The importance of systematic methods
of working cannot be too strongly emphasized. Such methods as have
been given in preceding chapters are based upon sound scientific facts
and, if carried out to the letter, few will be the chances of error and the
usable percentage of work will, consequently, be very high. System,
accuracy, careful attention to details, cleanliness, these are the things
which every student must observe in practice if he would make a suc-
cess of photography.
Thin Negatives.-A negative is thin either because it has received
insufficient exposure or has been underdeveloped.
An under exposed negative lacks density because the action of light
has not been sufficient to affect the number of silver grains required to
produce a deposit of the proper opacity. Careful examination of an
under exposed negative will also reveal an absence of detail in the
shadows and further examination that the gradation is also false.
Owing to the inaccuracy of the eye, this latter may not be particularly
noticeable, but it is nevertheless present and is detrimental to the ex-
cellence of the finis}lfd product. There is no remedy for an under
333
~ ~ ~
334 PHOTOGRAPHY
exposed negati've. The only thing that can be done is to make another
negative, if possible, and give at least double the exposure.
An underdeveloped negative is thin because development has been
stopped before the reducer has had an opportunity to reduce the num-
ber of exposed silver grains required to produce the proper density
and contrast. We have learned that contrast increases as develop-
ment is prolonged, so an under developed negative lacks contrast and
should have been developed for a longer time or in a stronger de-
veloper. In determining whether thinness is due to under exposure or
to under development, the important thing to observe is the shadow
detail. If shadow detail is lacking, then under exposure is indicated,
while lack of contrast or " snap," with full shadow detail, shows under
development. Under exposure cannot be remedied but under develop-
ment may be corrected by intensification, which will be treated in the
following chapter.
Dense Negatives.-Dense negatives may be due either to over ex-
posure or over development. In the first case, the negative is flat, ap-
pears fogged and perhaps unsharp, while the shadows pOssess too much
detail. The highlights print gray, the half tones only a shade darker
and the shadows also print gray, the proper gradation from light to
dark is lacking, and the effect is flat and weak. Such a negative may
be somewhat improved by reduction in a subtractive reducer of the
Farmer type, as described in the following chapter.
An over developed negative is very contrasty. The highlights, or
dense portions, are so opaque that it is impossible to print through
them and in attempting to do this, the shadows are considerably over
exposed and become too dark. The remedy is to reduce in a super-
proportional reducer.
Fog on Negatives.-Fog may 'be defined as a uniform deposit of
silver extending over and either partially or wholly obliterating the
image. It may be either general or local and due to the accidental ad-
mission of light during the operations previous to development, to the
use of an unsafe light in development, or from developers contaminated
with foreign substances or used at an excessively high temperature or
containing an excess of alkali. In fact it may be produced from any
number of causes and for this reason its source is quite often difficult
to ascertain. It may simplify discussion of the subject if we differ-
entiate between local fog, general fog produced by light and chemical
fog.
Local Fog.-Local fog is frequently due to faulty plate holders,
'
DEFECTS IN NEGATIVES 335
the wood having split or.the joints become loose in some places so that
light is admitted. Examination of the plate holders and a comparison
of the location of the fog area by means of a developed negative placed
in the holder in the position occupied during exposure will serve to
show if this is the trouble.
Fog sometimes results from the use of a plate holder not made for
the particular camera on which it is being used. While the majority
of modern cameras take what are termed standard holders there are
some few cameras made for differently designed holders and when
one of these is used with a camera for which it is not designed the fit is
imperfect and light leaks in producing local fog.
It sometimes happens, particularly with view cameras, that after
long use the reversible back will become worn or warped so that it
does not fit tightly to the body of the camera and light is able to reach
the plate. The same case occurs sometimes when a new reversing
back is purchased to replace an old one.
A frequent cause of local fog with beginners is due to improper in-
sertion of the slide of the plate holder. Beginners have the habit of
inserting the slide by the corner but this should never be done as it
allows the light to pass through the trap around the edges of the slide
and produce fog. The slide should be inserted squarely so that the
entire opening is closed at once. It is well as a matter of precaution
to keep the camera covered well with the focussing cloth when with-
drawing or inserting the slide in order to prevent the accidental ad-
mission of light.
Fog may sometimes be produced by chemical emanations from the
wood or varnish of the plate holders. This is more likely to occur with
new plate holders or when the plates are left in the holders for several
weeks. If this is thought to be the source of the trouble, the plate
holders .should be exposed, with the slides withdrawn, to strong sun-
shine for several days or the woodwork painted with a solution of
potassium permanganate.
Fog is often produced in a similar way with metal plate holders as
supplied with many foreign hand cameras. The best remedy is to
paint the inside of the holder with a weak solution of bichloride of
platinum. Exposure to light and air as formerly advised is also effec-
tive in many cases.
General Fog Due to Light.-General fog all over the plate may be
due either to light or to chemical fog. If the edges of the plate which
are protected by the rabbet are pedectly clear, fog. is due to an opening
'
336 PHOTOGRAPHY
in the bellows or camera front or to the bellows having worn smooth
and shiny from constant use so that it reflects light about within the
camera. Light leakage by the camera front or bellows may be deter-
mined by taking the camera into a dark room and placing a lighted
electric bulb in it, using the focussing cloth to make a light-tight en-
trance for the cable. By inserting the lamp first in one end of the
camera and then the other and examining the same from all angles the
leaking of light through any minute crevice may be immediately de-
tected. If the bellows has worn smooth and shiny on the inside so
that it is suspected of producing fog by reflecting light about in the
camera it is best replaced by a new bellows. If any wooden or metal
parts of the camera have worn shiny and are suspected of causing
trouble in the same way they should receive a coat of dead black paint
as supplied by dealers.
If the edge of the plate or film which was protected by the rabbet is
also fogged, the plate was either loaded or developed in an unsafe light
unless the fog was produced by chemical reactions. A plate is very
much more sensitive to light when dry than after it has once been
covered by the developing solution and for this reason it is very im-
portant that the safelight used for loading plate holders be adapted to
the plate and that the operation of loading be conducted as quickly and
as far away from the safelight as possible. It is far better, and not
at all impossible after some experience, to load plates in perfect dark-
ness and thereby avoid all danger of light fog at this stage.
Extreme precautions should also be taken during development to
protect the plate from the rays of the safelight except when absolutely
necessary for examination. Once it is seen that the plate has been
evenly covered by the developer, there is no need to examine the same
for several minutes, or until development is judged to be nearly com-
pleted, when the plate may be removed and given a momentary inspec-
tion before the light. Prolonged examination of the plate before the
safelight is responsible for many fogged negatives as well as stains
of various kinds.
When desensitizers are used, greater liberty may be taken with re-
gard to light during development but the safety of the safelight used
for loading and for immersing the plates in the desensitizer must be
unquestionable, just as when development is conducted under ordinary
conditions.
Chemical Fog.-A certain amount of chemical fog is inevitable but
\vith proper working conditions the amount may be reduced to a point
'

(
.
,
'
;,.
. ..
where it is of no importance except in sensitometry. The amount of
chemical fog is determined by a number of factors: namely, the nature
of the emulsion, its age and the conditions under which it has been
stored, the nature of the developer, impurities in the developing solu-
tion and the time and temperature of development.
Ultra sensitive emulsions are more likely to fog chemically than
those of lesser sensitiveness owing to their highly sensitive character
and to the small amount of energy required to make the silver halide
grain developable. Low speed emulsions of the type represented by
positive emulsions and process plates are usually practically free from
fog unless developed under unsuitable conditions.
The age of the plate and the conditions under which the plates have
been stored play an important part. Sensitive material should never
be stored where it is exposed to heat, chemicals, dampness, or in a
room where gas is burned.
While the common developing agents differ slightly in their fogging
propensities, none produce sufficient fog to be of serious importance
in practical w.ork except where improperly used. In the presence of
an excess of aJkali, or when used in a very concentrated solution, such
active agents as metol do tend to develop fog owing to the reduction
of unexposed silver halide. The correct proportion of alkali to be
used under given conditions can only be determined by experiment.
Sulphite, whether in the form of sodium sulphite, bisulphite or
potassium metabisulphite, is added to prevent the oxidation of the de-
veloping solution by air, the oxidized solution tending to produce fog.
If an excess of sulphite is added a particular kind of fog, known as
sulphite fog, is produced. The nature of sulphite fog was carefully
investigated by Mees and Piper in 1911
1
and found to be due to the
reduction to metallic silver of the silver salt dissolved in the emulsion
by the sulphite of the developing solution.
2
The oxidation of certain developing agents such as metol and hy-
drochinon exerts a powerful fogging action. The brown oxidized
product of pyro, however, has little fogging tendency unless in very
strong solution. In general, however, it may be said that the oxidized
products of all developing agents tend to produce fog when sufficiently
concentrated.
Oxidized samples of the developing agent used in compounding solu-
tions are responsible for fog in many cases. Stale sodium sulphite
1
Phot. !., 19II, 51, 226; 1912, 52, 221.
2
For another form of sulphite fog see Zeit. wiss. Phot., 1913, 289 .
.,
338 PHOTOGRAPHY
containing sodium sulphate causes fog indirectly by not preventing
the oxidation of the developing solution.
Intense fog is produced by such metallic substances as copper, tin,
and the metallic sulphites even when present in a very small quantity.
Less than .01 per cent of copper sulphate added to a metol-hydrochinon
developer will produce strong fog even on positive, low-speed emul-
sions. The action is probably due to an acceleration of the rate of
oxidation.
The activity of the developing solution becomes greater with an in-
crease in temperature and under suitable conditions this may be suffi-
cient to enable it to attack the unexposed silver halide and produce
fog. For this reason a temperature above 70 F. (21 C.) is espe-
cially conducive to fog.
As the amount of fog grows incessantly with the time of develop-
ment, it is unwise to attempt to force development in order to secure
greater contrast or shadow detail as by so doing chemical fog is de-
veloped and this being stronger in the shadows than in the higher
densities reduces rather than increases the contrast of the negative.
The amount of chemical fog may be reduced by the addition of a
soluble bromide to the developing solution but it is far better to deter-
mine if possible the source of the trouble and take appropriate steps
to remedy the same. The use of fresh, properly compounded solu-
tions containing the proportions of developing agent, sulphite and alkali
advised by the manufacturer of the brand of plates employed, and
keeping the developer free from foreign matter and at a normal tem-
perature of 6o-65 F. will reduce the danger of chemical fog to the
mmtmum.
Dichroic Fog.-Fog which appears green by reflected light and
red by transmitted light is termed dichroic (two-colored) fog. It was
formerly quite common, but is now comparatively rare due to improve-
ments in the manufacture of ultra sensitive emulsions and to the use
of the carbonates of sodium or potassium in place of ammonia as an
alkali.
When examined under the microscope the fog is seen to consist of
microscopic particles of metallic silver. The size of the particles de-
termines their color by transmitted light, a fog which is red in color
consisting of very small particles.
Dichroic fog may be formed either in the developer or the fixing
bath. Its formation is aided by the presence of any solvent of silver
in the developer or the fixing bath. Frequent sources in development
1
\
are the presence of such silver solvents as ammonia, or hypo, and p r ~
longed development. Nowadays it most frequently occurs as the
result of using an old or exhausted fixing bath containing an excess of
dissolved silver and oxidized developer and a deficiency of acid. The
presence of sulphur due to the use of too much acid so that the thio-
sulphate is decomposed and sulphur liberated is also a frequent cause.
3
Three methods are recommended by Lumiere and Seyewetz as being
suitable for removal of dichloric fog. They consider the method
which follows the most generally useful.
4
Immerse the plate in a
solution of potassium permanganate ( 0 grain to each ounce of water)
until the fog is dissolved, then rinse and place in a 5 per cent solution
of sodium bisulphite or potassium metabisulphite to remove the brown
oxide of manganese which is deposited.
Developer Stains.-While in reality a stain may be considered to be
any deposit foreign to the photographic image which absorbs light,
in general the word stain is usually associated with something colored.
A stain may therefore be considered as a deposit on a negative or
positive whose color is foreign to that of the photographic image.
This definition thus includes colored spots, irregular colored markings
and general stain.
Practically all developing agents have the property of combining
readily with oxygen especially in alkaline solution to form colored
oxidation products the staining properties of which are very similar
to aniline dyes. Furthermore the process of development is in itself
an oxidizing process and this results in an additional amount of oxida-
tion which is of course proportionai to the amount of silver reduced
in the various portions of the image. Consequently the developed
image consists of an image of stain superimposed over one of metallic
silver. The amount of the stain is greater with some developers than
with others and is considerably influenced by the proportion of the
sulphite present in the developing solution. Pyro is a developer
which is especially prone to give a strong stain image but there is
really no excuse for the habitual production of badly stained negatives
when pyro is used as the degree of staining is completely under the
control of the worker. By increasing the proportion of sulphite to
pyro the color may be decreased almost to a neutral black while de-
a For a complete discussion of the causes of dichroic fog reference should be
m<tde to a paper by Lumiere and Seyewetz, Bull. Soc. franc. Phot., 1903, pp. 501,
529; Phot. !., 1903, 43, 223.
4
Bull. Soc. franc. Phft., 1903, p. 324; Phot. !., 1903, 43, 226.
340 PHOTOGRAPHY
creasing the amount of the sulphite will increase the color. Provided
the stain is not over intense such staining ma.y not be objectional and
may at times be actually an advantage as it increases considerably the
printing contrast of the image. Most developing agents form a stain
image, though with developers like glycin, the oxidation product of
which is readily oxidized by sulphite, the stain image is very feeble
and practically negligible.
Besides the stain image just considered we may have a general
yellow, or other colored stain, which is in effect just the same as if
the negative had been immersed in a dye solution. When uniform
it has no harmful effect other than to increase the time of exposure
in printing. It is produced by the use of an old and discolored de-
veloping solution, an insufficient amount of sulphite or the use of
impure sulphite and in many cases by the use of an old fixing bath
which has lost its acid reaction. Since a developer is oxidized far
more rapidly in alkaline or neutral solutions than when in an acid
state, as the fixing bath becomes neutralized by the alkaline developer
carried over on the surface of the negatives, this developer oxidizes
more and more readily so that the fixing bath is converted into prac-
tically a weak dye solution and stains the negatives immersed therein.
It is very important that the fixing bath be kept fresh and acid in order
to prevent stain from this source especially when a developer which
tends to stain readily is used. The use of a stop bath of a weak acid
between development and fixing is also advantageous.
To remove developer stain proceed as follows:
First harden the film by immersion for 2 to 3 minutes in a s per
cent solution of formaline and wash for 5 minutes to prevent the
gelatine from swelling and frilling in the subsequent treatment. Then
bleach in the following:
A. Potassium permanganate .. . . . .... ..... . .. . .. . .. 5 gm.
Water to make. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I liter
B. Sodium chloride (common salt) .. . .... .. .. .. ... 75 gm.
Sulphuric acid (C. P.) ..... . . . ................ IS cc.
Water to make. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I liter
75 gr.
32 oz.
20 oz.
Yz oz.
32 oz.
For use take equal parts. The stock solutions keep excellently but
not when mixed and therefore the bleaching bath should be prepared
immediately before use.
No particles of undissolved potassium permanganate must be al-
lowed to remain in solution A, otherwise there will be spots and
blemishes dn the negative.
The bleaching is complete in about three or four minutes after
which the brown stain of manganese oxide is removed with a 5 per
cent solution of bisulphite. Then rinse and develop in a strong light
in a non-staining developer such as metol-hydrochinon.5
Local yellow stains on prints or negatives may be removed by super-
imposing a deep yellow filter over the negative and making a positive
either by contact or in the camera and from this making a new nega-
tive. A panchromatic plate must of course be used and the yellow
filter must be a contrast and not an orthochromatic filter.
Silver Stains.-The use of an old and exhausted fixing bath con-
taining an excess of silver in solution produces what is termed silver
stain. A silver stain may also be produced by incomplete fixation of
the negative in a fresh bath. In both cases the stain is due to the
incomplete removal of the light-sensitive silver halide in the fixing
bath. This undissolved silver halide is at first colorless but is grad-
ually changed with time and exposure to a yellow stain. Hence the
necessity for thorough fixing.
In the event that it is decided to try one of the methods advised for
removal of silver stain it is well to first make the best possible posi-
tive from the stained negative using a deep yellow filter on a panchro-
matic plate as previously described under developer stains, since
there are no methods of removing silver stain chemically which are
entirely successful. The following method advised by Mr. J. I.
Crabtree is probably as good as any: Wash the negative thoroughly
to remove all traces of hypo which may be present in the film and
bathe the negative in a I per cent solution of potassium cyanide.
(Cyanide is a deadly poison and must be handled with care.) The
cyanide will dissolve any silver thiosulphate present and some silver
sulphide but in time it will begin to dissolve the silver image at which
stage the negative should be removed and thoroughly washed iri
order to prevent reduction. Immersion in a weak solution of potas-
sium permanganate followed by washing and immersion in the cyanide
solution will often be found of service in dealing with a very old stain.
Miscellaneous Stains.-Stain some'times occurs when ferricyanide
reducer is used. To remove this stain immerse the plate in
Nitric acid . ... .. . .. .. .. ... . .. .. . .. . ... . . ... .. . ... . JO min.
Alum ....... , . ...... . ...... . .................... 30 gr.
Water to make . .. . ............................... ro oz.
6 cc.
6 gm.
IOOO cc.
5
I am indebted to Mr. ]. I. Crabtree for the above formula which is re-
markably efficient. Bri1. J. Phot., 1921, 68, 296.
342 PHOTOGRAPHY
Printing transferred to the gelatine owing to plates having been
wrapped in printed matter is almost impossible to remove. Try the
following:
Hydrochloric acid ... . . . . . .. . .. ... . . .......... . .... 5 drops 5.2 cc.
Water ................ . ..... . ... . . .. ............. r oz. roo cc.
A yellowish-white opalescence which causes negatives to appear
as if made on opal or ground glass is caused by the presence of col-
loidal sulphur due to the use of an improperly compounded fixing
bath containing an excess of acid or to using the fixing bath at a very
high temperature. In both cases there is a precipitation of sulphur
which fixes itself in the film and produces a sulphur stain. To re-
move a sulphur stain first harden the film in a 5 per cent solution of
formaline, wash well and immerse in a IO per cent solution of sodium
sulphite at a temperature of 100 to I I0 F. This is a risky pro-
cedure but is the only means of removing such stains.
Blue stains are most often due to iron in some form, although
amidol produces a bluish stain which may be removed by dipping the
plate in a 10 per cent solution of sodium carbonate. In addition to
blue stains, iron salts may produce green or yellowish-brown spots
and whenever these appear it is very likely that iron in the water used
for mixing solutions, or in the water used for washing, is the source
of the trouble. Stains and spots due to the presence of iron are gen-
erally removable by means of the bleaching solution advised for the
removal of developer stain. Other methods advised are the use of a
5 per cent solution of ammonia, or a 5 per cent solution of oxalic
acid.
A blue-green stain apparent after fixing occurs frequently when a
~ h r o m alum fixing bath is used at a high temperature. There is no
known means of removing such stains. Prevention is the only cure.
Transparent Spots.-Small microscopic spots irregular in shape
and sometimes almost microscopic in size are due to dust. Keep the
inside of the camera free from dust and clean plate holders now and
then with a rag moistened with oil. Allow sufficient time for the oil
to evaporate before again using the holders and do not use too much
oil in the first place. The merest trace is sufficient. Dust all plates
carefully before placing in holders. Use a camel's hair brush and do
not brush too briskly, otherwise the glass will be electrified and at-
tract dust thus making matters worse instead of better. The use
.,
of a stiff brush will produce friction marks and only a soft camel's
hair brush should be used and this but lightly.
Small transparent spots, circular in shape, are due to air in the
water used for diluting the developer. Distilled, or at least boiled,
water is to be . preferred for all solutions but should tap water be
used, it is necessary that it be allowed to stand until all the air has
escaped. This is particularly necessary when high pressure . water
mains form the source of supply. Excessive agitation of the de-
veloper is another source. A slow, steady, rocking motion is all that
is required and is m u ~ better than an occasional vigorous rock.
Small, circular, transparent spots with shaded' edges are due to
air bells adhering to the plate during development and protecting the
emulsion from development. The diffuse edge is without doubt due
to the slow encroachment of the developing solution. These are very
apt to occur in tank development with closed tanks. Some workers
find that immersing the plates in water before filling the tank with
developer assists in preventing 'such pinholes, but undoubtedly the
surest way is to use only water from which excess air has been ex-
pelled by boiling and to avoid carefully any undue agitation.
Spots of irregular shape and about the same size as those formed by
air bells are often found distributed along one side of the plate and
less rarely over the whole surface. They are caused by a stale de-
veloper.
A spot of bare glass which is uncovered by gelatine is one of the
few defects caused by faulty manufacture of sensitive materials and
is seldom met with when using a reliable brand of plates or film.
Opaque or Semi-Opaque Spots.-The most common cause of small
irregularly shaped black or dark spots is the presence of undissolved
particles of the developing agent on the plate during development.
Care should be taken to thoroughly dissolve every chemical in com-
pounding developing solutions, otherwise a few particles of the de-
veloping agent or alkali may be left and these when brought in con-
tact with the sensitive material in development produce dark spots
owing to the greater rapidity of development at such spots.
A less common cause of such spots is the presence of iron in solu-
tions or in the water used for washing. In this case, however, the
spots are more likely to be colored than black.
Brown or purple spots may be caused by dry particles of developing
agents having settled upon the dry plate. Do not mix chemicals in
'
344 PHOTOGRAPHY
the same room in which plates are developed if possible to use an-
other room. . Spots such as these may be removed occasionally by
using one of the methods previously advised for developer stains.
Touching the spots with nitric acid is sometimes effective but is rather
risky. If the worker is familiar with the use of a knife on the film
they are best removed in this manner.
Yellow spots, circular in shape, are due to air bells adhering to the
plate in the fixing bath. If observed when removing the plate from
the fixing bath they can be removed by swabbing the plate with ab-
sorbent cotton and re-fixing. If of considerable age there ts no
means of removal other than those given under silver stain.
Miscellaneous Troubles.-Streaks and blotches, resembling finger
marks, brush marks, etc., are caused by old or incorrectly compounded
developer. They are most common with hydrochinon or pyro and
may be overcome by using a more concentrated solution.
Cloudy or wavy appearance of the negative is due to the use of in-
sufficient developer to cover the plate or by not rocking the tray often
enough during development.
A white crystalline deposit on the surface of the dry plate indicates
very imperfect washing. Wash the plate again and make a thorough
job of it. Immersion in a weak acetic acid bath may assist in remov-
ing such deposits.
Frilling or softening of the film occurs only in very hot weather or
when there is a wide variation in the temperatures of the successive
baths. If it is impossible to keep the developer cool, the plate may
be immersed in form aline ( 10 per cent solution) before development,
an acid fixing bath used and care taken to keep the temperature of
all the baths on about the same level. Acetone may with advantage
replace the alkali in certain developers as it does not tend to soften the
gelatine. Amidol which does not require an alkali is also very satis-
factory. Frilling and blisters may also be caused by using a fixing
bath that is too strong. There is no necessity for using a fixing bath
containing more than 30 per cent sodium thiosulphate and at such
concentrations there is but little danger of blisters or frilling except
under abnormal conditions.
Negatives which are uneven in density due to having dried more
rapidly in some places than in others may frequently be improved by
bleaching and redevelopment as already described.
CHAPTER XVI
REDUCTION AND INTENSIFICATION
pART l. REDUCTION
Reduction and the Three Classes of Reducers.-The operation by
which some of the metallic silver forming the image is removed so as
to secure less opacity is called reduction. All reducing agents are
capable of converting the metallic silver into some salt which may be
immediately dissolved away. The following table shows the different
types of reducers and their characteristics :
Name of Type Other Names Characteristics Examples
Subtractive Surface All densities reduced by Ferricyanide.hypo,
Cutting equal amounts result- Potassium perman-
ing in greater contrast ganate, Iodine-
cyanide, Belitzski's
Proportional Progressive All densities reduced in Nietz & Huse per-
same ratio, contrast manganate, per-
unaltered sulphate formula
Superpropor- Flattening The percentage reduc- Ammonium persul-
tiona! Persulphate tion is greater in the phate, under normal
thick parts than in the conditions
thin. Results in less
.
contrast
-
The first comprehensive examination of a quantitative nature on
the action of various reducers on the tones of a negative was made by
Huse and Nietz of the Eastman Research Laboratory in 1916.
1
Sensi-
tometric strips were exposed, developed and reduced under accurately
controlled conditions. The strips were measured before and after
reduttion in a Koenig-Martens photometer, ordinary H. and D. meth-
ods being applied to the data. The percentage of the original density
removed by reduction from each step was then plotted against the log
exposure for that particular density. In this way the curves of Fig.
rs6 were obtained.
Curve i represents a reducer of the superproportional type, repre-
sented by ammonium persulphate; curves II and III represent reducers
1 Brit. l. Phot. , 1916, 16, 7.
"
345
346 PHOTOGRAPHY
of the subtractive type, curve II representing one division of this class
of which potassium permanganate is typical and curve III another
division of this class represented by Farmer's ferricyanide-hypo re-
ducer. It will be observed that this last attacks the lower densities
more strongly than does the former. Curve IV represents a formula
on Seed 23 plate
'"0
lOCf<-----.._
0
E oo
1!
,e ao
"ii}
10
'"0
""; 60
"
$0
0
Frc. 156. Sensitometric Readings of the Action of Different Reducers
(Nietz and Huse)
designed by H. C. Deck for proportional reduction and Curve V a
modification of Deck's formula worked out by Huse and Neitz.
Farmer's Reducer.-A typical reducer of the subtractive t ype and
one in extensive use is known as "Farmer's" from its originator,
HowaPd Farmer, but it is also called f erricyanide-hypo reducer. It
consists of potassium ferricyanide and " hypo." When applied to the
plate the silver image is oxidized by the ferricyanide and silver ferro-
cyanide is formed which is in turn dissolved by the "hypo" according
to the equation
2K
6
Fe2 ( CN)
12
+ 4Ag = 3K
4
Fe ( CN)
6
+ Ag4Fe ( CN) u
Since a mixture of potassium ferricyanide and "hypo" rapidly de-
-:omposes, it is necessary to either prepare the reducer immediately
before using or keep two separate solutions, one containing potass"mm
ferricyanide and the other hypo. The first may be a ten per cent solu-
tion and the latter 20 per cent. Potassium ferricyanide will keep
fairly well in water, provided it is protected from light by being kept
in a dark cabinet or bottle of dark green glass.
To reduce, sufficient hypo solution (one part hypo to four of water)
is taken to the to be reduced, to which is added a few
.,
!
'
f
~
1]
REDUCTION AND INTENSIFICATION 347
drops of the potassium ferricyanide stock solution so the color of the
solution is pale yellow-not green. Too little ferricyanide is better
than too much, since in the latter case reduction proceeds so rapidly
that the negative may be reduced further than desired before the action
can be stopped. Where extreme reduction is desired the strength of
the reducer may be increased. If at the end of five minutes reduction
has not proceeded to the desired stage a fresh solution should be ap-
plied. Farmer's is a very satisfactory and convenient reducer but
should be handled very carefully, since variations in the strength of
the solution influence the character of the reduction-a strong solution
tends to produce greater contrasts because it affects the shadows to a
greater degree.
Belitzski's Reducer.-This reducer is based upon the action of a
mixture of the double oxalate of iron and potassium and "hypo" on
the silver image,. The iron salt yields its oxygen to the silver which
forms silver oxide in a nascent condition which is at once dissol:ved by
the "hypo." The reducer keeps well in a dark place and may be used
over and over until exhausted. In its action on the tones of the nega-
tive it resembles Farmer's very closely. The foliowing is the formula:
Potassium ferric oxalate' . ...... ...... .. . ... ' . . . . . I48 gr.
Sodium sulphite...... ....... ......... . .... . ...... 59 gr.
Water to make.. ... .. .. .... . . . ....... . . .. .. . .. . .. 7 oz.
After completely dissolved add:
IO gm.
4 gm.
200 cc.
Oxalic acid ....... . .. .. ........................... 44-5 gr. 3 gm.
and shake until the solution turns green. Then pour off the clear
liquid and add:
" Hypo" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ~ oz. so gm.
Instead of the potassium ferric oxalate the following may be used:
Ferric chloride (crystal)........ ...... ........... g6 gr.
Potassium oxalate ............................... 186 gr.
6.5 gm.
12.5 gm.
Mercury and Cyanide Reducer (Eder's).-The following reducer
is similar to Farmer's, but reduces more slowly, is non:-staining and
in'tensely poisonous:
Potassium cyanide ........ .. .. .. . . .... : . . . . . . . . . 24 gr.
Potassium iodide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 gr.
Mercuric chloride ....... . .... . .. .. ... .... ....... 12 gr.
Water to make .............. .. ................. lO Q?:,
5 gm.
2.5 gm.
2.5 gm.
1000 cc.
348 PHOTOGRAPHY
Dissolve the mercury, then the iodide and lastly the cyanide which will
dissolve the red precipitate formed. On account of its intensely poi-
sonous nature this reducer should be carefully handled and labeled
poison.
Iodine-Cyanide Reducer.-This is rather more energetic in its ac-
tion on the shadows than Farmer's and tends to clean out the lower
densities to a greater degree without seriously affecting the higher
densities. It is exceedingly poisonous and should be handled with
care. It is non-staining and when used weak is a very useful reducer
for over-developed bromide prints.
Iodine (IO per cent sol. in potassium iodide sol.) ... 30 min.
Potassium cyanide ( 10 per cent sol. in water) . . . . . . S min.
Water to make..... . .............. . . . . ... .. . . .. .. I oz.
6 cc.
I CC.
IOO cc.
Since iodine will not dissolve in water, but is readily soluble in potas-
sium iodide, it is necessary to add about I so grains of potassium iodide
to just enough water to dissolve it, then add 45 grains of iodine and
make up the solution to a total volume of one fluid ounce.
Permanganate Reducers.- The introduction of permanganates as
reducing agents is due to Professor Namias. The permanganates are
strong oxidizing agents and if a solution of potassium permanganate
containing a small amount of sulphuric acid is applied to a negative
the silver is oxidized, forming silver sulphate, which is sufficiently
soluble in water to be dissolved. The reaction is as follows ( N amias) :
5Ag2 + 2KMn0
4
+ 8H
2
S0
4
= sAg2S04 + K2S04
+ 2MnS0
4
+ 8H20.
Permanganate is similar in its action on the tones to Farmer's and the
other reducers which we have examined, but differs from them in being
more nearly proportional in its action and not having quite the same
" cutting " effect on the lower densities: The difference in the two
classes of reducers may be seen from the examination of Fig. IS6,
where curve II and curve III show the percentage reduction of the
different densities for permanganate and Farmer's respectively.
I. Potassium permanganate .... . ............... . 24 gr.
Water to make . ....... . . . ....... . ... .. ... . . I oz.
II. Sulphuric acid C.P .. . .. . ... .... .. ... ... .. . .. 24 min.
Water to make .... . ......... . ......... ... . . I oz.
so gm.
1000 cc.
so cc.
1000 cc.
For use take I part of A, 2 parts of B, and 64 parts of water. When
sufficiently reduced immerse in a plain hypo solution, fr.esh acid fixing
..
bath, or 5 per cent solution of sodium bisulphite to remove the brown
stain, after which wash well.
Proportional which act on all parts of the
negative in proportion to the amount of silver present are variously
known as proportional, true scale, and progressive, from which the
first has been generally accepted of late as the most rational title.
While under certain conditions ammonium persulphate may form a
proportional reducer its action is uncertain and not to be depended
upon but by the proper combination of potassium permanganate, which
is a subtractive reducer, with the ammonium persulphate which is of
the superproportional type (exactly opposite to the subtractive), a
proportional reducer is obtained. The following formula is the one
worked out by Huse and Nietz.
2
SoLUTION A
Potassium permanganate. . . . . . . . . . . . . . . . . . . 4.1 gr. 0.25 gm.
IO per cent sulphuric acid ... ... .... . .... . .. 262 mm. IS cc.
Water pure to make... . .... . .... . . . ........ 35 oz. IOOO cc.
SoLUTION B
Ammonium persulphate .................... 420 gr. 25 gm.
Water pure to make. . . . . . . . . . . . . . . . . . . . . . . . 35 oz. IOOO CC.
For use take one part of A to three of B. Do not mix until ready
for use. The time of reduction is from one to three minutes and
should be followed by a one per cent solution of potassium metabisul-
phite.
Application of Proportional Reducers.-In practice the chief pur-
pose for which a proportional reducer is used is to reduce over dense
negatives which are due to over development. Since over develop-
ment increases the silver deposits proportionately the effect of reduc-
tion in a truly proportionate reducer is to lower the gamma or in effect
is equal to developing for a shorter length of time.
In Fig. I 57 curve I shows the characteristic curve of a plate de-
veloped to a certain gamma. Curve II represents a gamma of unity
(I). Now, if the negative represented by curve I is reduced in a
proportional reducer the result will be a negative possessing the gamma
of curve II. A proportional reducer is therefore the only type which
alters density without affecting gradation. It is thus the only reducer
2
Proportional reducers. Communication 39, Research Laboratory of East-
man Kodak Co. British Journal of Photography, Oct. 27, 1916; Australasian
Photo-Review, Dec.
350 PHOTOGRAPHY
which rriay be employed without falsifying to a certain extent the
original gradation of the negative.
Superproportional Reducers.-Superproportional reducers are
necessary when it is desired to reduce the contrast of a negative in
order to make it suitable for a particular printing medium. There is
a . .:
...
...
...
...
~
1.2
"
...
" Q
...
Ill
...
...
0.2
Exposure steps
FIG. 157. Action of a Proporti onal Reducer on the Plate Curve
(Nietz and Huse)
only one reducer having a definite superproportional action and that is
ammonium persulphate. This must be used in an acid solution and is
rather erratic in action, sometimes acting properly and at other times
not. Much of its irregularity is due to the presence of small amounts
of other substances, hence in purchasing one should secure only the
C.P. salt and this should be kept in airtight containers as it decom-
poses in contact with air.
Theories of Superproportional Action.-Owing to its peculiar prop-
erty of attacking the higher densities before the lower and to its erratic
behavior, the chemical reaction of the persulphates with the silver image
has been the subject of much speculation, but research has not yet been
able to explain satisfactorily the reason for its unique property of
superproportional action.
A. and L. Lumiere, to whom the introduction of persulphate as a
reducer is due, developed the following theory of its reaction:
3
The
action is regarded as proceeding from the back of the negative to the
surface in exactly the reverse method as all other operations progress,
thus the lower densities which lie nearer to the surface are the last to
3
Bull. Soc. tranc. Phot., 1898, p. 395; Ibid., 18gg, p. 226; Ibid., 1899, p. 399
,
be attacked.i Helain
5
and Lauder,
6
however, proved that reduction
does not take place from the back of the film by exposing plates
through the glass and secured the same result, while microscopical in-
vestigation by Pigg
7
and by Scheffer
8
shows that the action is uniform
on all of the grains of the film and not from the back to front as
stated in the Lumiere theory.
In 190{) Liippo-Cramer advanced what is known as the dispersoid
theory.
9
In this the behavior of persulphate is supposed to be due to
the fact that the silver deposit is nof metallic silver, as commonly sup-
posed, but a mixture of silver and silver bromide, there being more of
the latter in 'the lower densities. The superproportional action is ex-
plained by saying that metallic silver is more soluble in persulphate
than silver bromide-a known fact. The action of certain substances
which are solvents of silver bromide and render the action propor-
tional is explained by saying that the solvent removes the halide so
that it can be more readily attacked by the persulphate.
The catalytic theory was developed by Schuller
10
and Stenger and
Heller carried on a long series of experiments to prove it.U This
theory declares that the cause of the superproportional action of per-
sulphate is due to the catalytic effect of the silver ions formed during
the reaction of the silver and the persulphate. Since the concentration
of these ions increases more rapidly in the higher densities than in the
lower the action is greater on the former. Further research will be
required, however, to definitely explain the theory of persulphate re-
duction.
The Practice of Persulphate Reduction.-While reduction with per-
sulphate cannot be said to be an absolutely safe and certain process
4
Resume Travaux Scientifiques, pp. 215, 216, 218; Brit. 1. Phot., r898 (45),
p. 473
5 Theory of Persulphate Reduction, Helain, Bull. Soc. franc. Phot., 18g8, IS,
226.
6
Persulphate of Ammonia, H. S. Lauder, Brit. !. Phot., 1899, 46, 725.
7
" Action of Ammonium Persulphate on the Photographic Image," ]. I. Pigg,
Brit. !. Phot., 1903, p. 7o6.
8 " Microscopical Researches on the Effect of Persulphate and Ferricyanide
Reducers," Scheffer, Brit. !. Phot., 19o6, 53, 4.
9
"Absorption Complexes in the Silver Grain as the Cause of the Persulphate
Effect," Phot. Korr., 1go8, 45, 159.
10
" The Theory and Practice of Reduction," A. Schuller, Phot. Rund., 1910,
24, II3.
11
Z. f . Reproductions technik, 1910, 12, 162, 178 and 19II, 13, 5, 20, 34, so, 70,
84, roo; Zeit. wiss. Phot., 19II, g, 73, 389 .
..
352 PHOTOGRAPHY
even with the best of care, yet by the proper observance of several im-
portant points serious irregularities in its action will be rare. Only
the purest persulphate should be used. Much of the commercial per-
sulphate contains traces of iron and as Sheppard has pointed out this
has a catalytic action.
12
The amount of iron necessary to affect its
action is on the order of I part in I ,ooo,ooo and the limit of tolerance
permissible is about 2 parts to IOOO of solid persulphate. A small
amount of iron is not a disadvantage but it is essel)tial that the limits
are not overstepped and also that the chemicall"be uniform, or the
varying iron content of different samples of {efsulphate will lead to
error. The presence of soluble chlorides, bromides, stilphates, and
nitrates in the water used for solution is also a: source of trouble and
many of the difficulties would disappear if the precaution of using
distilled water was adopted. Since the characteristic action of per-
sulphate is vitally affected by the concentration of acid present, a
certain amount of sulphuric acid is generally added. With distilled
water the required acidity is secured by the addition of about one
drop CP. sulphuric acid to each ounce of solution when freshly
mixed. Stock solutions of persulphate are not advisable.
The plate should be placed in the following solution which should
be made up just before use and distilled water only should be used :
Ammonium persulphate ........... . .. . . . . . . ... .. 4 gr.
Sulphuric acid C.P ...................... ..... ... I min.
Water to make ................................. I oz.
8.3 gm.
2 cc.
IOOO CC.
The action should be watched very carefully for it becomes more
rapid with time and the negative may be reduced further than desired
before the action can be stopped. Therefore it is better to remove
the negative from the solution just before the reduction has reached
the desired stage, preferably using a plate lifter to avoid contamina-
tion with the fingers, and place in a five per cent solution of sodium
sulphite. While refixing is not necessary it is to be advised, since it
leaves the film amenable to further treatment.
PART II. INTENSIFICATION
The function of intensifiers is to increase the density and contrast
of a negative so as to obtain better printing quality. Intensification
may be necessary for several reasons. The negative may be simply
12
Brit. J. Phot., I9I8, 65, 3I4. Phot. !. America, I9I8, 55, 299 .
..
under developed due to an error in the composition of the developer,
or the time, or temperature of the same and in such cases the intensi-
fier continues the action of the developer, building the negative up to
a higher degre.e of contrast. Owing to over exposure, or lack of con-
trast in the subject, the negative may lack the necessary contrast and
intensification may be desirable to supply this deficiency.
Intensification may be effected in several ways.
The first and most common method consists in altering the metallic
silver grains by treatment with substances which will unite with silver
to produce greater opacity.
The second method consists in altering the color of the deposit so
that it is less actinic and offers greater resistance to the passage of
chemically active light than the original deposit.
The third method is similar to that formerly necessary in the wet
process for building up sufficient density and consists in adding a new
film of silver to the old, the increased amount of silver increasing the
. density.
Intensification with Mercury.-After thorough fixing and washing,
bleach the negative in :
Mercuric chloride ..... . ........................ 476 gr.
Hot water. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . r6 oz.
After cooling add hydrochloric acid............. 30 min.
62 gm.
IOOO cc.
4 cc.
When the negative is completely bleached through to the back of
the plate remove and wash well in running water; if possible for at
least twenty minutes or by giving ten five-minute soakings if washed
in a tray. It is then blackened in one of the following:
A. Sodium sulphite ro per cent solution
B. An ordinary developer as Amidol, Hydrochinon,
Ortol, Glycin, Metol-Hydrochinon, etc.
C. Sodium sulphantimoniate. . . . . . . . . . . . . . . . . . 192 gr.
(Schlippe's salt)
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 oz.
D. Ammonia (o.88o)........................ 20 min.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . r oz.
E. The following ferrous oxalate developer:
A. Potass. oxalate (neutral)............ 5 oz.
Hot water. . . . . . . . . . . . . . . . . . . . . . . . . . 20 oz.
When cool pour off clear liquid for
use.
B. Sulphate of iron. . . . . . . . . . . . . . . . . . . . 5 oz.
Sulphuric acid C.P..... . ... . ........ 30 min.
Water .4warm)..................... 20 oz.
20 gm.
rooo cc.
!.25 cc.
30 cc.
288 gm.
IOOO CC.
288 gm.
3.12 CC.
IOOO cc.
354
PHOTOGRAPHY
For use take one part of B to three of A. Pour B into A and not
vice versa.
The chemical reaction which takes place when the silver image is
lJleached in mercuric chloride is represented by the following equa-
tion:
2HgCl
2
+ 2Ag Hg
2
Cl
2
+ 2AgCl.
The resulting chlorides of mercury and silver are transparent and .
l>lackening is necessary to secure printing density. With sodium sul-
phite the reaction is as follows:
Ilg
2
Cl
2
+ Na
2
S0
3
+ H
2
0 2Hg + Na2S04 + 2HCI.
Blackening in an alkaline developer reduces the deposit to a silver
mercury compound whose composition is not definitely known and
which probably varies with the developer.
On blackening with ammonia the probable reaction is as follows :
Hg
2
Cl
2
+ 2NH
3
NH2Hg2Cl + NH4 Cl.
When an image bleached with mercuric chloride is acted on by fer-
rous oxalate, the image that remains consists of an amalgam of silver
AgHg. If the process be repeated each atom takes up another .atom
of mercury and we get AgHg
3
and consequently greater intensifica-
tion. The reaction would therefore be as follows:
Hg
2
Cl
2
+ 2AgCl + 4FeC
2
0
4
+ 2K2 C2 0 4
=2Ag + 2Hg + 2Fe2 (C20 4 ) 3 + 4KClY
Of the several methods of blackening the last is without doubt the
most satisfactory. It gives proportionate intensification, a black de-
posit which is permanent, and may be repeated to gain any desired
degree of intensification. Sodium sulphite reduces the lower densi-
ties, producing . what workers call a clean result, which however is
secured at the expense of proportional action and purity of gradation.
There is question concerning its permanency. The objection to the
use of developers containing sulphite is that already stated as an ob-
jection to the use of sulphite alone but there is a further objection to
the use of the alkali which can by itself effect a partial conversion of
the silver mercurous chloride into the carbonates or oxides. This
possibility of two distinct reactions at one and the same time is an '
13
Chapman Jones, J. S. C. I., 1893 vol. XII, p. 983 .
..
I'
; ~
~ :'
important disadvantage which tends to render the action unpropor-.
tionate and also impermanent. Sodium sulphantimoniate gives ap-
proximate proportional intensification and with the exception of fer-
rous oxalate is the most satisfactory of the lot. With ammonia the
blackening is not uniform and the reducing action in the shadows is
very marked, the original gradation being altered to a considerable
degree. The degree of intensification and action of the various black-
eners on the tones of the subject will be treated at the end of the
chapter under the Sensitometry of Intensification.
Monckhoven's Intensifier.-The negative is bleached in mercuric
bromide as above and blackened in the following solution of potassium
cyanide and silver:
Pure potassium cyanide ....... ................. . ... IO gr.
Nitrate of silver ............................. . ... IO gr.
Water ................... . ...................... I oz.
23 gm.
23 gm.
IOOO CC.
The silver and cyanide are dissolved in separate lots of water, and the
former solution added to the latter until a permanent precipitate is
formed. Then allow the solution to stand fifteen minutes and filter
after which it may be used. If the intensification is carried too far
the plate may be reduced in "hypo." The reaction according to
Valenta is as follows:
Hg
2
C1
2
+ zAgK(CN)
2
~ z A g zHg(CN)
2
+ zKCI.
Mercuric Iodide Intensifier.-Traces of hypo remaining in the film
cause stains and spots with any of the above intensifiers and it is
necessary that the greatest care be taken to thoroughly wash negatives
before intensifying. It is a peculiar characteristic of mercuric iodide,
and often a very valuable one, that its action is not affected by any
traces of hypo which may remain in the film and the negative may
be removed from the fixing bath, washed for a few minutes in water,
and intensified at once.
A. Mercuric chloride ................ . . . . . .' ...... I75 gr. 40 gm.
Water ...................................... IO oz. IOOO cc.
B. Potassium iodide............ ... .... . ... . . .... I oz. IOO gm.
Water ........ . ............ .. ............... IO oz. IOOO cc.
Add the larger part of the iodide to the mercury, stirring well.
Then add the remainder of the iodide in small quantities until the so-
lution clears. The solution changes the negative to a brown color
which further changes to orange upon washing in water. Redevelop-
..
356 PHOTOGRAPHY
ment in a non-staining developer such as amidol or metol-hydrochinon
will render the negative less liable to yellow in time. The chemistry
of the reaction is as follows :
14
2Hgi
2
+ 2Ag = Hg
2
I
2
+ 2Agi,
Hg
2
I
2
+ 2(Na
2
S0
3
) = Hg + Hgi2 (Na2SOa)2.
Silver Intensifiers.-The following formula and method for silver
intensification is that of J. B. B. Wellington and is the revised formula
published in 1911.
The film should first be hardened in the following bath :
Formaline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I part
Water . ............. . ... . . . .......... .. ...... . .. . .... . ... . . 10 parts
In this bath the negative should be allowed to remain for five min-
utes, after which it should be rinsed for a few minutes and then
placed for exactly one minute in the following bath:
Potassium ferricyanide . . . . .. .. .. . ....... ... . ...... . 20 gr.
Potassium bromide ..... . ...... . ............ .. .. . . . 20 gr.
Water to make ......... . . .. .. ................ . . . .. 20 oz.
2.3 gm.
2.3 gm.
liter
This bath, which should never be omitted, has the effect of pre-
venting stains during the process of intensification. Too long an im-
mersion in this bath causes the image to bleach, which should be
avoided if it is desired to retain the original gradation. In the time
prescribed there is no apparent action, but the clearing agent has done
its work. The negative should now be rinsed for a few minutes and
intensified in the following:
STocK SoLUTIONS
A. Silver nitrate.......... .. ...... .. .... . . . . . . 8oo gr.
Distilled water t o make. . . . . . . . . . . . . . . . . . . . 20 oz.
B. Ammonium sulphocyanide. . . . . . . . . . . . . . . . . . . 1400 gr.
Hypo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1400 gr.
Water to make. . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 oz.
(Both solutions keep well.)
83-4 gm.
liter
146 gm.
146 gm.
liter
For use take an ounce of A to one half ounce of B, stirring vigor-
ously all the while the two are mixed. If stirring is omitted the solq-
tion is apt to be turbid, whereas it should be clear. To this is added 1
dram of a ten per cent solution of pyro solution, preserved with sul-
phite of soda, and two drams of ro per cent solution of ammonia.
14
Seyewetz, Le N egatif en Photographie .
..
Place negative in absolutely clean tray and pour solution over it. The
silver begins to deposit within a minute or so and when sufficiently in-
tensified the plate should be removed, placed in an acid fixing bath for
a short while, and then well washed. Silver intensification is really
physical development, silver being deposited upon the original. deposit.
The action is proportional and the results permanent and a negative
intensified with silver may be reduced in any manner.
Intensification with Chromium.-This process is largely due to G.
Welborne Piper and D. J. Carnegie.
15
The negative is bleached in a
solution of potassium bichromate and hydrochloric acid and the
bleached negative blackened in ordinary developer. The bleached
image contains a chromium compound the precise formula of which is
unknown but is thought to be Cr0
2
When this is treated with a de-
veloper it is reducexill and part of the chromium is left in the image in
1 combination with the metallic silver. While perhaps not absolutely
proportional in its action and thus to a certain extent falsifying grada-
tion, the same is very slight, and as the process is easily worked and
may be repeated over and over so that any degree of intensification
ordinarily desirable may be had, the chromium intensifier is of great
practical value. The degree of intensification is controlled to a certain
extent by the amount of acid present and it is possible to vary the
degree of intensification by altering the amount of acid, the more acid
used the less the intensification secured, but on the whole it is more de-
sirable to use one of the three formulas given and if the result is riot
what is desired after the first application repeat the process. The in-
tensifier may be kept in the following stock solution from which either
of the three bleaching baths may be compounded according to the
degr.ee of intensification desired:
A. Potassium bichromate.... . ...... .. ...... . . . . I oz. so gm.
Water to make . . . ......... . ..... . . . . . . . . . . . 20 oz. IOOO CC.
B. Hydrochloric acid C.P.. . . . . . . . . . . . . . . . . . . . . I fl. oz. roo cc.
Water to make .... ....... .. ........... ... .. IO oz. IOOO CC.
Baths r eady for use.
A B c
Degree of intensification
A. Solution . . . . . . . . . . . . . 4 oz. 8 oz. 8 oz. A-Maximum
B. Solution . . . . . . . . . . . . . 3 dr. 2 oz. 8 oz. B-Medium
Water ......... .. . . ... I6 oz. 10 oz. 4 oz.
C-Minimum
Bleach in A, B, or C, wash until yellow stain is removed and then
redevelop in a non-staining developer. Amidol is to be preferred,
15
A mat. Phot., I 9 ~ pp. 336 and 397; I 90S, pp. 453 and 473.
358 PHOTOGRAPHY
especially if by any chance it is likely that the process need be repeated,
as the change from acid to alkali is particularly hard on gelatine and by
the use of amidol this trouble is minimized, since amidol does not re-
quire an alkali and any tendency of the gelatine to soften and frill is
always increased in the presence of an alkali .
Intensification with Uranium.-If the silver image is treated with
a ferricyanide it is reduced to a ferrocyanide, the probable reaction in
the case of uranium ferricyanide being:
SAg+ 4(U0
2
)a [Fe(CN
6
) ]
2
---,) 2Ag
4
Fe(CN)
6
+ 3(U02).[Fe(CN
6
) ]
2

The silver image is therefore converted into a mixture of silver ferro-
cyanide and uranyl ferrocyanide, the dark-brown or reddish color of
which being non-actinic considerably increases and con-
trast of the negative. c!J
Uranium is a great builder of detail and contrast and is perhaps the
most suitable intensifier for getting the most out of an under exposed
negative-the red deposit being able to build up to printing density all
the detail which the exposure has been able to impress on the sensitive
material.
The following is a suitable formula:
A. Uranium nitrate ....... . ..... . ......... . .. . .. 120 gr.
Water to make..... .. .. .. ...... . .. .. ........ 10 oz.
B. Potassium ferricyanide . .... ...... . . .. ..... . .. 120 gr.
Water to make, ......................... . :. . 10 oz.
25 gm.
1000 cc.
25 gm.
1000 cc.
For use take: A-10 parts; B-ro parts; acetic acid-2.5 parts.
The negative must be perfectly free from hypo or stains will re-
sult which cannot be easily removed. When intensification is judged
to be complete the negative should be removed and washed well in pure
water. Hard or alkaline water cannot be used for this purpose for,
as pointed out by Sedlaczek/
6
the uranyl ferrocyanide is soluble in
alkalis. Should the yellow stain remain after several changes of water
its removal may be effected by means of a 10 per cent solution of
ammonium sulphocyanide or with
Potassium citrate.......... . .......... . ........ . . 5 gm.
Sodium sulphate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 gm.
Water to make . ........ ..... ... ................. 1000 cc.
38 gr.
192 gr.
r6 oz.
If for any reason it should be desirable to remove the intensification
16 Phot. Ind., 1924, p. 234.
REDUCTION AND INTENSIFICATION . 359
altogether this may be accomplished by immersing the negative in a
weak solution of ammonia or of sodium carbonate. If the negative is
to be again intensified this bath should be .followed by a weak bath of
acetic acid to neutralize any traces of alkali which might remain in
the film.
Intensification with Lead.--'-Extreme intensification is secured with
lead. Practically the only case in which such extreme contrast is re-
quired in ordinary practice is with line subjects from poor originals.
The general outline of the chemical reaction is the same as with
uramum:
2K
6
Fe
2
(CN)
12
+ 4Ag + 6Pb(N0
8
)
2
= Ag4Fe(CN) a
. + 3Pb
2
Fe(CN)
6
+ 12KN0
3

The following formula is recommended:
Lead nitrate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 gr.
Potassium ferricyanide . ... . . ... . . . . .. . . . .. .. . . . 6oo gr.
Acetic acid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 dr.
Water to make. ........ . .. . . . ... . . .. .. . . . . .... 20 oz.
The stock solution will keep well in the dark.
41.6 gm.
62 gm.
20 cc.
IOOO CC.
Bleach the negative in the above and then wash caref ully in 10 per
cent nitric acid-the acid makes the film tender-then in water and
then darken in
Sodium sulphide......... . . . . . . . . . . . . .. . . . . ...... . I oz. so gm.
Water to make .... . ..... .. ..... . . . .... . . .. . . ... .. 20 oz.
IOOO cc.
Intensification with Copper.-The copper intensifier is also only
suited to line subjects. The reaction is as follows :
CuS0
4
+ 2KBr CuBr
2
+ K
2
S0
4
,
CuBr
2
+ Ag CuBr + AgBr.
Applying AgN0
8
,
CuBr + 2AgN0
3
Cu(N0
3
)
2
+ Ag
2
Br.
The following is a reliable formula :
A. Copper sulphate ........... .. ............... .. roo gr.
Water to make... . ..... . . . .. . . . . . ... .. ... . ... I oz.
B. Potassium bromide .. . ..... . ... .. ... . .. . . .. . . . I OO gr.
Water to make........ . . . . . . . .. ... . ... ... . .. . I oz.
2o8 gm.
IOOO cc.
2o8 gm.
1000 cc.
A and B are both dissolved in hot water. For use they are mixed
360 PHOTOGRAPHY
and the negative bleached therein after which it is washed for a minute
or two and blackened in
Silver nitrate ... ..... . . .. . : . . .... .. . . . . . . . . .. .. . .. 45 gr.
Water (distilled).......... . .. . . . . . . . . . .. . . . . ..... 1 oz.
100 gm.
1000 cc.
If t bo dense the negative may be reduced by the application of a
weak solution of hypo ( ro grains to the ounce) or potassium cyanide
2 grains to the ounce.
Intensification by Sulphiding.-A very convenient method of secur-
ing a limited amount of intensification consists in ordinary sulphide
toning of the image. The negative is first bleached in a bath of potas-
sium ferricyanide and potassium bromide, then washed well and finally
darkened in sodium sulphide. The metallic silver is thus changed to
silver sulphide, the brown color of which is less actinic than the origi-
nal black. Thus while the negative may actually appear less dense
after sulphiding, its printing density has been increased by the process.
The operation differs in no way from the toning of gaslight and bro-
mide prints by the indirect, or redevelopment process. The image is
permanent.
The Sensitometry of Intensification.-Until quite recently no
quantitative measurements of the character and degree of intensifica-
tion secured with different agents had been made. This matter was
first investigated by H. W. Bennett in 1903, by L. P. Clerc in 1912/
7
and more fully by Nietz and Huse.
18
It is not our business here to go into the experimental methods, or
consideration in full of the factors involved, for which the original
paper should be consulted, but to note more particdlarly the character
of the intensification secured by representative intensifiers and their
relative efficiency.
In the first place it will be necessary for us to notice the difference
between visual and photographic intensification, as the two are not the
same and we may have one without the other. If the deposit of the
original negative is neutral and the intensified deposit also neutral, then
any increase in visual density will be a direct measure of the photo-
graphic effect. In most cases, however, these conditions are not ful-
filled. Some intensifiers depend entirely upon the change of the silver
17
Bennett, Phot. J., 1903, 43, 74 Clerc, Brit. J. Phot., 1912, 59, 215.
1
8
Communication No. 58 from the Research Laboratory, Eastman Kodak
Company, The Photographic Journal, 1918, 58, 81; Journ. Frank. I nst., March
1918.
'
'<
"
.,
.
t
'
t
to some material having "a more non-actinic color," as for instance
uranium and the sulphide method.
The authors distinguish between three general classes of intensifiers :
r. Those giving both visual and photographic intensification, as ura-
nium. A second class of the same giving neutral deposits, as
mercuric bromide with amidol and chromium followed by
amidol provided the' deposit of the negative is neutral. The
most generally useful class of intensifiers.
2. Visual reduction but photographic intensification. Example. Re-
development with sodium sulphide where the visual density is
less, but the non-actinic color gives photographic intensification.
3 Visual intensification with photographic reduction obtains only when
intensifiers having a bleaching effect are used on negatives of
high color. Example. Chromium-amidol on a badly stained
pyro negative. A special case only.
In Fig. I s8 the percentage increase in density IS plotted as the
300
-
..!({
I'-,,
f-
t' ,""'
'0
-
-
..Q'!.
-
.........__
(}
--~
1f!!!
~
< ~ .... -
1-
i7
;::;..--::
' '
-1-
....::::
---
~
---
f-
-
1-- -
11!_
-
.....:::::::::
0
0 .2 .4 .6
.8 1.0 1.2
Ongrnal Density
FrG. 158. Sensitometry of Photographic Intensification. (Nietz and Huse)
I. Mercuric chloride+ ammonia. VI. Chromium+ am idol. VII. Mercuric
bromide + amidol. X. Mercuric iodide + paramidophenol. XII. Uranium.
XVI. Mercuric iodide+ Schlippe' s Salt. XVIII. Cupric chloride+ sodium
stannite.
ordinates against the original densities as abscissae. A line parallel
with the base would thus indicate proportional intensification. No in-
1
362 PHOTOGRAPHY
tensifier reaches absolute perfection in this respect although several
approach it very closely.
By plotting the densities of the intensified and original plates against
log E in the usual manner employed in sensitometry we get two char-
acteristic curves the difference of whose gammas is a measure of the
increase in contrast.
Th photographic gamma of intensified plate y ip
us photographic gamma of original plate y op"
gives the degree of intensification. The data for a few representative
intensifiers is given in the following table taken from the paper of Huse
and Nietz:
yiP
Intensifier Blackener y op
Mercuric chloride .. .. ................. ........ ...... ammonia 1.15
Potassium bichromate and HCI. ...... .. .... .. ....... amidol 1.45
Mercuric bromide ........ ... ...... ..... .... ......... amidol 1.15
Potassium ferricyanide and potassium bromide .. .. ... sodium sulphide 1.33
Cupric chloride ........... . ..... . .................... sodium stannite 1.93
Permanganate and HCI. .. .. .... .. . ........ . .. . ...... sodium stannite 2.05
Mercuric iodide ..................................... Schlippe's salt 2.50
The careful study of this and the preceding table will give the stu-
dent much valuable information regarding the characteristics of the
different intensifiers and their suitability for employment in particular
cases.
Local Reduction and Intensification.-Local reduction or intensi-
fication is of great assistance at times in bringing out certain details in
the shadows or in reducing the density of an over-dense highlight. If
the negative to be reduced or intensified has been allowed to dry it
should be first soaked for fifteen to twenty minutes in water, while if
the negative has been handled it may be well to add to the water a
small amount of sodium carbonate to remove any grease present on the
film.
It must be remembered that many intensifiers and some reducers
(the latter, however, to a minor extent) alter not only the density but
also the color of the deposit and this makes it hard to judge accurately
the actual amount of reduction or intensification secured. Preference
should therefore be given to intensifiers which do not produce a colored
image such as chromium or mercury and ferrous oxalate. For reduc-
tion, the iodine-cyanide reducer is well adapted but potassium perman-
ganate or Farmer's ferricyanide-hypo reducer may be used.
The negative to be reduced is placed in a horizontal position on a
'
'
'
sheet of glass where it will be well illuminated by transmitted light.
A convenient reducing bench described by a writer in the British
Journal of Photography is illustrated in Fig. 159. The solution should
then be applied to the desired portions with a soft brush or with a wad
of absorbent cotton. Use only a weak solution, otherwise the action
may be so rapid as to get beyond control while should any of the
strong solution be accidentally carried over on undesired areas, it will
be impossible to prevent them from being reduced.
Local intensification may be carried out very simply by the use of
colored dyes. These may be applied in a very dilute state to the de-
sired portion and allowed to dry. If too strong the negative may be
washed in water to weaken the dye. Suitable dyes for this purpose
are erythrosine and the Agfa preparation known as Coccine Nouvelle.
FIG. 159. Bench for Local Reduction. (British Journal of Photography)
Namias has recommended that the negative be immersed in a I/IOOO
solution of potassium permanganate for a few moments and the yellow
stain removed from the portions which it is desired to darken by paint-
ing over such portions with a solution of bisulphite of soda.
Some workers find it advantageous to apply to the parts of the
negative not to be acted upon by the reducing or intensifying solutions
L a water-resisting mixture which protects such portions from the action
of the solution. The negative can then be immersed bodily in the
solution. A varnish suitable for this purpose may be made by adding
to benzol or chloroform a very small quantity of masticated rubber or
pure white wax (not paraffine wax) .
,,
'
BENNETT-Intensification and Reduction.
13
CHAPTER XVII
PRINTING PROCESSES WITH SILVER SALTS
I. PRINTING ON BROMIDE AND GASLIGHT PAPER
Characteristics of Printing Papers.-It is the primary object of the
photographer to reproduce in the print the gradations of light and
shade observed in the subject photographed. The negative is an in-
termediate step; perfect reproduction of the brightnesses of the sub-
ject on the negative is of no importance unless the printing process is
capable of producing from this negative a print which corresponds to
the visual impression of the subject photographed. Accurate repro-
duction of the gradations of the subject involve, therefore, (I) the
production of a negative in which the opacities are inversely propor-
tional to those portions of the subject which they represent, and (2)
the production from this negative of a print in which the light reflected
from the various parts of the image reproduce the visual impression of
the subject photographed. The possibility of accurately reproducing
the tones of any subject by photography depends, therefore, not only
on the accuracy with which we are able to translate subject bright-
nesses into opacity in the production of the negative, but also on the
extent to which we are able to make from this negative a positive print
in which these opacities are correctly rendered as shades of black re-
flecting amounts of light proportionate to the corresponding portions
of the subject.
There is no diffitulty in securing correct reproduction in the nega-
tive, for, as shown by Hurter and Driffield, this is possible if the
straight-line portion of the curve of the sensitive material is used, and
with negative materials the straight-line portion is sufficiently long to
take care of the range of light intensities in all ordinary subjects.:
Printing papers show the same type of curve as do negative m ~
terials and in both cases the length of the straight-line portion deter-
mines the range of light intensities over which correct reproduction is
secured. Now assuming that the gradations of light and shade in the
original subject are correctly represented by the opacities of the nega-
tive, perfect reproduction of the original subject will be obtained if we
364
PRINTING PROCESSES WITH SILVER SALTS 365
use the straight line portion of the curve of the printing paper in mak-
ing the print.
The length of the straight-line portion of the curve of a printing
paper, however, is much shorter than that of negative materials. The
greatest range of light intensities possible with a printing paper is the
f ratio between the amount of light reflected from the white paper and
that reflected from the deepest black which the paper is capable of pro-
ducing. The maximum black which a paper is capable of producing
varies with the emulsion and with the surface of the paper. With a
matt paper the difference in the amount of light reflected from the
white paper and the maximum black of the paper may be in the ratio
of .I: IS; with glossy papers the ratio is somewhat greater, varying
with different papers up to about I :so. Since few subjects have a
greater range than this, it follows that it is just possible, by using the
entire scale of the paper, to include the scale of brightnesses in the
subject photographed. The limits of correct rendering, however, are
fixed by the range of brightnesses included in the straight-line portion
of the characteristic curve of the printing material. The range of the
straight-line portion of the curve, however, is considerably less than
the total scale of the paper. Consequently, tne total range of bright-
nesses in the average subject cannot be included in the straight-line
portion of the curve; the total scale of the paper must be used at the
expense of correct reproduction at both ends of the scale.
Aside from differences in total scale, printing papers differ in the
slope of the curve, or what is designated as gamma, and in exposure
range. With papers, the rriaximum contrast, or gamma infinity, of the
paper is reached at a very early stage of development so that prints are
always developed to gamma infinity and the contrast of the print is not
varied by development, as in the case of negative materials. The dif-
ference in the time of exposure necessary to produce the faintest visible
impression and that required to produce the maximum black which the
paper will yield constitute what is known as the exposure-scale of the
paper. The exposure scale varies with different papers, ranging from
I : s in the case of a vigorous chloro-bromide paper for amateur print-
ing to I- : 6o or more for carbon or platinum papers. In other weirds,
with a paper such as the first mentioned, an increase in exposure five
times that required to produce the lightest visible grey will result in
the deepest blaclf ' the paper is capable of producing, while in the case
of a bromide paper 40 to so times, and with platinum or carbon, from
366 PHOTOGRAPHY
6o to 8o times as much exposure will be required to produce the fuil
range of the paper from white to black.
Papers having a short exposure scale are generally spoken of as
contrast papers and those of long scale as soft papers; actually the
contrast of a printing paper is not determined exclusively by its ex-
posure scale but by its maximum black and gamma infinity as well.
In printing, the range of light intensities transmitted by the opacities
of the negative cannot be greater than the exposure scale of the paper
or the gradations in either the highlights of shadows will be lost. Thus
if the light transmitted through the various opacities of the negative
range from I : so then to reproduce all of these differences in the print
will require a paper having an exposure scale of I: so; if a paper hav-
ing an exposure scale of I: 2S is used only one-half of the scale of the
negative will be reproduced in the print and the differences in either
the deeper shadows or brighter highlights will be lost. In practice,
therefore, we use for printing a paper whose exposure scale is ap-
proximately equal to the range of the opacities of the negative from
which the print is to be made. The range of opacities in the negative
is under the control of the photographer as it is dependent upon the
degree of contrast, or gamma, to which the negative is developed.
Consequently, two courses are open: (I) the negative can be made
to fit the exposure scale of a given paper by development to the proper
stage, or ( 2) the negative may be developed to a given contrast and
the print made on a paper having an exposure scale suitable for the
negative. Jn practice, both methods are followed although the wide-
spread use of developing papers, the exposure scale of which varies
widely in different grades, has caused the latter method to be the more
widely adopted.
Adapting the Paper to the Negative.-In Fig. 160, photograph a
and its accompanying graph illustrate the condition resulting from the
use of a long scale paper on a negative with a shorter scale of tones.
It will be o ~ e r v e d that since the available scale of the printing medium
is so much greater than the rregative, the use of such paper restricts us
to a scale ranging from a white to a grey. Thus, if the densest high-
light of the negative is rendered as white, the deepest shadows are
grey, rather than black, while if the exposure is adjusted so as to
render the shadows black, the highlights of the print are degraded.
In either case, the res1,1lt is smudgy, smoky, with a washed-out appear-
ance lacking in contrast and vigor.
In the same figure, b and its accompanying graph represent the
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PRiNTING PROCESSES WITH SlLVER SALTS 069
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370 PHOTOGRAPHY
condition resulting from the use of a paper having approximately the
same scale of tones as the negative. In this case, we have the densest
highlight of the negative reproduced as white in the print and the
deepest shadow as black, together with a full scale of intermediate
tones, the whole resulting in a pririt with a pleasing gradation from
light to dark which impresses us as being natural and proper.
If, however, on a negative with a long scale we make use of a .
short scale paper we have the result represented in Fig. 16oc. In this
case, we must loose some of the tones, for the limited range of tones
available with the particular printing paper is insufficient for the long
scale which the negative possesses. Hence we must reproduce the
middle tones and shadows correctly and sacrifice the highlights, or we
must expose long enough to render the highlights properly and sacri-
fice all detail and tone in the shadows.
We see therefore that for faithful reproduction of the tones of the
subject the scale of the printing medium must approximate to that
of the negative and allow us to make the most of the full scale of
tones available in a paper print. Now, the three negatives from
which these prints were made represent respectively short, normal and
long-scaled negatives produced by short, normal and prolonged de-
velopment. They are, in other words, what would be termed " flat,"
"normal" and "hard" or contrasty negatives. Now for a we have
used what is termed in ordinary parlance a soft paper. The result is,
as can readily be seen, a lack of vigor owing to the fact that the range
of tones in the paper is greater than that of the negative. Conse-
quently we must employ a paper having a shorter scale, or one termed
" medium," "normal," or even "contrast" or " hard." In c we have
a negative with a long scale, or what would be termed a " contrasty "
negative, which we have printed on a short scale paper, or in every-
day language, a "contrast" paper, the result being excessive contrast
together with the loss of proper gradations in the highlights or in the
shadows. We must therefore employ a paper with a longer scale of
tones in order to make use of the full range of tones in the negative.
The golden rule for selecting the proper grade of papet is, there-
fore: Observe closely the degree of contrast in the negative. If the
contrasts are correct, use Medium or Normal paper. If the contrasts
are excessive, use Soft paper, while if the negative is lacking in con-
trast, use a Hard, Contrast or Vigorous paper.
Developing Papers.-Developing papers for positive printing may
.. \

be broadly divided into. two classes; bromide and chloro-bromide. The
former is a fast emulsion consisting essentially of silver bromide and
corresponds very closely to that of negative emulsions except as re-
gards speed; the latter is a much slower emulsion in which silver
chloride is the predominant halide. Aside from the use of silver
chloride as one of the sensitive halides, the essential difference in nega-
tive and positive emulsions for development is the lower sensitivity
and finer grain of the latter, arising from the fact that in the prepara-
tion of emulsions for positive printing, digestion plays a relatively un-
important part and from the much lower concentration of the emulsion.
Exposure.-While daylight may be used for exposure, artificial
light is preferable, owing to its greater uniformity and also to the fact
that daylight is much too rapid for the best results, except where very
dense negatives are involved. Practically any artificial light is usually
suitable but electricity or gas are naturally more rapid and convenient
in use than any of the others. Nevertheless, the common oil lamp,
acetylene, or pocket flash lamp may be used when for any reason the
former are not available. Magnesium ribbon also forms a very satis-
factory illuminant, small lengths of from one half to two inches being
used at a foot from the negative. Whatever the illuminant chosen,
the distance between the illuminant and the printing frame should be
standardized so that it is always the same. This distance must be at
least equal to the diagonal of the negative in order to secure even
illumination, unless more than one light is used. Far more satisfactory
than a printing frame, however, is one of the many types of printing
machines which are obtainable in a wide variety of styles and prices .
A simple machine made by the Eastman Kodak Company, especially
for amateur use, is illustrated in Fig. 161. This printer carries a 6o
watt electric bulb and a small ruby pilot bulb. The negative is placed
in position on the plate glass top and the paper placed over the same.
When the platen is brought forward, the two are pressed into perfect
contact and at the same time the ruby light goes out and the white light
for exposure comes on. Releasing the platen switches out the white
light and turns on the ruby bulb. This machine is one of many similar
instruments which work on the same principle varying in details ac-
cording to the requirements of the amateur, the photo-finisher or the
professional photographer.
Correct exposure depends upon: the density of the negative, the
speed of the paper, the strength of the light and the distance of the
negative from the light. Simple instruments
1
have been devised for
372 PHOTOGRAPHY
measuring the density of the negative and from this determining the
proper time of exposure but on the whole this is not so simple, nor so
. accurate as simply a test strip exposed and developed under actual
working conditions, since so many varying factors alter the time of
exposure. When once the correct exposure is found, this number to-
gether with the paper used may be placed upon the negative envelope
and will serve as a guide for future exposures so long as the other
factors remain constant.
Exposure is really determined by development and we will have
occasion to again refer to the subject shortly.
Developers.-There are countless numbers of formulre for de-
velopers for both bromide and chloro-bromide or gaslight papers, but
the following two are as good as any, although it is perhaps simpler to
follow the formula advised by the manufacturer. The first formula,
however, may be considered as a standard developer for gaslight papers
since it is that advised by almost every maker of such papers in
America. The second formula is that of Wellington and Ward and is
designed for use with bromide papers for which it is especially suitable
but the writer has used it with various makes of gaslight paper with
perfect success.
STANDARD METOL-HYDROCHINON D EVELOPF.R
Metol .. . .. .. . .. . ... ... . .. . . .. . . .. . .... .. .. .. 15 gr.
Sodium sulphite ( dry) . .. .. . . ... . ... .... .. . . . 0 oz.
Hydrochinon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6o gr.
Sodium carbonate (dry) . . . . . . . . . . . . . . . . . . . . . . 0 oz.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 oz.
Potassium bromide from 5-20 grains according
to tone desired. ( .25-1 gm. )
-75 gm.
II. $ gm.
3 gm.
II.$ gm.
1000 cc.
For convenience in compounding Mr. L. I. Snodgrass recommends
that the developer be made up in three stock solutions : one containing
the metol and half the quantity of sulphite, the other the hydrochinon
with an equal amount of sulphite, and the third the sodium carbonate;
the three stock solutions being mixed in the proper proportions to pro-
duce a developer adapted to the work in hand. This method has the
added advantage that the keeping quality is better than when the alkali
is incorporated with the developing agents. The following is the
formula recommended by Mr. Snodgrass and the manner of dilution
for typical soft, normal and hard-working devel opers: '
1
As, f or instance, the Sanger-Shepherd Density Meter.
. ..
Frc. r6r. Printing Machines f or Amateur and for P rofessional u se
374 PHOTOGRAPHY
----------------1-------A-------1--------B------l- --
Metol ... . .........
Sodium sulphite (dry)
Hydrochinon .. . ... . .
Sod. carbonate (dry) .
Water . . ........... .
For
2.5 gm. 45 gr.
18.0 gm. % oz.
500.0 cc. 20 oz.
Soft developer ........ .. .. .. .... . .. ..
Normal developer .... . .. . . .. ... ......
Contrast developer .... . . . . . ....... ...
I8.o gm. % oz.
IO.o gm. I8o gr.
500.0 cc. 20 oz.
A B
3 parts I part
I part I part
I part 3 parts
36.0 gm. I Y2 oz.
500.0 cc. 20 oz.
c Water
I part 7 parts
I part 3 parts
3 parts 5 parts
These proportions may be further varied within reasonable limits to
secure the effect desired. If too much of stock solution B is used the
print will have a brownish tint, while if too much carbonate (Solution
C) is used fog will be produced. Within these limits, however, the
developer may be varied to the degree demanded by the work in hand.
WELLINGTON AMIDOL DEVELOPER FOR BROMIDE PAPER
Sodium sulphite (dry) . . . .. ............ . ..... . . 325 gr.
Amidol (Diaminophenol). .. ...... . ..... . ... . . . . . so gr.
Potassium bromide . .. . . ... ..... . ... . .. . .. .. . .. IO gr.
Water to make......... .... ...... . .......... .. 20 oz.
I7.2 gm.
2.8 gm.
.s6 gm.
soo cc.
Amidol does not keep well in solution and the above developer should be used
if possible the same day or at least within three days of mixing.
The Safelight.-Development should be conducted in a safe light.
If there is any doubt the safety of the light, lay a sheet of
paper under the same in the position ordinarily occupied by the de-
veloping tray and expose the same for a minute, then develop for a
minute in total darkness. If there is any indication of fog, the light
is unsafe and should be reduced in volume with a sheet of postoffice
paper or a new safelight should be introduced. An excellent lamp for
developing is shown in Fig. 25. For gaslight paper, the proper screen
is the Wratten Series oo and for bromide Series o. Plenty of light
may be used but it should be safe. Either of the above screens when
used with a 16 candle power electric light will be found perfectly safe
and will give an ideal light by which to work.
Development.-The development of prints is not essentially differ-
ent from that of negative materials but certain factors which are
relatively unimportant in negative development become of considerable
moment in the development of emulsions on paper. The factors of
diffusion and absorption of the developing solution by the gelatine film
become much less important, while development takes on more of the
character of the so-called " physical " development, i.e., the reduction
of the silver from a solution which interacts with the developer. This
alteration in the character of development is not due, however, to the
use of an accessory solution depositing silver, as in actual physical de-
velopment, but to the solvent action of the sodium sulphite of the de-
veloper on the fine-grained silver bromide and silver chloride.
As silver chloride and the fine-grained silver bromide of paper emul-
sions are more easily reduced by developers than the coarser grained
silver bromo-iodide of negative emulsions, the reducing energy of the
developer must be less in order to prevent fog. Hence the use of a
soluble bromide in paper developers. The use of a soluble bromide in
the developer has much the same effect as with negative materials.
The inertia point shifts to the left with the time of development and
the shape of the characteristic curve changes. Owing to the fact that
the maximum contrast is reached very quickly, there is a tendency,
particularly in bromide printing where development proceeds more
slowly, to remove the print too soon so that the maximum richness of
the deposit is lost. The alteration which takes place in the character
of the curve is graphically shown in the following Fig. 162 taken from
the paper by Mees, Nutting and Jones of the Eastman Research Lab-
oratory.2
It will be observed that there is a vast difference between the curves.
One is seriously distorted and the straight line portion is very short,
practically non-existent, while full development has given a curve
showing a straight line portion of considerable length. This condition
obtains when bromide and the slow grades of professional gaslight
papers are under developed. The condition is somewhat different in
the case of a rapidly developing paper such as V elox or Cyko in which
case the maximum contrast is reached in a very short time and times
of development shorter than this show serious mottling . and irregu-
larity. The golden rule in developing both gaslight and bromide
papers is then: Develop to finality or as far as development may be
carried without producing fog. The exposure will then determine the
darkness of the print.
Factorial Development.-This condition is most easily secured by
factorial development in the case of papers which develop slowly as
2
"The Sensitometry of Photographic Papers," Communication No. 21, East-
man Research Laboratory, Abridgments, vol. I, p. 68, Phot. !., 1914, 54, 342
376 PHOTOGRAPHY
bromide and professional chloro-bromide papers and by simple time
methods in the case of the rapidly developing gaslight papers. As in
the case of plate development the factorial method takes care of the
variation in temperature of the developer, and it also affords an ac-
curate indication of the rate of development. Since it is customary to
develop several prints, one after another, in the same volume of de-
veloper which thus becomes weakened by use the time of development
D
I
k

F-
f.--
A ~ T U A
~ ~
If/ v
'
lj;l
I
I
lj
I
..

~
Vjl
I
li
~
I
I
/!
VL
/
A
1//
v
/
t
~
~
v
---
---
LOH
.G .a LO I.Z. 14 I. 18 ZO 2'!. Z4 Ui Z8
FIG. 162. Effect of Time of Development upon the Characteristic Curve of
Paper Emulsions
grows longer and this is a factor difficult to determine by the method
of development by inspection as commonly employed. Another point
in favor of the factorial method is that, provided the proper factor is
chosen, development is carried to infinity and the maximum quality
which the paper can give is obtained. Still another point in its favor
is that it makes correct exposure absolutely necessary as a print which
is over exposed will be too dark when developed by the factorial sys-
tem, while in development by inspection, the print would be removed
from the developer when the proper depth had been reached, thus re-
sulting in under development and loss of print quality.
The Proper Factor.-The proper factor seems to be entirely a
matter of the developer and does not seem to be influenced particu-
larly by the paper used. Thus, Kodak, Wellington, Barnet, and
Illingworth bromide papers have been developed in the Wellington
formula, given above, with perfect success using a factor of 15. In
fact, factors from 10 to 20 give practically identical results except
that less exposure and longer development is required for the higher
factors and in practice IS may be chosen as a good average, since it
is midway between the minimum and maximum useful factors.
The proper factor for any developer may be estimated by exposing
strips of paper under the negative for various times and developing
the same in the developer for various times and observing accurately
the t i ~ of appearance of the image. The time of development
divided by the time of appearance gives the factor:
Time of development _ f
T
. f - actor.
1me o appearance
The following is taken from tests conducted with the Eastman Amidol
formula.
Print No.
I II III IV v
--- - - - - --
Exposure (seconds) ...................... .. . II
IS
I8 27 38
Time of appearance (seconds) . ..... .. . .. . . ..
IS I4 I4 I3
9
Time of development .. . . . ..... .. . . . . . . .... 300 2IO J68 I04
54
Factor (nearest) .... ........ ... ........ .. . . 20
IS
12 8 6
Prints I, II, and III are practically identical, while IV and V show
marked falling off in richness of blacks and in contrast. The proper
factor then is somewhere between 10 and 20, so IS may be used as a
standard since it is the average of the two. Time and material spent
in determining the factor for any developer will be well repaid in the
shape of better and more uniform print quality.
With very rapid1y developing gaslight paper the factorial method
may be used but owing to the rapid appearance of the image in the
developer it is rather more difficult to employ and simple development
for the times indicated by the manufacturers in their instruction sheets
inclosed with the paper is perhaps the best solution. Care should be
taken, however, to keep the developer as nearly 6S F. as possible and
to use the same for only a limited number of prints.
The Short Stop.-While prints may be rinsed in water immediatelv
following development and then placed directly in the fixing bath, in
commercial establishments and other places where it is desirable to
develop several prints before transferring the same to the fixing bath,
the prints upon removal from the developer are immersed in a bath
. i
I
378 PHOTOGRAPHY
of acetic acid, which is termed the " short stop." In this hath, de-
velopment is instantly checked and the print may be left while several
others are developed and then the entire batch transferred to the
fixing bath at one time. In some large commercial establishments,
it is customary to develop prints and leave them in the short stop
until a considerable quantity have collected, when they are fixed
together and washed. Such a "batch" may number from one to
three hundred prints and is usually governed by the size of the fixing
tanks and the capacity of the automatic washers. The formula for
the acid short stop is as follows:
Water to make .................................. 64 oz.
Acetic acid 28 per cent (Comm.) ............. . .... 4 oz.
1000 cc.
62.5 cc.
Fixing.-Prints require to be thoroughly and COJ11pletely fixed.
Ten to fifteen minutes' immersion in a standard acid fixing bath is
sufficient, provided the " hypo " has complete access to the surface of
each print. To ensure the latter condition, the prints should be con-
stantly turned over and over so that the hypo may be able to reach
each and every print. Merely leaving the prints immersed' in a suf-
ficient quantity of fresh acid fixing bath of proper strength for an
indefinite time is not fixing and is to be heartily condemned. The
golden rule for perfect fixation of prints may be stated as follows :
Use a fresh acid fi:ring bath and keep the prints in motion for the:
entire time of fixation, which should 1equire at least fifteen minutes.
In some commercial establishments, where large numbers of prints
are handled in each batch, two fixing baths are used, the prints being
fixed in one for ten to fifteen minutes and then transferred to the
second for a similar length of time. This is a capital plan and is one
which might well be adopted by every amateur finisher. Attention
might well be called to the fact that the fixing bath should be acid;
otherwise, the developer carried over upon the surface of the prints
will soon cause it to discolor. Careful draining of the prints as they
are removed from the developer and the use of an acid short stop be-
tween development and fixing will do much towards keeping the fix-
ing bath clean. There is more danger of overworking the fixing hath
with prints than with negatives, since in the latter case the disappear
ance of the milky backing is an indication of the speed of fixing;
whereas, there is no such indication in the case of the fixation of
prints. For this reason, it is advisable to keep accurate record of

\
the number of prints fixed in a given volume of solution, in order
that the latter may be discarded as soon as the limit of its fixing
powers has been r eached. One gallon of any standard fixing bath
should fix at least a gross 5/7 prints or approximately sooo square
inches of paper surface. As soon as this amount is reached, the bath
should be discarded and a new one substituted. Never add new fix-
F rc. r63. Electrically Operated Print vVasher. (Pako)
ing bath to a used solution. Pour out the old bath and replace with
new. The following is a good formula for the fixing bath:
" Hypo " . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . r6 oz. 288 gm.
Water to make . . ..... . . . .. . ......... . ........... 64 oz. IOOO cc.
Dissolve and then add the following hardening solution, which may
be made up in stock solution :
Sodium sulphite dry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . % oz.
Acetic acid 28 per cent. ............. . ........ . ... 3 oz.
Powd. alum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0 oz.
Water to make . . ............ . .............. . .... 5 oz.
7. r gm.
49 cc.
7.r gm.
78 cc.
Washing.-Prints should be washed for one half 'to one hour in
running water and must be kept separated or they will cling together
and the hypo will not be thoroughly eliminated within thi s time. Sev-
380 PHOTOGRAPHY
eral ingenious machines have been introduced for this purpose. Fig-
ure 163 shows one of the turbine washers such as are used in large fin-
ishing plants. The machine is operated by electricity and has a ca-
pacity of about 250 to 300 average size prints, which are kept sepa-
rated and in motion very efficiently. Another type of washer which is
more suited to the amateur and small worker is that illustrated in
Fig. 164. The prints are given a swirling motion by the water, which
FIG. 164. Centrifugal Water Pressure Type of Print Washer. (Halldorsen)
enters on the side so that they are kept well separated. The water
passes out through the siphon arrangement in the center which re-
moves the hypo-laden water from the bottom and at the same time
owing to its conical shape prevents the prints from collecting in the
center. The perfect washing machine does not exist and after all,
perhaps the most efficient method consists in constantly transferring
the prints by hand from one large tank to another in both of which
fresh water is kept running. At any rate, it is well to take no chances
with imperfect washing and where absolute permanency is desirable,
tests for the presence of hypo should be made by any of the metho9s
previously given in the chapter on Fixing and Washing. The starch-
azide test may be recommended as convenient and sufficiently reliable.
Drying.-Small batches of prints may be laid out on blotters to dry
or stretchers covered with cheesecloth or muslin may be used. Prints
which are allowed to become bone dry in such condition will curl con-
siderably and many remove prints when nearly dry and place them
between blotters under slight pressure in order to cause them to dry
flat. For commercial establishments one of the many forms of drum
dryers illustrated in Fig. 165 is recommended. The prints are placed
between two broad belts which carry them around a heated drum
about three or four feet in diameter. The revolution requires about
three to five minutes and when the prints reach the starting point .they
are thoroughly dried. In some models the drum may be run at dif-
ferent speeds so that single and double weight or thick papers may
be dried in one revolution of the drum. There are several dryers of
this type on the market. The one illustrated is the Sickle and is
lire. r6s. Rotary Belt Dryer. (Sickle)
shown not because it is any better than any other but merely as an
example. Each of the commercial machines has its own distinctive
features which should be carefully studied by the intending purchaser
in order that he may be sure that he is securing the best apparatus
for his particular requirements.
Alteration of Contrast-With a metol-hydrochinon developer it is
possible to secure varying degrees of contrast with the same paper by
varying the proportion between the two developing agents. Metal
being a member of the soft-working class of developers, increasing
the amount of metol leads to softer results while increasing the pro-
portion of hydrochinon (which is a contrast developer) leads to
greater brilliancy. This is at times very convenient when dealing
with negatives having too much or too little contrast for the particular
paper required. The three-solution metol-hydrochinon developer
worked out by Snodgrass is especially suitable for this purpose as it af-
fords a convenient means of preparing directly from stock solutions
a soft-working, normal or contrast developer as required.
With some bromide papers increased contrast may be secured by
using a hydrochinon-caustic soda developer as employed for process
and photo-mechanical plates but with snme papers and, particularly
with most gaslight papers, this leads to images of poor color.
382 PHOTOGRAPHY
When it is required to secure the best possible results from exces-
sively contrasting negatives, without resorting to persulphate reduc-
tion or other manipulation of the negative, Sterry's method may be
used.
3
By its use soft results may be obtained with the very hardest
negatives. The exposed paper is bathed for two or three minutes be-
fore development in a solution of potassium bichromate and then de-
veloped in the ordinary way. The following stock solution is made
up:
Potassium bichromate ............................ I oz. 9I gm.
Strongest ammonia (.88o) ............... .. ...... I dr. I2.5 cc.
Water to make .................... . ............. ro oz. rooo cc.
For use take one to two drams of the above stock solution to ten
ounces of water ( 12.5-25 cc. to 1000 cc.).
Determine the exposure required to secure the proper detail in the
highlights (neglecting the shadows) when developing in the usual
way. Then make up the solution as above and immerse the exposed
sheet Of paper in the solution for three minutes. Wash for half a
minute and develop in the regular developer. Development is some-
what slower than ordinarily but the shadows are held back while the
highlights come out to proper depth sooner so that the print is softer
and has a better scale of values. An acid fixing bath must be used
for fixing to avoid stains from the bichromate solution. Various de-
grees of softness may be secured by altering the strength of the bi-
chromate solution; the stronger the solution the softer the result,
other things being equal.
Reduction and Intensification of Prints.-It is not often that one
desires to go to the trouble of reducing or intensifying prints as it is
usually as simple and more satisfactory to make them over. There are
times, however, as in the case of a big enlargement, where expense is
an item of importance, when it may be desirable to attempt reduction
or intensification before going to the time and expense of making a
new print.
As in the case of negatives, prints may be reduced so that the con-
trasts are increased (subtractive reduction), diminished ( super-propor-
tional reduction) or unaltered in contrast, the depth of the print alone
being reduced (proportional reduction).
For proportional reduction the following permanganate reducer IS
quite satisfactory:
3
Phot. J., I907, 47, I70.
Potassium permanganate................... . ... 7 gr.
Sulphuric acid (10 per cent solution) .... . ...... . 350 min.
Water .............. ... ......... ... ... . . . ... .. 16 oz.
1 gm.
so cc.
1000 cc.
This acts rapidly; from 45 to 120 seconds is the average time and it
reduces any slight fog which may be present.
For increased contrast (subtractive reduction) the iodine-cyanide re-
ducer is suitable. Owing to its poisonous nature it must be handled
with care.
Iodine ( 10 per cent solution in potassium iodide
solution) .................................. 403 min.
Potassium cyanide ( 10 per cent solution) . . ..... 70 min.
Water .. .... . .................. . ............ 16 oz.
575 cc.
10 cc.
1000 cc.
For reduction of contra,st ammonium persulphate appears to be the
only suitable reducing agent.
Ammonium persulphate ...................... 560 gr.
Sulphuric acid............... . ...... ... ...... 8 min.
Sodium chloride (salt)............... ... .... 6 gr.
Water ......................... ... ......... 16 oz.
For use, dilute with two parts of water.
4
8o gm.
1.06 cc.
o.8 gm.
1000 cc.
The most satisfactory agent for intensifying prints is chromium.
While other intensifiers will produce some increase in depth, the color
is nearly always affected and the whites of the print tinted while none
is so dependable in use as chromium. In general the operation is ex-
actly the same as for negatives. Particular attention, however, must
be paid to the thorough removal of every trace of bichromate before
development. The time of washing necessary for this may be con-
siderably shortened by immersing the print for five minutes in a dilute
solution of potassium metabisulphite. Redevelopment may be with
amidol or with the developer used for the original print, provided it is
fresh and does not contain a large amount of soluble bromide. Should
the amount of intensification secured the first time be insufficient the
operation may be repeated. In this case it is well to use amidol for
redevelopment as there is less danger of frilling or excessive softening
of the gelatine.
The Glazing of Prints.-Prints with a highly glazed surface can be
produced on any of the glossy grades of P-0-P or developing papers.
Such prints are best for reproduction and for work of a scientific na-
4 The above formulre are taken from the paper of Jones and Fawkes on the
"Reduction of Developed Prints," Brit. !. Phot., 1921, 68, 275.
384 PHOTOGRAPHY
ture where it is necessary to preserve fine detail. For producing the
highly glazed surface, specially prepared iron plates coated with a hard
brilliant enamel are generally employed. These are commonly terrned
ferrotype plates or squeegee tins. The wet prints are placed on the
polished surface of the ferrotype plate and brought into perfect con-
tact with the same by the use of a wringer or a hand roller. When
dry, they can be stripped from the plate, having acquired as a result
of this treatment a highly glazed surface similar to that of the plates
on which they were dried. In place of the usual ferrotype plates,
celluloid or glass may be used.
The highest glaze is secured with glass, but owing to the greater
danger of prints sticking to the surface so that they cannot be removed
without damage, either the ferrotype tins or celluloid are preferred.
The first aim of the worker should be to,Jearn the characteristics of
the paper used with respect to glazing. Some papers, which are har-
dened in the process of manufacture, may be removed directly from the
wash water and placed upon the tins; with other papers this would re-
sult in complete failure and some form of prehardening is necessary to
prevent the prints from sticking to the plates. If the prints are dried
and then resoaked until limp in cold water, the gelatine becomes con-
siderably harder and the danger of prints sticking to the plates is
largely obviated. Either alum or formaline may be used for harden-
ing the emulsion, in order to prevent the necessity for an intermediate
drying, but of the two formaline is undoubtedly the better. In the
first place it does not endanger the permanency of the prints, as if not
completely washed out in the few minutes wash which should follow
immersion in the formaline solution it will evaporate entirely. In ad-
dition, it possesses the advantage over alum in that it has no tendency
whatsoever to produce iridescent markings on the prints. A solution
of I oz. formaline to 20 oz. water is sufficiently strong.
If glass is used the plates are first cleaned by soaking for several
minutes in weak sulphuric acid (r oz. commercial H
2
S0
4
to IO oz.
water), then rinsed under the tap and scrubbed with plain washing
soda, again rinsed and allowed to dry. When r y ~ t h e glass is coated
with perfectly fresh ox-gall ( r oz. ox-gall to 40 oz. water). Old ox-
gall is worse than useless and will actually cause the prints to stick.
The prints are placed face down on the prepared surface, a blotter
placed over them and pressure applied by means of a roller until the
prints are seen to be in perfect contact with the surface. The glass is
then placed in a cool dry place and the prints allowed to become thor-
. \
I
I
l
.
oughly dry before trying to remove them. Some may leave the glass
completely when dry, those that do not may be removed by inserting
a finger nail under one corner and pulling away from the glass.
Lately Callier has recommended that the glass be coated first with
a 2 per cent solution of gelatine. When this is dry, a thin film of
collodion is superimposed. This collodion is prepared as follows :
Pyroxyline (soluble) ....... . ................... 756 gr.
Vasoline oil...... .. ..... . ......... . . .. .. ... ... g6 min.
Amyl acetate to make............. ........ . .. .. 35 oz.
45 gm.
2 cc.
IOOO CC.
When the collodion has dried the prints are applied as usual and when
dry will drop off. There is absolutely no danger of sticking.
Ferrotype tins, however, are more generally employed in this coun-
try. With these the danger of prints sticking to the plates is much less
than with glass. It is necessary, however, to keep them absolutely
clean and well polished. For this purpose a solution of benzol and
spermaceti wax, or turpentine and beeswax, is usually employed.
Suitable formulas follow:
Beeswax . . ....... . ........ . ....... . . .. . . .. . ..... 20 gr. 45 gm.
Turpentine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz. IOOO cc.
Spermaceti wax ... . .............................. 20 gr.
45 gm.
Benzole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz. IOOO CC.
A few drops of this are rubbed on the plate with a piece of clean flannel
and the tin polished with another piece of flannel or other soft cloth.
Celluloid forms a very suitable substance for glazing although the
gloss is not so high as that produced by glass or by ferrotype plates.
A special brand known as Glazine, manufactured by the Glazine Pad
Company, Hillsborough, Sheffield, England, is supplied for this pur-
pose. With this the danger of prints sticking to the plate is practically
negligible. Neither is polishing of any kind required. The writer has
used them with perfect success for two years and believes them to be,
all things considered, the most satisfactory glazing substance obtainable.
II. PRINTING-OUT PROCESSES
Gelatine Printing-Out Papers.-Gelatine printing-out papers
(called P-0-P for short), once almost universally used for posrtlve
printing, have been rendered almost obsolete by the modern developing
papers and are now seldom employed. There remain, however, some
386 PHOTOGRAPHY
purposes for which they are still unrivaled as, for example, for prints
from which half-tone plates are to be made and for photo-mechanical
reproduction processes generally. It seems well, therefore, to include
some brief directions for the manipulation of such papers.
Printing itself is very simple and calls for but little comment. The
printing frame may be loaded and the progress of printing observed in
an ordinary room if one takes the precaution not to stand close to a
window and does not leave the paper exposed to the direct rays of light
any longer than absolutely necessary. For the best result the negative
must be one which has received full exposure and development; weak,
under exposed or under developed negatives will not make good prints
on gelatine printing-out paper and such negatives are best printed on
developing paper. Care should also be taken that the negatives are
perfectly dry, otherwise a silver stain may be formed which it is al-
most impossible to remove.
Exposure should be to the strongest daylight available, excepting
direct sunlight, which must not be used except with very dense and
contrasty negatives. As there is a certain decrease in depth in the
processes of toning and fixing, printing must be carried considerably
further than would appear necessary from an examination of the pic-
ture in the printing frame. The depth to which printing must be
carried to allow for this falling off in toning and fixing is easily
learned after a few trials and thereafter gives no trouble. After being
removed from the frame the prints are placed away from light and
under pressure until a number have accumulated and one is ready for
toning and fixing. Exposed prints, however, should not be kept from
one day to another.
Toning.-Before toning, the prints are washed. in running water
for a quarter of an hour, or in several changes of water, care being
taken that washing is thorough and that each print receives its proper
share of washing. Prints which are left lying on one another do not
wash properly no matter how long the period of washing; it is essen-
tial that they be kept moving, so that each print is exposed to fresh
water. Some methods of toning, however, do not require the previous
washing.
There are almost innumerable formulas f or the toning bath and
many variations in the processes of toning. As ordinarily practiced,
toning is an operation which requires considerable practice in o r ~ r to
be able to secure satisfactory and uniform tones. There is a method
of controlled toning, however, with which even the most inexperienced
person can secure agreeable tones and with a high degree of uniform-
ity. The solutions required are a 10 per cent solution of ammonium
sulphocyanide, a ro per cent solution of common salt, a 10 per cent
solution of hypo and a gold bath containing r grain of gold chloride to
each dram of water. The principle is to use a definite weight of gold
for a given number of square inches of paper and leave the prints in
the bath until the gold has been used up.
The toning bath is made up as follows : Measure out 10 ounces
(woo cc.) of water and add two drams (25 cc.) of the sulphocyanide
solution and I ounce (roo cc.) of the salt solution. Mix, and add r
dram ( 12.5 cc.) of the solution of gold chloride. Label the bottle
Gold Toning Bath. Each ounce ( 28.4 cc.) of this solution contains
r-10 grains ( .0064 gm.) of gold which is sufficient for "two 3.% x 4,%
prints. For warm brown tones half to three quarters of an ounce
(14.2-21.3 cc.) is enough: for blue tones a little more may be needed.
Other sizes may be handled by taking the proper amount for the size
of the print.
Now suppose you have ten 3.% x 4,% prints to tone. Measure out
5 ounces ( 142 cc.) of toning bath and put the prints directly into it
without washing. Continue to move them around in the bath until no
further change of color can be observed. The final stage is when the
surface looks cold and slaty blue. They are then removed, washed,
fixed and again washed and dried.
Instantaneous Toning.-Another certain method of securing uni-
form tones is the so-called instantaneous method. Four stock solu-
tions are required:
A. Ammonium sulphocyanide.... . ...... . ... .. . I oz.
Water to make ...... . ... . ...... .. ..... .. .. IO oz.
B. Gold chloride . . . .... . ... ... ... . . . . .. . . ... .. IS gr.
Water to make.... .. ... .. .... . ..... . ... . .. 7 ~ oz.
C. Sodium phosphate . ... . . . .. . .... . . .. .. . . . .. . I oz.
Water to make .. .. ...... . ........ .. ....... IO oz.
D. Saturated solution of borax.
Mix for ten 4 x 5 prints (200 sq. inches),
A . .. .. . ... . .. . ... ... . . ... .. ... . . . ........ . ...... I dr.
Water . ... . ..... . ... . . . . .... . .. .. ............... I oz.
B ...... . .... . ... ... ........ .... .......... .. . .... ~ o z
C ....... . . .. . . .... . .. . .................... . . . ... I dr.
D .... . ..... . . . . . ..... .. .... . ..... . ... . ..... . .... 2 dr.
IOO gm.
1000 cc.
I333 gm.
1000 cc.
IOO gm.
1000 cc.
IO parts
So parts
5 parts
10 parts
20 parts
388 PHOTOGRAPHY
The prints, which should be only one shade darker than the desired
shade, are put directly in the toning bath without previous washing.
On entering the bath they first turn red, then a dark purple which is
almost 'black in the deepest shadows. No matter how much longer
they are left in the bath no further change takes place. As soon as
toning is seen to be complete, the prints are fixed or removed to a tray
of clear water until ready for fixing.
The advantages of these methods over those commonly advised are
obvious as all uncertainty is removed and the operation can be worked
at night by artificial light which is impossible in the ordinary way.
The editor of American Photography remarks that a large number
who have given it a trial found it to work perfectly.
5
Black Tones with P-0-P.-Black tones cari only be secured with
P-0-P by toning with platinum. The following bath should be used:
Meta-phenylenediamine . . . . . . . . . . . . . . . . . . . . . . . . . 7 gr. 1.4 gm.
Potassium chloroplatinite..... . .................. 7 gr. 1.4 gm.
Water to make ................. . ........ .. .... 10 oz. 1000 cc.
This solution must be prepared directly before use as it does not keep
at all well. As soon as the desired tones are secured remove the prints
and then fix and wash thoroughly. Bluish-black tones may be secured
by first toning in a gold bath, washing well and retoning with platinum;
the color depending on the depth to which gold toning is carried. The
more gold deposited the bluer will be the final result after platinum
toning.
When a platinum toner is used, the prints should be immersed before
toning ih a 5 per cent solution of salt for five minutes, then rinsed and
toned. After toning the prints should be immersed for 5 minutes in
Salt .. .. .. .. . .. . .. .. . .. .. . .. .. .. .. . .. .. . .. .. . 1 Y, oz.
Sodium carbonate (dry) . . . . . . . . . . . . . . . . . . . . . . oz.
Water .. . . . ................... .. ............. 16 oz.
Then rinse, fix and wash thoroughly before drying.
140-4 gm.
46.8 gm.
1000 cc.
Fixing.-After toning the prints are washed for several minutes,
then transferreq one by one to the fixing bath which consists of a 10
per cent solution of hypo. The prints must remain in the fixing bath
at least 10 minutes during which time they must be separated con-
stantly by hand in order that the fixation of each print may be thor-
ough. Fixing is followed by a thorough washing for .0 hour in run-
5 The writer is indebted to Fraprie's work Practical Printing Processes for
these methods of toning.
ning water, or in 6 changes ' of water, allowing 5 minutes for each
change, after which the prints are ready for drying.
GENERAL REFERENCE WORKS
BuRBANK-Photographic Printing Methods, r8g6.
GLOVER-Print Perfection-How to Attain It, 1924.
HANNEKE-Das Arbeiten mit Gas!icht und Brorrisilberpapieren, 1918.
HINTON-P-O-P.
MERGATOR-Der Entwicklungs-druck auf Bromsilber, Chlorbrom und Chlor-
silber Gelatineemulsion Papieren, 1907.
RAWKINs-Photographic Printing, 1930.
STENGER-N euzeitliche photographische Kopierverfahren.
STENGER-Die Kopierverfahren, 1926.
SNODGRASs-The Science and Practice of Photographic Printing, 1923.
V Behandlung der fur den Auscopir-Process Bestimmen Emul-
1896.
\VHEELER-Photographic Printing Processes, 1930.
CHAPTER XVIII
PROJECTION PRINTING
Introduction.-There has been an increasing tendency on the part
of both amateurs and professionals in recent years to abandon the
large, bulky and cumbersome camera and its necessary impedimenta
and rely entirely upon projected prints from the small negatives
where large prints are required. This course has much to recom-
mend it. Photographic materials are now so perfect that given
proper care small negatives can be made which will stand consider-
able enlargement and still compare quite favorably in quality with
contact prints from larger negatives, while the convenience of the
small, compact hand camera is not to be belittled.
Perhaps the principle of projecting will be clearer from an examina-
tion of Fig. r66, in which A represents the illuminant (either daylight
FIG. 166. Principle of Projection Printing
or artificial light), B the negative, C the lens, and D the easel. The
rays of light from A pass through the negative B, an image of which
is formed on the easel D by the lens C. The distance between the
lens and the easel determines the degree of enlargement, the greater
this distance the greater the degree of enlargement.
Fixed-Focus Enlarging Cameras.-The simplest form of apparatus
for projection printing consists of a box carrying at one extremity the
negative and at the other the sensitive paper, with a lens between
(Fig. r67). Such cameras are an article of commerce and are in-
390
t r
PROJECTION PRINTING 391
tended primarily for the amateur or occasional worker. As they are
fitted with cheap single lenses with a small aperture, the time of ex-
posure is relatively long and may easily run into minutes unless day-
light and a fast bromide paper are employed. The fixed-focus
Frc. 167. Box Enlarging Camera
camera forms a very conveni ent and satisfactory instrument for the
man who desires to make a larger print now and then and who does
not care to go to the trouble and expense of employing a more elabo-
rate form of apparatus.
While such instruments may be obtained commercially, there is no
reason why the worker cannot make one of his own if he is at all
handy with tools, as the construction is quite simple. For this pur-
pose one may make use of the lens attached to his regular camera,
providing the fixed-focus enlarging box with a lens flange to take the
same, or, if the lens cannot be removed from the camera, fastening
the entire camera on a platform within the enlarging camera. As the
commercial forms of. such apparatus are equipped only with single
lenses having a very small aperture it will be readily seen that with
but a little time and materials the worker may provide himself with
apparatus which is actually superior to the commercial article. The
392 PHOTOGRAPHY
total length of the camera is, obviously, the sum of the distances
separating the lens and negative and the lens and sensitive paper. If
the positions of the nodes of the lens are known the two conjugate
distances can be precisely measured and the partition carrying the
lens placed in position without preliminary testing. when the posi-
tion of the nodes is unknown it is necessary to find the proper position
for the lens by experiment. In fact to ensure critical focus it is well
in all cases before fixing the lens to make some preliminary tests on
a sheet of ground glass placed in the position to be occupied by the
sensitive paper.
Apparatus for Projection Printing with Daylight.-There are cam-
eras made especially for enlarging and reducing. These are provided
F1c. 168. Daylight Enlarging Camera
with long bellows extension so that the degree of enlargement , or re-
duction, may be varied, within certain limi ts, as required. In Fig. r68
we illustrate a typical camera designed for this purpose. Such cam-
eras are heavy and expensive, occupy considerable space and, more-
over, the size of enlargement is limited by the size of the camera.
For these reasons other forms of apparatus are to be preferred.
The most satisfactory method of employing daylight for projection
printing is illustrated in Fig. r69. A window which receives clear
unobstructed light from the sky is blocked up, except for a small
opening about twice as large as the largest negative to be used, and
provision made for attaching an ordinary camera, the reversing back
having been previously removed. A platform is built to support the
camera ancl guides or markers placed to show the proper position of
the easel. Provision must of course be made. for holding the nega-
tive and one or two sheets of ground or opal glass which serve to
diffuse the light and prevent uneven illumination of the negative.
Where clear unobstructed light cannot be secured it is necessary to
employ a refl ector, as shown in the figure. This reflector must be at
an angle of 45 so that it will cast the unobstructed li ght from t he
sky onto the negative. This reflector may be of any enameled surface
as white paper, or wood painted with a glossy white paint. A mi r-
ror is to be avoi ded. In place of a reflector the ribbed glass known
FIG. 16g. P roj ection P rinting Apparatus for Use with Daylight
as prism glass may be used, being placed two or three inches before
the negative in order that there may be no danger of it being in focus.
Daylight has several positive advantages and at the same time di sad-
vantages which prevent its general use. In its favor it may be said
that the light is rapid and owing to the perfect diffusion any retouch-
ing or handiwork on the negative does not show so prominently as
when the light comes from a concentrated source. For this same
reason there is less granularity apparent with a high degree of enlarge-
ment when daylight is used than when condensers and a concentrated
light source, such as the electric arc, are employed. On the other
hand, daylight .is never constant and exposures are therefore liable
to sudden change, whi ch occasions considerable waste of time and
material.
Apparatus for Projection Printing Using Artificial Light.-Owing
to the inconstancy of daylight practically all enlarging is now done
with artificial light. The typical lantern for enlarging with arti fi cial
light is illustrated in Fig. 170. It will be obser ved that this consists
of the illuminant with its light-tight lamp house, either condensers or
reflectors for securing the maximum efficiency of illumi nation from
394 PHOTOGRAPHY
the source used, the negative carrier, the bellows with a projecting
lens and lastly the easel. While this is the schematic plan of prac-
tically all enlarging lanterns on the market, they naturally vary a good
deal in minor details. The construction of such apparatus is not
above the capabilities of the average worker who is handy with tools
Frc. 170. Enlarging Lantern for Artificial Light
and should he care to use the lens and camera which he has already,
the expense of the apparatus may be made almost negligible. Direc-
tions for making such equipment have been published many times in
nearly all of the journals to which the worker who wishes to build his
own lantern is referred for further information.
Where condensing lenses are not employed and the light source is
one which does not require attention while in use, it may be convenient
under certain circumstances to place the light outside of the room used
for enlarging. This arrangement has the advantage of increasing
the amount of floor space and lessening the effect of the heat liberated
by the lights.
Self-Focusing Apparatus for Projection Printing.-A new era in
apparatus for projection printing began with the introduction by the
Eastman Kodak Company in 1920 of self-focusing projection ap-
paratus in which the image is kept in focus automatically regardless
of the degree of enlargement. Other manufacturers have followed
the Eastman Company in the field and a number of models are now
available. Among these may be mentioned the Callier; lea; Border-
tint; A! dis-Ensign; Sichel's Overton; Butcher's Autoprint; Noxa, be-
sides many others. Directions for the construction of self-focusing
projection apparatus have been published in several places (see bib-
liography).
Illuminants for Projection Printing.-The principal requirements
~
I
l
,.
of a satisfactory illuminant for enlarging are that it should be reason-
ably constant in strength, that it should be strong enough to allow of
rapid exposures, and be easily adjusted and convenient in use. Day-
light is the least suitable of the illuminants because of its variability.
It varies not only from day to day and from hour to hour but may
even vary considerably in the short space of a few minutes. For this
reason daylight is entirely unsuited to the professional or commercial
enlarger who must produce prints of uniform quality, while its use
by the amateur means the wastage of much material that might other-
wise be saved. The w o ~ k e r who has access to electricity will of
course use some form of electric light, and, while it must be admitted
that equally good enlargements may be made by daylight or the
weaker light sources as acetylene or gasoline vapor lamps, electric
light sources surpass all others in general adaptability, since on the
whole they are more constant in intensity, more easily adjusted and
possess higher intensities than the other sources.
The Mercury-Vapor Lamp.-One of the most satisfactory lights for
enlarging is theM-shaped mercury vapor tube supplied by the Cooper-
Hewitt Electric Company of Hoboken, N. J . The light is extremely
rich in violet rays and is consequently very rapid, so that the slower
grades of "gaslight" paper may be used successfully, while for large
projected prints the time of exposure is materially lessened. The M-
shaped tube gives an even illumination which requires no condensers
and, as little heat is produced, it is particularly suitable for summer
use. Owing to the M-shape of the tube the illumination is so much
diffused that the minimum amount of ground or opal glass is required
to secure even uniform lighting. This results in a higher intensity.
Undoubtedly the M-tube with a sheet of ground or opal glass as a
diffuser forms the nearest approach to daylight of any artificial light
and is especially desirable for enlarging from portrait negatives. The
mercury-vapor lamp is a rather expensive illuminant for the amateur
as its initial cost is rather high, but as it consumes very little current
it is not so expensive in the end and in the long run is well worth the
cost. Where much enlarging is done and speed and quality and not
the initial expense are the prime requisites, then the mercury-vapor
lamp may be considered the ideal light.
The Electric Arc.-From the optical standpoint no other light so
completely fulfills the requirement of the ideal light surface for en-
larging as the electric arc. Whereas all other sources radiate lig-ht
14
396 PI-I OTOGRAPHY
in all the li ght fron1 the arc is confiued to a slllal! area of
about half an inch in diameter on the positive carbon. The light is
extremely intense and also very rich in blue and violet rays, especially
if flaming carbons are employed. Direct current is by far the most
satisfactory for an arc light source as it is more steady, under better
control and more economical of current. If alternating current must
be used, then it is well to arrange the light in such a way that the
carbons are tilted toward the condensers at an angle of about 30 (Fig.
171) . \Vhen this is clone the hig-hl y incandescent tip at the extremity
Frc. 171. Proper Position of the Carbons of an Arc Light for Usc with
Alternating Current
of the lower positive ca rbon is directed toward the condensers, result-
ing in a higher intensity of illumination. vVere it not for its incon-
stancy and the attention whi<;h it requires, the arc lamp might be con-
sidered the ideal source for projection printing, but these are factors
of considerable importance in practice and consequently we believe
that for general purpose work either the mercury vapor tube or gas-
fllleclmazcla lamps are to be preferred.
Incandescent Lamps.- Gas- flll ed bmps of high intensity, such as
500, 750 and rooo watts, have been extensively used for projection
printing since their introduction seYcral years ago and a rc steadily in-
creasing in popularity. They are very constant and convenient in
use, and the color of the light, while not as rich in actinic rays as the
arc or mercury-vapor lamp, is nevertheless very satisfactory and the
intensity is sufficient for all ordinary enlarging. Special types, known
as stereopticon or projection lamps, arc now supplied having a small
concentrated fi lament which is almost as satisfactory for use with
c-0ndensers as the arc. On the whole, however, lamps of this type
~ ~
....
work better with parallax reflectors than with condensers. The prin-
cipal objection to the gas-filled lamp is the amount of heat produced
and, as .in the case of the arc, which develops still more heat, care
should be taken that perfect ventilation is secured, otherwise the nega-
tive may be melted or warped especially if on film.
Although of .lower intensity than electric sources, the Welsbach
mantle is well suited to projection printing except for high degrees
of enlargement, or with dense negatives, when the time of exposure
may be rather lengthy.
Writing in the British Journal of Photography (1922, 6g, 767) W.
Gard described how he has used for a 3;;,i: x 4;;,i: enlarger a 4-volt, 4-
watt lamp in connection with a 6-volt, 40-ampere-hour accumulator
and for a 4;;,i: x 6Yz enlarger a 6-volt, 12-watt lamp with an 8-volt,
40-ampere-hour accumulator. The lamp is of lower voltage than
the accumulator and thus gives a more powerful light. He states
that an exposure of 4 seconds was found quite sufficient when en-
larging from 40 x 6Yz to 8 x 10 or 10 x 12 using ordinary bromide
paper.
Securing Even Illumination without Condensers.-Whatever the
illuminant employed it is of primary importance that the negative be
evenly illuminated. For this purpose condensers are generally em-
ployed with the electric arc and other illuminants approximating to a
point source, such as the N ernst lamp or the low volt, concentrated
filament, locomotive headlight lamp. For more diffused sources, re-
flectors are more suitable.
For gas-filled mazda lamps of 500 and 1000 watts the Parallax re-
flector provides a convenient and efficient means of securing uniform
illumination without diminishing the intensity of the source. Fig.
172 shows the construction of this reflector and its appearance when
illumina.ted. It consists of a number of silvered mirrors so placed
that the rays of light from the lamp which strike them are reflected
out towards the negative in a parallel beam.
A very satisfactory means of dealing with incandescent lamps of
lower power is to employ the same in series as shown in Fig. 173
The lights at the corners should be somewhat stronger than that at
the center which merely serves to fill in the gap in illumination in the
center. This arrangement used with one or two sheets of ground
glass should provide perfectly uniform illumination.
Although less powerful than direct light there are several worth
398 l'HOTOGRAPHY
w!-1ile advantages to the usc of refl ected li ght. It is softer, owing to
more complete di ff usion, and consequently gives soft er, more delicate
r esults, with a longer scale of gradation and greater freedom from
granularity than a direct source. For the portrait photographer it is
F1c. 172. Parallax Reflector for Usc with I ncandescent E lectric Sources
particularly advantageous since any retouching or other handwork
on the negative does not show up so prominently as when a direct,
concentrated source is employed.
Whil e theoreti cal ly the reflector to be employed should be parabolic
Fu:. 173. Securing Even Illumination with Five ] ncandcscent Electr ic Sources
in f orm, in pract ice any of the forms illust rated in Fig. 174 will be
found suitable. The li ght houses illust rat ed may be built of thin sheet
metal or wood. In the latter case it is we11 to line the sides adjacent
to the li ghts with asbestos t o prevent danger of fire. The reflecting
portion should be of sheet ir on coated with aluminum paint. Care
should be taken that the refl ector is not too small or the illumination
of the negative will not be uniform. To ensure uniform illumination
the reflector should be made at least 3 times the size of the largest
negative to be employed. For t he smaller sizes a single gas-filled
bulb on each side may be sufficient. For larger sizes, however, it
will be necessary to use more than one bulb on each side, or the long
tubular lamps as used in window display illumination may be used.
The Condenser in Projection.-With a suitable light source the
negative can be uniformly illuminated by means of condensing lenses.
R
L
L
B
FIG. I74 Forms for the Lighthouse Using Reflected Light. (Wall)
These lenses are of the plano-convex type and are used in pairs, the
two convex sides facing one another and separated by a fraction of an
inch. The diameter of the condensing lenses must be at least as large
and preferably somewhat greater than the diagonal of the largest nega-
tive with which they are to be employed. Condensing lenses are sup-
plied in pairs either mounted or unmounted in the following sizes and
focal lengths :
Diameter Focal length in inches
4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.!
4.! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5;2
4.! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61h
5 .......... .. .......... .. .... .. ... 6.!
5.! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
6 ....... . ... . . . . . . . . . ............. IO
6.! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IO
8 .. . ... ... ... . ..... . ........ . ..... I2
9 . . . . . . ..... ... ... .. .. .. . . . ... .. . . I4
IO . . ...... . ... . ..... . .. . . . . . . ..... IS
I2 . .. ..... ... . .. ...... . ... .. ... . ... I8
I4 .. .. ................... . ... .. .... 21
Thickness in inches
%
I%2
2%2
I%2
I%2
I%6

I
1
%2
I%
1
1
%2
2%
2%
400 PHOTOGRAPHY
The focal length of a pair of mounted condensing lenses can be de-
termined from the usual rule governing the focal length of a com-
pound lens system. As the plano-convex lens has only one determin-
able nodal plane, which lies adjacent to the vertex of the convex sur-
face, the distance between the nodal planes obviously becomes that
sepq.rating the convex surfaces of the lenses. The expression thus
reads:
F = F1 X F2
F1 X F2- d
Where: F = the equivalent focal length.
F
1
= the focal length of lens I.
F
2
= the fo'?:al length of lens 2.
d = the distance between the facing convex sides of the
mounted lenses.
The function of the condensing lenses is to collect the diverging
rays of light and condense these on the negative, bringing the light
rays to a focus in the projecting lens. Thus in Fig. 175 the light rays
__ [o ! --------- -
__
E 0 -------
c
F --
--
--
---
FrG. 175. The Function of the Condenser
from the source E strike the first condenser and are refracted so tha1
they enter the second condensing lens parallel to one another. In this
second condensing lens further refraction takes place, the rays being
converted into a converging cone the apex of which (or the focus)
lies at, or very near to, the principal nodal plane of the projecting
lens, 0. Thus the rays which in the absence of the condensing lenses -
would have continued on in straight lines and be lost are bent and
made to pass through the lens, so that uniform illumination together
with a high intensity is obtained.
From this it is evident that to secure the maximum intensity, to-
gether with uniform illumination of the negative, when condensing
lenses are used without a diffusing medium, such as ground or opal
PROJECTION PRINTING
401
glass, the light source must be located at such a point on the optical
axis that its image, formed by the condensing lenses, is located at the
principal nodal plane of the projecting lens. If we ignore the exact
nodal planes, this means that the distances AB and CD (Fig. 176) are
conjugate foci of the condenser while the distances ED and DF are
conjugate foci of the projecting lens. As the degree of enlargement
" is altered the distances ED and DF will vary according to the rule of
.

I
1 .
E------D----- -------F
I '
. .
.
f..--- B c-- - - - - - -6
Frc. 176. Conjugate Foci in Enlarging
conjugate foci (Chapter IE, p. 74). With every variation in ED :DF
there will be a corresponding variation in AB: CD, so that in order to
keep the image of the light source in its proper place at the principal
nodal plane of the projecting lens the distance AB must be varied each
time the degree of enlargement is altered.
The problem is thus one of conjugate foci and as such might be
calculated mathematically with the aid of the formulas given in an
earlier chapter (Chapter III, p. 75). However, owing to the fact that
condensing lenses are of cheap construction and entirely without cor-
rection, the image of the 'light source is never a sharp one and in prac-
tice such calculations are not of much practical value. One can usn-
ally determine the proper position for the light source with sufficient
accuracy for all practical purposes from the examination of the circle
of illumination as thrown on a sheet of white paper. The character
and position of colored fringes or areas of uneven illumination indi-
cate the .steps which should be taken towards securing equality of
illumination. This matter is illustrated in Fig. 177.
Condensing Lenses with Diffusing Media.-With a light source of
small dimensions, such as the electric arc, and in the absence of a dif-
fusing medium, such as ground or opal glass, the image formed at
the focal point may be smaller than the aperture of the objective. It
is obvious that in such cases the effective aperture (on which the
speed of the lens depends) is not that indicated on the mount but that
of the light beam which passes through the objective. Thus it may
402
PHOTOGRAPHY
happen that a lens with relati ve aperture of F / 45 is act ually being
used at a relative aper tu re of F j r r. Ther efore the time of exposure
would not be altered if the lens is stopped down to F j 6.3 or F j8.
However, if a diffusing medi um, such as ground or opal glass, be
interposed in the path of the li ght rays, either in f ront of or between
1' 1< :. 177. Adjustment o[ the Light Source with Condense rs
In Figs. I and 2 the radiant, i. e., the crate r, needs to be properly adj usted
later all y; it is too far to the right or left.
In F igs. 3 and 4 it is too high or too low.
In Figs. 5, 6 and 7 it is too ncar or too far from the condenser.
Fig. 8 shows it to be in correct position, the field being entirely clear.
the condensers, thi s condition no longer appli es. One is then dealing
not wit h direct li ght but with scattered li ght and in thi s case the ex-
posure is directly proportional to the lens apert ure as in ordi nary
photography. The ground or opal glass may be placed either in front
of or between the condensi ng lenses . Theoretically placing the dif-
fusing medium between the condensing lenses result s in less loss of
light from diffusion, but practically the difference is so small as to be
almost negligible, while there are othe r disadvantages which far out-
weigh thi s slight advantage. The uniformity of illuminat ion is not
nearly as satisfactory as when the diffusing medium is placed before
the condensing lenses and in the case of ground glass the grain t ends
to produce a granular effect which may in certain cases be decidedly
objectional and which it is always well to avoid as much as possible.
Thi s is cl ue to the fact that the ground glass is much nearer to the
focal plane of the negative and therefore more nearl y in focus.
Therefore with ground glass a positi on sli ghtl y in front of the con-
densing lenses is advisable. Opal glass being practically free from
granul a rity may be placed between the condensing lenses if desired.
Even in this case, howeYer, a positi on bef ore the condensers is prob-
'
ably to be preferred. The use of ground glass makes the
adjustment of the light source each time the degree of enlargement
is altered. However, in order to obtain maximum printing speed, an
adjustment should be made when there is a considerable difference in
the degree of enlargement. By the use of diffusing media, scattered
rather than direct light is employed and this, as already noticed, has
the effect of reducing to some extent the contrast of the large print
as well as its granular appearance. For these reasons. the use of dif-
fusing media is always advisable with portrait or pictorial negatives
and for those to be enlarged considerably . .
The Projection Objective.-A large number of the projection ap-
paratuses on the market, especially those of foreign make, are fitted
with objectives of the Petzval type. Aside from its large aperture
and excellent axial spherical correction, this type of lens is by no
means the best for the purpose, owing to the rapid diminution in the
intensity of the image towards the margin and the pronounced cur-
vature of field. Much better is the aplanat, or rapid rectilinear, which,
though slower, has a flatter field with more perfect marginal definition.
The rectilinear, however, is surpassed by the anastigmat whose su-
perior marginal definition combined with an astigmatically flat field
renders it particularly well suited for projection purposes. For use
with condensers in conjunction with an arc, or similar source, and
without a diffusing screen thele is no advantage in the use of a lens
having an aperture much larger than F/6.8 since this is sufficiently
large in most cases to admit the whole of the converging beam of
light from the condensing lenses. However, when condensing lenses
are used with the ordinary, incandescent light,,. or diffusing media of
any kind is inserted in the path of the light rays, a larger aperture
may be required in order to secure the full efficiency of the light
source, since in this case the image of the light source formed within
the projecting lens is larger than before. With completely diffused
light sources, such as the Cooper-Hewitt mercury-vapor light, groups
of incandescent lamps used with ground or opal glass, totally reflected
light or a single incandescent ' electric light in a parallax reflector, a
large aperture is also of advantage in reducing the time of exposure.
Except when condensing lenses are employed the only effect of the
focal length of the lens is to determine the length of the apparatus
necessary. The longer the focal length of the lens the greater will
be the bellows length and floor space for a given degree of enlarge-
ment.
'
404 PHOTOGRAPHY
With condensing lenses, however, the focal length of the lens must
be chosen with reference to the focal length of the pair of mounted
condensing lenses. If the focal length of the objective is much
longer than that of the condensing lenses, the light efficiency is reduced
by loss of light between the condensing lenses as shown in Fig, 178.
A
-Y
8
F ~
FIG. 178. Loss of Light between Condensers Due to the Use of a Long Focus
Lens for Projection. (Candy)
In addition to this loss, under such conditions the size of the light
image will be greater than the size of the light, and the aperture of the
objective may not be sufficiently large to accept it, which results in
further loss. Contrariwise if the focal length of the objective is much
less than that of the condensing lenses, the converging power of the
latter will be reduced owing to the convergence of the rays between
H
--y
J
FIG. 179. Loss of Covering Power Owing to the Use of Short Focus Projecting
Lens with Condensers. (Candy)
the condensing lenses (Fig. I 79). Therefore when condensers are
employed the objective used for projection should have a focal length
approximately equal to the focal length of the pair of mounted con-
densing lenses. Exact equality is not required but the two focal
lengths should be as nearly identical as possible.
Attention may perhaps be usefully called to the fact that with cer-
tain lenses in which the front component has a strong condensing
PROjECTION PRINTING 405
action, so that the " inconstancy of aperture " (Chapter II, . page 79)
is pronounced, better results are obtained when the lens is turned
so that the front component faces the negative.
The Projection Easel.-The easel may be simply a large drawing
board of soft wood to which the paper is attached by means of push
pms. As a matter of convenience the wood may be covered with
heavy " cork lino," a heavy linoleum used for floor covering. This
enables the paper to be pinned up with very little pressure. For
convenience in P.lacing the paper in position, the easel may be painted
white and ruled with heavy black lines for the different sizes of en-
largement or in one half inch squares numbered in large figures each
way from the center on a vertical and a horizontal line. A further
refinement consists in provisions for raising or lowering the easel and
for sliding it to the right or left. By this means the portion of the
negative used for projection may be brought within the limits of the
area marked on the easel for various sized enlargements.
Mr. E. J. Wall coats the easel with a mixture of the following com-
position which does not- dry but remains tacky so that the sheet of
paper placed in position and rubbed down will be held in place for as
long as required, after which it may be stripped off without difficulty:
Gelatine ............... . .......... . . . ........... 407 gr.
Golden syrup ... . . .. . . ............. : . . . .... .. . . .. 407 gr.
Glycerine ....................... . ..... . . . . . . . . . . I oz.
Chrome alum.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 gr.
Water to make ... . .............................. I6 oz.
53 gm.
53 gm.
65 cc.
I gm.
1000 cc.
Any grade of cooking gelatine may be used. It is first soaked for
hour in about of the total volume of water to which has been
added the syrup and glycerine, after which it is melted in a water bath
by heating to 50 C. (120 F.). Dissolve the alum in an ounce of
water. Then make the bulk of the solution up to IS ounces, add the
alum solution and strain through linen. Allow 65 cc. of this mixture
to every 100 square centimeters of the easel (about I oz. to each 100
square inches) . The mixture sets in about :24 hours and the easel
is then ready for use.
1
Perhaps an even more convenient method consists in using a large
printing frame. Fig. 180 shows a commercial easel designed for use
with printing frames and provided with guides in order that the frame
I Amer. Phot., I923, p. 7I7.
406 PHOTOGRAPHY
may be returned to the same position when loaded with the sensitive
paper as it occupied when focusing. For commercial use where
large numbers of prints must be made rapidly with a projector of the
horizontal t ype an easel such as the "\iVestminster,"
2
illustrated in
FI G. r8o. lngento E nlarging Easel for Use with Printing Frame
Fig. r8 r , is very conveni ent. The easel itself is swung to the hori-
zontal position for inserting the paper which is fastened in place by
clamping over it the hinged sheet of glass, after which it is swung to
the vertical position for the exposure.
F1c. 18!. \\"estministcr Enlarging Easel
With projection apparatus of the vertical pattern the easel becomes
a very simple affair. In this case a flat surface of sufficiently large
dimensions with a sheet of clean glass free from flaws or two bar
2 Made by vVestminster Photographic Exchange, Ltd., 6r Piccadilly, London,
\V. C., England.
weights sufficiently long to keep the sheet of paper flat during ex-
posure constitute all the fixtures necessary for speedy and efficient
working.
Whatever the form the easel takes means must be provided for
altering the distance between it and the projecting lantern and in such
a way that the parallelism between the plate and the easel may not be
disturbed. For this purpose a grooved track may be made or mark-
ers may be placed on the floor to indicate the position of the easel for
different degrees of enlargement.
The Negative for Projection Printing.-It is difficult to give any
precise definition of the proper type of negative for projection printing
since so much depends upon factors for which no definite numerical
expression is available. Of primary importance is absolute freedom
from physical defects of any kind such as scratches, pin-holes and
spots of all kinds, as they are enlarged along with the rest of the nega-
tive and become unpleasantly conspicuous in the finished print. While
much may be done towards removing such defects by appropriate
handwork, such work requires to be done very carefully as imperfec-
tions which would not be seen on a contact print are only too prominent
when enlarged.
Hunter and Driffield were the first to call attention to the fact that
positives obtained by projection possess more contrast than contact
prints from the same negative and on the same printing material.
3
Seven years later Chapman Jones
4
investigated the scattering of light
by the photographic plate and in 1909 Andre Callier in a paper before
the Royal Photographic Society of Great Britain
5
showed precisely
how this was responsible for the difference in contrast between posi-
tives made by projection and those made by contact printing from the
same negative and on identical printing media. He says :
" In projection there is, of course, a scattering of the light trans-
mitted by the negative (Fig. 182). Theray SN coming from the
light source S is scattered in passing through the negative N, and only
a part of the light coming from the negative can enter the lens. As
in the transparent parts of the negative the loss by scatter is nearly
zero (owing to the relative absence of reduced silver), it follows that
the contrast between the non-scattering parts of no density and the
scattering parts of high density will be increased by the scatter. In
3 !. s. c. I., 1891, IO, 98.
4 Phot. !., 18g8, p. 102.
5
Phot. !., 1969, 49, 200; Zeit. wiss. Phot., 1909, 7, 257.
408 PHOTOGRAPHY
contact printing this scattered light is not lost, and consequently the
contrast is much less than in the case of projection."
It follows, therefore, that negatives for projection printing require
less contrast than those intended solely for contact printing. Owing
to the intervention of certain factors, for which numerical expression
is unavailable, no satisfactory means exist for determining the differ-
ence in contrast which should exist in negatives for projection p r ~ t
N
FIG. 182. Scatter of Light by Negatives. (Callier)
ing and those destined for contact printing. Here, as in numerous
other cases in practical photography, experience is the only safe guide.
Fortunately, however, the differences among printing media and the
opportunities for control in the operation of printing are such as to '',
largely remove this disability so that it is, to a certain extent, possible
to secure from any average negative an enlargement with virtually the
same gradation as a contact print.
In general, however, thin negatives, soft rather than hard, free from
fog and from physical defects of all kinds, as well as any undue
granularity, are best for enlarging. Recent researches have shown
that there is virtually little or no difference among the common de-
veloping agents with respect to the granularity of the image. The use
of any particular developing agent is therefore not so important as the
avoidance of high temperature in developing, fixing and washing: in
prolonged drying in hot, humid air and in under exposure. All of
these things tend to increase the granularity of the image and are to
be avoided with negatives destined for projection printing.
In enlarging from small film negatives, the granularity of the image
and defects due to minute scratches and abrasions of the film base can
be reduced by immersing the film during exposure in a liquid of ap-
proximately the same refractive index as the film base. Suitable
liquids for this purpose are glycerine or toluol. A small quantity of
either of these is poured on a piece of clear glass and the negative laid
clown on the layer of liquid so that no air bells are formed. More
glycerine or toluol is then poured on top of the nega_tive and this
.

I
covered with a sheet of glass; both sides of the film being thus covered
with the liquid. In this condition the negative is inserted in the en-
larger and the exposure made. After the enlargement has been made
the film is washed for rs minutes and dtied.
6
The Technique of Projection Printing.-Assuming the apparatus
to be in order and everything ready for use let us consider briefly the
technique of projection printing with different forms of apparatus.
With daylight or with completely diffused light sources such as the
Cooper-Hewitt mercury vapor lamp, reflected light or incandescent
lights with reflectors, the operations are simple indeed. The light is
first turned on and then the negative inserted in the carrier with its
face towards tjle easel. The projected image is then focused roughly
on the easel in order to determine the degree of enlargement. If this
is satisfactory all that remains is to focus sharply, cove'r the lens, or
turn .off the light, place the sensitive paper in position and expose.
However, if the projected image is larger or smaller than desired the
easel must be moved nearer to, or farther from, the lens, as the case
.may be, until it is seen that the projected image is approximately the
size desired, after which the image is sharply focused and the ex-
posure made. .
These distances from the lens to the easel and from the lens to the
negative are conjugate distances and may be readily calculated for any
given set of conditions (Chapter III, page 74). The following table,
however, will show the conjugate distances for all ordinary degrees of
enlargement and for lenses of the usual focal lengths. By "degree
of enlargement " is meant linear enlargement. Thus from 4 x 5 to
8 x ro is two times enlargement, not four times.
When condensing lenses are employed the operations are not so few
in number or so simple. In this case the negative should be inserted
in the carrier and the image roughly focused to the desired size. The
negative carrier should then be removed and the light source adjusted
to secure an evenly illuminated field of maximum intensity. These ad-
justments have been noticed already on page 400 of this chapter.
The light source having been adjusted so as to obtain a uniformly
' illuminated field, the negative carrier is again inserted and the image
accurately focused after which the exposure may be made.
Then the paper may be pinned in position and where the easel is not
provided with means for altering its position in order that the pro-
jected image may be brought within certain previously marked lines,
6
Hickman, Brit. ]. Phot., I927, 74, 87.
i
I
i
410 PHOTOGRAPHY
TABLE FOR CALCULATING DISTANCES IN ENLARGING OR REDUCING
From The British Journal Photographic Almanac
Focus of Lens Timeg of Enlargement and Reduction
Inches r Inch 2 Inches 3 Inches 4 Inches S Inches 6 Inches 7 Inches 8 Inches
---------------
------
---
4
6 8 IO I2
I4
I6 I8
2 .... ... ...
4 3
2% 2Yz 22/. 273 2'(, 2")4
---------------- --
---
5 772
IO
1272 IS I772
20 2272
272 .... . . : .
5 3% 373 3Ys 3
2
9
/IO 2'(,
23(,.
---------------- --
---
6
9
I2
IS
I8 2I
24 27
3 ..... . . ..
6
472 4 3%
33(,
372 3
3
h 3%
------
------
- --------
7
w72 I4 1772
2I
2472
28
3I72
372- ........
7 s"!-i 4% 4% 4
1
/s
4'(,,
4
3
9
/IO
---------------
---
---
8 I2 I6 20
24
28
32 36
4 ......... 8 6
s73 5
4'/,
4% 4
4
h 472
---
---------
---- --
---
9 I372
I8 2272 27 3I 72 36 4072
472. .......
9
6%
6 53(.
s'ls s"!-i s'h s'h,
---------
---
------ ---
IO
IS
20
25 30
35
40
45
5 . ... . .... 10
772
6% 6")4 6
sf,
s'h s%
---
---
------
------
------
II I672 22
2772 33 3872
44 4972
sYz. ....... II 8")4
773
6
4
/s 672
6'(,,
6'h
63(";
--- ---
---
---
---
--- ---
I2 I8
24 30 36 42 48
54
6 ......... . I2
9
8
772 7
1
/s 7
6'(, 6%
---------------- --------
I4
2I 28
35
42
49
56 63
7 ......... I4 wYz
973
8%
82(, 8'/, 8
7Ys
---------------------
- I6 24 32 40 48 56 64 72
8 ........ . . I6 I2
IO% IO 93(,
973 9
1
h 9
---------------
------
I8
27 36
45 54
63 72
8I
9 ......... I8
I372
I2 11")4
w'l
w72 w'h JOYs
The object of this table is to enab:e any manipulator who is about to enlarge
(or reduce) a copy any given number of times to do so without troublesome
calculation. It is assumed that the photographer knows exactly what the focus
of his lens is, and that he is able to measure accurately from its optical center.
The use of the table will be seen from the following illustration : A photog- '
rapher has a carte to enlarge to four times its size, and the lens he intends em-
ploying is one of 6 inches equivalent focus. He must therefore look for 4 on
the upper horizontal line and for 6 on the first vertical column and carry his
eye to where ,these two join, which will be 3G-70- The greater of these is the
distance the sensitive plate must be from the center of the lens; and the lesser,
the distance of the picture to be copied. To reduce a picture any given number
r'l
of times, the same method must be followed; but in this case the greater num-
ber will represent the distance between the lens and the picture to be copied, the
latter that between the lens and the sensitive plate. This exp!anation will be
sufficient for every case of enlargement or reduction.
If the focus of the lens be 12 inches, as this nm:pber is not in the column of
focal lengths, look out for 6 in this column and multiply by 2, and so on with
any other numbers.
it is preferable to cover the lens with a lens cap containing an orange
lighHilter transmitting rays to which the paper is insensitive. This
colored screen may be prepared by soaking an unexposed, fixed-out
and thoroughly washed plate in tartrazin, naphthol, yellow S, orange G
or ammonium picrate, which should be used in saturated solutions and
the plate immersed in the dye bath for about rs minutes, then rinsed
and dried. However, where lateral or up-and-down movement of the
easel is possible it is perhaps preferable to line the board in squares as
previously suggested and. center the same with respect to the projected
image when focusing. Then the light may be cut off entirely and the
paper placed in position by the aid of the numbered squares. We
have already shown on page 405 methods which may be conveniently
employed.
With automatic focusing apparatus in which the image is always in
focus regardless of the degree of enlargement the process becomes as
simple as contact printing. In this case one has only to adjust the
distance between the projection apparatus and the easel to secure the
size of image desired, after which the paper may be placed in position
and the exposure made.
Focusing., There will be no difficulty in f.ocusing as a rule; how-
ever, with dense or fogged negatives and at high degrees of enlarge-
ment some trouble may be experienced occasionally. In such a case
it is well to take an old negative which is quite dense and make a few
ragged scratches on it with any sharp-pointed instrument. This may
be inserted in the negative carrier in place of the negative and can be
focused sharply with ease, after which it is removed and the negative
reinserted. Where the exact nodal plane of the projecting lens is
known it is possible to construct a focusing scale for the lens and easel
using as a basis the distances given in the table on page 410. It is not
often, however, that the positions of the nodes are known and in this
case the method indicated by Mr. A. Lockett may be usefully em-
ployed.
7
All that is necessary to provide any enlarging lantern with
an accurate focusing scale, by this method, is the precise determina-
7 Brit. !. Phot., 1924, 71, I7I.
412 PHOTOGRAPHY
tions of the positions at two diIerent degrees of enlargement, say 3
and 4 times linear, marking the position of the lens standard on the
base of the camera for each degree of enlargement. From these two
points we can calculate the position for any other degree of enlarge-
ment. Since the marks 3 and 4 on the baseboard of the camera indi-
cate the actual tested extensions for that degree of enlargement, when
set at position 3 the conjugate focus must be F + (F/3) while at 4 it
is F + (F/4). Eliminating F which occurs in both, the distance 3 to
4 is equal to *-74, or % of the focal length of the objective, so that
the distance 4-6 on the scale equals the distance 4-3. In a like man-
ner we find that
Distance
3-4
= distance 4-6,
Distance 3-6
= distance 3-2,
Distance 2-3
=distance 2-I0,
Distance 3-r 0 = distance r 0 -r,
Distance 6--8 = distance 6--4.
Accordingly the scale of positions on the baseboard of the camera will
appear as in Fig. 183. Projection printing with a lantern thus fitted
I
X
FIG. 183. Graduating Focusing Scale for Enlarging. (Lockett)
is only slightly less rapid and convenient than with the more expensive
automatic focusing apparatus, since nothing more is required than to
set the position of lens to scale according to the degree of enlargement
required.
Determining Exposures in Projection Printing.-The usual method
of determining the proper exposure is by trial with test strips and this
is the only certain method in practice. Several methods of determin-
ing the proper exposure have been devised by various writers but on
the whole they all demand more work and time than the average worker
is willing to spend and in practice the method of exposing test strips
is almost always used.
Edward S. King
8
and Rev. F. C. Lambert
9
have described methods
8 King, B1'it. J. Phot., 1906, 53, 188.
9
Lambert, A mat. Phot., 1921, p. 161.
PROJECTION "FRINTING 413
in which the image thrown upon the easel is examined by a candle and
the distance noted at which the candle must be placed in order to ob-
literate all traces of the image. This distance in inches is then squared
and the result multiplied by a correction factor which depends upon
the aperture, the paper, etc., and is found by trial for any given set of
conditions.
In practice the writer has found extinction photometers of the Hyde
exposure meter and ica Diaphot type useful and convenient as indica-
tors of the approximate exposure. The projected image is examined
through the instrument and the black-glass wedge turned until the de-
tails in the highlights are just visible. A little experience will enable
the proper point to be reached quite readily. The exposure indicated
on the meter is then multiplied by a correction factor which depends
upon the speed of the paper, the stop in use, and the color of the nega-
tive.10 .
Relative Exposure, Scale and Aperture in Enlarging or Reduc-
tion.-When the best exposure has been found for a given negative
at a certain size of enlargement, the time of exposure at any other
degree of enlargement or reduction is easily found, provided condensers
are not used. Perhaps the most convenient method of making such
calculations is by the charts described by Capt. S. M. Collins.U
15 a
b 50
40
c 15
soe
d 4 I
10
40
5
8
30 10
6
8
30
8
6
Q)
~ 20 6
2.0 ~
.,
(/) 10
5"'
c
1:
.<:>
~
.<:> 3 <I) .,
.....
E1s
:.:;
""'
4"5
)<
-54
15 E
X
g 15
~
:J
::>
4 :::>
1:
.,
z 1: z
"'
0 c:
3-
""' ;;S 10
-3
IO"j:.. ""' J5 20 5:: 1:
E
2i 8
6
8
2 7
2. 7
30 8
6
I
6
1.!.
5
40 10
~ 5
4 50
4
I 3.5 6 15
3.5
In the general problem of exposure there are 3 factors which may
all vary; these are: the size of the picture, the aperture of the lens, the
duration of the exposure. Any two being known the other can be
1o For a very complete system of exposure calculation based upon measure-
ment of the highest density of the negative in a wedge photometer, see article
by J. M. Sellars in the British Journal of Photography, 1923, 70, 349
11
B1it. J. Phot., 1923, 70, 31. .
414 PHOTOGRAPHY
found. The following scales provide a means of making these calcula-
tions. From Chart I is read the alternation in the F / number required
when varying the size of reproduction to obtain the same exposure.
In Chart II, C and D show the mutual relation of size and exposure if
the same F / number is retained : and scales E and D connect the
F /number and the exposure when it is necessary to change either
without varying the size.
To find the proper diaphragm when it is desired to alter the size of
reproduction, but not the exposure, using Chart I run the edge of a
ruler from the size of the image to the aperture used. Mark the posi-
tion at which the ruler cuts the index line. From this position run
the ruler to the new. size of reproduction. The other end cuts the
aperture scale at the proper aperture to employ.
To determine the time of exposure with the sa,me aperture for an-
other degree of reproduction we make use of scales C and D of Chart
II. The straight edge is applied to the scales so that it cuts scale Cat
the size of image for which the proper exposure is known and scale
D the time of exposure. Mark on the index line the point of intersec-
tion as before and join this point to the corresponding size of image on
scale C. The other end of the ruler will then cut the scale D at the
proper time of exposure for the new size of reproduction.
The aperture required for any given exposure when that for a given
exposure is known may be calculated from scales D and E. With the
edge of a ruler join the aperture on scale E with the corresponding
exposure on D. From the point of intersection with the index line
transfer the ruler so that it passes through the exposure required on
scale D. Then the other end cuts scale E at the proper aperture to
use.
Introducing Clouds in Enlargements.-In the case of landscape
negatives with a bald-headed sky, it is often possible to improve the
pictorial effect considerably by printing in clouds from another nega-
tive. While there are several ways of doing this, the method to be
described is as satisfactory as any and is perhaps the most generally
useful. The image of the landscape negative is first focused on a sheet
of thin cardboard placed on the easel. On this sheet of cardboard the
outline of the skyline is traced with a soft pencil. The cardboard is
now removed and cut along the pencil line. The upper piece will
serve to mask the sky portion while making the exposure for the land-
scape while the lower portion will serve to mask the lantlscape while
the cloud is being printed.
This much done, the bromide paper is placed in position and the
proper exposure given for the landscape portion masking the sky por-
tion by the sheet of cardboard. It is not often that the sky portion re-
quires any masking, but when it does the appropriate mask is held
close in front of the bromide paper and kept in slight up-and-down
movement with the cut-out outline in close register with the image.
Now replace the orange cap on the lens and trace lightly on the
bromide paper with a soft lead pencil the outline of the sky. Then,
without moving the paper, replace the landscape negative by the cloud
negative and adjust the latter so as to secure the clouds in the desired
positiOn. Next bring the other masK: in position so as to cover the
landscape portion and make the exposure for the clouds, keeping the
mask moving up and down as before.
If the proper times of exposure for the two negatives have been
accurately determined by exposing pairs of test strips and developing
the same together for the same time, this procedure should result in a
satisfactory result.
Of the <esthetic factors in the combination of landscape and sky
from separate negatives, it is not within the province of this work to
speak. The worker's sense of the <esthetic and his knowledge of na-
ture must ever pe on guard in combination printing in order that the
result be true to nature and satisfactory to the artistic sense.
Enlarged Negatives.-Where a large number of prints are required
it is sometimes more convenient to make an enlarged negative and
print from it by contact, while certain printing processes as gum,
carbon, and oil require an enlarged negative if prints larger than the
original negative are desired.
There are two practical methods : In the first a contact positive is
made from the original negative using either the carbon process or a
slow dry plate and from this positive the enlarged negative is made in
the ordinary way. The second method consists in making an enlarged
positive of the size required and from this making the negative by con-
tact printing. Other methods involving the reversal of the image have
been advised but as t h ~ y are hardly suitable fot practical use they will
~ not be discussed.
Sensitive Materials.-The sensitive materials used are an important
factor in securing satisfactory results. Most inexperienced workers
make the mistake of selecting for this work plates of the transparency
or lantern slide type. While admirably suited to positives for visual
examination, such plates are not well adapted for making either the
416
PHOTOGRAPHY
intermediate positive or the final negative. Far better results are to be
had from the use of a medium speed, clean-working plate of normal
contrast. The writer has used successfully Eastman Commercial
Film, Imperial Fine Grain Ordinary and Cramer Slow Iso plates.
The class of plates of which the above are typical representatives are
rather faster than ordinary enlarging materials, especially the. East-
man film, which is a comparatively fast yet clean-working emulsion.
They consequently demand greater caution in handling and exposure,
but give better gradation than the contrast-working transparency plates
which tend to produce blocked highlights and clear shadows, causing
a loss of detail at both ends of the scale, together with excessive con-
trast as a whole. . Extra rapid plates are of course somewhat more
difficult to handle and do not give contrast or density quite so readily
as those of slower speed. This property may of course become an
advantage in dealing with contrast originals, for which plates of the
rapid class may be used with advantage, just as transparency plates
may be serviceable at times with very weak originals, but on the whole
it is preferable to select a clean-working, fine-grained plate with an
H. and D. speed ranging from 100 to 150, as the contrast of the final
result may be controlled to the extent usually required by alterations
in the time of development.
Exposure.-The conditions of exposure will naturally vary with the
materials chosen and the equipment of the individual worker. Care
must be taken during all operations to see that both the negative and
the sensitive materials are completely free from dust, otherwise there
is likely to be a fine crop of small transparent spots which completely
ruin the result. It is well to call attention to the fact that perfect
contact between the two surfaces is essential. The slightest want of
contact which may not be observable in the small positive will become
serious when enlarged, particularly if the degree of enlargement is
considerable. For this reason the light amateur printing frames
should not be used for this purpose, but rather the heavy professional
frames which are equipped with much stronger springs. It is also of
equal importance that the focus be accurate .when enlarging. The
simplest way of ensuring accuni.te focus is to replace the usual easel
with one consisting of a removable sheet of ground-glass on which the
image can be focused by transmitted, rather than reflected light. The
use of a ruled test plate in the negative carrier is also to be advised.
The time of exposure will naturally vary with conditions and must
be determined by test. For this purpose the first plate should be ex-
posed in strips, giving a range of exposures from which the proper
time of exposure may be determined after development. The proper
exposure is that which is just sufficient to penetrate the deepest de-
posi.ts and produce a deposit on the sensitive material. No part-
excepting perhaps a small point-of the intermediate positive should
be clear glass. Even the highest highlight should show a slight de-
posit. Nor should the deepest shadows be of any great density.
What is required is a soft, almost flat-appearing positive of full detail
and delicate gradation. Under exposure is to be avoided and par-
ticularly worthy of serious attention is that slight under exposure
. which tends to give a brilliant, clean-cut result. Invariably this
bright, snappy, clean-cut result, for which the inexperienced worker
. is quite enthusiastic, is the result of slight under exposure and is ac-
companied with a loss of gradation at both ends of the scale, but more
particularly in the highlights. The strip which has received from two
to four times the exposure of the snappy-appearing strip (which
suggests a good lantern slide) is a better indicator of the proper ex-
posure than the brilliant strip.
Development.-To accurately reproduce tile original nega.tive both
the intermediate positive and the negative must be developed to a de-
gree of contrast equal to that of the original negative, or what is
termed technically a gamma of unity. If it is desired to lessen the
contrast of the original, the time of development of either the positive
or the negative, or both together, may be shortened so that each is
developed to a stage of contrast less than unity. This is a matter
far more easily accomplished with exactness by time development
than by either inspection or factorial methods.
The Watkins thermo system of development is perfectly adapted
to the development of both the intermediate positive and the final en-
larged negatives. The thermo system, however, is calculated for a
degree of contrast of less than unity ( 9)' hence if it is desired to
secure an accurate reproduction of the contrast of the original nega-
. tive a longer time of development than that indicated by the tables is
required. While I have not calculated its mathematical accuracy, I
have secured results sufficiently exact for all practical purposes by
developing the positive as directed by' the tables, but classify!ng the
plate or film used for the negative one class higher than listed on the
table of developing speeds. This opposition of effect, while perhaps
not mathematically exact, gives approximately the same degree of
418
PHOTOGRAPHY
contrast as the original negative. To reduce the contrast of the final
negative both the positive and the negative may be developed as in-
dicated by the tables, or in the same way, to increase contrast both
may be developed as if listed one class higher. In either case, the
main point is that one is working under standardized conditions, which
enable the source of trouble to be located and the necessary changes
in procedure made in a calculable way.
GENERAL REFERENCE WORKS
BAYLEY-Photographic Enlarging, 1923.
FRAPRIE-How to Make Enlargements.
SMITH-Enlargements-Their Production and Finish.
SNODGRASS-The Science and Practice of P hotographic Printing, 1923.
CHAPTER XIX
LANTERN SLIDES AND TRANSPARENCIES
The Negative.-In no branch of photography is better technical
work required than in making lantern slides and the proper place to
begin is with the negative. The clever worker may scrape and make
numerous alterations on his negative in such a way that no one will be
able to tell the difference in the print, but practically no handwork may
be done on a negative from which a slide is to be made, for every
touch is magnified from fifty to a hundred times and becomes painfuJly
evident on the screen. Therefore if one is making negatives which
may be used for slides it is important to choose a plate of fine grain
and reasonably free from mechanical defects. The interior of the
camera and the plate holders should be kept free of dust and the plates
carefully dusted before loading the holders.'" Fixing and developing
solutions should be fresh and filtered and it is better to fix in an up-
right tank rather than a tray. After washing, each negative should
be cleaned with absorbent cotton to remove adhering sediment and the
negative placed in a dust-free place to dry. Too much trouble can
hardly be taken in securing the finest quality negative as practically
nothing can be done to remedy faults in technique, except, of course,
reduction or intensification.
Lantern Plates.-Nearly every plate manufacturer makes at least
two varieties of plates for lantern slides. We may divide the com-
mercial plates into three classes :
I. Fast plates for reduction in the camera.
2. Slow, "gaslight" plates for contact printing.
3 Plates of extreme contrast or made especially for warm tones.
Representative brands of the first class are the lantern plates of
Cramer, Hammer, Eastman, Agfa, Hauff, Gevaert, Ilford, Barnet,
Illingworth, Imperial and Wellington.
Slow lantern plates, handled in almost the same manner as "gas-
light" paper, are almost entirely of foreign manufacture. Prominent
among plates of this type are the Wellington S. C. P., Imperial Gas-
light, Illingworth Slogas lantern plate, and Gevaert.
419
420 PHOTOGRAPHY
Various tones may be secured on most of the lantern plates named
above by proper manipulation but there are a . few plates which are
made especially for the production of warm-toned slides, namely, the
llford Alpha, Gevaert f,f/ arm-tone and Grieshaber's V a1'ieta.
Printing Frame for Contact Printing.- The beginner is advised to
start by selecting negatives from which slides may be made by contact
printing and, after he has mastered this method and can make a good
slide from any reasonable negative, he may take up reducti on. For
F1c. 184. F and S Lantern Slide Print ing Fralllc
COntact printing the negative must not ue larger than 3 X ~ inches
but it often happens that only an area of these dimensions is really
wanted from a larger negative and contact printing is then possible.
while an ordinary frame may be used it is better to either purchase a
special lantern slide frame such as the one illustrated (Fig. 184) or to
make one from the following description.
Select a frame two or three sizes larger than any of the negatives
from which slides are to be made, say 8 x ro for 5 x 7-. In this is
placed a piece of plain glass and over it a piece of opaque paper in the
center of which bas been cut an opening 3 x 4 inches. Instead of the
usual hinged back one of a piece of flat wood, its under side covered
with felt, is fitted in. Thi s has an opening in the center measuring
~ x 4 A little door of the same dimensions is hinged to one side of
the larger back and one of the springs attached to fasten the door and
secure contact between the negative and tl1c lantern plate. To use the
entire back is taken out and the negative inserted, the desired portion
being placed exactly over the opening in the black paper. The back
LANTERN SLIDES AND TRANSPARENCIES 421
is now replaced and fastened clown. The small door may then be
opened, the lantern plate inserted and the exposure made. Any
number of slides may thus be made from the same portion of the
negative without readjustment.
Exposing.- For exposing use any artificial light, preferably elec-
tricity. The bulb should be f rostecl or an image of the filament is
liable to fall on the frame . A board should he marked off so that the
distance from the frame to the li ght may always be the same, and
variations in the strength of the light eliminated. It is impossible to
give any idea as to the length of exposure since lights differ and no
two brands of plates have the same speed. The best plan is to make
a series of trial exposures for different times on the same plate and
from this series pick the one giving the best results. To do this hold
a card in front of the frame and uncover an inch of the plate for say
two seconds, then shift the card so as to expose another inch and give
another two seconds and so on until the whole plate has been exposed
and we have four strips the exposures of which are 2, 4, 8 and r6
seconds. In order to make the strips equal and regular the positions
of the card may be marked on the outside of the frame. After de-
velopment and fixation the plate may be examined and the exposure
giving the best result readily determined. Before treating develop-
ment, however, we will discuss the advantages and methods of making
slides by reduction.
Printing by Projection.-The writer firmly believes reduction to
he superior to contact printing. The definition is better, there is less
Fr c. 185. Century Lantern Slide Camera for Reduction
danger to the negative, or the lantern plate, and any shading to lighten
or darken parts of the slide is more easily done. There is also the
great advantage of being able to 111ake a slide from a negative of any
size when either wet or dry. T hi s last feature is particularly desirable
when an advertising slide is wanted in a hurry.
422 PHOTOGRAPHY
Slide making by reduction is simply rephotographing the original
negative on the lantern plate. Special cameras are available for this
purpose (Fig. 185) having at one end a set of nested kit s for holding
the negative and at the other an adjustable back taking a plate holder
of lantern slide size, the lens being fixed in the central compartment.
Except for slide making in quantity, their expense is not justified.
Another method consists in blocking out a window in the same way
as described on page 392 in the chapter on projection printing and
placing the camera on a sliding track facing the negative as shown in
Fig. r86. For slide making in quantity, however, artificial light of
some kind is far more sati sfactory than daylight owing to its uniform-
vrc. 186. Slide Making by Reduction Using Daylight
ity. If desired, artificial li ght may be used in a similar way, condens-
ing lenses or reflectors being used to secure uni form illumination.
It is more convenient to use for thi s purpose a camera which focuses
from the rear. \ 1\Tith a camera focusing from the back it is possible
to set the lens at the conjugate focus with respect to the original and
the degree of reduction required and focus without disturbing this
relation. This is not possible with a camera which must be f ocused
from the front as any movement of the lens to secure accurate focus
naturally disturbs both conjugates.
T hose provided with a good enlarging lantern may use it for reduc-
ti on by using a supplementary lens over the regular lens to shorten the
focal length, or better by building an extension cone sufficient to pro-
vide the amount of bellows extension required. The length of the
cone will depend upon the focal length of the lens, the degree of reduc-
tion and on the length of the bellows fitted to the machine. The tables
of focal di stances given in the chapter on projection printing will be
of assistance in determining the length of the extension cone.
The most satisfactory method whi ch we have seen for holding the
plate in position for the exposure is that described by Mr. D. Charles
in the British Journal of Photography
1
and illustrated in Fig. r87.
The details of construction will be apparent upon a thorough examina-
tion of the illustration. In the writer' s opinion, sharper focus may be
obtained when focusing is clone on a ground g lass rather than by re-
Frc. 187. Device for Holding Lantern Plate in Position When Using Enlarger
for Lantern Slide :rv[aking by Reduction. (Charles )
fl ectecl light. When a ground-glass screen is used methods of Parallax
focusing as described on page 524 in the chapter on Copying may be
employed to advantage.
As in the case of contact printing, exposures are best cletermir"lecl by
test plates exposed in sections. Calculations on the order of those
described previously in the chapter on Proj ection Print ing, however,
may be useful as a first approximation.
Developers.- A developer suitable for lantern slides should be non
staining, free from fog, and produce an image of good color, fine
grain and comparatively high contrast. No developing agent has ever
surpassed the old ferrous oxalate in meeting these requirements and it
is, therefore, the developer par-excell ence for lantern slides and trans-
parencies. It is now seldom used, however , having been replaced by
the more convenient and more energetic organic developing agents.
Next to ferrous oxalate one of the best developing agents for trans-
parencies is glycin. The following formula is suitable (Hubl ) :
Sodium sulphi te (dry) .... .... . ............... . . 6oo gr.
'vVarm wate1 to make . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 oz.
Glycin . .. . .. . .... . .... . ..... . .. . . . .. . ......... . 480 gr.
Mix well and add graduall y :
Potassium carbonate. ... . . . ... . . . . . . . . . . . . . . . . . . . 5 oz.
'vVater to make . . .... .. . .. . .. . . . . . ...... . ..... .. . 7% oz.
1 Brit. 1. Phot., 1922, 6g, 232.
125 gtn.
400 cc.
I OO gm.
.::oo gm.
750 cc.
424 PHOTOGRAPHY
For use dilute with 8-1 2 parts of water. Slides must be well washed
before placing in the fi xing hath or stain will appear.
Perhaps the most generally used developer for lantern slides and
transparencies is hydrochinon. It has the advantage of giving good
contrast and satisfactory color but the quality of the image is not so
good as glycin. The following formula is suitable (Lanier):
A. Hydrochinon .. .... ...... . . .......... .. . . . .. . 77 gr. 10 gm.
20 gm.
120 gm.
1000 cc.
Sodium sulphite (dry) .... ...... .... .. ..... ... 154 gr.
Potassium ferrocyanide . .... .. . . ... ..... . ..... 922 gr.
Water to make .......... . . .' .... .. . . ... . . .... . 16 oz.
B. Caustic soda ... ... ... ... . ........ . .. . .. ....... 384 gr. so gm.
1000 cc. Water to make ... .......... . ..... .......... . 16 oz.
For use take Io parts of A to one of B. For general use with
American plates, however, the developer as made up above may be
further diluted with an equal part of water. This developer works
with medium contrast. If a hydrochinon developer giving maximum
contrast is required the hydrochinon-caustic soda formula given on
page 287.
For very fine grain images with the hydrochinon developer add so-
300 grams ( 385 grains-50 ounces) ammonium chloride to each IOOO
cc. ( 16 oz.) of the above developer.
Other developers suitable for lantern slides are amidol and metol-
hydrochinon. Pyro may be used, but excepting for warm-toned slides,
is not so convenient, nor altogether as satisfactory, as the non-staining
agents already noticed.
Development.-The writer expresses a decided preference for the
Watkins fact orial method in developing lantern slides and trans-
parencies. The density of a slide should be determined solely by ex-
posure, and development regulated so as to produce the degree of con-
trast required. Once the proper factor has been found for the de-
veloper and plate in use it is a simple matter to locate errors in ex-
posure and development. The following table shows how to deter-
mine the principal defects of exposure and development and to remedy
the same.
Fault
Too much density,
correct contrast.
Too little density,
correct contrast.
Too much contrast,
proper density.
Too little contrast,
proper density.
Cause
Over exposure
Under exposure
Over development
Under development
Remedy
Give less but develop
to same factor.
Give more but develop
to same factor.
Develop to lower factor.
Give same exposure.
Develop to higher factor.
Give same exposure:
,-
,,

l
~
i
.1
;
The proper factor can be found only by experiment. It is dependent
upon the plate, the developer and the degree of contrast required. In
all cases it is less than that required for negative development and as a
rough guide a factor about % of the regular Watkins factor may be
taken for the first trials.
The proper safelight acids greatly to the accuracy in observing the
first appearance of the image and in determining the course of develop-
ment. For the very fast lantern plates an orange safelight, such as
the Wratten Series o, should be employed; for the slower gaslight
plates the Series oo, a bright-yellow, is safe.
Fixing, Washing, Drying.-After development, rinse well in run-
ning water and place in an acid fixing bath, those given in the chapter
on fixing being entirely suitable. It is important that the fixing bath
be kept fresh and acid at all times, otherwise there is liable to be a
slight stain on the slides, which, while not particularly noticeable when
the slide is held in the hand, will injure the transparency and brilliancy
of the highlights when proj ected. Wash for fifteen to twenty minutes
in running water and on removing wipe the surface with a piece of wet
absorbent cotton to remove adhering grit and dirt. The slides should
then be placed in the rack to dry, leaving at least two inches between
each plate in order to ensure a good circulation of air. The use of an
electric fan is advisable where possible. It is very important, however,
particularly where a fan is used, that the atmosphere be free from dust
and perhaps one of the best ways to prevent dust from settling on them
is to place a piece of newspaper over the drying rack. Then, if the air
is not filled with dust stirred up by cleaning or some similar operation,
they will dry comparatively free from dust particles.
Masking.-This is a very important operation, particularly where
the subjects are pictorial, as the composition of the finished picture
is largely determined at this stage. Of course as much of this should
be done in the process of reduction as possible in order to secure. the
largest possible picture on the slide plate. In nearly all cases the
matts used for masking off the undesired portions of the picture
should have square corners. It is only occasionally that circular and
oval shapes may be usefully employed. Ready cut matts are fur-
nished commercially in a wide variety of shapes and sizes but with
most of these the corners are rounded and except in some cases this is
nearly always objectionable. Adjustable matts with which any de-
sired size or shape may be obtained are far more generally useful, for,
426 PHOTOGRAPHY
although they cannot be so quickly applied, there is no need to keep
on hand a large number of various sized matts since the proper pro-
portions and size for any requirement may be prepared from the
single block of adjustable matts.
Spottieg.-After the mask has been fixed to the slide with a little
glue and has set under pressure until there is no danger of move-
ment, the slide may be spotted. Spotting is employed to guide the
operator in placing the slide in the lantern correctly. The rule to fol-
low in placing the spot is to hold the slide as it should appear on the
screen and place the little square of gummed white paper in the lower
left corner. The lantern operator places the slide in the lantern up-
side down with the spot acting as a thumb mark.
Binding.-This is the final operation and one at which the beginner
is not usually successful. Not that it is a difficult operation, but
there is a little knack to it which is readily acquired with experience.
The easiest method is to employ four strips, although many EXperi-
enced hands prefer the continuous strip method. To use the former,
begin by cutting a number of strips of binding paper ~ and 4 inches
in length. The former are used for binding the ends; the latter the
sides of the slide. Then take a piece of absolutely clean cover glass
(a cleaned-off slide plate) and place it against the masked side of the
slide. The binding strip is then moistened and applied to the edge
of the slide. First see that the strip of binding tape is placed evenly
so that it will fold over regularly and uniformly on both sides of the
slide. Proceed in a like manner with the other four sides, then place
the slide under pressure for an hour or so.
Advertising Slides.-One is often asked to produce a slide showing
both printed matter and an illustration. If the two are copied on a
plate suitable for the photograph, then it is impossible to obtain suf-
ficient contrast in the legend, while on the other hand if a process
plate is used to reproduce the legend correctly the photograph is
excessively contrasty. There are two ways of overcoming this. One
way is to make the copy on a plate of low speed which will give
fair contrast so as to obtain the very best result for the photograph
ignoring the legend. When the negative is dry, cover the photograph
with any waterproof varnish and immerse the negative in a ferri-
cyanide-hypo reducer until the lines of the legend are clear. Then
after a thorough washing, intensify in Monckhoven's intensifier to
.
I.
secure the contrast. When dry the negative may be printed in
the ordinary way with good results.
Another way consists in making one negative for the photographic
portion and one for the line portion, using the appropriate sensitive
material for each. The portion representing the photograph on the
process negative is then blocked out by means of opaque while the
legend is blocked on the negative made for the illustration.
Means of registration having been provided it is then a .sirriple mat-
ter to secure a slide of the proper quality by double P!inting, first for
the illustration and then for the legend.
Toning of Lantern Slides by Restrained Development.-'-Warm
tones of black, brown, red, purple and sepia may be obtained by the
use of a developer heavily restrained with soluble bromides and the
colors so obtained are usually, in the writer's opinion, superior to
those obtained by processes of after-toning: The principle consists
in the over exposure of the slide plate followed by development in
a developing solution highly restrained with potassium or ammonium
bromide or a combination of the two. Not all plates produce satis-
factory tones with such treatment and the best tones are secured on
the plates advertised as warm-tone by the makers and on the slower
brands of slide plates such as Eastman Slow, Wellington S. C. P. , etc.
The following formula is recommended for the Wellington S. C. P.
and when properly used will be found satisfactory for other makes of
like nature :
A. Metol ... . .. . .. ..... . ... . .... . . .. . . . ... . ... . 20 gr. 2 gm.
Hydrochinon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6o gr. 6 gm.
Sodium sulphite (dry) .. ....... . . ... . .... ... 350 gr.
35
gm.
Sodium carbonate (dry) .. . . .. .. ... . .... . .. . 350 gr.
35
gm.
Potassium bromide . . . . . . . . . . . . . . . . . . . . . . . . . . 20 gr.
to make ... ... .. .. . . . . . . ... . ... .. .. .. 20 oz.
0.6 gm.
IOOO cc.
B. Ammonium carbonate . . . ..... . .... .. . .. . . .. .. I oz.
9I
gm.
Ammonium bromide . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
91
gm.
Water to make .. ... . ...... . ..... . . ... . .. . .. ro oz. IOOO cc.
Without solution B the tone is blue-black. By increasing the ex-
posure and adding correspondingly larger amounts of restrainer
warm-brown, sepia, purple and red .tones may be obtained. The fol-
lowing table gives the approximate increase in exposure and the com-
position of the developing solution for the various tones:
15
428 PHOTOGRAPHY
Color Exposure x normal
Black ............................ . . . . . Nor.mal
Warm-Black ... ... ... . ................. Normal x IV,
Brown ..... .. ...... .. ...... .... ... . .. . Normal x 2
Warm-Sepia .. . .. . ... ........... . . . ... Normal x 3
Purple ....... . .. .. ....... . . ..... .. . .. Normal x 4
Red ........ . .... ........ . ...... . ... .. Normal x 6
Developer
A I part, B - part
A I part, B % part
A I part, B y,( part
A I part, B :Vs part
A I part, B Y, part
A I part, B ~ part
The appearance of the slide as it lies in the tray is not an accurate
indication of its final color and the best results are secured when de-
velopment 1s conducted factorially. The exposure determines the
tone to a large extent and development must be regulated accordingly.
The proper factor varies from three to five with the above formula.
For the Wellington S. C. P. lantern plate a factor of three is recom-
mended, while the writer has found five to be the best for some other
brands of plates.
Physical Development.-The advantages of physical development
are: facility of obtaining soft slides from harsh negatives, the trans-
parency of the shadows, the unique bluish-black tone and the ex-
cellent results obtained by sulphide toning. The precautions to be
observed are:
I. Use only fresh plates.
2. Give about double the exposure ordinarily demanded for regular
developers.
3 Keep all trays absolutely clean.
The following is the formula of Dr. Mees:
A. Metol .. ................. . .. .. . .. ........ . ... . . 96 gr.
Citric acid ........... . .. . . . ..... . ....... . .... ... 96 gr.
Acetic acid, glacial ............................. I oz.
Distilled water to .. . .. .. . .. .. . . . .............. . . 20 oz.
B. Silver nitrate......... .. . . .... .. . . .... . .. . .. .. . r oz.
Water to make ............ . ... . ............. . . 10 oz.
5 gm.
5 gm.
25 cc.
500 cc.
IO gm.
100 cc.
To develop a slide I ounce of A is poured in a clean glass g ~ d u t e
and so minims of B added. The exposed slide is placed in the tray,
the mixture poured on and kept in motion. During development the
silver may be deposited ali over the plate but this can be removed by
rubbing with wet cotton wool. As soon as the developer becomes
brown it should be discarded. Fr:esh developer must be used for each ,I
batch of slides and the trays and graduates cleaned thoroughly each '
time before mixing in order to insure absolute cleanliness. Physical
development is not a process for commercial use but is an interesting
method for the amateur who desires unusual effects.
Colors on Direct Development with Thiocarbamide.-The addition
of thiocarbamide to a developing solution of metol and hydrochinon
restrained with ammonium bromide for the purpose of obtaining a
wide range of colors ranging from a delicate violet through red, blue,
blue-black and black on lantern slides by direct development was first
advised by Wratten and Wainwright, the English firm of plate makers,
in 1909. The resultant image is of a very fine quality, with an unusual
transparency in the lower tones which is obtainable in no other way,
while the range of colors obtainable on slow lantern plates by modifi-
cation of the exposure, developer or temperature is unsurpassed by
any method of toning by direct development. The process is a very
difficult one and it is recommended that !he.student studiously avoid
the same, not only until he has mastered ordinary slide making in
black and white, but also until he is thoroughly familiar with the pro-
duction of warm-tone slides by the methods previously described. Ex-
perience alone can enable the worker to master the process.
2
The Toning of Lantern Slides and Transparencies.-With the ex-
ception of the hot hypo-alum method, the methods of toning described
in Chapter XX may be used for lantern slides as well as prints. Ex-
cellent brown tones may be secured by the usual process of indirect
sulphide toning; the copper and uranium processes are also widely em-
ployed. The toned image, however, leaves something to be desired
as regards transparency, the tones produced by after-toning processes
never equalling those produced by direct development in this respect.
Probably the finest results in after toning are secured by dye-toning
processes. Dye toning has found an extensive application in the mo-
tion picture industry but does not seem to be widely employed for
lantern slides. For further information on dye-toning methods the
reader is referred to Lantern Slides-How to Make and C alar Them
obtainable free from the Eastman Kodak Company, Rochester, N. Y.
Reduction and Intensification of Lantern Slides.-Neither the re-
duction nor intensification of lantern s'ides and especially of warm-
tone slides is to be recommended as a general rule. For reduction, a
weak solution of ferricyanide-hypo may be used, but in the case of
warm-tone slides only a slight clearing action should be attempted as
substantial reduction alters the color.
2
Johnson, Phot. !., 1926, 56, 159.
430 PHOTOGRAPHY
Where greater contrast is necessary it is preferable to intensify the
negative rather than the slide. However, if for any reason this is un-
desirable the slide itself may be intensified. The chromium intensifier
is satisfactory and convenient for this purpose. For warm-tone
slides, however, preference should be given to the following silver
intensifier which has the advantage of not altering the color:
A . Metal ............. . ............... . . .... . . . 88 gr.
Glacial acetic acid . . .. ... :. . . . . . . . . . . . . . . . . . . I oz.
Citric acid ...... . . . . . . . ........ ... . . .. .. .. .. I76 gr.
Water . : . ....... . . . . ...... . ... .. . ... .. .. . . 20 oz.
B. Silver nitrate. .. ....... . .... . ...... .. . . . . . .. I oz.
Distilled water. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 oz.
9.2 gm.
so cc.
I8-4 gm.
IOOO CC.
so gm.
IOOO cc.
For use take A, 24 parts ; B, r-2 parts; distilled water, 24 parts.
The intensifying solutioft must be prepared fresh for each slide.
The dry slide is immersed in the intensifier for one to one and a half
minutes until the required degree of intensification is secured. If it is
allowed to act longer than a minute and a half it begins to work un-
evenly and produces a blue deposit. Stains on trays, fingers, etc.,
from the intensifying solution may be removed by acidified perman-
ganate solution or strong hypo and ferricyanide. When intensifica-
tion is complete the plate is washed in running water for one minute,
then immersed in an acid fixing bath for five minutes and finally
washed in running water for one hour.
FRAPRIE-How to Make Lantern Slides.
GLOVER-Lantern Slides.
HARRis-Practical Slide Making.
LAMBERT-Lantern Slide Making.
MERCATOR-Die Diapositiverfahren.
CHAPTER XX
THE TONING OF DEVELOPED SILVER IMAGES
Introduction.-For many subjects a color other than that of the
cold neutral black of the ordinary developing papers is desirable and,
when the color is selected properly with reference to the nature of the
subject, adds considerably to the artistic effect. While of late there
bas come into being a class of developing papers made for the special
purpose of producing warm-black and broevn-black tones by direct de-
velopment and while some few papers may be made by restrained de-
velopment to produce brown and sepia tones, in general, recourse must
be had to toning processes for other colors than the usual black and for
warm-black. There are almost innumerable variations in a large num-
her of toning processes producing results of varying quality and differ-
ing greatly in adaptability to various emulsions. With some methods
of toning, the colors are only slightly inferior to the corresponding
images of prints produced by a pigment process such as, for example,
carbon. vYith others, however, the results are not always such as
please, much depending upon the suitability of the emulsion and the
character of the print, while in some cases the process of toning itself
is not above objection. A work of this nature is not the place for a
comprehensive review of all of the many toning processes and their
modifications. Representative formul<e with manipulative details of
the more generally useful methods, however, are included. Those in-
terested in the subject to a greater extent than it is possible to give to
it in these pages are referred to the bibliography at the end of the
chapter where will be found a fairly complete list of the principal
works on the subject published during the last twenty years.
The Sulphur Toning Processes-The Print.-The most widely
used processes of toning are those in which the metallic silver of the
black image is converted into a colloidal silver sulphide. The colors
obtained by such treatment range from purplish-brown, through sepia
and various shades of brown, to a disagreeable yellowish-brown. There
IJ are a number of processes which fall into this class and these may, for
convenience in treatment, be divided into two i v i s i o n ~ : ( 1) the in-
direct processes in which the metallic silver is first bleached and then
431
432 PHOTOGRAPHY
converted into silver sulphide by immersion in a bath of sodium, am-
monium or barium sulphide; and ( 2) the direct method in which the
conversion to silver sulphide is accomplished in a single solution.
Certain differences exist in the nature and working of the two methods
which may be more conveniently noticed when we consider the various
processes separately. However, as the bearing of the black print on
the final result is very nearly identical with all the processes of sulphur
toning it is more convenient to" consider this subject before proceeding
to a discussion of the processes themselves.
The color obtained upon toning depends to a certain extent upon
the toning operation itself; much more, however, on the exposure and
development of the black print. If increasing times of development
be taken and the exposure adjusted in each case so as to produce a
print of approximately the same depth, upon toning it will be found
that as the time of development is increased the color of the toned
print becomes progressively colder in shade. The student is advised
to repeat this experiment in order that he may see for himself the
exact effect of variations in exposure and development on the color of
the toned image. From the series of prints so obtained it should not
be difficult to select one which has the color desired. It will then
serve as a guide for the development of future prints on the same
paper which are to be toned.
Owing, however, to differences in the temperature of various batches
of the developing solution, the oxidation of the developing solution
when in use, the reduction in its activity with use owing to the re-
straining action of liberated bromides and to differences in the de-
veloping speeds of various batches of the same paper, it is advisable to
adopt the factorial system rather than to adhere to a straight timing
metqod. The print to be used for sulphur toning should be developed
to a rather high factor-the exact factor to be used depending some-
what on the character of the emulsion and to a certain extent on the
color desired. Once, however, the factor has been found which with
a given emulsion produces a print which upon toning results in the de-
sired color, duplicate prints of the same quality can be made at any
future time. Where the total duration of development is so short as
to make the factorial method inconvenient, as is the case with most of
the developing papers of the gaslight type which are designed prima-
rily for the use of the amateur, the adoption of a fixed time of de-
velopment is perhaps the more satisfactory solution. In this case,
however, care should be taken not to overwork the developing solution
TONING OF DEVELOPED SILVER IMAGES 433
or uniform colors will not be obtained. Indeed for best results it is
preferable to use fresh solution for each print, taking for this purpose
only sufficient solution to cover the print.
When development is conducted for a definite time, rather than by
the factorial method, the amount of soluble bromide present in the
developing solution has a very great influence on the resulting color.
Therefore when for any reason time development is used the amount
of soluble bromides added to the developing solution should be care-
fully standardized in order that it may be possible to obtain the same
tone in the . future. Where development is by factor the amount of
soluble bromide in the developing solution has but slight influence and
the exact amount is therefore relatively unimportant. It is well, how-
ever, in most cases not to use very much tnore than is required to pre-
vent fog.
The nature of the emulsion has considerable influence upon the re-
sulting color. As a rule, the faster the emulsion the colder is the tone
obtained with normal treatment while the slower grades tend to pro-
duce warm tones. These differences, however, may be, and often are,
overshadowed by the exposure and development of the print. Thus,
while it may be said that emulsions vary in their tendency to produce
warm or cold tones, practically speaking, any desired tone within the
range of the toning process used may be obtained when one has a
black print of the requisite character.
In the case of sulphur toning by the indirect processes perfect fixa-
tion is a matter of vital importance. The investigations of Lumiere
and Seyewetz
1
have conclusively proved that the staining of the whites
met with in sulphur toning by the indirect process is due solely to im-
perfect fixation. They have shown that fixation is incomplete in a
bath of hypo which contains more than 2 per cent of dissolved silver
bromide and that prints fixed in such a bath will show a coloration in
the whites on toning regardless of the time which they are left in the
fixing bath. The authors therefore recommend the use of two fixing
baths, one of which has been slightly used while the other is absolutely
fresh, and the prints given ten to fifteen minutes' fixation in each bath.
It would be well as a matter of principle if workers would accustom
themselves to the use of two fixing baths and discard the older of the
two at regular intervals depending upon the number of prints fixed,
its place being taken by the second bath which is in turn replaced by a
fresh solution.
1
Brit. J. Phot., 1923, 70, 732.
434
PHOTOGRAPHY
Sulphur toning processes such as hypo-alum and liver of sulphur
(when used in a solution sufficiently strong) which contain a relatively
large amount of hypo in their composition are without staining action
on the whites of the print provided the fixation has been reasonably
complete.
Since these processes contain hypo as a constituent part there is no
necessity for thorough washing in order to secure complete elimination
of hypo. Thorough washing, however, is a matter of importance when
the indirect processes are used since these are quite sensitive to its
presence.
The Hypo-Alum Process.-0 the several methods of direct sul-
phur toning, the hypo-alum process is perhaps the most popular and
is extensively used in American studios, practically to the exclusion of
all other methods of sulphur toning. It is withal an excellent method
for securing such colors as are within its range which may "be said to
extend from a slightly purplish-brown through various shades of brown
to warm-chestnut-brown. It is regular and reliable in action produc-
ing agreeable tones and free from the tendency towards extreme
warmth of tone which makes it well adapted for many emulsions which
with other processes produce disagreeable yellowish tones.
The following is a reliable formula for the hypo-alum toning
Hypo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I lb.
Hot water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8o fl. oz.
Alum . . . . . .. ............... . . . .... . . . ........ 30 oz.
365 gm.
2000 cc.
8o gm.
Stir the solution well when adding the alum, then raise to the boiling
point and boil for three mirrutes. Allow the mixture to cool and add
the silver solution, known technically as a ripener, which
prevents the bleaching of the prints in the hot toning bath:
Silver nitrate . . . , ... . .. . . . .. . ... .. ...... .. .... . 20 gr.
Distilled water. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I fl. oz.
Ammonia ( .880) sufficient to redissolve the pre-
cipitate first formed.
I.7 gm.
30 cc.
The solution should be stirred vigorously while the ammonia is being
added. It is then added to the hypo-alum mixture and the following
solution of potassium iodide made up and added to the bath which is
now complete and ready for use :
Potassium iodide . . .... .. .... . .. . . . . .. ... . ... . .. 40 gr.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I fl. oz.
3-4 gm.
30 cc.
The prints for toning, which should be slightly darker than required
since there is a slight bleaching action in toning, should be fixed thor-
oughly and rinsed in several changes of water, then immersed in the
hypo-alum solution which should be heated to a temperature of about
90 F. (32 C.). The prints are kept on the move while toning in
order that there may be no danger of uneven toning from the over-
lapping of the prints in the solution. At the same time the tempera-
ture of the bath is gradually raised to rro to 135 F. (43-57 C.).
The temperature of the toning bath has a slight influence on the color
of the toned print, the warmth of tone increasing with higher tem-
perature. The temperature should therefore be regulated with respect
to the degree of warmth desired in the finished print. The prints are
allowed to remain in the hypo-alum m1xture until there is no doubt
that toning has proceeded as far as it will go. There is no danger of
over toning as t h ~ action proceeds to completion and then stops. The
time required for toning varies with the temperature of the bath and
with the emulsion, varying from 15-30 minutes at temperatures from
IIOto I30 F. (43-54 C.).
When fully toned, the prints are removed ~ n the surface swabbed
with hot water by means of a tuft of absorbent cotton in order to re-
move the precipitate of alum which forms and are then washed and
dried in the usual way. The toning bath itself should not be thrown
away but bottled up for future use as it improves with age.
Several methods of accelerating the action of a hypo-alum bath have
been advised. Thermit in the British Journal of Photography
2
recom-
mends that the prints after having been fixed in a plain hypo fixing
bath be immersed in a ro per cent solution of sulphuric acid for half
a minute, then transferred to the regular toning bath where the action
will proceed quite rapidly. W. E. A. Drinkwater in recommending a
similar method adds to the sulphuric acid solution a small amount of
hypo, as follows:
Sulphuric acid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I fl. oz.
Water ...... . ................ . . . : . ... . . . .. . ISO fl. oz.
Hypo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 oz.
6.s cc.
IOOO cc.
26.6 gm.
Prints transferred from this solution to the regular hypo-alum bath at
a temperature of about II0 F. (43 C.) tone completely in a few
seconds.
Zanoff's Controlled Hypo-Alum Process.-With the exception of
2 I922, 6g, I26.
436 PHOTOGRAPHY
the slight control possible by varying the temperature of the bath, when
the ordinary hypo-alum process is followed the tone of the finished
print is determined once for all by the exposure and development of
the print. Zanoff, however, has described a variation in the usual
process by which there is greater control over the resulting tone in
the operation of toning. The formul<e for the two toning solutions
required are as follows:
I. (a) Hypo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 oz.
Alum . . . . . . .. .. . . . . .. . . . . . . . . .. .. . . 2 oz.
Boiling water (distilled) . . . . . . . . . . . . . I28 oz.
Boil two minutes, allow to cool and then add:
Sodium phosphate..................... 2 oz.
(b) Silver nitrate ........................ 6o gr.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
Potassium bromide. . . . . . . . . . . . . . . . . . . ~ 8 o gr.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
I43 gm.
14.3 gm.
1000 cc.
J4.3 gm.
95 gm.
7.8 cc.
2.85 gm.
7.8 cc.
Pour the 'bromide so!ution into the solution of silver nitrate and add
precipitate and all to the cool hypo-alum bath.
(c) Gold chloride. .... ... ... . ........ . ... I5 gr.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 oz.
Add to hypo-alum bath. This completes solution Number r.
.24 gm.
15.6 cc.
II. (a) Hypo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I6 oz. II4 gm.
Alum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 oz. 28.5 gm.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 oz. 1000 cc.
Boil five minutes, then cool and add the following solution which has
been prepared separately:
Silver nitrate...... . ................. 30 gr.
Potassium bromide. .. ........... . .. .. 30 gr.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
-48 gm.
.48 gm.
7.8 cc.
The prints are first immersed in the first bath for six or seven
minutes, according to the warmth of tone required, then rinsed and
immersed in the second bath until toning is complete. The longer
prints are left in the first bath the colder. is the final tone. Accord-
ingly by regulating the time of immersion in this bath the tones may
be regulated to meet the desires of the operator, so that the action of
the bath is completely under control.
The first solution is used at a lukewarm temperature; the second at
the normal temperature of the ordinary hypo-alum bath.
3
3
Abel's Photographic Weekly, 1921, p. 224; Brit.!. Phot., I92I, 68, 68o.
Sulphur Toning with Acid Hypo.-When an acid is added to a
solution of hypo, the latter is at 'once decomposed, one of the products
being finely divided sulphur. A number of toning processes based
upon the decomposition of hypo by an acid have been brought forward
although none have come into extensive use. Processes of this nature
were brought forward by Lumiere and Seyewetz and H. Soar in 1914,
by G. S. Hoell in 1915 and by the Eastman Research Laboratory in
1922.
4
In the method advised by the latter the prints are first im-
mersed in a 5 per cent solution of sulphuric acid for ten minutes, then,
after a brief rinse, in a 20 per cent solution of hypo saturated with
borax.
Toning with the Polysulphides.-A cheap and simple method of
sulphur toning and one which produces acceptable results on many
emulsions consists in the use of a polysulphide, usually in the form
_, of the inexpensive " ljver of sulphur," a mixture of potassium poly-
sulphide and potassium sulphate which usually contains certain im-
purities in the form of potassium carbonate and potassium thiosul-
phate.
The following formula is recommended:
" Liver of sulphur ". . . . . . . . . . . . . . . . . . . . . . . . . . y,( oz.
Hypo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Yz oz.
\Vater ..................... . ....... . ......... 20 oz.
12.5 gm.
25 gm.
1000 cc.
As the of the toning bath must be about So to 90 F.
( 27-32 C.) and since the " liver of sulphur " itself has a softening
action on gelatine it is well to harden the prints before toning in a solu-
tion of chrome alum, unless an acid fixing bath containing alum has
been used in which case the degree of hardening will probably be suffi-
cient. As the toning solution itself contains hypo, only a brief wash-
ing is required before toning. Toning requires from ten to fifteen
minutes at the above temperature during which time but little outward
change in the color of the print will be observed. As the subsequent
washing proceeds, however, and the yellow discoloration disappears
the final color of the print becomes apparent. Blue spots arise from
the presence of iron, due either to the use of trays in which iron is
exposed or to the use of impure "liver of sulphur." The remedy is,
in either case, obvious.
E. Underberg advises the use of ammonium polysulphide which he
4
Brit. 1. Phot. Almanac, 1914, p. 66; Phot. Era, March 1915, p. 127; Brit. J.
Phot., 1922, 69, 73.
438 PHOTOGRAPHY
prepares as follows:
5
A stock solution is prepared by dissolving pure
sulphur in commercial ammonium sulphide until the point of satura-
tion is reached and then decanting the clear solution which keeps well.
For toning, from ten to fifteen drops ( .3-.6 cc.) of this solution are
added to ten ounces of water ( 284 cc.) which is heated to a tempera-
ture of 85 to 95 F. (30-35 C.). Toning proceeds rapidly and is
complete within s-ro minutes. Underberg considers this method one
of the best because of its simplicity and regularity, the warm tones
produced, and because the action is progressive, so that the action can
be stopped at any time, in this way securing an intermediate tone due to
the admixture of the original black with the toned image.
Lumiere and who investigated the use of " liver of sui- .
phur" as a toning agent very thoroughly/ are of the opinion that the
action of liver of sulphur on the developed image is comparable to
colloidal sulphur and that the course of the reaction is as follows :
S + H20=H2S + 0,
Ag
2
+ 0=Ag
2
0,
Ag
2
0 + H
2
S = Ag2 S + H
2
0.
As the actual toning agent in the above case is the polysulphide con-
tained in the liver of sulphur it is plain that this might be used alone.
The solution of potassium polysulphide may be prepared by the method
described by Bullock.
7
Dissolve one hundred grams of potassium hydroxide in water and
make up the solution to a total of rooo cc. (in English measures r
ounce to a total volume of ro fluid ounces). Saturate one half this
solution with hydrogen sulphide and mix with the remainder. To this
solution, which is substantially one of potassium sulphide, add 120
grams ( 1.2 ounces) of pure sulphur in powder, heat to the boiling
point and boil for five minutes stirring rapidly all the time. The
potassium pentasulphide solution thus formed is then allowed to cool,
filtered and kept in a rubber-stoppered bottle tightly closed.
For use take 950 parts of water, so parts of the potassium penta-
sulphide stock solution and 2.5 parts of a 20 per cent of am-
monium sulphide. This bath as prepared will remain clear for about
an hour after whjch the sulphur may begin to separate out.
5
Brit. J. Phot., 1924, 71, 50.
a Brit. J. Phot., 1923, 70, 733
7 Brit. J. Phot., 1921, 68, 451.
The time of toning is from 15-25 minutes at ordinary temperatures
but the action may be greatly accelerated by the addition of either
potassium sulphocyanide or potassium selenocyanide. With the ad-
dition of 2 per cent of sulphocyanide the rate of toning is approxi-
mately doubled. Increasing the amount of sulphocyanide increases
the rapidity of toning but leads to a more purplish tone, which, how-
ever, may, in some cases, be an advantage.
Single Solution Sulphide Toning Processes.-A process of sulphur
toning in which a solution of sodium sulphide containing an oxidizing
agerit together with some body to take up the caustic soda formed was
described by Milton B. Punnett
8
in 1908, and similar processes were
described by Dr. F. Kropf
9
in 1910, by E. Blake-Smith
10
in 191 I, and
in a leading article in the British Journal of Photography the previous
year, while Dr. W. Triepel
11
patented under British Patent No. 24,-
378 of 1910 a process of like character.
The most successful of such methods, however, is that introduced
by Mr. W. B. Shaw in 1923 in which the role of the oxidizing agent
is filled by nitro aromatic derivatives, such as, for example, nitro-ben-
z ~ n e sodium meta-nitro-benzene sulphonate and sodium 4-nitro-
toluene 2-sulphonate. The toning solution is compounded from two
stock solutions as follows:
12
Saturated solution of barium sulphide ............ . . . ... . .... .. ....... IS parts
IO per cent solution sodium meta-nitro-benzene sulphonate ............. I part
Both solutions keep well if stored in tightly corked bottles. A fun-
goid growth, however, will form in the nitro-benzene solution with
time. This growth may be prevented by adding to the solution a small
piece of thymol.
Prints immersed in this solution tone to a good sepia or brown
within three to five minutes at a temperature of 60 F. ( I6 C.). The
tones vary considerably with the emulsion; the greatest variation be-
ing observed with papers of the gaslight type. With bromide papers
there is comparatively little variation in tone with different emulsions.
The tones resemble very closely those obtained by other methods of
sulphur toning and since the method is one which works rapidly, is
8
Brit. J. Phot. Almanac, I(}08, p. 653; Brit. l. Phot., I9IO, 57, 869.
9
Phot. Rund., 1910, 21, 245; Brit. f. Phot., I9IO, 57, 836.
10
Brit. l. Phot., I9II, 58, I40.
11
I9IO, 57, 835.
12
Brit. f . Phot., 1923, 70, 759.
440 PHOTOGRAPHY
simple in composition, produces agreeable tones and does not require
the application of heat it will undoubtedly develop into one of the
most popular methods of sulphur toning.
The Indirect Process of Sulphide Toning.-Of the many methods
of producing sepia and warm-brown tones, the indirect process is one
of the most reliable and is perhaps in wider use than any other
method. The well-washed prints are first bleached in one of a n u ~
her of baths, the most prominent example of which consists of potas-
sium ferricyanide and bromide, briefly washed and toned in a solu-
tion of sodium, ammonium or barium sulphide. As the latter has a
softening action on gelatine the use of an acid fixing and hardening
bath is advisable particularly in summer or when high temperatures
cannot be avoided.
For bleaching the print any of the following mixtures may be used:
A. Ferricyanide-bromide (B. J. Almanac Formula)
Ammonium bromide ........... . . . ....... . . . IOO gr. 10.4I gm.
Potassium ferricyanide . . .. . .. .. . ........... 300 gr. 31.23 gm.
Water to make . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 oz. 1000 cc.
B. Permanganate (T. H. Greenall)
(a) Hydrochloric acid (31.8 per cent) . ...... 3 oz. ISO cc.
Water to make . ...... .. .... . ......... . 20 oz. 1000 cc.
(b) Potassium permanganate . ...... . . ...... 40 gr.
4 S
gm.
Water ...... . . . ....... ......... ....... 20 oz. 1000 cc.
For use take one part each of (a) and (b) to 6 of water. Both
a and b keep well in tightly corked bottles. This bleacher has the
advantage that any traces of hypo left in the print are destroyed.
With the ferricyanide-bromide bleach the presence of hypo leads to
reduction of the print since the two interact to form the well-known
Farmer's reducer. The stain which results from the use of permati-
ganate is usually removed in the sulphide bath, however, should it re-
main after sulphiding, the print is immersed in
Oxalic acid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Y, oz.
Water .. . ........ .. . . ................. . .... . . so oz.
Sodium sulphite. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
until removed.
9.1 cc.
1000 cc.
18.2 gm.
The following phosphate-ferricyanide bleacher is recommended by
Mr. T. H . Greenan as giving colder tones than the usual ferricyanide-
bromide mixture. It may therefore be of value where a particular
emulsion tends to produce an undesirable warmth of toneY
Sodium phosphate . . .... . . . ........ . .. . . . . .... . ... 200 gr.
Potassium ferricyanide .... . .................... . . 40 gr.
Water ..................................... . . . .. 4 oz.
104 gm.
21 gm.
1000 cc.
Numerous other methods of bleaching have been advised from time
to time by various workers. It is doubtful , however, if there is any
real advantage in their use as compared with the usual ferricyanide-
bromide mixture for, as has been shown by Bullock in an admirable
paper on the subject of sulphide toning by the indirect process, the
. composition of the bleacher has comparatively little effect on the re-
sulting tone.
14
When the bleaching action is complete and it is seen that no further
action takes place, the prints are removed and washed either in run-
ning water or in successive changes until the yellow discoloration is
removed. The length of this washing has no great influence on the
final tone if within reasonable limits, but too long a washing is to be
avoided while it is equally important that washing be sufficient to
entirely remove every trace of the stain from the ferricyanide. When
washed the prints are ready for sulphiding.
However, if at this point the prints are immersed for about ten to
fifteen seconds in a I per cent solution of sodium carbonate, then
rinsed in water and sulphided, a much cooler tone is obtained. This
mode of procedure, indicated first by Bullock,
15
is especially ad-
vantageous for some emulsions which tend to produce extremely
warm tones.
The conversion of the bleached image into a colloidal silver sulphide
can be accomplished by a number of substances, the more important
of which are sodium, ammonium and barium sulphide. On account
of its lower cost, sodium sulphide is generally used. Ammonium sul-
phide is claimed by some to give richer tones but the author has never
been able to find much difference in this respect provided both sub-
stances are pure n ~ other conditions. are alike in both cases.
Sodium sulphide does not keep at all well in solution and for tl1e
best results it is advisable to make up a fresh solution at the time
of use. This may conveniently be a I per cent solution.
13 Brit. J. Phot., 1912; 59, 91.
14 Brit. J. Phot., 1921, 68, 447.
15 Brit. J. Phot., 1921, 68, 447.
442 PHOTOGRAPHY
Sodium sulphide .. ... ...... . . . ... . .... ...... ..... . 48 gr.
Water .... . ...... . . . . .. . .. ................. . .... 10 oz.
10 gm.
1000 cc.
There is no advantage in the use of a solution stronger than I per
cent and there is the danger of blisters to be considered with solutions
much above this strength. Above a concentration of I per cent the
tone is not appreciably affected by the strength of the sulphide bath;
below this point, however, the tone is yellowish and lacking in vigor,
the results approaching the normal as the concentration of the sul-
phide solution reaches one per cent.
While in general the use of stock solutions of sodium sulphide can-
not be strongly recommended (partially decomposed sulphide from
such solutions being one of the most frequent sources of failure in in-
direct toning), relatively strong solutions. of sulphide, if carefully made
with distilled or o i l ~ d water and kept in tightly corked bottles using
rubber stoppers, will keep for two or three weeks. Weak solutions
do not keep well and it is advisable to make a fairly strong solution
which has to be diluted considerably with water immediately before
use.
The use of barium sulphide was advised by N amias in I9I I. It
has the advantage of keeping better in solution than either the sodium
or ammonium salt; of being partially free from the objectional odor
of the latter and producing colder tones. Its effectiveness, however,
varies considerably with different emulsions, some of which refuse
to tone. The salt is only sparingly soluble in water and a saturated
solution forms about the most convenient strength for general use.
This is made as follows:
Barium sulphide ... . .. . ..... : ... ; .. : ." .. .' ... . . . ... oz.
Water ........ .. .. .. . . ... .. ...... . ..... . ... . ... 40 oz.
12.5 gm.
1000 cc.
The principal objection to the use of barium sulphide, aside from
its unsatisfactory performance with some emulsions, is the precipita-
tion of an insoluble barium compound on the face of the prints. This
may usually be removed by rubbing briskly with a wad of wet ab-
S?rbent cotton and may be entirely prevented by the addition of a very
small quantity of sodium sulphate to the stock solution of barium
sulphide.
The use of the sulphydrate was advised by Douglas Carnegie
16
in
I907, on account of its better keeping properties and freedom from
16
Brit. !. Phot. Almanac, 1907, p. 676.
i,
'
'
l
I
J
TONING OF DEVELOPED SILVER IMAGES 44:3
objectional odor. It has never been extensively used for this purpose,
however.
Re-bleaching of Sulphide-Toned Prints.-Prints toned by the
indirect process may be re-bleached and developed should the color
of the toned print be unsatisfactory. For this purpose the following
bleacher is recommended :
A. Hydrochl oric acid ... .. ... . . . . ... . . .. . ; . ... .... IO per cent solution
B. Potassium permanganate ... .. .. . . .. ... . . . . . .... 5 per cent solution
For use take A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz. 250 cc.
B ... . ........ . ......... . ... . ... 30 min. 15.5 cc.
After bleaching the stain from the manganese is removed by the use
of oxalic acid or sodium bisulphite, as previously described, and the
print can then be developed in any ordinary developer or toned to a
darker sepia by re-sulphiding.
Indirect Sulphide Toning with Intermediate Redevelopment.-
Practically the only control which the worker has over the color
of the toned image in the case of sulphide toning as previously de-
scribed is in the production of the original print. There is a means,
however, of rendering the process more respon.sive to the desires of
the worker. This means consists in partial redev.elopment of the
bleached image by means of a weak developer immediately before sul-
phiding. The intermediate redevelopment combined with sulphiding
has the effect of producing an image consisting partly of metallic silver
(the redeveloped image) and of silver sulphide; the relation between
the two images determining the tone of the print.
For this manner of working the prints are bleached and washed
in the ordinary way, then immersed in the regular print developer
which has been diluted with from Io-15 parts of water and contain-
ing no bromide. The use of a weak developer causes the image to
develop slowly and gradually so that its action can.be easily followed.
The extent to which this intermediate redevelopment is carried de-
termines the final tone; the longer the period of development the
stronger is the black silver image and the colder the tone of the final
result. When dealing with batches of prints the use of a short stop
bath to arrest the action of the developer is necessary as its action
grows more rapid towards the end. This stop bath may be the
regular acetic acid bath as recommended on page 377 of the chapter on
Printing on Developing Papers.
After having been rinsed in the short stop bath, the prints are
I
I
I
444
PHOTOGRAPHY
washed for several minutes in running water or in several changes
of water and then transferred to the sulphide bath in which toning
is completed. They are finally washed thoroughly in water and dried
as usual.
For successful working of this method careful attention to the
following points is essential:
I. The operations of bleaching and redevelopment must be con-
ducted in artificial light not daylight.
2. To obtain a uniform tone on all prints from the same negative
the intermediate development must be alike for all. As the develop-
ing solution is a weak one, care must be taken not to overwork it.
In fact, it is best to ta!{i>a small quantity of fresh solution for each
print.
When one has become accustomed to the appearance of the print
in the developer and the effect of the extent of redevelopment on
the final tone, this method of working becomes quite easy and certain
while its latitude has obvious a<;lvantagesY
Mercury-Sulphide Toning (Bennett's Method).-In another process
of sulphide toning introduced by Mr. H. W. Bennett the tone of the
print is controlled by the addition of mercuric chloride to the bleach-
ing solution. The addition of mercuric chloride to the usual ferri-
cyanide-bromide bleaching solution results in an image which con-
sists partly of a compound of mercury and partly of silver sulphide;
the tone depending upon the relative proportions of the two com-
pounds.
1 The following are the revised formulas given by Mr. Bennett in
I I92I.18
1
/ A. Potassium ferricyanide . . ... . . .. .. ... .. .. .. . r oz. roo gm.
Potassium bromide .. . ............ . ... . . . ... r );i oz. rso gm.
/ Water to make ..... . ... . . . . .. . .. . ..... . .. . 9 oz. rooo cc.
I B. Mercuric chloride .... .. . ... . .... . ... . ... . . . 60 gr. 12.5 gm.
I
I Potassium bromide ...... . . . ..... . .... .. .... 60 gr. 12.5 gm.
Water to . . ....... . . .' . . . . . . . . . . . . . . . . 5 oz. soo cc.
, C. Sodium sulphide .. . . . ... .. ....... . . . . . ...... 1 oz. roo gm.
\ 17 A :: in : has
\ been described by Mr. T. H. Greenall (Phot., 1912, p. 91; Brit. J. Phot. Almanac,
\ . 1913, p. 659), but has no advantages and some disadvantages over the method de-
\\, scribed.
ts J. Phot., 1921, 68, 25. .
.., !II! C'>
TONING OF DEVELOPED SILVER IMAGES
445 ---"\
The use of mercuric chloride has the effect of producing a certain
amount of intensification which may be compensated for by reducing
the amount of exposure or the time of development of the original
print so as to produce lighter prints which will, when toned, be of the
proper strength.
The following table shows the composition of the bleaching solu-
. tion for various tones and the relative exposures required for the
original prints designed for toning:
Col or A B Water Rei. Exposure
Normal sepia . . .. .. . . ... . . . . ... 40 parts -parts 480 parts 101>econds
Cool sepia . .... . ..... . .
40 "
20
"
480
"
. "
..... . ..
9
Colder sepia ...... . . . . . 0
30 30 480 8
Brown-black .. ... .. . . .. ... . .. ..
30 so 480
7
Engraving black .. . . . . . . . . . . .
30 90 480 6
After having been bleached in a bleacher compounded as directed
for the tone desired, the prints are washed briefly and passed through
three successive baths of 1 per cent hydrochloric acid after which
they are again washed and finally sulphided as usual.
The engraving black tone, it may be mentioned, is not the cold
neutral black of the ordinary developed print but is a purer, richer
black, resembling very closely the tone of an etching or engraving.
It has been the experience of the writer that the best results are se-
cured on bromide papers and that these vary considerably in adapta-
bility to the process. __.,,...-.--....,.
Toning with Copper.-Dr. J. M. Eder
19
in conjunction with V.
Toth claims to have been the first to show that silver prints could be
toned to a reddish tint by treatment with cupric ferricyanide. Later
Namias showed that copper salts mixed with potassium ferricyanide
deposited cuprous ferrocyanide on silver prints.
20
Eder on returning
to the subject in 1900 advised the use of cupric sulphate, ammonium
carbonate and potassium ferricyanide.
21
The same year Mr. W. B.
Ferguson, as the result of a long series of experiments, advised the use
of cupric sulphate, potassium ferricyanide and a neutral citrate such as
potassium citrate which he found far superior to ammonia or am-
monium carbonate which had been advised by Namias and Eder.
22
19 Eder, Phot. Korr., 1876.
2
0 Namias, Phot. Korr., 1894, 327.
21
Phot. Korr., 1900, 36, 537
22
Phot. !., 1900; 25, 133.
446 PHOTOGRAPHY
Two solutions are required as follows:
(British Journal Formula)
A. Cupric sulphate . .. .. . . :. ... . . . . .. ....... .. . 6o gr.
Potassium citrate (neutral) . . . . . . . . . . . . . . . . 240 gr.
Water to make. . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 oz.
B. Potassium ferricyanide .... . .. ... . . .. . : . . .. so gr.
Potassium citrate . . ... .... .. . . . . . . . . . . . . . . . 240 gr.
Water to make . ......... . .... . .... . . . ..... 20 oz.
6.25 gm.
?"
-:J
gm.
1000 cc.
5.2 gm.
25
gm.
1000 cc.
For use take equal parts. Should the prints appear purplish in the
highlights increase the amount of potassium citrate in either A or B.
The range of colors obtainable with copper toning extend from
warm-black through varying shades of brown on to red chalk, the ac-
tion being progressive so that the various tones follow one another in
a definite order as the action proceeds. There is no intensification as
with uranium and the results are quite permanent.
According to Namias the tone is much improved if the prints after
tOning are immersed in the f<:)l)owing bath for fifteen minutes:
Cupric sulphate . . .. . .. .. .. ... . .. .. ..... . . . ..... 154 gr.
Ammonium chloride . . . ...... . . . .. ...... .. ...... 355 gr.
Hydrochloric acid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 min.
Water to make. . . . . . .. . ... .. . ... ... . . ...... . . . 16 oz.
20 gm.
so gm.
10 cc.
1000 cc.
This bath may be used repeatedly and keeps quite well. As some silver
chloride is formed, refixing is necessary, but since an acid bath would
have a reducing action on the image a plain hypq bath with a concen-
tration of about 5 per cent should be used.
Namias has lately recommended another method of copper toning.
23
Tn this the prints are first bleached in
Copper sulphate .. .. .. .. .. . . . .. . .. .... . .. ... .. . .
Neutral sodium citrate . . . ... . ..... . .. ..... . ... .
Potassium ferricyanide ... . ... . .. .. . .... . . ... .. .
Water to make .... .. ... . . . ..... . .......... . .. .
614 gr.
81 gr.
r6 oz.
73 gr.
8o gm.
ro.s gm.
1000 cc.
9.5 gm.
After bleaching the prints are washed well and redeveloped in a metol-
hydrochinon developer containing 0 .2 per cent potassium bromide. If
development is carried out in daylight the silver ferrocyanide is reduced
while the copper ferrocyanide is unaffected. As the process has some
intensifying action the prints should be somewhat lighter than actually
required.
Toning with Uranium.-The range of tones obtainable by to11ing
23
ll. Frog. Fot., 1915, p. 347; Bull. Soc. franc. Phot., 1922, 64, 26.
i 0
r
I,
.,
TONING OF DEVELOPED SILVER IMAGES 447.
with uranium extends from warm-black, through various shades of
brown to plum colors and various shades of red, terminating in a
bright brick-red. The toning action is progressive, the various colors
appearing in a definite order as the action is allowed to proceed. Ow-
ing to its intensifying action, uranium toning is not a process for dark,
fully developed prints and prints which are to be toned with urariium
should be made somewhat lighter than is required of the finished
result;
As regards the permanency of prints toned with uranium there is ,
some question. While in many cases the results are reasonably perma-
nent, except for a slight metallic luster which forms around the edges,
in other cases the toned image does not appear at all stable. While
much is no doubt due to improper manipulation during and after ton-
ing, when all is said and done, prints toned with uranium cannot be
said to be very reliable.
_There are numerous methods of toning with uranium. We give
Sedlaczek's method, which, if not the best, is one of the best, having
behind it the experience of a man who has devoted much time to the
subject.
As a result of theoretical reasoning and considerable research, Dr.
Sedlaczek recommends the following formu1a:
24
Uranyl nitrate . . .. .. .. . . . . ... .. .. . .. . .. . . . . .. 38 gr.
Potassium citrate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 gr.
Potassium ferricyanide. . . . . . . . . . . . . . . . . . . . . . . . 15 gr.
Ammonia alum ..... .. .. .... . ..... .. .. . ... . . .. . 77 gr.
Pure hydrochloric acid . . . . . . . . . . . . . . . . . . . . . . . . 2 min.
Water ........ . .... . . . . . .... . . . .. ... . . . . ... . . r6 oz.
5 gm.
5 gm.
2 g)TI.
IO gm.
0.3 cc.
1000 cc.
It is a matter of considerable importance that the print be thoroughly
washed as the uranium bath. is .decomposed by hypo, producing stains
which cannot be removed.
A print immersed in the above solution shows virtually no change
in the first half-minute, after which a slight brownish coloration be-
comes apparent which finally deepens into a reddish-brown. The
colors produced with a bath of the above composition are far superior
to those produced by the older methods, being darker and richer owing
to the presence of some of the black silver image.
The removal of the yellowish coloration after toning is greatly
facilitated by the use of the following bath:
24
Phot. Ind. , 1924, p. 234 ; A mer. Phot., 1925, p. 8.
448
PHOTOGRAPHY
Potassium citrate................ . . . . ............ 38 gr.
Sodium sulphate (not sulphite) . .. . .. . : .......... 192 gr.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 oz.
5 gm.
25 gm.
IOOO CC.
Three or four such baths may be required to remove the yellowish
coloration entirely. The print should then be washed in running
water free from alkalis for a minute or so, then fixed for five minutes
in a 0.5 per cent solution of hypo followed by washing in running
water made acid by the addition of o. r per cent of glacial acetic acid.
The impermanence of uranium-toned prints, of which so much is
heard, is due, according to Dr. Sedlaczek, to the omission of after fix-
ing, or to the omission of treatment with hydrogen sulphide. Uranium-
toned prints thus treated may be considered reasonably permanent.
For this latter treatment either of the following sulphiding baths may
be employed :
or
Sodium sulphide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 gr.
Hydrochloric acid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 min.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 oz.
Barium sulphide ...... . ... . ... .. . ... .. .... . ..... 77 gr.
Hydrochloric 'acid .... . . ..... . . . . ........ . ..... 23 min.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 oz.
2.5 gm.
cc.
IOOO CC.
10 gm.
3 cc.
1000 cc.
Combining the fixing bath with cobalt produces colder tones tending
to vi0let as the amount of cobalt is increased. For this purpose the
following formula may be suggested as a beginning:
Hypo ............ . ... . .... ... . ..... . .. . ......... 35 gr.
Potassium citrate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 gr.
Cobalt nitrate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 gr.
Water .................. . . . ....... .. ... . ........ 16 oz.
5 gm.
r gm.
{gm.
IOOO CC.
Iron Toning Processes.-The use of toning processes employing
salts of iron is rather limited, being confined principally to blue ton-
ing, although by combination with uranium or by sulphiding green
tones may be obtained.

For a blue toner the following formula is recommended :
(B. J. Almanac Formula)
Ferric ammonium citrate (10 per cent solution)...... 2 oz.
Potassium ferricyanide ( IO per cent solution)... . . . .. 2 oz.
Acetic acid ( ro per cent solution) .. ... . . . ...... ... .. 20 oz.
IO CC.
10 cc.
100 cc .
The well-washed prints are immersed in this solution until the re-
quired tone is reached, then washed in running water until the whites
are clear.
Green tones may be obtained by toning with iron and sulphiding.
The green tone is due to the combination of the blue image (produced
by toning with iron) and the yellow silver sulphide produced by sul-
phiding. Three stock solutions are required :
A . Potassium ferricyanide . . . . : . ... .. . .. .... . . 5 gm.
Ammonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 drops
Water to make . . . ............ . . .. . . . . .. . . . IOO cc.
B. Ferric ammonium citrate ......... . .. . . . . . . 2 gm.
Hydrochloric acid (cone.) . . . . . .. . . . . .. . . . . 5 cc.
Water to make . ... . . .. . . . . .. .. .. . ..... . . . . Ioo cc.
C. Sodium su!phide . .... ......... .. . . ... . .. . ! . I gm.
Water ....... .. . . .... . . . ........... . .. . . . Ioo cc.
Hydrochloric acid (cone.) . . . . . . . . . . . . . . . . . 5 cc.
84 gr.
3% oz.
33 gr.
8o mm.
3% oz.
IS gr.
3% oz.
8o mm.
The well-washed pr int is placed in A until completely bleached, then
washed free from stain, placed in B for four or five minutes, r insed
two or three times in plain cold water and finally transferred to C for
5 A short washing in running water completes the process.
The purity of the whites of the print depends upon the washing fol-
lowing the and it is therefore necessary that this operation be
thorough and complete. The pale blue of the highlights which is so
observable on the wet print generally disappears on drying.
Toning with Vanadium.-Apparently the first description of va-
nadium as a toner was made by Prof. R. Namias in I90I.
25
The
method adopted by him was to immerse the print in a solution of a
ferricyanide and then into a solution containing a vanadium salt. The
normal color of the silver image toned with vanadium is yellow and in
1903 Namias introduced the following formula for obtaining green
tones-the green tone being due to the presence of a blue ferriferro-
cyanide image and the yellow vanadium ferrocyanide :
26
Ferric chloride .... .. ... . ........ . ..... . . .. ... .
Vanadium chloride .. . .. . .. ... . . .. . . .... . .. . . . .
4.8 gm.
4 gm.
Ammonium chloride . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 gm.
Hydrochloric acid (cone. ) . . . . . . . . . . . . . . . . . . . . . IO cc.
Water ......... . . . . . . . ............ . . ..... .... I OOO cc.
23 gr.
I9 gr.
48 gr.
48 min.
I O oz.
The objection to this, as well as all early methods of vanadium toning,
25 Eder's Jahrbuch, I90I, p. I7I.
zs Eder's Jahrbuch, 1903, p. rs8.
450
PHOTOGRAPHY
is that the solutions used contain a chloride and hydrochloric acid so
that there must be some silver chloride formed and this has the effect
of reducing the transparency of the image and hence its brilliancy.
Mr. E. J. Wall
27
has worked out and described a method in which
this objection is overcome by the use of either the oxalate or sulphate
of vanadium.
Either of these salts cart be made quite easily from ammonium meta-
vanadate which is a comparatively inexpensive salt. To make the
oxalate place 100 grams (3 oz. 230 grains) of ammonium metavanadate
in a beaker or evaporating dish and add 46o grams pure oxalic acid.
To this add sao cc. (I 7 oz. 287 minims) distilled water stirring con-
stantly all the while and then heat the mixture. As the temperature
rises it forms at first a thick paste which becomes more fluid as the
temperature rises while the color changes from white to orange-red
and finally to a dirty gray-green. More water may be added and
heating continued until a perfect solution is obtained. The color will
then change to a brilliant blue and the total bulk of the solution can be
. made up to 1477 cc. (52 oz.) when we have a 20 per cent solution of
vanadium oxalate containing a slight excess of oxalic acid
The actual toning solution is compounded as follows:
Vanadium oxalate solution (20 per cent)... so cc.
Oxalic acid (saturated solution) . . . . . . . . . . . so cc.
Ammonia alum (saturated solution)..... . . so cc.
Ferric oxalate solution . .... ............ ... quant. .suff.
Glycerine . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . so cc.
Potassium ferricyanide ( 10 per cent s o u ~
tion) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 cc.
Water ........... . ........... . .......... . 1000 cc.
0 fl. oz.
34 fl. oz.
0 fl. oz.
0 fl. oz.
48 min.
10 oz.
To prepare this solution add the oxalic acid to the vanadium and add .
half the water, then add the alum solution and then the ferric oxalate.
The only means of determining the exact quantity of this is by trial.
The more used the bluer the toned result. The ferricyanide should be
mixed with the glycerine and the other half of the water, then added
to the remainder of the solution. This will result in a bright, clear,
green solution which will not precipitate while toning. As it is sensi-
tive to light, however, it is best to use it by artificial light.
The alum is added for the purpose of keeping the highlights clear
and the acid helps to keep the solution while in use. The glycerine is
not absolutely necessary and may be omitted if desired but the bath is
then more likely to produce a deposit.
27
Phot. !. A mer., 1921, 57, 96; B. !. Almanac, 1922, p. 395.
.
Toning requires from ten to fifteen minutes, after which the prints
are to be immersed in a ro per cent solution of sodium sulphate for
five minutes, washed briefly and dried. Fixing is unnecessary.
Minor Toning Processes.-There are a number of minor processes
of chemical toning of limited application owing to the unsatisfactory
character of the result or to the difficulty of securing consistent results.
Recent investigations of some of these processes have shown that they
a.re capable of considerable improvement and it appears quite likely
that in the future some of them, at least, may be more widely employed
than at the present time. This is particularly true of toning processes
involving the use of stannous and cobaltic compounds. In both of
these fields considerable development has taken place in recent years,
largely as a result of the work of Formstecher and of Druce in the
case of the processes with stannous salts and of P. Strauss with cobalt
processes. The reader is referred to the published papers of these
workers (a list of which will be found in the bibliography following
this chapter) for further infoqnation on these processes.
There has likewise been a renewal of interest in processes of sele-
nium toning and a number of patents have been taken out, and several
papers published on toning processes involving the use of selenium.
It has not as yet, however, come into general use, except in a limited
way with certain products for which it has proved especially suitable.
The same is true of several processes employing hydrosulphite as
worked out by A. Steigmann and for colloidal silver processes de-
scribed by Lumiere and Seyewetz, Rawling, Formstecher, Shelberg
and others.
In a work on the toning of photographic images these minor proc-
esses would of necessity assume considerable importance. In a gen-
eral work, such as this, lack of space prevents a lengthy treatment of
such processes as are not in general use.
BooKs
BLAKE-SMITH-Toning Bromides and Lantern Slides, 1904.
FRAPR"IE-How to Make Prints in Colors.
MEBES-Der Bromsilber und Gaslicht Papier Druck, 1913.
SEDLACZEK-Die Tonungsverfahren von Entwicklungspapieren, 1906 .
. STENGER-Die Kopierverfahren, 1926.
CHAPTER XXI
PRINTING WITH SALTS OF IRON AND PLATINUM
TI-IE PLATINOTYPE PROCESS
lntroduction.-Platinum is one of the most stable of metals. It
is affected very little by the strongest alkalis and not at all by sul-
phuric, hydrochloric or nitric acids nor any substance found in the
atmosphere. It follows, therefore, that prints, the image of which
consists of pure metallic platinum, are as stable as the paper on which
they are made. Not only are platinum prints permanent but they
also have a certain intrinsic quality that is not possessed by any other
process. Perhaps no printing process can reproduce all the original
gradations of a good negative so faithfully, while many shades of
sepia, warm and engraving black of unsurpassed purity may be easily
obtained. Platinotype is also one of the simplest processes to manipu-
late.
The sensitiveness of certain salts of platinum to light was observed
by Sir John Herschel in 1832 and by Hunt in 1844, but the develop-
ment of the process is due to W. Willis, a n Englishman, who took
out a patent for the first practical method in 1873; a second followed
in 1878, and a third in 188o. The work of two Austrian investigators,
Pizzighelli and Hubl, also deserves mention more particularly for their
work on the direct printing-out method. Their little book
1
is a com-
plete treatise on the subject and despite its age is still one of the best
textbooks on the process.
The Theory of the Process.-Although platinum salts in the plati-
nous state are sensitive to light, particularly in the presence of organic
matter, the present platinotype process is an indirect one depending
upon the reduction of a ferric salt to the ferrous state upon exposure
to light and on the fact that this latter when dissolved in a solution of
potassium oxalate is capable of reducing a platinum salt to the metallic _
state.
Paper is coated with potassium chloroplatinite (K
2
PtC1
4
) and
1 PlatiJwt:yPe, translated by Abney-published by Harrisons, London, at 2
shillings. (Now out of print.)
452
rl
..
SALTS OF IRON AND PLATINUM 453
ferric oxalate (Fe
2
(C
2
0J
3
) and dried. On exposure to light. the
ferric salt is reduced to the ferrous state in proportion to the amount
of light action and upon immersion in potassium oxalate solution the
ferrous salt is dissolved and the platinum salt with which it is in con-
tact is reduced to the metallic state. Berkeley's formula, which is
generally accepted, is as follows:
6Fe(C204) + JPtK2CI4-+ 2Fe2(C204)3 + 2(FeCia ) + 6KC1 + 3P
Ferrous Potassium Ferric Ferric Potassium
oxalate chloroplatinite -+ oxalate + chloride + (Platinum
chloride)
The remaining salts are dissolved in baths of dilute hydrochloric acid,
leaving an image consisting of metallic platinum.
Commercial Papers and their Treatment.-Platinum paper is sup-
plied in a wide variety of surfaces and in black and sepia. The
paper is extremely sensitive to moisture and therefore it is sent out
in sealed metal cans which contain a small quantity of a moisture-
absorbing salt so as to keep the paper dry and in good condition.
The can should not be opened before the paper is to be used and then
only in a dry place. When opened the can should not be allowed
to lay around open in the workroom but the paper which is needed for
immediate use should be removed and the remainder again placed in
the can and the latter sealed. If it is necessary to remove a few sheets
at irregular intervals, it is advisable to insert a freshly dried piece of
calcium chloride each time in order to take up any moisture which
the paper might have absorbed while the can was open. Too much
care cannot be taken in keeping the paper dry, for if kept dry it wilt
remain in good condition almost indefinitely, while if allowed to ab-
sorb moisture from the atmosphere, it will spoil very quickly and
yield flat and lifeless prints.
For best results the negative should have a little more contrast than
is necessary for soft gaslight paper although the contrast can, to a
certain extent, be controlled in development. For a full scale print
the extreme shadows of the negative should be free from fog and
the highlights plucky yet not blocked up. A little experience will
quickly show the proper kind of negative. Thin, under exposed nega-
tives are not suitable as the process reproduces all the faults as well
as all the beauties of a negative. For some reason, a moderately thin
negative is better than a dense one and care should, therefore, be
taken when making the negative not to overtime.
454 PHOTOGRAPHY
Etcposure.-The paper is very sensitive to light and should be
handled only in artificial or exceedingly subdued daylight as it is
from three to four times as fast as the silver print-out papers which
we have been considering. Very bright daylight should not be allowed
to reach the paper nor should it be exposed to the direct rays of a
strong artificial light for any length of time.
The negative, which should be thoroughly dry,. is placed in the
frame with the emulsion side up and the paper placed with its sensi-
tive side in contact with the negative in the same manner as has been
described in connection with other print-out papers. One essential
difference, however, consists in the use of a sheet of waxed paper or
vulcanized rubber over the paper to prevent the access of mois-
ture from the atmosphere while exposing. This is especially im-
portant on damp or dull days when the exposure is prolonged but is
always to be advised. The progress of printing is examined in
exactly the same way as with gelatine P-0-P, greater caution, how-
ever, being taken not to expose the paper to strong light while the
examination is being made. It is rather difficult to describe the ap-
pearance of the paper when the exposure has been sufficient but the
precise moment at which the exposure should terminate is easily
gained with a little experience. For the beginner the best guide that
the author can give is the following : When the image is fully seen in
brownish gray against the )ellow surface of the paper and full detail
can be seen in the shadows the exposure is suffiCient. In the maj9rity
of cases, however, especially with papers that are old or those that
are home-made, a test should be made. Over exposure will, of course,
give a dark print while under exposure will give a light print lacking
detail in the highlights.
Development.-The chemicals necessary for developing may be
obtained from the American agents Willis and Clements of Philadel-
phia in Yz lb. packages or the following formula may be used for all
grades of black papers:
Potassium oxalate . .. .......... . . . . . . . . . ......... 5 oz ..
Hot water .. . . .. . . ..... . . . ... . ... . .. . . . ......... IS oz.
33-4 gm.
1000 cc.
Hot water is required in making up the solution but the developer
should be allowed to cool before using. It keeps indefinitely and may
be used over and over, sufficient fresh solution being added to it from
time to time in order to keep up the required volume.
-.,
.,
Since the image appears almost immediately, the paper must be
immersed in the solution in such a manner that it is evenly and quickly
covered in one sweep. Any air bubbles which appear should be
carefully removed with a soft brush or the tip of a finger. With cor-
rect exposure, there is no fear of over development and after a full
minute's immersion the print .may be removed and immersed in a
clearing bath composed of
Water .. . ... . ... . . . ..... . ........... . .. . ....... 6o oz.
Hydrochloric acid C.P .. . . .. . . ..... . . . ...... . ... I oz .
1000 cc.
16.6 cc.
. After five minutes' immersion in this bath the print should be trans-
ferred to a second bath of similar composition for five minutes and
then to a third for another five minutes after which it is washed for
fifteen to twenty minutes in running water and dried. Prints dry.
8etter when hung by the corners on a line than when placed between
blotters.
Variations in Contrast.-For softer prints one of the following
modifications must be made:
a. Heat the developer and print slightly less. On no account, how-
ever, should the temperature of the developer exceed 180 F.
b. The addition of a small amount of hydrochloric acid, say 1 drop
C.P. to each ounce of developer.
c. Old paper gives less contrast than fresh.
d. Some authorities recommend that printing be conducted under
signal green glass but in the writer's experience the increase in
contrast secured in this manner is almost insignificant.
For greater contrast:
a. The developer 111ay be diluted and greater time allowed for its
action. It should not, however, be diluted further than one
part of the normal solution already given to 4 parts of water.
b. The addition of small quantities of potassium bichromate to the
developer. The amount for a given negative can be deter-
mined only by experience, but only a small quantity is needed
and the addition of tJuee or four drops 10 per cent solution
to each 16 of developer has a considerable effect. In 'no case
should there be more than I grain to IO ounces of developer
used.
c. Diluting the developer with an equal part of glycerine and clear,
ing in a strong acid bath.
When using the last named method the image requires to be some-
what darker than usual. Development is condt,tcted in the usual man-
456 PHOTOGRAPHY
ner but owing to the restraint exercised by the glycerine the action
is slow and the shadows develop more rapidly than the highlights. As
soon as the desired depth is reached, the print is removed from the
developer and immersed in a strong acid bath to arrest further de-
velopment. The bath for this purpose should be composed of
Water ... . .. . ....... . .... . ......... . . . . ..... . . 30 oz. IOOO CC.
Hydrochloric acid C.P ... . ... . .... . . . ... .. . ..... . I oz.
33-3 cc.
Owing to the difficulties of adjusting exposure and avoiding streaks
in development, the use of potassium bichromate is preferable for
the purpose of securing increased contrast. However, many workers .
employ the glycerine method in order to secure the peculiar velvet
effect which it gives because the image is held upon the surface in-
stead of sinking within the pores of the paper.
Variations in Color.-A special " sepia " paper is supplied by the
Platinotype Company, but sepias and various shades of warm-black
may be secured on the black papers by the addition of mercury to the
developer.
In general the "sepia" paper is handled in the same manner as the
" black" but the following points require separate mention. The
paper is rather more sensitive to light than the black 'papers and, there-
fore, prints faster and requires to be protected from the light with
greater care. The following developer is recommended:
Ordinary black developer.... . . . . . . . . . . . . . . . . . . . . . . . . ro parts-20 oz.
Oxalic acid saturated solution . . . ..... . ... .. . ... . . ... I part- 2 oz.
or the special sepia developing salts sold by the Platinotype Company.
For the best results, the developer should be used at a temperature of
150 to 160 F.; but very good results, particularly with certain nega-
tives, may be secured in a cool developer.
Trays which are used for the development and clearing of sepia
prints should be set aside for that purpose only and not used for black
papers. Neither should the two papers be cleared in the same solu-
tion nor should they be washed together. .
Very fine sepia tones may be secured on black paper by the addition
of mercury. Tl}.e __ use of mercury alone will degrade the highlights so
glycerine must be added to retard its action. The following developer
is advised by F. J. Mortimer:
A. Cold bath black developer ... .. . . . . . .. ..... . ........ I part-ro oz.
Glycerine .... . . .. ... . ... -. . . . . . . . . . . . . . . . . . . . . . . . . . I part-ro oz.
B. ro per cent solution of mercuric chloride in alcohol.
_,
(
:f.
..
'
-
SALTS OF IRON AND PLA TINUlVi 457
For use, A and B are mixed according to the tone desired-the larger
the proportion of B the warmer the color.
The following proportions are suggested :
A 40 parts, B I part (a)
A 30 parts, B I part (b)
A 20 parts, B I part (c)
A 20 parts, B 2 parts (d)
A 20 parts, B 3 parts (e)
A 20 parts, B 4 parts (f)
(a) gives a warm-black; (b) brown-black; and (f) a warm-sepia; this
last is the maximum amount of B which it is _permissible to use. For
a given depth of printing (a), (b), and (c) give darker prints while
(d), (e), and (f) give lighter prints, so it is necessary that an allow-
ance be made in printing in order to secure prints of the desired depth.
Another formula due to C. F. Inston is as follows:
A. Potassium oxalate .. . .. . : ... ....... . .... . .... 2 oz.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 oz.
B. Potassium citrate .. . .. . ........ . . . .. . ..... . . 150 gr.
Citric acid . . .. .. .. . .. . . .. ... ... ...... . . ... . 240 gr.
Mercuric chloride....... . . . ..... . .......... . 90 gr.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 oz.
130 gm.
1000 cc.
2 1 gm.
35-7 gm.
13-4 gm.
1000 cc.
For use take equal parts of A and B and use at a temperature of about
woo F.
Mercury-toned prints should be cleared in a bath of about one third
to one fourth the usual strength, say:
Water . . ... . .. . .. . .. . .. ... . ... . . ... .. .. ... ...... . 200 oz.
Hydrochloric acid C.P. . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
1000 cc.
5 cc.
Care should be taken not to overwork this weak acid bath or the prints
will not be permanent.
Silver-Platinum Papers.-Owing to the very high price of platinum
in I9I3, the Platinotype Company introduced a silver-platinum paper
under the trade name Satista. The prints on this paper are excellent
and practically indistinguishable from true platinotypes. They are
luminous and full of atmosphere and the shadows rich an'd transparent.
Moreover, the prints are reasonably permanent and the manipulation
of the paper is very simple. The paper is very sensitive to moisture
and must be kept in airtight tubes like platinotype. Exposure is con-
ducted in the same manner as platinotype but as the paper is faster.
458 PHOTOGRAPHY
only about one fourth of the time is required in printing. The de-
veloping solution consists of oxalic acid and potassium oxalate, with
the addition of a smali amount of ammonium chloride in the case of
weak negatives to increase the contrast. After development, prints
are cleared in a solution of binoxalate of potassium, washed for eight
minutes in running water, fixed in a bath of sodium thiosulphate
("hypo") and finally washed for thirty minutes in running water to
eliminate all traces of the latter salt. The cost of the paper is about
one third of platinotype and full supplies may be obtained from the
agents, Willis and Clements, Philadelphia, Pa.
Formulas for the preparation of similar papers have been published
by Thomson.
2
The foll_owing is the sensitizer advised:
Ferric oxalate... .. . .. . . ............. . . . .. 20 gr.
Iron and ammonium citrate (green).. . . . . . . 20 gr.
Potassium oxalate... . . .... . . .. . ..... . ... .. 20 gr.
Platinum solution. . . . . . . . . . . . . . . . . . . . . . . . . IO min.
Potassium bichromate solution .... .. ... from J - IO min.
Gum arabic ........ . .. . ............. . ... . . IO gr.
Distilled water . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
41.6 gm.
41.6 gm.
41.6 gm.
20.8 cc ..
S-S-20.8 cc.
20.8 gm.
1000 cc.
Mix in above order and allow to stand for twenty-four hours.
The platinum solution named in the above formula is as follows:
Potassium chlorop)atinite ........... . .. . . . . . . .... IS gr. IS.6 gm.
Phosphoric acid....... . . . ............. . . . .. .. .. . 2 dr. ISO cc.
Distilled water. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz. soo cc.
When- dissolved add water to make a total of two ounces (1000 cc.).
The paper may be sensitized either by floating or by brush and is
dried in a moderately warm room. When dry, it is ready for exposure
which is conducted in the same manner as platinotype.
The stock developing solution consists of :
Distilled water. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
Silver nitrate .. .. ....... . ... . ........ .. . ... . .. .. 40 gr.
Citric acid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IO gr.
Oxalic acid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IO gr.
IOOO cc.
83.3 gm.
2 I gm.
2I gm.
Filter and use clear solution, diluting for use with seven parts of
water. To secure pure black tones, the ferric oxalate must be ab-
solutely fresh. If the image lacks strength, use a strong
Prints blacken immediately and after development are removed to a
bath of hypo, ro grains in six ounces of water ( 35 gm. to rooo cc.),
2
American Photography, I9IS, Nov., p. 632.
, _
'
r
'I
,!
I
I
\
for ten minutes. Contrast may be regulated by the proportion of
potassium bichromate ( 5 per cent solution), using from one to ten
drops to each punce of sensitizer ( 2-20 cc. to each 1000 cc.) accord-
ing to the degree of contrast desired.
The Kallitype Process.-Kallitype was the name given by W. W.
Nicol to a ferric printing process in which ferric salts are reduced by
exposure to light to the ferrous state and in this condition are able to
convert a silver salt into the metallic state. The process is, therefore,
similar to platinum excepting in the use of silver in place of platinum.
Suitable paper is sized in a solution of arrowroot:
Bermuda arrowroot .. ...... ... .... . . . . . . . . . . . . . . 90 gr.
Water . . .... . . ... ... . .. ..... . .. ..... . ... . ... . .. 10 oz.
18.7 gm. .
1000 cc.
Using a little of the water make a thin cream of the arrowroot. Then
heat the remainder of the water to the boiling point and add to the
arrowroot mixture. As the solution does not keep it must be made
up fresh for each batch of paper sized. The sizing solution is best
applied with a Blanchard brush.
When dry the paper is sensitized with:
Ferric oxalate ..... . .. . ... .. .. . .... . . . .. ........ 75 gr. I5.6 gm.
Oxalic acid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 gr. I gm.
Silver nitrate ..... . . . .. .......... ...... . . .. . ... . 30 gr. 6.25 gm.
Distilled water. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz. 100 cc.
Th!! ferric oxalate must be dissolved with the oxalic acid in warm
water, then filtered and the silver nitrate added.
The operations of sensitizing, drying, and exposing are as with
platinotype.
Both black and sepia tones may be had, depending on the developer
used. For black tones the following is recommended:
Borax ................................. . I OZ.
Rochelle salt (sodium-potassium-tartrate) .. ~ o z
Distilled water .... . ... .. ................. . IO OZ.
Potassium bichromate (I per cent solution)
according to brilliancy desired . . . . . . . .. . . 6-Io dr.
For sepia tones:
Rochelle salt (sodium-potassium-tartrate) ..
Potassium bichromate (I per cent solution)
Distilled water ... .. ... ... .. .... .. . ..... .. .
0 oz.
4-6 dr.
IO OZ.
9I gm.
68.3 gm.
IOOO CC.
75-I25 CC.
45.5 gm.
50-75 cc.
rooo cc.
Development is complete within ten to fifteen minutes. The length-
ened time of development will not make the print too dark provided
exposure has been correct.
16
460 PHOTOGRAPHY
After development the prints are rinsed briefly in water and fixed in:
Hypo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . 1 oz.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 oz.
Ammonia .88o. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 min.
(2 dr. fl.)
so gm.
1000 cc.
12.5 cc.
after which they are .washed for about thirty minutes m running
water.
3
Blue Printing.-Blue printing, now in wide use by engineers for
making copies of plans, etc., from tracings, was invented by Sir John
Herschel in 1840, and called cyanotype by him. It is a ferric process
dP.pending upon the conversion of ferric salt to the ferrous state and
the precipitation of Prussian blue by ferricyanide of potassium. Blue
print paper can be obtained commercially in 3 grades: fast, medium
and slow in most cut sizes and also rolls of various lengths. It does
not keep well so no more should be ordered at a time than can be used
in two or three weeks.
However, it is easily made and the following directions are given
for those who wish to coat their own. Smooth, thin paper is coated
with the following solutions :
(B. J. Almanac formula)
A. Potassium ferricyanide .. . . . .. ..... ........ . . 1200 gr.
Water .. . . ............ .. . . . .. . . .. . ........ 10 oz.
B. Ferric ammonium citrate.. . ...... . ... .. .. ... 432 gr.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 oz.
250 gm.
1000 cc.
90 gm.
1000 cc.
For use take equal parts. Both solutions keep well in the dark. The
ammonio iron salt must be fresh in order to secure good results. The
solution is applied with a brush, working first in one direction and then
the other in order .to secure an even coating. After drying, it is ex-
posed under the tracing until the shadows are bronzed. Washing in
running water for fifteen minutes terminates the process. The use of
a ten per cent solution of potassium bichromate increases contrast and
enables sufficient contrast to be obtained from weak tracings. As the
bichromate solution bleaches the image the paper must be considerably
over printed to secure sufficiently dark prints.
By a modification of the above positive prints having blue lines on a
white background can be obtained from ordinary tracings in which the
s For a comprehensive treatment of this and other variations of Kallitype,
see Photominiature No. 185 by J ames Thomson. See also : American Photog-
raphy, 1918, Nov., p. 642.
lines are in black ink on a transparent white background. Three solu-
tions must be made up.
I. Water ...................... .. ... ..... ........ 20 oz. IOOO cc.
Gum arabic.......... . .. . . .. .. .. . ... ... . ... . . .. 4 oz. 200 gm.
2. Water ........................ . ......... . ..... 20 oz. IOOO cc.
Ammonia-citrate of iron ....................... 10 oz. 500 gm.
3. Water . .. .. . .. .. . .. . .. .. .. . .. .. .. .. .. .. . .. .. .. 20 oz. IOOO cc.
Ferric chloride ........... . .................... IO oz. 500 gm.
The above solutions will keep for a month or six weeks_. For use
they are mixed as follows:
Solution No. I. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 parts
Solution No. 2... .. .. . ... .... .. .... . .. .... .. .. ... ... .. . .. . . 8 parts
Solution No. 3'.... . ....... . .......... . . .. ... . ....... .. .... 5 parts
This is almost clear at first but gradually grows thicker and should be
used soon after mixing. It is applied with a brush and it is to be
noted that most papers require to be sized beforehand, while most
papers do not require any preliminary sizing for the regular blue print
process.
After exposure, the print is developed with a brush filled with
Potassium ferrocyanide . . .... . . . .......... ...... . 200 gr. I04 gm.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 oz. IOOO CC.
When every detail has appeared and the print is dark blue, rapidly
rinse in water and place in a bath of commercial hydrochloric acid
' (one part to ten parts water) after which it is washed in running
!'
water and dried. Positive papers for making copies of drawings, etc.,
are sold under a variety of names and give not only blue but also
black and brown lines on white backgrounds.
! GENERAL REFERENCE WORKS
PLATINOTYPE
Pizzighelli and Hubl.-Piatinotype-English translation by Iselin and Edited
by Abney, Published by Harrison and Sons, London.
Horsely Hinton-Platinotype Printing.
Abney and Clark-Piatinotype.
The Photominiature No. 7-Platinotype Processes.
The Photominiature No. 4o-Platinotype Modifications.
The Photominiature No. us-Platinum Printing.
George E. Brown-Ferric and Heliographic Processes.
Photominiature No. Io-The Blue Print.
Photominiature No. 47--,--The Kallitype Process.
Photominiature No. 8I-0zobrome, Kallitype and Blue Prints.
Photominiature No. I8s-Kallitype and Allied Processes.
CHAPTER XXII
PRINTING PROCESSES EMPLOYING BICHROMATED
COLLOIDS
The Chemistry of Pigment Printing with Bichromated Colloids.-
It must be remembered that in all the processes based upon the action
of light on a colloid containing a bichromate, the pigment which forms
the image is unaltered and plays no part in the reaction. It is just as
easy to produce an image in pure bichromatized gelatine as with one
containing a pigment, only in the first case the image would hardly be
visible unless stained up by the use of dyes. The reaction involved is
therefore simply one between light and a bichromated colloid. The
salts of chromium are not in themselves sensitive to light; it is only in
the presence of light that they are reduced and the action that takes
place may, according to the researches of Eder/ be represented as
follows:
(r) 2K2Cr20
7
+ H
2
0=2K2CrO.+Cr2(0H)
6
+ 0
(2) Cr
2
(0H)
6
+ K
2
Cr20
7
= Cr20
3
Cr0
3
+ 3H
2
0 + K
2
Cr0
4
The first equation may be regarded as the primary light action; the
chromium hydroxide Cr
2
(0H)
6
is decomposed by an excess of bi-
chromate, as in the second equation, to chromate of chromium
Cr
2
0
3
Cr0
3
which is the real agent that acts on organic substances
such as gelatine, gum arabic and albumen to render them insoluble in
water.
Howard Farmer in r889 found that in the presence of gelatine, the
bichromates are reduced by finely divided silver, so that when a bro-
mide print was immersed in a solution of bichromate, the gelatine in
contact with the metallic silver constituting the image is rendered in-
soluble without exposure to light.
2
This observation forms the basis
of both the carbro and bromoil processes. From a chemical stand-
point the two processes are essentially the same; the mechanism of the
two processes, however, is somewhat different, as in bromoil the in-
solubilization of the gelatine takes place in the film containing the
1
Phot. Korr., 1878, 32, 48, 75, 98, II7, 144.
2
B. P. 17,773 of 1889.
462
PROCESSES EMPLOYING BICHROMATE COLLOIDS 463
image, while in the carbro process the insolubilization has to be pro-
duced in another layer of gelatine by diffusion.
The probable reaction here is first the bleaching of the silver image,
resulting in the formation of silver bromide and potassium ferro-
cyanide. This is reoxidized by the bichromate back to ferricyanide,
the reduction of the bichromate resulting in the insolubilization of the
gelatine. With copper salts the reaction is essentially the same, the
cupric salt and bromide reacting with the silver image to form cuprous
bromide, which is reoxidized by the bichromate into a cupric salt, the
reduction of the bichromate resulting in the insolubilization of the
gelatine. Hypothetical reactions can, and have been,S written to repre-
sent these reactions but the objection to all such equations is that while
they show what can take place, there is little evidence to show that it
does take place. Consequently, it does not seern worth while, at the
present time, to attempt to represent the reaction in the form of a
chemical equation.
The Carbon Process.-Ever since its introduction as a practical
process, carbon has been recognized as one of the finest of printing
mediums. While it does not allow the same degree of control as some
of the later processes, as gum-bichromate and the oil pigment methods,
there is a good deal of latitude in carbon printing and if multiple print-
ing ios employed alterations of values may be effected to a considerable
extent. In common with other processes, which depend upon the ac-
tion of light upon chromic salts, the carbon process affords a wide
variety of colors and surfaces. The Autotype Company, who 'are the
principal makers of carbon materials, supply tissues for over thirty
different colors. But even more important is the fidelity with which
carbon reproduces the delicate tones of a negative. In this respett
it is approached by no other medium and a carbon print will repro-
duce the fine tones of a good negative more truthfully than any other
process extant.
There are two variations in carbon printing known as single and
double transfer.. In the first case the image is reversed from right
to left, while in the latter instance the image is non-reversed. Carbon
tissue consists of paper coated with gelatine and pigment. Before
use, it has to be sensitized in a solution of potassium bichromate and
is then dried in the dark. With the spirit sensitizer, manufactured by
3
Venn, Brit. J. Phot., 1924, 71, 427. Tritton, Phot. J. , 1927, 67, 140. Tritton,
Phot. J., 1926, 66, 126. Schommer, Phot. Rund., 1926, 63, 210. Schiel, Phot.
Rund., 1926, 63, 55, 97
\
464 PHOTOGRAPHY
the Autotype Company, the drying is very rapid and sensitizing is an
operation which requires very little time. When dry, the tissue is
exposed to daylight under the negative, a photometer being used to
regulate the exposure as the image is not visible. When exposure is
complete the tissue is removed from the frame and allowed to soak
until limp in cold water. In the meantime, a sheet of single transfer
paper, or the temporary support if double transfer is to be made, is
allowed to become pliable in the water. As soon as limp, the two are
brought together and pressed into contact. After remaining under
pressure a short while, the two are immersed in warm water and the
tissue stripped off, leaving the gelatine and pigment adhering to the
transfer paper, or to the temporary support in case of double transfer.
Gentle washing in the warm water follows and the unacted upon
bichromated gelatine with its pigment soon washes away leaving the
image in pure insoluble pigment. As soon as development is com-
plete, the print is removed, placed in a bath of alum to remove the
bichromate stain and harden the gelatine and is finally dried. Double
transfer is a little more compllcated. After development on the tem-
porary support, the image is hardened and allowed to dry. It is then
again placed in water and brought in contact with a sheet of double
transfer paper. The two are allowed to dry in contact and the paper
may then be stripped from the temporary support carrying with
it the image. The introduction of spirit sensitizers has rendered car-
bon a comparatively simple and straightforward process and instruc-
tions unfortunately make it appear more involved than it really is.
Carbon Tissues.-The Autotype Company of England are the
principal manufacturers in the world of materials for the carbon
process and supply everything necessary for working the process.
Over fifty different tissues in thirty colors are made by this company
and there are a large number of different transfer papers to select
from, giving practically all useful tones and surfaces. The following
is a list of the more. important tissues of the Company:
Terra cotta
Ivory black
Warm sepia
Standard brown
Standard purple
Gray green
Dark blue
Blue black

Cold bistre Cool sepia
Warm black Portrait purple
Engraving black Portrait brown
Sepia White cameo
Red chalk Talbot sepia
Ruby brown Sea green
Platine black Brownish black
Italian green Vandyke brown
Much may be done to enhance the effectiveness of the print by
judicious choice of a color appropriate to the subject. Thus, Dark
Blue or Sea Green is suitable for pictures at sea or on large bodies of
water. Suitable colors for landscapes are found in Engraving Black,
Ivory Black, Italian Green, Vandyke Brown, \\Tarm Black and Gray
Green. Portraits appear to advantage on Red Chalk, Sepia, Standard
Brown, Warm Black and Brown Black. A decided advantage of the
colors obtained by the carbon or any other pigment process, over those
obtained by toning, lies in the fact that the tones are purer and may be
duplicated with ease and certainty which is rarely, if ever, the case
with toning processes.
Double and Single Transfer.-Carbon prints from glass negatives
are reversed from right to left unless double transfer is employed. In
the majority of pictorial subjects this is not objectionable and single
transfer is quite suitable. Non-reversed carbon prints may be made
from films by printing from the back side and with little or no loss in
detail or definition. If carbon printing is proposed at the beginning
the negative may be reversed in any one of several ways. The plate
may be placed in the plate holder with the glass side facing the lens; a
reversing mirror may be used, or the film may be stripped from the
negative and reversed. This latter is a rather risky method to employ
but some appear to have good success with it. At any rate it is best
to use the special stripping plates for the negative as there is then less
danger of trouble in the operation of stripping and reversing. On the
whole, double transfer is to be preferred to any of these methods where
it is necessary that the picture appear in the same manner as seen by
the eye; i.e., non-reversed.
Sensitizing the Tissue.-The tissue is supplied in packages of a
dozen sheets in nearly all standard sizes and also in bands 2Yz by 12
feet. In commercial establishments, the tissue is usually bought by the
band but it is more convenient for the beginner to buy the ready cut
tissue. Since the tissue tends to curl, it should be kept under pressure
until used, and as the solubility becomes less with. age until complete
insolubility is reached, no more tissue should be purchased at one time
than may be used up in a few months at the most.
The sensitizing bath consists of pure potassium bichromate. Only
the purest form of this chemical should be used. That sold for storage
batteries, etc., is unsuited. The strength generally advised for average
negatives is four per cent solution, although with weak negatives better
results will be secured with tissue which h 1s been sensitized in a bath
466 PHOTOGRAPHY
of lower concentration, as 2 per cent or 3 per cent. The sensitiveness
depends upon the strength of the sensitizing solution and also upon the
tissue. Thus tissue sensitized in a r per cent bath of potassium bi-
chromate requires about three to four times more exposure than that
sensitized in a bath of 4 per cent, while a color such as Red Chalk re-
quires more time for exposure than turquoise blue, owing to its greater
opacity to actinic light. However, generally speaking, the tissues all
require about the same exposure.
On the whole, the use of the Autotype Company's Spirit Sensitizer
is to be advised for the amateur or occasional worker. For com-
mercial work, where the proper facilities are available for drying the
tissue after sensitizing, the plain bichromate bath is satisfactory but as
these are generally not at the disposal of the amateur, it is recom-
mended that he make use of the spirit sensitizer, which dries very
quickly, requiring no elaborate drying cabinet, and permits the tissue
to be used within an hour.
In place of the spirit sensitizer of the Autotype Company the follow-
ing may be used:
Ammonium bichromate. . .. . ............ . .. . . . ... 6o gm. 46o gr.
Water to make .................................. rooo cc. I6 oz.
This is a stock solution one part of which should be diluted with an
equal volume of alcohol. The diluted solution will not keep. The
tissue should be immersed in the diluted sensitizer for five minutes,
then removed and treated as described later.
A more sensitive tissue requiring from one half to one third the ex-
posure of that sensitized with bichromate alone can be prepared by
adding to each roo parts of a 20 per cent solution of potassium bi-
chromate 2 parts of a ro per cent solution of cerous chloride.
4
Im-
mersion of the exposed tissue in a 2 per cent solution of cerous chloride
before transfer, however, is equally effective as regards decrease of ex-
posure and is more satisfactory in practice.
The operation of sensitizing with a spirit sensitizer is as follows :
Pour an ounce or two of the sensitizer into a saucer or cup and dip
the Blanchard brush, supplied with each bottle of sensitizer, in the same
and then apply to the tissue which should be pinned down on a board
with pushpins. The solution must be evenly distributed and rapidly
as it dries quickly. First cover the tissue lengthways and then dip the
brush in the solution again and go over the tissue a second time in the
4
Tritton, Brit. ! . Phot., 1929, 76, 381.
opposite direction, namely the short dimension. For a large print, a
special brush should be made in order that the surface may be more
rapidly covered with the sensitizing solution. When the first sheet of
tissue is surface dry (several sheets may be coated in the meantime), it
should receive a second application in order to insure a uniform coat-
ing. \iVhen finished throw away the remaining sensitizer and wash
out the brush and keep for future use. The sensitizing bath should
be kept in the dark when not in use. The tissue should be hung on a
line in a dark room to dry, which will take from ten to twenty minutes.
The use of an electric fan will hasten drying as will also moderate
heat. Of the two, the first is the safer, as heat may render the tissue
insoluble. The tissue should be thoroughly dry before it is placed in
the printing frame. If it is intended to keep the tissue for any time,
it should be placed in the storage tube supplied by the Autotype Com-
pany. Sensitized carbon tissue is at its best, however, as soon as dry
and can only be kept in good condition with safety for a week or so,
even in the special storage box.
The tissue may also be sensitized _, immersion but then requires
much longer to dry. It is, however, more sensitive than that sensitized
by brushing and increases in sensitiveness with age.
5
Exposure.-No special type of printing frame is required, but since
there is no necessity for examining the print during exposure, the back
need not be made in two pieces as usual.
The tissue must be kept dry while exposing and for this purpose
sheets of waxed paper or waterproof sheets of vulcanized rubber, as
used for the same purpose with platinotype, may be employed. The
springs of the frame need to be strong and for this reason many of
the cheaper frames known as "Amateur" will be found unsatisfactory
since the springs are weak and unable to hold the rather stiff pig-
mented tissue in perfect contact with the negative.
Printing is usually done in the shade as the direct rays of the sun
may crack or cause the tissue to become insoluble. For commercial
work, the Cooper-Hewitt mercury vapor lamp is a satisfactory light.
Before printing, the negative should be provided with a "safe edge."
This is a narrow opaque border on all four sides of the negative which
insures a soluble margin to the picture by protecting the tissue from
the action of the light. This " safe edge " may consist of a strip of
5
For methods of sensitizing using dyes, see Meisling, Brit. J. Phot., 1916, 63,
Feb. 23; Dansk. fotografisk Tidskrift Nos. 9 and ro, 1916; War burg, Phot. !.,
1917, 57, 169.
468 P HOTOGRAPHY
opaque paint on the negative or the black paper masks sold for the
purpose of producing prints with white borders.
As the image is invisible, an actinometer is used to gauge the time of
exposure. Several forms are obtainable. Three popular types, Bur-
ton's, Sawyer' s, and J ohnson' s, arc illust rated in F ig. r88.
ACTINOMETERS
DISC DISC
BURTON
JOHNSON SAWYER
F rc. r88. Actinorn ctcr s for Ca rbon Printing
In Johnson's act inometer a small roll of sensitive paper is contained
within the cubical box. This is pulled forward and exposed to light
beside the frame until the tint of the paper and the standard tint
register and a new piece pulled into position. A thin negative may be
sufficiently exposed in one tint, a medium one in two or three, while
denser ones range higher . Such actinometers are known as intermit-
tent and are not so convenient as the continuous type of which the
Sawyer is an example. In thi s instrument there is a graduated scale
of increasi ng opacities ranging from r to 9 T he paper is exposed be-
neath the graduated scale and each number darkens in succession to
the standard tint so that there is no necessity for moving the paper
during an exposure. The Burton instrument is similar but has several
portrait negatives of increasing density. Sensitive paper is placed
under the negative in the actinometer which appears to resemble in
density the negative to be printed and the two exposed until the test
paper appears sufficiently dark.
Carbon tissue sensitized on a 4 per cent path of potassium bichromate
is about three times as rapid as P-0-P. The beginner will find it
necessary to make two or three tests and after development the proper
exposure can be judged. The number of "tints" required may then
be marked upon the negative so that the proper exposure at any future
time can be readily determined with the actinometer.
After exposure the print should be developed as soon as possible as
if left to stand the action of light will continue even though the print
be kept in complete darkness and over exposure will result. This is
known as u the continuing action of light " and was first observed by
Johnson, and Abney later showed that the principle might be used to
advantage in increasing the speed of printing in dull light. It is pos-
sible to work out a system whereby one third or even less of the
original exposure may be given and the print allowed to stand several
hours before development. Unless absolutely uniform conditions can
be maintained, this method Is not to be advised however and the be-
ginner will do well to develop immediately after exposure.
Development.-The development of a carbon print is a compara-
tively simple operation. No chemicals are needed, hot water and a
large tray being the principal requirements. No dark room is required
and the operation may be carried out in subdued daylight. Up to this
stage there is no difference in double or single transfer but before de-
velopment it becomes necessary to transfer the pigment to ei.ther its
transfer paper or to a temporary support from which it will later be
again transferred to its final support. Transfer is necessary because
the insoluble pigment which has been formed by the action of light is
upon the surface of the tissue while the insoluble pigment which must
be washed away in order to reveal the image lies beneath the image.
It is, therefore, necessary to transfer the pigment so that the soluble
pigment will be on top where it can be washed away without affecting
the pigment forming the image.
We will first consider single transfer as it is the simplest and best
470 PHOTOGRAPHY
for the beginner. After he is able to make single transfer prints with
satisfaction, he may experiment with double transfer.
A sheet of single transfer paper is placed in cold water at about 6o
0
F. ( 16 C.) for several minutes until it is limp.
6
The exposed tissue
is then placed in the same water. The tissue will at first curl inward
and then outward until it becomes practically flat. At this point it
should be removed from the water and placed fa<;e down upon the
transfer paper, which should have been previously placed upon a flat
surface with the side coated. with gelatine upwards. When the two
are in contact, a squeegee is passed over the same . from center to the
margin with moderate pressure in order to eliminate air and moisture.
After being squeegeed into contact the tissue and its support may be
placed under blotters and allowed to remain for fifteen to twenty
minutes before development.
To develop, immerse the print and its support in water at about 95
to 100 F. (35-38 C.). In a few seconds the pigment will begin to
ooze out around the edges. When this begins, separate the corner of .
the tissue and its support by lifting it with the finger nail and pull off
the paper that originally held the pigmented gelatine. This tissue may
be discarded. Holding the print by one corner, gently splash warm
water over the surface. The soluble pigment will gradually wash
away leaving the image. Care should be taken not to touch the print
with the hands or any hard substance as the gelatine is very soft and
easily injured at this stage. If the print is under exposed, the pigment
will wash away very easily while if exposure is excessive the pigment
dissolves with difficulty and warmer water must be used. Highlights
may be lightened or detail in dark shadows may be brought out at this
stage by squirting water from a blow tube against the print, or hot
water may be poured on the desired portion.
When development is complete, place the prints in clean cold water
for a m'inute and then transfer to a five per cent solution of alum to
remove the bichromate stain and harden the gelatine. Porcelain steel
enamelled or hard rubber trays may be used for the alum solution but
tin or zinc vessels, such as may be used for development, are to be
avoided. The time required in this bath varies but sufficient time
should be given to make sure that all of the bichromate stain has been
removed as any trace which is left will be more noticeable when dry
than while wet.
6 Very rough or thick transfer papers should be allowed to soak for an hour
before being squeezed into contact with exposed tissue. With thin and smooth
papers ten to fifteen minutes will be sufficient.
,.
After clearing and hardening in the alum bath, the print is removed
and well rinsed in water and then hung up to dry. Carbon prints
should not be forced in drying by heat as there is a danger of the
gelatine cracking. An electric fan, however, may be used to hasten
the process.
Double Transfer.-So far we have considered only single transfer
which is quite suitable in all cases in which reversal of the image is not
objectionable. The operations prior to development are the same in
both single and double transfer. Before development, instead of being
attached to the transfer paper, the exposed carbon tissue is fixed to a
temporary support. This temporary support may be opal glass or the
specially coated paper supplied by the Autotype Company. This latter
product is made in two grades: Thick No. II2 for general use, giving
either medium gloss or mat:t; and Thin No. 112 which is advised for
thick and rough surfaced transfer papers.
Before use, the support must be waxed so that the gelatine image
may be stripped from the temporary support without danger when
transferring to the final support. The waxing solution consists of one
part of beeswax and three parts of resin dissolved in turpentine and
may be purchased especially prepared. Several drops of this waxing
solution are poured on the temporary support and gently rubbed over
the surface using a pad of flannelette. The waxing is a simple
tion but care must be taken that the support is evenly and thoroughly
waxed. Unequal distribution gives rise to a difference in surface
texture on the finished print as some sections will have more gloss than
others. If a part of the support has not been covered at all the
gelatine may adhere and the print will then be spoiled. An hour or so
must be allowed after waxing before the supports are used in order to
allow the turpentine to evaporate. It is an excellent plan to wax the
supports several hours, or on the day before they are to be used.
There is less latitude in with double than with single
transfer and the exposure should be as nearly correct as possible in
order that very hot water may not be necessary for development.
There is a tendency for the image to blister while on the temporary
support which is due to a softening of the wax and the use of hot
water, of course, will cause the wax to soften more than cold.
The temporary support is placed in water along with the exposed
tissue and allowed to remain until it becomes comparatively flat. The
exposed tissue is then squeegeed to the waxed side of the temporary
support and allowed to remain under pressure for several minutes
. 472
. PHOTOGRAPHY
after which it is developed in exactly the same way as single transfer.
After development, the temporary support with its adhering image is
placed in the alum bath to discharge the bichromate stain and harden
the gelatine after which it is rinsed and allowed to dry. Care should
be taken not to injure the delicate surface during any of these opera-
tions. Dry the image in a cool place-not in the sun nor by any kind
of heat.
When dry, the operation of transferring the image to the final sup-
port may be proceeded with. For this purpose double transfer paper
is supplied in a wide variety of tones and surfaces. The sheet of
double transfer paper should be larger than the temporary support, say
7 x 9 for 5 x 7 print. It is placed in cold water and allowed to soak
for an hour in order to swell the gelatine coating so that the image will
adhere. After soaking for an hour remove and place for a minute or
so in water at about 90 F. until the surface feels slimy to the touch
after which it is again returned to the cold water where it may remain
until required. The dry print on the temporary support is now placed
in cold water until flat and limp and is then taken out and placed face
up upon a smooth flat surface as a sheet of plate glass. The sheet of
softened double transfer paper is then placed on top of it and held in
place by one hand while the two are squeegeed into perfect contact with
a flat squeegee. The pressure must be sufficient to force out the water
but not so great as to affect the gelatine. A few trials will serve to
show the proper amount of pressure to apply. The temporary support
and double transfer paper are then hung up on a line to dry. When
thoroughly dry, insert the point of a knife blade under one corner and
pull the two apart, when it will be found that the image leaves the
temporary support and adheres to the double transfer paper. If the
plate has not been properly waxed, the image may adhere to the
temporary support in places and the print ruined. This may also
happen if the gelatine coating of the double transfer paper has not been
sufficiently softened before use.
Transferring to Rough Papers.-It is strongly advised that the be-
ginner stick to smooth surfaces until he is perfectly sure of himself.
However; the carbon image can be transferred to very rough surfaces
as Whatman's hot pressed drawing paper, but greater care and famili-
arity with the process is required and for this reason the beginner will
do well to stick to smooth and moderately rough surfaces for quite a
while. The temporary support to use is No. I 12 thin. The image
on its temporary support is placed in water for several minutes and
.,
allowed to become limp. It is then removed and immersed in the
gelatine solution which is prepared as follows:
Soak one ounce cif Nelson's gelatine No. I in 20 ounces of water
for fifteen minutes. Then heat the solution to about II5 to 125 F.
until the gelatine is melted. To an ounce of water add 5 grains of
chrome alum and when dissolved, add to the solution of gelatine, stir-
ring well all the while. The gelatine solution should be strained
through muslin before use.
A piece of the transfer paper, which has been soaking in water for
an hour or more, is then removed and placed face up on a smooth, flat
surface. The print on its temporary support is removed from the
gelatine solution and placed face down upon the transfer paper and
the two squeegeed firmly into perfect contact. Clean the margins of
the transfer paper, which should be an inch or so larger than the
temporary support, and hang the prints up to dry. When thoroughly
dry, they may be stripped off as usual. Any slight smoothing of the
rough surface, due to being in contact with the smooth waxed tempo-
rary support, may be removed by soaking the print in water for half
to three quarters of an hour and redrying.
The Carbro The carbro process has a number of note-
worthy advantages over the older method of carbon printing and will
no doubt serve to increase the popularity of pigment printing. Un-
like carbon no daylight is required at any stage so that the difficulties
of drying the tissue and exposing to daylight are avoided. This
greatly simplifies the production of pigment prints and by rendering
the worker independent of daylight enables him to use his evenings in
printing. There is in addition the advantage that an enlarged nega-
tive is not required when prints are desired larger than the original
negative, since from a good bromide enlargement any number of
carbros in reason may be made without loss of quality. In these days
of small cameras and dependence upon projection printing the possi-
bility of using a bromide enlargement instead of an expensive en-
larged negative is a matter of some moment and this point weighs
heavily in favor of the carbro process. As a carbro print is identical
with a carbon print made . from the negative by the usual method, it
is evident that we have in carbro printing the same range as regards
color and texture that we have in carbon, and, since the finished print
is the same in both cases, the same features of artistic excellence for
which the carbon process is noteworthy. Added to this there is the
possibility of multiple printing, which is simpler in carbro than in any
474 PHOTOGRAPHY
other process. There is one objection to the carbro process which
makes it technically inferior to direct carbon prints made from the
negative, and that is the loss of critical sharpness. This, as pointed
out by N amias,
7
is due to the fact that the image is detached from the
pigmented layer of gelatine and there is a local spreading of the action
owing to the lateral diffusion of the insolubilizing agent within the
pigmented gelatine. However, for all but the most critical scientific
work where extreme sharpness of mir;ute detail must be preserved,
the slight softening of the outlines is unobjectionable and in the case
of pictorial work may be actually an advantage.
It is therefore not too much to say that carbro represents a notable
advance in carbon printing. It is deserving of the attention of every
serious amateur and professional and will, no doubt, do much to re-
vive the waning interest in the carbon process which remains, as it
has always been, one of the finest of positive printing processes.
The Bromide Print.-Since in carbro printing the bromide print
acts as the negative, its preparation should be with the same care and
attention which would be bestowed on a negative. As regards the
make of paper, nearly all commercial brands of bromide appear to
be suitable. The times of immersion in the various baths, however,
differ with various brands of papers, but this is a matter of minor
importance since the time of immersion once determined for a given
brand remains constant, within small variations, for succeeding
batches of the same paper. On the whole the platino matt or semi-
matt surfaces are perhaps the best grades to employ as they are easier
to work with and give a larger number of prints. Gloss papers, how-
ever, may be used as well as the rough grades. In the case of very
rough surfaces there is some difficulty and until the worker is thor-
oughly familiar with the process he will do well to avoid such papers.
The bromide print should receive full but not over exposure and
must be fully developed. The factorial method of development al-
ready advised for bromide prints is strongly recommended for the
development of the original bromide to be used for carbro printing.
A slight ~ u r y i n of the shadows in the bromide print is not an ob-
jection since, owing to the superior gradation of carbon in the shad-
ows, such gradations, although lost in the bromide, will be visible in
the carbro print.
While in general bromide papers yield the finest results, gaslight
7
Brit. J. Phot., 1913, 6o, 141.
I
j
i.
papers may be used when necessary. In this case the gaslight print
should first be bleached in the usual ferricyanide-bromide bleach as
used for sulphide toning and redeveloped in ami dol or metol-hydro-
chinon. It will then produce carbros equal in every respect to those
made from bromide prints. The use of gaslight paper is at times
desirable when owing to the character of the negative it may be im-
possible to get a print of the required contrast on bromide paper.
As in carbon, it is necessary to provide the bromid"e print with a
" safe edge" by leaving a white margin of 74 to 0 inch all around the
print.
Where the water supply contains lime, it is well to place the print,
after fixing and washing, in a solution of hydrochloric acid and water
(3 parts concentrated HCl to 100 parts of water) for 5 minutes, then
wash for ten minutes. If this is not done there is a danger that the
lime formed within the bromide print will prevent complete bleaching
of the highlights with the result that they wash away in the develop-
ment of the carbro.
Should any spotting be required, or it is desired to darken certain
portions in such a way that the result will be reproduced in the carbro
print, one may use water color containing Indian ink. All such al-
terations are reproduced in the carbro print with as complete trans-
ference as any other part of the image.
Sensitizing the Carbro Tissue.-For this purpose the following
stock solutions are required :
Concentrated Solution No. I:
Potassium bichromate .............................. I oz.
Potassium ferricyanide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
Potassium bromide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
\Vater to make ... . ......... . ..... .. ............ .. . 20 oz.
Concentrated Solution No.2:
Glacial acetic acid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
Hydrochloric acid (pure) . .. . .. .. ........ .......... I oz.
Formaldehyde 40 per cent. .. . ...................... 22 oz.
IO gm.
IO gm.
IO gm.
200 cc.
IO cc.
IO CC.
220 cc.
The addition of I 74 oz. or 12 cc. of water to the above will pre-
vent precipitation in cold weather.
For use take:
First Bath:
Concentrated No. r stock solution ................... 6 oz.
Water to make .......... .. .. . ....... . .. . ...... . . . . I8 oz.
Second Bath:
Concentrated No. 2 stock solution. . . . . . . . . . . . . . . . . . I oz.
\Vater to make ......................... , .......... 32 oz.
roo cc.
300 cc.
IO CC.
320 cc.
476 PHOTOGRAPHY
The above English and metric weights are not equivalent but are
proportionate.
The first bath may be used for some time, fresh solution being
added as its bulk grows smaller. The second bath, however, should
be frequently renewed as it is altered by the No. I solution which is
carried over into it.
Both concentrated solutions keep well in tightly corked bottles away
from light. The temperature of the working bath should be kept as
nearly as possible at 6o--65 F.-a lower temperature will lessen the
activity of the solutions while a higher one will increase their activity
and bring on various troubles.
Sensitizing the Pigmented Tissue.-The working baths having
been made up, the sheet of carbon tissue is immersed in No. I bath
by sliding it under the surface of the solution. Remove any air-bells
on the face of the tissue and then turn it face downwards. After two
minutes the pigmented tissue should be again turned face upwards and
allowed to remain for another minute. Then lift it up by the corner
and let it drain for IS seconds. Finally grasp it by two corners and
slide it face up into solution No. 2.
The time of immersion in this second bath is governed by the effect
The upper drawing shows the hinging of the clamping strip at tlu
requisite height above the base. In the lower drawing is indicated
the edging of studded rubber.
Frc. r89. Squeegee Board for Car bro. (Farmer)
desired and by the brand of bromide paper employed for the print:
It is impossible to give the best time for immersion since so much de-
pends on working conditions, but as a rule the time ranges from 15-30
seconds. The shorter the time of immersion the greater the contrast
of the carbro print, while with longer times of immersion the less the
degree of contrast. It is thus possible by varying the time of im-
mersion in the second bath to produce a print having the same degree
of contrast as the original, or one having increased or diminished con-
trast. Thus if under a given set of working conditions 20 seconds im-
mersion produces a carbro print identical with the original bromide,
15 seconds immersion will produce a carbro having greater contrast
and 25 seconds less contrast than the original. It is obvious that such
control may be employed to control the gradation of the carbro print
so as to secure exactly the brilliancy desired.
The number of seconds decided upon having elapsed, the pigmented
tissue is lifted from the bath and laid upon the bromide print which
should have been previously soaked in water for 0 hour and laid
upon a sheet of glass or upon the squeegee board illustrated in Fig.
189. Once the two are in contact their relative positions must on no
account be altered as the action begins immediately anJ a change in
position would produce a blurring of the image. As soon as the pig-
mented sheet is in contact with the bromide print a rubber squeegee is
brought into play and the superfluous water forced out by firm,
straight strokes. .
The bromide print with its adhering sheet of carbon tissue is then
lifted from the glass or squeegee board, placed between greaseproof
paper and allowed to remain for 15 minutes for the action of the in-
solubilizing solution to take place.
Transfer.-In the meantime a sheet of transfer paper of the de-
sired grade should be placed in cold pure water and allowed to soak
1 for at least 5 minutes if thin, or 10 minutes if thick. Then, at the
expiration of the fifteen minutes, strip the pigmented tissue from the
.,.. bromide print, drop the bromide print in clean running water, and
place the pigmented tissue on the transfer paper, squeezing the same
so as to secure perfect contact. Finally place between blotting papers
under slight pressure and allow to remain for 20 to 40 minutes.
Redevelopment of the Bromide Print.-While this is being done
the washing of the bromide print may be attended to and when thor-
oughly washed it is redeveloped. For this a plain metol developer
is advisa.ble although metol-hydrochinon may be used. Care should
.. l be taken in any case that development is thorough and to this end it
is well to leave the bromide print in the developer several minutes
478 PHOTOGRAPHY
longer than would be judged necessary from its appearance. Fixing
is unnecessary and after washing and drying the print is again ready
for carbro printing.
Development of the Car bro.-The development of the carbro is
much the same as the development of a carbon print made by the
older method. The transfer paper with its adhering sheet of pig-
mented tissue, the latter uppermost, is placed in a large dish of warm
water at a temperature of about 95 F. (35 C.). This is somewhat
lower than the temperature found necessary for carbon and is due to
the fact that the soluble gelatine leaves the image at a lower tempera-
ture and more rapidly than with a carbon print made in the ordinary
way. One should not attempt to judge the temperature of the water
by the finger but use a thermometer. In a few minutes the pigment
will begin to ooze out around the edge; when this occurs, separate the
transfer paper and the paper backing of the pigmented tissue and
gently strip the latter off and throw away. If the pigment shows a
tendency to stick to the tissue backing so that parts of the image are
pulled up from the final support, the tissue is old and warmer water
should be used for stripping. The paper backing having been re-
moved, grasp the print by one corner and gently splash water over
it. with the other hand. As the pigment is very soft at this stage, on
no account must the image be touched or treated with any violence
whatever. If after a short while the print is still too dark, warmer
water may be used. There is quite a little control possible in de-
velopment by the use of colder or warmer water. It is best, however,
to resort to this only when other agencies have been exhausted.
If it is desired to lighten any portions this may be accomplished by
pouring on such portions a thin stream of warmer water, taking care,
however, that the force of the same is not so great as to wash up the
image. By this means a highlight can be brightened or a heavy,
blocked up shadow lighten'=d so as to bring out buried detail.
When development is judged to be complete, the print is removed,
raised in clear cold. water and placed in a 5 per cent solution of alum.
This removes the yellow stain left behind by the bichromates and
ferricyanide and hardens the image. Care should be taken that the
action of the alum is complete as the yellow stain is much more ap-
parent when the print is dry than when wet. In commercial prac-
tice it is well to use two baths of alum; immersing the print until ap-
parently clear in the first, then transferring to the second for 3 or 4
minutes.
After removal from the alum bath the print should be rinsed well
in cold water and hung up to dry. Heat should not be used to hasten
drying.
Carbon on Bromide.-If desired the pigment image can be de-
veloped on the bromide print instead of transferring to a new paper
support. The procedure is just the same except that when the fifteen
\ minutes of contact between the bromide and the pigmented tissue have
elapsed, instead of stripping off the pigmented paper, both it and the
bromide . print are placed in warm water and developed as already
described. The print then consists of a pigment image over the
bleached image of the bromide print. This last may be allowed to re-
main, redeveloped or removed by means of the ordinary ferricyanide-
hypo reducer.
As the yellow color of the bleached image alters the tone of the
finished print and since it darkens slightly on exposure to light it is
advisable either to redevelop the bromide image or to remove it com-
pletely. Redevelopment of the silver image darkens the print since
in this case the resulting print has the depth of the two images; one
of silver and the other of carbon. This property may be used to ad-
vantage in dealing with weak negatives from which it is impossible to
get sufficient richness in the ordinary way.
Multiple Printing.-The first , I believe, to call attention to the
simplicity of multiple printing by the carbro process was Paul L.
Anderson in the American Annual of Photography for 1923, p. 44 I
repeat his remarks on the subject:
Multiple printing by the non-transfer method (carbro on bromide) is ridicu-
lously easy, for whereas registration marks are necessary in the transfer method,
no such precautions are required in non-transfer; the second sheet of sensitized
tissue is squeezed down on the redeveloped bromide and the silver image itself
takes care of registration. The writer has never put more than three printings
of carbon on one bromide, but there seems to be no reason why an indefinite
number should not be applied if necessary: however, three will generally take
care of any desired effect.
It is obvious that multiple printing may be employed for the pur-
pose of printing one color over another, or for increasing the range
of gradation and adding to the finished print a quality which cannot
be secured by a single printing. As was shown by Hub! as early as
1898 in regard to the gum-bichromate process,
8
the very best ;esults
8
Eder, Das Pigmentve1jahren, der Gmmni-, Oel und Bromoldruck, Halle a/ S,
1917.
480
PHOTOGRAPHY
are obtained from a long-scale negative when two or morP. prints are
made and superimposed; one print being soft and the other contrasty.
In this way is obtaint"d "a result which often surpasses, in truth and
fidelity to the original. a normal pnnt from the negative."
BELIN-Manuel Practique de Photographic au Charbon, 1900.
BRAHAM-The Carbro Process.
CoLSEN-Les Papiers Photographiques au Charbon, 18gB.
EoER-Das Pigmentverfahren, der Gummi-, Oel-, und Bromol-druck und ver-
wandte photographische Kopierverfahren mit Chromalzen, 1920.
L1EBERT-Photographie au Charbon, 1908.
L1ESEGANG-Der Pigmentdruck, 1911.
MARTON-Modern Methods of Carbon Printing.
SAWYER-The A. B. C. Guide to Autotype Carbon Printing.
STOLZE-Katechismus der Chromatkopierverfahren, 1904.
SPORL-Der Pigment-Druck, 1920.
VALENTA-Photographische Chemic und Chemikalienkunde, 1922.
VoGEL AND HANNEKE-Pigment-verfahren.
WALL-Carbon Printing.
CHAPTER XXIII
THE GUM-BICHROMATE PROCESS
Introduction.-The gum-bichromate process is another of the sev-
eral processes which depends upon the fact that chromatized colloids
become insoluble upon exposure to light. It differs from carbon in
that the colloid used is gum-arabic instead of gelatine and also that
there is no transfer, the print being exposed and developed from the
front, which renders multiple printing necessary in order to secure a
full scale of gradation. Gum is without doubt one of the most flexible
printing processes known and can far surpass any other in quality in
the hands of a worker who understands it and knows how to get what
he wants. Almost any degree of contrast may be obtained and local
values may be altered to suit the artistic sense of the worker. As in
carbon there is a wide variety of colors available and also an even
wider range of surfaces from which to choose. The scale of grada-
tion which may be secured by multiple printing is greater than any
other process can render. Aside from these there is a quality in a
good gum print, particularly in the shadows, that makes it superior to
all other printing mediums with the exception of photogravure and
possibly the oil processes. The shadows can best be described by say-
ing that they have depth and richness, without any gloss or muddiness.
For the worker who takes a pride in the artistic quality of his work
and whose desire is to turn out a few good prints rather than a great
many, gum is an ideal process.
Owing to the coarse grain of the gum coating, small detail is de-
stroyed so that the process is only suited to broad subjects having no
important detail-such as the artist calls "big" subjects. For the
sa_me reason, gum is at its best in large sizes, 8 x 10 and larger. As the
paper is not sufficiently sensitive for enlarging, an enlarged negative
must be made and this is a handicap to many workers as is also the
fact that exposure must be to daylight. A great deal of painstaking
care and attention is required at each and every stage of the various
operations of coating, exposing, and drying, and as these have to bt'
repeated at least twice and often as many as five times in order to
secure prints having the proper depth and quality, the process is a
481
482 PHOTOGRAPHY
lengthy one and one which demands the energies of the worker for a
longer space of time than many can spare from their other occupa-
tions.
Materials.-The papers which can be advised for the process are:
"Griffin" detail paper of Seltmann of New York City, Strathmore
detail made by the Mittineague Paper Co., Whatmans, Michallet, Al-
longe, Lallane and English cartridge paper, practically all of which
may be had from paper dealers in the larger cities. Handmade paper
is to be preferred to machine made, as it is tougher and has not been
strained in manufacture so that the fibers do not all run in one direc-
tion.
The colors used are the moist water colors sold in tubes. The makes
of Devoe and Windsor and Newton are to be recommended. For a
beginning, one or two tubes each of ivory and lamp black will do,
while the following seven colors: ivory, black, lamp black, Venetian
red, chrome yellow and Prussian blue, will cover practically all normal
requirements.
In addition to the paper and color, several trays about a size larger
than the largest print will be required; also two or three graduates
(about 8 and r6 ounces) ; a supply of glass-headed push pins; several
ounces of granulated gum-arabic; two brushes, one a rubber bound for
coating and the other a broad soft brush for blending; and a board
about twice the size of the paper to coat.
The Negative.-The negative calls for little attention as owing to
the personal control which may be exercised in printing, any variations
in contrast can be made, according to the taste of the worker. How-
ever, a thin negative seems to print better than a dense one, even though
they may be practically identical in other respects. Of course, it is
best to aim at a technically perfect negative having normal contrast and
with minimum density, but by multiple printing the shadows may be
printed in one operation, the half tones in another and finally the high-
lights in a third, so that the final result is completely under the control
of the worker.
Formulas.-
GuM SoLUTION
Water ....... , , ... , .... . , ................ . .. .
Gum-arabic ..... . ... . ... ... ............... . . .
Arrowroot ........ . .... ... ............. . .... .
Mercuric chloride ........ . ......... . ..... . . . . .
I2 Oz.
2200 gr.
270 gr.
IS gr.
IOOO CC.
366.6 gm.
44.6 gm.
2 .5 gm.
,
THE GUM-BICHROMATE PROCESS 483
Dissolve the mercuric chloride in a small amount of water and then
add the arrowroot, stirring the same until a thin cream is obtained.
Then add the remaining water and the gum-arabic. The latter will
dissolve more rapidly if suspended in the solution by means of a cheese-
cloth bag. From sixteen to twenty-four hours will be required for the
latter to completely dissolve.
SENSITIZING SOLUTION
The stock solution of sensitizer consists of a solution of potassium
bichromate :
Water (hot).. . ...... .... . . .. ... ....... . .. . ..... IS oz.
Potassium bichromate . . .... . . . . ... ... . .. . .. . ... . 720 gr.
Both of these solutions keep well.
IOOO cc.
g6 gm.
The actual mixture used for coating varies with the paper and the
negative and also with the effect desired. Practically every worker
develops a different formula after practice and while there may be little
difference, yet it is better adapted to his own personal methods of
working.
However, the following formulas are given for the benefit of the
beginner:
SHADOW CoATING
Gum solution... . . . ... . .. . ... . ..... . . . .... . ....... Y, oz.
Sensitizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Y, oz.
Ivory black from tube .. , . . . . . . . . . . . . . . . . . . . . . . . . . . 4 in.
IS gm.
IS gm.
4 in.
If the negative has a short scale of gradation it may be possible to
use the above for all of the printings; if, howeve_r, this is not the case
and the negative has a long scale of gradation and prints well with
bromide or platinum, then it will be necessary to vary the coating mix-
ture so as to secure a longer scale. It is generally necessary to make
three printings : one for the shadows, another for the halftones and
finally one for the highlights. The following are advised for the half-
tone and highlight coating mixtures :
HALFTONE CoATING MIXTURE
Gum solution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Y, oz.
Sensitizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Y, oz.
Ivory black from tube .. . . .. ........ .. . .. . .. ... . 2 in.
HIGHLIGHT COATING MIXTURE
Gum solution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Y, oz.
Sensitizer .. . .. ... . .. . . ; . . . . ... .. ....... . ... . ... S dr.
Ivory black from tube . .... . ..... ... ..... .. . . .... in.
IS gm.
IS gm.
2 in.
IS gm.
I7-7S cc.
in.
484 PHOTOGRAPHY
Effect of Varying Proportions of Coating Mixture.-Aithough the
above may be regarded as an average formula, considerable variation
is possible, but the beginner will do well to stick by the above until he
is familiar with the process and knows what steps to take in order to
secure the desired result. Increasing the amount of pigment gives a
longer range of tones but the whites are stained and lack purity. An
excess of gum makes the coating hard to blend smoothly and produces
a thick film which may chip off in development. A moderate increase
in the amount of gum solution gives greater contrast and the high-
lights may be blocked. An excess of sensitizer gives a coating which is
difficult to spread ahd one which gives flat, lifeless prints. A rough
paper will take a thicker coating than a smooth one and is also more
easily coated so that the latter is not to be recommended for the
beginner.
Figure 190 gives schematic curves for gum pigment with varying
amounts of gum, pigment and sensitizer. Examination of the same
will show that ( 1) has a long scale of tones with little contrast, ( 2)
shows a shorter scale of tones with greater contrast, while (3) shows
a short scale of tones with high contrast. This gives an idea of the
FIG. ISJO. Curves Showing the Influence on Contrast of Variations in Propor-
tions of Gum, Pigment and Sensitizer in the Gum-Bichromate Process
(Anderson)
Immense variation which may be produced m a single printing by
alterations in the composition of the coating mixture. Further varia-
tions may be made by using different coating mixtures for the different
printings and by local control, so for these reasons it may be readily
seen that gum is justly regarded as one of the most flexible processes
which we have for the production of positive prints.
Coating.-The coating mixture having been prepared, the Sensitiz-
ing of the paper may proceed. Rough papers are the easiest to coat
and the beginner is therefore advised to start with a rough paper, as
{.
'
f
' .
1
485
Whatman's. The sheet should be larger than the negative as it is
next to impossible to secure a perfectly even coating to the very edge
of the paper. A sheet I I x I4 will be suitable for either 8 x IO or
IO x I2, while an 8 x IO sheet is sufficiently large for a 5 x 7 Attach
the paper to the drawing board with push pins and pour the coating
mixture in the center. The paper will be more easily coated if it is
immersed in water and blotted before being placed on the board. For
the first I r x I4 sheet of paper, about one half ounce of the coating
mixture will be required, while succeeding sheets will require some-
what less, owing to the brushes becoming charged with the gum. The
rubberset bristle brush is used to spread the coating over the paper so
that every part is covered with the coating mixture. When this has
been done, the blender comes into play. There are two brushes which
may be used for blending (one made of fitch and the other of badger)
and the details of the operation depend somewhat upon which is being
used. With the former the brush is held nearly vertical and drawn
slowly and regularly across the paper-always in the same direction.
When the sheet has been covered in one direction, it is again gone
over in the opposite direction, to secure a perfectly even coating.
With the latter, the action may be" whippy," the vigorous handling of
the brush lessening as the operation proceeds. The exact manner of
handling the brush and the time to stop blending will. come with a
little experience. In general, it may be said that when the point is
reached where the tendency of the gum solution is to run into small
puddles, the operati'on should be stopped whether the surface ap-
pears completely even or not. Any irregularity will disappear in dry-
ing or development or will be covered by subsequent printings. As
soon as the operations are complete the utensils should be washed free
from the gum solution, as it is very difficult to remove when dry.
Drying.-The paper may be dried in a dim light, provided it is to
be used as soon as dry. The paper is insensitive when wet but becomes
sensitive when dry. However, if the paper is to be stored for any
length of time, it should be dried in the dark as the action of light con-
tinues, and the gum will become completely insoluble unless it is dried
in a dark place. The time of drying will depend altogether on the tem-
perature of the room, but with an ordinary room temperature of 65 to
75 F. (r8-24 C.), the time required should not be over an hour or
so. If not for immediate use, it should be placed in an airtight con-
486 PHOTOGRAPHY
tainer, similar to platinotype, for storage. The paper IS at its best
when fresh.
1
Exposure.-As the image is invisible a photometer must be used
to gauge the time of exposure. The photometers illustrated and de-
scribed in the former chapter on carbon printing are suitable for the
purpose and the serious worker should secure one of these. When
the light is steady, the frame may be loaded with proof paper and the
time required for reaching the desired depth noted and the gum paper
exposed directly afterward for the same length of time. Since, how-
ever, it is rare that the light is uniform, the use of an actinometer is to
be advised. There is a good deal of latitude in exposure but correct
exposure will greatly simplify development and give the best results.
Over exposure is preferable to under exposure, as the development of
the former may be forced by the use of hot water or an alkali, while
the latter once in the developer is useless. If it is known that the
print is under exposed, it may be laid away for several hours before
development. The action of the light continues in the same manner as
in carbon printing and this method may, therefore, be used with ad-
vantage when the light is dull and long times of exposure are required.
But since it is difficult to determine the exact rate at which the action
proceeds, it is preferable to expose fully and develop in the normal
manner.
Development.-One of the "talking points" for the gum-bichro-
mate process when first introduced was the ease with which local values
might be altered by the use of a brush or saw9ust, etc., in develop-
ment. While, to a certain extent, local work of this nature is now
done, most workers now content themselves with automatic develop-
ment. The exposed print is immersed face up in a large tray of cold
water and as soon as limp turned face down, care being taken that no
air bells are imprisoned beneath it, where it is left with an occasional
examination, for one half to one hour. If the image is completely
developed within ten or fifteen minutes the print is under exposed and
may as well be thrown away. If the image does not appear within
one half to three quarters of an hour, the print has been over exposed
and the temperature of the water may be raised slightly. The use of
an alkali is not to be advised when multiple prints must be made, nor
should the temperature of the developer be raised over 90 degrees. It
is better to prolong the time than to raise the temperature or resort to
1
Heat may be used for drying but not at a higher temperature than 180 F
(82 C.).
an alkali in such circumstances. When the solution which drains from
the print, when removed from the water, is practically clear, develop-
ment may be considered complete and the print placed in a horizontal
position to dry, care being taken that nothing comes in contact with its
surface until dry. When dry it is ready for the sensitizing, exposure,
etc., for the second printing.
To lighten any local portions the print may be held under water and
a stream of water from the tap allowed to fall upon the desired por-
tion, or an atomizer used. Greater emphasis may be secured by using
hot water or by holding the print so that the stream of water falls di-
rectly upon the surface. Local values may also be lightened by the
use of a very soft brush. There is a tendency for brush work to show
graininess and for that reason it should be avoided whenever possible.
If it is desired to darken any part, the coating mixture may be pre-
pared and applied by means of a brush to the desired portions and the
whole exposed to light when dry. It is then washed in water for about
half an hour and dried in the regular way. It is necessary to include
the sensitizer in order to secure the same tone as the original deposit.
Registration.-When making multiple prints it is necessary to em-
ploy an accurate method of registering the separate printings so that
they fall exactly over each other. Many methods have been devised
GUM PRINTING fRAME
METHOD _Of" REGISTERING
_..,.
Frc. rgr. Owens' Frame for Multiple Printing
for this purpose and a few of the most generally useful will be de-
scribed here. A very accurate and convenient method is that devised
several years ago by Horsely !-linton for making combination prints.
The sensitive paper, which must be larger than the negative, is placed
bee up on a smooth drawing board and the negative placed with the
488 PHOTOGRAPHY
emulsion side in contact, when necessary a thick piece of plain glass
being placed over the whole to secure perfect coil.tact. On one side
of the negative two stout pins are fixed firmly in the board and two
similar pins placed against the negative on the contiguous shorter
dimension. Registration is secured by replacing the pins in the holes
after each printing and forcing the negative up against them.
James Owen in American Photography, 1923, p. 416, describes a
printing frame designed by him especially for multiple printing. The
construction is simple and obvious for the purpose in view, which is
to provide a backboard on which to lay the sensitized paper either
for the first printing or after one or more previous printings; on the
paper is laid the negative, and the glass panel is then clamped down
by means of two simple wooden buttons, with minimum chances of
disturbing the registered relation between negative and paper.
Registration is accomplished by using the corners of the negative
as reference points. When the first printing has been made, clean
impressions of the edges of the negative are usually left. With a hard
pencil the edge lines are prolonged as shown in the accompanying
diagram, before applying the second coating. Whatever shrinkage
the print hq.s undergone its first or succeeding development is readily
. distributed as shown in the diagram. With some hard finished papers
there is little or.no shrinkage but the pencil lines serve for registering
the corners of the negative exactly with the corners of the printed
image. The essential point is that a frame of this type is a simple
device in which print and negative may be quickly registered and
clamped for printing without slipping out of register.
The size of the frame naturally depends upon the largest size of
negative to be printed from. It should be several inches larger, all
round, however, than the largest negative to be used. Figure 224 will
give a general idea of the principle and the details of construction.
Mr. William H. Zerbe uses a frame several sizes larger than the
negative with a sheet of plain glass, to this glass he attaches in one
corner two strips of glass to form a true square. On the sides of these
strips, about where the center of the negative will come, a piece of
gummed paper is fixed. Lines are then drawn across in the exact
center from side to side and top to bottom as shown in Fig. 192.
The back of the paper is worked off with a T square, either before
or after coating, making a line about to I inch at the edges in the
center of sides, top and bottom. In this way the marks are square
although the paper may not be.
: '
j

The negative is then placed in position, one corner being forced into
the frame made by"the two strips of glass. The paper is then placed
over the negative and the marks on the paper and the strips gummed
on the glass made to coincide. After the first print is developed and
: ~
.\
\
"
"
~
~
It
.+.
~

~ """""
_ - , ~
Frc. 192. Zerbe's Method of Registration
recoated, all that is necessary for registering is to make the registra-
tion marks coincide again. Should there be any stretching of the
paper it will be distributed four ways and minimized.
2
Gum-Bromide and Gum-Platinum.-To avoid the difficulties of
multiple printing (which is necessary in the ordinary method of gum-
bichromate in order to secure an image having the proper depth and
gradation) while at the same time preserving the quality of the gum
print, many workers have combined the process with bromide or
platinum, using a print made by one of the latter as a foundation print
to supply the needed depth to the shadows and half tones, over which
a gum-pigment image is. made to secure richness and quality of image
which it alone will yield.
Since the character of the finished print is greatly affected by the
depth and contrast of the foundation print, the ultimate end should
be carried in mind when making the bromide or platinum print. Gen-
erally speaking, the contrast of the foundation print should be rather
stronger than usual. The shadows, however, must not be as dark as
2
American Annual of Photography, 1923.
~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
490 PHOTOGRAPHY
desired in the finished result, for it must be remembered that their
intensity will be increased somewhat by the layer of pigment superim-
posed over them.
The proper depth varies in exactly opposite ratio to the amount of
pigment used in the gum coating :-the stronger the gum-pigment coat-
ing, the lighter should be the shadows of the foundation print-and
. vice versa. If the intention is to use a gum coating weak in pigment,
so as to obtain just a slight glaze of pigmented gum, the foundation
print must be almost as dark as the finished result is required, but, on
the other hand, a strong pigment image only requires a weak founda-
tion print sufficient to give the additional intensity required by the
darker tones of the subject. It is therefore necessary that one have
definitely in mind the effect which is desired and proceed to make the
foundation print accordingly.
Before exposure the bromide or platinum paper, as the case may be,
is placed upon the negative and its position registered by any of the
means already considered. It is then exposed and developed in the
usual way, to produce an image of the required intensity. When dry
the print is ready for the gum-pigment coating. No definite rule can
be given for the coating mixture as so much depends upon the strength
of the foundation print and on the effect desired. The only way to
determine the quantity of pigment to employ in any particular case
is to spread some of the mixture upon a waste print of approximately
the same character and note the effects. The operations of coating,
exposure and development of the gum-pigment image are practically
identical with multiple gum-bichromate c.nd need not be repeated.
The Powder Processes.-There is still another series of non-trans-
fer pigment processes based upon the action of light on bichromated
colloids. This series comprises those processes which are collectively
termed the powder processes. In these an image is first formed in
bichromated gelatine after which pigment in powder form is dusted
over it. The pigment adheres to those portions of the image repre-
senting the shadows and which consist of a soluble colloid, while it
adheres only with difficulty, or not at all, to those portions which con-
sist of a less soluble or insoluable colloid, and in this way the image
is produced. Of the large number of processes of this nature de-
scribed in the older works, such as Abney's Instruction in Photog-
raphy, practically none have survived. Mr. E. J. Wall, however, has
,.
l
7
:
~ J ~
~ ~
recently described a powder process which would appear to have a
more promising future.
8
The bromide print, which should have been fixed in plain hypo and
not in an acid fixing and hardening bath, is transferred directly from
the last wash water to the following solution:
Cupric sulphate.... . ........................ 28 gr. 5 gm.
6 cc. Nitric acid...... . ... .. ..................... 45 rom.
Potassium bromide .... . .... . ......... . .... . . 4 gr. 0 .5 gm.
Hydrogen peroxide . .. . .................... . I% fl. OZ. 100 CC.
Water to make .... . .. . .................. . . . 16 oz. 1000 cc.
which should be used at a temperature of 70 F. ( 21 o C.). The
duration of the action ranges from 5-20 minutes, being dependent
probably on the emulsion.
For the powdering of the image any inert pigment, black or colored,
may be used, but it should be as finely ground as possible, or the re-
sults may show an undesirable amount of grain. The powder may be
applied either with a very soft brush or by means of a little sieve hav-
ing a bottom of the finest muslin. Some of the powder is placed in
the sieve which is held over the image and tapped with the finger.
This method is perhaps preferable when using a pigment containing
rather coarse particles.
Resinopigmentype.-Resinopigmentype, a method worked out by
Prof. Rudolph N ami as, belongs to the same class of printing processes
which we have just discussed. It has attracted considerable attention
among pictorialists on the continent and Mr. Joseph Petrocelli of New
York has produced some very beautiful work by the process.
It is especially adapted to subjects which do not have a high degree
_of contrast, as, for instance, winter scenes, the effects of fog, rain, etc.
On the other hand, it is ill adapted to images requiring vigor and con-
trast, for it is impossible to obtain absolutely pure whites.
The point of departure of the Resinopigmentype process is in the
use of a positive transparency, which may be on glass, film or paper.
This may be made from the negative either by contact or enlargement
and must not be excessively contrasty.
The paper supplied by Professor Namias is sensitized by immer-
sion of the sheet of paper for three minutes in a 5 per cent solution of
potassium or ammonium bichromate and drying in absolute darkness.
It is preferable to sensitize in the evening, then the paper will be ready
3
A mer. Phot., 1924, p. 428.
17
492 PHOTOGRAPHY
for use the next day. Nevertheless, the positive paper may be kept
for one week in winter, or two or three days in summer, but the best
results are obtained with the freshly sensitized paper.
The paper is printed behind the positive in the manner usual with
daylight printing papers, and the exposure is continued until there is
a faint brown coloration under the transparencies of the positive, with
the details of the half-tones lightly visible. Over exposure is to be
avoided.
The most simple and effectual method of raising the relief is to
leave the print film side down in a bath of cold water for several hours
to eliminate the excess of bichromate. After soaking, the sheet of
paper is placed in water at 50 C. ( 122 F.) for from two to five
minutes, which produces a distinct image in relief.
If time presses, the print may be swelled quite rapidly by plunging
direct in water at 37 C. (98.6 F.), to which y;! per cent of ammonia
has been added. After rinsing in cold water the print is ready for
powdering.
The excess of moisture on the swollen surface is removed with
blotting paper or chiffon, but not with shaggy cotton or wool. One is
then ready to begin powdering by means of a soft brush of polecat
hair of medium size, dipped in the powder especially prepared for the
process. On continually passing the brush over the paper, the image
appears and this operation is continued until the image is sufficiently
vigorous. When necessary to remove any excess of powder, use a
fresh brush.
If the image obtained is deficient in contrast, it indicates that insuf-
ficient powder has been applied, and in this event the proof is placed
in a tray of cold water to detach all the powder and a higher relief is
produced by ammonia water as previously recommended.
The soaking in water advised is often insufficient to remove the last
traces of bichromate, especially if the rapid method of swelling al-
ready indicated is employed. The yellow stain is easily removed by
immersing the print, before swelling, in a 10 per cent solution of
sodium bisulphite or a 5 per cent solution of potassium metabisulphite.
It is necessary to do this before powdering, because it removes the
same when applied to the print.
'

BEHRENs-Der Gummidruck, 1912.
493
DEMACHY AND MASKELL-Photo-Aquatint or the Gum Bichromate Process.
DEMACHY AND MASKELL-Le Procede a Ia Gomme-Bichromatee ou Photo-
. Aquatinte, 1905.
EDER-Das Pigmentverfahren, der Gummi-, Oel-, und Bromol-druck und ver-
wandte photographische Kopierverfahren mit Chromalzen, 1920.
HANNEKE-Das Pigmentverfahren, 1912.
f voN HoFME1STER-Der Gummidruck, 1907.
KosEL-Der Gummidruck, 1900.
KoSEL-Die Technik des Kombinations Gummidruckes un des Driefarben-
Gummidruckes, 190().
KosTERS-Der Gummidruck, 1904.
MAYER-Der Gummidruck.
QuEDENFELDT-Die Praxis des Gummidruck-verfahrens, 1910.
RICHARDs-The Gum-Bichromate Process, 1905.
STENGER-Neuzeitliche photographische Kopierverfahren.
WARREN-A Handbook to the Gum-Bichromate Process, 1898.
ZIMMERMANN-Zimmermann's Method of Gum-Bichromate. Photominiature,
113.
CHAPTER XXIV
THE OIL PROCESSES
Introduction.-Oil and its companion, bromoil, are now two of the
most widely used of all pictorial printing mediums. This is due, with-
out doubt, to the enormous flexibility of the process and to the ease
with which the artist can alter values of the original negative to secure
the particular effect he desires. The photographer has absolute con-
trol over his result as any part of the picture may be darkened, light-
ened, or even omitted at will. No other process offers the same facility
to quite the same extent, although gum is a serious rival.
In the oil process, paper is coated with gelatine, sensitized with po-
tassium or ammonium bichromate and allowed to dry in the dark.
When dry it is sensitive to light and is exposed under the negative in
the same manner as platinotype. When exposure is complete the
print is placed in a bath of water in order to eliminate the bichromate
stain and to allow the image to swell. In the bath the print gradually
takes on a relief which is more pronounced in the strong highlights,
since these have been more completely protected from the light and are,
therefore, more soluble in water. The print is then removed and
inked up with pigment applied by a brush. The shadows, owing to
the fact that they have absorbed little or no water, readily take up the
ink from the brush, while the highlights only take the ipk with diffi-
culty. Thus the image appears under the action of the brush and is
gradually worked up to the desired depth by the application of ad-
ditional pigment. The use of a hard pigment increases contrast, while
thinning down the ink with medium causes the ink to adhere more
easily and reduces contrast. The effect is also dependent upon the
manner in which the brush is handled and this places an added means
of control in the hands of the worker.
Materials for the Oil Process.-The materials for the oil process
are few in number and comparatively inexpensive. A good negative,
one that has been properly exposed and has sufficient contrast to make
a good bromide print, should be selected for the first attempts. While
an experienced oil printer can secure a fair print from any reasonable
negative, the beginner is advised to select a first rate negative as pig-
494
,,
THE OIL PROCESSES 495
menting will then be easier and the result more likely to be successful.
Aside from the negative and the paper, brushes and inks, which will
be discussed at some length subsequently, the worker will need a solu-
tion of potassium or ammonium bichromate for sensitizing, a supply
of blotting paper, pallette knife, several pieces of glass about 5 x 7 and
megilip or medium for thinning the inks.
Papers for the Oil Process.-There is no doubt of the fact that a
great deal depends upon the selection of a suitable paper. While
there are no important differences in any of the papers that are suit-
able, some workers have better success with some papers than others,
owing no doubt to a personal difference in manner of inking and the
effect desired. For the beginner, the best advice that can be given is
to select one of the papers named and stick to it until he is sure of
himself. Then he may try other papers and experiment until he finds
if any other suits him better.
The original Rawlings paper is supplied by Messrs. Griffin, of
Kingsway (Kemble Street Corner), London, England. It is an ad-
mirable paper in every respect and is one of the best papers that the
beginner can use. It is made in smooth and rough and in sizes from
3;i x 4;i to I6/I8. As compared with other papers, the price is
rather high.
The Autotype Company of London also issue two papers, No. I ana
No.2, for the oil process. No. I is a smooth white paper; No.2 a
toned paper with a fine grain. It pigments easily and stands vigorous
brush work well. The final carbon support for double transfer is also
used by some. Double transfer papers which can be advised are the
Autotype papers Nos. 76, 77, and 90.
Brushes.-The brushes employed are especially made for the proc-
ess. They are made from fitch hair and were formerly made only in
France but are now also made in England. They are made of short
spring hair and the end is cut at an angle.
The quality of the brushes employed has a direct bearing on the
finished result and only brushes of the best quality should be purchased
even in the beginning. It is useless to try to get along with b r u s n ~ ~
made for other purposes and, while good brushes are rather expensive,
they last a long time if kept in good condition and their purchase is a
distinct economy. To begin with, three of these brushes will serve.
These three may be Nos. 14, IO and a small one for detail work. A
larger " Prima " brush, which owing to its beipg made C1 f hog hair is
cheaper, may be used for preliminary pigmenting and will be well
496 PHOTOGRAPHY
worth its cost. As the worker progresses, it will be well to purchase
additional brushes in order that he may lay down a charged brush and
take up a new one when it is desired to apply ink of different con-
sistency to any part of the print. Mr. F. J. Mortimer, who is one of
the best authorities on the process, states that the following brushes
cover all the requirements of the most advanced worker:
2 No. 14 Stag-foot Fitch brushes
I No. 5 Stag-foot Fitch brush
I No. IO Straight top brush
I No.
5
Straight top brush
Brushes should be kept in good condition, not only because they are
expensive, but because the quality of the work depends, to a large ex-
tent, upon their condition. When pigmenting is complete the brushes
should be completely cleaned and not allowed to become dry; when this
occurs it will be practically impossible to remove the hardened pigment
without destroying the good qualities of the brush. Soak a clean rag
in gasoline and rub the end of the brush on the rag. This will com-
pletely remove any pigment adhering to the ends of the hairs but if
the brush has been allowed to become clogged and the pigment is spread
up within the brush, it will be necessary to soak the same in gasoline
and finally wash out in soap and water until the brush is absolutely
free from both pigment and gasoline. Take care not to get the brushes
out of shape while cleaning and when they are thoroughly cleaned
wrap them in a piece of white paper and place a rubber band around
the handle in order to keep the brush in its proper shape.
Pigments.-Pigments are made especially for the process and are
almost entirely of English and French manufacture. They are thick,
stiff, greasy inks very similar to those used for lithography, and the
latter may be used for the oil processes, but on the whole it is better to
purchase that made especially for the process. There are several
excellent pigments on the market. The "Rawlings" pigments are
excellent and Sinclair's " Permanent" inks, as well as the Drem pig-
ments of Dr. Mayer, may also be recommended. The Ault and Wit-
borg Company of Cincinnati will make ink for the process upon spe-
cial order, which costs about half of the foreign product.
A large variety of different colors can be obtained but black is recom-
mended for the beginner, as it suits almost any subject.
liiJf

..
- ;-_,.
Sensitizing.-There is no necessity of varying the concentration of
the sensitizing solution of bichromate for different classes of negatives,
as is the case in carbon printing, for the final result is under complete
control in the operation of pigmenting. Therefore, it is better to
select a reliable sensitizing formula and make it the standard. Weak
or thin negatives will be i f f i ~ u l t to handle no matter what sensitizer is
employed. The following formula is recommended by Mr. F. J.
Mortimer:
Ammonium bichromate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I oz.
Water ....................................................... ro oz.
For use take one part of the bichromate stock solution and two parts
of methylated spirit. Care should be taken to thoroughly mix the two.
The potassium salt cannot be used with methylated spirit as the latter
precipitates the salt. Potassium bichromate, however, may be used
with acetone in place of methylated spirit in order to secure a quick
drying sensitizer and the following formula can be recommended:
I part of acetone to each part of potassium bichromate (saturated
solution).
Many other formulre are recommended by different workers but
there is no particular advantage over those which have been given ex-
cept that some of them keep longer when mixed ready for use.
The paper may be sensitized either by immersion or brushing. The
latter method is better since it is quicker and cleaner but paper so pre-
pared does not keep so well as that coated by immersion and is best
used very soon after it is dry, although it will remain in fair condition
for twenty-four hours. Paper that has been sensitized by immersion
will keep three or four days. Sensitizing may be conducted either in
ordinary artificial light or weak daylight but should be removed to a
perfectly dark place to dry. No gas should be burned in the rooms
used for drying the paper. The paper must be thoroughly dry before
use.
To sensitize by immersion, sufficient sensitizing solution is poured in
a tray to cover the bottom to a depth of half an inch. The paper is
placed with the gelatine side upon the surface of the solution and
allowed to remain two or three minutes, removing it at intervals in
order to break air bubbles. Drain the paper and hang up to dry. A
Blanchard brush is the most convenient and practical brush for sensi-
tlZing. This consists of a piece of glass with fluffless flannelette
wrapped over one end and secured with a rubber band. Using this
498 PHOTOGRAPHY
brush the paper may be pinned to a board and sensitized in much the
same manner as gum-bichromate paper; the. operation is much simpler,
however.
Exposing.-The opera'tion of printing is similar to any other print-
ing process as P-0-P or Platinotype. The paper is about four times
as fast as the former and slightly faster than the latter and care must
be taken not to allow actinic light to reach the same in loading the
frame or while examining the progress of printing. The image is
semi-visible, in this respect closely resembling Platinotype. Printing
is continued until detail is visible in the highlights. A few trials will
show the proper stage to print. A photometer is not really necessary
but may be a help where it is desired to make several prints as nearly
alike as possible.
It is advisable that the sheet of sensitized paper be at least an inch
larger than the negative, in order that the print may be inked to the
edge without danger of getting moisture from the inking pad on the
brush.
There is a slight continuing action after exposure and where several
prints have to be exposed before pigmenting the prints should be im-
mediately placed in a tray of water in order to stop the continuing
action.
After exposure the print is immersed in water to eliminate the bi-
chromate stain and to produce the necessary relief. Paper that has
been sensitized by brushing will not take so long to become free of the
bichromate as that sensitized by immersion. The water should be
changed frequently or running water may be used. From one to two
hours will be required to produce the degree of relief necessary for
pigmenting. The exact time will d e p e ~ d upon the climatic conditions
and the temperature of the water. Warm water will produce a high
degree of relief very quickly but there is a danger of its affecting the
gelatine and causing the half-tones to be lost. Moderately warm
water, say about 75 or 80 F., however, may be used. Demachy has
suggested that a very small amount of sodium bisulphite be added to
the first few washing waters in order to facilitate the quick and thor-
ough removal of the bichromate.
After washing the print may be dried and pigmented at some future
time or it may be placed on the inking pad and the operation of pig-
menting begun at once; In the former case, it will be necessary to
soak the print in water for about an hour in order to raise the relief
and get the print in a suitable condition for pigmenting. If it is de-
-.. ~
'l'i
..
I"
I

..
sired to pigment at once, the print is laid upon the wet pad to be de-
scribed and the surplus moisture taken off with a blotter or, better,
with a ball of silk or flannel.
Pigmenting.-This is the most important stage of the process. Un-
fortunately, it is very difficult to give any precise information upon this
point since it varies for every worker and methods which may be per-
fectly adapted to one individual may be utterly useless with another.
It is an operation in which the worker must develop his own meJ;.hods
and where his own skill and individuality must find the way. Never-
theless, it is hoped that the few particulars which follow will be of
assistance to the beginner.
It is necessary to keep the print wet from underneath during pig-
menting and for this a pigmenting pad is used. Pads are a commercial
article and may be obtained from any of the dealers carrying oil ma-
terials or one may be improvised from a sheet of glass and four or five
sheets of blotting paper. Soak each sheet of blotting paper in water
until thoroughly wet and then place on top of one another upon the
glass plate. Upon this spread one or two thicknesses of muslin or
cheesecloth. Then remove the print from the wash water and place
on top of the pad. With a blotter or piece of silk take off the excess
moisture, being careful not to make the surface wholly dry. Only take
off the excess water. It will be noticed that the image stands out in
relief and the appearance of the print at this stage is a good indication
of the way it will take the pigment. The greater the relief the more
readily the ink will take.
Squeeze out a very small quantity of pigment on the palette. Only
a small is needed, as a piece the size of a pea will do for sev-
eral 8 x 10 prints. Instead ot a palette the glass side of an old negative
may be used. Spread the pigment out in a thin layer with the palette
knife and tap the brush on the same so as to take up the pigment on
the end of the hairs. When the brush has become charged with the
pigment, work it around on a clear portion of the glass in order to
distribute the pigment evenly. It is well to prepare pigments of two
consistencies at the beginning, since it is rare that the same pigment
can be used throughout the operation owing to the fact that some parts
of the image require a softer pigment in order to make the pigment
adhere. Either linseed oil, Robertson's medium or megilip may be
used to soften the hard ink. Only a trace of any one of these is neces-
sary to completely change the ink and, therefore, they should be added
with caution.
500 PHOTOGRAPHY
As the image is only faintly visible, a straight gaslight print will be
of service in indicating what should be done and if this print has been
" worked up" in the same manner as the oil print, then the worker
will have a clear and definite idea of the alterations to make in order
to secure the results desired.
The proper method of holding the brush is illustrated in Fig. 193.
\Vhile the manner varies somewhat with the worker, the above may be
Frc. 193. Proper Position of the Brush in Pigmenting.
(Mortimer and Coulthurst, The Oil and Bromoz"l Processes)
taken as a safe position to use. The brush must be held lightly and
not gripped. Nor should it be held close to the hair. The position
is very similar to that adopted by the painter and if one has a friend
who is a painter, he can no doubt secure some advice from him on this
point.
The method in which the brush is handled to apply the pigment
also varies greatly as almost every worker has developed individual
methods in practice. Some have a pressing, smudging action while
others simply dab the brush on the surface. It is difficult to give any
precise directions on this point and the worker will develop a dis-
tinctive method of his own with practice.
It is well to begin pigmenting with the ink as it comes from the tube
and continue until the image is distinct and the shadows well defined,
when it may be advisable to change to a softer pigment. It is easy to
tell when more pigment is needed for the brush will begin to pick up
the pigment instead of depositing it. Use the hard ink as long as pos-
sible for it is possible to apply softer ink over the hard if the latter
refuses to adhere but hard ink cannot be applied over soft ink.
To lighten any portions which have been over-pigmented the opera-
tion known as " hopping " is used. In this the brush is held vertically
above the surface and allowed to fall upon the paper. The brush is
never dropped from a greater height than about two inches or the
gelatine might be punctured and the print destroyed. Wire holders
are supplied to hold the brush so that hopping may be carried on with-
out fatigue. The operation should be looked upon as a corrective only
and not used unless necessary as far better results are obtained by
straight pigmenting to the point desired, but there are cases where it
will be necessary to ink over small details and use the hopping action
afterward to clear out the highlights so the worker should become
familiar with the operation.
It is necessary that the print be kept in a moist condition through-
out pigmenting or the pigment will adhere all over. If the side of
the print underneath feels dry to the touch the pad should be re-
wetted and the print may also be placed upon the surface of a tray of
water for a few minutes and, finally, again removed to the pad, and
pigmenting begun.
Success in oil printing is dependent on two things-understanding
and practice. The worker must not be discouraged if his results at
first fail to satisfy but must stick it out and he will gradually note im-
provement in the results. His first endeavors should be directed
towards securing a smooth, even application of the pigment and be-
coming familiar with the results secured with different inks and man-
ner of handling the brush. After he feels that he has mastered the
technical principles involved and can make a good straight print with
certainty, he may then attempt to make alterations as his artistic taste
may direct. Local values, however, should be studied very carefully
and alterations should not be made until the worker has satisfied him-
self that they are advisable. It is not exceedingly hard to master the
oil process technically but to master it artistically is an achievement
and one deserving of the reward which such masters as Demachy,
Mortimer, Job and Puyo have received.
Incorrect Exposure.-In the case of over exposure, the print takes
up the pigment too easily and the shadows soon block up and lose
their details while the half-tones appear smudged and the highlights
take the pigment also .and rapidly darken. If the print is much over
exposed, it may as well be thrown away, but if only slightly over ex-
posed, the use of a hard ink and hopping may produce a passable re-
sult. It is better for the beginner to throw away a print of this na-
ture and make another as all the skill of an advanced worker is re-
quired to get a passable print from one which has been incorrectly
exposed.
502 PHOTOGRAPHY
With correct exposure, the shadows take the pigment gradually and
the half-tones and highlights keep their proper relations. This shows
that the print has been suitably exposed for the pigment in use and
all that is necessary is to keep on applying the ink until the desired
result has been secured. Success in pigmenting depends greatly upon
the exposure and every care should be taken to secure correct ex-
posure in order that pigm.enting may be a straightforward and certain
operation.
When the print has been under exposed there is difficulty in making
the pigment adhere even in the shadows. Prolonged brush action
causes the deposit to become granular and thin. This granular ap-
pearance is always an indication of either under exposure or the use
of too hard an ink. The addition of a small amount of megilip or oil
may be sufficient to soften the pigment so that it will adhere. If the
first addition is not sufficient more may be added but it is better to
use a hard ink than a soft one as the latter does not preserve the con-
trasts properly but tends to produce the effects of over exposure.
Only a very small quantity of oil or megilip is necessary to soften
the ink and care should be taken not to make it too soft. As in the
case of over exposure, a print which has been very much under ex-
posed is unsuitable and should be thrown away.
Drying and Mounting.-When pigmenting is finished the print
may be hung on a line in a dust-free room to dry. It may be placed
in a horizontal position for drying but in this position it is more likely
to collect dust. The paper and gelatine may require two or three
hours to dry but the pigment takes quite a time and it is well to allow
at least twenty-four to thirty-six hours for drying. For mounting, it
is best to use the dry process but the pigment should be thoroughly
dry before mounting or it will come off while in the press. If glue
or paste is used, it is best to only tip the corners so that they stick to
the mount and not to try and mount the print flat. The print may be
rubbed with a soft cloth after the pigment is dry to remove any par-
ticles of dust adhering, but so far as possible these should be avoided
by drying in a perfectly clean and dustless place. The point of a
sharp knife may be used to remove loose hairs, etc., which are em-
bedded in the pigment.
Duvivier's Process.-Monsieur Duvivier in his work Le Procede a
l' H uile en P hotographie describes a new process of oil printing in
which the usual gelatine paper is replaced by one with starch. A thick,
unsized paper is coated with starch, sensitized and exposed in the
same general way as usual in oil printing. After exposure and de-
velopment, the 'print is dried. It is then placed face up upon a pad
of wet blotting paper. The paper is able to absorb water from the
back, but those portions which represent the shadows and half-tones
of the image are protected to varying degrees by the bichromated
starch coating and remain dry while the highlights and lighter tones
take up water in varying proportions. The highlights thus become
moist enough to repel the ink while the shadows being dry take up
the ink readily and the print is thus in a similar condition to the swol-
len gelatine used in the usual oil process. In the case of the starch
process, however, the difficulties of pigmenting are lessened owing to
independence of the variations in the degree of swelling and conse-
quently the adjustment of the pigments does not require to be as fine,
so that the process is much simpler than oil. For full details tht>
original work should be consulted.
The Bromoil Process.-Very similar to the oil process is B romoil.
The bromoil process, in brief, consists in the making of a good bro-
mide print in the ordinary way and bleaching this in a solution which
produces an image in insoluble gelatine having the property of taking
up pigment from a brush in just the same way as oil printing. Ow-
ing to the fact that an ordinary bromide print is used, no daylight is
necessary at any stage and as enlarged negatives are not required
when an oil print larger than the original negative is desired, the
~ r o m o i l process is a very popular one among pictorial workers and
bids fair to entirely supplant the older oil proc:ess.
The Choice of the Paper for the Bromide Print.-While theoreti-
cally any bromide paper should be suitable for bromoil, in practice
such is not the case. There are considerable differences among va-
rious papers in respect to adaptability to bromoil, while there are some
few papers which can be used only with difficulty. The qualities of
a bromide paper adapted for bromoil as indicated by Professor
Namias are:
1. Hard, durable and well-sized paper base.
2. Emulsion rich in silver and gelatine and thickly coated.
3 No hardening substances to be added in manufacture.
It is not possible to use papers the swelling power of which has been
lessened by hardening with alum, or other means, in the process of
504 PHOTOGRAPHY
manufacture. The principle of the bromoil process is that a tanning
of the gelatine shall take place differentially in exact proportion to the
opacity of the original silver deposit, so that we get ' a tanned image
in a bichromated colloid. If, however, the emulsion has been hard-
ened in manufacture the gelatine is already . tanned and has lost most
of its swelling power, so that it is impossible to get the degree of re-
lief necessary for proper pigmenting.
To determine whether a particular brand of bromide paper is suit-
able for bromoil, Dr. Emil Mayer, in his Bromoil Printing ancj, Trans
fer, suggests that an unexposed sheet of the paper be dipped in water
at a temperature of 86 F. (J0 C.) and the behavior of the gelatine
film observed. If this swells up considerably and becomes slippery
and shiny, the paper has the necessary swelling power and can be
used for hromoil.
A smooth matt paper is the best adapted for bromoil. Glossy papers
are unsuitable, and there is, in many cases, difficulty with the rough
surfaces of certain brands of paper. While most of the reputable
brands of bromide paper may be used successfully. several manu-
facturers now supply papers made especially for the bromoil process.
These withstand rough treatment b e t t e ~ and being more thickly coated
and unhardened, give more relid than ordinary bromide papers (the
emulsion of which is nearly always partially hardened in manufac-
ture), and are consequently more easily pigmented. Among such
papers available at present, the following may be mentioned: Welling-
ton Bromoil, Vitegas Bromoil, Gevaert Bromoil, and Drem Bromoil
Paper.
The Production of the Bromide Print.-It cannot be too strongly
emphasized that the production of a bromide print suitable for brom-
oil is a matter of great importance and one on which the success, or
otherwise, of later operations largely depends. In fact, one should
not attempt bromoil until he has complete mastery over bromide print-
ing and can make it responsive to his demands. The bromide print
to be used for bromoil should be the best which that particular nega-
tive will produce. The best prints for bromoil are the result of cor-
rect exposure and development for a period slightly less than that re-
quired for full depth. To this end the factorial method of develop-
ment may be used as indicated in the chapter dealing with bromide
printing. A lower factor should be used, however, and Dr. J. B. T .
.. ,
Glover recommends the use of a factor of 5 with the following amidol
developer, which is the standard formula of the Kodak Company:
1
Amidol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26.2 gr.
Sodium sulphite (dry) ....................... IIO gr.
Potassium bromide (1 per cent solution)....... 7 min.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 oz.
6 gm.
25 gm.
15 cc.
1000 cc.
Practically all developing agents in general use have a more or less
pronounced tanning action on gelatine. The use of such developing
agents, therefore, has the effect of producing an additional tanning
action, not only on the shadows, where it might be desirable in certain
cases, but also on the highlights where tanning of any kind is ob-
jectionable. The use of a developer with a pronounced tanning action
has, in fact, the same effect as general fog in negative making. With
emulsions which have been hardened in manufacture the use of tan-
ning developing agents obviously is even more objectionable than in
other cases. Accordingly the use of a developing agent without tan-
ning action on the film is desirable. Such agents are amidol ( diamino-
phenol), glycin and the iron developer. While the last named is, with
certain precautions, excellently adapted to the development of bro-
mide papers for ordinary purposes it is unsuitable for prints to be
used for the bromoil process. Glycin is not especially well adapted
to the development of bromide papers as it is slow in action and of
the three, amidol is indisputably the best. There is no especial virtue
in formulas and that given above will answer any requirement. The
worker, however, may use that advised by the manufacturer provided
development is regulated properly.
The fixing which follows development is an important operation.
A plain bath of 20 per cent hypo should be used. This must be made
fresh for each bath of prints and discarded after use. The use of an
acid fixing and hardening bath is to be avoided as, owing to its action
on gelatine, considerable difficulty is experienced in bleaching and in
securing the necessary relief for pigmenting.
Washing should be thorough, as the slightest trace of hypo left in
the print will cause trouble in bleaching.
At this point, before leaving the subject of the bromide print, it is
well to remark that the print should have a plain white margin of at
least half an inch.
Bleaching of the Bromide Print.-As soon as washing is complete
1 Brit. J. Phot., 1921, 68, 87.
506 PHOTOGRAPHY
the bromide print may be bleached, or it may be dried and kept for
bleaching and pigmenting at some future time. It is perhaps prefer-
able, however, to allow the print to dry at this stage. Then when
ready for bleaching it can be immersed in water for a few minutes
until thoroughly limp.
The functions of the bleaching solution are two in number:
(1) It removes the visible silver image and (2) it causes a tanning
of the gelatine film corresponding to the silver image that disappears.
In place of the original image of metallic silver, there then exists an
invisible one of differentially tanned gelatine. Ordinary reducers are
therefore unsuitable. They dissolve the silver image but do not pos-
sess the property of tanning the gelatine film in the required manner.
Dividing bleaching and tanning agents for the bromoil process into the
substances they contain we have :
a. Copper sulphate, potassium bromide, potassium bichromate.
b. Copper chloride or sulphate, potassium bromide, chromic acid.
c. Copper chloride, sodium chloride, potassium bichromate.
No reliable methods of testing being available, it is impossible to say
that any one of these is better than the other. Bleachers of all three
types are used by various noteworthy exponents of the process and so
much depends upon a knowledge of the bleacher and its action, and
the mode of pigmenting, that it is in manipulation rather than in the
type of bleaching solution that the causes of failure should be sought.
Dr. Mayer, the celebrated Austrian expert, gives the following
formula for a bleaching solution:
A. Copper sulphate ... .... .... . .. . ........ . . . . .
Water ...... .. .. . ... . . ... . ... . . ... . . . .. . . .
B. Potassium bromide . . . .. . . .. . .. . . . .. .... .. . . .
Water . . . . ..... .. ... . . .. .. . . . .. .. ..... . . . .
C. Potassium bichromate ... ...... . . ....... .. . . .
Water . . .. . ... ..... . .. . .. .. .. . . .. . .. . . ... .
For use take :
~ o z
30 oz.
~ o z
30 oz.
ISO gr.
3Y<I oz.
A .. . . .. . .. . .. . . . . . . ... .. . .. . . . ... . . .. ....... 2 oz.
B ... . . . . ... . .. . .......... .. .. . .. . .. . . . .. . ... 2 oz.
c 0 0 0 %oz.
Water .. . .. .. . .. ..... .. .... .. .. .... .. .. . .. . . . IS oz.
Hydrochloric acid (cone.) . .... ... . . .. . .. . . .. .
20 gm.
IOO cc.
20 gm.
IOO cc.
IO gm.
IOO cc.
6o cc.
6o cc.
20 cc.
4SO cc.
IS drops
Raymond E. Crowther advises the following bleaching bath which
?
'
he claims is entirely without action on plain gelatine but exerts a power-
ful tanning action in conjunction with the silver image:
Copper sulphate (crystal) IO per cent solution I70 min.
Potassium bromide IO per cent solution . . ...... I30 min.
Chromic acid I per cent solution. . . . . . . . . . . . . . 45 min.
Water to make............ . ...... .. .......... 3Y. oz.
g.6 cc.
7-3 cc.
2.7 cc.
IOO cc.
This bath should bleach the image in 3 minutes at 60 F. When
the temperature is abnormally low, say 40 F., the bath may be used
double strength. If the print has not been completely fixed and
washed, the bleaching operation will not be successful; it therefore
affords a means of indicating the thoroughness of these operations.
2
Writing in the British Journal of Photography on the Bleaching of
the Bromoil Print (I924, p. 427) H. J. P. Venn, B.Sc., strongly ad-
vises the use of two separate baths for bleaching and tanning. Before
bleaching the print is soaked in water for 5 minutes and then drained
and transferred to the bleaching bath (No. I) composed as follows:
Copper sulphate (IO per cent solution) ......... ... ........ . . 95 parts
Potassium bromide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 parts
It is then drained and transferred without rinsing to the tanning
bath (No.2) which consists of
Potassium bromide ( IO per cent solution) .................... 20 parts
Potassium bichromate (I per cent solution) . .. . .. .. ..... ..... IO parts
It is allowed to remain in this bath for 4 minutes, then washed in
several changes of water, each of five minutes' duration, and fixed in
a IO per cent solution of hypo for two minutes. After about IS
minutes' washing the print is dried, being again soaked in water before
inking up until the desired relief has been reached. This time will
vary with the grade of paper. The times of soaking for a few of the
more common grades are as follows:
Kodak Royal. ........................... 45 min. at 75 F.
Barnet CC ........... .. ....... .. ...... . . 30 min. at 65 F.
Wellington Bromoil. .... . ........ .. ...... 30 min. at 65 F.
c. 24
c. I8
c. I8
Somewhat longer periods of soaking will do no harm but the ink
used will then require to be slightly softer.
To secure a print suitable for pigmenting from a contrasty negative
increase the amount of potassium bichromate by using a 5 per cent
2
A. P. , I92I, p. 446; 1922, p. 2 :
508 PHOTOGRAPHY
solution. When used in the two-bath process this does not complicate
the process.
Fixing.-In the process of bleaching and tanning a secondary image
of silver bromide is formed. This image is light sensitive and, while
not visible at the time, will appear upon exposure to light. It is there-
fore necessary to fix a second time, in order to remove this silver bro-
mide. The fixing bath for this purpose consists of a plain 10 per cent
solution of hypo. The us.ual thorough washing should follow the fix-
ing operation. The print must then be allowed to dry normally.
3
Producing the Relief.-When ready to begin pigmenting, the print
is immersed in water and the gelatine allowed to swell. The degree of
swelling is controlled principally by the temperature of the water and,
to a lesser extent, by the time of immersion. T ~ e higher the tem-
perature of the water in which the print is soaked, the greater the
swelling and the more pronounced the relief. With insufficient im-
mersion, or the use of cold water, the degree of swelling will be in-
sufficient and such prints will, when pigmented, have a short scale of
gradation with poor tones. The use of excessively warm water, on the
other hand, will produce a pronounced relief which, when inked up,
may produce a result having greater contrast than is desirable. Be-
tween these two extremes of temperature lies an entire series of inter-
mediate stages, which may be employed as occasion demands.
Different papers vary as regards the temperature necessary for pro-
ducing the best relief. Some are ready for pigmenting after soaking
for several minutes in water at ordinary room temperature. Others
require as high as 90 F. (32 C.) or more; the general average being
about 7 5 ~ F. (24-27 C.). The worker must learn by experience
the temperature to use for his particular brand of paper and manner
of working, always remembering that it is best to start with a rather
low degree of relief, which may be raised quite easily, if required, by
soaking in warmer water, while a relief once too high can be reduced
only with difficulty. Should soaking in warm water at a temperature
of 95 F. (35 C.) be insufficient to produce the desired degree of
relief, the print may be immersed in a 1 per cent solution of sodium
carbonate as recommended by E. Guttmann. As a rule, however, this
method should be used only as the last resort.
Pigmenting.-The relief having been raised to the required stage
3
According to one method the prints are bleached after development and
before fixing. This removes the necessity of the second fixing, but is not so
reliable as the method we have described.
the print is placed upon the wet pad of blotting paper and the surface
moisture carefully removed with a clean, dry, lintless blotter. It is
necessary that all the moisture on the surface be removed or the pig-
ment will not adhere evenly.
Pigmenting is conducted in practically the same manner as with the
oil process, but there are a few points which might be mentioned. It
is best to begin with a stiff pigment ~ n all cases and only apply the soft
ink towards the end when it is desired to finjsh off the roughness of the
gradations. Always have a margin on the original bromide print,
otherwise there is a danger of getting the brush wet when attempting
to pigment the edges. When the wet brush is transferred to the print .
it immediately begins to remove the pigment and the work will have
to be done over again.
Do not be in a great hurry. Work quickly but with care and do not
treat the delicate gelatine surface roughly or it may be destroyed.
Do not be afraid to apply plenty of pigment but do not try to put it
all on at once. Smooth it down to an even tint on the palette and take
up a little on the brush at the time. When this is exhausted take up
more. A smooth, even tone will result if plenty of . pigment is used
and it is thoroughly worked into the surface. If the pigment is not
well worked in, the print will be weak and " gritty " and the tone will
be impure.
Beginners usually make the mistake of jumping about from one
portion of the print to another. Do not do this. It only makes it
more difficult to get an even, smooth result. Work systematically,
starting on one side and covering the entire print as you go.
All detail which is to appear in the finished print should be apparent
after the first inking. If parts of the image are inked strongly before
the desired details appear, it is difficult to ink these later.
Particular care is necessary, especially in the case of large prints, or
where a long time is required for inking, to keep the paper stock thor-
oughly wet. To this end it is well to soak the print in water fre-
quently during pigmenting. A partially dry surface is responsible for
many of the troubles met with in pigmenting and if the print is re-
soaked for s-ro m n u t ~ s in water whenever any difficulty is met with
in pigmenting much better results will be secured and many of the
supposed difficulties of the process will disappear.
Mr. Chas. H. Partington in the American Annual of Photography
for r922 adopts what is probably the most satisfactory method of
indicating to the beginner in bromoil printing precisely what brush
510 PHOTOGRAPHY
work will accomplish. By the courtesy of Mr. Partington I am able
to reproduce the print and accompanying data, which serve to show
graphically the effect of variations in pigmenting on the appearance of
the image.
In Fig. 194, the section, A, has been pigmented with a heavily
Frc. 194. Results in Pigmenting. (Partington)
charged brush and no attempt has been made to change the result.
This bloc-ks the shadows and increases the gloss of the highlights pro-
clueing a soot and whitewash effect. A better result would have been
obtained by using less ink and a quicker action of the brush.
At C is shown the effect obtained by not having enough ink on the
brush. This gives a very soft, flat result.
At D ink was applied as at A but " hopping " was resorted to to re-
move the excess ink. The trees in E were " hopped " in order to
lighten the tones and give the effect of distance.
The portion at F shows the surface when first inked and is included
for the purpose of showing the effect when the ink is first applied.
At G, the print has been inked with a properly charged brush and
slightly " hopped " to give additional contract.
Namias Method of Pigmenting.-A very ingenious method of pig-
menting is advised by N amias.
A small portion of hard ink is carefully mixed with ten times its
weight of finely rectified turpentine. The brush is at once charged
with this mxiture and the operation of pigmenting begun as usual.
The surface of the print quickly becomes covered all over with a fine
coating of ink. Continue the dabbing action of the brush. Gradually
the shadows appear to take on ink and gain intensity, while the details
and half-tone!" become clearly separated from the highlights. A.s the
turpentine evaporates, both on the print and on the brush, the ink
becomes thicker and thicker and as it increases in consistency it begins
to pass from the print to the brush in the highlights, and from the
hrush to the print in the shadows. Thus in a very short time the image
becomes built up to a surprising extent.
The first part of pigmenting complete, a thicker ink is used. Three
parts of hard ink and two parts of soft ink are dissolved in 4-5 times
its weight of
Rectified turpentine ...... ... .. . . . .. . .......... . .... . . . . ...... I part
Gasoline (pure) ........... .. .... .. ....... . ........... . ...... 2 parts
This second ink is applied in much the same way as the first but is
intended for the lighter tones and must be used considerably harder
than the first, or the former will be removed.
Should the final result be unsatisfactory the print may be swabbed
with absorbent cotton saturated with benzol. This will remove every
trace of the pigment.
The treatment of the finished bromoil after pigmenting is identical
with the oil print already described.
Defatting the Finished Bromoil.-After the print is dry it is well
to remove the oil which is included in the ink, and which has the effect
of giving a slight gloss to the print. The sheen is greater in the
shadows than in the highlights especially if a soft ink has been used,
4 Brit. ]. Phot., 1914, 61, 626.
512 PHOTOGRAPHY
as soft inks contain a larger percentage of oil. To many this gloss
constitutes an objection, while there is in addition the danger that the
ink may in course of time, through oxidation, give rise to colored
stains.
For removing this oil some solvent such a benzol, carbon tetrachlo-
ride, etc., should be used. Owing to the fact that soft ink may be dis-
solved by carbon tetrachloride, which is a more energetic solvent than
benzol, the latter is preferable. It is poured in a dish and the per-
fectly dry print immersed in the liquid for s-ro minutes.
Bromoil Transfer.-Oil transfer, first introduced by Robert Dem-
achy about r9o6, is now one of the most popular printing mediums
among advanced pictorialists. Bromoil transfer, a natural develop-
ment of oil transfer, consists, as its name indicates, in transferring the
pigment from the original bromoil to a sheet of plain paper which may
be of almost any surface, texture or color. As the greasy pigment on
the bromoil lies on top of a more or less tanned and swollen gelatine
film, when brought into contact with any uncoated paper and passed
between ro1ls under pressure, it will leave the bromoil print and adhere
to the plain paper. The image in this case, then, consists of pigment
on a plain paper base. Transfers, accordingly, have a distinctive ap-
pearance entirely unlike that of any other printing process, with the
exception of photogravl.!re, since in all other processes the image is
imbedded in gelatine or in some other colloid, while in these two proc-
esses the image lies on a plain, uncoated paper. Added to this is the
advantage of being able, by combination transfer, to extend the scale
of gradation, and exercise over the finished result a degree of control"
which is beyond the limits of even the bromoil process, as flexible as
this may be in the hands of the expert.
Making a really good transfer is not as simple as might be assumed
from an outline of the operation. Familiarity with the bromoil proc-
ess, even, does not assure the worker of being able to produce ac-
ceptable transfers at the start; only by constant experiment and study
can one hope to master the process. But the results are such as to
amply repay one for the labor involved in mastering the process and
one who has become thoroughly familiar with oil or bromoil should not
rest satisfied until he has also attempted transfer.
The Bromide Print.-In general bromide papers which are suit-
able for bromoil are also adapted to bromoil transfer. According to
Mr. C. J. Symes, super-coated bromide papers (i.e. papers which have
received a double coating in order to render them non-abrasive) yield
particularly fine transfers under certain conditions, namely:
( 1 ) The image must be rather stronger than for bromoil; there
must be a distinct veiling of the highlights and the print, as a whole,
must be a shade darker than if the straight print were intended for
exhibition.
(2) Development of the bromide print must be full. If the kodak
amidol formula is used the print must be developed to a Watkins fac-
tor of at least 16.
(3) The print must be swabbed with cotton wool before inking, if
a bleacher of copper chloride, hydrochloric acid and bichromate is
used.
(4) Each batch of paper must be tested for the time of soaking,
owing to possible variations in the super-coaU
Preparation of the Bromoil.--To obtain a transfer of good quality
soft ink must be used in pigmenting the bromoil as it is impossible to
transfer hard ink with certainty, owing to the tenacity with which it
adheres to the original bromoil. Soft ink, however, cannot be used
unless a high relief is obtained or the ink will adhere to the highlights
of the bromoil and a print of the proper gradation cannot be obtained.
Consequently it is necessary to start with a rather high relief ; this fact
must be borne in mind when the print is being made ready for pig-
menting and the temperature of the water in which the swelling takes
place regulated accordingly. The use of a high temperature, however,
may cause the gelatine in the highlights to soften to such an extent
that it pulls off in pigmenting or in transfer. When this occurs it
is well to make use of ammonia as previously described. As the
ink is more easily transferred from the highlights than from the
shadows, in consequence of the greater relief of the former and the
fact that owing to the tanning of the gelatine the pigment in the
shadows is more strongly retained than in the highlights, the contrast
of the transfer is usually much less than that of the bromoil. In pig-
menting, therefore, the bromoil is made considerably more contrasty
than would be required were it to be left as it is. Owing to the fact
that the transfer of ink in the shadows may not be complete, it is the
practice of many workers to considerably over ink such portions in
order that the transfer may have the proper depth in the shadows.
To reach the same end other workers have recourse to multiple trans-
5 Brit. J. Phot., 1923, 70, 103.
514 PHOTOGRAPHY
fer; the first bromoil being inked normally and transferred, then
reinked, paying especial attention to the shadows.
Dr. Emil Mayer has found t ~ t the difficulty of transferring a
bromoil to transfer paper without loss of depth in the shadows, due
to an incomplete transfer of ink, may be overcome by first passing the
transfer through the press with comparatively light pressure, then
separating the bromoil and the transfer paper (without shifting their
relative position) so as to expose both surfaces to air. Then place the
two in contact and run through the press the second time with in-
creased pressure. With this procedure the transfer of ink is almost
complete and there is no necessity for over pigmenting of the shadows.
or for a second inking. He also finds that there is no advantage in
passing the transfer through the press repeatedly with increased pres-
sure, when this procedure is followed, as the transfer of ink takes
place immediately and increased pressure only serves to produce an un-
necessary strain on the gelatine.
6
The Transfer Paper.-Theoretically any paper should be suitftble
for the transfer but in practice there are some marked limitations.
Without going into a detailed discussion of the adaptability of various
makes of papers, it may be said that only pure rag paper is suitable.
The commercial water-color and drawing papers of reliable makers
are, as a rule, suitable for the transfer, as are the Japanese and
Chinese papers, but the very best paper is that manufactured especially
for copper-plate printing. In general, however, the worker will not
have much difficulty in using reliable makes of drawing papers, such
as, for example, the Strathmore papers of the Mittineague Paper Co.
which are obtainable from most dealers in art goods.
With v:ery absorbent papers sizing may be necessary, as the pig-
ment sinks into the pores of the paper and the picture has a flat,
"sunken in" appearance. For this purpose make up the following
solutions:
Arrowroot or rice starch. . . . . . . . . . . . . . . . . . . . . . . . . . . 2 gm.
Water .... . ......... . ... . .... . .. .. ............. .. . 100 cc.
6o gr.
3 oz.
The arrowroot should be rubbed up with a small quantity of water
and added with constant stirring to sufficient boiling water to make a
total volume of approximately 100 cc. (3 oz.). This is applied with
a Blanchard brush or tuft of absorbent cotton and the paper allowed
to dry without heat when it is ready for use.
6
A mer. Phot., 1924 (July), p. 410; Brit. J. Phot., 1924, 7I, 412.
.v
As a general rule the transfer paper should be used dry. There are
some few papers, however, which require to be slightly dampened.
For this purpose it is sufficient to thoroughly and evenly dampen two
sheets of blotting paper and place the sheet of transfer paper between
them and under slight pressure for several minutes. As different
papers act differently in transferring, the beginner should stick to one
make and surface of paper until he is thoroughly familiar with it.
Then he may, if he desires, experiment with other makes and surfaces.
The Transfer Press.-Spccial presses for transfer are supplied by
the Autotype Co. and Sinclair of London and Drem Products of New
Frc. 195. Transfer Presses
516 PHOTOGRAPHY
York. These are similar to the presses used by copper plate printers
and are expensive. Very good work can be done, however, with one
of the old burnishers as used in past days for the glazing of prints or
with the better grades of domestic wringers. Whatever the type of
press it should satisfactorily fulfill two requirements: (I) the pressure
on the rolls must be absolutely even and capable of regulation by the
worker and ( z) one must be able to examine the condition of the
transfer at any time without danger of shifting the position of the
bromoil or the transfer.
Perhaps one of the best forms of press for bromoil transfer is that
described by K. Prett.
7
This press, which is shown in Fig. 196, is
c
FIG. 1g6. Frett's Transfer Press
similar to that used by collotype printers. The bromoil in contact with
its transfer paper is placed between the two plates of the pressure pad,
P. The pressure is then adjusted as required by means of the pres-
sure bar, C, and the movable pressure pad, P, is drawn underneath the
pressure bar, C, by the windlass, W. The whole affair may be made
of wood; the two plates composing the moyable pressure plate, P,
being lubricated with a little talc to make them slide regularly. The
pressure which can be attained exceeds that of the roller type of press
while there is no danger whatever of a displacement of the bromoil
and there is less wear on the original bromoil than possible with any
other type of press.
Transferring the Pigment.-As soon as pigmenting is complete the
bromoil is ready for the transfer. For this purpose we require, in
addition to a suitable press, two sheets of blotting paper, three sheets
7
Phot. Rund., 1923, I, 5; Brit. J. Phot., 1923, 70, 300.
,,
f
"
t
,.
of thick, hard, glazed pasteboard and a pad of felt-ali of which
should be at least double the length of the bromoil print. On one of
the sheets of pasteboard is placed one of the sheets of blotting paper
and qn this the pigmented bromoil, face up. Over this is placed the
transfer paper, and over this another sheet of blotting paper. These
two sheets of blotting paper serve the purpose of absorbing the mois-
ture squeezed from the bromoil print which might otherwise cause
trouble. Finaily a sheet of pasteboard is placed over the blotting
paper, then over this the felt pad and lastly another sheet of paste-
board.
The entire pack is now inserted between the roiiers and carried
through once with a uniform motion and with but slight pressure.
The pressure is then increased slightly and the pack carried back
through the press in the opposite direction. Then the top of the press
pack is removed, the cover of the transfer paper raised and the ap-
pearance of the transfer examined. If the transfer of ink is only
slight, the press pack is replaced and carried through the press again
with increased pressure. Then if the shadows still lack intensity reg-
istration marks should be made, the bromoil print removed, resoaked
in water and the shadows pigmented after which the bromoil is placed
on the transfer paper, its position registered, and again passed through
the press. The pressure should not in any case be so great that the
roils can be started only by a decided effort; they must always
move easily and smoothly. " Repeated slow passage of the press
pack through moderately tightened roiiers is always more advanta-
geous than a single passage under very heavy pressure."
8
With
heavy pressure there is likewise the danger of destroying the bromoil,
as the gelatine film in its swollen condition may adhere to the trans-
fer paper. This trouble, however, is occasionally met with when
using some papers with only a moderate amount of pressure. To
prevent this, Dr. Mayer suggests that the transfer paper be sprayed
with oil of turpentine by means of an atomizer.
9
After spraying the sheet is allowed to stand for fifteen or twenty
minutes in order that the turpentine may evaporate. This is a cer-
tain preventative of sticking, but sufficient time must be allowed for
the turpentine to evaporate, or muddy, uneven transfers will result.
Zaepernick's Chemical Transfer Method.-In 4-merican Photog-
s Guttman, Bromoil Printing and Transfer, p. 164.
9
Brit. J. Phot., 1924, 71, 412; A mer. Phot., 1924 (July), p. 410.
518 PHOTOGRAPHY
raphy, 1924, p. 732, Hans Zaepernick describes a.method of bromoil
transfer which he terms chemical transfer. He says:
The chemical transfer in its simplest form consists of dampening the paper
on to which the bromoil, prepared in the usual way, is to be transferred, IlJ)t with
water, but with a solvent of the ink. The solvents for the greasy inks are:
petroleum ether, benzine, benzol, and oil of turpentine. The transfer of the ink
from the bromoil to the new surface is effected after solution has taken place
by the absorption and adhesive power of the transfer paper. For perfect trans-
fer of the ink, light pressing together of the two surfaces is essential. Even
the light pressure obtainable in a printing frame or light rolling with a roller
squeegee is enough.
If this method of working is adopted, the bromoil should only be lightly inked.
If the inking has been too heavy, the transfer will, as a rule, be too plucky as all
the ink goes on to the transfer paper. The degree of hardness or consistency
plays but a subordinate part in this process.
If oil of turpentine is used for dampening the paper, black inks show a brown-
ish tinge. With benzine this does not occur.
The advantages of chemical transfer are that since but little pressure is re-
quired, it is not necessary to invest in an expensive press and that any kind of
paper, even the extremely thin Japanese tissue, may be used.
Rowatt's Process.-In the Club Photographer for February 1922,
157, Mr. J. Rowatt describes a method of offset bromoil transfer
which he claims removes most of the difficulties of the ordinary
bromoil transfer. The pigmented image of the bromoil is transferred
to a rubber blanket and from the latter to the final support. The
bromoil print accordingly does not require to be reversed as in ordi-
nary bromoil transfer, when unreversed prints are required. For
more complete details we must refer the reader to the original.
Multiple Transfer.-Multiple transfer is employed in the same gen-
eral way and for the same purpose as in gum-bichromate printing-
namely, to lengthen the scale of gradation in order that every pos-
sible tonal value contained in the negative may be properly rendered.
The multiple transfer may be made from one or more bromoils. If
only one bromoil print is used, it is first inked up with hard ink, so
adjusted to the relief of the print that the shadows alone absorb any
considerable quantity of ink, the lighter half-tones and highlights re-
maining untouched. This corresponds to the shadow coating in gum-
bichromate. The pigmented image having been transferred to the
transfer paper and means of registration provided in order that it
may be placed again in identically the same position, the bromoil is
again pigmented, but this time with a soft ink so as to produce a thin,
smooth film of ink which reproduces the highlights and half-tone.,
s;
while adding but little, or not at all, to the shadows. This transfer
obviously corresponds to the highlight coating in gum-bichromate.
Instead of using the same bromoil print for both transfers, two
separate bromoils may be used. This method has the added advantage
that different papers may be used for the two bromoil prints, and that
the degree of relief of the two prints may be regulated so as to more
easily obtain the effect desired in pigmenting.
DEMACHY AND Puvo-Les Procedes D'Art en Photographie.
DuviVIER-Le Procede a L'Huile en Photographie.
EDER-Das Pigmentverfahren, der Gummi-, Oel-, und Bromol-druck und ver-
wandte photographische Kopierfahren mit Chromalzen.
FUHRMANN-Der Oeldruck.
GuTTMAN-Die Selbstbereitung der Bromoldruckfarben.
GuTTMAN-Der Umdruck in Bromoldruckverfahren.
KuHN-Technik der Lichtbilderei.
LAMBERT-Oil and Bromoil.
MAYER-Das Bromoldruckverfahren.
MAYER-Bromoil Printing and Transfer. English translation by Fraprie.
MAYER-Manual of Bromoil and 'Transfer.
MEBEs-Der Bromoldruck.
Puvo-Die Oilfarben-kopierprozess.
Puvo-Les Procedes aux encres Grasses.
SINCLAIR-How to make Oil and Bromoi! Prints.
TILNEY AND Cox-The Art of Pigmenting.
TILNEY AND JuDGE-Oil and Bromoil Transfer.
MoRTIMER AND CouLTHURST-The Oil and Bromoil Processes.
STENGER-Neuzeitliche photographische Kopierverfahren. (Ozobrom, Brom-
silber, Pigmentpaper, Oldruck, Bromoldruck.)
Photo-Miniature No. 106-The Oil and Bromoil Processes.
Photo-Miniature No. 186-Bromoil Prints and Transfers.
CHAPTER XXV
COPYING
Introduction.-Copying is a branch of pho'tography in which many
do not succeed, not because of any inherent difficulties the work pre-
sents, but because the essentials of the subject which are necessary to
success are not thoroughly understood. With the proper apparatus
and materials and an understanding of the factors involved, copying is
in no ways more difficult than other photographic work and provided
the worker knows what he is about he should meet with but little diffi-
culty.
In discussing the subject we will consider first the apparatus ad-
visable, then the optical principles involved and the proper treatment
for different classes of copies and finally the photographing of small
objects in the studio.
Apparatus for Copying.-In hardly any branch of ordinary photo-
graphic work is apparatus so important as in copying and for this
reason the question of equipment should be settled before the work
is begun. In the first place it is essential that some means be pro-
vided whereby the camera may be moved to or from the subject with-
FrG. 197. Copying Stand Frc. rg8. Book Holder for Copying
out destroying the parallelism necessary to prevent distortion. Stands
for this purpose are made by several firms or a simple arrangement
may be made at home by anyone familiar with tools. Figure 197 shows
a simple fixture which fills all ordinary requirements and is of simple
520
;.-
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ ~ -
~
.,
,
~
t"\
'I
I
- '-
f.
~
COPYING 521
construction. The essential parts are the tracks AA on which the
camera moves to and from the easel C which is rigidly fixed at right
angles to the base B provided for the camera. In cases where an
apparatus like this cannot be used, as when photographing a large map
or oil painting, a small celluloid T square should be used to determine
if the image of the subject on the ground-glass is free from distortion.
For copying from books a holder such as illustrated in Fig. 231 is
very convenient. On the whole, however, it is much simpler to use a
vertical stand, as it is much easier to keep the page flat when the book
is in this position. In fact, a vertical stand is more convenient for
nearly all general copying as there is no trouble in attaching the print
to the easel and, if daylight be used for illumination, it is easier to
secure uniform illumination with the print in this position. Many of
the stands on the market may be used vertically as well as horizontally
and, as we will see later, the possibility of using the stand in a vertical
position is particularly advantageous in another form of copying.
Methods of Illuminating the Print.-The light which illuminates
the print to be copied should not only be evenly distributed over the
whole print but it should also come from more than one source. The
reason for this will be all the more apparent when we have to deal with
papers of coarse and irregular texture such as used for drawing pur-
poses. A side lighting from a single concentrated source accentuates
the graininess of surface by causing the innumerable projections to
cast shadows on the side away from the light. At the same time the
projections themselves receive the direct illumination on one side and
therefore we have a highly lighted spot in immediate contact with a
deep shadow so that the irregularity in the surface of the paper is made
far more noticeable than is actually the case and the copy shows a
" graininess " which is almost inconceivable when the original is ex-
amined visually in a good light.
When copying by daylight it is very difficult to secure uniform
illumination and prevent the appearance of an undesirable amount of
" graininess." All papers which do not have a glazed surface may be
copied in the position shown in a of Fig. 199. For glazed prints this
position is unsuitable, as the highly glazed surface reflects light into
the camera and obscures the image. In such cases, and also in the
case of some matt papers which have a " velvet " or enamelled surface,
the relation between the print and the light source should be that shown
in b of the same figure. The presence of reflections can usually be
determined from the ground-glass but an infallible rule is to remove
522 PHOTOGRAPHY
the ground-glass and the lens and examine the print from the back of
the camera at various angles.
The constant fluctuation in the strength of daylight and the difficulty
of securing even illumination make artificial illumination especially
desirable. For several years the writer used with complete success
the arrangement illustrated in Fig. 200. The interior of the box which
FrG. 199. Illumination of the Copy Using Daylight
encloses the mazda lamps is painted with white enamel to increase the
reflecting power and the bulbs are placed back from the circular open-
ing so that no stray light can reach the camera even when very close
to the copy. Frosted light bulbs were found to give better illumina-
tion with less tendency to reflection and glare than plain bulbs. While
Frc. 200. Copying Apparatus for Artificial Light
(Rose, The Commercial Photographer)
somewhat elaborate this outfit is easily constructed and fully repays
its expense where a considerable amount of copying must be done, for
the circular system of lighting is the most effectual way of avoiding
" graininess " that the writer has been able to find. Two mercury
vapor tubes, one on each side of the copy, make a satisfactory light
but the initial expense is higher. Two large mazda lights, one on each
side of the copy, are sufficient when dealing with small copies but fail
with very large originals and it is also difficult at times to avoid reflec-
tions.
'\
t
'
COPYING 523
Copying Cameras.-For copying the worker has the choice of the
instruments made especially for the purpose or the use of view or
other types of plate cameras. Regular copying cameras have a long
bellows, a central compartment for lenses and quite often a frame of
kits at one end for negatives which are to be reduced to lantern slides.
When necessary the lens board may be moved from the central par-
tition, where it is placed when making lantern slides, and substituted
for the frame of kits in order to obtain greater bellows capacity.
Cameras of this type are made by a number of firms and reference to
the catalogs of large dealers will show what may be expected m a
camera of tbis type.
Long bellows view cameras which focus from the rear are very
satisfactory for copying: in fact in one respect they are actually more
convenient than those made especially for the purpose. Copying
cameras are seldom fitted with a rising and falling front, but this
feature is very convenient at times as it enables the image to be prop-
erly adjusted on the ground-glass without the rather laborious operation
of removing the print from the easel and replacing it in what is esti-
mated to be the correct position. The swing back fitted to view
cameras is also useful at times, enabling distortion in the copy to be
corrected. At all other times it should be securely locked in the
perpendicular position so that it is parallel with the easel.
with hand cameras having short bellows . is possible only
when supplementary lenses are used. These, while useful in such
cases, cannot be recommended as they affect the definition of the ob-
jective to which they are applied.
The Objective for Copying.-Difficult copying demands high-grade
objectives. While very good copies can be made with rapid rectilinear
lenses these have a falling off in definition towards the margins in
addition to astigmatism, both of which are only partially remedied by
stopping down. The anastigmat with its flat field and its high free-
dom from all kinds of aberration gives critical definition and needs
but little stopping down, so that for all work which demands utmost
sharpness they are far superior to other types of lenses. Lenses well
corrected for astigmatism and curvature of field may still have zonal
errors or residual spherical aberration. Zonal aberrations detract
from the crispness of definition and reduce the limit of sharpness to
which one can work. Coma is also a serious disadvantage to a lens
used for copying as it gives negatives having a flat, fogged appearance
which is sometimes mistaken for errors in exposure or development.
18
524 PHOTOGRAPHY
Lenses of medium aperture are superior in these respects to those of
large aperture, even though both be used at the same aperture, owing
to superior correction for zonal aberration. Unquestionably the best
lens for all classes of copying is the process anastigmat, such as the
Cooke Series V, Fj8, Goerz Gotar, F /8, Gundlach process F / 9, Velo-
stigmat process F /8, etc., but anastigmats of the type represented by
the Dagor, Protar, Turner-Reich, and Tessar I IB, F j 6.3, are satis-
factory for all but the most critical line work.
While the use of a short focus lens means a saving of bellows ex-
tension and allows the camera to be closer to the copy for a given
degree of reduction or enlargement, it has the disadvantage that the
front of the camera may, in certain cases, interfere with the lighting
of the subject while at the same time the danger from reflections is
greater owing to the larger angle subtended. In general it is well to
choose a lens having a focal length equal to, or slightly greater than,
the diagonal of the largest plate.
Focusing.-For accurate focusing a fine-grained screen is needed.
Much may be done to improve matters by simply applying vaseline to
the ground-glass already in the camera but a much better result can be
secured by replacing the ground-glass with a specially made screen.
A very suitable grainless screen can be made at home at a very small
expense. Take a fast plate (unexposed) and develop from fifteen to
twenty minutes in a non-staining developer such as amidol or M-Q
without a restrainer so as to secure a slight general fog. Rinse and
transfer to the following solution:
Potassium bichromate ................ . .......... 10 gr.
Hydrochloric acid (cone.) ...... . . . ... ........... IO min.
Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 oz.
zs gm.
zs cc.
1000 cc.
After several minutes' immersion in this, remove and rinse briefly in
running water, then fix, wash and dry in the ordinary way. A screen
prepared in this manner is denser than one of ordinary ground-glass
but shows far more detail owing to. its freedom from coarse grain.
When dry it is well to rule the screen with vertical and horizontal
lines 0 inch apart to assist in determining the size of the copy directly
without measurement and to indicate the presence of distortion. When
this is done, the screen may be coated with negative varnish to protect
it from atmospheric action.
For obtaining critical focus a magnifier must be used. The parallax
focusing method, or the use of the Le Clerc diaphragm, in conjunc-
COPYING
525
tion with a focusing magnifier affords the simplest and most satisfac-
tory method of obtaining the exact focus.
To use the former method proceed as follows:
Remove the gelatine coating of the prepared focusing screen from
a small portion about an inch. in diameter at the center of the screen.
On this clear space glue a piece of tinfoil with a sharp edge. A
magnifier is adjusted to sharp focus over the tinfoil and may be
permanently affixed in this position. As . the eye moves sideways in
observing the image an apparent displacement occurs. When critical
focus is secured there is no apparent displacement and the image and
the sharp edge of tinfoil lie in the same plane.
Clerc's method may be used only when the lens is fitted with re-
movable diaphragms, generally termed Waterhouse stops. As practi-
cally all process anastigmats are fitted with removable diaphragms this
method becomes very convenient when such lenses are used. To pro-
duce the Clerc focusing diaphragm lay off on thin metal a circle equal
to the diameter of the inside of your lens barrel. Inside of this circle,
lay off a concentric circle equal to the diameter of the largest diaphragm
of the lens. Draw a diameter of the inside circle and divide into four
equal parts, and at the two points between the center and the circum-
ference of the circle draw perpendiculars to the diaphragm until they
cut the circumference of the inner circle. Then cut out the segments
and blacken the metal with dead black, matt paint. When focusing
with the diaphragm in place there will be a double image but when
' critical focus is obtained the images unite and form a single distinct
image. Remove, insert proper stop, and expose.
Copying to Scale.-Assuming that the exact focal length and the
position of the nodal points are known, the worker can enlarge or
reduce to scale simply by a graduated scale applied to the camera and
the stand. The conjugate distances for various degrees of enlarging
or reducing and for lenses the focal length of which varies from 3 to
12 inches are given in the following table. When copying on an en-
larged scale the distance from the subject to the lens is less than that
from the lens to the plate while when copying on a reduced scale. the
reverse is the case.
Where the positions of the nodal planes are unknown, the following
method worked out by Mr. D. Charles
1
may be employed:
The first requirement is that the ground-glass focusing screen
should allow of horizontal movement in its frame over a small distance
1 Brit. J. Phot.; 1919, 66, 736.
526 PHOTOGRAPHY
DISTANCES WHEN ENLARGING AND REDUCING
Focus of
Times of Enlargement and Reduction
Lens,
Inches
r Inch 2 Inches 3 .Inches 4 Inches 5 Inches 6 Inches 7 Inches 8 Inches
3
6
9
12
IS
r8 21
24 27
6
4
1
f,
4 3'f
3
3
fs 3
1
f, 3'f, 3
3
fs
3
1
f, 7
ro
1
f, 14 I7
1
f,
21
24
1
f,
28 3 rrf,
7 S
1
f 4
2
fa 4
3
fs 4
1
fs 4
1
fr,
4
31'/.
4
8 12 r6 20 24 28
32 36
8 6
5
1
/a 5 4
4
/s 4
2
/a 4
4
/7 4
1
/2
4'/,
9
I3
1
f, r8 22
1
f, 27 3 I
1
f, 36 40'f,
9
6'f,
6
s'fs s'fs
sr;,
s'h s't.
- - -
5
IO
IS
20
25 30
35
40
45
IO
7
1
f, 6'/3 6'/
6
s'f, s'f, 5
5
/s
5
1
f,
II r6
1
f, 22 271/,
33
38'/;
44 49
1
f2
II
8'f, 7
1
/a 6
7
fs 6
3
/s 6
6
fr2 6'/7 6'/.
6 12 r8
24 30 36 42 48
54
12
9
8
7
1
/2 7
1
fs 7
6
6
/7
6'/
7
14
21 28
35
42
49
s6 63
14 ro'f,
9
1
/a 8'f
8
2
/s 8
1
/o 8
7
7
fs
8 r6
24 32 40 48 56 64 72
r6 12
ro'fa
IO
9
3
/s 9
1
fa 9
1
h 9
9
r8
27 36
45 54
63 72
8r
r8
I3
1
f2
12 r r
1
f, rof, 10
1
f,
ro'h ro'fs
10 20
30 40 so
6o
70
8o
90
20
IS I3
1
fa
I2
1
f, 12
I r'/a II
3
/7
r r
1
f,
--
II 22
33 44 55
66
77
88
99
22 16
1
/z I4
2
fa
I3'f
13
1
/s 12
5
/o 12
4
/7 12
3
/s
12
24 36 48
6o 72 84 96
ro8
24
r8 r6
IS 14
2
/s 14 13
6
/7 I3
1
f,
The table is used as follows: Knowing the focal length of the lens to be
used and the degree of (linear) enlargement or reduction, look up the figure
for enlargement or reduction in the upper horizontal row, and carry the eye
down the column below it until it reaches the horizontal line of figures op-
posite the focal length of lens in the left-hand column.
When enlarging, the greater of the two distances where the two lines join is
the distance from lens to the sensitive paper or plate. The lesser is the dis-
tance from-lens to negative, or picture being enlarged direct in camera.
When reducing, the distances are vice-versa: the greater is the distance from
lens to original, the smaller from lens to sensitive plate. (British Journal of
Photography.)
COPYING 527
of 34 to inch, as may easily be done by cutting a strip of this width
off one end of the focusing screen.
A pair of fine lines is then drawn on the focusing screen exactly
vertical and two inches apart. The left line should be in the center
of the ground-glass and the other two inches to the right of it.
On the copying easel an accurately graduated scale is fixed: a paper
scale may be glued to the surface of the easel or a wooden or metal
scale set in flush with the surface. A vertical line is drawn on the
easel close to the center, so that its image will coincide with the central
line on the focusing screen. The scale should be fixed about halfway
up the easel at right angles to the central line, with its zero on the line
and the graduations lying to the left and upside down.
It is a very simple and rapid operation to slide the ground-glass so
that the left hand falls on the zero of the image scale and to note the
figure cut by the right-hand line. Thus it is possible to measure in-
stantly the image of the rule by the two-inch column on the ground-
glass and by focusing and movement of the camera get any desired
degree of reduction or enlargement.
Where it is required to copy subjects to exact size, or to a certain
degree of reduction, at frequent intervals it is convenient to mark on
the camera and the stand the positions occupied so that focusing may
be avoided in the future.
Exposures in Copying.-Five things determine the time of ex-
posure in copying :
1. The strength of the light illuminating the copy.
2. The character of the original to be copied.
3 The speed of the plate used.
4 The actual aperture of the lens.
;, . The effective aperture of the lens for the degree of reduction or en-
largement being made.
The strength of the light illuminating the copy is constant when
artificial light is used and may be determined with sufficient accuracy
for all practical purposes by a few trial exposures. When copying by
daylight an actinometer should be used.
The second factor is the one giving the most trouble since it follows
no definite law and does not permit of measurement conveniently.
Only experience can show what allowances must be made for different
types of originals although the following table may be of some as-
sistance in this respect.
528 PHOTOGRAPHY
Original Relative time
Matt or set.ti-matt bromide prints, platinums, pencil
Fraction of
the total Wat-
kins meter
time
or ink sketches, steel or wood engraving ........ 1 .. .. .. . . . . . . .... ;io
Glossy pur.ple P-0-P contrasty bromide prints, black
carbon, black photogravure .. .. . . . .... . ......... 2 . .. ... .. . . . . ... ~ 6
Etchings in brown, sepia-toned bromides, red or green
carbons ... . ............... . ... . .. . ............ 4 .. . .... . . . . . .... %
Contrasty sepia and red prints, gum bromoil and
tissue prints. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 ......... . .......
The type of plate used depends to a certain extent upon the class
of subject: thus for line work in pure black and white a process plate
must be used; for colored subjects an orthochromatic or panchro-
matic plate is required while medium speed, non-color-sensitive plates
are satisfactory for photographs and like subjects in monochrome.
This matter will be discussed more fully when we come to deal with
the handling of these various classes of subjects.
With a suitable lens there is no necessity for the use of a very small
diaphragm provided focusing has been properly done. Larger aper-
tures tend to produce more brilliant negatives and lessen the danger
of unsharpness due to vibration during exposure. If the lens is at all
suited to the purpose there should be no need whatsoever for the use
of a smaller diaphragm than F / I6.
The values of the various diaphragms, however, are not constant
as in general work but vary considerably with the degree of reduction
or enlargement. Thus when copying full size the distance from the
nodal plane to the plate is twice as great as the focal length of the
lens: hence under these conditions the actual value of the stop has in-
creased four times so that F / 8 has become F/ I6, F / I I 3 has become
F j22, etc. When copying on an enlarged scale the increase is much
greater. By working with a certain definite diaphragm the relative
exposure for copying or reducing may be calculated from the follow-
ing table provided the correct exposure for the same class of subject
and the same plate is known for a given degree of reduction.
Provided it is possible to illuminate the copying easel with lamps
of sufficient brilliance to enable them to be retained at a fixed distance
for all originals regardless of size, exposures in copying may be cal-
culated quite simply by the method described by Mr. D. Charles m
the British 1 ournal of Photography.
2
2
Brit. J. Phot., 1922, 6g, 709.
COPYING 529
RELATIVE EXPOSURES WHEN COPYING OR REDUCING
New
Scale of Reduction for which Exposure is Known
Scales
of
Reduction
I
'I 'I
,,, ,,,
'/
,,,
'"
1
/s
1/lo
,,,.
1
/3o
----------------------------
I I
I'/
I'/, I a/.
2'/
2'/,
3 3 3 3'/' 3'/ 3'/
at.
af,
I
I
1
/10
I'/
I a/, 2 2
2'/ 2'/
2'/2
3 3
'/a
at, 7
/s
I
I'/ I'/2
I a/, 2 2
2'/ 2'/ 2'/ 2'/
------------------
--
---
'/2
af, at,
f, I
I'/
I'/2 I'/2
I a/, 2 2 2 2
'/a
;, a;,
'/a
f, I I
1
/a I'/;
I'/ I'/ I'/2 I'/,
I a/.
'/
;,
'/
at, at, 7
/s
I I
I
1
/s
I'/ I'/ I'/t I'/
----------------
--
--
--
'/s
;,
'/ '/ '/a
;, I I I I
1
/a I
1
/s
I'/ I'/
'/a '/a
'I '/ '/a
a;,
7
/s
I I I
I
1
/s I'/5 I'/
'/s '/a '/6
f, a/,
a;,
f, 7/s I I I
I
1
/IO I
1
/s
--
--
------------------
1/IO
'/a
'I 'I '/
'/a
at. f,
7
/s
I I I
I
1
/e
'/o 'h
'I
.,,
'/. '/a
at. f, 7
/s
I I I I
1
/ao
'/ 3fs 'Is 'h
at, a/,
3/. 7
/s
7
/s
7/s I I
To use this table find irt the top horizontal line the scale of reduction for which
exposure is known. Under this scale the relative time of exposure for different
degrees of reduction will be found opposite the new scales of reduction marked in
first vertical column.
The power and position of the lamps having been standardized at
the start, a lens is placed on the camera and the diaphragm adjusted
so as to be exactly one inch in diameter. This for an eight-inch lens
would be F /8, for a lens of eleven inches focal length F /II, etc. The
camera is then extended so that the distance from the stop to the plate
is sixteen inches and the whole camera moved back and forth until
some matter on the easel becomes critically sharp. A print is then
pinned up and a plate exposed in steps, developed and the correct ex-
posure noted.
A sheet of paper is then inscribed with the ordinary apertures from
F /6 to F /45 in a column. Opposite F j16 is written the exposure ar-
rived at by the test just described. (It will be evident upon considera-
tion of the conditions under which the test was made that since the
lens opening of one inch is one sixteenth of the bellows extension, the
effective aperture, or the actual working speed, of the lens is F j16
regardless of what the aperture marked on the lens mount may be.)
Opposite each other diaphragm is written the proportionate exposure
following the usual rule.
530 PHOTOGRAPHY
This procedure is then repeated for a line subject using a process
plate and for any other particular class of work which requires dis-
tinct treatment, and the corresponding exposures marked against each
diaphragm.
A scale is then affixed to the camera so that zero point coincides
with the diaphragm of the lens. Obviously, the actual extension of
the camera can be determined by observing the figure against which
the ground-glass stands. From what has been said before it will now
be evident that the extension indicates the value of the stop without
any calculation whatsoever. Thus if the extension is eight inches the
exposure would be read off opposite F / 8, if 22 inches opposite F j 22,
etc. If for any reason it is necessary to use a smaller diaphragm the
proper exposure may be determined by the usual rules governing the
exposures of different diaphragms.
The Copying of Subjects in Pure Black and White.-Having be-
come familiar with the fundamental principles underlying all copying
and applicable to subjects of all classes we will consider in some de-
tail the proper methods of handling each class of copy in order to
obtain the best results.
Subjects in black and white embrace an extensive and varied field
which includes charts, graphs, maps, pen and ink and pencil
wood and steel engravings, etchings and half-tone reproductions.
The photography of such subjects, while quite simple in itself, de-
mands precise painstaking attention to every detail if the best results
are to be obtained.
While the subject of lenses has already received attention, it may
be well to remark at this point that in dealing with line work the best
corrected objective is none too good; especially is this the case when
dealing with subjects containing very fine detail or when the degree
of reduction is considerable. In such cases the absence of zonal ab-
berations and coma is particularly desirable and the process anastig-
mat is well worth its additional cost where work of this type must be
done.
The plates required for handling this class of copy are known as
Contrast, Process or Photo-Mechanical plates and are made to give
a very high degree of contrast. Wet collodion is still unsurpassed for
line work but its use is beyond the capabilities of most workers, but
with care all that can be done with collodion can also be done with
gelatine although it must be admitted that a satisfactory result from
COPYING .531
difficult originals is more difficult to secure with gelatine than with
collodion. Rapid plates as used for general work cannot be used for
this purpose as they do not have a sufficiently fine grain and are un-
able to give the great density combined with absolutely clear lines
which is required for this class of copy. Plates of the process type
suitable for line work are all comparatively slow and range in speed
from about Watkins IS to Watkins 45 but work very free from fog
and readily give great contrast and density. Typical plates of this
class are Cramer Contrast, Seed Process, Eastman Process film, Im-
perial Process, Wellington Ortho Process, Ilford Process and Half-
Tone, Barnet Process and Gevaert Process.
Development of Process Plates.-The development of process
plates is best conducted by inspection using a concentrated hydro-
chinon or glycin developer. The following is considered the best
formula for obtaining the maximum" contrast:
A . Sodium bisulphite .. . .. . ..... .. ........ . .... -375 gr.
Hydrochinon ........ .. ..... . ............. -375 gr.
Potassium bromide . . . ... . .. . . ... . ... .. . .. . .. 37 5 . gr.
Water to make ...... . ....... . .. . ...... . . . .. 32 oz.
B. Caustic soda . ........... .. .. .. ... .. .... . ... I)/, oz.
Water to make. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 oz.
25 gm.
25 gm.
25 gm.
IOOO CC.
45 gm.
IOOO CC.
For use take equal parts of A and B. The developer will not keep
when mixed and a separate batch should be used for each plate. An-
other formula which has good keeping qualities and gives good con-
trast is as follows:
Hydrochinon .. .. ..... . .... . ... . . . .. .. .. . . . ...... I30 gr.
Sodium sulphite (dry).................. ......... .. 3 oz.
Formaline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 dr.
Water to make ...... . ..... . .... . ......... . ... . .. 20 oz.
IS gm.
ISO gm.
20 cc.
IOOO CC.
This is one of the few cases in photography in which the author
prefers development by inspection to the time and temperature or fac-
torial methods. For one thing, a comparatively bright light may be
used with safety so that there is no difficulty in judging the appear-
ance of the negative. As process plates fix back considerably, de-
velopment must be carried just as far as possible without causing the
delicate lines to veil over. A slight veiling, noticeable towards the
close of development, may be disregarded, as it will disappear in the
fixing bath. If development is carried as far as possible without pro-
ducing fog, the density will be all that is desired, unless exposure has
532 PHOTOGRAPHY
been insufficient. If the exposure has been insufficient the negative
will lack density when removed from the fixing bath, even though
the density appeared to be sufficient when development was concluded.
On the other hand should the lines begin to veil over in the early
stages of development before the requisite density is obtained, over ex-
posure is indicated. In fact, exposure to suit the original is the key
to the whole problem, provided the proper plate and developer are
used and development is carried to the limit.
Except with weak originals, or through faulty exposure or develop-
ment, intensification will not be required. When intensification is
necessary Monkhoven's silver-cyanide method, lead or copper are
suitable for the purpose.
For the print glossy papers are generally used, especially if there
is an abundance of small detail. It may be noted that a hard, vig-
orous paper gives a cleaner-cut black line than the normal or soft
varieties.
Copying Photographs or Like Subjects in Monochrome.-Here the
object is to reproduce the various tones of the original as correctly
as possible. A slight loss is inevitable, particularly at the ends of the
scale of gradation, but if the copy is well made the loss should be small
and practically indistinguishable. Especial care must be taken to
minimize the grain of the original, particularly if the surface is matt
or rough. The apparatus described earlier in this chapter will be of
great assistance in this respect. Under exposure and forced develop-
ment, or the use of a contrast working plate, accentuate any tendency
to " graininess " and in such cases it is well to expose fully and
shorten the time of development somewhat. When very contrasty
originals must be copied the use of an ultra rapid plate will assist ma-
terially in toning down the extremes of contrast, but for general
work high speed plates are not to be advised and better results will be
secured by the use of comparatively slow plates ranging from Watkins
so to Watkins ISO. Plates of this character, made especially for this
class of copying, are made by practically all manufacturers. A great
deal depends upon the exposure and only experience can show what
is required in this respect. A c ~ e f u l record of all experiments and
the results secured will assist materialiy in estimating exposures as
will standardization of all controllable factors along the lines which
have already been indicated.
Development must be conducted with judgment, and cannot well
COPYING 533
be made uniform for all subjects. The strong contrasts of some
prints, particularly those of a non-actinic color, require to be softened,
while flat bluish-black originals should be developed further in order
to secure sufficient contrast. In many cases, such alterations can be
made by judicious choice of the grade of paper in printing, but at
times intensification or reduction may be necessary to secure the
proper contrast.
The Photography of Colored Objects.-In dealing with subjects
of this class orthochromatic methods are necessary. The subject of
plates and filters and their action has been treated in a former chapter
so that at this point we will mention only some practical points con-
nected with the photography of colored objects and for further in-
formation the student is referred to Mees, Photography of Colored
Objects.
In general, it may be said that the panchromatic plate is preferable
to orthochromatic for all subjects involving color. If desensitizers,
or time and temperature methods of development, are used they may
be handled with no more difficulty than attends the manipulation of
other plates, while their enhanced color sensitiveness to all colors,
which allows of shorter exposures for the same degree of color cor-
rection, their red sensitiveness and the fact that they enable one to
standardize the matter of plates are all important points in their
favor.
While in ordinary work, where the subject is at a considerable dis-
tance from the lens, the shift in the plane of sharp focus due to the
use of a filter is comparatively small and may in many cases be ig-
nored, when copying the matter becomes of considerable importance
and filters of the finest optical properties become imperative. Filters
supplied for ordinary photographic work are cemented in specially
selected glass and are sufficiently near to a plane surface and parallel
on both sides not to affect the definition of a lens when used for dis-
tant objects. But, whereas the rays from distant objects are prac-
tically parallel, those from near objects, as in copying, are quite
divergent and if the filter is not both plane and parallel, or in other
words is wedge-shaped, it will have the effect of a prism and destroy
the finer corrections of the objective with which it is used. The
longer the focal length of the objective the more accurate the filter
must be in these respects. A filter which would pass muster with a
six-inch lens might be practically useless for one of twelve inches
534 PHOTOGRAPHY
focal length. For critical copying from colored objects the filters
should be cemented in optical flats which are polished and tested with
the same accuracy as the highest grade lenses. Gelatine filters are
quite satisfactory but it is hard to keep them clean. The filter may
be placed either in front of or behind the lens; the latter is the .best
position as there is less danger of flare, or flare spot, when the filter
is behind rather than before the lens.
For photographing paintings, water color work and crayon a pan-
chr9matic plate is necessary. The K
3
or fully correcting filter advised
by the manufacturer of the particular brand of plates employed is re-
quired for nearly all subjects as usually it is desired to give an exact
color rendering of the original. There are cases, however, where it
is necessary to overcorrect some color at the expense of another and
for this purpose a contrast filter is necessary. This should always be
done with caution, however, and whenever possible orthochromatic
methods should not be departed from.
Reflections from the surface of paintings are very hard to avoid as
they are different from those from a flat surface. The light is re-
flected from the irregularities in the surface where the paint has been
laid on thick and not {rom one definite plane as is the case with photo-
graphs, etc. Placing the painting at a considerable distance from the
source of light and cutting out all bright objects in front are about
the only methods of avoiding these reflections. The angle at which
the light strikes the surface is important but the best angle can only be
found by trial and error for each particular subject. Tilting the pic-
ture forward is often of advantage; the swing back being used to
correct the attendant distortion. Daylight is the best light for copy-
ing paintings; artificial light never seems to give quite the proper ef-
fect artistically. The exposure varies with the character of the pic-
ture; a dark old Master requires very much more time than one of
the late productions of the Japanese school. There is a tendency
for photographs of paintings to have too much contrast and to coun-
teract this tendency a full exposure should be given and the usual time
of development shortened somewhat. Only experience can teach the
worker how to handle subjects of this very difficult class.
Silver prints toned sepia, gum and oil prints and transfers all re-
quire much the same treatment as paintings unless they are in black or
blue-black. If a sepia-toned silver print is copied on an ordinary plate
we invariably secure too much contrast unless the original happens to
COPYING 535
be flat and lacking in contrast. To secure the best results from sepia-
toned silver prints a panchromatic plate with a K
3
or similar fully
correcting filter should be used. Gum-bichromat_e, carbon or oil prints
and transfers in green, brown, red and similar colors should receive
like treatment.
Blue-prints, violet or blue typewriting can be successfully copied by
the use of a panchromatic plate together with a deep red filter. In a
similar manner stained prints may be copied and the stain removed by
the selection of filters appropriate to the color of the stain. This
matter has already been touched upon in a former chapter.
Photography of Small Objects in the Studio.-It is perhaps well
that we devote a few lines to this subject as the photography of such
articles as knives, watches, small packaged articles, etc., forms a rather
large part of the business of a commercial photographer.
In all such work it is a great advantage to be able to use the camera
vertically as the articles then remain in whatever position they are
placed and it is unnecessary to attach them firmly to a support.
Furthermore it is much simpler to make use of the methods to be de-
scribed for obtaining suitable backgrounds without laborious after-
work such as blocking out with opaque or etching away what is un-
desirable.
White grounds are easily obtained and all necessity for blocking
obviated by the use of a " light box" as shown in Fig. 201. This is
simply an ordinary box with the top and front removed, lined inside
with a white blotter or coated with aluminum paint and covered with a
piece of ground-glass (ground side up) for holding the article to be
copied. The reflecting surface may be sloped so as to catch the light
to the best advantage or, if the volume of such work justifies it, day-
light may be replaced by electric bulbs placed so as to uniformly illumi-
nate the ground-glass above.
Light objects appear to better advantage against a black background.
Black velvet is suitable for this purpose but black paper cannot be
used as it does not give a pure uniform black owing to its texture.
The best results, however, are secured by a "dark box" which is
exactly opposite to the " light box " previously described. .This is
merely a large and deep box painted black on the inside or lined with
black paper, the top of which is covered except for an aperture just
large enough for the size of background desired. The subject is
placed upon a piece of clear glass over this black hole and the exposure
made.
536 PHOTOGRAPHY
Sometimes the use of clear glass gives rise to reflections and in such
cases it will be necessary to fasten to the under side of the camera a
large sheet of black cardboard with a hole cut to accommodate the
lens. when this is ineffective we must resort to a hood of tissue paper
or tracing cloth to eliminate all direct light. A cone of tissue paper or
(Photos courtesy of D. J . Pratt )
Fie. 2or. Method of Securing White or Black Backgr ounds
tracing cloth is made to enclose the space between the lens and the
background on which the object is placed so that all direct light is pre-
vented from reachi ng the glass and reflections removed. The use of
this hood of tracing cloth lengthens exposure to a certain extent but
reflections which cannot otherwise be removed will yield to this treat-
ment which in such cases is well worth the trouble which it involves.
y
CHAPTER XXVI
NATURAL COLOR PHOTOGRAPHY
Introduction.-Joseph Nicephore Niepce writing in May, 1816, to
his brother Claude then residing near Kew in England states that one
of the problems which he has yet to solve and one which will receive
his attention in the future is the fixation of the colors by which he
probably meant the reproduction of objects in their natural colors.
This problem, however, that patient investigator was not destined to
solve nor have we who live more than a century later been entirely
successful. While the subject has attracted the attention of some of
the foremost scientists and much has been accomplished we are still
far from a practical process of color photography on paper. We
have, nevertheless, made substantial progress and great as the obstacles
may now appear there is every reason to believe that the problem will
be solved eventually.
It is the purpose of this chapter to record the work which has been
done on the subject and to describe the processes now available for
photography in natural colors.
Processes of Direct Color Photography.-Seebeck as far back as
I8ro found that silver chloride when exposed to the rays of the spec-
trum partook slightly of the colors themselves and Edmond Becquerel
in 1844 reproduced the seven principal colors of the spectrum on a
Daguerreotype plate which had been so treated as to form a photo-
chloride of silver (Ag : Cl) which has the property of giving a partial
reproduction of color which, however, cannot be fixed. Similar proc-
esses were described by Robert Hunt, Sir John Herschel, J. w.
Draper, Niepce de St. Victor, G. Wharton Simpson and Poitevin who
was able to secure color prints from colored glass transparencies on
paper prepared with silver photo-chloride. These prints, however,
like all prints involving the use of a photo-chloride of silver could not
be fixed while the paper was much too insensitive to allow it to be used
in the camera.
Natural color photography along such lines succeeded somewhat
better with mixtures of light-sensitive dyes; that is, dyes which fade
out to colorless substances. A dye is decomposed only by the light
537
538 PHOTOGRAPHY
which it absorbs (Grothus-Draper Law) which color is complementary
to its own color. Certain aniline dyes bleachcomparatively rapidly in
light, hence if three such dyes are chosen so as to form the three
fundamental colors red, green and blue-violet and these are coated on
paper in three separate layers and the whole exposed to a colored
object, in red light the green and blue dyes will bleach out, leaving the
red; in the same way in blue light, blue will be left as red and green
will bleach out and in the case of green, red and blue will bleach out
while with colors which are mixtures of these each will be bleached in
direct proportion to the amount of the fundamental o l o ~ present.
Processes based on this principle were suggested by Cros in 1881,
Liesegang in 1889, Ives in 1891, Vallot in 1895, Neuhaus in 1902,
Worel in 1902, Szczepanik and Dr. J. H. Smith in 1907, 1908 and
1910.
Despite the apparent simplicity of the process it has never furnished
a satisfactory solution to the problem of natural color photography.
To secure three dyes having the proper colors and of identical light
sensitiveness is not easy and this difficulty together with that of pre-
venting further bleaching of the dyes after exposure and the com-
paratively low sensitiveness of such mixtures has prevented such
methods from progressing beyond the experimental stage.
Direct Color Photography by Processes of Light-Interference.-
To understand the ingenious process of color photography worked out
by Professor Lippmann of Paris in 1897 it is necessary to review
briefly the nature of light and the principle of light-interference. The
generally accepted theory of light is that it is a wave motion in an
elastic medium known as the ether and is propagated in waves of the
transverse type. Suppose two wave motions are made to go in op-
posite directions by reflection from a highly reflecting surface. Inter-
ference will then occur between the incident and reflected waves, re-
sulting in the formation of standing waves. Thus at intervals equal
to half the wave-length there will be alternate maxima and minima of
light intensity. Now if we place in contact with this highly reflect-
ing surface a " grainless " and transparent emulsion of silver halide,
on exposure to light of a definite wave-length the chemical action will
be distributed in a number of layers, the maximum action taking place
at the crests of the waves and the minimum action at the nodes of the
standing waves. On development the layers of exposed silver halide
are reduced to the metallic state. Thus there will be formed for each
color a set of mirrors the separation of which is exactly equal to one
half the wave-length of the light by which they were produced.
,.
NATURAL COLOR PHOTOGRAPHY 539
When the image is examined perpendicularly by reflected light, the
light which is reflected to the eye is the sum of the reflections from
these elementary mirrors. The distance between these, however, is
one half of the wave-length of the light by which they were produced,
therefore when viewed in white light the colors which are not of the
proper wave-length are destroyed by interference so that the light
reflected from that portion of the image corresponds in color to that
which produced the image.
Lippmann's method was to expose a specially prepared fine-grained,
transparent emulsion of silver chloride in contact with a bath . of
mercury which reflected back into the emulsion the waves of light
which reached it, thus setting up in the sensitive film the phenomenon
of interference described above. While the process is extremely in-
teresting as the verification of certain theories of light and color it is
little rriore than a laboratory experiment. The fine-grained, trans-
parent emulsion employed must be prepared by the worker and special
equipment is necessary in order that it may be exposed in contact with
a surface of mercury. Furthermore only the pure colors of the spec-
trum are accurately reproduced; with the ordinary mixed colors of
nature the rendering is not so good. Lastly, a lengthy exposure is
necessary and the results cannot be duplicated. The process therefore
i5 little more than an interesting laboratory experiment.
Natural Color Photography by Trichromatic Methods.-Promis-
ing as such processes of direct color photography may appear theoreti-._
cally it is with indirect methods involving the separate registration of
the three fundamental color-sensations and their subsequent recom-
bination that the greatest progress has been made. All such methods
are based upon the discovery by Thomas Young in r8o7 of the fact
that all color perception is the result of three fundamental color-
sensations singly or in various combinations and proportions. That is
to say, all of the colors observed in nature are formed by the mixture
in various proportions of the three fundamental, or primary, colors,
red, green and blue. These three fundamental colors cannot be pro-
duced by the admixture of any other colors but from them any color
in nature may be matched including white, which is a mixture of all
three in equal parts. Hence if on one plate we record the red sensa-
tion of the subject by making the exposure through a filter trans-
mitting red only, on another plate the green sensation by the use of a
green filter and on a third plate the blue sensation by the use of a
blue filter, we have recorded the three fundamental sensations, which
540 PHOTOGRAPHY
singly and in various combinations comprise all the colors of the sub-
ject. Recombination of the three-color sensation records may. be ac-
complished in several ways: projection of transparencies in a triple
lantern, in various viewing instruments to be described later and by
superimposed layers of pigments of the proper colors.
Such, in brief, is the basis of the three-color processes of natural
color photography, the principles of which were first clearly realized
by Professor James Clerk Maxwell in 1861.
Making the Three Color-Sensation Negatives.-The three nega-
tives may be made with an ordinary camera by making three separate
exposures and changing the plate-holders and filters between each ex-
With many subjects, however, there is the liability of move-
between exposures while there is always the danger of shifting
the camera slightly or upsetting the focus, thus destroying the very
I]ecessary correspondence of all three negatives. Much better is the
use of a repeating back by means of which it is possible to make all
three exposures in fairly quick succession. To avoid trouble from the
movement of the subject between exposures, cameras have been devised
which make all three negatives at the same time. Owing to the fact
that all three negatives must be identical in size and detail it is im-
possible to use three separate lenses side by side for the difference in
the viewpoint of the separated lenses would destroy the exact corre-
spondence of the three negatives. Hence, only one lens may be used
(unless we are willing to content ourselves with very distant objects in ,
which case the effect of a small difference in viewpoint is not so
noticeable), and the three images farmed by means of transparent re-
flectors or prisms.
It would take us too far afield to consider at any length the various
cameras which have been designed for making three-color negatives
at a single exposure. There are plenty of them as may be seen by
reference to Professor E. J. Wall's History of Three-Color Photog-
raphy which is the most authoritative and complete work on the sub-
ject of trichromatic photography.
One of the most successful one-exposure, three-color cameras em-
ploying prism separation is that constructed by Sanger Shepherd and
Company of London after Ives' British Patent 12,181 of 1900. The
two outer sections of the image (Fig. 202) are diverted by the two
rhomboidal prisms and form the red and blue negatives while the clear
space between the prisms forms a direct image which records the green
sensation. The stereo error is very small with this construction and is
unimportant for all ordinary subjects.
NATURAL COLOR PHOTOGRAPHY
541
Cameras using reflectors form the biggest class and while such a
construction was first described by Ch. Cros in 1871, to Mr. F. E. Ives
belongs the credit for having determined the factors necessary to make
it a success. Besides Mr. I ves a large number of other workers have
FIG. 202. Sanger Shepherd Three-Color Camera
described various forms of one-exposure, three-color cameras using
either one or two mirrors references to which may be found in the
bibliography or in Professor Wall's History of Three-Color Photog-
mphy. We illustrate in Fig. 203 a camera of this type designed by
Red Plate
Filter
::..
~
; ~
c::
~
"'C::
"'
"'"' ~
;:
()._
"'
FIG. 203. Butler's One-Exposure, Three-Color Camera
Mr. E. T. Butler. Part of the light entering the lens on the right is
reflected by the first mirror and after passing through the red filter
forms the red-sensation negative. The light passing through the first
reflector strikes the second reflector which reflects a portion of it to
542 PHOTOGRAPHY
form the blue negative while the light which passes through this re-
flector forms the green-sensation negative. It is necessary that all
three negatives be of the same size and sharpness, hence the distance
traversed by the light rays must be the same for all three images.
Furthermore it is essential that the reflectors do not produce a double
image to overcome which it is necessary to cover the back of the glass
with colored gelatine. This color must be the minus color of the
taking screen and since the first reflected image forms the red sensa-
tion the gelatine coating on the back of this reflector must be minus
red or blue-green while that of the second reflector must be minus blue
or yellow.
In order to avoid the necessity for a one-exposure,
camera, Louis Ducos du Hauron suggested a tri-pack, the three plates
or films being bound up together with their respective filters in be-
tween. Critical sharpness, however, is impossible with such an ar-
rangement as it is impossible to bring the three emulsions sufficiently
close together. This alone might not be a grave objection in certain
cases and might be disregarded but for another more serious difficulty.
The light which passes through the first plate is diffused by the particles
of silver salt making it impossible to secure a halation-free image
on the second plate. Halation is of course even more pronounced on
the third plate since in this case the light has been scattered by two
emulsions. In addition there is the difficulty of adjusting the speeds
of the three plates so that each will be properly exposed in the same
time. In practice, therefore, attempts to develop such methods have
not been very successful.
Additive and Subtractive Three-Color Photography.-The color-
sensation negative records by density the presence of that particular
color in the subject; i.e. the red-sensation negative records the red of
the subject in terms of greater or lesser density according to the
amount of red present in the various portions of the subject. A
positive transparency from this negative will reproduce the red sen-
sation by means of its clearer parts. The parts of the subject con-
taining the purest red will be represented by clear glass, those parts
with some red by a medium density while those parts containing no
red whatever will be of maximum density. Now if this transparency
is viewed in red light it will reproduce the red sensation of the original
subject. In like manner the blue and green transparencies will, when
viewed in blue and green light, reproduce the respective color sensa-
tions of the original subject.
I,
...
' '
The three records may now be combined and the natural colors of
the subject reconstructed by placing each transparency with its proper
filter in a viewing instrument constructed like the one-exposure, three-
color cameras already considered. This procedure, like most others
in three-color photography, was first developed by Louis Ducos du
Hauron. It reached its highest development in the hands of Mr. F. E.
Ives whose Kromskop has never been surpassed for absolute fidelity
in color reproduction.
It is to be noted that in this case colored light is added to colored
light. We start with colored light from which we produce white by
addition. Hence such processes are termed additive processes.
Red""
Green )white
/
Blue
To recombine the three-color sensations on paper or in a single
transparency it is necessary to superimpose three separate images of
the proper colors. The white paper on which we place our colored
images reflects all three primary colors, red, green and blue, which
as we know, form white. Now when we print from the red-sensa-
tion negative we are printing from the thinner parts, or those parts
which represent the absence of red in the subject. Hence the red-
sensation negative must be printed, not in red, but in a color which
completely absorbs all red. But while red is absent either one or both
of the two other p'rimary colors may have been present in this portion
of the subject. The color of the image, then, must be such that it not
only absorbs red but reflects green and blue. It will, therefore, be a
minus red or blue-green. The red-sensation negative is thus printed
in minus red or blue-green; the green negative in minus green or
magenta which absorbs green and reflects blue and red while the blue-
sensation negative is printed in minus blue or yellow which reflects red
and green but absorbs blue.
Superimposed in full strength these colors absorb all color and the
result is either black or gray accor.ding to the amount of light reflected.
Intermediate colors are produced by the mixture in various propor-
tions of the three fundamental colors whil the total absence of color
will produce white, since this is the color of the paper base.
It will be observed that in this case we start with white light from
544 PHOTOGRAPHY
which we produce color by subtracting various colors, hence such
processes are known as subtractive methods.
/Red---Minus red or blue-green
green or magenta
Blue-Minus blue or yellow
Subtractive Printing Processes.-The principle of the subtractive
method has been developed in a wide variety of processes. But few
of these, however, are generally employed and these now only in cer-
tain quarters, the development of the screen-plate processes having
largely killed the interest which was shown in such methods a few
years ago. The three-color images for the subtractive processes have
been produced by means of trichromatic carbon tissues and lately by
three-color carbro; by the production of dye images by mordanting
methods, by the transference of dyes or the relief or imbibition
process represented by the Pinatype method; by three-color gum-
bichromate and by the toning of silver images. While prints by these
methods are often quite pleasing from the artistic standpoint there
is a tendency, more noticeable in some processes than others, to dull
and imperfect colors lacking in brilliancy and transparency owing to
the depth of the three superimposed pigment or dye images. This
together with the very practical difficulties involved in producing the
three images and in properly superimposing them, the complexity' of
the process and the care and delicacy demanded at every stage, places
the process beyond the possibilities of the average worker, hence such
methods have failed to make much headway.
Multi-Color Screen Plates.-In just the same way that a painter
may secure a certain color by the juxtaposition of dabs of pigment
of two colors which when viewed at a distance merge to form a single
color, so it is possible to secure on a single plate all three color-sen-
sation records by employing in place of the usual solid color filter a
multi-color screen composed of a large number of small color screens
evenly distributed and so small as to be practically invisible.
The multi-color screen was the conception of Louis Ducos du
Hauron whose patent of 1868 suggested that a sensitive plate be ex-
posed behind a screen composed of fine parallel lines, red, green and
blue. The red lines collectively record the red sensation of the sub-
ject, while in like manner "the green and blue lines collectively record
the green and blue sensations respectively, so that all three funda-
mental color records are secured on a single plate. Consequently
when a positive from the original negative is placed in contact with
the multi-color screen in the position occupied by the negative, so that
the lines in the positive recording the red sensation are behind the red
lines of the multi-color screen, the colors of the subject become visible,
the same principle being brought into play as in the viewing camera.
The multi-color screen plate process of color photography is thus an
additive method.
While Louis Ducos du Hauron was the first to develop the idea
of a multi-color screen, the practical development of the method is
largely due the work of Professor J oly of Dublin and James Mc-
Donough of Chicago. The former was granted a patent (B. P. 7743
of 1893, 13,196 of 1894) for a screen plate with parallel red, green
and blue lines having a width of about 0.12 mm. (1j2oo inch). His
patents together with those of an American inventor James Mc-
Donough of Chicago, who had devised a similar screen plate but with
finer lines, were acquired by a syndicate which placed the process on
the market but owing to the difficulties met with in manufacturing the
screen plates economically it soon ceased to exist. In succeeding years
a large number of patents have been taken out for multi-color screens
employing not only ruled lines but various geometrical shapes such
as squares, rectangles, circles, etc. As these, with one exception, are
no longer on the market we will not linger to consider them but pass
directly to the second type of screen plate in which the color screens
are distributed at random and do not form a definite geometrical pat-
tern as in the two examples_just quoted. The two most conspicuous
examples of this type of screen plate are the Lumiere Autochrome in-
troduced by A. and L. Lumiere of Lyons in 1907 and the Agfa Color
Plate.
With a multi-color screen of a definite geometrical pattern the
screen may be separate from the sensitive plate; the positive trans-
parency from the negative made behind such a screen being placed
in register with another similar screen for viewing purposes. With
the second type of multi-color screen, known as the mosaic screen
plate, this is impossible and the negative image obtained by develop-
ment must be chemically reversed. The separate screen-plate method
permits of unlimited duplication as one need only make as many posi-
tive transparencies as required. 'With the mosaic screen plate, how-
ever, duplicates can only be made by rephotographing the original and
at the expense of some loss of brilliancy of coloring. The duplicating
. I
546 PHOTOGRAPHY
method is perhaps the simplest for the beginner in color photography
but both processes are well within the possibilities of the amateur who
is already conversant with the principles of ordinary photography. As
regards the faithfulness of color reproduction there is little difference
between the two methods; the colors as reproduced by the mosaic
screen plate, however, are supposed to be somewhat softer and with
less tendency towards glaring color than the duplicating method.
But this difference is so slight as to be of little if any importance.
The Autochrome Plate.-The Autochrome multi-color screen is
an example of the mosaic screen and was the first of such to meet
with success. The method of preparation is most ingenious. The
colored screens are composed of a particular form of starch grains
ranging in size from IO/ Iooo to I5/ Iooo of a millimeter (.0024
inch). Separate lots of these grains are dyed red, green and blue-
violet. These are then mixed in such proportions that the result
shows no predominating color and this mixture is spread over the glass
plates. The gaps between the grains are filled in by means of ex-
tremely fine charcoal dust, after which a layer of waterproof varnish is
applied so as to separate the screen from the emulsion which is coated
on top of it.
As these starch grains number 6ooo to the square millimeter
(about 40 million to the square inch) they are invisible to the
eye. When observed with the microscope at a magnification of about
125 times, the appearance of the screen is illustrated in Fig. 204 in
which the darker circles represent the blue-colored grains, the half-
tone circles the red grains and the lightest circles the green grains.
From this it is evident that the grains of any given color are very
evenly distributed throughout the screen. This is of course neces-
sary for the opposite state of affairs would result in color patches
which would render proper color reproduction impossible.
Over this multi-color screen is coated a thin, highly color-sensitive
emulsion. As it is impossible to make this emulsion equally sensitive
to all three colors, it is necessary to compensate for this deficiency by
means of a filter applied to the lens. As the absorption of light by
the multi-color screen is considerable (the Autochrome screen ab-
sorbs about 92.5 per cent of the incident light, which amount is still
further increased by the compensating filter which must be employed),
the working speed of the plate is much less than the ordinary plate or
film and is about 4 Watkins or 24 H. and D. Very rapid exposures
);A. TURAL COLOR PHOTOGRAPHY 547
are, therefore, impossible unl ess the plates are hypersensitized or fl ash-
light is employed. T he former operation is not one which should be
attempted by the novice.
The Compensating Filter.- The filt er suppli ed by the Lumi eres
is calculated fo r use with average dayli ght. As the spectral com-
position of dayl ight is never constant, however , and moreover varies
greatl y in different locali ti es, it is obvious that any single filter is at
F1c. 204. Autochrome Screen. X 123
best a compromise. With the vast majority of subjects, however, and
in the temperate zones the fi lter supplied by the manufacturers is
entirely satisfactory but certain subj ect s which are unusuall y strong
in blue and violet rays require a deeper fi lter. Thus in early morning
or late afternoon when the li ght is ri ch in color, subj ects including far
dist ances show marked blueness in these portions. Likewise in ma-
rine photography or with subjects having wet surfaces, snow scenes,
etc., excessive blueness of tone is often observed. Achill e Carrara
has found that the intense blue of the Itali an ski es and lakes leads to
excessive blueness in the fin ished result.
In such cases it is necessary to employ a filter absorbing a greater
amount of ultra violet than the standard filt er. For thi s purpose an
additional screen of <esculine or F ilter Yellow K may be employed.
Or the usual filter may be suppl emented with a Wratten K r filter for
a part of the exposure, or, in ext reme cases, for the entire exposure.
548 PHOTOGRAPHY
The use of filters which absorb too much ultra violet leads to a
prevailing yellow tint in the completed transparency.
Special filters are required for artificial light sources. These may
be obtained on special order from the manufacturers.
Handling and Exposure of the Autochrome Plate.-The Auto-
chrome emulsion being sensitive to all colors must be handled either
in total darkness o.r by a safelight formed of the Virida papers of the
makers. As it is not a difficult matter to load plate-holders in total
darkness when one has become familiar with the operation, it is ad-
visable to place the plates into the holders in total darkness. A gen-
eral greenish tint in the finished positive may often be traced to the
use of an unsafe light or to excessive exposure of the plate to the
Virida light when loading.
Since the multi-color screen must be in front of the sensitive emul-
sion during exposure, the glass side of the plate is placed towards the
lens. The sensitive film being very delicate it is protected by a piece
of cardboard which should not be separated from the plate until the
moment of development. Otherwise the delicate film may be damaged
and the plate soon develops fog.
Before inserting the slide it is well to brush off any adhering par-
ticles of dust or other substances which may be adhering to the glass
side of the plate in order that such may not produce a plentiful crop
of black spots in the finished result.
As the plate is exposed through the glass a correction is necessary
when focusing. If the filter is placed behind the lens this correction
is made automatically and this is the proper method to employ with a
fixed focus camera or those focusing by scale. If the filter is placed
before the lens the ground-glass may be reversed so that the ground
side is on the outside. One may move the lens back a distance equal
to the thickness of the Autochrome plate ( 1.8 mm. or %
4
inch) or em-
ploy a Zeiss Ducar filter which automatically compensates for the
thickness of the plate and allows the same camera to be used for either
ordinary or color work without any inconvenience whatsoever.
Exposure.-As in ordinary photography, and to an even greater de-
gree, success in color photography with screen plates is dependent upon
correct exposure. While ordinary plates and films have considerable
latitude in exposure, so that one or two times more will still produce
a usable negative, the margin of error is very small in color photog-
raphy, only a few per cent at the most, and correct color rendering
cannot be obtained without t he proper exposure. Numerous tables
have been published for the calculation of exposures for the Auto-
chrome plate but these do little more than indicate the approximate ex-
posure and the factors on which their successful use depends are very
difficult to estimate accurately, so the use of tables is not very satis-
factory. The only satisfactory method lies in the use of an actinom-
eter such as the Watkins or Wynne to which reference has already
been made in a previous chapter. Special color plate meters are
supplied by the makers and the use of these is preferable to the regu-
lar form because those designed particularly for color work are pro-
vided with scales which take into consideration the failure of the rec-
iprocity law which occurs with plates of very low sensitiveness as
the Autochrome plate. Owing to the low working speed of the Auto-
chrome plate, the reciprocity law according to which exposure is the
product of time and intensity, which are inversely proportional, does
not hold. Therefore, in working in feeble light or with a small dia-
phragm the increase in exposure is more than that which would be
indicated by the law. According to M. Fauchet, reduction of inten-
sity by one half increases the exposure by about 2.25.
Development.-In 1907 when the Autochrome plate was introduced
a pyro-ammonia developer was recommended. This, however, has
subsequently been replaced by one of metoquinone and while many of
the older workers prefer the former, metoquinone is the best for the
novice.
The formula is as fo:lows:
Metoquinone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . y;; oz.
Sodium sulphite (dry)...... .. .......... . .. .. .. 3y;; oz.
Ammonia 920 (22 Baume).. . ... .. . . . ......... 9 dr.
Potassium bromide . ... . . . .. .. . .. .. .. . . . . . ..... . 90
Distilled water to. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
gr.
oz.
IS gm.
100 gm.
32 cc.
6 gm.
1000 cc.
For time development dilute one part of the above concentrated
stock solution with four parts of water and develop exactly 20 min-
utes at 60 F. The Watkins Meter Company supply a special ther-
mometer which shows by the height of the mercury the time for de-
velopment at any temperature.
Development for a fixed time is suitable only for plates which have
been correctly exposed. For all others, preference should be given to
a controlled method based upon the time of appearance of the image.
To develop by this method one begins development in a diluted de-
550 PHOTOGRAPHY
veloper, taking the time of appearance of the image in this solution.
On the appearance of the outlines of the image (the sky being dis-
regarded) the developing solution is strengthened by the addition of a
certain amount of concentrated metoquinone developer according to
the time required for the first appearance of the image. For a plate
up to 4 x 6 inches in size one may begin development in a solution
composed as follows :
Water to make .......... .. ................ . .. . .. 8o cc. zY:I oz.
85 min. Concentrated metoquinone developer. . . . . . . . . . . . . . 5 cc.
The following table then shows the amount of concentrated developer
to be added upon the appearance of the image and the total duration
of development.
of Outlines of Im- Quantity of Developer A to Total Duration of Develop-
age (Disregarding Add on Appearance of ment From Immer-
Atter Immersion. First Outlines. sion of Plate.
Seconds Minutes. Seconds.
I2 to I4 I5 c.c.s, (!oz.) I I5
I5 to I7 do. do. I
45
I8 to 2I do. do. 2
15
22 to 27 do. do.
3
0
28 to 33 do. do.
3
30
34 to 39
do. do.
4
30
Extreme } 40 to 47 45 c.c. (I! ozs.)
3
0
under-exposure Above 47 45 c. c. (I! ozs.)
4
0
(If it is thought desirable for any reason to use a larger volume of
developing solution all the quantities given should be increased ac-
cordingly.)
M. F. Dillaye recommends that the exact time of appearance be taken
by transmitted light and then watching for the moment at which the
image, which first appears as a negative, seems completely extinguished,
the whole plate presenting the appearance of an even, diffused density.
It is at the moment at which this occurs that development should be
stopped. If development is continued the image appears as a positive
and will be over developed. This method while possibly practical for
the advanced worker is not one which the novice should attempt.
One may of course use a desensitizer in which case development may
be conducted in a comparatively bright light which makes it easier to
determine the appearance of the image. The makers supply in tube
form a desensitizer for this purpose, or one may use Aurantia (am-
monia salt) at a concentration of 1 part to 1000 of water. Pina-
..
\

. .,
-'
kryptol Green may also be employed but some difficulty is experienced
at times in removing the stain of phenosafranine from the film so it is
better to avoid this agent.
Reversal of the Image.-If we were to fix the image at this stage,
we would secure a negative image in complementary colors. The
image secured by development represents exactly the reverse of what
we require; the silver deposit obstructing the light which should be
transmitted while that which should be stopped is being transmitted.
It is necessary, therefore, to reverse the image. This involves (I) the
removal of the developed silver image and ( 2) the redevelopment of
the remaining silver salt to form the positive image. Accordingly as
soon as development is complete the plate is rinsed in a tray of clear,
cold water and slipped into the following solution of potassium per-
manganate which dissolves the silver image:
Potassium permanganate. . . . . . . . . . . . . . . . . . . . . . . . . 30 gr.
Sulphuric acid 66. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 dr.
Water to make. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 oz.
2 gm.
IO cc.
IOOO cc.
As soon as the plate is covered with this solution the darkroom may
be left and all succeeding operations conducted by full daylight, pref-
erably near a brightly illuminated window. In this solution the image
rapidly disappears and in 30 or 40 seconds is gone completely. The
plate is then taken from the solution and carefully washed for about
half a minute in running water and then replaced in the first developer,
which should be retained for this purpose. In this the image re-
appears, this time as a positive, and development is complete within
four to five minutes. There is no fear of over development, however,
while complete conversion of the silver salt to the metallic state is es-
sential to the brilliancy and the permanency of the image. Care should
be taken, therefore, that development is not stopped too soon.
After this second development, the plate is washed for three or four
minutes in running water, taking care that the water does not strike
the plate with any undue force as the film is very tender at this stage.
It is then placed on the drying rack ami dried as quickly as possible by
means of. an electric fan if available. On no account must heat or
alcohol be used.
Varnishing.-Although this operation is not absolutely essential it
is to be advised since it increases the brilliancy of the colors and serves
to protect the image from injury. Varnish for this purpose may be
secured from the makers of the plates or prepared according to the
following formula:
552 PHOTOGRAPHY
Crystallizable benzene. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 cc. s oz.
Gum dam mar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 cc. I oz.
This is flowed over the plate in the usual manner after which the plate
is placed on the drying rack in a place away from dust where it must
not be disturbed until completely dry. No varnish containing alcohol
must be used.
After-Treatment of Autochromes.-If after development the trans-
parency lacks brilliancy and appears dull and brownish a clearing bath
may improve matters. For this purpose a 2 per cent solution of
sodium bisulphite may be employed.
A general thinness and lack of body in the colors may be due to
either over exposure or sometimes, but less often, over development.
Intensification will make some improvement. After-treatment of any
kind is risky, however, as the film is apt to soften and frill and if
carried out directly after development a hardening bath of formaline or
alum should be employed. Another point which requires attention
when a color plate must be intensified is complete development, other-
wise the reduction which takes place in the fixing bath will render the
plate useless. Therefore, if intensification appears to be necessary one
should make sure that the second development is carried to completion.
For intensification the makers recommend:
A. Pyrogallic acid . ..... .. .... .. ........ .. .. ... .
Citric acid .. . . . .. ... . .. ... .. . . . ..... .. . . .. . .
3 gm.
3 gm.
Distilled water to. . . . . . . . . . . . . . . . . . . . . . . . . . 1000 cc.
B. Silver nitrate... ...... ...... . .. . . ... . ... . . .. . S gm.
Distilled water to ....... . . . ..... .. .. . . . ..... 1000 cc.
4S gr.
4S gr.
3S oz.
7S gr.
3y.; oz.
For use take Solution A 10 parts, B I part. The chromium intensifier
may also be used, in fact any method which does not produce a colored
deposit.
With the formula given intensification is quite rapid, from 2o-3o
seconds being sufficient in most cases. The solution slowly turns
yellow and becomes turbid and the plate will then be stained unless
transferred immediately to a fresh solution. After intensification the
plate is cleared by immersion for a few seconds in a o.oor per cent
solution of neutral potassium permanganate, then after a short wash-
ing it is placed for two minutes in an acid hypo fixing bath prepared
as follows:
Hypo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISO gm. sl4 oz.
Saturated solution sodium bisulphite. . ........ . . so cc. ~ oz.
Water to make ... . . . ....... . . . . . . . .. ...... .. .. 1000 cc. 3S oz.
(Fixing must not be omitted when the plate has been intensified.)
:
'
I
"
A final wash of four to five minutes completes the process.
The Agfa Color Plate.-The Agfa color plate, like the Lumiere
Autochrome, is a mosaic, multi-color, screen plate. The plate itself, as
well as the operations of producing color transparencies with it, very
closely resembles the Autochrome. The individual color elements are
about the same average size as in the Autochrome plate but are more
uniform, varying in size from o.oo8-o.OI7 mm. The screen as a
whole, however, transmits very nearly twice as much light as the
Autochrome; the relative transmissions being I4 per cent for the Agfa
plate and 7-5 per cent for the Autochrome. The manipulation of the
Agfa color plate differs from that of the Autochrome only in some
minor details.
Duplicating Processes of Screen-Plate Color Photography.-De-
spite the obvious advantages of a duplicating process employing a
separate taking screen, such methods have not met with commercial
success. One of the earliest of such plates was the Joly-MacDonough,
issued about 1892, but discontinued on account of difficulties met with
in the production of the taking screen-plate. The Thames plate, in-
troduced several years later, enjoyed a brief spell of popularity and
was finally replaced by the Paget Duplicating Process which was es-
sentially an improved Thames plate. This was probably the most
successful of the separate screen-plate methods but was discontinued
early in 1925. Soon after the disappearance of the Paget method a
similar process, but of higher speed, was announced by Chas. Baker
of High Holborn, London. This is the only representative of sepa-
rate-screen methods now on the market.
The Duplex Method.-The exposure is made with the special taking
screen in contact with the panchromatic emulsion specially provided for
the process; After exposure, the plate is developed in the usual
manner, a desensitizer being employed if desired. Intensification or
reduction of this negative may be carried out exactly as with other
negatives. From this negative any required number of transparencies
may be made on black-tone transparency plates and these positives
when superimposed in exact register on the viewing screen reproduce
the colors of the original subject.
The process thus permits of unlimited duplication without loss of
quality since as many transparencies as desired may be made from the
original negative by the simple operation of contact printing. Besides
this important advantage there is another no less important: i.e. the
greater speed of the separate plate method. As shown by Mr. F. E.
l
~
~ ~ ~ ~
554 PHOTOGRAPHY
I ves the tri-color filters used for making the three color-sensation nega-
tives should divide the spectrum into approximately three equal parts,
while the three filt ers used for vi ewing purposes should transmit only
very narrow bands of the three colors. With the combined plate
Ftc:. 205. Duplex Screen
naturally a compromise must be made for one screen must serve both
purposes, but with separate screens the taking screen can be made
lighter, thus reducing the exposure required. The Paget process was
considerably faster than the Autochrome plate and the new Duplex
method is from four to five times as fast as the latter. With a lens
having an aperture of F I 45 full exposure in bright light will be
secured at about 7{:
0
of a second, thus permitting hand camera ex-
posures under favorable conditions.
Not all is plain sailing, however, for there are some drawbacks to
the separate screen method. The most important is the parallax error
arising when the image is not viewed at exactly right angles. When
examined from any other than a right angle the patch of silver deposit
in the transparency is not in. line with its appropriate color screen but
the one to the left or right of it. The colors vary, therefore, with the
angle from which the image is observed and only by looking at it
perpendicularly can the proper colors be seen: This defect of parallax
is present to a greater or less degree in all separate plate processes and
'.
I
c
[.,
),
..
jl
unfortunately the smaller the color elements the greater is the parallax
error.
Other drawbacks are the difficulty of securing perfect contact be-
tween the taking screen and the sensitive plate and between the view-
ing screen and the positive transparency-a condition which becomes
increasingly difficult with an increase in the size of the transparency.
Registration also presents some difficulties at times but these are but
minor matters which do not radically affect the performance of the
process.
ABNEY-Color Measurement and Mixture.
BoLAS, TALLIENT AND SENIOR-Photography in Colors.
BROWN-Color Photography. (Photo-Miniature No. 128. )
CLERC AND CAMELs-La Reproduction Photographique des Couleurs.
Ducos DU HAURON-La Triplice Photographique des Couleurs.
HuBI..--Three-Color Photography. (English Translation by H. 0. Klein. )
HuBL-Die Dreifarbenphotographie.
JoHNSON-Photography in Colors.
KONIG-Natural Color Photography. (English Translation by E. ]. Wall.)
KRONE-Die Darstellung der naturlichen Farben.
MEEs-Color Photography. (Photo-Miniature No. 183.)
VALENT A-Die Photographie in naturlichen Far ben.
VmAL-Photographie des Colours.
VIDAI..--Traite pratique de Photochromie.
WALL-Practical Color Photography.
WALL-History of Three-Color Photography.
--Color Photography-Instructions. (Photo-Miniature No. 147.)
19
~ I
\: ,,
< ~ : ... t:l
APPENDIX
LisT OF THE PRINCIPAL REFERENCE WoRKS oN PHoTOGRAPH Y
IN ENGLISH, FRENCH AND GERMAN
REFERENCES TO TECHNICAL JOURNALS
~ I
\: ,,
< ~ : ... t:l
APPENDIX
A LIST OF MORE IMPORTANT REFERENCE WORKS ON
PHOTOGRAPHY
Note.-The following list contains the titles of general reference
works only. For works relating to any particular subject see the
short bibliographies at the end of each chapter. Works are classified
according to the language which originally printed. Translations
are also listed where published in book form. Works which are now
out of print have been included where especially valuable. Although
these can no longer be obtained from the publishers, they may be
located from time to time by the large dealers in second-hand technical
works.
REFERENCE WORKS IN ENGLISH
ABNEY-Instruction in Photography, I90S.
ABNEY-Treatise on Photography, 1903.
ABNEY-Photography with Emulsions, I896.
BAYLEY-The Complete Photographer, 1923.
BROTHERS-A Manual of Photography, I899.
DERR-Photography for Students of Physics and Chemistry.
L JoNEs-Science and Practice of Photography.
of Today.
]oNEs-Cassell's Cyclopedia of Photography, I912.
MEES AND SHEPPARD-Investigations on the Theory of the Photographic Process,
1907.
MELDOLA-The of Photography.
MoRTIMER AND WALL-The Dictionary of Photography.
RoEBUCK-The Science and Practice of Photography.
WATKINs-Photography-! t s Principles and Applications, I927.
WooDBURY-Dictionary of Photography, 1897.
FLINT-The Chemistry of Photography, 19I8.
The Physical Chemistry of the Photographic Process, 1923.
Photography as a Scientific Implement, 1923.
REFERENCE WORKS IN GERMAN
DAvin-Lehrbuch der Photographic.
DAvin-Photographisches Praktikum.
EDER-Ausflihrl iches Handbuch der Photographi c, I92o--I 930. In four volumes.
(The most complete and authoritative work on the subject in existence.)
559
560 PHOTOGRAPHY
EDER AND V ALENTA-Beitrage zur Photochemie, 1904.
GoLDBERG-Der Aufbau der Photographischen Bildes, 1920.
LIESEGANG-Photographische Physik.
LmsEGANG-Photographische Chemic.
LUPPO-CRAMER-Kolloidchemie und Photographic, 1921.
LuTHER-Die Chemischen Vorgange in der Photographic, 1899.
LANIER-Photochemische Chemic und Photochemie, 1899.
METHIE-Lehrbuch der Praktischen Photographic.
PIZZIGHELLI-Handbuch der Photographic.
PLOTNIKow-Photochemische Versuchstechnik.
PLOTNIKow-Grundriss der Photochemie, 1923.
ScHMIDT-Kompendium der Photographic, 1920.
ScHMIDT-Photographiren.
ScHMIDT-Vortrage uber Chemic und Chemikalienkunde fur Photographierende.
SToLz-Chemie fur Photographen.
V ALENTA-Photographische Chemic und Chemikalienkunde, 1920.
WENTZEL-Die Photographisch-chemische lndustrie, 1926. ~
REFERENCE WORKS IN FRENCH
BELIN-Precis de Photographic Generale, 1905.
BRAUN-Dictionnaire de Chimie Photographique, 1904.
CLERc-La Photographic Practique.
CousTET-Ou en est Ia Photographic.
DAVANNE-La Photographic, Traite Theoretique et Practique, r888.
FABRE-Traite Encyclopedique de Photographic, r88g--1906. Eight volumes.
(The standard reference work in French.)
HENRI-Etudes de Photochemie, 1919.
MATHET-Traite Chimie Photographique.
PouLENc-Les Produits Chemiques en Photographic.
SEYEWETZ-Le Negatif en Photographic.
Chapter I. The Development of Photography
(For list of general referenc-e works see page 37)
CROMER-Deux Details Historiques. Bull. Soc . . franc. Phot., 1923, p. 259.
CROMER-Une Lettre de Nicephore Niepce. Bull. Soc. franc. Phot., 1922, p. 69.
PoTONNIEE-Baynard and The Invention of Photography. Brit. J. Phot., 1914,
61, 43
PoTONNIEE-The Cardinal Plate of Niepce. Brit. J. Phot., 1920, 67, 29.
PoTONNIEE-Date of the Invention of Photography. Bull. Soc. franc. Phot.,
1921, p. 312.
POTONNIEE-The Origin of the Camera Obscura. Bull. Soc. -franc. Phot., 1923,
p. 52.
TENNANT-WooDs-Early Daguerreotypers in the United States. Brit. J. Phot.,
1920, 67, 420.
WATERHOUSE-History of the Camera Obscura. Phot. J., 1900, 40, 270.
WATERHOUSE-The Development of Photography with Salts of Silver. Phot.
J., 1903, 43, !59-
WATERHOUSE-Robert Hooke's Portable Camera Obscura. Phot. J., 1909, 49,
348.
W.ATERHOUSE-Robert Boyle's Portable Camera Obscura. Phot. J., 1909, 49,
333
Chapter II. The Camera and Darkroom
THE ARRANGEMENT OF THE DARKROOM
BRowN-Fitting up the Darkroom. B. J. Almanac, 1913, p. 523.
DAvis-The Arrangement of a Darkroom. Amer. Phot., 1913, 7, 198.
GEAR-Fitting up the Darkroom. Phot. J., Igii, 51, 338.
KING-That Model Darkroom. Amer. Phot., 1920, 14, 67.
KRAFT-Shutter for Darkroom Window. Amer. Phot., 1915, g, 664.
LAFER-:-MY Darkroom. Amer. Phot., 1913, 7, 579
RoBERTs-The Evolution of a Darkroom. Amer. Phot., 1916, ro, 16, 238.
WESTON-Darkroom Fittings.. Phot. J.. 1921, 61, 25.
ON DARKROOM SAFELIGHTS
HARTRIDGE-Darkroom Safelights. Brit. J. Phot., I9I5, 63, 593
HICKMAN-Illumination of the Darkroom by Means of Lamps in Liquid Cells.
Phot. J., 1920, 6o, 147.
MEES-Darkroom Illumination by Reflected Light. Brit. J. Phot., 1915, 62, li93.
MEEs AND BAKER-Measurement of the Efficiency of Darkroom Light Filters.
Phot. J.. 1907, 47, 276.
NEUGEBAUER-Preparation of Darkroom Safelights. Brit. J. Phot., 1923, 70,
397
561
PHOTOGRAPHY
PLEDGE-Darkroom Illumination. Brit. J. Phot., I92I, 68, 249.
STENGER-Liquid Darkroom Safelights. Brit. J. Phot., I905, 52, 732; Zeit.
wiss. P., I905, 2, 233.
TRIVELLI-Lights for the Darkroom. Brit. J. Phot., I9II, 58, 474, 494, 533, 628,
777, 872, 957; I9I2, 59, 22.
Chapter III. Photographic Optics
(For list of general reference works see page 87)
FocAL LENGTH AND ITs DETERMINATION
JoBLING AND SALT-Measurement of Focal Length by Clay's Method. Brit. J.
Phot., I922, 69, I37
JoHNSON-Focal Length of a Lens or Lens Combination. Phot. J., I9Q6, 46,
300.
JoHNSON AND GLEICHEN-Summary of Laws Relating to Focal Length. Phot.
]., I9I3, 53, I83.
LAMBERT-Measuring the Focal Length of a Lens. Phot. Journal of America,
I923, 6o, 87.
LocKETT-A New Method for Finding the Focal Length of Lenses. Brit. J.
Phot., I9I5, 62, 4II ; Brit. J. Phot., I922, 69, 434.
--.-Measuring Focal Length. (Summary of Methods.) Brit. J. Phot.,
I9I6, 63, 79
DEPTH oF Focus
BROWN-Theory and Practice of Depth of Focus .. Brit. J. Phot., 1922, 69,
492, 507, 52I, 534
BROWNE-A Simple Depth Chart. Brit. J. Phot., I923, 70, 775.
CoLLINs-Depth of Focus and Its Grap,hical Representation. Brit. J. Phot.,
I920, 67, 645, 659
FRAPRIE-Table of Hyperfocal Distances. Brit. J. Phot., I9I5, 62, 795.
JoHNSON-Calculating the Distance Beyond Which Everything is in Focus.
P h o ~ ]., I9Q6, 46, 329.
LEE-Chart for Finding the Depth of Focus. Phot. ]., I922, 62, 229; Brit. J.
Phot., I922, 69, I35
PIPER-Depth Simplified. Brit. J. Phot., I905, 52, I004.
PIPER-Depth and the Sine Condition. Brit. J. Phot., i9Q6, 53, 125.
PIPER-Causes of Variation in Depth of Focus. Brit. J. Phot., I903, so, 666,
687.
RuDOLPH-A New Depth Test Object. Phot. Rund., I92I, p. 266.
SCALE OF OPTICAL REPRODUCTION
BROWN-Scale of Optical Reproduction. Brit. J. Phot., I92I, 68, 667, 685, 702.
LoSS OF LIGHT IN LENS SYSTEMS BY ABSORPTION AND REFLECTION
CHESHIRE-The Loss of Light in Lenses. Brit. J. Phot., 1912, 59, 597, 645.
MoFFITT-The Light Absorbed by Lenses. Phot. Journal of America, I920, 59,
4II.
NuTTING-The Brightness of Optical Images. Phot. ]., I914, 54, 187.
REFERENCES TO TECHNICAL JOURNALS 563
0DENCRANTs-The Experimental Determination of the Luminosity of Photo-
graphic Obi ectives. Nord. Tids. Fot., 1925, g, 21 ; S. I. P., 1925, 5, 87.
ZscHOKKE-Factors Other than Aperture in the Rapidity of a Lens. Brit. ].
Phot., 1912, 59, 823.
Chapter IV. The Aberrations of the Photographic Objective
(For list of general reference works see page I04)
ON THE ABERRATIONS OF PHOTOGRAPHIC OBJECTIVES AND THE TESTING OF
OBJECTIVES
BENNETT-Aberrations of Long Focus Anastigmatic Objectives. Bur. Stand-
ards Paper, No. 494.
Bow-On Photographic Distortion. Brit. J. Phot., 1861, 8, 417.
Bow-On the Curvature of the Image. Brit. J. Phot., 1863, ro, 228.
Bow-On the Loss of Light from Obliquity of Incidence. Brit. J. Phot., 1866,
13, 159.
CARSON-The Correction of the Aberrations of a Photographic Objective. Phot.
]., 1903, 43, 188, 278.
CHALMERs-The Aberrations of Photographic Objectives. Phot ]., 1907, 47,
374
CLAY-Determining the Focal Length and Aberrations of a Photographic Ob-
jective. Phot. J., 1904, 44, 189.
GRuBB-On the Equalization of the Photographic Image in Fields of Large
Angle Projected upon a Flat Surface. Brit. J. Phot., 1863, 10, 401.
GRUBB-Depth of Focus and Spherical Aberration. Brit. J. Phot., 1867, 12, 61.
HouDAILLE-Sur D'essai Scientifique et Pratique des Objectifs Photographiques.
Bull. Soc. franc Phot., 1893, g (2 Series), 257. Librarie Gauthier-Villars,
1893
KoHLRANSCH-Testing Photographic Objectives. Phot. Korr., 1920, p. 45.
and Apochromatic Correction. Phot. J., 1902, 42, 18g.
LENOUVEL-Methode de Determination et de Mesure des Aberrations des Sys-
tems Optiques. S. T. I. P., 1924, 4, 33.
MoESSAR&-Appareil pour L'Etude . Experimentale Complete des Lentilles et des
Objectifs Photographiques. Bull. Soc. franc Phot., 188g, 5 (2 Series),
124.
RHEDEN-Reflections in Lenses. Phot. Rund., 1921, 101.
"RHOMB "-Lens Corrections. Phot. J., 1907, 47: Part I, p. 24; Part II,
p. 222; Part III, p. 279; Part IV, p. 330; Part V, p. 351.
" RHOMB "-Achromatism. Phot. J., 1908, 48: Part I, p. 320; Part II, p. 333;
Part III, p. 343; Part IV, p. 37 5. Phot. J ., 1909, 49 : Part V, p. 54; Part
VI, p. 126.
" RHOMB "-Astigmatism. Phot. ]., 1909, 49, 417.
"RHOMB "-An Exact Formula for Spherical Aberration. Phot. J,, 1909, 49,
381.
STEINHEIL-Das Prufeq und Wahlen der Photographen-Objectiv. Phot. Korr.,
1869, 6, 49
TAYLOR-Axial Aberrations of Lenses. Brit. J. Phot., 1918, 65, 101, II3, 124.
TAYLOR-Lens Testing Instruments. Phot. J., 1902, 42, 40.
564
PHOTOGRAPHY
Tni.YER AND KERR-Lens Testing Instrument. U. S. P., I, 383, 578.
TwYMAN-On the Use of the Interferometer for Testing Photographic Ob-
jectives. Phot. ]., I9I9, 59, 239.
THOMPSON-Zonal Aberration and its Consequences. Phot. ]., Igoo-oi, 40, 383.
British Journal Almanac, Igo2.
Chapter V. The Photographic Objective
pAPERS ON THE DEVELOPMENT OF THE 0BJECfiVE
BuNGER-Genesis of Modern Lenses. Brit. ]. Phot., I907, 54, 638, 66o, 736.
CLAY-The Photographic Lens from a Historical Point of View. Phot. J.,
I922, 62, 459
DALLMEYER-The Evolution of Modern Lenses. Phot. ]. , Igoo-QI, 40, 64.
LuMMER-Beitrage zur photographischen Optik. Zeitsch. Instrument, I7, 2o8,
225, 264.
VoN RoHR-Uber die Bedingungen fur die Verzeichnungsfreiheit optischer Sys-
teme mit besonderer Bezungnahme auf die bestehenden typen Photo-
graphischer. Zeitsch. Instrument, I898, I7, 271.
VoN RoHR-Beitrage zur Kenntniss der geschichten Entwicklung der Ansichten
uber die Verzeichnungsfreiheit photographischer Objectiv. Zeitsch. In-
strument, I898, IS, 4.
VoN RoHR-Uber die Lichtvertheilung in der Brennebene photographischer Ob-
jectiv mit besonderer Berucksichtigung der bei einfachen Landschaftslinsen
und symmetrischen Konstruction auftrenden Unterschiede. Zeitsch. In-
strument, I898, IS, I7I, I97
VoN RoHR-Die Entwicklungeschichte der getrauchlichen Typen Photograph-
ischen Objectiv. Eder's Jahrb., I900, I4, 106.
VoN RoHR-Development of Symmetrical Objectives with Central Diaphragm,
Composed of Equal or Similar Halves up to the Time of the Aplanat.
Central Zeitschrift Mech. Optik., I92I, p. 327.
VoN RoHR-Contributions to the History of the Photographic Objective in
England and America between I80o-I875. Phot. ]., I924, 64, 359.
pAPERS RELATING TO I NDIVIDUAL LENSES
ALDis-Astigmatism and a New Stigmatic Lens. Phot. J ., I895, 35, II7; Brit.
] . Phot., I896, 43, 262, 280.
BECK-A New Principle ip Photographic Lens Construction. Phot. ] ., I904,
44, I72.
BECK-The Isostigmar. Phot. ]., I907, 47, I9I.
HARTING-Recently Discovered Objectives of Petzval and Zinc-Sommer. Phot.
Ind., J924, p. I030.
KLUGHARDT-The Ernemann Ernostar F/2 Anastigmat. Phot. Ind., 1924, p.
IOo8.
LEE-The Taylor, Taylor and Hobson Flz Anastigmat. Trans. Opt. Soc., 1924,
25, 240.
MERTE-The Tele-tessar. Cent. Zeit. Mech. Opt., I921, p. 245.
MIETHE-Symmetrisches Objectiv ohne Astigmasie. Phot. Mitt., 1888, 25, 123.
.,
REFERENCES TO TECHNICAL JOURNALS 565'
Puvo AND PuLLIGNY-The Anachromats. Brit. J. Phot., 19o6, 53, 184.
RuDOLPH-Anastigmatic Aplanatism and the Zeiss Lenses. Brit. J. Phot., 1893,
40, 481.
RoDENSTOCK-Bistigmatsatz. Phot. Rund., 1901, -, 37.
VoN RoHR-Uber das Planar. Eder's Jahrbuch, 18g8, 12, 70.
VoN RoHR-Uber altere Portratobjektive. Zeitsch. Instrument, 1901, 21, 40.
WENHAM-Achromatic Periscope. Brit. J . Phot., 1874, 21, 597, 621; Brit. J.
Phot., 1875, 22, 22.
PATENTS ON LENSES
(B. P., British Patent; D. R. P., German Patent; U. S. P., United States
Patent; B. F., French Patent)
ABBE AND RuDOLPH-Photographic Triplet. D. R. P. 55,313/J89o, B. P. 6029/90.
ALDis-The Stigmatic. B. P. 16,64o/95, D. R. P. 92,582/95.
ALDrs-The Aldis Triplet. B. P. 517o/o2.
ARBEIT-Symmetrical Anastigmatic Objective. D. R. P. 135,742/01, D. R. P.
250,781/II, B. P. 16,331/II.
BEcK-Isostigmar. B. P. 27,18oh9o6, B. P. 14,673h9o8, D. R. P. 194,267.
BEcK-Neostigmar. B. P. 2619h9II, B. P. 3399h9II, B. P. 4714lr9II.
BoOTH-Pentac. B. P. rsr,so6/2o.
CLARK-Objective. U. S. P. 399.499/r889.
DALLMEYER-Rapid Rectilinear and Modified Petzval Lens. B. P. 2502/r866.
DALLMEYER-Rectilinear Landscape Lens. B. P. 1853/J888.
DALLMEYER-Single Landscape Lens. B. P. 2539h864.
DALLMEYER-The Achromatic Triplet. B. P. 396/J866.
GoERz-Cf. Von Hoegh and Zschokke.
GRAF-Graf Anastigmat. U. S. P. I,463,132h923, B. P. 22,400h9IO, U. S. P
981,412/II.
GRUBB-Grubb's Lens. B. P. 1968/r87I.
GuNDLACH-Turner-Reich Anastigmat.
HARRISON-The Globe Lens. B. P. 24g6/J86o.
KAEMPFER-Kollinear. D. R. P. 90,482h895, D. R. P. 91,883h895
KoLLMORGEN-Aristostigmat. D. R. P. 125,560.
LAN-Davis-Serrac. B. P. 27,518.
LACOUR BERTHIOT-Anastigmat. B. F. 374,045h907.
LAcouR BERTHIOT-Stellor. B. F. 456.484/r913.
LEE-Unsymmetrical Anastigmatic Objective. B. P. 209,371.
LEITZ-Unsymmetrical Anastigmatic Objective. D. R. P. n6,449.
MARTIN-Omnar. 0. P. 8364/1901.
MoRRISON-Wide Angle Lens. U. S. P. 126,979.
PoLAK-Hyperchromatic Objectif. B. P. 201,920.
RuDOLPH-Doppel-Anastigmat. B. P. 4692/r893, B. P. 19,509lr894
RuDOLPH-The Planar. D. R. P. 92,313, B. P. 27,63slr896.
RuDOLPH-Unar. D. R. P. I34,408/r899, B. P. 24,089/r899
D. R. P. 142,294h902.
RuDOLPH-Protar Series VIla (New Construction). D. R. P. 228,667h909,
B. P. 23,604/1909.
RuDOLPH-Plasmat. B. P. I6I,091h920.
566 PHOTOGRAPHY
REICHERT-Solar. D. R. P. I89,255lr904.
REICHERT-Combinare. D. R. P. I53,525.
REITZSCHEL-Linear. D. R. P. II8,466/r898.
RoDENSTOCK-Imagonal. D. R. P. I77,266.
ScHROEDER-Concentric Lens. B. P. 5I94/88.
ScHROEDER-Achromatic Periscope. U. S. P. 554,737/96.
SMITH-Air Space Doublet. B. P. I33,459.
STEINHEIL-Orthostigmat. D. R. P. 76,662/93. Orthostigmat Type II. D. R. P.
88,5o5/93.
STEINHEIL-Antiplanet. D. R. P. I6,354/8I, B. P. I6o2/8r.
STEINHEIL-Unofocal. D. R. P. 133,957.
STEINHEIL-Portrait Aplanat. B. P. !!24/74
STEINHEIL-Group Aplanat. D. R. P. 6I89/79.
STEINHEIL-Periskop. B. P. 2937/65.
SIMON-Octanare. D. R. P. I68,977.
TAYLOR, H. D.-Cooke Triplet. B. P. 22,607/93, D. R. P. 8I,825/94, B. P.
I5,I07/95, D. R. P. 86,757/95, B. P. 24,39IIr905, B. P. 3398/I905, B. P.
766III9o6, B. P. 3799/I9I2.
VoN HoEG:H-Dagor. D. R. P. 74.437/92, B. P. 23,378/92.
VoN HoEGH-Improve<:l Form of the Dagor. B. P. I3,I62/95.
VoN HoEGH-The Celor and Syntor. D. R. P. I09,283/98, B. F. 278,768/98,
B. F. 329,394/03, D. R. P. 202,o83/o7.
VoiGTLANDER-Modification of the Petzval Objective. D. R. P. 576I/78, B. P.
4756/78.
VoiGTLANDER-Euryscope. D. R. P. 576I/78, B. P. I938/77.
ZEiss-Triplet Anastigmat. D. R. P. 86,757/95, B. P. 6328/r3, B. F. 455,546/r3.
ZEISS-Four Lens Symmetrical Anastigmat. U. S. P. I.479,I97!23.
ZscHOKKE-Dogmar. D. R. P. 258.495/r2, B. P. 833lr3, B. F. 453,230/r3.
THE TELEOBJECTIVE
l?eference U!orks
DALLMEYER-Le teleobjectif et Ia photographie. (French translation by L. P.
Oerc. I904. English edition out of print.)
LAN DAVIs-Telephotography.
ScHMIDT-Das Teleobjectiv.
VoN RoHR-Zur Geschichte und Theorie des Photographischen Teleobjektivs
mit besonderer Berucksichtigung der durch die s i n ~ r Strahlen Begrenzung
bedingen Perspectiv. I897.
WHEELER-Telephotography.
Papers
DALLMEYER-The Adon and Notes on Telephotographic Systems. Phot. J., I902,
42, 97
DALLMEYER-A New Teleobjective for Photography. J. Cam. Club (London),
I892, p. IO, Eder's "Photographischen Objektiv," p. I7I.
DALLMEYER-The Compound Telephoto Lens. ]. Cam. Club (London), 1892,
Eder's " Photographischen Objektiv," p. I75
LEE-Principles and Construction of the Telephotographic Lens. Phot. ]., 1925,
6s, 392.
MIETHE-Ein neues telephotographisches System. Eder's Jahrb., I892, 6, I52.
VoN RoHR-Petzval's Orthoskop. Eder's Jahrb., I900, 14, 108.
VoN RoHR-Zur Entwicklungsgeschichte des Teleobjektivs und seiner Theorie.
Eder's Jahrb., I897, II, I8I.
WATERHOUSE-Lens Systems and the Genesis of Telephotography. Phot. ] .,
I902, 42, 4
pATENTS ON TELEOBJECTIVES
BIELICKE AND STUART-The Telecentric. B. P. 2349/!2.
BooTH-The Dallon. B. P. I5I,506/I9, B. P. I5I,507h9, u. s. P. I,480,929124.
BooTH-The Telic. B. P. I,156,743h9I5.
LAN DAvis-The Large Adon. B. P. u85/I4.
LEE-Teleobjective. B. P. I32,067II9I8.
MARTIN-The Busch Bis-Telar. B. P. I5,732.
MERTE-The Tele-tessar. B. P. I45,548h9, B. P. I79,529i2I, U. S. P. I,467,-
8o4/23.
STUART AND BIELICKE-The Teleros. B. P. I88,62II22.
WHEELER-Telephotographic Lens. B. P. I8,I2I.
ZEiss-Teleobjectives. B. F. 363,499/ o6, B. P. 4532/06, D. R. P. 227,II2/o8,
B. F. II,7oi / o9, B. P. I9,58o/o9.
Chapter VI. The Photographic Emulsion
(For list of general ref erence works see page I67)
GELATINE IN PHOTOGRAPHY
FINDLAY-Some Properties of Colloidal Matter and Their Applications in
Photography. Phot. ]., 1920, 6o, 223.
SHEPPARD-Colloid Chemistry and Its Relation to Photography. Phot. ]., I909,
49. 320.
SHEPPARD-The Modern Chemistry of Gelatine. Brit. J. Phot., 1922, 6g, 677,
695, 7o6, 710; ]. Ind. and Eng. Chern., 1922, 14, 1023.
SHEPPARD, ELLIOTT AND SwEET-Photographic Properties of Gelatine. Physical
Chemistry of the Photographic Process. (Published as Transactions of
the Faraday Society.)
SHEPPARD-Photographic Gelatine. Phot. ]., 1925, 65, 380.
SLADE-Colloid Chemistry in Photography. (Bibliography.) Brit. ]. Phot.,
Ig20, 67, 645.
SLATER-PRICE-Gelatine. Phot. ]., I922, 62, 356.
SLATER-PRICE-Certain Fundamenta.l Problems in Photography. J. Roy. Soc.
Arts, 1924, 72, 725, 739, 753
ScHAUM-Photographic Binding Media and Other Gels. Koii.-Zeits., 1925, 36,
199. (Zsigmondy-Festschr.)
THEORY OF EMULSION PROCESSES
BANCROFT-The Photographic Plate. ]. Phys. Chern., 1910, 14, I2, 97, 20I, 620.
ELSDEN-On the Formation of a Chemical Compound of Ammonia with Silver
Bromide. Phot. News, I88I, 25, 174.
568
PHOTOGRAPHY
GAEDICKE-Ammoniakraucherung bei Trockenplatten. Eder's J ahrbuch, 1913,
27, 62.
]ARMAN-Photographic Emulsions. Photominiature No. 179.
]oHNSON-Gelatino-Bromide of Silver Emulsions Treated with Ammonia. B.
J. Almanac, 1877, p. 95.
KNOCHE-Researches on Photographic Ripening. Phot. Ind., 1924, p. I 169.
LIESEGANG-Uber die Reifung von Silberhaloidemulsion. Zeit. Phys. Chern.,
1910, p. 75, 374
LIESEGANG-Ripening of Silver Halide Emulsions. Zeit. wiss. Phot., 1923, 22,
81.
LIESEGANG-Intermediate Stages in Emulsion Making. Phot. Ind., 1925, p. III.
LoRENz-KoHoidchemie und Photographie. Ko!L-Zeits., 1918, 22, 103.
LuPPO-CRAMER-The Ripening Process. Zeit. wiss. Phot., 1924, 23, 84, III;
1925, 23, 137.
LuPPO-CRAMER-Latent Fog in Emulsions.. Z. Angew. Chern., 1924, 37, 46.
MrTYATA-Manufacture of the Photographic Dry Plate. ]. Chern; Ind. Japan,
1921, 24, 884, 9Q6.
PAPYRUs-The Ripening of Washed Emulsions. Influence of Foreign Sub-
stances. Phot. Ind., 1925, p. 372.
QurNCKE-Die Bedeutung der Oberflachenspannung fur die Photographie mit
Bromsilbergelatine und eine Theorie des Reifungsprozesses der Bromsil-
bergelatin. Eder's Jahrbuch, 1905, xg, 3.
REINDERs-Studien uber die Photohaloide. Zeits. Physik. Chern., I9II, 77, 213,
357. 677
RENWICK-The Manufacture of Sensitive Emulsions as a Science and an Art.
]. Soc. Chern. Ind., 1923, 42, 43
RENWICK-Note on . the Factors Affecting Grain Size in Photographic Emul-
sions. Phot. ]., 1924, 64, 324
ScHARLow-Preparation of a Silver Bromide Emulsion for Diapositive Plates
and Bromide PapeFs. Phot. Ind., 1924, p. 233.
STEIGMANN-Remarks on Ripening. Phot. Ind., 1925, p. 88.
TRIVELLI-Beitrage zu einer Theorie des Reifungsprozesses der Silberhaloide.
Zeit. wiss. Phot., 1910, 8, 17.
TRIVELLI-Influence of Silver Iodide on the Sensitivity of Silver Bromide. J.
Soc. Chern. Ind., 1923, 42, goB.
GRAIN SENSITIVITY
BROOKSBANK-The Darkening of Silver Bromide Grains on Exposure to Light
as Further Evidence of their Heterogeneity in Photographic Emulsions.
Phot. ]., 1921, 61, 421.
CLARK-Grain Structure vs. Light Quanta in the Theory of Development
Brit. ]. Phot., 1922, 6g, 462.
CLARK-The Reduction Centers of a Silver Bromide Emulsion. Phot. ]., 1923,
63, 230. Brit. ]. Phot., 1923, 70, 227
CLARK-Sodium Arsenite and the Plate. Brit. ]. Phot., 1923, 70, 717.
CLARK-On the Sensitivity of the Silver Haloid Grains of a Photographic Emul-
sion. Phot. ]., 1924, 64, 91.
' /
CLARK-On the Sensitivity of a Silver Bromide Emulsion. The Physical Chem-
istry of the Photographic Process. (Published by the Faraday Society.)
CLARK-Reversal by Hydrogen Peroxide, Sodium Arsenite and Light. Phot.
]., I924, 64, 363.
CLARK-The Action of Arsenites on the Photographic Plate. Brit. J. Phot.,
I925, 72, ISS
RENWICK-The Sensitive Centers of Silver Bromide Grains. Brit. J. Phot.,
I923, 70, 359
SILBERSTEIN-Quantum Theory of Photographic Exposure. I. Phil. Mag., 1922,
44, 257; II. Ibid., I922, 44, 956; III. Ibid., I923, 45, Io62.
SHEPPARD, WIGHTMAN AND TRIVELLI-Exposure Theories. The Physica-l Chern-
istry of the Photographic Process. (Published by the Faraday Society.)
SHEPPARD AND TRIVELLI-Influ'ence of Crystal Habit on the Photochemical De-
composition in Silver Bromide Crystals. Phot. J., I923, 63, 334
SHEPPARD AND WIGHTMAN-Note on the Theory of Photographic Sensitivity.
Science, I923, 58, 89.
SHEPPARD AND TRIVELLI-Structure of the Photographic Emulsion. Trans.
Faraday Soc., I923, 19, 270.
SHEPPARD, TRIVELLI AND WIGHTMAN-Relationship of Photographic Emulsion
Fog to Grain Size. Phot. ]., I925, 65, I34
SHEPPARD, WIGHTMAN AND TRivau-The Action of Hydrogen Peroxide on
Photogretohic Gelatine-Silver Halide Emulsions. J. Frank. Inst., 1923,
195, 3'37
SHEPPARD, WIGHTMAN AND TRIVELLI-Action of Hydrogen Peroxide on P.lates
with a Single Layer of Grains. S. I. P., I925," 5, 59
SLADE A.ND HIGSON-Photochemical Investigation of the Photographic Plate.
Proc. Roy. Soc., I920, g8, 154.
SLADE AND HrGSON-Action of Light on the Photographic Plate. Phot. J., 192I,
6!, 35, 144, 252.
SLATER-PRICE-The Modern Conception of the Sensitivity of Photographic
Emulsions. Phot. J., I925, 65, 298.
SVEDBERG-Size and Sensitiveness of the Grains in a Photographic Emulsion.
Zeit. wiss. Phot., 1920, 20, 36.
SvEDBERG-The Reducibility of the Individual Halide Grains in a Photographic
Emulsion. Phot. J., I922, 62, I83.
SVEDBERG-On the Relation between Se"'Isitiveness and Size of Grain in Photo-
graphic Emulsions. Phot. J., I922, 62, 186.
SVEDBERG-The Interpretation of Light Sensitivity in Photography. Phot. J.,
I922, 62, 3IO.
SVEDBERG, ScHUNK AND ANDERSSON-Relation between Exposure and the Num-
ber of Developable Centers. Phot. J.,. I924, 64, 272.
ToY-The Theory of the Characteristic Curve of a Photographic Emulsion.
Phil. Mag., I922, 44, 352; II, I923, 45, 7IS.
ToY-The Quantum Theory of Photographic Exposure. Brit. J. Phot., 1922,
6g, 443
ToY-The Mechanism of Latent Image Formation. The Physical Chemistry
of the Photographic Process. (Published as Transactions of the Faraday
Society.)-
570 PHOTOGRAPHY
Toy AND EDGERTON-The Relation between the Light Frequency and the Num-
ber of Developable Centers. Phil. Mag., I924, 48, 947.
SIZE-FREQUENCY DISTRIBUTION
GERMANN AND HYLAN-Dispersity of Silver Halides in Relation to their Photo-
graphic Behavior. Science, I923, p. 332. Second Paper, J. Phys. Chern.,
I924, 28, 449
HIGSON-The Emulsion for a Process Plate. Phot. J., I9I9, 59, z6o.
SHEPPARD, WIGHTMAN AND TRIVELLI-Size-Frequency Distribution of Particles
of Silver Halide in Photographic Emulsions and its Relation to Sensi-
tometric Characteristics. I. ]. Phys. Chern., 1921, 25, r8I; II. Ibid., I92I,
25, 56I; III. Ibid., 1923, 27, I; IV. Ibid.,. 1923, 27, I4I; V. Ibid., 1923, 27,
446.
SHEI'PARD-Dispersity of the Silver Halides in Relation to their Photographic
Properties. First Colloid Symposium Monograph, I923.
SHEPPARD-Grain-Size and Distribution in Emulsions. Phot. J., I925, 65, 31.
SvEDBERG-Size and Sensitiveness of the Grains of a Photographic Emulsion.
Zeit. wiss. Phot., Igzo, 20, 36.
WIGHTMAN, TRIVELLI AND SHEPPARo-PhQtographic Densities Derived from
Size-Frequency Data. J. Phys. Chern., 1924, 28, 529.
Chapter VII. Orthochromatics
(For list of general reference works see page I 93 )
CoLOR SENSITIZING oF GELATINE EMULSIONS
ADAMS AND HALLER-The Kryptocyanines-A New Series of Photosensitizing
Dyes. ]. Amer. Chern. Soc., I920, 42, 266I.
ABRIBAT-Sur Ia Preparation des Colorants Sensibilisateurs dans les Emulsions
Photographiques. Bull. Soc. Franc. Phot., 1923, p. 283.
BRAUNHOLTZ-A Comparison of Three Isometric Cyanines ]. Chern. Soc. (Lon-
don), I922, 121, 169.
CAPSTAFF AND of Panchromatic Sensitiveness without
Dyes. Brit. J. Phot., I920, 67, 7I9.
MEES AND GuTEKUNST-Some Sensitizers for Deep Red. Brit. ]. Phot., I922,
6g, 474
MILLS AND PoPE-The Isocyanine Dyes as Sensitizers. Phot. J., I920, 6o, I83.
MILLS AND PoPE-The Carbocyanines as Photographic Sensitizers. Phot. J.,
I920, 6o, 253.
MILLS AND BRAUNHOLZ-The Thioisocyanines. ]. Chern. Soc. (London), I922,
I2I, 2004.
MILLS AND PoPE-2-p-Dimethylaminostyrylpyridine Methiodide-A New Photo-
graphic Sensitizer. ]. Chern. Soc., I922, I2I, 946.
MILLS AND HAMER-The Cyanine Dyes. III. J. Chern. Soc. (London), I920,
II7, I550.
MILLS-The Cyanine Dyes. IV. J. Chern. Soc. (London), I922, I2I, 455
.-
I
J
\ .
571
MILLS AND BRAUNHOLTZ-The Cyanine Dyes. v. J . Chern. Soc., 1922, 1:21,
1489.
MILLS AND BRAUNHOLTz-The Cyanine Dyes. VI. J. Chern. Soc., 1922, 121,
2004.
MILLS AND BRAUNHOLTz-The Cyanine Dyes. VII. ]. Chern. Soc., 1922, 1:21,
2804.
MoNPILLARD-Mixed Sensitizers. La Procede, 1906, February; Brit. ]. Phot.,
1906, 53, 245
NEWTON-Ortho Plates and Sensitizers. Phot. J ., 1903, 43, 262; 1905, 45, 15;
1906, 46, IIO, 300.
EDER-Uber farbenempfindliche Platten zur Spektrumphotographie im Infrarot,
Rot, Gelb, und Grun. (Pinacyanol blue, Pinachrome blue, Pinachrome
violet, and Dicyanine A.) Phot. Korr., 1915, 51, 23; Brit. ]. Phot., 1917,
64 (color supplement), 8.
HAMER-The Optical and Sensitizing Properties of Some Isometric Isocyanines.
Phot. ]., 1922, 6:2, 8.
HAMER-The 6.6'-diacetylamino-1.1'-diethylcarbocyanine. ]. Chern. Soc. (Lon-
don), I923, 1:23, 2333.
HAMER-Derivatives of the M!!thylenediaminaldines. ] . Chern. Soc., 1923, 1:23,
246.
HuBL-Absorption and Sensitizing Spectrum of the Cyanines. Phot. ]., 19o6,
46, I33; Das Atelier, 1906, 6, 14.
HusNIK-Color Sensitizing in Theory,and Practice. Phot. ] ., I90o--oi, 40, 364.
KoNIG-Sensitizing Plates by Bathing. Phot. ]., I 90S, 45, 370 (Abstract).
KoNIG-Pinaflavoi-A New Green Sensitizer. P. Rund., I92I, 6, So; Brit. ].
Phot., 192I (color supplement), p. I6; P. Rund., I92I, 6, I93
KoNIG-The Quinocyanines-The Constitution of Pinacyanol. Ber. Deuts. chem.
Ges., I922, 55, 3293.
LoHSE-Die Wirkung der Farben auf Bromsilbergelatineplatten. Eder's Jahrb.,
I894, 8, 271.
MEES AND SHEP:>ARD-Estimating the Color Sensitiveness of Plates. Phot. J.,
I906, 46, IIO.
MEES AND WRATTEN-Dicyanine and Photography of the Infra Red. Phot. ] .,
I908, 48, 25.
NEWTON-The Properties of Homocol as a Sensitizer. Phot. ]., I905, 45, 226,
264.
RENWICK AND BLOCH......:Auramine as a Sensitizer. Phot. J., I920, 6o, 145.
RENWICK-The Action of Soluble Iodides on Photographic. Plates. Phot. ].,
I921, 61, 34
SHEPPARD-The Optical and Sensitizing Properties of the Isocyanines. Phot.
]., Igo8, 48, 300.
SHEPPARD-The Action of Soluble Iodides and Cyanides on the Photographic
Emulsion. Phot. ]., I922, 62, 88.
VALENT A-Dyes for Color Sensitizing. Phot. ]., 1905, 45, 370, 341.
WALL-A Review of Recent Work in Color Sensitizing. Brit. J. Phot., 1907,
54, 365, 386, 400, 464.
572 PHOTOGRAPHY
WALTERS AND DAvis-Color Sensitive Photographic Plates and Methods of
Sensitizing by Bathing. Bulletin of the Bureau of Standards No. 422;
]. Frank. Inst., 1922, 193, 103; Brit. J. Phot., 1922, 6g, 416, 430.
WATERHOUSE-Experiences with Red Sensitizers. Phot. ]., 1904, 44, 165.
WRATTEN AND MEEs-Wedge Spectrographs. Brit. ]. Phot., 1907, 54, 304.
THE PHOTOGRAPHIC LIGHT FILTER
DAVIs-A New Method of Measuring the Factors of Light Filters. Phot. ].,
1921, 6r, 169.
HNATEK-Light Filter Formulre. Zeit. wiss .. Phot., 1915, 13, 133, 271; Brit. ].
Phot., 1921, 68, 95.
HoDGMAN-Light Filter Formulre. Brit. ]. Phot., 1922, 6g, 6.
MEEs-Luminosity Filters. Brit. ]. Phot., 1go6, 53, 430.
PoTAPENKo-Theory and Technique of Light Filters. (Appended to this paper
is a very complete bibliography of 115 papers on light fi,Jters in various
photographic and other technical journals.) Brit. ]. Phot., 1921, 68, 507,
522, 534
RENWICK-Color Values in Monochrome and a New Viewing Filter to Assist
in Obtaining Them. Phot. ]., 1919, 59, 158.
SMITH-Light Filter Making. Brit. J. Phot., 1921, 68, 459.
Chapter VIII. The Latent Photographic Image
(For list of general ref erence works see page 208)
REACTIONS OF THE SILVER HALIDES ON PROLONGED EXPOSURE
EGGERT AND NoDDAK-Silver Halide Emulsions and the Law of Photo-chemical
Equivalence. Z. Physik., 1925, 31, 922.
EGGERT AND NoDDAK-The Photo-chemistry of Silver Compounds. Z. Physik.,
1925, 31, 942.
GARRISON-Influence of Light on the Photo-magnetic Properties of the Silver
Halides. ]. Amer. Chern. Soc., 1925, 47, 622.
GuNTz-The Action of Light on Silver Chloride. Phot. }., 1905, 45, 131.
HARTUNG-The Action of Light on Silver Bromide. ]. Chern. Soc. (London),
1922, p. 682.
HARTUNG-The Photo-chemical Decomposition of Silver Bromide. ]. Chern.
Soc. (London), 1924, p. 2198.
KocH AND ScHRADER-The Action of Light on Silver Chloride, Silver Bromide
and Silver Iodide. Z. Physik., 1921, 28, 127.
KocH AND KREISs-Change of Mass of Silver Halides on Intense Illumination.
Z. Physik., 1925, 32, 384.
ScHWARZ AND STOCK-Photo-chemical Decomposition of Silver Bromide. Z.
anorg. Chern. , 1923, 132, 389.
SCHWARZ AND GRoss-Photo-chemical Decomposition of Silver Chloride. Z.
anorg. Chern., 1924, 133, 389.
STOCK-The Photo-chemical Decomposition of Silver Bromide. Zeit. wiss
Phot., 1?25, 24, 132.
J
WEIGERT--:-Photo-chemistry of Silver Compounds. Sitzungsber. preuss. Akad.
wiss., I92I, p. 64I.
QUANTITY OF LIGHT REQUIRED TO PRODUCE DEVELOPABILITY
HELMICK-On the Quantity of Light Required to Render Developable a Grain
of Silver Bromide. J. Opt. Soc. Amer., I922, 5, 998.
HELMICK-The Average Quantity of Ultra Violet Energy Required to Render
Developable a Grain of Silver Bromide. ]. Opt. Soc. Amer., I924, 9, S2I.
SHEPPARD AND WIGHTMAN-Energy Exchanges in the Formation of the Latent
Image. ]. Opt. Soc. Amer., I922, 5, 9I3.
ACTION OF OxiDIZING AGENTS ON THE LATENT IMAGE
CLARK-Sodium Arsenite and the Plate. Brit. J. Phot., I923, 70, 7I7.
CLARK-Action of Arsenites on the Photographic Plate. Brit. ]. Phot., I925,
72, ISS
LuPPo-CRAMER-Fog by Arsenite. Phot. Ind., I923, p. 456.
LuPro-CRAMER-Latent Image Reactions. Phot. Ind., I924, p. 1007.
RussEL-Action of Resin and Allied Substances on the Photographic Plate.
Phot. ]., I899, 39, 34S
SHEPPARD AND MEEs-Action of Substances on the Latent Image. Phot. ].,
I907, 47, 6s; Brit. J. Phot., I907, 54, 33
SHEPPARD, WIGHTMAN AND TRIVELLI-Effect of Oxidizers on the Sensitivity and
on the Latent Image. ]. Frank. Inst., I924, 198, so7.
SHEPPARD, WIGHTMAN AND TRIVELLI-Action of Arsenite and Oxidizing Agents. ,
]. Frank. Inst., I924, 198, 629.
STERRY-The Action of Oxidizers on the Latent Image. Phot.]., I907, 47, I70;
Brit.]. Phot., I907, 54, I66, I7I, 206; Eder's Jahrbuch, I907, 21, 364.
RETROGRESSION
BAEKLAND-Photo-retrogression. Zeit. wiss. Phot., I90S. 3. s8.
CHANNON-The Influence of Time on the Latent Image. Phot. ]., I9I7, 57, 72.
STRAuss-The Retrogression of the Latent Image. Kinotechnik, I924, 6, 3IS.
DEVELOPMENT AFTER FIXATION
LEFFMANN-Development after Fixation. Brit. J. Phot., I924, 71, 49
LUMIERE AND SEYEWETz-Bull. Soc. franc. Phot., I9II, 2, 264, 373
LUMIERE AND SEYEWETZ-The Latent Image after Fixation. Compt. rend., I924,
179. 14.
LuMIERE AND SEYEWETz-Development of the Latent Image after Fixing.
Compt. rend., I924, 178, I76S.
LuMIERE AND SEYEWETz-Causes of the Destruction of the Latent Image f t e ~
Fixation. Bull. Assn. Belg. Phot., I924, 46, 74; S. I. P., I924, 4, I39
LuPPO-CRAMER-Physical Development after Fixation. Phot. Ind., I924, p. 78o.
574 PHOTOGRAPHY
REVERSAL AND SOLARIZATION
ARENs-Significance of Photographic Reversal. Zeit. Phys. Chern., 1925, II4,
337.
CLARK-Reversal by Sodium Arsenite, Hydrogen Peroxide and Light. Phot.
J., 1924. 64, 363.
EnER-The Solarization of Photographic Plates. S. I. P., 1925, 5, 131; Brit. J.
Phot., 1925, 72, 459
ENGLISCH-Studien uber die Solarisation bei Bromsilbergelatine. Arch. wiss.
Phot., 1900, 2, 242.
LuPPO-CRAMER-Solarization. Phot. Ind., 1924, p. 1174; Zeits. Physik., 1924,
29, 387.
ScHEFFERs-Studies on Solarization. Zeits. Physik., 1923, 20, 109.
SLATER-PRICE-On Solarization. Brit. J. Phot., 1925, 72, 500.
TRIVELLI-Beitrag zur Kenntnis der Solarisationsphanomens und weiterer Eigen-
schaften des latenten Bildes. Zeit. wiss. Phot., 1909, 6, 197, 237, 272.
THEORIES OF THE LATENT IMAGE
ABEGG-Die Silberkeim Theorie oder subhaloid Theorie. Brit. J. Phot., 1899,
46, 773; Phot. ]., 1899, 39, April.
ALLEN-The Formation of the Image on the Photographic Plate. Phot. J.,
1914, 54, 175
BANCROFT-The Latent Image. ]. Phys. Chern., 1912; Brit. ]. Phot., 1912, 59,
881.
BANKs-The Theory of the Latent Image. Brit. J. Phot., 18g8, 45, 117.
BoTHAMLEY-The Latent Image. Phot. ]., 1899, 39, Jan.
BRAUN-Uber die Natur des latenten Bildes. Zeit. wiss. Phot., 1904, 2, 290.
BULL-The Latent Image. Brit. ]. Phot., 1go6, 53, 16g.
EnER-Silber sub-bromide in latente Lichtbilde auf Bromosilber und die Silber-
keimtheorie. Phot. Korr., 1899, 36, 276.
EnER-Die Silberkeim Theorie und Verwachtes. Brit. ]. Phot., 1899, 46, 788;
Phot. Korr., 1899, 36, 1650.
EMICH-Zur Geschichte des latenten Photographischen Bildes. Zeit. wiss.
Phot., 1907, 5, 183.
HoMOLKA-The Latent Image and Developers. Brit. ]. Phot., 1917, 64, 81.
InzERDA-Zur Theorie des latenten Bildes. Zeit. wiss. Phot., 1910, 8, 234.
KINGDON-Considerations on the Nature of the Latent Image. Phot. J., IgOO,
46, 57; Brit. ]. Phot., 19o6, 53, 36.
LuPPO-CRAMER-Studien uber die Natur des latenten Lichtbildes. Phot. Korr.,
1901, 39, 145, 218, 559, 643; Brit. ]. Phot., 1901, 48, 520, 552, 569, 820;
B. ]. Almanac, 1903
LUPPO-CRAMER-Neue Untersuchungen zur Theorie des photographischen Vor-
gange. Phot. Korr., 1904, 42, 12, 118, 159, 254, 319, 374, 432, 478, 573
LuPPO-CRAMER-Remarks on Some New Work on the Latent Image by Mr. F.
F. Renwick. Phot. Korr., 1920, 57, 259, 285.
LUPPO-CRAMER-History and Theory of the Latent Image. I. Zeit. wiss. Phot.,
1924, 23, 91; II. Ibid., 1925, 23, 122; III. Ibid., 1925, 23, 216.
LuTHER-Edersche Versuch und das latenten Bild. Brit. J. Phot., 1899, 46,
664; Phot. Korr., I899, 36, 584.
LuTHER-On the Present State of our Knowledge of the Nature of the Latent
Image. Brit. J. Phot., I9IO, 57, 65I.
MERCATOR-The Nascent Silver and Sub-Haloid Theories. Brit. J. Phot., I899,
46, 628.
0DENCRANTs-Was muss man von einer Theorie des latenten Bildes fordern.
Zeit. wiss. Phot., I9I9, r6, 261.
RAWLING-The Mystery of Latent Image. Phot. ]., I923, 63, 482.
RENWICK-Photographic Images-Visible and Invisible. Brit. J. Phot., I920,
67, 447, 463.
RENWICK-The Gelatine Emulsion and the Latent Image. Brit. J. Phot., I923.
70, 382.
ScHAUM-Zur Theorie des photographischen Processe. Arch. wiss. P., 1900,
2, 9
ScHUMANN-Theory of the Latent Image. Phot. ]., I899, 39, 313.
SEYEWETz-The Latent Image. Chemie et Industrie, I925, 13, 355.
STEIGMANN-Theory of Photographic Light Sensitivity. Chem.-Ztg., 1924, 48,
234
THORNE-BAKER-Cause of Sensitivity of Silver Bromide Emulsions. Phot. ].,
I924, 64, 369-
TRIVELLI-Beitrag zur Kenntnis der Silberhaloide. Zeit. wiss. Phot., 1909, 6,
358, 438.
TRIVELLI-Beitrag zur Photochemie der Silber (sub) haloide. Zeit. wiss. Phot.,
I9II, 8, II3.
TRIVELLI, SHEPPARD AND LoVELAND--The Formation of the Latent Image. ].
Frank. Inst., 1925.
ToY-The Mechanism of the
Photographic Process.
Society.)
Latent Image. The Physical Chemistry of the
(Published as the Transactions of the Faraday
WErsz-Researches on the Latent Image by Means of Plates Free from Colloid.
Brit. J. Phot., I907, 54, 96o.
Chapter IX. Sensitometry
GENERAL pAPERS ON SENSITOMETRY
BLOCH-Sensitometry. The Physical Chemistry of the Photographic Process.
(Published as the Transactions of the Faraday Society.)
H. and D. Doctrine. Brit. ]. Phot., 192I, 68, 335, 354, 372, 386,
401, 4I5.
EDER-System der Sensitometrie Photographischen Platten. Phot. Korr., 1900,
37, 24I, 304, 364, 44I, 495, 567, 625; 1902, 39, 386, 449, 504.
MEES AND SHEPPARD--Instruments for Sensitometric Investigation. Phot. J.,
1904, 44, 200. (With excellent bibliography.)
MEES AND SHEPPARD--The Sensitometry of Photographic Plates. Phot. J.,
1904, 44, 282. (With excellent bibliography.)
576
PHOTOGRAPHY
0DENCRANTs-Sensitometrische Apparate und deren Fahlerquellen. Zeit. wiss.
Phot., I9I9, 16, 69 (Bibliography).
STANDARD LIGHT SouRcEs
BoTHAMLEY-The Amyl-Acetate Lamp. Phot. ] ., I894, 34, 231. Eder's Jahr-
buch, I89o, 54.
DIBDIN-Light Standards. Phot. J ., I894, 6, 7I2.
EDER-Employment of Magnesium as a Secondary Source. Brit. J. Phot., I925,
72; S. I. P., I925, 5, I25.
ENGLISH-Eine Amyl-Acetate lampe fur Sensitometrische Zwecke. Phot. Mitt.,
I90I, 28, I57
FABRY-Luminous Standards for Sensitometry. S. I. P., I925, 5, I2I.
FERY-An Acetylene Standard. Phot. ]., I905, 45, I32.
}ONEs-Light Standards for Sensitometry. S. I. P., I925, 5, I23.
JouAusT AND BAILLAuo-Color Temperature of the Acetylene Flame. S. I. P.,
I925, s. I24.
JouAUST-The Incandescent Lamp as a Sensitometric Standard. S. I. P., I925i
s. I22.
LUTHER-Constant Light Source. Phot. ]., I925, 65, 6o.
MEEs-Screened Acetylene Light. Brit. ]. Phot., IgOO, 53, Bgg.
MEEs AND SHEPPARD-Investigations on Standard Light Sources. Phot. J .,
I9IO, so, 287; Brit. ]. Phot., I9IO, 57, 627.
NAUMANN-Artificial White Light for Photographic Purposes. Phot. J., I925,
65, 348.
NAUMANN-Colored Filters for Sensitometric Light Standards. Zeit. wiss.
Phot., 1925, 23, 303.
WALSH-Standards of Light for Photographic Sensitometry. Phot. J., I925;
65, 52.
ExPOSING APPARATUS
BRIEFER-Improvements in the Disk Dens itometer of H. a.nd D. Trans. Motion
Picture Engineers, I925, No. 2I, p. 85.
CALLIER-The Construction of Photometric Instruments. Phot. ]., I9I3, 53,
242; Brit. J . Phot., 19I3, 6o, 95I, 972.
DAVIDSON AND BALMAIN-A New Form of Exposing Apparatus. Phot. ].,
I925, 6s. 69.
EDER-The Eder-Hecht Wedge in Sensitometry and Photometry. Phot. Korr.,
I92o, s6, I, 4I.
FABRY-The Measurement of Density by Photographic Methods. S. I. P.,
I925. s. I28.
HARDY-A Non-intermittent Sensitometer. Jl. Opt. Soc. Amer., I925, 10, I49
HwsoN-A Simple Non-intermittent Sensitometer. Phot. ]., I920, 6o, 235.
HITCHINS-A Non-intermittent Sensitometer. Bull. Soc. franc. Phot., I92I, p.
74
]ONES-A Simple and Inclusive Method of Testing Plates. (Chapman Jones
plate speed tester.) Phot. J., I90I, 41, 246; Eder's Jahrbuch, I90I, 15,
491.
}oNES-A Non.-intermhtent Sensitometer. Phot. ]., I920, 6o, 6o.
RAWLING-E:x:posure Mechanism. Phot. ]., I925, 65, 64.
RENWICK-Sources of Error and Differences in Dry Plate Sensitometers. Brit.
]. Phot., I9IO, 57, 626.
RENWICK-Note on Exposure Mechanisms. Phot. ]., I925, 65, 74
EFFECT OF INTERMITTENT EXPOSURE AND THE RELATION OF TIME TO INTENSITY
ABNEY-The Effect of Intermittent Exposure and the Relation between Time
and Intensity. Treatise on Photography, I903, p. 391.
BLOCH-Plate Speeds, Failure of the Reciprocity Law. Phot. ]., I9I7, 57, 5I.
H UBL-Determina:tion of Schwarzschild's Index and its Significance. Phot.
, Korr., I9I9, p. 363.
JoNES AND HusE-On the Relation between Time and Intensity in Photographic
Exposure. ]. Opt. Soc. Amer., I923, 7, III5.
MALLET-Photographic Plates and the Law of Schwarzschild. S. I. P., I923,
3. I.
RENWICK-Some Deductions from Schwarzschild's Rule. Phot. ]., I9I6, 56,
II.
RoBERTSON-Determination of the Schwarzschild Constant. JI. Opt. Soc. Amer.,
I923, 7, 9.
SCHWARZSCHILD--Uber die Wirkung intermittentender Belichtung auf Bromsil-
bergelatine. Phot. Korr., I8g9, 36, Iog, I7I.
STRAuss-The Schwarzschild Exponent. Kinotechnik, I924, 6, I25.
WALLACE AND LEMON-The Reciprocity Law. Brit. ]. Phot., Igog, 56, 378.
WERNER-Das photographi sche Reziprozhatsgesetz fur Bromsilbergelatine bei
Erregung mit Licht verschiedener Wellenliiuge. Zeit. wiss. Phot., I907,
5, 382; I9Q8, 6, 25.
DENSITOMETERS AND DENSITY MEASUREMENT
BAKER-A Photo-Electric Photometer and Densitometer. J. Scient. Inst., I924,
I , 345
BuLL AND CARTWRIGHT-The Measurement of Photographic Density. Phot. J .,
I 924, 64, I 8o.
BuLL AND CARTWRIGHT-An Evaluation of the Light Scattered by Photographic
Densities. Phot. ]., I925, 65, I77.
CALLIER-Absorption and Scatter of Light by Photographic Negatives Meas-
ured by Means of Marten's Polarization Photometer. Phot. ]., Igog, 49,
200; Zeit. wiss. Phot. , I gog, 7, 257.
CAPSTAFF AND GREEN-A Motion Picture Densitometer. Phot. ]., I924, 64, 97.
CARNEGIE-Modification of the H. and D. Photometer. Brit. J. Phot., Igog,
56, I97
CLAVIER-Influence of Non-uniformity on Photographic Plates on Photometric
Measurements. S. I. P., I924, 4, g.
CousiN-A New Photographic Photometer. Brit. ]. Phot., I907, 54, 24.
CLERc-The Measurement of Density and the Expression of the e s u l t ~ S. I.
P., I925, 5, I28.
578 PHOTOGRAPHY
DoBSON-A Flicker Type of Photo-electric Photometer. Proc. ~ o y Soc., 1923,
A104, 248.
EGGERT AND ARCHENHOLD-The Optical Scattering Power of Photographically
Developed Silver Layers. Z. physik. Chern., I924, uo, 497.
FERGUSON-A New Density Meter. Phot. J., I9II, sr, 405; Brit. J. Phot., 19I2,
59, 24; Eder's J ahrbuch, I9I2, 26, 469.
FERGUSON-A Bar Photometer for Measuring Densities by Non-parallel Light.
Phot. ]., 1912, 52, 283; Brit. ]. Phot., I9I2, 59, 772.
FERGUSON-The F. R. B. Photometer. Phot. J., I918, 58, 155; Brit. ]. Phot.,
I9I8, 6s, I28, 213, 224.
FERGUSON-The Ferguson Density Meter No. V. Phot. ]., 1924, 64, 30; Brit.
]. Phot., 1924, 71, 19.
GoLDBERG-The Densograph. Brit. J. Phot., I9IO, 57, 649; Eder's Jahrbuch,'
I9IO, 24, 226.
HARTMAN-A New Photographic Photometer. Brit. J. Phot., I900, 47, 67.
HARRISON-Precision Photometers for Photographic Photometry. Jl. Opt. Soc.
Amer., 1925, ro, I57-
HoFFMANN-Ein neues Photometer zur Sensitometric. Phot. Korr., 1901, 38,
91, 651.
HJORT, LowY AND BLACKwoon--Optical Densitometer. Jl. Opt. Soc. Amer.,
1924, 9, 43
]ONEs-A Densitometer for the Measurement of High Photographic Densities.
]. Opt. Soc. Amer., 1923, 8, 231.
JONEs-An Opacity Balance. Phot. ]., I8g8-g, 38, 99.
Lux-A Densitometer. Phot. Korr., 1920, p. 13.
MARTENs-Modified Konig Photometer. (Exact title not available.) Phot.
Korr., 1901, 39, 528.
PERRINE-Photo-electric Cell Photometer for the Measurement of Photographic
Densities. Jl. Opt. Soc. Amer., I924, 8, 381.
PFUND--The Pfund Photometer. Brit. ]. Phot., I907, 54, 66o.
PATHE-Infiuence of the Diffusion of Light in Photometric Measurements.
Brit. J. Phot., I925, 72; S. I. P., I925, 5, I27.
RENWICK-A New Form of Density Measuring Apparatus. Phot. J., I9IO, so,
I77-
RENWICK-The Measurement of Densities. Phot. ]., I9I2, 52, 250, 26o; Brit.
]. Phot., I9I2, 59, 394; Eder's J ahrbuch, I9I4, 28, 384.
RENWICK-The Effect of Inter-reflection on Density Values. Phot. ]., I9I3,
53, 204; Brit. ]., I9I3, 6o, 6II.
RENWICK-An Improved Form of the Ferguson Bench Photometer. Phot. J.,
I9I4, 54. 167.
RENWICK-An Instrument for the Measurement of Gamma. Phot. ]., 1914, 54,
163.
RENWICK-How Should the Densities of a Photographic Deposit be Measured.
Brit. ]. Phot., I924, 7r, 65.
SANGER-SHEPPARD--Density Meter. Brit. ]. Phot., I9II, 58, 926; British Patent
23,429 of I9II,
STENGER AND KUJAWA-The Measurement of Photographic Density. Zeit.
wiss. Phot., 1924, 23, 8o; Phot. Ind., 1924, p. 953.
ToY AND RAWLING-Photo-electric Densitometer. Phot. ]., 1924, 64, r8g; Jl.
Scient. Instr., 1924, I, 362.
ToY-The Standardization of Photographic Density Measurements. Phot. J.,
1925, 6s, r64.
WEBER-Causes of Error in Density Measurements. Zeit. wiss. Phot., 1924,
23, 175-
WILSEY-Correction for Fog in Photographic Densities. Phot. ]., 1925, 65, 454.
DEVELOPERS AND DEVELOPMENT OF SENSITOMETRIC TESTS
BEAVER-New Methods of Control for Thermostats. J. Ind. Eng. Chern., 1923,
IS, 359
CLARK-Standard Development. Phot. J., 1925, 65, 76.
HARRISON AND DoBSON-Note on the Uniform Development of Photographic
Plates. Phot. ]., 1925, 65, Sg.
MEES AND SHEPPARD--Instruments for Sensitometric Investigation. Phot. J.,
1904. 44. 210.
SHEPPARD AND ELLIOTT-Influence of Stirring on the Rate and Course of De-
velopment. J. Frank. Inst., 1924, Ig8, 333.
WEDGE ScREENS AND THEIR UsE IN SENSITOMETRY
BLOCK-Selective Absorption of Neutral Wedges. Phot. ]., 1917, s7. sr.
EDER-Application of the Neutral Wedge Sensitometer. Phot. Korr., 1922, p.
17 (festnummer).
GoLDBERG-Gelatine Wedges. Brit. J. Phot., rgro, 57, 642, 648.
GoLDBERG-Uber die Automatische Herstellung der Characterischen Kurve.
Zeit. wiss. Phot., I9II, g, 323; Brit. J. Phot., rgro, 57, 642, 664.
HrGSON-Wedge Method of Photometry. Phot.]., 1921, 6I, 93.
LANGER-Neutral Wedge Sensitometry according to the Normal Constant Sys-
tem. Phot. Rund., 1924, 6I, 59
LEHMANN-Neutral Wedges in Sensitometry. Zeit. wiss. Phot., 1922, p. 214
(festnummer).
LOBEL-Automatic Registration of the Characteristic Curve. Bull. Soc. franc.
Phot., 1924, n, zg.
THE INTERPRETATION OF RESULTS
BAKER-Interpretation of the Characteristic Curve. Phot. J., 1925, 65, r8r.
BLOcH-Interpretation of Results. Phot. ]., 1925, 65, 186.
EDER-For all papers see Beitrage zur Photochemie.
HEYDECKER-Rapid Solution of Some Common Problems in Sensitometry. S.
I. P., 1925, 5, 21.
of the Characteristic Curve. Phot. J., 1925, 65, r8s.
MEEs-The Interpretation of Sensitometric Tests. Brit. J. Phot., rgo6, 53, 104,
126, 143. 179. 617, 636, 797. 857
MEES-Report on the Present Condition of Sensitometry. Brit. J. Phot., 1909,
56, 68s.
580 PHOTOGRAPHY
MEEs-The Photographic Reproduction of Tone. Phot. ]., I924, 64, 3IO.
RAYLEIGH-The General Problem of Photographic Reproduction. Phil. Mag.,
I9II, p. 734; Brit. J. Phot., I9I I, 58, 994
RENWICK-The Under Exposure Period in Theory and Practice. Phot. ]., I9I3,
53. I27.
RENWICK-Tone Reproduction and its Limitations. Phot. ]., I9I6, 56, 222;
Brit. J. Phot., I9I6, 63, 675.
RENWICK-The Under Exposure Period. Brit. ]. Phot., I9I2, 59, 28g, 3I2;
Eder's J ahrbuch, I9I2, 26, Io6.
THORNE-BAKER-Interpretation of the Characteristic Curve. Phot. ]., I925,
65, I8I.
WATKINs-New Methods of Speed and Gamma Testing. Phot. J., I9I2, 52,
207; Brit. ]. Phot., I9I2, 59, 3I6.
WALL-Elementary Sensitometry. Amer. Phot., I923, pp. 298, 356, 4I6.
Chapter XI. The Theory of Development
ON THE THEORY OF DEVELOPMENT
ABEGG-Eine Theorie der photographischen Entwicklung. Arch. Wiss. P.,
18gg, I, IQ9.
ABEGG-Theorie des Eisenentwicklers nach Luther. Arch. Wiss. P., I9QO, 2,
76.
ABEGG-Zur Frage nach der Wirkung der Bromide auf die Entwickler. Eder's
Jahrb., I904, 18, 65.
ANDRESEN-Zur Theorie der Entwicklung des latenten Lichtbildes. Phot. Korr.,
1898, 35, 445
ARMSTRONG-The Chemical Changes Attending Photographic Operations. I.
The Theory of Development in Relation to the Essentially Electrolytic
Character of the Phenomena and the Nature of the Photographic Image.
Brit. J. Phot., I892, 39, 276.
BANCROFT-The Effect of Bromide. Brit. ]. Phot., I9I2, 59, 878.
BANKS-The Theory of Development. Brit. ]. Phot., I8g6, 43, 677.
BoTHAMLEY-Remarks on Some Recent Papers on the Latent Image and its
Development. Phot. ]., I8gg, 39, I23.
BREDIG-Die electromotorische Scala der photographischen Entwicklers. Eder's
J ahrb., I8g5, 9, I9.
DESALME-The Chemical Theory of Development. Brit. J. Phot., I9IO, 57, 653.
FRIEDLAENDER-Zur Theorie der Entwicklung. Phot. Korr., Igoz, 39, 252.
HuRTER AND DRIFFIELD--The Action of Potassium Bromide. Phot. ]., I898,
38, 36o.
KELLER-The Theory of Photographic Development. Koll. Zeits., I923, 32, 394.
KROHN-The Mechanism of Development of the Image in a Dry Plate Nega-
tive. Phot. ]., I9I8, 58, I79; Brit. J. Phot., I9I8, 65, 4I2.
LuMIERE AND SEYEWETz-Contribution a L'Etude du Role des alcalis dans les
Revelateurs organiques. Bull. Soc. franc. Phot., IgOO, 16, 32.
LuPPO-CRAMER-Die verzogernde Wirkung der Bromide in den photograph-
lschen Entwicklern als kolloidchemischer Vorgang. Koll. Zeits., 1909,
.4. 92.
LuPPO-CRAMER-Uber den Einftuss der Bromide im Entwickler auf die topo-
graphische Verteilung des Silbers im Negativ. Phot. Korr., 1912, 49, 383.
LuPPO-CRAMER-Ueber die beranderung der konform der bromsilbers bei der
Reduktion und die Nahronertheorie der Entwicklung. Phot. Korr., 19II,
48, S47-
LUPPO-CRAMER-Zur theorie der chemischen Entwicklung. Phot. Korr., rgo8,
35. 266.
LUPPO-CRAMER-Acceleration of Development by Soluble Iodides. Koll. Zeits.,
1922, 30, 186.
MAITHEWS AND BARMEIER-The Electro-potentials of Certain Photographic De-
velopers and a Possible Explanation of Photographic Development.
Brit. ]. Phot., 1912, 59, 879.
MEES-Time Development. Phot. ]., 1910, so, 403; Brit. J. Phot., 1910, 57,
919; Eder's Jahrb., 1910, 25, 161.
PINNow-Behaviour and Function of Sulphite in Developing Solutions. P.
Rund., 1923, 6o, 27
PRECHT-Beitrage zur Theorie der Photographischen Entwicklung. An::h.
Wiss. P., 1900, 2, ISS; Brit. J. Phot., rgoo, 47, 650.
REEB-Theory of Development. Phot. J., rgo6, 46, 302; Bull. Soc. franc. Phot.,
1904. 20, 324.
RENWICK-The Physical Process of Development. Brit. J. Phot., I9II, 58, 75.
ScHAUM-Zur theorie des photographischen prozesses. I. Das latenten Bild;
II. Der Entwicklungsvorgang. Arch. Wiss. P., 1900, 2, 9
ScHILOW AND TrMTSCHENKo-Physikalisch-chemische Studien an photograph-
ischen Entwicklung. III. Hydrochinon als Induktor. Zeits. Elektro-
chem., 1913, 19, 816.
SHEPPARD-Theory of Alkaline Development, with N'otes on the Affinities of
Certain Reducing Agents. ]. Chern. Soc., rgo6, 89, 530.
SHEPPARD-Reversibility of Photographic Development and the Retarding Ac-
tion of Soluble Bromides. J. Chern. Soc. (London), 1905, 87, I3II;
Zeit. wiss. Phot., 1905, 3, 443
SHEPPARD-The Electro-chemistry of Development. Trans. Electrochem. Soc.,
Ig2I, , p. 429 .
SHEPPARD-On the Silver Germ Theory of Development. Phot. Korr., 1922,
59. 76 .
. SHEPPARD AND ELLIOTT-On the Theory of Development. Trans. Faraday Soc.,
1923, 19, 355.
SHEPPARD AND MEES-On the Chemical Dynamics of Development. Phot.
J., 1905, 45, 28r ; Zeit. wiss. Phot., 1904, 3, 97.
SHEPPARD AND MEES-Some Points in Modern Chemical Theory and their
Bearing on Develo-pment. Phot. ]., 1915, 45, 241.
SHEPPARD AND MEYER-On Chemical Induction in Photographic Development
]. Amer. Chern. Soc., 1920, 42, 68g.
VoLMER-The Theory of Development of the Latent Photographic Image.
Zeit. wiss. Phot., 1921, 20, r89; Phot. Korr., 1921, p. 226.
582 PHOTOGRAPHY
ON THE PHYSICAL CHEMISTRY OF PHOTOGRAPHIC DEVELOPMENT
BLOCH-Plate Speeds. Phot. J., I9I7, 57, 5I.
of the Development Factor. Phot . . ]., I903, 43, I7.
HuRTER. AND Investigations. ]. Soc. Chern. Ind.,
I890, g, 455.
HuRTER AND and Development. Phot. ]., I895, 35, 372.
HuRTER AND Latent Image and its Development. Phot. J.,
r8g8.
FERGUSON AND of the Developing Factor at Various Tem-
peratures. Phot. J., I905, 45, u8; Brit. ]. Phot., I905, 52, 249; Eder's
Jahrb., I905, 21, 408.
FERGUSON-A New Method of Calculating the Time of Development at Various
Temperatures. Phot. ]., 19o6, 46, I82; Brit. ]. Phot., I9o6, 53, 296;
Eder's J ahrb., I905, 21, 474.
FERGuSON-Investigations on the T.C. of a Pyro Soda Developer. Phot. J.,
I9IO, so, 4I2; Eder's J ahrb., I9IO, 25, 5o6; Bull. Soc. franc. Phot., I9IO,
27, I75
KROHN-The Mechanism of Development of the Image in a Dry Plate Nega-
tive. Phot. ]., I9I8, 58, I79; Brit. J. Phot., I9I8, 65, 4I2.
LuTHER-The Physical Chemistry of Negative Processes. Phot. ]., I9I2, 52,
29I.
MEES-Interpretation of Sensitometric Tests. Brit. ]. Phot., I9o6, 53, 104, 126,
143, 179, 6I7, 636, 797, 857.
MEEs-Time Development. Phot. ]., I9IO, so, 403; Brit. ]. Phot., 19IO, 57,
919; Eder's J ahrb., 19IO, 25, I6I.
MEES-Physical Chemistry of Photographic Development. Brit: ]. Phot., 19I3,
6o, 935
MEEs AND the Development Factor. Phot. ]., 1903, 43, 48.
MEES AND the Highest Development Factor obtainable on any
Plate. Phot. J., 1903, 43, I99
MEES AND the Sensitometry of Photographic Plates. Phot. ].,
I903, 43, I99
MEES AND Points in Modern Chemical Theory and their
Bearing on Development. Phot. ]., I905, 45, 241.
N1ETz-Theory of Development. Phot. ]., I920, 6o, 28o.
NrETz-Theory of Development. Monograph No. 2 Eastman Research
oratory, 1922.
PINNOw-The Function of Sulphite in Alkaline Developers. P. Rund., I923,
6o, 27.
PIPER-Application of Physico-chemical Theories in Plate Testing and Experi-
mental Work with Developers. Brit. ]. Phot., I9I3, 6o, II9.
RENWICK-The Physical Process of Development. Brit. J. Phot., I9II, sB, 75-
RENWICK-The Calculation of Gamma Infinity. Phot. ]., 19II, 51, 2IJ ; Bull.
Soc. franc. Phot., I9II, 352.
RENWICK-An Improved Method of Computing the Velocity Constant and
Gamma Infinity. Phot. ]., I923, 63, 331.
Chemical Dynamics of Photographic Development. Proc
Royal Society, 1904, 74, 457
Tov AND HIGSON-Factors Determining Gamma Infinity. Phot. J., I923, 63,
68; s. T. I. P., I923, 3, I3I.
WATKINs-On the Variation of the Temperature Coefficient with Different
Plates. Phot. ]., I9IO, 50, 4II; Brit. ]. Phot., I9II, 58, 3.
WATKINs-New Methods of Speed and Gamma Testing. Phot. J., i9I2, 52,
200.
Chapter XII. The Organic Developing Agents
ON THE CoNSTITUTION oF ORGANIC DEVELOPING AGENTs
ANDRESEN-Constitution der Entwickler. P. Mitt., I89I, 27, I24, 286, 2!)6.
ANDRESEN-Constitution organischer Entwickler. Eder's Jahrb., I893, 7, 4I8.
ANDRESEN-Organische Entwicklersubstanzen. Eder's Jahrb., I903, 7, 486.
ANDRESEN-Zur Charakterisirung der Entwicklersubstanzen. Phot. Korr., 1899,
36, 63S-
ANDRESEN-Zur Chemie der organischen Entwickler. Phot. Korr., I900, 37, ISS.
HoMOLKA-Beitrage zur Theorie der organischen Entwickler. Phot. Korr.,
I9I4, 51, 2S6, 47I.
HoMOLKA-The Latent Image and Development. Brit. ]. Phot., I9I7, 64, 81.
LEIPPER-Photographic Developers. Brit. ]. Phot., I900, 47, 826.
LIESEGANG-Die Constitution der organischen Entwickler. Photochemischen
Studien, vol. II, I894.
LoBEL-Der Ersatz der Alkalien durch Ketone und Aldehyde in den photo-
graphischen Entwicklern. Eder's Jahrb., I904, 18, 103.
LuMIERE AND SEYEWETz-Die Bildung von Salzen mit Entwicklerfahigkeit aus
Aminen und Phenolen. Eder's Jahrb., I899, 13, 3o6.
LUMIERE AND SEYEWETz-On the Developing Power of Hydrochinon Substitu-
tion Compounds. Brit. ]. Phot., J9I4, 61, 341.
LuMIERE AND SEYEWETz-Sur les Substitutions Alkylees dans les Groups de la
Function Developpatrice. Bull. Soc. franc. Phot., I898, 14, ISS.
LUMIERE AND SEYEWETz-Ueber die Additionsprodukte, welche die Gruppen
mit entwickelnden Eigenschaften mit den Aminen und Phenolen bilden.
Arch. wiss. Phot., I899, I, 64.
LuMIERE AND SEYEWETz-Influence du Groupe Cetonique sur le Pouvoir De-
veloppateur des Polyphenols. Bull. Soc. franc. Phot., I897, p. 4IS.
LuMIERE AND SEYEWETz-Sur Ia Constitution des Substances Reductrices, sus-
ceptibles de developperd L'Image Latente sans entre additionees D'Alkali.
Bull. Soc. franc. Phot., I903, 19; Eder's J ahrb., I904, 18, 99.
LuMIERE AND SEYEWETz-Untersuchungen uber die chemische Konstitution der
Entwickler-Substanzen. Eder's Jahrb., I8g8, 12, IOO.
LuMIERE AND SEYEWETz-Sur la Fonction Developpatrice. Bull. Soc. franc.
Phot., I8g6, p. 268.
State of our Knowledge of Organic Developing Agents. Bull.
Soc. franc. Phot., I920, p. 129; Brit. ]. Phot., I92o, 66, I86.
584 PHOTOGRAPHY
ON ORGANIC DEVELOPING AGENTS
" AGFA "-Photographic Developers. Paraphenylene Diamine with Amido or
Hydroxyl Groups. British Patent II,872Ir893.
"AGFA :'-Photographic Developers. Para-oxy-phenyl-glycinamide. British
Patent 9537/I905
"AGFA "-Photographic Developers. Oxy-phenyl-alkyl-glycin. British Patent
I8,095/I9I3.
ANDRESEN-Photographic Developers of the Naphthalene Series. British Pat-
ent 5207 /I889.
ANDRESEN-Photographic Developers. Amido Derivatives of Brit-
ish Patent 25002/I893.
ANDRESEN-Bromhydrochinone als Entwickler. Phot. Korr., I899, 36, 3.
ANDRESEN-Die Isomeren des Amidols. Phot. Korr., 1894, 31, 505.
ANDRESEN-Verwendung von Derivaten des p-Phenylendiamins, sowie des p-
Toluylendiamins als Entwiclder in der Photographic. Eder's Jahrb., 1895,
g, so.
ANDRESEN-Weitere Beitrage zur Kenntniss des Diamidooxydiphenyls als
Entwickler. Phot. Korr., I899, 36, 2o8.
BucHERER-Photographic Developers of Paratoluolsulfonylaminophenol. D. R.
P. 369.391/1921.
BuNEL-Preservation of Diamidophenol Developers in Solution. II. Prog. Fot.,
192I, p. 204.
CROWTHER-Preservatives of Amidol. Brit.]. Phot., 1920, 67, 642.
DESALME-On a New Developer, Sulphinol. Brit. J. Phot., I912, 59, 425
DIETERLE-Photographic Deve!oper of Sulpho-acid Aminophenol. United
States Patent 1,432,542/I922.
DRUCE-Stabilizing Solutions of Amidol. Brit. J. Phot., 1922, 6g, 81.
ERMEN-Rodinal Type Developers. Brit. J. Phot., 1920, 67, 6II.
ERMEN-Preparation of Monomethyl Paramidophenol Sulphate (Metol). Phot.
J., 1923, 63, 223.
FAUCHEY-Conservation of Amidol Developers. Bull. Soc. franc. Phot., 1923,
IO, 90
FISCHER-Developers Yielding Colored Images. British Patent 2562/1913.
GEAR-A New Developer (Dso). Brit.]. Phot., 1921, 68, 307
HAUFF-Amidophenol Developers. British Patent I5.434/I89I.
HAUFF-Photographic Developer of Ortho-para-diamidophenol Ortho-p-diam-
ido-ortho-cresol-p-diamidometa-cresol. British Patent I4,542/I89z.
HAUFF-f'hotographic Developers of Sulphonic or Carboxylic Acids of Ortho,
or Para, or Ortho-para, Amidophenol (Neol) . British Patent 154,198 of
1920.
HoMOLKA-Hydrocoerulignon as a Developer. Phot. Korr. (Festnummer),
1922; Brit. ]. Phot., 1922, 6g, 397
KING-Photographic Developers of 2: 4 Diamidophenol and Stannous Chloride.
British Patent r,672/1922.
LaBEL-Preservatives of Amidol in Solution. Brit. ]. Phot., 1921, 68, 701.
LUMIERE AND SEYEWETz-Sur les Properties Developpatrices des Hydroxyl-
amines Aromatiques. Bull. Soc. franc. Phot., 1894, IO, 487.
LuMIERE AND SEYEWETz-Sur les Proprietes Revelatrices D'une Nouvelle Com-
binaison D'hydrochinone et de Paraphenylenediamine. Bull. Soc. franc.
Phot., 1899, 15, I3S-
LuMIERE AND SEYEWETz-Sur Ia Preparation et les Proprietes Revelatrices de
Ia Metoquinone-combinaison de metal et D'hydrochinone. Bull. Soc.
franc. Phot., 1903, xg, 231.
LuMIERE AND SEYEWETz-Sur Ia Preparation et les Proprietes Revelatrices die
Chloranol ( Chlorhydroquinonemethylparamidophenol). Bull. Soc. franc.
Phot., 1913, p. 223.
LuPPO-CRAMER-Development with Am idol and . Related Substances. Phot.
Korr., 1921, 68, I2I (Festnummer).
MELOOLA-Eikonogen. ]. Soc. Chern. Ind., 1889, 8, 958.
PERKIN-Pyrocatechin. J. Chern. Soc., r8go, 57, s87.
ScHERING-Benzyl Para-amidophenol Compounds as Developers. British Pat-
ent zo,oso/rgoj'.
STEWART-Photographic Developers of Aminophenol Derivatives. Canadian
Patent 2317,842/I920.
"THERMIT "-Glycollic Acid as a Preservative of Amidol. Brit. J. Phot., 1921,
68, I2S.
V ALENTA-Das Sulfinol als Entwickler fur Bromsilbergelatine Trockenplatten.
Phot. Korr., I9IS, 52, 26.
V ALENTA-4: Oxyphenylmethylglycin als Entwicklersubstanz. Phot. Korr.,
I9IS, 52, 90
VALENT A-Ueber die Verwendbarkeit von Diamidophenolnatrium zur Entwick-
lung von Bromsilbergelatine Trockenplatten. Eder's Jahrb., I9QS, xg,
!22.
MISCELLANEOUS
CLARK-Chemical Tests for Developing Substances. Brit. J. Phot., 1918, 65,
499
CRABTREE-Photographic Methods of Testing Developers. American Annual
of Photography, 1922, p. r84.
DuNDON AND CRABTREE-Fogging Properties of Developers. Brit. J. Phot.,
1924, 71, 70I, 719.
ERMEN-Tests for Developing Agents. Brit. J. Phot., I9I7, 64, 390.
KArL-The .Solubility of Developing Agents. Phot. Korr., I92I (Festnummer).
LUMIERE AND SEYEWETz-Influence de Ia Nature des Revelateurs sur Ia Gros-
seur de Grain de L' Argent Reduit. Bull. Soc. franc. Phot., 1904, 20, 294.
LUMIERE AND SEYEWETz-Sur Procede de Developpement Photographique con-
duisant a L'Obtention D'Iritages a Grain Fin. Bull. Soc. franc. Phot.,
1904, 20, 422.
MEES AND PIPER-The Fogging Power of Developers. Phot. J., I9II, 51, 226;
I9I2, 52, 22!. Brit. ]. Phot., I9II, sa, 3I2, 49I, SIS; I9I2, 59, 337. 342.
428, 441, 46s. Bull. Soc. franc. Phot., I912, p. 44
586 PHOTOGRAPHY
Chapter XIII. The Technique of Development
(For list of general reference works see page JIJ)
ON THE TECHNIQUE OF DEVELOPMENT
ALvEs-Time-Development: Its Excellences and Abuses. Brit. J. Phot., 1910,
57. 378.
AMOR-Desensitizers and Chemical Fog. Brit. J. Phot., 1925, 72, 183.
BAYLEY-Time Development. Brit. ]. Phot., 1905, 52, 149, 168.
BoTHAMLEY-Fundamental Points on Development. Brit. J. Phot., 1899, 46,
453; Arch. wiss. Phot., 1900, 2, 24; Bull. Soc. franc. Phot., 1900, 15, 520.
CLEVELAND-Desensitizing with Phenosafranine. Amer. Phot., 1922, 16, 756.
CROWTHER-Pinakryptol and Developers. Brit. J. Phot., 1922, 6g, 351.
DAWSON-Time Development with the B. J. Pyro-Soda Formula. Brit. J.
Phot., 1915, 62, 445
ERMEN-The Effect of Safranine on Development. Brit. J. Phot., 1921, 68,
445
FERGUSON-Methods of Calculating the Time of Development at Various Tem-
peratures. Phot. ]., I gOO, 46, 182; 1910, so, 412.
GLOVER-A Comparison of Development Methods. Brit. ]. Phot., 1921, 68,
183, 195
HoMOLKA-N ew Desensitizers. Phot. Ind., 1925, p. 347
HuBL-Contribution to Our Knowledge of Desensitizing. Phot. Rund., 1925, 62,
71.
HuBL-Methylene Blue as a Desensitizer. Phot. Ind., 1925, p. 14.
KINGDON-Causes of Variation in the Watkins Factor for Different Developers.
Phot. J., 1918, 58, 270.
VON KLENCK-Thermo-Entwicklung. Phot. Mitt., 1902, 39, 232.
KRAFT-Time Development. Amer. Phot., 1922, 16, I; Brit. J. Phot., 1922, 6g,
123.
LocKETT-The Personal Element in Factorial Development. Brit. ]. Phot., 1go6,
53. 464, 502.
LUMIERE AND SEYEWETZ-Les Succedanes des Alcalis dans les Developpateurs
Alcalins. Bull. Soc. franc. Phot., 1895, II, 32.
LuMIERE AND SEYEWETz-Sur L'Emploi des Aldehydes et des acetones en
presence du Sulfite de Soudre dans le Developpement de L'Image Latente
Photographique. Bull. Soc. franc. Phot., 1896, 12, 558.
LuMIERE AND SEYEWETZ-Sur L'Utilisation Pratique de L'Acetone comme Suc-
cedane des Alcalis dans les Developpateurs Alcalins. Bull. Soc. franc.
Phot., 1897, 13, 550.
LUMIERE AND SEYEWETz-Sur L'Alteration a L'air du Sulfite de Soudre An-
hydre. Bull. Soc. franc. Phot., 1904, 20, 226.
LUMIERE AND SEYEWETz-Action of Alkalis in Organic Developers. Bull. Soc
franc. Phot., I gOO, 22, 32; Phot. ]., I gOO, 46, 16g.
LuMIERE AND SEYEWETz-Desensitizers for Plates and Papers. Brit. J. Phot.,
1922, 6g, 351, 370.
LuPPO-CRAMER-Desensitization by Isocyanines and Carbocyanines in Presence
of Soluble Bromides. S. I. P., 1923, 3, 58 . .)_

{
LuPPo-CRAMER-Destruction of the Latent Image and Desensitization. Phot.
Ind., I923, p. 236.
LUPPO-CRAMER-Prevention of Chemical Fog with Desensitizer. Phot. Ind.,
I924, p. 433
LuPPO-CRAMER-Desensitizing Colorants and their Leucobases. Phot. Ind.,
I925, p. s6.
LuPPo-CRAMER-For all papers on Desensitization see N egativ Entwicklung Bei
H ellem Lichte, I922.
LUPPO-CRAMER-On the Watkins System of Factorial Development. Phot.
Rund., I92I, p. 8I.
LuPPO-CRAMER-Development Paradoxes. Phot. Ind., I924, p. 6.
MEES AND WRATTEN-Variations in the Watkins Factor. Brit. J. Phot., I907,
54, soo. .
MEES AND WRATTEN-Development by Time. Brit. J. Phot., I9IO, 57, 376;
Phot. J., I9IO, so, 403.
NEWTON-A Pyro Developer for Great Contrast. Brit. J. Phot., I9I6, 62, 62.
PATHE CINEMA (Research Laboratory)-New Desensitizers. Rev. franc. Phot.,
I924. s. 286.
PATHE CINEMA (Research Laboratory)-Oxidation Fog and Desensitizers.
Rev. franc. Phot., I925, 6, 33
REID-A Comparison of Desensitizing Agents. Brit. J. Phot., 1925, 72, IO.
Rossi-Decoloration of Emulsions Desensitized 'in Safranine. Rev. Fot. Ita!.,
I923, 8, 109.
Scorr-Preservation of Solutions of Sodium Sulphite. J. London Camera
Club, I923, I, 3
SHEPPARD AND ANDERSON-Equivalence of Sodium and Potassium Carbonates
in Developers. Brit. J. Phot., I925, 72, 232.
SoWERBY-Allowance for Subject in Time Development. Amat. Phot., I9I5,
'439 .
STEIGMANN-Experiments on Desensitizers. Phot. Ind., I923, p. 458.
WATKINs-Method and Instrument for Timing Development. Brit. J. Phot.,
I8g4, 41, I20, I25; Phot. News, I8g4, 38, IIS.
WATKINs-Control over Results in Development. Phot. J.. I8gS, 19, I6I.
WATKINs-Some Developers Compared. Phot. J., Igoo, 24, 221.
WATKINs-Some Aspects of Photographic Development. Brit. J. Phot., I9Q2,
49. I025 .
. WATKINs-Developing Speed of Plates. Brit. J. Phot., Igo8, 55, 382, 401.
WATKINS-Time Development Calculator. Brit. J. Phot., Igo8, 55, 646.
WATKINs-Some Recent Aids to Time Development. Phot. J., 1909, 49, 367;
Brit. J. Phot., 1909, 56, 9I3.
WATKINs-Time Development. Amat. Phot., I9IO, 51, 481, 509; Brit. J. Phot.,
1910, 57. 387.
the Developing Speed of Plates. Brit. J. Phot., I92I, 68,
383.
WALL-The Alkalis in Development. Amer. Phot., 1922, 481; Brit. ]. Phot.,
1922, 69, 634
WALL-Development in a Bright Light. Amer. Phot., 1921, 15, 6sr.
20
588 PHOTOGRAPHY
W ALL-Sulphites, and Acid Sulphite. Amer. Phot., I922, 16,
137
Chapter XIV. The Laws of Fixation and Washing
(For list of generalreje1ence worhs see page 332)
pAPERS ON THE LAWS OF FIXING AND WASHING
ELLIOTT, SHEPPARD AND SwEET-The Chemistry of the Acid Fixing Bath. J.
Frank. Inst., 1923, rg6, 45.
ELSDEN-The Theory and Practice of Washing. Phot. ]., I9I7, 57, 90; Brit. J.
Phot., I9I7, 64, 120.
GAEDICKE-Rapid Washing of Plates. Phot. Woch., 1906, p. 41.
HICKMAN AND SPENCER-Washing of Photographic Products. Phot. ]., I922,
62, 225; 1923, 63, 208. Brit. J. Phot., 1922, 6g, 387, 400.
HICKMAN AND SPENCER-The Washing of Photographic Products, Parts IV,
V, VI. Phot. }., 1924, 64, 539.
LuMIERE AND SEYEWETZ-Action des Alums et des Sels d'Aiumine sur Ia Gela-
tine. Bull. Soc. franc. Phot., rgo6, 22, 267.
LuMIERE AND SEYEWETZ-Sur L'Insolubilisation de Ia Couche Gelatinee des
Plaques ou de's Papiers Photographiques dans le Bain de Fixage. Bull.
Soc. franc. Phot., I906, 22, 306.
LUMIERE AND SEYEWETz-Sur L'Insolubilisation de Ia Gelatine par Formalde-
hyde. Bull. Soc. franc. Phot., Igo6, 22, 364.
LUMIERE AND SEYEWETZ-Sur Ia Limite D'Emploi des Bains de Fixage. Bull.
Soc. franc. Phot., I9Q7, 23, IO,
LuMIERE AND SEYEWETZ-Sur L'Emploi de L'Hyposulfite D'Ammoniaque ou
D'un Melange D'Hyposulfi.te de Soude et D'un Sel Ammoniacal pour
le Fixage des P laques ct des Papiers. Bull. Soc. franc. Phot., Igo8, 24,
217.
LuMIERE AND SEYEWETz-Sur L'Eiimination par Lavage a L'eau de L'Hypo-
sulfite de Soude Retenu par les Papiers et les Plaques Photographiques.
Bull. Soc. franc. Phot., I902, 18, 251.
LUMIERE AND SEYEWETz-The Time of Fixing of Developing Papers. Brit.
]. Phot., I924, 71, I08. Bull. Soc. franc. Phot., I924, p. 31.
AND SEYEWETz-The Fixing of Photographic Negatives. Rev. franc.
Phot., 1924, 5, 6r.
LuMIERE AND SEYEWETZ-The Rapid Washing of Photographic Negatives.
Rev. franc. Phot., 1922, 3, rag.
LUMIERE AND SEYEWETZ-Fixing in Sodium Thiosulphate with the Addition of
Ammonium Chloride. Rev. franc. Phot., 1924, 5, 294.
PIPER-The Rate of Fixing. Brit. }. Phot., 1913, 6o, 59.
PIPER-Rapid Fixing Baths. Brit. ] . Phot., 1914, 6r, 193, 437, 458, SII.
PIPER-Further Experiments on Fixing. Brit. } . Phot., 1915, 62, 364.
SHEPPARD AND MEEs-Theory of Fixation. Phot. }., rgo6, 46, 235.
WARWICK-Scientific Washing of egatives and Prints. Amer. Phot., I9I7,
II, 3I7.
WARWICK-The Laws of Fixation. Amer. Phot., 1917, II, 585.
WARWICK-The Fixation of Prints. Amer. Phot., I9I7, II, 639.
1
'l
Chapter XVI. Intensification and Reduction
(For list of general reference see page 363)
REDUCTION
ANDRESEN-Hydrogen Peroxide as a Reducer. Phot. Korr., 1899, 36, 256.
BACHRACH-The Mercury-Cyanide Reducer. Brit. J. Phot., rgr6, 63, 163.
BAYLEY-Persulphate and Sulphocyanide Reducer. Phot. News, 1900, 44, 174.
BENNETT-Ammonium Persulphate Reduction. Phot. ] ., 1907, 47, 328.
BoTHAMLEY-Some Minor Processes in Photography. Phot. ]., rgr8, 58, 48.
DEBENHAM-The Hypochlorite Reducer. Brit. ]. Phot., 1916, 63, 487, 538.
DECK-The Permanganate-Persulphate Reducer. Brit. ]. Phot., rgr6, 63, 391.
DoDGSoN-Notes on the Action of Ammonium Persulphate as a Reducer. Phot.
]., 191 r, 51, 265, 302; Brit. ]. Phot., I9II, 58, 593, 742.
HELAIN-The Theory of Persulphate Reduction. Bull. Soc. franc. Phot., 1899,
15, 304.
HrcsoN-Reaction between the Persulphates and Silver. } . Chern. Soc. (Lon-
don), 1921, 119, 2048.
HrGSoN-History of Persulphate Reduction. Phot. J ., 1921, 61, 237. (Full
bibliography.)
HrcsoN-Potassium P ersulphate as a Reducer. Phot. ] ., 1922, 62, 98.
HusE AND NEITZ-Proportional Reducers. Brit. ]. Phot., 1916, 63, 580.
HusE AND NErTz-Thc Hypochlorite Brit. ]. Phot., 1917, 64, 143.
LUMIERE AND SEYEWETZ-The Action of Persulphate of Ammonia on Metallic
Silver. Brit. J. Phot., r8g8, 45, 473
LuMIERE AND SEYEWETZ-The Theory of Persulphate Reduction. Bull. Soc.
franc. Phot., 1899, 15, 226.
l.uMrERE AND SEYEWETZ-Reducers. Brit. J. Phot., 1900, 47, 8os.
LUMIERE AND SEYEWETZ-On the Irregularities in the Action of the Persulphate
Reducer. Brit. ]. Phot., 1921, 68, 124.
LUPPO-CRAMER-The Chemistry of Persulphate Reduction. Brit. J . Phot., 1901,
48, 89; Phot. Korr., Igor, 38, 17. '
LUPPO-CRAMER-The Action of Reducers and its Dependence on the Constitution
of the Image. Eder's Jahrb., 1906, 20, 237.
LUPPO-CRAMER-The Composition of Negative Substances and its Influence on
Reduction. Phot. Korr., 1907, 54, 940. .
LUPPO-CRAMER-The Action of Reducers. Phot. Korr., 1907, 54, 230.
LuPPO-CRAMER-Absorption Complexes in the Silver Grain as the Cause of the
Persulphate Effect. Phot. Korr., 1908, 45, 159.
LuPPo-CRAMER-Reduction with Oxidizers containing Halides and with Per-
sulphate. Phot. Korr., 1910, 47, 489; I9II, 48, 466.
LuPPO-CRAMER-The Dispersoid Theory of Persulphate Reduction. Phot. Korr.,
1912, 49, 118.
LuPPo-CRAMER-The Theory of Persulphate Reduction. Phot. Korr., 1914, 51,
240.
NAMIAs-Ammonium Persulphate Reduction. Phot. Korr., 1899, 36, 86, 144,
216.
590 PHOTOGRAPHY
NAM1As-The Use of Ammonium Persulphate. Eder's Jahrb., 1901, 15, 165.
N AM1As-A Comparative Study of Photographic Reducers. II. Prog. Fot.,
1922, 29, 161.
PALMER-A Copper Bromide Reducer for. Decreasing Contrast. Phot., 1915,
p. 429.
P1NNow-Reduction with Persulphate. Zeit. Wiss. Phot., 1908, 6, 130.
PuDDY-The Sulphocyanide-Persulphate Reducer. Phot., 1900, p. 99.
ScHEFFER-Researches on the Action of Reducers. Brit. J. Phot., 19o8, 55, 472.
ScHULLER-The Theory and Practice of Reduction. Phot. Rund., 1910, 24, II3,
I6I.
ScHULLER-Persulphate Reduction. Eder's Jahrb., 1913, 27, 419; Phot. Rund.,
I9I2, 26, 270. .
SHEPPARD-The Effect of the Iron Content of Ammonium Persulphate on its
Photographic Reducing Power. Brit. J. p'hot., 1918, 65, 314.
SHEPPARD-The Action of Soluble Chlorides and Bromides on Reduction with
Ammonium Persulphate. Phot. ]., 1922, 62, 321.
SHEPPARn--Persulphate Reduction. Phot. ]., I921, 6z, 450.
SMITH-The Cobaltine Reducer. Brit. ]. Phot., 19I4, 6z, 59.
STENGER AND HELLER-Reduction with Persulphate. Zeit. Wiss. Phot., 19II, g,
73.
STENGER AND HELLER-The Persulphate Reducer. Zeit. f. Reproductionstechriik.,
I9IO, 12, I62, I78; I9II, I3, 5, 20, 34, 50, 70, 84, IOO.
STENGER AND HELLER-Reduction with Persulphate. Part II. Zeit. Wiss. Phot.,
I91 I, g, 389.
STENGER AND HELLE!l-Reduction with Persulphate. Part IlL Zeit. Wiss. Phot.,
19I3, 12, 309.
STENGER AND .HELLER-Reduction with Persulphate. Part IV. Zeit. Wiss. Phot.,
I9IS, 14, I77
ST1EGMANN-Persulphate Effect with a Bleacher of Mercury and Copper. Phot.
Rund., I92I, 4, 52.
STIEGMANN-Mercuric Nitrate and Sulphate as Proportional Reducers. Phot.
Ind., I92I, p. 697.
WILSEY-Intensification and Reduction with Pyro Developers. Brit. ]. Phot.,
I9I9, 66, 72I.
---Softening Contrast by Re-Development. Brit. ]. Phot., I914, 6z, 788.
INTENSIFICATION
BAKER-The Theory and Practice of Intensification. Brit. ]. Phot., I9Q6, 53,
264, 284, 309.
CALLIER-Powerful Intensification of Gelatine Plates. Brit. ]. Phot., I9II, 58,
452.
CHARLES-A Bichromate-Mercury Intensifier. Brit. ]. Phot., 1919, 66, I72.
CLERc-Desalme-Intensification with Copper and Tin. Brit. ]. Phot., I912, 59,
2I5, 266; Bull. Soc. franc. Phot., pp. 96, 99.
CROWTHER-Chromium Intensification with Chlorochromate. Brit. ]. Phot.,
I9I9, 66, 709
CUNNINGHAM-Intensification. Brit. ]. Phot., 191'5, 62, 818.
EDER-Modern Intensifiers for Gelatino-Bromide Plates and their Effects. Brit.
]. Phot., 1900, 47, 68; Phot. Korr., 1900, 37, 23.
EDER-Effect of Intensification. Brit. ]. Phot., 1900, 47, 469.
IVEs-Intensification by Dye Toning. Brit J . Phot., 1921, 68, 187.
]ANKo-A Comparative Table of the Effects of Various Intensifiers. Brit. J.
Phot., 1900, 47, 518.
JoNEs-Intensification with Mercuric Chloride and Ferrous Oxalate. Phot. J.,
1910, so, 238.
]ONES-On the Proposed Substitutes for the Ferrous Oxalate Developer. Phot.
]., 1910, so, 242.
LUliUERE AND SEYEWETZ-Sur L'emploi de L'iodure Merique comme Renforca-
teur. Bull. Soc. franc. Phot., 1899, p. 472.
LUMIERE AND SEYEWETZ---'Sur L'emploi des Quinones et de leurs derives u i ~
foniques pour Renforcer les Images Argentiques et pour les Virer en Dif-
ferentes Couleurs. Bull. Soc. franc. Phot., 1910, p. 360. Brit. ]. Phot.,
1910, 57, 949; l9II, 58, 460.
LuMIERE AND SEYEWETZ-Intensification with Salts of Chlorochromic Acid.
Phot. Korr., 1920, 57, 282.
LUMIERE AND SEYEWETz-Toning and Intensification with Toluquinone. Rev.
fr. Phot., 1922, 3, 293.
NAMIAs-The Mercuric Iodide Intensifier. II. Prog. Fot., 1921, p. 103.
NAMIAs-Extreme Intensification. Brit. ]. Phot., 1922, 6g, 149.
NEITZ AND HusE-The Sensitometry of Photographic Intensification. Phot. J.,
1918, ss, 81.
PIPER-Chromium Intensifiers. Brit. ]. Phot., 1907, 54, 3.
PIPER-Intensification by Increase of the Bulk of the Image Compound. Brit.
] . Phot., 1908, 55, 195.
PIPER-Physical Intensification with Mercury. Brit. ]. Phot., 1916, 63, I, 67.
SMITH-Silver Intensification. Brit. J. Phot., 1909. s6, 82.
WILSEY-Intensifying by Redevelopment with Pyro. Brit. J. Phot., 1919, 66,
721.
WELLINGTON-Intensification with Silver. Brit. ] . Phot., I9II, 58, 551.
---Intensification. Brit. ]. Phot., 1915, 62, 570.
---Intensification by Re-Development. Brit. ]. Phot., 1915, 62, 426.
Chapter XVII. Printing Processes with Silver Salts
(For list of general1;ejerence works see page 389)
THE SENSITOMETRY OF SILVER DEVELOPMENT pAPERS
BLACKSTROM-Sensitometry of Photographic Papers. Nord. Tids. Fot., 1922,
6, 121.
FoRMSTECHER-Absolute Gradation as a Characteristic Constant of Photo-
graphic Papers. Zeit. wiss. Phot. , 1922, 21, 21.
GLOVER-Experiments with Bromide and Gaslight Papers. Brit. J. Phot., 1920,
67, 139, 151, I6g.
GLOVER-Contrast Rating of Gaslight and Bromide Papers. Phot. ]., 1922, 62,
132; Brit. J. Phot., 1922, 6g, 156.
592
PHOTOGRAPHY
GooDWIN-Capacity of Printing Processes for Rendering Gradation. Brit. ].
Phot., 1909, 52, I87, 207, 227.
HENDERSON-Speed and Gradation of Papers. Brit. ]. Phot., I9I6, 63, 311.
HuRTER AND DRIFFIELD-Relation between Photographic Negatives and their
Positives. ]. Soc. Chern. Ind., I8gi , xo, IOO; Eder's Jahrb., I893, 7, I8 ;
H. and D. Memorial Volume.
JoNES, NUTTING AND MEEs-Sensitometry of Photographic Papers. Phot. J.,
I9I4, 54, 30I; Brit. J . Phot., I9I5, 62, 9, 22, 38.
JoNES AND FILLius-The Gloss Characteristics of Photographic Papers. Brit
]. Phot., I922, 6g, 2I6, 229.
0DENCRANTs-The Investigation of Development Papers. Nord. Tids. Fot.,
I922, 6, 70.
RENWICK-The Sensitometr-y of Photographic Papers. Phot. J., 19I5, 55, 29.
THE HANDLING OF DEVELOPMENT PAPERS
BARNES-Glazing Prints. Brit. J. Phot., I923, 70, 798.
BROWN-Practical Notes on Printing Processes. British Journal Almanac,
1916, p. J42.
DAvis-Controlling Tone Values by Compensating Positives. Phot. Era, 192I,
p.23I.
GLOVER-The Case for the Factorial Development of Bromide Paper. Brit. J .
Phot., I921, 68, 503, 519.
GLOVER-The Development of Gaslight Papers. Amer. Phot., I923, 17, 26.
GLOVER-The Development of Bromide Paper Prints. New Photographer,
1923, p. 64.
KRuG---]ust Plain Prints. Amer. Phot., 1922, x6, 69.
]ONES AND FAWKEs-Sensitometric Study of the Reduction of D-0-P Paper
Prints. Brit. J. Phot., . I92I, 68, 275.
JoNES AND CRABTREE-A New Densitometer for Determining the Time of Ex-
posure in Positive Printing. J. Soc. Mot. Pict. Eng., 1923, p. 8g.
JoRDAN-Still Another M-Q Developer for Gaslight Papers. Amer. Phot.,
1923, 17, 139
LAMBERT-A Consideration of the Technical and Artistic Qualities of Printing
Processes. Phot. J., I924, 64, 266.
MAYER-The "Drem" Exposure Meter (for positive printing). Phot. Rund.,
1924, 61, 12.
Chapter XVIII. Projection Printing
(For list of general reference works see page 444 )
BANI-Positives Direct on Bromide Paper. Phot. Journ. of Amer., 1922, 6o,
440.
BRAWTREE-Positives by Reversal on Dry Plates. Brit. J . Phot., 1914, 61, 320.
CANDY- The Best Lighting System for the Amateur' s Enlarger. Amer. Phot ..
19I9, 13, 200.
CANDY-Selection, Application and Manipulation of Condensing Lenses for Pro-
jection Printing. Amer. Phot., I923, I7, s88.
CHARLEs-Enlarging without Condensers. Brit. J. Phot., I92I, 68, 699.
COLLINs-Exposure, Scale, Aperture and Distance in Lantern Reproduction.
Brit. J. Phot., I923, 70, 3!.
CousiNs-Illuminating Factors in Enlarging. Brit. J. Phot., I9I7, 64, I6.
DR1FFIELD--The Principles Involved in Enlarging. Brit. J. Phot., I894, 41, 714,
72I; H. and D. Memorial Volume.
FAHRENWALD--Making a Parabolic Illuminator for Enlarging. Phot. Era, I915,
p. 66.
FRARY, MITCHELL AND BAKER-Positives Direct by Reversal. J. Soc. Chern.
Ind., I9I2, p. 90I; Brit. J. Phot. , 1912, 59, 788.
GAILLARD--A Vertical Enlarger. Brit. J. Phot., I915, 62, 812.
GuiLBERT-Positives Direct with Thiocarbamide. Amer. Phot., I9IS, 8, I24;
Brit. J. Phot., I9IS, 62, I67.
HENDERSON-Finding Exposures in Bromide Enlarging. Brit. J. Phot., I9IS, 62,
448.
JAcoBs-Exposure in Artificial Light Enlarging. Amer. Phot., I921, IS, 490
KING-Calculation of Exposures in Enlarging. Brit. J. Phot., Igo6, 53, I88.
KRua-Speeding up the Enlarger. Amer. Phot., 1923, 17, 453.
LocKETT-The Calculation of Exposures in Dayl ight Enlarging. Brit. J. Phot.,
I905, 52, 845
LoCKETT-Enlarging to Scale. Brit. J. Phot., I9I7, 63, 350.
LOCKETT-A Suggested Type of Enlarging Lantern. Brit. J . Phot., I9I8, 66,393.
LocKETT-Enlarging to Scale with Supplementary Lenses. Brit. J. Phot., I920,
67, 57I.
LOCKETT-A Self-Focussing Vertical Enlarger. Brit. J. Phot., I923, 70, 76o.
LocKETT-A Focussing Scale for Enlarging. Brit. J. Phot., I924, 71, 171.
MARSHALL-A Vertical Enlarger for Artificial Light. Brit. J. Phot., I9I7, 64,
100.
MoYNE-Enlarging Easel. British Patent I24,639/r9I8; Brit. J. Phot., I919, 66,
325.
" PICA "-Correction of Distortion when Enlarging. Harrington's Photographic
Journal, I9I6, p. 323.
PIPER-Correction of Distortion Produced by Tilting Camera. Brit. J . Phot.,
I908, 55, 694
SELLORs-Method of Calculating Exposures in Enlarging. Brit. J. Phot., 1923,
70, 349
"THERMIT "-An Easel for Rapid Enlarging. Brit. J. Phot., IQ23, 70, 36.
THOMPSON-A Portable Enlarger for Gaslight Papers. Amer. Phot., 1913, 7,
142; I914, 8, 1$0.
THOMSON-A Vertical Enlarger. Brit. J. Phot., 1921, 68, 746.
YouNG-Portable Enlarging- Apparatus. Camera Craft, I92I, p. I6I.
594 PHOTOGRAPHY
Chapter XIX. The Lantern Slide
( For list of general ref erence works see page 430)
AGFA-Quinone Bleach for Dye Toning. British Patent 180,292; Brit.]. Phot.,
1922, 69, 426.
BAKER AND DAviDsoN- Studies in the Effect of Exposure and Development on
the Color and Contrast of Warm Tone Slides. Brit. ]. Phot., 1924, 71,
77
BENNErr-Lantern Slides Direct by Reversal. Amat. Phot., 1911, p. 55.
BROWN-Lantern Slide Making. British Journal Almanac, 1912, p. 495.
CHARLEs-Slide Making Attachment for the Enlarger. Brit. ]. Phot., 1922, 6g,
232.
GLOVER-Factorial Development for Lantern Slides. Brit. ]. Phot., 1920. 67,
763, 779
GLOVER-Thiocarbamide and Blue Toned Lantern Slides. Brit. ]. Phot., 1923,
70, 135
GREENALL-Control in Lantern Slide Making. Phot., 1916, p. 118.
fvEs:_Dye Toning. Brit. ]. Phot. (color supplement), 1919, 66, 1.
IvEs-Dye Toning. llrit. ]. Phot., '1920, 67 (color supplement) , 43 ; 192!, 68,
186; 1921, 68 (color supplement) , 3.
JoHNSON-Personal Practice in Lantern Slide Making. Phot. ]. , 1918, 58, 70.
JoHNSON-The Technics of Lantern Slide Making. Brit. ]. Phot., 1923, 70,
237; Phot. ]. , 1923, 63, 58.
]oNEs-The Relationship between the Size of Particle and Color of Image.
Phot. ]., 1911, 51, 159--first paper; Phot. J., 1917, 57, 158--correction of
first paper.
KELLEY-Copper Bichromate Bleach for Dye Toning. British Patent I6o,-
I37 / 1921; Brit. ]. Phot., 1922, 6g, 339.
POWER-Lantern Slides by Reversal. Brit. ]. Phot., 191 I, s8, 194
PowER-Dye Toning of Lantern Slides. Brit. ]. Phot., 1912, 59, 503.
PowER-Dye Toning. Brit. ]. Phot., 1912, 59, 41.
RoBACH-New Method of Dye Toning. Brit. ]. Phot., 1923, 70, 363.
TRAUBE-Copper Mordant Process. British Patent 163,337/1918; Brit. J. Phot.,
1921, 68, 734; British Patent 147,103/ 1920; Brit. ]. Phot., 1921, 68, 328 ;
British Patent 163,336, 163,337; Brit. ]. Phot., 1921, 68 (color supple-
ment) , 32.
WILSON-Dye Toning. Brit. ]. Phot., 1912, 59, 503.
--Lantern Slides (Decennia Practica). Brit. ]. Phot., 1916, 63, 649, 661.
Chapter XX. The Toning of Developed Silver Images
(For list of general reference works see page 45I)
Sepia Toning by the Hypo-Alum Process
DRINKWATER-Sulphur Toning. Brit. J. Phot., 1923, 70, 204.
E. K. CoMPANY-Hypo-alum-gold Toning Bath. Phot. Era, I9II, p. 258.
SEDERQUIST-Gold in the Hypo-Alum Toning Bath. Brit. J. Phot., 1920, 67,
437
THERMIT-Accelerated Hypo-alum Toning. Brit. J. Phot., 1922, 69, 126.
--Ripening with Ammonia. Brit. J. Phot., 1922, 69, 126.
--Hypo-alum-gold Toning Bath. Brit. }. Phot., 1921, 68, 6so.
Toning with Liver of Sulphur" and the Polysulphides
BuLLOCK-Polysulphide Toning. Brit. }. Phot., 1921, 68, 393
FENSKE-Liver of Sulphur Toning. B. P . r8,545 of 1912.
LUMIERE AND SEYEWETz-Sulphuration Directe des Image Argentique sur
Papier au Moyen du Foie de Soufre. Bull. Soc. franc. Phot., 1923, p.
326 ..
UNDERBERG-Toning with the Polysulphides. Brit. }. Phot., 1924, 71, so.
VERo-Liver of Sulphur Toning. Brit. J. Phot., 1912, 59, 774
WooDMAN-Liver of Sulphur Toning. Brit. J. Phot., 1912, 59. s6s.
RAWLINGs-Liver of Sulphur Toning. Brit. }. Phot., 1914, 61, 218.
--Liver of Sulphur Toning. Brit. I: Phot., 1916, 63, 595, 6o6.
Toning by the Indirect Sulphiding Process
ALLPORT-An Iodine Bleacher for Sulphide Toning. Amat. Phot. (London),
1923, 55. 407.
BAKER-Factors in Sulphide Toning. Brit. J. Phot., 1912, 59, 609.
BuLLOCK-Experiments in Sulphide Toning. Brit. J. Phot., 1921, 68, 442, 447.
BAKER-Non-Bromide Bleach for Sulphide Toning. Brit. J. Phot., 1916, 63,
626.
CARNEGIE-The Chemistry of the Sulphide Toning Process. British Journal
Almanac, 1907, p. 676.
GouLDING-The Quinone Bleacher. Brit. }. Phot., 1915, 62, 725.
GREENALL-A Phosphate Ferricyanide Bleacher for Sulphide Toning. Phot.,
1912, p. 91.
GREENALL-A Non-Acid Permanganate Bleacher for Sulphide Toning. Brit. }.
Phot., 1916, 63, 621; Brit. J. Phot. 1917, 64, 371, 382.
GREENALL-Acid Bleachers for Sulphide Toning. Brit. J. Phot., 1917, 64, 39
HERMANSON-Range of Tones in Indirect Sulphide Toning. Brit. J. Phot.,
1916, 63, 626.
LUMIERE AND SEYEWETz-Sulphiding with Sulphoxyphosphate. Rev. franc.
Phot., 1921, Supp. 4
LuMIERE AND SEYEWETz-Toning Red with Silver Sulphide. Rev. franc. Phot.,
1923, p. 133
596 PHOTOGRAPHY
LUMIERE AND SEYEWETz-Toning with Quinone. Brit. J. Phot., 1921, 68, 6.
NAMIAs-Barium Sulphide for Sulphiding. P. Mitt., 1911, 7, roo; Brit. J.
Phot., 1911, 58, 324
PUNNETT-Sulphocyanide-sulphide Toning. Amer. Phot., 1907, p. 25.
SMITH-Bleaching of Sulphide Toned Prints. Brit. J. Phot., I9I4, 61, 492.
SMITH-Reducing Sepia Toned Prints; Phot. J., I907, 47, 281; Brit. J. Phot.,
1907, 54. 595
STRAuss-Contribution to Sulphide Toning. P. Ind., 1924, p. 78.
THOMSON-Sepia Tones by the Sulphide Process. Amer. Phot., I921, 15, 610.
Miscellaneous Processes of Sulphur Toning
BLAKE-SMITH-Single Solution Sulphide Toner. Brit. J. Phot., 1911, 58, 140.
KROPF-Single Solution Sulphide Toner. Brit. ] . Phot., 19ro, 57, 836; Phot.
Rund., 19IO, 21, 245.
PuNNETT-Single Solution Sulphide Toner with Ammonium Sulphocyanide.
Brit. ]. Phot., I9IO, 57, 869.
SHAw-A New Method of Cold Sulphide Toning. Brit. ]. Phot., I923, 70, 267.
SHAw-The Theory of Nitro-Sulphide Toning. (In reply to Sheppard.) Brit.
]. Phot., 1923, 70, 59I.
SHAW-An Improved Method of Single Solution Cold Sulphide Toning. Brit.
J. Phot., 1923, 70, 759
SHEPPARD-The Theory of Toning with Nitro-Sulphide Bodies. Brit. ]. Phot.,
1923, 70, 547
TRIEPEL-Cold Single Solution Sulphide Toner. B. P. 24,378 of I9IO; Brit. ].
Phot., I9I I, 58, 657
VALENTA-Single Solution Sulphide Toning. Brit. ]. Phot., I9I2, 59, 3I3.
---Sulphur Toning in an Acid Solution. Phot. Era, I9IS, p. I27; Brit.
]ourn. Almanac, I916.
Toning with Copper, Uranium and Iron
CoBENZL-Iron, Copper and Uranium Toning Processes. Phot. Korr., I922, 59
( F estnummer) , p. 11.
GREENALL-Intensified Copper Toning. Amat. Phot., 1919, p. 27.
LuPPo-CRAMER-Clearing the Whites of Images Toned with Uranium and Iron.
Camera (Luzern), I923, 2, I77
MURPHY-Copper-Tin Toning. Amat. Phot., 1922, p. 547.
NAMIAs-Copper Toning. P. Korr., I907, p. 229; Brit. ]. Phot., I907, 54, 393
NAMIAs-Iron and Vanadium Toning. II Prog. Fot., 1922, 29, 85.
SEDLACZEK-Ferricyanide Toning. (Uranium.) P. Ind., 1924, pp. 205, 234;
Amer. Phot., 1924, p. 4
STRAUss-Toning with Copper. Phot. Rund., I922, 59, 147.
STRAuss-Copper-Chromium Toning. Brit. ]ourn. Almanac, I923, p. 367.
THOMSON-Uranium as a Toner and Intensifier. Amer. Phot., 1920, 14, 648.
WARn-Copper-Sulphide Toning. B. P. 8oo2 of I9I2; Brit. Journ. Almanac,
I914, p. 659; B. P. 6026 of I913; Brit. Journ. Almanac, 1914, p. 423.
Toning with Cobalt, Tin and Vanadium
DRUCE-Toning with Tin. Phot. } . of America, I922, 6o, 355; Brit. J. Phot.,
I922, 6g, 433
FoRMSTECHER-Toning with Stannous Compounds. P. Rund., I92I, p. 277;
Brit. J. Phot., I92I, 68, 759
LAMBERT-Toning with Vanadium. Brit. Journ. Almanac, I923, p. 666.
MuRPHY-Tin and Copper Toning. Amat. Phot., I922, p. -547
NAMIAs-Toning with Vanadium. Rev. franc. Phot., I924, 5, 76.
NAMIAs-Toning with Iron and Vanadium. II Frog. Fot., I922, 29, 85.
RICHARDSON-Toning with Stannous Compounds. Amat. Phot., I923, 55, 469.
SoMERVILLE-Toning with Vanadium. Photogram, I906, p. 265.
STRAUSs-Toning with Cobalt. P. Rund., I923, 6o, 69; Brit. J. Phot., I923, 70,
352.
STRAuss-Toning with Cobalt. P. Ind., I924, p. 232.
WALL-Toning with Vanadium. Phot. Journ. America, I92I, 59, 96.
Miscellaneous Toning Processes
FoRMSTECHER-Toning with Selenium. B. P. I69,3781I920; Brit. J. Phot., 1921,
68, 659
FoRMSTECHER-Toning with Palladium. P. Ind., I922, p. 774.
FoRSTMANN-Two Color Tones with Selenium. Brit. J. Phot., I92I, 68, 4I9.
GAUDET-Toning with Colloidal Silver. French Patent 5I4,0I6.
MIMOSA AKT.-Toning with Cadmium and Mercury. B. P. I39,5I7i Brit. J.
Phot., I920, 67, 290.
NAMIAs-Sulpho-Selenium Toning. Brit. J. Phot., I920, 67, 648.
NAMIAs-Sulpho-Selenium Toning. II Frog. Fot., I922, 29, 203.
RAWLING-Toning with Colloidal Sulphur. Phot. J.. I922, 62, J.
SEDLACZEK-Toning with Mercury. Brit. J. Phot., I9o6, 53, 624, 645.
STEIGMANN-Mercury Toning by the Orywall Process. P. Ind., I92I, p. 797
STEIGMANN-Toning with Sodium Hydrosulphite. P. Ind., I924, p. 649; Sci.
et Ind. P., I924, 4. 75.
WALL-Selenium Toning. Amer. Phot., I922, p. 55.
Chapter XXI. Platinotype and Iron Printing Process
ANDERSON-The Choice of a Printing Paper with Special Reference to Platinum.
Amer. Phot., I9I3, 7, 336, 3&4.
BROWN-Practical Notes on Printing Processes. British Journal Almanac,
I9I6, p. 343 .
BuRIAN-An Iron-Cobalt Printing Paper. Atelier, I92I, 28, 42; Phot. J. of
Amer., I922, 6o, 318.
HAWKs-The Kallitype Process. Brit. J. Phot., 1916, 63, 415.
]ACOBY-On the Use of Japine Platinotype Paper. Brit. ]. Phot., 19()6, 53. 8o7.
598 PHOTOGRAPHY
}ACOBY-A Sepia Platinum Paper. Phot. Korr., I922, 59, 31.
LEIGHTON-A Silver, Iron, Mercury Printing Paper. British Patent No. u ,-
6IO/ I9IO; Brit. ]. Phot., I9II, 58, 502 . .
ScHW1Rz-Silver-Iron Sensitizer. Brit. J. Phot., I 922, 6g, 2I9; British Patent
I75.3I7 /I920.
SMITH-Modifications Produced by Variations in Strength and Temperature
of 'Developer. Phot. J., I9II, 51, 3
SMITH-Palladiotype. Brit.]. Phot., I9I7, 64, 6o, 334.
SMITH.:._Satista Paper. Brit. J. Phot., I9I4, 6x, 8o8.
THOMSON-Kallitype. Amer. Phot., I923, 17, 422.
THOMSON-A Silver-Platinum Printing Paper. Amer. Phot., I9I5, g, 630.
THOMSON-Possible Substitutes for the Platinum Print. Amer. Phot., I917,
II, 642. .
VALENTA-Ferro-Prussiate Sensitizer. Brit.]. Phot., I9I7, 64, 70.
VALENTA-Kallitype. (An excellent summary of previously published papers
on the subject.) Bibliography. Das Atelier, I920, 27, IO.
WALir-The Iron Salts. A summary of iron printing methods. Amer. Phot.,
I922, x6, 677, 766; I923, 17, 4
---Recovering Platinum f rom Waste Baths. Brit. ]. Phot., I920, 67, 393.
Chapter XXII. Printing Processes Employing Bichromated
Colloids, I. (Carbon and Carbro)
BENNETT-Some Improvements in Sensitizing Carbon Tissue. Phot. ]., I9Q4,
44, 7
BRAHAM-The Carbro Process. Phot. J., I922, 62, I6 ; Brit.]. Phot., I922, 6g, 4
CARRANZA-A Quick Drying Sensitizer for Carbon Tissue. Brit. J. Phot. (col.
supp. ), 19I4, 6x, 3.
CHERRIL-Multiple Carbon Printing. Phot., IgOO, p. 327.
FARMER-The Carbro Process. Amat. Phot., I9I9, p; 285; Brit. ]. Phot., I9I9,
66, 583 ; Amer. Phot., I920, 14, 92.
FELLEos-Decorative Application of. Carbon Printing. (Method of Preparing
Carbon Tissue.) Brit. ]. Phot., I920, 67, 481.
GARON-Revised Formulre for Carbro. Brit. ]. Phot., I92I, 68, 327.
HALL-Control in Carbro Printing. Brit. J. Phot., 1922, 6g, 783.
HARRis-Tank Development of Carbon Prints. Brit. ]. Phot., 19I4, 6x, 2I4.
LUMIERE AND SEYEWETz-Sur Ia Composition de Ia Gelatine Insolubilisee par
les Sels de Sesquioxyde de Chrome et Theorie de L'action de Ia Lumiere
sur Ia Gelatine Additionee de Chromates. Bull. Soc. franc. Phot., I904,
20, 73
LuMIERE AND SEYEWETz-Sur Ia Composition de Ia Gelatine Impregnee de
Bichromate de Potassium Insolubilisee par Lumiere et sur Ia Theorie de
cette Insolubilisation. Bull. Soc. franc. Phot., I905, 21, 440.
LuMIERE AND SEYEWETz-Sur Ia Composition de Ia Gelatine Insolubilisee par
la Lumiere en Presence de L'acid Chromique et des Principaux Bi-
chromates Metalliques. Bull. Soc. franc. Phot., 1905, 21, 461.
LUMIERE AND SEYEWETz-Sur Ia Composition de Ia Gelatine Bichromatie In-
solubilisee Spontanement dans L'Obscurite. Bull. Soc. franc. Phot., 1905,
21, 541.
MIDDLETON-Some Experiments and Notes on Pictures in Pigments. Brit. J,
Phot., 1923, 70, 735
NAMIAS-Reaction of Various Compounds of Chromium with Gelatine. Phot.
J., 1!)02, 42, 195. ....
PETRASCH-The Development of Over Exposed Carbon Prints. Phot. Rund.,
1912, p. 57; Brit. J. Phot., 1912, 59, 217.
WALL-The Chromium Salts. Amer. Phot., 1922, 16, 613.
WALL-Substratum for Carbon Transparencies. Brit. ]. Phot., 1914, 61, 459
WALir-The Carbon Process. Amer. Phot., 1924, 18, I, 86.
WARBURG-Dyes as Sensitizers of Carbon Tissue. Phot . .]., 1917, 57, 16g.
Chapter XXIII.
Colloids, II.
Printing Processes Employing Bichromated
(Gum-Bichromate and Allied Processes)
ANDERSON-The Gum Pigment Process. Amer. Phot., 1913, 7, 504, 584, 648,
700, 707; 1914, 8, 8, 12, 76.
ANDERSON-Multiple Gurri Printing. Amer. Phot., 1912, 6, 676.
BATTY-A Simplified Method of Printing in the Gum-Bichromate Process.
Phot. J., 1923, 63, 398.
DAVIs-Gum-Bromide Printing. Amer. Phot., 1921, IS, 53.
GRANDMAITRE-Multi-Layer Gum Process. Bull. Soc. franc. Phot., 1923, 10, r6.
KRuG-Gum Printing.
LEIGHTON-A Method of Working the Gum-Bichromate Process. American
Annual of Photography, 1924, p. 40.
LIBBY-Multiple Gum. American Annual of Photography, 1922, p. 124.
MACNAMARA-Multiple Gum. Brit. J. Phot., 1919, 66, 320.
Printing., Camera (Luzern), 1922, I, 144.
MoERDYKE-Multiple Gum Process. Camera Craft, 1921, p. 398.
OWEN-A Gum Printing Frame. Amer. Phot., 1923, 17, 416.
RICHER-The Glue Print. Amer. Phot., 1923, 17, 38.
STARNEs-The Gum-Bichromate Process and a New Colloid. Phot. J., 1918,
58, 287; Brit. ]. Phot., 1919, 66, so.
ZERBE-Method of Registration for Multiple Printing. Camera Craft, 1923, p.
214; American Annual of Photography, 1923.
ZERBE-The Gum-Platinum Process. Amer. Phot., 1910, April.
Chapter XXIV. The Oil Processes
(For general reference works see page 5!9)
BANFIELD-The Technique of Bromoil. Brit. J. Phot., 1922, 6g, 130.
BENNION-Unorthodox Inking of Bromoils. Brit. J. Phot., 1925, 72, 231.
CLEMENT-Bromoil Bleachers. A. P., 1922, p. 57.
CROWTHER-The Theory and Practice of Bromoil. A. P., 1921, p. 446.
600 PHOTOGRAPHY
FIELITz-Bromoil Transfers from Duplicate Negatives. Phot. Rund., 1922, 59,
261.
GABRIEL-Grain in the Bromoil Process. Brit. J. Phot., 1929, 76, 147.
GABRIEL-Bromoil Transfer without a Press. Brit. ]. Phot., 1929, 76, 343
GABRIEL-The Technique of Bromoil. Brit. J. Phot., 1929, 76, 527, 543, 559, 576,
592, 6o6.
GRIMWoon-Pressure Pack for Bromoil Transfer. Brit. ]. Phot., 1925, 72, 322.
)UDGE-Bromoil Lithography. Brit. J. Phot., 1929, 76, 6o8.
LuMLEY-Chlorobrom Papers for Bromoil. Brit. ]. Phot., 1928, 75, 141.
MAYER-Bromoil Transfer. P. Rund., 1924, 6r, 200.
MAYER-Sources of Failure in the Bromoil Process. P. Rund., 1925, 62, 9
MENTE-Degreasing Bromoil Prints. Atelier, 1928, 35, 72.
NAMIAs-The 1Technique of Bromoil. Brit. J. Phot., 1921, 68, 77.
NAMIAs-Bromoil Bleachers. II. Prog. Fot., 1922, 29, 226.
UsHER-The Preparation of the Print for Pigmenting. Brit. ]. Phot., 1924, 71,
13, 124; 1927, 74, 179
SCHIEL-Bromoil Printing. Phot. Rund., 1926, 63, 55, 97, 182.
SCHJEL-The Chromic Acid Bleach and its Reaction Product. P. Korr., 1927,
63, 117.
ScHOMMER-Gelatine Hardening in the Chromate Processes. P. Rund., 19z6, 63,
120, 138.
SYMEs-Papers for Bromoil Transfer. Brit. J. Phot., 1923, 70, 103.
PRETT-Transfer Press. Brit. J. Phot., 1923, 70, 300.
VENN-The Bleaching and Tanning of Bromide Prints Intended for Bromoil.
Brit. J. Phot., 1924, 71, 427.
Vr:NN-Notes on the Chemistry of Bromoil. Brit. J. Phot., 1925, 72, II9.
VENN-Researches in the Bromoil Process. Brit. J. Phot., 1926, 73, 384, 401.
ZAEPERNICK-Technical Faults in Bromoil Printing. Brit. ]. Phot., 1923, 70, 645,
656.
Chapter XXV. Copying
BRAMWELL-A Copying and Enlarging Cabinet. British Patent I55,9o6/1919;
Brit. J. Phot., 1921, 68, 142.
BRAMWELL-Focussing Enlarged Copies. Brit. J. Phot., 1916, 63, z67.
BROWN-Vertical Copying and Enlarging Apparatus. British Patent 133,-
143/1918; Brit. ]. Phot., 1920, 67, 39, 259.
CHARLEs-A Method for Exact and Rapid Copying to Scale. Brit. J. Phot.,
1919, 66, 736.
CHARLEs-Determination of Exposures in Copying by Artificial Light. Brit. J.
Phot., 1922, 6g, 709.
CLERC-Contact Reproductions by Reflected Light (Ullman's Process). Brit. ].
Phot., 1921, 68, 65, 645.
FERRARs-Vertical Stand for Reproduction Work. Camera Craft, 1923, p. 384.
GEAR-Copying Line Subjects. Phot. ]., 1916, s6, 177; Brit. J. Phot., 1916, 63,
381.
HANSEN-Vertical Copying and Enlarging Apparatus. British Patent 135,-
484/1918; Brit. J Phot., 1921, 68, 52.
HEYDECKER-Reproduction of Documents by Contact using Reflected Light.
(Revival of Playertype.) Brit. J. Phot., 1923, 70, 445.
MARRIAGE-Copying Half-Tone Illustrations. Brit. J, Phot., 1916, 63, 162.
MuLLER AND GANz-Vertical Cop'ying and Enlarging Apparatus. British Patent
123,531/I920; Brit. J. Phot., 1920, 67, 394
PASCAULT-A Vertical, Self-Focussing Copying Apparatus using Artificial
Light. British Patent I50,9I2/I9I9; Brit. J. Phot., 1920, 67, 633.
PowER-Copying to Same Size. Brit. J. Phot., 1916, 63, 439
PRATT-Backgrounds for Small Objects Photographed in the Studio. Camera
Craft, 1923, p. 3
RosE-Vertical Arrangement for Copying Small Objects. Brit. J. Phot., 1919,
66, 338.
STILEs-Copying. Amer. Phot., 1922, x6, 634.
WALL-The Playertype Process. Amer. Phot., 1923, 17, 686.
WESTCOTT-Test Object for Sharp Focussing. Amat. Phot., 1921, p. 106.
WINKLER-Reproductions by Reflected Light. French Patent 556,444/1922; S.
. T. I. P., 1923, 4, 12.
WINKLER-Fine Focussing by the Parallax Method. Brit. J, Phot., 1917, 64,
322.
--Copying. (Decennia Practica.) Brit. J, Phot., 1916, 63, 7
~ I
\: ,,
< ~ : ... t:l
I
t
SUBJECT INDEX
Aberration, chromatic, 89
comatic, 94
spherical, 92
Absorption, loss of light in lenses by,
. 84
Achromatic, 90
lenses, single, 106, 107
Acid fixing baths, 323, 324
extra hardening baths, 325
troubles with, 325
Actinometers, 248
correction for special subjects
when using, 250
for carbon printing, 468
Additive methods of color photogra-
phy, 542
Adon lens, 147
Adurol, 278
formula for use of, 287
Agfa color plate, 553
Aldis lenses, 136
Alkali, acetone as a substitute for, 297
carbonates in development, 295
caustic, 297
function of in development, 258
proportion of to developing agent,
296
Amidol, 280
for bromide paper, 274
formula for use of, 287
preservatives of, 281
Ammonia, ripening of emulsions with,
I 58
influence in fixation, 319
in development, 295
Ammonium chloride, influence on ra-
pidity of fixing, 317
Anachromatic lenses, 107
Angle of view, 74
Aperture, effective, 83
inconstancy of, 83
relative variation with subject, 85
603
Aplanat, 109
types of, 110
Apochromatic, 92
Aristostigmat lens, 121
Artificial latent images, 195
with hydrogen peroxide, 196
with sodium arsenite, 197
Artificial light, for copyi,ng, 522
for projection printing, 393
filter factors with, 186
Astigmatism, g8
Autochrome plate, 546
after treatment of, 552
development of, 549
exposure of, 548
filters for, 547
reversal of, 551
Aviar lens, 136
Back, reversible, 48
swing, 46
Baynard's work in photography, r8
Bichromated colloid printing processes,
chemistry of, 462
history of, 33
Bis-telar lens, 144
Bitumen of Judea, Niepce's process
with, rr
Bleaching of bromide prints in bromoil
process, 505
in sulphide toning, 440
Bromide, advantage of excess. of in
emulsions, 156
density depression with, 273
effect of on characteristic curve,
272
effect on development of fog, 274
effect on velocity constant and
gamma infinity, 274
Bromide papers, history .of, 32
developers for, 372
Bromoil process, 35, 462
604 PHOTOGRAPHY
bleaching the print, 505
bromide papers for, 503
pigmenting, 5o8, 511
producing relief in, 508
theory of, 462
type of print for, 504
Bromoil transfer, 512
bromide print for, 512
bromoil for, preparation of,
513
chemical transfer, 517
multiple transfer, 518
papers for, 514
presses for, 5I5
processes in, 5I6
Cabinets, drying, 63
Calotype process, 20
Camera, adjustments of, 45
box, 38
copying, 523
enlarging, 390
hand, 40
miniature, 38
professional view, 42
reflex, 43
trichromatic, 540
Camera obscura, history of, I
with lens, 4
use of by Niepce, 11
Carbon printing, 33, 463
actinometers for, 468
chemistry of, 462
continuing action of light in,
469
development of prints, 469
exposure in, 467
sensitizing tissues, 465
tissues for, 464
transfer, single and double,
465, 47I
transfer to rough paper, 472
Carbro printing, 462, 473
bromide print for, 474
development in, 478
multiple printing, 479
on bromide print, 479
sensitizing formulas, 475
sensitizing tissues. for, 476
transfer, 477
Catalytic theory of persulphate reduc-
tion, 350
Celor lens, 119
Characteristic curve, method of ob-
taining, 222
significance of, 223
effect of development on, 235
effect of soluble bromide on,
272
Chromatic aberration, 89
Chromium intensifier, 357
Circle of confusion, 78
Clouds, introducing in projection print-
ing, 4I4
Collinear lens, I I6
Collodion process, Archer's, 23
inconveniences of, 23
modifications of, 25
Collodion emulsion, 26
Color contrasts, photographing, I89
Color photography, 537
direct, by bleaching of dyes,
537
direct, by light interference,
538
by trichromatic methods, 539
by multi-color screen plates,
544
Color Sensitizing, by bathing, I8o
dyes for, chemical consti-
tution of, I70
dyes for, sensitizing proper-
ties, I77
theories of, I75
Color-Sensitive plates with incorpo-
rated filters, I84
Condensing lenses, 399
with diffusing media, 40I
Conjugate focal distances, 74
in projection printing, 409
Constant density ratios, 232
Cooke lens, I34, 135
Copper intensification, 359
Copying, artificial light for, 522
black and white objects, 530
cameras for, 523
SUBJECT INDEX 605
colored objects, 533
exposure in, 527
focussing in, 524
illumination in, 52I
objectives for, 523
photographs, 532
to scale, 525
Curvature of field, 95
Dagor lens, II5
Daguerreotype process, IS
later history of, I7
Dalmac lens, I33
Dallon lens, I44
Darkroom, arrangement of, 54
illumination of, s6
sinks, 55
size of, 52
ventilation of, 53
water supply in, 55
Density, Beer's law, 2I7
constant ratios, 232
definition of, 2I7
dependance upon method of meas-
urement, 2I6
growth with exposure, 235
growth with time of development,
26o
ratios and opacity ratios, the dif -
ference, 233
soluble bromide, action on, 273
Densitometers, absorption, 2I5
polarisation, 2I4
photo-electric, 2 I 6
Depth of Focus, factors controlling, 79
theory of, 77
Desensitizing, agents, 298
of autochromes, practice of, 299
\<Vatkins factor, effect on, 300
value of, 298
Developing Agents, classification of,
276
developing characteristics of,
286
formulae for, 287
group relations in, 284
phenolate compounds as, 289
reduction potential of, 275

relative reducing energy, 274
source and derivation, 277
Development, function of alkali in, 258
factorial, 259, 302
high temperature, 3I2
induction period of, 259
invasion phase of, 253
of enlarged negatives, 4I7
of lantern plates, 424
of papers, 374, 375
of process plates, 53 I
perfect negative and, 234
precipitation phase of, 256
reduction phase of, 255
reproduction of contrast in, 232
soluble bromides in, 257
sulphites in, 257, 293
structure of gelatine and, 253
temperature, effect on, 265
thermo, 305
time of, for given gamma, 262
time of, for various temperatures,
27I
velocity of, 259, 26I
Development Papers, 368
alteration of contrast, 38 I
amidol developer for, 374
development of, 374, 375
fixing of, 32I, 378
glazing of, 383
washing of, 379
Diaphragm, Le Clerc, 525
systems of notation, 8I
variation in value of with distance
of subject, 85
Digestion of emulsions, I s8
theory of, I6o
Dispersion of light, 67
Di1>persoid theory of persulphate re-
duction, 35I
Distances, conjugate focal, 74
Distortion, . 97
Dogmar lens, I20
Drying, cabinet for, 63
d-o-p prints, 405
gum-bichromate prints, 485
lantern slides, 425
carbon tissues, 466
606
PHOTOGRAPHY
Duplicating processes of screen-plate
photography, 553
Dyes, local intensification with, 363
color sensitizing, 170, 177
Edinol, 281
formula for, 287
Eikonigen, 284
formula for, 287
Emulsion, 26
appearance under microscope, 162
advantage of excess halide in, 156
classes of, 153
collodion, history of, 26
digestion of, 158, 16o
emulsification, 1-56
fog in, 159
gelatine, history of, 27
gelatine in, 150
iodides in, 1 SJ
preparation of, 153, 155
washing of, 16o
Ernostar lens, 139
Exposure in negative making, 240
actinometers, use of in calculat-
ing, 248
atmosphere, influence of, 240
latitude in, 230
speed of plate, effect of variations
in, 246
subject, influence of, 242
variation of light intensity, influ-
ence of, 240
visual exposure .meters for calcu-
lation of, 250
F system, 82
Factorial development, 302
accuracy of, 303
factors for, 303
of developing papers, 375
of lantern slides, 424
Film, introduction of, 30
Filters, 183
autochrome, 547
contrast, 183
lens definition, effect on, 533
orthochromatic, 184
Finders, 51
Fixing, 314 .
ammonium chloride, effect on, 317
concentration, effect on, 316
mechanism of, 315
necessity for complete in sulphur
toning, 433
of developing papers, 321, 378
of p-o-p papers, 388
velocity constant of, 315
when complete, 319
Fixing Bath, acid, 323
hardening, 324
troubles with, 325
exhaustion of, 320
extra hardening, 325
plain, 322
Flare, 100
Focal length, 71
and size of image, 72
and perspective, 72
choice of, 73
Focal distances, conjugate, 74
Focus, principal, 71
depth of, 77
Focussing, parallax method, of, 524
Fog, 334
chemical, 336
dichroic, 338
emulsion, 336
light, 335
sulphite, 337
Gamma, 234
calculation of, 237
characteristic curve and, 235
time of development for given,
calculating, 262
Gamma infinity, 238
bromide, effect of soluble on, 274
calculation of, 239
Gauss theory of image formation, 69
Gaussian objectives, 120
Gelatine, 150
sensitizers, 151
Gelatino-citm-chloride paper, 31

SUBJECT INDEX 60'7
Glass, introduction of as negative base,
21
Globe lens, H>9 .
Glycin, 282
formula for, 287
. Graduates, 61
Graf anastigmat, 126
Gum bichromate process, 481
coating papers, 484
development in, 486
drying papers, 485
effect of variations in coating
mixtures, 484
exposure, 486
formulas for coating, 482
materials for, 482
registration in, 487
the negative for, 482
Gum bromide process, 489
Heliar. lens, 137
Holostigmat lens, u6
Hoods, lens, 51
Hydroquinone, 278
formulas for, 287
reactions in development, 256
Hypersensitizing, 181
Hypo, action on silver halides, 314
eliminators of, 331
tests for, 330
toning with acid, 437
toning with alum and, 434
Illuminants for projection printing,
394
arc, 395
incandescent, 396
mercury vapor, 395
Image, intensity of optical, So
formation by lenses, 68
Gauss theory of, 69
Inertia, as a measure of speed, 224
variation of, 224
Intensification, how secured, 353
~ c a l with dyes; 363
of prints, 382
sensitometry of, 36o
Intensifying processes, classification
of, 361
chromium, 357
copper, 359
lead, 359
mercuric-iodide, 355
mercury, 353
Monckhoven' s method, 355
silver, 356
sulphide, 360
uranium, 358
Iron printing processes, 460
Iron toning processes, 448
Isostigmar lens, 127
Kallitype process, 459
Lantern slides, 419
binding, 426
by proj ection, 421
developer s for, 423
development of, 424
exppsing, 421
fixing, washing, and drying,
425
intensification of, 430
masking, 425
negative for, 419
physical development of, 428
plates for, 419
printing frame for, 420
reduction of, 429
spott:ng, 426
thiocarbamide, warm t ones
with, 429
toning of, 429
warm tones by development,
427
Latent Image, 195
artificial, 195
formation at low t empera-
tures, 205
intensification of with hy-
drogen peroxide, 196
oxidizing agents, action on,
200
photo-regression, 199
photosalts, 202
608 PHOTOGRAPHY
physical development" of, 20I
reversal of, I98
theories of, 204, 205
Lenses, achromatic, I05
anastigmatic, I I4
aplanatic, 108
apochromatic, 92
image formation with, 68
loss of light in, 84
nodes of, 70
speed of, 8I
Magnar, lens, I43
Meniscus, objective, Wollaston's, 105
Mercuric cyanide as a desensitizer,
299
Metol, 282
formula for, 287
and adurol, 288
and glycin, 288
and hydrochinon, 288, 309
Negative, perfect, H. & P. definition
of, 228
enlarged, making, 415
faults in, 333
for gum bichromate, 482
for lantern slides, 419
for projection printing, 407
scatter of light in, 4o8
Niepce, his work, 8
Neostigmar lens, 127
Nodes of lenses, 70
positions of, 71
Objective, achromatic, 106
aplanat, 108
Gaussian anastigmatic, I20
meniscus, I05
portrait, 110
semi-achromatic, 107
symmetrical anastigmatic, I'I5
symmetrical air-space anastig-
matic, 118
telephoto, I40
triple, anastigmatic, I33
unsymmetrical anastigmatic, I28
Oil process, 35
brushes for, 495
Duvivier's process, 502
exposing, 498, 501
papers for, 495
pigmenting, 499
pigments for, 496
sensitizing, 497
Orthochromatic filters, 184
in landscape photography, 186
in portraiture, I87
multiplying factors of, 185
Orthostigmat lens, 116
Ortol, 283
formula for, 287
Papers, early negative processes, 20
Papers, printing, adapting to negative,
366
characteristics of, 364
correct rendering, limits of, 365
exposure scale of, 365
total scale of, 365
Paraminophenol, 280
formula for, 287
Pentac lens, I38
Permanganate, reduction with, 348
Persulphate, reduction with, 351
theories of, 349
Peroxide, artificial latent image with,
19()
intensifying action on latent im-
age, 196
Perspective, 72
Petzval portrait lens, 110
Phenolate compounds as developers,
289
Phenosafranine, desensitizing with,
298
Photochemical action, early records
of, 5
Photochemical and photophysical
change, I94
Photography, definition of, I
Photoregression, of latent image, I99
Physical development, after fixati on,
20I
Pinakryptol as a desensitizer, 298
SUBJECT INDEX 609
green, 298
yellow, 299
Plasmat lens, 123
Plates, Agfa for color photography,
553
autochrome, 546
lantern, 419
orthochromatic, 171, 177
panchromatic, 177
process, 530
wet, 23, 25
Plate Speeds, actual and H. & D.
speeds, variation, of, 225
effect of soluble bromide on,
272
inertia as a measure of, 224
table of different systems of
expressing, 246
Platinotype process, 32
commercial papers for, 453
exposure and development, 454
theory of process, 452
variation of color in, 456
variation of contrast in, 455
Portrait, first by photography, 17
Powder printing processes, 490
Printing-out-papers, 31
exposing, 385
fixing of, 388
toning, 386
Printing Processes, bromide, 32, 370
bromoil, 35, 462, 503
carbon, 33, 462, 464
carbro, 33, 462, 473
gum-bichromate, 33, 462, 481
iron, 46o .
oil, 35, 462, 495
platinum, 32, 452
P-0-P, 31, 385
Projection printing, 390
artificial light for, 393
condensers in, 399
diffusing media in, 401
daylight for, 392
easel for, 412
introducing clouds in, 414
negative for, 407
objective for, 403
self-focussing apparatus for,
394
Protar lens, early unsymmetrical, 128
series VIla, 117
Pyrocatechin, 278
formula for, 287
Pyrogallol, 279
formula for, 287
with glycin, 288
with metol, 288
time development with, 308
Radiar lens, 145
Rapid rectlinear lens, 109
Reciprocity law, failure of, 213
Reducers, 345
Belitzski's, 347
Farmer's, 346
iodine-cyanide, 348
mercury cyanide, 347
permanganate, 348
persulphate, 351
proportional, 349
super-proportional, 350
Reduction, chemical in development,
256
local, 362
of prints, 382
proportional, 349
subtractive, 345
super-proportional, 350
Refraction, of light, 65
index of, 66
Reflection, loss of light in lenses from,
84
Reversal, of autochroms, 551
of latent image by chemical re-
agents, 198
of latent image by exposure, 198
Safeligl\t, 59
efficiency of, 6o
for developing papers, 374
Satista paper, 457
Schwellenwert method of speed deter -
mination, 209
Schwarzschild constant, 213
610 PHOTOGRAPHY
Screen plates, 544
Sensitivity centers, 164
action of oxidizing agents on,
200
role in exposure, 207
Sensitizing, color, by bathing, r8o
blue print paper, 460
carbon tissue, 465
carbro tissue, 476
oil papers, 497
substances in gelatine, 151
Sensitometry, 209
characteristic curve, 222
constant density ratios, 232
densitometers for, 214
density-exposure relation in, 221
developers and development in,
220
development and contrast, 232
exposure in, 219
gamma, 234
H. & D. speeds and actual speeds,
225
inertia, 224
latitude in, 230
perfect negative, definition of in,
228
reciprocity law, failure of, 213
sensitometers for, 21 r
standard light sources, 210
threshold method of, 209
.wedge methods of, 227
Shutters, 49
Serrac lens, 132
Silver halide, action of hypo on, 314
photoelectric properties of,
200
sensitivity of various, 154
sub-halides, 203
visible darkening of, 203
Sinks, 55
Spectrum, 168
photochemical action of on the
silver halides, I 69
Spherical aberration, 92
and depth of focus, 79
Spots on negatives, 342
Stains on negatives, 339
Stigmatic lens, 128
Sulphites, action in developers, 257
control of developer stain with,
295
forms of, 293
stock solutions of, 294
Sulphur toning, 431
alum and hypo, 434
indirect, 440
mercury-sulphide, A44
necessity for complete fixing,
433
prints for, 431
rebleaching of toned prints,
443
Superproportional reducers, theory of,
350
Swing back, 46
Swing front, 47
Talbot, life and work, r8
Tanks, 61
commercial, 62
Telecentric lens, 144
Teledynar lens, 147
Telekinic lens, 145
Teleobjective, 140
anastigmatic, 143
compound, 140
early fixed magnification, 142
Temperature, calculation of time of
development at given, 271
development at high, 312
sensitiveness of plate at low, 205
Temperature coefficient of develop-
Tessar lens, 130
ment, 267
calculation of, 268
of various developing
agents, 267, 269
constructions based on; 131,
132
Thermo development, 305
efficiency of, 31 r
developers and tables for, 306
with glycin, 310
Toning, of developing papers, 431

SUBJECT INDEX
611
of p-o-p, 386
Toning processes, alum-hypo, 434
copper, 445
indirect sulphide, 443
iron, 448
mercury-sulphide, 444
miscellaneous processes, 451
nitro-sulphide, 439
polysulphide, 437
uranium, 446
vanadium, 449
Transparency, sensitometric definition
of, 217
Trays, 61
Trichromatic photography, 539
Triplet objectives, anastigmatic, 133
early, ro8
Tripods, so
Unar lens, 129
Unofocal lens, 125
Uranium, intensification with, 358
toning with, 446
Vanadium, toning with, 449
Velocity constant, of development, 261
of fixation, 315
View, angle of, 74
Washers, efficiency of, 327
for negatives, 328
for prints, 379
Washing, mechanism, of, 326, 330
Watkins factor, 259, 302
for various developers, 303
variation with desensitizers,
300
W edgewood, his work, 8
Wedges, optical, desensitometers us-
ing, 215
in sensitometry, 227
I
~ I
\: ,,
< ~ : ... t:l
..
INDEX OF AUTHORS
Abegg, I64, 205
Abney, 30, I56, I57, I69, 204, 213, 2I5,
278, 469
Adams, I74
Adamson, 24I
Aldis, I36
Allen, 206
Amor, 332
Anderson, 479
. Andreson, 284
Arago, 3, IS
Aristotle, I, 5
Bacon, 2
Baines, 315
Baekeland, 32, 200
Barbaro, 4
Bayard, I8
Beck, I27
Beechey, 26
Belitski, 347
Bennett, 29, I s6. 360, 444
Blake-Smith, 466
Bolton, 29
Bolton & Sayee, 26
Booth, I38, I44
Bow, I03
Burgess, 28
Bullock, 438, 44I
Butler, 54I
Callier: 2I7, 407
Charles, 525, 528
Clark, 201, 220, 33I
Clarke, I75
Collins, 4I3
Crabtree, 325, 34I
Cros, 538
Crowther, 28I , so6
Daguerre, 9, I2
Dallmeyer, Io6, 107, I09, II3, I28, 132,
I33, I38, I4I, I44, I47
613
Da Vinci, 2
Davis, 2II
Davy, 8
Debenham, 86
Dillaye, 550
Draper, I7, I6g, I94
Drinkwater, 435
Dundon, I8I
Du Hauron, 542, 543, 544
Dttvivier, 502
Eastman, 30
Eder, 30, 3I, 32, IS6, I57. IS8, I64, I75,
I76, I94, 204, 276, 347, 462
Eder & Toth, 445
Ermen, 296
Farmer, 35, 36, 346, 362
Ferguson, 267, 445
Forch, 85
Fox-Talbot, I8, I9, 3I, 33
Gard, 397
Gauss, 69, I20
Glover, 505
Goddard, I7, I07
Goerz, IIS, uS, I I9, 120
Goldberg, 227
Graf, I26
Gross, 203
H. & D., 210, 212, 214, 217, 224, 2:;5.
228, 232, 237. 264, 305, 407
Harrison, 27
Harting, I37, I38
Hartung, 203
Herschel, I, 16, 20, 21, 32, I69, 314,
400
Hickman, 197, 208
Hickman & Spencer, 327, 330
Higson, I6S, 2I3
Homolka, 298
Houdaille, 265, 305
614 PHOTOGRAPHY
Hunt, 33, 16g
I ves, 538, 540, 543
Jacobsohn, 181
Johnson, 28, 30, 149
Jones, Chapman, 2II, 407
Jones, L. A., 213, 214, 215, 375
Kennett, 29, 149
Kepler, 4
Kollmorgen, 121
Konig, 171, I73, 298
Lambert, 4I2
Lanier, 323
Lea, Carey, 202, 203
Le Clerc, 360, 524
Lee, II3, 122, I44, I66
Lehrmann, 85, 321
Libri, 3
Liesegang, 3I
Lippmann, 538
Lockett, 304, 41 I
Lumiere & Seyewetz, 20I, 202, 284,
290, 297, 298. 318, 319, 320, 321, 326,
33I, 339. 350, 433, 438, 545
Luppo-Cramer, 164, 176, I96, 200, 203,
298, 300, 35 I
Luther, 227
Maddox, 28, 149
Manly, 35
Mansfield, 29
Marion, 34
Martin, 143
Maxwell, Clerk, 540
Mayer, 504, so6, 5I4
Mayer & Walter, 299
545
Mees, 165, 187, 375
Mees and Sheppard, rsr, 2II, 225, 239,
257. 258, 262, 264, 265, 267, 274, 315,
326
Merte, 131
Mills, 174
Monckhoven, 355
Namias, 28I, 348, 442, 445, 446, 449,
492, 5II
Nietz, 26o, 274, 277
Nietz & Huse, 345, 360
Neuhaus, 201
Nicol, 459
N iepee, 8, II, 537
Norris, 25
Owen, 488
Owens, 202
Partington, 509
Petzval, IIO, 142
Piper, 36, 316, 3I8, 357
Poitevin, 33, 35
Ponton, 33
Pope, 175, r82
Porta, 3
Pouncy, 34
Prett, 516
Purdon, 310
Rawlings_, 36
Renwick, 164, 201, 203, 205, 217
Rohr, 77
Ross, ro8, u8, 121, 125, 133, 143, 146
Rudolph, 99, II7, 120, 123, I24, 128,
129, 130, 143
Russell, 195, 295
Rzymkowski, 258
Sayee & Bolton, 26
Scheele, 7, 203
Schuler, 351
Schulze, 5
Schwarz, 203
Schwarzschild, 213
Scott-Archer, 21
Sedlaczek, 358, 447
Shaw, 439
Sheppard, 152, 159, r6o, 164, 197, 201,
207, 352
Sheppard & Wightman, 165
Simpson, .3I
Slade, I65
Snodgrass, 372
Sutton, 26, ro8
Steinheil, 109, II6, 125
Stenger, 351
' .
!
INDEX OF AUTHORS 615
Stokes, 272
Strauss, 291
Svedberg, 165, 197
Swan, 34
Symes, 512
Taupenot, 25
Taylor, 134, 136
Thomson, 458
Toy, 197, 206
Trivelli, 197, 208
Underberg, 437
Valenta, 176, 321, 355
Vallot, 569
Venn, 507
Vogel, 170, 204
Voigtlander, IIO, II3, 117, 137, 138,
147
Wall, 36, 298, 405, 450, 491
Warmisham; II3, 120, 136, 139
Warwick, 315, 321
Waterhouse, 171
Watkins, 237, 259, 267, 269, 273, 302,
305
Watson, u6
Wedgwood, 7
Wellington, 356
Wightman, 196
Willis, 33
Windoes, 328
Wore!, 569
Wollaston, 105
Young, 539
Zaepernick, 517
Zerbe, 488
Zschokke, 83, 85, 104
~ I
\: ,,
< ~ : ... t:l
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