Page 77 - The Wellington photographic handbook

Five ounces of A are taken and to this is added half-an-ounce
of B and half-an-ounce of C (in metric measures, 100 c.c. of A,
10 c.c. of B and 10 c.c. of C). The print, after it has been fixed
and well washed, is dried or not, whichever is more convenient.
If dry it is soaked in water till it becomes limp. The wet print
is then placed in the toning bath, and watched. It will be seen
to commence to change colour at once, passing from black to
warm black, brown, chocolate and finally red. When it reaches
whatever colour is desired, it is taken out, washed for ten minutes
in several changes of water and then dried.
In this
Blue tones can be obtained by toning with iron.
case besides the solution B mentioned above, the following will be
required.*
D. Ferric Ammonium Citrate \ ounce 10 grammes
Water to 10 ounces 200 c.c.
The actual toning solution is made by mixing.
B •• ••• ... ... 1 ounce 30 c.c.
D ... 1 ounce 30 c.z.
Nitric Acid \ dram 2 c.c.
Water to 10 ounces 100 c.c.
The prints are toned in this exactly as described above, and
after toning may be washed for ten minutes or a quarter of an hour,
and are then finished. In this process if the whites of the print
are not clear by the time the washing is ordinarily finished,
it
may be continued until they are seen to be clear, always remember-
ing that if the washing is too prolonged the print will be weakened.
There seems -to be little doubt that these last two processes
leave the print less permanent than if untoned or sulphur toned.
It is well, therefore, if permanence is required, to stick to the
untoned prints, or to sulphur toning.
Still as these processes are
often used, they are given here for what they are worth.

CLEARING AND REDUCING BROMIDE PRINTS.
It is sometimes necessary to clear or brighten a Bromide
print. Surface markings or yellow stains due to some defect in
the manipulation may be present, or slight fogging may have
* Before making up any formula, read the notes on -pages 125, 126 and 134.
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