The first negatives taken were the two of which the background is composed. The division runs down the centre, where the light wall is relieved by the dark beyond it. These two negatives were not printed separately—it is advisable to have as few printings as possible—but were carefully cut down with a diamond, and mounted on a piece of glass rather larger than the whole picture, the edges being placed in contact, making, in fact, one large negative of the interior of the cottage, into which it would be comparatively easy to put almost anything. The next negative was the old man. This included the table, chair, and matting on which his feet rest. This matting is roughly vignetted into the adjoining ground of the cottage negative. The great difficulty at first with this figure was the impossibility of joining the light head to the dark background; no amount of careful registration seemed equal to effect this difficult operation; but if it could not be done, it could be evaded. Several clever people have been able to point out the join round the head, down the forehead, and along the nose, but we have never been able to see it ourselves, because we know it is not there. This is how the difficulty was got over. The figure was taken with a background that would print as nearly as possible as dark as the dark of the cottage. The join is nowhere near the head, but runs up the square back of the old woman's chair, then up the wall, and across the picture, over the head in an irregular line, and descends on the old man's back, whence it was easy to carry it down the dark edge of his dress and the chairs till it comes to the group of baskets, pails, &c., that fill up the corner. On the other side, the join runs along the edge of the table, and finds its way out where the floor coverings come together. The old lady was then photographed, and is simply joined round the edge; so also was the group in the corner, and the glimpse of the village seen through the window.
At first sight, it will appear difficult to place the partly-printed pictures in the proper place on the corresponding negative. There are many ways of doing this, either of which may be chosen to suit the subject. Sometimes a needle may be run through some part of the print, the point being allowed to rest on the corresponding part of the second negative. The print will then fall in its place at that point. Some other point has then to be found at a distance from the first; this may be done by turning up the paper to any known mark on the negative, and allowing the print to fall upon it; if the two separate points fall on the right places, all the others must be correct. Another way of joining the prints from the separate negatives is by placing a candle or lamp under the glass of the printing-frame—practically, to use a glass table—and throwing a light through the negative and paper; the join can then be seen through. But the best method is to make register marks on the negatives. This is done in the following manner. We will suppose that we wish to print a figure with a landscape background from two negatives, the foreground having been taken with the figure. At the two bottom corners of the figure negative make two marks with black varnish, thus
will print white in the picture. A proof is now taken, and the outline of the figure cut out accurately. Where the foreground and background join, the paper may be torn across, and the edges afterwards vignetted with black varnish on the back of the negatives. This mark is now fitted in its place on the landscape negative. Another print is now taken of the figure negative, and the white corner marks cut away very accurately with a pair of scissors. The print is now carefully applied to the landscape negative, so that the mark entirely covers those parts of the print already finished. The landscape is then printed in. Before, however, it is removed from the printing-frame, if, on partial examination, the joins appear to be perfect, two lead pencil or black varnish marks are made on the mark round the cut-out corners at the bottom of the print. After the first successful proof there is no need for any measurement or fitting to get the two parts of the picture to join perfectly; all that is necessary is merely to cut out the little white marks, and fit the corners to the corresponding marks on the mask; and there is no need to look if the joins coincide at other places, because, if two points are right, it follows that all must be so. This method can be applied in a variety of ways to suit different circumstances.
It is always well to have as few paintings as possible, and it frequently happens that two or more negatives can be printed together. For instance, the picture we have been discussing—"When the Day's Work is Done"—is produced from six negatives, but it only took three printings. The two negatives of which the cottage is composed was, as already explained, set up on a large sheet of glass, and printed at once; the old man was also set upon another glass of the same size, with the negative of the glimpse through the window; and the old woman was printed in like manner, with the corner group of baskets, &c. So that here were practically three negatives only. These were registered with corner marks so accurately that not a single copy has been lost through bad joins.
There are one or two things to consider briefly before concluding this subject.
It is true that combination printing—allowing, as it does, much greater liberty to the photographer, and much greater facilities for representing the truth of nature—also admits, from these very facts, of a wide latitude for abuse; but the photographer must accept the conditions at his own peril. If he finds that he is not sufficiently advanced in knowledge of art, and has not sufficient reverence for nature, to allow him to make use of these liberties, let him put on his fetters again, and confine himself to one plate. It is certain (and this we put in italics, to impress it more strongly on the memory) that a photograph produced by combination printing must be deeply studied in every particular, so that no departure from the truth of nature shall be discovered by the closest scrutiny. No two things must occur in one picture that cannot happen in nature at the same time. If a sky is added to a landscape, the light must fall on the clouds and on the earth from the same source and in the same direction. This is a matter that should not be done by judgment alone, but by judgment guided by observation of nature. Effects are often seen, especially in cloud-land, very puzzling to the calm reasoner when he sees them in a picture; but these are the effects that are often best worth preserving, and which should never be neglected, because it may possibly happen that somebody will not understand it, and, therefore, say it is false, and, arguing still further on the wrong track, will say that combination printing always produces falsehoods, and must be condemned. A short anecdote may, perhaps, be allowed here. Some time ago a photograph of a landscape and sky was sent to a gentleman whose general judgment in art was admitted to be excellent; but he knew that combination printing was sometimes employed. In acknowledging the receipt he said, "Thank you for the photograph; it is a most extraordinary effect; sensational, certainly, but very beautiful; but it shows, by what it is, what photography cannot do; your sky does not match your landscape; it must have been taken at a different time of day, at another period of the year. A photograph is nothing if not true." Now it so happened that the landscape and sky were taken at the same time, the only difference being that the sky had a shorter exposure than the landscape, which was absolutely necessary to get the clouds at all, and does not affect the result. Another instance arose in connection with a picture representing a group of figures with a landscape background. Four of the figures were taken on one plate, at one operation; yet a would-be critic wrote at some length to prove that these figures did not agree one with another; that the light fell on them from different quarters; that the perspective of each had different points of sight; and that each figure was taken from a different point of view! These two cases are mentioned to show that it is sometimes a knowledge of the means employed, rather than a knowledge of nature—a foregone conclusion that the thing must be wrong, rather than a conviction, from observation, that it is not right—that influences the judgment of those who are not strong enough to say, "This thing is right," or "This thing is wrong, no matter by what means it may have been produced."
[CHAPTER XV.]
TONING THE PRINT.
If a print on albumenized paper be fixed without any intermediate process, the result is that the image is of a red, disagreeable tone, and unsightly. Moreover, it will be found that, if such a print be exposed to the atmosphere, it rapidly loses its freshness, and fades. In order to avoid this unsightliness, resort is had to toning, the toning, in reality, being the substitution of some less attackable metal for the metallic silver which forms a portion of the print. The usual metal used for substitution is gold applied in the state of the ter-chloride. It is not very easy to tell precisely how the substitution is effected; the question is, at present, sub judice, and, therefore, we propose to omit any theory that may have been broached. It is sufficient to say that it is believed the first step towards the reduction of the gold is the production of a hydrated oxide, and never metallic gold. Be that as it may, if a finely-divided silver be placed in a solution of chloride of gold, the silver becomes converted into the chloride, and the gold is quickly reduced to the metallic state; and since gold combines with more chloride than does silver, it is manifest that when the substitution takes place,[25] the metallic gold deposited must be very much less than the silver. The colouring power of gold is, however, very great, when in the fine state of division in which we have it, being an intense purple to blue colour, and a very little of this mixed visually with the ruddy or brown colour of the albuminate which has been discoloured by light gives, after fixing, a pleasing tone. A picture, when toned thus, is composed of silver subchloride, metallic gold, and an organic compound of silver. If a print be kept in the toning bath too long, we are all aware that the image becomes blue and feeble, and the same disaster happens when a toning bath is too strong, i.e., is too rich in gold solution. The reason of this is, that too much gold is substituted for the silver in the sub-chloride, and there is in consequence too great a colour of the finely-precipitated gold seen. To make a toning bath, the first thing is to look after the gold. There is a good deal of chloride of gold sold, which is, in reality, not chloride of gold, but a double chloride of gold and of some such other base as potassium, and if it be paid for as pure chloride of gold, it is manifest that the price will be excessive. It is best to purchase pure chloride of gold, though it may be slightly acid, since subsequent operations correct the acidity. In our own practice we get fifteen-grain tubes, and break them open, and add to each grain one drachm of water, and in this state it is convenient to measure out. Thus, for every grain of gold to be used, it is only necessary to measure out one drachm into a measure. In delicate chemical operations, this would rightly be considered a rough method; but for a practical photographer it is sufficiently precise.