If the sky portion of the landscape negative is thin, it might print slightly and spoil the effect of the clouds. This can be overcome by using a weaker light in enlarging. Where this is not desirable, a mask can be cut for the sky portion and used slightly while the foreground is being printed. By using it a very little during the first part of the exposure the tint will be overcome, while objects projecting above the horizon will be sufficiently printed. It will be found easier, no doubt, to print the landscape first and sky afterwards. But this does not result in good work. The landscape should invariably be printed after the sky portion.
Bolting silk enlargements were for a time very popular. Sometimes they were artistic. Then every-one began making them, too often from unsuitable negatives, and they fell into disrepute. This method of enlarging is, in fact, suitable for very few negatives and only where broad effects of light and shade are desired. To cut up a spotty negative with a succession of lines does not necessarily give a broad effect in the picture. But for softening down heavy masses of shadows, and blending them harmoniously with masses of light or half light, the process is without an equal. The bolting silk can be bought by the square yard of dealers in photographic supplies, and should be stretched evenly over a frame made of quarter- and half-inch wood, being tacked between the two strips. This frame can be easily adjusted to fit over the paper on the screen. By using the side, bringing the cloth within a quarter of an inch of the paper, the lines are more evident, which is not so objectionable for very large work. But for the softest effects, reverse the frame and use it at half an inch from the paper. In this way we get a soft diffusion of the lines and much greater general softness. It should never be used nearer than a quarter of an inch, as the lines then become too evident, and hence fail in the effect desired. The bolting silk comes in three grades, fine, medium and coarse. The medium is the best for general work. It should not, however, be used for sizes under 8 × 10. The interposition of the cloth requires about one-half additional exposure. Focusing, of course, must be done without the frame in place. The bolting silk should only be used with paper which is to be toned to some color other than black, as there is something incongruous in its use with black tones.
Few branches of photographic work, outside of negative-making, are as fascinatingly interesting as the making of enlarged prints on bromide paper from small negatives. Every amateur has negatives worthy of enlargement in his collection, and the process is so simple as to be within the capacity of the amateur who is still in his first year in photography. Its practice will stimulate his interest and help him in all his other photographic work. Especially will it help him in picture-making, the merits and defects of composition being a hundred fold more plainly evident in an enlargement than in the small print from the hand-camera negative. Moreover, in its essentials, bromide enlarging calls for no special equipment other than the ordinary hand- or view-camera, and a dark-room or other convenient work-room from which all “white light” can be excluded on occasion.
Chapter VII
THE REDUCTION AND TONING OF BROMIDE PRINTS
The subsequent manipulations with bromide paper do not differ materially from those with negatives. The support being paper of course makes some difference and the fact that while in the negative we aim to get printing density and printing color only, in the positive we aim to please the eye, makes another. But generally speaking, it may be said that whatever we can do with the negative we can do with bromide paper, that is, in so far as the emulsion itself is concerned.
The first operation to be taken up is the reduction of prints which are too dark. This can best be effected just after the prints come from the hypo. A few grains of red prussiate of potash are dissolved in a suitable quantity of water, the latter being barely tinged, not of a strong yellow color. If the print is too dense throughout, it can be immersed without previous washing in this solution. Reduction should take place gradually, and this is best accomplished with a weak reducer. If the tray be rocked gently the reduction will be quite uniform. If, however, only a portion of the print needs reduction, this can be effected by applying the ferricyanide solution locally with a brush or bit of absorbent cotton. Extreme care is needed in this operation. In this way unduly deep shadows can be softened, veiled high lights brightened, or almost any modification obtained which may be deemed desirable. When reduction is almost completed quickly rinse the print in running water and then wash thoroughly. If the print has been dried, it is only necessary to soak it for a few moments in a fresh fixing bath, when the ferricyanide can be applied as before.
Latterly the toning of bromide prints has become popular. There are many methods and innumerable formulae. Here we shall concern ourselves with the sulphide method which best fulfills the three chief requirements, namely: (1) Certainty of results; (2) the use of few baths; (3) the production of permanent prints. Processes which, as regards color, vigor, etc., are beyond the control of the worker, are of very little practical use. Equally so, if the toning involves a whole string of operations, the final outcome of which is usually—a spoilt print. And, lastly, a process which—however satisfactory it may be in other respects—impairs the undoubted permanency of a black-developed print is not one worthy of adoption. In one or two other respects, processes vary chiefly as regards the depth or intensity which the print must have in order to produce the most satisfactory result when toned. Thus, prints to be toned with uranium require to be distinctly on the pale side, whilst those for sulphide toning are best a little vigorous. One or two other methods, on the other hand, require the use of the costly gold or platinum salts. The latter, except under exceptional circumstances, are far better employed in the legitimate form of platinotype or other platinum paper; bromide prints toned with platinum will probably cost more, and will never have the absolute permanence peculiar to the platinum print.
Placed in rough order of merit, the processes available are: Sulphide toning (hypo-alum toning is a cheaper, slower, and not quite so effective form of this method, whilst the thio processes represent sulphide toning at its best); copper toning; toning by re-development. These methods differ, not only in the results which they give, but also as regards the perfection with which each attains its particular effect; on the principle of the lady in the play who spoke the “absolute truth under the circumstances,” each may claim to be included among the really serviceable processes.