Sir William de Wiveleslie Abney

“ 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. ”

“ In trimming landscape prints, it is impossible to give any set rules; the judgment as to what is artistic must be the guide. Of one thing we may be certain, that, unless the operator who took the original negative knows exactly how to balance his picture on the focussing-screen, the print will always bear cutting down in one direction or the other. Such a clipping, of course, alters the size of the print, which, if it be one of a series, will be a misfortune; but, on the other hand, the artistic value of the individual print will be increased. ”

“ 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. ”

“ The method of using the cloud negative, we have already said, will be found in the chapter on "Combination Printing." Above all things, the printer must bear in mind that if there be any distance in the picture, the sky, when it meets the margin, must be only very delicately tinted. Let it be remembered that a picture is often spoilt by printing in clouds too heavily. The clouds for an effect should be most delicate, with no heavy massive shadows which overwhelm those of the landscape itself. ”

“ It is now generally admitted that working on the negative is not only legitimate, but that it is absolutely necessary, if a presentable portrait is to be printed. The only question is, where to stop. Professional retouchers, in too many cases, do too much, and by doing so they "overstep the modesty of nature," and turn the lovely delicacy, softness, and texture of living nature into the appearance of hard and cold marble statuary. Everything that is necessary to do to a portrait negative is very simple ”

“ A weak solution loses much of its strength by each sheet of paper floated, much more proportionally, in fact, than a strong solution, since the same amount of fluid is absorbed by the paper in each case, whilst the amount of silver abstracted from the whole is also equal, which reduces the strength per ounce more with the former than with the latter. A weak sensitizing solution, therefore, requires much more attention than a strong one: crystals of silver nitrate must be constantly added to the former. ”

“ 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 good encaustic confers three special benefits on the print: it gives depth, richness, and transparency to the shadows; it renders apparent delicate detail in the lights which would otherwise remain imperceptible; and it aids in protecting the surface, and so tends to permanency. One of the writers has in his possession prints that were treated with an encaustic paste thirteen years ago, which retain all their original freshness and purity, while prints done at the same time from the same negatives have gone, to say the least of it, "off colour." ”

“ When an impression is taken, the place where the sky ought to be will, of course, be plain white paper; a negative of clouds is then placed in the printing-frame, and the landscape is laid down on it, so arranged that the sky will print on to the white paper in its proper place; the frame is then exposed to the light, and the landscape part of the picture is covered up with a mask edged with cotton wool. The sky is vignetted into the landscape, and it will be found that the slight lapping over of the vignetted edge of the sky negative will not be noticed in the finished print. ”

“ We are only talking of the ordinary landscape when the effect of storms is not desired. It is not within the scope of this work to show how a landscape and a sky negative may be printed into one plate to form a transparency from which a new negative may be made; suffice it to say that, by using collodio-chloride, or by the use of a slow dry plate and exposing to candle light, the former may be produced in almost the same way that the print is produced, and a negative may then be produced in the camera or by a dry plate. ”

“ It matters not if the clouds so formed show sharp lines and dots, since, if the printing be done in diffused light, the thickness of the glass plate on which the negative is taken shades these off, and gives them the soft edges which are natural to clouds. The clouds may take any of the usual shapes as seen in nature, and the paint should not be applied too strongly, but should have a certain amount of transparency. In some negatives we have seen taken on dry plates, the sky was very transparent, and, when printed in the ordinary manner, showed a good deal more than perceptible tint. ”

“ The most simple form of combination printing, and the one most easy of accomplishment and most in use by photographers, is that by which a natural sky is added to a landscape. It is well-known to all photographers that it is almost impossible to obtain a good and suitable sky to a landscape under ordinary circumstances. ”

“ 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. ”

“ No doubt every printer is aware that the prints produced from the same negative and on the same sample of albumenised paper similarly sensitized vary considerably in richness and depth on different days. For instance, when the light is bad, and when, consequently, the printing takes a long time, the colour of the darkened surface will be found to be much duller than on a day when the light is powerful. ”

“ There is one way of improving a hard negative, if taken on a gelatine plate, which would probably be dangerous in the hands of a novice, but which is most effective when used with skill and judgment, but must be applied before the plate is varnished. One of the most popular methods of reducing the density of an over-intensified gelatine negative is with a very weak solution of perchloride of iron. The writers have found that the reducing agent may be applied locally. Let us suppose the case of a figure in a landscape in a light dress, which produces a white patch in the print. ”

“ In most landscape negatives there is a want of atmosphere48 (by which we mean the haze always present in the air) in the distance and middle distances, and we have found that by applying one piece of tissue-paper to the back of the negative to cover the middle distance and distances, and another to cover the distance alone, atmospheric effect is produced. The effect of atmosphere is usually shown by grey tones as compared with those of the foreground, and the greyer they are the more distant should the objects be away in nature. This effect is accomplished by the tissue-paper. ”

“ When such a negative is selected, it remains to print it in. A white sky is an abomination, and a plain tinted one without gradation is nearly as bad. If, therefore, the operator has the heart and means to do this double printing, he should never neglect to do it.
But we would here remind him that when a sky-negative has been used with a particular view, it should always be devoted to that landscape. Nothing could be in worse taste, or further from nature, than to use the same sky with different landscapes. We once saw a frame of sixteen views, thirteen of which were backed with the same sky ”

“ When a print is not quite fixed, small spots of dark appearance will be seen when it is examined by transmitted light. The operation of fixing should be continued after these disappear for at least three or four minutes, in order that the hyposulphite of soda in the dish may get impregnated with the double silver and sodium salt which is in the print, and thus render washing more effectual. It should be noted that the dish for fixing should be at least as long and wide as the dish used for toning; that it should be deeper when, as a rule, all the prints are fixed at one time. ”

“ The great enemy to success is the formation of bubbles on the surface of the solution, and if it be at all contaminated with organic matter they are more liable to be met with than if the bath be new. It may be taken as a maxim that no paper should be floated if, to commence with, the bath be not purified. A flat dish of about 21/2inches in height, and an inch larger in breadth and length than the paper to be floated, is used, and the solution poured in to a depth of 1/2 inch. ”

“ Plain Vignettes.—The usual vignetted portrait is that which represents a good-sized head and shoulders in the space allotted to the picture. For a carte-de-visite, a head measuring about 11/4 inches from the top of the head to the chin is a good proportion. Larger sizes are often made, but they look coarse and vulgar, as if the photographer had tried how much quantity he could give for the money, regardless of quality; and even if the quality is good, the vulgar effect is still there. For a cabinet size a head of 13/4 or 17/8 inches is quite large enough. ”

“ After well washing, the silver may be dissolved up in nitric acid.
Yet another method is to take sugar of milk and a solution of crude potash, when the silver is rapidly reduced. This requires careful washing, and it is well to heat the metal to a dull red heat to get rid of any adherent and insoluble organic matter which may have been formed, before dissolving it in nitric acid.
To Print from Weak and Hard Negatives.
Should a negative be found very hard, a slight modification of the sensitizing solution will be found beneficial, supposing the ordinary paper is to be used. ”