What is bromide paper

Development should be conducted at a distance of several feet from the light, and when almost completed, the tray can be brought close under the light to enable the worker to stop it at exactly the right moment. Ordinary bromide paper is about as sensitive as the process or slow dry plate or the average lantern-slide plate, and requires as much care as either, but not nearly so much as the most rapid dry plates. If fogging is noticed, of course additional precautions should be taken at once.

Nothing more than will be found in an ordinary dark-room will be found necessary in bromide printing by contact, unless it be some arrangement for determining readily the distance of the negative from the source of light. For this purpose and with an oil-lamp, use a board a foot wide and about three feet long placed on the developing bench against the base of the dark-room lamp.

It should be marked with black lines six inches apart. See Fig. Greater uniformity in lighting will be gained if a piece of white cardboard be placed immediately behind the flame. Some lamps have reflectors, in which case the card is unnecessary, provided that they reflect the light uniformly; otherwise such reflectors are worse than useless. Having arranged the needful apparatus to our satisfaction, the last preparatory step before manipulation is the making up of a developer. Almost any of the modern developers pyro excepted will give good results with bromide paper.

In every package of paper will be found the developers advised by the manufacturer of the paper used. Invariably there is among these a formula for ferrous oxalate developer. This is probably the best of all developers for pure black tones, but I cannot advise the novice to take it up in the early stages of his work with bromide paper.

When this developer is used an acid clearing bath is necessary, and this invites complications which may be disastrous to the prints. When experience has been gained, and a large number of prints are to be made at one time, it will be found advantageous as working longer with greater efficiency and more uniformity than some of the other developers.

It is troublesome to prepare and does not keep well, apart from which there is the disadvantage that it does not permit of control in development in as large a measure as other developers. Bottled in 4-ounce vials and well corked, this developer retains its working power indefinitely. For normal exposures I take 2 ounces of the above and add to it 2 ounces of water. It is not wise to attempt to make it do more, as greenish tones will result. For the same reason, contrary to common opinion, I do not advise the addition of potassium bromide to the developer.

It does not improve the developer, and may do harm. A supply of new developer should be added as this is seen to become exhausted. Other developing formulae could be given, but these two will be found to fill all requirements if properly compounded and intelligently used.

The greatest difficulty in developing bromide paper is to get rich black tones when desired, but this can be completely overcome by using entirely fresh developer from time to time, and never over-working the developer, whatever it may be.

As compared with the paper, developer is cheap, and it is poor economy to save on the latter. Except in rare instances the developer is better without any modifications whatever. In case of over-exposure, either general or partial, the developer after having been diluted as stated should be again diluted with its bulk of water.

This gives blacker tones and more depth and life to the shadows. When through inadvertence we under-expose a print it may frequently be saved after partial development in the weak solution by flooding with a strong undiluted developer. The temperature of the developer is of the greatest importance. In summer the aim should be to keep it approximately at 65 degrees Fahr.

This can readily be accomplished by placing the graduate in a receptacle containing ice-water in summer or hot water in winter. The paper is first opened at a safe distance from the dark-room light, and it is well at first to cut up one sheet into several slips to use as test-strips. If any difficulty is found in determining which is the sensitive side, it will be well to throw a piece of the paper on a plane surface when it will be seen that it has a slight tendency to curl.

The concave is the sensitive side. Taking a standard negative we first take one of the test-slips and place it upon the negative so that it covers a portion containing both high lights and shadows. With an oil-lamp having a 1-inch burner, expose the test-strip behind the negative in the printing frame at one foot for ten seconds.

Close the lamp and flood the exposed strip with the developer. The image should appear in a few seconds, and if properly exposed development will be completed in from one to two minutes, usually one. Rinse for a moment, and place the strip in a fixing bath made up by dissolving 3 ounces of hypo in 16 ounces of water. After a few moments examine the strip in full light, and see whether the contrasts are right.

If so, expose a full sheet of paper, this time rinsing the exposed sheet before development to avoid the formation of air-bubbles. If the contrasts are too great try a strip at six inches from the light and two and a half seconds exposure. If still too great, use a stronger light or try a longer exposure and use a very dilute developer. If still too great the negative is hopeless and should be reduced unless dodging will help it, as set out further on. It will be noticed that this method calls for a one-minute development.

This is desirable for several reasons: first, because it gives a unit and assists us in determining the correct exposure of other negatives, and second, because it is a comparatively short development, and yet gives sufficient time after the image has acquired the proper depth to pour off the developer and flush with water, thus stopping development. It also leaves sufficient margin in the event of over- or under-exposure. With one minute as the unit, over-exposure will result in a fully developed image in, say, thirty seconds.

This print we could save; but if our unit were thirty seconds it would be extremely difficult to save a print which had completed development in fifteen seconds.

The chances are that the development would go on to a ruinous extent before we could pour off the developer and flood the print, or that it would go on even after the water was poured on it. Moreover, in case of under-exposure, two minutes would not be so very tiresome, but four minutes would, besides which we would risk straining the print by such prolonged development.

While I am not prepared to assert it as a rule, yet it has been my experience that the time of development varies almost inversely with the length of exposure; so that if the test-strip concludes development in half a minute with ten seconds exposure, I give the next five seconds exposure in the expectation that it will take a minute to develop. This assists greatly in lessening the number of test-strips required to ascertain the correct exposure of a given negative.

Should we wish to see a proof before the negative is dry, it is taken from the fixing bath and well rinsed, though not necessarily thoroughly washed. It is then placed face up in a tray of water, on which we place face down a sheet of bromide paper. The two are removed together and squeezed lightly into contact to remove air bubbles. The back of the negative is then wiped to remove superfluous water, and an exposure of several times the normal given, preferably the normal exposure at half the standard distance from the light.

The paper is then removed and developed as usual. In this way it is possible to show a print in fifteen or twenty minutes after the exposure of the plate was made. The purpose of the rinsing before development is to avoid the possibility of air-bells. The paper should be rinsed in cold water, as warmish water will cause air-bells instead of preventing them.

This rinsing can be dispensed with if thought desirable. The rinsing after development is for the purpose of stopping development immediately, and also in order that the prints may not go into the fixing bath full of developer, as staining would be likely to result in such case.

With the iron oxalate developer an acid rinsing bath is necessary, but it is not necessary with any of the other developers. The fixing is important, as upon this depends in a large measure the permanence of the prints.

The bath should be freshly made up, 3 ounces of hyposulphite of soda to 16 ounces of water. Prints are placed in this bath face down, and one under, instead of on top of another. The tray should be occasionally rocked. With a fresh bath prints will fix in ten minutes, but where many prints are made at one time it will be well to use a second fixing bath. The emulsion of an unfixed print will appear a yellowish tinge in the unfixed portions when examined by transmitted light; but this is not an easy or certain test.

It is better to make absolutely certain of thorough fixing by continued immersion, occasional rocking and, where many prints are made, a second bath. The fixing bath should not be allowed to get too warm in hot weather. Blistering, staining and frilling will result in such a case, and I have known a print which was left in a warm fixing bath for an hour or more to be reduced beyond redemption.

With freshly made hypo baths at a suitable temperature there is absolutely no danger of the paper frilling or blistering. The final washing must be thorough, as the hypo is difficult to eliminate from both the emulsion and the paper. Care must be taken to see that the prints are well separated while washing. This ensures uniform washing. It frequently happens that a negative may require more or less dodging in printing. With bromide paper this is particularly easy. We will take the simple case of a negative with dense sky which will not print out in the ordinary way.

All that we need in this case is a piece of paper cut roughly to the sky line and kept moving during part of the exposure over the part which is to be held back.

If necessary, cut down the light in order to prolong the exposure, or expose at a greater distance from the light. One or more test-strips will be required for this purpose in order to ascertain the relative times of exposure. A modification of this method is when a small portion of the negative only needs extra printing—a face or hand for instance. Here we take a piece of paper a little larger than the negative and cut a small hole in it, moving it in front of the light so as to throw the latter only upon the portions needing the extra printing.

Still another modification is where a portion only needs holding back. Here we use a small piece of paper or cardboard stuck on a knitting needle, moving the latter so that it will not intercept the light too long at one place. In all these and similar instances which will occur to the reader, the dodging should be done during the first part of the exposure. The subsequent exposure seems to obliterate traces of such dodging better than when it is done at the end of the exposure, just as in cloud-printing better results are achieved by printing the sky first and the foreground afterward.

It is quite possible to make bromide negatives in the camera. They have their advantages in classes of work not requiring the finest definition, are much lighter, cheaper, more easily stored and less liable to breakage or other mishaps. They are best made on a thin, smooth paper, a soft paper being better than the hard. They are placed in the plate-holder by means of the ordinary cut film holder. The exposure required is ascertained by a trial or two, but roughly speaking is about one-twentieth that of a rapid plate.

After development in the usual way—it being carried only a little further than usual—and after fixing, washing and drying, the paper negative can be spotted or retouched, after which it is waxed. In taking up enlarging a full knowledge of what has been said as to the manipulation of bromide paper will be necessary, as the principles governing exposure apply here as in contact printing, errors being even more serious, owing to the greater waste of material.

For the illuminant used in enlarging, we may employ either daylight or artificial light. The former is cheap, but variable; the first cost of the latter is quite a little sum, but the light is uniform. A daylight enlarging apparatus can be made for a dollar or two, and hence is within the reach of all; and if the process be given up, the loss is not serious.

If the cost is of little or no moment, very serviceable enlarging cameras can be bought for about twenty-five dollars. Such a camera is adapted for reducing as well as enlarging, and so will be found useful for lantern slide making, copying, etc.

As a matter of fact, few things are as useful to the amateur as a good enlarging outfit. We will first consider enlarging by daylight with home-made apparatus. For this purpose a room with at least one window will be needed. It should preferably be convenient to the dark-room. If the window of this room commands a view unobstructed by buildings, trees or the like, so much the better. I personally prefer a south light. With this one can get soft enlargements from the most contrasty negatives, while by shielding the negatives from the direct rays of the sun we can work from negatives which are quite flat and lacking in contrasts.

But whatever the room chosen, all windows but the one at which we are to work must be blocked up. This can be done by heavy dark curtains, or by specially constructed frames covered with light-tight material and made to fit closely in the windows. If there are any transoms these should likewise be covered.

White light entering under the doors can be shut out by placing a rug along the bottom of the door. Care must be taken that the window-frames fit closely, as the light from openings at the windows would soon fog a sheet of bromide paper if it fell upon it even for a few moments. Assuming that the room chosen can be made practically light-tight, we will need some arrangement to hold the negative.

The details of a box for this purpose can best be shown by a diagram Fig. ABCD is a strong and neatly made box open at both ends, and about two inches larger each way than the largest negative from which enlargements are to be made. E represents a section of a board which forms part of a window frame, a general view of which is given in Fig. Reverting to Fig. On the inside of the box are tacked strips, GGGG, to serve as a guide to the kit when placing it in the box. An opening similar to F should be made in the other side of the box to permit lateral adjustments when we come to use the apparatus, besides enabling us to put the negative in or withdraw it from either side.

A convenient modification of the strips, G, is found by placing the front ones a short distance further forward, to wit, toward BC, as they are shown in the cut Fig. J is a sheet of ground-glass, which is tacked over the opening when the box is firmly set in the board, E. It is well to have this ground-glass fixed in place so that it can be readily removed if desired.

The necessity for having the box at least two inches larger each way than the largest negative from which enlargements are to be made is shown in Fig. It will be seen that the rays CA and DB strike the ground-glass at an angle, but nevertheless at an angle which results in their passing through it in a considerable degree.

They strike the negative AB, but if the negative were the full size of the box, to wit FG, it will be seen that while the section AB would be fully lighted, the sections AF and BG would receive no oblique rays at all, and hence the negative would not be even approximately uniformly lighted.

This point is too often overlooked in the construction of apparatus of this character, but is necessary in all cases of daylight enlarging and especially when direct sunlight is used. Now with the negative box in place, some arrangement must be made for holding the lens, which can be the lens used for making the negative. This for enlargements of a fixed size from negatives of a given size can be accomplished by simply extending the section BGGC Fig.

A double box, one sliding within the other, would be better, but still not quite satisfactory. AB is the window board, C is the negative box, D is the camera adjusted to the latter, E is the enlarging screen on an easel to hold the bromide paper, and F is the reflector. The screen on the easel can be made either to rest on the floor or on a table.

It can be made to run on a track or otherwise, and it can also be made so as to admit of either vertical or lateral adjustment or both, or it can be nothing more than an ordinary box set on a table.

But however constructed it must be considerably larger than the largest sheet of bromide paper which is to be used, thus allowing for nearly all necessary adjustments of the paper. It is preferably covered with white paper or fine blotter to aid in focusing. The reflector F is considerably larger than the negative-box, and adjusted at an angle which will reflect the light from the sky or sun evenly upon the ground glass.

It is best covered with good white blotting paper. G is a hood which I have found useful in sunlight enlarging, especially in summer when the sun is almost overhead. It is placed on the outside of the window-frame, some distance above the ground-glass, and shields the latter from the direct rays of the sun, which would otherwise cause uneven illumination owing to their too great obliquity.

The direct sun on the white reflector will give a light of high intensity. In winter, however, when the sun is low, it will fall directly on the ground-glass, and this, if the negative box be constructed as advised, is not objectionable, but on the contrary an advantage. In Fig. The apparatus as sketched will suffice for all ordinary work. Modifications of it will depend upon the ingenuity of the man who attempts to design or construct one.

It should be noted that the distance of the ground-glass from the negative has its influence in the strength of the light, and it is better to have this distance not over two inches.

If less than one inch, however, the diffusion of light is not so good. When the light is weak the ground-glass can be removed entirely; the negative will thus be viewed directly against the white reflector. Very strong negatives giving undue contrasts may also be dealt with in this way.

Or, if the light is too strong for flat negatives, the reflector can be removed entirely, or to the same end a sheet of yellow glass can be substituted for the ground-glass, thus increasing contrasts. In fact, a very useful and easily arranged modification of the negative-box consists of an opening in the top of the box inside the room through which can be dropped an extra sheet of ground-glass or opal to cut down the light, or of yellow glass to increase contrast.

This opening should be at the point K, Fig. I have referred to a kit as being the proper arrangement for holding the negative. This, after much tribulation in working with home-made contrivances, I have found to be the best arrangement. They come a size or two larger than the negative with which they are to be used, and can easily be cut down to the proper dimensions. With it, also, other kits to hold smaller negatives can readily be used.

It is also simple with them to fasten the negatives in place. If they extend beyond the box on either side so much the better; greater lateral adjustment can then be made. The negative box, Fig. The reasons for this will be obvious at a glance. In enlarging from films it is well to place them between two sheets of glass of proper size, and fasten the whole in the kit or negative-holder.

For this purpose use thin glass without flaws or scratches. If the films are smaller than the opening in the kit, it is well to paste a black mat on one of the glasses, when, after proper adjustment, the film will remain in place between the two glasses with very little pressure. Enlarged negatives are very easily made with the apparatus described.

A contact positive can be made, preferably on carbon transparency tissue, and from this the enlargement made, or an enlarged positive made first, and from this a contact negative. The latter plan is preferable, since it admits of retouching on both positive and negative. Slow plates should be used throughout. For those who do not care to go to the expense of experimenting with large plates, I would suggest that good contact positives be first made and from these negatives on bromide paper, Standard A , soft.

These negatives are treated as already described. The best positive for this purpose is a thin one with full gradations of tone from clear high light to deep shadow, without veil or fog, but free from any suspicion of flatness. The apparatus for enlarging with artificial light is, as has been stated, more expensive than that for use with daylight. The negative box and screen, however, remain as given. But we need in addition two extra pieces, a light-box and a pair of condensing lenses.

The form of light-box presupposes the choice of illuminant, and in this there is a wide range. Suffice it to say that a kerosene lamp with one or more one-and-a-half inch burners will be found suitable for very small work or weak negatives.

For larger work or stronger negatives a stronger light will be needed. Of these, the first in point of strength is the arc-light, which is too strong for ordinary negatives to be enlarged not more than fourfold on ordinary bromide paper. Used with any of the slower papers it will be found very serviceable and satisfactory. Next comes the lime-light, which has pretty much the same advantages and disadvantages.

After these come acetylene, a gas giving an intense light of high actinic power. This is within the reach of nearly all, as a first-class generator costs only about twelve dollars, and the uses of the gas are manifold. The same generators and burners can be used with a projecting lantern and will be found far more satisfactory than oil. Acetylene burners can be had in various sizes, ranging in power from thirty to several hundred candle-power.

The carbide from which the gas is generated is not expensive and costs only a few cents each time the machine is loaded. By an adjustment attached to the generator the gas is kept at a constant pressure, and hence the light is unusually steady. All in all this light has many advantages.

After it in strength comes the Welsbach burner, suitable for those having gas in the house. After this comes the ordinary gas-burner, and then oil. The reader, knowing now what will be required of his light, can take his choice. Perhaps the simplest form of light-box is where the light is placed in one room and the enlarging done in an adjoining one, the light being admitted through a suitable opening.

This prevents the possibility of stray light reaching the paper and is productive of no additional heat in a room presumably already hot enough. If this is not feasible a light-box must be constructed. As these vary so much in material and design, and must be altered with different forms of light in use, I will merely state the requirements.

The mechanical construction of a photographic enlarger should be such that the film, the Bromide Paper. Francis Henry Williams. For all common purposes this paper is as good as can be made, producing a rich mulberry tint. George Thomas Fisher Jun. He stocked photographic plates, films, developer, bromide paper , gaslight paper, 'tabloid chemicals', accessories and P.

Do any of our Fine gelatine bromide paper was used to print the images and artists were employed to "touch up" the main features. These fine photographs He later patented bromide paper , developments of which are still used for black and white photographic prints. Going the HMT watches way: Govt shortlists 10 worst performing …. He then invented bromide paper in and, in , patented the first commercially viable carbon printing design — allowing permanent It involves scratching bromide paper with a razor blade to reveal reds, oranges, yellows and whites beneath the exposed black face of the Bromide paper [online].

Nov ». English words that begin with b. English words that begin with br. Even as they gazed they saw its roof caught up, and whirled off as if it had been a scroll of paper. A small book, bound in full purple calf, lay half hidden in a nest of fine tissue paper on the dressing-table.

Bits of paper blew aimlessly about, wafted by a little, feverish breeze, which rose in spasms and died away. The Spaniards since have substituted paper for the leaves of maize, in imitation of them.

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