Early Work In Photography
A Text-book For Beginners

F irst Lessons in Toning. 17 examine it at frequent intervals. In another minute or so, another print may be added to the bath, and if it is compared with No. 1 there should be a decided difference in their appearance; No. 3 should appear to be red, while No. i should be a decided brown color, and the white parts of No. i should begin to assume a purer appearance than No. 3. If this be so, no matter how slight the change, you may rest assured that the deposit of gold is taking place and the toning bath is working satisfactorily. Five or six prints may be treated together in the toning bath—putting them in at intervals, of course—but we do not advise a learner to attempt a greater number. When No. 1 is sufficiently toned, which may be judged best by the brilliance and pureness of the white parts and the purple color of the deep shades, it must be removed to the basin of clean water on the right. For all purposes of washing photographic prints we have found good-sized glazed earthenware pancheons very serviceable; but purely chemical operations, such as toning and fixing, are best carried out in porcelain trays sold for the purpose. After the prints are all toned, the toning bath may be thrown away, and it is well to wash out the toning tray and put it away until it is wanted again. The prints should next be washed for a few minutes in a change of clean water and may then be transferred to the fixing bath (hypo. 3 oz., water 20 oz.) where they are to be kept moving for fifteen minutes; they must then be removed to clean water, and well washed for at least an hour. After this treatment the prints will be far more agreeable in color than when tlie toning bath is omitted. Should the color still be browner than desired, the cause lies in too short an immersion in the toning bath, and the remedy is obvious. A slatey bluish black indicates too long continued an action of the toning bath. In the course of a few trials the right moment to remove the prints from the toning solution will soon be learnt. The operations of washing and toning may all be carried on in subdued daylight, so long as care be taken to prevent direct rays of strong light striking the prints. Candle or gas light has no apparent effect upon the paper, but it is difficult (owing to the yellow rays of such illuminant) to judge of the various degrees of color while toning them, hence we advise weak diffused daylight. And here we most strongly recommend beginners to per- severe incessantly: printing, toning and fixing dozens of