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The Art and Practice of Silver Printing
The Art and Practice of Silver Printing
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This edition features
• illustrations
CONTENTS
I.— Preliminary Experiments
II.— Preparation of Albumenized Paper
III.— The Sensitizing Bath
IV.— How to Keep the Sensitizing Bath in Order
V.— Silvering the Paper
VI.— Washed Sensitive Paper
VII.— Cutting Paper
VIII.—Printing-Frames
IX.— Preparing the Landscape Negative
X.— Printing the Landscape
XI.— Preparing the Portrait Negative
XII.— Vignetting
XIII.—Printing the Portrait
XIV.—Combination Printing
XV.— Toning
XVI.—Fixing the Print
XVII.—Washing the Print
XVIII.—Printing on Plain Paper
XIX.— Printing on Resinized Paper
XX.— Printing on Gelatino-Chloride Emulsion Paper
XXI.— Drying the Prints
XXII.—Mounting Photographs
XXIII.—Defects in Prints
XXIV.—Encaustic Paste
XXV.— Enamelling Prints
XXVI.—Cameo Prints
Appendix
• illustrations
CONTENTS
I.— Preliminary Experiments
II.— Preparation of Albumenized Paper
III.— The Sensitizing Bath
IV.— How to Keep the Sensitizing Bath in Order
V.— Silvering the Paper
VI.— Washed Sensitive Paper
VII.— Cutting Paper
VIII.—Printing-Frames
IX.— Preparing the Landscape Negative
X.— Printing the Landscape
XI.— Preparing the Portrait Negative
XII.— Vignetting
XIII.—Printing the Portrait
XIV.—Combination Printing
XV.— Toning
XVI.—Fixing the Print
XVII.—Washing the Print
XVIII.—Printing on Plain Paper
XIX.— Printing on Resinized Paper
XX.— Printing on Gelatino-Chloride Emulsion Paper
XXI.— Drying the Prints
XXII.—Mounting Photographs
XXIII.—Defects in Prints
XXIV.—Encaustic Paste
XXV.— Enamelling Prints
XXVI.—Cameo Prints
Appendix
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