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This "albumenized" paper the youth lays gently and skilfully upon the surface of a solution of nitrate of silver. When it has floated there a few minutes, he lifts it, lets it drain, and hangs it by one corner to dry. This "sensitized" paper is served fresh every morning, as it loses its delicacy by keeping.

Bichromate prints can be made on albumenized paper by floating it on the solution, and by using a saturated solution of protosulphate of iron and a saturated solution of gallic acid. Very fine prints can be so produced nearly equal to silver prints, and at somewhat less cost, but with a little or no saving of time or labor. Chief Proof Solution.

It appears, moreover, to be impossible to overtone the citro-chloro emulsion paper with it in the sense that it is possible to overtone prints on albumenized paper with the ordinary alkaline bath. That is to say, it is impossible to produce a slaty gray image. The result of prolonged toning is merely an image of an engraving black color. Of this, however, we shall say more hereafter.

From the Photographic News we take the following: The use of paper coated with a gelatino-citro-chloride emulsion in place of albumenized paper appears to be becoming daily more common. Successful toning has generally been the difficulty with such paper, the alkaline baths commonly in use with albumenized having proved unsuitable for toning this paper.

This "albumenized" paper is sold most extensively to photographers, who find it cheaper to buy than to prepare it. It keeps for a long time uninjured, and is "sensitized" when wanted, as we shall see by-and-by. The amount of photographic paper which is annually imported from France and Germany has been estimated at fifteen thousand reams. Ten thousand native partlets

My experiments were successful, and we now prepare an enamel argentic paper on which the prints stand out with brilliancy equal to those on albumenized paper. I here show you specimens of boudoirs and panels pictures enlarged from C.D.V. negatives on this enamel argentic.

This would indicate that an unusually large proportion of the toned image consists of gold, and this idea is confirmed by the fact that to tone a sheet of gelatino-chloro-citrate paper requires several times as much gold as to tone a sheet of albumenized paper.