The Art and Practice of Silver Printing Informative Summary

Overview:

“The Art and Practice of Silver Printing” is a comprehensive guide written by renowned photographers H.P. Robinson and Captain Abney, R.E., F.R.S., published in 1881. The book delves into the intricacies of silver printing, a process that, despite facing competition from other printing methods, remained highly valued for its ease of use and beautiful results. The authors go beyond basic instructions, exploring the theoretical underpinnings of each step, explaining the chemical reactions involved and how different factors affect the final print.

Throughout the text, Robinson and Abney emphasize the importance of understanding the “why” and “wherefore” of every detail, urging photographers to move beyond rote formulas and embrace a more scientific approach. They also stress the artistry involved in printing, encouraging readers to think critically about composition, lighting, and the desired effects. The book covers a wide range of topics, from the preparation of albumenized paper and sensitizing baths to the intricacies of vignetting, combination printing, and toning techniques. It also delves into troubleshooting common printing defects, offering solutions for various issues that may arise.

Key Findings:

Silver printing, despite facing competition, remained popular due to its ease of use and beautiful results.
The quality of silver prints is significantly influenced by the careful preparation of materials and the understanding of underlying chemical reactions.
Combination printing offers a versatile approach to achieving complex compositions, allowing for the integration of different elements photographed separately.
The book emphasizes the artistic aspect of printing, urging photographers to use their knowledge and skill to create compelling and visually engaging images.

Learning:

Albumenized Paper Preparation: Learn the proper techniques for preparing albumenized paper, including the use of egg whites, ammonium chloride, and precise temperature control. Understand the importance of filtering the albumen solution to ensure a smooth and glossy finish.
Sensitizing Baths: Gain insight into the optimal strength of silver nitrate solutions for sensitizing albumenized paper and the impact of other salts like ammonium or sodium nitrate on print quality. Learn how to maintain the purity and neutrality of sensitizing baths, addressing the issue of organic matter contamination.
Printing Techniques: Explore different approaches to printing landscape and portrait negatives, including the use of tissue paper, crayons, and blacklead for enhancing details and correcting flaws. Understand the principles behind vignetting and the different methods for creating this effect.
Combination Printing: Master the art of combining multiple negatives to create complex compositions, particularly for landscape and portrait photography. Learn techniques for seamless integration of elements, from clouds to figures and backgrounds.
Toning and Fixing: Discover the importance of toning prints for achieving desired color tones and protecting the image from fading. Understand the chemistry of toning baths and the role of gold chloride, and learn how to control the speed and intensity of the toning process. Master the art of fixing prints using sodium hyposulphite, ensuring proper washing to prevent fading.

Historical Context:

The book was written in 1881, a time when silver printing was still a dominant photographic process, even as other methods began to emerge. This was also an era when the use of combination printing was rapidly gaining popularity, allowing photographers to create more complex and detailed images.

Facts:

Silver prints can fade over time, but with careful preparation and storage, they can remain beautiful for years. The longevity of a silver print depends on several factors, including the quality of the paper and chemicals used, the accuracy of the washing process, and the way the print is stored.
The amount of chloride in albumenized paper influences the strength of the silver nitrate solution needed for sensitizing. A higher chloride content requires a stronger bath to ensure proper coagulation and prevent the albumen from dissolving.
The presence of nitric acid in the sensitizing bath can lead to poor print quality. This is because nitric acid can attack the albumen, leading to dull and red tones in the print.
Sodium carbonate is used to neutralize any acid in the sensitizing bath and to precipitate organic matter during purification. The addition of sodium carbonate ensures that the bath remains neutral or slightly alkaline, promoting optimal print quality.
Fuming sensitized paper with ammonia is essential for producing “plucky” prints without “measles” (minute spots of discoloration). Fuming helps neutralize the chlorine released during the printing process, preventing it from reacting with the albumen and causing blemishes.
Washed sensitized paper keeps for a longer time than unwashed paper. This is because the free silver nitrate, which is removed during washing, is more prone to causing spontaneous darkening of the paper.
The use of tissue paper on the back of negatives can enhance the detail in both hard and soft negatives. By strategically masking certain areas of the negative, the printer can adjust contrast and create a more balanced print.
Black varnish can be used to stop out unwanted areas of negatives, creating sharp or softened edges for combination printing. Varnish applied to the back of the glass generally produces softer edges than varnish applied to the front of the negative.
The strength of the toning bath and the length of time a print is immersed in it affect the final color tone. A strong bath or long immersion can lead to a blue or feeble tone, while a weaker bath or shorter immersion results in warmer tones.
The addition of retarders like acetate of soda or chloride of lime to the toning bath influences the color of the precipitated gold. A slower deposition of gold tends to produce a ruby color, while a more rapid deposition results in a blue color.
The hyposulphite of soda fixing bath should be fresh and not acidic. An old bath or an acidic bath can lead to decomposition, which can weaken the print and cause fading.
Thorough washing after fixing is crucial to removing hyposulphite residues and ensuring long-term permanence. Insufficient washing can lead to yellowing of the whites of prints over time.
Prints should be dried flat to prevent curling and ensure a smoother surface for mounting. Drying prints under pressure helps reduce cockling and may help remove traces of hyposulphite.
The mounting medium used for prints should be moisture-resistant and free from acids to prevent damage to the print. Fresh paste or starch is preferred over glue, dextrine, or gum.
A carefully prepared encaustic paste can enhance the depth, richness, and transparency of prints, particularly in the shadows. It also helps protect the surface and contribute to long-term preservation.
Enamelling prints involves coating them with a thin layer of enamel collodion, which provides a glossy finish. The process can be applied to both wet and dry prints.
Cameo prints were popular in the past but are now considered outdated due to their raised, easily-scratched surface. The process involved embossing a print using a special apparatus, creating a raised effect.
Weak negatives can be partially compensated for by using a stronger sensitizing bath and printing in diffused light.
Over-exposed prints can be reduced using a weak solution of cyanide of potassium or ferric sulphate. These solutions work by chemically reducing the density of the print.
A significant amount of silver can be recovered from waste solutions and paper through careful processing. This includes collecting silver chloride, silver sulphide, and silver nitrate residues.

Statistics:

The white of a large egg is approximately one fluid ounce.
About 18 ounces of egg whites are needed to make 20 ounces of albumen solution.
A 50-grain silver nitrate solution for sensitizing requires 2,000 grains of silver nitrate for 2 pints of solution.
A weak sensitizing bath should be used if the paper contains 3 1/2 grains of silver chloride, while a strong bath is needed for papers with 10 grains of silver chloride.
Each sheet of albumenized paper absorbs about 1/3 ounce of sensitizing solution.
About 3 gallons of albumen are required to coat 2 reams of albumenized paper.
An 11 by 14 print can be obtained from a half-sheet of 18 by 22 inch albumenized paper.
Fifteen cabinet prints can be cut from a whole sheet of albumenized paper, with minimal waste.
A 15 by 12 landscape negative may require four thicknesses of blotting paper and a thick felt pad for proper contact during printing.
A 50-grain silver nitrate solution will take about three minutes to sensitize a sheet of albumenized paper.
A 1-inch head portrait for a carte-de-visite should measure about 1 1/4 inches from the top of the head to the chin.
A good vignette should have a gradation from black to perfect white within a limit of half an inch for a carte-size portrait.
A saturated solution of chloride of lime is made by shaking a teaspoonful of the disinfecting powder in a pint bottle.
One ounce of solid sodium hyposulphite can safely fix three sheets of albumenized paper.
A print on medium-sized paper typically requires ten minutes of soaking in the fixing bath, while thick-size paper needs fifteen minutes.
An encaustic paste made with 500 grains of white wax, 10 grains of gum elemi, 200 grains of benzole, 300 grains of essence of lavender, and 15 grains of oil of spike is highly effective for enhancing prints.
A weak solution of cyanide of potassium (four drops of saturated solution per pint of water) can be used to reduce the density of over-printed proofs.
It is possible to recover 50 to 75 percent of the silver used in photography through careful waste management and processing.
A negative that is very hard requires a weaker sensitizing bath (30 grains of silver nitrate per ounce of water) and should be printed in sunlight.
A weak negative requires a stronger sensitizing bath (80 grains of silver nitrate per ounce of water) and should be printed in diffused light.

Terms:

Albumenized Paper: Paper coated with a solution of egg whites, typically salted with ammonium chloride, used for printing silver photographs.
Sensitizing Bath: A solution of silver nitrate used to make albumenized paper sensitive to light.
Toning: The process of altering the color of a print by replacing some of the silver with a more stable metal, typically gold.
Fixing: The process of removing unexposed silver salts from a print using a solution of sodium hyposulphite, making the image permanent.
Vignetting: A technique used in printing to create a gradual transition from a fully printed image to a blank background, often used in portraits.
Combination Printing: A technique that involves printing images from multiple negatives onto a single sheet of paper, creating complex compositions.
Encaustic Paste: A wax-based paste used to enhance the richness and detail of prints, particularly in the shadows.
Enamelling: A process of coating a print with a thin layer of enamel collodion, which provides a glossy finish.
Cameo Prints: Prints that are embossed using a special apparatus to create a raised, cameo-like effect.
Retouching: The process of correcting flaws or enhancing features in a negative before printing.

Examples:

The use of tissue paper to create atmospheric effects in landscape photographs: By layering tissue paper on the back of the negative, the printer can soften the details in the distance, mimicking the effects of haze and atmospheric perspective.
The combination of a figure negative with a landscape background: This allows the photographer to control the composition, lighting, and background of a portrait, creating a more natural and engaging image.
The use of a black paper disc to create a dark oval border around a vignetted head: This technique adds a decorative element to the print while highlighting the subject’s face.
The use of a negative made from rough drawing paper to create the effect of a sketch on tinted paper: This technique adds texture and depth to the background, enhancing the overall aesthetic appeal of the print.
The use of a stencil to create an oval or other shaped medallion for a portrait: This method allows the photographer to focus attention on the subject’s face and create a classic or elegant effect.
The use of black varnish to stop out specific areas of the negative, creating a clean or softened edge for combination printing. This technique is crucial for seamless integration of different elements in a single image.
The application of encaustic paste to a print to enhance the detail and richness of the shadows: This technique adds depth and dimension to the image, making it more visually appealing.
The use of a brush dipped in starch to mount prints on cardboard: This technique ensures that the print adheres evenly to the mount without wrinkles or blemishes.
The use of a special rolling press to flatten and add gloss to prints after retouching: This step helps create a more polished and professional look for the final print.
The use of a weak solution of cyanide of potassium to reduce the density of an over-printed proof: This technique allows the photographer to salvage an overexposed print and create a balanced image.

Conclusion:

“The Art and Practice of Silver Printing” by H.P. Robinson and Captain Abney, R.E., F.R.S., is a valuable resource for anyone interested in the history and techniques of silver printing. The book’s comprehensive approach, combining practical instructions with theoretical explanations, provides a solid foundation for understanding the art and science behind this beloved photographic process. From careful preparation of materials to meticulous printing and finishing techniques, Robinson and Abney offer a wealth of information for achieving stunning and long-lasting silver prints. While silver printing is not as common today, the principles and techniques explored in this book remain relevant to photographers of all levels. Understanding these principles can help photographers create more informed and creative images, regardless of the medium they choose. The book’s emphasis on the artistic aspect of printing, the importance of understanding the chemical reactions involved, and the value of meticulous craftsmanship offers valuable insights for photographers seeking to elevate their skills and create beautiful and lasting images.

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