Millman s Electronics Devices and Circuits 3rd Edition Jacob Millman
Millman s Electronics Devices and Circuits 3rd Edition Jacob Millman
Millman s Electronics Devices and Circuits 3rd Edition Jacob Millman
Millman s Electronics Devices and Circuits 3rd Edition Jacob Millman
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45. of a brown tone, or with a shade of purple when the gold Bath is
newly made and active; pure blacks are not easily obtained.
Iceland Moss affects the colour of the proof to a certain extent,
but less than Albumen; the finished prints are nearly black if the
paper is highly salted.
The Gelatinous sizing used for the English papers, and obtained
by boiling hides in water, and hardening the product by an admixture
of Alum, has a reddening influence upon reduced Silver salts,
analogous to that of Albumen, or of Caseine, the characteristic
animal principle of milk. Positives printed upon English paper,
commonly assume some shade of brown more or less removed from
black; the darker tones being more readily obtained upon the foreign
papers.
Citrates and Tartrates have a marked effect upon the colour of
prints. Paper prepared with Citrate, in addition to Chloride of Silver,
darkens to a fine purple colour which changes to brick-red in the
fixing Bath. The Positives, when toned, are usually of a violet-purple
or of a bistre tint, with a general aspect of warmth and transparency.
SECTION II.
The Processes for Fixing and Toning the Proof.
This part of the operation is one to which great attention should
be paid, in order to secure bright and lasting colours: it involves
more of delicate chemical change than perhaps any other
department of the Art.
The first point requiring explanation is the process of fixing; to
which (p. 41) brief reference has already been made. The methods
adopted to improve the tint of the finished picture will then be
described.
CONDITIONS OF A PROPER FIXING OF THE PROOF.
46. This subject is not always understood by operators, and
consequently they have no certain guide as to how long the prints
should remain in the fixing Bath.
The time occupied in fixing will of course vary with the strength
of the solution employed; but there are simple rules which may be
usefully followed. In the act of dissolving the unaltered Chloride of
Silver in the proof, the fixing solution of Hyposulphite of Soda
converts it into Hyposulphite of Silver (p. 43), which is soluble in an
excess of Hyposulphite of Soda. But if there be an insufficient
excess,—that is, if the Bath be too weak, or the print removed from
it too speedily,—then the Hyposulphite of Silver is not perfectly
dissolved, and begins by degrees to decompose, producing a brown
deposit in the tissue of the paper. This deposit, which has the
appearance of yellow spots and patches, is not usually seen upon
the surface of the print, but becomes very evident when it is held up
to the light, or if it be split in half, which can be readily done by
gluing it between two flat surfaces of deal, and then forcing them
asunder.
The reaction of Hyposulphite of Soda with Nitrate of Silver.—In
order to understand more fully how decomposition of Hyposulphite
of Silver may affect the process of fixing, the peculiar properties of
this salt should be studied. With this view Nitrate of Silver and
Hyposulphite of Soda may be mixed in equivalent proportions, viz.
about twenty-one grains of the former salt to sixteen grains of the
latter, first dissolving each in separate vessels in half an ounce of
distilled water. These solutions are to be added to each other and
well agitated; immediately a dense deposit forms, which is
Hyposulphite of Silver.
At this point a curious series of changes commences. The
precipitate, at first white and curdy, soon alters in colour: it becomes
canary-yellow, then of a rich orange-yellow, afterwards liver-colour,
and finally black. The rationale of these changes is explained to a
certain extent by studying the composition of the Hyposulphite of
Silver. The formula for this substance is as follows:—
47. AgO S2O2.
But AgO S2O2 plainly equals AgS, or Sulphuret of Silver, and SO3,
or Sulphuric Acid. The acid reaction assumed by the supernatant
liquid is due therefore to Sulphuric Acid, and the black substance
formed is Sulphuret of Silver. The yellow and orange-yellow
compounds are earlier stages of the decomposition, but their exact
nature is uncertain.
The instability of Hyposulphite of Silver is principally seen when it
is in an isolated state: the presence of an excess of Hyposulphite of
Soda renders it more permanent, by forming a double salt, as
already described.
In fixing Photographic prints, this brown deposit of Sulphuret of
Silver is very liable to form in the Bath and upon the picture;
particularly so when the temperature is high. To obviate it, observe
the following directions:—It is especially in the reaction between
Nitrate of Silver and Hyposulphite of Soda that the blackening is
seen; the Chloride and other insoluble Salts of Silver being dissolved,
even to saturation, without any decomposition of the Hyposulphite
formed. Hence if the print be washed in water to remove the soluble
Nitrate, a very much weaker fixing Bath than usual may be
employed. But if the proofs are taken at once from the printing
frame and immersed in a dilute Bath of Hyposulphite (one part of
the salt to six or eight of water), a shade of brown may often be
observed to pass over the surface of the print, and a large deposit of
Sulphuret of Silver soon forms as the result of the decomposition.
On the other hand, with a strong Hyposulphite Bath there is little or
no discoloration, and the black deposit is absent.
The print must also be left for a sufficient time in the fixing bath,
or some appearance of brown patches,[18] visible by transmitted
light, may occur. Each atom of Nitrate of Silver requires three atoms
of Hyposulphite of Soda to form the sweet and soluble double salt,
and hence, if the action be not continued sufficiently long, another
48. compound will be formed almost tasteless and insoluble (p. 44).
Even immersion in a new Bath of Hyposulphite of Soda does not fix
the print when once the yellow stage of decomposition has been
established. This yellow salt is insoluble in Hyposulphite of Soda, and
consequently remains in the paper.
[18] The writer has noticed that when sensitive paper is kept
for some time before being used for printing, these yellow
patches of imperfect fixation are very liable to occur. The Nitrate
of Silver appears gradually to enter into combination with the
organic matter of the size of the paper, and cannot then be so
easily extracted by the fixing bath.
In fixing prints by Ammonia the Author has found that the same
rule may be applied as in the case of Hyposulphite of Soda, viz. that
if the process be not properly performed, the white parts of the print
will appear spotted when held up to the light, from a portion of
insoluble Silver Salt remaining in the paper. Prints imperfectly fixed
by Ammonia are also usually brown and discoloured upon the
surface of the paper.
More exact directions as to the strength of the fixing bath and
the time occupied in the process, will be given in the Second Part of
the Work; at present it may be noticed only that Albuminized paper,
from the horny nature of its surface-coating, requires a longer
treatment with the Hyposulphite than the plain paper.
THE SALTS OF GOLD AS TONING AGENTS FOR
PHOTOGRAPHIC PRINTS.
The Salts of Gold have been successfully applied to the
improvement of the tones obtained by simply fixing the proof in
Hyposulphite of Soda. The following are the principal modes
followed:—
M. Le Grey's Process.—The print, having been exposed to light
until it becomes very much darker than it is intended to remain, is
washed in water to remove the excess of Nitrate of Silver. It is then
49. immersed in a dilute solution of Chloride of Gold, acidified by
Hydrochloric Acid. The effect is to reduce the intensity considerably,
and at the same time to change the dark shades to a violet or bluish
tint. After a second washing with water, the proof is placed in plain
Hyposulphite of Soda, which fixes it and alters the tone to a pure
black or a blue-black, according to the manner of preparing the
paper and the time of exposure to light.
The rationale of the process appears to be as follows:— the
Chlorine, previously combined with Gold, passes to the reduced
Silver Salt; it bleaches the lightest shades, by converting them again
into white Protochloride of Silver, and gives to the others a violet tint
more or less intense according to the reduction. At the same time
metallic Gold is deposited, the effect of which is not visible at this
stage, since the same violet tint is perceived when a solution of
Chlorine is substituted for Chloride of Gold.
The Hyposulphite of Soda subsequently employed, decomposes
the violet Subchloride of Silver, and leaves the surface of a black tint,
due to the Gold and the reduced Silver Salt.
M. Le Grey's process is objectionable on account of the excessive
over-printing required. This however is to a great extent obviated by
a modification of the process in which an alkaline instead of an acid
solution of the Chloride is employed; one grain of Chloride of Gold is
dissolved in about six ounces of water, to which are added twenty to
thirty grains of the common Carbonate of Soda. The alkali
moderates the violence of the action, so that the print washed with
water and immersed in the Gold Bath, is less reduced in intensity,
and does not acquire the same inky blueness. On subsequent fixing
in the Hyposulphite, the tint changes from violet to a dark chocolate-
brown, which is permanent.
The Tetrathionate and Hyposulphite of Gold employed in toning.
—After the discovery of Le Grey's mode, it was proposed, as an
improvement, to add Chloride of Gold to the fixing solution, so as to
obviate the necessity of using two Baths. The print, in that case,
50. although darkened considerably, is less reduced in intensity, and the
same amount of over-printing is not required. The chemical changes
which ensue are different from before: they may be described as
follows:—
Chloride of Gold, added to Hyposulphite of Soda, is converted
into Hyposulphite of Gold, Tetrathionate of Gold, and (if the Chloride
of Gold be free from excess of acid) a red compound, containing
more of the metal than, either of the others, but the exact nature of
which is uncertain. Each of these three Gold Salts possesses the
property of darkening the print, but not to the same extent. The
activity is less as the stability of the salt is greater, and hence the red
compound, which is so highly unstable that it cannot be preserved
many hours without decomposing and precipitating metallic Gold, is
far more active than the Hyposulphite of Gold, which, when
associated with an excess of Hyposulphite of Soda, is comparatively
permanent.
When rapidity of colouring is an object it will therefore be
advisable to add Chloride of Gold to the fixing Bath of Hyposulphite
rather than an equivalent quantity of Sel d'or; and by dropping a
little Ammonia into the Chloride of Gold so as to precipitate
fulminating gold[19] (a compound which dissolves in Hyposulphite
of Soda with considerable formation of the unstable red salt), the
activity of the Bath will be promoted.
[19] Read the observations on the Explosive Properties of
Fulminating Gold in the Vocabulary, Part III.
The Author explains the action of these Salts of Gold upon the
Positive print as follows:—they are unstable, and contain an excess
of Sulphur loosely combined; hence, when placed in contact with the
image, which has an affinity for Sulphur, the existing compound is
broken up, and Sulphuret of Silver, Sulphuric Acid, and metallic Gold
are the results. That a minute proportion of Sulphuret of Silver is
formed seems certain; but the change must be superficial, as the
51. stability of the print is very little lessened when the process is
properly performed.
Sel Or employed as a toning agent.—This process, which was
communicated to the 'Photographic Journal' by Mr. Sutton of Jersey,
has been found serviceable.
The prints are first washed in water, to which is added a little
Chloride of Sodium, to decompose the free Nitrate of Silver. They are
then immersed in a dilute solution of Sel d'or, or double
Hyposulphite of Gold and Soda, which quickly changes the tint from
red to purple without destroying any of the details or lighter shades.
Lastly, the Hyposulphite of Soda is employed to fix the print in the
usual way.
This process differs theoretically from the last in some important
particulars. The toning solution is applied to the print before fixing,
which experience proves to have an important influence upon the
result, it having been found that when the print is previously acted
upon by Hyposulphite of Soda, the rapidity of deposition of the Gold
is interfered with;—thus, a dilute solution of Sel d'or colours a print
rapidly, but if to this same liquid a few crystals of Hyposulphite of
Soda be added, the picture becomes red and may be kept in the
Bath for comparatively a long time without acquiring the purple
tones.
As Hyposulphite of Soda in excess lessens the action of the Sel
d'or, so on the other hand the addition of an acid increases it. The
acid does not precipitate Sulphur, as might be expected from a
knowledge of the reaction of Hyposulphite with acid bodies (p. 137),
but it favours the reduction of metallic Gold. Hence it is usual to add
a little Hydrochloric Acid to the toning solution of Sel d'or, to increase
the rapidity and perfection of the colouring process.
THE CONDITIONS WHICH AFFECT THE ACTION OF
THE FIXING AND TONING BATH OF GOLD AND
52. HYPOSULPHITE OF SODA.
Although the process of toning Positives by Sel d'or is very
certain in its results and gives good tints, yet, as involving a
somewhat greater expenditure of time and trouble, it is not at
present universally adopted. The ordinary plan of fixing and toning
in one bath has been proved to yield permanent prints if the proper
precautions are observed, but it is quite necessary, in order to
ensure success, that the conditions by which its action is modified
should be understood. The more important of these are as follows:—
a. The AGE of the Bath.—When Chloride of Gold is added to
Hyposulphite of Soda, several unstable salts are produced, which
decompose by keeping. Hence the solution is very active during the
first few days after mixing; but at the expiration of some weeks or
months, if not used, it becomes almost inert, a reddish deposit of
Gold first forming, and eventually a mixture of black Sulphuret of
Silver and Sulphur, the former of which often adheres to the sides of
the bottle in dense shining laminæ.
When the Bath is constantly kept in use there is a loss of Gold,
which, although it is less perceived than it otherwise would be, from
the fact that sulphuretting principles are formed (see next page)
capable of replacing the Gold as toning agents—yet makes the Bath
work more slowly, and hence over-printing is required.
b. Presence of free Nitrate of Silver upon the surface of the proof.
—This produces an accelerating effect, as may be shown by soaking
the print in salt and water, to convert the Nitrate into Chloride of
Silver; the action then takes place more slowly.
The free Nitrate of Silver increases the instability of the Gold
salts; but if present in too great an excess, it is apt to cause a
decomposition of Hyposulphite of Silver, and consequent yellowness
in the white parts of the proof. It is therefore particularly
recommended to wash the print in water before immersing it in the
fixing and toning Bath.
53. c. Temperature of the solution.—In cold weather, the
thermometer standing at 32° to 40°, the Bath works more slowly
than usual; whereas in the height of summer, and especially in hot
climates, it occasionally becomes quite unmanageable. The best
temperature for operating successfully appears to be about 60° to
65° Fahrenheit; if higher than this the solutions must be employed
more dilute.
d. Addition of Iodide of Silver.—Some operators associate Iodide
with Chloride in the preparation of sensitive paper for printing.
Another source of the same salts is the admixture of a portion of the
fixing Bath used for Negatives with the Positive toning solution. The
presence of Iodides in the fixing and toning Bath is injurious: when
in large excess, they dissolve the image, or produce yellow patches
of Iodide of Silver on the lights; in smaller quantity, the deposition of
the Gold is hindered, and the action proceeds more slowly. Bromides
and Chlorides have not the same effect.
e. Mode of preparing the paper.—The rapidity of toning varies
with causes independent of the Bath: thus, plain paper prints are
toned more quickly than prints upon albuminized paper, and the use
of English paper sized with Gelatine retards the action. Foreign
papers rendered sensitive with Ammonio-Nitrate tone the most
quickly.
On certain states of the fixing and toning Bath which are
injurious to the proofs.—The object of using the Hyposulphite Bath is
to fix the proof and to tone it by means of Gold. But it is a fact
familiar to the photographic chemist, that Positives can also be toned
by a sulphuretting action, and that the colours so obtained are not
very different from those which follow the employment of Gold.[20]
Now the Hyposulphite of Soda is a substance which can be very
readily made to yield up Sulphur to any bodies which possess an
affinity for that element, and as the reduced Silver compound in the
print has such an affinity, there is always a tendency to absorption of
Sulphur when the proofs are immersed in the Bath. Consequently in
54. many cases a sulphur toning-process is set up, and as the picture is
improved by it in appearance, losing its brick-red colour and
assuming a purple shade, it was at first adopted by Photographers.
Experience however has shown that colours brightened in this way
are less permanent than others, and are liable to fade unless kept
perfectly dry. Hence the process will be discarded by all careful
operators, and the object will be to avoid sulphuration as far as
possible. This can be done to a great extent, and, when the Bath is
properly managed, the prints will be toned almost entirely by Gold,
and will, with care, be permanent.
[20] For a more detailed account of the toning process by
Sulphur, see the Third Section of this Chapter, page 145. The
instability of sulphuretted prints is shown in the fourth Section.
Some of the conditions which facilitate a sulphuretting action
upon the proof are as follows:—
a. The addition of an Acid to the Bath.—It was at one time
common to add a few drops of Acetic Acid to the fixing Bath of
Hyposulphite of Soda, immediately before immersing the proofs. The
Bath then assumes an opalescent appearance in the course of a few
minutes, and, when this milkiness is perceptible, the print begins to
tone rapidly and becomes nearly black.
The chemical changes produced in a Hyposulphite Bath by
addition of acid, may be explained thus:—The acid first displaces the
feeble Hyposulphurous acid from its combination with Soda.
Acetic Acid +Hyposulphite Soda.
=Acetate Soda+Hyposulphurous Acid.
Then the Hyposulphurous Acid, not being a stable substance
when isolated, begins spontaneously to decompose, and splits up
into Sulphurous Acid—which remains dissolved in the liquid,
communicating the characteristic odour of burning Sulphur—and
Sulphur, which separates in a finely divided state and forms a milky
deposit.[21]
55. [21] From the Vocabulary, Part III., it will be seen that
commercial Chloride of Gold usually contains free Hydrochloric
Acid; hence a considerable deposit of Sulphur takes place on
adding it to the Hyposulphite solution, and the liquid must not be
used immediately.
Observe therefore that free acids of all kinds must be excluded
from the fixing Bath, or, if inadvertently added, the liquid must be
set aside for some hours until the Hyposulphurous Acid has
decomposed, and, the Sulphur having settled to the bottom, the
Bath has regained its original neutral condition.[22]
[22] The chemical reader will understand the decomposition of
free Hyposulphurous Acid by the following equation:—S2O2 = SO2
and S.
b. Decomposition of the Bath by constant use.—It has long been
known that a solution of Hyposulphite of Soda undergoes a peculiar
change in properties when much used in fixing. When first prepared
it leaves the image of a red tone, the characteristic colour of the
reduced Silver Salt, but soon acquires the property of darkening this
red colour by a subsequent communication of Sulphur. Hence a
simple fixing Bath becomes at last an active toning bath, without any
addition of Gold.
This change of properties will be found more fully explained in
the abstract of the Author's researches given in the next Section (p.
156). At present we remark only that it is due principally to a
reaction between Nitrate of Silver and Hyposulphite of Soda,
attended with decomposition of Hyposulphite of Silver (p. 130); and
hence, if the prints are washed in water before immersion in the
Bath, the solution will be less quickly liable to change.
Many operators state that the toning Bath having at first been
prepared with Chloride of Gold, no further addition of this substance
will be required. This no doubt is correct, but in such case the proofs
will at last be toned by Sulphur more than by Gold, and will not
possess the same stability; the Bath will also, after long use, be
56. found to acquire a distinct acid reaction to test-paper, the acidity
being due to a peculiar principle generated by decomposing
Hyposulphite of Silver, and which is shown to have an injurious
action upon the print (p. 158). To avoid this the solution should be
kept neutral to test-paper by means of a drop of Ammonia, if
required; and when it begins to be exhausted, and does not tone
(quickly) a print from which the free Nitrate of Silver has been
removed by washing, a fresh quantity of Chloride of Gold should be
added.
c. Tetrathionate in the Hyposulphite Bath.—The Author has
shown that the Tetrathionates, which are analogous to the
Hyposulphites, have an active sulphuretting action upon Positive
prints (see the papers in the next Section). Very fine colours can be
obtained in this way; but toning by Sulphur having been proved to
be wrong in principle, the formulæ given in the first two editions of
this Work have been omitted.[23]
[23] The preparation of a toning bath by Tetrathionate,
without Gold, is described in the next Section, but it is not
recommended for practical use.
The bodies which produce Tetrathionate when added to a
solution of Hyposulphite of Soda, and hence are inadmissible in the
toning process, are as follows:—Free Iodine, Perchloride of Iron,
Chloride of Copper, Acids of all kinds (in the latter case the acid first
produces Sulphurous Acid, and the Sulphurous Acid, if present in any
quantity, by reacting upon Hyposulphite of Soda, forms Tetrathionate
and Trithionate of Soda).
Chloride of Gold also produces a mixed Tetrathionate of Gold and
Soda when added to the fixing Bath (p. 133); but as the quantity of
Chloride used is small, the prints are far less sulphuretted than in the
case of toning Baths prepared by Tetrathionate without Gold.
SECTION III.
The Author's Researches in Photographic Printing.
57. Having been long engaged in conducting experiments upon the
composition and properties of the reduced material forming the
Photographic image, and especially with a view of determining the
exact conditions under which the picture may be considered
permanent, the Author has thought it advisable to give the results of
these researches in the form of an abstract of the original papers
read at the meetings of the Photographic Society.
A previous perusal of these papers will put the reader in
possession of the principal facts upon which are founded the
precautions advised in the next Section for the preservation of
Photographic prints. In order to keep the Work as nearly as possible
within its original limits, and also for the purpose of distinguishing
the present Section from the others, as one referring principally to
scientific details, the type has been reduced to the size of that used
in the Appendix.
ON THE CHEMICAL COMPOSITION OF THE
PHOTOGRAPHIC IMAGE.
The determination of the chemical nature of the Photographic
image in its various forms is a point of much importance, both as
indicating the conditions required for the preservation of works of art
of that class, and also as a guide to the experimenter in selecting
bodies likely to have an effect as chemical agents in Photography.
It has been stated by some who have given attention to the
subject, that the image is formed in all cases of pure metallic Silver,
and that any observable variations in its colour and properties, are
due to a difference in the molecular arrangement of the particles.
But this hypothesis, although involving much that is correct, yet does
not contain the whole truth, for it is evident that the chemical
properties of the Photographic image often bear no resemblance to
those of a metal. One Photograph may also differ essentially from
another, so that we are led to infer the existence of two varieties,
the first of which is less of a metallic nature than the second.
58. In investigating the subject, the principal point appeared to be to
examine the action of light upon Chloride of Silver, and afterwards to
associate the Chloride with organic matter in order to imitate the
conditions under which Photographs are obtained.
The following is an epitome of the conclusions arrived at:—
Action of Light upon Chloride of Silver.—The process is
accompanied by a separation of Chlorine, but its product is not a
mere mixture of Chloride of Silver and Metallic Silver; if it were so,
we cannot suppose that the darkening would take place beneath the
surface of Nitric Acid, which it is found to do. A definite Subchloride
of Silver seems to be formed, the most important property of which
is its decomposition by fixing agents, such as Ammonia, and
Hyposulphite of Soda, both of which destroy the violet colour,
dissolving out Protochloride of Silver, and leaving a small quantity of
a grey residue of metallic Silver.
Inasmuch therefore as all Photographic pictures require fixing,
we may conclude that if they could be produced upon pure and
isolated Chloride of Silver (which however is not the case), they
would consist solely of metallic Silver.
Decomposition of organic Salts of Silver by Light.—Compounds of
Oxide of Silver with organic bodies, are as a rule darkened by
exposure to light, but the process does not always consist in a
simple reduction to the metallic state. This assertion is proved by the
employment of the following tests.
a. Mercury.—Little or no amalgamation takes place on triturating
the darkened salt with this metal.
b. Ammonia and fixing agents.—These usually produce only a
limited amount of action. Thus, the Albuminate of Protoxide of Silver
is perfectly soluble in Ammonia; but after having been reddened by
exposure to light, it is little or not at all affected.
59. c. Potash.—Animal matters coagulated by Nitrate of Silver, and
reduced by the sun's rays, are dissolved by boiling Potash, the
solution being clear and of a blood-red colour. Metallic Silver, it is
presumed, if present, would remain insoluble.
d. Boiling Water.—Gelatine treated with Nitrate of Silver and
exposed to light, loses its characteristic property of dissolving in hot
water. This experiment is conclusive.
The above facts justify us in supposing the existence of
combinations of organic matter with a low Oxide of Silver; and
analysis indicates further that the relative proportion of each
constituent in these compounds may vary. For instance, when Citrate
of Silver is reduced by light, and acted on with Ammonia, a black
powder remains, which was found to contain as much as 95 per
cent, real Silver; but Albuminate of Silver treated in the same way
yields on analysis less of metallic Silver, and more volatile and
carbonaceous matter.
The use of Ammonio-Nitrate of Silver in preparing the salt tends
also to increase the relative quantity of metal left in the compound
after reduction and fixing. The length of time during which the light
has acted, has also a modifying effect of the same kind,—the
product of reduction by a powerful light being more nearly in the
state of metal, and containing less both of Oxygen and organic
matter.
Action of Light upon Chloride of Silver associated with organic
matter.—Photographs formed on Chloride of Silver alone, would,
after fixing, consist of metallic Silver, but such a process could not be
carried out in practice. The addition of organic matter is absolutely
necessary in order to increase the sensitiveness, and to prevent the
image from being dissolved in the Bath of Hyposulphite of Soda. The
blue Subchloride of Silver is decomposed by fixing, a very scanty
proportion of grey metallic Silver remaining insoluble; but the red
compound of Suboxide of Silver with organic matter is almost
unaffected by Hyposulphite of Soda, or Ammonia.
60. The increase of sensitiveness and intensity produced by the use
of organic matter is accompanied also by a change in the
composition of the picture; the image losing the metallic character
which it possesses when formed on pure Chloride of Silver, and
resembling in every respect the product of the action of light upon
organic Salts of Silver.
There are certain characteristic tests which may usefully be
employed in distinguishing the metallic image from what may be
termed the organic or non-metallic image. One of these tests is
Cyanide of Potassium. An image formed upon pure Chloride of Silver,
although pale and feeble, may, after fixing, be immersed ill dilute
solution of Cyanide of Potassium without injury. But a photograph on
Chloride of Silver supported by an organic basis, is much acted upon
by Cyanide of Potassium, quickly losing its finer details.
A second test is the Hydrosulphate of Ammonia. If no organic
matter be employed, the image becomes darker and more intense
by treatment with a soluble Sulphuret; whilst the non-metallic
image, formed on an organic surface, is quickly bleached and faded.
The action of Sulphur upon the image is indeed a mode of
determining the real quantity of Silver present. When existing in a
very finely divided layer, Sulphuret of Silver often appears yellow;
but in a thicker layer it is black. Hence the colour of the Photograph,
after treatment with Sulphuretted Hydrogen, is an indication of the
proportion of metal present, and the reason of the organic image
becoming so perfectly faded is because it contains a minimum of
Silver in relation to the intensity. We see, therefore, that the addition
of organic matter to Chloride of Silver does not so much increase the
actual quantity of Silver reduced by light, as it adds to its opacity by
associating other elements with the Silver, and altogether modifying
the composition of the image.
The employment of oxidizing agents shows also that in an
ordinary Photographic process by the direct action of light, other
elements besides Silver assist in forming the image: the pictures
61. being found to be easily susceptible of oxidation, whereas the
metallic image formed on pure Chloride of Silver resists oxidation.
Composition of developed images.—By exposing sensitive layers of
the Iodide, the Bromide, and the Chloride of Silver to the light for a
short time only, and subsequently developing with Gallic Acid,
Pyrogallic Acid, and the protosalts of Iron, a variety of images may
be obtained, which differ from each other materially in every
important particular, and a comparison of which assists the
determination of the disputed point.
The appearance and properties of the developed Photograph are
found to vary with the existence of the following conditions.
1st. The surface used to sustain the sensitive layer.—There is a
peculiarity in the image formed on Collodion. Collodion contains
Pyroxyline, a substance which behaves towards the salts of Silver in
a manner different from that of most organic bodies, exhibiting no
tendency to assist their reduction by light. Hence Chloride of Silver
on Collodion darkens far more slowly than the same salt upon
Albumen, and the image, after fixing, is feeble and metallic. Iodide
of Silver on Collodion, exposed and developed, gives usually a more
metallic image, with less intensity, than Iodide of Silver upon
Albumen, or on paper sized with Gelatine. By adding to the Collodion
a body which has an affinity for low oxides of Silver, such for
instance as Glycyrrhizine, the opacity of the developed image is
increased.
2nd. The nature of the sensitive salt.—When Iodide of Silver is
used to receive the latent impression, the image after development,
although lacking intensity of colour by reflected light, is more nearly
in the condition of metallic Silver than if Bromide or Chloride of Silver
be substituted; and of the three salts, the Chloride gives the most
intensity, with the least quantity of metallic Silver. This rule applies
especially when organic matters, Gelatine, Glycyrrhizine, etc., are
present.
62. 3rd. The developing agent employed.—An organic developing
agent like Pyrogallic Acid may be expected to produce a Collodion
image more intense, but less metallic, than an inorganic developer,
such as the Protosulphate of Iron.
4th. The length of time during which the light has acted.—Over-
action of the light favours the production of an image which is dark
by reflection and brown or red by transmission, corresponding in
these particulars to what may be termed the non-metallic image
containing an oxide of Silver.
5th. The stage of the development.—The red image first formed
on the application of the developer to a gelatinized or albuminized
surface of Iodide of Silver is less metallic, and more easily injured by
destructive tests, than the black image, which is the result of
prolonging the action. Developed photographs which are of a bright
red colour after fixing, correspond in properties to images obtained
by the direct action of light on paper prepared with Chloride of
Silver, more nearly than to Collodion, or even to fully developed
Talbotype Negatives.
To conclude the Paper, the following may be offered in the way of
recapitulation:—An image consisting of metallic silver, as a rule,
reflects white light, and shows as a positive when laid on black
velvet; but a non-metallic organic image is dark, and represents the
shadows of a picture. Collodion positives developed with protosalts
of Iron are nearly or quite metallic. Photographs on Albumen or
Gelatine less so than those on Collodion. Developed Photographs
contain more Silver than others, if the development has been
prolonged. The half shadows of the image in a Positive Print are
especially liable to suffer under injurious conditions, since they
contain the Silver in a less perfect state of reduction.[24]
[24] The Author omits, in this place, all mention of molecular
conditions affecting intensity, inasmuch as at the present time
nothing positive has been determined with regard to them. It is
however known that in the use of the protosalts of Iron as
developing agents, the appearance of the image is much
63. influenced by the rapidity with which the reduction is effected—
the particles of Silver being larger and more metallic when the
development is conducted slowly. The process of electro-plating
and other chemical operations of a similar kind prove that the
physical properties of metals precipitated from solutions of their
salts, vary greatly with the degree of fineness and arrangement of
their particles.
ON THE VARIOUS AGENCIES DESTRUCTIVE TO
PHOTOGRAPHIC PRINTS.
Action of Sulphuretting Compounds upon Positive Prints.—It was
first noticed by Mr. T. A. Malone, that the most intense Photograph
might be destroyed by acting upon it with solution of Sulphuretted
Hydrogen or a soluble Sulphuret, for a sufficient length of time.
The changes produced by a sulphuretting compound acting upon
the red image of a simply fixed print are these:—the colour is first
darkened, and a degree of brilliancy imparted to it; this is the effect
termed toning. Then the warm tint by degrees alters to a colder
shade, the intensity of the whole image is lessened, and the half-
tones turn yellow. Lastly, the full shadows pass also from black to
yellow, and the print fades.
Now in this peculiar reaction we notice the following points of
interest. If at that particular stage at which the print has reached its
maximum of blackness, it be raised partially out of the liquid and
allowed to project into the air, the part so treated becomes yellow
before that which remains immersed. Again, if a print toned by
Sulphur be placed in a pan of water to wash, after the lapse of
several hours it is apt to assume a faded appearance in the half-
tones. The full shadows, in which the reduced Silver salt is thicker
and more abundant, retain their black colour for a longer time, but if
the action of the sulphuretting Bath be continued, every portion of
the print becomes yellow.
64. These facts prove that Oxygen has an influence in accelerating
the destructive action of the Sulphur compounds upon Positive
prints; and this idea is borne out by the results of further
experiments, for it is found that moist Sulphuretted Hydrogen has
little or no effect in darkening the colour when every trace of air is
excluded. When prints are washed in water they are exposed to the
influence of the dissolved air which water always contains, and
hence the change from black to yellow is produced.[25]
[25] Further remarks upon the action of damp air upon
Positives toned by Sulphur are given at p. 153.
There are some substances which facilitate the yellow
degeneration of Positives toned by Sulphur, a knowledge of which
will be useful: they are—1st, powerful oxidizers, such as Chlorine,
Permanganate of Potash, and Chromic Acid; these, even when highly
diluted, act with great rapidity: 2nd, bodies which dissolve Oxide of
Silver, as soluble Cyanides, Hyposulphites, Ammonia; also acids of
various kinds, and hence the frequency of yellow finger impressions
upon old sulphuretted prints, which are probably caused by a trace
of organic (Lactic?) Acid left by contact with the warm hand.
It was at one time supposed that the Photograph in the stage at
which it appears blackened by Sulphur, consisted of Sulphuret of
Silver, and that this black Sulphuret became yellow by absorption of
Oxygen and conversion into Sulphate. MM. Davanne and Girard, who
examined the subject, thought that there might be two isomeric
forms of Sulphuret of Silver, a black and a yellow form; the former of
which passing gradually into the latter produced the fading of the
impression. But neither of these views are correct; for it is proved by
careful experiment, that the Sulphuret of Silver is a highly stable
compound, not prone to oxidize, and, further, that the change of
colour from black to yellow has no reference to a modification of this
salt. The truth appears to be that the image whilst in the black stage
contains other elements besides Sulphur and Silver, but when it has
become yellow by the continued action of the sulphuretting
compound, it is then a true Sulphuret.
65. Comparative permanence of Photographs under the action of
Sulphur.—Developed Positives, as a rule, stand better than those
printed by direct exposure to light; but much depends upon the
nature of the negative process followed; and hence no general
statement can be made which will not be liable to many exceptions.
The mode of conducting the development must not be overlooked.
The prints, which become very red in the Hyposulphite fixing Bath
from the action of the developer having been stopped at too early a
period, are often sulphuretted and destroyed even more readily than
a vigorous sun-print obtained by direct exposure to light.
A point of even greater importance is the nature of the sensitive
surface which receives the latent image. It is the print developed
upon Iodide of Silver which especially resists sulphuration. In that
case, not only is the preliminary toning effect of the Sulphur more
slow than usual, but the impression cannot be made to fade by any
continuance of the action. It loses much of its brilliancy, and is
reduced in intensity, but it is not so completely destroyed as to be
useless. The reason of this, as shown in the last paper, depends
upon the fact that the Talbotype proofs contain the largest amount
of Silver in the image.
The employment of Gold in toning does not render an ordinary
sun-print as permanent as a Positive developed upon Iodide of
Silver. The deep shadows of the picture are protected by the Gold,
but the lighter shades not so perfectly. Hence after the Sulphur has
acted, in place of the universal yellow and faded aspect presented
by the simple untoned print, the Positive fully toned by Gold has
black shadows with yellow half-tones. Therefore, whilst
recommending the use of Gold as a toning agent, it does not seem
advisable to lay too much stress upon it as a preservative from the
destructive action of Sulphur.
Exposure of Positive Prints to a Sulphuretting Atmosphere.—In
testing the action of a solution of Sulphuretted Hydrogen upon paper
Positives, it did not appear that the conditions under which the prints
were placed bore a sufficiently close resemblance to the case of
66. Positives exposed to an atmosphere contaminated with minute
traces of the gas; and this more particularly because it is known that
dry Sulphuretted Hydrogen has comparatively little effect upon
Photographic Prints.
The experiments were therefore repeated in a somewhat
different form. A number of Positives (about three dozen) printed in
various ways, were suspended in a glass case, measuring 2½ feet
by 21 inches, and containing 7½ cubic feet of air; into which was
introduced, occasionally, a few bubbles of Sulphuretted Hydrogen,
just sufficient to keep the air of the chamber smelling perceptibly of
the gas. A polished Daguerreotype plate was hung up in the centre,
to serve as a guide to the progress of the sulphuretting action.
By the second day the metal plate had acquired a faint yellow
hue, not easily seen except in certain positions; but the Positives
were unaffected. At the expiration of three days the majority of the
pictures exhibited no signs of change, but a few untoned prints of a
pale red colour, some of which had been printed by development,
and others by direct exposure to light, had perceptibly darkened.
After the eighth day, the action, appearing to progress more
slowly than at first, was stopped, and the prints removed. The
general results obtained were as follows:—
The Daguerreotype plate had become strongly tarnished with a
film of Sulphuret of Silver, which appeared yellowish-brown in some
parts and steel-blue in others. The Positives were, as a rule, toned to
a slightly colder shade, but many of them had scarcely changed.
No obvious difference was observed between prints developed on
paper prepared with Chloride of Silver, and others printed by direct
exposure to light; but in all cases the prints obtained by those
methods which give a very red image after fixing, were the first to
show the change of colour due to sulphuration, the proofs submitted
to the test having all been previously toned with Gold.
67. Effect of Oxidizing Agents upon Positive Prints.—It appeared of
importance to ascertain to what extent Photographic Prints are
susceptible of oxidation; on account of the atmospheric influences to
which they are necessarily exposed. In experimenting upon this
subject the following results have been obtained.
Powerful oxidizers destroy Positive Prints rapidly; the action
usually commencing at the corners and edges of the paper, or at any
isolated point, such as a metallic speck or particle of extraneous
matter, which can serve as a centre of chemical action. This same
fact is often noticed in the fading of Positives by long keeping, and
therefore since other destructive actions (with the exception of that
of Chlorine) do not appear to follow the same rule, it is an argument
in addition to others which can be adduced, that Photographic Prints
are frequently destroyed by oxidation.
Air which has been Ozonized by Phosphorus, and in which blue
litmus-paper becomes reddened, quickly bleaches the Positive
image. Oxygen gas, obtained by voltaic decomposition of acidified
water and which should contain Ozone, did not appear to have an
equal amount of effect, the action being comparatively slight, or
altogether wanting.
Peroxide of Hydrogen obtained in solution, and in conjunction
with Acetate of Baryta, by adding Peroxide of Barium to dilute Acetic
Acid,[26] bleaches darkened Positive paper; but the effect is slow,
and does not take place to a very perceptible extent if the liquid be
kept alkaline to test-paper.
[26] Hydrochloric Acid, which is usually recommended in place
of Acetic Acid, cannot be employed in this experiment; it seems to
cause a liberation of free Chlorine, which bleaches the print
instantly.
Nitric Acid applied in a concentrated form acts immediately upon
the darkened surface, bleaching every part of the print with the
exception of the bronzed shadows, which usually retain a slight
residual colour. A solution of Chromic Acid is still more active. This
68. liquid may usefully be applied to distinguish prints toned by Sulphur
from others toned by Gold; the presence of metallic Gold protecting
the shadows of the picture in some measure from the action of the
acid. The solution should be prepared as follows:—
Bichromate of Potash 6grains.
Strong Sulphuric Acid 4minims.
Water 12ounces.
A solution of Permanganate of Potash is an energetic destroyer of
paper positives; and, as it is a neutral substance, may conveniently
be employed in testing the relative capability of withstanding
oxidation possessed by different Photographic Prints. The solution
should be dilute, of a pale pink hue, and the Positives must be
moved occasionally, as the first effect is to decolorize a great portion
of the liquid, the Permanganate oxidizing the size and organic tissue
of the paper. After an immersion of twenty minutes to half an hour,
varying with the degree of dilution, the half-tones of the picture
begin to die out, and the full shadows become darker in colour; the
bronzed portions of the print withstand the action longer, but at
length the whole is changed to a yellow image much resembling in
appearance the Photograph faded by Sulphur.
Comparative permanence of Photographs treated with
Permanganate of Potash.—Developed prints prepared by a Negative
process withstand the action better than others. But to this rule
there are exceptions; much depending upon the time of exposure to
light, and the extent to which the development is carried. Those
prints which, being exposed for a short time, and afterwards
strongly developed, become dark in colour and vigorous in outline,
are more permanent than others which having been over-exposed
and under-developed, lose their dark colour and become red and
comparatively faint in the Hyposulphite fixing Bath.
Positives developed upon a surface of Chloride of Silver on plain
paper do not resist the oxidizing action so perfectly as those on
69. Iodide of Silver. Prints developed upon paper prepared with Serum of
Milk containing Caseine stand better than those on plain paper.
Of prints obtained by the ordinary process of direct exposure to
light, those on plain paper are the first to fade, the oxidizing action
being most seen upon the half-tones. The use of Albumen gives a
great advantage. Developed prints on Albumen stand far better than
the same upon plain paper; and even the Albuminized sun prints are
less injured by the Permanganate than the best of the Negative
prints prepared without Albumen. Caseine has the same effect, but
to a less extent; and as Serum of Milk almost invariably contains
uncoagulated Caseine, its efficacy is thus explained.
The manner of toning the print is a point of importance; previous
sulphuration in an old Hyposulphite Bath always facilitating the
oxidizing action.
Action of Chlorine upon Positive Prints.—Aqueous solution of
Chlorine destroys the Photographic image, changing it first to a
violet tint (probably Subchloride), and subsequently obliterating it by
conversion into white Chloride of Silver. The impression, although
invisible, remains in the paper, and may be developed in the form of
yellow or brown Sulphuret of Silver by the action of Sulphuretted
Hydrogen. It also becomes visible on exposure to light, and assumes
considerable intensity if the paper be previously brushed with free
Nitrate of Silver. Sulphate of Iron produces no effect upon the
invisible image of Chloride of Silver; but Gallic or Pyrogallic Acid,
rendered alkaline by Potash, converts it into a black deposit.
The Action of Chlorine water usually commences at the edges
and corners of the print, in the same manner as that of oxidizing
agents. The proofs upon Albumen are the least readily injured, and
next, those developed on Iodide of Silver.
Hydrochloric Acid.—The liquid acid of sp. gr. ·116, even when
free from Chlorine, acts immediately upon the half-tones of a
positive print, and destroys the full shadows in the course of a few
70. hours; a slight residual colour however usually remains in the
darkest parts. The prints developed on Iodide of Silver are the most
permanent.
Sulphuric, Acetic Acids, etc.—Acids of all kinds appear to exert an
injurious influence upon Positive prints, and especially so upon the
half-tones of the image, the effect varying with the strength of the
acid and the degree of dilution with water. Even a vegetable acid like
Acetic gradually darkens the colour and destroys partially or entirely
the faint outlines of the picture.
Bichloride of Mercury.—The most important particulars relating to
the action of this test upon Photographs are well known. The image
is ultimately converted into a white powder, and hence, in the case
of a Positive print, it becomes invisible; immersion in Ammonia or
Hyposulphite of Soda however restores it in a form often resembling
in tint the original impression. A point worthy of note is the
protective effect of a deposit of Gold, which is very marked, the
proof, after toning, resisting the action of the Bichloride for
comparatively a long time.
Ammonia.—The effect of Ammonia upon a print is rather to
redden the image than to destroy it; the half-tones become pale and
faint, but they do not disappear. Toning with Gold enables the proof
to resist the action of the strongest solution of Ammonia, and hence
Ammonia may safely be employed as a fixing agent after the use of
the Sel d'or Bath.
Hyposulphite of Soda.—A concentrated solution of Hyposulphite
of Soda exercises a gradual solvent action upon the image of
Photographic Prints, at the same time tending to communicate
Sulphur and to darken the colour of the impression. A faint yellow
outline of Sulphuret of Silver usually remains after the solution of the
image is completed.
Developed prints of all kinds, but in particular the Talbotype
proofs upon Iodide of Silver, are less readily dissolved by
71. Hyposulphite of Soda than those obtained by the direct action of
light. There is also a slight difference between plain and Albuminized
prints, which is in favour of the former, the albuminized paper always
losing somewhat more by immersion in the Hyposulphite Bath than
plain Chloride paper sensitized by Nitrate of Silver.
Cyanide of Potassium.—The solvent action of Cyanide of
Potassium is most energetic upon Photographs formed on paper.
These images, whether developed or not, do not withstand the test
so well as the impressions on Collodion. Albuminized proofs are also
somewhat more easily affected than prints on simple Chloride paper
sensitized with Nitrate or Ammonio-Nitrate of Silver.
Heat, moist and dry.—Long-continued boiling in distilled water
has a reddening action upon Positive Prints. The image becomes at
length pale and faint, resembling a print treated with Ammonia
before toning. A deposit of Gold upon the image lessens, but does
not altogether neutralize, the effect of the hot water. If the boiling
be long continued, the violet-purple tone often imparted by the Gold
invariably gives place to a chocolate-brown, which appears to be the
most permanent colour. Prints developed by Gallic Acid upon paper
prepared with Serum of Milk or with a Citrate, suffer as much as
others obtained by direct action of light. Ammonio-Nitrate prints on
highly salted paper, which become nearly black when toned with
Gold, retain their original appearance the most perfectly; a slight
diminution of brightness being the only observable difference after
long boiling in water. Albumen proofs, and prints on English papers,
or foreign papers prepared with Serum of Milk, Citrates, Tartrates, or
any of those bodies which redden the reduced Salt, are, as a rule,
rendered lighter in colour, and pass from purple to brown when
boiled in water.
Dry heat has an opposite effect to that of hot water, usually
darkening the colour of the image. On exposing a plain paper print
simply fixed, and thoroughly freed from Hyposulphite of Soda by
washing, to a current of heated air, it changes gradually from red to
dark brown, in which state it continues until the temperature rises to
72. the point at which the paper begins to char, when it resumes its
original red tone, becoming at the same time faint and indistinct.
The Products of Combustion of Coal-gas a cause of Fading.—
Coal-gas contains Sulphur compounds, which in combustion are
oxidized into Sulphurous and Sulphuric Acids; other substances of a
deleterious nature may also be present. A plate of polished silver
suspended in a glass tube, through which was directed the current
of heated air rising from a small gas jet, became tarnished with a
white film in the course of twenty-four hours. Positive prints exposed
to the same, absorbed moisture and faded; the action resembling
that of oxidation, in being preceded by a general darkening in colour.
Of four prints exposed, an Iodide-developed print was the least
injured, and next, a print upon Albuminized paper.
ON THE ACTION OF DAMP AIR UPON POSITIVE
PRINTS.
In order to ascertain this point, more than six dozen Positives,
printed on every variety of paper, were mounted in new and
perfectly clean stoppered glass bottles, at the bottom of each of
which was placed a little distilled water, to keep the contained air
always moist. They were removed at the expiration of three months,
having been kept during that time, some in the dark, and others
exposed to the light. As the prints were prepared by various
methods, toned in different ways, and mounted with or without
substances likely to exercise a deleterious action, this series of
experiments will possess considerable value in determining some of
the intrinsic causes of fading of Positives.[27]
[27] For a more detailed account of the experiments, see the
original paper in the 'Photographic Journal,' vol. iii.
The general results obtained were as follows:—Positives which
had been simply fixed in Hyposulphite of Soda remained quite
uninjured. Whether developed by Gallic Acid on either of the three
73. Salts of Silver usually employed, or printed by direct action of light,
the result was the same. Hence we may infer that the darkened
material which forms the image of Photographic Prints does not
readily oxidize in a damp atmosphere.
Toned Positives were found in many cases to be less permanent
than Positives simply fixed. This was especially the case when the
toning had been effected by Sulphur; all the sulphuretted prints,
fixed in solution of Hyposulphite which had been long used, became
yellow in the half-tones when exposed to moisture. Positives fixed
and toned in Hyposulphite containing Gold were variously affected;
some prepared when the solution was in an active state being
unchanged, others losing a little half-tone, and others, again, fading
badly. These latter were prepared in a Bath which had lost Gold and
acquired sulphuretting properties; and it was noticed that they were
more injured by the action of boiling water than those Positives
which proved to be permanent under the influence of the moisture.
Toning by means of Chloride of Gold appeared to be highly
satisfactory, but the number of prints operated upon was small. The
Sel d'or process also did not injure the integrity of the image, no
commencing yellowness or bleaching of half-tones being visible after
exposure to the moist air.
This series of experiments confirmed the statement made in a
former paper, that some tints obtained in Positive printing are more
permanent than others. Violet tones produced by Sulphur invariably
passed into a dull brown by the action of the moist air; and even
when Gold was employed in toning, these same purple colours were
usually reddened. This was especially the case when English papers
were used, or foreign papers re-sized with Serum of Milk containing
Caseine. The chocolate-brown tints which best stand the action of
boiling water, and in particular those upon Ammonio-Nitrate paper,
were least affected by the damp air; and indeed it was evident that
the two agents, viz. moist air and hot water, acted alike in tending to
redden the print, although the latter did so in the most marked
manner.
74. It seemed also, from the results of these experiments, to be a
point of great importance that the size should be removed from the
print in order to render it indestructible by damp air. This was
evidently seen in two cases where Positives, toned in an old
Hyposulphite and Gold Bath, were divided into halves, one of which
was treated with a strong solution of Ammonia. The result was that
the halves in which the size was allowed to remain, faded, whilst the
others were comparatively uninjured. The Albumen proofs especially
suffered when the size was left in the paper, a destructive
mouldiness forming, and fading the picture. The use of boiling water
obviated this, and the prints so treated remained clean and bright. A
partial decomposition of Albumen however occurred in some cases
even when hot water was used, the gloss disappearing from the
paper in isolated patches. With Caseine substituted for Albumen
there was also a loss of half-tone; thus seeming to indicate that both
these animal principles, although stable under ordinary conditions,
will, even when coagulated by Nitrate of Silver, decompose if kept
long in a moist state.
The use of improper substances for mounting proved to be
another determining cause of fading by oxidation. Those bodies
which combine with Oxide of Silver, are likely upon theoretical
grounds to destroy the half-tones of the image; and it was found,
that if the picture were left in contact with Alum, Acetic Acid, etc., or
with the substances which generate an acid by fermentation, such
as paste or starch, it invariably faded.
The supposed accelerating influence of Light upon the fading of
Positives was not confirmed by these experiments, as far as they
extended. Many of the bottles containing the Photographs were
placed outside the window of a house with a southern aspect during
the whole of the three months with the exception of two or three
weeks, but no difference whatever could be detected between
Positives so treated and others kept in total darkness. It will be
proper however that this part of the investigation should be
repeated, allowing a longer time.
75. An examination of the various modes employed for coating
Positives, in order to exclude the atmosphere, showed that many of
them were not fitted to fulfil the purpose intended. Waxed prints
faded quite as much when exposed to moisture as others not waxed.
White wax is a substance often adulterated, and Oil of Turpentine
has been shown to contain a body resembling Ozone in properties,
and possessing the power of bleaching a dilute solution of Sulphate
of Indigo. Spirit varnish applied to the surface of the picture after re-
sizing with Gelatine was plainly superior to white wax, but
nevertheless it did not obviate the fading effect of the moisture upon
an unstable Positive which had been toned by sulphuration. Its
protective influence is therefore limited.
ON THE CHANGE IN COMPOSITION WHICH
HYPOSULPHITE OF SODA EXPERIENCES BY USE IN
FIXING PAPER PROOFS.[28]
[28] These observations are condensed and re-arranged from
the papers published by the Author in the 'Photographic Journal'
for September and October, 1854.
It was remarked by Photographers at an early period that the
properties of the Fixing Bath of Hyposulphite of Soda became altered
by constant use; that it gradually acquired the power of darkening
the colour of the Positive image. This change was at first referred to
the accumulation of Salts of Silver in the Bath, and hence directions
were given to dissolve a portion of blackened Chloride of Silver in
the Hyposulphite in preparing a new solution.
Careful experiments performed by the Author convinced him that
an error had been entertained; since it was found that the simple
solution of Chloride of Silver in Hyposulphite of Soda had no power
of yielding the black tones. But it afterwards appeared that if the
fixing Bath, containing dissolved Silver Salts, were set aside for a few
weeks, a decomposition occurred in it, evidenced by the formation of
76. a black deposit of Sulphuret of Silver; and then it became active in
toning the proofs.
The presence of this deposit of Sulphuret of Silver indicated that
a portion of Hyposulphite of Silver had spontaneously decomposed,
and, knowing the products which are generated by the spontaneous
decomposition of this salt, a clue to the difficulty was afforded. One
atom of Hyposulphite of Silver includes the elements of one of
Sulphuret of Silver and one of Sulphuric Acid. Sulphuric Acid in
contact with Hyposulphite of Soda produces Sulphurous Acid by a
process of displacement; and Plessy has shown that Sulphurous Acid
reacts upon an excess of Hyposulphite of Soda, forming two of that
interesting series of Sulphur compounds designated by Berzelius the
Polythionic Acids.
It appeared therefore probable, upon theoretical grounds, that
the Penta-, Tetra-, and Trithionates might produce some effect in the
Hyposulphite fixing Bath. Upon making the trial these expectations
were verified; and it was found that Tetrathionate of Soda added to
Hyposulphite of Soda yielded a fixing and toning Bath quite equal in
activity to that produced by means of Chloride of Gold.
It may be useful to review for an instant the composition of the
Polythionic series of acids; it is thus represented:—
Sulphur. Oxygen. Formulæ.
Dithionic or Hyposulphuric
Acid
2 atoms 5 atoms S2O5
Trithionic Acid 3 5 S3O5
Tetrathionic Acid 4 5 S4O5
Pentathionic Acid 5 5 S5O5
The amount of Oxygen in all is the same, that of the other
element increases progressively; hence it is at once evident that the
highest member of the series might by losing Sulphur descend
gradually until it reached the condition of the lowest.
77. This transition is not only theoretically possible, but there is an
actual tendency to it, all the acids being unstable with the exception
of the Hyposulphuric. The Alkaline Salts of these acids are more
unstable than the acids themselves; a solution of Tetrathionate of
Soda becomes milky in the course of a few days from deposition of
Sulphur, and, if tested, is then found to contain Trithionate and
eventually Dithionate of Soda.
The cause of the change in properties of the fixing Bath being
thus clearly traced to a decomposition of Hyposulphite of Silver, and
a consequent generation of unstable principles capable of imparting
Sulphur to the immersed proofs, it seemed desirable to continue the
experiments.—
There is a peculiar acid condition commonly assumed by old
fixing Baths, which could not be satisfactorily explained, since it was
known that acids do not exist long in a free state in solution of
Hyposulphite of Soda, but tend to neutralize themselves by
displacing Hyposulphurous Acid spontaneously decomposable into
Sulphurous Acid and Sulphur. This point is set at rest by the
discovery of a peculiar reaction which takes place between certain
salts of the Polythionic acids and Hyposulphite of Soda. A solution of
Tetrathionate of Soda may be preserved for many hours unchanged;
but if a few crystals of Hyposulphite of Soda be dropped in, it begins
very shortly to deposit Sulphur, and continues to do so for several
days. At the same time the liquid acquires an acid reaction to test-
paper, and produces effervescence on the addition of Carbonate of
Lime.
It is evident that a Sulphur acid exists which has not hitherto
been described, and that this acid is formed as one of the products
of the decomposition of the Hyposulphite of Silver contained in the
fixing Bath. The subject is an important one to Photographers,
because it is found that Hyposulphite Baths which have acquired the
acid reaction, although toning quickly, yield Positives which fade on
keeping. The acid may perhaps combine with the reduced Silver
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