Photography reference
Ansco Cyko prints Product booklet
Product booklet for Ansco Cyko prints. 34 pages in English. Read the original PDF, download or print a copy without registration.
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Document details
- Brand
- Ansco
- Model / document
- Ansco Cyko prints
- Document type
- Product booklet
- Language
- English
- Pages
- 34
- File size
- 2.7 MB
- Category
- Photography reference
- Document date
- Not specified in catalog
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n r\\ lar_^*J\r \-/ANsCO ANSCC ,^----\n N| \ t *-Jq - \/- \-/ f---\.r
Cvxo is the outcome of sixty years' experience. for weak, thin or undertimede)enegatives. ENr.lncrncANsco CoMpLtTv is responsible for its wonderful
Cyro is a fast-printing paper, eight times faster than success.
Soft Cvr<o, yet yiekling enlargements of contact
It is the paper that adds a final artistic touch to print quality and gradation.
a ihotograph and takes it out of the class of the SI]ITFACES OF CYKOordinary and the commonplace.
Cyro is made in five different surfaces. The
/ GRADES OF CYKO surface is indicated by the number oR the end
Cvro for, contact printing is made in three labels, and the grade by the color of the label.
grades of tone gradation, corresponding inversely to Choose the surface which is most suitable and which
the class of negatives for which each grade is in- will harmonize best with the subject of the picture.
tended, namely: Then select the grade according to the quality of
the negative as given on page 4.
Contrast (Blue Label)
TABLE SHOWING SURFACES, WEIGHTS , For weak, flat negatives AND GRADES OF CYKO
Normal (Yellow Label)
For negatives of normal density and gradation Surface Representecl Grade and Color Weight
Soft (Red Label) by Number of Lzrbel
For hard or contrastive negatives No. 2-Semi-Matte I
(Dead Matte sur- I Contrast
There is, in addition, a fourth grade callecl Pno- No.face, 3-Glossyno luster). II (BiueNormalLabel)
FEssIoNAL Cvxo (Brown Label), intended for studio (\rery high gloss). I (Yellow Label) Single Weight
portraiture and fine cornmercial rvork. It is a slow- No.(OriginalS-Plat Platinum tl' (RedSoftLabel) DoubleandWeight
printing paper, five times slower than the Normal surfacegrain). with sligirt II (BrownProfessionalLabel)
and Soft grades. Full information concerning this No. 6-Studio I Iinlr rqi n o
grade is given in the PnorBssroNAL CyKo PorNrrn, with(Smoothvelvetysurfacesheen). .fI (Green Label)
free on request. Soft Buff (Red Label)
(Similar to Plat Professional
ENLARGING CYKO surface. India tint (Brown Label)
buff stock). Enlarging
Cyxo for enlarging is known as ENr,.s.ncrNGCyKo (Green Label)
(Green label) and is supplied in two grades: En- MANIPULATIONlarging Cyro Soft, for negatives of normal grada-
Cvro prints may be made successfully,usingtion and balance, and ENrancrxc Cvro Contrast, daylight for exposure. Select a north winCow if
--;i^ ;.r"hi*. :,*r*eb , ;.*llx&Jlii*i:. . --,g&ij;r+',,"**j'View original page 5Page 7 · Read text
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ANSC() A.NSCO ANsCO ANSCO I1ir It will be seen from the table on the preceding
page that Cvr<o Contrast requires twice as long ex- The solution which each tray should contain,
posure as the Normal and Soft grades require, and should be prepared exactly as directed. Do not be
Professional fir'e times as long. too sparing with the amount of solution used, es-
, The larger the negative, the greater should be pecially the fixing bath (tray No. 3). For making
the distance from the light. The usual rule is a three or four clozen prints, 4 x 5 inches, use a full
distance equal to the diagonal of the negative. The pint, and do not keep it after using. The tempera-
time oI exposure varies with the distance. ture of the solutions is important. The developer
The absolute necessities for making Cyro prints should be at 65" Fahrenheit, and the fixing bath and
are few in number and simple in character. Aside wash water 50o Fahrenheit in order to insure the
from suitable light, and water for washing the best possible prints.
prints, there will be required:
3 Trays (preferably porcelain or enameled iron). PRINTING
The trays should be a full size larger than the We will assurne that the printing is to be cione
prints to be made. at night, as artificial light is the light we recommend,
1 Printing frame, and glass to fit, if films are to be and the light that is generally used for Cvro.
printed, or Open the package of paper in subdued light only.
1 Axsco Amateur Printer, as described on page 50. Hold the printing-frame far enough from the light1 Four-ounce graduate.
source to prevent any possibility of fogging. Ten1 Box Cvro H-M Developer Tubes. feet distant fronr the ordinary gas-jet or lamp should
1 Bottle Cvr<o Re-Developer for sepia and brown
tones. afford a safe light. If there be any question as
1 Package Cvro Acid Hypo to the safety of the light, use the test described on
Place the three travs on the work-table in the page 6.
following order: Place the sensitized side of the sheet of Cvro
against the fihn or dull sictreof the negative. The
paper curls slightly, the sensitive side being con-
cave. An absolute test is to bite the corner of a
sheet. The sensitive side will adhere to the teeth.
r In order to secure an even illumination it is
necessary that the printing-frame be placed at the
proper distance from the light. A large negative
should be printed at a greater distance from them@pffi
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light than a small one, so that its greater area may of Cvro be cut into strips about an inch wide, and
be properly illuminated. The usual rule is to print one of them placed over an important part of the
at a distance at least as great as the diagonal of the negative. Make the exposttre, using good judgment
negative. Thus, a 4 x 5 negative should not be based upon the information given herein as to the
printed nearer than 6)4 inches from the light; an distance from the light and the time of printing-
8 x 10 should not be printed nearer than 13 inches. Develop, and if not satisfactory, try another strip,
When possible, place the printing-frame on a level varying the tirne as indicated by the first result.
with the light rather'than below it, as in so doing When the desired effect is secured, any number of
you secure the full benefit of the light and a more prints may be made from the same negative, and
even illumination. if the time of exposure, the distance from the light, as
well as the time of developing, are identical, all the If uniformity of results is desired, the ordinary
prints shoulci be equally good. By comparing thepractice of exposing by holding the'frame up to the
other negatives with the one which has been tested,source of light must not be followed, for, however
it will be possible to make a fairly accurate estimatemuch care be taken to preserve the same distance
of the time of exposure required by any negative.between light and frame, the method will inevitably
allow of a sufficient margin of error-to account for After the exposed piece of paper is taken from
a few spoiled prints. the printing-frame, in a safe place previously se-
There are several inexpensive printing boards on lected, it is ready for development. Prints ate
the market, and also various printing machines. usually developed by immersion. The dry print
The ANsco Amateur Printing Machine, described on should be irnmersed face up in the developer (tray
pages 50 and 51, is especially recommended to the No. 1), and quickly and evenly covered with the
amateur as an efficient instrument at a reasonable solution. A good way is to put one end of the paper
price. into the developer, giving the other end a quick
push with the finger. No air bubbles will then
It is not possible to specify any given time for form on the surface.
exposure. The time necessary to print depends on Cvr<o Contrast should be developed in fromthe kind of light, the density of the negative, and 20 to 25 seconds, Cvro Normal and Cvxo Softthe distance from the source of light. (See compar- in about 30 to 35 seconds and Cvro Professional inative table on page 7.) An exposure of from ten . about 40 seconds. As the developer ages and isto twenty seconds is usually sufficient for an average exhausted by use, the action is somewhat retarded.4 x 5 negative, on the Normal grade. We recom-
mend that before making the first exposure, a sheet With our prepared liquid and dry developers the
10 11
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addition of bromide of potassium is unnecessary, the for the developer and fixing bath should never be
solution containing the correct proportion; that is used for any other purpose. Care must be taken to
to say, the cilrrect proportion, provided the paper is prevent the hypo (in the fixing bath) from getting
fresh. The amount of brornide necessary depends on into the tray containing the developer. Have a
the age of the paper and the purity of the water and clean towel when beginning to work, wash and wipe
chemicals. The proper amount can be easily ascer- your hands each time after handling the prints in
tained by making a trial test. Immerse a small strip the hypo solution.
of Cyro in the developer, and if the whites remain
clear after being immersed about fifteen seconds for NOTES ON DEVELOPING
Blue Label and twenty seconds for Yellow Label and Metol or Monomet and hydrochinon in combina-
Red Label Cvxo, the amount of bromide in the tion yield the best results on Cvrco when they are
developer is sufficient. Should the whites appear used in the proportions given in our formulas.
fogged, add a few drops of a l}/s so,lution of potas- In view of the difficulty which many have in
sium bromide (see page 15). If, on the other hand, obtaining pure chemicals and of the experience
after developing an exposed sheet, the blacks have necessary to compound solutions properly, we rec-
a greenish tinge, that is an indication that there is ommend the use of our prepared devclopers, put
too much bromide in the developer. up in dry form in tubes; also Cvr<o Non-Abrasion
As soon as the image has reached the desired Developer, put up in both dry and liquid form.
depth, remove the print from the developer to tray See pages 56 and 57.
No. 2, and rinse quickly, then place it in the acid Those who desire to prepare their own solutions
fixing bath (tray No. 3), keeping the print mov- should be provided with a pair of scales or balances
ing for a few seconds, so as to insure an even and with proper weights.
thorough fixing. Leave the print in the solution Al1 photographic chemicals are bought and sold
until thoroughly fixed. This will take about fifteen by avoirdupois weight, which system is indicated for
minutes. When fixed, remove from the fixing bath use in making up the formulas in this book. Apoth-
and wash thoroughly for about an hour in running ecaries' weight is a different system, and an ounce
water. Then dry. After being dried, the prints apothecaries' is not the same as an ounce avoirdu-
may be trimmed and mounted. pois. The grain is the unit and the same in both
One of the most essential factors in photographic systems. The only subdivision of an ounce avoir-
success is cleanliness. The various trays should dupois is the grain. The subdivisions of an ounce
always be kept scrupulously clean and the trays used apothecaries' weight are drams and scruples.
12 1 a
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ANsCC ANSCC F--\rn f\ \\J\/\_-/| qf^,-) A,N5CO
' /
and stains. Our formula for preparing the Acid
CYKO NON-ABRASION DEVELOPER Hypo fixing bath is as follows:
This developer has unique qualities which will SOLUTIONA
appeal to the amateur. It is adapted to any grade Water. ..... 64 ounces
of Cvxo, but especially to Cvro Glossy No. 3, for H y p o . . . . . . . 1 6 o u n c e s
the reason that it prevents abrasion or friction Dissolve and then add:
marks. SOLUTION B (Hardener)
This developer is furnished in concentrated Water.Sodiumsulphite (driedpowdered).. . rf5 ouncesotnce
liquid and also dry form, and should be used as Acetic acid No. 8. . 3 ounces Alum (powdered). .. )f ourceclirected on the labels.
We recommend, however, that the amateur use
FIXING the Cvro Acid Hypo. A fifteen-cent package of
Cyro Acid Hypo will make one quart of solution
This part of the photographic process is very that will fix about one hundred 4 x 5 prints.
important. Its purpose is to reduce and dissolve
The acid fixing bath keeps well, but will by de-out the silver salts which have not been acted upon
greesbecome alkaline through the gradual additionby light. Notwithstanding its importance, how-
of developer, which adheresto the priuts and is car-ever, very little attention is usually given to the
ried into the fixing bath. Do not usean exhaustedproper preparation of the fixing bath ancl to the
fixing bath-if it becomesfrothy or suds remain onproper fixing of the prints. Sodium hyposulphite,
the surface when violently agitated, discard it andor hypo, as commercially termed, which is the main
mix up a fresh bath.ingredient, may be obtained for use in either granu-
lar or crystalline form. When hypo is first dissolved WASHING
in water, the temperature of the solution is reduced. It is essentialthat the finished prints be washedI; is necessary that the temperature of the fixing entirely free from hypo. To wash a batch of one
bath should be maintained as near 50" Fahrenheit hundred 4 x 5 prints, using two trays of suitableas possible. Probably more prints fade from in- size,and transferring each print separately from one
sufficient fixing than from lack of washing. A tray to the other, changing the water at least twelve
sufficient amount of solution, which should be of times, will require a full hour for the process. If
the right strength to fix the prints thoroughly in running water is used, where the prints can be kept
fifteen minutes, should be used, and the acid hard- constantly moving so that each print has a thorough
ener should always be added, as it will overcome urashing from one-half to one hour, according to the
the tendency of the fixing bath to cause blisters
t7
I 6
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ANSCC A.NSCC ANsCO A.NSCO
number of prints, will be required. Prints are not present, the violet color of the solution will change
washed if they are piled in a bunch in a tray, and to a slightly greenish tint. In such case' return the
the water simply runs in at one end and out at the prints to the wash water until similar tests show
other. In some localities where there is an exces- that the hypo has been entirely eliminated.
sive amount of iron or other impurities in the water, DRYING
the whites in the prints nray have a slightly yellowish After washing the prints as directed, remove
tinge. The prints should not be allowed to wash them from the wash water, drain well, and lay them
longer than an hour, and should never soak in water face up on clean lintless blotters, care being taken
over night, as this tends to soften and decompose to blot off the surplus moisture. If a large number
the gelatin film and entirely spoil the print. of prints are to be dried, place them on a ciean glass
The temperature of the wash water is very im. in a pile, face down. Cover thern with a blotter and
portant. It should be kcpt as uniform as possible. with a squeegee roller press out all surplus water.
If running water is used for washing, the stream Then lay them out separately, face down, on cheese-
from the tap should not be allowed to fall directly on cloth stretchers, which may he constructed by mak-
the prints, as this may cause blisters.. A good way ing a framework of light wood and tacking cheese
to avoid this is to place a tumbler or small graduate cloth tightly over it.
in the tray used for washing, allowing i .e water to Prints dried in this manner will curl but slightly.
fl.rw into it first, and then over the sicle into the tray. If, after being dried, they have a slight tendency to
Cyro prints are absolutely permanent, provided curl, they can be made to lie flat by placing face
they are prcl-eriy fixed and thoroughly washed; down on some smooth surface and then drawing a
otherwise, they will fade after a time owing to the ruler over the back of the print with a slight pressure'
chemical action of the fixing salts remaining in the lifting the print as the ruler passes over it. When
paper. To determine when a print is thoroughly this is being done, care should be taken not to bend
free from hypo, the following test formula may be any portion of the print too sharply, as by so doing
successfully employed: the gelatin surface might crack. Or, they may be
Potassiumpermanganate.. . ... i.. .. 8 grains placed face down, the backs sponged with water
Causticsoda.. 7 grains or alcohol, after which they are put under pressure Water, distilled. 8 ounces
between cardboard sheets or blotters. Fill a glass with pure water, adding three or fcur
drops of the permanganate solution. Then take a ENAMELED SURFACE
few prints frorn the wash water and allow the water Cvro Glossy prints can be burnished or squee-
from the prints to drip into the glass, If hypo is geed. Take the prints from the wash water and
19 l8
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/ -ni . Nl I \ qJ \ / \ r- / - a ) ,ANSCC ,a--\n f \| l\ q--,,F n\y \--l ANSCC
place them face down on a ferrotype tin. Squeegee a piece of glass or other smooth surface and the
into absolute contact and allow them to become surplus water removed with a blotter. Next, apply
bone-dry, when the prints will peel off with the a good paste to the topmost print and spread it
desired luster. If the tin has been in use for some well. Then lift the print by the two diagonally
time a portion of the print may stick. To prevent opposite corners with the thumb and forefinger
this, prepare the tins as follows: Dissolve ten of each hand. Turn the print over and place it in
grains of paraffinorbeeswaxin one ounce of gasoline. position on the card. Remove any remaining
Allow this to stand for a few hours, in which time a moisture on the face of the print with a sponge. Lay
precipitate will be formed. The clear solution thus a blotter over the print and with the hand or with a
obtained should be used for polishing the tin, being roller rub it into perfect contact with the card. Use
applied to the srirface of the tins (ferrotype plates) only chemically pure blotters, which may be ob-
with a soft canton flannel cloth. When the surface tained from any reliable dealer in photographic
of the tin has been thoroughly covered with this supplies. Lintless blotters are preferable.
preparation, the tin should be polished with a piece Double weight papers may be mounted solid, but
of dry canton flannel to remove as much of the are best used for folder effects. A very artistic way
beeswaxas possible. Clean the tins occasionally of making prints with double weight paper is to
with boiling water to remove any particles of gela- use a sheet of paper considerably larger than the
tine which rnay remain on them from former prints. negatives to be printed from. This will necessitate
the use of a larger frame. Have a piece of clear MOUNTING glass the full size of the frame, and fasten the
When prints have been handled with care, so negative to the center of the glass with strips of
that broken edges have been avoided, they may be gummed paper. Cut a piece of opaque paper the
mounted; that is, pasted to a card or in an album, full size of the glass, and from the center cut an
directly after the final washing. If it is necessary opening at least one quarter of an inch srnaller than
to trim the prints after washing, they should be the size of the negative. Place this mask in the
allowed to dry thoroughly and be made perfectly printing-frame between the paper and the negative.
flat before trimming. For the purpose of trimming, Then print and develop the exposed paper in the
use a trimming-board instead of a knife and ruler, usual way. This will produce a print with a very
for by doing so, absolutely true edges will be ob- wide white margin, and, when it has been thorou3hly
tained. dried and straightened, an imprinted or countersunk
Before being mounted the prints should be wet margin about half an inch around the edges of the
again an'l laid face down, one on top of another, on print may be obtained by using an embossing board,
zo 2l
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ANsCC ANSCO ANSCC ANSCO
and thus a fine etching or engraving effect produced. all over the print, first placinga piece of clean paper
The print, inclosed in a folder mount made of cover over the face of the print.
paper of desirable tone, will have a very artistic With proper temperature six to ten seccnds' appearance. pressure 'ivill be sufficient to mount the print. If
Another way of mounting is with dry-mounting temperature is too low the tissue will stick to the
tissue.. This method has much to commend it, as print and not to the mount, and if too high it will
by the use of the tissue the prints lie flat even on stick to the mount and not to the print. It is, how-
very thin mounts. There is no waiting for prints to ever, a simple matter to keep the temperature
dry after mounting or cold rolling to straighten correct. Practice will determine it, but the iron
them. For squeegeed prints and prints colored should be hot enough to siss if touched with moist-
with water colors or for any bther subjects requiring ened finger.
dry mounting the process is ideal.
Beautiful effects may be obtained by using tinted
With tissue, prints may be mounted back to back cover stocks that harmonize with the print and
for binding in an album without buckling or curling. rnount for borders by double mounting.
The process of mounting is very simple. The
, CYKO POST CARDStissue may be purchased in all standard sizes or in
rolls from rnost photographic supply dealers. The The rnanipulation of Cvr<o post cards is the sane
only tools really necessary are a trimming board and as of Cvro paper. The cards are sensitized on one
a hot flatiron. An electric or gas iron is.especially side only, and the other side is printed to conform
satisfactory to the postal regulations. The negatives should be
selected the same as when printing with Cvxo The untrimmed print is placed face down or: a
paper. A printing-frame and a glass a size largertable, and a piece of the tissue of the same size is
than the negatives should be used, and a mask em-attached to the back with the point of the hot iron.
ployecl to produce a white edge on the print. TheThe print is then turned face up, trimmed to size
mask is placed between the negative and the sensi-desired and placed in proper position on the mount
tized side of the post card.or alburn page. By lifting the corners of the print
only, the print and tissue are tacked to the mount Cvxo post cards are furnished in three surfaces:
with point of iron to hold them in proper position. Glossy, Semi-Matte, and Studio.
After all the prints have been thus prepared, thq Cvxo post cards may be dried in the same man-
mounting is completed by pressure with the hot iron ner as prints on Cvr<o paper. See page 19.
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ANSCC ANSCC ANsCC ,AN5CC
DOUBLE PRINTING
Artistic work may be done on Cyro post cards
by double printing. By this method gray borders
and ground may be produced. For the purpose
masks are necessary, which should be cut with great
exactness. Accurate registering of the cards when
printing is essential. Secure a number of pieces of
clear glass. Cut to size 5 x 7, (Old negatives from
which the emulsion has been thoroughly cleansed
by soaking in a solution of hot water and sal soda
are suitable.) Secure also a few sheets of opaque
paper of the same size, from which to make masks
as shown on page 25.
Measure from edges A and B a space /6 of. an
inch wide. Then cut an opening 2 x 3 inches,
through which the negative and card are to be Sha.{gd.11'hlreportionportionrepresentsshows partopaquecut outpaper
exposed. Fasten the negative with strips of ad_
hesive paper to one of the pieces of clear glass,
placing the portion to be printed directly under the
opening in the mask. Adjust the glass, negative
and mask in the printing-frame. Lay on the Cvxo
post card, sensitized side down, so that one end
covers the opening in the mask. Take care that l
lthe edges A and B of the glass, mask and card fit
flush against the corresponding sides of the printing-
frame. Expose in the usual way, allowing the
proper time required for a perfect print. Remove
the entire outfit from the printing-frame and insertthe glass and mask No. 2, which has been previously llII
prepared, as shown in Figure 2.
From another piece of opaque paper 5 x Z cut an Shaded. portio.n represents opaque paper.
24 w nrEe porflon stlows part Cut out ;. .,;ir'il,'.' . 1i,,,,^: --rd;;ri''i' IIIjView original page 15Page 16 · Read text
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opening 3 x 5 inches. Measure with exactness' so as
to leave a margin of a quarter of an inch on the side
AB. Then gum this mask securely to another glass.
Cut a piece of opaque paper 2Y+ x 3f, and gum
this in the clear space at a distance precisely one-
half of an inch from edges A and B. Then place
the entire outfit in the printing-frame, laying on the
post card previously exposed under No. 1 mat. Fit
the edges flush into the corner of the frame, and
expose. This second exposure should be just long
enough to produce the desired tint. Be guided in
the time of exposure according to the grade of Cvxo
used. In case of over-exposure, the border is dark.
In case of under-exposure, the border tint is light.
To secure the tint desired, a little practice is neces- Flgure I
sary. If all measurements have been made with MAT
exactness and the exposure and developing have
been correct, the result will be a finished post card,
with a picture 2 x 3 in size, having a white margin
and surrounded by a gray border-one-quarter of
an inch wide on top and on one side, one-half inch
wide at the bottom, and one and one-half inches
wide on the other side. The tint of this border
should be i slate gray, and should harmonize with
the black tone of the print. Other forms, such as
ovals and circles, may be made, the process being
exactly the same as that already described.
TINTED BORDERS ON CYKO PAPER
Tinted borders are obtained by "double print-
ing"-first the picture and then the border. The
usual difficulty encountered in the operation is in
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ANSCO A.N5CCANsCO ANSCO
"registering" the print, that is, placing the paper To make the print, lay the mat on the negative
in exactly the same relative position during both with its opening over that portion of the negative
to be printed. Place the sensitized sheet of paperprintings.
face down on the mat, and center exactly. This is
An easy method of making a mat and mask easily accomplished by reference to the lines on the
which will insure perfect results is as follows: mat. Mark with a pencil a short line or dot on the
back of the paper at its four edges, exactly opposite
We will."r.r*" that it is desired to make a 5 x 7
print on an 8 x 10 sheet of paper, with a r/a-inch the lines on the mat. Proceed with the printing, taking care that the paper does not shift its position.
tinted margin surrounding the print and the balance
Remove the negative and mat from the printing-of the sheet left white.
frame and substitute the piece of glass to which is
Cut two pieces of opaque paper 10 x 12 and attached the mask. Place the print on the mask,
glue one of them securely to a piece of glass, at the and carefully register the dots or lines on the back
center and from corners only. From the second of the print, with the lines on the mask. Expose
piece cut four notches, one in the center of each of long enough to give a light tint to the border.
the four edges, and tack lightly with paste at each Develop in the usual manner.
corirer only the first piece of paper (this second piece One end of the mat should be marked "Top"
will later be removed). Draw a perpendicular line and the corresponding end of the mask also marked
through the center of sheet two, allowing it to extend "Top." The top of the print should be marked
through the notches on to sheet one. Then draw a with a small cross for identification, otherwise there
horizontal line in the same manner, crossing the is danger of reversing the print when making the
first line at right angles in the center. Next lay second printing.
out a space 5 x 7 in the center of sheet two and cut If it is desired to have a "blended border"-
with a sharp knife through both sheets. Remove one in which the tint will blend with the picture
sheet two and destroy its center. Sheet two now on the inside and the white margin on the outside
forms the finished mat. To complete the mask -make the second printing with a piece of clear
lay off a tnargin /a of. an inch wide surrounding the glass between the mask and the print.
5 x 7 center, and remove this margin, allowing the
center to remain. Then continue the perpendicular : QYKO RE.DEVELOPDR
and horizontal lines across the border of the mask.
The mat will then appear as in Figure 1, and the The general effect of many subjects is consid-
erably improved by producing prints in sepia insteadmask i,- in Figure 2, Page 27.
29
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ANsC() A,NSCC ANSCC I\N5CC)
of black-and-white. By this means the print se- For those who may wish to compound their own
cures the appearance of an old etching. Sepia and re-developer, we suggest the following formula:
brown tints may be readily produced with Cvxo
paper, by using Cvxo Re-Developer.
RE.DEVELOPER
The Cvxo Re-Developer in liguid form consists (STOCK SOLUTION)
of a box of fifteen white and fifteen yellow tablets, SOLUTION A (BLBACHER)
and a bottle of solution. Dissolve one eacn of the Water. ..... rA Sallon
tablets in four ounces of water, and add three drops Potassiumferricyanide. 1 ounce
of aqua ammonia (not household ammonia). This Potassiumbromide. . l ounce
will make the bleaching solution. Take one-half For use take one part of stock solution to two
ounce of re-developing liquid, and mix with sixteen parts of water, then add one drop aqua ammonia to
ounces of water. This will make the re-developing each two ounces of dilute solution.
solution. Cvxo Re-Developer is also made in
powder form and put up in tubes. (See pages 56 SOLUTION B (RE-DEYELOPER)
and 58). . W a t e r . . . . . . l 6 o u n c e s
Sodiumsulphide(notsulphite)...... 1 ounce A Cvro print for re-development should be made
a shade darker than for black-and-white, and, after For use take one part of stock solution to 15
having first been fixed and thoroughly washed, is parts of water.
placed in the bleaching solution, and allowed to Norr.-Because of the extreme difficulty in oblaining the
remain in it until the deepest shadows are thoroughly recommendproper chemicalsthe usefor of bleachingour ready andpreparedre-developing,Cyxo Re-Developer,we strongly
bleached. The print should then be removed and aprints,SO-cent package of which will re-develop about 400 cabinet
rinsed thoroughly in fresh water, and placed in
the re-developing solution. CYKO DOUBLE RE.DEVELOPMENT
In this solution the faint image will immediately By double re-development beautiful tones may
commence to turn to a warm-brown tone, or sepia, be secured with a range of progressive gradation
gradually deepening until it regains its former from pure platinum sepia to rich warm-black. The
strength and brilliancy, only that the black-and- double re-development consists in rnaking, in the
white has turned to a sepia tone. A final washing is regular way, a good uniform black print and bleach-
then given the print f.or at least half an hour. The ing it as clirected for the single re-development.
whole process requires only a short time, and the The print is then placed in a weak developer for
results are absolutely permanent. the purpose of controlling the different tones.
30 31
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ANsCC ANSCC A--\l n N\sJ\/\--ll q r ) ^ ANSCO
CONTROL DEVELOPER traces of the hypo. They are then immersed in a
Crro- H-M Developer. . 8 ounceg salt bath prepared as follows:
ti"uav pr"p.."a,-r* puli'ss, ;;;;-
lution formula given on page 36) Sodiumchloride. 1 ounce
Water. 16 ounces W a t e r .. . a ,/ . . . , , . . 3 2 o u n c e s Potassium bromide. 16 grains
This salt 6ath does not influence the final tone
This solution will slowly bring out the image, obtained, but slows up the toning action a little ancl
and the tone will depend on the length of time the allows the gold to be selectively and evenly depos-
print is allowed to remain in this control developer. ited when the prints are subsequently transferred
When development has proceeded to the point to the gold toning bath. The salt bath may.be dis.
required, the print is rinsed in acetic acid water pensed with but it is advisable to use it for the reason
(acetic acid % ounce, water 32 ounces) so as to im- given.
medizrtely check the action of the developer. The GOLD TONING BATH
Jrrint is then washed in running water for about No. 1
fifteen minutes to remove the developer from the
Water. ..... 15 ounces.
film, after which the re-developrnent is completed Chloride.of gold... .. 1.5 erains
in the usual re-developing solution, given on page
3 1 . No. 2
Water.
Potassiumsulphocyanate........... 9O grains RED CHALK TONES ON CYKO
The red tones obtainable on Cvxo paper cannot Add either one to the other, stirring the solution
be secured on any other brand of developing paper slowly so as not to precipitate the gold. This thirty-
on the market. The method is quite simple and is ounce bath will tone about 75 prints 4 x 5, or their
equivalent.as follows:
To strengthen the bath it is necessary to use both The black-and-white print must first be toned
ghemicals. Makeastocksolution, No. 1, bydissolv-to a sepia in the hypo alum toning bath as directed
ing 15 grains of gold chloride in 2 ounces of water,on pages 13 and 14 of the PnoTBSSIoNAL Cvro
potNron, a copy of which will be sent upon applica- then No. 2, by dissolving 90 grains of potassium sul-
phocyanate in 2 ounces of water. Acld equal quan-tion to anyone interested.
tities of No. 1 and No. 2 to the old bath, the number
The prints must be thoroughly washed after of drams of each depending on the number of prints
being in the hypo alum toning bath, to eliminate all to he toned
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ANsCC ANSCOANSCO ,A.N5CO
ENLARGING
Prints should tone to a rich red in about ten
minutes, after which they should be immediately An EwlencrNG Cvro enlargement is technically
placed in the acid fixing bath for twenty minutes the same in quality as a srnall dircct contact print
and washed in the usual wav. on the other grades of Cvro.
Bromide enlargements are disappointing because
DODGING they lack brilliancy, transparency in the shadows
By dodging is meant the equalizing artificially and clear high lights. ENr-encING CYKo procluces
of the uneven balance of light that goes through an ideal enlargement because the qualities of the
different parts of a negative to form the image on emulsion make it possible to overcome these defects.
the paper while printing. The methods employed It produces a vigorous, lifelike print having stereo-
with Cvro are many. scopic quality.
A negative may be very artistic and still be ENrancrNc Cvr<o is approximately the same in
deficient from a technical point of view in so far as speed as bromide paper, being eight times faster
its printing qualities are concerned, to the extent than Normal and Soft Cvro. It is made in two
that a good "straight" print could not be ntade from grades of contrast, ENlAncrNc Cvr<o Soft, for nega-
it on any paper, and then dodging becomes abso- tives of normal gradation and density, and ENr-enc-
lutely necessary, Herein lies the art and technique rNG CvKo Contrast, for negatives lacking brilliancy,
of the printer in taking advantage of all the values in fact, so weak and flat that heretofore they have
in the negative and in supplying artificially its de- been discarded as failures so far as satisfactory en-
ficiencies in order to produce a satisfactory print. largements were concerned. The results in either
A good method is as follows: case are satisfactory because the prints secured are
Place the negative in the printing-frame, cover- neither too soft nor too contrastive. Development
ing the exposure side of the frame with tissue-, ranging from 90 to l2O seconds is advisable, in a
paper. Examine the negative by translucent light, developer containing a normal amount of bromide
and with a tuft of cotton well covered with finely (40 to 60 drops saturated solution) to the regular
powdered prussian blue, daub those portions of the 40-ounce formula recommended.
tissue paper immediately over the sections of the One great advantage of ENr-encING CYKo is that
negative which are too thin or transparent in it can be used in the same developer as other gradesrelation to the rest. The exposure is then made of Cvro,and can be handled with the same freedom
through the tissuepaper. The result will be a and with the same volume of orange light that is towell-balanced print, with half tones in the high lights be met generally in the average printing-room.and detail in the shadows.
35
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n N l Q f ' r \ r,t \=J\-\_-/ ANSCO ANSCO ANsCC
The following formula is recommended for Extreme sharpness of definition, not merely inErr.encnvc Cvro:
'Warmwater the center of the image, but to the edges of the plate;
(softordistllled).... ... 40 ounces clear shadows and a full gradation between high-
Metol (or Monomet) 15 grains lights and shadows; freedom from mechanical de- Sodiumsulphite (driedpowdered) ... lg otnce
Hvdrochinon 60 grains fects such as scratches, pin holes or spots, as all
Sodium carbonate (dried powdered).. rfi ounce such irnperfections are greatly magnified in the en-
Potassium bromide (saturated largement. The negative should be fairly strong solution) . ...2O to 6O drops
Use at 65o Fahrenheit and evenly balanced, neither excessively contrasty
nor flat; correctly timed and fully developed, al- Dissolve each chemical thoroughly in the order though excellent enlargements may be made fromnamed.
flat or soft negatives by using ENr-ancrNc Cvro
Note.-To prepare a saturated solution of potas- Contrast. When enlarging from film negatives,
sium bromide: Dissolve in hot or warm water all the film may be made to lie perfectly flat by enclos-
the bromide it will take up, which is determined by ing it between two pieces of clear glass, fastening
the undissolved crystals remaining at the bottom of the edges with mbber bands, after which it can be
the solution. By this method you are always sure of handled the same as a glass plate.
saturation at a lower temperature. If cold tones The enclosing glasses must be perfectly clear
are desired use minimum amount of bromide. If and free from bubbles.
vrarmer tones are desired add more potassium bro- SURFACEmide as found.necessaryup to the maximum amount. Enr-.tncrNc Cvr<o Plat and Buff will give ex-
For fixing the enlargements use the acid fixing tremely artistic results, and both these surfaces are
bath formula given on page 17. Cvro enlarge- ideal for air brush work. Studio will give an abun-
ments should be washed and dried in the same dance of detail, and in the case of small enlargements
manner as Cvro prints. is therefore recommended. For reproduction or
newspaper work, use the Glossy surface.
THE NEGATIVE
APPARATUS
In making enlargements., as in making contact Al[ ANsco and Busrnn Bnowu cameras havingprints, the character of the enlargement depends a removable back, in which the lens can be rackedupon the quality of the negative. A first-class back and forth, rnay be used for enlarging. Thenegative for enlarging should possessthe following box type and fixed-focus models are limited for en-qualities:
larging because there is no provision for focusing. l
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ANsC() A,NSCO ANSCC
An ANsco Portrait Attachment will increase the
focal capacity of the lens.
Any tripod view camera may be used in the
same manner as the ANsco, with a shelf or table
for support.
In making use of daylight for illumination, par-
ticular attention should be given to the size and
posifion of the reflector. If the image does not
show even illumination, the reflector is either too
small or is not in the proper position.
DAYLIGHT METHODS
, Use a darkened room with preferably one window Fig. 1.
opening to the north, through which the light may DIAGRAM
enter without obstruction from trees or adiacent
buildings.
The window should be provided with a tight-
fitting shutter, in which an opening should be made
to receive the ANsco Holding Frame, shown in the
accompanyingdiagram. Outside the window open-
ing place a white reflector at an angle of 45 degrees,
to reflect the light from the sky to evenly illuminate
the negative.
Figure 1 shows the frame for holding the camera
when in use. Its only purpose is to hold the nig-
ative and camera in position, and may be con-
structed in the simplest manner possible.
Figure 2 shows a No. 10 Awsco and holding
frame in profile, and illustrates the method of hold-
ing the camera in position with rubber bands. Flg. 2.
38 39
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.Filn r \\ l J\/q - - \-./ A,NSCCANsCC ANSCC
Broadly speaking, the lens that made the nega-
To place films in position for enlarging, procure tive will make an enlargement from it to any rea-
two pieces of plain glass that will fit the opening in sonable or desirable size. The requirements are
holding frame. that the lens shall fully cover the negative, possess
, Place the negative between the glasses, binding a flat field and be free from distortion.
the ends with adhesive paper so that the negative The focal length of the lens also demands con-
will lie flat. Insert in groove A, bottom up, with sideration. With a lens of extremely short focus
dull side in. it is difficult to secure sufficient, even, illumination
If the negative is smaller than the glass, it owing to the lens being too close to the negative.
should be masked. Next remove back of camera The lens should have a focal length of at least the
and place camera against holding frame, securing diagonal. of the negative. Lenses of the rapid
it with heavy rubber bands. rectilinear type whose working apertures are F: 8
are well adapted for enlarging, although in subjects
In constructing the frame a distance of at least demanding extreme marginal definition they will
three inches should be allowed between the negative require stopping down.
and camera back.
The easel for holding the paper can be made to
ENLARGING BY ARTIFICTAL LIGHTsuit individual requirements, but must always be
absolutely parallel with the negative. Size of en- A satisfactory enlarging ligirt is found in an elec-
largement depends upon the focus of lens and dis- tric lamp of high candle power such as an arc nitro-
tance of easel or copy board from the negative. gen bulb or mercury vapor tube, when condensers
are not used, with opal or ground glass interposed
THE LENS between the light source aird the negative to give
Any lbns that will make a good negative may be even illumination.
used. The proper size (focal length) of the lens The use of condensers greatly increases the light
depends entirely upon the size of the enlargement to porver and the use of diffusing screens is not essential
be made. The lenses fitted to the different models unless desired. When transmitted through con-
of ANsco cameras are suitable for enlarging frorn densing lenses light has greater penetration, and
negatives taken with those cameras. The best type allows far rnore latitude in manipulation during
of lens, however, for enlarging is an Anastigmat, exposure, permitting the making of enlargements
as it has great covering power, flatness of field and from dense negatives in a reasonable length of time.
a large working aperture.
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ANsCO ANSCO ANSCC ANSCC
By the use of ground glass interposed between An illustrated description with prices of this outfit
the light and the condensers the enlargement may will be mailed upon request to anyone interested.
be softened and excessive contrast overcome. EXPOSING
When projecting soft, flat negatives the ground
glass may be removed in order to produce more Presuming that you have your apparatus all
brilliancy. The exposure may be controlled and ready, insert your negative in the camera and pro-
lengthened when desired by stopping down the ceed to focus on. your easel, on which you should
fasten a piece of fine grain white paper. Whenlens.
focusing is complete, cover your lens with a cap in
Unless the condensers are large enough, the the front of which is a piece of yellow glass, or
illumination will be unevenly distributed. The celluloid, so that the rays of light do not affect the
diameter of the condensers must exceed the diag- paper, but the image will show on the easel. The
onal of the negative it is used with; for instance, paper can then be pinned up in the right position.
a nine-inch condenser is necessary for a 5 x 7 plate. To make a test for correct exposure, many pin up a
The position of the condensers in relation to the slip of paper, covering part with a piece of card, and
light is also important. For example, the back focus each three or four seconds expose an additional part
of a pair of 9-inch condensers is about seven inches, of the slip of paper, so that the exposures vary' say
and the point of light should be about that distance from five to twenty seconds. On development you
behind the condensers in order that a perfect will readily see which exposure is right, but there is
cone of light may be passed through the negative and so much latitude to ENlancING CYKo that after a
converge to the enlarging lens. few trials you will find it very easy to determine the
If the light and condensers are too close togeth- amount of exposure required.
er a dark place will be seen near the center of the
DODGINGenlarged image; if too far away, the margin will
show colored fringes. You will sometimes have negatives which require
some dodging, and it is so easily effected when
ANSCO ENLARGING OUTFIT enlarging that in many cases you will find the
For studio use and for finishing plants Ar'Isco enlargement much better than a contact print
Company offers an enlarging outfit that has met with from the same negative. Have a few pieces of
a great deal of favor. It consists of a mounted en- card larger than the enlargements you intend to
larging camera with track and easel, and is designed make, and in these cut holes of various sizes. When
for use with Cooper Hewitt Mercury Vapor lamp. you wish to give more time to any part of a print,
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,Ah.t5cc ANSCC ANSCO AN]SCC
select one of these pieces of card with a suitable hole HOW TO MAKE PRINTS FROM
in it, and by placing this between the lens and the WET NEGATIVES
easel more. exposure can be given any part of the The negative must be thoroughly fixed and
print and the rest held back. Be careful to keep the washed free from any trace of hypo.
card in motion while in use, as that will prevent any Immerse a piece of Cvxo in clean water for a
sharp lines showing. To hold back deep shadows in few seconds, then place it on the film side of the wet
the print use the following method: Obtain some negative. Squeegee it carefully so as not to break
pieces of cotton and fasten them to a thin wire or the film. Expose without the use of a printing
strip of glass long enough to keep the hand from frame. After exposure place both negative a.nd
interfering with the picture. You can easily make paper in u'ater, allowing them to soak for a mo-
the cotton any desired shape; and the edges of the ment then separate and develop and fix in usual way.
cotton will so soften the shadows that no sharp In making prints from wet film negatives the film
edges will show on the print. may be squeegeed to a clean glass.
Another method is to use a sheet of thin trans-
\rIGNETTES parent celluloid interposed between the wet nega-
When you have decided on the shape of your tive and the dry paper. In this way several prints
vignette, cut out the center of a piece of card to may be produced without damage to the negative.
correspond with the shape and hold it betrv.een the . CAUSES OF NON-SUCCESS
lens and the enlargement. Move the vignetter
By consulting the following causes of failure youtoward the enlargement and back again continu-
will probably be able to locate any trouble you mayously, and you will have a vignette of the softest
have had.quality.
Paper found to be defective through fault in
SEPIA TONES manufacture will be exchanged free of charge if
The re-developing process described on page 32 returned before the expiration date which is stamped
is suitable for making sepias on ENrenGrNG CYKo upon each package. {
provided the minimum quantity of bromide is used If you are unsuccessful and believe that you
in the developer. When more bromide is employed have defective paper, return the unexposed sheets
the hypo alum process is recommended. Directions in original package, together with a print showing
will be found in PnorBssroNAL Cvxo PotNTBn, free the nature of the defect and we will make a. test;
on request. notifying you promptly as to the cause of the trouble.
44 i I " " $h * .r*.:, ^,.*,.,*.iu^. -*JView original page 25Page 26 · Read text
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ANsCC ANSCO ANSCC ANSCC
Prints Are Too Black.-Over-exposure; over- RouniL or frregul,ar Dark Spots.-Caused by air-
development; insufficient bromide of potassium; bells forming on the surface of print when placed
negative too weak or thin, perhaps wrong grade of face down in fixing bath, and failing to keep prints
paper used-try Normal Cvxo. in motion.
Prints Are Too Light; Lack Detail.-TJnder- Picture Good,, but Surface Covered' with Black
exposure; negative too dense for Normal paper- Marks.-Abrasion rnarks. (See page 15.)
try Soft or Professional Cvr<o.
Btisfers.-Print has been creased or broken while
Grayish Whites Throughout Entire Print.- washing-too great difference between tempera-
Chemical fog or light fog; insufficient bromide of ture of solution and wash water; fixing bath lacks
potassium in developer; old paper. sufficient hardener; fixing bath old; never use a
Grayish, Mottled, or Granulated, Appearance of plain hypo fixing bath. (See page 16.)
Edges of Entire Print.-Underexposure; forced Freaks.-Picture develops irregularly and ap-
development; old paper; paper kept in damp place; pears to be covered with greasy streaks and finger
moisture; chemical fumes; ammonia, etc.; illuminat- marks and gives the impression that there are spots
ing or coal gas. on the paper which have not been coated. It is
Greenish or Brounish Tones, Sometimes Mottted..- annoying to the user because he feels sure the fault
Developer too old or too weak; excess of bromide is in the paper and annoying to us because we know
of potassium ; overexposure. that the fault lies in incorrect solutions. It is in
warm weather that these "freaks" most frequently Brown or Red Stains.-Old'or oxidized develop- occur. Undoubtedly the papeq absorbs moistureer (never use developer after it is much discolored unevenly and in certain spots becomes repellentor muddy); imperfect fixing; developer too warm;
to the action of an incorrect developer. In makingfixing bath lacks sufficient acid or prints were not up a developing solution it is absolutely essentialkept moving to allow even fixing; fixing bath worn that pure chemicals be used. The remedy forout. (See page 16.)
"freaks" is to throw out your developer and mix a
P ur pl e D i scol or ati on s (n ot f r equent) .-Incomplete fresh solution and if necessary, use it stronger.
fixing.
Vellowish Whites.-Stain all over prints is result
Round, White Spots.-Air-bells on surface of of underexposure and forced development; prints
paper; to avoid, develop print face up, brushing off not kept moving for the first few seconds after
any ai1-6"11sthat may form. immersion in the acid hypo fixing bath; too weak
46 47
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