Photography reference
Kodak Lantern Slides Product booklet
Product booklet for Kodak Lantern Slides. 34 pages in English. Read the original PDF, download or print a copy without registration.
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- Kodak
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- Kodak Lantern Slides
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- English
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Page 4 · Read text
PREFACE
issuing this booklet it is our aim to bring before pro-JN r fessional and amateur photographers the latest approved
methods of making and coloring lantern slides.
Part I tells how to make black and white slides, and is
chiefly intended for those not familiar with slide-making.
Of the various toning processes described in Part II,
which have been worked out in our Research Laboratory,
particular attention is drawn to the new method of dye
toning with the aid of American-made dyes. Although
instructions are given for obtaining only three tones by
this method, as further dyes become available those suit-
able for toning will be published in due course.
We wish to emphasize the importance of using only pure
chemicals for making up developing and fixing solutions if
the, best results are to be obtained. All chemicals used in
the formula given in this booklet are listed under Eastman
Tested Chemicals.
' EASTMAN Kooax CoupeNv.'
Rochester, N. Y.
August, lg2l.
tView original page 4Page 5 · Read text
How to Make Lantern Slides
-f\HERE are no great difficulties connected with lantern
I slide making; anyone who can make a good print can
make a good slide also. The difference between a print and
a slide is that a print is examined by reflected light or by
looking at it, while a slide is viewed after light has passed
through it and on to a screen.
Lantern slides are made on glass coated with an emul-
sion similar to that used for making'negatives, bttt slower
and of finer grain. They are developed, fixed, washed and
dried just like negative plates, but more light can be used
in the dark-room since they are not as sensitive to light as
negative plates or Kodak film.
The special lantern slide plates made by the Eastman
Kodak Company are of three grades: the Standard Regular
and the Seed Yellow Label for normal negatives, and the
Standard Slow for softer negatives.
The Seed Yellow Label Plate is of approximately the same
speed and contrast as the Standard Regular, while the Stan-
dard Slow plate requires about three times the exposure of
the Standard Regul,ar.
The ilates are packed emulsion to emulsion with a thin
paper mask separating the two. The emulsion side may be
easily distinguished by its appearance, though in a weak
light it is better to feel the edge of the slide with a moistened
finger.
The plates have a speed of about that of bromide paper
and should be handled in a perfectly safe dark-room light-
such as that given by the Wratten Series 0 Safelight.
The Negative for Printing the Slide
Any negative which will give a good print will give a good
slide, though it should be as free from blemishes as possible,
since any imperfections, such as scratches or pinholes,
although too small to be noticed in the hand, will show up
very plainly on the screen. Any spotting or retouching
should, therefore, be done very careftrlly
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HOW TO MAI{E I,AN'I-ERN SLIDES
Printirg the Slide
'fhe slicle may be printed
either by contact or by pro-
jection. If the negative is
small, an<l it is required to
include all of the subject, or
if only a portion of a large
negative is required, contact
printing is the simpler, but if
the whole of a negative larger
than the slide must be
included, the slidc must be
made by reduction. Frc. 1.
Contact Printirg
The contact method of printing will appeal to the begin-
ner as it entails nothing more than an ordinary printing frame.
Place the emulsion side of the slide in contact with the
emulsion side of the film or glass negative and make the
exposure in the same \ ray as when making a Velox print.
If a number of duplicates from the same negative are
required, a special pr:inting frame such as the F. and S.
Lantern Slide Contact Printing Frame is a convenience
(Fig. 1). This consists of a frame with a composite back,
the outer frame serving to hold the negative in position
while the inner one holds the slide in place. In this way
any danger of scratching the negative is eliminated, the
slides are duplicated exactly, while a neat border is auto-
matically produced around each side.
Slides may also be exposed in the same way as paper
prints with the aid of the Artura, F. & S. Professional,
Crown or Eastman Printer.
Printirg by Projection
When makin g a slide by enlargement or reduction, the
method of procedure is exactly the same as when workirg
with bromide paper.
(The reader is, therefore, referred to the booklet on
"Enlarging", supplied gratis by Kodak dealers or on appli-
cation to the Eastman Kodak Co., Rochester, N. Y")View original page 6Page 7 · Read text
HO\,V TO MAKF] I-ANTERN SI-IDES
A convenient rnethod of holcling the slicle against the
enlargitg easel is by means of four short pins arranged in
the form of an L, or to cut out an L-shaped piece of card,
wood or metal, and fasten this on the easel, the slide being
allowed to rest on this during exposure.
First mask the negative so that only the portion desired
is projected on to the slide. In this way any reflections from
the edges of the slide which would otherwise produce fog
are avoided. Then focus on an unexposed slide with the
emulsion side facing the lens, cover the lens with the c?p,
replace the slide with a new one, and expose as when makitrg
an enlargement.
The Centu ry Lantern Slide Camera forms a convenient
outfit for producing slides either by enlargirg or reducing
(See Fig. 2.) Full particulars of this outfit may be obtained
on application.
It is possible to adapt any makg of enlarging, reducing qr
copying camera for making slides by means of the F. and S.
Lantern Slide Attachment
(Fig. 3). The attachment is
interchangeable with the regu-
lar back of the F. and S. cam-
eras, and may be fitted to any
rnake of camera at a slight
extra charge.
When using the attachment
with an ordinary camera, the
negative should be fitted into
a frame and illuminated from
behind, interposirg a sheet of
opal or ground glass, and the
slide made by copying in the
regular way. Frc. 3.
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TIOW TO il,{AKE I-ANTERI{ SLI DES
Making Lantern Slides with
the Kodak Enlarging Outfit
By using the Kodak Portrait Attachment No. 5 with the
Kodak Enlarging Camera, negatives 5 inches wide may be
reduced to 3% inches wide, and others in this proportion.
Draw out the bellows to their fullest extent and move the
camera to or from the easel until correct focus is obtained.
The Kodak Lantern Slide Attachment shown in Fig. 4 is
a convenience when using this outfit, and is affixed to the
easel by means of a bolt passing through the easel.
Frc. 4.
Exposing
The method of procedure when exposing, whether print-
ing by contact or projection, is the same, though it should
be remembered when using an enlarger that the contrast of
the slide will be greater when using a condenser system of
illumination than when diffused light or opal glass is used.
When using a lamp to make slides by contact, the inten-
sity of the light varies roughly as the inverse of the square
of the distance from the lamp, but this does not apply when
moving the easel to and from the lens when enlargittg.
For contact printi.tg use a frosted or opal bulb, otherwise
a shadow of the filament is liable to fall on the printing frame.
A clear bulb may be frosted by coating with the Eastman
Ground Glass Substitute.
Before inserting the negative in the enlarger or the print-
ing frame, clean the glass side thoroughly, since any marks
will show very plainly on the screen. Aty dust should alsoView original page 8Page 9 · Read text
' HOW TO MAKE TANTERN SLIDES 7
be removed from the slide by gently tapping the edge on the
bench, rather than by brushing.
Before exposing the negatives should be'classified so that
the exposure may be adjusted according to the quality of the
different negatives.
A negative showing a full range of tones, normally ex-
posed and correctly developed, may be referred to as a
"normal " negative. The negativesshould thenbeclassified
into five classes: "normal," " thin," "very thin."-1hg5g ,,very being yer-y much urrder-exposed-and "dense" and
dense," the latter being over-exposed and with little con-
trast in the shadow-s.
is only necessary to . Having classified the negatives, it know the exposure for the normal or standard n"guti.re.
when using a frosted 2S-watt tungsten lamp at a di-stance
of, say, 6 feet, the exposure for the Seed Yeilow Label and
Standard Lantern Plates will be about 5 seconds, -Regular and that for the Standard Slow about 15 seconds.
' Roughly speaking, a thin negative will require about half .
the standard exposure, and a very thin negatirre a quarter,
while a dense negative_will require about'iwice and'a very
dense one four times this exposure.
When making slides by enlargement or reduction it is absolutely necessary make trial exposures, since the expo- -to sure-depends on the degree of enlargement or reduction, size
of diaphrqgm, intensity of light source, character of nega-
tive, and its color and opaciiy.
Trial Exposures
cases where . .when making the first trial exposure, and in all photographic it is necessary to determine the exposure of a ^a material under unknown circumstances, take suffiliently
wide range of exposures. Suppose that from previous
ience the exposure is guessed to be about ten seconds "*p.i-under
the- conclitions given. Then on the first trial, the lantern
slide should be exposed by applying a card over'it as follows:
Cover two-thirds of the slide and give an exposure of,
say, 40 seconds. Now move the card back so ihat onlv
one-third of the slide is covered and give an exposure of b
I
rl
$
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8 HOW TO MAKE LANTERN SLIDES
seconds. Finally, take the card off entirely and expose for
2 seconds. One-third of the slide will then have been exposed
f.or 2 seconds, one for 10 and one for 50, and it can at once
be seen which exposure is the more nearly correct. Suppose
that the 50 is over-exposed and the 10 is under-exposed, then
we may imagine that the exposure is about 30 seconds and a
trial exposuie at this point will probably give a good slide.
When it is necessary to vary photographic exposures,
either double or halve them. Smaller differences are rarely
of any value, so that if the slide appears under-exposed, -the e*poiure should be at least doubled at the next trial, while
if it appears over-exposed the exposure should be at least
halved.
tn;tt""#I-?itt."tern
plates are supplied in two grades
of contrast, contrasty (Standard Slow) and normal (Stand-
ard Regular and Seed Lantern).
The question as to which grade to use is determined by
the contrbst of the negative. Contrast is determined by the
d,iference between the density or blackness of the highest
light and the densest shadow so that wg Inay hlve an over- exposed negative of low contrast which would req-uire a
Stlndard Slow Plate, while a contrasty under-exposed nega-
tive would require the Standard Regular.
Developing
Beginners often make the mistake of under-de,veloping
their slides, the necessary density being obtained by over-
exposing. The result is flat, foggy-looking, grdY slides of
poor quality.
It may be taken as a rule that a slide should be deweloPed
in from i to S minutes at 65o F., and that any modification
should be made by altering the exposure or the dilution of
the developer.
Keep everything clean. Use a clean tray, cleaned if
necessaiy by means of the following tray cleaner:
AVOIRDUPOIS METRIC
Sodium Bichromate 3 ozs. 90 grams
Sulphuric Acid (strong) 3 ozs. 90 grams
Water to 32 ozs. 1000 cc.
..;;6**,-.View original page 10Page 11 · Read text
HOW TO MAKE LANTERN SLIDES 9
The Developer
The most convenient developer for Lantern slides is
Nepera solution diluted l:4 or l:6. If the photographer
prefers to mix his own solution, the following formula is
recommended.
A. AVOIRDUPOIS METRIC
Sodium Sulphite (EKCo.) 120 grains 8 grams
Tozol 120 grains 8 grams
Water to 16 ozs. 500 cc.
B.
Sodium Carbonate (EKCo.) . 100 grains 6.5 grams Potassium Bromide 15 grains 1 gram Water to 16 ozs. 500 cc.
Use equal parts of A and B. For softef results dilute-
. with an equal volume of water.
Do not wet the plate before developing, but slide it into
the developer and remove any air bubbles by means of the
finger' , , -r/5 n ,When to Stop Development Qvtaus-
. The effect of prolonging the time of development (at a
constant temperature) is to increase the contrast or bril-
liancy of the slide, that is, the difference between the density
of the deepest shadow and the highest light is increased,
though after developing for three or four minutes with the
above developer, the greatest possible contrast is obtained
and further development will produce fog.
The appearance of the plate is best judged by developing
in a white enameled tray, and viewing the surface as in the
case of a print.
When development is complete, the highest light should
be appreciably veiled over, and this can be judged by com-
parison with the white margin of the slide.
Until experience has been gained in judging the slide in
this manner, the progress of development should be checked
by examining the slide by transmitted light, looking through
the slide at the lamp from the back, that is, with the film
side held towards the light. This gives a good idea of the
density of the slide.
After a few trials, and by observing the relation between
the appearance of the slide before and after fixing out, the
correct method of judging may soon be acquired. The slides
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t
10 HOW TO MAKE LANTERN SLIDES
should always be viewed at approximately the same distance
from the dark-room lamp, otherwise, in a strong light, the
slide will appear less dense than in a weaker one.
Under-Exposure
If the image appears verv slowly and refuses to gain in I-*
strength on prolonged development the slide is under-exposed
and the only remedy is to make another slide.
Over-Exposure ,
If the image flashes up almost immediately the slide has
been over-exposed. On the screen the image will appear
weak, the highlights will appear veiled and the shadows
muddy. Over-exposure can be partly remedied by develop-
ing fully and afterwards reducing the slide, but it is best
to expose another.
The following chart shows the effect of correct and in-
correct exposure and development:
Nonuer. ExposuRE 3g*:l$" smoows Hrcnrrcurs
Normal Development Correct Good Detail Good Detail Under-Development Thin Thin Thin Over-Development Excessive Heavy Probably Fogged
UNpBn-Exposune
Normal Development Thin Detail but Thin No Detail Under-Development Thin Detail but Thin No Detail - Over-Development Thin Hard No Detail
OvBn-ExposrrnB
Normal Development Excessive Blocked up Good Detail Under-Development Insufficient Detail but Flat Detail but Flat Over-Development Excessive Blocked up Veiled
Control in Development
When developing as above, roughly by time, and more
accurately by inspection, the density of the deepest shadows
will only be correct providing the exposure and contrast of
the slide were correct also.
If the contrast of the negative is such that the slide is too
contrasty. after developing as above, either dilute the devel-
oper or give more exposure and develop for a shorter time.
If the contrast is not sufficient when using the Standard
Slow plate and developing for three minutes in Nepera solu-
tion 1 :4, the negative should be intensified.
;*t*;rti*View original page 12Page 13 · Read text
HOW TO MAKE LANTERN SLIDES 11
Fixing, lVashing and Drying
After developing, rinse for 1 or 2 seconds in plain water,
and fix in the following acid fixing bath for 5 to 10 minutes:
AVOIRDUPOIS METRIC
Hypo 8 ozs. 240 grams Water to 32 ozs. 1000 cc.
When fully dissolved, add 2 ounces of Velox Liquid
Hardener or 2 ounces of the following hardening solution:
Sodium.sglphite (EKCo.) t/ oz. 4 grams Acetic Acid 28/s . 8 ozs. 250 cc. Alum 1 oz. 30 grams Water to 16 ozs. 500 cc.
Dissolve in the order named.
The fixing bath should remain acid at all times, otherwise
the slides are liable to be stained. Fix for at least twice as
long as it takes the milkiness of the slide to disappear.
After fixing, wash for 10 to 15 minutes in running water,
and wipe the surface with a piece of wet absorbent cotton
to remove grit and dirt. The slides should then be placed in
a rack to drain and dried in a current of air, taking care that
all spots of water are removed from the film, otherwise in
warm weather drying marks are liable to be produced.
Testing the Slide
After drying, the slides should be examined in the lantern,
and any unsuitable ones rejected. This is the only way to
test slides, though by practice it is possible to judge roughly
the appearance on the screen by examining the slides when
held at an angle against a sheet of white paper.
Intensification and Reduction
Ary considerable modification in the way of intensifica-
tion or reduction- should usually be performed on the nega-
tive, otherwise the blue-black color of the slide would be
affected.
If the negative is too thin to give a good contrasty slide
on the Standard Slow Plate, it should be intensified with the
Eastman Intensifier, or by any of the after-toning processes.
(See Part II.)
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12 HOW TO MAKE LANTERN SLIDES
If the negative is too contrasty to produce a good slide on
the Standard Regular Plate, it should be reduced with the
Eastman Reducer. It is necessary to watch the progress of
reduction carefully and to stop it immediately the reduction
is complete, and then thoroughly wash.
The brilliancy of a slide may often be improved by giving
it a short immersion in a weak solution of Farmer's Reducer,
prepared by taking a 10 per cent. solution of plain Hypq and w
ldding enough of a 10 per cent. solution of Potassium Ferri-
cyanide to make the solution lemon colored' This method
oi treatment will improve a slightly over-exposed slide, or #
one which is slightly fogged, though too long an immersion
will destroy fine shadow detail and the blue-black color of
the slide will be affected.
It is also possible to locally reduce a slide by applying
the above reducing solution to the wet slide with a tuft of
absorbent cotton, afterwards washing thoroughly in running
water.
Spotting
If the negative used for printing is free from blemishes,
if no dust is allowed to settle on the slide during printing, q
and if grit is removed from the surface after washing, no q
'{ spotting of the slide will be necessary. It should be the aim
to eliminate spotting as far as possible. ,t*
In case any spots or markings have to be filled in, this
may be done with the aid of the Eastman Spgttilg Colors
and Spotting Brushes, or in the case of toned slides, with
the Velox Water Colors, or a mixture of the two.
The colors should be matched when looking through the
slide, supporting it against a window or on a retouching
desk, or by holding at an angle against a mirror.
Keep the brush as dry as possible and build up !h9 color by
several-applications rather than by one stroke of the brush.
Varnishing
In order to protect the slide and prevent the film from
absorbing moisture in damp weather which causes " dewing "
or the condensation of moisture on the cover glass when the
slide is heated in the lantern, the slides should be varnished,
..."Jinr:t":!flg - : rilltL-: ,,- -- -, ,-'r"Ui'*View original page 14Page 15 · Read text
HOW TO MAKE LANTERN SLIDES 13
preferably with the Eastman Lantern Slide Varnish. This
? may be applied cold to the slide which has been previously
heated to drive out all moisture, and allowed to cool. f
a Masking
This is a most important operation, and just as when
trimming a print. at this stage the composition of the fin-
ished picture is determined.
As a general rule to which exceptions are rare, the shape
of the mask should be rectangular, and only in special cases
should circular or other shapes be employed. The portion
of the subject desired is first outlined by means of lantern
binders on the film side of the slide, the remaining space
being filled in to the edge with binders also. If preferred a
suitable mask may be cut from a piece of black paper.
In all cases the borders of the masked-off picture should
not be too near the edge of the slide, otherwise some of the
picture is apt to be cut off by the slide carrier in the lantern.
The standard size matte opening for motion picture theaters
is 3 inches by 2y' inches.
After masking, a white spot should be placed in the lower
left hand corner when holding the slide so that it appears in
the hand as it should appear on the screen. This spot serves
as a guide to the operator when inserting the slide in the
lantern (Fig. 5). Instead of the white sticker, a red binder
may be used for binding the lower edge of the slide.
/
Binding .a?
..-:,:,';':;?^bound in contact wirh a prain
sheet of glass or a " cover " glass.
Spoiled slides may be readily converted into cover glasses
by immersing in hot soap and water. Cover glasses may also
be purchased in quantity ready for use.
The slides may be bound either by means of short strips
of black paper coated with adhesive or with a long con-
tinuous strip.
When binding with short strips first moisten the strip
on both sides by means of a damp sponge and lay face up
on the table. Place the edge of the slide and cover glass in
the center of the strip, and after pressing thoroughly int
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14 HOW TO MAKE LANTERN SLIDES
contact at the edge, press down on each side. After binditg
the opposite edge, the ends of the binder should be trimmed
ancl the remaining edges of the slide bound in a similar
manner.
Flc 5.
When binding with the continuous strip loy the moistened
strip face up and roll the slide along it so that the center of
the strip adheres to each edge. Now loy a clean cloth over
the forefinger, bent in the form of a groove, and pass the
finger around the slide, thus pressing the strip into contact
on both sides. .
Commercial Slide Making
When making slides in quantity, similar time saving
methods and devices may be adopted as when developing
glass negatives in quantity.
It is most convenient to develop a number of slides at the
same time in a large flat tray, and then to transfer the slides
to a hard rubber rack placed in the fixing bath. The rack
may then be transferred to the washing trough and excessive
handling of the plates avoided.View original page 16Page 17 · Read text
HOW TO MAKE LANTERN SLIDES 15 , I when making slides of line work, use either a Seed pro-
cess plate or Eastman Process film for making the
and print on the Standard Slow Lantern plaie- ""guti"",
Ir pql.y one or two slides are required, the original may be
copied direct on.to the slide, and this,'of courl", *iliii""I white letters on a black ground from orclinary printed matter.
In the case of-hurry work, a slide may be made from a
wet negative in the enlarger and clrieJ iti ur..t
Announcement slides may be made either by"r.writing on
smoked glass yith g pj" .oT bn plain or g;oilf, Jr"*'^ifr* from grease) with India ink.
Another method consists in cutting a black paper stencil
and mounting this between two cover!luss"r. s"ituure,1""-
cil-cutting machines which operate. Sn the pri;;i;i; ;i'; typewriter may be purchased-for this purpos'e.
Making Advertising Slides
It is often reqt-lired to reproduce both reading matter and
a photograph on the same sfide as in slide unrrouf,..ments for
motion picture theaters. It is unsatisfactory to copy dir".l without.afv mo-aification, the result being 6ittr", weak let-
l.Il"q with good reproduction of the photlog."ph, ;;;;;;; retterrng and a contrasty photograph with- clogged shadows. "i
In order to obtain accurate tone rendering in the photo-
grap.h and at the.same time get good contiast in thr: iine
portions-, proceed in either of the IollowinR.*"u*
1- Assuming.that the photograph unt t""ding matter
are arranged on the same card, when copying, u." iseed zg
Plate or Eastman commercial Film, u"a'6a;,irt ihe exposure
and develope5 to obtain go.od tone. reproduciion or tn" ir,"l"_ {rapll ignoring. for the time being the line work. 'Wh;; dry, block out the photograph poriion of the negative ;iii; Eastman Transparent Lantern Slide varnish, u"i *n"n arrr. "cut'' or slightly reduce with a mixture of potassium r"rii-
cyanide and hypo or with the Eastman Reducei,-*u.h th;;- ougblyr and then intensify.
If the slide is now printed on a Seed Lantern or Standard
Regular Plate the shadow detail in the photograpr, *iir u" retained providing the negative in the fiist pla'ce was givenI; a full exposure.
I
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16 HOW TO MAKE LANTERN SLIDES
as above, the photograph and 2. Instead of proceeding process us^rng reading matter miy be copied separatelyl -a
;l;t" f8r the line work and-Commercial Film for the photo-
;;;;h; adjusting the size of the latter so that it.just fits into ?ir;"p;;" for it on the gla-ss negative. After making u po.itirre "ttott6afrom the negative of the reading matter so as to I
o-n- a black ground, .Ui.i", ttre final slid"e, white lettering um" ttt""nfilm 'to the negative and use this as the master
negative in the usual way.
A suitable-aisolvingadhesive for affixing film negatiyes to- glass. is Uy gelatine in its own weight of glacial -uJ" ,iia. Applfa"little of the mixture to the corners of ;;;;i;
;h; fli;,press irto'contact and allow to stand for thirty Tit- t oi:, ;;r;ti; the composite negative will be readv for printing' r;''
3. A third method consists in printing the line work on
on. rlid" and the photograph ol a second slide, the two being
il;;a;gether face tJfale, thus eliminating the necessity
of a cover glass.
In this case it is better to print by contact in order to
ensure accurare register. A master pbsitive is prepared of
the reading mattei (reversed left to-rlght) and a master
;&rti;;f-the photograph,.the size of the latter F9i"g such
thit it just fits within tlie clear space on the positive.
In case a quantity of slides are to be made of the same
subject this method is Preferred.
Slides prepared as above_may be suitably colored, before
binding, in a^manner described in Part II'
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18 . HOW TO MAKE LANTERN SLIDES
A retouching desk or some arrangement for holcling the
slide so that a light may be placed behind it should bJpro-
vided, but many successful rvorkers hold the slide in ^one
hand at such an angle that the image is readily seen when
sheet of -the'whiteslide is held against a white object such as a paper.
the lighter tints, apply- . legin to color by-"working in" ing the stronger ones later. Do not use tod much color, sitrce
it is easier to go over the same portion of the slide with
several washes of dilute co,lor, thus strengthening the tint,
than to use a strong tint for the first applicatioi. It is a
difficult matter to reduce the color when applied stronger
than required, especially if the black and white slide #as
fixed in an alum hyRo bath, owing to the mordanting action
of the hardened gelatine_on the color, though if the Ioloring
is only we-ak, c-an u-sually be removed bybathing the slidE _it
in successive baths of weak ammonia
complete instructions are issued with each set of the
Velox Water Colors.
Tinting
This consists of immersing the slide in a solution which
colors the gelatine film, causing the whole picture to have a
veil of color over it. Tinting is very populai with the motion
picture producers and tany tlseful-sugg-estions regarding the best tint for any-particular subjeet may be gleaned by a 6are-
ful inspection of tinted film in the motioripicture tieaters.
The solutions may be conveniently prepared from the
Velox Water Color Stamps, the slide-neing bathed in the
color for three or four minutes, rinsed for J few seconds in
water, and wiped off with a sponge or chamois. It is very
important that no streaks or drofs of water remain on thl
slide after rinsing or uneven mar[ings will be produced.
The depth of the tint is controlled bv the time of immer-
sion, and the temperature and concentrition of the solution.
In the case of most of the colors, coloring is hastened by the
addition of 1 volume of acetic acid to t,ooo volumes of the
soltrt ion.
If on examination in the lantern the tint is seen to be too
strong, the slide should be washed down in water or a weak
solution of ammonia.
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19 HOW TO MAKE LANTERN SLIDES
Toning
As distinct from tinting, a toned slide consists of a colored
image embedded within a layer of clear gelatine, so that
whiG the highlights are clear the shadows are colored.
Three distinct methods of toning are possible:
1.. Toning by Direct DeveloPment
The color of the silver image prodlced by development_is
determined by the size of thelilver particles composing. the
image, and it-is possible to change the size-of these particles
and"therefore the color of the image by modifying the nature
of the developer.
The range of colors obtainable, however, is not very great,
and it is ulually easier and more certain to produce such
slight modifications of color either by delicate tinting wlth
a ieak coloring solution, or by means of a short im."mersion in one of the diluted toning baths A to F. l\u ; t,,e ,/5
The following formula, however, will give good, wArm'
black tones with ease and certainty
A. AVOIRDUPOIS METRIC
Sodium Sulphite (EKCo.) . 90 grains 6 grams
Hvdroquinone . 100 grains 7 grams
P6tassium Bromide 50 grains 3.5 grams
Citric Acid . 10 grains 0.7 grams
Water to . 32 ozs. 1000 cc.
B.
Sodium Carbonate (EKCo.) I oz. 30 grams
Caustic Soda 60 grains 4 grams
Water to 32 ozs. 1000 cc. Use equal volumes of A and B at 70' F. For warmer
tones use 2 vols. of B to 1 vol. of A.
The Standard Slow Plate gives warmer tones than the
Seed Lantern or the Standard Regular.
With the above developer it is possible to obtain plucky
slides from weak negatives by developing 5 to 6 minutes, and
soft slides from con[rasty negatives by giving a full exposure
and a shorter development.
The color of the slide is somewhat colder when dry, but
the contrast and density do not change and, therefore, the
instructions for developing on page 9 must be followed.I
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20 HOW TO MAKE LANTERN SLI DES
2. Toning by Replacement
A second method of toning consists in replacing the silver
image either partially or completely by some colored metallic
compound, usually a ferrocyanide of a metal of which:
Iron (ferric) ferrocyanide is blue.
Copper ferrocyanide is red.
. Uranium ferrocyanide is reddish brown.
silver image being first converted to silver ferrocyanide, and
then to the colored ferrocyanide by double decomposition,
though the best results are obtained with a single solution.
i. Dy. Toning
This method of toning depends upon the fact that certain
inorganic compounds, incltrding copper ferrocyanide, have
the property of mordanting certain basic dyes,lo that when
thev are immersed in a solution of the dye the latter attaches
itself to the mordant, which in turn becomes colored.
The most suitable dyes for dye-toning are those which do
not read.ilV dye gelatine so that on immersing, sav, a copper
toned slide in a weak solution of the dye containing a little
dye becomes mordanted to the image, while the 39i9r.the
highlights consisting of clear gelatine remain iolorless, the
resulting tone being a combination of the color of the toned
slide and the dye.
Full particulars are given under tones J, K and L.
Nature of the Slide to be Toned
since the follorving toning processes either intensify or
reduce the originai image, it is most important to commence
toning with a slide of the correct " density " and " contrast " to obtain uniform results. Three standards have been
chosen, namely, "thin," "medium" and "normal."
A " thin " slide is one full of detail, in which the density
of the shadows, is about one-third that of a normal slidti.
and may be obtaingd bV fully exposing and giving a short
development in a diluted developer.
A " medium " slide corresponds to one which is normallv
exposed and is slightly under-developed.
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. HOWTOMAKELANTERNSLIDES 2I
The exact degree of intensification in any particular casei
will be learned after a few trials. t To determine the excellence of any tone it is absolutely
necessary to view the slide in the lantern, since the appear-
ance of a toned slide in the hand is no criterion whatever of
its appearance on the screen.
Equally good tones may be obtained with either the Seed 'Lantern or the Standard plates.
Control in Toning
Providing the temperature is kept constant around 65-70
degrees F. the nature of the tones produced varies with the
time of toning, reaching a limit in from 10 to 15 minutes
(except in the case of tone E when toning proceeds to a
limit almost immediately). With a shorter time of immer-
sion intermediate tones are produced, though in such a case
the black and white slide to be toned should be made pro-
portionately denser since with slight toning very little inten-
sification takes place.
Tone A-Red
IVator,re of slide to be toned: Normal
Copper Sulphate
Ammonium Citrate (neutral). 200 grains 12.5 grams
Potassium Ferricyanide 60 grains 4 grams
Ammonium Carbonate 30 grains 2 grams
Water to 32 ozs. 1000 cc.
Dissolve each ingredient separat'ely in as little water as
possible, mix the solutions so obtained in the order given,
and dilute with cold water to the required volume. The
ammonium carbonate should be almost transparent, and free
from white powder. and should be dissolved in cold water.
When compounding the solution it is very important that
the ammonium citrate employed should be neutral. Most
samples are acid, which acid would neutralize a portion of
the ammonium carbonate and affect the nature of the re-
sultant tone. The free acid is usually citric acid and should
, be neutralized with a solution of ammonia using litmus to
+ test for acidity. Warmer tones may be obtained by using
50% more ferricyanide in the formula.
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22 HOW TO MAKE LANTERN SLIDES
Tone for about 15 minutes at 70o F. At higher tempera-
tures inferior tones will result. After toning, wash for 10
to 15 minutes until the highlights are clear.
Tone B-Red
be toned,:. Thin _ Nature of slide to
uranium Nitrate (neutral) . fJ?tr:?J""ttt 2.TtsTt;" Potassium Qlal_ate (neutral) 40 grains 2.5 grams Potassium Ferricyanide 15 grains 1 gram Ammonium Alum 90 grains 6 frams Hydrochloric Acid tO% . 80 minims 5 cc. Water to 32 ozs. 1000 cc. Mix in the order given.
Since the nature of the tone is influenced largely by the
acid content, it is very important that the uranium nitrate
should contain no free acid, and this may be assured by
adding dilute ammonia until a slight permanent precipitate
is obtained.
It is most convenient to keep stock solutions of the above
(say, I0% solutions) bV means of which a new bath may
be expeditiously compounded. A l07o hydrochloric acid
solution is one containing 10 parts by volume of the acid
per- 100 volumes of the final solution. Tone for 10 minutes at 70o F. Since this and the follow-
ing single solution methods of toning produce a marked
intensification of the silver image, which intensification in-
creases with the time of toning, it follows that the nature of
the tone changes with the time of toning also.
The composition of the bath has been so adjusted that the
maximum effect is produced in about 10 minutes, the tone
passing through a series of changes from brown to red dur-
ing this time.
It is, therefore, possible to obtain intermediate tones bv
withdrawing the slide from the bath at shorter intervali,
though in such a case the contrast of the original black and
white slide should be adjusted accordingly, since with slight
toning very little intensification takes place.
After toning, wash for about 10 minutes, though the wash-
ing should not be prolonged especially with water inclined
to be alkaline, since the toned image is soluble in alkali.
The toning solution is light sensitive, and should be
stored in the dark.
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