icon 0
icon TOP UP
rightIcon
icon Reading History
rightIcon
icon Sign out
rightIcon
icon Get the APP
rightIcon

The Three Additions to Daniel, a Study

Chapter 4 HOW TO KEEP THE SENSITIZING BATH IN ORDER.

Word Count: 1339    |    Released on: 01/12/2017

to it. At first this is not apparent, since it remains colourless in the solution; but after a time, after floating a few sheets of paper, the organic silver compound gra

r washed cotton-wool, when it will be found decolourized. Another mode of getting the liquid out of the bottle is to syphon it off by any syphon arrangement, and this prevents a waste in the solution from the absorption of the filtering medium. The accompanying arrangement (fig. 4) will be found useful for the purpose, and can be applied to other solutions where decantation is necessary. A is a wide-mouthed bottle holding

g.

g.

ht part of the flame in the position shown; by this means a good length of it gets heated, and a

m the formation of nitric acid.[13] This must be neutralized unless a little silver carbonate is left at the bottom of the bottle as described at page 20. A camphor solution may also be added for the same purpose. Make a saturated soluti

rose tint. The theory is that the organic matter is oxidized by the oxygen liberated from the permanganate, and falls to the bottom

ith the oxidized organic matter will fall to the bottom. This plan answers admirably when time is no object, but in dull weather the action is slow. When once the precipitation fairly commences it goes on quickly, an

but it must be borne in mind that each sheet of paper floated on the solution trans

g.

with its contents, over a Bunsen burner or spirit lamp flame till it is red hot. The heat will destroy all organic matter, leaving a residue of carbonous matter behind, which, after subsequent operations, will be eliminated by filtration. Next cover the silver with nitric acid,[16] and in an evaporating dish slightly warm it over a spirit lamp or Bunsen burner. Red fumes will appear, and when all action has ceased, more acid must be added till such a time that very nearly (but not quite) all the silver is dissolved up. Then evaporate off all the fluid and allow it to cool, when water can be added to such an extent that it is over strength for the bath. Now measure the whole bulk of the solution in a glass measure, and test by the argentometer for strength. An argentometer is, in reality, an instrument for taking the specific gravity of a liquid. It is as shown in the figure. A B is a glass tube, inside of which is a graduated scale showing grains; C is a hollow glass cylinder, which has a little glass ball filled with mercury. When immersed in water, the instrument sinks till the scale reads 0

Claim Your Bonus at the APP

Open
The Three Additions to Daniel, a Study
The Three Additions to Daniel, a Study
“This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.”
1 Chapter 1 THEORY OF SILVER PRINTING.2 Chapter 2 PREPARATION OF ALBUMENIZED PAPER.3 Chapter 3 THE SENSITIZING BATH FOR ALBUMENIZED PAPER.4 Chapter 4 HOW TO KEEP THE SENSITIZING BATH IN ORDER.5 Chapter 5 APPLYING THE SILVERING SOLUTION TO THE ALBUMENIZED PAPER.6 Chapter 6 WASHED SENSITIVE PAPER.7 Chapter 7 CUTTING PAPER.8 Chapter 8 PRINTING-FRAMES.9 Chapter 9 PREPARING A LANDSCAPE NEGATIVE FOR PRINTING.10 Chapter 10 PRINTING THE LANDSCAPE PICTURE.11 Chapter 11 PREPARING THE PORTRAIT NEGATIVE.12 Chapter 12 VIGNETTING13 Chapter 13 ARTISTIC METHODS OF PRINTING THE PORTRAIT.14 Chapter 14 COMBINATION PRINTING.15 Chapter 15 TONING THE PRINT.16 Chapter 16 FIXING THE PRINT.17 Chapter 17 WASHING THE PRINT.18 Chapter 18 PRINTING ON PLAIN PAPER.19 Chapter 19 PRINTING ON RESINIZED PAPER.20 Chapter 20 PRINTING ON GELATINO-CHLORIDE EMULSION PAPER.21 Chapter 21 DRYING THE PRINTS.22 Chapter 22 MOUNTING PHOTOGRAPHS.23 Chapter 23 DEFECTS IN PRINTS.24 Chapter 24 ENCAUSTIC PASTE.25 Chapter 25 ENAMELLING PRINTS.26 Chapter 26 CAMEO PRINTS.