78 THE WOMBAT. 



that it is not quite so simple, and unless he has some knowledge 

 of the chemicals that he is using, and is acquainted with the 

 conditions under which they work, he flounders about, wastes 

 material, time and patience, and often finishes by indulging 

 in a general condemnation of everything and everybody who 

 recommends toning batns and methods of work. 



With regard to the toning of prints, there are two 

 theories — one is that a certain, or uncertain, quantity of the 

 reduced silver is replaced by gold, and the second is that a 

 layer of gold is deposited on the silver image*, in a manner 

 somewhat similar to gilding. When accomplished chemists 

 differ, it is scarcely likely that at this meeting we will be 

 able to solve the problem in a satisfactory manner, and we 

 will leave speculation and get on to practical work, and the 

 reasons for doing this and that. It is sufficient for us to 

 know that the toning bath plays a very important part in our 

 photographic work, and although its action is imperfectly 

 understood by chemists, yet the results of such action are 

 not only abundantly in evidence, but most of our prints would 

 present a very sorry appearance if they were deprived of the 

 assistance of gold or platinum toning. 



As gold toning is most generally practised, and is the 

 simplest in the hands of beginners, I propose to-night to 

 confine my remarks to that system, leaving the toning of 

 prints by means of platinum to be dealt with at some future 

 time ; with the action of lead, etc., I also propose to have 

 nothing to do. You all know that although in some cases 

 the prints have a marvellously beautiful colour when they 

 come from the printing frame, in the majority of instances 

 they are too red to look pleasing, but it may be the experience 

 of fewer that if a print — I am, of course, speaking of the 

 albumen, or gelatino, or collodio-chloride print — be fixed 

 without toning, it will be of a foxy red, or a disagreeable 

 yellowish tint. 



In this state too, it will not be in such a favourable 

 condition for the resisting of the various agents of destruction 

 which waylay it at every turn, such as light, exposure to the 

 atmosphere, to damp, or to sulphuretted hydrogen, which is 

 continually present in the atmosphere in the neighbourhood 

 of civilization, and which abounds in the vicinity of every 

 large city. To correct the reddish colour of the print, and to 

 render it capable of better enduring the above-mentioned and 

 all other destructive agents, is the office of the toning bath, 

 and whether gold or platinum be used, the ultimate goal is 

 the same. 



The toning bath which is most generally used, and 

 which I recommend — and I give this on the authority of the 



