For tinting, the positive print is immersed into a variety of dye baths, scene by scene. To this end, the print has to be cut into the corresponding fragments and reassembled after the dyeing process. The dye homogeneously attaches over the entire image’s gelatin including the perforation area. Usually synthetic dyes were dissolved in a weak acid solution to form a chemical bond with the gelatin.
Salomé (USA 1922, Charles Bryant). Credit: George Eastman Museum. Photographs of the tinted, toned and Handschiegl nitrate print by Barbara Flueckiger.
Credit: Paolo Cherchi Usai. Source: Cherchi Usai, Paolo (2000): Silent Cinema. London: BFI.