International photographer (Jan-Dec 1934)

November, 1934 Th I N T E K X A T 1 O N A L 1' II 0 T () G R A 1' II E ... nteen By Karl A. Barleben, Ik., F.R.P.S. The question which every beginner invariablj asks sooner or later is "What kind of enlarging paper should 1 use?" Now there is a question! Miniature camera enthusiasts have a notion that their tiny negatives require a particular kind of paper, but this is obviously poppycock. The paper to be used for any given negative, regardless of size, is a matter for the individual to decide. First, the grade of paper must match the physical characteristics of the negative — that is to say, contrast papers Enlarging papers, like negative lilms, require development, and here things become quite simple. There are several fine all-purpose formulas for developing enlargements in, such as the Eastman D-72, Nepera, Amidol, and a few others which have stood the test of time, but for maximum print quality, the amateur is advised to prepare his paper formula according to the directions which are found in every package of paper. The manufacturers of the paper have made exhaustive experiments Dupont Superior; Open Air Exhibit, 1/60 to 9. Dupont Superior; beach scene. should be used for printing thin, flat negatives; normal papers for normal negatives, and soft papers for heavy, dense negatives. After the grade of paper has been selected, the surface is a good thing to consider. There are glossy, semimatte, matte, smooth, crystal stipple, linen, coarse, rough, etc., surfaces to choose from. Here again, the type of negative decides the surface of paper to use. Commercial prints, prints for newspaper or magazine reproduction, and prints in which every bit of detail must stand out clearly defined, are best made on a glossy surfaced paper, which is later ferrotyped in order to create a hard, glassy finish. Glossy papers are not indicated for many other types of work, although snapshooters usually order glossy prints from the corner drug store finisher, for their snapshots. Serious workers, however, never consider the glossy paper except for cases such as those mentioned previously. For all general photographs, a smooth-matte surface is about the best. The fancy surfaces such as linen, etc., are used chiefly as novelties, although in some cases they have their purpose. Pictorial photographs are usually printed on a matte-surfaced paper, while portraits of men, for example, where masculine ruggedness is depicted, usually call for a rough surface. Good taste, it will be seen, governs greatly the selection of enlarging paper. Glossy papers, incidentally, are to be ignored by the miniature camera worker as a rule, for the hard, glossy finish is not kind to grain, whereas the matte surfaces do a good deal to hide it. When it comes to brands of papers — that is something that no one would dare suggest, for there are dozens — it seems — enlarging paper manufacturers, and each offers an amazing array of grades, surfaces, and tones. The worker must be left pretty much to himself on this score, but he soon comes to find one or two papers which seem to satisfy him in every respect. Of course, a certain amount of experimenting is necessary to begin with, in order to give a number of papers a fair trial, but after that, the worker should adhere to several papers which most nearly cover the range of his average negatives. In this way, complete satisfaction can always be counted upon. and tests, and the formula they give for developing their paper is the result of their efforts — in short, it has been found to produce the best results with the particular paper in the package. It would be foolish, therefore, to use any other. After all is said and done, manufacturers spend a great deal of time and money taking the uncertainty out of photography for the amateur. The trouble is, very few workers deem it necessary to follow the simple directions which are given. If the amateur were to only read carefully and follow the directions furnished by each manufacturer, and this means of not only enlarging papers, but cameras, films, and all other photographic equipment, there would not be half the grief there usually seems to be. A most interesting and important matter in connection with enlarging might well be mentioned at this point. In the old days, a rising and falling front and swing-back were thought to be absolute necessities. Cameras of modern origin and design lack these movements almost exclusively, excepting conventional view cameras and outfits of similar design. All miniature cameras lack this "refinement," and yet small cameras are exceedingly popular today. One might well ask how it is possible, then, to correct faulty perspective. The answer is in the modern enlarger. It is well known that if the paper easel is tilted under the enlarger lens, true perspective can be obtained in the print. But this is only half the story, because tilting the easel only requires that the enlarger lens diaphragm be closed all the way in order to have sufficient depth to accommodate the entire surface of the paper. Faulty perspective can be corrected without stopping the lens down, not even one stop, by tilting the negative and the enlarging easel. In this way they are equalled, and compensate one another. It is predicted that in the future, enlargers will be equipped for both negative and easel tilts. In Europe there is one particular machine called the Correctograph, which just happens to come to mind at the moment. It permits both the negative and the easel to tilt. This enlarger may be the forerunner of a new type of machine. It is naturally necessary that the enlarging lens be focused as sharph upon the paper as possible. As an aid Please mention The International Photographer when corresponding with advertisers.