The international photographer (Jan-Dec 1935)

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Eight The INTERNATIONAL PHOTOGRAPHER December, 1935 A deep yellow or orange-red filter produces interesting overcorrected effects. — Photographed by A. C. Elworthy. The Finishing Touch: After the print has been processed and pressed, many photographers consider the job finished. For ordinary purposes this may be considered correct, but just as the importance of a tie to the well-dressed man, a few finishing touches to dress up a print means quite a bit to having it approach salon quality. A simple means of doing this is to mount the print on a plain white Bristol board, or eggshell board. Any art store will have a few different types of mounting boards for the photographer to select from. The size of the mounting boards should be such as to allow a four-inch border on the top and sides, and about five and a half to six inches on the bottom. Mounting a print on a board may be a simple procedure, but nevertheless care should be exercised to obtain clean results. Place the print on the board, arrange it properly, and then check with a ruler, otherwise after the print has been pasted down it may be found that it is crooked. For pasting the print the best material is rubber cement, which can also be obtained at any artist's supply store. Unlike ordinary mucilage, should any of the cement smear on the print or mounting board, it can easily be removed without injury to either. An artgum eraser is an excellent expedient for this purpose. In using rubber cement, first apply a layer of the cement to the portion of the mount upon which the print is to be placed, and allow it to dry. The solvent for the cement is very volatile so that it 'will dry in a short time. Another layer of the cement is then applied to the back of the print, and that is allowed to dry. The print is then properly placed on the mount and a weight placed on it for a minute or two. The print will be pasted down perfectly flat. Another means of imparting a handsome appearance to a print is to use a large size printing paper, such as 10x12 or 11x14 in., and have the actual print occupy a portion of the paper, leaving about a two to three inch border around the print. After pressing the print it can be left in this manner, the wide border acting as a frame. If the print is of a dark key its appearance can be improved by drawing a thick pencil or crayon line around it, about one-quarter inch from its edges. Then again the print can be embossed. This enhancement can easily be imparted to a print. A form is cut about the same thickness as the print — an old print can be used for this purpose. The form should be larger than the picture, so that it 'will leave about a three-eighths inch border about the latter. The form is placed on a glass underneath which is a light, so that the print can be properly placed on the form. When the print (face down) has been arranged correctly, the emboss tool (which can be obtained at most any photographic dealer) is run about the print at the position where the edges of the form are located, thereby producing the die-sunk lines. Before submitting prints to this treatment they should be slightly softened to obtain smooth die-sunk lines. To accomplish this, the backs of the prints are first moistened 'with alcohol (ordinary 70 per cent rubbing alcohol) and the prints placed under pressure for a few minutes. They are then ready for embossing. Developers for Warm Tones: For many subjects, greater quality can be added to the print if it is of a warm brown tone. Some photographers have been desirous of obtaining such tones in their prints through direct development. The following formula used with chloro-bromide papers will produce tones ranging from red to black: Adurol 60 gr. Hydroquinone 60 gr. Sodium Sulphite (dry) 1 oz. Sodium Carbonate (dry) 365 gr. The Finishing TouchMiniature Camera PhotographyLighting Units Potassium Bromide 6 gr. Water, to make 20 oz. Use as follows to obtain various tones: Warm black: Give the print normal exposure, use the developer full strength, and develop for 1 lh minutes. Sepia: Give the print 3 times normal exposure, dilute the developer 10 times, add 20 drops of 10 per cent potassium bromide solution, and develop about 5 minutes. Sepia-brown: Expose the print 5 times normal, dilute the developer 15 times, add 60 drops of 10 per cent bromide solution, and develop for 10 minutes. Red-brown: Expose 6 times normal, dilute the developer 25 times, add 100 drops of the 10 per cent bromide, and develop for 15 minutes. Red: Expose 7 times normal, dilute the developer 30 times, add 120 drops of 10 per cent bromide, and develop 20 minutes. Fix the prints in: Hypo 4 oz. Potassium Metabisulphite V2 oz. Water, to make 20 oz. The following Adurol formula is recommended to obtain warm prints with bromide papers: Metol 130 gr. Adurol 1 oz. Water, to make 20 oz. Dissolve and add gradually: Sodium Sulphite 7 oz. Potassium Carbonate 4V2 oz. Dilute with 15 times the quantity of water and add as much bromide as may be necessary to keep the whites clear. A Tip on Composing: Many of us are in the habit of making a standard size print from all the negatives, such as 4x5 or 5x7 in. These prints are employed for general album size, and those which are outstanding are enlarged to a greater size. One of the main factors to the success of a print is the judicious choice of the proper portion of the negative to include on the print, and the 4x5 or 5x7 in. prints can be used to obtain the ideal composition. Cut two L-shaped strips of paper. The two sides of these strips should be a little longer than the sides of the print, such as for a 4x5 inch print each L-shaped strip would be about 41/2x5y2 in. Place both strips on the print so that they form a border about the latter. Now, by moving the strips in or out, as the case may be, the ideal composition can be obtained. Orange Filters for Enlargers: Despite the fact that such filters are employed for focusing and composing directly on the sensitive paper, without affecting the latter, their use is at times abused. We have occasioned complaints from some amateurs that a specific filter used for this purpose fogged the paper. Investigation disclosed the fact that the paper was exposed to the light with aid of the filter for over two minutes. For this length of time some makes of such filters may not be safe, but we must consider the fact that two or more minutes is a much greater time than is normally required to focus or compose a negative. To determine the maximum time which such a filter may be used with safety, strips of paper can be exposed to the filtered light for various times, half of each strip being covered with a piece of black paper. A note is made on the back of M P G Reg. U. S. Patent Off. THE MOST TALKED OF FINE GRAIN DEVELOPER ON THE MARKET. IDEAL FOR MINIATURE CAMERA FILM. NO MIXING. ONE QUART SOLUTION GOOD FOR MORE THAN A DOZEN FILMS. FULL INSTRUCTIONS WITH EACH BOTTLE. AT YOUR DEALERS AT $1.25 A QUART. OR AT R. J. 75 FIFTH AVE. FITZSIMONS CORP. (Dept. B) NEW YORK CITY Please mention The International Photographer when corresponding with advertisers.