The international photographer (Jan-Dec 1936)

Eight 7 // c 1 N T K R NATIONAL PHOTOGRA P HER January, 1936 Printing Paper Miniature Camera Photography RINTING PAPERS: We still occasionally encounter the amateur who is making an attempt to try every type of printing paper the market offers. The amount of different papers is considerable, giving the photographer much leeway in jumping from one type to the other. If such practice is engaged in one cannot expect to produce good prints. At the start the photographer should select a brand of enlarging paper which can be had in different contrasts, as hard, medium and soft. This will enable him to have a correct type of paper for each negative. Many papers are offered in but a single grade of contrast. In such cases it is really necessary to develop the negative in a manner to suit the printing paper. Such procedure is relatively simple with large negatives, as 31/4x41/4, 4x5, etc., plates or cut film, etc. Negatives of such size can be developed singly to obtain the correct contrast for the best results with a particular type of paper. The miniature camera photographer is, however, confronted with a different problem. He has many negatives on a single roll of film; in many cases such negatives having been exposed under varying conditions and consisting of widely different subjects. The entire roll of film is developed for the same time in the same developing solution, so that negatives of different contrasts usually result, necessitating the use of paper of different grades to obtain good prints. Then again papers are offered in quite a variety of surfaces — another temptation for the beginner. It would be best at the start to choose one of the more popular surfaces, as semi-rough or rough matte. In most cases such types of papers are obtainable in a larger number of grades than the special surfaces as linen, porcelain, stipple, etc. Once a single type of paper has been selected it would be advisable for. the photographer to work with this paper until he is able to obtain good prints with it. In many instances the reason for failure to make an acceptable print is poor judgment in selecting the proper grade of paper for the negative. For experience it would be advisable for the beginner to pick about three or four negatives of varying contrasts and make a set of prints from each negative, on each grade of paper. This will be a guide to him in selecting the proper grade of paper to suit the negative. After this step has been mastered it will be simple for the photographer to indulge in different paper surfaces and obtain excellent prints with them. Another step upon which the amateur trips, though simple and often repeated in these columns, is the correct exposure and development of the paper. In many instances where flat, lifeless prints are encountered, it will be found that the paper is overexposed—the image comes up very quickly in the developer, and it is necessary to pull it out of the latter to prevent the print from becoming burned up. Generally the exposure should be such that the paper will require from 1 Vt. to 2 minutes develop Lens Speeds ment time. In this manner — giving the paper a short exposure and full development, the print will have more snap and brilliance. Another bit of advice for the beginner is that he should not intend to make about two or three dozen prints in a single night, but be contented with four or five good ones. Care and time should be taken with each negative; test strips made to determine the exposure and developing times to obtain the best results. Each negative to be printed should be examined for small particles of dust or dirt, and these removed with a suitable expedient. This will obviate much subsequent spotting. Care and thought expended in this fashion will reveal itself in better prints. Quick Drying: In many cases in order to dry the prints faster, photographers submit the ferrotype tins with the prints on them to high temperatures. Glossy prints which have been dried at too high a temperature without sufficient circulation of air will not have a high gloss, and in some cases will have a "ground glass" effect. The excessive heat may also affect the black japan surface, causing check markings. In some cases the shape of the print will show on the tin after the latter has been removed. At times these may be removed by placing the tin in hot water or near a steam pipe for a few minutes. The oft repeated advice, "haste makes waste," is quite applicable in this case. Winter Exposures: Because snow is white, reflecting a relatively large amount of light, it is the supposition of many photographers that snow scenes require short exposures. Such a fact may be true when we are photographing scenes containing a large expanse of snow. The same procedure cannot be followed when foreground objects are the center of interest. In this case exposure should be judged for the objects. If an exposure meter is used the photographer should take the reading close to the object so that the field covered by the meter will not include the snow in the background. In such cases it is well to keep the old photographic axiom in mind, "Expose for the shadows and let the highlights take care of themselves," the objects in this case representing the shadows and the snow the highlights. Filters and Contrasts: Many of the films employed in miniature camera photography, especially those of the extreme fine grain type, are prone to produce contrasty results. Such films are usually developed for less time than normal, to obtain normal contrast. In outdoor pictorial work contrast can be additionally softened through the use of filters. Despite /WiQVIOLlAFILM VIEWING and REPRODUCING MACHINES ALL MODELS ON DISPLAY— FOR SALElllustrated Literature On Requt FOR RENT MOTION PICTURE CAMERA SUPPLY, INC. 723 7th AVE., NEW YORK CITY CABLE: "CINECAMERA' Please mention The International Photographer when corresponding with advertisers.