The Optical Magic Lantern Journal (April 1903)

AND PHOTOGRAPHIC ENLARGER. 76 decay. This is to be deplored, and it remains with the amateur exhibitor to uphold the credit of this most beautiful and fascinating method of illustration. RRR HK Enlarging for Pictorial Work. By J. Pace Crort. Concluded. N our last chat we got as far as the complei tion of the enlarged negative. And now we have finished some may think, but “and now we Start” I say. Those who seriously wish to come through to the front as picture makers must take up the running where most people leave it. This is the only way to get out of the multitude. There is no room in the crowd, but there is plenty of room beyond. In every walk of life the cry of being overcrowded is the common complaint, because many are either content to stay in the ruck or can’t get out of it. Such do little to improve their trade or profession, and less to enhance their own prospects. One of the greatest compliments I had paid me was by one of the most up-to-date workers in the country when we were together looking round one of the London Exhibitions. We were discussing a picture which we rather liked, when my acquaintance said I should think that’s a straightforward print ; the man evidently has’nt learned the art of printing and should give it to you to do. It isn’t at all sufficient when you have gone to the trouble to get your enlarged negative merely to take a straightforward print off it and consider the thing finished. There are of course many ways of doctoring shortcomings if you have not been able to do this in the making of the transparency or enlargement. Some prefer a pencil, some a brush, and work direct on to the film. Possibly the simplest way is to paste at the edges a piece of tracing paper over the glass side of the negative and with a stump crayon or pencil work on the paper, A rough pull off on P.O.P. from time to time will show you where you are, and you are of course not bound to print from the whole of the negative in these trials, but just the portion you are working on. When you are satisfied on this point the next process to claim your attention must be your medium for printing. Bromide is simple but generally disappointing on the walls. There is frequently a sunk-in kind of look about the process which is really a scum which in the chemical manipulation is at present at least unavoidable. Another drawback is that the gelatine surface resists any work with the brush on the paper. Carbon is a very beautiful process and possesses the advantage of colour, but it does not offer a very wide range in printing, and like Bromide shows nearly every mark of the brush in the finished print; ‘tho this can to some extent be avoided by using a little gum in the colour or flooding the print with collodion which obliterates all traces of the brush. Platinotype is a very good all round medium, and the paper is suitable for the little necessary brush work, but development is so rapid as to permit practically no control, all the work having to be done on the negative. This brings us to my favourite process GumBichromate. I have been told J have Gum on the brain, and personally I don’t see why I should be ashamed of it or deny it, for I claim and can prove that this method of printing will not only do all that any process can, but a great deal that no other medium can accomplish; you can get any colour on almost any surface; and smooth, soft, tender prints by simply placing ghe paper in cold water and allowing it to develop itself. Could anything be simpler? or bolder, broader and more vigorous specimens by brush development, the results varying according to the more or less application of the brush. Brilliant work of great depth in the shadows may be obtained by Mr. J. Crwys Richards’ system of multiple printing, the results of his experiments being recently given in the ‘“ Amateur Photographer.” In these two articles the whole matter of choice of paper and colours, preparation of the pigment, laying on the colour, and the subject from beginning to end is so simply treated as to bring it within the grasp of the veriest novice. The greatest power however afforded by Gum is the extreme latitude permitted in development. A print for instance may be partially developed in the ordinary way in cold water, and then one portion brought up by development in hot. Local application also by spray, brush, fiinger, bit of wood or wool, or in fact ansthing which suggests itself for the purpose, will also greatly improve the general appearance. After treatment in this manner and if then not quite to liking, the print can be dried and put in the dark and brought out next day, next week, or next month and similarly treated again and again providing it has not been exposed when dry to daylight. If then it is not all that is desired the print can be again coated—and in.