St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1892-08-14
bon. the Alpha, the Obernetta, the
Bromide, and numerous others equally

bon, the Alpha, the Obernetta, the
Bromide, and numerous others equally
good.
Each paper has its peculiar and dis
qualities. and they vary so much
in the results obtained from each that
it behOOyes the camerist. if he would be
in the front rank, to have something
more than speaking acquaintance with
all of them. This. to be sure. entails
greater expense than many can afford,
but you should al least try and vary
your printing papers somewhat to con-
form with your subjects. 1t cannot be
said in this regard that you should get
some good paper and stick to it-that
would only apply to the brand-and in
that respect Is good advice-but not to
the kind" For instance, if you have
portraits, genre or water effect neg
atives, it is more than possible that
you will get the most correct treatment
and the best EFFECT by using aristo-
type and toning warm reddish brown;
if your negatives are landscape or arch
itectural subjects, the bromide paper
gives beautiful result; or, again, if the
subject should be purely marine, platin-
otype paper cannot be eXcelled. With
out going into experimental work too
much, you might safely select some
good brand of each of the three above
papers. and [ doubt not you will be
highly satisfied with your efforts, if
carefully expended.
One of the most important things
which should be impressed upon the
camerist. and which he should endeavor
to always keep before him. is that he
should never mount picture the full
size OF the plate. just because it hap
pens to be a regular size. There
are very few negatives YOU will
obtain which you can use full to
the edge. By carefully trimming
your prints you are a gainer,n not loser,
nine times in ten. 1t often happens
that there is some particularly pretty
"bit" in your picture which is most
suitable, and if it should still be too
remember that you can, If your neg
alive be good and sharp. enlarge it on
bromide paper to any size you desire.
A picture made on platinotype or
bromide paper should never be bur-
'nished or given any glaze whatsoever.
The dull surface which comes natural
~ with drying, after toning, is always
most effective for the black or sepia
tones of these papers. On the other
hand, where albumen or aristotype
are used, the beauty is much
Enhanced Nv nlS0 nQlSn,
and if you wish to obtain this you will
find much simpler plan than the COLO
idionized glass plate, in sheet or Ordi-
nary ferrotype tin. After thoroughly
washing the prints, they are laid face
side down on the ferrotype, which has
been previously polished with
a bit of absorbent cotton,
and they are then squeegeed.
In case you may not know exactly what
this last process is, l will say that a
squeegee, which you can make yourself,
consists of piece of thick, soft rubber.
about quarter of an inch thick aud one
inch wide. This is set in groove, so
that it extends about one-half inch, and
a handle is fixed to this, so you can
easily draw it over the print which you
have laid upon your terrotype, and
thus force out all air which may |
have tendency to stay under the !
paper. and thus receive no gloss. Never |
try to lift print which has once been
placed. If you must move it, let tho |
water flow on it freely under the tap, or |
it in water, and then it will |
readily slide anywhere you may wish. |
Care should etaken in squeegeeing to |
press only lightly until the excess of !
water is ont. or there will be a constant /
by slipping. to ruin your
prints. They should then be set to one
side to dry spontaneously. and never,
BeYer try TO hurry them. There is only |