Evening star., 1949-12-18

Contact printing Is the quickest
and simplest way you can produce
a finished picture from your films.
1t is also a process that does not
require expensive or elaborate
equipment for home photofinish-
ing. If you have a few spare
dollars and a corner of your
kitchen available. there is nothing
to stop you from making your
own prints, even though your
Aims may be processed elsewhere.
A contact print is made by ex-
posing a sheet of sensitized phot
tographic paper to a light which
passes through the negative which
has been placed in contact with
the paper. emulsion to emulsion.
The resulting print is the exact
size Of the negative, usually fairly
small and consequently small trays
and insignificant amounts of
chemicals are called for, unless
Implications in large quantities is
desired. But most of us do not
often have use for more than
few prints at time and can get
along very well with inexpensive,
small-sized equipment that can be
stored in one shelf of a kitchen
cabinet.
To begin with. you will need
printing frame to hold the mega
tive and paper in contact for the
exposure. This consists of a.
framework of wood or metal with
a sheet of glass for the front and
a hinged spring back that can
be locked into place after the
paper and film are in place. The
frame may or may not be
equipped with masking strips that
will provide an even white border
around the print. If the frame
you buy does not have these
masking strips you can make al
negative mask from black paper
with an opening to fit your Aim
size. The frame should be at
least as large as the largest neg
ative that you consider using. Al
ski frame properly equipped with
masking slides will take care of
Aims that size and any size
smaller.
Trays for Chemicals.
Next you will want four trays
for processing the prints-three
4x5 or ski for the developer,
shortstop and fixing solutions.
and one much larger for washing
the prints. The trays should be
either stainless steel or rubber.
These will last longer than porce-
lain and there will be no danger
of rust.
Print handling tongs come next
on your list. These should be a
must for every professor. In the
first place you may be among the
small minority whose skin is
allergic to metol. one Of the de-
veloping agents. If you keep
your hands in developer very
often you will soon notice that
your f1ngernails are turning a ripe
brown color-something no one
looks forward to with any pleas
ure. Print tongs will help you
avoid these conditions. A pair Of
these tongs insures against the
danger Of carrying hypo into the
developer
A safelight with an o or GA
filter is also vital to your efforts so
that you may watch your prints as
they come up" in the developer.
An ordinary white light would fog
the sensitive paper. A darkroom
thermometer to test your solutions
Is also a requirement. for proper
processing calls for the same
temperature for all solutions.
Ferrotype Tin for Glossies.
II you plan on using glossy paper
for your prints you will need one
or two ferrotype tins to dry them
on. A squeegee or rubber roller
will get rid of the excess water
that adheres to the paper. But II
your prints are to be made on
matt or semi-matt paper. you will
need a blotter roll to soak up thu
moisture.
A rubber apron will complete
your list of equipment. You can
get along without this item If you
wear old clothes while you work,
but our advice is to get hold of
good darkroom apron because de-
veloper and other chemicals will
play havoc with your wearing ap-
parel If you get in the way Of
splash.
You will need chemicals for de-
veloper, shortstop. and fixing
baths. You may do one of two
things. Either buy prepared for
mulas that are already measured
in the right proportions and need
only to be mixed with the proper
amount of water: or buy your