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The Barnet Book of Photography A Collection of Practical Articles

An alternative method of working


An

alternative method of working, and one which admits of a large amount of control over the ultimate result, is to make in the first place a large transparency of the full size that the enlarged negative is desired to be. All the precautions upon which stress has been laid should be observed in regard to the choice of plate, developer, etc.; but in this case the enlarged transparency may be given a little more vigour and sparkle than would be desirable if the other method of reproduction were adopted, though in this the reader must be guided by the particular effect which he may be seeking to produce in his prints. For this purpose pyro will be found to be the most suitable developer, in that it permits of a large amount of control. From the large transparency a negative is produced by contact printing either upon a plate, or upon a piece of bromide paper.

The great advantages of the latter mode of working are the facilities which are afforded for retouching or working upon the large transparency. Negative retouching is always a difficult operation to an amateur, for he cannot see the effect of his work until he has made a print; whereas, in retouching a transparency the effect produced by each stroke of the pencil or brush is at once apparent. In the space at disposal it is not possible to describe the various ways in which improvements can be effected. First there are the chemical aids of local intensification or reduction. Then much may be done

by the judicious use of a pencil, but the part to be retouched must first be lightly rubbed with a little retouching medium in order to make the pencil bite. In extreme cases the back of the negative may be covered with tissue paper upon which a stump and chalk may be used _at discretion_.

The novice must not be disappointed with the appearance of his enlarged negative when it is finished, nor should he form an adverse opinion of its printing qualities until he has made a print from it. Confessedly an enlarged negative generally presents a different appearance to one that has been taken direct, and may even seem to lack some of those qualities that are commonly regarded as essential to perfection, but if the final result, the picture, comes up to our expectations, we may surely dismiss any lingering doubts as to whether the enlarged negative conforms to certain preconceived notions of technique, and it should be enough for us to know (and the fact is incontrovertible) that some of the finest and most artistic photographs ever shown owe their existence to this method of production.

_John A. Hodges._

[Illustration: Walberswick. By Rev. A. H. Blake.]

_P.O.P._

[Illustration]

The three letters "P.O.P." are now so widely understood as referring to the Gelatino-Chloride Printing-Out class of Papers that it may be said that P.O.P. is known to many who are not acquainted with the fully-written name of this class of productions.

Also it should be mentioned that when these papers are spoken of as gelatino-chloride papers it is not to be concluded therefrom that chloride of silver is the only silver salt present. What they do actually contain is probably only known to their respective producers. But generally speaking, it is enough to say that so far as the ordinary consumer is concerned, the family resemblance is so strong and chief characteristics so general that the following directions for using them may be held as generally applicable to the various well-known brands now on the market. At the outset, however, it will be convenient to note that for the purposes of manipulation we may roughly group them into two chief classes--_viz._, the matt (probably from the German word "matt," _i.e._, dull) and the glazed, glossy or enamelled. The latter comes to us with a highly glazed, _i.e._, shiny smooth surface, the former being slightly rough, of a surface and texture somewhat like that of very finely ground glass.


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