428 HANDBOOK OF PHOTOGRAPHY 



it was thought that better contrast was obtained from flat negatives by printing them 

 for a longer time at a greater distance from the light than customary. Nowadays 

 the contrast is secured by using a harder paper. Standardized conditions of light 

 sources and distance between light and paper are highly desirable. 



Chloride papers are completely developed in about 45 sec. to 1 min. If the print 

 becomes too dark in this time, it is overexposed. The image should show up in 10 to 

 15 sec; if it flashes up a shorter exposure is required. The print should be left in the 

 developer until the maximum blackness is attained. 



Papers to Use for Certain Subjects. — Nearly all pictures will look well if printed on 

 white stock; others look better if put on buff-colored, cream-colored, or other tinted 

 papers. But egregious errors may be made by using the wrong paper for certain 

 subjects. Portraits, interiors by artificial light, and some sunlight scenes may be 

 printed on cream-, buff-, or ivory-tinted paper. Outdoor scenes such as beach and 

 marine views and snow scenes do not look well on these papers. Moonlight scenes, as 

 well as some snow and sand scenes look well if placed on paper which maj^ be toned 

 blue. Fire scenes may be toned red. In general, however, it is always safe to use a 

 white paper. 



For reproduction purposes, glossj' prints are desired. In any case, if the finest 

 detail and the greatest tone range is desired, glossy paper is preferred. Glossj^ paper 

 seems to be the mode for amateur prints made by commercial finishing establishments. 

 This style may change as has the style of using deckle edges and other out-of-the- 

 ordinary fads. Rough papers are useful for broad effects of light and shadow but are 

 not of much use if fine detail is to be preserved. All surfaces will take retouching with 

 the spotting brush and spotting colors, and all but glossy and silk surfaces will take the 

 spotting pencil. 



Projection Printing. The Projection Method. — If the print is to be larger or smaller 

 than the negative from which it is to be made, projection printing must be used. In 

 this manner of printing, the image of the negative is projected upon the printing paper 

 by means of an objective lens. The projection system may be especially constructed 

 for enlarging purposes, or it may be a camera used backward, i.e., the negative is placed 

 in the rear of the camera and illuminated by a source of light. The image from the 

 lens is then focused upon the sensitive paper. 



Because of the loss of light in the projection system, papers adapted for contact 

 printing require verj^ long exposures. The projection papers, therefore, are much 

 more sensitive than contact chlorides. There is no reason, however, aside from the 

 longer exposures required (or the stronger source of light required), why contact-type 

 papers should not be used for projection or why projection papers should not be used 

 for contact printing. The bromide type of projection paper may be as much as 100 

 times as sensitive as the chlorides used for contact printing. 



Projection Equipment. — In simplest terms the enlarging camera may consist of the 

 light source, a holder for the negative, a lens for focusing the image on the paper to be 

 exposed, some means for varying the lens-paper and negative-lens distances, and an 

 easel upon which the sensitive paper is placed. More complicated equipment involves 

 the use of several devices to adjust these necessarj' distances; some enlargers have these 

 two distance controls mechanically coupled together so that one operation changes 

 both lens-to-negative and lens-to-paper distances. These are known as automatic- 

 focus enlargers. 



The housing for the illuminant and the easel need not necessarily be attached to 

 the focusing lens system. Consequently an ordinary camera may be used as an 

 enlarger by attaching the camera to the lighting sj'stem so that the negative is held 

 between glass plates (or in some other manner) and placed between the rear of the 

 camera and the light house. The easel need not be on the same bench as the camera 

 and light house. 



