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HANDBOOK OF PHOTOGRAPHY 



are mounted on a light cardboard. A thin black line drawn about ^s in- from the 

 edges of the print will often serve the same purpose. 



Embossing Prints. — ''Prints which have a die-sunk line embossed around the edge 

 of the picture are attractive and easily made. Any double weight paper is suitable 

 for embossing. 



"The prints should have wide white margins; and standards of size should be 

 adopted, as a mark and form must be made for each size. The embossed line for a 



print, say 6 by 9 in., on an 11- by 14-in. sheet of 

 paper, should be about % in. from top and sides of 

 the picture image and % in. from the bottom, mak- 

 ing the embossing form 6% by 10 in. The form 

 should be the same thickness as the print so an old 

 print may be used for this purpose. 



"Cut it 6% by 10 in. and then draw a line % in. 

 from top and sides and % in. from the bottom, as 

 shown in the diagram. Cut out the corners as 

 indicated by dark triangles. These openings are 

 to locate the corners of the print when adjusting 

 the form. 



"A square of plate glass with a light beneath 

 makes an excellent embossing table. Place the 

 form on the plate glass over the light. Place the 

 print over the form, locating the corners of 

 the picture in the triangular openings. Hold the 

 print firmly and run a print embosser [available at 

 photo supply stores] over the back, following the 

 edge of the form. If the pressure of the emboss- 

 ing tool is even, the result is a distinct plate-sunk 

 line that adds to the print's attractiveness. 

 "Before prints are embossed, their backs should be moistened evenly to the edges 

 with a solution of equal parts of wood alcohol and water. They should then be placed 

 betw-een blotters under pressure. If not allowed to become bone-dry, the prints will 

 lie flat and emboss without cracking." (Eastman Kodak Co.) 



Paper Negatives. — Exhibition prints are frequently made by the "paper negative" 

 process.^ This consists in making a positive print from the original negative, making 

 an intermediate negative from this positive, and making the final positive from this 

 negative. The advantages of the method over straight negative-to-positive printing 

 are as follows: (1) Local work may be performed on both the first positive and the 

 intermediate negative; (2) certain objects may be added to or subtracted from the 

 print that either do not exist on the original negative or which, if they do exist, 

 detract from its composition or are otherwise objectionable; (3) the intermediate 

 negative may be larger than the original negative. Therefore a large contact-paper 

 print may be made on paper so slow that a projection print from the original, and 

 smaller, negative would be impractical. (4) The texture of the paper on which the 

 intermediate negative is made may appear in the final print. 

 The process is as follows: 



1. Make negative on paper, either from a positive print or direct in the camera. 



2. Make corrections on this negative. 



3. Make final print from this negative. 

 Or as follows: 



1. Make positive on paper or film from negative, by contact or by projection. 



1 So-called because the "intermediate negative" is usually made on a paper rather than on a film. 



Fig. 



13. — Method of 

 mounts. 



embossing 



