PRINTING PROCESSES 447 



2. Make corrections on this positive. 



3. Make paper negative from this positive, and make corrections on this positive. 



4. Make final positive print from this negative. 



Direct Paper Negative. — In this case paper instead of film is loaded and exposed 

 in the camera. A fast single-weight matte or glossy paper may be used. Naturally 

 the exposure will be longer than if a film negative is to be made. Experiment will 

 determine the correct exposure, which, for bromide paper will be about twentj^ times as 

 long as is required for average speed film. A soft working developer is recommended. 



The exposure should be ample to register details in the shadows; development may 

 be a bit longer than for normal print development. The negative should look some- 

 what overdeveloped. The negative should be fixed and dried carefully so that no 

 creases appear. A trial print may be made from this negative, to determine what is 

 to be touched up on the negative. 



Paper Positive. — By contact or by projection a print is made from the desired 

 negative on a semigloss or glossy single-weight paper. The print should be the size 

 of the final print. If the exposure is made through the paper support, the grain of the 

 paper will be minimized in the final print. This intermediate print may look blotched 

 by reflected light, but when viewed by transmitted light, the mottle of the paper 

 support is not nearly so evident. 



The positive should be overexposed somewhat and must be fully developed. From 

 this positive the paper negative is made by contact. The final positive print is made 

 by contact with the paper negative. 



Handwork may be carried out on both the paper positive and the paper negative 

 made from it. If something is to be added to the final print which does not exist in 

 the original negative, it must be sketched in on the positive with soft pencil or with 

 retouching material worked on with a chamois. 



Film Positive. — In this case the positive is made by projection or by contact on a 

 film. A matte-back film is preferred because the retouching may be made on the 

 back. Exposure must be full, but development should be shortened to keep contrast 

 down. Dust specks and other flaws must be kept to a minimum if the positive is to 

 be enlarged in making the intermediate negative. 



Intermediate Negative. — This negative may be made on ordinary printing papers or, 

 better, on the translucent papers now available, such as Eastman Translite or 

 Defender Adlux. These papers have emulsions on both sides. The negative must be 

 fully exposed but somewhat underdeveloped to bring out high-light detail and to keep 

 shadow density down. For Translite, as an example, the negative should be developed 

 about 45 sec. or 1 min. 



Paper fiber does not show on this negative when it is viewed by transmitted light. 

 As the light passes through the paper stock and exposes the back emulsion, the paper 

 fibers tend to cancel their images on the back emulsion. The paper should be laid 

 down on black paper when making the exposure. 



The enlarged paper negative, when made on the semitransparent materials men- 

 tioned above, offers excellent opportunity for handwork with lead pencil, charcoal 

 pencil, or chamois stump dipped in powdered charcoal or lead pencil dust. The 

 negative should not be oiled when making the final positive print. 



Photo Murals. — Murals are enlargements of considerable size which are usually 

 made in sections and mounted on the wall from which they are to be viewed. Printing 

 paper is available 42 in. wide by 10 ft. long so that fairly large sections may be made at 

 one time, provided one has the equipment in which to develop, fix, and wash the 

 individual strips. 



Techniques differ among the individual mural experts. One professional photog- 

 rapher, who has made many of the best known murals, uses a 4- by o-in. negative as 



