Photography in the Studio and in the Field / A Practical Manual Designed as a Companion Alike to the Professional and the Amateur Photographer

by Edward M. Estabrooke

The fixing solution should not be used a second time, but should be thrown into a large barrel with the washings, that at some future time the silver may be recovered; when the barrel becomes full, a small amount of saturated solution of protosulphite of iron p79 may be thrown in, the water stirred well, and when the sediment has settled to the bottom the clear liquid may be drawn off and the barrel is ready to receive the next washings of hypo.

MOUNTING THE PRINTS.

The selected prints are again placed in water and permitted to remain until they become saturated; in the meantime some starch paste should be prepared. The prints are then removed from the water and placed on a sheet of glass, face down; when all are thus placed, squeeze out all the water and they are ready to mount. Now with a wide bristle brush spread the paste evenly on the back of the print, carefully removing any lumps or dust or fibre of any kind, then insert under the edge of the print the point of a knife-blade, raise it until you can take it in the fingers, then place it pasted side down on the face of your mount, adjust it evenly and lay it on the table; now cover it with a piece of clean white paper, and with the palm of the hand rub it down until all parts are in contact and all air is expelled from between the print and mount. As the prints are mounted they should be placed in rows on clean white or blotting paper, one layer over the other; on the top place a clean sheet of paper and over that a board of the proper size with a weight on it to press the mounted picture flat; in the course of an hour they will be dry enough to spot.

SPOTTING THE PRINTS.

With a fine pencil brush and Indian ink, go over the prints and carefully touch up all the white spots and other blemishes that may be found on the surface, so that they harmonize in color with the surrounding p80 parts. When this is done the pictures may be lubricated for burnishing.

LUBRICATING THE PRINTS.

Make a pad of Canton flannel, get a piece of white castile soap, rub the pad on the soap until it is well covered, then with this soaped pad rub the surface of each print separately, carefully covering every part of the surface; keep the pad well soaped by rubbing it on the soap after every 2 or 3 prints. While this is being done the burnisher may be heated; when the tool is hot enough to hiss when touched by a wet finger, proceed to burnish. Do not use much pressure; too great pressure will degrade the whites of the picture.

When they are all burnished go over them again with a moderately soft lead pencil, touching up and blending any streaks or spots that may be found; if any streaks or dirty lines are discovered in the direction of the draw of the burnisher, they may be removed by light friction with a piece of Canton flannel moistened with alcohol. This completes the photograph.

THE PHOTOGRAPHIC STUDIO.

Mr. Ernest Lacan, a prominent artist of Paris, France, about ten years ago, wrote for the Philadelphia Photographer an account of some of the prominent studios of that great city, from which I take a description of the studio and establishment of the celebrated Reutlinger.