There are several modes of enamelling prints, but there is none better than that described by Mr. W. England, which we quote in his words. "I have a glass having a good polished surface (patent plate is not necessary), and rub over it some powdered French chalk tied up in a muslin bag. Dust off the superfluous chalk with a camel's hair brush, and coat with enamel collodion. I find it an improvement to add to the collodion usually sold for the purpose 2 dr. of castor oil to the pint. When the collodion is well set, immerse the plate in a dish of water. When several prints are required to be enamelled, a sufficient number of plates may be prepared and put in dishes; this will save time. Now take the first plate, and well wash under a tap till all greasiness has disappeared; place it on a levelling stand, and pour on as much water as the plate will hold. Then lay the print on the top, squeeze out all the water, and place the plate and print between several thicknesses of blotting-paper to remove all superfluous moisture. The plate, with the print in contact, should now be placed in a warm room to dry spontaneously, when the print will come easily from the glass. Care should be taken not to attempt to remove the print till quite dry. If the pictures required to be enamelled have been dried, it will be necessary to rub over them some ox-gall with a plug of soft rag; otherwise the water will run in globules on the surface, and make blisters when laid on the collodion.
"I may mention that prints done in this way lose their very glossy surface on being mounted, but retain their brilliancy, which I think is an improvement, as I dislike the polished surface usually given to the print when gelatine is employed."
[CHAPTER XXVI.]
CAMEO PRINTS.
At one time there was a rage amongst photographers to produce cameos, and, for this purpose, a special piece of apparatus was required to produce the embossing. The figure will explain it.
Fig. 31.
The print, after mounting, was enamelled by coating a plate with collodion—as described above—and a thin film of liquid gelatine applied. In some cases the carte itself was gelatinized, dried, and damped, and placed in contact with the collodion film. The carte was placed face downwards on the gelatine, and placed under pressure till quite dry. It was then removed, and bore on its surface a high gloss caused by the collodion. It was then ready for embossing, which was effected by placing it in the above apparatus.
Some people like the style; and it will be seen that great variety in it may be made by printing sufficient depth of border round the cameo; but, for our own part, we think that, in an art point of view, they are decidedly vulgar; and besides which, the surface of the cameo is readily scratched, since it is raised. We only give a brief account of what has been done in this direction, not to encourage its adoption, but rather to caution the photographer.