Mountants.
The best mountant we know of is a weak solution of fine French glue. It acts better than any other mountant we have used, and we have tried several of the formulæ made with starch, arrowroot, and other compounds. Fine French glue holds firmly and there is no cockling after mounting. After mounting the prints are improved by being passed through a press, but this is by no means necessary. We shall now make a few remarks upon framing. |Framing.| In the first place it is our opinion that all cut mounts are inartistic. Mr. Whistler, not long since, made some remarks on this head, which are well worthy of attention. His objections to cut mounts were that the different tints of the picture, the gold border, and the cut mount, weakened the edges of the picture and detracted from its directness and strength, and this is no doubt true. For this reason we do not think platinotypes look well mounted on India paper, the edges are decidedly weakened, and as for mounting silver prints on India the result is most inharmonious. In our opinion then the print should be mounted upon white paper, preferably Whatman’s rough drawing-paper, and for all pictures less than whole plate size, we should recommend a margin from three to four inches. A suitable moulding for these would be a bevelled moulding enamelled white. |Moulding.| In all cases where the mount shows, it must be remembered that the colour should harmonize with the print. |Mounts.| We saw some prints of Whistler’s “Sarasate” mounted on plain black cabinet mounts, and they looked charming. As in that case, the picture came out nearly all black, the whole made a harmony in black. When the prints are mounted on cards as in the case of cartes and cabinets, there should be absolutely nothing on the face of the card. The hideousness of the photographer’s name in shining golden letters is far too common. Nothing could look better for these small pictures than plain black mounts, with no word or letter or coloured line or any other embellishment. If the photographer is such a tradesman at heart that he must air his medals, let him put all that part of him on the back of the card. The method of stamping each photograph with the photographer’s name is not less to be deprecated. For the industrial photographer some simple but artistic lettering should be chosen, and it should be printed small in one corner in Indian ink, which harmonizes with the grey of platinotypes. Any good die-cutter could supply an artistic stamp, and the charge, even if a little greater than usual, could not be very great. Or the photographer might cut out his name artistically in the gelatine film, but we recommend the former plan. The mounts for cartes and cabinets should have a margin of at least half an inch all round, as this adds considerably to the effect.
Platinotypes.
For platinotypes ranging from whole plate size up to 15 by 12, we prefer to frame them up closely, showing no mount. The frame we like best for large black and white work is a pattern we took from a painting by De Hooghe. These frames are made of mahogany, 2½ inches wide, and bevelled inwards, and have a rather broad slip of English gilt between the frame and the picture. |Frames.| The mahogany is stained black and polished. Pictures of 15 by 12 and upwards, should also be framed close up, and for the larger sizes we prefer gilt frames and simple mouldings with but little carving. Cambridge frames are simple, but do not look distinguished. Each picture should have a separate frame, and we trust that exhibition committees will one day see their way to enforcing this rule, which, besides ensuring a better effect, would prevent much bad work being hung. Sometimes six prints are hung for the sake of one or two, because they are all in one frame. We could scarcely believe, had we not seen it, the fact that some exhibitors have chronicled on a part of their frame the medals taken elsewhere by the picture. Such a proceeding, besides being vain and ill-bred, is apt to influence credulous judges. One would think it quite needless to say that this form of advertisement is not ornamental, nor does it enhance the virtue, qualities, or beauty of the picture. All artificial methods of mounting and framing are to be avoided. One of these is mounting on glass. |Albums.| All albums used for mounting prints should have plain pages, tinted in harmony with the charcoal grey of the platinotype. All the vulgar decorations of ships, flowers, &c., which disfigure the photographic albums of to-day should be rigidly excluded. The bad taste of the manufacturers of these things is only another proof of the bluntness of the æsthetic feelings of producers and buyers alike.
CHAPTER XIV.
COPYRIGHT.
Copyright.
The hazy notions existing among many photographers as to how to secure the copyright of their photographs, and other details, has led us to make a few remarks on the subject. In the first place the student is cautioned to secure the copyright of every photograph worth keeping, for we presume he will only keep pictures. This should be done at once; it is our practice to send the first rough print at once to the copyright office.
Method of copyright.
The photographer must write to the Registrar, Stationers' Hall, Doctors' Commons, E.C., for forms for copyrighting photographs. These cost one penny each, and a money order must be enclosed for the amount, stamps not being accepted. He will then receive the form as given on the next page.
On agreements.