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FINISHING THE PRINT
A very important subject , yet one which is often overlooked , is the proper finishing of the print . Only if a print is correctly finished can it be presented in the best possible light . Under this heading come such activities as spotting , cropping , trimming and mounting . Any one of these , neglected or badly done , can ruin the finest picture .
CROPPING
Before doing any work on the print , determine its final cropping . Your equipment should consist of two L's ( Figure 38 ) , a ruler , a small piece of cardboard with absolutely square corners , and a soft pencil . The arms of the L's should be from two to three inches wide and long enough to mask the largest print you expect to crop . You can cut the L's from a standard cardboard print mount .
Place the print on your table or other working surface , and use the two L's to mask off the undesired portions , as shown in Figure 38. Don't rush this procedure it is one of the most important steps in producing an acceptable print . Move the L's about freely until you get just the framing you want . Bear in mind the basic principles of composition before you decide on the exact cropping . ( Composition is covered in Assignment 8. ) Make certain any noticeable vertical lines are parallel to the sides of the print . Don't rely on your unaided eye for this - use a ruler . If you have a clear horizon over water , make the top and bottom cropping lines parallel to it . A sliding horizon is a sure sign of careless work .
After you have decided on your cropping , square it accurately by holding the cardboard against adjacent legs of the two L's ( Figure 39 ) . Then mark off the four corners by drawing small L's with a fine pencil . Remove the framing or cropping L's . Then , with a ruler and pencil , draw a line connecting two adjacent cropping marks along the length of the print , as shown in Figure 40. Run this line clear across the sheet , margins and all . Do not draw the remaining three lines to which the print will be cropped . They are not needed if you use your print trimmer properly . Do not trim the print to size at this point . The print and dry - mounting tissue must be trimmed together , so the next step is to attach the tissue to the back of the print .
Figure 38 Using pair of cardboard L's to determine how to crop an enlargement .
Figure 39 To square your cropping accurately , hold a small card with absolutely square corners against the adjacent legs of the two L's .
MOUNTING
The best way to mount prints on standard mounts or cards is to use dry - mounting tissue and a dry - mount press . The dry - mounting tissue consists of a thin sheet of tissue paper thoroughly impregnated with a suitable adhesive which melts when heated and adheres firmly when it cools . The quickest and easiest way to mount prints with this tissue is by means of a dry - mounting press , such as is shown in Figure 41 , but an ordinary flatiron can be used in an emergency .
Figure 40 Drawing first cropping line .
Figure 41 A dry mounting press ..
The dry - mounting process has a number of important advantages over other methods of mounting prints . Since the prints are mounted dry , they will not warp , buckle or curl , but stay absolutely flat . As a matter of fact , if the print is somewhat curled or buckled before it is mounted , the mounting procedure will straighten it out beautifully . Rubber cements must never be used for permanent mounting of prints . Such cements often contain sulphur compounds which will penetrate into the print and eventually stain it .
The first step in the mounting procedure is to temporarily fasten ( tack ) the tissue to the back of the print . To do this , place the print face down on some clean paper such as wrapping paper . Avoid newspaper or anything with printer's ink on it . Place a sheet of dry - mount tissue over the back of the print so it is fully covered . Now using the tacking iron which comes with the dry - mount press , tack the center of the tissue to the print . If you do not have a tacking iron , take a hot iron and touch the side of the sole plate quickly to the tissue near the center of the print . The iron should be set at low heat , as for ironing synthetic fabrics . The heat of the iron will melt the tissue adhesive , causing it to adhere to the back of the print . If the print is small , one quick touch of the iron near the center will be enough to hold the tissue in place . A larger print may require several touches to keep the tissue and print properly together . When the print and tissue have been tacked together , they can be trimmed as one with the assurance that they will be identical in size and shape .
TRIMMING
Take the print with its adhering tissue and place it on the trimming board . Hold the print so the line you have drawn is lined up perfectly with the cutting edge . Use a ruler to hold the print down near the cutting edge , and cut . Press inward slightly as the knife comes down to ensure an absolutely clean cut . Place the freshly trimmed edge of the print against the ruler at the head of the trimming board and cut the next side to your guide L. Repeat this operation for the remaining two sides .
If you are using a dry - mounting press , place the print face up on the mount in the position it is to occupy and weight it down with anything handy . The weight is to keep it in place so it won't shift out of position while you tack the tissue down to the mount . Lift up one corner of the print so as to expose the tissue , and tack the tissue to the mount . Repeat for the other three corners and remove the weight . If you have an electric dry - mounting press you will need no further instructions - simply follow the instructions which came with the press .
If you use a flatiron instead of a press , proceed as follows : Place a flat layer of newspapers about 25 sheets thick upon a bench or table . Use the heated iron to smooth out this pile . Place a clean piece of wrapping paper on top of the pile . Now put the mount , face down , on the paper and iron the back of the mount all over until it is quite warm . Then turn the mount over , place the trimmed print with the tissue attached to it into correct position and hold it down with a weight . Tack the corners of the tissue to the mount as described above and remove the weight . Cover the whole mount with a sheet of clean wrapping paper . Iron the print down with steady , heavy strokes . Start in the center and work out until the whole mount is covered . Apply heavy pressure throughout the entire operation .
The iron should never stop moving during this part of the operation , and it must be hot enough to give the tissue paper adhesion . If the iron is too hot , the adhesive will remain soft too long , permitting the print to pull away from the mount . If the iron is too cool or the strokes too rapid , or if you do not apply enough pressure , the tissue will stick to the print but not mount .
After the print is mounted , test it for good adhesion by bowing the mount slightly , print side out . If the print has not adhered , check to see why ( re - read the above paragraph ) and apply the iron again .
SPOTTING
If you look closely at the mounted print , you will probably see a number of white spots or short wavy lines here and there . These are caused by tiny specks of dust or lint , which have landed on the negative either before or during the enlarging process . The removal of these white spots is called spotting . It is the next order of business .
Spotting consists of covering these white spots with water color pigment , dye or even pencil until they match the surrounding area and can no longer be seen . Both the pigment and dye are applied with a very fine sable hair brush , called a spotting brush . We will start by describing the use of the brush with water color pigment .
SPOTTING WITH WATER COLOR PIGMENT . You will need a fine sable spotting brush and some spotting colors . The No. 0 brush is most commonly used , but whatever the size , it must be capable of coming to a very fine point when wet . Test any brush before you buy it .
Commercial photographers who do a great deal of print spotting usually prefer the spotting colors which come in tubes for photo - retouchers . The warm - toned papers require the shade known as " Retouch Brownish " and the cold - toned papers " Retouch Black . " These colors are water colors , not oil . This point is important . You cannot spot with oil colors .
To prepare the spotting color for use , spread a small smear of it onto a sheet of glass , china , or other smooth material . Lacking anything else , a corner torn off a double weight print works very well providing you use an area which has no image . Let the color dry before you attempt to use it , or you won't be able to control it .
Instead of the tube of spotting color , you can purchase a set of spotting cards . These provide an assortment of three or four spotting colors painted on white plastic sheets about three inches square .
The key to successful spotting is to use as little water as possible . The brush should be moist - not wet - and must contain so little water that the pigment dries as it is deposited on the print . If the brush is wet enough to leave a wet streak , the gelatin emulsion will repel the water and you will get a wet , gray streak terminating in a black dot . Wet the brush by dipping it in water and wipe off the excess on a blotter , or simply put the dry brush between your moistened lips . Most photographers prefer the latter method because it is easier to control the moistness of the brush that way .
Prepare the spotting card by wetting the brush and applying it to the edge of the dab of spotting color . Lightly work the brush over the dry pigment and spread the color out into the clear area in a very thin layer so that it varies from a fairly light gray to a full black . The spotting color is now ready for use .
In spreading the pigment , the brush has become too heavily charged , so moisten it again and wipe it dry on a blotter . The spotting card and brush are now . ready for use . The next time you spot , start at this stage .
Moisten the brush slightly and touch it to a lightly pigmented area of the spotting card . Pick up some pigment with a slight rolling motion ; this motion will also cause the hairs to stick together in a very fine point . Hold the brush almost vertically and touch it lightly to the spot you wish to eliminate , as shown in Figure 42. Repeat this procedure , each time covering a very tiny area of the spot until disappears . Apply only a tiny amount of pigment at a time . Don't try to match the density of the color to the print density around the spot . At your first application of color , the spot will be darkened only a trifle . Build up density little by little with repeated applications of color until the spot finally disappears .
If you have moistened the brush the right amount it will be dry in a few seconds . Moisten it again , recharge it , and continue spotting . The correct amount of moisture on the brush is important . If the brush is too wet , the color will smear without sticking to the paper . If it is too dry , it won't transfer its pigment .
Figure 42 Spotting with brush and spotting pigment .
SPOTTING WITH DYE . Slightly larger areas can be spotted with dye , although some photographers use dye for all their spotting . There are a number of spotting dyes which are specifically ntended for this purpose . They generally come in three colors - dark blue , neutral black and brown . You can mix them in suitable proportions to match the tone of any print . The proper technique of mixing and applying the dye to a print depends to a large extent upon the particular dye you use , so follow the manufacturer's instructions carefully .
صنع الطباعة ..
الانتهاء من الطباعة ..
FINISHING THE PRINT
A very important subject , yet one which is often overlooked , is the proper finishing of the print . Only if a print is correctly finished can it be presented in the best possible light . Under this heading come such activities as spotting , cropping , trimming and mounting . Any one of these , neglected or badly done , can ruin the finest picture .
CROPPING
Before doing any work on the print , determine its final cropping . Your equipment should consist of two L's ( Figure 38 ) , a ruler , a small piece of cardboard with absolutely square corners , and a soft pencil . The arms of the L's should be from two to three inches wide and long enough to mask the largest print you expect to crop . You can cut the L's from a standard cardboard print mount .
Place the print on your table or other working surface , and use the two L's to mask off the undesired portions , as shown in Figure 38. Don't rush this procedure it is one of the most important steps in producing an acceptable print . Move the L's about freely until you get just the framing you want . Bear in mind the basic principles of composition before you decide on the exact cropping . ( Composition is covered in Assignment 8. ) Make certain any noticeable vertical lines are parallel to the sides of the print . Don't rely on your unaided eye for this - use a ruler . If you have a clear horizon over water , make the top and bottom cropping lines parallel to it . A sliding horizon is a sure sign of careless work .
After you have decided on your cropping , square it accurately by holding the cardboard against adjacent legs of the two L's ( Figure 39 ) . Then mark off the four corners by drawing small L's with a fine pencil . Remove the framing or cropping L's . Then , with a ruler and pencil , draw a line connecting two adjacent cropping marks along the length of the print , as shown in Figure 40. Run this line clear across the sheet , margins and all . Do not draw the remaining three lines to which the print will be cropped . They are not needed if you use your print trimmer properly . Do not trim the print to size at this point . The print and dry - mounting tissue must be trimmed together , so the next step is to attach the tissue to the back of the print .
Figure 38 Using pair of cardboard L's to determine how to crop an enlargement .
Figure 39 To square your cropping accurately , hold a small card with absolutely square corners against the adjacent legs of the two L's .
MOUNTING
The best way to mount prints on standard mounts or cards is to use dry - mounting tissue and a dry - mount press . The dry - mounting tissue consists of a thin sheet of tissue paper thoroughly impregnated with a suitable adhesive which melts when heated and adheres firmly when it cools . The quickest and easiest way to mount prints with this tissue is by means of a dry - mounting press , such as is shown in Figure 41 , but an ordinary flatiron can be used in an emergency .
Figure 40 Drawing first cropping line .
Figure 41 A dry mounting press ..
The dry - mounting process has a number of important advantages over other methods of mounting prints . Since the prints are mounted dry , they will not warp , buckle or curl , but stay absolutely flat . As a matter of fact , if the print is somewhat curled or buckled before it is mounted , the mounting procedure will straighten it out beautifully . Rubber cements must never be used for permanent mounting of prints . Such cements often contain sulphur compounds which will penetrate into the print and eventually stain it .
The first step in the mounting procedure is to temporarily fasten ( tack ) the tissue to the back of the print . To do this , place the print face down on some clean paper such as wrapping paper . Avoid newspaper or anything with printer's ink on it . Place a sheet of dry - mount tissue over the back of the print so it is fully covered . Now using the tacking iron which comes with the dry - mount press , tack the center of the tissue to the print . If you do not have a tacking iron , take a hot iron and touch the side of the sole plate quickly to the tissue near the center of the print . The iron should be set at low heat , as for ironing synthetic fabrics . The heat of the iron will melt the tissue adhesive , causing it to adhere to the back of the print . If the print is small , one quick touch of the iron near the center will be enough to hold the tissue in place . A larger print may require several touches to keep the tissue and print properly together . When the print and tissue have been tacked together , they can be trimmed as one with the assurance that they will be identical in size and shape .
TRIMMING
Take the print with its adhering tissue and place it on the trimming board . Hold the print so the line you have drawn is lined up perfectly with the cutting edge . Use a ruler to hold the print down near the cutting edge , and cut . Press inward slightly as the knife comes down to ensure an absolutely clean cut . Place the freshly trimmed edge of the print against the ruler at the head of the trimming board and cut the next side to your guide L. Repeat this operation for the remaining two sides .
If you are using a dry - mounting press , place the print face up on the mount in the position it is to occupy and weight it down with anything handy . The weight is to keep it in place so it won't shift out of position while you tack the tissue down to the mount . Lift up one corner of the print so as to expose the tissue , and tack the tissue to the mount . Repeat for the other three corners and remove the weight . If you have an electric dry - mounting press you will need no further instructions - simply follow the instructions which came with the press .
If you use a flatiron instead of a press , proceed as follows : Place a flat layer of newspapers about 25 sheets thick upon a bench or table . Use the heated iron to smooth out this pile . Place a clean piece of wrapping paper on top of the pile . Now put the mount , face down , on the paper and iron the back of the mount all over until it is quite warm . Then turn the mount over , place the trimmed print with the tissue attached to it into correct position and hold it down with a weight . Tack the corners of the tissue to the mount as described above and remove the weight . Cover the whole mount with a sheet of clean wrapping paper . Iron the print down with steady , heavy strokes . Start in the center and work out until the whole mount is covered . Apply heavy pressure throughout the entire operation .
The iron should never stop moving during this part of the operation , and it must be hot enough to give the tissue paper adhesion . If the iron is too hot , the adhesive will remain soft too long , permitting the print to pull away from the mount . If the iron is too cool or the strokes too rapid , or if you do not apply enough pressure , the tissue will stick to the print but not mount .
After the print is mounted , test it for good adhesion by bowing the mount slightly , print side out . If the print has not adhered , check to see why ( re - read the above paragraph ) and apply the iron again .
SPOTTING
If you look closely at the mounted print , you will probably see a number of white spots or short wavy lines here and there . These are caused by tiny specks of dust or lint , which have landed on the negative either before or during the enlarging process . The removal of these white spots is called spotting . It is the next order of business .
Spotting consists of covering these white spots with water color pigment , dye or even pencil until they match the surrounding area and can no longer be seen . Both the pigment and dye are applied with a very fine sable hair brush , called a spotting brush . We will start by describing the use of the brush with water color pigment .
SPOTTING WITH WATER COLOR PIGMENT . You will need a fine sable spotting brush and some spotting colors . The No. 0 brush is most commonly used , but whatever the size , it must be capable of coming to a very fine point when wet . Test any brush before you buy it .
Commercial photographers who do a great deal of print spotting usually prefer the spotting colors which come in tubes for photo - retouchers . The warm - toned papers require the shade known as " Retouch Brownish " and the cold - toned papers " Retouch Black . " These colors are water colors , not oil . This point is important . You cannot spot with oil colors .
To prepare the spotting color for use , spread a small smear of it onto a sheet of glass , china , or other smooth material . Lacking anything else , a corner torn off a double weight print works very well providing you use an area which has no image . Let the color dry before you attempt to use it , or you won't be able to control it .
Instead of the tube of spotting color , you can purchase a set of spotting cards . These provide an assortment of three or four spotting colors painted on white plastic sheets about three inches square .
The key to successful spotting is to use as little water as possible . The brush should be moist - not wet - and must contain so little water that the pigment dries as it is deposited on the print . If the brush is wet enough to leave a wet streak , the gelatin emulsion will repel the water and you will get a wet , gray streak terminating in a black dot . Wet the brush by dipping it in water and wipe off the excess on a blotter , or simply put the dry brush between your moistened lips . Most photographers prefer the latter method because it is easier to control the moistness of the brush that way .
Prepare the spotting card by wetting the brush and applying it to the edge of the dab of spotting color . Lightly work the brush over the dry pigment and spread the color out into the clear area in a very thin layer so that it varies from a fairly light gray to a full black . The spotting color is now ready for use .
In spreading the pigment , the brush has become too heavily charged , so moisten it again and wipe it dry on a blotter . The spotting card and brush are now . ready for use . The next time you spot , start at this stage .
Moisten the brush slightly and touch it to a lightly pigmented area of the spotting card . Pick up some pigment with a slight rolling motion ; this motion will also cause the hairs to stick together in a very fine point . Hold the brush almost vertically and touch it lightly to the spot you wish to eliminate , as shown in Figure 42. Repeat this procedure , each time covering a very tiny area of the spot until disappears . Apply only a tiny amount of pigment at a time . Don't try to match the density of the color to the print density around the spot . At your first application of color , the spot will be darkened only a trifle . Build up density little by little with repeated applications of color until the spot finally disappears .
If you have moistened the brush the right amount it will be dry in a few seconds . Moisten it again , recharge it , and continue spotting . The correct amount of moisture on the brush is important . If the brush is too wet , the color will smear without sticking to the paper . If it is too dry , it won't transfer its pigment .
Figure 42 Spotting with brush and spotting pigment .
SPOTTING WITH DYE . Slightly larger areas can be spotted with dye , although some photographers use dye for all their spotting . There are a number of spotting dyes which are specifically ntended for this purpose . They generally come in three colors - dark blue , neutral black and brown . You can mix them in suitable proportions to match the tone of any print . The proper technique of mixing and applying the dye to a print depends to a large extent upon the particular dye you use , so follow the manufacturer's instructions carefully .
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