ENLARGING The commercial studio is called upon to make enlargements, oftentimes in quantities, wherein the quality has to be above reproach and yet speed is a factor. Therefore, the best equipment obtainable and conveniently arranged, is a mighty good investment.
Here, as in copying, different lighting systems may be employed, but an arc lamp with condensors is by far the speediest equipment we now have. Just how speedy this is depends upon the power of the lamp. There are some in use so speedy that you can make an enlargement on carbon green developing paper in 10 to 15 seconds. Those of you who have used carbon green paper know what that means, but it is not generally necessary to have as speedy an outfit as that.
Figure 65 shows an arc lamp with reflecting cone—an arrangement in use a good deal, as it is fairly fast and allows the use of 11 x 14 negatives, as well as 8 x 10 and smaller, without the expense of large condensers.
Figure 66 represents an outfit that is coming to the front pretty lively, and that is the Cooper Hewitt mercury tube (M). This outfit is very good, indeed, for 8 x 10 and under, and is quite speedy and very economical on current. In enlarging from 11 x 14 negatives though, the H type of tube, that is, two vertical tubes side by side, must be used as the M type does not cover larger than 8 x 10.
The Mazda lamps and multi-mirror reflectors are also used, but for most commercial work they are really too slow.
With any of these lighting systems, it is far preferable to have the light on the outside of the dark-room, for it is then'easier to have a light-tight outfit. Especially is this an urgent need when making large negatives from small transparencies.
I have often noticed photographers working with a make-shift lighting apparatus for their enlarging. Lamps covered up with oil cloth, cloths, card board, etc. This is not only dangerous, but extremely detrimental to the quality of the finished product, extraneous light hitting the paper during exposure.
Figure 67 shows a very handy and convenient enlarging camera—the revolving back F. & S. enlarging camera. This revolving back feature is really
quite a saving in time, as it enables one to put the paper on to the board or into a frame and then turn the image to fit it. I think that is the one big feature that recommends this apparatus.
If you are in a building where there is vibration and are making fairly big enlargements, you will notice a considerable improvement if the entire enlarging outfit is constructed on a heavy frame-work and the whole suspended from the ceiling by springs. This vibration is one of the greatest difficulties photog raphers have to overcome, especially those in downtown buildings which also house printing plants and other concerns operating big presses, as the vibration of the building makes it practically impossible to get sharp, clear-cut enlarge ments. The expense in this connection, which is very nominal, will be easily offset by the improvement in quality of work and the elimination of waste.
In certain of the large studios, where a lot of enlargements are made—and speedy—they use a large printing frame mounted on hinges to hold the paper during exposure, and the lens safety cap is generally on a hinge also, but, for the ordinary place, the large easel, with room for extensions in both directions, does very well, but be sure to have plenty of room, as a 40 x 60 enlargement is nothing unusual for the commercial man. Just a little point here. Sometimes, in cramped quarters, it is practically impossible to develop 40 x 60 and similar sizes of enlargements in trays. They can be developed directly on the board after exposure, or they can be developed on tables or on the floor, of course, using oil cloth underneath, and soaking them up first with water, then applying the developer followed by a short stop. This method effects a big saving in developer as it can be swabbed on with a piece of cotton, although the enlarge ment must be tuned just right so as not to develop too rapidly.