The kind of paper to use varies, of course, with local demands, but the average-commercial studio is making enlargements for reproduction, when the xx.P.M.C., No. 4 (glossy) is considerably used while the No. 5 (matte surface) makes a very nice paper for photo-retouchers and artists to work upon. These two papers are probably the most used, but Monox also is in demand as are also the enlarging Chloride papers such as Cyko enlarging and Artura Carbon Black.
The making of good bromide enlargements is really an art by itself. Several years ago I came on to a man who was really a genius in this line and who showed me its possibilities. I think the one best tip that can be given on enlarging is not to over-expose, keeping in mind that, with bromide paper, the image does not appear as rapidly as with chloride paper and the result of over-exposure is a poor gray and greenish black, one of the complaints we have heard of bromides for years. But with the proper exposure and developed to the limit, you will get brilliancy and nice blacks, with plenty of control.
Just a word about negatives. Negatives for enlargement should be not too dense, but rather brilliant, or a little snappy, but not mitrasty. If they are copy negatives, still more care must be used. For instance, a negative that would make a good print on Azo Hard Mediutn, the chances are, will make a good enlargement.
As to developers. Amidol developer. to mv mind. is really the one best developer for commercial enlarging, as it gives better blacks and cleaner whites. I never cared to use a metol or inetol hydrochinone developer for enlargements.
These modern metol substitutes give some nice enlargements, especially Fredol, when diluted.
I have gotten excellent results from Fredol under the following formula.
To the above formula I add a f ew more drops of saturated solution of bromide than called for and it certainly gives beautiful enlargements on P.M.C. paper and Royal Bromide, but the image should not appear for 1 y2 to 2 minutes for really good enlargements and development should be carried to the limit.
A discouraging factor in working certain brands of paper in the summer time is that of blisters. There are so many causes for blisters and they have been described in other places, that I am only going to touch upon one point that I know has helped quite a few people, and that is to use as a preservative metabisulphite or bisulphite in the fixing bath.
There are times when you are asked to mount big enlargements. There seems to be no mounting board large enough, so these enlargements are often mounted directly on to compoboard or heaver board, which solves the problem very nicely—it is not heavy, yet it holds its shape.
At other times, you are asked to mount them on cloth on what are known as stretchers for artists. The correct procedure on a job of this kind is to tack muslin on to the stretcher, beginning at the middle of either end and the middle of either side and then work towards the corners until it is absolutely smooth and taut in all directions. When this is done, take a sponge fairly wet and quickly wet the cloth, rubbing it in both directions and get it wet evenly. Let it dry a little, then apply your paste, and then the pasted enlargement, bringing both in contact by rubbing with a sponge or piece of cotton. If this is done as above, the enlargement will neither buckle nor cockle.