ENAMELLING PRINTS (Fr., Emaillure ; Ger., Emailleiren) The process of enamelling prints must not be confused with burnishing, and other methods of glazing. Enamelling proper with collodion gives the highest possible gloss. The method described below is suitable for all kinds of prints, but particularly for collodion prints : Procure some commercial collodion specially made for enamelling, or make according to the instructions given under " Collodion, Enamel," Thoroughly clean a glass plate, rub it over with a little warm wax or vaseline, polish well with a soft cloth, apply a thick coating of the enamel collodion, and allow to set thoroughly. Coat the glass evenly and out of the way of dust. This coating is to be transferred to the face of the print. By the aid of gentle heat, make a solution of gela tine in water (20 grs. tor oz.), and slip the collo dionised glass plate film upwards into the warm, not hot, gelatine solution ; immerse a dried print also in the gelatine solution face down wards, allow it to soak, bring glass and print into contact, film to film, lift out and squeegee thoroughly until no air-bells are left, and then set up to dry. When quite dry cut round the
edges of the print (through the collodion) with a sharp penknife, lift by one corner, and strip from the glass. If properly done, the print will come away easily, bringing the collodion sur face with it.
As the collodion (enamel) surface is easily dulled if not mounted with a quick-drying mountant, it is the practice of some workers to back the print before or during enamelling with waterproof paper or thin Bristol board, so as to permit the use of any mountant. A good method is to soak the unmounted print in gelatine, squeegee upon the collodion plate, and then immediately after, while the print is wet, to squeegee waterproof paper or thin Bristol board on to the back of the print, using gelatine as the adhesive. When the print and mount are dry they can be stripped from the glass like an unmounted print, and then be trimmed and mounted.