This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
Introduction. The majority of matte surface printing-out papers are coated with collodion. The general treatment of the manipulation of this class of papers is similar to the glossy surface papers, but the printing is carried deeper into the emulsion instead of simply on the surface. While in many respects the manipulation is similar to that of glossy papers, yet as each operation differs slightly, exactly the same methods of procedure cannot be employed. The previous instructions on the manipulation of glossy papers will materially aid you in handling matte surface papers. In order to obtain black or carbon effects it is necessary to tone in two baths and because of this double toning, the printing, washing and toning in the gold bath are somewhat different from the instruction given in the preceding chapters.
Printing Quality Of Negative For Matte Prints. The negative having the proper printing quality for this class of paper should be clean, clear, soft and brilliant, and above all have pluck and roundness. A fully timed correctly developed negative, will enable you to produce a perfect print on almost any class of paper. We have found that many negatives are spoiled by not being developed far enough, many thinking that a half-developed plate is meant when a soft negative is spoken of. The negative must be developed far enough to have body and strength, in order to hold roundness and brilliancy under the printing light. If the negative is developed so thin that the arch of the highlight has not strength enough to hold up under the printing light, you will never be able to produce anything but a flat, disappointing print, on any kind of paper. A good printing negative is not always beautiful to look at, but will produce perfect prints. Beautiful negatives often produce disappointing results, i. e., prints that lack the solidity so essential for good printing quality.
140. There is a vast difference of opinion as to what constitutes a first-class negative, but all printers will agree that the best negatives are those which give the best results under the printing light. The beautiful catchy highlights on the drapery and face which appear in the negative must show in the print. The color of the negative has much to do with the final results; therefore, the producing of the right kind of a negative depends largely on the developing agent used in making it. The best negatives we have found to accomplish this result have been developed with pyro. While other developing agents produce beautiful negatives, they do not seem to supply the solidity necessary for the production of vigorous prints. For this reason we recommend pyro as a developing agent. The negative after all is only the means to the end, and if it does not accomplish that end it is not desirable.
Printing. Matte surface papers should be printed until the highlights are well tinted. Pay no attention to the shadows, no matter how much they bronze. There is but little danger of over-printing, so do not be afraid of printing too deep.