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.
Trimming Wet Prints. If you desire to mount prints solid, without previously drying, they may be easily trimmed, while wet, in the following manner:
1220. Take a square sheet of glass, wet it and place the prints face down upon it. Turn the glass over so the prints will be on the under side, face up. Move prints to the edge and to one corner of the glass and square these two corners by cutting with a pair of shears. With these two corners squared, slide the print to the opposite corner of the glass and square the remaining two edges in a like manner. As fast as the prints are trimmed, place them back in the tray of water until all are trimmed.
Commercial Mounting. Studio work as a rule, requires mounts of different sizes, of variety of styles, and sizes and shapes of openings. All the different mounts employed should be collected and laid on the mounting table ready for use.
Pasting. To come down to the dry details of pasting the print, there is fresh starch paste, or the Higgin's Prepared Photo Paste, an excellent and ready-for-use preparation for ordinary mounting of prints. For commercial purposes, however, and where a great deal of mounting is done, as in a studio, fresh starch paste is the best and most economical. The good mountant must stick well and promptly and not affect the print, either chemically, mechanically, or by discoloration.
"JANET" Study No. 22 By Elizabeth Flint Wade
Illustration No. 30
Illustration No. 31 Mounting Prints.
See Paragraph No. 1225
Starch Paste. The following formula will make a good starch paste:
To one-half pint of water add one tablespoonful of common gloss starch. Dissolve the starch in the water and place on the stove to cook, stirring constantly until it begins to thicken to a thin jelly. Then remove from the stove, but continue stirring for a minute or so until all the lumps are dissolved. Set aside to cool. When cold, strain through cheesecloth. Gather the ends of the cheesecloth in one hand, slipping the other hand over the paste and thus squeeze the paste through the cheesecloth, when it will be ready for use.
1224. The above amount of paste will be sufficient to mount from 75 to 100 cabinet prints, or their equivalent.
Mounting The Prints. Lay out the prints on a large glass plate, or smooth board covered with oil cloth. Arrange them face side down. Place them in rows, first one row at the upper edge of the mounting board, then a second row slightly overlapping the former, with the third overlapping the second, and so on until the entire board is covered. Mop off the excessive water by placing a blotter on the prints, rolling over with the print roller (See Ilustration No. 29) until all surface water is removed, then apply with a bristle paste brush to the back of the prints any ordinary starch or prepared paste. Pick the print up at one corner, bringing the paste side in contact with the mount. (See Illustration No. 30.) Next place a clean blotting paper over the print, on the mount, and rub down with a print roller until the print is in perfect contact with the mount. The print should then be placed in the rack to dry. Always be careful to wipe off superfluous paste which may be on the face of the print. Do this with a soft sponge. (See Illustration No. 31.)
1226. When dry, shape the mounted print by running it through a cold burnisher. Any imperfections in the iv - 22 finished print may be corrected by spotting, using a fine sable brush and spotting color or India ink. Care should be exercised to select mounts which harmonize with the tone of the print. If sepia prints are to be mounted, any shade of brown, or some of the deeper reds, may be used. These mounts would not suitable for black and white tones however. For black and white prints shades of gray, carbon black, buff or cream color may be successfully used.
1227. Double weight papers may be mounted solid, but are better mounted in folders. A most artistic method of making prints with double weight paper is to use a sheet considerably larger than the negative to be printed from. This necessitates the use of a larger frame. For a 4 x 5 or 5 x 7 negative a 6 1/2 x 8 1/2, or 8 x 10 printing frame should be used. Use a piece of clear glass the full size of the frame, fastening the negative to the center of the glass with strips of gum paper. Cut a mask of opaque paper the full size of the glass, and from the center cut an opening at least one-quarter of an inch smaller than the size of the negative. Place the mask in the printing frame between the paper and the negative, printing and developing the exposed paper in the usual manner. This will produce a print having wide, white margins. When thoroughly dried and straightened, by using an embossing board, an imprint or counter-sunk margin about half inch from the edges of the print will give the effect of an etching, or engraving. Enclosed in a folder mount, made of cover paper of desirable tone, the result will be as artistic as can be produced.