My sense of the rightness of things compelled me to walk over to the mantel and try to set up a photograph that had tumbled over. It was my own home so I had this privilege, but it was very little good it did me.

That photograph simply would not stand up. It was a good photograph by a good photographer, but so far as its purpose as an ornament in my home was concerned, it was a dismal failure.

But that wasn't the worst of it, as I was soon to see. I chucked the photograph into a drawer to get it out of sight and found that it wouldn't even lie down. If I placed it under other articles in the drawer it humped up its back like a bucking broncho and everything slid off its back. If I placed it on top I found I couldn't close the drawer so there was nothing to do but sandwich it in between the books on a library shelf where it was least likely to be disturbed or to disturb others.

That wasn't a very happy fate for a very good photograph by a very good photographer. Of course I might have had it framed and so kept it flat, but I didn't have the inclination to spend the money for a frame. And the same applies to hundreds of people who come into possession of the photographs that are made in your studio and that are supposed to stand up as an advertisement for your workmanship.

How can it be avoided? Not by the use of heavy mounts for they are not popular, and not by the general use of frames for you can't sell a frame for every picture you make. There is a very simple solution, however, dry mounting.

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PORTRAIT FILM NEGATIVE, VITAVA PRINT

By Francis J. Sipprell

Buffalo, N. Y.

But dry mounting is a little trouble, you say, and we admit it. Anything that is worthwhile is a little trouble, but isn't it worth the trouble?

If you could go into the homes where your photographs go, and see the condition of many of the prints that looked fine when they left your studio, you would probably say, "Yes, it is."

Any print with a gelatine surface will eventually curl if it is not mounted properly - if it is not mounted solid - and you know it is not practical to mount prints solid on thin mounts except by the dry mounting process.

A number of photographers are using the dry mounting process and if you could talk to them you would find them enthusiastic about the results. They couldn't be persuaded to give it up. They know that the print that stands up and keeps its good appearance is a good advertisement, while the one that curls up is not.

Possibly you have noticed the prints in our convention exhibits and perhaps you have inquired as to how they were mounted. Even the largest of them are dry mounted and invariably they are in folders or on medium thin mounts.

Considering the satisfactory appearance of these dry mounted prints and the increased satisfaction they will give to your customers, to say nothing of then-advertising value, the bother or expense of dry mounting is negligible.

The principle of dry mounting may be interesting to those who have never used the process. An extremely thin tissue is coated with an adhesive made from gums that dry quickly and melt when heat is applied. This tissue makes moisture of any kind unnecessary, and it is moisture that causes the print, first to expand, then to contract and curl the paper support or even the cardboard on which it is mounted.

The print must be thoroughly dry before it is mounted so that it may be sufficiently heated to melt the mounting tissue. A piece of dry mounting tissue is tacked to the back of the print by pressing it into contact with an electrically heated tacking iron. This merely fastens the tissue to the print so that the print and the tissue can be trimmed at one operation.

The print is then laid on the mount or folder, a corner is turned up and the hot iron slipped under and pressed against the tissue to tack it to the mount, the idea being to have all of the prints that are to be mounted securely attached so that no further adjustment of the print on the mount will be necessary.

When all of the prints are ready for mounting they are placed in a heated dry mounting press, one at a time, unless they are small enough to place side by side. A thin cardboard is placed on top of them and the heated platen brought into contact.

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PORTRAIT FILM NEGATIVE, VITAVA PRINT

By Francis J. Sipprell

Buffalo, N.Y.

In a few seconds the pressure is released and the prints will be mounted, flat and solid, without curl or cockle of the thinnest mount. And they will stay that way. They may be double mounted, if desired, and in the second mounting they may be tacked only at the top or corners, as desired. In fact, they can be mounted in exactly the same way that you are accustomed to mount your prints with paste or glue, with the one exception - they must be mounted solid on at least one mount surface to make them lie flat and hold their shape.

Dry mounting water proofs the back of the print and the mount and keeps out moisture which is the greatest enemy of the gelatine print. And this, in a large measure, is responsible for the lasting good appearance of dry mounted prints.

An electrically heated press and tacking iron is made specially for this form of mounting, though it may be tried out with an ordinary electric iron, in which case the print is covered with a sheet of paper instead of cardboard and the print pressed into contact without sliding the iron. With the press, which has an 11 x 14 platen, larger prints may be mounted by placing one corner or one end of the print in the press and by repeated impressions mounting a print several times the size of the platen.

It is much easier to dry mount a print and it is done more quickly than it is possible to explain the process. And it is an interesting fact that those who have actually used this form of mounting could not be persuaded to give it up.

This matter of making the good appearance of your prints a lasting satisfaction to your customers is really of too great importance and too great advertising value for you to give it only a passing thought. Look into this method of mounting, apply it to your own work and you will find it decidedly worthwhile.

A fixing bath will dissolve the unexposed silver in a negative and so insure its permanent quality only so long as the hypo retains its strength. When fixation requires double the normal time, discard the bath for a fresh one.

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PORTRAIT FILM NEGATIVE, VITAVA PRINT

By Francis J. Sipprell Buffalo, N. Y.

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At graduation time your friends expect your photograph.

Phone Maine 245 today for an appointment.

The photographer in your town

THE SMITH STUDIO

Line Cut no. 309. Price 30 Cents

How To Make A Good Print Keep Its Good Looks StudioLightMagazine1923 106

FROM A PORTRAIT FILM NEGATIVE

"Lotus" By Monte Luke Sydney, New South Wales

STUDIO LIGHT INCORPORATING THE ARISTO EAGLE ESTABLISHED 1901 THE ARTURA BULLETIN ESTABLISHED 1906 Vol. 15 MAY 1923 No.3