As a satisfactory method of mounting photographic prints on metal is not generally known, the following method may be of interest to many commercial photographers.

Prints may be mounted on metal either with a strong solution of shellac in alcohol or with Kodak Dry Mounting Tissue, the latter method being most convenient in most instances.

The solution of shellac is prepared by soaking powdered orange shellac in grain alcohol and stirring at intervals until a thick solution of the nature of thick syrup is obtained. This should be allowed to settle and the clear liquid poured off. This clear solution is applied to the back of the print in the same manner as photo paste and the print then pressed into contact with the metal. The cement dries very quickly and when dry is not affected by moisture.

In mounting prints on metal with Dry Mounting Tissue, it is necessary to first heat the metal to a temperature slightly under the softening point of the tissue. If an attempt is made to mount the print on the cold metal the tissue will adhere to the print but not to the metal. This is because the heat is rapidly conducted away by the cool metal.

When working with loose metal plates it is only necessary to place the plate in the mounting press for a few seconds, then place the print and tissue in position and again place in the press. If the metal on which the print is to be mounted is of such a shape that it cannot be placed in the press, it may be heated by means of a flatiron, the tissue and print placed in position and covered with a light card and the iron again applied to mount the print.

If the metal is too hot the adhesive properties of the tissue will be destroyed, but there is considerable latitude in working the dry mounting process. The tissue will adhere at temperatures ranging from 120° F. to 150° F. so that if the metal is heated to a temperature slightly below, and the press to a temperature slightly above this, success in mounting is assured.

Portrait by Benjamin Paris, France.

Portrait by Benjamin Paris, France.

Prints can be mounted successfully either on a polished or dull surface provided it is free from grease. In order to be sure of this the metal should be washed with soap and water and dried before prints are mounted.

June. Our Illustrations

The majority of photographers in the United States may not be aware of the fact that one of the leading professional photographers of Paris is an American, Mr. Benjamin, formerly of Cincinnati, Ohio.

Mr. Benjamin went to Paris in July, 1906, but had considerable difficulty in finding a suitable location. After several months' search he secured a vacant studio in the most exclusive business section of the city and only a block from the world famous "Place de la Concorde.

After locating himself he was compelled to wait four months for his first client, but in spite of the fact that he was almost totally ignorant of the French language, at that time, and had no influential friends, he did not allow himself to become discouraged.

He was certain that the French with their artistic nature would appreciate his quite new conception of photography, so he stuck to his venture in the face of these odds. He went to Paris to succeed and the results of his work have come up to his expectations.

Mr. Benjamin is averse to newspaper advertising and one would look in vain for publicity regard-ing his work in any of the French papers. His friend, Mr. Julius C. Strauss, the St. Louis photographer, said to him one day, "Do not attempt to make your business through your friends but make your friends through your business," and this advice has, in a great measure, been responsible for his success. He proudly asserts that every one of his patrons is his friend and one could not wish for a more solid foundation for success.

Mr. Benjamin uses Eastman products exclusively and prefers these papers and plates to any others. He is a great admirer of Eastman Portrait Film and uses this product exclusively for home portrait work. We regret that the half tone process fails to correctly reproduce the wealth of detail and the warmth and transparency of the shadows that are seen in the original prints. The work, however, is excellent and will be of interest to our readers because it is from the studio of a man who has been successful abroad as well as at home.

June. Bulletin: The Eastman School Of Professional Photography For 1917

San Francisco, Calif. . ...... June 12,13, 14

Portland, Ore............ June 19, 20, 21

Seattle, Wash............ June 26, 27, 28

Spokane, Wash. ... ....... July 10, 11, 12

Butte, Mont............ July 17, 18, 19

St. Paul, Minn............ July 24, 25, 26


Artura Iris Print, From Eastman Portrait Film Negative By Barnum Studio Cincinnati, O.

Artura Iris Print, From Eastman Portrait Film Negative By Barnum Studio Cincinnati, O.