Mr. Brecken of Pittsburgh, one of the pioneers of Home Portraiture, gave some good advice at the recent Convention of the Photographers' Association at Baltimore. ''The speed with which you work is a very great question," said Mr. Brecken. "Fifteen minutes is long enough for any sittings I have ever made in a home. Most people complain of the amount of time spent by home portraitists, and grumble at the inconvenience of having their homes torn up and left in disorder. That brings out another point. Leave things as you find them; know what you are going to do, get it done, straighten up and get out."

A Suggestion StudioLightMagazine1918 194

FROM AN ARTURA IRIS PRINT

By Lauritz Bros. Los Angeles, Cal.

FINISHING THE ENLARGEMENT

One of our readers puts the question like this: "You've said enough about making enlargements - how to make them, why one should make them, etc., but there is one article you have not published, at least I have not seen it, and that is, how to mount or finish the prints to make them most attractive." That's a pretty big question but there is an answer and we will try to give it.

The one thing that should never be done is to deliver an enlargement that doesn't look finished. You wouldn't think of delivering an order of contact prints in such condition that your customer would have to find mounts or folders for them before they presented a finished appearance. No more should you think of allowing an enlargement to leave your hands until it is a finished piece of work.

There are as many ways of mounting enlargements as of mounting prints, but if they are of fairly good size they look best framed. But stop, look and listen. If you sell frames, don't try to hook the customer. Let the wind blow the bait in his mouth.

It seems natural for a customer to shy away from enlargements when you suggest frames. Let some of your nicely framed enlargements suggest frames, but finish them ready for delivery without frames and you will then be able to sell frames all the more easily.

The style of the enlargement will depend to a great extent upon the size of the original contact prints. If your customer orders half cabinet prints, suggest and show samples of ten or twelve-inch enlargements which can be mounted the same as 8x10 prints.

If, however, your customer has ordered 6x8 or 8xl0 contact prints, the enlargement you would most likely sell would be about sixteen or twenty inches, which is larger than is ordinarily mounted.

Enlargements of this size are most attractive when made with white margins and plate-sunk centers, using a buff stock such as Grade E Carbon Black Artura. Drop into an Art Dealer's store and look at a few etchings and you will get a good idea of the effect of the margin and plate-sunk line.

Trimming and masking has everything to do with such prints. Very good proportions for panel shaped masks are 6 x 9, 7 x 10 1/2, 8x12, 9x13, 10x14 1/2 etc. For a 10 x 14 1/2 inch print the top and side margins can be 2 inches and the bottom 3 inches. Always make the lower margin greater than the sides or top. Some prefer the top margin slightly greater than the sides, but it should never equal the margin at the bottom. If it does, the lower margin will look the smaller of the two and the effectiveness of the print is lost. A 10 x 14 1/2 print with margins would be 14 x 19 1/2 inches.

A Suggestion StudioLightMagazine1918 196

FROM AN ARTURA IRIS PRINT

By Lauritz Bros. Los Angeles, Cal.

Making the plate-sunk center is very simple. The line should be from 5/16 to 1/2 inch from the margin of the image, depending on the size of the print. For a print with a 9 x 13 size image with 3/8 inch margin, the cardboard form for making the plate-sunk line should be cut 9 3/4 x 13 3/4 inches, exact.

Placing the cardboard form in position to emboss the line may be done in several ways, but the simplest way is the best. Place an electric lamp inside a box with a piece of plate glass over the open top, lay the print face down on the glass, and with a ruler and pencil draw a line on the back of the print exactly 3/8 of an inch beyond the edge of the image. The light makes the print sufficiently transparent. Now lay the cardboard form on the glass and the print on top of the form, carefully adjusting it until the pencil lines register with the edges of the cardboard form underneath. Hold the print in place while you run a blunt edged tool along the back to press the print over the edge of the cardboard. The cardboard form should be made of about five-ply stock.

The result you get gives the print a finished appearance, and such a print can be delivered in a folder or not, as you like. Mounting solid removes the embossing, but the prints do not need to be mounted for framing.

In framing such prints do not make the mistake of using a heavy frame. One-half or three-quarter inch is best for small sizes and one inch for fairly large sizes. A heavy frame is not suitable when a picture has sufficient margin to give it a background.

If you wish to mount enlargements and are unable to secure suitable mounts for prints of medium size, make them yourself. The mount should not be too dark, the prevailing tone of the enlargement being the deciding factor. Double mounting is the most effective. For prints of medium or dark tone a light underlay is best but it should seldom make more than a one-quarter inch line around the print and should never be glaring in its brightness. Grey or brown mounts with light grey or buff underlays for the prints make good combinations.