This section is from the "Studio light a magazine of information for the profession 1918" book, by Sara F. T. Price. Also see Amazon: Studio light a magazine of information for the profession 1918.
The reticulation of the surface of negatives is often a source of trouble to photographic workers. The trouble is most likely to occur in hot weather and is generally produced after fixing, and either during or just subsequent to washing.
The wet gelatine emulsion becomes more or less finely wrinkled or corrugated, the network of puckers forming a pattern which generally extends over a part or all of the negative.
Reticulation sometimes occurs under certain conditions when intensifying with mercury, and also when negatives are placed in a close, warm room to dry. There is no remedy for reticulation once it has taken place, but the ounce of prevention will be obvious, once the phenomenon has been explained.
As will be seen from the illustrations 1, 2 and 3, the grain of reticulation may vary considerably from very coarse down to very fine, and even microscopic dimensions. This reticulation is only slightly modified after drying. It will also be seen from the illustrations that reticulation on a developed plate causes the silver deposit to undergo a redistribution along with the reticulation of the gelatine, the silver grains collecting in the raised portions and leaving the valleys or troughs between, fairly transparent.
The instruction will cover the making of negatives under the light, using both artificial and daylight, and the accompanying dark-room instruction. Most women who have seriously taken up such work have been successful and Mr. Lively expects to be able to make the photographers' wives who come to his school competent to take charge of their studios, make sittings and successfully conduct their studios during the absence of their husbands.
This offer is the loyal, unselfish contribution of a big hearted man whose only idea is to help win the war by making the wives of soldier photographers efficient and independent. Their husbands will be better soldiers, knowing their business is in good hands, and studio help, which is so hard to get, will be conserved.
The two weeks course will begin October 7th and those who wish to avail themselves of this opportunity should advise W. S. Lively, McMinnville, Tenn., so that arrangements may be made and accommodations secured.
The dependable developer.
The Acetic Acid Fixing Bath is the best fixing bath ever found for developing-out papers and it has been one of the most abused baths used because it would stand a lot of abuse.
It can not be expected that a substitute bath will stand the same abuse, though with reasonable care the Chrome Alum bath recommended in the June number of Studio Light will work fully as well.
The precautions necessary with this bath are to have prints as free from developer as possible in order that no more alkali than necessary be carried into the fixing solution. Rinse prints quickly but very thoroughly after devel-ment, and when they are placed in the fixing solution, face up, see that they are kept moving and the fixing solution allowed to reach every portion of the print's surface during the first few minutes of fixing.
The Chrome Alum bath does not stop the action of the developer as quickly as the Acetic Acid bath, and if the above precautions are not taken - if prints matt together or air bells are allowed to form on their surface or if they are not continually covered with the solution, they will be stained, streaked or spotted.
Home on a furlough - the very chance you have wanted to get his portrait.
Make an appointment for your sailor or soldier to-day.
THE PYRO STUDIO
Line cut No. 255. Price, 50 cents.
FROM AN ARTURA IBIS PRINT
By Lauritz Bros. Los Angeles, Cal.
STUDIO LIGHT INCORPORATING THE ARISTO EAGLE ESTABLISHED 1901 THE ARTURA BULLETIN ESTABLISHED 1906 Vol. 10 OCTOBER 1918 No. 8