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تركيب المطبوعات .. المعالجة والطباعة .. كيفية التقاط وتطوير الصور بالأبيض والأسود
MOUNTING PRINTS
With the final enlargement made , and spotted or retouched as necessary , you can begin to think of how to display it to best advantage . While one alternative is to leave prints loose in a box or folder , this is little protection against hand- ling . For your best prints , consider an album or an individual mount .
In a photographic album , the paper and board should be of archival mater- ials ( some papers , and most adhesives , give off volatile compounds that will , in time , cause the image to fade and discolour ) . For this same reason , avoid stick- ing prints to paper with glue or double - sided adhesive tape . Instead , use either an album in which the pages have glassine covers that hold prints in place , or use paper corner mounts .
For a more prominent display , however , a print needs to be mounted on board . There is a special technique for this , using dry mounting tissue ( this is archivally sound ) and some kind of heated press . A proper press is ideal , but is also an additional expense ; if you do not think its cost is justified by the number of prints you intend to mount , it is possible to make do with an ordinary household iron .
EQUIPMENT AND MATERIALS
You will need : a packet of dry mounting tissue or a photographically inert cement ( Kodak , for instance , make both ) ; mounting board , also photograph- ically inert ; a dry mounting press and tacking iron , or else a household iron set to the lowest level for a synthetic fabric ; a rotary print cutter , or a sharp blade ( a craft - knife or a scalpel ) used with a metal straight - edge and setsquare . For
Although you can buy your own hot - mounting press , they are fairly expensive . You may wish to have your favourite prints mounted professionally .
BELOW Before investing in the materials or making an enlargement for display , decide upon how large you wish the print to appear within the frame . As can clearly be seen here , changes in size between print and frame can have a dramatic effect upon the impression the print gives .
making overlay frames , a mat cutter is ideal , as this can be set to make an angled cut . Thin cotton gloves protect the print's surface from finger grease .
TRIMMING THE PRINT
This is only necessary if the print is to be displayed without an overlay frame - in other words , if the edges of the print are to remain visible . Also , if you take sufficient care in arranging the easel masks when printing , and make sure that the paper is located securely , you may not find it necessary to trim off the borders later . If you do need to trim the print , however , a rotary cutter makes the process very simple . Again , because it is an additional expense , if you expect to be making only a few prints , a blade , straightedge and setsquare will be adequate . With either a rotary blade or a craft knife , sharpen the edge regularly , or have it done professionally as necessary . Paper dulls blades very quickly .
Using a craft knife , cut over a thick piece of mounting board to protect your worktop , but move the straight - edge each time you cut to avoid running over previous incisions in the board ( these can catch the blade and deflect it ) . Use the setsquare to ensure that the angles between the edges are at exactly 90 degrees , but cut against the metal straight - edge held next to it .
COLD MOUNTING
Use only an adhesive that has been made specifically for mounting photo- graphs , or it will make the image deteriorate in time . There are no special procedures , but it is usually necessary to press the print and mounting board flat under some heavy books after the adhesive has been applied .
ABOVE An exploded view of the standard glass - fronted frame ; avoid using glue or double - sided tape when mounting the print within the frame as this may eventually fade or discolour the print .
MOUNTING PRINTS
With the final enlargement made , and spotted or retouched as necessary , you can begin to think of how to display it to best advantage . While one alternative is to leave prints loose in a box or folder , this is little protection against hand- ling . For your best prints , consider an album or an individual mount .
In a photographic album , the paper and board should be of archival mater- ials ( some papers , and most adhesives , give off volatile compounds that will , in time , cause the image to fade and discolour ) . For this same reason , avoid stick- ing prints to paper with glue or double - sided adhesive tape . Instead , use either an album in which the pages have glassine covers that hold prints in place , or use paper corner mounts .
For a more prominent display , however , a print needs to be mounted on board . There is a special technique for this , using dry mounting tissue ( this is archivally sound ) and some kind of heated press . A proper press is ideal , but is also an additional expense ; if you do not think its cost is justified by the number of prints you intend to mount , it is possible to make do with an ordinary household iron .
EQUIPMENT AND MATERIALS
You will need : a packet of dry mounting tissue or a photographically inert cement ( Kodak , for instance , make both ) ; mounting board , also photograph- ically inert ; a dry mounting press and tacking iron , or else a household iron set to the lowest level for a synthetic fabric ; a rotary print cutter , or a sharp blade ( a craft - knife or a scalpel ) used with a metal straight - edge and setsquare . For
Although you can buy your own hot - mounting press , they are fairly expensive . You may wish to have your favourite prints mounted professionally .
BELOW Before investing in the materials or making an enlargement for display , decide upon how large you wish the print to appear within the frame . As can clearly be seen here , changes in size between print and frame can have a dramatic effect upon the impression the print gives .
making overlay frames , a mat cutter is ideal , as this can be set to make an angled cut . Thin cotton gloves protect the print's surface from finger grease .
TRIMMING THE PRINT
This is only necessary if the print is to be displayed without an overlay frame - in other words , if the edges of the print are to remain visible . Also , if you take sufficient care in arranging the easel masks when printing , and make sure that the paper is located securely , you may not find it necessary to trim off the borders later . If you do need to trim the print , however , a rotary cutter makes the process very simple . Again , because it is an additional expense , if you expect to be making only a few prints , a blade , straightedge and setsquare will be adequate . With either a rotary blade or a craft knife , sharpen the edge regularly , or have it done professionally as necessary . Paper dulls blades very quickly .
Using a craft knife , cut over a thick piece of mounting board to protect your worktop , but move the straight - edge each time you cut to avoid running over previous incisions in the board ( these can catch the blade and deflect it ) . Use the setsquare to ensure that the angles between the edges are at exactly 90 degrees , but cut against the metal straight - edge held next to it .
COLD MOUNTING
Use only an adhesive that has been made specifically for mounting photo- graphs , or it will make the image deteriorate in time . There are no special procedures , but it is usually necessary to press the print and mounting board flat under some heavy books after the adhesive has been applied .
ABOVE An exploded view of the standard glass - fronted frame ; avoid using glue or double - sided tape when mounting the print within the frame as this may eventually fade or discolour the print .
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