PREFACE. “The developing process simple and the general principles ‘easily understood, Get acquainted with the action (on the paper) of the diferent chemicals used in the manipulation, and you will be able to produce effects to suit all tastes. ‘The importance, also, of proper exposure, should not be overlooked, a it is possitle to destroy all ofthe best qualities of the print by making exposures beyond the latitude of the erer. ‘The object of this booklet is to assist the photographer to work inteligently toward any desired end and produce the most important of all things— RESULTS. In the production of Artura, we place in your hands a high-grade product of recognized quality ‘Bear in mind that the best revels are always obtained by the careful and thorough workman. Careless workman- ship and excellence are no relation,Artura Emulsions sre unequaled for quality, richness, transparency, cleanliness, and uniform excellence Coated on the best imported linen stocks. Our tong experience in the manufacture of developing papers exclusively has resulted in perfect production INDEX. Backing Prints = = + S543 Bhe Tones = = + = = 35 Brownish Stats = = = 34 ‘Chemical Action of De- weloper == = = = = 8 Dark Spots = =< = 3435 Developer Formulae = 1637 Development - = + = 13 Doo'tg = = = - 4s Drying «+ - = 1578-39 Exposure = = - - 353030 Fenrotyping = = = 2 Finn = = + = > 193033 Fixing Bath Formula = 18 Fogged Prints = + =~ 35 Iris Toning Bath > = ig30 Irvegular of Patchy Development == - - 35 Keeping Qualities << _ yo Modifying Developer = 2930 Muddy Tones - = = = 35 Pinkish or Purplish Stains 34 PostCards = - - = = e Prepared Chemicals = - 7 PriceLists - gS-uogo-stsz Printing Contrast = - = 9 Printing Speed > > 73 Rinsing Before Fixing — 14 Saturated olution - = = 36 ‘Scum on Prints = - - 35-36 Sepia Tones - = = = anna. 24 25-2627 ShonSwp = == = Stock Solutions = = Sultable Negatives ‘Temperature of Solutions 3x Vignettes se ° Washing = =. = = 4 Weights and Surfaces = WhiteSpots = = = <= 34 Yellowish Stains = = > 33SPEED OF EACH BRAND AND LIGHT CONDITIONS FOR HANDLING. ‘Artura papers are all handled in the same general way, but the brands are of diferent speed, as shown inthe following table: Brand. ‘Speed. J i EDTA NONCURENG ‘CARDON GREEN ‘CARBON BLAOK “The papers of medium speed will require about go seconds ‘exporure toa Welsbach gasight at a distance of one foot from the light to produce a printfroma normal negative, or about 2 fof 3 seconds exposure to difused daylight (north window). ‘The development of the medium speed brands may be car ried on by yellow artificial ight. Its safe to develop prints at 1 distance of six feet from 16:candlepower incandescent light (rlight of equal strength) without a screen of any kind. are should be used nat to expose the dry paper to the lirect rays of such a light for too long a time, but such a light willbe safe for handling the paper duting manipulation. ‘The medium speed brands are fast enough to print conven ‘ently and still slow enough to permit handling in alight strong enotigh to observe the development closely. ‘The slow brand (Carbon Green) may also be handled under thesame ight conditions, but will require longer exposure when printing.With a normal negative, Carbon Green willrequire 20 o 30 seconds exposure to north daylight (not sunlight), or about ten seconds exposure fo an are lamp at a distance of one foot fom the lamp. ‘The fast brand (Carbon Black) must be handled in orange or red light. Plenty of light may be used, but it must be of a safe color. ‘A single thickness of orange (Post Office) paper to screen a lamp or incandescent eleire light may be wsed, and ‘his will be suficient light to carry on the manipulation cou veniently, ‘When wsing Carbon Black for contact printing, the average exposure with normal negatives will be about ten seconds at a distance of one foot from a 16-candlepower incandescent ight ‘or light of equal strength, An oll lamp may be used for expos- ing. A white light for exposing should be avoided, as it will prove too fast unless grealy subdied, ‘When using Carbon Black for enlarging, an arc tamp should be used. The exposure wil, of course, depend on the distance ofthe paper from the lens, and this distance will vary with enlargements of diferent size, ‘The average exposure witha normal negative and with the Paper eight feet from the lens, will be from five to ten seconds, provided the arc lamp is used. With daylight, the exposure will be somewhat longer. PRINTING MACHINES. We furnish a contact printing machine fitted with arclight ‘which sa most convenient method of printing our slower papers. [No printing frames used with machine, Write for further infor- PRINTING QUALITY OR CONTRAST OF EACH BRAND. ‘There are five brands of Artura, most of which have a soft printing quality intended for portrait printing. ‘One of the brands (Non-Curling) is made in three grades fof contrast, The other brands are made in one contrast only. "The following table gives the contrast of each brand "a ort cauonion | sore woxaxnuno {Boe [exon mac” | tore For portraiture the soft grades are always used as a fll ‘scale of gradation is needed in porteait work. By actual test, the soft grades of Artara have a Tonger scale ‘of gradation, combined with richness and vigor, than any other developing paper, and this has made Artura the paper for BN ce oe from negatives that are inclined to be fat, An extremely fat negative, that would otherwise be worthiess, will produce a good print on hard paper, "The ha is also used for work that requires great contrast of black and white, sich as copies of maps line drawings, ete. °Weights and Surfaces. Bach brand of Artura has a variety of weights and surfaces which we here describe: iris. Grade A—Regula weight stock, smooth semi-matte surface, Grade B—Double weight stock, smooth semimatte surface. Grade C—Dovble weight stock, smooth absolute matte sur- face (no lustre). Grade D—Double weight stock, medium rough, absolutematte surface (no lustre). Grade B—Double weight BUFF stock, mecium rough, abso Ite matte surface (no lustre). Grade A is used mostly for mounting on eard mounts. Grades B and C are used in folders and for work where solid mounting is not desired, although they may also be ‘mounted solid. “The seme applies to grades D and F, and these grades, on account oftheir surface, are ised toa great extent forthe larger sie pictures and where broad, artistic eflects are desired. CHLORIDE. HEAVY SMOOTH—Double weight stock, smooth, abso- Jute matte surface (no lustre). MEDIUM ROUGH—Medium weight stock, light grain, absolute matte surface (no lustre). NON-CURLING. “This brand is made in two surfaces— SATIN-Regular weight stock, smooth semi-matte sur- face MATTE—Regular weight stock, smooth absolute matte surface (no lustre). Both Satin and Matte are made in three grades of con trast—hard, medium and soft, Non-curling is also fornshed ‘on @ heavy stock, and this grade is known as, EXTRA HEAVY—Double weight stock, smooth semi matte surface, ‘This grade (Extra Heavy) is made in mediom contrast only ‘Non-Curling Post Cards furnished, Same weight, surface and contrast as Extra Heavy. CARBON GREEN. ‘This brand ie for green carbon effects, and is made in three grades— MATTE—Regular weight stock, smooth surface (sight sheen of lustre). ROUGH MATTE—Medium weight stock, light grain and slight lustre surface, EXTRA HEAVY—Double weight stock, smooth semi- smatie surlace, Carbon Green postcards furnished, Same weight and sur- face 8 Extra Heavy,CARBON BLACK. Made in six grades— GLOSSY—Regular weight stock, smooth, glossy surface STUDIO SPECIAL Regular weight stock, smooth semi ‘matte surface, MATTE—Regular weight stock, smooth surface (slight sheen oF lustre). DEAD MATTE—Regular weight stock, absolute matte surface (no lustre. ROUGH MATTE-Double weight stock, medium rough Iustre surface. EXTRA HEAVY—Double weight stock, smooth semi- matte surface, Post Cards furnished. Same weight and surface as Extra Heavy. General Manipulation. EXPOSURE. ‘The exposing lightshould be suited tothe speed ofthe brand ‘of the paper being sed, as suggested on pages 7 and 8, ‘While there fs much latitude inall Arturaemlsions, there is ‘one point that is best, and that point is normal exposure ‘The light in the room should be safe to avoid fogging the paper during handling. “The cortecinessof the exposure iseally determined by devel- ‘opment, and with a litle experience itis a simple matter to de- termine by the appearance and action of a print in the developer ‘whether it has been over or underexposed. DEVELOPMENT. ‘A normally exposed print will develop to the desired depth ‘and then pause in development. Ifthe prints under-exposed, it wll have tobe forced beyond, the stopping or pausing point in development. ‘An overexposed prntwillhave toberemoved from the eve ‘oper before it pauses in development, and if badly overexposed, it willbe muddy in tone and general appearance. IMPORTANT. Mix developer according to formula (see page 16). TW you want the best quality in your prints, don'Luse a devel- oper other than pt up byrus oF put up according to our formula, (Gee index for Prepared Chemicals.) ave sufiient developer in the tay, so as to immerse the print with a sliding motion, by placing the edge undemesth the Geveloper first, Remove any air-bells with the fingers or with tuft of cotton, 13DO NOT WET PRINTS PREVIOUS TO DEVEL: ‘OPMENT. ‘This applies to all brands of Artura except Carbon Black. ‘When making enlargements on Carbon Black, using the larger size sheets of paper, they may be wet up previous to de- velopment if more convenient. RINSING, Aiter the development is completed, rinse prints in Acetic ‘Acid water (Short Stop), and then quickly and thoroughly immerse inthe fixing bath. (Short Stop Formula page 18.) FIXING. Prints should be fixed face up and should be put completely bbeneath the suriace of the hypo. It is also well to separate ‘ints occasionally daring fixing to insure thoroughness. Fx prints at least ten minutes in a bath of fll strength (See fixing prints, pages 3233.) Be sure to use a properly mixed bath, (See Formula page 18) WASHING, Prints should be washed for one hour in running water, or should be given twelve completo changes of water at intervals of five minutes, Separate prints thoroughly during washing to eliminate all chemicals used in the manipulation, Ieis advisable to pay close attention to thispoint during the eae part ofthe washing, 50 that the excess of hypo is removed as qulclly as possible, ‘This is especially true during hot weather, when the wash water is apt to be tepid, Py DRYING. ‘All Artura emulsions are frm and will not sick to blotters during drying oF when mounting. Prints may be dried between bloters. Prints intended to be mounted may be removed from the wash water and mounted, or f more convenient, may be dried tnd then re-wet and mounted at another time. ‘Mounted prints may be rolled down under blotters with- ‘out danger of sticking. Heavy prints intended for folder work or for use un mounted, should receive special attention in drying if desired to lay perfecly Mat, (See Drying Heavy Prints, pages 37 0 39.) 15eels VaR E. Faure nis Prrions ls in order given, thoroughly. dissolving each before adding the next. ce 7) - DEVELOPERS. ARTURA DEVELOPER. ‘The following formula for developer isthe one in general tue, and the same developer may be used for all brands of Artura except Iris, When used for Iris, take equal parts of ‘developer aud water. Wat, 2 20+ Mea ts Sutphite of Soda (dry), © Hiydroquinone, 72" Carbonate of Soda (dry), When ready to develop, add bromide (saturated solution) as directed on the working. direction sheet enclosed in each package of paper. ‘We strongly recommend the use of this developer, as it ‘Keeps well in solution and works perfectly under all reason- able conditions. OTHER DEVELOPERS. Other developers may be used, and we give formule for Ort}, Dianol and Edinol ‘These formule may be used on all brands of Artura with- ‘out change, except that for Carbon Black the amount of bromide given should be doubled 6 oRTOL. Wes = 2 tt Bem toh tt eS Sulptite of Soda, (dry) > = = “7 Oe Hiydroguinong, Ws) 22 gs ges. Carbonate of Soda (dry) 2 Br When ready to develop, add one drop of saturated solu- ton of bromide to each two ounces of developer. ‘An easily mixed developer that will produce prints of richness having & good black tone is Dianol. This developer should not be kept in stock solution, as it will discolor, espe- ialy if exposed to the action of sir for any length of time. It is easily prepared, and, we suggest that it be mixed and used as needed. DIANOL. Wa a eee Sulphite of Soda, (dry) = Bianol = wee Lt pee Use one drop of a saturated solution of bromide to each four ounces of developer. For bine black one, Balsam excellent developer EDINOL. Wee ae a itiectsok (i) = EXC Boda, (@n) >t “Three ops of a saturated solution of bromide to the entire 14 028. of developer will be suficient to hold the whites ‘leat. RERSE REPRE ”SHORT STOP FORMULA. _ The Short Stop bath is used to rinse prints between devel: oping and fixing, and its use cannot be too strongly recom. It instantly checks development and also prevents lity of uneven spots and streaks when prints are put inthe fixing bath, FIXING BATH FORMULA. ae eg Naas Hypo 5 5 05 2 5 2 ioe Alter the hypo is dissolved, add the following hardener: ‘The hardener should be mixed separately and added tothe hypo solution. Water, - 5 ors Meets Powdered Alum, 2) >> g Tels important 10 mic fixing bath correct oi omnes results a ge ts Strmjet ta, bs 921d) 2 e vp ee ee TONING BATH FOR WARM BLACK TONES ON IRIS. Itis is designed to produce a warm or olive-black tone ‘with normal exposure. The tone as it leaves the fixing bath olive-black, which bas met with general favor. For those who prefer a brownish-black tone, we recom. mend tho use of the following toning bath “The purpose of this bath is to change the olive-black to abrown-black, and is NOT a necessary part of the process for those who want the olive-black tone : TONING BATH. Boiling Water (distilled or rainwater), 18 ors “en ee ie a ‘The Hypo and Alum should be dissolved while water is ling hot, and ater it has cooled, add the Sulphate of Sods, Toning bath, mixed according to formula, will be milky in appearance, having a white precipitate. Tt can be used milky of allowed to setle, pouring off and using the clear portion. IMPORTANT. AA freshly mixed toning bath may show a tendency to beach, and 19 avoid this, it should be ripened with silver. ‘To ripen the bath, mix seperately and add the following solation Disilled ot rainwater, = roe, t Nitate of Siver Crysis, 6. ome 3.05 Sats iB Soars. 1" Mix well and add to toning bath after same is cold. ‘This bath can be used repeatedly until it refuses to tone. ithe bath becomes cold, of after itis old, it will act slowly. 19‘To hasten its action, it may be warmed slightly. Never use it 4t a temperature of more than go degrees Fahrenhe ‘the action wil be rapid and dificult to control, Prints should only be toned until the decided olive is removed, It is very important not to overtone in this bath. Be sure and leave some olive, otherwise, when the print is dey, it will be blue-black instead of brown-black. ‘Unless prints are olive in tone, the toning bath will have no apparent action, Alter prints are toned, they should be immediately placed in running water and theroughly washed. If running: water 1s not available it will be advisable to put prints back in the fixing bath after they are toned to checi the toning action, ‘Then wash, ——— SEPIA TONES. (ARTURA SEPIA SALT.) ‘Artura Tis prints made sepia with “‘Artura Sepia Salt” are rich and briliant with clean clear highlights and marg ‘The process is speedy and reliable, and its simplicity has made Itthe favorite sepia process, “ Artura Sepia Salt” isa specially prepared powder put up {in convenient cartridge form, Ready for use by dissolving in the amount of water called for in directions printed on each cartridge, ‘An outline of the process i as follows : 1. Develop in regular M.-O. developer. 2. Rinse in regular acid short stop. ‘3 Bleach in Sepia Salt Solution. {f Fixin Acid Fixing Bath. (See Notes.) “To make sepia prints, develop in the usual way and rinse in| ‘acid shortstop to instantly check development, then drain and immediately immerse prints in bleaching soletion until com> pitely bleached. Longer immersion will do no harm. ‘After bleaching, drain well and without rinsing or washing, immerse completely in the fixing bath, where the print wi instantly redevelop Sepia, Fix for ten minutes (no longer) and then wash and dry as usual, Separate prints well when frst pt to wash to eliminate Hypo a3 quickly as possible. NOTES. Prolonged fixing should be avoided, When making a ‘batch of prints they may be allowed to rest in the bleaching solution wntil all are ready to fix, leaving the last print inthe bleacher for at least five minutes or until thoroughly saturate. “Then drain the batch and quickly and thoroughly immerse, one‘ata time, in the xing bath. This will insure an equal amount ‘of fing (ten minutes) for all print, and by observing these suggestions absolutely uniform tones wll be obtained on con- secntive print from the same negative, ‘The tray containing the bleaching solution should be kept ina subdued light (shielded from direct rays) to avoid fogsing the unfixed prints, Do not rinse or wash between bleaching and Sxing: ‘The condition ofthe fixing bath as used in connection with sepia salt is important. It should be mixed as follows Hypo solution, (0 hydrometer test), 640 Hite hy tee ‘Then mix separately and add ee ete SL Naae Bee cea) 2 ere| ee ee [ee ea Oh age os ee nS. ee Tere ee ee See eee SEPIA TONES. (HYPO ALUM METHOD.) Sepia tones are easily obtained by toning inthe following ‘Hypo-Alum toning bath : Baling water (sied or rainwater) #38 ox ae eS fod ta oe ok oly eles ee cece | ae es ie 2 oe It will take from eight to twelve hous to convert prints to fal sepia ina cold bath. Using the bath at a temperature of ‘ao degrees Fahrenkeit will tone prints in about 3o minutes. Prints need no particular attention, a& the toning proceeds tosepia and stops, making i impossible to overtone. Ifthe ‘old bath is used, prints may be left in the bith over night. ‘The only precaution necessary is to use care in immersing the prints thoroughly and evenly. ‘They should also be stired ‘occasionally during the first stages of toning to insure an even action of the toning bath. ‘Make black prints in the ordinary way, making them a shade dark. ‘They should be FULLY and evenly developed. ‘After they are fixed, rise fairly well n fresh water and place, FACE UP, in the toning bath. ‘After prints are toned, wash one hour in running water. NOTES. WEAK, YELLOWISH TONES are caused by not fully developing the prints, Prints that are overexposed and not fully developed will not hold up well in toning, and will be fat %and weak. Using a toning bath that is not ripened with Silver Solution (eee formuls,) wil also cause prints to be weal in general appearance and tone. UNTONED SPOTS are caused by not separating prints during the first stages of toning; not allowing them to become evenly saturated with the bath, Prints should be kept com- pletely beneadh the surface. ROUND BLACK SPOTS are caused by air bells forming. ‘on the surlace of the print, They can be avoided by toning pints face up. SEPIA TONES. (DOUBLE RE-DEVELOPMENT.) Peet eae ean eo oe ea eter et sao Wet ait cra eatin SE Gee cee te re eee Peet een ce an eae SOLUTION B. Developer hom Bromide of Potash (saturated solution) 20° drops. ‘This is a weak developer and the tray should be rocked to insure an even action of this solution on the prints. Tn this solution the image will re-develop slowly and will first appear of a reddish color. For a good sepia tone, prints should remain in the B Solution until the last trace of red has ‘sappeated from the deeper shadows and the print has a par- plish appearance evenly over its entice surface, 25Prints should then be rinted in Acetic Acid water (regular Short Stop) to instantly check the action of Solution B, and should be washed in running water for ten minutes and sepa rated well during washing. ‘Redevelopment is then completed in SOLUTION Cc. Wace 02 sg ome Sulphide of Soda (not Sulphite) © 02 Allow prints to remain in Solution C for about 3o seconds tant the action is complete, then wash for one-half hour and dry. NoTES ‘The action of Solution A and Solution C is a complete action and does not require watching. “The action of Solution B determines the finished tone of the pint, The longer the inimersion in Solution B, the colder will be the tone ofthe print when finished, This makes it possible to obtsin any desired tone, and a few trials isall thats necessaty to determine how far to catry prints in Solution B to produce the desired sepia color in the finished print, After determining thispointand becoming familiar with the appearance ofthe par- tially re-developed image in Solution B, the process is mastered Solutions A and C are the seme as those used in single re- evelopment, and the departure inthis process is the introduc {Gon of Solution Bas a controller of tone. Solution B is a weak developer and should not be over worked. Keep prints completely separated in Solution B to {nsize an even action on the entre surface of the print Be sure to rinse or wash and separate prints as directed between baths, ‘Thoroughness in handling between baths is essential, and catelessness in observing this point may cause luneven spots and streaks in prints. 6 ees A separate tray should be used for the Sulphide Solution, nd this tray should be used for no other purpose. All trays, ‘used in re-development should be clean. ‘The Sulphide Solution should be Kept in a tightly corked bottle or it will lose ite strength in a short time. When handling good sized batches of prints, they may be tin through Solutions A snd C without relation to subjects In Solution B, each subject (all prints from one negative) should be run’ through one after another to insure uniform depth and tone, This suggestion makes it easy to produce each individual order uniform and without uncertainty. 7General Information Metol-Hydroguinone developer mixed properly will be clear and will keep well if kept in well filled tightly corked bottles. ‘Acid fing bath mixed properly will be clear and will keep indefinitely. ‘One ounce of dry soda is equal in strength to two ounces in erystal form, M-9 DEVELOPER AND ITS COMPOSITION, ‘The chemicals used in the developer should be dissolved in the order given in the formula. ‘Metol and Hydroquinone are the developing agents. Sulphite of Soda is used as a preservative and prevents the developer from decomposing rapidly and becoming dis- colored. Carbonate of Soda is used to open the pores of the emul: sion and allow the developer to act freely and evenly. Bromide of Potash is used to keep the whites clear, and is abo important in controlling tone. The more Bromide used, the more olive wll Be the tone ofthe resulting print. Without Bromide, or with too litle Bromide, grayish, fogged prints will Deobtained. Be sure to use x Saturated Solution of Bromide in the developer, as directed on the instruction sheets enclosed in each package of paper. 28 REMARKS IN REGARD TO MODIFYING DEVEL- ‘OPER TO CONTROL CONTRAST. Developer mixed according to formula cannot be improved ‘on{or the general rn of work, Tnereasing the amount of metol and reducing the amount ‘of hydroquinone will produce softer results. Tncreasing the amount of hydroquinone and reducing the amount of metol wll increase the brilliancy or contrast of the prints to a certain extent. Tnereasing the amount of carbonate will cause developer to ‘work more vigorously, and also tend to produce black tones ‘without olive. Reducing the amount of carbonate will ese developer to work slower and will produce softer results. It will thus be seen that to produce more contrast in prints the hydroquinone should be increased, also the carbon- fate, and as this will tend to make developer work more rapidly, the bromide should be increased so as to enable the operator 10 control the development of the print. ‘To produce less contrast in prints, use double the amount | ‘of metol, half the amount of hydroquinone and half the amount ‘of carbonate called for inthe regular formula. If developer discolors rapidly when being wsed, it will in- diate weak or old sulphite of soda, which isthe preservative. Use fresh sulphite of good quality. [Bromide of potash plays an important part in the developer. ‘We cannot give the exact amount necessary to use under all conditions, Some of the conditions that make it necessary to vary the amount of bromide areas follows: ‘Water used in mixing developer, Quality ofsoda used. Age of paper, ete. (Old paper will generally require more bromide than fresh. Enough bromide should always be used to keep the prints 2from fogging in the developer. If only enough to do this is ‘used, the tone ofthe prints will be cold or blue-black. ‘A slight increase will give a better black. ‘With farther increase comes the more desirable warm or olive-black tone. IODIDE FOR SOFT PRINTS. (For Iris and Chloride Brands Only.) Todide of Potash used in the developer holds back the blacks of shadows of the print and allows suificent exposure to be given to penetrate the highlights of a contrasty negative. "About one drop of the following solution to each ounce of developer may be used Water - sts fom TodideofPowsh 2 2 22 ton More oF less iodide will produce more or less contrast. ‘Too much iodide wll produce extremely fat prints, and for that reason an excess of iodide should be avoided. When iodide is twsed, the amount of bromide used in the developer must be ‘doubled. After this is done, iodide may be added until the ‘desired degree of softness is obtained. Prints developed in ‘developer containing iodide will be yellow in the whites until thoroughly fixed. Any trace of yellow remaining in prints will indicate insufficient fixing. Prints are more sensitive to the light when develeped in developer containing iodide, and development should be caried fon in a safe light. ‘THE CONTROL OF TONE AND GENERAL QUAL- ITY BY EXPOSURE AND DEVELOPMENT. All Artura papers postess considerable latitude of exposure, ‘By that we mean the exposures may vary some without chang ing the tone of general quality ofthe prints. Pa ~ Following are effects produced by different exposures, ‘sing the same developer throughout: EXTREME UNDER-EXPOSURE and forced develop- ‘ment will cause prints to be flat and weak, cold o blue in tone, and lacking detail in the highlights, ‘The whites in a forced print ae also apt to be grayish or discolored and stained. SLIGHT UNDER-EXPOSURE will produce prints of fairly good quality, but cold in tone. NORMAL EXPOSURE will, of course, produce the best cfiecs. Normally exposed prints will develop to the desired ‘depth freely without forcing the development, SLIGHT OVER-EXPOSURE will increase the contrast of the print slightly. This rule ean be used to advantage on negatives that lack snap or brilliance. For this reason slight overexposure should be avoided when printing from harsh negatives. EXTREME OVER-EXPOSURE will cause prints to de- velop rapidly and to be flat and muddy in general appearance, TEMPERATURE OF SOLUTION. Hot weather will not cause Artura prints to blister, stain or to become soft and sticky. ‘The proper temperature for all solutions is 65° Fahrenheit, and if convenient, they should be kept at about that temper: ature. ‘The chemical action of the developer is changed by a decided variation in temperature. In extremely cold weather, the developer will work slowly. Do not use developer ice cold. In warm weather, developer is apt to act rapidly and with toomuch vigor or contrast. Ifnot convenient to keep developer coo}, it will be advisable to use one-half the amount of car- Donate called for in the formula. eaFIXING BATH. It fs important to mix fixing bath as given in formula. Dissolve and combine chemicals in order given. j-ounce bath will fx at least two gross of cabinet size aber. Properly mixed fixing bath will be clear. The age of the bath does not affect it and it will keep indefinitely. If the bath does not stay clear, it generally indicates weak or old sulphite of soda, and an increased amount should be used ‘Acetic acid too strong will also cause a milky bath. Use No. ‘8 Commercial Acetic Acid. ‘When the fixing bath is exhausted, sediment and will be frothy when violently agitated. Don't ‘overwork the fixing bath. ‘The hardener used in this bath can be mixed in large ‘quantities and kept asa stock solution, A new fixing bath can then be easily mixed at any time by dissolving the proper amount of hypo in water and adding the proper amount of hnardener. i Bart non ee FIXING PRINTS. ‘Thorough fixing ie as fmportant as thorough washing ia producing a permanent print. Prints must not be fixed less than ten minutes, and should not be fixed more than thirty minutes, ‘When fixing prints in large quantities, the following method may be used to insure proper fixing. Fix prints face up for about ten minutes and then turn this batch face down. Continue fixing prints face up for another ten minutes, and by this time the first batch willbe ready to be removed from the hypo. ‘The last batch may then be tuned face down, and by proceeding in this manner the different batches are Kept easily seperated. 2 Prints should always be xed face up, immersing them quickly and thorooghly inthe fixing bath, ‘Air-bells forming on the surface of prints Sxed face down vill prevent the fixing bath from acing and cause dark round Spo to appear. ‘The darker spots are caused by development proceeding wherever Sxing bath is prevented from acting by ar-bels Dark, tregular epots and streak are also caused by not auickly and completely pting prints under the surface of the fixing bath also by not properly rinsing. prints between developing and fixing. (See Short Stop.) GRAYISH WHITES OR FOGGED PRINTS. 1. Lack of sufficient bromide of potash inthe developer. Forcing the development. Give more exposure. ‘3. Handling paper in unsafe light, YELLOWISH STAINS. Weak or overworked fixing bath. Under-exposure and forced development, [Not properly rinsing prints before fixing. [Not quickly and properly putting prints beneath the surface of the fixing bath. (See Fixing.) 5+ Unclean fingers cause stains. Rinse hands often to ‘keep them free from hypo while developing. A small stice {in the shape of a paddle, with rounded corners, fs an excellent sway to put prints under the surface of the hypo, In this way the fingers willbe kept free from hypo. 6. Unclean trays cause stains. Clean occasionally by subbing with dampened common salt, 17. Iron in water. Use distilled or sinwaterfor developer. aeee 3PINKISH OR PURPLISH STAINS. 1. Tnsuficient fixing. Prints that are not thoroughly fixed contain silver, and when exposed to daylight this silver immediately becomes discolored, causing the print to have a stained appearance. '2. Lack of sulficient bromide of potash in developer. BROWNISH STAINS. Brown spots and stains are caused by using a fixing ‘bath not properly mixed according to our formula, Bath should be clear. 2. Brown stains on Tris may be eaused by fixing bath Improperly mixed or by using a toning bath not ripened with silver solution, (See Toning Bath Formula, page 19.) ‘3 Not thoroughly separating prints while washing, Prints should be well separated in runving wash water to remove chemicals as quickly as possible, WHITE SPOTS. White spots are caused by al-bells forming on the surface ‘of the prints during development, ‘These airbells prevent the developer from acting. Prints should be immersed face up with a sliding motion, ‘Rubbing the surace with the finger tips or a tut of cotton daring development will move them. DARK SPOTS Dark spots are caused by fixing prints face down, thus allowing air bells to form on the surface of the prints, ‘These iebells prevent the fixing bath from acting. To avoid this ‘rouble, fix prints face up. Dark spots and streaks are also caused by not riasing prints in acid water between developing and fixing (see Short Stop). 4 Prints should be quickly and thoroughly rinsed alter evelopment, and transfered immediatly to the Ting bath (Gee Fixing} IRREGULAR OR PATCHY DEVELOPMENT. Caused by overexposure. Give less exposure, so that developer may have time to act evenly. Uneven development is another cause. Prints should be ‘quickly and evenly immersed i the developer. Allowing water to spatter on the dry prints before develop- ment wil eatse spots Handling dry prints with damp or unclean fingers will cenuse finger marks or spots and steaks wherever fingers come in contact withthe sensitive surface, ‘Not rinsing propery in aid water between developing and fixing wil cause iregular markings and streaks MUDDY TONES. Extreme overexposure will catse muddy tones and flat prints without vigor. BLUE TONES. Blue tones are caused by underexposute and forced de- ‘velopment. Also caused by a lack of sufficient bromide of Potash in the developer. Use atleast as much bromide as called {orn the formula, and if necessary, inerease the amount, ‘The amount of bromide necessary varies on account of local water conditions, diferent makes of chemicals used in the developer, et SCUM ON SURFACE OF PRINTS, ‘Scum on surface of prints is caused by using old developer, ‘old fixing bath or by dirty wash water, Using fresh, clear Daths wall prevent it, and sponging the prints before drying will 35Note—Scum on the surface of Iris prints may also be caused by sediment in toning bath, ‘The toning bath may be filtered or allowed to setle, pouring off and using the clear portion only, Sponging prints before drying will ramove it. SATURATED SOLUTION. ‘To make a saturated solution of bromide, add_suficient bromide to a few ounces of water so that when thoroughly ‘mized some undissolved exystals remain in bottom of bottle ‘The undissolved erystals prove the solution tobe saturated. IN REGARD TO NEGATIVES. eae es a aeiaee te oman Woo caine ea aie Abt seaman cemwae pentane etree ee a Sera eee enn Sled eee apn ae Sera eee ee eee coe ee Mounting and Drying Prints made on Artura are firm and will not stick to blot fers in mounting or drying. REGULAR WEIGHT. Our regular weight papers may be mounted inthe ordinary way from the wash water or may be dried and trimmed and then e-wet and mounted. Regular weight prints can also be backed with Artura Backing Paper. (See backing paper directions, age 4s.) DOUBLE WEIGHT. Our double weight papers may be delivered in folders oF enclosures. They will lay flat i properly dried, Difierent ‘methods of drying are being used, and some one of the follow ing methods will be found to be satisfactory. NUMBER ONE. Remove prints from wash water and allow them to dain. Pace them face down on some clean surface until neatly dy ‘Thea place between blotters under pressure until thoroughly dry. Changing blotters occasionally will hasten the drying, NUMBER TWo, Proceed as in number one until neatly dry. Finish drying by running prints through a warm batnisher with piece of cardboard to protect the surface. Prints ed in this mannet 3‘may be shaped with a slight backward curl and will remain as shaped. This method may be used to advantage when prints are wanted for quick delivery. NUMBER THREE. Remove prints from wash water and allow them to drain. Place face down on some clesn surface, or hang back to back fon a wire with clips, unt thoroughly dry. The back of the print should then be moistened by rubbing it with a damp (hot wet) sponge. It is important to moisten the entire back of theprint to the edges and moisten it as evenly as possible, Prints should then be put between blotters under pressure ‘until dry. NUMBER FOUR. ‘The principle of this method is to dry the prints in aro, with the emulsion side out. This keeps the emulsion stretched ‘while drying and when the dry prints are removed from the roll there is no tendency to curl ‘Wooden rollers of the desired length (say 20 inches) are used, and strips of ordinary manilla wrapping paper of ths ‘width should be provided. ‘The manilla paper should be im. ‘one piece about five yards long. Biart at one end of the strip of paper by winding it around foneof the wooden rollers. ‘The prints should be placed face {down on two blotters with two blotters on top. These blotters land prints are then placed on top of the strip of manilla paper ‘and rolled in. ‘Be sure to place the prints in the roll so that the emulsion side is towards the outside of the roll. It is also advisable to place prints inthe roll lengthwise, or in other words, so that the Tong way ofthe prints isthe same as the long way of the rol. ‘Do not make rolls too big or prints on the outside of the roll will not be dried with enough curve, Smaller prints 8 should be placed towards the inside of the roll and prints of larger size placed towards the outside, This will give them the same relative curve while drying. Before putting prints in the roll they should be partly dried, as any surplus moisture carried into the roll will lengthen the time required for drying. To accomplish this end, when prints are removed from the wash water they should be stacked and allowed to drain thoroughly. They may then be placed face down on some clean surface until partly dry, or, better stil, placed between blotters for about one hour previous to being: rolled up. ‘Always use perfectly dry blotters when rolling prints up, ‘and itis well to leave prints in the rollover night, so that they will be dried thoroughly before being taken out BACKING HEAVY PRINTS. Double weight prints that are intended for delivery ‘unmounted can be backed with a ight weight linen paper with- fut increasing the weight of the print, ‘This will insure fat prints under trying conditions. A paper suitable or the purpose, is “onion skin” linen, and may be procured from any wholesale paper house and many of the retail book stores. Any strong, light weight linen paper will do. Prints are first dried flat between blotters, The light ‘weight linen paper is then cut the desired size, wet up and pasted and placed in position on the back of the dy print, Roll down and finish drying between bloters. The linen paper shrinks in drying and will countetact any curling tendency the print may have. BACKING REGULAR WEIGHT PRINTS, (See Backing Paper Directions, page 43). 9BLOTTERS. ‘The life and usefulness of bloter is increased by keeping. them dry. Spread out to dry when notin use FERROTYPING GLOSSY OR BACKED PRINTS, (See Backing Paper Directions, page 43) VIGNETTES. Vignettes can be made in the usual way, covering the open- ing in cardboard with one or more thicknesses of tissue. One thickness of tissue will about double the length of exposure. ‘The light used for printing should hit the vignette squarely. KEEPING QUALITIES. For the protection of photographers, dealers and ourselves the expiration date appears on each package. Paper should be kept in a cool, dry place free from the fumes of chemicals, paint, gas, et. ro STOCK SOLUTIONS. (M60 DEVELOPER CONCENTRATED SOLUTION) Wat, = == Brite of Soda, (iy) > Sulpie of Soda, (ey) = Hytroquinone, oe) Gattonste of Soda, (dry) Wood'Alcohat 7”. For use wit ris, take one part of concentrate stock sol tion and thre pats water, ‘Then add bromide as directed on the working direction sheet enclosed in each package of paper. For use with Chloride, Non-caring, Carbon Green and Carbon Back, take one part of concentrated stock solution and one part water ‘Then add bromide as erected on working direction sheet enclosed in each package of paper. ‘This stock solution wil Keep well if kept in welled, tightly corked bottles, HARDENER. (ONE GALLON) Wotan, 2 a 1. 80 oss, No. Commercial Acetic Acid, : 48 ons Sulphite of Sods (ry) ~~ > “8 ons Powdered Alum, = = > > Bom ‘This hardener will keep indefinitely and is not decomposed by the action of air. It should be kept in a corked jug or other covered receptacle to prevent evaporation. With a stock solution of hardener on hand a new fixing bath can be easily mixed at any time by simply diseolving the hypo in the water and then adding the hardener, Thisis a con- ‘venience that should not be overlooked. rnARTURA POST CARDS. ‘These cards are high grade, coated on pure linen stock ‘and should not be confused with inferior goods. Manufactured in Carbon Black, Non-Curling and Carbon Green emulsions. Half Matte surface only A FEW GOOD POINTS ABOUT ARTURA POST CARDS. ‘The finshed card lies fat. [No curl or drawing out of shape when dry. ‘The image possesses remarkable transparency and depth. ‘The whites are clean and cle These points and others dis other brands. ARTURA BACKING PAPER’ CHEMICALLY PURE FOR USE WITH ARTURA PAPERS. DIRECTIONS. ‘The backing paper should be wet up. Print should also be wet. Paste the rwstock side of the backing paper or the back of the print, roll down, and dry between blotters or on tins or glass, Iferrolype tin or glass fs used for drying, the gelatine side of the backing paper should be placed in contact with same, Jeaving priats face up. Tn this way the surfece of the print is, ‘not changed, ‘When glass is used for ferrotyping, it should be dressed with a solution of benzine and paraffine made by dissot piece of paaffine about the sizeof a walnut ina pit of benzine Be careful to have glass clean before applying this solution. After the above has boon applied, apparently rub it all off with ‘soft clean cloth, We do not recommend that any of the surfaces of Artura Paper be placed in contact with the glass or ferotype, with the exception of the glossy surface, but use er the glass or tin on which to support the backing paper and have prints dry face up. Nove.—Glossy prints should be ferrotyped in the usual way by placing the face of the print in contact with the tins or lass. 43NOTICE! All Artura formule for developing, use Saturated Solution of Bromide of Potash. ‘One drop of Saturated Solution is about equal to ten drops of ten per cent. Solution, “ DON'TS Don't work the paper without reading the directions carefully, Don’t wie local water for mixing stock solutions unless it Is fairly pure. Distilled or rainwater can be depended upon. Don’t ail to follow formula in mixing all solutions, There fs a reason for all of the chemical combinations, Dissolve all chemicals in the water in order given, Don't forget to use bromide in the developer. SATU- RATED SOLUTION. Don't use fixing bath other than one mixed according to rections, ‘The same fixing bath is used om all brands of Artura, Don’t use Glacial Acetic Actd, as it i No, 8 Commercial or 28% Acetic Acid, Don’t expose your sulphite to the action of air or it wil fose its strength. Be sure your sulphite i fesh and good. Don't work in the dark with the slower brands of Artura. ‘Yellow artificial lights safe and more convenient. Don't fog the paper by handling in too strong a light. ‘Test the light im your printing room by leaving a piece of paper lay exposed as long as it requires to handle it in working and then develop it. Don’t fil to arrange things conveniently as suggested to you by your own experience, In this way the advantages of the process are flly realized. Don’t forget to write and ask us about anything you don’t understand, We areas interested in the quality of your prints as you are, too strong. Use 4sNOTICE! ACID SHORT STOP We eannot too strongly recommend the use of acid water for rinsing prints between developing and fixing. Following is a formula which may be used on all brands of Artura No, § Commercial Acatic Acid, 196 ox. Water ‘32 os. [As long as this bath remains acid it will stanly check evelopment, After a cettain amount of developer has been carried into it with prints, it becomes neutralized and will no longer act as short stop. It is easily mixed and should be ‘kept fresh at all times. Too much acid is better than not enough. Artura Chemicals (meavy For use) ‘These chemicals are absolutely pure and put up by us for tse with oor papers ‘They are eady for use when dissolved in the amount of water called fo, The developer powders should be dissolved, ater which bromide should be aldeda speciied on the working directions for each brand of paper. DEVELOPER POWDERS. No. 1 Developer Powder makes— Eight ounces of Iris developer solution or four ounces of oveloper solution for the other brands of Artur, No, 2 Developer Powder makes— Sixteen ounces of Tris developer solution or eight ounces ‘of developer solution forthe other brands of Artur. ARTURA SODAS. wry) SODIUM SULPHITE—Packed in one-pound and five: pound air-tight containers. SODIUM CARBONATE—Packed in one-pound and five- pound airtight containers. "These sodas ae tested for use with Artura and will produce results, Don't use other sodas of a special nature or of doubtul quality. ARTURA SEPIA SALT. A specially prepared powder packed in convenient car tvige form, "One cattridge makes 40 oss of sepia sal soln, See directions pages 21-22, a11% PRICE LIST OF IRIS PRICE LIST OF IRIS 5 = veg GRADE A GRADES B,C, D AND E i owen “Btoct Gran One-half sie Sire Dosen “Gross Gross sx (Cabinds)- = = = $F $200 xs (Cahioes) - =< bias fae Ges es 10 200 Les Me 2p Co poe ees | se tae (250 WIS eB eee 4Mxoe - : 20s | 350 we Se axe 2 sas |] a0 ee Sn S51) | ee ey a Ble ees we 25 400 es re ea Heo oe $273 $00 Cen eh asl Gas Onx8e - ee Giro - 2G 1s 405790 Ge Tee ee ae. are Se) ee te ao ee ee es eae ae se toa Ee tis an ers Bid | nes soe A ee ee a, ee Se Wen ih cl ame ee, Ms ede ce isis ae ee eee ee ra = = = seo a4 50 wrm + = 7 + + + 48 28.00 5500 ox ee 600 3500 GBs ‘10 foot rolis (20 in, wide), per roll = = = = 1.90 Torfoot rolls (20in, wide), petrol = - + = Saas tofoot rolls (40 in. wide), “© - 38 etn pike ce A ee toyardrolls(29in.wide)," “+ = = = 500 rod. rolls (aoin wide), “© sgh to yard roll (0 in wide), Se oa: royd.rolls (pin. wide), “tye For special cut sizes and rolls see poge 52 For special cut sizes and rolls seepage 52 é ”pighaasgeeessevesss) 2c sa |piceesazesssszcaaseas u33 ([iégrmerseerassaaae] =- 52 [§[fusneoweeesonannsee ot Ail = @ si, |gieaaessseaeensces| j- j. 2 |Sléssessavaeaeeeussss g[ileeecctacecorssaca| f> XS /alessesmmmeaeeonesss aH eg aly zi - HEB zl : St Soe ee Sees Z| ai qus BF 3 jl eccamvererstassl 0 2 peeeeaenma | feroesseeeaciaes gues eee ceceee eee regners 2| |seseusaenecenssad| dea 222 G| |dazenseconecnszcess : B | orreee eee oaaaaa| AS2 poe | Egeceamenmcsengeae ae ope s Fae S| lg sesesenesaes] ¢ 32 & sasasserenasss: yh 4 Seeeescnsne) 2S feeeeee eeeneeetned SEI: coe] EEE & a : Heua a 27g g a #9 Boe Be Ee e iB sg > OI, _——, amma Muaassuccesessasaeea | | aseseguesseessas) sae S268 pesaasesesesesssgenee | |ASSSESSStGesseas| eve oe eI : j i|gannenszenacasees| jaaaragnennensees eeaese sera Soe eeeeeceeaeaas ; Is “S288 seseesaseess'''* 3| |g geseenengess| es * PRICE LIST OF ARTURA CHLORIDE. PRICE LIST OF ARTURA NON-CURLING. | |peeeaaesscoaasses| \gstaanecorsnnnsse |sanesazneeeacsss| fee als sezeeanesaee| St eecceceeees z ; oe se: Pasig: SORE or epecinl cu uss and rls, noo page 2, s