1000. Manipulating Artura Chloride Paper

Manipulating Artura Chloride Paper. Soft artistic effects without lustre, made in three surfaces:

Heavy Smooth - Double Weight - Smooth surface without lustre.

Medium Rough - Heavy Stock - Slight pebble surface without lustre.

1001. The speed of Chloride paper permits of it being handled in ordinary, yellow artificial light, without the use of a red or orange light screen.

1002. Exposure

Exposure. The length of exposure, of course, will depend on the density of the negative; also the strength of the light used for printing. After becoming familiar with the speed of the paper, it is simply necessary to judge the density of the different negatives. For the beginner, a test should be made by covering some important part of the negative with a small strip of paper, exposing it to the light. When exposure is thought to be sufficient, remove the test paper and develop it. If the exposure is correct, the image will develop to the desired depth and pause in development. If the image stops developing before the desired depth is reached, it will indicate under-exposure. If the image develops beyond the desired depth before development stops, it will indicate over-exposure.

1003. Chloride developer should be mixed according to the following formula. Other developers may be used (see General Information), but we recommend the following formula:

Water..........................

20 ozs.

Metol.......................

14 grs.

Sulphite of Soda (Dry)...........................

oz.

Hydroquinone.........................................

60 grs.

Carbonate of Soda (Dry).........................

oz.

1004. When ready to develop, add one drop of a saturated solution of bromide of potash to each three or four ounces of developer. Chemicals should be dissolved in the order given, thoroughly dissolving one before adding the next. If sodas in crystal form are used, double the amount given in above formula.

1005. The dry print should be immersed face up in the developer with a sliding motion. Remove air-bells by rubbing the surface of the print with the tips of the fingers, or a tuft of cotton. A properly exposed print will develop to the desired depth freely, without forcing. The image will appear shortly after the print is immersed, and development will proceed to the proper depth, pause or stop; allowing uneven places caused by air-bells, or the developer not covering the print evenly, to "catch up." The speed of development depends largely on the temperature of the developer. The best temperature at which to use the developer is about 65 degrees Fahrenheit.

1006. When a print is completely developed, it will apparently stop, or pause in development. If a print is under-exposed and over-developed, or forced, it will be cold or blue in tone and lack richness in the shadows and detail in the highlights. Forcing development is also apt to cause impure, or fogged, whites. . If a print is over-exposed and under-developed, it will reach the desired depth before development has paused or stopped. An underdeveloped print will be harsh, lacking detail in both highlight and shadow. Extreme over-exposure will result in a flat, muddy print.

1007. The developer formula, as previously given, will prove satisfactory for the ordinary run of negatives, but in extreme cases it can be modified to advantage. When negatives are inclined to be flat or weak, the amount of hydroquinone should be doubled. By increasing the amount of metol in the developer and reducing the amount of hydroquinone, soft prints from harsh negatives may be obtained. After prints are developed, rinse in acid shortstop. (See Paragraphs 975-978 for formula of short-stop bath and general instruction for fixing, etc.)

1008. Artura Backing Paper. Chemically Pure. - For use with Artura papers. DIRECTIONS. The backing paper should be wet. Prints should also be wet. Paste the raw stock side of the backing paper on the back of the print, roll down and dry between blotters or on tins or glass. If tins or glass are used for drying, the gelatin side of the backing paper should be placed in contact with them, leaving prints face up. In this way the surface of the print is not changed. When glass is used, it should be dressed with a solution of benzine and paraffine, or some other suitable dressing, to prevent the possibility of prints sticking when dry.