Velox Enlarging Printer For The Commercial Finishe StudioLightMagazine1923 127

FROM A PORTRAIT FILM NEGATIVE

"Castles In The Air"

By Monte Luke

Sydney, New South Wales

The enlargement from the 2 1/4 x 3 1/4 negative is 4 5/8 x 6 5/8 on 5 x 7 Velox paper. The guides may be changed, however, if larger margins are desired. The lens also has an adjustment which permits one to make a 3 5/8 x 5 5/8 enlargement on 4 x 6 Velox from the 2 1/4 x 3 1/4 negative. To make this smaller size enlargement it is only necessary to pull the lens barrel flown to the limit of motion. Obviously it is again pushed up as far as it will go when enlargements of the other two sizes are being made.

This printer is designed solely for the work described above and has no complicating features - the negative is placed in the holder, the holder slid into the cone, the paper placed in the paper holder which is closed to make the exposure. In strip printing, once the first negative is in place the others can be pulled into position without removing the holder, velvet strips inside the holder preventing scratching.

One of the most desirable features of this Printer is the fact that it is fast enough to make enlarged prints on Velox paper and can be operated right along with contact printers, using the same materials. The other obvious advantage is that it enlarges without focusing.

For soft focus effects two diffusing discs are available. Slipped over the lens of the Printer they give two degrees of diffusion without changing the focus or increasing the length of the exposure. The Printer stands 38 inches high - the base is 13 3/4 x 14 3/4 inches and the weight is 62 pounds.It may be attached to any electric light circuit without special wiring or fuses.

The price of the Velox Enlarging Printer complete, including lamp. Kodak Projection Anastig-mat f.6 3 with iris diaphragm two negative holders, three paper holders, electric cord and plug, is 81.50.00. The price includes Excise Tax. Set of two Diffusing Discs $10.00.

Writing Advertising Copy

Advertising is easy to write if you will first determine what you want to say and then say it as much to the point and in as few words as possible.

Let the reader know just what you are driving at in the very first paragraph and if you can say what you have to say in one paragraph, let it go at that. If it is necessary to wade through several paragraphs to find that you are suggesting that people ought to be photographed it is more than likely that the reader will jump at the wrong conclusion and pass your advertisement up without learning what you are talking about.

Pictures will help you to make your copy concise and to the point. That's why we offer the illustra-tions with our ad. suggestions on page 26. Make use of these with happy copy and you will get results.

Writing Advertising Copy StudioLightMagazine1923 129

From A Portrait Film Negative

"Eve Grey" By Monte Luke Sydney. New South Wales

Fine Parallel Lines On Plate And Film Negatives

Fine parallel lines on negatives have puzzled a great many photographers and the trouble is not a new one. Our demonstrators usually learn of such complaints and explain the cause and the remedy, but they do not reach every photographer just at the time that such a difficulty arises. And it is often all the more baffling because it seems to happen when everything else is working perfectly.

Our laboratory has gone into this matter quite thoroughly and has found that the lines are due to a chemical action in the fixing bath, which can quite easily be overcome.

If a plate or film in a hanger is hung in the fixing bath in a vertical position without agitating the bath, there is apparently a repellency between the fixing solution and the negative because of the developing solution remaining in the negative. It is a fight between the acid in the fixing bath and the alkali in the negative, and the result is about a draw.

In one place the acid attacks the negative and directly alongside of this the alkali repels the acid, so we might say that directly next to the negative the acid and alkali lie in vertical streaks. Possibly the silver bromide, which is being fixed out, also has some action in producing this effect, but it seems most likely that where the alkali repels the acid, the negative continues to develop and where the acid penetrates the gelatine surface, development is stopped.

Be this as it may, we know that if the fixing bath is stirred or is agitated by moving the negative about when it is first placed into the fixing bath, the trouble does not occur. It may occur with a fresh fixing bath but it is most likely to occur with one that is slightly exhausted. It does not occur when a fresh acid rinse bath is used in connection with a fixing bath of proper strength.

If you should have this trouble, rinse your negatives before placing them to fix and move them about enough to bring a continuous supply of fresh solution in contact with them for the first few seconds they are in the bath.

Parallel lines are undoubtedly the result of still fixing of negatives containing surface developer that is alkaline. And if this alkali is quickly neutralized with acid there will be no trouble with parallel lines.

ELON We make it - we know it's right.

Fine Parallel Lines On Plate And Film Negatives StudioLightMagazine1923 131

FROM A PORTRAIT FILM NEGATIVE

"Betty" By Monte Luke

Sydney, New South Wales

Fine Parallel Lines On Plate And Film Negatives StudioLightMagazine1923 133

Dad is just a grown-up boy, but in growing up he may have neglected to be photographed.

You can persuade him to make an appointment - we will make the rest easy. We photograph lots of busy grown-ups.

Call Main 245

The photographer in your town

THE SMITH STUDIO

Line Cut No. 310. Prick 30 Cents

Fine Parallel Lines On Plate And Film Negatives StudioLightMagazine1923 134

FROM A PORTRAIT FILM NEGATIVE

By Wm. S. Ritch New York City

STUDIO LIGHT INCORPORATING THE ARISTO EAGLE ESTABLISHED 1901 THE ARTURA BULLETIN ESTABLISHED 1906 Vol.15 JUNE 1923 No.4