We are in receipt of a communication from one of our readers requesting that we deal with the problem of dust elimination in the photographic work room.

We know of no absolute preventive, but in our own work rooms we experience no difficulty in keeping it within bounds.

Window screens and the like are of comparatively little use as the particles of dust are so exceedingly fine as to readily come through the finest screen mesh.

The only practical solution is to take precaution against its accumulation and to remove all that has settled at least once a day or oftener. The scientifically constructed air filters and vacuum cleaners are out of the question for the average studio.

The next best thing then is to so construct the work rooms that the dust can not find too many hiding places in which to accumulate and later spread its millions of particles in the various unwelcome places. Hard wood, closely matched flooring, with rounded corners instead of sharp angles, to the rooms will assist greatly in the removal of the dust that has settled on the floors. Open shelves or heavy curtains or draperies are great dust catchers and should be done away with in all cases, except when absolutely necessary.

There is also a right and a wrong way for the removal of dust. The common variety of feather duster and corn broom are simply dust disturbers, not removers. The feather duster stirs up the dust, without removing one particle, the corn broom allows the heavier particles only to be collected, while the finer ones, the real trouble makers, are sent merrily dancing through the air to pop down just where you do not want them.

The only way to remove dust from side walls and shelves is to wipe it up with a slightly dampened cloth. In sweeping our floors we employ a long handled brush broom, with long and rather fine bristles. The top of this broom contains a reservoir filled with common kerosene oil, which filters through in very small quantities, yet ample to prevent the dust from arising and escaping collection. These brushes are manufactured by the Milwaukee Dustless Brush Co., and are made in various sizes from 24 inches up to 36 inches. The 24-inch brush lists at $5.50, and will last a long time if well treated.

The Public Knows

The photographer who believes that his patrons do not know or are not interested in the quality of paper he uses will find food for thought in the following extract from a letter recently received by Sweet, Wallach & Company, Chicago:

You will be interested to know that we have gone back to Aristo Platino, and we find it less work, and can get out our work just as fast on Platino as we could on developing paper and the general public know that Aristo is better. All one needs to do is to hunt up some old Platino prints and compare them with developed prints, and that will show you which is the best."

Yours very truly, (Signed) C. W. Arganbright, What Cheer, la.

There can be no question but what the public is familiar with Aristo quality and tone. They may not know the name Aristo, but they do know the appearance of an Aristo print and that the prints look just as well after ten years as they do the day they are delivered.

The best paper to use is the paper that will produce all the quality in your negative - that will give your customers the quality and tone most pleasing - that you yourself know is absolutely permanent, and that the prints will stay sold.

That paper is the paper with a twenty years' reputation - Aristo.

September. Our Illustrations

The illustrations in this issue are from the studio of Mr. C. F. Bretzman, of Indianapolis, Indiana.

Mr. Bretzman believes in bread and butter pictures, and those he so kindly sent us for reproduction are from his regular run of work and printed on Aristo Pla-tino. The Bretzman studio is splendidly appointed and up-to-date in every particular, and this, coupled with the extensive use of Aristo, has been the means of building up a steady and profitable patronage.