I wonder that it didn't come long ago. And yet, I think there may be good and valid reasons for the delay.

For a long time there have been signs that Sepia was the coming tone. To-day Sepia is neither a "will be," nor a "has been." It's an "izzer." And its strength began at the right place - at the top. For the past three or four years, nearly every one of the great convention successes have been Sepia prints. A fad with the judges? Not a bit of it. The true reason for the Sepia successes at the conventions lies deeper. Sepias have led, because the men who had the art to make the best negatives also had the art to select for their prints a tone that would give the most pleasing rendition of the values in those negatives.

The Sepia has come into its own. It has passed the convention stage. It is In the show cases. It is being delivered. Photographers all over the country are taking it up and are making with it marked success. Mind you, I am talking about Sepias, not near Sepias - not the lemons - that is to say. not the lemon colored prints that are being handed out in some quarters. The demand for Sepias is here. Witness not only the show cases and the work that is being delivered, but the attempts of those who started along other lines to now make their papers till the Sepia bill by providing new Sepia toning methods "while you wait."

I believe in the real thing. When I want a warm black, just a tinge of olive in it, I want Aristo paper to make it on. I don't like these presto change papers: "You see me now? Most as good as Aristo, am I not? Plunge - here I go into one bath, now I dip into another. I just hop into another tray, and out I come; I am washed, dried, then bleached and bathed again. Don't you think I look like Carbon Sepia? Most as good, anyway? And so easy."

No; you don't appeal to me no. not even with the "last formula " You are most as good as everything, which means - well, to be polite about it. it means that I can't use you. I don't want any near everything paper. 1 want the paper that's IT.

I've seen, I think, everything new and old in developing papers up to date, and here's one truth I have set down: Every developing paper- that gives the olive black (near Aristo) is a flat failure as a Sepia. It's one thing or the other, and you can't get away from it. Take Velvet Nepera - it comes closer than the other d. o. p.'s to Aristo. but at least the makers don't try to hokey pokey it into being "near Angelo."

But there are three other Nep-eras that do give Sepia tones that are right - Rough, Matte and Royal - and they give them by straight re-development. Some of the work I've seen lately on Royal Nepera will make the best of them look to their laurels. Near Platinum? No, sir! It's Royal Nepera: it's its own self. It doesn't have to be like any other paper, and pretty soon you'll hear some demonstrator telling you that he has a new paper that's "as good as Royal Nepera."

Royal Nepera is at its best when printed from fairly snappy negatives having dark backgrounds. 'Twill look so well un-toned, that you will be tempted to leave it so; but go ahead and re-develop, and you will have well, a ROYAL Nepera. No. the stock isn't yellow: it's mellow, giving a soft India-tint in the high lights, that harmonizes absolutely with the rich Sepias of the shadows.

And Royal Nepera is a comfort to handle; lies flat, dries between blotters, is practically a double weight paper (fine for folders), though at a single weight price; doesn't blister, and responds beautifully in lustre, to an application of Nepera Waxing Solution. But there's one mistake I must warn you against making with Royal Nepera. It costs so little, weight considered; works so easily; behaves so well, that you may be tempted to sell too cheap. Don't do it. The Sepia is here. It is fashionable. For the sake of your bank account, make the most of it.

March. Bulletin: The Eastman School Of Professional Photography For 1909

Auspices Milwaukee Photo Materials Co., Milwaukee,Wis., March 2, 3, 4.

Auspices Zimmerman Bros., Sioux City, la., March 9, 10, 11.

Auspices H. Lieber Co., Indianapolis, Ind.. March 16, 17, 18.

Ohio-Michigan Convention, Toledo, O., March 23, 24, 25

Auspices F. Hendricks Co., Syracuse, N. Y., March 30, 31, April 1.

Auspices M. L.Jones, Ft.Wayne, Ind., April 6, 7, 8.

Auspices Walter K. Schmidt Co., Grand Rapids, Mich., April 14, 15, 16.

Auspices O. H. Peck Co., Minneapolis, Minn., April 20, 21, 22.

Auspices Illinois College of Photography, Effingham, 111., April 27, 28, 29.

Illinois Convention, Springfield, 111., May 4, 5, 6, 7

Auspices of W. F. Uhlman, St. Joseph, Mo., May 11. 12, 13.

Auspices Charles Lawrence,Wichita, Kansas, May 18, 19, 20.

Auspices C. Weichsel Co., Dallas, Texas, May 25, 26, 27.

Auspices F. J. Feldman, El Paso, Texas, June 1, 2, 3.

Auspices Howland & Dewey, Los Angeles, Cal., June 8, 9, 10.

Auspices Hirsch & Kaiser, San Francisco, Cal., June 15, 16, 17.

Aristo Motto

"We believe permanency is the Keystone of Photographic Success, and all brands of paper bearing our Trade-mark are manufactured on this principle. We hold our consumer's reputation and success identical with our own. We surround both with every safeguard known to chemical science and our own experience."

Officers Of The Photographers' Association Of America.

Officers Of The Photographers' Association Of America.

Photo by J. E. Mock.

L. A. Dozer. Treasurer.

J. H. C. Evanoff Second Vice Pres.

A. T. Procter First Vice Pres.

Geo. W. Harris Secretary.

Frank R. Barrows President.