This section is from the "Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1910" book, by Aristo Motto. Also see Amazon: Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1910.
Eastman's Permanent Crystal Pyro is a decided improvement over the light weight feathery pyro so generally used before its introduction.
It can be weighed and handled without danger of its floating about in the air and being carried by air currents to places where it might settle and cause trouble.
For instance, you have a pile of blotters suddenly go bad. Blotters which you have used for drying prints and which you know were all right. Possibly you had them spread out to become thoroughly dry. You find they are covered with small discolored spots when placed in contact with wet prints, and the prints as well as the blotters are spoiled. This is due to chemicals floating through the air and settling on the blotters.
Then again if you use the same room for making prints that you use for developing plates, you are apt to get stains on the prints if Pyro carried by a slight draught settles on the prints during manipulation.
Light feathery chemicals such as ordinary pyro is, should be avoided wherever possible, as it is impossible to keep it in its place, and it will not only cause trouble in the room in which it is used, but in all communicating rooms.
There is still another point in favor of Crystal Pyro. It is acidified, making it unnecessary to use any form of acid in connection with it when mixing the developer. Just the right amount of acid is thus carried into solution with the Pyro.
Eastman's Permanent Crystal Pyro is the best not only on account of the points mentioned, but in addition it is of the highest quality and efficiency. It is the Pyro for you to use.
Packed in sealed bottles. At all dealers.
One ounce - - - $ .25 One-half pound - - 1.30 One pound - 2.50
Eastman's Permanent Crystal Pyro is one of the tested chemicals bearing this quality mark:
C. H. Mays, a photographer of Columbus, Miss., wishes to locate a "view man" who, he claims, went south with fifty dollars in cash and a 5 x 7 Rochester Optical Co. Ideal Camera.
He says that this "view man" was working for him at Macon, Miss., and on the night of January 7th boarded a south bound train at that place without buying a ticket.
The camera, according to description _, is one of reversible back, single swing, 5 x 8 Triumph lens, four double plate holders, perfection rubber slides and the bed slightly split on both sides.
The south-bound gentleman is said to have been known by the name of C. F. Bicknell, alias Chas. Gray, and is described as smooth shaven, reddish complexion, small lump on forehead, large white front teeth, double tooth on lower jaw not very noticeable, about 5 feet 8 inches tall, weight 150 pounds, and as wearing a No. 6 or 7 shoe.
As the alleged Charley is said to have left in such a hurry and without leaving a forwarding address, it has been impossible for Mr. Mays to correspond with him in regard to the matter, and if anybody who can furnish information as to the whereabouts of said party will communicate with Mr. C. H. Mays, of Columbus, Miss , it will assist him greatly in adjusting the existing differences wanted
A professional photographer, who can speak Spanish, to travel throughout Latin American countries as a demonstrator. Unmarried man preferred. Address, stating age, experience and salary expected, Export Department, Eastman Kodak Company, Rochester, N. Y.
The illustrations in this number are reproductions of Collodio-Carbon prints from the studio of L. J. Studebaker, Kansas City, Mo.
These reproduced portraits are convincing evidence of quality, and this studio is enjoying the profitable patronage which follows the production of work of the very highest class - work that is distinctively good.
The illustration on page 21 shows the Ariosto lamp and cabinet in operation in the Stude-baker studio, and it is evident that Mr. Studebaker appreciates the advantages of proper equipment as an assistant in the production of high grade work.
FROM A COLLODIO-CARBON PRINT By L. J. Studebaker Kansas City, Mo.
FROM A COLLODIO-CARBON PRINT
By L. J. Studebaker Kansas City, Mo.
Quality And Skill There are still a few photographers left who think that their business is built entirely on the kind of paper they use for finishing.
To illustrate this statement we will use the words of one photographer who writes, "A young photographer friend of mine used developing paper and now he is a grocery clerk."
The inference is that developing paper put him out of business, but the truth is that he was either a poor photographer or in a poor location.
We know of a photographer who used collision printing-out and platinum papers, who committed suicide, but we don't wish to infer that the papers he used in his printing room were responsible, for we know ill health was the cause.
Our friend's friend the grocery clerk was probably intended for a grocery clerk instead of a photographer.