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.
From the very fact that the home portraiture man must improvise a studio for every sitting, and carry his apparatus with him, he is debarred from a good many studio comforts and conveniences. It is absolutely impossible for him to carry with him a regulation studio stand, and he is most usually forced to content himself with an ordinary tripod as a camera support. Out of doors the tripod is not so bad, but in doors when working on slippery floors, and "slidy" rugs, a tripod can get the operator into more than the fifty-seven varieties of trouble.
The new R. O. C. Tripod Truck is made to overcome all these difficulties - attached to the tripod in a moment, it renders it as stable as the regulation studio stand. The spring grips hold each leg in place on the truck, and the whole may be lifted, moved or adjusted in any manner without loss of time or damage to the camera.
The R. O. C. Tripod Truck is of most substantial construction and the price, one dollar, is too small to be without it.
Your dealer has them in stock.
The first rule in the manipulation of developing out papers is - do not hurry. Any paper of the developing out class will yield prints fast enough to allow you to keep up with your orders without hurrying through any of the processes necessary to produce the prints. Make your negatives to suit as nearly as possible the grade of paper you prefer to use. If certain of your negatives run either way from normal take time enough to select the grades that will yield the best possible result from these negatives - the time you will save this way will more than offset the time you would otherwise spend in juggling during printing or development. Take time in determining the correct exposure - true enough a little experience in handling developing papers will enable you to judge approximately correct exposure without actual testing - but in all cases where you have the least doubt as to your judgment, make test exposure before running off a lot of prints.
If you prepare your own developer be painstaking and exact in its compounding - provide yourself with the best quality chemicals, and mix them in exact accordance with the formula. The departure of a few grains either way from the amount called for will throw your formula out of balance - it will produce prints to be sure but not the very best the paper is capable of.
Correct temperature is of equal importance - sticking your finger in the solution and guessing at it will not do use a thermometer.
Do not over-work your developer or your fixing bath - a certain number of prints can be developed and fixed in a given amount of solution - go beyond that and you are cheating yourself, as developer and fixing bath are much cheaper than the paper. It certainly is a temptation when nearing the end of the day's work to run in a dozen or so prints over the amount you know the developer ought to handle - but if you lose your grip here and take a chance, pretty soon you will be taking other chances and then will be wondering why Smith down the street can turn out better prints than you can.
Be thorough and systematic - that is the secret of success with developing papers.Keep track of the dating of the Eastman School of Professional Photography.
We naturally have to do a great deal of experimenting in all the branches of photography, and in order to accurately determine just what results can be obtained with our products we have to devise ways and means not only for doing things the very best way, but economically as well.
No. 1 - D. O. P. Room Lamp
We find that in the rooms devoted to the manipulation of developing out papers that full and proper illumination in no way detracts from the quality of the prints, but makes it much please enter for the operators and is likewise a decided influence towards cleanliness and order. To provide such illumination we make use of incandescent electric lamps, the light being filtered through one thickness of yellow paper, proper precaution regarding fire being observed by the use of the specially constructed shade, shown in illustration No. 1. These shades measure 10¼ inches in diameter, and may be obtained from us at two dollars each, net.
No. 2 - Print Washing Tank
In washing prints that have been fixed in a hypo bath, it is imperative, for the sake of permanence, that the prints be thoroughly washed in order to remove all traces of the hypo. We have experimented with a number of different washing tanks and find the one shown in illustration No. 2, to work perfectly,with large quantities of prints. The tank is octagonal in form and measures four feet across and 7¼ inches in depth. The tank proper is made of 20-ounce copper tinned on both sides; the inner perforated tank is supported underneath by diagonal supports, raised ⅝ of an inch from the bottom of the outer tank. There are four intake pipes equidistant on the sides of the washing compartment, the outlets being placed on a slant so that the force of the incoming water will keep the prints in motion. When the water in the tank reaches a certain height, it is automatically emptied by means of a symphony arrangement, the prints in this manner getting about twelve changes in an hour.
The continued popularity of thin mounts and folders, and the increasing use of developing papers has necessitated a method for the flat drying of gelatine emulsion papers. We employ the following method for the quick and flat drying of prints by heat and have found it most satisfactory :