These trays are enameled with a superior grade of white porcelain enamel. The upper edges are trimmed with an extra coating of royal blue enamel, giving them a handsome finish.

Maple Leaf Enameled Trays StudioLightMagazine1910 102

The advantages of a white tray are many. Foreign substance in the water or chemical solutions can be easily detected in a white tray. When developing plates by hand the exact location of each plate in the tray can be determined at a glance even in the dim red light of the dark-room, thus avoiding the probability of scratching one plate with another when developing several plates at the same time in the same tray. The trays being white are easily kept clean.

These trays are nicely proportioned with rounded corners and each tray has a pouring spout. They are furnished in the sizes listed below. Your dealer has them in stock.

The Price

4x 5....................................$ .20


7X 9.....................................65

8 x 10 .....................................85

11 X 14.................................... 1.80

14X17 .................................... 2.70

16 X 20.................................... 5.00

20 X 24.................................... 7.50


Hot humid weather is very trying to all sensitized photographic materials.

Artura will produce excellent results under all atmospheric and climatic conditions, but there is one point which has been called to your attention from year to year and which will bear repeating. During hot damp weather Artura prints should be developed as soon as possible after exposure. If allowed to lie for a considerable length of time the exposed prints will absorb more or less moisture from the air and when developed will be flat and weak, having the appearance of having been under-exposed.

Ordinarily prints are developed shortly after exposure and to produce the best results in damp weather this is the proper course to pursue.

The Price StudioLightMagazine1910 103

FROM AN ARTURA IRIS PRINT By The Sweet Studios Minneapolis, Minn.

The Price StudioLightMagazine1910 104

FROM AN ARTURA IRIS PRINT By The Sweet Studios Minneapolis, Minn.

Tank Development

We advocated Tank Development only after a thorough series of tests which convinced us that tank development was right, and since the general introduction of the Eastman Plate Tank and now that it is being widely and successfully used, we feel that our efforts to call this great convenience to the attention of professional photographers are fully repaid by its popularity so evident in all quarters.

There is another side to the story, though, which may interest you. When we had completed our tests we felt so confident of the ability of the tank to perform its duty in a satisfactory manner that we did not realize the necessity of strongly advising the use of clean chemicals of reliable quality and the necessity of clean tanks. Our tests were made with tested chemicals, the kind we put up under our tested chemical labels. We also kept the tanks clean, and as a natural result of this treatment the dry plates developed perfectly.

We placed the tank upon the market and from the start the careful photographer has secured perfect results with it. Not so, however, with the photographer who failed to exercise care in the selection of chemicals and in the treatment of the tank.

The tanks have gone everywhere and the general reports of their performance have been exceedingly satisfactory to us. Occasionally, however, we have had a complaint on the working of plates which we would have investigated immediately by a plate demonstrator, and in nearly every case we would find that tank development was in use in the studio issuing the complaint. The fault was not in the plates, as they would work perfectly when developed by hand in the darkroom, and the logical conclusion was that the fault lay in the tank. Whenever inferior chemicals or chemicals of unknown quality were in use the right kind were substituted and in some cases this change eliminated the trouble, but not always. Thus the tank was condemned and in some cases discarded, but later it was discovered that the tank, like the plate, was not at fault.If it wasn't the tank - was not the plates - wasn't in all cases the chemicals - what was the cause of failure? Simply unclean tanks.

When the tank is kept clean and when reliable chemicals are used it works perfectly. The moral is - Keep the tank clean and use


Photographer B came down to his studio one morning during a recent hot spell, took off his coat and hat and proceeded to examine the negatives he had made the day before. They were slightly fogged, slightly stained, had a few finger marks on them, due to handling in a warm darkroom, most of them were too dense, of too much contrast and frilled at the edges - otherwise they were all right.

Then began the tedious work of fixing them up - reducing some - extra work on all. A half day spent correcting the mistakes of the day before and at that the final result far from satisfactory.

The printing of negatives such as these could of course yield nothing superior to the quality of the negatives. Right here additional trouble was encountered. Mr. B as it happened was making developing out paper prints and they were not coming right. True the solutions were a little above normal temperature, which may have been the cause of so many failures. Some of the prints were too dark, some stained - all were of a cold blue tone.

Mr. B naturally felt anything but elated and late at night he went home with trouble piled up before him everywhere. Wasted time, wasted material, nothing

done and disappointed customers to face is not a condition of affairs inviting cheerful contemplation.

Multiplying the one day troubles of Mr. B by the number of days in a season won't make you particularly envious.