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.
A sterling silver loving cup, doubtless the most beautiful and intrinsically the most valuable prize ever offered by the Photographers' Association of New England, is open to the world for competition, without entrance fee, at their convention in Boston, July 26, 27 and 28.
As in previous years, entries in the complimentary exhibit will be highly appreciated. Particular care will be exercised in hanging all exhibits to the best advantage, and the exhibition hall will be so arranged as to make it not only a place for study, but one of comfort and enjoyment as well.
Realizing the amount of labor and expense involved in preparing and forwarding an exhibit, as a matter of courtesy the Association will show its appreciation by issuing to each exhibitor in the art department an "exhibitor's certificate" suitable for framing.
Full particulars regarding prizes and programme are being sent direct to New England photographers and may be secured by others interested from Mr. Geo. H. Hastings, Secretary, 37 Merrimack street, Haverhill, Mass.
Among the attractions already secured, we note Mr. Ryland Phillips' illustrated lecture "With Other Photographers"; Mr. J. Hanmer Croughton, illustrated lecture on " Pictorial Composition as Applied to Photographic Portraiture," and Mr. C. H. Claudy, critical and analytical lecture on "Advertising." The programme arrangement insures THREE full days. The outing or excursion will not occur till late afternoon of the third day.
Very truly yours, W. P. Oliver,
Pres. P. A. of N. E.
FROM AN ARISTO PLATINO PRINT By W. M. Morrison Chicago, III.
National Photographers' Association of America to be held at Milwaukee, Wis., July 11, 12, 13, 14, 15, 16. Secretary, J. H. C. Evanoff, Salem, Mass.
Professional Photographers' Association of Pennsylvania, to be held at Philadelphia, Pa., Hotel Walton, May 3, 4, 5. Secretary, H. R. Pott, 1318 Chestnut street, Philadelphia, Pa.
Photographers' Association of Iowa, to be held at Des Moines, la., May 10, 11, 12, 13. Secretary, F. A. Free, Davenport, la.
Artura Iris without special treatment or modified developer will yield good prints from a remarkably wide range of negatives. Occasionally, however, the photographer will find that he has produced a negative of extreme contrast, due to underexposure or over-development or both.
When printing from such negatives the following developer may be used to advantage. This formula is based on the principles laid down in the manual "Artura Results" under the head of "Modifying Developer."
Soft Iris Developer
Water ---------------40 oz.
Metol --------------- 20 gr.
Sulphite of Soda (dry) ---------------1 oz.
Hydrochinon --------------- 40 gr.
Carbonate of Soda (dry) --------------- 90 gr.
When ready to develop add 1 drop of a saturated solution of bromide to each two ounces of developer.
On account of the reduced amount of accelerator (carbonate of soda) this developer will work more slowly than normal developer and due allowance for the slower action should be made when using the foregoing formula.
This slow action produces softer prints because a developer so compounded will slowly search for and find detail in the half tones and highlights before the shadows of the print are blocked.
Reducing the carbonate still more will produce softer effects, but the extreme in this direction should only be resorted to when the negative is of absolutely " iron clad" contrast, otherwise prints when developed are likely to be flat and lifeless.
The ninth edition of our booklet " Artura Results " contains full information on the manipulation of all brands of Artura and if you are not thoroughly acquainted with Artura you should get a copy of this booklet.
It's free for the asking at your dealer's or by mail and will help you work as a legitimate source of revenue should be investigated, and after you have looked into it you'll get out your view camera and get busy. The time to start is right now, and inside of a week or ten days you will have enough negatives to start the line going and the re-orders from the dealers with whom you have placed your cards will give you a steady income.
To keep the line alive occasionally make a few negatives to replace some of the subjects that have had their run.
It is true that the market is flooded with process cards in monotone and colors, but these cards usually represent only a small part of the local points of interest and do not depict recent local events. Further than that, the superiority of a good photographic post card as compared to process cards is unquestioned.
You will notice we said a good photographic post card and by that we mean Artura. Why? Because they stay flat, and that in itself is a most important thing. In addition to this all Artura cards have a very pleasing surface. They print up brilliant and clean without abrasion, and are the most economical card to use, as they have Artura latitude and reliability. Artura latitude is economy - Artura quality sells the cards. Try out this post card proposition. It will pay you to investigate.
THE EASTMAN SCHOOL OF PROFESSIONAL PHOTOGRAPHY
Will assist you in bettering your work and in overcoming all studio difficulties.
The school will be in
JUNE 7th, 8th and 9th
In charge of expert and courteous instructors.
For list of dating to July 8th, see page 23.
The composition of the acid fixing bath such as is used for Artura and Nepera papers should be correct at all times for best results and it is especially important that it be so during warm weather.
Years ago when developing paper was a new proposition the fixing bath recommended was plain Hypo. Later the addition of alum was recommended as a hardener, but in warm weather this proved troublesome, causing pressurization of prints. This pressurization or brown staining of the prints sometimes appeared when the prints were in the fixing bath, sometimes when in the wash water and occasionally during drying, especially when prints were stacked between blotters and dried slowly.