In the April number of Studio Light we published an article on the importance of using clean trays, plate tanks, etc.

As a result of that article we received the following letter from a Minnesota photographer which we believe will be instructive and interesting to our readers.

Park Rapids, Minn. Eastman Kodak Co.,

Rochester, N. Y. Dear SIRS: I wish to express my appreciation of your magazine, Studio Light. It has more real tips and ways to bring practical results than any magazine I ever read.

To explain just one experience I had this week. I came to work Monday feeling blue, as my Saturday negatives were flat and fogged and I was about to give up in despair, when I decided to go to the post office and get my mail. Well, I received the April Studio Light and as I always do, just sit right down and read it clear through and if there's any good tips for results either in quality or business getting, I am not slow in using them.

I run across the article, "Give Quality a Chance" and when I read it you may be sure I found out what was the matter with my negatives. I had a large bottle in which I had put 150 ounces of water and 16 ounces of Muriatic Acid C. P. to clean out bottles and trays with, so I went to the dark room, got the tank and plate rack and the acid solution and filled the tank. Well in about a minute my tank was as clean as a new one, all the stain gone and no work at all. I poured the solution out, filled the tank with water and let it set an hour or so, mixed up some developer and put in the rest of the plates I had left from Saturday, and say, I had results that were well worth my time in cleaning the tank.

I wouldn't sell my plate tanks for $100.00 if I could not get any more like them, they save worry and they get results.

Say, that Crystal Pyro is fine - just keep the good work up and give us crystal Hydroquinon and it will help some too.

Sincerely yours,

E. R. Pershin.

You will notice that Mr. Pershin used diluted muriatic acid. Be sure to dilute it before putting it into the tank or the metal will be attacked and cause corrosion. The tank should be washed well before being used again.

Long continued use of the plate tank without cleaning collects a coating of foreign substance which affects development. In some cases the development is slow and the resulting negatives are weak - then again a chemical fog is noticeable in the negatives.

One of our demonstrators advocates the following as an easy way to keep the plate developing tank clean.

No. 8 Acetic Acid …...................3 oz. Water …...................3 oz.

Place cage in tank, pour in this solution, place lid in position and shake well. The tank will come out like new. This should be repeated about once a month.

He has found that fogged plates as well as streaks of apparent fog running in lines across the plate often comes from a tank that has not been taken care of properly.

A tank that is liable to cause this trouble will be found to have a whitish yellow deposit on the cage and inside of tank showing plainly when dry. This treatment removed the coating, after which the results were perfect. Perfect results follow the use of a clean tank and it is not reasonable to expect results unless the tank is clean. No more reasonable than to expect results with an unclean tray.

Enol

A vigorous developing agent of excellent keeping qualities for use in combination with Hydrochinon.

Enol- Hydrochin on developer will produce rich developing paper prints of good color and gradation, and this developer is also excellent for developing dry plates.

It keeps well in solution before use and does not readily deteriorate during use. It works uniformly and perfectly under all reasonable conditions and has stood the severest tests.

Get a bottle from your dealer and give it a trial - comparing results, print for print or negative for negative, with results produced by other developers used in combination with hydrochinon.

The Enol-hydrochinon results will please you and Enol will win a place among your favorites. Get acquainted with Enol. Order some to-day.

Enol StudioLightMagazine1910 76

PRICE

1 oz. bottle....... $0.60

¼ lb. bottle....... 2.25

½ lb. bottle....... 4.25

1 lb. bottle ....... 8.00

The Eastman Timer

Here is a clock made specially for you - a clock that will give you seconds or even half seconds if you want them

The Eastman Timer StudioLightMagazine1910 77

The large dial is easily read in subdued light and the divisions or markings on the dial are far enough apart to enable you to split seconds. Each complete revolution of the hand represents one minute.

This clock is especially useful for timing the exposure of prints on developing-out paper. There is just one exposure that is best and while a little more or less exposure may do no harm why run the risk of inaccurate timing when it is more convenient to use the Eastman Timer and be accurate?

An Eastman Timer in use in your work room will put quality into the prints by introducing accuracy. Accuracy also prevents waste of material and if you wish to insure against loss of both quality and material the Eastman Timer is your protection.

Handsomely finished in nickel with brass trimmings. The timer is four inches in diameter and runs thirty hours with one winding. The price is two dollars and your dealer will supply it.