We reproduce herewith two Aristo prints recently received from Banco Ishikawa, proprietor of the Central Art Studio of Higashiku, Osaka, Japan.

It is interesting to note the effect produced by American methods when applied to Japanese art, and it is also interesting to note that this man from Japan - from a country whose natives are marked for their keen perception, their discernment and appreciation of real merit - has selected Aristo products for use in his studio. A selection made after a thorough study of American photography and photographic methods.

In Fair Japan StudioLightMagazine1911 29In Fair Japan StudioLightMagazine1911 30

Further proof of progressive-ness is furnished in a nicely printed announcement illustrated with half tone reproductions of photographic portraits which is sent to prospective patrons of the studio. In the announcement Mr. Ishikawa makes a direct appeal for new business, using the following argument:

In Fair Japan StudioLightMagazine1911 31From An Artura Iris Print By The Holladay Studio Durham, N. C.

From An Artura Iris Print By The Holladay Studio Durham, N. C.

Courtesy Of Life.

Courtesy Of Life.

The F Group.

The F Group.

"Copyright 1910, LIFE Publishing Co."

Sepia Tones On Iris

There is a varying demand for sepia tones and to enable the photographer to fulfill the demand when it occurs we offer a choice of several different processes.

Hypo-alum, the old reliable way of making sepia tones on Iris, was the first one advocated and this method, modified to suit Artura Iris, was published in the Artura manual "Results" several years ago.

Then came double-development, another original Artura formula and one which is successfully used by many. This is also published in the manual "Results."

The newest and simplest and quickest sepia process of all is the use of "Artura Sepia Salt" which is fully explained in "Results."

Double redevelopment and Artura Sepia Salts yield beautiful sepia tones, but both processes while simple require thoroughness and cleanliness in handling. There are several minor points which if not observed may affect the final result.

Both double redevelopment and Artura Sepia Salts have their staunch champions who would not use any other method for sepia prints, but experience has proved that of the three, the old original hypo-alum method is the most reliable in the majority of cases, as it is not a so delicately balanced process and yields a better average result with little or no attention aside from using some care in making the original prints.

The original black and white print should be made a shade darker than desired to allow for the change from black to brown and to obtain a satisfactory sepia tone must be fully and evenly developed.

Full development is essential, as under development causes weak yellowish tones, and to facilitate full development double strength Iris developer with a minimum amount of Bromide may be used to advantage.

To eight ounces of double strength Iris developer use about 3 drops of a saturated solution of Bromide of Potash and expose prints so that they may be developed to the stopping point. Then fix as usual, rinse well and tone.

The Artura booklet gives complete instructions for making sepias on Iris by all three methods. It is a complete working manual covering all of the finer points of Artura manipulation. If you haven't a copy of the 9th edition of the booklet, "Artura Results," you can get a copy from your dealer or from us by mail. It's free for the asking.

From An Artura Iris Print By The Holladay Studio Durham, N. C.

From An Artura Iris Print By The Holladay Studio Durham, N. C.