The extensive use of Artura, and the fact that photographers are generally so well acquainted with Normal Iris Artura Developer has led us to further experiments as to its suitability in connection with the formula for Sepia Azo tones published in last month's Studio Light.

We find that the Normal Iris is probably even better for this purpose than the Azo formula, and that is saying a great deal. The sepia tones on Azo are better, richer and more uniform than anything ever produced on a developing paper and the use of the regular Artura developer makes the process still more simple.

Note: Do not think that because you can get good black and white prints on Azo with the Normal Iris Developer that you can in turn get Artura sepias that are satisfactory with the Azo-Hypo-Alum bath. Artura is unlike the other development papers and requires special handling to give proper sepias.

To obtain the best sepia results on Azo, the same rule applies as for black and white prints. The print must have full exposure to allow a normal development. A print under-exposed and forced in development is of a cold blue tone and produces a cold purple in the sepia toning. A print over-exposed and under-developed naturally contains too much olive tone with clogged shadows and produces a muddy sepia tone.

It is obvious then, that enough bromide should be used to produce, with normal development, a good clean olive tone. Such a print will in turn give a warm sepia tone. Too little bromide (or short exposure and forced development) will give a colder sepia - in extreme cases a purplish tone.

As the color then, of the black and white print is the most important factor in making good sepia tones, care should be taken to accurately determine the proper exposure and to properly develop without forcing.

Recapitulation. Normal Iris Developer


40 ozs.

Elon or Metol......

14 grs.

*Eastman Sulphite of Soda(dry)

1/2 oz.


60 grs.

*Eastman Carbonate of Soda (dry).........

1/2 oz.

Add one drop saturated solution Bromide of Potassium to each 2 ozs. of developer.

The print is rinsed after developing and placed in the following fixing bath, allowing not less than ten minutes for fixing:

* If crystal sodas are used, double the quantity.

Acid Fixing Bath

Water . .......

64 ozs,


16 ozs.

When thoroughly dissolved, add the following hardening solution, thoroughly dissolving the chemicals one at a time in the water in the order named:


5 ozs.

Eastman Sulphite of Soda (dry)....

1/2 oz.

Acetic Acid No. 8 (.25$ pure acid)...

3 ozs.

Powdered Alum ....

1 oz.

If a large number of prints are to be toned, it is advisable to rinse them out of the fixing bath in warm water to avoid carrying a quantity of cold water into the Hypo Alum toning bath.

Azo Sepia Toning Bath

.Boiling water (.distilled or rain water)........

20 ozs.

To which add Hypo ....

16 ozs.

When dissolved add Powdered


4 ozs.

Boil this mixture for two or three minutes. Then add 20 grains of Potassium Iodide which has been dissolved in one ounce of water. Next dissolve 20 grains of Potassium Bromide in one ounce of water and 20 grains of Silver Nitrate in one ounce of water. Pour these two together and add the mixture to the above bath while hot and it is ready for use after standing a few hours.


This bath when heated to a temperature of from 120 degrees to 130 degrees will tone prints in from 20 to 30 minutes.

Stir the bath constantly while adding the different chemicals.

The white precipitate formed in the mixing of the bath may be allowed to settle and the clear solution poured off, or it may be used as it is.

This bath may be used repeatedly and as many prints as can be conveniently handled may be placed in the bath at one time.

Prints should be stirred occasionally to insure even toning. Should any print show uneven-ness in the first stages of toning no harm is done as the toning proceeds to Sepia and stops, making it impossible to over-tone.

In washing the prints from the hot toning bath, they should be run through a change of lukewarm water and swabbed off with a tuft of soft cotton to remove any precipitated alum.

In cold water this forms a milky scum but is easily removed in the warm water.

Steeplechase Island For New England Convention

The unprecedented demand for space from the manufacturers and exhibitors at the forthcoming Convention of the Photographers Association of New England has made it necessary for the Executive Board to change its original intention of holding the Convention at the Bridgeport Armory in September. The committee has selected Steeplechase Island, which offers an opportunity for holding a photographic exposition which the coming convention of the Association has actually developed into, and the Board is now busily preparing plans of the Island for the inspection of the members and exhibitors.

This change in plan makes it possible for the Board to assure every manufacturer as much space as he requires and an absolute equality of opportunity to display his wares. The entire Island will be taken over for the purposes of the exposition and for the first time since the days of Celeron the old time Association spirit will prevail.

I am more than gratified over the showing made by the Association thus far, and the assurances received by the Board convince me that the coming exposition will achieve a great success and will establish a new mark in convention work.

An entire building will be devoted to the display of photographs and from absolute bookings already made I can safely promise the visitors and members the greatest exhibition of photographs ever gathered in America.

Full details of the Exposition and Convention are being prepared and will be sent forward to you in due season.

Cordially yours,

J. H. Garo, Pres. P. A. of N. E.

From An Artura Iris Print By Melvin H. Sykes Chicago, Ill.

From An Artura Iris Print By Melvin H. Sykes Chicago, Ill.