This section is from the "Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1911" book, by Aristo Motto. Also see Amazon: Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1911.
The Artura Method Sepia continues to gain in popularity as is shown by the many letters received praising the beautiful results secured and requesting information regarding points not mentioned in the working instructions.
In the introduction of a new process such as the Artura Method Sepia, questions arise regarding details which it is impossible for one to anticipate and include in a sheet of directions. The following notes and suggestions will therefore be of interest to workers of the new sepia method.
In the preparation of the Artura-Method Toning Bath we would advise that the Chloride of Gold should not be added until after the bath has been heated and has almost reached the temperature at which it is to be used.
The Chloride of Gold Solution should be prepared by dissolving a fifteen grain bottle of Chloride of Gold C. P. in fifteen drams of water. Of this solution add one dram to each sixteen ounces of the bath to be used.
It will not be necessary to wash prints thoroughly that are to be toned soon after fixing, but they should be rinsed sufficiently to eliminate the surplus Hypo and hardener. If this is not done uneven tones and scum on the surface of prints will be the result.
The simplest way of handling a toning bath such as the Artura-Method is to use a double tray or boiler. The upper tray should be smaller than the lower one and should be arranged so that the bottom and sides of the two trays are separated. Two small strips of wood placed in the lower tray will effectually keep the trays separated. The lower tray should contain water and the upper one the toning solution. Apply heat under the lower tray containing the water. In this way the heat is distributed evenly to the toning bath and it is much easier to maintain an even temperature. Should prints settle to the bottom of the bath there is not the danger of changing their surface by becoming too hot in spots, thus causing them to be glossy or shiny.
Do not fix the prints after toning in an old Hypo Bath or in one in which too many prints have been fixed. The object of fixing prints after they are toned is to remove a light-sensitive salt that is formed during the process of toning, and unless the fixing bath is in good condition this light" sensitive salt will not be eliminated and the prints will change color - becoming warmer in tone.
Artura uniformity and dependability are appreciated during the busy season.
From An Artura Iris Print By Schaldenbrand Bros. Pittsburgh, Pa.