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.
For black and white work - the work that always has been and always will be most in demand - surviving all temporary fads, Artura is unequalled.
For sepias, there's no use in using a high priced paper. Dollar Azo gives as good sepias, yes better sepias than any other development paper on the market, and gives them simply and with certainty.
There's no half way stop between Azo and Eastman Etching Sepia Platinum - in sepias the platinum holds first place. Azo is easily next.
The rare quality of Artura has made it the standby in the leading studios that have adopted a development paper. Now and then such studios have a call for sepias. Azo will fill the bill. Not that good sepias cannot be made on Artura, but that very quality in the emulsion which makes it different from all the other development papers - in a class by itself, to use a trite expression - renders it less susceptible to the influence of a simple hypo alum bath. It requires a special and careful handling for the best results in sepia toning that some photographers do not care to bother with. The answer is: Azo. We make no apologies for Azo. As a black and white it is in the same rank with the best of the other development papers - Artura alone excepted. It offers all that any of them do in quality and more than any of them do in uniformity. As a sepia it asks odds of none of them - and the price is a dollar per gross cabinets, other sizes in proportion.
Prints should be exposed and developed in the regular manner, using the Azo formula as follows:
(Dissolve chemicals in the order named)
Elon or Metol ....
*Sulphite of Soda (des.) ....
*Carbonate of Soda (des.)...
Sat. Sol. Potassium Bromide...
This solution will keep indefinitely if placed in bottles filled to the neck and tightly corked.
For all grades of Azo.
Boiling water (distilled or rain water) ......
To which add Hypo . .
When dissolved add Powdered Alum . . .
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.
* If Crystal Sodas are used double the quantity.
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 unevenness in the first stages of toning no harm is done as the toning proceeds to Sepia and stops, making it impossible to over-tone.
This mark means: Tested chemically and tested photographicaIIy.
By H. Walter Barnett - Seed Plate London, England.
Sept. 12, 13, 14.
Put 'em all down on your calendar pad: New England Convention at Bridgeport, Sept. 12, 13, 14, and Garo at the helm.
Everybody who is acquainted with that tingling bundle of nerves will be sure that Bridgeport will be a live spot. The board and the local committee are - we started to wrongly say "back of him" - working shoulder to shoulder with him. It's the kind of board that can get the co-operation of big men from all over the country. At present they are thinking, planning, laying wires. Later there will be important announcements.
President Garo already has the assurance from many of the leading workers that their pictures will be there and that they will be there personally. We shall have the news features about the Bridgeport show (no, not one of the circuses that winters there) for you later. Thus far there's considerable mystery about the whole affair - not the least mysterious thing being the hieroglyphic that adorns the head of this page.
What does it mean, anyway? It has been hinted that you can only find out by coming to Bridgeport.