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.
There were many things of interest at the recent National Convention at St. Paul, but the Success of the Convention - the one thing most talked about and which attracted more attention and elicited more favorable comment from those present than any other one thing, was the introduction of the new Artura-Method Sepia - a method which gives to the photographer for the first time in a development paper the rare qualities of a black and white Iris Artura print reproduced in the sepia.
Those very qualities in the Artura emulsion which have given that paper its distinct superiority as a paper for black and white prints, have rendered it undesirable for sepia tones by the ordinary Hypo - Alum process. Beautiful sepias have been and are made upon Artura, but Artura, being unlike Azo and the other development papers, has not lent itself readily to the more common forms of the Hypo-Alum process.
But there now is a sure way of obtaining Artura Sepias - a way that makes sepias on Artura that are superior to those obtainable on any other silver paper - a way that makes it possible to make a dozen, a hundred or a thousand sepia prints that are absolutely uniform in tone. Moreover, it's an extremely simple process - simple because it cuts out the most difficult part of the Hypo-Alum process as applied to other papers.
Every photographer knows that in making Hypo-Alum sepias the difficulty has been in getting the right sort of a black and white print to start with. The resulting tone depended entirely upon the tone of the black and white print. If it was too cold, the resulting "sepia" would be purple; if too warm, there would be a tendency toward yellowish-ness. Short exposure and forced development or too little bromide meant purple, not sepia, and at the same time there was the danger of going too far the other way.
In the new Artura-Method Sepia all this is obviated. The color of the black and white print does not affect the color of the sepia. With the ordinary development papers and the Hypo-Alum bath, the highlights tone first. By the Artura-Method Sepia the toning works evenly over the entire surface of the print and when the desired tone is reached, the print is removed from the bath. It is as easy and as sure as toning Aristo prints in the gold bath, and the shadows are even more transparent than in the original black and white prints - a distinct advantage over other methods.
This combination of the Hypo-Alum and Gold Toning methods gives to Artura Sepias, not only Artura quality but certainty, uniformity and simplicity in securing results.
Develop in the regular way.
Fix In the regu'ar way.
Tone as follows:
Dissolve 8 ozs. Hypo in 128 ozs. boiling water (Rain or Distilled). Then add powdered alum, 2 ozs. After this is dissolved allow bath to cool, then add sodium phosphate, 2 ozs. Next dissolve 60 grains of silver nitrate in 1 oz. water and 180 grains potassium bromide in 1 oz. water. Pour the bromide solution into the silver solution and add to the above mixture. Stir the bath constantly while adding the various chemicals. When thoroughly mixed add chloride of gold C. P., 8 grains. The bath is now ready for use.
In toning the prints the bath should be kept at a temperature ranging from 120 to 125 degrees.
If the bath is too cold the gold tone will predominate; if too hot, the sulphur tone will predominate.
Give prints several changes of water to remove any sediment and Return print for five minutes in regular fixing bath.
Wash in the regular way.
NOTE: The above bath will tone 1 gross cabinet or 4 x 6 prints or the equivalent in other sizes. It is advisable to use fresh bath when this number of prints have been toned rather than attempt to renew its strength by the addition of gold.
The entire lot of prints should be placed in the bath at one time, keeping them well separated during the process of toning.