Develop the Iris prints in a developer compounded in accordance with the formula to be found in the direction sheet enclosed in each package of Iris, using one drop of Saturated Solution of Bromide of Potassium to each two ounces of developer.

Expose the prints so they can be given full development, thus obtaining a complete reduction of silver.

This is essential or prints will not have the proper color when toned.

The prints should be a shade darker than would be desirable for a black and white print, to allow for the change to brown.

Prints do not bleach in the toning bath, but a print of the proper depth for a black and white print would appear too light when toned, due to the fact that brown is more transparent than black.

Immerse the prints in the regular shortstop after development and fix them in the bath recommended in the formula. (Do not over-work the fixing bath.) After the prints are fixed they should be given a sufficient amount of washing to eliminate the surplus acid fixing bath.

They are now ready to tone in a bath prepared as follows:

No. 1




Hypo ..........



Place the solution over a fire and when hot (not boiling) stir in.

Citric Acid (Powdered) . .



If the Crystal Acid is used, dissolve in as small a quantity of water as possible before adding the hot Hypo Bath. )

Allow the Hypo-Acid Solution to cool and when cold add the ripening solution prepared as follows:

No. 2




Nitrate of Silver ....



No. 3




Chloride of Aluminum . .



When Nitrate of Silver and Chloride of Aluminum are dissolved, pour the Aluminum Solution into the Silver Solution and add to the cold Hypo-Acid bath. Then add:

No. 4




Sodium Nitrate C. P. Powdered .............

1 1/4


The toning bath is now ready for use and should be heated to a temperature of 110 degrees before placing the prints in it. Place the prints in the bath face up with a sliding motion to avoid air-bells, stirring them well during the first few minutes they are in the bath.

Toning proceeds rapidly and less than ten minutes will be required to completely tone the print sepia.

Avoid getting the bath too hot, as blisters may be encountered. A temperature of 110 degrees is sufficient.

The bath can be used repeatedly but should be renewed from time to time with fresh bath to bring it up to the original quantity.

After prints are toned they are washed in the usual manner.

From An Etchinc Black Platinum Print By Matzene Los Angeles, Cal.

From An Etchinc Black Platinum Print By Matzene Los Angeles, Cal.

Rochester, N.Y. Gentlemen:-

I am sending you by this mail under separate cover a marked copy of our daily paper, showing that I am taking advantage of your valuable advertising campaign.

We have a little city of 10,000 population and our daily paper has a circulation of 2000 paid subscribers. My business is GOOD and I lay it to my advertising. I change my copy every other day, using some original ads and some taken from Studio Light as well as those you run in the BIG MONTHLY MAGAZINES. Your advertising campaign is "GREAT". I am sure we all appreciate it, and hope you will keep the good work up. With best wishes for the E. K. Co. I an,

Yours very truly,

No 4 StudioLightMagazine1913 58

The letter above is from a man who has confidence in good advertising well placed, regularly changed and used continuously. Regular change of copy is one of the most essential things in good advertising.

No 4 StudioLightMagazine1913 59

The above ad, occupying a three-column space and using a Studio Light cut, is a very good example of how our general magazine advertising may be followed up to advantage.

From An Etching Black Platinum Print By Matzene Los Angeles, Cal.

From An Etching Black Platinum Print By Matzene Los Angeles, Cal.

From An Etching Black Platinum Print By Matzene Los Angeles, Cal.

From An Etching Black Platinum Print By Matzene Los Angeles, Cal.

The Matzene Studio

In the most fashionable resi-dence section of Los Angeles, surrounded by beautiful palms, rose gardens and spacious lawns, stands the photographic establishment known as the Matzene Studio.

The building is a dignified example of the modern residence studio, being similar in architectural style to the California Missions of the old Franciscan Padres. There are two Moors, 40 x 110 feet, with a north single slant light, the entire building being occupied by the studio and work rooms.

We esteem it a privilege to offer our readers a series of illustrations from the work of Mr. Matzene, and the more so because of the fact that it is the first time he has ever allowed a series of his portraits to be published.

Our illustrations are representative of Mr Matzene's every-day work. They are portraits of his regular customers, not celebrities, and were selected at a moment's notice. The prints are from negatives made on Seed 26 X plates, developed in the Plate Tank, and it is interesting to know that Mr. Matzene never resorts to local reduction. Harmonious and well balanced lightings, correct timing of exposures and development are the things he finds essential to produce perfect printing quality in his negatives, and in these essentials he is most exacting.

As to print quality - Etching Platinum is used exclusively, and our illustrations can in no way do justice to the beautiful quality of the prints themselves.

It is gratifying to find such a happy combination of artist and artisan - one whose work will bear studying and otter so much suggestion as that of Mr. Matzene.