This section is from the "Studio light a magazine of information for the profession 1915" book, by Sara F. T. Price. Also see Amazon: Studio light a magazine of information for the profession 1915.
The latent image is something you ordinarily don't need to bother your head about, for no one has ever been able to get on speaking terms with it. You make an exposure on a plate or expose a print, and you know you have created this latent image and that it will develop, but that's about all. Experience, however, has taught one other thing. In printing on develop-ing-out papers, the latent image is very liable to partially disappear if your paper is laid aside some time before being developed. Don't take a chance. Develop your prints as soon after they are made as possible, and you can feel perfectly safe.
This latent image is a rather erratic thing. You can deliberately try to dispose of it and fail. But get real busy and expose more prints than you can develop the same day, lay them away over night, and when you go to develop them the next morning they are very apt to appear very much under-exposed.
This is not always the case but it happens often enough so that you cannot afford to take a chance on wasting a number of otherwise perfectly good prints. And there is no known remedy for this deterioration of the latent image.
It happens most often when the exposed prints are left in a damp place, and an hour or so is often long enough time to make some difference in the quality of the developed print. Allowing exposed prints to lie while you spend an hour or two at lunch has been known to make a difference, and the conclusion is often drawn that the paper of a certain emulsion is not uniform in speed. More exposure is given and the prints are overtimed, and the manufacturer is blamed for a result that is not at all the fault of the paper.
The above trouble will not be experienced with plates and films unless exposures are left for a considerable time before being developed. It is best, however, to develop prints as soon after exposure as possible and to have a dry atmosphere in your printing room.Make Sepia prints of quality, with uniformity on
By N. Brock Asheville. N. C.
FROM AN ARTURA IRIS PRINT
Mr. N. Brock, of Ashe-ville, N. C, is best known by his excellent portrait work, examples of which are usually to be seen at the conventions among the prize winners or rated with the best of the work on display. But the man himself is not so well known. Not because he is a grump or anything of that sort, but simply because he is modest and unassuming.
Mr. Brock is frank and sincere, loves his work and is a pleasant man to meet and converse with, but he prefers to let others occupy the limelight and is content to have his work speak for him.
Born and raised in North Carolina, he began his study of painting and photography, simultaneously, at the age of nineteen. His photography has been greatly influenced by a knowledge of the rules of art and his oil painting and miniature work by his knowledge of photography.
Brought up in the great outdoors, with a love for his native hills and mountains, it is only natural that they should have a place in his heart that sooner or later would find expression in his work.With the portrait illustrations of Mr. Brock's work we also show one of his landscapes which is typical of his beautiful outdoor work. While some of these pictures have received the highest awards at photographic exhibitions, such honors seem of little consequence to this man whose masterpiece is always an achievement of the future - something to stimulate the mind to greater activity.
Our illustrations are from prints made on Artura, the medium Mr. Brock finds best suited to the expression of his brilliant yet delicately modeled portraits.