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 group of Ex-Presidents of the P. A. of A. on pages 16 and 17 was made by the Bretz-man Studio of Indianapolis where these men met and formed a society the purpose of which is to further the best interests of the P. A. of A.
Their services will be available in an advisory capacity whenever desired.
The grade of paper to use for the small print is often a problem. If it is a high-class little picture, you want it to have the same quality as your larger work, but the surface of the paper used for large sizes does not always permit its use for small prints.
Artura Iris, Grade E, Semi-Matte, is a new surface that is pleasing in either large or small prints. It is a light buff, double weight stock with a slight sheen to the surface.
The creamy tone of the stock gives a warmth and richness to the highlights and half-tones, while the slight sheen adds a brilliancy to the whole effect that is decidedly pleasing.
All the Artura softness and gradation is retained and the grain is fine enough for the most perfect detail in the smallest print you may have occasion to make.Specify Iris, Grade E, Semi-Matte, in ordering this new paper. The price is the same as for other grades of double - weight Iris.
News Bromide is just what its name implies. It is intended for newspaper use where quick results are required; where the staff photographer goes out to make a "beat" on a bit of current news. It is a developing - out paper that works with a snap and produces contrasty, brilliant prints especially suited for making the best quality of half-tones for newspaper work,
Though not limited in its scope, News Bromide is particularly suited to this class of work, and is made only in single weight with a glossy surface. Try News Bromide for this class of work.
SAFELIGHTS The dark room light is too often looked upon with little idea of its safety for use with plates and papers of varying degrees of sensitiveness. "If it's a red light it should be safe," has been the prevailing idea of safety regardless of its quantity, quality or the sensitive material which it is supposed to protect. A small amount of fog is not always noticeable in a negative except by comparison. Its degrading influence, however, lowers the resulting print quality and often makes it necessary to resort to contrasty papers to secure an excuse for brilliancy. Such results are never equal to those secured with the right paper from a crisp negative entirely free from fog. We believe the following article on Safelights is well worth your careful consideration. Editor's Note.
The glasses which have been commonly used in dark room lamps are of several kinds, some of them being as satisfactory in their absorption as any glasses which can be made, while others are quite unsatisfactory. The first and, indeed, the only important criterion for a safelight glass to be used with any photographic materials except panchromatic plates is that it should not transmit blue, violet or the invisible ultra violet light. Now, some of the glasses, especially the so-called gold flashed ruby glasses, do transmit a considerable amount of violet light and are, consequently, unsafe for photographic uses unless they are combined with a quite safe yellow glass, a thing which it is very difficult to obtain, nearly all the yellow glasses transmitting some blue light.
A. T. Proctor Chas. F. Townsend Frank
Geo. G. Hollowav John S. Snyder
C. J. Van Deventer S. L. Stein Willam of the P.A of A.edlar Ben Larrimer
C. R. Reeves Manly W. Tyree