The time has come when raising the price of Dry Plates, Portrait Films and most photographic papers has become an absolute necessity.

The photographers have had and are having a big business, but like the manufacturers of photographic materials they have not, on the average, raised their prices in proportion to the prices on other goods. The photographer is entitled to a fair profit, and if he is unable to make it at the increased cost of material, he is justified in passing on to his customers this necessary increase in the cost of making photographs.

It is necessity, not opportunity, that is causing us to make an advance in the price of materials that we were long since justified in advancing, and no one can say the photographer is not equally justified in advancing his prices with a like motive.

The stability in the price of photographic materials during and since the war has been remarkable. Not that there was no excuse for raising prices, for there were opportunities without number, but we did not choose to take advantage of them.

When the war put up the cost of silver and glass and gelatine, we still held to our pre-war prices until our stocks of raw materials were exhausted, and then made but a slight advance in plates.

We hoped, after the signing of the armistice, that costs would go down slowly and that increased business and increased efficiency in production would enable us to maintain the old prices. Nearly eleven months have passed, but, instead of going down, costs have continued to advance, and an advance in the selling price of Plates, Film and Paper has become imperative.

This is an old story to consumers of practically every line other than photographic materials. We are proud of the fact that it is not an old story to photographers - that we have been able to hold down prices for so long. But silver has advanced about 125% above the pre-war price, gelatine about 75%, glass over 100%, paper is sky high; cotton, which enters so importantly into the film base, has risen violently, and the solvents and other chemicals have likewise rocketed. Such essentials as labels and boxes are already away up, and, with the cost of living mounting, we have naturally made increases in our pay roll.

Increased volume of business and increased efficiency in manufacturing methods, along with the loyalty of a great body of workers who have the incentive to do their work most efficiently, and well, have materially aided us, but could not overcome the handicap of advancing costs.

In no instance, during the war, or since, have we taken advantage of a shortage to boost prices. As long as we were able to keep our costs down through large, early purchases and economy, we gave the trade the benefit. But our old stocks are exhausted and our only course is to advance prices.

The advance will not make the prices of photographs prohibitive, and, we feel sure, will in no way affect the demand for portraits. There is no line of business, we believe, where the net average advances have been so small, during the war period, as in the photographic business. We feel that we can take an honest pride in the part we have taken in keeping prices down to the photographer, and that the photographer can likewise be proud of the fact that he has kept and can continue to keep the prices of photographs within the reach of all his customers.

The Value Of Process Films For Special Work By Alfred J. Jarman

Recently the writer experienced considerable trouble in the endeavor to secure intense black and white transparencies and negatives from some old and valuable letters. The paper upon which they were written had become very yellow, or to be more correct, a decided brown. The ordinary dry plate would not produce the contrast desired, no matter by what process it was intensified. It was decided to put the process film to practical use, with the endeavor to obtain, if possible, the best results.

These trials were made upon 5x7 Eastman Process films, developed with a Kodelon Hydro-quinone developer, and after a thorough washing and fixing in a hyposulphite of soda fixing bath containing a moderate quantity of hardener, they were well washed again by changing the water half a dozen times in a separate tray, allowing about five minutes to elapse between each change. They were then bleached in a solution of bichloride of mercury, made by dissolving 120 grains of bichloride of mercury and 100 grains of chloride of ammonium in twenty-four fluid ounces of water. As soon as the films were well bleached, they were washed for five minutes in running water, then blackened with a solution of ammonia of the following strength: Half an ounce of strong water ammonia in eight fluid ounces of water. As soon as blackening was complete, which required about five seconds, they were washed in cold water for about two minutes, and then suspended to dry, as soon as they had been carefully wiped lightly with a tuft of absorbent cotton under a stream of water from the faucet.

Eastman Portrait Film Negative. Artura Print.

Eastman Portrait Film Negative. Artura Print.

Copyrighted By Blank & Stoller New York, N. Y.

The intensification was complete, no plate negative ever equalled them except those made by the wet collodion process.

The paper prints sent herewith were made from the negatives described.

There is no indication that these prints of old letters possessed any trace of a brownish yellow color in the white parts, or what would be the white paper, if the letter had been recently written.

Another advantage in the use of these films lies in the production of transparencies of valuable negatives so that a negative or any number of negatives may be made at any time in case the original negative should become broken. It may be said that the same thing can be done with a glass transparency, as has often been done, true, but there is still the risk of this kind of transparency becoming broken, while such risk is completely eliminated when the film is used. There are times when it is absolutely necessary to make a transparency from a negative 20 x 24 , owing to the fact that such a negative cannot be made again from the original object. Take, for instance, when during the late world's war where so many beautiful structures in the fine cathedrals, and other historical buildings have been destroyed, a transparency made upon a film from any of such negatives would prove to be invaluable. Again, the risk that is run when printing from large glass negatives, from plates varying in size up to 24 x 40 , is entirely obviated when a film negative is used. It is well known that considerable care must be taken to see that no grit of any kind be permitted to rest upon the supporting glass plate of the printing frame or machine, when a glass negative is used, while if a film negative is to be printed from no risk need be feared from this cause or from uneven pressure. Upon one occasion the writer experienced the breaking of a glass negative, 24 x 40, due apparently to uneven pressure. In this case it required two men to handle the printing frame, owing to the glass supporting plate of the frame being three-eighths of an inch thick. In the case of a film negative no such accidents need be feared, because uneven pressure would not affect the negative, the only thing to be attended to in the event of using a large film negative would be to see that there was uniform contact with the paper upon the negative.

Eastman Portrait Film Negative, Artura Print By Blank & Stoller New York, N. Y.

Eastman Portrait Film Negative, Artura Print By Blank & Stoller New York, N. Y.

Halftone of the Print from Process Film Negative.

Halftone of the Print from Process Film Negative.

Eastman Portrait Film Negative, Artura Print By Blank & Stoller New York, N. Y.

Eastman Portrait Film Negative, Artura Print By Blank & Stoller New York, N. Y.

Another advantage of a film negative or transparency is in the printing of an ornamental edging upon a paper print, or transparency, which is produced by double printing. Such negatives or transparencies as these are used rapidly when a large number of prints are required. Only too often do these negatives for border printing become broken. For this reason the writer has adopted the plan of making such negatives upon 5x7 films, as well as providing an original film transparency for future use. Examples also of border printing sent herewith will give an idea as to how perfect a line drawing may be produced upon a film negative.

It is this kind of negative that has hard usage in every day work. No matter how perfect a glass negative may be made, it cannot be made accident-proof when it has to be handled so many times daily, while with a film negative, if it should be accidentally dropped, there is no fear of its becoming broken. If it should become very much scratched, another may be readily made from the original film transparency.

When making a transparency from a negative or a negative from a transparency by the use of the film, no difficulty has been experienced whatever for want of contact from buckling, either from film to glass or film to film, at any time when such negative or transparency is made in an ordinary printing frame, the film lending itself to any kind of pressure owing to its pliability and resilient quality.