A DEMONSTRATOR had sug-gested to a photographer that he buy himself a Negative Comparator as a means of keeping the quality of his negatives uniform and saving time and money in his printing room, at which the photographer expressed himself as being open to conviction. At the same time he made it very plain that he was not at all sure that a device such as the Comparator would save him money or time either, for that matter.

The demonstrator was very well known and well liked by the photographer, and all of his employees, and there was no objection to calling the printer in to prove the point. So Fred was called into the friendly discussion.

It developed that Fred had been getting a great variety of negatives to print from but had been unable to convince the dark-room man that the variation in negative density was anything worth complaining about.

The fact of the matter was this: - Fred was using an eleven by fourteen printer carrying six 100 watt lamps and his printing exposures were ranging anywhere from six seconds to twenty seconds. The proper printing exposure for all his negatives should have been between six and eight seconds.

There was a very unnecessary waste of time of the printer as well as the person doing the developing when a run of negatives was encountered that required twenty seconds or more exposure to give a good print. And when the negatives in a single day's work showed a variation all the way from two to fifteen seconds in printing there was sure to be a considerable waste in material. It is a very good printer who can correctly judge the necessary time of exposure for negatives of such varying density and produce a day's work without waste of paper.

Of course there will always be some waste but it makes a great deal of difference in dollars and cents in the course of a year if you double the normal allowance for waste or halve it.

The purpose of the Negative Comparator was explained to the photographer and he quickly saw how its use would save time in his printing room and money in material saved.

With the Comparator before him on the dark-room shelf, the man who is developing can compare every negative with a standard and determine the need for reduction, intensification or more or less development and, by so doing, maintain a standard of quality and uniformity that would not be possible otherwise.

Keep A Check On Your Negative Quality StudioLightMagazine1923 22

EASTMAN FILM NEGATIVE, VITAVA PRINT

By R. W. Perkins Honolulu, Hawaii

When a negative has been selected as a standard, because of its printing quality, it is placed in one of the end compartments of the Comparator in front of the opal glass. A negative of an entirely different type is selected which probably requires a different scale of densities, such as a white background negative as against a black background negative. This is placed in the other end compartment of the Comparator.

When the negatives are developed and are in the fixing bath, the Comparator lights are turned on and as a negative is removed from the fixing bath and rinsed, it is held in front of the center compartment where it receives exactly the same illumination as the standard negatives on either side.

If it shows too much density it may readily be placed in a tray of reducer and the density cut down until it exactly matches the standard with which it is compared. This is only the work of a minute or two but it saves a great deal of time in proofing and printing.

If the negatives show underdevelopment, the correction can be made in the next lot of negatives that are developed and the trouble will not run along for a week or so before it is discovered. Such a means of comparison will also make the dark-room worker more careful of the temperature of his developer, and as he will have no excuse for going far from his standard he will be quicker to note a tendency of the operator to over or under expose.

In the case of the photographer mentioned, a decided change was noted in the general quality and especially in the uniformity of his negatives after the Comparator had been in use only a very short time.

Of course it wasn't the Comparator that did it, but this simple device made the improvement in quality and uniformity possible by offering the means by which the quality could be kept uniform.

It takes co-operation in a studio to keep all departments working in harmony and every device that aids in the production of better work should be welcomed not only by the studio proprietor but by every workman who is in any way responsible for the quality of the work or the efficiency with which it is produced.

Keep A Check On Your Negative Quality StudioLightMagazine1923 24

Eastman Negative Comparator

The Eastman Negative Comparator is sold by your Stockhouse,complete, for $12.00. And it will be worth that amount to you many times over if you make proper use of it in your dark-room.

Keep A Check On Your Negative Quality StudioLightMagazine1923 25

EASTMAN FILM NEGATIVE, VITAVA PRINT

By R. W. Perkins Honolulu, Hawaii

Standardizing Sizes Of Commercial Prints

WE have been advised by Mr. Kaufmann, President of the Commercial Photographers' Association of Chicago, that the Association has adopted a standard size for all prints that are to be bound in albums.

This standard not only places a definite trimmed size on the print but, as will be seen by the chart which we show in reduced size on the opposite page, definitely establishes the width of the cloth hinge, the stub and the location and size of the holes which are punched for the loose leaf binding.

All of the photographers in the Chicago Association have adopted this standard, which means that practically every Chicago photographer will be making commercial prints for loose leaf binding that are of uniform size and interchangeable in albums that will take standard prints.

The advantage of such standardization will readily be seen. The customer of any Chicago photographer may also be buying prints from photographers in other parts of the country - photographs of installations, equipment of various kinds, store windows, demonstrations, uses of products, etc.

With such a standard universally adopted, photographs supplied by photographers anywhere would fit albums already in use by the manufacturer and would save him the annoyance of having to have photographs mounted to fit his albums after they had been received.

The manufacturer appreciates such standardization in his own business and will quickly appreciate it in yours, and make his albums for sample prints conform to your standard of print making.

It would also seem that here is an opportunity for the photographer to supply albums of standard sizes. But that is another matter.The Chicago Association will be glad to furnish full sized charts such as we have illustrated to any commercial photographer and to further in any way possible the adoption of this standard by any Commercial Association or group of commercial photographers.

If you wish one of these charts, address your request to Chas. D. Kaufmann, 425 South Wabash Avenue, Chicago, III.Standard trim size for photographs made for binding adopted by The Commercial Photographers Association of Chicago

Standardizing Sizes Of Commercial Prints StudioLightMagazine1923 27Standardizing Sizes Of Commercial Prints StudioLightMagazine1923 28

Truthful portraiture shows you in a char-acteristic expression and a natural pose - at your best. Our ability to put you at ease assures the success of your picture.

Phone Main 245 for an appointment.

The photographer in your town

The Smith Studio

Line Cut No. 306. Price 50 Cents

Standardizing Sizes Of Commercial Prints StudioLightMagazine1923 29

FROM A SUPER SPEED PORTRAIT FILM NEGATIVE

By. Milton J. Washburn Buffalo, N.Y.

STUDIO LIGHT INCORPORATING THE ARISTO EAGLE ESTABLISHED 1901 THE ARTURA BULLETIN ESTABLISHED 1906 Vol.14 FEBRUARY 1923 No. 12