/T 
 
 Tih© 
 
 Bodk 
 
 $ 
 
 The working 
 of a simple 
 paper 
 told in 
 simple terms 
 
Velox may be safely manipu- 
 lated ten feet from the ordinary 
 gas flame. 
 
 Revised 
 November, 1915 
 
 THE GETTY CENI£R 
 
 I IDDC.DV 
 
VELOX 
 
 Velox Velox is the original "gas-light" or 
 the developing-out paper. Up to the 
 Original time Velox was introduced (1889) 
 the amateur photographer was prac- 
 tically dependent on daylight and the more or 
 less slow printing-out papers, and on dark, 
 cloudy days printing had to be entirely sus- 
 pended. When Velox was first introduced 
 most photographers were skeptical as to results 
 and could comprehend neither the economic 
 nor the artistic possibilities of the new product. 
 
 A careful trial proved its value and soon 
 Velox was almost universally used whenever 
 the saving of time was important. 
 
 To the amateur Velox was especially wel- 
 come, as its speed afforded ample time for 
 making prints and its various surfaces gave 
 opportunity to produce artistic results previ- 
 ously impossible. 
 
 The fact that prints could be made at any 
 time of day or night, by any light, quickly pop- 
 ularized this product among the users of pho- 
 tographic papers. 
 
 Adaptability Velox is suitable for evecy 
 class of work as is fully demon- 
 strated under the heading of "Grades and De- 
 grees of Contrast.'' Velox should not be con- 
 fused with Bromide or any other paper ; it has 
 distinctive qualities of its own which have 
 
 1 
 
never been successfully imitated. Many im- 
 provements have recently been made in its 
 manufacture and to-day Velox is the perfected 
 product of years of experiment. 
 
 The different surfaces, grades and degrees 
 of contrast in which it is manufactured enable 
 the user to produce good prints from almost 
 any negative, suiting his tastes as well as the 
 peculiar requirements of the negatives. 
 
 Grades Velox is made in six different 
 
 and grades and divided broadly into 
 
 Degrees of three degrees of contrast, called 
 
 Contrast "Contrast," "Regular" and "Spe- 
 cial." As these trade terms have 
 reference to contrast and not to surface, we 
 could as well say "hard," "medium" and "soft." 
 There will be found a variety of surfaces. 
 Choose the surface which best suits you and 
 which will harmonize with the subject of your 
 picture. Select your negative, remembering 
 that the "Contrast" and "Regular" papers de- 
 velop quickly, and are adapted to negatives 
 lacking contrast, and known as "thin" or 
 "weak" negatives. "Special" papers require 
 longer development (as compared with the 
 "Contrast" and "Regular") and are for use 
 with "contrasty" negatives. Such negatives 
 are also referred to as being strong, thick, 
 dense or hard. 
 
 Royal Velox is furnished in both "Regular" 
 and "Special" but in one weight only and dif- 
 fers from the other Velox papers in that it is 
 coated on a stock having a cream tint, just a 
 soft mellow tone that prevents harshness in 
 the high lights. The stock is somewhat heavier 
 than the usual Velox stock, about half way be- 
 tween the single and the double weight. 
 
 Royal Velox prints are delightful when de- 
 veloped in the ordinary way, but to get their 
 full value should be re-developed. (See page 
 32.) 
 
The Right and Wrong Paper 
 to Use 
 
 An average negative or one that will produce 
 good results with printing-out paper should be 
 printed on Special while Contrast and Regular 
 Velox are adapted to negatives which are too 
 soft for other photographic papers, or when 
 hard, contrasty prints are required. 
 
 To those familiar with Velox paper it is an 
 easy matter to select the grade which is best 
 suited for the results desired. The novice, 
 however, is guided usually by the advice of 
 others and often is misled into using a wrong 
 grade of Velox, thereby failing to secure the 
 results expected and is inclined to believe that 
 the paper is at fault. 
 
 The following illustrations will act as a 
 guide to the best paper, Contrast, Regular or 
 Special Velox, to be used with negatives vary- 
 ing as to their contrasts. 
 
 NOTE — When selecting the proper paper, remem- 
 ber that Contrast Velox is best adapted for use with 
 the thinnest and flattest negatives. 
 
<i> be 
 
 be 
 
 cx;r 
 
 n> 
 
 cof-i 
 
 c 
 
 5 '" 
 
 >» 
 
 in 
 
 tc > 
 
 
 
 
 •= c 
 
 p 
 
 
 o 
 
 
 
 u 
 
 
 
 , ; a > 
 
 rt 
 
 > *o S 
 
 o 
 
 ■- _ U 
 
 I* 
 
 — 3 c 
 
 <u 
 
 6l (/-, 
 
 Cu 
 
 O 
 
 
 Cfl V. 
 
 
 £MH 
 
 J3 
 
 2 X 
 
 •5 o 
 
 bo 
 
 u 
 
 
 
 
 oj 
 
 
 
 IH^ 
 
 r- ' aJ 
 
An over-exposed and over-developed nega- 
 tive (difficult to illustrate) is dense through- 
 out, necessitating a very long exposure to the 
 light in order to affect the paper. 
 
 Such a negative is best printed on Regular 
 Velox. 
 
 The following table of grades, surfaces and 
 degrees of contrast of Velox should be an aid 
 to those contemplating using this paper. 
 
 Grades. Surfaces and Degrees of Contrast 
 
 GRADE 
 
 SURFACE 
 
 CONTRAST 
 
 *Velvet Velox 
 
 Semi-Gloss 
 
 Special 
 
 * Velvet Velox 
 
 Semi-Gloss 
 
 Regular 
 
 * Velvet Velox 
 
 Semi-Gloss 
 
 Contrast 
 
 *Portrait Velox 
 
 Smooth Matte 
 
 Special 
 
 Carbon Velox 
 
 Matte 
 
 Special 
 
 Carbon Velox 
 
 Matte 
 
 Regular 
 
 Carbon Velox 
 
 Matte 
 
 Contrast 
 
 Rough Velox 
 
 Rough Matte 
 
 Special 
 
 * Glossy Velox 
 
 Enameled 
 
 Special 
 
 *Glossy Velox 
 
 Enameled 
 
 Regular 
 
 Royal Velox 
 
 Matte 
 
 Special 
 
 Royal Velox 
 
 Matte 
 
 Regular 
 
 *Furnished also in Double Weight Velox; double 
 weight papers require no mount and when printed 
 under a mask which will insure a white margin, afford 
 a very artistic effect. 
 
Velox Glossary 
 
 In order that the beginner may understand 
 and be fully informed, the following glossary 
 has been compiled, including all technical terms 
 indispensable in describing the characteristics 
 and manipulation of Velox. 
 Abrasion Marks 
 
 Black lines or markings produced on the 
 surface of photographic paper by rubbing or 
 pressure. 
 Actinic 
 
 The "actinic rays" of light are those which 
 produce chemical changes or photographic 
 action. 
 Actinometer 
 
 A name erroneously applied to a form of 
 Hydrometer which is intended to show the 
 strength of a silver bath in grains of Silver 
 Nitrate, per ounce of solution. This instru- 
 ment is often used arbitrarily to measure 
 the strength of Sodium Sulphite, Sodium 
 Carbonate, also Hypo solutions. 
 
 Air Bells 
 
 Bubbles on sensitized surface of prints, pro- 
 duced by immersing the paper face down in 
 the developer or by using too small amount 
 of solution. 
 
 Bath 
 
 A term applied to a toning, developing or 
 other solution. 
 
 Blisters 
 
 (See article on page 33.) 
 
 Burnisher 
 
 A device for securing a high gloss or polish 
 on certain photographic papers. 
 
 8 
 
Concentrated 
 
 As applied to Nepera liquid preparations 
 means that the chemicals which comprise 
 them have been dissolved in the least possi- 
 ble quantity of water. (See pages 19 to 22.) 
 
 Contrast?" 
 
 A term applied to prints meaning hard, 
 "chalky," extremely black shadows and white 
 highlights ; lacking in detail as applied to 
 negatives. 
 
 Dense 
 
 Applied to negatives which have been over- 
 developed. 
 
 Desiccated 
 
 Anhydrous. Dry powder, not crystals. Ap- 
 plied" to chemical salts from which all water 
 has been removed. 
 
 Developing-Out Paper, or D. O. P. 
 
 Sensitized paper upon which the photograph- 
 ic image is invisible until development has 
 taken place. Applied to "gas-light" papers or 
 those printed by artificial light. Generally ap- 
 plied to such of these papers as require long- 
 er exposure than Bromide papers. 
 
 Diffused Light 
 
 Light which does not strike directly, but is 
 arrested and diffused by some medium such 
 as ground glass. 
 
 Dodgre 
 
 To dodge is to prevent light from striking 
 a portion of a negative when printing by 
 shading that portion with some opaque body. 
 
 Emulsion 
 
 A term applied to the sensitized coating on 
 plates, films or paper, which is acted upon 
 by the light rays. 
 
Embossing Hoard 
 
 A device for producing prints having coun- 
 tersunk margins. 
 
 Exposure 
 
 The act of submitting sensitized surfaces to 
 the action of light. 
 
 Fixing, Fixing-Out 
 
 To remove the excess of sensitive salts, 
 which has not been acted upon by the light, 
 so that the image will be rendered perma- 
 nent. 
 
 Flat 
 
 Weak or thin, lacking contrast. (Applied to 
 prints or negatives.) 
 
 Forcing 
 
 Prolonging development of under-exposed 
 prints, films or plates. 
 
 Ferro Tin, Ferrotype Plate 
 
 Thin plates of Japanned iron especially pre- 
 pared for squeegeeing prints. 
 
 Freaks 
 
 Peculiar white markings caused by incorrect 
 developing solutions. (See article on page 
 37.) 
 
 Fog 
 
 Dim, grayish color produced by white light 
 striking the paper before or during develop- 
 ment. Hazy, dim appearance in lights and 
 shadows, due to an error in the preparation 
 of developer, or may be caused by impure 
 condition of chemicals used. (See page 35.) 
 
 Half-Tones 
 
 All gradations between highlights and deep- 
 est shadows. 
 
 Graduate 
 
 A receptacle for measuring liquids. Xepera 
 Solution, Velox Liquid Developer, N. A., 
 
 10 
 
and Velox Liquid Hardener are contained 
 in graduated bottles. 
 
 Hard 
 
 Contrasty, lacking detail. Applied to nega- 
 tives or prints. 
 
 Hardener 
 
 (See Velox Liquid Hardener, page 23.) 
 High Lights 
 
 Brightest or whitest parts of an image. The 
 denser portions of a negative or the lightest 
 parts of a print. 
 
 Hydrometer 
 
 An instrument intended to test the density 
 of liquids. In photography it is often used 
 instead of weights or measures in the prepa- 
 ration of solutions. (See Actinometer, 
 page 8.) 
 
 Hypo 
 
 The abbreviation of the term Sodium Hypo- 
 sulphite, or more correctly, Sodium Thiosul- 
 phate, used for fixing plates, films and paper, 
 may be obtained for use in either granulated 
 or crystal form. 
 
 Latitude 
 
 Refers to the limits within which exposure 
 or development can safely be carried on. 
 
 Milky 
 
 Appearance of some incorrect fixing baths. 
 Often the result of using impure chemicals. 
 
 Negative 
 
 The picture obtained in the camera by ex- 
 posing a specially prepared glass plate or a 
 film, which when developed produces an 
 image whose lights and shadows are reversed. 
 
 Non-Actinic (Light) 
 
 Is known photographically as being a light 
 which has no effect on sensitized surfaces. 
 
 11 
 
Oxidation 
 
 As applied to developer — a deterioration due 
 to the presence of oxygen. An oxidized de- 
 veloper is dark in color and usually causes 
 discoloration of the print. 
 
 Over-Exposure 
 
 Too long exposure to printing light. 
 
 Over-Development 
 
 Too long a time in the developing solution. 
 
 P. O. P. or Printing-Out Paper 
 
 Sensitized paper upon which the image be- 
 comes visible on printing and is made per- 
 manent by toning and fixing. 
 
 Printing: Frame 
 
 A specially constructed frame for making 
 prints. Holds the negative and sensitive pa- 
 pers in contact while printing. 
 
 Positive 
 
 A term used in contradistinction to negative. 
 
 Precipitate 
 
 A substance which, having been dissolved, is 
 again separated from its solvent and settles 
 to the bottom of the vessel containing it. 
 
 Shadows 
 
 The thinner portions of a negative or the 
 darker portions of a print. 
 
 Squeegeeing 
 
 Placing wet prints face down on ferrotype 
 plates to obtain high polish. 
 
 Squeegee 
 
 Usually a strip of soft rubber set in a handle, 
 or a rubber roller, and used to place a print 
 in contact with the ferrotype plate. 
 
 Squeegee Tins 
 
 (See ferrotype plates.) 
 12 
 
Soft 
 
 Term applied to print or negative; refers to 
 lack of brilliancy or contrast. A "soft" print 
 will contain all possible detail. 
 Stretcher 
 A light frame covered with cheesecloth on 
 which prints may be laid to drv. (See page 
 24.) 
 
 Spotting 
 
 Touching out spots or defects in finished 
 prints with a fine sable brush and India ink 
 or spotting colors. 
 Ten Per Cent. Solution 
 
 Approximately, a solution made by dissolv- 
 ing one ounce (by weight) of dry chemical 
 in nine fluid ounces of water. 
 Tone 
 
 The shade, hue or degree of color prevailing 
 
 in a negative or print. 
 Thick 
 
 (See dense.) 
 Under-Exposure 
 
 Too short an exposure for perfect results. 
 
 Weak 
 
 Thin, soft, lifeless, lacking contrast. 
 
 13 
 
Manipulation 
 
 Velox prints may be successfully made, using 
 daylight for exposure, but we strongly recom- 
 mend that artificial light be used, as it is much 
 more uniform, and it will therefore be easier 
 to obtain satisfactory prints. If daylight is 
 used select a north window, if possible, as the 
 light from this direction will be more uniform. 
 Owing to its sensitiveness the paper should be 
 handled in a very subdued light, otherwise it 
 will be liable to fog. Proper precautions should 
 be taken to pull down the window shades and 
 darken the room sufficiently during manipula- 
 tion. To test your working light, place an un- 
 exposed sheet of Special Velox, emulsion side 
 up, on your work table in the same position 
 that your developing tray occupies; cover one- 
 half of it with a sheet of cardboard and let it 
 remain there for tzvo minutes, then develop it 
 face down for 45 seconds. If the half of the 
 sheet which was uncovered turns grey or black, 
 and the covered portion remains white, it is a 
 positive indication that the light you arc using 
 is too strong. If, however, the entire sheet re- 
 mains white, your light is safe. Never handle 
 Velox in a light that will not stand this test. 
 If the light is too strong for printing it should 
 be subdued or diffused by the use of several 
 
 14 
 
thicknesses of white tissue paper or one thick- 
 ness of orange or post office paper. 
 
 In the following instructions for manipulat- 
 ing Velox, it must be understood that artificial 
 light will be the light used. A kerosene lamp, 
 fitted with a round burner (known as Roch- 
 ester burner) may be used, but owing to the 
 decidedly yellow light this affords, a consider- 
 ably longer exposure will be necessary than 
 when using a Mazda lamp. 
 
 The comparative exposures with Special Ve- 
 lox using various sources of light are as fol- 
 lows : 
 
 NOTE — When using Contrast and Regular Velox, 
 increase the exposure. 
 
 4x5 and 
 Smaller 
 
 
 3-3 
 
 
 3-3 
 
 ll-s 
 
 M 
 
 £3 
 
 £S 
 
 £ §C 
 
 5J 
 
 
 OS 
 
 X* 
 
 
 10 
 
 4 
 
 6 
 
 12 
 
 16 
 
 Inches 
 
 Seconds 
 
 Seconds 
 
 Seconds 
 
 Seconds 
 
 MB 
 
 <"5 
 
 50 
 
 Seconds 
 
 This table is only approximate, as owing to 
 the different lights used and the varying densi- 
 ties of negatives it is impossible to give an ab- 
 solute rule. It serves, however, as a guide to 
 enable the beginner to approximate the correct 
 exposure. From this obtain the correct time, 
 always being guided by the rule as to time of 
 development given on page 18. 
 
 IS 
 
Printing The absolute necessities for mak- 
 Requisltes mg y e lox prints are few in num- 
 ber and simple in character. 
 Either daylight or artificial light is of course 
 essential, also developing solutions and water 
 for washing the prints. The ordinary printing 
 frame is used in making exposures. The artis- 
 tic possibilities of Yelox make it worthy of the 
 study of all photographers and a convenient 
 apparatus for measuring the distance from the 
 light and for adjusting each negative to the 
 proper angle of exposure is of great assistance. 
 
 Aside from suitable light and work room, 
 you will require : 
 
 3 trays, preferably enameled iron (a full size 
 larger than the prints to be made). 
 
 1 printing frame (and glass to fit, if films 
 are to be printed). 
 
 1 4-ounce graduate. 
 
 1 bottle Nepera Solution. 
 
 1 bottle Velox Liquid Hardener. 
 
 1 pound Crystal or Granulated Hypo. 
 
 1 package each of Contrast, Regular and 
 Special Velox. 
 
 16 
 
Arrange the three trays before you on your 
 work table in this order : 
 
 1 oz. Nepera 
 
 Solution 
 4 ozs. Water 
 
 1 
 
 Clean Water 
 
 4 ozs. Hypo. 
 
 16 ozs. Water 
 
 1 oz. Velox 
 
 Liquid Hardener 
 
 NOTE — Do not allow the direct rays of light used 
 for printing to strike tray No. 1, which is used for 
 the developer. Place a piece of red or orange col- 
 ored paper between the light and tray No. 1, so as to 
 obtain a subdued and safe light. By doing so you 
 will avoid fogging the paper during development. 
 
 In the center of the above spaces we have 
 indicated the solution which each tray should 
 contain when developing either Contrast, Reg- 
 ular or Special Velox. Do not be too sparing 
 of the amount of the solutions used, especially 
 of your fixing bath (Tray No. 3) ; if making 
 three or four dozen prints (4x5) use a full 
 pint (see formula, page 23) ; and do not keep 
 it after using, as a fresh bath will give best 
 results. 
 
 Proper temperature is important and for best 
 results the developer should be 70 degrees Fahr. 
 and the fixing bath and wash zvater 50 degrees 
 Fahr, If the developer exceeds 70 degrees the 
 prints are liable to fog and the emulsion soften. 
 If too cold, chemical action is retarded, result- 
 ing in flat, weak prints. 
 
 Printing You are now ready for exposure 
 and the printing frame should be 
 filled. Place the sensitized side of the sheet of 
 Velox against the film or dull side of the nega- 
 tive. The paper curls slightly, the sensitive 
 side being concave. An absolute test is to bite 
 the corner of the sheet; the sensitive side will 
 adhere to the teeth. 
 
 17 
 
Place the printing frame the correct distance 
 from the artificial light used, holding the frame 
 away from the burner a distance equal to the 
 diagonal of the negative. To prove that the 
 light is evenly diffused at the point selected for 
 exposure, take a piece of white cardboard, the 
 size of the negative, and move its position with 
 reference to the light, until you find the short- 
 est distance at which an even illumination is 
 secured. A few seconds exposure will be re- 
 quired when printing an average negative on 
 Velox. We would suggest before making the 
 first exposure, the cutting of a piece of Yelox 
 paper into strips about an inch wide and placing 
 one of them over an important part of the neg 
 ative, make the exposure, using your best judg- 
 ment as to the distance from the light and the 
 time of printing. Develop it and if not satis- 
 factory try another strip, varying the time as 
 indicated by the first result. When the desired 
 effect is secured, you can make any number of 
 prints from the same negative, and if the time 
 of exposure, distance from light as well as the 
 time of developing are identical, all the prints 
 should be equally good. By comparing your 
 other negatives with the one you have tested, 
 you will be able to make a fairly accurate esti- 
 mate of the exposure required by any negative. 
 
 After taking the exposed piece of paper 
 from the printing frame, in a safe place previ- 
 ously selected, it is ready for development. The 
 dry print should be immersed face up in the 
 developer (Tray No. 1) and quickly and evenly 
 covered with the solution. Contrast and Reg- 
 ular I T c!ox should be developed to the proper 
 depth in from fifteen to twenty seeonds; Spec- 
 ial in about thirty seeonds. With our prepared 
 developers, the addition of Potassium Bromide 
 is unnecessary, the correct proportion being in- 
 cluded. As soon as the image has reached the 
 desired depth remove from the developer to 
 
 18 
 
tray (Xo. 2) and rinse for a moment, turning 
 the print several times, then place it in the acid 
 fixing bath (Tray Xo. 3) keeping the print 
 moving for a few seconds, the same as was 
 done when rinsing, so as to give even and 
 thorough fixing, preventing stains and other 
 troubles. Leave the print in this solution until 
 thoroughly fixed ; this will take about fifteen 
 minutes. When fixed remove from fixing bath 
 and wash thoroughly for about an hour in run- 
 ning water, then dry. After drying, prints may 
 be trimmed and mounted. 
 
 You should be systematic in working, re- 
 membering that cleanliness is essential in pho- 
 tography. Care should be taken to prevent the 
 Hypo in any way getting into the tray contain- 
 ing the developer. Have a clean towel when 
 beginning the work and rinse and wipe your 
 hands each time after you have handled prints 
 in Hypo solution. 
 
 Xotes on Velox requires a special de- 
 Development veloper and should not be 
 used with one made for plate 
 and film development only. Xepera Solution, 
 however, is a universal developer — see page 21. 
 Various developing agents are used in the pro- 
 duction of Velox prints and are marketed un- 
 der different trade names such as Amidol, 
 Ortol, Edinol, Elon, Hydroquinone, etc. Ami- 
 dol affords a very blue-black tone, but owing 
 to rapid oxidation, a fresh solution should be 
 mixed each time prints are to be made. Ortol 
 and Edinol afford very satisfactory results. It 
 has been proven, however, that Elon and Hy- 
 droquinone in combination yield the very best 
 results on Velox when used in the proportion 
 given in our formula. Owing to the difficulty 
 many have in securing absolutely pure chemi- 
 cals and the trouble and subsequent loss of ma- 
 terial to those attempting to compound their 
 own developers, we recommend the use of our 
 
 19 
 
liquid developers, Nepera Solution and N. A. 
 Velox Liquid Developer, for Velox papers. To 
 those who prefer to prepare their own solution, 
 we advise the following formula : 
 
 M-Q (Dissolve chemicals in the order 
 
 Developer named.) 
 
 METRIC 
 SYSTEM 
 
 Water 10 ounces = 300 c. c. 
 
 Elon 7 grains = l / 2 gramme 
 
 E. K. Co. Sulphite Soda.. 110 grains — 7 grammes 
 
 Hydrochinon 30 grains == 2 grammes 
 
 E. K. Co. Carbonate Soda 150 grains = 10 grammes 
 10 per cent. Solution Potas- 
 sium Bromide 40 drops = 40 drops 
 
 This solution will keep indefinitely if placed 
 in bottles filled to the neck and tightly corked. 
 It should be used, diluted with equal parts of 
 water, for the "Contrast," "Regular" and 
 
 "Special" papers. 
 
 If tube developers are desired we recom- 
 mend the Kodak Non-Abrasion M. Q. Tubes 
 or the Eastman M. Q. Tubes which correspond 
 respectively to Velox Liq. Dev. N. A. and 
 Xepera Solution. 
 
 X. A. Velox This is an excellent ready-to- 
 Liquid use concentrated developer 
 
 Developer for Velox papers. Unlike any 
 other developer, it has certain 
 qualities which make it unique in photographic 
 work. X. A. (non-abrasion) means that all 
 abrasion or friction marks, to which all glossy 
 developing-out papers are peculiarly suscepti- 
 ble, will be prevented by this solution. Another 
 feature is the guide it gives to thorough fixing 
 — the print is not absolutely fixed until the 
 canary yellow color entirely disappears by fix- 
 ing in a correctly prepared Acid Hypo Rath. 
 
 20 
 
The following formula should be used for 
 Contrast, Regular or Special Yelox : 
 
 X. A. Velox Liquid Developer 1 oz. 
 
 Water 4 ozs. 
 
 It is important that the temperature of the 
 developing solution should be 70 degrees Fahr. 
 In summer, if found necessary to cool the de- 
 veloper, do not place ice in the solution, as it 
 will dilute it. Place the tray containing devel- 
 oper into one of larger size, packing ice around 
 it. X. A. DEVELOPER SHOULD XOT 
 BE USED FOR DEVELOPING PLATES, 
 FILMS OR BROMIDE PAPERS. 
 
 Xepera This is known as the ''universal" 
 Solution developer because it may be used 
 not only for Velox, but Azo, Bro- 
 mide paper, films or plates. Like all Xepera 
 liquids, it is a concentrated solution with the 
 combination of purest chemicals which will 
 give the best results. It differs from X. A. 
 Velox Liquid Developer in that it does not 
 possess the non-abrasion and fixing-guide prop- 
 erties : but on the other hand, when used in 
 combination with X'epera Capsules, it is excel- 
 lent for films or plates, giving negatives of the 
 quality best suited for developing-out paper. 
 
 For Contrast, Regular or Special Velox use : 
 
 Xepera Solution 1 oz. 
 
 Water 4 ozs. 
 
 The temperature of the bath should be 70 
 degrees Fahr. 
 
 For Bromide papers use : 
 
 Xepera Solution 1 oz. 
 
 Water 6 ozs. 
 
 For Film in Kodak Film Tank use in follow- 
 ing proportion : 
 
 Xepera Solution y 2 oz. 
 
 Water 12 ozs. 
 
 Contents of one Xepera Auxiliary Pow- 
 der or Xepera Capsule. 
 
 Develop for twenty minutes. 
 
 21 
 
Without Tank or Developing machine, use: 
 
 Nepera Solution y 2 oz. 
 
 Water 8 ozs. 
 
 Contents of one Nepera Auxiliary Pow- 
 der or Nepera Capsule. 
 
 Temperature should be 65 degrees Fahr. 
 
 Fixing- Hypo may be obtained for use in 
 either a granulated or crystal form. 
 Its purpose is to dissolve the silver salts which 
 have not been acted upon by light. The im- 
 portance of this chemical is evident, but it is 
 probable that no part or process of photogra- 
 phy is more abused than that of correctly pre- 
 paring a fixing bath and properly fixing prints. 
 To secure permanency, prints must be fixed in 
 a fresh, acid fixing bath. When Hypo is first 
 dissolved in water, the temperature of the solu- 
 tion is materially reduced. // is important that 
 the temperature of a fixing bath should be main- 
 tained as near to 50 degrees Fahr. as possible. 
 Probably more prints change color from in- 
 sufficient fixing than lack of washing, so these 
 points should be given attention. Have plenty 
 of solution strong enough to thoroughly fix 
 prints in at least 15 minutes. Always use the 
 acid hardener in the bath, as it will overcome 
 the tendency of the fixing bath to cause blisters 
 and sta'ns, and move the prints about for the 
 first fezv seconds after immersion to stop the 
 action of the developer at once over the entire 
 surface of the print. 
 
 Note — Never use a fixing bath for paper 
 that has been used for the fixing of films or 
 plates. 
 
 Our formula for preparing the Acid Hypo 
 fixing bath is as follows : 
 
 Water 64 ozs. 
 
 Hypo (crystal or granulated) 16 ozs. 
 
 When thoroughly dissolved, add 4 ozs. Velox 
 Liquid Hardener or the following hardening 
 
 22 
 
solution, dissolving the chemicals separately 
 and in the order named : 
 
 Water 5 ozs. 
 
 E. K. Co. Sulphite of Soda 1 oz. 
 
 Acetic Acid (containing 28 per cent. 
 
 pure acid) 3 ozs. 
 
 Towdered Alum 1 oz. 
 
 This solution will keep if placed in tightly 
 corked bottles, and one pint of it will fix one- 
 half gross of 4x5 prints. If sulphite and car- 
 bonate of soda in crystal form are substituted 
 for desiccazcd, double the quantities mentioned 
 should be used. 
 
 Amateurs will find it advisable to use our 
 prepared solutions, and the concentrated Velox 
 Liquid Hardener is especially recommended. 
 
 Water 16 ozs. 
 
 Hypo 4 ozs. 
 
 Velox Liquid Hardener 1 oz. 
 
 XOTE — To those who wish to purchase the Devel- 
 oper and Acid Fixing Rath in dry form we recom- 
 mend our tube developers for Velox and Kodak Acid 
 Fixing Powder. 
 
 Xotes The finished prints must be entire- 
 On ly free from hypo. To wash a 
 
 Washing batch of 100 4x5 prints, using two 
 trays of suitable size and transfer- 
 mg each print separately from one tray to the 
 other, changing the water at least twelve times, 
 will take a full hour for the process. In run- 
 ning water, where the prints can be kept con- 
 stantly moving so that each individual print 
 has a thorough washing, from one-half to one 
 hour, according to the number of prints, will be 
 required. Prints do not wash if piled in a 
 bunch in a tray and the water simply runs in 
 at one end of the tray and out the other. In 
 some localities where there is an excessive 
 amount of iron or impurity in water, the whites 
 in the prints may have a slight yellowish tone 
 or small red spots may appear. These may be 
 prevented by filtering the water used through 
 
 23 
 
several thicknesses of muslin or one thickness 
 of canton flannel Prints need not wash any 
 longer than is necessary to completely free 
 them from hypo. The temperature of the 
 water in winter should be kept as uniform as 
 possible, as ice cold water will cause blistering. 
 When running water is used for washing, the 
 stream should not be allowed to fall directly on 
 the prints as it will cause breaks in the fiber of 
 the paper, producing blisters. Place a tumbler 
 or graduate in the washing tray and allow the 
 water to run into it and overflow into the tray. 
 To determine when the print is thoroughly 
 free from hypo, the following test formula 
 may be successfully employed : 
 
 Permanganate of Potash 8 grs. 
 
 Caustic Soda 7 grs. 
 
 Water (distilled) 8 ozs. 
 
 This solution should be made up fresh at 
 least once a month. 
 
 Fill a glass with pure water to which you 
 have added three or four drops of potash solu- 
 tion. Then take a couple of prints from the 
 wash-water and allow the water from the 
 prints to drip into the glass. If hypo is pres- 
 ent, the violet color of the water in the glass 
 will change to a slight greenish tint in from 
 five to seven minutes. In such case return 
 prints to wash-water to remain until similar 
 tests show that the hypo has been entirely elim- 
 inated. 
 
 Drying After prints have been thoroughly 
 washed, remove from the wash- 
 water and place on a clean glass in a pile face 
 down and press out superfluous water. Then 
 lay out separately, face down on cheese-cloth 
 stretchers. These may be constructed by mak- 
 ing a frame work of light wood and tacking 
 unbleached cheese-cloth tightly over it. Prints 
 dried in this manner will curl but a trifle. 
 
 24 
 
If stretchers are not to be had, dry the 
 prints face down on clean, tincolored cloths, or 
 towels, which are free from lint. 
 
 Never dry Velox prints betzueen blotters or 
 on papers. They are likely to stick and cause 
 much annoyance. 
 
 Enameled Glossy Velox (not Matte or Semi- 
 Surface Matte) prints can be burnished or 
 Paper squeegeed. Take prints from the 
 wash-water and place face down 
 on a ferrotype tin, squeegee into absolute con- 
 tact and allow to become bone dry, when they 
 will peel off with the desired luster. If the tin 
 has been in use for some time, portions of 
 prints may stick; to prevent this, prepare the 
 tins as follows : 
 
 Dissolve ten grains of beeswax in one ounce 
 of benzine ; allow this to stand for a few 
 hours, in which time a precipitate will be 
 formed. The clear solution should be used for 
 polishing the tins, applying to the surface of 
 the ferrotype plate with a soft cloth (canton 
 flannel). \Yhen the surface of the tin has been 
 thoroughly covered with this preparation the 
 tin should be polished with a piece of dry can- 
 ton flannel to remove as much of the beeswax 
 as possible. As beeswax varies in its composi- 
 tion to a certain extent, the solution may vary 
 somewhat in consistency, so that an addition of 
 benzine may be necessary to permit polishing 
 the tins easily. 
 
 Clean the tins occasionally with scalding 
 water, in order to remove any particles of 
 gelatine which may remain on them from for- 
 mer prints. 
 
 Mounting Velox prints should be trimmed 
 ro size desired before mounting. 
 If using the Kodak Dry Mounting Tissue 
 for mounting, do not trim prints until after 
 the tissue is fastened to the back of print. 
 Prints should be dry and perfectly flat for 
 
 25 
 
trimming, and a trimming board should be 
 used instead of a knife and ruler, for with the 
 board absolutely true edges may be obtained. 
 
 The simplest and most satisfactory way to 
 mount prints is by using Kodak Dry Mounting 
 Tissue, as by this process the prints are mount- 
 ed in absolute contact and will not curl even 
 on the thinnest mounts — especially advanta- 
 geous in multiple mounting. 
 
 Two prints may be mounted back to back, 
 and being free from curl can then be used as 
 an album leaf. 
 
 The Kodak Dry Mounting Tissue is dry and 
 not sticky to handle, mounting is accomplished 
 quickly and no time is lost waiting for prints 
 to dry after mounting. 
 
 Any size print may be mounted with the 
 tissue, and as the tissue is water-proof there 
 is no possibility of the print becoming stained 
 from any chemical in the mount stock. 
 
 To use the tissue, lay a print on its face and 
 tack to its back a piece of tissue of the same 
 size, by applying the point of a hot iron to 
 small spots at opposite ends. 
 
 Turn the print face up and trim print and 
 tissue to desired size. Place in proper posi- 
 tion on mount, cover the print with a piece of 
 smooth paper and press the whole surface with 
 a hot flatiron ; press, don't rub. 
 
 The iron should be just hot enough to siss 
 when touched with a wet finger. If the iron is 
 too hot the tissue will stick to the mount and 
 not to the print; if too cold, the tissue will 
 stick to the print and not to the mount. 
 
 Remedy — lower or raise the temperature of 
 the iron and apply again. 
 
 26 
 
For mounting with paste the following plan 
 is best to employ : 
 
 After prints are trimmed, immerse them in a 
 tray of clean water, allowing them to soak long 
 enough to become thoroughly limp. Remove to 
 a good sized piece of clean glass, placing them 
 in a pile face down. Cover with a piece of 
 clean blotting paper, and with a roller squeegee 
 press all the superfluous water from the pile. 
 Then with a good bristle paste brush apply a 
 thin, even coating of starch paste. Raise the 
 print by taking hold of the two opposite corners 
 and turning it over, place in position on the 
 mount. Lay a clean, dry blotter over the print 
 and with the roller press into contact. Any 
 lint or fuzz from the blotter, or any paste on 
 the surface of the print should be immediately 
 removed with a soft sponge or dampened cloth. 
 Any imperfections in the finished print may be 
 corrected by spotting, using a fine sable brush 
 and spotting color of India ink. Care should 
 be exercised to select mounts which harmonize 
 with the tone of the print. If Sepia prints are 
 to be mounted, any shade of brown or some of 
 the deeper reds may be used, but these same 
 mounts would not be suitable for black and 
 white tones. For the black and white prints 
 any shade of gray, carbon black, buff or cream 
 color may be successfully used. 
 
 Double weight papers may be mounted solid, 
 but are best used for folder effects. A very 
 artistic way of making prints with the Double 
 Weight is to use a sheet of paper considerably 
 larger than the negative to be printed from. 
 This will necessitate the use of a larger frame 
 (6y 2 x8y2 or 8x10). Have a piece of clear 
 glass the full size of the frame and fasten your 
 negative to the center of this glass with strips 
 of gum paper, cut a mask of opaque paper the 
 full size of your glass and from the center cut 
 an opening at least one-quarter of an inch 
 
 27 
 
smaller than the size of the negative. Place 
 the mask in the printing frame between the 
 paper and the negative, then print and develop 
 the exposed paper in the usual way. This will 
 give a print with a very wide white margin and 
 when thoroughly dried and straightened, by 
 using an embossing board, an imprint or 
 countersunk margin about half an inch around 
 the edges of the print will give a tine etching or 
 engraving effect. Enclosed in a folder mount 
 made of cover paper of desirable tone, you 
 have as artistic a result as can be produced. 
 
 Finishing The process of making prints on 
 Velox Velox Post Cards is identically the 
 Post same as that for making Velox 
 Cards Prints. The cards are sensitized 
 on one side only and the reverse 
 side is printed to conform with the U. S. postal 
 regulations. A printing frame and a glass a 
 size larger than the negative should be used, 
 and the cut-outs found in each package of 
 cards may be used for making the negative. 
 Place the mask between the negative and the 
 sensitized side of the Post Card and the result 
 will be that when exposed, developed and fixed 
 the same as an ordinary sheet of Velox paper, 
 you will have your picture at one end of the 
 card surrounded with a white edge of the part 
 which was protected by the opaque mask. Your 
 negative should be selected the same as when 
 printing with Velox paper and Contrast, Reg- 
 ular and Special Post Cards should be used. 
 Where contrast is desired, the Contrast Velvet 
 and Regular Velvet, Regular Glossy, or Regu- 
 lar Royal Post Cards will give the best results 
 and should always be used with thin negatives: 
 the Special Velvet, Special Portrait, Special 
 Glossy and Special Royal Post Cards should 
 be used for stronger negatives and when soft 
 effects are desired. 
 
 28 
 
Double Effective and artistic work may 
 Printing be done on Velox Post Cards by 
 double printing. By this process 
 gray borders and ground ma}' be produced. 
 The work requires careful and exact cutting 
 of the necessary opaque masks and accurate 
 registry of the cards when printing. Provide 
 a number of pieces of clear glass, cut to size 
 5x7 (old negatives from which the emulsion 
 has been thoroughly cleaned by soaking in a 
 solution of hot water and salsoda are suitable), 
 also a few sheets of opaque paper the same 
 size [5x7). From one of these sheets make 
 a mask as shown in Fig. 1. (Page 31.) 
 
 Measure from edges A and B a space five- 
 eighths of an inch wide, then cut an opening 
 2x3 inches through which your negative and 
 card are to be exposed. Fasten the negative 
 with strips of adhesive paper to one of the 
 pieces of clear glass, placing that portion to 
 be printed directly in under the opening in the 
 mask. Adjust glass, negative and mask in 
 printing frame, lay on the Velox Post Card, 
 sensitized side down, so that one end covers 
 the opening in the mask. Be careful to have 
 the edges A and B of glass, mask and card fit 
 flush against the corresponding sides of the 
 printing frame. Expose to printing light, giv- 
 ing correct time required for a perfect print, 
 remove the entire outfit from the printing 
 frame and insert glass and mask Xo. 2, which 
 you will have previously prepared, as shown 
 in Fig. 2. 
 
 From another piece of opaque paper 5x7 
 cut an opening 3x5 inches and measure exact 
 so as to leave margins of one-quarter inch on 
 the sides A and B. Gum this mask securely to 
 another glass, then cut a piece of opaque paper 
 2;4 x V/\ inches and gum this in a clear space 
 at a distance of exactly one-half an inch from 
 edges A and B. Place this entire outfit in 
 
 29 
 
printing frame, lay on Velox Post Card, previ- 
 ously exposed under No. 1 mask, fit edges flush 
 into the corner of the frame and expose. This 
 second exposure should be just enough to pro- 
 duce the desired tint, governing time by grade 
 of Velox used. If the exposure has been too 
 great the border will be dark, if ander-expo*d 
 the border tint will be light. A little practice 
 may be necessary in order to secure the tint 
 desired. 
 
 Now, if you have made all measurements 
 accurately and exposure and development have 
 been correct, you will have on a finished post 
 card your picture 2x3 in size surrounded by 
 a gray border one-quarter of an inch wide on 
 top and one side, and one-half inch wide at 
 bottom and one and one-half on other side. 
 The tint of this border should be a slaty gray 
 and should harmonize with the black tone of 
 your print. 
 
 Other forms, such as ovals and circles, may 
 be made and the process for their making is 
 the same as already described. 
 
 30 
 
No. 1 
 
 Shaded portions represent opaque paper. 
 White portion shows part cut out. 
 
 No. 2 
 
 Shaded portions represent opaque 
 White portion shows part cut out. 
 
 31 
 
 paper. 
 
Sopia Tones There are occasions when it is 
 on Velox desirable to modify the tone of 
 Velox prints, in order to secure 
 some effect more in- keeping with the subject 
 than the original color produced by develop- 
 ment only. The Sepia Tone is permanent and 
 may be secured in various ways, but we will 
 describe only two of these: the first known as 
 the hypo-alum process, and the second, Velox 
 Re-development. The hypo-alum process is a 
 slow and somewhat uncertain way of obtaining 
 good results and consists of a solution of hypo 
 and powdered alum in boiling water, into 
 which, when cooled, the prints are immersed, 
 and left until the desired tone has been reached. 
 The process requires from one to twelve hours 
 and is uncertain in exact results. The Yelox 
 Re-development process will give the best re- 
 sults in a much shorter time, yielding equally 
 pleasing and permanent tones. Prints on any 
 grade or surface of Velox afford most pleasing 
 tones when re-developed, but re-development is 
 perhaps specially advantageous for prints on 
 Royal Velox, as the process brings out and 
 accentuates the full value of the soft, creamy 
 stock upon which Royal Velox is coated ; the 
 finished prints possessing an almost indescrib- 
 able softness and delicacy. 
 
 Velox prints of any grade or surface, which 
 have been evenly and thoroughly fixed and 
 washed will give desirable results with the Re- 
 developer, but some subjects, such as marines 
 and snow scenes, are best rendered in the 
 black and white. Landscapes, autumn scenes, 
 and portraits are given greater artistic values 
 by the warmth of tone which the Re-developer 
 affords. 
 
 A package of Re-developer consists of 14 
 powders and a bottle of solution. Each powder 
 is composed of chemicals which require only 
 the addition of a certain quantity of water to 
 
 32 
 
make a bleaching bath for the reduction of the 
 print before re-development. The liquid con- 
 tained in the bottle is highly concentrated and 
 should be used carefully, the entire contents of 
 a 4 ounce bottle being sufficient to re-develop 
 about four hundred 4x5 Yelox prints. It is 
 important that the prints should have been 
 thoroughly washed so that no trace of hypo 
 remains. In order to obtain the best results, it 
 would be advisable to have the prints dry be- 
 fore re-developing. Placing the black and 
 white print in the bleaching solution, let it re- 
 main until all trace of black has disappeared 
 (about one minute) from the shadows; it 
 should then be removed and rinsed thoroughly 
 in fresh water, then placed in re-developing 
 solution, where the faint image immediately, 
 changes to a warm brown tone gradually deep- 
 ening until all its former brilliancy returns, but 
 changed to a Sepia tone instead of black and 
 white. This requires about thirty seconds. Too 
 strong a solution of Re-developer or too long 
 immersion in this solution will cause blisters. 
 After re-development rinse the prints, when 
 they should be immersed in a hardening bath 
 composed of Yelox Liquid Hardener 1 ounce ; 
 water, 16 ounces. A final washing is then given 
 the print, the whole process requiring only a 
 short time, so the advantages of using this 
 over the hypo-alum process are quite evident. 
 Yelox Re-developer will also produce excel- 
 lent Sepia tones on any Bromide or gas-light 
 paper ; the age of the print does not seemingly 
 make any difference in the tones obtainable. 
 Best results are obtainable from prints which 
 have a good bluish-black tone, rather than a 
 green or olive tone, such as is produced by the 
 use of too much bromide. Both the bleaching 
 and the re-developing baths will retain their 
 strength for some time, if kept in well stop- 
 pered bottles. If the print shows a tendency 
 to blister, it doubtless comes from insufficient 
 
 33 
 
hardening of the black and white prints. 
 Remedy — use a fresh and absolutely correct 
 acid hypo bath at a temperature of 50 or 60 
 degrees, fixing the prints 20 to 25 minutes. 
 
 How to The negative must be thoroughly 
 Make washed and freed from any trace 
 Prints of hypo. Immerse a piece of Velox 
 from Wet paper in clean water for a few 
 Negatives seconds, then placing it on the him 
 side of the wet negative squeegee 
 it carefully so as not to break the film. Expose 
 without the use of a printing frame. After ex- 
 posure place both negative and paper in water, 
 allowing them to soak for a moment before 
 trying to separate them. Develop and fix the 
 print in the usual w-ay. 
 
 How to Ordinary gloss starch dissolved in 
 Make just enough cold water to make a 
 Good thick solution is prepared, and 
 Starch enough boiling water poured into 
 Paste it so it thickens in a clear, trans- 
 parent jelly. Set aside and when 
 cool remove the skin which forms and use the 
 clear paste. 
 
 To Rub the surface of the dry print 
 
 Remove with a tuft of cotton wet with 
 
 Friction wood alcohol. Do not rub hard 
 
 Marks enough to break the surface of the 
 
 from lilm and be careful to have the 
 
 Glossy print on some level surface, such 
 
 Vclox as a piece of glass. 
 
 Prints X. A. Yelox Liquid Developer 
 
 entirely prevents abrasion marks. 
 
 After a careful perusal of the instructions 
 given in this Yelox Book you should be able 
 to produce satisfactory results on any grade of 
 Velox paper. 
 
 34 
 
Causes of Non-Success 
 
 By consulting the following causes of failure 
 you will probably be able to locate any trouble 
 you may have had : 
 
 Paper found to be defective through fault in 
 manufacture will be exchanged free of charge, 
 if returned before the expiration date which 
 is stamped upon each package. 
 
 // you are unsuccessful and believe that you 
 have a defective paper, return tlie unexposed 
 sheets in original package, together with a print 
 shoii'ing nature of the defect and zee will make 
 a test, notifying you promptly as to the cause 
 of your non-success. 
 Prints are too black 
 
 Over-exposure. 
 
 Over-development. 
 
 Insufficient Potassium Bromide. 
 
 Negative too weak or thin. 
 
 Perhaps the wrong degree of contrast of pa- 
 per was used ; try Contrast or Regular 
 Velvet Yelox. 
 Prints are too light, lack detail 
 
 Under-exposure. 
 
 Negative too dense for Regular paper. 
 
 Trv Special Velvet, or Special Portrait 
 Velox. 
 Grayish whites throughout entire print 
 
 Chemical or light fog. 
 
 Insufficient Potassium Bromide in developer. 
 Old paper. 
 Grayish mottled or granulated appearance of 
 edges of entire print 
 
 Under-exposure, forced development. 
 
 Old paper. 
 
 Paper kept in damp place. 
 
 Moisture. 
 
 Chemical fumes, Ammonia, etc. 
 
 Illuminating or coal gas. 
 
 35 
 
Greenish or brownish tones, sometimes mot- 
 tled 
 
 Developer too old or too weak. 
 Excess of Potassium Bromide. 
 Over-exposure. 
 
 Greenish yellow stains noticed when X. A. 
 Velox Liquid Developer has been used 
 
 Under-exposure and forcing. 
 
 Canary yellow stains produced when N. A. V. 
 L. D. has been used 
 
 Fixes out entirely in correctly prepared acid 
 Hypo bath. (See page 23 for formula.) 
 
 The entire disappearance of this color in- 
 sures correct fixing. 
 
 Brown or red stains 
 
 Old or oxidized developer. (Never use de- 
 veloper after it is much discolored or 
 muddy.) Imperfect fixing. 
 
 Developer too warm. 
 
 Fixing bath lacks sufficient acid and prints 
 were not kept moving to allow even fixing. 
 (See page 22.) 
 
 Purple discoloration (Not Frequent) 
 
 Velox Paper has been used as a printing-out 
 
 paper. 
 Incomplete fixing. 
 
 Round white spots 
 
 Air-bells on the surface of paper. 
 To avoid, develop prints face up, brushing 
 off any air-bells that may form. 
 
 Round or irregular dark spots 
 
 Caused by air-bells forming on the surface 
 of print when placed face down in fixing 
 bath, and failing to keep prints in motion. 
 
 36 
 
White deposits all over surfaee of print 
 
 Milky Hypo bath. 
 
 If print is thoroughly washed and deposit is 
 
 removed before drying it does no harm. 
 Correct fixing bath by adding more Xo. 8 
 
 Acetic Acid. 
 
 Picture good, but surface covered with black 
 marks 
 
 Abrasion marks. (See page 20.) 
 
 Blisters 
 
 Prints have been creased or broken while 
 
 washing. 
 Do not allow water from the tap to fall 
 
 directly on the prints. 
 Too strong acetic acid used in hardener. 
 Too great difference between temperature of 
 
 solution and wash-water. 
 Fixing bath lacks sufficient hardener. 
 Never use a plain Hypo Fixing bath: always, 
 
 acidify with Velox Liquid Hardener. 
 
 Blisters occurring during- re-development 
 
 (See page 33.) 
 
 Freaks 
 
 Picture develops irregularly and appears to 
 be covered with greasy streaks and finger 
 marks and gives the impression that there 
 are spots on the paper which have never 
 been coated. Of all complaints received 
 regarding Velox paper, none are caused 
 by any condition more annoying than this 
 "freak" trouble. It is annoying to the pho- 
 tographer because he feels sure the fault 
 is in the paper, and annoying to us be- 
 cause we know that the fault lies in incor- 
 rect solutions. We publish herewith a 
 half-tone of this curious effect. It is in 
 warm weather when the humidity is great 
 that these "freaks" most frequently occur. 
 
 37 
 
Dez'elofed in M. Q. half as strong as 
 that advised in instruction sheet. 
 
 Developed in M. Q. strength as 
 advised in instruction sheet. 
 
 Undoubtedly the paper absorbs moisture un- 
 evenly and in certain spots becomes re- 
 pellent to the action of an incorrect devel- 
 
 3S 
 
oper. In making up a developing solution 
 it is absolutely essential that pure chem- 
 icals be used, and as Velox requires a bath 
 that contains about one-third more Car- 
 bonate of Soda than Sulphite of Soda, it 
 is easy to see that any mistake made in the 
 proportion of either chemical would be apt 
 to cause trouble. The remedy for "freaks" 
 is to throw out your developer and mix a 
 fresh solution, and, if necessary, use it 
 stronger. 
 
 It sometimes happens that one package of 
 Velox will freak in a certain developer 
 while another will not. This is not proof 
 that the paper is defective, but simply 
 shows that one package has been kept un- 
 der different conditions from the other at 
 some time since it left our factory, and 
 because of this is more susceptible to the 
 action of an incorrect developer. Both 
 packages, however, will give good results 
 if the solution used is absolutely correct. 
 
 Yellowish -whites when other than X. A. has 
 been used 
 
 Stain all over prints is result of under- 
 exposing and forcing. 
 
 Prints not kept moving for the first few 
 seconds after immersion in the acid 'hypo 
 fixing bath. 
 
 Too weak developer. 
 
 Insufficient washing and fixing. 
 
 Iron in wash-water — may come from rust in 
 water pipes. 
 
 Sea air will affect Velox, causing yellow 
 whites, so packages should not be left open 
 and prints should be developed imrnedi- 
 ateiy after exposure. 
 
 39 
 
Permanency The permanency of Velox 
 prints has never been ques- 
 tioned. Permanency of any Velox print de- 
 pends upon the thoroughness of manipulation. 
 It is beyond question that with correct devel- 
 oper freshly prepared and with thorough fix- 
 ing and washing, Velox prints will be abso- 
 lutely permanent. Many dealers have sample 
 prints that were sent them years ago and have 
 exposed them continually to every conceivable 
 atmospheric condition. This is an unanswer- 
 able argument in favor of Velox permanency. 
 
 Be Sure to Use Pure Chemicals 
 
 To get the best prints from your negatives 
 it is imperative that the chemicals which you 
 use be absolutely pure. 
 
 For all our papers we furnish powders and 
 solutions mixed in just the proper proportions 
 and compounded from the purest chemicalls, 
 rigidly tested in our own laboratories. 
 
 But we go even further than this. For those 
 who prefer to mix their own solutions by 
 formula, we have prepared 
 a line of carefully tested 
 standard photographic /x^ ■ ^\ 
 chemicals. 
 
 Don't mar good paper 
 with inferior chemicals. 
 
 This seal stands for the 
 highest purity. Be sure it's x^M l^^ 
 
 on the package before pur- 
 chasing. 
 
 NEPERA DIVISION, 
 Eastman Kodak Co., 
 Rochester, N. Y. 
 
 40 
 
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 42 
 
VELOX IN ROLLS FOR CIRKUT 
 NEGATIVES 
 
 Single Weight 
 
 Rolls 
 
 5 In. 
 Wide 
 
 6 In. 
 Wide 
 
 61, In. 
 Wide 
 
 8 In. 
 Wide 
 
 10 In. 
 
 Wide 
 
 16 In. 
 
 Wide 
 
 25 ft. 
 
 $1.25 
 
 $1.50 
 
 51.65 
 
 $2.00 
 
 $2.50 
 
 $4.00 
 
 50 ft. 
 
 2.50 
 
 3.00 
 
 3.30 
 
 4.00 
 
 5.00 
 
 8-00 
 
 100ft. 
 
 5 00 
 
 6.00 
 
 6.60 
 
 8 00 
 
 10.00 
 
 16.00 
 
 Double Weight 
 
 25 ft. 
 
 1.60 
 
 1 90 
 
 2.10 
 
 2.50 
 
 3.15 
 
 5.00 
 
 50 ft. 
 
 3.20 
 
 3.80 
 
 4.20 
 
 5.00 
 
 6.30 
 
 10.00 
 
 100 ft. 
 
 6.40 
 
 7.60 
 
 8.40 
 
 10.00 
 
 12.60 
 
 20.00 
 
 Price List — Continued 
 
 Velox Post Cards — Contrast Velvet, Regular Vel- 
 vet, Special Velvet. Special Portrait, Regular and 
 Special Glossy, and Regular and Special Royal, 20 
 cents per dozen; Si. 10 per y 2 gross; $2.00 per gross. 
 
 These are pieces of Double Weight Velox, $y 2 x 5y 2 
 inches, on the uncoated side of which is printed mat- 
 ter in accordance with the United States Postal Laws, 
 while the sensitive sides are to be treated in the same 
 way as the regular product. 
 
 Velox Double Post Cards, 3^x11 inches, per 
 dozen, 40 cents; Y^ gross, $2.20; gross, $4.00. 
 
 Brownie Velox Post Cards, 2&x4}4, Velvet, Spec- 
 ial or Regular, per dozen, 15 cents; l / 2 gross, 80 cents; 
 gross, $1.50. 
 
 43 
 
*X. A. Velox Liquid Developer, 4-oz. bottle.. $ .25 
 *N. A. Velox Liquid Developer, 16-oz. bottle.. .75 
 *Non-Abrasion M. O. Developer Tubes, per box 
 
 of 3 tubes 25 
 
 *Nepera Solution, 4-oz. bottle, a Universal De- 
 veloper ( see page 21) 20 
 
 Do., ] 6 ozs 60 
 
 *Xepera Auxiliary Powders, per doz 15 
 
 *Nepera M. O. Tubes, Non- Abrasion, box of 5 
 
 tubes 75 
 
 'Kodak Acid Fixing Powder, lib. package 25 
 
 Do., \A lb 15 
 
 Do., V A lb 10 
 
 *Velox Liquid Hardener, 8 oz. bottle (sufficient 
 
 to acidify 8 pints of hypo solution) 25 
 
 Do., 4 oz. bottle 15 
 
 * Velox Re-developer, per package containing 14 
 Powders (bleaching agent) and 4 ozs. of 
 
 Concentrated Re-developer 50 
 
 Do., 2 oz. bottle, per package 30 
 
 *Velox Re-developer, in glass tubes, per package 
 
 of 12 tubes 60 
 
 *E. K. Co. Carbonate of Soda, per Mb. bottle.. .20 
 *E. K. Co. Sulphite of Soda, per lib. bottle.. .30 
 
 *Elon, per oz 50 
 
 *Hydrochinon, per oz. bottle 15 
 
 'Potassium Bromide, per oz 09 
 
 *Acetic Acid (28 per cent.) per Y> lb 14 
 
 *Hypo, Granular, per lb 08 
 
 *.\lum, powdered, per lb 10 
 
 Ferrotype Plates, 10x14, light weight, each.. .15 
 
 Do., heavy, each 20 
 
 Do., 18x24, heavy, each 75 
 
 Kodak Print Roller, Double, 6 in 50 
 
 Flexo Print Roller, Single, 4 in 15 
 
 Squeegees, Velvet Rubber, 4j£ in., each .20 
 
 Do., 6 inch 25 
 
 Do., 8 inch 30 
 
 Developing Trays, "Bulls Eye" Composition, 
 
 4x5, each 15 
 
 Do., 5 x 7, each 25 
 
 44 
 
Eastman Enameled Trays, 4^x5%, each $ .25 
 
 Do., 5H x 7H, each 50 
 
 Eastman Standard Hard Rubber Trays, 4^x 
 
 5 T i, each 72 
 
 Do., 5 H x 7 H . each 90 
 
 Eastman Graduates. (Engraved.) 1 dram. 1 
 
 or 2 ounce 20 
 
 Do., 4 ounce 25 
 
 Do., 8 ounce 40 
 
 Do., 16 ounce 60 
 
 Eastman Printing Frame, 3^4 x3^, opens two- 
 thirds 25 
 
 Do., 3J4X4J4, opens two-thirds 25 
 
 Do., 3 J A x 5y>, opens two-thirds 25 
 
 Do., 4 x 5, opens two-thirds 25 
 
 Do., 5 x 7, opens two-thirds 35 
 
 Do., 3J-2 x 12, for Xo. 4 Panoram Kodak, opens 
 
 in 3 sections 75 
 
 Do., 2 l A x 7, for No. 1 Panoram-Kodak, opens 
 
 in 2 sections 30 
 
 Brownie Printing Frame, Xo. 1, for 2 J A x 2 A 
 
 Developing paper only 10 
 
 Brownie Printing Frame, Xo. 2, for 2% x 334 
 
 Developing paper only 15 
 
 Stereo Self-transposing Printing Frame, for 
 making 3A*-2 1 A> stereo prints without 
 
 cutting negatives apart 1.50 
 
 Century Printing Frame, 4x5 45 
 
 Do., 5x7 50 
 
 Do., 6 J / 2 x 8j£ 60 
 
 Do., 8x10 75 
 
 Trices subject to change without notice. 
 
 XEPERA DIVISION, 
 East max Kodak Co., 
 Rochester, X. Y 
 
 45 
 
COLOR 
 
 YOUR 
 
 OWN 
 
 PRINTS 
 
 and 
 
 LANTERN SLIDES 
 
 USE 
 
 Velox Transparent 
 Water Color Stamp Outfit 
 
 No Experience Necessary 
 
 The outfit consists of an Artist's Mixing 
 Palette, three special Camel's Hair Brushes, 
 and one book of Velox Transparent Water 
 Color Stamps (12 Colors). 
 
 Trice $ .75 
 
 EASTMAN KODAK CO, 
 
 Rochester, N. Y. 
 
 All Dealers' 
 
 40 
 
PRINTS DO NOT CURL 
 WHEN MOUNTED WITH 
 
 KODAK 
 
 DRY MOUNTING 
 
 TISSUE 
 
 J> 
 
 No Bother No Muss 
 
 No Sticky Fingers 
 
 Just the Tissue and Flatiron 
 
 EASTMAN KODAK CO. 
 
 Rochester, N. Y. 
 
 All Dealers' 
 
 47 
 
KODAK 
 
 Metal Tripod 
 
 An ideal hand camera tripod, 
 combining rigidity with light 
 weight and compactness. The 
 Nos. 1 and 2 have revolving head 
 with milled edges, making it 
 easy to attach or tighten camera 
 while the tripod is set up. Legs 
 made of brass tubing, each sec- 
 tion telescoping into the section 
 above it. Lower sections nick- 
 eled; upper section, black enam- 
 eled. Any section may be re- 
 moved for the replacing of a 
 spring should one become inop- 
 erative through wear or accident. 
 
 No. 0, 3 Sections, $1.60 
 
 No. 1, 4 Sections, $2.50 
 
 No. 2, 5 Sections, $3.25 
 
 Leather Carrying Case for 
 
 Nos. 0, 1 or 2, $1.50 
 
 Leatherette Carrying- Case for 
 the No. 0, $ .75 
 
 EASTMAN KODAK CO. 
 
 ROCHESTER, N. Y. 
 All Dealers' 
 
 48 
 
The Danger Signal 
 
 When using X. A. Yelox Liquid Developer, 
 the print turns a canary yellow, and this 
 color does not disappear until fixing; is com- 
 plete. 
 
 Fifteen minutes in the Acid Fixing- Bath 
 will remove this color, provided the bath is 
 of proper strength. 
 
 If the color remains, the print is not fixed, 
 and should be allowed to remain longer in 
 the fixing bath, or transferred to one of 
 proper strength. 
 
 XEPERA DIVISION, 
 EASTMAN KODAK CO. 
 
 GETTY CENTER LIBRARY 
 
 3 3125 00017 2573 
 
FRENCH DRUG COMPANY 
 11TH AND C STREETS 
 TACOMA, WASH.