KODAK DEVELOPING MACHINE. 



fore "pressed the button" and allowed some 

 one else to "do the rest." Now, these ama- 

 teurs may themselves accomplish every 

 step of picture making, from pressing the 

 button to mounting the finished print, with- 

 out once straining their eyes beneath the 

 feeble rays of a ruby lamp. 



This stage in the development of pho- 

 tography has been reached by a natural 

 evolution. An evolution culminating, it 

 is true, with a stroke of genius which adds 



The Developer is Poured In. 



the final triumph to the growth of the 

 Kodak idea — Simplicity. 



Since improvements in the methods of 

 camera manufacture had so far reduced 

 the cost of production as to allow really 

 fine instruments to be sold for a few dol- 

 lars, there was but one thing that pre- 

 vented the use of the Kodak from becom- 

 ing as universal as the reading of books — 

 the dark-room. Step by step the necessity 



for it had been abolished until it was no 

 longer in the slightest degree essential 

 except for the purposes of development. 

 Th Kodak Cartridge system and the 

 simpler printing processes had driven it 

 to the last ditch, but to that, for some 

 years, it held tenaciously. To-day the 

 forces of Necessity allied with those of 

 Science have driven it out. The triumph 

 of Kodakery is complete. 



The Kodak Developing Machine not 

 only develops films without a dark-room 

 but does it better than it is done in the 

 dark-room. It widens the photographic 

 field and gives the amateur better results 

 than he obtained before. There are many 

 things which may be done more perfectly 

 by machine than by hand— developing 

 negatives is one of them. 



From a physical standpoint the machine 

 gives better results than can be obtained 

 by hand because it does away with the 

 possibility of foreign substances in the de- 

 veloper settling on the negative and mak- 

 ing spots ; it does away with the possi- 

 bility of defacing the negative with finger 

 marks, and it prevents the corners of one 

 negative from scratching the face of an- 

 other. Chemically the advantages are 

 boundless. In abolishing the dark-room 

 it also abolishes the dark-room lamp. 

 Every experienced photographer knows 

 that in cases of prolonged development 

 the fog from this lamp often becomes 

 serious. The beginner is especially prone 

 to fogging his negatives by examining 

 them too close to the ruby light. He is 

 unable, perhaps, to judge just how far 

 development has proceeded and in hia 

 anxiety to stop at precisely the right point, 

 he holds them too frequently in front of 

 the lamp and too close to it. He not only 

 strains his eyes and his nerves, but, alas, 

 he often spoils what would, but for his 

 anxiety, have proven a most excellent 

 negative. In the Developing Machine, the 

 negative being in absolute darkness, there 

 is nothing to fog it. 



In the Kodak Developing Machine both 

 the film and the developer are in constant 

 motion — the result is quick action on the 

 part of the developer and a brilliant 

 snappiness in the negative that cannot be 

 equaled under the old conditions. 



