Apparently there is more than one way of getting the customer's business if he doesn't choose to come, or can't come to the studio. We used to say: Take your camera and go to the customer. That was home portraiture.

Mr. Belt of West Chester, Pa. goes home portraiture one better. He takes a studio to his customer, and it's a good looking and modern studio, too, as will be seen by our illustration on page 25.

You can readily imagine an old grandmother in a little old farm house waiting for the photographer to come and make her picture. Her home may not be a suitable one for making portraits,especially if the photographer does not use flash-light, but that does not bother this photographer.

He drives up in his studio - to the very door if grandmother is an invalid - takes her in and drives out from under the trees, turns the studio around, goes ahead or backs up as he chooses until he has his skylight where the light suits him, and then makes his pictures just as he would in the studio in town.

This is certainly a new definition of service as we understand it in photography. And though there may be other photographers who have done the same thing we have not heard of them.

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SERVICE STUDIO OF W. BELT, WEST CHESTER, PA.

The photographic car was at one time a fairly familiar sight but it was operated by an itinerant photographer and was drawn by horses to a more or less permanent location.

This is an entirely different kind of studio car. It is a part of a permanently located studio - a service studio car, we might call it, for it serves those who for any reason are unable or unwilling to come to the studio.

Mr. Belt's Studio has been specially built and mounted on a light truck chassis and as its construction and equipment are rather unusual, a description will probably be interesting.This car-studio is seven feet high, seven feet wide and twenty-one feet long. The skylight is in the top of the car but there are also electric lights for making sittings day or night. The lighting for the car is furnished by a 30 volt lighting system.

By drawing a double curtain across the car a dressing-room about seven by seven feet is provided and this is supplied with running water.The camera and stand are on a sliding track attached to the side of the car and are always in place and ready for a sitting. Folding benches on either side of the car may be made into beds if the studio is on a trip of several days. There is also a dark-room at the left of the front entrance in which holders may be loaded.

The 1 1/2 ton truck chassis has a 1.38 inch wheel base, weighs 5100 lbs. and has a speed of from 5 to 25 miles per hour which it would seem is ample for a photographic studio on wheels.

Mr. Belt tells us that he now gets orders over the telephone nearly every day to run out and make sittings that would probably never come to the studio. And we think that a man who has sufficient confidence in the outcome to invest in an automobile studio surely deserves a business that will pay interest on the investment.

If people in the country surrounding West Chester are not photographed it can not be said that they have not had the opportunity, for it would not be possible to do more than to bring all of the conveniences of a studio to one's very door-yard in response to a telephone call.

P. A. of A. Convention - July 16-21, See page 20

Taking The Studio To The Customer StudioLightMagazine1923 156

MT. HAMILTON WITH SAN JOSE IN DISTANCE, WRATTEN PANCHROMATIC PLATE

By Carl A. Bergmann

Lick Observatory, Mt. Hamilton

Keep the friendships of school-days alive with photographs.

Phone Main 245 for an appointment

Taking The Studio To The Customer StudioLightMagazine1923 158

The photographer in your town

THE SMITH STUDIO

'Studio Light" Line Cut No. 311. Price 30 Cents

Taking The Studio To The Customer StudioLightMagazine1923 159

PORTRAIT FILM NEGATIVE, VITAVA PRINT

By Lee Saylor-Harris Studio Chicago, III.

STUDIO LIGHT INCORPORATING THE ARISTO EAGLE ESTABLISHED 1901 THE ARTURA BULLETIN ESTABLISHED 1906 Vol.15 JULY 1923 No.5

A New Form Of Commercial Photography

The whole idea of salesmanship is based on the creating of a desire or appetite for the thing that is for sale. You can't sell bananas or baked beans or buns unless someone is hungry or has immediate prospects of being hungry for bananas or beans or buns.

So the fruit merchant displays his fruit in a tempting fashion, the cooked food shop garnishes a dish of baked beans in a manner intended to whet a dull appetite, while the baker's spotless shop window changes as often as the brown and crusty rolls and the dainty pastry come fresh from the oven. It's all a part of the game of salesmanship.

So if you expect your customers to sell merchandise by photographs, you must be prepared to sell photographs by photographs that create a desire. In short, you must be able to show samples that immediately suggest the sales possibilities of merchandise in pictured form and make people want your photographs.

If you want to sell photographs of shoes to a shoe manufacturer you must show him photographs of shoes - preferably his own make of shoes - that will make him want your photographs. And, by the way, did you know that shoes are very difficult to photograph in a way to please the man who knows all about shoes?

He will tell you thai ordinary photographs distort - that the shape of the shoe is not right-that the lines are not true to the last on which the shoe is formed.