This section is from the "Studio light a magazine of information for the profession 1923" book, by Sara F. T. Price. Also see Amazon: Studio light a magazine of information for the profession 1923.
This is one of the twelve months which should stir you to unusual advertising effort, not alone because of the fact that there will be over two million pages of national "There's a photographer in your town" advertising working for you but because it is a logical time as well to gather in a lot of profitable business.
Aside from the photographs that will be made of June brides and boy and girl graduates there are thousands of mothers who could be induced to have photographs made of the children.
You have just passed through one of those "between seasons" when every one has been anxious to cast aside the styles made necessary by winter and to blossom out in Spring or Summer attire. And such changes have had some influence on your business.
In some sections Easter marks the transition, while in others weather conditions delay it until June. Be that as it may it is a fact that June is a busy month for the photographer who advertises.
A great many people will be thinking of photographs and wondering where they can have them made. It's up to you to tell them. A great many people who read the June Pictorial Review and Vogue will think of photographs, resolve to have them made and temporarily dismiss the thought and the good intention. It's up to you to remind them by your local advertising. It will not only make them think of photographs but where to have them made as well.
Whether you are a constant, or only an occasional advertiser, it will pay you to tie up to this June campaign announced in the April Studio Light.
A lot of hypo has gone into the drains since the day when the commercial worker had to content himself with orders for views and groups; the whole field of industrial photography has sprung up in the meantime and it's still a long way from full growth.
Naturally enough the profits from this increased opportunity go to the fellow who doesn't wait for his customers to discover new uses for pictures made by him and who points out to them just where pictures would be of genuine use.
The value of photographs for advertising and historical purposes is well known, but many manufacturers fail to appreciate the usefulness of pictures in teaching consumers how to use their products.
Every manufacturer whose product requires explanation realizes the importance of the instruction booklet. He is anxious for every consumer to get satisfactory results and satisfactory results often depend on how much the purchaser learned from the directions. He will applaud any plan that will get people to use his product in exactly the right way.
Consider, for example, a cream separator that is delivered knocked down. Unless the farmer assembles it properly and uses it properly he may be disappointed and, of course, he'll tell his neighbor all about it. The manufacturer seeks protection against that sort of bad luck and pictures will help him.
The average instruction book looks like dry reading, no matter how important the information it contains. The very people who should go through it from start to finish dodge it entirely and try to teach themselves. Pictures, however, invite attention for it and make it look interesting. But pictures in the instruction book have an even more important significance - they can take the place of text and show every operation in assembling and using a product. A picture will usually tell more than a page, and in one-fourth the time. And the photographic demonstration is less liable to misinterpretation than is the wordy description.
Pictures make an instruction book look readable and the pictures themselves can put over the lesson quicker and clearer than can text. Any commercial photographer who will give a few hours' study to a manufacturer's instruction book problem will be able to make recommendations that may result in business for himself and protection for his customer.
FROM A PORTRAIT FILM NEGATIVE
"Heifetz" By Monte Luke Sydney, New South Wales
Mask making for double printing or border tinting is comparatively simple once yon know-just the effect you wish to produce and the way to do it. but it is one of those little jobs that require patience and extreme accuracy if the result is to be satisfactory. And if the masks are not made accurately enough to produce a perfect result, it is much better to do plain printing. A poor result is worse than none at all.
While we have explained methods of mask making before, the inquiries we receive lead us to believe the subject will bear repeating.The simplest form of mask and the one most generally used at present is one which gives a gray tint directly around the print on the second printing.
We will suppose you wish to make a 7 x 9 print on 10 1/2 x 14 paper with a gray tint directly around the 7x9 print and the balance of the margin white. The gray tint should be 1/2 inch wide at the sides and top and 3/4 at the bottom. Other sizes can readily be figured out once the method is understood.On a piece of masking paper slightly larger than 11 x 14. mark out a rectangle, having it as nearly centered as possible. Place another piece of paper under it and cut out the two 7x9 openings at the same time, keeping one of the pieces that is cut out to use later on. A razor blade is best for mask cutting.
Lay one of these masks on a piece of clear glass and fasten it securely with glue. Now measure accurately and draw lines 1 5/8 inches from the left hand side and from the top of the opening, each parallel with the edges. These lines are to mark the location of the guide for the paper.