The majority of the fair sex feel perfectly at home in a studio and thoroughly enjoy having their pictures taken, but with the average man it is quite a different proposition. He views a visit to the photographer as a cross between a visit to the dentist' s and the lawyer's as a defendant in a damage suit. Not that he has no vanity in his makeup, for he has his full share, but because he in most cases feels that the photographer will think his having his picture taken is due to vanity, and is disinclined to reveal his supposed weakness to a comparative stranger.

Or again, wifie has insisted on his portrait being made and wants to have him specially "slicked up," and dressed in the garments he has reserved for state occasions. Most men feel mighty bored and uncomfortable in garments they do not feel at home in and will put off donning them whenever possible. If he is compelled to have his picture taken under these conditions, he is rarely satisfied with himself or the efforts of the photographer and leaves the studio with that "never again" feeling.

We used to know a photographer who thoroughly understood this side of the average man, yet he probably photographed more men than any of his competitors. He had good ground to commence with, as his acquaintance with the men in his city was large. He believed that if he could get the men into his studio and show them how easy it was to have their picture taken he would sooner or later have them for customers. Meeting an acquaintance on the street he would casually invite him to drop into the studio with him a minute to inspect or discuss something he knew the man was interested in; having finished he would innocently suggest a tour of the studio and work rooms just to see how the "wheels went around." When under the light he would explain how the new fast plates and high grade lenses had greatly reduced the time of exposure, how he used no head rests, and how much more natural the pictures were when his subject just dropped in in his ordinary clothes, oftentimes accompanying his remarks by a practical demonstration. Getting back to his office or reception room he would say to his receptionist, "Miss B---------, please let me have one or two of those pictures of Mr. C," taking care to select some one the man was acquainted with. At this stage of the game his visitor was interested, felt quite at home and on the "inside" of picture taking. Many an order was booked right then and there, or else at home that evening he would mention his little visit to the studio and his wife would complete the suggestion so cleverly introduced by the man who knew his men.

The Eastman School Of Professional Photography For 1910

We have yet to hear an expression of dissatisfaction from any one of the thousands of the profession who have attended any of the sessions of the Eastman School of Professional Photography.

In fact so unstinted has been the praise of the school and its methods that we might rest content with the plans of the school as heretofore carried out and be assured of a big attendance at every session in 1910.

But there is no standing still with us - the good enough of yesterday goes into the discard of to-day - the Eastman School of Professional Photography was established with definite aims and purposes, and to live up to its fundamental principles must progress.

That the school has been productive of good is evident to you and to us - but no matter how good the school has been it must be still better - must present the latest and best in processes and all that goes to make up successful photography in order to insure your attendance when the school is again in session in your territory.

The 1910 School will be conducted along lines that will insure the greatest possible interest and enthusiasm; not only in instruction in new and better methods, but in simple and more effective methods of instruction in the features retained from last year's school.

The full scope and program of the school will be announced in an early issue.

From A Nepera Print By J. E. Ralston Seattle, Wash.

From A Nepera Print By J. E. Ralston Seattle, Wash.