This section is from the "Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1910" book, by Aristo Motto. Also see Amazon: Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1910.
How much does it cost you to produce a dozen cabinet photographs? Did you ever figure it out? Then again how much would it cost you to produce a dozen 5 x 7 photographs with materials of the same brand? The cost of the production will not greatly exceed that of the cabinets.
There are reasons for pushing the larger size pictures. Doing so will increase your profits. The selling price of 5 x 7 pictures will more than offset the increased cost of materials and it is no more work to make a 5 x 7 photograph than it is to make those of cabinet size.
Another reason is that it puts your pictures in a different class than the post card prints which can be made and sold at a lower price than cabinets although the difference in size is hardly appreciable.
We do not wish to infer that because cabinets measure 3⅞ x 5½ and post cards 3½ x 5½ that there is no other difference. Properly finished cabinets are far superior to the quickly finished post card prints, but some people do not sufficiently appreciate this difference - price and size being their first consideration.
To this extent the post cards cut in on the cabinets. Of course the better class of patrons know the difference and are willing to pay it, but they will be just as willing to pay more for larger pictures. Then too the people who can only see the difference in size will feel that they are getting full value and thus you get them all.
There is no reason for sticking to cabinet size pictures other than that this size has been a standard size for years. The people who buy pictures take cabinets because you offer them in preference to any other size. Many would prefer a picture of larger size at a reasonable advance in price if given their choice and the tendency of the day among better photographers is large prints at good prices.
Look into this proposition thoroughly and you will undoubtedly see your way clear to break away from the small stuff and put yourself beyond the competition of post card prints - put your regular work in a different class.
It isn't necessary to jump into the change suddenly and completely, and we would advise a gradual change. Make up a few samples in the larger size - determine the price for which they can be sold at a fair margin of profit and give the customers their choice. We believe that the larger size will prove popular and more profitable. You can easily prove to your own satisfaction whether or not this is so by working along the lines suggested.
FROM AN ARTURA IRIS PRINT by The Sweet Studios Minneapolis, Minn.
BOOK REVIEW, "WITH OTHER PHOTOGRAPHERS" BY RYLAND W. PHILLIPS
It's a healthy, helpful condition that exists among the photographers of to-day. Thanks to the broad mindedness of some of the leading workers, the methods that have brought them success are no longer kept hidden as trade secrets but are given up freely for the benefit of their brother photographers. Evidently they have taken to heart Pirie MacDonald' s epigram," Success comes - not from getting the best of the other fellow - but from getting the best out of yourself." And inspired by right mindedness they are even willing to go a step further and give to the other fellow the best from themselves.
But to get from such people the helps that would prove an inspiration to their fellow workers required something more than willingness on their part - it required a man who, first of all, was on an easy, familiar footing with them, and a man with the capacity and training to grasp the essentials and then put them in tangible shape. Mr. Phillips is that man.
In his book, "With Other Photographers," he has seemingly been as careful to omit the non-essentials as to point out in each case the true characteristics of
the work of the man under discussion. With his perfect understanding of methods and results, Mr. Phillips has been able to keenly analyze not only the work from each studio, but the means by which the work was accomplished. His book is by no means a hand-book for the beginner. It is a study for the competent worker. While the book contains many characteristic bits of work from leaders in the art, the illustrations that will most appeal to the earnest photographer are the pictures showing the interior of the studio, with the subject posed under the skylight and the camera master, bulb in hand, waiting for the psychological moment for making the exposure - then a reproduction of the first raw result and finally a reproduction from the retouched negative with, very likely, a background worked in - a highlight softened here, or a shadow deepened there - the final result perfect in line and in balance of light and shade.
Such intimate studies of the work and methods of men like Hoy and Core and Goldensky and Garo, and a full score of other leading workers, cannot fail to be of inestimable value to any photographer. In this book, "With Other Photographers," Mr. Phillips has rendered a distinct service to his brother photographers.
Seventy pages 9 x12 inches,
one hundred illustrations. Beautifully printed on heavy India tint paper; durably and attractively bound in stamped cloth cover. Price, $2.50. On sale by the photographic trade generally. Eastman Kodak Company, publishers.