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.
This heading "from eight to twelve" looks something like the office hours as printed on a physician's door, but it isn't intended to convey that meaning.
It means, why make cabinet photographs for eight dollars, when you can get twelve dollars for 4¼ x 6½ or 5 x 7 pictures ?
You may say - "But I can't get eight dollars a dozen for cabinets, so how am I to get twelve dollars for pictures a little bit larger ? "
Now, dear reader, you can get eight or more for cabinets and you can get twelve or more for pictures slightly larger, but first you must put quality into your work from start to finish, especially finish.
We take for granted that you are capable of making a good likeness and that you know a few things about posing your sitters gracefully and lighting them properly. Also that you know how to produce a negative of good printing quality. Right here, we could stop and tell you all about Seed Plates and the Eastman Tank, but we won't because that isn't the purpose of this article; and we will go on, taking for granted that you can make a good negative.
Next comes the printing. Use a paper that will get everything you have produced in the negative, or rather, a paper that will preserve the effect you wish to produce. For sparkle and detail, with every catch light truthfully rendered, you should use Artura Iris, Grades A or B, or Aristo Platino or Collodio Carbon, and for velvety finish without lustre, and a soft, rich appearance, so much admired by some, you should use Etching Black Platinum or Angelo Platinum or Artura Iris, Grades C, D or E; but then, you probably know all about the effects produced on these various brands and know which surface or brand is best suited to your needs.
Next comes the finish - mounting - which is really a very important thing in giving portraits distinction. Every photographer knows that two duplicate prints, treated differently in mounting, will look entirely different when finished, but every photographer does not give the attention to mounting it should have. Many a good picture is spoiled in the mounting - spoiled by being mounted on a mount that does not harmonize with the tone and general appearance of the print. Proper mounting alone will help you raise the price of your cabinets from three or four dollars a dozen to eight, and that answers part of your question.
Taprell, Loomis & Co., of Chicago, 111., make artistic mounts, that will help you raise your prices. Write to them for suggestions and information.
Now, after you have heard from Chicago and are using the proper kind of mounts, we know you are getting at least eight dollars a dozen for your cabinets, because they look worth the price, and "looks" are what determine the price of pictures - just looks. From eight dollars for cabinets to twelve or more for 4¼ x 6½ or 5 x 7 portraits is just a step, and "looks" again raise the price. Though slightly larger, the latter sizes "look" more expensive, and you yourself will be surprised at the difference, especially when you find that this difference is mostly in appearance and not so much in cost of production.
Let your motto be "Bigger and Better" and work that motto to the limit. Of course, the class of patrons you are serving will fix that limit to a certainty extent, but be sure you reach the limit before you stop the upward movement. You will find that most people like high grade work and will stretch the pocketbook to possess it after it has captured their fancy. Keep your regular line on sale, but don't fail to show the better stuff to every patron, just to let them know you make it.
Ask good prices for your work and make the work worth the price. That is the only way to conduct your business; and too many make the mistake of underestimating their ability and the value of their productions.
Low prices and the poor work necessarily following cheap production, tend to demoralize photography, while better work at better prices is constructive.
Start to-day, from three to eight, to twelve, and on to the limit fixed by the class of patrons who make up the community in which you operate, and always bear in mind that there are some people in every community who want the best that money will buy.
Photographers' Association of Virginia and Carolinas to be held at Richmond, Va., Sept. 6, 7, 8, 9; secretary, J. E. Alexander, Salisbury, N. C.
Nebraska Photographers' Association to be held at Lincoln, Nebraska, Sept. 27, 28, 29, 30; secretary, R. R. Roszell, Beatrice, Neb.
Missouri Photographers' Association to be held at Jefferson City, Mo., Oct. 11, 12, 13; secretary, C. E. Keeling, Nevada, Mo.
Photographers' Association of Texas to be held at Houston, Tex., Oct. 18, 19, 20; secretary, F. M. Boyd, Gainesville, Texas.
Bring Them To You "With Other Photographers" is a title that has become familiar in photographic circles and with it is coupled the name of Ryland W. Phillips, the author.
"With Other Photographers" was originally a carefully prepared lecture illustrated with lantern slides which Mr. Phillips delivered at several conventions. The lecture proved so interesting and instructive that all who heard it and saw the illustrations on the screen wished for it in permanent form - in book form for reference and study.
Thus the book "With Other Photographers" came into existence. To meet the apparent demand for this work we have cooperated with Mr. Phillips and have brought it out in permanent book form, printed on india tint plate paper 9 x 12 with beautiful half tone illustrations.