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.
To maintain prices is of vital importance to the success of the photographic studio and to hold the interest of patrons and prospective patrons is equally important.
In the smaller towns where the public is more or less familiar with the style and prices of the studio, something must be done to keep the interest alive and stir up a desire among the people for photographs. The old styles are familiar to passers by who see the show case day after day and they become indifferent if the same style meets their eye each time.
Cutting the price on an overworked style destroys confidence in the ability of a photographer and lowers the standing of the studio in the estimation of the public. Don't do it.
There are certain standard styles that are always good - that will always sell, but even these standard styles will move faster if supported and helped along by the introduction of new things.
Then, too, there are certain styles which for a time prove very popular but which seem to have had their run. Supposing there are some of these mounts on hand when the demand for them apparently ends - when the interest ceases. They may be withdrawn and after a lapse of five or six months this same style will again be new and appreciated. This will take care of excess stock and is a much better method than to hold on and try to sell it at a time when interest in it is at end - also a much better method than to cut the price on a style and size that has been put out at a higher price. Cutting the price not only destroys the chance of reviving that particular style in the future at standard price, but it also gets people into the bad habit of waiting until the price is cut on every new style you offer.
The remedy for a condition of this kind, or rather the preventive, is to introduce a new style in mounts as often as the previous style shows a falling off in sales. This is progressiveness and realizing this need of new ideas in mounts, Taprell, Loomis & Co., of Chicago, are to the front with new and good things to interest the patrons of photographic studios.
The Reynolds mount which we illustrate herewith is made in two colors, Sepia and White, suitable for either black or sepia prints. It is a flexible card for "tacked on" prints with old Mezzotint effect produced in harmonious colors.
The illustrations give but a very faint idea of the real worth of these mounts. The Reynolds is a rich reproduction of an old copper engraving and is engraved on silk linen bristol stock.
The Reynolds (square)
The Reynolds (oval)
It is made for cabinet and half cabinet prints, square or oval. It is a flexible card of beautiful proportions that may be sold as it is or in combination with folios such as Taprell-Loomis' Harmony, Saloniere, Repertoire or Standiford. With or without the folios mentioned, the Reynolds will not only maintain the prices you have established for cabinets and half cabinets, but will make it possible to get an increased price.
A trial will prove this assertion and a post card addressed to Taprell, Loomis & Co., Chicago, 111., will bring full information in regard to the Reynolds and other new things.
To progress with the progressive - to get a full share of new and desirable business - to avoid the fatal mistake of price cutting, ask your dealer often about the new things in Taprell-Loomis mounts or get the information direct from Chicago.
Eastman Permanent Crystal Pyro
A perfect developing agent in crystal form containing just the proper amount of acid preservative. At your dealer's
The Artura Iris prints reproduced in this number of Studio Light are from the studio of R. M. Wilson of Pueblo, Col.
Mr. Wilson is an experienced photographer, having been for twelve years connected with the Chickering Studio of Boston, Mass., prior to going west and opening a studio of his own.
The Wilson Studio has been established six years in its present location and the success which has followed is well merited by the quality of photographs produced. The accompanying portraits show expert handling and the flower study on a following page is still further proof of artistic ability.
Mr. Wilson is a pioneer user of Artura and the reproductions illustrate his skill as a photographer as well as the value of Artura in the production of high grade photographs.