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.
We experimented in coloring and meanwhile the engraver and the printer advanced rapidly, and after three years the time came when we again tried the reproduction of col ored photographs for our back covers. Of course, we are not always satisfied with the results - far from it, but for our back cover copy, for catalogue and booklet covers and even for hangers in the dealers' stores, and for street car signs we use the colored photograph, reproduced by the three or four-color process, usually the latter, to the almost total exclusion of the lithograph or the painting.
A SUGGESTIVE PHOTO DOING DUTY IN ADVERTISING
It has not saved a dollar of expense, but has, I believe, added greatly to the effectiveness of Kodak copy. Pictures that pleasingly tell the story of the attractiveness of one's wares are always good in advertising. When such pictures are real photographs of real people, they have brought you closer to the prospective customer. And that, I believe, is what we are all looking for.
Progressive advertisers have use for clever photographs of their products in actual use - pleasing pictures that will sell their goods. The foregoing article in Printers' Ink has reached thousands of advertising men and will undoubtedly create a stronger demand for photographs to be used in this connection. You can help supply this demand provided you can picture the goods to be advertised in a manner that will convince - a manner that will arouse a desire to possess the product advertised. The selling power of the picture will determine its value to the advertiser and a good picture will bring a good price. While price is a secondary consideration with the advertiser, there is a limit to the amount he will pay. Pictures simple in composition that tell their story in a direct way are the most desirable. The advertising man pays you for the idea expressed in the picture, as the idea is what makes it a success or failure as an advertising illustration.
The Beech-Nut Packing Co., of Canajoharie, N. Y., is in need of some good photographs to use for advertising purposes and will supply you with information in regard to the first of a series of competitions they are about to inaugurate. This competition is open to professional photographers and $350.00 in prizes is offered. $200.00 first prize - $100.00 second prize - $50.00 third prize. These people will tell you what is wanted and supply you free of charge with the product they want you to use in the illustration.
This is just one of your opportunities. Our 1910 Kodak Advertising Competition is another, and many other concerns which advertise extensively will purchase photographs suitable for use in their advertising.
Write to us for information in regard to the Kodak Advertising Competition - write to the Beech-Nut Co. in regard to theirs. At least these two opportunities are knocking at your door and there are many others waiting for you to knock at theirs.
The Artura method of making sepia prints on Iris by the use of "Artura Sepia Salt" is undoubtedly the most popular method in use to-day, and this of course is due to the simplicity and certainty of the process.
It is very important to use the acid short-stop or check bath after development and previous to bleaching, and equally important to keep this bath fresh and acid so that it will check development instantly.
The following extract from the letter of H. T. von Kohn, manager of the Ewing Studio of Crowley, La., may be of assistance to you in handling your sepia prints.
Speaking of his experience with Artura sepia salt he says in part: "Having had some trouble with it, I find myself at fault entirely. Here is where I failed.
"It will not do to just rinse the prints after developing in the acid stop-water by just swishing through the water, like nearly everyone does, but the print must be washed thoroughly in this water until every particle of developer is eliminated from the print before putting in the bleaching solution.
"Watch your print when you place it in the acid water and be sure it is acid - rather more than usual. If the developer is entirely eliminated the print will bleach out entirely in a little while - on the other hand if not entirely cleaned the bleaching will be slow and the resulting sepia tone muddy.
"When the acid short-stop is right the print handled in this manner to thoroughly wash off every particle of developer will bleach out in the sepia solution completely in a few seconds and the resulting sepia tone will be rich and the highlights perfectly white and clear.
"Where the least trace of developer is left on the print after coming from the acid water you will have a resulting muddy looking spot.
" The remedy is easy - just wash thoroughly in the acid short-stop and be sure it is acid."
A complete manual on the manipulation of Artura Paper. Free at the dealer's or by mail.
FROM AN ARTURA IRIS PRINT By Baker Art Gallery Columbus, Ohio