This section is from the "Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1911" book, by Aristo Motto. Also see Amazon: Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1911.
The Eastman School of Professional Photography is well along on its fall trip and will visit four cities of the South during the present month. The photographic profession has been quick to realize the advantages to be derived from the course of the Eastman School and its appreciation is shown in the continued increase in attendance.
As the school is practically brought to the door of the photographer, the expense of attending is nominal and he and his help can readily give three days of their time in return for the many benefits to be derived from so thorough a course of instruction. We know of no way in which the photographer can secure such a practical post graduate course, as it were, in the same number of weeks.
Were the three days entirely taken up with a series of demonstrations of the products of the Eastman Company, it would be well worth while, but as those who have attended one of the schools know, the subjects treated are so varied and interesting and the ideas suggested so practical and helpful that they more than make up for the small expense incurred.
The instructors who conduct the series of lectures and demonstrations are experts of many years standing and have been selected, not only for the knowledge of the work they have in hand, but for their ability to concisely impart this information in the most intelligent and comprehensive manner to their audiences. There must of necessity be a systematic method of conducting each day's instruction in order that so much work may be crowded into such a short space of time, but ample opportunity is given the individual to bring his studio troubles to the school and have the help of the instructors in solving his difficulties. The wide experience of these instructors in their travels over the country has been gained by personal contact with the photographers and conditions in the different localities visited, and they are constantly adding new ideas to their store of knowledge. These new ideas if found to be practical and useful are made into new features to add to the course of instruction, and so the school constantly grows newer, better and of more value each year. In this plan of constant improvement and continually keeping abreast of the times lies the continued success of the school. If you see it once you will want to see it again, and in so doing you will materially add to the success of your business by having new ideas constantly at hand to stimulate trade and keep your customers interested.
To those who have never attended the Eastman School we would speak of its many advantages, not only as a concentrated course of instruction, but as a clearing house of useful ideas that will be found applicable to any man's business, no matter how great or how small. There are no features to detract from the real work of the school and the subjects are so interesting that the attention is held from start to finish.
The location is selected with a view to its adaptability to the work to be accomplished and easy access to the visiting photographers. It will pay you to bring your assistants that they may also get new ideas to use in their work and have a better understanding of the materials they are handling. Everyone connected with the studio will be filled with enthusiasm after a visit to the school and you will be amply repaid for the small expense by the additional efficiency of your help.
From the proper methods of advertising, show case dressing and handling of the customer in the reception room, to the delivery of the finished print, the methods best suited to the progressive and up-to-date photographer are explained in such a practical manner that they may be applied to any studio no matter how small or how large it may be. The demonstrations cover completely the entire process of printing and finishing by every process now in general use, including masking, single and double border tinting, fancy border designs, vignetting, print spacing and preparing prints for embossing and folder mounting.
The demonstrations under the light include not only the various methods of lighting and negative making but hand and figure posing and control of white draperies. There is also a special demonstration of new and original drapery effects showing how the complete drapery effect is secured by using a single piece of silk and without the use of a single pin for fastening. In this demonstration the model is placed under the light and the process of draping is shown and explained step by step so the photographer may readily produce the same result or use the id base to work on in making other forms of drapery to suit his particular subject. This has seemed a most difficult task to many photographers and the very simplicity of securing beautiful drapery effects in so simple a manner has been a revelation to many who have visited the school.
We give several illustrations showing some of the effects and the methods used to obtain them. Cut No. 1 shows how the center of the five yard strip of silk is drawn across the chest and under the arms of the subject.
Cut No. 1.
Cut No. 2.
Cut No. 2 shows the effect after the two ends have been continued over the shoulders and crossed, giving the complete effect of a waist. Cut No. 3 shows the finished drape. The two ends of silk have been wound round the waist and tied, making it perfectly secure so that the silk may be laid in perfect folds, placed higher on the shoulders or changed in any way without danger of becoming disarranged.
Cut No. 3.
Another more elaborate effect of waist and skirt combined which may be used for three-quarter figures without vignetting is shown in cuts 4, 5 and 6.
One end of the five yard strip of silk is placed under the right arm of the sitter and with the arm held firmly against the body is drawn over the right shoulder, across the bust and under the left arm; then over the left arm across the bust again as shown in Cut No. 4.
The silk is now laid in folds and drawn once around the waist to give the effect of a narrow girdle or belt as shown in Cut No. 5. Enough material will be left to go around the waist a second time when it is spread out to its full width and made to cover the entire lower portion of the figure below the belt, as in Cut No. 6. The effect may be enhanced by gathering the drapery over the shoulder with a pin and using a pin at the waist as an ornament.
Cut No. 4.
Cut No. 5.
Cut No. 6.
An additional piece of very light material thrown over the shoulder may also be used to add to the effect.
These are only two of the very interesting methods shown at this demonstration.
Old and new methods of developing are compared and the after treatment of the negative is explained. The illustrated lecture on retouching, etching and working in backgrounds is most instructive and there is an evening demonstration of enlarging with chloride and bromide papers followed by an illustrated lecture on lenses and the proper use of same in the studio. The negatives made under the light during the demonstration of posing and drapery effects are used to print from in the paper demonstrations, and the results show conclusively that these demonstrations are thoroughly practical and not merely theoretical.
Nothing that could add interest to this three days instruction has been omitted and you can only get a comprehensive idea of its worth to you in your work by attending the school when it is within your reach. The bulletin of school dates will be found on page 23.