Well, I went to the Eastman Professional School and I certainly did cram in a lot of real ideas and incidentally had a good time. It's so nice to get out and meet people in the same business. There were quite a few receptionists there. I was tickled to death when the Boss said I could go. At first he wasn't very keen on the idea, said someone had to stay with the studio. I fixed that up all right by bringing my sister in and telling her how to talk to customers and explain that Mr. Roe was at the School learning new ideas and that he would make better portraits when he came back. That settled the argument over my going.

The School was held in a hall and it looked like an art gallery. All around were large screens of dark green burlap and on them some of the best photographs I have ever seen. They were on different papers, Artura, Angelo, Aristo and Etching Sepia. That's a new paper this year and it is splendid. I told Mr. Roe that if we only had some samples I knew lots of the best people in our town would be perfectly willing to pay $50 a dozen for pictures.

The first day was awfully interesting. Mr. Scott, he is a demonstrator, showed how to make a whole dress out of five yards of satin, and it looked swell too.

Mr. Roe knows how to do it now and that gives me a good card to play when a customer tells me she would have a sitting to-day only "her best evening gown is at the cleaner's." That excuse won't go at the Richard Roe studio any more. Mr. Scott told a lot about lighting and Mr. Roe said Rembrandt effects will be easy for him now. That will help my end of the business, too, for lots of our customers ask me to show samples of Rembrandt lightings. Mr. Scott has a mighty slick little head screen. It was made of black netting and had four parts, each one of a different thickness. The Century Company makes them and Mr. Roe is going to order one. There were lots of new ideas about posing, too, and it was wonderful what good effects he got with just a few simple tricks.

Mr. Wade and Mr. Hazlett were the paper demonstrators and they showed how easy it is to use Artura and Etching Sepia if you are careful, and Mr. Wade told all about show case advertising. I learned a lot from his talks and now I'll know just what negatives to mark down in my little book to use for our show case. Here are the essentials he gave us for show case trimming: Novelty, cleanliness, merit, harmonious coloring, avoiding over crowding, make frequent changes.

But to me the best part of the School came the last day when Mr. Scott told us about retouching. That's part of my job in our studio. The best rule he gave was that the less lead you use the better the result, only the lead must be in the right place. One of my sins that he pointed out, and he says it's a common one, is making a highlight of the same value the entire length of the nose. He says that few subjects have noses perfect enough to stand such a highlight. He gave us a lot of good advice about not destroying the half-tones that ought to be in the picture. One of the helpful "don'ts" was: "Don't destroy the shadow under the nose." He made a demonstration of working on the back of the negative that was great.

By Gertrude Kasebier New York, N.Y.

By Gertrude Kasebier New York, N.Y.

When the School comes your way go by all means for I couldn't begin to tell you in a letter all I learned. The Reception Girl.