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 certainty of success lies in the certainty of the materials you use.
The confidence of the public depends on the confidence you have in yourself and your work. You cannot expect your customers to believe in you if you do not believe in yourself.
Use the genuinely good and be sure of yourself. Then when you have confidence in your own work, get out on the housetops and shout it to your customers.
Seed Plates have the quality that is the first essential. C. K. Co. Tested Chemicals insure certain results when used in an Eastman Plate Tank.
Then with a printing medium such as Artura or Eastman E. B. Platinum you can feel certain of your finished product.
Build your success upon the genuinely good. Then advertise.
With the passing of Easter and the coming of the warm spring days, you must not overlook any of your opportunities.
Have a spring house-cleaning, brighten up the studio and buy those new accessories you have been needing. They will improve your work and lend the air of dignity to your studio that your profession demands.
Then fill your show case with bright new samples on attractive spring mounts, and advertise. Send for our cut each month and make your advertising new and bright, never losing sight of the keynote, "Quality."
That the Eastman Professional School is appreciated by photographers is proven beyond the shadow of a doubt by the growing attendance.
The year 1911 is breaking all records. The attendance at Toronto showed a gain over two years ago of 30%, Boston a gain of 36% over last year, New York a gain of 55%, Philadelphia 11%, Syracuse 100%, and so on as the school proceeds on its way.
The reason for the success of the school is apparent - it instructs the photographer how to produce the best possible work according to the latest and best methods. The course is practical and the lectures and demonstrations are practical. No time is given to lengthy discussions of theories or exhaustive talks on art.
When the school course was planned it was laid out along practical lines - along lines that enable the attending photographers to make more money by doing better work and more of it. That is why the attendance grows and why every photographer looks forward to the time the School will be within reaching distance of his locality.
The new feature added to this year's course of instruction is a talk on the use of portrait lenses. This is not a technical talk on lens construction - not a talk filled with the unintelligible terms of the lens maker, but a short talk on the selection and use of lenses for the different kinds of studio work with reasons why.
This is just one of the new features. The whole course has been revised and brought up to date, and even though you attended last year's School you cannot afford to miss the School of 1911.
Watch the advance dates as they appear from month to month and prepare to be in attendance. Bring your assistants with you if possible. The course is free to all professional photographers and representatives of photographic studios.
Mr. Holloway needs no introduction to the photographers of the United States as he is a national figure in photographic convention work.
As one of the Pioneers of the Indiana Association, he helped to make it a success and served with distinction as its president.
Going to the Board of the National Association, Mr. Holloway became in turn its president.
With the advent of Artura Iris, Mr. Holloway became a loyal user of this paper and has held fast to that which is good, as is evidenced by the success of his business - a business built on business principles, work of merit, the best of materials and the personality of a man whose friends are only limited to the number who have met him.
We are pleased to show examples of the work produced by Mr. Holloway's Studio.