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.
This month the school again starts on its tour of instruction, teaching all that's new, good and practical in professional photography.
The course of instruction in lighting and posing alone is well worth every photographer's time and attention, and to this are added practical demonstrations of tank development, retouching, working in grounds on negatives, local reduction, printing by every process now in general use, the choice of mounts in mounting, show case trimming and display, talks on advertising through the medium of the show case and on business methods leading to the successful conducting of a photographic studio. The course is a practical one and the instructors are practical photographers who know what is needed most and know how to present the course in a comprehensive manner.
Cut No. 1 Seed Plate Artura Paper.
Cut No. 2 Seed Plate Artura Paper.
To give a general idea of the breadth of the course in posing and lighting (and this is the very foundation upon which all photographic successes are built), we reproduce herewith a few of the portraits, all of one model, made at the school held in Rochester October 4, 5, 6, 1910.
Cut No. 1 illustrates the making of white grounds. The reproduction is made from a straight print from the negative. The negative has in this case received no after treatment, except retouching, and the print is not vignetted. Note the opacity of the white ground, allowing for the degradation of whites always caused by the introduction of the engraver's screen, and also note the delicate flesh values throughout the face and neck.
In cut No. 2 we have an excellent example of line lighting in which the light is concentrated on the profile. This line or cross lighting effect yields pictures of snap and brilliancy and yet, when properly made, there is roundness and softness in both highlight and shadow.
Cuts 3 and 4 illustrate hand and figure posing and the effect produced by the introduction of a small piece of drapery. A flower is also introduced in cut No. 4 to give the hand employment. Note the improvement in the general appearance of No. 4 as compared to No. 3.
Cut No. 3 Seed Plate Artura Paper.
Cut No. 4 Seed Plate Artura Paper.
No. 4 was made immediately after No. 3 without changing the pose or lighting, and by using the drape in connection with No. 4 the picture is given breadth and stability. The use of the flower by giving the idle right hand something to do, is also an improvement.
Cut No. 5 Seed Plate Artura Paper.
No. 5 is another example of hand and figure posing in which a single piece of drapery and a flower are introduced. Inthiscase the left hand is the idle one, the right being used as a support in an easy, natural way.
Notice how the lighting is subdued in the lower portions of Nos. 3, 4 and 5. The strongest light in each is concentrated on the face, thus holding the eye and interest to that, the essential part of the portrait.
In cuts 6 and 7 we find full drapery effects - examples of what can be done with a strip of silk or satin or other suitable material without the use of a single pin or other fastening.
In making the draped figures the arrangement of the drapery is explained to the attending photographers. The model is placed and draped and the complete picture is created step by step under the light.
Note that in cut No. 7 both the waist and skirt are formed with a single strip of cloth. Then with another strip of lighter material the left shoulder and right forearm are draped in the same manner as shown in cut No. 4. The hands are again occupied, and flowers placed at the breast add a touch of interest to the upper portion of the picture.
Cut No. 6 Seed Plate Artura Paper.
Cut No. 7 Seed Plate Artura Paper.
The handling and direction of the light, the use and position of the reflectors and screens and everything connected with the making of each portrait are carefully and clearly explained at all of the demonstrations in lighting and posing.
The portraits reproduced herewith can, of course, do nothing more than show the finished result of the demonstrations and we use them merely to illustrate the course in portrait making.
To fully grasp the real value of the course attend the school when it comes your way. If you have been to previous schools, come again because the full three day course is under constant revision, and as soon as something new appears possessing sufficient merit, it is adopted and incorporated in the course of instruction.
Watch the advance dates as they appear on page 23 and prepare to close up your studio if necessary and attend. Bring your assistants with you and also a list of your local difficulties for advice on how to overcome them.
Attend the Eastman School of Professional Photography held this month at Toronto and Montreal and take the full three day course. It will enable you to make better pictures at better prices.
Child portraits made by us are childlike, just as our portraits of adults possess strength and character.
We are experts in lighting and posing, and our equipment is complete.
Come in and see our line. If you order we will please you.
Toronto, Can............Jan. 17, 18, 19
Montreal, Can...........Jan. 24, 25, 26
Boston, Mass...........Jan. 31, Feb. 1, 2
New York City...........Feb. 7, 8, 9
Philadelphia, Pa...........Feb. 14, 15, 16
Syracuse, N. Y...........Feb. 21, 22, 23
Toledo, O............Feb. 28, March 1, 2
"WE believe permanency is the Keystone of Photographic Success, and all brands of paper bearing our Trade-mark are manufactured on this principle. We hold our consumer's reputation and success identical with our own. We surround both with every safeguard known to chemical science and our own experience."
From An Artura Iris Print By The Holladay Studio Durham, N. C.