Carlyle said that genius was the capacity for taking infinite pains, and there is no question but that many of us lack this particular brand of genius. Our enthusiasm lasts through the making of a sitting and development of the negatives, and of course the making of proofs, which must be well printed on good paper to show the quality of the negative; but there the enthusiasm ends.

How many operator-proprietors work for a beautiful negative and proof from that negative with no apparent thought of the finished print? How many of those same proprietors would change their methods of development to secure better printing quality - would sacrifice some of the beauty of the negative for that subtle quality the good printer so delights in, not for itself alone, but as a means to an end - the making of a perfect print?

The man who prints his own negatives, knows the value of print quality, and it would be very discouraging for that same man to work for someone who gave every thought to the negative that pleased the eye and bought his printing medium where he could get the most for his money regardless of quality.

Step into the studio of the man with a capacity for taking infinite pains and you will immediately remark, "What clean work this man makes," and you may be sure the customer receives the same impression.

The customer pays for the finished print and that print is his only means of measuring your ability as a photographer. If the print has been made with infinite pains, on the paper that will give you the best possible result, and the finished picture is clean and attractive, you have accomplished something, and you may be justly proud.

Possibly the West produces more of the so-called "bread and butter" photography than the East, but as a rule it is the clean cut type of work, such as we show from the studio of Mr. Edwin Rogers of Seattle, Wash. This is the work Mr. Rogers finds his customers want, and his capacity for taking infinite pains makes each print he delivers the best possible print he can produce.

It is the print his customer pays for and it is the print making he gives the greatest care. To be sure the sitting is carefully made and the negatives developed with care, and the retouching is just as it should he, hut it is all with the thought of the print that is to he the visible proof of this attention to detail, and it is needless to say the customer feels he has his money's worth when he receives a neat package containing a dozen technically perfect prints from the Rogers studio.

From An Artura Iris Print By Edwin Rogers Seattle, Wash.

From An Artura Iris Print By Edwin Rogers Seattle, Wash.

Mr. Rogers' studio is a model of good taste, and both the studio and the work reflect the pleasing personality of the man himself.