Every photographer who has used Artura Carbon Black for his enlarging work has been immediately impressed with the wonderfully close resemblance the enlargement bears to acontact print. This result is only secured with Artura Carbon Black and, that the Buff contact print may be as closely reproduced in the enlargement, we are now furnishing Artura Carbon Black coated onadouble weight Buff stock with medium rough lustre surface.

There was a time when the enlargement was readily recognized as such, but that time has passed and any number of photographers are now making the bulk of their large prints from small negatives, on Artura, the results being most satisfactory.

There is good money in the Artura enlargement, but it need not be exploited as such, for it has none of the appearance of the enlargement the public is accustomed to seeing. Neither is it policy to make good enlargements in the old standard sizes. Make them of reasonable size and trim them as you would if you were making a contact print from a negative.

A trial of Artura Carbon Black Buff stock will convince you that there is nothing else quite so good.

From An Artura Iris Print By Edwin Rogerx Seattlle. Wash.

From An Artura Iris Print By Edwin Rogerx Seattlle. Wash.

Make A Profit

It would seem there is a great diversity of opinion regarding the value of the post card as a means of coaxing the dollars out of the pockets of the public, if we are to judge by the letters we have received since publishing the little article, "The Much Berated Post Card," in the September Studio Light.

However, the article was written, not as an argument for or against the making of post cards, but as a suggestion for a means of competing with the established post card business, whether it be in the photographer's own studio or in that of his competitor.

You probably will say, "How can a man be his own competitor? " and the answer is found in the letter of a man who admits he put himself practically out of business by making post cards at a dollar a dozen, when he had no competition at all.

If he had made plain cards at two dollars a dozen and vignetted cards at three dollars, as another man did, he might have made post cards for those who wanted good cards and still not hurt the sale of his better work, but the question of making or not Dialing the cheap photographic novelties is for the individual to decide for himself.

We are not the originators of the post card and have no means of suppressing its use, and if we did have, it would only be a short time until there was something to take its place, and the question would remain: Is it profitable for the photographer with a reputation for good portrait work to make cheap work of any kind?

The answer to this question is found in the same old place each time. The volume of business you do at a given price must offset your overhead expenses, pay your stock bills and leave a reasonable profit. If it will not do this you must either increase the volume of business or the price of the work.

If you are doing a cheap grade of work, the desired result may sometimes be accomplished by cutting out this line, but above all things you must know the cost of production and make a profit.

If your competitor makes post cards, don't lose money to meet the competition. Do better work, advertise it, talk quality, show larger sized pictures, get away from the stereotyped cabinet size and old-fashioned methods and make your work clean and attractive. Quality will win out in the end.

Be sure you can do the work you have, and do it promptly and well, before you advertise for more work.

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

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

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