Studio Light wishes you a Happy New Year.

We trust your business for the past year has been a source of gratification to you and that the final summing up will show a substantial balance on the proper side of the bank account.

The past year has been one of progress in things photographic.

Notable among the many new things for the convenience of the photographer and the betterment of his work has been the introduction of the Artura-Meth-od Sepia.

Put the dates of the Toronto School, February 6. 7 and 8. on your memo pad, or better, write them on a card and hang it where it will stare you in the face. Toronto started the 1911 School - the increase in attendance was 31 1/2 per cent. over 1910.

Frame this New Year Resolution - "I will attend the Eastman School."

Photographers of the Maritime Provinces should be in Boston January 23, 24 and 25. The Eastman School of Professional Photography will be there. Any photographer from anywhere is welcome at an Eastman School.

Montreal helped start the 1911 School on the way to success. Read about the new features on page 4, and start the year with a lot of new ideas by attending the Montreal School January 30, 31, and February 1st.

We are unable to say what the New Year may bring forth. but we hope for even greater improvement in things photographic and greater advancement for the Photographer and his Art.

At The Opera.

At The Opera.

From an Artura Iris Print.

By Hubert Bros.

New Features Of The Eastman Professional School

The season of the Eastman Professional School for 1911 has just ended with a gain of 31 1/2 per cent. in attendance over any previous year. This conclusively shows that the photographers of America fully appreciate the benefits to be derived from the course of lectures and demonstrations given at these Schools. We have received many requests from commercial photographers throughout the country for the addition to the school work of a course of instruction in this branch of photography, and that the 1912 School may be broader than ever before, we have decided to add Commercial Photography to the list of subjects already treated.

In order that this subject may be handled in a thoroughly capable manner, we have secured the services of one of the best commercial photographers in the country, whose business it will be to go into the details of commercial work in all its forms.

There is probably no photographer, no matter how small his business may be, but that at some time is called upon to photograph some object that comes under the head of commercial work. It is also reasonable to conclude that the average photographer is not as familiar with the proper method of doing this work as is the man who has devoted his entire time and attention to solving the problems of this complex phase of photography.

We say complex because the commercial photographer in a large city is called upon to photograph anything and everything. It may be a skyscraper or a hole in the ground, a finger print to be used as evidence in a criminal trial, or a new model of steam shovel, it matters not to him, and he is always ready for an emergency.

The commercial photographer must be able to decide in an instant the proper lens and camera and plate best suited to his work. He must be able to quickly judge the best point of view for proper perspective if the subject is architectural, when and how to use his color screens if the subject requires the rendering of color values, the best methods to overcome reflections if the subject is polished metal or is a display window that is being photographed, the proper handling of the light under bad conditions for interior work, and the after treatment of the negative - in fact, he must be a cyclopedia of knowledge of photography in most all its branches.

We feel that not only the commercial, but the portrait photographer as well, will be interested in this new feature of the School, which will include an illustrated lecture on the Uses and Possibilities of Commercial Photography. This will include the proper lenses and apparatus to use, treatment of exteriors and interiors, photographing furniture, glassware, bright metals, stoves, machinery, show windows, etc., etc.

Another demonstration and lecture will take up the preparation of the negative for printing, blocking out, retouching and etching, finishing prints, proper materials to use, squeegeeing, backing prints for binding or for delivery unmounted. etc. Time will be allowed for answering questions regarding any kind of special work presenting its problems or difficulties.

There have been many new features added to the regular course of instruction for the portrait photographer, which takes in every phase of the daily work of the studio from the reception room, dark room, posing, lighting, drapery, exposure, development, retouching, different styles of printing and finishing, down to the proper manner of delivering work. This covers all branches of work from the time the customer enters the studio until the finished prints are delivered. Could any course of instruction be more comprehensive? Is it possible for any photographer to obtain this instruction at any other place or in any other way except by a large expenditure of time and money?

It is impossible to obtain instruction as comprehensive as this at any convention on account of the lack of time and necessary outfit.

It is impossible to go into a large studio, even by paying a large sum of money, and receive such instruction, as no photographer will allow people to stand around under the light and stare at the sitters.

In no other countries on earth does the photographer enjoy such opportunities, and in no other countries on earth has the general work of photographers reached such a high standard of excellence.

We spared no pains to obtain the best talent possible for the corps of instructors. These men not only know how to do the work but have the knack of imparting that knowledge to others.

The Schools are purely educational. No one is asked to buy anything, as nothing is sold. All photographers are welcome, be they users of the Eastman goods or not. No admission fee is charged - all the lectures are absolutely free. We believe that the higher the standard of technical skill among the photographers of America the more the trade will appreciate the quality of the Kodak goo;ls. On this basis the School proves profitable to those who attend and to its backers.

No photographer can afford to miss the 1912 course of instruction, either from the technical standpoint or from the pocket-book, end of his business. In the near future we will publish an article dealing with the other new features of the Eastman Professional School.