Nearly everyone's ability, artistic or otherwise, develops most naturally along some one particular line, and if full play is given to this natural aptitude for doing one thing better than another, the worker becomes a specialist.

We might say Miss Reineke, of Kansas City, is a specialist in child portraiture, and while she does not confine her work to pictures of children, it is in her most interesting depiction of child life that we see her at her best and choose to have our readers see her.

We were given the privilege of selecting our illustrations from a number of excellent examples of Miss Reineke's work, but the children appealed to us, as they evidently do to her, so we are allowing them to romp through our pages as they do through her studio.

Miss Reineke was asked what method she used to secure these pictures of children, and replied: "Well, really, I hardly know. I believe it is a total lack of method as far as posing is concerned, unless you call it method to allow them to pose themselves. I never attempt to pose children before the camera, because their every movement is full of unconscious, unaffected grace."

"Of course I always focus on a given plane and try to amuse the dears while waiting for them to assume an attitude I think pleasing, but every child is a problem unto itself, so no hard and fast rule can be used with them."

From An Artura Iris Print By Miss Reineke Kansas City, Mo.

From An Artura Iris Print By Miss Reineke Kansas City, Mo.

"I make it an iron-clad rule to personally inspect every print that comes from the finishers, and as I use Eastman Etching Sepia Platinum paper exclusively, there is rarely any cause for complaint, for it is surely a beautiful product. And, too, I have the satisfaction of knowing when I use this paper, that I am using and giving my customers the best that money can buy."

For a number of years before embarking in business for herself, Miss Reineke had charge of the reception room for that splendid gentleman and Dean of Western Photographers, Mr. D. P. Thompson, of Kansas City. This, her second studio, was built especially for her, the first becoming too small to accommodate her growing business.

The present studio is located just on the edge of the retail business section and is splendidly arranged and commodious, as well as strictly modern in its equipment.

Our illustrations are reproduced from Artura prints, this paper being more suitable for the purpose of engraving than the Sepia Platinum.

$3,000.00 in cash prizes.

If you haven't already learned of the Kodak Advertising Contest, we will be glad to send you a circular explaining the terms and a portfolio of prize-winning pictures of a former contest. The latter may be a help to you in arriving at a better understanding of what gives a picture value from the advertiser's point of view.

We often hear it said that an advertisement has a "punch" to it, which means that the argument of the advertisement is impressed upon the reader's mind in a flash. And a picture of the same sort, which tells a story simply and with conviction - one which leaves its impression in the form of a desire for the goods advertised - is the picture that is going to win a prize.

Don't expect a photograph of a pretty baby holding a Kodak, to win a prize, for while it may be cunning, it is quite evident that baby is not making pictures and the Kodak becomes only a plaything. On the other hand, make your picture tell a practical story of the delights of Kodakery let it have life and action then it will have advertising value.

The summer is before you there is a great field of ideas for you to choose from, and the prizes are worth trying for. Begin at once and make as many entries as you choose. We hope that there will be many more good pictures than there are prizes. We are always looking for good material and hope to have the opportunity of buying a number of good pictures other than those winning prizes. Read the terms of the contest carefully, use any camera, plates or paper, you choose, and go to work with the idea of winning.

From An Artura Iris Print By Miss Reinekc Kansas City, Mo.

From An Artura Iris Print By Miss Reinekc Kansas City, Mo.

Backing Prints

A customer recently wrote us that he was having trouble when backing prints with gelatine backing paper. The backing paper curled at edges and refused to lie flat on the squeegee plates. We found upon inquiry that he was trying to mount the backing paper gelatine side next to plates. Gelatine backing paper has a heavy coating and as the gelatine swells more than the paper when wet, this gives the face of the paper a strong outward curl. It would be extremely difficult to hold the paper flat if laid gelatine side down on the ferrotype plate, as it would curl away from the plate before drying. Thinking that possibly others might be going at this mounting process wrong, we venture to offer the following suggestions :

Clean ferrotype plate with warm water each time it is used.

Polish with soft cloth to remove dust and specks, then swab with a tuft of absorbent cotton wet with a solution composed of benzine 1 oz., paraffine 10 gr. Rub dry with a clean cloth and polish with chamois or soft cloth, afterwards using a soft brush to remove dust particles. Then lay the wet print face down on the plate and squeegee into perfect contact, using a small print roller and working from the center towards the edges to remove air bells. Now brush over the back of the print evenly with starch paste; then take a piece of gelatine backing which has been soaked until thoroughly limp,blot off the surplus moisture and lay face up on the back of the print. Rub into contact with roller and stand plate up to dry where there is an even temperature and a free circulation of air. In no case try to hasten the drying by heat, as this will cause cockling and may cause the gelatine prints to stick.

The process of mounting on muslin or linen is much the same.

The muslin is cut slightly larger than the print, is thoroughly wet and surplus moisture squeegeed out. A piece of the muslin is placed over the pasted print and rubbed into contact. The paste should be plentiful enough to come through the muslin. When dry the prints strip off very readily and the muslin margins will have the same high gloss as the surface of the print.

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