It is a difficult matter to get the average man into a studio to be photographed. Every photographer knows this. In fact, the writer has in mind a man who knew this fact so well that he capitalized the idea.

Having the ability to make unusually good photographs of men, and being a man's man, he has drawn men to him and photographed them by a sort of painless process that has made him famous as an exclusive photographer of men.

We are not, however, going to give away anyone's trade secrets. In fact we have none to give away, but there are a few things you all know but have probably not thought of applying to photography.

To begin with, the average man has the idea that being photographed indicates a streak of vanity and that photography is a bore. He feels the photographer will be patronizing in his methods and talk twaddle to him - will ask him to smile and smirk - will pat his hair, twist his head, raise his chin, pull down his vest and a few other equally senseless things.

It lies within your power to overcome this prejudice against being photographed, at least to a very great extent.

A man is naturally curious about things with which he is not familiar and is most always glad of the opportunity to look into anything interesting. Modern methods of manufacture, a wonderful machine in operation, scientific apparatus explained in understandable terms - all these things are of absorbing interest.

Then why not show him the interesting things about photography? Why not make as many as possible of the men of your town familiar with the modern methods and apparatus you use? You have nothing to conceal - no secrets of your profession that may be stolen, but you do have many things of interest to an observing man.

Every opportunity you have to show a man over your studio and to talk enthusiastically of photographic progress - perhaps to illustrate your talk with a portrait of some man you know to be an acquaintance of your visitor - is an opportunity to overcome this prejudice against being photographed.

Ask an assistant to sit in a chair in a comfortable position while you explain how a subject is photographed. Don't pose your subject, in fact, don't touch him, but show your visitor what you see on the ground glass, at the same time explaining the operation of your camera. Show how you focus the image, how quickly the plate holder is thrown into place and the exposure made

Those pictures of father and mother - quaint in their old-fashioned clothes, are all the more precious because they recall the father and mother of your childhood.

Some day your photograph will be just as precious to others. And the present-day photographer is well equipped, both in skill and in the tools of his profession, to pay the obligation that this generation owes to the next.

Overcome The Prejudice StudioLightMagazine1914 48

There's a photographer in your town. Eastman Kodak Company, Rochester, N. Y. with your fast lens and fast plates. All these things are interesting to the layman who has only a superficial knowledge of photography and many misconceptions of professional photographic methods.

Once your visitor has become interested - once he finds the subject's head is not held in a clamp while a long exposure is being made, and that it is not necessary to hold still for more than an instant, in fact that exposures are often made without the subject knowing it at all - just that soon does he lose his dread of being photographed.

It would hardly be advisable to ask your visitor to sit for a picture when he has been invited by you to look over your studio. You have gained his confidence - don't violate it - don't spoil the good work by talking business.

If you have made a good impression you will get that man's business sooner or later. He will probably tell his wife of the pleasant little visit he had with you and that he had not realized how photography had changed since his last picture was made. Of course she will ask him why he doesn't have a new one, and Father's vanity will be touched. It won't take so much persuading on the part of the family to get him to call on you a second time. He will probably be glad of the excuse to come in for a sitting since he feels acquainted with you and photography has ceased to be what he imagined.

More than one photographer has worked up a good business by making himself and his studio popular - by overcoming masculine prejudice, merely by allowing the light of publicity to take the gloom out of photography.You can do the same thing in your community.


Since the photographers often find it difficult to obtain reliable help, the Photographers' Association of America has established an employment bureau, which shall be for the free use of all members of the Association.

The Secretary will keep on file a list of those seeking positions and upon inquiry will be glad to put any photographer in touch with the kind of help he needs.

Experienced help desiring a change in position will do well to send their names, together with a list of their qualifications, to the Secretary, Jno. I. Hoffman, Bucyrus, Ohio.Use chemicals bearing the Eastman Tested Chemical Seal and be sure of chemical strength and purity.

Overcome The Prejudice StudioLightMagazine1914 49


Eastman Professional School Demonstration

Overcome The Prejudice StudioLightMagazine1914 50Overcome The Prejudice StudioLightMagazine1914 51

M. A. Yauck

We regret to announce the death of Mr. M. A. Yauck, at his home in Rochester, on February 18th.

Mr. Yauck came to Rochester in the early eighties and entered upon his career as a photographer. He also took up portrait and landscape painting, for which he had great talent. Among the notable canvases which bear his name is a portrait of President McKinley that hangs in the Ohio State Capitol at Columbus.

Always unassuming, he was, even in late years, fond of telling,

in his humorous, whimsical fashion, of his earlier experiments in emulsion making - experiments that began here in Rochester, continued during his connection with the Baker Art Gallery in Columbus and culminated in Artura paper - the product that he perfected and through which he was best known to the profession.

Mr. Yauck was general superintendent of developing-out papers at Kodak Park, and with his associates had had charge of the making of Artura in Rochester since the Eastman Company's purchase of the Artura business, but owing to his protracted illness, he had not been personally active for some time.

Mr. Yauck leaves a wife, Mrs. Minerva Yauck, and a son, Al-than Yauck.

There have been and are men of marked personality in the photographic business - men who form unusually strong friendships. M. A. Yauck was one of these and his friendship was of the kind that existed for his competitors as well as for his business associates. But forty-four years of age he was, through his thorough understanding of his work and through his kindly, genial spirit, one of the best known men in the photographic profession. He was the kind of a man who was beloved by his competitors - that, perhaps, best tells the story.

M A Yauck StudioLightMagazine1914 52


Eastman Professional School Demonstration

M A Yauck StudioLightMagazine1914 53