This section is from the "Studio light a magazine of information for the profession 1914" book, by Sara F. T. Price. Also see Amazon: Studio light a magazine of information for the profession 1914.
A photographer whom I called upon a few days ago asked me to look at a number of very attractive prints in which he seemed to have a great amount of pride.
They were excellent prints and I told him so. The quality was exceptional, the size, about 7 x 11, was attractive, they were beautifully mounted and each print was enclosed in a neat folder which was really more in the nature of an envelope for the protection of the mounted print.
The photographer called this his velvet line and I naturally asked, why the name "velvet" when the prints were matte surface? He replied that he considered the money he made from this line of prints mostly velvet because they were enlargements and he managed to make them in spare time and so filled up the working hours.
An enlargement on Artura Carbon Black paper was made from each 5 x 7 or smaller negative from which an order for contact prints had been secured and it would have taken a better judge than myself to tell that they were not contact prints.
The larger size picture was shown the customer when the order was delivered and was offered at a price in proportion to that of the smaller prints.
In nine cases out of ten the enlargement was sold, if not at the time the order was delivered, at a later time, and the profit was almost "velvet."This work helped to keep the force busy, the enlargements were all of one size and required very little adjusting of the enlarging camera and the exposures were judged by the exposure for the contact print, which had been noted on each negative.
Of course overhead expense must be considered in all studio work, but such little stunts as the above add to the profits in greater proportion than regular work. The material and work of making and retouching the negative is part of the expense on which the price of a dozen pictures should be based. If an enlargement can be sold from each negative, the profit on the enlargement is naturally greater than if a negative had to be made for this special purpose.
Devote a little time to the study and development of those lines of work which will yield you the greatest profit and at the end of the year, after having paid yourself the salary you have earned, your studio expenses and interest on your investment, you will find you have made more actual profit than you made last year.
If you do not care to invest in an enlarging camera the R. O. C.
The back is similar in construction to the back of the Graphic Enlarging Camera, is fitted with ground glasses for diffusing, full set of nested kits, and is made in two sizes, to fit 6 1/2 x 8 1/2 and 8 x 10 Empire State and Premo View Cameras, price $8.00. Adapters to fit R. O. C. and Century View Cameras are supplied without extra charge.
Artura Carbon Black is the most suitable paper for portrait enlargements. It retains the quality of the contact print, may be had in a variety of surfaces and requires the same developer used for other grades of Artura, the proportions only being slightly different.
If you are interested in the making of enlargements, and every photographer should be, write for the booklet, "Enlarging for the Professional." A copy will be sent you free on request.
Eastman Portrait Films preserve the snappy lights and shadows in white draperies which are so often destroyed by the halation of glass plates.