Tact as applied to salesmanship, may be defined as discrimination in judging the intelligence of the customer and using those methods which accomplish results in the way most satisfactory to all concerned.

The word "enlargement" means one thing to the photographer who has used Artura Carbon Black for large prints, but to the average customer, it has a different meaning - is associated with a 16 x 20 print in a five-inch golden oak frame resting on a bamboo easel in the old-fashioned family parlor.

To sell enlargements, first of all put a taboo on the word itself - strike it out of the vocabulary of photographic terms used in your sales-room. Don't make enlargements - make large or small Artura prints and have samples of large prints on Artura Carbon Black that are the counterpart of smaller prints from the same negatives. A set of three or four prints in various sizes from the same negative will convince the customer of the quality of the large prints you make without recalling to mind the wiry enlargement known to the past generation.

Just a word more about these large prints for your salesroom samples. You may have a style of small prints, say 5 x 7, on Buff Artura. Have your samples of large prints on Buff Carbon Black. Your most popular style of contact prints may be mounted in folders. Have your samples of large prints in the same kind of folders, and if your small prints have white margins with an embossed line, make the large print the same way. If your small prints are panels, make your large samples panels, etc.

There are also a few "don'ts" for those who make large prints. Don't ever show a large print that has not been trimmed, spotted or otherwise made ready for delivery. Don't make the large print different from the small print for the sake of making it fit a stock size frame. This savors too much of a scheme to sell cheap frames and cheapens the picture in the customer's estimation. Picture framing is all right as a side line, but you must remember to keep it a side line. Too many photographers have worked frame schemes to the detriment of their business by giving a picture for nothing on the condition that a good price is paid for a cheap frame. So conduct your business as to dispel the idea that there is a string to any sale you make.

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FROM AN EASTMAN PORTRAIT FILM NEGATIVE

By H. Walter Barnett London, England

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You will find large prints will become a part of many of your orders if your samples are what they should be. And every large print you sell in addition to the regular order will yield you a much greater profit, in proportion, than the contact prints - the same profit as duplicate orders, or more, for you can get more for one or two large prints with an order than you could for duplicates.

It's a matter of tact, diplomacy, shrewdness, or whatever you may choose to call it, to overcome preconceived ideas, but it is not deceit, for the large prints of to-day in odd sizes, not so large but that they can be mounted on cards or in folders, are not what your customers think of as enlargements. Large prints on Artura Carbon Black retain the contact quality.

If you are not equipped for making large prints from small negatives, you are not selling as many large prints as you could and you are not making the profit you should make on what you do sell.

There are a number of very good reasons why you should make large prints in your own studio. You can be sure the print is made the way you want it and when you want it - your loss is small if for any reason a print is not delivered and you make all the profit for yourself.

Those who do not have an enlarging equipment of their own would probably be surprised to learn of the number of photographers who make this an important part of their business. Any one of a number of enlarging outfits may be installed at a very nominal expense, or an enlarging camera may be made by using an ordinary view camera in connection with the R. O. C. Enlarging Back.

Full instructions for fitting up an enlarging room, with diagrams and illustrations of suitable apparatus, explanations of the most approved methods of enlarging by artificial or daylight, also complete instructions for making and finishing Artura and Bromide enlargements, are contained in the booklet, "Enlarging." This booklet may be had from your dealer or will be sent, free, upon request.

OUR ILLUSTRATIONS

Comparisons are always interesting and sometimes valuable if they suggest new ideas. Our illustrations show the work of two very prominent English photographers and give a very good idea of the high grade of portraiture that is being made by our English cousins.

The main point of difference, as we see it, between the work of these men and the photographers of the United States is the higher key of light in which they work. Not all, but many of our photographers work in a low key, sometimes, we think, much too low. Great masses of shadow have a tendency to make the portrait look heavy unless one is an expert in the control of tone values, and this heaviness is often intensified by the dark color of mounts and frames.

Sell Large Prints StudioLightMagazine1914 244

FROM AN EASTMAN PORTRAIT FILM NEGATIVE

By Fellows Wilson London, England

Sell Large Prints StudioLightMagazine1914 245

The English photographer, as a rule, works in a higher key. His portraits have more light in them than we are accustomed to see. He uses lighter grounds - lighter accessories and a broader light pervades his posing room. It's a matter of taste probably - the taste of the public - for the workman must too often cater to those who buy rather than follow the trend of his own ideas and inclinations.