In looking over the work of a certain successful English photographer and reading of his methods and his advice to his fellow workmen, we find a few things which might be of interest to those in our own United States, who, like this Englishman, are located in towns of fair size but made up of fairly prosperous families.

His advice to photographers is that they should, first of all, cultivate happiness. A bright and breezy nature is a valuable asset to any professional. It is of little use trying to induce sitters to be cheerful if your own manner suggests gloom and despair and your face is as long as a rainy Sunday.

You must be happy. Happiness is contagious. It will help you with your sitters, it will brighten your work, and besides this, it is attractive. It has a drawing power that will bring you new business.

The particular man we are talking about cultivates cheerfulness. He is contented with his work and has no regrets about not having taken up some other calling. He believes photography is just what you make it and that you must put your best into it to get the most out of it.

Good work and good prices" is his motto, and it is a very sound business policy. Be sure your customer is thoroughly satisfied with what you give him and he will rarely grumble at the price."

Like many other English photographers, this man does not believe in photographing chairs, tables, bookcases and balustrades. The public wants portraits with as little as possible to detract from the figure." We believe this is true, except in the case of home portraiture, where simple home surroundings often lend themselves to, rather than detract from the picture. But in studio work a prominent accessory is often objectionable. Use the same chair in the portraits of an army of sitters and your work has an individuality, but it is an individuality of the wrong sort. Get away from accessories altogether, make clean, attractive lightings, and your portraits will be more pleasing to those you are working to please.

This particular man's specialty is portraits of children, and it is quite remarkable how attractive and yet how very simple his child portraits are. Above all they are natural, and accessories are never enough in evidence to detract from the interest in the subject.

We notice in his portraits that the child is usually interested in a toy of some sort, and the expression is one of genuine happiness. This is better understood when we learn that this photographer spends about $150.00 each year for toys. When a child enters the studio he is allowed to pick what he likes from a collection that would do credit to many a toy-shop. This not only puts the youngster in a good humor but pleases the parents as well. The child is allowed to keep the toy and so it is little wonder that a second visit to the studio is looked forward to with delight.

Suggestions Worth Following StudioLightMagazine1914 103


By Geo. M. Edmondson

Cleveland, Ohio

He says: "Get the kiddies, bless them, and when you've

got the kiddies, you soon get the mothers. Then, of course, the dear old dads don't want to be out of it and soon they come dodging in."

There's a lot of philosophy in that, and it seems the amount of money spent for toys is about as good an advertising investment as one could make.

Aside from this we are told this man spends ten dollars a week for advertising locally and makes exceptionally good use of two show windows. One of his recent displays consisted of about twenty pictures neatly labeled: "The first born," "The first frock," "The first toy," "The first party," "The first step," "The first school day," and so on. And in addition to all these things, this photographer's assistants are well paid and share his enthusiasm and interest in the business. It isn't luck that makes such men successful - it's enterprise.

Suggestions Worth Following StudioLightMagazine1914 104


By Geo. M. Edmondson Cleveland, Ohio

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By Geo. M. Edmondson Cleveland, Ohio

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