"Many a man deaf to all argument will believe his own eyes!

"And so, Mr. Advertiser, when he wants to sell Mr. Buyer, uses pictures to tell his story. He is waking up to the absolute necessity of illustrations in his advertising literature. 'For,' says one advertiser, 'you can skip the text but you can't miss the picture unless you shut your eyes.'

"Perhaps the most used and most effective mode of illustration is the photograph. Take the big advertising campaign now being conducted by one of the leading makes of sectional book-cases and in which photographic illustrations are used exclusively. It is one of the biggest campaigns of the year, and the advertising manager responsible for its success, upon being asked what made his illustrations so natural, replied:

"'We photograph living, walking, talking people!'

"And there's your answer, the realism of photographic illustration. Its very evident sincerity and the conviction it carries are what make it so productive of results to the advertiser.

"To any man engaged in the producing of advertising matter the photograph is an indispensable aid. He can scarcely turn his efforts in a single direction without calling in the photographer to help 'put across' his proposition. There is the manufacturer, for instance; through the medium of the photograph he can show every step of the production in his factory or plant from the time. the raw material is received until the finished article is turned out in the shape of a biscuit, a basket, a machine or whatever he happens to make.

"The maker of 'Shortene' wants to tell you of the wonderful merits of his shortening, the delicious pies it bakes, the cakes and cookies it makes. In comes the photographer with his pretty girl models, his backgrounds and other paraphernalia. The stage is set, as it were, clever poses are arranged and snapped. A little later proofs are submitted, O. K.'d and in a short time you will see this pretty maid smiling at you from the pages of your magazine the wonders of 'Shortene.'

"A trip through the automobile section of your magazine and you would think the photograph the only method of advertising illustration. Here's a photograph that shows your favorite car speeding along the broad highways of the suburbs. Another depicts the pleasures of touring the Continent in a 'Six.' Still another goes into details and shows you the cross-section of anew type of engine, each and every advertisement with indisputable arguments, backed with the actual photographs.

"And so it is in every line of commercial endeavor, the photograph occupies a place of prominence in the advertising and selling end of the business.

"Photographic proof is indisputable proof, and when you inject that element of positive truthfulness into your illustration by means of the photograph, you come pretty near solving your selling problem." - Arthur J. Brunner in Practical Advertising .

The Photograph In Advertising StudioLightMagazine1914 141

ARTURA IRIS PRINT FROM A SEED NEGATIVE

By A. O. Titus Buffalo, N. Y.

The Photograph In Advertising StudioLightMagazine1914 142

Our Illustrations

Once in a great while you come across the work of a man that forces itself upon your attention - that strikes right out from the shoulder and makes you admire it.

This was our first impression of the series of pictures we reproduce in this number of Studio Light. The strong individuality and forceful character of his portraits of both men and women, makes the work of Mr. Titus most interesting.

And while his primary idea is to secure a truthful likeness of his subject, the personality of the man himself is unobtrusively present in each portrait he creates. Individuality of this sort has a value that can only be determined by the man who possesses it, and he alone can fix and control his price for it.

Mr. Titus has only been in business for himself about three years, but previous to this time gained a great deal of experience in working for several well known photographers. He has been a printer, retoucher and operator, and his varied experience has been a great benefit to him in his own work.

His lightings are rather unusual but they are pleasing, and while there are strong lights where we are least accustomed to see them, there is nothing

lost in modeling, the flesh tones are beautifully preserved, and there is an exceptionally long scale of gradation from highest light to deepest shadow. The result is a roundness and atmospheric effect that gives the picture life - that makes the subject stand out from the background and all but speak to you.

Mr. Titus is a stickler for quality and knows how to get it in both negatives and prints. He says: "I am using Seed Plates exclusively and consider E. B. and E. S. Platinum the ideal medium of plate expression." And it would be a difficult matter to improve upon the quality of either his negatives or prints.

Our illustrations are reproduced from Artura prints, because we find Artura more suitable for purposes of reproduction.Where there is an advantage in using a non-halation plate - there is a greater advantage in using

Eastman Portrait Films

Non-halation in a greater degree than any plate.

Our Illustrations StudioLightMagazine1914 143

Artura Iris Print From A Seed Negative

By A. O. Titus Buffalo, N. Y.

Our Illustrations StudioLightMagazine1914 144