Watch the work of the man who uses Artura, The successful photographer must be a happy combination of the practical common sense business man and the artist, capable of idealizing and giving an artistic interpretation to plain and uninteresting facts.

The hard-headed practical worker equips his studio with everything he thinks necessary to give the best working results and has no time or patience to look for ulterior causes when difficulties occur.

The artist, absorbed in the realization of an ideal for which he is working and meeting unexpected technical troubles, often goes to pieces and his very imagination upsets him. In either case, a hurry call is sent for a demonstrator. In these days of ready prepared plates and papers perfection in sensitized materials is demanded. This very properly gets to be a habit of mind and when things go wrong, as they sometimes will even in the best regulated studios, it comes as a sort of shock and the imagination is likely to make it seem much worse than it really is. This is not fair to either the user or maker of the materials.

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By Theo. Rogu St. Louis, Mo.

It would be interesting if it were possible to take the present day photographer back to the time when every gallery prepared its own sensitized material, when every photographer was his own chemist and demonstrator and when every studio was its own research laboratory - at least so far as getting any help in time of trouble or the benefit of any one's cumulative experience was concerned.

Then, troubles were real and it required a bright and fertile mind and a lively imagination to turn defeat into immediate victory. No one would willingly go back to the old conditions, but few stop to consider the immense advantages now enjoyed. Even now, however, patience and a willingness to recognize the possibility for obscure and unsuspected causes of serious difficulties will help clear up many a troublesome situation.

Human perfection has not yet been arrived at and the human factor is still a contributing cause even in operations which have been largely reduced to a question of mechanical nicety. Occasionally manufacturing defects will occur but much more frequently these troubles are likely to be local, particularly in studios where the most rigid test conditions are not enforced.

It often happens that some photographer registers a complaint which his imagination has caused him to express in terms that might at least be called emphatic. But if he had remembered that in a back number of

Studio Light, perhaps only recently issued, this particular kind of trouble had been written up, illustrated with half-tone engravings and the remedies carefully explained, the very real trouble which his imagination has made far worse than its actuality could easily have been overcome.

We grant that unusual troubles can and do occur, and we are always sincerely anxious to give our customers the benefit of our experience. It is no longer necessary for the busy photographer to spend valuable time digging out obscure causes when immediate information may be obtained by writing the factory or asking the demonstrator.

The point is that when you do have trouble, which you surely will some time with any kind of plates or papers, don't let your imagination get the best (or the worst) of you, thereby magnifying a small though very real trouble. Take the practical common sense course - ask for help if you need it, and we can assure you that it will be given most cheerfully and conscientiously. If we can by advising a customer help him and at the same time win his friendship, we will consider ourselves well repaid. Many large imaginary difficulties can be overcome and the little real ones more easily made to disappear, if the subject is approached and handled in a spirit of mutual confidence and good will.

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By Theo. Ragu St. Louis, Mo.

This promotes friendship which is an ideal gain as well as a practical asset. In other words, by trying to imagine the best, real good will be promoted.