THERE is only one way to be a specialist in any particular branch of photographic work. Be sure you have the qualifications and then use them.

Advertising doesn't make you a specialist. It only tells of your claims of special ability along some one line and if you don't have that special ability you can't very well capitalize it.

The subject of this sketch, Mr. A. T. Bridgman, is one of our Canadian brothers who is a real specialist. In the early part of his career he dropped into Edmonton, the capital of Alberta, just ahead of a real-estate boom in that city.

And at about the same time he decided that his fondness for little children would make it worth while for him to specialize in child portraiture.

So he advertised and created a photographic boom on his own his work was appreciated and business came to him naturally because he pleased his customers. He had gathered an organization about him, each member of which was also a lover of children. So it was possible for him to develop a larger field which he did by opening a second studio in Vancouver.

The Edmonton studio was finally sold to the manager and Mr. Bridgman now contents himself with the business which he can personally supervise, and this is growing larger every year.

When asked what advice he would give to one who wished to specialize in child portraiture, Mr. Bridgman suggested that the first requirement, aside from one's own love for children and a study of the psychology of the child, is to choose helpers who are also fond of children. Every employee should be interested in child portraiture.

It is to such a happy choice of assistants that Mr. Bridgman attributes the fact that children cry when they leave his studio, not when they come into it. And when you can lay claim to this distinction you can feel quite sure that you are a specialist, at least in the handling of children.

Mr. Bridgman lays particular emphasis on expression and believes that the most successful pictures are made by a superior knowledge of children rather than a superior knowledge of photography. Without this familiarity with the little tots one cannot get the spontaneous action and the typical smile which Mother loves so well and which she is willing to pay for in photographs.

He uses a great variety of small furniture, most of which is made to his own design. He finds this a great attraction to the little sitters who appreciate the fact that here everything is built to a scale that fits the child. Posing is much more simple than when large furniture is used and this fact alone is responsible for many a happy smile that would otherwise be difficult to secure.

You must get the child's point of view in order to understand children. In this matter of furniture alone, suppose you were required to sit upon chairs that you had to climb into, and eat from a table on a level with your head. That's what a small child must do and that's why they are happy when you give them surroundings that fit them.

The actual obtaining of a good child expression is a matter of study, preferably away from the studio, Mr. Bridgman advises. One must practice the different stunts that please children and this can be done anywhere among children.

It is best not to practice in the studio because it takes up time and often annoys the child. Of course the stunts that you have found by practice to be most amusing to the majority of children may fall flat with others. But if your repertoire is varied some one good stunt will get the expression you want.

Mr. Bridgman has a very broad gauge service policy which requires that his customers be pleased regardless of trouble or expense. Some photographers may think this policy impractical but he finds it works to his advantage.

He selects the negatives that he thinks will produce the best results and finishes them complete, even to the mounting or enclosure of prints in folders. These he shows as proofs, in addition to the regular proofs from other good negatives.

And if proofs are not satisfactory he makes re-sittings as cheerfully as if only ordinary proofs had been shown. "Something of a gamble," you may say. But Mr. Bridgman has been successful and that is proof of the pudding.

Portrait Films, Artura Paper and Eastman Tested Chemicals form the list of finishing room materials that Mr. Bridgman has found most satisfactory after many years of experimenting.

A good line for a commercial photographer's advertising: "It's no trouble at all to avail yourself of the facilities of the Blank Photographic Co. We are as close to you as your telephone."

Portrait Film Negative, Artura Print By A. T. Bridgman Vancouver, B. C.

Portrait Film Negative, Artura Print By A. T. Bridgman Vancouver, B. C.

Portrait Film Negative, Artura Print By A. T. Bridgman Vancouver, B. C.

Portrait Film Negative, Artura Print By A. T. Bridgman Vancouver, B. C.