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Commercial Photography with the Miniature Camera

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Commercial Photography with the Miniature Camera • * p • * *"***’•". ^ c o : •‘wife* * “ V* o” » **<3* v’Siipv »i*f>o /ioA ■ ■ %*“C\<P ,. °* *•■’*’ *° V °o, W-. A *v *J&£> V J> *- VN * YV *#eW*. ^ ’Jlllr »* «?>* V '.IW* -v>v^ *§Piw* «$*. C 4 4^5 " ^O 4- ✓ ,6* • «**♦ % v ,\tfSStwA o .•jy , • ■■ a* * 'A* © *b & :&msgx?. ■ >0'%. • „v ^ •.;•.•* vjr % V •4? ■ * V ’*o .o* ..”• ^*- °* tf :JBI: ^ «i m* ^ vi®Pv ^ ■% 'WSm?*, ^ „ ** <v <. *«£V *♦ * v ^ »ca% *+ (?* ^ * ♦© j? .» .. v * * 1' A♦ '—»»».* •’feflK"* 7”* o4 «"fegrag.«raffia*. •"ok/ov4 .jaBK»- '^o1 .* ^^ vSpS^ *0,v -life: a®* ot*O* * ** © » O 0 AVaa o%Q i 4. ^ » I*4 a *<£*,^ ***4v\^»* » »* n « ► %^ V.v »f,.*o . ^rv "’ <\>A 0 • • • , >,^r ^ '.To” . V.fl,v o,A ^ * a* 4 <LV / °‘ * *» v A *JP„* * */^xW fc*^5$55W#- ^ A * %'7* “-* AV/ ..., V®*^ Vv# «t T * %O .A*o’ * « • . \*'V^v it \*r :Mmkr %«v :&ma\ *dS^\ “ .fv^ » * v > • ^ , <4<f,"'°’'^‘* A0^ '^S^,*'’''7^7,' ->V ,v ^0 . Tr * ; .#%te. e\ ^ $0 * <L^ O \v %> * »/1 Av <f> *mo9 K<? 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V .0^ ^O, Or e 0 " • « * *ftr • ‘ ' • * ^-v ftV o ■ • * 4* » COmmERCIRL PHOTOGRAPHY WITH IDE MINIATURE CAMERA by C. A. Goldner l\ CAMERA CRAFT PUBLISHING COMPANY 425 Bush Street San Francisco, Calif. Copyright 1939 Camera Craft Publishing Company San Francisco First Edition February 1939 3? h PRINTED IN THE UNITED STATES OF AMERICA BY THE MERCURY PRESS , SAN FRANCISCO ©ClA A 301 076 APR 19 1939 CONTENTS Foreword ........ 8 Chapter I ........ 11 The Miniature Camera Chapter II.16 Where To Look For Business Chapter III.24 How To Get Started Chapter IV . ... .33 Serving The Local Merchant Chapter V ........ 54 Legal, Accident and Insurance Work Chapter VI.62 The Real Estate Market Chapter VII.78 Profitable Sidelines Chapter VIII ........ 81 Natural Color Photography Chapter IX ........ 89 Successful Miniature Camera Technique g* COMMERCIAL PHOTOGRAPHY With The Miniature Camera FOREWORD The material presented in this book has been gathered through years of experience in furnishing commercial photographic service. Every picture I have ever taken and sold has been made with a 35 mm. camera. My experience with the miniature camera dates back to the days before the world became candid camera conscious. I have never owned any camera other than a miniature. Rising and falling fronts, swing hacks, and all the other hoot-nannys are still all Greek to me, for all I know they may be serious ailments suffered by the larger cameras, ailments such as fallen arches in humans, or the sway back of the old mule I saw the other day. In spite of this handicap, this blissful ignorance of the seemingly fundamental elements of photography, I can truthfully say that my stomach has never quite succeeded in touching my backbone. Though I started my business at a time when others were headed for bankruptcy, fate seems to have taken note of my blissful ignorance and has treated me kindly. My business has grown by leaps and hounds, and so, by the way have I. My starting weight was about one hundred sixty pounds, and today I tip the beam at better than a tenth of a ton. In addition to helping me increase the space I take up on the surface of the earth, the miniature camera has also provided me with a few of the luxuries of life, so I feel 8 that I owe an undying debt of gratitude to the genius who made this wonderful instrument possible. In professing my ignorance of the intricate ways and means of this fascinating field of endeavor known as pho¬ tography, I have naturally disqualified myself as one in a position to write a text or a hand-book to guide others into or through the wilds of this field. This book is not intended to he a text-hook for the embryo commercial photographer, little space has been devoted to technical discussions for the simple reason that there are available many books by expert authorities, explaining the whys and wherefores, the do’s and the don’ts of photography. This hook is intended primarily for the advanced ama¬ teur, to whom a discussion of the technical side of the problem would be merely a re-hash of things he has read hundreds of times before. The main purpose of this book is to try to show the serious amateur, interested in turning professional, some means of stuffing his pockets with something more spend¬ able than hankies and knick-knacks. There are, of course, many other ways of making money with a camera than those set forth in this hook. There are some photographers who are making a com¬ fortable living from their free-lance contributions to magazines and newspapers, others eke out their existence by means of portraiture—some have studios—others tramp from door to door. We have among photographers, as among all other professions, those who are merely get¬ ting by from day to day, while we also have a few top- notchers who have won their way to a point where they can demand and get checks hearing three and four figures every time they snap the shutter. No hook, regardless of how well it is written, or how much meat it contains, can guarantee to make a success¬ ful photographer of the reader. The difference between success and failure lies in the hands of the reader, if lie is willing to work hard, sets his heart and mind to reach- 9 ing a goal, nothing short of an act of God can prevent his making a success of photography. During the past few years I have been fortunate in uncovering or originating a few new applications of pho¬ tography which have added greatly to my volume of business, these I have willingly illustrated and explained, and if they are of any assistance to any reader in estab¬ lishing himself in this field the reader is welcome to, and should not hesitate to make use of them. The fields of endeavor outlined in this book may not be romantic, hut what they lack in romance, they make up for in the fact that the compensation will be adequate and at the same time the photographer can rest assured that he is contributing something of value to the business life of the community in which he resides. As in all other walks of life, ideas will he found far more valuable than hack breaking labor. So all in all, the best advice which can he offered is for the photogra¬ pher to keep striving for new ideas and practical uses for his products. Try it and see, it really pays dividents. C. A. Goldner. Toledo, December, 1938. 10 CHAPTER ONE The Miniature Camera The past decade has witnessed great strides in the progress of photography. In no small way the miniature camera has been the inspiration for many of the recent improvements in photographic equipment, materials, and technique. An actual comparison of the cost of materials used in producing an eight by ten glossy print, shows that the miniature camera is capable of producing salable pic¬ tures at an average saving of about eighty per cent in the cost of film, paper and chemicals. Here at last is a camera which not only produces satisfactory commercial photo¬ graphs, but also earns for the photographer a greater profit on each job. When first introduced, the miniature camera was con¬ sidered a novelty, a fad which would soon run its course. However, it was soon discovered that in the hands of a person willing to master a simple technique, and able to forget the conventional limitations of the larger camera, pictures were being produced which were more natural, unposed, and forceful in putting across the story enacted before the lens. Thus was born the era of the candid camera. Most of the early examples of miniature photography, 11 if enlarged beyond five by seven, were indeed pitiful to gaze upon. While the camera itself was mechanically perfect, the films available were far from ideal. Grain almost proved to be the Waterloo of the miniature camera. Yielding to the demands for more suitable films, the film manufacturers set to work to solve the problem of grain. The first signs of success were indicated in the relatively slow hut exceedingly fine-grain films which were brought on the market shortly after the miniature camera began to gain popularity. These fine-grain films made possible the production of larger prints from the tiny negatives. Many pictorial workers swung to the miniature camera, and eleven by fourteen prints were becoming quite common. While the lenses furnished with the first miniature cameras were somewhat faster than the lenses generally used by the majority of amateur and professional photog¬ raphers, it soon became evident that to supply the de¬ mand for more and more candid photos taken under increasingly more difficult conditions, faster lenses were needed.
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