This section is from the "Studio Light And The Aristo Eagle - A Magazine Of Information For The Profession 1909" book, by Aristo Motto. Also see Amazon: Studio Light And The Aristo Eagle - A Magazine Of Information For The Profession 1909.
The better grades of 4x6 paper are not costing you any more today than the regular cabinet. Of course, if you use regular cabinet pictures, you can trim your 4x6 paper, but you know a 4x6 print looks mighty nice - looks much larger than a cabinet, and larger than it really is.
Taprell, Loomis & Company have placed a new line of mounts on the market specially for 4x6 and fractions of 4x6 prints. You would be surprised how large they look compared with a cabinet, and yet they cost you no more than your regular cabinet print. It will give a wonderful opportunity to the photographer to get a better price all along the line. They are made in white on a good grade of stock, matched edges and with a beautiful engraved shaded design under the name of Fontenoy, and in brown with red-brown border under the name of Esmont.
Don't forget that this is one of the schemes you can work, and even if you sell it at the same price as you are asking to-day for your cabinets, you will be pleasing your customers more for the simple reason that you are giving them a larger picture for the same money: and as a matter of fact, you can easily put it in a grade by itself, and it is a safe bet to say that one-third of the people would gladly pay an increase of price when they see the picture.
Don't fail to insist on the representative showing you samples of the Esmont and Fontenoy in in both colors and sizes.
The Eastman salesmen and demonstrators have all sorts of experiences in demonstrating and selling new products.
Sometimes they find the customer fully informed and eager to place an order, and again find him highly sceptical and hard to convince.
We append herewith a letter from a highly disappointed plate tank purchaser:
Ada, Okla., Dec. 8, 1908. Eastman Kodak Co., Dear Sirs: Some time ago one of your tank demonstrators called upon me and showed me how to use the Plate Tank, and its advantages in saving time, etc. Well, I thought I was getting about as good results as I cared for, but he informed me that all first-class photographers were using the tanks, so then I decided if I wanted to be first class I must get one of the tanks. But I just thought to myself, I won't use the darn thing, so I ordered one, and had to re-order twice before my order was filled (so I knew some one was wanting tanks).
From A Collodio-Carbon Print By Kandeler Bros. St. Louis, Mo.
At last the thing came. I looked it over and wondered if it was worth the money.
Then I decided to use it, and as I am no person to experiment with little things, I just chucked it full of plates.
But instead of sitting down and reading the morning paper while the tank did the work, like the tank man told me, I was walking the floor counting up how many $ $ I was losing with that blamed tank.
I finally figured out that I had seventy-two dollars worth of work in the tank.
Well, it just seemed like that thirty minutes would never end; really it was worse than waiting for a late train to send your mother-in-law off on, but finally the time came for me to see what this wonderful machine had done.
1 went in the dark room and tumbled the lid off, as I thought to myself, " I expect I had better have thrown this thing out in the alley before I used it, as I will have to do it anyway."
I slipped one of the plates out and held it up to the light, and to my overwhelming delight; a good negative, so I just slipped the dozen into the fixing bath, and went back in fifteen minutes, and what do you think I saw? Oh, Pshaw! You know; twelve ideal negatives, yes, sir, as good as I ever saw, and of all the good things you have ever put out, not one excels the plate tank.
I shall never be without one in my studio. N. B. Stall.