This section is from the "Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1910" book, by Aristo Motto. Also see Amazon: Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1910.
Every photographer operating a studio has an opportunity to make extra profits with enlargements.
Many regular sittings provide excellent negatives for enlarging and many sitters can be convinced that they want an enlarged portrait if brought to their attention at the proper time and in the proper manner. Probably the best time to select for talking enlargements is at the time the complete order for contact prints is delivered. At such a time they are pleased with your ability as a photographer, or at least they should be if the prints are properly finished and delivered when promised.It may be presumed that all photographers know their patrons and must necessarily adopt methods for the sale of enlargements that will suit the conditions. There is a demand for enlarged portraits and there is a proper time to call them to the attention of patrons. Just who among the patrons is the most likely to be interested and just when to suggest the purchase of an enlarged portrait to those patrons is a thing to be decided by the photographer.Now, granting that there is a sale for enlarged prints at a profit the first thing - in fact the all-important thing - to consider is the quality and reliability of the paper used in making them, and here we call attention to Artura Carbon Black.
This brand of Artura is made in a variety of surfaces and for enlargements the Matte and Rough Matte have proved to be the most popular. Carbon Black Matte is a regular weight paper having a very slight grain. Carbon Black Rough Matte is a double weight paper having a light grain - just rough enough to take up the enlarged defects of retouching, etc., and produce a smooth print. Both Matte and Rough Matte have a slight sheen or luster and retain, when dry, the brilliancy and transparency of the wet print.
Artura Carbon Black is not a Bromide paper, but a Chloride, and possesses great latitude of exposure combined with a rich printing quality. Enlarged prints on Carbon Black rival, in quality, contact prints from the same negative.
Carbon Black, although a very rapid paper, requires a somewhat longer exposure than Bromide papers. The additional exposure is well warranted by the results secured.
Getting down to "hard pan" what you and your customers want is enlargements of quality. You want them because you know they will deliver and your customers want them because the quality appeals and creates a desire for possession. So far your interests and the customers' lie in the same direction, but right here the ways part. Your customer is not at all interested in the method you use, while you are vitally interested. The difficulties which you may encounter, or the ease with which you produce the finished print, is a proposition which is strictly up to you and the latitude, the firmness, the reliability, the clearness and above all the beautiful rich printing quality of Artura Carbon Black recommends it strongly for your consideration.
Just a word in regard to exposure and development. The exposure should be full so that the print will develop freely to the proper depth. An enlargement that is starved in exposure and forced in development will be flat and weak. It may be said of Carbon Black that an exposure anywhere near right will produce a good print. The latitude is remarkable.
A thorough try out of Carbon Black for enlarging purposes will convince you of its all around reliability and superiority.
Order a trial dozen of Matte or Rough Matte to-day and let it prove to you the merit of Carbon Black.
The Boss went to the Photographers' clam bake yesterday an' he said he had a fine time an' then he sent me out for two bottles of bromo seltzer.
The Boss says that when he first came to this town the other photographers dident know nothin' about each other, an' woulden't even swim in the same ocean with a competitor - whatever that is.
The Boss says getting a line on what the other fellow is doin' when you don't know him is like looking at a ripe tomato through a piece of red glass - you can look a lot but you don't see mutch.
The Boss says getting together is the only thing - if you're the biggest man in town you don't care what the other fellows fin' out, an' if some other fellow's the biggest you jus' got to know what he's doing, and that if you all know each other, you'll all do better work, an' that's what keeps the town folks to home when they want pitchers.
When the Boss first came to town he went out to get acquainted with the other fellow, and he goes into his studio and introduces himself, an' the other fellow he says, gruff like, "wuz you looking for something ? " and the boss, he says, "Yep, I'm looking for a right hand?" - "Looking for a right hand," says the other fellow, "what for?" an' the Boss says, "Oh, jus' to shake it," and then the other fellow gets wise, an' they shake an' fin' they both belong to the same lodge an' they've been frens ever since. Firs' thing you know all the photographers in town wuss acquainted with each other, an' dropped in to visit just as Nichiren.
Las' winter just before Christmas the water pipes bust in one of the studios an' all the other studios tole the man to come rite over an' use their dark rooms, an' they did n't lose no time a tall. The Boss says if one studio fails to deliver on time, every disappointed customer will tell ten people an' then every studio in town will suffer.
The Boss says a whole lot of good birds can roost on one limb if they get together.