This section is from the "Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1917" book, by Aristo Motto. Also see Amazon: Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1917.
The Barnum Studio of Cincinnati, so far as its owner, Mr. F. E. Spicker, is concerned, is purely an investment. Mr.Spick-er is a manufacturer to whom photography is a side line. But he apparently knew something about photographers when he chose the manager for his studio, for in Mr. C. A. Gillam he has a manager and operator who is both a live wire and a good photographer.
Mr. Gillam has been manager of the Barnum Studio for the entire time it has been in the hands of its present owner, moved the studio from upstairs to its present excellent ground floor location and has developed a profitable home portrait business.
Portrait Film has been used exclusively in this studio for the last two years and has had much to do with the development of the home portrait work. Mr. Gillam is a film enthusiast and the excellent work he is producing on film, both in home and studio work, is proof of his ability as a workman as well as proof of the quality of the material he uses.
Artificial light is used in the studio, seven 1000 Watt Nitrogen lamps in a cabinet similar to that used at one time in the Eastman School demonstrations, furnishing the illumination. The films are developed in open tanks in the Portrait Film Holders, remaining in same until they are washed and dried.
The convenience of films and the quality of the results they produce are so satisfactory that Mr. Gillam says he can not make his recommendation of films too strong to his fellow photographers.
The advertising which brings the best results to this studio is special letters with a follow-up plan. Aside from this the display windows are considered of greatest importance, and new displays are made weekly.
Our illustrations are from Ar-tura prints from Eastman Portrait Film negatives, and we regret that printers' ink is unable to reproduce this combination of quality in a manner which does justice to the original prints.
Don't forget to sell enlargements from the soldier boys' negatives. If the negative is small, there is all the better chance for an enlargement on Artura Carbon Black for the home folks.
First Portrait Film - then Process Film, and now Commercial Film, the link between the two that gives the film worker a film for practically any class of work he may wish to do.
Eastman Portrait Film has been used extensively for commercial work, and it has proved to be very satisfactory for a great part of the commercial photographer's work.
There has been a demand, however, for a film with a slower emulsion and greater contrast than Portrait Film, but not as slow and not as contrasty as Process Film. The Commercial Film emulsion is similar to that of a Seed 23 Plate, so that it will meet the requirements of the commercial worker.
It has exceptional latitude, allowing for considerable error in exposure, also a very fine grain, which is a great advantage in making enlargements. Negatives made on Commercial Film are practically free from halation, an advantage which every film user fully appreciates and which has created the demand for a greater variety of film emulsions.
For the portrait photographer Commercial Film will be most useful in making copies or transparencies from which duplicate negatives are to be made. When exceptional contrast is desired, as in photographing maps, drawings, blue prints, etc., Process Film will be found best suited to the work.
Eastman Commercial Film is furnished in regular sizes from 4¼ x 6½ to 11 x 14 at the same prices as Portrait Film. Your dealer can supply you.