This section is from the "Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1919" book, by Aristo Motto. Also see Amazon: Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1919.
Photography has made a most wonderful advance in the last five years, and in making this statement we do not have in mind the wonderful accomplishments in war photography.
Just as there were limitations in wet plate photography which the dry plate overcame, so there are limitations in dry plate photography which film overcomes.
Printing processes have improved wonderfully, but a print can never do more than reproduce what the negative has recorded. And so long as the negative material has limitations, just so long will the photographer be bound to work within these limitations.
It is in the handling of difficult lightings that Portrait Film immediately demonstrates its superiority over glass plates, and it is in the making of difficult lightings that the photographer is enabled to break away from the commonplace.
If we were explaining the above point to the public - those unfamiliar with photography - it might be difficult to make our point clear, for, to the layman, the most commonplace lightings are those natural lights of the home in which he sees his family and friends, while to him, the difficult lightings would be the unnatural ones in which his family and friends are usually pictured under the photographer's skylight.
It is easily understood why home portraiture met with the instant approval of the picture-buying public and why Portrait Film met with the instant approval of the home portraitist.
With plates the photographer was compelled to modify the conditions of light he encountered in the home - with film he could cast aside all semblance of studio effects and photograph his subjects as he found them, retaining the home atmosphere in his pictures.
The results were often startling to the photographer. His success in one difficult lighting gave him the incentive to create new effects. Purely conventional lightings became the exception rather than the rule, with the result that customers were pleased with the great variety and naturalness of home portraits.
The newness and freshness of home portrait work on film set a new standard for the work of the studio photographer. And Portrait Film has enabled him to meet it - to give full play to his originality - to give a new note of interest to his portraits and added prestige to himself as a photographer.
When the photographer has reached the point where he has exhausted the possibilities of his working material, there is no incentive for him to change to another material unless it offers newer and broader possibilities. This is exactly what Portrait Film does.
Watch the work of the man who uses film - ask him why he uses film, and what film enables him to do that he cannot do with plates. And when you have found his real reason for changing from plates to films, when he has told you of the ease with which he can reproduce the most difficult lightings, the full range of gradations from sunlight to shadow - of how he can even photograph into the light without fear of halation, then ask him something of the convenience of film.
There is a very real and tangible reason for the continued doubling and trebling of film sales, for the continually growing list of prominent photographers who are film users and for the way in which they stick to film, once they have used it.
It isn't the convenience or the economy of film that has made its success, though these are contributing factors. It is film quality - the quality that has broadened the entire field of photography - the quality that will enable you to be a better and more versatile workman.
Pages 25, 26 and 27 show the detailed price list of Portrait Film and the accessories for using Film.
Pages 30 and 31 introduce P. M. C. Bromide Papers to Canadian Photographers.
Eastman Portrait Film, Artura Print. From a Demonstrator's Negative.