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.
There are photographers all over the country who make excellent work, and there are a great many of them who make exceptionally fine work. We expect to find the latter in the large cities where there are exceptional opportunities, but quite often we find them in the small towns. And, when we do, the argument that the small town photographer doesn't have the opportunity to cash in on his ability doesn't hold good.
The small town commercial photographer, for example, has the opportunity to become proficient in a number of lines of work. He can choose his field, study new methods and perfect his knowledge in any line of work, because he has the time and is not handicapped with a big overhead expense and the great volume of work that must come in and go out in a continuous flow to offset this overhead and leave a living profit.
Some men are most happy when they can sit in a private office and direct the forces that keep a big establishment running smoothly in its daily grind of business. These men are essential and their reputations are well earned. But the man in the small town in a smaller business, if he is so constituted, can get an equal or greater enjoyment out of life and his work by getting his own fingers in the developer.
Chas. A. Townsend of Belfast, Maine, has an establishment that at once impresses you as being in perfect keeping with the excellent quality of the work he produces. It is a home studio, for there is no need of a more expensive location in the business section of Belfast.
Mr. Townsend is not a portrait photographer, and Belfast business is but a small part of his support. His work is as well known in Camden or Rockland or Bar Harbor, and his commissions often come from wealthy members of the summer shore colonies whose homes and grounds offer wonderful opportunities to the photographer who knows how to make the most of them. And that Mr. Townsend does is readily seen by the examples of his work which we are permitted to reproduce.
Mr. Townsend finds that with Commercial Ortho and Portrait Film he is equipped with the material that meets every need of the commercial photographer for work outside the studio.
For landscapes with delicate cloud effects, and foliage that should be rendered in tone values simulating those of nature, he finds Commercial Ortho Film not only gives him the color values he desires, but a full scale of gradation.
For interiors where excessive contrasts are encountered, and the effect of harsh lights must be modified to allow of a correct rendering of the shadows, Portrait Film gives him results that in every way excel those he had formerly obtained on plates.
His film material is always non-halation and has the added value of lightness and convenience in handling, which appeals to the commercial photographer whose work is for the most part away from the studio. The Town-send Studio in Belfast is a model workshop, and its proprietor is a workman who puts quality ahead of all else.
We regret that the standard weight and quality of Studio Light paper, which was ordered when restrictions on paper making were removed by the War Industries Board, is not available for reproducing the work of Mr. Townsend.
Eastman Portrait Film Negative, Artura Print By Cha8. A. Townsend Belfast, Maine.
Eastman Commercial Ortho Film Negative, Artura Print By Chas. A. Townsend Belfast, Maine.