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.
When you want to get at the facts of a thing - when you want your information to come straight from the original source, you ask the man who knows by experience. Naturally enough, if the subject in which you are interested is negative-making material and the question concerns the relative merits of Plates or Film, you would expect to get your information from the man who makes the negatives - the operator or photographer. Ask him why he uses Film and he will be glad to tell you, but you will get only a part of the story. To get it all you will have to interview the printer and retoucher and receptionist. In fact, you will find everyone in the place will have something to add to the good word the photographer speaks of Film.
We have had a lot to say about the qualities of Film and our demonstrators have been proving our statements as fast as they can make demonstrations, but Film's reputation for quality is traveling even faster. R. Waldo Tyler, a New England commercial photographer, writes us: "Your representative called on me yesterday and I was glad to see him but he was a little late to convince me of the superiority of Eastman Portrait Film, for I have known it for some time."
But why should the printer be interested in Film? Possibly you have been a printer yourself, or, if not, you have supervised your printing carefully enough to know that about 25% of the negatives made require about 50% of the printer's time to secure the best results. Now let's see what the printer has to say. One of the best known Minnesota photographers, whose name we won't mention because we haven't asked his permission, has a good printer. We quote what the printer says: "If Mr. -----ever goes back to plates he certainly will have to get a new printer. My work is much easier because I have so much better negatives to print. Very little masking, blocking-out and printing-in. The Portrait Film is in our Studio to stay, if I have any say in the matter."
Naturally, this lessening of the printer's troubles not only means prints of better quality but also greater efficiency and less waste. Yes, Film means a lot to the printer and he likes it when he has tried it out. It is up to the printer to produce the print the customer pays for. He is most vitally interested in the quality of the negative he is to print from. He knows better than anyone else what the negative will produce. Why shouldn't his opinion be worth while? Ask him and he will tell you it is the quality and uniformity of Film negatives that appeal to him.
Since we have started on these interviews we might as well hear what the retouchers have to say. Some have remarked on the great reduction of work on negatives of rough, freckled or red-faced subjects. Others see special advantages in the speed with which Film can be retouched, claiming as much as 100% greater speed in retouching Film negatives, due to the resilient surface and the better rendering of flesh tones.
Two retouchers for the Trade, of Oklahoma City were asked by one of our demonstrators to give their opinion of Portrait Films. A. Heringer says: "I like them much better than plates. In the first place, I can ship and receive them without being afraid of breaking or finding them broken. I find no difficulty in retouching them, in fact, they are easier to retouch."
And Geo. W. Smith, after stating that he uses a harder pencil for Films because they take the lead so easily, makes a statement that has weight and is very convincing, coming from a man who retouches for the trade, who knows negative quality and has an exceptionally good opportunity to judge the work of a number of customers. He says: "One fact impresses me, and that is that I find the average photographer who has changed to films has considerably improved the quality and uniformity of his work. I am speaking of old customers who formerly sent me plates to retouch. Their Film negatives show a marked improvement over their former negatives."
If you were sure you could improve the quality and uniformity of your work by using Films you would use them, wouldn't you? There is only one way we know of making sure - of convincing yourself that our claims are well founded. That is to use Film - to see what results you can obtain in your work.
Portrait Film Negative, Artura Print By M. B. Nicholson Kansas City, Mo.
You are not interested in what Film does for others, but you are interested in what Film will do for you and should profit by the experience of others. The War has given photography a wonderful impetus, for photography played one of the biggest parts in the War. Everyone is now expecting big things of photography in Peace.
Film is the biggest thing in photography to-day - it is the greatest advancement - it has the greatest possibilities - it enables you to put your work on a higher and broader plane. It gives you the opportunity to do better work, to do more difficult work, because you can do things you have never before dared to attempt. Film has broadened photography and Film will broaden you and your work.
The public demands the new things that Films have made possible because Film users have given them something new. They have put sunshine in their studio pictures as well as their home pictures, and the results are pleasing. The things that couldn't be done with dry plates have been made possible with Film - are being done every day with Film, and you can do them. Let the Film Demonstrator have a chance and he will prove our claims and the claims of photographers, printers and retouchers.