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.
The sales of Portrait Film in the U. S. for the first three months of 1919 were 2 1/2 times as great as for the corresponding period in 1918.
Naturally this is very gratifying to us. But it means something to you as well.
To us it means that the product which has taken twenty years to perfect has become firmly established as a standard photographic material in less than five years.
The fact that it was a perfected material - a product on which all of the experimenting had been done in our factory at our expense, has had much to do with its success.
We felt our way, even after it had been placed on the market. We knew how good it was, but we wanted practical, unbiased demonstrations of its worth from those who used it. We wanted fair criticism and unsolicited praise.
We got both, but there was always more praise than criticism. Even in those first months, there would be some minor criticism as to packing or handling or developing, but the criticism was always softened by praise of Film quality. "We think the Film Kits for loading Film in holders might be improved upon, but Film quality is great. We made 48 exposures the other day under conditions of light that would have meant failure with plates. We didn't lose a Film. We wouldn't think of giving them up."
That was the way they felt about Film five years ago. Since that time Film apparatus has been greatly simplified - Film is much easier and more convenient to use than plates.
And this is what a successful firm of Northwestern photographers write their dealer to-day: "We have used these Portrait Films for our home portrait, as well as all work done outside the studio, for something like two years past, consequently, we know, by practical experience, the excellent quality of Film.
"But not until last fall did we decide to change from dry plates to Portrait Film for all our studio work. After the busiest fall and winter we ever saw, can say we never got through with such a large amount of work so easily or satisfactorily before. The dark-room work is much simplified and the retouching is not half as much as on the ordinary dry plate.
"We consider these films the coming thing - in fact, in our opinion, the time will come when dry plates will be practically as obsolete as wet plates are now.
"Our only regret is that we did not take them up sooner."
Where there is a lot of smoke you may be sure there is also fire. Photographers are finding the fire. They are learning that back of our advertising and the advertising satisfied Film users are voluntarily giving Film there is something more than mere convenience - a fundamental quality that can't be denied, that is always there when needed, that saves the difficult situation and makes the open minded photographer a Film enthusiast.
The more difficult the lighting, the more apparent the advantages of Portrait Film. If you had no more difficult driving than level city streets - no hills to climb - no bad roads - a low-powered car would answer your purpose. But if you tire of this - if you want variety and drive into the country for a change, over strange roads, up and down hill, never knowing what is ahead - then you must have the car with an engine that has reserve power. If there was no special difference in price or upkeep, you would certainly buy the latter.
You have been working for years under certain restrictions - ironing the bumps out of the road for plates because they couldn't make the grades - but with Film you can be progressive and do the things that are different.
Another prominent photographer of the Northwest says: "When these Films were first brought out I felt sure they were the coming thing, but like so many photographers, I hesitated about putting them in exclusively for my work, and the holidays, just past, are the first that I have used the film exclusively. I am free to say that I have found them a great improvement over the old plate."
"I think, without any question, when photographers get to using them they can not see anything else."
What others say of film means much to you, for it is the experience of those who have demonstrated their progressive-ness and are willing to pass their experience along.
From An Artura Iris Print By Mrs. Emma Hilton New York, N. Y.
In nearly every case Film has first been adopted by the photographer for the most difficult work he is called upon to do - home portraiture and other forms of work outside the studio where he is unable to create conditions favorable to plates. Film invariably proves its superiority under these difficult conditions.
It is then the photographer sees that Film will enable him to give variety and freshness to his studio work. He tries it - does the thing that is spectacular - breaks all professional precedents - shoots across the light, and even into it, and gets results.
Film has many physical advantages - lightness, flexibility, convenience in handling, but in nearly every case the photographer has become a Film enthusiast because of Film quality - the wonderful Film results obtained under the most difficult conditions.