However varied opinions may be as to causes for the increased cost of living, it is generally conceded that costs have increased. But this is not generally true of photographs or the materials from which they are made.

Probably the fact that the price of materials has not increased, has had something to do with the average price of photographs remaining low in comparison with other luxuries and necessities of life.

There has always been too much of a tendency for the price of materials to determine the price of the photograph, rather than the ability of the man who makes it. Your work is worth more than another man's, if your ability is greater, even though you may both use the same materials. And you should use the best materials for each of the several grades of work you make, regardless of price.

There are other and better ways of avoiding a similarity between high and medium priced work than in quality of material used. In other words; all your work should be high grade, the price being regulated by the size of the picture and the kind of material - not the quality.Artura, for instance, is made in a large variety of surfaces, the single weight being most suitable for a line of small and medium sized prints for solid mounting. The double weight papers with slight lustre or dead matte are more suitable for a line of work in folders or on tipped mounts. The double weight rough papers are best for a line of large size prints in folders or on mounts, while the double weight buff stock in smooth and rough is ideal for a line of prints with masked margins having an embossed line around the print. These look well in all sizes and bring an excellent price.

Even in the smaller towns there is the opportunity to make one exceptionally high grade of portraits, using for the prints E.B. or E. S. Platinum. Nothing will give your work more tone and dignity - will command more respect for your ability as a workman, than the display of prints which are equal to those that come into the homes of your customers from friends in the cities.

The small town photographer too often misjudges his customer. The public has so rapidly become educated in the best of all things, that it is no longer satisfied with what was thought good enough a few years ago.

What we appreciate is largely a matter of education. And while the public is being educated to the best in other things, don't neglect your part towards creating a desire for the best in photography.

Better Prices StudioLightMagazine1914 145

ARTURA IRIS PRINT FROM A SEED NEGATIVE

By A. O. Titus Buffalo, N. Y.

Better Prices StudioLightMagazine1914 146

EASTMAN PORTRAIT FILM A CLEAR STATEMENT OF ITS ADVANTAGES OVER GLASS PLATES

By C. H. Hewitt, F. R. P. S.

"Most professional photographers are very conservative. They hesitate to strike out on new lines, to adapt themselves to changing circumstances or to make stepping stones of the inventions and improvements placed at their disposal by the manufacturer. They are, perhaps, too inclined to theorize, to argue, to discuss when after all they would do far better to try-out' the thing in question. Unexpected advantages are often found, and You never know until you have tried it.' Sometimes, it must be admitted, unexpected disadvantages are also found.

"The suggestion that the portrait photographer should use films instead of plates may seem to some rather fanciful. It is not, however, more than a month since I heard a man, whose name is a household word in photography, say that in a few years the film would have superseded the plate almost entirely.

"First and foremost among the advantages of this new film for portraiture is its practical freedom from halation. Glass plate negatives are hardly ever free from halation. Halation is the inevitable result of coating the sensitive emulsion upon a glass support. The density, the thickness and the characteristic glaze of this support combine to produce, in accordance with well-known optical laws, that refraction and reflection which are the joint causes of halation.

"Consider for a moment what this glass plate halation really means in photographic work. Every photographer has seen bad examples of it - white gloves against a black dress and so on - but few realize that, in such cases the effect is glaring, while in all others it is insidious. Around every more or less light tone in the negative the halo exists, degrading the shadows and destroying the sparkle of the gradation. Every portrait photographer knows the difficulty of getting a satisfactory negative of a sitter in a white dress - the flatness and tendency to muddiness of the drapery tones - and that difficulty is nothing but the difficulty of avoiding halation. The same fate overtakes the delicate modelling of the face, hands and arms. How often, for example, is the sparkling light on the shoulder, suggesting the satin sheen of the skin, lost entirely in an evening dress portrait? All the high-keyed lights and shades and all the finer half-tones of the portrait are degraded by glass-plate halation. The thinner the support the less the halation; and, as the flexible base of this film is only a fraction of the thickness of the glass support, the professional photographer will find in his actual studio practice that, with Eastman Portrait Film, he can render every halftone and every sparkling highlight in white draperies and at the same time show every gradation in his shadows.

"Absence of halation, however, is only one of the outstanding qualities of Eastman Portrait Film. An emulsion must possess in a high degree the quality of latitude if negatives of perfect gradation are to be attained. This latitude the Eastman Portrait Film does possess. Given an exposure anywhere within reason, the high lights will be found to retain their place in the scale and not be flattened in the way so often seen in glass plate work. The range of gradation is so wide and so delicate in its infinite modulations that the negatives come as a surprise to photographers who have grown accustomed to accept as a matter of course the limitations of the glass plate.