The illustration on page 19 is an excellent example of what may be accomplished with Eastman Portrait Film in one branch of commercial work. This picture of Horticultural Hall, Philadelphia, was made with bright sun on the glass roof, the angle of light being towards the lens. A picture made under such conditions without halation is an excellent argument for the use of Portrait Films for the most difficult work.

Film Results StudioLightMagazine1914 268

EASTMAN VIGNETTER

The vignetter illustrated above may be attached to any style of Studio Portrait, Home Portrait or View Camera, and is exceptionally practical and convenient.Most any adjustment may be made by turning the clamp which is attached to the camera bed. The two rods supporting the vignetter are adjusted by a thumb screw and a friction spring at the side of the clamp. The clamp is fitted with two leather pads to prevent injury to the camera. The weight of the vignetter complete is eight and one-half ounces and the length, sixteen inches when taken apart for packing.

The price is $1.50.

For any subject requiring a non-halation plate - Eastman Portrait Film will more than answer the purpose, will give a better result.

THE MODERN METHOD OF PHOTOGRAPHING FURNITURE.

Editor's Note: - This topic is so broad that it will require several numbers of Studio Light to cover the subject. The first article will give a general idea of the action of light and the use and necessity for filters and color sensitive plates for photographing colored objects. This subject should be given careful study by those who have occasion to do this kind of work.

Colors - White light is composed of all colors. Objects appear colored because they absorb all the colors from white light except their own which they reflect. A red object absorbs blue and green light; a green object absorbs blue and red light; a deep blue object absorbs green and red light; a yellow object absorbs blue light; a magenta or purple object absorbs green light, and a light blue or blue-green object absorbs red light.

If a colored object is looked at or photographed through a filter of its own color on a plate sensitive to that color, it will appear light and any markings of other color will appear dark. For this reason red polished mahogany will only show its grain when photographed on a Panchromatic plate through a red filter, which makes the red wood appear light with dark grain. The same applies to golden oak when photographed with a yellow filter. The wood is yellow and photographs

Film Results StudioLightMagazine1914 269

FROM AN ARTURA IRIS PRINT

By E. E. Dexter McKeesport, Pa.

Film Results StudioLightMagazine1914 270Film Results StudioLightMagazine1914 271

FROM AN ARTURA IRIS PRINT

By E. E. Dexter McKeesport, Pa.

Film Results StudioLightMagazine1914 272Film Results StudioLightMagazine1914 273Film Results StudioLightMagazine1914 274

Turkey Carpet with Blue Design on Red Ground

Ordinary Plate

Wratten Panchromatic Red "A" Filter

light, but the grain is of a darker color and photographs dark.

On the other hand, to make any colored object appear dark, use a filter of a color which it absorbs. The use for this would be in photographing typewritten letters, blue prints, labels, etc.

Plates - From the point of view of color sensitiveness there are three kinds of plates.

First, ordinary plates such as, Seed 26X, which are sensitive only to blue and violet light and practically not affected by green or red colored objects.

Second, Ortho plates, such as Seed Ortho, Standard Orthonon or Stanley Commercial. These plates are sensitive to bright yellows and some greens, and when used with a yellow filter, yellow and green objects are much more correctly rendered.

Third, Panchromatic Plates, which are sensitive to all colors. However, when used without any filter blue colors will appear much too bright in relation to other colors. To render the tones of all colors in correct relation to one another, a K3 filter and Panchromatic plate must be used. Only Panchromatic plates can be used with Red or Orange-Red filters and no other plates will give a true rendering of all colors.

Developing Panchromatic Plates - Before trying to use Panchromatic plates make sure that there is no red light in your dark room. If there is a red window it must be covered up. If you have no lamp provided with the Special Series 3 green safe-light, load the plate holders in the dark, make your exposure, mix your developer and get it to the right temperature, then pour it over your plate in the dark and develop for the time given on the card in the box of plates. If you use an Eastman Plate Tank or put the developing tray in a light tight box that can be rocked during development, the light can be turned on during development and turned off while the plate is taken out of the developer, rinsed and fixed.

Film Results StudioLightMagazine1914 275

FROM AN EASTMAN PORTRAIT FILM NEGATIVE

By J. B. Rich Philadelphia, Pa.

Film Results StudioLightMagazine1914 276

Don't use the wrong kind of Panchromatic plates. Where you want quality and gradation, as in photographing most furniture, paintings, jewelry, bric-a-brac, etc., use the Wratten Panchromatic; where you want density and contrast, as in photographing blue prints, labels and for some furniture work where the utmost sharpness of grain is wanted, use the Wratten Process Panchromatic.

To decide what plate and filter to use, look at the object through the different filters. If it looks right through the blue filter, use an ordinary plate. If it looks dark through the blue filter, but right through the green filter, use a C. Ortho, Standard Orthonon or Stanley Commercial and the K2 filter. If there are no reds, but the yellow should photograph white, use one of the Ortho plates and the G. filter. If there are reds, look at it through the K3 filter and then all of the others. If it looks best through the K3, use that filter and a Wratten Panchromatic plate. If you want the reds light, use the A. or F. filters. For these you must always use Panchromatic plates.

FILTERS - The filters of the commercial set are as follows:

Increase of exposure when used with

Name

Color

WRATTEN

Pan. Plates

Stanley Commercial

Use

Kl

Pale Yellow

1 1/2

2 1/2

As a correcting screen where the exposure must be short.

K2

Lemon Yellow

3

8

For most all round work with "Ortho" plates.

K3

Yellow

4 1/2

12

For correct rendering with Panchromatic plates.

G

Strong Yellow

8

30

Where contrast is wanted with yellow objects (Golden Oak Furniture).

A

Orange Red

12

For mahogany with a Panchromatic plate.

B

Green

9

40

For photographing typewriting and making green white but red dark.

C

Deep Blue

6

4

To photograph blue as white.

F

Deep Red

24

For photographing blue prints and generally photographing red as white.

Film Results StudioLightMagazine1914 277

FROM AN ARTURA IRIS PRINT

By E. E. Dexter McKeesport, Pa.

Film Results StudioLightMagazine1914 278Film Results StudioLightMagazine1914 279

Your Portrait

A gift that money can't buy, but for you to give - the very thing. To friends and kinsfolk, your portrait at Christmas will carry a message of thoughtfulness that is next to a personal visit.

THE PYRO STUDIO

No. 209. Price, 30 cents.