Someone takes a step in a new direction, it meets with public approval and in a short time there is a new style in portraiture. It does not necessarily follow that it is a better style, but it is a change. Working in a higher key of light offers one an opportunity to secure more softness, but by this we do not mean flatness or fuzziness. True softness comes only with the perfect rendering of tones, values or gradations, as one chooses to express it. Our illustrations are from Portrait Film negatives and, for the true rendering of tone values, nothing will be found to equal Eastman Portrait Film.

An example of what can be done with films is seen in the two sunlight pictures by Mr. H. Walter Barnett. These photographs, even after allowing for the loss of quality, which is inevitable in a half-tone reproduction, show how the sparkle of highlights can be retained together with transparent shadows and perfect modeling. In the portrait on page 5 there is an entire absence of flatness because there is no halation, and for the same reason there is a perfect separation of tones, which gives softness and roundness to the figure, even though there are no deep shadows. One would expect to see harshness in a negative made in a light strong enough to cast a distinct shadow, but in the original print, even the white flowers in the strongest light are full of detail.

The illustration on page 15 is an example of even more trying conditions of strong sunlight. The great latitude of the film, with its characteristic lack of halation, has not only made the result possible but has made it very pleasing.

A photographer can go on doing things in the same old way and may satisfy his particular clientele, and again he may do more if he watches the public taste - looks ahead for the first sign of a change and goes out to meet it instead of waiting for it to force him to change his ways.

Sell Large Prints StudioLightMagazine1914 246

From An Eastman Portrait Film Negative

By II. Walter Barnett

London, England

Home portraiture is influencing this taste - portraits full of the sunlight of the home are becoming popular and you can make this sort of work if you use Portrait Film. You can safely time for the shadows with the assurance that the highlights will care for themselves. The highlight detail will not be destroyed or flattened out by halation, as is the case when glass plates are used under the same conditions. Each point of light will be clearly defined against its shadow, or lower tone, because these shadows are not degraded.

Halation in highlights may be compared to the improper use of a reflector in making a portrait. Just as too much reflected light destroys the shadows of your portrait and gives you a flat lighting, so halation destroys the shadows in white draperies - kills the sparkle and sheen of highlights and gives flatness instead of brilliancy.

Eastman Portrait Films have been received most favorably abroad. English photographers, who are great sticklers for quality in the materials they use, have seen the superior advantages of films and have been generous in their praise of the new product. Our illustrations by Mr. Fellows Wilson and Mr. H. Walter Bar-nett are excellent examples of the clean cut work of the English photographer.

From An Eastman Portrait Film Negative StudioLightMagazine1914 247

FROM AN EASTMAN PORTRAIT FILM NEGATIVE

By Fellows Wilson London, England

From An Eastman Portrait Film Negative StudioLightMagazine1914 248From An Eastman Portrait Film Negative StudioLightMagazine1914 249

FROM AN EASTMAN PORTRAIT FILM NEGATIVE

By Fellows Wilson London, England

From An Eastman Portrait Film Negative StudioLightMagazine1914 250