When a good workman wishes to better his work his first thought should be of the quality of the material he is using and whether or not it is limiting the truthful reproduction of the effects he is able to produce under his skylight.

Eastman Portrait Film is for the photographer who would forge ahead - for the man who is never satisfied with what has been done so long as he sees room for improvement. And Portrait Films have qualities that are readily appreciated by such workers - qualities not to be found in any plate.

We will not dwell on the physical qualities of films - their lightness, flexibility or compactness, but we do wish to impress our readers with two important film qualities which will permit you to improve your work.

Portrait Films have a delicate and wide scale of gradation and are practically free from halation, which clogs and degrades the half-tones of portraits made on glass plates, especially where strong lights are employed.

Where is the operator who has not posed a lady in a beautiful white gown - lighted the draperies so there was a shimmer and sheen of silk or satin and translucent shadows cast by the folds of filmy material - made his exposure with high hopes of producing the effects he saw on his ground glass, only to be disappointed in the negative?

Such results cannot be obtained on a sensitive material which is coarse in its grain and which renders gradation in a series of steep, abrupt steps. Portrait Film is capable of catching and holding this delicate play of light and shade on white draperies because of the very fine grain, the long scale of gradation and the latitude of its emulsion.

We are often asked, "How do you secure such beautiful illustrations in Studio Light - such perfect reproductions of photographic prints?" It is because we use half-tone plates made with a very fine screen (175 lines to the inch), and it is the same with negative making. A coarse grained emulsion gives you the same result as a coarse screen half-tone; a shadow, a highlight and a few abrupt intervening steps.

The fine grained emulsion of Portrait Film will reproduce every gradation of the most perfect lighting you can produce. But perfect as this emulsion is, its most valuable qualities would be wasted if it were coated on a glass base. This is where the second and probably the most valuable quality of Portrait Film - the practical absence of halation - comes in. The physical properties of glass are such that they would destroy those very qualities in the emulsion that made it valuable to the discriminating professional.

The refracting and reflecting properties of glass plates - even when backed - invariably cause that deceptive spreading of light which attacks the under side of the emulsion and destroys or degrades the highlights and halftones of fine draperies and the modeling of flesh tones.

The emulsion of Eastman Portrait Film is coated on a thin flexible base that does not have the

reflecting power, the density nor the thickness of glass. For this reason the negative made on Portrait Film catches and holds those little live spots in the draperies and the texture of flesh in highlights that give such roundness and relief to the figure. No glass plate can help you improve your work or enable you to secure as high a degree of quality in your negatives as Eastman Portrait Film.