This section is from the "Studio light a magazine of information for the profession 1915" book, by Sara F. T. Price. Also see Amazon: Studio light a magazine of information for the profession 1915.
No one appreciates a good slow plate more than the commercial photographer. And no one has more use for a plate that is highly orthochromatic. The combination of these qualities in the Standard Slow Ortho will commend it to commercial workers.
In photographing oak, maple, walnut and similar woods encountered in most furniture work, the yellow and green sensitiveness of this plate gives sufficient color separation to show the grain of the wood to the best advantage. Results without a filter are very good, but to obtain the fullest color correction of which the plate is capable, a medium yellow filter such as the K2 should be used.
This plate has a very fine grain and gives strong plucky negatives with all the brilliancy that could be desired in commercial work. While not intended for general landscape work, the Standard Slow Ortho may be used to excellent advantage on all landscape subjects where speed is not essential.
But there are a great many classes of work requiring a plate that is sensitive to all colors. Labels of all sorts, rugs, carpets, oil paintings, etc., in which red is a part of the color combination, cannot be properly photographed with a plate that is not sensitive to red.
The Standard Panchromatic is sensitive to the whole range of the spectrum. For this reason it is especially useful in photographing all kinds of red woods. For unfinished mahogany furniture, excellent color separation is secured without the use of a filter. However, for full color correction the yellow K3 filter will render every color of an object the same strength that it appears to the eye. If it is more desirable to have reds photograph lighter than they appear to the eye, a red filter will give this result, while a green filter or a yellow filter will exaggerate the greens or yellows in the same way. Such results are often desirable where two colors of almost equal strength are to be photographed, for instance, green letters on a light red ground.
STANDARD ORTHONON PLATE
STANDARD ORTHONON PLATE
By A. J. W. Copelin Chicago, III.
With an ordinary plate a good result would not be possible, as both green and red would photograph black. With a good green sensitive orthochromatic plate a better result could be secured, as the green letters would photograph lighter than the red background. But with a Standard Panchromatic plate and a red filter the red ground will photograph light and the green letters dark, or with a green filter the red ground will be dark and the green letters light. The same principle applies in showing the grain of wood, highly colored and finished mahogany being as simple to photograph as quartered oak by using panchromatic plates and color filters.
Because they are so highly sensitive to reds, yellows and greens, panchromatic plates must be developed in absolute darkness or by the special dim green light of the No. 3 Wratten Safe-light. This is not a hardship, for it is a simple matter to load holders in the dark, and it is just as easy to load the exposed plates in a tank or keep them covered in a tray and develop by time.
Standard Slow Ortho and Standard Panchromatic plates are furnished in all sizes at the regular price of Standard single coated plates.sIf you are a commercial photographer or are doing any class of work which calls for a color sensitive plate, try these two brands.
Commercial photography is a mighty big subject and a mighty interesting one. Big because it includes practically everything that doesn't come under the head of portrait work, and interesting because the great variety of subjects and conditions encountered call for an unusual amount of ingenuity and initiative on the part of the photographer"We photograph everything" is a pretty broad claim, but a lot of photographers have come pretty close to it. Some of the most difficult work is often the least interesting because one does not have a thorough knowledge of the conditions encountered, so we have used for our illustrations examples of the more familiar subjects that come under this head.
Landscape work is a part of commercial photography and the selection of a good landscape background often improves the appearance of a subject, such as shown on pages 16 and 17. These two pictures were made on Eastman Portrait Film, one without a filter and the other with a Wratten K2 filter. The automobile bodies are yellow with gold lettering. In the one made without a filter the reflections are very bad. In the other picture the greater part of the reflection is cut out and the body of the car appears as light as it should,with the dark gold lettering in good contrast.
SEED PANCHROMATIC PLATE, DARK MAHOGANY PIANO
By A. J. W. Copelin Chicago, III.
The greater part of a surface reflection is removed by a yellow filter because the filter cuts out the excess of blue light rays. And in this case it has also given the proper color correction for the best result.
Our cover illustration, also the one on page 2, by the same photographer, are excellent examples of Portrait Film work. They also suggest a branch of commercial work that many photographers have found profitable enough to specialize on.
Hand painted china and similar articles are very easy to photograph, but to the inexperienced such work might seem to present serious difficulties. Our illustration on page 5 is a good example of such work made with a ground glass background. A vertical camera is necessary, as the pieces must be arranged on a flat surface. In this case it is a large sheet of ground glass on a support with a piece of white cardboard on the table several inches beneath. With a top lighting objectionable shadows are entirely eliminated. In all work of this nature a vertical camera is necessary, but tripod tops may be had which will allow the ordinary camera to be tilted to the proper position.