The popularity of various view camera sizes has almost invariably been due to their fitness for pictures of different prices. Very little thought has been given their relative proportions because there has not been a noticeable difference. So there has been no opportunity for the photographer to offer, at the same price, a choice of two pictures of practically the same size, as regards area, but of widely differing proportions.

The 8 x 10 size has become most popular because it permits the photographer to ask a fair price for his work. But there are times, many times, when the 8 x 10 proportions are not suitable for the subject that is being photographed. The amount of foreground and sky that detracts from the picture's appearance may be trimmed off and the picture greatly improved, but this reduces it in size and the portion trimmed off is a loss.

Believing a camera of correct proportions for such subjects would meet with universal approval, a new size has been added to the Eastman View Camera line. This is the 7 x 11 Eastman View No. 2. The picture is one inch narrower than the 8 x10, and one inch longer, so the area is almost the same. The price of 7 x 11 plates and films is the same as for 8 x 10, and the price of paper and other material is slightly less. But the looks of the picture for all suitable subjects is a wonderful improvement over the 8 x 10 as regards proportions.

In photographing groups the increased length is a decided advantage and in practically all landscape work the 7 x 11 horizontal permits of much more pleasing composition than is possible with the 8 x 10 size.

For many architectural subjects the upright of this size is especially suited, and the same may be said of many landscape subjects, such as trees, waterfalls, mountains, etc.

While we do not predict that the 7 x 11 size will supplant the 8 x10, we do believe it will become very popular for the reasons already given, and its addition to the commercial man's equipment will be advantageous in many ways and for a great variety of work.This camera has two distinct features in addition to all the most approved conveniences which have been built into the other sizes of the Eastman View No. 2 cameras. These two features are, an exceptionally wide front board with a sliding movement which permits the centering of the lens on either half of the 7 x 11 plate when two exposures are being made on a plate, and greater swing of the back, which will be found of exceptional advantage in difficult architectural work.

A Camera Of New Size A Picture Of New Proportions StudioLightMagazine1916 185

FROM AN EASTMAN PORTRAIT FILM NEGATIVB

By B. V. Mathews Concord, N. C.

It is not necessary to go further into the details of this line of cameras, for they are already well known. They combine every practical convenience necessary for ease of operation and are constructed of materials which give them strength and stability.

Anticipating that most photographers who purchase this size camera will prefer to use Eastman Portrait Film, an Eastman Portrait Film Holder will be supplied with this camera unless a plate holder is specified.

THE PRICE

F. O. B. Rochester. N. Y.

Eastman View No. 2, 7 x 11, with

case and holder .............

$35.00

Extra Plate or Film Holders, each .

1.25

Extra Lens Boards, each ....

1.00

A Majestic Print Dryer wi// be an economical addition to your equipment for it is a wonderful time saver.

The People You Photograph

In one respect, of course, you should treat all your customers alike, that is, in your business dealings with them. Courtesy, combined with straightforward and honest business methods, should be extended to all.

When it comes to securing pleasing portraits and giving general satisfaction, however,you must study individual sitters; you must suit your methods of working to the particular type with which you have to deal.

When a new sitter enters his studio, the photographer should forget the pose, the lighting and the background which he used for the previous sitter, and should approach his new subject with an open mind.

There is plenty of evidence, in windows and showcases, that some professionals do not do this. The same pose, the same lighting and the same background are used for every type. Occasionally the treatment happens to suit the sitters and the pictures are pleasing, but often it is incongruous and the portraits are entirely without artistic merit.

Here is a type you know very well. She is the wife of a leading local professional man, she is a little reserved in her manner, very particular on points of etiquette, and is apt to wear a more

The People You Photograph StudioLightMagazine1916 187

FROM AN EASTMAN PORTRAIT FILM NEGATIVE

By D. V. Mathews Concord, N. C.

Whether you succeed in making her forget that she is with a stranger, and in getting her to put on a brighter expression, depends entirely upon your own tact and conversational powers. There is one suggestion, however, which may be made - give her something to do. If you have a recent wedding group, or any other picture with portraitsof people she knows in it, hand it to her and she will soon be busy picking out her acquaintances.

It is obvious that you must not attempt a fancy pose - there must be no twisting of the neck to get the head into an unnatural position. Anything stagey will be resented.If you err at all in this respect, err on the side of dignity and severity.

The safest pose is undoubtedly a three-quarter length in a sitting position. It can always be made dignified, and, where the face is not exactly young and beautiful, the smallness of the head in the picture does not emphasize the features.

The pose of the head must be one that will not exaggerate the prominence of the nose and cheek bones. This is best secured by turning the head away from the camera until the nose projects a little beyond the outline of the cheek. This allows the nose to fill up the hollow in the outline caused by the thinness of the face.