There have been many changes in photography in recent years, one of which has been the gradual breaking down of many studio traditions by the slow but sure development of home portraiture. And this in turn has been due in a great measure to the successful introduction and increasing popularity of Eastman Portrait Film.

A few years ago the photographer almost considered it beneath his dignity to take an outfit to the home of one of his patrons to make a portrait, and made no effort to duplicate the results secured under his skylight. His studio was for that purpose and his patrons must come to him and accept the work made under conditions favorable to him.

The same condition exists today but not to so great an extent. Many photographers welcome the commission that takes them into the home because it offers the opportunity for new effects in unlimited variety, more individuality in each sitter's portraits, and larger orders.

There is an exclusiveness to the home portrait that has a strong appeal, not merely because it is made in the home but because it usually includes enough of the atmosphere and background of the home to give it individuality.

Home portraiture has also had its influence on the photographer's permanent place of business. There is no reason why a studio should not impress one with the idea of individuality the same as the work it produces, and when the personality of the photographer is reflected in both, the impression created is doubly valuable.

Many new studios are being built and many old ones made over to conform with ideas gained by working in home surroundings. Better taste is being used in plans, decorations and furnishings, the idea being to make the customer for portraits comfortable in mind and body.

The Morrall-Hoole Studio of Rochester, N. Y., is an example of the modern home portrait studio. Many sittings are made in the studio, but the greater portion of the work is home portraiture. The studio is located on the second floor of a new, modern office building at a point where Rochester's best residence street enters the business section.

The interior bears little resemblance to a photographic studio because there is no evidence of a skylight, display cases nor the usual studio office fixtures. The decorations are in soft tones of grey and the few pictures shown on the walls are in carved wood frames, the gold or silver leaf finish harmonizing with the tones of the prints. The furnishings are comfortable and in good taste and the dressing and posing rooms are very conveniently arranged.

ARTURA PRINT, FROM EASTMAN PORTRAIT FILM NEGATIVE

By Morrall-Hoole Studio Rochester, N. Y.

Sittings are made by the light from two large plate glass windows which afford ample illumination. A light of this nature might be rather difficult for some photographers to handle, but the man who makes a business of home portraiture would not ask for better light conditions.Messrs-Morrall and Hoole have had a wide experience in home portraiture, having worked in a number of cities while in the employ of the Matzene Studio of Chicago. This led them to believe that the field was broad enough for a permanent business in the average city and their Rochester venture has proved to be a decided success.

Eastman Portrait Film is used exclusively, both for home and studio sittings, because of its convenience and the quality of the film negatives, and Artura because it will most truthfully reproduce this quality in the print.

Some of the most interesting work of this studio is being produced on Eastman Bromide Fabric, the prints being painted in oil by their own artist. These paintings have exceptional merit, are effective and sell very readily.

Mr. Morrall is the business head of the concern and has exceptional ability as a salesman, while Mr. Hoole is the man behind the camera who is responsible for the results shown in our illustrations. The combination is well balanced and is a very satisfactory one for such a business.