This is the outline of what your Executive Board has planned. More detailed information will follow. If this is a program that appeals to you, get busy on your picture exhibit, begin to save your dimes and arrange to be in Cleveland from July 24th to 29th, inclusive. We want to see you there. L. A. DOZER,

Bucyrus, Ohio, President.

March 3, 1916.

You have positive assurance if the print is on

ARTURA

Every quality of the negative is reproduced perfectly.

The Thirty Sixth Annual Convention Photographers A StudioLightMagazine1916 67

FROM A SEED ORTHOCHROMATIC NEGATIVE

By C. E. Arnold Dallas, Texas

OUR ILLUSTRATIONS

We had intended illustrating this number of Studio Light with pictures by a man who has always been an exclusive commercial photographer. But now we learn that Mr. C. E. Arnold, the author of our illustrations, has also taken up portraiture and has opened one of the finest portrait and commercial studios in Texas on the fourteenth floor of the Southwestern Life Building, Dallas.

But that's the way they do things in Texas. A thing is never so big but what it can be bigger.

Mr. Arnold has a reputation for excellent commercial work, and while he may make an equal success in portraiture, we feel that our readers will be more interested in seeing our entire space devoted to examples of his commercial work.It would be interesting to know the exact methods used - the exposure, etc., for each subject shown - but this would be of little real value because parallel cases would be hard to find and equally hard to recognize when they were found.

However, there are some very interesting and instructive things about these pictures that are worth studying. First of all, Mr. Arnold uses nothing but Seed Ortho and Non-Halation Ortho Plates for all his work.

This accounts for the excellent rendering of tone values he has so cleverly secured in his most difficult interior subjects. Carpets, floors, wall coverings, linens, silverware, woodwork, in fact, everything entering into the picture is harmoniously blended without a harsh or discordant note.

While Mr. Arnold gives his working material full credit, we do not minimize his skill in securing good light effects, correct exposures, and in giving proper chemical treatment to the exposed plate. He is an expert worker in his line and well deserves the reputation and excellent business which his work has brought him.

Point of view and good arrangement are also interesting points in these pictures. While a room in itself may be interesting, a glimpse of what lies beyond tells a more complete story - sort of locates you with regard to the rest of the house and adds to the main point of interest.As to arrangement, it isn't necessary to photograph all the furniture in a room just because it is there. In fact, it is necessary to omit such pieces as will come too near the camera and appear distorted or have the legs chopped off, and, of course, they should not be placed in a part of the picture where they do not belong. Omit everything which does not fit into the natural arrangement of the room, as Mr. Arnold has done in his interiors, and the result will be most pleasing.

The Thirty Sixth Annual Convention Photographers A StudioLightMagazine1916 69

FROM A SEED ORTHOCHROMATIC NEGATIVE

By C. E. Arnold Dallas, Texas

There must be contrasts in every picture, and in most of our illustrations the windows have given the highlights necessary to contrast with the surroundings. The windows naturally give the strongest points of light, but the contrast should not be overdone. In some of our illustrations there is an intimation of objects out of doors, seen through the windows, which adds materially to the effectiveness of the interior. The illustration on page 5 has a pleasing note of contrast in the small wall lights which were lighted for at least a part of the exposure.

It is not possible to use long focus lenses on all interiors, but the effect is much improved when the longest focus possible is used for each subject. This makes a set of convertible lenses almost a necessity if the most pleasing results are to be secured by the commercial worker.

It is hardly necessary to say that such work is profitable. Mr. Arnold has been very successful, as have many other workers along similar lines. Such work is not a matter of theory but of continual practice. You must encounter your problems and overcome them day by day until finally you have a fund of knowledge and a record of accomplishment that marks you as a successful commercial photographer.

EASTMAN BROMIDE FABRIC No. 1

There is a certain demand for any novelty - anything that is odd or different. For this reason papers are often made to imitate cloth and cloth to imitate leather and leather to imitate finer and more expensive material, but at best they are imitations - they only represent something which they are not.

There have been few such imitations in photographic papers because the surface which gave the odd effect also destroyed much of the effectiveness of the photograph. But it is not necessary to imitate when the genuine article answers the purpose better.We have found a fabric perfect enough to permit its being coated with a photographic emulsion. It makes an ideal medium for certain kinds of photographic work because the material is such that it will last almost indefinitely.

We are placing this fabric on the market under the name: Eastman Bromide Fabric No. 1. It is of a fine texture and is practically free from imperfections in weaving. It has approximately the same body and weight as a paper and should not be confused with the slimpsy sensitised photographic cloth which is not coated with an emulsion.

The Thirty Sixth Annual Convention Photographers A StudioLightMagazine1916 71

From A Seed Orthochromatic Negative

By C. E. Arnold Dallas, Texas

Eastman Bromide Fabric has a beautiful surface and texture and will be found valuable for many-classes of commercial work. It is also especially suited for portrait prints which are to be colored.

The canvas effect of an oil colored portrait is very desirable and when it is not necessary to work for effect alone - when the print is actually made on a fine grade of fabric - the genuineness of the result, the pleasing texture the fabric imparts to the photograph itself, is convincing proof of its quality and worth.

Eastman Bromide Fabric will be found excellent for many kinds of commercial prints that have previously been mounted on cloth for binding. In fact, it can be used for most any work which does not require a glossy surface. And where it dispenses with mounting on cloth it will also be found more economical than paper.Eastman Bromide Fabric is coated with a Bromide emulsion and works in every way like a Bromide paper. It is furnished in one dozen, one-half gross and one gross packages and in ten foot and ten yard rolls. Your dealer will be glad to supply.