This section is from the "Studio light a magazine of information for the profession 1918" book, by Sara F. T. Price. Also see Amazon: Studio light a magazine of information for the profession 1918.
Commercial photographic work embraces practically everything not classed as portraiture. In the lines of work included under this broad head will be found subjects of such great diversity that no one sensitive product could possibly answer all purposes. A great many subjects are found to require slow, contrasty emulsions, but there are others with such excessive contrasts that a soft working emulsion is absolutely necessary to produce the best results.
Eastman Commercial Film has been made specially for certain kinds of commercial work just as Portrait Film is made specially for portraiture, but commercial photographers have found that a great amount of their work requires an emulsion of the exact nature of Portrait Film.
Contrasty subjects where contrasts can not be reduced, exposures against the light, or with strong cross lights, not only require a soft emulsion but one that has non-halation qualities as well. The fact that Eastman Portrait Film produced excellent home portrait negatives under conditions of light encountered in the average home, was proof that it would do the same in a mill, a factory or any other interior which presented difficulties.
The commercial photographer used Portrait Film primarily because of its non-halation qualities. The support is so thin that there is no room for the light to spread, so halation is practically eliminated. He found that film would do everything that a plate would do - and a lot more. It would give more quality, less halation, and greater convenience in handling.
Commercial workers have adopted Portrait Film as a product especially suited to many of their needs, and the results they have secured have made them enthusiastic film boosters. Our illustrations are examples of Portrait Film results from the particular class of commercial subjects for which Portrait Film is specially suited. It is a big class of commercial work - not of every commercial photographer, but of many.
The results shown in these illustrations may suggest to many photographers, subjects that may have been overlooked - work that may have seemed next to impossible to handle in a perfectly satisfactory manner. The more difficult the subject, the more credit there is in a satisfactory result, and, naturally, with every new class of work the field of commercial photography is broadened, and a man's business prospects made just that much larger.
Portrait Film has undoubtedly broadened the scope of commercial work. It has not only insured greater success in photographing extremely contrasty subjects in which halation has previously had a very destructive influence, but it has also placed flash-light results on a par with daylight.
In flash-light work, Portrait Film gives decidedly softer results than plates. There is pleasing detail in highlights and halftones, because the contrast is reduced, and contrast is reduced because the film does not permit the light to spread, as is the case with a glass support.
Eastman Commercial Film has all the physical advantages of Portrait Film, but has a slower working emulsion with the contrast necessary for photographing objects that do not have contrast in themselves or that must be lighted flat. It is a very useful product for the commercial photographer and is especially suitable for making portrait copies or positives from which negatives are to be made.
Process Film has still more contrast - will, in fact, give any degree of contrast, and is especially suitable for reproducing maps, line drawings, tracing and similar subjects where opaque backgrounds are required. With these products the commercial worker will find a film suited to almost every class of work and results that are better.
Eastman Permanent Crystal Pyro does not float about in the air and cause trouble - it stays where you put it.
FROM A PORTRAIT FILM NEGATIVE
By The Luck Illustrating Co. Cleveland, Ohio
Drafted He had never thought of being a soldier. When he heard the conscription law had passed it occurred to him that some day he might be. But that day seemed very far away. He knew that Uncle Sam was raising a big regular army and a big national guard, and he thought that would be all that was needed. People seemed to think the war would be over before many Americans could get to France, and anyhow lots of fellows would be going before he was wanted.
"Then his number came from Washington - among the first. Soon the local draft board met. He was summoned for examination. He felt rather proud when the doctor told him there was nothing the matter with him, for pride of health and strength is a human instinct. No, he had no dependents; but he had a good home, the home he was brought up in, and a mother who kept her tears to herself and would not tell him not to go. And he had a good trade, and was saving something. He was not quite sure what for - but he began to suspect, though none of those he had met so far seemed to be the right one.
"But it didn't matter so much now. He was reading the war news every day. He was learning what the enemy had been trying to do to his country. His country! It had become his country so easily and it had asked him for so little that he seldom thought of it before as his. He squared his shoulders a trifle as he realized what it meant to him. And as it came home to him that this was not only his country but that his country was depending on him for its protection, for the protection of everything that made him love life in America, pride of patriotism touched his heart, and he promised himself, as his muscles set taut, that we will do it.