The illustrations shown above are very interesting when it is known exactly what they are and what they mean. A series of holes of gradually increasing size were cut in a piece of black paper and this piece of paper was placed in front of an illuminator and photographed, using Portrait Film and a glass plate of approximately the same speed. The film and plate were given exactly the same exposure and the same development at the same temperature.

The upper illustration is the Portrait Film result and you can be sure it is exactly as the film saw and recorded those holes in the paper. You can be equally sure that the lower picture represents what the plate saw and a lot more than it saw that it could not help recording.

Notice the spaces between the white spots in the upper illustration - then look for spaces in the lower one and you have a very good comparison between film and plate results in photographing difficult things - not holes in black paper, for that is merely an example you can plainly see, but there are thousands of negatives made every day in which the halation is just as bad or worse than that shown in our lower illustration, when plates are used.

In a great many forms of commercial work as well as in portraiture, much of the loss of quality in plate results is due to halation that can not be seen as we show it in our illustration, yet it is exactly the same thing.

Suppose that instead of the holes in the black paper, you are photographing a piece of white material such as brocaded satin, that is brilliantly lighted. The subject is a bride and you want to retain all the detail in the beautiful white gown she wears. You see detail and if you examine the material under a glass you will see that there are shadows in the depressions between the threads of the fabric that give relief to the highlights which are on top of the threads.

These very fine shadows enable us to see texture in a fabric. In the same way we see texture in flesh, but the glass plate does not always record it - not when the lighting is strong, and lightings must be strong to secure brilliancy and roundness.

If you make a flat lighting to overcome this trouble of halation it doesn't matter whether you use a contrasty plate or a con-trasty paper, you get nothing more than more contrast in the tones of your lighting. The result is unsatisfactory and untrue. Your portrait does not have quality because the scale of gradation of the print is no longer than the scale of the lighting.

On the other hand, if you make your lighting strong and brilliant with a scale of gradation twice as long as you make for your plate, Portrait Film will register every step from highlight to shadow, and because the destructive influence of halation is not apparent in the film negative you will find that you have detail both in highlights and shadows and that you can reproduce that detail in an Ar-tura print.

The example we have illustrated does not do full justice to film because the holes are too far apart. If they were very small and very close together - nearer to one another than the thickness of a glass plate, film would still reproduce them perfectly, but the halation in the plate negative would spread so far as to overlap the spaces between the holes and show little more than a white mass.

Our illustration is reduced one-third but it shows how destructive the spreading of light can be. And when highlights and shadows are so small that we can only see them as a mass and can only say they are responsible for our seeing detail in an object, it is easily seen how halation can so completely block up a highlight that no detail whatever can be seen.

The great advantage in the use of Portrait Film is that in the handling of difficult lightings its superiority over glass plates is immediately demonstrated. Portrait Film is a real advantage because it makes difficult things easy. The difficult things are those unusual lightings that you have been unable to make because of the shortcomings of plates.

Portrait Film removes the greatest hindrance to successful advancement. It enables you to get out of the rut, to do things out of the ordinary - the things that mark you as a wide awake progressive photographer.

Eastman Portrait Film Negative, Artura Print By C. L. Lewis Studios Toledo, Ohio.

Eastman Portrait Film Negative, Artura Print By C. L. Lewis Studios Toledo, Ohio.

Eastman Portrait Film Negative, Artura Print By C. L. Lewis Studios Toledo, Ohio.

Eastman Portrait Film Negative, Artura Print By C. L. Lewis Studios Toledo, Ohio.

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