Turn around in your chair so that you face the window squarely; then turn your head so that you are looking at the wall space directly alongside the window but with the light from the window still striking your eyes. If the light is at all bright you will find that the window frame and the wall beside it seem covered with a haze. You are unable to see sharp detail in that space no matter how long you try.

Now hold this magazine directly in front of your eyes so that it will completely shut out the light of the window but allow you to see the wall alongside. Move it back and forth and you will see that as it comes between your eyes and the bright light, you can immediately see a wealth of detail that was not visible before.

The hazy effect you have just seen is not halation. It is reflected light that has been so scattered over the image your eyes have tried to form that it fogs your vision. If you will close one eye and go through the above experiment again, you will see that wall space as the lens of your camera sees it, and you will find it is much easier to cut out the reflected light than it was with both eyes open.

You get this effect most often in making the so-called Rembrandt lightings in the studio and you often encounter it in home portraiture. The material you use has nothing to do with it as it is not halation - you get it with film as well as with plates - but you may also get halation with it if you use plates.

A lens shade will cut this light out of your lens just as the magazine cut it out of your eyes. If you do not have a lens shade, a dark head screen will answer.

Not Halation StudioLightMagazine1919 42Eastman Portrait Film Negative, Artura Print By Pasquale S. Culotta Baltimore, Md.

Eastman Portrait Film Negative, Artura Print By Pasquale S. Culotta Baltimore, Md.

March 1919 Vol. 11 No. 1. Portrait Film Available At The Price Of Plates

When this magazine reaches you, you should have received a price list for Eastman Portrait Film and for the accessories required for using it. Notice, please, that thus far we have on the Canadian market Portrait Film only, Commercial, Commercial-Ortho and Process Film not yet being made in Canada.

The fourth cover page of this number lists holders and sheaths for using films in the existing Cabinet Studio Outfits, particulars being given in the price list you recently received.

Figure for yourself what the lightness of Film means in the matter of transportation. Film is about one-tenth the weight of plates, quantity for quantity of the same area. The Film user can get his supplies at a greatly reduced cost of transportation, having them come by the quick Parcel Post or Express services, as against the slow, disappointing freight shipment that is required by the weight of plates.

In Home Portrait or View work you can carry ten times as many loaded film holders as you could plate holders, so far as weight goes.

It is in the handling of difficult lightings that Portrait Film immediately demonstrates its superiority over glass plates.

Better than plates with any lighting, it is plainly so as the lighting becomes difficult - and the harsher the contrasts the more pronounced is its superiority.

We have been careful to reproduce in Canadian Studio Light, month by month, all the matter dealing with Film superiority. The emulsion itself is on a par with Canadian Seed Plates, and this, in combination with the halation-avoiding,detail-conserving function of the thin base, renders Portrait Film the obvious means of securing better results.