Film has decided advantages over plates in almost every branch of photographic work, but in none is the advantage more marked than in flash-light work.

The day has passed when photographers will depend entirely upon daylight, just as the day has passed when portraiture of the better sort is entirely a matter of studio sittings.

Practically every successful home portrait photographer is also a successful studio photographer, and many of these have found a simple and compact form of flash-light apparatus especially convenient for home portraiture as well as for dull-day studio sittings.

The great advantage of the flash-light is that it is powerful and instantaneous, while the disadvantage is that a light, powerful enough to be instantaneous, must of necessity be extremely concentrated and difficult to diffuse.

For this reason the flash-light gives harsh, contrasty results on plates. There is halation which produces chalky highlights, and this is due to reflection from the back of the glass which supports the plate emulsion. Special development with greatly reduced carbonate, which makes the process slow and tedious and the result lacking in brilliancy, is sometimes used to overcome this fault of the plate.

Many photographers, however, imagine that the contrast of the flash-light is an inherent fault, that the light is different or lacking in some quality and see no reason to believe that the trouble is in the physical nature of the material used.

Make two flash-light exposures, one on a plate and one on Eastman Portrait Film, and you will prove to yourself that the fault does not lie in the method of lighting. The film will give a rendering of halftones and highlights that it is impossible to secure on anything short of the best non-halation plate, and even the non-halation plate will not equal film if the light is intense. There will be a considerable amount of light reflected from the back of the glass support, even if it is double coated and backed. This is practically impossible with film, because the transparent support is not thick enough for an appreciable amount of halation.

Professionals have said of film, "even direct sunlight seems to produce no ill effect on Portrait Film," that "the highlights retain their form and texture, etc.," which of itself explains why the film is especially suited to flashlight work.

A stream of sunlight coming through a window and a flashlight are analogous in-so-far as their effect on a plate is concerned. Out of doors there are so many sources of reflected light that there are seldom the contrasts that are encountered indoors, when either direct sunlight or flash-light is used. But where one does encounter these contrasts, Portrait Film results are invariably better than plate results.

It is not alone the non-halation properties of film, however, that make it so very desirable for flash-light work. Aside from the halation or radiated light that destroys the detail of highlights and makes them chalky, there is the possibility that the plate may not have the latitude or scale of gradation that will reach from the highest light to the deepest shadow of the brilliant lighting.

Portrait Film has the long scale that is especially suited to such work. All the brilliancy of the lighting is recorded. With a material having a shorter scale of contrast than that of the lighting, either the highlights or the shadows are blocked.

Commercial photographers have learned of these film qualities and have used Portrait Film extensively for flash-light work. Some of the finest interior work of recent years, both by flashlight and daylight, has been made on Portrait Film.

Home portrait and commercial workers are quick to see these film qualities because there are so many other film advantages that appeal to them. But film is now extensively used in studio work and will be used even more extensively by the best workers as the superiority of film results is demonstrated. In flash-light work especially, a trial of film is all that is needed to convince the studio worker that film will materially add to the quality of the work produced.

Eastman Portrait Film Negative, Artura Print By W. O. Breckon Pittsburgh, Pa.

Eastman Portrait Film Negative, Artura Print By W. O. Breckon Pittsburgh, Pa.

Make the negative on Portrait Film.

Eastman Portrait Film Negative, Artura Print By W. O. Breckon Pittsburgh, Pa.

Eastman Portrait Film Negative, Artura Print By W. O. Breckon Pittsburgh, Pa.