When the first Portrait Film was introduced, commercial photographers were almost as quick to take up its use as were portrait photographers. Its non-halation properties appealed to them strongly, its long scale enabled them to materially reduce contrasts in interiors and similar difficult subjects, and its physical advantages of lightness, compactness and flexibility went a long way towards solving many difficult problems that every commercial photographer encounters in his daily work.

Special film emulsions were then made to meet all of the commercial worker's requirements, but Portrait Film has held its place in many branches of commercial work and Super Speed Portrait Film is finding even greater favor.

Mr. Washburn, who has furnished a part of our illustrations, has had a long and satisfactory experience with Portrait Film and has done some wonderful work with this material, using it even for oblique views made from airplanes and securing wonderfully brilliant negatives.

He has now become a Super Speed enthusiast and as we were very much interested in some of his prints that showed excellent color rendering, we asked if a filter had been used in making these negatives. His reply was: "Referring to the use of a filter on Super Speed,the fact that I do not use a filter is just what makes this film and its uses so interesting. Only in rare eases do I find it necessary to use filters and then I use Panchromatic Film.

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FROM A SUPER SPEED portrait film negative A flashlight in close quarters.

By Milton J. Washburn

Buffalo, N.Y..

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FROM A SUPER SPEED PORTRAIT FILM NEGATIVE

By Milton .J. Washburn Buffalo, N. Y.

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FROM A SUPER SPEED PORTRAIT FILM NEGATIVE

By Mlilton J. Washburn Buffalo, .N.Y.

"I always used to find it difficult to get good results when photographing brown velours in my furniture, even with a filter, but with Super Speed I have been getting the desired results without a filter and that is saying a lot. (See page 5).

"As for general interior work I also find it exceptional and to prove this fact I am sending you a print of an office interior on Super Speed in which the mahogany woodwork and flowers show to unusual advantage. This was an open flash. (See page 9).

"I make use of the Super Speed for all interior work and for photographing instruments such as the microscope (page 7). There is no retouching whatever on this negative. For general interiors without any counteracting artificial light, I think the lack of halation against the windows makes these negatives worth while. For flashlights I use a very much smaller amount of powder than would be possible with a slower film."

This is only one man's experience with Super Speed Film, but Mr. Washburn is an excellent workman and has built up his business on the quality of the work he produces, just as every other successful commercial photographer is doing, and the quality of Film results is the reason for its popularity with commercial workers.

But Super Speed Film is not a commercial Film. It just happens to fit numerous commercial requirements. It is a Portrait Film. It has all of the essential requirements and is specially suited to fine portrait work, differing only from the regular Portrait Film in speed.

This difference, however, is a very remarkable one. The speed is not slightly greater than Par Speed - it is much greater. You can materially reduce exposures and get results identical with those of Par Speed, the only requirement being slightly longer development, which is essential to the nature of this particular emulsion. Such speed means a great deal to the commercial worker in his studio work, for small objects which must be photographed at short range with very small lens apertures often require exposures as long as fifteen minutes or more. When there are many such exposures to be made and they can be greatly reduced, there is a distinct time saving advantage.

The portrait photographer has found the advantages of Super Speed equally as great. There is more chance of catching the restless child or the nervous grownup and ordinary exposures under poor conditions of light make good negatives the rule rather than the exception.

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COMMERCIAL ORTHO FILM NEGATIVE, VITAVA PRINT A bit of the McKenzie River, Oregon.

By E. F. Martin Eugene, Ore.

When artificial light is used exclusively the tendency towards harshness is also materially reduced so that strong light sources may be used without so much danger of securing insufficient diffusion. These same qualities are also a decided advantage in home portraiture where strong lights are often encountered.

Many photographers have found the advantages of Super Speed sufficiently great to cause them to use it exclusively for portraiture, as there is no falling off in other qualities that are equally essential.

The remainder of our illustrations, including that on the cover, are from the studio of E. F. Martin of Eugene, Ore., and give one an excellent idea of the natural beauties of that great western state where ocean, mountains, forests, lakes and streams offer wonderful opportunities for the sportsman and photographer.

Mr. Martin makes wonderfully fine negatives on Commercial Ortho Film and we only regret that we do not have the space to show more of these interesting subjects.