While the exhibitions testify to the beautiful quality attainable in portraits made in Bromoil, professional photographers, with one or two exceptions, have ignored the process altogether. The technical experience necessary is obviously one reason for this, and therefore we may refer to the work in this field done by Mr. F. T. L 7 usher, of Durham House, Cumberland Road, St. Albans, who is a maker of bromoil prints and enlargements from photographers' negatives. We recently had an opportunity of seeing the fine quality which characterizes Mr. Usher's bromoil, and has its origin in the fact that the work is done out of a strong liking for the technique of the process and a desire to realize its possibilities in yielding results of artistic excellence. By customers able to appreciate the distinctive merits of the oil-pigment prints a high price is willingly paid, and therefore photographers who are in the position of being asked for such work will be glad to make a note of the source from which it may be obtained.
SILVEBLIXE SKETCH POHTEAITS.
In referring the other week to the special service for photographers now being offered by Mr. D Charles, 363, Garrett Lame, Earls field, S.W.18, we mentioned a specialty to which we may now refer as the result of examining a considerable number of examples of his work in this branch which Mr. Charles has sent us. These are "silver line" portraits in the sketch style, and with the necessary freehand work introduced photographically from a pencil drawing. The reproduction of the pencil effect is very well done and the rig-netting of the subject itself equally good. We have our own opinion as to the artistic merit of mingling a photographic image with pencil work, but the demand for such sketch embellishments of vignettes portraits is widespread, and therefore photographers anxious to show their customers something distinctive will be glad to avail themselves of Mr. Charles's services. He is a specialist in blocking-out and vignette work and the prints before us show the very successful application of these methods to exceedingly diverse subjects.
The firm of Artiste, 5, Rue de Mont-faucon, Paris, VΙc., send us samples of the white-margin masks which they supply in a wide range of sizes for the making of prints in which an even white margin is desired. They are of two patterns, for plates and films respectively. The former consists of a strongly made cardboard frame having an aperture the size of the negative. Around the aperture is attached a mask of non-actinic paper which, when the negative is printed gives the required white margin. In the case of the masks for film negatives a hinged car board back is provided in order to facilitate the introduction of the film negative and the paper behind the mask. Those who have had much occasion to handle film negatives in making prints of this kind will appreciate this little device, which immensely simplifies the adjustment of the negative and paper. The whole mask, is of course, in tended to be placed in the printing frame or it may be used, as can that for glass negatives, on the feed of a box printer. The masks can also be obtained with oval apertures as well as with those of fancy outline. A good feature common to all of them is that they are made so as to utilize the maximum area of the negative. The sizes range from vest pocket to half-plate and the prices from 3d. to 7d. in the case of masks for glass negatives and from 6d. to Is. 3d. in the case of those for film. Other and larger sizes can be made on application.