In Schwartz's layouts, the action was always much farther away from the reader than in Kane's own stuff.  Many panels consist solely of backgrounds.  Schwartz seems to go out of his way not to have to actually draw a complete Batman figure (perhaps to keep Kane from redrawing it). His henchmen have a particular look to them that is very distinctive.

Schwartz remained with the strip until 1953 when he decided to pursue other projects.  Kane then turned to Sheldon Moldoff to act as his primary ghost.  Schwartz and Moldoff's work are often mis-credited in DC's various reprint products.  It is very doubtful that any Moldoff artwork appeared earlier than issues dated in 1954.

Charles Paris (1911-94) The primary inker of Batman stories in the late forties/ early fifties was Charles Paris, who came over from the comic strip with Bob Kane. He began his career lettering pages for Crimson Avenger artist Jack Lehti.  He also worked on Johnny Quick and Manhunter before DC pegged him as the standard Batman inker.  He worked almost solely on Batman up until 1964 when editor Julie Schwartz brought in the "new look".  After that Paris inked Ramona Fradon on Metamorpho before retiring from comics to paint.  Contrary to many fan- produced indexes, Paris did not ink Ramona Fradon's Aquaman stories.

As the standard Batman inker of the fifties and early sixties, Paris set the overall style of the strip.  His Batman featured a large rectangular Bat emblem and scalloped ears which looked like the spades from a deck of playing cards.  He imposed this style over all the pencillers he worked with, whether Kane, Sprang, Schwartz or Moldoff.

Several other inkers also worked on the strip at this time however, including

Will Elder (1922-) Will Elder spent most of the fifties working for EC comics and Mad Magazine.  He continued working with Harvey Kurtzman on Kurtzman's later humor magazines and was one of the staff of artists who produced the Little Annie Fanny strip for Playboy.   He did spend some time early in his career working for other publishers including Crestwood and Pines as well as pencillin and inking an unidentified Batman story circa 1952.

Ramona Fradon (1927-) came to work for DC in 1950 and tried a number of different assignments, including Gangbusters and Rodeo Rick, before latching on to pencilling and inking Aquaman, a strip she would handle solo for 12 years.  Her later work included Metamorpho and Super Friends, as well as a long stint on the comic strip Brenda Starr.   As yet, no actual Batman story which she inked has been identified.

Sy Barry (1928-) brother of Flash Gordon artist, Dan Barry, Sy came to work for National in the late forties and soon came to epitomize the house style for National's anthology books.  His work appeared in Strange Adventures, Mystery In Space, Big Town, Gangbusters, Girls' Romances- just about everywhere a strong inker was needed.  He worked on a few Batman stories in 1950.

Stan Kaye (1916-67) started work at DC in 1942 as penciller and inker on gag strips such as Drafty,Genius Jones and Hayfoot Henry. By 1944 he was inking most of Wayne Boring's Superman comic strip work.  He followed Boring back into the comic books in 1948 and worked on inking both Superman and Batman up until he retired in 1962.  Kaye squared off and standardized Schwartz's work reducing most of the loopier aspects in favor of a cleaner straight super-hero style.  His Bat-ears were always triangular and his Bat-emblem had long wing spines, usually drawn unevenly.

After Schwartz left Kane in 1953 he went on to teach at the School for Visual Arts and to work producing live and animated commercials and short films for which he won four Emmy's and six Clio's.  His place as Kane's chief ghost was taken by Sheldon Moldoff.