| Show nOne n iOne i- i T Wr f 9 N w r J t ir Jf f. f J r f ls' ls 4 1 S' S Series One enes of 0 of f. f a i L r J tl r t y ri l rt- rt t I 1 r hl s. s L. L 1 1 1 t 1 1 t V 1 v V D Dramatic ramal to Y I H l' l ir ll Jf I J I I f J i t l' l 1 I lio t. t r f t J i Silhouettes b bI by 7 M. M i j 1 e iF r e v vr L. L r Carl Sg Co W y r. r r Y r d y 1 it r r t rIF I l I. I 1 j I I f t 3 i 1 T 1 ha L r n r 1 i nr r r I t li t Ln f C nn S 1 told c Jiu i I l' l i 1 r 1 ir IJ J r. r 3 J 11 r ii r r r i-i i d f. f I f 1 t rj r- r I j P f. f P i i iI I V rf r f r.- r. l 1 1 t L L J i hI t. t j t 1 I 1 t F i 7 I- I I y f N Ny l i k y 1 v r I. I j c. c t j t s Y 1 d r h i L i k f f 1 t I r I 4 1 a t eo y y a v r A i yr S i E t F Jr L r r 1 r. r S t l Silhouette t r I. J 1 1 f jL ia z r V 7 r t j 1 1 i c. c y 4 f I te by r C 4 1 ll C WI How Shadow Portraits and Studies t Are re Made with the Carl Camera a and Why Artistic Effects e Yn h rr r r w Are As Difficult As Fully F Lighted Photography i.- i. I lw r y fI fIt L t b bt t 1 t j f t j 1 q j li L x xI 1 i I 0 ry L Childs Child's s w Portrait 1 I vet vets t i. i 7 1 f r 1 1 r t U 1 v. v b s II I J HE silhouette was first made madeI THE fHE I famous with the scissors and scissors are still used to snip out paper portraits and caricatures recalling the days dars when hen there was photo photography aI br The newest furore for silhouettes enlists the service of or the camera and shadow portraits arc are now non a fashionable fashion fashion- able ablo novelty Silhouettes made with the camera are produced In various y ways Among the first photographic silhouettes were those made after the manner suggested In the diagram printed on this page The sitter is placed with profile to tho the light On the side opposite opposite op op- to tho the light is hung a sheet on which the sharp sharr shadow is thrown The Tho camera stands on the side of or trie rhe sheet opposite to the sitter copying coping copyIng copy copy- Ing the shadow as it appears on the sheet Naturally copied In Inthis Inthis inthis this manner mann r are as the artists say perfectly flat fiat that is to say ear true silhouettes Recently photographers have made mado madea a stud study of ot direct silhouettes silhouettes figures figures placed n against the light or on the tho same sarno side of ot an illuminated sheet that is occupied by the camera This method does not always make a completely completely com flat fiat image Sometimes it rims the image with light or at least gives it a soft edge If the figure is draped with filmy material the transmitted transmitted trans trans- light silhouettes tho the form J A Conversation with the Venus de Milo I I 1 A fy r wl t j b y r Ty F r rr r l I Tr j h Ar sra r 7 d r I s r t r rY J Y Yf f s I 13 r W yr f I Fal i q Tr A 4 f rl J f A Y Y Y t tra r 1 f ra f c Ln y JI t Y d' d l ws y Lt by I y I s 4 i r W I I ij I I 41 S n. n N i o oI Y w ti Tk Yom r Making a Photographic Silhouette Silhouette Silhouette ette Through a Sheet The Camera Is Placed on the Side of the Sheet Opposite the Sitter while maintaining the drapery lines and the effect Is now tho the subject of ot much attention by artists in photograph raph raphy Carl of New York is among tho the students of this branch of or photographic art who have havo turned out ambitious work from the art connoisseurs connoisseurs con con- point of view Naturally the photographic difficulties difficulties of tho silhouette are arc consid consid- erable crable The timing has to be just justas as ns carefully considered as in the case of a full fully illuminated portrait if tho the Image and light ground are to bo be in brilliant contrast without that photographic photographic photographic photo photo- graphic distress known a as halation The posing too has to be done with skill or there will be Le little that thatis is characteristic in the case of or a por per portrait portrait trait and little that Is permanently pleasing in the case of oC an artistic stud study How Now much of or action fiction and oven cven of t r A AY Y M t 1 r f t t r 41 r v 4 t F tSi r h hr r vivid facial expression may be given to a silhouette is shown in the study In the Uie lower loner left hand corner of or this page Notice hero here the smile on the face of the girl It seems to be as complete te as If It every even line of the face were rere shown This brings forward the fact that the tho silhouette leaves so much to tho the imagination that the slightest hint of oC personal expression is quickly met by the eye ee and the lines of feature quickly supplied There mast must howeY however r be an In artistic artistic ar ar- ar- ar basis simple natural and graceful graceful grace grace- ful enough In fn balance to keep l the unit unity of the design An awkward pose will look more moro awkward in a silhouette than In an ordinary nega nega- tive The silhouette-maker silhouette Is obliged to remember too as aa a pre pre eminent eminent consideration that the pose must cast Its meaning in a true profile profile- that the profile pronto must not be partial but complete A throe quarters face for example will show an abbreviated nose and an imperfect suggestion of character Silhouette albums resembling those that once constituted the nearest nearest nearest near near- est approach to a modern modern portrait album album album al al- al- al bum are coming into fashion but amateur photographers and professionals professionals professionals who take the connoisseurs connoisseur's view are the chief exponents and enthusiasts The rhe profile Is all but universal yet front views are often extremely Interesting interesting In in- though the they leave every facial feature to the imagination Often Orten the 11 picture Is improved by bj the use of a black border or a black frame Framed silhouettes give a charming touch to a room where here they will give a first Impression of or being preserved from a past of 50 years ears or more Many silhouette artists who formerly formerly for for- merl merly used tho the scissors or the brush in producing silhouettes are no now using the camera to make their first study It might hardly be acknowledged acknowledged edged that art could add anything to toa toa toa a true photographic record but art arthas arthas arthas has proved that It can add by br sharpening a crispness and a personal personal personal per per- emphasis to the record of tho the camera A Behind t the Sheet Portrait f. f A f F 1 r Ff 1 f r t t rr r r r J IrB i J i 1 J oN y i r ir i 6 J. J r C J I 1 i 1 1 4 I i- i oJ r 4 VV S- S t A Adies Stu Studies dies r I oi 01 y Draped r c r Fi Figures es A 1 i iI f Y Against Made Mad e l t. t I t an r i. i f 4 i r J I Illuminated t Sheet Sheet Shee t w r t r 7 4 S n I The Fi Figure tre Ar r rIs Below Made Is r y y ti j rr F Ft Against an r t c ii rf Ordinary f Window Light N t i I Jr Iv 14 Y F J rt M M 1 i 1 X A A i A yr t Ii s fi fir t r d i r z I J rr e t x r qA l 4 ti t t r w rt 4 1 t I I IY 1 Y fr y 4 f 1 I I t S 'S Sf Sr f r |
