| Show i li a r a 0 it K 1 r Y r w 4 Y it t r r 1 2 j ji F i ra 4 oN rr AI i c JJ i f J tK ry 3 it r ti t r p 1 C t itY r rr r lx T r. r r r E r 1 j J 1 F f r h p pa a 14 arr arri i f y n t A q d t r R. R t x x vV P f v yi i 3 T y 35 CF i Ariff 7 Cf Af M A T i HIS Is I. the day of the camera It Is the reporter It Is the IttrIS p playwrights playwright's weapon It is the handmaid of or science And as of or yore ore It Is the first aid of or beauty But the camera Is an unthinking thing It Is la the man behind the camera camera camera cam cam- era who turns the trick Particularly Is this true In the interpretation In in- Interpretation of or beauty beauty and an and in the tho cr creation aU n of ot beauty The Tho camera camera has hag hasto hasto to be taught to behave It has to be bo cajoled It has to be told what It must see It has to be bossed Left to Itself as the amateur so o often t has discovered I it t takes k p por por- r- r traits traUs as Oliver er Cromwell tOld toia theartist the artist to paint him warts him warts and all alt Unless Unless' you want the sitter to be bevery very Tery unhappy and probably to say sayS S BO so you you- must do better than this The secret is of ot course as an any pro pro- professional professional expert will tell you that when the expression camera is us used d the real m meaning covers a great grent deal besides the camera J I 1 The Art of Posing First It means the theart art of ot posing er E Every Y sitter is likely to have positive fl Ideas about poses In which he he- he and hend and nd especially lh she she looks looks best But it Is what the tho camera sees that counts and I the photographer must act ac cordingly As As' an artist like Ilke R R. P. P Moody of or New Y York rk will v. tell teU you it Is Is your Individual Individual In In- limitations and Individual od go good points that must be taken into c consideration from the very cry be begin In- In ning If It deep set eyes you jou gill wUl ill not riot be bc be turned away aay from tho light If you have a long nose nose your preference i ference for a down looking pose will hardly be respected and If it you have aye a a. a turned up n nose s you will not fin find the photographer eager to have you you facing the tho upper air The color coloro o t f eyes v a i I fi t L lf- lf A 1 n u ence him A J AU u t lUlU y your pour bati b. b I and comp complexion irregular irregular- It es of ot f feature good and bad sides of of tho tb face and iso on n. n For the treatment of beauty difficulties dUff dUff- c tho the has more moro morel l I tJ than n pose to to help him out From some some e angle with certain curtain sight ight a real real- ly clever ly-clever clever operator can beautify al almost almost al al- most any ny type With WJ h certain light There Thera you have I it t. t i The Th Magic Malic of Li Ligh Liln Lighting is the real reat magic of pho pho- There IB is the matter not only of the k kind nd of f light and thea the tho a amount of light but the direction of 4 light The he direction of ot light IB is of course determined by the pose In fact the two considerations go o toi to to- i gether ther t Moody for example has devised a alight t tw light controlled by y electricity that J 1 gives gl him an absolutely Instantaneous instantaneous eons Illumination so bright that a pl picture ture can be taken In a hundredth p part of a second or l less He has no non n need cd to say gay y Hold that when he gets the right position The c electric b button t In his hand gives h him his hla picture pic pic- 1 ture roat at D. D any y Instant he he may choose What A contrast to the time when i A Bevy Y of Beauties by Camera Camera- Artist j. j M Moody Showing the Varied Effects of Strong M Lighting you had to submit to an Iron clamp What an an astonishment to Daguerre who powdered his sitters sitter's face and held him In a vise for several minutes minutes minutes min min- utes Speed says sas Moody tood Is absolutely absolute absolute- ly h. Indispensable to certain effects In photographic portraiture You want life you ou want expression You can canet set get et only an instants instant's best effect of character and am tho the quicker er that Instant instant In In- stant Is tho the bettor better Sir Joshua Reynolds said Tho The human f face Is my land landscape cape The photographer must study the face fact as long and as closel closely as the painter does but his work ork with the camera must must sum up ill all that he sees and nil that he Kno knows s In a fraction traction of ot time l time before before the chosen expression freezes Into self self conscious conscious awkwardness awkward awkward- ness In other words you OU must do doall donil nil all your our thinking before the moment that c captures d the Image Moody Mooch who hans halls from Kentucky and was an an amateur until a few years ago admits that all sitters are not beautiful but he hc contends that at ait att t can do much to accentuate the tho thele elements ele le ments meats of beauty In tn any face and Uld thata that n a beautiful picture is possible r even rr n where the sitter is not gifted with thereal tho the real elements clements I Ills His ls m method thod of or work worle shows that the picture reaIl really is made mad before belore the c camera mera is opened This may seem to give the camera very cry little credit but the fact is that it is the tho cameras camera's capacity and temperament temperament tempera tempera- ment that determines s every other move The photographs s shown wn on this page reveal Moodys Moody's predilection for fora a strong lighting effect The Tho amateur amateur ama ama- may get from these pictures Borne Bomo useful hints as os to to posing and ond nd lighting and the professional cannot fan fall to find suggestiveness in this typical group of a busy artists artist's points remembering ot of course that V engrav engraving ing Is but a tran translation lation of tho the orIgInals originals originals and that no camera camern artist can be bo fully interpreted on tho the printed page I went into photography h because I loved it says sas the man of or the camera camera camera cam- cam era and to see him work is to believe e that ho be has not lost the sense s of ot fascination fas fas- n. n Snug Snub C a raw was I l ere ero i J saw war guns sp spells the tho same same both backwards and forwards 1 r rv An n Arlist IS ry y yn l r t it Photographer Photograph h er f l t i A r 1 Reveals Revea S t the them e m m 4 r I I J k I Ir Pari of a p Plays PI in F e 1 J tl s r J S 4 tj y r ana l j NJ k V ro y y t YAs F t s' s t tY tr r r 1 Y r Y s1 4 frd f r q r aK 7 rK t r w Y S 'S w t Y t r i r r AI 4 r 1 ba v t. t IS 4 Jr wr y f Nr ry t jn ry S t f Y 2 r s sr r rb f r r G r 1 i ir r T tY t y 4 rl rl 1 rj LF S fr j r r C 2 rr 1 y M A l L S F I r r r N r t tf f Y r i J r rb r rr rb 0 r y I Y N s 1 j ru r lr rJ 1 hC a aC C 1 t 1 1 r 3 7 t I n d ral t y 7 f rj Y r f rt r. r i 4 f rr t x t r r Y rui y r R r rIt 1 It daG t Z Zt r ry y fA t I 1 1 y rr e 1 1 9 r 1 r 7 1 ti 1 l IJ Q i y 1 jr t 1 Y Al' Al t 1 I A 4 i J I f 1 14 b Mfr 1 A |
