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Show - - THE SALT LAKE TRIBUNE SUNDAY MORNING, MABCH 31, 1929. 2 H i - A Famous ! h I Camera Portrait Artist Sixggesl ions a Few Fair Stx Gives the i ' Her Dest Jinotoera phing Every woixLt t ' ; On Wia .W'yc;;anc Flow to Make Up" In Order Thai Their Picture Will ' " t . ,k .... . - Always, Be in Style and Reveal Beauty; 7 'V ' n Author Dorothy Canhid. i I Vm and (nit picfur reject nr partonality, loot tf ptnpRcity. f ' ', ".' Sculpt ' ',''" Mara A i' , ' Emma . . tier ph period totrapk m n artfully conceal A .tht peat in ai maift. picture - n ffy deulAh OMEN tillotson frequently wonder why ana 10 year ego, but the foM end picture, hat conceal cleverly die periti. . . . The tketch at tht the left io M'ut Darothg DiaL A feather fan id ih handt U. S. Senator Nathaniel Did iaaghUr of ene-6', . . jAei Ao accettariet can be uui for pictorial lalten ffoW " photograph Julia Ho$t ;-.s ; ThU ' ', -- HO tell-tal- me ' cfecf. 'T0 NOT type of photo ' matfe graph about tfn tarn as ; . v.... . ' i their portrait! cannot be made at effectively as those of actresses. They may admit to themacIvM thsl thpv ara nnl i UautifuL but they have the feeling that if they photographer might Were truly' appreciated !W . kive them the pleasing general effect and attractive pose, though they do not have I Betty Compsoa face, be obtained." uyt jLouis3uc& affect eeuU the active head of trie Fabiai BachracK brgtju ration whkh bears his name and which In lhi$ camera portrait of Actreu lutine Johmon photographs thoutaodi of women and girls 4 there it nothing to uiggett the ifje of tht day in which jMinually, "if women knew how to dress for it wa$ taken. photograph." Tht actress hat learned to tak orders from people. She it before the (All photographs on the page reproduced by courtesy of Bachrach, Inc.) amera all the time. If a photopapher advises uweaa or powoer. sne usiens. wnea Cam her certain gown will not photograph well, perhaps of it color, even though it may be her favorite , M account t . one. she listens. . "But women have little idea how often they have themselve to blame for a poor photograph." uy Mr. Bachrach. "An artist may be powerless to get the desired result, simply because some detail, as simple a the use of rouge on the i "j lips, has been overlooked. "Women would do muck better to leave their dainty compacts at home when they come to the studio and bring a jar of vanishing cream with them instead," he continues. "Red photographs black and rouge is very likely to give a 'smudgy' hard look to the lip when appearance on the face or reproduced in photograph." On the other hand, he explain, cream applied to the face ,j before the sitting and carefully removed give a texture to i 5a ". the complexion which the camera catches to distinct adI i vantage. The only exception to this rule he would, advise is in the ate of a woman who hat a tendency to have oily skin, when either no powder at all or a small quantity might be used. cm " le ..'.! They suggest the graca of Gainsborough duchess. Soch hat forme frame for the face, thus making a picture of the 1 - I - 1 I . l l1 ' V '' ... ' 1 " 1 r - - - RESS simply 1" urges Mr. Bachrach. And he adds. "I wish I could say it abound the world." Frills, a dress with complicated line, heavy embroideries, floral pattern or spangles are almost certain to make a sitting end in grief. f r y S oome women come to the studio dressed as though going to a country fair and are disappointed with results. What they get is a fine portrait of a gown. It they could only learn that the simplest costume is the most flattering." The portrait of Dorothy Canfield. the novelist, shown on this page, is a striking example of good taste in dressing for Her position gives her the right to display a photograph. Had she chosen, she might have taken the of elegance. opportunity to-- reveal the possibilities of her wardrobe, for she must have known that her photographs would reach many Yet nothing could be simpler than the gown newtpapers. which she chose for the photograph reproduced above. "When a woman makes a sitting appointment," suggest Mr. Bachrach, "it would be wel for her to have a private She should scrutinize each gown for the fashion show. a . . v. t t l one best adapted tor photography, it may by no means one. ner newest be ' "The one her friends call chic and or the tone she is planning to wear that afternoon at a fashionable tea may be the least adapted to a good portrait The best one she may be about to send to some chanty sale. For, in five years, the mod if h one is almost sure to look foolish. I,- : Edna DetU famed English toftened a lonf necfine by tht tut of ample fit piece. acdrea portunity to make clothes I - , .: -- k - I -.. It AT ivi ACAZINES .. t(IXTOMEN have taught us this themselves. It is not ; simply an eccentric pose on our part Years of watching the photographs which they eventually elect when they place their orders have proved that they choose simplicity." Mr. Bachrach is brave enough to say. "If women would ' bring several gowns with them when they come to the studio, photographers could better help them to get the photograph of their dreams. For photographers have, of necessity, become quick judges of clothe values. And of personalities. too. It is their business." ' Supporting the plea for simplicity. Mr. Bachrach submit as evidence the portrait of Julia Hoyt. reproduced on this page. y , 1 But street hats are dangerous, except, possibly, a close turban, and they are not nearly , as flattering in a picture as the ' arrrer hat In years to come hat the ordinary present-mod- e give the secret away. Portrait painters generally suggest the type of gown in which they wish to paint a sitter. Sargent was a past master m such advice and the dresses of his portrait subjects were remarkably chosen to enhance their personality. More and more women likewise, this choice to The the portrait photographer. perfect photograph is too much to ask of the photographer who, with his knowledge of the effects of line and color peculiar to photography, is given no op- suggestions to his patrons. Stout women should wear black or a color that photograph dark. A low V neck is a help, long string of pearls or a chain. The popular choker bead and lavish jewelry should be avoided. On the contrary, thin people should avoid the emphasized V neck. A dress with a rolling collar is likely to be more becoming. A fur piece is flatter- choker beads. ing. So are . I una 'T . TIUCU UKTJ UU J UUI W Mr. eentueie thinness. Bachrach say that long V- almost always profeeling of stateli-neThis, he points' out, - k generally accomby lengthened dress plished no i or string of fight fold,.' to be photo" colored, bead, such as '. graphed. . . . pearls or crystal. ttreei Women who wear their This picture was taken about 10 year ago, but elaborate . hair short and who anticithe rich simplicity of her gown with its lovely . gewnt, c h t of profile portrait , pate flowing lines might have been bought on Fifth ebek overdrettineu . . . would do well to bring avenue last week. i art not wiled to artiitie pictures good fur piece with them. It' "And here is another point," he adds, with for many peart. soften the line at the back stilT before the lovely portrait of Julia Hoyt him,, of the neck as nothing else Hat "Notice the oicture hat she is wearing. ' can. . of thi type are very desirable in a portrait for eflect created with, was the A averparticularly attractive, softening they change in style very little and are flattering to in the photograph of Edna' Best, the beautiful! a 'fur piece face." y age me English actress, which is shown on this page. indicates their suitability tor a portrait lheir . (Cot Jo V. 8 a.) '. 19i3 JiA aiagMij;-jU- U4 line duce Tftt's cWrm'ng ovlJ'tor photograph of Ar. . Philadelphia Per 4. C (fiVener thowt no tociety woman, and her ton hemline, fill bt a modith portrait for years. ... Hoi Aid, . T t alter the personality of the sifter it an art in become unnatural at toon at they find themselves before the camera. A clever artist resorts to many little ruses to bring out mannerisms of the titter which will make his photograph express hit personality. ' He may place a table near her, leave her for a minute on some pretext, or busy himself 'about flie posing room, and when he returns she herself will have suggested the first characteristic pose. Even though one may not know the person in a photograph, one may sense the fact that it it a frankly characteristic pose. Mr. Bachrach is anxious to make clear that ho doe not urge simplicity in a portrait tothe extent of making it harsh "Pictorial effect" he says, "i very much oi uninteresting. to be desired.' A photograph should be more than truth to personality, expression and likeness. This is brought about by the skillful use of lines and proper balances Accessories are often a lorgnette, a beautiful shawl, flower, a fur piece, helpful a" fan. The photograph of Miss Dorothy Dial, daughter of former Senator and Mrs. Nathaniel B. Dial, prominent in Wash- -' ington's younger set, is a good example of the use of accessories for pictorial effect. Here a graceful feather fan, interrupting the ,urve of the chair line, is distinctly pleasing. PORTRAYING often - ' ver-na- ' are so full of suggestions and advice for the stout lady that it hardly seems possible that they need to be warned against trimmings, ' figures, plaids and horizontal line. The results of their use are even more glaring in a photograph than on the street "We photographers," say Mr. Bachrach, "have our troubles every day with women who do not know how to acquire the slenderiz- izing line in their dress." . f. ' whole. ' "D' make elaborate preparation for the sjtttng.'' continue Mr.' Bachrach. "It k a mistake to com Avoid directly from the hairdresser to the studio. '" ' wearing a dress you have not worn before." Absolute ease and naturalness teem to be essential to the picture which the sitter is going to like. Hair which took set and done by someone other than herself, if she genet ally doe ii herself, should be avoided. It i very well to visit the beauty parlor the day before for a shampoo and a wave if the woman wear her hair waved regularly. Tf she doesn't, it is a grave mistake to have it waved or arranged in any unnatural way for a photograph. of women who choose their dress With the wisely, a photographer can make a portrait which will defy time. The bridal portrait of Justine Johnstone, the well known. actress, shown on this page, waa made several year ago. Note bow, by the careful arrangement of tha veil, there it nothing to give away the style of the day ta whkh the picture skirt length in evidence. No was made. There n no tell-taother feature of the gown can possibly mar it beauty 23 ; , year hence.' Another example of such cleverness is tha posing of tha Afghanistan hound in tht) foreground of the outdoor portrait of Mrs. Peter A. B. WidenerH, Philadelphia wciety woman, with her little son. Here again, the hem line it not disclosed, and the general simplicity of the costume will add to the length of time which the portrait may be displayed with pleasure. . . Another artful way to defy time is to choose period gown, when it is particularly becoming. . This immediately suggests the quaintness of an age in which the wearer could not possibly have lived. Mist Mary Emma Flood, a young sculptor in New York, photographed to decided advantage in such a dress, a the reproduction on this page indicate. It it a photograph with pictorial charm. It will never attach itself to the middle 1920's. when it was made. j e time. t" i ' .' are just now beginning to may be accomplished through the use of music in connection with sitting. Experiments have shown that the whole mood of the sitter may bo changed through the effective use of appropriate music It it undoubtedly a field with which photography sooner or later ' must reckon. . "Choose a good photographer, one who it a true artist, and then leave the whole sitting to him," urges Mr. Bachrach. The photographer knows you are likely to feel stiff and unnatural. Unless he is sure you feel at ease he will make an attempt to find out just what mood you are in. He realizes the absolute necessity of having you entirely relaxed in order that a characteristic photograph may result It it to your, distinct advantage that he ascertains thi. If he cannot judge it by the appearance of the titter' bands or from her pose (whkh he hat no way oi knowing it not one of natural dignity and reserve) be can readily deter- -' mine ft by tilting the head with hi hands in the first or second trial pose. Naturally, he does it at though he were putting ; the person u. a more attractive position. Nine timet out of ten the artist, who it a psychologist a well, it trying to determine, by the way the muscles of the neck respond, whether the subject relaxed or strained. He it at anxiout that your photographs will be characteristic snd natural as you are. He is watching every move you make to get his cues for the photograph over which your friends will exclaim, "How beautiful and how natural!" PHOTOGRAPHERS 4 |