The times. (Owosso, Mich.) 1882-1897, 1884-01-11
Sitting For Your "Photo."

When photography was young, and
tho mind Of man not intimate as Il now
Is with that beautiful art, the great
difficulty of the photographer was to
persuade clients that the process bore
no resemblance to the operation of hav-
ing tooth drawn. One may conceive
that it took some trouble to undeceive
people in that respect The camera be-
came an alarming object when the
artist threw a black cloth over his head
and converted himself, rs IL were, into
one large glass eye. The patient was
told not to move-a terrifying injunc-
ton. He was earnestly entreated not
to wink, and the result was the tears
instantly flowed into his eyes until the
craving for winking became madness.
His head was fixed into an engine de-
signed to steady 1t, but which in reality
appeared as If It was meant to crush ii,
and in this position he was told to look
happy, and to think of something
agreeable, whilst the operator watched
him with his hand on the cap over the
lens waiting for the happy expression
to come into his face. It was hardly
surprising that the usual consequence
of sitting of this description was a
likeness the predominant characters
tic of which was that of acute mental
suffering and considerable physical
anguish.
You are constantly coming across
the most extraordinary poses, the most
astonishing expressions of countenance,
the most melancholy grouping. 1t is
not the fault of the photographers; the
sitters will have it so, and object to ar
tistic arrangements. A fond couple,
for instance, imagine that a most pict-
uresque and pleasing effect may be
produced by Matilda sitting on chair
looking up at Henry, who leans poetic
ally over her. In real life nothing
could be more idyllic than such an at
titude; but in real life a particular SUBJ
lection of light will not make Matilda
look like West Indian negress, nor
will Henry's bowed head lead one to
suppose that it is possible for mans
face to consist entirely of the parting
of his hair.
One young lady in the resolution to
look uncommonly pleasing, comes out
as though she had been just about to
ohCCHO WhCh hCi lhChCoo was bdhcu.
An elderly lady of large proportions,
quite ignorant of the law of photograph
ic perspective, insists upon sitting $780,"
and is represented like an elephant in
a gown. People with turn-up noses,
with very long noses, with no noses to
speak of, delight in sitting en- profile.
On the other hand, people decorated
with four or five chins, and CORES
ponding amplitude of cheek, love to
present their full faces. A short man
insists on being taken standing. A tall
man will cross his legs, desiring to APP
pear in an easy attitude, and by pro-
jecting his boot into the sphere of the
lens is depicted as the possessor of
foot that should make his fortune in
travelling booth.
There can be no doubt that actors
and actresses make the best photo
graphs. The habit of assumption sits
lightly on them and they have the art
of smiling and posing SO rs to make
the smile look genuine and the pose
natural Moreover, and this refers ex-
clusively to actresses, they know how
to dress Dress is not everything in u
photograph, but it is very great deal
-BrGdf0,d lPd.) Star.