The new North-west. [volume] (Deer Lodge, Mont.) 1869-1897, 1885-09-11
GETTING A GOOD PICTURE.
4 Photographer Talks About the Mys-
tories OF His Magic Art.
tChlcaoo uaraldt

tsries Of His Magic Art.
ICh.cago Herald
photography" said q leading sunbeam
artist, "is an art that Is readily understood
by one who has quick conception. ready
adaptation. and nImbe fingers besides Q
pronounced sense for the beautiful Once
obtain negative. and 1t may be repro
duced, like an engraving. to any extsnt
Every lover of science should onderstand
photography sufficiently to enable him to
use the camera and prepare plato. Think
what photography has done for the legal
practice, especially in criminal cases, art it
self, military science, astronomy. medicine
and allied sciences The power Of the SUMS
pencil, IL ! may use that word, In giving
minute and subtle indications Of expressions
in the human face has made it . valuable
ad junct in psychological medicine. Tho
power Of words to explain certain types OF
insanity Is feeble as compared with the
whole aspect Of the patient and expression
Of his facs-these the photographer can give
with unerring certainty"
lL@But how doyou get att, interrupted the
reporter man, anxious to learn something
about the tricks Of the trade.
II see you mean business" replied the
artist, smiling snow sit down and will
give you chance to 500 tho inside by de-
veloping q negative Of your own good
natured face. shall employ the instantan.
eous, or. rather, dry plato, process to save
time. Be seated, please"
This the reporter did, but before he was
initiated into the mysteries of the art the
photographer took occasion to deliver a lit
tie lecture on what the sitter should do,
or rather, how he should behave
THAT will never do" said the artist
"You must not wear q forced smile while
sitting, or your friends will bs shocked at
the horrible grin which you show in the
picture. No, you must not be unnaturaliy
serious, either. else you appear as one with
sinister motives. Look perfectly uncon-
scious of what Is going on, neither expect
ant nor tickled by sense Of your own Inn
portance. So, that will do for the face, bot
you must not present your broadside; you
are too feshy for that The posture should
be easy and unconstrainsd; the feet and
hands neither projecting too much nor
drawn too far back; the eyes directed a
little sideways above the camera. and fixed
on some object No, not on the appar-
atus," said the artist, when the reporter
looked that way. "Never allow that to be
done. 1t will make you look dolorous and
dissatisfied. Now, you are rather stout, and
shall place you at distance from the
camera, and sideways to it. Persons of
slender proportions make sit full In front
and nearer to the camera. A thick hand
like yours should show the thumb In tho
foreground: slender hand had better show
the back; handsome hand ought to show
full two-third view, with the fingers hang.
ing down. A full. round face, with large
mouth and small eyes and nose. should be
taken in half profile, so rs to show one side
Of the face in full, with very little Of the
othef side. A moderately full face. with
aquiline nose and handsome mouth and
eyes, may show a three-fourth profile. Only
countenances with strongly marked features
ought to be taken full in front" .....
Toward the close OF his remarks. the art
ist ad justed the slides In front of the lens
Then he pointed to a bust Of Garfield, which
stood on q small stand in the studio, dag
onally across from the reporter.
"How does that strike you as q liksnessf'
he asked. The sitter looked in the direction
indicated. Before he could articulate tho
words: "Quite natural" there was a sharp
click-the sides Of the camera closed, and
the scribe's counterfeit was fixed upon the
negative plate.
"Thank you" said the artist, ayou had
just the right express on, and hope we
have got good picture"