Fort Worth daily gazette. (Fort Worth, Tex.) 1882-1891, 1890-11-02

Our McAllister girls are just now learn
ing how to be photographed beautifully
and trickily. Have you observed and
wondered how well the actresses manage
to look when the eye of the camera is
focused on them2 Well, can tell you
how to do it as well as they do. First,
choose an artistic photographer. No
matter how much you know about what
you want and what to wear, there are
matters of view. and light and shade,
for which you must depend absolutely
upon him. But he will not be able to
advise you how to "make uph your
face, and will probably sweepingly object
to any Of it. That is where he is mis-
taken. If he were wise he would know
how to pose girl, and then with bit of
white and a bit of black chalk make
her lovely for that view. Several of the
New York photographers do this for
actresses, and it is from a well known
comedieune that | got the information
which l am writing out. The stock pose
into which photographers on general
principles put victims over whom they
don't intend to bother is :three-
quarters, which is an abomination to
most faces. There is small chance for
expression; the eye gets no show at all,
and the contour Of the cheek, which is
seldom beautiful except IN children and
child beauties, is betrayed. You will
find they have a rooted objection to
"full facet positions. 1 have never
been able to discover why. l suppose
there is a tendency to raise one eyebrow
higher than the other, or look crosseyed;
but it is his business to look out for that,
though, and stop, if the picture of your
features begins to wander around your
face.
Now in painting a face for photogra-
ply, according to the expert authority
which am quoting to you, the eyes can
safely be made up q great deal. Put
black under the eye, only don't let it be
just one heavy black line. Shadow it
out softly. Biacken the lashes as much
as they will stand, only don t let them
be lumpy. Increase the apparent length
and sweep of the upper lid. by which the
size of the eye is judged, with a line con-
tinuing the line of the lashes, ana par
allel one continuing the line of the crease
that shows just above, when the eye is
open. Draw these only as long as can
be done without their showing as lines.
The actress showed to me a clever pict-
ure in which the effect of very long
ldsutS Is gNtu 10y llucs-pIceuudDif
shadows thrown by said lashes-psinted
above the eye, inst under the eyebrows.
Use red very carefully. Your lips prob
ably need painting into an Improvement
upon their own shape. Do it softly, and
with very faint red. Red takes black.
Look carefully, and you will trace
hard line about the lips of many actress
photographs. Sometimes you don Il need
10 look carefully. If you want dimple
to show specially, you can heighten its
Ii ght and shade little; but unless your
photographer poses you so that the de-
vice does not tetray itself the effect will
be failure. Having thus accentuated
your face, don Z disturb its arrangement
by smile, or smirk, or any other
grimace of expression, when the lens is
opened on you. Otherwise, art and ma
ture will make hopeless mess of your
features. But il you have planned an
expression IN harmony with the make
up, save IL till the last moment. The
operator is bound to grip the back of
your neck with his monkey-wreneh, and
if you hang on to your joyful smile all