Elmore bulletin. [volume] (Rocky Bar, Idaho) 1889-1906, 1892-10-23
POOLING THE CAMERA
Painted Faces May Deceive the Lsnse
of the Photoxraphers

Of the Photographer
Some Of our girls arc learning how TO be
photographed beautifully and trickily.
Have you observed and wondered, said one
Of the most celebrated Of the camera men,
how well the actresses manage TO lock
when the eye of the camera Is focused upou
themi Well, ] can tell you how to do 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 abb
solutely upon him.
But he will not be able to advise you
how TO make up yoar face, and will prob
ably object sweepingly TO any such device.
That IL where he Is mistaken. IL 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 now. The stock pose, into which
photographers, ON general principles, put
victims over whom they don't intend to
bother, il three-quarters. which Is an abom-
ination to most faces.
There Is small chance for expression: the
eye gets no show Mt ALL and the contour of
the cheek, which Is seldom beautiful, ex.
cept in children, Is betrayed. You will
find they have rooted objection to full
face positions. | have never been able 70
discover why. There Is a tendency to raise
one eyebrow higher than the other. or look
cross eyed: but II IL their business To look
out for that and stop you IL your features
begin TO wander around your face.
Now, in painting face for photography
the eyes can safely he made up "a great deal
Put black under the eye. only don't let il
} be just one heavy black line. Shadow il
out softly. Blacken the lashes as much a.
, they win stand, only don't let them b
; lumpy. Increase the apparent length and
sweep Of the upper lid, by which the sizs
! OF the eye IN judged. with line continuing
the line of the lashes and parallel ons
continuing the line OF the crease that show,
just above when the eye is open. Draw
these only as long rs can be done without
! their showing as lines.
An actress obtained a clever picture, II
which the effect of very long lashes Is giver
. by lines, presumably shadows thrown By
said lashes, painted above the eye, Just un
d. the eyebrows. Use red very carefully
Your lips probably need painting into al
improvement upon their own shape ID,
. IL softly and with very faint red. Re-
takes black Look carefully and you will
: trace hard line about the lips OF man.
actresses photographs. Sometimes 20,
don't need to look carefully. II you wan
. dimple to show specially you can height
: en- its light and shade little, but unles
. your photographer poses you so that th
device does not bstray itself the effect viii
8 be n failure.
Having thus accentuated your face dom
disturb its arrangement by smile o
!. smirk or any other grimace Of expression
1 when the lens is opened on you. Other
wise art and nature will make hopeless
mess of your features. But IL you hav
planned an expression in harmony witt
\ the make up, save IL till the last moment
The operator is bound to grip the back O
= your neck with his monkey wrench, and
you hang on to your joyful smile al
/ through that ordeal you will get SONS
a thing demoniac and wild to send to you
! friends New York Sun.