San Antonio daily light. [volume] (San Antonio, Tex.) 1886-1907, 1892-02-25
POSING BY THE RULES
WHAT NEW WORKS. PHOTOGRA.
Pliers SAY ABOUT SUBJECTS.

terests ana Exasperates Many.
If you are determined to pose in photo
graph gallery, pose in fashion.
What is the fashion,? Well, as rule, it
is whatever the photographer tells you.
Don't go to the gallery arrayed in an ex.
panse of shirt front with the blacklist of
broadcloth backgrounds. Don't tell the
photographer that you want side view
when study of your facial peculiarities
or inaccuracies, if you will, should con-
vince you that the result of the cameras
sly work will be caricature.
"There are few rules that every one
can follow" says Sarony's artist, "al
though every man needs to have his phys
iognomy made a study of. The one rule
that has become an axiom in our business
is told in two words-'avoid contrasts
There is nothing that discourages an artist
SO much as the full length dress suit pic
ture, with the low cut vest and the ocean
of shirt bosom. The artist must adjust
his camera and his lights for the black
and then for the white. Even white neck
ties come under the general title Of the
operators bette noire.'"
The question of the necktie Is one which is
easily adjusted if you only obey this Sarony
pointer. If your suit is gray or light color
ed, wear light colored necktie, something
that matches. Strain after uniformity in
color above all things. A startling yellow
or red necktie with black suit is as in
appropriate as a black necktie with light
suit.
When you decide to have your picture
taken study not alone your face, but your
physique. If you are corpulent don't have
half length taken, or, II you will go into
a group, have the picture taken full" or
front" That will eliminate Che embon-
point, at least in the picture, and you will
be satisfied with the result of the camera
Don't wear glasses. Some men have an
idea that the CLASHES rim furnished them
by the photographer will make their eyes
look unnatural. This is not So The glass
simply reflects the light and takes all ex-
preston out of the counterfeit present
ment.
ABOUT THE EYES.
Above all things take a good look at
your eyes in clear mirror before you go
to the photographer. Then when you have
discovered one Of three things follow this
advice, for it comes from George T. Bias
sett, Dana's operator. Your eyes may be
deep set, they may be without popularity
or they may bulge In the first instance
insist on sitting well back from the camera,
with a strongly modified light. A poor
operator can easily spoil your picture by
giving it lusterless eye, and particularly
is this the case if he fails to appreciate the
necessity of modifying his light for your
deep set eyes and BEAUTIFULLY arched eye
brows.
above all, don't think you know all
about your nose, for you don't" This was
the emphatic advice given by Napoleon
Sarony. Don't think you know the way
your nose looks best. A lady who has
studied her face thousand times in her
boudoir mirror may think she does, but she
is mistaken. Now, understand, don't say
she is mistaken about how it looks to her
in the glass, or in what way she had best
turn her pretty head. | simply mean that
when she takes her position before the
camera another attitude must be studied.
Ii is the same with men, and men of fashion
know this, and that is why they are easier
to pose than the uninitiated, and can eX-
plain better what | mean by relating my
experience with Mr. Burdett-Coutts, hus-
band of the famous baroness. He might
be called man of fashion, dare say. He
came to ME not long ago and turned his
face as he thought best.
Turn your face the other side" | said.
"Why?" he asked.
You have had an accident befall your
nose, haven't you"
"Yes, | fell from horse and broke one
side of my nose years ago." he answered in
surprise; but" he added a bit nettled.
"it doesn't show"
"Yes, but it does, and that is why ]
turned your face around"
PHoToGRAPHING THE NOSE.
But that will get the worst side in full
view," he criticised
1.-THE mistake he made" continued the
photographer leaving the dialogue, lis the
mistake common not only to nine out of
every ten posers, but to many, a great
many photographers. 1t is the mistake,
may say, of playing the best side of your
face on the camera But you can't fool the
camera Follow the rule that Mr.. Burdett-
Coutts found it so hard to see the value of.
If the worst side of your nose is the left.
turn that toward the camera; then the !
picture will take the line of the good side |
of the nose. If there is depression on the |
left side, for instance and the right side Is |
turned toward the camera, the line of the |
picture will be the irregular line OF the far |
or left side of the nose. 1t seems little |
odd that the worst side of the face should |
yield the best results, but that is para |
dox we work on.
Remember, again, that when you think |
you have determined the best pose for |
yourself, man of fashion though you be, |
you may not have taken account of de |
feet in your nose unknown to yourself |
Perchance your other photographer has |
been always taking the other side Of your |