New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-11-08
.,oro N. assembled company and examining the
resnlt In the mirror afterward with critical anu
fas;idicus eye
FRANCIS WILSON'S MODESTY.

FRAN1lc NfiIoO-> - hObHoA'
Francis Wilson IS an exception to the majority OF
actors in that he strongly diskes sitting LOT MS
n,cturs lie regards 1t as a disagreeable adver-
Using necessity and likes to have 1t over as soon
ne possiblc Nevertheless. he Is an excellent sun
iect and takes the ridiculous poses when OIL ''',
stage are familiar to every one. with an ease aI r
N keep them long. and the photographer VINO Lar
10 snap him at the right instant Is likely 10
hood OF n camera pcrsistently as ideas or busi,
ness viii allow and seems to prefer to be tak u,
iapned is one who is not fond of being photo,
graphed though some exeellen, pictures OF hf Miss
Naildc Adams would not visit studio II she weh
are charming that every one graeIu are Of the
allows herself to be persuaded. rev NOR VI rue
exceptions might DE nrof oui il rot averse
being pictured for The public ... Interesting
one in relation to the subject For the studio light
must be entirely diterent from in '' nlhotograph
consequently rouge would only be r n,,chin no
stead Of Aid 10 BEAUTY ThC pr d ipe eyeSro%s
and flashes. with perhaps "A touch OF powder to the
skin in some places. Any imperfections w'irn
ppict,r.s which in the case of theatrical subjects
more than others, must almost invarianiy nmt ode
smooth al clear. but even the lines of the face
and figure can be changed by the pho'os i, Tho
art This H. done with the utmost care iest tue
likeness be injured. but the alteration which III IL
produces is rather startling when one nbatoeraph
~ IL only inst as a matter OF fact. to make the
picturc look as well possible. Tor even then IL
seldom EQUALS the effect of the real HE ana color
which one sees in the player behind the footllghts'
4 SOLEMN FUNCTION.
Maurers custom of being followed to the studio
by so large a number of people Is not initiated by
many other stars. Many Of them. however nave
besides the maid valet the company OF the stage
manager He is there determine the SITUATIONS
which ne wishes depicted. lf he does not iahc! d
sem. and does not consider II one when mas
sufficient character To please the popular taste, ne
cxurcssos his opinion ana some otner pose ~ tTieI
II Is not uncommon for the photographer MIN
self TO 10 10 the theatre beforehand, ana make
for amera work Then he is able TO suggest Ideas
fo the manager who sees the matter. OF coufse'
from a slightly different point OF view. bur gener-
ally appreciates the value OF the photographers eN-
perencc. 49,, ,.,a, roo,,,ro .,,b
crate stage settings 1t Is necessary that the proc
ess be performed at the theatre. This Is usualiy
done at rchearsals ana the most common methou
l. 10 employ the nashght. There are. however, all
The Unknown objections 20 this startling form or
staring expressions on the faces OF the SUBJECTS
dazzled by the binding powder-tias n Detter.
INT much more Troublesome ana costly way, ~
IN have the stage Illuminated by a large NUMBER OF
cleo tr!c lights. that the picture can be taken
lust as in ordinary uisht daylight. Severai years
ago many large scenes from The RaJah. playing
al what was then the Madison Square Iheatre.
were made In this way. The stage was prliIiaht
with the light from forty electric lamps, ana the
plates had TO be exposed only TOUR SECONDS each.
evening performance ended. and with the arrange
ment OF the different scenes. and the many ncccs-
sar; changes OF costume. IL was o'clock In the
morning before the work was finished