Evening star. [volume] (Washington, D.C.) 1854-1972, 1908-03-29
Written for The Star.


Nv the linelght in the newest
EEx school of photography.
Wv The man behind the cam
era has discovered that by
making beautiful locks dominate a pho
tograph. instead of being merely Incl
dental 20 the face. he can get an artistic
result that seldom fails to delight the
customer.
Something new is the constant thought
of The Photographic arr. Pictures have
tEeir epochs A certain pose does duty
for decade. perhaps two. if it be very
effective. But there comes time when
the beautiful woman demands that her
charms be photographically preserved in
some new way
Dread Changing Styles.
Perhaps the mode then popular does not
do justice TO her special beauty. There
fore. with the autocracy of womanhood,
she insists that some original thought be
devised for her.
For a long time the only way a woman
would be photographed was in evening
dress and wearing he finest hat in her
collection.
But this photograph always faced the
fatal objection that when the styles
the entire composition ridiculous.
. The so-called chair photograph also had
vogue for time, being especially pop
ular with the actress who wanted to dis
play a good figure.
In this the subject sat sdewise on a
chair with her arms folded across the
back and head resting on her hands. Her
skirts were drawn closely around her.
u-ir0 limo Of lnr 6c-,-r In,
graceful curve
For time this was the rage, but it
had the sape disadvantage as the hat
picture. new style OF gown meant the
passing from the sublime to the ridicu-
lous
To meet the contingency the photog-
rapher has evolved the plan Of going
back nearly possible TO the classic
outlines Of centuries ago. In this the
dress and hat matter not at all, for both
are absent. There is no danger of the
photograph being antedated by changing
styles. for nothing shows but the head
and shoulders OF the fair subject.
Merely the suggestion of drapery
around the shoulders is the only clothing
that figures IN the high artistic compost
ton.
In this photograph the whole art centers
In the skill with which the hair is pic
tured. AT first thought this seems an easy
proposition. In taking an ordinary pic
ture the tresses OF the subject are the last
thing to which thought has to be given
Pufs. cur!s and pompadours have been
arranged with such elaborate care that
they are as rigidly fixed as the clothes the
hu in
where art figures the prevailing modes OF
couture must yield place to the classical
- IheFe must be no CLOSED, primped and
snoothed-down locks. The whole sugges-
uon must be one of carelessness The
locks must fall easily and naturally over
the shoulders. though playful winds
had done all the fixing
y skilled hairdresser may have worked
for hours 10 get the desired effect. but
all evidence of this preparation must be
skilfuily hidden or the picture is a dis
NAL failure.
Women who have beautiful hair al
ways intensely proud OF it. This IS one
vanity that is always a strong one
The lack Of liberal allowance of WON
ans browning glory is the bane of tn.
life OF woman who is called on by social
demands TO keep herself instantly on dis
play Many Of them would sacrifice their
pest features, the greatest charm. to have
me mead OF hair, 10 matter what the
color, brown. black, blond or red
Naturally those who have been blessed
IN this way are enthusiasts over the new
TAD. and are making a rush to put Their
chief charm on permanent record
The most popular effect sought is the
one that makes it appear as though Tho.
hair were being carried out straight from
thu head as though futtering in the
breeze.
How this effect was gained puzzled
MANY d person uninitiated in the secret
or photography when pictures OF this
kind first appeared
One ingenious photographer consented
10 tell the secret. Then he explained that
ne had an electric fan. before which the
subject took her place. Her hair was
hanging loosely. and as soon as the cur
rent WAS turned and the wheels re-
vowed the hair Strengthened. out. in the
artistic disorder demanded. Then the
II,IuTe was snapped.
This story may have been good enough
for the general public, but those in the
profession. who understand the difficulty
of getting such picture in the light of a
studio. were never fooled for a minute
Theoretically d snap shot, the arresting
Of actual movement. ought to be the most
natural and artistic picture imaginable.
But as a matter OF fact the photographer
might take one hundred pictures OF hair