Omaha daily bee., 1913-10-26

1 IOBTdphy mas DVOh man
4 lESFStAl ing wonderful strides
49, both as a science and an
art, but the portrait photographer
has had his troubles and he will con-
tinue to have further troubles in ad-
vaneing his profession.
In overcoming the difficulties Of
portrait photography Omaha's pho
tographers have won credit and re-
ceived acknowledgment from the
whole artistic world Such names as
Sandberg & Either, Lumiere, Heyn,
Rinehart, Osato, Cady and Rem
brandt, as Omaha Photographic stu
dios, are known we'll throughout the
United States and before two years
have passed will be familiar in Paris
and Berlin, for after winning recog-
milton in art exhibitions in Kansas
City and Philadelphia at least two
photographers of this city will be rep
,esented at European exhibitions.
Work is Fascinating
There is strange fascination about
the work of the portrait photographer
"a lure that has drawn into this
field the most able artistic talent in
the world, driving men and women
from paint and palette, oil and water
;olors, to the soft velours of the film
and plate product. Since the days of
the old tintype photographers have
sought to catch the soul of the sub
ject," but only recently have they
been able to bring the art to such a
fine perfection that the most elusive
expressions are captured and re-
tanned, through the process of devel-
Dpment and printing.
While color photography is receiv-
ing its share of attention and the
touching up work is by no means
ignored the great ambition of the
commercial photographer is to not
only become proficient in these, but
to so perfect the portrait photograph
that it will be, not simply a symbol
in lights and shades, but, like tho
work of the great masters, a thing
alive.
Wonderful Results
1T is wonderful" said a clean-cut,
his eyes every detail of portrait ex-
hibited by a local photographer.
Look at the eyes. the mouth, the ex-
preston, The portrait seems to be
on the verge of. speech" And the
photographer standing back IN the
crowd, hearing this, was greatly
pleased. for he had done his work
well--he had caught the soul of his
subject" He had produced a piece
of merchandise for a price, but in do
ing this he had done more-he had
captured a priceless thing.
Artists may toll long and lovingly
over their canvasses, completing after
days of labor and nights devoid of
rest, a life-likeness of man or
woman, expressions masterfully de-
picted with deft touch. These artists
may put into the smear on the can
vas the hopes and despairs of great,
ambitious soul. Their work may be
good, but in all it's fineness 1t does
not attain the mechanical perfection
Of the portrait photograph.
Not Everyone Succeeds
Naturally not every portrait pho
tograph is a work of art, nor does
every photographer catch the evanes-
cent something which will make the
limp canvas or the dead paper radiate
high emotions. Neither does the art
ist. With the latter there must be
within himself the power and the Wis
ion-and a model passing fair. The
photographers chief hope rests with
his subject. Any stupid person may
not walk into the photographers stu
dio and pose for a masterpiece. The
photographer may do his best and
the best may be very good, technically
excellent That is the mechanics of
the trade. The product of real art
"a OARA OocAOhg - AAAShbE VI
smile, gleam in the window of the
soul, light of love on the face, high
hope, horror, fear, hate. transmitted
by the alchemy OF the camera and
potent mixtures into shades and lights
and sepia.
Chance plays its part In the por-
trait photographers work. Beauty
may become commonplace in portrait
ture; ugliness and the grotesque by
that indefinable magic of express
on" may rise to the grand or the
sublime. II all depends on the fleet
ing lights of the countenance at the
instant the camera snaps.
''smile," and It's All Over
Smile" the artist admonishes,
hold it. All over" And the sub
jeet perhaps sat there with a silly
grin on his face OF into his brain may
have crept, out OF the latent emotions.
a memory of the May-tme Of life, of