Omaha daily bee., 1914-05-31
HOME SETTINGS FOR PHOTOS
Drift Away from Artificial Scenery
of the Studios,
ARTISTIC EFFECT OF NATURAL
Great Improvements In Photography
Make Possible pictures OF sur
passinE Human In
terenf

HnNfFo OF n0IlfAl nnNAOAIhHh9 hhAAhn WV
last decade. Gone are the days OF the
old-time gallery with It's posing chairs
and head rests and other instruments ~
torture. Gone. too. are the scenic back
grounds. the grotesdue furniture. carved
and twisted into shapes never seen else
where, the artificial palms and all the
numbering paraphernalia which used 70 be
deemed inseparable from the art OF pho
togrsphy
The operator OF former days. who was
usually a fixture Of the establishment
from the time he entered as an office
boy until he graduated into proprletorship,
has practically disappeared and the mod
ern photographer has almost Invariably
received his training in the principles OF
art and has turned 20 photography az the
most congenial medium in which TO work.
From the very entrance OF the customer
into the modern studio he is met with an
atmosphere calculated TO raise rather
than to depress his spirits. In place Of
che old-time waiting room, lined with
glass show cases, It's walls covered with
every conceivable speciment OF pho
tograph. there is an attractive reception
room. where most Of the prints are con-
ceaied in portfolios and only such are
dispiayed as add to the decoration OF the
room. The dressing room Is well lighted
and. above all. fresh and clean. Dingy
brushes and broken-toothed combs are
things of the past, and all the accessories
OF a well-furniahed dressing table are
provided in abundance.
An Atmosphere in Harmony.
But Il 10 In the studio proper that all
the arts OF the wise photographer are
lavished In an attempt 10 make II a place
90 pleasant in environment and 80 har-
nonious in its arrangement as not only
20 give opportunities for attractive back
grounds but, above ALL 10 present the ap-
pearance OF a room that is lived In.
AS little as possible is visible OF the
tools OF the trade. The innumerable
screens and refiectors and mysterious
paraphernalia which struck chill to the
heart Of the prospective Victim OF the
camera have been reiegated to the lumber
room, together with the dusty hangings,
the inevitable chair with the high carved
back, the plush ottomans and whatnots.
Just as in the modern home the 'cozy
corners and litter OF ornaments have
given way to an effect OF more artistic
simplicity, 80, too. in the studio the chief
effort is to suggest space and freshness.
and TO avoid the stuffiness which used to
be considered necessary in we'll
furnished room. Studios may differ In
decorations Just as widely as may houses,
but II the photographer can create an
atmosphere in harmony with his clients
he has attained the deslred effect.
All this effort. however, to suggest a
natural environment at the studio IL, after
all. only a makeshift for the obvious so
luton OF how to obtain characteristic
and unconstrained likeness. the taking OF
the photograph directly in the home. II
is not only the distaste which most peo-
pie feel for what they usually compare
70 a visit to the dentist, but also the self
consciousness. or what is termed by
many. their picture expression. which is
Increased by being placed on view. as IL
were, in an alien environment.
Home Accessories Utilised.
II lsa great mistake 10 suppose that
the lighting OF the ordinary home is not
adequate for photography, or even In
most cases. for an instantaneous ex-
posure The advance in speed OF the
modern plates and lenses has been as
great during the last ten and fifteen
years az was the speed IN the production
og the old-fashioned photograph over the
daguerreotype, when from two TO three
minutes was a very usual exposure to
give to the negative. II ia comparatively
easy now % catch children at play Ia
their nurseries. for the fraction OF sec
ond win suffice for the exposure, given a
GOOD portrait lens or a we'll lighted room,
while for older people there is rarely any
trouble IN the selection OF any spot which
- a characteristic setting for them and
which forms a suitable background.
One can either utilize the accessories
OF the home or eliminate them altogether
by throwing them out OF focus or by in
troducing a plain screen or whatever one
desires behind the sitter. But one OF the
advantages Of photography Is the ease
with which II reproduce all the familiar
details. and no backgrounds made 10
order, or accessories arranged In ad-
vance, can compare IN charm with those
caught almost without planning at the
home. The grandmother In her chair bS
the fireside. the busy man or womRv oi
affairs At their desks. the society woman
IN her own drawing room. the artist al
his easel. the mother with her children
grouped about her-ali these offer suEVes.
tions for plctures, intimate In association
and Individual in treatment.
A Mistakes Motion.
II Is a great mistake TO suppose tha'
more artistic pictures can be made In
studio than In the home. The stereo
typed llghtings OF the studio are usual,
a. unbeeoming as they are unnatural u
effect. and the modern photographer whei
he works In his studio is apt 10 scresI
his skyllght and to utilize only his w1R
doWs. except In the case OF a group whet,
he wishes an equal lighting over ever,
one. or IN the case OF a child. where
very quick exposure ls advisable. II q
not only that the lighting which come
from the usual windows OF a home q
more natural in effect, bat Il is also al
most invariably more becoming-th
modulations and soft hAlf-tones whlci
come from fairly small aperture glvlnl
q variety and interest which are invarla
bly, lost when a larger volume OF igh
spreeds equally over everything.
The photosrapher. therefore. rare.l
nrinss with him any stock background
or Fefleetors or any OF the cumberson,
naraphernaiiA formerly considered ae=...
able. and trains himself 70 utilize th
materials at his command 10 their bes
adyantags.
OF the recent advances in photography
materials. next to modern lenses ana fas
nIafea fha rJea ~ en- Fffr,a fr.t..a 4.