Family ties have been rendered tighter by the stress and strain of the great War, a fact which photographers have been brought to appreciate more fully than most people, because they have had to meet the demand for soldiers' pictures, which after all is founded chiefly on the sentiment of family.

To revive the vogue of albums would be of continuing benefit to every photographer, and the popularity of folder mounts lends a good deal of help towards accomplishing the revival, because prints placed in folders by mere tipping with paste are easily removed for mounting in the album, a far easier thing to do than to place solid-mounted prints.

Then modern methods of copying and reproducing render it easy to get older photographs copied so as to fit in with the more modern pictures in the album.

The present-day photographer has a decided advantage in having had an album devised especially for the purpose, that overcomes the objections to the old style family album, and which will hold almost every size of portrait made by the modern studio.

He has the added advantage of a great amount of general publicity that has been given this album in an extensive advertising campaign.

With such advantages, with a good profit on the album itself and with the stimulation of business that will undoubtedly result from the return to a more general use of the family album, there is every reason for the photographer putting forth his best efforts to reinstate the family album in every home. Write your dealer about the Eastman Portrait Album shown on page 28 of this number.

New Mounts

The Canadian Card Co. is using this month page 32 to rouse your interest in the 1918 catalogue they have sent you.

Make certain the salesman shows you the line.

THE WORK OF THE LEJAREN A HILLER STUDIOS

That photography is not lagging in artistic progress is indicated by the accompanying examples of what amounts to an entirely new field in picture-making, to wit: Photographic Illustration.

Heretofore this ground has been covered exclusively by artists of the brush, pen, charcoal, etc. But within the past few years a new note has crept into this department of the magazines. The Saturday Evening Post,

New Mounts StudioLightMagazine1918 58

"I MEAN," HE EXPLAINED, "THAT I AM SURPRISED TO SEE AN ABLE GIRL SUCH A FOOL AS TO MARRY JASON"

The Lejaren a Hiller Studios Courtesy of Saturday Evening Post

Harper's Bazar, Hearst's, Mc-Clure's, Cosmopolitan, American - almost without exception the critical magazine editors have cast aside their latent or rampant prejudices against photographs as opposed to artists' drawings and are using them with avidity. At first the people were puzzled. These unusual pictures, which seemed to combine so many of the qualities of the drawn or painted picture with what is most artistic in photographic effects, could they really be photographs? They went so much further than seemed possible for the camera to go. The author's characters were there to the life - far more real and often a lot more like them than in drawings; their actions, emotions, the time and place, indoors or out, the furniture, clothes, down to details of bric-a-brac described by the author, were all vividly there. By degrees, of course, the facts are becoming known, and the camera is coming in for its full share of credit. Invariably these pictures bear the rather cryptic signature: Lejaren a, H., which represents Lejaren A Hiller, who is the originator of the idea. At present the work is the collaboration of two artists, Mr. Hiller and Mr. Henry Guy Fangel, both erstwhile illustrators of the pencil and brush persuasion. In fact they will tell you frankly that without such previous experience as "regular" illustrators they would not be able to do with the camera what they accomplish today. And it is readily believable. The types, gestures, composition, light and shade, etc., in all their pictures reveal the touch of the trained illustrator. But it seems to us to require even more than that, it must need expert stage direction to tell in one picture what in the movies and on the stage can be allowed a series of actions. The crucial moment must be caught and held. The expressions and gestures of the models, sometimes expressions of great intensity, well rehearsed, their allotted positions entirely understood, down to a fold sometimes in a dress. Perfect teamwork must coincide with the snap of the shutter.

Naturally, the illustration by photography of fiction with a wide range of subjects calls for many models. Where a pen and ink artist may do a whole year's work from three or four models, and a painter who specializes in covers may work with only one, the photographers have laboriously collected and card-indexed models running into hundreds. The outsider would be apt to think that most of these would be movie actors, but in fact only a comparatively small percentage are drawn from this class.

New Mounts StudioLightMagazine1918 60

"DON'T LOOK AT ME THAT WAY, BUD, I KNOW PERFECTLY WELL WHAT I'M ABOUT"

The Lejaren a Hiller Studios Courtesy of Hearst's Magazine

If a movie-actress can do work suitable to our purposes," said Mr. Fangel, "it is apt to be by accident.Our work is so much more refined, our details must be so much more carefully done, than in the movies, where rough general effects are required, that the two have very little similarity, and a face which may take well in the movies does not necessarily produce results for us."

Some of the best known actors and actresses on the speaking stage, as well as those from the pictures, are on the list, along with many artists' models, many working girls and men of various employments who like to make a little extra money in spare moments, and a good number - a rather surprisingly large number - of women who do it largely for diversion, or pocket money, or a desire to be doing something they have a talent for. This last type is sometimes used in "society" scenes where good clothes and obvious good breeding are essential. Some of these women find convenient use for the money that is paid them, though they may be well to do.