THE photographer has learned much from motion pictures and since he has been able to use Film he has learned much more.

Naturally the two classes of pictures - those made by the motion picture producer and those made by the portrait photographer - are vastly different yet each workman has something to learn from the other.

In motion pictures the character that the actor assumes is presented in thousands of pictures, so the picture impression is built up gradually. Yet the task is a difficult one because the pictures must tell a story.

In this silent drama one must almost be able to read the actors' thoughts, for too much space devoted to titles is distracting. So the producer uses every means at his command to make the pictures themselves tell the story.

Of course the ability of the actor is of prime importance but the best acting would fall flat without the art of the director and the ability of the camera man to use every advantage of light and shade, atmosphere, point of view, perspective and accessory to produce realism.

The producer of motion pictures has always had the advantage of film quality and performance to aid him in producing his effects and has not been hampered by expense or precedent. If he wanted an effect he worked until he got it. And quite often his results have been a revelation to the portrait photographer.

Now that the portrait photographer is using Film and artificial light he is learning that this combination offers him unlimited opportunities for varying the style of his portraits.

The non-halation properties of Film are constantly upsetting the traditions of portrait photography and as a broader experience dissipates the obstacles the photographer finds himself with more elbow room to spread out and make use of his own initiative and individuality.

The greatest difficulty in portraiture is that the character of the sitter must be depicted in a single picture. If the portrait does justice to the sitter it must be a sort of composite of his most salient characteristics. And to produce such a picture often requires an ability similar to that of the motion picture director.

Character may sometimes be satisfactorily expressed in a face alone. Many times, however, the hands express character and in some cases the entire figure adds to the desired effect. Again there are accessories that play an important part in expressing character and where this is true they should be introduced.

It may be impossible for the photographer to show the character of a man in a single picture, in which case he should take his cue from the motion picture director and secure his "location" for several pictures.

From An Eastman Portrait Film Negative By Thos. H. Ince Studios Culver City, Cal.

From An Eastman Portrait Film Negative By Thos. H. Ince Studios Culver City, Cal.

If the big business man is also a home man the picture made in or about the home, possibly with a grandchild upon his knee, will picture one side of his character - the side that will appeal to his family and his more intimate friends. But an entirely different setting will be needed to picture the strong man of affairs. The office, the directors' room or some such setting will be appropriate and a conversation that will center his mind on business problems will bring out the character that is familiar to business associates.

Portraiture in motion pictures is confined to the "close-up" or the so called "still," which may also be a close-up, and these pictures are usually posed after a scene has been filmed and the director has decided what incidents are to be singled out to use in advertising the production.

In making these stills the producer encounters much the same problems that the portrait photographer has to contend with but he has one great advantage: - The persons photographed are highly trained for the work.

In going through a scene that has been thoroughly rehearsed there is a distinct advantage in being able to choose a pleasing bit of action with the knowledge that it can be held long enough for the "still" photographer to make his negatives.

While it would seem there is little room for improvement in some of the beautiful motion pictures that have recently been produced, there is room for improvement in some of the "stills" used for advertising, especially in the theatre lobbies.

The Thos. H. Ince Studios of Culver City, Calif., have produced some wonderfully effective pictures for such purposes and they bear a striking resemblance to the finest work of the portrait studios.

The negatives are made on 8x10 Portrait Films and from these negatives 10x13 enlargements are made on rough surfaced paper. The prints are grey in color and are mounted on a dark, greyish toned, rough surfaced mount with a deckle edge. The print has a light colored underlay and the picture title is printed in black letters on silver in a panel beneath the picture.

The name of the "still" photographer is written in pencil at the lower right hand corner on the underlay as is the portrait photographer's custom.

The negatives are made with a soft focus lens, and while the diffusion in some cases is so great that the result is a distinct double line or an effect of halation that would not be acceptable in studio portraiture, the general effects are very pleasing.

From An Eastman Portrait Film Negative By Thos. H. Ince Studios Culver City, Cal.

From An Eastman Portrait Film Negative By Thos. H. Ince Studios Culver City, Cal.

These "stills" will add tone to the advertising of artistic motion picture productions and will undoubtedly appeal to the public.

We regret that the size of our illustrations does not permit us to reproduce this interesting set of pictures more effectively but we feel sure our readers will enjoy this departure from our custom of publishing only the work of portrait or commercial photographers.