He affects no top of the ladder poses and wears no mental makeup for the man who might wish to give him a bit of publicity. He is too sensible and usually too busy to talk about himself.

He has on occasion been persuaded to go long distances on a piece of work that was worth while, but can usually be found on the job in his studio, as most of the things he photographs are suitable for studio photography.

There are times, however, when the tilings he photographs are too valuable to be carried to and from the studio, especially in the case of valuable jewelry. Naturally the photographer doesn't care to assume the responsibility for a $100,000 string of pearls, and we have seen some of Mr. Savior's pictures of jewels representing several times this amount.

In such cases he photographs the articles in the stores where they are displayed under proper protection. And this makes the work all the more interesting. He is compelled to improvise a studio when and where occasion demands.

And he is a master at impro-vision. His settings are marvels of attractiveness and the things he photographs always stand out from their backgrounds and are never subordinated to accessories which suggest the usefulness or beauty of the thing photographed.

We might say that Mr. Savior has created a renaissance of the photography of still life subjects for advertising or sales purposes. And still he does not confine himself to still life. If a fortune in pearls conveys a better idea of its attractiveness when strung around a pretty neck and held by pretty fingers he uses a model, and one can readily see where a training in portraiture conies in handy.

We do not know whether or not Mr. Saylor contemplates adding straight portraiture to his list of accomplishments, but if he does we would expect to see some distinctly original results.

There is no use in anyone asking or our trying to explain just how he secures these wonderfully fine pictures. Of course, a great deal of his success is due to his knowledge of lighting effects. He can see a result before he makes an exposure - he has a sort of sense of light and its effect on a film.

Aside from this he merely stops his lens down for the desired depth of focus and exposes. How long? We don't know. He opens the shutter, walks about until he feels the exposure is right, and closes it.

Possibly you have that same sense of exposure. Many of us have. We look at the lighting and the diaphragm and instinct or experience, or both, tell us when to close the shutter.

Mr. Saylor is an unusual photographer in more ways than one. His artistic sense is highly developed, yet he does not let this interfere with his photographic technique. His work must be as perfect technically, as well as artistically, as he can make it, before he is satisfied with a result.

As these pictures will be unusually interesting both to commercial and portrait photographers, we have reproduced as many examples as our space will permit. We only regret that we can not show an even greater variety of subjects for Mr. Saylor seems never to be at a loss for ideas and the means of expressing them.For distinctive glossy commercial prints that reproduce a full scale of gradation,use Vitava F Glossy, made in two contrasts, F 2 and F3.

The Pictures And The Man Who Made Them StudioLightMagazine1923 177


By Lee Saylor-Harris Studio Chicago, III.

The Pictures And The Man Who Made Them StudioLightMagazine1923 179


The new Eastman Home Portrait Camera No. 3 has been designed for the man who wishes an extremely practical and substantial 8 x 10 instrument that is simple to operate, easy to set up and take down and which will meet all the demands of home portrait work.

It is finished in dull, dark mahogany with metal parts in sandblast finished brass which give the instrument a handsome and refined appearance in perfect keeping with the surroundings in which it is to be used.

The dark leather bellows are exceptionally large and the camera has a draw of 22 inches, sufficient for all home portrait work. The lens board is 7 x 7 inches and the entire front racks up and down and locks at any point, the movement being entirely independent of the bellows.

There are ample horizontal and vertical swings, the camera may be focused from either front or rear by convenient rack and pinion focusing adjustments on the right of the camera with locks on the left. The folding bed is locked by the quarter turn of a bed bolt and when closed the bed is held to the camera-front by a sliding catch. There are two tripod blocks, the second being located in the center of the bed for better distribution of weight when a heavy lens is used.

The camera takes the regular 8 x 10 Eastman Film or Plate Holders and may be fitted with a sliding ground glass carriage. The outfit is a thoroughly practical one and considering its substantial construction and adaptability to the work for which it is intended, is quite inexpensive.

The Pictures And The Man Who Made Them StudioLightMagazine1923 180


By Lee Saylor-Harris Studio Chicago, III.

The price of the camera, including one 8 x 10 Eastman Film Holder and canvas carrying case for camera and six extra holders, including Excise Tax, is $50.00. The prices of extra parts will be found on page 30.