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98 Transactions of S.M.P.E., July 1927
of kissing. Never should an actor allow any of the foundation to get into the orbit of the eye. The overeye should be shaded with lavender — a color which has a preponderance of blue over the red — and, if there happens to be any foundation color there, the lavender is adultered, and a mixed color is the result. Another thing: if grease paint be smeared all around and near to the eye it requires cold cream to remove it. All cold creams contain some preservative (generally sodium saHcylate) and this may get in the eye and cause what is frequently mistaken for "Klieg Ej^e." With the lighting used in studios, by means of hard and soft sources of illumination, we are practically reproducing daylight, yet in the dressing rooms of the actors there are some yellowish electric bulbs provided around the mirror in which the make-up is done. Generally one or two of the bulbs are in a direct line with the eye, so that the actor sees more of these lamps than he does of his own reflected image. Could anything be more ridiculous? The make-up may look perfectly good by the light in the dressing room, but absolutely bad when they walk into the lighted set. It is better that actors should make up by daylight when they are working in pictures. Even in this we see the old stage idea of making up by yellow light perpetuated, but though perfectly all right for the old stage make-up it is all wrong for pictures and modern stage lighting. In any event the position of the bulbs in relation to the eye is incorrect; the glare should be protected from the eye.
When a male actor is adding hair to his face for some particular part he always tries to match the crepe hair to his own, overlooking the fact that dead hair photographs several shades darker than that on the living body. Glorious blondes imagine that they will screen so as to show off this beautiful shade, not knowing that the film records yellow as black — necessitating back lighting through the fluffiest of hair. Frequently this back lighting is so strong as to put the face in shadow. Camera men frequently blame the actor for a dark make-up when the excessive back lighting is really at fault.
With ordinary film the slogan to be adopted should be: "Always err on the side of underdoing rather than applying too much makeup." When we come to color photography we must apply the same rule, but more latitude may be used, as we need some red on the cheeks, on each side of the septum of the nose, on the tips of the ears, and the inner corners of the eyes. In fact, all we need for natural color photography is a perfect street make-up.