DI PH 5CERNING BIOGRAPHY THE BAYNARD PHOTOBRAPHIO STUDIO TYPE FACES IN PUBLICITY RLACRWELL STREET LONDON, S.W.9 RELIANCE 1211 For much commercial work where needle-sharp defini tion is required, the miniature is at once out of court. Obviously, and although the definition given by these i in. by 11 in. negatives when precision enlarged by skilled operators is no less than wonderful, they cannot be expected to equal the contact print from a large negative. There fore, enthusiasm for the miniature's commercial potenti alities must necessarily be tempered with a reserve of technical understanding. No camera can so readily record the little intimate glimpses of everyday life as can the miniature (nickname of candid camera is richly merited) and modern publicity, in many of its facets, has a decided trend in favour of a more homely and intimate appeal. (If it descends sometimes from the intimate to the frankly personal, doubtless this is done only after mature consideration.) In this intimacy the miniature camera has been a willing and indeed eagerco-operator. There is always present, when working with the miniaturethe chance of getting that most valuable of all publicity photographsthe photo graph that the man-in-the-street will recognise with a little chuckle of appreciation, or the woman-in-the-street with a little sigh of sympathyas being a slice of the life with which they are so familiar. This further camera-delving into human strengths and frailties has been much helped by the use of the speed- gun a synchronized flash-light long used successfully in America but most cautiously adopted by conservative England. With its aid the most fleeting emotion and the most rapid action can be frozen and stillphotography enters a new world. The entering of the candid camera into the world of colour through the medium of the new high-speed colour films, such as Kodachrome," is of great interest. In this field the miniature is rapidly becoming the com mercial studio's most valuable asset. With its help, first- class colour photograph, is placed at the disposal of the client at a very reasonable price moreover, it is possible to give the client a number of colour shots from which he is able to choose. The help, in this direction, of the pro cess engraver has been invaluablethrough his work the user of colour illustration can now obtain excellent three and four-colour blocks as large as twelve inches by nine from these miniature transparencies." As it is impossible to list here all the first-class studios, free-lance artists and artists' agents who serve the ad vertiser, we can only refer readers to the illustrated and advertising pages of this issue of Modern Publicity, where many names of artists and photographers are given, and to add that advice on the choice of a studio or artist can always be obtained from the Editors of Art and Industry. So far as any generalisation of the kind can be trusted, it does seem true to say that the typographer has exercised considerable influence in the year's publicity. The extrava gances of the old-style lay-out man have been much less in evidence. Masses of type have been less used as elements in a patternthere has been more respect for the reader's eye and more for the copywriter's message which is, presumably, intended to be read. In one cam paign (issued by Mather Crowther for G.P.O.) the typographer has been glorified to the extent of being permitted to sign his work, though it must be assumed that anonymous copywriters and others co-operated with him. That there may be dangers in leaving too much to the typographerto any single specialist for that matter is suggested by the fact that the most successful of the Continued on Page XIV XII

Modern Publicity en | 1938 | | page 158