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PUBLISHER'S NOTES
ON HOW SOME OF THE PHOTOGRAPHS WERE MADE (OF INTEREST CHIEFLY TO PHOTOGRAPHERS)

Kapak fotoğrafı (Cover Picture) -This photograph was made some years before the rest of the pictures in the book-as is quite evident from the Kaiseresque aspects of Dan's mustache at the time. Halsman had made a three-quarter view of Dali's face, as can be readily discovered by covering the left half of the photograph. In the printing, Halsman reversed the negative for one-half the exposure. Don't ask us how he covered up the other half. Dali fell so much in love with this picture that when the mayor of Malaga, Spain, asked him for permission to build a statue of him, Dali gave this picture as the model to be used. A three-dimensional effigy was built, 30 feet high, showing his face on both sides. It was erected in the public square, and then burned on March 10th, 1954, in honor of St. Macarius.

2 - ("in order to pass unobserved") - This was made as a regular portrait. Before printing the negative, Halsman painted out the face with New Coccine, a red chemical which, in printing, can be made to obliterate all detail on the negative.

3 - ("Like two erect sentries my mustache defends the entrance to my real self") - This is a blow-up of a relatively small portion of the negative. This might be the best place to note that for most of the pictures in the book, Dali made up his mustache with Hungarian Mustache Wax. Halsman adds that it is obtainable in the United States at two stores, whose names and addresses we do not know.

6 - ("No problem is too knotty for me") - Halsman insists that Dali himself tied the how. Again a tribute to the versatility of Dali and the Hungarian Mustache Wax. The finished print was pasted on Dali's personal passport. Both Uali and Halsman disclaim having anything to do with the question mark over the subject's head, which was evidently filled in by a passport clerk who became confused in the presence of a great artist.

7 - ("No analyst could ever take me lying down") - Since Halsman has no analyst's couch in his studio, poor Dali had to lie on the floor. Halsman lowered his Rolleiflex, focused on Dali's nostrils, and set off the Strobe lights.

8 - ("A gentlemen never discusses figures") - A photograph showing the superb cooperation between Hungarian Mustache Wax, a wink, a well-coordinated series of Strobe lights and a dash of Surrealism.

9 - ("Because I love art") - On the finished print, Halsman laid two spotting brushes over Dali's mustache, and surrounded the picture with silver coins. Then he re-photographed the print.

10 - This is double printing. First, Halsman made a negative of some graph paper, which he printed in his enlarger. Then, on the same piece of paper, he made a very weak exposure of Dali's face, giving some extra exposure time to the mustache alone. In case this puzzles you, consult one of your amateur photographer friends.

12 - ("No, I am completely mobile") - Watch this closely. Since Dali's mustache is touching his right eyebrow, Halsman cut the mustache and eyebrow out of the print. Then he cut out the eye, attaching it with thin wire to the eyebrow. Then he hung this mobile from another wire in his study. (There must be some easier way of making a living.)

13 -("Disorder") - A closeup of Dali's mustache, uncombed and minus the Hunagarian Mustache Wax.

14 -("Harmony") - Showing what happend when the Hungarian Mustache Wax was re-applied. (Special research note: The ancient Greeks considered the logarithmic spiral as a symbol of perfect harmony.)

16 - ("Well, I have a few minor inner conflicts") - Again, your attention please: When Halsman took Picture No. 7, he made a number of exposures. He double-printed two, in order to show one Dali mustache fencing with another Dali mustache. (Are you still with us?) Then he cut out the mouth of another photograph of Dali, being careful to leave a few teeth on both the upper and lower jaws. In order to give depth, the fencing-mustache print was placed about a foot behind the photograph of the now mouthless Dali print, with the camera focused on the fencing mustaches. (It's things like these which have delayed publication of this book for months.)

18 - ("Providing the right honey for the right fly at the right time and place") - This is the only photograph in which Dali's mustache is not 100% genuine. By the time the weather grew warm enough for Mrs. Halsman to capture and bring home the large manure fly, Dali had left for Europe. Dali, however, had been forehanded enough to construct a hair replica of his mustache, and applied his beloved Hungarian Mustache Wax to it. Halsman glued the fly to the Ersatz mustache, and placed it in front of part of the first portrait in this book. Then he and Mrs. Halsman spent hours pouring the right amount of honey at the right time on the right part of the mustache and shooting the picture when the drop of honey formed at the right place.

19 - ("I'm always fishing for compliments") - We wondered about this one too. It was readily explained by the photographer: There was
no weight attached to the end of the string.

21 - ("Only one thing: Swiss cheese") - Note to non-cheese eaters: If you try this, use imported Swiss cheese. The holes in the domestic
variety are too small.

23 - ("From the point of view of hair on the face, there has been a steady decline") - Marx, Engels, and Lenin were photographed out of an old French encyclopedia. The head of Stalin comes from Margaret Bourke-White's hook, Shooting the Russian War, and is reproduced with her permission. Malenkov was more expensive. His photograph was purchased from a photographic agency. Each of the pictures were printed approximately the same size, pasted on white circular cardboard, and hung from Dan's mustache. A spotlight was focused on the Communist leaders, leaving Dali's chin and forehead in comparative gloom.

24 - ("She bends") - Made by de-waxing, a few brush strokes, and a General Electric fan.

25 - ("My hairspring, of course") - After having photographed tens of thousands of faces, Halsman became convinced that the textbooks are right: each face is subdivided into three parts-forehead, nose and chin. Problem? How to place the axis of the mustache smack in the middle. This was solved by an exercise in progressive photographic distortions. First Halsman enlarged a photograph of Dali's face by distorting the image in the enlarger. This did not produce enough distortion, and he next photographed this enlargement at a distorted angle. This second negative was then further distorted in the enlarger. This whole process was repeated once more-with the resultant appearance of Dali's circular face that we see looking down from above. The watch numerals were photographed from an old watch dial, which again had to be distorted to fit Dali's distorted face. Question: Is it 22 1/2 minutes to three or quarter past seven?

26 - ("A paragon of beauty") - And here is an exercise in semivandalism. It's Mona Lisa all right, but how did those eyes, that mustache, those strange hands, and those coins creep in? Answer: First, Halsman asked Dali to pose, looking like Mona Lisa. From the finished enlargement, he cut out the eyes and mustache, and pasted them on a reproduction of Leonardo's immortal masterpiece. Problem: The Mona Lisa painting had some perpendicular cracks. With a fine pen, Halsman drew in cracks to correspond. (What do we mean-semivandalism?) Then about those hairy hands-and here we go into a real by-path. One of the photographs that we unfortunately were unable to include in this book, was a portrait of the Spanish maestro with a $10,000 bill hung on each side of his mustache. Two $10,000 bills were borrowed from the Bankers Trust Company and sent to Halsman with an armed guard who had his revolver exposed in a holster. He scared the Halsman household half to death. The two $10,000 bills were photographed in Dali's hands for the Mona Lisa picture. When the proofs were ready, they were sent for O.K. to the Secret Service Branch of the Treasury Department. No soap, they said-their point being that even though the large bills were discreetly folded to prevent photographic forgery, nevertheless the Federal law was discouragingly explicit. Too bad, for we rather liked the caption for the $10,000 bills draped on Dali's mustache. It was to have been: "Is your mustache insured?" By the time refusal came from the Treasury Department, Dali had gone abroad. In the final photograph, substitution was made of silver coins, and of Halsman's instead of Dali's hands [Publisher's note: The law has been changed and the present edition includes the original photograph].

27 - ("Certainly. I personally indulge in atomic explosions") - In order to take this picture of Dali under water, Halsman ordered a special aquarium, 1 foot deep and 1/2 feet long, with a transparent bottom. Dali took off his tie, and looked at the water-filled aquarium, with the expression of a man being led to execution. Halsman wondered whether Dali would be able to open his eyes under water. He asked Dali: "Do you swim?" "Why," answered Dali-his voice breaking-"Is there any danger?" Now what about that atomic-looking explosion? This was made with milk which Dali had thoughtfully concealed in his mouth and squirted out when the Strobe lights went off.

28 - Halsman and Dali were discussing McCarthyism when the Strobe light accidentally went off.