Photographs Ebooks Catalog
B) Magazines & Newspapers will occasionally require you to do readings from good clear photographs of the celebrities Navels. And here's your chance to really look good in the media as I did with National Newspapers such as The Sunday People. Find out what fee they are prepared to pay you for doing the readings and whatever the amount say your fee is usually much dearer However as you like their newspaper or magazine you will do it for this price if they meet you half way. You then basically get them to send you the photos of the Celeb's for each of which you write a short few lines prediction and then these are returned to them on condition that when the article appears they print you predictions within an article that says We the Sunday People sent Navel Psychic Jonathan Royle some decapitated photographs of Celebrities Then it should clearly state Despite not knowing who the celebrities were as we'd cut their heads off the photo's he made these stunningly accurate revelations and...
Direct Hits is a 48-page book which contains a wide variety of card magic. This book (and the one which follows) are much more than just lecture notes. The items are well described, and are accompanied with photographs. More than a dozen effects are explained and all are well within the abilities of the average card man.
When you consider the Exclusive News, Photographs, Articles and Tricks by famous Writers, that you get each month, to say nothing of the beautifully produced advertising matter which ensures that our readers are the most knowledgeable people in up-to-date magic surely you must wonder how we can send you ail this for the paltry sum of about fourpence a week Quite frankly we rely on your support in buying our Vampire Magic, either from us or from our stockists. We know you will be doing yourself a good turn as well as us, if you keep that in mind.
In the space below write your own quotes pattern using the commands imagine having amazing sex with me and get
Let's give an example of the power of where you put your pictures in your mind stop a minute and think of someone you really, really like. Someone you're very fond of. As you do this, and you see their image in your mind, take your finger and point to where you seem to see that image.
It is difficult to take any picture of this process because it occurs in motion, certainly one disadvantage of opting for photographs instead of drawings. Nevertheless, the process is fairly simple and I'm sure you'll catch on to it quickly. This is a very reliable action for me and seldom fails so long as you train yourself not to disturb the cards and to keep them level at all times. Unfortunately, this deal is a bit awkward and you may have difficulty fitting it into a routine, but at least you now have a one-handed double deal in your repertoire.
Besides the word of mouth advertising which an organization gives you, you must spread publicity in other ways. I give you here suggestions for Window Cards, Newspaper Advertising and Publicity, Folders for Mailing and Handing Out, Business Cards, Business Stationery, and Use of Photographs.
I give you here a layout for a folder which your printer can follow, see next page. Have him set it up and run off, say 500 copies to begin with. Use white, ivory, or India tinted paper with enamel finish printed with rich brown or blue ink. Get four good photographs of yourself doing feature tricks. Have half-tone cuts made of them by a good engraving house -- the sizes these should be are marked on the layout for the folder. Have the engraver use about 120 screen on them. The folder has four pages and is made up of one sheet printed on both sides and folded in the middle. The photographs should be only half figures. One may be a close-up. Tell the photographer that you want to get a great deal of interest into them -- something with sales power.
On Sunday, January 10, 1982, Steve called from Pennsylvania to my apartment in New Jersey at 4 50 p.m. He was pleased about an article in the National Enquirer about himself, and told me about a vivid dream of chalk materializing. He had spent Christmas alone and had not heard from his family. He particularly asked about our long- distance telekinetic experiments. I told him it was odd that he called at this juncture since I had just finished sealing four plastic boxes for future experiments and had examined the last batch of photographs which he had recently taken. I reminded him of the sealed jars and other specimens on the bureau of my bedroom. He agreed to work on it.
Therefore it is very important that your posters and photographs advertising the show in the manner I've just suggested are designed in such a manner that visually the general public at large will still get the impression that you are a Stage Hypnotist without it ever stating on the Posters etc that you are ever going to Hypnotise anyone On the second poster I would have a montage made up of lots of different photographs of people who have volunteered at shows whilst they are doing various funny things. Again this poster states you are a MIND MAGICIAN but the photographs such as a person wearing a big pair of glasses with a shocked look on their faces are familiar to people as things they have seen happen during a Stage Hypnotists show and so once again this ensures that people seeing them are placed into the correct psychological state of mind for the show to be a success.
In getting photographs of yourself, try to get something distinctive and unusual that will tell a story at a glance. It may cost you a bit more in the beginning to employ a good photographer, but you save money by it in the end. With high-lighting and shadow effects you can add mystery to your pictures.
The layout of the book is serviceable, but not particularly beautiful. There are thumbnail photographs included in the body of the text, and clicking on these thumbnails brings up a full-size picture. (Note If you want to get back to the text after you have viewed a full-size picture you need to click on the Go to Previous View Arrow, and not the Previous Page arrow.) The text of Dreams, Schemes, Nightmares, and Illusions is 267 pages long. Following the text are several pages containing the full-sized photos. Concluding this section of the book is information on crates, assistants, costumes, transportation, advertising, concessions, and animals. The book concludes with a list of illusion builders. Scattered throughout the book are many photographs, promotional pieces, advertisements, and posters that chronicle the many different shows Stan Kramien has produced over the years. While I have no doubt that the information Mr. Kramien gives in this book will be valuable to someone...
The Everything Magic Book (Adams Media, ISBN 1-58062-418-9, 12.95) was written by someone named Greg Davidson, who, apparently, is a student of Dean Dill's. (At least Davidson mentions that Dill was his teacher and Dean contributes a coin vanish.) The layout of this book is rather ugly, with green-tinted photographs that are not particularly clear. If this is supposed to be a beginner's book then Mr. Davidson makes some remarkably thoughtless choices, including explanations of the Elmsley Count, the Jordan Count, the Shuttle Pass, the Center Tear, and a method for swallowing razor blades. It also appears as if Mr. Davidson has never read an advanced book of magic since he makes reference to the Farrow shuffle. The descriptions of the Classic Force and the Double Lift are moronic. There is a chapter titled Marketing, Selling, and Performing Your Magic Show. That's what a beginner needs to know - how to market his show. A book like this is the reason I tell people I play piano for a...
There were times when I found myself disagreeing with Mr. Crone's assertions (for example, I think his definition of a subtlety is incorrect), but there are many ways of looking at this subject, and no one has a claim on the truth. Several of the photographs are atrocious. Mr. Crone has attempted to fix them by outlining the cards, hands, etc. in black. This did not help. Davis has experience as both a magician and a marketer. On the new videotape Marketing Your Magic in the Real World Scott offers practical and useful suggestions on how to generate more work for yourself. Scott presents a logical and down-to-earth method for getting your message out to prospective clients. He discusses press kits, photographs, press releases, and direct mail marketing. In addition, he offers useful resources for color postcards, media packaging, and much more. Whether you are a novice in the field of marketing or you are experienced in the subject, you will find much of value here. For someone who...
When discussing this book with Jim Steinmeyer in his home in Bi rbank, California, I asked him what he thought I should put into my Final Thoughts. Interestingly, he pointed out that this would be the first time the reader would hear from me personally. I had not thought of this because 1 have been thoroughly involved in the preparation of the book with David Britland, referencing my diaries, notes, clippings, videos and photographs. the photographs and providing technical help with my often wayward computer.
As I mentioned above, the material in Peek Performances will be most useful to the experienced mentalist. Unfortunately, the value of Mr. Busch's book is undermined by four factors. First, the layout of the book is horrendous. The extensive use of words (and complete sentences) typed in all capital letters, words underlined for emphasis, and the liberal use of bold-faced type make the book look like a 209-page ransom note. The layout of a book is (to use a computer term) its user interface. The interface of Peek Performances is as unfriendly as it gets. Second, the text would have benefited from judicious editing. Third, more photographs are required. The book uses large photographs to capture the moment of obtaining the peek. But peeks are context sensitive what happens before and after is extremely important. It would have been more beneficial had we been presented with a series of photographs enabling us to see the actions that surround the actual peek. (There are a few photographs...
Mike The original edition of this book came out in the late 1960s. By this time Vernon had taken up residency at the Magic Castle, and Lewis Ganson contacted Bruce Cervon for help in compiling material for the book. Cervon writes, I sent this material to Lewis Ganson envisioning the fantastic book this choice of effects would make, not as good as the Dai Vernon Book of Magic but certainly as good as the Inner Secret Series' The material was indeed top-notch but, unfortunately, the physical production of the book was extremely poor. The book appeared to have been typeset on a typewriter, the reproduction of the photographs was not good, and (perhaps in an effort to make the book appear to be physically imposing) the book was padded with a great number of blank pages. As Cervon writes, Perhaps the worst hardbound book I had ever seen Fortunately for all of us, L & L Publishing has republished this book in the high quality format that it deserves. The text has been revised and corrected,...
This is another beautifully done book, and the text is accompanied by almost 100 rare photographs. In addition to the biographical material, the last 140 pages contain reprints of Bertram material from various books and periodicals. Besides the well-known material from The Modern Conjurer, there are Bertram articles from magazines such as The Strand and The New Penny Magazine.
It wasn't the first time that David had dealt with the Picture Post team. In 1952 they had photographed him at the British Ring Convention in Hastings. Over 400 photographs were taken of David as he walked around town performing tricks for bystanders, producing guinea pigs out of policemen's helmets, making money and cigarettes appear and disappear. It would have been his first piece of national publicity but for the fact that the magician-amazes-Hastings feature was sidelined when two trains collided and the rail disaster story took precedence. But the Picture Post team never forgot their day with David and now they were presenting him with another opportunity for publicity. David gave directions and Griffiths drove the car. It must have been a peculiar sight. Britain's leading driving instructor taking instructions from a blindfolded magician. They drove across London several times, David somehow managing to sense when they should turn left or right or stop. But as time passed the...
Cardmen are seldom inspired by reading technical descriptions. The more specific and detailed these description are, the less enthused they seem to be. Illustrations or photographs help, there is nothing more inspiring than seeing the technique expertly executed. Having seen Marlo perform this technique, we were inspired to try explaining it. We hope you will study and practice this technique. There are many remarkable effects to which it can be artfully applied.
I asked him about his father, and he told me about his life, and showed me framed photographs of this eminent performer. Ten Ichi travelled the length and breadth of Europe with his show, and of course several times visited England. He must have been a remarkable man, for he spoke seven languages, yet strange to relate, he could neither read or write. His son carried out all the necessary publicity, and arranged contracts.
I've had remarkable success with such things as predicting such things as lottery numbers, front page photographs and sports scores using the routine I'd like to share with you now. Canadian television has been particularly good to me with this method. While this sort of thing works best on the air it certainly can fit nicely with a special stage performance. In such an on stage performance, the credibility of the person entrusted to hold the prediction envelope in the days leading up to the performance is a major concern.
Four photographs of yourself, in each of which you are holding a giant card. In effect, as described above, we use the four Queens. Have your photographs taken and your advertising matter printed, if desired on the back. Now you are all set. the small photographs in a cardboard or leather case. Have these in different pockets in a memorised order. Your four Queens should also be stacked in a known order. Lightly pencil dot the second Queen on the top left hand and bottom right hand corners on the back of the card. For those who do not wish to go tq the trouble of having photographs taken there are several other variations.
Meir Yedid has released Star Gazer, a mental effect by Anthony Lindan. The spectator is given a postcard full of photographs of famous celebrities. The spectator thinks of one of the pictured celebrities, and the magician mentalist reads his mind. This is a nicely produced prop (that is, the postcard) and the method combines two principles to achieve a very clean-looking effect. My only fear is that the spectators may wish to take another look at the postcard, which they cannot do. Meir says that in his experience this doesn't happen. Two suggestions 1. This type of trick plays strongest if it appears to be of an impromptu nature, so perhaps it is best used in an informal situation. To this end it is great if you have a friend in Southern California who can mail you the card from Hollywood. 2. A friend who does mentalism professionally suggested using the postcard as one test in a routine of tests. In this way, less attention is drawn to the postcard. In any event, this is a clever...
Camirand Academy offers two items from the professional repertoire of the very clever Richard Sanders. Three Ropes and a Baby is a multi-phase rope routine which has as its starting point the popular (and unfortunately, now often exposed) Professor's Nightmare. The Sanders routine is a synthesis of ideas from many people, including Slydini, Aldo Colombini, and George Sands. I didn't find anything earth-shakingly new here, but it is a tight and commercial routine. I was a little disappointed that the presentation included was so bland (the patter merely tells the spectators what they are seeing), and the presentation has absolutely nothing whatsoever to do with the title. However, if you don't already have a three rope routine in your repertoire, this one would be an excellent choice. The instructions are very clear and are accompanied by 106 photographs. The necessary ropes are also included.
A 12 minute standing close up act with borrowed props. 60 pages - 50 photographs - spiral bound. Available - Lloyd Jones - Ken Brooke - Bob Read. A comedy presentation for a classic routine. 80 Photographs. Limited Edition. Available only from Bob Read. 10 Airmailed U.S.A.
Glimpses of Goldston is based on a lecture that Eddie Dawes delivered at the Magic Collectors' Association Weekend in 1997. Reproduced on the stapled, glossy pages are a couple of line drawings and eight half-tone photographs, including the last known photograph of Goldston, taken at his shop, the famed Aladdin House, in late 1947. The information here is concise and historically accurate. For those who need to know, this booklet is a must.
One of two things may occur in cases such as this, the first and I find it to be the most natural, is for the later grip to remain. In other words, after making the shift from the grip in figure 353, to the grip in figure 354, the dealer would continue using the grip shown in figure 354 for the remainder of the cards. (Just in case I have inadvertently created some confusion, the grips shown are not the only possibilities, virtually any shift could occur, the photographs merely illustrate how a subtle change may occur quite easily.) The second possibility is that the dealer will shift to a particular grip and then back. If this is the case you should watch to see if the shift is consistent. For example, each time the dealer reaches the fourth player his grip changes, then for the fifth or sixth player the grip changes back. This would be a fairly obvious tip off. Another potential tip off, though one that is very easy to avoid involves the position of the cards when they end up on the...
One night when she comes over for our date, I will say Oh Baby, you look great, I'm going to take a picture of you. And I'll get out my digital camera and I'll take a picture of her. Then I'll upload the picture to my computer and I'll show it to her on the monitor. Then I will say how good she looks in her picture. I will then suggest that we take a picture together. I will hold the camera out at arms length or I will put the camera on a tripod and take a picture of us both. It is more personal to do it at arms length. Again we review the picture on the computer and it is enjoyable. Then I will suggest that she kiss me on the cheek as I take the picture. Then when we review that picture, I again encourage her. She at that point will be even more motivated to make the pictures even sexier. She will enjoy seeing herself in the pictures and she will make the kiss even more seductive. Then I will print out her most seductive picture and give it to her. She can always look at that picture...
There is sound to address, but I am going to cover that at the end of the section on push-off seconds, since it is universally applicable. With that in mind I return to the concept of gliding the card in order to allow you to perform a push-off with relatively little skill. Aside from the obvious aesthetic concerns and a distinct lack of elegance this tends to create a problem, namely, it is difficult to vary quickly and smoothly from a second to a top and back again since naturally you must be able to perform the slight glide in the course of the dealing motion. This is going to be a problem, that is just a reality and you will need to practice in order to help alleviate the concern, which becomes most apparent when you need to shift from dealing tops to dealing seconds. When you want to go from dealing seconds to dealing tops, the trick is merely to roll your thumb back slightly so it no longer makes contact with the second card of the deck. Demonstrating this with photographs is...
Many photographs have a date stamped on the reverse side, indicating when they were processed. If you're lucky, you may even find names or other us6ful bits of information written on the back of the photograph, in pencil or pen. Photographs, in other words, can provide much the same sort of information that you might glean from any client, who walks into your office or home. But they can offer still more advantages, too, such as the built-in possibility for repeat readings and for additional readings.
In correspondence and on tape recordings Dai Vernon has sent us detailed descriptions of his method of making the Pass in addition Steve Young has taken three photographs to show the exact movements of the hands and cards. By following the text and studying the photographs the mechanics will be easily but only practice will give that smoothness of observing the hands from the right will see the packet go down, and the only way this can be covered is by the actions pictured in the photographs and which we will describe later. The reader is urged to study the photographs carefully as Steve Young cleverly captured the important features whilst Dai Vernon's hands made the moves.
The spectator is asked to give any number at all and it is stressed that there is no restriction on the number he may choose. Normally it will be a fairly small number but it really does not matter. Say the number given is ten. We are now getting ready for the secret reverse, so study the text and photographs carefully with the cards in hand. Remember, the spectator's card is on top of the pack. At the start the four Aces are on top of the pack, the Ace of Spades being the top card, then the Ace of Clubs and finally the two red Aces in any order. However, so that the photographs be followed, we will assume that from the top of the pack down, the order is - Ace of Spades, Ace of Clubs, Ace of Hearts and Ace of Diamonds. 3. Photographs 2 and 3 Take the left hand packet by the right end with the right thumb and second finger and place it on top of the tabled packet, but it as in Photograph 2, so that a break can be picked up between the packets by the left thumb as in Photograph 3. This...
Not content to simply repeat and re-hash stories in previous biographies, Silverman spent five years researching thousands of original sources letters, diary entries, photographs, scrapbooks, newspaper articles, friends, relatives, collectors and museums around the world. Bit by bit he separated the facts (as much as one could) from the fiction surrounding Houdini. The book features 111 photographs, many never-before published. I particularly enjoyed the shots from Houdini's 1925-26 full-evening show which were new to these trained eyes.
Finally an opaque scarf is thrown over his head to cover everything The readings continue in greater detail
Yes, says the girl, absolutely astonished that he could know this. He repeats the demonstration with several more photographs, revealing details not onfy of the picture but of incidents and memories connected with these mementoes. How could he know Similarly he often found an opportunity to glance at the table and note the objects on them before they were handed to him. Although he had stressed that printed items, especially photographs, should be handed to him face down, very often the volunteers would place them face up on the table. A glance could reveal an amazing amount of visual detail shapes, colouring, patterns and so on. If he called for an object and he saw the man reaching for that particular one, David immediately turned away and took the object behind his back. With the object hidden from view he could divine all kinds of details, further convincing the audience that sight was not responsible for the information he revealed. The photographs provided different...
She starts getting very agitated about the lack of validation. This causes her to start hitting on Swingg, who whips out the digital camera for a picture routine. My target starts hanging off Swingg, so I encourage him to take her in order to undermine her jealousy trap (God, did I just write that This is starting to sound like The Art of War. Oh well.). Anyway, I can tell I'm pushing it with my target so I take it further and pay her friend some attention. They end up deciding to leave, but they invite us to come along with them. We're still supposed to meet up with Roadking, so we tell them we'll meet up with them later (we never did).
On the lighter side, I got some good Christmas gifts this year. Quite a few DVDs I've been jonesing for, and an expensive little toy called a CLIE, which is part palm pilot, part digital camera, part camcorder, part voice recorder, part MP3 player, part video game player, part portable computer, and part internet hub, so I'm having fun decoding how to work the damn thing. I plan on using it in the field to record a few of my sarges. I might post a few online if they're good enough, but I'll have to wait to see if it's really worth the trouble.
Vernon put the routine together in the 1940's to use with his Chinese Act. Lewis Ganson performed the painstaking task of writing up the routine and taking the numerous photographs which accompany the text. L&L Publishing has again made the routine available to the magic community.
In this book, we don't just find a collection of tricks but rather a series of clearly explained lessons. Although Lewis Ganson has been responsible for the main part of the book there are a number of items collected from fellow magicians all of which reach a high standard. Let us take these guests first. Wilfred Bader contributes a well devised thimble routine. The description is excellent covering some fifteen pages and being accompanied by a matter of some twenty 3 ven photographs. The guests depart and we turn to the author. His contributions cover routines with pocket knives, cards, coins, silks, a remarkably fine trick with an egg and a bag and billiard balls. To the last, he has devoted some thirty pages and a matter of seventy photographs. Not since the monumental work of Burling Hull, has the enthusiast for this form of manipulation been so well catered for. Every need, care and type of manipulation is touched upon and here again is something that quite easily might have been...
As you can see from the title page, this book was initially published in 1975. About 1000 copies were sold. A second printing was done of another 1000 books. Eventually most of them were sold. Orders came in from all over the world. This included India, Japan, Germany, France and even Russia. Part of this book was translated into French. Since going out of print, copies of this book have been sold for many times the initial price of 15. At the time this book came out, 15 was considered very high for a book this size. Several times this book has been offered on ebay and scooped up by those that value its contents. I know this for occasionally I get email from someone telling me the book is on ebay. Several times over the years I have been asked to republish it. I have hesitated for several reasons. Rewriting always seemed a daunting task. Some of the material has been improved over the years and I feel guilty putting out something that has been changed. Those that have pressured me...
In correspondence and on tape recordings Dai Vernon has sent us detailed descriptions of his method of making the Pass in addition Steve Young has taken three photographs to show the exact movements of the hands and cards. By following the text and studying the photographs the mechanics will be easily understood, but only practice will give that smoothness of execution and understanding of timing which will eliminate all cause for suspicion. observing the hands from the right will see the packet go down, and the only way this can be covered is by the actions pictured in the photographs and which we will describe later. The reader is urged to study the photographs carefully as Steve Young cleverly captured the important features whilst Dai Vernon's hands made the moves.
During the break in the session, Steve went outside the building with Roberts, who tried to take Steve's picture with a Nikon 35 mm. camera. Roberts found that the shutter would not work. He fiddled with it until he got it to work but then he noted that the metal arm of his flash-gun attachment was bent an estimated few degrees. Selwyn, who also had been taking pictures at different times, then noted that the shutters of two of his Polaroid cameras (Model 100) would not work. He later discovered that both batteries, which were checked the day before and found to be in excellent condition, presumably went dead at the same time. Shortly afterwards Seiwyn reported that his LCD alarm Chronograph (electronic digital watch calculator) malfunctioned. He claimed it was 2 1 2 hours fast and that the calendar was set back to October 54 instead of the correct November 4th. The memory was botched up. After many trials Selwyn corrected and
Millions of different individual animals, to the 'same' animal at different times in its life, to our mental images, to illustrations and photographs, metaphorically to a human being ( a hep-cat ), and even to the combined letters c-a-t. Thus, when someone uses the term cat, it is not always clear whether he or she is referring to a four legged animal, a three letter word, or a two legged hominid.
What did you see It looks like eight photographs of eight different major league ballplayers. Believe me, to the spectator and the audience, it will definitely appear that you are showing eight different major league ballplayers. I have shown this effect within inches of the spectator's faces and not once has anyone noticed that one player appears more than once. In fact, if you show the cards to a one one, two beat, with the one, two beat on the even number cards (the odd players) it makes it even more foolproof by showing the odd players a fraction of a second longer than the four force player cards. Naturally at a distance of a few feet, it is impossible to spot the repeat player, but I get a kick out of doing it close-up and slowly
The following elegant Double Lift first appeared in The Crimp magazine, but there were some errors in the description. However, it isn't an easy to describe - though it is quite easy to do. The following revised description was taken from a video sent by Kevin and is aided here by photographs.
Returning to their original position, the left hand moving away as if it contained them (see Fig. 20). The above movements are made very clear in the accompanying photographs, though they may appear almost impossible of execution. In the first place, the different moves should be made very slowly with, say, 2 coins but the reader will understand that in the actual execution of this feat before an audience everything is done so quickly that it is quite impossible for a spectator to tell whether the coins are really taken in the left hand or not. Anyone who may have witnessed the author's performances will, he is sure, bear witness to this fact.
Printed on art paper and bound to last a lifetime, this book, exceptionally heavy for 191 pages, will enhance any library of magic. Whilst it is essentially for the manipulator of coins, billiard balls and thimbles, every magician, even a mentalist, will strengthen his technique if he considers the principles Mr. Buckingham describes with clarity, aided by over 200 photographs perfectly taken and angled.
Here is a tip that I have never previously revealed. Time Magazine publishes a special edition each January. This Time annual issue is a review of the previous year. There are no articles, only photographs and some advertisements. The pages have no numbers. I would buy a few dozen copies and then select around ten or twelve pages which had dramatic pictures or advertisements which had detailed information such as an address, phone number or credit card numbers. These pages I would learn in very specific detail, for example, the name of the photographer that is in small print on the bottom of the page or possibly memorize the printed description including names and dates on a page with a striking photograph. When I prepared a current Time Magazine, I would insert these pages and in bold black letters, write in the appropriate page number.
Although the one-handed popover can be performed with a full deck, it is suggested that, for learning purposes, you use only half. TTie grip will be the hardest part of this technique to master take special note of the photographs. With your right hand, hold the facedown packet from above in the following modified end grip. Your thumb Holds the back edge of the cards at the inner left corner. Your second fingertip holds the lower half of the packet at the outer left corner. Your first finger rests alongside the second finger, but does not grip the cards. Your third and fourth fingers extend over the front of the cards, but do not grip them either (Photo 18, spectators' view). The cards should be beveled backward a bit. Do this by using your right thumb to push forward on the bottom of the packet
First of all, you need to create your two photographs. You want this image to be clearly recognisable, yet also slightly hazy or distorted in some way so that it looks like the result of paranormal thought projection. When I first prepared such a photo, I just got a poster of the movie star I wanted and played around with lighting and blurring until I got a Polaroid of it that I liked. These days, I have the luxury of a digital camera and computer magic. Use whatever resources are available to you, and have some fun doing it.
Before you get photos you will need to decide what image you want to promote. You must make a careful decision about how you want to look. Good photographs and promotional material are not cheap, so consider carefully the image you want to project before you spend the money. I know from personal experience that much frustration can be avoided if these things are carefully planned. Several months before I got my first major restaurant job I had photos taken. At the time of this photo session the image I was promoting was that of a contemporary wizard or so I thought. At that time I had shoulder-length hair. I believed this accentuated the image of a modern sorcerer. But to the public I looked like a hippie. (I should mention, by the way, that I was not opposed to getting a haircut. Rather my thinking was that I might as well use my appearance, an appearance that, to me, suggested a present-day wizard.) I used these photographs as the basis for my promotional material. I spent the time...
The contents prove to be an entertainingly written medley of fact and fantasy. The factual part deals with the basic techniques of throwing, or scaling cards and explains the grips used by Herrmann and Thurston before proceeding to detail his own method which gained him a place in the Guinness Book of Records. The text supplemented by excellent photographs ensures that the reader is fully equipped with the necessary knowledge required to throw cards. Only practice is needed to bring success. The above is explained in the chapter headed 'Technique' which also explains how to throw cards when seated plus some succinct observations on the literature of magic and its prostitution by certain performers.
In this case, a double negative becomes a positive, and two switches give the effect of no secret exchanges at all. The switch of the accurate prediction for the advance prediction, happens in your pre-show work and will be discussed shortly. The exchange of photographs takes place before anything happens The solution is simple the camera switches photographs Everyone knows that when a Polaroid photo is made it ejects immediately from the front of the camera to develop magically before our eyes. When you take the photo of the committee holding the poster board, the snapshot which emerges from the front of the Polaroid camera is not the one you just took. It is a dummy photo that's why you don't allow it to be seen by the committee before it is sealed in the envelope. Your rationale is that your Don't be concerned if your camera uses the Time Zero Polaroid film, the kind which begins developing an image instantly. The committee doesn't know that. The pure white image which shows for a...
The two major uses of photographs are as sales tools for potential bookers and as press-book items. The press book is the most important tool in the sales interview. This one thing can sell your idea to a restaurant manager. The more professional it looks, the better you look.
Mention of the Magic Circle's Collectors day reminds me that in the past I have made several requests in print, both here and in Abracadabra, the world's only magical weekly, for photographs of professional magicians, but so far the response has been but not quite nil. I am not sure why but the collecting of photographs has never really caught on with magicians. I know that almost every magician has several photographs lying around the house, in a box, a drawer, in an envelope sitting on a shelf somewhere, and one day they are going to end up in the dustbin. May I say, please, please, don't let that happen to the few that YOU have lying around. Send them to me or anyone else interested. I'm only sorry that I can't give the names of anyone else who is interested in the collecting of photographs hold it, yes I can Larry Barnes I don't know Larry's address so perhaps a better idea would be just to send them to me and I'll pass them on to him (he's got a hope). I don't care whether they...
Have some photos with you in your pocket. Walk up to a girl with the photos in your hand and say, Check these out. I just developed these. Start to show them and explain them. Notice how this picture is just of the landscape and its entirely boring because there is nobody in it. Now look at this one, 3 people laughing. See how our brain finds it more interrupting to see faces than boring landscapes My ex girlfriend took some of these pictures - she took the boring ones obviously. Now this girl is looking at pictures of you hanging with friends and surrounded by some girls, maybe you with a famous person (not REAL famous but DJs and radio personalities) and one can be of your EX-GIRLFRIEND who happens to be BETTER looking than the girl you are talking to. To set up for this effect, all you need is a camera. Go out and take pictures of you at a club with friends. When you meet a girl who is a babe, have your friend come over and take a pic of you two together. There, done. NEW...
This is a difficult shuffle to describe and indeed it is not easy to perform, but if the photographs are studied the mechanics will soon be understood. We have found that at the start it feels that the hand is full to overflowing , but after a while a knack is acquired. Two important factors are (a) that the
Take pictures of yourself in interesting situations. Active shots. You doing FUN things. Goofing off at your workout place. You rock climbing. You in mid air while blading. The 'bear shit' from the bear you bumped into while hiking or is that YOUR shit you forget now. Have some funny things to say about the pictures as you show them.
Find within yourself that which you love and are passionate about. Maybe you do not look like how you feel inside. Start imagining how you might look if you dressed on stage the way you secretly felt within. Would that make you unique I did not always dress as a Wizard . I was too frightened. Finally, I decided to take a risk and liberate myself. I had to be sure I had photographs so people booking me knew what to expect but other than that, it wasn't all so difficult to do.
Magic with cards and coins receive the main focus in this manuscript, although there also routines which use keys, balls, finger rings, a nut and bolt, and string. The explanations are clear, but the photographs seem to designed more for artistic effect than clarity. However, everything is understandable. At the end of the manuscript is a very useful glossary which explains the various sleights used. All the material is well within the abilities of the average close-up worker.
Several old ideas are herein combined to create a new routine, with an unexpected ending. The requirements are simple. You will need two photographs of yourself standing in front of new cars - one red, one green. You must arrange to have the same license plate on each car when the photographs are taken.
A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks. Hundreds of '-science tricks' to perform at the dinner table. 182 pp. Cloth bound, masses of photographs. A fine 182 pp. cloth-bound book with masses of photographs illustrating hundreds of fascinating chemical and science tricks. Hundreds of '-science tricks' to perform at the dinner table. 182 pp. Cloth bound, masses of photographs.
Canada's Ross Bertram has long been a friend and admirer of Dai Vernon and they have exchanged ideas over the years. Ross sent us detailed notes of two excellent items and also produced the photographs, so we feel sure readers will have no difficulty in understanding the handling. Photograph 1 is as seen by the audience. All other Photographs are of the view.
Please forgive some of the photographs, I realize they are not always the best illustrations of the techniques, particularly those where a bottom view was necessary were at times strenuous and may not be the ideal for demonstration purposes but will hopefully provide you with some assistance. In addition there are concerns of shadowing and lighting that have led me to conclude illustrations may be a better way to go in the future, though we'll see. It should further be noted that there are times where proportions are exaggerated for the sake of clear demonstration and that, of course, you should refine your technique as much as possible, minimizing, working on speed, angles etc. where necessary.
If you have a few illusions, or know other people that do, you can provide a service to magicians where they can rent your illusions for special situations. Put together a list of illusions with photographs, and hand them out to other magicians. You might also want to offer the services of yourself or your assistant to help the magician pull off the effect smoothly. Some magic illusions are easier to perform than others. Make sure the person renting your sword basket knows how it works.
The Journal of Heredity , Sept.-Oct., 1952, reports on these four tongue stunts, with photographs and bibliography of previous research. The ability to perform them is hereditary. They are listed here in increasing order of difficulty. No one has been found, the article states, who can do all four of them.
Anne White is responsible for the excellent photographs which accompany the routines, and the production values of the book are top-notch. Classic Sampler is a must-buy for all close-up magicians. Someday, the big Skinner book will come along, but until then you can enjoy a small sample of the world-class magic of Michael Skinner, consummate professional, and one of the nicest people in magic. Highly recommended. So, what can you say about a classic The three volumes of the Vernon Inner Secrets of Card Magic series appeared annually, from 1959 to 1961. The series was the first explanation of many of the Professor's pet routines and techniques, and the information came as a revelation. L&L Publishing has reprinted the series in a handsome volume which matches the format of the other books in their Vernon series. The photographs have been re-screened and they look great, and the size of the type has been enlarged (at least it's bigger than the type in the combined volume I got from...
Though not a serious student of the occult the author is aware that it is thought possible to do bodily harm to an individual by hitting or pricking his photograph. This phenomenon would come under the heading of sympathetic magic as expressed by Frazer in The Golden Bough. It has also been called mimicry or imitative magic, and although most well-known with pins and dolls, modern-day sorcerers have been known to use photographs in these rituals. Indeed, many primitives still refuse to be photographed for this very reason.
The Complete Cups and Balls has been a dream of Michael's for over 15 years, and has been in the production phase for 3 years. The dedication to this project shows. While not every Cup and Ball move has been included, those sleights which are included are useful and are presented in a logical progression. In addition, a unique idea has been incorporated into the layout of the book. There are no numbered photographs as in the standard magic book. All photographs are keyed to the relevant text through the use of highlighting and a connecting line and arrow. This is an innovative technique, and in this case works perfectly. As your eyes hit a highlighted series of words, they follow a line down to the associated photo. Then, after the information in the photo has been assimilated, the eyes follow the line back up to the text. There is no need to jump down to a photograph, and then try to find where you were in the text. And in a book which is top heavy with technical information, this is...
I can't say enough good things about this book. The routines are excellent, the explanations are clear and concise, and the photographs by Warren Torzewski are great. I'm adding a few of these routines to my repertoire, and I wish I was the only person who had them. If you are a card guy (or you want to be a card guy) this book is a must buy. Highly recommended.
Fortunately, Canadian director Daniel Zuckerbrot has created a biography of the Professor in which the warts have not been airbrushed out. Dai Vernon The Spirit of Magic was originally produced for History Television in Canada. The video includes some extraordinary photographs and film footage, and features reminiscences from Max Maven, Jackie Flosso, Herb Zarrow, John Carney, Steve Freeman, Dr. Persi Diaconis, and Ricky Jay. Most remarkable are the interviews with Vernon's sons, Edward and Derek, who provide previously unknown information about Vernon the man and the father. The Artistic and Magical Life of Bob Kline traces Mr. Kline's career and the evolutions of several of his marketed effects. For collectors, the final few chapters will be of most interest as they contain photographs of every trick marketed by Kline-Kraft Magic. These are organized by date of release, and a brief description of the effect and the number of units manufactured accompany each picture. Some...
Charlie Holland is the Deputy Chief Executive and Program Director at the Circus Space, a British training center for the circus arts. He is also a former professional juggler. In Strange Feats & Clever Turns, Mr. Holland has compiled information on variety, sideshow, and vaudeville performers who plied their trade at the beginning of the 20th century. What makes for fascinating reading is that the reports of these performers come from the journals of the day. Included are articles about W.C. Fields, J.N. Maskelyne, David Devant, and a host of other jugglers, acrobats, strongmen, contortionists, sharp shooters, and sideshow freaks. The text is accompanied with a myriad of period photographs. If you have an interest in the history of magic and the allied arts, you'll enjoy Strange Feats & Clever Turns.
The production values of this little book are no great shakes, but the explanations are understandable and the photographs, though small, are clear. The Center Flip and Other Cardtastrophes will be of most interest to card enthusiasts, who will find many ideas to play with. Photographer author Walter Wick has designed a children's book which contains photographs of impossible objects. The book is beautifully designed, and it will turn your brain inside out as you try to figure out how these illusions are constructed. (Amazingly, even the front cover of the book is an optical illusion.) Walter Wick's Optical Tricks is a great book to put on your coffee table as a reminder of the remarkable ability of the human brain. I'm fascinated every time I look through it. Cosmosis comes with a prepared playing card, a large instruction sheet with 23 photographs, and a small sample of elastic thread. The instructions are excellent, and included are instructions on how to construct the Cosmosis...
This may seem simple enough but David's heart was still pounding when it was happening. He had done everything possible to ensure they left clear impressions of their chosen designs. They drew with sharp pencils upon single sheets of paper that had to be rested on the pads. And they had been instructed to draw boldly in case newspapers wanted to reproduce photographs of their chosen designs. But at the time he had no way of confirming that everything was going to plan and there was the possibility that he wouldn't find out if the ruse had worked until the aircraft was already in the air. What then
I should mention a couple of other points before I conclude. Simon has greatly upgraded his production values for Try the Impossible. He has used heavy, glossy paper that reproduces the photographs beautifully. The end papers feature photos of Simon through the years. As Simon wrote to me, They're a lighter, more personal touch, certainly amusing, and a reminder not to take myself too seriously. I also want to mention three people who were very important to the creation of this book Simon's friends John Bannon and Dave Solomon, and Simon's wife Ginny Aronson. These three are not just creative partners, they are honest (and sometimes brutal) critics, and because of their input only the A-material made it into Try the Impossible, which made my job very easy.
Lenz then announced that Max would give a short talk on Photography and the Magician , and this proved to be of absorbing interest . He dealt with the aspect of the photographs which magicians have taken, and how they are used in publicity. Many will no doubt remember that some years ago Max was also running a photographic studio, known as the Howard Studio, in South Molton Street, and therefore he was able to give us the benefit of his own actual experience.
Has been made to the new edition - the photographs have been placed next to the appropriate text. This certainly makes it easier to learn these routines. Dr. Matsuura's annotations are incorporated using blue text. Brackets have been used to delineate information that is incorrect. In some cases this information should simply be ignored. In most cases Dr. Matsuura provides corrected information.
Just around the corner from the Centre of the Magic Arts, the Magic Circle's headquarters, in London, are the offices of David Ball and Jan Kennedy. They are experts in the art of corporate promotion and have worked with many of Britain's largest companies. David Ball has been in the business a long time and has seen innumerable product launches come and go, all designed to promote an assortment of industries with varying degrees of hype, sophistication and ingenuity. One campaign is a particular favourite of his and large photographs of the promotion adorn his office walls, a colourful testament to its success. A large part of that success was due to the efforts of David Berglas.
The Kohler routine uses an interesting set of gaffed cards originally created by Burling Hull. These cards allow very clean shows of the backs and faces of the cards and make the subsequent vanishes quite astounding. Bob's cards were printed by the U.S. Playing Card Company, consequently they feel and look exactly like real cards. In addition to the three gaffs, you receive a very nicely printed 16-page instruction manual, illustrated with 15 photographs. Bob has eliminated all the hard work, and the routine is virtually sleightless. In addition, at the end of the routine you are reset and ready to perform again.
Street Magic is a rich and detailed book, and this brief review cannot do it justice. The text is accompanied by numerous photographs and drawings, many from Sheraton's private collection. For those interested in the history of this most unconventional of venues, Street Magic is a must-buy. Highly recommended. One minor quibble I'm not particularly enamored with the layout of this book. There are only a few illustrations, which gives the book a rather spartan appearance. For historical reasons it would have been nice to have a few photographs included.
The catalogue was a large album of photographs of the various assembled kits, each photograph occupying a separate page. And the choice was not made on camera as supposed but prior to the show when David showed the album to the guest and asked her to mentally choose one of the kits. The photo of the dressing table was placed half a dozen pages from the front. It was the most interesting item in the first half of the album, with its cloth curtains and three-fold mirror. As David leafed through the pages, he timed it so that the dressing table would be the one that caught her eye, pausing briefly as he talked and noting her reaction as she made her choice. Have you got one in mind he asked. Yes, she said and David told her, Whatever you've thought of now, and remember you had a free choice of all of these, will you think of that in the show Forcing a page in this way is very similar to some of David's psychological strategies with books and playing cards or his handling of the Classic...
The right hand middle finger and ring finger will apply pressure opposite the thumb on their respective sides at the right outside end of the cards. The right pinky will ground itself onto the table at the end itself ready to apply inward pressure on the cards. Finally, you will place the right forefinger on top of the cards in-between the thumb and middle finger. In case this description was burdensome for you, as my grammar checker is cautioning me may be the case, I am providing photographs of two different angles of this arrangement for your reference. (See figure 142 and figure 143.)
David Acer has done a fine job writing up the routines, and many photographs accompany the explanations. Packaging the book with the video is a clever idea, especially for those of you who have a hard time visualizing an effect from the written word. If you're looking for some clever, practical material, Richard Sanders - Close-Up Assassin should fit the bill. Recommended.
Before I touch on the highlights of the book (and these will simply be a few personal favorites, since there is not a bad trick in the bunch), let me offer a word of warning. Simon is the Public Broadcasting Service of magic. He does not deal in sound bites. There are about 27 routines explained in 300 pages of text. There are just a handful of photographs. You will not be able to flip through this book and fantasize that you are doing the tricks by looking at the pretty pictures. You have to be able to read. Some of the explanations are fairly involved. I strongly urge you to read the book with a deck of cards in hand.
I reviewed David Groves' Be a Street Magician in the October, 1998 issue of MAGIC. What I received for review were three plastic comb bound books with average production values. Mr. Grove has now released the information in one very nicely produced 8.5 x 11 softcover book. The book is now a high-class affair, with glossy paper and lot of photographs. As I mentioned in my earlier review, if you ever intend to work the street, Be a Street Magician is a book you must read. See David's ads in previous issues of MAGIC for more details.
This phrase troubles me, and since this is the only really negative comment I have about this new book by Jim Tyler, I thought I'd get it out of the way first. It is, of course, the god of marketing that speaks the words, Used by pros, written for beginners, and I think these words do Mr. Tyler a disservice. First, Pockets Full of Miracles is not a book for beginners. There are some simple stunts, gags, and bar bets that a beginner could do immediately after reading them, but the majority of the routines are not really geared toward someone who is new to magic. Mr. Tyler has provided a glossary that defines some magic terms and explains some basic sleights (such as the Bobo Switch, the Charlier Pass, the Classic Palm, the Click Pass, etc.), but these explanations are rather cursory, and they are accompanied by teeny, tiny photographs. (Incidentally, there is an odd entry that categorizes the Will De Seive gaff as a breather card. Unless my understanding of the breather...
This form of cut generally attributed to Nate Leipzige was very nicely dealt with by Bruce Elliott under the title of A Lesson in Magic in Phoenix No. 277. However, we have taken a few photographs which should help the reader to whom the flourish may be new. Holding the pack with the right hand as illustration 1, the left hand forefinger presses against the corner of the pack and swivels the lower part of the pack round using the right hand middle finger as pivot. These cards go all the way round and are allowed to fall into the palm of the left hand. The left hand thumb then comes underneath the bottom-most card of those cards held in the right hand slides it towards
Paul Rosini has intrigued me ever since I read his tricks in Greater Magic. While his photographs (and the comments from his contemporaries) paint him as the ultimate in sophistication and technical competency, he was a man with flaws and demons. After all, this was a man who stole the last name of a working performer, based his repertoire on the routines of other established professionals (Charles Bertram and Nate Leipzig), and appropriated someone else's trademark line (Max Malini's A little waltz, please. ). But he elevated the material in way that other performers could not, and he left a lasting impression on those who saw him. I'm delighted that Chuck Romano has provided the magic community with such a thorough biography. Paul Rosini remains somewhat of an enigma, but I sense that he was an enigma to his contemporaries. I enjoyed House of Cards very much. I think you will, too.
(Note by Annemann When my first years of magical cramming had passed I found myself intrigued mostly by escapes, spiritualistic phenomena, occult and psychic effects, and mind-reading mysteries. This was probably because such performances seemed to have a call on the supernatural, moreseo than other magical phenomena which was so dependent upon the quickness of the hand. Next to the publicity possibilities of muscle-reading X was sold on the type of scientific trickery made famous in her day by Lulu Hurst. After checking a number of yellowed newspaper files for astonishing accounts of her work as seen through the eyes of 1883 writers, and using her own autobiography as a base for starting, I detailed a mss. of her strange feats. That someone hasn't made this a featured night club act to-day is as strange as the stunts, for capable presentation allows for many laughs along with the magnetic nystery. rt is best done, from the showmanship angle, by a girl of not more than 110 pounds....
- a box of old photographs somewhere, not neatly sorted into albums You have a box of old photographs at home. Ah the 3 of Pentacles and, in the same line, The World. A very interesting combination of cards, actually. In general, The World pertains to your own personal domain or presence, like your own home or your own room. This combination suggests the sort of person who makes clear distinctions between things that are important, and things that aren't. You're quite analytical in that respect. It's as if you're inclined to attach far more importance to some possessions than others. You know, you might be the sort who has some photographs, the important ones, neatly compiled into albums, and others which you just sling into an old box, any old how, and never look at. And I have your Uncle here now. He's very well, he tells me, and loves you very much. Oh, mind you, but he's got quite a sense of humour, and he's complaining now. What s that Ah, I understand, he's saying something...
Over the years I'd heard a lot about his Dutch television series, Opus . , but it wasn't until I saw the photographs of the show that I fully appreciated the sheer size and scope of the project. Nor had I anticipated just how different the routines were from anything else that I had seen. David recounted his time in Holland and let me peruse the mass of cuttings devoted to that one show. I thought it incredible that no account of it existed in English to inspire new generations of performers. What a great book it would all make.
I loved this book before I even opened it up. The cover illustration by Patrick Milbourn is hilarious. I wish I had a print to hang on my wall. As I went through the rest of the book I never stopped smiling. This book is a class act. There are over 400 photographs. It is
I first became aware of Michael some years ago, during a visit my wife and I made to the Magic Casde in Los Angeles. The Castle, on a hill above downtown Hollywood, is a lavishly decorated Victorian mansion that has become a landmark and a reference point for magicians from all over the world. Once a private home, the house was acquired about thirty years ago by two brothers who were both magic buffs, Milt and William Larsen they converted the building into a combination museum and haven for devotees of magic in all its forms. The rooms are crammed with antique furnishings, gewgaws, and magical mementos, and decorated by old posters, photographs, prints, lithographs and paintings of long-vanished magicians and celebrated magic acts. The Castle, which is operated as a private club, has a top floor which contains a reference library and reading room open only to members and professional conjurers. Theoretically, only members are allowed to frequent the Castle, but it's not difficult to...
1 oliow the test from this point with the paper in hand and refer it) the photographs for clarification. Hold the paper with the folded corner the centre between the right thumb and first finger. Tear the folded paper vertically in half (Fig, 1. ) You now have a piece Ln each hand.
With a complete change in format and an enlargement of page size, Harry Stanley has added another glossy to the many. Altogether the production runs to 32 pages, including covers, and of this there are some twenty pages devoted to editorial, news and tricks. There are many sections, each edited by different magicians These include in the first issue, Lewis Ganson (manipulation), Douglas Francis (Chatter), Len Belcher (apparatus), A1 Koran (cards), Geoff. Robinson (laughs), Wilfred Tyler (children's effects), and Will Dexter (Mentalism). In his editorial HarryStanley outlines his policy noting that he will not encourage controversy. This we think regrettable for where progress is to be maintained differences of opinion must arise. The whole magazine is well printed on good quality paper besides a number of line drawings, photographs of the various editors appear. We have only one criticism to offer and that is regarding the illustrations for which the Art Editor Ted Elliott is...
The effect in the present case is briefly the transmigration of a borrowed coin into an egg. Afthough I describe this effect with an egg, after you understand the requisite moves and become familiar with them you could substitute a Cigarette, Lighter, or any other adequate sized object for the egg. The six photographs accompanying this article will clarify the instructions that follow, to the point of being readily comprehensible.
The subtitle of The Book is Don't Forget to Point, an obvious bit of advice from a group whose name in English is The Flicking Fingers. (The history of the Don't forget to point admonition is explained at the beginning of the book. It is a very funny story. Throughout the book there are photographs chronicling the History of Pointing. These photos are also very funny.) The Book is divided into four large sections titled Close-up, Cards, Ideas, and Theory. There is a wide variety of material explained, and the technical requirements are varied enough as to appeal to a wide audience. I'll mention some items that I found particularly interesting. The subtitle of Manacles of the World is A Collector's Guide to International Handcuffs, Leg Irons & Other Miscellaneous Shackles and Restraints. It certainly is that. In ten chapters Mr. Gross gives an overview of shackles in history, discusses basic types and styles of shackles, and delineates a great number of British, American, Continental...
8 This book is relatively difficult to obtain. It is on the waiting want list of many used book dealers. It is a beautifully produced, hard-cover book of 154 pages with 111 superb photographs by Frank Simon, who was a first-rate photographer and cinematographer. It was published by Magical Publications. (Mike Caveney)
To all those wonderful magicians who have sent me photographs. To date I have received seventeen pictures, two of which are of unknown performers. That is there are no names on the pictures and neither I nor the guys who sent them recognise the performers. Actually that now makes up about a dozen photographs I have of performers of unknown identity. It makes you think, doesn't it Or does it The point I am making is that as you grow older your features change, you gain a few wrinkles, add a few pounds, lose a few hairs. Change the act a little ( ) with the result that if you look at a twenty year old photograph you don't recognise yourself, so the chances of someone else recognising you are remote. Lesson If you are going to take the trouble and go to the expense of having professional pictures done make sure your name or the name of the act is included.
The show was fantastic for me, due to the fact that I performed a very baffling version of the classic illusion 'Sawing in Half' where I sliced myself into two pieces with a giant buzz saw. I didn't use any of the usual covering boxes - it was completely visual. The following day I hit the headlines in the national press, with The Daily Mail devoting a full page with photographs showing me in two halves and the headlines read 'Magic man amazes the Royal Party.' It was amazing that only a few days before, I had felt like the worse performer in the world, and now I felt like the best. That's show business
Sometimes I would give a special performance to the newspaper men. Many times a newspaper would be fathering some charitable institution and I would play free of charge for that institution. The result would be a fine write-up telling of the performance and many times illustrated with photographs.
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