IN A GREEN VALLEY.
rubbish in the foreground. The camera will invariably record such articles with hideous fidelity. If figures are introduced, they must not be so near the camera as to divert attention from the essential elements of the corn position, nor, on the other hand, so far off as to appear insignificant dots. Well-chosen figures in the right position and in good focus give scale and interest to the composition. Otherwise they are a source of confusion.
Know also that the camera, trim and dainty though it may 5 look in its brass fittings and polished rosewood, is destitute of brain power ; and that the most expensive lens is only a glass eye capable of a meaningless stare. Any expression of intelligence must come from the man behind it. It is worth while for the beginner to spend hours in studying landscape as interpreted on the focussing screen. He will acquire by this method a knowledge of the limitations of his instrument, and also a habit of close observation which is even more valuable. Masses of light and shade, well disposed, are of more importance than small objects, and in judging this general effect of light and shade it is a benefit in disguise that the picture on the focussing screen appears up side down.
Except for certain architectural subjects, minute definition of detail all over the print is not often desirable. In ordinary landscape the lens should not be stopped down below f/i6, and /hi is generally better than f/i6 with the doublet lens.
Clouds.—Nearly all landscapes containing a wide expanse of sky require mitigation by the printing in of clouds, and a stock of cloud negatives to serve on various occasions is part of the work of the landscape artist. Contrary to general opinion, we do not advise that such clouds should be taken from near the sun. It is true that these are often extremely picturesque and brightly coloured, but they give an unreal effect when introduced into the average landscape taken by an operator with his back to the sun. The best clouds are found in the afternoon and low down in the sky, near the horizon. Cirrus and fleecy clouds floating on a blue sky
demand the yellow screen (q.v.) or must be snapped very quickly on a slow-process plate. For grey masses of cloud the screen should be dispensed with, and a fast exposure be made with a small stop.
N atural Clouds.—It is occasionally worth while to preserve the actual clouds in the landscape which we are photographing. A sky shade-shutter will give a much shorter exposure to the sky than to the foreground ; good results have also been produced with the graded light filter in spite of the severe criticism attending its introduction. Some workers tilt the dish during the latter part of development in such a way that chemical action is retarded in the upper part of the plate. But all these contrivances are only applicable to seascapes, marsh land, or open prairie, where the horizon line is not broken up by trees or buildings. The best plan of all is to expose the plate in the usual manner, and then, without shifting the camera, give a second plate one-fourth the exposure for the clouds. Both plates will be in the same register, so that the printing in of the clouds will present no difficulty when the features of the landscape have been blocked out.
It is an advantage to employ films for the preparation of cloud negatives. They can then be easily reversed according to the lighting of the picture in which they are to be intro duced.
Moonlight Efects.—Most of the so-called " moonlight pictures" are taken by a very rapid exposure to the setting sun when surrounded with clouds. In mountain scenery, or with the sea or a lake in the foreground the illusion is often very skilfully accomplished. Genuine moonlight pictures require a long exposure half an hour and upwards. luminary herself must not be attempted—that is as part of a landscape. During the period of exposure she will have traversed a considerable part of the plate and her path will be represented by a broad white band.