2), PHOTOGRAPHY
@ FORTHE
| SPORTSMAN
y)) NATURALIST:
: = Ww. BROWNELL
iS
oS
S
<
e
w
3
CORNELL LAB of ORNITHOLOGY
LIBRARY
AT SAPSUCKER WOODS
Ilustration of Snowy Owl by Louis Agassiz Fuertes:
HO
3 1924 090 300 033
DATE DUE
GAYLORD
PRINTED INUS.A
THE AMERICAN SPORTSMAN’S LIBRARY
EDITED BY
CASPAR WHITNEY
PHOTOGRAPHY
FOR THE
SPORTSMAN NATURALIST
eThe
PHOTOGRAPHY
FOR THE
SPORTSMAN NATURALIST
BY
L. W. BROWNELL
New Work
THE MACMILLAN COMPANY
LONDON: MACMILLAN & CO., L1p.
1904
All rights reserved
CopyrIGHT, 1904,
By THE MACMILLAN COMPANY.
Set up and electrotyped. Published November, 1904.
Norwood Press
F. 8. Cushing G Co. — Berwick G Smith Co.
Norwood, Mass. U.S.A.
TO
fav (Mother
WHO, BY HER APPRECIATION OF AND INTEREST
IN MY WORK,
HAS BEEN MY GREATEST AID
I AFFECTIONATELY DEDICATE THIS VOLUME
CONTE NGS
CHAPTER PAGE
I. NatTuRE PHOTOGRAPHY: ITS SCOPE AND USEFUL-
NESS . : : : . : : : : I
II]. PHOTOGRAPHY AND THE SPORTSMAN . : - Ig
III. CAMERAS, LENSES, AND SHUTTERS 5 é = 20
IV. THE DaRK ROOM: DEVELOPING AND PRINTING . 49
V. THe TELEPHOTOGRAPHIC LENS AND ITs USES & Yfe)
VI. APPARATUS FOR A FIELD WORKER : 5 . 81
VII. PHOTOGRAPHING THE LARGER ANIMALS : » 102
VIII. PHOTOGRAPHING THE SMALLER MAMMALS . enl23
IX. PHOTOGRAPHING Birps’ NESTS : : : = 138
X. PHOTOGRAPHING BIRDS AND THEIR YOUNG . . 160
XI. PHOTOGRAPHING INSECTS 5 : ; : . Igo
XII. PHOTOGRAPHING FISH AND OTHER FORMS OF
AQUATIC LIFE . 4 ‘ 5 E a A ols!
XIII. PHOTOGRAPHING REPTILES, ETC. . 3 : # Dey)
XIV. PHOTOGRAPHING WILD FLOWERS, CUT AND GROW-
ING. 5 5 A : é 5 5 6 wil
XV. PHOTOGRAPHING TREES, FUNGI, ETC. . 3 - 268
XVI. PHOTOGRAPHING IN THE ZOOS A A : a Pah
XVII. PHOTOGRAPHY IN CAMP AND Woops . : « 292
INDEX . : . : : : 305
vii
ILLUSTRATIONS
Song Sparrow Family . 6 4 F j : Frontispiece
PAGE
Taken, from a distance of about 75 yards, with an eight-inch
lens és 5 6 : A z . : : 7 270
Taken, from same distance as photograph on page 76, with
same lens and telephoto attachment ¢ : o & | 9S)
American Elk, Horns in Velvet. ‘ 5 - 104
Half-grown White-tailed Buck > . a : : . III
White-tailed Deer. Doe 9 . 4 3 fl : oe this
Prairie Dog at Entrance to Burrow 3 : : 4 eel)
Cotton Mouse : : : : . 4 4 : 2 25
Fox Squirrel . : : é 5 a . . ; a Way
Half-grown Woodchuck . ‘ 0 5 9 5 8 . 130
Porcupine feeding on Root . . 3 g é a tee}
Muskrat a ; . é . 0 . 5 a ley
Little Brown Bat nee ¢ . 3 ° . RIS
Nest and Eggs of Ruffed Grouse . a o : 3 - 140
Nest and Eggs of Green Heron. d ‘ é : 2 12
Nest and Eggs of Spotted Sandpiper. : a - 143
Nest and Eggs of Chestnut-sided Warbler in Low Bush . = 146
Nest and Eggs of Kingbird . : : 4 , : - 149
Nest and Eggs of American Crow . 0 a 0 . - 152
Bluebird’s Nest and Eggs 6 . : 0 : - 155
Entrance Holes to Bank Swallows’ Nests ° ° 5 » 157
Nest of Bank Swallow . 0 : ° 0 2 : - 158
Wild Turkey Hen . a 4 5 6 €@ 8 6 TG
x Tlusirations
Red-eyed Vireo at Nest feeding Young .
Field Sparrow on Nest
Chipping Sparrow feeding Young
Young Flickers
Screech Owl asleep by Nest Hole
Bluebird at Nest Hole
Young Shrikes at Nest
Chickadee feeding Young
Young Blackbirds .
Young Downy Woodpeckers .
Young Wood Thrush
American Crow
Young Green Herons
Spider repairing Web
Lana Moth hanging from Cocoon .
Mourning-cloak Butterfly
Larva of Walnut Moth
Newly Emerged Cecropia Moth
Cabbage Butterfly .
Black Swallow-tails
Moths asleep in Daytime
Moth on Tree Trunk
Dragon Flies .
Common Crab
Jellyfish .
Sea Anemones
Milk Snake
Garter Snake .
Common Frog
Snapping Turtle
Tree Toad “ singing ”
Common Toad
Illustrations
Shinleaf in Tangle of Herbage
Blue Flag
Jack-in-pulpit
Tansy
Spring Orchis
White Violets
Young Skunk Cabbage
Trailing Arbutus
Common Purple Violets
Bank of Christmas Ferns
Indian Pipes . 3
White Birch in Winter .
Trunk of Red Cedar
Locust Blossoms
Spruce Cones
Blossoms of American Chestnut
Mushrooms
Head of Lion .
Snowy Herons 3
Head of White-tailed Deer
White Pelican
Trophies
Hitting the Trail
A Temporary Shack
Whipping a Mountain Stream
In Quiet Waters
Bringing in the Quarry .
A Fair Shot
Finis
INTRODUCTION
NEARLY a century has passed since the first experi-
ments, that amounted to anything, were made in trying
to reproduce the image of any object, mechanically, by
means of light rays.
Niepce was, probably, the first to start these experi-
ments, but almost simultaneously with him Daguerre
commenced work along slightly different lines and he
gave the result of his researches to the world, while
Niepce hesitated to publish even the smallest details
concerning his, so that we have come to consider Da-
guerre as the real father of photography.
For many years the advancement in the photographic
art was extremely slow, but for the past twenty years
it has advanced with enormous strides, until now we
have but one thing more to look forward to,—the taking
of photographs in natural colors. To attain this object
scientists have been working for some years, but no
material results have as yet been accomplished.
The first photographic process which was of any
commercial value was invented by Daguerre, and named
after him, “daguerreotype.” This process was finally
perfected, after tedious years of experimenting, in 1839,
and held sway in both England and America for about
twelve years. The two most serious objections to it
were the cost of the plate, which was excessive, and
the impracticability of multiplying the reproduction,
owing to the opacity of the plate.
xili
xiv Introduction
This was practically the commencement of photog-
raphy, and its invention entitles Daguerre to rank with
the foremost inventors of the nineteenth century.
At the same time that Daguerre was pursuing his
researches in France an Englishman, named Fox Talbot,
was working along somewhat similar lines in England,
and in 1841 he patented what he called the calotype
process.
It is unnecessary to go into a description here of
these two processes. Suffice it to say that the image
was made in the former on copper, plated with silver,
while in the latter it was made upon paper. This latter
was really a negative, for on it the qualities of the
image were reversed as we now have them on our dry
plates. The correct picture, in black and white, was
obtained by oiling the original, which caused it to
become transparent, and then printing through it on to
another piece of sensitized paper, exactly as we do at
the present time.
The collodion process of glass plates was the next
great step in advancement. It was invented by an
Englishman named Scott Archer, and was first given
to the world in 1851. In a few years it had so far
displaced both the calotype and the daguerreotype
that it reigned supreme from 1855 to 1880.
Up to about 1853 a photograph was considered noth-
ing short of a curiosity, but with the introduction and
perfection of the collodion process photography be-
came an almost popular pursuit. In the collodion
process, as introduced by Archer, it was absolutely
necessary that the glass plates, coated with collodion
containing iodide and nitrate of silver, should be ex-
Introduction xv
posed while wet and developed immediately after the
exposure, before the surface had time to dry.
While a collodion dry plate was invented shortly
after Archer’s process was given to the public, still it
did not supersede the wet plate, and it was not until
the late seventies that the gelatine negative plate was
introduced.
The years from 1877 to 1880 could be called, photo-
graphically, the years of the struggle between the wet
and the dry plate processes; but the dry plate won, as
was bound to be the case from its greater practicability,
and in a few years it completely took the place of the
antiquated wet plate.
Now commenced the rapid advancement in photog-
raphy that has not yet ceased. New and better appli-
ances were constantly being perfected. Every year
saw a faster lens and shutter on the market. Men of
the arts and sciences took greater and greater interest
in photography, until, finally, when the apparatus had
reached that stage of perfection that permitted it,
nature workers took up the camera.
Nowadays the equipment of a worker in any of the
branches of the natural sciences is incomplete unless
it includes a photographic outfit, and it should be so
with the sportsman.
It is in the hopes of inducing many who have here-
tofore never used a camera to take it up, and of helping
those who wish to photograph the wild denizens of our
woods, fields, and streams, that this book is written.
It is distinctly a book for the beginner, and to the
expert in nature photography it will probably prove of
little or no use. The suggestions and advice which I
xvi Introduction
have given are based mostly on my own, partly on
others’, experience, and should they clash with the
ideas of any of my fellow-workers, I trust they will not
be too harsh in their criticism, but will remember that
two workers in the same field hardly ever follow along
identical lines.
Even to the beginner it is written with the intention
of merely starting him properly, so that he may lose as
little time as possible in learning things by sad experi-
ence. However, this is bound to happen, to a greater
or less extent; and, after all, Experience is the best
teacher, for what we learn at her hands we are apt
never to forget. As he advances along his chosen line
of work he will find less and less use for this book,
until, finally, he will discard it entirely, and then, un-
doubtedly, will shortly be able to teach me new tricks
and methods. If, however, in the meantime, it has
helped him to a better knowledge of the task before
him, it will have served its purpose, and I shall be
content.
I have endeavored to make it as complete a text-book
of nature photography as possible, and as such I have
devoted two chapters to the camera, lens, shutter, etc.,
and to the manipulation of the plates in developing and
printing. This may, to many, seem an unnecessary
waste of space, but to any one who is taking up the
camera for the first time a thorough knowledge of all
this is absolutely essential.
In other chapters I have treated each branch of
nature photography separately, giving in each case, as
fully and explicitly as possible, the directions, as I know
them, for obtaining the best results. I have, in fact,
Introduction xvil
made each chapter practically a separate book, even to
the extent of often repeating myself, in order that any
one looking for a certain piece of information need
not be forced to look through the entire volume before
he can find it. Now, if he wishes to take up a single
branch of nature work, —the photography of birds, for
instance, —he has but to read the three chapters on the
camera, the dark room, and bird photography in order
to get all the information which this book can vouch-
safe him.
Work in nature is, at its best, one of the most diff-
cult branches of all photographic art, and knowing as
I do how many and various are the difficulties and
how enormous they seem to a beginner, it has been
my endeavor to set forth, as clearly as possible, all
the devices by which these difficulties can best be
surmounted.
I can look back now and see how much valuable
time I lost, when I first entered this field, by having to
learn everything for myself, —time that could have been
used to so much better advantage had I but had a
better knowledge of my subject before I started. So
I am endeavoring to give that knowledge, which I have
gained in the number of years during which I have
been, more or less constantly, working with my camera
among the wild life, to him who is about to enter the
same paths, and I am trusting that, to those who really
need aid, this volume will be welcome and prove of
some material use.
The camera, particularly in the last half-dozen years,
has done much toward making wild animal life real to
those who have never had the opportunity of seeing it
xviii Introduction
in its natural state, and has aided tremendously in the
nature movement now assuming so much force and
importance in our schools and elsewhere. We need
more serious workers, however, — more who will take it
up, not as a mere pastime, but with the object in view
of increasing the world’s stock of knowledge, and I
wish that I might induce many to do so.
The illustrations throughout the volume are, of course,
from life, and were made, with a few exceptions, amid
the natural surroundings. Those which were made from
captive animals were taken in the Bronx Zodlogical
Park, New York City. The nests were taken, in every
instance, zz sz¢ and often at great trouble.
These photographs were principally selected from a
collection of about three thousand negatives taken by
myself, but I wish to acknowledge my indebtedness to
Mr. F. M. Hale and Mr. S. D. Dixon for the use of
those which are attributed to them.
PHOTOGRAPHY
FOR THE
SPORTSMAN NATURALIST
Photography for the Sportsman
Naturalist
CHAPTER: I
NATURE PHOTOGRAPHY: ITS SCOPE AND
USEFULNESS
Ir is of comparatively late years (about seven
or eight) that the camera has been used for pic-
turing our wild life to any extent; but so very
rapid has been the advancement in this branch
of the camerist’s art that photographs that were
once deemed impossible — pictures of animals in
their native haunts, of birds flying and attending
to their home duties, of fish in their natural ele-
ment, of insects during the various stages of their
metamorphoses —are now obtained, not always
exactly easily, but with at least not too great a tax
upon the ingenuity and resources of the operator.
This has been made possible, to a large extent,
by the immense improvement in apparatus that
has been accomplished in the past few years, and
especially by the extremely rapid lenses that have
been placed upon the market, making an expos-
ure of a thousandth of a second practicable.
B I
2 Photography for the Sportsman Naturalist
It is difficult to say just who was the pioneer in
this line of photography, if indeed there was any
single person who could be called by that name.
Many tried it tentatively and, obtaining but indif-
ferent results, grew discouraged and gave it up.
Others attempted it, but did not seem to grasp
the subject with a thorough understanding or else
were not well enough versed in the use of their
apparatus or in the habits of their subjects, for the
results they turned out were anything but good.
Finally, however, some eight years or so ago,
a number of serious workers entered the field
almost simultaneously, each one determined to
do his best to show what could be accomplished
with a camera among the wild life of the woods
and fields. As soon as these workers had cleared
a way, so to speak, had shown the others how to
surmount the many difficulties that had been con-
fronting them and which had proved too much
for them to tackle single-handed, there were
plenty ready to follow, as is always the case in
almost any enterprise.
Many of these soon lost their interest, however.
The results seemed too few for the energy ex-
pended, and so they one by one dropped out of the
ranks, until to-day there are but comparatively few
serious workers still left in the field. These, how-
ever, are the ones who naturally would rise to the
top,—those who entered into the work for the
Nature Photography 3
love of it and the love of the wild things with
which it brought them into close contact, and
who had tenacity and determination enough to
stick at it, no matter how many were the difficul-
ties that confronted them.
One of the first to do the best work in this
country was a close friend of mine; a man who
all his life had been an ardent sportsman, but
who laid down his rifle and shot-gun to take up
the camera in their stead. He has never had
cause to regret the exchange, for he has found
just as much excitement in the hunt with a cam-
era as with a gun and much more pleasure in the
results. Many of his pictures stand to-day as the
best in their line and will undoubtedly so stand
for all time, as it would seem to be impossible to
improve upon them.
Nature work with a camera forms an epoch,
not only in the photographic world, but in the art
of illustrating as well. Heretofore, in our nature
works and sportsman’s books we have had to be
content with drawings, always inaccurate, often
ludicrous, and sometimes even grotesque in their
untruthfulness to nature. This was not always
the fault of the artist, for there is nothing more
difficult truthfully to portray with pen or brush
than the wild life. These unnatural illustrations
are now a thing of the past, for photographs have
superseded them.
4 Photography for the Sportsman Naturalist
While the camera can be made to lie, despite
the fact that it has been said that it cannot, yet
it never does except when made to do so, or by
accident, and the pictures obtained by means of it
are pretty sure to be absolutely true to life, accu-
rate in drawing and detail, and showing the subject
exactly as it was when the shutter was snapped.
The camera can do more in the fraction of a sec-
ond than the most skilful artist can accomplish
through hours of hard labor.
The scope of nature photography is almost
limitless, its only real limitation being the im-
practicability of photographing in color. To be
sure, photographs can and have been made by
what is known as the three-color process, but this
is at its best unsatisfactory, often giving false color
values, and so I always advocate the use of mono-
tones in their reproduction.
The field to be covered, however, is endless, as
one soon discovers when he enters it, and a single
lifetime is too short a while in which to do all
that one would along these lines. If each one
can contribute a little of the best of his work,
however, to increase the stock of the world’s
knowledge, for all he knows that little may be of
great value and importance.
As a means, also, of studying nature there is
nothing so helpful as a camera, for not only does
it aid us in seeing things that might otherwise be
Nature Photography 5
passed by unnoticed, but it enables us to make
accurate records of the things which we do see,
and it causes us to be constantly on the outlook
for those things. It helps to teach us the value of
animal life, and the senseless and absolutely wan-
ton killing of that life which is constantly going
on would cease if there was only a greater knowl-
edge of its value.
The sweeping manner in which the farmer and
sportsman condemn all birds of prey because of
the offences of the few aptly exemplifies the old
adage that “A little knowledge is a dangerous
thing.” The farmer misses a pullet, finding in its
place a few scattered feathers, or he may see a
hawk swoop down and carry off one of his pet
broilers, spreading dire confusion among the rest.
The sportsman, while beating the woods for his
game, finds the remains of a quail, and at once
concludes that it has been the victim of some
depredating ow]. Without further investigation
and with absolutely no knowledge of the subject,
they both sweepingly and generally condemn the
whole family of Raptores, letting no opportunity
pass to destroy one of its members.
If the man who kills a hawk, or even a snake,
would first learn something of its habits, he would
in all probability find that he was about to kill
one of his best friends.
Did the farmer but know it, he is, in killing the
6 Photography for the Sportsman Naturalist
hawk, but aiding in the extermination of one of
his very good allies, who, by catching and eating
numerous of the small rodents and insects which
injure his crops, helps him materially in gaining
his livelihood. The sportsman might well ask
himself who has the better right to the quail,— he
who shoots it for the pleasure it affords him, or
the owl who takes it in order that he may live?
In point of fact, however, the owls, and but few
of the entire family Raptores, catch game or other
birds to any extent, and we are doing them a grave
injustice when we unreservedly accuse them all.
It is these and other useful facts that the camera
helps us to learn, and so, as the interest in natural
history is constantly on the increase, it is well
that we who may should turn our attention and
devote our energies toward photographing, in
detail, almost any common object in nature, es-
pecially as nowadays nearly every one, young or
old, possesses some kind of a camera.
The scientific value of nature photography hes
largely in the fact that, as I have already stated,
the results are accurate and true to life, and by
no other means can the wild life be so truthfully
portrayed. No mere wordy description, no draw-
ing, no matter how good, can adequately answer
the purpose. Where is the artist who can repro-
duce the intricate construction of a bird’s nest so
perfectly as can the camera? Or where is the
Nature Photography 7
writer, clever though he may be with his pen, who
can give us as clear a conception of the manifold
duties of a bird’s daily life as can a series of pho-
tographs? In accuracy of detail as well as artistic
conception the late W. Hamilton Gibson far sur-
passed all other artists in his delineation of animal
and insect life, and yet he left much to be desired.
He was not infallible. The camera, when prop-
erly used, is.
Then, too, a photograph of any animal life that
is now common may at some future time be of
extreme value to naturalists, for we can never tell
how soon any of the mammals or birds may be-
come extinct.
Some species of herons are rapidly becoming
fewer and fewer in number, and may soon be a
thing of the past; and photographic records of the
few remaining large rookeries which exist in this
country, where once there were many, will pre-
serve for all time to come impressions of con-
ditions which will soon be no more.
What would the scientists of to-day not give if
only our ancestors of the past ages had been
versed in camera art and had left, among their
other relics, photographic plates of the monsters
that at that time inhabited the world. That, of
course, is stretching the limits of the possible;
but to come down to more modern times, what an
invaluable addition to our knowledge of the life
8 Photography for the Sportsman Naturalist
and habits of the great auk or the pied duck, both
of which have within recent years become extinct,
would be a series of photographs of them taken
when they were fairly numerous, as they once were.
The younger generation of to-day can hardly
believe the stories of the immense flights of the
passenger pigeon which so frequently occurred
only a few years ago. These birds suddenly be-
came almost extinct, and the country which once
knew them literally by the thousands upon thou-
sands now rarely sees one. What became of them
forms one of the mysteries of nature, and it is en-
tirely probable that future generations will think
the stories told of their numbers nothing but
pieces of pure fiction, while, if there were but
some photographs to back up these facts, they
could not help but believe.
This is also true of the buffalo which once
inhabited our Western plains in such immense
herds, but of which there is now only one known
wild herd in existence, and this composed only of
a few individuals. Of what surpassing interest
would be photographs of these immense herds
that were once such common sights.
Unfortunately the birth of nature photography
is of too recent a date for us to have these records,
which would have been invaluable; but we all
have it in our power to leave for future genera-
tions photographs which may be to them just as
Nature Photography 9
absorbingly interesting as these would have been
to us. Then why not, rather than devoting our
cameras and our time to the producing of irre-
deemably bad bits of scenery and snap shots of
our friends, turn our energies into the making of
nature pictures and do something that will be
worth while? There is room for all who wish
to enter this field, and there are plenty of direc-
tions along which one may work and never tire
or find that he has reached the end of his road.
Unless you intend to take it up seriously, how-
ever, you had much better remain where you are
and continue in your course of “snapping,” for
there are already too many of the mere dabblers.
As I have already said, there are but few really
serious workers in the field, but there are many
who work at it in the most amateurish of ways
and who seem to have no care to improve their
methods or better their results. These results
are, for the most part, poor, or, at the best, indif-
ferently passable, and they are not only no credit
to their makers, but often prove a serious detri-
ment to those few who are doing something.
Their authors do not hesitate to use any means
that will obtain for them some kind of results with
the least possible expenditure of energy or patience.
They even go so far as to use stuffed subjects and
be willing to swear that they were alive, when the
veriest novice could detect the falsehood. This
10 Photography for the Sportsman Naturalist
tends to cast a doubt, in the minds of those who
cannot detect the real from the false, over all the
products of the nature workers, and so I say that
the men who do these things are a hinderance to
the advancement of nature photography.
I remember once seeing a lady looking at a
photograph of mine that happened to be in an
exhibition. It was a picture of an old bird feed-
ing her young, and the exposure had been made
at just the happy moment when she was in the
very act of giving the food to one of the fledg-
lings. It is one of my favorite photographs of all
those which I have taken, and it cost me some
four hours of patient waiting to obtain. Naturally
it rather disgusted me to hear the lady exclaim to
a companion, “Oh! I know how that was done;
the birds were stuffed and wired to the branch.”
Perhaps I should have immediately corrected her
and pointed out to her the reasons why it could
not have been a stuffed bird, but would she have
thanked me for doing so? I think not. So I
sat down instead and moralized to myself on the
futility of striving for the best results when those
results received no more praise or commendation
than almost worthless ones.
But it is worth while to do your best work and
always to attempt to make your photographs from
living wild subjects. They are the only ones that
have any real value, and not everybody in the
Nature Photography II
world is like the lady quoted above. She un-
doubtedly had known of some one who made
photographs in the way she mentioned and so
jumped to the conclusion that all others must,
necessarily, do the same.
Not many months ago I saw, in one of our
leading monthly magazines, an article on nest-
ing birds illustrated with photographs which the
author took care to explain had taken him many
hours of hard work to obtain. No doubt he
had spent some time in shooting, stuffing, and
arranging his specimens, for, to a practised eye,
it was entirely obvious that, without an excep-
tion, they were stuffed birds. No doubt many
who read that article were entirely credulous
and thought the results wonderful; but there
were many others, like myself, who were dis-
gusted with it, and who thought it no credit,
not only to the author, but to the editor of the
magazine who had allowed such productions to
pass muster. In another magazine I also remem-
ber seeing the photograph of a deer which was
such a poor specimen of the taxidermist’s art that
no one who had ever seen a deer alive could be
fooled by it, and yet the author of the monstrosity
had the temerity to describe at length just how
he had obtained it and what hours of patience
and hard work it had cost him.
I cite these instances to show the beginner
12 Photography for the Sportsman Naturalist
what pitfalls are awaiting him, and as a warning
not to fall into them.
This is but one step, and a very poor one, in
advance of the old-time methods of illustrating
works on nature. Indeed, I am not certain that
it is not a retrograde movement. There is much
to be said in favor of the old style over this, for,
surely, the artists never claimed more for their
drawings than appeared on the face of them, while
the authors of these photographs do all they can
to mislead people into the belief that they are the
truthful representation of living things, while they
are almost always entirely false in drawing, pose,
and surroundings.
I can readily understand why it is that some
who call themselves photographer naturalists can
allow themselves to be led into these falsehoods,
especially if their consciences are not in active
operation. The photographing of any of our wild
cousins is, at the best, difficult, and, to one who is
not working conscientiously for the best possible
results, anything, no matter what, that tends to
lessen the obstacles, is welcome. To take ad-
vantage of any means that will make the diffi-
culties fewer is perfectly legitimate so long as the
means employed does not tend to detract from the
realism of the finished picture, but photographs
of stuffed animals never were known to make
realistic pictures,
Nature Photography 13
Unfortunately, also, there are many who, while
they decry the use of mounted specimens, work
on a different method, which gives just as poor
results.
They, apparently, do not consider it at all
necessary that the ensemble of the picture be
natural so long as the image of the beast, bird,
or whatever the main object may be is large and
well defined. To gain these ends they employ
methods, in many instances, which, by removing
the subject from its natural surroundings, show it
in a false position and make the picture untrue
to nature.
In a branch of photography the results of which
must, obviously, be true to nature if they would
have any real value, one cannot afford to miss any
of the small details that go to make up a truthful
whole in depicting incidents in the everyday life
of birds or beasts. In order that we should miss
none of these details, it is equally obvious that
these wild things should be photographed in their
native haunts, and I cannot think that removing
them to a studio especially prepared, as some
photographers do, and keeping them there until
they are reduced from their original wild condi-
tion to a state of semi-tameness before photograph-
ing them is true nature photography, no matter
what backgrounds and surroundings may be
arranged to make them feel and look at ease.
14. Photography for the Sportsman Naturalist
Of course, if one wants simply pictures of the
animals themselves, this method is all right; but
then we should not attempt to give the impres-
sion that they were photographed in the open by
using home-made surroundings and accessories of
grass, leaves, tree-trunks, rocks, etc., but should
photograph them free from all surroundings and
leave the products to speak for themselves as
mere anatomical studies of the animals. The
use of these accessories is misleading in its
results, for while these results may be perfect
pictures of the animals themselves the idea con-
veyed by them to the average mind of how these
same animals live their everyday life is almost
certain to be erroneous, for there is almost
invariably a false note struck somewhere.
I have in mind a certain picture of a woodcock,
taken by a well-known advocate of this method
of work, in which, while the photograph of the
bird itself is admirable, the setting is so obviously
manufactured as to give one the impression that
it is nothing more or less than a reproduction of
a rather poorly mounted specimen.
It may be that I am hypercritical; that, having
worked for years among the inhabitants of the
fields and woods in my chosen branch of study,
natural history, I have come to know our wild
neighbors of the ground and air too well, and that
in consequence I can too easily detect any false
Nature Photography 15
note struck by the photographer. That these
false notes do exist, and that photographs con-
taining them are constantly being turned out, I
think no one who has kept in touch with recent
literature upon the subject and who is well ac-
quainted with his wild brethren can deny.
It is a pity that this should be so, that a branch
of photography that holds such limitless possi-
bilities in the material aid which it can give to
the advancement of the natural sciences should be
injured, as it is being injured, by unconscientious
workers. It is a field where each worker should
unhesitatingly give what aid he can to each new
worker entering it, where all should pull together
as much as is possible, where no petty jealousies
or rivalries should exist, and, above all, where no
one should resort to tricks or chicanery to obtain
results.
Therefore I would that none might enter it
except those who do so with the intention of
doing the best possible work along their chosen
lines. These I would gladly welcome to the
ranks of the nature photographers, and to these
do I wish to speak in this book, and most espe-
cially to those sportsmen who wish either to
exchange their gun for a camera or to combine
the pleasures of hunting with a camera with those
of hunting with a gun.
It is these men who are best fitted for this work
16 Photography for the Sportsman Naturalist
and who have the best opportunities for obtaining
valuable photographs, for they have the first es-
sential, —knowledge of the wild life which they
would photograph. Also they have the time to
devote to the work which a great many of us can-
not give, and the pursuit of their quarry takes
them, naturally, to such places as are most favor-
able for photographing wild life and where it is
most prolific.
Let no one enter this field, however, without
a due appreciation of the difficulties which are
before him, for if he begins with the idea that it
is easy sailing, the undeceiving process is likely
to prove painful. There is no pursuit that I
know of that contains more disappointments, and
there is none that requires a larger amount of
patience. Job would have made a good nature
photographer, if all the accounts which we hear
of his stock of patience are true, for with a suffi-
cient amount of this commodity judiciously mixed
with a modicum of ingenuity and common sense,
every obstacle that presents itself can be over-
come.
It is no unusual thing for one to work a whole
day, and work hard too, only to be forced to quit
at nightfall with no results to show. I have done
this frequently. The most disheartening part,
though, is to take home a batch of exposed plates
which we have every reason to believe should
Nature Photography iy
turn out to be good negatives, only to find, when
we get into the dark room with them, that they
are all irredeemably bad.
This will happen to all, as it often has to me,
and it is almost enough to make one forswear the
use of the camera altogether. Perseverance will
always win in the end, however, and when we do
get something that is really good the pleasure is
so much the greater for the many disappointments
which we have undergone.
One great thing to remember, as all woodsmen
know, is that a wild animal is much more easily
frightened by noise than he is by movement; in
fact, many animals are curious enough to ap-
proach a moving object to discover what it is,
when a sudden, quick movement or a noise would
immediately frighten them away. This can be,
and often is, taken advantage of by those who
photograph the larger animals especially.
But the key-note of success with all wild things
is gentleness and quietness of movement. Do
nothing hurriedly or with quick, sudden move-
ments, and above all, make just as little noise as
possible.
Do not be discouraged if at first you do not
get more than one or two good negatives out of
every ten or a dozen plates exposed. This will
be a fair average for a beginner. As you become
more and more proficient the average will in-
Cc
18 Photography for the Sportsman Naturalist
crease, but at no time must you expect to obtain
a good negative with every exposure. It is there-
fore a good plan, when it is possible, to make
more than one exposure on the same subject; it
lessens the chance of failure.
This is not a “press the button” kind of pho-
tography, but it requires all the ingenuity and
taxes all the resources which one has at his com-
mand, and the results are a lasting pleasure, fully
repaying us for all the expenditure of time, energy,
and patience.
CHAPTER II
PHOTOGRAPHY AND THE SPORTSMAN
As I have before said, I wish to interest the
sportsman in this book more than any other one
class of individuals, for I think it is to him, largely,
that we must look in the future for a large per-
centage of the pictures which we will get of ani-
mal life, especially of the larger mammals: the
deer, moose, caribou, elk, bear, wildcat, etc.
By sportsmen I mean, not those men who
shoot from the pure love of killing something,
and whose sole ambition is to kill as much as
possible in a given length of time. They are the
ones who helped to exterminate our buffalo, and
who are now doing all they can to lessen the di-
minishing numbers of the elk and caribou still in
this country; who find pleasure in standing on
the deck of a Florida river boat and shooting
the alligators and any other wild life they may
see on the shore as the boat passes; and who
would as soon shoot a grouse or a woodcock on
its nest as flying. They have none of the true
sportsman’s blood in them and are, consequently,
19
20 Photography for the Sportsman Naturalist
undeserving of the name; and they could find
but little to interest them in work with a camera
unless they could find it useful in helping them
to prove how many ducks or grouse they had
killed in a day, or how many trout they had taken
from a single brook.
But I am writing to those true sportsmen who
go to the wilds for the love of it and of the free,
untrammelled life they can lead there; who know
their wild brethren and appreciate their right to
live sufficiently to give them, at least, a fighting
chance; who carry their gun or rod, and use it
for the pleasure it affords them to pit their
strength, endurance, and ingenuity against the
cunning and ofttimes greater strength of their
quarry; and who, when they have won, and the
beast, bird, or fish, as the case may be, falls to
their prowess, feel elated, not at the fact that they
have taken a life, but that, by their perseverance
and superior skill, they have been able to gain
the victory over their opponent.
For these men, I say, I am in particular pre-
paring this book, for they are the men who find
a greater pleasure in winning a three or four
hours’ hard-fought battle with a tarpon than if
the same fight had been won with greater ease
in less time, and who think a week or two not
wasted if it only brings to them one splendid pair
of moose antlers. I think that these same men
Photography and the Sportsman 21
could find a similar pleasure in working equally
hard for like results with a camera, and I am
sure if they could once be induced to try it that
they would agree with me when I say that so far
as excitement is concerned the sports are about
equal, or, if anything, the advantage lies with the
camera.
Nowadays, in our hunting with a camera, the
continued life of the animal we are after is an
absolute necessity to the successful outcome of
our quest, and he who would be in the fore ranks
of the sportsman photographers must be ready to
follow and photograph the moose and panther at
bay and even the rattlesnake coiled for a strike.
Does it not require a greater amount of courage
to face an angry mountain hon with a camera
than with a Winchester .30-—.40? I think it does.
And he who is equal to the nerve and endurance
testing stalk of a deer in order to photograph
it can, in my mind, lay claim to being a truer
hunter and sportsman than he who would shoot
that same deer from a distance three or four times
as great. So I will unhesitatingly say, that to
any one who follows the chase for the mere excite-
ment that it affords, the camera can offer far
greater advantages for attaining his object than
can the rifle.
Let me quote from one of these men who was
at all times an ardent lover of nature and a sports-
22 Photography for the Sportsman Naturalist
man: “As a one-time sportsman who yielded to
none in his enjoyment of the chase I can affirm
‘that there is a fascination about the hunting of
wild animals with a camera as far ahead of the
pleasure to be derived from their pursuit with
shot-gun or rifle as the sport found in shooting
‘quail is beyond that of breaking clay pigeons.
Continuing the comparison, from a sportsmans’
standpoint, hunting with the camera is the high-
est development of man’s inherent love of the
chase.
“The killing of a bird with a gun seems little
short of murder after one has attempted to cap-
ture its image witha lens. The demands on the
skill and patience of the bird photographer are
endless, and his pleasure is intensified in propor-
tion to the nature of the difficulties to be overcome,
and in the event of success it is perpetuated by
the infinitely more satisfactory results obtained.
He does not rejoice over a bag of mutilated flesh
and feathers, but in the possession of a trophy —
an eloquent token of his prowess as a hunter, a
talisman which holds the power of revivifying the
circumstances attending its acquisition.
“What mental vision of falling birds can be as
potent as the actual picture of living birds in their
homes? And how immeasurably one’s memories
are brightened by the fact that this is not a picture
of what has been, but of what is!
Photography and the Sportsman 23
“The camera thus opens the door to a field of
sport previously closed to those who love the
birds too much to find pleasure in killing them;
to whom Bob White’s ringing whistle does not
give rise to murderous speculation as to the num-
ber of his family, but to an echo of the season’s
joy which his note voices. They therefore have a
new incentive to take them out of doors; for how-
ever much we love nature for nature’s sake there
are few of us whose pleasure in an outing is
not intensified by securing some definite, lasting
result.”
All this from a man who once would shoot with
the best, but who has now forsworn the use of
the gun except when occasion demands it, and
who finds his pleasure and recreation in hunting
with a camera solely. That there are many others
who think and feel the same way is evidenced by
the number of ardent sportsmen who are taking
up the camera in preference to the gun.
One man, whom I have previously mentioned
as being one of the first to see the possibilities in
nature photography, had been up to that time
through all his previous life a most active advo-
cate of sports afield with shot-gun, rifle, and rod.
There was seldom a season passed that he did not
take month’s long hunting trips, but now that
hunting is done entirely with a camera, for he has
almost forsworn the use of any other weapon.
24 Photography for the Sportsman Naturalist
Even so great a lover of the sport of hunting
as Theodore Roosevelt said, in his introduction
to A. G. Wallihan’s “ Camera Shots at Big Game,”
that: “ The shot is, after all, only a small part of
the free life of the wilderness. The chief attrac-
tions lie in the physical hardihood for which the
life calls, the sense of limitless freedom which it
brings, and the remoteness and wild charm and
beauty of primitive nature. All of this we get
exactly as much in hunting with the camera as in
hunting with the rifle; and of the two the former
is the kind of sport which calls for the high-
est degree of skill, patience, resolution, and
knowledge of the life history of the animal
sought.”
But it is not necessary for the sportsman to
entirely give up hunting with a gun in order to
do so with a camera.
Iam not an advocate of a continual close season,
nor do I wish to preach against the sports of the
chase except to those who are mean-spirited
enough not to see wherein the true sport lies and
will shoot, indiscriminately, everything in sight.
I am, preéminently, a naturalist, but I have
enough of the sportsman’s instinct in me to
keenly enjoy a day with the quails behind a pair
of good dogs. I find much more real and lasting
pleasure, however, in the use of my camera than
of my gun.
Photography and the Sportsman 25
But why not combine the use of the two judi-
ciously? It is an easy thing to do, and the two
sports need not conflict with each other. Many
sportsmen now carry small kodaks with them on
their trips to the woods. These, while answer-
ing some purposes, do not give as satisfactory re-
sults as would a different camera better suited to
the work; and it is my intention, in this volume,
to give to the sportsman who wishes either to
actually give up his gun for a camera or to com-
bine the use of the two, full and explicit direc-
tions, not only as to how he should use his outfit,
but the best outfit for the different uses.
He who does thus combine photographing
with his other sports afield will find the pleasures
of his outing doubled. He can bring home with
him not only trophies in the way of antlers and
skins, but also pictures of the game he was seek-
ing, taken in their native haunts. He can make
photographs of his companion, for few travel
alone, capturing the prize fish of the trip, for it is
entirely possible to photograph jumping fish, pro-
vided one has the proper outfit and is quick
enough. He can have innumerable mementos
that will prove a lasting pleasure, and which, dur-
ing the months that he must spend in the city or
town, will serve to take him back in memory,
away from the haunts of men, to the woods;
and he can, while looking over them, live again
26 Photography for the Sportsman Naturalist
the moment when, after patient waiting, he at
last secured the picture that he sought.
And what of the skill required for camera hunt-
ing? Does that count for nothing? We must
realize that in order to make successful pictures
of the game we are stalking we must approach it
much nearer than would be necessary if using a
gun and one must, obviously, be a much more
skilful hunter to be entirely successful in this
new style of hunting. Every device and precau-
tion known to the hunter is called into requisi-
tion. It will often be found not only advisable,
but necessary, to seek the most advantageous
position, and, after it is found, to wait, sometimes
even for hours, until the subject presents itself in
a suitable attitude.
One could have the opportunity for a dozen or
more shots with a gun at the game he is stalking
before he is able to make one with his camera,
and so it must be unquestioned that, so far as the
chance for one to display his skill as a woodsman
and hunter is concerned, hunting with a camera is
far ahead of hunting with a gun.
And to able-bodied, active men does this not
afford greater opportunities for pleasure? Who
is there that finds the greatest amount of enjoy-
ment in the thing which is obtained through little
or no real endeavor? But when we obtain an
object by the surmounting of many real obstacles,
Photography and the Sportsman 27
when we have to bring into play all the skill and
ingenuity we possess in order to gain our end,
that end is worth the gaining, that object worth
the having, and we would not exchange it for
dozens of those reached through little effort.
There are thousands of people who own cam-
eras and who imagine they are finding pleasure
in photographing such steadfast and patiently im-
movable objects as houses, statues, bits of scenery,
etc. What is the enjoyment of such compara-
tively prosaic employment when the whole field
of nature photography is open to any one who
wishes to enter it, and when such successes as one
may have are not only of real value in themselves,
but are undeniable tributes to one’s skill both as
a photographer and a hunter?
Furthermore, the sportsman who hunts with a
camera has the advantage over the man who does
not in the fact that everything is “game” that
comes his way. There is no bird or animal that
is too small to be of interest photographically.
He will find that even the flowers, the trees, the
insects, and the thousand and one things which
may be photographed in the woods are worth
considering and not without their full quota of in-
terest, and he will gradually learn how much more
numerous are nature’s offspring than he has ever
before considered them.
Moreover, another thing that must be taken
28 Photography for the Sportsman Naturalist
into consideration is the fact that there is no
closed season for the camerist. Every month in
the year is prolific with the wild life, and there is
no time when one cannot obtain pictures of it.
So we need not choose our time to go on a hunt-
ing trip according to the game laws, but can start
whenever the spirit moves us or the opportunity
presents itself.
Should the photographing of American game
pall on one or become too tame a pastime, there
is an immense field for work in other countries
for any one who has the time, money, and ambi-
tion to enter it. It would seem to me that if one
is looking for true excitement, he could have his
heart’s desire by taking his camera into the jun-
gles of India or Africa. There would, of course,
be more or less danger attending such an under-
taking, but danger is one of the underlying essen-
tials of excitement; and think of the results one
could obtain !
This has been done to a small extent by one or
two English sportsmen, but the photographs com-
ing from that portion of the world are few and far
between, and science needs more of them.
However, there is an immense field to be cov-
ered in America, for the good photographs of our
native big game are still all too uncommon, and
it is to the sportsmen that I look in the future to
increase their numbers.
CHAP EER 11]
CAMERAS, LENSES, AND SHUTTERS
In a letter written to his brother, in 1816, Niepce
describes how he secured what was_ probably
the first picture ever made with a camera. He
says: “ My object glass being broken, and being
no longer able to use my camera, I made an
artificial eye with Isidore’s ring box, a little thing
from sixteen to eighteen lines square.... I
placed this little apparatus in my workroom,
facing the open window, looking on to the pigeon
house. I made the experiment in the way you
are acquainted with, and I saw on the white
paper the whole of the pigeon house seen from
the window.”
This tells, in a few words, the basic principles
of a camera; for it is, in fact, nothing but a light-
tight box so arranged that, only when the image
is to be projected, a few rays may be admitted
through one end, and they form the image of
whatever object or objects we may be photograph-
ing, on the ground glass at the other end. The
very name “camera” means only a chamber or
compartment.
29
30 Photography for the Sportsman Naturalist
The principles of the projecting of images of
objects by means of light rays were known, how-
ever, a long time before the camera was invented.
About the middle of the sixteenth century an
Italian by the name of Baptista Porta invented
the “camera obscura,” which, as its name implies,
was nothing more or less than a darkened room
to which light was admitted only through a single
small hole in the window shutter. We can any
one of us easily repeat his experiments by tightly
closing the windows of a room with dark shades
and through one shade cutting a small hole. On
the wall opposite this window hang a sheet, and,
when the sun is shining, we can see a faint, in-
verted image on the sheet of whatever the window
may look out upon. It is inverted because the rays
of light emanating from the bottom of the object
looked upon pass upward at an angle, and, enter-
ing through the hole in the shade, strike the sheet
at its upper edge, and wzce versa. This is true
also of the modern camera. Porta somewhat
improved upon the primitive contrivance just
described by placing a double convex glass lens
in the aperture of the shutter, outside of which
a mirror was placed to receive the rays of light
and reflect them through the lens. The image
upon the screen was thus made much brighter
and more distinct, and was, moreover, shown in
its natural, upright position. Crowds flocked to
Cameras, Lenses, and Shutters 31
his house every day to see these light-painted
pictures, which were at first thought to be noth-
ing short of marvellous. In a short time, how-
ever, the camera obscura was made an adjunct of
many country houses, taking the shape of a small,
round house with a conical roof, in the centre of
which the lens was placed. Slanting mirrors
were so arranged as to reflect the light from
surrounding objects on to a table in the centre of
the room so that a reduced facsimile of the entire
view to be seen from the roof top was reproduced
on the table top. Its only disadvantage was the
fact that the picture could never be changed
except with the natural change of the seasons.
Up to within a very few years such places were
still in existence, and I am not sure that some of
them cannot be found to this very day, if any-
where, in some of the old country seats in Europe.
The photographic camera of to-day is, in fact,
nothing but a miniature camera obscura, for it is
simply a box with a lens at one end and a ground
glass screen, upon which the image is projected,
at the other. A modern camera, that is made by
any one of the numerous manufacturers in this
and other countries who turn out first-class goods,
is a veritable work of art. It is supplied with all
the appliances for simplifying the labor of the
operator and for producing absolutely the best
results, and is correspondingly expensive.
32 Photography for the Sportsman Naturalist
Cameras, broadly speaking, are of two classes:
the camera which is heid in the hands during the
exposure, with which only instantaneous expos-
ures or “snap shots” can be made, and which is
termed a “hand camera,” and the one that must
be set upon a tripod in order to be used.
Of the ordinary form of hand camera, the
“press the button” type, I shall not speak, for
they are of almost no use to the nature worker.
There are two types of cameras in this class,
however, that are the outcome of the almost con-
tinuous experiments of the manufacturers in late
years, and which have done more to revolutionize
nature photography than any other appliance or
appliances, and these, I think, are worthy of a few
words.
They are the “twin lens” and the “ reflex’
cameras. The twin lens was the first to be
placed on the market, and it consisted of a
“double-decker” box that was practically two
cameras in one. There were two lenses, one
above the other, of exactly the same focal length
and attached to the same front board so that both
could be racked out or in at the same time. The
lower lens made the picture, and the upper lens
acted as a view finder. At the back of this upper
lens was a mirror, placed at such an angle that it
reflected the image, thrown upon it by the lens,
on to a ground glass which was set in the top
oJ
Cameras, Lenses, and Shutters 33
of the camera. This was protected by a hood
and was the exact size of the plate used in the
camera, so that the operator, in looking at it, saw
the image not only the exact size that it would
be reproduced on the plate he was using, but also
right side up; and, moreover, he could watch it
up to the very instant of exposure. The focussing
was accomplished by means of a thumb-screw on
one side, while a button upon the other side, when
pressed, released the shutter, if it was a focal plane,
or, if the ordinary shutter was used, it could be
released in the usual way by means of a bulb.
The advantage of this camera over all the styles
of tripod cameras lay in the fact that the plate-
holder might be inserted, the slide drawn, and
the shutter set, all in readiness for an exposure,
before the focussing was done. One can readily
see that, in photographing animate objects that
are only too likely to move, and especially those
that are already in motion, this was a great
advantage, for there was none of the useless
delay between the time of focussing and releas-
ing the shutter that is necessary when using the
ordinary tripod box; instead, the shutter could
be released the instant that a sharp focus was
obtained and one could be reasonably certain
of having the image of the object he was attempt-
ing to photograph on the plate.
The only drawbacks. to this camera. were the
D
34 Photography for the Sportsman Naturalist
facts that the use of two lenses made it unneces-
sarily expensive, while the increased size made it
cumbersome and heavy. So the manufacturers
set themselves to remedy these defects, and the
result was the reflex camera, an instrument that
no nature worker can afford to be without. Its
principles are the same as were those of the twin
lens, which it has practically superseded, with the
exception that there is only one lens used by
which both the focussing is done and the expos-
ure made. This is accomplished by means of a
mirror, placed between the lens and the plate, so
arranged that, by pressing a button, a spring is
released that throws it up and out of the way a
fraction of a second previous to the release of the
shutter. As it is obvious that the shutter must
be back, and not in front, of this mirror, naturally
the focal plane is the only one that can be used
on this camera.
It can easily be seen that this instrument has
all of the advantages of the twin lens, together
with some added virtues. With it pictures can
be obtained with comparative ease that were,
heretofore, thought to be entirely out of the
question; and so much do I depend upon it in
my work, that I should almost feel inclined to
advise a man who could only afford one camera
to get the reflex.
When buying a camera, no matter of what type,
Cameras, Lenses, and Shutters 35
if we have never used one before, we had better
let some one select our instrument that has some
knowledge of them, and not depend upon the
advice of the dealer. Afterward, we should be-
come thoroughly acquainted with all its various
movements and how they affect the image before
we attempt to make any exposures with it, for by
so doing we will find that we can work quicker
and to better advantage when we do begin, and
will make fewer failures in consequence.
Tripod cameras are of two types: the long and
the short focus, that is, those having a long exten-
sion of bellows and those whose bellows are much
shorter. For nature workers the former is the
type that should always be used, as with it we are
enabled to obtain a much larger image, in other
words, work closer to our subject, than with the
short focus camera. The ones that have an
extension of bellows both at front and rear are
the most convenient, as they allow of being fo-
cussed either from the back or front as we please,
besides being much more rigid than are those
whose bellows extend only in the front.
The swing-back is an essential feature of the
modern camera. It is a device by which the
back, holding the plate-holder, is allowed to swing,
either vertically or horizontally, to a considerable
angle. Let me explain the advantages of this
contrivance. The nearer the camera is to an
36 Photography for the Sportsman Naturalist
object, the greater must be the distance between
the lens and the plate in order to have the image
in sharp focus; and when the distance between
the lens and the object is very short, say less than
two feet, a small deviation in the distance between
the lens and the plate suffices to entirely throw
the image out of focus. Now, when the camera
is pointing downward at any upright object, such
as a growing flower or a bird’s nest in a low bush,
as the camera must necessarily be tilted at a con-
siderable angle, it is obvious that the plate cannot
be parallel with the object if the back of the
camera is rigid; and therefore if the top of the
object is in focus, the bottom, being much farther
away from the plate, will be out of focus, and wzce
versa. ‘This defect can be corrected, to a large
extent, by the proper use of the swing-back. It
also prevents distortion of lines, which is bound
to occur when the plate and the object being
photographed are not parallel. This can best
be illustrated by focussing the camera upon a
tall building, where it is necessary to tilt the
instrument up in order to include the top of the
building. When this is done, it will be seen that
the lines of the building in the image converge
at the top, giving it the appearance of falling over.
This is caused by the plate being tilted back, and
the lines can be straightened by the use of the
swing-back. If we ever try to use a camera that
Cameras, Lenses, and Shutters 37
is not fitted with one, after having become ac-
customed to the use of it, we will discover what
a really invaluable adjunct it is.
Another very useful appliance is the rising and
falling front, which, by changing the position of
the lens, without changing the position of the
camera, allows one to get more or less foreground,
as he may desire, in his picture.
When focussing upon an object that is near by,
especially when we are trying to make it approxi-
mately life-size, it is always best to do so with
the back extension, leaving the front extension
entirely alone. By doing so we do not change
the distance between the lens and the object, and
this is very important in such close work, for it
is extremely difficult to obtain a perfect focus
when in the very act of doing so we are con-
stantly changing the point of focus.
In order to take a picture it is not necessary to
have a lens, that is if we are always photograph-
ing stationary objects and the length of time that
we have in which to make the exposure is not
an important factor; but it is necessary to have
one when we wish to do instantaneous work.
A picture can be taken, however, by using a piece
of black cardboard, or any other opaque substance,
in the centre of which a pinhole has been made,
and which is inserted in the place that is meant
to be occupied by the lens.
38 Photography for the Sportsman Naturalist
A lens does not form the image; the rays of
light do that, and a pinhole will allow the rays of
light to pass as well as will a lens. The lens,
however, gathers together these rays and _ sifts
them, discarding those that are not needed and
allowing only those to pass which are necessary
to the formation of the picture.
If we wish to understand thoroughly the prin-
ciples of a lens, and how it does its work, we
must obtain some book, of which there are many
published, upon this subject and read it, for here
I shall only touch upon the more important points.
In fact, I should advise the beginner to study some
elementary work on optics as applied to photog-
raphy, and also the elements of photographic chem-
istry. He will find that the knowledge he will
thus gain will cause him to work to much better
advantage, and the time spent in studying these
things will not by any means be lost.
The modern double lens is made in two com-
binations, that is, there are two sets of glass
used in its construction, and, therefore, it is what
is termed “convertible,” ze. each combination
can be used separately, or the two can be used
together, thus making, in reality, three lenses in
one.
The “focal length ” of a lens is, roughly speak-
ing, the distance between it and the ground glass
when an object at a distance is in focus, or, in
Cameras, Lenses, and Shutters 39
other words, when the lens is at what is ordinarily
called “ universal focus.”
Different lenses have different focal lengths,
and, also, the different combinations of a double
lens have different focal lengths (the single com-
bination being, usually, twice the focal length of
the double). The longer the focal length of a
lens the larger will be the image of an object at
a fixed distance. That is to say, if we make a
photograph of an object at a certain distance with
a lens of eight-inch focus, and then make another
of the same object from the same distance with
one of sixteen-inch focus, we will see that the
image taken with the latter is double the size and
covers four times the area of that taken with the
former. This is due to a law of optics which there
is no room here to explain; but it can be readily
seen that, for nature workers, the lenses of the
longer focal lengths are by far the best to use, if
size of image is the only consideration. Unfortu-
nately, there are other things to be considered,
and one of these is the fact that, on the other
hand, the longer the focus of the lens the less
speed it has, for, while a lens of sixteen-inch focus
admits just as much light as does one of eight-
inch focus, in the former instance the light must
cover four times the area of the latter, and there-
fore the speed of the latter is, approximately, four
times as great.
40 Photography for the Sportsman Naturalist
The depth of focus of a lens is the distance that
the ground glass can be moved to and fro with-
out the image of the object upon which the lens
is focussed becoming visibly unsharp. This per-
missible racking increases correspondingly as the
lens is stopped down. This term is often con-
fused with depth of field, which is the distance
between two objects lying in a straight line with
the camera and which are at both extremes of the
field of sharp focus. This also increases materially
with each smaller stop used.
The “stops” or “diaphragms” of a lens are
used to increase sharpness of detail, depth of field,
and depth of focus. These stops are simply a
series of apertures of varying sizes, which are
either made in a rotating plate, when they are
known as “rotating stops”; or in separate plates
which are slipped into the lens mount and are
called “Waterhouse diaphragms” after the in-
ventor; or, and this is the most usual form, the
apertures are formed by a set of thin plates which
open and close like the iris of the eye, and which,
consequently, are called “iris diaphragms.”
The most practical function of the diaphragm
is that, by decreasing the aperture, various planes
are brought equally into focus at the same time.
This, necessarily, by lessening the illumination
of the plate, increases the requisite length of
exposure correspondingly with the diminishing
Cameras, Lenses, and Shutters At
of the size of the aperture. The stops of a lens
are all numbered, and, speaking very roughly, the
time of exposure must be doubled with each
smaller stop used. That is to say, if one second
is the proper exposure on a subject when the
lens is wide open, then, when using the next
smaller stop, two seconds must be given, and
when the next smaller is used, four seconds, and
so on.
We can see by this that the larger the aperture
of a lens the more speed it has, and by this means
the speed of a lens is determined; but, also, with
the larger apertures there is a corresponding
diminishing of the depth of field. A lens work-
ing at F-.6 (which means that its largest aperture
is F.6) is twice as fast as one working at F.8,
but its depth of field is diminished accordingly.
However, by stopping it down to F.8 we have the
same depth of field and the same speed as we
would have with the one working at F.8 used
wide open.
The different systems of marking lenses are too
intricate and would take up too much room for
me to go into a detailed explanation of them here,
nor do I think it at all necessary. Suffice it to
say that the F. system is the one most generally
used, and it represents the different aperture ratios
and is intended to give the operator an idea of
the relative speed of his lens when used at the
42 Photography for the Sportsman Naturalist
different apertures. If he would learn more
about it, and know exactly how each system is
worked out, he can find it in one of the books on
lenses of which I have already spoken.
The angle of view of a lens is the diameter of
the field that is sharply covered by that lens.
There are narrow, medium, and wide angle
lenses. The greater the focal length of a lens
compared with the size of the plate the narrower
the angle, but as any lens which will cover a
large plate will cover a smaller one —the greater
includes the less —and as many lenses when
stopped down will cover a much larger plate than
when at full opening, there is only one way in
which we can call lenses wide or narrow angle.
There are lenses which will only cover a plate at
a certain narrow angle, and stopping down does
not extend their fields. They are rightly called
narrow angle lenses. There are other lenses
which will work at a very wide angle, covering
a plate sharply from corner to corner at an angle
of ninety degrees and even more. All lenses will
not do this, and therefore those that will are cor-
rectly called wide angle. To a nature worker a
wide angle lens is seldom necessary, although
sometimes extremely useful.
In choosing a lens for nature work we must
be governed principally by two considerations:
speed and focal length. Lenses vary in price
Cameras, Lenses, and Shutters 43
from those that cost less than a dollar and are
put in the very cheapest of cameras, to those
that cost up in the hundreds. If we can afford
it, it is well to have more than one lens, even
though we are doing all our work on the same
size plate with the same camera. We should
have one lens that will work very rapidly, for use
where we are willing to sacrifice depth of field and
focal length to speed. We should have another
for use where depth of field and focal length are
necessary; and we should, without question, have
a telephoto, of which I shall speak at length in
another chapter.
It is always a good plan, when buying a lens,
to get one that is made to cover a plate one size
larger than the one we intend to use, as by so
doing we acquire greater focal length and greater
illumination of the plate, which necessarily gives
greater speed than will the same style of lens one
size smaller.
An anastigmatic lens is always preferable to the
cheaper rapid rectilinear. The advantages of the
former over the latter are: rapidity, extremely
fine definition over a very large flat field at a
large aperture, portability, and freedom from as-
tigmatism. The great covering power of the
anastigmat is an immense advantage alone. The
front of the camera may be raised to any extent
that the camera will allow, without fear of leaving
44 Photography for the Sportsman Naturalist
the bottom of the plate uncovered or out of focus;
and the lens can be used to include a very wide
angle on a larger plate than the one it is really
intended to cover.
In nature work the entire success of a pic-
ture depends upon the sharpness of focus that is
obtained. There must be no diffusion of detail
in any part of the main object, and as much of
the surroundings as possible should be in sharp
focus also. It is therefore obvious that we should
pay particular attention to how we focus our lens.
As has been before stated, objects at different
distances from the camera may be brought into
equally sharp focus by stopping down if there is
not too great a distance between them. One of
the first things a beginner will observe, when he
is trying to photograph an object that is very near
to the camera, is that the whole object cannot
usually be rendered sharply with the lens at the
full aperture. In these cases he must focus
sharply upon the point nearest the camera, and
then stop down until all is brought into the
field of sharp focus and make his exposure
accordingly.
In the care of lenses one cannot be too particu-
lar. They are expensive articles, for they are made
by the very highest class of skilled labor. They
are easily damaged and should be treated accord-
ingly. They should be kept as free from dust,
Cameras, Lenses, and Shutters AS
dirt of any kind, and grease as possible; and in
handling them the fingers should never be al-
lowed to come into contact with the surfaces of
the glass. When cleaning them, which should
be frequently done, never use anything that is at
all rough, for the glass of which a lens is made
is comparatively soft and, consequently, easily
scratched. Chamois is not a good thing to use.
An old piece of silk or very soft old linen or
muslin is good, but better still is the soft paper
that is manufactured expressly for this purpose,
and which can be obtained from any dealer in
optical goods. The paper from which Chinese
napkins is made is also good.
In cleaning a lens do not scrub it as you would
a window pane, but rub it very gently with a
circular movement around the lens. If there is a
dirt spot that cannot be removed by simply rub-
bing, then either breathe gently upon it, or use a
drop of alcohol, which must immediately be dried
off. On no account ever apply water, ammonia,
or any chemicals.
Lenses deteriorate with age, especially when
left exposed to the light or air, and so they should
be protected as much as possible. Chamois bags
or round cardboard boxes are good receptacles for
them, and, when they are out of the camera, they
should always be capped at both ends.
In fitting a flange to the front board, one should
46 Photography for the Sportsman Naturalist
be very careful that it fits perfectly tight, with no
possible chance for the admission of light. Also,
in screwing the lens into the flange, there is a
right and a wrong way, as one writer puts it. He
says: “The right way is first to turn the tube
backward — ze. the wrong way of the thread —
until the two click at the point where the threads
meet. Then reverse the movement, and the lens
will enter its flange quite easily.”
If a lens sticks in its tube or flange, it is my
advice not to attempt to force it out by the use
of a vice or any other means, but take it to the
maker, who has the proper appliances and knows
how to do it, and who will not injure it as you
would be very likely to do.
Finally, before buying a lens, first test it.
The dealers will generally allow this, and if you
do not understand how to do it yourself, you had
best ask some one to do it for you who is well
acquainted with the different lenses.
Of shutters there is really little to be said, as
they are not complex and should be easily under-
stood by the average amateur. They can be
roughly divided into two classes: the diaphragm
shutter and the focal plane. The former is usu-
ally fitted between the two combinations of the
doublet or in front of a single lens and is made
to give, automatically, exposures ranging from
to Of a second, in the best ones, to three min-
Cameras, Lenses, and Shutters 47
utes, and is also capable of being left open in
order to give an exposure of any length of time
that is required. As I have said elsewhere, the
time marks on a shutter should never be abso-
lutely relied upon, as they are put there more to
aid us in judging the differences rather than the
absolute measurements of time.
The focal plane shutter is one that, as its name
implies, works on a plane. It is composed of a
black curtain that crosses in front of the plate.
This curtain is divided in the centre bya slit that
can be made wider or narrower at the will of the
operator, and as this slit is the entire width of
the plate and exposes in its passage only one sec-
tion of the plate at a time, we are enabled by the
use of this shutter to get the greatest amount of
illumination in the shortest space of time. This
shutter is capable of being worked automatically
and with almost absolute exactness, giving ex-
posures ranging from about 7/5 to zgpp of a sec-
ond. Obviously, for very rapid work it is the
only one that can be used.
No matter what style of shutter we are using,
we should learn to know it and its capabilities
thoroughly, and be able to judge quickly and
accurately how to set it for any given exposure,
so that as little time may be lost in manipula-
tion of the shutter as possible, for in nature
work time is very valuable, and the quicker we
48 Photography for the Sportsman Naturalist
can do things the greater the chances of our
obtaining the picture we are after.
Shutters, as well as lenses, should be well cared
for, as dust or dirt of any kind or the least rust
will cause them to work slower or sometimes
to refuse to work altogether. In fact, we cannot
well afford to ill-treat any of our photographic
outfit, for the better it is cared for the longer it
will last and the better the work it will do for us.
CHAPTER IV
THE DARK ROOM: DEVELOPING AND PRINTING
PLATE-HOLDERS may be loaded and the plates
developed in almost any place, from a small, dark
closet to a sleeping bag, but that is no reason
why we should not, when we can, have a comfort-
able place for a dark room. This need not be
large. All the space that is absolutely necessary
is enough for a chair and a table, but in order
that we may work in entire comfort it should be
at least five feet square.
In making this room the one thing to be most
particular about is the temperature. Coolness is
a great consideration, both as regards our own
personal comfort and the welfare of the plates.
Therefore, if we happen to have a dry cellar be-
neath our house, that is the best possible place
for the dark room, as it is likely to be fairly cool
in the summer and also fairly warm in winter.
Any carpenter can build this room at a very
small cost, or if we have the time, we can do so
ourselves even cheaper. It should be made
of half or three quarter inch pine boards, and
B 49
50 Photography for the Sportsman Naturalist
these should be dovetailed so as to leave no
cracks through which any daylight may creep.
If our house is wired for electricity, it is easy to
run a wire to this room, and it makes by far the
best light, as it is steady and gives less heat than
any other. Otherwise we can get our light by
cutting a square hole in one side of the room and
placing a lamp upon a bracket outside of the
hole. This hole should be covered with several
thicknesses of ruby cloth and orange paper, for
the least white ray in the light that strikes the
plate will inevitably fog it. The light, by this
arrangement, will be sufficiently strong for all
practical purposes, and by keeping the lamp out-
side it will not heat the room as it would were it
inside.
If we can have running water in the room we
will find it a great convenience, but it is not nec-
essary. <A plentiful supply of water, however, is
requisite in order that we may have entire cleanli-
ness in our work.
The shelves inside the room should be so ar-
ranged that we may have everything within easy
reach without moving from our seat, for it is often
necessary to work quickly when developing a
plate. It is well, therefore, to have one shelf for
the trays and another for the chemicals on the left-
hand side; one, which should always be kept per-
fectly dry and free from dirt of any kind, on the
The Dark Room: Developing and Printing 51
right-hand side for changing the plates; and the
long shelf or table beneath the window on which
to do the developing. If a second shelf is placed
below this last one, on which to put the hypo tray,
it will materially lessen the chances of any of the
hypo spattering into the developer. Over the
window there should be a curtain of very dark
red cloth which may be raised to get all the light
necessary when using the ordinary plate, but which
can be lowered to give less light when the ortho-
chromatic plate is being developed, for this plate,
being sensitive to the red rays, must be exposed
to the light as little as possible.
Many people who will read this book are
undoubtedly already adepts at developing and
printing, and so this chapter will be of little or no
use to them; but to the beginner, who has never
done any work in photography, a few words of
advice in the manipulation of his plates, both in
development and printing, may not come amiss.
In the first place, cleanliness is absolutely essen-
tial to good work in photography, and on this
point one cannot be too particular. The plate-
holders and camera should be kept free from
dust, and the plates should be dusted with a soft
camel’s-hair brush both before placing them in
the holders and after taking them out, before
development. If this is not done, “pinholes” in
the negative are apt to be the result. These are
52 Photography for the Sportsman Naturalist
minute transparent spots caused by dust on the
plates either when the exposure was made or
during the development.
Another thing that we must be careful to avoid
is air bubbles on the plate during development,
for these will also cause transparent spots. The
developer should be flowed over the plate quickly
and evenly, and the tray must be constantly rocked
until the development is completed. It is even
a good plan to pass a wad of absorbent cotton
over the face of the negative, after it has been
immersed, to break any bubbles that may have
formed upon it, for these sometimes will not
break simply by the action of rocking the tray.
After development the plate should be rinsed
in clear water before being placed in the hypo.
This is not absolutely necessary, but will some-
times prevent staining. It should be allowed to
remain in the hypo bath until it is thoroughly
fixed, for a plate insufficiently fixed will invariably
show stains sooner or later, and these stains can-
not be removed. Therefore it is always best to
leave the plate in the hypo for several minutes
after it has the appearance of being completely
fixed. The double-coated or non-halation plates
take much longer to fix out than do the ordinary
ones, and therefore extra care should be taken
with them in this respect. An old hypo bath that
has turned yellow should never be used, as its
Tbe Dark Rocm: Developing and Printing 53
action is slow and it is liable to stain the plates.
In the winter a plain hypo bath of one part hypo
to four or five parts water may be used, but this
should be made fresh every day. In the summer
the acid bath should be used. This is made by
adding two hundred grains of acetone sulphite
to every quart of a twenty per cent solution of
hypo. There are many other formulas for acid
fixing baths, but I have found this one to be the
simplest and best. It not only hardens the film
of the plate sufficiently to prevent it from “ frill-
ing” or “blistering” (which is the object of the
acid bath, for plates will invariably do this in the
warm weather if they are not hardened), but it
clears the plate perfectly and will keep in good
condition for an almost indefinite period.
Another good hardener is formaline (use one
part to about thirty parts of water), but its only
bad feature is the fact that if we are not very
careful it is likely to harden the film so much
that it will be impossible to either reduce or in-
tensify it afterward should we so desire. The
plate should be placed in this solution immedi-
ately after being taken from the hypo (of course
when using this the acid bath is unnecessary) and
allowed to remain in it from one-half a minute te
three minutes according to the strength of the
solution. This solution will keep well and may
be used repeatedly until it becomes too weak.
54 Photography for the Sportsman Naturalist
Should it become discolored, it will not injure the
negative.
A negative should always be well washed in
running water for at least an hour, for it is im-
portant that all traces of hypo be eliminated from
it. If we have not running water, then the time
of washing should be at least doubled and the
water changed at least seven or eight times.
After washing it should be placed to dry in some
place where there is a free passage of air and as
little dust as possible, and the more quickly it
dries the better.
As to the best developer to use, this is entirely a
matter of opinion. There are many different ones
on the market, and all are equally good if they are
properly used. The pyro developer is the oldest
and probably the most universally used at present.
Its only defect is the fact that it will stain the
fingers very badly and often the negative as well,
although this stain can be removed from the
fingers; and, if it is equally distributed over the
negative, it does not destroy its printing qualities.
When one is well acquainted with this developer,
he will find that he will be enabled to obtain any
quality of negative with it that he desires. It is
really an excellently good developer for all around
work. It is somewhat slow in its action, but this
is in its favor rather than against it, as it gives
one ample time for the manipulation of his plate
The Dark Room: Developing and Printing 55
and allows him to develop it more exactly in
accordance with the exposure.
A good formula, that produces vigorous nega-
tives, is made up in two solutions, as follows:
No. 1. Dissolve 24 ounces sulphite of soda, crys-
tals, and 14 ounces carbonate of soda, crystals, in
15 ounces of water. No.2. Dissolve 8 grains
oxalic acid in 12 ounces of water and add 4 ounce
of pyro. To develop, take 1 ounce of No. 1,4
an ounce of No. 2, and add 3 ounces of water.
Another good formula is: No. 1. Water 16
ounces; sulphite of soda, crystals, 4 ounces; car-
bonate of potash, dry, 4 ounce. No. 2. Dis-
solve 8 grains oxalic acid in 12 ounces of water
and add 4 ounce of pyro. For use take } ounce
of No. 1, 2 drams of No. 2, and add 14 to 3 ounces
of water according to whether the negative be
over or under exposed. If the latter, the most
water should be used; if the former, the least.
With a normal exposure about 2 to 2} ounces of
water should be used.
Of all the new developers that have been placed
on the market in late years, metol has probably
found the greatest favor. It is a very rapid de-
veloper, causing the image to appear, on a nor-
mally exposed plate, in from three to six seconds,
and the entire development should be accom-
plished in from one and a half to two minutes.
For soft effects it is excellent, giving plenty of
56 Photography for the Sportsman Naturalist
detail without any hardness, provided the plate
has been properly exposed.
It should be made up in two solutions, as then
it will keep longer than when made in one. A
good formula is as follows: No.1. Water, 16
ounces; metol, + ounce; when thoroughly dis-
solved, add 24 ounces sulphite of soda, crystals.
No. 2. Water, 16 ounces; carbonate of potassium,
14 ounces; bromide of potassium, 10 grains. For
a normal exposure take 1 ounce of No. 1, 4 ounce
of No. 2, and add 14 ounces of water. In dealing
with over exposure the amount of No. 2 should
be decreased and a slightly larger amount of No. 1
used with a few drops of a ten per cent solution
of bromide potassium added. For under exposure
use + ounce of No. 1, $ ounce of No. 2, and 14
ounces of water.
The characteristics of a metol-developed nega-
tive are softness and “ thinness”; in other words, it
is hard to get density. The development should
always be carried much farther than what looks,
by transmitted light, to be correct, for the density
loses considerably in fixing. With pyro it loses
but little, and therefore the development, when
using pyro, should be carried but little beyond
what seems to be the proper density for the fin-
ished negative.
This question of how far to carry a negative in
development is one that everybody must learn for
The Dark Room: Developing and Printing 57
themselves by experience, for it is one where our
own judgment alone can aid us. With different
developers the negative requires to be carried to
different degrees of density before being placed
in the hypo bath. The only advice that can be
offered upon the subject is, no matter what de-
veloper you are using, always to make the image
somewhat denser than would appear to be neces-
sary by looking at it in the dark room.
For myself, I prefer, for most work, metol used
in conjunction with hydrokinone, for, as metol
is a soft working developer, and hydrokinone
gives hard results, the combination of the two
strikes a happy medium that produces a brilliant,
snappy negative that is full of half-tones and de-
tail. The following is an excellent formula, sim-
ple and efficient: Water, 16 ounces; metol, 45
grains; hydrokinone, 90 grains; sulphite of soda,
crystals, 2 ounces; carbonate of soda, 2 ounces.
Dissolve in the order given and use, for normal
exposures, I ounce of the solution to 4 of water.
If the exposure is uncertain, use 10 ounces of
water, and when the detail appears in the plate
throw off this developer and finish with the
normal mixture. This developer may be used
repeatedly until its action becomes too slow,
when it must be discarded, or it will be liable to
stain the negative. It gives clear negatives with
no trace of fog, if used properly, and is, in my
58 Photography for the Sportsman Naturalist
opinion, by far the best developer for general
work.
There are many other developers on the market,
all good, but it is unnecessary to enumerate them
here.
We should always have a bottle of a ten per
cent solution of bromide of potassium in the dark
room for use in cases of over exposure, for a few
drops added to any developer acts as a retarder.
In development we should always watch the
negative carefully. It is well to have two strengths
of developer mixed ready for use, one normal and
the other much weaker. Commence development
with the weak solution, and if the image appears
too quickly and has a tendency toward “ flatness,”
then the plate has been overexposed and must be
treated accordingly by using the normal developer
with some of the bromide solution added to it. If
the image, on the other hand, comes up very
slowly and has the appearance of being spotty
and “hard,” then it has been underexposed and
the developer must be weakened still more and no
bromide added. This will bring out what detail
there may be in the plate, but, of course, if it has
been very badly underexposed, nothing can be
done with it.
If we know that a plate is very badly over-
exposed, before we commence development, it can
often be saved by first soaking it in water to which
The Dark Room: Developing and Printing 59
has been added about a dram of the bromide solu-
tion and then developing it in a developer strong
with bromide. The development of an overex-
posed plate must be carried much farther than
when the exposure is normal, otherwise the result
will be flat with no contrasts.
For normal or under exposures tank develop-
ment is an excellent method. This consists in
placing the plates in a covered tank of developer
and allowing them to remain there until com-
pletely developed. The hard rubber tanks are the
best, but much more expensive than are those
made of composition. I should recommend that
metal tanks never be used. The developer should
be diluted with about twenty times the amount of
water used for normal development, and _ this
should develop a correctly exposed plate in about
an hour. The tank should be thoroughly washed
before being used, and sufficient developer placed
in it to completely cover the plates. The plates
should not be placed so close together that they
cannot be removed with perfect ease, and they
should be handled very little or none at all during
the process of development.
If a negative is too dense, from over exposure
or over development, it can be reduced after being
fixed by placing it in a weak hypo bath to which
has been added enough red prussiate of potash to
turn it to a lemon-yellow. The tray should be
60 Photography for the Sportsman Naturalist
rocked constantly during this process, else the
reduction will be uneven, and the negative ex-
amined frequently until the desired density is
reached, otherwise it may be carried too far and
made too thin.
Negatives can be thus reduced after having
been dried, but should then first be soaked in
water until the film is perfectly softened. This
reducer should only be used when the density is
equal over the entire plate. When this is not so,
that is, when some portions of the negative are
much denser than others, causing that portion to
print out white, with a loss of detail, then it can
be reduced to an equal density by placing it in a
three per cent solution of persulphate of ammo-
nia. The negative must be closely watched, for
this reducer acts very quickly after it once starts;
and when it has been sufficiently reduced it must
be placed immediately in a ten per cent solution
of sulphite of soda and allowed to remain in it for
five or ten minutes. This stops the action of the
reducer, which would otherwise continue even
after the negative had been placed in water.
After reducing a negative in either solution, it
should be thoroughly washed in running water.
The last solution should never be used except
after all traces of hypo have been eliminated
from the negative, for, if there is any hypo
in the film, stains will occur. Neither of the
The Dark Room: Developing and Printing 61
solutions will act upon a very much hardened
film.
When the negative is too thin from under
development or under exposure it may be inten-
sified, but not until after it has been thoroughly
washed. The Agfa intensifier, which comes al-
ready prepared, is the most convenient and gives
as good results as any. Intensification can be
carried as far as desired and a negative may be
reintensified several times, but it must be entirely
free from hypo, or else again we will have result-
ing stains. Where there is a loss of detail from
under exposure, if it cannot be brought out by
developing in a weak developer, then intensifica-
tion will do no good but only serve to make it
harder. We can bring out what is in a negative
and force it up to a good printing quality, but we
cannot put into it what is not already there.
Of the local manipulation of plates in develop-
ment, reduction, and intensification, I shall say
nothing, as the nature photographer will have
but little recourse to this, and when he does the
knowledge of how to do it will best come to him
through experience. In fact, in all the processes
of photography a little of this kind of knowledge
is worth much advice.
Great care should be exercised in the develop-
ment of the orthochromatic plates, especially the
fast ones, to expose them to even the ruby light
62 Photography for the Sportsman Naturalist
as little as possible. I usually develop them in a
covered tray if I am not using the tank. All
plates should be handled during development
very little and should be taken from the tray and
held up to the light only when we think that de-
velopment is nearing completion.
In printing we come to the final process of
photography, and much may be done in the way
of improving a bad picture by manipulation of
the various printing processes. The knowledge
of how this can best be done is, however, only
gained after much practice.
I should advise the beginner to try the use of
but one or two papers at the start and thoroughly
acquaint himself with the working of these before
he ventures to try his hand at the others. The
two papers that are almost indispensable to all
workers are the silver printing-out paper and
velox. Of the printing-out papers (so named
from the fact that the image shows while print-
ing) there are many varieties, but the process of
working them is the same in every case. They
are the best for use with strong negatives, while
the velox papers give better results when the
negative is at all weak or thin.
Directions for the use of the latter paper are
enclosed in all packages, so it is a useless waste
of space to repeat them here.
With any of the silver papers the print must
The Dark Room: Developing and Printing 63
be made several shades darker than we wish the
finished picture, for it will fade in the toning
bath. For toning we can use any of the double
or single toning solutions sold by dealers, but the
best of them are more or less unreliable. We had
much better buy the chloride of gold and make
our own bath. The one that I have used for
years and found eminently satisfactory is as
follows: Bicarbonate of soda, 4 grains; gold, 4
grain; water, 16 ounces.
The prints should first be washed in five or six
changes of water or in running water for fifteen
or twenty minutes, to remove all the free silver.
They should then be transferred directly to the
toning bath, and while in this they should be con-
stantly moved until the required tone is reached,
when they should be placed in a weak hypo and
alum bath. In this they should be allowed to
remain for ten or fifteen minutes and then washed
in running water for at least half an hour.
For reproduction purposes glossy prints are
required by most publishers, and for this the silver
paper is by far the best. The gloss may be
obtained either by burnishing them, on a machine
made expressly for that purpose, after they have
been mounted, or by “squeegeeing” them to a
ferrotype board. The boards must be kept per-
fectly clean and free from scratches, otherwise the
prints will stick to them.
64 Photography for the Sportsman Naturalist
Direct enlargements from the negatives upon
bromide paper are easy to make if we have the
proper appliances. We must have a dark room
for this purpose fitted with a specially arranged
camera, and the source of light must be either
daylight or electric light (gas or lamplight is not
strong enough). I cannot now go into a detailed
account of this process, as it would necessitate a
small volume to properly describe it and the nec-
essary apparatus. For those who wish to use it,
however, I should advise the perusal of “ Photo-
Miniature,” No. 16, published by Tennant and
Ward, 289 Fourth Avenue, New York City, for
it gives full and explicit directions much better
than could I.
For making enlarged negatives an enlarging
camera is necessary, and we must first make a
positive on glass or celluloid and the enlarged
negative from that.
There are many occasions that arise where the
background of a picture is bad and we wish to
eliminate it while preserving the image of the
main object. There are two ways of accomplish-
ing this. The simplest is to make a dead-white
background by “stopping out” all but the image
we wish to preserve. This is done by painting
out the entire background with a preparation
which is known as “opaque.” One’s hand must
needs be very steady to do this successfully
The Dark Room: Developing and Printing 65
and preserve the perfect outline of the main
object.
If we wish a background other than the one
that is in the original negative, we can obtain it
by what is known as double printing. To do
this we must have two negatives, the one we have
already stopped out for the main object and an-
other one for the background, and the two must
be in exact proportion to each other. A print
must first be made of the figure on the opaqued
negative and this print carefully cut out (the out-
line must be followed exactly). This cut-out is
then placed against the background negative, in
the exact position in which we wish the figure to
appear, and a print, of the depth which we wish
it to be for toning, made from that negative.
This will, naturally, show a white space of the
exact size and form of the figure, or whatever the
main object that we are using may be. Against
this the figure in the opaqued negative must be
fitted carefully, so that no sign of the joining will
show, and allowed to print into the depth of the
background. This is really not so difficult or
tedious a process as it might seem and gives some
very excellent results when used judiciously; but
it should only be resorted to when absolutely nec-
essary, for it is one of the methods of “faking”
which all nature photographers should avoid
when possible.
F
66 Photography for the Sportsman Naturalist
Retouching and “spotting out,” both on nega-
tive and print, are ofttimes necessary, for pin-
holes will come despite all our precautions, and
often details can be worked up and better pic-
tures thus obtained. Especially is this so where
prints are being made for reproduction, for here
they must be as clear and full of detail as possible;
and where the negative has not got these quali-
ties in it, it is obvious, if we would use it, that we
must put them there in some way.
In retouching the negative it must first be
covered with a preparation of balsam known
as a “retouching fluid,” which can be bought
already prepared at any supply store. Without
this the pencil will not make sufficiently heavy
marks on the film to be of any material use.
When the work is delicate, such as touching up
the feathers of a bird or the fur of an animal, a
very hard pencil (about six H) should be used,
and this should be sharpened to a very fine point
and never allowed to become in the least dull.
For coarser work, such as filling in shadows, etc.,
a softer pencil can be used. All this retouching
should be done with the utmost care in order that
it may not show for what it is in the print. If
it is done hurriedly or carelessly, it will inevitably
show and spoil the photographic qualities of the
print. If there is a heavy background or very
deep shadows that should be held back or light-
The Dark Room: Developing and Printing 67
ened, this can be done by a wash of paint (either
blue or yellow) on the back of the negative.
Spotting out simply consists of filling in the
transparent spots caused by specks of dust or
bubbles in the developer. This may be done
with opaque, water colors, or India ink.
In working upon the print itself, if it is ona
matt surface paper (such as platinum, velox, etc.),
we should use either the soft, dull pencils, known
to artists as the “negro pencil,” or else India ink
applied with a fine brush. For work on the
glossy prints, water colors mixed with a little
gum arabic will give good results.
At times it will be found advisable to locally
print some portion of the picture more than the
rest. This can be accomplished by carefully
shading the remainder of the negative with a
piece of cardboard. It should not be held too
close to the negative and should be slightly moved
about during the time it is held there in order
that no sharp line of demarcation may appear on
the print.
The keeping of a large collection of negatives
is oftena problem. To repack them in the boxes
in which the plates originally came only necessi-
tates a useless expenditure of time in looking
over them when any particular negative is wanted.
I enclose each negative in an envelope, on the out-
side of which I mark the number and name of the
68 Photography for the Sportsman Naturalist
negative. These I pack upright, in numerical
order, in long, lidless boxes which are just the
width of the envelopes. These I put away on
shelves just deep enough and high enough to re-
ceive them, and in this manner I can store a large
number of negatives in a comparatively small
place and yet have easy access to any one that I
may need. On the front of each box I have a
label which tells me what subjects and what
numbers that box contains, and, by the aid of my
catalogue (and it is necessary for any one to keep
a catalogue if he has a large number of negatives
from which he is constantly working), I can get,
without loss of time, any negative from which I
wish to print.
This also insures greater safety to the nega-
tives, for it necessitates less handling of them.
In all my photographic career I have broken,
unintentionally, just three negatives, and I attrib-
ute this largely to my method of keeping them.
Necessarily, in the confined space of one chap-
ter it is impossible to give, in full detail, all the
various processes of developing, printing, etc. I
have, however, attempted to give the more essen-
tial details which a beginner should know, and
the rest he must learn for himself.
One last word of precaution. If you would
succeed and turn out good work, you can never
afford to be careless. Never work in a hurry, but
The Dark Room: Developing and Printing 69
always give yourself ample time for what you have
to do. Mix your solutions with care and exact-
ness, and unless your water supply is fairly pure,
it should be distilled. After mixing a solution
always filter before using it, for there is much dirt
that remains in it that might injure the negative ;
and, above all things, be cleanly in all your opera-
tions.
CHAPTER V
THE TELEPHOTOGRAPHIC LENS AND ITS USES
Tue telephoto lens is of such inestimable value
to the nature worker, and so few people really
give it credit for what it can do, that I think a
chapter none too little to devote to it and its
uses.
To define it very untechnically, it is a lens
having the properties of a telescope in a dimin-
ished degree. Its main characteristics are two:
it will give photographs of objects on a larger
scale than will an ordinary lens with the same
extension of bellows and from the same point of
view; it is not of any fixed focal length and can
be focussed to give a sharp image at any camera
extension (measured from the negative lens to the
ground glass), provided only that the extension is
as great as, or greater than, the focal length of the
front, or positive, lens.
The front lens is generally an ordinary photo-
graphic lens, and any make can be used for that
purpose. The faster lenses are, however, prefer-
able, as the addition of the rear, or negative,
7o
The Telephotographic Lens and its Uses 71
element very greatly reduces the speed. The
negative lens is useless by itself and can, therefore,
be used only in conjunction with the ordinary, or
positive, element.
The telephoto lens is focussed by altering the
distance between the front, or positive, lens and
the back, or negative, lens. This is done by
means of a thumb-screw on the barrel of the lens.
The shorter the camera extension the greater must
be the separation of the positive and negative
elements, and wzce versa. In focussing one must
use extreme care, for the plane of sharpness is
limited, and therefore the focus must be exact or
the resulting picture will be blurred.
In order to secure as great a range of focal
lengths (and consequent magnifications of the size
of the image) as possible, the camera used should
be capable of a considerable amount of extension,
at least twenty to twenty-five inches in a five by
seven and correspondingly more in the larger
sizes. A telephoto lens will then give enlarge-
ments over the ordinary lens of anywhere from
three to twelve or fifteen diameters. Of course,
the longer the extension of the bellows the greater
the resulting enlargement, but there is a conse-
quent diminishing of speed; therefore we are often
forced to sacrifice size of the image where speed
is absolutely necessary.
The best telephoto lenses are capable of work-
72 Photography for the Sportsman Naturalist
ing, under ordinary conditions, at from one second
to 5 of a second at full opening, according to
the length of the bellows’ extension; and, under
very favorable conditions, where the light is
very strong, exposures can be made in from
gz to x4 of a second. When such rapid
exposures are made, however, the negative is
liable to be underexposed and must be devel-
oped, accordingly, with the greatest care, in
order to bring out a satisfactory image. In
fact it is always well, in work with the telephoto,
to presuppose that your negative is underexposed.
If it is not, no damage is done; but if it is, as is
most apt to be the case, and the ordinary strength
developer is used upon it, then a chemical fog will
result, and it will be impossible for you to bring
out all the detail there is in the negative, or to
carry it to anywhere near the desired density.
Absolute rigidity of the camera and stand is
necessary, for, on account of the enlargement of
the image, the least vibration will cause blurring
and an unsatisfactory result. The telephoto lens
is, naturally, much heavier than the ordinary lens,
and, therefore, where long extension of the bellows
is desired, it is well to use braces to hold the front
board perfectly rigid; for often the mere releasing
of the shutter will jar it sufficiently to cause a
blurred image. For this reason it is difficult to
use this lens in any kind of a hand camera, but,
The Telephotographic Lens and its Uses 73
by the exercise of great care, it can be done and
some very excellent results obtained. It has even
been used on flying birds; but the negatives, in
such an instance, are bound to be so badly
underexposed on account of the necessarily rapid
exposure that must be made that, even by the ex-
ercise of the greatest care in the development,
they are seldom all that could be desired.
The stops on a telephoto lens act in directly
the opposite manner than do those on an ordinary
one, for while, in an ordinary lens, the smaller the
stop used the greater the covering power obtained,
with a telephoto the reverse is true, and the more
it is stopped down the smaller will be the covering
power, until, if the smallest stop is used, only a
circle in the centre of the plate will be exposed
unless the lens is made to cover a much larger
plate than the one it is being worked with. So it
is always best to use it wide open, or at its largest
aperture, and obtain sharpness of definition by
accurate focussing. This not only gives better
covering power, but also, naturally, greater speed.
In selecting a shutter for use with this lens one
which works as smoothly and with as little jar
as possible is desirable, for when an exposure of
one or two seconds is required, the jar made by
the opening of the shutter will sometimes cause
a sufficient vibration to blur the image.
The usefulness of a telephoto lens lies entirely
74 Photography for the Sportsman Naturalist
in the fact that distant objects can be photographed
with comparatively little trouble, and fairly large
images of them be obtained, when it would be
impracticable to get a picture that would show
anything with the ordinary lens.
In nature work it is often impossible to ap-
proach near enough to one’s subject to use the
ordinary lens satisfactorily, but with the telephoto
one can, practically, cause his subject to approach
him close enough to give a good-sized image.
Its only drawbacks are those which I have men-
tioned: lack of speed and the care which must be
used both in focussing and making the exposure.
In short, the photographer using a telephoto lens
needs more time both before and during the ex-
posure than the wild things are always willing to
give; and yet it is an indispensable adjunct to a
nature worker’s outfit, for there are many occasions,
constantly arising, when the use of any other
lens would be impossible.
A deer or any other animal will often lie or
stand perfectly still long enough to allow us to
set up our camera and make, not only one, but sev-
eral exposures if the work is done from a distance
of seventy-five or a hundred yards; but should we
attempt to approach that same animal close enough
to use an ordinary lens, he would leave long before
we got within anything like the necessary range.
A bird will often sit quietly on her nest and allow
The Telepbotographic Lens and its Uses 75
one to photograph her with a telephoto from a
distance of twenty-five or thirty feet, but few of
them will sit quietly when one tries to come much
closer to them than this.
Then, too, there are times when one cannot,
even if the subject will allow it, approach close
enough to use the ordinary lens. For photograph-
ing birds’ nests on inaccessible cliffs or at the end
of branches too small to hold even the weight of
the camera, the telephoto lens is invaluable; and
when one becomes thoroughly conversant with the
workings of one and its various uses, he will find
that he will often employ it in preference to any
other of his lenses and will never cease to wonder
at the ease with which he can obtain pictures that
had always before seemed to him impossible.
Many of the nature photographs at which the
uninitiated are apt to exclaim in wonder do not
seem such miracles of the photographic art when
looked at through the medium of a telephoto lens;
and one has but to gain a thorough knowledge of
the possibilities which are opened up by the use
of one of these instruments to cause him to for-
ever afterwards swear by them. When he once
does gain this knowledge, he will never again be
without one.
As I have already said, any lens which one hap-
pens to have can be used as the positive, or front,
element, and the cost of the telephoto, the rear or
76 Photography for the Sportsman Naturalist
‘SUS YOUL-}YSIa UB YIM ‘spIvA CZ JNOge Jo 9OULISIP & WO ‘UdHeL
The Telephotographic Lens and its Uses 77
negative element, is but a slight additional ex-
pense. In consideration of its usefulness it is the
cheapest part of a nature worker’s outfit and is
easily within the reach of anybody’s pocketbook.
To the beginner it may seem absurd, and,
indeed, to those who know nothing of the possibili-
ties of this lens it seems nothing short of miracu-
lous, that photographs can be taken of an animal
the size of a deer at distances varying from one
hundred to two hundred yards and good-sized
images be obtained. Yet this is not only possible,
but easy of accomplishment, when the camera is
used at its greatest extension and, in the bright
sunlight, the exposure necessary to obtain a perfect
negative does not exceed one to two seconds. In
fact, when one first uses this instrument he is apt
to over rather than under expose his negatives. I
know this was the case with me, for I found it hard
to realize that negatives could be made with it with
no greater exposure than I soon found was nec-
essary. I remember that when developing the
first negative I ever took with one I was com-
pletely mystified that it should come up positively
black, with almost no detail showing. This I
could not understand until I learned that instead
of the five-second exposure I had given I should
have used less than a quarter of a second.
It is difficult to give any definite instructions in
regard to the exposure, as it increases in accord-
78 Photography for the Sportsman Naturalist
ance with the extension of bellows used and varies
according to the speed of the positive lens. One
must learn for himself, which he can do bya little
experimenting, just how much longer exposure it
is necessary to give when using the telephoto
attachment, and in just what proportion to in-
crease it as he increases the length of bellows.
Roughly speaking, about four times the length
of exposure is needed when the magnification does
not exceed two and a half to three diameters as
would be required with the ordinary lens, and this
increases proportionately to the number of magni-
fications.
Another great advantage of the telephoto lens
over one of the ordinary type 1s that it shows much
better perspective. With its use we get none of
that grotesque foreshortening which it is almost
impossible to avoid when using the short focus
lenses on near-by objects, and which often does
much to mar the beauty and usefulness of an
otherwise successful picture, if, indeed, it does
not ruin it entirely.
The telephoto may be used successfully in the
reflex, but only in bright sunlight and by the ex-
ercise of the greatest care, for it would be impos-
sible to hold the camera absolutely immovable
during an exposure exceeding a fifth of a second.
It can be used, however, with entire success on
birds and animals in cases where they would not
The Telephotographic Lens and its Uses 79
Taken, from same distance as photograph on page 76, with same lens and telephoto attachment.
80 Photography for the Sportsman Naturalist
allow us the time to set up and focus with a tripod
instrument.
The accompanying photographs, which I have
used to illustrate this chapter, have been made
expressly for this volume, with the idea of clearly
showing the comparative advantage of a telephoto
lens over an ordinary one. That this advantage is
great I think no one can deny, and no one who has
ever used a telephoto in nature work will dispute
me, I feel sure, when I say that, next to the reflex
type of camera, it is the one appliance that has done
more than anything else toward making possible
much that has been accomplished in nature pho-
tography. Therefore, no nature worker’s outfit
is entirely complete without one.
CHAPTER VI
APPARATUS FOR A FIELD WORKER
Tue absolutely necessary apparatus which one
must have in order to work along the lines of
nature photography is not very extensive or very
expensive. It is always well, however, when one
wishes to do the best work possible, to be supplied
with the best tools possible. So it is always
advisable to start out with the proper outfit, even
though it does cost a little more than one antici-
pated, than to spend less money and find that
one’s apparatus is inadequate to the demands
made upon it and be forced to discard it even-
tually in favor of that which should have been
originally bought.
This will inevitably happen if one starts out
with a poor outfit, although I should advise the
beginner to start with but one camera until he
has become somewhat familiar with the work and
found out whether or not he wishes to continue
at it. By that time, too, he will have become
better acquainted with the different makes of
cameras and lenses and will, consequently, be
G 81
82 Photography for the Sportsman Naturalist
better able to choose for himself than I am to
choose for him.
It is said that a good workman can work with
any tools, but it is not so in photography; for no
one can take a picture requiring an exposure of
xt, of a second with a lens whose limit of capacity
in speed does not exceed 5 of a second, and no
one can make a shutter whose highest tension
allows it to work no faster than ;4, of a second
answer the purpose of one that is manufactured
especially to make exposures ranging from 7, to
Toop Of a second.
In work on the living wild things speed is pre-
eminently necessary. We cannot tell our subjects
to “sit still and look pleasant,” but we must be
ready to catch their images whenever and wher-
ever we may; and in order to do this an exposure
of zylop Of a second is no unusual thing. This
may seem to be an absurdly small length of time,
and, indeed, it is almost smaller than we can
appreciate. It is faster than the human eye can
work, and yet it is none too fast to stop the action
in the wings of a flying bird and it is entirely
inadequate when applied to the rapidly fluttering
wings of a butterfly. Photographs are taken in
less time than this, remarkable as it may seem to
some, but not, however, with the orthodox camera
and lens; and it is unnecessary for me to enter
into a description of anything but those appli-
Apparatus for a Field Worker 83
ances which are a necessity to the nature photog-
rapher.
To try to tell a man just what make of camera,
lens, and shutter he must use would, in my
opinion, be almost if not quite as absurd as to try
to influence him in his choice of a rifle or shot-
gun, especially when he already knows something
about them. With cameras, as with guns, there
are many makes upon the market, all equally
good; but naturally each photographer has his
favorite make, as each sportsman has his favorite
gun, and each is apt to think that the particular
make which he uses 1s the best.
So, to the experienced man, who already has
his ideas inviolately fixed and with whose ideas
some of mine may conflict, I make my apologies
and beg him to remember that, as I have already
stated, this volume is written as an aid to the
mere tyro, he who knows nothing of the work he
is about to attempt, and not to the man who is
already experienced in that work.
It is almost always discouraging to the beginner
to look over the long list of photographic appara-
tus and to try to pick out the camera, lens, and
other appliances which he thinks he will need,
realizing, as he must inevitably do, that he really
knows nothing about it. I know this was the
case with me, even a number of years ago, when
the name of the different makes was not so nearly
84 Photography for the Sportsman Naturalist
legion as it is now. One is very apt in his per-
plexity to turn to the dealer for aid, and he, rarely
being a practical photographer and almost never
one who has any knowledge of the nature end
of it, will induce him to buy a number of abso-
lutely useless things and omit many that are
necessary. Moreover he will, naturally, try to sell
him those things upon which he makes the largest
profits, regardless of whether they are necessary
to the outfit or not, unless, as is infrequently the
case, that particular dealer happens to be a
thoroughly conscientious man.
I find, with all due regard to the dealers in
photographic goods and supplies, that most of
them are entirely without conscience and would
much rather sell a man who knows nothing about
it a camera of the vintage of ’90 than one that is
up to date ; and cameras are not like wine, they do
not improve with age.
A great difficulty in trying to give anything
like a complete list of the apparatus needed for
successful work is the fact of the constant change
and improvement in that apparatus. The thing
that may be the best for to-day’s work may be
superseded by something infinitely better to-
morrow, and that may again be supplanted on the
following day; for there is actually scarcely a day
passes that does not find some new appliance
placed on the market, or, at least, some improve-
Apparatus for a Field Worker 85
ment on the old, to simplify the various processes
of photography.
However, I shall give from my experience,
combined with what I know of the experience of
others, hints concerning the apparatus which I
have found most useful, and shall hope that those
hints will be taken for what they are worth; for my
opinions, while based upon a fair amount of knowl-
edge, I do not fora moment consider infallible,
nor do I wish any of my readers to consider them
as such.
In the first place, I would advise all beginners
to use as little apparatus as possible and to make
that apparatus as light as is compatible with
strength and rigidity. When one starts out for a
ten or fifteen mile tramp in the quest of subjects
it is well that the burden he has to carry should
be as small as possible, for every extra pound will
begin to tell after the second or third mile, and
before he has returned he will think that the
weight has increased tenfold.
I almost invariably use, on my long jaunts, a
four by five camera. This size is, I think, the
most practical for all-round nature work. It is
light and can be carried long distances without
inconvenience, takes up little room, and at least
two dozen plates can easily be carried with it in
plate-holders or magazine.
The plates, after development, can be much
86 Photography for the Sportsman Naturalist
more easily packed away and cared for than can
those of a larger size, and they are of the most
convenient size and shape both for making
enlargements from and for reducing for lantern
slides. Moreover, and this is of no little conse-
quence, they are much cheaper than are the larger
ones.
The camera should be a long-focus one, with
extension of bellows at both front and back, and
should be of the best and most substantial make;
for it will receive many a hard knock before you
are done with it, knocks that a lightly built camera
will not stand. Itshould have both the reversible
and swing back and the rising front, all of which
have been described in a previous chapter. With
this style of camera I have done much of my best
work, and for all general photography there is
none better.
As the worker advances and becomes more and
more adept in his art, he will find other cameras
of different sizes, while not absolutely necessary
to the successful issue of his work, at least very
useful, and he can add them to his outfit as occa-
sion demands; but at first one camera will be
sufficient for all his needs.
As to plate-holders, one can be none too care-
ful in his selection of them, for upon them a great
deal of his future success depends. There is
nothing more discouraging or maddening than
Apparatus for a Field Worker 87
to find that an exposure from which one expected
much has been irredeemably ruined by a defec-
tive plate-holder. It is strange that, while such
immense improvements have been made in cam-
eras, the one part that is of almost the most
importance, the plate-holder, should still be inade-
quate to the demands made upon it. There are
almost no plate-holders made in this country that
are absolutely light-tight, for the best of them
will not stand the test of a half-hour’s exposure
to the direct rays of the sun without fogging the
plate, and many cannot be left with safety in the
sunlight for more than a few seconds. They are
the one part of the apparatus that we should
never select on account of their lightness, for the
lighter they are the more flimsily are they made;
and although the cheaper, lighter ones may an-
swer when used with the greatest care and exposed
to a strong light as little as possible, still, they
will not stand the wear and tear that is bound to
fall to their lot and will soon be in such a condi-
tion that they will be entirely useless. I am
partial to a plate-holder with a hard rubber slide,
for, although it is apt to become brittle in cold
weather and correspondingly soft in warm, it is
the most opaque of any and cannot be injured by
dampness. The ones made with a dull finish are
the best.
So, in selecting your plate-holders, get those
88 Photography for the Sportsman Naturalist
that are as strongly made as possible, regardless
of the weight, and above all do not buy any pat-
tern that does not allow of the plate being in-
serted and removed with the greatest ease. It
will often be found necessary to change plates in
the dark, in any closet or other place that is light-
tight, and sometimes even in the open, after dark,
or inside a closed tent or even a sleeping bag.
This is frequently a test of one’s patience under
the best conditions, and if the plates insist on
sticking in the plate-holders it increases the
difficulties. At least one dozen _plate-holders
should be purchased, for one should carry not
less than two dozen plates on a day’s photograph-
ing trip.
Magazine plate-holders are useful, inasmuch as
they allow one to carry more plates in less
space, and the manipulation of them is easier and
quicker than when plate-holders are used. I do
not unreservedly recommend them, however, as
I think they are still far from being perfected.
They are too easily gotten out of order and the
plates stick at just the critical moment; or else
a small hole or break appears, usually in the
leather top, of which we know nothing and which
will admit enough light to ruin a dozen plates
before we discover the damage that is being done.
Therefore I always stick to the old-fashioned
plate-holders, which, while being somewhat cum-
Apparatus for a Field Worker 89
bersome, I consider more satisfactory in the long
run.
In this connection a changing bag is often a
useful thing, although it is difficult to find one
that is satisfactory and that will not wear out and
become useless in a short time.
When one is going on a camera hunting trip,
however, where he will have no access to anything
resembling a dark room, it is well enough to take
one along, as by its use one can remove his plates
from and reload his plate-holders even in broad
daylight. Mr. Dugmore describes one which he
has found useful as follows: “ A simple form that
answers for a changing bag is a square, box-shaped
bag, well reénforced and bound at the edges. At
each corner there is a loop to which cords are
attached that will hold the bag in position; two
sleevelike openings (with rubber bands to hold
them closely about one’s arms) on one side admit
the arms and should be made large enough to let
the plate-holders enter.” He further says that
one made of pantasote is the best, as any material
in which rubber is used will soon harden and
crack. In this I fully agree with him, and I think
that the one he describes is probably the simplest
and best form of a changing bag that one could
use. When in use it is swung from any conven-
ient branch or branches, and while one cannot
well see what he is doing, when he once knows
90 Photography for the Sportsman Naturalist
his plate-holders and the manner in which the
plates are packed in boxes, this is not necessary,
for feeling is all that is then requisite.
In regard to the tripod: one that combines
lightness with thorough rigidity is desirable.
These two qualities are in. no way incompatible
if the tripod is made of the proper kind of wood.
English ash is good, but heavier than mahogany
or willow, and both the latter make good, strong
tripods. The head should be broad, so that when
the camera is attached it will have a solid base
upon which to rest. The legs should telescope
or fold at least three times or, better still, four, so
that it can be packed in as small a space as pos-
sible, but the screw nuts at the joints should be
strong enough to hold absolutely firmly. The
tripod is not necessarily indispensable, but it is an
extremely important adjunct to the outfit, and as
it will receive much hard usage it should be so
built as to withstand it. The telescope tripods
made of aluminum are very pretty to look at, but
their only recommendation lies in their lightness.
So far as rigidity is concerned they are useless,
for the merest breath of air will cause them to
sway, and therefore they should never be used.
The screw bolt which attaches the camera to the
tripod head should be undetachable, otherwise it
can easily be lost and so destroy the usefulness of
the tripod.
Apparatus for a Field Worker 91
A tilting table is sometimes useful in cases
where the camera is to be pointed downward, but
it is a heavy contrivance, increasing one’s load,
and is never absolutely necessary.
For certain work indoors it will be found nec-
essary to have a form of camera stand that will
permit the placing of the subject on a piece of
plate-glass maintained in a horizontal position,
while the camera is secured vertically above and
pointing directly downward at it. There are a
number of such devices, and any of the larger
photographic houses can fulfil your wants in this
direction.
A ball and socket clamp, which is made in
different sizes and which can be carried in one’s
pocket, is almost indispensable when photograph-
ing from trees, for it not only fastens the camera
securely to any branch, but allows of its being
tilted or swung in any direction, even in a vertical
position, and held there securely.
Now as to the lens, and in this respect one
must rely largely on his own judgment and the
capacity of his pocket-book. There are many
lenses on the market, and those of the highest
grades are all equally good. The cheaper anas-
tigmatic lenses which are usually sold with an
outfit will answer many purposes, but when it
comes to very rapid work, they fall short of the
requirements. For a beginner this style of lens
92 Photography for the Sportsman Naturalist
will probably do, but as he advances he will find
that it is inadequate for the various uses to which
he may wish to put it. In most branches of work
speed is necessary, as is also depth of field and
definition. All these qualities are combined in the
highest possible degree in the best lenses. The
longer the focus of your lens the better, and it is
always well to get a Jens that will cover a plate
one size larger than the plate you intend to use.
By doing so you acquire greater length of focus
and greater covering power, which is useful where
the rising front of the camera is used.
A short-focus lens distorts objects that are close
to the camera, often to such an extent that the
results are grotesque and ludicrous in the extreme.
Unfortunately those lenses of the very highest
speed have the least depth of field, and I would
advise that for all-round use one working at about
F.6 be used. This gives sufficient speed for all
work, under ordinary conditions, combining with
it a fairly considerable depth of field. The best
lens is one whose two. systems of combinations
have different foci and can be used separately.
In such an instrument we have practically three
lenses in one, the front combination being of one
length of focus, the rear of another, and the entire
lens, or couplet, of a third. Of course the single
combination is much slower than the double, and
this must be taken into consideration when using it.
Apparatus for a Field Worker 93
Of the telephoto lens I have already written,
and it needs only to be said here that it forms an
invaluable adjunct to the outfit.
Among the shutters there is almost as great a
choice as among the lenses, but in buying one we
should be careful that, in making the exposure, it
works as smoothly and makes as little noise as
possible, for the click of a shutter is often suffi-
cient to scare a wary bird or animal. We must
also remember that, while each shutter has its
time-scale, these scales are seldom absolutely
correct, and that they are intended more to repre-
sent degrees of difference than exact measure-
ments of time. Thus, while most of the later
patterns of shutters are scaled to work automati-
cally at from about three seconds to the +4, of a
second, they rarely exceed in speed 7), of a
second, and frequently the best they can do is
less than that. For extremely rapid work the
choice is not so great, however, but is limited to
one type: the focal plane shutter, which is capable
of making an exposure in zj/g95 Of a second, but
which has been described elsewhere and so needs
no further mention here.
For rapid work, also, such as birds flying, fish
leaping, animals running, etc., the only camera that
can be used successfully is one of the reflecting
type, which I have also fully described elsewhere,
or else a twin lens, which is more cumbersome,
94 Photography for the Sportsman Naturalist
more expensive, and not so good. The photog-
rapher, as soon as he has mastered the intricacies
of the tripod camera, will do well to add one of
these indispensable, although rather expensive,
boxes to his outfit. He will never have cause to
regret the necessary expenditure, for with it he
can obtain pictures that it would be absolute folly
to attempt with an ordinary camera.
So much for the actual camera; but the acces-
sories are of great importance and must not be
overlooked or slighted, for upon them often
depends the success of the picture.
The focussing cloth is of some importance. It
should be of some stout material that will wear
well and let as little light through as possible.
The ordinary focussing cloth sold by the dealers
is not good, for, while at first its quality is excel-
lent, it soon wears at the creases where it is folded
and becomes useless. I use a rubber cloth, made
by a few rubber goods houses, in which the rub-
ber is woven into the texture of the goods and
not merely coated upon the surface. This wears
well and is practically opaque. The cloth should
be large enough to admit of its being wrapped
completely about the camera when the latter is
set up and opened, leaving nothing but the lens
uncovered. This is often necessary in order that
the plate may be thoroughly protected when
the camera is left standing in the sunlight, as
Apparatus for a Field Worker 95
is frequently the case, in photographing birds
especially.
About one hundred feet of small rubber tubing
and a large rubber bulb or small hand bicycle
pump should always be carried,—this for use
when it is found necessary, or at least advisable,
to release the shutter from a distance. The best
form of bulb that I have found is the large rubber
syringe used for sprinkling plants. The nozzle
can be cut off and a plug fitted to attach to the
end of the tubing. This bulb, by a slight squeeze,
will give a sufficient air pressure, which the ordi-
nary exposure bulb, sold by photographic dealers,
will not.
For those who make extended trips after sub-
jects it is always well to carry with them a small
quantity of concentrated developer and fixer.
Water for washing can, most usually, be found,
as any stream or pond will answer the purpose.
While it is not wise to attempt to develop all the
negatives you make before returning to your
proper dark room and apparatus, it is well to
develop a few now and then in order that you
may be sure that there is nothing wrong with the
working of your camera or with the exposures
you are giving. I am acquainted with a man
who once went on a long photographic trip, dur-
ing which he made some three or four hundred
exposures. He was foolish enough not to test
96 Photography for the Sportsman Naturalist
any of them, however, for which he paid dearly,
for when he came to do his developing upon his
return home, he found that every plate had been
light-struck by a small hole in the bellows of his
camera which had escaped his notice. This is
apt to happen to any one, and it is not always
safe to trust to luck, especially when the results
are important.
In order to do any developing afield a portable
developing tent is needed. Unfortunately there
are none at present on the market that are really
good, but I am living in the hopes that some day
one of the numerous photographic supply houses
will correct this deficiency.
There are, however, two patterns, from which
one may choose, that serve to answer the purpose.
In one of these the arms only are put inside.
There are two pieces of yellow glass on opposite
sides, one of which to look through in order to
follow development, the other to illuminate the
plate. This has the disadvantage of not allow-
ing one to see the plate with distinctness, but
at least allows him to keep cool while he is
working.
The other style admits one’s head, shoulders,
and arms, and is then fastened about the waist.
It has but one glass window and in cold
weather is well enough; but in hot weather
it is equal to a Turkish bath, as well as nearly
Apparatus for a Field Worker 97
suffocating one, and is dangerous, also, to the
welfare of the plates.
There are many sundries which one can use to
advantage and which are not usually included in
a regulation photographic outfit. Among these
may be mentioned a pair of good climbers for
ascending trees. These should be made with
longer spurs than are on those ordinarily used
by the telegraphic linemen, so that they may
easily penetrate through the bark of the tree
and into the solid wood beneath. I should not
recommend any one to make his first attempt at
their use on a very high tree. A plentiful supply
of stout cord is also useful in many cases. It
should be strong enough to admit of hauling up
and lowering the camera from tree-tops. Many
photographers screen their cameras with leaf-cov-
ered boughs, etc. I use merely a large piece of
green cloth. It often will be found necessary to
thus screen the camera, for the two things about
it that seem to frighten the subjects most are the
lens and the legs of the tripod. The former it is
impossible to entirely cover up, but the latter can
be made invisible, and for this purpose, as I have
said, I use a piece of green cloth, which blends
sufficiently well with the surrounding foliage to
allay, in most cases, the fears of my subject.
A mirror is frequently of extreme assistance.
It should be of heavy plate-glass, so as not to
H
98 Photography for the Sportsman Naturalist
break easily, and at least eight or ten inches
square. Its usefulness consists of reflecting light
upon dark subjects, such as birds’ nests in holes,
etc. which could not be successfully photographed
without the aid of such reflected light. A smaller
mirror, which can be held in front of the camera
and which will enable the operator to set his shut-
ter at any desired speed from the back of the
camera by reading the reflection in the mirror,
will aiso be found useful, for many occasions
arise, especially in work from tree-tops, where it
is impossible to get to the front of the camera.
Last in my list, but by no means the least in
importance, is the choice of plates to be used.
This question of which is the best plate to use is
one upon which different photographers differ
greatly, for while one will swear by a certain brand
of plate, another will say that that particular brand
is worthless, or nearly so, when compared with
some other. The fact of the matter is that there
are many good plates on the market, and I have
arrived at the conclusion that the plate with which
any worker can obtain the best results is the best
plate for him to use and to stick to, for the con-
stant changing of makes of plates is foolish.
As I have not said anything elsewhere on the
subject of plates, it may be well to put in a few
words here.
There are three styles of plates on the market
Apparatus for a Field Worker 99
that are useful to the nature photographer.
These are: the ordinary fast plate, of which
Seed’s 27 or Cramer’s Crown are probably the
best examples ; the Iso- or Orthochromatic plate ;
and the Non-halation plate. The first is a plate of
fast emulsion, with no particular quality, useful in
all ordinary cases, and up to within the past few
years the best plate on the market. The isochro-
matic or orthochromatic plate is one that is coated
with an emulsion made especially sensitive to the
reds, greens, and yellows, and therefore gives more
accurate color values. The non-halation plate is
one which prevents, by a double coating of the
emulsion, blurring around strongly lighted places
such as the window of a room looked at from the
inside. There is also a plate, which has lately
been placed upon the market, which combines
these two qualities and which is called the non-
halation orthochromatic plate. This is, to my
mind, the finest plate that has ever been manu-
factured, and is most excellent for every style of
work.
For general use I should recommend the ortho-
chromatic plate as giving the best results under
all circumstances. It is made in three grades:
fast, medium, and slow. The slow gives the best
color values, but cannot be used for instantaneous
work. Ordinary plates will do well enough for
snap-shot work and are easier to manipulate in the
100 Photography for the Sportsman Naturalist
dark room, as they are capable of standing much
more light without fogging; but in flower work,
especially, orthochromatic plates are a necessity.
A ray filter or color screen is a helpful adjunct
in use with these plates, as it accentuates the color
values. The best consists of simply a piece of
glass stained yellow. Any one can make one for
himself by thoroughly fixing an unexposed plate
in fresh hypo and then, after a short washing, soak
it in a ten per cent solution of bichromate of pot-
ash until the required density of color is reached.
After it has dried, cover the film side with a
piece of clean glass, bind the edges, and you will
have a perfect colorscreen. It should be fastened
either to the front or back of the lens, and should
be so fixed that no rays of light can pass through
the lens that do not also pass through the screen ;
otherwise it would not answer its purpose of
entirely “filtering” the light. It must be remem-
bered, however, that, when using one of these
screens, the exposure which would be given with-
out it must be increased from four to ten times,
according to the density of the screen.
On long trips, where weight and space are a
consideration, the cut film is really an excellent
substitute for the glass plate and has the added
virtue of being absolutely unbreakable. It is made
of heavier celluloid than are the roll films, and is
carried in a film-holder made for the purpose and
Apparatus for a Field Worker 101
inserted in the ordinary plate-holder in the same
manner as a plate.
In my work I use the orthochromatic plates, to
the almost exclusion of all others, both with and
without the color screen, as I find that they in-
variably give me the best results. The beginner,
however, must experiment for himself until he
finds the plate which he considers best adapted to
his uses.
Gia ae evel!
PHOTOGRAPHING THE LARGER ANIMALS
THERE are few people, of those who use a
camera or of those who do not, who realize the
immense possibilities there are for pleasure and
excitement in the photographing of the wild
animals, the “big game.” It is a field in which
but little has as yet been accomplished, but in
which much can be done, and it is undoubtedly
the sportsmen who can do this better than any
one else. This is because they know the ani-
mals, their habits and haunts, better than do
most of us, and because they know also the best
and surest means of approaching them.
This is not a field, however, that any one can
enter, for it means work that necessitates the
taking of long trips into the denser wooded parts
of the country, and not every one can afford the
time to do this.
Here we cannot go out for a day’s work, as we
can when photographing the birds or even the
smaller mammals, but we must prepare for it
weeks in advance; for it means the collecting of
102
Photographing the Larger Animals 103
apparatus and camping outfit and, unless we are
well acquainted with the part of the country we
would visit, the looking up of travelling routes
and the hiring of guides. In fact it is nothing
more or less than a hunting trip on which the
camera takes the place of the rifle, or, at least, is
used in conjunction with it.
Moreover, it should not be taken except by
those men who are physically capable of with-
standing much in the way of exposure, fatigue,
and hard, nerve-racking exertion. Photographs
of the larger wild things, the deer, moose, cougar,
etc, are only obtained by strenuous and often
dangerous work, and the ability to follow, at no
matter what cost, wherever your subject may lead,
until you have had your opportunity to catch his
image on your sensitive plate. It requires a
strength and endurance with which not many of
us are blessed, and those who are not possessed of
these necessary qualities or have not the nerve to
face at close quarters an angry elk at bay, or a
cougar treed and ready to spring, had _ better
not attempt it, but confine their labors to some
branch of photography that requires, perhaps, just
as much real brain-work and ingenuity, but less
of actual physical power.
Recent literature has given us really astonish-
ing and wonderful proof of the courage, hardi-
hood, and skill of those naturalist sportsmen who
104 Photography for the Sportsman
Naturalist
American Elk, Horns in Velvet.
Photographing the Larger Animals 105
will follow in the track of any animal, sometimes
even for days or weeks, regardless of danger, toil,
or exposure, until the desired picture is obtained.
Of these Mr. A. G. Wallihan of Colorado is, per-
haps, the most indefatigable, and he has to his
credit some truly marvellous results of his hunting.
With an eight by ten camera on his back and a
pack of hounds he considers it nothing to follow
in the tracks of a cougar for miles over the rough-
est country and through deep snow, hanging on
with a grim tenacity, until his quarry is treed,
then approaching with his camera, while his
dogs hold the creature at bay, sometimes even
climbing the same tree in which the cougar has
sought refuge, regardless of the danger of so
close an approach to the enraged beast, until he
is near enough to obtain such a picture as he
wishes.
His results, however, must be a sufficient
recompense to him for all his hard work and ex-
posure to imminent danger, for his photographs
are, undoubtedly, the most remarkable products
of the camera in the line of nature work that
have ever been made and will so stand for some
time. The most remarkable one of them all that
I have seen is, to my mind, one in which he
photographed the cougar as he sprang at him
from a tree-top and which actually shows the
animal in mid-air.
106 Photography for the Sportsman Naturalist
If this kind of work is not exciting enough for
the most exacting, calling, as it does, for a display
of the greatest coolness and nerve under trying
circumstances, then I am at a loss to know just
what could satisfy him.
Mr. W. E. Carlin, who was at one time a most
enthusiastic sportsman, but who has of late years
used a camera almost exclusively, in preference
to a gun, on his hunting trips, has done much
excellent work, principally in the Bitter Root
Mountains in Montanaand Idaho. I am inclined
to believe that with the black and the white tailed
deer, particularly, no one has done any better
work than has he, for many of his photographs
of these animals are as near perfection as
possible.
He has used entirely a telephoto lens on these
subjects, photographing from a blind at a distance
of from seventy-five to one hundred yards from
the deer. His photographs of lynxes are also
most excellent. These he obtained by trapping
the animals and tying to one of their hind legs a
clog heavy enough to keep them from running,
but not so heavy as to entirely impede their
motion. Then, by following them about until
they assumed natural and characteristic attitudes,
he was enabled to obtain just what he wanted.
This may seem simple and easy enough to the
uninitiated, but to face an enraged lynx, even
Photographing the Larger Animals 107
though he is clogged, at a distance of three or
four feet, and calmly focus your camera and make
an exposure, for he was not using a reflex, takes
an amount of courage and an exhibition of nerve
of which not every one is possessed. That the
results are not always all that can be wished is
evidenced by the fact that Mr. Carlin once made
a snow-shoe trip of three days’ duration in the
quest of photographs of these animals, sleeping
out on the snow at night, and carrying, besides
his provisions and a blanket, his heavy six
and a half by eight and a half camera outfit.
While he made many exposures, when he came
to develop them he discovered that, through one
cause or another, only two or three of the lot were
good. This certainly is disheartening, but tends
to make those good pictures which we do obtain
the more valuable and worth having.
Success in work on the larger animals is due
not only to the capability of endurance, but also
to absolute vigilance and the strictest attention to
every detail.
Once stalk a deer with a camera instead of with
a rifle and you will soon learn the difference be-
tween the two methods of hunting; and you will,
in all probability, agree with me when I say that
for the display of all the skill and ingenuity, cool-
ness and patience, that one may possess there is
no comparison between the use of a gun and a
108 Photography for the Sportsman Naturalist
camera, as the advantage lies too heavily with the
latter.
Learn all there is to know about still hunting
and then double every precaution known to the
hunter’s art and you may succeed in your hunting
with a camera, but fail in a single particular or let
your caution abate for one second of time and the
chances are that you will get no picture, but, in-
stead, will be forced to stand and watch your
quarry go crashing off through the woods.
Above all, the excitement of the chase must
not cause you to forget your object, or to cease
to be cognizant of everything that you are doing.
You may not think this is lable to happen, but it
is. I have known of a man, and he was no
novice at the game either, who let an excellent
opportunity to get a picture of an elk escape him
simply because, as he himself said, in the excite-
ment of seeing the animal so close to him he
entirely forgot that he had a camera in his hands.
Mr. A. R. Dugmore tells of an experience of a
similar nature that he had while photographing
moose in northern Maine. He says: “Once
when I was on a hunting trip trying to secure
some moose pictures, I came across a fine large
bull. The situation was perfect from a pictorial
point of view. He was in a large pond where
the lily pads were abundant; in the background
was a bank of trees, mostly birch; beyond stood
Photographing the Larger Animals 109
Mount Katahdin in the misty distance; the
moose was feeding in shallow water, the light
was bright, and as the wind was in the right
direction, everything pointed to a successful pic-
ture. We were inacanoe; slowly and noiselessly
we came through the smooth water; scarcely a
ripple did the canoe make. Nearer and nearer,
and still the bull had not seen us. When within
about seventy feet (I was using a telephoto lens)
I stood up slowly and quietly, while the animal
was feeding. No sooner was I in position than
he looked up. A finer picture could not be im-
agined. His enormous antlers, still in velvet,
seemed almost out of proportion to his size. And
he stood absolutely still while I, trembling with
excitement, focussed the camera and pressed the
button. Instantly the huge beast made a dash
for shore and in a second was lost to view, and I
sat down congratulating myself upon having se-
cured such a fine picture. Imagine my disgust
when, on going to change the plate-holder, I dis-
covered that in my excitement I had neglected to
draw the slide. My chance was gone, and never
again did such an opportunity present itself.”
I quote this little tale simply to show how easily
chances may escape us and excellent pictures be
lost if we do not always keep our presence of
mind. Double exposures, that is two exposures
made on the same plate, is one of the commonest
110 Photography for the Sportsman Naturalist
faults of the beginner. Every little detail must
be thought of, and a good way to avoid these un-
pleasant experiences is to have a regular routine
of procedure, both before and after exposure, and
never vary from it. If you do this regularly, it
will soon become so much of a habit that you will
do it unconsciously, and the chances of failure
through having overlooked an important detail
of procedure will be reduced to a minimum.
In this work the ordinary tripod camera is of
but little use, unless you are photographing from
ambush, as, under the usual circumstances, by the
time you have opened and set up your tripod,
attached your camera, focussed, set the shutter,
and inserted the plate-holder, the animal you had
wished to photograph would be a mile or two away
and “still running.” The only manner in which
a tripod camera can be used successfully is by
focussing from a well-screened ambush or “blind”
upon some objective point (such as a salt lick) to
which you may be reasonably certain the animal
will come, and then waiting until he gets there.
This can often be done successfully from a
distance of twenty or thirty yards, or even far-
ther, and, by the use of the telephoto lens, large
images obtained.
Sometimes, but not often, a deer, moose, or elk
will be discovered standing knee-deep in some
pond or grazing in some grassy opening, which, if
Photographing the Larger Animals 111
we approach with great caution to within fifty or
seventy-five yards, will continue to be unconscious
of our presence until we have had time to set up
our camera and make several exposures. These
are the chances that we must always be on the
lookout for and of which we must always be
Half-grown White-tailed Buck.
ready to take advantage when they present
themselves.
I remember once, when hunting in the Adiron-
dacks, that two deer waded into a pond not more
than fifty yards from the spot where one of the
party sat watching for them. They stood per-
fectly motionless while he emptied the magazine
112 Photography for the Sportsman Naturalist
of his rifle at them without hitting either one (it
was afterwards discovered that the rear sight of
the rifle had been inadvertently raised and every
shot must have gone at least two feet over them).
They did not seem to be in the least frightened
by the noise of the shots and even remained
where they were when he called to the next one
of the party, who was some three or four hundred
yards distant. They slowly waded from the pond,
however, before he could reload his magazine,
disappearing into the woods, and, for all I know,
they are wandering around up there yet.
Had he had a camera with him he would have
had ample opportunity to make several exposures
and would have obtained some invaluable photo-
graphs, for the conditions were just right for
good work, and it is very seldom that one has the
chance to get the photographs of two deer on the
same plate.
This only shows that it is impossible to give
any explicit directions as to the manner in which
wild animals should be approached, for it all
depends upon the individuality of the animal.
Especially is this true of the deer tribe, for while
some individuals will take fright before you have
even sighted them, others will allow of a close
approach, even though you may be in plain sight
and with the wind blowing directly from you to
them, and seem to be entirely indifferent to your
Photographing the Larger Animals 113
presence and dead to all sense of fear. It is best,
however, never to risk a close approach until you
have secured at least one negative, no matter at
what distance, when the deer is first sighted;
otherwise the opportunity of securing one of that
particular animal may escape you altogether, and
any picture of a deer or other wild animal, no
matter how small the image may be, is of value,
for it can always be enlarged.
Ordinarily the reflex camera is the one to use
and the one which will give the most and the best
results. This should be fitted not only with an
ordinary fast, long-focus lens, but with a telephoto
lens as well. This latter should be one that is
made especially for hand camera work, for, while
it has a magnification of only three and a half
diameters, still it works fast enough to allow of an
exposure of at least 45 of a second in the strong
sunlight, and even on a cloudy day exposures of
from + to 745 of a second can be made with it and
produce good results.
Never use a short-focus lens in work upon
animals, for it not only renders your subjects too
small to be of much use, but, when close enough
to make a fair-sized image, it is very difficult to
prevent the distortion due to the exaggerated
foreshortening that is a characteristic of this style
of lens. Therefore, I should say, never use a lens
of a shorter focal length than nine inches, and, of
q
114. Photography for the Sportsman Naturalist
course, as much longer than this as you desire.
The longer the better.
In selecting your camera and apparatus for this
work, strength should be the first consideration,
for, in the trips over exceedingly rough country,
which you will be obliged to take, it will receive
some hard knocks. Especial care should be
taken in the selection of plate-holders, and all
those that are at all flimsy in their construction
should be discarded. But all this I have spoken
of in the chapter on apparatus, and it is only
necessary to add here that in this particular
branch the outfit will be liable to be subjected
to the severest tests and therefore greater care
should be exercised in its selection for this work
than for any other, or otherwise many exposures
will be lost.
When out looking for subjects in the woods
and, especially, when following up watercourses
in a boat or canoe, always have your reflex in
your hands with the plate-holder inserted, the
shutter set, and everything in readiness for instant
use, for you can never tell when you may get a
chance for an exposure.
Once, in Florida, when going up the Miami
River in a canoe, on rounding a sharp bend I sud-
denly came upon a deer drinking at the edge of
the water. He was not over twenty-five yards
from me, and as he heard the swish of my paddle
Photographing the Larger Animals 115
he raised his head and stood absolutely motion-
less for as much as two or three minutes while I
let the canoe drift. His surprise and curiosity
were evidently greater than his fear, and he made
a beautiful picture as he stood against the back-
ground of green foliage, his whole body reflected
in the clear water, in which he stood knee-deep;
but, as the canoe continued to drift closer to him,
he suddenly turned and bounded off into the
woods and out of sight, leaving in my mind
an impression of as pretty a little scene in wild
life as it had ever been my good fortune to look
upon.
At another time, as I was passing through a
piece of “hammock” at Cape Sable (the southern-
most point of Florida), a lynx, which seemed to
me the biggest one I had ever seen, jumped from
the low inarliciers at my very feet and, springing
upon a fallen tree not over ten feet distant, stood
there growling, his back partly toward me and
his head turned over his shoulder. It made a
splendid study of natural wild life, and one which
I stopped to admire. I would have given much
to have been able to obtain a negative of him as
he stood there in all the magnificence of his
assumed anger, but, unfortunately for me, I did
not have a camera with me on either one of
these occasions, and so two unique opportunities
were lost.
116 Photography for the Sportsman Naturalist
One never knows when such opportunities will
present themselves, and, if you would obtain pic-
tures that you might look in vain to have re-
peated, you must always be in readiness for
whatever may happen.
Some remarkably effective pictures can be
White-tailed Deer. Doe.
made of deer at night by means of the “ firelight-
ing” methods, with which all sportsmen are
familiar. This consists in rowing quietly around
the edges of some pond frequented by deer and
flashing a light, reflected from a mirror or other
highly polished surface into the dark places.
When this light is flashed into the eyes of a deer,
Photographing the Larger Animals 117
it dazzles him to such an extent that he can see
nothing else, and, in consequence, he will stand
absolutely still, staring at it.
It is generally considered a somewhat unsports-
manlike way of hunting these creatures, as it gives
them but little chance for their lives; and, in most
places, it is prohibited by the game laws. It is,
however, an excellent method of taking their
photographs. Of course a “ flash-light” must be
used, and it needs two people to work success-
fully, one to manipulate the search- and flash-light
and the other to do the photographing. The
camera must be one of the “ fixed focus ” variety
or else set for the focus of a certain distance and
the exposure made when, in the judgment of the
operator, he is at that distance from his subject,
for it is impossible to see to focus in the dark
even when a strong light is reflected upon the
object.
Another way of photographing by means of
the flash-light is to set up the camera focussed on
a deer’s runway and insert the plate-holder, with
the slide drawn, after dark, leaving the shutter
open. Set up the flash gun by the side of the
camera so that the deer may discharge it himself
by means of a string stretched across the runway
at the point upon which you have focussed. The
flash powder in the gun should be protected from
the damp by covering it with a piece of oiled
118 Photography for the Sportsman Naturalist
paper. This will not prevent it from exploding
when the trigger is pulled, but will protect it from
the dew, which would otherwise dampen it to
such an extent that it would not ignite. The
slide of the plate-holder must always be replaced
before daylight, otherwise the plate would be
overexposed, besides giving a conglomerate pic-
ture of foliage showing through the deer’s image.
If one is ingenious enough, an arrangement of
strings can be made that will release the shutter
at the same time that it fires the flash gun, thus
obviating the necessity of leaving the plate ex-
posed.
This method of flash-light photography is some-
what uncertain, but often gives good results. Mr.
Shiras of Pittsburg has done some really remark-
able work by both of these methods, and where it
has once been done it certainly can be repeated.
A considerable amount of flash powder must be
used, especially in the former method, for the dis-
tance and space to be illuminated are considerable,
and it is remarkable how much more light is ab-
sorbed in the open than in a confined space, such
as a room. The proper amount will be ascer-
tained after one or two experiments.
These methods of forcing the animal to photo-
graph itself are often productive of astonishing
results. Once a friend of mine had fixed his ap-
paratus at nightfall, and upon examining it in the
Photographing the Larger Animals — 119
morning and finding that the flash had been ex-
ploded he naturally concluded that he had a nega-
tive of a deer. Much to his surprise, however,
when he came to develop it, it turned out to be
an excellent picture of a porcupine. To avoid
having the smaller animals spring the “gun,”
when you do not wish their photographs, the
string should be placed at such a height that they
may pass beneath it.
Photographs of swimming caribou are easily
obtainable, — especially in Newfoundland, where
these animals are still plentiful and are lable to
remain so for some time to come, owing to the
restrictions of a sensible game law that will not
allow indiscriminate and continuous shooting,
even in the open season. These animals, as well
as almost any other for that matter, are practically
incapable of defending themselves while in the
water, although they are strong swimmers. They
can, therefore, be followed up at one’s will in a
canoe, and any number of “shots” be made at
them with the reflex camera.
If you know of the whereabouts of a “ yard” of
any of the deer family in the winter time, you can
have an opportunity such as is not often vouch-
safed to one for obtaining a long series of pictures
of them, and such an opportunity should never be
missed by any one who can take advantage of it.
In the summer time a salt lick is a place pro-
120 Photography for the Sportsman Naturalist
ductive of good results and should be watched al-
most constantly. As any old hunter knows, such
a place can be made by salting an old stump, in a
deer-frequented place, with rock salt, repeatedly.
They will soon get to know of it and will come
there regularly to find it.
In the early spring deer come into the open
to feed more frequently than at any other season,
as at this time the sprouts have not yet begun to
appear in the woods, while things are fairly green
in the open places, and consequently they can
find more to their liking in these places than in
the deeper woods. They then offer many good
opportunities for pictures to any one who is ready
for them. This is the time when a tripod camera,
used from an ambush, can best be employed.
But sportsmen undoubtedly know these and
many other habits of the Deer family much better
than I can teach them, and so it is simply wasting
time and space for me to enumerate the different
places where one should hunt.
Mr. Wallihan, as I have before mentioned,
hunts his cougar with a pack of hounds, running
them until they are treed. This has the disad-
vantage of nearly always forcing your cat into a
tree, for it is very seldom that they will take a
stand on the ground. It is the only way of get-
ting close to them, however, unless you do as Mr.
Carlin did with his lynxes and first trap them.
Photographing the Larger Animals — 121
While with the latter method better pictures
can probably be obtained with less danger to the
operator, the former has more of the element of
excitement in it and adds the pleasures of a stern
chase to those of photographing, and this, to any
one of true sportsman proclivities, counts as not
the least of the reasons for hunting.
Photographs of the Rocky Mountain sheep are
very scarce, but such as have been taken are ex-
ceedingly interesting. Owing to the extreme
shyness of the animals and the almost inaccessible
places which they frequent, they are difficult to
approach to within even the distance of a rifle-
shot, but by the use of the high-power telephoto
lens good pictures of them may be obtained by
patience and perseverance.
Bears, in their absolute wild state, are prob-
ably the most difficult of any of the wild animals
to photograph; but in the Yellowstone Park they
can be closely approached without danger, for, ow-
ing to the fact that all the animals in this place
are most carefully protected and shooting not al-
lowed, they have no fear of man, and, fortunately,
while guns of any sort are prohibited in the park,
cameras are not, and one may hunt with them to
his heart’s desire.
In work on the large animals, necessitating, as
it does, long trips afield, I should not advise the
use of the orthochromatic plates, for, although
122 Photography for the Sportsman Naturalist
they undoubtedly give much better results than
do any other kind, they have not the keeping
qualities of the ordinary plate, and, especially when
they cannot be kept free from the least dampness,
as it would be almost impossible to do on a camp-
ing trip, they deteriorate very rapidly. Moreover,
they are not quite so rapid as are the fastest ordi-
nary plates, and speed is one of the first essentials
for animal work.
In “ packing” into camp and at all times while
there, the camera and outfit should be the one thing
to be most carefully protected against accident ;
for even the best and strongest are easily dam-
aged, and this damage may be such as cannot be
remedied and the results of a whole trip thereby
forfeited. I have known of several instances
where this has happened through sheer careless-
ness, and one cannot afford to treat his outfit with
anything but the greatest consideration.
The one great thing to remember in photograph-
ing all wild animals is to get them in as natural
and unconstrained an attitude as is possible. This
can best be done when they are caught unawares,
for they are apt to be more or less frightened when
they realize that something is being done with
them and this fright will inevitably show in the
picture, either in an unnatural pose or in some
other unmistakable manner,
CHAPTER VIII
PHOTOGRAPHING THE SMALLER MAMMALS
Here is a field in which, while the possibilities
for excitement are not so great as they are in
work with the larger animals, the chances for
pictures are greater. It is a field, however, in
which a knowledge of the habits of the sub-
jects is, in most cases, much more necessary than
in any other.
Should one attempt to hunt for the smaller crea-
tures without a fairly accurate knowledge of their
daily lives, he might tramp the woods or fields for
weeks and find nothing but the squirrels and chip-
munks while, unawares, he has passed time and
again within a few feet of some tiny fur-bearer
watching him with inquisitive black eyes in fear
and trembling.
One never realizes the immense army of small
mammals, especially of the Rodent family (the
mice, rats, squirrels, etc.), that inhabits our woods
and fields, until he starts to look for them. They
are innumerable, but, as they are abroad princi-
pally at night, one who is not well versed in their
123
124 Photography for the Sportsman Naturalist
ways may never have the good fortune to see
one.
The red and gray squirrels and the chipmunks
we all know, for they are the inquisitive busy-
bodies of the woods, and nothing delights them
more than to scold at an intruder upon what
Prairie Dog at Entrance to Burrow.
they are pleased to consider their especial reserve.
But these form the smallest part of this army.
The mice, of which there are many species be-
sides the common one whose acquaintance we
have made through its habit of using our dwell-
ing-places as its home, are numerous everywhere.
There is probably hardly a meadow that does not
Photographing the Smaller Mammals 125
harbor at least several hundred of these little
fellows, and yet, except for an occasional squeak
and rustle in the grass, we may never know of
their presence.
Let us look beneath the tangled grass and we
will find their narrow but well-defined “run-
ways” stretching in every direction, intersecting
and crossing
each other,
until we dis-
cover that the
field is a veri-
table network
of these mini-
ature road-
ways, and that
there is a pop-
ulation and a
busy life be-
neath our feet of which we have heretofore known
nothing. Follow one of these “run-ways.” It
may lead nowhere and it may lead to the maker's
home: a small, round bunch of dead grass, well
woven together, half sunken in the ground and
thoroughly concealed by the tangle of grass and
herbage above. If we approach carefully, we may
be fortunate enough to catch the owner at home,
coiled up in the soft, warm interior, taking his
midday sleep, but we must be quick or he will
Cotton Mouse.
126 Photography for the Sportsman Naturalist
slip out and away before we can even catch a
glimpse of him.
Should we be lucky enough to capture him,
however, we can take both him and his nest
home with us and photograph them at our
leisure.
As it is an exceedingly difficult thing to restrict
the range of any of the smaller mammals so
as to get satisfactory photographs of them, it is
sometimes best to photograph them in captivity.
This can be done successfully by the use of a
glass cage. The front, sides, and top should be
of glass and the bottom and back of wood, covered
inside with tin so that the occupant cannot gnaw
his way through. Inside of this cage we may
arrange what accessories we wish and place our
captive. At first he will be very wild, and we
shall be able to do nothing with him; but after a
while, as he becomes somewhat better acquainted
with his surroundings, he will quiet down and
will assume the attitudes we wish.
In order to escape reflection on the glass the
cage should be so placed that the sun’s rays strike
it full, and even then it is best not to use a black
background.
If there is the least possibility of our being
able to do so, it is always desirable to at least
attempt the photographing of even these small
mammals wild and in their native haunts, as both
Photographing the Smaller Mammals 127
the animals and their surroundings are bound to
look much more natural under these conditions.
It can be accomplished, and successfully, if one
is willing to use his time and exercise his patience,
with either the reflex or the tripod camera. ‘The
latter can usually be used to better advantage,
however, and the methods followed are much the
same as when photographing birds at their nests.
Nearly all of
the smaller
mammals are in
the habit of us-
ing one particu-
lar stump or
rock as a place
of observation
from which to
survey the land
before ventur-
ing forth. By
carefully watching for several days, this vantage
point may generally be discovered. If not then,
we may get them into the habit of coming to
such a spot by baiting it for several days with
something to their liking. This will work most
successfully if we select a spot in close prox-
imity to their nest. After they have become
accustomed to coming to look for the bait, then
we can set up our camera, focus it upon the
a
Fox Squirrel.
128 Photography for the Sportsman Naturalist
spot we have baited, screen it well so that it
will be invisible to the sharp, inquisitive eyes of
our sitter, and, with ourselves hidden at the end of
seventy-five or one hundred feet of the rubber
tubing, wait for our subject to put in his appear-
ance. Whether we obtain a picture or not
depends entirely upon our ability to wait patiently
and quietly for an indefinite period. The one
absolutely necessary precaution is quietness.
The smaller mammals are easily frightened by
any unexpected movement or noise, and slight
carelessness on the part of the operator will often
cause them to leave and not return for a number
of hours, if, indeed, they will do so again that
same day,
Mr. Carlin, using this method, did some remark-
able work on the small mammals of the Bitter Root
Mountains. Among these he secured several fine
pictures of the Rocky Mountain pika, or, as it is
locally called, the little chief hare. These are
the only photographs, of which I know, that have
ever been secured of this interesting little animal.
Of him Mr. Carlin says: “He lives in certain
parts of the Rocky Mountain system among the
great masses of broken slide rock, and in many
ways is one of the most interesting little animals
on our continent. In the lower altitudes, say
about four thousand feet, he is out and about a
good deal of the winter, but in the high altitudes,
Photographing the Smaller Mammals 129
from six thousand to nine thousand feet, his home
is buried under from ten to fifty feet of snow and
he does not make his appearance until June or
July. When he first comes out, he is rather lazy
and likes to sit and sun himself. Later on he is
seldom quiet for any length of time excepting in
the early morning. He has many household duties
and begins early in August to gather in his sup-
ply of winter hay, for the snow and frosts come
early up where he lives. If you are watching by
a pile of rocks, you will see him pop suddenly out
of some crevasse, look hurriedly around to see
that the coast is clear of any prowling weasel or
hawk, and, after uttering his peculiar little cry, he
will scamper over the broken masses of rock with
incredible swiftness to his favorite ‘hayfield,
where he gathers a large mouthful and hurries
back to arrange a little haycock where his grass
will dry protected from the winds. He works
incessantly and, should a storm threaten, he will
work all night, if necessary, to gather in his hay-
cocks to one of the common storehouses under
the rocks. In photographing him the camera was
focussed on his favorite sunning place, partially
hidden by leaves and weeds, while I sat fifty feet
away and waited his appearance. I worked on
and off for over a month before I got his picture.”
This evidences an amount of patience and per-
severance that was deserving of the reward that
K
130 Photography for the Sportsman Naturalist
he obtained, the only photographs of the pika in
existence; and there is probably no one who now
knows the habits of this little mammal better
than does Mr. Carlin.
He also obtained, while on this same trip, a
photograph of a weasel as he was about to leave
his home among the rocks, and that weasel shows
all too
plainly in
his picture
that he was
not caught
asleep.
Many of
the animals
that. live
in holes in
the ground,
Sitch eas
woodchucks, gophers, etc., can be successfully
photographed by focussing upon the entrance to
their burrows and waiting for them to come out.
This sometimes necessitates a long wait, but
makes most interesting pictures as showing both
the animal and the place in which he lives.
The ’possum is, probably, the easiest of all the
small mammals to photograph, as his slowness of
movement makes it possible to catch him and he
can be handled without danger of his attempting
Half-grown Woodchuck.
Photographing the Smaller Mammals 131
to bite. His first act, when he is approached, is
not to try to escape, but to feign death or “play
possum.” During this stage of the proceedings
he is most tantalizing, for no amount of poking
will cause him to show any sign of life. He may
be picked up, and to do so by his tail is the only
natural way, and placed in the crotch or on the
branch of a tree or in any other elevated position ;
but he will not attempt to hold himself there,
rolling immediately off and falling to the ground
with a resounding thud, apparently lifeless. No
falls of this kind, no matter from what height,
appear to injure him in the least, for he is the
toughest of all our animals and will receive any
amount of hard knocks or blows with seeming
indifference. Pay no attention to him, however,
and he will soon slowly open his eyes, and, if he
thinks he is not observed, will begin cautiously to
move away and try, by stealth, to get out of
sight before he is detected. When he learns
that his “playing ’possum” is not benefiting him
he will wake up, and then one can have no better
subject. By the aid of the reflex or even with
the ordinary outfit one can then easily photograph
him in any position he may desire.
The porcupine makes another easy subject,
although he cannot be handled with impunity if
one would not have his hand made into the ap-
pearance of a pincushion by his sharp, barbed
132 Photography for the Sportsman Naturalist
quills. Moreover, if we try to influence his
movements to any extent, by urging him either
with our foot or a stick, the endeavor is invariably
attended by a loss of many of his quills, and with-
out these he presents a sorry appearance and is
not worthy of being photographed. These quills
form his only means of defence, for, although he
will chatter vindictively with his teeth, he will
seldom bite. The bridge of his nose is his one
vulnerable spot, and when that is struck a sharp
blow it will generally kill him. Knowing this,
as he must, he will, when approached, invariably
turn his head downward, and, with his nose well
buried in the fur of his chest and every quill
standing erect, he will lash about with his tail,
and wherever this formidable weapon strikes it
leaves a number of tiny javelins which are as
sharp as needles and so barbed that they are not
easily extracted.
In this manner he has been known to kill even
such large animals as wildcats by driving his tail
quills into their eyes and thus penetrating to
their brain. From this fact most wild animals
know enough to leave him alone and will always
give him the road except when driven to extremi-
ties by hunger. He is stubborn, and when in
the position of defence no amount of prodding
will elicit anything but a continued lashing of the
tail. The only thing to do is to wait patiently
Photographing the
Smaller Mammals
133
Porcupine feeding on Root.
134 Photography for the Sportsman Naturalist
until he decides to move and then follow him
with the camera until he assumes such attitudes
as may satisfy us from a photographic standpoint.
The raccoon is an interesting and usually well-
behaved subject, but is not so easy to capture.
When handling him we must look out for his
teeth, for he
knows. well
how to use
them and
can inflict
very painful
wounds.
In any
park or pri-
vate grounds
where there
are gray
squirrels they are usually more or less tame
and easily approached. In Central Park, New
York City, there are thousands, and they are so
tame through never having been molested that
they will not only fearlessly come close to a per-
son, but will even go so far as to explore his
pockets for nuts. These are excellent subjects
for the beginner to try his hand on, for he can
always get his squirrel to come to the spot he
has focussed upon by placing a peanut there.
In all this work the ordinary long-focus outfit is
Muskrat.
Photographing the Smaller Mammals — 135
the best to use. Of course the reflex will fre-
quently be needed and the telephoto lens often be
found indispensable, but the ordinary camera is
the one that is most frequently called into service.
In this, as well as the other branches, the two
indispensable requisites are perseverance and pa-
tience, as was proved by Mr. Carlin’s experience
which I have related. Of the latter luxury one
needs, perhaps, more in this branch than in any
other, unless he is photographing his animals
in captivity, and
he must be sup- L
plied with con- ae
siderable more
than the usual
amount with
which man is
blessed, for it
will sometimes
be necessary
for him to sit
motionless for
hours ere he will succeed in obtaining the picture
for which he is striving.
Animals, especially the smaller ones, are natu-
rally extremely timid and shy, and the mere pres-
ence of man will often cause them to remain in
concealment for an interminable length of time.
From the fact of the extreme difficulty with
Little Brown Bat Asleep.
136 Photography for the Sportsman Naturalist
which good photographs of any of these smaller
animals, especially the rodents, are obtained in the
open, I am more in favor of the use of a cage
in this branch than in any other. If one is care-
ful in the placing of the accessories, very natural
surroundings can be arranged and the resulting
picture be excellent, but always make these acces-
sories conform with the nature of the habitat of
the subject and, above all, never make the expos-
ure when the animal shows the least sign of fear
either in pose or expression. It is best, therefore,
to keep him in the cage for two or three days, un-
til he becomes thoroughly accustomed to his new
home, before trying to photograph him. Often,
with mice, if we put some grass and other like
material in the cage, they will construct a nest,
and this always adds a note of naturalness to the
picture.
Shrews, moles, etc., are easier subjects than are
the mice. The only trouble that I have experi-
enced in photographing moles is the fact that in
the photograph they always appear to be dead.
This is because they have no eyes, and eyes are
the things that do more than anything else to
show life in a picture.
The white-footed mouse often makes its home
in a deserted woodpecker’s hole, and if we can find
one of these nests and capture the inmate, we can
remove the branch and take the home as well as
Photographing the Smaller Mammals 137
its owner away with us to the cage and we shall
need no other accessories.
Beaver are not difficult to photograph if we can
find one of their villages, but they are rapidly
diminishing in numbers and bid fair soon to be-
come extinct.
The first and the final word of advice which I
have to give is: know your subjects. Otherwise
the difficulties will be increased tenfold and many
opportunities will be entirely lost.
GCriAr TE Rex
PHOTOGRAPHING BIRDS’ NESTS
UnpoustEepLy the easiest branch of nature
photography, and yet one in which there are
many difficulties to be overcome, is the photo-
graphing of birds’ nests. It offers more possibili-
ties for really artistic results than does any other
branch, with the exception of flower photography ;
and, if we study our subject well before making
an exposure, to discover from what point of view
the best lighting and general effect is obtain-
able, the resulting picture will often be a thing of
beauty that may well call for the admiration of
all who see it.
Therefore we should be in no hurry when
photographing a bird’s nest, for it will not run or
fly away and we can take our time. Look at it
and study it from every direction, through the
camera, for one is better able to judge how a thing
will look in the picture by seeing it upon the
ground glass than by looking at it as it appears
naturally. When we have decided from which
direction it makes the best appearance, then is the
138
Photographing Birds’ Nests 139
time to make the exposure, but not before. In
other words, give what artistic ability we may
possess full sway in this field, for with most
nature work art must take a back seat, while in
this branch it can be successfully employed, by
any one who is capable of doing so, to the oft-
times great improvement of the picture.
All this, of course, applies only to such nests
as are built in low bushes or upon the ground.
Those that are placed in trees, on the ledges of
cliffs, and in like inaccessible places, can usually
be photographed from but one direction if, indeed,
we can get at them at all, and we may consider
ourselves lucky to obtain the picture without
troubling much about the artistic quality of it.
It must be remembered, primarily, that a
picture of a bird’s nest, to be of any value, scientifi-
cally or otherwise, must show as much as is pos-
sible of its surroundings and also the detail of its
construction and the manner in which it is fast-
ened to its support. In order to do this, so as to
obtain the best and most natural results, the nest
should always be photographed zz sz¢u, and this,
as can readily be seen, often presents great diff-
culties, the overcoming of which affords one of the
chief pleasures of the work to any one who is seri-
ously interested in it.
The nests that are built on or near the ground
present an easy mark, but those that are high up
140 Photography for the Sportsman Naturalist
among the branches of the trees and particularly,
as frequently happens, when they are at the extrem-
ity of some branch, these are the ones that tax
the ingenuity of the operator to the utmost limit.
Another particular in which we must exercise
the greatest care is the arrangement of the sur-
Nest and Eggs of Ruffed Grouse.
roundings. It will be often found necessary to
remove some of the branches, leaves, or grass from
in front of the nest, so as to obtain a clear, unob-
structed view of it and its contents. In doing this
we should be most particular not to remove too
much, for if this is done it will give the effect of
bareness in the photograph, besides leaving the
Photographing Birds’ Nests 141
nest unprotected when we are done with it and
causing the bird to desert. It is best, therefore,
when possible, to bend back the branches or other
herbage instead of cutting them off, so that they
may be returned to their former position when we
are through. Where it is necessary to cut a twig
the end should be hidden by a leaf, or in some
other manner, so that it will not show in the pic-
ture. Touch the nest and eggs as seldom as pos-
sible, for the natural set and arrangement of it is
one of the important features and this is easily
disturbed; besides, a bird will frequently refuse to
return to a nest that has been handled. We
should always try to avoid doing anything that
will drive the birds from their nests. Remember
that they have a greater right to them than have
we, and then, too, we may wish to use them again
later when the eggs have hatched and the old
birds are feeding their young.
The nest photographer's outfit consists of a
four by five long-focus camera; any ordinary
lens (those of the longer focal lengths are best) ;
the long and the short legged tripods; the ball-
and-socket clamp; the large mirror and a pair of
climbing irons. A pair of pruning shears will be
found a useful adjunct also, for with them twigs
can be clipped with less jar to the nest than with
a knife.
This may seem to be a formidable outfit, but one
142 Photography for the Sportsman Naturalist
can hardly work satisfactorily with less, and some-
times even other accessories will be found neces-
sary, such as a screening cloth, a small keyhole
saw, etc.
Now let us make our first photograph of a nest,
and it will be best for our first endeavor to be
upon some low-built nest. The sandpiper’s nest
Nest and Eggs of Green Heron.
Photographed twenty-five feet from ground.
(a photograph of which is shown on page 143) is
a good type of the ground nest and is an easy
one to begin our work upon.
One of the things we must always avoid, if pos-
sible, is having the camera pointed directly down-
ward at a nest. It not only shows the nest in an
entirely false position, but also gives little idea of
its form or construction.
Having found our nest and selected the point
Photographing Birds’ Nests 143
of view from which it can be photographed to the
best advantage, we first press back or cut away
all the intervening foliage that obstructs the view
of it. Then the camera is set up on the short
tripod at a distance of about three feet from and
md
don Sah Se ags a
gg el ES
Nest and Eggs of Spotted Sandpiper.
pointing slightly downward at thenest. This will
allow a view of a part of its inner as well as most
of its outer construction, and the picture will carry
to the mind of the person who sees ita correct idea
of the manner in which it is built, which would
not be the case if the camera was pointed directly
downward at it. It is not necessary to show all
144 Photography for the Sportsman Naturalist
the eggs, although some people seem to think so,
but if two or three of them show above the rim of
the nest it is sufficient. When the nest 1s so deep
that the eggs are entirely hidden, a small tuft of
cotton may be carefully inserted beneath them.
This will raise them into view and will not, as
may seem probable, give a false idea of their posi-
tion in the nest. Care must be taken, however,
that none of the cotton shows.
When the camera is set up at the required dis-
tance, and all the intervening foliage fixed to our
satisfaction, we must focus upon the rim of the
nest nearest to the camera, regardless of all the
surroundings. Then by the use of the swing-
back it will be found that much of the foreground
and background will be sharpened up, but it will
still be necessary to stop down the lens, sometimes
to its fullest extent, before all the surround-
ings are brought into as sharp focus as is desir-
able. This, naturally, means a long exposure,
which is a drawback when the wind is blowing,
so that it is best, when we can, to work on a calm
day.
Try not to underexpose, as the results have a
distinctly disagreeable hardness, showing the eggs
as blotches of white against a black background.
Much better to err on the side of over exposure, as
this fault can be corrected in development.
Never make an exposure in the direct sunlight,
Photographing Birds’ Nests 145
for that also gives too contrasty a negative with
no delicate half-tones and poor detail. If the nest
is not already in the shade, where no patches of
sunlight fall upon it, then it must be shaded by
holding the focussing cloth, a coat, or some other
screen between it and the sun. Be careful,
though, that the screen does not show in the
picture.
As can be seen from the foregoing, the ideal day
for nest photography is one that is calm and with
the sky slightly overcast; but this we cannot always
have, nor would we entirely desire it, so we must
meet the emergencies as we find them. I have
done some excellent work in the pouring rain, but
this is hard on the camera unless it is thoroughly
protected, and the raindrops collected on the
foliage will show, and, even though shaken off
just before the exposure, are bound to collect
again before it is over.
If the nest itself should be in a dark place
while its immediate surroundings are comparatively
well lighted, as will sometimes be found to be the
case, we can overcome the difficulty by the use of
the mirror. For instance, should we conclude
that about a minute would be the correct expos-
ure for the surroundings with the lens stopped
well down, then, with the mirror, throw a shaft of
light upon the nest for say from six to ten seconds
about the middle of the exposure, but be careful
L
146 Photography for the Sportsman Naturalist
to keep the mirror moving so that no part of the
nest will be, better illuminated than another.
So much for the ground builders. The nests
placed from one to five feet from the ground are
the most satisfactory to work upon. They are
easy to get at, generally require but little pre-
. liminary preparation
or arrangement, and
they offer, from the
nature of their sur-
roundings, far better
possibilities for fine
results than do the
ones that are placed
either high up in the
trees or on the ground.
The tripod should
be made sufficiently
long to elevate the
camera from six inches
to a foot above the
level of the nest and so tilted as to point the
lens diagonally downward at it. Should the nest
be placed so high up in a bush, too small to bear
a person’s weight, as to make it impossible to
reach it by the aid of the ordinary tripod, sticks
must be cut and bound tightly to the legs of the
tripod, thus lengthening them to the desired ex-
tent. Upon several occasions I have made my tri-
Nest and Eggs of Chestnut-sided
Warbler in Low Bush.
Photographing Birds’ Nests 147
pod legs at least ten feet long in this manner and
have done my focussing while standing upon the
shoulders of an assistant. This may séem hard on
the assistant, but it is better than carrying a step-
ladder to the site of the nest, although .I should
advise the use of an assistant with a good pair of
shoulders, especially should you be of some weight
yourself; otherwise you may take a hasty tumble to
earth in the midst of the focussing and will be
more or less likely to bring the camera down with
you in your fall, which would benefit neither you
nor your camera.
All the advice given for me lighting and ar-
rangement of the saan nests Sha Ins followed
here, although when working in the manner I have
just described it will be found impossible to shade
the nest; but in such cases, when the nest is not in
the shade of some other tree or bush, wait, if you
can, until some passing cloud obscures the sun long
enough for you to make the desired exposure.
Mr. Dugmore advocates the use, in some
instances, of a white screen placed beneath the
nest, so as to reflect light on the under side of it.
This, he says, “may easily be done by taking a
yard or two of white muslin and fastening a stick
at each end. The sticks should be pointed at one
end so that they may be put into the ground, and
the cloth, tightly stretched, will be held at such
an angle that the light will reflect from it upon
148 Photography for the Sportsman Naturalist
the nest.” This may be advantageous at times.
I have never used it, as I have never found it
necessary; moreover I am inclined to believe
that it would give false lighting, as the under
part of a nest is naturally more shaded than the
upper and should so appear in a picture.
It will be found difficult and often impossible to
give as long an exposure with these bush nests as
with those built on the ground and, consequently,
the lens cannot, generally, be stopped down so
far. Therefore greater care must be exercised in
the focussing and the use of the swing-back to
get all the surroundings in as sharp focus as pos-
sible. The slightest breath of air will often sway
the supports of the nest sufficiently to spoil all the
sharpness of outline, and when there is much of a
wind blowing they are seldom entirely still for
more than two or three consecutive seconds. It
is very annoying, to say the least, to see the nest
move just in the middle of an exposure and to
realize that the picture is spoiled and we must try
it over again. This can sometimes be obviated
by means of guy ropes of stout twine fastened in
several directions to stationary objects.
In cases of nests swung at the ends of branches,
such as vireos’, orioles’, etc., if they are not more
than ten or twelve feet above the ground, the
branch can usually be bent down and fastened in
the desired position with twine; but in doing this
Photographing Birds’ Nests 149
be sure to prop up the end of the branch so that
the nest will be in its original horizontal position.
Above all things never remove the nest from its
site, except when absolutely necessary, either by
taking it from the crotch or other situation in
which it was placed by the birds and placing it in
another more convenient, or by removing it and
its support bod-
ily to where it
can be more
easily photo-
graphed. To
do this is, I
know, a great
temptation — to
all photogra-
phers, but the
resultsarenever
Nest and Eggs of Kingbird.
as satisfactory. Photographed in topmost branches of apple tree.
The value of a
nest picture, from a scientific point of view, lies
largely in the fact that it is an exact representation
of the nest in precisely the position that the bird
built it with all its natural surroundings intact;
and, no matter how careful we may be to arrange
it after its removal, it is not the same, and the man
who knows the nests and the manner of their con-
struction can almost always detect the difference.
Moreover it despoils the birds of their home, for
150 Photography for the Sportsman Naturalist
very few birds will return to a nest that has once
been removed from the spot in which they built
it, although it may be replaced, with the greatest
care, in the original site.
In arranging the eggs, too, when such arrange-
ment is necessary, care should be taken to put
them in the same position as they were left by the
bird. The position in which an egg hes often
counts for much, as, for instance, in pointed eggs
the small ends are always together, never pointing
outward.
It is permissible, and sometimes even desirable,
to introduce some accessories to the picture by
placing objects near the nests that were not origi-
nally there. These objects should never be incon-
gruous, however, with the other surroundings, and
should only be placed there to illustrate some
point. Thus, I have often placed some flower
near a nest to show that that flower was in bloom
at the time the nest was built, but it must always
be some flower that is found blooming in the
immediate proximity of the nesting site. This
also serves to give an idea of the locality in which
a nest is found, as the wild raspberry bloom near
the nest of a hooded warbler or indigo bunting,
for both of these birds are partial to this plant as
a nesting site; or the false hellebore, placed near
the nest of a Wilson’s thrush, as both flower and
nest are found in low, swampy places, An old
Photographing Birds’ Nests ist
chestnut bur near an ovenbird’s nest will show
that it is built in the woods, and a clover head by
the side of a bobolink’s home will tell any one
that the lush clover fields are the places in which
this bird delights to breed. Thus the judicious
introduction of new objects in the immediate sur-
roundings of the nest is, as I have said, entirely
permissible, and they not only serve the purposes
I have stated, but also greatly enhance the beauty
of the picture.
As for the size that the image of the nest
should be, that is a matter for the judgment of
the operator. I, myself, do not favor the nest
occupying too much of the plate, for I think that
the more of the surroundings that are shown the
better, so long as the nest shows large enough to
bring out clearly the details of its construction
and the markings on the eggs. To show dis-
tinctly the shape and markings of the eggs is im-
portant, for they must be capable of showing for
themselves that they belong in the nest and are
not merely any eggs photographed in any nest.
When it comes to photographing the nests of
the tree builders, especially those that build in
the very tallest trees, the hawks, crows, eagles,
etc., the problem immediately becomes much
more difficult and, in many instances, unsolvable.
Many times it is necessary, however, to work in
the tree-tops, and much good work has already
152 Photography for the Sportsman Naturalist
Nest and Eggs of American Crow.
Photographed fifty feet above ground.
Photographing Birds’ Nests 163
been done there; but I would not advise any but
those who are perfectly level-headed and sure-
footed, in other words good climbers, to try it, for
the situations are often dangerous, necessitating,
as they do, the use of both hands for the manipu-
lation of the camera, and thus leaving to the legs
and feet alone the duty of holding one in the tree.
Two methods can be used for securing the
camera in the tree. The tripod can be lashed
securely to several of the limbs or branches, or the
camera can be fastened directly to one of them by
means of the ball-and-socket clamp. The latter
method is by far the easiest and most satisfactory,
although upon some occasions it will be found
necessary to employ the former.
The same general directions hold good here
concerning the surroundings of the nest, except
that a greater number of leaves in the foreground
will have to be removed in most cases. This is
owing to the fact that the slightest breeze will
often sway not only the branch upon which the
nest is built, but also the one upon which the
camera is fastened, and this is ruination to all
sharpness of outline in the picture. Guy ropes
are here of no avail, and so a short exposure is
almost always absolutely necessary.
This necessitates a larger stop and, conse-
quently, less depth of field. Leaves in the back-
ground must, obviously, be out of focus, but it is
154 Photography for the Sportsman Naturalist
important that there should be nothing between
the nest and the lens that is not sharply defined.
In fact, the less of anything there is in front of the
nest the better will be the picture.
Nests at the extreme ends of or in the very top-
most branches, or in trees that cannot be climbed,
may often be successfully photographed from some
adjacent tree by means of the telephoto lens. In
these instances the camera should be placed as
near the trunk of the tree as practicable, so as to
obviate as much as is possible any vibration.
It is never well, when climbing to a nest, to at-
tempt to carry your camera with you. Leave it
on the ground attached to the end of a ball of
twine which you can carry in your pocket and
pay out as you climb. When you have reached
the desired spot in the tree, the apparatus can be
easily hauled up to you. If you attempt to carry
it up, you not only run the risk of dropping it,
but of its causing you to fall, yourself, by getting
in your way.
As a last resort, when all other attempts at pho-
tographing the nest fail and if it is one that you
particularly desire, which cannot easily be found
again, then you must remove it; but only do
this when it is impossible to obtain the photo-
graph by any other means. When it is found to
be absolutely necessary, then remove the branch
and all, just as it is, cutting it off carefully so as
Photographing Birds’ Nests 155
to disturb the nest as little as is possible. Carry it
to some spot where its original surroundings can
be reproduced with, at least, an approach to faith-
fulness and try to make yourself think that the
negative you have thus obtained is a sufficient
recompense for robbing the birds of their home;
for, no matter how you may tie the branch back
in its original place or
return the nest to its
natural site, or near it,
they will never, except
in very rare instances,
return to it.
The nests of wood-
peckers, wrens, and all
the other birds that
breed in excavations
in the limbs or trunks
of trees must be treated
ina) muely different
manner from those of
any other bird. Here, in many instances, it will
be found necessary to remove the limb, as no
amount of ingenuity will devise a scheme for
photographing them zz szfw when, as frequently
is the case, they are on the under side of a limb
that is forty or fifty feet from the ground and
projecting from a dead tree at an angle of forty-
five degrees, with no other limb below it. More-
Bluebird’s Nest and Eggs.
156 Photography for the Sportsman Naturalist
over, to remove the limb, in these cases, does
not in any way impair the naturalness of the
nest’s surroundings, as the only surroundings it
has are the limb in which it is built. The birds
will desert, of course, but they would anyway, as
the hole must be cut open to show the contents
and there are only one or two species of birds
that will return to their nests after this has been
done. It is unfortunate for the birds, but there
is no other method of obtaining pictures of their
nests.
In cutting open the nests to show the inner
construction and the eggs, the wall of bark and
rotten wood may either be cut away from the en-
trance hole to the eggs or else, after ascertaining
by the aid of a small twig the exact depth of the
hole, a small, square piece may be cut out, making
an entrance at the bottom of the hole and leaving
the rest of the wall intact. This can best be done
with a small keyhole saw. By this latter method
one can show both the entrance hole and the eggs
and nest complete, and it is by far the better
method of the two. It is well, however, to remove
the eggs first by tipping up the limb and allowing
them to roll down to the entrance hole; otherwise
they will be very liable to be broken by the saw.
I began by explaining the ways of working on
the nests of those birds that build on the ground.
Now I will go back to those that make their
Photographing Birds’ Nests ised
homes underneath the ground, —the kingfishers,
bank swallows, burrowing owls, etc. Here, of
course, to show the nest and eggs, the hole must
be excavated, but first a photograph of the en-
trance hole should be made.
The excavating must be done with great care,
that the loosened earth and stones may not choke
Entrance Holes to Bank Swallows’ Nests.
the hole or roll down and break the eggs. The
excavation must not be carried beyond that point
which will show the nest and eggs to the best
advantage.
In photographing the nests of any of the “ cave-
dwellers” that make their abodes either in holes
in trees or in the ground, the mirror will come
158 Photography for the Sportsman Naturalist
into play to reflect light into the hole and give
perfect illumination to the contents. Care must
be observed not to make the illumination too
intense, or otherwise the effect of a cavity will
be lost.
To those who are ambitious enough to wish to
use their cameras on the cliff breeders I am very
much afraid
Ican give no
directions, as
I will freely
confess. to
never having
done any of
it; and my
desire to dan-
gle at the end
of a rope over
a hundred
feet or more
of empty space is, I fear, not great enough ever to
lead me to attempt it. The Kearton brothers of
England have, however, done much of it and,
through their utter fearlessness, have accom-
plished some wonderful results. Their methods
are all fully described in their admirable book,
“Wild Life at Home,” and should any one desire
to emulate them, I should advise him to obtain
this book.
Nest of Bank Swallow.
Bank cut away to show eggs.
Photographing Birds’ Nests 159
I sincerely trust that every one who enters this
field of work will do so with a thorough regard
for, and an appreciation of, the rights of the birds.
Let the collecting of the photographs take the
place of the collecting of the eggs which is done
so indiscriminately nowadays, and in collecting
these photographs let everybody give the owners
of the nests as little cause for complaint as he
can. The more nests you find, photograph, and
leave intact, the more broods of young you will
have to work upon a little later and, conse-
quently, the greater number of photographs you
will be enabled to obtain. So your care to dis-
turb the nest as little as possible will work
not only for the bird’s good, but to your own
advantage.
(VBUME III 26
PHOTOGRAPHING BIRDS AND THEIR YOUNG
Turs is, to me, the most interesting branch of
nature work, and yet it is the one that is at-
tended with, perhaps, the greatest amount of diffi-
culty. Yet these very difficulties that must be
overcome should, to an able-bodied man, add to
the interest and enhance the value of the photo-
graphs, for it is human nature to care more for
those things which are obtained through hard
work and persistent effort than for the ones that
come to us easily.
Possibly it is. because I have taken a great
interest in the feathered inhabitants of the woods
and fields, since I was old enough to follow and
study them, that I find the photographing of
them so intensely enjoyable. Certain it is that it
was my love of the birds and the wish to become
more intimately acquainted with them and their
home life that caused me to take up the camera;
and, although I have often been discouraged at
the results, still I have never been sorry that I
turned my attention and energy to the photo-
graphing of the wild things.
160
Photographing Birds and their Young 161
To one who has any love of nature and her
children one of the greatest pleasures to be de-
rived from the use of a camera is this very insight
Wild Turkey Hen.
and intimate knowledge that it enables us to
obtain of the home life of the wild creatures.
Through this new sport as by no other means
can we become thoroughly acquainted with the
M
162 Photography for the Sportsman Naturalist
inhabitants of our woods and fields and really
know them at their best; and, in thus learning to
know them, our affection for them and love of
nature in general is bound to increase.
As a recorder of facts concerning the home
life of the birds there is nothing that can equal
the camera, for it rarely lies; whereas the brush
or pencil almost invariably does in some detail
and often in larger and more important points.
Then, too, photographs of any of the birds are
invaluable from a scientific standpoint. They
show accurately and beyond dispute points which,
heretofore, the artist has been forced to guess
at, —such as the manner in which they feed
their young; the various attitudes which they
assume when perching; and even, with some
birds, the manner of their flight.
In photographing birds the breeding season is
by far the best time, for, at this season of the
year, the birds are in their best and fullest plu-
mage and many of them have donned, for this
especial season, extra finery that they do not
wear at any other time of the year, —as, for in-
stance, many of the herons; and, therefore, pic-
tures can be obtained of them at this time that
cannot be duplicated, at least for another twelve
months. Moreover each pair of birds are re-
stricted to a comparatively limited range sur-
rounding their nest, and one is always certain of
Photographing Birds and their Young 163
finding one or both of them at home when he
calls. The pictures obtained at this time are of
the utmost value and interest, and should, where
possible, be taken
in series, from the
building of the
nest up to the time
when the young
leave it to shift for
themselves; show-
ing the nest and
eggs, the old birds
incubating, the
young when first
hatched, the man-
ner in which they
are fed, the old
birds brooding
them, and, finally,
as they appear
after having left
the nest and just
prior to flight. If
we make intimate
Red-eyed Vireo at Nest feeding Young.
friends of such a family, we will find them by far
more interesting than any mere human being
could possibly be, and, by closely studying their
ways, we can learn from them many a lesson.
At this time of the year, too, birds are more
164 Photography for the Sportsman Naturalist
tractable than at any other season. This is
probably due to the fact that the fear for their
own safety is overshadowed by their desire to
protect their home and young to the best of their
ability. Certain it is that we can do with them
at this period what would be entirely out of the
question at any other time.
The fear of mankind is inherent in all birds,
and, in fact, all wild animals, but by careful
management and gentle treatment this fear can,
temporarily and often to a large extent, be al-
layed; although, owing to the fact that it has been
inborn through so many generations, we can
never hope to entirely eradicate it. In the breed-
ing time, however, as at no other, can we come
the nearest to doing this, even, in some cases, to
such a degree as might, to the inexperienced,
seem almost incredible. This is entirely de-
pendent upon the individuality of the bird, for
birds, as well as human beings, have individuality
and many individuals of the same species vary
remarkably in their temperament.
Many times I have found it impossible to con-
vince a pair of these feathered friends of ours that
I meant neither them nor their home any harm,
although I have striven, not only for hours, but
actually for days, to prove this to them. On the
other hand I have so far won the confidence of
another pair, possibly of the same species, that
Photographing Birds and their Young 165
they have not only come to their nest and young
while I was in close proximity, but have actually
perched upon my hand in order to feed their
offspring. This I have done repeatedly and
with different species, some of which have the
reputation of being among the shyest of all the
members of our avifauna.
There is no describing the delightful sensation
which comes
over one
when one of
these diminu-
tive creatures
places such
confidence in
our friend-
ship as to ac-
tually alight
upon the
hand that
could crush it into a shapeless mass in an instant.
I do not think there is a person living so low and
mean that he could violate such a trust.
I have found birds, at times, so fearless that
they were almost a nuisance. I remember once
that I wished to obtain a photograph of a nest
full of young field sparrows. While I was focus-
sing, the mother bird flew up and quietly settled
upon the nest, seemingly without so much as
Field Sparrow on Nest.
166 Photography for the Sportsman Naturalist
noticing me or the camera. Of course I did not
let such an opportunity pass to obtain pictures of
the old bird, but I also wanted some of the
young. Do what I would, however, she would
not remain off the nest long enough for me to
focus properly and make an exposure, until I
finally was forced to take her in my hand and
hold her while I was doing this. Even then she
returned to her young the instant that I released
her. At another time I found it necessary to
forcibly remove a female bluebird from her nest
before I could obtain the picture which I wanted
of the eggs that it contained.
It is not always the case that the female is the
most fearless, although Iam bound to admit that
this is more often so. I have had instances,
however, as in the case of a male chestnut-sided
warbler, which I once photographed at its nest,
where he went repeatedly, and within a short
time of the setting up of the camera, with
food for the young, while the female refused to
approach within several feet of it. She would
bring food and hop among the bushes, in close
proximity to the nest, uttering distressed cries,
but, while the male did his duty, she could not
overcome her fear of the camera sufficiently to
allow her to come within three or four feet of it
and her young ones.
Some species of birds I have found invariably
Photographing Birds and their Young 167
unaffected by all my blandishments and I have
never been able to obtain any pictures of them.
Among these are the yellow-breasted chat and
the blackbird, both of which I have tried to
photograph time and again, and have spent long,
discouraging hours in the vain hope of obtaining
the pictures which I desired of them. Once a
chat came to her nest of young upon which my
camera was focussed, but only to touch it and
immediately leave; and, although I pressed the
bulb, I was not quick enough, and the resulting
picture showed no sign of the old bird.
However, these are the disappointments to
which we will find that we must continually sub-
mit, and we must have the patience to bear them
without becoming discouraged. Often have I
spent an entire day in the endeavor to photo-
graph some particularly intractable bird, with
absolutely no success, and have been forced to
return home in the evening with no results to
show, but determined to photograph that same
bird at some future time if such a thing were
possible. Of course young birds, before they are
able to fly, are much more easily photographed
than are the old ones, for they cannot escape the
evil eye of the lens by flight. So these are the
ones upon which the would-be bird photographer
should first experiment. He will find that he has
his work cut out for him, however, for, although
168 Photography for the Sportsman Naturalist
they cannot easily escape him, they compensate
for this, to the best of their ability, and show
their disapproval of the proceedings of the photog-
rapher, by being as unresponsive and_tantaliz-
ing as it is possible for any animate thing to be.
Often the patience of a Job is required to pose
them, and I have sometimes spent hours in work-
ing over the
young alone
before an ex-
posure was
made: eat
such times I
have arrived
at the conclu-
sion that their
chief end and
aim in life was
to defeat my
object.
That which they most delight in doing is to
fall off the twig or branch upon which one is
trying to pose them as fast as he can place them
there. This seems to be through no inability to
stand there, for if they do not actually fall off,
and in doing so drag a companion or two with
them, they will deliberately hop off, and their
favorite place to perch is the camera itself if they
have the strength necessary to flutter to it. Any
Chipping Sparrow feeding Young.
Photographing Birds and their Young 169
place seems to offer greater attractions to them
than that identical twig upon which you wish to
place them. ‘They will jump from it repeatedly,
as fast as you can place them there, and then look
at you in a self-satisfied manner, as much as to
say, “I won't stay
there and what are
you going to do
about ite Amd
the only thing to
be done is to keep
your patience as
well as you may
until you obtain
their final consent
to stay where you
put them, which
will only be after
they have grown
tired of objecting.
Evens then the
excitement occa-
sioned by the ap-
proach of the parent bird with food is usually
enough to cause one or two to fall to earth.
A young bird, however, is interesting from the
time he leaves the shell, and is a featherless mite
all neck and head, until he is fully fledged and
ready to launch himself forth upon the world.
Young Flickers.
170 Photography for the Sportsman Naturalist
When the young are still in the nest they are
easily photographed, and a series showing the dif-
ferent stages of their growth is very interesting.
In doing this it is sometimes necessary to admit
the sunlight to the nest, but the foliage should be
pressed and tied back in such a manner that it |
can be readily returned to its former position,
and the direct rays of
the sun allowed to
remain on the nest as
short a time as pos-
sible; for, with very
young birds especially,
a short exposure to the
sun is sufficient to kill
them.
Now is the time,
too, to obtain pictures
of the old bird feed-
ing and brooding her
young and attending to the other duties at the
nest. It is best not to attempt to do this until
the young are at least half grown and have
strength to enable them to bear a considerable
exposure to the sun’s rays, for it is necessary to
have as strong a light upon them as possible, as
on account of the extreme shortness of the ex-
posure that we must give it is impossible to
obtain a picture in the shade.
Screech Owl Asleep by Nest Hole.
Photographing Birds and their Young 171
In this work, when possible, I like to get the
birds so accustomed to my presence, by constant
association with them, that they will attend to
their duties while I am close to the nest, for,
when near by, one can study them to better ad-
vantage and can also tell when they are in a posi-
tion best suited to a picture.
Of course this is often out of the question,
although the Kearton brothers of England have
devised a blind in the shape of an artificial tree
trunk, which is large enough to conceal both the
camera and the operator. This is made of a
framework of bamboo, or other light material,
upon which is stretched cloth painted to resemble
a tree trunk and covered over with lichens, pieces
of moss, bark, etc., to make it look more natural.
This can be set up near the nest, with the camera
in position inside, and the operator take up his
stand in it also. A hole is made in the side
toward the nest through which to thrust the lens,
and another one to allow the operator to watch
his bird. Pictures of many of the more timid
birds, that it would be impossible to obtain
otherwise, may be made by means of this con-
trivance.
I should not advise its use, however, except
when absolutely necessary, for it is exceedingly
cumbersome to carry and its most disagreeable
feature is the fact that it forms a miniature Turk-
172 Photography for the Sportsman Naturalist
Bluebird at Nest Hole.
Photographing Birds and their Young 173
ish bath for the person concealed inside, and this
becomes distinctly uninteresting in cases where a
wait of an hour or two is necessary.
I find that, with many of the birds, the camera
needs no hiding so long as the operator is ata
distance, and so I simply use the long rubber
tubing and large bulb that will allow me to work
the shutter from a distance of seventy-five to one
hundred feet. With some birds, however, it is
necessary to somewhat conceal the camera, and
this can be easily accomplished by the use of
leafy boughs, or a long piece of green cloth that
will completely drape the camera and tripod, or,
better still, by a conjunction of the two.
My course of procedure, after having found a
nest of half-grown fledglings, is to set up and
focus my camera upon the nest, leaving enough
space on either side of the nest in the image to
admit of the old bird. Then cut away or tie
back (preferably the latter) all the intervening
foliage that interferes, in the least, with an unob-
structed view; insert the plate-holder, attach the
long tubing, set the shutter, and cover the whole
with the green cloth (leaving the lens protruding),
which serves not only to conceal the camera, but
as a further protection to the plate from the sun’s
rays. This protection is important, as the plate,
during the long wait that is often necessary,
would be liable to fog if left with no other pro-
174 Photography for the Sportsman Naturalist
tection than that which the camera itself affords.
The outside of this cloth can, as I have said, be
made to conform more closely with its surround-
ings by pinning or tying to it twigs, leaves, and
small branches. Care should be taken that noth-
ing interferes with the free working of the shut-
ter. After these arrangements are completed
Young Shrikes at Nest.
Photographed at a height of twenty feet.
nothing remains to be done but to retire to the
end of the tubing and wait in the shade, yourself
concealed as much as possible, until the old birds
see fit to return to their nest and young. This
may be in a very short time, or it may not be for
several hours; but there are few birds whose
parental love will not overcome their natural fear
and take them to their young before those young
have had the chance to die from neglect, which
Photographing Birds and their Young 175
would happen if the old birds should stay away
too long.
I do not believe in, nor can I advocate, the
changing of the nesting site under any but the
most extraordinary conditions, for it not only
shows the nest and contents among false sur-
roundings, but it greatly endangers the life of the
young. To cut off the limb of a tree containing
a nest and remove it to some more convenient
place is, I know, often an easier matter than to
photograph it zz sztw, especially when that nest
happens to be some distance from the ground;
and so this is the method employed by many
bird photographers to save themselves time and
trouble.
In fact, one man openly advocates doing this
in a book which he has written and in which he
terms it “control of the nesting site.” When a
nest is so situated that it is difficult to photo-
graph it in its original position, he removes it,
branch and all, to a suitable spot and sets it up
again outside of a tent placed there for the pur-
pose of concealing himself and camera. “This
sudden displacement of the nesting bough,” the
author remarks, “is of no special importance to
either young or old, provided certain precautions
are taken;” and he goes on to say that “with
some species it is possible to make the necessary
change without evil consequences when there are
176 Photography for the Sportsman Naturalist
eggs in the nest.” With all due respect to the
author, I must differ with him, for an experience
of some twenty-five years with the birds has
taught me that but one or two species will return
to their nests containing eggs when those nests
have been removed from their original site, and
many will desert if they have been in the slightest
way disturbed. Moreover, even after the young
are in the nest, it is not always that the old birds
will return to them after they have been removed
to a distance, and it must be some one well ac-
quainted with the habits of the bird who can suc-
cessfully avail himself of this method; and, even
then, it must needs be attended with numerous
casualties.
That the results justify the means I cannot
admit, for no matter how carefully the nest is set
up again the change in the character of its sur-
roundings is bound to show and produce a more
or less artificial effect. This is the one thing
above all others that should be avoided in nature
photography.
I cannot help thinking the book of which I
speak a menace to our songsters; for it will serve
to teach the uninitiated a method by which they
will imagine they may easily photograph the
birds, and it will take many nests full of dead
young to prove to them their error. In the
hands of an expert field ornithologist this method
Photographing Birds and their Young 177
has some advantages as giving one ample oppor-
tunity to study the nest lives of the birds at close
range, but it should emphatically be undertaken
only by those who are thoroughly competent to
take advantage of the opportunity and who will
have due respect for the welfare of the nest’s in-
Chickadee feeding Young.
Negative with background stopped out.
mates. Even then it should only be used when
all other means fail.
When the young birds are ready to leave the
nest they, with the old birds, can be photographed
with the aid of the long tubing in the manner
described, either perching on or about the nest or
posed upon a twig. In focussing upon them we
must always be careful to leave a sufficient space
N
178 Photography for the Sportsman Naturalist
for the old bird, that its image may be entirely
upon the plate when the exposure is made. It
will not do to leave this space at one side only,
for as surely as
we do this the
bird will con-
clude to alight
upon the oppo-
site side, no
Ma cte Gye Ly eeue
should be the
most inconven-
era, Ya Jesuit
seems to be
ees asi naturally obsti-
Young Blackbirds. nate and will
invariably try
to do just the things that we do not wish of it.
In order to surely secure these young birds as
they leave the nest we must have some knowledge
of their habits and must watch them carefully, for
the period of time that the young remain in the
nest varies greatly in different species. The
quails, sandpipers, etc., leave almost as soon as
they are hatched, and every egg in a grouse’s nest
may hatch out and the young leave in the course
of two or three hours. Swallows always remain
in their nests until they are able to fly, and none
of the birds that breed high leave their nests until
Photographing Birds and their Young 179
they are nearly to this condition and can perch
with safety in the surrounding branches. The
ground breeders and those that build in the low
bushes desert their nests, on the other hand, as
soon as they can struggle out, and when they are
once gone it is difficult to find them among the
long grass and low herbage.
Now is the time, as I have already said, when
your patience will be tried to the utmost, but by
perseverance you will nearly always win. An
experience which I had with a young and old
vireo adequately illustrates the troubles which
you will have. I
had but one of the
young ones, all the
rest had escaped
me, and it took me
nearly an hour to
make that onestand
where I wished him.
Finally I had him
posed to my satis-
faction and, after
waiting for nearly
two hours, had the
pleasure of seeing
the old bird approach with some food in her
mouth. My pleasure was short lived, however,
for she paused on a twig some little distance
Young Downy Woodpeckers.
180 Photography for the Sportsman Naturalist
from her offspring and commenced a series of
calls as though telling him to come to her. This,
I think, is what she really was doing, for, much
to my disgust, he immediately jumped from the
perch and fluttered to meet her. I returned
him to the branch, and after two repetitions of
this act the old bird concluded to come to him;
and I finally succeeded in obtaining some very
good photographs, but it occupied over five hours
of my time to get them.
If an old bird is very obdurate and does not
come to her young inside of a couple of hours, it
is well to remove the camera for a short time and
allow her to feedthem. This prevents them from
becoming too hungry and consequently restless,
and the old bird will often return more quickly
after the camera has been replaced.
Always, in handling young birds, use the great-
est care, for they are easily injured by being held
too tightly.
The full-fledged young by themselves make in-
teresting pictures, and should we capture them
when they have just left the nest they can be taken
home and reared easily. Then we can photo-
graph them at will, up to the time when they are full
grown, after which we can let them go back to their
native wilds if we have no further use for them.
Some photographers use a small cage made of
mosquito netting and tapering to a funnel, the neck
Photographing Birds and their Young 181
of which is fastened about the barrel of the lens.
This device admits of being moved into any posi-
tion and lighting required, and may be useful in
some cases. I have never tried it, and therefore
cannot speak knowingly about it. It would seem
to me, however, that it
would be of but little |*
use with anything but
young birds that had
just learned to fly.
For photographing the
old birds in captivity I
would much rather
follow the plan of one
photographer who has
a studio devoted en-
tirely to this purpose,
in which he has dif-
ferent perches in the
shape of various tree trunks, branches, etc., and
where he can arrange any accessories he may
think necessary. In this place he liberates his
birds, allowing them the run of the whole room,
and does not attempt to do any work with them
until they are sufficiently tamed to allow of his
close approach. By this method he has done
some fine work from a merely anatomical stand-
point, but, as far as pictures are concerned, I can-
not think them a success.
Young Wood Thrush.
182 Photography for the Sportsman Naturalist
I have mentioned these two methods of photo-
graphing the birds simply because they are
methods that are used by some of the bird pho-
tographers, not because I advocate their use. I
have never taken a picture of a bird in captivity,
except of some of the larger water-birds in the
Zoos, and I cannot think that as good results are
thus obtained as by photographing them in their
native haunts.
Of course, to photograph an old wild bird pre-
sents great difficulties, but I have shown how it can
be done with their young, and there are many ways
in which single pictures of them can be obtained.
In going to and from her young when feeding
them, a bird usually has some resting point upon
which she perches more often than elsewhere.
By watching her while she is making three or four
trips we can learn where this point is, and by
focussing upon it we are often enabled to obtain
characteristic and satisfactory pictures of the old
bird alone.
Mr. F. M. Chapman, who has done some very
clever bird photography, says he has had some ex-
cellent opportunities to photograph by decoying
the birds by means of a mounted screech owl.
As I have never tried this I cannot speak from
experience and will quote what he says: “ My
plan is to select some spot where birds are numer-
ous, preferably near the home of a catbird, place
Photographing Birds and their Young 183
the owl in a conspicuous position, and erect near
it a ‘scolding perch,’ from which the protesting
bird may conveniently vituperate the poor, unof-
fending bunch of feathers with its staring eyes.
The camera is then focussed on the scolding
perch and the photographer retires into the under-
brush, and, bulb in hand, waits for some bird to
take the desired stand. A catbird’s domain is
chosen for the reason that this species is the
alarmist of whatever neighborhood it may inhabit,
and once its attention has been attracted to the
owl by ‘squeaking’ or uttering the alarm notes
of other birds, the photographer may subside and
allow the catbird to do the rest.
“ The bird’s rage is remarkable, its fear painful.
Should the owl be near to the catbird’s nest it
will utter notes ina tone of voice I have never
heard it use on other occasions. It loses all fear
of the camera, and from the scolding perch
screams at the owl with a vehemence which
threatens to crack its throat. One is glad to re-
move the offending cause.
“Other birds in the vicinity are of course at-
tracted, and hasten to learn the meaning of the
uproar. Often a bit of undergrowth of which
the catbird was apparently the only feathered ten-
ant will be found to possess a large bird popula-
tion. It is interesting to observe the difference
in the actions of various birds as they learn the
184 Photography for the Sportsman Naturalist
reason of the disturbance. On the whole, each
species displays its characteristic disposition in a
somewhat accentuated manner. The blue-winged
warblers flit to and fro for a moment and then
are gone; the chestnut-sided warbler is quite
anxious; the Maryland yellowthroat somewhat
annoyed; the ovenbird decidedly concerned; the
towhee bustles about, but seems to pay no es-
pecial attention to the owl; the wood thrush
utters its sharp ‘pit-pit,’ but is content to let well
enough alone if its own nest is not threatened ;
and the yellow-throated, red-eyed and _ white-
eyed vireos, particularly the latter, add their com-
plaining notes to the chorus of protests. Not one,
however, approaches the catbird in the force of
its remarks, nor does the bird cease its outcry so
long as the owl is visible.”
With the water-birds, the blinds, decoys, sneak-
boxes, and batteries of the sportsman can be used
to advantage, and, needless to say, here it is neces-
sary to use the reflex with as long focus a lens as
possible. In fact, a long focus lens is always pref-
erable. When photographing over water, where
the light is intensified by reflection, the telephoto
can be used for instantaneous exposures ranging
from % to 5 of a second and very excellent re-
sults thus obtained.
In the winter time birds may readily be brought
within range of the camera by baiting them, for
Photographing Birds and their Young 185
they are then sometimes short of food and con-
tinually on the lookout for it. A good plan is
to bait a spot repeatedly for several days before
attempting to do any photographing. Then set
up your camera, focussed upon some of the bait,
and, retiring to a distance, wait until the birds
American Crow.
come to that particular spot, making the exposure
by means of the long tubing. If this is done near
a building, you can do your waiting indoors in
greater comfort. At this season of the year, also,
some birds, as the chickadee, can be enticed to
one’s very hand by the use of bait. In fact, the
winter is a very good time for photographing
such birds as remain with us during that season,
186 Photography for the Sportsman Naturalist
for they then seem to be more fearless and many
of them congregate in flocks. A flock of cedar-
waxwings, sitting upon some bare tree in the
peculiar attitude which they assume, could be
easily photographed with the telephoto lens.
At any time in releasing your shutter from a
distance a piece of twine can be substituted for
the tubing, but it is not so good, for on several
occasions I have had birds alight on the tubing,
and once, when photographing a catbird at her
nest, the old bird actually fought with it, catching
it in her bill and claws and giving it vicious tugs.
Had I been using the twine, this would have
released the shutter, and a number of plates would
have been needlessly wasted.
Old birds sitting upon their eggs or brooding
their young can be photographed successfully, even
in the shade, by means of the telephoto lens at a
distance of twenty-five or fifty feet or even more,
for they sit perfectly motionless, allowing of sufh-
cient time for any length of exposure. With this,
as well as with all work upon birds, absolute
quietness and slowness of motion are requisite.
A bird will often remain calmly upon her nest and
allow one to approach to within a few feet of her
if the approach is made slowly and gently, but
any sudden movement or sharp noise, such as
the snapping of a twig, will cause her to leave
instantly.
Photographing Birds and their Young 187
There has been done some little work in photo-
graphing adult birds by means of a flash-light.
This has been accomplished by going to the
place where they are known to roost and using a
fixed focus camera. I have never tried it myself,
nor do I think
it a satisfactory
method.
The photog-
raphy of flying
or soaring birds
is extremely dif-
ficult, necessi-
tating, as it
does, not only
a very rapid
exposure, but
extreme quick-
ness of eye and fee:
hand. Need- Young Green Herons.
less to say, the
only camera that can be used to advantage in
this work is the reflex. It was not until this type
of camera was placed on the market that we had
any pictures of birds in flight, but already much
excellent work has been done in that direction.
The best places for making these photographs are
in localities where the birds colonize. A gull or
heron rookery offers many opportunities, but we
188 Photography for the Sportsman Naturalist
must be quick to catch their image as they rise
or soar over our heads, and the exposure must be
made the instant that image is caught.
But quickness is the keynote of success in all
work with birds. We must be ready to take
advantage of every opportunity that is offered
and never let a chance to get a photograph
escape us.
The great water-bird rookeries of Florida are
the ideal places for bird work. Unfortunately
many of these have been nearly wiped out by the
feather hunters, but there are still some left,
although they are difficult to get at. Since the
law causing the traffic in these feathers to be a
penal offence has gone into effect, these birds
have been steadily on the increase, and I look for
those rookeries to be, in time,as numerous and as
large as they once were.
In 1895 I visited one comprised of at least five
thousand pairs of breeding birds. This is prob-
ably the largest rookery now in Florida and has
been undisturbed, owing to the extreme difficulty
with which it is approached. Unfortunately for
me, at the time I did not have a camera with me,
but I could not help seeing the photographic pos-
sibilities of the place. Some day I hope to return
to it with all the proper outfit, and when I do
I shall not be satisfied until I have photographed
it thoroughly; and I therefore intend to keep its
Photographing Birds and their Young 189
whereabouts a secret, for it is known to but few
people.
The great Cuthbert rookery, which I have also
visited, and which is situated in the almost unap-
proachable depths of the cypress swamp that sur-
rounds the Everglades, is, probably, the largest
of the better known rookeries; but it does not
approach, either in the number of the individuals
or of the species of birds which it contains, the
one of which I speak.
Clabaie Inga <I
PHOTOGRAPHING INSECTS
Tue first thought that is apt to come into
one’s mind when the photography of insects is
mentioned is the smallness of the subjects as a
general rule. To be sure, there are a number of
moths and butterflies that are as large as good-
sized birds, but the great majority of the insect
life is small, even minute.
This is, of course, one of the main obstacles in
the path of the insect photographer, as it necessi-
tates close work; and yet this branch, when com-
pared to the photographing of birds or animals, is
easy. It needs but a little patience and at least a
working knowledge of your subjects.
Insect life, no matter how small, can be photo-
graphed successfully. Even the very minute
forms, that are invisible to the naked eye, can,
by the aid of the micro-photographic camera, be
enlarged to any desired size on the plate. I do
not consider it necessary, however, to describe
this camera or enter into the details of the man-
ner in which it is worked, as this does not
properly come under the head of nature photog-
190
Photographing Insects 191
raphy, and those photographs are of interest only
to the scientist who is studying the lower forms
of animal and insect life. I shall confine myself,
therefore, solely to the methods used in photo-
graphing those insects which we commonly know
and see.
One need not suppose that this is a limited field
of action. There is a plentiful amount of work
for the most ambitious photographer, and he will
never be at a loss to know what to do next, even
though he should confine himself entirely to the
moths and butterflies.
Hunting butterflies is by no means a novel
sport, and the gunner who has followed larger
game with shot-gun or rifle need not imagine that
there is no excitement in the chase. To be sure,
the quarry sought is small and can offer no resist-
ance to its capture but flight; but to follow a
coveted specimen through brambles and thickets,
across fields and meadows, until it descends to
earth and alights upon some flower or leaf; to
creep stealthily forward until within striking dis-
tance, perhaps only to see it, by a quick dart,
escape the sweep of the net, and sail away again
over the trees; to follow once more, heeding not
where it leads, until it is safely bagged, requires
quickness of eye and hand and a considerable
amount of ingenuity, nor is it without its full
quota of excitement.
192 Photography for the Sportsman Naturalist
The desire to collect something seems to be a
natural desire with every healthy American boy.
Butterflies are among the collectable objects that
are most frequently sought, and there is scarcely
a town in the length and breadth of the United
States that does not contain one of these embryo
Spider repairing Web.
entomologists who is the proud possessor of a
cabinet of illy mounted butterflies which he is
wont to display on every possible occasion.
Instead of chasing these dainty denizens of the
air, that aid so materially in completing the
beauty of a midsummer day, with the sole inten-
tion of cutting shorter their already too short
lives and pinning their dried bodies in a musty
Photographing Insects 193
cabinet along with those of others of their fellows
who have met a similar fate, how much better
would it be were each one of these budding
naturalists (who, by the way, seldom blossom)
supplied with a camera with which to chase his
“game,” less dangerous
to the insect and more
instructive to the boy!
But it is not only the
boys whom I should
advise to follow the
insects with a camera;
for it is a chase prolific
with possibilities, and
many of its problems
and obstacles can be
successfully coped with
only by a man. It is
a most fascinating field
for camera work and
one in which there is
much to be done, for
there are, as yet, but
few serious workers in it and there is ample room
for all those who wish to enter.
There are a diversity of difficulties to be over-
come, but to the active man these difficulties are,
or should be, nothing ; and it is strange to me that,
in a field which is so full of chances to obtain such
(e)
Lana Moth hanging from Cocoon.
194 Photography for the Sportsman Naturalist
intensely interesting and valuable material, there
should be so few workers. While our books on
animal and bird life are now profusely illustrated
with excellent photographs of that life, those on
insects still continue to use the old-style drawings,
or, at the best, photographs from dead specimens.
We seldom see anything but an occasional pho-
tograph of a
moth or but-
terfly, and yet
there is no rea-
son why the
photographs of
insect, ~ “ite
should not be
just as plenti-
ful and as good
as are those in any other branch of natural
history.
Of course, to do the best work possible in this
branch, one should be something of an entomolo-
gist; but this knowledge will come, without any
tedious studying, after one has taken up the pur-
suit of the insects with a camera. It is well to
know, however, something of the habits of your
subjects before you begin, else you will be at a
loss where and when to look for them. This
knowing where to look is rather necessary if one
would be entirely successful in his quest of them,
Mourning-cloak Butterfly.
Photographing Insects 195
for all the insects have their chosen haunts, and,
more or less consistently, remain in them. One
cannot expect, for instance, to find a mourning-
cloak butterfly in low, swampy places, or one of
the Fritillaries in the high, dry woods.
Insects can be found any and every where, how-
ever, and may be photographed the year round.
From early April until late October, and even
into November, they are abroad in greater or less
numbers, and during the winter months there is
always the pupal stage of which to make photo-
graphs. .
It is seldom if ever necessary to use a camera
larger than a four by five, for with this size it is
possible to obtain life-size pictures of nearly all
our native insects, provided we have a long-focus
lens and a sufficient length of bellows extension.
The focal length of the lens should not be less
than nine or ten inches, and the bellows of the
camera should be capable of an extension of at
least twenty inches.
A great deal of the photography of insects can
be done indoors, and, when possible, this is the
best place in which to do it.
If one is taking up this pursuit seriously, he
should have a place where he can rear insects,
especially the Lepidoptera, from the larve, so
that he may be enabled to photograph them in
all their stages of growth and metamorphosis.
196 Photography for the Sportsman Naturalist
This is not a difficult thing to do, but it requires
almost constant care and one must give up prac-
tically his entire time to it if he would carry it
through successfully. The resulting pictures are
well worth the trouble and are of the utmost
interest from a naturalist’s point of view.
The larve, or caterpillars, should be captured,
Larva of Walnut Moth.
of course, as young as possible, or, where practi-
cable, hatched from the egg. They should be
photographed several times during this stage,
showing their various conditions of growth, and
always on their food plant. The cocoons and
pupa can be studied and photographed at one’s
leisure during the winter months, but from the
first of May these must be watched constantly for
the first sign of the coming forth of their inmates,
Photographing Insects 197
or otherwise they may escape us entirely. Many
of the Lepidoptera, especially the moths, give no
intimation of their intended advent, but when we
are lucky enough to obtain a series of photo-
graphs of one emerging from his cocoon it is
intensely interesting.
The common milkweed butterfly makes an ex-
cellent subject for this work, for, by watching the
chrysalid, we can tell almost to the minute when
the butterfly will emerge. Also, in this connec-
tion, it is well to make pictures showing the va-
rious changes in the evolution from the larval to
the pupal stage.
The butterfly or moth newly emerged from his
pupal case is in a much crumpled and dampened
condition, but its wings gradually grow and unfold,
and photographs should be made during this pro-
cess. After the wings are entirely spread there
is a period, generally extending over about two or
three hours, during which the insect is absolutely
quiescent waiting for its wings to dry and harden
sufficiently to bear its weight. It can, during this
period, if handled carefully, be placed on any
flower-head or other resting-place, and in any
position desired, and the most satisfactory results
in work on butterflies are thus obtained.
The photographing should be done close to a
window. One facing the north is preferable, as
the light is much more steady from that direction
i98 Photography for the Sportsman Naturalist
Newly Emerged Cecropia Moth.
Photographing Insects 199
than from any other. The subject should be
placed well to one side of the window, so that the
light may fall upon it as full as possible. The
light can also be equalized by the use of white
paper or cardboard reflectors and by the white
screen which should be used as a background and
placed about a foot back of the subject.
The camera should be placed close enough to
the subject to give at least a three-quarter-size
picture and, where possible, a life-size one is
preferable. In focussing, that portion of the sub-
ject nearest the lens should be made sharp on the
ground glass and then the rest brought into clear
detail by stopping down the lens. This will
necessarily lengthen the time of exposure, but the
subject, at this time of its life, is perfectly willing
to remain absolutely still and allow plenty of
time for focussing and exposing. By this method
one can obtain better and clearer pictures than
by any other, for there is no confusion of sur-
roundings to detract from the main object and
the resulting picture is clear and sharp cut in its
details.
Much can and, necessarily, must be done out
of doors, however, and it is impossible to obtain
pictures of the quick changes of a butterfly, moth,
or other insect from its pupal stage in anything
but the bright sunlight, as instantaneous exposures
are then necessary.
200 Photography for the Sportsman Naturalist
I have obtained many satisfactory photographs,
also, of butterflies as they alight naturally on
flower-heads, in the following manner: Find, in
some butterfly-frequented spot, a conspicuous
flower-head, one that
stands well above its
av fellows and is, in con-
BOY, sequence, more likely
= to be visited by the
t butterflies than are the
i en SS others. Now set up
{i} =. * 3X | the camera and focus
upon the flower at a
distance of about one
“ and a half to two feet
i . from it. If the flower
y should be in very
bright sunlight, and it
a is best that it should
a be, and the lens is
a rapid one, then it
can be stopped down
slightly to increase sharpness of detail and depth
of field. The shutter should then be set to work
at about ;4, of a second; the plate-holder inserted ;
the slide drawn; and the camera well covered by
the focussing cloth to prevent any possible fog-
ging of the plate. The rest is now simply a mat-
ter of waiting, with what patience we may have
Cabbage Butterfly.
Photographing Insects 201
at our command, until some butterfly, bee, or
other insect that we may wish to photograph con-
descends to choose that particular flower-head
upon which to alight, when the exposure can be
made and we have our picture, provided nothing
has gone wrong. If the long rubber tubing is
used, we may retire to the shade of some near-
by tree and wait in greater comfort. This will
sometimes insure
quicker _ results,
too, for a butterfly
will often pass by
a flower it might
otherwise have
visited, if it sees
a human being
standing near it.
It is sometimes
well to have a
piece of white
cloth or paper
back of the flower
to shut out what
would otherwise
be a disagreeably
out-of-focus background; but this should be at
least two feet back of the flower so as not to show
in the picture as being what it is, and we should
choose when possible a flower that will not make
Black Swallow-tails.
Male and female.
202 Photography for the Sportsman Naturalist
this necessary, for it, too, tends to scare away the
butterfly.
Of course, the use of the reflex camera makes
all this preliminary arrangement unnecessary, and
we can by its aid obtain many pictures that
would be impossible with the ordinary outfit.
Moreover it allows us to work quicker and thus
make more exposures in a certain length of time,
thereby giving another example of the advantage
of using this type of camera.
I would not advocate the use of the telephoto
lens in this work, although it may be used to
advantage occasionally; but an insect 1s so much
more easily approached than are any other of the
wild things that I consider the use of this lens in
this connection unnecessary.
Always wait, before releasing the shutter, until
the wings of the butterfly, if it is a butterfly that
you are photographing, are at rest, for there is no
shutter made, with the possible exception of the
focal plane, that will work fast enough to entirely
stop action in the fluttering of a butterfly’s wings.
The fast orthochromatic plates should always be
used, as they reproduce the color values of the
insect and flower almost to perfection.
All the apphances of the entomologist will
come in handy for the insect photographer. It
will frequently be found necessary to use the net,
and many interesting subjects can be captured by
Photographing Insects 203
beating the long grass and low herbage that
would otherwise be passed by unnoticed. Occa-
sionally it may be found advantageous to photo-
graph dead specimens, and under such conditions
the vertical
stand, spoken
of in Chap-
ter V, will be
most conven-
lente Lean
never an advo-
cate of the use
of dead speci-
mens, how-
ever, except in
such few, ex-
ceptional cases
when it is ab-
solutely neces-
sary todo soin
order to illus-
trate more
clearly some particular point. The real value in
all nature work lies in the fact that the products
represent the subject exactly as it was in life, and
this can never be so if it is photographed dead.
Of course the Lepidoptera (the butterflies and
moths), among which are some of our largest
insects, prove the most interesting subjects, and
Moths Asleep in Daytime.
204 Photography for the Sportsman Naturalist
midsummer and early autumn are the gala sea-
sons for these beautiful and dainty creatures.
The moths, being principally night flyers, are best
photographed from reared specimens, although
one may often find them resting, during the day,
among the thicker foliage. The butterflies may
be photographed any and every where, how-
ever, Ones need) mot
take long, wearisome
tramps in the hot sun
to find subjects. Any
flower-covered field or
piece of marshland will
supply him with all the
material he can con-
veniently use, and he
will find that, in such
a place, two dozen
plates will be all too
few for the demands
made upon them.
The marshes, where
grow the thoroughworts, milkweeds, sunflowers,
and thistles, I have found to be the places most
prolific with butterfly life, and have spent many
a pleasant and instructive morning or afternoon
in such a place.
The orchards are also good places to work, for
they are the chosen haunts of the anglewings.
Moth on Tree Trunk.
Showing protective coloring.
Photographing Insects 205
These delightful little fellows are among the best
examples of protective coloring in the insect
world. Their flight is very rapid and jerky, and
it needs a quick eye to follow them. When at
rest on the trunk or limb of some apple or other
tree their wings are folded tightly together, show-
ing only the under sides, the indefinite coloring and
marking of which so nearly matches that of the
bark upon which they are resting that, at the dis-
tance of a few feet, it is almost impossible to distin-
guish them from it. In the autumn they feed upon
the decayed fruit, and I have often seen as many
as half a dozen on one half-rotten apple. This is
the best time for the photographer to hunt them.
Many butterflies are lovers of the woods and
seldom leave the deeper shaded places. Others
can only be found at the seashores and still others
in the higher mountains. In fact subjects can be
found in any locality.
During June the butterflies increase in numbers
very rapidly, and he who follows them with the
camera will soon discover that he can occupy his
time in this chase to the exclusion of all else.
July and August are, however, the months in
which they are abroad in the utmost profusion.
Then they are everywhere, and one cannot go
amiss in looking for them. They float over the
meadows, swamps, and gardens, along the dusty
roadsides and cool, green woodland paths in an
206 Photography for the Sportsman Naturalist
ever changing, iridescent swarm. All the sunny
places are alive with them. Gorgeous big fellows
in deep velvety blacks, yellows, and reds, and
smaller ones in more delicate blues and white.
Their wings are of all shapes and outlines and
covered with an infinite variety of designs and
markings. They are all constantly on the move,
Dragon Flies.
seemingly tireless and seldom still, but they offer
many opportunities to the picture hunter who is
quick enough to take advantage of them, and the
resulting pictures are ofttimes exceedingly beauti-
ful as well as interesting.
To me it is enough simply to be abroad and
a part of such a carnival of light and color, and I
have no doubt that many will echo that sentiment.
To those who must needs have an object in view,
to take them to these beauty spots of the world
Photographing Insects 207
when the day is breathless and the sun more than
warm, the camera offers an incentive.
And how much better it is to carry a camera
rather than a collecting net and killing jar; how
much better to have the indestructible image of
the butterfly on our sensitive plate than his all too
destructible body in our cabinet! But if we must
have the latter, why not take the former first? For,
if we are a student of entomology, we will find
that it will be of material aid to us in our studies.
That entomology cannot be placed in the cate-
gory of useless pursuits has been sufficiently
proved by the invaluable assistance, in the way of
advice, which those who follow the study in a
scientific manner have been enabled to give to the
agriculturist. Advice which, when taken, has
enabled him to successfully cope with the enor-
mous army of vegetable-destroying insects.
That the photographic branch of entomology,
although comparatively a new one, is also of
immense importance is evidenced by the fact that
the scientists have taken it up. Each one who
enters this field has it in his power to be of some
aid to the rest of mankind. So let us work with
some serious end in view, not merely with the in-
tention of passing away the time; and, moreover,
let us do the best work that lies in our power, and,
in order to do this, we should never be entirely
satisfied with our results.
CHAPTER XII
PHOTOGRAPHING FISH AND OTHER FORMS OF
AQUATIC LIFE
Tuis is the youngest of all the various branches
of nature photography, and the one in which there
are the fewest workers. Like many of the other
branches it has been but a very few years since
the only photographs of fish that we had were
those made from mounted specimens, and to say
merely that these were unsatisfactory would be
to accord them undue praise. They were worse
than worthless.
No one thought at that time that it could be
possible to photograph the living fish, but some
one, I have forgotten who, tried to improve on the
old method by using freshly caught fish impaled
onanail. The results were no better, however,
and it was left for Dr. Shufeldt of Washington
(who, I believe, was the pioneer in this line of
work) to show the world at large what beautiful
results could be obtained from the living speci-
mens in their natural element.
Fishes, like everything else, must be known to
be photographed successfully, and so it is well, if
208
Photographing Fish 209
we would do good work along this line, to first
learn the principal habits of those fish that we
intend to work with. We shall find that it will
not only simplify matters, but tend toward better
results.
From a scientific standpoint, and here is where
fish photographs are most useful, it is necessary
that the subject should show a correct delineation
with absolutely no distortion and a sharp outline.
One writer, who has done much good work in
this line of photography, puts it thus: The
following four characteristics should be observed
as being of the most importance: the length of
head, tail, and fins in proportion to the total length
of the body; the general contour of the living
specimen; the number of rays in his fins; the
lateral line and the number of scales along it. It
can be seen readily that the only correct view that
can be taken of a fish in a photograph is a direct
side view.
From the nature of this work it requires some
special apparatus, and foremost among this is an
aquarium. ‘This will have to be made to order,
for none of the aquariums that are sold by dealers
in such things will answer the purpose. Any
carpenter can make one from our own specifica-
tions; or, if we are at all handy with tools, we
can do so for ourselves and, probably, with greater
satisfaction. It should be made of white pine,
P
210 Photography for the Sportsman Naturalist
clear of knot holes, for the bottom, sides, and back,
and with a piece of absolutely the best quality of
white plate-glass in the front. That this latter
should be perfectly clear and free from bubbles is
essential, for upon the fact of its absolute trans-
parency depends much of the success of the
pictures. The size of the tank depends entirely
upon the size of the fish we intend to photograph ;
and it is a good idea, although not necessary, to
have two made, one for small and one for large
fishes. If only one is used, then it must be large
enough to receive the largest fishes ; and, naturally,
when we put those of a small size into it, it will
be difficult to prevent them from constantly swim-
ming out of the field of focus.
The wood should be thoroughly shellacked and
painted white on the inside (with enamel paint)
before being put together.
If long brass screws are used in the construction
of the tank, it will admit of its being taken apart
and packed in a small space for transportation ;
but if this is done, the parts that come into con-
tact should be made water-tight by strips of rubber
inserted between them. When a fish is first
placed in a tank, almost his first act is to retire to
the very back of his prison; and as we need him as
near the front with as little water intervening be-
tween him and the lens as is possible, it is obvious
that we must have some means of forcing him to
Photographing Fish 211
go and stay where we wish him. This can be
accomplished by means of a glass partition which
can be slipped into grooves on the side boards.
There should be several pairs of these grooves at
different distances from the front glass, so that we
can make the compartment in which we wish to
confine our subject of any size that we please.
The plate-glass in the front should be fastened
by means of hardwood battens at the sides and
bottom, between which and the glass there should
also be inserted the strips of rubber so that, when
they are screwed down tight, there will be no
leakage.
This tank can be placed on any support and
the ordinary tripod used with the camera, but it
is convenient to have a support that will hold
both tank and camera, which has the advantage
of keeping them both upon the same plane.
This may be simply a pair of wooden horses
with a wide board laid across. This, of course,
must be long enough to allow a sufficient dis-
tance between the lens and the tank, and will
admit of varying the distance between the two
easily and at will. If it is found necessary to
raise the camera any, this can be done by means
of an extra piece of board or two placed under-
neath it; and any simple device for clamping the
camera to the board will answer to hold it steady,
though, if care is used, this is not necessary.
212 Photography for the Sportsman Naturalist
A lens of great focal length has no particular
value in this work, as very little depth of field
is necessary. I should advise the use of one of
about nine or ten inches for a six and a half
by eight and a half plate. Of course the faster
Common Crab.
it is the better, for fish will seldom stay absolutely
quiet for a sufficient length of time to allow of
anything but an instantaneous exposure.
Always use the orthochromatic plates, for
many of the fish are brightly colored; and these
plates, as has been before stated, are the only
ones that reproduce anywhere near the true
Photographing Fish 213
color values. They are somewhat slower than
the ordinary fast plate, and this must be taken
into consideration, but it is entirely compensated
by the superior quality of the negative which we
are enabled to obtain with them.
When the fish to be photographed will remain
quietly in one position for a long enough time
to allow us to do so, the very best results can
be obtained by the use of the slow isochromatic
plate in conjunction with the ray filter; but such
fishes are few and far between, and we must not
expect to find them often.
One of the greatest obstacles with which one
has to contend in this work is the difficulty of
getting perfectly clean, clear water and keeping
it in this condition. Of this Mr. Dugmore, who
has done probably the best work on fishes of
anybody in this country, or elsewhere for that
matter, has considerable to say, and, as he is
undoubtedly an authority, I will quote him:—
“ Absolute clearness of water is highly desir-
able but almost impossible to obtain. After
straining the water so that it is clear enough for
ordinary work in a good light take an apparently
clean stone, not a smooth marble of course, but
an ordinary moderately rough stone, drop it in
the aquarium, and watch the result. The water
will be seen to be filled with a muddy substance,
and, instead of crystal-like clearness, we have a
214 Photography for the Sportsman Naturalist
murky-looking water that is most undesirable.
But your troubles have just commenced. Add
some fresh, green aquatic plants, and you will
notice that they too give off scum and muddy
material, even though they may be placed in the
water with the greatest care. Now when the
fish runs amuck through these beautiful plants
and really disturbs the mud and scum, the water
has lost all its clearness, so that it is impossible
to photograph a fish through it. With tropical
aquatic vegetation the difficulty is even greater
than with our more simple northern plants.
“The beautiful ‘sea-feathers’ that one sees
waving about with every movement of the water
in the tropical seas appear to be a clear, clean
purple or yellow; but on putting them into
an aquarium they will be found to discolor the
water immediately. ‘Sea-caps’ are even worse,
and sponges cause so much trouble that after a
few discouraging attempts we give up the idea
of using them. What, you may ask, is the
remedy for these difficulties? The only thing
I have found to answer at all is to thoroughly
clean each leaf by washing it with a soft cloth.
It is a task requiring great patience; but once
the plant is really clean it will remain so for sev-
eral days, requiring only to be well rinsed in
clear water each time it is used. Between whiles
it is, of course, kept in clear water, which should
Photographing Fish 215
be as near as possible the temperature to which
the plant is accustomed. Over-warm water will
cause the plant to lose its color and become cov-
ered with scum. Never put any plant, stone, or
in fact any accessory into the aquarium until you
have ascertained that it is free from scum and
other foreign matter.
“Stones, especially those that are rough and
honeycombed, require to be scrubbed with a hard
brush and sand until they are perfectly clean.
Sand, if it is necessary to use it, may be cleaned
by throwing a little at a time into a bucketful of
water. The part that does not immediately sink
should be emptied out. This must be repeated
until only the clean, heavy sand remains. But
even this should not be used until you have a
quiet fish to photograph. A restless fish will
disturb the sand, which in sinking will fall on the
fish; so that if he remains still enough to be pho-
tographed, he will be covered with a fine deposit
of sand, and, needless to say, this will entirely
spoil the picture. Occasionally one finds a fish
so well behaved that he will allow this deposit to
be swept off, staying quiet the meanwhile. Such
fish are very rare. A piece of white coral looks
so clean that one is tempted to place it in the
water without previous washing, and too late we
discover our mistake.”
It has been my experience that a good plan
216 Photography for the Sportsman Naturalist
for preventing the fish from disturbing the plants
is to put but a few in the compartment in which
he is confined and the majority immediately back
of the glass partition. This shows no difference,
for if the confining apartment is made sufficiently
narrow, the fish will be practically against the
plants, and of course the glass partition will not
show. This arrangement also has the advantage
of adding perspective and distance to the pic-
ture, thus giving ita much more natural aspect.
In selecting the accessories to be used with each
fish, always choose those that are native to the
habitat of the fish and, if possible, use the plants
among which he is most often found. To do
this knowingly one must be somewhat conver-
sant with the habits of his subject, as I have
already said.
The front glass of the aquarium must always
be kept absolutely clear and clean, free from
marks of any kind and from the accumulation
of moisture on the outside, for it is astonishing
with what distinctness such marks will show in
the picture and how easily that same picture can
be spoiled by them.
The temperature of the water used is some-
thing that must not be overlooked, or about
which we cannot afford to be careless, for a fish
will often die in a very short time if a sudden
change of ten or fifteen degrees is made in the
Photographing Fish 217
water. Therefore, we must have the water in
which we place him as near the temperature of
the water from which he was taken as possible;
also this must be constantly changed in order
that it may be always fresh. Above all, never
try to place salt-water fish in fresh water, or fresh-
water fish in salt water.
It may easily be seen from the amount of prep-
aration necessary that the photography of fish
is not accomplished without much tedious work
and trouble. This is more or less true of all
the branches of nature work, but perhaps more so
in this than in any other. It is work that requires
the utmost patience and care, for it must not be
done hurriedly, and we cannot afford to overlook
any of the smaller details.
I wish to warn the beginner before he starts
that the preparation of the aquarium and the
accessories to be placed in it is by far the
easiest part. When he has finished all this, his
troubles are but beginning, for in the catching
and handling of his subjects and the final pho-
tographing lie the principal difficulties.
In catching the fish, first of all, a hook and line
should never be used when it is possible to take
them in any other way, for, especially with the
smaller fish, the hook is not only apt to tear the
gills, but will often injure the fish to such an
extent as to cause it to quickly die. As soon
218 Photography for the Sportsman Naturalist
as caught they should be placed in a live car
and kept in the water, in the shade, until wanted,
when they can be removed with a landing-net.
In handling the fish always use the greatest
care not to hold them too tightly or rub off any
of their scales, which, in many species, is a very
easy thing to do. Also, for your own comfort,
take care that the sharp spines of the dorsal
fin do not stick into you, for, with some species,
these are somewhat poisonous, and the wound
made by them is always more or less painful.
Many of the forms of jellyfish are poisonous
to the touch, causing a sensation to the skin as
though the hand had been brushed heavily with
nettles.
Having caught the fish you want to photo-
graph, set up your aquarium and camera in
some place where the sunlight will fall directly
through the front glass of the aquarium. Put
in your water and accessories, and in arranging
the latter, too much care cannot be used, as the
setting must be as natural as possible, and upon
it depends much of the success of the picture.
As I have already said, most of these accessories
should be placed back of and close to the par-
tition glass, with only a very few in the compart-
ment in which you are going to place the fish.
Now select the specimen upon which you are
going to make your first exposure, and lift him
Photographing Fish 219
carefully from the car with the landing net.
Take him quickly in your hand, holding him
firmly but with not too strong a clasp, and place
him gently in the compartment arranged to
receive him. At first he will undoubtedly be
extremely restless and will swim rapidly from
one end of the compartment to the other look-
ing for some means of escape, and you must
wait until he quiets down before anything can
be done. When he has finally satisfied himself
that he cannot get away, he will probably sink
to the bottom and sulk. Now you can focus
upon him, and, in doing so, be sure that there
are no reflections from the sun’s rays upon the
glass, for this would entirely ruin the picture.
Also be careful to note just what portion of the
aquarium you can see upon the ground glass,
so that you may be sure to have the fish in
that portion when the exposure is made. It is
rather discouraging, after having spent much
time in photographing a subject, to find, upon
development, that only one-half of his image
is upon the plate, and maybe not that much,
and it does not make the discouragement any
the less to realize that it was our own stupidity
that caused it.
After having focussed to your satisfaction, in-
sert the plate-holder, draw the slide, set the shutter,
and then cover the camera well with a dark cloth
220 Photography for the Sportsman Naturalist
to prevent the possible fogging of the plate, for
you may have to wait for some little time before
you can get your fish into the exact position in
which you wish him. Only those species that
live on the bottom should be photographed in
that position, for with the others it carries the
idea of a dead specimen laid there, besides show-
ing the fish under false conditions.
Some fish will quickly become accustomed to
their artificial surroundings and will assume the
desired position, if left entirely alone, in a very
short time. Others will have to be coaxed to
do so, either by gently pushing them with a
stick or by lifting them repeatedly from the -
bottom until they remain suspended in the
water long enough for you to make the ex-
posure. With the best-behaved fish it will usu-
ally mean a considerable wait, and you must keep
your patience. Above all, never make the expos-
ure until the fish is in exactly the position that you
desire. You will be fully repaid for the waiting by
the much better results which you will thus obtain.
There are three things necessary to be careful
about before releasing the shutter: that the fish
is entirely in the field chosen; that he is no
farther from or nearer to the front glass than he
was when you focussed; and that his fins, espe-
cially the dorsal one, are well spread, for the latter
precaution not only adds to the beauty of the
Photographing Fish 221
picture, but is also an aid from a scientific stand-
point in determining the species.
The exposure necessary is entirely according to
whether your specimen is of a quiet turn of mind
or not. Usually from 4 to 3: of a second will be
found fast enough, but occasionally greater speed
is necessary, and sometimes a specimen will remain
still enough for a sufficient length of time to allow
of a time exposure, but it is best never to depend
upon this.
It is always a good plan to make several expos-
ures on the same specimen. This decreases the
chances of failure, and should each negative prove
good the change of the position of your subject
will make each one of them valuable; while if but
one exposure is made, and that should turn out
poorly, you will have had all your trouble and
used your time and patience for nothing. More-
over, many fish change their coloring and markings
very materially, at times often suddenly, and ap-
parently without cause or reason. It is sometimes
done, however, as a means of protection by con-
forming more nearly to the colors of their sur-
roundings, and, when possible, pictures showing
the various phases should be made. The fish of
the tropical waters are the ones that show the
most pronounced changes, and with some these
changes are so decided as to completely alter the
appearance of the specimen.
222 Photography for the Sportsman Naturalist
I have spoken thus far in this chapter entirely
of the photographing of fishes, but there are many
other forms of aquatic life that can be successfully
photographed, and which make most instructive
as well as interesting pictures. Any of the jelly-
fish family may be photographed in the aquarium,
bute they,
make rather
difficult sub-
jects. In the
first place
they are ex-
tremely del-
icate, many
of them so
muchso that
when lifted
in the hand
they will slip
away be-
tween the
fingers, not
as a whole, but tearing away in pieces until there is
nothing left. Consequently, in taking them from
their native element, they must be dipped up with
a quantity of the water and thus transferred to the
aquarium, Moreover, it is best never to let any
of them come into contact with the skin of the
hand or arm, for, as I have already said, many of
Jellyfish.
Photographing Fish 223
them are poisonous; and while this poison is not
particularly virulent, its effects are often extremely
disagreeable.
These forms of aquatic life are, mostly, nearly
transparent or with delicate tones of pink, blue,
violet, and yellow. This, naturally, adds to the
difficulty of successfully photographing them; but
when one does succeed in obtaining a good pic-
ture of one, it is remarkably beautiful and should
fully repay him for the trouble. They must al-
ways be photographed against a black background,
for otherwise they would not show at all. A
piece of board or zinc, coated upon one side with
asphalt or any other waterproof paint that will
give an absolutely dead black, can be used for
this background and slipped in at the back of the
tank. The sides should be left white in order to
reflect as much light as possible. When using
this black background, it will be found almost im-
possible to entirely eliminate all reflection from
the picture, for the glass front of the aquarium
against the black background forms an almost
perfect mirror that will reflect the camera and any
other object that is in front of it. These reflec-
tions are lessened by the use of a perfectly dead-
black background, and by careful manipulation
and the placing of your camera you can get rid
of them entirely, or at least cause them to appear in
such positions as will not interfere with the picture.
224 Photography for the Sportsman Naturalist
The Portuguese man-of-war is an interesting
little fellow to photograph and should be pictured
with his sail set to the fullest extent. The sea
anemones form another most interesting group
and should always be photographed attached
to the original support upon which they were
found. These latter do not need the black
background, and it is best never to use it except
in such cases as are found to be absolutely neces-
sary in order to show your subject to the best
advantage.
The sea-urchins, corals, sponges, and the
thousand and one other things that are to be
found in the ocean can be photographed if one
wishes to do so. In fact, there is an immense
field here that has hardly been touched and that
offers unlimited possibilities to any one who wishes
to enter it.
It must be borne in mind, however, that all
forms of aquatic life are more or less delicate and
will not stand rough handling. Many of them, as
the jellyfishes, cannot be taken from the water
with safety, and any of them, even the most hardy
of the fishes, are easily injured, so that as little
handling of them as possible is always advisable.
Above all, never allow them to remain out of
water for any length of time, for a few minutes
out of its native element often means death to one
of these creatures.
Photographing Fish 205
If a negative shows motion of the subject, or is
blurred from being out of focus, throw it away and
make another one. Clearness of outline and
sharpness of detail are more necessary to the
value of the picture in this than in any other
branch of nature photography; and although you
may be tempted to keep a negative that is not
Sea Anemones.
perfect in these respects, you will find yourself
better satisfied, in the end, and will consider the
time well spent if you will discard it and keep on
doing this until you have reached perfection.
Poor work is undesirable and is of less value than
the usual poor drawing. So, if you are too impa-
tient never to be satisfied with any results other
than the very best, you had better lay your camera
aside and try some less difficult line of work, for
Q
226 Photography for the Sportsman Naturalist
there are already altogether too many poor workers
in the field.
If you are serious, however, and wish to do
some work that will last and be of value, then
there is nothing that offers better opportunities
than this same field of aquatic photography.
CHAPTER XIII
PHOTOGRAPHING REPTILES, ETC.
Ir one can but overcome the instinctive abhor-
rence and fear which most people have of snakes,
and learn to know them as the beautiful and
harmless creatures which most of them are, he
will find that they make the most interesting sub-
jects possible for nature photography. They are,
in every respect, preéminently graceful, and every
position which they assume is a naturally artistic
pose, for a snake is never awkward in any of his
movements.
Of course, I realize that with many people the
horror of a snake is too deep-seated to be easily
eradicated, and I have known some otherwise
courageous people whom the mere sight of a
snake would affect most powerfully. To expect
these people to handle one would be entirely out
of the question. In fact, I know one man, who
has lived very close to nature all of his life, who
would rather walk a mile out of his way than en-
counter one of these creatures.
Since time immemorial the snake has been
the symbol of all that is most vile and obnoxious,
227
228 Photography for the Sportsman Naturalist
and since the days of the Garden of Eden fable
to the present time he has been persecuted with-
out just cause wherever found. It is remarkable
that he is not already extinct, for with most
people the first thought, upon seeing one, is to kill
him as quickly and thoroughly as possible. His
habits and characteristics are less known to most
Milk Snake.
people than are those of many of our wild things,
and it is a common belief that every snake is
poisonous. I well remember the utter horror
with which several country dwellers once watched
me pick up a three-foot garter snake which I had
found them stoning to death. When they saw
what I intended to do, they kindly warned me
that it was sure death, and I verily believe that
Photographing Reptiles, etc. 229
they fully expected to see me bitten and drop dead
before their very eyes. I tried to explain to them
that the creature was harmless, but they would
not be convinced and followed me with their eyes,
their mouths wide open, as long as I was in sight.
The fact of the matter is that most snakes are
not only harmless, but perform their part in helping
along the day’s work by killing off innumerable
rodents that are injurious to the crops; and, did
the farmer but know it, he could have no better
allies than the snakes. Instead of allowing them
the run of the farm, as he should do, he loses no
opportunity to kill one, to his own loss.
One of the first requisites in snake photography
is to lose this instinctive dread of your subjects
and learn to handle them fearlessly. Of course,
one must know the snakes thoroughly before he
attempts to do this, else the results might be dis-
agreeable should he pick up a copperhead or other
poisonous species under the impression that it
was not a dangerous one.
In the Eastern United States we have but four
snakes, however, that are dangerous: the rattle-
snake, the copperhead, the moccasin, and a
little snake that inhabits the far South only and is
known as the coral snake. Of these the rattle-
snake is the most deadly, but none of them can be
handled with impunity. All the rest of the snakes
are harmless, and although, when cornered, they
230 Photography for the Sportsman Naturalist
will strike with all the animosity of a poisonous
species, even going so far as to take hold with
their teeth, they have no fangs, secrete no poison,
and therefore their bite is to be no more feared
than that of a mosquito. To illustrate the neces-
sity of knowing which snakes can be handled
without danger, I will relate a little story which
Garter Snake.
reflects somewhat upon my own good judgment
and common sense. Some years ago, when I
was younger and knew more, or thought I did,
than I do now, I happened, in Florida, upon one
of the coral snakes mentioned above. It is a
beautiful little creature and one that would attract
anybody’s attention as the one I found did mine.
I picked it up, for I had never had much fear of
Photographing Reptiles, etc. 231
snakes, and carried it home with me, where I
allowed it the free run of my room for several
weeks. It would not eat, however, and finally
died, much to my sorrow; and it was not until
some months afterward that I discovered this
species to be extremely venomous. It is true
that the little knowledge which I had of the
snakes was a dangerous thing and not sufficient
to warn me against this one. Had it not been
that this particular species is hard to anger and
will not bite except under great provocation, I
might not now be here to tell the tale.
Of the rattlesnakes, of course, there are many
different varieties. They are all easily told by’
their unvarying habit of signalling the fact of
their presence to any one whom they may consider
a trespasser upon their domain. I am free to
confess that I have never had any great desire to
hunt these creatures with a camera, although,
should the opportunity offer, I should unhesitat-
ingly do so. Many excellent photographs have
been made, however, by those who have no
particular fear of them.
Mr. Sumner W. Matteson, in the Cosmopolitan
for April, 1898, describes a visit which he made to
a rattler’s den, for the purpose of securing speci-
mens and pictures, that for cool daring I think
deserves a reward. He says that “ Having had
some experience with rattlers in Montana, Iowa,
232 Photography for the Sportsman Naturalist
and Minnesota, I was anxious to know more
of them, and accepted an invitation to a fa-
mous den at Fortification Rock, in Routt County,
Colorado. ... Here a trachyte dike several
miles in length extends westward from Fortifica-
tion Creek, standing fifty feet above the ridge on
the north side and fully one hundred and fifty on
the south. Much of the wall has fallen over to the
lower side, making great piles of débris and loose
rocks, at the foot of which thousands of rattle-
snakes make their winter home. The land is
still ‘public land’ and offered to any citizen of
the United States complying with the laws relat-
ing thereto, but as yet the nearest ranch is two
miles below and that deserted because the snakes
would insist upon coming in at the open door or
through knot holes in the floor and were always
to be found in the boot box.” In this den Mr.
Matteson with some companions, one of whom
was a little girl, spent the greater part of a day,
securing not only some excellent photographs, but
some valuable specimens.
Mr Wo HE Backusim) “(Country lite sin
America,” gives some exciting accounts of rattle-
snake hunting with a camera. It seems that
once, while on a grizzly hunt in California, he
came literally face to face with a big rattler, for it
was coiled on a rock at alevel with his head and
but about a foot away. He says: “One of the
Photographing Reptiles, etc. 233
things that came flashing through my brain as
we glared into each other’s eyes during that
extremely long instant of time was ‘ What a pic-
ture the fellow would make!’ What an eye!
Never before had I been so close to a free and
angry rattler. I saw no blazing eye darting fire,
that I had read about, nor was there any of the
terrible fury in it with which the timid deer turns
on his pursuer when brought to bay. It was clear
and brilliant, but it seemed to me cold and cal-
culating and, oh! so fiercely intent. Before I left
that canon I made up my mind I would have a
camera.
‘Next summer found me on the road to the
San Bernardino Mountains, armed with a four by
five camera of the ‘press-the-button’ type.”
He had some little trouble in finding the
rattlers now that he wanted them, but finally his
quest was rewarded.
“He was already coiled, and as I dismounted
he began to sound his rattle. He stood his
ground fearlessly, as is generally the case, knowing
his deadly power and probably knowing the fear
in which he is held. The increasing darkness
prevented any photographing on the spot, and
the only thing to be done was to take him
alive. After an exciting struggle among the
rocks I succeeded in pinning him down with a
forked stick... . I seized him by the neck and
234 Photography for the Sportsman Naturalist
dropped him into an open bag, and my first
‘model’ was captured.
“ Selecting an open spot the next day, I spread
out a large piece of canvas in order to get a clear,
smooth background. I set the shutter of the
camera and turned the focussing scale down to
two feet, as I had to work at that distance to get
a picture large enough to be of any value. I then
opened the bag and dumped Mr. Rattler out upon
the canvas. At this unceremonious treatment he
coiled up for a fight and began rattling. Hastily
grabbing up my camera I tried to take a photo-
graph of him, when he struck the camera front,
breaking one fang, as I afterward discovered.
This negative was a blur, for I pressed the but-
ton with a convulsive grip. The next was the
same ; in fact, the entire set was a failure, partly
from lack of knowlege of how to handle a rattle-
snake and partly from inexperience with a camera.
The many reasons of failure are well known to
those who have photographed animals of any
kind.
“ After repeated trials with different specimens,
I found it not only took infinite time and patience
to get a characteristic pose that showed the best
form of coil for striking, but that I had to
approach with a steady, easy motion till I got up
to the right distance. ... I have now been study-
ing rattlesnakes for several years, and in the sum-
Photographing Reptiles, etc. 235
mer of 1901 I went out better prepared than before
to watch them and get photographs; but before
I had fairly started I had the misfortune to be bit-
ten by one. This cut short my studies and nearly
ended them altogether, as I was far from help
except a boy who was with me. But it has added
to my interest, and I expect to go again next sum-
mer with a camera better suited to that class of
work.”
Had Mr. Backus on his first trip been supplied
with the proper outfit for doing this work, he
would have found less trouble and obtained better
results. It is this kind of experience that proves
to be the best teacher.
Snakes, especially the harmless ones, are easily
tamed, and I have often in an hour or two gotten
one of them so well acquainted with me that he
would stay quietly in almost any position in which
I placed him.
Quick motion always scares a snake much
more than any amount of handling or loud noise.
A rattlesnake is a gentleman and will allow of a
close approach if one but shows entire fearlessness
and moves slowly and gently, but a quick jump
or any sudden movement will cause him to strike
instantly. In this fact lies most of the secret of
success in working with snakes, and would we but
bear it in mind we would find them far from the
deep-dyed villains they are painted.
236 Photography for the Sportsman Naturalist
In work afield in this branch the reflex camera
is often necessary, but muchcan be done with
the ordinary tripod box. I have often taken
photographs of snakes by confining them in my
carrying case or holding them in my hand while
setting up and focussing my camera upon some
suitable spot, then after having quieted my subject
somewhat, I have placed him on the spot chosen
and have found that often he would remain there
long enough for me to even stop down my lens
and make a time exposure; for when a snake is
still he is absolutely motionless.
The best method, however, is to photograph
them in an indoor studio, for then they can be
brought home, studied and photographed at one’s
leisure; and any one who will try this will find that
they make not only good subjects, but interesting
pets as well. The studio should be arranged in
some place with a good, strong diffused light, as
the direct sunlight is apt to give bad reflections
on the scales of your subject.
It is well to have a posing stand on which to
photograph your “sitter,” as it is more convenient
than to do so on the ground or floor and the re-
sults are likely to be much better. This should
be about two feet high, so as to allow the camera
to point downward toward it, at an angle, from a
slight elevation. It should be at least two feet
square, so that the edges may not show on the
Photographing Reptiles, etc. 237
plate, and with large snakes even this will be
found too small. On this stand, with a few simple
accessories, such as some pieces of sod, stones,
leaves, and small plants, any kind of an artificial
setting may be made. This should be arranged
to look as natural as possible, but any one can do
it by the exercise of a little care. A snake that
has been kept in the studio for two or three days,
until he has become accustomed to your presence
and his surroundings and to being handled, will
nearly always allow himself to be placed in the
desired position on the stand and will stay there
motionless for a sufficient length of time to allow
you not only to focus properly upon him, but
you can stop down the lens so as to get clear
definition of the entire field and give as long an
exposure as is then necessary.
Of course, there is always the chance of the
snake deciding it is about time for him to make a
move when the exposure is about half over and
then you must try again, but these are the trials
that you must expect.
Naturally, this kind of a studio is impracticable
when photographs of the snake striking or ready
for a strike are wanted. Then, of course, it is
necessary to have the strongest light possible, for
a snake’s movements in coiling, striking, etc., are
very quick. One can easily move his posing
stand out into the direct sunlight, however, when
238 Photography for the Sportsman Naturalist
such pictures are needed or when the subject
proves too refractory to allow of photographing
him indoors.
While I do not believe in photographing birds
or animals in a studio, I do think that snakes can
be best photographed in this manner, for they do
Common Frog.
not show their fear so readily as do the warm-
blooded animals and they always immediately as-
sume natural poses when released from the hand.
For the smaller snakes, the lizards, frogs, toads,
etc., a very convenient arrangement is a small
glass cage, at one end of which the lens may be
inserted. One that is suitable, easy to make, and
costs but little consists of a rectangular case,
Photographing Reptiles, etc. 239
preferably with glass sides and wooden ends and
bottom. In one of the ends an opening is cut
and covered with strong rubber cloth with a slit
through which the lens of the camera may be
thrust. The bottom of the box should be covered
with earth or neutral-tinted plaster of Paris, which
should be so rounded at the back and corners as
to show no sign of the junction of the back and
Snapping Turtle.
bottom. The back should be painted a neutral
tint also. The box should be about two to two
and a half feet long. This will allow a sufficient
distance between the lens and the subject. A
central partition of glass can be provided, to be
slipped into position when it is necessary to con-
fine the subject to the back of the box, and this
will not interfere with the photograph provided
the glass is perfectly clear and clean. The top
240 Photography for the Sportsman Naturalist
should be a piece of glass simply laid on so that
the subjects can be easily admitted and there will
be no obstruction to the passage of light.
This cage should be supported at a sufficient
height on any small stand or table, and by the in-
troduction of twigs, stones, grass, pieces of wood,
leaves, etc., natural conditions may be simulated
and most excellent results obtained.
It is most discouraging to try to photograph
frogs, toads, or lizards out of doors, for, although
they may sit quietly and allow us to focus upon
them, they are most liable to jump or move away
just as we are ready to make the exposure. In
order to obtain a sufficiently large image of them
it is often necessary to work at such close range
that the lens must be stopped down to get both
them and the background in sharp focus. This
makes it impossible to use the reflex camera. In
fact I never use this camera with any of these
subjects, as I find I can obtain so much better re-
sults by carrying them home and photographing
them in the manner I have described.
The aquarium, which I have described in
Chapter XII, is a useful adjunct in this connec-
tion, for many of the newts, salamanders, and
lizards are water creatures and as such should be
photographed in their native element. Frogs, too,
may be photographed in the water as well as on
land, and, should one desire a series of pictures
Photographing Reptiles, etc. 241
(which, by the way, is most interesting) showing
the different stages of the frog from the egg up, it
can be successfully accomplished only in such an
aquarium. During the tadpole stage they can be
kept from the bottom and near the front by a
piece of glass inserted at an angle and with its
lower edge resting against the glass front of the
aquarium three or four inches below the surface of
the water. Care must
be taken, however,
when working in the
direct sunlight, not to
get disagreeable reflec-
tions from this glass
which might spoil the
picture. Otherwise it
cannot be seen, and
these reflections are
not apt to show except
when a dark kack-
ground is used, which
is never advisable.
Of all the exasperating subjects in the whole
range of nature work, I think the box tortoise is
probably without exception the worst. His fault
lies in remaining too still. He will withdraw
himself into his case, and no amount of coaxing
will induce him to emerge until he is ready. I
have often waited for, what seemed to me, an inter-
R
Tree Toad ‘‘singing.”’
242 Photography for the Sportsman Naturalist
minable length of time for one to show his head,
only to have him in the end stick out the tip of his
beak and one claw sufficiently to shove himself
away from the camera and entirely out of range.
The snapping and water turtles are much
better subjects, as they seem to be far less exclu-
sive than are their land
relatives.
In this particular
branch are many ex-
cellent instances of
protective coloring
which make most in-
teresting photographs.
Of such are the
chameleons, the hylas
or tree-toads, and the
wood-frogs, all of which
resemble their natural
surroundings, often so closely as to make it difh-
cult to distinguish them.
There are many instances of this protective
coloring among the smaller wild things. It is one
of nature’s many schemes for giving to her off-
spring a means of defence against their numerous
enemies, and truthful pictures, which are not al-
ways obtained by means of a pencil and brush,
of those creatures that affect the color, shape, or
markings of their surroundings are not only inter-
esting but valuable.
Common Toad.
Showing protective coloration.
Photographing Reptiles, etc. 243
If we would do good work along all lines of
nature photography, we must bear in mind that
there is no creature, no matter how mean or lowly
he may be, but has interest for somebody; and al-
though we may not care for the snakes, lizards,
and such creatures, and think them repulsive, there
are many who do not have the same idea of them
as do we, and therefore good photographs of them
or of any of nature’s children, even the smallest
and meanest, are always in demand and have their
value.
CHAE TE RSI
PHOTOGRAPHING WILD FLOWERS, CUT AND GROWING
CONSIDERED as a means of artistic expression,
flowers offer a greater opportunity to the photog-
rapher than does any other subject in the whole
range of photography. They are more adaptable
to arrangement, and, to any one of any pretence to
artistic ability, they offer unlimited possibilities
for beautiful photographs. It is not always the
rarer or more gorgeous blooms that make the
finest subjects either, for it is often the case that
the commonest roadside “ weed ” affords material
from which the best picture can be made if we
but know how to handle it.
There is the advantage in this work of a great
diversity of form and coloring, and the foliage also
presents much that is interesting in its almost in-
finite variety of shape, and tones of greens, browns,
and bronzes.
But, outside of the artistic possibilities of this
branch of photography, it is of considerable value
from a scientific standpoint.
It has been a source of wonder to me that
botanists do not make a greater use of the camera
244
Photographing Wild Flowers 245
to aid them in their studies, for it is certain that
by no other means can such perfect illustrations
be obtained; and, for an herbarium, such pictures
are, it would seem to me, invaluable. Not only is
it possible to obtain pictures of the plant in its
entirety, but each small part of the flower itself is
capable of being photographed and afterward
enlarged to any size desired, giving the student
a chance to study carefully and at his leisure the
minute construction of the plants upon which he
is at work; while for comparison and identification
no drawing or description can equal a first-class
photograph.
Not only to botanists, however, would I recom-
mend the photography of wild flowers, but to any
one who has a desire for instructive amusement.
Not one person in a hundred has the least idea
of the number of really beautiful wild flowers that
each year adorn the fields and woods immediately
surrounding our homes.
They, of course, know the daisy, dandelion,
thistle, and those more common plants that bloom
by thousands through our fields and along our
roadsides; but let them create some reason for
becoming interested in the flora and they will be
surprised to find how many blooms they will
discover which they have never before seen or, at
least, noticed.
But, in order to have any success in flower
246 Photography for the Sportsman Naturalist
Shinleaf in Tangle of Herbage.
Photographing Wild Flowers 247
photography, one must be possessed of a little
sense of the artistic, for the flowers should be
grouped in such a manner as to show to the
best advantage and not thrown together without
thought as to their arrangement.
There are two ways in which flowers can be
photographed: cut and growing. The latter is
useful in showing their manner of growth, and
the former in presenting the blossom on a larger
scale and more in detail.
In photographing cut flowers the greatest diffi-
culty with which we have to contend lies in the
fact that they so easily wilt. Especially is this
true of those plants that grow in water or in
very damp soil.
I once spent nearly an entire week and dozens
of plates in the attempt to get a good picture
of one of our common flowering water plants.
Specimen after specimen I carried home to no
avail. It seemed to be impossible to do any-
thing with it, for the flowers invariably wilted and
dropped off, and the leaves curled up within ten
minutes after it was removed from the soil. Plac-
ing it in water or in dampened sand, or, in fact, the
use of any of the methods by which flowers are
revived, appeared to have not the least beneficial
effect.
I was almost in despair of accomplishing any-
thing with this species until one day I chanced
248 Photography for the Sportsman Naturalist
upon a plant that was growing in a somewhat
drier place than usual, and which, seemingly, was
more hardy than any I had yet tried. By wrap-
Blue Flag.
ping it in wet cloths
and carrying it in a
case entirely protected
from the sun’s rays, I
managed to get it
home in good condi-
tion. Once there I
immediately made an
exposure and, upon de-
velopment of the plate,
I found that my efforts
were at last crowned
with the success for
which I had been striv-
ing.
This but serves to
illustrate the point that
I wish to impress upon
all nature workers, in
this as well as any of
the other branches, that
persistency generally
wins in the end. One must never acknowledge
himself defeated until he has tried every possible
means of gaining the result which he wishes, and
even then he should go back and try them all
over again,
Photographing Wild Flowers 249
The water plants are the most difficult to work
with, for even if placed in water immediately
after being picked, the leaves will generally dry
and curl up and the flowers die and drop off in
a very short time. It is necessary, in order to get
a photograph of them at all, to make the exposure
as soon after picking them as possible.
With those flowers growing in drier soil this
difficulty is not nearly so great, for, no matter
if they have become badly wilted while being
carried home, they will, in most cases, revive in
a few hours after being placed in water. With
these flowers it has been my practice, generally,
to pick them and arrange them in the groups in
which I wish to photograph them in the late after-
noon and allow them to stand over night, doing
the photographing the next morning. By doing
so they are usually in as fresh condition when
I come to work with them as when they were first
picked.
In gathering plants for subjects, always choose
the best flowered specimens that you can find
and pick them with as long stems as possible.
It is best to carry them home in a botany box
or some other kind of closed case, for they will
wilt less than if carried in the hand; and if, before
putting them in water, about an inch of the end
of each stem is cut off they will revive much
more. quickly.
250 Photography for the. Sportsman Naturalist
Cut flowers must always be photographed in-
doors. It is necessary to get as clear a photo-
graph with as sharp an outline and as much
detail as is possible, in order that it shall have
any value; and as the least movement on the
part of the plant
during exposure
will completely ruin
this, it is obvious
that the work must
be done where there
is absolutely no air
stirring. Therefore
work in the open
is here out of the
question.
As the exposure
is, necessarily, long,
movement on the
part of the plant is,
under any circum-
stances, one of the
chief difficulties, but
by working indoors the chances for movement
are naturally lessened materially. It is often the
case, however, that a plant will voluntarily change
its position during the exposure, perhaps imper-
ceptibly to the eye, but sufficiently to utterly de-
stroy all sharpness of detail and make the negative
Jack-in-pulpit.
Photographing Wild Flowers 251
worthless. The least jar, such as made by a per-
son walking across the floor, will also cause
them to move, and I have even found that, with
some of the more delicate flowers, the vibration
of my body, if I stood too close to them, would
cause them to tremble. The flowers must be
absolutely still before they can be successfully
photographed.
I always do this work in the room of an un-
occupied building where there will be no
unexpectedly slammed doors or heavy footfalls to
jar my subjects. During the exposure I always
remain as far from the flower stand as possible,
and I sit down. One can more easily keep
absolutely still seated than standing, for there is
always a tension to the body when standing,
especially if the attitude is at all constrained, that
causes it to vibrate. Some may think that all
such precaution is nonsense, but I can assure
them that it is not. I learned the necessity of it
through the bitter experience of many wasted
plates, and I am now giving the results of that
experience to those who are about to enter the
same paths.
One might think that, in comparison to
photographing animal life, the work upon floral
life should be easy. It is much easier, as- would
naturally be the case in the difference between
animate and inanimate objects, but should any
252 Photography for the Sportsman Naturalist
one attempt it with the impression that it is all
plain sailing he will be speedily undeceived, and
maybe he will not entirely enjoy the undeceiving
process. In order to give my readers some idea
of what they will have to contend with, I wish to
say that I have often worked from four to six hours
over a single flower without obtaining a satis-
factory negative and have finally been forced to
desist on account of waning light, and many times
have I been compelled to hunt up a new speci-
men of some flower, the ones I had _ having
become wilted beyond all resuscitation while I was
trying to obtain with them the results which I
wished.
One man, who has made some of the finest
flower studies which I have ever seen, once told
me that before he obtained a result that pleased
him, when he first started at this work, he made
and discarded over a thousand negatives. He
was probably almost hypercritical, but it is much
better to be too particular than not particular
enough.
I hope all this will not discourage any one, how-
ever, or deter them from trying the work. I
simply tell it that those who are entering the field
of flower photography may not expect too much
at the beginning. After having once acquired
the knack of knowing just when and how to
make an exposure and what length of exposure
Photographing Wild Flowers 253
is best suited to the different combinations of
color in order to reproduce them in as nearly
the correct values as possible, one steadily im-
proves and the number of failures that he makes
as steadily diminishes.
The work should be
done within two feet of
a window (one facing
north is the best, as the
light from that quarter
is apt to be much more
steady than from any
other), and it is a good
idea to cover the window
with a tightly stretched
piece of thin cheese-
cloth in order to soften
the light. The flowers
should be placed on a
stand well at one side
of the window, so that ane
the light will fall upon
them as full as possible, but not so far at the side
as to cause any of them to be in the shadow.
The background should be put at least a foot
back of the flowers, so that their shadow will not
fall upon it. There should be at least three back-
grounds, one white, one black, and one of a
neutral tint, and the operator must learn which
254 Photography for the Sportsman Naturalist
background is best suited to the different colors
of the flowers.
The light should be equalized on the side
farthest from the window by the use of white
cardboard reflecting screens placed as close to the
flowers as possible without showing in the picture.
The camera used should never be smaller than
the six and a half by eight and a half size, and an
eight by ten is even better, for the image should
be reproduced as nearly life size as is compatible
with good work. A flower negative should never
be enlarged, as a great deal of the delicate detail
is bound to be lost in the operation.
The make of lens used is more or less imma-
terial, the one with which the operator is best
acquainted being the one best suited to him. It
should never be of less focal length than nine or
ten inches, however, and the longer than this it
is the better. It should also be one of the faster
makes, as the more speedily an exposure can be
made the less danger of the flowers moving during
the process.
In this work orthochromatic plates used in
conjunction with the ray filter are an absolute
necessity, and the slow ones are the best as giv-
ing the truer color values. In the use of the ray
filter, or color screen, one must carefully consider
the color of his flowers in order to get the best
results. A very deep-colored screen is rarely
Photographing Wild Flowers 255
necessary, and I have found that for all-round work
one of a light lemon tone is the best. With blue
or violet flowers it should always be used, with
the yellows and oranges it gives better results, but
with the reds it is not necessary and only tends to
lengthen the time of exposure. With pink or
white flowers, however, it should be used,
especially where the color of the foliage is dark,
in order to preserve the proper relation of tones
between the white or pink of the flower and the
green of the leaves.
Now, after having arranged your flowers to your
satisfaction, set up the camera close enough to
give at least a two-thirds size image, — life size if
possible. Focus upon that flower of the group
that is nearest to the camera and then stop down
the lens until allarein sharp focus. I have found
it best to always work my lens at the smallest
aperture, for, while this necessitates a longer
exposure, it invariably gives the best results in
delicacy and sharpness of detail. In focussing,
always do so with the color screen in place.
The time of exposure can only be learned by
experience, for it is governed entirely by circum-
stances and there is but little advice of value that
can be given upon the subject. I have found,
however, that under ordinary circumstances, when
the light is strong, an exposure of about six
or seven minutes is necessary when using the
256 Photography for the Sportsman Naturalist
slow plate with the color screen. This with a
nine and a half inch Goerz lens stopped down
to F. 64. It all depends upon the speed of the
lens, the condition of the light, the density of
the color screen, the distance the lens is from
the flowers, and the color of the flowers. Dark-
colored flowers need a much longer exposure
than do those which are light in tone, and this
must always be taken into consideration.
The light of early morning or late afternoon
is often deceptive, seeming to be much stronger
than it really is, and therefore the best time for
work is from about the middle of the forenoon to
the middle of the afternoon, or, say, about four
hours of the middle of the day. The light at
these hours, when the day is clear, is almost
absolutely steady. Never attempt to do any work
upon a cloudy day or one upon which the light is
at all variable, for you will find that you will lose
many plates through not being able to judge
accurately the length of time for a correct ex-
posure.
Always remember that it is better to slightly
overexpose than to err in the opposite direction,
for an underexposed plate is almost useless, much
of the fine detail being entirely lost, while with an
overexposed plate one can so develop it as
to make an excellent negative; that is, if the over
exposure is not too great. Of course a plate that
Photographing Wild Flowers AG
is correctly exposed is always the best, for that
needs no special manipulation in the development.
Many people use a vertical stand, such as was
spoken of in Chapter V, for this work, and arrange
their flowers by laying them on a piece of clear
glass with the background a foot or so below.
The flowers are less apt to move by this arrange-
ment, but they cannot be made to look so natural as
when they are
photographed
erect.
The arrange-
ment of the
flowers is be-
yond doubt one
of the most diff-
cult parts of the
whole opera- (iia io
tion; ana) it. is Spring Orehis.
here that one
can give full scope to whatever of the artistic
sensibilities he may possess. In this arrange-
ment one can follow no given instructions, but
must rely entirely upon his own ideas, and de-
pending upon whether these ideas be good or bad
lies much of the success of the picture from an
artistic standpoint. Some flowers are so stiff that
it is impossible to impart to them one iota of
grace, but in this very stiffness there often lies
s
258 Photography for the Sportsman Naturalist
great beauty if one can but see it and understand
how to group them so as to bring it out.
One little suggestion may be of service: never
crowd the flowers; much better to have too few
than too many. A single spray is often sufh-
cient and, almost invariably, two, or at the most
three or four, give better results than do a dozen
or fifteen. Occasionally it is necessary to use
more than this, but very rarely, and one’s judg-
ment should tell him when to do so.
I use bottles to hold the flowers, as I find that,
their necks being small, the flowers can more
easily be made to stand erect than in an ordinary
vase. It is well to use two or three of these
bottles for a group, for if only one bottle is used
it shows the stems of the flowers all rising from
the same point.
With vines and flowers that are pendent, such
as the locust blooms, I use a square frame with
notches cut in the top, which I can stand up on
the table, and from which I can hang the flowers ;
for they should always be shown in the natural
position in which they grow.
Photographing wild flowers, growing out of
doors in their native haunts, is a somewhat dif-
ferent matter from photographing them indoors
completely protected from the wind. If it were
not for the fact that the slightest breath of air,
almost imperceptible to us, will cause a growing
Photographing Wild Flowers 259
flower to move, especially those that have long,
slender stems, and that it is seldom possible to
find a day when there is not some breeze stirring,
then the photographing of the wild flowers in
White Violets.
their haunts would be comparatively easy, for
they naturally compose themselves into artistic
groupings. But, if one wishes to discover for
himself what difficulties confront him, let him
watch a bunch of anemones on what seems to
him to be an absolutely still day. Although he
260 Photography for the Sportsman Naturalist
can feel no breath of air, still he will see that the
flower-heads on their slender stems keep up a
constant motion, and are seldom still for a second
at atime. I once was forced to wait for over an
hour, when trying to get the photograph of a
group of seeded dandelion heads, before they all
remained quiet enough for the three seconds’
exposure that was necessary, and there was not
enough air stirring to evaporate the perspiration
that continually gathered on my forehead, or to
give me one instant of relief from the intense
heat.
This difficulty, happily, does not extend to all
plants, as there are some, such as the skunk
cabbage, that can be photographed even when
there is considerable breeze blowing.
If the breeze is slight, the more delicate flow-
ers may be protected from it, during the expos-
ure, by means of a cloth screen stretched about
them, but it must be so placed as not to show
in the picture for what it is.
The value of pictures of growing flowers lies
principally in showing their manner of growth
and environments. In every case the whole
plant should be shown, and we should select
typical specimens, and ones that are growing
under normal conditions. A skunk cabbage, for
instance, is a plant of the low, swampy woods,
but I have found it growing, occasionally, in dry,
Photographing Wild Flowers 261
open places. It should be photographed, how-
ever, in the former situation, for that is its natural
habitat. Nearly all plants frequently stray from
their natural locations, but these wanderers are
not the ones that should be chosen as subjects.
The isochromatic plate is here again a neces-
sity, of course, but in this work the fast one will
be found to be the best
one to use, as it gives
us more speed, and
speed is a great ob-
ject in out-door flower
photography. When
possible, the use of the
color screen is advan-
tageous, but this in-
creases the length of
exposure to such an
extent that I would
not advise any one to
attempt it except upon
a very still day; for nothing is more exasperating
than to feel a breath of air steal up and watch it
sway your subjects about just in the midst of an
exposure, and realize that the plate is irretrievably
ruined and that you might as well take it out and
try another one. When the day is still enough
to allow the use of the slow plates, so much the
better, for they will give the best results.
Young Skunk Cabbage.
262 Photography for the Sportsman Naturalist
The long-focus camera with a lens of a good
focal length must be used, and the short tripod,
spoken of in the chapter on photographing nests,
is a very convenient accessory for photographing
the flowers that grow close to the ground, for it
is not well to look directly downward upon them.
In this work the swing-
back is a very neces-
sary adjunct to the
camera, for by its use
much of the fore-
ground and_ back-
ground can be brought
into clearer focus, espe-
cially when the camera
is tilted downward,
which will be necessary
in most cases. Any
grasses or leaves that
obtrude between the
flowers and the camera should be removed, but
the plant that is to be photographed should never
be touched ; for the value of the picture lies in the
fact that it is an exact representation of the plant
as it grows, and to change its position in any way
would be liable to spoil this truthfulness.
The focussing should be done on the flower
or flowers of the group that are nearest to the
camera, and the rest brought into sharp focus,
Trailing Arbutus.
Photographing Wild Flowers 263
after doing this as much as possible by the use
of the swing-back, by stopping down the lens.
It will sometimes be found necessary to stop it
down, nearly if not quite to its smallest opening.
This, of course, will necessitate a long exposure,
Common Furple Violets.
and we must take our chances that the wind will
not move the flowers during it, for every flower
of the group should always be in perfectly sharp
focus, and also as much of the surroundings as
it is possible to have. It can readily be seen
that a day upon which there is any wind is a
poor one for this work, and those flowers whose
264 Photography for the Sportsman Naturalist
growth is not particularly sturdy, had best not be
attempted except on an absolutely calm day.
Flowers should never be photographed in the
bright sunlight, for the glaring light of the sun
causes too contrasty a picture with a consequent
loss of much of the delicate detail that helps to
make it beautiful. If they are not already grow-
ing in the shade, then they must be shaded dur-
ing the exposure, and care must be taken that
this shade extends over the entire field covered
by the lens; otherwise, with a normal exposure
for the shaded parts, that part not shaded will
be overexposed.
Never attempt to make the image so big that
it will occupy too much of the plate. It must
be large enough to show distinctly in detail,
but small enough to allow its surroundings to
show plainly and sufficiently for one to tell at a
glance in just what kind of a situation it was
growing. If you attempt to photograph it life
size, unless the flower is a very small one, you
will find that the image will not only be consid-
erably distorted, owing to the foreshortened view
which you must take of the plant, but that it will
be almost impossible to get any of the back-
ground or surroundings in focus, and, conse-
quently, much of the value and beauty of your
picture will be lost.
In this line of work there are many chances for
Photographing Wild Flowers 265
beautiful effects. A field of blue flag makes a
picture that may always be admired, as does also
a field or group of wild carrots or daisies. Ferns
are most excellent subjects, and, from the softness
and grace of their outline and the masses in which
Bank of Christmas Ferns.
they grow, they lend themselves most admirably
to the making of artistic pictures.
The flower photographer who would make a
really beautiful and valuable collection of nega-
tives cannot afford to pass by anything, not even
the meanest and lowliest of the “ weeds.” I have
photographed flowers on the edges of roadways,
where I had first to shake the dust from them,
266 Photography for the Sportsman Naturalist
because it happened to be the best group of that
flower which I had seen. I have photographed
them in swamps, standing to my knees in water.
I have photographed them in ponds and creeks,
where I had to do my focussing from a boat and
stand my tripod in the water, lengthening the
legs so that they could reach bottom. I have
photographed them in the deepest, darkest woods,
Indian Pipes.
in fields, salt marshes, dry woodlands, in fact
everywhere; but I have never yet passed by a
flower because of its insignificance, and I have
found that some of those that appeared, at first
sight, to have very few artistic possibilities, made
some of the best pictures.
If we are working to get together a collection
of flower negatives that will have value, we should
photograph everything in plant life,and not only
Photographing Wild Flowers 267
singly, but in groups. We should photograph the
flowers that grow in colonies, showing them thus;
and we should photograph individual specimens
at different times, showing the manner of their
growth and condition at the various stages.
All of these things are of interest and scientific
value, and we should never consider time wasted
that is spent in obtaining the best possible results
along these lines.
CHARTER XV
PHOTOGRAPHING TREES, FUNGI, ETC.
Tue photography of trees is a delightful pas-
time and can be accomplished along much the
same lines as flower photography; in fact, the two
pursuits are almost inseparable, and may be
worked together with ease and to our advantage,
for they intermingle. Some of the most beautiful
flowers grow upon trees, and, in order to show
them in their natural position, obviously the tree
must be taken into consideration; and so the
photographing of trees must be closely connected
with outdoor flower work.
There is much to be gained by a study of tree
forms, and more especially twig and branch forms,
in connection with their decorative value. There
is more that can be done in the way of decora-
tive photography with a blossom-covered branch,
if we know how to use it, than with any other one
thing, and even the bare branches themselves
must not be despised, for they have much of beauty
in them.
Many photographers complain that in the winter
there is nothing that can be done along their lines,
but it need not be so with the photographer who
268
Photographing Trees, Fungi, etc. 269
White Birch in Winter.
realizes the beauty and individuality of the trees
and shrubs in their leafless condition, and I am
not alone in the opinion that the winter garb of
the trees is by far the most interesting.
270 Photography for the Sportsman Naturalist
A most instructive series of photographs can be
made by photographing the tree, not only in its
summer and winter garb, and this proves more
interesting when done with the same tree, but
also its trunk at
close ham ce
showing detail
of the bark, and
the leaf-buds,
flowers, fruit, and
leaves, as nearly
life size as possi-
ble. These latter
should be done
indoors and more
properly come
under the head
of the preceding
chapter than this.
In photograph-
Inge thewentire
tree, either in
summer or winter, we should always select one
that is entirely typical and well branched, not one
that is in any way misshapen, unless this is done
for some particular purpose. Also, it should be a
tree that stands well out from its fellows, so that
it may show in the photograph without any
detracting features.
Trunk of Red Cedar.
Photographing Trees, Fungi, etc. me
In summer-tree photography, the main trouble
is again, as with the flowers, the wind; for when
one can feel not the slightest zephyr from his
station on the ground there seems to be always
enough air stirring in the upper currents to cause
the topmost twigs and branches to sway. It is
worth while noting that after a sharp blow of two
or three minutes’ duration there is almost always
a lull, and, if we are on the constant lookout, we
may catch the tree, during this small period, when
the leaves are sufficiently still for the short time
necessary for the exposure.
This question of exposure is again entirely de-
pendent upon many things, principally the light;
but usually, with a near-by tree, a quarter of a
second is amply sufficient unless we are using
the ray filter, which is never necessary in this
work. Of course, we will be forced on occasions
to stop down our lens somewhat, in order to get
the whole tree in sharp focus, and we naturally
must take this into consideration when judging
the length of exposure to be given. Certainly it
is always best to have an accurately timed expos-
ure; but here, as with the flowers, it is better to
err on the side of over than under exposure.
The work should be done either in the early
morning or late afternoon, never in the middle of
the day, for the sun directly overhead gives a very
poor light for this work. We must remember
272 Photography for the Sportsman Naturalist
that, in order to get all the detail in the foliage
that is possible, the light must be falling dzrectly
znto it, not striking it from the side; and, also,
that a photograph taken directly against the source
Locust Blossoms.
of light shows nothing of the soliage but a mass
of black, no matter what length of exposure may
be given in the attempt to overcome this. So we
must always have the sun at our back in order to
obtain good results, and the nearer it is to the
horizon the better, for then there is little chance
Photographing Trees, Fungi, etc. 273
of any deep masses of shadow in the foliage.
The very best pictures of trees can be obtained
on days when the sun is slightly obscured, and
should there be light clouds in the sky it is
always best to wait until one crosses the sun
before making the exposure. The light then is
sufficiently intense for all purposes and it will
give no hard contrasts.
We must use the non-halation plate, for that is
the only one that will reproduce perfectly the deli-
cate outline of the upper branches and prevent the
blurring of halation, caused by the bright back-
ground of sky, which is always a disagreeable
feature of this kind of a negative made on the
ordinary plate. If we had rather do it, we can
“back” an ordinary plate which gives it the non-
halation properties. This consists in painting the
back of the plate with a preparation that is sold by
all photographic dealers. This “backing” must,
of course, be done in the dark room and washed
off again, before development, in clean water.
Care must be exercised, when putting it on, not
to allow it to run over the edges of the plate on to
the film side. Many people prefer these backed
plates to the regular non-halation, but they are
considerable trouble, and I cannot see that they
give any better results.
It is important, however, that we use one of
these two plates, as one can soon discover for
T
274 Photography for the Sportsman Naturalist
himself if he will make two negatives of the
same tree, one on the ordinary plate without
the “backing” and the other on the non-halation
Spruce Cones.
or the backed plate. If we use the plate combin-
ing the qualities of non-halation with those of
orthochromatism, we will obtain the best possible
results,
Photographing Trees, Fungi, etc. 275
The camera should be the long-focus type with
both the rising and falling front and the swing-
back. We will find both of these adjuncts neces-
sary, in order to get the full image of the tree on
the plate and to keep that image from having the
appearance of falling over, which will happen when
the camera is tilted upward without the compen-
sating aid of the swing-back.
As for the lens, the one we use for flower
work will answer every purpose, although the
best results can probably be obtained by the use
of a wide angle, as this lens will give more promi-
nence to the main object, and allow the rest of
the background to diminish in size and impor-
tance without being too much out of focus.
Naturally, a large camera is best for this work,
and I should advise nothing smaller than a six
and a half by eight and a half, and an eight by
ten is even better. The smaller sizes show the
detail so very minute, that the pictures made by
them are of very little value either pictorially or
scientifically.
In photographing the flowers, fruit, leaves, etc.,
the work is, of course, similar to that with the cut
flowers, and so the directions given in the last
chapter can be followed here. In photographing
the trunk we should get near enough to it to show
clearly the detail of the bark, but not so near as
to entirely exclude the first branches of the tree.
276 Photography for the Sportsman Naturalist
Blossoms of American Chestnut.
No patches of sunshine should fall through the
foliage upon the trunk, for this gives a very dis-
agreeable spotty appearance to the picture,
Photographing Trees, Fungi, etc. 27
In photographing the fungi we come to the
easiest branch of all nature work, and, for that
very reason, the most satisfactory so far as results
are concerned ; for, if we do not get a good nega-
tive with every exposure, then it is our own fault.
There is a great diversity of form in the Fungi
family, from the mould on our bread and cheese
to the large “ toadstools,” some of them over a foot
in breadth. In this family, however, are many
members whose forms, markings, and coloring are
exceedingly striking and beautiful, and exquisite
photographs can be made of them with a little care.
The Clavarias, or coral fungi, make most excel-
lent subjects from a point of beauty, as do also
many of the genus Pleurotus, and there are great
numbers of others, notably the Amanitas, whose
beauty must not, nor can it be, overlooked. The
hunt for the different species is most enjoyable,
taking one, as it does, to those parts of the woods
that would never be visited by him otherwise, for
many of them grow in grewsome places. From
this fact the “toadstools,” as the larger growths
are commonly called, have long been considered
as a kind of uncanny growth, all of them poison-
ous except the species ordinarily used as an article
of food and which, by most people, is the only one
giventhename of “mushroom.” In point of fact this
distinction between the “mushrooms” and “ toad-
stools” has no scientific basis. They are all one
278 Photography for the Sportsman Naturalist
or the other as you like, and many of the so-called
“toadstools” are not only edible, but much more
delicious in taste than the ones ordinarily eaten. It
is better, however, that any one not well acquainted
with them should stick to the well-known species
Mushrooms.
Photographed as growing.
when gathering them for the table, for many of
them do secrete a virulent poison, and it 1s dan-
gerous to experiment with them.
Fungi grow not only in the ‘grewsome, dank
woods, however, but are to be found everywhere;
and the mushroom hunter must look for them in
every imaginable locality. Moreover, if we would
Photographing Trees, Fungi, etc. 279
make a good series of their photographs, we must
be constantly on the outlook for them, for they
are extremely short-lived, some even springing up,
attaining their full growth, and sinking down into
a mass of decay, all in the course of a few hours.
The early morning is the best time to look for
them, for then they are in the most perfect condi-
tion and, if picked, will remain fresh for some
time. If we wish to carry them home with us
in order to photograph them indoors, this may
be done; but they must be removed with a goodly
quantity of the earth which surrounds them, or
the bark of the tree, or whatever other substance
they may be attached to, so that the true nature
of their growth and surroundings may be ac-
curately shown. It is not at all necessary or
advisable, however, to remove them from their
natural situation, for they are not easily affected
by the wind, and exposures of any length of time
may be made upon them, as they stand, without
any danger of their moving.
The orthochromatic plate should be used, and,
with the more highly colored ones, it is well also
to use the color screen. The short tripod is
necessary, Or we can sometimes get even better
results by placing the camera flat on the ground;
but, in doing this, care must naturally be used
not to move it after the focus has been made.
It is sometimes a good idea to lay one of the
280 Photography for the Sportsman Naturalist
mushrooms of the group we are photographing
flat on the ground, as if it had fallen over, so
that its under side may be shown, for it is the
gills of a mushroom that often aid materially in
its identification, and so it is better, when possible,
to have them show distinctly.
Some object, such as an acorn, a leaf, or anything
of the sort that would naturally be found on the
ground, should be placed by the side of them, so
as to give some accurate idea of their size.
If we are going into the purely scientific side
of this branch of photography, then we should
also make sectional views of them, in order to show
the inner construction and the manner in which
the gills are attached to the cap; but I do not think
that many of my readers will care to do this.
As in the outdoor photography of flowers, the
image of the mushroom, or whatever variety of
fungi you are photographing, should not be made
so large that its surroundings will not show clearly,
for it is important that the picture should show
the nature of the situation in which the specimen
was found.
Above all, learn your fungi before you photo-
graph them; for a picture of a mushroom will not
alone determine its species and it is important
that you should know each species that you
photograph and label the picture correctly, other-
wise it will have no scientific value,
Clabave Iai Oil
PHOTOGRAPHING IN THE ZOOS
Wuite the photographing of wild animals in
captivity cannot be compared to photograph-
ing the same animals in their native haunts so
far as pleasure and excitement are concerned,
still there is no better place to work for obtain-
ing really excellent pictures of the animals or
birds themselves than in a modern, up-to-date
zoological garden. It is a good place to learn
how to photograph the wild things, and I should
advise a beginner to first try his hand on the
inmates of some Zoo before starting out to do
work in the field. By so doing he will learn
many things that will be of immense service to
him, and even the small Zoo in Central Park is
a good place to commence to learn these things.
It must not be imagined, however, that all is plain
sailing even in the Zoos, for if you set out with
the idea that you can snap right and left and
get a picture at every snap, you will be most
wofully disappointed.
The Bronx Zoélogical Park in New York and
the Washington National Zoo are two ideal
281
282 Photography for the Sportsman Naturalist
places for obtaining most excellent pictures, and
yet even in these places the difficulties are many.
If one does not object to having the bars of
the cage or fence showing between his subject
and himself, then things are comparatively plain
sailing; but to obtain really first-class pictures
that will show the animal in characteristic at-
titudes without the introduction of any disturb-
ing features that prove it to be in captivity, is
not so easy, as any one will soon learn when he
tries it.
One of the great difficulties is that the animals
are usually too tame and, either from curiosity or
a wish to make friends with you, will come close
to the bars the instant you approach and will
stay there no matter how much you attempt to
drive them away. I remember once trying to
obtain the photograph of the head only of a
full-grown lion cub in the Bronx Zoo, which I
wished for a particular purpose. There were
four of them in the cage, and as I approached
they were all lying down, two at just the right
distance from the bars to enable me to get the
picture the exact size I wanted. As I came up
to the cage, however, and prepared to make an
exposure, they all jumped to their feet and
crowded close to the bars of the cage where I
stood. I think this was actuated both by curi-
osity and friendship, for they tried to make me
‘uo Jo peeH
283
the Zoos
ing in
Photograph
284 Photography for the Sportsman Naturalist
play with them and at the same time they seemed
to be somewhat in doubt about the camera. It
took me over an hour to get any one of them
to move far enough away from the bars to enable
me to make the shot that I wanted,and that was
the only one that I obtained. Luckily it turned
out fairly well, so I was not disappointed.
The wolves, too, acted in much the same man-
ner, insisting on having their heads scratched or
sticking their noses through the bars to lick my
hand. Going inside the cage does not mend
matters much, as they crowd around so closely
as to make it impossible to do anything.
The animals that are more wild are easier sub-
jects, for, even though they may refuse to come
near enough for you to use an ordinary lens, still
fine pictures may be obtained with the telephoto,
and even if the ordinary lens is used and the
resulting image very small it can always be en-
larged, provided it is sharp enough in detail.
But the animals that insist on coming close to
the bars to be petted, and especially those that
try to examine the camera by sticking their paws
through the bars and making dabs at it, are the
ones that try your patience.
The use of a tripod camera in the Zoos is sel-
dom necessary, except when using a telephoto
lens, and is most disheartening ; and I should never
advise its use. With the reflex or the twin lens
Photographing in the Zoos 285
very excellent results can be obtained, and even
with a kodak, provided the lens is a fast one,
some good work may be done.
Most of my work in the Zoos has been done with
a five by seven reflex camera, fitted witha very fast
lens made to cover an eight by ten plate. By the
use of so large a lens I obtain greater illumination
and greater length of focus, allowing me to obtain
larger images of my subjects than I could with
a shorter focus lens. With this outfit I have
taken pictures practically indoors with the tenth
of a second exposure, that, while being some-
what underexposed, were, by careful development,
made into good printing negatives. Of course
when working in the bright sunlight such a rapid
lens is unnecessary, but it can always be stopped
down and will then give greater definition and
depth of field. Moreover, in work in the Zoos
one can never tell under what conditions of light-
ing he will be forced to take his pictures, and it is
always well to be supplied with a lens that will
allow you the maximum speed of exposure.
The three most essential points to be con-
sidered are: first, the pose of the animal, one
characteristic of the species being of the most im-
portance; second, the surroundings, which should
always be natural and with no disturbing element,
such as a fence or other sign of civilization, in the
picture, if this can be avoided; and third, the
286 Photography for the Sportsman Naturalist
light. This is of considerable importance, for the
careful distribution of light and shade means much
to the success of the picture. Very strong sunlight
should usually be avoided, especially with very
light-colored subjects. White birds or animals are
best photographed against the light, or at least in a
Snowy Herons.
very much diffused light, for in the direct rays of
the sun much of the delicate details of their plu-
mage is lost, and often they will even reflect the
light to such an extent as to cause halation on the
plate anda consequent poor negative. Dark birds
or animals naturally require all the light directly
upon them that is possible. So it is always well, if
we would obtain really excellent results, to care-
Photographing in the Zoos 287
fully study all the details. One can usually take
his time when photographing the wild things in
captivity, and so we can afford to be much more
careful in our selection of pose, surroundings, and
lighting than when working in the open. So it is
that for really good pictures of the animals them-
selves there is no place where better work can be
done than in the Zoos.
Should we find it impossible to eliminate all the
disturbing elements from the picture, we can often
get rid of them by careful manipulation of the
negatives after development. The knowledge
of how to do this most effectively will come as
we become better acquainted with the different
processes of photography. If no other method
will serve to do this properly, we can always gain
our end by double printing, which consists of
blocking out the main object on the original plate
and printing it with the background from another
negative. This often gives very pleasing results,
but is rather a delicate process and must be done
carefully in order to keep the correct propor-
tion of things and to avoid having the animal over-
lap the background or vwzce versa.
The bars of the fence or cage which are between
you and your subject need never bea serious men-
ace, aS you can always hold your camera close
enough to them with the lens pointing between
them to keep them from showing in the picture.
288 Photography for the Sportsman Naturalist
Work on domestic animals, too, is not without
its full quota of pleasure and interest as well as
benefit. It is remarkable how few really good
Head of White-tailed Deer.
pictures of our domestic animals there are obtain-
able, as I have had occasion to find out. One is
apt to think this work too easy, but let me assure
you that it is not quite so easy as it would seem,
and a good series of pictures of our cattle, horses,
Photographing in the Zoos 289
sheep, dogs, cats, chickens, etc., would be a valu-
able addition to any one’s collection of pictures of
animal life.
One cannot always afford the time to take long
trips afield after the wild animals, but there is
always time for one to spend a day now and then
among the dumb inhabitants of a farm or in a
zoological park, and should he work carefully,
with patience and some forethought, he can obtain
long series of not only entertaining and beautiful
but really valuable pictures.
Cats and kittens make most delightful subjects,
for their attitudes are innumerable and in every one
they are interesting. Dogs also make interesting
subjects, and are not always easy to photograph,
for they are so constantly on the move that it is
often difficult to snap them. Here again the reflex
camera is invaluable, for it is almost impossible to
do any good work on these animals with a tripod
outfit.
One never realizes what remarkable and as-
tonishing positions the feet of a horse, in full
trotting or running action, assume, until he has
seen a picture of one taken under such conditions.
To take such a photograph, naturally, necessitates
the use of the strongest light, the fastest plate,
and the quickest shutter, for, with a horse at full
speed, an exposure of z,j59 part of a second is
necessary in order to entirely stop motion, or, in
U
290 Photography for the Sportsman Naturalist
other words, that the image may not be blurred.
So here the reflex is an absolute necessity. These
negatives must be treated for under exposure, as
such they will undoubtedly be, and may even re-
quire intensification afterward; but if carefully
White Pelican.
developed, in a stand bath, they can be made of
excellent printing quality and make exceedingly
interesting studies.
Cows, swine, the domestic fowl, donkeys and
mules, and the gentle sheep, all make excellent
subjects for the naturalist photographer, although
Photographing in the Zoos 291
I regret to say that the last have already been
somewhat overdone in the so-called “ pictorial ”
efforts which are foisted upon an unsuspecting
and overgenerous public by some of our “artist
photographers.” Good photographs of them are,
however, not so common.
I have made this chapter a comparatively short
one, for many of my readers may think that it
does not rightly belong in a book which treats
of the photography of nature. Their idea is an
entirely erroneous one, however, for a photograph
of any animal, whether it be wild or tame, show-
ing it in any natural and characteristic attitude, is
of value, and our familiarity with the subjects
should not lead us into contempt for them from a
photographic standpoint. I am, if anything, a
nature photographer, doing that to the almost
exclusion of other work, and yet I do not consider
it beneath my dignity to photograph the domestic
animals, and I can find great pleasure and profit
from a day spent with my camera in the Zoo. If
many of the men who would enter nature work
would first try themselves out, so to speak, on the
animals that are comparatively easy to photograph,
they would find themselves better fitted for the
work which they have before them.
CHAPTER XVII
PHOTOGRAPHY IN CAMP AND WOODS
Trophies.
Photograph by F. M. Hale.
For the sportsman who
wishes to take a camera into
the woods with him for the
purpose of obtaining simply
pleasing records, in the way
of photographs, of the camp
life and incidents of the
chase, I will say a few words.
There is much that can be
done in the woods with a
camera, many pictures of
both beauty and interest that
can be taken, by any one
who does not care to spend
the time, patience, and energy
necessary to the photograph-
ing of the wild life. A series
of pictures of the life in the
camp and on the trail, of the quarry taken and the
manner of taking it, are easy to obtain and prove
most interesting trophies, and which can be
looked at again and again with much pleasure
202
Photography in Camp and Woods — 293
both to yourself and your friends during the long °
days between times when you must live over in
retrospection the pleasures of the days and nights
spent in the woods.
Hitting the Trail.
Photograph by S. D. Dixon.
Moreover, the apparatus necessary to obtain
these pictures need not be either extensive or ex-
pensive, and the knowledge required is merely
that of knowing how to use your camera.
The style and size of the camera to be used
must depend entirely upon the desires of the
294 Photography for the Sportsman Naturalist
sportsman. I should advise the use of one not
larger than four by five, as this size is more easily
handled, is much lighter, and takes up less room
in the pack than any larger size and, what is often
well to take into consideration, is much less costly,
both in the original expense and in the making of
the pictures. A four by five makes a most con-
venient size of picture for keeping in an album,
and should you wish to have any particular pic-
ture somewhat larger for framing or other purpose,
it can very easily be enlarged to any desired size
with no loss of detail or beauty, provided the orig-
inal is properly taken. On the other hand, I
should not advise the use of anything smaller
than this, for the resulting pictures are so very
small if, for instance, one of the smaller pocket
kodaks is used, that, while it is all sharp and clear,
the detail is so minute as to require a magnifying
glass to properly see the picture, and when it is
enlarged to a respectable size it is apt to be more
or less fuzzy and indistinct.
While for work on animals or birds, flowers,
etc, I always, invariably, advocate the use of
plates, in this kind of photography I think that
films are just as good, —if not, indeed, preferable.
They have the advantages over plates of being
less bulky, much lighter, not breakable, and much
more easily handled, and, when the roll films or the
film pack are used, they require no dark room for
Photography in Camp and Woods 295
their insertion in the camera or removal there-
from. Moreover, since the advent of the non-
curling, orthochromatic films, about the only
thing that can be said against them is that
they have not quite the fineness of grain of a
plate; but for ordinary work they are, in every
respect, the equal of a plate except that they
are somewhat more expensive.
Of course, if one wishes to spend the amount
necessary, I should advise the use of a tripod
camera with a high-grade lens. The lens need
not be one of the very fastest; indeed, this is not
advisable, for here depth of field is preferable to
great speed and therefore a lens working at about
F.6.5 is plenty fast enough. If you do not care
to make much of an outlay on your outfit, then
there is no better camera made for this pur-
pose than one of the four by five folding kodaks
made by the Eastman Company. It can be used
either on a tripod, or other stationary stand, for
time exposures or in the hand for snap shots, and
while it cannot be used to photograph objects
nearer than about six feet, still this is no serious
drawback, as it is seldom that one will care to
make so large an image of anything. The lens
that is sold with the camera is a good one for
ordinary work, though, if we should wish for
one with greater speed, any make can be fitted
to it.
296 Photography for the Sportsman Naturalist
A Temporary Shack.
Photograph by S, D. Dixon.
Photography in Camp and Woods 297
It is well, if we are to depend upon the focus-
sing scale on these cameras, to test that scale when
we first buy one in order to be sure that it registers
correctly, else
we may find all
our results out
of focus and
fuzzy. This
can be readily
ascertained by
focussing upon
a piece of white
paper, with
heavy black
letters printed
upon it at the
different dis-
tances, as
marked upon
the scale, and
noting if the
distance at
which a sharp
Whipping a Mountain Stream.
Photograph by S. D. Dixon.
image is obtained corresponds to the figures upon
the scale. These scales are usually carefully tested
before leaving the factory, but occasionally one
is found that has been put on carelessly and is,
in consequence, out of register. Also, if we are
intending to rely to any extent upon the view
298 Photography for the Sportsman Naturalist
finder, we must be sure that it shows the view
exactly as it will appear in the negative. This
can be determined by making an exposure and,
after development, comparing it with the view
as it appears in the finder from exactly the same
point from which the negative was taken. By
these simple preliminary precautions much future
annoyance may be avoided.
If only one camera is to be used, the reflex of
course is out of the question; for much of the work
will necessarily be done in the shade of the deeper
woods, where an instantaneous exposure is imprac-
ticable and, therefore, the reflex would be useless.
Successful photography in the woods is not
entirely an easy matter, as the play of light and
shadow makes exposures uncertain. This matter
of exposure is one that it is extremely difficult to
give any definite advice about, as it so entirely
depends upon the varying conditions of light.
There are many exposure metres upon the market
designed to aid the photographer in this respect,
but none of them that I know of are infallible.
In a little book, published by the Eastman Com-
pany, Mr. Frank M. Steadman describes a system
by which exposures may be simply approximated
with considerable exactness under almost any
ordinary circumstances. While this system has
been received with some ridicule, it is still most
excellent for any ordinary landscape, view, or
Photography in Camp and Woods 299
interior work, and if the beginner would learn
and follow it, he would avoid many failures that
are bound to occur when he depends entirely
upon his own judgment in the matter of exposures.
One thing we must remember in wood photog-
raphy: always expose for the deeper shadows
and let the high lights
take care of them-
selves. By this I mean
give enough exposure
to bring out the detail
in the places that are
ihe “most deeply
shaded, and if those
parts that are in the
strongest light prove
to be overexposed, the
negative must be doc-
tored either during or
after development. Oe eee er
Light aa the arenes Photograph by F. M. Hale.
is often deceptive, appearing to be much stronger
than it really is, so if you are not certain of the
length of exposure that should be given, it is a
good rule to always give a little more than you
think to be right, for an overexposed plate, if
properly treated in development, gives a much
better negative than one that is underexposed.
But, after all is said and done, the best advice
300 Photography for the Sportsman Naturalist
that can be given is: learn to know your lens
under all conditions and then you will make but
few errors, and this can only be accomplished by
repeatedly experimenting with it.
Of course it must always be remembered that
the length of exposure increases in accordance
Bringing in the Quarry.
Photograph by F. M. Hale.
with the diminishing in the size of the stop used
in the lens, and there are few lenses that can be
used at anything but the largest aperture for an
instantaneous exposure. And, by the way, never
try to take a snap shot in the shadow of the
woods, for the result will be worthless from under
exposure unless you are using one of the very
fastest lenses.
Photography in Camp and Woods — 301
Gray-day pictures often give pleasing results,
and sometimes the light, in the open, on a cloudy
day, is sufficiently strong for rapid work. In the
shadow of the woods, however, on such a day the
q
IF
A Fair Shot.
Photograph by F. M. Hale.
light is apt to be very dull, and if we attempt to
do any work under such conditions, exposures of
at least two or three seconds must be given. It
is best, however, to do such work on a bright day,
as the play of light and shadow often proves to
be one of the chief beauties in a woodland scene.
302 Photography for the Sportsman Naturalist
If a portion of sky is included in a picture,
always remember that the beauty of that picture
will be greatly enhanced if we wait for an oppor-
tunity to get some clouds in the sky, for a glaring
white sky invariably spoils what might otherwise
be a very pleasing effect.
Many otherwise good woodland views are often
marred, if not entirely ruined, by improper
lighting. It is the generally preconceived idea of
most beginners that the sun should be shining
directly in the direction that the picture is taken
and that the angle of the sun’s rays and the point
of sight through the lens should be, at the most,
but a few degrees apart. As a matter of fact this
is all entirely wrong, and the pictures thus ob-
tained are never so satisfactory as they might be.
Depth of prospective is best shown through the
medium of shading, and this is best obtained by
so placing the camera as to bring the sun from
forty-five to sixty degrees from the point of sight.
This causes the shadows of the trees to fall at
right angles to or slightly pointing toward the
camera and gives a realistic charm to the picture
that can be obtained in no other way. Of course,
the middle of the day is a bad time for forest
photography, for, the sun being directly overhead,
the lighting is exceedingly flat. Early morning
or late afternoon, when the shadows are long, is
the best time.
Photography in Camp and Woods — 303
Most pleasing pictures can frequently be made
directly against the sun, but in doing this one
must be careful that the sun’s direct rays do not
enter the lens.
One cannot be too careful in selecting the point
of view for a scene of any kind, and it is here that
one’s artistic ability shows itself. There is a pic-
ture in every scene if we but know how to find
it, and whether we make good or bad pictures
depends entirely upon our artistic judgment.
INDEX
Acetone sulphite, 53.
Agfa intensifier, 61.
Amanitas, genus of fungi, 277.
Angle of view of lens, see Lens.
Anglewings, 204, 205.
Apparatus for field work —
Ball and socket clamp, 91.
Camera, 85-86.
Camera stand, 91.
Changing bag, 89.
Color screen, 100.
Cut film, 100, 101.
Developing tent, 96, 97.
Focussing work, 94, 95.
General suggestions, $1-85.
Lens, 91-93.
Minor accessories, 94-96.
Plates, 98-100, 101.
Quantity and weight, 85.
Ray filter, 100.
Shutters, 93-94.
Sundries, 97-98.
Tripod, go.
Aquatic life, photographing of, see
Fish and other forms of
aquatic life.
Artificial tree trunks, 171, 173.
Background of picture, 64, 65.
Backus, W. H., quoted as to rattle-
snake
camera, 232-235.
hunting
x
with
305
Bath, acid, 53.
Hypo, 52, 53-
Beaver, 137.
Birds and young, photographing —
As a pursuit, 160-162.
Best time for, 162-164.
By means of decoys, 182-184.
By means of flash-light, 187.
By use of artificial tree trunk,
171, 173.
By use of bait, 184-186.
Effect of fear of man, 164-167.
Nesting site, change of, 175-177.
Obstacles to success, 166-169.
Old birds, 181, 182, 186, 187, 188.
Quickness always essential, 188.
Scientific value of, 162.
When young are ready to leave
nest, 177-150,
With young birds in nest, 170,
171, 173-175.
Birds’ nests, photographing —
Arrangement of
140-141.
Artistic possibilities, 138-139.
“ Cave-dwellers’” nests, 157, 158.
Cliff breeders’ nests, 158.
Exposure, suggestions concern-
ing, 144.
Ground-builders’ nests, 142-146.
Ideal day for, 145.
In situ, 139.
surroundings,
306
Birds’ nests, photographing [con-
tinued | —
Mirror, use of, 145, 146.
Near the ground —
Focussing, 148.
Lighting and arrangement,
147, 148-151.
Outfit for, 141-142.
Placing of camera, 146, 147.
Position of nest, 139-140.
Preservation of nests, 159.
Sandpiper’s nest, 142.
Size of image, I51.
Tree-builders’ nests —
Opening of, 156.
Preliminary
151-154.
Removal from site, 154-156.
Telephoto lens, use of, 154.
Blistering, see Bath.
Box tortoise, 241, 242.
Bromide of potassium, 58.
Bronx Zoélogical Park, 281.
Buffalo, disappearance of, 8.
Butterflies, 191, 192-193, 196-202,
204-207.
arrangements,
Camera —
Basic principles, 29.
Enlarging, 64.
For photographing cut flowers,
254.
For use with telephotographic
lens, 71.
Hand, in the woods, 293-295,
297, 298.
Long focus, 275.
“Lying” of, 4.
Micro-photographic, 190, 191.
Modern, briefly described, 31.
“Press the button” type, 32.
Index
Camera [continued | —
Protection of, 122.
Reflex, 32, 34, 113, 127, 289, 298.
In insect photography, 202.
In photographing small mam-
mals, 135.
In reptile photography, 236,
240.
In photographing flying birds,
187.
Selection of, 35.
Thorough acquaintance with,
necessary, 35.
Tripod, 32, 35, 120, 127..
Twin lens, description of, 32-34.
See Nature Photography and
Photography.
Camera obscura, invention and de-
velopment of, 30, 31.
Camps and woods, photography in —
Advantages, 293, 294.
Apparatus, 293-295, 297.
Light and shadow, 298-303.
Caribou, 119.
Carlin, W. E., achievements with a
camera, 106-107, 128-130.
Chapman, F. M., quoted as to bird
photography, 182-184.
Clavarias, 277.
Cleanliness as a factor in photog-
raphy, 51.
Color photography, 4.
Color screen, 254, 255.
Convertible lens, see Lens, modern
double.
22
Copperheads, the, 229.
Coral fungi, see Clavarias,
Coral snake, the, 229, 230, 231.
Corals, see Fish and other forms of
aquatic life.
Cuthbert rookery, the, 189.
Index
Dark room, the, 49-51.
Decoys, 182-184.
Deer, “ flash-light ” pictures of, 116-
118.
Securing photographs of, 112,
113.
Suggestions as to photographing,
119-120.
Developers —
Formulas for, 55.
Metol as a, 55, 56.
Metol and hydrokinone, 57.
Pyro, 54, 55
Developing —
Air bubbles on plate, 52.
Extent of, 56, 57.
Handling of plates, 62.
Intensification, 61.
Orthochromatic plates, 61, 62.
Over exposure, 58, 59.
Reduction of negatives, 59, 60.
Retardation of, 58.
Tank method, 59.
Under exposure, 58, 59.
Diaphragm, see Lens.
Domestic animals, photographing of,
288-291.
Double exposures, 109, 110.
Double printing, 65.
Dugmore, Mr., quoted as to —
A hunting experience, 108-109.
Bird-nest photography, 147, 148.
Changing bag, 89.
Fish photography, 213-215.
Enlargements direct from negatives,
see Negatives.
Entomology, economic importance
of, 207.
Exposure in photographing birds’
nests, 144, 145.
307
Fear of man on part of birds, 164—
167.
Films, 294, 295.
Fish and other forms of aquatic life,
photographing —
Aquarium, 209-211, 213-217.
Camera for, 211-213, 218-221.
Catching and handling fish for,
217, 218, 224.
Early attempts, 208.
Good work, essentials of, 208,
209.
Jellyfish,
Recent progress in,
222-223, 224.
208-209.
Thoroughness, 225, 226.
Flash-light, the, in photographing
adult birds, 187.
In photographing deer, 116-119.
Focal length of a lens, see Lens.
Focus, universal, see Lens.
Focussing on near-by objects, 37.
Formaline, as a plate hardener, 53.
Frilling, see Bath.
Front, rising and falling, 37, 275.
Fungi, 277-280.
Gibson, W. Hamilton, 7.
Gopher, 130.
Great auk, 8.
Hand camera, see Camera.
Hare, the little chief, see
Mountain pika.
Herons, 7.
Hydrokinone, 57.
Hypo, 60.
Bath, 59.
Rocky
Insects, photographing —
Camera suitable for, 195.
From dead specimens, 203.
308
Insects, photographing [coz’d |] —
Importance of, 207.
Indoor work necessary, 195.
Knowledge of entomology de-
sirable, 194, 195.
Need of photographs, 194.
Rearing of insects, 195, 196.
Size of insects a hindrance, 190.
See Butterfly.
Isochromatic plates, see Plates.
Kearton brothers, the, 158, 171.
Kodaks, 294, 295.
Larger animals, photographing —
Apparatus for, 114.
See Apparatus for field work.
Bears, 121.
Camera best adapted for, 113.
Care required, 109, I10,
Caribou, 119.
Compared with shooting, 107-
109.
Deer, 114, 115, 116, 117, 119-120, |
With flash-light, 116-119.
Lenses for, 113, 114.
Lynx, 115.
Methods discussed, 110-113.
Natural attitude, importance of
securing, 122.
Notable achievements, 103-107.
Obstacles to success, 102-103.
Orthochromatic plates, 121, 122.
Outfit, protection of, 122.
Rocky Mountain sheep, 121.
Watchfulness necessary, 114-116.
Lens —
Age, effect of, 45.
Anastigmatic and
compared, 43, 44.
Angle of view, 42.
rectilinear |
Index
Lens [continaed | —
Care of, 44-46.
Diaphragms (stops), 40-41.
Field, depth of, 4o.
Focal length, 38, 39.
Focus, depth of, 40.
Universal, 39.
Focussing of, 44.
For nature work, 42-43.
Functions of, 38.
Marking systems, 41, 42.
Modern double, 38.
More than one desirable, 43.
Pieces of, 43.
Principles of, 38.
Selection of, 42-43, 44.
Speed of, 41, 42.
“ Stops” (diaphragms), 40-41.
Testing of, 46.
When necessary, 37.
Marking lenses, see Lens.
Matteson, Sumner W., 231, 232.
Metol, as a developer, 55, 56.
Mice, 136, 137.
Mirror, use of, in photographing
birds’ nests, 145, 146, 157.
Moccasin, the, 229.
Moles, 136.
Moths, see Butterflies.
Mushrooms, see Fungi.
Nature photography —
Amateurish methods, 9-11.
As a means of studying nature.
4-6.
Compared with drawing, 12.
Deceptions attempted, 12.
Details, accuracy in, 13.
Difficulties in, 16, 17.
Effect of, on iliustrating, 3, 4.
Index 309
Nature photography [cond] —
Field for, in other countries, 28.
In America, 28.
Focus, sharpness of, 44.
History of, briefly discussed, 1-3.
Negatives, chances of success
with, 17, 18.
Qualities making for the best
work, 15, 16.
Requirements and results, 18.
Scientific value of, 6-8.
Scope, 4.
Serious work necessary, 9.
Negatives —
Density of, reduced, 59-61.
Development, 56, 57.
Elimination of hypo, 54.
Enlargement, 64.
Handling in development, 62.
Intensifying of, 61.
Keeping of large collection, 67,
68.
Local manipulation, 61.
Metol-developed, characteristics
of, 56.
Metol - hydrokinone - developed,
57, 58.
Practical results in use of, 18.
Retouching of, 66.
Washing of, 54.
See Developing.
Niepce, quoted as to his first picture
with a camera, 29.
Non-halation plate, see Plate.
Opaque, 64.
Opossum, 130-131.
Orthochromatic plates, see Plates.
Outfit, protection of, 122.
See Apparatus for field work.
Over exposure, see Developing.
| Papers for printing, 62.
Passenger pigeon, 8.
Photography, cleanliness in, 51,
Gee
Compared with shooting, 21-24,
26-28.
In color, 4.
“ Photo-Miniature,” 64,
Pied duck, 8.
Pinholes in negatives, 51, 52.
Plate hardeners, see Baths.
Plate-holders, 86-89.
Plates, isochromatic, 213, 261.
Non-halation, 273, 274.
Orthochromatic, 121, 122, 202,
212, 213, 254, 279.
Pleuraotus, genus of fungi, 277.
Porcupine, 131-134.
Porta, Baptista, inventor of the
camera obscura, 30, 31.
Portuguese man-of-war, 224.
Printing —
Background, treatment of, 64-
65.
Local, 67.
Negatives, enlarged, 64.
Papers used, 62, 63.
Retouching, 66, 67.
Skill in, importance of, 62.
Spotting out, 67.
Toning, 63.
Printing-out papers, silver, 62.
Protective coloring of smaller ani-
mals, 242.
Pyro developer, the, 54, 55, 56.
Raccoon, 134.
Raptores, food of, 5, 6.
Rattlesnakes, 229, 231-235.
Ray filter, 254, 255.
Reflex camera, see Camera.
4
310
Reptiles, photographing — |
Antipathy to snakes an obstacle,
227-229,
Arrangements for, 235-238.
233-235.
Smaller snakes, lizards, frogs,
etc., 238-241.
Snapping and water turtles, 242.
Value of, 243.
Retouching, 66, 67.
Fluid, 66,
Rocky Mountain pika, 128-129.
Rookeries, water-bird, of Florida,
188-189.
Roosevelt, Theodore,
Rattlesnakes, 232,
on hunting |
with camera compared
with shooting, 24.
Sea-urchins, see Fish and other
forms of aquatic life.
Shrew, the, 136.
Shufeldt, Dr., a pioneer in photo-
graphing living fish, 208.
Shutter —
Care of, 48.
Diaphragm, 46, 47.
Focal plane, 47.
Knowledge of, essential, 48.
Silver papers, 62, 63.
Skunk cabbage, 260, 261.
Smaller mammals, photographing —
Beaver, 137.
Cage, use of, 136.
Chipmunk, 124.
Gopher, 130.
In captivity, 126.
In native haunts, 126.
Knowledge necessary, 123, 137.
Mice, 123, 124-126, 136, 137.
Moles, 136.
Opossum, 130-131.
Index
Smaller mammals, photographing
[continued ] —
Outfit, 135.
Perseverance essential, 135.
Porcupine, 131-134.
Raccoon, 134.
Rocky Mountain pika, 128-129.
Shrew, 136.
Squirrels, 123, 124, 134.
Weasel, 130.
Woodchuck, 130.
Snakes, dangerous and_ harmless,
discussed, 227-231.
Sportsman, term explained, 19, 20.
“Spotting out,” 66, 67.
Squirrels, 134. :
298.
“ Stopping out,” 64, 65.
Stops, see Lens.
Swing-back, 35-37, 262,
Steadman, Frank M.,
275-
| Telephotographic lens —
Advantages of, 73-75, 78.
Capabilities of, 72.
Described, 70.
Enlargement over ordinary lens,
71.
Exposures with, 77, 78.
Focussing of, 71.
Indispensable in nature photog-
raphy, 80.
In photographing birds, 186.
Small mammals, 135.
Tree builders’ nests, 154.
Lenses of, 70, 71.
Precautions in use of, 72, 73.
Reflex, use in the, 78, 80.
Results obtained with, 77.
Shutter for, 73.
Stops on, 73.
See Lens.
Index Baa
Toadstools, see Fungi.
Toning bath, 63.
Trees, fungi, etc., photographing —
Apparatus, 275.
Artistic value of, 268-270.
Light suitable for, 271-273, 276,
Non-halation plate, 273, 274.
Wind an obstacle, 271.
Under exposure of plates, see De-
veloping.
Velox paper, 62.
Wallihan, A. G., 24, 120, 125.
Washington National Zoo, 281,
Weasel, 130.
Wild animals, effect of noise on,
17.
Wild flowers, photographing —
Artistic and scientific value of,
244-247.
Compared with photographing
animal life, 251-253.
Cut flowers —absolute stillness
essential, 250, 251.
Apparatus used, 254, 255.
Wild flowers, photographing [cov-
tinued | —
Arrangement of, 257, 258.
Focussing and exposure, 255-
257s
Indoor work necessary, 250.
Method of work, 253, 254.
Wilting, 247-249.
Flowers growing out of doors —
All flowers available, 265-267.
Image, size of, 264.
Light, regulation of, 264.
Movement an obstacle, 25S-
260.
Specimen and environment
important, 260, 201.
Woodchuck, 130.
Woods, photographing in, see Camps
and woods.
Yellowstone Park, 121.
Zoos, photography in the —
Apparatus for, 284, 285.
Difficulties met with, 281.
Essential points discussed, 285.
Negatives, manipulation of, 287.
THE AMERICAN SPORTSMAN’S
LIBRARY
Edited by CASPAR WHITNEY
Crown 8vo Cloth $2.00 net
SECOND SERIES
THE SPORTING DOG
By JOSEPH A. GRAHAM. With many illustrations from photographs.
AMERICAN YACHTING
By W. P. STEPHENS. With many illustrations by E. A. ScHELL and Carcton T,
CHAPMAN.
THE TROTTING AND THE PACING HORSE
By HAMILTON BUSBEY. With many illustrations from photographs.
LAWN TENNIS AND LACROSSE
By J. PARMLY PARET and WILLIAM HARVEY MADDREN. With many illus-
trations from photographs.
PHOTOGRAPHY FOR THE SPORTSMAN
NATURALIST
By L. W. BROWNELL. With numerous illustrations from photographs.
IN PREPARATION
The American Race Horse, the Running Horse
Rowing and Track Athletics
Skating, Hockey, and Kite Sailing
Baseball and Football
Riding and Driving
THE MACMILLAN COMPANY
66 FIFTH AVENUE, NEW YORK
THE AMERICAN SPORTSMAN’S LIBRARY
Edited by CASPAR WHITNEY
Crown 8vo Cloth Each $2.00 net
THE DEER FAMILY
By THEODORE ROOSEVELT, T.S. VAN DYKE, D. G. ELLIOTT, and A. J.
STONE. With many illustrations by Cart Runaius, and map by Dr. C. Hart
Merriam.
UPLAND GAME BIRDS
By EDWYN SANDYS and T. S. VAN DYKE. With many illustrations by
L. A. Fuertes, A. B. Frost, J. O. NuGent, and C. L. Butt.
SALMON AND TROUT
By DEAN SAGE, W. C. HARRIS, and C. H. TOWNSEND. With many illus-
trations by A. B. Frost and others.
THE WATER-FOWL FAMILY
By LEONARD C. SANFORD, L. B. BISHOP, and T. S. VAN DYKE. With
many illustrations by L. A. Fuertes, A. B. Frost, and C. L. Butt.
BASS, PIKE, PERCH, AND PICKEREL
By JAMES A, HENSHALL, M.D. With many illustrations by Martin Justice
and others.
THE BIG GAME FISHES OF THE UNITED STATES
By CHARLES F. HOLDER. With many illustrations in color by CHARLES F. W.
Mievavz and others.
MUSK-OX, BISON, SHEEP, AND GOAT
By CASPAR WHITNEY, GEORGE BIRD GRINNELL, and OWEN WISTER.
With many illustrations by CARL Runcius and others,
GUNS, AMMUNITION, AND TACKLE
By A. W. MONEY, HORACE KEPHART, W. E. CARLIN, A. L. A. HIMMEL-
WRIGHT, and J. HARRINGTON KEENE
In preparation for early issue
THE BEAR FAMILY
By DR. C. HART MERRIAM. With illustrations by Cart Runotus and others,
COUGAR, WILD CAT, WOLF, AND FOX
THE MACMILLAN COMPANY
66 Fifth Avenue, New York
Eieeere
jess
re8et- :
ae
eae ;
steer:
i
uF
‘s
i
ae
a
it
a
af
sipieltes
3
Be
ar)
Ht
ai
at
dr
Bs
A
ae
Spat
Ey
a
rat
i
ifs tat
i
'
y
i
if
if
a
i
stator
eaate
rit
He eae
it 5 Hertted
Etat ae
be 4 ied
i
ga He
Seats
ae
set
shite
i
fs
(2
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11