HOME HANDICRAFT 365
instant the last picture is made, and then you will always be ready for the next picture the instant it presents itself.
Some Exposure Hints
Underexposure is more to be feared than overexposure. In case of doubt between two exposures, give the longer one always.
When the surroundings are unusually bright, such as at the seashore, where sky, sand, and sea reflect great quantities of light, or on shipboard, where the same conditions obtain, make the opening in the lens smaller than for the same snapshots inland.
The same caution should be observed when making views from great heights overlooking a large expanse of country, and on tops of mountains.
When photographing objects close at hand, such as architectural details, the face of a statue, etc., remember that the life and soul of any detail picture are in the transparency of its shadows—and amplify the exposure accordingly. Thus, if a snapshot at the object would make a good picture at a distance of twenty-five feet or more, and you get within five or six feet in order to make a picture showing the detail of a part of it, use a tripod, and a quick "bulb" exposure—perhaps a quarter or a third of a second.
In landscape work, remember that greens and reds and browns "take" dark, and that blues and grays and shiny things —like water with light reflected from it, "take" white or light, and govern your exposures accordingly. In making pictures of people—which are much better made in the shade than in the sun, lengthen the exposure not only because of the decrease of light, but to avoid a contrasty negative which will make eyes seem like black holes in a chalky white face.
With the best intentions in the world, and, so far as that goes, with the best outfit in the world, you will at times make pictures which show distortion. Houses lean backward, statues