The American annual of photography . turning away from the light, asin my other examples (Figures 2 and 4) you will avoid thisdifficulty. It will be seen that in some of these examples (Figures iand 2) the shadows are pretty dark, even the shadows onthe face,, but this is quite as it should be, for, in order toshow the modeling and the shape of the features, we musthave shadow and in bright sunlight the shadows are com-paratively dark, but they must not be empty and solid. It isvery important, therefore, to be sure to give sufficient ex-posure to secure detail and luminosity in the shadows. Af
The American annual of photography . turning away from the light, asin my other examples (Figures 2 and 4) you will avoid thisdifficulty. It will be seen that in some of these examples (Figures iand 2) the shadows are pretty dark, even the shadows onthe face,, but this is quite as it should be, for, in order toshow the modeling and the shape of the features, we musthave shadow and in bright sunlight the shadows are com-paratively dark, but they must not be empty and solid. It isvery important, therefore, to be sure to give sufficient ex-posure to secure detail and luminosity in the shadows. Afully exposed and slightly under developed negative willusually give a better and truer rendering of sunlight than theunder-exposed and over-developed *soot and whitewash pic-tures (as they call them in England) with solid black shadowsand white paper high lights. These snaps of mine had i/50thof a second at with a focal plane shutter and weremade on film packs and on Inst. Iso. plates, both of whichhave the same speed Figure article Summer Memories from the Maine Woods, by Arthur Hammond. 17 A
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyorktennantandw
