The American annual of photography . which thescene has created in your mind when you first viewed it. The amateur is often advised to photograph with the sun athis back, but the finest effects in light and shadow are usuallygained when the camera is pointed more or less directly at thesun. In doing this, the lens is, of course, shielded from thedirect glare, either by using a lens shade or by holding the handor cap to one side and throwing a shadow on the lens. Usuallyit is possible to interpose a tree so that the shadow falls acrossthe lens, for to let the sun shine directly in the camera wi
The American annual of photography . which thescene has created in your mind when you first viewed it. The amateur is often advised to photograph with the sun athis back, but the finest effects in light and shadow are usuallygained when the camera is pointed more or less directly at thesun. In doing this, the lens is, of course, shielded from thedirect glare, either by using a lens shade or by holding the handor cap to one side and throwing a shadow on the lens. Usuallyit is possible to interpose a tree so that the shadow falls acrossthe lens, for to let the sun shine directly in the camera willcause flare and spoil the picture. A good common sense ruleis to try to secure rather broad masses of light and shadowand to avoid the spotty, broken-up effect. The time of day,season and weather all contribute to the effect, and if theamateur will study any scene under these varying conditions hewill acquire more practical information on the subject in a fewvisits to some favorite scene, than he is likely to find in manybooks. 33. THE DORE-TYPE By S. A. SCHWARZ OR a reason quite unknown the Dore-type hasnever reached the high degree of popularitywhich it so well deserves in the world of artisticphotography. In speaking of this limited de-gree of popularity, I am particularly referringto the professional or semi-professional who has chosen theart of the latent image as his walk of life, and who above allhas originality enough to digress from the ordinary beatenpath of the stereotyped photo, and at times travels into therealm of highly artistic productions. The amateur who knowslittle or nothing of this type of photography must of course bepardoned. To him a process spreads an atmosphere of let-it-alone about itself, especially so if it is one which is not fre-quently encountered, and which, from all appearances involvessome very difficult manipulations. My recent experiments inthis particular field of photography have fully convinced methat any one who is familiar with either
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