. Nature and the camera; how to photograph live birds and their nests; animals, wild and tame; reptiles; insects; fish and other aquatic forms; flowers, trees, and fungi . le acts as sentinel and does nothing toward thesupport of the family, while with others the two shareall the work together, nest-building, incubating, andfeeding the young. PART VI PHOTOGRAPHING YOUNG BIRDS ALONE, BOTH WILD AND TAME Outfit same as Part III, with the addition of a cage-like enclosure of some sort. In this branch of work we find the greatest possibil-ities of making beautiful pictures, as the subject is,or sho
. Nature and the camera; how to photograph live birds and their nests; animals, wild and tame; reptiles; insects; fish and other aquatic forms; flowers, trees, and fungi . le acts as sentinel and does nothing toward thesupport of the family, while with others the two shareall the work together, nest-building, incubating, andfeeding the young. PART VI PHOTOGRAPHING YOUNG BIRDS ALONE, BOTH WILD AND TAME Outfit same as Part III, with the addition of a cage-like enclosure of some sort. In this branch of work we find the greatest possibil-ities of making beautiful pictures, as the subject is,or should be, under control so that we may arrangeour lighting to suit ourselves, and as there is no longerthe necessity for the objectionable instantaneous expo-sure, we can use strong contrasts in the lighting thatwould be impossible with a very short of the most efl^ective arrangements of light, par-ticularly for young birds that are flufl^y, is where thelight comes from above and back of the bird. Forthis sunlight is used, softened slightly by passingthrough wet cheese-cloth or muslin. In this way, ifthe bird faces you, its breast is in shadow, while the. cy. X PHOTOGRAPHING NESTS AND EGGS ^-y sides are brightly lighted and in strong relief. Thebackground should be moderately dark, hut notblack. A perfectly black background is neverartistic (if you will pardon the word) and onlycrudely effective. Publishers like it because it giveswhat they term ** colour to the pages, but nothingcan be harder on a delicately lighted subject, full ofsoft grays, than to force it to stand out with painfulgarishness from a dead black ground. All gradationsof contrasts may be obtained by the use of whitereflecting-cloths, or to a more limited extent by regu-lating the exposure or the developer, rememberingthat an under-exposed plate will give increased con-trast, but that the same effect may be obtained byadding bromide of potash to the developer or byreducing the amount of alkali. On th
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Keywords: ., bookcentury1900, bookdecade1900, bookidnaturecamera, bookyear1902
