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f PHOTOGRAPHIC NOTES.

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f PHOTOGRAPHIC NOTES. (By II Veronica," ) I THE FASCINATION OF PIIOT0GE ^FIIY. A writer in the "Hampshire Post says: "Jf you want to find out what a lot of interesting things there are in We, get a camera. You will realise the fascination of photography directly, an a will wonder whv on earth you never started picture-making before. 1 give this paragraph to my photographic readers in order that they may quote it to Ui-ir friends who are not vet photographers. THE GftiSAT EXHIBITIONS. It s»m8 a long time yet to the end of ember. when th London exhibitions will open, to be fol- lowed bv others in almost all parts of the country. In r>alitv, the time is now very short before tho receiving"days, winch are August 31st for the >'Salon, and .>j[<iember l.-t for the '-Royal." MOUNTING FOlt EXHIBITIONS. Last week I spoke of the reasona why exhibition printj are seldom mounted in the exact centre of the mounting board. Perhaps to-day, « few lines on "multlple" mounting may be useful. Thid method was introduced by the Americans, reduced to an art andsienceby Frederick H. Evans, and taken up rerv generally, even by many people who seem ignorant of Its very first; prfricfples. The rule in multiple mounting ts that no mount should be used ■which is not needed for some definite purpose in refprence to the picture. Brl,a;llv speaking, the rea- son for a big mount is probably that it may compel the spectator to stand fairly well back from the pic- ture, and to view it as a whole, instead of pc-rring into its details. Then, t-he print usually needs some support or conventional eurrounding, to prevent it looking like an isolated lost spot on a wilderness of mount. Any sort of fancy design in objectionable, because it directs attention from the print, and its lines are usuailv out of harmony with the lines of the picture. The multiple mount is so cut that, more or less of an under mount shows around the PdgM of a principle one, and thus we give to the picture a series of bat frames within the principal outer frame. ,The arrangement of the colours and wicithis of these different settings must be left to the taste of the photographer, but. it ia safe to say that generally the colour of the mount nearest to the print should har- monise with the print's own tone, and that all the mounts in a multiple series should be in harmony with each other. Very often one sees a greyish or bluish- toned print, mounted on warm plum-coloured boards, and still more often one sees a series of mounts which includes examples of blues, greens, greys, and browns, without any sort of harmany or consistency. Gene- rally speaking, a brawn-toned print can best be sur- rounded by tints whioh are all variations of cream3 and brown, while the cold-toned prints should have cold greys and blues. Black and wh;te can, of course, be used with either series, but generally speaking, they should be confined to exceedingly narrow bands, so narrow, in fact, as to look more like thAi ruled lines than like breadths of mounts. MORE EXPOSURE DIFFICULTIES. Several of my readers are in difficulty as to exposure, and, generally speaking, the trouble arises from a mis- conception about the "stops," of Siaphragm aperatures of their lenses. Generally speaking, the stope are marked in series, so that each requirt-s double the ex- posure of the next larger, and half the exposure of the next smaller stop. The exposure varies in accor- dance with the square of the diameter of the stops. That is, if with a given lens a half-inch opening re- quires one second exposure, a quarter-inch opening requires not two seconds but four, aid when the open- ing i3 reduced to one-eighth of an inch, the exposure will be sixteen seconds. It is quite a com'u n thing to And an amateur who may be estima^in^ his e.- poduren fairly correctly for the stop F6. vil,o tlinTvS that he requires to stop down 'o F64 n crder t set Correct sharpness, and who will then only give double the exposure that he has been giving for FS. As a toattor of fact, if he has been giving one second at FS, the exposure at F64 should be over a minute. PHOTOGRAPHING LIGHTNING, Probably every photographer knows that the proper way to photograph lightning is by working at night, lacing the camera toward the part of the sky where the lightning is likely to appear, uncovering the plate and uncapping the leiia, tliea waiting for as long as inay be necessary for a flash within the view of the lens. After the flash, the lens is capped or the shutter closed, and the plk.Se is covered in its holder, ready in development later. This method is usually quite satisfactory, and if ono or two flashes of light- ning occur which are not within the field of the lens, they usually only improve the effect by giving some detail to the landscape which will make it into a. suitable setting for the flash that is photographed. Many displays of distant and ''summer" lightning, however, are very deceptive, in that although they appear fairly brilliant to the eye, which has no stan- dard of comparison on a dark evening, they are really very distant and non-actinic, and make no printable eflect upon the plate. In one of the most brilliant lightning displays of last autumn, when the sky was illuminated with an almost continuous sf-rio* of flashes ef great beauty for a couple of hours, a friend of mine exposed a. dozen plates without getting anything more than a scarce printable fog in the best instance. A FOCUSSING SCALE ON THE CAMERA. For lightning photography, the camera should be fo- IfcuMed on "infinity," or, in other words, should be locusseJ so that some distant object is perfectly sharp. One of the difficulties of amateurs who wish to plwto- graph lightning is that when it is dark enough to deal with the lightning successfully, they have no dis- tant obj-ct3 upon which they can see to focuss. To avoid this difflulty, and to meet many circumstances in which it is very useful to have a means of focussing the camera without looking upon the ground glass, every amitteur should arrange on his base board a series of marks to indicate where his different lenses are in focus a.t the infinity point. All that is neces- sary is asingle scrutch Oil one part of the base board which' moves, and a corresponding scratch for each iens usually carried, on the other part of the fcasc

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