HomeMy WebLinkAboutThe Exeter Advocate, 1924-8-21, Page 7PHOTOGRAPHING WATER SCENES
The roast, ve.sele under way, the
waterfront of a seaport town where all
klndt of shipping congregates, furnish
innumerable subjects for the camera
---subjects that can be made into pic-
tures that suggest the majesty of the
sea and the romance of maritime coni
merce. Lakes, rivers, . small streams
and waterfalls also offer enticing sub
jeots:
To make correctly timed negatives
of shore views and shipping you must
remember that the illumination is dif-
ferent from that of the ordinary land-
scape and allow for the fact. In the
summer, scenes around the wharves,
wli9-there are usually strong shad
clue •or dark objects close at hand, re-
quire only about one half as long an
exposure as ordinary landscapes re-
quire. Stretches of open beach, break
-
Ing surf and vessels entirely surround-
ed by water require one quarter the
exposure.
If the shutter of your camera is .not
adjustable to different speeds, you can
obtain a properly timed negative by
using a smaller•size stop when you
photograph any exceptionally well -
lighted subject. The sizes of the stops
are such that each one passes just one
ball as much light as the next larger
one; so, if you have been getting well-
timed landscape negatives with the
largest stop, the next smaller ane
should be used for the ordinary wharf
or waterfront subjeot and the third
one for open beaches and vessels in
open water.
Should you have a shutter that has
several speeds and a diaphragm scale
marked for either the standard "F"
sizes or the Universal System of stop
numbers, the following exposures will
beabout right in these cases: For
views round wharves between 9 a,m.
eine-and 3 pan. in bright summer weather
one fiftieth of a second, stop F 16 (U
S. No. 16) ; for shipping surrounded by
open water, one hundredth of a sec -
end, stop 16.
Those exposures are suitable only
for the extra -rapid plates and films. If
plates or films of the usual speed are
used, stop F (U. S. No. 8) should be
employed instead of F 16. The best
plates for the purpose are the double -
coated non -halation orthochromatic.
Choosing Your Subject.
When a folding camera is used in
bright sunshine negatives are fre-
quently obtained that are fiat and fog
gy because of the direct sunlight or
strong reflected light that falls upon
the front eurface of the lens. Crouse
quently it iswise to make a short
cardboard tube and paint it a dull
b ok inside, It should be made of
a size that it will fit snug over
the lens mount, but it must not be
long enough to cut off any of the view
that the Iens includes. The question
.oan be settled by placing the tube in
position and sighting through the lens
with your eye atone corner of the
back of the camera. The easiest class
,of water scenes to photograph are or-
dinary coast subjects such as a cu-rv-
ing beaoh, a group of rocks by the
water's edge, a small boat hauled up
out of reach of the tide or a fish shan-
ty with perhaps a well-placed figure
or two suitably employed—which does
not mean that they should stare at
the camera. Simple material and lit-
tle of it is the most effective.* Don't
try to include a great expanse of beach
r -or water with nothing of interest in
'\the foreground, for the result will be
:disappointing.
Next to choosing your subject and
your viewpoint intelligently comes
%suitable lighting, When the sun 1s
high overhead objects cast little shad-
ow. Everything is flooded with light,
and a photograph made under such
conditions is flat and monotonous. Aim
to include a fair amount of shadow In
your composition, such as prevails
when the sun is at one side and not
too high. A ray filter, if you know
how to use it, will often improve the
rendering of - a beach scene, particu-
larly if there are light clouds in the
sky, which add to the attractiveness
of the effect. The rayfilter of oourse
requires a longer exposure; the length
of time depends upon the kind of filter
and the kind of plate.
Photographing Vessels.
Like photographing stud, catching
vessels under sail calls for prompt de-
cisions, especially when the subject is
near and moving fast, but a little prac-
tice soon gives confidence. A rather
low viewpoint, usually shows the lines
of a vessel tb the best advantage, and
j(' the feeling of action is most strongly
expressed when the craft is presented
at an angle, either coming toward or
going from the observer. Although a
side lighting givesa good play of light
and shade, you should not overlook the
effeotiveness, of shipping as seen
against the light, .especially when the
sun is low enoughto produce a- shin-
ing path of light upon the water or: a
fine cloud .effect furnishes an interest-
ing background. When you are work-
ing aboard a vessel ' in motion don't.
Jest the camera upon the rail or cabin,
particularly if the vessel is a steamer,
for the vibration from the machinery
is likely to blur the image. Also avoid
standing where the vibration is most
noticeable.
Much of the advice here given ap-
piles also to inland water scones, es-
pecially these about the •larger lakes
and rivers, for they maybe classed as
"marines" wheaeyer water or ship
ping is more conspicuous than other
parts of the composttlon ' In dealing
with such a subject as the tree -lined
banks of r, Stream at a lake or a water-
fall in a glen the general tone •and
form .c ' cee land •• and', foliagie' should
help ta,d'ecide wl)aa airepertipn 'of.; the
space the water should occupy in the
picture: As the contrast between the
water sad the 'share, dine its usually,
pronounced; a more pleasing composi-
tion can generally be produced by.
showing the shore line in perspective
and so leading the eye into the pic-
ture rather than by letting the line of
the shore run horizontally across the
picture, which tends to cut it into two
parts. If you wish to represent a
view across a small river or lake, try
to include a suitable bit of the near
bank for a foreground, That will give
ala idea of the space between the ob-
server and the shore opposite and will
also produce a more attractive com-
position.
omposition.
Take Rapids at An Angle.
Shimmering reflections are more ef-
fective in a picture than thoseof mir-
ror-like sharpness, but the sharp ones
can be broken up by, striking the
water with a long stick just before you
make the exposure.
If the foreground of a river or lake
steno is light in tone, the exposure re-
quired niay not be more than one half
that demanded' by the average land-
scape; but, if there is thick foliage
upon the near bank, the subject should
be timed as a similar landscape away
from the water would be timed.
When possible waterfalls and rapids
should be pictured from a quartering
viewpoint rather than directly "head
on," for the :flow of the water in a
sidewise direction will better suggest
its motion than when it comes straight
down toward the spectator. A much
slower exposure can be allowed than
is necessary for breaking surf. From
one fifth to one tenth of a second is
usually fast enough. Use a large stop;
it increases your chance of getting de-
tail in the darker surroundings with-
out an exposure ion h t!
the detail in the moving water.
Courage.
No star is ever lost, whose light
We once have seen;
Only obscured sometimes by clouds
That drift between
Us and its radiance which shines
Calm and serene.
No hope of ours cauever die,
Though `buried deep
By doubt or fear or unbelief—
It does but sleep!
Awaken it! Have faith it will
Its promise keep!
With courage, keep your goal in sight,
And toward it, still
Keep climbing upward, ever up.
Though steep the hill,
There is no height we may not reach,
If we but will!
—Ida May Thomas, in Success.
Wifey—"Could I have a little money
for summer clothes?"
Hubby -"Sure! Fine! You usually
ask for a lot."
In a Boarding House.
Over the faded paper on the wall
Gigantic cabbage roses climb ' and
crawl
In patterns weird and startling of de-
sign—
How many 'eyes have loathed it—as
do mine!...
The room is full of shadows, secrets
stare
And whisper in the corners, every-
where;
Of former transients who once came
and went
These listening walls are subtly elo-
quent!
The weary chairs • all sag—so tired
they
Of serving stranger folk from day to
day
The bed groans languidly—its ancient
springs
Have had po much to bear—poor, pa-
tient things!
This shabby, wooden desk -so stained
with ink,
What storiesit might tell, 1 often
think,
Of use discouraged ones, who yet -must`
., ., write
Oay'letters to send liome night after
night!
—Marie X. Caruthers.:
Jerusalem's Water Supply..
The Pools of Solomon, named for a
locality rather than for the famous
king, were built byman engineers to
provide a water supply for Jerusalem.
The three pools, which are eight miles
from the. ;city, are fed by large springs
and have a total capacity of; forty mil-
lion gallons. The Romans built srewell
that after the many centuries of dis-
use the pools, the springs. and the
aqueducts had only to be cleaned and
the ,leakeerepaired to give- Jerusalem
p, rtn
aa excellent water;,supply.'
R
Their Majesties, King George and Queen Mary, are watching the proces-
sion of the clergy at the ceremonies in connection with the recent opening
of the new Liverpool Cathedral, With them is Mr. Arthur Henderson, home
secretary in the Labor government.
g enaugo spoil
A Poem You Ought to Know.
Good Night and Good Morning.
Richard Monckton Milnes, first Bar-
on Houghton, and father of the Mar-
quess of Crewe, the present British
Ambassador in Paris, was born `yin
1809, and during his long life knew
everybody worth knowing. He was
a man of culture and great literary
gifts.
A fair little girl sat under a tree,
Sewing as long as her eyes could see;
Then smoothed her work, and folded
it right,
And said`: "Dear work, good night!
good night!"
Such a number of rooks came over her
head,
Crying, "Caw! caw!" on their way to
bed;
She said as she watched their curious
flight:
"Little black things, good night! good
night!"
The horses neighed, and the oxen
lowed;
The sheep's "bleat! bleat!" came over
the road;
All seeming to say, with a quiet de-
light:
"'Good little girl, good night! good
night!"
She did not say to the sun "Good
night!"
Though she saw him there like a ball
of light;
For she knew he had God's,: own time
to keep
All over the world and never could
sleep.
The tall pink foxglove bowed his head,
The violets curtsied and went to bed;
And good little Lucy tied up her hair,
And said, on her knees, her favorite
prayer.
And while on her pillow she softly lay,
She knew nothing mare till again it
was day;
And all things said to the beautiful
sun, w
"Good morning, good" corning! our
work is begun."
The Borrower.
Mrs. Isaac Tootle is always borrow-
ing something. So far she owes her
neighbor, Mrs. Latch, six cups of
sugar, a quarter of a pound of butter,
three spools of thread, a can opener,
eleven hairpins,, a crochet needle, a
sack of salt, a bottle of vinegar, a box
of, camphor balls, a package of tea,
a box of matches, and a soup tureen.
The only thing she hasn't borrowed
from the Latches is the piano, and
that's because she doesn't play.
Mr. Latch wants to buy an automo-
bile, but
utomo-bile,but his wife won't let him. "Mrs.
Tootle can get along without an auto-
mobile," is the way Mrs. Latch .puts
it. •
Rivalry,
"Rivales" was the Latin word for
those who dwelt on the banks of a
stream and quarreled over the use of
the water and the occupation of the
shore,
To -day "rivals" are those who, living
on the margin of the river of live, as it
flows by them to the infinite expanse,
are contenders for supremacy in war,
ifs business or in "bye.
Great minds ought to get rid of pet-
tiness, even while they strive for the
advantage. A bracing competition
never yet did anything but good in the
making of a character. Nothing worth
the having comes to us easily. It was
ordained for our benefit that we
should strive and agonize, "endure
and be withstood," taste the bitter of-
ten and the sweet occasionally.
The last test of a man is his de- l
meaner toward his rivals. Any man is
able without effort to be friendly to his
friends, genial among the congenial.
There is no warrant for a quarrel with
our comrades• picked and chosen.
But what are we among competi-
tors? Do we keep our tempers and
play fair with them? Do we scorn to
take a sly advantage? Do we recog-
nize
ecognize and admire in our opponents the
essential traits of goodness that we
find and praise in those who aro our
faithful, tried companions?
Jealousy is a mean and poisonous
emotion. The way to redeem it from
utter ugliness is to divert its force
from the malignity of envy into a ten-
der, gentle, reverent concern for the
other person, a willingness to re-
nounce, if that shall be for the other's
good, a generous continuity of impulse
that can find no room for any con-
sideration of a selfish benefit.
To hear of the successful ought to
mean that we rejoice in their success
that might have been ours-. If we
have done all that was in our power
and failure was the crown or the ef-
fort, at least we tried, And life .is
one long opportunity to go on trying.
An Editor's Trials.
An editor once kept track of his
profits and losses during the year and
gave an invoice of his business" diary
at the end of 12 months of ups and
downs, in the following manner:
Been broke 361 times.
Praised the public 89 times,
Told lies 720 times.
Missed prayer meetings 52 times•,
Been roasted 431 times.
Roasted others 52 times,
Washed office towel 3 times.
Mistaken for preacher 11 timer.
Mistaken for capitalist 0 times.
Got whipped 8 times.
Whipped others 0 times.
Cash on hand at beginning $1,47.
Cash on hand at ending 15 cents.
—Milwaukee, N.D., Globe.
When dry, seaweed is richer than
oatmeal or Indian corn in nitrogen-
ous constituents.'
In order to i,ive babies who are not overly strong a better lease on life,
electric incubators are being: installed by many of the large hospitals, The
' temperature is kept from 85' to 110 de rees and: baby thrives Mader it. '
Stories About WelKnown People
Too Eloquent.
The American Ambassador to the
Court of St, Jamee's Mr:' Frank Bill -
Ings Kellogg -.-himself s,,elever lawyer
—relates bow he once' lost 'a ease•
through his own eloquence.
His client was a pretty woman, who
was being ;sued by her husband for
divorce, and Mr. Kellogg was endeav-
oring to obtain asmach alimony for
her as he could.
Suddenly, in the midst of a burst of
eloquence, he was interrupted by the
lady's husband.
"Your honor," explained the hus-
band, "I have suddenly decided to
withdraw my suit, and, ,if my wife is
willing, I would like to have her come
back to me!"
When he was asked for his reason
he -explained:
"Mr. Kellogg has presented her in
such an attractive light that I've fall-
en in love with her all over again!"
Edison v. Ford.
Are we eeally getting back to "Me-
thuselah?" The United States boasts
two men who doggedly refuse to grow
old. One is Mr. Ford and the other is
Mr. Edison, who recently celebrated
his seventy-seventh birthday.
These two geniuses are great
friends, and a little while ago they
went for a holiday together and pro-
vided the guests of their hotel with as
amusing a spectacle as any could hope
to see.
"See here—I'll bent you can't Imo"
it off!" exclaimed Mn -Ford, placing
a cigar on the ma,nteipiece.
"I'll go •you,," returned Mir. T1dio n,
and .kicked the cigar off three' tine
running ---or, rather, three times kick.
ing, ,
Mn Ford, the challenger, could only
accomplishthe feat once, and Edison
was yictorious. But Ford got back at
him, They started jumping upstairs,
and whereas the inventor took three
Jumps to clear ten steps; the motor-
king accomplished them in two.
Honors were easy, and they had a
drink. (A very mild one, of course!)
Girl of Twenty Is Methodist Preacher.
A preacher of only twenty years of
age is unusual enough, but when the
preacher is a girl the fact is remark-
able. Miss Emily Bishop, daughter
of a Chatham (En,glandj, joiner,
achieved this distinction recently
when she was ordained a lay preacher
in the local Primitive Methodist
Church.
"I was brought up from childhood
in the service . of tb.e church," Miss
Bishop says. "I have learned to lave
it as I love my own home, While I
was taking a class in the Sunday
school one day, our minister asked me
to prepare myself for the examination.
I gradually arrived at the conviction
that I was called to preach the Gospel
to ethers."
The Holding Power of Nails.
Driving a nailInto a piece of wood
may seem to many a simple process
and one that would hardly be of much
interest toa laboratory. A nail is
used, however, for a given purpose—
it is intended to hold and stay where
it is put. This feature of nail driving
is of very great interest, as practically
all wood construction is dependent up
on nails.
The holding power of nails has been
the subject of a great deal of invest'
gation by the Forest Products Labora
tortes of the Department of the Inter
ior. There are many k'nde of wood
being used at present for building and
other wood -work, and the list is oon-
s•tantly being added to. There are aI
so many kinds of nails, together with
varied lengths and thickness in each.
It is common knowledge that the
cut nail has greater holding power
then the wire nail, but it is not so
easily driven, while the wire nail when
cement coated, barbed, etc,, has its
holding power considerably increased.
Again, where large quantities of nails
are used, as in the packing eases, in-
dustry, a difference of one-half inch
in length of nails required to secure
the necessary strength in the case
may mean a considerable saving, on
account of the larger number of nails
to the pound,
The proper nails• to use with the
different species of wood, and the re-
quired represents, as will be seen, a
problem with which all users of nails
are confronted, and it is one in which
the Forest Products Laboratories' are
endeavoring to solve. Some six hun-
dred tests have been made, with spe-
cially designed equipment, and the
work will be continued until all Cana-
dian commercial woods have been
covered.
Carillonneur Plays for
100,000 People
The Chevalier Josef, curiously ab-
breviated to "Jeff," Denyn, the noted
Flemish carillonneur, can claim, in the
words of a writer in The London
Morning Post, "that he has endowed
an old instrument with, a new soul,
that he has not only given his conn-
trymen a new zest to their traditional
love for the carillion, but has spread
a knowledge of its beauties and quail
ties in countries where these were
previously unknown.
- "He talks with quiet pride of his
carillon at Malines, where for his
Monday evening concerts his audi-
Bank Bills Paper Reclaimed.
What becomes of all the defaced
and damaged paper money is a ques-
tion that has often been asked of
bankers. Heretofore the answer has
invariably been, that it is burned.
Many interesting stories associated
with the burning ceremony have gone
the rounds of the press., among them
being one in which an excessive draft
in the furnace littered St. James
Street, in Montreal, with partially
burned bills. Ottawa's fire depart-
ment was once called out to answer
an alarm of fire when damaged paper
money was being destroyed in the
furnaces of the Finance Department
in the East Block. Later the melting
furnaces at -the Mint were used for
this purpose.
The destruction by burning of con-
demned paper money seems likely to
became an absolete practice. The
Forest Products Laboratories, of the
Department of the Interior, have been
carrying on a series of experiments to
develop the best method of recovering
good paper stock from the condemned
paper currency withdrawn from circu-
lation by the Department of Finance
and the various banks, and to ascer-
tain if such a method is commercially
feasible. Refining of the stock pro-
duced under normal cooking condi-
tions was carried out and, by the use
of especial washing equipment, it was
found possible to recover an absolute-
ly clean pulp.
The paper usedfor the printing of
bank notes is made from purelinen
cuttings, and is one of the most end
pensive papers manufactured. It will
readily be seen that'if-the''Forest Pre
duets Laboratories are able success-
fully to reclaim the paper from con-
demned currency it will be of •con-
siderable commercial importance.
The 'Real Test.
"I want to show you, ladies and gen-
tlemen, the famous -flexible ivorine
comb, an absolutely unbreakable comb,
ladies and gentlemen, as will stand
anything. You can bend it --so, or
twist it—so, or you can—"
"Cana you comb your hair with it.?"
interrupted a practical member of the
audience. .
Canada's fire losses in 1928 totalled
43.4,619,000. -Think of itI ' !
I ences n tmber from 80,000 to 100,000
persons, special trains being run from
Antwerp and Brussels on purpose for
them, (These are held, by the way,
during the months of May, June and
IAugust; they are discontinued in July
during the annual fair), This creator
' of a new art of bell -playing has found-
ed a bell school, ask present the only
f one in existence. M. Naas, his favor-
: ite pupil and assistant at Malines, re
! lates how, in the early days, he and
the one other student were allowed
to practice for a quarter of an hour
leach on Saturday mornings when the
j noise of the weekly market rendered
the carillon less ubstrus've. Now
students play on the bells during the
whole of Saturday morning. But two
carillon keyboards, operating on metal
plates instead of bells, allow them to
attain proficiency before venturing on
the carillon itself.
"It is an illumina`ing experience
for those whose knowledge of bells
comes from change ringing to see M.
Denyn sit down to the carillon key-
board and improvise with almost as
little effort as if he were playing the
organ. In other days a carillonneur
prepared for his task as if he were
getting ready for a game of football.
Heput on a special suit, and covered
his hands with thick leather, or rub-
ber, mittens. With the modern im;
provements in the carillon all this is
unnecessary, and the only preparation
Mr. Denyn may make is to put a thin
felt band round his little fingers. Any-
thing more would spoil the delicacy of
touch on which the art of carillon
playing depends, and even these he
often discards.
"M. Denyn, virtuoso though he be,
is never the slave of his own virtuos-
ity. Arpeggios and scale passages
flow from under his hands and feet
with wonderful brilliance; every gra-
dation of tone is at his command; with
his tremo]ando, by which the caril-
lonneur produces his sustaining ef-
fects, he achieves a hitherto unknown
subtlety. Yet he always respects the
character of the instrument. The pe -
culler charm of his playing is the pro-
duct of a profoundly musical nature,
and is in its essence unanalyzable.
But his limpid style has achieved its
present perfection through his unfail-
ing recognition that bells have the de-
fects of their qualities that, for in-
stance, owing to the prominence of
the minor third In their harmonic
series thick chords are to be avoided,
and that for the same reason minor
nrs. preferable to major harmonies,"
Just Habit, of :ourE,
"What's the poet gr-imblcug about
avow?"
"Thinks bo ought to be able to e'a'~!
)qa car On s p'+etio:PP^ na's."