1070 



AMERICAN FORESTRY 



SEVERAL PLANTS OF THE TINY WHITE VIOLETS 



Kig. 3 — Taken in the studio with indirect sunlight from one window and 

 with reflected light from a white surface. Made-up surroundings, with a 

 smooth surface of pine for background. 



different from any of the ones nanicil aljove.aiid it appeals 

 ]iartieularly to those who spend much uf tlieir time in 



the field and forests of the conn- 



try, to those who frequently have 

 the inclination to ])hotograi)h 

 our wild flowers. 



This work may he undertaken 

 eitlier indoors or in the open, 

 and in the latter instance the 

 flowers or plants to he photo- 

 graphed may be taken in situ or 

 otherwise. When photograjihed 

 in the studio, there are many 

 points to be considered, any one 

 of which, when disregarded, may 

 lead to failure. For example, in 

 the first place we are confronted 

 with the problem of proper light- 

 ing ; and in addition to this are 

 matters of suitable backgrounds 

 for different s|)ecimens,of correct 

 posing, of maintaining the origi- 

 nal freshness of the specimens. 



and the securing of detail and related values. Almost 

 every specimen demands different handling, and we can 

 well imagine that the number of specimens is practically 

 limitless. This likewise applies to the conditions under 

 which one works with respect to surroundings — indoors 

 or out, to equipment, to climate, to the part of the world 

 one may be in. and so on. Seasons also play their part, 

 as well as the time of day. Further, it is a very different 

 matter to photograph flowers out-of-doors in a swamp 

 in the torrid tropics, than it is to attempt the same thing 

 in the case of plants growing in the barren grounds of 

 some subpolar region, or within the entrance of some 

 cave or cavern in any part of the world. What will be 

 dealt with in this particular are some of the ordinary 

 problems of phytophotography, such as we may be con- 

 fronted with during the spring and summer months in 

 the north temperate parts of the United States. 



First we may consider one or two examples of out-of- 

 door photography of flowers and the lessons they have 

 for us. There are at least three things to be borne in 

 mind, and one of these consists in the choice of subject ; 

 then the matters of background and lighting are to be 

 taken into consideration. Turning to Figure 2, we have 

 five average Bloodroot plants in a group ; they were 

 photographed precisely as they had grown, and without 

 the slightest disturbance of their surroundings. These 

 flowers are not as perfect as they are sometimes found 

 to be, while their leaves — in the first stages of growth — 

 are both interesting and instructive ; so much for our 

 choice of subject in this instance. Now, as bloodroots 

 are, in a very large number of cases, found growing at 

 the base of some big tree, the picture in this particular 

 is practically perfect, as no finer background could be 

 chosen than the rough, gray bark of the oak here shown. 

 Had this photograph been made on a moderately gray 

 day, the result would have been perfect in so far as the 

 lighting is concerned; but it was obtained on a very 

 bright spring morning, in the full glare of the sun. and 

 as a consequence nearly all detail of the delicate struc- 



Kig. 4- 



WILD GKRANIUM OR CRANE'S-BILL PLANTS. BUDDING AND IN FULL FLOWER 



-Taken m sitxi. Left side in semi-sunlight, right moderately shaded. Background of woods beyond. 

 Sniall stop and several seconds exposure. Reduced one-third. 



