( l--^ ) 



picture will be obtained. Do not hesitate to alter your position if these 

 do not quite satisfy you, as no success is gained without labour, and a 

 good negative is worth a little trouble. It wUl require some amount of 

 practice to nicely determine the " values " of distant prospects, as in 

 photography colour is reduced to black and white, with intermediate 

 tones ; but for near scenes, picturesque bits, old houses, &c., this difficulty 

 is soon overcome when it is remembered what depth of tone certain 

 colours produce. 



Although unity of light must always be sought after, it must not be 

 carried to too great an extreme, as repose will almost be lost by the eye 

 being continually recalled to this isolated point (Fig. 9). In order that 



Fig. 1( 



this singleness may be prevented, it is advisable that other groups of light 

 should he admitted (Fig. 10). 



These must be varied in their form, size, and degrees of power, and 

 the breadth of the shadows so well preserved, that they may serve as 

 places of repose to the eye, separating the groups from each other, that 

 is, there should be one single portion having the most brilliant light— and 

 consequently possessing the greatest contrast in the opposite depth of 

 shade — to which should be added other groups of light of a less degree of 

 intensity, whereby both unity and repose will be secured. 



The term " repose " is applied to those parts of a picture, either in deep 

 shadow or middle tint, where lights and shades are so subdued that the 

 eye can rest upon them without fatigue, after the excitation produced by 

 the brilliancy and effects of the principal parts. 



However scattered objects may be throughout the picture, they must be 

 80 grouped and collected together that, although each object has its own 

 particular light and shade, the lights of all should generally mass together, 

 as well as the shades, which will give a unity of effect always to be com- 



