i 4 PHOTOGRAPHY FOR NATURALISTS. 



fairly large prison (a packing case, for instance, glazed 

 over), and to make their surroundings as realistic as 

 possible. To watch a wild snake conceal itself on 

 one's approach is a most impressive lesson in the 

 art of silent and stealthy movement. 



Such powers of observation as are alluded to in the 

 above examples must be cultivated by the photographer- 

 naturalist in the field ; there are other no less important 

 powers to be cultivated when one is actually at work 

 with the camera. In the succeeding chapters reference 

 will be made to the various forms of apparatus which 

 it is desirable to employ in photographing various forms 

 of life. We shall here lightly touch on the main 

 principles which underlie all natural history illustration. 



In the first place, the photographer must have a 

 clear idea in his mind as to what he really wishes to 

 photograph. Suppose, for instance, that he has come 

 across the scarcer English toad, the Natterjack. There 

 are three particular features about the Natterjack toad 

 which distinguish it from the commoner variety. It 

 has a yellow stripe down its back, its hind feet are not 

 webbed, and it has a peculiar running method of 

 progression. A really good illustration of this toad 

 would show these three distinctive features. A photo- 

 graph might easily be produced which would show none 

 of them a side view, for instance, of the toad sitting 

 still and such a photograph would probably be the one 

 taken by a photographer who had not troubled to make 

 himself acquainted with his subject. On the other 

 hand, it would be equally easy to produce a photograph 



