80 CRUISIKGS IN THE CASCADES 



nearly always has bare rocks and dark, gloomy can- 

 ons, and to get these and the dazzling whiteness of the 

 snow and ice on the same plate is decidedly difficult. 

 Of course we see many fine photographs of snow-cov- 

 ered mountains, but if taken with a clear sky or with 

 light clouds for background, there is generally more 

 or less retouching necessary, and more or less doctor- 

 ing in printing, with tissue paper, glass screens, etc., 

 in order to obtain the results we see in the prints. I 

 made some fair views of both these peaks, but not 

 such as an enthusiastic amateur might wish. Of the 

 lower mountains, where at that time there was no 

 snow, of the lake, the islands, etc., I got very sat- 

 isfactory pictures. I went up the road, toward the 

 railway station, a mile or more, where it passes 

 through one of those grand forests for which this 

 country is so famous, where 



" Those green-robed senators of mighty woods 

 Dream, and so dream all night without a stir." 



There I made views of some of the giant cedars, the 

 dense moss-hung jungles, the great fir trees, etc. In 

 these dark, densely-shaded woods I had to take off 

 the flying shutter and make time exposures. I gave 

 three to five seconds to each plate. In the prints 

 the trees and other objects nearest to the lens are of 

 course over-exposed, but the details in the shadows 

 and objects in the extreme distance are clearly and 

 beautifully brought out. For these time exposures 

 I placed the camera on some convenient log, stump, 

 or stone, in lieu of a tripod. In two instances I seated 

 the rear end of the instrument on the ground, with 

 the lens bearing up through the tops of the trees. 

 The whitened trunk and broken, straggling arms of 



