-^ Photography by Day and by Night 



distinctly before me in the daylight, or else, owing 

 to some mishap, an absolute blank. All the greater 

 was my joy when on rare occasions I did succeed in 

 getting such pictures as those of the rhinoceroses already 

 referred to. 



I made it a practice to develop at night in my tent, 

 as soon as I possibly could, all negatives that I thought 

 at all likely to be successful. The only negatives I sent 

 to Europe were duplicates of those which I had already 

 developed myself. At home, of course, the developing 

 can be done much more carefully. No one who has 

 not had the experience can realise what it means to have 

 to develop plates in the heat and damp of Equatorial 

 Africa and with the kind of water at one's disposal there. 

 When I found that my negatives were successful, not 

 content with developing them, I always made a number of 

 bromide-silver copies of them. These were put away in 

 separate cases and the original was despatched home as 

 soon as possible. If this original negative got lost en 

 route, I was almost sure of having one of the copies, 

 even if some of the packing-cases got lost also. 



The photographer can always console himself with 

 the reflection, in the midst of all his hardships and 

 mishaps, that the pictures he does succeed in taking 

 count for more than so many head of game. 



It is very interesting to note that my photographs of 

 birds on the wing have put so many people, especially 

 painters, in mind of the work of Japanese artists. Doflein, 

 in his book Ostasienfahrt, speaks as follows of the peculiar 

 faculty the Japanese have in this field of art. " The 



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