AND -TREES ii 



is advised to study first the neutral grounds, arising from 

 the use of the gray cloth above suggested, and then to 

 work also with the shaded "Rembrandt" card, before 

 attacking the white and .lack effects. The shaded or 

 neutral grounds are richly artistic, they are far more 

 easily reproduced by half-tone if typographic use is ever 

 made of the photograph, and they give a vast field for 

 interesting graduated effects by varying the lighting. 



Next to be provided for this branch of 

 Vases, etc. the work are vases or receptacles for the 

 flower compositions. These are best if 

 severely plain and simple — it is not the photography of 

 ceramics we are undertaking, and an elaborate vase or 

 pitcher will sureljr divert interest from the blossoms it is 

 merely to hold in place. Straight, plain, clear glass 

 vases are most .excellent, especially those of few curves. 

 There should be several vases : one with a narrow neck 

 for single flowers, as a rose specimen ; another with wide 

 opening, for a bunch of daisies or the like. A heavy 

 beer glass is often a joy in this use. Cut glass must be 

 very sparingly used, or the brilliant facets will ' make all 

 the picture. Plain earthenware or dark blue dull-glazed 

 mugs afford much variety and some good effects. The 

 exquisitely shaped and low-priced, undecorated earthen 

 bowls obtainable at stores dealing in Japanese goods 

 offer many possibilities in preparing flower compositions. 

 Small pitchers are excellent for some uses ; flat dishes of 

 oblong shape are also useful in some compositions. Of 

 the main importance is simplicity in form and in char- 

 acter ; keep that in mind, and both will selection be sim- 

 plified and expense be restrained. 



p . With the camera, plates, backgrounds 



, "^^o^I'"^* ^I'd vases ready, we may now look out 

 ouDject. £qj. qjjj. fjjaterial. We are dealing with 

 perishable things, and they demand the most careful 

 handling if we are to catch their evanescent charms upon 

 the sensitive plate. To start with, let us take flowers of 

 considerable staying qualities. Carnations may be had 

 almost anywhere and at any time, and if they have not 

 "stayed" too long with the florist before you get them, 

 they will afford good practice. It may be thought an 

 advantage if the worker is permitted to pick the flowers 

 from the plants, taking them immediately before the 

 camera. It is not an advantage, but the contrary. The 

 ideal plan is to cut, not pull or break off, the flowers early 

 in the morning, before the sun has touched them, and to 

 put them at once into fresh water, a few de|;rees warmer 

 than the dark, cool cellar or other location m which they 



