40 PHOTOGRAPHING FLOWERS 



_. . Addressing now the third division of 



XV. °"Nr'^h"'i °^'' subject — though it must be confessed 

 ineir JNaturai jj^^^j ^^^ division lines are extremely 

 aunts. vague, and that much mentioned in each 

 section is equally applicable to all — we take up perhaps 

 the most interesting part of floral photography : the pic- 

 turing of the blooms where they live, outdoors, as nature 

 (sometimes assisted!) places them. For, however well 

 we may succeed in photographing compositions and 

 combinations, and however excellent may be the tech- 

 nique in working specimens in life size, we miss the 

 greatest beauty — that of environment and situation. For 

 decorative effect the combinations are most charming, 

 and the full-size studies not only have often a special 

 beauty but a decided scientific value. It is where the 

 wild things grow, however, that they are most fitting and 

 most attractive, and it is in their natural situations and 

 environments that we now wish to study them photo- 

 graphically. 



It is by no means simple landscape photography that 

 we take up, for in nearly every instance the landscape 

 must be subordinated to the main feature. We must^ 

 have in the picture, if it is to be a picture and not a mere£ 

 photograph, a iewel of nature in a setting of nature's 

 devising ; and this may well apply, too, to the location*: • 

 where the art of the landscape architect has supple- 

 mented nature, for the aim of any true artist who worfe 

 with God's plants and trees instead of man's paints any 

 brushes, is always to produce natural effects. Thatys, 

 truly artistic planting, be it ever so simple or ever so 

 elaborate, is successful just to the degree in whichjjtjie 

 new conditions established stimulate some of natureli^ 

 varied situations. Thus we may joy in photographing a 

 wild thing — or a cultivated one, either — carefully and lov- 

 ingly placed in an appropriate spot on the estate of a 

 millionaire, just as much as if we found it in the deepest 

 woods. Plants know when they are loved the finest 

 ' ' wild ' ' flowers I know are suitably and happily located 

 in an "American Garden," not forty minutes distant from 

 Philadelphia's City Hall. 



For outdoor work, we must of course 

 Tripods. use a tripod — I shall advocate no " snap- 

 shot" work. Provide one which is light 

 but rigid, which sticks where it is set, will not vibrate n a 

 high wind, and which has a broad top to give a firm siip- 

 port to the camera, together with an unforgetable, unde- 

 tachable tripod screw. The tripod must not collapse 

 easily, but should close up to a mere baton. Provide 



