HOW BIRDS CAN TAKE THEIR OWN PORTRAITS 105 
bait the flash will illuminate the sur- 
roundings while the sensitive plate re- 
cords the scene. 
Then, when the blazing camp-fire ac- 
centuates the darkness of the night, the 
sportsman, lying within the narrow circle 
of its warmth, may suddenly see a daz- 
zling column of light ascend on a distant 
hillside, or illuminating with a momen- 
tary flutter the gloomy valley of some 
water-course; and in a few seconds the 
deep, dull boom of the exploding powder 
suggests an animal fleeing in needless 
terror from a spot where the weapon 
contained no bullet and where its re- 
corded visit will prove a source of pleas- 
ure to one who meant it no bodily harm. 
As I usually explode a compound of 
magnesium powder in a_ hermetically 
sealed box—to insure higher speed and 
the exclusion of moisture—I have some- 
times heard the report at a distance of 
three miles and noticed the flash at a 
much further distance. 
Therefore one can imagine the sur- 
prise and terror of some timid animal 
when experiencing the first dazzling ex- 
plosion. Yet, as will be shown later, the 
pangs of hunger or the cravings for some 
particularly choice food will lead many 
of these animals to return to:the inter- 
rupted feast, and in the course of time 
the blinding light and roar seem to be 
regarded as a harmless manifestation of 
nature, like thunder or lightning. And 
then one may, if he desires, get a series 
of interesting night pictures, in every at- 
titude and action. An example of this 
was shown by an article in this magazine 
several years ago, illustrating the nightly 
visits of the same coon to bait placed at 
the edge of a little lake.* 
In taking a picture from a canoe by 
flashlight one must be able to judge short 
distances accurately in order to have the 
animal in proper focus. In a different 
way, but for the same reason, it is equally 
important that automatically taken pic- 
tures should come within the focus for 
which the camera was set in advance. 
With the bait placed at a given distance, 
*See “A Flashlight Story of an Albino 
Porcupine and of a Cunning but Unfortunate 
Coon,” Nationa GeocRAPHIC Macazine, June, 
IQII. 
little trouble arises, but when the animal 
sought is a deer or a moose coming to 
the water or feeding grounds, the prob- 
lem becomes more difficult, because the 
intercepting string must be touched at 
the point where the animal will be in 
sharp focus. 
Whenever animals are traveling on a 
well-defined runway, a string running to 
a stake on the opposite side will insure a 
good picture, because the camera can be 
previously focused on the runway; but 
if such animals are to be photographed 
when wandering along the shores of a 
pond or traveling in a creek bottom, it 
is important that natural conditions be 
taken advantage of, so that the animal 
will be forced to pass at a fixed distance 
from the camera, as will be the case 
where the shore is narrowed by drift- 
wood, rocks, or mud-holes. 
Quite often temporarily erected ob- 
structions will accomplish the same pur- 
pose, provided no scent is left and the 
material used is in harmony with the 
surroundings. Otherwise, in order to 
avoid having the camera sprung at a 
point where it is not in focus, the string 
can be run along the ground and then 
raised a foot or two high by forked sticks 
at the spot where the animal is most 
likely to pass. 
Usually I have encamped near enough 
to hear the report of the flashlight em- 
ployed, but sometimes the camera may 
be set many miles away, or perhaps I am 
in town or on a side trip, in which case 
it has not been unusual for the camera to 
remain unvisited for a week or ten days. 
But this is of little consequence; for, 
with the shutter opening and closing 
automatically, the exposed plate is safe 
until called for. 
The alphabet for the beginner in wild- 
life photography usually comprises nest- 
ing birds of the neighborhood, chip- 
munks, the lazy and sun-loving wood- 
chuck, or the stolid porcupine, and even 
then many difficulties confront the novice, 
the overcoming of which opens the door 
for picturing rarer or more active sub- 
jects. 
Some who take up camera hunting be- 
come discouraged by early failures and 
are unable to see how such an instrument 
