HUNTING WITH A CAMERA. 

 II. 



W. E. CARLIN. 



The little pine squirrel, Sciurus richard- 

 soni, is abundant in the Bitter Root moun- 

 tains, where we spent the summer; yet we 

 found him a difficult subject to photograph. 

 He is a busy little body and as nervous as a 

 French dancing master. At times he is un- 

 duly familiar with visitors; at other times 

 he resents intrusion in the most emphatic 

 manner. His scolding and " sassing " have 

 cost many a hunter many a shot at deer, 

 elk or other game; for all the birds and 

 beasts of the woods know this little chick- 

 aree as a vigilant and faithful sentinel. 



"I WONDER WHO'S DOWN THERE." 



He comes as near being perpetual mo- 

 tion as any animal I ever saw. Even when 

 he stops to rest, or to bask in the sun, he 

 is ever turning, twisting and listening; 

 whisking his tail and pricking his ears in 

 the hope of seeing or hearing something 

 to bark at. 



The telephoto lens, with which we did 

 our best work on live animals and birds, 

 requires a comparatively slow exposure, 

 and Mr. Chickaree would never wait for it 

 to " go off." We were therefore compelled 

 to use our Bausch & Lomb Zeiss, series 

 vii., 16^2 inch focus, working at F. 12.5. 



The prints from which these cuts were 

 made are on Velox paper, which we find the 

 best we have yet tried, for live bird and 

 animal photographs. It gives better ef- 

 fects, for this class of work, than any other 

 paper I know of. 



Late in September we found an old snag, 



" LOOKS LIKE AN INDIAN." 



about a mile from camp, where our neigh- 

 bor was wont to go for an occasional rest 

 from the labor of harvesting pine cones, 

 which he was storing up for a rainy da) r . 



We set up the camera near this old snag, 

 focused on the top of it, and, with 40 feet of 

 hose, leading in- 

 to a clump of 

 bushes, I lay 

 down and read 

 one of Stanley 

 Waterloo's stor- 

 ies, while waiting 

 for M. Sciurus. 

 Finally he 

 showed up and I 

 pressed the bulb. 

 Then I waited 

 till he went away, 

 so as not to alarm 

 him. Then I set 

 the shutter and 

 waited for him to 

 come back; and 

 so on. The long- 

 est exposure I 

 dared make was 

 ur of a second. 

 The negatives 

 were made on 



Carbutt's CUt "I THINK I HEARD 



films. SOMETHING DROP." 



