CRUISE OF A KODAKER. 



PAUL WARD. 



Few friends of the camera realize that 

 within 4 days' sail of New Orleans there is 

 a beautiful spot to which the kodaker and 

 his machine have seldom if ever penetrated. 

 I refer to Balize, in British Honduras. In 



and the entire number, big and little, would 

 fall over one another in a general stampede 

 for the nearest fence. They undoubtedly 

 thought the camera a cannon of some 

 make being put into position for action. 



AMATEUR PHOTO BY PAUL WARD- 



THE BALIZE RIVER, EMPTYING INTO THE CARIBBEAN SEA. 



that quaint, out-of-the-way spot are scenes 

 truly tropical and un-American. 



It would be quite an undertaking in Ba- 

 lize to get a street scene without including 

 one to 50 royal palms or the more life-giv- 

 ing cocoanut palm. Balize is truly palm- 

 girt. As the ship makes its way over the 

 swelling waves of the blue-green Carib- 

 bean sea, the first sight one has of this 

 dependency of Great Britain is a cluster of 

 white houses set in a pal grove. They 

 look like a fairy city on a fairy ocean. The 

 traveler is landed at Balize from the steam- 

 er by a lighter, manned generally by 3 or 4 

 Carib Indians, commanded by a Jamaica 

 negro. Passengers are taken to the cus- 

 tom house, where they have no difficulty 

 and cameras a.e not taxed. 



When starting out to take pictures in 

 Balize one will receive requests from al- 

 most every little urchin whom he meets to 

 "Take me likeness." One or 2 likenesses 

 of some typical specimen would be a wel- 

 come addition to any gallery, but one or 2 

 is enough, as they are nearly all alike in be- 

 ing half black, homely and barefooted. 

 Their requests should be passed over in 

 good natured silence. 



In some of the side streets I have turned 

 my kodak on a group of a dozen or more, 



AMAIEUR IHOTO BY PAUL WARD. 



THE GRAND CANAL AT BALIZE, BRITISH HON- 

 DURAS. 



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