206 
FORES T AND STREAM 
’I 
Color Photography for the Sportsman 
How you can Keep the Glories of Woodland Tints and Shades Before you Always—A Fascinating Recreation 
HE camera has become a neces¬ 
sary adjunct to every sports¬ 
man’s equipment. Whether he. 
be a trout fisherman, wading 
the shallow streams, or a big 
game hunter, trailing the moose 
and caribou along the ridges; 
whether his sport leads him 
far afield, or whether his ramblings be near home, 
nine times out of ten he will have a camera slung 
over his shoulder, or stuck in his pocket. And 
often during the long winter evenings that mark 
the interim for most outdoor recreations, he will 
turn to the pictures taken on his sporting pilgrim¬ 
ages. “This picture’’ he will say, as you pore 
over his album with him, “doesn’t begin to do 
the subject justice. You should have seen the 
blaze of color in those October woods, with the 
green of the spruces for a background, and the 
blue sky and fleecy clouds reflected in the water. 
I’d give a lot for a picture of it just as it looked 
then.” 
What would you give, to-day, for a picture 
true in color of that great trout you caught last 
summer, with its blue and crimson spots, and the 
iridescent golden armor over all ? Or for that 
hardwood ridge, a blaze of reds and yellows and 
oranges, where you downed your moose last fall ? 
O- for that gorgeous sunset the last night in 
camp? Lost opportunities these, but there is no 
reason why, if you are willing to take half the 
trouble and devote a fraction of the effort you 
put into your fishing and shooting, you should 
allow such pictures to escape you again. For all 
these subjects can be taken in their true colors, 
and the results will repay you a hundred fold for 
the trouble. 
This is not the place for a discussion of the 
theory and development of color photography. 
Those interested can obtain, through their photo¬ 
graphic dealer, books treating on these subjects. 
We are concerned here only with a consideration 
of the necessary equipment and manipulations in¬ 
volved in making color transparencies. For 
successful color prints on paper are still a thing 
of the future. But if you will make your color 
transparencies in lantern slide size, and throw 
them, enlarged, upon a screen, or if you make 
and view them as stereoscopes, you will, I am 
sure, be so satisfied with the results that you 
will not ask for paper prints. 
In taking color pictures, any ordinary plate 
camera, or any film camera which can be fitted 
with a ground glass focusing back and plate hold¬ 
ers, will serve. It is of course true, in this as in 
all branches of photography, that the better the 
lens the better results you are apt to get, but an 
expensive anastigmat is not absolutely necessary. 
A special ray filter to fit over your lens, and a 
meter for judging the exposure, are necessary. 
By R. A. Worstall. 
The whole cost of adapting an ordinary roll film 
camera to color plate work need not exceed five 
dollars. 
The Autochrome process is probably the most 
widely used in this country, for making color 
transparencies. The Lumiere Autochromes are 
made in France and their process of manufacture 
is briefly as follows: Wheat starch is sifted until 
circular grains of uniform, miscroscopic size re¬ 
sult. Batches of these are dyed, with transpar- 
