lso many who are still in their
troubles, and I propose to tell them how the amount of guesswork required
may be reduced to a minimum.

The factors which govern exposure are: the subject of the picture, the
lens and its aperture, the rapidity of the plate, and last, but not by
any means least, the quality of the light by which the work is to be
done.

Let us consider each of these separately, and see if we cannot reduce any
of them to rule. In this respect the subject will be found somewhat
intractable. Scarcely two subjects will be found to send exactly the same
amount of light through the lens. However, a broad classification may be
made, and this has been done by Mr. Burton in his Table of Comparative
Exposures. A glance at this table will show how greatly the character of
the view may influence the time of exposure. Thus, with full aperture of
a rapid symmetrical, the exposure for open landscape is given as
one-twelfth of a second; when heavy foliage appears in the foreground,
half a second will be required; while, under trees, as much as forty
seconds may be needed.

The first aid I have to suggest is the use of such a table as Mr.
Burton's. Before we do anything more in this direction, we must consider
the influence of the lens and its diaphragms. In theory the single
landscape lens is more rapid than the doublet of equal aperture, but the
difference is so little that it may be disregarded in practice, and my
remarks will apply to both.

The rapidity of a lens depends mainly on its aperture and its focal
length. Thus a lens of twelve inches focus will require four times the
exposure of a six inch, with an equal sized diaphragm, and a quarter inch
diaphragm will require four times the exposure of a half inch when used
in the same lens.

The Photographic Society of Great Britain have recommended that the
diaphragms of all lenses should bear such relation to the focal length
that each should require exactly double the exposure of the next smaller.
Now, if we turn again to Mr. Burton's table, we shall find that it is
constructed on this principle, and that each stop is numbered so as to
show its exposure. Obviously, the most sensible thing would be to get a
set of stops made to correspond with this arrangement, but we will see
how we can construct a table for stops of any size.

First, if possible, find the equivalent focus of your lens. If it is made
by a known maker, you will find it in his price list, and if