eller in the city, watch for a good
old-fashioned snowstorm; go out in the thick of it, and you will be
surprised at the many charming scenes you can secure.

Atmospheric conditions, the sharp contrasts of black objects against a
background of glaring snow, the effect of shadow and sunlight on an
expanse of unbroken white, the fall of heavy, cottony flakes in a silent,
white-shrouded street, under the foggy glow of electric lights--all these
necessitate a course of treatment different from that of ordinary
photographic work; and all, by these very contrasts, can be made
strikingly effective.

Watch Man Who "Does the Rest."

Owing to the cold of winter and the difficulty of handling the apparatus
with stiff fingers or heavy gloves, it is well to have as simple an outfit
as possible. An ordinary fixed focus camera is good for this kind of work.
The lens on this style of camera usually works at F-16 and the shutter at
about 1-20 of a second. If the sun is bright, the next smaller stop will
do.

In taking snow pictures, the amateur who presses the button and lets the
dealer do the rest should advise the latter to develop the film with less
contrast than usual. The average dealer usually develops with as much
contrast as possible, and this method would produce a print with blank
white for the snow and hard blocks for the trees.

For more serious workers, a stand camera should be used. The camera should
be provided with a reversible back and a long bellows. An expensive lens
is not necessary. A medium angle lens will be found most useful.

Shutters are apt to work badly when out in the cold, owing to contraction
of the metal parts. This must be allowed for in making the exposure, by
setting it at greater speed.

The focusing cloth should be fastened to the camera. The Eureka focusing
hood is convenient to use. It is made to fit the camera exactly, and has
little elastic loops which slip over the ears and hold the eyepiece in
place while focusing.

A steady tripod and a stay to keep it from slipping are desirable
additions to the outfit. The camera should be protected as much as
possible from dampness and falling snow.

For best results a non-halation plate is necessary. Backed plates will
give better results than plates unbacked. The reason that the light
effects come out so extremely white and hard in many landscapes is because
the strong light from the snow penetrates the sensitive film and is
reflected into it