This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1920 edition. Excerpt: ... CHAPTER XI DIVERSIONS OF THE WINTER CAMP THE crisp, invigorating freshness of the winter woods is in itself ample reason for cold weather camping. But added to this are the wonderful, magical effects in black and white and half-tone which make the color scheme of the snowbound landscape. It is a ...
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1920 edition. Excerpt: ... CHAPTER XI DIVERSIONS OF THE WINTER CAMP THE crisp, invigorating freshness of the winter woods is in itself ample reason for cold weather camping. But added to this are the wonderful, magical effects in black and white and half-tone which make the color scheme of the snowbound landscape. It is a scheme essentially of black and white. To be sure, at times there are dazzling sunsets which rival those of summer in the range of their colors. Nevertheless the contrast between white snow, dark mountainside, and darker tree trunks, and more especially the delicate shadings between, constitute the chief beauty of the winter scenery. Here is challenge enough for the man with a camera, anxious to interpret the winter world in its subtlest moods. His problem is simplified to the extent that the predominant colors of his subject and those of the finished print are identical, black and white. Nevertheless it is a problem in photography which requires thoughtful attention to every detail for its full solution. Even the inexperienced amateur, however, may save much of the delicate beauty of his subjects if he will confine himself to snapshots. There is a tremendous difference in the effect which the rays of light from white snow, sky, and clouds have upon the film or plate when compared with the effect from trees and darker objects. The rays from the darker subjects are largely composed of those toward the red end of the spectrum, the reds, oranges, and yellows, whose action upon the film or plate is comparatively slow. In the light reflected from snow, clouds, and sky, however, is a much larger proportion of blue and violet rays, whose effect upon the plate is unduly violent. This discrepancy is greatly increased when exposures are prolonged. A...
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