ILLUSTRATING A STORY.

By J. ELLSWORTH GROSS.

LABORER had watched an artist work for days on his painting. When it was finished the following conversation took place.

"Did 'ee ever try phortygraphy?"

"No."

'Tis a dee-al quicker." "Possibly."

"An' tis a dee-al more like the place when ee've done." Isn't this a plea for naturalness? The veracity of the lens places its statement in legal affairs above that of the word of man. Its truthfulness is unquestioned in depicting nature in all her moods and in her constantly changing scenes within her realm. We have but to view the glorious sunsets and the sudden change from blue sky to an awe inspiring thunder storm to realize what great value there is in quick and exact reproduction, and also that we owe proper respect to the great Artist that doeth all things best.

The public has the right that all things placed before it typographically shall be, both on the literary and pictorial sides, free from distortion. The pictorial photograph is a hold-back to the over imaginative and enthusiastic writer who runs away with his story often times to a point where imagination should be spelled with a synonym of three letters. We have samples of this in some correspondents to our daily papers. A good story must be had, truth or no truth-even to caricaturing of

nature.

An illustrated article will always have a preference, not only that the picture adds to the attractiveness of the article and to the publication, but the mission of the illustration is explanatory as well. If often tells much in little. Seeing is believing and feeling, and feeling represents the naked truth which is demonstrated in the proof of the fact by the truthful photograph.

Naturalistic photography is the aim in illustrating Carrie Jacob-Bond's "Old Man." Her folk songs treat of the homely and little things of every day life in the most simple way. Her poems are touches of pathos or humor. And this old man photographed at his own home in his work-a-day clothes adds to the melody that "touches" and in its simplicity we have tried to place the strongest light where it will accent the motif of the poem and yet hold the highly artistic.

Out of the old pump and the rusty tin cup we drank together, and we sat by the wood pile while Mrs. Bond told this elderly couple some of her songs in verse. His good wife brought apples and pears, a glass of home-made jelly and crackers for a mid-day luncheon and during our stay on this beautiful farm, we drank heartily of rich milk and fresh cider, but deeper draughts we drank of peace, contentment and harmony of man with nature.

A LENS HOOD AND ATTACHMENTS.

W

By JAMES E. CALLAWAY, D.D.S.

HEN the back combination of a lens is to be used, it naturally follows that the diaphragm of the shutter is set too close to the back lens to proper

ly serve its purpose. It is of course impossible to move the diaphragm forward; but it is a simpler proposition to set the diaphragm wide open, and attach to the front of the tube a set of stops which will answer every purpose. The hood described in this article may also be equipped with a wing to shade the lens when the camera points toward the sun, and may be used as a foundation for other attachments to be described. As the diameter of the lens tube varies in different cameras, dimensions cannot be given; but no difficulty need arise on this score, as the parts may be placed on the camera and fitted as the work progresses.

The first requirement is a square piece of one-quarter inch board, in which an opening slightly smaller than the lens tube. is made. Two pieces of thin brass are cut like Fig. 1, and bent like Fig. 2. These are placed on the back of the board, facing each other, to clamp the tube. When once set with the screws, which should be round-headed, they will require no further adjustment.

On the front of the board place a disc of pasteboard, on each side of which some of the black paper from a film roll has been pasted. In this disc cut holes for the stop openings. About four of these will be sufficient. The dotted circle in the drawing, Fig. 3, must be about four times as long as the diameter of the hole in the board, to admit of proper space between the stops. Notch the edge of the pasteboard opposite the center of each stop, and put a peg in the board to show when stop is centered.

To the top edge of the board hinge a piece of wood of the same size as the board. This is to act as a shade against direct sunlight, with either full lens or back combination. It may be held at the required angle by the notched strip of metal shown