without merit perhaps, but a few successful ones will compensate for the efforts.

The plates or films should be carefully packed soon after exposure, the plates in their original boxes, with coated sides together. The boxes should then be wrapped in heavy paper and securely tied with a strong cord. No developing should be attempted while on tour unless there is doubt as to exposure when an occasional plate may be developed as a test. This would necessitate the carrying of two trays and a limited supply of developer put up in powders ready for mixing. Dark room facilities are not always to be had and the amateur will do much better work in his own dark room where he can work leisurely in familiar surroundings.

By the aid of the camera a vacation may be made most enjoyable and when it draws to a close you return home renewed in health, rich in new experiences and with many gems of nature gathered with the aid of your camera.

PHOTOGRAPHING FOOTPRINTS.

By JOHN BOYD.

HE fact that the ANNUAL comes into the hands of its readers each year when the days are growing shorter, and odd snowflakes are fluttering in the north prompts me to respond to the editor's invitation by offering him a winter subject.

That it is not a common one is best evidenced by its rareness among the published prints, but that there is plenty material all around us can be attested by any who visit the fields or woods after a fall of snow.

The footprints of some unknown bird or animal on the white page of nature stirs the curiosity of many, and its picturing by the camerist will often be the milestone that will mark a pleasant trip.

We would like right here to touch on the natural history of various footprints, for there is a story in every path, but the nature of our publication bids us confine ourselves to their photographic possibilities.

A footprint to appeal to the photographer must present some pictorial features amidst its surroundings. What these are we must leave to the individual worker, for here we can only point out in short paragraphs some of the things that will assist the novice on his way.

The best negatives are made when the sun is shining. The reason is that we have got to get contrast and definition.

Nine-tenths of these negatives must be taken almost dead against the light, or at all events with the sun at right angles to the camera.

Vertical views give the best results, as they accentuate the foreground, and carry the eye off gradually into infinity. The tripod should be set low enough to portray the "pads" in the tracks. When these are well outlined the maker's name may be more easily read in the fleecy matrix.

Stop the lens down to F 128 or even F 256. You will need to do so to obtain the depth of focus and definition desirable.

Use the swing back if you have one, and give it all the tilt it will take. This assists in bringing the various distances into a common plane.

Use backed plates for all winter work, and especially in this particular class.