in No. 810. New York to Stamford,
Connecticut, in No. 811. New York to Staten Island in No. 812. New
Jersey from Hoboken to Pine Brook in No. 813. Brooklyn in No. 814.
Brooklyn to Babylon in No. 815. Brooklyn to Northport in No. 816.
Tarrytown to Poughkeepsie in No. 817. Poughkeepsie to Hudson in
No. 818. Hudson to Albany in No. 819. Tottenville to Trenton in
820. Trenton to Philadelphia in 821. Philadelphia in No. 822.
Philadelphia-Wissahickon Route in No. 823. Philadelphia to West
Chester in No. 824. Philadelphia to Atlantic City--First Stage in
No. 825; Second Stage in No. 826.

[Illustration: THE CAMERA CLUB]

Any questions in regard to photograph matters will be willingly
answered by the Editor of this column, and we should be glad to
hear from any of our club who can make helpful suggestions.

WATERSCAPES.

The amateur who lives inland, and has made a success of landscapes, is
usually quite disappointed with his pictures of waterscapes when he
takes his summer outing at the sea or lake shore. The photographs are
for the most part thin and flat, and, while detail is not lacking, there
is no contrast between light and shadow.

The reason is that one is not prepared for the intense light with which
the whole scene is flooded, and consequently the plate is exposed too
long. The reflection from the water almost doubles the intensity of the
light. This may be noticed when focussing the image. Every part of the
scene reflected on the ground-glass is so well illuminated that there
are none of those dark masses of shadows which appear on inland
pictures. This the amateur at first thinks is an advantage. In one
respect it is, for it enables one to get a sharp focus much more easily.
This seeming advantage is really a great disadvantage. The strong light
on every object renders the developed negative flat and without
contrast.

One way to bring out the contrast is to use a small diaphragm. Focus
with a larger diaphragm and then put in a small one. The change in the
image on the ground-glass will be at once noticed. Instead of being
evenly lighted, the shadows are softened, and if a quick exposure is
made, and the negative carefully developed, a picture will be obtained
with as artistic gradations between the lights and shadows as in those
of a landscape.

In developing instantaneous pictures taken at the sea-shore a great deal
of judgment must be e