gth
figures and many other views in which the foreground is unusually
prominent. Buildings which are not light in color should also be taken
with this stop. In general, it is for heavy foregrounds.

Push the pointer on to "16." If your scale is "U. S." you will notice
that this is midway between the largest and the smallest stops. It is
the happy medium stop at which, on bright days, you can properly expose
for the great majority of your subjects, those hundreds of scenes not
close enough to the lens to be classified as "heavy foregrounds" nor yet
far enough away to be panoramas. Buildings which are light in color and
sunny street scenes fall into this division of exposures. When in doubt,
take it at one twenty-fifth of a second with stop "16." You can't miss
it far, one way or another.

Push the pointer on to "32" and the object to be photographed ought to
be at some distance away. This is the stop for the open road and the
sunlit fields--anything between an "average view" and a "panorama."

At "64" the scale is set for the most distant of land views, beach
scenes and boats in the middle distance off-shore. You will learn by
costly overexposures that water views require much less light than
landscapes. Photographers have an axiom that "water is as bright as the
sky itself." So at "64," which is proper exposure for the most distant
of land panoramas, you begin to take waterscapes.

That tiniest pin hole of a stop, at the extreme right of the scale, is
never to be used except for such subjects as the open sea and snowcapped
mountain tops.

There you have the theory. Apply it with common sense and you will meet
with few failures. You scarcely need to be cautioned that if an object
is dark in color it will require proportionately more exposure than the
same object if it is white. Through various weathers and seasons,
experience will keep teaching you how to adapt the rule to changing
conditions of light. Certain handbooks and exposure meters will be of
service while you are learning the classifications of subjects.

You have been told how the rule works. Press the "T" bulb again to click
your shutter shut and prepare to set out on a picture taking excursion.
Set the time scale at one twenty-fifth of a second, and leave it there.
Load up a film. Replace the back of the camera. Take along a tripod.
Don't forget that tripod! With that you insure yourself against getting
your composition askew, or losing a good picture o