Evening star. [volume] (Washington, D.C.) 1854-1972, 1907-03-12

in a professional way, and. although they
were then by no means 80 reliable as they
are now. they proved so indispensable to
the kind OF work | was doing that / per-
sisted in experimenting with them in spite
of-the fact that I failed repeatedly in my
attempts to secure satisfactory results. In
this way gained my first actual experience
and best practice in the instantaneous pho
tographing of Indians. and when films were
finally brought to such a degree of perfec-
ton that could feel entirely secure In taxi
ing them out on long, difficult and expen-
sive Journeys. 1 began to get results such
as had never been able to achieve by the
old method of using plates.
"A photographer who uses the large
camera and plates the full size of the I'm
ished picture can seldom get either atmos-
phere, perspective or the freedom from con-
seriousness that is SO desirable when photo
graphing Indians, that Is, IL one wishes for
genuine Individuality and convincing local
color instead of more or less conventional
or dramatic picturesaueness.
Charming, Unconscious Groups.
by the use of the small cartridge
films and the rapid action of the hand
camera one is able to snapshot any num-
Der of charming, unconscious groups that
show just what the Indian is like in
his daily life at home. My own method
of working Is to carry three small cam
eras, which fit In cases without covers
that are slung to belt around my waist
and are concealed under my loose coat.
One turn of my hand and the camera is
out and ready for use. Long practice in
focusing has made 1t possible for me to
do 1t almost by instinct, as a rifieman will
hit. the target when firing from the hip
or at arms length almost as often
when the weapon is sighted, and my
subjects seldom know when they are
photographed.
I'm addition to this convenience for
working, which puts the hand camera
almost on the level of a fountain pen
nor >iaI fnr onfxr
other reasons why the small hand cam
era and cartridge films so desirable
for the desert photographer. The first
Is purely practical-it reduced the weight
OF ones equipment for a reasonably long
journey about 30, per cent. matter worth
considering when one travels in a rough
and nttle-known country. The second
concerns the artistic quality of the large,
finished picture. l have found that a
direct print made from large negative
taken In the burning sunlight of Ari-
iona or New Mexico is apt to be so sharp
that 1T looks fiat and hard. and seems to
possess but little atmosphere or artistic
feeling. By charging the picture from
small negative / not only obtain a
idea of the vast distances. but find my
self able to produce picture that by
its softness of outlines and the effect Of
mellow, diffused light and deep. velvety
shadows. conveys the feeling of all the
sunshine and color that go to make up
the characteristic atmosphere of the
desert.
Gentle Folk of the Desert.
My acquaintance with the desert In
dams includes all the desert people-the
Hopi, Navajoes, Apaches, the Mojaves the
Rio Grande Indians and others They are
all interesting, and all have distinctly in
dividual characteristics. but the gentle
folk of the desert are the quiet indus
trious Hopi.
THE meaning of the word 'hopi' is gen
tie. and it is true word. Only to be
among these Indians, to hear them talk
and to observe their treatment of one an
other and of the casual stranger who is
within their gates. is to have forced upon
one the realization that here is the I'M
spoiled remnant of a great race-a race
of men who have from time immemorial
lived quiet, sane, wholesome lives, very
close to nature"