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From the Tweedsniuir History (uraior By Kelly Robson The best photographs are \llllplt‘ 'l‘lIt-y convey a message tlIt'Cctly and I-Ividly This same stmphctly ottcn applies to the way they are taken (‘rcattvc photography develops the ability to take Intcrcstmg tilt“ lures by the most xtratgltllnrmtrd means Modern cameras and llllth. el'l’It‘tcnl and easy to use. have reduced tlil'l'IcultIc» In assessing exposure and other prttblcttts. Good photographs cotnc lrotn develop ing an eye for a picture Your success requires no more than the ability to make the essential creative Icap from “but you see to what will work as a photographic image. Look through the Viewfinder l'rcA quently. even when you do not InteIId to take a picture. Concentrate on what you gun actually see in the frame and how the shapes and colours there work together The first creative step In trtktng a photo- graph is to choose the SUhjCL’l. Till\ may seem obvious. but any \llUilllUn usually offers a wide range ol'chotces. As a general rule. you should look for a subject that will make a strong single point. The more ele- ments there are In the scene, the more important it is to have a clear Idea about what you want the picture to \hnw at the instant you press the shutter. “there are too many details in the viewfinder that do not supportthe main point, the picture wdl tend to look untidy â€" a random snap rather than an effective photograph. Many camera users set about taking pic- tures assuming everything will fall into place. They aim the lens directly toward the Subject. lining up the most important fea4 tures with the centre ot'the viewfinder-'1‘?”S approach will certainly record the subJect on the film. but it is unlikely it will produce an appealing image. You will achieve betâ€" ter results by thinking for a few seconds and allowing yourself time to study the scene in the viewfinder carefully. Are there distracting elements in the frame that would be better excluded by changing camera position? Are there patterns that can beused to give the picture a bold visual structure“ A pause forthoughtcan make all the tldlcrent-e between an ordinary snap- shot and a plLlUrC with real impact, For sharp, well-framed pIctures you must hold the camera absolutely still while you release the shutter. Camera shake at the moment of mpoxure is the most common cause of blurred or crooked pictures. To achIt-ve a firm but comfortable hold Inr hoth lIorI/ontal and vertical pictures. you can vary the exact grip to suityour own hands and camera. But you should make \Ul’tf locradlcthc camera securely, with the controls \\ Ithin easy reach of your fingers. Whenever possible. take advantage of any addttIonal support: lean against a wall, sit down or use a tripod. While aiming. rest your index tingcr lightly on the shutter release w you can press it gently and smoothly at the decisive moment. Holding your breath as you release the shutter may help to InInimtze movement. Although you should avoid strong light shintng directly into the lens, you can vary the camera's viewpoint in relation to the light. and achieve remarkable changes in appearance and mood of your pictures as a result, Move around and study the way shadows fall as your viewpoint changes, Remember. t'rontlighting â€" light behind the camera â€" brings out good details and colour but tends to flatten form unless the light is soft. and backlightingâ€"light behind a subject 4 tends to conceal form alto~ gether. especially if you expose for the background. turning the subject into a silâ€" houette. It‘s easier to take successful shots if the film matches the subject and lighting con- ditions as precisely as possible. The most Important property tifa film ls its scnstttw ity to lighti the film speed. Medium-speed film (ISO llllJ) offers t‘ine-qualtty results but can sttll be used In helowiavcragc lighting conditions. Htghispeed film {[50 200i is useful when ltght is changeable and for many action subJects. Very highAspecd film (lSO 400) is useful in a wide rangc of situations, from poor light to rapid ilCUUn. Hopefully. this Information will be helpful for Im» proving your photographs and also for showing you that the art of photography, although frustrattng at times. can be extremely interesting and fun. Kelly Robson IS the Tweedsrnutr History Curator for the Federated Women's Institutes of Ontario. She can be reached at 579 Mam 5r., Box 7764, Lively ON PSY 1M9, Phone 7056920630. Fax 705-692-3031, Email dkpuboo@hotmail,com C5776 Egg/are n/ SE10? Fr centuries lace represented allure, mystery and piety. It is a fabric, which reveals halt and conceals halt, The creation of this intricate mate- nal lies at the pattent fingertips of a woman. Whether lace comes in the term of deities. linens, collars. lingerie, gloves or a bride's veil. it still holds the same allure. Origtnating in the Middle East, the art at the woven thread made its way to Europe. During the French Revolution lace was torched because it was viewed by the masses as a symbol of aristocracy. During the Victorian era, lace was popular because it was both fashionable and pious. Due to the painstaking hours it took to create lace. It was treasured and often a family heirloom. Today. huge mechanical looms create an almost identical replica of lace from the past. The Adelaide Hunter Hoodless Homestead hosted “An Exhibit oi Vintage Lace. Linens and Needlework" last May in ccmmemoratioo of Mu- seum Monti-I. For more information about the Hoodless Homestead. contact Curator Sue Doiron at 359 Blue Lake Rd. RR 1. St. George ON NOE 1N0, Phone: 519448-1130. Subtnttted by Rachel Hamtllon Summer Student Assrstanl Curator Home 8. Country, Full 200i 9