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 Third Edition

A Short Course in

Teun Hocks

Barbara London ■ Jim Stone

Boston Columbus Indianapolis New York San Francisco Upper Saddle River
Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto
Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo

A01_LOND8258_03_SE.indd i 5/21/14 1:50 PM

 Editor-in-Chief: Sarah Touborg Operations Specialist: Diane Peirano
Senior Publisher: Roth Wilkofsky Cover Designer: Kathryn Foot
Editorial Assistant: Christopher Fegan Cover Art: © Steve Bloom/stevebloom.com
Marketing Manager: Wendy Albert Senior Digital Media Director: David Alick
Assistant Marketing Manager: Paige Patunas Media Project Manager: Amanda Smith
Senior Managing Editor: Melissa Feimer Digital Publishing Specialist: Corin Skidds
Production Project Manager: Joe Scordato Full-Service Project Management: SPi-Global
Program Manager: Barbara Cappuccio Printer/Binder: The Courier Companies
Senior Operations Supervisor: Mary Fischer Cover Printer: The Courier Companies

Credits and acknowledgments borrowed from other sources and reproduced, with permission,
in this textbook appear on appropriate page within text or on page 228.

Frontispiece: Teun Hocks, Untitled 2000

Courtesy of the artist and P•P•O•W Gallery, New York

Copyright © 2015, 2012, 2010 by Pearson Education, Inc. All rights reserved. Manufactured in the United States of America. This
publication is protected by Copyright, and permission should be obtained from the publisher prior to any prohibited reproduction,
storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or like-
wise. To obtain permission(s) to use material from this work, please submit a written request to Pearson Education, Inc., Permissions
Department, One Lake Street, Upper Saddle River, New Jersey 07458, or you may fax your request to 201-236-3290.

Many of the designations by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designa-
tions appear in this book, and the publisher was aware of a trademark claim, the designations have been printed in initial caps or all
caps.

Library of Congress Cataloging-in-Publication Data

London, Barbara
A short course in photography : digital an introduction to photographic technique / Barbara London, Jim Stone.—Third edition.
pages cm
Includes bibliographical references and index.
ISBN 978-0-205-99825-8
1. Photography—Digital techniques—Textbooks. 2. Image processing—Digital techniques—Textbooks. I. Stone, Jim II. Title.
TR267.L647 2015
771’.4--dc23
2014007787

10 9 8 7 6 5 4 3 2 1

Student Edition:
ISBN 10: 0-205-99825-9
ISBN 13: 978-0-205-99825-8

Instructor’s Review Copy:

ISBN 10: 0-205-99829-1
ISBN 13: 978-0-205-99829-6

A01_LOND8258_03_SE.indd ii 5/21/14 1:50 PM

 Penelope Umbrico. Sunset Portraits from Umbrico had 4 × 6-inch machine prints made As you make your own photographs, it is worth
8,462,359 Flickr Sunsets on 12/21/10, 2010. from an “appropriated” selection (this 2010 piece asking yourself questions. What are the ways you
Photography can be your subject, as well as includes only those sunsets with silhouetted figures), can improve the photographs you are now making?
your medium. Umbrico began searching the Web in and exhibits them in grid form, about 8 feet tall. For If others have already photographed your subject,
2006 for the most-often-photographed subject, find- a 2011 gallery show, she showed 1,058 4 × 6-inch how will your pictures be different? If you magnify
ing it to be sunsets (541,795 pictures posted on the sunset portraits; by then the total number of sunsets the meaning your images have for you, will you also
popular photo-sharing site Flickr at that time). on Flickr had grown to 9,623,557. increase the impact they have on others? Read on.

iii

A01_LOND8258_03_SE.indd iii 5/21/14 1:50 PM

 Contents
Preface vii

1 Camera 2
Getting Started Getting your camera ready 4 ■ Focusing and setting the exposure
6 ■ Exposure readout 7 ■ Exposing images 8 ■ What will you photograph? 9
■ Types of Cameras Film cameras 10 ■ Digital cameras 12 ■ Basic Camera

Controls 14 ■ More about Camera Controls 16 ■ Inside a digital single-lens

reflex camera 17 ■ Shutter Speed Affects light and motion 18 ■ Use it creatively
20 ■ Aperture Affects light and depth of field 22 ■ Use it creatively 24 ■
Shutter Speed and Aperture Blur vs. depth of field 26 ■ Getting the Most from
Your Camera and Lens 28

2 Lens 30
Lens Focal Length The basic difference between lenses 32 ■ Normal Focal
Length The most like human vision 34 ■ Long Focal Length Telephoto
lenses 36 ■ Short Focal Length Wide-angle lenses 38 ■ Zoom, Macro, and
Fisheye Lenses 40 ■ Focus and Depth of Field 42 ■ Automatic Focus 43
■ Depth of Field Controlling sharpness in a photograph 44 ■ More about

Depth of Field How to preview it 46 ■ Perspective How a photograph shows

depth 48 ■ Lens Attachments Close-ups and filters 50

3 Light and Exposure 52

Sensors and Pixels 54 ■ Pixels and Resolution 55 ■ Color in Photography
Color Systems 56 ■ Color Characteristics 57 ■ White Balance 58 ■ Using
Histograms 60 ■ Exposure Meters What different types do 62 ■ How to cal-
culate and adjust an exposure manually 64 ■ Overriding an Automatic Expo-
sure Camera 66 ■ Making an Exposure of an Average Scene 68 ■ Exposing
Scenes that are Lighter or Darker than Average 70 ■ Backlighting 72 ■
Exposing Scenes with High Contrast 73 ■ HDR High dynamic range 74

4 Digital Workplace Basics 76

Equipment and Materials You’ll Need 78 ■ Pictures Are Files 80 ■ Digital
Color Modes, gamuts, spaces, and profiles 82 ■ Channels 83 ■ Calibrating for
accuracy 84 ■ Working with Camera Raw 85 ■ Stay organized Setting up a
Workflow 86 ■ Photographer’s Workflow Programs: 87 ■ Importing an
Image 88 ■ Scanning 89

5 Image Editing 90
Getting Started Editing an Image 92 ■ Adjusting an Image Levels 94 ■
Curves 96 ■ Adjusting Part of an Image Selections 98 ■ More Techniques
Layers 100 ■ Retouching 102 ■ Sharpening 104 ■ Compositing 106 ■
Color into black and white 108 ■ Filters 109 ■ An Editing Workflow 110
■ Ethics and Digital Imaging 112

iv CO N T E N TS

A01_LOND8258_03_SE.indd iv 5/21/14 1:50 PM

 6 Printing and Display 114
Printers and Drivers 116 ■ Papers and Inks 117 ■ Soft Proofing 118 ■
Panoramic Photographs 119 ■ Presenting Your Work Framing 120 ■ Matting
a print 121 ■ Mounting a Print Equipment and materials you’ll need 122
■ Dry Mounting a Print Step by Step 124 ■ Bleed Mounting/Overmatting 126

7 Organizing and Storing 128

Image Storage 130 ■ Using Metadata 131 ■ Software for Organizing 132
■ Archiving Images and Prints 133

8 Using Light 134

Qualities of Light From direct to diffused 136 ■ Existing Light Use what’s
available 138 ■ The Main Light The strongest source of light 140
■ Fill Light To lighten shadows 142 ■ Simple Portrait Lighting 144 ■

Using Artificial Light Photolamp or flash 146 ■ More about Flash How to
position it 148 ■ Using Flash 150

9 Seeing Like a Camera 152

What’s in the Picture The edges or frame 154 ■ The background 156 ■
Focus Which parts are sharp 158 ■ Time and Motion in a Photograph 160 ■
Depth in a Picture Three dimensions become two 162 ■ Chaos into order 163
■ Photographing for Meaning 164 ■ Portraits Informal: Finding them 166 ■

Formal: Setting them up 168 ■ Photographing the Landscape 170 ■

Photographing the Cityscape 172 ■ Photographing Inside 174 ■ Assembled
to be Photographed 176 ■ Responding to Photographs 178

10 History of Photography 180

Daguerreotype “Designs on silver bright” 182 ■ Calotype Pictures on paper
184 ■ Collodion Wet-Plate Sharp and reproducible 185 ■ Gelatin Emulsion/
Roll-Film Base Photography for everyone 186 ■ Color Photography 187 ■
Early Portraits 188 ■ Early Travel Photography 190 ■ Early Images of War
191 ■ Time and Motion in Early Photographs 192 ■ The Photograph as
Document 193 ■ Photography and Social Change 194 ■ Photojournalism
196 ■ Photography as Art in the 19th Century 200 ■ Pictorial Photography
and the Photo-Secession 201 ■ The Direct Image in Art 202 ■ The Quest
for a New Vision 203 ■ Photography as Art in the 1950s and 1960s 204
■ Photography as Art in the 1970s and 1980s 206 ■ Color Photography

Arrives—Again 208 ■ Digital Photography Predecessors 210 ■ Becomes

mainstream 212

How to Learn More 214 ■ Troubleshooting 215 ■ Photographers’ Web Sites

220 ■ Glossary 222 ■ Bibliography 226 ■ Photo Credits 228 ■ Index 230

CONTENTS v

A01_LOND8258_03_SE.indd v 5/21/14 1:50 PM

 MyArtsLab

Here’s how we provide a better teaching and learning experience for teachers and students:
The new MyArtsLab delivers proven results and measure learning for each student. And,
in helping individual students succeed. Its it comes from Pearson, a trusted partner with
automatically graded assessments, personal- educational expertise and a deep commitment
ized study plan, and interactive eText provide to helping students, instructors, and depart-
engaging experiences that personalize, stimulate, ments achieve their goals.

■ A Pearson eText lets students access their text- ■ Assessment tied to videos, applications, and
book anytime, anywhere, and any way they want, chapters enables both instructors and students to
including downloading the text to an iPad. track progress and get immediate feedback.

■ Chapter Audio allows students to listen to spo- ■ Videos include tutorials from The Five Minute
ken text so they can concentrate on images and Photographer, a series by Shelton Muller. These short
diagrams. videos include lessons on how to understand arti-
ficial lighting and electronic flash, manage digital
■ A personalized study plan for each student pro- files, and understand depth of field.
motes critical-thinking skills.
■ Closer Looks give students insight into the com-
■ Simulations help students understand the func- positional choices a photographer made in creat-
tions of a camera. ing a great picture.

■ MediaShare. This program—integrated into ■ Animated demonstrations and FAQs give stu-
MyArtsLab—provides a free, course-specific drop- dents insight into camera techniques and common
box for students to upload their photographs, problems.
facilitating peer critique and allowing instructors
to grade student work with customizable grade- ■ …and more. Check MyArtsLab regularly for
books. added content.
For instructor access, visit www.MyArtsLab.com or speak to your local Pearson representative.

vi MY A R T S LA B

A01_LOND8258_03_SE.indd vi 5/21/14 1:50 PM

 Preface
I f you don’t know anything about photography and
would like to learn, or if you want to make better pictures than
the ones you are making now, A Short Course in Photography:
Digital will help you. This book is modeled after the widely used
film-and-darkroom edition of A Short Course in Photography, but
■
elements that can make the difference between an ordinary
snapshot and an exciting photograph
Chapter 9, Seeing Like a Camera, explores your choices
in selecting and adjusting the image and presents ways to
photograph subjects such as people and landscapes.
presents the medium in its current, electronic form. ■ Chapter 10, History of Photography, shows photographs by
some of the greatest artists ever to use a camera.
We present here, in depth, the basic techniques of photography:
New in this third edition are:
■ How to get a good exposure
■ How to adjust the focus, shutter speed, and aperture (the ■ The latest camera technology and software, integration of
size of the lens opening) to produce the results you want workflow applications with Photoshop at every step, and ex-
■ How to transfer your pictures to a computer and make sure panded coverage of a Camera Raw workflow.
they are organized and safe from loss ■ New photographs by great contemporary artists, includ-
■ How to use computer software to make your photographs ing Nancy Burson, Deborah Willis, Roe Ethridge, Laurisa
look their best Galvan, Martha Rosler, Stephen Shore, Rebecca Cummins,
Javier Manzano, David Taylor, Penelope Umbrico, Carrie
Almost all of today’s cameras incorporate automatic features,
Mae Weems, William Eggleston, and Gueorgui Pinkhassov.
but that doesn’t mean that they automatically produce the re-
■ The 1970s explosion of color photography is explained in the
sults you want. This edition of A Short Course in Photography de-
History of Photography, Chapter 10.
votes special attention to:
■ Current product and technical information throughout,
■ Automatic focus and automatic exposure—what they do with updated demonstration and example photographs.
and, particularly, how to override them when it is better to
This book is designed to make learning photography as easy as
adjust the camera manually
possible:
Some of the book’s highlights include:
■ Every two facing pages completes a single topic
■ Getting Started. If you are brand new to photography, this ■ Detailed step-by-step instructions clarify each stage of
section will walk you through the first steps of selecting and extended procedures
installing a memory card, setting the camera’s menu options, ■ Boldfaced headings make subtopics easy to spot
focusing sharply, adjusting the exposure, and making your ■ Numerous photographs and drawings illustrate each topic
first pictures. See pages 4–9.
■ Projects. These projects are designed to help develop your Acknowledgments
technical and expressive skills. See page 136 or 155.
Many people gave generously of their time and effort in the pro-
■ Making Better Prints. This includes information about how
duction of this book. Feedback from instructors helped confirm
to adjust your photographs with image-editing software
the direction of the book and determine the new elements in this
(pages 92–111), select ink and paper for them (page 117),
edition. Luis Peon-Casanova, University of Nebraska–Lincoln;
print them (page 118), and then display them in a mat and
Michael Grillo, University of Maine; Deidre Engel, Mt. San
frame (pages 120–127).
Antonio College; Michael Ensdorf, Roosevelt University; and Art
■ Types of lenses (pages 31–41), cameras (pages 10–13),
Hanson, Lansing Community College, reviewed the second edi-
lighting (pages 134–151), and software for organizing and
tion and made valuable suggestions. Amber, Jade, and Skye Stone
archiving (pages 131–133).
gave their dad time to finish the book. At Pearson Eduction, Roth
■ History of Photography. The medium has been used for
Wilkofsky provided editorial support; Joe Scordato supervised
documentation, persuasion, and personal expression since
the production of the book from manuscript to printer. Steve
its 19th-century invention. See pages 180–213.
Martel caught our (extremely few, of course) errors. If you have
suggestions, please send them to Photography Editor, Pearson
Photography is a subjective undertaking. A Short Course in Education, 1 Lake Street, Upper Saddle River, NJ 07458. They will
Photography emphasizes your choices in picture making: be sincerely welcomed.
Jim Stone
■ How to look at a scene in the way a camera can record it
Barbara London
■ How to select the shutter speed, point of view, and other
PRE FACE vii

A01_LOND8258_03_SE.indd vii 5/21/14 1:50 PM

 Editor-in-Chief: Sarah Touborg Operations Specialist: Diane Peirano
Senior Publisher: Roth Wilkofsky Cover Designer: Kathryn Foot
Editorial Assistant: Christopher Fegan Cover Art: © Steve Bloom/stevebloom.com
Marketing Manager: Wendy Albert Senior Digital Media Director: David Alick
Assistant Marketing Manager: Paige Patunas Media Project Manager: Amanda Smith
Senior Managing Editor: Melissa Feimer Digital Publishing Specialist: Corin Skidds
Production Project Manager: Joe Scordato Full-Service Project Management: SPi-Global
Program Manager: Barbara Cappuccio Printer/Binder: The Courier Companies
Senior Operations Supervisor: Mary Fischer Cover Printer: The Courier Companies

Credits and acknowledgments borrowed from other sources and reproduced, with permission,
in this textbook appear on appropriate page within text or on page 228.

Frontispiece: Teun Hocks, Untitled 2000

Courtesy of the artist and P•P•O•W Gallery, New York

Copyright © 2015, 2012, 2010 by Pearson Education, Inc. All rights reserved. Manufactured in the United States of America.
This publication is protected by Copyright, and permission should be obtained from the publisher prior to any prohibited
reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopy-
ing, recording, or likewise. To obtain permission(s) to use material from this work, please submit a written request to Pearson
Education, Inc., Permissions Department, One Lake Street, Upper Saddle River, New Jersey 07458, or you may fax your request
to 201-236-3290.

This work is protected by United States copyright laws and is provided solely for the use of
instructors in teaching their courses and assessing student learning. Dissemination or sale of
any part of this work (including on the World Wide Web) will destroy the integrity of the work
and is not permitted. The work and materials from it should never be made available to students
except by instructors using the accompanying text in their classes. All recipients of this work are
expected to abide by these restrictions and to honor the intended pedagogical purposes and the
needs of other instructors who rely on these materials.

Many of the designations by manufacturers and sellers to distinguish their products are claimed
as trademarks. Where those designations appear in this book, and the publisher was aware of a
trademark claim, the designations have been printed in initial caps or all caps.

10 9 8 7 6 5 4 3 2 1

Student Edition:
ISBN 10: 0-205-99825-9
ISBN 13: 978-0-205-99825-8

Instructor’s Review Copy:

ISBN 10: 0-205-99829-1
ISBN 13: 978-0-205-99829-6

A02_LOND8258_03_IRC.indd ii 5/21/14 1:51 PM

 ANNIE LEIBOVITZ Getting Started . . . . . . . . . . . . . . . . . 4 Shutter Speed . . . . . . . . . . . . . . . . . 18
Yo Yo Ma, 1998. Framing is a basic control you have in Getting your camera ready . . . . . . . . . 4 Affects light and motion . . . . . . . . . . 18
making a photograph. The two photographs on this page and
opposite are about music. Would you center your subject or
Focusing and setting the exposure . . . . 6 Use it creatively . . . . . . . . . . . . . . . . 20
use a corner? Do you want action or repose? Black and white Exposure readout . . . . . . . . . . . . . . . . 7
or color? Horizontal, vertical, or square? Candid or posed? Exposing images . . . . . . . . . . . . . . . . . 8 Aperture. . . . . . . . . . . . . . . . . . . . . . 22
Showing the subject’s front or back? More about What will you photograph? . . . . . . . . . 9 Affects light and depth of field . . . . . . 22
framing on pages 154–155. Use it creatively . . . . . . . . . . . . . . . . 24
Types of Cameras. . . . . . . . . . . . . . 10
Film cameras . . . . . . . . . . . . . . . . . . 10
Digital cameras . . . . . . . . . . . . . . . . 12 Shutter Speed
and Aperture . . . . . . . . . . . . . . . . . 26
Basic Camera Controls . . . . . . . . . 14 Blur vs. depth of field . . . . . . . . . . . . 26
More about Camera Controls . . . 16
Inside a digital single-lens Getting the Most from Your
reflex camera . . . . . . . . . . . . . . . . . 17 Camera and Lens . . . . . . . . . . . . . 28

M01_LOND8258_03_SE.indd 2 5/21/14 1:32 PM

 Camera 1
In this chapter you’ll learn…
• the basic controls of your camera and what they do.
• the categories of cameras, and their characteristics,
so you can choose the right one for your purposes.
• the first steps of getting a camera ready, focusing
A ll cameras have four things in common: an image-forming lens; a
light-sensitive surface (film or a digital sensor) to record the light that
forms an image; a light-tight container (the camera’s body) to keep
other light out; and two important controls to adjust the amount of picture-
making light (the exposure) that reaches the light-sensitive surface.
an image, and adjusting the camera’s settings.
This chapter describes those light controls and how you can take charge
of them, instead of letting them control you. Almost all current cameras
Project: are equipped with automatic exposure and automatic focus, and most have
automatic flash. If you are interested in making better pictures, however, you
EXPOSE SOME PICTURES should know how your camera makes its decisions, even if the automatic fea-
YOU WILL NEED tures can’t be turned off. If they can, you will want to override your camera’s
Camera. We suggest a single-lens reflex. automatic decisions from time to time and make your own choices.
Output. To evaluate your work, it’s good to
see exactly what you did. Your digital pictures ■ You may want to blur the motion of a moving subject or freeze its
can be viewed on the camera’s small monitor motion sharply. Pages 18–19 show how.
but they are easier to evaluate on a computer ■ You may want a scene sharp from foreground to background or the
screen. Pages 8 and 88 tell you how to download
photographs from your camera to a computer. foreground sharp but the background out of focus. See pages 44–45.
Once they are on a computer, your unedited ■ You may want to override your camera’s automatic focus mechanism so
photographs can also be displayed large with a that only a certain part of a scene is sharp. Page 43 tells when and how
digital projector or on a wide-screen television so
to do so.
you can easily see small details and imagine what
they might look like printed at a large size. If you ■ You may decide to silhouette a subject against a bright background, or
shoot 35mm film you can take it to the photo lab perhaps you want to make sure that you don’t end up with a
in a drug store or supermarket chain for overnight silhouette. See page 72.
processing and printing.
Most professional photographers use cameras with automatic features,
Pencil and notepad to keep track of what but they know how their cameras operate manually as well as automatically so
you do. Optional, but highly recommended for
all the projects.
they can choose which is best for a particular situation. You will want to do
the same because the more you know about how your camera operates, the
PROCEDURE See pages 4–9 if you are just better you will be able to get the results you want.
beginning to photograph. Those pages walk you
through the first steps of setting up your camera,
focusing an image sharply, adjusting the camera
settings so your photographs won’t be too light or
too dark, and making your first pictures. See pages
10–13 for more about the kinds of cameras.
Have some variety in the scenes when you
shoot. For example, photograph subjects near and
far, indoors and outside, in the shade and in the
sun. Photograph different types of subjects, such
as a portrait, a landscape, and an action scene.
Page 9 gives some suggestions.

HOW DID YOU DO? Which pictures did you

like best? Why? Were some different from what
you expected to get? Did some of your camera’s
operations cause confusion? It helps to read your
instruction book all the way through or to ask for
help from someone familiar with your camera.

David Scheinbaum. Erykah

Badu, Sunshine Theater, Albu-
querque, New Mexico, 2003.

M01_LOND8258_03_SE.indd 3 5/21/14 1:32 PM

 Getting Started
G E T T I NG YOUR C AM E R A R E A D Y
Film (in a film camera)
records the image The viewfinder shows
A camera’s main functions are to help you transmitted by the lens. the picture that the
lens will focus on the
view the scene so you can select what you want to
sensor or film.
photograph, focus to get the scene sharp where
you want it to be, and expose the picture so it is
not too light or too dark.
This illustration divides a camera in half so it
shows parts for both film and digital capture. For
more about specific cameras, see pages 10–13.

The lens moves forward and back to

bring objects at different distances
into sharp focus.

The memory card (in a

The shutter opens and The sensor (in a digital camera) digital camera) stores
closes to limit the length converts the light from the lens images until they can be
The aperture adjusts from larger (letting more of time that light strikes into electrical signals that are sent printed or transferred
light pass from the lens to the light-sensitive the light-sensitive surface. to the memory card. to a computer or other
surface) to smaller (letting less light pass). storage device.

More about camera controls on pages 14–27.

Choose a Memory Card Select an ISO

CF (Compact Flash)

SD (Secure Digital)

Memory Stick

ISO speed (100, 200, 400, and so on) will generally result in higher-quality pictures
xD-Picture describes a sensor’s (or film’s) sensitivity to (see Noise, page 75).
light. The higher the number, the less light it
needs for a correct exposure (one that is not Set an ISO of 50 to 400 for shooting out-
Digital cameras store pictures on memory cards too light or too dark). With a digital cam- doors in sunny conditions. In dimmer light,
that vary in capacity and speed. Because there era, you may select an ISO setting within such as indoors, use an ISO of 400 or high-
are several types that are not interchangeable, that camera’s range. You may choose a dif- er. Film is made with a fixed ISO; an entire
make sure you have one that fits your camera. ferent ISO for each picture. Lower numbers roll must be exposed at that speed.

4 CAMERA

M01_LOND8258_03_SE.indd 4 5/21/14 1:32 PM

 Check the Batteries Insert a Memory Card Display the Menu

Make sure your camera’s batteries have a Open the options menu. Turn the camera
fresh charge. No digital cameras and on and press the button to display the menu
few film cameras will operate without on the camera’s monitor.
power. A half-empty symbol will let
you know when the battery is low.
Carry a fully-charged spare if you can.

Insert the memory card only with the

camera’s power turned off. Then turn on the
camera. Make sure you are using the right
kind of card for your camera; cards intended
for another camera may not operate cor-
rectly in yours.

Review the defaults. In your camera’s

manual, read through the list of settings
that can be changed by the operator. Decide
which of them you would like to change
Many cameras use proprietary battery
from the camera’s defaults, the way the
packs that must be recharged with the
camera’s options have been set by the
manufacturer’s matching charger. Some
factory.
compact cameras have built-in batteries that
limit your shooting while they recharge.

Keep cards protected when they are not in

the camera. Memory cards are vulnerable to
dust and moisture as well as magnetic fields,
heat, and shock.

Select a menu item with the control wheel

on the camera’s back, then use the jog dial
Some cameras use standard batteries (also on the back) to reveal a list of settings
that you can buy nearly anywhere. Most or choices for that item.
conventional sizes are available in money-
saving rechargeable versions.

CHAPTER 1 5

M01_LOND8258_03_SE.indd 5 5/21/14 1:32 PM

 Getting Started
FOCU S ING A ND SET T I N G T HE E X P O S U R E
Set Basic Menu Options Focus Set the Exposure

Select the file type and resolution. The Focus on the most important part of your
menu item may be called “image quality,” scene to make sure it will be sharp in the
because visual fidelity is affected by your photograph. Practice focusing on objects at
choice. A lower resolution or compressed file different distances as you look through the
lets you store more pictures on your memory viewfinder so that you become familiar with
card, but at some loss of quality. Saving the way the camera focuses.
pictures in the camera’s raw format, at its
highest resolution, keeps the quality highest.

Ground glass

Focus Indicator

Manual focusing. As you look through

the viewfinder, rotate the focusing ring at
the front of the lens. The viewfinder of a
single-lens reflex camera has a ground-glass
screen that shows which parts of the scene
Choose an ISO speed. It can be different are most sharply focused. Some cameras
for each picture. Higher numbers let you also have a microprism, a small ring at the
shoot in lower light but produce an image center of the screen in which an object ap-
with more noise (see page 75). pears coarsely dotted until it is focused. An
advanced or system DSLR may offer a choice To get a correctly exposed picture, one
of focusing screens. that is not too light (overexposed) or too
dark (underexposed), you—or the camera—
must set the shutter speed and the aperture
Shutter release according to the selected ISO sensitivity
Incandescent Fluorescent button and how light or dark your subject is. The
Part way down: shutter speed determines the length of time
autofocus that light strikes the sensor; the aperture size
activated
determines how bright the light is that passes
All the way
down: shutter through the lens and shutter to the light-
released sensitive surface.
Sunlight Cloudy Shade
Automatic focusing. Usually this is done by
Select the white balance (color tempera- centering the focusing brackets (visible in the
ture) of the dominant light source in which middle of the viewfinder) on your subject as
you are shooting, such as incandescent you depress the shutter release part way. The
(tungsten) bulbs, sunlight, or outdoor shade. camera adjusts the lens for you to bring the
A camera set on automatic makes these ad- bracketed object into focus. Don’t push the
justments for you. If your camera has a raw shutter release all the way down until you
format option, it leaves the white balance are ready to take a picture.
choice until you edit the file. More about shutter speed and aperture on pages
More about focus and when and how to override 18–27 and about exposure and
More about ISO speed on page 75. automatic focus on page 43. metering on pages 62–73.

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 E X P O S U R E R EA DO U T
Automatically Setting
Exposure Readout Manually Setting the Exposure the Exposure
IS0 100: Average subjects outdoors
With automatic exposure, the camera
Shutter speed 1/250 second
sets the shutter speed or aperture, or both,
Bright or hazy sun Bright or hazy sun for you.
on sand or snow (distinct shadows)
f/16 f/11*

Shutter speed 1/125 second

Weak, hazy sun Cloudy bright Open shade
A data panel appears on the body of some (soft shadows) (no shadows) or heavy overcast
cameras, displaying shutter speed and aper- f/8 f/5.6 f/4
ture settings (here, 1⁄250 sec. shutter speed,
f/16 aperture), as well as other information. With programmed (fully automatic)
exposure, each time you press the shutter
release button, the camera automatically
*f/5.6 for backlighted close-up subjects. Subject shaded from meters the light, then sets both shutter
sun but lighted by a large area of sky.
speed and aperture.
With manual exposure, you set both the
shutter speed and aperture yourself. How
do you know which settings to use? At
1000
the simplest level you can use a chart like
500
250
the one above. Decide what kind of light
125
60
illuminates the scene, and set the aperture
30
15
(the f-number shown on the chart) and the
8
4
shutter speed accordingly.
2
1
Notice that the recommended shutter
16 speed on the chart is 1⁄250 sec. or 1⁄125 sec.
These relatively fast shutter speeds make it
The shutter speed and aperture settings easier for you to get a sharp picture when With shutter-priority automatic exposure,
appear in the viewfinder of some cameras hand holding the camera (when it is not on you set the shutter speed and the camera
(here, 1⁄250 sec. shutter speed, f/16 aperture). a tripod). At slow shutter speeds, such as sets the aperture. To prevent blur from
1⁄30 sec. or slower, the shutter is open long camera motion if you are hand holding the
enough for the picture to be blurred if you camera, select a shutter speed of 1⁄60 sec.
move the camera slightly during the exposure. or faster.

You can use a camera’s built-in meter

for manual exposure. Point the camera at
the most important part of the scene and
activate the meter. The viewfinder will show
whether the exposure is correct. If it isn’t,
change the shutter speed and/or aperture With aperture-priority automatic expo-
A histogram is a very accurate reading until it is. Here, plus numbers signal overex- sure, you set the aperture and the camera
of exposure that most cameras can posure, minus means underexposure. Lining sets the shutter speed. To keep the picture
display on the monitor after you take up the red arrow with the dot in the center sharp when you hand hold the camera, check
each photograph. If your subject is not indicates the exposure is right. that the shutter speed is 1⁄60 sec. or faster. If it
moving or is otherwise cooperative, make To prevent blur caused by the camera is not, set the aperture to a larger opening (a
a test exposure of the scene first. Over- or moving during the exposure (if the camera is smaller f-number).
underexposed tests can be deleted. More not on a tripod), select a shutter speed of at
about histograms on pages 60–61. least 1⁄60 sec. A shutter speed of 1⁄125 sec. is safer. More about how to override automatic
exposure on page 66.

CHAPTER 1 7

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 Getting Started
E XPOS ING IMA GE S
Hold the Camera Steady Expose Some Images Download the Pictures

Make an exposure. Recheck the focus and

composition just before exposure. When
For horizontal photographs (sometimes you are ready to take a picture, stabilize
called “landscape” mode), keep your arms your camera and yourself and gently press
against your body to steady the camera. the shutter release all the way down. Most
Use your right hand to hold the camera cameras prefocus automatically when you
and your right forefinger to press the shut- press the shutter button halfway down. If
ter release. Use your left hand to help sup- your subject cooperates, try several different Transfer your pictures to another storage
port the camera or to focus or make other exposures of the same scene, perhaps from device, usually a computer’s hard drive, at
camera adjustments. different angles. the end of a day’s shooting or whenever you
want to review them in detail. This transfer
is called downloading. You can remove the
memory card and plug it into a card reader,
as shown above, or connect the camera and
computer directly with a cable, below. Some
cameras can transfer images wirelessly.

An LCD monitor shows exact framing

and lets you check to see that the picture is
not too light or too dark after you take it.
For vertical photographs (“portrait” mode), Most digital cameras will also let you zoom
support the camera from below in either in the monitor display on a small part of the
your right or left hand. Keep that elbow picture to check precise focus.
against your body to steady the camera.

Download your pictures directly to a

computer if it’s convenient. If you are
shooting on location you can transfer
them to a portable hard drive or other
device made for reading cards. Don’t
erase the memory card until you are sure
all your images are secure and—if pos-
You’ll learn faster if you keep a record as sible—duplicated in at least two places.
you are shooting. Digital cameras automati- You can delete unwanted images from
cally save camera and exposure informa- the card using the camera, but—unless
tion—like the aperture, shutter speed, and you are running out of room on the card
ISO—and store it with each picture. But it during a shoot—it is safer to save that ed-
helps to note the reasons for those choices: iting step until after all your images have
A tripod steadies the camera for you and the way a subject was moving, for example, been downloaded.
lets you use slow shutter speeds for night or the direction and quality of light. This will
scenes or other situations when the light let you identify the paths to your successful
is dim. Make sure to use a cable release, images and help you make great pictures
remote trigger, or self-timer with it. more often.

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 WHAT W I L L Y O U P HO TO G R A P H ?
Bob Simons

Where do you start? One place to start is Get closer (usually). Often people photo- you more interested in the person cooking?
by looking around through the viewfinder. graph from too far away. What part of the Do you want the whole wall of a building,
A subject often looks different isolated in scene attracted you? Do you want to see or was it only the graffiti on it that caught
a viewfinder than it does when you see it the whole deck, the whole back yard, or are your attention?
surrounded by other objects. What inter-
ests you about this scene? What is it that
you want to make into a photograph?
Kyle Bajakian

Try a different angle. Instead of always Look at the background (and the fore- the setting? Is there a distraction (like bright
shooting from normal eye-level height, try ground). How does your subject relate to sunlight or a sign directly behind someone’s
getting up high and looking down on your its surroundings? Do you want the subject head) that you could avoid by changing
subject or kneeling and looking up. centered or off to one side to show more of position? Take a look.

More about backgrounds and the image frame on

pages 154–157.
Ray K. Metzker
Karl Baden

Karl Baden

Check the lighting. At first, you are more Don’t be afraid to experiment, too. resulting photograph, darker parts of the
likely to get a good exposure if you photo- Include a bright light source or bright sky scene may appear completely black, or the
graph a more or less evenly lit scene, not in the picture (just don’t stare directly at subject itself may be silhouetted against a
one where the subject is against a very light the sun through the viewfinder). In the brighter background.
background, such as a bright sky.

More about lighting on pages 134–151.

CHAPTER 1 9

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 Types of Cameras
F ILM C A ME R A S

What kind of cam-For know about because

many elements of these
tographers used larger
roll film. Recent SLRs
is not in focus. As you
rotate the focusing
era is best for you?
occasional snapshots of designs have been incor- incorporate automatic ring, the split image
family and friends, an porated into their digi- exposure, automatic comes together when
inexpensive, completely tal counterparts. focus, and automatic the object is focused
automatic, nonadjust- flash but allow manual
able camera that you Single-lens reflex cameras control. Many different
just point and shoot will (SLRs) show you a scene interchangeable lenses
probably be satisfactory. directly through the for SLRs are available.
But if you have become lens, so you can preview Digital SLRs (DSLRs)
interested enough in what will be recorded. resemble their 35mm
photography to take a You can see exactly what film ancestors. Some
class or buy a book, you the lens is focused on; SLR cameras made
will want an adjustable with some cameras, you for 2¼-inch-wide roll
camera because it will can check the depth of film (called medium-
give you greater creative field (how much of the format) may be used
control. If you buy a scene from foreground with accessory digital
camera with automatic to background will be capture backs. Digital-
features, make sure it is sharp). Through-the- only models, also called
one that allows you to lens viewing is a definite medium-format, are also
manually override them advantage with telepho- available. Rangefinder Film Camera
when you want to make to lenses, for close-ups, SLRs have long been
exposure and focus or for any work when very popular with profes- sharply. Rangefinder
choices yourself. you want a precise view sionals, such as photo- cameras let you focus
of a scene. journalists or fashion precisely, even in dim
Film camera designs Very early SLRs used photographers, or with light, but you cannot
evolved as tools for spe- large glass plates or film anyone who wants to visually assess the depth
cific tasks, and followed sheets but since the move beyond making of field because all parts
the slow evolution of 1950s almost all were snapshots. of the scene, even the
film (see Chapter 10, made to accept 35mm split image, look equally
pages 184–186). Here film. A few models Rangefinder cameras are sharp in the viewfinder.
are the major styles, aimed at (and priced viewfinder film cameras. Because the viewfind-
which are useful to for) professional pho- This means they have er is in a different posi-
a peephole, or window, tion from the lens that
separate from the lens, exposes the film, you do
through which you view not see exactly what the
the scene. Inexpensive lens sees. This difference
“point-and-shoot” view- between the viewfinder
finder cameras simply image and the lens
show the approximate image is called parallax
framing through the error, and is greater for
window. A rangefinder objects that are closer
camera is more complex, to the camera. Better
with a visual focusing rangefinder cameras cor-
system that you use as rect for parallax error
you look through the and have interchange-
viewfinder window. The able lenses, although
window shows a split usually not in as many
image when an object focal lengths as are avail-
Single-lens Reflex Camera

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 able for SLRs. Most use parallax error and a Each film exposure
35mm film; some (called viewfinder image that is is made on a separate
medium format) are reversed left to right. A sheet, so you can make
for wider roll film, few few now-discontinued one shot in color and
are digital. Rangefinder TLRs had interchange- the next in black and
cameras are fast, reliable, able lenses; adjustments white, or develop each
quiet in operation, and on all models are com- sheet differently. Film
relatively small. pletely manual. size is large—4 × 5 inch-
es and larger—for crisp
and sharp detail even in
a big print.
Using a view camera
can be a more consid-
ered process because
they are slow to use
compared to smaller
hand-held cameras. They
are large and heavy and
must be mounted on a
tripod. The image on the
viewing screen is upside
Filipe N. Marques

down, and it is usually View Camera

so dim that you have
to put a focusing cloth
over your head and the
screen to see the image film; some may rotate the button when moved
clearly. When you want the lens from side to side across a scene.
complete control of an during the exposure. Stereo or 3-D cameras
image, such as for archi- Digital panoramas take two pictures at the
Twin-lens Reflex Camera
tectural or product pho- can be made during same time through two
Twin-lens reflex cam- View cameras have a lens tography or for personal editing by stitching sev- side-by-side lenses. The
eras (TLRs), except for in the front, a ground- work, the view camera’s eral individual frames resulting pair of images,
a couple novelty “retro” glass viewing screen in advantages outweigh together, either from a stereograph, gives the
digital versions, are all the back, and a flexible, what some might see as digital capture or from illusion of three dimen-
film cameras. New ones accordion-like bellows in inconveniences. scanned film, so special- sions when seen in a
are made by only two between. The camera’s purpose panoramic stereo viewer.
companies, but second- most valuable feature is Some cameras are made cameras are no longer Underwater cam-
hand models are widely its adjustability: the cam- to fill a specialized need. common. Some digital eras are not only for
available. They cannot era’s parts can be moved Panoramic cameras cameras can display a use underwater but for
easily be adapted to digi- freely in relation to each make a long, narrow segment of the previous any situation in which
tal capture. Each camera other, which lets you alter photograph that can be frame on the side of the a camera is likely to
has two lenses: one for perspective and sharpness effective, for example, monitor to help align get wet. Some cam-
viewing the scene and to suit each scene. You with landscapes. Some the next shot for more eras are water resistant,
another just below it can change lenses and of these cameras crop seamless reassembly rather than usable
that exposes the film. even the camera’s back; out part of the normal later. Other cameras underwater. Specially-
A large film format for example, you can image rectangle to make (and smart phones) have made underwater hous-
(2¼ inches square) is attach a back to use self- a panoramic shape. a “sweep” mode that can ings are available for
the TLR’s advantage. developing film or one to Others use a wider-than- capture a panoramic professional use or larger
Its disadvantages are record a digital image. normal section of roll image with one press of camera models.

CHAPTER 1 11

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 Types of Cameras
D IG IT A L C A ME R A S

D igital camera designs est SLR out for a walk

requires a shoulder strap
are continually evolving
and the array of avail- or camera bag. Using
able models can be over- one in public suggests to
whelming. With so many others that you are not a
options, you can usually casual snapshooter, that
choose a camera based you are photographing
on the combination seriously.
of features you need, Compact cameras are
but you may have to mostly designed for
compromise. To get the amateur photographers
most out of this book but vary considerably in Subcompact Camera
(and your photography) quality. The smaller the
choose a camera that camera, the more likely anywhere, any time. onto a mirror and then
offers you the option to its features will be lim- But image quality and to your eye through a
control focus and expo- ited. Some compacts are features often compare pentaprism (see page 17)
sure manually. good enough to be used poorly to larger cameras. so you see what the lens
Few subcompacts allow sees. Because the view-
manual control. finder is held to your
eye, it is relatively easy
Lens. Do you need inter- to follow action. But
changeable lenses? One the mirror must swing
common characteristic out of the way for the
of a camera made for moment of exposure, so
serious photographers is you don’t actually see
that a wide assortment the exact image you have
of lenses can be attached. captured. And the mir-
An arsenal of specialized ror’s motion can cause
lenses can be expensive unwanted vibration that
to acquire and cumber- causes slight blurring.
Compact Camera
some to carry. A fixed Mirrorless cameras
Size is often the first con- lens may be all you need, most often have a small
sideration in choosing by professionals when especially if it is a zoom monitor or LCD screen
a camera. Your camera they don’t want to carry that covers the range on the back of the cam-
shouldn’t be so large or a larger camera; some you’d expect to use (see era that displays what
so small that it gets in are made to be used a pages 32–33). the lens is seeing,
the way of your photog- few times and then set transmitted directly
raphy. aside. Compact digital Viewing system. The from the image
Digital single-lens reflex cameras are a bit too purpose of a camera’s sensor. This
(DSLR) cameras are the large and heavy for most viewing system is to let image, called
most versatile choice but pockets, but fit well in you frame and preview, live view, is used
they are big enough that a small shoulder bag as accurately as possible, for framing
you’ll probably carry one along with your phone the photograph you are and focusing,
only when you are mean- and sunglasses. about to capture. and is replaced
ing to use it. Professional Subcompact digital A single-lens reflex momentarily
models can be relatively cameras can be carried camera projects the with a view of each Medium-format Digital SLR
heavy, but taking even in a pocket so you are image-forming light captured image imme-
the smallest and light- ready to make pictures directly from your lens diately after being taken.

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 The monitor on some lessly to a computer as
cameras is articulated, or you shoot. Some cam-
tiltable, for viewing from eras can be remotely
unusual angles, such as controlled with built-in
overhead or waist level. Wi-Fi, Bluetooth, or
Mirrorless cameras infrared receivers. Many
may have an electronic cameras will capture
viewfinder, or EVF. This video, some at very high
viewfinder is a smaller quality levels. They have
version of the LCD built-in microphones to
monitor that is located record sound and many
inside the camera. It allow external micro-
can be seen when hold- phones to be connected.
ing the camera to your To record an active
Mirrorless EVF Camera
eye rather than at arm’s lifestyle, there are action
length. SLR-style mirror- print. Generally, to keep Larger sensors are made sports cameras that are
less cameras have a char- the same image quality, for medium-format digi- waterproof, shock resis-
acteristic pentaprism; the larger the print, the tal cameras, priced for tant, and can be helmet
other cameras resemble higher the resolution well-paid professional or surfboard mounted.
rangefinder film cam- needed (see page 55). If photographers. Some
eras with the EVF vis- you aren’t planning to common sensor sizes Cell phone cameras now
ible through a peephole make large prints, you smaller than full frame outnumber all other
located in a corner of the probably don’t need the are (in decending order types by a wide mar-
camera’s back. highest megapixel count. of size) APS-C, Four- gin, and they capture
An EVF display can Thirds, 2/3”, 1/1.8” (see a majority of the pho-
be made lighter and Sensor size also affects the chart on page 45). tographs made daily,
darker to compensate image quality. A 12MP worldwide. Most take
for the brighness of a sensor can be physically Other features may be only low-resolution
scene or for setting dif- large or small. If it is a factor in your choice. images and allow the
ferent apertures (page small, to have the same Most cameras have a user no control other
22). Some cameras can number of individual built-in flash for use in than where it points and
show in the viewfinder light-sensing elements as dim light. A few have when it shoots, but the
an outline of the areas a large 12MP sensor, the built-in Wi-Fi that can best camera is always the
of best focus, sometimes elements must also be transfer image files wire- one you have with you.
called focus peaking. smaller and more tightly
packed. The larger and
Resolution. The maxi- less crowded these ele-
mum number of pixels ments are on the sensor,
a camera’s sensor will the higher the quality
capture is called its of the image (see noise,
resolution. A camera, page 75). Most subcom-
for example, may be pact cameras have very
12, 16, or 24 megapix- small sensors and, there-
els (MP). An image file fore, produce images of
captured by almost any somewhat lower quality.
current digital camera A sensor the same
can make a satisfac- size as a 35mm film
tory letter-size (8½ × 11) frame is called full frame.

CHAPTER 1 13

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 Basic Camera Controls
G et the pictures you want. Cameras don’t how to see the way the camera does and how to
quite “see” the way the human eye does, so at use the camera’s controls to make the picture
first the pictures you get may not be the ones you you have in mind. Digital cameras are shown
expected. This book will help you gain control here. A film camera will have some or all of these
over the picture-making process by showing you same controls.

Control dial

Shutter release
button

Data panel
Controls and data panels appear on both
this entry-level single-lens reflex camera Focusing ring for
(above) and the more sophisticated “system” manual focusing
camera (right) aimed at professionals. Both
can be equipped with a wide variety of special-
purpose lenses and accessories. Push-buttons
and dials let you select the shutter speed (the Interchangeable lens
length of time the shutter remains open) and
the aperture (the size of the opening inside the
lens). With either camera, you can exchange
one lens for another. Top-of-the-line cameras
often do not have built-in flash.

On these fully-automatic cameras, you

can press the shutter release and have the
camera automatically focus the lens (autofo-
cus) and set the shutter speed and aperture
(autoexposure). When you want to choose
camera settings yourself, you can manually
override the automatic functions.

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 Focusing. Through the viewfinder window you see the scene
that will be recorded, including the sharpest part of the scene,
the part on which the camera is focused. A particular part of a
scene can be focused sharply by manually turning the focusing
ring on the lens, or you can let an autofocus camera adjust the
lens automatically. More about focusing and sharpness appears
on pages 42–45.

Keith Johnson
Shutter-speed control.
Moving objects can be shown
crisply sharp, frozen in mid-
motion, or blurred either a
little bit or a lot. The faster
the shutter speed, the sharper
the moving object will appear.
Turn to pages 18–19 for
information about shutter
speeds, motion, and blur.

Aperture control. Do you

want part of the picture sharp
and part out of focus or do
you want the whole picture
sharp from foreground to
back-ground? Changing the
size of the aperture (the lens
opening) is one way to control
sharpness. The smaller the
aperture, the more of the
picture that will be sharp.
See pages 22–25.

Lens focal length. Your

lens’s focal length controls
the size of objects in a scene
and how much of that scene
is shown. The longer the
focal length, the larger the
objects will appear. See
pages 32–39 for more about
focal length.

CHAPTER 1 15

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 More about Camera Controls

A utomatic exposure is a basic feature in tion can be useful in rapidly changing situations
almost all cameras. The purpose is to let in a because it allows you simply to respond to the
controlled amount of light so that the result- subject, focus, and shoot.
ing image is neither too light nor too dark. The
camera’s built-in meter measures the brightness In shutter-priority mode, you set the shut-
of the scene and then sets shutter speed, aperture ter speed and the camera automatically sets the
(lens opening), or both in order to let the right correct aperture. This mode is useful when the
amount of light reach the camera’s recording motion of subjects is important, as at sport-
sensor (or the film in a film camera). As you ing events, because the shutter speed determines
become more experienced, you will want to set whether moving objects will be sharp or blurred.
the exposure manually in certain cases, instead
of always relying on the camera. More about In aperture-priority mode, you set the lens
exposure in Chapter 3, pages 60–73. opening and the camera automatically sets the
You have a choice of exposure modes with shutter speed. This mode is useful when you want
many cameras. Read your camera’s instruction to control the depth of field (the sharpness of the
manual to find out which exposure features your image from foreground to background) because
model has and how they work. You may be able to the size of the lens opening is a major factor
download a replacement manual from the manu- affecting sharpness.
facturer’s Web site, if you don’t have one.
Manual exposure is also a choice with many
With programmed (fully automatic) exposure, automatic cameras. You set both the lens open-
the camera selects both the shutter speed and the ing and shutter speed yourself using, if you wish,
aperture based on a program built into the cam- the camera’s built-in light meter to measure the
era by the manufacturer. This automatic opera- brightness of the light.

1000

ï 250
60
15
8

1
5.6

Exposure information appears in the viewfinder of many cam- Some cameras also have a data panel on the body of the
eras. This viewfinder shows the shutter speed (here, 1⁄250 sec.) camera that shows the same information—shutter speed and ap-
and aperture (f/5.6). Displays also show you when the flash is erture—as well as exposure, autofocus, and ISO modes and the
ready to fire and give you warnings of under- or overexposure. number of exposures remaining on the memory card (here 123).

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 INS IDE A DI G I T A L S I N G L E -L E N S R E F L E X C A M ER A
N
All cameras have the same basic features: P Q

■ A light-tight box to hold the camera parts and a J

recording sensor or film A
O R
■ A viewing system that lets you aim the camera I
accurately T K
■ A lens to form an image and a mechanism to F
focus it sharply D H
■ A shutter and lens aperture to control the amount
of light that reaches the recording surface
■ A means to hold a memory card that saves its G
captured information or to hold and advance film
B L
M
A. Body. The light-tight box that contains the cam-
era’s mechanisms and protects the light-sensitive
surface (sensor or film) from exposure to light until S
you are ready to make a photograph.
B. Lens. Focuses an image in the viewfinder and on E
the light-sensitive recording surface. C
C. Lens elements. The optical glass lens components
that produce the image.
D. Focusing ring. Turning the ring focuses the
sitive electronic devices (photosites) that record the A simplified look inside
image by adjusting the distance of the lens from
image. The ISO (or light sensitivity) of the sensor is a digital single-lens reflex
the recording surface. Some cameras focus
adjustable, and is set into the camera by a dial or camera or DSLR (designs
automatically.
menu setting. vary in different models).
E. Diaphragm. A circle of overlapping leaves inside The camera takes its name
N. Data panel. A display (most often an LCD screen)
the lens that adjusts the size of the aperture (lens from its single lens (another
for such information as shutter speed, aperture,
opening). It opens up to increase (or closes down kind of reflex film camera
ISO, exposure and metering modes, and the num-
to decrease) the amount of light reaching the has two lenses) and from its
ber of exposures remaining on the memory card.
recording surface. reflection of light upward
O. Command dial. Selects the shutter speed, the for viewing the image.
F. Aperture ring or button. Setting the ring or turn-
length of time the shutter remains open. On some
ing a command dial (O) determines the size of the
models, it also sets the mode of automatic expo-
diaphragm during exposure.
sure operation. In some locations, it is called a
G. Mirror. During viewing, the mirror reflects light thumbwheel or jog dial.
from the lens upward onto the viewing screen.
P. Shutter release. A button that activates the expo-
During an exposure, the mirror swings out of the way
sure sequence in which the aperture adjusts, the
so light can pass straight to the recording surface.
mirror rises, the shutter opens, light strikes the
H. Viewing screen. A ground-glass (or similar) surface recording surface, and the shutter closes.
on which the focused image appears.
Q. Hot shoe. A bracket that attaches a flash unit to
I. Pentaprism. A five-sided optical device that the camera and provides an electrical linking that
reflects the image from the viewing screen into the synchronizes camera and flash.
viewfinder.
R. Mode dial. Sets a manual or one of several auto-
J. Metering cell. Measures the brightness of the scene matic exposure modes. On film cameras, a crank
being photographed. to rewind an exposed roll of film may be located
K. Viewfinder eyepiece. A window through which the here. Most new film cameras rewind automatically.
image from the pentaprism is visible. S. Cable connections. Plug in cables that, for exam-
L. Shutter. Keeps light from the recording surface ple, connect external power or a computer, or con-
until you are ready to take a picture. Pressing the trol the camera remotely.
shutter release opens and closes the shutter to let a T. Memory card. Stores image files. May be erased
measured amount of light reach the sensor. and reused; capacity varies. Can be removed to
M. Sensor. A grid (usually called a CCD or CMOS facilitate transferring files to a computer or other
array or chip) comprising millions of tiny light-sen- storage device.

CHAPTER 1 17

M01_LOND8258_03_SE.indd 17 5/21/14 1:32 PM

Discovering Diverse Content Through
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and pushing of his tray against the back-door posts, through
awkwardness, could be called such.

"Some dishes, please," said he.

"Dishes!" retorted Sarah, who had one of the strongest tongues in

Coastdown. "Dishes for what?"

"For this here meat. The captain have just been in and bought it,
and master have sent it up."

He displayed some twelve or fifteen pounds of meat--beef, veal,

lamb. Sarah's green eyes--good, honest, pleasant eyes in the main--
glistened.

"Then your master's a fool. Didn't I tell him not to pay attention to
the captain when he took these freaks in his head?" she demanded.
"When he goes and buys up the whole shop--as he did one day last
winter because he was expecting a old mate of his down--your
master's not to notice him no more nor if he was a child. An
uncommon soft you must be, to bring up all them joints! Did you
think you was supplying the Red Court? Just you march back with
'em."

There was an interruption. While the boy stood staring at the meat,
hardly knowing what to do, and rubbing his fingers amidst his
shining black hair, Mrs. Copp entered the kitchen, and became
acquainted with the state of affairs. She wore a pale muslin gown,
as faded as her gentle self, with pale green ribbons.

"Dear me," she meekly cried, "all that meat! We could not get
through the half of it while it was good? Do you think, James, your
master would have any objection to take it back?"

"Objection! He'll take it back, ma'am, whether he has any objection

or not," cried the positive Sarah. "Now then! who's this?"
Somebody seemed to be clattering up in clogs. A woman with the
fish: three pairs of large soles and a score or two of herrings, which
the captain had bought and paid for. Mrs. Copp, fearing what else
might be coming, looked inclined to cry. The exasperated Sarah,
more practical, took her hands out of the paste, wiped the flour off
them on her check apron, and went darting across the heath without
bonnet to the butcher's shop, the boy and his tray of rejected meat
slowly following her. There she commenced a wordy war with the
butcher, accusing him of being an idiot, with other disparaging
epithets, and went marching home in triumph carrying two pounds
of veal cutlet.

"And that's too much for us," she cried to her mistress, "with all that
stock of fish and the pudding. What on earth is to be done with the
fish, I don't know. If I fry a pair for dinner, and pickle the herrings,
there'll be two pair left. They won't pickle. One had need to have
poor folk coming here as they do at the Red Court. Master's gone off
with purple streamers flying from his hat; I think he'd more need to
put on bells."

Scarcely had she got her hands into the flour again, when another
person arrived. A girl with a goose. It was in its feathers, just killed.

"If you please, ma'am," said she to Sarah, with a curtsey, "mother
says she'll stick the other as soon as ever she can catch him; but
he's runned away over the common. Mother sent me up with this for
'fraid you should be waiting to pluck him. The captain said they was
to come up sharp."

Sarah could almost have found in her heart to "stick" her master.
She was a faithful servant, and the waste of money vexed her. Mrs.
Copp, quite unable to battle with the petty ills of life, left the strong-
minded woman to fight against these, and ran away to her parlour.

The respected cause of all this, meanwhile, had reached Jutpoint, he

and his streamers. There he had to wait a considerable time, but the
train came in at last, and brought the travellers.

They occupied a first-class compartment in the middle of the train.

There had been a little matter about the tickets at starting. Isaac
Thornycroft procured them, and when they were seated, Anna took
out her purse to repay him, and found she had not enough money in
it. A little more that she possessed was in her box. Accustomed to
travel second-class, even third, the cost of the ticket was more than
she had thought for. Eighteenpence short!

"If you will please to take this, I will repay you the rest as soon as I
can get to my box," she said, with painful embarrassment--an
embarrassment that Isaac could not fail to notice and to wonder at.
Reared as she had been, money wore to her an undue value; to
want it in a time of need seemed little short of a crime. She turned
the silver about in her hands, blushing painfully. Miss Thornycroft
discerned somewhat of the case.

"Never mind, Anna. I dare say you thought to travel second-class.

You can repay my brother later."

Isaac's quick brain took in the whole. This poor friendless girl, kept
at the Miss Jupps' almost out of charity, had less money in a year for
necessities than he would sometimes spend in an hour in frivolity.
Anna held out the silver still, with the rose-coloured flush deepening
on her delicate cheeks.

"What is it, Miss Chester?" he suddenly said. "Why do you offer me

your money?"

"You took my ticket, did you not?"

"Certainly," he answered, showing the three little pieces of card in

his waistcoat. "But I held the money for yours beforehand. Put up
your purse."
"Did you," she answered, in great relief, but embarrassed still. "Did
Mrs. Copp give it you?--or--Miss Jupp?--or--or the captain?" Isaac
laughed.

"You had better not inquire into secrets, Miss Chester. All I can tell
you is, I had the money for your ticket in my pocket. Where is that
important article--the wicker bottle? Captain Copp will expect it
returned to him--empty."

"It is empty now; Miss Jupp poured out the rum-and-water," she
answered, laughing. "I have it all safe."

She put up her purse as she spoke, inquiring no further as to the

donor in her spirit of implicit obedience, but concluded it must have
been Miss Jupp. And she never knew the truth until--until it was too
late to repay Isaac.

At the terminus, side by side with the captain and his streamers,
stood Justice Thornycroft. Anna remembered him well; the tall, fine,
genial-natured man whom she had seen three years before in the
day's visit to Mrs. Chester. All thought of her had long ago passed
from his memory, but he recognised the face--the pale, patient,
gentle face, which, even then, had struck Mr. Thornycroft as being
the sweetest he had ever looked upon. It so struck him now.

"Where have I seen you?" he asked. And Anna told him.

The carriage, very much to the displeasure of Mary Anne, had not
come over for her. Mr. Thornycroft explained that one of the horses
he generally drove in it was found to be lame that morning. They
got into the omnibus, the captain preferring to place himself with his
ribbons and his wooden leg flat on the roof amidst the luggage. On
the outskirts of Jutpoint, in obedience to his signal, the driver came
to a standstill before the door of the "White Cliff" public-house, and
the captain's head appeared at the back window, in a hanging
position, inquiring whether brandy or rum would be preferred;
adding, with a somewhat fierce look at Mr. Thornycroft and Isaac,
that he should stand glasses round this time. Very much to the
captain's discomfiture, the young ladies and the gentlemen declined
both; so the only order the crestfallen captain could give the White
Cliff was for two glasses of rum, cold without; that were disposed of
by himself and the driver.

"Mind, Anna! I feel three-parts of a stranger in this place, and have

really not a friend of my own age and condition in it, so you must
supply the place of one to me during these holidays," said Miss
Thornycroft, as the omnibus reached its destination--the Mermaid.
"Part of every day I shall expect you to spend at the Red Court."

"I beg to second that," whispered Isaac, taking Anna's hand to help
her out. And she blushed again that day for about the fiftieth time
without knowing why or wherefore.

Not upon these summer holidays can we linger, because so much

time must be spent on those of the next winter. On those of the next
winter! If the inmates of the Red Court Farm could but have
foreseen what those holidays were to bring forth for them! or Mary
Anne Thornycroft dreamt of the consequences of indulging her own
self-will! Just a few words more of the present, and then we go on.

Anna Chester's sojourn at Coastdown was passing swiftly, and she

seemed as in a very Elysium. The days of toil, of servitude, of
incessant care for others were over, temporarily at any rate, and she
enjoyed comfort and rest. The hospitable, good-hearted sailor-
captain, with his tales of the sea-serpent, the mermaid he had seen,
and other marvels; the meek, gentle, ever-thoughtful Mrs. Copp,
who caused Anna to address her as "aunt," and behaved more
kindly to her than any aunt did yet; the most charming visits day by
day to the Red Court Farm, and the constant society of Isaac
Thornycroft. Ah, there it lay--the strange fascination that all things
were beginning to possess around her--in the companionship of him.
To say that Isaac Thornycroft, hitherto so mockingly heart-whole,
had fallen in love with Anna the first evening he saw her at Miss
Jupp's, would be going too far, but he was certainly three-parts in
love before they reached Coastdown the following day. To watch her
gentle face became like the sweetest music to Isaac Thornycroft. To
see her ever-wakeful attentions to her entertainers, her gratitude for
their kindness, her prompt help of Sarah when extra work was to be
done, her loving care for the friendless and poor, was something
new to Isaac, altogether out of his experience. Come weal, come
woe, he resolved that this girl should be his wife. People, in their
thoughtless gossip, had been wont to predict a high-born and
wealthy bride for the attractive second son of Justice Thornycroft;
this humble orphan, the poor daughter of the many years poor and
humble curate, was the one he fixed upon, with all the world before
him to choose from. How Fate changes plans! "L'homme propose,
mais Dieu dispose," was one of the most solemn truisms ever
penned. Long ere the six weeks of holidays had passed, Isaac
Thornycroft and Anna Chester had become all in all to each other:
and he, a man accustomed to act upon impulse, spoke out.

It was during an evening walk to the Red Court Farm. Anna was
going to tea there; Isaac met her on the heath--no unusual thing--
and turned to walk by her side. Both were silent after the first
greeting: true love is rarely eloquent. With her soft cheeks blushing,
her pale eyelids drooping, her heart wildly beating, Anna sought--at
first in vain--to find some topic of conversation, and chose but a
lame one.

"Has Mary Anne finished her screen?"

Isaac smiled. "As if I knew!"

"She has the other one to do; and we shall be going back in a
week."

"Not in a week!"

"The holidays will be up a week to-morrow."

A vista of the miserable time after her departure, when all things
would be dark and dreary, wanting her who had come to make his
heart's sunshine, cast its foreshadowing across the brain of Isaac.
He turned to her in his impulse, speaking passionately.

"Anna, I cannot lose you. Rather than that, I must--I must--"

"Must what?" she asked, innocently.

"Keep you here on a visit to myself--a visit that can never

terminate."

Insensibly, she drew a little from him. Not that the words would have
been unwelcome had circumstances justified them; how welcome,
the sudden rush of inward joy, the wild coursing on of all her pulses,
told her. But--loving him though she did; conscious or half-conscious
of his love for her--it never occurred to the mind of Anna Chester
that a union would be within the range of possibility. She--the poor
humble slave--be wedded by a great and wealthy gentleman like
Isaac Thornycroft!

"Would you object to the visit, Anna--though it were to be for life?"

"It could not be," she answered, in a low tone, not affecting to
misunderstand him.

"Oh, couldn't it!" said Isaac, amused, and taking up rather the
wrong view of the words. "But if you and I say it shall?"

"Halloa! Is it you, Isaac? How d'ye do, Miss Chester?"

Richard Thornycroft, coming suddenly into the path from a side

crossing, halted as he spoke. Isaac, put out for once in his life, bit
his lips.

"I want you, Isaac. I was looking for you. Here's some bother up."
"What bother?" testily rejoined Isaac.

"You had better come down and hear it. Tomlett--Come along."

Seeing plainly that his walk with Anna was over for the time, Isaac
Thornycroft turned off with his brother, leaving Anna to go on alone
to the gate, which was in sight.

"Good-day for the present, Anna," he said, with apparent

carelessness. "Tell Mary Anne not to wait tea for me. I may not be
in."

More forcibly than ever on this evening, when she sat in the
spacious drawing-room surrounded by its many elegancies, did the
contrast between the Red Court and her own poor home of the past
strike on the senses of Anna Chester. Nothing that moderate wealth
could purchase was here wanting. Several servants, spacious and
handsome rooms, luxuries to please the eye and please the palate.
Look at the tea-table laid out there! The delicately-made Worcester
china, rich in hues of purple and gold; the chased silver tea and
coffee service on their chased silver stands; small fringed damask
napkins on the purple and gold plates. Shrimps large as prawns,
potted meats, rolled bread-and-butter, muffins, rich cake, and
marmalade, are there; for it is Justice Thornycroft's will that all
meals, if laid, shall be laid well. Sometimes a cup of tea only came in
for Miss Thornycroft, as it used to do for my lady when she was
there. It almost seemed to Anna Chester as if she were enacting a
deceit, a lie, in sitting at it, its honoured guest, for whom these
things were spread, when she thought of the scrambling meals in
her former home with Mrs. Chester's children. The odd teacups--for
as one got broken it would be-replaced by another of any shape or
pattern, provided it were cheap; saucers notched; cracked cups
without handles; the stale loaf on the table; the scanty, untidy plate
of salt butter, of which she had to cut perpetual slices, like Werther's
Charlotte; the stained table without a cover, crumbs strewing it. Look
on this picture and on that. Anna did, in deep dejection; and the
thought which had faintly presented itself to her mind when Isaac
Thornycroft spoke his momentous words, grew into grim and
defined shape, and would not be scared away--that she could be no
fit wife for Isaac. She resolved to tell him of these things, and of her
own unfitness; how very poor she was, always had been, always
(according to present prospects) would be; and beg him to think no
more of her; and she did not doubt he would unsay his words of his
own accord when he came to know of it. It is true she winced at the
task: but her conscience told her it must be done, though her heart
should faint at it. She could imagine no fate so bright in the wide
world as that of becoming the wife of Isaac Thornycroft.

"What makes you so silent this evening?"

Anna started at Miss Thornycroft's words. That young lady was

eyeing her with curiosity.

"I was only thinking," she answered, with a vivid blush. "Oh, and I
forgot: your brother wished me to ask you not to wait tea for him."

"My brother! Which of them?"

"Mr. Isaac."

"Very considerate, I'm sure! seeing that I never do wait, and that if I
did he would probably not come in."

There was a mocking tone in her voice that Anna rather winced at as
applied to Isaac. She went on explaining where she saw him; that he
and Richard had walked away together--she fancied to Tomlett's.

"They are a great deal too intimate with Tomlett," spoke Miss
Thornycroft, curling her lip. "He is no better than a boatman. My
belief is, they go and drink gin-and-water with him. They ought to
have more pride."

"Mr. Richard said there was some 'bother.'"

"Oh! of course; any excuse before you. I tell you, Anna, they are just
a couple of loose young men."

The "loose young men" came in shortly; Richard to go away again,

Isaac to remain. He had told Mrs. Copp he would see her home
safely. "Let it be by daylight, if you please," answered that discreet
lady.

Not by daylight, but under the stars of the sweet summer's night,
they went out. There was no one to see; the way was lonely; and
Isaac drew Anna's hand within his arm for the first time, and kept it
a prisoner.

"I must take care of you, Anna, as you are to become my own
property."

"But I--I am not to become that; I wish I could, but it is impossible,"

she stammered, setting about her task in hesitating perplexity.

"Anna, do you understand me? I am asking you to be my wife."

"Yes, I--I believe I understood; and I feel very grateful to you, all the
same."

"All the same!" Isaac Thornycroft released her hand and turned to
face her.

"Just tell me what you mean. Don't you care for me?"

Agitated, embarrassed, she burst into tears. Isaac took both her
hands now, holding them before him. They had reached the
churchyard, and its graves were distinct in the twilight; the stars
looked down on them from the blue sky above; the sound of the
surging sea came over with a faint murmur.

"I thought you loved me, Anna. Surely I cannot have been steering
on a wrong tack?"
As the soft eyes glanced at him through their tears, he saw enough
to know that she did love him. Reassured on that score, he turned
and walked on again, her arm kept within his.

"Now, tell me what you mean," he said, quietly. "There can be no

other bar."

"I do not know how to tell you," she answered. "I do not like to tell
you."

"Nonsense, Anna. I shall keep you out here pacing the heath until
you do tell, though it be until morning, which would certainly send
Mrs. Copp into a fit."

Not very awkwardly when she had fairly entered upon it, Anna told
her tale--her sense of the unfitness, nay, the impossibility of the
union--of the wide social gulf that lay between them. Isaac met the
communication with a laugh.

"Is that all! It is my turn now not to understand. You have been
reared a gentlewoman, Anna."

"Papa was a clergyman. I have been reared, I think, to nothing but

work. We were so very poor. My home--ah! if you could see, if you
could imagine the contrast it presented to this of yours! As I sat in
your drawing-room to-night I could not help feeling the difference
forcibly."

If Isaac Thornycroft had not seen what she spoke of, he had seen
something else--that never in his whole life had he met any one who
gave him so entirely the idea of a gentlewoman--a refined, well-bred
gentlewoman--as this girl now speaking with him, Anna Chester. He
continued in evident amusement.

"Let us see how your objections can be refuted. You play and sing?"

"A little."
"You draw?"

"A little."

"You can dance?"

"Yes; I can dance."

"Why, then--not to enter on other desirable qualities--you are an

accomplished young lady. What do you mean about unfitness?"

"I see you are laughing at me," she said, the tears struggling to her
eyes again. "I am so very poor; I teach for the merest trifle: it barely
finds me in the cheapest clothes. I only looked forward to a life of
work. And you are rich--at least Mr. Thornycroft is."

"If we have a superfluity of riches, there's all the more cause for me
to dispense with them in a wife. Besides, when I set up my tent, it
will not be on the scale of my father's house. Anna, my darling!" he
added, with a strange gravity in his eye and tone, "we are more on
an equality than you may deem."

She made no reply, having enough to do to keep her tears from

falling.

"I have sufficient for comfort--a sort of love-in-a-cottage

establishment," went on Isaac; "and I am heartily sick of my
bachelor's life. It leads me into all sorts of extravagances, and is
unsatisfactory at the best. You must promise to be my wife, Anna."

"There are the lights in Captain Copp's parlour," said she, with
singular irrelevance.

"Just so. But you do not go in until I have your promise."

"They were saying one day, some of them--I think it was Mrs.
Connaught--that you would be sure to marry into one of the good
county families," murmured Anna.

"Did they? I hope the disappointment won't be too much for them. I
shall marry you, Anna, and none other."

"But what would your family say? Your father--your sister?"

"Just what they pleased. Anna, pardon me, I am only teasing you.
Believe me, they will only be too glad to hear of it; glad that the
wild, unsteady (as Mary Anne is pleased to call me on occasion)
Isaac Thornycroft should make himself into a respectable man.
Anna! can you not trust me?"

She had trusted all her life, yielded implicitly to the sway of those
who held influence over her; little chance was there, then, that she
could hold out now. Isaac Thornycroft received the promise his heart
hungered for, and sealed it.

Her face gathered against his breast; her slight form shrinking in his
strong arms; he kept her there a prisoner; his voice breathing soft
love-vows; his blue eyes bent greedily on her blushing face; his
kisses, the only honest kisses his life had known, pressed again and
again upon her lips.

"Who on earth is that? Avast, thieves! Bea serpents! pirates!"

The gallant Captain Copp, his night-glass pushed out at the open
window to an acute angle, had been contemplating these puzzling
proceedings for some time. Fortunately he did not distinguish very
clearly, and remained ignorant of the real matter. Ill-conditioned
people, tipsy fishermen and else, their brains muddled with drink,
found their way to the heath on occasion, and the captain
considered it a duty to society to order them off. Sweeping the
horizon and the nearer plain to-night, his glass had shown him some
object not easy to make out. The longer Captain Copp waited for it
to move, the longer it stayed stationary; the more he turned his
glass, the less chance did it appear to give of revealing itself.
Naturally, two people in close proximity, the head of the taller one
bent over the other so as to leave no indication of the human form,
would present a puzzling paradox when viewed through a night-
glass: the captain came to the conclusion that it was the most
extraordinary spectacle ever presented to his eyes since they had
looked on that sea serpent in the Pacific; and he raised his voice to
hail it when suspense was becoming quite unbearable.

Isaac Thornycroft, adroitly sheltering his companion, glided up the

little opening by Mrs. Connaught's. In a few minutes, when the
captain had drawn his head and glass in for a respite, he walked
boldly up to the door by the side of Anna.

"Good evening, captain."

"Good evening," blithely responded the captain. "Sorry you should

have the trouble of bringing her home. Come in, Anna. I say, did you
meet any queer thing on the heath?"

"Queer thing?" responded Isaac.

"A man without a head, or anything of that light sort?"

"No. There's a strange horse browsing a bit lower down," added

Isaac. "Some stray animal."

The captain considered, and came to the conclusion that it could not
well have been the horse. What it really was he did not conjecture.

Meanwhile Anna Chester had gone upstairs to the pleasant little

room she occupied, and took off her bonnet in a maze of rapture.
The world had changed into a heavenly Elysium.
 CHAPTER III.

Isaac Thornycroft's Stratagem.

A still evening in October. The red light in the west, following on a

glorious sunset, threw its last rays athwart the sea; the evening star
came out in its brightness; the fishing boats were bearing steadily
for home.

Captain Copp's parlour was alight with a ruddy glow; not of the sun
but of the fire. It shone brightly on the captain's face, at rest now.
He had put down his pipe on the hearth, after carefully knocking the
smouldering ashes out, and gone quietly to sleep, his wooden leg
laid fiat on an opposite chair, his other leg stretched over it. Mrs.
Copp sat knitting a stocking by fire-light, her gentle face rather
thoughtful; and, half-kneeling, half-sitting on the hearth-rug,
reading, was Anna Chester.

She was here still. When Mary Anne Thornycroft returned to school
after the summer holidays, Captain Copp had resolutely avowed
Anna should stay with him. What was six weeks, he fiercely
demanded, to get up a lady's health: let her stop six months, and
then he'd see about it. Mrs. Copp hardly knew what to say, between
her wish to keep Anna and her fear of putting the Miss Jupps to an
inconvenience. "Inconvenience be shot!" politely rejoined the
captain; and Mary Anne Thornycroft went back without her, bearing
an explanatory and deprecatory letter.

It almost seemed to the girl that the delighted beating of her heart--
at the consciousness of staying longer in the place that contained
him--must be a guilty joy,--guilty because it was concealed. Certainly
not from herself might come the first news of her engagement to
Isaac Thornycroft: she was far too humble, too timid, to make the
announcement. Truth to say, she only half believed in it: it seemed
too blissful to be true. While Isaac did not proclaim it, she was quite
content to let it rest a secret from the whole world. And so the
months had gone on; Anna living in her paradise of happiness; Isaac
making love to her privately in very fervent tenderness.

In saying to Anna Chester that his family would be only too glad to
see him married, Isaac Thornycroft (and a doubt that it might prove
so lay dimly in his mind when he said it) found that he had reckoned
without his host. At the first intimation of his possible intention, Mr.
Thornycroft and Richard rose up in arms against it. What they said
was breathed in his ear alone, earnestly, forcibly; and Isaac, who
saw how fruitless would be all pleading on his part, burst out
laughing, and let them think the whole a joke. A hasty word spoken
by Richard in his temper as he came striding out of the inner
passage, caught the ear of Mary Anne.

"Isaac, what did he mean? Surely you are not going to be married?"

"They thought I was," answered Isaac, laughing. "I married! Would

anybody have me, do you suppose, Mary Anne?"

"I think Miss Tindal would. There would be heaps of money and a
good connexion, you know, Isaac."

Miss Tindal was a strong-minded lady in spectacles, who owned to

thirty years and thirty thousand pounds. She quoted Latin, rode
straight across country after the hounds, and was moreover a
baronet's niece. A broad smile played over Isaac's lips.

"Miss Tindal's big enough to shake me. I think she would, too, on
provocation. She can take her fences better than I can. That's not
the kind of woman I'd marry. I should like a meek one."

"A meek one!" echoed Mary Anne, wondering whether he was

speaking in derision. "What do you call a meek one?"
"A modest, gentle girl who would not shake me. Such a one as--let
me see, where is there one?--as Anna Chester, say, for example."

All the scorn the words deserved seemed concentrated in Miss

Thornycroft's haughty face.

"As good marry a beggar as her. Why, Isaac, she is only a working
teacher--a half-boarder at school! She is not one of us."

He laughed off the alarm as he had done his father's and brother's a
few minutes before, the line of conduct completely disarming all
parties. She would not tolerate Miss Chester, they would not tolerate
his marriage at all: that was plain. Isaac Thornycroft did not care
openly to oppose his family, or be opposed by them: he let the
subject drop out of remembrance, and left the future to the future.
But he said not a word of this to Anna; she suspected nothing of it,
and was just as contented as he to let things take their course in
silence. To her there seemed but one possible calamity in the world;
and that lay in being separated from him.

Sitting there on the hearth-rug, in the October evening, her eyes on

the small print by the firelight, getting dim now, Anna's heart was a-
glow within her, for that evening was to be spent with Isaac
Thornycroft. A gentleman with his daughter was staying for a couple
of days at the Red Court, and Anna had been asked to go there for
the evening, and bear the young lady company.

"My dear," whispered Mrs. Copp, in the midst of her knitting, "is it
not getting late? You will have the daylight quite gone."

Anna glanced up. It was getting late; but Isaac Thornycroft had said
to her, "I shall fetch you." Still the habit of implicit obedience was, as
ever, strong upon her, and she would fain have started there and
then, in compliance with the suggestion.

"What a noise Sarah's making!"

"So she is," assented Mrs. Copp, as a noise like the bumping about
of boxes, followed by talking, grew upon their ears. Another
moment, and Sarah opened the door.

"A visitor," she announced, in an uncompromising voice, and the

captain started up, prepared to explode a little at being aroused.
Which fact Sarah was no doubt anticipating, and she spoke again.

"It is your mother, sir."

"Yes, it's me, Sam;" cried an upright wiry lady, very positive and
abrupt in manner. Her face looked as if weather-beaten, and she
wore large round tortoiseshell spectacles.

"Who's that?" she cried, sitting down on the large sofa, as Anna
stood up in her pretty silk dress, with the pink ribbons in her hair.
"Who? The daughter of the Reverend James Chester and his first
wife! You are very like your father, child, but prettier. Where's my
sea-chest to go, Sam?"

"I am truly glad to see you, dear mother," whispered Amy Copp, in
her loving way. "The best bedroom is not in order, but----"

"And can't be put in order before to-morrow," interposed Sarah, who

had no notion of being taken by storm in this way. "The luggage had
better be put in the back kitchen for to-night."

"Is there much luggage?" asked the captain.

"Nothing to speak of," said Mrs. Copp; who, being used to the
accommodation of a roomy ship, regarded quantity accordingly.
Sarah coughed.

"My biggest sea-chest, four trunks, two bandboxes, and a few odd
parcels," continued the traveller. "I am going to spend Christmas
with some friends in London, but I thought I'd come to you first. As
to the room not being in apple-pie order, that's nothing I'm an old
sailor; I'm not particular."

"Put a pillow down here, if that's all," cried the captain, indicating
the hearthrug. "Mother has slept in many a worse berth, haven't ye,
mother?"

"Ay, lad, that I have. But now I shall want some of those boxes
unpacked to-night. I have got a set of furs for you, Amy,
somewhere; I don't know which box they were put in."

Amy was overpowered. "You are too good to me," she murmured,
with tears in her eyes.

"And I have brought you a potato-steamer; that's in another," added

Mrs. Copp. "I have taken to have mine steamed lately, Sam; you'd
never eat them again boiled if you once tried it."

In the midst of this bustle Isaac Thornycroft walked in. Anna, in a

flutter of heart-delight, but with a calm manner, went upstairs, and
came down with her bonnet on, to find Isaac opening box after box
in the back kitchen, under Mrs. Copp's direction, in search of the furs
and the potato-steamer, the captain assisting, Amy standing by. The
articles were found, and Isaac, laughing heartily in his gay good-
humour, went off with Anna.

"What time am I to fetch you, Miss Anna?" inquired Sarah, as they

went out.

"I will see Miss Chester home," answered Isaac: "you are busy to-
night."

Mrs. Copp, gazing through her tortoiseshell spectacles at the potato-

steamer, as she pointed out its beauties, suddenly turned to another
subject, and brought her glasses to bear on her son and his wife.

"Which of the young Thornycrofts is that? I forget."

"Isaac; the second son."

"To be sure; Isaac, the best and handsomest of the bunch. You must
take care," added Mrs. Copp, shrewdly.

"Take care of what?"

"They might be falling in love with each other. I don't know whether
he's much here. He is as fine a fellow as you'd see in a day's march;
and she's just the pretty gentle thing that fine men fancy."

Had it been anybody but his mother, Captain Copp would have
shown his sense of the caution in strong language. "Moonshine and
rubbish," cried he. "Isaac Thornycroft's not the one to entangle
himself with a sweetheart; the young Thornycrofts are not marrying
men; and if he were, he would look a little higher than poor Anna
Chester."

"That's just it, the reason why you should be cautious, Sam,"
rejoined Mrs. Copp. "Not being suitable, there'd be no doubt a
bother over it at the Red Court."

Amy, saying something about looking to the state of the spare room,
left them in the parlour. Truth to say, the hint had scared her. Down
deep in her mind, for some short while past, had a suspicion lain
that they were rather more attached to each other than need be.
She had only hoped it was not so. She did not by any means see her
way clear to hinder it, and was content to let the half fear rest; but
these words had roused it in all its force. They had somehow
brought a conviction of the fact, and she saw trouble looming. What
else could come of it? Anna was no match for Isaac Thornycroft.

"Sam," began Mrs. Copp, when she was alone with her son, "how
does Amy continue to go on? Makes a good wife still?"

Captain Copp nodded complacently. "Never a better wife going. No

tantrums--no blowings off: knits all my stockings and woollen
jerseys."

"You must have a quiet house."

"Should, if 'twere not for Sarah. She fires off for herself and Amy
too. I'm obliged to keep her under."

"Ah," said Mrs. Copp, rubbing her chin. "Then I expect you get up
some breezes together. But she's not a bad servant, Sam."

"She's a clipper, mother--A 1; couldn't steer along without her."

What with the boxes, and what with the exactions of the spare bed-
room to render it habitable for the night, for Mrs. Copp generally
chose to put herself into everybody's business, and especially into
her own, the two ladies had to leave Captain Copp very much to his
own society. Solitude is the time for reflection, we are told, and it
may have been the cause of the captain's recurring again and again
to the hint his mother had dropped in regard to Isaac Thornycroft.
That there was nothing in it yet he fully assumed, and it might be as
well to take precautions that nothing should be in it for the future.
Prevention was better than cure. Being a straightforward man, one
who could not have gone in a roundabout or cautious way to work,
it occurred to the captain to say a word to Mr. Isaac on the very first
opportunity.

It was the first evening Anna had spent at the Red Court since Miss
Thornycroft left it. The walk there, the sojourn, the walk home again
by moonlight, all seemed to partake of heaven's own happiness--
perfect, pure, peaceful. There had been plenty and plenty of
opportunities for lingering together in the twilight on the heath in
coming home from the seashore, but this was the first long
legitimate walk they had taken; and considering that they were sixty
minutes over it, when they might have done it in sixteen, it cannot
be said they hurried themselves.
The captain was at the window, not looking on the broad expanse of
heath before him, but at the faint light seen now and again from
some fishing vessel cruising in the distance. It was his favourite look-
out; and, except on a boisterous or rainy night, the shutters were
rarely closed until ten o'clock.

"Come in and have a glass of grog with me," was his salutation to
Isaac Thornycroft as he and Anna came to the gate. "'Twill be a
charity," added the captain. "I'm all alone. Mother's gone up to bed
tired, and Amy's looking after her."

Isaac came in and sat down, but wanted to decline the grog. Captain
Copp was offended, so to pacify him he mixed some. As Anna held
out her hand to the captain to say good night he noticed that her
soft eyes were full of loving light; her generally delicate cheeks were
a hot crimson.

"Hope it hasn't come of kissing," thought the shrewd and somewhat

discomfited sailor.

"How well your mother wears!" observed Isaac.

"She was always tough," replied Captain Copp, in a thankful accent.

"Hope she will be for many a year to come. Look here, Mr. Isaac, I
meant to say a word to you. Don't you begin any sweethearting with
that girl of ours, or talking nonsense of that sort. It wouldn't do, you
know."

"Wouldn't it?" returned Isaac, carelessly.

"Wouldn't it! Why, bless and save my wooden leg, would it? A pretty
uproar there'd be at the Red Court. I'd not have such a thing happen
for the best three-decker that was ever launched. I'd rather quarrel
with the whole of Coastdown than with your folks."

"Rather quarrel with me, captain, than with them, I suppose,"

returned Isaac, stirring his grog.
Captain Copp looked hard at him. "I should think so."

By intuition, rather than by outward signs, Isaac Thornycroft saw

that the obstinate old sailor would be true to the backbone to what
he deemed right; that he might as well ask for Amy Copp as for
Anna Chester, unless he could produce credentials from his father.
And so he could only temporize and disarm suspicion. Honourable by
nature though he was, he considered the suppression of affairs
justifiable, on the score, we must suppose that "All stratagems are
fair in love and war."

"Good health, captain," said he, with a merry laugh--a laugh that
somehow reassured Captain Copp. "And now tell me what wonderful
event put you up to say this."

"It was mother," answered the simple-minded captain. "The thought

struck her somehow--you were both of you good-looking, she said. I
knew there was no danger; 'the young Thornycrofts are not
marrying men,' I said to her. But now, look here, you and Anna had
not better go out together again, lest other people should take up
the same notions."

With these words Captain Copp believed he had settled the matter,
and done all that was necessary in the way of warning. He said as
much to Amy, confidentially. Whether it might have proved so, he
had not the opportunity of judging. On the following morning that
lady received a pressing summons to repair to London. One of her
sisters, staying there temporarily, was seized with illness, and
begged the captain's wife to come and nurse her. By the next train
she had started, taking Anna.

"To be out of harm's way," she said to herself. "To help me take care
of Maria," she said to the captain.

Mrs. Wortley was a widow without children. So many events have to

be crowded in, and the story thickens so greatly, that nothing more
need be said of her. The lodgings she had been temporarily
occupying were near to old St. Pancras Church, and there Mrs. Sam
Copp and Anna found her--two brave, skilful, tender nurses, ever
ready to do their best.

Never before had Anna found illness wearisome; never before

thought London the most dreary spot on earth. Ah, it was not in the
locality; it was not in the illness that the ennui lay; but in the
absence of Isaac Thornycroft. He called to see them once, rather to
the chagrin of the captain's wife, and he met Anna the same day
when she went for her walk. Mrs. Sam Copp did not suspect it.

They had been in London about a month, the invalid was better, and
Mrs. Copp began to talk of returning home again; when one dark
November morning, upon Anna's returning home from her walk--
which Mrs. Copp, remembering her past weak condition, the result
of work and confinement, insisted on her taking--Isaac Thornycroft
came in with her. He put his hat down on the table, took Mrs. Copp's
hands in his, and was entering upon some story, evidently a solemn
one, when Anna nearly startled Mrs. Copp into fits by falling at her
feet with a prayer for forgiveness, and bursting into tears.

"Oh, aunt, forgive, forgive me! Isaac over-persuaded me; he did

indeed."

"Persuaded you to what?" asked Mrs. Copp.

"To become my wife," interposed Isaac. "We were married this

morning."

The first thing Mrs. Copp did was to sink into a chair, her hair rising
up on end; the next was to go into hysterics. Isaac, quiet, calm,
gentlemanly as ever, sent Anna away while he told the tale.

"I thought it the best plan," he avowed. "When I met Anna out
yesterday--by chance as she thought--I got a promise from her to
meet me again this morning, no matter what the weather might be.
It turned out a dense fog, but she came. Through the fog I got her
into the church door, and took her to the clergyman, waiting at the
altar for us, before she well knew what was going to be."

Mrs. Copp threw up her hands, and screamed, and cried, and for
once in her life called another creature deceitful--meaning Anna. But
Anna--as he hastened to explain--had not been deceitful; she had
but yielded to his strong will in the agitation and surprise of the
moment. Calculating upon this defect in her character--if it could be
called a defect, brought up as she had been--Isaac Thornycroft had
made the arrangements at St. Pancras church without saying a word
to her; and, as it really may be said, surprised her into the marriage
at the time of its taking place.

"There's the certificate," he said; "I asked the clergyman to give me

one. Put it up carefully, dear Mrs. Copp."

"To be married in this way!" moaned poor Mrs. Copp. "My husband
had liqueur glasses of rum served out in the vestry at our wedding,
but that was not half as bad as this. Not a single witness on either
side to countenance it!"

"Pardon me; my brother Cyril was present," answered Isaac. "I

telegraphed for him last night, and he reached town this morning."

Isaac Thornycroft had sent for his brother out of pure kindness to
Anna, that the ceremony might so far be countenanced. It had
turned out to be the most crafty precaution he could have taken.
Seeing Cyril, Anna never supposed but that the Thornycroft family
knew of it; otherwise, yielding though she was in spirit, she might
have withstood even Isaac. Cyril gave her away.

"And now," said Isaac, in an interval between the tears and moans,
"I am going to take Anna away with me for a week."

Little by little Mrs. Copp succeeded in comprehending Mr. Isaac's

programme. To all intents and purposes he intended this to be a
perfectly secret marriage, and to remain so until the horizon before
them should be clear of clouds. When Mrs. Copp went back home,
Anna would return with her as Miss Chester, and they must be
content with seeing each other occasionally as ordinary
acquaintances.

Mrs. Copp could only stare and gasp. "Away with you for a week!
and then home again with me as Miss Chester? Oh, Mr. Isaac! you
do not consider. Suppose her good name should suffer?"

A slight frown contracted the capacious brow of Isaac Thornycroft.

"Do you not see the precautions I have taken will prevent that? On
the first breath of need my brother Cyril will come forward to testify
to the marriage, and you hold the certificate of it. Believe me, I
weighed all, and laid my plans accordingly. I chose to make Anna my
wife. It is not expedient to proclaim it just yet to the world--to your
friends or to mine; but I have done the best I could do under the
circumstances. Cyril will be true to us and keep the secret; I know
you will also."

Mrs. Sam Copp faintly protested that she should never get over the
blow. Isaac, with his sunny smile, his persuasive voice, told her she
would do so before the day was out, and saw her seal the certificate
in a large envelope and lock it up.

Then he started with his bride to a small unfrequented fishing village

in quite the opposite direction to Coastdown. And Anna had been
married some days before she knew that her marriage was a secret
from her husband's family, Cyril excepted, and to be kept one.

CHAPTER IV.
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