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DIGITAL PHOTOGRAPHY
ESSENTIALS
 TOMANG

DIGITAL PHOTOGRAPHY
ESSENTIALS
For Nicky (the Faithful Retainer)

Senior Project Editor Nicky Munro

Project Art Editor Sarah-Anne Arnold
Project Editor Hannah Bowen
Editor Hugo Wilkinson

CONTENTS
Designer Joanne Clark 008 Introduction
US Editor Rebecca Warren

Jacket Designer Dhirendra Singh

Senior Jacket Designer Mark Cavanagh

Senior DTP Designer Harish Aggarwal

Jacket Editor Claire Gell

QUICK-START
Managing Jackets Editor Saloni Singh IN PHOTOGRAPHY
Jacket Design Development Manager Sophia MTT
Production Editor Joanna Byrne 014 Your first photos
Production Controller Danielle Smith
016 Ten pillars of photography
Managing Editor Stephanie Farrow
Managing Art Editor Lee Griffiths 020 Preparing your camera
Publisher Jonathan Metcalf
022 Camera basics
Art Director Phil Ormerod
024 Scene modes
First American Edition, 2011
Published in the United States by
026 Viewing and sharing
DK Publishing
345 Hudson Street
New York, New York 10014

COMMANDING
16 17 18 19 20 10 9 8 7 6 5 4 3 2 1
001—285366—October/2016
Copyright © 2011, 2016 Dorling Kindersley Limited
Text copyright © 2011, 2016 Tom Ang, except chapters PHOTO-TECHNIQUE
7 and 8, copyright © 2011, 2016 Dorling Kindersley Limited
All rights reserved 030 Elements of composition
Without limiting the rights under copyright reserved above, no part of this
publication may be reproduced, stored in or introduced into a retrieval system,
034 Image analysis: Working
or transmitted, in any form, or by any means (electronic, mechanical, with lines
photocopying, recording, or otherwise), without the prior written permission of
both the copyright owner and the above publisher of this book. 036 Perspective and viewpoints
The software used to enhance or manipulate the images in this book include 038 Quick fix: Framing issues
Apple Aperture and Adobe Photoshop, plus various plug-ins, but the
techniques described are generic. 040 Composing with color
Published in Great Britain by Dorling Kindersley Limited.

A catalog record for this book is available from the Library of Congress.
ISBN 978-1-4654-3885-0

DK books are available at special discounts when purchased in bulk for sales
promotions, premiums, fund-raising, or educational use. For details, contact:
DK Publishing Special Markets, 345 Hudson Street, New York, New York 10014
SpecialSales@dk.com.

Printed and bound in China.

Discover more at

www.dk.com
044 Imageanalysis:
Order from chaos
046 Visualtoolkit:
Composition solutions
048 Zoom lenses
050 Optimizing image quality
052 Focusing on essentials
054 Close-ups
056 Imageanalysis: Macro world
058 Quickfix: Capture problems
060 Exposure metering
062 Excessive dynamic range
064 Imageanalysis:
Hyper-dynamic range
066 Quickfix: Incorrect
exposure
068 High and low key
070 Exposure time and
motion blur
072 Working in low light
074 Imageanalysis: The
lady with the lamp
076 Stability during capture
078 Using aperture Mastering
080 Imageanalysis: photo-subjects
The beauty of blur
082 Plane of focus
116 Portraiture
120 Visualtoolkit:
084 Visualtoolkit:
Focal length Informal posing
122 Child photography
086 Lighting fundamentals
124 Imageanalysis:
088 Imageanalysis:
Lighting the way In conversation
126 Art photography
090 Visualtoolkit:
Partnership with light 128 Visualtoolkit:
Arts of the visual
092 Portable flash
130 Imageanalysis:
096 Studio lighting set-ups
Suburban moonrise
098 Lighting small objects
132 Quickfix: Creative block
100 Imageanalysis:
134 Plantlife and gardens
On location
136 Animal photography
102 ISO and noise
138 Imageanalysis:
104 Color settings
Cloudy waters
106 Image size and format
140 Live events
108 Quickfix:
142 Imageanalysis:
Optical techniques
Transfigured night
110 Expansive panoramas
144 Documentary photography
112 Effects filters
148 Image analysis:
Café culture
150 Travel photography
154 Image analysis: Crowded
clichés
156 Quick fix: Ethical questions
158 Architectural photography
160 Interior worlds
162 Landscape photography
166 Image analysis:
Chasing rainbows
optimizing
workflow
170 Workflow strategies
172 Quick fix: File problems
174 File formats
176 Imaging strategies
178 Color management
180 Picture selection
182 Pictures for a purpose
184 Working in RAW 214 Controlling shadows
186 Processing RAW files
and highlights
216 Tone-mapping brilliance
188 Asset management
218 Correcting white balance
220 Color refinements
222 Enhancing tone and color
Enhancing
224 Image analysis: Entrancing
images color
192 Processing pipeline 226 Saturation and vibrance
194 Removing dust 228 Quick fix: Digital
196 Quick fix: Cleaning corrections
and clearing 230 Sharpness and blur
198 Working with noise 232 Adaptive sharpening
200 Trimming and resizing
202 Refining shapes
204 Correcting Levels manipulating
206 Adjusting tone images
208 Visual toolkit: Levels
236 Cloning techniques
and Curves effects
238 Selection methods
210 Burn and Dodge
240 Protective masks
212 Image analysis:
Writing with light 242 Quick fix: Selecting pixels
244 Removing image content
246 Quick fix: Retouching faces
248 Working with layers
250 Visual toolkit: Layer
blend modes
252 Cut out and composite
254 Converting to black
and white
256 Working in duotone
258 Image analysis:
Evocative tones
260 Emulsion-based effects
262 Visual toolkit: Recreating
darkroom effects
264 Changing colors
266 Image analysis:
Embellishing reality
268 Cropping for effect
270 Aging an image
272 Text in images
274 Art effects
276 Visual toolkit:
Digital filters
278 Redirecting the image
Sharing images EquipmEnt
282 Showing your images
and rESourcES
286 Preserving your rights 322 Selecting a digital camera
288 Print set-up 326 Choosing the right lens
290 Presenting your prints 328 Accessories
292 Online printing 330 Flash and accessories
294 Earning with photos 332 Computer hardware
336 Photographic software
338 Looking after equipment
making movies 340 Internet resources
344 Further reading
298 The filmmaking revolution
300 Building your kit
302 Adjusting to shooting video
346 Glossary
304 Lighting for video
354 Index
305 Recording sound
360 Acknowledgments
306 Camera techniques
308 Downloading and importing
310 Video editing
312 Working with sound
314 Making your first film
Introduction
Photography is the most popular and influential
visual medium the world has ever known. The
sheer scale of digital photography, in particular, is
overwhelming: each year, more than a billion digital
cameras are sold worldwide. This figure includes
more than 200 million sales of cameras such as
dSLRs and point-and-shoot models, with the rest
consisting of sales of cell phones with cameras
whose image-capture capabilities far surpass those
of early digital cameras.
Visit the top three photo-sharing websites and
you’ll have access to a staggering 40 billion images.
That figure is worth repeating: 40 billion images.
Indeed, digital images are being added so rapidly
and continuously from every corner of the world
that website administrators can only guess at the
population of images that they host. In short,
we routinely capture more images in a single
year than were captured in the entire history
of pre-digital photography.
The ubiquity of digital photography has helped
fuel its popularity: today there are more photography
enthusiasts than ever before. Digital technologies
also enable photographers to achieve professional
results with relatively little expense. The result is
radically demotic: more people in more countries
than ever before—across more cultures, classes,
religions, and races—are able to enjoy the rewards
and challenges of photography.
My first book on digital photography was
published in 1999. At that time, film was the
professional’s medium of choice, and there were
many noisy debates espousing the merits of film—
often at the expense of the digital form. Back then,
the burden of sorting through thousands of images
was one faced only by the large picture agencies.
Four editions of the book later, digital capture has
all but replaced film-based photography—even at
the professional level. Amateurs use cameras whose
power far exceeds earlier professional models
which often cost as much as a car. We also have
mature solutions for handling the thousands of
images routinely produced on each assignment
or overseas vacation. In addition, video capture
has entered the scene as a thrilling and rapidly
maturing function of all types of digital camera.
What remains unchanged throughout, however, are In this book, I have drawn on 30 years’ experience
the core photographic skills: mastery of composition of working at top levels in photography and the
and camera controls, artistic drive and ethical photographic industry, and on my experiences of
integrity, plus a thirst for creative solutions—all writing, photographing, and picture-directing more
wrapped up in a passion for visual perfection. than 20 books on photography—including one on
Digital Photography Essentials celebrates and video. Equally, the book’s publishing team is highly
elaborates on these core qualities. Presenting a experienced, extremely skilled, and passionate
comprehensive round-up of photo-techniques, about photography. Together, we have given it our
this book is ideal for those with some camera all. We hope that our book gives you the confidence
experience who wish to deepen their understanding to explore the world with joy, inspired by awe and
of the subject and broaden their technical and respect for its generous gifts.
artistic skills.
The opening chapters guide you through the
key picture-making skills, while the middle section
of the book examines digital workflow—from image
capture and enhancement to manipulation and
picture-sharing. Then, we explore the exciting realm
of dSLR filmmaking. Finally, the book takes you
through the equipment and software options that
make modern photography so engaging. Digital
Photography Essentials describes every major topic,
from learning how to use your camera’s controls,
to post-processing and picture-sharing.
 quick-start
CHapter one

in photography
014
Your first photos
tutorial
The temptation to power up your camera and snap
a few pictures—without reading the manual or
fiddling around with settings—is utterly irresistible.
Fortunately, modern cameras are set up to work as
soon as you take them out of the box, so go ahead
and have some fun with your new toy.
q u i c k- s ta r t i n p h o t o g r a p h y
However experienced you might be, handling a new
camera is like driving a new car: even if you know where
to find all the basic controls, it still won’t behave in exactly
the same way that you’re used to. And if you’re new to
handling cameras, it’s especially rewarding to get to know
your camera well. Accustom yourself to the feel of the
buttons, dials, and switches, and become familiar with how
long it takes to respond to instructions. Note the location of
the controls, so that you’ll be able to find them confidently
whenever you need them.
The more sophisticated controls are located deep in
the menu options: don’t try to master these at the very
beginning. If some of the terms in the menu are unfamiliar
to you, don’t worry: you don’t need to understand them
all to use the camera. Take advantage of the fact that it’s
set up to capture images straight away.
Jacques-Henri lartigue
It’s marvelous, marvelous! Nothing
will ever be as much fun. I’m going to
photograph everything, everything!
One of the first things you need to understand is that
you and your camera see things differently. Elements
in a scene will be more sharply defined when viewed
with the naked eye, colors won’t be the same, and, of
course, the camera will only be able to capture a small
part of the view.
To learn how the camera sees, take lots of photographs
and look at them carefully and dispassionately. Don’t look
at images on the screen on the back of your camera; go
through them only on a computer screen. Checking the
review images while you photograph seriously interferes
with the concentration that should be reserved for your
subject. It breaks the flow and takes you out of the
moment. It’s also a tricky habit to shake off once you’ve
a different view
there’s always more
than one angle from
which to take a picture
(see pp.36–37). pick a
subject and look at
it from the top, from
the side, from nearby,
from further away, and
even from below.
 photography’s gift 015

Enjoy the way your camera can open

your fir s T phoTos

your eyes to the world around you—
anything and everything can become
extraordinary when you capture it
through your lens. Whether bringing
everyday objects to life in fine detail,
or recording day-to-day moments
as they unfold in front of you, your
camera can distill your life, and the things
around you, into innumerable images.

acquired it. As you gain experience, try to anticipate

or visualize the image before you view it through the
camera. To develop your skill in this area, try learning
to shoot without even looking through the lens.

Start where you are

If you’ve bought a camera especially for a trip, it’s essential
to become familiar with it before you go—but don’t feel
that you need to travel to exotic overseas locations to find
worthwhile shots. There are plenty of photo opportunities
all around you, right now. You don’t need to leave home,
or even the chair you’re sitting in: items on your desk, the
family cat, houseplants, the view from your window—all
make perfectly good subjects for your first photos. Look
for unusual angles to lend your shots added interest.
Alternatively, visit a nearby park or public space and snap
away: don’t be self-conscious about your shots. You’re not
being graded, and no-one expects prize-winning images.
The more pictures you make with your camera, trying
different settings at random, the better you’ll get to know
it—and the more fun you’ll have.

surprise yourself
The more shots you take, the greater your chances are of
creating something unexpectedly sophisticated from simple
subject matter, such as sunlight shining through trees.
016
Ten pillars of photography
TuToRiAl

More people all over the world have access to

photography than ever before. Among them, thousands
ERNST HAAS
of keen photographers aspire to ever-higher levels of
skill, and some to make a career out of it. Of course, you The limitations of photography
don’t have to be highly skilled to enjoy photography
and find it rewarding. But the more you understand, are in yourself; for what we see
Q u i c k- S ta R t i n p h o t o g R a p h y

the greater the returns will be—whether you pursue is only what we are.
photography as a pastime or a profession.

Whether you’re new to photography, or are more
experienced, it’s worth keeping these “pillars” in mind as
you develop—they could help guide your skills to higher
levels. And as your knowledge grows, you’ll doubtless be
able to add your own golden rules to this list.
Write with light
If there is a single element that links all the great
photographers of the past and present, it’s that they
work hand-in-hand with light; for them, light is a partner,
not an enemy. They create their images by exploiting its
properties; they don’t merely expose with its assistance.
You’ll enjoy photography more when you welcome all kinds
of light and adapt your photography to the prevailing light
conditions. You don’t need to fret if there is too much or too
little light: with today’s powerful sensors, it’s more true than
ever that if you can see it, you can photograph it.
Capture sets the standard
The fate of an image is set and sealed the moment you
capture it. Processing may make it look better, but it’s not
possible to replace what’s not there. If the camera moves
during exposure, or if focus, framing, or exposure time are
not spot-on, there may be several adjustments to make
before it is presentable. This means that errors at capture
store up work; and the more serious the mistakes, the
greater the struggle to make the image look as if it had been
captured perfectly. Taking as much care as possible when

The right equipment

Whatever situation you’re
in—whether you’re on vacation,
trying to get a shot of a specific
location or subject, or just out
and about—it’s always a good
idea to plan ahead and try to
work out what equipment
you’ll need. Some situations
may call for a dSLR, multiple
lenses, a tripod, and flash
accessories; at other times,
you may be better served
by a compact camera that
you can carry in your pocket.
 work the suBject
finding a worthwhile subject is only the
beginning of your task as a photographer.
for every subject there are innumerable
viewpoints and angles to explore, and all
of them will give different results. Be
patient, experiment, and don’t rule out
any type of shot—only then will you really
start to build your skills, and find out what
kind of pictures come naturally to you.
you make your images will save you hours of work at the
computer. Get it right from the start, then you can enjoy
your images, rather than having to apologize for them or
spend valuable time making corrections.
Maintaining the rhythm
The term “chimping” means “checking image preview”, and is the highest-quality data they’ll ever have. After each and
inspired by hearing photographers exclaim “Oo! Oo! Aah!
Aah!” when they check their previews. Image preview has
been welcomed as one of the main advantages of the digital
revolution, and many photographers say they benefit from
checking their previews and making adjustments. However,
they may spend as much time reviewing their images as they
do looking through the viewfinder. The result is that they miss
many shots, break the rhythm of their shooting, and interrupt
the concentration they could be applying to the subject.
Try to reserve your reviewing to rest-breaks and moments
when you’re sure there’s nothing going on. You don’t have
to go as far as some photographers, who tape up their
screens, but turn off the preview and you’ll find you do
more photography, and get more involved in your subject.
Once deleted, always gone
Many photographers delete their unwanted photos with
relish, pleased to remove all traces of their embarrassing
errors and what they consider bad photographs. Others
017
ten pill ars of photogr aphy
may delete such images in order to make room on the
memory card. This is always a danger: it guarantees the loss
of shots that might be unconventional and quirky.
Fragile: handle with care
Images are at their best at the time of capture, containing
every step of processing, the quality drops: the image may
look better, but the data is degraded. This is not a fault of
did you know?
Big is not always beautiful. There was a time when
many problems could be avoided by working with the
largest possible files—the ambition was to surpass the
resolution of film. From this the myth grew that large
files—those with the most pixels—are the best quality. With
improved understanding and more sophisticated image
processing, images from modern cameras are of far
higher quality than those from earlier cameras with twice
the resolution (see pp.106–07). Taking care to capture the
best possible quality images using the equipment you
have will give better results than working with a higher-
resolution camera. Avoid big files if you don’t need them,
because they slow you down and fill up your memory
cards quickly, but don’t give you a visible benefit.
018 everyday suBjects
tutorial
q u i c k- s ta r t i n p h o t o g r a p h y
you needn’t feel that you should save
your photography for special occasions or
traditional subject matter. Look for beauty
in the everyday and you’ll find a whole
new world of photographic opportunity.
Breaking rules
there are many rules concerning how you should and
shouldn’t compose a shot—and there are many more
reasons you should break them, if it means capturing
an engaging, character-filled image.
processing, software, or of your technique, but the result of
the laws of nature. So, you should do everything you can to
preserve the original image.
Always work on a duplicate or copy of the original, or
with a proxy created by management software such as
Adobe Lightroom or Apple Aperture. Then save the new
version under a new name, so that you can always return to
the image just the way it was the moment it was captured.
The weakest link
In the imaging chain, which extends from capture through
to output, every stage has an impact on the quality of the
image—its resolution of detail, the accuracy of its color and
exposure, and its level of distortion. The weakest link at time
of capture is usually the operator, because that’s how errors
in exposure or focus enter the equation. But even if the
photographer performs perfectly, the quality of the lens
can be the main limiting factor.
However, all of this may be beside the point, depending on
the final use of the image—which may be no larger than the
largest size permitted by a photo-sharing site, or that needed
to make small prints. Both these outputs greatly reduce the
need for very high resolution files. Adjust your photography to
your required output. Compact cameras give truly excellent
results for images intended for websites; dSLRs are greatly
over-specified for internet-based images. So, there’s no need
to hold back if you don’t have the latest camera: remember
that almost all the great photographs of the past were taken
on cameras technically inferior to today’s equipment.
Monitor your colors
The computer’s monitor is the center of
the digital photography universe: everyone
reviews, organizes, and processes their
images using one. The key to consistent and
reliable review and processing of images is
in the quality and set-up of the monitor; too
many photographers spend a lot of money
on their cameras, only to work with their
images on monitors that are of inferior
quality, and not color-managed.
For the best results when assessing and
processing your images, calibrate and profile
your monitor (see p.334). That’s the only way
to be sure that the colors you see on-screen
are truly the colors captured by your camera.
 your missioN

019

teN pill ars of photogr aphy

in-depth exercises
While you can photograph anything and everything, you
may find you have a tendency to make images at certain
times, featuring certain subjects. Follow this lead: the
deeper you take a certain approach, the more rewarding
your photography will become. Working to produce sets
of images is good practice, and strengthens your skills.

Mobile photography the Brief

Now that cameras are a standard feature on most cell
phones—some even with built-in options for effects—you
needn’t ever miss a photographic opportunity.
And, instead of spending money on a new camera, consider
investing in a higher-quality computer screen. Good
monitors make a huge improvement to your photography
by showing your adjustments accurately.
Photography for life
Unlike many other hobbies, photography can be
undertaken anywhere, at any time, by anyone of any age.
You can photograph your daily activity, from your breakfast
to your bedtime, at your workplace, in your backyard, or on
a mountain top. It’s exhilarating to discover that there are
no limits to photography, either in terms of subject matter
or treatment. Everything depends on how much you’re
willing to express yourself through the medium, and share
the results with others.
▷◻ ask a friend or family member to name
something at random—the first thing that they
think of. make a set of pictures based around
this subject, and apply the approach that
comes most naturally to you.
PointS to reMeMBer
▷◻ Allow yourself the freedom to shoot or treat
the subject in any way you feel is appropriate,
or in a way that you know you’ll enjoy.
▷◻ Aim to create a certain number of pictures
as your target, and try to revise and improve
the images in the set once you reach the
target amount (say, five or ten images)—rather
than simply taking more pictures.
▷◻ have fun with the idea of being obliged to
shoot something you may not have thought
of as worthy of photographing, or that might
not have occurred to you as a subject.

Respect your subjects ▷◻ experiment with the relationships

Above all, look after the things that you most love to between the images within the set—they
photograph. Treat your subjects with respect—in the case of could relate to each other in a way that’s
narrative, or abstract, or that comments
plants and wildlife, do what you can to help their survival or
on the subject itself.
conservation. And try to express your fondness for your
subjects in your photography, for in that comes the greatest
of all a photographer’s rewards.
Go GooGle
In areas such as travel and wildlife photography,
remember that the photographers who came before you ◻◻ Daguerreotype ◻◻ Bill owens
have left the people, animals, and location in a state that ◻◻ Street photography ◻◻ Martin Parr
allows you to enjoy your photography. So do the same: ◻◻ Wet plate collodion ◻◻ Man ray
ensure that everything you do enhances the reputation
◻◻ robert Capa ◻◻ Garry Winogrand
of photographers, and that others after you can also enjoy
◻◻ Bruce Gilden ◻◻ Magnum Photos
the same places, views, and subjects.
020
Preparing your camera
q u i c k- s ta r t i n p h o t o g r a p h y

The more carefully you set up your camera before you
begin shooting, the more time and effort you’ll save
when you start using your images—and this time can
add up to dozens of hours over the course of a year.
The key camera settings include the image size, the
color qualities, and the custom control settings for
a variety of different conditions.
With the right collection of settings and proper photo-
technique, you may not need to process your images at all
before putting them to use—at least, that’s the ideal we’re
aiming for. Furthermore, the better you know your way
around your camera, the more you’ll enjoy using it. And
never again will you endure the frustration of trying to work
out what to do when you’re in a hurry to capture a once-in-

date and time image quality image shape

set the date and time for your
location, particularly when
traveling abroad. synchronize the time
with your partner’s camera so that
pictures will be listed in the correct
order when you download them.
it is neither necessary nor some cameras offer a choice
advisable always to record of format proportions: from 4:3
images at the highest quality and (which fits old-style monitors and many
resolution. set a small image size and print formats) to 16:9 (which fits hD
high compression (lower quality) when screens but not some print sizes); 3:2
making informal snaps—pictures of (widely used by dsLrs) lies in-between.
friends intended for social networking
sites, for example. set high quality and
resolution when traveling, or when
engaged in serious photography.
With today’s high-resolution cameras,
a setting equivalent to around six
megapixels is likely to be suitable
for a wide range of uses, while also
making economical use of memory
cards and hard-disk drive space.

auto-focus mode series or single shot flash mode

you can set your camera to
focus on static subjects: often
called “single shot”, this mode allows
exposure only when sharp focus is
achieved. For moving subjects, set
Follow-focus or servo mode, which
continually tracks changes in the scene
and allows exposure to be made at any
time. all cameras offer single-shot
mode, most offer both modes, and
some models switch between modes
automatically, depending on the
behavior of the subject.
all cameras take one shot “auto” mode flashes when the
when you press the shutter light is so low that the long
button: this is a practical mode for exposures needed may blur images. set
the majority of situations. For fast- to “off” to avoid disturbing others, or for
changing situations, it’s useful to set distant evening views—for which you’ll
the camera so that it makes a series need a tripod and a long exposure.
of exposures for as long as you hold
the shutter button down. high-grade
cameras can make five exposures per
second or faster. the total number
of possible exposures varies: simpler
cameras can make only two or
three exposures, then must stop
to load the pictures.
 021

a-lifetime moment. Practice is the key: you can’t damage
your camera by trying out all the options, variations, and
settings, so this is a good place to start. Push each button to
see what it does, and get accustomed not only with what
happens, but with the feel and location of the button. Play
with the controls or dials: feel how loose or firm they are,
and practice setting them precisely. Follow the flow chart
P R E PA R I N G Y O U R C A M E R A
below to get your camera up and running: set one option
and take a shot from where you’re sitting. Review the
results. Go to the next one, shoot and review; repeat until
you understand what the option does. This is the only time
when reviewing images after each shot is good practice, to
help you familiarize yourself with how your camera works
and what all the terms and icons mean.

WHITE BALANCE COLOR QUALITY AUTO-EXPOSURE MODE

Cameras are set to compensate
for variations in the color of
illuminating light (auto-white balance).
Improve results by setting white balance
for conditions: Tungsten for domestic
lights, or Cloudy on overcast days.
Your camera may offer a choice
of color qualities, from black
and white through soft pastels to bright
colors. Use softer colors for portraits or
weddings, and strong colors for
graphics or landscapes on dull days.
For the majority of circumstances
a camera’s fully automatic (or
Program) mode, which chooses both
exposure time and aperture, delivers
good results. Some cameras offer an
“Auto ISO” or “Intelligent Auto” mode
which also sets the sensitivity (see
pp.102–03). When you want to freeze
fast action, Shutter Priority gives more
reliable results. And when you want
specific apertures—full aperture for
portraits, or small apertures for still life
or landscapes, for example—Aperture
Priority is the preferred setting. For
experimenting with exposure, set
Manual mode.

SCENE MODE CONNECTING SPECIAL SETTINGS

The range and multiplicity of
different settings is usually very
confusing. Scene mode (see pp.24–25)
reduces the need to scroll through
menus by collecting together all the
settings appropriate for different
circumstances. For example, a Portrait
mode will set a large aperture, soft
colors, and no flash, while a Night
Portrait mode turns on the flash but
also sets a relatively long exposure
time in order to capture ambient light.
If your camera can communicate
with Bluetooth devices, 3G or
4G, PictBridge printers, or other cell
phone or internet services, you will
need to activate the service and identify
your camera to your existing devices.
Follow the on-screen instructions: if
you need to enter a code number into
the target device, ensure the code is
within easy reach.
If your camera offers special
features, set these up and take
advantage of them. For example, if it’s
enabled for GPS (Global Positioning
System) you need to enter the starting
coordinates at the outset. Once the
camera knows where it is, it can tag
your photos with their exact location.
If you want to send images to a favorite
social networking site, you will need to
give the camera your account details,
including your password.
022
Camera basics
quick-sTarT in phoTogr aphy

Today, even the most sophisticated, professional did you know?

cameras can be treated as point-and-shoot—out of
the box, they work fully automatically. You can obtain pixel is short for “picture element.” It’s the smallest
huge enjoyment from digital photography without unit of a digital picture, and is usually square in shape.
In theory, the amount of detail you can see in an image
having the slightest idea what the camera is doing, or
depends on the number of pixels it has—the more pixels,
how to control its myriad functions. Here we show the
the more potential to show detail (see pp.106–07).
key features you’ll find on compact and dSLR cameras.

compact camera
although there’s a vast range of compact
digital cameras available, these are the
most basic components present in the
majority of makes and models.

Zoom lens
This type of lens can vary its
magnification and change the field
of view captured in a shot.

electronic flash
This may flash automatically or pop
up on demand in low light. it provides a
brief burst of light for exposing the image.

mode dial
cameras use either a dial or buttons
to select different modes; for example, the
auto-exposure mode.

Self-timer lamp
When using the self-timer mode,
this light flashes to indicate when the
shutter is about to open.

Lcd screen
This is used both to frame a picture
when you’re about to shoot, and to select
and set menu options.

capture/review mode button

This switches the camera between
being set up for taking photos and set up
for reviewing, printing, or slide shows.

navigation buttons
These buttons enable you to
navigate through images and menus.
dSLR cameRa 023

Here are the most basic components Shutter LcD screen

cAMeR A bASIcS
present in all entry-level dSLRs. More A shutter is a mechanical blind that The display is used for reviewing
advanced dSLRs may have additional dials opens to expose the sensor, then closes images and video, setting menu options,
and control buttons (see pp.324–25). after the set exposure time. and, in some cameras, composing shots.

Interchangeable lens Viewfinder Navigation buttons

Zoom or fixed focal-length lenses In most dSLRs you’ll need to use the This set of buttons enables you
can be swapped, giving high versatility. viewfinder to frame your shots. You use it to navigate through images and menus,
to see the view through the lens. or adjust feature settings.
aperture
The aperture is the opening in the
lens—controlled by an iris diaphram—
through which light passes.

mode dial
This dial enables you to switch
between shooting modes, such as
aperture priority and shutter priority.

Pop-up flash
Many models feature a small flash
that pops up on demand, but all feature a
hot shoe to take an accessory flash unit.

Shutter button
This button triggers the shutter,
and also initiates focus when the lens
has been set to auto-focus mode.

Sensor
Located inside the camera,
behind the shutter, the sensor is
exposed when the shutter is triggered.
024
Scene modes
q u i c k- s ta r t i n p h o t o g r a p h y

If you find yourself bewildered by your camera’s
selection of settings and their possible combinations,
don’t worry—you’re not alone. However, it doesn’t have
to be difficult. Early on in digital camera design, it was
realized that certain settings are used repeatedly for
different situations. For example, in low light, you’d set
high ISO and use large apertures, and perhaps turn on
the flash. In contrast, when on sunny beaches or ski
slopes, you’d need to over-expose to ensure brightness,
using low ISO because of the high light levels. So,
manufacturers created scene modes—automated
settings for commonly-occurring situations. Use them
as a handy shortcut, but also to learn which of the
camera’s settings are suitable for different conditions.

portrait LandScape Beach or Snow

Warm tones and increased saturation
make skin tones appear healthy. the lens
may be zoomed out to at least 75mm
and aperture set to maximum, with the
flash turned off and the shutter set to
a short exposure time.
in this mode, saturation is greater than
normal, and sharpness may also be
increased. Wide-angle may be set, along
with low iso, maximum resolution, and
small apertures. any available image
processing, such as extending the
dynamic range, will be applied.
generous exposure combined with
low iso captures bright beach or snow,
while allowing for high brightness; a
small aperture extends the depth of
field. contrast may be reduced to
compensate for hard light.

SunSet party FireworkS

the primary aim of this mode is to capture
the deep hues of the sun and sky. the
saturation is raised, the exposure may be
reduced, the iso is set to a medium speed,
and resolution is set at maximum.
one of the most useful of all the scene
modes, this sets the camera to balance
flash with low ambient light. it allows
relatively long exposures, helped by
high iso. Large aperture settings avoid
black backgrounds.
setting medium-to-high iso with
a fixed camera exposure combination—
typically 1/4sec at f/4—and with focus
set at infinity, helps capture the majority
of fireworks displays (see pp.72–73).
 025

Scene modes are different from other exposure modes
in that they set a combination of parameters according
to the scene, and to the level of sophistication allowed
by the camera’s programmers. These parameters include
ISO, shutter, and aperture, any over- or under-exposure
required, color saturation, sharpness, file size, compression,
and drive speed. Point-and-shoot and superzoom cameras
scene modes
may also set the zoom, but scene modes in dSLR
cameras with interchangeable lenses modify only
the camera settings.
When getting to know a camera, work your way through
each of the modes, and take a few shots to see what each one
does. If you’re still confused, refer to the explanations of the
most popular scene modes here, and note how each is set.

Documents canDlelight close-ups

When photographing documents or
artwork you’ll want crisp, sharp images:
this mode will sharpen the picture
strongly, raise contrast, and record
at the highest possible resolution,
with neutral colors.
Here the camera sets maximum Iso and
turns the flash off. Aperture is also set to
maximum and white balance is allowed
to be warm rather than fully neutral.
close-up focusing range may be set
to maximize focusing speed.
For shots of flowers and other small
objects, the lens will be set to its macro
mode, with a small aperture for maximum
depth of field. The flash may be activated
to ensure sharp results, colors may be
boosted, and sharpening applied.

sports night scenery Foliage

Here exposure times are minimized by
increasing Iso to high levels and setting
large apertures, together with the longest
focal length (on point-and-shoot cameras)
and rapid firing rate. This setting is also
good for photographing children and pets.
This setting turns off the flash, as it has
no effect on exposure of distant scenery.
High Iso, wide aperture, and maximum
resolution will be set, and perhaps noise
reduction for long exposures. When taking
shots at night, support the camera on a
wall or a tripod.
Foliage mode boosts a scene’s color
saturation, and aims to achieve a warm
white balance that in turn produces rich,
autumnal colors using medium Iso, high
resolution, and small apertures.
026
Viewing and sharing
q u i c k- s ta r t i n p h o t o g r a p h y

Once you’ve taken lots of photos, you have plenty of
options when it comes to viewing and sharing them—
from displaying them in a frame and showing them on
your smartphone, to disseminating them electronically
by email, photo-sharing websites, and personal websites
or blogs. Before doing any of these things, however, you
may wish to enhance the images to show them to their
best advantage (see Chapter 5), and experiment with
image manipulation software to strengthen their visual
impact (see Chapter 6).
Photos have become essential tokens of social exchange
in the 21st century. Sharing pictures helps facilitate global
connectedness: you can now share precious moments with

Print out order online frame

print your pictures out (see chapter 7).
Even inexpensive ink-jet printers can give
superb results. practice with ordinary
paper first, and, when you’re confident,
use good-quality papers for the best
results. if colors are poor, experiment
with the color settings.
purchase prints from online services (see
pp.294–95). order extra-large prints to
give as gifts, or sell your images as prints.
prepare your images carefully before
uploading them; order a small batch first
to assess quality. this is an economical
option if you don’t own your own printer.
Display your prints in a picture frame (see
pp.290–91). a good frame will show your
picture to its best effect: take into account
the color, material, and size of the frame,
where the frame will be positioned (such
as on a table, or a wall), and how it may
complement its surroundings.

Photobook smartPhone album email

create your own photobook (see
pp.292–93). research a few different
services and download their free book
design software to see which you prefer
in terms of design and ease of use. order
a modest print run to test the service.
use your smartphone as a mobile photo
album—it can hold hundreds of pictures
ready for instant display, and is ideal as
a portfolio for your best pictures. keep
images of the same orientation together
to avoid having to repeatedly turn the
display around.
Email your photos to family and friends.
social pictures are ample at 480 pixels in
length, and scenic shots work well at 720
pixels in length. compress the images first
to keep internet service provider (isp)
costs low, speed up transmission, and
avoid overloading other peoples’ inboxes.
 027

viewing and sharing

friends and family from wherever you are in the world.
Millions of users share billions of images every year, and
this abundance of images is a thrilling prospect. Bear in
mind, however, that you are responsible for the size of
the files you transmit or upload. Image files today usually
carry far more data than is needed, so compress your
images first—in this matter, small is definitely beautiful.
DiD you know?
all photo-sharing and social networking sites
require you to accept their terms of use/service as a
condition of using the site. It is vital that you read these
legal provisions first to understand the implications for
your privacy and copyright (see pp.286–87).

Digital photo frame Desktop sliDeshow

Use a digital photo frame to show multiple
pictures. These download images directly
from your camera or memory card. Think
about the sequence, as chronological
order may not be the most effective.
You may have to rename the files so
they appear in your chosen order.
display images on your computer as
desktop wallpaper or as a screensaver.
For wallpaper, landscape-format shots
with no sharp details work best. To set
up a screensaver, go to display in the
Control Panel (windows), or screen
saver in system Preferences (Mac Os).
Make a slideshow. For informal pictures,
use lively transitions; use fade or dissolve
if you want to minimize distractions.
slideshows take on an extra dimension
when put to music: it may simply run
alongside, or a careful choice can make
the show highly evocative.

social networking site photo-sharing site personal website

Post pictures on your favorite social
networking sites; use apps to upload images
directly from your phone. set your albums
to “private” if you wish to control who can
view your images. seek permission before
posting photos of people in potentially
compromising situations.
share your pictures on photo-sharing sites;
join groups with similar interests to get new
ideas and compare results. Many sites are
free; some charge for additional features.
Check the terms of use/service to ensure
you retain the rights to your images once
you’ve uploaded them.
register a web address and use it to exhibit
your images (see pp.282–85). surf the web
to find a design you like—there are many
easy-to-use templates available. some
software can automatically create a website
from your collection of images. start small,
and show only your best work.
Another random document with
no related content on Scribd:
CHAPTER III.
 “LITTLE MASTER.”

“For when the morn came dim and sad

And chill with early showers,
His quiet eyelids closed—he had
Another morn than ours.”
Thomas Hood.

HAD Mr. Guildford been a native of Sothernshire, he could not but

have been familiar with the name of the Methvyns of Carling, one of
the oldest and wealthiest families of the county. Had he been in the
least addicted to local gossip, or less preoccupied, he could hardly
have failed, even at Sothern, to hear casual mention of them and of
their younger branch, the Methvyns of Greystone. But if he had ever
heard of either Carling or Greystone, he had forgotten all about it;
and as he was whirled along to Haverstock that cold February
evening, his mind was a perfect blank as regarded Methvyns of
anywhere. Nor did he feel much interest or curiosity respecting the
summons he had received.
 He had brought a book with him, but the lamp gave so feeble and
uncertain a light that reading was out of the question. So for the half-
hour of his railway journey, Mr. Guildford set himself to think instead;
to work out in his head the results of a certain shadowy theory or
suggestion bearing upon an obscure and hitherto but slightly
considered department of medical science, which had lately come
under his notice for the first time. It had interested and even
fascinated him, but he had so often fancied himself on the brink of a
great discovery, so often imagined that he saw the flashing of “some
bright truth in its prism,” only to be disappointed, that he was already
learning to be sceptical and cautious, keen to criticise and slow to
pronounce. Outward circumstances too, helped to check his
impetuosity, to moderate without damping his ardour—the apparent
disadvantage of his leisure consisting mostly of odd snatches of
time, liable at any moment to interruption; the being constantly
recalled to matters of present fact, obliged suddenly to concentrate
his powers on subjects seldom presenting anything in common with
his chosen studies; all this was excellent training for an excitable,
enthusiastic temperament naturally impatient of discipline or
restriction. Gradually he acquired great inward self-control—mental
independence of, or rather superiority to, his external surroundings
for the time being. He learnt to choose and limit his subjects of
thought; a habit as valuable to a man of his profession, as was in
another direction the great soldier’s far-famed capability of “sleeping
to order.”
So Mr. Guildford was really thinking—not merely dreaming, or
passively receiving the impressions of the objects around him when
the train stopped, and the railway officials’ equivalent for
“Haverstock,” was shouted along the little platform. It was only a
roadside station, badly lighted and dreary looking. Though not yet
ten o’clock, there was a sort of middle-of-the-night air about the
place, and the two or three men to be seen looked as if they had
been wakened out of their first sleep. For a moment or two Mr.
Guildford, as he stood alone mechanically watching the green light of
the train that had brought him, as it disappeared in the darkness, felt
bewildered and confused. But a voice at his side recalled him to
what was before him.
 “Are you the doctor, sir, if you please—the doctor from
Sothernbay?” and turning at the question, Mr. Guildford saw that the
speaker was a pleasant-looking man-servant, buttoned up to the
chin in a thick driving coat; his tone was eager and anxious.
“Yes. I have come from Sothernbay in answer to a telegram I
received this evening,” he replied. “Are you Colonel Methvyn’s man,
—have you come to meet me?”
“I have been here since five o’clock, sir. ’Twas I sent off the
message. The dog cart is waiting at the gate, and if you please, sir, I
was to say as Miss Cicely—my master, I should say,—hoped you’d
excuse the dog-cart instead of a close carriage; the road from here
to the Abbey is terrible bad just now, and a heavy carriage would
have taken twice as long,” said the man, as he led the way through
the station-gate to where a two-wheeled vehicle and an impatient-
looking horse stood ready for them.
“I prefer it, thank you,” said Mr. Guildford good-naturedly. Like
many self-contained people, he had a liking for a frank manner on
the part of others, especially perhaps when they were his inferiors.
“You see, sir,” continued the man, “I was hurried both ways, first to
get the telegram off, and then to get you to the Abbey when you
came.”
His remarks were interrupted by the zeal with which he set to
work to tuck Mr. Guildford up in the rugs, of which there appeared a
profusion.
“Miss Cicely—leastways my master, I should say, though for that
matter it were Miss Cicely, she never forgets nothing,—she told me
as I were to be sure to bring plenty of wraps,” he observed, his
language becoming comfortably ungrammatical as he felt himself
growing at ease with the “strange doctor.”
“Thank you, that will do capitally,” said Mr. Guildford, as they
started off at a brisk pace. “But it doesn’t seem to me as cold here as
at Sothernbay, or is there a change in the weather?” he added,
glancing up at the sky, in which but few stars were visible.
 “Bless you, sir! yes to be sure, there’s a thaw,” said the servant
eagerly; “it began this afternoon. We was all so glad, thinking it might
be better for little master. Shouldn’t you think so, sir?” he asked with
an anxiety in his voice that Mr. Guildford could not understand.
“I have not heard who it is that is ill, my good fellow,” he said
kindly; “is ‘little master’ the patient? I am all in the dark, you see; I
know nothing except what was in the telegram you sent off.”
“Of course not, sir, of course not,” exclaimed the man. “You see,
sir, we’ve been thinking of little else all these days, and it seemed
like as if every one must be the same. Yes, sir, it’s little master, bless
him! as is ill; it begun with the croup, he’s had that many a time;
many a night Miss Cicely has called me up to fetch the old doctor—
there’s a bell rings into my room on purpose,—but this time it’s
turned to worse. I can’t exactly say what it is. Miss Cicely’s never
closed a eye these three nights, Mrs. Moore told me; I’m afraid he’s
very bad. But now you’ve come, and the break in the weather, he’ll
pull through; don’t you think so, sir?” he inquired wistfully, as if the
question of life or death hung upon the opinion it was utterly
impossible for Mr. Guildford to express.
“You forget, my good fellow,” said the doctor again, “you forget I
have not yet seen the poor little boy; but of one thing you may be
sure, I shall do my very best.”
“Thank you, sir,” said the groom fervently.
“Is Dr. Farmer still at the Abbey—was he there when you left?”
asked Mr. Guildford.
“Yes, sir, but I don’t think you’ll see him tonight; he was quite wore
out, poor old gentleman, and I heard Miss Cicely telling him as I
came away he must go to bed. He’s gettin’ on in years is the old
doctor.”
“Miss Cicely” again. A passing feeling of curiosity crossed Mr.
Guildford’s mind as to whom she could be. A maiden sister or aunt
perhaps of Colonel Methvyn’s, who managed his household and
looked after his children. The name suggested a quaint old-
fashioned maiden lady, and, so far, there had been no mention of a
Mrs. Methvyn. “Miss Cicely” was evidently the ruling spirit of
Greystone Abbey. But it was not Mr. Guildford’s habit to obtain in
formation about either people or things save from head-quarters, so
he put no more questions to his communicative companion. The
road was now becoming so bad that it took all the driver’s skill to
avoid catastrophes.
“Do you never have any repairs done hereabouts?” inquired the
stranger; “this road is really sadly in want of looking after.”
“It isn’t no road at all, sir, by rights,” replied the servant, when he
had time to draw breath after the “joltiest bit” they had yet passed,
“it’s only a short cut to Haverstock. Haverstock isn’t our station—not
the Abbey station; by the highway, Haverstock is good six mile from
us. Our station is Greybridge, but the fast trains don’t stop there,
unless notice is given special; and there’s no telegraphy at
Greybridge. That’s how I had to bring you such a rough way, sir; it
saves four mile and more.”
“Ah! yes, I see,” said Mr. Guildford.
“We’re near home now, sir,” said the man, and the remaining few
minutes were passed in silence.
It was far too dark to distinguish anything plainly. Mr. Guildford
felt, rather than saw, when they turned off the road or lane into
enclosed grounds; the change from the jolting and jogging they had
been enduring for the last quarter of an hour to the smooth roll of a
well-kept gravel drive was very pleasant.
“We’re going in by the side way, sir,” said the groom, “I left the
gate open as I came out; it’s not often this way is used now.”
A few minutes more and they drew up at the front entrance. A
wide porch, with deep stone seats at each side, lighted by a heavy
iron-bound lamp hanging from the roof, was all Mr. Guildford could
distinguish of the outside of Greystone Abbey, It looked more like the
entrance to an ancient church than to a modern dwelling house; it
was in keeping, however, with the associations of the name, and Mr.
Guildford’s perceptions were acute enough for him to infer from what
he saw that by daylight the old house must be picturesque and
quaintly beautiful.
The door was opened, almost before the servant had time to ring,
—anxious ears evidently were on the alert for the first sound of
carriage-wheels,—and two or three servants hurried forward. The
hall into which Mr. Guildford was ushered was a picture of comfort; a
great log fire blazed in the wide open grate, antlered heads threw
grotesque shadows on the wainscoted walls, there were furry fleecy
rugs under foot, armchairs and sofas, and little tables in every
corner; everything looked homelike and inviting, and seemed to tell
of happy gatherings and merry voices. And the pet and pride of the
house—the “little master”—upstairs dying! Little as the young doctor
knew of the Methvyns, a sort of chill seemed to strike through him at
the thought.
His arrival had been quickly announced, for almost immediately a
door at the opposite side of the hall opened, and a stout elderly
person in black silk, and with a general indescribable look of
responsibility and trustworthiness, came forward. She made a sort of
curtsey as she drew near the stranger, a salutation which said as
plainly as any words, “I am the housekeeper, if you please,” and
destroyed instantaneously a passing suspicion of Mr. Guildford’s that
“the managing spirit” of Greystone Abbey stood before him.
“I am so very glad you have come, sir,” said the housekeeper
respectfully; “it will be a great satisfaction. There are refreshments,
sir, in the library, but—if you are not very tired and cold, perhaps—
Miss Cicely is so very anxious to see you. Would you take a glass of
wine now, sir, and something else later?”
But Mr. Guildford declined everything of the kind for the present. “I
should much prefer seeing my patient at once,” he said decidedly;
“will you show me the way?”
“Certainly, sir,” she replied, looking relieved. “Miss Cicely wished
me to take you upstairs as soon as possible.”
Always “Miss Cicely.” She was becoming a sort of “Marquis de
Carabbas” to Mr. Guildford. No mention of the heads of the
household; to judge by appearances, Miss Cicely might be the owner
as well as the ruler of the whole place. So thought the new-comer, as
he followed the worthy Mrs. Moore out of the hall, down a long dimly
lighted passage, looking like enclosed cloisters from the vaulted
ceiling and succession of narrow sharp-pointed windows along one
side, widening at the end into a small square hall, round two sides of
which curved a broad shallow-stepped spiral stair case. Upstairs, a
long passage again, somewhat wider than the one below, with doors
at both sides; at one of these the housekeeper stopped, tapped
softly, but, receiving no answer, went in, beckoning to Mr. Guildford
to follow her. The room which he entered was small and plainly
furnished; it looked almost as if it had once been a schoolroom, but
its present contents were somewhat heterogeneous; the carpet was
nearly threadbare, the windows had no curtains, but there were two
or three good pictures on the walls, a beautiful stand of ferns,
several cages, whose little occupants had all retired for the night,
each carefully shaded by a curtain drawn round the wires; a glass,
filled with lovely flowers, on the table, a Skye terrier asleep on the
hearth rug, a bookcase full of books, of which some of the titles
would have surprised Mr. Guildford had he read them.
He had time for a certain amount of observation, for the
housekeeper, whispering to him a request to wait where he was for a
minute, left the room quickly by another door. It was still cold,
notwithstanding the thaw. Mr. Guildford instinctively turned towards
the fire; the Skye terrier, disturbed by his intrusion, peered up at him
for a moment through its shaggy hair with its bright beady eyes,
growled lazily, and went off to sleep again. So the stranger took up
his position on the hearthrug with his back to the fire, and looked
about him with some curiosity. There was a history in this little room
—the history not so much of a life, as of a character. But it was not
for many a long day that the man who entered it to-night for the first
time learnt to read it. There are many such histories that are never
read at all.
Still he was conscious vaguely of a certain impress of individuality
in the room—some body lived in it and loved all these things thus
much was visible at a glance. Perhaps “the marquise” was of the
genial order of old maids after all, neither managing nor
domineering! Mr. Guildford was smiling at his fancy when the door—
the second again. It was not Mrs. Moore returning. Who was it?
Could this be “Miss Cicely?”
A tall, fair girl in a crimson dress, with coils of hair that must be
sunny by daylight; with a pale, quiet face, and soft, grave eyes. She
stood for a moment in the doorway, the lamp-light falling full upon
her. Some pictures—a few in a lifetime only—take far less time than
our clumsy words can express to imprint themselves for ever on the
brain. This was one of them. Through all the chequered future,
through happy days and “days of cloudy weather,” in her presence or
absent from her, Edmond Guildford never forgot this first vision of
Cicely Methvyn, pale, grave Cicely, standing there for a fairy’s
moment, in her brilliant crimson dress.
The dress, not improbably, had something to do with the vividness
of the impression. Little as he was given to observing such matters, it
could not fail to strike him, both from its beauty and extreme
unsuitability to the girl’s present occupation. It was of velvet of the
richest and loveliest shade of damask red; there was exquisite lace
round the throat and wrists, and there was something quaint and
peculiar in the shape of the bodice. And to add to the effect, Miss
Methvyn wore a thick gold chain round her neck, from which hung a
very beautiful, very large, and evidently antique gold cross, which
shone out with a rich, dull lustre from its crimson background.
Mr. Guildford stood with his eyes fixed upon her for a moment in
absolute amazement. Afterwards he tried to define to himself his
exact impression of the young girl. Was she “pretty?” The word
seemed utterly unsuited to her. Was she beautiful? Hardly. He could
describe her by no words that satisfied his sense of correctness.
She was tall and fair—and then he stopped. She was neither
graceful nor dignified, or rather perhaps she was, strictly speaking,
both. Only the words did not seem to suit her, for they implied a
suspicion of self-consciousness, from which her bearing, her
expression—everything about her, was utterly and unmistakably
free.
 But just now he had hardly time to realise anything but surprise
before she came forward and spoke. She spoke rather slowly; it was
evidently her habit to do so, her voice was low but clear, and
perfectly calm.
“I am so very, very glad you have come,” she said. “It is
exceedingly kind of you to have come so quickly. Charlie—it is
Charlie that is so ill, did you know?” Mr. Guildford made a slight
gesture of assent. “He is in the next room. Will you come in and see
him? He is asleep.”
Mr. Guildford hesitated for a moment.
“Shall I not see Dr. Farmer first?” he said. “Is he here?”
“Oh! I was forgetting to tell you,” she said. “No, Dr. Farmer has
gone home. I made him go, and promised to send for him if you did
not come. He lives only a mile away. He was so knocked up, I really
begged him to go. He left this note for you, and he said he was sure I
could tell you everything.”
She drew a letter out of her pocket as she spoke and gave it to
Mr. Guildford. As he read it, his face grew graver. She, watching him,
observed this.
“I think Charlie is better than when Dr. Farmer left,” she said. “He
is less restless. I asked him how he was just before he went go to
sleep, and he answered me quite distinctly, and his voice sounded
much more like itself.”
“How did he say he felt?” asked Mr. Guildford, stopping for a
moment as he was going to follow Miss Methvyn.
“He said he was sleepy,” she replied. “I asked him if he felt very
‘sore,’ that is his word for ‘ill,’” she explained with a faint little smile,
“and he said, ‘Not so wenny bad, Cissy,’ He calls me ‘Cissy.’ ”
“Ah!” said Mr. Guildford. Then they went into the room, and Cicely
led the stranger to the child’s bedside.
He lay there, propped up with pillows to ease his laboured
breathing. He was sleeping, the girl had said, but, ah! what a
different sleep from the rosy, easy rest of healthy infancy! It was very
pitiful—terribly pitiful. Mr. Guildford looked at the child steadily for
some moments. Then he turned to the young lady.
“Dr. Farmer has told me all that has been done,” he said.
“Everything has been tried, I see. I should like to watch the little
fellow for the next hour or two. I hear you have been up for two or
three nights. Will you not go to bed now and let me, who am quite
fresh, take my turn?”
For the first time there was a slight quiver in the pale young face
as she looked up at Mr. Guildford.
“Won’t you tell me first what you think of him?” she said. “I have
been so anxious to hear your opinion.”
Mr. Guildford turned away with a very, very slight gesture of
impatience. He was beginning to be very sorry for Miss Methvyn, but
he felt the position an uncomfortable one. He was by no means sure
that it would be right to express his real opinion to this girl, so young
and apparently so lonely. He wished Dr. Farmer had stayed; or at
least that he could see the heads of the house, the child’s parents.
“I don’t think you should ask me for my opinion just yet,” he said
somewhat brusquely. “If you will leave me here to watch him, I shall
soon be able to judge better. Shall I not see your parents? Your
father, perhaps I should say? I should like to speak to him about your
little brother.”
“He is not my brother,” she answered quietly. “He is my nephew,
my only sister’s child. My father is a chronic invalid and suffers a
great deal, and my mother is constantly with him. That is why it is
impossible for her to nurse Charlie. He is my especial charge; my
sister left him in my care when she went to India some months ago. I
fancied you understood or I would have explained this before.”
She spoke very gently, almost apologetically. But to Mr. Guildford
it sounded like a reproach.
“I should not have given you the trouble of explaining anything,”
he said quickly. “But will you not do as I proposed? Will you not take
a little rest for an hour or two? I shall stay till the morning. I arranged
to do so before I left home.”
 Just then Mrs. Moore, who had left the room before they entered
it, came back again. She heard what Mr. Guildford was urging upon
Cicely.
“Oh! do, Miss Cicely,” she said earnestly. “You will be quite
knocked up soon, and what would Master Charlie do then?”
“If he wakes and I am not beside him, he will be so frightened,”
said the girl.
“I promise to send for you the moment he wakes—or—or in case
of any change.” said Mr. Guildford.
So at last she gave in. Could Mr. Guildford have realised the
agony her submission was costing her, he would hardly have had the
heart to enforce it, though his motives were of the best. But how was
he, a perfect stranger, seeing her for the first time, to pierce below
the quiet exterior that puzzled many who had known her for years?
She stooped and kissed the little pale drawn face, and repeating,
“You will promise to call me?” went softly out of the room.
Mr. Guildford had no intention of deceiving her. His fears were
great, but so far, he perceived a chance—a faint chance of their not
being realised, and he had no belief in the wisdom of preparing
oneself or others for the worst by crushing prematurely the last little
blossom of hope which may serve its purpose by cheering hours of
otherwise unendurable anguish. But as the night went on, his own
hopes faded slowly. He did the little that was possible to alleviate the
suffering, more painful, it is to be trusted, at this last sad stage, to
witness than to endure; but long before the morning dawned, it
became evident that the little life was ebbing away. There was no
fear of Charlie waking to miss his young aunt; the short journey
through the dark valley was all but over; Charlie’s waking would be in
the bright country “beyond the sun.”
“I think you had better call Miss Methvyn. I promised to send for
her if there was any change,” said Mr. Guildford to the housekeeper,
who had remained with him. There was no need to tell her what the
only change would be now. But almost before he had finished
speaking the door opened swiftly, and Cicely, still in her beautiful
dress, stood again by the bed side.
“I could not stay away any longer. I tried to sleep, but,” she was
beginning; but the words died upon her lips. “Oh! he is not better, he
is worse,” she exclaimed, catching sight of the baby-face, and
reading in Mr. Guildford’s quiet sadness the confirmation of her
terror. “Oh! my darling, my dear, dear little Charlie.”
The anguish of her tone was unmistakable; still, by a supreme
effort of self-control, she forced herself to speak quietly. “Will he not
know me when he wakes?” she whispered to Mr. Guildford.
“He will never wake to consciousness again; all his suffering is
over,” said Mr. Guildford very gently, but Cicely interrupted him with a
faint cry. “What is that? He has never looked like that. Oh! is that
dying?” she sobbed—a slight convulsion had momentarily distorted
the exhausted little frame.
“It does not hurt him, he feels no pain. It is far sadder for you than
for him,” said Mr. Guildford, wishing he could spare her this ordeal.
But it was not protracted; soon, very soon there was no little
Charlie lying there; only the deserted dwelling in which his innocent
spirit had sojourned for four short years.
Then the young girl could no longer restrain her grief. The
incentive to self-control was gone, the unnatural strain broken at last.
She was weakened by her days and nights of watching, and such
sorrow as this was new to her. She laid her head down on the pillow
beside the still white face of the child she had loved so dearly, and
cried as if literally her heart was breaking. She was not a girl who
cried often or easily, and to such natures extreme emotion from its
very rarity is terribly prostrating. Mrs. Moore took the commonplace
view of the matter.
“I never saw Miss Cicely like this,” she said, “but it is better she
should cry. It will do her good in the end; will it not, sir?”
“I don’t know about that,” said Mr. Guildford. “If she seldom cries,
she will be sadly exhausted by this. There is a good deal of
nonsense talked about tears. To some natures they are like drops of
blood.”
He made one or two efforts to persuade her to come away, but for
some time it was useless.
“Oh! do let me stay here a little,” she prayed. “There is no need to
tell any one yet. There is nothing to do. I must not cry to-morrow, for
it would distress my father and mother; but do leave me for tonight.
And, oh! to-morrow, I must write and tell Amy. Oh! how can I? Her
little Charlie that I was to take care of till she came back. And now I
can never do anything for him again. I even put on this dress to
please him this morning, or was it yesterday morning?” she said
confusedly, lifting her head suddenly and looking up in Mr.
Guildford’s face with an almost wild expression in her blue eyes. “He
was so fond of it, he called it my picture frock. I shall never, never put
it on again. I should like never to see it again. Oh, Charlie!”
Then she buried her face in the pillow, and her whole figure shook
convulsively. Mrs. Moore looked at Mr. Guildford in despair.
Suddenly an idea struck her.
“Miss Cicely, my dear,” she said, “I am very sorry to disturb you,
but I think you are forgetting that Mr. Guildford must be very tired. He
came from Sothernbay in a hurry, you know, and has been up all
night and has had nothing to eat. And it is nearly morning now.”
A faint streak of dawn was creeping in at the window—the cold
ghastly dawn of a rainy February morning. Cicely sat up, but
shivered as she saw it. This time yesterday she had been glad to
see the daylight, for the night had been long and trying, and Charlie
had wished many times “morning would come.” Oh! how dreadful
these trifling associations sometimes are. “This time yesterday” our
darling was still here; “this day last week,” bright and full of life
perhaps; “this time last year,”—ah! what bitter changes since then;—
to the young, the first tear-stained entries in life’s calendar seem to
dim all the leaves of the book, even the white blank sheets of the
future; to the old, the gentle, merciful haze of distance mellows and
softens the darkness of even the darkest pages.
 But Cicely was young, not old, and today the sight of the cold,
careless daylight returning again, “as if nothing were the matter,” was
strange and repulsive. She shivered, and for a moment covered her
face with her hands. But the old servant had touched the right chord.
When Miss Methvyn spoke again, it was in quite a different tone.
“I have been very selfish,” she said with a sort of simple dignity,
“very selfish and thoughtless. Mr. Guildford, you must for give me.”
Then she stood up and was moving away, when a thought struck
her, and she turned back.
“I have not thanked you,” she said, looking up at Mr. Guildford and
holding out her hand. “Good-bye, and thank you very much. It will
always be a comfort to us that you came so quickly, otherwise we
might have thought that something else might have been done.”
Her lips quivered again, in spite of her effort to be calm. She
turned quickly, and stooping over the bedside, once more kissed the
little face and then hurried away.
An hour later, when the grey dreary dawn was growing into dull
daylight, Mr. Guildford was driven away again—to Greybridge
Station this time. The same young groom drove as on the night
before, but he was very silent this morning, and his eyes looked as if
he had been crying all night.
“Little Master” had left some sore hearts behind him.
CHAPTER IV.
 A SECOND SUMMONS.

“Se non e vero, e ben trovato.”

Italian Saying.

“All the land. . . .

Smelt of the coming summer, as one large cloud
Drew downward; but all else of heaven was pure
Up to the sun, and May from verge to verge,
And May with me from head to heel.”
The Gardener’s Daughter.

A FEW weeks past, and with the exception of a note from old Dr.
Farmer, thanking him in Colonel Methvyn’s name for his readiness in
obeying the summons, Mr. Guildford heard no more of the family at
Greystone. Sometimes he could almost have fancied the whole
occurrence a dream.
 The weather grew steadily milder: some of the Sothernbay
invalids began to talk of going home; others improved enough to be
a good deal cheerier than they had been; a few, too far gone to be
recalled by even the balmiest air and brightest sun shine, died. Mr.
Guildford was used to sad sights, yet not so used to them as to be
insensible to the ever-varying individual sadness of each; but among
the many phases of sorrow and suffering he had witnessed during
this last winter, no scene had left a stronger impression upon him
than that of the death of the little boy at Greystone Abbey. He had
come upon it so suddenly and unexpectedly; it seemed peculiarly
sad that the little fellow was so far away from his parents, that weeks
must pass before they could even know of their loss. He could not
forget the anguish in the young aunt’s voice when she had
exclaimed, “to-morrow, oh! to-morrow, I must write to tell Amy.” He
often thought about her, and always with pity and interest. But few
things seemed more unlikely than his ever learning more of Miss
Methvyn or her family.
Two months after the February night of his fruitless journey to
Haverstock, Mr. Guildford was surprised at receiving another letter
from old Dr. Farmer, expressing a great wish to see him on as early
a day as he could conveniently name. Dr. Farmer wrote of himself as
in bad health, and on the eve of leaving home for some months. He
offered to meet Mr. Guildford at Sothernbay if necessary, but at the
same time showed plainly that he would be glad to be spared the
journey. Mr. Guildford was not very busy, the “slack season” for
Sothernbay was beginning; he wrote therefore to Dr. Farmer
expressing his readiness to meet him at the old doctor’s own house
at Greybridge, wondering a little as he did so what he could be
wanted for this time, and feeling some curiosity as to whether the
summons was again connected with the family at Greystone Abbey.
It proved to be so.
“Bessie,” said Mr. Guildford to his sister the evening after he had
been over at Greybridge to see Dr. Farmer, “you are always wanting
me to have a change. I am thinking of arranging to have one every
week.”
 “What do you mean, Edmond?” said Mrs. Crichton. “A change
that came every week wouldn’t be a change. You might as well say
Sunday was a change.”
“So it is—to me at least. That is to say, when I can go to church. I
like going to church very much. One can think so comfortably, with
such perfect security from interruption; that’s a very pleasant change
to me,” said Mr. Guildford.
“Is that all you go to church for?” said Bessie with mild reproach.
“And you used to be such a good little boy! I remember the first time
you went to church, how still you sat, and how everybody praised
you when we came out.”
“Well, I don’t jump about now, do I?” said Mr. Guildford. “I don’t
see why I should never be praised now as well as when I was a little
boy. Why don’t you praise me, Bessie? It’s very nice to be praised;
and it’s far harder to be good when one’s big than when one’s little.
You should remember that, Bessie, and encourage me sometimes.
You know I do everything you tell me, don’t I?”
But Mrs. Crichton knitted on perseveringly, counting the stitches in
a low voice, and taking no notice of her brother’s remarks. She was
not fond of being made fun of, and when Edmond talked in this half-
lazy, half-bantering way, she waxed suspicious.
“One, two, three, four, take two together,” she murmured. “These
socks are for you, Edmond,” she observed, in a “coals of-fire-on-
your-head” tone.
“Are they? It’s very good of you to make them for me, but I hope
they are not of that prickly wool, Bessie. Some you knitted for me,
made me feel as if little needles were running into my feet. Did you
knit my socks for me when I was a little boy? If you did, I expect they
were of soft wool then; weren’t they?”
Mrs. Crichton tried to go on knitting gravely, but her brother,
standing behind her, managed to give every now and then judicious
little jogs to her elbows, which much interfered with the progress of
the socks. At first, Mrs. Crichton thought the jogs were accidental,
and bore them philosophically enough, with a “Take care, Edmond,”
or, “Please don’t shake my chair.” But a more energetic jog than
usual exhausted her patience.
“Edmond, you are really too bad,” she exclaimed, “I believe you
are shaking me on purpose. Just look now, I have dropped two
stitches! What is the matter with you, you great, idle boy? Who would
think you were a learned man, a solemn, wise doctor?”
She let her knitting fall on her lap, and turning round her pleasant
face, looked up at him with fond pride shining out of her eyes. She
was only ten years his senior, but her affection for him was almost
motherly—she had been the only mother he had known, and no child
of her own had ever interfered with her love for her early orphaned
little brother.
“What are you looking at me for, Bessie?” he asked.
“I was wondering if you are handsome. I mean if any one else
would think you so,” she said naïvely.
Mr. Guildford laughed. “I don’t suppose anybody but you ever
thought about it,” he said carelessly.
“Your wife will,” said Bessie. And as she said so, she thought to
herself that this shadowy personage would be hard to please were
she other than proud of her husband. The bare possibility of her not
being so, gave Bessie a momentary grudge at her imaginary sister-
in-law. Yet Mr. Guildford was not handsome, not even interestingly
ugly, which often serves the purpose just as well. He was well made
and well proportioned; he was neither very tall nor very short, he had
no striking peculiarity of appearance of any kind. But the grave face
could look sunny enough sometimes, the keen grey eyes could
soften into sympathy and tenderness, the dark brown hair seemed
still to have some of the brightness of boyhood about it—he looked
like a man for whom the best things of life were yet to come; whose
full powers were fresh and unexhausted. There was plenty of
strength in the face; strength which the future might possibly harden
into inflexibility; strength which already faintly threatened to destroy
some of the finer touches of the young man’s character, by