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i i 9 oy ae a wouldn't you be more likely to eo, 2nd, 1936 THURSDAY, JULY an GE: . HAILLEYBURIAN Page 7 Zen oi Y.D. {Continued from Page 2) to Linder. Easy generosity that, while you continue to: love--Zen Transley !" Down by the river a spiral of smoke wound upwards from the Transley chimney, and even as Grant looked he saw an'automo- bile trailing dust about the shoul- der of his hill. It was Transley returning to his home. © Transley's wife had fortified her good resolutions behind an outburst of activity. But there were times when the craving to be quite alone, where| she could re-survey her life and| bask for'a moment in the luxury of old imaginings, became irres- istible. On such occasions she would follow the road that skirt- ed the cliffs of the river bank to a point where it turned in the basin of a now deserted quarry. The old. quarry lay on the edge of the hills like a cup from which a side had broken, and fallen into} _ the river which boiled in a green foam a hundred feet below. The only access to this cup was by the road, no longer frequented, which Zen had chosen for her solitary ranmbles. Once inside) the quarry she was isolated from the world; here her vision could sweep the sloping bluffs across) FRENCH CABINET INCLUDES A WOMAN J For the first time in the history of French politics, a woman was given a post in the Government when Leon Blum took office. Above we see Madame Suzanne Lacore, French Un- der-secretary of State for Child Welfdre, standing beside Premier Blum on the steps at the Elysee, Paris. the valley, or the circle of blue sky above, and her thoughts could old friend, come to collect an old rove at will without prospect of|account. "Well, now, Zen, that's too bad. Pay up quietly and Iwas willin' to forgive you and being interrupted. The road by there'll be no trouble, but raise a hoped we'd be friends. Don't you which she entered the cup was fuss and I'll throw you into the think it would be better to be the road by which any intruder r must enter it. It was also, iver. as evidence, would it? a Zen was suddenly to discover, the ful how a person who has been words that gri It's wonder- only road by which one ¢ould es-|drowned disappears and is soon She decided cape. It was upon the afternoon when in his furrow that Zen made that she exclaimed. discovery. Her self-imposed' tasks completed for the day, she' George Drazk." scoured the fruit stains from her ¢ hands, changed her frock, took the now familiar trail to the quarry. "I'll be back in anjhe smirked before her. ; f "You were no friend of mine--|best of friends, hour," she told Sarah; "I'm going | and hand. forgotten." Perhaps That wouldn't leave much friendly-like, Zen? a There was a menace under his pped her in terror. to play for time. Sarah--perhaps Denny Zen's eyes had gone large and --If only Dennison Grant would Truth confronted Dennison Grant her limbs were shaking. "Drazk!"| come! "Sit down, George, and tell me "Right enough; your old friend about it,' sne said. "I suppose I He came uf owe you an apology. Tell me lose to her and extended his how you got away, and where you "Ain't you goin' to shake have been all this time." up hands with your old friend, Zen?"| "That's better. We're goin' to Ibe good friends, eh, Zen? The eh, Zen? © You to the quarry just to 'loaf and in- ever," she flared back, while her and George 'Il just sit down and vite my soul." The quotation was 'brain was hunting wildly for some talk it over. lost upon Sarah, who took refuge plan of escape. | killed yo I : At a point where the road rose dorie it. Now I'm sorry I didn't" sit down beside her. in her gift of silence. "T thought I had| She led him to the rock where u. And I was sorry I had' she had been seated, and let him He seized high enough to command a view of the surrounding valley she stopped and swung a slow, half- guilty glance to the southward. There, sure enough was the plow team of Dennison Grant warping its slow shuttle back and forth across the brown prairie. For a long minute she fed her eyes, and her heart; then resumed her slow course to the quarry. Inside the great cup she was conscious of a sense of security. Zen seated herself in a half re- clining position on a great slab of rock and fell into.a day-dream, watching the while with unseeing eyes. the procession of white clouds which drove across the disc of blue sky above her. Perhaps it was because of the position which she had taken, or her unconscious study of the sky that she caught no hint of the presence of a man at the point where the road entered the quar- ry. From an ambush of willow scrub he had seen her stop and survey the fields where Dennison Grant was at work, and had fol- lowed her stealthily down the trail which led to her trap. Now he had her. "How do, Zen?" he said, sud- denly stepping into the open. "Ain't you glad to see me?" The girl sprang to her feet and turned startled eyes toward the road--the only exit from this stone dungeon. "Who are you? want? Go away! you at all--" } The offensive smile broadened. "That is where I have the advan- tage of you, Mrs. Transley. 1 have changed, I admit, but you-- you are as beautiful as ever." "How dare you speak to me in such a way!' You have learned my name, it is true, but I do not know you at all. Now will you go, or must I call my husband to throw you into the river?" "That would be some shout, see- ing that your husband isn't at home, and hasn't been for two weeks. You see, I may, be a stranger, but I know some things. And even if he was at home, What do you I don't know call Dennison Grant?" The man had gradually advan- ced, but still kept himself well between Zen and her only avenue of escape. ; "Who are you?" she demanded "Why do you follow me n; just an! eSNAPSHOT CUIL PAINTING WITH LIGHT When lights strike from the same distance on either side the result ina photograph (left) is a balance that tends to "flatten" the subject. In the other picture, the light comes from the extreme left and the extreme right a little to the rear. The dramati KILLFUL photographers use light in place of the artist's brush. For with light they can cre- ate sharp contrasts, accents and shadows; undesirable features can be eliminated, played up. Above are two pictures showing how a subject may be "painted" by light. The figurine and the camera were kept in fixed positions; only the lights, two of them, were moved. And see what happened! The fiaf, uninteresting representation at the left is, at the right, transformed and enlivened. Form and features have been brought into relief in dramatic fashion. The pathos in the pose and expression have been brought out and an impression of mystery has been introduced. The picture now speaks and stimulates the imagina- tion to a much greater extent. For the amateur, there is a world of fun experimenting with light "painting." Figures like this, dolls, toy animals, tacles, mirrors, bottles, vases, in- deed any small objects that appeal to your fancy, singly or in group, _ Imay be used as subjects. The top of a table will serve as your "easel." A portrait attachment for the or- dinary camera is essential; because the pictures must be made at close range in order to give a large image. Behind or on the table arrange to have a plain background, dark or light, depending upon the tone of important points shutter. relatively slow snapshot, glass globes, spec- difficult to devise board into which With the rest of may be obtained. c, third-dimensional effect is obvious. brushes" two or three photoflood bulbs and cardboard reflectors placed in floor lamps will be sufficient. With these movable lamps around the table you can bring light to bear on your sub- ject from any angle and vary the distance or elevation of one or the other to produce the light and shadow contrasts that you think will be most artistic or striking. Remember, that you have "every- thing under control" and can take time to study the effects of the lighting before you snap the camera With fixed-focus cameras having lenses, and the chrome type of film, make time ex- posures. With cameras having fast lenses (f.6.3 or faster) a shorter time exposure (% to 1/10 second) for the chrome type and 1/25 second for the supersensitive type, should produce good results. Of course, much depends on the yol- ume of the light, the number of lights used and their distances from the subject. Incidentally, it is not a spot light. It is only necessary to use a large card- a 2-inch hole has been cut, and hold it between a light and the subject during the exposure. the room dark, a spot light gives strong, sharp shad- ows, and if your subject lends itself to such contrast, dramatic effects JOHN VAN GUILDER. your subject. For your "paint| 8! ze tighter. "No, were goin' to be friends," he reminded her. best of friends--" "Yes, but first tell me about yourself. How did you get out of the river that day?" "Oh, I drifted ashore. Can't kill George Drazk. I was pretty full of water, and I lay on the bank for quite a while, but I came a- round in time. Then I seen what happened about the fire, and I reckoned this was a good time to make my getaway. So I beat it right out o' the country and no- body bothered followin'." "Yes, yes, go on,' she urged, eager to keep him absorbed in his story. "That was very clever of you. And then what did you do --after you got out of the coun- aay te "Got a job. No trouble for George Drazk to get a job. Then when the war came I tried to get on, but somehow they wouldn't have me. Said I'd be more useful at home. So I stayed on and had some pretty good jobs and some pretty nice girls, Zen, but I never quite got you out of my head and I kept sayin' to myself, 'Some- time I'll goback and make it up with Zen. And here Iam. Ain't you glad, Zen?" "Yes--in a way Iam.' (Oh will nobody ever come?) 'But how did you find me? You know} Tve been married since then?" "So you have, and it hasn't spoiled you a bit. Oh, it didn't take me long to run you down.} But I didn't go breezin' up to your house, like I might've done if I hadn't been considerate of you. I didn't want no scandal about it, on your account. So I just laid low for a while. That is how I found out about Grant." "About Grant? What did you find cut about Mr. Grant?" | He made to draw her closer to! him, but she held him at bay. "Oh, you're innocent, ain't you, Zen? What about Grant? That's a good one. Your husband would enjoy that!" "If you're going to talk to me like that, we can't be friends, Mr. Drazk." (Still no sign of help.) "My friends musn't think evil of me. Drazk laughed. "They say a friend is one who knows all about good saute Hasn't been around so often late-'but her efforts were puny ly. Well, true love never did run| wasted one of her hands in his; she would| know all about you--you and this| same." have withdrawn it, but he held it}Grant fellow. How he's been| He forced her toward him, and visitin' you when your husband] she knew that she had spun out was away, and sometimes whenjher reprieve to its end. the maid was away too. She was in the power of this madman. She tried to break from his grasp and against his passionate smooth. Now I could tell your|strength. She struck out wildly husband all this, and perhaps I!but he crushed down her blows; ought to; Transley and me is old| wrapped his arms about hers: friends, worked together for/drew her face to his. years, but I ain't that kind of al "I came to collect an account, fellow. You see, Zen, I know all|Zen," he hissed, "and now you are about you, and I love you just the| goin'--to pay!" 4 same. I love you--just--the--| TO BE CONTINUED I've) kept pretty close tab on him. MAKING UP A SHOPPING LIST The hall needs a new rug. More towels are needed for the bathioom, and the kitchen floor could certainly stand a coat of paint. The children need shoes. The car will soon need tires. Well, we buy a hundred new things every year. Scattered throughout Canada are manufacturers who make the very things we need. Their products are on sale in certain stores within easy reach. ,Certain of these products, aad certain of these stores, are espe- cially fitted to take care of our special need. But which products and which stores? Which can we afford, and which do we think best? We must look to advertising for advice. Advertising is the straight line between supply and demand. It saves time spent in haphazard shopping. It leads you directly to your goal. By reading the adver- tisements, we can determine in advance where the best values can be found. With the aid of advertising, shopping becomes a simple and pleasant business, and budget figures bring more smiles than frowns. From the pages of this paper you can make up a shopping list that will save you. money! you and loves you just the same" he leered. '"That's me, Zen. I; e Are handling somethin * But of the m by * The senses oO judging Here is t read the goods. Buy Advertisements % Experts can roughly estimate the value of a product by looking at it. texture, the "feel" and the balance of it all mean brass, wood, leather, foodstuffs, fabrics, and all purchases. maker's name and for what it stands. most certain method, except that of actual use, for manship, or the use of shoddy materials. %* This is one important reason why it pays to MERCHANDISE MUST BE GOOD OR IT COULDN'T BE CONSISTENTLY ADVERTISED a Guide to Value More accurately, by and examining it. Its appearance, its g to their trained eyes and fingers. no one person can be an expert on steel, aterials that make up a list of personal And even experts are fooled, sometimes concealed flaws and imperfections. re is a surer index of value than the f sight and touch--knowledge of the Here is the the value of any. manufactured goods. he only guarantee against careless work- advertisements and to buy advertised The product that is advertised is worthy of your confidence. Advertised Goods oe