Then, too, when our artist friend was with us we were in the grasp of an epidemic of cholera. Morning and evening, and sometimes into the night, we were tending the sick and dying in the village; and in the interval between we had little heart for photographs. But the visit of a real photographer is a rare event in Dohnavur, and we forced ourselves to try to take advantage of it. Remembering our difficulties, we wonder we got anything at all; and we hope that stranger eyes will be kind.
Often when we looked at the pretty little reversed picture in the camera, with its delicate colouring and the grace of movement, we have wished that we could send it as we saw it, all living and true. The photos were taken in the open air; underfoot was soft terra-cotta-coloured sand; overhead, the cloudless blue. In such a setting the baby pictures look their brightest, something very different from these dull copies in sepia. An Oriental scene in print always looks sorry for itself, and quite apologetic. It knows it is almost a farce, and very flat and poor.
Then there were difficulties connected with character. Our photographer was more accustomed to the dignified ways of mountains than to the extremely restless habit of children; and he never could understand why they would not sit for him as the mountains sat, and let him focus them comfortably. The babies looked at things from an opposite point of view, and strongly objected to delays and leisureliness of every description. Sometimes when the focussing process promised to be much prolonged, we put a child we did not wish to photograph in the place of one upon whom we had designs, and then at the last moment exchanged her. But the baby thus beguiled seemed to divine our purpose; and, resenting such ensnarements, would promptly wriggle out of focus. It was like trying to observe some active animalculæ under a high power. The microscope is perfect, the creatures are entrapped in a drop of water on the slide; but the game is not won by any means. Sometimes, after spoiling more plates than was convenient, our artist almost gave up in despair; but he never quite gave up, and we owe what we have to his infinite patience.
Pyârie was the most troublesome of these small sitters, though she was old enough to know better. My mother was with us when she came to us, a tiny babe and very delicate. She had loved her and helped to nurse her, and so we wanted a happy photograph for her sake; but nothing was further from Pyârie's intentions, and instead of smiling, she scowled. Our first attempt was in the compound, where a bullock-bandy stood. Pyârie and Vineetha, a little girl of about the same age, were very pleased to climb over the pole and untwist the rope and play see-saw; but when the objectionable camera appeared, they stared at it with aversion, and no amount of coaxing would persuade Pyârie to smile. "Can't you do something to improve her expression?" inquired the photographer, emerging from his black hood; then someone said in desperation: "_Do_ smile, you little Turk!" Vineetha, about whose expression we were not concerned, obediently smiled; but Pyârie looked thunderclouds, and turned her head away. She was caught before she turned, poor dear, so that photograph was a failure.