106. Stop To Use

Stop To Use. The size of stop to use will depend entirely upon the covering power of the lens employed. The whole plate must be cut with good definition to the extreme edges, and the depth of focus must include all of the principle parts of the building. For commercial work, where good clear definition is the great essential, more stopping down is required than for portrait work. It is a good practice to always use a one size smaller stop than is necessary to secure a good general focus. This extra stopping down will have a tendency to accentuate shadows and give crisper negatives.

107. Exposure

Exposure. A light colored building will require much less exposure than a dark one, while the exposure on a slightly dull day will not be appreciably greater than that required on a bright sunny day. Usually, for exterior architectural work on a bright day, with a stop at f. 16 or U. S. 16 (which is the usual stop used for this class of work) a bulb exposure - pressing and releasing the bulb, which requires approximately a half-second exposure - is sufficient; for a cloudy day double the exposure, or one second, would be about right.

108. It is impossible to give any definite information regarding the exact amount of exposure. The general rule, however, is to give sufficient exposure to secure full detail in the deepest shadows.

109. Development

Development. As a rule, exterior architectural views can be treated as average outdoor subjects, and a developer of normal strength used. The formula for the

Universal Developer, as given in Volume II, is recommended. So many architectural photographs are seen, wherein the high-lights are hard and chalky. This is due to the use of too strong a developer and the carrying of development too far.

110. Proof-prints should be made from experimental negatives, and full data, including color of building, time of day, light conditions, size of stop, amount of exposure, and any other features of importance, placed on the back, and the proofs filed for reference.