31. Arrangement

Arrangement. The arrangement of various objects in the room is of extreme importance; but, as previously stated, there are times when it is very desirable to leave the furniture and other objects in their original positions. This necessitates very careful attention being paid to the source of light and the effect of the light on the various objects, as a spotted effect is by all means to be avoided. Where it is possible to group the various objects so that lights of the same value come together, it should be done.

32. Concentrate Interest

Concentrate Interest. Avoid dividing the interest evenly between two or more subjects. There should be one point that claims more attention than any other; this is usually in the strongest light, or embraces a greater amount of contrast in light and shade than any other portion of the picture space.

33. Distance From Camera To Subject

Distance From Camera To Subject. No object should be so near the camera that its lower portion is cut off. The base of all objects should appear. In other words, no object should be cut off by the lower margin of the picture.

34. Windows Included In View

Windows Included In View. Do not include more windows in the view than are absolutely necessary. When it is impossible to choose a favorable position and have the windows out of the angle of view, the curtains or blinds should be drawn while making the first three-quarters of the exposure; then, cap the lens, or close the shutter, raise the shades to the normal height and expose for the balance of the required time. In this way there will be little danger of halation and the resulting effect will be perfectly natural.

35. Technical Detail

Technical Detail. A stricter attention to technical detail is necessary with interior work than in landscape. It is quite essential to avoid all symmetrical or set arrangements, whether in a general interior view, or of some detailed portion of a room.

36. Low Point Of View

Low Point Of View. As a rule, nine out of every ten prints of interiors are ruined by insufficient foreground or floor being shown. It is advisable, therefore, to employ a low point of view, as the placing of the camera in such a position prevents the displeasing effect of a slanting floor. When photographing interiors where extremely heavy objects, such as large pillars in hallways, appear in the view, special care must be exercised to have a fair extent of flooring shown beneath them, to give a sense of support and balance.

37. Introducing Figures

Introducing Figures. If figures are introduced in interior pictures, always give the subject, or subjects something to do, so the effect will not be unnatural and set.

38. Location Of Figures

Location Of Figures. Never have a figure appear near the edge of the picture facing outward. The figure should always face the center or toward the most important object in the picture space. Never place a figure in the exact center of the interior view. A location slightly to one side or the other of the center should be selected. Usually preference is given to the left side. When a figure is placed in the middle distance of the picture space, do not have a large object between the figure and the camera, as this would tend to make the figure appear small in comparison with the nearer objects.