This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
Cloud Effects. Where clouds are to be retained the exposure must be a rapid one. The building should be photographed at quite a distance to obtain more of a general view, admitting plenty of sky and foreground. There will then be no dense shadows to overcome, and an exposure sufficient for the sky will be ample for the building and foreground.
It is not often possible to obtain clouds at the time you are prepared to make the picture. In such cases if clouds are desired in the view they may be printed in from a cloud negative. For printing clouds, see Volume IV.
Churches. Churches, like private residences, are usually built with considerable space surrounding them, and, therefore, generally permit of being photographed in the same way.
There are times where churches are so located that strong sunlight does not fall on the front part; then again, the colors of the building are so dark and non-actinic that quick exposures cannot be made. In such cases it is best to make the photograph with a slightly clouded sky. In order to increase the contrast between the highlights and shadows, use a smaller stop and give the same time that you would if a stop a size larger was used. In this way you may slightly under-time the shadows, making them stronger (blacker), thereby giving more contrast.
Contrast And Snappy Effects On Cloudy Days. You can greatly increase the contrast between highlights and shadows, even in weak sunlight, by using a smaller stop than usual, giving the same time as if the sun was brighter. In this way you accent the shadows, thereby producing more snappy results. A good rule to follow when you desire more contrast in the view, is to use a smaller stop. Experiment by looking on the ground-glass with the different size stops. Whatever effect is visible on the ground-glass can be secured on the plate by correct exposure and proper development.
110. While there is considerable latitude for exposure in architectural photography, one should aim for as nearly correct exposure as possible. When judging an exposure, we will say, for instance, your highlights are very strong and the object is light-colored; 1-50 of a second would be sufficient to give you a full-timed plate with snappy shadows. If, however, the object is of a dark, non-actinic color, and you should time for these colors you would expose for a full second. In doing so you would over-time the highlights. Therefore, the time should be divided. If 1-50 second is sufficient for highlights on a light colored object, and 1 second necessary for full time on a dark colored object, 1/2 second would give you sufficient detail in the shadows of the dark colored object and would not injure the highlights.
111. Usually in photographing high buildings, business blocks, etc., the extreme use of the swing-back is required in order to obtain rectilinear lines. To produce sharpness on the plate, a small stop must be used.