137. Location Of Objects

Location Of Objects. It is seldom advisable to change the location of any of the articles in the room, unless so desired by the person for whom you are making the photograph. All objects in the foreground must, however, come within the angle of view. For example, it would mar the picture materially to have a table or some piece of furniture in the immediate foreground, with the legs cut off, thus removing all suggestion of support.

138. Height Of Camera

Height Of Camera. The camera should be placed at a moderate height, but not too high, for if too high it

will give the floor the appearance of running up-hill. It is seldom, if ever, that perfect conditions exist for the proper illumination of a room for photographic purposes. There is usually some obstacle to overcome and one must utilize the facilities at hand and produce the best results possible. In the following pages we supply numerous illustrations of interiors, all made under different circumstances, but one rule is followed closely, and that is, the light is always leading into the picture - this is essential.

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Photo by T. E. Dillon

Illustration No. 16 Interior - Library See Paragraph 136

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Photo by T E. Dillon

Illustration No. 17 Interior - Library See Paragraph 140

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Photo by T. E. Dillon

Illustration No. 18 Interior - Library See Paragraph 140

Interior   Bed room

Photo by T E Dillon

Illustration No. 19

See Paragraph 141

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Photo by T. E. Dillon

Illustration No. 20 Interior - Bed-room See Paragraph 141

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Photo by T. E. Dillon

Illustration No. 21 Interior - Library See Paragraph 142

Commercial Interiors.

139. Illustrations

Illustrations. In Illustration No. 16 observe the general form of composition, or rather the general arrangement of the articles of furniture and the direction in which the camera was pointed. Nothing appears set, nor is the picture space equally divided in any part. You should aim at securing as harmonious a picture as possible, and under no circumstances have a corner of the room divide the picture space into equal parts. Further than this, chandeliers hanging from the ceiling should not occupy a central position. They appear much better located on one side or the other of the center.

140. A reverse lighting effect is shown in Illustrations No. 17 and No. 18. In the one case the light comes from directly back of the camera, while in the other it comes a trifle from the left, as will be easily observed by the direction in which the shadows fall from the legs of the table and chairs.

141. A most beautiful effect has been secured in both Illustrations No. 19 and No. 20. Practically everything in this room was of uniform color, yet there Is depth and atmosphere in both of these pictures, and they give a perfect idea of the interior.

142. Illustration No. 21 was illuminated from two windows, one being directly back of the camera, while the other was a trifle to the left. This view was a difficult one to photograph, owing to the fact that the camera could not be located as far back as was desirable and properly admit all the furniture into the view, yet the picture would have appeared much more pleasing if the two chairs in the immediate foreground had been omitted entirely. Although some detail has been lost in the high-lights in the halftone reproduction, the print, as a whole, is very good from a technical point of view.

143. The lighting for the interior shown in Illustration No. 22 came entirely from back of the camera, which was the only light obtainable for this view. Had it been possible to obtain some light from the side, giving a cross light, better results would have been produced. As it is, however, the picture gives an accurate rendering of the interior.

144. Illustration No. 23 was a very difficult subject to handle, owing to the fact that the whole interior, as well as the furnishing, was very dark and not well illuminated by daylight. It was necessary to burn magnesium ribbon in various portions of the room, behind objects and in doorways which protected the lens from the direct rays of the illuminant. Owing to the extreme length of the hall it was necessary to stop the lens to a very small aperture, and it was left open for a considerable length of time, permitting the photographer to move about within the picture space and burn the ribbon at the various points from which it was desired to throw the light in order to give an even illumination.

145. Illustration No. 24 shows a room illuminated entirely from the skylight in the ceiling. This was a very great advantage for this particular view, and it gives good lighting on the paintings, which would not have been the case if the light came from a side window.

146. Illustration No. 25 shows a general interior of a residence, in which is included the view of two other rooms. This gives an excellent idea of the general plan of this portion of the house, in addition to showing the room in the foreground with its general arrangement of furniture.

147. The picture of the den shown in Illustration No. 26 was illuminated from a window back of the camera. The interior was very dark, yet with a sufficient amount of exposure full detail has been secured.

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Photo by T. E. Dillon

Illustration No. 22

Interior - Reception-hall

See Paragraph 143

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Photo by T. E Dillon

Illustration No. 23 Interior - Reception-nail

See Paragraph 144

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Photo by T. E. Dillon

Illustration No. 24 Interior - Library See Paragraph 145

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Photo by T. E. Dillon

Illustration No. 25 Interior - Living-room

See Paragraph 146

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Photo by T. E. Dillon

Illustration No. 26

Interior - Den See Paragraph 147

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Photo by T E. Dillon

Illustration No. 27 Interior - Stairway See Paragraph 148

Commercial Interiors.

148. Illustration No. 27 gives a detailed view of a stairway. This picture was made especially for the architect, and shows clearly the general construction of this particular feature and its harmonious setting with the general surroundings.