149. Detail And Harmonious Arrangement

Detail And Harmonious Arrangement. In a general way, it may be stated that when photographing interiors of residences, detail and a harmonious arrangement of the various articles are of prime importance. Try to avoid having any set arrangement, and also aim to have the lighting effect as uniform as possible. A very common error is to have the foreground or the front portion of the view strongly illuminated and the distance lacking in detail, giving the appearance of nothing more than a mere mass of meaningless black. If this difficulty presents itself, the source of light should be diffused by either drawing the lace curtains across the window, or stretching a piece of cheese-cloth over it. Then, by giving a sufficient amount of exposure to secure detail in the deepest shadows, and developing for the highest points of light, you will secure a perfectly satisfactory result.

150. Illustration No. 28 is a view taken on a veranda, one of the most difficult of subjects known to the photographic worker, and especially so when all wood work is of very dark color. Notice the excellent detail throughout, the lack of heavy shadows, the natural appearance of the landscape in the distance, and the harmonious general arrangement of the whole picture. The secret of the success in making this picture was due to giving proper exposure and correctly developing it. The negative was made and developed according to the method described in Volume II. (Special Development - Part II.)

151. Typical Interior Examples

Typical Interior Examples. As the illustrations given herewith are typical of the average interiors, a most careful study should be made of them, as they will give a better idea as to the arrangement, lighting effect, etc., than is possible to explain by words alone. After a little practice and experience, and following the suggestions given herewith and in Volume VI, on photographing interiors, one should have no difficulty in securing most excellent commercial results.

152. Church Interiors

Church Interiors. Good photographs of church interiors are usually admired for their technical qualities. Their massive architecture makes them very interesting, yet at times somewhat difficult subjects to photograph. The chief cause of this difficulty lies in the stained glass windows used for illumination, which, although admitting visual rays of light, do not permit of a large amount of actinic rays entering. For this reason one is easily deceived by the image on the ground-glass, which, from its distinctness, will lead one to believe that a full exposure can be secured in much less time than is actually the case. The red and yellow glass in the windows is responsible for the retarding of the actinic rays of light. The more the red and yellow glass predominates over the white and clear glass the longer will be the required exposure.

153. There is invariably a large window directly back of the altar or pulpit and as it is usual to photograph from the rear of the room toward the front it will be necessary to include this window. In order to avoid any serious effects from the spreading of light, the use of non-halation ortho plates are recommended. It is, however, possible to work with ordinary plates, and by properly manipulating them according to the methods given in Volume II, Special Development, Part II, fully as good, if not superior, negatives will result as when using the non-halation plates with ordinary development. When the non-halation ortho plate is used in connection with the special development still better results may be obtained than if the ordinary plate were used.

154. Illustration No. 29 shows a technically good photograph of a church interior. The important consideration in church interiors lies in the selection of a point of view to overcome a repetition of lines and avoid parallel lines as much as possible. You will observe there is no repetition of lines in this view and the entire composition is such as to give an exceedingly pleasing effect. There

is almost a total absence of halation. The lighting effect, however, is very natural, and although the subject was an exceedingly difficult one to handle, full detail has been secured in the deepest shadows, while the high-lights are not chalky.

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Photo by T. E. Dillon

Illustration No. 28

Veranda See Paragraph 150

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Photo by T. E. Dillon

Illustration No. 29

Interior - Church

See Paragraph 154

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Photo by T. E. Dillon

Illustration No. 30

Interior - Church

See Paragraph 155

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Photo by T. E. Dillon

Illustration No. 31

Interior - Church

See Paragraph 155

Commercial Interiors.

155. In contrast to this general interior view we show two views in Illustrations No. 30 and No. 31. These two views are intended to give an idea of the massive detail work around the altar, and in order to represent it truthfully it was necessary to take a straight front view. Although this gives a uniformity of line on both sides of the center, it is not at all displeasing, and from an architectural standpoint is perfectly correct.