89. The Photographing of Buildings with Figures Introduced, Public Buildings, Commercial Buildings, Photographing Streets, Photographing High Buildings in Sections, etc., are the subjects of this instruction.

90. Carefully follow the instructions given in Part II, Architectural Photography, the photographing of residences and ordinary buildings, and the instruction given on point of view, perspectives, lines, location of horizon, light, shade and shadows, the effects of long and short shadows, etc. All of the above will assist you in preparing the work of Part III, Architectural Photography.

91. Photographing Residences With Figures Introduced

Photographing Residences With Figures Introduced. In Part II you were instructed to photograph a residence under strong sunlight, requiring very short exposure. In this portion of the lesson, Part III, the principal object is to give you experience with exposure and development of plates made under other conditions - the photographing of residences with figures introduced. As you have learned in Part II, all pictures must have some principal object in the view. In the photographing of buildings and residences, no matter what the surroundings may be, they must always be secondary to the principal (the residence). Even where the presence of life is suggested, the main feature is, of course, the building, and it must predominate.

92. For this portion of the lesson, select a private residence. In choosing the residence you must remember the instructions of Part II, and profit by the practice you have had in performing previous lessons.

93. In this picture admit some figures in the view, arranging them so they will not be crowded or scattered all over the space. Do not attempt to arrange them in groups or pyramids and remember they must occupy only a secondary position in the general view, forming a part of the whole picture.

94. Each figure must be there for a purpose and the picture must tell its own story. Exercise your best judgment in the arrangement. Bear in mind when introducing figures into an architectural view, they must be placed there for a purpose. They must add to and not detract from the general view. Therefore, to admit too many would spoil the view, and to have figures appear as if in the act of standing for a picture would also spoil the effect. You must show the object for which the picture is made.

95. For example, if you made a picture of a residence, you might have a couple of ladies in the doorway, one about to leave and bidding farewell to the hostess; or a postman delivering a letter. In this way you would be telling a story. A third or fourth subject could be introduced to good advantage. If in the summer months, the gardener with a lawn mower at work on the lawn, a child with a doll playing by some shrubbery, or several children apparently at play on the lawn - all these things add to the beauty of a picture and assist in breaking the monotony of a plain view.

96. By the introduction of figures into a view, in order to show action on the part of the subject introduced the exposure must necessarily be quick, and bearing in mind that the figures are now a part of the view, more softness is desired and, generally, you can use a large stop and yet secure a sufficient sharpness of focus. As some lenses work with plenty of sharpness with a larger diaphragm than others, a uniform size stop cannot be given for all lenses, but usually a stop varying from U. S. 4 to U. S. 16 will prove satisfactory. Bear in mind that you want snap, detail, and contrast as well as depth. Remember, the smaller the stop used the smaller will be the opening, with a corresponding decrease of illumination upon the plate; thus, a longer exposure must be given. For instance, if by using stop 8, you can make a full-time negative in 1-25 of a second, for a 16 stop you must give about two times as much, or about 1-10 of a second.