Wilson's quarter century in photography : a collection of hints on practical photography which form a complete text-book of the art . aguerre has led them into quite a hole of error. So is it in the direction of the amount of subject it is proper to desire in a 89. If we take a photograph of a cube one foot high, and place the objective on a levelwith the cube, the edges will separate but little, and the cube will look as representedin Fig. 191. If, on the other hand, we photograph a cubical building which is sixtyfeet high, and place the camera at the foot of the building, then the lines of t
Wilson's quarter century in photography : a collection of hints on practical photography which form a complete text-book of the art . aguerre has led them into quite a hole of error. So is it in the direction of the amount of subject it is proper to desire in a 89. If we take a photograph of a cube one foot high, and place the objective on a levelwith the cube, the edges will separate but little, and the cube will look as representedin Fig. 191. If, on the other hand, we photograph a cubical building which is sixtyfeet high, and place the camera at the foot of the building, then the lines of the cornices,ae and ac, will tumble very considerably, as the artists call it; and the higher thebuilding is, the more marked will this appear. I once saw a photograph of a monument which appeared exactly as Fig. 191. Thelines of the cornice did not fall sufficiently, and did not give the same impression thathigh structures would make. The question arises, could this be avoided? At first sight this seems impossible. Andstill it can be done. If we photograph a cube, and place the objective at various distances Fig. 191. Fig. from the camera, we will find that the lines tumble more and more the closer we get tothe cube. When we get very close, and the objective is on a level with the base of themodel, we will obtain a picture like Fig. 192. Such an approach is possible with a correct- 13 194 Wilsons quarter century in photography. view. If a wide-angle lens, the focal length of which is less than eight or teninches, is employed, the distance is distorted—near objects are enlarged anddistant ones brought too close in appearance. Let me illustrate. Cut a hollow rubber ball in two,and turn the hol-low side of one-halftoward you. It pre-sents the half ofa globe—a hemi-sphere. Carefullyseize the sides andpull. You thusdestroy the spheri-cal form and bringthe extreme inner surface nearer to you. So acts the lens, when one of too short focal length isused. Painters have more li
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