Architectural photography : practical lessons and suggestions for amateurs . S one approachesmore nearly to abuilding, the partsbegin to stand outfrom one another andthe detail is moreclearly seen. In the place of onegeneral mass expres-sing one simpleemotion, all that goesto compose that massand that emotion isdiscovered, bit by bit,by slow degrees. Con-sequently a slowlychanging difference oftreatment is requiredin the photograph, ifthe effect is to berendered have been From Photograph by the Author. i mj- i • i J buildings which were erected to express some one simple idea, t
Architectural photography : practical lessons and suggestions for amateurs . S one approachesmore nearly to abuilding, the partsbegin to stand outfrom one another andthe detail is moreclearly seen. In the place of onegeneral mass expres-sing one simpleemotion, all that goesto compose that massand that emotion isdiscovered, bit by bit,by slow degrees. Con-sequently a slowlychanging difference oftreatment is requiredin the photograph, ifthe effect is to berendered have been From Photograph by the Author. i mj- i • i J buildings which were erected to express some one simple idea, the same pervadingmass and detail alike, and amongst them were some of the 31 32 Architectural Photography. greatest buildings which the world has seen, notably thoseof the Doric order in ancient Greece ; and when dealingwith such the photographer cannot easily go wrong. The. St. Gudule, Brussels. whole of the building is to be seen from almost any pointof view—composition is out of the question, everything hasalready been done for him by the original builder exceptthe actual taking of the photograph ; and he can probably Exteriors. 33 best render its beauty and its effect by skilful craftsman-ship, by correct exposure and careful choice of stop, to givea clear and crisp result, trusting to the extreme lovelinessof his subject alone for the production of a fine photograph—for such buildings are rarely to be found save in countrieshaving a clear atmosphere and cloudless sky. Very different is it with any building having even theslightest Gothic feeling. Instead of one simple emotionthere are many complex emotions expressed in a complexbuilding, and as the emotion of mystery is always one ofthose excited, with the evident intention on the part of thebuilder to lead a spectator onward to search for hiddenbeauties, therefore is the whole never to be seen a
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Keywords: ., bookcentury1800, bookdecade1890, bookidgri331250108, bookyear1898
