Architectural photography : practical lessons and suggestions for amateurs . and the doorway (FlamboyantGothic) is by no means necessarily inharmonious. The other two views were taken from positions to whichfew people care to carry stand-cameras, yet many a goodthing, photographically, is to be got by toiling with one onto roofs, and up turret stairs. The flying buttresses overthe choir aisle at Amiens were, of course, photographed toshow their construction, which, with the supporting columns,is a trifle peculiar to English ideas, and is an example of 40 A rchitectural Photography. either wond
Architectural photography : practical lessons and suggestions for amateurs . and the doorway (FlamboyantGothic) is by no means necessarily inharmonious. The other two views were taken from positions to whichfew people care to carry stand-cameras, yet many a goodthing, photographically, is to be got by toiling with one onto roofs, and up turret stairs. The flying buttresses overthe choir aisle at Amiens were, of course, photographed toshow their construction, which, with the supporting columns,is a trifle peculiar to English ideas, and is an example of 40 A rchitectural Photography. either wonderful temerity or wonderful scientific knowledge(for the science is exact) upon the part of its builders. Thetower of St. Pauls, on the contrary, was not taken for itsown sake, but in order to show the deep well curiously, andmany think wrongly, left between the nave and the flank-ing wall over the aisle; yet it forms the central object inthe picture, and, being thrown out of focus, rises out of themisty, mighty city beyond, presided over by its greatcathedral. CHAPTER South Choib Aisle, NotreDame, Lamballe, Brittany. HERE is no branch of archi-tectural photography to becompared in difficulty withthe ecclesiastical interior; yetnone is more frequently at-tempted, or with so light aheart. There are, to beginwith, certain technical diffi-culties to be overcome, whichmay almost be called traps tothe unwary, so likely is atten-tion to them to absorb thephotographers interest to theexclusion of all else. Halationis provided against—a pointof view selected to avoid bril-liantly lit windows, and yetinclude as much as possibleof the great cathedral nave—the camera is carefully levelledand the front raised, a wide-angle lens is used to get inall the vaulting possible, asmall stop is employed fordefinition, and a long expo- 48 Architectural Photography. sure is given after careful focussing to a distant is the usual and only procedure, with the natural re-sult, as rec
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