Architectural photography : practical lessons and suggestions for amateurs . arallel per-spective, by pointing the cameraaxially down a nave, is suc-cessful pictorially, though theEnglish system of pew seatingoccasionally forces ones attempted, the parallelismmust be absolutely true, orthe effect will be lit windows, in spiteof their liability to halation, arefrequently great aids to solemnityof effect. Perfect levelling isessential to avoid distortion, andthe front must certainly be raised,to cut off unnecessary fore-ground; but a wide-angle lensis most frequently
Architectural photography : practical lessons and suggestions for amateurs . arallel per-spective, by pointing the cameraaxially down a nave, is suc-cessful pictorially, though theEnglish system of pew seatingoccasionally forces ones attempted, the parallelismmust be absolutely true, orthe effect will be lit windows, in spiteof their liability to halation, arefrequently great aids to solemnityof effect. Perfect levelling isessential to avoid distortion, andthe front must certainly be raised,to cut off unnecessary fore-ground; but a wide-angle lensis most frequently a is almost invariably wantof visual truth in a wide-angleview, so that what is gained inamount is more than lost inquality. A small stop is also at timesa mistake. It has the effect of rendering foreground and distance with equal clearness, andso destroys the impression of distance, and likewise thatof mystery, unless these are obtained by more thanusually careful tone gradations. If a large stop, how-ever, be used to give distance, obviously it must be a 4. South Transept, SoissonsCathedral. 50 Architectural Photography. near object and not a distant one which must be in sharpfocus. As to exposure there is room for much difference ofopinion. If you want to discover, by photography, detailsof dark places which the human eye cannot see, expose forweeks if necessary; but if you wish to convey the general impression to otherswhich a sombre interiorconveys to you, exposeaccordingly, and be con-tent that detail shallremain hidden away indeep shadow. Takingthe illustrations as ex-amples, the well lit andconsequently distinctvaulting of St. Loup,. atNamur, by no meansappeals to ones highernature so well as doesthe impressively darkvaulting of BrusselsCathedral. Churches, like land-scapes, will appeal todifferent people in dif-ferent ways, and eachman must exercise his art to discover and show to othersthe impression he himself receives. To the writer, , at Brus
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