The American annual of photography . lse rising phantom-like through a mantle of , a building fronting upon a smooth, characterless, pave-ment may be given a touch of the unusual if photographed ona wet day—thus taking advantage of reflections to relieve theempty foreground. As an indication of the features whichcall for thought one may note the difference between shadowscast upon a vertical and horizontal surface, respectively—noonday lighting (commonly considered unsuitable for pic-torial requirements) often producing the most striking shadowsupon a fagade, or other ornamented vert
The American annual of photography . lse rising phantom-like through a mantle of , a building fronting upon a smooth, characterless, pave-ment may be given a touch of the unusual if photographed ona wet day—thus taking advantage of reflections to relieve theempty foreground. As an indication of the features whichcall for thought one may note the difference between shadowscast upon a vertical and horizontal surface, respectively—noonday lighting (commonly considered unsuitable for pic-torial requirements) often producing the most striking shadowsupon a fagade, or other ornamented vertical surface. Quality, as well as direction, of lighting is an importantfactor. A subject inclined toward flatness is generally ren-dered best by taking full advantage of clear strong sunshine,the little variations in surface texture and shadows cast bydelicate details being emphasized most when the light fallsobliquely across the surface photographed from a positionsomewhat in front of the observer. An over-decorated struc- 140. THE SOUTH PORCH, GRACE CHURCH, NEW YORK. Illustrating article Architectural Subjects from the Pictorial Standpoint, by William S. Davis. 141 ture, or one having deeply recessed portions, appears best as arule upon a hazy or cloudy day when the diffusion of lightingsoftens the scale of contrasts. On the technical side the following suggestions can be fol-lowed advantageously: Avoid, so far as possible, the use of wide-angle lenses, sinceviolent perspective comes from too near a viewpoint. If thelatter is unavoidable, try to lessen the depth of perspective bytaking the subject at a slight angle rather than by lookingalong the edge of a wall or long corridor. Always employ color-sensitive emulsions, for one usuallyruns up against combinations of different colors, either in abuilding or its surroundings, which cannot be properly repre-sented otherwise. Of choice, plates should be either double-coated, or backed, to guard against halation. A ray-filter
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyorktennantandw
