The American annual of photography . h cannot be properly repre-sented otherwise. Of choice, plates should be either double-coated, or backed, to guard against halation. A ray-filter is invaluable in many instances, as, for example,to bring out the veinings and gradation in toned marble, or topreserve the tonal balance between white in sunshine againsta blue sky. There is a happy medium in focusing, best suited to archi-tectural subjects, which lies between biting sharpness on onehand and woolliness upon the other. Between these extremesit is possible to secure a quality of definition giving a
The American annual of photography . h cannot be properly repre-sented otherwise. Of choice, plates should be either double-coated, or backed, to guard against halation. A ray-filter is invaluable in many instances, as, for example,to bring out the veinings and gradation in toned marble, or topreserve the tonal balance between white in sunshine againsta blue sky. There is a happy medium in focusing, best suited to archi-tectural subjects, which lies between biting sharpness on onehand and woolliness upon the other. Between these extremesit is possible to secure a quality of definition giving atmosphericquality and still preserve the essential surface textures, whichare an important feature in the subjects under consideration. The length of exposure is mainly determined by the rangeof contrast present—full timing being essential to give trans-parent shadows with delicately graded lights, for all details inthe former should appear in developing before the lightertones of the subject become over-dense in the negative. 142. A WET MORNING. Illustrating article Architectural Subjects from the Pictorial Standpoint. by William S. Davis. 143
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyorktennantandw
