The Dictionary Of Photography

A True Historic Record Of The Art & Practice Of Photography 100 Years Ago.

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Architectural Photography
branch of architectural work, and by using one only ot the combinations of above lenses we may obtain lenses of still longer focus. It is true that these will be single lenses, and therefore liable to give marginal distortion, but really this may be ignored, as in the case of a long-focus lens, as only the centre of the field is used ; in fact, when a single lens is the sole instru-ment which a worker has, let him not hesitate to boldly attack architectural studies, and no one will be the wiser, if the lens is not strained. Finally, we may dismiss all further reference to lenses, with the parting advice to use as long a focus lens as the situation of the object will allow. Obviously, we cannot think for one moment of including directions as to the best time of day, position, etc., of taking buildings, churches, etc., but a few hints may be acceptable. Seldom take a church or house full face, or with the sun directly behind the camera or directly in front; try to get a side or corner view and side lighting. In all church or cathedral exteriors, where fine delicate carving or tracery exists, a somewhat long exposure should be given in order not to lose the same. For interior work there is one absolute essential - that thickly coated plates, backed, should be used. No plate that is not backed will give perfect results ; for not only is halation more troublesome, but also the negatives as a rule are less brilliant. When unbacked plates are used, the rapidity of the plate is really of no moment provided one can give long exposures ; but if from any cause this is impossible, then the most rapid plates attainable should be employed. We may add here that colour-sensitive plates are decidedly to be pre-ferred, and that the multiple-film plate will be found of great value for all architectural work, especially interiors. The aper-ture of the lens should always be the largest that will give satisfactory definition over the whole of the screen. Seldom place the camera exactly in the centre, rather a little to one side, ot a church or cathedral. The question ot exposure is always an extremely difficult one, and, whilst experience is invaluable, some such guide as an actinometer or exposure meter, which actually gauges the chemical activity of the light, will be of immense advantage. To correctly judge the exposure for interiors, especially if there is much coloured glass about, without some such guide is almost an impossibility. By far the best light to choose for exposure is, for the east end, the