In every case I would endeavour to get a comparatively thin negative, with even the portions representing deepest shadows slightly veiled. "Clear gla.s.s shadows" is an enormity and an outrage both of science and art; equally are solid high-lights to be shunned. With modern printing methods it needs much less than actual opacity in the negative to produce white paper, and if the picture requires any part of it at all to appear as quite white, no subject will need more than the very smallest region to be so. A general softness and very subtle gradation, with a total absence of "sparkle" and brilliancy in the negative, will yield by at least most processes the most suggestive print, bearing in mind that delicate gradations suggest atmosphere, and atmosphere is one of nature"s most precious qualities.
Whilst plain salted papers sensitized with silver present possibilities not yet sufficiently exploited, yet until such time that something more entirely satisfactory in all respects is given us in silver papers, platinotype and carbon, and perhaps also gum bichromate will be the processes most suitable for our purpose.
Personally, platinotype has been the favoured medium, being, as I believe, more ductile and more amenable to various methods of control than is generally recognised.
And leaving much more of importance unsaid than s.p.a.ce limits admit of my saying, I must leave it.
_A. Horsley Hinton._
_Architectural Photography._
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To the majority amateurs, the photographing of architectural subjects presents considerable, and in many cases apparently insurmountable difficulties. Undoubtedly there are difficulties to be grappled with, but they are neither so formidable nor so numerous, but that any ordinary photographer with the average amount of common sense can master them be he so minded.
Unfortunately there are a great many who take up photography as an amus.e.m.e.nt to whom the slightest departure from the ordinary routine presents a difficulty. It is however to the amateur photographer who desires to be able to portray architecture, be it either of our cathedrals, churches, historic mansions, or places of personal interest, and at the same time wishes to be able to do the subjects fair justice, that it is hoped the following particulars may be of some service.
To the beginner taking up this or indeed any branch of photography, size is of course a great consideration either from the weight carrying or pecuniary point of view. Another reason is the fact that young photographic workers have an idea that the smaller the plate, the easier the working. Sound though this reasoning may appear, nevertheless it is not entirely correct.
As a matter of fact all things being taken into consideration the larger the plate up to 12 10 or 15 12 employed the more rapidly will the worker progress.
Large plates, especially in architectural work, tend to make the operator more careful and conscientious when out with the camera; and even more so when in the developing room. So much more can be done with a large plate than with a small one; the use of a large plate moreover checks the common failing so prevalent among amateurs of rushing work and recklessly using plates.
Taking all things into consideration, I would strongly recommend the whole plate or 10 8 camera to the student taking up this branch of our art.
In selecting a camera purchase a front extending one with bellows only slightly tapering. See that it has both rising and cross movement to the front, and also that the amount of movement in each case is a not too restricted one. Makers, unfortunately, do not give sufficient attention to this matter, the usual rise allowed being very slight whereas it should be at least equal to one-third of the longest way of the plate; even more than this is advantageous if it can be obtained. By the rise I mean the amount of upward movement that can be obtained, the lens being in the centre before starting.
The cross-front should have a movement of about one-quarter of the length of the plate each way.
It may be useful to know that a little more rise can be obtained by the placing of the lens above the centre of the cross-front; reference to the photograph of camera will explain this matter more fully.
The swing-back should be a practical one, working from the centre, and capable of being swung either to or from the lens.
In many of the cheaper front extension cameras it is not possible to use the swing-back when tilting the camera down, only when tilting upwards. The swing-front, although not an absolute necessity, is undoubtedly a movement possessing great advantages, especially when the front is raised rather high, and one is using a lens of limited covering power. This movement should be acquired if possible.
The camera should possess double extension, focussing by rackwork, and having a reversing back so made that it will fit on all ways; it is then possible to draw the slide shutter out in any position.
In selecting a tripod stand purchase one of the kind known as the sliding leg variety, two-fold is better than three, giving greater sliding power. The top of stand should be as large as possible; this is preferable to a turntable, as this piece of workmanship is seldom rigid after a little use, and some difficulty is experienced when trying to spread the legs out rather wide. A two-fold Ashford stand is as good as any on the market.
The blocks herewith ill.u.s.trate the kind of camera used by myself, and with the exception of the turntable, which is not a great success, it answers all requirements.
In the selecting of suitable lenses a great deal will depend upon the inclination of the purchaser and the depth of his pocket.
There is such a great variety upon the market at the present time, that to the young photographer the buying of the right lenses is somewhat a difficult problem.
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The Zeiss series are undoubtedly the finest obtainable and for architectural work are unrivalled, possessing great covering power, good marginal definition, and in fact very fine definition all over the plate. The lenses of this series, although quite new, have met with great favour amongst architectural workers.
They work at an aperture of _f_/18, but I understand that they can be opened to _f_/16 and numbered on the _f_ system. As regards their relative working capabilities they give about the same picture at _f_/32 that the majority of wide-angle lenses give at _f_/64.
The Goerz anastigmats are also another very fine series but do not give anything like the covering power of the last mentioned, and moreover are nearly double the price. Their special merit is that one can work at _f_/8 or _f_/11, and get a picture sharp up to the edges. Taylor, Taylor & Hobson also make a good wide-angle lens, possessing great covering power and at a moderately low price. With one of their nine inch lenses I have covered a plate 12 10 inches.
[Ill.u.s.tration: "GATHER THE ROSES WHILE YE MAY, OLD TIME IS STILL A-FLYING." ALEX. KEIGHLEY.]
For a whole-plate camera, a useful battery would be a 5 inches, 7-1/2 inches, 9 inches and 12 inches; for 10 8, 7 inches, 9 inches, 10-1/2 inches and 14 inches. The three last in each case are the most useful.
Having selected the lenses, another very important point and one not to be decided hastily is the question of levels. Four are required, two circular and two ordinary. They are placed as follows: Fix the circular levels, one on the baseboard near the front of the camera, the other on the top of the back part of camera. The other two should be placed one on the side of the back part and the other on the back of camera just under the reversing back. Care must be taken to purchase slow moving levels as some work so quickly that it is next to impossible to level the camera with them, and as this is one of the most important points in the whole business, too much care cannot be taken in selecting and fixing the right kind of level.
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The focussing screen should be ruled as accompanying diagram. This will divide the screen into inch squares, working from the centre, and will considerably a.s.sist the photographer in "sizing his subject up."
One other thing required is a set of clamps for binding the tripod legs together. These are, I believe, made by George Mason, of Glasgow, but any dealer will procure them for you.
The use of the right kind of plate const.i.tutes a very important factor in the production of a satisfactory negative, particularly in this branch.
Owing to the greater difficulty experienced in developing extra rapid plates, one generally sees the slower variety recommended. No hard and fast rule can however be laid down. To gain the best result, the plate must be suited to the subject.
For instance, in a very dark interior in which heavy black shadows predominate, many of them appearing much darker than they really are owing to their close proximity to a strong light, the quicker the plate used the better. This tends to break down the harsh contrasts, and at the same time the shadow detail is considerably better rendered.
On the other hand, working in a light interior or one which is flat owing possibly to the large amount of light present, a slower plate can be used with advantage, and, providing the exposure is sufficient the result will be all that is wished for.
Exteriors, particularly those in sunshine, should be photographed on a fairly quick plate. Slow plates, although good, do not yield nearly such good negatives, and unless very fully exposed give excessive hardness.
Taking this cla.s.s of work all round, the quick plate is the more useful of the two and is undoubtedly the best for interior work, particularly such interiors as one meets in our English cathedrals.
For all subjects possessing strong high-lights, such as windows, stained or otherwise, rapid plates combined with a suitable backing composition yield the best results, and I would impress upon the reader the fact that no plate should ever be placed in a dark slide without being covered at the back with a suitable composition for the prevention of halation.
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The value of this agent is distinctly demonstrated by the accompanying ill.u.s.trations, and I would point out the fact that the negatives were both developed with the utmost care. The unbacked plate was so developed as to prevent the appearance of halation as much as possible, and it will be noticed that all portions of the photograph, other than that where halation has occurred, are nearly as good in the unbacked as in the backed one.
Having obtained all the apparatus and materials, a very good subject to begin on and one giving good opportunities for the exercise of the various movements connected with the camera, etc., is a general view of the choir in some cathedral or church near at hand.
Having erected the camera, the next thing is to decide upon the most pleasing point of view.
Speaking from my own experience I would advise the shifting of the camera either to the right or left, so that the centre aisle is thrown slightly in perspective. This tends to give a much better and decidedly more pleasing effect to the resulting photograph. Of the two sides, moving to the right seems to be the best. The next item is the fixing of your ground line, this must be so arranged that it is quite clear, not obstructed by the backs of chairs, etc., which look very badly if left standing. Personally, I have generally found it necessary to move one or two rows of chairs so as to make the ground line myself.
In adjusting the height of the camera from the ground it is well never to exceed six feet. Five feet to five feet six inches is the most useful height. This will give a photograph in which the point of sight is the same as that of the person actually viewing the subject.
The placing of the camera on step ladders, chairs, or other supports, so as to overlook objects in the immediate foreground is a practice to be condemned, giving results very rarely pleasing and always bad from the sightseer"s point of view.