Another method of making an exposure where there is much traffic past the building, and perhaps people standing about whom you cannot very well ask to move, is, to break the exposure as many times as possible. Expose for two seconds, then wait until the traffic has somewhat altered; then give another two seconds and so on until finished. By this means I have been able to photograph buildings in the centre of a crowded street or thoroughfare without a trace of anybody showing.
It is often interesting for the student to be able to successfully tackle the photographing of drawing-room, ball-room, or other apartments either of his own or friends' houses.
This work is considerably more difficult than it seems; and it is in such subjects that the taste of the operator becomes manifest. A great deal depends upon the point of view chosen and also upon the arrangement of the furniture.
If a long room, the camera should be placed at one end at about a quarter of the width of room away from one side and from the end wall. Keep the camera parallel with the sides of the room and use the sliding front so as to obtain more of the opposite side of the room. This will give the ceiling a true square appearance and the side of the ceiling will not run off with an unpleasing effect.
In some subjects it is perhaps necessary to include one or more windows. This can of course be accomplished by the aid of backed plates, but it is always better to block those particular windows out. This is usually done by covering the outside with black cloth or brown paper or pulling the sun blinds down. To get the effect of the windows you must remove the paper or cloth at the end of the exposure for a few minutes, three minutes being generally sufficient. By this means it is possible to show the landscape as seen from the window. Do not place your camera too high. Four feet to four feet six inches is quite sufficient. If the camera is higher you look over the immediate foreground objects, touching the ground past them, which is undesirable.
In arranging the furniture be careful that round or oval objects are not placed so that they appear on the edges of the plate which gives them an exaggerated appearance.
In exposing on all such interiors I would strongly recommend a very full exposure, the object being to flatten the subject. A great thing to study in this branch of work is the careful lighting of your subject. This can be largely varied by the use of the inside blinds, also by the sun blinds found outside many windows. It is not advisable to draw the blinds up to their fullest extent. By so doing you accentuate your cast shadows thrown by tables, chairs, etc. In fact, the softer the light in the room coupled with a corresponding exposure, the better the result. Another point to notice is that a comparatively dull day is often the best for interior work, the light being much softer and subdued. As a slight guide to exposure I would suggest that an additional twenty-five per cent. be added to that recommended for church work.
John H. Avery.