Los Angeles herald., 1910-08-14
INTERIOR PHOTOGRAPHY

The subject of interiors, as it is called,
is one requiring the exercise of judg-
ment in many particulars, not only as
far as artistic composition is concerned
but also in relation to illumination and
choice of point of view and elevation in
perspective. A perfect interior picture
is therefore not of frequent evidence in
competition, and our number of exam
pies from which to select awards is not
particularly large, but those submitted
showed much merit.
The perspective which the lens gives,
though optically true, is not always
pleasing artistically. There Is present
ed an apparent want of truth, and we
think the perspective should be so
managed as not only to be true, but
also to look true. When the floor and
the ceiling both appear, they should let
the eye think that they are level when
viewed at the ordinary distance at
which pictures are seen, and not neces-
state placing the view close to the eye,
in fact, so close as to prevent one from
seeing things distinctly from diminu-
ton of quantity of light. Yet it is just
the sort of picture a very short focus
lens will give under certain conditions.
The Dutch painters usually manage
more effectively their interior subjects,
having the perspective more directly
under control of good taste and Judg-
ment.
With the photographer a technical
knowledge of perspective drawing is
perhaps unnecessary, except in so far
as it might serve as a means or educa-
ton of his vision and so guide him IN
selecting or adapting the subject so as
to modify the effect of the geometrlc
perspective considerably.
On general principles parallel per-
spective is preferable to oblique, as
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lines more pleasingly. However, where
skill and Judgment are exercised, the
oblique way of pointing the camera
gives considerable animation and ap-
pearance of depth to the picture.
The plane of the picture itself is sub
ject to the laws of perspective and be-
comes altered more or less in shape
according to the point the camera is
directed, that is, the way it is viewed
from the camera PEDESTAL 1t carries
wit hit all the lines on the surface that
are parallel with or perpendicular to
the horizon, just as the view shows it
or as a we'll chosen lens would do. But
it is not always the desired lens that
can be called into requisition.
The views of large buildings and
churches are not particularly difficult
subjects and lend themselves to the
choice of point of view, elevation, etc.,
but in small interiors, living rooms and
such like places, which from their pic
turesque presentation usually tempt
the artist to depict, are trying things
to get to look just right. 1t is hard
to select a place to put the camera;
trere is hardly any room to get back
and get a good point of view without
distortng the subject. The chairs,
stools and other furniture near by are
put out of proportion by lens perspec-
tive, so that the only recourse is to get
rid of them and then only represent
a bare floor space; there is no other
remedy. Dignity is likewise contrib
uted by lowering the camera to level
without our own point of comforta-
BILE vision. Altogether considered, the
subject OF "lrteriors" is one calling for
technique as well as the artistic sense.