The Brattleboro daily reformer. (Brattleboro, Vt.) 1913-1955, 1919-03-03
CITY PHOTOGRAPHY.
Architectural Material for Fine. Pictures
Plentiful. Street Scenes Provide OPP
portunity. ffr

Once the first novelty of using ascam-
era has abated, most amateur photo
graphers feel that their chances for get
ting interesting pictures would be much
greater in any other place than in one
in which they live; those whose homes
are in the city are especially. inclined to
think that there are few opportunities
at hand. The truth of the matter is
that they can find plenty of interesting
material if they will only open their
eyes, says the Youths Companion.
We may classify the leading subjects
available under three general heads:
landscapes, architecture, street scenes
and genre, or storytelling figure groups
If you live in a seaport or a city situated
on large river or lake, you can add
waterfront views, shipping, bridges, and
so forth
One secret of getting the most artistic
studies-wherever YOU arches in select
ing the seemingly little bits, rather than
great mass of scenery. The trunk of
a picturesque tree seen against some
simple mass of shrubbery, the whole
diversified by pleasing lights and shad
ows, affords ample material artificial for
one composition. BY avoiding inharmo-
NOUS artificial objects when arranging
compositions it is not difficult to obtain
landscapes in city parks that have the
appearance of nature in the wild state.
By going over the same ground at diff
ferent times of day and seasons of the
year you can further increase the posi-
bilities of variation in treatment. The
presence of snow often works wonderful
transformations in subjects that seem to
lack the needed accent i'll summer, and
the leafless trees of early spring some
times permit a vista that is closed when
the foliage is thick.
Architectural material for fine pictures
is plentiful. An interesting collection
might be started by trying to get pic
turesque and unusual impressions of the
notable buildings in your city picture
that win be as different as possible from
the commercial, matter of fact rendering
seen on post cards and the like. The way
to 90 about such matter is to study
your subject at different times of day
and under different atmospheric condi-
tions. before YOU attempt an exposure
Lighting conditions alter the aspect of an
ARCHITECTURAL subject as much as they
alter that of landscape. One building
may need direct sunshine TO bring out
/ some pleasing detail effectively; another
will prove more impressive when wrap
ped in fog.
! In many instances it is better to in
clude only a part of the building, such
as the facade or the portico. If tower
or spire of graceful proportions is tn
most prominent feature, that may b
photographed as it appeared over tn
roofs of surrounding buildings, or rising
above mass of foliage. Such compos
tions, too, are frequently very effectiv
when seen against a cloudy sunset sky.
! Street scenes provide opportunities for
many animated compositions, since from
/ any chosen point can be seen con
stantly changing mass of traffic, which
makes possible numberless combinations
in the foreground of picture. Atmos-
phere plays an important part here:
some of the most pictorial street studies
i have been made on misty days or dur
ing a shower, when the reflections from
wet pavements gave an added element
of interest. Night views are still an
other phase of the subject, but moving
traffic cannot of course be shown on the
long exposures necessary, which range
from a few minutes to half an hour
| That does not mean, however. that tn.
street must be empty of traffic when th'
/ exposure is made because so long a.
figures or vehicles without lights are il
motion they will make no impression up
on the film. If lighted vehicle is abou
to cross the field of vision, hold some
thing over the lens until it passes ont o
range.
The worker who prefers human figure
for the dominant note has chance o
catching genre compositions. Tact ant
courtesy will accomplish much, but it i
better to look for other models rattle
than press the matter The children OF
the streets are usually quite willing t
pose, but since unconscious, natura
grouping should be the aim, it is bette
that the mt II should not know whel
you release the shutter.
Owing TO the frequent need for quic
manipulation. as well as the desirabilit,
OF making the least possible, display 0
apparatus in, street and genre work
: moderately small camera is very desir
able For the best results in street snap
:, shots a good lens-a first class. rapi
reetilinear. at least--is necessary, becaus
in many instances it is not possible
make an exposure longer than one twer
| ty-tifth of second without showing blu
! i'll the moving traffic; and if the builC
mas are tall. there is of course a furthe
difficulty in the strong shadows that the
cast.
? If you wish to attempt serious arch
tectual work, plate camera with swim
n back, used on tripod, is by all meal
t the best, but it need not be of large siz