Architectural photography of houses. How to Take Good Pictures of Exteriors and Interiors

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COPYRIGHT 1953 BY F. W. DODGE CORPORATION

Prlllted and Baund In U.S.A.

All Rlahts Resemd Tbis baak ar any part tltereaf

••st not be reproduced In any farm witllaut tile written per· IIISSIGI Df tbe publisher.

I wish to thank all the gracious people who have opened their hum to me and thereby made these photographs possible. I have felt it privilege to photograph the many private homes shown here. My pos· tion has been more demanding than that of a guest for it was necessa to invade almost every room with equipment and an assistant or tw Their cooperation and hospitality has made this work a pleasure.

I also wish to thank and acknowledge the many architects, designers an decorators listed on pages 168 and 169 whose work is shown in this boo ROBERT C. CLEVELAND

Library of Congress Catalogue Card Number 53-7214

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TO MY WIFE, SHIRLEY-ANN.

TABLE OF CONTENTS

lmODUCTION

3

PROCEDURES

5

PHOTOGRAPHING THE EXTERIOR

I

SELECTION OF ANGLE

20

HORIZON LEVEL OF THE CAMERA

33

ORIENTATION OF ROOMS

43

PLACEMENT OF LIGHTS

54

INDOOR-OUTDOOR RELATIONSHIP

84

DRESSING THE SCENE

70

YOUR OWN CAMERA

78

PORTFOLIO OF ROOMS

18

Stairways

87

Llvlll ROIIIIS

92

Dlnln1 Rooms

100

Fireplaces

110

Kltcllens

118

Bedrooms

126

Bltllrooms

138

Specialty ROIIIS

144

PHOTOGRAPHING A COMPLETE HOUSE

155

CREDITS

188

INDEX

189

This is the story of how homes are photographed. Although architectural photography is a specialized field, occasions do arise when advanced amateurs desire to photograph their own homes or professionals in other branches of photography are called on to photograph houses for clients. The architect and decorator want pictures for record and for publicity, and magazine editors know that home owners as well as professionals are eager for ideas and inspiration.

Producing the right kind of pictures-capturing the intended feeling, function, character, and atmosphere-is no easy task. Sometimes it is difficult for the architect to explain to the photographer the effect he is trying to achieve. It is equally difficult for the photographer to select the views and lighting which will convey the architect's (or decorator's) purpose. The intention of this book is to show both what is wanted and how to achieve the best results.

In architectural photography, the finished product may lack the excitement of a news picture or the photograph of a pretty girl in an ad, but there is a great appeal if the scene is properly depicted. In this respect, architectural photography resembles portrait photography. Everyone is aware of the difference between a passport picture and a studio portrait, and a part of this difference is the result of choosing the best angle and capturing the best example. Similarly, a room has a best angle, and certainly its expression is improved by a final dressing-up before the picture is made. Make-up and a lack of self-consciousness are also important in the portrait of a room, but the most important rule to remember is that a picture should be appealing. To the eye of the architect, a picture is appealing if it shows clearly the design and function of the building.

He also expects photographs of his work to portray the psychological feeling of the house: of confining walls, indoor-outdoor relationships, rooms that flow or are static. In designing a house he considers the occupants and their habits, and he wants photographs that will show both his problem and his achievement.

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The interior decorator's problem is slightly different from the architect's. He must give the homeowners a background of furnishings suitable to their personalities, and at the same time suit this background to the architecture. Like the architect, he expects pictures that show how the client's requirements have been met, but while the architect prefers long views showing relationships of doors, walls, and windows, the decorator is interested in detail shots of furniture groupings, window treatments, and other individual features.

The photographer, too, has his problems and solutions, and we hope that this presentation of case studies will help designers to understand them when ordering professional photographs or making their own pictures for purposes of record.

Yet interest in architectural photography is not limited to professionals. We all know that many houses have been well designed and decorated without the advice of either architects or interior decorators.

Instead, homeowners have drawn ideas from photographs, especially those published in home magazines. Here architectural photography takes on a sociological significance, for it definitely helps to raise the standard of living. For homeowners, the appeal of a picture is in the showing of a formal or informal mode of living, the formal or static placement of objects, the use of casual arrangements-the dramatic presentation of ways in which others have solved common problems of planning. Our behind-the-scenes story of how good architectural photographs are made for magazines and books should increase the homeowner's appreciation of the pictures he admires, and the pictures themselves offer a wide variety of pleasing ideas.

We have limited our examples to houses in order that the reader may concentrate on the problems of photography, without becoming involved in the functional problems of other building types. All of us have a similar understanding of the functions of a house, even though our individual requirements vary and we may have personal preferences for contemporary, traditional, or period design. After the photographic principles have been studied in terms of houses, they can he readily applied to a store, a school, a church, or any other building project.

The single family house, however, remains the most popular subject of architectural photography, and in a sense the most important subject.

I have already spoken of the importance of published photographs to homeowners, hut we should not overlook the matter of historical record.

In ancient times only religious buildings were considered worthy of fine design, but modern architects are as much interested in the homes of the people as in imposing public buildings. We are proud of our twentiethcentury houses, and good architectural photography offers a means of preserving them for future generations.

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The wealth of excellent literature dealing with photographic techniques will not be duplicated here to the extent of definite shooting and darkroom procedures. Naturally a comprehensive photographic background must be attained before architectural photography is entered upon. It will be assumed that the photographer has a working knowledge of darkroom procedures, and that the shooting may be improved by adding the material of this book to general knowledge already possessed.

There are no secrets, tricks, or special gadgets that will accomplish this type of photography, but the photographer himself must possess an appreciation of quality and an understanding of good taste. This appreciation, combined with a basic knowledge of architecture and decoration and the photographic background, will constitute the basic requirements.

Types of films, exposure and darkroom techniques in themselves provide extensive material for discussion and practice, and are of primary importance with all cameras. The view camera, however, is required equipment for architectural photography, for only with camera corrections of the perspective involved is the photographer able to give a true recording of the subject. Distortions can be corrected, or they can be used for dramatic efiects if desired. With the various movements of the view camera it is even possible to obtain a scene from an otherwise impossible or tight vantage point. Therefore, with some of the photographs a diagram will show how the various swings and tilts of the camera were arranged to secure a correct image on the film. With the use of these diagrams and a repetition of similar setups it is hoped that a better understanding of the view camera will become fixed in the mind. While information given will be directed to the photographer, Chapter 8 will be devoted entirely 5

to the homeowner who wishes to photograph his own home with a Speed Graphic, 35mm Argus, 2lftx2lj! Reflex or similar camera.

(Page 42 can be used as a guide for the various swings and tilts of the view camera shown throughout the book.)

The covering power of lenses limits the amount of architecture the camera is able to see in one view. The wide-angle lens thus becomes equally important with the view camera, for greater areas of view are wanted so that the whole subject can be better encompassed. However, the wide-angle lens, while taking in much more area, will often give distortions. These can be controlled and used to great advantage in the overall composition of the picture, as will be shown. All the pictures in this book were made with a wide-angle lens unless otherwise noted.

A hand-held camera, even with the swings and tilts, will never secure for the photographer a picture equal to one made with the camera on a tripod. The hand-held camera will produce a snapshot which will miss the requirements in many respects. With the view camera supported on a tripod, the photographer can take added time and devote his energies to dressing the scene, to proper placement of lights, and to the over-all composition of the picture.

The varied designs and forms that are considered basic in composition are standard in architectural photography, along with the vertical center line and the vertical side line. Modern architecture has added the sweeping angle line which gives a dramatic impact to the picture. This sweeping angle line will be helped by the wide-angle lens at the side, as it enters, and will diminish as it leads into the picture. It thus carries the eye into the area of greater interest, and creates a depth that is desired in all pictures. It is not enough to show the interiors or exteriors by straight views, which are often flat and uninteresting. There are patterns formed in architecture, there is symmetry within some subjects, and framing can be done with landscaping, architecture and furnishings.

These lend themselves well to an interesting and pleasing composition, and in many cases aid the photographer in making a more dramatic picture. The composition should be studied to the utmost, and when it is viewed on the ground glass it will usually be found that a slight movement of the camera to the right or left, or up or down will improve the picture, sometimes separating and bringing into full view furnishings that had blocked each other. This will tend to open up the scene and give it a depth. With proper placement of lights the third dimension effect can be accomplished to as great a degree as possible on the single plane of the film.

The many methods of lighting a picture and the many types of huibs, reflectors, and spots on the market today can become confusing to the 6

photographer. The question is not always whether to use a spot or flood; that is fairly simple as compared to which size flood and which shape reflector to use for the scene. But these questions too can be simplified if the photographer will remember that it is not the amount of light striking the scene, but the quality of that light which is important. For example, a room photographed at night will receive the maximum amount of illumination from the floods and have a greater brilliance than the same scene photographed during the day. The daylight picture, with a great amount of diffused light coming in through the window, will have a flat appearance and lack the desired brilliance. Spots can be used to increase brilliance and to illuminate distant areas of the room. The floods are generally for the over-all illumination, and small bulbs for filling in the shadow areas. The ceiling and table lamps must be taken into consideration when long exposures are made. If these lights are cut out during exposure, the resulting pictures will not be overexposed in those areas.

The exposure problem on interiors can be approached in several ways. One method employed by many is the comparison of an interior to a previous scene which came out exceptionally well with a certain exposure time. However, it is best if every scene is metered in a consistent fashion. The over-all reading from the camera position, combined with the close-in readings at various locations within the scene, should be figured with a consistent procedure, so that each and every room within the house will have the same over-all tone and quality. However, cases will arise where the contrasts in the scene are greater than the normal film latitude. In these cases it is an excellent practice to make additional exposures for insurance purposes. These can be overexposed and underdeveloped, or vice versa, depending on the subject. The normal developed negatives and the insurance negatives should produce an overall even contrast and range of tone when all scenes made within the same house are placed side by side.

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CHAPTER 1.

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The exterior appearance of a home is often a guide to the interior. Drive up and down the street of any town: the most attractive and best cared-for exterior will immediately capture your attention. Homeowners who have taken pride in their front yards have usually devoted this same care to the inside of their home.

Let it be hoped the photographer will never be called upon or forced to photograph an exterior in bad weather. Unlike fashion photography, which can be accomplished on dull, overcast days, architectural photography is dependent upon good strong sunlight. This is important, not only to give sparkle to the print, but to give good shadow and texture rendition to the building. The lines of the house and the effect of sunlight coming through the trees add greatly to the appeal of the picture. Without the added life which sunlight can give to the picture, the exterior of the house becomes dull and flat. This dead appearance is wrong: homes are alive and should be shown that way.

The time of day must be watched for the sunlight and shadow patterns that are formed on the face of the building. Full sun or noon light has often been considered wrong for photographing, but if this noon light presents the proper shadows that help to bring out the lines of the house, then it is fine. Usually early morning or late afternoon will be best. It must be remembered that the sunlight is constantly changing. The season of the year must also be considered, especially where the exterior faces north. Here the late afternoon and early morning sun will strike the building at a pleasing angle during the month of June when the days are longest.

The over-all exterior should show the setting of the house, with the trees and landscaping that are a part of the premises. If there is a great amount of foliage, a green filter will be helpful. Usually trees can be used for framing the picture; in fact the picture will be improved if this is done. Including general landscaping in the exterior scene will bring out the warmth of the house; lack of exterior planting will make it look cold and not lived-in.

This is an early morning view taken just as the sun began to strike the front of the house. Where large trees such as these are encountered, the time of day when the sunlight strikes the important parts of the exterior must be carefully watched. As the sun moved higher during the morning, heavier shadows were formed on the front to such an extent that it became impossible to secure much detail.

Horizontal bevel wood siding painted white; stucco portico; dark green shutter trim.

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CHAPTER 2.

As he enters a room, the photographer is confronted with a great variety of subject matter. Fir,st of all he must decide where to place the camera and what to include in the angle of view. Since interiors vary so widely in size, design and style, this question of the scope of the picture can be the subject of unlimited discussion. Composition must be the first consideration in selecting the angle, but to secure a pleasing composition the photographer must be governed by the architecture and decoration of the interior, and by the purpose of the over-all photographic presenta路 tion. If this is to cover only a single room, then the room can be treated as one element, but if the complete home is to be covered the relationship of rooms must be shown.

Two other factors, besides what is to be shown in the photograph, will affect the selection of angle. One is the amount of space necessary for the camera and the photographer behind it. Often this puts the photographer in a rather tight corner.

The other is the arrangement of the furniture. The architecture cannot be moved, but the furniture can and should be whenever necessary for a pleasing picture.

However, the photographer should be careful when moving furniture not to upset the decorative balance of the room.

In basic photography the straight shot is common and the high and low angle shots are used extensively. For interior work an oblique or angle shot is most acceptable. The straight shot is seldom used except as will be mentioned later. This straight shot is often dull, Rat and uninteresting. It must be kept in mind that what is wanted is a photographic reproduction of the room as the mind perceives it.

Seldom does one enter a room and remain standing in the middle. Viewed from a 路 sitting position, the room seems to expand into warmth and friendliness, and the visitor carries away a mental picture of the way the room was treated. This same impression of warmth, friendliness and thoughtful design should be conveyed by the finished photographs.

The oblique shot will necessitate a concentration on what is wanted in the picture and the availability of a camera location that will cover the scene. Generally the photograph should not show more than two walls of the room. The moment the third wall is introduced the room takes on a definite scale and the picture is given such a closed-in feeling that the imagination has little to work with.

Frequently a better picture will result from moving the camera a bit to the left or right. Viewing the subject on the ground glass of the camera will show when such a shift is desirable. The important features of the architecture should be brought into proper perspective, and the furnishings should be seen with the distortions minimized. The view should show the proper separation between architecture and furnishings so that each is shown to the best advantage, and some of each is left unshown to tempt the imagination. The backgrounds should be studied to minimize anything that might add a disturbing influence to the over-all scene.

Each and every interior is different, and in each the subject must be considered, not as a single photograph, but as a part of a correlated series presenting a complete picture of the home.

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CHAPTER 3.

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Equally important with selection of the angle is the horizon level of the camera.

The most common mistake made in taking interior pictures is having the camera too high in relation to the size of the room. A picture made with the camera 6 in. above the floor and one made of the same scene from a height of 6 ft. will give two entirely different perspectives. The low camera position tends to make the room look much larger than it really is, and will add spaciousness to the most unpretentious room. The high position will give the opposite effect, and a feeling of intruding will result. Therefore in making an interior picture the height of the camera should be considered in relation to the subject.

A room photographed from a high position or high horizon level looks most unnatural, for the walls tend to be closed-in and the furniture appears squatty.

Distortion is at its maximum, and the foreground area will be out of all natural proportion. In rare cases, however, this distortion may be used to advantage for leading the eye into the area of greater interest. This high horizon can also be employed sometimes where the floor treatment is to be featured and the ceiling eliminated, but consideration must still be given the presentation of the furnishings.

For more natural rendering a medium horizon is most generally employed. This definitely does not mean eye-level. It is usually about 12 to 18 in. below eye-level.

This will present the interior in the most natural perspective, with slight, easilycontrolled distortion in the foreground. In rooms with high ceilings this medium horizon level is naturally raised closer to eye-level.

As mentioned above, a low horizon tends to enlarge the room, but distortions appear here as with the high horizons. Distortions caused by an unusual angle or wide-angle lenses cannot be overcome, but they can be minimized so that they are not objectionable, and at the same time they may be used to artistic advantage.

From this low horizon the distortions, while not entirely controlled, are controlled in the sense that they can contribute to the over-all composition. The low horizon gives the impression of leading to indefinite space, and thus renders a dramatic impact to the scene. The distorted architecture and furnishings close to the camera can be used for framing, or a pleasing composition can be developed by looking across or through this distorted area to the area of greater interest. In many houses an interesting ceiling treatment is better shown from a low horizon. Care must be exercised here, however, for with this low level the furnishings will block each other. It can be assumed that this level is chiefly used when the ceiling architecture is to be featured, with the furnishings taking a secondary position.

Frequently, in a scene where there is nothing of special interest in the foreground, the camera can be placed at most any horizon level. But here the photogra路 pher is faced with a problem of composition, for without something in the foreground the picture is apt to be uninteresting and to lack a desired depth. No definite rules can be laid down as to the correct camera height, but a picture with pleasing perspectives is the goal. This must be accomplished in each interior setup, by taking into consideration the individual room and its relationship to the other rooms to be covered photographically.

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Extremely small rooms with interesting high ceilings need an extra-wide-angle lens as illustrated here. And to keep the picture in pleasant balance, the camera is used at a very low horizon level and the lens raised to include the desired architecture. This photograph was made with a Goerz Hypergon 135 degree lens at f 96.

The living room of this very small beach house has an extremely high ceiling. The interior finish is natural redwood. Behind the fireplace is the front door, and at the left of the picture is a portion of the kitchen.

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(Side view diagram-position 1) When using the view camera for interior and architectural photography, take time in setting it up and making the proper adjustments. The normal camera position will not give adequate depth of field, and therefore the lens must be stopped down farther than desired, the camera must be moved farther away, er the swinging front must be used.

The back of the camera must at all times be parallel to the vertical lines of the subject to give proper corrections to the perspectives involved.

(Side view diagram-position A and Side view diagram-position B) By proper use of the swinging lens board the depth of field can be controlled. Swing top of lens board toward foreground to bring it into focus. Swing bottom of lens board toward ceiling to bring it into focus. This swing must be critically watched on the ground glass, for only minor adjustments are necessary.

(Side view diagram-position 2)

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Lens raised to include more desired field of view. Back remains parallel to the vertical lines. This same effect is achieved by pointing the camera up and then swinging the back to a parallel position with the subject vertical lines. The lens swing is used to control depth of field.

~ (Side view diagram-position 3)

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-1 Lens raised to the extreme limits to include more desired view. This same effect can

I I also be achieved by pointing the camera up and then swinging the back to a parallel ~ PoSition with the subject vertical lines. One note of caution here--a lens of sufficient covering power 路must be used; otherwise the lens will not cover the fi!m area and blank areas will appear on the negative.

(Side view diagram-position 4) Pointing the camera down or lowering the lens to include more foreground. The back is swung parallel to the vertical lines of the subject. The lens swing is used to control depth of field. The degree of pointing the camera down must be watched on the ground glass.

(Top view diagram-position 5) In normal position the lateral front and back swings are parallel to each other.

(Top view diagram-position 6 right and Top view diagram-position 6 left) The lateral front swing is used to control depth of field. The lateral back swing is used to control the horizontal perspective.

(Top view diagram-position Cleft and Top view diagram-position C right) The lateral front swing acts in the same manner as mentioned in "A" above. It controls the depth of field for planes which are photographed from an angle.

(Top view diagram-position D right and Top view diagram-position D left) The lateral back swing controls the horizontal perspective. This swing back can be swung close to parallel to the subject horizontal lines arid thus minimize the convergence of these lines. Its use in interior work is not always recommended, for if these horizontal lines are always presented close to parallel to the top or bottom of the picture, the interior view has little feeling of depth. Its use should be carefully considered.

CHAPTER 4.

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Consider for a moment that what is wanted of an interior photograph is a pleasing and true portrait of a particular room. All sides of the room may be captured on the film, but frequently when these views are placed side by side they fail to give the impression that all were made in the same room. Therefore, it is necessary that all views of a room be obviously related. This orientation is accomplished by repeating furnishings or portions of the architecture in each picture. Whenever the attempt is made to feature a complete room, orientation must be carefully considered.

Many methods can be employed in securing orientation. One method is to make long views of a room from a selected angle, and after this is accomplished to move the camera forward, usually on the same angle line, to take in the important details that are desired. There is a natural tendency to keep the camera at the same location, and, by using a longer focal length lens, to repeat the shoot路 ing for the detail. The better method is to use the same wide-angle lens and move the camera forward. This will bring additional parts of the surroundings into view-parts which were lost in the long shot due to perspective and the blocking of the view by furnishings. When the camera is moved forward for this detail, the lighting effect should correspond with the long shot. If a change in lighting is made, the shadows should not be so dramatic or harsh that the detail cannot be oriented to the longer view.

After the long view and the detail shots have been made, a reverse view will complete the series. An excellent practice for arranging this reverse angle is to locate the camera at the extreme visual point shown in the first long shot, and to make the first location of the camera the extreme position in the reverse shot. This location of view need not always be in the center of the picture-it may often be that the side of the room, other than the extreme corner, will be most important.

To establish orientation, some object should be shown-not necessarily in full, but in part-in all views. A piece of furniture is often used for this key object of orien路 tation, and when this is shown in all views it leaves little doubt as to the size, shape or appearance of the room.

In addition to this orientation within a single room, whenever possible there should be some continuity from one room to another. This can be called orientation of rooms to each other, or room flow, or preferably room relationship. It can be accomplished by the use of furnishings or architectural details as has been stated above. Good orientation of rooms should result in an adequate portrayal of the complete house, provided certain other factors are kept in mind. For example, as will be mentioned in the !'ection "Placement of Lights," it is not always possible to show the adjoining room, and often room relationship can be shown only by an illusion created by light flow. However, when the adjoining room does show in the picture it is necessary to illuminate it in such a way that the eye will travel into it.

Here the over-all depth of the picture is improved. When featuring an adjoining room it is best if an angle can be chosen which will show unmistakably what that room actually is. When this is not possible, the lights should be built up to feature the foreground room only, and to minimize the illumination in the adjoining room.

Where it is impossible to show adequately what type of room is beyond, or where an open door would detract from路 the over-all scene, close connecting doors.

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CHAPTER 5.

When angle and horizon level have been selected and orientation has been considered, the placement of lights is the next step. The most common mistake in photographing an interior is to blast the room with as much light as possible. This is usually done with banks of floods on either side of the camera, or at 45-degree angles. With all this illumination the scene is flooded with light and the shadow array is confusing, but the scene is bright and the meter comes up to a desired shooting level. This will in most cases be Qatisfactory for a printable negative or what can be called a photo record. But the picture will be dull. Nothing is worse.

A contrast must be built up--even in rooms where the colors are blended to such a degree that they give a strictly monotone effect-and with it depth. All subjects are different, and in photographing interiors the photographer is limited in his selection of light placement by furnishings, walls of the room, angle of camera vision, and by reflections. Considering these restrictions, only a few ideas on this unlimited subject can be given as a general guide to show not only how to illuminate the room, but what to avoid as well. Let it be kept in mind that depth and brilliance--not flatness-are the prime requisite.

First to be considered is the location of windows which let in the natural light.

This light can form definite patterns within the room that are pleasing to the overall composition, or it can create unpleasant spots in the scene, in which case a different time of day should be selected for shooting. The daylight may also enter as a diffused form of high or low intensity. With this diffused light the artificial light must be built up to a great brilliance to compensate for any soft or flat appearance the daylight produces. External light will also vary in its angle of entry into the room at different times of day or season. The intensity will accordingly change. This is a definite factor to consider when placing the artificial illumination, for the wrong locations will produce an unnatural effect and greatly upset the feeling of the room. The lights, then, should be placed to achieve a natural feeling whenever possible. When photographing the sides of the room opposite the windows of most natural illumination, the photographer should place the lights so as to indicate a single light source coming from these windows. With adequate fill-in lights to open up the deep shadows, a natural portrait of the interior will result.

A common mistake in making interior pictures is to photograph all rooms at night. This will not give a true feeling to the subject. Consider for a moment what the whole house would look like if shown with every window a black area. It would be most unattractive. Moreover, it would be difficult to show any indoor-outdoor relationship. However, certain shots will be better accomplished at night. For example, if a drapery design or window shade in the room is of great interest and shooting against the daylight would affect the print quality and design, then a night shot would be advisable.

As mentioned, depth as opposed to flatness is the prime requisite. The best method for giving depth to the picture is to keep the walls farthest from the camera lighter than the foreground. This is difficult to accomplish when the lights are on either side of the camera. The lights must be placed so that the farthest part of the room is receiving the main source of illumination, and the bleeding light or fill-in lights are allowed to illuminate the foreground. This can be accomplished with the aid of spots and a few floods for fill-ins.

A light source coming from another room or doorway and shining across the angle of camera view at approximately 60 degrees will create depth, for it will provide a path for the eye to travel. The greater this angle, the greater the feeling of depth. When this path of light is coming toward the camera, it is necessary for it to strike something other than the wall beside the camera, which is not in the

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picture. It can strike the side wall, the ceiling, or the floor to create a definite shadow line from the furnishings. If the light hits all three at once it will give increased depth and act as a basic source of illumination. However, when light from another room strikes only the floor, only the ceiling, or only the wall, an additional source of light is necessary. This added illumination should not be so strong that it will overbalance the basic depth light, nor should it be allowed to create conflicting shadows.

One method mistakenly used to create depth is to hide varied floods and spots on the floor behind pieces of furniture. These will often produce disturbing shadows on the walls. The floor immediately adjacent to these lights becomes overilluminated to such an extent that the eye is attracted to these hot spots instead of to the areas of greater interest. Floor lights have their definite place in illuminating shadow areas, but they must be used sparingly and placed with the greatest care.

It is recommended that low wattage bulbs be used. They should never be allowed to become the basic source of illumination.

A photograph of a room is made to tell a story of that room. Since it is seldom possible to show entrances to the room in a definite view selected, it is advisable to give the illusion of that entrance or adjoining room by the placement of lights.

This is closely related to the placing of lights for depth, and the same basic principles are involved. That is, the lights can be placed in the room not shown, and the angle created by the rays of these lights will suggest an adjoining room.

Placing the lights when shooting toward windows presents two definite problems. First there is the problem of building up enough illumination, and second the problem of reflections in the glass. When the illumination is being built up for ratio of balance, the shadows created by the illumination on the furnishings can become confusing, and can overlap to such a degree that they become a dominating defec路 tive factor in the finished print. Details in the room must remain clear and distinct.

Lights close to the camera can help to balance the exterior light, yet at the same time they can create reflections. Because architectural designs of windows vary so widely no definite rule can be set, but it is often found that by juggling the lights to various locations the reflections can be eliminated. Centering lights on the window mullion or on a drapery will allow a greater range of light placement.

When two shots are to be made showing window draperies open and closed, it is best to photograph the open window first, placing the lights to avoid reflections.

This will locate the shadow arrangement, which will be duplicated when the draperies are closed. Thus location of shadows will match in the two views.

Mirrored sections of rooms present problems greater than the window reflections. The most common mistake made is to point the lights directly at the mirror.

This will cause the mirror to reflect an unwanted streak of light, usually across the ceiling, which becomes disturbing to the over路all lighting balance of the picture.

A truer picture results when the portion of the room reflected in the mirror is strongly illuminated, and at the same time, a fill路in light is directed toward the furnishings and architecture surrounding the mirror wall area. The fill-in light, which is of equal or lower wattage, will act as the basic light, and the other light, generally stronger and illuminating the reflected portions of the room, will help to increase the depth of the over-all photograph.

Many of today's houses have irregular wall surfaces, and these must be shown to bring out the texture. If cross lighting is employed, the shadows will feature the surface material. However, the basic light or fill-in must not be allowed to create double shadows and thus hide the texture.

While painting with light is considered a satisfactory method for obtaining clear and distinct interior pictures, it should be used only in emergencies. This method is sanctioned where large areas are encountered and it is difficult to illuminate with stationary lights, but better composition and depth will result if the placement of lights and their effect on the over-all scene can be studied in advance.

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CHAPTER 6.

The horizon level, selection of angle, placement of lights and orientation have all been discussed, but something must be mentioned about photographing toward window areas. These areas are important features of modern houses, and must be shown in any photographic presentation. The indoor-outdoor relationship is often dominant. The exposure will present a problem; the exterior light coming into the room will present others. Even the decorative treatment must be considered.

Probably the ideal situation for showing detail in both the interior and exterior is to have the light perfectly balanced to such a degree that the meter reads the same in both areas. But situations like this rarely occur, and even when found will tend to give the picture a flat appearance. Daylight is naturally stronger, and where large windows are featured it should be shown as such by allowing the exterior to show brighter than the interior. The angle of this exterior light, whether it is coming into the room or not, will be another factor to watch. The patterns formed within the room by the rays of daylight can be disturbing in some cases, or in others they can aid in the pictorial qualities. The adjustments possible with blinds, curtains, shades, and sliding glass walls will aid the photographer in making a better picture, provided the adjustments are made with thought to composition and light control.

Whlle identical amounts of interior and exterior light are not desirable, nevertheless some ratio of balance is necessary for over-all detail. There are several ways to accomplish this ratio of light balance. One is to watch the sun and schedule the picture at such time as the exterior light can be ratioed one to two to the amount of artificial light that cari be built up within the interior. This is best achieved in the early morning or late afternoon. Another method is the use of flash inside, which can deal with almost any amount of exterior light. However, sometimes it will not be possible to secure the correct ratio of light at the time the desired sunlight patterns can be photographed. Thus the time element or weather conditions may make it imperative to shoot against strong window light. Here the exposure can be made on the basis of interior illumination, and a printable negative can be secured by underdevelopment of the negative. Probably the best way to have control over all pictures which feature window areas or indoor-outdoor relation路 ship is with the use of Varigam* paper. The interior picture area can be printed with a contrast or normal filter and the window, or area of greater contrast, brought in by printing with a softer filter. All pictures in this book were printed on Varigam* paper to insure proper contrasts and to control the difficult lighting in many of the scenes. *"Varipm Variable Contrast Paper" made by DuPont.

Indoor-outdoor relationship as shown on the opposite page can be a problem, not only in composition, but also in exposure and light balance. To accomplish a pleasing overall exposure with detail in the foreground and exterior both, it was necessary to select the correct time. of day for this picture. Several large floods were used to illuminate the furnishings and architecture. The sliding glass doors were opened to show the outside, eliminating reflections and allowing greater freedom in light placement.

This is a modern living room with Oriental influence in furnishings. Sofas are covered in sculptured fabric. Sliding glass opens onto flagstone terrace and swimming pool area.

CHAPTER 1

It has been assumed until now that the subject matter, namely the room, is ready and waiting to he photographed. Unfortunately, this is seldom the case. Few homes have a highly polished and well-groomed look. Even though a home is well cared for, just the wear and tear of daily living leaves its mark, and it is a rare room that doesn't need a little sprucing up before the critical eye of the camera. A little thing such as an unemptied ashtray can spoil an otherwise beautiful picture. Magazines should he arranged attractively, and vases should contain fresh flowers. Many of today's homes have deep-piled carpets where footprints are revealed by the strong lighting. This situation is remedied and the carpet takes on new life if it is rufled up just before the picture is taken. Ohen such questions arise as whether to open or close the draperies, whether to have the window shades up or down, to what degree the blinds should he adjusted, etc. Here the architecture must he taken into consideration. A photograph showing a small window may he improved if the draperies cover it, hut a large window important to the architectural design of the room should he left uncovered. Particularly where large expanses of glass are used, showing indoor-outdoor relationship, the draperies should he left open. However, if the landscaping is uninteresting or if the interior commands the center of interest, then the draperies should he closed.

Sometimes it is necessary to adjust certain pieces of furniture to obtain a more pleasing perspective from the camera angle. Minor adjustments must he made, such as opening drawers or cabinet doors to illustrate various built-in details. This requires two views, one open to reveal detail, the other closed.

There are certain factors in dressing the scene over which the photographer has no control, particularly when quality and good taste do not go hand in hand. An exaggerated example will illustrate the point. A lavish chandelier is placed on the ceiling of a modern dining room. It has a very definite quality, hut clashes with the simplicity of the room in design and function and therefore is in had taste. The only solution is to minimize it. The goal in dressing the scene is to make minor adjustments, never to make radical changes. If too much change is required to make a pleasing picture, then it is not a suitable subject to begin with and should he avoided.

70

Aside from the usual living and dining rooms, kitchens, bathrooms, and bedrooms, many homes have additional rooms that perform a certain function--either to glorify housekeeping or to enhance the enjoyment of leisure hours. Rooms that add zest to housekeeping chores are attractive and convenient utility rooms, pantries with a place for everything, flower arranging rooms, dainty powder rooms and dressing rooms, pretty and practical breakfast rooms, and efficient and pleasant sewing rooms. High on the list of rooms for leisure hours are the recreation rooms with permanently set-up game table and comfortable chairs or couches for lounging. These rooms often have a soda fountain ready for the younger generation, or a bar (authentic down to the last muddler or bottle-opening gadget) for the adults. A music room for listening or performing is essential to some families. A study or library with favorite books, desk and comfortable chairs is an enviable retreat. And on pleasant days a bright sun room with a garden view is irresistible for sheer relaxation.

Since this list is so varied, it is difficult to classify these rooms under one heading. For the purposes of convenience they wiU be here termed "Specialty Rooms." When photographing these rooms the special features which set them apart should be emphasized. For example, as will be seen on the opposite page, a small flower arranging room shows a vase or two, flower holders, cutting shears, and some flowers--all assembled on the counter ready for use. The storage space in the cabinet for extra vases and accessories shows the practical usa of this small alcove. The flower prints from an old English botanical book which decorate the wall are highly appropriate, but even this feature would not indicate the kind of room without the vases and other props.

In each of the following pictures, the props tell the story. Therefore when covering specialty rooms, keep in mind that objects pertaining to that room must be brought into use. This "dressing the scene" is the most important procedure.

Hand-drawn flower prints from okl English books were used to decorate this small flower arranging room.

144

CREDITS TO ARCHITECTS AYRES & FIEGE ............................ 100, TL130, TL146

ROBERT KLIEGMAN ............................... B141, B148

WELTON BECKET .................................. 48, BR124

WILLIAM KRISEL ................................. T96, BL113

CLAUD BEELMAN •...•.•••.••••••••••.• B108, B129, BL130, 138

PAUL LASnO .•.•••.••.•• 21, 56, B121, BL134, TL142, B149, T153

HAROLD BISSNER .................................... T12, 51

JOHN LINDSAY ........................................ T94

BUTLER & BUTLER .................................. T13, 125

JAMES B. LYONS ...................... TL19, T1 06, 118, BL142

GERARD R. COLCORD ......... 28, 44, 45, B76, T115, TL123, B140

FRANK E. MARTIN ................................ B141, B148

THEODORE CRILEY, JR.................................. B153

ROBERT MAYER ....................................... T109

PHILMAR ELLERBROEK .............................. BL19, 67

ROBERT MOSHER ............................... BR17, 30 41

BENSON ESCHENBACH .................................. T120

WALLACE NEFF ........................... 49, 93, T108, T111

ARTHUR B. GALLION ............. T16, T119, TR130, BL131, B146

DANS. PALMER .................................. T96, BL113

ALFRED T. GILMAN ...................................... T77

R. M. SCHINDLER .......................... B95, BR113, BR123

HARWELL H. HARRIS ..................................... 32

BURTON SCHOn ......................... 38, 40, 71, T97, 110

CHALFANT HEAD ................................ 14, 63, T121

KENNETH SWIFT ...................................... TL91

A. QUINCY JONES ••. 10,!!1!_9,_22, 24, 37, 39, 88, 99, 122, 126, TR146

PAUL R. WILLIAMS ••.••••.•••.••.••••••••.•••..• B13, 89, T141

H. ROY KELLEY ••.......•..•..••..•.•.•.••••....•.. B94, T151

HAROLD ZOOK .•.••••••••.••.•••••••••.•.•••••..••••.••• T12

CREDITS TO DESIGNERS AND DECORATORS ALLAN ALPERIN ....................................... B151

JOHN MASON ................................ 23, 26, 61, T95

HELEN CONWAY .................. BL91, B111, BR118, 127, B150

KAY McCOY ............................................ 50

HERBERT CORDIER ........................... TL75, T104, T148

ARTHUR MILLIER ............................ 15, T107, BR130

TOM DOUGLAS ................ 25, 57, 62, 114, B117, 135, T152

JAMES PENDLETON .................................. 31, B97

EDWARD EBERLY ...................................... B128

HELEN PETZELT. ................................. B106, TL113

ADELEFAULKNER ........ TR75, TR90, B96, 133, T139, TL149, B152

ono K. SCHRIER ...................................... T124

FREDERICK GATES ..................................... B119

VIOLET SEARCY .............................. 92, B107, BL112

HARRY GLADSTONE ................................... BR112

DICK SMITH .............................. B108, B129, BL130

GEORGE HALL ........................................ TR149

C. C. STRAUB .................... T16, T119, TR130, BL131, B146

LORENZ A. HANSEN ............................... B74, TR112

THOMAS THEUERKAUF ............................ 65, 66, 103

HAZEL HARTMAN ............................... T117, T129

ROSS THIELE ......................................... B104

PAUL S. HOAG .•.••••••••••••.••.•••••••••..•••••• 73, TR113

JOHN THOMPSON ..••.••••••••.•.••••.•.•••..•..•...•... 34

JIM JONES ...•...•.•..••••.•.•...•.••.•.••.•.•.•..•... 132

DICK TURPIN •............................•.......... TR142

BETH JORDAN .................................... T74, 82,83

CATHERINE VAN HORN ....... 27, 35, TL90, BR90, 98, BL115, T134

A. D. LONGINOnl ................................ 36, 72, 101

GEORGE WEBB ....................................... TL112

LAURA MAKO .•..••••••.••••.•••••••••••.•• 84, 85, B120, B137

COMPLETE HOUSE PAGES 155 TO 168 DESIGNED BY PAUL S. HOAG INTERIORS BY ADELE FAULKNER, AID

Key to Symbols:

168

T - top B - below L - left Numbers refer to pa&es.

R- ri&ht

SHUnERS BY PAUL HEINLY ••.•. 69, B77, 92, 100, T104, B107, B109

INDEX A

Dressing the scene .......................... 711-75, 144, 181

Allgle, selection of ..................................... 211-32

Dressing areas . .. . . .. .. . .. . . .. . . . .. . . .. . . . . .. . .. .. • • . 154

correct balance and relationship in ...................... 25 throup door .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 26-27 farepound interest in .............................. 28-29 oblique shot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 straight shot ................................... 20, 311-32 symmetry in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311-32 variation in • • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22-24 vertical or horizontal view .............................. 21 Angle line, sweeping ...................................... 6

E

Entrances of homes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18-19 Exposure problem on interiors .............................. 7 Exterior of homes, photopaphing of . . . . . . . . . . . . . . . . . . . . . 8-19 angle view . . . . . • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 details in ........................................ 17 entrances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18-19 landscaping in ............................... 10, 12-15 for special effects .................................. 14 straight shot .. . .. . • .. .. . . .. . .. .. . . .. .. . .. .. . . .. • 79

B

148

street scenes in .................................... 15

Bathrooms .. .. .. .. . .. . .. . .. .. . . .. .. . .. . .. .. .. . 138-143, 164

time of day for ............................. 8-11, 18, 17

Bars, home

reflected light in ..................................... 141

F

Bedrooms •........................................ 128-137

Fireplaces .................................. 1111-117, 157

bays' •...................................... 131-132, 163

bedroom .. . .. .. .. .. .. .. . .. .. .. . . .. . .. . . .. . .. . • 118-117

fireplaces Ia ..................................... 118-117

dining room ....................•.............•... 115

lirls' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133-135

Flower arranging room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . • 145

Iaiii .............................................. 128

Furniture moving . . .. . . . . .. .. . .. . . .. . .. . .. . .. .. . . . . . • .. 75

detail views of ...................................... 129 master ........................................ 127, 162 small .......................................... 128, 130 Breakfast rooms .. . .. . . . . .. . .. . .. . . .. .. .. .. .. .. .. .. . .. . 149

H Horizon level of camera ........................... 33-42, 157 continuous, for related areas. . . . . .. .. .. . . .. .. . .. . .. . .. 38 for same room ••.................................. 37

c

continuous tilt for same room .......................••. 41

Camera, hand-held .. . .. .. . .. . .. .. .. .. .. . . .. . .. .. . .. . .. .. . 6

high ............................................. 34

horizon level of lsee Horizon level of cameral

lens position in ................................... 38-39

view lsee View cameral

low .............................................. 35

Carpets ............................................... 74

for bedrooms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Companion views of same subject ........................ 76-82

for stairways . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87-91

correcting tilted bulldinp ............................... 80

medium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-35

detail views . . . . . • . • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

normal . . . . . . • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . • 38-39

exteriors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

for stairways . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

picture series of kitchen ................................. 81

pointing camera down ................................ 40

travel photopaphs .. .. .. .. .. .. . .. .. .. .. .. . .. .. .. .. . . .. 79

House, complete, requirements for photopaphlng ........ 155-185

D Den ......••••................................ 152, 181 Dining areas .................................. 107-109, 158

Indoor-outdoor relationship ........................• 64-89, 73 K

and living room ..................................... 180

Kitchens . . . . . . . . . . . . . . . . . . . . . • . . . . . . . . . . . . . 118-125, 165

Dlaing rooms ...............................•.... 1011-108

angle type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122-123

fireplaces in . .. .. .. .. . .. . . .. . .. .. . . .. . . . . . . . . . . . .. . 115

island type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Doors, open or closed ..........................•........ 71

light and dark tones In .............................. 120

Draperies, open or closed .............................. 72-73

long narrow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

169

functional . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Kitchens (Cont'dl with lunch areas .......... .

........ 124-125

picture series of . • . . . . . . . . . . .

. .........•.. 81

L

sin11e view •.•..................................... 52 Rooms, orientation of (see Orientation of rooms) S

Lanai .. .. .. . .. .. .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Specialty rooms . . . . . . . .. . .. . . . . . .. . . . . . . . . . . . . . . 144-154

. .......... 10, 12·15

breakfast rooms ................................... 149

Lenses. . . . . . . . . . . . . . . . . . ..................... 42, 84, 85

dressinl areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

position of ....................................... 38-39

Lilht, natural, for interiors ......................... 56, 66·69

145 home bars . . . • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . • 148 lanai . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............• 150 music room ....................................... 151

reflected, in bathrooms ................................ 141

pantry . . . . . . . . . . . . . . . . . . ....................... 146

Landscapinl . . . . . . . . . . . . . . . .

supplemental, additional covera1e with ................... 85 Wide·an11e .. .. .. . .. .. .. .. .. . . .. .. .. .. .. . .. .. . . .. . .. . 6

flower arran1i01 room. . . . . . . .

Lilht balance, ratio of .................................. 64

stora1e walls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Liptin1, for illusion .................................. 60-61

study or den . . . . . . . . . . . . . . . . . . . . . . . . .............. 152

a.7

sunroom ..•................................... 150-151

Lilhts, placement of ................................. 54-61

television room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150-151

methods of • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

depth in • . . . . . • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54-55

utility room . . • . . . . . . . . . . . . . . . . . . . . . . . . . ........ 147

reflections in • • . .. .. . .. .. . . .. . .. . .. . .. .. . . . . . 55, 68

Stairways .. . .. .. .. .. .. . . . .. . . . . . . . .. . .. . . . .. . . . . . 86-91

Livinl rooms ............................... 92-99, 156, 159 compactness of • .. .. • .. .. .. .. .. . . .. .. .. .. .. .. .. .. . 99 and dinin1 area.. . . .. .. . . . . . . . . .. .. . . . . . . . . .. .. .. . 160 spaciousness of .. .. .. . .. . .. . .. . .. .. .. .. .. . . .. .. . .. 98

Stora1e wa lis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........ 152, 161 Sunroom .•.•..•................................ 150-151

T

M Music room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........ 151

Tables, settin1 ....................................... 74 Television reom . . . . . . . . . . . . . . . . . . . . . . . . . ......... 150-151

N

Tilted buildin1s, correctin1. .. .. . .. . . . . . . . . .. . . . . . . .. . .. 80

Nursery . . . . . • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136-137 0 Orientation of rooms ............................. 43-53, 156 IOnl·detaikeverse views for. ........................... 44 methods of securing .................................. 43

u Utility room ........................................ 147

v

opposite an11es for ................................ 46·47

Venetian blinds . . . . . . . . . . . . . . . . . . .

over-all and close-up detail for ........................ 50-51

View camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5·6

reverse views for ..................................... 48 p

146

Pantry R

. . . . . . . . . . . . . 68-69

swings and tilts of ................ .

.. ....... 42 Views, close, cropping .................................. 83 companion, of same subject (see Companion views of same subject) overlapping . . .. . . • .. . . . .. . .. .. . .. . . . . . . .. . . . . . . . . . 83

Reflections in lilht .............................. 55, 68, 141

W

Room relationship . . . . . .. . . .. .. .. .. .. . . . . . . . . . . .. . .. . . 43

Window areas, photographing toward ..................... 64-69

l 70

1

Travel photouaphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

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