Le côté artistique de la photographie dans la théorie et la pratique . érieur architecture,est la création de l'architecte et l'photographof ; un nouvel intérieur est seulement, au mieux, un technicalrecord fine en monochrome. Mais le temps ajoute une certainatmosphere à la création d'architectes, et latergenerations laisser leur trace sur le bâtiment-maintenant par la mise en place d'une fenêtre où été therehad perpendiculaire un début de l'anglais, maintenant par certains plusdes-structure jusqu'à la construction de l'homme thehandiwork devient, au lieu de la création d'anindividual. C'est quand le photographe capte l'esprit d'andatmosphere

• Contributeur: The Reading Room / Alamy Banque D'Images
• ID de l’image: 2AM4J51
• Taille du fichier: 7,1 MB (548,6 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1226 x 2038 px | 20,8 x 34,5 cm | 8,2 x 13,6 inches | 150dpi

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Cette image appartient au domaine public, ce qui signifie que le droit d’auteur a expiré ou que le titulaire du droit d’auteur a renoncé à ses droits. Les frais facturés par Alamy couvrent l’accès à la copie haute résolution de l’image.

Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.

The artistic side of photography in theory and practice . erior architecture, is the creation of the architect ; and the photographof a new interior is only, at the best, a fine technicalrecord in monochrome. But time adds a certainatmosphere to the architects creation, and latergenerations leave their trace on the building—now bythe placing of a Perpendicular window where therehad been one in Early English, now by some additionto the structure—until the building becomes thehandiwork of man, instead of the creation of anindividual. It is when the photographer catches the spirit andatmosphere of what has been, and carries our imagina-tion back into the past, that his architectural workbecomes a Fine Art ; and it is this literary and imagina-tive quality in Mr. Evanss photography that makeshis work different from either a history or a record.Such is the quality in Height and Light in BourgesCathedral ; for Evans carries us back, until wealmost expect a procession of monks to appear fromaround the distant pillars, or some gallant to come 328. HEIGHT AND LIGHT INBOURGES CATHEDRAL. By F. H. Evans. 329 jft Some Suggestions on Architecture round the corner, dust the pavement with his mouchoir, and lout on one knee. How Mr. Evans gets his effectsis a marvel; it is certainly neither by theatricallighting, gush, nor sentimentality . There is one essential in architectural work, andthat quality is the rendering of texture. Stone mustlook like stone. Under-exposure, especially whenfollowed by over-development, covers the texture ofthe high lights with a layer of unprintable density assurely as the Goth would cover the surface of thestone with coats of whitewash. So, in all architecturalphotography the exposures must be generous and thedevelopment cautious. II. If any branch of pictorial photography has alimitation in the size of the prints, that branch isarchitecture ; for, in the first place, the nature of thesubject requires a stopping down of the lens and therendering of c

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