have shades or blinds, they should also all be in the same position. INSPECTION AND SURVEY PHOTOGRAPHY As   with   the   other   types   of   architectural photography-buildings or facilities-inspection and survey pictures play an important role in the Navy. The Naval  Investigative  Service  (NIS)  may  need  pictures  of a  building  to  point  out  weaknesses  in  physical  security. The fire department uses pictures of the station theater to train the fire fighters in evacuation measures. And the safety  officer  certainly  needs  good  pictures  to  show  the extent of damage or existing hazardous conditions to buildings  or  personnel. Exterior   Photography Buildings must be photographed pretty much as they exist. With portraits, for example, you can ask the sitter to smile and pose, and with still life you can alter the arrangement. You cannot do either of these with a building. The main controls you have over the picture are the viewpoint and the lighting. For exterior architectural pictures, the position of the sun in relation to the subject is a very important consideration. Which sides of the building are lighted and at what time of day? Where are the shadows cast? Architecture is dead without light. Like the sculptor, the architect shapes forms in relation to lighting. The lighting at a site is often studied long before the first plans take shape on the drawing board. The lighting becomes a deciding factor in determining the character of a building, the choice of materials, and the location of the building. The nature and direction of the light are the two main components of our concept of lighting. “Normal lighting” is often preferable for perfect reproduction of materials; that is, light from a slightly overcast sky. This diffused light reduces contrast in the texture of the material just enough to create a good balance between the highlights and shadows. A building as a whole is often depicted better in direct, angled sunlight from a cloudless sky. Filters are used to control the contrast between subject and sky. Direct sunlight often produces contrasty  pictures  with  simplified  lines  that  may sometimes be preferable as an illustrative effect. The light in cloudy weather is the worst kind of lighting for architectural photography. Try to avoid making pictures of a building in cloudy weather. The direction of the light on sunny or slightly overcast days governs the form of the building and the ability of the photograph to bring out its characteristic features. Since the position of the sun in relation to the building constantly changes, there is only one way to determine the best lighting-study the building at different times of the day. Only then is it really possible to identify the best lighting for the building. Moreover, you should be prepared to study the lighting from different angles. Do not be content with your first camera angle. You should always check to see whether there is a better angle. A  building  should  be  depicted  so  the  viewer experiences  its  volume  and  materials.  This  is  often impossible, except with side lighting. The greater the angle of the light, the greater its ability to produce a forceful  re-creation  of  materials  and  shapes  (fig.  6-21). Also to be considered are the surroundings. Is there construction going on in the background? Is there a distracting landscape or unrelated building that must be concealed? What is the best camera position for making this  particular  picture  ? Can I get far enough away to present an undistorted image? Should I have a ladder to stand on or can I make this picture from on top of another building or must I arrange with public works for a bucket truck? What number of viewpoints are required? What focal-length  lens  is  best  for  each  view? Viewpoint The  greatest  difficulties  in  photographing  buildings is converging verticals. When you hold the camera so it is pointing horizontally, you often find there is too much uninteresting  foreground  included  in  the  picture,  and you may be “chopping” the top of the building off. So, tip the camera back to eliminate most of that foreground and get the top of the building back into the picture. Now, look what has happened-the vertical lines are converging; they are no longer parallel; they are sloping in at the top of the picture. The picture is distorted. A good  architectural  photographer  does  not  produce  such a picture. Instead, he uses a view camera and does it properly. Interior  Photography Photographs of interiors can be grouped under three headings: Public interiors of all kinds, such as assembly halls,   places   of   worship,   libraries,   galleries, auditoriums,  and  theaters Residential  interiors,  both  large  and  small 6-36