By Joseph E. Salvatore, Joan Berkey
The seashore hotel of Cape may well was once named for Dutchman Cornelis Mey, who sailed earlier this a part of southeastern New Jersey in 1616. initially referred to as Cape Island, the realm was once settled through a handful of English-speaking farmers and whalers within the 1690s. by means of 1776, it was once marketed as a favored, fit position for bathing within the ocean. the 1st boardinghouses have been erected within the early 1800s, and by way of 1850, the city boasted approximately dozen. tourists got here from Philadelphia, Baltimore, or even the Deep South, many development summer season cottages alongside the shore. The institution of rail provider in 1863 introduced a brand new period of progress or even extra motels. even supposing a devastating hearth in 1878 destroyed numerous of the oldest, they have been quickly changed by means of new resorts and cottages boasting huge porches and eaves lavished with gingerbread trim. this day, so much of Cape might urban is a countrywide old Landmark in acceptance of its well-preserved choice of Victorian-era structures. Cape might showcases the wealthy architectural and leisure historical past of this coastal New Jersey city.
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Extra info for Cape May: Images of America
Since light is re- of the shot. In addition, a light with just a metal duced the farther you are from a light source, it reflector will add contrast and hard shadows to makes sense to add lights to the sides of a wide the area illuminated. This can help identify some shot. part of the shot as a focal point for the image. Lighting Interiors 51 52 Photographing Architecture a helpful strategy I started lighting interiors by placing a light in the shot, tak- light). This is a good way to learn and, with a digital camera, ing a Polaroid test image, then adding more light or modify- you won ’ t need to shoot all those expensive Polaroid images.
You could use a large The Shooting Angle 33 34 Photographing Architecture Another way to solve the keystoning problem was to avoid it in the first place. You could simply shoot with the camera parallel to the subject, and in the right place for the relationships of the elements in the shot, then take the picture with everything you need in the shot. This approach would likely result in including more foreground, ceiling, or side area than you wanted in the image, but this could be cropped out later.
I will point out that the Dodge that it is such a vast subject. Many books have and Burn tools are much better in more recent already been written about Photoshop, and I am versions of Photoshop. So if you use an early ver- not able to devote the rest of this book to this sion of the program, you may not be able to do one subject. Therefore, this chapter is devoted all the things that are discussed in this chapter. to the specific aspects of Photoshop that are par- I should also point out that my goal is to cre- ticularly useful to a photographer who shoots in- ate an 8-bit image.