Guide Professional Architectural Photography

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Contents:
  1. Professional Architectural Photography, Third Edition (Professional Photography Series)
  2. Commercial photographer Bloomigotn Il | mysite
  3. An Architectural Photographer Ready to Capture the Unique Details of Your Project
  4. Share this page:
  5. The Complete Guide to Architecture Photography: 98 Tips

Indeed, the costs for professional-level architectural photography can add up. How many rooms do you have? Which are most important rooms to show the customer?

Professional Architectural Photography, Third Edition (Professional Photography Series)

Any you can do without? Any specific amenities or activities that should be highlighted?

Here is a checklist of items for you to consider:. Is everything nice and green, or is it varying shades of brown and grey? Do you want it to be a perfect summer day in your photos, or perpetual fall or winter? Which would YOU prefer to see? Light bulbs all functioning? As you can see, there are lots of little details to consider. A north-facing model that is destined to live in shadow will be tough to photograph well and make look good in the daytime.

If it is not, you can make a lens shift on a view camera corresponding to the mask shift on the instant-print without affecting the focus. Always re-check any changes you make by taking a further instant-print. It enables photographers to package their images for direct reprographic output and use over the Internet.

As a result, an 8-bit depth stepped-tone digital image will deceptively appear to the eye as a continuous-tone image. For a full colour image, an 8-bit depth is needed for each of the three primary colours used in photography: red, green and blue RGB , or 24 bits in total. An area array CCD has millions of pixels arranged in rows and columns in a square or rectangular format that are exposed simultaneously. It is therefore not suitable for architectural work where movement can be an element, be it of people, varying light intensity or even the movement of clouds in the sky. Likewise, a full-bleed A4 magazine page measuring approx Practical digital imaging for location photographers Cameras for digital photography can very broadly be divided into two main categories.

In this case, for the purpose of advanced publicity, the Regent Gate building had to be photographed while still under partial scaffolding and boarding. For more a detail on the different digital options available, refer to the next chapter on hardware. Once captured and loaded into the computer, the image can then be manipulated using a specially designed software package. The multiple layer system allows easy compositing: the subtle merging of various images together.

The manipulated digital image can then be put onto a CD for storage and future retrieval with a capacity for up to Mb of digital information. The scanning resolution chosen, i. The resolution of printing systems is quoted in lines per inch lpi , and the print industry standard rule of thumb is to have twice as many pixels as lines.

Whole portfolios can be stored on CD, and can be easily duplicated for sending to potential clients. A fast way of transmitting digital data to a client is via an ISDN telephone line, a line dedicated to carrying data and images in digital form. Finally, at some point you will probably want to produce conventional prints from your digital images, and you will require a printer to do this.

However, such a dream is unlikely to be realized because of the often contradictory demands that would be made of it. As a result, some unwieldy camera monsters have been produced that manage a gesture of most facilities without the full advantage of any. As I have already mentioned, and shall continue to do so throughout this book, the paramount requirement of a camera for architectural photography is the ability to reproduce the straight lines of a building with absolute precision and true verticality.

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Commercial photographer Bloomigotn Il | mysite

It is also increasingly important that your choice of view camera is compatible with a digital back, and that any digital back you choose is also compatible with any medium-format SLR in your possession. It is the precise engineering of the mechanics, the technical perfection of the lenses and their limited demand that make such simple cameras expensive pieces of equipment.

The virtue of such a simple design is that it enables the possibility of extensive camera movements to achieve a variety of useful optical effects otherwise impossible, or at most limited, with any other type of camera. The disadvantage of this basic structure is that the subject has to be viewed as an inverted and reversed image on a ground-glass screen, which itself can only be viewed in darkness under a black cloth. Initially this can seem inconvenient, denying the photographer the opportunity of spontaneous changes of camera position to evaluate the best viewpoint.

However, with experience, the photographer develops a contemplative patience and an awareness for likely suitable camera positions. Two devices are available to assist with these problems. Finally, a valuable addition is a fresnel lens mounted in front of the ground-glass focusing screen.

An Architectural Photographer Ready to Capture the Unique Details of Your Project

This is a piece of clear plastic with a pattern of concentric circles cut into its surface that redirects the light rays passing through the edges of the screen at an angle, back towards the viewer. In fact, a 10 in. This renders exceptional sharpness and a very rich tonal scale. However, unless billboard-sized reproduction is a regular requirement, the extra quality is often unwarranted.

The most popular format for architectural work is the 5 in.

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Personally, I favour the medium-format view camera as it is both smaller and lighter, making it more portable than its larger format equivalent. This is a sensible practical consideration for architectural work as you will at times have to carry your equipment some distance. The potential extent of these camera movements is considerably greater than those on its baseboard camera equivalent, with adjustments physically freer and less restricted.

Baseboard cameras The strength of the baseboard camera is its ability to fold away into a compact box, making even the larger formats highly portable and swift to erect Figure 3. The front of the box is opened on a hinge, and the lens standard pulled out onto the previously folded runners. The runners are then moved backwards or forwards with a knob to focus the image.

However, for the purposes of architectural photography, the advantage of portability is outweighed by the disadvantage of restricted camera movements. Any serious architectural photographer would choose a monorail for its smoother basic operation and more extensive movements. They are, however, better suited to high quality travel work than to the precise optical demands of architectural photography.

However, in order to take in the full height of a building, for example, the whole camera has to be tilted. In other words, the verticals in the image start to converge, with the visual result being that the building either appears to be falling over backwards if photographed straight on, or falling in on itself if photographed from an angle. There are three alternative ways of achieving this, to include the full height of the elevation of the building. First, you could raise the height of the camera to half the height of the building being photographed. The second possibility is to keep the camera back i.

However, such a lens will also include an excessive amount of foreground when the camera is kept vertical, and this would have to be cropped out at the printing or reproduction stage.

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The other disadvantage of this alternative is that it forces the photographer to use a lens of wider angle than he would otherwise have chosen, with the likely result of a more exaggerated perspective than necessary. This is the most important of all available camera movements in architectural photography. It will be explored in detail in the following section. Shifting the lens up rising front therefore overcomes the problem of having to tilt the camera to include the full height of a building.

Shifting the lens down drop front enables verticals to be retained in interiors without including too much ceiling at the expense of foreground, or having to photograph from an unnaturally low position.

Architecture Photography Advice - Competition judging

The levels will guarantee the perfection of the lines so demanded by architects, and avoid any possibility of convergent verticals that would jar visually with the perfect verticals of both the photograph edge and the printed page. They can be used to take an apparently straight-on view of a building while actually standing to one side of it, which is sometimes necessary when the viewpoint is restricted. The camera is lined up parallel with the front elevation, even though not central to it, and a cross shift is employed rather than turning the camera on the tripod.

The most frequent use of cross shifts in exterior architectural work is to control perspective. When photographing a building at an angle from a relatively close vantage point with a wide-angle lens, the perspective of the receding building is exaggerated. To partially offset this, the camera can be turned on the tripod to make the angle to the building less acute. Figure 3. Cross shifts can also be used to create an accurate panorama.

The Complete Guide to Architecture Photography: 98 Tips

A montage can be made with a series of shots taken with shifts from the extreme left to the extreme right, avoiding the problem of semicircular horizontal distortions that would arise if the camera was swung to the left and right instead. Although the verticals are actually parallel, the optical illusion is that they appear to be diverging slightly. One way to overcome this is to reduce the amount of shift being used. With a tall building this is most effectively achieved by raising the camera position to approximately one-third the height of the building, probably by working from just such a height in a nearby building.

If this is not possible, you could use a lens of shorter focal length i. The lens panel or focusing screen, or both, are either swung around a vertical axis a or tilted over a horizontal axis b. Swing movements are swings around the vertical axis; tilt movements are tilts over the horizontal axis Figure 3. This restricts their use in architectural photography where the subject matter is usually three dimensional. They can, however, be useful for detail shots of elevations photographed at an oblique angle.

Using a camera without the facility of movements can make sharp focus across the full depth of the plane impossible, even with the lens fully stopped down. Focusing in the middle of the elevation is likely to leave both near and distant parts of the elevation out of focus.

The swing movements possible on a view camera enable sharp focus to be achieved across the full depth of the elevation by altering the plane of focus.

Practically speaking, however, it does make a difference. Swinging the lens panel is limited by the covering power of the lens, and any movement of the camera back alters the perspective to a degree, especially of the foreground subjects.

Tilts work in precisely the same way as swings, except around a horizontal axis, as the name suggests. Subject height above ground level, however, is unlikely to be sharp unless the lens is well stopped down in the usual way.