Architectural photographers for years have lugged heavy bags and cases full of equipment around the globe. One case held the camera rig, bellow, stands, film holders, a loop, dark cloth and an assortment of lens boards. Inside duffel bags a large tripod, light stands, gobos, gaffer tape, gels, flares and reflector cards. This was a rare breed of Architecture Photographer in London. They spent countless hours adjusting minute increments. Correcting vertical lines. And adjusting perspectives beneath a dark-cloth as they painstakingly checked the images sharpness. Their eyes bulged out, as their brains calculated the upside-down, rotated image before them. These were forever meticulous down to the millisecond of natural light required for the proper exposure.
Eventually, a film holder could be placed in the shoot because they lifted the A-slide revealing the film to the inner belly in the 4×5 camera. A press of the plunger cord opened the aperture to the precise coordinates letting light gradually fall across the film before closing them back. Next the A-slide was pushed down you flipped the film holder, opened the B-slide and exposed the second sheet of film. Repeating as necessary before you felt you experienced the shot. Before moving the digital camera gear to another place to set it up all up again and fire off several sheets of film.
Fast-forward 200 years into the digital era of photography and you may get a new type of architectural photographer. No more strapped to a film case and two sheets. No more strapped right down to an eye-loop beneath a dark cloth, architectural photographers are beginning to devise new strategies using software interfaces. They are no more without a darkroom when your digital darkroom by means of a laptop computer could be with you during every shoot.
The very first aspect to become considered not only in architectural photography is definitely the light. Lights can do magic by working on the shadows and also the texture in the building. Attracting the correct contrast is the thing that the photographer aims to operate at. Remember you are designed to accentuate those attributes of the property that are going to ensure it is look magnificent. Choosing the right lens is vital. You will need to judge whether or not the building would look best in a fish’s eye lens or a panoramic view. Considering how it is sometimes challenging to get a whole building in a lens, it will be a significant decision to choose the right lens. In case you are having a shot in the interiors of any building ensure that the white balance is established right.
It is crucial that you have a wise idea of which geometric shapes are complimented in which weather. Your primary task is to get the style of your building right. With this you have to break your building up mentally and discover in which the perfect angle that compliments the property is. Should you be intending to select the skyline at nighttime it is a great idea to set the buildings between you and the sun. You need to have a wise idea of how the reflections of the building would look. There are some amazing photographs with the shadow play in the building. You need to even be adept in getting the right images in every single weather.
Today’s architectural photographer is still carrying much more tons of gear to their shoots but it is much simpler when all of your devices are neatly packed within your cargo van. Inside an architectural photographer’s van you will discover a personal computer, extension cords, halogen lights, gobos, gaffer tape, light stands, halogen bulbs as well as a digicam. The exception the following is whether you want to shoot a higher-end Dslr, a medium format camera with digital back or a converted 4×5 field camera with digital back. You have the power of an electronic environment.
Amazing results are at your fingertips due to this digital environment. You are no longer put through weather since you can shoot using halogen lights at anytime during the day, evening or night. Your image capture holds everything on the high-resolution digital file. That you now drop onto your desktop computer, adjusting files and parameters composing a mofpbm image from fifty or perhaps a hundred layers to create a magnificent composite image your client will marvel over. And rehire you, repeatedly.
One important thing every architectural photographer always says is get ready for the unexpected. On a clear Arizonian evening we set up fifteen halogen lights, a Hasselblad camera with digital back and our computer. We had extension cords emerging from every light socket possible. Just before sunset somewhat of a breeze kicked up. Adding sandbags we quickly secured taller lights. Ten minutes later just as we were about to shoot, it began to rain. Since it started, we ran around unplugging all of the cords then grabbing light stands, dropping the halogens and moving them to the garage. Once we had moved every one of them we had been soaked and half the light bulbs had popped. Unfortunately for us this shoot had to be canceled. But as Ann Landers once wrote, “Nobody says you have to laugh, but a sense of humor may help you disregard the unattractive, tolerate the unpleasant, deal with the unexpected, and smile through the day.”