Architectural photographers for many years have lugged heavy bags and cases full of equipment around the globe. One case held the digital camera rig, bellow, stands, film holders, a loop, dark cloth and a variety of lens boards. Inside duffel bags a big tripod, light stands, gobos, gaffer tape, gels, flares and reflector cards. This was a rare type of Interior Photographer London. They spent a lot of time 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 right exposure.
Eventually, a film holder could be put into the shoot because they lifted the A-slide revealing the film towards the inner belly in the 4×5 camera. A press of the plunger cord opened the aperture to its precise coordinates letting light gradually fall over the film before closing it off. Next the A-slide was pushed down you flipped the film holder, opened the B-slide and exposed the next sheet of film. Repeating as necessary until you felt you needed the shot. Before moving the digital camera gear to the next location to set it all up again and fire off a few sheets of film.
Fast-forward 200 years to the digital era of photography and you will get a new breed of architectural photographer. No more strapped to your film case and two sheets. No longer strapped as a result of an eye-loop beneath a dark cloth, architectural photographers are starting to devise new strategies using software interfaces. They are will no longer without having a darkroom as the digital darkroom by means of a laptop computer may be on your side during every shoot.
The first aspect to get kept in mind not just 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 right contrast is what the photographer aims to function at. Remember you are designed to accentuate those features of your building that will make it look magnificent. Deciding on the best lens is very important. You will have to judge whether the building would look best in a fish’s eye lens or perhaps a panoramic view. Considering how it is usually hard to get a whole building in a lens, it will be an essential decision to find the right lens. In case you are having a shot in the interiors of the building make sure the white balance is to establish right.
It is crucial you have a great idea which geometric shapes are complimented by which weather. Your main task is to buy the style of the property right. For this you need to break your building up mentally and discover which the perfect angle that compliments the building is. Should you be intending to click the skyline during the night it is a good idea to place the buildings between you together with the sun. You need to have a wise idea of how the reflections of the building would look. There are some amazing photographs with all the shadow play from the building. You must even be adept to get the correct images in every single weather.
Today’s architectural photographer is still carrying much more tons of gear to their shoots but it is easier when all your equipment is neatly packed in your cargo van. Inside an architectural photographer’s van you will find a computer, extension cords, halogen lights, gobos, gaffer tape, light stands, halogen bulbs as well as a camera. The exception the following is whether you choose to shoot a very high-end Digital Camera, a medium format camera with digital back or even a converted 4×5 field camera with digital back. You now have the effectiveness of a digital environment.
Amazing outcomes are close at hand because of this digital environment. You are no longer put through weather since you can shoot using halogen lights at anytime in the daytime, evening or night. Your image capture holds everything on the high-resolution digital file. That you now drop onto your computer, adjusting files and parameters composing a mofpbm image out of fifty or a hundred layers to make a magnificent composite image your client will marvel over. And rehire you, again and again.
One thing every architectural photographer always says is prepare for the unexpected. Over a clear Arizonian evening we setup fifteen halogen lights, a Hasselblad camera with digital back and our computer. We had extension cords emerging from every light socket possible. Right before sunset a bit of a breeze kicked up. Adding sandbags we quickly secured taller lights. 10 mins later equally as we were getting ready to shoot, it began to rain. As it started, we ran around unplugging each of the cords then grabbing light stands, dropping the halogens and moving them in to the garage. Once we had moved every one of them we had been soaked and half the sunshine bulbs had popped. Unfortunately for people this shoot needed to be canceled. But as Ann Landers once wrote, “Nobody says you have to laugh, but feelings of humor may help you disregard the unattractive, tolerate the unpleasant, manage the unexpected, and smile from the day.”