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 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 Architectural Photographer. They spent hours and 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. They were forever meticulous down to the millisecond of natural light required for the correct exposure.
Eventually, a film holder would be positioned in the shoot because they lifted the A-slide revealing the film towards the inner belly in the 4×5 camera. A press from 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 up until you felt you experienced the shot. Before moving the digital camera gear to the next place to set it all up again and fire off several sheets of film.
Fast-forward 200 years to the digital era of photography and you will definitely find a new type of architectural photographer. Will no longer strapped to a film case and two sheets. No more strapped as a result of an eye-loop beneath a dark cloth, architectural photographers are starting to devise new strategies using software interfaces. They may be will no longer without a darkroom as the digital darkroom in the form of a laptop computer can be by your side during every shoot.
The initial aspect to be considered not only in architectural photography is the light. Lights can do magic by working on the shadows as well as the texture of the building. Attracting the right contrast is the thing that the photographer aims to operate at. Remember you are designed to accentuate those highlights of the property that are going to allow it to be look magnificent. Choosing the right lens is very important. You will have to judge whether or not the building would look best in a fish’s eye lens or perhaps a panoramic view. Considering how it is sometimes hard to get a complete building in a lens, it would be an essential decision to choose the right lens. In case you are having a shot from the interiors of any building ensure that the white balance is to establish right.
It is essential you have a great idea in which geometric shapes are complimented in which weather. Your main task is to get the style of the property right. With this you have to break the structure up mentally and find out that the perfect angle that compliments your building is. Should you be intending to click the skyline at nighttime it is a great idea to put the buildings between you together with sunlight. You need to have a great idea of methods the reflections of the building would look. There are some amazing photographs with all the shadow play in the building. You must also be adept in obtaining the right images in every single weather.
Today’s architectural photographer is still carrying even more tons of gear with their shoots however it is much simpler when all of your equipment is neatly packed inside your cargo van. Inside an architectural photographer’s van you can find a computer, extension cords, halogen lights, gobos, gaffer tape, light stands, halogen bulbs along with a camera. The exception the following is whether you decide to shoot a high-end Digital Camera, a medium format camera with digital back or a converted 4×5 field camera with digital back. Now you have the effectiveness of a digital environment.
Amazing outcomes are close at hand because of this digital environment. You might be will no longer put through weather because you can shoot using halogen lights at anytime in the daytime, evening or night. Your image capture holds everything over a high-resolution digital file. That you now drop on to your computer, adjusting files and parameters composing a mofpbm image from fifty or even a hundred layers to produce a magnificent composite image your client will marvel over. And rehire you, repeatedly.
Something every architectural photographer always says is get ready 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 coming from every light socket possible. Right before sunset somewhat of a breeze kicked up. Adding sandbags we quickly secured taller lights. Ten minutes later just like we were getting ready to shoot, it began to rain. Since it started, we ran around unplugging each of the cords then grabbing light stands, dropping the halogens and moving them into the garage. When we had moved all of them we had been soaked and half the sunshine bulbs had popped. Unfortunately for all of us this shoot needed to be canceled. But as Ann Landers once wrote, “Nobody says you must laugh, but a sense of humor can help you disregard the unattractive, tolerate the unpleasant, cope with the unexpected, and smile through the day.”