Architectural photographers for decades have lugged heavy bags and cases full of equipment all over the world. 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 large tripod, light stands, gobos, gaffer tape, gels, flares and reflector cards. This was a rare breed of Architectural Photographer. 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. They were forever meticulous down to the millisecond of natural light necessary for the proper exposure.
Eventually, a film holder will be positioned in the shoot since they lifted the A-slide revealing the film towards the inner belly of the 4×5 camera. A press in the plunger cord opened the aperture to the precise coordinates letting light gradually fall throughout the film before closing it away. 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 up until you felt you had the shot. Before moving your camera gear to another place to set it up all up again and fire off a couple of sheets of film.
Fast-forward 200 years in to the digital era of photography and you will find a new type of architectural photographer. No more strapped to a film case as well as 2 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. These are will no longer without having a darkroom as the digital darkroom by means of a laptop computer can be with you during every shoot.
The first aspect to become considered not simply in architectural photography will be the light. Lights can do magic by working on the shadows as well as the texture from the building. Bringing in the best contrast is what the photographer aims to function at. Remember you are designed to accentuate those attributes of the property that will allow it to be look magnificent. Choosing the right lens is vital. You will have to judge if the building would look best in a fish’s eye lens or perhaps a panoramic view. Considering how it is usually hard to get an entire building in a lens, it might be a significant decision to select the right lens. Should you be getting a shot of the interiors of any building ensure the white balance is established right.
It is vital that you have a wise idea of which geometric shapes are complimented by which weather. Your main task is to buy the style of the property right. With this you have to break your building up mentally and discover which the perfect angle that compliments the building is. Should you be planning to select the skyline during the night it is a great idea to place the buildings between you and also the sun. You need to have a good idea of how the reflections in the building would look. There are some amazing photographs with all the shadow play of the building. You need to additionally be adept to get the right images in every weather.
Today’s architectural photographer is still carrying even more loads of gear to their shoots yet it is much simpler when all of your tools 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 and a camera. The exception is whether you want to shoot a high-end Digital Camera, a medium format camera with digital back or perhaps a converted 4×5 field camera with digital back. You have the strength of an electronic environment.
Amazing outcomes are close at hand due to this digital environment. You might be no longer put through weather because you can shoot using halogen lights at anytime throughout the day, evening or night. Your image capture holds everything on the high-resolution digital file. That you now drop on your computer, adjusting files and parameters composing a mofpbm image from fifty or perhaps a hundred layers to produce a magnificent composite image your client will marvel over. And rehire you, repeatedly.
One important thing every architectural photographer always says is prepare for the unexpected. On the 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. Prior to sunset a bit of a breeze kicked up. Adding sandbags we quickly secured taller lights. 10 minutes later equally as we were about to shoot, it begun to rain. Since it started, we ran around unplugging all of the cords then grabbing light stands, dropping the halogens and moving them in to the garage. When we had moved them all we were soaked and half the sunshine bulbs had popped. Unfortunately for us this shoot must be canceled. But as Ann Landers once wrote, “Nobody says you must laugh, but feelings of humor can help you disregard the unattractive, tolerate the unpleasant, cope with the unexpected, and smile through the day.”