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 big tripod, light stands, gobos, gaffer tape, gels, flares and reflector cards. This was a rare breed 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. 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 from 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 it away. Next the A-slide was pushed down you flipped the film holder, opened the B-slide and exposed the 2nd sheet of film. Repeating as necessary before you felt you had the shot. Before moving the digital camera gear to the next location to set it up all up again and fire off a few sheets of film.
Fast-forward 200 years to the digital era of photography and you will definitely find a new type of architectural photographer. No longer strapped to some film case and two sheets. No more strapped right down to an eye-loop beneath a dark cloth, architectural photographers are starting to devise new strategies using software interfaces. They may be no more without a darkroom as your digital darkroom in the form of a laptop computer can be on your side during every shoot.
The very first aspect to become kept in mind not just in architectural photography is definitely the light. Lights are capable of doing magic by working on the shadows and the texture of the building. Bringing in the right contrast is exactly what the photographer aims to work at. Remember you are made to accentuate those highlights of the building that are going to allow it to be look magnificent. Deciding on the best lens is very important. You will need to judge whether the building would look best in a fish’s eye lens or perhaps a panoramic view. Considering how it is usually difficult to get an entire building in a lens, it might be an essential decision to select the right lens. Should you be getting a shot of the interiors of the building make sure the white balance is set up right.
It is crucial you have a good idea in which geometric shapes are complimented in which weather. Your primary task is to buy the appearance of the building right. For this particular you need to break your building up mentally and see which the perfect angle that compliments the property is. In case you are intending to click on the skyline at nighttime it is a great idea to set the buildings between you and direct sunlight. You have to have a wise idea of methods the reflections of the building would look. There are several amazing photographs with the shadow play from the building. You have to additionally be adept to get the correct images in each and every weather.
Today’s architectural photographer continues to be carrying a lot more plenty of gear to their shoots but it is much easier when all of your tools are 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 very high-end Dslr, a medium format camera with digital back or perhaps a converted 4×5 field camera with digital back. Now you have the power of a digital environment.
Amazing outcomes are when you need it because of this digital environment. You happen to be will no longer put through weather because you can shoot using halogen lights at anytime during the day, evening or night. Your image capture holds everything on a high-resolution digital file. Which you now drop on to your desktop computer, adjusting files and parameters composing a mofpbm image from fifty or a hundred layers to produce a magnificent composite image your client will marvel over. And rehire you, over and over.
One important 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 somewhat of a breeze kicked up. Adding sandbags we quickly secured taller lights. Ten minutes later just like we had been about to shoot, it started to rain. Since it started, we ran around unplugging each 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 light bulbs had popped. Unfortunately for people this shoot needed to be canceled. But as Ann Landers once wrote, “Nobody says you need to laugh, but a sense of humor may help you disregard the unattractive, tolerate the unpleasant, cope with the unexpected, and smile through the day.”