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 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 type of Interior Photographer in 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. They were forever meticulous down to the millisecond of natural light necessary for the right exposure.
Eventually, a film holder could be positioned in the shoot as they lifted the A-slide revealing the film for the inner belly from 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 it off. 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 until you felt you needed the shot. Before moving your camera gear to the next place to set it up all up again and fire off several sheets of film.
Fast-forward 200 years in to the digital era of photography and you will get a new type of architectural photographer. No longer strapped to some film case as well as 2 sheets. No more strapped down to an eye-loop beneath a dark cloth, architectural photographers are starting to devise new strategies using software interfaces. These are no more with no darkroom as the digital darkroom in the form of a laptop computer could be with you during every shoot.
The first aspect to be taken into account not only in architectural photography is the light. Lights can do magic by working on the shadows and also the texture from the building. Attracting the right contrast is the thing that the photographer aims to work at. Remember you are meant to accentuate those attributes of the property that are going to make it look magnificent. Choosing the right lens is very important. You will need to judge if the building would look best in a fish’s eye lens or perhaps a panoramic view. Considering how it is usually difficult to get a whole building in a lens, it might be an important decision to find the right lens. Should you be getting a shot from the interiors of any building ensure that the white balance is set up right.
It is crucial that you have a good idea which geometric shapes are complimented by which weather. Your main task is to buy the appearance of the building right. For this particular you should break the structure up mentally and see which the perfect angle that compliments the property is. In case you are intending to click the skyline at night it is a great idea to set the buildings between you and also direct sunlight. You need to have a wise idea of methods the reflections from the building would look. There are some amazing photographs with all the shadow play from the building. You need to even be adept in obtaining the correct images in every single weather.
Today’s architectural photographer continues to be carrying a lot more plenty of gear to their shoots yet it is much simpler when all your equipment is neatly packed in your cargo van. Inside an architectural photographer’s van you will find a personal computer, extension cords, halogen lights, gobos, gaffer tape, light stands, halogen bulbs and a digicam. The exception here is whether you choose to shoot a 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 an electronic environment.
Amazing results are at your fingertips because of this digital environment. You happen to be no more exposed to 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. Which you now drop onto your desktop computer, adjusting files and parameters composing a mofpbm image from 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 set up fifteen halogen lights, a Hasselblad camera with digital back and our computer. We had extension cords coming from every light socket possible. Just before sunset somewhat of a breeze kicked up. Adding sandbags we quickly secured taller lights. 10 mins later equally as we were about to shoot, it began to rain. As it started, we ran around unplugging all the cords then grabbing light stands, dropping the halogens and moving them in to the garage. By the time we had moved them all we had been soaked and half the light bulbs had popped. Unfortunately for people this shoot must be canceled. But as Ann Landers once wrote, “Nobody says you must laugh, but a sense of humor can help you overlook the unattractive, tolerate the unpleasant, deal with the unexpected, and smile through the day.”