Architectural photographers for years have lugged heavy bags and cases full of equipment all over the world. 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 Interior Design Photography. 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 correct exposure.
Eventually, a film holder would 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 in the plunger cord opened the aperture to the precise coordinates letting light gradually fall throughout 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 2nd sheet of film. Repeating as necessary before you felt you experienced the shot. Before moving your camera gear to another spot to set it all up again and fire off several sheets of film.
Fast-forward 200 years into the digital era of photography and you will find a new type of architectural photographer. No longer strapped to your film case as well as 2 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 are no more without a darkroom as your digital darkroom by means of a laptop computer could be on your side during every shoot.
The initial aspect to become taken into account not only in architectural photography is the light. Lights can do magic by working on the shadows as well as the texture from the building. Attracting the correct contrast is what the photographer aims to function at. Remember you are meant to accentuate those features of your building that will ensure it is look magnificent. Deciding on the best lens is essential. You will have to judge whether or not the building would look best in a fish’s eye lens or a panoramic view. Considering how it is usually difficult to get an entire building in a lens, it would be an essential decision to select the right lens. Should you be taking a shot of the interiors of any building ensure the white balance is to establish right.
It is essential which you have a great idea in which geometric shapes are complimented in which weather. Your main task is to obtain the appearance of the property right. For this particular you have to break your building up mentally and see in which the perfect angle that compliments your building is. Should you be planning to click on the skyline at nighttime it may be beneficial to set the buildings between you together with the sun. You have to have a good idea of methods the reflections from the building would look. There are several amazing photographs using the shadow play of the building. You must additionally be adept in obtaining the right images in each and every weather.
Today’s architectural photographer is still carrying a lot more loads of gear for their shoots but it is easier when your devices 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 as well as a digital 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 now have the power of an electronic digital environment.
Amazing effects are close at hand thanks to 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. Which you now drop onto your desktop 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, again and again.
Something every architectural photographer always says is plan for the unexpected. On the clear Arizonian evening we set up fifteen halogen lights, a Hasselblad camera with digital back and our computer. We had extension cords coming out of every light socket possible. Right before sunset a bit of a breeze kicked up. Adding sandbags we quickly secured taller lights. 10 mins later just as we were about to shoot, it started to rain. Because it started, we ran around unplugging all of the cords then grabbing light stands, dropping the halogens and moving them in to the garage. By the time we had moved all of them we had been soaked and half the light bulbs had popped. Unfortunately for all of us this shoot had to be canceled. But as Ann Landers once wrote, “Nobody says you must laugh, but a feeling of humor will help you disregard the unattractive, tolerate the unpleasant, deal with the unexpected, and smile with the day.”