Architectural photographers for many years have lugged heavy bags and cases full of equipment worldwide. 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 sizable tripod, light stands, gobos, gaffer tape, gels, flares and reflector cards. This was a rare type of Interior Photographer in London. They spent countless 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 needed for the right exposure.
Eventually, a film holder will be placed in the shoot as they lifted the A-slide revealing the film to the inner belly of the 4×5 camera. A press from the plunger cord opened the aperture to its 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 second sheet of film. Repeating as necessary up until you felt you experienced the shot. Before moving your camera gear to the next location to set it all up again and fire off a few sheets of film.
Fast-forward 200 years into the digital era of photography and you will definitely find a new type of architectural photographer. No longer strapped to a film case as well as 2 sheets. Will no longer strapped as a result of an eye-loop beneath a dark cloth, architectural photographers are starting to devise new strategies using software interfaces. These are no longer with no darkroom as the digital darkroom as a laptop computer may be with you during every shoot.
The first aspect to be taken into account not just in architectural photography is the light. Lights can perform magic by working on the shadows and the texture in the building. Bringing in the best contrast is what the photographer aims to function at. Remember you are made to accentuate those features of your building that are going to ensure it is look magnificent. Deciding on the best lens is very important. You will need to judge whether or not the building would look best in a fish’s eye lens or a panoramic view. Considering how it is sometimes hard to get a complete building in a lens, it might be an important decision to select the right lens. In case you are taking a shot in the interiors of a building ensure the white balance is established right.
It is crucial which you have a good idea in which geometric shapes are complimented where weather. Your main task is to obtain the appearance of the property right. For this you should break your building up mentally and see which the perfect angle that compliments the building is. In case you are likely to click on the skyline at nighttime it is a good idea to set the buildings between you together with sunlight. You must have a good idea of methods the reflections from the building would look. There are a few amazing photographs with the shadow play in the building. You need to even be adept to get the correct images in every weather.
Today’s architectural photographer remains carrying much more tons of gear for their shoots but it is easier when all of your devices are neatly packed inside 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 along with a digital camera. The exception here is whether you choose to shoot a high-end Digital SLR, a medium format camera with digital back or even a converted 4×5 field camera with digital back. Now you have the effectiveness of an electronic digital environment.
Amazing outcomes are close at hand due to this digital environment. You might be no more subjected to 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 desktop computer, adjusting files and parameters composing a mofpbm image out of fifty or perhaps a hundred layers to produce a magnificent composite image your client will marvel over. And rehire you, again and again.
One important thing every architectural photographer always says is prepare for the unexpected. On 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. Prior to sunset somewhat of a breeze kicked up. Adding sandbags we quickly secured taller lights. Ten minutes later just as we were getting ready 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 to the garage. When we had moved all of them we had been soaked and half the light bulbs had popped. Unfortunately for us this shoot must be canceled. But as Ann Landers once wrote, “Nobody says you must laugh, but a sense of humor may help you neglect the unattractive, tolerate the unpleasant, manage the unexpected, and smile with the day.”