Architectural photographers for 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 Architecture Photographer in London. 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. They were forever meticulous down to the millisecond of natural light necessary for the right exposure.
Eventually, a film holder could be placed in the shoot as they lifted the A-slide revealing the film for 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 off. 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 spot to set it up all up again and fire off a few sheets of film.
Fast-forward 200 years into the digital era of photography and you will get a new type of architectural photographer. Will no longer strapped to some film case as well as 2 sheets. Will no longer strapped down to an eye-loop beneath a dark cloth, architectural photographers are beginning to devise new strategies using software interfaces. They are no more without having a darkroom when your digital darkroom in the form of a laptop computer could be by your side during every shoot.
The initial aspect to get considered not simply in architectural photography is the light. Lights are capable of doing magic by working on the shadows and the texture of the building. Attracting the best contrast is exactly what the photographer aims to function at. Remember you are meant to accentuate those highlights of your building that will ensure it is look magnificent. Selecting the best lens is essential. You should 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 whole building in a lens, it might be an essential decision to choose the right lens. Should you be getting a shot from the interiors of a building ensure that the white balance is to establish right.
It is essential that you have a great idea of which geometric shapes are complimented in which weather. Your main task is to buy the appearance of the building right. For this you have to break your building up mentally and find out in which the perfect angle that compliments your building is. In case you are likely to click on the skyline during the night it may be beneficial to put the buildings between you together with sunlight. You need to have a good idea of methods the reflections in the building would look. There are several amazing photographs with the shadow play in the building. You need to also be adept in obtaining the right images in each and every weather.
Today’s architectural photographer remains carrying a lot more loads of gear for their shoots but it is much simpler when your equipment is neatly packed in 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 and a digicam. The exception the following is whether you decide to shoot a very high-end Digital SLR, a medium format camera with digital back or perhaps a converted 4×5 field camera with digital back. You now have the strength of an electronic digital environment.
Amazing results are when you need it because of this digital environment. You are no more subjected to weather because you can shoot using halogen lights at anytime during the day, evening or night. Your image capture holds everything on the high-resolution digital file. That you simply now drop onto your desktop computer, adjusting files and parameters composing a mofpbm image out of fifty or perhaps a hundred layers to create a magnificent composite image your client will marvel over. And rehire you, over and over.
Something every architectural photographer always says is get ready 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 just as we were getting ready to shoot, it begun 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 every one of them we were soaked and half the lighting bulbs had popped. Unfortunately for us this shoot had to be canceled. But as Ann Landers once wrote, “Nobody says you have to laugh, but a feeling of humor will help you neglect the unattractive, tolerate the unpleasant, deal with the unexpected, and smile with the day.”