Architectural photographers for many years 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 a variety of lens boards. Inside duffel bags a large tripod, light stands, gobos, gaffer tape, gels, flares and reflector cards. This was a rare type of Interior Photography 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 necessary for the right exposure.
Eventually, a film holder would be placed in the shoot because they lifted the A-slide revealing the film for the inner belly in the 4×5 camera. A press from 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 second sheet of film. Repeating as necessary until you felt you had the shot. Before moving your camera gear to another spot to set it all up again and fire off a couple of sheets of film.
Fast-forward 200 years to the digital era of photography and you will find a new breed 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 beginning to devise new strategies using software interfaces. These are will no longer without a darkroom as the digital darkroom as a laptop computer can be on your side during every shoot.
The initial aspect to get considered not simply in architectural photography is definitely the light. Lights are capable of doing magic by working on the shadows and also the texture in the building. Bringing in the right contrast is exactly what the photographer aims to function at. Remember you are designed to accentuate those features of the property that will make it look magnificent. Deciding on the best lens is essential. You will have to judge if the building would look best in a fish’s eye lens or a panoramic view. Considering how it is usually hard to get an entire building in a lens, it might be an important decision to select the right lens. In case you are having a shot of the interiors of the building ensure the white balance is to establish right.
It is essential you have a wise idea in which geometric shapes are complimented by which weather. Your primary task is to get the look of the property right. With this you have to break your building up mentally and discover that the perfect angle that compliments your building is. In case you are intending to select the skyline during the night it is a good idea to set the buildings between you and also direct sunlight. You must have a great idea of how the reflections from the building would look. There are some amazing photographs using the shadow play in the building. You have to additionally be adept in obtaining the right images in every single weather.
Today’s architectural photographer continues to be carrying a lot more tons of gear with their shoots but it is much easier when all 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 camera. The exception is whether you want to shoot a very high-end Digital Camera, a medium format camera with digital back or a converted 4×5 field camera with digital back. You have the power of a digital environment.
Amazing effects are close at hand thanks to this digital environment. You might be will no longer subjected 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. That you simply now drop onto your desktop computer, adjusting files and parameters composing a mofpbm image away from fifty or a hundred layers to create a magnificent composite image your client will marvel over. And rehire you, repeatedly.
Something every architectural photographer always says is get ready 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 emerging from every light socket possible. Just before sunset somewhat of a breeze kicked up. Adding sandbags we quickly secured taller lights. 10 minutes later just like 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 were soaked and half the sunshine bulbs had popped. Unfortunately for us this shoot had to be canceled. But as Ann Landers once wrote, “Nobody says you must laugh, but feelings of humor will help you neglect the unattractive, tolerate the unpleasant, cope with the unexpected, and smile from the day.”