A Guide Book To
ARCHITECTURAL PHOTOGRAPHY
A Guide Book To
ARCHITECTURAL PHOTOGRAPHY
Shrinivas Shinde
Cover Design: Shrinivas Shinde Cover image: Courtesy of Shrinivas Shinde First Published in 2020 Copyright © 2020 by Shrinivas Shinde. The views and opinions expressed in the book are the author’s own and the facts are as reported by him which have been verified to the extent possible. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated, without the publisher’s prior consent, in any form of binging or cover other than that in which it is published. Email: shrinivasvshinde@gmail.com. Tel: +91 8087665648. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the author. Book design by Shrinivas Shinde
Printed in India
Content Acknowledgment Introduction 1. History of Photography
1.1
History of photography
1.2
History of architectural photography
2. Introduction to Camera and Lenses 2.1 Camera and lenses ( Theory and Practical)
2.2
Understanding different views
2.3
Introduction to perspective control in photography
3. Basic Things in Architectural Photography 3.1 Color theory
3.2
3.3 Composition
Design principle
3.4 Lighting
3.5
Architects Vision & it’s representation in photograph
4. Architectural Photography In Practice
4.1
Outdoor Architectural Photography
4.2
Indoor Architectural Photography
4.3
Humans in Architectural Photography
4.4
Documentation of different stages of construction
4.5
Editing Architectural Photographs
5. Theory Of Photography
5.1
Writing about photograph
5.2
Criticism in photography
5.3
Introduction to holistic approach in architectural photography
6.
Advance Approaches In Architectural Photography
6.1
6.2 Photogrammetry
6.3
Fine art architectural photography
6.4
Doing architectural photography with smart phone
Aerial architectural photography
References and Bibliography
List of Images Used
List of Graphics Used
Bibliography
ACKNOWLEDGMENT
I would like to express my special thanks of gratitude to my guide Prof. Aman Xaxa, who have helped me every way possible even on sundays,. Without his support and guidance this project was not possible to complete. Special acknowledgment to our Design Department Faculties of SPA Bhopal, Prof. Saurabh Tewari, Dr. Shanu Sharma and Dr. Sukanta Majumdar who gave me the golden opportunity to do this wonderful project on the topic, “A Guide To Architectural Photography”, which also helped me in doing a lot of Research and I came to know about so many new things I am really thankful to them. Secondly I would also like to thank my friends, batch mates and people who have participated in my research work directly indirectly who helped me a lot in finalizing this project in every way possible. This acknowledgment would be incomplete without mentioning two important names Dr.Maniyarasan Rajendran and Mr. Regan R; without their practical guidance this task was near to impossible. Last but not the list my friend Pranjali Mathure who gave me her photography work to present my concepts clearly and effectively.
INTRODUCTION
If you are reading this then I’m assuming that you have somewhat interest in capturing structures through photography. Well, architectural photography is one of the special genres in photography because of its technical detailing and the way of looking at it since its inception. I have tried deconstructing the complexity of this genre so that any enthusiast can learn it from scratch. Consider “A GACuide to Architecturaal Photography”as a toolkit for all learners. This syllabus is a well-researched framework to learn, understand, and implement architectural photography where ever is required. “Photographs, they clarify and mystify. The joy of photography lies in its infinite possibilities. Viewing, discussing and creating images can be passage to a self discovery that enhances self esteem.”
- Cynthia Way: Focus on photography
This guide follows philosophy of group learning and photography can be learned better by understanding each others critical comments. This syllabus is divided into 6 module system and after every step, the learner has to finish his assignment. There is no marking system in this syllabus only complete and incomplete grade is there, but here is a twist your assignments will be evaluated by your subordinates. Every module is designed in such a way that learners can understand different aspects of architectural photography, hence at the end, he/ she can consider all the aspects as one and there will be some foundation of the Holistic approach in architectural photography. The takeaway from this syllabus would be, you will have enough knowledge about architectural photography, its different domains, and fair understanding of how to shoot a structure with available equipment in the best possible way. Shrinivas Shinde
MODULE
01
HISTORY OF PHOTOGRAPHY
Subsections
Objectives
Learnings
•
History of photography
•
•
•
History of architectural photography
Student must know history of photography and camera revolution story, its historical importance.
Student must know why this technology exists and how it has survived through out years and trends followed till now.
•
First architectural photograph, how different marvelous are captured, importance of architectural photographs and historical significance.
•
Important architectural photographs and structures, Important event where architectural photography played important role, how it gain importance and its todays position in market.
History of Photography Timeline
1545
Camera obscura : oldest image published in book De Radio Astronomica et Geometrica
1826
heliograph
18850-1880
Glass plate negatives
1850
1850s—Tintypes
1872
In motion captures
1881
Dry plate
1925
F/64 straight photography.
1944
The amphibious landing
1985
Chester Higgins contemporary photos
History of Architectural Photography Timeline
1st century AD
The history of architectural photography :beginning of the 19th century. 2D representations of a 3D object
17th century
Paintings of European Cityscapes
1827
Exposure of several hours and an asphalt-coated plate : The first photograph coincidentally, also the first architectural photograph
Fig. Mural in pompeii
1843
negative/positive principle made it possible to duplicate images once they had been captured
1932
negative/positive principle made it possible to duplicate images once they had been captured
2000’s
Compositional techniques such as deliberate exaggeration, emphasis and omission, or simplification and distortion can be used to influence specific effects to the point where the building itself becomes the photographer’s plaything
Recap
Demonstrative Example of how to compete assignment
Assignment Identify important event and structures from history multiple choice type questions and to recognize structures, events images from their lectures.
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MODULE
02
INTRODUCTION TO CAMERA AND LENSES
Subsections
Objectives
Learnings
•
Camera and lenses ( Theory and Practical)
•
•
•
Understanding different views
Identifying different camera settings and their effect on photograph.
•
Introduction to perspective control in photography
•
Hands on training with camera setting with available camera.
•
Introduction different views such as birds eye view, bug eye view, bat view, eye level, miniature view, etc. and when to use them.
•
Understanding of distortion control, effect of focal length on distortion, how to select lens, Tilt shift lens, their use.
Student must be able to understand their camera and basic aspects required to capture a photograph (exposure triangle).
•
Practical demonstration of available camera and lenses, their use.
•
Student should be able to relate and use different views to capture photographs of subject.
•
Introduction to different lens phenomenon and their effect on photograph, when to use it or how to avoid/ remove it.
2.1Camera and lenses
First and foremost, I would like to stress that you don’t need a lot of equipment to take high-quality architectural photos. A good photographer can make fascinating photos with the simplest of cameras, while less talented people are unable to produce quality images using even the most elaborate and expensive gear. Expensive equipment is not the key to successful architectural photos—the crucial factor is always the person behind the camera. The camera is only a tool used to help you realize a photographic idea. The photographer Andreas Feininger once said, “The fact that a (in the traditional sense) technically deficient photograph can have greater emotional impact than a technically flawless picture probably comes as a shock to those who are naive enough to believe that technical excellence alone is a measure of a value of a photograph.” The Camera A camera has been the photographer’s primary tool for more than 150 years. This device is designed to depict everything within a certain angle of view in threedimensional space and to capture it for posterity in two dimensions. Different types of cameras are suitable for different types of photography, and certain functions
and capabilities determine whether a particular camera is suited to the field of architectural photography. Digital Compacts and Bridge Cameras -- Simple, light weight and easy to carry. Lumix Bridge Camera
Canon Pocket Camera
-- Simple to you aka Beginners camera -- Lens is fixed and zoom feature is usually electronically controlled. -- Small sensor size has extremely packed pixels which reduces the dynamic range and increases the background noise in the resulting images.
Four Thirds, APS-C, and DX DSLRs -- Interchangeable lens ability Lumix Four third Camera
Canon APS C DSLR
-- Precise control over different camera settings. -- Bigger sensor size than digital camera hence, good dynamic range and image quality. -- Ability to capture images in extremely low light atmosphere. -- Able to capture images in RAW format, better control over images in post production.
Mirrorless Camera -- Smaller and lighter than DSLRs Sony Alpha 7III
-- Generally they’re less expensive -- Better video quality thanks to better live view autofocus and entry-level mirrorless models more often support 4K Medium Format Camera -- Smaller and lighter than DSLRs -- Generally they’re less expensive
Phase one
-- Better video quality thanks to better live view autofocus and entry-level mirrorless models more often support 4K
Camera Lenses
Fisheye lenses
Ultrawide Lens
Ultrawide Lens
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MODULE
03
BASIC THINGS IN ARCHITECTURAL PHOTOGRAPHY
Subsections
Objectives
Learnings
•
Color theory
•
•
•
Design principle
Student must be able to relate their learning of color theory while crafting photographs
•
Composition
•
•
Lighting
•
Use design principles while creating photographs.
•
Architects Vision & it’s representation in photograph
Student must be able to reproduce design principle from their learning into photography.
Understanding context in photograph by observing colors, light tones, composition and different layouts.
•
Basic composition rules such as rule of third, golden ratio, different grids, etc.
•
Understanding architects perception through structure and how it can be reproduced in 2D medium like photograph.
•
Different composition and layouts in photography their meaning and purpose according to context.
•
Different lighting conditions and choosing suitable light scheme for your photograph.
•
Student should understand what architects is trying convey through this structure and how photograph can reflect as similar as possible.
Color Theory
3.1 Color Theory
Fig. 3.2 Color Wheel As photographers, we have a lot of tools available to us: compositional rules, lighting knowledge, the exposure triangle, and so on. Color is just another one of those tools. While it can be an intimidating element to a photographer, color can help solidify a voice. Knowing and understanding color theory — the way painters, designers, and artists of all trades do — a photographer can utilize color to their benefit. You may already be aware of the concept of additive and subtractive color (RGB vs. RYB), which is something we will touch upon in the next post in this series. For the sake of this article, we will be talking in generics about color theory and are focusing on Red Yellow Blue (RYB).
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3.1.1 Order In Color “Now, how do the orders of colors help a photographer? Well, by knowing the three orders, we can make decisions about which colors we want to show in frame.” In this section we will explore how to effectively make those decisions to achieve the final look you are aiming for, but before then, lets look at some examples of the three orders in actual photographs. 12 | A Guidebook To Architectural Photography
PRIMARY COLORS Fig. 3.3 primary colors do not distract the eye from the subject. By using strong primary reds and blues, the subject is clear to the viewer.
SECONDARY COLORS Fig. 3.4 Strong secondary colors often add interest and can easily become a subject on their own.
TERTIARY COLORS Fig. 3.5 Tertiary colors are often used to create visual interest and make for other-worldly vibes. 2019MDES015: P2 | 13
3.1.2 Color Schemes When you decorate a house, you choose the color of the walls to go with the furniture, wall hangings, curtains, and so on. You’re essentially creating a color scheme. We do the same thing when we set up a shot. When being intentional with the color in your images, scheme absolutely comes into play. Three of the most popular color schemes are complimentary, analogous, and monochrome. 14 | A Guidebook To Architectural Photography
COMPLEMENTARY
Fig. 3.6 Complementary Colors on Color Wheel
Fig. 3.6 Simply put, complementary colors are the ones which sit completely opposite one another on the color wheel, and they, complement one another. Note how our attention is not being fought for by strong colors, but rather the colors create balance. Below you will see a few images which utilize complementary colors. Note how our attention is not being fought for by strong colors, but rather the colors create balance.
Fig. 3.7 Complementary Color example 1
Fig. 3.8 Complementary Color example 2 2019MDES015: P2 | 15
ANALOGOUS
Fig. 3.9 Analogues Colors on Color Wheel
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Fig. 3.9 Colors which sit next to each other on the color wheel and share similar colors are known as analogous colors. They will have one dominant color in common, most often a primary color, but can also be a secondary or tertiary. Analogous colors are often found in nature
MONOCHROME
Fig. 3.12 Monochrome Colors on Color Wheel
While you may be familiar with monochrome referring to black and white, it actually refers to anything which uses solely one color value. Those images you see where there is overwhelmingly one color present are monochrome, for all intents and purposes. We see this technique often in those hazy sunrise/set shots.
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Recap To recap, we went over are three orders of colors (primary, secondary, and tertiary) and three popular color schemes (complementary, analogous, and monochrome). When you have a good grasp of these basic aspects of color theory, you’re off to a good start and can work to manipulate a scene to create the desired ambiance in your shots.
For example this is how it should be done.
Assignment. Create color palette try to learn about its mood and color scheme. Writes 10 to 15 #hashtags by observing the photographs shared with you. (10 Images) (You can go as wild as you can with your creativity)
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Color Scheme Observed:- Analogues Mood:- Sunny Day, Morning, Sun kissed, Chaotic, Heritage, Red fort, vacation, Summer season, Protected, Conservation, Selfietime, People.
Leading Lines Scale Emphasis Repetition Symmetry
Perspective
Design Single Point Harmony
Proportion
Pattern
Rhythm
Hierarchy
Eye moment
Design Principles
3.2 Design Principles
1 point
2 point
Perspective
Symmetry
Rhythm
Hierarchy
Scale
Emphasis
The elements of art and design are the tools of visual artists. The principles of art and design represent how an artist uses these tools to create visual art. By applying these principles of art and design, photographers can create a cohesive image grounded in the foundations of art theory. Let’s take a closer look at few of the principle. Please note, its not necessary that one photo will have only one design principle, their is always a possibility that one photograph can have multiple design principles. You can further explore these principle through photography. 20 | A Guidebook To Architectural Photography
2 point
Observe how perspective is used effectively to show the space. In both of the picture basic rule is followed upto some point then its molded according to requirement
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Perspective
1 point
see in single point perspective image leading lines are curvilinear; where as in 2 point perspective there is combination of both single point and two point perspective. Simultaneously harmony is maintained and consideration of greenery adds visual balance to it.
Scale
Structure, Car and Dog we easily understand what proportion of each and everything subject just by looking at an image.
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Rhythm
You can observe the arrangement of bungalows in specific way and then there is harmony in color also. It follows Analogs color scheme.
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Emphasis
In the composition temple and shadow has the most significance and we can say that photographer wants to emphasizing on central portion of the image.
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Hierarchy
Hierarchy will make you shoot and deliver your subject matter effectively to your viewers. Your visual images would have the power to communicate on what is the first to look at even without saying a word. It is the order of things on how some content should be viewed first, some second, some third, and on down the line.
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Symmetry
Taj Mahal has symmetry but witnessing its symmetry with its shadows is really mesmerizing experience. You can observes direction of shadows is approximately similar to each other.
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Recap To recap, we went over six different design principles Perspective, Rhythm, Scale, Emphasis, Harmony and Symmetry. There are many more principles of design which you can explore on your own through photography of different structures. These principles helps you to extract architects design intention in that specific design.
For example this is how it should be done.
Assignment. Roam around a single structure and try to capture different image which will showcase different design principles. (10 Images)
Design Principles Used:Symmetry, Emphasis, Harmony, Contrast
(You can show as many as possible principles in a single image) 2019MDES015: P2 | 27
Composition
3.3 Composition
Frame Within Frame
Centered Composition
Rule of Third
Golden Triangles
Golden Ratio
Negative Space
There are no unbreakable rules when it comes to how you should compose your photographs. After all, who likes rules, right? There are however, several guidelines you can use to help improve the composition of your photos. In this section, I’ve listed few of these guidelines along with examples of each. I’ve mentioned widely used ones and your welcomed to explore advanced composition techniques. So, Composition refers to the way the various elements in a scene are arranged within the frame. Its always good to have one or more of these guidelines in the back of your mind . 2019MDES015: P2 | 29
Frame Within Frame Here door is acting as frame and other frames are also supporting the segment of frame within frame.
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Rule of Third Structure of St. Mary is arranged in a such a way that its at one of four junction point of grid and its offset from center of frame. Having Silhouette of church is giving more emphasis on Marble sculpture.
Golden Ratio
Centered Composition
This is from interior of an studio apartment based in mumbai, the composition is in such way that it follow the golden ratio. This was achieved by arranging wine bottles trey at specific position.
Stairs from Kodaikanal view point. This is centered composition with leading lines directing upwards and movement in clouds add up drama in it.
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Golden Triangles Instead of straight lines, a series of diagonal lines that form right-angle triangles act as a composition guide. The main subject of the photo should sit on the intersection of these triangles. 32 | A Guidebook To Architectural Photography
Negative Space Negative space is the area surrounding the main subject in a photograph which is left unoccupied. Negative and positive space can communicate the composition of your photograph.
Recap To recap, we went over six different compositions Frame within frame, Rule of third, Golden ratio, Centered composition, Golden triangles, Negative Space. There are many more composition you can find, which you can explore on your own through photography of different structures. These Composition helps you to frame your structures in wisely in a frame.
For example this is how it should be done.
Assignment. De-constructing images on the basis of composition theory 10 images will be provided
Composition Observed:- Golden Triangle
(You can show as many as possible composition in a single image)
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Lighting
3.4 Lighting
Natural Light
Ambient Light
Combined Lighting
For architectural works, proficiency in basic light painting is essential as it directs the viewers’ attention. The way you control and play with lighting, amongst other techniques, will elevate photos with more depth and realistic dimensions. Lighting for architectural photography, as well as for interior photography, can be very demanding. The light defines the space or structure of the building. Lighting for interiors is much more controllable than for exteriors; however, in both situations, the architectural photographer must be able to take control–even when dealing with the sun.
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Sunlight is essential when photographing architectural exteriors, and the architectural photographer must be able to “control” the light at all times. This is a challenge because the only light source he or she has to work with is the sun. However, one must control that which he or she can control in order to 36 | A Guidebook To Architectural Photography
produce the strongest architectural photograph possible. These controllable elements are the time of year, type of day, time of day, and quality of light. The clarity of the light, the type of sky, the direction of the sun and the quality of the
light (hard or diffused) are all critical factors when photographing architecture and must be given serious consideration. Directional light is always important when photographing architecture. So it stands to reason that one must wait for the best conditions to photograph. the best light is within a time frame of a few hours after sunrise or a few hours before sunset (as long as the orientation of the building allows for it). The golden hour light–just after sunrise or just before sunset–is even better because the sun’s low angle adds warmth, mood, and drama to the photograph with long, deep shadows
This photo has directional light of sunlight at golden hour. You can observe how shadows of the vertical bar are creating drama in the image.
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Lighting defines a space, but it also defines moods — setting the tone, telling a story, illuminating the most important features. Within photography as a whole, lighting is probably the most important aesthetic trait, as it defines everything else within the frame. So when playing with lighting to tell the story of an interior, these same ideas need to come into play. Not just interior but for struc38 | A Guidebook To Architectural Photography
tures which has lot of glass element, in that case illuminating structure from interiors and capturing it from outside adds up significant value to it. Hence use of Combined lighting helps in this case where ambient light of interiors is supported by natural light, either to improve brightness in interior or creating more contrast if we see structure from outside.
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Recap To recap, we saw how natural light plays important role while capturing exterior of structure. But in case of interiors, most of the time we have rely on ambient light. To create more drama and brighter tone we can use combined lighting while capturing both interior or exterior of structure.
For example this is how it should be done.
Assignment. Capture structure in different natural lighting, ambient lighting, combined lighting condition.
Interior of room:- Combined Lighting
(You can capture exterior and interior of structure(15 images in total, 5 images per lighting condition) 2019MDES015: P2 | 41
Architects Vision And Its Representation
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Different Ways of Seeing Architects Perception
the fields it important to understand how both professionals thinks. When you become architectural photographer with background in architecture, you would have found that golden line between both profession which smoothen the process of photography.
•
An architect designs and forms three dimensional spaces.
•
An architect views a concept and a design as a constant that lasts over time
•
Architects like to see photos that contain a maximum of visual information and The fact is, every architectural photo represents that convey the dimensional and tactile effects of the structure in a pure, unadul- an interpretation that can, from an architect’s terated fashion. point of view, endanger the authenticity and informational nature of a building’s appearance.
Photographers perception • •
•
This contradiction makes it especially difficult
for an architectural photographer to satisfy both Photographer is concerned with only two parties with a single photo. dimensions. A photographer is more concerned with the interplay of light and shade and the subjective effect of a building’s design at one particular moment. A photographer’s interpretation can use framing and composition to produce a very different impression of the same building—an impression that can be seen by the architect to have a negative effect on the informational nature of the image.
Architectural Photography: Composition, Capture, and Digital Image Processing (2015) by Adrian Schulz
The needs and desires of photographers and architects unavoidably collide in the world of architectural photography. Although both professions qualify as arts, architects and photographers tend to see things very differently. As an student of architecture,you are taking this course because you have interest in both 2019MDES015: P2 | 45
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Learning To See •
One useful approach is to visit an area with a variety of architectural subjects on a number of occasions, and don’t be afraid to use up all of your available memory capacity if you are shooting digitally.
•
Sorting and judging your images helps you to learn what you can do differently next time.
•
Revisiting a particular place also helps you to learn its strengths and weaknesses, and gives you the wherewithal to find new views and perspectives.
•
This way, you are constantly honing your photographic skills and improving the quality of your images.
•
Another way to sharpen your eye is to shoot a couple of overview shots of a subject and analyze them later. In this case, considering which parts of a subject would make an interesting photo if they were to be isolated or enhanced gives you a better eye for the potential subjects within a broadly-composed image.
•
You can also use image-processing software to perform experimental crops and to try out various ways of framing a scene.
•
Another way to come to grips with the genre is to analyze coffee-table books of architectural photos.
•
Ask yourself what is special about how the photographer has portrayed a building, or how the image is composed. Consider why the angle of view chosen by the artist works and try to identify why you prefer certain images to others.
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Photographing Buildings: A Brief Guide
Step 01 Understand •
Once you have chosen your subject, you need to analyze the situation and its specific characteristics:
•
Which side of the building is best suited to being photographed?
•
Where are shadows or back light positioned?
•
What is the weather like?
•
What other structures characterize the surroundings?
•
What specific physical structures does the building have?
•
Are there any interesting (or irritating) reflections?
•
How do you want to portray the building?
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Step 02 Detailed analysis of your subject’s surroundings: • Which camera angle best emphasizes the building’s strengths? • Which camera positions will deliver great shots and which are less suitable?
Step 03 Selecting your camera settings and the accessories you will use to make the shot
• Which elements of the building’s surroundings should you include in your shot, and which should you • Which accessories (tripod, filter, remote release, etc.) do you need? leave out? • Do you want to shoot in landscape • Which focal length lens is best for capturing your chosen or portrait format? composition? • How do you want to compose your image? With the subject in the center? Using the Golden Ratio? Or with the subject positioned toward the edge of the frame? • How will you avoid converging verticals? • Which camera settings will produce a balanced exposure? • What is the right moment to release the shutter? Which people, cars, or shadows are you waiting for?
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Recap To recap, we saw different perception of and steps involved in capturing the structure. We saw eye training exercise to enhance our architectural photography sense.
Assignment for Self learning. Follow the mention step and capture different images of 2 structures near your residence. For eye training exercise you can go through library’s collection of architectural photography.
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For example this is how it should be done.
MODULE
04
ARCHITECTURAL PHOTOGRAPHY IN PRACTICE
Subsections
Objectives
Learnings
•
Outdoor Architectural Photography
•
•
•
Indoor Architectural Photography
Creating awareness why documentation of different stages is important and how it can help architect.
Documentation of different aspects of construction site to its final finish form.
•
•
Essential differences, preparation, and detailing required in indoor and outdoor photography.
Different components, limits, pros and cons of Indoor and Outdoor photography of structure.
•
•
When to use humans in architectural photography and when to avoid it.
How humans in photograph affect the overall photograph, its relevance to architectural photography.
•
Introduction to photoshop and essential tools required to edit architectural photograph
•
Raw editing, color correction, perspective grids and distortion control in Photoshop.
•
Humans in Architectural Photography
•
Documentation of different stages of construction
•
Editing Architectural Photographs
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MODULE
05
THEORY OF PHOTOGRAPHY
Subsections
Objectives
Learnings
•
Writing about photograph
•
•
•
Criticism in photography
Creative writing as well as inspiration base writing about photographs
Student must be able to write about their own photographs
•
Introduction to holistic approach in architectural photography
•
•
Understanding mechanism of criticism
How criticism is given and taken, how it can be used to improve yourself in better-way.
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MODULE
06
THEORY OF PHOTOGRAPHY
Subsections
Objectives
Learnings
•
Aerial architectural photography
•
Learnings
•
Photogrammetry
•
Fine art architectural photography
•
Doing architectural photography with smart phone
Exposure to different approaches and genres of architectural photography.
•
Thinking architectural photography as a process not as images of finished structures.
•
Understanding different genre and how they can be incorporated in our project as per need.
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REFERENCES AND BIBLIOGRAPHY
•
List of Images used
•
List of Graphics used
•
Bibliography
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Index of Images PG. No.
Author
Description
Reference
06
Shrinivas Shinde
Indoor of house
Self Created Content
09
Chelsa London
Street, golden hour light and silhouette all three images
Magazine, Pixel. “Color Theory for Photographers: An Introduction.” Medium, Medium, 6 Feb. 2018, medium.com/@pixelmagazine/color-theory-for-photographers-an-introduction-ae23296fda6d.
11
Chelsa London
Reflection of Eiffel Tower on window glass
Magazine, Pixel. “Color Theory for Photographers: An Introduction.” Medium, Medium, 6 Feb. 2018, medium.com/@pixelmagazine/color-theory-for-photographers-an-introduction-ae23296fda6d.
12
Pranjali Mathure
Indoor of Room
Self Created Content
13
Shrinivas Shinde
Sunset and Gondeshwar Temple, Nashik
Self Created Content
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Shrinivas Shinde
Darbar e Aam Red fort,Delhi
Self Created Content
15
Shrinivas Shinde
Stair Case
Self Created Content
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Shrinivas Shinde
Buildings of SPAB
Self Created Content
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Shrinivas Shinde
Faculty Residance SPAB
Self Created Content
19
Shrinivas Shinde
Buildings of SPAB
Self Created Content
20
Shrinivas Shinde
Gondeshwar Temple, Nashik
Self Created Content
21
Adrian Schulz
Building and Navigation board
Schulz, Adrian. Architectural Photography: Composition, Capture, and Digital Image Processing. Rocky Nook, 2009.(PG 57) 2019MDES015: P2 | 59
Index of Images PG. No.
Author
Shrinivas Shinde
Description
Taj Mahal
22
Reference Self Created Content
23
Shrinivas Shinde
Chamundeshwari Temple, Karnataka
Self Created Content
24
Shrinivas Shinde
Taj Mahal
Self Created Content
Shrinivas Shinde
Kabar, St. Mary Statue
Self Created Content
27
Pranjali Mathure
The bar
Self Created Content
27
Shrinivas Shinde
View point,Kodaikanal
Self Created Content
28,29
Shrinivas Shinde
Laxmi VIlas Palace, Stair case, clouds n building
Self Created Content
30
Paul Schlismann
Skyskripper
“Sun and Lighting for Architectural Photography.” PictureCorrect, www.picturecorrect.com/tips/ sun-and-lighting-for-architectural-photography/.
31
Paul Schlismann
Church & Golden hour
“Sun and Lighting for Architectural Photography.” PictureCorrect, www.picturecorrect.com/tips/ sun-and-lighting-for-architectural-photography/.
32
Pranjali Mathure
Shadows in interior
Self Created Content
34
Adrian Schulz
Building in Combined Lighting
Schulz, Adrian. Architectural Photography: Composition, Capture, and Digital Image Processing. Rocky Nook, 2009.
35
David P Hakimi
The Corner of textured wall
“Getting The Best Lighting for Architectural Interior Photography.” Language of Light 3 Nov. 2017, www. alconlighting.com/blog/learning-lab/ getting-best-lighting-architectural-interior-photography/.
26
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List of Images Used PG. No.
Author
Description
Reference
35
Adrian Schulz
Windows and Dining Table inside room
Schulz, Adrian. Architectural Photography: Composition, Capture, and Digital Image Processing. Rocky Nook, 2009.
36
Shrinivas Shinde
SPAB Hostel
Self Created Content
37
Pranjali Mathure
Curtain and ambient light
Self Created Content
38
Faiyaz Hawawala
Banquet Hall
“N2K Greens Banquet, Dehradun “, https://www.behance. net/gallery/99929923/ N2K-Greens-Banquet-Dehradun?tracking_source=search_projects_published_date%7Carchitectural%20photography
39
Adrian Schulz
The museum exterior
Schulz, Adrian. Architectural Photography: Composition, Capture, and Digital Image Processing. Rocky Nook, 2009.
40,42,43,44
Adrian Schulz
The museum exterior
Schulz, Adrian. Architectural Photography: Composition, Capture, and Digital Image Processing. Rocky Nook, 2009.
Shrinivas Shinde
SPAB Hostel
Self Created Content
46
2019MDES015: P2 | 61
List of Graphics Used Fig. No. 3.2 3.6 3.9
Name of Fig. Color Wheel showing all Primary, Complementary and Tertiary Colors
3.12
62 | A Guidebook To Architectural Photography
Reference Magazine, Pixel. “Color Theory for Photographers: An Introduction.” Medium, Medium, 6 Feb. 2018, medium.com/@pixelmagazine/color-theory-for-photographers-an-introduction-ae23296fda6d.
PG. No. 07 11 12 13
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cil of Architecture. Vol. 110003. https://www.coa.gov.in/index1. php?lang=1&level=2&sublinkid=117&lid=130. 15. Schulz, Adrian. 2015. Architectural Photography. Architectural Photography Composition, Capture, and Digital Image Processing. Vol. 28. https://doi.org/10.1080/03087298.2004.10441347. 16. Tok, Selay Yurtkuran, Ian Kaplan, and Yavuz Taneli. 2010. “Photography in Architectural Education: A Tool for Assessing Social Aspects of the Built Environment.” Procedia - Social and Behavioral Sciences 2 (2): 2583–88. https://doi.org/10.1016/j.sbspro.2010.03.377. 17. Way, Cynthia. 2006. Focus on Photography A Curriculum Guide. Multicultural Education.
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