Architectural Photography
By
HelĂŠne Smit 2013
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Content Page Page number
Content
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Abstract
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Acknowledgements
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List of Plates
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Chapter 1: History and background of architectural photography 1.1
Introduction
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1.2
History
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1.3
The role of the Industrial Revolution in the evolution of architecture
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1.4
Current architectural photography
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1.5
The architectural photography market and the photographer’s job
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1.6
Summary
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Chapter 2: The architectural photography environment 2.1
Introduction
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2.2
Location and weather
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2.3
Lighting
2.3.1 Ambient Lighting
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2.3.2 Artificial Lighting
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2.3.3 Painting with Light
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2.4
Camera angles, Viewpoint and Composition
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2.5
Summary
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Chapter 3: Specialized equipment in architectural photography 3.1
Introduction
3.2
Equipment
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3.2.1 Cameras
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3.2.2 Lenses
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3.2.3 Filters
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3.2.4 Tripods and Fitments
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3.2.5 Lights
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3.3
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Summary
Chapter 4: Discussion of photographer’s own work 4.1
Introduction
4.2
Photographer’s own work
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4.2.1 Image 1
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4.2.2 Image 2
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4.2.3 Image 3
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4.2.4 Image 4
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4.2.5 Image 5
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4.2.6 Image 6
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4.2.7 Image 7
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4.2.8 Image 8
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4.2.9 Image 9
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4.2.10 Image 10
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4.3
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Conclusion
Bibliography
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Abstract Light has many sources. The sun, moon, fire and electricity all light our world. Differing kinds of light cause us to see and respond in different ways. Light is constantly changing – from dawn to dusk, from season to season. Light reveals shape, surface and colour; it informs our individual perception of the world and provides us with a common language. Light is integral to architecture; it reveals beauty, function and form. It defines the image, colour and texture of buildings, cities and landscapes. It determines visual boundaries and our understanding of scale. The built environment is designed not only to provide light, but also to be experienced in light (Major, Speirs & Tischhauser 2005; 1).
In the following research, there will be looked at the role light plays in architectural photography. Light, as described in this sense, does not necessarily refer to any specific form of lighting. It can be ambient light, artificial light or just a reflection off another object. Different types of light have a different effect on every type of architecture – it affects the mood of a building and it also gives an idea of what the purpose of the building is, but at the same time, even the smallest change in lighting can change the entire perception of a building.
When architects design a building, they don’t just create a space where light is being provided for a working or living environment. They create something that has to be experienced in light itself. It is the photographer’s job to successfully convey this message. When the appropriate lighting, camera angles and viewpoints are used, the photographer can give life and meaning to any structure – from modern buildings to ruins.
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Acknowledgements I cannot express enough thanks to my lecturers for their continued support and encouragement. A special thanks to Ms Sylvia Duminy for her knowledge, words of wisdom and patience throughout the last three years. I would also like to thank Mr Jano Myburgh, Ms Leanri van Heerden and Mr Shaun Davies for their contribution toward my studies. I offer my sincere appreciation for the experience and learning opportunities provided by my lecturers.
The completion of this project could not have been accomplished without the love and support of my boyfriend, Renier Koen. Thank you for understanding me, those kind words of comfort and checking in every now and then to see if I’m making any progress. Thank you for always being willing to play the role of my assistant – whether you are driving me across country for photos or working the lights while I photograph. I appreciate the person you are and everything you do for me.
To my loving and supportive parents: my deepest gratitude. Your encouragement when times get rough are much appreciated and duly noted. Thank you for always being there to lend a helping hand when motivation is running low. Thank you for allowing me to do what makes me happy and what I truly love. The love you share and the hard work you put into everything you do, is an example for me.
Finally I would like to thank the Lord Almighty for blessing me with the talents to be a photographer and for making my heart realise what I want to pursue in life.
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List of Plates Image 1.1 View from the Window at Le Gras (Agonistica 2013: 1)
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Image 1.2 Pewter plate of the first photograph (Agonistica 2013: 1)
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Image 1.3 A Sea of Steps, Wells Cathedral (Lyden 2010: 1)
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Image 1.4 Second Bank of the United States (Anon 1999: 1)
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Image 1.5 The Central Fountain of the upper series in full display (The Crystal Palace Museum 2011: 1)
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Image 1.6 Nave - South End with Osler’s Fountain and the Great Clock (The Crystal Palace Museum 2011: 1)
Image 1.7 Building the Eiffel Tower, Paris, France (wordlessTech 2013: 1)
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Image 1.8 National Day 14th of July 2009 (Anon 2010: 1)
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Image 1.9 Interior Architectural 3D Rendering (Archiform 3D 2012: 1)
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Image 2.1 Hannover Rathaus (Spreng 2011: 1)
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Image 2.2 Inception – New York (Ratcliff 2009: 1)
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Image 2.3 Interior InBetween House, Koji Tsutsui & Associates (Anon (a) 2011: 1)
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Image 2.4 H3 House, 314 Architecture Studio (314 Architecture Studio, 2012: 1)
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Image 2.5 Multikino Z³ote Tarasy, Warsaw (IIDA 2008: 1)
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Image 2.6 Night View Concrete Summer House In Costa Esmeralda By BAK Arquitectos (Lynn 2012: 1)
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Image 2.7 In the Shadow of the Chicago Bean (Vagabondish 2010: 1)
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Image 2.8 Light Paintings 2 (123 Inspiration 2011: 1)
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Image 2.9 Skyscrapers in Central Hong Kong (Harkness 2007: 1)
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Image 2.10 Under the Basilica of St. Thérèse, Lisieux (Ratcliff 2009: 1)
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Image 3.1 Medium Format Camera: Phase One IQ160 camera system (Borson 2013: 1)
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Image 3.2 Canon Ultra-Wide Angle Lens Comparison (Carnathan 2009: 1)
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Image 3.3 Canon Series L Tilt-Shift Lenses (Weitz 2006: 1)
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Image 3.4 Nikon ND4 (front) and Nikon ND8 (rear) (Chignell 2009: 1)
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Image 3.5 Hot Shoe Bubble Level (Resnick 2013: 1)
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Image 3.6 Photographer’s Lights (Borson, 2013: 1)
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Chapter 1 History and background of architectural photography 1.1 Introduction
Over the centuries architectural photography as both an art and a profession has become truly cultured. This process that nowadays have accurate fundamentals and techniques, started off as a simple process of capturing architecture as the people see it.
In the following chapter the history of photography will be discussed as it applies to architectural photography – from the Daguerreotype process to Frederick H. Evans’ innovative way of representing architecture. There will be looked at the effects the Industrial Revolution had on architecture, what modern day architectural photography is all about, the photographer’s job description and the current market.
1.2 History
In 1826 Joseph Nicéphore Niépce took the first photograph. The photo portrayed the view from a window at Niépce’s estate, Le Gras, in the Burgundy region of France. The photograph was titled “View from the window at Le Gras” (Agonistica 2013: 1).
During the process of taking the photograph, a very long exposure was needed in order to capture the image. The result being that the buildings appear to have no, or limited shadows, on the sides facing each other. During the long exposure, the sun had moved from one side of the photograph to the other.
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Image 1.1 View from the window at Le Gras, 1826 Image 1.2 Pewter plate of the first photograph, 1826 (Agonistica 2013: 1)
(Agonistica 2013: 1)
In 1827 Niépce collaborated with Louis Daguerre and this led to the invention of the Daguerreotype process in 1839. This process had shorter exposure times and produced the first permanent photographs. The development of architectural photography can be linked with the invention of the Daguerreotype process. Daguerre’s discovery has helped the Industrial Revolution by advancing the study of photography (Schulz 2012: 4).
With the perfection of the Daguerreotype process, different approaches to architectural photography were practised and theorized upon. The most prominent approaches practised during the 1800‘s were the elevation approach and the perspective approach.
The elevation approach handled architectural photography as an expansion of architectural rendering - draftsmanship and drawing - in order to exhibit detail as finely as possible. As such, this type of photograph was a frontal, basically two-dimensional representation of the building façade. Much the same as an architectural drawing of that time, the vanishing point of the image was placed in the centre of the photographed building. These types of photos were ideally taken from an elevation in an adjoining or neighbouring structure (Robinson & Herschman 1987: 1).
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The perspective approach was an alternative that emphasized three-dimensionality. Buildings were photographed from a corner perspective to give the viewer a better idea of how the overall structure looked. This style inspired creativity among photographers, and as decades passed, it was experimented with and lead to the development of modern architectural photography. However, architectural photography closely resembled stand-alone portraiture in the first two decades of practise. The compositions were conventional though; it portrayed harsh straight vertical lines, and a raised perspective—in both the elevation and perspective styles (Robinson & Herschman 1987: 1).
Architectural photography began to diversify during the beginning of the 19 th century. A photographer by the name of Frederick H. Evans initiated this new branch of architectural photography. He realised that photographers of that time looked at buildings with a straight forward perspective and they only showed the simplicity and functionality of the structures. Different from the elevation and perspective approach, he focused on specific and unique elements such as depth, texture, shadows and individual perspective (floydsphoto.com 2011: 1). This new approach not only influenced architectural photography, but also architecture in itself. One of Evans’ most famous photographs was of the steps at Wells Cathedral, taken in 1903. This caused such a rush of amateurs trying to copy the photo that marks were made to show them where to correctly place their tripods.
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Image 1.3 A Sea of Steps, Wells Cathedral, 1903 (Lyden 2010: 1)
The American Civil War also played an important role in the history and development of architectural photography. Photographers captured the emotions and suffering the people experienced by photographing the ruins and destruction caused by the war and on-going conflict. Architecture started to thrive as a business during the 1920’s. The architectural design of buildings changed due to the fact that people started to appreciate buildings and structures. This new appreciation originated from the photographs taken during and after the Civil War, showing the public exactly what happened and what was left behind. During this time photography and architecture began their unity (floydsphoto.com 2011: 1).
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A revealing quote, from an article in 1934 by one P. Morton Shand:
The two fields in which the spirit of our age has achieved its most definite manifestations are photography and architecture. Did modern photography beget modern architecture, or the converse?
Without modern photography, modern architecture could never have been ‘put across’. In the early nineteen-twenties architectural photography was as unimaginatively true to ‘life’ and conventional perspective as any other sort of photography. Men with the cultural equipment of beach photographers walked round buildings at a respectful distance like policemen on their beat flashing lanterns at the impeccably obvious. But the new sort of architects had their buildings taken by the new sort of photographers. A revolution in the technique of architectural photography resulted, which has revolutionized architectural criticism (Robinson & Herschman 1987: 1).
This “new sort of photographers” refers to people who focused on capturing functionality, clean lines and the spacious beauty of modern architecture – people like Frederick Evans.
1.3 The role of the Industrial Revolution in the evolution of architecture
During the same era that photography made its appearance in the history books, another occurrence took place that changed the course of architectural history – the Industrial Revolution.
The Industrial Revolution occurred between 1760 and 1840 in Britain. One of many opinions about why this happened was that people wanted to increase their profit (Calvert 2013: 8). As soon as someone invented something, a demand for something new or better originated. In many cases it happened that an industry would finance inventors so that they can increase 12
their productivity and in the end make an even bigger profit. There are three main reasons why the Industrial Revolution started in Britain – energy, science and finance. The combination of these three elements – available coal for energy, great minds from inventors and scientists and financial security – only meant that the industrial revolution would be off to a great start (Calvert 2013: 7).
The evolution of metals was one of the greatest inventions of the Industrial Revolution. For a long time people used pig iron – a very brittle material – and this was mostly applied to household items and fireplaces. Cast iron, however, became cheaper and more commonly available during the industrial revolution and thus people started using it for elaborate façades and decorations on their buildings. Due to its increased strength, cast iron was used for columns – reducing the weight of buildings and resulting in taller structures being built. The way in which cast iron was made, meant it could take any shape or form the buyer desired. Architects saw this as a great advantage, because during that period of time, most of their designs were quite intricately detailed. They could design fancy façades that could be made off site and be delivered by boat, road or railroad. During the 1860’s wrought iron came into production. Compared to cast iron, this was stronger and fire proof. The only disadvantage of wrought iron was that it could only be made in small sections (up to 50kg). As a result this new metal was mainly used for flooring and roof. It did however play a part in the design of steel bridges. The sections were riveted together to create beams and trusses, which were used in construction (Calvert 2013: 11).
Designers in the late 18th century went back to the original Greek and Roman designs for ideas and inspiration. They discarded the styles of Baroque, Rococo and even Neo-Palladianism. They referred to it as selective borrowing at that time. From early 19 th century till about 1850, the United States particularly favoured and focused on the Greek architectural style – they called it Greek revival (see Image 1.4). Although they replaced the main building materials with timber, they still managed to construct the different types of columns, entablatures and pediments. 13
These architectural features were found in public and government buildings and important townhouses. New communities were even given Greek names (Anon (b) 2011: 1).
Image 1.4 Second Bank of the United States, 1818-1824 (Anon 1999: 1)
Sir Joseph Paxton was originally a designer and builder of greenhouses. He learnt how to work with the combination of steel and glass through the construction of these greenhouses. In 1850 the construction on one of his grandest designs started – the Crystal Palace, situated in London. This monumental, but short-lived exhibition hall comprised of a carefully planned building process, using standard parts that were manufactured in advance and then transported to the building site. The Crystal Palace amazed everybody who passed through – whether they were there for the exhibition or just to look upon this spectacular structure. With the design of the Crystal Palace, Paxton managed to pave the way for industrialized building and the common use of cast iron, steel and glass (Anon (b) 2011: 1).
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Image 1.5 The Central Fountain of the upper series in full display, 1880 (The Crystal Palace Museum 2011: 1)
Image 1.6 Nave - South End with Osler’s Fountain and the Great Clock, Photographed in Dufay colour by Arthur Talbot, 1936 (The Crystal Palace Museum 2011: 1) 15
Photographer Arthur Talbot was the only person to ever take colour photographs of the Crystal Palace (see Image 1.6) before the building was destroyed by a fire in November 1936 (The Crystal Palace Museum 2011: 1).
Another architectural example as a result of the Industrial Revolution is the Eiffel Tower in Paris, France. Designed by Alexandre-Gustave Eiffel and built in 1887-1889, it is, to this day, one of the most recognizable structures in the world. It was built for the 1889 World’s Fair. The Eiffel Tower was built purely of steel and after completion it was the tallest building in the world for 41 years (wordlessTech 2013: 1).
One of the most famous photographs of the Eiffel Tower was taken by an unknown photographer. It displays the building process over the period of two years.
Image 1.7 Building the Eiffel Tower, Paris, France, 1887-1889 (wordlessTech 2013: 1)
As with all new events in history, problems occurred during the beginning of the Industrial Revolution as well. Eventually there were a number of positive results. Jobs were created, it promoted technological development and invention, it boosted the wealth of the nation and 16
living standards were raised. Factories grew in production and size and this increase in job opportunities meant that urban areas doubled, maybe even tripled in size, causing new buildings to start rising overnight (Little 2007: 640).
John Ruskin, a co-founder of the Arts and Crafts movement, had the following to say about architecture during the Industrial Revolution:
You should not connect the delight which you take in ornament with that which you take in construction or in usefulness. They have no connection, and every effort that you make to reason from one to the other will blunt your sense of beauty…. Remember that the most beautiful things in the world are the most useless; peacocks and lilies for instance (Anon (b) 2011: 1).
1.4 Current Architectural Photography
Architectural photography has developed over time to a point where functionality and the sense of space play an important role. In earlier years photographers focused on the building in itself – void of people or elements that give a sense of belonging. They wanted to sell it as an ideally perfect place. These days the focus has shifted to how architecture allows people to adapt to its space and make it their own. Also the modern field of architectural photography doesn’t focus on one specific type of architecture; it embraces old, new, industrial, residential and even structures such as bridges and bus shelters (Humphreys 2013: 30).
The way in which architectural photography is applied these days is not just to exhibit the architect’s work, but also to inform people what is going on in the world. The American Society of Media Photographers (ASMP) had the following to say:
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Since most people don’t have the luxury of traveling the world to see architecture firsthand, photography plays a major role in defining how we come to know it. Architectural photography not only documents place and time, it has the ability to tell a story about a realized design. As artists, architectural photographers strive to create evocative images of structure, context and space. Their images transcend realized architectural design and evoke a feeling and sense of place (ASMP 2004: 1).
As previously shown, the Eiffel Tower was photographed in such a way to be purely informative and straight forward (see Image 1.7). No artistic elements were experimented with and nothing was added to show the Eiffel Tower for what it could be, rather than just a steel structure. A photographer managed to photograph the exact same structure, 120 years later, in an entirely different way; by making use of modern day equipment, choosing an interesting angle and by waiting for the perfect day and time (see Image 1.8). The light show displayed on the Eiffel Tower and the fireworks almost make it look like a work of art. The photographer used the different types of light – ambient, artificial and fireworks – to his advantage.
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Image 1.8 National Day 14th of July 2009, 2009 (Anon 2010: 1)
1.5 The Architectural Photography market and the photographer’s job
The job of an architectural photographer is to show the viewer what the architect meant with every line, column, space or absence thereof. An architect will fuss over natural light, artificial light, materials, textures, reflections, mood, how the building fits into the environment, or not, and many other things. In order for the photographer to produce quality images, all of the above mentioned elements have to be reflected in the photos (Humphreys 2013: 32). An architect can design an amazing building, but if it’s not properly photographed, the architect’s work will not get the recognition it deserves. The public can view a building on site, but most of the people will only ever see it in photographs. Thus the image has to jump off the page and
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catch the viewers’ eyes. People are more interested in these types of photos and as a result of good work, more opportunities will come the photographer’s way (BUILD LLC 2010: 1).
In present times the market for architectural photography is much more extensive than the olden days. Not only architects make use of architectural photographers, but also interior designers, building contractors, property professionals, property agents and manufacturers (Humphreys 2013: 30).
In order to be successful in this career, as in any, the photographer has to establish a name first. Some architectural photographers are lucky and get permanently employed by a company – mostly architectural or journalistic. Architectural photographers do freelance work as well, some prefer this above permanent employment – it allows for a larger range of work in different areas to be photographed. Many architectural firms make use of freelance photographers, but they also hire photographers as part of the permanent staff. It helps to have someone with a photographer’s eye in the office, especially when the final designs are going through the rendering process. This is the last step before the architects present to their client – it is a computer generated photo representation of the final building in its environment (see Image 1.9). Photographers know how light works, how different types of light can effect a photo and what angles and viewpoints work (Smit 2013: 1).
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Image 1.9 Interior Architectural 3D Rendering, 2012 (Archiform 3D 2012: 1)
1.6 Summary
The Daguerreotype process was the first permanent photographic process to be invented in the year 1939. Joseph NicĂŠphore NiĂŠpce and Charles Daguerre were the founders of this process. With the invention of this new photographic technique, people took a new approach towards architectural photography. The elevation and perspective approaches were among the more common styles. Frederick H. Evans took a different approach. He focused on textures, lines, depth and details within a building. He managed to get people to see buildings as something other than just a built structure.
The Industrial Revolution, 1760-1840, started in Britain, but the effect spread worldwide – even to the United States. It did not necessarily have any major effect on photography, but it played an important role in the evolution of architecture. Steel, cast iron and glass were among some of the new building materials invented and this meant that taller and more elaborate structures could be built. 21
In modern day architectural photography, subjects for photographing are not limited to buildings – it can range from houses to bridges. It is the photographer’s job to show the public exactly what the architect had in mind when he designed the building or structure. These days a photographer can change how the public sees a building; they can make it look like works of art, rather than just a useful structure.
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Chapter 2 The architectural photography environment 2.1 Introduction
In terms of architectural photography, there are many elements that can influence a photo. Many of these are natural elements and can’t be controlled by the photographer, but there are also a lot of contributing elements that the photographer can and must control. In this chapter most of the more commonly known elements and factors will be discussed. There will be looked at how location and weather play a role. How different types of lighting – ambient and artificial – can be used or controlled to the advantage of the final photo. And lastly tips that can help make a photograph spectacular will be discussed.
2.2 Location and Weather
When working as an architectural photographer, one will always do on-location shoots. Knowing that buildings are stationary, the photographer can’t opt for a different location or environment. This can be great, because the building never moves, but it can also be to the photographer’s disadvantage.
One of the advantages of having a stationary subject is that the photographer can wait for that perfect shot. Different times of the day can be experimented with, different weather conditions or even different seasons, if time allows it. If the weather changes during the day the photographer can wait until it fulfils the specified requirements or until the photographer is satisfied with the final shot (Meyer 2012: 1)
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Weather plays an important role when photographing architecture. Some buildings work against a clear sky, but they can also appear dull. By waiting for the weather to change and clouds to appear, the same building can be photographed in an entirely different way and mood. Clouds usually make a photo more intriguing and especially when the subject is a building; it just emphasizes and strengthens the structure that much more. Rain might be a hindrance when aiming upwards at buildings and it can make it difficult to get sharp focus. But the aftereffects of rain can count in a photographer’s favour. The air is usually much cleaner afterwards and this can add that extra crispness needed in a photo. During early mornings, after the rain, mist can rise from the damp earth and this can add a mysterious and sombre effect to a photo. Puddles and wet surfaces are also a result of rain. Reflections can add an extra dimension to architectural photography and it gives the photographer multiple surfaces on which to play with the buildings (see Image 2.1). Reflective surfaces are a common feature in urban environments – windows, puddles, wet streets, metal façades and even modern art (see Image 2.2) (Johnson 2012: 1).
Image 2.1 Hannover Rathaus, 2011 (Spreng 2011: 1) 24
Image 2.2 Inception – New York, 2012 (Ratcliff 2009: 1)
2.3 Lighting
2.3.1 Ambient Lighting
Architects design buildings in such a way to incorporate as much natural light as possible – indoors and outdoors. In some cases the way natural light enters a room is a feature on its own. This means a photographer should resist from adding artificial light if possible. If a structure is designed using natural light to light the interior, the photographer must capture this as part of the essence of the building.
As mentioned before, weather also plays an important role. It not only effects the photographs, but the building as well. Bright light will cause shadows in even the smallest difference in levels, it will enhance rough textures and some colours come to life in bright light. It can also cause white or very light areas to get blown out easily. If this happens, multiple exposures must be 25
taken to ensure correct exposure in the final image. If it’s an overcast day, clouds act as a diffuser; this will give even lighting across a building and make exposure a lot easier. Interior shots are also easier on an overcast day (see Image 2.3). There’s no bright sun intruding – which can cause harsh lines on the interior - and if the photographer is planning on doing a photo that combines the interior and exterior view, multiple exposures might not even be necessary. The photographer has to take all of these elements into consideration when doing a shoot (Humphreys 2012: 59) (Johnson 2012: 1).
Image 2.3 Interior InBetween House, Koji Tsutsui & Associates, 2011 (Anon (a) 2011: 1)
The time of day can have a major effect on architectural photographs. During the day, when the sun is at its highest point, shadows might be minimal, but it will cause a dramatic difference in contrast. Most architectural photographers prefer early morning as the sun rises, or late afternoon, before it gets too dark (see Image 2.4). This is referred to as the ‘magic hour’ or ‘golden hour’. The light is soft and the sky is a beautiful canvas of blues, purples, reds, oranges and yellows. The buildings tend to have a magical, golden glow about them and long shadows can add beautiful effects and feeling to the photographs. This time of day also works perfectly if the photographer doesn’t want to use additional light, but then a longer exposure must be used 26
(Jacobs 2010: 6) (Meyer 2012: 1). Another advantage of shooting in the afternoon is that buildings can be photographed as silhouettes against the evening sky. One should not to go too late, because enough ambient light is essential to illuminate the building in the foreground. Night shots give a whole new, dramatic atmosphere to buildings. Because it’s getting dark, lights inside the building, street lights, signs and many other forms of artificial light will appear and this will add to the sensation of the shot (Johnson 2012: 1) (Neubart 2010: 1).
Image 2.4 H3 House, 314 Architecture Studio (314 Architecture Studio 2012: 1)
2.3.2 Artificial Lighting
Artificial lights don’t play a big role when photographing a building during the day, but it can make a scene come to life at night. People are under the impression that interior photographs must only be done during the day. Some architects incorporate light into the design so that when it gets dark, the building can be experienced in a whole new way. Sometimes the lights are some of the main features in a building (Johnson 2012: 1).
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When a building is being artificially lit, it is done to 1) illuminate certain features in the design or 2) to evoke a feeling among the occupants or 3) to give the user a sense of space (see Image 2.5 and Image 2.6). When a photographer does a shoot during the day and the combination of ambient and artificial light is not sufficient, additional lighting can be used. The photographer can use his own discretion as to how many lights will be added, where they will be placed and what type of lights will be used. The photographer has to keep in mind though that the white balance will become an issue as more different light sources are added (Meyer 2012: 1). With modern technology and development in cameras, it is not really necessary for additional lighting. Scenes can be photographed using only the available light – by either making use of multiple exposures or by checking the in-camera histogram for the correct exposure (Humphreys 2013: 36).
Image 2.5 Multikino ZÂłote Tarasy, Warsaw, 2008 (IIDA 2008: 1)
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Image 2.6 Night View Concrete Summer House in Costa Esmeralda by BAK Arquitectos, 2012 (Lynn 2012: 1)
Additional lighting is only efficient when photographing interiors or small buildings. If the photographer wants to capture urban scenes with skyscrapers and entire streets with their buildings, adding lights will be impossible. In most modern urban areas there won’t even be a need for additional lighting (see Image 2.7). The buildings, cars, signs and many other forms of artificial light will be enough to ensure sufficient exposure. All of these elements combined make the final photograph a spectacular artwork. Because of longer exposures, motion blur will be incorporated in these types of images. Traffic and people passing by will add movement and scale to a photograph (Humphreys 2013: 38).
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Image 2.7 In the Shadow of the Chicago Bean, 2010 (Vagabondish 2010: 1)
2.3.3 Painting with Light
Another, more artistic use of artificial lighting is painting with light. This is when a photographer moves away from just lighting a subject and starts playing with light and colours. Painting with light is a wonderful way to exhibit a building, or even just a certain space. The photographer can enhance certain features of the building by specifically lighting them or by using different coloured lights to draw the viewer’s attention. Without people or traffic in the shot, the photographer can still manage to add movement to an image. The way in which the artificial lights are used can draw the viewer’s eye to certain points in a photograph, or the photographer can use these lights to either enhance or create leading lines and repetitive shapes (123 Inspiration 2011: 1).
Different types of light will have different colour temperatures, thus getting the correct white balance for an image of this sort can have its difficulties. But then again it’s not necessary to correct the white balance – this adds to the theme of painting with light. The photographer can 30
set the correct exposure according to the main subject being photographed - this will ensure correct white balance within the building, sky or whatever the photographer has chosen as the main subject. Not only will colour temperature have an influence on the photo, but the use of coloured lights also. The combination of these elements will create an artistic representation of even the dullest of buildings. Modern buildings can be shown in a whole new light, literally, and life can be brought back into old buildings or ruins (see Image 2.8).
Image 2.8 Light Paintings 2, 2011 (123 Inspiration 2011: 1)
2.4 Camera angles, Viewpoint and Composition
There are no set rules as to how architecture must be photographed - what one photographer finds interesting varies from another. Even if two photographers manage to position themselves at exactly the same point, the end result will differ.
Most of the buildings photographed are taller than the tallest person, so no matter how hard a photographer tries, distortion will always be present in images. This can be used as an effect to create tension; or because the buildings are so tall it will make them look even more majestic. If 31
the photographer wants to achieve this type of image and likes to make use of perspective in the photographs, the camera must be positioned as close as possible to the foot of the building and aimed straight upwards. In a situation where the photographer wants more than one building in this type of shot, it is better to roughly centre the camera between the buildings and shoot upwards. This will cause all the buildings to lean in towards the centre of the photo (see Image 2.9). When distorting perspectives become an issue, the photographer can position himself higher above ground level, or just move further away from the building. By increasing elevation it can help to correct the perspective and the photographer can get a more level view of the building. By moving further away the photographer can also include the surroundings, and this gives the viewer an idea of where the building is located and it also adds scale to the image (Johnson 2012: 1) (Meyer 2012: 1).
Image 2.9 Skyscrapers in Central Hong Kong, 2007 (Harkness 2007: 1)
Another way of photographing architecture is to focus on the details. If the photographer is not familiar with the building or the architect, it is wise to either do some research or ask the help of a guide before a shoot. By doing this, the photographer will be made aware of small and interesting details. Some architects like to incorporate their own distinguishing style in their buildings and they appreciate it when a photographer manages to capture this. Architects love 32
close-up shots of different materials – it shows off their attention to detail, how their designs connect and material detailing. By selecting a larger aperture the photographer can play with depth of field in these types of images. If the photographer is shooting a detail or specific feature at an angle, just that part can be in focus and the rest of the room or structure can be blurred in the background. A smaller aperture can be used if the photographer wants as much detail as possible to be in focus. Not all detailing are done in small quantities; in several cases an entire façade of a building can be covered in detail. Many religious and historical architectural masterpieces have more detail than simplicity (see Image 2.10). When a photographer focuses on all of these elements in a building, various other angles and viewpoints will present itself (Humphreys 2013: 28) (Johnson 2012: 1) (Meyer 2012: 1).
One of the main design elements in architecture is symmetry. Not all buildings are symmetrical, but there are a whole lot that are built around this principle. Cathedrals, theatres and halls are but some of these examples (see Image 2.10). By photographing symmetrical spaces, an image immediately appears strong and it also strengthens the compositional elements in the image. The viewer’s eye will move through the image, almost searching for areas that are not symmetrical. One of many other ways to create movement in a photo is by focusing on lines within a building or structure. Horizontal and vertical lines represent strength and sturdiness, but diagonal lines create a strong sense of movement and dynamism. By playing with lines, symmetry, light and shadow, an image can portray something else rather than just being graphic and aesthetic (Johnson 2012: 1) (Meyer 2012: 1).
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Image 2.10 Under the Basilica of St. Thérèse, Lisieux, 2012 (Ratcliff 2009: 1)
2.5 Summary
In architectural photography there are different aspects that can influence a photograph. Location and weather are elements that can’t be changed according to the photographer’s liking. An architecture shoot is always on-location and a photographer must either work with the available weather, or choose a time that would suit the specifications of the project.
Lighting is one of the most important elements architects include in their designs – whether it is ambient or artificial light. It is the photographer’s job to capture all of this to present the architect and viewer with a realistic representation of the building. Different types of lighting will create different effects and this ads emotion and a sense of space to a photograph. Artificial light can be applied in many ways – painting with light being one of the more artistic approaches.
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Concerning camera angles and viewpoints, it entirely depends on what the photographer wants. The photographer can angle the camera in such a way to minimize perspective distortion or by doing exactly the opposite the result will be a creative and abstract image. There are certain compositional rules that an architectural photographer can apply to create strong and visually correct images, but it is not incorrect to deviate from these rules.
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Chapter 3 Specialized equipment in architectural photography 3.1 Introduction
Every photographer has specific preferences towards camera equipment. Some architectural photographers prefer Canon, others prefer Nikon and there is a lot who prefer medium format cameras and then only use Digital Single Lens Reflect (DSLR) cameras as their backup. The same counts for lenses, filters, tripods and any other equipment a photographer might use when photographing architecture.
By researching other architectural photographers’ work, an aspiring architectural photographer can learn a lot about equipment, techniques and even catch some handy tips. In this chapter different types of equipment, techniques and some of these tips will be discussed.
3.2 Equipment
3.2.1 Cameras
Many architectural photographers obtain successful results using 35mm cameras, but most of the top professional photographers prefer to use digital Medium Format cameras. They are extremely expensive, but the results are worth every cent. Medium Format cameras have very high resolutions of around 60.5 megapixels, so image quality is instantly better than that of 35mm cameras. The Cambo Wide DS Camera Body, Phase One IQ160 Digital Back and Rodenstock lenses (see Image 3.1) are just one example of the combinations used with Medium Format cameras (Borson 2013: 1). 36
Image 3.1 Medium Format Camera: Phase One IQ160 camera system, 2013 (Borson 2013: 1)
When a photographer owns a Medium Format camera, it will always be considered the workhorse, but there are times when a smaller camera comes in handy. Almost every professional photographer will own a backup camera. The Canon 5D Mark III and Nikon D800 are some camera examples used as backups. These are full-frame DSLR cameras, and although it can’t compete with a Medium Format camera, the image quality is still excellent. A DSLR allows the photographer more flexibility and movement than a Medium Format (Borson 2013: 1).
3.2.2 Lenses
One of the biggest problems with architectural photography is perspective distortion. By choosing the correct lens a photographer can decrease or even entirely eliminate this problem.
Wide-angle lenses are among the most common lenses used by architectural photographers – it is expensive, but not as expensive as Tilt-Shift lenses. These type of lenses can help correct distortion, but it can also be used to enhance distortion, if a more abstract approach is what the 37
photographer desires. A wide-angle lens is probably the best option when working in confined spaces. To ensure everything is in the frame, the photographer will have to photograph the space at an angle and then distortion must be corrected in post-production. If the photographer wants to use a wide-angle lens to eliminate distortion, it can be done by aiming the sensor surface parallel to the structure being photographed – the lines will not converge as much, but the image will have to be cropped to remove excess floor space. This can become a problem when images have to be displayed on quite large surfaces or screens – the photographer is losing image quality because almost half of the photo will be cropped out (Johnson 2012: 1) (Resnick 2013: 1).
Canon and Nikon both have excellent selections of wide-angle lenses. The Canon EF 14mm f/2.8 L II USM, Canon EF 20mm f/2.8 USM or Nikon 14mm f/2.8D ED AF Nikkor are wonderful ultrawide prime lenses. For normal wide-angle lenses the Canon EF 16-35mm f/2.8 L II USM, Canon EF 17-40mm f/4L USM or Nikon 16-35mm f/4 AF-S ED VR-II are perfect choices (Carnathan 2009: 1) (Resnick 2013: 1).
Image 3.2 Canon Ultra-Wide Angle Lens Comparison, 2009 (Carnathan 2009: 1)
Although wide angle lenses work perfect and aren’t that expensive, Tilt-Shift lenses (also known as Perspective Control lenses) (see Image 3.3) are what every architectural photographer wants in their kit. These lenses are quite expensive, but it makes the photographer’s work much 38
easier. With a Tilt-Shift lens any perspective distortion can be corrected in-camera. By shifting the lens the photographer removes the effect of the building falling over and by tilting the lens, depth of field can be controlled. A Tilt-Shift lens can be used when photographing in confined spaces, but it won’t be necessary to correct the distortion in post-production, as with a wideangle lens. When using a Tilt-Shift lens, the photographer must keep the camera level and shift the lens upward to capture the entire building. By shifting the lens, the top part of the building will be in the photograph, but there won’t be any distortion in the image (Humphreys 2013: 32) (Resnick 2013: 1) (Weitz 2006: 1).
Canon and Nikon both have a large range of Tilt-Shift lenses. A few examples are the Canon 17mm TS-E F/4L, Canon 24mm TS-E F/3.5L II, Canon 45mm TS-E f/2.8, Canon 90mm TS-E F/2.8, the Nikon PC-E Nikkor 24mm f/3.5D ED, Nikon PC-E Nikkor 45mm f/2.8D ED and the Nikon PC-E Nikkor 85mm f/2.8D ED (Resnick 2013: 1).
Image 3.3 Canon Series L Tilt-Shift Lenses, 2006 (Weitz 2006: 1)
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3.2.3 Filters
The most common filters used by architectural photographers are polarising filters and neutral density (ND) filters.
A polarising filter helps when there are clouds in the shot – it will increase contrast in the sky by darkening the blues and brightening the whites. An almost ordinary scene can be transformed into something dramatic and spectacular. When using a polarising filter it is important to shoot at right angles to the sun, because when shooting with the sun from behind or in front of the camera, the filter will serve no purpose. Polarising filters are mostly used in situations where reflections are present. There are times when reflections form part of the architecture – it helps to tell the story of the space being photographed and it gives the viewer a more realistic representation of the building. But when reflections need to be reduced or entirely removed, a polarising filter is used (Meyer 2012: 1) (Resnick 2013: 1).
Neutral Density filters are used to reduce the amount of light entering through the lens, without having any effect on the colours in the photograph. By reducing the light, longer exposures or larger apertures can be used. ND filters are especially effective when the photographer wants to include motion in an image. With a ND filter, the photographer can set the shutter speed or aperture according to whichever setting will deliver the final image, without worrying about over exposing. Motion blur can be achieved in bright daylight, and with a very dark ND filter, shallow depth of field can be added to the image. ND filters are numbered according to how much light it blocks – the darker the filter, the higher the number (Meyer 2012: 1).
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Image 3.4 Nikon ND4 (front) and Nikon ND8 (rear), 2009 (Chignell 2009: 1)
3.2.4 Tripods and fitments
Stability and control are both equally important in architectural photography. Longer exposures must be used in situations where the amount of available light is limited. By using a suitable tripod, a sharp image with a level horizon can be achieved. When the photographer wants to include motion blur in a photograph, it is best to use a tripod to steady the camera during the long exposure. When photographing interiors, a tripod is a very handy tool. Interior lighting, ambient or artificial, is very tricky and in most cases the photographer has to opt for a longer exposure. Working space is also a problem with interiors, so by using a tripod, the camera can be placed in areas that would be impossible for the photographer to stand (Meyer 2012: 1) (Resnick 2013: 1).
Most photographers prefer to use a tripod when doing architecture shoots, but when the photographer wants to create abstract shots, it is better to do it handheld. This increases mobility and makes it possible to achieve different and interesting angles. If a photographer is not using a tripod, there are ways to stabilise himself. The photographer must assume a wide stance, tuck his arms in to support the camera and take a few deep breaths to steady himself before taking the shot (Meyer 2012: 12). 41
Most tripods have a small built-in bubble level (also called a spirit level), but it is either absent in cheaper tripods or not as effective. This gadget is small, quite cheap and it fits into the camera’s hot shoe. It can be used to help prevent skew horizons and some even allows the photographer to fix verticals and diagonals as well (Resnick 2013: 1).
Image 3.5 Hot Shoe Bubble Level, 2013 (Resnick 2013: 1)
3.2.5 Lights
In most cases architectural photographers only add additional lighting to enhance the existing light in and around buildings and to show detail and shape. If a photographer wants to use light to imitate sunlight or moonlight, it is best to use Hydrargyrum medium-arc iodide (HMI) lights (see image 3.6). HMI lights are, in most situations, placed on the outside of a building. Because of the extremely strong blast of light it produces, the photographer can create the effect of light streaming in through the windows. The only drawback when using HMI lights in the outdoors, are that power packs or portable generators will be needed to operate it (Neubart 2010: 1).
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Image 3.6 Photographer’s Lights, 2013 (Borson 2013: 1)
On camera flash units work well when photographing interiors. These are small in size, thus the photographer can place it anywhere without worrying that it will be in the shot. Though oncamera flash units are small, it can still produce enough light to illuminate detail or to emphasize existing light (Resnick 2013: 1).
Architectural photographer Jeffrey Jacobs made the following comment:
“It does not matter how many lights you use; it’s what you do with them. You don’t have to have a hundred lights to make a successful photograph. You have to have good light. And you have to be able to see and understand it. I know I need a light when I feel the need to provide information, and I use that light to create or enhance depth and dimension in a scene” (Neubart 2010: 1). 43
3.3 Summary
For architectural photography a full frame DSLR camera is a wise investment – the image quality is excellent and it allows for flexibility and movement when shooting on location. Most professional architectural photographers prefer a Medium Format camera and only use a DSLR as back-up.
The type of lenses used by architectural photographers can vary from ultra wide-angle lenses to telephoto lenses, but most photographers prefer wide-angle and Tilt-Shift lenses. These lenses allow the photographer to capture anything from small spaces to skyscrapers. When using a wide-angle lens, distortion will be present to some extent, but this can be corrected in postproduction. The Tilt-Shift lenses correct perspective distortion in the camera, making an architectural photographer’s job that much easier.
Different filters can be used in this type of photography – polarising and neutral density filters being the most favourite. Both these filters serve an important purpose when photographing architecture – whether it is to remove reflections, enhance contrast in the clouds or allow for longer exposures.
A sturdy tripod is a must have when photographing architecture. It helps with capturing perfectly sharp images, especially if the photographer is working with long exposures. Fitments, such as a hot shoe bubble level will help the photographer to get straight horizons.
Lighting, from HMI to on-camera flash units, can be used to illuminate detail, to emphasize existing light or even to create the illusion of sunlight and moonlight entering through a window.
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Chapter 4 Discussion of photographer’s own work 4.1
Introduction
In this chapter ten of the photographer’s own architectural photographs will be discussed and analysed. The photographer’s main focus is on modern architecture. Information will be given from the date and location on which the photos were taken until the post-production process.
Anything the photographer did to produce the final image will be mentioned - if a photo consists of multiple images or image stacking was used in post-production, if the colour balance was changed to create a different mood in the photo, or any other effect the photographer added. At the end of the discussion of each image, the photographer will mention anything that might have been done differently, including the choice of time of day, lighting or equipment.
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4.2
Photographer’s own work
4.2.1 Image 1
The DaVinci, Johannesburg (Smit 2013)
This photograph was taken in Sandton, Johannesburg, on 4 March 2013. This is The DaVinci Hotel, part of the Legacy Hotels group.
Although the photo was taken mid-day, the clouds blocked most of the direct sunlight, thus the photographer could make use of the available natural light. No additional lighting was used or even necessary in this photograph. The photo was taken with a Conon EOS 60D, with a Canon Zoom Lens EF 24-105mm 1:4 L IS USM. The f-stop for this image was f/11, ISO 100 and the shutter speed was 1/100sec. The photo was taken at a focal length of 24mm. In order for the photographer to capture this angle, the lens had to be used at its widest. Even though a wide angle was used, there were no buildings nearby that might’ve been included in the field of view. 46
In post-production two images were combined to show the building from different angles. The photographer started with two different Curves layers. The first layer was used to enhance the contrast within the building itself and the second Curves layer was used to bring contrast to the clouds. Next a Black & White layer was added. Lastly another Curves layer was used to darken the image, with the opacity set to 60%.
If it were possible, the photographer could have gone back at a later time of day. This would have resulted in softer shadows and less contrast between the light and dark areas. But because the photo was taken mid-day, the bright light and strong, dark shadows make the building look so much more prominent. Also the strong contrast between light and dark only enhances the shape and lines of the building that much more. The fact that there were clouds in the sky was also a big contribution to the final image. The clouds are being reflected off different surfaces on the building and this only gives the viewer an even better idea of all the different textures present in the photo.
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4.2.2 Image 2
The Golden Ratio - Chemistry Building, WITS (Smit 2013)
This was taken at the University of the Witwatersrand, Johannesburg, on 11 July 2013. This is one of the staircases inside the Chemistry Building.
The photographer made use of the available natural and ambient light. The photo was taken mid-day, but because it was inside the building, the bright light from outside helped with the taking of the photo. Also, if it was done in the afternoon, displeasing shadows might have been caused by the sun entering the windows from a lower angle. The photo was taken with a Conon EOS 60D, with a Canon Zoom Lens EF 24-105mm 1:4 L IS USM. The f-stop for this image was f/4, ISO 100 and the shutter speed was 1/20sec. The photo was taken at a focal length of 24mm. Because this photo was taken without any additional light sources and very pour available light, the photographer had to use a large aperture and a quite slow shutter speed.
In post-production the photographer started by using a Curves layer on the left side image to get the brightness at about the same level as the image on the right. Another Curves layer was used on the right side image to get the contrast about the same as the image on the left. A Selective Colour layer was added to get the same colour in both images. The photographer then 48
added a Gradient Map layer to convert the image to black and white. Lastly the photographer used the Spot Healing Brush Tool to clean up dirty spots and to remove unwanted reflections from the black rubber.
A different time of day wouldn’t have really had an influence on the photo, but as before mentioned it is possible that displeasing shadows might’ve occurred. The photographer didn’t use any additional lighting, but a flash could have worked nicely to illuminate the shadow areas and the furthest parts of the staircase. By using additional flashes, the photographer would have been able to use a faster shutter speed and a smaller aperture, resulting in a larger part of the staircase being in focus.
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4.2.3 Image 3
Sandton Convention Centre, Johannesburg (Smit 2013)
This photograph was taken in Sandton, Johannesburg, on 4 March 2013. This is the Sandton Convention Centre, located in Sandton, Johannesburg.
Only the available natural light was used for this photo. This was taken mid-day, but the clouds blocked most of the direct sunlight. The photographer was in such a position, at the right time, to catch the sun behind the corner of the building through the clouds. The photo was taken with a Conon EOS 60D, with a Canon Zoom Lens EF 24-105mm 1:4 L IS USM. The f-stop for this image was f/8, ISO 100 and the shutter speed was 1/1000sec. The photo was taken at a focal length of 24mm. Because it’s not a very tall building and the photo is of the corner of the 50
building, this was taken at the lens’ widest possible angle in order for the photographer to capture this perspective from this point of view.
In post-production the photographer started by adding a layer and using the Spot Healing Brush Tool to remove unwanted reflections in the glass. Then a Curves layer was added at opacity of 59%. After that layers were added to make the existing flare more visible. Lastly the photographer used a Black & White layer to enhance the brickwork of the building.
This could’ve been a very boring image, were it not for the clouds and sun flare – thus the time of day was perfect for this photo. The photographer had to decide between photographing the building exactly symmetrical or capturing more reflections in the curving glass planes. It works quite well as it is, because although the building is in the exact centre of the image, the reflections on the one side tends to play with the viewer’s mind, drawing the attention away from the symmetry in the photo.
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4.2.4 Image 4
Number A
B
Alice Lane Towers, Johannesburg (Smit 2013)
This was photographed in Sandton, Johannesburg, on 12 July 2013. The building is called Alice Lane Towers, by Paragon Architects.
The photographer made use of the available ambient light of the building and of its surroundings. No additional lighting was used, because it would make no difference to the building when it was taken from such a distance. The photo was taken with a Conon EOS 60D, with a Canon Zoom Lens EF 24-105mm 1:4 L IS USM. The f-stop for this image was f/6.3, ISO 100 and a shutter speed of 4sec. As the shutter was released, the photographer manually 52
zoomed out to cause the lights on the building and surroundings to create those lines, thus the focal length went from 105mm to 24mm. This effect was added to use the lights as an element to enhance the interesting shape of the building.
In post-production the photographer started by removing unnecessary lines caused by the lights. Then several Curves layers were used to darken the image to create more contrast. Lastly Selective Colour layers were used to enhance the range of different colours in the image. The photo was also cropped, as shown above, to remove the crane from the frame. As a result, this caused the viewer’s focus to remain on the building and lights, instead of moving towards the right side of the photo.
Looking back, the photographer would have liked to take this photo at sunset. This would’ve added depth to the image, rather than just a black background, although the contrast between light and dark are much more prominent at night.
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4.2.5 Image 5
Apartheid Museum, Johannesburg (Smit 2013)
This was taken at the Apartheid Museum in Johannesburg, on 11 July 2013.
The photographer only made use of natural light - the photo was taken mid-day in order to get the strong shadows and lines. No additional lighting was necessary. The photo was taken with a Conon EOS 60D, with a Canon Zoom Lens EF 24-105mm 1:4 L IS USM. The f-stop for this image was f/4, ISO 100 and the shutter speed was 1/80sec. The camera was set at these settings, even during mid-day, in order to capture as much detail as possible on the beams. The photo was
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taken at a focal length of 35mm. A fairly wide angle was needed to get most of the beams in a single image, but not so wide to get the surrounding walls in too.
By combining three photos, the final image is much stronger. In post-production the photographer used a Curves layer on each of the three photos. The photographer used different opacities, depending on the original photo. This was to darken the photos and to enhance contrast between the light and dark areas. Finally a Selective Colour layer was added to obtain the same shades throughout the combined image. It would have been interesting to see how the shadows would fall at a different time of day, but for this specific image the sun was at the perfect position.
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4.2.6 Image 6
Steel Armadillo – The Creative Council, Johannesburg (Smit 2013)
This photograph was taken close to Melrose Arch, Johannesburg, on 12 October 2013. This is the new building for The Creative Council, designed by Paragon Architects.
Only available natural light was used while photographing this building. This was taken mid-day and although there were clouds, the sun still managed to shine bright upon the building, creating hard shadows. The clouds might not have had any effect on the building, but it created a beautiful backdrop. The photo was taken with a Conon EOS 60D, with a Canon Zoom Lens EF 24-105mm 1:4 L IS USM. The f-stop for this image was f/11, ISO 100 and the shutter speed was 1/800sec. The photo was taken at a focal length of 24mm. The photographer was on the roof of the building to eliminate any other buildings in the distance. The photo was taken at the lens’ widest possible angle in order for the photographer to capture this perspective, but several images had to be taken to create the panoramic effect.
In post-production the photographer stitched the images together to create the final panoramic. A High Pass filter was used to enhance the contrast in the lines and clouds and then a layer was added for the use of the Spot Healing Brush Tool to remove dirt from the steel 56
plates. Then a Curves layer was added at opacity of 40%. Lastly the photographer used a Selective Colour layer to brighten the whites and change the colour of the image.
This is a very interesting building – the square metal plates make the building look strong and geometric, but the curving lines add movement. With the clouds present there is an element of contrast between the building and its environment, but at the same time it fits in perfectly. At the time the photographer took the photo, the building was still under construction, so there were some limitations to what and where the photographer can work. It will be nice to photograph the building when it is finally finished and add some context in the photographs, instead of grinders and scaffolding.
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4.2.7 Image 7
Economic and Management Sciences Building, Bloemfontein (Smit 2013)
This was taken at The University of the Free State, Bloemfontein, on 2 September 2013. This is the building for Economic and Management Sciences, by Incline Architects.
The photographer made use of the available ambient light of the building and its surroundings. No additional lighting was necessary while photographing this building. The photo was taken with a Conon EOS 60D, with a Canon Zoom Lens EF 24-105mm 1:4 L IS USM. The f-stop for this image was f/8, ISO 100 and the shutter speed was 8sec. The photo was taken at a focal length of 24mm. A wide angle had to be used to capture as many lines as possible. Without so many lines, the viewer’s eye would not move to the back of the photo as smoothly as it does now. 58
In post-production the photographer added a High Pass Filter, at opacity of 32%, to enhance the textures and lines a bit more. Then a Selective Colour layer was used to make the different colours stand out more and to create more contrast within these colours.
There are many different types of artificial light present in the photo, but the photographer decided not to correct it in post-production. These different colour balances add to the final colours of the photograph – the orange light adds a whole new and different mood than the white lights. If this was taken during daytime, there would have been shadows everywhere and the textures and materials would not have been as interesting as it appears now.
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4.2.8 Image 8
A Glass Bird - Topaz, Strand (Smit 2013)
This photograph was taken in the Strand, Western Cape, on 3 May 2013. This is the Topaz 1402 Luxury Apartment building, by AVNA architects.
The photographer made use of natural light and used the clouds as a diffuser. The photo was taken early afternoon to prevent any harsh shadows or disturbing reflections from the sun. The photo was taken with a Conon EOS 60D, with a Canon Zoom Lens EF 24-105mm 1:4 L IS USM. The f-stop for this image was f/8, ISO 100 and the shutter speed was 1/200sec. The photo was taken at a focal length of 105mm. This is a very tall building, so the photographer had to zoom 60
in to the lens’s full extent to capture only the tip of the building. There was sufficient light to use the chosen f-stop to ensure that all of the building visible in the photo is in focus. In post-production the photographer used the Spot Healing Brush Tool to get rid of unwanted reflections and dirt on the glass. A Curves layer was then added to darken the image by about one stop. Next the photographer used a Black & White layer at 70% opacity, to add contrast. Lastly a Selective Colour layer was used to soften the overwhelming blue hue in the photo.
By photographing the building from this angle it makes the glass façade appear much stronger than might have been originally intended by the architect. Although the photo seems to be a very strong symmetrical representation of the building, the slight bend and open window on the left breaks the symmetry and adds movement to the photo.
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4.2.9 Image 9
The Split - Economic and Management Sciences Building, UFS (Smit 2013)
This was photographed at The University of the Free State, Bloemfontein, on 19 August 2013. This is the building for Economic and Management Sciences, by Incline Architects.
The photo was taken late afternoon, thus the photographer could make use of natural light, without any disturbance from the sun. The photo was taken with a Conon EOS 60D, with a Canon Zoom Lens EF 24-105mm 1:4 L IS USM. The f-stop for this image was f/6.3, ISO 100 and the shutter speed was 1/20sec. The photo was taken at a focal length of 24mm. In order for the photographer to make the lines appear to bend outward, a wide angle had to be used.
In post-production the photographer added a High Pass Filter to enhance the textures and lines in the image. Secondly a Curves layer was used to darken the image in order to create more contrast. Lastly a Selective Colour layer was added to soften the blue light. To achieve the final
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image, the photo was mirrored horizontally. This was done to create a 90째 angle between the red louvers. By mirroring the original photo, the final product is a much stronger image.
The chosen time of day causes all of the louvers to have shadows underneath them and by combining this with the already present red, the thin red lines give the photo a three dimensional feel. A wider angle lens would have been nice, because then the photographer could capture the edges of all the lines and not just the top half.
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4.2.10 Image 10
A Patch of Light - Showground, Bloemfontein (Smit 2013)
This was taken at Bloemfontein Showground on 12 March 2013. This is one of the pavilions surrounding the oval track.
The photographer used artificial light to create this image. While the photographer was managing the camera, an assistant walked around lighting certain parts of the structure. Several images were taken in order to light all the necessary lines in the structure. The photo was taken with a Conon EOS 60D, with a Canon Zoom Lens EF 24-105mm 1:4 L IS USM. The fstop for this image was f/11, ISO 100 and the shutter speed was 11sec. The photo was taken at
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a focal length of 24mm. A wide angle was used to capture as much of the pavilion as possible and to capture the leading lines created by the lit columns.
In post-production the photographer stacked the images and made use of layer masks to create the final image. The Spot Healing Brush Tool was then used to remove dirt from the lit areas. Next two layers were added to mask out lights in the background. A Curves layer, at opacity 41%, was applied to darken the image. Then a Selective Colour layer was used to replace the overwhelming purple in the photo with a blue shade and to enhance the red fire hydrant in the background.
By just lighting select elements of the pavilion the photographer managed to give as little information about the structure as possible, but the viewer will still be able to complete the image in his mind. From the point of view the photographer chose, the vertical and diagonal columns draw the viewer’s eye to the left of the image, but the bright red from the fire hydrant pulls the viewer’s eye to the right, thus creating movement in the photograph.
4.3 Conclusion
During the past three years this photographer discovered a true passion: photographing architecture. Architecture has always been a keen interest, but by photographing it, a whole new and different world revealed itself. Rather than just having a fine eye for beauty and detail, the photographer wanted to share this with others. It is quite satisfactory to show the viewer architecture in a way he would never have looked at it or even thought of.
Architecture must also be seen as a form of art. It is the photographer’s aim to photograph buildings in a different way than how passers-by wouldn’t normally view it. Whether it be an interesting or abstract angle, or by using light in such a way as to enhance certain features. By combining the knowledge of architecture and photography, the photographer manages to 65
transform a building from a structural object to an aesthetical artwork. Architects spend hours to use the correct combination of materials, to create areas where light transforms space and to design a place with meaning. If a photographer can successfully capture these elements, a mere photograph of a building can change a viewer’s way of experiencing architecture.
Photography is a learning process. One can study every book there is about the subject, but the only real way to learn the art is by hands-on experience. Through trial and error a photographer will learn the tricks of the trade. This is where architectural photography has an advantage – the photographer can redo a shoot countless times to improve on small mistakes.
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Anon. 2010. Eiffel Tower Gallery. [online] Available at: http://www.tour-eiffel.fr/en/eiffelgallery.html [Accessed: 15 Oct 2013].
Anon (a). 2011. World Architecture award for best house in 2011. [online] Available at: http://www.minimalisti.com/architecture/01/architecture-award-for-best-house-in2011.html [Accessed: 17 Oct 2013].
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