Architectural photographers for many years have lugged heavy bags and cases full of equipment all over the world. One case held the digital camera rig, bellow, stands, film holders, a loop, dark cloth and a variety of lens boards. Inside duffel bags a large tripod, light stands, gobos, gaffer tape, gels, flares and reflector cards. This was a rare type of Interior Photography. They spent a lot of time adjusting minute increments. Correcting vertical lines. And adjusting perspectives beneath a dark-cloth as they painstakingly checked the images sharpness. Their eyes bulged out, as their brains calculated the upside down, rotated image before them. They were forever meticulous down to the millisecond of natural light required for the proper exposure.

Eventually, a film holder could be placed in the shoot because they lifted the A-slide revealing the film for the inner belly of the 4×5 camera. A press from the plunger cord opened the aperture to the precise coordinates letting light gradually fall over the film before closing them back. Next the A-slide was pushed down you flipped the film holder, opened the B-slide and exposed the next sheet of film. Repeating as necessary up until you felt you had the shot. Before moving the digital camera gear to the next location to set it up all up again and fire off a couple of sheets of film.

Fast-forward 200 years to the digital era of photography and you may get a new breed of architectural photographer. No longer strapped to your film case as well as 2 sheets. No more strapped right down to an eye-loop beneath a dark cloth, architectural photographers are starting to devise new strategies using software interfaces. They may be no more without a darkroom as the digital darkroom by means of a laptop computer could be by your side during every shoot.

The very first aspect to become considered not just in architectural photography is the light. Lights can do magic by working on the shadows and also the texture in the building. Bringing in the best contrast is what the photographer aims to operate at. Remember you are meant to accentuate those highlights of the building which will allow it to be look magnificent. Selecting the best lens is very important. You will need to judge whether or not the building would look best in a fish’s eye lens or perhaps a panoramic view. Considering how it is sometimes hard to get an entire building in a lens, it will be an essential decision to select the right lens. In case you are getting a shot from the interiors of the building ensure the white balance is set up right.

It is vital which you have a wise idea in which geometric shapes are complimented where weather. Your main task is to obtain the style of the building right. With this you have to break your building up mentally and find out which the perfect angle that compliments the building is. Should you be likely to select the skyline at nighttime it is a good idea to place the buildings between you and direct sunlight. You have to have a wise idea of how the reflections from the building would look. There are some amazing photographs with all the shadow play in the building. You must additionally be adept to get the best images in each and every weather.

Today’s architectural photographer remains carrying much more loads of gear with their shoots however it is much simpler when all your tools are neatly packed inside your cargo van. Inside an architectural photographer’s van you will discover a personal computer, extension cords, halogen lights, gobos, gaffer tape, light stands, halogen bulbs along with a camera. The exception is whether you decide to shoot a higher-end Digital Camera, a medium format camera with digital back or perhaps a converted 4×5 field camera with digital back. You now have the power of a digital environment.

Amazing results are close at hand thanks to this digital environment. You are will no longer put through weather since you can shoot using halogen lights at anytime during the day, evening or night. Your image capture holds everything over a high-resolution digital file. Which you now drop onto your desktop computer, adjusting files and parameters composing a mofpbm image out of fifty or even a hundred layers to make a magnificent composite image your client will marvel over. And rehire you, repeatedly.

One thing every architectural photographer always says is plan for the unexpected. Over a clear Arizonian evening we create fifteen halogen lights, a Hasselblad camera with digital back and our computer. We had extension cords coming from every light socket possible. Right before sunset a bit of a breeze kicked up. Adding sandbags we quickly secured taller lights. 10 minutes later just as we had been getting ready to shoot, it begun to rain. Since it started, we ran around unplugging all of the cords then grabbing light stands, dropping the halogens and moving them to the garage. By the time we had moved them all we were soaked and half the light bulbs had popped. Unfortunately for people this shoot needed to be canceled. But as Ann Landers once wrote, “Nobody says you have to laugh, but a sense of humor will help you overlook the unattractive, tolerate the unpleasant, cope with the unexpected, and smile from the day.”

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