Architecture Lens

Interview with Architectural Photographer Christian Richters

Wed, 25 Apr 2012 11:31:56 -0400

Interview with Architectural Photographer Christian Richters

WOW. Imagine napping here. micasaessucasa: (via Garden Shed)

Tue, 24 Apr 2012 11:31:40 -0400

WOW. Imagine napping here.

micasaessucasa:

(via Garden Shed)

Hope you love this shot as much as I do. What an amazing...

Mon, 23 Apr 2012 11:31:01 -0400

Hope you love this shot as much as I do. What an amazing photographer/person.

neako:

Architecture by photograph Julius Shulman

Thank you to Architecture Lens reader, Richard, for submitting...

Sun, 22 Apr 2012 12:08:31 -0400

Thank you to Architecture Lens reader, Richard, for submitting this interior photograph, looking for some feedback. This is a very good start, with ample room for improvement.

First, I do enjoy the composition in regards to view into the kitchen and the fact that you are showing the three doors leading out of the space. Whenever you are revealing an open concept space such as this, it is always nice to show more. Meaning we want to see into the other rooms, not a lot, just a hint that there is more going on. You are doing the same thing with the couches in the foreground. However, it would be nice to see a bit more of the couches, or none at all. Right now it is at sort of an in between state between looking like you wanted to show them, and looking like you had to in order to fit the stools in the frame.

There appears to be an overall red cast to the image, I would certainly remove that from the white areas in post processing. The exposure is fairly flat right now. There appears to be window light coming from the left of the camera illuminating the room, but I would like to see a little bit more tonal change. The flat light is not helping the wood of the cabinets, I can’t see any texture. The stools are looking nice though.

One very important oversight is the lighting. The ceiling lights, accent track lighting. and hanging lights over the counter should be on and perfectly exposed. If the lights were on it would help to break up the frame a little bit so it wouldn’t appear so flat.

I would have photographed the scene as you have it, and then shot a dark exposure with the lights on, to combine later. However, the track lighting could have been used to your advantage if you turned them on and positioned them so they were accenting certain elements around that island counter top.

The styling overall is nice. I think that the window in the back through that door is just a stop or a stop and a half too bright.

Last, but certainly not least, because of the wide angle lens you are using, the image is suffering from lens distortion, barrel roll to be specific. You can see this is the door frame and cabinets on the left, and cabinets on the right: they are bending towards the frame edge. This can be corrected in Photoshop, Lightroom, or Adobe Camera Raw, whichever you are using for processing. The verticals then need to be straightened as well, right now they are slightly leaning. 30 mins of work and you could greatly increase the visual impact of this image. And the rest that you can change you can keep in mind when shooting next!

Thanks again for the submission, and keep shooting! I’d love to see more future results.

-CS

Interview with Architectural Photographer Pedro Guerrero

Sun, 22 Apr 2012 11:43:00 -0400

Interview with Architectural Photographer Pedro Guerrero:

A casual read promoting Guerrero’s career retrospective currently being exhibited at the Julius Shulman Institute at Woodbury University.

Such an awesome concrete design. Check out the patio! Its like a...

Fri, 16 Mar 2012 13:45:13 -0400

Such an awesome concrete design. Check out the patio! Its like a puzzle. And talk about building into the landscape.

neako:

Tea House by Archi-Union Architects (Shanghai)

Help Support Architecture Lens by "Liking" the blog on Facebook! Thanks!

Fri, 09 Mar 2012 22:49:58 -0500

Help Support Architecture Lens by "Liking" the blog on Facebook! Thanks!

Back from a brief hiatus! and ready to explore some great architectural photography!

Fri, 09 Mar 2012 21:17:59 -0500

A Great Resource for Estimating and Billing for Photographers

Tue, 10 Jan 2012 13:04:25 -0500

A Great Resource for Estimating and Billing for Photographers:

I will add this site to the links page, lots of interesting real life situations to read through, for those of you who are tring to figure out how to estimate a job for a client.

Great Interview with photographer Brad Feinknopf

Sun, 08 Jan 2012 11:16:48 -0500

Great Interview with photographer Brad Feinknopf:

Check out some of his architectural work, and read what he has to say about his background and process… good stuff.

Architecture That Just Begs for Winning Photos #7

Sat, 24 Dec 2011 10:45:55 -0500

Architecture That Just Begs for Winning Photos #7

Things not to say in front of an Architect

Sat, 24 Dec 2011 10:43:08 -0500

Things not to say in front of an Architect:

ck1:

If you’re going to be in a room with one or more architects this holiday season, we recommend brushing up on some things not to say. We’ve rounded up our list of favorite taboo quotes, complete with mind-reading translations of what the architects will be thinking, should you elect to go there.

NPPA: Cost of Doing Business Calculator

Thu, 08 Dec 2011 21:02:06 -0500

NPPA: Cost of Doing Business Calculator:

Just came across this great calculator. It gives a basic insight into how to calculate how much a photographer should be charging per day just to earn a living and cover expenses. Your own individual CDB may have other factors in it, but playing around with this calculator should give you a basic ballpark of prices you need to charge just to survive.

Architecture Lens Follower Photo Submission Critique

Wed, 30 Nov 2011 18:34:32 -0500

Hello to all Architecture Lens Followers,

I received this photo submission from one of you for critique! This is a great example to go over. Lets dive right in.

This is a tough interior to photograph. Sometimes you will be called upon to shoot a room that was designed for function… not form. And you still have to be able to come out of it with a high quality, visually stimulating image.

For this interior, a number of things could have been done to improve the image before you even get to the retouching.

1. Back up and include more of the space in your frame. This shot is for an architect. And you are focusing on stools and a counter. Architecture and interior photography is about showing the space, not just details. Maybe try the shot from another side of the room, looking back at the entrance and showing more of the space, instead of leading the viewer to the empty dark storage closet in the back there.

2. Lens choice… I would have chosen the 24mm Tilt-Shift lens, and if you are not on a tripod… you should be. The camera was not level, and was tilted, resulting in a tilting interior. You need your lines straight. I also would have tried raising the camera slightly to show more of the counter top.

3. In this view, you are not showing any light fixtures. I would have shot this with the lights off. Because the floors are reflective, and the focus point of your image is reflective (the metal stools), you are getting nasty reflections of the lights behind you, and off of the floor in the stools. Look at all the white spots in the stools. Shut the lights off, and you eliminate all the reflections, including the other nasty light reflection in the ceiling. Those are all distracting.

4. In post you can remove some of the color reflection that are clouding up the stainless steel stools. And brighten everything up. But if you had a longer exposure to compensate for the lights being off, you should have been all set.

Below is a quick edit I made, simple correcting the perspective, creating straight lines, removing the color cast on the stools, removing some of the light reflection in the stools, and overall brightening the whole image up.

Thanks for the submission! I hope everyone can learn a little something from this critique.

If you want me to take a look at one of your images, or you have an awesome image you want to share… or anything! Go to www.architecturelens.com/submit.

Photographing Small Spaces; Dealing with Mirrors

Thu, 17 Nov 2011 15:59:23 -0500

In architectural and interiors photography, photographing small and tight spaces can be a tricky task. The smaller the space, often times, the wider the lens that you will need to use. Small bathrooms is typically where I will try out the Canon 17mm Tilt-Shift lens, as it is fairly necessary and can work quite well. But many times I will find that the image is just too warped, or the client just doesn’t like the look or feel of the image. A super wide shot of a small space can feel like just that, it can be forcing too large of a frame on such a small space.

In this scenario, I try to utilize elements in the room that can allow me to make a tighter shot, while eluding to the rest of the interior. Mirrors are phenomenal for this. Typically you think mirrors would be a nightmare, bouncing light all over the place and god forbid you try to stand in front of the camera, you’re in the shot!

But learn to embrace the mirror and it can be your new best friend in these tight spaces. Positioning the camera specifically to utilize the reflection in the mirror to expose the rest of the room is the first step. For example, in the image above, I decided to go for a more geometric feel, with sort of a vignette crop, displaying pieces of many things in the room. Then I utilized the mirror to show the shower directly behind me. So where a wide shot showing the sink, toilet, mirror and shower altogether would be boring and wide and ugly, I have made a more pleasant and interesting composition, while using the mirror to show the space of the room.

Things to be aware of in the shot above: I am shooting directly into a reflective glass surface in the picture frame, with a window light behind me. This was a simple fix. Luckily, I had some lovely black foam core with me, and was able to hold it up to block the light from the window from hitting the picture frame glass, thus blocking the reflection. I then composited this exposure with the reflection-less glass in the rest of the shot.

In the shot below, I decided to use the same technique. Focusing on the one corner with the custom built-ins and sink, I was able to show the other half of that side of the room. It just makes for an interesting shot, that can work nice within a body of images of a space.

Architecture That Just Begs for Winning Photos #6

Fri, 11 Nov 2011 15:28:25 -0500

Check out this gorgeous modern Canadian home. I love the wood, the geometric shapes, the floor to ceiling glass windows, and the interior space. Phenomenal. Leave a comment to let me know what you think!

Please support Architecture Lens and me! Christian, by voting...

Tue, 08 Nov 2011 21:55:00 -0500

Please support Architecture Lens and me! Christian, by voting for the “Silver-Shumay Fireplace” in the Masonry POY 2011 contest online! The contest is for the masonry designer, but I would love if my photo was the winner!

Just take two seconds and click on the photo above, select “Silver-Shumay Fireplace” and hit vote!

THANK YOU :) And look forward to MANY more interesting articles on photographing architecture in the coming months.

PLEASE REBLOG

Event: ''The Business of Architectural Photography'' Seminar with Steve Whittaker

Tue, 08 Nov 2011 16:28:30 -0500

ASMP Foundation Grant presents Steve Whittaker. One of the main goals of Steve’s presentation is to give attendees a better understanding of why they need to pay close attention to the details of their contracts, and to give fellow photographers, especially emerging photographers, a better understanding of what the business of photography is all about. Risk management is a big issue in our profession and too many people don’t fully appreciate it’s importance. Case studies – including the lighting of a 24-story office tower – are used to help illustrate a range of issues. Project coordination, execution and wrap up are discussed as well. Topics covered: Estimating /Contracts / Stock issues Assignment project coordination Permits/release forms/film commissions Risk Management /Safety issues Assignment preparation, scouting Case study- Assignment execution, related to lighting 24 story office tower Copyright Registration Post production Steve Whittaker is based on the San Francisco peninsula, covering local, regional and national assignments. The majority of his work is architectural, interior and aerial photography. His specialty is lighting buildings at dusk. His clients range from architects, advertising agencies, interior designers, corporate direct and hospitality. Steve joined ASMP in 1983. In 1995, he became an active ASMP Northern California Chapter board member with a focus on outreach and education to emerging photographers. In 1999-2001, he was chapter Co-President and joined other ASMP Architectural Photographers with ASMP Architecture-an active specialty group of ASMP. In March 2010 Steve was elected to the ASMP National Board of Directors. This event is free to the public, thanks to the ASMP Foundation. Thursday, November 10, 2011 6:30 – 9:00pm The Art Institute of Dallas 8080 Park Lane, Dallas, TX 75231

Architectural Term of the Week: Coffer or Caisson

Tue, 08 Nov 2011 13:12:00 -0500

A coffer, also known as a caisson, is a sunken panel in a ceiling, dome or vault. These types of ceilings can add a lot of dimension to a flat ceiling. They can be simple like in the image above, or extravagantly painted and decorated like in many Renaissance designs.

7 Reasons Why You Should Be Tethering While Photographing Architecture

Sat, 05 Nov 2011 18:01:00 -0400

Tethering your camera to a computer offers plenty of benefits. If you are shooting with a medium or large format camera with a digital back I am sure you are already tethering at every single shoot, as the screens on modern digital backs are nowhere near trustworthy enough when it comes to color and exposure/histogram details. But even if you are shooting with a 35mm digital SLR camera, like a Canan 5d Mark ii, or a Nikon D3, you may find it beneficial to tether during a shoot. The following are just some of the reasons I can think of:

1. Tethering during a shoot offers larger previews, and thus making it easier to spot problems with the image. With most programs, such as Capture One, you are able to turn on highlight and shadow warnings. This will warn you when you are clipping either your highlights or shadows, which means you are losing all detail in those areas… it is either pure white, or pure black. You usually want to keep some detail in all of the highlights and shadows.

2. Clients often want to be a part of the shooting experience. Tethering allows the client to view the image you are working on and offer their input or just to be along for the process. There are some programs with the iPad that offer live remote viewing. So your clients could be in a whole different room, relaxing, with an iPad in hand viewing your shoot as it unfolds. Pretty cool! (And an easy way to distance yourself from an annoying client :)

3. Focus power! Tethering allows you to zoom in on your focus point and be 100 percent precise and make micro adjustments. This is even true with Live View. The only Live View program I have used that I am happy with is the standard Canon EOS software. I have used that tethering software many times, especially on macro-photography projects such as artwork reproduction… the autofocus ability of the EOS program and the micro-adjustments are phenomenal. But when I am tethering I typically will use Capture One software, but will not touch their live view, as it is pathetic and should not even exist. So I will trust my eyes with the focus, and just zoom in on the computer as I shoot to double check the focus.

4. Composition, composition, composition…. This is what photography is all about. Would you say it is easier to compose a great image in a tiny little viewfinder, using one eye? Or would you rather compose an image on a 15 inch backlit screen… Easy choice, I know.

5. When shooting any large project, organization is key, because you don’t want to have to come back when you miss a shot. And if you are shooting brackets for exposure blending, organization is even more important. If you forget to take an important exposure, such as an exposure for the light fixtures, or for the windows, then your shot is wasted. When shooting with Capture One or Lightroom 3 or any other tethering program, you can set up simple folders for the whole project. It might look something like:

>(Client)

———>(Client)(Shoot_Date)

——————->(Client)(Shoot_Date)(Shot_#1)

——————————->(Client)(Shoot_Date)(Shot_#)(Exposure_#1)

——————————->(Client)(Shoot_Date)(Shot_#)(Exposure_#2)

——————->(Client)(Shoot_Date)(Shot_#2)

6. When photographing for exposure blending, you know the importance of not moving the camera until all of the exposures are completed. If you tether, you are able to set up the computer (I usually will use a cart with wheels to carry the computer, camera, lenses, cords and accessories) a good distance away from the camera. And with most digital cameras, you can control the camera from the computer itself. So if you are manually focusing, all you need to do is compose the shot, focus, then leave the camera alone and just get your exposures from the computer.

7. The files save directly to your computer hard drive! No need to risk images on CF cards or SD cards, no more uploading files. You have your images already organized and uploaded as you are shooting. Making it easy to just grab the captures folder after the shoot and copy it over to your back up hard drive(s).

Have your own reasons why you like to tether? I’d love to know them!