نموذج تطبيقي لإسلوب معماري .. مجلة فن التصوير اللبنانية _ ع٥٧

An applied example of an architectural style

It takes a lot of effort and time to make an architectural model. The building project must be large and huge to some extent to be worthy of making a model for it. The photographs that are taken for this model not only allow securing a mere presentation of the project, but also the pictures that its owners and designers will show after the completion of the project. long .

And you, when you get a chance to work on an architectural model, maybe try a different measure to increase your usefulness.
So while the model is in your studio, why not look for someone who gives it the greatest importance - the chairman of the board of directors, the general manager - and invite this person to participate in the working session: .. Perhaps this person has not attended an executive session for a long time, and the aspects resulting from the session will be of particular importance in a look .
You can add some creativity to the session, with a measure of special lighting and signed design. As most designers will enjoy seeing some creativity in the photos that capture what they make, the dramatic lighting will increase the dynamics of the model and give the shots a distinctive and stylized look.
Here's how to accomplish some of what you see here. Only your imagination will hold you back, so make sure you get the shots your customers want, but don't be afraid to try something different.

hardware :
We used a Mamiya (RB 67) camera with a 90mm f/3.8 lens for this project. In fact, there is nothing wrong with using any frame, from 35 mm to 8 x 10, and there is no reason to use a single-view camera except for its larger structure, as long as correcting the dimensions was not necessary, and we were confident that the 6 x 7 negatives would give sufficient details in prints up to 30 x 40 inches, and it also allows us to make transparencies if necessary later.
Our lights consisted of strobes; Two power sources (Norman IP 400D) and four lamp heads - (L H 4). We also used the Honeywell slave Strobe 204.
As for the accessories that we find useful for our work, they are a professional Lindahl lens umbrella, and optical scattering filters, Harrison and Harrison. To complete our live model, an instant print Lamia appeared.

Create the device:
The screenshots show the model from a sea of ​​blackness. And shots with the chairman of the board of directors, among which we use black background paper that we put behind everything, then black cotton velvet under the model on Munir 18 x 36 inches, approximately 36 inches high. Bahr » of almost complete blackness, while the areas that pick up a little bit of intensity burn during the exposure of the print while working on it in the dark room.
Then, in order to diversify, we chose a natural landscape that consists of rolling hills, to create a horizon. This shape was placed on a black background paper and cut out 12" x 107" in the shape of the ridges. We also used inch chipboard cladding for added support. These were carved out of the rugged shape of the hills with a single-edged saw. Ordinary cardboard can be used.
Or smooth for the intended support. However, we liked the cladding because it gives more rigidity and is sufficient for one joint. After that, we used nails to fix the cladding slice to a board of 1 x 2 inches before gluing the ridges with glue.
While the glue dries, we stuck, at waist level, a 2-by-1-inch board between two backdrop holders. This painting was attached by an inch-hole in the narrow part of each end, and the painting extended parallel to the background paper and in front of it by a distance of about four feet. As for the ends of our background papers, they were supported by the edge of the paper between two lightweight wood beams.

As for the end of the black background, it has dots to a height of 10 feet, 1 x 2 inches, with 2 tweezers, one at each end. Then we put enough black paper to cover the floor, on the floor up to 10 feet 1 x 2 inches.
This, and to hold the landscape in place, we attached two tweezers. Larsov, to the 1 x 2 inch at each end. And we ordered bolt heads in light black.
After that, Mounir signed the model in front of the natural landscape directly and completely under its top. And the cotton bearing was used to blend with the black landscape.
As for the illumination of the equipment with and without the live model, it was basically the same with the addition of two lights for snapshots and sunsets »

And for those shots to the right side of the model, with a 4 x 6 ft Styrofoam reflector to the left side. We also achieved it with the presence of our live model, so the main light was a lamp head (4 - LH) operating at 200 watts / sec, and it was taken through a (SOFF) box for a 42" inch, and a (SOFF) box was put on another head (4 - LH) working With 200 watts / sec, on a 32-inch hexagonal Hlarsov umbrella that was placed 36 inches above the camera and pointed towards the model downwards, a third (4-LH) head was placed that works at 200 watts / sec, too, through its 18-inch (SOFF) box , placed at ceiling height above the model.

After completing the work on the live model, a Honeywell light was placed in the background to the right of the equipment outside the field of view of the camera directly, and directed downwards towards the model. This light was reflected, but without distraction, to create a dramatic effect, with light shadows pouring towards the camera, and these added to the surreal sense of the sunset. .

The making of the sunrise:
First, to create a more colorful sky, we lowered a dark blue background paper into position directly facing the black paper.
We did not touch - the language of the black paper. Then we used a (4-LH) head operating at 200 watts/sec with a small reflector and a dispersing dome that served as the sun for the scene. This head was placed on a small platform in the pelvis. Which was shaped with black paper, then made exposures with and without filtering on that light.

Our preferred candidate was a ruby ​​red, emitting a red radiance fading to deep purple and blue.
It's true that Roscne's gel can be used to filter sunlight, but anything tinted and semi-transparent you have in the studio can be arranged to filter sunlight.
Then we used the reading of the incident counter at a distance from the large (Sofr) box to determine the exposure of F / 16 with a film - (VC5 A120 by 100 aza), and the light shot from above was adjusted to give the same reading. The Styrofoam reflector read almost immediately less than one stop/P for a 3 to 1 ratio on the live sample.
For the sunset shots, the Honeywell light was set to give a light reading in excess of one f/stop. As for detecting our sundown, a reflective counter reading was used to take the reading from the middle. It was that the results that we wanted came from a reading that is almost equal to the value of reading the main event. Some minor modifications were also made during the making of optional editions. We point out here that the lens umbrella is an important piece to keep stray light away from the lens.
Our laboratory was not exposed to any difficulties while printing the negatives of the Chairman of the Board of Directors: The gray card was necessary in a frame of snapshots - Al-Gharbo, to help print those frames. And we used the usual printing to allow burning any dark areas in which a slight accumulation of density occurred.

Additional notes:
Here are some additional notes to keep in mind when taking architectural models.
1. Check with the owner or designer about any special angles they may want covered. There may be some design feature that is not clearly visible - an angle slightly higher than horizontal in your views will roughly equate to skewed aerial photographs of an actual building. And an angle like this will display good details in the overall design, including the features of the roof, although there are some designers who are distinguished by angles at ground level, such as those from which pedestrians will look.
2 - Dynamic lighting, such as the one that appears here, imitating sunset or night, will push the architectural model to look more realistic. Also, this lighting allows the use of properties such as models, plants, etc... without these representations appearing as something intrusive.
3 - The black background will remove obstacles and increase the strength of the shots.
When working on a more opaque model, using black cotton velvet, for the hills. And hanging it to the ground, you get rid of any condensation that arises in the black areas.
Also, for black backgrounds, if you use a large piece of black cotton velvet instead of a sheet of paper there will be very little change to any density that appears.
4. Although the black cotton velvet itself would be visualized as black, the one-inch clippings on each edge, to prevent it from loosening, would not be visualized as black.
The lectern and the cotton velvet base concerned with the model should be large enough not to include these edges of the material in the view of the camera.

finally . We point out that the numbers and lighting methods shown here can be used for many destinations and other commercial projects. It may take you and your assistant half a day to prepare them each time.
First, but you will increase your experience and competence again and again, and the hills that were made for this equipment can be kept for later use.

Then after your first session with an architectural model, be sure to make a print for your collection and once it is known that you are able to use your imagination to prepare a commercial shot like that, you will become destined to realize more projects⏹