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التصوير الفوتوغرافي الحديث
تصوير الخارجيات
وجهات نظر متباعدة
DISTANT VIEWS
Distant views are good to show buildings in relation to their environment Large public and semi - public buildings often are photographed to advantage from distant viewpoints .
Public housing projects , hospitals , churches , skyscrapers , and elaborate estates are all buildings which dominate their immediate environment . They can often be most effectively portrayed from a viewpoint which clearly shows this dominance . It is frequently best to photograph such buildings from a considerable distance . This not only gives you a better panoramic view , but it keeps smaller but nearer buildings in proper perspective . A closer viewpoint would result in such nearby buildings photographing larger than they should , thus taking away much of the importance of the main building .
A long horizontal building such as this presents the photographer with a very difficult problem in composition , but photographing it when the sky is filled with beautiful fleecy clouds often does the trick nicely .
Photo of the Parke - Davis Co. , Towson , Maryland Courtesy of the Portland Cement Association .
For such distant views , lenses of relatively long focal lengths are often required . A good convertible lens that gives you a choice of two or three focal lengths is a very useful piece of equipment for the architectural photographer because it can be used either for close - up shots or distant views . Since architectural shots are almost invariably tripod shots , the slow speed of a single element of a convertible lens is not a serious disadvantage .
The sky is an important element in distant views . It often occupies a considerable portion of the picture space and so must have good photographic quality if the picture is to be successful . Try to select a day when the sun is shining to give you the necessary brilliant lighting , and when there are some clouds in the sky to break up an otherwise empty and uninteresting picture area . If the clouds aren't just right when you are ready to make the exposure , wait a while for a better cloud pattern to form . If the sky is absolutely empty and you have no choice but to make the exposure , clouds or no clouds , then keep the exposure as short as you dare so that the sky isn't burned up . Using a yellow filter will darken the sky and may help considerably . If the building is designed on modern architectural lines so that it will stand dramatic treatment , you can often . overcome the handicap of a blank sky by using a deep yellow or red filter and letting the sky go quite dark , as in Figures 13 and 14. However , such treatment must be used with considerable care and good judgment .
Michigan Consolidated Gas Company . Courtesy of Portland Cement Assn .
Figures 13 and 14 Darkening the sky thru the use of a deep orange or red filter is often a very effective way of disguising a completely blank sky .
Stanford Medical Center , Palo Alto , Calif . , Courtesy of the Portland Cement Association .
One important phase of making architectural pictures is the photography of some small but vital part of a building for the architect or building owner . A door entrance may have unusual design and architectural treatment , or the grain pattern of the marble may be particularly striking . The building front may have some stones with historical significance , or it may have a bas relief of unusual excellence . The hallway may have solved a particularly tricky space problem in simple , inexpensive fashion . These are just a few of the almost unlimited number of reasons why detail photographs are often called for .
In photographing such detail , you must first determine what prompted your client to have the photograph made and what he expects from it . This will determine your entire approach to the problem . If you don't know what type of photograph the client wants , you may turn out a masterpiece and still have it rejected . On the other hand , if you show what the client wants shown , he will be pleased with the photograph even if it is quite ordinary .
Let us illustrate this point . An architect may be particularly proud of the type and grade of marble he used in the entryway of a building he designed , and decide to have it photographed so he can show prospective clients an example of the excellent work he can provide . If you know his reason for having the photograph made , you can concentrate on showing the marble pattern to best advantage . You would get in fairly close , use the sharpest possible lens and your largest camera , and light the subject evenly , so that there are no strong shadows to hide the marble graining .
Three completely different . presentations of the LaSalle National Bank of Chicago . Figure 15 is an overall view which emphasizes the dignity of the bank in its environment ; Figure 16 points up the name of the bank ; and Figure 17 sym bolizes the massive strength of the bank .
All photos courtesy of the LaSalle National Bank .
Figure 15 Photo by Bill Engdahl , Hedrich - Blessing
On the other hand , if the strong point in the entryway is its large size and majestic sweep of line , you would spend some time in getting a camera angle to emphasize this sweep of line and then use strong , dramatic lighting . You would pay but little attention to detail . The two pictures would differ considerably , and justifiably so , since they would be serving different purposes .
Figure 18 A simple dignified treatment is usually the most appropriate for churches Photo of the Kenwood Baptist Church , Cincinnati , Ohio . Courtesy of Portland Cement Assn .
As a general rule , when you are called upon to photograph such fine detail texture will be quite important . To show texture best , you should use the largest negative size you can , since there is always some unavoidable loss in sharpness and quality in enlarging from a small negative . The texture of rough surfaces is brought out best when the lighting is fairly brilliant and strikes the subject at a very sharp angle . The lighting should usually come from one side , although some unusual effects are sometimes produced with back lighting .
تصوير الخارجيات
وجهات نظر متباعدة
DISTANT VIEWS
Distant views are good to show buildings in relation to their environment Large public and semi - public buildings often are photographed to advantage from distant viewpoints .
Public housing projects , hospitals , churches , skyscrapers , and elaborate estates are all buildings which dominate their immediate environment . They can often be most effectively portrayed from a viewpoint which clearly shows this dominance . It is frequently best to photograph such buildings from a considerable distance . This not only gives you a better panoramic view , but it keeps smaller but nearer buildings in proper perspective . A closer viewpoint would result in such nearby buildings photographing larger than they should , thus taking away much of the importance of the main building .
A long horizontal building such as this presents the photographer with a very difficult problem in composition , but photographing it when the sky is filled with beautiful fleecy clouds often does the trick nicely .
Photo of the Parke - Davis Co. , Towson , Maryland Courtesy of the Portland Cement Association .
For such distant views , lenses of relatively long focal lengths are often required . A good convertible lens that gives you a choice of two or three focal lengths is a very useful piece of equipment for the architectural photographer because it can be used either for close - up shots or distant views . Since architectural shots are almost invariably tripod shots , the slow speed of a single element of a convertible lens is not a serious disadvantage .
The sky is an important element in distant views . It often occupies a considerable portion of the picture space and so must have good photographic quality if the picture is to be successful . Try to select a day when the sun is shining to give you the necessary brilliant lighting , and when there are some clouds in the sky to break up an otherwise empty and uninteresting picture area . If the clouds aren't just right when you are ready to make the exposure , wait a while for a better cloud pattern to form . If the sky is absolutely empty and you have no choice but to make the exposure , clouds or no clouds , then keep the exposure as short as you dare so that the sky isn't burned up . Using a yellow filter will darken the sky and may help considerably . If the building is designed on modern architectural lines so that it will stand dramatic treatment , you can often . overcome the handicap of a blank sky by using a deep yellow or red filter and letting the sky go quite dark , as in Figures 13 and 14. However , such treatment must be used with considerable care and good judgment .
Michigan Consolidated Gas Company . Courtesy of Portland Cement Assn .
Figures 13 and 14 Darkening the sky thru the use of a deep orange or red filter is often a very effective way of disguising a completely blank sky .
Stanford Medical Center , Palo Alto , Calif . , Courtesy of the Portland Cement Association .
One important phase of making architectural pictures is the photography of some small but vital part of a building for the architect or building owner . A door entrance may have unusual design and architectural treatment , or the grain pattern of the marble may be particularly striking . The building front may have some stones with historical significance , or it may have a bas relief of unusual excellence . The hallway may have solved a particularly tricky space problem in simple , inexpensive fashion . These are just a few of the almost unlimited number of reasons why detail photographs are often called for .
In photographing such detail , you must first determine what prompted your client to have the photograph made and what he expects from it . This will determine your entire approach to the problem . If you don't know what type of photograph the client wants , you may turn out a masterpiece and still have it rejected . On the other hand , if you show what the client wants shown , he will be pleased with the photograph even if it is quite ordinary .
Let us illustrate this point . An architect may be particularly proud of the type and grade of marble he used in the entryway of a building he designed , and decide to have it photographed so he can show prospective clients an example of the excellent work he can provide . If you know his reason for having the photograph made , you can concentrate on showing the marble pattern to best advantage . You would get in fairly close , use the sharpest possible lens and your largest camera , and light the subject evenly , so that there are no strong shadows to hide the marble graining .
Three completely different . presentations of the LaSalle National Bank of Chicago . Figure 15 is an overall view which emphasizes the dignity of the bank in its environment ; Figure 16 points up the name of the bank ; and Figure 17 sym bolizes the massive strength of the bank .
All photos courtesy of the LaSalle National Bank .
Figure 15 Photo by Bill Engdahl , Hedrich - Blessing
On the other hand , if the strong point in the entryway is its large size and majestic sweep of line , you would spend some time in getting a camera angle to emphasize this sweep of line and then use strong , dramatic lighting . You would pay but little attention to detail . The two pictures would differ considerably , and justifiably so , since they would be serving different purposes .
Figure 18 A simple dignified treatment is usually the most appropriate for churches Photo of the Kenwood Baptist Church , Cincinnati , Ohio . Courtesy of Portland Cement Assn .
As a general rule , when you are called upon to photograph such fine detail texture will be quite important . To show texture best , you should use the largest negative size you can , since there is always some unavoidable loss in sharpness and quality in enlarging from a small negative . The texture of rough surfaces is brought out best when the lighting is fairly brilliant and strikes the subject at a very sharp angle . The lighting should usually come from one side , although some unusual effects are sometimes produced with back lighting .
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