The Approach
The photograph can be considered as either documentary or pictorial; documentary emphasises the photograph as a pure record, giving as much information as possible, while the pictorial aim is to create a visually pleasing picture.
Why use large format?
- allows us to tilt (vertically) and shift (horizontally) so that the otherwise converging lines will be parallel
- gives us the creative control to change the plane of focus and depth of field
e.g. can apply shallow DOF on actual buildings to make them look like small models
Modern equivalent
Large format cameras are traditionally used for architectural photography. Today, tilt-shift lenses can also be used on DSLR's or the image can be shot with a normal lens and the lines can be straightened using software such as photoshop.
Useful Diagrams illustrating why we tilt and shift
Source: Kopelow, G 1993, How to Photograph buildings and interiors, Princeton Architectural Press, New York p. 28.
Characteristics
- Photographers usually straighten lines and bring them back slightly
- Line is a dominating element of architectural photography, it is common to photograph from angles where the viewer’s eye is lead to a certain part of the image
- How much space around the building for exterior shots is important – make sure the building is filling more of the frame as this is the main feature. Minimise surroundings unless they are important
- Symmetrical and asymmetrical viewpoints create dynamic images, asymmetrical giving more interesting viewpoints and angles.
Lighting
As a photographer, your choice of the time of day, light source and direction will determine the colour, intensity, direction, contrast, specularity and balance of your image, and therefore the overall look and feel.
In Kopelow’s book ‘How to Photograph Buildings and Interiors’ he suggests to visit the building site numerous times to visually see the building in various lights and decide which one is the most desired. Consider the type of building (texture and design) to help you determine this.
Scheimpflug Principal
SF basically allows us to photograph a building or interior, showing as much of the building as possible, yet still have the ability to straighten the converging lines.
1904 - This principal was named after an Austrian Army officer – Theodor Scheimpflug, who used this principal to correct the distortion created when taking aerial photographs.
Three planes must converge along a single line;
1. Film plane
2. Subject plane
3. Lens plane
See diagram:
(Don’t quite understand this principal 100% yet but this diagram sure does help!)
The SF principal also allows photographers to determine the depth of field, even when the film and lens are tilted.
Equipment
- Tripod – must be robust and have a universal joint to allow tilting the head in different angles
- Light meter
- Polarizing filter or at least UV
- Lens hood
- Colour filters – useful for interior shots e.g. to correct the red/yellowish cast of tungsten lights
Harris, M 1998, Professional interior photography, Focal Press, Oxford.
Kopelow, G 1993, How to Photograph buildings and interiors, Princeton Architectural Press, New York.
Merklinger, H. 2007, Technical Books on Photography, 20 Feb 09 <http://www.trenholm.org/hmmerk/#SR>
