For me, nothing is more photographically stimulating and satisfying than producing a striking image of an everyday object, that is often taken for granted. A perfect example of this is Architecture.
Bricks, concrete and glass surround us and are as much a part of our everyday lives as driving
a car or wearing clothes. In fact, buildings are so familiar that many of us are oblivious of the structures surrounding us. Instead, we focus on where we are going….never looking up…never looking down…..never stopping to appreciate the specialized designs of architects, carpenters or bricklayers. Due to our busy lives, we fail to recognize the designs within the designs that represent the creative expressions of these professionals and craftsmen. These ‘expressions’ result from a collaboration of talents that satisfy the functional and artistic needs
in our day-to-day lives. As photographers of architecture we study and reveal this art form to make the public more aware of the beauty in their surroundings.
Visual design awareness is an observational talent that most of us possess to varying degrees and is a skill that can be developed and refined depending on a genuine interest in the subject. It just stands to reason, that if you are not enthusiastic about architecture as a social, historical and environmental art form and are not willing to study and appreciate its significance, then you will likely not evolve as an outstanding architectural interpreter and image-maker. However, the needs of most commercial clients fall well below this lofty standard and there are a few basic rules that will equip you to successfully deal with the documentary photography of buildings.
It is also possible that the experience of understanding and engaging in the technical side, could stir an inner appreciation for architecture, leading to personal creative growth.
LIGHT
Simplicity is the essence of exterior architectural lighting and usually we are dealing with a single light source. DIRECT SUNLIGHT is like a focused SPOTLIGHT that is predictably and constantly moving, producing shadows, texture and shape. How and when we utilize this light is the key to successful results.
The absence of bright sun on an OVERCAST day can be compared to SOFT BOX lighting in the studio, producing wrap around lighting with a very short highlight to shadow ratio.
CLOUDY-BRIGHT days result in DIFFUSED transparent shadows that are less dramatic but still provide shape with reduced texture.
The use of diffused sunlight or direct sunlight will depend primarily on how the building is positioned relative to the sun and the final effect desired. Traditionally, the position of the sun should be at an angle that skims across the face of the structure, creating 3 dimensional textures that accentuate the building’s form and materials. The worst-case scenario is when the sun is directly behind the photographer producing flat 2 dimensional shapes.
TIMING
Since our subject is not about to walk away, we have the opportunity to study the building and forecast the optimum time of day for the sun’s best textural angle. Scouting visit(s) to the site will allow you to analyze the ‘character’ of the building to determine the angles and features that you want to shoot. At this time, you need to accurately determine the direction the building faces. This pre-photography visit is where you will draw your creative inspiration from as you visualize how the sun moves around the building from dawn to dusk.
There is no single time of day when you can capture all angles on a building; you have to follow the sun. Always consider early morning or late day solutions as a technique that can make an ordinary building look stunningly beautiful. This extra effort will separate you from the DIY Real Estate shooters, as a Creative Professional with vision and talent.
I recommend that you buy a quality compass, learn how to use it and carry it in your car or camera bag at all times. An awareness of polar orientation and an understanding of the earth’s seasonal cycle of movement and angle, relative to the sun, will allow you to plan an architectural shoot in advance, in your mind’s eye. In addition, we are now able to supplement this knowledge with tools such as Google Earth and GPS.
PATIENCE & STRATEGY
Unless the client has a five-alarm deadline, you may have the benefit of waiting for the ideal conditions to capture a building. This not only considers the lighting but also the type of sky behind the structure or vehicles in a cluttered parking lot and so on. If a request for photography comes in November from a client with a North facing building, I will explain to them the reasons that I can only give them an excellent photo during the month of June when the sun is at its most northern point. Usually they can’t wait 6 months, so I may shoot their building on an overcast day to avoid deep shadows and make the best of a less than ideal situation. Hopefully, I can then turn this compromise solution into a pre-booked session in June when conditions are optimum, gaining client confidence in my integrity as an image-maker, plus additional revenue from the second session. Selling the concept of a scheduled re-shoot is relatively simple providing you can convincingly articulate the benefits and long-term value of good photography as it relates to the perceived public impression of that company.
REALITY
You are probably thinking that client budget determines the amount of time you dedicate to a project. In my view, the client budget determines how much you invoice for a project. If your subject inspires you, you must give your subject its due time. As with all photographic passion, we are not only shooting for our clients; it is a creative process where, to remain balanced and to grow, we must also invest in ourselves.
