How to photograph buildings

10 Jan 2002 - from http://www.ephotozine.com/

How to photograph buildings - We live in them, we work in them, and most of us sleep in them. But what about photographing buildings?

How to photograph buildings
We live in them, we work in them, and most of us sleep in them. But what about photographing buildings? Any one who has a camera has probably taking a picture of a castle, local church or tourist monument, but buildings offer much more scope from the intricate details of historical cathedral or the graphical shapes of modern architecture. We take most of the buildings around us for granted and with a little extra perception youll start to see a whole new way at looking at architecture and its many forms.What gear do you need? Any camera from a single-use to a sophisticated SLR is capable of recording a decent picture of a building. Ideally you will often need a wide-angle lens but if you do have a fixed option look around for viewpoints where you can get the whole building in shot. Walking back up the road away from the interesting architecture or stepping across the courtyard will give you the necessary space. Or you could play up the strengths of your fixed lens camera and move in close on smaller areas of the building. SLR users who invest in a wide-angle lens or those with a compact with a zoom lens can open up far more options. With a wide-angle you can fill the frame from close range and take shots when you normally wouldnt be able to, such as in a narrow street or from a confined viewpoint.


When using a wide angle you will find that walls of a tall building lean inwards when you shoot from a low angle. This can be prevented by using a special lens known as a shift lens to correct the perspective problems, but a less costly way is to find a distant viewpoint and use a longer lens or from close range if you can gain height by climbing a nearby hill or shoot from the upstairs window of a building opposite that will help. Specialist architectural photographers take step ladders with them to gain the height. Ideally you want to a viewpoint that positions you about halfway up the building any higher and the bottom of the building will start to slope inwards. These correction problems can also be sorted out using the transform tool of an image-editing program, which weve covered in a previous tutorial. You may, however, want to exaggerate the sloping walls, as I did in the above example, by shooting wide and going low. The alternative end of the spectrum is to use a long lens to home in on small details such as gargoyles on a church or an interesting carving in its masonry.

What film?

Slow speed film with fine grain will ensure you record all the subtle details in a building. This will ensure you record all the detail so you will be able to read any plaques or display boards, as well as see all the intricate carvings. As most of your pictures will be outdoors and the subject is static you can usually get away with using ISO film, which has very fine grain. You may prefer to try black & white and if so adding an orange filter to your kit will ensure that the brickwork is recorded with superb tonal range and the sky behind will be saturated with white clouds against the dark blue background sky.

If you venture inside youll need a tripod to avoid camera shake especially with church interiors that are often dimly lit. In brighter buildings lit by fluorescent or tungsten lighting you will need a filter when shooting using colour film. A tungsten (household type lamp or reflector type) will add an orange cast and needs an 80B blue filter to correct the colour, while a fluorescent strip lighting will introduce a green cast and needs AN FL-D magenta filter to correct the problem. If you have a digital camera the cameras automatic white balance control should sort out the colour. If not switch to manual and key in the appropriate setting, checking the LCD preview to see the effect.


Exposure


Photographing buildings is one of the easier subjects to measure the light from. In most cases the brick or stone is a similar tonal value to mid grey so the meter will record it accurately. Problems will generally only occur if the material used is very dark (coated glass) or very light (white painted structures) In these cases the camera will compensate making a dark building to light and a light building too dark. Open up a stop or close down one stop to compensate. So, for example, if the exposure you get is 1/30sec at f/8 when shooting a dark building select 1/60sec at f/8 or 1/30sec at f/11. If its 1/250sec at f/8 when shooting a white building, select 1/125sec at f/8 or 1/250sec at f/5.6. If your camera has exposure compensation set either 1stop or +1 stop respectively.


If you have an auto exposure lock point at your hand (if its in the same light as the building) and lock the exposure.One other area that can fool the camera is when the sun is behind the building and in the frame. The bright area will fool the camera into setting a shorter exposure and the building will become silhouetted. Point down so just the building is in the shot, take a reading and recompose using manual or the auto exposure lock.
They say a picture paints a thousand words so now lets look at some practical examples of techniques you can try.


A telephoto lens can also be used to create dramatic patterns by filling the frame with a repetitive brick structure, modern glass building fascia or tiled rooftops. Shoot from an oblique angle and the perspective will change dramatically creating lines disappearing towards a vanishing point

Left: A 200mm telephoto shot of the houses of parliament building in London. Most pictures you see of these famous buildings show the whole structure. By cropping in tightly you can highlight the fantastic repetitive detail and make an interesting pattern.

Right: The 80mm end of a 28-80mm zoom was used here to crop in on these modern apartments in the Canary Islands. I made use of the rule of thirds (see previous article on composition) placing the wall and blue railing on the intersecting lines.
Above: Use am arch or tree to provide a natural frame around your picture.

Left: In this shot at Fotheringhay I walked down into a dip in the field that had a huge puddle and positioned myself to get a reflection of the impressive church. This adds impact to a shot that could have ended up being a typical horizontal view of the church.

You don't have to shoot in colour all the time. Black & white makes an often more dramatic alternative. This shot of a plain looking building has been improved by shooting on infrared. Here I used a digital camera and enhanced the result using Photoshop to darken the sky, increase the glowing areas of the foliage and added a sepia tone.

You are often allowed to climb up to the rooftops of churches or cathedrals and doing so present many photographic opportunities. As well as gaining you a great viewpoint of the city you can often find interesting statues projecting out from the walls. This shot taken at the Duomo in Milan. Just one of its 3500 statues to choose from!

Night Photography of Buildings

by Geoff Lawrence

Photographing buildings at night raises new problems but can produce great images. The first problem is that there is a lot less light so holding the camera steady can be a problem. The best way is to use a tripod but I couldn't fit one in my suitcase so I had to find another way. One good way to give yourself extra support is to lean against a tree or sturdy lamp post, bracing yourself in this way and locking your arms tight into your body can get you a reasonably sharp exposure at 1/15 sec or even down to 1/4 sec. Another even better method is to brace the camera against a signpost or sturdy support such as a wall. If you are sitting at a cafe you can often get good shots by placing the camera on the table. I was doing this a few days ago, using a book under the lens to adjust the height and got sharp pictures at very slow shutter speeds.

The other problem with night photography is the very high contrast of the scene, this can send your automatic metering system into a complete frenzy. If you have mastered the art of bracketing exposures on your camera I would suggest that this is a good time to use it. The idea of bracketing is that you take one exposure at the 'correct' setting according to the light meter and then you take one or more at higher or lower readings. Most of the better cameras these days will have a special knob for doing this so you don't have to resort to manual exposure. Just click the wheel to +1, +2 or -1, -2 etc. The big question is which settings to use and how finely tuned do your different exposures have to be. A professional shooting in the studio will bracket his exposures 1/3 of a stop apart, but you or I looking at the results might not be able to see the difference between one shot and another. A whole stop on the other hand might be too much - see Aperture.

In a night scene you are inevitably going to have quite a lot of black and there will usually be light sources in the scene which will normally be burned out white, at least in the centre, so the object of bracketing is to control the highlights so they don't get too out of hand. As you can see in the photo above there are halos around the lights but they are, in my opinion, under control. There are no rules about how big your halos should be, it's up to you, but massive blobs of white in the picture can look pretty ugly. Normally I would not recommend a highlight near the edge of the picture as this can lead the eye out of the frame, however I tried this photo with and without the street lamp on the left and decided to leave it in. Rules are there to be broken but it's nice to know you're breaking them.
from www.geofflawrence.com

Photographing Buildings

by Geoff Lawrence

The Right Light
If you prefer to go on sightseeing holidays rather than flopping on a beach then you're probably going to want to take photos of the buildings you visit. The trouble is you're always there at the wrong time of day, the light is coming from the wrong direction, there are crowds of people blocking your view and the rest of the family are nagging you to put the camera away and get moving. You could just buy the postcard but, if you are a photography junkie like me, that will never be an option. Although sometimes I might buy a postcard as an insurance policy in case my photos are not good enough.
The best time of day to take photos of any outdoor subject is either the early morning or the evening when the sunlight has a reddish hue and the light is coming from the side rather than directly overhead. Early morning is best, there is a difference in the quality of light that I find it hard to put my finger on, also there are normally less people around. Obviously if you are photographing buildings the best time of day is going to be dictated by which way the building is facing. The photo on the right was taken at about 7.30am, I had spotted the building the day before but the light was all wrong so, as it was close to the hotel where I was staying I decided to go back in the morning.
As with any other type of photography you should ask yourself what it is about this particular building that you like and focus on that. Sometimes this will mean framing the whole building, sometimes it will mean picking out details and sometimes a mixture of both will work well. In the photo above it was the tower on top of the building that caught my eye but I found that I needed at least some of the building to give the tower context.

Framing
When photographing buildings, especially the tops, you often end up with lots of boring sky so a good trick is to frame the top of the building with a branch or two from a nearby tree. I was quite lucky with this shot the trees were there waiting for me, all I had to do was go and stand in the right place, but I would not be above dropping in a branch from another photo using a bit of Photoshop magic. Looking around for a tree before you take the photo though will always be more convincing and with zoom lenses it is easy enough to adjust your perspective to fit everything into the right place. It can be hard to get the scale and the lighting just right when you try to put the tree in afterwards.

Getting the perspective right
All the photos on this page were taken on a holiday trip to Barcelona where, amongst other delights, we wanted to see the work of the architect Antoni Gaudí. The photo on the left is of a building that was reworked by him in the 1920s. This building is quite difficult to photograph because the trees that line the roadside get in the way. I wanted a shot of the whole facade and the only way I was going to get it, without chopping the tree down, was a drastic tilt of the camera. In this instance the look is quite dramatic and the use of a wide angle lens makes the building look as though it is bending over backwards. Whenever you tilt the lens upwards to get the top of the building into the picture you will notice that the sides of the building converge towards the top and the building appears to be leaning over backwards. In a shot like this one it doesn't really matter but, if you want your buildings to be upright, and personally I hate to see photos of buildings where the verticals are slightly off, then you either have to shoot from a higher vantage point or you need to employ a little trickery.
In the bad old days of film the best option was a special 'anamorphic' or shift lens which would correct the verticals for you. There was also an option to correct the perspective in the darkroom by tilting the enlarger at an angle but in the modern world we use the 'perspective' or 'distort' adjustment in Photoshop to spread out the top of the picture until the verticals are once again vertical.

If you have ever tried to do this to one of your photos and found the adjustment greyed out as unavailable, the probable reason is that you are trying to apply the adjustment to the background layer which will not work. If you double click on the layer in the 'layers' palette you get the option to rename the layer and the default option is 'layer 0' click yes to this and the layer will no longer be the background and all the perspective adjustments will work.

Here are three more photos of the same building, in the shot on the right I have corrected the verticals in Photoshop by stretching out the top of the picture. This seems to work remarkably well considering the programme must have to insert pixels into your picture to make up the size. I suppose a purist would not stretch the top but shrink the bottom and then crop the sides.
Normally when I am out and about I carry two zoom lenses, a mid-range which covers approximately 28-80mm (in old fashioned 35mm terms, now 18-55mm) and a 75-300mm telephoto. This covers me from moderate wide angle to about as much telephoto as it is sensible to handle without a tripod. The two pictures on the left are details from the facade showing the 'bits that I like' picked out with the telephoto lens.

from www.geofflawrence.com

Basics of Photoshop

How to use Photoshop?

Below is a sample of my tutorials. Don't use this one here as it is too small.

These are on TEACHING RESOURCES.

Alternatively, use the files on my YOUTUBE channel - I will fix the link soon!

Youtube Channel is 'Mediamonkeymovies2'

Pattern, Shape, Volume, Lighting, Texture and Tone

PATTERN
Creating your pictures around repeating elements or patterns provides picture unity and structure. Pattern repetition creates rhythm that the eyes enjoy following (fig. 5-15). When lines, shapes, and colors within a picture occur in an orderly way (as in wallpaper), they create patterns that often enhance the attractiveness of photographs. Pattern, like texture, is found almost everywhere. It can be used as the primary subject but is most often used as a subordinate element to enhance composition. When pattern is used as a supporting element, it must be used carefully so it does not confuse or overwhelm the viewer. Pictures that are purely pattern are seldom used, because they tend to be monotonous. Patterns should be used to strengthen and add interest to your subject.

Shape is the most common and powerful pattern element. Repeated lines, tone, and color can also provide unity to your composition and combinations of these create interesting pictures. Triangles, squares, and circles are the basic shapes to look for in a pattern. Triangles and squares are usually static but can be placed to create a tension-filled, dynamic effect. Circles and curves are pleasing pattern shapes.

VOLUME
When photographing most subjects, you face the problem of how to symbolize three-dimensional objects in a two-dimensional picture. The solution becomes simple when a distinction is made between the two different ways three-dimensional objects appear: as positive, or occupied space (volume) or as negative, or unoccupied space.

LIGHTING
Lighting is also an important creative element of composition. By controlling the light and directing it where you want it, you can subdue objects or distracting elements in the scene to give more emphasis to the main point of interest.

For good picture composition, you must develop an awareness of how changes in lighting can affect the appearance of things around you. Light and shadows can be used in composition to create mood, to draw attention to an area, to modify or distort shape, or to bring out form and texture in the subject.

Shadows are a key to apparent form in photographs. Without shadows, the subject records without form, curvature, or texture, appearing flat and lifeless. This does not mean that shadows must be harsh and black to achieve the effects of form, curvature, and texture. They may be soft, yet of sufficient density to show the most delicate roundness and form. Generally, harsh, black shadows are undesirable in a photograph due to the loss of detail in them. From a compositional standpoint, black shadows can be very useful in balancing a scene and directing attention to the point of interest. Harsh shadows can also be excellent for emphasizing texture and form, for creating interesting patterns, and for directing attention to the main point of interest; however, the same elements can also obscure detail and reduce form. When the lighting is harsh, such as on a clear, sunny day, shadows have sharply defined edges and are probably very dark, sometimes to the point that they appear stronger than the primary subject and attract attention to themselves.

TEXTURE
Texture helps to emphasize the features and details in a photograph. By capturing "texture" of objects being photographed, you can create form. When people observe a soft, furry object or a smooth, shining surface, they have a strong urge to touch it. You can provide much of the pleasure people get from the feel of touching such objects by rendering texture in your pictures. Texture can be used to give realism and character to a picture and may in itself be the subject of a photograph. When texture is used as a subordinate element within the picture, it lends strength to the main idea in the photograph. It usually takes just a little different lighting or a slight change in camera position to improve the rendering of texture in a picture. When an area in a photograph shows rich texture, the textured area usually creates a form or shape; therefore, it should be considered in planning the photograph (fig. 5-16).

TONE
Tone is probably the most intangible element of composition. Tone may consist of shadings from white-to-gray-to-black, or it may consist of darks against lights with little or no grays. The use of dark areas against light areas is a common method of adding the feeling of a third dimension to a two-dimensional black-and-white picture. The interaction of light against dark shades in varying degrees helps to set the mood of a composition. A picture consisting of dark or somber shades conveys mystery, intrigue, or sadness. When the tones are mostly light and airy, the picture portrays lightness, joy, or airiness.

Links Online

Photo-Tips Sites:
1) Basic Photography Tutorials http://www.silverlight.co.uk/tutorials/index.html
2) Focus on Photography http://www.azuswebworks.com/photography/
3) Some Learning and Advice - http://photo.net/learn/
4) Exposure - a beginner's guide to photography http://www.88.com/exposure/
5) Kodak http://www.kodak.com/
This is a huge website from the photo-industry pioneer. The site offers photo taking tips, an online catalog of products, and a picture gallery - follow the LEARN link

Black And White Photography: Open Your Eyes To A Different Reality

Written by: Andrew Goodall Photos by: Rory Mole

Black and white photography is a rewarding and challenging field of artistic photography. Even people who don't care about photography can find themselves drawn to a great black and white image. As a photographer, black and white can allow you to discover a whole new character in a familiar subject. For many digital photographers, black and white photography is nothing more than colour photography converted by software. It is a matter for your own judgement whether this is effective for your photographs.

Often the image you assume will convert beautifully to black and white will prove a disappointment; sometimes a photo you never imagined will surprise you. However, most serious photographers will tell you that the best black and white photos are taken when the photographer deliberately sets out with black and white images in mind. This creates an entirely different mindset in terms of how you choose and approach your subject. You may, for example, start to see potential in subjects you would never normally consider for colour photography.If you have never had a serious go at black and white photography, here are a few simple tips to help you get started.

Black And White Photography Tip #1. Choosing A Subject. Some subjects lend themselves to colour but are not nearly so effective in black and white. For example, sunset photographs rely on the colour of a great sky for their impact, and rarely produce a good black and white image. Colourful birds, flowers, fashion...there are many times when the only logical approach is to shoot your subject in colour. On the other hand, some subjects are ideally suited to black and white photography.Because this is an 'old-fashioned' medium, it often works well with old-fashioned subjects. Rustic items like old farm equipment, a tumble-down shack, an old wooden fence can all be great subjects for black and white photos.When photographing people, age can also be a factor. A close-up portrait of an aged face showing all the lines and creases of their years on earth can have much greater impact in black and white.This can only be a short article, so these examples are just the tip of the iceberg. You will find many great subject once you start thinking in black and white.

Black And White Photography Tip #2. 'Seeing' Your Subject In Black And White. When you first approach your subject, you need to imagine how it will look without colour. Try to look at it in terms of lines and shapes, shadows and contrasts. You will begin to see your subjects in a whole new light. You may even find yourself zooming in on a particular feature, or photographing the subject from an angle you might never have considered in the past. One thing is for sure; once you get into the 'black and white headspace' your camera will express the character of the subject in an entirely different way.

Black And White Photography Tip #3. Use The Light To Enhance Impact. Because a black and white photo relies so much on shadows to define shapes and details, your approach to lighting can make or break an image. As a nature photographer, I often photograph black and white photos quite differently from colour photos.You have probably heard the rule that the best landscape photography is done early or late in the day when the sun is low and the light is soft and even. Well, in black and white photography I often look for just the opposite.

To create better definition in a subect I will often take my photos through the middle part of the day, to create heavier shadows to emphasise the lines and shapes in the composition. I am also more inclined to take photos looking directly toward the sun, to produce silhouettes that make the most of trees, windmills and other strong shapes against the sky.

Earlier I mentioned a portrait of a very old person. If it is the lines on a face that give the image its character, you need to make sure the lighting is from an angle that produces shadows in the creases. Thus you may be looking for lighting in a black and white photograph that would be considered unflattering and unsuitable for a colour photograph.

So there you have three very simple tips for black and white photography. Notice that they are all about the creative approach, not about settings and camera techniques. In fact most of the time, black and white requires no different technical expertise than colour photography. To take better black and white photographs, you don't necessarily need to change the way you use your camera. Instead, you are looking to change the way you see the subject, and how you can use light, shade and composition to capture the character that black and white photography has to offer.

I am sure you will enjoy experimenting with black and white. It may open your eyes to aspects of your world that have never turned you on before. Visit http://www.naturesimage.com.au to find Andrew Goodall's images and ebooks on photography for beginners. While you are there, why not sign up to the online newsletter for regular tips and updates...it's free!

(with thanks to Picturecorrect.com )