The best architectural photos that are both aesthetically pleasing and accurate representations of their subjects will garner the most interest. A tenet of architectural photography is the use of perspective control, with an emphasis on vertical lines that are non-converging (parallel). Another is the use of lighting to create depth, contrast and texture to your subject. Skyline Photography uses both to provide the client with the best photo possible. Which in turn draws more interest to the home or business setting.
If you want to create dynamic and interesting images that jump off the page, taming and shaping the light to your vision is certainly going to help you accomplish that.
Photographing architecture, interiors, or anything that doesn’t move for that matter is an exercise in patience. There are many subjects that we have the luxury of moving to make a better photo: we can take a model into a studio or move them into the shade, we can move a car into better light, we can we can reposition a product for better angles. Not so with architecture: our options can be pretty limited.
But what should we be waiting for? There are three things that I’m always willing to wait for.
1) Most obviously, the right light. Since we’re shooting stationary objects, if we really want to make a spectacular shot, we’ve got to wait for the light to be the best it can if we want to create a jaw dropping photo, even if we're going to add our own light to the scene. If you're not working with lights, waiting until the scene is bathed in golden light or free of shadows can do wonders for your photos. If you are using supplemental lighting, having the best possible natural light combined with well-placed artificial strobe light can create amazingly dynamic images that simply aren't possible otherwise.
2) People, cars, and other objects to get out of the way. Unless we have the luxury of cordoning off a street or area to keep wandering bystanders and cars out of the way, we’ve got to wait for it to happen by itself. Waiting just five minutes for the area to be clear of people or cars can go a long way to ensuring that the viewer’s eye stays on the subject and doesn’t wander or get distracted by elements that aren’t adding anything to the final photo.
3) Just taking a deep breath and double checking everything. There is often a lot going on in an interior or architectural photograph. Some things that I watch out for include:
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