Chapter 1: Introduction

Early History

The history of architectural photography began in the early 19th century, following a long
tradition of representing architecture through paintings. Renaissance painters like
Michelangelo and Raphael created bold architectural visions, while Baroque period paintings
often incorporated architecture into their designs. In Dutch Baroque painting, architectural
subjects became an independent genre. Techniques such as etchings and veduta paintings in
the 18th century used tools like the camera obscura to achieve realistic perspectives, laying
the groundwork for modern photography.

1.1 What Is Architectural Photography?

The term “architectural photography” describes both the subject (architecture) and the means of capturing it
(photography). The word “photography” comes from the Greek “photos” and “graphé,” which means “drawing
with light,” and describes a technical means of optically capturing

Architectural photography captures the essence of architecture through the medium of

photography. The term "architecture" is derived from the Greek words "arkhitekton,"
meaning chief builder. Architecture serves as a functional shelter, integral to human life. Le
Corbusier emphasized its importance, stating, "Architecture is one of the most urgent needs
of man, for the house has always been the indispensable and first tool that he has forged for
himself"(CHAPTER 1 2).

1.1.1 Early History

The advent of photography allowed for more accurate representations of buildings. In 1827,
Nicéphore Niépce created the first known photograph, a heliograph of a building. This was
followed by Louis Daguerre and William Henry Fox Talbot, who developed methods to
capture more detailed images (CHAPTER 1 2).

1.2.3 The Twentieth and Twenty-First Centuries

The Bauhaus movement in 1919 began to consider photography an art form. The German "New
Objectivity" photographers and American artists like Walker Evans brought dynamic new
perspectives to architectural photography. Technical advancements improved the quality of images,
and the advent of 35mm cameras revolutionized the medium. Post-World War II, architectural
photography developed as both an artistic and documentary medium. The introduction of digital
technology further transformed the methods and capabilities of architectural photography.

1.3 Authenticity in Architectural Photos Authenticity in architectural photography is

challenging due to the intrinsic abstraction of the medium. Even the most realistic photos lack
the three-dimensionality and emotional context of viewing the building in person. Architect
Meinhard von Gerkan noted, "An architectural photo is almost bound to be a visual lie
because the medium seems to represent the greatest possible potential objective authenticity"
(CHAPTER 1 2).

1.4 Forms of Architectural Photography

 Documentary Architectural Photography: Found in books, magazines, and construction
documents, this form aims to precisely describe buildings.
 Postcard Photography: Often oversaturated and technically imprecise, these photos
serve as proof of visitation.
 Vacation Photography: Tourists capture personal memories, with the location often
more significant than the building.
 Advertising Photography: Uses manipulated architectural images to enhance product
appeal, often employing stylistic devices like color adjustments and artificial reflections.

 Artistic Architectural Photography: Found in galleries and exhibitions, architecture in

these photos serves as a means to an end, emphasizing the photographer's message over the
building's design.

Chapter 2: Camera Technology

architectural photography, emphasizing that the photographer's skill is more crucial than expensive
gear. Andreas Feininger's quote, “The fact that a (in the traditional sense) technically deficient
photograph can have greater emotional impact than a technically flawless picture probably comes as a
shock to those who are naive enough to believe that technical excellence alone is a measure of a value
of a photograph,” highlights this point.

2.1 Digital Image Processing Digital image processing allows for extensive manipulation of
photographs, making extreme shooting conditions manageable. Techniques such as panorama
stitching and high dynamic range imaging (HDRI) have revolutionized the field, enabling
new perspectives and easier shooting in difficult conditions.

2.1.1 The Number and Availability of Images Digital cameras allow immediate display and analysis
of photos, reducing material waste. Memory cards can hold many images, which can encourage taking
numerous shots. However, this can lead to hurried compositions and lower quality images if not
managed properly.

2.1.2 Resolution and Tonal Range Digital sensors now often provide higher resolution than
analog film. Digital images can be printed in large sizes due to the high pixel count.
However, analog film can reproduce a wider dynamic range (up to 12 stops of contrast) more
effectively, though modern digital cameras are catching up. Digital cameras can suffer from
overexposure issues, which can be mitigated with careful exposure settings or photo editing.

2.1.3 Image Noise and the “Look” of an Image

Digital images typically appear less noisy than digitized analog images taken at the same ISO
sensitivity. Analog film grain usually appears as uniform background noise, while digital
cameras set to high ISO values produce blotchy color noise, luminance noise, and banding in
darker areas. Digital artifacts are often more distracting than analog grain effects. Most
digital cameras incorporate noise reduction algorithms, which can cause a loss of detail.
Noise perception is subjective and less noticeable in prints or reduced-size images compared
to 100% magnification on monitors. Analog images often appear more natural due to the
random arrangement of silver halide crystals, compared to the strict geometry of digital
pixels. Some photographers use grain in high-sensitivity films as a stylistic device, and
software is available to simulate analog film effects digitally.

2.1.4 Image Artifacts

Digital sensors produce artifacts such as moirés, false color, and aliasing due to the
interaction of fine textures with the pixel pattern. Moirés occur when patterns interfere, while
false color results from interpolating color values. Aliasing appears as zigzag patterns in
diagonal lines. To reduce these effects, camera manufacturers use multi-layered low-pass
filters, which soften the light and reduce image detail. Some professional cameras omit low-
pass filters to preserve sharpness. Nature photographers benefit from high detail resolution,
while architectural photographers prefer low-pass filters to avoid patterns and artifacts.
Analog film's randomly sized silver halide crystals avoid these digital issues. Dust on digital
sensors can create blotches in images, necessitating manual cleaning or professional services.
Analog photographers also need to remove dust when digitizing images, and modern
scanners often include automatic dust and scratch correction software.

2.1.5 Lens Quality

High-resolution digital sensors place greater demands on camera lenses than film. Light
entering at an angle can cause artifacts and vignetting in digital sensors, particularly with
wide-angle lenses.

Retrofocus lenses, common in DSLRs, have complex optical constructions to minimize these
issues,

whereas symmetrical lenses, found in view and rangefinder cameras, are more compact with
fewer aberrations but can suffer from vignetting.

Color shifts near the edges of images are a potential issue with wide-angle lenses and high-
resolution digital backs. These shifts can be corrected using lens cast calibration (LCC)
images, which involve capturing a reference image with an opaque filter to correct the
original image in photo-editing software.

Modern lenses are designed with digital requirements in mind, and sensor manufacturers use
microlenses to direct light more effectively. Some camera-lens combinations use software
algorithms to eliminate artifacts in-camera immediately after a shot is taken.

Techniques for Capturing Color Data

 Multi-Shot Cameras: These cameras take three separate images of the subject, each
with a different colored filter (red, green, or blue) placed in front of the sensor. The
three images are then combined into a single full-color image.
 Single-Shot Cameras (Conventional DSLRs): These cameras use a single image
sensor shot where each pixel records the brightness of only one of the three color
components (red, green, or blue). The other two color values are calculated through a
process called interpolation.

Bayer Pattern

 The most common filter matrix pattern used in single-shot cameras is the Bayer
Pattern.
 The Bayer Pattern features a matrix of red, green, and blue microfilters with 50%
green filters and 25% each of red and blue filters. This arrangement consists of groups
of four pixels, each with two green, one red, and one blue pixel.
  The predominance of green filters corresponds to the human eye's higher sensitivity to
green light.
 Interpolation: To create a complete color image, the camera interpolates the missing
color values for each pixel using the colors captured by neighboring pixels. This
means each pixel in the final color image contains color data that was not directly
captured by the corresponding sensor pixel.

2.1.6 Digital Image Processing

Digital images allow for extensive post-processing without quality loss. Techniques like
panorama stitching and HDR imaging have revolutionized architectural photography, making
difficult shooting conditions easier to handle.

2.1.7 Image Authenticity

Digital images are often seen as less authentic due to their manipulability. However, digital
image forensics has emerged to evaluate the authenticity and detect manipulations of digital
images(CHAPTER 1 2).

Analog images are often considered more authentic due to the difficulty in manipulating them. Digital
images are easily reproducible and manipulable. Digital image forensics has emerged to detect
manipulations and determine image origins, although it requires high-resolution, minimally
compressed images.

2.1.8 Archiving Images

Proper archiving of digital images is crucial due to their susceptibility to corruption and loss.
Archiving ensures the preservation of images for future reference and use(CHAPTER 1 2).

Digital photography offers advantages in archiving, as digital files can be copied and stored losslessly.
Proper archiving requires backing up files in multiple locations to avoid data loss due to physical
damage, software malfunctions, or accidental deletion. Cloud storage or offsite physical backups are
recommended for redundancy.

2.2 The Camera

A camera is the primary tool for photographers, designed to capture three-dimensional scenes
in two dimensions. Various types of cameras cater to different kinds of photography, and
their functions determine their suitability for architectural photography. The best camera for
architectural photography depends more on the system type and sensor format than on brand.

2.2.1 Types of Digital Cameras

Digital Compacts and Bridge Cameras

 Advantages:

 Small, light, easy to carry.

 Simple to use, ideal for beginners and everyday snapshots.
 Disadvantages:

 Sensor Size and Efficiency: Tiny sensors with large pixel density lead to low light
yield per pixel. This necessitates signal amplification, reducing dynamic range and
increasing noise, which is mitigated at the cost of image detail.
 Fixed Lenses: Prone to lens errors, especially at the edges and with large zoom
ranges. Limited focal lengths, especially at wide angles, making them unsuitable for
architectural photography.
 Other Features: Small viewfinders and glossy monitors complicate composition.
Rare manual or semi-automatic exposure modes and lack of RAW shooting mode are
significant handicaps.

Bridge Cameras:

 Advantages: Support RAW formats and often have manual or semi-automatic

exposure modes.
 Disadvantages: Share many drawbacks with compacts, including small sensor size
and limited wide-angle capabilities.

Four Thirds, APS-C, and DX DSLRs

Sensor Size:

 Four Thirds Standard: Smaller sensors with a diagonal half the size of a 35mm film
frame, resulting in a crop factor of 2. For example, a 14mm lens on a Four Thirds
camera gives an equivalent angle of view to a 28mm lens on a full-frame camera.
 APS-C Format: Used by Nikon (DX format), Pentax, Sony (crop factor ~1.5), and
Canon (crop factor ~1.6).

Advantages:

 Sensor Size and Light Yield: Larger area for pixels compared to digital compacts,
resulting in better light capture per pixel, greater dynamic range, and better detail
resolution.
 Viewfinder Image and Live View: Large, bright viewfinders for easier composition.
Live view is standard and helps with manual focusing and exposure setting, often
including live histogram functionality.

Disadvantages of image sensor size:

 Focal Length Shift: Crop factor shifts focal length toward the telephoto end, making
wide-angle lenses less effective for architectural photography, but ok for sport. High-
end, wide-angle lenses may become standard lenses due to the crop factor.
 Lenses: Despite the limitations, the wide range of interchangeable lenses available
makes these DSLRs versatile.

Analog and Digital Full-Frame Cameras

Analog 35mm Format:

  Fixed, non-wide-angle lenses make analog 35mm compact cameras unsuitable for
architectural photography. Analog SLRs are a viable option due to their unique image
quality.

Digital Full-Frame Format:

 Advantages:
o Sensor Size: Full-frame sensors eliminate the need for dealing with crop
factors and maintain tilt/shift lenses' intended angles of view.
o Image Quality: Larger pixels improve dynamic range, noise characteristics,
and per-pixel sharpness.
o Viewfinder Image: Larger sensors require larger reflex mirrors and
viewfinder prisms, resulting in a bright viewfinder image, facilitating precise
composition.
 Disadvantages:
o Lens Errors: More apparent at the edges of the frame, especially at wide
angles and apertures. High-quality lenses are recommended to get the best
results from large sensors.
o Cost: Full-frame sensors and cameras are more expensive than those with
smaller sensors.

Mirrorless Cameras

Features:

 Design: Compact due to the absence of a mirror box, with interchangeable lenses.
Sensor sizes vary widely, with the best options being APS-C or full-frame sensors for
architectural photography.
 Advantages:
o Smaller flange focal distances allow use of various lenses with adapters.
 Disadvantages:
o Viewfinder: Lack of optical viewfinder requires reliance on the camera
display or electronic viewfinder, which can be challenging in bright light.
However, electronic viewfinders can display the image as it will be captured,
reflecting settings like white balance and exposure.
o Autofocus and Handling: Generally slower autofocus and potentially less
ergonomic handling due to smaller size and fewer controls.

Analog and Digital Medium Format Cameras

Analog Medium Format:

 Film: Uses roll film with a larger surface area per frame than 35mm, improving detail
resolution and image quality. Common film formats range from 6 x 4.5 cm to 6 x 9
cm.
 Construction: Modular with manual operation, suitable for studio and landscape
photography but not for action or wildlife.

Digital Medium Format:

  Digital Backs: Replace film with high-resolution sensors. Sensor sizes are larger than
full-frame but smaller than the largest medium format film frames.
 Advantages:
o Excellent lenses with outstanding optical performance.
 Disadvantages:
o Few wide-angle lenses, with potential weaknesses such as field curvature and
edge blurring.
o Lack of tilt/shift capabilities.
o High cost and slower operation compared to other camera types.

Large Format Cameras

Features:

 Design: Specialist tools mounted on an optical bench or monorail, perfect for

perspective adjustments.
 Operation: Fully manual with no autofocus or automatic exposure metering. Require
a high level of skill and experience.
 Advantages:
o Extremely high resolution and unparalleled wide angles of view.
 Disadvantages:
o High cost of film and processing.
o Time-consuming setup and operation.
o Digital sensors for large format are rare and extremely expensive. Digital
backs for medium format can be used but require ultra-wide-angle lenses for
effective perspective correction.

Future Developments Needed:

 Affordable digital backs with large sensors and high resolution.

 New wide-angle lenses designed for digital sensors.
 Innovations like the ALPA 12 FPS and HCam-B1 that allow combining digital backs
with various lenses for broader use in architectural photography.

2.2.2 Conclusions Regarding Cameras

There is no one-size-fits-all camera for architectural photography. Each system has its pros
and cons. Full-frame digital cameras currently offer the best balance of quality and flexibility,
making them the most practical choice for architectural photography. Smaller sensor DSLRs
are a cost-effective alternative for hobbyists, while mirrorless cameras are suitable for those
prioritizing portability. Compact cameras are not recommended due to their limited
capabilities. Some professionals still use analog large format or digital technical cameras for
their exceptional image quality, despite their complexities and costs.

2.3 Lenses

The lens plays a crucial role in determining image quality, angle of view, depth of field,
shutter speed, and visible lens errors. For architectural photography, lenses with excellent
reproduction characteristics and appropriate angles of view are essential.
In photography, the choice of lens significantly impacts the quality and characteristics of the
images produced. As stated, "the lens dictates image quality," influencing aspects such as
"the angle of view," "sharpness of detail," and "depth of field." Different photographic
purposes demand specific lens attributes: "sports photographers require long telephoto lenses
with fast autofocus," while "portrait photographers prefer medium telephotos with good detail
definition at wide apertures."

For architectural photography, the requirements are distinct. The lens must possess
"extremely good reproduction characteristics," providing "an appropriate angle of view" and
potentially allowing "tilt and/or shift" functionalities. This specialization ensures that
architectural details are faithfully captured, with minimal distortion and maximum clarity.

shortcomings in lens construction directly affect image fidelity: "If weaknesses in the
construction of the lens mean that certain details don’t reach the sensor, these simply cannot
be captured." This highlights the critical role of lens quality in the final outcome of
architectural photographs.

Overall, while various camera bodies may be suitable for architectural photography, careful
consideration and selection of the lens are paramount to achieving superior image quality and
accurate portrayal of architectural elements.

2.3.1 Reproduction Characteristics

Architectural photography demands lenses with minimal lens errors and anomalies. Key
points include:

 Sharp Detail Capture: Necessary for capturing the entire subject clearly, often
achieved by stopping down the lens.
 Lens Errors: Fringing and softness are common issues, especially at wide apertures.
Chromatic aberration can be corrected with software, but edge sharpness often
remains a challenge.
 Distortion: Barrel and pincushion distortion are more prominent at extreme focal
lengths. Allowing space around the subject for subsequent correction is important.
 Fixed Focal Length vs. Zoom: Both can be suitable as long as they produce high-
quality results. Price often reflects the quality, with more expensive lenses generally
offering better performance.

2.3.2 Focal Length

Wide-angle lenses are typically required for architectural photography due to the need to
capture larger angles of view. Factors to consider:

 Wide-Angle Lenses: Lenses with an equivalent focal length of 24mm or less and an
angle of view over 84 degrees.
 Practical Use: In urban environments, flexibility in lens choice is crucial due to
limited shooting locations and interfering surroundings. Moving closer to the subject
often necessitates shorter focal lengths.

2.3.3 Tilt/Shift Lenses

 Tilt/shift lenses (fig. 41) allow the photographer to make physical adjustments
 to the perspective in an image while shooting. They can be used to prevent
the occurrence of converging verticals (section 3.4) and obviate the need for
various quality-reducing correction steps during subsequent image processing
(fig. 42). They also make it easier to compose images, as they give the photographer
more freedom in the choice of viewpoint and framing. Tilt/shift
lenses allow you to create perspective-corrected two- to four-shot panoramas
with increased angles of view and resolution (section 3.6.3). Apart from aperture
control, these lenses are usually fully manual and thus require you to select
distance settings.

The Perfect Camera/Lens Combination for Every Budget

Beginners:

For those starting out, an entry-level DSLR or mirrorless camera bundled with a kit lens is
recommended. These kits are available for $1000 or less and offer a modular system with
interchangeable lenses for easy upgrades.

Hobbyists:

To deepen your experience in architectural photography, consider purchasing an additional

ultra-wide-angle zoom lens. These lenses cost around $500 and are particularly useful for
interior shots.

Ambitious Amateurs:

Serious photographers should invest in a mid-range DSLR or mirrorless camera, an ultra-

wide-angle zoom lens, and a high-quality mid-range zoom lens with a range extending to
short telephoto. Adding a fixed focal length lens, such as a 24mm equivalent, can be
beneficial. This setup can cost $2,500 or more.

Semi-pro:

Experienced photographers aiming to progress should look at full-frame DSLRs and a

selection of high-end zoom and fixed focal length lenses. A 24mm tilt/shift lens is also
valuable. Costs at this level can reach several thousand dollars.

Professionals:

For most professionals, the best equipment includes large format cameras with medium
format digital backs, complemented by top-of-the-line full-frame cameras and high-end wide-
angle lenses. Tilt/shift lenses are commonly used, with costs easily reaching five figures.

Accessories

2.5.1 Tripod

A tripod is indispensable for architectural photographers, providing stability crucial for

capturing sharp, shake-free images. Whether shooting in low light or using small apertures
for increased depth of field, a tripod ensures consistent image quality by minimizing camera
shake. As emphasized, "Using a tripod, you have more time to make precise adjustments to
your framing and to wait for the right moment to release the shutter." High-quality tripods
from brands like Gitzo and Manfrotto are recommended to support heavier camera setups and
withstand environmental conditions.

2.5.2 Tripod Head

Selecting the right tripod head is equally critical. Ball heads offer quick adjustments in any
direction with a single grip, while pan/tilt and geared heads provide more precise control,
allowing for fine adjustments down to the millimeter. The choice between these types is often
a matter of personal preference and shooting style, ensuring that photographers can achieve
optimal framing and composition.

2.5.3 L-Bracket and Panorama Head:

L-brackets are useful for portrait-format images, keeping the camera’s center of gravity
above the tripod. Panorama heads or nodal point adapters are necessary for panorama
enthusiasts.

2.5.4 Remote Release

In conjunction with a stable tripod and mirror lockup function, a remote release is essential
for minimizing camera movement during exposure. This tool ensures precise timing of the
shutter release without physically touching the camera, particularly useful for HDR and DRI
photography where precise alignment of multiple exposures is crucial.

2.5.5 Lens Hoods:

Lens hoods prevent stray light and protect the lens. Always use a correctly aligned hood to
avoid vignetting effects.

2.5.6 Filters:

 Polarizers: Polarizing filters are used to eliminate reflections from smooth surfaces like
windows or water, and to enhance sky colors. Circular polarizers are recommended for SLR
cameras as they work seamlessly with autofocus and exposure systems. They are adjusted by
rotating the filter's foremost ring to control the intensity of polarization.
 Graduated Filters: Balance exposure in high-contrast scenes.

 Graduated Filters: These filters, typically square or rectangular and mounted in

holders, selectively darken specific parts of the image. They are invaluable for
balancing exposure in scenes with high contrast, such as landscapes with bright skies
and dark foregrounds. Effective graduated filters darken progressively from the
middle to the top edge, ensuring natural-looking adjustments.
 Neutral Density (ND) Filters: ND filters reduce the amount of light entering the
lens, allowing for longer exposures even in bright conditions. They are essential for
creating motion blur in architectural photography, particularly useful in capturing
smooth movements or blurring crowds. Quality ND filters, such as those from B+W,
Hoya, and LEE Filters, are recommended to avoid color casts and maintain high
image fidelity.
 Despite advancements in digital post-processing, certain filters remain essential for architectural
photography. Polarizers effectively reduce reflections from non-metallic surfaces and enhance sky
contrast, while graduated and neutral density filters help balance exposure in high-contrast scenes
and extend shutter speeds respectively.

2.5.7 Lens Adapters:

 Wide Compatibility: Adapters enable mounting lenses with M42, Olympus OM, Pentax
K, Contax/Yashica, Leica R, and medium format mounts onto DSLR bodies. This expands
lens choices to include renowned optics like Zeiss and Leica lenses, often delivering superior
image quality compared to modern lenses.
 Manual Focus Challenges: Adapted lenses require manual focusing, which can be aided
by accessories like split-image focusing screens or adapters with focus-confirm chips. These
chips illuminate focus indicators in the viewfinder upon achieving correct focus.
 Aperture Control: Without electronic connections (common in active adapters), aperture
data isn't transmitted to the camera. Users must manually set aperture wide open for focusing,
then adjust to the working aperture for exposure metering.
 Adaptability Limitations: Not all lenses can achieve infinity focus when adapted due to
differences in flange focal distance between lens mounts and DSLR bodies. Canon EOS
DSLRs are more adaptable due to their shorter flange focal distance, whereas Nikon DSLRs
and some older lenses may face limitations.
 Mirrorless Advantage: Mirrorless cameras excel in adapting lenses due to their shorter
flange focal distance, accommodating practically all DSLR and many rangefinder lenses.
Adapters with aperture control capabilities enable seamless use of lenses like Leica M series
optics.

Lens adapters enable the use of older manual lenses on various DSLR bodies, offering
enhanced image quality with brands like Zeiss or Leica. Focus manually and be aware of
limitations related to flange focal distance.

2.5.8 Grid Focusing Screens:

For precise composition and alignment, DSLRs can be fitted with grid focusing screens. These
screens feature permanent etched grids that aid in aligning building features and maintaining
horizontal and vertical symmetry, reducing the need for extensive post-processing.

2.5.9 Memory Cards:

Architectural photography demands flexibility due to unpredictable shooting conditions. It's

essential to carry sufficient memory cards to accommodate varying shot requirements.
Shooting panoramas or HDR/DRI images consumes significant memory due to multiple
exposures. RAW format files, often large (20 MB or more), quickly fill up storage. Saving
JPEG backups for easier sorting also increases memory usage. Affordable prices make
carrying spare memory cards crucial.

Architectural photographers typically don't need the fastest memory cards available; midlevel
options are generally sufficient for processing bracketing sequences. Opting for reputable
brands is advisable to minimize risks associated with defects commonly found in low-end
memory cards.

2.5.10 Batteries:
Photographers should always keep spare batteries charged, especially in remote locations with limited
charging facilities. Rechargeable batteries have reduced capacity in cold temperatures. To conserve
battery life, disable non-essential functions like automatic sensor cleaning and monitor playback.
Using a battery grip provides additional power and improves camera handling, especially useful for
portrait format shots.

2.5.11 Flash:

Flash is rarely used in architectural photography due to its limitations in illuminating large exterior
spaces. For interior shots, off-camera flash with modifiers can highlight specific areas not well-lit by
natural or artificial light. Built-in or on-camera flashes are generally ineffective for architectural
photography, where natural lighting is preferred.

Off-camera flash can be used for interior shots to match outside lighting conditions, but built-
in flash units are generally not useful for architectural photography.

2.5.12 Other Accessories:

 Rain covers: Protect equipment from wet conditions.

 Blower brushes and sensor cleaning wands: Keep your gear clean.
 Spirit level: Ensure precise camera alignment.
 High-quality strap and pocket tripod: Useful for long photo tours.
 Gray card: Achieve proper white balance.
 Angle viewer and LCD hood: Helpful for low-angle shots and bright conditions.

In conclusion, having the right accessory when you need it is crucial for successful
architectural photography.

Camera Orientation

Importance of Precise Orientation

Orienting your camera perfectly on a tripod is crucial for architectural photography. It

involves making minor adjustments to the tripod head while closely examining the picture
frame through the camera’s viewfinder.

Use of Grid-Focusing Screens and Digital Gridlines

 Grid-Focusing Screens: If available, use them to assist in aligning your camera.

 Digital Gridlines: Activating these on your camera can help you capture straight lines
of buildings, windows, doorjambs, and interior edges more accurately, reducing the
need for post-process corrections.

Aligning with the Horizon

 Integrated Levels: Use the integrated levels on tripod heads to help ensure the
camera is level.
 Central Horizontal Gridline: Align this gridline with the horizon line or
architectural elements at the same height as the camera, such as doors, to maintain a
level shot.
Panning Clamps and Bases

 Panning Clamp: Useful for horizontal panning, making it easier to maintain

alignment.
 Panning Base: Helpful when the camera is tilted slightly up or down, aiding in
smoother sideways panning.

These tools and techniques make the composition process easier and reduce the time needed
for adjustments during post-processing.

2.6 Creative Tips and Tricks

2.6.1 Lensbaby Lenses

Lensbaby lenses offer a variety of types designed for selective focus, creating effects similar
to tilt/shift lenses. These lenses focus sharply on a "sweet spot," while the surrounding areas
remain blurry. They are meant to encourage artistic use rather than produce high-quality
images, enhancing creativity through their unique optical characteristics.

2.6.2 Black-and-White Film

Using black-and-white film or simulating it digitally can add a creative touch to architectural
photography. Monochrome images allow for greater interpretation of a scene, often giving a
more abstract look by reducing visual information to shades of gray. This style is particularly
effective under certain lighting conditions and can be enhanced by the grain effects of high-
sensitivity film. Black-and-white photos are perceived as having a special, more personal
touch and can immediately attract the viewer's attention.

2.6.3 Fixed Focal Length Lenses

While fixed focal length lenses may seem less practical due to their lack of adjustable focal
lengths, using them can be instructive. Employing one or two fixed focal length lenses forces
photographers to focus more on their immediate surroundings and find the perfect viewpoint.
Suggested focal lengths include a single lens at 28mm or two lenses in the 20–24mm and 35–
45mm ranges. This exercise can sharpen a photographer's eye for their subject and help them
become more familiar with their shooting approach, proving less limiting than initially
expected.

Chapter 3: Architectural Photography

This chapter addresses the “how” of architectural photography, and discusses
all the aspects of a photo that should be considered during the shoot. A whole
range of factors influence the look of an architectural photo, from things you can
regulate (such as your own behavior), to things you cannot influence at all, like
the weather or the ambient light. I will also show how different approaches to a
shoot can produce very different results. You can portray a building in an immediate,
authentic way; as a more diffuse representation that has little to do with
the original purpose of the structure; or even as a completely independent piece
of abstract art.

Overview
Chapter 3 of the document delves into the methods and considerations essential for successful
architectural photography. It covers everything from the basic elements that influence a photo
to specific techniques and perspectives that photographers should employ.

What Makes a Great Architectural Photo?

A great architectural photo requires thoughtful composition and clear expression. The main
subject, usually the building, should stand out without competing elements. Artistic shots
may break these rules but should do so intentionally to convey a specific message.

 Documentary Photos: Aim for clarity and direct communication of the building’s
design.
 Artistic Photos: Focus on visual impact, storytelling, and highlighting contradictions
within the architectural environment.

"A great documentary architectural photo captivates the viewer and communicates a clear,
uncluttered message"(CHAPTER 3).

Architects and Photographers: Different Ways of Seeing

Architects and photographers often have conflicting views on architectural photography.

Architects focus on comprehensive visual information and the building's lasting design, while
photographers prioritize the interplay of light and shadow at specific moments.

"Every architectural photo represents an interpretation that can, from an architect’s point of
view, endanger the authenticity and informational nature of a building’s appearance"
(CHAPTER 3).

3.2 The Role of Architecture as a Photographic Subject

Buildings, due to their size and immovable nature, demand unique photographic approaches.
Surroundings usually play a secondary role, but incorporating them can create visual tension
and balanced compositions.

3.2.1 What Types of Architecture Make Suitable Subjects?

Each type of architecture presents unique opportunities and challenges, demanding different
approaches and techniques from the photographer.

"A successful architectural photo doesn’t necessarily depend on the condition of the building;
rather, the way a building is photographed determines whether the resulting image is
pleasing"(CHAPTER 3).

3.2.2 Learning to See

Developing a photographic eye involves understanding spatial relationships and practicing

recognizing potential subjects and compositions.

Photographing Buildings: A Brief Guide

Once you have chosen your subject, you need to analyse the situation and its specific characteristics:

• Which side of the building is best suited to being photographed? Where are shadows or backlight
positioned? What is the weather like? What other structures characterize the surroundings?

• What specific physical structures does the building have? Are there any interesting (or irritating)
reflections?

• How do you want to portray the building—in a documentary or an artistic style? Static or dynamic?

The next step involves a detailed analysis of your subject’s surroundings:

• Which camera angle best emphasizes the building’s strengths?

• Which camera positions will deliver great shots and which are less suitable?

• Which elements of the building’s surroundings should you include in your shot, and which should
you leave out?

• Do you want to shoot in landscape or portrait format?

The fi nal step involves selecting your camera settings and the accessories you will use to make the
shot:

• Which accessories (tripod, fi lter, remote release, etc.) do you need?

• Which focal length lens is best for capturing your chosen composition?

• How do you want to compose your image? With the subject in the center? Using the Golden Ratio?
Or with the subject positioned toward the edge of the frame?

• How will you avoid converging verticals?

• Which camera settings will produce a balanced exposure?

• What is the right moment to release the shutter? Which people, cars, or shadows are you waiting
for?

 Techniques for Improvement:

o Visit and revisit locations to understand their strengths and weaknesses.
o Analyze and critique your own photos regularly.
o Study professional architectural photos to gain new insights.

"One useful approach is to visit an area with a variety of architectural subjects on a number of
occasions"(CHAPTER 3).

3.3 Perspective

Perspective is crucial in architectural photography, involving the conversion of three-

dimensional spaces into two-dimensional images. It is determined by the photographer's
viewpoint and the direction of the camera.
  Types of Perspective:
o Central Perspective: Captures a head-on view with all lines converging at a
single vanishing point.
o Two-Point Perspective: Taken from a corner, resulting in two vanishing
points, adding depth and dynamism.
o Three-Point Perspective: Used in worm's-eye or bird’s-eye views,
introducing a third vanishing point.

"The perspective effect in a photo is determined by the position the photo is taken from and
the direction the camera is pointing"(CHAPTER 3).

3.3.1 The Importance of Vanishing Points

Vanishing points are essential in architectural photography. Parallel lines in three-

dimensional space appear to intersect at a vanishing point (Vp) in photos. Pointing the
camera at the horizon ensures vertical lines remain vertical, a common technique in building
photography.

Central perspective involves all parallel lines converging at a single vanishing point on the
horizon. This requires standing directly in front of the subject with the camera horizontal,
keeping the building's front wall parallel to the image sensor plane. While this creates a
pleasing image, it can appear flat and lacks depth.

Two-point perspective, achieved by photographing a building from a corner, introduces two

vanishing points on the horizon. The camera remains horizontal, and only vertical lines
appear parallel. This perspective creates dynamic images that highlight the building's volume
but may distract from architectural details.

Worm’s-eye (from below) and bird’s-eye (from above) views typically feature three
vanishing points, with the camera aimed at an imaginary point above or below the horizon.
These perspectives allow capturing the entire subject without tilting the camera, causing
vertical lines to converge above or below the horizon.

"The perspective effect in a photo is determined by the position the photo is taken from and
the direction the camera is pointing" (CHAPTER 3).

3.4 Converging Verticals

Converging verticals often go unnoticed in our daily life due to the cooperation between our sense of
balance and visual perception. However, in two-dimensional images, they can create a restless
impression, compromising the building's aesthetics. Mildly converging verticals can make buildings
appear as if they are tipping over. Architectural photographers typically strive to keep vertical lines
vertical to maintain clarity and avoid unwanted tension. Yet, subtly converging verticals can produce a
harmonious effect, better replicating natural perception. Dramatically converging verticals can add
artistic impact, particularly in skyscraper photos where the photographer is shooting almost directly
upward.

3.4.1 How to Avoid Converging Verticals in Your Photos

To avoid converging verticals, photographers should keep the camera level, use a higher
vantage point, or employ tilt/shift lenses that allow for adjustments to maintain parallel
vertical lines.

 Increase the Subject Distance: Move back and use a longer lens to reframe the subject.
This helps eliminate converging verticals if the optical axis is pointed directly at the horizon.
However, space constraints and the risk of obstructions can limit this approach.

 Use a Raised Camera Position: Positioning the camera halfway up the subject stops
vertical lines from converging. This can be achieved using bridges, pedestals, or tall tripods.

 Use a Short Lens and Shoot in Portrait Orientation: A wide-angle lens and portrait
orientation can avoid converging verticals, but the resulting image might require cropping.

 Employ Digital Perspective Correction: Post-processing software can correct

converging verticals but may cause irregular sharpness and require artificial image data,
reaching technical limits with strong convergences.

 Use a Tilt/Shift Lens: This method, though expensive, allows capturing vertical lines
correctly from a low camera position with minimal post-processing.

3.4.2 How Do Tilt/Shift Lenses Work?

Tilt/shift lenses enable photographers to shift the optical axis of the lens relative to the sensor
plane, avoiding converging verticals. These lenses have an enlarged image circle that allows
for up to 12mm of shift without vignetting. They lack autofocus and automatic aperture
control but are effective in maintaining vertical lines.

Using a tilt/shift lens involves positioning the camera horizontally with a spirit level, setting
focus in a neutral position, and then shifting the optical axis to adjust the composition. This
technique keeps vertical lines parallel and allows for capturing building details without tilting
the camera. Shifting the lens can also remove unwanted foreground elements and include
more sky, aiding in panoramic shots. While shift lenses can cause some vignetting and corner
blur, avoiding maximum shifts can mitigate these issues. The tilt function alters the plane of
focus, useful for specific effects like keeping an entire façade in focus or creating a miniature
model effect.

3.5 Camera Standpoint

The standpoint or camera position significantly influences the perspective and composition of
an architectural photo. Choosing the right standpoint can enhance the portrayal of a building's
features and its interaction with the surrounding environment.

3.5.1 The Ideal Subject Distance

The ideal distance between the camera and the subject depends on the building's size, its
environment, and the desired visual impact. Closer standpoints emphasize three-dimensional
depth but can cause pronounced perspective effects and converging verticals. Further
distances make buildings appear flatter but reduce the impact of converging verticals.
Extreme close-up shots highlight façade details, while distant shots reduce converging
verticals but risk extraneous objects and a two-dimensional appearance. A practical rule of
thumb suggests that the best distance for exterior shots is between one and three times the
building's height, often necessitating the use of wide-angle lenses.

3.5.2 The Effects of Viewpoint on Perspective

Different viewpoints can dramatically alter the perception of a building. High, low, and side
angles each offer unique perspectives that can highlight various aspects of the architecture.

3.5.3 Standpoint and Surroundings

Changing the camera’s standpoint impacts how a building and its surroundings are portrayed.
Freestanding buildings are easier to photograph than those in cluttered environments. Small changes
in position can significantly affect the view and mood of the image. The goal is to find the right view
that integrates the building's surroundings skillfully.

3.5.4 Standpoint and Symmetry

Symmetry can enhance architectural photos. A symmetrical building doesn't need to appear
symmetrical in a photo, but aligning the camera along the building’s axis of symmetry can create
impressive effects. Small deviations from this axis can spoil the effect. Photos taken along the
diagonal axis or of courtyards and round buildings can highlight depth and symmetry. The visual
impact depends on how visible the building’s physical depth is.

3.5.5 Spatial Depth

The feeling of depth in a photo depends on the camera’s standpoint. Close subjects make the
foreground prominent, while distant subjects compress space. Telephoto lenses frame distant subjects,
and wide-angle lenses capture close ones. The perspective remains the same regardless of focal
length. Extreme distances create a two-dimensional look, while moderate wide-angle lenses produce
realistic depth. Close shots with short focal lengths exaggerate depth but provide more spatial
information.

3.6 The Effects of Focal Length

Focal length choice is related to camera standpoint. Some photographers choose a position and then
the focal length, while others do the reverse. Zoom lenses offer flexibility, while fixed focal lengths
require more movement. Extreme focal lengths are rarely used in architectural photography. Access to
a broad range of lenses allows for an unrestricted choice of camera positions.

3.6.1 Long Focal Length Lenses

Long focal length lenses compress distance and can isolate architectural details, making them
ideal for highlighting specific features without including distracting elements.

Long telephoto lenses are advantageous for certain photographic scenarios but come with
specific limitations and techniques for optimal use:

1. Specialized Use Cases: Telephoto lenses are primarily used when shooting from a
considerable distance is necessary, restricting their application to specific situations.
 2. Detail Emphasis: These lenses excel at emphasizing intricate details and materials in
a building's structure, leveraging their ability to magnify distant subjects.
3. Depth of Field Considerations: Compared to wide-angle lenses, telephoto lenses
provide significantly less depth of field. To maintain sharpness across the frame,
smaller apertures are crucial; otherwise, important details risk becoming blurred.
4. Isolation of Subjects: The narrow angle of view allows for isolating subjects from
their backgrounds effectively. This capability is valuable for emphasizing specific
elements within a scene (fig. 133).
5. Compression of Perspective: The compressed perspective created by telephoto
lenses due to their distance from the subject can unify multiple subjects within
expansive spaces into a single frame (fig. 134). This provides viewers with a context
that might otherwise be obscured.
6. Artistic Opportunities: Beyond conventional uses, telephoto lenses can also be
employed to isolate shapes and create abstract artistic images (fig. 136), showcasing a
more interpretative approach to photography.

In summary, while telephoto lenses require shooting from a distance and demand careful
consideration of depth of field, they offer unique benefits such as detail emphasis, subject
isolation, perspective compression, and artistic creativity in photography. Their usage is
particularly advantageous in scenarios where these capabilities are essential for achieving
desired photographic outcomes.

3.6.2 Short Focal Length Lenses

Medium wide-angle lenses (24mm to 35mm) are ideal for realistic architectural photos. Ultra-wide-
angle lenses are used when shooting from very close or inside buildings, but they can cause strong
perspective distortion and exaggerated three-dimensional space, making them more suitable for
artistic effects. Ensuring the camera is aligned correctly is crucial to avoid converging verticals. Wide-
angle zoom lenses may introduce barrel distortion, which needs cropping during post-processing.
Fisheye lenses, rarely used due to extreme distortion, can be creatively experimented with but often
require software correction to reduce fisheye effects, albeit with quality loss at the edges.

3.6.3 Increasing the Angle of View Using Panorama Techniques

If a lens's focal length is insufficient to capture an entire subject, partial images can be
stitched together during post-processing to form a planar panorama. Rotating the camera
around its nodal point, rather than the body's axis, ensures better alignment and merging of
images. Using a panoramic tripod head is even more effective. Panorama techniques not only
increase the angle of view but also image resolution, beneficial for large-scale prints.

Shift lenses provide a precise way to increase the angle of view. Multiple source images
taken with shifted directions can be stitched together, ensuring sufficient overlap at the edges.
Common sets include two landscape images for a wide-screen panorama or three portrait
images for a 5:3 panorama. Shift lens adapters with integrated tripod sockets help produce
images free from parallax errors by shifting the camera position while keeping the lens static.
For both flat and shift panoramas, use manual exposure mode to maintain consistent exposure
settings across all shots.

3.7 Image Formats

Choosing the right image format, whether landscape, portrait, or panorama, is essential for
effective composition in architectural photography. Each format offers different advantages
depending on the subject and desired outcome.

3.7.1 Extreme Formats and Panorama Images

Panoramas are images with an elongated dimension, offering an unconventional view that
affects subject perception. They can be created from multiple source images, producing
extensive vertical or horizontal angles of view. Cylindrical panoramas cover up to 360
degrees and distort horizontal lines not on the horizon, while spherical panoramas cover 360
degrees horizontally and 180 degrees vertically, showing more distortion and resembling
fisheye photos. These panoramas are not used to reproduce building proportions accurately
but to provide a comprehensive overview of a scene. Key characteristics of successful
panoramas include invisible seams and effective use of space within the frame.

Creating a panorama requires a tripod for precise alignment to avoid converging verticals.
Shooting in portrait format maximizes the vertical angle of view. A panoramic head adjusted
to the nodal point of the camera/lens combination ensures superimposed overlaps. A tripod
head with a spirit level and 360-degree scale aids alignment. Consistent exposure values are
crucial, though exposure compensation can help in variable light conditions. Stitching
software can automatically balance lighting in stitched images, but moving objects in overlap
areas can cause retouching challenges.

3.7.2 Image Orientation

The aspect ratio of a rectangular image determines its landscape or portrait orientation. Buildings
wider than tall are typically shot in landscape format, while taller buildings are shot in portrait format
to avoid visual constraints. Including surrounding elements can alter the building's dominance and
change the required image format. Deliberately using a format that contrasts with the building's
structure adds tension and alters perception. This technique allows photographers to influence
composition, emphasizing relationships and contradictions within the frame, often taking an artistic
approach to architectural photography.

3.8 Composition and Framing

Effective composition and framing are key to successful architectural photography. Elements
such as lines, shapes, and balance must be carefully considered to create visually appealing
images.

3.8.1 Composition

Composition involves arranging the visual elements within the frame to create a harmonious
and engaging photo. Techniques such as the rule of thirds and leading lines guide the
viewer’s eye through the image.

The Golden Ratio and the Rule of Thirds The Golden Ratio is a ratio (1:1.618) that is widely used in
the arts and architecture to symbolize ideal proportions and harmonious aesthetics. Compositions that
adhere to the Golden Ratio are the basis for many successful architectural photos.

The Rule of Thirds is a similar rule of thumb that conceptually divides the area of an image vertically
and horizontally into thirds, resulting in nine equal parts. If you compose your image so that important
details or features lie on the imaginary dividing lines between the segments, the result is usually
pleasing and balanced.

3.8.2 Composition and a Subject’s Surroundings

The relationship between architecture and its surroundings is crucial, with both influencing
each other equally. Deciding whether to include a building's surroundings in a photo involves
considering elements like static objects (trees, streetlights) and moving objects (people, cars).
Including these elements can help viewers interpret the building but can also clutter the
image. For a "clear, clinical look," minimizing distractions is key. Conversely, selectively
including external elements can convey the character of a location, provide context, and serve
as a size reference for the building.

Including surroundings is not just a compromise due to space limitations; it can be a

deliberate compositional technique. For instance, an airport control tower gains context from
its surroundings, and a bridge’s purpose is evident when the space it spans is visible. "Artistic
architectural photographers often use additional visual elements to emphasize the
relationships between a building and its surroundings."

The inclusion of people and moving objects is debated in architectural photography.

Historically, people were excluded due to long shutter speeds required by early equipment,
despite the irony that buildings are meant for people. Today, people are often included to add
"movement and vitality" and to aid in interpreting context and scale. People should be placed
close to the building to ensure realistic proportions. The interaction between people and
buildings characterizes the artistic side of architectural photography, where the building
becomes secondary to the composition.

Moving objects like cars or clouds can either be included deliberately or avoided. For
business locations, early mornings or weekends are ideal to avoid commuter traffic.
Sometimes it's necessary to revisit a location later to avoid obstructions or to use them
creatively as part of the composition.

3.8.3 Selective Framing

Selective framing involves isolating specific elements of the architecture to focus attention
and create a more abstract or detailed representation of the subject.

3.9 Camera Settings

Mastering camera settings is crucial for capturing high-quality architectural photos.

Understanding shutter speed, aperture, ISO sensitivity, and exposure allows photographers to
control the final image effectively.

3.9.1 Shutter Speed

Shutter speed affects motion blur and exposure. Faster speeds freeze motion, while slower
speeds can introduce blur, useful for creative effects or low-light situations.

In architectural photography:
  Shutter Speed Importance: Shutter speeds are secondary due to buildings' static
nature; using a tripod ensures stability and flexibility in choosing exposure times.
 Impact of Shutter Speed on Movement: Long shutter speeds blur moving objects
like people or cars, reducing their distraction in the image (fig. 177).
 Enhancing Dynamism: Blurred motion can add dynamism and realism to
architectural photos, illustrating interaction with the space.
 Control of Movement Blur: Longer shutter speeds progressively diminish movement
traces, potentially making moving objects invisible for a cleaner image.

Overall, in architectural photography, shutter speeds, especially with a tripod, manage

movement to either enhance dynamism or create cleaner compositions by minimizing
distractions from moving elements.

3.9.2 Aperture

In architectural photography, using a medium to small aperture ensures sufficient depth of

field and minimizes lens errors. Wide-angle lenses typically achieve optimal sharpness at f/8
to f/11, while very bright lenses do so around f/4. Standard and telephoto lenses may require
very small apertures for adequate depth of field, but this can introduce diffraction blur. The
"diffraction limit" for high pixel-density DSLRs usually falls between f/8 and f/11, while full-
frame DSLRs and medium format digital cameras can stop down to f/11 or f/16 without a
significant loss in sharpness.

Achieving the right balance between depth of field and minimizing diffraction blur and lens
errors generally involves using an aperture of f/8 or f/11. However, specific situations may
call for different settings. A wide aperture can create a shallow depth of field to highlight
specific parts of a building, though this can make architecture look unusual. On the other
hand, narrow apertures can be used to avoid moiré effect on subjects with fine geometric
textures or to create starburst effects with bright points of light. "Using apertures of f/16 and
narrower tend to produce defined starbursts."

3.9.3 ISO Sensitivity

ISO sensitivity determines the camera's sensitivity to light. Lower ISO values produce
cleaner images with less noise, while higher ISO values are useful in low-light conditions but
can introduce noise.

 Key Points: This chapter emphasizes the importance of selecting the lowest possible ISO
value to achieve maximum image quality. Low ISO settings reduce noise and preserve detail,
crucial for architectural photography where sharpness and clarity are paramount.
 Recommendations: While low-sensitivity analog films theoretically offer the best
sharpness and minimal grain, practical considerations like cost and convenience often favor
high-quality ISO 100 or 200 films. Higher ISO settings should be reserved for artistic
purposes where visible grain adds stylistic value.

 Digital Considerations: For digital cameras, low ISO values are crucial to minimize
noise artifacts, maximize dynamic range, and provide ample headroom for post-processing
adjustments. It warns against using super-low ISO settings that artificially extend the range
without genuine quality benefits.
3.9.4 Exposure

Proper exposure is essential for capturing details and avoiding overly bright or dark areas.
Balancing shutter speed, aperture, and ISO sensitivity helps achieve the correct exposure.

 Exposure Techniques: Automatic exposure metering systems, particularly center-

weighted and matrix modes, are recommended for architectural photography. These modes
meter for the entire frame rather than just a specific spot, ensuring even exposure across the
architecture being photographed.
 Lighting Considerations: The chapter discusses how different lighting conditions, such
as direct sunlight versus overcast skies, impact exposure decisions. Direct sunlight creates
high-contrast scenes that can be managed by adjusting exposure settings manually or using
graduated filters.

 Manual Adjustments: Despite advanced metering systems, manual adjustments are often
necessary to correct exposure errors caused by reflections or extreme lighting contrasts.
Histograms are recommended for accurate exposure assessment, superior to relying solely on
camera monitors which may not display true image quality.

3.9.5 Using Bracketing Sequences to Create HDR or DRI Images

HDR (High Dynamic Range) and DRI (Dynamic Range Increase) techniques involve
capturing multiple exposures and merging them to enhance dynamic range, resulting in
balanced images with rich detail.

 Technique: Bracketing involves capturing multiple exposures of the same scene at

different settings (typically -1/0/+1 or -2/0/+2 LV). These exposures are later merged using
specialized software to create High Dynamic Range (HDR) or Dynamic Range Increase
(DRI) images.
 Advantages: HDR/DRI techniques allow photographers to capture a broader range of
tones than a single exposure can manage, crucial in architectural photography to preserve
details in both highlights and shadows.

 Application: Bracketing is particularly useful in scenes with extreme contrast, such as

backlit architecture where the sky is bright and the building facade is in shadow. It ensures
the entire scene is properly exposed without losing critical details.

3.10 Using Filters

Filters enhance architectural photography by controlling light and improving image quality.
They are essential tools for photographers to manage reflections, exposure, and color
saturation effectively.

 Filter Types: Filters play a significant role in architectural photography. Graduated filters
are recommended for balancing exposure in scenes with pronounced brightness differences,
such as landscapes or cityscapes with bright skies and darker foregrounds.
 Specific Uses: Polarizing filters reduce reflections on non-metallic surfaces and enhance
sky color saturation. Neutral density (ND) filters allow for longer exposures, useful for
creating motion blur effects or smoothing water surfaces.
 Effectiveness: The chapter underscores the importance of using filters effectively to
achieve balanced exposures and enhance visual impact without detracting from the
architectural subject.

Polarizing Filters

Polarizing filters reduce reflections on glass and water surfaces, increase color saturation, and
improve contrast in architectural photos. By rotating the filter, photographers can control the
intensity of these effects, making skies appear darker and reducing glare on buildings.

3.10.2 Neutral Density (ND) Filters

ND filters reduce the amount of light entering the lens without affecting color balance,
allowing for longer exposures. This is useful for creating motion blur effects with moving
elements, such as clouds or people, while keeping the architecture sharp.

Working Deliberately

 Key Points: The chapter emphasizes the importance of quality over quantity in digital
photography, where the absence of film costs can lead to a habit of excessive shooting
without thoughtful consideration.
 Strategic Approach: It advocates for a methodical approach before taking the first
shot, focusing on identifying essential angles and perspectives that align with the
photographer's artistic vision.
 Spatial Analysis: Prioritizing time to analyze spatial qualities helps in eliminating
less successful perspectives due to distractions, lighting issues, or framing challenges.
 Benefits of Pre-visualization: By investing upfront time in composition and camera
orientation, photographers can enhance the quality of each shot, ensuring they capture
the desired moment and mood effectively.
 Technical Application: The chapter encourages experimenting with advanced
techniques such as using neutral density (ND) filters to control light and achieve
desired effects.
 Applicability to Indoor Photography: These principles extend to indoor
photography, where meticulous arrangement of interior elements enhances the
composition and narrative of the photograph.

In essence, the chapter underscores the value of deliberate planning and thoughtful execution
in architectural photography, enabling photographers to create images that are not only
technically proficient but also visually compelling and emotionally resonant.

3.11 Interior Architectural Photography

Photographing interiors requires careful management of light and space to accurately convey
the design and atmosphere of the space. This section discusses techniques and considerations
specific to interior photography.

3.11.1 Interior Subjects

Interiors present unique challenges and opportunities. Photographers should focus on
architectural details, furniture, and the interaction of light within the space. Capturing the
character and function of the interior is key.

 Key Points: Interior architectural photography involves capturing enclosed spaces

enriched by functional furnishings or decorative elements. The presence and condition of
these interior elements significantly influence the mood and aesthetic of the photograph.
 Photographic Approach: Unlike purely architectural shots, interior photography often
includes everyday objects that add context and interest. However, clutter is avoided, and only
objects that enhance the room's purpose and design are retained.
 Preparation and Cleaning: Before shooting, meticulous preparation is essential,
including cleaning surfaces to remove fingerprints and dust. This ensures a clean,
professional appearance and reduces the need for digital retouching.

 Composition: Careful arrangement of objects and alignment within the frame is crucial.
Misaligned furniture or objects can detract from the composition and intended atmosphere of
the interior photograph.

3.11.2 Perspective and Standpoint

Choosing the right perspective is crucial for avoiding distortions and presenting the space
accurately. High or low angles can add drama, while eye-level shots provide a more natural
view.

 Perspective Options: Interior photographers typically choose between central and two-
point perspectives. A central perspective maintains parallel lines and is suitable for smaller
rooms, while a two-point perspective adds depth and drama by converging lines towards
vanishing points.
 Practical Considerations: The choice of perspective is influenced by physical constraints
like room size and furniture placement. Lighting conditions and the presence of mixed light
sources also impact perspective choices.

 Verticals and Horizontals: Unlike outdoor photography, interior shots are less prone to
exaggerated converging verticals. Maintaining level horizons and vertical lines is crucial to
avoid distortion and maintain the integrity of the interior space.

3.11.3 Focal Length

Wide-angle lenses are commonly used in interior photography to capture more of the space.
However, they can introduce distortions if not used carefully. Longer focal lengths can isolate
specific details and compress space, creating a different visual effect.

 Lens Selection: Wide-angle lenses are preferred for interior photography due to limited
space and the need to capture expansive views. They enhance spatial perception but can
distort proportions if not used carefully.

 Composition Effects: The focal length chosen affects the spatial perception within the
photograph. Wide-angle lenses exaggerate space, while longer lenses are used in low,
elongated spaces to maintain balanced proportions.
3.11.4 Image Formats

Selecting the appropriate image format, whether horizontal, vertical, or panoramic, is

important for capturing the full scope of an interior. Panoramas can be particularly effective
in large or complex spaces.

 Format Choices: The choice between portrait and landscape formats depends on the
room's dimensions and the desired emphasis. Landscape formats are typical for interior
photography to emphasize width and spatial relationships effectively.

 Experimental Formats: While experimentation is possible, formats should complement

the interior space's orientation and elements to avoid subpar results. Panoramic techniques
can capture large interiors but require precise planning to manage optical shifts.

Histograms: A histogram in photography displays the distribution of brightness levels within

an image, crucial for evaluating exposure:

 "A histogram allows you to accurately judge the exposure of an image, even if your
camera’s monitor is quite small or the ambient light is too bright for you to properly
see the monitor image."

Framing and Composition: Interior photography requires careful composition due to

limited space and fixed viewpoints:

 "The same rules that apply to producing interesting and effective exterior shots also
apply to interior situations, although in this case, the photographer’s room to
maneuver is noticeably limited."
 "Individual architectural details or aspects of the interior design take on the role of the
main subject."

3.11.5 Framing and Composition

Effective framing and composition in interior photography involve balancing elements within
the frame, using lines and shapes to guide the viewer's eye, and ensuring that the photo
conveys the design and functionality of the space.

 Composition Principles: Similar to exterior photography, interior composition focuses

on architectural details and interior design elements due to limited space and surroundings.
 Artistic Opportunities: Features like skylights, staircases, and mirrors offer creative
possibilities without resorting to monotonous compositions.
 Avoiding Human Subjects: Human presence in interior shots can distract from the
architectural focus and is generally unnecessary for scale depiction due to implicit spatial
references within the room.

 Movement and Life: Introducing motion blur from human figures can inject vitality into
interior scenes, achieved through slower shutter speeds without the need for ND filters.

3.11.6 Camera Settings and Lighting

Proper camera settings and lighting techniques are essential for capturing high-quality
interior photos. Using natural light, augmenting with artificial light, and adjusting exposure
settings help achieve the desired mood and detail.

 Ideal Settings: Use of tripods is crucial due to indoor lighting conditions requiring longer
shutter speeds. Balancing indoor and outdoor lighting through exposure manipulation is
essential.
 Handling Window Lighting: Managing extreme contrast around windows involves
prioritizing exposure for interior elements while accepting overbright windows. Use of
metering and HDR techniques helps in achieving balanced exposures.

 Artificial Lighting: Using controlled flashes or continuous LED lights can supplement
natural lighting to enhance interior brightness and balance light sources with varying color
temperatures.

Camera Settings and Lighting: Managing light conditions inside buildings poses
challenges, necessitating appropriate camera settings and lighting techniques:

 "The ideal camera settings are generally the same for interior and exterior shots."
 "It is usually darker inside a building than outside, [so] a tripod is absolutely essential
for preventing camera shake."
 "Bright overall lighting or selective use of individual accents depends on the situation
and the lighting entering from windows."
 "The window of time for the perfect moment of exposure can range from fractions of
a second to several minutes."

3.12 External Factors That Influence a Shoot

External factors such as weather, lighting conditions, and timing significantly impact
architectural photography. Understanding and planning for these elements can enhance the
final images.

3.12.1 The Perfect Moment

Capturing the perfect moment involves choosing the right time of day, considering weather
conditions, and being prepared to take advantage of unique lighting situations. Early morning
and late afternoon often provide the best natural light.

 Critical Timing: The right moment for exposure can vary from fractions of a second
to several minutes, necessitating tripod use for stability and multiple exposures.
 Patience and Perceptiveness: Photographers must observe environmental factors
like weather and lighting conditions to anticipate optimal shooting moments.
 Intuitive vs. Experienced Approach: Some photographers rely on intuition, while
others draw on extensive experience to identify ideal shooting opportunities promptly.
 Persistence: Persistence often leads to capturing exceptional images by waiting for
the perfect lighting conditions and composition alignment.

The Effects of Shadows

In architectural photography, one often deals with various manifestations of shadows. They are
usually caused by nearly parallel rays of light coming from the main light source present in almost all
architectural photographs: the sun. A cast shadow is the shadow of an object (A) projected onto a
surface or other objects. An object will also create its own shadow, which covers the surface facing
away from the light source (B). This area is only lit indirectly by reflections coming from the
surrounding area. It is interesting to note that the edge of the cast shadow is originated by the edge of
the object’s own shadow (represented by the dotted red line)

3.12.2 Shadows and Reflections

Shadows and reflections can either enhance or detract from architectural photos. Managing
these elements carefully, through the use of filters, different angles, and timing, helps in
achieving the desired effect.

 Impact of Shadows: Shadows from buildings or objects can create silhouettes on

architectural surfaces, sometimes enhancing or detracting from their appearance. Techniques
like graduated filters or HDR imaging help manage exposure in challenging lighting
conditions.
 Positive Effects: Shadows can add depth and dynamics to otherwise flat architecture,
becoming integral compositional elements.

 Reflections: Similar to shadows, reflections from materials like glass can either enhance
or overshadow the architectural subject, depending on their intensity and placement.

3.12.3 The Effects of Weather

Weather conditions, such as clear skies, clouds, rain, or snow, influence the mood and
lighting of architectural photos. Each condition offers different opportunities and challenges
that can be used creatively.

 Sunlight and Clouds: Direct sunlight without clouds produces high contrast, vibrant
colors, and strong tactile effects, ideal for showcasing architectural details.
 Cloudy Skies: Overcast conditions soften shadows and reflections, providing a more
diffuse and subdued atmosphere, suitable for less dramatic architectural presentations.

 Artistic Considerations: Unusual weather conditions can either detract or enhance

architectural photography; for documentary purposes, typical local conditions are preferred.

3.12.4 The Sky and Clouds

The appearance of the sky and clouds adds depth and interest to architectural photos. A
dramatic sky can enhance the composition, while a clear sky provides a clean background
that emphasizes the structure.

 Sky as Background: The sky's appearance significantly influences architectural images,

from neutral backdrops to dynamic elements such as clouds.
 Types of Clouds: Various cloud types like cirrus, cumulus, and stratus impact
architectural photography differently, with some enhancing depth and visual interest while
others may distract or obscure architectural details.
 Photographic Techniques: Techniques such as using ND filters for capturing cloud
movements or shooting during the blue hour leverage cloud formations to create unique
visual effects.

3.12.5 Choosing the Right Time of Day

The quality of light changes throughout the day, affecting the appearance of architectural
subjects. Early morning and late afternoon provide softer, warmer light, while midday sun
creates harsh shadows and high contrast.

 Influence of Time of Day: Time of day significantly affects lighting conditions; bright
sunlight creates varying shadows throughout the day, while under cloudy skies, differences
between morning and afternoon light are minimal.
 Tools for Preparation: Tools like The Photographer’s Ephemeris provide essential
information such as sunrise, sunset times, sun height, and shadow lengths, aiding in planning
shoots effectively.

 Blue Hour: The period just after sunset or before sunrise known as the blue hour offers
unique lighting conditions with a mix of natural and artificial light, ideal for capturing
atmospheric architectural photos.

3.12.6 The Effects of the Seasons

Seasonal changes affect the environment and lighting, offering diverse opportunities for
capturing architecture in different contexts. Snow, autumn leaves, and blooming flowers each
provide unique backdrops and atmospheres.

 Seasonal Changes: Seasons influence the appearance of architectural photography

significantly; foliage can obstruct views in summer but not in winter, while autumnal colors
and spring greens offer distinct visual effects.

 Light Characteristics: Winter sunlight is diffuse with long shadows, often challenging
for balanced exposure, whereas summer sunlight casts short, accentuated shadows,
highlighting architectural details.

3.13 Creative Tips and Tricks

Exploring creative techniques can add unique and compelling elements to architectural
photography, pushing the boundaries of traditional compositions.

3.13.1 Extreme Framing

Using extreme framing techniques, such as placing the subject at the edge of the frame or
using unconventional angles, can create dynamic and interesting compositions that draw the
viewer's eye.

3.13.2 Shooting Upwards

Photographing buildings from a low angle, looking upwards, emphasizes height and
grandeur. This perspective can make structures appear more imposing and impressive.
3.13.3 Image Sequences

Creating image sequences allows photographers to tell a story or highlight different aspects
of a building. This technique can show the progression of light, the movement of people, or
changes in weather conditions.

3.13.4 Extreme Use of Reflections

Using reflections creatively, such as capturing a building reflected in water or glass, adds
layers and depth to the photo. This technique can create symmetrical compositions and
interesting visual effects.

3.13.5 Selective Over- and Underexposure

Purposefully over- or underexposing parts of an image can highlight specific architectural

features or create a dramatic effect. This technique requires careful control of exposure
settings and post-processing.

3.13.6 “Before and After” Views

Documenting before and after views of architectural projects showcases transformations and
renovations. This approach is effective for storytelling and highlighting improvements.

3.13.7 Fake Miniatures

Creating the illusion of miniatures by using selective focus and tilting the lens can make
buildings and scenes appear as scale models. This playful technique adds a unique
perspective to architectural photography.

3.14 Solutions to Common Problems

Addressing common problems in architectural photography ensures high-quality results. This

section provides practical solutions to issues such as lighting challenges, unwanted elements,
and achieving sharp focus.

 Handling HDR/DRI Without Tripod: Techniques like HDR or DRI are effective for
high-contrast scenes, even without a tripod, by minimizing camera movements between shots
and using continuous shooting mode.

 Preventing Camera Shake: Methods to prevent camera shake include using a tripod or
improvised supports like walls or beanbags, adjusting camera settings like ISO and aperture,
and employing steady breathing techniques for handheld shots.

3.14.1 Dealing with Harsh Lighting

Harsh lighting can create unwanted shadows and high contrast. Solutions include shooting
during the golden hours, using reflectors, or employing post-processing techniques to balance
the exposure.

3.14.2 Managing Unwanted Elements

Unwanted elements, such as people, vehicles, or construction, can detract from architectural
photos. Strategies to manage these include timing the shoot to avoid busy periods, using long
exposures to blur moving objects, or removing elements in post-processing.

3.14.3 Achieving Sharp Focus

Ensuring sharp focus is critical for architectural photography. Techniques include using a
tripod, selecting the appropriate aperture for depth of field, and employing manual focus or
focus stacking in post-processing.

Marcus Bredt's insights on architectural photography and his experiences:

On Architectural Photography in General:

 Endowing Life to Architecture: "Architectural photography is not about simple

documentation. It comprises much more than merely capturing buildings and
structures photographically."
 Making Ordinary Extraordinary: "Our job is to make normally ignored objects
interesting."
 Importance of Subject: "A great architectural photo has nothing to do with clever
effects or disguising the subject’s true nature."

On Taking Your First Steps as an Architectural Photographer:

 Finding Your Style: "Experimentation with technical tricks and clever techniques is
the only way to find your own style."
 Learning from Spectacular Architecture: "A great building often guarantees a
great photo."

On Architectural Photography as a Profession:

 Creative Control: "Today I would say that I’m the one who forms the subject... I
create the building again from scratch through my photography methods."
 Capturing the Whole: "My own depictions of architectural structures emerge only
when I start to work with my subject."
 Changing Perspectives: "My photography has changed over the past several years,
because I myself have changed."

On Travel:

 Diverse Locations: "The locations where I work are incredibly varied... Every
location has its own specific circumstances."
 Adapting to Conditions: "Flexibility is always a virtue... I’m much happier to react
to circumstance and the everyday surprises that life always has in store for us."

From Analog to Digital:

 Impact of Digital Technology: "The art of photography fundamentally changed for

me when digital equipment overtook film."
  Advantages of Digital Photography: "With analog photography, excitement built as
I waited for my images to be developed... Nowadays, these treasured moments occur
while I’m shooting."

On Stadium Photography:

 Capturing Social Significance: "Any photograph of a stadium is not complete unless

it captures the special social significance that the structure represents."
 Challenges and Rewards: "The architecture of a stadium can really draw you in, so
you have to be careful that your image captures not only your feeling of being
overwhelmed, but the entire complexity of the scene before you."

Personal Information:

 Background: "Marcus Bredt was born in 1968 in Göttingen, Germany, and has lived
and worked as a photographer in Berlin since 1992."

These insights encapsulate Marcus Bredt's perspectives on the art and challenges of
architectural photography, his evolution with technology, and the diverse experiences gained
from photographing iconic structures worldwide.

Chapter 4: Image Processing

4.1 Digital Image Formats

4.1.1 What Is RAW?

 RAW Image Data: RAW files store data directly from the camera sensor without any
in-camera processing. This data includes full-color depth and all the details captured
by the sensor.
 Proprietary Formats: Each camera brand has its own RAW format (e.g., CR2 for
Canon, NEF for Nikon).
 Advantages: Offers maximum flexibility for post-processing as it retains all captured
data.

 RAW image formats are proprietary to each camera manufacturer and model.
 RAW data is saved in its purest form with minimal intervention from the camera’s
firmware.
 Requires a RAW converter for processing and conversion to universally readable formats.

4.1.2 The Differences Between JPEG and RAW

 RAW: Data saved losslessly and at full color depth. Image parameters such as white
balance and noise reduction can be adjusted later without quality loss. Only shutter speed,
aperture, and ISO are fixed.
 JPEG: Data is processed in-camera, including Bayer interpolation, sharpness adjustment,
and compression, leading to some quality loss. Post-processing can degrade quality further.

4.1.3 The Advantages of Shooting in RAW Format

 Non-Destructive Processing: Adjustments are saved separately, preserving the original
image data.
 Greater Image Quality: RAW files contain more image data, allowing for more accurate
and complex color interpolation.
 Higher Bit Depth: RAW formats offer 12 or 14 bits per channel, providing 4,096 or
16,384 tonal values, compared to JPEG's 8 bits per channel and 256 tonal values.
 Post-Processing Flexibility: Easier correction of exposure, white balance, lens errors, and
noise reduction. RAW converters produce better results than in-camera processes.

4.1.4 Disadvantages of Shooting in RAW Format

 File Size: Larger than JPEG, requiring more storage space.

 Processing Time: Requires post-processing, which can be time-consuming.
 Compatibility: Requires specific software to view and process, which may not
always be immediately available for new camera models.

4.1.5 Conclusions

 Recommendation: For architectural photography, the benefits of shooting in RAW

outweigh the disadvantages due to the superior image quality and flexibility in post-
processing.

Choosing the Best Hardware for the Job

Key Factors Influencing Image Processing Speed:

1. Processor (CPU):
o A fast processor with four or more cores ensures smooth application of
complex filters and adjustments.
2. Memory (RAM):
o Larger image files require more RAM for efficient processing.
o Maxed-out RAM causes programs like Photoshop to use the hard disk for
temporary storage, significantly slowing down tasks.
o 12 or 16 GB of RAM is recommended for serious photographers, but only for
64-bit operating systems, as 32-bit systems handle a maximum of 4 GB.
3. Graphics Card (GPU):
o The type of GPU has a lesser, but still notable, impact on image processing
speed.

Additional Important Hardware Components:

 Hard Disk/SSD:
o Use a fast hard disk or SSD as your system disk. SSDs are preferable due to
their faster performance and absence of moving parts.
o For image data storage, use two large hard disks in a RAID 1 configuration to
save duplicate “mirror” images for secure storage, ensuring continued work
even if one disk fails.
 Monitor:
o A high-quality monitor is crucial for digital image processing.
 o Flat-panel LCD models are standard, with the quality of the panel affecting the
angle of view, contrast, and color reproduction.
o High-quality monitors are more expensive but worth the investment.
o Wide-gamut monitors, which display an extended range of colors, are useful
for processing images in broader color spaces like Adobe RGB, though they
are pricier.

Monitor Calibration:

 If your image-processing program includes color management functionality, calibrate

your monitor using dedicated software and a colorimeter.
 A colorimeter measures monitor colors and creates a color profile to control graphics
card color reproduction.
 Some monitors allow direct calibration but are generally very expensive.

4.2 RAW Conversion

I use Adobe Camera Raw (ACR), which is an integral part of both Photoshop and
Photoshop Elements and shares many similarities with Adobe’s Photoshop
Lightroom all-in-one workflow package.

4.2.1 A Typical RAW Processing Workflow

4.2.1 A Typical RAW Processing Workflow

1. Image Analysis:
o Analyze the image: Example shows façades of townhouses taken with a wide-
angle tilt/shift lens in direct sunlight, displaying no serious exposure issues.
Default RAW converter settings applied except for automatically detected
white balance.
2. Adjust White Balance:
o Select from presets (Daylight, Cloudy, Shade, Auto) or manually adjust using
Temperature and Tint sliders.
o Use the semi-automatic White Balance tool for more accuracy, or click on a
neutral gray area in the image.
o White balance adjustment importance varies by photography type; mood-
suiting settings can be preferred.
3. Check Histogram:
o Displays tonal value distribution for exposure checking.
o Shadow and Highlight clipping warnings indicate irretrievably under- or
overexposed areas.
o Minor clipped areas in the sample image can be recovered in subsequent steps.
4. Basic Adjustments:
o Adjust overall brightness with Exposure slider; Shadows and Blacks sliders
for clipped shadows.
o Highlights slider for bright area detail recovery; Whites slider for highlight
clipping adjustments.
o Use Contrast slider to adjust midtone contrast and Clarity slider for local
contrast.
 o Vibrance and Saturation settings can be adjusted later for color intensity
control.
5. Tone Curve Adjustments:
o Fine-tune using control points or sliders (Highlights, Lights, Darks, Shadows)
to brighten or darken specific tonal values.
o Targeted Adjustment tool for direct preview window adjustments.
o Sample image required midtone brightening; S-shaped curve for contrast or
tone adjustments is common.
6. Image Sharpening:
o Apply slight sharpening using Detail tab: Amount 10-20, Radius 1 or less,
Detail 5-15, low Masking setting.
o Check sharpness at 100% or 200% preview.
o Noise Reduction tool is basic; alternative Photoshop plug-ins may be better for
noise management.
7. HSL/Grayscale Adjustments:
o Use Hue tab for color corrections (e.g., digital red cast in the sky).
o Saturation tab for color intensity adjustments; Luminance tab for brightness
adjustments of individual colors.
o Convert to Grayscale for monochrome images with varied looks, using HSL
tabs for adjustments.
8. Split Toning:
o Adjust highlights and shadows separately to correct color casts or alter overall
image look.
o Useful for tinting grayscale images or providing warmer/cooler tones.
9. Lens Corrections:
o Correct distortion and vignetting with Profile tab sliders; specific lens errors
can be corrected automatically or manually profiled.
o Color tab for chromatic aberrations and defringe correction.
o Manual tab for perspective corrections (Upright control section) and fine-
tuning settings.
10. Effects:
o Options for analog-style Grain or vignette effects (Post Crop Vignetting); not
used in the sample image.
11. Camera Calibration:
o Select and adjust custom camera profiles to counteract known color casts.
o Save Presets for easy application to other images.
o Snapshots tab for various image versions during processing.
12. Other ACR Tools:
o Crop tool and Straighten tool for alignment; Spot Removal tool for sensor dust
spot flaws.
o Adjustment Brush tool for selective tonal corrections; Graduated Filter and
Radial Filter tools for gradient applications.
13. Final Checks and Conversion:
o Verify Workflow Options: Select appropriate color space (sRGB for
web/print, Adobe RGB for pre-press/high-end devices), Bits/Channel Depth
(16 for maximum color data), and Resolution settings.
o Perform pre-output sharpening if necessary.

Workflow Overview:
  Set white balance: Adjust individually per image.
 General image optimization: Use histogram for exposure, contrast, highlights, and
shadows.
 Fine-tuning: Use Curves tool.
 Basic sharpening: Apply moderate sharpening.
 HSL/Grayscale settings: Optional adjustments.
 Color casts: Remove/add with Split Toning.
 Lens and perspective corrections: Apply as needed.
 Effects: Add Grain/Post Crop Vignetting as desired.
 Final touches: Remove dust spots, crop/straighten, and perform selective corrections.
 Workflow options: Final check.
 Convert image: Save Exif Data for image analysis and sorting.

Exif Data:

 Definition: Exif (Exchangeable Image File) data, formulated in 1998, is embedded in

JPEG and TIFF image data to record ancillary image tags such as shutter speed,
aperture, date, time, focal length, ISO value, flash settings, white balance, etc.
 Usage: Helps discern image effectiveness or shortcomings; accessible for sorting and
analysis by image processing programs.

4.3 Post-processing

4.3.1 Image Adjustments

Once you have converted a RAW image, your image data is in the best possible
state for making individual corrections and adjustments. The following sections
describe a typical image correction workfl ow. The steps I describe and
the order I perform them in are by no means mandatory, and everyone, sooner
or later, develops their own personal working style. However, some steps are
better performed before others if you want to produce consistently good results.
If you are just starting out, the following workfl ow provides a great set of
basic guidelines.

Workflow: Image Adjustments

Photoshop Image Adjustment Overview
` Distortion correction
` Perspective correction
` Brightness and contrast adjustments
` Noise reduction
` Color corrections
` Contrast fi ne-tuning
` Sharpening
` Data storage

 RAW Conversion and Initial Adjustments:

 Begin by converting RAW images to 16 bits per color channel (bpc) for optimal data
handling.
 Adjust white balance and correct minor tonal values and lens-induced issues like
chromatic aberrations and vignetting.
 These initial adjustments lay the foundation for subsequent detailed corrections.
 Distortion and Perspective Correction:

 Distortion correction should ideally follow lens corrections to ensure precision across
the entire image.
 Use Photoshop's Lens Correction tool for automatic adjustments based on camera and
lens metadata, including geometric distortion and perspective corrections.
 Manual adjustments are also available using sliders like Remove Distortion and
Vertical/Horizonal Perspective in Photoshop's Transform panel.
 Third-party plugins such as PTLens offer extensive correction capabilities, especially
for complex lens distortions and perspective adjustments.

 Selective Adjustments and Image Framing:

 Adjust framing and correct converging verticals after distortion corrections to

maintain accuracy.
 Use tools like the Transform command in Photoshop for precise perspective
corrections and alignment to a perspective grid.
 Cropping follows adjustments to maintain the intended composition and aspect ratio
of the image.

 Selective Brightness Adjustments:

 Use tools like the Curves adjustment layer in Photoshop for selective darkening or
brightening of specific image areas.
 Techniques involve selecting areas using tools like Magic Wand or Color Range for
targeted adjustments.
 Layer masks allow for non-destructive editing, refining selections, and controlling the
visibility of adjustments.

 Noise Reduction:

 Apply noise reduction techniques using Photoshop's Reduce Noise filter to images
with high ISO or strong brightness adjustments.
 Balance noise reduction carefully to preserve fine details while smoothing out
unwanted noise artifacts.

 Color Corrections:

 Perform additional color corrections beyond RAW conversion using tools like
Selective Color and Photo Filter in Photoshop.
 Adjustments can range from subtle color shifts to creating specific tonal effects to
enhance the overall mood of the image.

 Contrast Fine-tuning:

 Enhance contrast by using tools such as the Curves adjustment layer or duplicating
layers to apply sharpening and contrast enhancements selectively.
 Techniques involve refining local contrast to bring out details in shadows and
highlights, ensuring a balanced tonal range across the image.
 Final Sharpening:

 Apply final sharpening using Photoshop's Smart Sharpen or Unsharp Mask command
with careful settings to avoid introducing artifacts.
 Adjust sharpening selectively for different areas of the image to maintain overall
clarity and detail.

 Finalization and File Storage:

 Save images in formats like TIFF or PSD to preserve high-quality, lossless data for
further editing or archival purposes.
 Consider converting images to 8 bpc or JPEG for smaller file sizes, adjusting
compression settings to balance file size with image quality.
 Prepare images for specific outputs such as web or print using appropriate
interpolation methods and saving options in Photoshop.

4.3.2 In-depth Processing:

Selective Adjustments to Contrast and Brightness
Architectural photos often require selective brightening or darkening in specific
image areas to counteract the effects of exposure errors or extreme subject
contrast. The previous section (4.3.1) details color range and layer mask
techniques for performing selective corrections. This section describes some
alternative methods of achieving similar effects, including using the Photoshop
Shadows/Highlights command, the use of so-called “contrast masks,” and
the use of specialized plug-ins, such as LightMachine.

Workflow: Selective Contrast and Brightness Correction

 Photoshop Shadows/Highlights Command: Adjusting Amount, Tone, and Radius in the
Shadows section selectively brightens dark areas without affecting lighter ones. Care is taken
to avoid unnatural looks by adjusting these parameters thoughtfully.
 Contrast Masks: Creating a contrast mask involves duplicating the background layer,
desaturating it, inverting it, applying Gaussian Blur, and setting the blend mode to Overlay
with reduced opacity (30-50%) to brighten dark areas effectively.
 LightMachine Plugin: Offers precise adjustments with options like Shadows/Highlights
Pro mode, Auto Mask, and Fine-Tune for eliminating fringing and preserving contrast
effectively.

4.4 Panoramas

Panoramic photography techniques for architectural use include various methods:

 Creating a Planar Panorama:

o Using Hugin: Before importing images, perform RAW conversion with
corrections for chromatic aberrations and vignetting. Adjust Hugin preferences
for optimal results, manually add control points for accurate stitching,
optimize alignment, and stitch images into a TIFF format panorama.
o Using Photoshop: Open images in Photoshop's Photomerge tool, correct
vignetting and chromatic aberrations beforehand, select source images and
 layout options, manually adjust overlaps if needed, correct perspective using
Transform commands, and finalize with cropping and additional adjustments.
 Shift Panoramas: Created using shift lenses for precise alignment and minimal
perspective distortion.
o Using Photoshop: Align source images using Auto-Align Layers, correct
brightness inconsistencies with Auto-Blend Layers, manually refine overlaps
with layer masks and Dodge/Burn tools for seamless blending, and finalize
with cropping and adjustments.

Chapter 4.5 focuses on High Dynamic Range (HDR) and Dynamic Range Increase (DRI)
techniques in photography, detailing the process of creating these types of images using
Photomatix Pro and Adobe Photoshop.

4.5 HDR and DRI Images

4.5.1 Workflow: Creating an HDR Image Using Photomatix Pro

The chapter begins by explaining the workflow for creating HDR images using Photomatix
Pro. It emphasizes the importance of using a bracketed sequence of images with varied
exposure settings to capture a wider dynamic range than a single image can handle. Here are
the detailed steps:

1. Load Bracketed Photos: The images are loaded into Photomatix Pro, ensuring
alignment and potentially removing ghosting caused by moving objects.
2. Align & Merge to HDR: After loading, the images are aligned and merged into a 32-
bit HDR image, which preserves the extended dynamic range.
3. Tone Mapping: The HDR image is tone mapped using the Details Enhancer or Tone
Compressor method. The Details Enhancer enhances local contrast and can give a
more painterly look, while the Tone Compressor offers more natural results but with
potentially less detail in extreme highlights and shadows.
4. Adjusting Parameters: During tone mapping, various sliders such as Strength, Color
Saturation, and Tone Compression are adjusted to achieve the desired look. Lighting
adjustments and other advanced options like Smooth Highlights and Gamma
adjustment further refine the image.
5. Saving the Image: Once adjustments are made, the tone-mapped image is saved for
further editing in Photoshop or other software. Settings can also be saved as presets
for future use.
6. Using Tone Compressor: Optionally, a second version of the image can be created
using the Tone Compressor method, which makes global adjustments to contrast and
offers fewer processing options compared to the Details Enhancer.

4.5.2 Workflow: DRI Processing in Photomatix Pro

Next, the chapter covers the DRI (Dynamic Range Increase) process in Photomatix Pro,
which enhances contrast in highlights and shadows without altering the original color space
or bit depth. Here's the workflow:

1. Exposure Fusion: Source images are loaded and processed using the Exposure
Fusion method, which blends details from multiple exposures to create a single image
with enhanced contrast.
 2. Adjusting Fusion Parameters: Sliders such as Strength, Brightness, and Local
Contrast are used to control the amount of contrast enhancement and how individual
exposures contribute to the final image.
3. Fine-Tuning: Additional adjustments can be made using other sliders for color
correction and sharpness, with a preview available to assess the impact of changes.

4.5.3 Workflow: Creating an HDR Image Using Photoshop

The chapter also covers the process of creating HDR images using Adobe Photoshop's built-
in tools:

1. Merging to HDR Pro: Using Photoshop's Merge to HDR Pro command under
Automate, the bracketed images are merged into an HDR image. RAW files are
recommended for best results.
2. Processing Options: Depending on the selected mode (8 Bit, 16 Bit, or 32 Bit),
adjustments can be made either within Photoshop or in Adobe Camera Raw (ACR).
The 32-bit mode allows for extensive adjustments before converting to a lower bit
depth.
3. Tone Mapping in ACR: The HDR image can be fine-tuned in Adobe Camera Raw
using familiar adjustment sliders like Exposure, Highlights, and Shadows to optimize
dynamic range.
4. Compression Options: After adjustments, the HDR image can be converted to 8-bit
or 16-bit format using HDR Toning in Photoshop, adjusting parameters like Local
Adaptation and Tone Curve to finalize the image.

4.5.4 Workflow: DRI Processing in Photoshop

4.5.4 Workflow: DRI Processing in Photoshop

1. Loading and Arranging Images:

o "Although Photoshop has no dedicated DRI tool, it is nevertheless possible to
use it to manually merge individual source images from a bracketed
sequence."
o "Use the File > Scripts > Load Files into Stack command, choose your source
files, click Ok, and then arrange the layers according to the sequence of
exposure (the darkest image at the bottom)."
2. Creating Selection for Shadows:
o "Now hide the upper (brighter) two layers."
o "Activate the darkest image."
o "Use the Select > Shadows option in the Select > Color Range dialog to create
a selection that includes only the darker parts of the lower image."
o "The Fuzziness and Range sliders can be left in their default positions, but
tweaking them may be useful to carry out final adjustments."
3. Applying Layer Mask:
o "Activate and show the middle layer."
o "Click the Add Layer Mask button at the bottom of the Layers panel."
o "The parts of the layer mask that are black become transparent, while the
original image remains visible in white areas."
4. Refining Mask Edges:
o "Click the Mask Edge button in the Masks panel."
 o "Activate the Smart Radius option with a value of between 40 and 80 pixels in
the dialog."
o "Set the Smooth and Contrast sliders to 0 and Feather to less than 5."
o "Click OK to confirm your settings."
5. Repeating for Overlying Layers:
o "Repeat the same procedure (steps 2–4) with the next overlying layer."
o "Make sure that the top layer remains hidden."
o "Once again select Shadows from the Color Range dialog for the middle
layer."
6. Adjusting Opacity and Density:
o "Reduce Opacity and Density (in the Masks panel) for the middle layers."
o "I used values of 50% in my example."
o "Proceed in the same way with the top layers."
7. Optimizing Results:
o "Optimize your results by setting the Feather value in the Masks panel to
between 100 and 250 pixels."
o "This increases local contrast, but can produce halos at the transitions between
high-contrast and uniformly colored image areas."
o "These can be removed by painting directly into the active layer mask using a
soft, black brush with a large radius."
8. Refining with Opacities and Blend Modes:
o "You can further refine your results by experimenting with different opacities
and blend modes such as Screen."
9. Finalizing the Image:
o "Once you are done, flatten your image to a single layer using the Layer >
Flatten Image command."

Summary

Chapter 4.5 provides comprehensive workflows for creating HDR and DRI images using
both Photomatix Pro and Adobe Photoshop. Each software's capabilities are explored in
detail, from merging bracketed images to fine-tuning parameters like contrast, color, and
sharpness. The chapter emphasizes the artistic choices involved in tone mapping and
exposure fusion, aiming to achieve natural-looking results while preserving maximum image
detail across the dynamic range.

4.6 Creative Tips and Tricks

The following sections off er a few ideas for experiments in creative image
processing.

4.6.1 Digital Graduated Filters

Digital graduated filters mimic physical ones but are applied digitally on image layers. Steps
include creating a new fill layer with a gradient, adjusting its properties like angle and scale,
and setting blend modes like Soft Light. These settings can be saved as Photoshop actions for
easy application on other images.

4.6.2 Creating HDR Effects Using a Single RAW Source Image

Using RAW files, which contain more detail than JPEGs, software like Photomatix Pro can
create pseudo-HDR images. This process involves converting a RAW image to pseudo-HDR,
which can then be tone mapped. Photoshop offers HDR Toning for similar effects but lacks
built-in pseudo-HDR functionality.

4.6.3 Converting Images to Black-and-White Using Photoshop

Photoshop provides tools for converting color images to black-and-white. Methods include
using adjustment layers like Black & White for flexible tonal adjustments, or simpler
methods like adjusting saturation or using the Channel Mixer dialog for monochrome presets.

4.6.4 Creating Fake Miniatures Using Photoshop

Creating a "fake miniature" effect involves simulating shallow depth of field using gradients
or filters. In Photoshop CS6 and later versions, this can be achieved using the Tilt-Shift filter
under Blur options, where adjustments to blur strength and focal area create the miniature
effect. Manual methods involve using the Gradient Tool and applying the Lens Blur filter to
achieve similar results, emphasizing depth perception and blur transitions.

These techniques demonstrate various creative image processing methods using Photoshop,
ranging from digital filters and HDR effects to black-and-white conversions and faux
miniature effects. Each method offers distinct ways to enhance and manipulate photographs
for artistic and stylistic purposes.