twosummers Loc: Melbourne Australia or Lincolnshire England

Help!

Calling all UHH architectural photographer and associated professionals in the trade.

I am an experienced real estate photographer and now (for my sins) I've landed a job with a leading Australian architectural publication. I have my first assignment coming up a week into April so I have some time. The job is to photograph the various contractors and their work on a major new development including commercial and residential content. The project is currently under construction.

I have a selection of lenses so advice here needed too. Any weather and time of day considerations?

Any and all advice will be greatly received. Thanks in advance.

Orphoto Loc: Oregon

You might want to take a look at the section here called traditional street and architectural photography. It is not very active but you might glean some tidbits going back through the posts.

Craig Meyer Loc: Sparks, NV

Three thoughts:
1. I'd do a research trip to the site, if at all practical, or at last do a 'Google Earth" for the site. Determine when the sunlight will likely show the projects to the best advantage--including unobstructed light with out the shadows cast by neighbo(u)ring buildings. This will help you choose AM or PM shooting time and shooting sequence.

As with Real Estate, a "Blue Hour" shot with the exterior lights on, if they're at that stage is always stunning. If you're showing an active construction site, perhaps a long exposure with heavy equipment light trails might be something to try--even only for fun.

As with any photographic assignment, determine the purpose of the Feature. and clarify the contribution of the photographs need to make to the article. See #3.
2. Review previous stories of this nature and see what appear to be the "requisite shots" for this type of feature.
3. Prepare a shot list or even a story board and review it with the article author and Picture Editor. A good opportunity to show your commitment to excellence, and preparation which would make Lord Baden-Powell proud.

In any case you can never make too many GOOD first impressions. Good luck, and post a link to the story.
C

Dannj

I’m curious as to how you got the job without the experience. They must have asked you for samples of your work. It might get interesting if there are any folks from the company among us Hoggers😳

jerryc41 Loc: Catskill Mts of NY

Here you go -

https://www.youtube.com/results?search_query=learn+architectural+photography

dpullum Loc: Tampa Florida

Two tools come to mind.
HDR camera setting and post-processing with software to see both bright and shadowed areas.
Straightening and Prospective tools to adjust "catawampus" photos. [Out of alignment, crooked, cater-corner]

13 Loc: I am only responsible to what I say..not what

Go to www.fstoppers.com

R.G. Loc: Scotland

I'm not a professional but it seems to me that you don't want to get caught out, and one of the ways that might happen is if you find yourself in a confined situation and you don't have a wide enough lens. That'll be especially true if some of the work is to shoot a large building in a narrow street. 20mm might be wide enough for real estate but to be safe you might want something wider to cover yourself for unforeseen circumstances. Just my musings...

Gene51 Loc: Yonkers, NY, now in LSD (LowerSlowerDelaware)

I'd contact the creative director at the publication for some insight as to what they are looking for. Do you have a contract? Have you got a list of images they are expecting? Are there any interior shots? Have you considered lighting? I would not rely on HDR or post processing tricks, unless you are extremely comfortable with making believable images. If you've got tilt/shift lenses use them. Better to go for a longer lens and do a pano for a wider view than to use an ultrawide - but I suspect you already know that. If you go pano, I strongly suggest getting a zero-parallax head (often referred to, erringly as a nodal head), and learning how to use it - quickly.

Lighting and lens choice separates the pros from the amateurs, but I suspect you already know that too.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

"Help" is on the way but I need more information.

There are different kinds of architectural photography that cater to different clients. Architects will usually require a more clinical interpretation and look at this like perspective, unwanted distortion or truncated archways, etc. Real estate advertisers may want somethg more dynamic, different creative,

Are the buildings highrise, skyscrapers, small residential properties, industrial or commercial structures?

Lighting is an important element. It is wise to find out what time of day the front elevation of the building is light well to emphasize its lines and textures. The skyscape can be an important element as well. Not every shot needs to have blue skies and puffy clouds but dull gray skies can be problematic. Sometimes sky-replacement can be done but you need to consider the direction and quality of the light on the ground.

If yo have a tilt/shift perspective control lens, that can be helpful in eliminating certain distortions, A bit of forced perspective or converging lines can be nice but you don't want that "building falling forward or backward" look. If you don't have a PC lens there are a few good workarounds that I can suggest.

While shootg, watch out for ugly distractions. Traffic signs, utility poles, cannot be moved but somets a slight change of camera position can avoid. Some perspective issues and object removal can be addressed in post-processing.

Collaborate with your client and find out exactly what they expect and make sure your composition and format fit the layout if there is a specific requirement.

Most of my real estate work is in the markets for heritage homes, commercial properties, and condominium developers. Since most of it is for advertising and not architectural study, I try to inject some mood, texture, landscape, or drama into the images.

Sometimes, there is a lotsof day for planning as to lighting, securing a high shoot position, etc, and other those there's a last-minute rush for a publication deadline and I just have to wing it.

It seems you have some real estate experience. When you get on-site, explore all the angles and shoot lots.

I hope this helps- let us know if there are any specific questions. Good luck

Rongnongno Loc: FL

I have a lifetime to stop laughing at the title.

Rongnongno Loc: FL

Real question:
The job is to photograph the various contractors and their work on a major new development, including commercial and residential content.

It is not about architecture, but about presenting separate contractor's work and achievements.

User ID

Seems like youre overthinking it. Its just anothet job, and has considerable overlap with work youve already done.

Things you asked about such as time of day acoarst will matter but youve dealt with them before and this should be just more deja vu all over again.

I do suspect that the most threatening aspect of the upcoming work is not the subjects or techniques but rather is your own agitation about it. Chill and do what youve always done. Subjects have size, shape, color and lighting. Same as usual.

A hint about something that may be new territory for you: A great shot of a hard working crew can be rendered useless if it depicts a safety violation such as a bare head in a hardhat zone or a harness not connected. Nobody cares what lenses you use, but everyone cares about OSHA ! (You may be issued a vest and hardhat.)

Many project have significant public funding. That great visibility workplace diversity will be welcomed.

Avoid including any worker who might *appear* to be idle (even tho she's really a keen eyed inspector).

twosummers Loc: Melbourne Australia or Lincolnshire England

Wow! thank you all for your invaluable advice. As always I'm pointed in the right direction. The PMs are very helpful too for which I am especially grateful. I will head out before the designated date and have a chat with the project manager on-site and representatives of the sub-contractors who are to be included.

Clearly room for more creativity than the routine real-estate work and the rewards are potentially much improved. I will take some test shots with and without people and with a variety of lenses. The magazine has asked for TIFF files or RAW and they have specified that I assign the copyright to them which is understandable.

They have asked for sufficient definition for a double page A4 spread so I will just send them the maximum file size my camera can produce (35mp).

I have been contacted by a local UHH member who is an architect and he has offered to come along with me on the formal shoot.

Thanks again UHH for stepping up to the plate

Keep safe

MrPhotog

Since they are doing a spread, be sure to have verticals as well as horizontals. If the building is a horizontal from straight on, see what it looks like from a corner. A dramatic Sky and colorful landscaping make a great frame.

Tripods are your friends. The buildings aren’t moving, so get your composition right. Much faster to get a perfectly level horizon in camera than to waste time, and trim off pixels, by rotating and cropping in post.