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Architectural photography is more than simply choosing a subject and hitting the shutter release; it's more than just documenting a project. With the advent of the digital photographic workflow, architects are increasingly discovering exciting new opportunities to present and market their work. Adrian Schulz, both an architect and a photographer by training, teaches and illustrates with real world projects how to: Capture outstanding images of buildings, inside and out Choose the right equipment and how to use it effectively Compose architectural shots, and work with ambient and artificial light Process photographs in an efficient workflow based on Adobe Photoshop This book is a step-by-step guide to architectural photography, both for the aspiring amateur photographer interested in architectural photography, and for the professional photographer wanting to expand his skills in this domain. Moreover, architects themselves will find this book motivating and inspiring.

Tabla de contenidos provista por Syndetics

• 1 Fundamentals(p. 1)
• 1.1 Architectural Photography: What is it?(p. 2)
• 1.2 The History of Architectural Photography(p. 2)
• 1.2.1 Early History(p. 2)
• 1.2.2 The Invention(p. 4)
• 1.2.3 The 20th and 21st Centuries(p. 5)
• 1.3 The Authenticity of an Architectural Photograph(p. 7)
• 1.4 Manifestations of Architectural Photography(p. 8)
• 2 Photographic Technology(p. 11)
• 2.1 Comparison Between Analog and Digital(p. 12)
• 2.1.1 From Exposure to Picture(p. 12)
• 2.1.2 Film Grain vs. Digital Noise(p. 12)
• 2.1.3 Resolution and Range of Contrast(p. 14)
• 2.1.4 Image Aberrations(p. 15)
• 2.1.5 Consequences of Lens Quality(p. 17)
• 2.1.6 Ruggedness of the Camera(p. 17)
• 2.1.7 The Functional Life of Digital Cameras(p. 17)
• 2.1.8 Number of Exposures(p. 18)
• 2.1.9 Digital Image Processing(p. 18)
• 2.1.10 Authenticity and Archiving(p. 19)
• 2.1.11 Conclusion(p. 19)
• 2.2 The Camera(p. 20)
• 2.2.1 Types of Cameras(p. 20)
• Digital Compact and Bridge Cameras(p. 20)
• Digital SLR Cameras with Four-Thirds, APS-C, and APS-H Standards(p. 21)
• Analog 35mm Format and Digital Full-Frame Format Cameras(p. 24)
• Analog and Digital Medium Format(p. 26)
• Analog Large Format(p. 27)
• 2.2.2 The Camera: Conclusion(p. 28)
• 2.3 The Lens(p. 29)
• 2.3.1 Focal Range(p. 29)
• 2.3.2 Optical Quality(p. 30)
• 2.4 The Ideal Camera and Lens Combination (for all wallets)(p. 31)
• 2.5 Accessories(p. 32)
• 2.5.1 Tripod(p. 32)
• 2.5.2 Tripod Head(p. 33)
• 2.5.3 Remote Shutter Release(p. 33)
• 2.5.4 Lens Hood(p. 34)
• 2.5.5 Lens Filters(p. 35)
• 2.5.6 Lens Adapters(p. 36)
• 2.5.7 Grid Screen(p. 37)
• 2.5.8 Memory Cards(p. 37)
• 2.5.9 Batteries and Rechargeables(p. 38)
• 2.5.10 Flash(p. 38)
• 2.5.11 Additional Accessories(p. 39)
• 2.6 Creativity Tips(p. 39)
• 2.6.1 Lensbabies(p. 39)
• 2.6.2 Black & White Negative Film(p. 39)
• 2.6.3 Use of Fixed Focal Lenses(p. 40)
• 3 Shooting Techniques(p. 41)
• 3.1 Hallmarks of a Good Architectural Picture(p. 42)
• 3.2 Architecture as a Subject(p. 47)
• 3.2.1 What Kind of Architecture Makes the Best Subject?(p. 48)
• 3.2.2 An Eye for Subjects(p. 50)
• 3.3 Perspective(p. 54)
• 3.3.1 Roles of the Vanishing Points(p. 55)
• 3.4 Perspective Distortion and Converging Verticals(p. 57)
• 3.4.1 How to Avoid Converging Verticals(p. 58)
• 3.4.2 How Does a Shift Lens Work?(p. 64)
• 3.5 Camera Position(p. 68)
• 3.5.1 Ideal Distance to the Building(p. 68)
• 3.5.2 Position and Perspective(p. 70)
• 3.5.3 Position and Environment(p. 74)
• 3.5.4 Position and Symmetry(p. 76)
• 3.5.5 Depth Perception(p. 77)
• 3.6 Focal Length(p. 81)
• 3.6.1 Long Focal Lengths(p. 81)
• 3.6.2 Very Short Focal Lengths(p. 83)
• 3.6.3 Expanding the View: Rectilinear Panoramas(p. 86)
• 3.7 Picture Format(p. 88)
• 3.7.1 Extreme Formats and Panoramic Images(p. 88)
• 3.7.2 Orientation(p. 92)
• 3.8 Image Frame and Composition(p. 94)
• 3.8.1 Composition(p. 94)
• 3.8.2 Image Composition and Environment(p. 99)
• Stationery Surrounding Objects(p. 100)
• Moving Objects(p. 102)
• 3.8.3 Reduced Frame(p. 105)
• 3.9 Shooting Parameters(p. 107)
• 3.9.1 Shutter Speed(p. 107)
• 3.9.2 Aperture(p. 107)
• 3.9.3 Light Sensitivity(p. 108)
• 3.9.4 Exposure(p. 111)
• 3.9.5 Exposure Bracketing for HDR and DRI Images(p. 111)
• 3.10 Using Lens Filters(p. 114)
• 3.11 Photographing Interior Spaces(p. 117)
• 3.11.1 Subject(p. 117)
• 3.11.2 Perspective and Camera Position(p. 118)
• 3.11.3 Focal Length(p. 118)
• 3.11.4 Picture Format(p. 119)
• 3.11.5 Image Frame and Composition(p. 120)
• 3.11.6 Shooting Parameters(p. 122)
• 3.12 Exterior Conditions and Influences(p. 125)
• 3.12.1 Shadows and Reflections(p. 125)
• 3.12.2 Weather(p. 128)
• 3.12.3 Time of Day(p. 132)
• 3.12.4 Seasons(p. 134)
• 3.13 Creativity Tips(p. 136)
• 3.13.1 Radical Frames(p. 136)
• 3.13.2 Looking Up(p. 139)
• 3.13.3 Serial Images(p. 139)
• 3.13.4 Extreme Reflections(p. 140)
• 3.13.5 Intentional Under- or Overexposure(p. 141)
• 3.13.6 Before-and-After Images(p. 141)
• 3.14 Solving Problems(p. 142)
• Commentary by Marcus Bredt(p. 144)
• 4 Post-Processing Techniques(p. 151)
• 4.1 Digital Image Formats(p. 152)
• 4.1.1 What is RAW Format?(p. 152)
• 4.1.2 Difference Between RAW and JPEG Formats(p. 152)
• 4.1.3 Advantages of RAW Format(p. 152)
• 4.1.4 Disadvantages of RAW Format(p. 155)
• 4.1.5 Conclusion(p. 155)
• 4.2 RAW Conversion(p. 157)
• 4.2.1 Workflow(p. 157)
• 4.3 Post-Processing(p. 166)
• 4.3.1 Image Corrections(p. 166)
• Workflow: Image Corrections in Photoshop(p. 166)
• 4.3.2 In-Depth: Selective Contrast and Brightness Corrections(p. 183)
• Workflow: Selective Contrast and Brightness Corrections(p. 183)
• 4.4 Panoramas(p. 186)
• 4.4.1 Rectilinear Panorama(p. 186)
• Workflow: Rectilinear Panorama with Hugin(p. 187)
• Workflow: Rectilinear Panorama with Photoshop(p. 192)
• 4.4.2 Shift Panorama(p. 194)
• Workflow: Shift Panorama with Photoshop(p. 194)
• 4.5 HDR and DRI Images(p. 198)
• 4.5.1 HDR with Photomatix Pro(p. 198)
• 4.5.2 Workflow: DRI with Photomatix Pro(p. 201)
• 4.5.3 Workflow: HDR with Photoshop(p. 202)
• 4.5.4 Workflow: DRI with Photoshop(p. 204)
• 4.6 Creativity Tips(p. 206)
• 4.6.1 Digital Graduated Neutral Density Filter(p. 206)
• 4.6.2 HDR from a Single RAW Image(p. 207)
• 4.6.3 Black and White Conversion in Photoshop(p. 208)
• Index(p. 210)