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Architectural Photography, 3rd Edition: Composition, Capture, and Digital Image Processing, by Adrian Schulz
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Architectural photography is more than simply choosing a subject and pressing the shutter-release button; it’s more than just documenting a project. An architectural photograph shows the form and appeal of a building far better than any other medium. With the advent of the digital photographic workflow, architects, real estate firms, and interior designers are discovering exciting new opportunities to present and market their work.
But what are the ingredients for a successful architectural photograph? What equipment do you need? How can you improve your images in the digital darkroom? Why does a building look different in reality than it does in a photograph? In this book you will find the answers to these questions and much more.
Author Adrian Schulz―an architect and photographer by training―uses real-world projects to teach you how to:
- Capture outstanding images of buildings, inside and out
- Choose the right equipment and use it effectively
- Compose architectural shots
- Work with ambient and artificial light
- Process images in an efficient workflow based on Adobe Photoshop
- Photographic technology, including digital cameras, lens quality and construction, and large format cameras
- Shooting techniques
- The real life of a professional architectural photographer
- Traveling
- Analog to digital shooting
- Stadium photography
- Image Processing, including screenshots from the latest image-processing software such as Adobe Photoshop CC
- Sales Rank: #342903 in Books
- Published on: 2015-09-30
- Original language: English
- Number of items: 1
- Dimensions: 9.90" h x .80" w x 8.00" l, 2.12 pounds
- Binding: Paperback
- 296 pages
About the Author
Adrian Schulz lives in Berlin, Germany, and has a degree in architecture from the Technical University of Berlin. Early in his studies, he became interested in architectural photography, and it became the subject of his thesis. Adrian currently works as a professional architectural photographer throughout Europe and North America.
Most helpful customer reviews
8 of 8 people found the following review helpful.
Pictures of Buildings
By Conrad J. Obregon
Most photographers probably take photographs of buildings at one time or another but they do not think of themselves as architectural photographers. Yet most photographers would benefit from a little more knowledge of photographing structures. There are a few photographers who spend more time with structures than the average and this book is aimed at them.
After an introduction, which includes a brief history of architectural photography, Schulz examines the equipment to use, including cameras, lenses and accessories; shooting techniques with considerations like perspective, converging verticals and lens focal length; and image processing. The book is profusely illustrated with photographs, which can be quite useful if the reader can learn from the images of others, because Schulz never really tells us what makes a good architectural photograph. There are also several pages of comments by another architectural photographer, Marcus Brecht, although much of it repeats what Schulz tells us.
Schulz points out that there may be inherent conflicts between architects and photographers because the architect wants to capture what his art has done, while the photographer may want to make the image into his own art without consideration of the inherent art of the subject. The author specifies that it is important for the photographer to remember which goal is the purpose of his photograph.
In discussing things like the importance of converging verticals and perspective, the author offers useful suggestions for dealing with problems the photographer may encounter. It is clear he believes that the best lens one can use for architectural photography is a tilt-shift lens, but the reader won't learn the details of using such a lens in this book. Although he mentions the Schelmflug principal, he doesn't explain it, perhaps because he believes controlling the plane of focus is not so useful in architectural photography.
There is a brief section on indoor architectural photography, but there was little discussion of lighting such images.
I was unhappy with the section on post processing. I did not expect a complete guide to using Photoshop, but rather an explanation of those unusual Photoshop tools that have particular applicability. While he mentioned such tools, his explanations were cursory. Given that he used a couple of specific images to follow in Photoshop, it would have been useful to provide downloadable images, and tutorials that are more extensive. I was also surprised that in his discussion of HDR there was no mention of the tools included in Lightroom. I know this facility only appeared in version 6, which was only recently released, but other authors managed to get advance versions of the software and include it in their books.
Although I was less than satisfied with this book, I have to recommend it because there are so few other good books available about architectural photography.
1 of 1 people found the following review helpful.
Very good treatment of the subject
By E. Seale
This book is not without its flaws, but it's a fantastic and scrupulously detailed treatment of the ins and outs of architectural photography. Amazon will let you see the table of contents of this book, so I won't belabor the details, but here's what I thought of the title, section-by-section:
1 -- Introduction -- a short (10 pages) treatment of the history, forms, and uses of architectural photography. A pretty good way to start off, and probably about the right length.
2 -- Camera Technology -- camera types, lenses, accessories, etc. 38 pages of generally on-target information (I have to wonder, though, how many practicing architectural photographers are still working with film).
3 -- Shooting Techniques -- composition, perspective, viewpoint, 153 pages that make up the heart of the book. A bit short on photography of interiors, but still very useful and thought-provoking material. You'll want / need to re-read this a few times to really get the most out of it.
Comments by Marcus Bredt -- an odd intermission in the middle of the book, I would have preferred interviews of a number of architectural photographers with differing perspectives (no pun intended) and approaches to the work.
4 -- Image Processing -- 68 pages long, dominated by discussions of Photoshop, the weakest part of the book. Given how quickly dated this sort of material naturally is, I think the book would be better off without it (or maybe Adrian could split the processing material out into a separate volume that could be updated more frequently).
So all in all, the book is very useful, if not perfect. I think Section 3 alone makes the book worth its price.
Disclaimer: I was given a free copy of this eBook by its publisher (Rocky Nook) in exchange for an honest review of the title.
1 of 1 people found the following review helpful.
My favorite part of the book is the discussion of perspective
By Tyson Smith
I began reading Architectural Photography because I wanted to improve my city-scapes and interior shots. I did not realize that it would be full of so much general information that applies to many aspects of photography. There is something in this book for all of us.
Schulz begins with a general discussion of the advantages and disadvantages of different types of cameras, from compact to large format. This is followed by a description of various lenses including tilt-shift and several of the accessories that are routinely used. Then he moves on to explaining the shoot.
My favorite part of the book is the discussion of perspective. He explains clearly that it depends on the position the camera is placed rather than the focal length of the lens used as is commonly mis-stated in photography articles. This then leads to how the placement of the camera effects vertical and horizontal lines in the image. He also offers advice on exposure and composition of architectural images.
The chapters on image processing are rather basic. They cover some raw adjustments but not in a comprehensive manner. He touches on some of the perspective controls and plug-ins but not to the depth that I would feel comfortable copying them. Schulz also includes some information about processing panoramas in Photoshop and HDR in Photomatix. He does not include information about doing these in Lightroom, but that capability may have been released after his deadline.
As I mentioned, I believe there is something in this book for all of us as we do our general photography. My disappointment with the book is that I don’t think it would be as helpful for someone that wanted to be a serious architectural photography. There could have been more than his three paragraphs on what makes a good architectural image. I don’t believe in rules, but that would give us a foundation to start from. He also doesn’t say much about how natural light works with time of day to show depth in the exteriors of the buildings or how to balance lighting to get the effect you want on interiors.
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