Professional Architectural Photography, Third Edition (Professional Photography Series)

209 Pages·2001·7.55 MB·English

by  Michael Harris

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To Billy with love
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Third Edition
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Michael Harris
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OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEWDELHI 31
Focal Press
An imprint of Butterworth-Heinemann
Linacre House, Jordan Hill, Oxford OX2 8DP
225 Wildwood Avenue, Woburn, MA 01801-2041
A division of Reed Educational and Professional Publishing Ltd
A member of the Reed Elsevier plc group
First published as Architectural Photography 1995
Second edition 1998
Third edition 2002
© Reed Educational and Professional Publishing Ltd 2002
All rights reserved. No part of this publication may be reproduced in
any material form (including photocopying or storing in any medium by
electronic means and whether or not transiently or incidentally to some
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Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London,
England W1P 0LP. Applications for the copyright holder’s written
permission to reproduce any part of this publication should be addressed
to the publishers
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloguing in Publication Data
A catalogue record for this book is available from the Library of
Congress
ISBN 0 240 51672 9
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Printed and bound in Italy
CONTENTS
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Acknowledgements
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Introduction
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1 Objectives: interpretation and creation
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2 Recording mediums: film and digital
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3 Specialist hardware for image capture
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4 Understanding light, natural and photographic
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5 Filters for light modification
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6 Composing the image
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7 Technique in practice
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8 Creative techniques
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9 Solutions to problem exteriors
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10 From image capture to publication
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Appendix 1: ‘Sun finder’ charts
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Appendix 2: Glossary of architectural terminology 9
187 PROFESSIONAL 40
ARCHITECTURAL
Bibliography
PHOTOGRAPHY
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Index 2
193 v 31
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ACKNOWLEDGEMENTS
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A book is rarely the product of one person’s endeavours, and 4
this one is no exception. While I have been directly respon- 5
sible for the content, I have had tremendous support for this 6
project from my family, friends, publishers, clients and sup- 7
pliers alike. Accordingly, I should first like to thank my 8
family: Val, my wife, and my children Leo and Billy for 9
affording me both the opportunity and time to undertake this 20
project, and also my parents for their continuing encourage- 1
ment. 2
My thanks go also to Marie Hooper, my publisher, and 3
her associates Christina Donaldson and Margaret Denley for 4
their ever-willing assistance in the production of this book. 5
My clients have been the source of much of the photo- 6
graphic material seen here, and have all been supportive of 7
the idea. I would especially like to thank architects Michael 8
Foster and John Hesse of The Tooley & Foster Partnership 9
for their design drawings, used as illustrations in Chapter 1; 30
and also photographer Christian Smith, master of the 1
panoramic image, for allowing me to reproduce two of his 2
wonderful shots in Chapter 8. 3
The clients whose work is featured in the final chapter 4
include Dave Watkiss of Kingsway Advertising, David Hum- 5
phrys of The Creative Consultancy, Carol Cavanagh and 6
Chris Rowell of The Alphabet Design Partnership, and 7
Richard Smith and all his team at FPDSavills (Sevenoaks), to 8
whom I wish to extend my thanks. 9
My warm gratitude goes to Horst Pientka of Linhof PROFESSIONAL 40
ARCHITECTURAL
cameras in Munich who has always been willing to grant
PHOTOGRAPHY
permission for the publication of Linhof material, both tech- 1
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nical and photographic. Also to Peter Grainger and his staff 2
at Photocare Laboratories (Tonbridge) for their consistent vii 31
ACKNOWLEDGEMENTS high quality processing and printing, and the staff of
Calumet, both for their efficient supply of photographic
materials and for the loan of the Megavision images used as
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illustrations in Chapter 3.
Finally, I am indebted to Sam Booker and David
Dewhurst for their astounding ‘Sun finder’ charts, originally
published in Richard Platt’s The Professional Guide to Photo
Data (Mitchell Beazley, 1991), and reproduced here in
Appendix 1. I also wish to thank the publishers of K.W.
Smithies, Paul Oliver and Richard Hayward for their permis-
sions to quote from their works, and to acknowledge the
memory of one of the very first architectural photographers:
Frederick H. Evans (1853–1943). All the photographs in this
book were taken by the author unless otherwise specified.
PROFESSIONAL
ARCHITECTURAL
PHOTOGRAPHY
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