A resource for working professional photographers and design industry professionals featuring news, commentary, equipment resources, and original articles
There are many situations where the 24mm TS (Nikon or Canon) — our standard lens for architectural photography — isn’t quite long enough. Maybe you want to make a detailed vignette. Maybe you’d like to hide the side of a building which doesn’t look so great. You may need to do the opposite and highlight something important that requires a different focal length than 24mm.
Ahh New Zealand; the magical land where perfect scenery and perfect architecture collide. This week’s shining example is a residential home by Cheshire Architects, with interior design by Terry Hunziker, photographed by Seattle based Aaron Leitz.
Aaron’s architectural photographs cast a strange magic over me this week, and I found myself coming back to his website time and time again.
I can appreciate that many of you may assume I’m simply trying to trigger photographers with this article and its “clickbait” title. That is honestly not my intention because I firmly believe in what I’m about to discuss and I’m going to explain why I think what I do.
Whenever a new camera is released with a higher resolution sensor, the common subject that tends to come up is about how we’re back to the megapixels war.
I have been following Andy Macpherson‘s work on Instagram for a couple of years and have been fascinated with the amazing homes he has been photographing from Byron Bay to Queensland. Being located in regional New South Wales, Australia, near the border of NSW and Queensland, Andy has carved a name for himself in a relatively short span of time while photographing for some prolific Australian architectural firms.
In the ongoing discussion of renders vs. reality, a very keen-eyed Dezeen viewer noticed that a shortlisted project for the 2019 Dezeen Awards was actually a render, not a photo. As renders improve more and more every day, is this something that will begin to permeate architecture awards and photography contests?
When you’re hired to photograph a resort, your end goal is to sell the experience. If there’s one guy who can pull this off, it’s architectural photographer Joe Fletcher. Three photographs into his collection on Amangiri Resort, and I was trying to justify spending my F-You Fund on a vacation.
It’s 2019, y’all. There is no excuse for not knowing how to use the pen tool in Photoshop. It’s an absolutely essential part of any retouching workflow for architecture photographers and I still know lots of people who struggle with it, even though it’s as easy as pie. If you haven’t mastered it already, I’m going to show you how you can learn it inside and out in one hour or less.
We have arrived at my third and final image in this series, and this time, we’re photographing an interior. In the first two articles, I showed how I create twilight and daylight exterior images. To create this image, I used just a handful of techniques, such as blending different exposures, cloning, cropping and making some color adjustments.
Sydney-based Tom Ferguson ran his own architecture practice for over ten years before deciding to take a leap and switch careers from architect to photographer. With a diverse portfolio that includes top projects from around the world, Tom is truly someone who has crafted a career perfectly suited to his personality and lifestyle.
What do you get when you mix an incredible photographer from Russia with a premier design school in Italy? Nope, this isn’t the start of a joke. It’s this week’s featured project!
The Scuola Politecnica di Design (affectionately known as SPD) is a postgrad design school in Milan, Italy.
NC Asks: If a company never paid me and is using my image, how can I prove that I took the image and how do I decide how much to charge them for each image that they illegally used?
The easiest way to do this (in the United States, at least) is to register your images with the US Copyright Office as soon as is reasonably feasible.
After captivating our staff and readers, Project of the Week veteran James Florio is back on APALMANAC this week for a full-length interview. The Colorado architectural photographer – who formerly resided in Chile – is truly a voyager of the trade. James’ body of work spans the far-reaching points of the globe from Montana to Shanghai and Patagonia to Portugal.
When I first started as an architectural photographer, one of the things I really struggled with was pricing. This seems to be a common thread for many creatives as it can be very difficult to objectively self-assess your talent, experience, and therefore, value. Some photographers charge less than minimum wage and others charge an absolute fortune for just an hour’s worth of work.
Let’s talk renderings.
In the vapid comments section of some blog somewhere, I read an interesting, yet disheartening question: “Are you afraid that renderings will replace the need for architectural photography?”
See? Lame. But also that little part of me that is convinced Skynet is coming for us, gets it.
In part two of my behind-the-scenes series in the Hungarian countryside, I’m going to jump into (ha ha…) a more complicated daylight image that I created. This image, like anything in architectural photography, contains quite a bit more than meets the eye, and utilized many different techniques to put together a visually harmonious image.
Large bold shapes, vibrant colors, perfectly captured repetition, contrast through lighting and color, and a whole lot of texture; This week’s featured project is a shining example of visual hierarchy at work.
In the small Moroccan town of Laayoune lies the Universite Ibn Zohr.
György Palkó
Lexi Taciak
Usman Dawood
Veeral Patel
Mike Kelley