I get multiple emails every day from retouchers looking to work with me; most of them are based in Vietnam, India, Bangladesh, Pakistan, Malaysia, etc. This is not necessarily a bad thing, and they serve a need in the market for inexpensive high-volume retouching.
Here on Architectural Photography Almanac, we tend to focus on — well — architecture. Not to be overlooked though, is photography with an emphasis on the design of a space. This Project of the Week by Melbourne based Jack Lovel is great study on clean edits, simplicity, and the “less is more” aspect that shines when working with interior designers.
I had heard about Vancouver-based Andrew Latreille through another architect a few years ago and finally caught up with him last summer while he was in Melbourne visiting his family. As it turns out, Andrew had actually known about me through our shared hobby of cycling – a small world!
Fujifilm is currently my favorite camera company within the photography industry. I find that they’re one of the very few companies that properly pushing the boundaries and delivering feature-filled cameras at very reasonable prices. The Fujifilm X-T3, for example, is incredible value for money.
MW asks: Have you ever had a client that micromanages to the point where they say “take the photo from exactly right here and make sure you get everything I took in this iPhone picture for reference”? If so, how have you dealt with working in that situation?
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.
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.
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.
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.
Sorry, I'm clickbaiting you here. There are a few oft-repeated phrases that will help you to "become a better photographer." These platitudes include things such as placing yourself in more interesting situations, concerning yourself (a true master, of course) with the qualities of light rather than gear, slowing down to make better photographs, speeding up to make better photographs, and on and on. I'm here to tell you that the single most important thing is...
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.
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.
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.
This is one of the most frequently asked questions I receive and the answer is rather simple. Yes, you should buy them. All of them. No, it doesn’t matter which one you start with. You’ll see soon enough that you need them all.