Six Key Points Help You Get Into Interior Architectural Photography
- Dec 02, 2019
- 1 Comment
Architectural photography is not only limited to shooting magnificent architectural appearance, but also is an integral part of the whole architectural design. However, due to the changeable indoor lighting conditions and complicated furnishings, indoor architectural photography is often more challenging than outdoor photography. Especially for the first time contact with the subject of photography enthusiasts will often feel helpless. Don't worry, let's first learn how to take satisfying photographs of indoor architecture through six simple and practical photographic techniques.
I. Tripods are inseparable、
For architectural photographers, there are two main reasons why you can't live without a tripod. The first reason is that the tripod can give you unparalleled stability in shooting, thus basically eliminating the shaking caused by hand-held shooting. It is important to know that for architectural photography, any ambiguity of the main scenery is almost not allowed. In addition, another advantage of using a tripod is that it keeps your camera level at all times. The second reason why I have to use a scaffold sounds a bit pretentious. That's why I can't find a reason why I don't use a scaffold. To know that architectural photography does not require you to constantly adjust the composition or track the subject through a fast moving camera. Tripods are not an obstacle to photography, but architectural photography can be said that 99.99% of the cases are still shooting, so how can we lose the tripod?
2. Use flash as much as possible、
In addition to tripod, another essential artifact for indoor architectural photography is the flash. If you shoot in an indoor environment without flash, you will probably encounter various shadows raging in the room, and using flash can help balance the exposure of the whole picture. Some of the basic points of setting up a flash include placing it a few feet away from the camera, adjusting the angle of the flash so that it can shine light on the ceiling, and keeping it at an appropriate distance from the space taken so that the flash does not directly shine on the space taken, thus creating a flash. Softer and more uniform light. The flash does not need to be fully fired. Manual setting of the flash below one gear of the full power output is enough.
3. Don't rush to use ultra wide angle lens when shooting large space、
For photographers who have just started indoor architectural photography, one of the easiest mistakes is to seek perfection. When facing a large space, they always want to use a wide-angle lens with a broader perspective to attempt to explain all the scenery in the whole space at once. But it's not always a good thing to have too many elements in the picture at one time. Another disadvantage of ultra-wide-angle lens is the serious distortion of the edge position of the picture, which is also an intolerable problem for rigorous architectural photography. After testing several lenses with different focal lenses, I came to the conclusion that using focal lenses between 21mm and 28mm can achieve a balance between wide angle of view and low distortion, while ultra-wide angles such as 14mm or 15mm can hardly completely eliminate the effect of distortion even after post-processing.
Fourth, try to present a broad perspective with panorama、
What if the wide-angle lens over 21mm is not enough when encountering a narrow space? Don't worry, even if we don't need the ultra-wide angle lens such as 14mm, we still have a way to show the indoor space completely, while avoiding the serious distortion problem. This way is panoramic photography. Taking a panorama is actually very simple. We just need to mount the camera vertically on a tripod, and then make sure that each photograph we take overlaps at least a third of the previous one. Of course, when pressing the shutter, we also need to make sure that the camera remains level throughout the rotation process and find the rotation point. It is important to know that no matter the rotation point is too far or too close, the photo will be distorted. For example, in the picture below, the rotation point is on the camera body when shooting. As a result, the photo will appear a convex deformation after synthesis.
5. A photograph should cover one or two walls as much as possible.、
Geometrically speaking, showing two walls in a photograph can provide the best visual effect. When more than three walls are photographed at the same time, some parts of the picture will become more embarrassing or unnatural if we don't spend more time in composition.
The picture above is a very typical photograph of two-sided wall-style interior architecture. The two walls are 90 degrees apart from each other. The picture below is taken in the same room. The difference is that I retreated to the lower left corner of the whole room to accommodate three walls at the same time.
Personally, influenced by the wall on the left, I don't think the photo space of the three walls looks as natural as that of the two walls. However, there is no absolute thing in the world, just as we will create by breaking the principle of triangulation, it is also necessary to present more than three walls at the same time according to needs. The key is to ensure that the elements in space are geometrically arranged.
VI. Confirmation of Camera Level、
Last but not least, don't forget to check the camera level before pressing the shutter to ensure that there is no left, right or up or down camera. You know, the slight migration in the early stage requires us to spend a lot of time to correct it in the later stage. The following two images show the difference between horizontal and non-horizontal photography.
It can be said that the level of photography has a great impact on the final photo effect. There are several ways to ensure the level of the camera in composition and shooting. First, most cameras in the current market have built-in level gauges. When we use the viewfinder or the screen composition, we can judge and correct the level of the camera through the horizontal line in the center of the screen. The second method is to purchase and install a hot-shoe level gauge to confirm the camera level by observing the position of bubbles in the level gauge. I personally tend to use the second method because I think this hot-boot level is more accurate than the built-in fuselage.
Regardless of the subject matter, the most important thing for a photographer to take a good picture is to spend time and be patient enough to confirm the composition, exposure and other elements that will affect the final effect. Fortunately, for architectural photographers, one of the great benefits is that the objects we shoot do not move, so there is no reason for us to be too busy when shooting.