A Site for Photographers by Photographers

Home > Learn About Photography > Architecture (Exterior)

Featured Equipment Deals

Photography Inspired by Motherhood Read More

Photography Inspired by Motherhood

Photographer and author, LaNola Stone, shares with us thoughts on being behind the lens while photographing children with this celebration of mothers of all kinds.

How to Photograph Architecture (Exterior)

by Philip Greenspun, June 1999 (updated January 2007)

This is an example-based tutorial on photographing buildings.

Your Pictures Need Not Be Pretty

Architectural photography at its best will convey the experience of being in and around a built environment. In the case of the Dachau Concentration Camp, this won't result in comforting attractive images.

Krematorium.  Dachau Concentration Camp.  Just outside Munich, Germany Dachau Concentration Camp.  Just outside Munich, Germany
Arbeit Macht Frei.  Gate to Dachau Concentration Camp, just outside Munich, Germany Dachau Concentration Camp.  Just outside Munich, Germany

Below is a parking garage in Kyoto. The colors and industrial appearance of the structure are remarkable in the middle of a city known for its ancient temples and gardens. The purpose of the image is to capture the feeling of walking by the structure, not to delight or decorate.

Parking garage. Downtown Kyoto

A supermarket exterior is a subject that will probably never make a wall-worthy image by itself. However, the image below (from the Hawaii flowers collection) captures the spirit of being in the parking lot at night:

Big Save.  Hawaii

Give Old Buildings Some Space

In general, the older the structure, the more environmental context is required.

Old fishing hamlet of Helgumannen.  Faro, Gotland. Sweden Farm on the road to Langhammars.  Faro, Northern Gotland.  Sweden Edo stroll garden at New Otani Hotel.  Tokyo Canyon de Chelly.  Arizona.

Using your hands or your mind, crop the preceding images to include just the structures and see if they would still work. Also, compare them to a few modern buildings where hardly any context is required:

Saarinen's Gateway Arch.  St. Louis, Missouri. The original Bob's Big Boy.  A historical landmark.  Toluca Lake, California. The original Bob's Big Boy.  A historical landmark.  Toluca Lake, California. The original Bob's Big Boy, built 1949.  A historical landmark.  Toluca Lake, California.

(The Big Boy pictures are also a good example of coming back repeatedly to a building in order to capture it in different lights and weather.)

Farms are a good example of where the structures don't make any sense removed from their context:

Farm, just south of Brattleboro, Vermont. Gruyere, Switzerland A farm in Alberta, on the way to Calgary from Montana

Even a Bit of Space Helps

If you're not capturing an entire village or farm, it still makes sense to think about the space around your subject. Even a little bit of context helps anchor the image. For example, the image at right, from the sunset district of San Francisco, presents a straightforward view of a house. We could use it as a real estate advertisement. The fragment of the house to the left, however, isn't wasted space. It tells us how tightly packed the neighborhood is.

House in the Sunset District of San Francisco, California.

In the image below, the sidewalk, the fragment of street, the pedestrian, and the little open market to the left of the shop help establish the Guatemalan context:

Step Back and Use a Telephoto Lens

Back up from an work of architecture and use a telephoto lens to compress the perspective. This often brings out an interesting pattern.

Nuns near the Roman Forums Glass.  Manhattan 1995.

Around 13th street and 6th Avenue.  Manhattan 1995.

The images below, from Provincetown, Cape Cod, show the increased abstraction of a telephoto perspective. The picture on the right was taken with a much longer lens than the one on the left.

Include the Fence

A fence can be an important image element. In the left-hand photo below (from Gotland, Sweden), the fence works with the trees to frame the barn. It helps that the fence is not brightly lit and is a bit out of focus. The viewer's eye will therefore naturally be drawn to the main subject of the photo, i.e., the barn. In the right-hand photo, from Cape Cod, the fence immediately clues a viewer into the exclusive nature of the beach club.

Gotland.  Sweden Chappaquiddick Beach Club, sort of part of Martha's Vineyard, Massachusetts

Straight on Till Morning

Sometimes a direct approach is all that you need:

Stockholm flower shop Gotland.  Sweden
Klamath Falls, Oregon. Oregon.

Watch the Shadows

Before color, Hollywood directors and cinematographers worked carefully to cast interesting shadows into scenes. Here are some examples of images where shadows set the mood.

Side porch, 470 Shore Road, Chatham Rebecca at the Jefferson Memorial, Washington, D.C. Jefferson Memorial, Washington, D.C. City Hall.  Brookfield, Vermont

Watch the Weather

Adboe house and snow.  Santa Fe, New Mexico Adboe house and snow.  Santa Fe, New Mexico

What's the best weather for photographing buildings? Consider the following photo, from Travels with Samantha:

View across the street from Montreal's youth hostel

The sunlight adds punch to the fire hydrant and makes urban life seem more appealing. However, if you were trying to show people details in the buildings, a high overcast day would have been much better. For example, here is an image from Visby, Sweden:

Domkyrkan.  Visby, Gotland.  Sweden

The Drama of the Staircase

It would seem that staircases are inherently dramatic.

Smoking outside the Getty Center.  Los Angeles, California. Mission.  Carmel, California

Lead the Eye by Leading the Person

If your composition includes a visible footpath into the scene, it should naturally draw the viewer.

Great Wall of China at Mutianyu Great Wall of China at Mutianyu

Coming down the stairs into the courtyard of Florence's Bargello

Natural Frames

It is a contrived and hackneyed idea, but it does work to use natural frames. If you're working without a tripod, you probably won't be able to stop down the aperture enough to get everything into focus. But it is okay to have a soft frame and a sharp subject.

Exterior of the church in Chimayo, New Mexico Entrance to Vicenza's Teatro Olimpico, Europe's oldest surviving indoor theater (designed by Palladio in 1579) The city wall, near Norderport.  Visby, Gotland.

Private Courtyards

The cloister garden inside Florence's San Lorenzo

Public Squares

The left-hand image, from Rome, has a classical composition leading the eye into the center of the frame. But the overview image to its right conveys a truer feeling for the Spanish Steps.

Rome's Spanish Steps, cleaned and reopened for Christmas 1995 The Fontana della Barcaccia (

Michelangelo designed the Campidoglio (left) to be viewed from above. The photo at right is from Burano.

Piazza del Campidoglio, at the top of the Roman Capitol, designed by Michelangelo.

Here is a Soviet-built memorial to the Second World War in Berlin:

Translation:  Mother Russia


Include people in an architecture photo if they give unexpected information about how a building is being used.

South Beach.  Miami, Florida.

Don't Forget the Sculpture

Parco dei Mostri (park of monsters), below the town of Bomarzo, Italy (1.5 hours north of Rome).  This was the park of the 16th century Villa Orsini and is filled with grotesque sculptures. Parco dei Mostri.  Bomarzo, Italy.

Swimming Pools

Occasionally, a swimming pool is a work of art by itself, as in the image at left (Hearst Castle, from the photo.net California guide). But most of the time, a pool is best used as an abstract element in a composition from above, as at right (Israel).

Hearst Castle.  San Simeon, California. Pool.  Dan Panorama Hotel. Tel Aviv


Volcano.  Mirage Hotel.  The Strip.  Las Vegas, Nevada. Mirage Hotel.  The Strip.  Las Vegas, Nevada.

The fountain in Piazza della Rotunda, in front of Rome's Pantheon Fontana di Trevi (Trevi Fountain), completed in 1762 designed by Nicola Salvi

Narrow Streets

The narrow streets of Europe are always interesting to American eyes. We're accustomed to structures built on an inhuman scale (cf. the Mall in Washington, D.C.). To get a better-than-average picture of a narrow European street, start by looking for an arch:

A street leading into the Campo de Fiori (Rome) Walking up a side street in Florence

Both of the above images could have been better. In the left-hand image, the subject (woman on moped) could be more interesting and more engaged either with the camera or another subject. In the right-hand image, some of the black shadow should be cropped out.

If you can't find an arch, try filling the foreground with an interesting subject of some sort, e.g., this old Citroen:

A Citroen in a Florence side street

Another effective technique is to use a long lens to compress the perspective:

Near Christmas 1995 in Rome

"Streets flooded. Please advise."
-- Robert Benchley (telegram to his editor upon arrival in Venice)


The three pictures below show increasingly less literal views of the Golden Gate Bridge in San Francisco. My favorite is the one on the right. It isn't a very good view of the bridge--one can hardly see that there are two towers--but it shows tourists gawking at the bridge's construction and an avid cyclist using the bridge.

Golden Gate Bridge, from below Golden Gate Bridge.  San Francisco, California. Golden Gate Bridge.  San Francisco, California.

For the next bridge, the story behind it is more important than the structure. This is the Dike Bridge on Chappaquiddick, a subisland of Martha's Vineyard, Massachusetts (almost part of Cape Cod). In 1969, Ted Kennedy drove off the side of this bridge into the water. He abandoned his passenger, Mary Jo Kopechne, to her death by drowning. Kennedy did not report the incident to the police until the following morning and was found guilty of leaving the scene of an accident. The bridge fell into disrepair and was subsequently rebuilt to absurdly heavy duty standards. The photographs below therefore concentrate on the super-strong guard rails and the heavy metal gate that is used to close the bridge every night.

Big side rail to keep from falling off the Dike Bridge.  Chappaquiddick, Martha's Vineyard, Massachusetts.  Yes this is a rebuilt version of the bridge off which Ted Kennedy went in 1969 Big iron gate to close off the Dike Bridge at night.  Chappaquiddick, Martha's Vineyard, Massachusetts.  Yes this is a rebuilt version of the bridge off which Ted Kennedy went in 1969 Alex on the Dike Bridge, Chappaquiddick, Martha's Vineyard, Massachusetts.  Yes this is a rebuilt version of the bridge off which Ted Kennedy went in 1969

The next example is that most tired of photographic subjects: the covered bridge. For starters, here is the Chamber of Commerce view:

A postcard-quality covered bridge inside the Flume State Park, New Hampshire

One approach is to get inside the bridge:

Covered bridge in Woodstock, Vermont

Another is to wait for darkness or gloomy weather:

The longest covered bridge in the United States, spanning the Connecticut river and connecting New Hampshire and Vermont about 20 miles south of Hanover, NH. The longest covered bridge in the United States, spanning the Connecticut river and connecting New Hampshire and Vermont about 20 miles south of Hanover, NH. Not your average covered bridge photo.  New Hampshire.

Here are a couple of early morning Brooklyn Bridge photographs. This is one of the best bridges because of the unusual cabling pattern and also the backdrop of the Manhattan skyline.

Sunrise.  Brooklyn Bridge.  New York City. Sunrise.  Brooklyn Bridge.  New York City.

San Francisco's Bay Bridge is a poor stepchild to the Golden Gate in terms of photographic coverage. However, if you get off in the middle of the bridge, at Treasure Island, and are willing to do a little bit of creative parking, you can get a good picture of the bridge as it is used:

Traffic Jam on the Bay Bridge.  San Francisco, California (at 6:30 am, from Treasure Island)

Below we return at different times of day and from different vantage points to capture the multiple moods of the Ponte Vecchio, in Florence:

Fog over the Arno View of the Ponte Vecchio, from the Uffizi Gallery Terrier on Florence's Ponte Vecchio

The stone bridges of Europe are spectacular:

Bridges, this time from a Helicopter

A two-seat helicopter can be rented from any flight school for about $250/hour. (See my helicopter training page if you want to add one more challenge to your life, but it is best not to try to fly the helicopter and take the pictures at the same time.)

Doors and Windows

Visby, Gotland. Fjallgatan on Sodermalm.  Stockholm, Sweden

Doors.  Nishi Hongan-ji.  Kyoto

Window in Harry's Bar, near Piazza San Marco, founded in 1931 by Giuseppe Cipriani, a favorite hangout for Hemingway


A good architect is a fanatic for detail and some of the most beautiful parts of a structure are best captured in isolation.

Soho door.  Manhattan 1995. Temple of Heaven (Tian Tan Gongyuan).  Beijing Millesgarden. Stockholm, Sweden Canyon Road.  Santa Fe, New Mexico. Exterior Wall. Getty Center.  Los Angeles, California.

Hearst Castle.  San Simeon, California. Ice cream sign, just off Fjallgatan on Sodermalm.  Stockholm, Sweden


A lot of buildings become more interesting at night:

Strand Theatre, Oak Bluffs, Martha's Vineyard, Massachusetts The main drag at night, Oak Bluffs, Martha's Vineyard, Massachusetts Along Verona's riverfront at night Getty Center.  Los Angeles, California.

With digital cameras, the main problem is noise from the sensor, which is best controlled by using a tripod and keeping the ISO set to 400 or less. In general, physically larger sensors will produce less noise than smaller sensors, which is why digital SLRs perform so much better in low light than point and shoot digicams.

Modern 35mm single-lens reflex cameras have such good metering systems that the suggested exposure for a picture like the ones above is almost always within 1 f-stop of the best exposure. With slide film, it is probably best to take 5 bracketed exposures at 1/2 f-stop intervals. With color negative film, take four pictures: one at 1 f-stop less exposure than recommended, one at the camera's recommended exposure, one 1 f-stop over, and one 2 f-stops over.


The world of industrial architectural is the world of the large but simultaneously extremely detailed. You will want the highest resolution digital camera that you can rent, with the largest physical sensor (see the digital camera chapter of Making Photographs). If you're using a film camera, use a tripod, sharp lenses, and slow fine-grained film, as with these photos of the Glen Canyon Dam on 35mm ISO 32 Kodak Panatomic-X film:

Glen Canyon Dam, impounding Lake Powell.  Utah. Glen Canyon Dam (Arizona/Utah border)

Here is an image from Vallejo, California taken with the Fuji 617 panoramic camera:


A good perspective on a ruin is some rubble in the foreground and the standing structure in the background:

Trajan's Markets, one of the wonders of the Classical world.  The markets were a complex of 150 shops and offices built in the 2nd century AD, not far from Rome's Forum

For ruins in the American Southwest, the best images almost always show quite a bit of context (these are from New Mexico):

Sunset.  Chaco Canyon, New Mexico Sunset.  Chaco Canyon, New Mexico Sunset.  Chaco Canyon, New Mexico

Perspective Correction

The average building is taller than the average photographer. This is the source of 99% of the distortion in the world's architectural photos. Distortion isn't always bad. Note the converging vertical lines in the following image, the Cathedral of San Giovanni in Laterno in Rome:

This is an extreme example and it comes from cozying up to the facade of the building, mounting a wide-angle lens (14mm) to the camera and tilting the camera body back so that the entire facade fits in the frame. This has the effect of projecting a flat surface (the front of the building) onto an angled surface (the film). Hence the distortion. Is it bad? The photo isn't very descriptive or accurate. It won't be bought by any guidebook publishers. However, it expresses the idea of the enormous cathedral looming over mankind better than a perspective-corrected image.

Suppose we have a humbler building, like this wood-framed house in Cambridge that contains a few condominiums:

Unshifted detail of my house Tilted Back Shifted

The above left image was taken with a 24mm wide-angle lens held parallel to the ground. The vertical lines in the subject do not converge. All is well with the photograph except the composition. The bottom third of the frame contains the snow drift on the city sidewalk. We're trying to get a picture of the house. In the middle photo, we've tilted the camera back. The snow drift is out of the frame but notice that the vertical lines are converging. The house appears to be falling backward. In the right-most photo above, we've kept the camera level, with its film plane parallel to the building facade. To change the composition, we've shifted the lens up. This is only possible with a view camera or a special perspective correction lens on a 35mm camera. In this example, the lens was the Canon 24mm tilt-shift (TS) lens. Perspective correction lenses cast a larger image circle than necessary to cover the 24x36mm frame of a 35mm camera. However, it is possible to exceed the limits of the lens, in which case the corners of the frame will perceptibly darken:

Unshifted View of 5 Irving Terrace Shifted a bit Shifted Too Much

The above left photo, of the same house in Cambridge as above, is taken with the camera level to the ground. The composition contains far too much of the street and the roof of the house is cut off. The center photo is shifted up enough to center the house. The right-most photo above shows that the Canon 24mm TS lens can be shifted beyond the limits of its image circle--note the dark corners at the top. Below is an example from Sweden:

a 17mm lens with the camera back tilted up:

Stortorget. Gamla Stan, Stockholm from Fjallgatan on Sodermalm.

a 24mm PC lens shifted up:

Stortorget. Gamla Stan, Stockholm from Fjallgatan on Sodermalm.

A cheaper method that yields much higher image quality, is to use a view camera:

Chapel.  Wellesley College.  1981.  My first view camera photo.

Click on the photo above to view a larger version and note the detail in the church. This photo was taken with Kodak Tri-X film (ISO 400) in 1981. The camera was on a tripod at about the same height as the very bottom of the church steps. Raising the lens eliminated the uninteresting green lawn in front of the church and included the steeple in the composition. See "Choosing a Large Format Camera" if you're interested in joining the view camera club. If you hope to do architectural photography commercially, the view camera is an essential tool. Clients will expect you to use one, though of course in the 21st Century they will expect to see a digital back instead of a film holder.

Whether you use a view camera or a tilt-shift lens on a rigid camera body, you'll need a tripod.

(See "Using Tilt-Shift Lenses" for more on the topic of achieving correct perspective with a Digital SLR system. You can also correct these kinds of distortions on a computer in post-processing.)


Buildings don't move. Ergo, only a lazy photographer would use a high ISO setting or a handheld camera to take a picture of a building. The professional approach is to start with the camera's lowest ISO (e.g., 100) for lowest noise. Generally a large depth of field is desirable in architectural photography. The viewer should have the choice to look at any part of the structure and find it in adequately sharp focus. Large depth of field implies a small aperture. A small aperture plus slow film implies a long shutter speed, too long for steady hand holding. Consequently, any serious architectural photographer will carry a tripod.

Nikon F4, 24/2.8 AF lens, Fuji Velvia, tripod.

As noted in the perspective correction section, a professional architectural photographer will always have some means of controlling perspective, generally with a view camera.

For capturing the sweep of a courtyard or exaggerating the lines of a modern building, wide angle lenses are useful. With a full-frame digital SLR, a 16-35mm professional zoom is adequate 99% of the time. For showing a building and its environment in natural perspective, carry a 50mm lens. For compressing perspective and isolating inaccessible details, carry a telephoto lens of at least 200mm in length.


Sometimes buildings are just beautiful...

The famous back of the adobe church in Ranchos de Taos.  New Mexico

Readers' Comments

Add a comment

Jani Patokallio , November 27, 2000; 08:15 A.M.

Great photography and great technique notes as always, but just one little quibble: you note that in general, older buildings will require more environmental context. This may well be true in the countryside, but in most cities, if you want the building to look old you'll probably want to crop out the McDonalds next to it. (Unless you specifically want the contrast, that is...)

Two weeks back, I walked around Tokyo with a camera in tow, trying to capture what the city would have looked like before the war -- if you've ever been to Tokyo, you'll know that this is a very difficult task indeed! Due to the profusion of pachinko parlors and whatnot, I had to frame my pictures very carefully to avoid breaking the illusion... but I think a few of the pictures succeeded quite nicely, partly because I didn't even try to squeeze the whole building on film, just an evocative part of it. But don't take my word for it, see for yourself:

Sean Foy , December 03, 2000; 02:15 P.M.

About context and older buildings: I wonder if the rule is really about old/new? It seems to me that all the buildings that benefit from context relate to their environment. Newer buildings are often designed without consideration of their surroundings, but this is a design choice (or failing, if this choice never even occurred to the 'architect') rather than an inherent property of new buildings. Older buildings generally were designed to function as part of a larger fabric, so they lose something when shown in isolation.

Anders Widman , July 21, 2002; 08:00 P.M.

Correct perspective.

I think there are missing "feature" of this guide. Many people that are new to photography do not have the kind of lenses, or a view camera to correct the perspective.

If you are using a digital camera, or scan your pictures or dia you can easily correct for perspective "errors" in programs like Adobe Photoshop. Probably also in most other image editing software.

The drawback with this technique ("Free Transform" in Photoshop) is that you will most likely loose contrast or detail.

Nick Gorski , February 02, 2005; 11:14 P.M.

re: Perspective - yes it's true, the casual user will not have the smarts (why would they?) to have a tilt-shift lens for their 35mm SLR (film or digital). You can rent them and I can say at least Canon's will integrate with the D1 series. I can only say this having seen the pins on the lens body. It's not hard to correct in Photoshop if you use a specific app-plug in such as Image Align PRO which is geared to architectural photographers. If you do the correction before resizing, loss of detail, etc isn't an issue.

Alex Surrey , January 01, 2007; 06:45 P.M.

taken with a nion d70s and 24m f2.8 taken at iso 200 and f 22 and i used a circular polarizor.

jonathan gesvantner , January 30, 2007; 09:34 A.M.

i am a new photographer and would like to know some tips that would help me. i am just starting out with architectural photography and have a VERY small budget. is there anything i can do to start off right?

my e-mail address is bezahle_ein_dolla@hotmail.com if you have any tips, please send them to me. thank you

Thomas Bliss , February 26, 2007; 12:31 P.M.

Jonathan, There is a forum association that deals just with Architectural Photography. http://www.iaap.us and http://www.iaap.co.uk There are over 200 professional photographers on that site that are more than willing to help you on any variety of issues. The forum is $35.00 a year, or $2.99 per month. If you join the forum you have 30 days of free access. There are no fees to just browse the site.

Thomas Bliss

mike plews , April 25, 2007; 10:15 A.M.

As an old view camera user I was glad to learn how to simulate rising front standard effects in Photoshop. It is a pretty simple process using the trim tool and checking the perspective box in the options bar. You still need to shoot a little wide and have all but the vertical axis right on the original image but you would do this with a view camera also. You do not need a plug in for this. The tutorial in help lays it out more elegantly than I could in this forum. Hope this helps. The only problem I encountered was the Photoshop 7 will not do this with an NEF file. I had to use JPEGS with that version of Photohop. Perhaps a CS3 is better this way.

Joseph Spiteri , May 01, 2007; 03:09 A.M.

This tutorial explains briefly the basic techniques of photographing architecture. It is just what i needed. I am now going to apply these techniques while photographing for my SOK (Systems of Knowledge) school project. Thanks

Andrew Prokos , August 22, 2007; 10:37 P.M.

If you want to really learn architectural photography you need to buy yourself a large format camera. You can correct some converging lines (keystoning) in Photoshop but it always distorts the image to a certain extent. It is easy in that the subject doesn't move, but you have to really know composition and perspective. --Andrew

roy rodrigues , August 24, 2007; 06:46 A.M.


John Moran , October 11, 2007; 08:31 P.M.

There has been much discussion about large format cameras and specific tilt-shift lenses, but since its publication, a few other options have hit the market. Take a look at the links below.

Hartblei, from the Ukraine, manufactures 3rd party tilt shift lenses for DSLR/SLRs. http://www.hartblei.com/lenses/lens_35mm.htm

The Hasselblad Arcbody and Fuji GX680 are medium format film options - though a large format camera is probably cheaper/comparable in price and produces higher quality results.

Calumet produced the Ultima 35 from Cambo/Calumet (link shows a canon model, but nikon versions also exist). Again, this is expensive, but compatible with DSLRs.

Novoflex BALPRO T/S belows (scroll down after the jump) Like the Ultima, it's a bellows adapter.

Zoerk (adapters - tilt and/or shift)

I provide these as informational links. I haven't used most of them and can't recommend one option over the other, but thought they were relevant.

Jon Woodsworth , October 19, 2007; 03:18 A.M.

In case anyone wanted some quick, practical tips - I've included a page on my website with some great tips that anyone would find handy (especially architects looking to photograph their OWN work). You can find it at:

Architectural Photography How-To

There are also some other resources for budding architectural photographers I am developing;

Main Entry Page

Image Attachment: obs.jpg

Joe Ciccone , November 09, 2007; 10:50 P.M.

If you ever get a chance to go to Barcelona, Spain, my tip, take all the memory you can carry. The buildings, old and new are just wonderful, a photographers paradise.

sam pyeatte , November 22, 2007; 02:19 P.M.

architectural photography

This section has grown to be a really excellent summary on the subject. I had the privilege of going out and photographing buildings shoulder to shoulder with a famous architectural historian. I found that there is no single right way to do it. Each architect has his preferences. This one liked an "axiometric view", i.e. two sides of the building shown at an angle which conveys depth. View Camera Technique illustrates this approach well. Another architectural historian didn't like those angles and preferred the facade to be photographed straight on, which does make it easier to make the necessary perspective corrections. If you are really into photographing buildings, then I would suggest getting a copy of Ezera Stoller's biography which contains a fabulous treatise in the preface by the retired dean of architecture at Harvard. In it he noted that Stoller conveyed "...what a building strives to be." I think that pretty much sums it up. What is the architect/builder wanting to accomplish here?

Laurent Vuillard , May 06, 2008; 03:49 P.M.

I am not too sure about the idea of a mandatory use of tripod in architecture pics. Often while travelling using a tripod is too slow and I feel that as using a tripod often hampers your movements this resticts somehow the way you compose the pictures. So since with a WA lens such as a 28mm in 35mm shooting hand held at 1/500th is pretty sharp I prefer to do without tripod .

Paul Bartholomew , July 03, 2008; 12:12 A.M.

I often shoot without a tripod for my personal work. It has a different feel to it and I use a rangefinder camera with 24mm lens. I consider it more as fine art work.

My professional work absolutely requires a tripod because it gets more technical such as combining multiple images for better exposure latitude.

See some of my architectural photography at www.psbphotography.com

Alan Blakely , July 20, 2008; 08:42 P.M.

After 25 years as an architectural photographer I think I can identify a few rules of thumb for successful (the client and the photographer are happy) architectural exteriors:

1. Make the primary view a 3/4 view where both the front elevation and a portion of a side elevation are visible. This type of view conveys depth and dimension.

2. Put your camera on a tripod and use an aperture that is adequate to render the entire building sharp. Architectural photography is a more deliberate specialty and lends itself to a slower pace and a refined composition.

3. Level out your camera for correct perspective and use a tilt/shift lens if you can afford one. If not, tilt your camera with care. You may also be able to find a higher vantage point (adjacent building) that will allow you to shoot without perspective distortion. If you must tilt up, you can approximate a normal perspective in Photoshop by transforming perspective.

4. Choose your time of day carefully. Direct light is rarely interesting. Oblique light enhances contrast. Dawn and dusk light are beautiful times of day. Many buildings lend themselves to twilight or night views if there is adequate interior and exterior lighting.

You may also visit ProPhotoResource for my articles discussing architectural photography: http://www.prophotoresource.com.

If you're a professional considering a specialty in architectural photography, you may want to consider membership in The Association of Independent Architectural Photographers (AIAP) http://www.aiap.net

Alan Blakely , October 21, 2008; 06:33 P.M.

Pose your questions to the finest architectural shooters at work today by joining The Association of Independent Architectural Photographers.

John Trada , October 29, 2008; 05:13 P.M.

Thanks for your link Alan.
I'm sure i can learn more about photography from all the pros.

Amateur Photographer

James Lubitz , January 25, 2011; 06:14 P.M.

One often fun way to deal with the perspective issue for buildings that are not too tall (say up to 6 stories) is to bring a step ladder in your car and/or go to a building across the street and ask if you can go to their 3rd or 4th floor to take pictures.  You can offer them pictures of their building.  Both approaches bring you closer to your subject in a way that a tilt lens doesn't (but of course they don't always work).

Michael Kalafatas , December 19, 2012; 10:52 A.M.

Thanks a lot. Greetings from Greece

Add a comment

Notify me of comments