Tomado de Architectural Photography (Schulz A.,2010)http://my.safaribooksonline.com/book/photography/9781933952437

Walimai, 2011

Introducción a la

FotografíaArquitectónica

Cámara fotográfica digital

http://blogs.elcomercio.pe/vidayfuturo/fotodigital.jpg

Tipos de cámaras digitalesCanon 450D

brigdecompacta réflex

Partes de una cámara DSLRCanon 450D

Sección de una cámara DSLROlympus E30

Esquema de una cámara réflex digital (DSLR)http://www.freewebs.com/siintiia/reflex.gif

Características de una buena foto de

arquitectura

-Buena composición con lenguaje directo y contundente. El resto de los

componentes no deberían jugar un papel dominante.

- Si se trata de la relación entre edificios, su conexión debe representarse

claramente.

-Sí se pueden violar “las reglas”, pero debe ser obvia esa intención.

-Produce un sentimiento de familiaridad con el edificio.

- Destaca las cualidades de diseño de la edificación.

-Permite la interpretación personal dentro de ciertos límites: Cuenta una historia,

señala contradicciones o resalta detalles arquitectónicos que de otra manera no

serían percibidos

El arquitecto y el fotógrafo

ARQUITECTO FOTOGRAFO

Estructuras tridimensionales Superficies bidimensionales

El concepto y lo constructivo Luz, sombra y dimensionalidad

La arquitectura es una

constante.

Permanente y objetiva

La arquitectura de un

momento particular.

Transitorio ysubjetivo

Riqueza de información: Las

imágenes hacen al edificio

dimensionalmente inteligible

Reducción de la densidad de la

información.

La arquitectura como tema

Qué tipo de arquitectura

El ojo para el tema

La perspectivael papel del punto de fuga

Distorsión de la perspectiva y convergencia de las líneas verticales

Cómo evitar la convergenciade las líneas verticales

Posición de la cámara

14 mm

Distancia ideal

24mm

Distancia ideal

150mm

Distancia ideal

200mm 100mm

Posición y perspectiva

17mm

35mm

50mm

Posición y perspectiva

58 mm

Posición y perspectiva

12 mm

Posición y perspectiva

Posición y entorno

Posición y entorno

Posición y entorno

24 mm 24 mm

Posición y simetría

Posición y simetría

Percepción de la profundidad

180 mm

40 mm 14 mm

100 mm

Distancia focal

Distancia focal larga

Figure 3-61. Long focal length and large distance producing a compacted view [focal length: 180 mm]

Distancia focal larga

Focal length producing a visual relationship between buildings that are distant from each other [focal length: 150 mm]

Focal length and framing produce a composition dominated by shapes and surfaces [focal length: 120 mm]

Distancia focal muy corta

Neighboring buildings make a more distant camera position impossible and necessitate the use of a short focal length [focal length: 14 mm]

Distancia focal muy corta

An extreme wide angle lens, in combination with this special camera position, lead to a very dynamic look [focal length: 16 mm]

Distancia focal muy corta

Slight camera tilt downwards combined with a very short focal length lead to strongly converging verticals [focal length: 14 mm]

Distancia focal muy corta

Fisheye lenses produce extremely distorted representations of architectural reality

Orientación

Additional compositional element (airplane) determines the directional orientation of the image

Vertical dimensions and building structure is contrasted by horizontal image format

Encuadre y composición

Calm, static composition as a result of center placement of the building

Suspenseful, dynamic image composition by employing the “the golden ratio”

One-sided composition creating an unusual look

Deliberately chosen viewing angle

Limited perception as a result of an extremely restricted frame

Use of disembodied space

Sección áurea y la regla de los tercios

Composición y entorno

Objects in the building’s vicinity included in the image composition

Clearly structured image composition without distracting environmental elements leads to a utilitarian, impersonal look

Composición y entorno

Placing an additional emphasis by incorporating a tree into the image composition

objetos estacionarios

Surrounding objects enliven the composition and convey information about the building’s spatial dimensions

The combination of stationary objects and a clearly structured façade adds suspense to the image

Composición y entornoobjetos en movimiento

Pedestrians passing through the subject’s vicinity

Composición y entornoobjetos en movimiento

Human figures deliberately included in the composition

Human figures deliberately kept out of the composition

Composición y entornoobjetos en movimiento

Human figures enliven the image, but they also capture the viewer’s eyes

Composición y entornoobjetos en movimiento

Deliberate inclusion of human figure to illustrate dimensions and spatial proportions

Encuadre reducido

Reduced frame emphasizes shape and detail design of particular components [Focal length: 105 mm]

A reduced image frame emphasizes the special qualities of this building

Encuadre reducido

Internal building structures are being emphasized by the reduced image frame

Parámetros

Velocidad de obturación

Classic night shot, architecture glowing from the inside [10 sec., f/6.7, ISO 100]

Velocidad de obturaciónmovimiento

Velocidad rapida. Movimiento congelado. 24.6mm, 2s, f/6.3Velocidad rapida. Movimiento congelado. 24.6mm, 1/4s, f/3.3

Apertura

Large aperture opening results in narrow depth of field; here, the viewer’s eyes are directed to gaps between the stones [focal length: 18 mm, 1/60 sec., f/2.8, ISO 100]

Sensibilidad de la película (ISO)

By choosing a light sensitive film, grain is purposely used as a stylistic tool

Exposición

Shooting against the sun leads to façades poor in contrast in the final image; the sky is overexposed [1/40 sec., f/11, ISO 100]

DRI-Image from a bracket sequence mitigates the problematic light situation when shooting against the sun [1/10 + 1/40 + 1/160 sec., f/11, ISO 100]

Figure 3-106. Using a graduated neutral density filter in a shot against the sun [1/40 sec., f/11, ISO 100)

Exposiciónf-number

EV 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64−6 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m 256 m 512 m 1024 m 2048 m 4096 m−5 30 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m 256 m 512 m 1024 m 2048 m−4 15 30 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m 256 m 512 m 1024 m−3 8 15 30 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m 256 m 512 m−2 4 8 15 30 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m 256 m−1 2 4 8 15 30 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m

0 1 2 4 8 15 30 60 2 m 4 m 8 m 16 m 32 m 64 m1 1/2 1 2 4 8 15 30 60 2 m 4 m 8 m 16 m 32 m2 1/4 1/2 1 2 4 8 15 30 60 2 m 4 m 8 m 16 m3 1/8 1/4 1/2 1 2 4 8 15 30 60 2 m 4 m 8 m4 1/15 1/8 1/4 1/2 1 2 4 8 15 30 60 2 m 4 m5 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 60 2 m6 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 607 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 308 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 159 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8

10 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 411 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 212 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 113 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/214 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/415 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/816 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/1517 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/3018 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/6019 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/12520 1/8000 1/4000 1/2000 1/1000 1/500 1/25021 1/8000 1/4000 v 1/1000 1/500EV 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64

f-number

ExposiciónLighting Condition EV100

DaylightLight sand or snow in full or slightly hazy sunlight (distinct shadows)a 16

Typical scene in full or slightly hazy sunlight (distinct shadows)a, b 15Typical scene in hazy sunlight (soft shadows) 14

Typical scene, cloudy bright (no shadows) 13Typical scene, heavy overcast 12

Areas in open shade, clear sunlight 12Outdoor, Natural light

RainbowsClear sky background 15

Cloudy sky background 14Sunsets and skylines

Just before sunset 12–14At sunset 12

Just after sunset 9–11The Moon,c altitude > 40°

Full 15Gibbous 14Quarter 13

Crescent 12Moonlight, Moon altitude > 40°

Full −3 to −2Gibbous −4Quarter −6

Aurora borealis and australisBright −4 to −3

Medium −6 to −5

Exposición

Outdoor, Artificial Light

Neon and other bright signs 9–10

Night sports 9Fires and burning buildings 9

Bright street scenes 8

Night street scenes and window displays 7–8Night vehicle traffic 5

Fairs and amusement parks 7

Christmas tree lights 4–5Floodlit buildings, monuments, and fountains 3–5

Distant views of lighted buildings 2Indoor, Artificial Light

Galleries 8–11Sports events, stage shows, and the like 8–9

Circuses, floodlit 8Ice shows, floodlit 9

Offices and work areas 7–8

Home interiors 5–7Christmas tree lights 4–5

Profundidad de campo

Profundidad de campo

Poca profundidad. Gran apertura (f/5) Mayor profundidad. Menor apertura (f/32)

Profundidad de campoApertura

Profundidad de campoApertura

Profundidad de campoDistancia al elemento fotografiado

Profundidad de campoDistancia focal

Condiciones exteriores y su influencia

Sombras y reflejos

Harsh, cast shadow of an adjacent building makes the correct exposure of this façade very difficult

Sombras y reflejos

A cast shadow enhances the image composition

Dynamically cast shadows enliven the architectural depiction.

Sombras y reflejos

A cleverly chosen camera position neutralizes the shadow cast by the photographer

Comparison: façade in its own shadow (left) and directly lit (right)

Sombras y reflejos

The structure and texture of façade materials in the foreground is creating another (reflected) image

Beams of light as a result of the specific materials used in a façade

Clima

Cloud cover creates a flatter, less contrasted look with soft shadows

Direct sunlight creates a three-dimensional, colorful look with clearly visible cast shadows

Clima

Snow leads to a surreal, suspenseful presentation of architecture

The weather situation allows a depiction of reflections in a rain puddle

Hora

The light during “blue hour” can greatly enhance a picture’s mood [2 sec., f/11, ISO 100]

Effects of light and shadows depend on time of day

Fotografía de interiores

Tema

Interior shot showing unfurnished interior space

Distancia focal

Extremely short focal length in combination with a short distance between camera and subject leads to extraordinary spatial width [focal length: 14 mm]

Orientación

Orientation of image matches the dominant orientation of the subject and its space

Encuadre y composición

Reduce frame of an interior shot emphasizing decorative objects

Encuadre y composición

Creative integration of passageways, vistas, and connected spaces add suspense to this interior shot

Encuadre y composición

Interior shot showing both interior and exterior spaces

Parámetros

A flash was used to balance interior and exterior lighting

Parámetros

To preserve the mood of the available light, no flash was used

Parámetros

Interior shot with subtle use of the DRI technique

Tips de creatividad

Unusual frame selection emphasizes geometric structures [focal length: 200 mm]

A layered structure of several planes creates an abstract look [focal length: 88 mm]

Encuadre radical

Encuadre radical

An image devoid of reference points leads to unclear proportions [focal length: 32 mm]

Encuadre radical

Extremely cropped frame detaches the visual impact from the architecture; patterns and structures become the focal point [focal length: 40 mm]

Ver hacia arriba

The unusual vertical view upwards creates a dynamic, yet strange depiction of the architecture [focal length: 17 mm]

Ver hacia arriba

A large sky becomes the canvas for these strongly converging highrise buildings in this upward shot [focal length: 14 mm]

Imágenes seriadas

A series of images works through the combination of different shots with a common theme

Reflejos extremos

Reflections can have special symbolic qualities: here, wood forms part of the façade, in its original form (tree) but also inapplied form (building material)

Reflejos extremos

Unclear spatial relationships caused by mirror effects

Sobreexposición o subexposición

Special look produced by intentional underexposure Special look produced by intentional overexposure

Antes y después

Before-and- after depiction catches the viewer’s interest

Green Point Stadium, Sudafrica. Marcus Bredt, 2010

Green Point Stadium, Sudafrica. Marcus Bredt, 2010

Green Point Stadium, Sudafrica. Marcus Bredt, 2010

Green Point Stadium, Sudafrica. Marcus Bredt, 2010

Green Point Stadium, Sudafrica. Marcus Bredt, 2010

Green Point Stadium, Sudafrica. Marcus Bredt, 2010

Green Point Stadium, Sudafrica. Marcus Bredt, 2010

Green Point Stadium, Sudafrica. Marcus Bredt, 2010

Green Point Stadium, Sudafrica. Marcus Bredt, 2010

Green Point Stadium, Sudafrica. Marcus Bredt, 2010

Distancia focal 8mm, apertura f/7.1, velocidad de obturador 1/2s, sensibilidad ISO 400,

Distancia focal 18mm, apertura f/8, velocidad de obturador 1/10s, sensibilidad ISO 1600,

Distancia focal 36mm, apertura f/14, velocidad de obturador 1/8s, sensibilidad ISO 1600,