ARCHITECTURAL

PHOTOGRAPHY - AS A WAY OF
STORYTELLING
SAFA SHERIEF
S9.A
THEJUS COLLEGE OF ARCHITECTURE
ABSTRACT:
A photograph captures a moment otherwise gone and depending on who is
looking at it, a photograph may convey a variety of tales. Even though an Architectural Photography is the
image does not tell a story, it is valuable to a person since it is associated with evidence of the interaction of two
memory. closely related but somewhat
distinct disciplines, whose interplay
The term “architectural photography” refers to photography that focuses on
has become increasingly entangled
structures in general. Shooting exteriors and interiors of buildings, as well as
bridges, other structures, and cityscapes, are all the possibilities included. in recent times: while architects
and historians continue to use
Architectural photography is concerned with the accurate representation of a photographs as indexical records of
three-dimensional environment on a tiny flat area. artifacts, buildings and sites are
becoming increasingly identified
with their photographic image as a
result of the emphasis placed today
on architecture as a form of mass
communication
 INTRODUCTION:

Photography can record events that the human eyes do not have the speed and precision to see them and also do not have
the ability to record them. In fact, with the help of photography, we can capture images that their details cannot be depicted
in drawing. Photography, as a mirror infront of the world, reflects all current events including everyday events and rare
events as well as a means for displaying and transmitting various artistic works.
From the beginning of the photography history, with the constant construction and deficiencies that were evident in the
early years of the advent of photography, architecture, buildings and building structures were introduced
as one of the main subjects for photography..
A message of a single photo can never have the same perception among different people indifferent times. The perception
of architectural photographs and even recording an architectural image requires knowledge and precision that enables the
correct understanding of "semantic qualities" with "material quantities"

 RESEARCH QUESTION:

In what ways does architectural photography serve as a narrative tool, and how do architectural photographers employ
visual storytelling techniques to communicate the essence, history, and cultural significance of architectural spaces?
 HYPOTHESIS:

Architectural photography, as a form of visual storytelling, significantly contributes to the narrative construction of built
environments by integrating compositional elements, lighting techniques, and contextual framing, thereby shaping the
viewer's perception and fostering a deeper understanding of the architectural spaces depicted

 AIM :

To contribute to the broader field of photography, architecture, and cultural studies, shedding light on the importance of
visual storytelling in understanding and appreciating the built environment.

 OBJECTIVE :

To explore the techniques and compositional elements used by architecture photographers to effectively communicate the
stories and emotions associated with buildings and spaces.
To study how architectural photographs are perceived and interpreted by viewers, and how photographers can use this
understanding to craft compelling visual narratives.
To investigate how advancements in photography technology have impacted architecture photography and its storytelling
capabilities
 METHODOLOGY:

 Research Approach and Data collection

 Literature study- Assisting a professional Architectural Photographer to understand the approach and
methods in practice
 Finding a suitable Building for the study
 Photographic documentation of the entire building
 Participant interviews
 Visual analysis of the photographs
 Comparative analysis
 Conclusions

 SCOPE:

Explore photography as a medium: the research will expand the knowledge around photography and its impact
on communication in architecture. It will provide new insights on how a photograph can convey the architecture
features of a particular structure.
Photography Techniques: the photography techniques and approaches planned to use to capture architectural
images that tell stories effectively. This could include compositional elements, lighting, angles, post-processing
techniques, etc.
 JUSTIFICATION :

Visual Storytelling Impact

Interdisciplinary Significance
Public Perception and Awareness
Photography as a Research Tool
Artistic and Creative Expression
Artistic and Creative Expression

 LIMITATIONS:

Subjectivity of Interpretation
Accessibility of Locations
Weather and Lighting Conditions
Time Constraints
Photography Technical Limitations
Methodology flowchart
DATA COLLECTION
OBJECTIVES : INTERPRETATION AND CREATION
 Photography throughout the history of architecture: Architectural photography has grown from its humble
beginnings in the 19th century to become an integral part of how we document, interpret, and appreciate the history of
architecture.
 Scale is a comparison of relative size. With architecture, this size can be relative to either ourselves or to other buildings,
and can be illustrated photographically by including people in the shots.
 Perspective is defined as ‘the art or system of representing three-dimensional objects in spatial recession on a plane
surface’. In other words, perspective is the effect of things getting smaller as they recede into the distance
 Focal length variations for alternative visual interpretations: The visual effects of lenses with different focal lengths
vary enormously from the dramatic perspective enhancement of a wide-angle lens, to the compressed image produced by
a long-focus lens

Source : Professional architectural photography, third edition, by Michael Harris

RECORDING MEDIUM : DIGITAL
 Digital imaging embraces the entire process of generation,
storage and retrieval of images by electronic means. For medium
and large formats this involves replacing the film back on the
camera with a digital back connected to a computer.
It also gives the photographer immediate confirmation of results,
more reliable than instant-print film. It enables photographers to
package their images for direct reprographic output and use over the
Internet.

 Resolution: Digital file resolution is defined as the finite number of Digital image manipulation, using Adobe Photoshop software,
pixels in an image at a specific size, i.e. the number of pixels per enables a digitized image to be ‘cleaned up’ in spectacular
fashion
inch (ppi) or centimetre used to construct the final print.
SPECIALIST HARDWARE FOR IMAGE
CAPTURE
• The ability to reproduce the straight lines of a
 The digital imaging process from capture to output: The digital building with absolute precision and true verticality
imaging process can be broken down into a series of five stages: • Medium and large formats
capture, manipulation, storage, transmission and output. • The need for camera movements
• Rising shifts:
• Digital cameras and backs:

Source : Professional architectural photography, third edition, by Michael Harris

 Wide-angle lenses UNDERSTANDING LIGHT, NATURAL AND
 Lens coverage PHOTOGRAPHIC
• Natural light
 Lens aperture, speed and performance
• The movement and angle of the sun
- Calculating the optimum time of the day
- Variations in the color temperature of natural light
- The principle of fill-in lighting
- Mixed lighting conditions

 Lighting equipment
 Light meters, Flash meters, Colour meters
 Tripods, Necessary extras
FILTERS FOR LIGHT MODIFICATIONS
- Ultraviolet
- Polarizer –
- Graduated filters
- Selective filtering
- Color correction, color compensation, color filters for b&w
- Filter mounts

Source : Professional architectural photography, third edition, by Michael Harris

LITERATURE CASE STUDY - I
A case study of Julius Shulman’s photographs of Richard Neutra’s domestic architecture, focusing on the photographer’s means that
deliberately foreground certain aspects of space.
 INDRODUCTION

Julius Shulman(1910-2009), whose professional career as an architectural photographer spanned from 1936 until the decline of high-
modernism and the rise of postmodernism in the late 1980s,was one of the significant figures in visualize
In this chapter, I closely examine some of Shulman's photographs of Neutra's Maslon House in Rancho Mirage, California (photographed in
1963, building completed in 1962).

 Seeing Space in Pictures: Visual Cues of Depth

Our reading of depth and layout in seeing most natural and

pictorial environments depends upon the availability of visual
sources or cues that inform or aid our reading of such properties.

Depth perception based on overlapping

Source : : Seeing Architectural Photographs: Space and Time in the Works of Julius Shulman and Ezra Stoller, Myung Seok Hyun
 Attributes of the visual cues

i)Occlusion: an opaque object partially conceals another object from the

viewer’s sight.
ii)Relative size: relative measure of an object as it appears to the viewer
iii)Relative density: relative number of objects or of components of a
surface pattern per unit area
iv)Height in visual field: relative position of an object on a vertical axis
as it appears to the viewer
v)Aerial perspective: refers to visibility, functioning as a measure of
depth  The Lens: Focal Length, Angle of View, and Depth of Field

For Shulman, it is essential that the lens admits the image in

 The Camera: Position and Correlation between Lens & Negative “equal light intensity” to all areas of the negative..
In photography, the focal length refers to the distance between
An important factor concerning the position of the camera is its height. It the lens and the light-sensitive negative. It determines the angle
determines how much of the ground/floor or the sky/ceiling area the of view, the angular extent of the scene projected onto the
photographic frame includes. negative.
In photographing interior spaces, Shulman explains that positioning the
camera low “makes the room look higher and gives an illusion of a more
expansive floor area.
i) furniture pieces may seem less important;
ii) if furniture is removed, a long view toward a focal point can be created;
iii) the surface texture of the floor covering can attract attention.

Source : : Seeing Architectural Photographs: Space and Time in the Works of Julius Shulman and Ezra Stoller, Myung Seok Hyun
 Lighting and Exposure
With no artificial lighting, Shulman first exposes the negative at
Lighting and exposure are some of the important – if not the most f/22 for five minutes under the twilight. The narrow aperture and
important – things to consider in defining and articulating forms in a the relatively long exposure inscribe the far cityscape with
photograph. acceptable sharpness.
Precise calculation and application of optimum lighting and exposure to The next process is then to turn on the hanging lamps, and then
each and every local area to level the varying exposure values toward a to flash the interior space for an instant exposure
universal one. Edge lines must not become blunt and forms must not
lose definition, of courses, despite the universal exposure value in all Shulman is also clever in locating the artificial light sources so as
areas to minimize their glares and reflections.

 Arrangement and Composition

What make visible the photographer’s composition of light

elements are the actual subjects of the photograph, such as the
components of the building and its surroundings, the furniture
pieces and other movable objects, or the human figures that
occupy the space.

The large glass windows

potentially carry the problem of
reflection and glare, which may
interfere with the photographer’s
desire to depict all spaces
transparently across boundaries.

Source : : Seeing Architectural Photographs: Space and Time in the Works of Julius Shulman and Ezra Stoller, Myung Seok Hyun
Comparison in plan and angle of view Comparison in architectonic & spatial elements and angle of view.
 LITERATURE CASE STUDY - II
This chapter is devoted to a photographic study of a residence in Bel Air, Los
Angeles, California which was designed by Harold W. Leavitt, Architect with
Ernest W. Le Duc as Associate Architect.
The primary intent in showing it here is to demonstrate what the photographer
must do to make the layout and general feeling of a structure comprehensible to
the photograph viewer
The eye is not allowed to wander, that each area shown has a specific point of
interest, and that the viewer's eyes are literally controlled. This is possible to
achieve with lighting emphasis as well as by selection of structural and
decorative elements,
PHOTOGRAPHIC STUDY :

 Establishment of structure and site

 The home has a long driveway. The

adjacent existing old estate garden wall
is shown. Placement of people in the
middle distance brings scale and
animation to the scene.

A1
 Time of day utilized to get the shadows of the structure on the house and
the trees across the driveway.
Source : : Photographing Architecture and interiors by Julius Shulman, third edition. 2002
  B1 was taken earlier in the day when sunlight was not hitting the west
 A1 & A2 were taken with sunlight
wall directly.
just crossing the surface of the wall
which faced west and required an  This provided a back light quality and enhanced the pictorial aspect of
exposure shortly after noon. the composition.
 An extension flash used to soften the shadows at the front entrance
area was synchronized with the shutter.
A2
 Different composition was obtained in B2.Notice how the beams of
 CI, taken from the portch end
the overhang and the columns are more clearly understandable from a
of the house, clearly state how design and perspective point of view as compared with B1, taken
the roof overhang is supported earlier in the day.
& the small air space which
separates it from the house.
 In D2 the framing of the view
C1 was determined by the edge of
the wall at the left allowing the
overhang to extend over the
walkway and completing the
composition with the dark-
toned pine tree on the right.

D2 B1 B2
Source : : Photographing Architecture and interiors by Julius Shulman, third edition. 2002
LIVE CASE STUDY – I
Warm and nurturing multigenerational homes: A case study of house by Atelier republic architects
The key focus for this 3,000-square-foot house was ensuring the house gets ample natural light and
ventilation, capturing the styles of the three generations living here and most importantly, ensuring there is a
dedicated private zone for the family when they have guests over
VISUAL ANALYSIS
Composition : In the photographer’s work the role of composition can be vividly seen. There are key
elements like framing, balance, leading lines, perspective, symmetry etc, that contributes to a good
composition.
Lighting : In most cases natural lighting is taken advantage of to portray the natural condition of the space.
Throughout the study we have discussed the importance of lighting and its role in art and photography. In
our case the photographer might have used artificial lighting in some spaces, considering the conditions, but
mostly natural lighting can be seen.
Vertical and Horizontal lines : True vertical and horizontal lines are maintained to avoid any unwanted
distortions. These line are essential in guiding the viewer’s eyes.
Negative space : Some amount of negative space is intentionally kept around subjects that are to be
emphasized.
 INFERENCE

Certain visual cues, such as the presence of certain

elements, can suggest the architectural significance of
a building.
The composition and framing of architectural
photographs can offer insights into the architect's
intent. For example, an emphasis on specific design
elements may indicate an architect's desire to
highlight certain features of the building.

Use of artificial/ fill-in

light

OWN CONTRIBUTION
LIVE CASE STUDY – II
A case study of Courtyard house by VB INFRA
 CONCLUSION

The disparities between normal photography and architectural photography are substantial and reflect the distinct objectives, techniques, and
subjects of these two genres of photography. While both serve as valuable means of visual expression, their focuses and applications differ
significantly.
These differences in focus, purpose, techniques, and intentions underscore the unique nature of Architectural Photography. It showcases the
permanence and design of built environments and contribute significantly to the world of visual narration and aids in how well the viewer
can perceive a space