HomeMy WebLinkAboutThe Wingham Advance-Times, 1983-04-27, Page 52Page 12—Crossroads—April 27, 1983
ARCHITECTURAL 'PORTRAIT°—This Is an architectural shot taken with a 35
mm camera. The branches in the upper left and the palm tree on the right provide
some relief to the sky and to the repetitive design of the building.
(Photo by Holt Confer)
Through
the
Lens
i
Photographing
buildings
By HOLT CONFER
When the talk turns to
photographing buildings,
the discussion is really
about architectural pho-
tography. And that's al-
most like popping the lid
off the can so all the
worms can crawl out.
You can expect to hear
from the photographic pur-
ists that it's virtually im-
possible to take spectacu-
RESULTS you'll applaud
with WANT ADS
lar shots of buildings with
anything less than a view
camera. And while there is
no doubt that a view cam-
era does have the advan-
tage of a large size nega-
tive, you can bolster your
confidence with the fact
that a $1,000 view camera
won't take pictures that
are five times better than a
$200 single lens reflex
camera — providing you
have the proper accesso-
ries for your SLR and know
how to use them.
One of the most common
mistakes many amateur
photographers make is
buying lots of photographic
equipment that is far too
expensive for 98 percent of
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the pictures they want to
take.
A view camera, for in-
stance, with all its controls
to eliminate various types
of distortion, used to be the
ultimate way to give the
photographer artistic free-
dom.
However, today you can
find bellows attachments
(for less than $200) that fit
most all of the popular
camera mounts — and
these bellows provide all
the swings and tilts of the
most complex view camer-
as. So that pretty much
narrows down the differ-
ence between the two types
of equipment to film size.
There is one item of
readily available 35mm
equipment that will help
you with architectural pho-
tography if you don't care
to get involved with swings
and tilts — and that's a
perspective control lens.
The front element of this
lens moves both horizontal-
ly and vertically. And with
those movements it is often
possible to keep your verti-
cal or horizontal lines par-
allel to the sides of the
frame. The less movement
really increases the cover-
age you get from the lens
(these lenses are normally
35mm) to about 24mm. And
if you're practical minded,
there's nothing that says
you can't use your perspec-
tive control lens as a regu-
lar old 35mm lens whenev-
er you need to.
There's yet another lens
that has application in ar-
chitectural photography,
but this unit has to come
under the heading of highly
specialized equipment. It's
an anamorphic lens, and it
has the unique characteris-
tic of being able to make
things appear taller than
they really are.
For example, if you
were shooting' a church
that had an abbreviated
steeple and you felt that
aesthetically the steeple
should be taller, your
anamorphic lens could do
the job.
Anamorphic lenses came
into being when the motion
picture industry began to
go to wide screens. If the
film was shot for wide
screen use, some way was
needed to squeeze that
broad viewpoint into a
standard size motion pic-
ture film frame. With some
anamorphic lenses, it's pos-
sible to squeeze up to 50
percent more subject mat-
ter into the horizontal por-
tion of your picture; with
other anamorphic lenses,
it's possible to increase the
frame content by 100 per-
cent.
Keep in mind that any
kind of manipulation like
this needs to be accompa-
nied by some thought. For
example, if there are going
to be people in your church
picture, expect them to ap-
pear tall and thin. If there
is an automobile in the
shot, the wheels are going
to appear elliptical. The se-
cret is to know exactly
what effect your
anamorphic lens will have
on, everything in the pie-
ture — and then plan ac-
cordingly.
Architectural photogra-
phy' is one thing that's done
best with a tripod. The tri-
pod slows you down to
where you get to examine
.every facet of your picture
to make certain there are
no surprises when you get
your transparencies or
prints back home. Addi-
tionally, a tripod will allow
stopping down your lens to
where it will provide maxi-
mum overall sharpness.
And if you intend to com-
pete with the large format
guys, you'll need all the
sharpness you can get.
But unless you find your-
self in a situation where
extreme enlargements are
needed, have the courage
to stick with your 35mm
camera. But ... take the
time to learn all you can
about the factors that
make up a good architec-
tural photograph, practice
what you've learned, and
then if you really do need
to make the transition
from a, small to a large for-
mat camera, you'll have
very little difficulty.
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