Everything is Compositional
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- เผยแพร่เมื่อ 24 มี.ค. 2020
- In this episode we discuss how digital photographic processing enables architectural photographers to strive for and even achieve levels of perfection that were once only possible for painters and engravers.
Click here to purchase my e-book "Architectural Photography and Composition"
tinyurl.com/dmnzad5h
A Complete Guide to the History, Practice and Techniques of Architectural Photography and Composition.
360 pages, over 300 photographs contained in this e-book.
Everything you need to start your own architectural photography practice or master your existing skillset. - แนวปฏิบัติและการใช้ชีวิต
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Steven, you're a treasure. I mean it. This video made me think; the stuff you're dissecting here in your usual methodical ways is something that is actually very hard to verbalize, because you're describing the process which actually happens in the photographer's mind...intuitively. See - all those things you talk about, I've been doing for years, on every project. But I never learned about them, theoretically speaking. The client didn't ask me either to remove that crack or wire here and there, or fill in that white spot. Touch-up decisions, the strive for perfection in order to achieve a cleaner visual message, pronounced 3D depth and that something little extra which doesn't even have a name, comes from deep within, I believe. Studying the art of history is important of course, but what good is it if your eyes can't appreciate what the "vedutista" or the engraver did in that masterpiece which makes it a masterpiece? The true secret of composition may not even be taught, and that's the most intimidating part of architectural photography. You're pouring the petrol on every photographer's inner fear here. I absolutely love what you did in this video Steven.
Thank you so much for your encouragement, Beno. It means a great deal to me to know that these videos are helpful, instructive and perhaps even inspiring. As someone who loves this profession as much as I do, and who has the highest regard for what it can accomplish, it’s all that I could hope for. Yes, I am trying to get as far underneath the surface of the basic, documentary functions of this work as I possibly can to uncover what is, at its core, truly art, in every sense of that word. Fortunately, we have over 500 years of artistic genius to guide us. And finally, with the available technology --it took long enough!-- we have every right to expect that the heights of their accomplishments are actually attainable for us, as well. Truthfully, there was a time I would look at a Corot landscape or a Vermeer interior and want to turn my camera into a paperweight. Not now!
Great Content, Sir.... Thank you for keeping it free.
Greatest video. A Master class about composition, art and...life. Thank you very much.
Thank you, Alvero. I appreciate your spending the time to watch these videos.
i study architecture in The Bauhaus Dessau in Germany! and i can't thank you enough for the marvelous videos you make....i actually watch them and then directly go out and apply what i have learned photographing the iconic building.
Hi, Amin, I am so pleased that you are finding the videos helpful in your work. What a great opportunity to be studying at the Bauhaus, which is so steeped in history.
I'm very happy I found your channel. So much you teach us resonates with me.
Vielen dank, Elisabeth. Happy to have you join us.
Thank you so much. You are true master. You changed my look to photography. I can watch your videos over and over again
Thank you , Cem.
incredibe examples! thank you for the lessons
I'm an architect so I really enjoyed getting a better idea on how to shoot buildings. Been building a small infill house in Ottawa for myself and I'm really struggling on how to shoot it from the outside!
Hi, Arlo, One of the main reasons I produced my book on Architectural Photography and Composition was that I knew that many architects and designers were trying to photograph their own work. In it, I think you’ll find everything you need to plan, photograph and process images of your work. Given the cost of hiring a professional photographer, the book is a reasonably priced alternative. And if you do hire a professional, you will have significant guidelines to help direct that work, making certain you are getting exactly what you need.
Thank you for the wonderful content creation. The project suggestion is invaluable. Would love to see more in future videos!
You're welcome, Alex. Thanks for watching the videos.
You, sir @Steven Brooke are a gem! Finding this channel is one of the best things that has ever happened to me in my journey. Thank you for the care, dedication, thoroughness and absolute simplicity of your teaching methods. I simply can't get enough. Thank you, and blessings on you now and always!
Thank you so much your kind thoughts. I am very grateful to know that these videos have helped you this much in achieving your own goals in architectural photography. Orire daada!
You’ve done it again Steven, wonderful video!
Thank you for taking the time to watch these videos. I sincerely appreciate the encouragement.
Super video Steven, thank you
Thank you for watching, Alessandro.
One of the best channels on TH-cam in all of photography.
Thank you,Ishan. Much appreciated.
Nice video with quiet sense of humour
Thanks for that. My son warns me about being 'humorless'. ;)
Steven thank you for sharing this kind of content, pure knowledge
You’re very welcome.
Thank you. I love your series. I'm.a retired architect, now expanding my photography and much hobbies. As yo pint out, they are all related. I like to say a painter adds to his composition whereas a photographer subtracts.
Thanks. And good luck with your photography.
Hi Steve, I just discovered your channel, thanks for share your knowledge, your videos are masterclasses
Glad you found it! Hope you'll subscribe and check out the other videos.
@@stevenbrookephotography Off course yes! I am just seeing one by one of your videos
Yeah, I'm another one really enjoying your videos Steven. In the last year or two I've made a concerted effort to improve my compositions, but the bit where you suggest that if something is not adding anything then it is taking something away made an immediate impression on me. I can't wait to include that as part of my thinking as soon as this damn virus situation improves!
Hi, Matthew. Thanks for checking out this video. For what it's worth, the instant I take a photo, I try to view it as if someone else took it. This helps significantly in making critical compositional decisions. Many painters I know often view their ongoing work in a mirror to achieve some level of objective separation. The inverted image on the view camera ground glass also served as a kind of separation. And, please be careful and safe in these catastrophic times! No project, no client, is ever worth your health.
So good. So very good! Thank you sir.
Thank you, Jeff. Much appreciated.
Amazing sir.
Thank you so much
You’re very welcome. Thanks for watching.
Amazing video about art. 😍😍
I'm pleased that you enjoyed the video. Hope you'll check out the others, too.
Master video for Digital photography.
Thank you sir for sharing this amazing video 😍
I'm so glad you enjoyed this video. Hope you'll check out some of the others.
@@stevenbrookephotography 😊
Amazing
Thank you for checking it out. Hope you'll watch some of the others, too.
Excellent Steven! We are looking at investing in equipment for Architectural work and wondered what was best to invest in. We could not see how an SLR would cover such specialism, any recommendations? PS, can see that there is a lot of flare on the lens despite flag recommend something like a Sinar 2 lens shade, best wishes,
Hi, Norman. Thanks for your question. It’s one I am very often asked.
I was quite late to digital tech, trying for over two years to find a way to adapt my view cameras to digital recording devices. Given the ever-improving quality of both 35mm digital cameras and perspective-control lenses, I decided that the medium-format recording devices (powerful as they were) and compromises for their use on my view camera (very kludgy, I thought) were simply not worth the crushing expense. (Nor were the Hasselblad medium format digital cameras, either.) I chose a Canon 35mm camera; and, because of their high-quality, I purchased 24mm, 17mm, and 45mm perspective-control lenses. Consider this: my Canon 5DS (50.6 MP sensor) produces TIFF files that are over 120MB in size: that’s about 18” x 29” at 300 DPI, way more than enough for a double-page spread in a high-quality book publication. (My frequent book publisher, Rizzoli, has never complained!) Further, most of my clients now mostly use the 3-5MB JPEGS for their on-line promotions, competitions and websites. These JPEGS, produced from the hi-res TIFFS, are truly excellent for any of these uses. So, bottom line: I would invest in the best 35mm camera you can afford, and purchase at least the 24mm and 17mm perspective-control lenses. This set up will function exactly as a view camera does, without the excess weight and with far greater maneuverability. You won’t be disappointed. Hope this helps.
Your videos are very interesting ! I find that the most difficult aspect of photography is finding the right composition. I live in Paris so I will probably never run out of things to photograph, but I have a hard time dealing with all the clutter of the city. I know a couple spots that would make for amazing photographies, but I still can't figure out the right composition. Anyway, thank you for these videos !
Hi, Clément,
Thank you very much for visiting my channel. The point you bring up about dealing with the detritus of the city is actually a profound one. I’m sure you know Atget’s work in Paris. He deftly handled the grit of the city. This is easier, of course, in black-and-white, where the intrusions are stripped of color and can more easily fall into the background. This is partly why my books on Rome and Jerusalem were photographed in black-and-white. The great view painters such as Piranesi in Rome and David Roberts in the Holy Land, consciously struck a balance between the “real” and the merely picturesque. If you examine Piranesi’s engravings closely, you’ll see he incorporated all manner of everyday junk surrounding the noble monuments. Roberts, on the other hand, kept such elements to a minimum. Edward Hopper, in particular, incorporates the less-than-beautiful elements of the city in his paintings. How he does this is a textbook on composition. One technique that is valuable, and which I will discuss in an upcoming landscape video, is to back up and zoom into your subject. If there are “unsightly” elements in the foreground, they will be less obtrusive with, say, a 35 or 55mm view than they would be if they were close to the border of a wide-angle view.
@@stevenbrookephotography Hello Steven, thank you for your insights. I will check out Atget's work, I didn't know him. You really made me discover the great painter's works too. I was never really interesting in paintings, but they actually are a great source of knowledge for composition, and technique in general. Thanks !
@@clementbertaux en.wikipedia.org/wiki/Eug%C3%A8ne_Atget
Sir i just love your video also i will be glad to continue watching your video. Because its amazing 😍
Thank you for checking out the video and for your feedback. So glad that you liked it, and I do hope you'll check out the others, too.
@@stevenbrookephotography sure
Can you recommend some good books on modern architectural design that showcase some great photography? I ordered Architectural Digest at 100: A Century of Style and am looking forward to receiving it.
"Architectural Digest" from about the mid 80s to 2009, during which time Paige Rense was the editor-in-chief, featured the best architectural photographers in the world. I was honored to be working with true masters like Durston Saylor and Mary Nichols. When Ms. Rense left the magazine in 2010, things.....changed. You might check the websites of Rizzoli and Abbeville to see what they are publishing. A caveat: in many cases, the architecture is good but the photography not so. Look for books on contemporary Dutch architecture; also very nice work. And look for any books on Dubai, Abu Dhabi, or Sharjah: spectacular, futuristic architecture, often documented by truly great photographers like Beno Saradzic. Depending on how far back you consider "modern", you can check out my book on Philip Johnson's Houses (Abbeville) or, further back, my Rizzoli books on "Addison Mizner" and "Carrére & Hastings" . Hope this helps.
Can somebody please explain to me how a medium format digital back, ban be fully utilized on a large format camera...?? This really puzzles me :/
Hi, Boris,
There certainly are ways to make this adaptation. Sinar and Arca-Swiss, I believe, have improved adaptors for the rear standards of their cameras that allow you to use a medium-format digital back on their view camera bodies. However, when I considered that, there were some serious compromises to that setup that precluded me from doing exactly what you are describing. The cost is significant. And, given the size of the medium-format back, how reduced is your lens coverage going to be, particularly for your wide-angle lenses. Certainly, some photographers have gone this route. Companies like Phase-One have solutions (phaseone.com). Be prepared for some serious sticker shock! Some may disagree, but the question you might ask is this: for ARCHITECTURAL photography - not product photography or fashion photography! - given the significant cost and potentially clumsy and much slower manipulations, is a 50-60MP medium-format digital back hinged to a view camera (or a stand-alone medium format camera without perspective lens capability) going to give you an image of significantly better quality than, say, a 50MP Canon 5DS with the newest versions of their perspective-control lenses (and with improving post-production RAW processors), a setup capable of producing 120MB TIFF images? For specifically photographing architecture, landscape and interiors, I didn’t think so 14 years ago and I still don’t.