{"id":2460,"date":"2024-12-20T15:05:03","date_gmt":"2024-12-20T22:05:03","guid":{"rendered":"https:\/\/www.davidbesnette.com\/?p=2460"},"modified":"2026-02-02T08:34:50","modified_gmt":"2026-02-02T15:34:50","slug":"the-most-important-things-to-me-about-architectural-photography","status":"publish","type":"post","link":"https:\/\/www.davidbesnette.com\/index.php\/the-most-important-things-to-me-about-architectural-photography\/","title":{"rendered":"The Most Important Things To Consider with Architectural Photography"},"content":{"rendered":"

\"Profile\"<\/p>\n

How I Approach Architectural Photography \/ Unbreakable Rules<\/h2>\n

Ok, I know everyone is a “photographer” right?   Or at least everyone thinks they are.   Especially nowadays where the phone in your pocket is almost (in some ways) as good as a high-powered DSLR<\/a>.<\/p>\n

HOWEVER – just because you have the same ingredients in your fridge as a world-class chef, does that mean you can prepare a gourmet meal?  Of course not.<\/p>\n

The same goes for photography.   A LOT goes into making a good photo.   Even more goes into making an AMAZING photo.<\/p>\n

Incidentally, the highest reward I can get for any work I do is to hear the word “Amazing” from my client.  That is what I strive for.<\/strong><\/p>\n

I will share below what I believe are among the the most important things to consider with Architectural Photography.  These rules have not changed in the many years I have been doing this kind of work.<\/p>\n

First Rule:  Identify the “Money Shot”<\/h3>\n

Not necessarily the most important rule but I enjoy doing this one first as it gets me in a creative frame of mind! <\/em><\/p>\n

This is one of my favorite photos from this past year.  I planned the angle, and time of day based on sun position, and identified any obstacles to getting this shot.  There were definitely a few!<\/p>\n

There is a large ditch right in front of this dealership with a trail.   It was not possible to get up closer to the building so I went to the other side of the ditch, and used a 50mm lens (a favorite) and waited until the light was perfect.  This shot is not possible using a drone, as it’s right next to an airport.    Had I not researched all of this in advance, I likely would have missed the shot.<\/p>\n

Most clients regardless of niche want that one “Magazine-Cover-Caliber” money shot that they can use for social or advertising.  “Money Shots” often require pre-planning, and if possible a pre-visit.<\/p>\n

\"Architectural<\/p>\n

Often times, this is a ‘dusk’ or twilight shot that has a lot of drama and wow-factor. Considerations include:<\/p>\n

    \n
  1. Making sure it looks real and believable.  Embellishing architectural photos with those awful, fake sky replacements and that gnarly over-processed HDR<\/a> look is not acceptable.<\/li>\n
  2. Make sure lines are straight (more on that later)<\/li>\n
  3. No blown-out highlights<\/li>\n
  4. Make sure the photo is in the highest resolution possible.  Often, if they are good enough, they may appear in print or billboard format. I did a billboard years ago and my Canon 5DSR<\/a> did a great job with it’s 50 megapixel output.<\/li>\n
  5. For interior ‘money shots’ you can add some drama, or people (models) to add life and drama to the photo.<\/li>\n<\/ol>\n

    Second Rule: Make sure lines are straight<\/h3>\n

    This is a Mike Kelley-ism<\/a> rule that should be a no-brainer, but unbelievably, is ignored by so many architectural photographers, and their clients.  It’s not until I point it out to them that they can’t “unsee it.”<\/p>\n

    Mike Kelley<\/a>, by the way, is one of the top of the tops in the Architectural Photography world.<\/p>\n

    Architects SPEND THEIR CAREERS making sure lines are straight.  Photos should make sure that is represented.<\/p>\n

    Here are two personal examples of where this rule was broken.<\/p>\n

    Note: I did not take the first two photos below.<\/p>\n

    \"warped
    This photo is from a local Architecture Firm’s Instagram page<\/figcaption><\/figure>\n

    I can’t get my eyes off of that right side being so crooked. The window sill, and the cabinets lean to the left.    It really wrecks the rest of the photo.    The windows are also a weird color and there are some heavy color casts and blown out highlights.  More on that later.<\/p>\n

    I actually contacted the architect to point this out and he ended up reaching out to me for his next project!<\/p>\n

     <\/p>\n

    \"Locker
    This was an example photo a firm sent me of one of their past projects.<\/figcaption><\/figure>\n

    I was approached by a national architectural firm to photograph a new locker room re-design at a Recreation Center.    They sent me a .PDF of some of their past projects so I could get an idea of what they were looking for.<\/p>\n

    I politely pointed out to them the warped lines and color casts in this photo.  This was an ‘A-ha’ moment for them where I heard them say verbatim: “Now that I see it, I can’t unsee it.”<\/p>\n

    I had a great time photographing their project for them!<\/p>\n

    \"straight
    One of my photos that I delivered to them. Notice that the lines are straight, and no weird color casts<\/figcaption><\/figure>\n

     <\/p>\n

    Third Rule: Listen to your Client and do a pre-visit \/ walkthrough<\/h3>\n

    This should probably be the first rule, but nonetheless – it’s the bedrock for determining how happy they will be with the final product \/ deliverables.<\/p>\n

      \n
    1. Do a pre-visit and walkthrough with your client if possible<\/li>\n
    2. Pay attention to what they keep repeating or deem important.  If they keep mentioning or pointing out a specific feature, we had better make sure that feature is represented well in the photos<\/li>\n
    3. Ask them if time of day matters to them.  Some people “LOVE” afternoon light and some people things mornings are the best.<\/li>\n<\/ol>\n

       <\/p>\n

      Fourth Rule: Know where the light will be and the time of year \/ sun position<\/h3>\n

      When you agree on a time for the shoot, this should be as strategic as possible. That’s why I use the Light Trac app<\/a> on my smartphone.<\/p>\n

      The dealership photo (above) was taken in the evening, as the sun for the most part of the day was behind the dealership.  I new this in advance by checking the app.<\/p>\n

      This app will:<\/p>\n

        \n
      1. Tell you the sun position by the hour and minute for each day of the year and for a specific address.<\/li>\n
      2. Tell you the angle of the sun<\/li>\n
      3. Give you important information about shadow length<\/li>\n<\/ol>\n

        \"Light<\/p>\n

        \"shadow<\/p>\n

        This information is INVALUABLE for figuring out when to shoot exteriors, but also when sun will be hitting important windows for interior considerations.<\/p>\n

        Fifth Rule: Shoot Tethered<\/h3>\n

        Tethered shooting (photographing)<\/a> is basically using a laptop computer, an ipad or even an iphone to control your camera.<\/p>\n

        This is important for a few reasons:<\/p>\n

          \n
        1. You can view your composition on a much larger screen<\/li>\n
        2. You can show your client easily what the photograph \/ composition will look like (before processing of course).  This is a great way for them to see the angles you are considering and for them to feel a sense of ownership\/collaboration in the project, which can be important to some clients<\/li>\n
        3. It gives you more room to back up (even if by a few inches) so you don’t have to move the camera or try to squeeze your head between a wall and the small 3.5 inch LCD display on the back of the camera.<\/li>\n<\/ol>\n
          \"tethered\"
          Photographing ‘Tethered’ has so many benefits!<\/figcaption><\/figure>\n

           <\/p>\n

          Sixth Rule: Use Wide-Angle Sparingly<\/h3>\n

          We are NOT shooting Real Estate.     Often times we are photographing features, nooks, and details.  We don’t need the ‘bowling alley’ wide-angle-everything-included on every shot.<\/p>\n

          Wide-angle lenses and compositions distort the image more, so that defeats the purpose (in many instances) of keeping true to the architect’s exacting vision.<\/p>\n

          Of course, if the scene or subject requires a wider-angle, of course – go for it, but it should not be your always-first-choice.<\/p>\n

          Use many lenses, and focal lengths.   I often carry 5 or 6 lenses with me to each shoot.<\/p>\n

           <\/p>\n

          Seventh Rule: Use a Tilt-Shift Lens when you can<\/h3>\n

          It’s widely accepted that this is an invaluable tool in Architectural Photography.    It is.   I am hook, line and sinker on this lens.<\/p>\n

          Essentially, we (as Architectural Photographers) use the “shift” function to be able to change the composition of the photo without tilting the tripod – thus causing barrel-distortion<\/a> and converging lines.<\/p>\n

          \"Tilt<\/p>\n

          Learn more about how Tilt-Shift Lenses work by watching this excellent video from Canon:<\/p>\n