Introducción a la Fotografía Digital para Arquitectura

1. Introducción a la
Fotografía
Arquitectónica
Walimai, 2011
Tomado de Architectural Photography (Schulz A.,2010)
http://my.safaribooksonline.com/book/photography/9781933952437

2. Cámara fotográfica digital

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

4. compacta brigde réflex
Tipos de cámaras digitales
Canon 450D

5. Partes de una cámara DSLR
Canon 450D

6. Sección de una cámara DSLR
Olympus E30

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

8. Características de una buena foto de
arquitectura

9. -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

11. El arquitecto y el fotógrafo

12. ARQUITECTO FOTOGRAFO
Estructuras tridimensionales Superficies bidimensionales
El concepto y lo constructivo Luz, sombra y dimensionalidad
La arquitectura es una La arquitectura de un
constante. momento particular.
Permanente y objetiva Transitorio ysubjetivo
Riqueza de información: Las Reducción de la densidad de la
imágenes hacen al edificio información.
dimensionalmente inteligible

15. La arquitectura como tema

20. Qué tipo de arquitectura

24. El ojo para el tema

29. La perspectiva
el papel del punto de fuga

35. Distorsión de la perspectiva
y convergencia de las líneas verticales

39. Cómo evitar la convergencia
de las líneas verticales

50. Posición de la cámara

51. Distancia ideal
14 mm

52. Distancia ideal
24mm

53. Distancia ideal
150mm

54. Posición y perspectiva
200mm 100mm

55. Posición y perspectiva
17mm
35mm
50mm

56. Posición y perspectiva
58 mm 12 mm

57. Posición y perspectiva

58. Posición y entorno

59. Posición y entorno

60. Posición y entorno
24 mm 24 mm

61. Posición y simetría

62. Posición y simetría

63. Percepción de la profundidad

64. 180 mm

65. 40 mm 14 mm

66. 100 mm

67. Distancia focal

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

69. 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]

70. 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]

71. 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]

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

73. Distancia focal muy corta
Fisheye lenses produce extremely distorted representations of architectural reality

74. Orientación

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

76. Vertical dimensions and building structure is contrasted by horizontal image format

77. Encuadre y composición

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

79. Suspenseful, dynamic image composition by One-sided composition creating an unusual
employing the “the golden ratio” look

80. Deliberately chosen viewing angle

81. Limited perception as a result of an
extremely restricted frame
Use of disembodied space

82. Sección áurea y la regla de los tercios

83. Composición y entorno
Objects in the building’s vicinity included in Clearly structured image composition
the image composition without distracting environmental elements
leads to a utilitarian, impersonal look

84. Composición y entorno
objetos estacionarios
Surrounding objects The combination of stationary objects and a clearly
Placing an additional enliven the composition structured façade adds suspense to the image
emphasis by incorporating and convey information
a tree into the image about the building’s
composition spatial dimensions

85. Composición y entorno
objetos en movimiento
Pedestrians passing through the subject’s
vicinity

86. Composición y entorno
objetos en movimiento
Human figures deliberately included in the Human figures deliberately kept out of the
composition composition

87. Composición y entorno
objetos en movimiento
Human figures enliven the image, but they also capture the viewer’s eyes

88. Composición y entorno
objetos en movimiento
Deliberate inclusion of human figure to illustrate dimensions and spatial
proportions

89. Encuadre reducido
Reduced frame emphasizes A reduced image frame emphasizes the special qualities of this building
shape and detail design of
particular components
[Focal length: 105 mm]

90. Encuadre reducido
Internal building structures are being emphasized by the reduced image frame

91. Parámetros

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

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

94. 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]

95. Sensibilidad de la película (ISO)
By choosing a light sensitive film, grain is
purposely used as a stylistic tool

96. 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)

97. Exposición
f-number
EV 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64
−6 60 2m 4m 8m 16 m 32 m 64 m 128 m 256 m 512 m 1024 m 2048 m 4096 m
−5 30 60 2m 4m 8m 16 m 32 m 64 m 128 m 256 m 512 m 1024 m 2048 m
−4 15 30 60 2m 4m 8m 16 m 32 m 64 m 128 m 256 m 512 m 1024 m
−3 8 15 30 60 2m 4m 8m 16 m 32 m 64 m 128 m 256 m 512 m
−2 4 8 15 30 60 2m 4m 8m 16 m 32 m 64 m 128 m 256 m
−1 2 4 8 15 30 60 2m 4m 8m 16 m 32 m 64 m 128 m
0 1 2 4 8 15 30 60 2m 4m 8m 16 m 32 m 64 m
1 1/2 1 2 4 8 15 30 60 2m 4m 8m 16 m 32 m
2 1/4 1/2 1 2 4 8 15 30 60 2m 4m 8m 16 m
3 1/8 1/4 1/2 1 2 4 8 15 30 60 2m 4m 8m
4 1/15 1/8 1/4 1/2 1 2 4 8 15 30 60 2m 4m
5 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 60 2m
6 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 60
7 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30
8 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15
9 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 4
11 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2
12 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1
13 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2
14 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4
15 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8
16 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15
17 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30
18 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60
19 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125
20 1/8000 1/4000 1/2000 1/1000 1/500 1/250
21 1/8000 1/4000 v 1/1000 1/500
EV 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64
f-number

98. Exposición
Lighting Condition EV100
Daylight
Light 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 15
Typical scene in hazy sunlight (soft shadows) 14
Typical scene, cloudy bright (no shadows) 13
Typical scene, heavy overcast 12
Areas in open shade, clear sunlight 12
Outdoor, Natural light
Rainbows
Clear sky background 15
Cloudy sky background 14
Sunsets and skylines
Just before sunset 12–14
At sunset 12
Just after sunset 9–11
The Moon,c altitude > 40°
Full 15
Gibbous 14
Quarter 13
Crescent 12
Moonlight, Moon altitude > 40°
Full −3 to −2
Gibbous −4
Quarter −6
Aurora borealis and australis
Bright −4 to −3
Medium −6 to −5

99. Exposición
Outdoor, Artificial Light
Neon and other bright signs 9–10
Night sports 9
Fires and burning buildings 9
Bright street scenes 8
Night street scenes and window displays 7–8
Night vehicle traffic 5
Fairs and amusement parks 7
Christmas tree lights 4–5
Floodlit buildings, monuments, and fountains 3–5
Distant views of lighted buildings 2
Indoor, Artificial Light
Galleries 8–11
Sports events, stage shows, and the like 8–9
Circuses, floodlit 8
Ice shows, floodlit 9
Offices and work areas 7–8
Home interiors 5–7
Christmas tree lights 4–5

100. Profundidad de campo

101. Profundidad de campo
Poca profundidad. Gran apertura (f/5) Mayor profundidad. Menor apertura (f/32)

102. Profundidad de campo
Apertura

103. Profundidad de campo
Apertura

104. Profundidad de campo
Distancia al elemento fotografiado

105. Profundidad de campo
Distancia focal

106. Condiciones exteriores
y su influencia

107. Sombras y reflejos
Harsh, cast shadow of an adjacent building makes the correct exposure of this façade very
difficult

108. Sombras y reflejos
A cast shadow enhances the image Dynamically cast shadows enliven the
composition architectural depiction.

109. Sombras y reflejos
A cleverly chosen camera position Comparison: façade in its own shadow
neutralizes the shadow cast by the (left) and directly lit (right)
photographer

110. Sombras y reflejos
Beams of light as a result of the specific materials
used in a façade
The structure and texture of façade materials in
the foreground is creating another (reflected)
image

111. Clima
Direct sunlight creates a three-dimensional,
colorful look with clearly visible cast shadows
Cloud cover creates a flatter, less contrasted
look with soft shadows

112. Clima
Snow leads to a surreal, suspenseful
The weather situation allows a depiction of
presentation of architecture
reflections in a rain puddle

113. Hora
Effects of light and shadows depend on time of day The light during “blue hour” can greatly enhance
a picture’s mood [2 sec., f/11, ISO 100]

114. Fotografía de interiores

115. Tema
Interior shot showing unfurnished interior space

116. 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]

117. Orientación
Orientation of image matches the dominant orientation of the subject and its space

118. Encuadre y composición
Reduce frame of an interior shot emphasizing decorative objects

119. Encuadre y composición
Creative integration of passageways, vistas, and connected spaces add suspense to this
interior shot

120. Encuadre y composición
Interior shot showing both interior and exterior spaces

121. Parámetros
A flash was used to balance interior and exterior lighting

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

123. Parámetros
Interior shot with subtle use of the DRI technique

124. Tips de creatividad

125. Encuadre radical
Unusual frame selection emphasizes geometric structures [focal length: 200 A layered structure of several planes creates an
mm] abstract look [focal length: 88 mm]

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

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

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

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

130. Imágenes seriadas
A series of images works through the combination of different shots with a common theme

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

132. Reflejos extremos
Unclear spatial relationships caused by mirror effects

133. Sobreexposición o subexposición
Special look produced by intentional underexposure Special look produced by intentional overexposure

134. Antes y después
Before-and- after depiction catches the viewer’s interest

135. Green Point Stadium, Sudafrica. Marcus Bredt, 2010

136. Green Point Stadium, Sudafrica. Marcus Bredt, 2010

137. Green Point Stadium, Sudafrica. Marcus Bredt, 2010

138. Green Point Stadium, Sudafrica. Marcus Bredt, 2010

139. Green Point Stadium, Sudafrica. Marcus Bredt, 2010

140. Green Point Stadium, Sudafrica. Marcus Bredt, 2010

141. Green Point Stadium, Sudafrica. Marcus Bredt, 2010

142. Green Point Stadium, Sudafrica. Marcus Bredt, 2010

143. Green Point Stadium, Sudafrica. Marcus Bredt, 2010

144. Green Point Stadium, Sudafrica. Marcus Bredt, 2010

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

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

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