its fine art mate

1. Photography and Digital
Manipulation Report

2. Summary
I will be utilizing architectural photography to create fine art images depicting images of buildings,
churches, houses and other similar structures in my fine art project. Architectural Photography mainly
involves capturing photos of structures like these, representing them accurately and making them look
as visually intriguing as possible rather than taking photos of subjects, although I could always
photograph someone stood in front of a building in a low-angle shot. The reason I have decided to
utilize architectural photography is because a wide range of options are available in regard to what I can
capture, especially in a location such as York where there are lots of buildings, houses and bridges that
can be photographed. I also think that images of buildings are very likely to intrigue the customer and
evoke emotion. For example, I could represent them so that they look dark and menacing to evoke fear,
or I could represent them positively. This shows that there are many ways to create meaning using
images of structures.
From this report, I hope to gain a great deal of insight into the advantages of capturing images of
architecture; this will help me to generate ideas regarding the types of buildings I can photograph and I
will also be provided with different ways to create meaning within my images. I will analyse two
different photographers as well as images they have captured themselves; this will enable me to obtain
useful information about architecture e.g. the best camera angle to use, how to frame my images or use
leading/diagonal lines. During my analysis, I will be comparing the techniques both photographers have
utilized in their images to find out which ones are the best for me to use whilst taking images of my own.

3. Page Content
2 Summary
3 Index
4 Techniques and Conventions
5 Techniques and Conventions (Continued)
6 Visual Analysis: Roger Fenton
7 Roger Fenton: Image 1
8 Roger Fenton: Image 2
9 Roger Fenton: Image 3
10 Visual Analysis: Dennis Gilbert
11 Dennis Gilbert: Image 1
12 Dennis Gilbert: Image 2
13 Dennis Gilbert: Image 3
14 Market
15 Conclusion
16 Bibliography
Index

4. Architectural Photography primarily revolves around the accurate representation of buildings and similar structures. An
aesthetically pleasing image is needed to intrigue the customer(s), therefore photographers will need to carry out a wide range of
techniques to ensure a visually pleasing representation of a building is accomplished, especially in regard to taking the photos and
the post-production process e.g. cropping or alteration of lighting. Specific techniques and conventions are required for the
photographer and these could be useful for ensuring the images he/she creates are unique, quite distinctive from existing works
and reflecting professional standards.
Camera Settings: Certain manual camera settings are needed for the photographer to carry out the process of capturing images
of structures successfully. The photographer will be required to set the camera to manual mode, which is indicated by the letter ‘M’
on the main dial for the camera. Shooting in manual mode can be considered an advantage because it means that the
photographer does not need to rely heavily on the camera itself in regard to metering the scene. This would determine the manner
of the optimal exposure. In other words, every DSLR camera has an integrated light meter which measures the reflected light e.g.
using ‘Matrix’ or ‘Evaluative’ metering modes. Secondly, the photographer will have to set the aperture to f/11 (with the highest
being f/22 and the lowest being f/2) and the ISO to ISO100 (the highest ISO would be above ISO1500). Alteration of both aperture
and ISO will determine depth of field and film speed respectively, therefore providing the photographer with a wide angle view and
high quality images. Both have the potential to create accurate representations of buildings.
Lenses/Focal Length: To capture accurate and detailed images of buildings, the photographer should aim for the widest possible
angle of view so that they can depict an entire structure within an image. To accomplish this, a wide angle lens is generally used;
these are ideal for capturing large objects such as buildings, as well as the scenery of a countryside in great detail. The wide angle
lens would benefit the photographer, especially if he/she is hoping to represent the entirety of a structure within an image with the
primary purpose of intriguing someone to buy/stay in the property. Wide angle lenses tend to be 10-34 mm; this focal length
ensures that the photographer can capture a visually appealing image whilst being positioned some distance away.
Equipment: Certain types of equipment can be used along with the camera itself. A polarizing filter would be an ideal piece of
equipment to place onto the front glass element of the camera; this is because polarizing filters not only allow for deeper colours
within the image, but also decrease things like reflections and glare from the sun. This can be severe, especially when taking
pictures of structures mostly consisting of glass windows. The sunlight reflecting from the windows could potentially decrease the
quality of the image because the huge presence of light can cause the image to appear severely overexposed. Using a polarizing
filter can prevent this from occurring. UV (Ultraviolet) Filters can also be used to prevent too much light entering the camera.
Alternatively, a tripod can be used to stabilize the camera and make it easier for the photographer to capture an image of a building
without having to stay as still as possible.
Techniques and Conventions

5. Techniques and Conventions (CONT.)
 Subject Matter: Architectural Photography does not deal with the capturing of subjects posing in a specific way; the application is based primarily on
photographing buildings and similar structures. There are various topics that can be dealt with using the application. First of all, a company might be hoping to
sell a house within an estate. Architectural photographs of a specific property would be taken in order to advertise the property and representing it in a positive
manner, putting forward all the qualities and capturing as much of the structure as possible i.e. ensuring the house fits within the frame. This could increase the
chances of the customer deciding to buy the house. Another topic that can be explored is the promotion of a holiday resort or hotel which can be accomplished
through use of images depicting the locations, with lighting and alteration of colour used to create a positive atmosphere. These architectural images would most
likely be found within leaflets, on websites and all over the Internet. This means that the images are very likely to attract a wide range of people and convince
them to stay at the resort or hotel. The application can also be used to depict the aspects of a city e.g. landmarks such as the Eiffel Tower in Paris with the likely
purpose of convincing people to visit. This puts architectural photography at an advantage compared to other applications because a wide range of structures
can be captured and the images can be used by companies with the purpose of advertisement and promotion, as well as to make money through selling
properties and convince people to holiday in a specific place.
 Lighting: When capturing images of buildings, it is ideal to turn off the pop-up flash on top of the camera. The pop-up flash draws power from the camera’s
battery and can give off a harsh and direct light as a photo is taken. The reason this should be turned off is because it will have little to no effect regarding the
illumination of buildings, mainly due to their immense size and because the photographer will have to position themselves a fair distance away from the structure
(whilst using a wide angle lens). Because the flash won’t have any effect on the subject, it is therefore useless and leaving it on could drain the camera’s battery
unnecessarily. Depending on the type of image one hopes to create, high or low key lighting can be employed during the post-production process in order to
create meaning. For example, low key lighting can be used to create a dark and foreboding atmosphere for a building, especially if the weather is grim e.g.
cloudy or rainy. Another thing in regard to lighting could be the overall exposure of the image, which is usually determined by the alteration of shutter speed on
the camera. Using a manual setting on the camera, the correct shutter speed can be chosen by the photographer. The shutter speed determines how long the
image sensor is exposed to light, thus also determines whether or not the image will appear under/overexposed. For example, if the shutter speed is fast, the
image sensor will only be exposed to light for a short period of time. This will increase the chances of the photographer being able to obtain the correct exposure,
and therefore a good quality.
 Compositional Techniques: Architectural Photographers may use a variety of compositional techniques within their images. These can be considered very
important for the photographer; “Understanding composition is something that every photographer should take time to do” according to the site
http://photography.tutsplus.com/articles/14-composition-techniques-that-will-instantly-improve-your-photos--photo-7978. This quote suggests that photographers
should aim to create something unique within their own images and ensure their work is quite distinct from that of other photographers. Enhancing the quality of
their images is very important if they are to attract customers, especially if the images represent certain forms of architecture e.g. houses. A good example of a
compositional technique that can be used for architectural photography is leading lines. This technique utilizes the outlines of a structure within an image; these
lines help to lead the customer’s eye into the principle focus of the image. Buildings and similar structures are beneficial for the photographer because their
outlines provide the best way for the photographer to align his/her images. Another compositional technique for the photographer to consider is contrast within
subject matter; for example, the principle focus of the image may be completely unrelated to its surroundings e.g. a dark-coloured building in relation to the
cloudy sky above. This helps to create juxtaposition within the image.

6. Francis Frith (October 7, 1822 – February 25, 1898)
Francis Frith was a British photographer who ‘dedicated himself entirely to photography’ and
captured numerous images within towns and villages in the United Kingdom and places in
the Middle East. He possessed great interest in photography and was formerly a successful
printer and grocer. He was also a founding member of the Liverpool Photographic Society; a
group of keen photographers aiming to promote new ideas and improve their own skills in
the area of photography in the year 1853. In 1855, Frith sold his companies so that he could
fulfil his own ambitious goals, which involved departing to other countries to shoot and
publish his own images of architecture, landscapes etc.
Frith has travelled to various places, including Egypt, Palestine, Syria and the Middle East.
During his travels, he has captured a huge amount of images depicting things like temples,
bridges and churches. In the year 1860, Firth embarked on a massive project to further his
goals; it involved capturing images of historical sights at every town and village in the United
Kingdom. This shows that Frith was a highly influential person, primarily because of how
determined he was in the area of photography. His firm became one of the largest
photographic studios in the world as it was based in over a thousand shops selling his
images in the form of postcards. Frith mostly utilized the wide angle lens so that he could
obtain as much detail regarding a landscape or a large, historical structure as possible; Frith
seemed to use this lens in most of his images with the likely purpose of making it easy to
capture entire structures. He also used the collodion process; this involved pouring a
solution onto a thin iron or glass plate before exposing it to the light.
Visual Analysis

7. Image 1
This is an image of the Egyptian landscape
captured by Frith in 1858. The image shows off
Frith’s primary intention to capture the
monumentality of Egypt, as well as the
monumentality of other countries during his
travels. The main theme of this image is the
Egyptian desert; there is significant focus on
things like sand and stone within the photograph.
The primary subject of the image seems to be
some of Egypt’s monumental structures; including
the pyramid and the statue of the Sphinx. A wide
angle lens has been used by the photographer to
ensure that every aspect of the pyramid and
statue are depicted fully and in great detail in
relation to the surrounding desert. The image can
be considered representational because it shows
off landmarks which are easily recognizable. It is
clearly a candid, or observational image
because the photographer has captured the
structures as how they appear naturally; the
image is not staged in any way and the elements
within it are not influenced at all.
The ‘rule of thirds’ principle has clearly been
used as well. This is evident due to the fact that
the Sphinx appears on one of the intersecting
points for the four imaginary lines in the image.
The fact that the main focus on the image does
not appear in the centre creates tension because
a sense of dynamism is created i.e. the space and
laws of the material world are implied in different
ways within the image.
There is presence of an organic shape within the photograph; the
pyramid. The pyramid can be considered organic because it is a shape
which doesn’t have well-defined edges and is a natural object itself.
The shape helps to create a ‘natural’ feel because it represents an
aspect of the landscape. The pyramid also strongly relates to
architecture because it is a man-made structure that has been
photographed along with the Sphinx which is also a man-made
structure.
Within the image, the contours
of the pyramid are shown in
detail i.e. the outlines of the
structure which represent it as a
natural shape. The contours
create meaning because they
represent the general structure
of the landmark in great detail,
thus providing an accurate
representation of reality.
The aspects of the image are balanced because
they are all of the same proportions; for example,
the pyramid has a significant relationship to the
Sphinx statue and the sand around it. They all
seem to share the same colours (e.g. brown) and
texture (e.g. sand and stone). This helps to
establish a relationship between the desert and the
structures built within it and It suggests that Frith
was attempting to convey how old the structures
are in relation to the desert itself.
The vantage point for the photographer is clearly
a high position overlooking the desert; the position
offers a good view of the desert and this benefits
the image because a clear and wide perspective
has been offered. This ensures that many aspects
of the desert fit within the frame. The image has
obviously been framed carefully by the
photographer, as evidenced by the fact that his
position has had a significant impact on the manner
in which the principle subjects have been focused.
The image creates meaning because it implies how
old the man-made structures are in strong relation to
their surroundings; it is implied that it has not rained in
this location for a long time. The image can also be
considered passive, primarily due to the fact that there
is not a lot to focus on. The outlines of the pyramid can
be considered leading lines because they help to
guide the customer’s eye towards the top of the
structure; also the highest point within the image.

8. Image 2
This is one of the many images taken by Francis
Frith during his ‘colossal project to capture every
town and village in the United Kingdom. Although
Frith’s main desire was to photograph historical
structures within these locations, he also captured
images of interesting sights. This image depicts a
row of houses on a street corner. It also creates
meaning; the fact that the photograph is black-and
white implies the time period in which Frith took the
photo, in an age where colour in film and
photographs didn’t exist yet. The presence of an
old-fashioned looking car within the photo supports
this even further.
Composition has been used within the photo; all
the visual elements have been arranged carefully
in the frame so that the image looks visually
appealing to the customer. This has been
accomplished by the position Frith chose to take,
as well as the manner in which he framed the
image so that the houses and the street are
depicted accurately. Frith has framed the image so
that the customer is able to identify both sides of
the street as well as the aspects of both sides.
Even though there is no colour, it is clearly a sunny
day and the sunlight is shown to be reflecting off
the windows of the houses. This shows that Frith
was also able to position himself so that he could
capture the glare from the sun in the windows.
There is a lot of detail within the photo regarding
the aspects of the buildings e.g. the black and
white sidings.
The image is passive; there are no people present in the image
whatsoever and there isn’t a lot to focus on. This can be considered an
advantage because the customer does not have too much to look at and
the image itself looks simple. There is some repetition within the photo; the
black and white sidings on the facades of the houses seem to repeat
numerous times, thus creating a pattern of some kind. It also helps to
establish a sense of continuity within the image itself regarding the row of
houses and the way they all look.
A high aperture setting has clearly been
used within the camera e.g. f/9. This is
evident due to the fact that the image
appears slightly overexposed. The possible
reason for this is because the photographer
wanted to provide emphasis on the sunny
day, especially as there will have been no
way to represent the sunlight in full colour
due to lack of innovation regarding
cameras at the time. The high aperture
setting results in specific areas of the photo
(particularly the white awnings on the
shops) appearing as very bright in
comparison to other parts of the photo.
Only the available, or ambient light has
been utilized by the photographer within the
image. There are no lamps present at all
within the image that would provide artificial
lighting. The use of a high aperture setting
has clearly helped Frith to convey the
impact of the sunlight on the scene; the
sunlight can be considered as a form of
natural, ambient lighting.
The image is candid/observational. Frith
has clearly not staged it in any way and
there are no subjects present within the
image, posing in a specific manner. The
image has been captured as how it
appears naturally; the elements within It
have not been influenced.
The tone of the image is quite grim because of a lack of colour
which could add a great deal of quality to the photo and its aspects.
The general attitude of the location seems foreboding in some way,
mainly due to the fact that there is no one within the image and the
place looks abandoned. The effect this helps to create is that the
image evokes emotion within the customer because they might find
it difficult to relate the aspects of the image with how they see things
in real life today.

9. Image 3
This is another image taken by Francis Frith during
his travels across the United Kingdom. The image
strongly relates to architecture because there is
significant focus on the bridge in the background in
strong relation to other structures in the town, as
well as people living within the town. The bridge
seems to stand out amongst every other aspect of
the photo.
A wide-angle lens has clearly been used by Frith
in this image; every aspect of this section of town is
shown in great detail and there are a lot of things
present within the frame. Frith clearly took up a
vantage point at a high location (possibly from the
top of a vehicle) so that he could obtain a detailed
and accurate image representing the aspects of
everyday life. The image appears very busy as
there is a lot to focus on, including the people, the
vehicles and the structures. However, the primary
subject of the image is the bridge in the
background as it is the largest structure that
appears within the image. The support cables on
the bridge create a sense of repetition because a
continuous pattern is created by the same line
repeating over and over on the structure. Also in
regard to the bridge, there is symmetry. Putting
aside all other elements of the image, one could
draw an imaginary line down the centre of the
structure and realize that the aspects of the bridge
visually reflect each other on both sides of the
imaginary line. This adds to the aesthetic quality of
the image’s primary subject and also makes the
location appear intriguing.
The presence of lines within the image not only does well
to establish the outlines of pavements, paving stones etc.
but also creates a strong sense of movement and energy
within the photo, especially in regard to the traffic and the
people walking in different directions.
There is significant contrast within the image, as shown by the strong visual
differences between specific areas. For example, many areas of the image
appear dark e.g. the vehicles and the shadow cast by the ship on the river
compared to the sky above the town which appears bright. This creates a
strong sense of juxtaposition within the image regarding how grim the aspects
of the street are in relation to the sunny day. The presence of shadows
indicates the sunlight casting them from vehicles within the photo.
The fact that the image is black and
white helps to create meaning
because it conveys the aspects of
everyday life in a specific period of
time in the past. It can be assumed
that this image takes place a long
time ago e.g. in the 1940s due to
the fact that there is no colour
within the image. This suggests the
level of technological innovation at
the time. The image is clearly
candid/observational because
everyone within the image is not
posed in a specific way.
It is obvious that the people within
the image are not aware that they
are being photographed, therefore
they are simply captured as going
through the aspects of everyday life
and also as how they appear
naturally. Only the available,
ambient lighting has been used
within the photo (the sunlight). This
therefore ensures that the image is
an accurate visual representation
of everyday life, not altered in any
way.

10. Dennis Gilbert
Dennis Gilbert is a British photographer who specializes in capturing images of architecture and representing
them accurately and in a positive light so that they are as intriguing as possible for other people to look at.
The images he captures tend to convey the breathtaking and immense nature of structures in many different
cities; he photographs both the interior and exterior elements of buildings, representing them as equally to
each other as possible in regard to quality as shown within his images.
As of recent times, Gilbert has been utilizing architectural photography for more than 20 years to produce
eye-catching images. He has become internationally recognized and therefore highly well-known. He has
travelled to many different countries including Germany, China, Japan, Iceland and South Africa to work on a
wide range of projects. These projects primarily involve Parliament and office buildings, as well as concerts.
The images he takes are then submitted to publishers globally; Gilbert works in a London-based picture
library featuring architectural images. This highlights his employment. His work is known for communicating
subject matter successfully in terms of style, atmosphere and texture. Gilbert’s main desire in photography is
to create ‘lasting and memorable portraits’ of every building he captures. He generally accomplishes this
through using low-key lighting, black and white and alteration of image contrast in order to improve the way
people perceive the images, as well as to create historic restorations. To accomplish this further, Gilbert does
not superimpose any aesthetics onto his images; this indicates that he bears in mind how accurate his
images should be i.e. not misleading in any way. This is important because the application he specializes in
is architecture and this primarily revolves around the representation of buildings and similar structures. The
images should be accurate, especially if they are being supplied to a company that is trying to sell a property,
advertise a hotel for someone to stay in etc.
Visual Analysis

11. Image 1This is one of Dennis Gilbert’s architectural
images depicting an exterior section of a
building, most likely a place of education. A
wide angle lens has been used by the
photographer so that a wide perspective of a
certain section of the building has been
provided. This has had an obvious benefit on
the image as the people on the staircase are
depicted in strong relation to the aspects of the
building. Almost all of the staircase is visible as
a result of using the wide angle lens; this
highlights the main advantages of using the
lens in regard to obtaining great detail.
There is clear repetition within the image; the
wooden sidings of the building repeat and
create an accurate and continuous pattern
down the side of the building. This further
enhances the quality of the image because it
creates a strong sense of rhythm. The image
appears somewhat overexposed; most likely
as a direct result of choosing a slightly high
aperture setting prior to shooting the image.
The possible purpose of this might have been
to exaggerate the sun’s glare on the side of the
building as well as the shadow cast by the
stairs. The image also appears to be
candid/observational because the people on
the stairs seem unaware of the photographer’s
presence and also because the image isn’t
staged at all. This implies a fully accurate
representation of the structure in a manner that
isn’t misleading in any way.
The central focus of the image seems to be the people climbing the staircase; the staircase appears to be
the most prominent aspect of the image i.e. the most out-standing aspect of the building. It looks significantly
different in comparison to the rest of the building, therefore there is contrasting effect. The fact that the
staircase stands out could convey the fact that it has the most significance on the structure as people can
access it. Also, the contrast within the image does well to provide increased aspects for the customer to
interact with and also creates juxtaposition.
The use of diagonal lines within the image helps to
draw the customer’s eye through the photograph to a
certain point of the image. In this image, the handrail
on the stairs acts as a diagonal line because it helps
to ‘guide’ the viewer up the staircase and all the way
up to the door which is possibly the main entrance.
The diagonal line also does well to create a strong
impression of movement, especially in regard to the
amount of people heading up the stairs.
The image appears to be ‘busy’ because there is a
lot to focus on, including the people, the staircase,
the metal bars on the windows and the wooden
sidings for the building. This shows that there is a lot
of visual information within the image for the
customer to interact with, and the fact that the
staircase is crowded supports the fact that the image
is busy even further. There is also an implication of
geometric shapes within the image; there is
presence of triangles which are formed by the
handrails on the staircase. The presence of shapes
like these helps to add to the visual quality of the
image. The implied vantage point for the
photographer is on the ground; Gilbert will have been
positioned a fair distance away from the staircase; he
will have also framed the image in order to get an
accurate and detailed representation regarding the
key aspects of the structure, including the windows.
The tone of the image is fairly positive; a happy atmosphere
encompasses the scene. This is mostly due to the presence of
colour within the image, as well as the sunlight. There is no
tension whatsoever within the image and only the ambient
lighting has been used in regard to the sun. This helps to create a
fully accurate representation of reality because the image is not
staged through use of things like artificial lamps.

12. Image 2This is another one of Dennis Gilbert’s images; like
the first image, it represents architecture, however
this one is different because it depicts an interior
location. There doesn’t seem to be a primary focus
within the image, but it looks very appealing due to
the presence of different colours such as red, green,
black and yellow in strong contrast with the other
aspects of the building e.g. the stairs. The presence
of colours helps to create connotation e.g. green
suggests well-being whilst red suggests danger. The
colours belong to flags of different countries, most
notably Jamaica, Brazil and Mexico which are not
fully developed countries.
This helps to create meaning because it suggests
the number of different countries Gilbert himself has
travelled to through the years. The fact that the flags
belong to different countries suggests that the
location is an airport or government building. This
helps to highlight the numerous types of locations
Gilbert has captured on camera. The use of diagonal
lines within the image(the handrails on the stairs)
helps to guide the customer’s eye through a specific
part of the image; these lines intersect with other
lines so as to create ‘points of interest’ within the
image. The use of diagonal lines also helps to create
rhythm within the image.
The ‘rule of thirds’ technique has been used within the image; the image appears to have been
separated into three different sections. The customer’s eye would be drawn to the right section of
the image (where the flags and their intriguing colours are) rather than the centre of the image.
The fact that the bright colours of the flags draw the customer’s eye to the right side of the image
helps to create tension because the customer would remain focused away from the people in the
image and what is implied to be going on within it.
A relatively slow shutter speed has been used by the
photographer e.g. less than ½ a second. Due to a slow
shutter speed, the camera has had time to record the
movement of the people at the location as they walk in
different directions. An illusion has been created of a
screenshot of fast-motion (which is sometimes seen
within films). This is very effective because it creates a
strong impression of time passing a lot quicker than
usual; this creates meaning because it represents the
day-to-day activities of people working within the
location.
The image itself appears quite busy as it is depicting
the activities of people in the location and also provides
the customer with a lot to focus on. This generally
means that the image offers a wide range of
information and depicts the location as a bustling place
rather than somewhere that is empty and looks
abandoned. If this was the case, the image would be
passive.
The image is candid/observational. The location is clearly depicted in the exact way as it
appears in real life. The people within the image might not be aware that they are being
photographed, therefore the image has not been staged by the photographer. It is therefore a
naturalistic image i.e. it imitates something that is not artificial or controlled.

13. Image 3
This image, taken by Dennis Gilbert, depicts the
Shard; a skyscraper located in Southwark, London.
The image has clearly been taken in the evening
and also from a great distance away regarding the
structure. The building is easily recognizable,
therefore this image is more likely to attract the eye
of the customer than other images depicting random
houses or churches (Gilbert has also captured these
on his travels). His implied vantage point within this
image is a rooftop a great distance away from the
Shard; the likely reason why Gilbert decided to
position himself in this way is because he desired to
capture all of the structure in relation to surrounding
structures. Therefore, contrasting effect is created
regarding the size of the Shard and the size of the
buildings below which seem tiny compared to it.
This does well to enhance the representation of the
skyscraper, which is depicted as of having
significant importance.
The wide-angle lens has clearly been used so that
Gilbert could easily capture the whole of the Shard,
allowing the entire building to fit within the frame.
The image has been framed so that the moon is
shown within the image, along with the rooftops of
adjacent buildings as well as the Shard itself. This
means that there is a lot to focus on within the
image regarding the customer.
There is use of leading lines within the photo; the outlines
of the Shard help to provide a sense of direction and they
guide the eye of the customer up the sides of the structure
and all the way to the top. The presence of lines in this
manner could do well to convey the sheer size of the
Shard itself; further emphasizing on the fact that it stands
taller than other structures and is ‘dominant’ in this
manner.
The image is captured as how it appears naturally,
therefore it is a candid/observational image. The
elements within the image are not influenced whatsoever;
the only things that are in focus are buildings, captured as
how they appear naturally. The primary focus of this
image is the Shard, despite the fact that it is not centrally
focused. In fact, tension is created because the eyes of the
customer are drawn away from other aspects of the image.
The image appears slightly underexposed; and it might be
that the image was captured at an earlier time during the
day. This is evidenced by the fact that a low aperture
setting was selected by Gilbert, therefore too little light
was able to enter the image sensor within the camera as
the photo was taken.
The image creates meaning, primarily because it
emphasizes the time of day and how the Shard stands out
against the sky as it starts to darken. Due to the fact that
the glass façade of the building is in focus, the customer
can easily notice the reflections of other buildings in the
glass; these buildings are clearly behind the photographer
and this implication could create tension because the
Shard isn’t the only building in the city, even though it is
the only tall structure that is depicted.

14. MarketArchitectural Prints could be sold at a variety of different places, mostly with the purpose of promoting a location to visit, selling a specific property e.g. a house
or advertise a holiday resort. When it comes to designing and constructing buildings, architectural prints could be sold as portraits to architects/builders with
the purpose of providing inspiration. The reason why a company might sell architectural images in this way is because they have authorized the production of
something i.e. they are commissioning a location to build. Portraits could also be sold with the purpose of advertising a property; most often with the hopes
that someone will purchase it. Specific forms of print media e.g. portraits and leaflets can be found in shops, specifically in windows for people walking past to
see. The leaflets are often free. The internet is a good place to sell architectural prints because it is massive and millions of people use it; there are a lot of
options on the internet as well i.e. many different ways to advertise a product.
Online websites are a good place to promote buildings and similar structures; these sites will usually feature a visually pleasing image of a building to intrigue
the customer. The website could convince people to buy a property or visit a city e.g. an image might feature the Shard (one of Gilbert’s images) and convince
people to visit London because it shows off some of the interesting sights of the city. Stock Photography is also a good way to sell architectural images
because they are made commercially available; therefore, anyone can purchase them. Prints like these tend to be sold on a royalty-free basis i.e. not covered by
copyright and depict things like events, landscapes and buildings. Things like architecture can be depicted and sold easily in this manner.
Architectural images are very likely to appeal to anyone; they are mere depictions of buildings and should not be deemed as inappropriate or disturbing in any
way e.g. for young children to look at. When considering the fact that adults tend to be more mature in making decisions and have the money (and also jobs) to
buy a house or stay somewhere, architectural prints are more likely to attract them. Adults could then decide what action to take regarding moving somewhere
else, especially in regard to what is best for their own children. Both males and females should find that architectural images apply to them, because anyone
can purchase a specific property and there would always be something in the property that would appeal to both genders. The same thing applies to people
wanting to go on holiday; there is almost always something for everyone. People living at Social Grade ABC1 or Upper Class should find that images of this
kind appeal to them, mainly because they are at a certain level of employment which makes them more likely to be able to afford a property, as well as pay for a
holiday. People at the ‘working class’ category might find it more difficult and frustrating to afford a property, therefore it is not as easy for them. However,
people living at upper class are very likely to be able to afford a property due to having a professional job and being able to earn a great deal of money.
When it comes to choosing where to go on holiday, people tend to be influenced by images of architecture which depict a hotel or the resort from a wide angle
and use post-production techniques to make it look as appealing as possible. These images would cater for different interests; this means that everyone will
have a specific type of place in mind. For example, some people might wish to holiday somewhere within the U.K. whilst someone else might desire to stay at a
resort in another country e.g. Spain. Architectural images can depict places to go on holiday in a wide variety of ways to ensure that the holiday resort they are
attempting to advertise appeals to as many people as possible. People living within a specific geographical location, specifically an urban area e.g. a city are
likely to find that images of skyscrapers and crowded interior locations seem similar to their place they live in, therefore they will be able to relate to the images
even more. Therefore, images depicting the aspects of an urban area are likely to appeal to an even greater number of people; these images would also do well
to promote a place like a city and convince people to visit.

15. ConclusionI will use a wide range of different compositional techniques within my images during my fine art project. Based on the research I
have undertaken, I will attempt to make my images look as visually and aesthetically pleasing as possible. This can be easily
accomplished through framing my images carefully so that all of a specific structure is captured and not just a specific section. I
will be using the wide-angle lens to obtain a wide perspective of a building and capture it in relation to its surroundings; this will
enable me to provide contrasting effect within low-angle shot my images. Another good camera technique to utilize is the which
would enable me to represent buildings as imposing and dominant structures. I will also utilize a low shutter speed and a fairly
low aperture setting (unless it is a sunny day). Selecting a low shutter speed will allow me to obtain high-quality images of
buildings, as well as avoid camera shake which could have an impact on the quality of my images. These camera techniques will
have a strong benefit on my images, primarily because I will be able to capture visually intriguing images for my fine art project.
There is a wide range of compositional techniques that can be used in my images. I will be using leading lines when capturing
images of interior locations e.g. hallways, as well as diagonal lines when capturing images of stairways (both interior and
exterior). The use of lines in this manner would help to guide the customer’s eye through an image; I intend to use the leading lines
technique so that I can establish the outlines of certain structures and create a sense of direction within an image; this would apply
to random people within an interior location e.g. a train station. I will also use repetition within my image; this will allow me to
create patterns within an image e.g. using lines and geometric shapes such as triangles. These shapes could be found on a
bridge and would most likely allow me to provide rhythm within my image. Providing contrast within my images is a good way to
intrigue the customer because juxtaposition would be created; this could allow more aspects for the customer to interact with.
Another good compositional technique to use in my images is the ‘rule of thirds’ principle. The main reason why I have decided to
use the rule of thirds is because I want to create tension; this can be accomplished if the primary subject e.g. a tall structure is
positioned to the left or right of the image rather than the centre because it would draw the eye of the customer away from other
aspects of the image (such as surrounding structures).
Obtaining information about architectural photography was beneficial because it provided me with a great deal of information
regarding compositional techniques, as well as insight as to what conventions I could employ to improve the quality of my images
and make them look visually appealing to the customer. My research has also given me a great deal of confidence; I didn’t have as
much knowledge regarding compositional techniques and their benefits before I conducted my research on existing images and
artists. My research has, in essence, allowed me to expand on the amount of options I could use when it comes to creating a
series of aesthetically pleasing images in many different ways.

16. Bibliography
1) Architectural Photography: Camera Settings
http://blog.nicgranleese.com/2012/08/07/manual-settings-for-architectural-
photography/
2) Architectural Photography: Nic Granleese
http://www.nicgranleese.com/
3) The 25 Greatest Architectural Photographers Right Now
http://uk.complex.com/style/2013/02/the-25-greatest-architectural-photographers-
right-now/
4) When it comes to composition, Simon Bray states: “Understanding composition is
something that every photographer should take time to do”. (31 Oct. 2011).
http://photography.tutsplus.com/articles/14-composition-techniques-that-will-
instantly-improve-your-photos--photo-7978.
5) Francis Frith
https://en.wikipedia.org/wiki/Francis_Frith