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Architectural Photography

Taught by Jim Lowe

The aim is to capture the essence of the building, showing how the architect has expressed themselves, and allowing the building to make a statement

Course Description

Do you love travel and want to take great photos of buildings, both inside and out? Architectural photography is more than simply choosing a subject and pressing the shutter-release button; it's more than just documenting a project. An architectural photograph shows the form and appeal of a building far better than any other medium. With the advent of the digital photographic workflow, architects developers and interior designers are discovering exciting new opportunities to present and market their work.

But what are the ingredients for a successful architectural photograph? What equipment do you need? How can you improve your images in your digital darkroom? Which are the best architectural photography lenses? Why does a building look different in reality than in a photographic image? In this course with acclaimed photography lecturer Jim Lowe you will find the answers to these questions and much more.

Using real-world projects to teach you students will learn how to:

  • Capture outstanding images of buildings, inside and out
  • Choose the right equipment (the best architectural photography lenses) and use it effectively
  • Compose architectural shots

  • Work with ambient and artificial light

This course is a step-by-step guide to architectural photography for both the aspiring amateur photographer, interested in architectural photography and the professional photographer wanting to expand their skills in this domain.

Requirements

Basic equipment for architectural photography;

  • Camera: Wide angle 17mm
  • Architectural Photography Lenses
  • Standard 80mm or a good quality zoom lens 17mm to 85mm
  • Long focus 180mm
  • Tripod
  • Cable release
  • Spirit level
  • ND Graduated filter
  • Polarisation filter

Course outline

  • The history, equipment and basic techniques of architectural photography

    This lesson introduces you to the ethos, history, equipment and basic techniques of architectural photography. Architectural photography at its best represents something attractive to the viewer and hopefully makes them more aware of the buildings surrounding them. In architectural photography, the artistry needs to be imaginative, but it should be backed up technical knowledge, as while creativity is largely a personal affair, it can be difficult to achieve without good technique. In this opening lesson I try to make you think more about photographing buildings and how you can create sticking and visually powerful images.
  • Exteriors - Photographing buildings both at night and day

    Architecture has made fascinating subjects for photography ever since the invention of photography and in the world of art over the centuries before that. This lesson will show you how to approach and develop your technique of photographing buildings both at night and during the day. Most competent photographers are able to photograph a building from the usual set elevations but not everyone has the ability to capture the essence and aesthetic ‘feel’ of a building creatively. In this lesson I will demonstrate how the choice of camera, focal length of the lens, exposure, angle of view, perspective and time of day all come together to achieve exciting images.
  • Interiors - Lighting, styling, where to position the camera and how to stay creative

    Interior architectural photography can be as diverse as public spaces, auditoriums, industrial units, offices, residential complexes and as such can be more challenging to the photographer. In this lesson I show how to approach lighting, styling, where to position the camera and how to stay creative, as well as the general principles of capturing the evocative interior photograph. Even though interior photography can be technically challenging it does offer you, the photographer the opportunity to control many aspects of your assignment in the endeavour to make the final interior images look as natural as possible.
  • Planning and Post Production

    In the age of contemporary digital photography both planning and post productions techniques are key elements for successful architectural images. With the advent of digital cameras it has become too easy to take the ‘machine gun’ approach to photography, where they hope that by taking many exposures they may get lucky and achieve a couple of usable ones; whereas the professional or more serious architectural photographer will plan out their assignments with a view to successfully completing the shoot for their client. In this lesson I show how it is more cost effective, especially in terms of time for the photographer to take their time and contemplate the photos they are shooting.
    Post production is a term for all stages of production such as photo-shop occurring after the actual end of the photographic assignment. If carefully done post production can give your images some spark or flair to the final image that adds that extra special interest to your photos

Choose how you want to learn

  • The Expert option

    Recommended

    Develop your learning further with marked assignments and personal tuition from Jim Lowe

    • Start course whenever you like
    • 4 weeks tutor access for personalised assignment feedback & coaching
    • 4 assignments marked by Jim Lowe
    • Certificate of completion from Jim Lowe
    • Online classroom with up to 20 classmates
    • 4 lessons with expert videos & notes
    • Group chat & direct message with tutor & classmates
    • Lifetime access to videos, notes & classroom
    Learn more
    $299.00
  • The Peer option

    Discover the benefits of group learning in an online interactive classroom of no more than 20 people. Get the most from shared knowledge and community study

    • Start course whenever you like
    • Practise what you learn with your peers
    • Online classroom with up to 20 classmates
    • 4 lessons with expert videos & notes
    • 4 course assignments
    • Group chat & direct message classmates
    • Lifetime access to videos, notes & classroom
    Learn more
    $99.00

How it works

About Jim Lowe

Jim Lowe is and has been, for the last number of years, the main arbiter of photographic quality in Europe. He has established and supervised a Quality System upon which the qualifications offered by the Federation of European Photographers are based.

President of the Federation of European Photographers
Jim Lowe is a senior lecturer and co-ordinator of the Marine & Natural History Photography BA (Hons) course at Falmouth University. He is also a Senior Fellow of the Higher Education Academy. Here he talks about his journey from professional photography to overseeing one of the most prestigious courses in its field anywhere in the world.

My background is in photography. I’ve been a professional photographer for 40 years with my own studio just outside Bath in a place called Melksham. I also used to be chief photographer for the Westinghouse manufacturing company. That was based in Chippenham but it involved travelling around the world doing engineering photography. However, my real passion was actually architectural photography. I’d published a book called Architectural Photography: Inside and Out and was friends with a man called David Matthews having both been members of the British Institute of Professional Photography. David saw the book and called me up to say he’d just started a BA course in Marine & Natural History Photography down in Falmouth. This was back in 2007. The second year of the course involved students getting together in groups to work on interiors, building sets to work around. Because my book included architectural interiors, David had spotted an opportunity and asked if I wanted to come down. So I did. And it went very well. I found that I liked students and I liked teaching. It was all about the next generation, putting 40 years of experience back in so that people could learn from my mistakes! I also realised very quickly that a lot of them were really talented.

It was David who started the Marine and Natural History Photography course. Initially there were some teething problems during the early stages, after which I was asked if I’d take over running it. To cut a long story short I could see what the troubles were and set about changing how things were done. I had a vision of what I wanted to achieve, but in all honesty we’ve gone way above and beyond that. The course is unique. There’s nothing quite like it in the whole of Europe and as a result we attract students from all over the world, not just the UK. We currently have a woman from Peru, a man from Colombia and two Americans with us while I’ve recently interviewed people from Romania, Bulgaria, France and Germany.

What we tend to get is people who want to use the photography and film making skills that they learn on the course to highlight messages about conservation, ecology, biodiversity and global warming. They are passionate about what’s happening in the world. Our biggest recruiter, I guess, is the BBC’s David Attenborough films. Young people see them and are inspired. You hear that the next generation doesn’t care – well let me tell you, they do. They want to do something. They’ve got an interest in photography but they don’t want to do weddings or portraits. They want to do something with it. We get people who are into conservation who come onto the course to learn how to spread the message through the basics of photography and film making. The ethos of the course is ‘Know your subject’. For instance, you can’t go underwater and move your camera about if you haven’t got a clue what you’re going to film and photograph. You can’t go into Hyde Park in August looking for daffodils because they won’t be there. So we cover everything – global conservation, global warming, habitats, ecology, the kind of world they want to go into.

Not all of our students end up in a marine or natural history workplace, but a lot do. We have alumni at all sorts of organisations from the Royal Society for the Protection of Birds to the BBC. In fact we have cameramen, a producer and researchers who came through here working at the BBC on projects such as the latest Planet Earth series. That makes me immensely proud. So too does our National Student Survey scores which last year were up to 92%. When potential students sit their interviews they give all sorts of reasons why they’d like to come and study here. Some say they want to save the world, some that they want to work at National Geographic, some that they want to work at the BBC….and I say ‘OK, that’s do-able’. But one girl said ‘Because of your reputation’. That really got to me. You think ‘We’ve done it, we’re getting there’. Of course that will only carry on if the quality of the students we’re turning out is high. That’s the challenge. But to me that moment was a major milestone.

It was David Matthews when I first came to Falmouth who encouraged me to explore my academic side. The university was running a post-graduate degree in higher education, and he said ‘You should think about doing that’. I never really rated myself as an academic. I thought of myself as a professional, although my daughter has a Masters degree so that in part made me think ‘There’s something in here somewhere’. I met colleagues from other courses at Falmouth, got very friendly with some of them, and I found that I enjoyed what you might call the academic environment. So I graduated, then did the post-graduate diploma, and after that an MA in Education and Creative Academic Practice with my dissertation being on visual plagiarism – the stealing of work such as photography by others. I was completely out of my comfort zone but it was inspiring. That’s how the HEA came onto my radar. Many of my colleagues either knew about the Academy or were Fellows themselves, so their enthusiasm rubbed off on me. Our team is a very good team and we tend to work very well together. We’ve all got strengths and weaknesses and that sharing of ideas and good practice, the kind of thing that’s at the heart of the HEA, is key. Ultimately we put the students first – that’s our mindset. We all want our courses to succeed. At the end of the day we must be doing something right, otherwise we wouldn’t have got that 92% NSS score!

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