American photographer Julius Shulman's images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close Friend, Richard Neutra, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Schulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs. Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

"This book is published on the occasion of the exhibition In focus: architecture, on view at the J. Paul Getty Museum at the Getty Center, Los Angeles, from October 15, 2013, to March 2, 2014"--ECIP data view.

Essential for professional commercial photographers but with appeal for anyone who enjoys architectural photography, this book explains how to build better light indoors while finding the optimal positions for capturing images. Beginning with advice on understanding angles, controlling perspective, and becoming familiar with the tools necessary for capturing interiors, this guidebook then progresses onto explanations of various types of light, methods for manipulating them, and circumstances under which different lights should be utilized. Also included throughout the book are example shots of homes, businesses, and public spaces followed from start to finish, illustrating the challenges of the shoot, how these problems were solved, and any work that required editing after the shoot.

Eschewing the limiting idea that nineteenth-century architecture photography merely reflects functionality, the objective of this collection is to reflect the aesthetic, intellectual, and cultural concerns of the time. The essays hold appeal for social and cultural historians, as well as those with an interest in the fields of art history, urban geography, history of travel and tourism.Nineteenth-century photographers captured what could be seen and what they wanted to be seen. Their images informed of exploration, progress, heritage, and destruction. Architecture was a staple subject for the first generation of photographers as it patiently tolerated the long exposures of the early processes. During its formative decades photography responded to evolutionary cultural forces of market and artistic production. Photographs of architecture reflected a specific political or social context modulated through individual points of view. For this reason, the examination of each photographic image as a primary visual document and an aesthetic object rather than a technical milestone on a chronological trajectory affords a richer multi-faceted approach to the extensive and complex corpus of photographs taken by photographers all over the world. This project acknowledges the importance of technique in the early decades of photography but focuses on the thematic content of the material. It places the photography of architecture in an international context under the contemporary critical lens sharpened by theoretical and cultural examinations of the topic.

Gathers photographs of interiors and exteriors, homes and office buildings, and churches and public buildings, and describes changes in photographic style

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 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? Why does a building look different in reality than in a photographic image? In this book you will find the answers to these questions and much more. Author Adrian Schulz-both an architect and a photographer by training-uses real-world projects to teach you how to: Capture outstanding images of buildings, inside and out Choose the right equipment and use it effectively Compose architectural shots Work with ambient and artificial light Process images in an efficient workflow based on Adobe Photoshop This book 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 his skills in this domain. Moreover, architects themselves will find this book motivating and inspiring. This second edition has been extensively revised and includes 80 new images and illustrations, as well as an expanded chapter on shooting interior spaces. Also included is an updated discussion of post-processing techniques and the latest technical developments in the world of photography. With this book, you will learn a variety of creative tips, tricks, and guidelines for making the perfect architectural image.

Photography and architecture have a uniquely powerful resonance - architectural form provides the camera with the subject for some of its most compelling imagery, while photography profoundly influences how architecture is represented, imagined and produced. Camera Constructs is the first book to reflect critically on the varied interactions of the different practices by which photographers, artists, architects, theorists and historians engage with the relationship of the camera to architecture, the city and the evolution of Modernism. The title thus on the one hand opposes the medium of photography and the materiality of construction - but on the other can be read as saying that the camera invariably constructs what it depicts: the photograph is not a simple representation of an external reality, but constructs its own meanings and reconstructs its subjects. Twenty-three essays by a wide range of historians and theorists are grouped under the themes of ’Modernism and the Published Photograph’, ’Architecture and the City Re-imagined’, ’Interpretative Constructs’ and ’Photography in Design Practices.’ They are preceded by an Introduction that comprehensively outlines the subject and elaborates on the diverse historical and theoretical contexts of the authors’ approaches. Camera Constructs provides a rich and highly original analysis of the relationship of photography to built form from the early modern period to the present day.