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.

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.

"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.

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

While much has been written about how photography serves architecture, this book looks at how fine-art photographers frame constructed space? from cities to single anonymous rooms. It analyses various techniques used and reveals resonances and rhythms found in the photographs as they occur at different scales, times and settings. Photographs become vehicles for thinking about the co-existence between individuals and social groups and their surroundings spaces and settings in the city and the landscape. By considering questions of technique and practice on the one hand, and the formal and aesthetic qualities of photographs on the other, the book opens up new ways of looking at and thinking about architecture and how we relate to our environment.

This book investigates the different cultural roles played by photographs of Indian architecture from the latter half of the nineteenth century, an inquiry stretching from their pre-history to their migration into book illustrations, calendar art, and religious imagery. Beyond the apparent purposes of these images - as picturesque views, scientific records of an architectural past, political memorials, travel mementos, textbook vignettes - deeper considerations influenced the way their makers worked in selecting, framing, composing, and populating their representations. Shaping the viewer's thinking about what they represented, these images remain enduring records of a way of seeing, of minds as well as monuments, and exist today as artefacts of the visual culture of colonialism. Twelve essays from scholars working in several disciplines (history, anthropology, art history, and the history of photography) show how photographs of architecture reveal the inescapable ways in which the practice of image making is aligned with the purposes of power, the presumptions accompanying the encounter with strangeness, the internal order of the colonial and the scientific mind, and even our metaphysical dispositions toward the world.