Architectural Photography.
Architectural Photography is the practice of producing photographs of man made structures.
For example, Interior and Exterior photographing of houses for advertising purposes, perhaps to sell or to include in a property portfolio.
http://www.livingwithwhite.com/wp-content/uploads/2010/01/white-home-interior-4.jpg
http://www.trendir.com/house-design/mullen-street-house-1.jpg
http://www.commercialphotographerkent.com/commercial-photographers-kent.html
I recently took an architectural style photograph for a brief, I am using my car as a pinhole camera and took an interior shot of a multi-storey car park. I chose this location as a previous shot had been of a rural landscape and this interior urban environment provided contrast. This is a digital image I took as a test shot to check my light meter was working correctly.
A good example of architectural photography work not produced for advertising purposes are photographs taken by German artists Bernd and Hilla Becher. In their work they produced a typology of industrial buildings
On instantexpert.com there is a good description of the work and the way it is created and displayed:
"The Grid
The Bechers began working together in 1959 (they were married in 1961), and continued until Bernd’s death in 2007. Their constant goal was to document the architectural forms of industry—gas tanks, grain silos, water towers, blast furnaces, storage barns—mostly in Europe but also in the United States. A group of shots of one specific type of structure would be displayed together, either in a monograph or hung in a grid, in order to create a formal comparison or “typology.” It is this emphasis on form that is most crucial in the Bechers’ work.
The workers inside the factories are not directly acknowledged in the photos, which never betray any hint of labor, activity or motion—human or otherwise. They are taken under overcast skies, to avoid shadows, and from the same exact perspective. Nothing distracts from the pure form of the structures, which are elevated to the level of sculpture. The Bechers have made direct reference to this connection by titling an early show “Anonymous Sculptures,” and when their work won an award at the Venice Biennale in 1991, it was in the sculpture category. "
Traditionally 35mm black and white, street photography is a commentary on society. A documentation of people and public spaces. Helped along by the introduction of hand held portable cameras, 'fast' films and lower costs, street photography became a popular genre of photography gaining momentum around the 1930's.
http://www.martinbaileyphotography.com/wp-content/uploads/2013/03/Valerie-Jardin-Street-Photography-3.jpg
Notable photographers in this genre are Henri Cartier-Bresson and Garry Winogrand.
Garry Winogrand.
http://www.sfmoma.org/images/artwork/large/2000.672_01_B02.jpg
Henri Cartier-Bresson. Bresson would often find a location and wait for the right person to walk by.
http://www.henricartierbresson.org/hcb/redimg/photo.jpg
Street photography is candid, instantaneous, in the moment photography. Often tongue in cheek, nostalgic or ironic, street photography is a celebration of everyday urban life.
Photojournalism and Editorial photography.
Photojournalism can in some ways be closely linked with street photography. Photojournalism is a style of photography used to provide images to document a news story. This can be along with text or stand on its own. The images are taken in a similar fashion to street photography, but with more of an agenda, they aim to create propaganda or expose truths. Street Photography is often more light hearted in relation to more hard hitting work involved in photojournalism.
This photograph was taken by South African photojournalist Kevin Carter in March 1993. It was part of coverage by a group of photojournalists called The Bang Bang Club, who photographed around South Africa during the Apartheid. This photograph created controversy when Carter revealed he took 20 minutes to take this photograph wanting to get the best shot possible before chasing the bird away.
He received a lot of criticism for the photograph for which he won a Pulizer Prize in 1994, which is speculated is one of the causes pushing him to commit suicide later that year in July 1994.
A quote from www.fanpop.com explains some of the other factors that may have attriubuted to his depression.
http://www.fanpop.com/clubs/photography/articles/2845/title/kevin-carter-consequences-photojournalism
"Carter's suicide is not a direct result of the Sudanese child, nor the accusations that he staged the scene, or criticisms that he did not assist her. Carter had spiraled into a depression, to which many things were a factor, his vocation as a photojournalist in 1980s Africa definitely a large part of it. Carter and his friends Ken Oosterbroek, Greg Marinovich, and Joao Silva longed to expose the brutality of Apartheid to the world. They captured the violence of South Africa so vividly that a Johannesburg magazine Living dubbed them "The Bang-Bang Club." The title stuck.
On April 18, 1994, only 6 days after Carter won the Pulitzer, the Bang-Bang Club made their way to Tokowa to photograph an outbreak of violence there. At around noon, Carter returned to the city, and heard later on the radio that Oosterbroek had been killed in the conflict, and that Marinovich had been seriously wounded. It was obvious to his friends that Carter blamed himself for Oosterbroek's death, and he even confided in his friends that he felt as though he "should have taken the bullet." "
So although photojournalism relies on in the moment candid photography, the subject matter is quite different and more dangerous than street photography with a political agenda/journalistic edge that street photography doesn't have.
Editorial Photography has a journalistic/doucmentary nature but is not as off the cuff. Editorial photography is photography produced to accompany an article. Editorial photography is often posed or pre-arranged images such as studio photographs of a celebrity or politician - an example of an editorial news sources is The Guardian:
http://www.theguardian.com/artanddesign/2012/nov/16/portrait-photography-suki-dhanda
Often stylised to fit the overall theme of the website, blog, or printed edition, editorial images are produced with an article in mind and the magazine, news paper or blog will have invited the personality to have an interview with them - or it will be set up by their agent to appear in a certain newspaper or magazine that they want to be associated with. This is a main difference between photojournalism and editorial photography, photojournalism adapts to occurring events and is intended to quickly get images to accompany a story as it emerges, whereas editorial photography is part of a pre-planned process. Stories and images for editorial photography can taken months in advance to fill later issues and don't have to adapt immediately to trends, although they still are influenced by current events.
It's not just newspapers hat have editorial photographs, 'glossy' magazines do too, such as Harpers Bazaar. The shoot is pre planned and only flattering images are used, the shoot and article is based on an agreement between the personality, their agent and the journalist / media company.
So, even though photojournalism and editorial photography are close there are slight differences. Editorial photography is more advertising photography whereas photojournalism is news.
Environmental Photography
Environmental Photography is photography documenting people and objects in their natural environment. Environmental photography is not studio based so it means adapting to each location to produce photographs. You should be able to document both the subject and the environment and the connection they share in the same photograph. You are not just capturing a portrait of the person, but also a portrait of the environment.
Uyuni
Picture: Javier Arcenillas
Photographer : Evelina Pentcheva
Mongolia
Picture: Alessandro Grassani
Chartered Institution of Water and Environmental Management (CIWEM) 'Environmental Photographer of the year 2013' winner Michele Palazzi
'Michele Palazzi has been awarded the CIWEM environmental photographer of the year award 2013 for his image entitled ‘Gone with the Dust #02’. Palazzi, who is from Rome, Italy, was awarded £5,000 by CIWEM’s president, Paul Hillman, at a private awards ceremony at the Royal Geographical Society on 9 April 2013. His striking image shows a young boy and his sister during a sand storm in the Gobi Desert, Mongolia '
The photograph is from a series called 'Black Gold Hotel'
from the photographers website: http://www.michelepalazziphotographer.com/black-gold-hotel/ :
In the last decade the economy of Mongolia has grown at an unprecedented rate, with GDP expanding by more than 10% per year. All this mostly depends on the mining industry: attracted by the large deposits of copper, gold and most of all coal, all of the industry’s global giants have invested and invest in this small country of Central Asia.
In this accelerated and deregulated development local populations and traditional ways of life, based on ancestral nomadic herding along routes across the steppes, are undergoing a crisis. Many families have left their activities and moved in large urban centers in search of work opportunities in this new industrial society, often slipping into economic and social poverty. Others, however, try to resist, dealing every day with pollution, dusts that poison the vegetation, and living conditions which get more and more difficult every day.
Black Gold Hotel is a journey in the daily lives of a few families from the Gobi desert, where the pasture which has been the main livelihood for centuries, is disappearing in a few decades, On one hand, those who chose to continue the tradition of the steppe despite all difficulties, on the other those who preferred to take their chances in the large cities, unfortunately facing the reality of a space which is deteriorated and invaded by unreachable western cultural models."
The image of the boy and his sister in western clothing, seemingly lost in the wastes of the Gobi desert is an accurate visual representation of the message the photographer is trying to portray. The lone camel out of focus in the distance could be a link to the traditional way of life that is being lost.
Children are often used as an emotive element in photography, but in this image the children could represent the relative infant state the east is in compared to the west in aspects such as technology, medicine and government.
A deserving winner.
Location fashion photography and Location advertising photography:
I think these two categories are close enough to be talked about together as one usually leads to the other.
Here are some example images:
Location: New York
One of my own images for a brief to shoot images suitable for a magazine.
Location advertising photography:
The reason the two categories can be linked is that fashion photographs are often made to advertise the clothing or objects in the image. If not, they are produced to add to a portfolio by the photographer or for the model thereby advertising the photographer or model themselves.
Location photography can range from raw barely edited images - think American Apparel, to highly polished images destined for magazines such as Harpers Bazaar. Both are location fashion photographs both are location advertising photographs, each intended for different audiences.
Harpers Bazaar:
American Apparel:
For shots like American Apparel, they use any camera from polaroid to mobile, to high end DSLR. The eclectic mix of cameras creates a mish mash of images that reflect the youthful unorganised target audience. They use artifical lighting but usually in the form of pop up flash or a flash gun attachment. They do use studio work to advertise their brand, but most of the images they use are on location.
For shots such as harpers bazaar, a location will be booked, the shots planned and whilst on location it is likely a mini portable studio will be used to create lighting effects desired. In American Apparel there is less planning and more adaptation giving a more spontaneous and fun feel which the brand is trying to associate itself with. Whilst not cheap, in relation to the £10,000 dress in the second Harpers Bazaar image, American Apparel is cheap fashion. As such American Apparel can be more spontaneous and care free with their advertising photography. In Harpers Bazaar, the images have to fit the rest of the magazine, and be elegant, and look expensive as their audience is generally richer and want to buy luxurious items, not the cheap sex charged style of American Apparel.
On my shoot I used a combination of natural light and and a speedlite flash gun attachment. This allowed me to eliminate shadows and get a clean and bright shot every time.
On my shoot I used a combination of natural light and and a speedlite flash gun attachment. This allowed me to eliminate shadows and get a clean and bright shot every time.
Chris Kilkus is a fashion photographer who specialises in location photography.
BIOGRAPHY
Originally from San Francisco, Christopher Kilkus discovered his love of fashion and photography early in life through the influence of a successful fashion model, his mom. He pursued careers in bicycle racing and fashion model management before beginning his path to becoming a professional photographer. After starting out in San Francisco, he spent two years working throughout Asia, and 7 years in New York City, where he developed a reputation for excellent work with a great attitude. Christopher currently splits his time between New York City, Miami, and Los Angeles.
CLIENTS INCLUDE
BCBG Max Azria, Herve Leger, Forever 21, bebe, Macy's, GAP, Banana Republic, Wet Seal, Arden B., Jockey International, Skechers, Fox Girls, Billabong, Sony Music, Island Def Jam, Interscope Records, Vogue Magazine, Marie Claire Magazine, Cosmopolitan Magazine.
His work is often sunny and bright, and most probably influenced by his lifestyle of living and working in L.A., Miami and New York. His images have a young carefree vibe which is commercially desirable.
Landscape Photography:
Arguably the most recognisable landscape photograph of all:
Landscape photography is literally photographing landscapes. Landscape photography is the capturing of images of a scene, be it natural or manmade - from rolling hills to a skyscraper filled skyline, and can cover any size area rom an alleyway to as far as your lens allows.
Unlike portrait photography where the person is the subject and the background is secondary, in landscape photography the scene itself is the subject.
A problem that often occurs with location photography is correct exposure. Getting the sky and the landscape correctly exposed together can be a challenge as the sky is often brighter then the landscape and this can lead to a blown out overexposed sky and a well exposed ground, or a very underexposed ground and a well exposed sky.
To correct this there a a few methods that photographers use:
HDR - HDR stands for High Dynamic Range, the photographer will take multiple exposures to expose correctly for the sky, correctly for the ground and a 0 neutral exposure. They will the combine the three images using photo editing software to get an image with a better exposure.
Unfortunately it is hard to find a good example of this technique on the internet as it is usually overdone intentionally or otherwise and creates a surreal effect. This is because even the eye cannot see scenes with perfect exposure for both bright and dark objects and so the look is unnatural. This technique often results in game-like images and is probably a reason why computer games are still distinguishable from real life as they employ a similar HDR effect to graphics.
Another way is to cut and paste. Photographers can take images in a similar fashion to HDR but instead of combining the three full images, they take the parts of each image that they want and skillfully combine them using blending tools and layers.
I have done a rough example which you can see below:
I have done a rough example which you can see below:
A third way to affect exposure is to use filters gradient filters.
http://www.thephotoforum.com/forum/photography-beginners-forum/118046-how-not-blow-out-skies.html
These filters come in a variety of colours and gradients to apply to different scenes, and are often used for filming, Jeremy Clarkson explains on Topgear the use of filters:
A final way that most photographers use is to shoot in RAW. RAW files are different to Jpegs because they are not compressed or altered by the camera once taken. The photographer is in complete control of the image once it is taken and can have a lot of input in to the final image achieving the exposure they want:
My computer is unable to handle raw files so I used Jpegs to the best of their abilities by pushing the histogram.
In digital photography the more exposure the better. You can always tone down an overexposed image but it is impossible to bring details out of an underexposed area. By understanding your histogram you can make sure you have as much detail as possible visible in your histogram without blowing out any areas.
by making sure my histogram is as far to the right as possible i make sure I have captured the most detail in my image as I can without using RAW. This makes my photos much more editable in post.
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