Download Professional Architectural Photography, Third Edition by Michael Harris PDF

By Michael Harris

Книга expert Architectural images expert Architectural PhotographyКниги Цифровая фотография Автор: Michael Harris Год издания: 2001 Формат: pdf Издат.:Focal Press Страниц: 198 Размер: 7.27 Мб Язык: Английский0 (голосов: zero) Оценка:Книга о том, как делать профессиональные снимки зданий и архитектурных сооружений.

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1 The different photographic routes that can be taken from image capture to final print output. While the outputs from both routes can appear very similar, the processes involved in each are technologically quite different PROFESSIONAL ARCHITECTURAL PHOTOGRAPHY ■ 24 PRINTER OUTPUT C L I E N T S C O M P U T E R Film In many other branches of photography, the photographer has to compromise film speed with quality in order to capture any movement with sufficient sharpness. 2). The slower the film, the finer the grain and therefore the sharper the images for reproduction.

4 The shift movements available on a view camera are parallel movements of the front and/or rear standards. 5 Cross shift movements for perspective control from a restricted viewpoint. Image (a) was taken without any cross shift, while image (b) was taken from exactly the same place but with the camera turned on the tripod for a flatter perspective on the elevation. 6 Excessive shift movements used to retain the verticals in the images of tall buildings can cause geometrical distortion as illustrated here, whereby the building appears topheavy and the verticals, though parallel, appear to be diverging slightly Such cross shifts for interiors should be used cautiously as horizontal perspective ‘distortions’ are naturally expected and are therefore more visually acceptable than vertical ‘distortions’.

The swing movements possible on a view camera enable sharp focus to be achieved across the full depth of the elevation by altering the plane of focus. e. 8). 8 The Scheimpflug principle for maximizing depth of field. The film plane, lens plane and subject plane must all intersect at an imaginary common line, with an equal swing on both the front and rear standards According to the Scheimpflug principle, theoretically it makes no difference whether the front or rear standards, or a combination of the two, are adjusted, so long as the three planes intersect at a common line.

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