Let There Be Light - Architecture


	For strong industrial designs like this nuclear power plant in Cumbria, late low sunlight brings out shape and form. Framing them tightly, with elements bursting out of shot, also helps express a sense of power.

To take architectural photographs, as with any other type of picture, light must enter the camera lens and fall upon the sensitive emulsion - or the CCD if you've gone digital. But not just any old illumination will do. You need light that lends atmosphere to the subject, and shows it off to best advantage. You need light that enhances the design so much that even the architect who created the building and knows every inch of it inside out is overcome by your stylish photographic interpretation.

If you want to shoot effective rather than humdrum architectural images, you may need to spring out of bed early, or hit the sack late. For the majority of architectural situations, it's not much use setting up your camera during the middle part of the day, as the light often lacks character. A high overhead sun will do little to improve the appearance of a structure, whereas low slanting sunlight first thing in the morning or shortly before dusk might just be the catalyst towards some really striking images.


Diffused light at daybreak in summer was employed to capture this subtle view of Kings College Chapel across the Parks in Cambridge. The subject is far paler than the silhouetted trees in the foreground, but that is what makes the shot so attractive.


Just before or after a storm, there is often some striking weather effects. Thanks to some extraordinary light, the centre of sleepy Wisbech rarely looks like this!

Much depends on the external nature of the structure, and its materials, finish and colour scheme. Complicated designs with lots of surface detail can look terrible in sunlight, as the many shadows cast increase the number of visual elements and make for an overly fussy image. Best to wait for softer, overcast conditions for this type of building. On the other hand, a modern office complex featuring acres of mirror glass can look tremendous in strong sunlight - if you get the angles and reflections right. Bold industrial designs can also work well in brighter conditions.

You should also aim to make the most of the numerous different atmospheric conditions we enjoy on this temperate western edge of Europe - clouds, mist, fog and snow can all be utilised from time to time. I know, because I've been out there togged up to the eyeballs in waterproofs, warmers and wellies, in order to take advantage of what might otherwise be deemed unpromising weather. Brooding clouds piling up just before a storm can prove some of the most photogenic conditions the architectural snapper can harness. And keep a look out for rainbows arcing overhead - you have to be quick as they don't last for long.

Because people tend to inhabit or occupy the buildings or structures you want to shoot, they can be a boon or a hindrance, depending on your outlook and desired result. For example, you may want to capture the human form, to give a building scale or proportion. Or you might prefer them out of the way, so that the shot has a cleaner appearance. But on a busy, crowded street, how do you make people invisible?


	Sometimes you want to suppress detail to create a shot. Soft, dappled sunlight and a very high speed film combined to produce this grainy French doorway shrouded in foliage.

To achieve the disappearing trick, adopt a technique that makes the exposure as long as possible, either by using very slow film, stopping down the lens to the minimum aperture, or adding a neutral density or polarising filter to the front of the lens to cut down light transmission by a couple of stops. You might even need all three together when shooting in bright light. Providing everyone is on the move, and your exposure runs towards many seconds or even a minute or two, the human element will be absent - they don't keep still long enough to record on film.

One of my favourite times for shooting buildings is in the 'golden' period towards dusk, just as the daylight is starting to fade and artificial lighting in the form of lamps in or around the subject are visually gaining strength. There is often a twenty minute window of opportunity at this time of day that can result in the most evocative images on film. But it pays to be organised beforehand - plan your picture well beforehand so that everything is set up with plenty of time to spare. You don't want to be scurrying around for a better viewpoint at the last minute and miss the best light.


By venturing out in poor weather, you will often be rewarded with unusual pictures. I captured these sombre tones in the centre of Stamford, Lincs, as the snow fell late one afternoon.

Balancing the exposure is the tricky part of this 'golden' period. Shoot too soon and the ambient light looks almost like normal daylight, with little evidence of artificial lights adding atmosphere to the picture. However shoot too late and the artificial lights will have taken over, most of the daylight has vanished and the sky will appear an inky darkness. It's a matter of experience, using a tried and trusted light meter, and bracketing exposures at say 1 stop intervals, especially if you have transparency film loaded up.

Don't let bright points of artificial light fool your meter into underexposure, or the result will be hugely disappointing. At twilight there's every chance the exposure will be many seconds in duration, especially if the lens is stopped down to f/16 or f/22. In city scenes there will be lots of different light sources in shot, giving all sorts of colours and effects. The long exposure will also ensure reciprocity law fails to apply. This law normally ensures that image density is proportional to the intensity of the light and duration of the exposure, but for very short or very long exposures, the law goes out the window. Don't worry about it - the results can be unpredictable colours, but they often enliven a picture or take it out of the ordinary.


	Working on wet nights can pay rewards. Notice how the damp pavement and road surfaces have increased the reflections in this misty street scene, and added to the atmosphere.

You might think rain would be a damper, literally, on any sort of architectural photography, but often the opposite is the case. Yes, some buildings are at their worst just after a good soaking, as concrete tends to carry ugly stains and damp patches until things dry out. Yet other surfaces can look tremendous when wet, such as roof slates and tiles. If you find the opportunity to take an elevated view at night in the rain, grab it as the extra sparkle these shiny roofs bring can make a fascinating shot, especially at dusk.

There are also a few buildings that show up well as silhouettes, and I've included an example here. Again pre-planning is a must, plus an element of luck if you are to catch the structure against an interesting sky. I would advise plenty of reconnaissance, making notes of times and potential viewpoints. Then the luck should be with you as you've done the spadework already. Expose for the bright sky behind the subject - not the building itself.


A good example of the 'golden' period at dusk referred to in the text, with a lovely balance of lighting between the fading sky tones and the emerging artificial lights. Vehicles moving during the long time exposure produced the attractive light trails in the foreground.		I'd taken many shots of Peterborough Cathedral by daylight before - usually closer views of its front elevation. But this distant dusk silhouette is my favourite, and was used by The Commission for the New Towns as a brochure cover. It came about through observation, planning, preparation, careful exposure and just a little luck.