An interesting structure or beautiful interior deserves not only to be accurately represented but viewed in its prime. While a picture is in essence flat, the best architectural photographers can create a sense of perceived dimension and identity by employing a number of skills and techniques. So what makes a good architectural photo – the kind that stands out from the rest?…

What makes a good architectural photo?

The old adage ‘a picture is worth a thousand words’, holds a great deal of truth here. It’s possible to tell a detailed story via a photo that was captured in seconds through the lens. However, while the act of capturing it may be brief, the work leading up to, and afterwards, will not be. Usually, many years of training and expertise – not to mention innate talent – are responsible for that magical framing of a moment in time. It’s certainly not a case of luck, or of hoping for the best.

Effective and creative architecture photography

In an era where visuals lead and media content is abundant, it’s crucial to grab the viewer’s attention – and fast. Whether you’re seeking exterior real estate photography for your architecture website, an interior design photo shoot for your portfolio, or modern architecture photography for a publication, it needs to be on point. 

Planning the property photoshoot

A good architectural photographer won’t simply turn up, point the camera and go. Firstly, an evaluation must take place as to how the building can be showcased at its finest. The shot should be actively designed. And rules that might apply to an animated photography subject are often different with a static construction. For example, where architecture is concerned, verticals must be kept vertical in the image, otherwise, it can look like the building is falling over!

Good lighting 

Natural light is by far the preferable option. It’s more attractive, and of course, attempting to rig lighting around a large or multiple storey building poses a significant challenge. A professional commercial photographer understands that natural light is most effective when directed from the side to create contrast. When the light comes from behind the camera, it can actually flatten an image, creating a far less favourable outcome.  Ideally, shoots will be planned during prime weather conditions too. Although if this is not possible due to the client’s schedule, rest assured there’s much that can be done in post-production to improve on nature’s offering. And the use of lighting equipment can be implemented to enhance nature’s offer, add atmosphere and drama, as well as balancing the existing available light.

Timing

As natural light plays an integral role in capturing the perfect property photo, it follows that the best architectural photographers will pick their moments wisely. Sunrise, sunset and twilight photoshoots can proffer some of the most effective opportunities to create atmospheric and evocative lighting effects. 

This means being ready when the sun may be exactly the right spot. It may be a case of waiting a long time. As the peak moment can last for only a few minutes, the exterior photographer has to be prepared for it – and fast in capturing it. This ties into the planning stage. By ensuring everything is in place, a few fleeting seconds of magical lighting can be harnessed, resulting in that breathtaking shot. 

Balance

Using the correct lens for the specific space is crucial. And getting it right comes as a combination of experience, skill and an inherent eye for visuals. Framing just that little bit too widely or too narrowly can affect the impact of the shot. Wide-angled, standard-zoom and tilt-shift are all commonly used in this type of photography. But within these categories, there is a range of options in terms of size, quality and branding. 

Minimal distortion

When photographing a building, it’s important that it’s accurately represented, as opposed to forming an artistic impression. While architectural photography can be beautiful and creative, it must also be true to the real-life form. 

Distortion is an optical aberration, where straight lines can appear bendy. A certain degree of distortion can be inevitable due to the curve of a lens, and in more abstract photography it’s useful as an effect. But excessive distortion doesn’t make for a good architectural photo. 

A professional property photographer will always carry a large range of lenses as part of their photography toolkit and may employ the use of a rectilinear lens to ‘stretch’ the subject if distortion is occurring. Distortion may also be unrelated to the lens in use; perspective distortion can occur if the camera is too close. 

Leading lines 

Leading lines are a frequent element of good exterior architectural photography in particular. This is a technique whereby the eye is drawn to a specific point. It’s achieved by framing the shot using lines within the subject area. An example of this may be lining up the edges of a doorway, to lead the viewer’s eye toward an unusual staircase, view, or a person framed within.  

Composition and symmetry

An interior shot will contain various elements. And unlike (in most cases) exteriors, these elements can physically be rearranged by hand. But in terms of outdoor settings, there are still many options; how the shot is framed and lined up and what is included. The arrangement of these subjects is known as composition. The photographer may choose to ensure there’s symmetry in the arrangement of objects, buildings or scenery, or they may incorporate juxtapositions. By breaking a single frame down into grid-style sections, sections of symmetry can be introduced, contributing to a more complex, yet visually pleasing whole. 

Tips from the best interior photographers 

Architectural photography encompasses both interior and exterior settings, each with its own challenges and opportunities. The best architectural photographers will always work with the end product’s intended audience and purpose at the forefront of their minds. 

Warmth and life

Bringing warmth, softness and a sense of presence to the setting is particularly relevant when shooting indoors. Often the purpose of interior shots is to bring the room – or rooms – to life, presenting an enticing, appealing and often aspirational interior. In much the same way you might dress a property for sale ahead of viewings, the best interior photographers will look for ways to bring animation to the space. If there’s a fireplace, we may light it. Animals like cats and dogs can be introduced, especially when working within a home. And having human beings in the shot is a useful way to bring perspective and a better understanding of the feelings being conveyed.

When the photo tells a story

Bringing people into the shot also helps to tell the story of the setting. A photo can have a distinct emotional impact on the viewer, conjuring a range of feelings. And by introducing models, or real-life residents, an instant sense of humanity is introduced. This makes the space relatable, possibly even familial, imparting its purpose and helping the viewer to form a connection with it. 

Realistic styling 

While every endeavour is made to ensure the setting is attractive and presented compellingly, it’s also important to style the space in a manner that’s realistic. If the photo’s purpose is the marketing of a home, for example, it must be relatable and a focus on cosiness or family-friendliness may be the priority. The best interior photographers will work to understand the project’s audience and intention, then create imagery that’ll be in keeping with them. 

Emphasis 

Along with identifying the story, the professional interior photographer will seek out possible areas of emphasis. This could purely be to aesthetic ends, or it could be to highlight the photo’s objective. Strong focal points like a stunning piece of furniture, an epic view, artwork, feature lighting or a person add visual depth when emphasised. By having items in the foreground as well as the background, the photograph takes on detail and interest, creating the ‘world’ of the photograph. This draws the viewer in and encourages them to look a little closer. 

USPs

A building or room’s unique selling point/s may well be a source of emphasis. These could be existing features. Or the photographer may choose to shoot from particularly unique angles or perspectives, to add an interesting and unique element to the photo. This is particularly handy when covering more functional spaces – like commercial manufacturing units or office blocks – perhaps lacking in immediately obvious USPs. 

Skilled post-production and editing

Of course, the process doesn’t end with the photo shoot. The final photos may still have a long way to go in post-production. Much can be achieved in the editing process. The latest, greatest software is of course key in the best architectural photographers’ arsenal of equipment, as is skill in editing. At this stage even quite major changes can be made – objects like TVs and cables can be removed from the image if desired, colours and exposure can be corrected and the photo can be sharpened. 

Property photography near you 

If you’re seeking architectural photography in Scotland, an interior photographer in London, or help with a project elsewhere, ZAC and ZAC offer international property photography to meet – and exceed – your individual requirements. Do contact us to find out more about bespoke commissions. 

Many of the techniques we’ve discussed are niche and nuanced – almost impossible to pick out purely by looking at a picture. As with many art forms, a great deal of work goes on behind the scenes to create what appears to be the effortless result of a great architectural photo. But it’s these subtleties that make all the difference to the final article, taking what might have been a sub-standard or average picture, into a shot that truly has the wow factor. 

Related Questions

What is the purpose of architectural photography?

There can be a number of reasons a photographer is hired for a shoot. It might be for marketing purposes, to create inspiring imagery for the architect or firm’s website and advertising materials. It could be with a view to selling or renting a property. Or it might be to illustrate the details of a particular project in a magazine. 

What is a golden hour photo?

The periods just before sunset and just after sunrise are especially significant. Both of these timeframes are referred to as the ‘golden hours’, and serve as an optimum time to achieve beautiful shots. This is due to the quality of natural light displayed, not least on gloriously sunny days. 

How do I find the best architectural photographer for my project?

Your clients are far more likely to see photos of your architectural designs, than the real thing. So it’s important you find a super interior photographer who will be able to capture the essence of your work and show it off. Do your research by checking out the property photographer’s past projects, chatting to them about your needs and following their output on social media/ websites. 

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1. The Photography Brief

Before we begin our work, we must first understand the requirements of each shoot. This is very important as it sets us on the right path to producing the images our client is looking for. We provide a questionnaire to each client to confirm all details such as the start time, access details, image quantity, etc. Depending on the details available it may be best to carry out a recce of the site. A recce is an additional service we offer and can be beneficial to help better prepare for the job ahead, highlight any problematic areas, assess lighting and scope out compositions. It involves a walk around the site taking candid photographs, usually lasting 1-2hours. All of this contributes to a more efficient shoot. In some circumstances with either larger shoots or locations with limited access, both Ryan and Aaron will conduct the photography together. With this information, an accurate estimate can be created and sent for your approval.

2. Prepare for Shoot Day

Once the brief and estimate have been approved, we request our clients to prepare the property for the shoot day. It is important that areas to be photographed are thoroughly clean and tidy, this includes all surfaces dusted down, windows cleaned, and beds made with minimal creases. It’s amazing what the camera can pick up sometimes! It is crucial styling is prepared in advance to keep the shoot moving efficiently. In some circumstances, styling is prepped just ahead of the photographer whilst the shoot is in progress. We always recommend not to over-style too. Less is sometimes more. A “lived-in” appearance always looks more natural and less contrived and so having some of the homeowner’s natural possessions included in the compositions can help add some real authenticity.  Styling is its own profession and although we don’t currently offer a styling service, we have undergone styling courses and during our 5 years of experience working with stylists, we have picked up a few tips along the way, so we’d be happy to advise here if required.

3. The Photography Shoot

We’ll conduct the shoot by photographing the property as previously agreed or in a way which is deemed best in correlation with the sun’s movements. We use a Sun app to track the suns path so we can stay one step ahead. The sun is essentially our dance partner! It can be great if it’s in the perfect spot and a hindrance if not, so we’ll move with it and against it when required.

Whilst shooting we use professional architectural lenses that allow us to keep the verticals straight up and down. These lenses also give us the opportunity to take two shots of the scene i.e top and bottom, then stitch them together in Post Production to create a much larger image. We will select the most appropriate focal length for each space to make it look it’s best with minimal distortion. Typically, we avoid using ultra-wide lenses as they distort the space and furniture within; giving a false and unattractive impression. They can, however, be handy in tight tricky spots, so aren’t ignored.

As the cameras are not as intelligent as the human eye, we take multiple exposures of each composition and layer on top of one another in post-production; which will be explained further in a later step. This means the camera will be positioned stationary for a length of time during each composition in order to capture all the shots required. During this time, it’s important that both the camera and the scene being captured remains the same to avoid misalignment in the layering process. Colour cards are placed into each scene helping to distinguish the correct colours later in post-production. We will shoot with natural light and use flash to fix problems and create shape with the shadows when required. If there is unavoidable hard sunlight coming into certain spaces, we may hang diffusion material over the windows to help mitigate it. As we line up each composition, we’ll tweak the existing styling to the camera, so it looks it’s best. Continuity is key!

4. Initial Image Approval

Once the shoot is complete you are sent all images from the shoot day to select the shots you wish to take forward to post-production and licensing. The images are sent via our customized approval software to make the process quick and easy.

5. Post Production

Using specialist editing software, we edit your approved images. All images Standard post-production includes the following: Lens corrections, lens dust removal, colour and exposure corrections, sharpening, removal of small artifacts such as cables and wall sockets. We offer a premium post production service for the removal or addition of larger objects such as television, artworks, window view replacements. This varies on a job to job basis and isn’t always required.

Touching on the image layer techniques mentioned earlier; using a variety of exposures for each composition we blend shots together manually to get full control of the desired finish. You can use computer programs for this commonly known as the ‘HRD effect’, however, the results vary quite dramatically from image to image and there is very limited control to tweak specific aspects of the scene.

6. Approval Stage 1

You are sent all edited images via our approval software where you can make comment on any changes if necessary.

7. Approval Stage 2

This is the final approval. The changes requested are made and sent back to you for re-approval.

8. Delivery of Completed Images

The Final images are delivered in high res 300dpi and low res 72dpi for web. Other resolutions and sizes are also available on request.

These are the steps we take which allows us to produce high-quality photography for our clients. If you are ever interested in working with us, please don’t hesitate to contact us. We would be more than happy to help you. You can also view our portfolio here. 

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The international property awards celebrate the highest level of achievement from companies across 5 sectors within the property industry around the world; development, architecture, real estate agency, interior design and hospitality. The awards are judged by a team of highly experienced professionals who focus on design, quality, innovation, service, uniqueness and commitment to sustainability. It is recognised as being a huge achievement to be nominated for the award and is honoured worldwide. Companies selected are then invited to attend a glittering awards ceremony for each region to celebrate their achievement.

We are delighted to have photographed Juliette Byrnes winning interior design of her Mayfair Town House. We were honoured to capture the full essence of her space from the beauty and variety of the materials within the soft furnishings to the lighting used to create the delicate ambiance. When photographing her space we made sure to capture all intricate details of the property to show off her achievement. 

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What is it?
Simply put, the ColorReader is a colour matching solution – it matches any colour in your surroundings to a specific paint shade. When there is even a slight change in lighting or texture, it can massively impact how a colour is viewed by the eye; the tool overcomes this by matching colours far more precisely and efficiently than the human eye can. Impressive, right?

Why it is used and who uses it?
The ColorReader has loads of purposes and is not only used by interior designers, but by painters too. An example of when you might use it is when designing a busy living space. You are going to coordinate an abundance of furnishings and accessories to one another, and want the colours to look just right. You may use it to match the cushion with the curtains and the wall-hangings with the lampshades, and then use it to coordinate these with an exact paint shade that will compliment all of these! Or suppose also you would like to touch up a wall in a kitchen that’s looking a bit worn, but you are unsure of what colour it was previously painted – the ColorReader can come in handy for that too! Designers can spend hours going back and forth between paint shades; deliberating, deliberating, deliberating. With this device, designers and painters can be sure of the perfect paint shade in a matter of seconds; it has over 95% success rate! From using this device, we have found that the more times you use it, the more uses you find for it – we love the fact that you can view a tonne of paint shades with the touch of a button. There’s no need to be carrying around bulky RAL and Pantone fan decks when they are in your pocket on your smartphone…

How it is used?
The ColorReader is small and portable, and it fits right into the palm of your hand. Simply download the mobile application, connect the device to your phone via Bluetooth, press calibrate and you are ready to go! It is easily used by holding the device against the colour you would like to match, and pressing “Read” on the app. The most accurate three paint shade matches will then appear with specifications of the colours, and the option to coordinate colours either complementary, triads, analogous or monochromatic.

One of our clients was designing a large property and came across a covered brick wall. They used the tool to measure the colour of the wall and create colour palettes within the app to find furniture and fabrics to compliment it – and it really worked! The great thing about this was that they were also able to share these paint palettes with their client which allowed the client to easily be a part of the decision-making process. All of the colours within the room balanced, and everything matched just right – we were very impressed.

This tool works like magic! The days of Star Trek are here with futuristic devices like this coming into play…

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What is it and who uses it?

SunSeeker is a mobile application used across the film and photography industry for a whole host of reasons. We use it when shooting either an interior space or exterior architecture in order to determine where the sun is going to be during the course of the day. Knowing where the sun is over the entire day helps us to predict our shots and decide if we want to shoot using natural sunlight or not. Sunlight can make a space look beautiful but it can also create a lot of ugly unwanted pools of light and colourcast – it’s really dependant on the type of space, the direction the windows are facing and if there are any nearby obstructions blocking the sunlight from entering. The app helps give us some choice and lets us  plan the order in which we shoot our images throughout the day.

The application is compatible with IOS and Android so it can be easily downloaded to most smartphones and tablets. It provides a 3D augmented reality camera and map so you can view the solar path for each daylight hour and also shows you the hour intervals. Not only this, but it allows you to view the winter and summer solstice paths, the time of sunrise and has a built in compass. The monthly sun paths are useful as they let us know what month in the year a specific part of a building in shadow is most likely to receive direct sunlight.

Revolutionary apps like SunSeeker mean that our shoots are far more efficient than they would be otherwise, and the risk of chance is significantly reduced. With this app we have the security of knowing where sunlight will fall and at what time of the day. As light is such an important factor in the world of photography, the SunSeeker app and others like it are a necessary tool for any budding photographer.

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As for the furniture in this apartment, every piece has been produced from one single Oak Tree! Local cabinet-maker Namon Gaston, designed and manufactured the furniture with help from kitchen specialist Richard Anstice, and upholsterer Peter Jones. As stated on the studio’s website, the design has been so well thought-out that the “natural clay plaster walls regulate humidity levels to the optimum human comfort range creating a calm atmosphere, the velvet limestone tiles sit softly with the cobbles outside and the underfloor heating keeps feet cosy at all times”.

We recently had the opportunity of shooting Porteous Studio and we couldn’t have been more pleased to work in such an interesting space. From a photography stand point, the studio was a fun but challenging space to photograph. Being surrounded by tall Victorian tenements there is little direct light entering the property – this creates a dark and ambient light. Fortunately, this is lifted by a large glass door and window spanning across the facade. This door is one of our favourite design features in the studio, with an eccentric pivot point resulting in a 1/3 ratio door opening…  its glorious! The design style of which is mimicked within the apartment by an adjustable screen separating the bedroom from the living area. This divides the two spaces retaining the feeling of openness without compromising natural light. We used long exposures to help bring the design to light whilst simultaneously retaining the natural highlights and shadows of the space.

With such a minimal interior (with no frilly bits!) we focused on forming compositions from the raw architecture and furniture. For example, we used lines from the window and dining table to help pull you into the kitchen. An abstract shelving shot was taken to emphasize how light travels through the bedroom shutters, and we took tighter shots of the sofa and curtain to highlight the soft textures breaking up the hard stone and linear forms. The combination of rough and smooth textures created balance in our imagery and put emphasis on the raw materials that really make this property unique.

If you appreciate minimal architecture and raw materials you’re going to love this hidden getaway. To find out more about Porteous Studio and Izat Arundell, or to book a relaxing trip to Scotland’s capital city, follow this link below to their website….

https://www.porteous.studio/

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Most sought out Architectural Photographers

Our list of the best current architecture photographers became famous through a range of different routes, some conventional, but mostly otherwise. The original career avenues pursued by these professionals include; architect, designer, marketer and artist. Read on to find out who they are and how they achieve such awe-inspiring shots…

Iwan Baan

The first person to receive the Julius Schulman Award for photography, Iwan Baan has since been sought out as a photographer by many famous architects. While having formally trained at The Hague’s Royal Academy of Art, Baan began with no architecture background. In fact, the Dutch photographer showed little interest in static structures at first. But by shooting architectural subjects as if through the eyes of an individual, he was able to bring a unique and exciting quality to this new avenue of his work.

Baan’s aim lies in capturing the intangible elements that surround the structure — namely why people are there and what the area is used for. He seeks to demonstrate that there is so much more to a building than simply the building itself.

An intriguing element to Baan’s professional life is the frequency with which he’s on the road as compared to the evolution of his shooting mode. He’s constantly travelling and requested by architects worldwide but yet hasn’t changed his style. In an interview with Dezeen, the famous building photographer said: “I think I shoot the same way I did 12 years ago”.

Iwan Baan’s imaginative high-end architectural photography is seriously in demand — and there’s no doubt why. Take as an example his most famous shoot; this took place during a power cut in New York, when Iwan decided to fly up in a helicopter, capturing the blackout across the cityscape. Baan’s determination to get the perfect shot, his spontaneity and quick thinking in coming up with a fresh perspective, is remarkable. Indeed, this is what so frequently sets him apart.

Andrés Gallardo

A self-taught photographer, Andres Gallardo fell in love with the art form after purchasing his very first camera. After training and a career in advertising and PR, Andreas began pursuing the profession in 2012 and over the intervening years, has evolved to be a well-known name in modern architectural photography.

Like Baan, Gallardo works with many famous architects, whose work shines through the prism of his lens. The Estonian based photographer has a very particular approach, ensuring the structure is taken from as many points as possible — including prior to being developed into the existing functional building. This not only creates a story of progression for the viewer, but it also allows the architect’s skills to come to the fore, showcasing the ways in which they created such a photogenic building. The respect Andres garnered from his work has resulted in solo exhibitions across from Madrid to Seoul and Nigni Tagil, in Russia.

Roland Halbe

Having formally studied the art form at the Istituto Europeo di Design in Cagliari, Italy, Roland Halbe became a successful freelance photographer back in the 1980s. Somewhat of a veteran in the industry, he is nevertheless still currently active and hugely relevant as a modern building photographer. Halbe works with numerous big architectural firms and has featured in many major industry magazines.

Producing work unlike any others, his photographs are taken far away from the architectural structure, finding the perfect angle to present – not only how the building fits within the entire scene – but how it stands out from everything else. The German-born photographer links the colours of the sky to set the mood of the picture as if this is the voice of the architectural structure. Fusing intelligence and creativity, he produces an image that even rivals anything the human eye could interpret.

Mike Kelley

Los Angles based photographer, Mike Kelley, is renowned for his take on striking modern architectural structures, wide-spaced rooms and large buildings. Creating a viewpoint that embodies the full potential of the building, his photos provide details the naked eye could never see, providing all the floors within a single frame.

Much like the iconic mid-century US photographer, Julius Shulman, Kelley utilises people (and dogs) within his images to provide the full extent of the structure,  proving it to be larger than life. He’s also known for twilight shots that illuminate and bring life to a building in a very natural way. Kelley once commented that he uses the weather to almost exaggerate the mood of the photo, saying: “If it’s raining, we’ll add to that”.

Online tutorials are a speciality of Kelley’s, something that has contributed to his success in the profession. Not one to hide his talent and methods, he teaches aspiring photographers his winning techniques. Kelley is the founder of the Architectural Photography Almanac (Apalmanac) and plays a major role on Fstoppers too[1] , a website that was designed as a community for photographers, providing access to tutorials, information and details on how to enter contests. He’s also produced two books, one of which is dedicated to photos taken from a helicopter.

Bas Princen

Princen began his career an architect, turning to photography after realising its potential and impact. Having learned it could be used as an artistic way to reach out to others, Princen came to the conclusion that a photo could have more meaning than even the architecture itself. On this basis, he decided to photograph more and more, feeling he was making a larger contribution to society from this perspective, as opposed to from within the architectural profession.

Photography, according to Princen’s philosophy, can be adapted to an individual spin, thus creating a sense of the structure that you couldn’t visualise by simply looking at it. He is known for photographing urban landscapes, developing an ambiguous sense of the scene and a perception that wouldn’t be visible if the structure was present in front of you. He once said:

“I go out to find photographs in which the artificial and the natural take each other’s forms”.

Princen switches worlds between man-made and natural surroundings, thereby interrogating the ways in which they blend into one another.

Huffton and Crow

As duo photographers ourselves, we really relate to the works of Hufton and Crow; how they shoot architectural photography around the world, both contemporary exteriors and interiors. The pair put in a great deal of thought when shooting, having moved to digital photography as soon as it first came about. The digital medium brought work abroad, making it is easier to reach others and their projects caught the attention of Zaha Hadid’s firm, which lead to a great opportunity for the photographers.  

Hufton and Crow’s work within the field of architecture composes scenes of human activity, the structure becoming a backdrop to behaviour. This explains the style they create – almost cinematic and frozen in time. The duo is certainly not shy to experiment with something new. They’ve become known for using drone photography and believe it’ll play a larger role in their work of the future.

Shooting as a pair, they both appreciate the huge benefits that come with a photography partnership; sharing knowledge and ideas, learning to push each other and gaining the best from one another. This is certainly something we’ve found to be true from our own experience of working with two perspectives side by side.

This fascinating article from Apalmanac, details how Hufton and Crow shot the world’s largest airport in Bejing.

Michael J Lee

As duo photographers ourselves, we really relate to the works of Hufton and Crow; how they shoot architectural photography around the world, both contemporary exteriors and interiors. The pair put in a great deal of thought when shooting, having moved to digital photography as soon as it first came about. The digital medium brought work abroad, making it is easier to reach others and their projects caught the attention of Zaha Hadid’s firm, which lead to a great opportunity for the photographers.  

Hufton and Crow’s work within the field of architecture composes scenes of human activity, the structure becoming a backdrop to behaviour. This explains the style they create – almost cinematic and frozen in time. The duo is certainly not shy to experiment with something new. They’ve become known for using drone photography and believe it’ll play a larger role in their work of the future.

Shooting as a pair, they both appreciate the huge benefits that come with a photography partnership; sharing knowledge and ideas, learning to push each other and gaining the best from one another. This is certainly something we’ve found to be true from our own experience of working with two perspectives side by side.

This fascinating article from Apalmanac, details how Hufton and Crow shot the world’s largest airport in Bejing.

Unique Architectural Photographers

Jeanette Hägglund

2021 Deezen award-winner, Jeanette Hägglund has a nack of seeing new angles and possibilities. This has won her contracts with brands including Apple, Handelsbanken and Henning Larsen Architects, shooting buildings, towers and other architecture for both commercial and artistic purposes.

Hägglund originally studied philosophy, aesthetics, art, media, film and photography at universities both in native in Sweden and abroad, the artist is especially interested in communication, gender and architecture. With frequent solo exhibitions, her minimalist work is widely applauded, not least by her 142k Instagram followers.

Based in Stockholm, Hägglund’s bold, surreal, colourful and geometric interpretations of the urban landscapes she shoots, play with perspective. This creates an almost otherworldly, abstract effect that often entrances the viewer.

Teklan Evelina Severin

Tekla Evelina Severin has a markedly bright and artistic approach to her use of colour. Her combinations contrast hues such as pink and red to achieve a striking appearance, as Severin believes that the bold colours of her work truly clarify the surroundings. The effect is almost cartoon-like when paired with minimalism, as primary colours are contrasted, making the image seem unreal. Her effective and very unique spin on this art form can be described as abstract architectural photography. But, it’s also extremely commercial in the 21st century;  Severin’s work for the megabrand Ikea is especially recognisable.

However, it wasn’t always this way for Severin, whose original imagery was quite different. It was while finding it hard to please clients, with the work slow and limiting, that she was provoked to implement her own innovative approach. This course change encouraged her unique view on the world, enabling her to flourish into the extravagant, out of the ordinary photographer she is today.

Through this varied list of practitioners, we see such a variety of methodologies, all of which can be adapted. We hope that learning about the most interesting modern architectural photographers has provided some inspiration for you, whether you’re an aspiring photographer, an interior designer, an architect, or an artist.

Overall, through the mention of all these photographers, there is such a variety of styles and techniques that can be adapted. We hope their work has provided some inspiration for aspiring photographers and likeminded individuals.  

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Over the past year, we have had the pleasure of photographing many of Jessica’s interior designs in Edinburgh and London, including the makeover of a two-bedroom apartment in Edinburgh’s New Town, which was recently featured in the March issue of House & Garden. The gorgeous, open-plan flat is not only a stones-throw away from the magnificent Edinburgh Castle but is located on the edge of Stockbridge; an area full of culture and design. With it’s boutique shops, and trendy bars; this area is pretty up-and-coming!

When we first walked into the apartment to commence the photoshoot, we were hit by a complimentary mix of poppy colours, enhanced by a neutral grey-walled backdrop. With tall ceilings and large south-facing windows, the space immediately felt bright and airy with key light shining through the day’s cloudy sky. The windows of the apartment were on only one side of each room, meaning the light in the apartment was very one directional; this creates great contrast in the room with bright highlights and strong shadows. Lighting like this is a favoured type of ours; we love how it creates a beautiful gradient across the entire room, really making the space pop!

In every room of the apartment the colours and furniture placement were harmonious, resulting in very little tweaking before the shoot. Jessica’s impeccable styling really brought the whole design together- from books and flowers, to ornaments and other decorative objects; every item was colour coordinated and placed thoughtfully throughout the apartment without over-cluttering the space. Styling can really make or break the final outcome of an interior shoot and Jessica got the balance just right.

As Judith Wilson writes, “there Is no doubt that clients flock for Jessica’s assured, cool design-vibe”, Jessica’s talented and skilful styling means that she is definitely a designer to watch out for!

Project furniture suppliers and manufacturers:

Zoffany – paint on walls, “Shetland”
Charlotte James furniture – all upholstery items
Andrew Martin – fabric on grey/red striped sofa and ottoman
Designers Guild – yellow fabric on sofa
Christopher Farr Cloth – red fabric on chaise longue
Jennifer Manners – cushion on chaise longue
Fermoie – fabric on armchairs
Bennison – fabric on headboard
Brunschwig & Fils – wallpaper in bedroom
Pooky – lampshades in sitting room and also in guest bedroom

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Our passion for design and photography.

With a longstanding family background in interior design and a couple of product design degrees, Ryan and Aaron grew up immersed in interiors, design and photography.  Because of this, they have developed a true passion for shooting diverse and interesting spaces, and love what they do! At ZAC and ZAC, we place real time and effort into capturing the personality of a client’s interior- we aim to capture the true feelings and emotions that we felt when first walking into a space. We know how important it is that the identity of a space is reflected within the photography.

Two studio locations.

Unlike other photographers, we are based not only in London, but we also have a studio in Edinburgh too. This allows us to be very flexible and versatile. We are easily able to travel UK-wide; not only for photography projects but for key design events including The London Design Festival, The London Festival of Architecture, and Scotland’s Trade Fair and The Architecture Fringe, to name a few.

Double the power.

ZAC and ZAC was founded by a family duo of cousins- Ryan and Aaron. Together they decided to combine their skills, and focus their expertise into creating something great. Their collaboration means that they consistently bounce ideas off of one another and build from each other’s skill-set. When an image is created by ZAC and ZAC it has been produced by the combination of two minds instead of one, creating exciting and unique results. With a joint experience of ten years in the interior and architectural photography industry, Ryan and Aaron ensure that every image is produced with great care and attention to detail.

Our collaboration.

Over the years we have collaborated with many leading interior and architectural publications, meaning that our images are published in renowned magazines, including House and Garden, World of Interiors, The Architects’ Journal, Elle Decoration, domino and The Andrew Martin Design Review Book.

An open and friendly approach.

As cousins and long time friends, Ryan and Aaron have an approachable way of working. At ZAC and ZAC we like to make the process as easy and comfortable for the client as possible. Especially, as we are a youthful company within our industry. From the initial shoot to the final editing process, we find taking a professional yet open approach is best.

Videography Services.

Many of our photography skills such as our experience, composition, lighting, and editing, overlap with our Architectural Videography services, allowing us to create beautiful and emotionally engaging videos. This extra dynamic of moving picture helps our clients to express their work alongside photography, creating a stronger and more engaging marketing campaign.

Top of the range equipment.

From specialist architectural lenses and cameras to colour calibration tools and approval systems. We have invested in specialist up-to-date equipment and software in order to create the best imagery possible.

The post What makes us stand out from the crowd of interior and architectural Photographers? first appeared on Interior & Architectural Photography & Video - Edinburgh, London.

Why do I need to know about colour calibration? Colour calibration tools are used as a means of correcting the colour of your computer monitor, and ensure that the tone of your image is accurate. The tool massively improves the precision of your image; it assures that the whites of the image are actually white, and the blacks are black. After all, time and effort are put into choosing specific colours for your interior project, so it’s important that this is represented in your images!

Using an expert product such as the Spyder5PRO, consistency is created between the clarity of an image on varying computer monitors. This is particularly useful when printing as the image is also consistent between the computer monitor and the print. When a computer monitor is uncalibrated, the display cannot be trusted for accuracy, and it can mean the image may look either too bright, too cold or too contrasted. The Spyder5PRO can be attached to your monitor in order to run a series of diagnostic software; the product has been said to deliver the most precise and comprehensive calibration.

Here at Zac and Zac, we have been using the technique of colour calibration for the past three years, and use it frequently in order to ensure that our client receives the most accurate and clear image. We know that it is imperative that our client’s interiors are depicted exactly how they would like. If you are working within a creative industry like ourselves, we would absolutely recommend that you give monitor calibration a go! It will definitely be worth your while.

Click here to purchase your Syder Screen Calibration tool  and use discount code ‘afzacnzac‘ on checkout to save 20% on all Datacolor products. Data colour also provide screen colour analysis tools which you can read up more about HERE.

The post COLOUR CALIBRATION; WHAT IS IT AND WHY DO I NEED TO KNOW ABOUT IT? first appeared on Interior & Architectural Photography & Video - Edinburgh, London.