Download Professional Architectural Photography, Third Edition by Michael Harris PDF

By Michael Harris

This publication tells you that's nearly imposible to do architectural images with out a view digicam. when you are considering turning into an architectural photographer and also you do not need the cash to get a view digital camera this booklet isn't really for you. i'm operating with a very good specialist architectural photographer who does so much of his asignments in electronic images. This publication promises little or no information about to that. now not a resource of notion for me.
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Additional resources for Professional Architectural Photography, Third Edition (Professional Photography Series)

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Of course, the larger the format, the higher the quality of the photographic image owing to the smaller amount of magnification needed for reproduction. In fact, a 10 in. × 8 in. camera produces images that can often be contact printed, not enlarged. This renders exceptional sharpness and a very rich tonal scale. With a film area four times larger than the 5 in. × 4 in. format, 10 in. × 8 in. transparencies have unmatched richness and depth. However, unless billboard-sized reproduction is a regular requirement, the extra quality is often unwarranted.

Colour balance on negative film is not as critical as that on PROFESSIONAL ARCHITECTURAL PHOTOGRAPHY ■ 27 11 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 31 RECORDING MEDIUMS: FILM AND DIGITAL ■ transparency film, as minor colour variations at the time of exposure can be filtered out at the printing stage to produce the desired colour balance. Since negative film alone cannot, by definition, produce a positive image for viewing, the quality of the final image is as dependent on the paper on which it is printed as the film on which it was taken.

By contrast, a linear array CCD has a single row of pixels that measure light by the sequential scanning of the film plane. While the result is a higher definition image, it requires very long exposures (often several minutes) so is only suitable for stationary subjects with continuous lighting. It is therefore not suitable for architectural work where movement can be an element, be it of people, varying light intensity or even the movement of clouds in the sky. The area array CCD is fundamentally a monochrome device so, in order to record colours, the number of pixels have to be divided up into blocks of four and covered with a tri-colour mosaic filter to represent the three primary colours.

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