Classic vs. Fine Art Architectural Photography – Creative Differences

Classic vs. Fine Art Architectural Photography

What are the differences between classic and fine art architectural photography and how to use them to create more inspiring images?

INTRODUCTION

Architectural photography has long been a fascinating genre, capturing the essence and grandeur of the built environment, either in the city or far away from it. With the evolution of architectural photography, especially in modern times, two distinct approaches have emerged: classic architectural photography and fine art architectural photography. While both aim to present architecture in the best way, they differ in many ways in their intent, technique, and creative freedom.

Classic vs. fine art architectural photography. Not everybody is aware of this difference and, while discussing with my students, I’ve seen repeatedly that the subject can be quite confusing, so I want to talk about it in this article and help those of you who are wondering to understand what some of the differences are and how we can use them to create more inspiring architectural photography, whether we make a classic architectural photograph or a fine art architectural photograph. I love both genres and I work with them interchangeably depending on the subject and the result I need.

Classic Architectural Photography: A Descriptive Approach

Classic architectural photography is the type of architectural photography you will see the most around you. This genre of photography is primarily descriptive. It aims to accurately represent the physical and aesthetic qualities of a building or structure we photograph. This genre often serves practical purposes, such as documenting buildings for architects, architectural firms, or the building’s owner, for real estate purposes, or historical records.

The focus when we do classic architectural photography is on showcasing the architectural design, construction details, and spatial dynamics as truthfully as possible. Depending on the case beauty may be or may not be the scope of this type of photography. For instance, when we want to document existing structures as accurately as possible, the structures may not be beautiful, so the intent of the image will not be to showcase beauty but to document the places as they are. This doesn’t mean that the photograph should not be a good photograph; it only means that it doesn’t need to trigger in the viewer the admiration for the beauty of the object.

And, while beauty is subjective, and sometimes even ugly objects can make a beautiful photograph, the first aim of classic architectural photography, when it is done for documentary purposes, is not to embellish the object. Even in the case when the aim is to embellish the subject or to show it at its best, as when we create a portfolio for an architect or architectural firm, the photographer has to stay truthful to the reality we see in front of us.

In classic architectural photography, the images are typically characterized by precise lines, balanced compositions, and a faithful depiction of materials and colors. The lighting is often controlled to highlight the architectural features but it may lack dramatic effects that could distort the viewer’s perception of the building. The photographer makes sure to stay away from distractions and distortions, ensuring that the structure is presented in its most accurate form.

Fine Art Architectural Photography: An Expressive Approach

In contrast, fine art architectural photography aims to go beyond the mere documentation of buildings or structures. It is an expressive form of photography, rooted in the vision and creativity of the photographer.

This genre is less about the factual representation of architecture and more about interpreting and reimagining the built environment through the unique perspective of the artist.

When we create fine art architectural photography, we use architecture as a starting point. The building or structure is a canvas upon which we project our artistic vision. The resulting images are often different from what we see in front of us. They reveal different meanings and are imbued with symbolism, metaphor, and personal expression.

This approach allows us to have a greater degree of creative freedom, where reality is merely a pretext for artistic exploration, and the result can be anything our mind imagines.

The Role of Vision in Fine Art Architectural Photography

We can say that fine art architecture photography is constructed around the idea of vision rather than being an accurate expression of the subject we photograph.

In this respect, fine art architectural photography is closer to the idea of (en)Visionography than classic architectural photography. (en)Visionography encapsulates the essence of fine art architectural photography by creating photography around an idea and aiming to express that idea even when the final result is not necessarily truthful to reality.

The concept of (en)Visionography postulates that photography as an art starts from and is the result of the artist’s vision. It is meant to be an expression of the artist’s inner world and not necessarily a straightforward representation of the subject they portray. If you’d like to know more about (en)Visionography, The Manifest of (en)Visionography which I published several years ago is the place to start.

In (en)Visionography, the architectural subject is just the beginning. The vision of the artist shapes the final image, transforming reality into a new and unexpected form of art. This process involves seeing beyond the physical structure and capturing the emotional and conceptual resonance that the architecture evokes. The resulting images are not just photographs of buildings; they are visual poems that reflect the artist’s soul and imagination.

Creative Freedom and Expression

One of the most significant differences between classic and fine art architectural photography is the level of creative freedom. In classic architectural photography, we must adhere to the reality of the subject, making sure that the images remain true to the actual appearance of the building. This often involves strict compositional rules, specific lighting techniques, and a focus on technical accuracy.

In fine art architectural photography, the boundaries are much broader. We are free to manipulate light, shadow, and perspective to create a mood or convey a message. Working with long exposure, unconventional angles, and using different post-processing techniques are some ways to enhance the artistic effect. The goal is not to replicate reality but to interpret it in a way that reflects our vision.

This freedom allows us to explore themes and ideas that go beyond the physical attributes of buildings. We can work with the symbolism of architecture, exploring how structures interact with their environment, how they are perceived, why and how they evoke emotions, or how they represent different cultural and philosophical concepts. This transformative approach aligns closely with the principles of (en)Visionography, where the subject serves as a metaphorical vehicle for artistic expression.

The Artistic Journey: From Reality to Vision – Creative Stages

The journey from reality to vision in fine art architectural photography involves several stages. It starts with conceiving the idea that gives birth to the photograph, the idea that incorporates our vision. Then we move on to searching for and selecting the subject, which we will choose not just for its architectural qualities but for its potential to inspire and evoke. Then, we need to engage with the subject by researching meaningful information about it that will help us create a story, as well as interacting with it in the field, studying its forms, lines, angles, and the way it interacts with light and shadow.

During the shooting process, we focus on capturing the essence of our vision, and on transforming our ideas into images that speak for us. The aim is to capture not just the physical structure but the emotional and conceptual impact it has on us and, by extension, the viewer.

Post-processing plays a crucial role in fine art architectural photography. This is where the power of vision truly comes to life. While this article is not so much about post-processing, I have many articles talking about this creative stage, and several books and video courses about it that will be useful to consult to learn advanced techniques for working on your fine art architectural images.

The latest video course I released, Understanding Fine Art Architectural Photography – The Complete Course,  analyzes everything around architectural photography and fine art architectural photography in almost 7 hours of content, and I warmly recommend you watch it to get a plethora of information, ideas, inspiration, and learn advanced post-processing techniques that will help you create fine art architectural photography that expresses you the best.

The role of equipment in creating classic architectural photography and fine art architectural photography

An interesting observation is that, even if these two genres are different, we can use the same equipment and gear to create both classic architectural photography and fine art architectural photography. Even if in architectural photography, in general, the utmost precision is important, when you create fine art architectural photography, the idea of precision may not mean the same thing as in classic architectural photography.

In classic architecture photography, you must be extremely careful to respect the proportions of a building, the colors, the environment, and everything that presents that building because, by definition, classic architecture photography is about describing the subject most accurately. In fine art architectural photography, on the other hand, precision means capturing the subject as closely as possible to your vision of that subject, and the idea you have of the building or structure you are shooting, so your final photograph represents that idea.

For instance, it is not acceptable in classic architectural photography to portray a building that has vertical lines with those verticals tilted. We are talking here about what is called “the keystone effect”. The keystone effect is when the verticals of a building appear tilted when you need to tilt the camera upward to include in the shot a tall building that would not fit in the frame if the camera was straight, which is the position that allows you to capture the verticals straight and parallel.

When that happens, in classic architectural photography, you will either use a tilt-shift lens to correct the verticals and capture them vertically in the field, or you will correct the geometry of the building in post-processing to straighten the verticals.

In fine art architectural photography, capturing or showing the verticals of the building as they are in reality, meaning in a vertical position and parallel with each other, is not always necessary. For instance, if you want to accentuate the vanishing point effect you have when you look up at a tall building, you will not want to show the vertical lines parallel with each other but rather as converging as they go up, in order to accentuate the perspective and create a dynamic effect.

Thinking outside the box in architectural photography

So, looking at both genres, the classic and the fine art architectural photography, we understand that fine art architectural photography offers us more freedom of creation than classic architectural photography, so this approach may be more suitable when we want to create a more imaginative photograph or a photograph where we want to present a certain architectural object in a new light to express an idea or trigger in the viewer a particular reaction, to give them something new to think about, to encourage them to make questions and search for answers.

The intention in fine art photography is to allow the photographer to see the world in a different way and, through the final image, to enable the viewer to join the photographer in that world of imagination where you can discover something new and have a unique experience.

Architecture is a fascinating subject that can give both the photographer and the viewer intense creative experiences. By learning to see these subjects more openly and freely, one can access levels of artistic experience that are not possible when creating photography inside a stricter frame of rules, as one has to do when working with classic architectural photography.

As architectural photographers, we must aim to be comfortable and able to express ourselves in both genres, even if one of them is our favorite or is the genre that we need to work with more. Except for all the other reasons why working with both classic and fine art architecture photography is a more fulfilling experience than working with only one of them, being able to work with both genres will help us find ideas that traditionally work for one genre and apply them in the other genre, thus creating something new and original.

This means thinking outside the box, and this way of thinking is what we aim for when creating art. Art means interpreting old concepts in new ways, seeing common things in unexpected ways, and being able to adapt ideas to new circumstances, which means eventually creating new ideas.

Creating new ideas means having more artistic experiences as photographers and artists and, at the same time, offering new experiences to those coming in contact with our work.

Do we really need the tilt-shift lens for architectural photography? A creative approach

Talking about equipment and precision made me think about a recurring topic I am discussing with my students: The tilt-shift lens and its importance in fine art architectural photography.

A question I often get from my students is: “Do I need a tilt-shift lens to do fine art architectural photography?”. If I had to answer this question in a binary way, with a yes or no, my answer would be no.

You don’t need to be “slaves” of the tilt-shift lens, or any lens, for that matter, to be a great fine art architectural photographer.

While the tilt-shift lens is one of my favorite lenses, and it will allow you to create a certain aesthetic for architectural photography that may help you express your vision, you don’t need a tilt-shift lens to create exceptional fine art architectural photography.

I love the tilt-shift lens, and I’m using it in many ways, not only in a classical way of framing an image so that the verticals are vertical, but many times doing the exact opposite to that. Here is an interesting article about How to Create and Architecture Fine Art Photograph where I show you some creative ways of working with the tilt-shift lens and other aspects of creating fine art architectural photography.

Even if I love the tilt-shift lens, many times, the vision I have of the architectural object I am shooting can be accomplished by working with a different lens. When I don’t have the tilt-shift lens with me, for instance, I have to create the image I had in mind even without it. Also, since I started working with a medium format camera, at the beginning of 2017, I had to get creative working with the tilt-shift lens. Since there is still no native tilt-shift lens available for the Fujifilm GFX cameras (at this moment, there are a couple of tilt-shift lenses coming, but they are still not available), I had to use my Canon tilt-shift lenses, which are wonderful lenses, but they are made for full-frame cameras, which have a smaller sensor, so at times you can have some loss of details when using them on a medium format camera that has a much larger sensor. So when I need the utmost level of detail in a photograph, even if I would prefer to use a tilt-shift lens, I sometimes use a native Fujifilm wide-angle lens to make sure I don’t lose any detail. In that case, I have to make up for the geometrical deformations I get by using a wide-angle lens instead of a tilt-shift, or find a different way to shoot that subject in order to preserve detail. So, I have to get creative in achieving the results I would have had with the tilt-shift lens, even when working with a regular wide-angle lens.

These experiences taught me that even if the tilt-shift lens is an exceptional tool, and I can’t wait for the Fujifilm tilt-shift lenses to be available finally, you don’t always need to shoot with it to achieve your vision.

Realizing this was liberating and reminded me once more why I love to create art – because art means freedom, and when I talk about freedom, it’s also freedom from your equipment. I won countless photography awards shooting with entry-level cameras many years ago, and I keep winning those awards now when working with advanced equipment. This teaches me that equipment is wonderful and needed, but it is no replacement for creativity, and most importantly, it should never limit our creativity.

Conclusion

Classic architectural photography and fine art architectural photography represent two distinct approaches within the same genre. While classic architectural photography focuses on accurate, descriptive representation, fine art architectural photography is an expressive art form driven by the vision of the photographer. This latter approach, exemplified by what I call (en)Visionography, allows for a profound creative freedom where reality serves as a starting point for artistic exploration.

By embracing your vision and utilizing the built environment as a canvas, as fine art architectural photographers, you can create images that are not just depictions of buildings but reflections of your inner world and artistic soul.

If you want to learn more and go even deeper into this subject you can join me at one of my upcoming workshops or my online and in-person courses where we talk about this and other fine art photography subject in great detail.

If you have more ideas about the differences between classic architectural photography and fine art architectural photography and what is interesting about them, feel free to share them in the comments for everybody to get more inspiration. If you’re curious about my further thoughts on this subject and many other photography-related subjects, subscribe to my website and join our community, where we talk extensively about these things.

If you are interested in knowing more about black and white fine art photography, inspiration, (en)Visionography, long exposure photography, architecture fine art photography, and many other subjects, feel free to read my other tutorials and have a look at my books and courses.