Contenido

La historia de la fotografía arquitectónica ha evolucionado en función de las necesidades de comunicación y difusión de los artistas a través de tecnologías avanzadas en las distintas épocas: en el siglo impera el descubrimiento arquitectónico mientras que en el siglo se inclina por interpretar el entorno y darle nuevas perspectivas. Lo que sucede en el siglo es un fenómeno derivado del siglo anterior al haberse fotografiado todo, por lo que el siglo tenderá a redescubrir la arquitectura a través de la fotografía telefónica y todo lo que ello ofrece.

A partir del siglo , en una época que experimenta un gran desarrollo tecnológico por la invención de técnicas de impresión fotomecánicas y de difusión económica y masiva; se producen dos grandes corrientes en la fotografía de arquitectura. Por un lado, una con un estilo más racional y objetivizante, de tipo canónico basada en el dibujo arquitectónico; y en segundo lugar, una fotografía de expresión personal, irracional, que lleva la imagen arquitectónica al campo de lo subjetivo. Éstas prevalecerán en la siguiente época, ya de modernidad.

The background in the 19th century: The representation of space

The origin of architectural photographs arises in Paris with the snapshots of the courtyard seen from the workshop window, by Joseph Nicéphore Niépce (1826); a backlighting of a window in the house of William Henry Fox Talbot (1835) and a panoramic view of the Louvre museum from the left bank of the Seine, by Jacques Louis Mandé Daguerre (1839). The architectural theme of these first images responds to the accessibility of the architectural environment from the first locations where the photographs were taken. Likewise, the ease of taking photos of buildings with slow photosensitive materials is highlighted and finally, how the camera acts to represent architecture since the 19th century. After the death of the artist Daguerre, his daguerreotype technique became obsolete and new elements appeared: wet collodion, albumen and the waxed paper of Blanquart Evrard, which are positive-negative techniques of Talbot's calotype. The appearance of these new techniques makes photography experiment within conceptual creativity in distant and exotic places, the appearance of photography in major exhibitions and the first books on architectural photography are published, while a heterogeneity of architectural and urban typologies emerges.[5]​.

Beginning of the 20th century: The photo as a concept

The inventions and growth of multiple forms of production caused new methodologies of architectural photography to take hold and increased the visibility of this genre through exhibitions, photo albums, stereoscopic views and collections. The revolution came in 1879 when Karel Klíč invented photomechanical reproduction when the economical and large-scale printing of images in mass publications, such as newspapers or specialized magazines, became possible. Well into the century, architectural photography experiences a symbolic change in which a modern expression of photography is observed. In 1925, Leica and Ermanox cameras appeared on the European market and photographers began to use them as they were more comfortable and experimented with innovative framing. It is worth mentioning that in the previous stage they used printing syntax with pigment techniques but in this stage they opted for camera syntax with which they experimented with the possibilities offered by the new cameras, working especially on framing and composition. Photographers use frames such as high and low angles or views with the horizon fallen, giving the sensation of a deformed photo to the human eye.[6]​.

Late 20th century: New postmodern concept

This stage begins at the International Museum of Photography in Rochester when the exhibition The New Topographics of a Man-Altered Landscape by William Jenkins opens. It features the first authors of photographs that documented the urban landscape of industrial cities in the 1970s. The photos began to be taken in color and focused on exploring industrial constructions, suburban buildings, gas stations or shopping centers. The framing is more open, there is a balance between space and the background represented reality seen as it is by the eye, flat and without filter. Only the architecture was represented alone in the environment, the people in it or other elements that could divert attention were not photographed.[7]​.

21st century

Over the years, photography has introduced new ways of communicating and expressing oneself with cumbersome photographic equipment. Architectural photography is closely linked to documentary photography: photoreportage or street photography. Its success is due in part to the new generation of smartphones, as it expands the possibilities of bringing this art closer to society that could not afford a camera. Thanks to smartphones and this new genre, architectural photography acquires a notable relevance in that with a smartphone camera, its small size and lightness make it a less heavy and more pleasant object to use. What is important now is instantaneity and speed.[7]​ However, this has caused the interest of architecture to shift from its main purpose: serving people. Currently the focus is on creating photogenic and beautiful spaces, making the inhabitant and how he lives take a backseat.[8]​.

The main characteristic of architectural photography lies in the technique. Previously, it was imperative to use a plate camera (Sinar) or medium format, due to the tilting and alteration of the planes "Plan (cartography)") that could be achieved thanks to the use of bellows optics "Bellows (photographic camera)"). This is in order to achieve optimal perspective correction when taking the image and avoid foreshortening. At the beginning of the century with the massification of digital photography, a range of "Lens (photography)") lenses with applications similar to large format lenses, called tilt-shift, were manufactured for digital single-lens reflex cameras. Although these lenses have their limitations, more and more professionals have chosen to integrate these technologies into their processes.[2][9]​.

Unlike other photographic disciplines, it is one of the simplest in terms of concept and technique. The composition of an architectural photo contains direct and forceful language, the other elements should not have a relevant space in the image. In a photo with several buildings the connection is clearly represented to the viewer. The main rules of photography are sometimes broken to seek new perspectives. We must also highlight the most striking aspects of the design of a building.[9]​.

There are three types of architectural photography depending on the environment: exterior, interior and detail.

La fotografía es una técnica que empezó observando los primeros edificios construidos en el siglo . Desde monumentos, ayuntamientos o primero edificios residenciales son detallados por los fotógrafos para documentar los avances tecnológicos, sociales y artísticos. Algunos de los artistas más importantes que asentaron las bases de la fotografía arquitectónica son:.

Jean Laurent

Jean Laurent was born in France in 1816 and moved to Madrid in 1843 where he became a revelation in architectural photography due to his discovery, leptographic paper. At the beginning of his career the artist specialized in portraits although his most notable photos are of panoramic views of the best-known cities of the Iberian Peninsula.[13]​.

Julius Shulman

Julius Shulman (New York, 1910-2009) was an architectural photographer considered the pioneer of the genre. He himself expresses the most important thing in his works: "the dramatization of light is the most important thing in architectural photography and often shows us the difference between a striking photograph and a mediocre one." The artist was discovered by the Austrian architect, Richard Neutra, with whom he collaborated for many years and was his greatest influence in disseminating his works at the beginning of the century.

His most notable work is the image of Pierre Koening's home in the Hollywood Hills. It is worth mentioning that the beginnings of the image were in black and white, this detail evokes the need to express in a synthetic and radical way regarding the architectural composition where the relationship of the environment, the treatment of light and the contrast fit perfectly. This is why color photography takes a backseat at the end of the century. On the other hand, Julius Shulman uses color in his images, transmitting a more realistic representation of architecture. From the artistic union between Neutra and Shulman, making architecture and photography, a new photographic genre was born, which was succeeded by Louis Kahn with Ezra Stoller"). Among Spanish architecture, the example of union between Coderch and Català-Roca emerged").[14]​.

Ezra Stoller

Ezra Stoller") is one of the most recognized photographers of the century. He studied architecture and transferred his passion to photography by illustrating the most relevant buildings of the 1950s and 1960s. His main profession was not only documenting, he also made an interpretation of the buildings, observing them for several days to take the perfect photograph. He won the Architectural Photography Award from the American Institute of Architects in 1961.[15]

Contenido

La historia de la fotografía arquitectónica ha evolucionado en función de las necesidades de comunicación y difusión de los artistas a través de tecnologías avanzadas en las distintas épocas: en el siglo impera el descubrimiento arquitectónico mientras que en el siglo se inclina por interpretar el entorno y darle nuevas perspectivas. Lo que sucede en el siglo es un fenómeno derivado del siglo anterior al haberse fotografiado todo, por lo que el siglo tenderá a redescubrir la arquitectura a través de la fotografía telefónica y todo lo que ello ofrece.

A partir del siglo , en una época que experimenta un gran desarrollo tecnológico por la invención de técnicas de impresión fotomecánicas y de difusión económica y masiva; se producen dos grandes corrientes en la fotografía de arquitectura. Por un lado, una con un estilo más racional y objetivizante, de tipo canónico basada en el dibujo arquitectónico; y en segundo lugar, una fotografía de expresión personal, irracional, que lleva la imagen arquitectónica al campo de lo subjetivo. Éstas prevalecerán en la siguiente época, ya de modernidad.

The background in the 19th century: The representation of space

The origin of architectural photographs arises in Paris with the snapshots of the courtyard seen from the workshop window, by Joseph Nicéphore Niépce (1826); a backlighting of a window in the house of William Henry Fox Talbot (1835) and a panoramic view of the Louvre museum from the left bank of the Seine, by Jacques Louis Mandé Daguerre (1839). The architectural theme of these first images responds to the accessibility of the architectural environment from the first locations where the photographs were taken. Likewise, the ease of taking photos of buildings with slow photosensitive materials is highlighted and finally, how the camera acts to represent architecture since the 19th century. After the death of the artist Daguerre, his daguerreotype technique became obsolete and new elements appeared: wet collodion, albumen and the waxed paper of Blanquart Evrard, which are positive-negative techniques of Talbot's calotype. The appearance of these new techniques makes photography experiment within conceptual creativity in distant and exotic places, the appearance of photography in major exhibitions and the first books on architectural photography are published, while a heterogeneity of architectural and urban typologies emerges.[5]​.

Beginning of the 20th century: The photo as a concept

The inventions and growth of multiple forms of production caused new methodologies of architectural photography to take hold and increased the visibility of this genre through exhibitions, photo albums, stereoscopic views and collections. The revolution came in 1879 when Karel Klíč invented photomechanical reproduction when the economical and large-scale printing of images in mass publications, such as newspapers or specialized magazines, became possible. Well into the century, architectural photography experiences a symbolic change in which a modern expression of photography is observed. In 1925, Leica and Ermanox cameras appeared on the European market and photographers began to use them as they were more comfortable and experimented with innovative framing. It is worth mentioning that in the previous stage they used printing syntax with pigment techniques but in this stage they opted for camera syntax with which they experimented with the possibilities offered by the new cameras, working especially on framing and composition. Photographers use frames such as high and low angles or views with the horizon fallen, giving the sensation of a deformed photo to the human eye.[6]​.

Late 20th century: New postmodern concept

This stage begins at the International Museum of Photography in Rochester when the exhibition The New Topographics of a Man-Altered Landscape by William Jenkins opens. It features the first authors of photographs that documented the urban landscape of industrial cities in the 1970s. The photos began to be taken in color and focused on exploring industrial constructions, suburban buildings, gas stations or shopping centers. The framing is more open, there is a balance between space and the background represented reality seen as it is by the eye, flat and without filter. Only the architecture was represented alone in the environment, the people in it or other elements that could divert attention were not photographed.[7]​.

21st century

Over the years, photography has introduced new ways of communicating and expressing oneself with cumbersome photographic equipment. Architectural photography is closely linked to documentary photography: photoreportage or street photography. Its success is due in part to the new generation of smartphones, as it expands the possibilities of bringing this art closer to society that could not afford a camera. Thanks to smartphones and this new genre, architectural photography acquires a notable relevance in that with a smartphone camera, its small size and lightness make it a less heavy and more pleasant object to use. What is important now is instantaneity and speed.[7]​ However, this has caused the interest of architecture to shift from its main purpose: serving people. Currently the focus is on creating photogenic and beautiful spaces, making the inhabitant and how he lives take a backseat.[8]​.

The main characteristic of architectural photography lies in the technique. Previously, it was imperative to use a plate camera (Sinar) or medium format, due to the tilting and alteration of the planes "Plan (cartography)") that could be achieved thanks to the use of bellows optics "Bellows (photographic camera)"). This is in order to achieve optimal perspective correction when taking the image and avoid foreshortening. At the beginning of the century with the massification of digital photography, a range of "Lens (photography)") lenses with applications similar to large format lenses, called tilt-shift, were manufactured for digital single-lens reflex cameras. Although these lenses have their limitations, more and more professionals have chosen to integrate these technologies into their processes.[2][9]​.

Unlike other photographic disciplines, it is one of the simplest in terms of concept and technique. The composition of an architectural photo contains direct and forceful language, the other elements should not have a relevant space in the image. In a photo with several buildings the connection is clearly represented to the viewer. The main rules of photography are sometimes broken to seek new perspectives. We must also highlight the most striking aspects of the design of a building.[9]​.

There are three types of architectural photography depending on the environment: exterior, interior and detail.

La fotografía es una técnica que empezó observando los primeros edificios construidos en el siglo . Desde monumentos, ayuntamientos o primero edificios residenciales son detallados por los fotógrafos para documentar los avances tecnológicos, sociales y artísticos. Algunos de los artistas más importantes que asentaron las bases de la fotografía arquitectónica son:.

Jean Laurent

Jean Laurent was born in France in 1816 and moved to Madrid in 1843 where he became a revelation in architectural photography due to his discovery, leptographic paper. At the beginning of his career the artist specialized in portraits although his most notable photos are of panoramic views of the best-known cities of the Iberian Peninsula.[13]​.

Julius Shulman

Julius Shulman (New York, 1910-2009) was an architectural photographer considered the pioneer of the genre. He himself expresses the most important thing in his works: "the dramatization of light is the most important thing in architectural photography and often shows us the difference between a striking photograph and a mediocre one." The artist was discovered by the Austrian architect, Richard Neutra, with whom he collaborated for many years and was his greatest influence in disseminating his works at the beginning of the century.

His most notable work is the image of Pierre Koening's home in the Hollywood Hills. It is worth mentioning that the beginnings of the image were in black and white, this detail evokes the need to express in a synthetic and radical way regarding the architectural composition where the relationship of the environment, the treatment of light and the contrast fit perfectly. This is why color photography takes a backseat at the end of the century. On the other hand, Julius Shulman uses color in his images, transmitting a more realistic representation of architecture. From the artistic union between Neutra and Shulman, making architecture and photography, a new photographic genre was born, which was succeeded by Louis Kahn with Ezra Stoller"). Among Spanish architecture, the example of union between Coderch and Català-Roca emerged").[14]​.

Ezra Stoller

Ezra Stoller") is one of the most recognized photographers of the century. He studied architecture and transferred his passion to photography by illustrating the most relevant buildings of the 1950s and 1960s. His main profession was not only documenting, he also made an interpretation of the buildings, observing them for several days to take the perfect photograph. He won the Architectural Photography Award from the American Institute of Architects in 1961.[15]