The Photo and Film Expo took place at the Coca-Cola dome from 10-12 July 2009. One of the guest speakers, photographer Peter Hassall, spoke about architectural photography, offering advice about making a living in this field.

I HAVE been a professional photographer for close to 30 years. There is quite a mix between commercial photography and personal photography. If you photograph buildings in your personal capacity, you’re going to look at it in a different way. With regards to composition, I always try and look for different angles, something that speaks to me and that is going to catch your eye. I believe as a photographer it’s my job to make you the viewer look at my photographs, view my caption, and my client will be happy. I try to make my work colourful and eye-catching and do a lot of post production.

The first thing to think about with composition is the rule of thirds. You divide your camera screening by thirds on the horizontal and by thirds on the vertical and then you compose. You don’t put your subject in the middle, you try and put your subject in the lines, those intersections – it adds more tension and more depth to the photograph. It helps lead you in.

Having your building in the centre isn’t necessary the best. It’s a rule I think I instinctively try and compose towards as my starting point and then move away from. Things I think that are worth remembering are balancing the elements in the image – something that will lead you in to the image and lends weight to both sides. Also, leaving lines – often you can use roads or poles to help people engage with the image. Think about symmetry and patterns. Often in commercial buildings there are two sides that replicate designs in architecture.

Viewpoint is always an interesting point. We always view our buildings from eye level so it’s always good to get another angle by getting low down, or by getting up high. You’re going to hopefully end up with something different.

We all have the same camera, the same equipment, but we have to try and see differently, and try and get a different perspective. Where is the essence of what you are looking at? And also, what is it for? Who wants the shot? Is it an artistic shot? Is it a commercial shot? Do they want to let the building? Do they want to stick it in their corporate brochure? Ask these questions as a photographer.

I was shooting a building in Cape Town and had to walk across the road and ask permission if I could shoot from a balcony, which I did. I noticed there was a little beam, about 30cm wide. The shot would have been just a little bit better from there than from the balcony, and then I thought to myself, no one’s going to notice if I stand here and take the photograph. I often wonder did I have to do that for that photograph.

Your camera needs to draw the viewer in to the shot by creating depth. Look at the curves and forms that will take you into the photo. Contrasts and shapes give emphasis to your subject. You’re looking at colours and textures. Time and day is also very important.

Parazontal is my term which means keep everything parallel and horizontal. Compose properly and then break the rule. Get everything straight and parallel and horizontal. Put your building in context.

Lighting is always an interesting point to think about because we are photographing reflected light. Side lighting is preferable, back lighting is a killer. I always ask architects and developers to build north facing buildings because south facing buildings are just impossible to photograph. It’s not a reasonable request for a photographer.

When it comes to lighting, the sun is a great source of light. The best time of day to shoot a building is dusk and dawn. The buildings always look their best.

When I arrived at one particular nondescript location I thought to myself, how am I going to make this building look nice? I had to come back first thing in the morning when there were no cars, no trucks, no people, and nothing happening outside. This was such a difficult shot because this was such an ugly building. A lot of buildings are just so ordinary, especially shopping malls and tin shanty warehouses with a little bit of cladding. It’s so nice to see them without people so you have to get access to them at midnight or later. When you’re shooting a corporate location and dealing with a parking lot full of cars, you either have to block the entire area off or come back on the weekend when there are no cars there.

With regards to equipment, I have lots of pockets and lots of back ups. I like to travel light so everything must fit into one bag.

When it comes to lenses, spend the money. If you buy good lenses, they are going to last you ten years. The lenses are a large part of what you’re shooting. Short lenses are going to distort. These can work for you, but can also work against you. If you’re going to use it, make it work for you and push the limits. Use a long lens for parazontal or abstract shots and get as far back as possible.

Peter Hassall