‘David Ross Sports Village, University of Nottingham, David Morely Architects’ by Martine Hamilton Knight FRPS
It’s somewhat ironic that architectural photography is one of the less visible forms of image-making when you consider that its subject is the real spaces and places that we see and inhabit every single day.
Commercial photographer and RPS workshop leader Martine Hamilton Knight FRPS hopes to shed some light on the appeal and artistry of architectural image-making with her latest book, Photography for Architects.
Knight draws on her three decades of photography to illustrate the dos and don’ts of the medium. She has enjoyed success around the world, including with a large solo show in Ningbo, China, and more recently at Lakeside Arts in her hometown of Nottingham. Knight is also a senior lecturer at Nottingham Trent University.
Here, she sets out some of her top tips for architectural photographers wanting to improve their craft, and reveals how she came to combine her love of construction and creativity.
‘Bromley House Library’ by Martine Hamilton Knight FRPS
What are some of the most common rookie errors you see in architecture photography?
Probably the main issue I see is that not all photographers consider the audience for their image. There is a distinct difference in a photograph of architecture taken for dramatic effect versus an image that is required to give information about that particular sense of place to a viewer. Those which are dramatic – and by proxy memorable – may employ extreme wide angles and unnatural lighting styles to convey their subject.
Unfortunately, if a viewer wishes to understand what they are looking at, a visit to the actual location will invariably result in confusion or disappointment. Who you are shooting for should very much inform the process by which you then plan and proceed.
And by comparison, what makes a good or great architecture photograph?
In my view, the best images are those that are memorable, with an understanding of the scale, form and ambience of an environment. This key attribute of image-making is one of the areas under discussion in Photography for Architects.
‘A57, Arup, University of Sheffield’ by Martine Hamilton Knight FRPS
Where did your interest in architectural photography come from?
I’m the daughter of a housing developer. Being surrounded by and understanding the construction process from an early age has been instrumental in shaping my desire to spend my working life exploring architecture. Curiously, I didn’t wish to immerse myself in the actual design and delivery – my joy comes from seeing space and light combined, and then recording that moment.
What are some of your most memorable moments while photographing buildings and built places?
Oddly, the best moments don’t always come from the best buildings. Of course, being tasked to shoot great architecture is always going to be a pleasure. However, given that so much of what I do revolves around the users of a space, if those concerned love the project and have a desire to help communicate their delight about what has been achieved, this will help a shoot become relaxed and ultimately, visually rewarding in its outcome.
‘Moorways Sports Village, Faulkner Browns Architects’ by Martine Hamilton Knight FRPS
What are the three key attributes required for an architectural photographer?
- An understanding of the subject – in other words, understanding buildings.
- Patience with the weather. This is something that has brought me huge stress over the years – driving halfway across the country on the promise of a good forecast which fails to materialise is time-wasting, financially punitive, and it upsets occupants, clients and of course me! Very few clients ask me to attend site on a specific date. It’s up to me to plan. So there’s no budget for repeated visits, even though our fickle weather is out of my control.
- Confidence. This job requires a personality that is not afraid to initiate and carry out practical tasking with total strangers, swiftly and effectively. Multiple times in a single shoot, I am lighting and styling a shot and then street casting unpaid models, relying on goodwill and a promise to cause minimal disruption to their day.
What role has the RPS played in your photographic career?
The RPS has really moved into focus over the last 15 years of my working life, starting at the point I set up my photo school, Line and Light. From a technical and professional perspective, understanding the interests of members and what they might want to learn about photographing architecture became important.
What I hadn’t anticipated was the community aspect of RPS membership. I watch how attendees on my workshops encourage and support each other. The conversations over lunchtime on my courses are warm, engaging, fascinating. The transfer of knowledge is not simply limited from me to them. Instead, I find the process to be one of mutual exchange, encapsulated by friendship.
I was fortunate enough to be invited to speak at a weekend event hosted by one of the RPS specialist groups last year. Everyone had fun, learnt plenty and spent time in a fascinating location with their cameras. What more could one ask for?
‘Ledbury House, Communion Architects’ by Martine Hamilton Knight FRPS
Photography for Architects by Martine Hamilton Knight FRPS is published by Routledge.