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2012 Zifeng Wei’s Magical Architecture Photography Manipulation

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Page 1: Magical Architecture Photography Manipulation - Architectural

2012

Zifeng Wei’s

Magical

Architecture

Photography

Manipulation

Page 2: Magical Architecture Photography Manipulation - Architectural

2PREFACE

This pamphlet is an exposé of the magical tricks architects use to create representations and reproductions of their design work. The focus will be placed on photography and especially its digital manipulation in the context of architecture.

The magic pamphlet is divided into two sections, each framed by a VSHFLºF�WHFKQLTXH�XVHG�E\�DUFKLWHFWV�LQ�WUDQVODWLQJ�RU�UHSUHVHQWLQJ�WKHLU�ZRUNV��6HFWLRQV�DUH�IXUWKHU�EURNHQ�GRZQ�LQWR�(ҬHFW��+LVWRU\��&RQWHPSRUDU\�&DVH�6WXG\��$SSDUDWXV�5HTXLUHG��0HWKRG�DQG�3UHVHQWDWLRQ�

$OWKRXJK�WKHVH�WULFNV�DUH�QRW�XQNQRZQ�DQG�DUH�XVHG�H[WHQVLYHO\�E\�DU-chitects, there is an issue of secrecy when revealing information to the SXEOLF�DV�ZLWK�DOO�PDJLF�WULFNV��+RZHYHU��DV�WKH�(QJOLVK�PDJLFLDQ�'DYLG�'HYDQW�ZURWH�LQ����� “exposing tricks or illusions — providing they are not someone else’s new invention — is good for the profession. It stim-

ulates public interest in magic and forces magicians to seek new tricks

rather than to stagnate with some that are centuries old. The Magic Circle

seems to think that it is the mechanics of a trick that are the secrets of

its success. In my view, it is only the artistry of the performer that can

make it magic.” 1

0D\�WKH�LQIRUPDWLRQ�KHUHLQ�FRQWDLQHG�KHOS�\RX�WR�FRQYLQFH�\RXU�FOL-ents and overwhelm your harshest critics.2

ZIFENG WEI

��2

Architectural Association School of Architecture

HTS Diploma: Conjuring Consent - Secular Magic and the

Politics of Power

Course Tutor: Jonathan Allen

2012

Page 3: Magical Architecture Photography Manipulation - Architectural

�INTRODUCTION

0DJLF�FRXOG�EH�GHVFULEHG�DV�D�SHUIRUPDQFH�®DULV>LQJ@�IURP�DQ�DJHQW�RI�WUDQVIRUPDWLRQ�ZKRVH�HҬHFWV�DUH�HYLGHQW�EXW�ZKRVH�RSHUDWLRQV�DUH�QRW�DS-parent.”� The essay will focus particularly on secular magic, a term coined E\�6LPRQ�'XULQJ�DV�®PDJLF�WKDW�PDNHV�QR�FODLP�WR�EH�LQ�FRQWDFW�ZLWK�WKH�supernatural — it’s not calling on hidden powers to act on the world.”4

3KRWRJUDSK\�FDQ��WKXV��EH�VHHQ�DV�D�FDWHJRU\�RI�VHFXODU�PDJLF��LQ�LWV�transformation of reality into an image and with the resulting photograph XQGHUVWRRG�DV�D�SHUIRUPDQFH��$OWKRXJK�LWV�PDJLFDO�TXDOLW\�KDV�GLPLQLVKHG�lately due to its popularization, it remains a tool that continually plays with illusions and deceptions, and deeply embedded in our culture.

0DJLF��DQG�LQ�WKLV�FDVH�SKRWRJUDSK\��ZDONV�D�ºQH�OLQH�EHWZHHQ�GHFHS-tion and illusion. The creation of illusions can open up minds to crea-tive and speculative ideas, provide entertainment and act as a tool for cultural construction. Its misuse can, however, easily turn into forms of GHFHSWLRQ�DQG�EH�XVHG�LQ�D�SOD\�RI�SRZHU��:KHWKHU�WKH�UHVXOWLQJ�HҬHFW�LV�consciously generated by a human agent or produced unintentionally by the mechanisms of a device, the photograph is a powerful entity and has al-ready become an integral part of our daily lives in communications, media, science, politics and architecture.

7KLV�PDJLF�SDPSKOHW�SRVHV�WKH�TXHVWLRQ�RI�KRZ�SKRWRJUDSK\��DV�D�FDWH-

gory of secular magic, has penetrated deeply into architectural design and UHSUHVHQWDWLRQ��DQG�LWV�FRQVHTXHQW�LQ»XHQFH�RQ�DUFKLWHFWXUH�DQG�LQ�WKH�GH-VLJQ�RI�VSDFH��3UHVHQWHG�DV�DQ�H[SRVp�RI�WZR�GLJLWDO�SKRWRJUDSKLF�WULFNV��WKH�WH[W�ZLOO�IRFXV�RQ�3KRWR�0RQWDJH�XVHG�IRU�SUHVHQWDWLRQV�DQG�+LJK�'\-QDPLF�5DQJH�WHFKQLTXHV��+'5��XVHG�WR�GRFXPHQW�ºQLVKHG�EXLOGLQJV��WKURXJK�examining their historical development and uses, I will show that the dig-itally manipulated images of today are merely a continuation of a tradi-WLRQ�HVWDEOLVKHG�LQ�WKH�PHGLXP±V�HDUOLHVW�GHFDGHV��ºQDOO\��E\�SURYLGLQJ�detailed descriptions of the apparatuses and methodologies used to achieve these tricks, the pamphlet hopes to demystify current photographic prac-tice while discussing some of the ethical and moral dimensions of its use and/or misuse.

��4

Page 4: Magical Architecture Photography Manipulation - Architectural

“The Photograph is violent:

not because it shows violent

things, but because on each occa-

VLRQ�LW�ºOOV�WKH�VLJKW�E\�IRUFH��and because in it nothing can be

refused or transformed.”

- Roland Barthes

Page 5: Magical Architecture Photography Manipulation - Architectural

5PHOTOGRAPHIC MONTAGE

())(&7

This very simple principle of cutting and pasting two or more pho-tographs together to generate one image is used extensively by architects in the design phase to present ideas and concepts. Through the creation of an illusion, a vision is communicated to the audience by revealing the HVVHQFH�RI�WKH�EXLOGLQJ��:LWK�WKH�DGYHQW�RI�GLJLWDO�PRGHOOLQJ�DQG�&RPSXW-HU�*HQHUDWHG�,PDJHV��&*,���UHQGHUHG�LPDJHV�DUH�RIWHQ�XVHG�LQ�FRQMXQFWLRQ�ZLWK�SKRWRJUDSKLF�PRQWDJHV��7KH�UDQJH�RI�GLҬHUHQW�HҬHFWV�WKDW�DUH�DFKLHY-DEOH�XVLQJ�WKLV�WHFKQLTXH�LV�YDVW��6LQFH�WKH�IRFXV�RI�WKLV�WH[W�LV�RQ�WKH�varacity of photographs, we will address the manipulation and creation of photo-realistic montages.

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$V�HDUO\�DV�WKH�����V��RQO\�D�IHZ�GHFDGHV�DIWHU�LWV�LQYHQWLRQ��SKR-WRJUDSK\�UHWRXFKLQJ�ZDV�DOUHDG\�DQ�REVHVVLYHO\�GHEDWHG�VXEMHFW���FRQGHPQHG�and practiced widely at the same time.5�0DQLSXODWLRQ�RI�WKH�SKRWRJUDSK�VHHPV�WR�KDYH�DUULYHG�VLPXOWDQHRXVO\�ZLWK�LWV�LQYHQWLRQ��/HYLQ�&RUELQ�+DQG\��D�FRPPHUFLDO�SKRWRJUDSKHU�LQ�:DVKLQJWRQ��'�&���SURGXFHG�PDQ\�ºFWL-WLRXV�PRQWDJHV�RI�ºJXUH�DQG�EDFNJURXQG��)LJ��������IRU�PDJD]LQHV�DQG�SXE-lications.� The high demand for heroic images of soldiers who fought in WKH�$PHULFDQ�&LYLO�:DU�PHDQW�D�VWHDG\�VRXUFH�RI�LQFRPH�7�'HVSLWH�WKH�ODFN�of sophisticated retouching tools or digital technologies, the images he managed to produce were surprisingly convincing. The seamless blending of images as well as the careful positioning of various elements rendered be-OLHYDEOH�VFHQDULRV��)LJ����

7KH�WHFKQLTXH�XVHG�WR�EH�D�WHGLRXV�WDVN�RI�FXWWLQJ�DQG�SDVWLQJ�RI�WKH�QHJDWLYHV��UHTXLULQJ�KLJKO\�VNLOOHG�ODERXU��1RZDGD\V��GLJLWDO�LPDJHV�FDQ�EH�HDVLO\�UHDVVHPEOHG�ZLWK�D�IHZ�FOLFNV�RI�WKH�PRXVH��+RZHYHU��LW�UHPDLQV�GHSHQGHQW�RQ�WKH�DUWLVWU\�RI�WKH�SHUIRUPHU�WR�®PDNH�LW�PDJLF�¯�

5 ��7

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FIG.2

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FIG.4

Page 6: Magical Architecture Photography Manipulation - Architectural

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$�QHZ�WHFKQRORJ\�WKDW�KDV�EHFRPH�D�VWDQGDUG�WRRO�LQ�DUFKLWHFWXUDO�design and representation must be mentioned in relation to photo montages ��GLJLWDO�PRGHOOLQJ�DQG�&RPSXWHU�*HQHUDWHG�,PDJHV��&*,���5HQGHULQJ�WHFK-QLTXHV�KDYH�EHFRPH�VRSKLVWLFDWHG�HQRXJK�WR�EOXU�WKH�ERXQGDU\�EHWZHHQ�DQ�DUWLºFLDOO\�JHQHUDWHG�LPDJH�DQG�D�SKRWRJUDSK�

$�SDUWLFXODU�FDVH�KDV�FDXJKW�P\�DWWHQWLRQ�ODWHO\��WKH����\HDU�ROG�,WDOLDQ�DUFKLWHFW�$QWRQLQR�&DUGLOOR�ZDV�DFFXVHG�RI�FKHDWLQJ�E\�'HU�Spiegel, a German news magazine.��+H�SUHVHQWHG�EHDXWLIXO�UHQGHULQJ�DQG�PRQ-WDJHV�DV�UHDO�FRQVWUXFWLRQV��)LJ�������PLVOHDGLQJ�UHDGHUV�DERXW�KLV�DFWXDO�DFKLHYHPHQWV��+LV�ZRUN�KDV�DOVR�EHHQ�SXEOLVKHG�LQ�DUFKLWHFWXUDO�PDJD]LQHV�VXFK�DV�:DOOSDSHU��LQ�ZKLFK�KH�ZDV�FRQVLGHUHG�DPRQJVW�WKH�WRS����\RXQJ�DUFKLWHFWV�RI������� In a fast paced, image oriented world, architectural awards are often given out purely based on photographs. With rendering and VWLWFKLQJ�WHFKQLTXHV�EHFRPLQJ�PRUH�DEXQGDQW��HDVLHU�WR�XVH��DQG�KDUGHU�WR�detect, along with magazines and publishers being heavily reliant on imag-HV��ZH�PLJKW�VHH�PRUH�DUFKLWHFWV�OLNH�&DUGLOOR�FURVVLQJ�WKH�WKLQ�OLQH�EH-tween creation of an illusion and a deception using photo montage.

7KLV�QRW�RQO\�EULQJV�LQWR�TXHVWLRQ�WKH�DXWKHQWLFLW\�RI�WKH�DUFKLWHFW��but also the awarding bodies and the entire profession. It could be argued WKDW�LI�WKH�VSDFHV�&DUGLOOR�FUHDWHG�DUH�EHDXWLIXO��GRHV�LW�PDWWHU�ZKHWK-HU�RU�QRW�LW�KDV�EHHQ�EXLOW"�+RZHYHU��DUFKLWHFWXUH�RSHUDWHV�LQ�D�SK\VLFDO��material, and interactive world. Stripped of these elements and abstracted as an image, it becomes merely an illusion, divorced from reality. If the SURGXFWLRQ�SURFHVV�RI�VXFK�DQ�LPDJH�LV�FOHDUO\�DFNQRZOHGJHG��LW�RҬHUV�DQ�HQMR\DEOH�®ZLOOLQJ�VXVSHQVLRQ�RI�GLVEHOLHI¯���D�WHUP�FRLQHG�E\�6DPXHO�7D\-ORU�&ROHULGJH��ZKHUH�WKH�DXGLHQFH�DFFHSWV�WKH�LPSODXVLELOLW\�RI�WKH�QDU-UDWLYH�DQG�VWLOO�HQMR\V�WKH�ºFWLRQ��,I�WKH�SURGXFWLRQ�SURFHVV�LV�QRW�DF-NQRZOHGJHG��LWV�XVH�EHFRPHV�DQ�DFW�RI�GHFHSWLRQ��'HFHSWLRQ�WKHRULVW�%DUWRQ�:KDOH\��ZRXOG�GHVFULEH�WKLV�DV�WKH�®LQWHQWLRQDO�GLVWRUWLRQ�RI�DQRWKHU±V�perceived reality,”�� falling under the category of ‘simulation’ - showing the false through the act of invention.

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FIG.5 ),*��

Page 7: Magical Architecture Photography Manipulation - Architectural

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To generate images, you will need a digital camera, a computer with 3KRWRVKRS���'�PRGHOOLQJ��UHQGHULQJ�VRIWZDUHV�LQVWDOOHG���'6�0D[��5KLQR��9UD\��

0(7+2'�$1'�35(6(17$7,21To retain a level of photorealism when combining images, attention

PXVW�EH�SODFHG�RQ�DFKLHYLQJ����6LPLODU�SHUVSHFWLYHV2. Seamless integration���6LPLODU�OLJKWLQJ�

7KH�ºUVW�VWHS�LV�WR�FROOHFW�WKH�LPDJHV�XVLQJ�D�GLJLWDO�FDPHUD�RU�RQ-line photo libraries, making sure that the images have matching perspec-tives. For the demonstration below, I will create a montage using a site SKRWR��)LJ�����D�VN\��)LJ����DQG�D�FRPSXWHU�JHQHUDWHG�LPDJH��)LJ�����8VLQJ�3KRWRVKRS±V�SHQ�VHOHFWLRQ�WRRO��WKH�RXWOLQHV�RI�WKH�VLWH�SKRWR�DQG�UHQ-dered image are marked and the unnecessary elements removed. The images are then scaled to the right size and layered over one another in a photo-JUDSKLF�PRQWDJH��)LJ�����

FIG.7 ),*��

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Page 8: Magical Architecture Photography Manipulation - Architectural

�1H[W��FXW�RXW�WUHHV��)LJ�����DUH�DGGHG�WR�JHQHUDWH�D�VHDPOHVV�

LQWHJUDWLRQ�EHWZHHQ�WKH�YDULRXV�LPDJHV��7UHHV�DUH�H[WUHPHO\�HҬHFWLYH�at masking some of the defects and harsh edges between the images while creating a ‘green’ aesthetic appeal.

To provide the completed image with a coherent light and atmos-phere, D�VHSLD�FRORXU�ºOWHU�DQG�DQ�RYHUOD\�RI�UDLQ�LV�DGGHG��)LJ�����

It remains important in this montage example to remind the audience WKDW�WKH�LPDJH�LV�PHUHO\�DQ�LOOXVLRQ��VR�D�ºQDO�JUXQJH�WH[WXUH��)LJ�����LV�RYHUODLQ�DORQJ�ZLWK�VLOKRXHWWHV�RI�SHRSOH�DQG�ELUGV��)LJ������JHQHUDWLQJ�DQ�LOOXVLRQLVWLF�SKRWR�LOOXVWUDWLRQ�OLNH�HҬHFW��)LJ�����

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Page 9: Magical Architecture Photography Manipulation - Architectural

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Page 10: Magical Architecture Photography Manipulation - Architectural

��

"Magic is the theatrical

linking of a cause with an

HҬHFW�WKDW�KDV�QR�EDVLV�LQ�physical reality, but that -

in our hearts - ought to."

-Teller

Page 11: Magical Architecture Photography Manipulation - Architectural

��HIGH DYNAMIC RANGE

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When photographing a high constrast scene, images are often washed RXW�RU�XQGHUH[SRVHG�GXH�WR�WKH�OLPLWDWLRQV�RI�WKH�ºOP�QHJDWLYH�RU�WKH�FDP-HUD�VHQVRU��7KH�FDPHUD�RQO\�GLVWLOV�D�SUHVFULEHG�TXDQWLW\�RI�OLJKW�ZLWK�RQH�H[SRVXUH��ZKLOH�WKH�KXPDQ�H\H�DXWRPDWLFDOO\�DGMXVWV�WR�YDU\LQJ�OLJKW�conditions. The dilation of the pupils allows the brain to record more in-formation than any camera could. Thus, even when viewing a scene with no FKDQJHV�LQ�OLJKWLQJ��WKH�H\H�VHQVLWLYHO\�DGMXVWV�DV�WKH�IRFXV�VKLIWV�IURP�one area to another.

+LJK�'\QDPLF�5DQJH��+'5��3KRWRJUDSK\�LV�D�GLJLWDOO\�LQWHOOLJHQW�stitching of two or more varying exposures of the same scene to produce one image that is representative in both dark and bright areas. The human H\H�FDQ�UHFRJQLVH�FRQWUDVW�UDWLRV�RI�XS�WR����������ZKLOH�D�GLJLWDO�FDPHUD�UHFRUGV�RQO\���������DQG�ºOP�QHJDWLYHV�MXVW��������VR�WKH�XVH�RI�+'5�EH-FRPHV�D�ZD\�WR�FRPSHQVDWH�IRU�WKH�LQDGHTXDF\�RI�WKH�DSSDUDWXVHV���

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2QH�RI�WKH�HDUOLHVW�LPDJHV�WR�EH�PDQLSXODWHG�WR�LPSURYH�OLJKW�TXDOL-WLHV�LV�D�ODQGVFDSH�SKRWRJUDSK�RI�&DSH�+RUQ�E\�&DUOHWRQ�(��:DWNLQV�LQ�������)LJ����������7KH�VN\�ZDV�H[SRVHG�VHSDUDWHO\�DQG�SDVWHG�LQWR�WKH�ºUVW�LP-DJH�WR�FRPSHQVDWH�IRU�WKH�PLVVLQJ�GHWDLOV�LQ�WKH�ºUVW�H[SRVXUH��� This is a clear manipulation of the original photograph but in fact might be a more faithful representation of what the photographer saw, as the camera failed to capture the all the details due to its lack of sensitivity.

�� �� ��

),*�� FIG.2

Page 12: Magical Architecture Photography Manipulation - Architectural

��&KDUOHV�:\FNRҬ��D�SKRWR�FKHPLVW��GHYHORSHG�D�WHFKQLTXH�LQ�WKH�����V�

IRU�WKH�86�JRYHUQPHQW�WR�GRFXPHQW�QXFOHDU�H[SORVLRQ�WHVWV����8VLQJ�WRQH�UH-PDSSLQJ��ºOP�OD\HUV�H[SRVHG�DW�YDULRXV�OHYHOV�ZHUH�FRPELQHG�LQWR�RQH�VLQ-JOH�LPDJH��FUHDWLQJ�D�JUHDWHU�G\QDPLF�UDQJH��)LJ�������,Q�������WKH�FRP-SXWHU�JUDSKLFV�UHVHDUFKHU�3DXO�'HEHYHF�GUHZ�XSRQ�WKHRUHWLFDO�PDWKHPDWLFV�WR�GHYHORS�DQ�LPDJLQJ�WHFKQRORJ\�WKDW�FRPELQHG�VHYHUDO�GLҬHUHQWO\�H[SRVHG�LPDJHV��WKXV�SURGXFLQJ�WKH�ºUVW�+'5�LPDJH���

$OWKRXJK�+'5�LPDJHV�KDYH�D�UHSXWDWLRQ�RI�ORRNLQJ�°IDNH±�RU�°GUHDP\�±�it could be argued that they are actually more accurate at representing WKH�UDQJH�RI�LQWHQVLW\�OHYHOV�IRXQG�LQ�UHDO�OLIH��,WV�PDJLFDO�HҬHFW�FRXOG�WKXV�EH�H[SODLQHG�E\�LWV�UHODWLYH�QHZQHVV�LQ�WKH�ºHOG�RI�SKRWRJUDSK\��$V�$UWKXU�&�&ODUNH�QRWHV���®$Q\�VXҬLFLHQWO\�DGYDQFHG�WHFKQRORJ\�LV�LQGLVWLQ-guishable from magic.”��

Nowadays, sophisticated hardware and software are able to capture several pictures simultaneously and fuse these images together instantane-RXVO\��7KH�L3KRQH�DQG�RWKHU�GLJLWDO�FDPHUDV�DOUHDG\�KDYH�+'5�DV�D�EXLOW�LQ�function. Thus, it is not unlikely for us to become increasingly accus-tomed to its rich detail and colourful appeal, and to take this aesthetic TXDOLW\�IRU�JUDQWHG�LQ�WKH�QH[W�IHZ�\HDUV�

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Page 13: Magical Architecture Photography Manipulation - Architectural

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7<,1�WHJQHVWXH�$UFKLWHFWV�IURP�1RUZD\�KDYH�EHHQ�HPSOR\LQJ�WKLV�WHFK-QLTXH�ZKHQ�SKRWRJUDSKLQJ�DQG�SUHVHQWLQJ�WKHLU�EXLOW�ZRUN��7KH�FRPSDQ\±V�humanitarian approach to architecture along with their visually stunning images have gained them a worldwide reputation, winning them the Europe-DQ�3UL]H�IRU�$UFKLWHFWXUH�LQ������DQG�D�0LHV�YDQ�GHU�5RKH�$ZDUG�LQ�������� +RZHYHU��PRVW�RI�WKH�DZDUGLQJ�ERGLHV�KDYH�QHYHU�VHHQ�7<,1±V�SURMHFWV�LQ�SHUVRQ�GXH�WR�WKHLU�UHPRWH�ORFDWLRQV��DQG�VR�TXHVWLRQV�RI�YHUDFLW\�DQG�DX-thenticity emerge again.

+DYLQJ�ZRUNHG�ZLWK�7<,1��,�IRXQG�RXW�WKDW�WKHLU�XVH�RI�WKH�+'5�WHFK-QLTXH�KDV�RIWHQ�EHHQ�FULWLFLVHG�IRU�ORRNLQJ�®IDNH¯�)LJ�������2WKHUV�KDYH�even asked when the buildings will be built - assuming that these imag-HV�ZHUH�FRPSXWHU�JHQHUDWHG��+HUH�ZH�VHH�WKH�UHYHUVDO�RI�&DUGLOOR±V�FDVH��where the real has been magically transformed into an illusion.

$UH�WKH�FRQFHUQV�RQO\�GXH�WR�WKH�WHFKQLTXH�EHLQJ�UHODWLYHO\�QHZ�DQG�not yet mainstream, or are they really over the exaggerated versions of reality?

$UW�DQG�VHFXODU�PDJLF±V�FRPSOH[�UHODWLRQVKLS�ZLWK�UHDOLW\�FRXOG�EH�UH�GHVFULEHG�XVLQJ�3LFDVVR±V�ZRUGV�DV�®OLHV�WKDW�WHOOV�WKH�WUXWK�¯���3KR-WRJUDSK\�KRZHYHU��PDNHV�D�FODLP�WR�EH�WUXWKIXO��3RVVLEO\�LWV�WUXWKIXOQHVV�lies not in the faithful replication of facts but in the creation of a convincing illusion.

�� ��

FIG.4

FIG.5

Page 14: Magical Architecture Photography Manipulation - Architectural

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3LFN�D�VFHQH�ZKHUH�WKHUH�DUH�H[LVWLQJ�KLJK�OHYHOV�RI�FRQWUDVW��)DVWHQ�the digital camera on a tripod and set the exposure to a correct level us-LQJ�LWV�EXLOW�LQ�OLJKW�PHWHU��7DNH�D�SKRWRJUDSK��)LJ�����:LWKRXW�FKDQJLQJ�WKH�SRVLWLRQ�RU�IRFXV�RI�WKH�FDPHUD��DGMXVW�WKH�H[SRVXUH�WR���OHYHOV�EH-ORZ�WKH�FRUUHFW�OHYHO�DQG�WDNH�DQRWKHU�SKRWRJUDSK��)LJ�����)LQDOO\��WDNH�D�WKLUG�SKRWRJUDSK�DQG�RYHUH[SRVH�LW�E\���OHYHOV��)LJ����

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'XH�WR�WKH�ULFK�WH[WXUH�RI�WKH�PDWHULDOV�LQ�WKH�VFHQH��WKH�ºQDO�LPDJH�becomes highly detailed and will appear slightly unreal, if not slightly HHULH��)LJ����),*��

FIG.7 ),*��

Page 15: Magical Architecture Photography Manipulation - Architectural

��

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Page 16: Magical Architecture Photography Manipulation - Architectural

��CONCLUSION

In his celebrated mediation on photography Camera Lucida��5RODQG�%DUWKHV�DUJXHV�WKDW�WKH�SKRWRJUDSK�LV�GHFHSWLYH�EHFDXVH�LWV�®SRZHU�RI�DX-thentication exceeds the power of representation”.�� The photograph claims WR�EH�DQ�REMHFWLYH�UHVXOW�RI�D�PDJLFDO�SKHQRPHQRQ�RI�QDWXUH��\HW�FDUULHV�potentially invented and structured meanings.�� We easily assume that it ®GRHV�QRW�LQYHQW��LW�LV�DXWKHQWLFDWLRQ�LWVHOI�¯�DQG�WKDW�®WKH�DUWLºFHV�LW�SHUPLWV�DUH�QRW�SUREDWLYH��WKH\�DUH��RQ�WKH�FRQWUDU\��WULFN�SLFWXUHV�¯22 Through the examples shown in this pamphlet, we begin to notice a blurring boundary and uncertainty betweeen ‘tricked’ and ‘untricked’ photographs.

'LVWLOOHG�LQ�D�SKRWRJUDSK��DUFKLWHFWXUDO�VSDFH��PDWHULDOLW\�DQG�VFDOH�are collapsed, altered, transformed and forever preserved in an ideal-L]HG�VWDWH��+RZHYHU��EXLOGLQJV�DUH�VXEMHFW�WR�D�FRQVWDQW�PRUSKRORJ\�LQ�the three-dimensional world, molded by the weather and by the activities RI�WKHLU�RFFXSDQWV��7KHVH�YDULDWLRQV�DUH�GLҬLFXOW��LI�QRW�LPSRVVLEOH��WR�FRQYH\�WKURXJK�DQ�LPDJH�VWLOO��<HW�DUFKLWHFWXUDO�HGXFDWLRQ�DQG�SURGXFWLRQ�remains highly dependent on the consumption and study of such potentially manipulated images which mediate between the imagined and the real.

With the advent of digital tools, it is becoming easier to manipulate DQG�KDUGHU�WR�GHWHFW�»DZV�LQ�°WULFNHG±�SKRWRJUDSKV��$V�D�UHVXOW��TXHVWLRQV�RI�DXWKHQWLFLW\�DQG�WKH�LQFUHDVLQJ�GLҬLFXOW\�WR�GLVWLQJXLVK�UHDOLW\�IURP�illusion are problematic in architectural representation. The magic of photographic manipulation is thus more and more often deployed for ideo-ORJLFDO�RU�SHUVRQDO�HQGV��DV�FDQ�EH�IRXQG�LQ�WKH�ZRUN�RI�$QWRQLR�&DUGLOOR��who uses rendered images to sell himself as an architect, and the stylised LPDJHV�WKDW�7<,1�WHJQHVWXH�XVH�WR�KHOS�DGYHUWLVH�WKHLU�KXPDQLWDULDQ�FDXV-HV��3KRWRJUDSK\±V�LQ»XHQWLDO�SRZHUV�DUH�XQGHQLDEOH��VR�LW�PLJKW�EH�EHVW�LI�we steer our focus towards its constructive ability to capture, motivate and imagine, while always being aware of its deceptive powers.

%\�DQDO\VLQJ�SKRWRJUDSKLF�PDQLSXODWLRQ�WKURXJK�WKH�ODQJXDJH�RI�VHF-XODU�PDJLF��ZH�FDQ�EHJLQ�WR�FKDUDFWHULVH�WKH�SRVVLEOH�GHºFLHQFLHV��VKRUW-FRPLQJ�DQG�GUDZEDFNV�LQ�RXU�RYHU�UHOLDQFH�XSRQ�LWV�WHFKQLTXHV��EXW�DOVR�realise its great potential as an imaginative tool for cultural and archi-tectural construction.

�� �� 22

Page 17: Magical Architecture Photography Manipulation - Architectural

��REFERENCES

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2. /DXULH�,UHODQG��,UHODQG±V�1HZ�&DUG�DQG�&RLQ�0DQLSXODWLRQ��&KLFDJR��7KH�,UHODQG�0DJLF�&R����������/D\RXW��FRYHU�GHVLJQ��DQG�LQWURGXFWRU\�SKUDVHV�ZHUH�LQVSLUHG�E\�WKLV�PDJLF�pamphlet.

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4. 6LQD�1DMDº�DQG�6LPRQ�'XULQJ��®0RGHUQ�(QFKDQWPHQWV��$Q�,QWHUYLHZ�ZLWK�6LPRQ�'XULQJ�¯�&DE-LQHW�0DJD]LQH��,VVXH����0DJLF�6XPPHU���������KWWS���ZZZ�FDELQHWPDJD]LQH�RUJ�LVVXHV����QDMDº�SKS��DFFHVVHG�1RYHPEHU�����������

5. 0LD�)LQHPDQ��)DNLQJ�,W��1HZ�<RUN��7KH�0HWURSROLWDQ�0XVHXP�RI�$UW��������������� Ibid.7. Ibid.��� /XLJL�3UHVWLQHQ]D�3XJOLVL��®3RVWFDUG�IURP�,WDO\�����$UFKLWHFW�)DFHV�,PDJHU\�6FDQGDO�¯�

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��� Ibid.����-RQDWKDQ�$OOHQ��®'HFHSWLRQLVWV�DW�:DU�¯�&DELQHW�0DJD]LQH��,VVXH����0DJLF�6XPPHU���������

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����Ibid.����Ibid.����$UWKXU�&��&ODUNH��3URºOHV�RI�7KH�)XWXUH���1HZ�<RUN��:DUQHU�%RRNV�,QF������������-RKQ�+LOO��®(XURSHDQ�3UL]H�IRU�$UFKLWHFWXUH�$ZDUGHG�WR�7<,1�7HJQHVWXH�¯�:RUOG�$UFKL-

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