Faces of the City - Architecture


	A broad river running through a city gives you room to manoeuvre and compose an unobstructed wide shot.

	For general views of Cape Town, I shot from across the bay towards Table Mountain, then from a nearby hill overlooking the city centre. The latter elevated viewpoint also allows you to pick out a section of the city.

These places are defined by crowds of weird and wonderful people, traffic congestion often approaching gridlock, plenty of polluted air to breathe and a cacophony of noise all day and half the night. In addition there's never anywhere to park, litter everywhere and property prices way up in the stratosphere. So who in their right mind heads for the city? The answer, of course, is you when seeking the best concentrations of buildings and structures to photograph.

Cityscapes and other urban environments have become a distinct field of photography, echoing the fact that more and more of us spend our time living or working - sometimes both - in these densely populated regions. Through differences in style, size, location, there's ample scope for artistic interpretation, and though broadly similar to its counterparts every city has its own individuality too. It is these distinctions and highlights that architectural photographers should seek out.

So how do you go about portraying a city and its finest architectural features? There are many ways to tackle such a project, and I've outlined several useful approaches here. Before you head off with your camera, some prior research may prove time well spent, especially if you are unfamiliar with the layout of your subject. Guide books and previously published pictures will reveal clues as to good viewpoints and times of day to shoot, as well as some difficulties and opportunities faced by photographers who preceded you. Use this type of material not to plagiarise, but to point you in the right direction at the outset.

A good starting point is the establishing or wide shot, to give a clear general view of the urban area including some of its principal features. Usually the problem here is that buildings are so concentrated together you need a bit of room to afford a suitable vantage point. All kinds of things will seem to obstruct you - other buildings, pylons, lampposts, overhead cables and advertising hoardings. So if there's a broad river running through the city, or a large lake, check this out as this gives an open aspect and a bit of breathing space to shoot from. The same applies to a public park or other green space.

Sometimes the only other way to capture an attractive wide shot is to adopt an elevated camera position, from the balcony or rooftop of a high-rise building in the city itself. Several types of shots can be taken from such a vantage point, though a zoom's flexibility is handy to cut out irrelevant foreground details. Sometimes there's a handy neighbouring hill, though the extra distance may necessitate a mid to long telephoto lens. If your chosen city is by the sea, hire a boat for a distinctive off-shore view, or shoot across the bay to capture its natural sweep by the buildings. Bridges with the city as a backdrop can also make an effective composition.


	By all means shoot a city's famous sights, but try to give them a new slant or strong lighting if possible. In these two images taken in Bath, I included the church tower behind the Roman baths for depth, and waited until shadows crept onto the curved facade of The Circus.

By all means shoot famous landmarks and monuments. This popular facet of the city is by no means obligatory, but if you do tackle it, try to treat these often hackneyed subjects with a bit of panache. A very long or ultra short focal length will give a different feel to familiar sights and scenes, or go for an unusual juxtaposition or a reflection of a familiar sight in another surface.

As commuters pour into and out of the city at each end of the day, rush hour provides an absorbing opportunity for capturing the hectic pace of city life. If you position yourself at some of the bottlenecks of activity, such as railway or subway station exits for pedestrians, or where traffic lanes merge or cross such as busy junctions or roundabouts, you'll have a moving counterpoint to the static structures.


	Use passers-by to add life to your city compositions. This shot would have looked empty without the couple punting.

At night many cities spring to life, shaking off their often humdrum appearance in favour of an exciting vibrancy. An entertainment or shopping district offers the greatest concentration of street lights and illuminated signs, while flowing vehicular traffic can produce lovely light trails given a lengthy time exposure. Look out for buildings that are specially floodlit as these can be transformed compared to their regular daylit character.

There are several variables to take into account with night scenes of buildings - the time of year you visit the city and how early darkness falls, how late in the evening buildings are occupied and lit, and weather conditions. If things conspire well together and there's a little light in the sky too behind your composition rather than inky blackness, that sounds like a winning recipe!


Aim for the unusual - there may be little colour here but the silhouette lighting high up on the Castle of St George in Lisbon, Portugal is delightful. Note the suspension bridge adding interest to the background.

Street signs and billboards are all part of the American city scene, especially a place like Las Vegas. I used a long telephoto, selective focusing and a fast, grainy film for extra atmosphere.

For a change of emphasis, quieter moments and tranquil corners can always be found amidst the hustle and bustle. Streets can be eerily calm and empty in the very early morning in business districts, and on non-working days. Large squares that are normally crowded with people and vehicles can look very different and almost ghostly when nobody is about.

Rome may have been built in a day but most cities have grown in piecemeal fashion, adding bits here and there and filling in development as buildings became old or redundant. Some of this chaotic planning can lead to highly photogenic juxtapositions, with older edifices still thriving amidst newer structures. Keep an eye out for contrasting styles and scale.

A word of warning is salutary at this point, as we live in dangerous times and cities are where the bulk of crimes are committed. I speak from experience, having been violently mugged by a gang of guys in the centre of Johannesburg in broad daylight - one second I was concentrating on taking pictures, the next I was knocked to the ground, a knife at my chest and all my valuable gear heading off into the distance. Very frightening, but I now consider I got off lightly considering how cheaply life is taken over there.

To avoid becoming a victim and another statistic, take sensible precautions if possible, such as travelling with a friend or group rather rather alone. Be as inconspicuous as possible, though that's not easy with a tripod in tow, take special care at night and keep your wits about you at all times.

	Use movement to add action to your city scenes. This shopping centre was exposed at 1/2 second, so some people are blurred and others perfectly static.
			Cities come alive at night, so use long time exposures to capture light trails created by traffic