Architectural photography, in order to fulfil its charter, has to be explanatory and illustrative; it has to show the reader how the building works, how it feels to be beside or within it, and how it looks: it has to be informative.
As part of any coverage of a project, I think it’s important to include an impression, an interpretation, however symbolic or romantic – if for nothing else then to show how you personally feel about the building.
There is magic somewhere in most things, and it is good to take a bit of it home.

ANTHONY BROWELL
Referencehttp://www.archmedia.com.au/aa/aaissue.php?issueid=200407&article=15&typeon=3shapeimage_1_link_0
I decided to trace the beginnings of our age via architecture. Pushing my old large-format camera’s focal length out to twice-infinity—with no stops on the bellows rail, the view through the lens was an utter blur—I discovered that superlative architecture survives, however dissolved, the onslaught of blurred photography. Thus I began erosion-testing architecture for durability, completely melting away many of the buildings in the process.

HIROSHI SUGIMOTO
Referencehttp://www.sugimotohiroshi.com/architecture.htmlshapeimage_2_link_0
It is strange that, in an age so alive with scientific thought, we still have the spectacle of make-believe pervading the practice of photography ... We attempt to idealise the subject instead of assessing its value as an objective fact. As Lewis Mumford said, the mission of the photograph is to clarify the subject.

MAX DUPAIN
Referencehttp://www.archmedia.com.au/aa/aaissue.php?issueid=200407&article=15&typeon=3shapeimage_3_link_0

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