This reminds me of Frederick H Evans beautiful photographs of Wells Cathedral interior made over one hundred years ago. Strong, stately, formal and formally balanced (which reflects the nature of the architecture).
Though, in this instance the architecture of the Sagrada Familia is slightly more detailed and quirky, it nonetheless requires a serious and formal compositional approach. This has been achieved. The curve of the stairs leads neatly to the strongest component of the composition - the stained glass window.
Perhaps the only improvement for this rendition would be to reduce the yellow tinge, which is a little too strong.
This is a very complex series of interior spaces. The photographer has determined what the key components are and expertly composed those within the frame.
Everything is neatly balanced: the blue section at the base of frame; the central warmer space; the brighter space above. The edges of the photographic frame have been given due consideration – everything is parallel. The neat strip of silvery information helps to hold the base of the composition.
Though a very complex series of spaces – with a great deal of small detail – all are neatly positioned and balanced.
The single figure is perfectly positioned and acts as a final mark to sign off a very successful commercial interior photograph. Well done.
This is a very busy series of interior spaces. There is the foreground seating and coffee table space; the thoroughfare space beyond; and the bar space in the distanced. Within all these are very detailed lines, patterns, lights and colours. Such interior spaces and details are always difficult to corral into a balanced and calm composition. In this instance, the photographer has done an expert job to do just that. Everying is as it should be. I love the paraphenalia on the coffee table: the drinks, sunglasses, and what's that? a watermelon rind! Notice how these items relate with the reflections in the table's glass surface (a mini picture within a bigger picture). Whether intentional or not, I don't know, but it is such details that help to provide greater nuance to one's photographs.
Another near-perfectly composed photograph reflecting the symmetry of the space it represents.
When photographing architectural interiors, unless you have a specific compositional or conceptual reason not to, your photographs should give a true representation of the architectural design and integrity.
In this instance, well done.
This is an interesting composition as it has leading lines that take the eye away from the centre, up to another level on the right-hand side, and off into the distance on the left.
What is also interesting is the way the information in the centre of frame: the underside of the stairs above, and the lower level bar(?) space below, seem melded as single entity.
I also like the way leading lines take the viewer's gaze out of frame top left, and off to the right (the stair-lines), and left (the ceiling lines)>
There were many photographs submitted within this competition that provided great views of interior atriums and ceilings. I was particularly drawn to this photograph.
There was opportunity with this space to simplify the composition (perhaps limit the number of vaulted volumes to include within the camera's frame). In this instance, however the photographer has made things difficult for themselves and included much more architectural information (I like seeing photographers challenge themselves).
What is pleasing with this composition is that the eye neatly moves around the photograph: from the dominant vault (that triangular shape that takes up much of the frame), to the bright atrium ceiling to the left, and the warm band of information bottom right. The latter includes signage detail that indicates this is NOT a lauded European architectural site, and thus acts (whether intentional or not, I do not know) as a humourous constrast to the formal reading of the architecture.
A contemporary interior passageway has been captured perfectly in this photograph. The clean, minimalist design, with its bright colours and repetitive lines and shapes, has been carefully composed within the frame. The simplicity of the space: floor, ceiling, walls either side, includes a gentle curve that starts to our left and leads to the far right.
It is the figures which help to complete this photograph – the blurry couple in the foreground and the singleton in the distance. They help to provide action and scale and also contrast the hard lines and shapes of the space.
This is a potentially complex space to photograph. There are many lines, shapes, and surfaces to deal with. The photographer, though has used a classic "rule of thirds" approach to help us "read" this information neatly. If you follow the lines of perspective (the line dividing the grey carpet from the light stone; the line of white strip lights; the lines of overhead architecture) they all lead to the glazed section in the distance. This is positioned roughly one third of the way into the frame.
There is enough space around the quartet of chairs in the foreground for the eye to circle and move to the sofas at right, before then following the leading lines to the glazing in the distance.
The dramatic lines, shapes and colours of this interior space are obviously its most attractive aspect. They create a vibrancy and dynamism that arrests our attention. What is pleasing is how the photographer has balanced this information and provided snippets of other info beyond the bold shapes and colours.
Notice how an upper level has been used as a simple triangular shape in the top left corner of frame, and opposite that is another triangular shape (revealing railings and viewing access), and then the reception desk bottom left. These "triangles" of architecture nestled in each corner, help to hold the composition within the frame. They also provide an indication of spaces beyond.
A very simple interior space, which should be easily photographed. This photograph does almost everything to perfectly capture that simplicity. The one-point perspective* view is an obvious approach to take with this set of photographs by Rineke Dijkstra. The photographs include single figures looking directly at camera. It is natural that the camera's position reciprocates such an approach.
Though the camera's position is not perfectly composed (notice the line where the wall meets the floor is slightly crooked), this is not crucial (though, any more crooked and it would). In its favour is the moving spectator, who is perfectly positioned in relation to the blank wall behind and suitably blurred.
A complex interior space further complicated by difficult lighting. However, the photographer has created a balance between the intricate upper architectural details and the pedestrian level contrasts.
There is a mixture of shadows and light pools in the lower level. The manner that two figures have been captured within one pool leaves a sharp accent to this image.
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A simple interior space, perfectly composed through another one-point perspective composition. The glowing set of five window strips hold our immediate attention. Then we glance down to the glowing (horizontal) entry strip, and to the blurred figures. The red figures acts as a small visual note to offset the soft green/yellow hues of the fabulous Turbine Hall in Tate Modern.
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These are interiors of commercial buildings - offices, banks, retail premises, shopping malls, hotels, hospitals, public buildings and any other kind of non-residential building. They have to combine the required functionality of that building with a style that matches the usage and possibly the brand that occupies or owns the building. Shooting commercial interiors will usually require permission from the owner, but this is not often withheld, although the use of tripods when the public are around can occasionally be considered a health and safety issue.
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It is very important when making a photograph of formal architectural symmetry, that the photographic composition (that is attempting to illustrate that symmetry) is equally perfectly symmentrical. This photograph is about as perfectly symmetrical as it gets (not withstanding that the building would no doubt have literally shifted over time).
