Photo: GORK
Geo: RU, ES, FR, IT, HU
I came across an interesting article titled: The Ig Effect: How Vertical Photography is Reshaping the Way We See Architecture. Read the full version, and I will highlight a few key points:
The logic of the last point is clear, but my brain refuses to accept it.
From personal experience, I would add that 60−80% of my shots are in 9:16. By using the entire screen area of a smartphone, we can convey more information to the viewer. Stories have trained me to shoot vertically. This composition sometimes poses challenges to fit everything desired in the frame, but it is equally applicable to horizontal projections. In the studio, by the way, it’s the opposite: over 90% of renders are 16:9.
P. S. There’s an interesting case: marketers believe that any render can be chopped into vertical fragments, giving you three renders. For an experiment: try to break down Surikov’s Boyarynya Morozova or another artist’s work into a triptych while preserving compositional meaning. I insist that the original author’s perspective is the only correct one. Crops are permissible but only as supplementary material. If you need vertical frames, it should be part of the brief.
@gorkjournal
Geo: RU, ES, FR, IT, HU
I came across an interesting article titled: The Ig Effect: How Vertical Photography is Reshaping the Way We See Architecture. Read the full version, and I will highlight a few key points:
- Smartphones and social networks like TikTok and Instagram have changed the usual format of visual content to vertical images.
- The traditional wide shot conveys the scale, context, and interaction of buildings with their environment. Architecture in vertical shots is perceived as a separate object, detached from the urban environment.
- The vertical format simplifies the perception of modern cities, where architecture, like skyscrapers, reaches upward. It becomes a challenge to maintain expressiveness in the frame for low and sprawling structures.
- Considering that many projects are created with an eye on response and success on social media, the author suggests that the vertical format may become a condition to consider when forming a building’s concept.
The logic of the last point is clear, but my brain refuses to accept it.
From personal experience, I would add that 60−80% of my shots are in 9:16. By using the entire screen area of a smartphone, we can convey more information to the viewer. Stories have trained me to shoot vertically. This composition sometimes poses challenges to fit everything desired in the frame, but it is equally applicable to horizontal projections. In the studio, by the way, it’s the opposite: over 90% of renders are 16:9.
P. S. There’s an interesting case: marketers believe that any render can be chopped into vertical fragments, giving you three renders. For an experiment: try to break down Surikov’s Boyarynya Morozova or another artist’s work into a triptych while preserving compositional meaning. I insist that the original author’s perspective is the only correct one. Crops are permissible but only as supplementary material. If you need vertical frames, it should be part of the brief.
@gorkjournal