Weather plays an essential role in the work of an architectural photographer. Every day, I compare three different weather apps to create the most accurate forecast possible for the next 48 hours (longer-term forecasts are usually just rough trends). A large proportion of my clients would like a subscription to blue skies with fluffy clouds. But is this the right approach to determining the best weather for photographing a property? To answer this, we should ask ourselves the following question: What actually is weather?

Puente Romano De Córdoba in Spain Cityscapes photo series about skylines and city views from all over the world

Weather is sky

When we talk about photography and weather, we are usually talking about the sky that we see in the photograph. Depending on its appearance, this sky conveys very different messages. A blue sky with no or hardly any cloud makes us feel positive. We associate it with warmth and the release of endorphins. Our body is signaled that there are no dangers from storms outside, which allows us to relax. Most people are drawn outside to the garden or nature in such weather. And that is the crux of the matter. A sunny sky emphasizes the exterior of a building. If these are not very advantageous photographically, this quickly leads to disappointment for the viewer. Who wants to sit in a poorly maintained 50 square meter garden in glorious sunshine?! In contrast, if the exterior is beautifully inviting to linger and marvel at, then the blue sky is the perfect counterpart.

Hotel photo shoot at the H2 Hotel Munich

In addition to the blue sky, there are two main groups, cloudy and overcast skies. Cloudy skies are 50% or more covered by clouds, but still occasionally show the blue sky. They bring a certain drama. Who doesn't know the huge cloud formations that pile up in summer on the lake when the water rises from our bathing areas into the sky. When these gas structures extend kilometers into the sky, it awakens a reverence in us. This reverence is also well transferred to the architecture in a photo. Sublime architectural works thus gain even more power and dynamism and are sure to leave a lasting impression. When a storm is brewing, people are also instinctively drawn back into their caves. They seek refuge and security and instinctively evaluate a house from this perspective. The focus is on the house.

Now to the third category, the overcast sky. Mostly unloved, but especially in the cold season a constant companion in Germany. The gray sky provides neutrality in the picture. This can be good, but it is also often associated with a feeling of sadness and listlessness. When it pairs with fog, it can create a very exciting, ominous aura that lifts an architectural photograph to a completely different level. Otherwise, its use is highly dependent on the architecture. Buildings with a lot of exposed concrete in particular often look very exciting due to the tone-on-tone effect. It is generally not suitable for the classic sales image. But it is an exciting challenge for images with an artistic claim.

Master's House in the Bauhaus style, Dessau

Weather is light

"Can't you just Photoshop a blue sky into the picture?" If I got a euro for every time I heard that sentence... The answer to this question is clarified by the light that prevails during the shot.

With a cloudless sky, the sun casts hard shadows on the house and its surroundings. It is therefore of great importance to plan the architectural photo shoot with the course of the sun so that prominent views of the property are illuminated and thus brought into focus. The strong contrasts between light and dark model textures beautifully in surfaces and shapes of the building. If you master the sunlight, then carefully planned houses become real works of art. However, if the main side of the house has a north-facing orientation and is therefore in shadow all day with a bright backlight, then direct sun is often not a good idea. In interior photos, there are two further challenges. If the sunlight falls directly into the room through the windows, this can result in unwanted, difficult-to-balance streaks of light. This can be prevented by temporarily covering the windows, but it means more time and work during the photo shoot. In addition, the contrast between interior and exterior is much greater, which, especially with shots using only natural light, leads to the window view "burning out" and appearing white. However, flashes and HDR blending can help with larger productions.

Architectural photography of the Marco Polo Tower office building by Behnisch Architekten in Hamburg

With a cloudy sky, the house is enveloped in a silky, soft light. The denser the clouds, the less you can see a direction of light in the picture. Shadows disappear completely and you see the entire house evenly illuminated. This helps when it comes to looking at the architecture of the property objectively. Differently oriented parts of the house are not interrupted by dark shadows and the constructive structure of the house can be easily understood in a uniform manner. If architects want to show lighting concepts in interior photography, then the lamps gain a lot of radiance in overcast skies, as they no longer have to fight against the bright sun.

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Architectural photograph of the office building of the Behörde für Stadtentwicklung (Authority for Urban Development) in Hamburg by Sauerbruch & Hutton architects

This leaves the question from the beginning of the paragraph to be answered. It depends! If the lighting mood between the sky and the foreground is not right, then our brain registers this immediately and we ask ourselves what is going wrong in the picture. This is the question that we usually want to avoid. What does work is replacing an overcast sky with a cloudy sky. Here it is understandable that a large cloud is just passing over the house and obscuring the sunlight, even if blue patches are visible in the sky.

Architectural photograph of the Elbphilharmonie in Hamburg at dusk

Weather is precipitation

Rain showers, snowstorms, hailstorms. I think I've photographed houses in every kind of precipitation. Snow and hail are usually conditions to be avoided, unless you want to showcase the particularly resistant roof construction or a snow-safe ski resort. Rain, on the other hand, can create a certain charm. In the air, like fog, it creates a mysterious atmosphere and can bring out the warmth and comfort of the interior. Wet stone or asphalt surfaces also reflect light and bring a great shine to evening shots.

Country road in Germany in the rain with a car

When considering the best weather conditions, it always depends on the desired mood, location, and nature of the object. Commercial productions are often subject to time constraints, requiring one to make the best of the prevailing situation. For optimal image results, the client should coordinate with their photographer before the shoot and allow for some flexibility in scheduling the photo shoot.

P.S. The time of day an property is photographed has a significant impact on its effect and is closely related to the weather. But that's a topic for another post.

Would you like images with just the right weather for your next advertisement? Then please arrange an appointment with me.