Max Baumann, Matthias Hoch, Frank-Heinrich
Mu ̈ller, Frank Silberbach, Marion Wenzel, and
Thomas Wolf, among others. When the school
was reformed in 1991, the interest in Architectural
Photography shifted similar to the Becher class
from architectural documentation towards the dis-
tance between reality and imagery, only Frank
Mu ̈ller, Annett Stuth, and Thilo Ku ̈hne stuck to
Architectural Photography. As usual in academic
training, the Becher class reproduced itself: Tho-
mas Struth and Candida Ho ̈fer gained seats in
Karlsruhe and inspired students like Mona Breede.
A number of other teachers in European and
American academies and universities incorporated
Architectural Photography more or less willingly
into their curricula as was asked by the students.
Some photographers with a background in ar-
chitecture, sculpture, engineering, or even compu-
ter science announced themselves in the late 1980s
and early 1990s as the heralds of late modernism
or new constructivism in Architectural Photogra-
phy. Tomas Riehle came from the Du ̈sseldorf
academy having studied sculpture, Richard Bryant
settled in the United Kingdom after leaving his
native South Africa for the United States, Heiner
Leiska became one of the best model photogra-
phers in the world after a career in computer-aided
construction. The German Klaus Kinold and the
Austrian Eduard Huber, working in New York,
were trained architects but concentrated on photo-
graphy in their subsequent work. Today, in most
architectural departments of design schools, aca-
demies, and universities Architectural Photogra-
phy is an integral part of basic instruction. There
still is a large need for good Architectural Photo-
graphy in magazines, books, and on websites but
it is clear to see that the field will have had its days
within the next decade.
Virtual Reality had found its way into archi-
tecture, and it has crept into the work of model
builders, master draftmen, and finally into photo-
graphy. The results of computer-aided design at
the end of the twentieth century finally left the
plainness of scattered lines and flat surfaces to
become more and more integrated into a form
of photomontage. A simple photograph of a site
is melded into an image of forthcoming construc-
tions, and in more and more cases it is animated
in one form of movement or another. Another
development is of similar importance to the
future of Architectural Photography: the fame of
an architect is no longer dependent on the reali-
zation of his buildings. A good presentation at
competitions, perfect CAAD visualizations of
projects, a book or two with a wealth of text—
all lead more to international acclaim rather than
the actual building. Architectural Photography
has lost its basic function but it is now recognized
as fine art.
ROLFSachsseSeealsoAbbott, Berenice; Aerial Photography; Agit-
prop; Bauhaus; Atget, Euge ́ne; Becher, Hilla and
Bernd; Bourke-White, Margaret; Brandt, Bill; Brassaı ̈;
Burgin, Victor; Cartier-Bresson, Henri; Conceptual
Photography; Doisneau, Robert; Eggleston, William;
van der Elsken, Ed; Evans, Frederick Henry; Evans,
Walker; Gohlke, Frank; Gursky, Andreas; Hine,
Lewis; Hu ̈tte, Axel; Industrial Photography; Kerte ́sz,
Andre ́;Kessels,Willy;Laughlin,ClarenceJohn;
Linked Ring Brotherhood; Man Ray; Meyerowitz,
Joel; Modernism; Morath, Inge; Morris, Wright;
Museum of Modern Art; Olson, Lennart; Parr, Mar-
tin; Plowden, David; Propaganda; Ray-Jones, Tony;
Renger-Patzsch, Albert; Riis, Jacob; Ruff, Thomas;
Sander, August; Sheeler, Charles; Shore, Stephen;
Steichen, Edward; Stieglitz, Alfred; Struth, Thomas;
Sudek, Joseph; Szarkowski, John; Tabard, Maurice;
Uelsman, Jerry; Virtual RealityFurther Reading
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