The representation of an elevation view has meant since architectural photography exists a way to truthfully document the exact proportions of a building and accurately capture the detail of its parts.
Under this approach, elevation shots appear as frames in which the vanishing point of the image is placed in the center of the photographed structure and a flat lighting is used to reduce the depth of the shadows with the intention of recovering the linearity and two-dimensionality of an architectural drawing.
While it is true that an elevation shot can successfully document the information reflected in a drawing, when in the process of photographically interpreting a project I use elevations to focus attention on some elements that I want to highlight in my frame to graphically simplify its appearance –no matter if they are lines, shapes, colors or textures–, and to abstract them.
Probably it ends up that framing an elevation shot becomes very intuitive because the elements in the image are harmoniously arranged into the camera viewfinder very quickly and naturally. That’s why I know that if it takes me so much longer than usual to create a frame ... something is not working and I will finish rejecting that picture.