My 1 Year Olds Gead Is Hot But No Fever Interior Photography: Equipment and Techniques for the Architectural and Interior Photographer

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Interior Photography: Equipment and Techniques for the Architectural and Interior Photographer

As with all art forms, the quality of light is an essential component of creation, and this is true for photography as well; especially when it comes to architectural and interior photography. Whether it’s lighting for hotel photography, residential interiors or larger architectural corporate interiors, light defines the textures, planes and atmosphere of a space, and a professional architectural photographer uses light to soften and reveal these features in the photographed space. Light is used to direct the viewer’s eye to areas of interest, separate spaces and planes, and create the illusion of light flooding the interior. Light defines the space! Textures and colors can only be made visible with light, and while the trend these days is to shoot “natural light,” which is just a euphemism for ambient or available light (with or without supplemental lighting) in almost every situation, judicious use Additional lighting produces a much better quality interior photo.

There is no reason to buy the “latest and greatest” system. My lights are basic Balcar flashers with 2400 and 5000 watt power supplies. They are over 25 and doing well. I say this because light is just light – what matters is how you use it.

Lighting equipment:

Flash system: I usually travel with 25,000 watts (about 7 power supplies and 12 flash heads) and use it all often. However, this is not necessary to achieve good lighting. Although my style and lighting setups are usually complicated, a much simpler setup can produce a nice effect.

The advantages of the flashing lighting system are as follows:

a) The ability to overcome or balance ambient light.

b) Converting the color temperature of the flash head, which is daylight (5K), to other light sources. i.e. tungsten or fluorescent.

c) The possibility of controlling the shutter speed exposure. This is critical if there is strong interior sunlight or if you want to capture an exterior image through a window.

If one were to only have one lighting system, I highly recommend a high power flash system with 4-6 flash heads with enough power supplies to run at 1200 WS per head.

Other lighting systems I work with:

Professional studio lights If the primary light source is tungsten, I will use “hot lights” or studio lights.

These “hot lights”, either spots or floods, are balanced to 3200K, so a 1/8 CTO (Rosco #3410) correction is required, otherwise these lights will look too cold compared to the rest of the scene where the lighting is tungsten .

Modeling lights in my flash heads: to complement ambient tungsten lighting. These lamps do not require additional color correction because their color temperature is very close to that of tungsten lamps – especially when dialed at full power. I also like the quality of the light from the modeling lights – directional but not too strong.

PAR bulbs: I also use regular light bulbs (30-75 watt perfumes for spot and flood) in cheap “work lamp” reflectors. These lights are used to spot and open up small areas and are very useful for creating drama and interest. I also use these lamps to illuminate the exterior of buildings at night. With these bulbs, a beautiful lighting system can be put together very economically.

Other light control “tools” I use:

A wide selection of umbrellas for charging lighting.” Big, small, hard, soft, scattered and “diagonal”.

Grid points: Focusing the light for a “spot” effect.

“Black wrap” film: Placement of reflectors to control light scattering and light direction; Also for gobos – to shield light from reaching the surface or prevent light from entering the camera lens and causing flare. The greater the distance from the light source, the more precise the control.

Various diffusion sheets to shift and scatter the lights. The greater the distance from the light source, the more diffuse the effect.

ND filters because above the lights. ½ stop, 1 stop and 2 stops.

Black chiffon material: Placing the top 1/3 or 1/2 of the umbrellas to keep light from the ceiling or sides; it is also effective when extended to reduce the light of the window or the adjacent room.

“Mathews” flags and stripes: to turn off the lamp by turning off the flag.

Reflector cards: white and silver, to reflect light to fill or reflect, or to block or subtract light.

Radio and optical slave: to launch flash packages remotely.

Rosco (Lee also makes these) Conversion Light Gels: how go through the flash heads to convert the color temperature:

I use ½ CTO (Roscosun #3408) to color balance the flash (5000k) and tungsten (2900k). (Full CTO Roscosun #3407 in the film days) required conversion, but I find that digitally ½ CTO works well. In some situations a ¾ CTO conversion may be required (½ CTO 3408+ ¼ CTO 3409).

In mixed daylight and tungsten light conditions, ½-¼ CTO works well.

In a commercial setting (fluorescent or metal halide) I usually use Rosco tough ½ plus green, which, while only half correction from daylight to cool white fluorescent, is plenty for digital media. In the film days, a full hard minus green (3304) filter was needed, but that’s too much for digital.

I find that most modern lighting in commercial spaces is much warmer than the old standard “cool white fluorescents” so I usually use Rosco ½ hard plus green AND a ¼ CTO (3409) or ½ CTO (3408) to warm up the color. temperature.

Rosco also makes CC filters over the Studio heat lamps – but I don’t use them much anymore: Converting the 3200 to Daylight: Rosco 3202 Full Blue

To convert a 3200 half-day to a 4100: Rosco 3204 Half Blue

Converting 3200 to 3800 Rosco 3206 Third Blue

Lighting is a critical factor in quality architectural and interior photography and should be considered a key component, no less important than composition, color and contrast. The right use of light maintains the right color balance, vividly reveals textures and colors, and can create dramatic lighting conditions that wouldn’t be possible if the scene was photographed using only ambient light. While a small fortune could be spent on lighting equipment, it is by no means necessary. You can keep an eye out for older equipment on the used market, and with patience you can get a collection of the right equipment very cheaply.

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