ARTIFICIAL LIGHTS: Do you really need them in the digital age?
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- Опубликовано: 6 окт 2024
- Do you really need artificial lights for architectural photography in the digital age?
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Dear Steven. A great video. I use this layering technique extensively in my church interior images. I take up to seven exposures and layer mask manually. I have not used the hilite dodge, but have used the color dodge blend mode with a soft brush at 3-6 % flow. I am going to try your hilite dodge method on the next project. Thank you for generously sharing your experience and expertise.
Thanks Steve, precious video as always. You deserve more visibility on youtube
To reiterate: artificial lighting can often help. Is it absolutely necessary - I think not. In part, the purpose of this video is to let photographers just starting out and students studying architectural photography, often on budget, know that they need not purchase a set of lights immediately, and that they can produce professional-quality photographs for clients at any level of the client spectrum.
• Small areas of color mismatches can be fixed with Hue/Saturation.
• Smaller, over-exposed areas can be handled with layering and careful burning.
• For the record, almost half the art museums, museum houses and churches I have recently photographed for my books have prohibited lights, especially strobes, so as to protect their artwork and fabrics. If you haven’t had such restrictions, consider yourself lucky.
you should pin your comments
Thank you Steven. This is super helpful as always. I'm now going to watch your layering and highlight dodge videos.
This was awesome. Thank you for covering the important topics. So many hobbyists with expensive cameras in my area undercutting experience makes me want to get into several niches.
yes you really need it !!!! not to make window pulls but to avoid outwashed highlighted surface, using just a part or a color blend mode on photoshop. At the high end of the architecture spectrum and interior design, it is impossible to work without having light support to create the type of image they expect.
on your images you have loads of exemple where a flash would have being better, on the floors on the table where the bluecast overwrite the fourniture color
There is no way people "dont let you bring light", i never heard this my life, maybe a museum but even if you are commissoned i'm sure they let you use light...this might be a bit outdated
the problem with light is that people are lazy to learn how to use them but once you know it your photography takes a huge gap.
Not only do you need lighting gear but you need strobes, hot lights, and grip equipment to employ depending on the situation.
Thanks again Steven. I'll re-emphasize the point you made about how long it takes to set up lighting. It's typically better to spend your time focused on composing and taking advantage of the natural light (shooting at the right time). That said, it's invaluable to learn how to light a scene because inevitable you will run into situations where it's necessary. It is a trade off between how many photos you can get when you use lighting-this is why so many photographers use assistants.
Most of my strobe use is intended to deal with color cast... I prefer my scenes to be primarily daylight temperature which means shooting with lights off and adding strobes as necessary. I'm still working on "sculpting" the lighting in my scenes... very difficult when your scene is a large room and you have uncontrollable light sources!
Agree. Esp. when you see the "flambiant" flash photos, which look quite unnatural.
It's all down to how you blend it in Photoshop... but it certainly can look very unnatural!
@@ColinRobertson_LLAP in my opinion, architects and interior designer spend a lot of time to create the "feeling" of a room. With window light, artificial light and so on. Then the photographer comes and flashes all away :) but yes some do it very decent
Flambient is quick if you’re a real estate photographer; especially for blending windows with views. If done well it looks good. Funny thing is that most tutorials on the subject claim it’s used to knock out colour casts; yet they still have to mask off the ceiling and whiten/brighten it because it is yellow. There’s lots of ways to knock out colour casts in photoshop.
Great information as always Steven.
Instead of dodge highlight tool on Photoshop, why not use gradient masks in LRC?
Thanks Steven. Regarding the PC 24mm lens, I would be interested in your analysis of how a high MP camera, 14mm lens and digital perspective correction does or does not substitute for optical correction. Thanks!
The high MP camera with a 14mm (non-PC lens) lens will certainly have great fidelity. However, I continue to recommend a PC lens for the almost limitless compositional flexibility it affords.
Here is an commonly occurring example: interior photograph, on axis, with all the elements arranged carefully. If I wish to move the view a bit to the left or right, with a PC lens I simply shift the view. I remain on axis with all the elements in exactly the same arrangement to each other. With a non-PC lens, I either have to pan the camera left or right, losing my axial view, or reposition my camera, thus losing the precise arrangement of the elements that I have just set up. Further, I always prefer to see in-camera exactly what I am composing, rather than imagining what it will look like after I realign the image in post-production. Stitching for photomerge is also easily accomplished with a PC lens as, again, you are only shifting the view without changing the relationship of the elements in the shot relative to each other.
@@stevenbrookephotography Interesting, thanks for the reply. It suggests that a mirrorless camera could simulate lens shift in the viewfinder, showing a perspective-shifted cropped window. However, that would probably be inconsistent with saving a raw image. On second thought, it could show a perspective-shifted view, but save raw for post processing.
Steven, Why Luminar Neo over LR Classic? I've found Luminar Neo does some processing when it performs the merge. Color, exposure & sharpening. I prefer to do that myself.
Hi Steven,
Thank you for this new very interesting and quality video. I am a French amateur photographer in France.
I am interested in architecture. In addition to my Sony A7 III, I use a Canon Tilt-Shift 17 mm with an adapter ring and a Canon extender EF 1.4x.
I would like to offer architectural photography services.
I like your approach to photography, I have not found the equivalent in France, so I will buy your e-book, in addition to photography I will improve my English.
For a better quality of my work, I will resell my camera to have only Canon equipment (camera and lens).
For budget reasons I hesitate between a high quality SLR and a mirrorless, I would like your point of view on this subject if possible.
Thanks a Million.
When you refer to layering, is that the same as bracketing?
Bracketing gives you a wide variety of exposures from which to select for layering.
@@stevenbrookephotography right, so photo-merge the selected frames?
Not photomerge which is used for multiple image stitching. Check out my video on layering to see the workflow for this specific procedure of blending several exposures to make one balanced image.
Just watched, thx! Can this also be accomplished in LRC (don't have Luminar Neo)?@@stevenbrookephotography
I don't use LRC but I would think you could.