I rarely comment on any RUclips videos but I think your work and teaching is truly exceptional as an aspiring architectural photographer moving away from the real estate field if I lived anywhere close to Florida I would certainly come to see you for any one on one sessions or even join your classes I already bought the e-book and I am close to buying the video your explanations and detail are clear and concise well done Steven. Incredible composition and design. Lastly, Your point about windows I totally agree with however what I don’t agree with is photo shopped layered windows that literally look like they are two stops darker than interior kind of like you see in real estate I find that looks blatantly fake and it’s not our eyes see an image exteriors should be brighter than the interior especially on a sunn day. But haven’t blown out windows were there are no details I totally agree.
Just the best source for architectural photography, thank you so much Steven. After your video I just want to go out and take some beautiful arranged interior shots. You are the best!
and hey your online course is on discount, thats amazing! Even if I think I know a bit about photography and architecture (as former house designer) I know I can learn a LOT from you
Udemy course? Sa-weeeeeeeeeeet! I got your ebook (which I'm going to use my artistic skills and make my own DIY hardcover version to display of my shelf) a few months back. Love it. Love your videos too. Thanks again Steven!
I do more exteriors than interiors, but when I do those, I use a Phase One back either with a wide angle and the XF camera or a Cambo wide RS with a 58 Schneider. I stop down to 32 with the Cambo (you have to stop down with the large format lenses anyway, but am wary of doing so with the MF Schneiders and usually would focus stack. Very useful summary, and I agree with almost all of your statements. They are easy beginner mistakes.
I value your comment on replacing burnt out light bulbs but sometimes this isn’t possible, e.g. I once shot a 25m indoor swimming pool the bulbs above the water were burned out.
This has happened to me, as well. More than once. Here are my favorite excuses: "We can't find the switches." "We can't override the timers." "They never installed the lights." "The lights shorted out yesterday." And there are more. What you can do as a back up is this: (1) Select the area that should have been lit. (2) Use localized highlight dodges (carefully) in the areas where the lights should have been on. OR (3) Use IMAGE>ADJUST>BRIGHTNESS/CONTRAST and lighten the pool as a whole. These fixes are probably better than a totally dark pool.
You're the man Steven, loved this video like I love all others. Bought your masterclass too, I always learn something extra from you. Your knowledge and experience are priceless.
Thanks for making this video Steven. It's very informative. I also ordered that book you recommended. Now all I need are some good interiors to photograph. Lol
It would be helpful if you linked referenced videos in your description. I had to run your video back to find the link to the Still Life video. It does not seem to appear in your master list. This video here is quite useful. While I am used to clearing the junk out of a room, I never quite thought of each space as its own composition. many Thanks!
I've been seeing so many blown out windows in the last few years especially in high end magazines, I thought this was how things were supposed to be in architectural interior photography.
Yes, it’s a trend - a truly regrettable, utterly artless trend that I have advocated avoiding. I assure you that during my decades of work with Architectural Digest under the direction of Paige Rense, such blown-out windows were simply not acceptable. Good architects and designers plan what will be seen from inside a space, especially if they have a say in the landscape design. As architectural photographers it is part of our mission to show those design decisions. Further, showing both the interior space and what lies beyond adds necessary depth to our image, since we are translating the 3D world into a 2D photograph. And with the digital techniques of precision layering, it is possible to show both the interior spaces and the window views without the use of artificial lighting. Though others disagree, in my opinion the trend you accurately describe does nothing to elevate our art beyond the level of the snapshot.
Great video as always ! Thank you ! I have a question on aperture, do you find stoping down to f/ 16 or f/ 22 really necessary (particularly in rather small interiors) when putting in balance the softness brought by the diffraction of such an aperture ?
Thank you for your note. With the Canon PC lenses that I use (17, 24, 45) I have not noticed any degradation of the image at the smaller f/stops. I will post something on this plugin in the near future, but I have been using TOPAZ Sharpen AI, which beautifully handles any sharpness-related issues, whether it's lens blur, motion blur...anything.
This was a great refresher; thank you! How often, if ever, do you shoot tethered? I am very new to this, so I often find I miss small things in my images that become obvious on my larger laptop screen.
On the rare occasion that I have to photograph products for a retail project (or food setups for a restaurant) I will usually shoot that tethered to be certain of the exact lighting. Generally, though, I do not shoot tethered, especially when I am under severe time constraints. I have used a Cam Ranger set up when I was photographing a restaurant with dozens of items to arrange. This allows you to move through your interior, making adjustments in real time while viewing the results on your iPad. For projects like that, however, it's much more efficient to have an assistant move items while you supervise from the camera.
Dr. Brooke, how would you handle photographing a room with camera positioned over a large sectional, useful to the scene, yet only the seat cushion edges are in frame, You can’t back up, and zooming would make a less favorable composition. Go up, down, or something else?
(Trying to visualize the situation.) If you need if to explain the room, you could lower the camera to get a bit more of the sectional in the foreground. Being that close, it might only take an inch or two to make it work. Getting only a sliver of it could be distracting, as you wouldn't know exactly what it was. This is true for any just about any item creeping into the shot. It's a bit like pieces of foliage hanging in at the edges of an exterior photo.
Thank you for your question, Joe. I might try include the bottoms of the cabinets, or at least most of them, if I can do so without adding distortion. - especially if they are particularly well-crafted. If I can back up far enough and zoom into the shot, then is is often possible to show the entire cabinet without adding foreground distortion. If it's possible to set up a wide-angle photo on axis to show the entire cabinet, this can reduce the potential for distortion. But, as you suggest, I will give priority to the countertops and whatever accessories I have added for scale, color, and contrast.
@@stevenbrookephotographyhi Steven, thank you for responding!… No problem, sorry. Let me rephrase. How often do you go or get to go and visit the location before shoot day? Do you ever get to scout the location? Thanks again! Ryan
It the project is local (75-mile radius), I almost always do a site visit, particularly if it is a complicated project such as a hospital, an industrial facility, etc. I also want to meet the property owner or facility superintendent to lay out the ground rules for the photography. Keep in mind, what we do is not what the average person thinks professional photography entails. Out of that area I use GOOGLE maps to at least see the site relative to other properties, water, and extent of foliage. I also ask my client for any preliminary shots they have.
@@stevenbrookephotography thank you Steven! As always, very helpful. I also really enjoyed your Udemy Lessons! I highly recommend them to any level Arch Photo. Cheers!
Thank you very much for your note. You have a lot of great architecture in your city to photograph, including several classic Carrére and Hastings buildings.
Thank you for your lessons.
I rarely comment on any RUclips videos but I think your work and teaching is truly exceptional as an aspiring architectural photographer moving away from the real estate field if I lived anywhere close to Florida I would certainly come to see you for any one on one sessions or even join your classes I already bought the e-book and I am close to buying the video your explanations and detail are clear and concise well done Steven. Incredible composition and design.
Lastly, Your point about windows I totally agree with however what I don’t agree with is photo shopped layered windows that literally look like they are two stops darker than interior kind of like you see in real estate I find that looks blatantly fake and it’s not our eyes see an image exteriors should be brighter than the interior especially on a sunn day. But haven’t blown out windows were there are no details I totally agree.
Thank you for your kind remarks. And I agree with you that the view out of the window must be of an appropriate density.
Such an excellent channel. So many clear lessons. All architects should watch this series.
Thank you. I do hope more and more architects will sign on.
Just the best source for architectural photography, thank you so much Steven. After your video I just want to go out and take some beautiful arranged interior shots. You are the best!
Thank you, Armin!
and hey your online course is on discount, thats amazing! Even if I think I know a bit about photography and architecture (as former house designer) I know I can learn a LOT from you
Fantastic tutorial! Thanks Steven!
Thanks for this workflow video
Udemy course? Sa-weeeeeeeeeeet! I got your ebook (which I'm going to use my artistic skills and make my own DIY hardcover version to display of my shelf) a few months back. Love it. Love your videos too. Thanks again Steven!
This is great! I'm so glad you sequenced this workflow. That's how I learn best! Based in St. Augustine, and am a big fan of your tutorials and work!
PS: Love the Scriabin preludes!
I do more exteriors than interiors, but when I do those, I use a Phase One back either with a wide angle and the XF camera or a Cambo wide RS with a 58 Schneider. I stop down to 32 with the Cambo (you have to stop down with the large format lenses anyway, but am wary of doing so with the MF Schneiders and usually would focus stack. Very useful summary, and I agree with almost all of your statements. They are easy beginner mistakes.
great work! thanks!
I value your comment on replacing burnt out light bulbs but sometimes this isn’t possible, e.g. I once shot a 25m indoor swimming pool the bulbs above the water were burned out.
This has happened to me, as well. More than once. Here are my favorite excuses: "We can't find the switches." "We can't override the timers." "They never installed the lights." "The lights shorted out yesterday." And there are more. What you can do as a back up is this: (1) Select the area that should have been lit. (2) Use localized highlight dodges (carefully) in the areas where the lights should have been on. OR (3) Use IMAGE>ADJUST>BRIGHTNESS/CONTRAST and lighten the pool as a whole. These fixes are probably better than a totally dark pool.
Thank you !
I love your lessons. Thank you!
You're the man Steven, loved this video like I love all others. Bought your masterclass too, I always learn something extra from you. Your knowledge and experience are priceless.
Thank you, Beno. I am grateful as always for your kind words and support.
that was great explanation thank you
Thanks for making this video Steven. It's very informative. I also ordered that book you recommended. Now all I need are some good interiors to photograph. Lol
> As do we all!
It would be helpful if you linked referenced videos in your description. I had to run your video back to find the link to the Still Life video. It does not seem to appear in your master list. This video here is quite useful. While I am used to clearing the junk out of a room, I never quite thought of each space as its own composition. many Thanks!
ruclips.net/video/1fLTwRdI1AA/видео.html This is the Still Life video.
I've been seeing so many blown out windows in the last few years especially in high end magazines, I thought this was how things were supposed to be in architectural interior photography.
Yes, it’s a trend - a truly regrettable, utterly artless trend that I have advocated avoiding. I assure you that during my decades of work with Architectural Digest under the direction of Paige Rense, such blown-out windows were simply not acceptable. Good architects and designers plan what will be seen from inside a space, especially if they have a say in the landscape design. As architectural photographers it is part of our mission to show those design decisions. Further, showing both the interior space and what lies beyond adds necessary depth to our image, since we are translating the 3D world into a 2D photograph. And with the digital techniques of precision layering, it is possible to show both the interior spaces and the window views without the use of artificial lighting. Though others disagree, in my opinion the trend you accurately describe does nothing to elevate our art beyond the level of the snapshot.
Great video as always ! Thank you ! I have a question on aperture, do you find stoping down to f/ 16 or f/ 22 really necessary (particularly in rather small interiors) when putting in balance the softness brought by the diffraction of such an aperture ?
Thank you for your note. With the Canon PC lenses that I use (17, 24, 45) I have not noticed any degradation of the image at the smaller f/stops. I will post something on this plugin in the near future, but I have been using TOPAZ Sharpen AI, which beautifully handles any sharpness-related issues, whether it's lens blur, motion blur...anything.
This was a great refresher; thank you! How often, if ever, do you shoot tethered? I am very new to this, so I often find I miss small things in my images that become obvious on my larger laptop screen.
On the rare occasion that I have to photograph products for a retail project (or food setups for a restaurant) I will usually shoot that tethered to be certain of the exact lighting. Generally, though, I do not shoot tethered, especially when I am under severe time constraints. I have used a Cam Ranger set up when I was photographing a restaurant with dozens of items to arrange. This allows you to move through your interior, making adjustments in real time while viewing the results on your iPad. For projects like that, however, it's much more efficient to have an assistant move items while you supervise from the camera.
Dr. Brooke, how would you handle photographing a room with camera positioned over a large sectional, useful to the scene, yet only the seat cushion edges are in frame, You can’t back up, and zooming would make a less favorable composition. Go up, down, or something else?
(Trying to visualize the situation.) If you need if to explain the room, you could lower the camera to get a bit more of the sectional in the foreground. Being that close, it might only take an inch or two to make it work. Getting only a sliver of it could be distracting, as you wouldn't know exactly what it was. This is true for any just about any item creeping into the shot. It's a bit like pieces of foliage hanging in at the edges of an exterior photo.
When it comes to camera height, how do you handle the bottom of cabinets in a kitchen? Or do you only worry about countertop view.?
Thank you for your question, Joe. I might try include the bottoms of the cabinets, or at least most of them, if I can do so without adding distortion. - especially if they are particularly well-crafted. If I can back up far enough and zoom into the shot, then is is often possible to show the entire cabinet without adding foreground distortion. If it's possible to set up a wide-angle photo on axis to show the entire cabinet, this can reduce the potential for distortion. But, as you suggest, I will give priority to the countertops and whatever accessories I have added for scale, color, and contrast.
Thank you Steven! Question… what percentage would you say you require and or get the opposite to pre scouting location ?
Not sure I understand you question. If you are referring to my fee schedule: I require a 50% deposit to secure the date.
@@stevenbrookephotographyhi Steven, thank you for responding!… No problem, sorry. Let me rephrase. How often do you go or get to go and visit the location before shoot day? Do you ever get to scout the location?
Thanks again! Ryan
It the project is local (75-mile radius), I almost always do a site visit, particularly if it is a complicated project such as a hospital, an industrial facility, etc. I also want to meet the property owner or facility superintendent to lay out the ground rules for the photography. Keep in mind, what we do is not what the average person thinks professional photography entails. Out of that area I use GOOGLE maps to at least see the site relative to other properties, water, and extent of foliage. I also ask my client for any preliminary shots they have.
@@stevenbrookephotography thank you Steven! As always, very helpful. I also really enjoyed your Udemy Lessons! I highly recommend them to any level Arch Photo. Cheers!
I'm in Vietnam, how could I get the book? Dose it available in ebook?
YOu may purchase a copy here www.stevenbrookephotography.com
❤❤
This is great! I'm so glad you sequenced this workflow. That's how I learn best! Based in St. Augustine, and am a big fan of your tutorials and work!
Thank you very much for your note. You have a lot of great architecture in your city to photograph, including several classic Carrére and Hastings buildings.