Changing angles in a small interior
Video: Changing angles in a small interiorSo, for the next iteratioin, I decided to go to the other side. And that would put the statue in the foreground, so it would emphasize the statue more so, and allow me then to see the entire window with the bamboo in it. So I did that, I went to the other side, maintained the 55 millimeter lens. So I'm still medium wide, and set the shot up, and took a look at it, but realized I was seeing too much foreground. So there was too much of the red cabinet, so I needed to go tighter.
Viewers: in countries Watching now:
Whether you're photographing a room for an architectural magazine, for a real-estate ad, or for an interior decorator friend, interior spaces present a variety of photographic challenges. In this course, photographer Richard Klein visits two homes, photographing their interiors while explaining the essential shooting and lighting techniques behind making these spaces look their best.
The course describes the best ways to light interior elements to show their texture and form, and contains tips on staging rooms to make them more inviting. Richard also tackles the tricky challenges that windows and exterior lighting introduce: how do you adjust exposure to capture interior details without overexposing the windows?
Changing angles in a small interior
So, for the next iteratioin, I decided to go to the other side. And that would put the statue in the foreground, so it would emphasize the statue more so, and allow me then to see the entire window with the bamboo in it. So I did that, I went to the other side, maintained the 55 millimeter lens. So I'm still medium wide, and set the shot up, and took a look at it, but realized I was seeing too much foreground. So there was too much of the red cabinet, so I needed to go tighter.
So I went up to an 80 millimeter lens, which is normal on medium format, then I had to move the camera back a little bit. Just to be able to make it all work out. But I got the composition I was looking for, it worked really well. So I got the shot, I got the composition, and I was happy with it. And as I was looking at, I started to think you know what, here we are, we've got a tungsten halogen bulb lighting the statue and making the glow happen, so tungsten halogen is 3200 degrees Kelvin, it's a very warm, yellow-red light.
And it worked, because it was warm. but outside, you know, we've got diffuse daylight. It's overcast sky, so, 7, 8,000 degrees Kelvin, and that's bouncing out of a green hedge, right? So we've got a really kind of cool green light, cyan green light, out there. and then the color of the bamboo, again, yellow. And worked with the green. So the yellow tungsten and the bamboo with that bounce light from outside the window was actually working pretty well.
I was pretty happy with that, but I thought let's just, I'm here, let's instead use a daylight source. So we use a strobe head up above, and we'll replace the tungsten halogen.with strobe which is 5500 degrees Kelvin but I need to make it a spotlight because I wanted to mimick what was going on with the tungsten halogen. And at every opportunity when I'm not lighting if I'm not trying to do something really theatrical or, or over the top. I mick the architectural lighting, so that you can't really tell.
You think it was lit. By the architectural lighting, even though it was a lighting that I put in. So I did that with the strobe head. So I put a ten degree grid in a ring on the strobe head. And that works to squeeze down, or, or turn the strobe head more into a spotlight. So I got the strobe in place. And I placed the lighting from the strobe light, from the modeling light of the strobe symmetrically over the statue. Which I thought would be the correct thing to do. And I made a capture. But when I looked at that capture, I realized that what was going on, was that, on the near side, close to the camera, it was too bright.
And I'd lost the glow on the backside. Of the statue. So, what I did was I feathered. And that means really, I just took the angle of the strobe head, and I turned it so that it darkened the near camera, and it brightened on the other side, the far camera. And shot it. And then the light was balanced properly. So it looked really good to me. I was really happy with that. The thing is, is that I look at both final shots, both with the tungsten light and with the strobe light, and I still really can't decide between the two.
But I've got it both ways, so it's not a problem. And I also just want to just mention that. By following what interested me in the beginning for the shot, and sticking to the edge glow, and trying to do something with that bamboo window that made sense, I ultimately ended up with a shot that I really wanted. It, it was the shot that described that detail in the room, really well. And I'm up in the air about which one I like better.
I mean, it could go either way, it really could go either way. But we've got both, and so now I feel like the shot's done.
There are currently no FAQs about Architectural Photography: Interiors.