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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?
So here we are at our second location, a mid-century modern on the West Coast overlooking the ocean with stunning views, glass expanses in the living/dining/kitchen area, it's just an unbelievable house. So because of the design style, we can do a very minimal approach to propping, to accessorizing, and things like that. As a matter of fact, this house is going to be naked. It's just going to have nothing there, except for the period furniture.
That are just stunning examples. We've got a piano, we've got a telescope, and that's really about it. We're just going to keep it to the bare minimum, because the house really supports that in its design style. So in the living room area, we've got a 24-foot ceiling. With glass on either side for two walls, and that's really the place I want to work. That's the place we're going to spend the bulk of our time because it's just so stunning. The views are unbelievable, we've got a 170 foot cliff drop down to the ocean, with the surf just pounding on the rocks.
It's just unbelievable, it's just stunningly beautiful. So being on the West Coast, weather is really the major issue here. And what I mean by that is, is that we will have fog, we will have marine layer, so we'll have a lot of moisture in the air moving through. And then the sun will poke out of the clouds for just moments, and then the clouds will close back up again, we'll lose the sun. So we have to be really nimble and quick, we have to keep an eye out for the sun and be ready for it.
So many times what I have to do in a situation like this is get everything set up. If there's no sun, I go ahead and shoot it just to have it. And then I wait. And hopefully the sun will come at between five and seven in the afternoon we're going to have beautiful sunlight just streaming in the windows because they're facing west. so we'll just keep our fingers crossed and hope the light shows.
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