Join Richard Klein for an in-depth discussion in this video Refining lighting using light modifiers, part of Insights on Architectural Photography.
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So specifically, would you prefer a strong, or…a continuous light for certain kinds of scenarios?…>> Well, once we're past choosing a color temperature, then…it becomes the quality of light that the fixture produces.…And a strobe light is basically a reflector with an open face.…And we can modify that a bit with barn doors, and we can put snoods…on them.…And we can also put grid on them honeycomb grids.…
But because it's an open-faced fixture, it's a parabolic reflector behind it.…Not all of the light rays are collimated they're not all lined up together.…So it makes a much harder control; it's much like…if you were thinking in terms of a hose and when…you take a hose and you allow the water to…squirt straight out of it, the water's collimated, it's all going…in a straight line.…You can take your hand and deflect the water…pretty easily at that point, but if you had…a spray coming out of that end of that…horse, putting your hand in the middle of the spray.…
The spray is still going to wrap around your hand…
In each case, your goal is to make the building or room look its best through a combination of composition and lighting. You might also use props or do some furniture arranging to make a photo work better. And for exteriors, you might time your shot for a specific time of day to best capture the building's design.
In this course, photographer Richard Klein discusses the art and science of photographing architecture, from interiors to exteriors and from small houses to skyscrapers.