Intro to Architectural Interior Photography with Natural Light

Lesson 10 of 11

How To Insert A Window View

 

Intro to Architectural Interior Photography with Natural Light

Lesson 10 of 11

How To Insert A Window View

 

Lesson Info

How To Insert A Window View

So now we're gonna go to another shot that Scott had shot before for this client. He shot the view yesterday, so we're gonna be able to utilize not that view, but maybe another view to put into this image just so that we could show like a kind of like a drastic view so that you could see exactly what's going on in the image. So if you can see here, we did all of the retouching in this little layer stack and then I put this view right on top. So we're gonna put that downtown view into these windows. So a fast way to do masking of these windows because there's so many mullions here is to use a quick selection tool, which is located right here on your palate and what you do is just kind of selectively go into each one. And it quickly selects it for you. It's not a refine mask so if you do like the view you're gonna have to go back in and do something a little bit better. And then once you get that, you can apply it to this mask here. And then you can fill it with white and then once you a...

ctivate this layer, you can see that the view has come in. It's very quick. So you can see here that there's some white lines and some transitions that aren't very good. One way to do it, let's say you really like this view. The right way to do it is to take a small soft brush, go into Quick Mask and quickly, but accurately mask every single part of this window so that you don't get jagged lines or any weird white halos and you will go through that whole entire thing, come out of Quick Mask, make a new layer, fill this with white and then you'll have a much better neater mask around the whole entire window so that you'll get a cleaner view and a cleaner mask around the view. So now we're gonna go through an image that Scott did not shoot yesterday, but that he does a lot for his images, especially for his exterior images. It's a process where he shoots a lot of different types of people and talent so that he can place them altogether into one shot so that it looks like there's a lot of people walking through but also really a way for him to kind of control the image and also how the image looks with all the people walking through. Sometimes there might be a guy in like a really bright red shirt that he doesn't want, but place someone else there because he likes how it breaks up the space and also it just makes the composition of the image much better. So the first process that he does when I go through and when he goes through is shooting a whole lot of exposures of different people walking through. So this one is actually the Denver airport and this is one of the main entrances and you can see that even in my Lightroom catalog, he has shot many, many, many, many exposures so that we can get a good range of people walking through. And so while I'm going through this you can see all these people walking through and he'll go in and he'll choose which ones he would want and then place them into the final image. So you can see here there are these little stars for all the ones that he does like and so for each star, or each exposure, he would want one person or three groups of people and then I will put that into the final image. After we pick all of the talent that he wants to put in, we will process them all out and we're gonna put them all in the final image. So here you can see that retouching and all of the lighting that we talked about before has all been done. I have a folder here in my layer stack that's labeled talent and in here are all the talent people that he wanted to place in there. So if I click these on and off you can see that they're all cloned in. I'm gonna zoom in a little bit so you can see it. So you can see that it's a very loose mask because these people already live in the space so you don't have to be too specific about what you're masking just so they don't clone over onto other people. I usually try to organize my layers so that they're all kind of in the same area so that I'm not constantly clicking through and trying to find each talent. There's about 10 people or 10 groups of people that we placed in here. And you can see that all of these masks are very loose, very soft kind of masks. And this just gives a more dynamic feeling to the space and also just the business of an airport along with just the better composition of what Scott wants to achieve in his image. So as you can see on my screen in the Lightroom catalog, as we were picking out all of these talents, you could notice this yellow caution kind of gait in front of the escalator. Obviously, that's something that's not desired for a client to have especially if they're trying to show the space and the design of the building. So they had requested to remove it. So you can see here we have removed it. A lot of times the client will ask for those things to be removed for a price obviously. This retouch, this was before and you can see that these people have been cloned over. This view touch probably took about an hour and a half to do. What we did was we brought over this portion of the escalators and flipped it over here so that we can kind of build out piece by piece what these look like. As you can see, Scott shot a lot of exposures so there's a bunch of people walking through so we can still get all these little pieces of the gate and also the escalator and the bottom of the escalator and also this metal piece here as well. So because of all of that extra image, we were able to create this portion of the escalators for them.

Class Description

With interior architecture photography- your goal should be to make your viewer feel like they are IN the image. In this unique course, Architecture and Fine Art Photographer Scott Frances walks through the theory and technique to capturing interior photos that make your clients home or business look authentic and real. By using only available light, Scott walks through how camera placement and light shaping can be done to draw your viewer into the image. He'll discuss how to shoot with post production in mind by using bracketing and detail shots. Scott's retoucher then joins to quickly show how having a clear and concise workflow to piece together your natural light images can help in delivering a set of photos to your client that tells the story of not only their space, but also your client.

Reviews

chris cooper
 

This class was great! I think some of the reviewers are too inexperienced to realize the value of the information that was presented here. This is not an overly technical course but instead a course that helps you create a vision as an architectural photographer and that is priceless information. You can learn the techie stuff elsewhere but here you are getting into the mind of how one of the best interior photographer thinks. His years of experience are distilled into a great course. I have taken week long courses $$ with other architectural photographers and they were great too, but at $39 this was the best investment I have made into my career. To me as a working architectural and interior photographer with 15 years experience I was able to review my workflow and create a better and clearer vision for my work. It was inspiring. Thank you Scott!!

Victor
 

I really enjoyed watching the Great Master give some of the insight of his craft. Scott's thoughtful commentary and relaxed but very professional presence made this course captivating from start to finish and inspired me to continue a great deal. I saw a couple of glitches here and there and a few seconds of blacked out screen where Scott was talking about a 10 hour shoot day in order to capture a program of images. It would have been great to see what was meant to be showed instead of black frame. I wish there was a little bit more and Nicole would expand on correcting Selective Perspective as this is very interesting to me. Other than these minor points I thought it was a great course and well worth it to me.

Melissa Lind
 

Phenomenal class. This answers so many questions that I've had for years. I feel like I've been working in a vacuum and this reassures me about the perfection I seek in a shot. I could feel the minute adjustments with styling bringing each picture's refinement to the level of fine art that many people may be able to appreciate but are unable to achieve on their own. A well honed skill set. So thankful for the unveiling of industry secrets that have been developed over a lifetime career. Stunning work Scott, the human element that you craft is inspiring; your eloquence is inspiring.