Techniques When Working With Flat Light
The thing that's gonna be difficult in this room to shoot and follow all the points I've been making about shaping light and creating depth, is this wall. It's a one window room. All the light's gonna be coming from behind me, if we shoot from this point of view. As you can see, the value, which is the amount of light, is between this, and this, and this, and this is all the same. It's all equal. There's no... Even this handle is... The shadow's right behind it. All the light's coming from the front of it. It doesn't have any dept. That's a tough one. There is some light coming from down the hallway over here. It's a very small amount of light. There's no direct window. Still, I would consider completely blocking out this huge window. Completely. And that little bit of light that spills from the side hallway... It'll be very dark, the room, at that point. But it still would be enough. It might be a 30 second exposure, but that's okay. You may have to open up your f-stop, very wide open...
, to f-4, or even 2.8, but that's okay. The important thing here is to force the direction of light. Another way to resolve this possibly, is to turn this light on. That will give you a little puddle here. That might be a very good idea. I often and typically don't mix light because light from a bulb, whether it's a tungsten bulb like this, a household bulb, or fluorescent, or cathode ray, or any sorts of things, and daylight... They all have different color temperatures. When you start mixing color temperatures, you get a pollution to the light and it's not pleasant, but it can be used creatively. It's possible to use it, but you have to understand that they are different color temperatures. I do kinda like the idea of turning this light on, giving this a little area, blocking out the light from behind the camera over there that will make it less flat. Maybe we turn this into the story about that, about being here. If this all goes a little bit dark, that's okay. This is also... This isn't just a cabinet. This is a room divider. That means there's a room behind it. What do we want here? We want that room behind it to be lit. That will give this a shape, which will give this volume. So, it's not just a series of planes. This is an object. That talks about volume in a space. By turning this very difficult situation here, totally flat light... We block out all or most of that window. We turn the lamp on. It give you a little puddle of light. It's a natural, logical motivation for the light in the photograph. I think that's something to always think about, is logical motivation. We're not gonna supplement light. Light's gonna come from either a window, a lamp, a fireplace. We're not gonna do that shot today, but I think it's a good thing to talk about.
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.