Interior Workshop

In this workshop we learnt to work with different white balances and how to get the best light temperature. We were split into 3 groups and rotated to different spots in the convention centre. We worked with Auto, Daylight, Expodisc, temperature meter and a white card. 

In my group was myself, Aimee and Tynan.

Auto

Auto white balance is easy, you simply set the camera to auto white balance and it works it out on its own. 

Daylight

When the camera is set to daylight white balance the camera shoots and produces the white balance to be correct if shooting in daylight.

ExpoDisc

The expodisc looks similar to a lens filter, facing from the subject you are shooting to the camera you take a photo with disc covering the lens. you then set this as the white balance by choosing (on a canon 40D) menu>white balance>custom>Custom WB>Ok on the photo of the expodisc. This sets the white balance accordingly. 

 

Temperature Meter

A temperature meter works similar to light meter except instead of reading exposure it reads light temperature. You simply stand behind it facing the camera, press the button and record the reading in kelvin Then to set this on the camera (canon 40D) you press menu> White balance>K>Scroll to appropriate number taken from the meter (e.g.5500)>set.

White Card

The white card works similar to the expodisc. It is held by someone (on an angle to ensure its capturing the light) and a photo is taken (filling the frame) of the white card. To set this as the white balance the same settings apply to the expodisc.

Architecture workshop

In class we wre put into groups and told to go to a new establishment (the glebe park apartments) to take some architectural shots. We needed to explore different angles of the building including detail shots, shots from surrounding roofs and the entrance way.

My group included myself, christina, nath, aimee and matt. here is some of my shots.

Monobloc revision

At the start of semester we were split into groups and were given a set of monobloc flash kits to practise using them in different ways to produce some corporate- looking shots. 

In an empty office we had to seat the lovely aimee at a desk using only light from the flash. The flash was 1/60 f.5.6 shot with an 85mm lens. This keeps the perspective realistic. 

This shoot used the flash as the main light and the sunlight as the fill. Flas was f.4-1/60 sunlight was f.1.8-1/60

This shoot required balancing the flash with the window light

The Outside light was f.5.6- 1/60 and therefore to balance the flash needed to be f.5.6-1/60                   

                                                                  

This shot needed the outside light to be underexposed by two stops so by saying in the previous shot the outside light was f.5.6- 1/60 the shutter speed (which controls the outside light) needed to be 2 stops below making the shot f.5.6- 1/15. when using a slow shutter speed it is a good idea to turn the modelling light off

This portrait was set up in full sunlight using the sun as the main light and the flash to fill the shadows. The sun was f.11- 1/60th and therefore the flash exposure was f.11- 1/60th.

This shoot was also set up in full sunlight (side lit) using the monobloc as the mainlight and underexposing the sunlight by 2-3 stops. The sunlight was f.22- 1/60th therefore to get the desired effect we made the shutter speed 1/250th as it effects the daylight- not the flash. therefore the final exposure was f.22- 1/250th creating the desired effect. 

Photographing interiors- Research

http://photo.net/architectural/interior

This website explains and uses examples to show different ways in which to photograph different types of interiors.
It explains and shows following examples of:


People and Interiors



Lighting




Drama of the staircase

Ceilings

Press link for all the information and images

Collection of Architectural images

Here are a collection of architectural images that i like due to their style and specific technical qualities:

(image from

http://www.asmp.org/images/arch/Homestead_Miami_Speedway.jpg)

(image from http://www.cbphoto.com/images/ILNclub_night.jpg)

(image from http://www.annualreportsandcorporate.com/images/310_Architectural_Portfolio-005.jpg)

Architectural Photography-Research-Michael Harris

Most of the following information is extracted from Architectural Photography by Michael Harris


Background to the work of an architect
Def: the work of an architect is to design buildings and supervise their construction.

• is a task of immense complexity
  
• acquire a detailed knowledge of the physical laws and properties of a multitude of different materials and realise the construction possibilities of each material
  
• Must also have an understanding of heating, lighting, ventilation and air conditioning along with water, electricity and sewage
  
• this requires several years of study

I believe that photographing architecture should display the details and complexity that comes with architecture


Design Drawings

• There are a number of different types of architectural drawings which expresses an arcitects ideas to the outside world, they show different aspects and perspectives of the building with great detail.

This should be similar to the work of a photographer by using an image to display their ideas to the outside world and portray the intentions of the architect.


History of Architectural Photography

• Photography of architecture began from the first photograph created in 1826 and contunied through to the creation of the daguerrotype in 1839- the stationary form of the buildings was perfect for the long exposures required for these types of image making. Architecural photography has developed raipdly since these days due to the growing technology within photography and the possibilites it enables us.

Specialist cameras and lenses


When photographing a building a photographer must be able to reproduce straight lines and avoid converging verticals. This can be done either in the shooting stages or in post production. There are a number of different ways to do this in the shooting stage using various forms of equipment.


View Camera

• Have a simple basic construction, consists of a rail on which is mounted a front standard holding the lens panel and a rear standard to hold the focusing screen with a set of flexible bellows in between



• The bellows allow the camera to be moved in various directions enabling the photographer to achieve the appropriate optical effects and evaluate the best view point.

(image from: http://library.thinkquest.org/25473/media/images/ph_images/ph_d_view_camera.gif)

Medium and large formats

• Have much higher quality for reporduction purposes



• Two types: the monorail and the highly portable folding baseboard camera

Monorail:

• consists of a single rail on which are mounted the lens standard and the film standard, the mounting blocks for the lens and film standards can each be slid along the calibrated track for focusing purposes. similar to that of the view camera the standards can be shifted up and down, swung from side to side and tilted up and down to create different optical effects in a photograph.
  
  (image from http://www.prairienet.org/b-wallen/BN_Photo/LFN/BadgerM1.jpg)

Baseboard:

• has the ability to foldaway into a portable compact box, the fornt of the box is opened on a hinge, and the lens standard pulled out onto the previously folded runners. The runners are then folded backwards and forwards to focus the image. It has restricted camera movements in comparison to the monorail
  

(image from http://static.photo.net/attachments/bboard/00I/00IGLd-32712384.jpg)

Architectural Photography- Research- Eric De Mare

Following Information is research drawn from the book "Architectural Photography" By Eric de Mare.

Composition

• Photographs must form an ordered unity, the main guidelines are: Contrast, Repetition, Balance and Climax 
• Asymmetry is generally more interesting than symmetry 
  
• Climax becomes more interesting and powerful as it reaches the corners of the frame 
• Spatial depth can be provided by including a close foreground object (preferably dark in tone)
• Avoid cutting a picture in half by a horizon 
• Avoid large areas of dullness (grass and gravel)
• Use vertical format for vigour and drama- horizontal for repose- square for bold

The Three Kind of Architectural Photography

Architectural Photographs can be divided into 3 kinds

• The pure record: makes no claim to creativity it conveys us much information about the building as possible 
• The illustration: forms both a good record and a pleasing picture at the same time. Careful composition with these is important. The photographer must seek to both flatter the building and the photograph. 
• The Picture: This type has no concern with record, it is about creating a beautiful picture with no regard to its architectural composition. 

Converging Verticals 

• The main method of overcoming this problem s with a wide andle lense with its broad vision and keeping the camera level
• Another way is to take a position high up 
• third possibility is to take the shot with camera sloping upwards- bring verticals back to parallel when enlarging 

Accessories

•  Tripod is essential- it avoids camera shake and also ensures the camera is held level. It should have a universal joint at the head so that the camera can be pointed firmly in any direction.
• A light meter
• A lens hood to cut out any unwanted light and reduce lens flare 

De Mare, Eric 1975, Architectural Photography, B.T Batsford Limited, London