Should I add models and actors or photograph without? Shall I shoot with a normal lens or photograph with wide angle lenses? Must I pay the price for tilt shift lenses or not? Must I photograph on a tripod or make the mistake of not doing so. Choices in photographing architecture or real estate include adding light to the scene or just shooting in natural light. This really helped to give some texture to the inside of the umbrella.įrom the Photographer: Architectural Photographer in Austin, Johnny StevensThere are as many way to photograph architecture as there are to shoot portraiture. The light popped up into the green umbrellas on the porch scene came from a flash with a dome diffuser on it to soften it just a bit. The light on the rattan furniture in the country club below is straight light from a flash which makes the falloff sharper or harsher. The light on the right side of the bar is coming from an umbrella which makes the falloff soft. The larger the modifier is the broader the falloff (shadows) will be. The falloff can be made harsher (the range of highlights to shadows) or softer by changing the type of light modifier you have on your light source. It is this shadow falloff that gives the object depth. One reason we use artificial light is that the light falling on the object (this also applies to portraits of people) has falloff that cannot be faked in photoshop. Most of these before and after images have been modified with pops of light from speed lights. This may be natural light, sunlight or strobe or speedlights. But often it is about how the light falls on the subject. The camera angle is often the key to achieving the best approach. It is whimsical and requires some time to process its intricacies.Īs architectural photographers, we are always looking for a better way to feature a room, space, or architectural feature. Here are Elena’s images: I had forgotten about this image, and today it is one of my favorite. More often that not (and this goes for painting too) we tend to identify with abstract formations that remind of some variation of human forms. Then we edit the image mostly by eliminating surrounding smoke that did not lend itself to the formation we identified. The contrast within the smoke was better and made it easier to identify an interesting moment within the otherwise chaotic billowing smoke. We learned that having a flash at 90 degrees to a smoking piece of incense was better than having two flashes, one in each side. With her I learned how difficult shooting rising smoke is. The photography genres I like to introduce them to are:ĪBSTRACT PHOTOGRAPHY: My first student 8 years ago was Elena. When I agree to teach a student, I tell them that my approach to teaching is to expose them to as many different genres of photography as possible, so they can learn how to leverage the settings on their cameras, read natural light, learn how to control flash and strobe light, how to work with humans who hate to have their photos taken, and evaluate the environment for challenges. This first post is about our Abstract Photography exercises. I am doing this in 5 Posts so the reader does not get overwhelmed. I was surprised when I went back into my photography archives to see some of the projects that I have forgotten about. I thought it was time to assemble all of the educational photographic projects I have done with my senior students of the Independent Study Program at Westlake High School over the last 8 years. Abstract Photography for Students is a challenge. Part 1: Abstract Photography for Students All of my Mentees from Westlake High School.
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