Stephen Greenfield wrote: >.....I'm looking for real world experiences from those who photograph on location architecture and interiors using digital capture.
Dick Roadknight wrote: >.....Take a picture for each light source...... Filter, balance and blend in PS before you leave the site...... Take additional pictures (using e.g. flash) of inadequately lit areas... Stephen The above idea sounds like the technicalities taking over from the creative mind. It sounds like amazing luxury to have time on site after shooting correcting to your final image. What has happened to living dangerously and building on experience. Now we look at screens to make sure the image is in the bag. A little while ago it used to be Polaroids. Still is, in some cases. 25 years ago I would let off 100 PF 60's at a time in large interiors. F/8 and walk away with it in the bag! We have all gone soft! Yes, I know - the pressures and who wants to back for a re-shoot. Polaroid never sold any film - they sold peace of mind. 95% of my work is location interiors. I recently photographed the interior of Sherborne Abbey, England, with a D60, using 40,000.00 joules of electronic flash, (twenty heads) plus tungsten lights high up in the tracery roof, daylight coming in through the clerestory windows, on one side and a magnificent stained glass window over the high alter. The roof has the finest tracery in Europe and is 80 feet high. Everything spot on in one exposure, with all the atmosphere you could wish for. I seem to remember 1 second on 100 ISO @ f11 - if that is really important to you! No messing around in Photoshop on location. Verticals corrected back at base. Printed to 30in x 20in and compared with a shot on 5 x 4 Fuji Provia Quickload. You can see differences, but you do have to look very hard. Personally, I thought the digital capture was amazing. I am sure the higher end cameras would cope even better. The main differences in operation were that digital capture seemed to require less power on the electronic flash lighting and the 17mm lens was not quite as wide as the 65mm on 5 x 4 camera. Neither of which concerned me unduly. It did take four hours to set up the lighting though! I had an RAF technician with me who wanted to take up photography after he left the forces. He decided that he wouldn't take up architectural photography after he saw all the kit involved! Sadly, I am rather a long way from Cleveland, Tennessee. However, if you are interested, I can send you JPEGs for you to view some of the differences between film and digital capture, as far as one is able to judge by that medium. The main thing is not to get hung up on the technical side of things. Unless of course you have the time to spare peering at a screen. Just do it as though you were using film. Light it and press the button! In days gone by, I used to do a lot of architectural interiors, but now I have moved in other directions, although I still have occasional fun photographing the interiors of England's parish churches. Kindest regards Norman Childs Mobile: +44(0)7831 519217 Tel: +44(0)1256 767611 Fax: +44(0)1256 767612 Website: www.greenshoots.co.uk =============================================================== GO TO http://www.prodig.org for ~ GUIDELINES ~ un/SUBSCRIBING ~ ITEMS for SALE
