HDR Photography

HDR photography is another miracle of digital imaging. HDR stands for high dynamic range. The digital sensors in cameras are limited to a narrow dynamic range (light to dark values). They cannot register the full luminance range that our eyes are capable of.
In architectural photography we have traditionally used lights to bring up the brightness of the dark areas. This required cases of equipment, cables and power packs and one-to-four hours to light most interiors. Those days are gone.
We now bracket the exposures, sometimes using as many as 11 photos to record the entire dynamic range of a scene from the dark mahogany wood furniture inside to the sunlit cool decking of the pool outside. We may use one light to bring out the texture in stone, brick or other materials. The software miraculously assembles the different exposures to render one image with all the detail. This image must then be brought into Photoshop and enhanced to produce the final, natural looking photo.
What does this mean to clients? We spend less time at the location and disrupt fewer people. We are not dragging cases of lighting equipment through the homes and office buildings. The time saved on location is spent on the computer to edit, assemble and enhance the many images it takes to create each final photograph.
What else does it mean to the clients. They love the natural look and feel of the interiors. This procedure also works on exterior dusk photos.
My production partner and teacher for HDR, Frank Salle, has many examples on his web site www.franksalle.com.

2017-05-19T23:56:12+00:00Photography, Architecture|

Why should you hire a Photographer for your Video?

An experienced photographer can solve lighting challenges.

CEO Bill Stockwell with the RASER

We arrived at Elliptical Mobile Solutions prepared to shoot a 3 minute video for their RASER product, a 1,000 pound mobile container for servers. We were shocked to find the large product tucked into a small room (16′ x 16′) with 3 walls entirely of mirrors and a low ceiling! The product was made of reflective metal. We now had light and sound bouncing off the product and the three mirrored walls.
The reflections from the metal and the mirrors were eliminated by using 2 large moving blankets to the right of the product. The blankets are not normally a part of our lighting kit. One small 500w Rifa soft box and a 300 watt Mole Richardson fresnel lit the right side from just over the blankets. A medium Chimera box (750w) provided the main light from camera left.  That was all the equipment we could fit in the small room. Keep in mind we needed latitude for 6′ dolly rolls left and right.  Black cloth and gaffer tape on the mirrors masked off any remaining problem areas.
An hour and a half later we were ready for a sound test in this echo chamber. Our blankets eliminated echoes from camera right. The mirror at camera left was covered with a 12′ x 12′ silk normally used for lighting. The silk extended back behind the camera.
All reflections and echoes were eliminated. The client’s comment on the final video…”I love it, love it, love it!

Watch the video