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Thread: Interiors

  1. #1

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    Interiors

    Hope this is the right category -- does anyone know if the pros who shoot interiors for such publications as The New York Times and Southern Living Magazine use DSLRs or LF cameras?
    Also, especially in recent photos on the NY Times website (real estate features), the interiors look as if nothing more than natural light has been used. They look great.
    If they are using DSLRs, are they using wide primes or wide zooms? How do they deal with barrel distortion -- do they fix it in Photoshop?
    And if they are using supplemental lighting, is it more likely to be strobe or continuous lighting? I'm usually pretty good at determining when a room has been boosted with additional lights, but these days, photographers are very clever with their lighting, making it hard to tell.
    Thanks very much.

  2. #2

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    Re: Interiors

    They probs use Hasselblad digital systems with portable monoblocs (profoto etc). That's what every pro I've met has used. The key to good lighting is it looks natural. Usually it's a zoom lens & a bit of post-pro.

  3. #3
    Daniel Stone's Avatar
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    Re: Interiors

    I've worked for a few people out here in LA who shoot interiors(Dwell+other "indie" arch. mag's) and most of them are using DSLR's with Tilt-Shift Lenses. Sometimes a 16-35mm(or 14-24mm in case of Nikon).

    the key to getting the "look" is knowing how much to light, not just lighting something, but having a know-how of how light will interact with a certain space, how open you want your shadows, etc....

    they used to use LF cam's(4x5, sometimes 8x10,albeit very very rarely for 8x10), with lenses ranging from 38mm-500mm, depending on the "look" the photographer/A.D./architect/home or business owner was going for.

    now days, there seems to be less of a "craft" in terms of treating work like work, with a sense of professionalism. Back in the film days(there are some who shoot film for certain jobs, one guy still uses 4x5 too with color neg film), you'd have to know your film stock, buy it in larger batches(to have consistent results for color temp, heck, people were shooting chromes, not negs for 95% or interior work), so you HAD to know color temp and how it reacted to your film stock.

    most people now uses 5dII's, D3x's or 1DsIII's with W.A. lenses, and generally a geared head. A lot tether to a computer, allowing the photographer/A.D. to review the shot on a laptop/shot cart(with big monitor) right after it has been taken.

    the HDR craze is still in full swing, but not as much as it was 1-2 yrs ago or so. People were dropping in beach scenes from Aruba the buy from stock agencies, and they didn't really know how to do it, so it looks like shite ! But thankfully, a lot of those people who have no idea of light(yes, light, its needed to convey a space) quickly get weeded out, and generally black-balled(especially with Arch. Digest from what I've heard).

    there are some guys who use MFDB's with tech cameras(like Alpa, Silvestri, Cambo WDS/WRS), or view cameras(Arca Swiss, Cambo, Toyo, Sinar, etc...). These guys generally ONLY shoot architecture, because that's what they love


    the people who love what they shoot, and can have a personal connection with it are those who generally get hired. Because the client knows that the person behind the camera is not some dumb@$$ with a camera, but someone who loves his/her job

    BTW: the GOOD/BEST guys don't need to do much PS(Post work), they generally try to get as much IN-CAMERA as possible. They'd prefer to be shooting than sitting for hours in front of a comp.

    sorry for the rant, I love architecture, and photographing it. Its just hard for me to see so many photographers lose sight of the CRAFT of photography, not just shooting, but LOVING what they shoot.

    it shows if you love it .

    -Dan

  4. #4
    bdkphoto
    Guest

    Re: Interiors

    Quote Originally Posted by Ben Calwell View Post
    Hope this is the right category -- does anyone know if the pros who shoot interiors for such publications as The New York Times and Southern Living Magazine use DSLRs or LF cameras?
    Also, especially in recent photos on the NY Times website (real estate features), the interiors look as if nothing more than natural light has been used. They look great.
    If they are using DSLRs, are they using wide primes or wide zooms? How do they deal with barrel distortion -- do they fix it in Photoshop?
    And if they are using supplemental lighting, is it more likely to be strobe or continuous lighting? I'm usually pretty good at determining when a room has been boosted with additional lights, but these days, photographers are very clever with their lighting, making it hard to tell.
    Thanks very much.
    I shoot for the NYTimes, Architectural Digest, New York Magazine etc...DSLR 5Dmk2 with additional lighting-- both strobe, tungsten and both mixed. I use the new shift lenses, which are very very good. No need to fix much in post.

    Almost all of my colleagues and friends (many of the top folks here in NYC) are working with DSLR's now, very little medium format digital, and I can't think of anyone using film or LF for assignment work.

    People working for the NYTimes are most likely using natural light, as there is no budget for assistants.

  5. #5

    Re: Interiors

    I suspect its 99% DSLRs anywhere you go. I've not shot film for money for over 3 years and likely never will again. I sold most of my nice LF stuff. Not by personal preference but because the infrastructure for film has essentially died here and in most cities except for the very largest markets. I used to get C41 back in 2 hours all day long - now they run it maybe every other day if they have enough, maybe not. And of course no one wants to pay a penny extra for anything.

    DSLR files are plenty good enough for current commercial use. The new Canon TS lenses are very, very good so there is really not so much post production work. Not so much work needed to correct lens flaws so you have more time to deal with lighting issues in PS and less time overall.

    Lighting is faster since you have an instant and unending supply of "polaroids" in your digicam. Mixing ambient with some nice white light from flash in varying proportions is a matter of twisting dials and pushing the button a lot - unlimited and free bracketing. Add in some layering to get everything from the glowing filaments of the light bulbs to detail in the carved dark wood of the sofa frame in the same picture and you have a much better answer to satisfying a commercial client than film ever was.

    But I still miss film.

  6. #6

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    Re: Interiors

    I've always shot with existing light, film (mostly color negative) or digital.

    Kumar

  7. #7
    Kirk Gittings's Avatar
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    Re: Interiors

    The big guys use MF digital like Arcas and also Canon DSLRs with the new T/S lenses. I am using a 5DmII and T/S lenses exclusively. I use the same lighting as I did with film but need allot less of it as digital is so good in mixed light. I am taking my class to Hedrich-Blessing on Friday and I'll let you know.
    Thanks,
    Kirk

    at age 73:
    "The woods are lovely, dark and deep,
    But I have promises to keep,
    And miles to go before I sleep,
    And miles to go before I sleep"

  8. #8

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    Re: Interiors

    Quote Originally Posted by Kirk Gittings View Post
    The big guys use MF digital like Arcas and also Canon DSLRs with the new T/S lenses. I am using a 5DmII and T/S lenses exclusively. I use the same lighting as I did with film but need allot less of it as digital is so good in mixed light. I am taking my class to Hedrich-Blessing on Friday and I'll let you know.
    I'll blow it for you, Kirk. They use 6x9 Arcas with backs that cost as much as a sports car. This is all they use as they sold all their 4x5 equipment (Sinars, I believe) to KEH about 2 years ago.

  9. #9

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    Re: Interiors

    Quote Originally Posted by Robbie Shymanski View Post
    They use 6x9 Arcas with backs that cost as much as a sports car.
    I wanted to see what one of those 6x9 Arcas looks like, and was blown away by the price! OMG!!! - that's just a box on rails; no back, no lens. Wow - somebody must still be making big bux in photography if these things are selling.

  10. #10
    brian mcweeney's Avatar
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    Re: Interiors

    I shoot for Veranda Magazine and others, and shoot Phase One tethered on a Hasselblad. Mix strobe lighting with households and ambient. Love the large file size.

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