Photographing Interiors Pt 1

Photographing Interiors Pt 1

quite a lot of you’ve got in touch and
asked about photographing interiors and the particular problems that that poses
now my chance Lizzy who runs this beautiful place called the mill which is
just around the corner for me has had the bar completely refitted and needs
some pictures of it so we thought we’d come down and talk you through the
various sort of steps and problems that you’re likely to face if you’ve been on
a one-to-one tuition day we means a good chance you’ve stayed here trust me it’s
a lovely lovely spot so here we go this is the new refurbished bar at the mill
completely beautiful with lots of lovely new touches like you know the driftwood
here in the new bar new furniture and it all looks completely gorgeous when
you’re going to photograph an interior you’ve got to go slowly you have to
think this through one piece at a time you have to think about the problems and
the issues and what you want to photograph now I’ve already had a chat
with Lizzie the owners she’s told me what she wants to get out of the
pictures so first of all let’s have a look around the room let’s have a little
think about this it’s a beautiful room as you can see and I really really love
all these little highlights you see where the sun’s coming through here and
we’ve got highlights on the table but look if you look at my face when I stick
my face into that Sun which is probably there that’s quite bright isn’t it that
could be a problem for the camera to capture detail in the highlights and the
shadows so we’re going to do first off an overview of the home the whole room
the biggest problem is this high light shadow thing now of course I could put
in a load of flash lights or something like that
I’d only want to do it because that will kill the mood and the feel of the room
now it can of course be done with artificial lighting but I’m going to
spend an hour or more setting up lighting and all that kind of stuff to
get the room beautifully lit this place is actually open already and I’ve
already had to ask something if they wouldn’t mind having a coffee out there
now we don’t want to interfere with their business and you know they can’t
really fall to shut down so we can spend a couple of hours lighting it so my
preferred option is to use available light because it captures the mood and
the feel of the place that we’re in and I’m going to do some post-production if
necessary to make it all kind of work right so what kit am I going to use
to get this done you saw me carrying this big baby in through the door didn’t
you use a tripod don’t even consider doing something like this without one
and the heavier more sturdy the tripod is the better because if it’s light and
the camera wobbles or moves or somebody walks past if you got a wooden floor
just somebody walking past like that that can make the tripod wobble and
vibrate as the floor vibrates we don’t want that to happen
sturdier the tripod is the better I’ve had this one for years it weighs a ton
it’s great for this sort of job right my trusty old D 300 checking that the lens
is clean it could use a little bit of a wipe I’m using my ten to twenty
millimeter zoom lens it’s a wide-angle it’s on your Sigma it’s nothing
particularly fancy and it’s not a high you know wide aperture f/2 point eight
or anything like that you don’t need super wide apertures for this sort of
photography because I want depth of field I want things to be sharp so I
don’t need that super wide aperture I want to probably use quite a small
aperture I’m probably gonna be at around f-16 because I want lots of depth of
field I want to see as much of this room nice and pin sharp as humanly possible hmm
you’ll notice I’ve got a flash on there there’s a reason for that is because I’m
going to demonstrate something to you first off I say we want fine excellent
quality so I’ve gone to 200 ISO that’s our lowest ISO setting manual mode this
needs to be done slowly you need to think it through and control it yourself
so we’re going into manual mode I’ve already said I want lots of depth of
field so I’m going to f-16 I could go to f-22 button to back it off a bit to f-16
because I know that’s where the lens is going to perform at its best
white balance we’ve got all sorts of different colors going on in here these
lights up here they’re going to be producing yellow light
I don’t you may better see it on me as I’m standing here we’ve got daylight
streaming in through the windows that’s going to be a bit blur
without setting up a full lighting rig there’s not much you can do about that
so we’re going to work with the available light and sort it out after so
therefore I’m shooting in RAW mode because that gives me the ability to
control things afterwards this isn’t cheating doing this stuff afterwards by
the way it’s all just part of the way imaging works I’ve some reason taken
that earlier I’m looking for the quick release that Ghost holds the camera onto
my tripod I took it off the other day for something we were doing I think we
were filming in the street and I just wanted this big lumpy piece of metal off
the bottom of the camera while I was doing it right let’s just get that nice
and tight that’s my quick release for the tripod that means I can get it on
and off here very quickly if I need to you know without all that fiddly twiddly
stuff let’s have a look at a composition let’s start off with an overall
composition of the room to do this live view is brilliantly useful so we’re
going to select live view there we go now see in the back there I can see what
the room looks like in the back of my camera but my grid lines because I also
need to make sure that my verticals are upright and they’re not doing this or
that or skewing around which is really easy to happen right first off let’s get
our composition and the first one I’m going to do I’m going to use these doors
as a frame so it’s kind of like we’re pretty much as you are now you’re
looking through the door there’s maybe a little bit of door either side and the
room beyond because it’s a bit more inviting than just run do you know I
mean now hopefully please you won’t come after me the large axe but I’m going to
take that off the door so it will looks you know nice and proper I also noticed
the other side of the room there’s another one of these look out for things
like that it’s really really easy to miss them while you’re kind of lost in
the complexities of photography and setting up your camera but it’s really
really important to go around the room and check for things like that because
when you look at picture afterwards you’ll kick yourself
and then maybe have spent a load of time messing around trying to sort it out
now the staff have been here and got the chairs all lined up nicely apart from
that one over there which I moved when I came in here to put my camera bag on so
I’m going to sort that out and also to do a little detail things like this it’s
going to turn these round so the word the mill is facing the direction of the
camera same with these menus now you’re probably not really going to see it but
it’s just little little touches like that which you might kick yourself for
later on I did quite a lot of consultancy work with the state agents
helping them get the best out of their interior photography and it’s little
touches like that which can make all the difference
it’s almost subconscious it’s probably not so much a case of oh look at that it
drives me mad the little things that as you added them together it makes a
difference but you don’t quite know what it is and so leave that next scene this
can be really really tiny the picture it’s just the part of the room isn’t it
the last look around makes there’s nothing I’ve left lying around
I’ve got no signs everywhere now I think all that looks pretty good so the rooms
looking nice it’s on a quiet chair forward a little door open a bit see
what I mean it’s attention to detail it is a lot of faffing about right
with the live view on now I’m going to come back out here so
we can try and get this shot looking in through here comes you go they worried
Adam sorry while getting in your way again Oh
restaurant manager with goods right so let’s get the camera and the composition
setter set up that stuff let’s just use that live view and get a rough idea I
like the metal plates on either side Adams all right you carry on mate yeah
I’m gonna be a good 5 or 10 minutes getting this all set up anyway so don’t
worry it’s another thing of course try not to interfere you know this is
for the commercial running of the business you know these these guys have
got to do their jobs as well if you’re lucky enough to be somewhere that’s your
own property or it’s not actually you know working you know it’s not a
commercial going concern it’s not quite so tricky because you have a lot more
time to devote to things I’m bringing the shot over here this is about moving
around have a look in the band and people can you see in the back Jane yeah
right so this shots is quite nice I like the doors and the brass plates here but
I’m thinking that if I open that door a bit more and bring the camera over here
we’ve still at the bar area but we’ve got a bit more of what’s going on in
that corner to see more of the room so I’m just easing the camera over here so
we’re still looking across this door you notice that vertical has started to bend
that way as I moved it this is always a very tricky look you see as I tilt the
camera look at those verticals they’re now going off at that angle for tilt it
that way look they’re cutting in like that go and watch our convergence film
and that will explain why that happens and what you need to do to avoid it we
just have to make sure that things are real nice and straight and they line up
one of the reasons I’m down quite low is to avoid that convergence because if I
was standing up straight that’s Adam doing his own fillings he’ll
start screaming in a minute if I was up high I’d have to look down
and that would make the verticals do this so we need to be parallel with
what’s going on in the room okay that looks pretty good to me next I just need
to open this a bit you need to come through so if you do just carry on we’re
going to be a little while setting up right that is as far as that door opens
so another look it’s a little bit too much door so let’s sneak into the room a
bit these little movements do you make a difference what’s that over there
okay it’s the back of a chair so that’s quite good okay I think I’m happy with
that having a grid display on in the back of the camera makes an enormous
difference because you can see what your verticals are doing it helps you line
things up and make sure they’re straight don’t worry that there’s quite a lot of
ceiling in there at the moment because again this image may get cropped because
we don’t know what’s going to go put it on a magazine or a website you know
things are going to be done with it it’s a bit of space top and bottom doesn’t
hurt now we know that the composition is where we want it I’m going to lock my
big heavy tripod so now I can forget the composition it’s there it’s done next
thing where am I going to focus I want front-to-back sharpness with a very
short lens you’ve got tons of depth of field therefore it’s relatively easy to
achieve that we’ve already set a very very small aperture which is going to
keep that depth of field going let’s take that off live view let’s just put
that on to single shot there we go I’m going to bring up my exposure sorry I’ve
got to focus focus is where I was so I’m going to look for the viewfinder you
can’t watch me do this unfortunately but what I’m doing is focusing on this
chair here I’m focusing right there why am i choosing there and not over there
so you need single point autofocus to do this to make sure the camera is focusing
as you want it if you put it on kind of light all over sort of out your self
mode you don’t know where it’s going to focus it could go anywhere I want it
here because with a very short lens I have an inherently deep depth of field
at f-16 that depth of field is probably going to stretch from about here all the
way to the other end of the room why not focus here then do you think of that
block of focus you think that the focus is a block which moves backwards and
fields backwards and forwards what’s the depth of field film for this I want to
ensure that my depth of field is coming back this way far enough to keep this
sharp if I possibly can and I’m going to test it but the place to focus is
probably about here because at f-16 really anything from about couple of
three feet in front of the camera should be in focus my starting point is
here I’m then going to shoot a test image look at it by zooming in and
adjust accordingly so I think that’s done white balance then I start talking
about that and not complete it I probably did I just want to check it
white balance right now this is set on incandescent which we don’t want I’m
just going to use the sunny white balance I did start talking about it
didn’t complete it there’s yellow lights in the ceiling there’s daylight coming
in with a raw file it doesn’t really matter that much because you can sort it
out after the event so we might have a bit of blueness in the windows and the
yellowness inside the bar but again it doesn’t matter when you’re in a nice
cozy environment like this a little bit of warmth and the color doesn’t really
matter again we can tweak it in post-production it’s always worth
standing around and looking at things in the days when I used to smoke on jobs
all the time I always used to set up the camera like this and then have a
cigarette while we were talking and it’s worth doing that so that you just look
and think and take your mind out of it for a minute while I took my mind out of
it and spoke to you about white balance I know
is this a silly thing but no it’s just kind of untidy and it doesn’t match the
other bits and pieces so I’m just going to have the bits and pieces you can’t
call a place like this bits and pieces can you bar mats right I really think
that’s ok but this is why it’s worth slowing down and thinking about things
my camera bag is down here but that doesn’t matter because we can’t see it
because it’s just behind there and we’re looking in through here so next let’s
check that depth of field and start making sure we’ve got the correct
exposure what I haven’t done is get my I can find it table release there it is
why am i using a cable release chance not my shutter speed is going to be
quite slow for this because of the low ISO and the small aperture so I want to
use a cable release to make sure there is no movement of my camera whatsoever
as I’m pressing the shutter even with a tripod as heavy as this there is a
chance that the camera might just vibrate a bit and I don’t want that I
want to be absolutely certain my picture is clean and sharp good I think we’re
now on route double check focus is in the right place little trick and often
flick it from autofocus so use autofocus to focus where I want to and then I
flick it when we can see down the side of the camera onto manual so that if I
press the shutter button but I’ve changed the composition the focal
distance won’t shift what does the light meter say let’s bring up that in the
back as you can see we’ve got f-16 at an eight to the second f-16 the light meter
is saying we’re a little bit underexposed so I’m leaving f-16 because
I want the death field and slowing down the shutter speed till the light meter
says the exposure is correct and that’s a fifth of a second
I am using which metering mode there are lots of things to think about aren’t
there I’m going to use evaluative I was on does it say that’s still correct yeah
that’s cool no sorry that’s right talking to you I’m not concentrating I’m
doing I was right I was talking nonsense ignore me I’m using evaluative metering
mode which I’m measuring the entire scene and averaging it doesn’t really
matter there’s no point fiddling with spot focusing because you can adjust it
by looking in the back of the camera so everything’s set
let’s take a picture looking in the back there I can see where there are
highlights now something which is a nuisance since we got here the sun’s
moved in the sky it’s now hitting square on to that end of the bar which is
causing this very bright highlight just here which wasn’t there earlier it’s
going to be very very difficult to get detail into that that is such a shame
the only thing I can try and do is to move the camera don’t think I can know
it’s still going to hit that and we’re gonna have a completely burnt out end ok
moral of the story is get here early and make sure that everything is all done
properly before you get going the only thing I could do in that circumstance is
to come back tomorrow or do it later in the day when the sun’s moved or start
filling around with lighting we’ve already said that’s not an option right
it’s very warm in here we know that that happen we know that our exposure is
supposedly correct but it looks a little bit too dark to me we’ll bring that up
and look at the histogram see the histogram is showing me there’s lots of
darkness in this image and a big spike of brightness well that’s what that
little area there is so I’m going to have to lift the exposure a bit and then
check see if there’s any detail bring up our light meter again so to
increase the exposure I’m going to slow the shutter speed down a bit let’s take
that down then that says where it’s jumping around but yeah that’s a little
bit more exposure let’s go one more and see what happens
I hope that quick picture see what’s in the back if I flick between the two do
you see how the histogram is jumped to the right you can see how the picture is
a little brighter that’s better that’s going to give us better detail better
rendition of what’s happening in the shadows but I’m worried about that
bright highlight just keep looking around the image is the back of the room
sharp yeah I think it is look around make sure the plots nice
there’s our chair there’s a bright highlight there but I don’t think it
matters it sort of adds to the mood of the room a bit here’s our menus which we
turn around the right way so we could just see that everything is facing the
camera you know I think that’s all nice and sharp we shouldn’t have a problem
with that at all okay my concern is that bright highlight
what I’m going to do is increase the exposure I’m going to basically what
we’re doing is bracketing we’re just doing it slowly instead of using an auto
bracket or something like that let’s bring up our light meter again so we’ve
done one with a lot more exposure I’m going to do one a bit brighter still to
make sure that I’ve got all those shadow details there we go so there’s our shot
that’s brighter again you see I might be able to rescue that because RAW files
have so much data in them we’ve got lots and lots of detail okay in case I can’t
rescue it I’m going to take another shot at a much lower exposure which is for
the bright areas of the picture let’s have a go at that so on my light meter
here I’m going to change that exposure from plus one we’re going to take that
down here I’m go – a little bit because then I know that I’ve got lots and lots
of detail in those very very bright shadowed areas again
take the picture now so a quick look at the histogram this is what I mean by
going slowly this is much darker than that look you see this block of darkness
which is the left-hand end of the histogram jumps to the left it’s because
I reduced the exposure and you can see it there you can also see how the lights
changed look see there’s a highlight at
highlight that one minutes there and then it isn’t that’s the Sun moving
through the sky that shows you how fast you have to work with this stuff the
reason that it’s really useful to have that high light exposure as well as the
shadow exposure is because I can then combine those two in the computer if I
need to so I know I’ve lost no highlight detail but I’ve still maintained the
atmosphere of the whole room which is what we need to do we don’t want people
seeing something that’s completely different I’m going to show you briefly
what would happen if I put a flash on now I’m only using my speed light on the
top of the camera if I just put on a flash a fill-in flash of let’s say minus
minus one so I’m going to put in a fill-in flash of minus one and just
bounce it off the ceiling it’s going to kill the mood of the room to quite an
extent I think we’ll find look at this look in the back here it’s pretty good
and it could be an escape but look but how the lighting is totally totally
different when I say it’s killing the mood yes it is lighting it up a bit but
look we’ve got a black shadow going on down here which we didn’t have before
you know that black shadow doesn’t belong there does it there is no black
shadow it’s the flash that’s causing that black shadow so that’s not so
brilliant if you did need to use that technique all you can do is move your
camera in a bit so that this door can’t cast a shadow but then what will happen
is you lose that depth to the shot look we flip between them again
the doors kind of lead you in in the composition for losing the door so
release the shadow is a sort of element of it’s not so inviting it’s lost
something so there we go that’s I guess the first part this is capturing the
image this is how to record it and get it onto your camera as I’ve said many
many times Photography is a three-stage process you have to think about the shot
you’re going to take you then have to put together the different photographic
blocks to capture that image and then the third and final stage is your post
production post-production isn’t cheating and I say this a lot too it
always happened in the old days they would be dodging and burning in a print
and if you were shooting with slide film well you wouldn’t sheet but you would
add light so there was a huge amount of skill involved in that I’m not seeing is
anything wrong with that skill it’s brilliant and I used to have to do it
but it saves a lot of time and a lot of aggro for your client if you can shoot
it in camera and deal with it in the post-production so that’s going to be
the next step for this image post producing the image from a raw file into
a JPEG and getting all the tones looking lovely

100 thoughts on “Photographing Interiors Pt 1

  1. Wow! Great video. I really felt like I was there. Very good explanation of variables involved without being too technical. Thanks!

  2. Thanx a lot, that was really helpful, and everything were explained properly, many tips were there that I wasn't going to think about , Thanx again, keep up the good work 👍🏻👍🏻👍🏻

  3. Hi Mike !! Very nice Video… I just started to begin wit interior/property photography. But my I ask why you haven´t consider HDR mode ? I think this would be helpful in that situation wit the overexposed end of the bar and the chair…
    Greetings from Germany. Björn

  4. I've recently discovered the advantages of back button focus and it seems to me it might be very useful for this type of photography. Have you tried this method?

  5. Great video lots of good stuff. What is the difference if any, with cable release and a remote control?…Keep up the good work

  6. I like this guy and will probably come back and watch the rest of this tutorial – once I've gotten over the sickness from the terrible camera work! I think Camera Work for Interiors Part 1 is needed for this person….

  7. Mike, thank you. I'm just getting started and want to shoot architectural (interiors and exteriors), so this was wonderful. I appreciate it and have subscribed to your channel!

  8. Sir big fan of you…. the way you explain each and every details… helps us to understand things in better way 🙂

  9. Another handy tips while doing photography in hot climate is to use sweat band on your head as it gets annoying to keep having to wipe it from your eyes and causing unnecessary stress. And a dry towel for drying yourself.

  10. I'v got an interested client at a hotel that want's me to shoot their remodeled lobby, bar, restaurant, and entrance. How would you go about pricing that? I typically do portraits and events. And when I do interiors, I do homes and charge by the room. Would you do an hourly estimate and charge based on that? Any help is appreciated! Thank you!

  11. this was great, amazing video great tutorial, im off to watching the Pt 2 coz this one was so amazing!!

  12. all good but u cudve got assistant or someone to put a shadow on that highlight and capture 2 shots and later clone it on to the one with the highlight.. 😉 great tutorial thought, very informative

  13. In this case I would shoot a 5 image bracket and blend them in Photoshop or similar software. It's not film you're shooting with, so digital is definitely your friend.

  14. thank you sir. I really appreciate your old school approach to photography, well actually more of a classical one. I have watched a few of your other videos and can must say I really enjoy them and how you teach. I am moving back to Germany soon, from the USA, where I have been for the past 5 years as a media Journalist. Would be happy to get in touch with you when I am in Europe again. Maybe get some in person advice from you, if time allows it.
    Thank you.

  15. Mr. Browne, Thank you for posting this video. This is my first time watching you and I must say I love the way you explain detail by showing and explaining how and why you use the settings you do… I am a Portrait Photographer looking to expand to Real Estate.. Again Thank you so much. GOD bless

  16. overall nice video, but what you did with da flash isent entirely true… its pretty basic lightning knowledge to not have your flash on the camera wile taking the picture, but move it to the window or something to make it more natural, and that way you would get way better light, and same time save you lot of work in photoshop later… for most parts its best to do as much as you can stright in camera, compared to "fix" it in ps later

  17. Down and dirty. I think you hit the major points to taking a great photography in this setting without all of the expensive extras, which come with photography today. Trying my hand at interior photography and I really appreciate how well you explained this. Thank you!

  18. Brilliant. Have been following your videos for a quite while, and this is yet another that has suddenly become incredibly relevant to my work. Really great stuff, and thanks for sharing.

  19. what? you just left the doors with shadows unsolved at the end? you should use a remote flashtrigger so you can hold it as far up as you can above the doors, then youll still get the light and avoid shadows behind the doors.

  20. Hi Mr. Browne, I found this video extremely informative. Your step by step approach coupled with detailed explanations was very helpful. Thank you so much for sharing your expertise with me.

  21. Hello Mike:
    I have been involved in photography for over 45 years. I do primarily fine art photo images with layering in Photoshop. I have also done a little wedding photography, but it is not my love. I was just asked if I would do some interior architectural images for an interior designer's web page. Your wonderfully informative video has given me great insight as to how to proceed. Thank you so much for sharing your many years of knowledge with the Youtube community. I truly feel when people share their knowledge it helps to make the world a better place for all. Keep up the excellent work! Cheers!
    Ron Star

  22. Absolutely perfect video on how to take interior photos. You have a great way of walking through the process, step by step, and making it very easy.

  23. Nice video very informative, BUT please get someone who knows how to hold a video camera. The unsteady video was making me seasick.

  24. Wow, accidentally came across your tutorial and very much enjoyed the practical approach you take to your photography. I had viewed a few other "real estate" videos and became a bit over whelmed with the amount of lighting and multi-exposure setups and as an admitted novice felt more frustrated than educated. My hats off to your simpler, yet effective approach and watching in real time as you teach the concept. Many thanks : )

  25. Shooting Interieur in bright daylight is just wrong always shoot at sunset or Blue Hour for much Softer and more intressting light

  26. Thank you so much Mike Browne! The 25 minutes of this video genuinely felt more like 5, it was so interesting and clearly put across that the time just flew past and I didn't want it to end!

  27. Points for keeping cool and pulling off a great video in a noisy environment!
    That is teaching by example : )

  28. Curious about real estate photography…searched for a few videos on YouTube…opened a few to let them load…found a Mike Browne video…closed all other tabs. 😀

  29. Hi Mike – have you/your team ever considered doing more informal videos about your hobbies and your life? Maybe just as a one off 'A Day in The Life'/ Behind the scenes sort of thing? You're very entertaining to watch – and I'm sure your long-time fans such as myself would love to see what you get up to when you're not taking pictures!

  30. Hi Mike, i wish i would of found this 2 years ago before i started real estate photography, VERY informative and without a doubt the best tutorial on the web for this sort of thing, i´m looking forward to seeing more of your videos now, thankyou!

  31. Great tutorial! You explain very well! However I have to shoot in a museum in which flash is not permetted, how can I remove the window shine from the wooden floor?

  32. A tilt & shift lens is a must have if one is going to do this on a regular basis. Apart from fixing verticals/horizontals in camera, it can also be used to increase the apparent depth of field in certain circumstances when space is very tight.

  33. hello…pls, Im not english speaking person, so I dont understand, which White balance you used ? thanks…

  34. My real estate agent is offering an opportunity for me to take some photos of some local properties for her to build my portfolio and get some shots for advertising to other agents that she knows. You earned another subscriber today with this, because this is exactly what I needed to get my confidence up to go out and shoot. I really appreciate the knowledge you've shared here. Thank you.

  35. Your videos are quite good. You still using the D300. Some of the newer Nikons have a ​better dynamic range like the D800 or D4.

  36. Mike, you did a great job in explaining each step plus showing the actual picture before and after to give us a better look. It's a wonder I didn't see this video before. Keep going!!!

  37. Dunno about you, but I would have blown a big a arty hissy fit when I got back home to the computer with that highlight in the frame!:)

  38. shooting my eyeballs out: was in California and bumped into someone and spent a whole day just shooting some wallpaper in two rooms. The owner of the little house is retired, wife almost so; and the two of them are having a lash at having large wallpaper prints that one can stick on a wall. All of which are prints of images shot by one of them of street art in multiple countries around the world; on vacation really but I said okay and had a cup of tea, talking to them for 30 minutes. Then I hauled my gear in (bag has grown in size) and set up my pod. Spent the whole day from 8:00 to 17:30 shooting only two rooms of which had only one wall with the product on it. Big lad that I am in this small house squeezing myself into very tight corners with a cable release and mirror lock-up so as not to get camera shake from the old wood floors.
    Thanks for this film Mike. They were very pleased indeed.
    Chasing the light all day running through many batteries and using my flash gun as needed. Almost split my jeans squeezing into corners:)

  39. Hi Mike. Quick one: I have grown the habit of watermarking my images. A small little bad boy with my name really. However, is there a case (such as shooting interiors) where one would not watermark one's image so that the client does not have to be annoyed by it? What is your experience with this?

  40. Love your attention to detail and how you walk us through step by step… very few take the time to explain the steps like this. SUBSCRIBING

  41. Thank you MIKE. Helped a ton yesterday. Knocked off one of two rooms. Ooof. I have barrels of patience, but this can be draining sometimes. Headed to the park afterwards for some focal length practice:)

  42. You are welcome! I watch your videos every day because I have asked myself those hard questions and because you inspire the heck out of me. Thank you very!

  43. OMG, who in the world was behind that camera doing the filming, because his or her camera movements have me feeling so nauseated I could not finish watching the video. It's a shame really because the content appeared to be most useful, hardly matters if the video gives me a headache to watch though. Please give that videographer some instruction on camera movement!

  44. Snap a shot as you have done. Then shut all the curtains and open up shutter speed so exposure is the same and you have no highlights. Snap another one with some fill-flash. Open as layers in photoshop and blend. Simple…No coming back tomorrow, no waiting around for a shot. Move on to the next.

  45. Mike do you not like compositing images in post? You had a nice composition and you changed it bc of the highlight on the bar. You could have used a skrim to knock out that highlight. What I like above this video is you cover the fundamentals of making a great shot which is necessary for advancing the right way in this field.

  46. @Mike Brown, that's a good video to show the basics. Great how you 'function' under the eyes of the client and producing a video at the same time. All this without re-taking. I liked even the handheld camera. Congrats Jenny for the camera work!

  47. Hey everyone! Feel free to checkout our page that has amazing videos of luxurious homes!

  48. Very poor example of flash photography. Positioned in doorway no way a single flash at that point can light the room evenly, off camera flash would look far better balanced with the lighting (ie not too much). Time and a place for ambient too depends on room. Unless you decided to put the flash on the camera to show how not to do it, erm it's amateurish at best. Surprised how basic this channel is that's great but erm do your homework please

  49. I really liked the video but would have liked to have seen some final results as they were being taken to show us perhaps a before and after?

  50. I like your work and I would do the shot like you did if it would be profitable; but, since I know it would not be profitable I would have done this a little differently for the same result: ISO 320, f6.3 and 1/125 second hand held with the on-camera flash bounced on ceiling in TTL, maybe 1 over. This setting will assure windows are not blown out. Camera set on auto WB (warm) but with WB set to flash or as shot in Lr, WB will not be a problem. I'd likely shoot at 16mm. My shot would have been finished in about 15 seconds and perhaps 1 or 2 more minutes of editing in Lr to get ideal exposure, contrast, blacks/whites, highlights/shadows, and color.

  51. Still enjoy watching this one. I commented and gave thumbs up years ago but they've been removed and there's no thumbs up. YouTube are really messing around with accounts.

  52. Wow! This video was more helpful to me as a brand new interior photographer than any other I have found so far. I’m going to watch it a few more times. Many thanks!!

  53. Highlights are insignificant. Shoot the frame with 12 different exposures and use the darken setting in photoshop.

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