Interiors Photography: Using Artificial Light To Create Mood And Remove Color Casts

Here is an example of what artificial light can do for an interior photo. While there are many instances where natural light may be all you need, this is a relatively common scenario that I see interior shooters struggling with on a regular basis. 

If you look at the natural light photo, it may look okay at first glance. It's a beautifully appointed, well-staged room, and the composition is as good as it can get owing to obstacles out of the frame blocking any other compositions.

 

But then take a look at the image (below) where I used a healthy dose of artificial light. The true colors of the room immediately come out - the paint no longer has a sickly green cast from the grass outside, the furnishings are their intended colors, and the contrast of the room has improved ten fold. Not to mention the feel that artificial light is able to create - there would be no way to create this Sunday-morning feel using only natural light. HDR would yield a muddy mess, especially in such a high contrast situation, and attempting to use only a single exposure would be a disaster, as illustrated above.

 

So not only does artificial light create a room with correct colors and contrast, but it also lets us entirely change the mood of the photo - something that natural light alone would never allow us to do. And isn't that our job as photographers? To make a space look as good as possible? To want the viewer to say - 'I want that - to be there, soaking up that sun with my coffee and paper!' One of the best things an interior photographer can do for his or herself would be to master not only available light photography, but also to learn how to create emotion via the use of artificial light.

Photographing An Architecturally Significant Home: Pasadena Greene & Greene Built in 1911

I was recently awarded an incredible opportunity: photographing a Greene & Greene home in Pasadena that had been immaculately restored and maintained. I was contacted by designer Christine Kilian (who, notably, was a major force behind the architecture and design of the renowned Getty Museum), who wanted to document the home which contained her work. In addition, the owners were interested in having photos taken as keepsakes to remember their hard work and tireless devotion to restoration.

Built in 1911 by the famed brothers Charles Sumner Greene and Henry Mather Greene for three sisters from Illinois (Cordelia, Kate and Margaret Culbertson), it had cost $100,000 at the time: the equivalent of more than $2.5 million today. The home is a stunning piece of work, yet markedly different than most of the Greene & Green homes that are scattered throughout Pasadena. Instead of large, bulky, shingle-clad and relatively symmetrical designs, The Culbertson house is covered in a light tan gunite. It has a low facade, somehow resembling a Chinese temple, and a roof of glistening green tile, dashed with red flecks that reflect a varied spectrum depending on the time of day. The home is quirky in its layout; a large, yet asymmetrical U when viewed from above that gently slopes down towards private gardens with views of the mountain ranges behind Pasadena.

This was certainly unlike most homes that I've photographed, as I have spent most of my time photographing new constructions and remodels. Homes dating to 1911 in the area are exceedingly rare (this is where I also mention how jealous I am of all you shooters on the east coast, where a 300 year old home is nothing out of the ordinary), and in many cases owners update them to reflect current trends and tastes.

In order to maintain the feel and mood of the home, I used a lighting approach that maintained a natural look, yet also allowed for the richness and depth of the colors and textures to show in the photographs. In a home such as this, I felt it was absolutely necessary to preserve the mood and ambience of the interior. Careful attention was paid to composition and staging, and in many cases we spent over an hour perfecting furniture layouts and lighting schemes.

Some of the lighting situations from a photography persepctive were somewhat nightmarish. A number of one-point perspective compositions meant some creative light placement was necessary. Cavernous areas covered in dark paints required careful attention when aiming and positioning lights not only to avoid color casts but also to avoid reflections and maintain the natural feel. It's very easy to overlight a big space where such a wide dynamic range is present.

Despite these challenges and the all-day shoot (nearly 12 hours for 12 staged and lit images), everyone involved was thrilled with the outcome. I hope the extra time we put into staging and preparing the space shows, and I know that these images will be used for years to come by everyone involved. Creating timeless images takes time, but I hope you'll agree that the results are worth it!

Photographing A Pasadena Remodel: A Modern Update In A Classic Town

One of my long time clients, Future Home Builders, recently finished this gorgeous remodel of a 1950s home in Pasadena. I absolutely adored the kitchen: the perfect size and just modern enough without being over the top. Clean lines and nice mood lighting made for a great environment. The lighting setup here was relatively simple, just two speedlites out of frame, and a few additional frames of painted light which were then composited together to get the wood grain and lines to pop a bit.