Upcoming Architectural Photography Tutorial DVD And Workshops With Fstoppers.com

Over the past few months, I've been scheming with Lee Morris and Patrick Hall of fstoppers.com to bring our combined talents together and produce a DVD/tutorial series on the subject of architectural photography. So in May and June of this year, I once again left Los Angeles and headed to Charleston, SC to begin production on the largest project I've been involved in to date. Working with local advertising agencies, we set up a series of shoots for varying clients all over the Charleston area and we were lucky enough to get them to allow us to film everything that went on. 

This is, for the most part, an entirely comprehensive tutorial. While it would be pretty impossible to teach EVERY single method of architectural photography, we did our best to cover the basics all the way through the more advanced techniques. We've got a chapter on shooting real estate and getting things right in the camera, for those who are just starting out with minimal gear. We've got a chapter shooting a home for one of Charleston's most well-known architects, where we dive into topics such as using natural light, staging a room, using scrims and subtractive lighting, light painting, and photoshop techniques to bring it all together. We've got a chapter dealing with commercial photography for restaurant interiors, as well as creating moody light painted scenes and controlling light from multiple sources to ensure that you can create a repeatable result in pretty much any situation that could ever arise. We got to shoot at some of Charleston's (and the country's) best restaurants - such as Husk, which has been voted the best new restaurant in America and has featured on many TV segments in the past few years. Very, very exciting stuff! 

Each image in the tutorial was designed to teach a technique, so keep that in mind while viewing. We wanted to show you a myriad of options for creating your own awesome architectural images, so we really pulled out all the stops and went to down wherever possible. Even if we didn't need to do it for a certain image, we included the technique anyway, just to give you as many options as possible for soliving problems that you'll face on any given architectural or interior shoot.

And here's the most exciting part of all of this. We've decided to release one of the shots - a dusk light painted exterior - with the DVD. That means you'll get the PSD files and you'll be able to follow right along as I edit the file in the tutorial. You'll be able to create an image exactly as I am, folllowing my every move - learning my techniques exactly in the method that I use them. No stone will be left unturned, as I wanted this to be an entirely comprehensive tutorial. 

Above, I've included a few of the images that we're going to walk you through step-by-step. All told, we shot over 20 images and it looks like at least fifteen of them are going to make it into the final cut. Each of them teaches a different technique - from light painting, to dealing with tricky color casts, to adding artificial light through windows, fixing pesky window views and ensuring that you can see whatever you want to see out a window, balancing light at different times of day, and so on and so forth. I'm really, really excited about this project, and I can't wait to see it released. 

As of right now, we're planning for a fall 2013 release; definitely before the new year. Keep your eyes peeled for more details, which I'll release as we get closer to completion. We've also got a number of promotional videos in the works that I'll post and share, as well!

More to come...looking forward to it all! 

Newport Beach: Architectural Landscape Photography Assignment

I just spent a full week working with Christopher Taylor, a Newport Beach, California based landscape architect, photographing multiple spaces that he designed for his clients. Christopher is a long-time player in the Orange County landscape architecture scene, and his work ranges from sprawling villas to tiny courtyards, so it was fun to shoot so many varied projects in such a short time. We worked to shoot eight projects over the full week - which was tough, with a full schedule, but luckily the weather cooperated and we were able to pull it off. 

 

It's always nice to take a break from the hustle and bustle of Los Angeles and head to Orange County to shoot for a bit. Due to the nice weather, I even got a chance to sneak in a quick beach day before heading back to process the images, which was much needed, considering the work that is shooting eight locations over a full week.

It was also great to work on some new and interesting subjects. While most of my work on a day-to-day basis consists of architecture and interiors, shooting landscape architecture presents it's own set of challenges to deal with. When photographing interiors, you usually have plenty of control over the light (either by waiting for the right time or lighting interiors through windows, supplemental lights, etc), and the same can be said about exteriors (twilights, at least) but with landscape architecture, you are really at the mercy of the weather except in a few scenarios where you might be shooting details or an enclosed space where a flash can be placed appropriately enough to mimic sunlight. This really requires planning the day out in advance - I often woke up early to get some softly lit shots under that famous Southern California June gloom - which provides a nice soft light - and then shooting until the light burned off. It's in the transition period between fog and sun that will really give some awesome results. From there, I waited for the sun to align itself just perfectly for the full daylight shots, and then usually went and grabbed a bite and recharged before heading back for the golden hour and twilight shots (which, thankfully, I was able to control a bit better!).

Despite the frantic pace of shooting, I was more than pleased with the results - as was the client. I got one of my favorite testimonials out of the job, too! After delivering the images, I was surprised to see a quick reply in my inbox (this is a direct quote, mind you!): "OMG!! You're Perfect. I love you! (In the most professional of ways, of course!) Damn me for not calling you sooner!" And that was all I needed to hear to put a big smile on my face.

Below, I've included a few images (some paired with behind the scenes photographs from my iPhone to back them up). I'm looking forward to working with Chris again in the future, and hopefully these images will serve him for a very long time to come.

Me with my favorite tripod!

During....

And the finished image, after post processing.

Shot in total darkness...

During...

And after post processing....

And some architectural details...
 

And lastly, the setup that makes photographing all this stuff possible! 

Photographing The Robb Report 2013 Ultimate Home

About a year ago, I was contacted by a few potential clients who wanted to get together and discuss the possibility of shooting a home still under construction. Of course - it sounded like any run of the mill project and the meeting would be a simple brainstorming session of ideas, finding out what angles and features to shoot, and figuring out the optimal time of day(s) to shoot the home. 

I was incredibly surprised when I drove up to the location and first laid my eyes on the home that we would be shooting. A 26,000 square foot, completely custom Italian/Tuscan villa that sat on top of its own private hill with gated access points and what could best be described as castle walls all around. Simply incredible! I've seent a lot of homes and it takes quite a bit to get a big reaction out of me, but this was unlike anything I'd ever seen. The detail and finish work were exquisite. For example, each of the coppi tiles on the roof were salvaged from Italy, and they were hand made hundreds of years ago by artisans who formed them by pressing them over their legs. 

No expense was spared inside, either. The kitchen featured a custom La Cornue range, and the home sported an 8,000 square foot subterranean garage to keep the homeowner's collection in order. Lamborghinis, Ferraris, Teslas, Bentleys, the list goes on, it was all here. There were even a few lifts so that the owner could work on his own cars if he desired. 

Many of the furnishings and finishings were imported from Europe by the owners when they went on shopping trips, and original old-world artwork adorned the walls. A custom movie theatre with a glass floor looking onto the garage below was a rather interesting touch, as was a spiral staircase spanning three floors with an absolutely incredible handcrafted candelebra at the top. I could sit here for days typing out the things about this house that blew me away, but I'll let you take a look for yourself (above and below).

Photoragraphing this place was a pretty daunting challenge. The dark ceilings and walls sucked up a lot of light, and in order to keep things looking natural, a lot of exposure blending and clever (to me, at least) lighting tricks were employed. I didn't want to overlight the place or give it a sort of casino vibe, so I scaled back some of my usual lighting and retouching processes. There were, however, a few rooms that called for that dramatic lit look, such as the theatre and bar at the end of the garage. 

I think knowing when to light and embellish a space and when to hold back and let it speak for itself is such an important part of architectural photography - there's gotta be a rhyme and reason for doing something, though. If a kitchen has a really great ambient feel with big windows and white surfaces, why kill that mood to make it look like a casino? On the other side of the coin, however, when we're shooting a dark room with lots of mood, why not add some light to bring out the sexiness and feel? It's all subjective, of course, but making the space look as good as it can is what I try to do in every situation. If it looks best light and airy, keep it light and airy, and if it needs some mood, light away! Of course, there are many interiors where there needs to be a happy medium between natural light and artificial light. I'm sure you can tell which photos employed almost all natural light, which employed lots of artificial light, and which were a mixture of both.

When all was said and done, I delivered roughly 50 images of the home shot over the course of three days. The planning aspect of a shoot of this scale can't really be underestimated - early mornings, late nights, and plenty of negotiating 'best times' with the homeowner, clients, and weather made sure that I had my work cut out for me.

If you are interested in reading further about the home or seeing more images of the home, be sure to pick up an April 2013 issue of Robb Report.

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!

On Location: Architectural Photography In Phoenix and Scottsdale, AZ With Fstoppers.com

I was recently invited to shoot a series of five homes in the Phoenix and Scottsdale areas of Arizona for a builder and architect who had previously seen my work. In the interim, I had been in talks with Fstoppers.com, a website I frequently write and contribute for, to come out and film me to  create a mini-documentary on my style and methods of architectural photography. We had the chance to shoot some incredible homes with gorgeous views. In particular, this Frank Lloyd Wright-inspired home in the Fountain Hills neighborhood, which turned out to be my favorite of the five. With views overlooking Firerock and Four Peaks, it was simply awesome to take it all in while shooting. Eating lunch with the homeowner, architects, and builders with the crew from Fstoppers was a ton of fun and the images are looking like they're going to come out amazingly well. I couldn't have asked for a better combination of sun and gorgeous clouds on this shot. Stay tuned for an update regarding the mini-doc, like I said, we got some incredible footage and I know some of my followers have been longing for a behind the scenes feature like the one that Fstoppers will be creating. 

Here's a quick behind the scenes peak at me at work and the home in particular that I was so enamored with:

Traditional Mediterranean Orange County Home

Just wrapped up this shoot on an impeccably staged Orange County home - if only every shoot of mine was staged so well! We did a lot of lighting here to brighten up the interiors and really show off the design inside. Most shots had a 640ws light out the window shot through an umbrella, grid, or reflector to add some splotchy Sunday-morning light to give a bright and airy feel. Most of these shots are simply all done in-camera with slight camera ACR raw tweaks to contrast and saturation. Sometimes instead of crazy composites, everything can be done in camera with some carefully thought-out lighting and patience. While there are ups and downs to both approaches, there's definitely something special about getting everything perfect in the camera. On the other hand, though...sometimes seeing the finished product after a full day's effort in Photoshop is awesome, too!

Stone Canyon, Bel Air Home Overlooking Wilshire Blvd

It's been a really busy few months, and I am just now finding some time to catch back up on the blog. I've been shooting all over the LA area, from Thousand Oaks to Simi Valley, Bel Air and San Pedro. The diversity of architecture across this part of the country never ceases to amaze me - you could lose yourself photographing all of the great homes in the area. 

Check out this Bel Air classic located at the top of Stone Canyon. Situated on five acres with a private golf hole/driving range, indoor/outdoor pool with an infiniti edge, and views over Wilshire Blvd. Simply incredible that I get to wake up and spend time in homes like this.

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.

Santa Monica Contemporary Interior

Shooting for the wonderful Natalie Younger Interiors, we spent a couple of days photographing this space in Santa Monica. While small compared to some of the homes I shoot, I absolutely loved the varying patterns and rhythms found throughout. I could move into that office starting tomorrow, it just drips personality and character. This just goes to show how dramatically a talented designer can transform a normal run of the mill space into something that suits the owner's style and personality. This was so fun to photograph, such a contrast from many of the things that I normally work with.