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tiger
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Last Login: 2/26/2008 11:31:12 PM
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I have done quite a lot of interior photography in my time, but most often with studio flashes mixed with daylight. This causes small problems since the difference in color temperature is relatively small.
A german furniture manufacturer contacted me a few days ago, asking me if I could take interor images from the new terminal building here in Longyearbyen. They have delivered the furniture and wanted this project in their references since this is the northernmost airport (with regular traffic) in the world.
This job requiers me to think a little different. The far wall in the room is all window from floor to ceiling, which will cause problems if I am not careful with the placement of my lighting. The client wants this window to be a part of the image, and they want to show the blue arctic atmosphere on the outside, something like this. The room is lit by a huge number of halogen spots from the ceiling, this is an image from the opening in september. My images will be closer to te window showing more of it.
For this projekt I will use 4x5" camera with film, and polaroid for exposure control. What film I will use depends a bit on what strategy I go for.
---- To the point ----
Is it sensible to consider doing this job with only existing light? It is quite a difference in color temperature on the inside and outside light. The 3200K (or so) halogen with the 10000++K outside light. It is also a difference in light intensity with the outside light very low even in the middle of the day. A normal exposure measured for the indoor light would leave the windows nearly black.
I am considering trying a method of multiple exposures, where I first do an exposure for the outside with all indoor lightening turned off. When this is done I turn on the indoor light and do a second exposure. If I use a daylight film I will use a color converting filter for the second exposure, if I use a tungsten film I dont think about using filters at neither of the exposures, or maybe a warming filter (85) on the first one to prevent the outside to be extremely blue.
Have any of you any experience of shooting interiors this way? Any advise an practical tips will be appreciated.
(I don´t have eny "hot-lights" er other halogen lights available, I guess the (300W) modelling lamps on my flashes could serve as continous lighting if I need a little help in some parts of my image.)
Best regards,
Eirik Berger
Longyearbyen, Svalbard
Just recently launched:
www.monochrome.no
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pachyderm
Group: Forum Members
Last Login: Today @ 10:39:54 PM
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| Hi Eirik, Unfortunately, I don't have an answer for you on this one. However, I did recently read a good book about the subject. I'm not sure if you have time to read it or not. The book is "Architectural Photograph - Inside and Out" by Jim Lowe. It is printed in the UK, so you might be able to find it easily.
Robert M. Teague---------------------------------------------
Website: www.visionlandscapes.com
Blog: visionlandscapes.spaces.live.com
"Fujifilm remains true to its heritage and to the acknowledged superior image quality delivered by professional photographic film products." -- Fuji Press Release
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tiger
Group: Forum Members
Last Login: 2/26/2008 11:31:12 PM
Posts: 62,
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Thank you Robert, a good book on the subject is welcome. I have some time, the light (sun) is not returning yet, and I will do the job in mid february.
Best regards,
Eirik Berger
Longyearbyen, Svalbard
Just recently launched:
www.monochrome.no
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lion
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Last Login: 10/8/2008 10:23:05 PM
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Hi Eirick,
At first, I was going to suggest to filter the windows before I saw your photo of the inside and window size.
Is it possible for you to use strobes and possibly bounce light off of reflectors of some kind to bring up the interior lighting (I presume you want to show the furniture) so that it is closer in intensity to the daylight conditions? Of course, you would need large powerful strobes, and possibly multiple pops to make this work. At least you may want to give this some thought.
I think that if you try to mix "hot" tungsten lights with daylight you are going to have a bit of a nightmare color balancing unless and I stress this if you can possibly do this with negative rather than transparency film.
Rich
Richard A. Nelridge
http://www.nelridge.com/
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lion
Group: Forum Members
Last Login: 6/7/2008 2:49:31 PM
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Go back to the basics...they always work.. 
Problem: Different color temp, different light intensity.
How to solve:
-Multiple exposure (a well known trick in architectural photography)
-A shit load of lights or strobes (Not an economically feasible one)
-Painting with light ( You can take the shot of the vista through the window, wait until it gets dark and expose in regions with one strobe making sure you are always at the same distance to the subject with the flash)
-Measure the light ratio and wait until that part of the day where you have them the same or pretty close both inside and out ( YOu will have to hang around for a while till you can take the measurements)
-If you are really good with a VC, have a couple of asistants and a couple of support frames you can do outside the camera masking. How you do this is you place a piece of glass in between the camera lens and the subject. With cardboard (black cardboard, don't use white.. ) you mask the window, you take the shot of the room with the lights on. You then turn off all the lights in the room and remove the mask from the glass and take the pic of the scene outside the glass window.
These are some of the few that come off the top of my head, I am sure there are more.
Good luck and charge them a lot..
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