Mission San Jose - San Antonio

My wife and I recently spent a few weeks in Texas and New Mexico, over the Christmas holidays.  During that trip, we stopped by Mission San Jose, in San Antonio.
I used to live in California, and visited a number of the missions there; this one is similar in timeframe and architecture.

Below are some images my wife took while we were there.  I think she is coming along as an architectural photographer.

Thanks for taking a look at her work.

Greg Sprenger
Constructed Images LLC

Better Interior Photography using P&S cameras

I recently sponsored a joint event with Creston, an environmental controls company with a branch in Denver.  This event was targeted at interior designers.  My presentation focused on how to create better interior design photographs, using a few simple techniques that interior designers could use.

First, I provided some characteristics of good interior photography.  I offered some examples.  Then some camera suggestions to make it easier to utilize the techniques I would offer later.

Two techniques were presented;  Fill flash and HDR.

Fill flash is a technique to use the camera's flash to fill in shadows, and balance the lighting.  This gets a bit tricky, since many interiors have a mix of tungsten light and daylight coming through windows.  Here are a couple of slides from the presentation showing that.

Both of these photo series show how flash fill can provide better lighting to the dark shadow areas of the room.

I then moved on to the most powerful photography technique to come along in a long while:  High Dynamic Range photography or HDR.  This technique combines different exposure captures of the room, and combines them using software into one image, with proper exposure sections from the different captures.  The real intent of the technique is create a photograph that looks more like what your eyes see.  Here's a condo I photographed a few months ago:

Here you can see that the circled sections of each of the captures were used in the composite HDR image below.  So we ended up with a better exposed kitchen, along with the view out the window.

Here is the same kitchen as above, comparing the fill flash with the HDR composite:

The HDR image looks pretty good, and eliminates the flash artifact on the refrigerator door.  These HDR composites were made post using computer software.

Well, the amazing thing now is that HDR can be done automatically IN THE CAMERA now.  Using a camera setting, new P&S cameras will take a quick sequence of 2-3 captures of different exposures, then blend them together in a split second, to create an HDR composite that looks quite good.    Here is an example:

Note the light fixture and view out the windows;  we get detail in both now using the HDR blend.  And the amazing thing is that the children in the lower left are still sharp in the HDR blend!  HDR is an amazing thing!

Now, you may ask why would I show interior designers how to take better photographs themselves?  Doesn't that take business from me?  Well, not really.  Many (most?) interior design projects don't really have the budget to afford a professional photographer, so that really isn't business I'm losing.  And really, we professional photographers just like good photography, rather than the "good enough" photography that seems the standard these days on the web.  And maybe they'll think of me when they have a bigger project.

I think the presentation was welled received by those in attendance.

If you want a copy of the full presentation, just email me;  I'd be glad to send it to you.

greg@constructedimages.net


Again, thanks for your reading and interest.

Greg

Moire in Architectural Photography

I suspect most of you don't have a clue what "moire" is.

Well, it is a result of the digital age and digital cameras.  As most of you know, photosensors in most digital cameras are made up of pixels, light gathering spots on a sensor.  Pixels are usually arranged in a rectangular pattern.  (FYI, Fuji has a history of creating pixel arrangements that are not rectangular, with some diagonal, and a recent camera that has a "random" arrangement.)

When the subject has a repeating fine pattern, such as some fabrics, this pattern can interfere with the pixels in the camera sensor, creating images with strange patterns.  These image patterns are called moire.

Recently I had my first real experience with moire.  I was photographing an iPad screen, which was used by an environmental control system.  As most of you know, computer displays are also made up of small pixels, in a rectangular pattern.  As I photographed the iPad screen, I couldn't see the moire well on my small camera display, but when I got back to my office and examined the captures on my computer display, OMG, was it bad!  You can see it here, especially in the detail view.  I have circled the section of worst moire.

Original with obvious moire

Detail of the moire

I attempted to fix it, in Photoshop, using a few standard techniques.  However, because the image contained only moire in the right side of the image, none of them worked well.  I had to reshoot the screen.

The reshoot had to focus on eliminating the interaction of the pixels on the iPad with the camera pixels.  I also had to eliminate any reflections, which had other complications.  The easiest way to eliminate the moire was to tilt the camera, and orient the 2 sets of pixels at a large angle.  Sure enough, this worked great.

Here is the 2nd image:

Final image, captured at an angle

Now, you can see that I have an extra step in post-production; I have to straighten out the iPad.  Since we have a moire-free capture, tilting it back straight keeps it moire-free.

Straightened moire-free final image

So this solution was easy.  And now I'll be much more conscious of that nasty beast called moire.

Thanks for reading.

Greg Sprenger
Constructed Images LLC
www.constructedimages.net
greg@constructedimages.net

People in Architectural Photographr - Fad or New Direction?

Historically, people were NOT included in architectural photos.  Most of the photographers in the past, including Julius Schulman, did not include people.  Schulman even did much of his work in B&W, to
eliminate the element of color.  His work was a cross between beautiful images and documentary of those buildings and rooms.  He knew that people can be a distracting element in a photo, where the intended focus is on the building or room.  Clothing fashion styles also date the photo, preventing its use beyond a decade or so.

However, the trend of including people continues.  Many architects want to highlight HOW the building is used by people.  After all, that is the function of buildings; to be used.  People can also show the scale of interior rooms.  Blurred people have been used for many years.  Some photographers, such as Iwan Baan, go so far as to suggest that buildings are "backdrops" for the people; even though his buildings are elegantly photographed.  Architectural Digest photographers will include even pets at times. 

Norman McGrath, a well respected architectural photographer, suggests that it may be best to photograph with and without people, to offer clients the option, depending on use.  That is generally how I approach my work, when possible.  A recent client wanted mostly images without people for the exterior, but wanted normal users of the building included for the interiors.  The exterior images also included some people, to "drop in" as needed via Photoshop. 

Here is a set of recent images from a university shoot, of a lecture hall.  Which do you prefer?

The additional complication of people in the photographs is the need for model releases, and even perhaps model fees.  Any recognizable face requires a release, so that the photograph can be used by the client as they wish.  The images above, a recent day at the Colorado School of Mines, required almost 50 releases for students in the photos.  That added quite a bit of additional work on that shoot.

I think that the trend will continue; people add a dynamic element to architectural photographs.  Let's just make sure that the architecture doesn't "fade into the background".

Greg Sprenger
Constructed Images LLC

Ride the Rockies...
     a very memorable challenge

---

Sometimes, we need a break from the business, and enjoy life in other ways.  This month,  I'd like to share a bit of my bicycle tour experiences in Ride the Rockies bike tour.  You may have heard of it.  It generally occurrs the 2nd week in June each year, and is a 6 day tour around Colorado.  Over 2000 riders take part in this mix of hard exersize, great scenery, story sharing, and pain relievers, along the 400+ mile route.  

A friend and I decided to enter the selection lottery this year, and my first reaction to getting selected was "oh crap!"  Now I had to train.  The training consisted of lots of rides up Lookout Mountain and Squaw Pass Rd.  And interval training, to get the legs and lungs improved.  So this was 3 months of frequent rides. 
Then the big day arrived.  Starting in Gunnison, our first day we rode to Hotchkiss, up Hwy 92, on the north side of the Black Canyon of the Gunnison.  What a great view of Gould Reservoir and surrounding area from the Aid Station at the top!! 
From Hotchkiss, we rode over McClure Pass to Carbondale.  Boy, the last 5 miles to the pass were steep. 
Then the "Queen's" day; Carbondale to Leadville over Independence Pass.  OMG, 7000 ft of climbing and 85 miles!!!  After 10 hours, we pulled into Leadville, thoroughly drained.  I was dragging, big time. 

The next day was lots of downhill, so that was great; going from Copper Mountain to Granby.  We still had to climb Ute Pass, north of Silverthorne.  Another great view of snow-capped mountains.



Day 5 was Granby to Estes Park on Trail Ridge Rd, through Rocky Mountain National Park.  This was only about 3000 ft of climbing, oh boy!  Another day above treeline.  But steady as she goes up, then we had lots of fun on the 15 miles of downhill into Estes.  What great views along the way! 


Last day was all dowhill into Loveland, where we stopped, due to the fire in Fort Collins.  Wow, 380 miles!!

We had the great benefit of having our wives "sag" for us, and stayed in hotels along the way.  We had great weather, good food, and a good bed each night.  Our butts made it.  And no flat tires or mechanical problems! 

It was one of those experiences in life you will never forget, and you will forever appreciate the effort and commitment made to accomplish it.  I strongly recommend every "roadie" out there seriously consider it.  

Will I do it again next year?  Well......

Greg

303-349-6035
greg@constructedimages.net
www.constructedimages.net

Doors Open Denver - The Oxford Hotel

I am running a bit late this month.  Between a week of vacation in the
Southwest, and some photo shoots, I've been pretty busy lately.

However, this newsletter is about Doors Open Denver, the Denver
architectural event held a few weekends ago.  While I've photographed
many different subject themes over the last 30+ years, architecture is
the subject that really excites me.  So the Doors Open Denver is
a special event where I get a chance to see and photograph many of
Denver's exceptional buildings which I wouldn't have access to
normally.

This year I didn't have a lot of time, but the building I chose to
concentrate on was the historic Oxford Hotel, on 17th St in Denver's
Lodo district.  Their website offers a good summary of the history of
the hotel.  Originally built in 1891, it is the oldest hotel in
Denver.  It was designed by Frank E. Edbrooke, who also designed the
Brown Palace.  It had all the latest technical features, including its
own power plant, steam heating, and private baths in its rooms.
Another novelty at the time, the "vertical railway", or elevator, was
installed to wisk guests up to the top of the 5 story hotel with ease.

I photographed the 2 rooms which are still authentic to the original
designs; the bar and the lobby.  The bar colors are quite bright; the
photograph is quite accurate to the colors.
 

Oxford Hotel Lobby

Oxford Hotel Bar

Oxford Hotel Lobby

Boy, that orange sure is bright!

Thanks for looking.

Greg

Why Architectural Photography will be "Constructed" in the future

Architectural photography and its methods have evolved over many years.  Much of this is due to the advances in lighting technology, and more recently, in cameras, and computer hardware and software.

Let's work our way through the evolution, starting with the basic camera, then discuss the image capture media (originally film), and how the camera/capture methods have evolved.

Camera:  The main features of the camera are the lens, shutter, and image capture media.  Now, this will get a bit technical.  For architectural photography, where the building walls need to be kept parallel and vertical, the film plane needs to be kept vertical to accomplish this.  So in order to capture the building, many times the lens needs to be moved independent of the film.  (We can't tilt a normal camera up, or the film plane will tilt as well, and the building walls will now converge to the top of the building or room in the final image.)  Originally, the camera of choice was a view camera.  The lens could be slid vertical, or even tilted.  This allowed the camera to capture the building properly, and still keep the film plane vertical, and the walls would then be captured vertical.  Some photographers still use view cameras, with their inherent features.  These cameras have been modified now, to use digital backs to capture images.  (The original large view camera has largely
been made obsolete now, since it will only shoot film.)  However, using special lenses, we can still accomplish the same thing.  New lenses for digital SLR cameras, called tilt/shift lenses, allow the lens to move in relation to the digital sensor.  This allows the camera to be adjusted to keep the verticals parallel, and still capture the building.

Now onto the image capture media.  This was originally silver-based film.  This involved chemistry in the film itself, and then in processing the film to get an image.  Decades of work by chemists made this method very advanced, resulting in very good results.  Over the last 15 years, digital capture, using solid state sensors, has largely taken over from film.  The advent of personal computers, image-processing software, amazing cameras, and speed of the obtaining final results has transformed the photography industry.

With these new tools, the camera/capture methods have also evolved.  Let's discuss some of those methods.

1. One exposure, no supplemental lighting - this is the original ( and still used) standard.  Adjust the camera settings to get a good exposure using the existing lighting and you have your image.
2. One exposure, supplemental lighting only- this utilizes the supplemental lighting as the main lighting.  This could be either continuous lighting, like tungsten lights, or flash.  The existing lighting is too dark to be a significant part of the image; the supplemental lighting provides all the significant light falling on the scene.
3. One exposure, additional supplemental lighting in combination with existing lighting - this technique balances the existing lighting with the supplemental, so we "fill" the shadows with the supplemental lighting.  This can be done with continuous tungsten lighting, as well as flash.
4. Multiple exposures, on one capture medium - this technique utilizes multiple exposures going directly on one media, for example, one piece of film.  For example, at sunset, the lighting changes quickly.  The first exposure could capture the exterior of the building, and the sky.  Then, if we wait for the sun to go down, and the building interior lights to come on, we can then photograph for the building lights, adding them to the image on the same medium.  This requires a slower shutter speed.  OR 
  We could photograph an interior in multiple exposures, using the existing light on one capture, then adding flash on other exposures.  OR
  We can use a technique called "painting with light".  This involves using a moveable continuous light, and adding light to parts of the image as the shutter is left open.  Total darkness is required, and just the light we add is captured.
5. Blend many separate exposures using computer and software, no supplemental lighting - This is a combination of 1. and 4., the intent is to get good exposures on ALL of the image areas.  But with the advent of computers and image processing software, we don't have to try and do it on one capture media.  We can take all the separate exposures, and blend them together in the computer.  This allows the balancing of all the separate exposures into a great final image.  We can use a technique called HDR photography.  Here different exposures are made, some to capture the bright spots in the image (sky, for example), and then others capture the shadow areas properly (and let the sky go white).  These separate exposures are blended together using special software, where properly exposed parts of the multiple exposures are used and blended together to make a natural-looking scene, just as your eye sees it in many cases.
6. Blend many separate exposures, use additional supplemental lighting - This is a combination of 2. and 4.  Supplemental light can be added either continuously, as with the "painting with light" approach; however, this isn't too practical since total darkness is required.  OR
  We can add the light as multiple flashes.  Since the flash lighting is quite strong, total darkness is not required, and this techniqe can be done in subdued daylight.  The main advantage of this technique is that supplemental light can be added within the scene.  That is, the light source can be located where it is actually visible in the image.  Then using computer software, we can remove the light-generating device, and only leave the resulting light it cast on the scene.

This last technique, the "constructed" approach, adds one more important technique to obtain great photographs.  This technique goes one step beyond even the new HDR technique, and can add light to small areas of the image, to highlight those areas, and draw attention to them.  To accomplish this with existing image captures would require lots of computer work, and may appear strange in the end.  While this technique is quite new, some other photographers are already using it to create incredible architectural images. 
As with all things new, it takes a bit of time for adoption; however, the technique is so powerful that it is only a matter of time before most architectural photographers will learn and use it for many of their images.