 BetterPhoto Member |
Education I´m working in interior photography (hotels and houses). Where can I take a inteior ligthing course.
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Linda Finstad |
Hi I am not sure where you can buy a course, but I also shoot interiors, and have teh most success with a two light set up, I aim my most powerful light towards bounce off the ceiling to create my main (this only work if the ceiling is white of course)and for my fill I use a large umberella just above and behind my camera. This usually overpowers any existing lights (flourecents / toungsten etc. mostly its just trial and error as every home/ hotel is different. good luck
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Mark Feldstein |
Greetings Alejandro: One of the best courses you can get in any area of photography is the one you can design yourself and take at your own pace. You can do that by starting at your local library and reading about how it's done, getting some books on interior lighting and also studying the work of artists, even Rembrandt and others to see how they used light from windows or candles. Then you have to practice (alot). While Linda's suggestion is fine, it's by no means the only technique for lighting a room, just one of many. The way you light depends not only on the room or venue, but also on the result you want to achieve and how you want to achieve it versus the equipment you have available to get that result or even how to use shadows produced by available light at different times of the day or the year. Interior lighting, IMO is an evolving process that starts with a single light source and just kind of grows depending on what you want to look like. For that, you need an idea of the direction you're going in and you get that through experience, photographic vision and not just walking into a room, throwing open a bunch of equipment cases and randomly tossing down lights. Some junior colleges or universities offer courses in different types of photographic lighting. Check around. Also there are many free online courses as well sponsored by equipment manufacturers like Photoflex.com and Chimera and also weekend seminars by some equipment makers too. Again, check around.
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John H. Siskin |
I don’t see the catch light in the eye. I look for the bright spot in the eye as the tip off for fill flash. It may be that I don’t see the catch light because the eyes are such a small par of the picture. The background is very soft, which is nice. The problem, if there is one, is that the child has such a fair complexion and the background is so bright that the child doesn’t separate from the background as well as we might like. I am a big fan of bracketing a shot like this, that is making alternate versions of it. Usually I want to use the flash compensation dial at a minus 1 setting in a flash fill situation. What I might want here is a plus 1 setting, this would cause the sky to go darker, and so there would be more separation. The key is not to know one answer that works but to try several settings to find what works best. Regarding cropping, you have a camera with a lot of mega pixels, so it makes sense to shot a little extra information around you shot. If you had a 6-mega pixel camera I would encourage you to shoot tight, crop in camera, since the camera doesn’t store enough information to make a big print. When a camera does have enough information to make at least an 11X14 it makes sense to use some of that information to allow you to crop after you take the shot. It is much easier to crop precisely in Photoshop than in the camera. You should also know that I don’t care what aspect ratio your prints have, square or panorama are both ok.
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