Archive for category Interior panoramic
Panoramic Photography for Architects and Interior Designers
Recently I have been presenting my panoramic photographic art with architects and interior designers. I present several 4′ and 6′ mounted prints (really fun to transport!), plus many smaller proof prints. I explain my panoramic process, how my images differ from those of other photographers, the advantages of the panoramic image, and potential applications (wall decor, 3D art wraps, way finding, murals, etc.) for the images, along with possible funding sources.
The panoramic cityscapes have been very well received, especially with firms having interior design departments. I would be happy to have 15-30 minutes to present my work, and with the first firm we were for over 1.75 hours! People kept dropping in, and they kept probing different usage possibilities for my panoramic cityscape art. It has been a good start!
Since I am presenting to architects, I know I need to build up my interior images. Below are some for your consideration. The first 2 are from The Church of the Apostles in Atlanta and were shot for the architect and my friend David Brown. The expansive views could not have been captured any other way.
Click on the thumbnails and enjoy!
Cambridge Professional Group offers full service legal staffing as well as multi-specialty professional search and staffing. President Steve Sullivan contacted me to provide images for a new collateral piece designed to highlight his newest offices.
We met to discuss the photo shoot, and, from the layout of the office, it seemed apparent that two interior panoramas might appropriately show size of the space. He agreed and had his designer change the layout to accomodate “long and skinny”. (As an aside, I conceptualize well and find it easy to offer good visual solutions to clients’ ideas.)
The below are unfinished images. For the entry image I shot a pano series with people in the background, and Steve wants to use that one.
When asked for his comments on the shoot, Steve said:
All I can say is we love the work you did for Cambridge and will look to you for our next project.
Please see the final images in my panoramic portfolio here.
- It seems the most difficult technical problem was getting a working Nodal Ninja 5 panorama head. The rental unit I received was the same one I returned a week earlier. Just like the first time, it was missing 2 important parts. I contacted the rental house, and they agreed to FedEX the parts to me for a 10:30 a.m. delivery the day of the shoot. FedEX apparently lost the package, so, once again, I went to my favorite Ace Hardware store where Shayne bailed me out again.
- Based on my poor rental experience I spoke with Bill at Nodal Ninja, and I will purchase a new preproduction Ultimate M1-L very soon. Look for the Nodal Ninja logo on my site. Grump meter off, back to the shoot…
- I shot with Nikon D3s (love that camera!) in MirrorUp mode with a release.
- Vertical orientation with focal length of 14mm and 16mm on Nikon 14-24mm f/2.8G ED AF-S.
- Exposures were around .4 seconds at f/9.0, ISO 200.
- Shot tethered to my laptop, viewed images in FastPictureViewer Pro, looking for blown highlights and proper histograms. Imported into Lightroom 3.3 and stitched 4-5 images for client’s approval.
- I had 2 main concerns: 1) color temperature of the different light sources (fluourescent, tungsten and daylight), and 2) varying brightness levels of the light sources. Here is how I solved these:
1) Color temperature control:
• used CBL Lens to perform a manual white balance on each shot
• included an X-Rite ColorChecker Passport in each scene; later used to generate a Lightroom 3.3 camera profile
• thought about shooting 3 different manual white balance series (one each for fluourescent, tungsten and daylight) and HDR’d them together in Photoshop, but decided to pass, since that process had not been tested with stitched panoramas (although I have used it successfully for other real estate photography)
• controlled some off color spaces with Photoshop masking
2) Brightness level control:
• control is not always possible… sometime it must be corrected in post… shoot in RAW!
• began shooting around 6 p.m. and adjusted window blinds to control outside light intensity
• in the areas that were too bright I will use Photoshop masks
• the Cambridge sign was not lit so I gelled a SB-800 and used Paul Buff CyberSync to trigger (did not have the time to arrive at proper gel pack, so it needs further tweaking for final image)
EDIT: The gelled SB-800 highlight on the sign was too magenta. I used Select>Color Range in Photoshop CS5, created a mask and desaturated the color back to acceptable. See the final image at Portfolios>Panoramas and Skylines. The client selected the image that included people. I think that helped the composition.