2010-07-29T11:39:54Z http://blog.claytonstudio.com/comments/atom.aspx Quick Blogcast tag:blog.claytonstudio.com,2010-07-15:3319549 Michael Ririe http://www.michaelririe.com/mrblog 2010-07-15T15:55:01Z 2010-07-15T15:55:01Z These are great! I'm impressed with your ability to get these shots people free even though you say there were people and planes! The color and crispness is fantastic! tag:blog.claytonstudio.com,2010-07-12:3308874 Outdoor Blinds http://www.helioscreen.com.au/products/external/screens/?id=16 2010-07-12T12:25:19Z 2010-07-12T12:25:19Z Awesome shots of an awesome architectural tour de force. The roof reminds me of the (unfortunate) removable roof on the Montreal Olympic Stadium. Hopefully this one will last longer! :p As usual, thanks for sharing your art with us :) tag:blog.claytonstudio.com,2010-07-08:3299350 Andrew 2010-07-08T17:21:52Z 2010-07-08T17:21:52Z Thanks for the quick reply. That sounds like a great solution, and I'm definitely going to give it a try. I've tried gelling hot lights or strobes to match florescent lighting, and have never been very successful. It always looks a bit different. I've also tried compact florescents in Smith-Victor reflectors, but they aren't very powerful. So four foot fixtures with two bulbs would definitely be better, but I'm still wondering about the practicality of lugging them around. Not to mentions finding a case big enough to fit the fixtures and bulbs.<br /><br />Thanks again. tag:blog.claytonstudio.com,2010-07-07:3296282 Curt Clayton 2010-07-07T18:13:38Z 2010-07-07T18:13:38Z I'll admit that it's not the most elegant or high tech lighting solution, but it's fast and works great! For this project I did bring a full compliment of flash equipment, a large package of color correction gels plus the florescent fixtures (with cool white tubes installed) and a box of warm white tubes. All I needed here was some color balanced fill and the cool white tubes matched the color of the ambient light. Often I find that one warm white tube and one cool white tube in each fixture provides a great color balance, but each space is different.<br /> <br /> I use $10 shop lights from Home Depot that I've wired with 8 foot cords. I have a looped chain permanently attached to one end of the fixture and I hang the fixture vertically from a light stand. For the terminal interior the lights were elevated to about 10 feet. Since these tubes draw so little power we just run one main extension cord to a power source and then use light weight extension cords to plug in all of the fixtures. Once we are sure of the color, we're good to go. Just unplug or add a couple of more fixtures as needed. It's great for broad fill or to lighten up an area in the background. We've put them under desks in offices and behind columns in large spaces. They are actually very fast to set up.<br /> <br /> They're certainly not the answer to every interior, but I find them a very helpful addition to my lighting arsenal. And I've never had a tube break in transit. <br /> <br /> I will add that I always carry a Gossen Color Pro IIIF meter. This is a three color meter that works with flash and continuous light. It's not as critical a tool now as it was in the days of film, but I still use it for every interior project! tag:blog.claytonstudio.com,2010-07-07:3296106 Andrew 2010-07-07T17:03:41Z 2010-07-07T17:03:41Z Great photos. Can you tell me more about the florescent fixtures you used in the last shot? Are you actually lugging a bunch of residential type 4' fixtures and a variety of tubes to a photo shoot, in addition to regular photographic lighting equipment? It sounds like a great solution for those type of spaces, but I wonder about the practicality of mounting them on stands, wiring them with cords and transporting all the fragile bulbs.<br /><br />Thanks very much. tag:blog.claytonstudio.com,2010-05-08:3081359 Chris Craughwell http://photographystudio.ie 2010-05-08T15:54:24Z 2010-05-08T15:54:24Z right, a brief review for each book in your list would be very much appreciated by those people like me who keeps on looking for a site where we could get info on architectural photography books. Big thanks for the list. tag:blog.claytonstudio.com,2010-05-05:3073058 Curt Clayton 2010-05-05T12:04:59Z 2010-05-05T12:04:59Z I'm glad that you found this post helpful. If you have any suggestions for future posts, please let me know. I'd like to make this blog as helpful as possible. All the best! tag:blog.claytonstudio.com,2010-05-05:3073051 Curt Clayton 2010-05-05T12:02:13Z 2010-05-05T12:02:13Z You're right about the contrast issues, this was one of the highest contrast projects that I've ever worked on! Thanks for your comments. tag:blog.claytonstudio.com,2010-05-05:3073031 Curt Clayton 2010-05-05T11:52:20Z 2010-05-05T11:52:20Z I'm glad that you find this list helpful! I'll be adding a brief review for each of the books in this list, so please check back if you're interested in my thoughts on each book. Thanks for reading my blog! tag:blog.claytonstudio.com,2010-05-05:3073014 Curt Clayton 2010-05-05T11:48:39Z 2010-05-05T11:48:39Z Digital capture does allow an architectural photographer to work faster on site and with less gear, but if you want to produce top quality photography for your client you are still going to have to light! We may not need to bring as much lighting gear as was needed when shooting large format transparency film, but architectural and interior photographers still need to use supplemental lighting. Not all interior or exterior photographs will require additional lighting, but the photographer needs to be prepared and have the equipment ready for those images that will benefit from supplemental light. Photoshop, Photomatix and other software programs are just tools that can help architectural photographers to be more productive and produce better work. The really great (and in demand!) architectural and interior photographers are capable of producing top level work with either film or digital capture.