During week five we looked into architectural and in interior photography looking at the methods used by photographers in these trades and how to shoot these particular environments.
We also had a look at the Samyang 24mm tilt shift lens and the ‘toy town’ effect that you can achieve from using it.
We where shown the works of illusionist and photographer George Rousse, who uses patterns and colours to create images that change the way the viewer sees the interiors presented before them. Although I personally don’t really see the much interest in the work of Rousse, it was still eye opening to see what spins and themes you can throw onto areas of photography.
When shooting interiors as a rule, wide angles are used to show as much of an inclosed space to the viewer as possible, lenses between 14mm and 28mm are the norm for this type of work. Wider lenses could be incorporated into this work but lenses wider than 14mm are getting into the range of the ‘fish eye’ lens creating unwanted distortion in images. ISO’s should be low to create clean quality files, and apertures as a rule should be kept around the F8 – F16 mark getting the whole scene into focus for the viewer, this approach to interior photography will land you with the best results as but will usually require the use of longer shutter speeds, therefore a tripod would usually be required.
Our task for this week was to shoot a series of images featuring a building, car park, bike shed, plane, overhanging branches, a person and a moving building. We where given 45 minutes to shoot these objects before returning to lecture to be briefed on what to do next.
Our task was to create a single image in which we would place all our images in, this image must then be edited in way that would make the viewer believe it had been taken as one image with a shallow depth of field as opposed to multiple images stitched together. we would do this by re sizing images and placing them smaller in the distance and larger in the foreground to give a sense of size and scale. Whilst doing this we would add blur filters, adding a stronger blur to images in the back ground and a weaker blur to foreground images, giving the sense of a shallow depth of field.
The task is illustrated in a series of screen shots below:
The first thing we need to do, is process our RAW files to Tiffs so that we can use them in Photoshop. I use Nikon’s own software View NX2 for doing this.
Next we open up our base image, ie the image in which we wish to build the rest of the images upon. This image is of course the front of the university building, also including the sky and ground.
The building itself is a little distorted, in order to remedy this we first go into the ‘view’ section of the toolbar and select guides. We then add four vertical guides and two horisontal so that we can straighten up our image and have a solid vertical in which to ajust distortion to.
Once our image has been straightend, we can open up the ‘Edit’ tab on the toolbar and select transform, one of the transform tools is labled distort and this is the one we need to select to level our the ends of our building and cancel out any lens distortion.
Below we can see the edges of the building have been straightened and are now straight by the guides.
Once this had been completed, we could start to think about adding our first objects. The first object that I decided to add would be the aircraft as the aircraft and the building will both share the same amount of bluring both as they both share the background space. It is important to layer things up from back to front, otherwise issues will begin to form at later stages.
The aircraft was easy enough to cut out, it simply required the use of the magic and tool and ragging across from one layer to the other. Some of the more complex images required the use of the clone stamp, lasso and earser tools to cut them out. This is demonstrated in week three’s journal task.
Once the aircraft has been dropped into the image we again use the free transform tool to correctly re-size and re-position the aircraft on the canvas.
Once aircraft has been placed we go into the ‘layers’ tab on the tool bar and select the flatten image button. This merges the image of the aircraft and the building into one.
Now we can add our bluring effect to the image, usually we’d do this before flattening the image, however, as these two items are sharing the same amount of bluring, it makes sense to flatten the image first and apply the same blur to the one image rather than the two seperatley.
The blur effect that is used to create the feel of shallow depth of field is the Gausian Blur tool, and at around a 4.2 pixel radious gives the feel of a wide apature of around F2.8 been used.
This process is now repeated for the rest of our images, until we build up our final image. As we are trying to recreate an image shot at a large apature however, it is important that we reduce the bluring effect on objects as they become closer to the foreground, that is until our very last image of the subject which should be pin sharp with no bluring effect applied. In the same sense, items should be placed and free formed to a size that looks natural depending on there position placed in the image. Giving a sense of natural size perspective, ie. Forground items large, background items, small.
Inclusion of the bus.
Inclusion of the cars.
Inclusion of the Shelter.
And finally, the inclusion of our subject.
The finished article is now saved as a PSD file, incase we should wish to re-visit the image at a later date for further editing, and as a Tiff, creating a nice large file for use with our customer/project.