The anticipations and requirements for high quality architectural picture taking has transformed throughout the years and the architectural shooter must adapt his techniques, especially regarding interior picture taking. Architecture is evolving always; to quote the fantastic architect Louis Sullivan; “form employs function” so that as new building materials, such as energy conserving UV glass, are more available, they can make more functional, the function and form of the structures. Many architects, in the scenic Southwest especially, are actually designing homes with expansive windows to visually bring the exterior views of the landscape in to the home, which although is very photographic, may also be challenging for an architectural photographer. This is also true for architectural photography in very scenic areas where many high-end residences and buildings are being built amidst the environment. An architectural shooter and an inside shooter will have many situations that may demand, as a compositional factor, the capability to capture both a proper lit interior, combined with the beautiful desert outdoor view.
[Do not forget to read: Night and Low Light Photography]
The best light technique for handling this problem is made for the architectural shooter to utilize high-powered strobe lighting to balance the publicity of the shiny exterior to the inside; often the exterior panorama world would be over revealed beyond acknowledgement. The f-stop for the exposure is situated from the strobe output and the shudder speed depends upon the correct exterior exposure; there’s a point to keep the ideal amount of ambient light but still maintain the external view by subtly finessing the shudder rate; it is almost always more natural seeking to keep the maximum amount of interior ambient light as it can be. Additionally it is important to keep carefully the exterior view lighter weight (1/2 – 1 stop on the inferior) such that it doesn’t look unrealistic. If time or budget makes a complete light setup impractical, fairly great results can even be achieved by by using a few lower driven lights plus more ambient, revealing for the inside and exterior individually, then masking and merging exposures in Photoshop. Try establishing just a few lights and light only area of the room, move them around to light another part then, until you get the lighting effect you are after – then incorporate the exposures in Photoshop. In any full case, it surpasses get the surface view exposure as close as is feasible by balancing with strobe to be able to simplify the masking process.
Another way to balance the inside subjection to the surface light, is to picture at the right period when the surface is relatively dark, or at least within the number of the coverage of the inside light. With regards to the situation, this can be when almost all of the exterior is deep shadow, on a complete day that is overcast, or either very past due or in the morning when the light is not too severe. When photographing in the Southwest, it might be possible to do this balance in the afternoon through the monsoon season, when it clouds up for a couple of hours typically; plan your views accordingly. A long time ago, an inside photography light system, might have been comprised of constant light resources; blue 250 -500 watt “daylight” overflow lamps (that have been ranked at 4200K when new). They were put in lighting fixtures, recessed ceiling accessories and simple reflectors. This technique produces a soft interior light that balanced fairly near the color temperature of the daylight; however, you might have to work with the proceeding exposure technique of shooting under the right conditions or period when the surface light wasn’t to bright if “blowing out” the surface view had not been acceptable.