المناظر الداخلية .. العمارة .. كيف تلتقط أجمل الصور .. كتاب التصوير الضوئي

Interior scenes .. Architecture .. How to take the most beautiful pictures .. Photography book

Architecture

Interior scenes

Interior scenes are sometimes difficult due to some limitations, for example the amount and quality of available light and the inability to retreat sufficiently. In other words, the problem is knowing which sections should be framed or how to light them. However, lighting does not become difficult unless there are very dark areas that contrast with the illuminated areas. When the interior scene is without figures, it is sufficient to put the camera on a support and work in a long position. We can mention here the lighting method used by some specialists and drawing with light, which we explain in the image on page 141.

The problem with artificial lighting is that it gives very dense shadows, especially when there is only one directed source. However, this artificial scene of light can be used when it comes to imitating the lighting provided by candles or the flicker of a fireplace. In most of these cases, it is better to broadcast the light by making it reflect on a light distance such as a wall or ceiling. The use of artificial light is practically mandatory when the photographer wants to obtain a faithful and detailed representation of an interior scene and the natural light is insufficient or poorly distributed. But if the aim is to show the atmosphere and atmosphere of an old building - the interior of a church, for example - a soft natural light is much better, especially if it consists of some rays of light passing through the stained glass windows and passing through the image obliquely. It is worth mentioning that snow makes an excellent natural reflector when photographing the interior of a church or cathedral: the light reflected upwards passes through the stained glass and illuminates the building with a soft light that noticeably opens up the shadows.

Another problem with interior photography is that it is impossible to step back in most houses: even with a different angle lens, we cannot photograph more than two walls of a room. Therefore, you often have to move some furniture or arrange the decorations on the walls differently in order to translate the atmosphere of the place in a single image. If you want to show the interior as it really is, work in the available light and use a wide-angle lens. The interior scenes for catalogues and magazines are prepared and prepared: they are a kind of summary - in a single image - of the style of furniture and decoration in the appropriate environment. However, it remains to choose the angle of taking the picture to suit the new arrangement of the furniture. In fact, a professional camera with a large format and its movements is more suitable than others for this type of photography, especially since it is impossible to step back. Do not hesitate to use it if you have one at your disposal.

Giving a sense of proportion

George Howard is photographed in the hall of his mansion. The side lighting shows the architectural character and decorations. A window outside the frame of the picture - a beam of light falls on the painting above the fireplace. I asked Howard to pose simply because I was looking to record a scene rather than form an image.
MPP Camera Wide Angle Lens 1/5 sec f/16 Ford HP3

Return Limited

In a retired miner's room I used a wide angle lens and placed the machine on the doorstep to get a good field angle. The centre of attention is the fireplace. Daylight comes in through a single window.
Hasselblad 1/5 sec f/8 Royal X

Modern Interior

For this image my ambition was to show the massive concrete blocks, giving off a sense of tension and power between them. The way they seem suspended in space suggests depth and height. MPP Camera 5 sec f/22 Acnachrome EX

How to Hide Figures

Architectural scenes are often complicated by visitors who come between the photographer and his subject. Fortunately, they can be removed by using a long pause. Dark clothing disappears more quickly than light clothing, which leaves a cloud on the film. If the lighting is very strong use a grey-neutral filter to increase the exposure time. In low light take the picture over a few minutes. For the following pictures the people were changing quickly which helped to have shorter pauses. It is nice to keep only one person completely still in the middle of the atmosphere.

At 2 seconds and aperture 22 the characters completely disappeared. The art of the scene.

The same scene was taken at 1/2 second and aperture 11 and the characters began to fade into the blur due to the movement.

The entrance to the Natural History Museum in London was taken at normal speed 1/30 second and aperture 8

Lighting that preserves the natural atmosphere

The interior of this country room was too dark to use natural daylight. I used an electronic flash light that reflected off a canvas stretched in front of the window so that the light came from one direction and in a manner similar to daylight.

Large angle lens.
Leicaflex 1/15 sec aperture 8 Actachrom HS

Lighting that suggests a sense of depth and space

By using the curtains and shutters of the windows of this lavishly decorated hall I was able to emphasize the surfaces I chose in the space. The point of view indicates the geometric perspective. If the hall were completely lit (all the windows open) it would dominate the main subject - the girl - with complex lines and surfaces.
Hasselblad 1/10 aperture 16 Actachrom EX

Available ambient lighting

The same reasons that define space can sometimes work in favor of giving new importance to the image. This is the setting of this famous Parisian restaurant where the opposing mirrors double the dimensions of the space and emphasize the artistic decoration.
Leicaflex 1/15 sec Aperture 8 Actachrom HS