Tecovas Waco Architectural Photography
Tecovas Waco Architectural Photography
Tecovas Waco Architectural Photography. Tecovas western wear and accessories opened a new store in Waco, Texas. I had about 2 hours before the doors opened to set up and shoot store architectural photographs without people wandering around. This store is beautifully designed and a dream come true for the western wear man or woman.
Architectural Photography for Austin Canyon Builders
Architectural Photography for Austin Canyon Builders
As an Architectural photographer in Austin, I recently had the opportunity to do some architectural photography here in Austin for Austin Canyon Builders and Mente Sowell Architects. I am a commercial photographer in Austin. Both of these companies were involved in the design and construction of two spectacular Velocity Banks and Amplify Bank locations.
Architectural Photography and Aerial Drone Photos for Barshop & Oles
Architectural Photography and Aerial Drone Photos for Barshop & Oles
As a professional architectural photographer in Austin Texas, I am always looking for ways to improve my photographs. For Barshop and Oles Company I recently had the chance to think outside the box. For this photograph of HEB at Lakeline Mall in Austin, I decided to merge 10 photos of people walking in and out of the store and mask each of the customers in so that the store looked even more busy than it was. Since the sky was an ugly hazy gray I replaced it in Photoshops with the new SKY REPLACEMNT tool which is absolutely a lifesaver when editing exterior photographs.
The client also wanted two aerial cityscapes – one of Austin and one of San Antonio, and asked me to try to blend the two into one photograph. The composite image has Austin on the Left and San Antonio on the Right. And of course I added a pretty sky to the blended image.
Architectural Photography for Students – Part 4
Architectural Photography for Students – Part 4
As a professional architectural photographer in Austin, one of my most important lessons is Architectural Photography for Students. Often I will let them use their own equipment which usually includes at least a 28 mm zoom lens, and occasionally a 16 mm or 17 mm lens, which is about as wide as you want a lens for interior architecture because after that structures start getting very warped and there is significant keystoning that has to be corrected in Photoshop. Our general strategy is to shoot 5 bracketed exposures and blend those exposures in Photoshop. Nolan decided to use my lens since it is a Canon 17 mm tilt-shift lens which is an architectural photographers best friend because a tilt shift lens allows you to shoot your scene honoring true verticals and at the same time shift your lens up and down to your liking for the best composition. Here is what Nolan achieved shooting the new Public Library of Austin.
As an architectural photographer, Student Housing is my strong suit. I travel the country photographing luxury housing projects that are newly built, or that have been renovated. I was asked by national student housing developer to photograph two project on the University of Texas Austin campus. This one is Rio on West. I took Jake with me to do the shooting. I made him wait till twilight knowing full well that these scenes would scream 20 minutes after sunset. This is what Jake ended up with for two of the exteriors.
Part 2: Portrait Photography: All of my Mentees from Westlake High School.
Part 2: Portrait Photography
All of my Mentees from Westlake High School.
I like to start my training off with Abstract which was covered in the last blog post. I do this because the subject matter is not talking back to us. I tell my students that Portrait and Wedding photography are a totally different beasts. Portrait is especially gruelling because the subject is looking dead at the camera (often), meaning staring at you the photographer, and waiting for you to finish this grueling experience of having to get their photograph taken. The more the subject is sweating, the more you sweat. More often than not, we as photographers are required to entertain the subject while navigating the controls on our camera (that we cannot see clearly because our sweat is dripping on the viewfinder) and praying to God that our wireless triggers and lighting will not suddenly stop communicating with each other (which they do). Portrait photography is indeed stressful for those reasons.
Krishan wanted to photograph an exotic car. My friend offered up his Bentley and we set up to do some spot lighting around the car which we would then composite each lit area together later in Photoshop.
But I thought, HEY – why not add in an element of stress and pay a pretty model to pose by the car? That would be good training for a student!
And the final edited image after we composted all the spot lighting on the house and the car and replaced the house windows with an ambient shot.
For my Mentee Elena, we headed downtown and scouted for a spot to shoot a portrait of Lauren. Deep in an ally with homeless guys, was the back entrance to a bar on 6th street. I loved the graffitti. Elena and I switched positions holding the umbrella with a strobe.
Elena needed a senior portrait done so I made her set up this scene on Barton Creek and then pose on a rock.
My friend Lane volunteered to be our subject for Nolan’s portrait exercise. Fortunately, Lane Orsak needed a new portrait to promote his new book called Dylan’s Divide and he had some new artwork he just completed. And even more fortunately, Lane’s portrait turned out to be one of my favorite ever. Nolan and I spot lighted the background and composited those behind an image of Lane which we lighted with one big soft light on camera right, and a kicker light on camera left.
I took Morgan with me to a commercial shoot of Austin artist Truman Marquez’s Gallery. We photographed two models separately and composited them both into the final image.
Morgan also helped me arrange and execute a more complicated Portrait that I photographed for the purposes of entering for judging with the Professional Photographers of America. We hired 3 models and rented the outfits from Lucy in Disquise here in Austin. Rocky the lab was free.
And also for Krishan we set up a backdrop and hired a model to do some 3 point lighting set ups, including main light, bounced fill light, and kicker light.
Student Housing Pool Deck
Student Housing Pool Deck at 191 College
This is a great example of one of American Campus‘ student housing Pool decks. It is at 191 College in Auburn Alabama. The lighting at night is really spectacular. When shooting architectural photography like the student housing pool deck, I try to shoot as much as I can 30 minutes before sunset to about 30 minutes after sunset. When the ambient light get closer to matching the interior or deck lights, the combination is very lovely.
Aerial Drone Architectural Photography
Aerial Drone Architectural Photography
Some recent good examples of Aerial Drone Architectural Photography show how getting up just 10 or 20 feet can make all the difference in an exterior of a building. These are both apartments complexes. The Lyndon pool is in San Marcos and the 959 Franklin images are from Eugene, Oregon. In those you can see that it was raining but I had just enough time to launch the Mavic Pro and shoot these two angles. The sky was ugly so replacing the sky in Photoshop was easy and necessary.
Architectural photography for new Student Housing in San Marcos
Architectural photography for new Student Housing in San Marcos
I was asked to provide some professional architectural photography for new Student Housing in San Marcos. The student apartments is called The Lyndon. It services Texas State University. One of the feature amenities is an amazing pool with a jumbotron TV system that really rocks. I love the portrait of LBJ in the entry of the great room. My client was Berkadia out of Philadelphia, and the current management of the property is by Asset Campus Housing out of Houston.
Aerial Drone Architectural Photography
Aerial Drone Architectural Photography
I was asked by an architect named Humphreys & Partners Architects who have offices in the US, Vietnam, China and Uruguay, to photograph some twilight aerial drone architectural photographs of a property in Austin, called ThinkEast Austin. Student Housing photography is my main forte so this apartment complex was a familiar project. As a professional architectural photographer in Austin I have learned that the drone is my best friend. Just to be elevated 10 to 15 feet to photograph a structure can make all the difference. The rain had just ended and I launched the DJI Mavic Pro in pretty heavy wind. Getting a fast enough shutter speed with the lowest possible ISO is always the challenge when shooting in the dark. You cannot shoot from a drone with a shutter speed higher than 1/30 especially if it is windy. My ISO was pumped up to 1000 but it worked out well after I did my adjustments in Adobe Camera Raw. The lighting on the building was not very attractive so I had to create my own light in Photoshop. I had to push and pull the shadows, highlights and white quite a bit to get a nice looking final image. Here is the before and after.
Testing the Crop loss with Canon TS-E 17mm lens on Canon Mark iii versus on the Sony A7R with Matabones V adapter
Testing the Crop loss on with Canon TS-E 17mm lens on Canon Mark iii
and on the Sony A7R
My buddy Marc Swendner and I got the idea of testing the focal Canon TS-E 17mm tilt shift lens on both my Canon Mark iii and with his new Sony A7R with the Metabones V adapter ring. Both of us shoot architectural photography and since he bought the new Sony A7R he wanted to see if the new Sony camera would support the TS-E 17 mm tilt shift lens that we both depend on for our work. This 17 mm tilt shift lens is absolutely the cats meow because it is dead on sharp and it allows us to control the perspective of our interior and exterior photographs. Our hopes were that the Sony AR7 could deliver the same focal width with the adapter ring on it. Here are the results. The adapter ring on the Sony does crop the image significantly. It renders the TS-E 17 mm lens to be equivalent to about a 26 mm lens after the crop effect.