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I have recently taken some photos of an house that my customer wanted to sell.

interior architecture photography of a kitchen - final photo

The main room is composed of a beautiful kitchen and a salon in its extension.

The final image is a composition of two photos.

interior architecture photography of a kitchen - photo 1

As the ceiling and the walls are white, I have used them as reflectors to have an homogenous lighting of the kitchen and the salon.

interior architecture photography of a kitchen - flashs placement

I have firstly placed a flash in the opening on the right hand side of the photo, behind the kitchen. This flash is oriented toward the ceiling. This flash was used to light the bottom elements of the kitchen and the worktop.

The second flash is on the ground of the salon and is also oriented toward the ceiling to create a soft light.

interior architecture photography of a kitchen - photo 2

For the second photo, I have used the walls behind me to illuminate the ceiling and the kitchen. This setup illuminates without any reflection the top part of the kitchen and the front part of the photo.

The flashes are visible on the photo.

For these two photographies, I have measured the lights with a light meter to be sure that all photo parts (bottom parts of the kitchen, the ceiling, the salon, etc.) were well exposed.

interior architecture photography of a kitchen - final photo

Finally, I have composed the final image. A small crop and a perspective adjustment were the last modifications made to this photo.

By the way, the house has been quickly sold.

If you have any question on the methodology, ask them in the comment part.

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It could seem difficult de take a group photo.

Of course, you can always use the “school group photo” method et align everybody in two or three rows. The shorter guys in the first row (or seated), then several rows from shorter to taller. The last row of people could even stand on a bench.

As I do not like a lot this way of doing, I will advice you to take your photo from an high place. It will help to have a better point of view and you’ll be able to create a more creative alignment of the guys you are shooting.

If you are shooting a medium size group of people, you can align them and use a wide angle lens. Of course, do not create a strait line shape. It is better to have a shape that is like a M. Place on the center of the M (at the angle) the guy who is the most “important of the group”.

To take your photo from an high place, you could go on a balcony if you are taking your photo inside a building, or simply use a stepladder if your are shooting outside.

How to take great group photos - Use a stepladder

Place people regarding the shape you have choose, then use your wide angle lens to take your photo.

How to take great group photos - A group photo example

If you have a large group of people in front of you, be sure to have a light source that is coming from an high place (or you could reflect your light on a white roof) then place your group of people like a “rugby pack”, people should be shoulders against shoulders, in several tight rows, and you should not be able to see the ground. Then ask them to look at you.

Like for any portrait shoot, it is important to have people looking at you and having their eyes sharp.


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Before the birth of my son, my wife asked me to produce an original decoration for my son’s bedroom.

We wanted canvas prints of Grumly in original places. If you don’t know Grumly, it is a teddy bear that was sold in France in the 900′s. It was promoted with creative ads.

I have posted these photos on my Facebook page, as a small personal project, that is ongoing.

One of these photos is interesting concerning the light technique used. This photo has been taken during a summer afternoon. I have used two flashed to do it. Here is the final photo :

Grumly Sunbath

And here is what the photo looks like without the flashes:

Grumly Sunbath without flash

There is several flaws on the photo that is not using flashed: a strong shadow behind Grumly’s head created by the sun, no depth on the teddy bear due to the only light used (the sun) and the under exposed photo. The under exposition is not a error as I wanted to have a dark background on the final photo.

To resolve all these issues, I have used two flashes and a light modifier:

  • a Nikon SB800 flash in a Ezybox from Lastolite (softbox). It is my main light.
  • a Nikon SB900 flash with a grid from Honl Photo (HonlPhoto 1/4 Speed Grid for Portable Flash). This is my fill light.
  • a diffuser is hold between the sun and Grumly by my “assistant of the day” (my wife) to remove any sun hard shadow.

Here is a photo of the setup:

Grumly Sunbath - Behind the scene

I’m using:

  • A remote control to trigger my D2X with a 12-24 Tokina mounted on it (Yes, a D2X is always a great camera and is able to take great photos!)
  • An Ezybox,  number 1, as my main light.
  • My fill light is using a grid, number 2. It is standing at camera left.
  • Another SB900 is used as master flash, number 3, on my D2X. It is only used to trigger the two other flashed (Nikon CLS). If I had used my D700, with the strong sun light, I would have to use the SB900 instead of the on camera flash. The on camera flash would not have been strong enough to trigger the remote flashes.

In the final photo, the Ezybox stayed in front of Grumly’s face (on the above setup shot, the softbox is behind Grumly’s face). This position controls the shade of the light created by the softbox. Thus, I do not have a strong light on the chair. Furthermore, this position is adding a softbox reflection in the sunglasses. That adds a lot of dynamism to this photo.

So, use remote flashes on your daylight photos! It will helps you to control your shadows and to create a lot of depth to your photos!

Have you ever used a remote flash during the day?

PS : Yes, I have an old MS Office t-shirt what I had during my old life… I certainly grabbed it in an IT conference somewhere… sometime…


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