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| p.1 #6 · Interiors Lighting Question |
The problems with interiors are contrast range of the lighting and color temperature differences. Even in an interior room without windows you may encounter bare bulb sources and different color temps of lighting. Add a window an you are dealing with even more contrast and another different color temp to deal with.
Filmmakers deal with both problems by using huge sheets if color / ND gels over the window and then lighting the interior with a single color temp of light or a controlled mix.
With stills you can deal with brightness ranges that exceed the sensor and a mixed bag of light sources with a combination of shooting RAW and HDR/bracketing of exposures. Bracketing will allow the camera to cope with the range of brightness encountered between a bare lighting fixture like a chandelier and the shadows in the folds of a black sofa cushion. Color differences between sources can be handled by making duplicate copies balanced for each source then bending them on layers in Photoshop with masks. The next result is a photo with a full tonal range with color that seems normal with all sources with "see by eye" normal context.
Another approach is a variation on painting with light. In tight spots where its not possible to light the space all at once, or you have only limited lighting gear, it is possible to light different parts of the room in separate exposures from a fixed camera position on a tripod, moving the light around but keeping the direction constant for continuity, then blend the different shots together seamlessly.
Another solution is to shoot bracket exposures at different times of day. For example if light in a window is a problem take a shot exposed for the exterior seen through the window during the day, then without moving the camera wait for night and shoot the interior with the interior ambient lighting + flash if needed then blend the window shot in during PP.
These approaches are more post processing than photography oriented but the expand the time of day options for shooting and solve the problem when no single time of day is a good one. For exterior shots shooting at dawn or dusk with all the interior lights on produces an attractive result and minimizes the technical problems direct sunlight creates.