How do they do that? - DPChallenge Forums

Tamron AF 28-300mm f/3.5-6.3 XR Di LD Aspherical IF for Canon

10/10/2007 11:07:08 PM · #1

Im getting more and more into real estate photography and want to learn how others are doing the external shots

Like these ones,

Is it just turn all the lights on and wait for twilight?

Thanks

Steve

SDW

Canon EOS-60D

10/10/2007 11:24:24 PM · #2

I would guess

Hardware: Tilt shift lens

Software: Using HDR / tone mapping for more range.

Possible multiple exposures as well.

renefunk

Canon EOS-5D

Canon EF 17-40mm f/4.0L USM

10/10/2007 11:27:17 PM · #3

yeahp

i think time is crucial here

Canon EF 17-40mm f/4.0L USM

10/10/2007 11:36:45 PM · #4

Originally posted by swhiddon:

I would guess

Hardware: Tilt shift lens

Software: Using HDR / tone mapping for more range.

Possible multiple exposures as well.

sorry, whats a tilt shift lens? and what does it do?

renefunk

Canon EOS-5D

10/10/2007 11:39:33 PM · #5

Originally posted by Shadowi6:

Originally posted by swhiddon:
I would guess

Hardware: Tilt shift lens

Software: Using HDR / tone mapping for more range.

Possible multiple exposures as well.

sorry, whats a tilt shift lens? and what does it do?

i think is basically this

//www.the-digital-picture.com/Reviews/Canon-TS-E-24mm-f-3.5-L-Tilt-Shift-Lens-Review.aspx

BlueZamia

Canon EOS-500D Rebel T1i

Canon EF-S 18-55mm f/3.5-5.6

10/10/2007 11:48:47 PM · #6

Tilt and shift

fixed link

Tamron SP AF 17-50mm f/2.8 Di II LD Aspherical (IF) for Canon

10/10/2007 11:55:07 PM · #7

Ok got it, thats for the perspective yes?

the lighting is the bit thats got me most interested, some of them seem to be taken during the day with brilliant lights all over.

I guess Im going to have to try at dusk with a longer shutter speed

Gordon

RIM BlackBerry Curve

Canon EF 85mm f/1.8 USM

10/11/2007 12:17:39 AM · #8

Theres a point around twilight when the exposure for the sky is the same as the exposure for the artificial lights. Be there at the right time and its easy.

Be there at the wrong time and you'll waste a lot of time shooting multiple images and blending.

Meter the ambient, meter the artificial, work out when they are appropriate ratios and shoot.

I was going for a pretty different style, but exposure-wise, it's the same principle

Message edited by author 2007-10-11 00:18:36.

Phil

Canon EOS-7D

10/11/2007 12:38:22 AM · #9

Gordon, can you upload that image to your workshop here and link to it? No permission to view it on flickr.

Gordon

RIM BlackBerry Curve

Canon EF 85mm f/1.8 USM

10/11/2007 01:02:34 AM · #10

Originally posted by dudephil:

Gordon, can you upload that image to your workshop here and link to it? No permission to view it on flickr.

Changed the permission - should be visible now. Probably should have been taken about 10 minutes later, really - but the rain came down.

Message edited by author 2007-10-11 01:09:09.

surfdabbler

Canon EOS-5D

Canon EF-S 18-55mm f/3.5-5.6 II

10/11/2007 01:24:09 AM · #11

Tilt-shift lens is to tilt the focus plane, so a building that's going away from you can be all in focus, and also in correct perspective. These photos don't seem to use that. I think they are just really wide lenses (like 10-20), and small aperture, so everything is in focus.

These are very much mixed lighting shots, with tungsten artificial light, and very blue sunset sky light. So, set your WB somewhere close to tungsten, but a little above to give the artificial light a warm cosy feeling, and the nice contrasty blue in the background. Shoot RAW at least until you are comfortable with the right WB to use.

Oh, and if the house has fluoro lights, turn them off, or be prepared to muck around with WB a lot to get it looking nice. :)

jdannels

Nikon D300s

Sigma 30mm f/1.4 EX DC HSM for Nikon

10/11/2007 01:58:50 AM · #12

I enjoy trying to find this time time of day and doing these shots with mixed lighting. Here are two examples of mine. They are long exposures and both are taken when it is darker then it seems, about 20-40 minutes after the sun has gone down. I believe raw is best for this as not every lightbulb comes out the same temperature in different situations so I find its nice to have that flexibility to tweak later.
Two examples.

Bear_Music

Samsung Galaxy S24 Ultra

Sony 24-70mm F4 Vario-Tessar T* FE OSS

10/11/2007 02:27:22 AM · #13

As a retired architectural photographer, I can reinforce that shots like this are the result of setting up well ahead of time and then waiting for the perfect light at twilight (or daybreak, for that matter). In the film days we'd spread our shooting out over as much as 20 minutes, looking for the perfectly-balanced transparency. Shooting digital you have a little more leeway, especially if you do merge-to-HDRI exposures.

But the main thing is, scout the location for timing the day before, then be there and be ready when the light is right.

R.