30H Architectural Models Photographers spend a lot of money on studio lights. And as a photographer, I don't want to trivialize what a knowledgeable photographer can do, but I think that any architect with a little bit of care, who has learned to see – it is a life long pursuit, can achieve a high level of success with a minimum amount of investment in lighting. The subtitle to this handout should be 'End Table Lighting", (plus a flashlight or two). The whole idea is to be able to get good stuff without throwing a lot of money at it. And end table lamps work, but the Home Depot lamps are better. If you have been practicing 'seeing', using artificial lighting is fun, because you no longer have to depend on the sun. Artificial lighting puts you in control of the type or light quality; spectral, diffuse, or anything in between. Most important is placement of the light source, the angle of incidence of the light source, and the distance of the source from the model. Camera Settings 1. RAW (defaults to Adobe RGB1998) a. Preset ISO b. Preset White Balance c. Turn off everything else that is ‘Auto’ 2. Jpg highest compression setting a. Preset White Balance b. Preset Contrast c. Preset Saturation 3. Auto White Balance 4. Gray Card 5. Turn on the Histogram Shutter Speed and Aperture 1. Choose a fast enough Shutter Speed to overcome camera movement 2. Don’t use ‘auto’ ISO. Using a higher ISO value, allows you to use faster shutter speeds. Higher ISO’s create grain, the higher the number the grainier the capture. If you don’t like the look of grain, after initial exploration of the model, choose the views that you want, and use a tripod to hold the camera still, and a lower ISO can be used without capturing grain. 3. Choose a small aperture opening (f16) for a deep depth of field – everything in focus. 4. Choose a large aperture opening (f1.4, f2, etc: wide open) for shallow depth of field.

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Capturing pictures 1. Handhold the camera and explore the model. Take a lot of captures. Digital is cheap, shoot to your heart’s content. Move closer, move far away, change the focal length; don’t lock yourself into taking 1 capture and stopping at that viewpoint. Keep an eye on the camera exposure by checking the ‘Histogram’ after every shot. Bracket! That means taking additional exposures ½ stop under and ½ stop over the normal exposure. ((Stop is the term used to define the difference between any two aperture openings or any two shutter speed settings I.e.; 1/60th” @ f8 is one stop faster than 1/30th” @ f8, the aperture opening f5.6 @ 1/30th” is one stop open from f8 @ 1/30th”.)) 2. What do you want to do with these images? Is it a detail study, a plan view, or are you looking for decorative/graphic images for your book? 3. Download the captures into your computer in order to see them larger. Select the images that are expressing what it is that you are trying to communicate. What is working? 4. Things to look for: a. Exposure. b. Camera movement c. Focus d. Depth of field e. Contrast f. Saturation g. Color Balance The use of a gray card is really important. Color correct the gray card and apply these settings to the other captures. Viewpoint, Focal Length, Background, Light 1. If the image is meant to replicate the actual building/structure, think in terms of the pedestrian viewpoint. How will the building look to someone actually standing in front of it? This means keeping the camera as low as possible. 2. The focal length of the lens chosen can radically change the presentation of a model. Long focal lengths flatten and foreshorten, short or wide angle focal lengths force perspective, and enhance eye movement. Background problems are lessened with long focal lengths, wide angle focal lengths require more background. 3. Background paper is manufactured in full size rolls of 9’, 12’, or half rolls, 54” in 30’ lengths in black, white, gray, and a wide array of colors. Architects usually prefer black, but if the occasion occurs where black is not optimum, black is not the best solution for clipping the model to place on another background value. A light gray or white would be optimum, unless you knew specifically ahead of time how the final image is going to be used. Black removes a certain amount of fill from models which effects

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tonal quality and never looks quite right when models are clipped and placed on other backgrounds. Whereas, when captured on white, it is not only easier to make a clipping path, but slight burning and feathering around the edges can make a model look as if it belongs to the background. And finally Light Bare Bulb Diffuse Bounce Window Modifiers Fill Cards Mirrors Flashlights The Main Light or Primary Source Placement of the Light Source Not a Kodak moment. Kodak used to package instructions with their film suggesting that the sun should be 45º over the photographer's right shoulder. This allowed for sunlight to fall evenly across the scene keeping the contrast in control, and keeping bright highlights to a minimum. This standardized procedure allowed Kodak to process and print the film with the greatest amount of success. It is also the most boring light source. Move the main light, (the primary light source is referred to as the "main light".) around and pay close attention to what you see. Position the main light source to keep light from falling on the lens causing flare. You may need an extra matt board to shadow the light off the lens. This causes flare and loss of contrast. The type or light source, the distance of the source from the model and the size of the light source create and control contrast. If the contrast is high, the light source is either too spectral, too close to the model, or too small. For most purposes the main light should never be closer than the length of the diagonal view of the scene as viewed through the lens. Angle of Incidence of the light Source This is the angle of the light source as it falls on the model. The easiest and simplest angle of incidence for capturing images is created by placing the main light directly behind and slightly above the camera; the shadow of the camera just out of the frame. This angle creates even light across the image, and a secondary benefit is the equal falloff of light and shadows on both sides of the image, trapping the viewer's eye in the center of the print. When used correctly, this is a wonderful light source. If you have ever looked at fashion

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photographs, you have seen this quality of light. Fashion photographers are famous for using "Ring lights”, (a narrow light source that totally encircles the lens), which is similar in light quality to a light above and behind the lens without the worry of capturing the camera's shadow. As the main light is moved away from the camera, around the model from either side, the angle of incidence creates light that is more apparently directional, with higher contrast. Also any direct light being reflected from the model to the lens, can cause "washed out" highlights, even from matte surfaces of the model. Directional sources at a distance from the lens create visual depth of three dimensional objects Distance of the Source from the Model The closer the main light is to the model, the higher the contrast will be. You may like high contrast, and that's fine. But, remember, this assignment calls for detail everywhere, even the darkest shadows. The normal rule of thumb is to never have the main light closer to the subject than the diagonal distance of the scene viewed through the lens. In other words, looking through the lens, if there is a visible distance of three to four feet diagonally, the main light needs to be kept four feet from the closest visible point of the scene. Light then should be fairly evenly distributed from left to right and this positioning will keep the contrast within a suitable dynamic range for printing. It is much easier to increase contrast in Photoshop, then to create detail in areas that were captured in high contrast. Fill Light Once the main light has been positioned, it is time to brighten or “fill” the shadows. A low white ceiling could be used to bounce light for an artificial sky light. White foam core, or matt board placed on the opposite side of the model from the main light work really well. The fill boards should be fairly large to keep from becoming directional and add enough bounce light to lessen contrast. Sometimes fill needs to be more brilliant, and this can be accomplished by using mirrors or reflective Mylar. Also sometimes a little bounce from a flashlight can add detail in areas removed from direct or indirect light. If you feel that the model is becoming over lit, start removing fill cards or back them away from the model. Light Sources Artificial light sources such as tungsten or quartz run the full gamut of spectral to diffuse, much like natural daylight. The type of artificial light used to capture architectural models can replicate any type of light quality found in nature. Choose the correct light source for the materials of the model. Just like in natural light, if the model needs a spectral source to reveal texture, choose a spectral source. If the model is highly reflective, you may want to use a source that is more diffuse. Fluorescent lights are becoming more popular, especially with

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reducing carbon foot prints, but they come up short capturing images, when compared to tungsten or quartz bulbs. The type of light source, brilliance and shadow edges are much different with fluorescent sources. They now sell color corrected twisted fluorescents in some camera stores. (And that is all I am going to mention about fluorescents) 1. Clear Bare Bulb At any hardware store you can purchase a socket with a reflector and clamp for about $7.00. You will probably want an extension cord as the power cords that come with these reflectors are short. This socket/reflector combo can come apart, so you can take the reflector off and just use the socket. A clear bare bulb will create a wonderful spectral light source, just like the sun on a bright clear day. This source has brilliant highlights, the most contrast of all artificial lights, and sharp, well defined shadows edges. The most expensive artificial spot lights can't recreate sun light as well as a cheap bare bulb. Scrape the product name and wattage off the glass with an Xacto knife. Believe it or not, the type printed on the bulb will create shadows. Aim the bulb at the model, and tweak the angle to get the best brilliance making sure the bulb filament is not in the way. I like to aim the bulbs dome at the model. Also be aware of wattage. The cheap Home Depot sockets can handle about 200 watts max. If you look around it is possible to find either ceramic or high density plastic type sockets that can handle higher wattage bulbs. 2. Diffuse Bulb This is a brilliant light source; not as contrasty a source as the bare bulb. Shadow edges are softer than a bare bulb. A diffuse bulb is similar to sunlight when the light is diffused by interference in the atmosphere, but not so diffuse as to obscure light direction. A diffuse bulb used in a reflector is a nice light source, brilliance without the problem of contrast, and soft transitional shadow edges. Camera stores still sell light fixtures made by Smith/Victor. These are great reflectors that are similar in shape to, but larger than, the hardware store reflector. Smith/Victors have a nicer, more even diffuse surface inside the reflector. They cost about $70.00. 3. Bounce An even softer light source can be created by bouncing the reflector/bulb onto a piece of white foam core. When using bounce lighting, make sure that any direct light from the reflector source does not fall on the model. The foam core becomes more diffuse as it is moved further away from the reflector. The closer proximity of the bulb to the foam core, the light becomes more concentrated. The more concentrated light creates more contrast, becoming more brilliant, more directional and less diffuse.

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4. Fill Cards In natural daylight, there are actually two light sources, the sun or primary light source, and the sky or secondary source. It is the sky light that fills the shadows with light and diminishes the contrast of the light from the sun. Without skylight, daylight would look somewhat like an artificial light at night; a directional light with little or no detail in the shadows. In an artificial lighting arrangement, it is necessary to recreate skylight to fill the shadows with light. White foam core, mirrors, and reflective Mylar are among any number of reflective surfaces that can be used to bounce light into shadows, and become a secondary source. Control how bright the shadows are by the distance of the fill card from the model. A secondary light source can be used, but care must be taken to keep from creating secondary shadows. In a room with a low ceiling, it is possible for a secondary light source to be bounced off the ceiling to create sky light. 5. Flash lights Be creative. Flash lights are fun. They are directional and can have narrow beams. They also come small enough so they can be put into models to light interior spaces, or planes not receiving light from the primary light source. LED flashlights are wonderful, they are small and brilliant. 6.'Peanut' flash units. (These are small handheld electronic flashes that can be used away from the camera.) I don't recommend using strobe lights to anyone just learning how to see, and capture images. The major problem is that strobe lighting is best used with a lot of understanding in how artificial light works. It is just easier to learn how to capture images with constant light sources. Digital has helped in the process of learning to use strobe, by allowing the photographer to see results immediately. Small portable flash or strobe units can be bought cheap. (You can also pay a lot for them.) Either the camera shutter speed can be set to several seconds in dim light, or if there is a built in camera flash these small portable units can be fired remotely with a built in photoslave, so the portable unit can be moved to a considerable distance from the camera. Digital allows you to see your results immediately. This is just scratching the surface. I once had a student use candles to light his model project. Another used a bonfire of matches, (he did this outside the building). ((DON'T USE ANY FIRE SOURCE OR INCENDIARY DEVICES IN THE SCHOOL!)) Any number of things can be used as light modifiers. Screens or glass with stuff attached can change the light quality on the model. White matt boards add fill, and black can subtract or reduce the intensity of fill light and make shadow areas darker.

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Photographing the Model Position the Model In a studio environment, a clean background is set up to create a clean space to place the model. Background paper comes in a large variety of colors and neutral densities of gray from black to white. This paper comes in standard widths of 4.5, 9, and 12 feet, in lengths of 35 to 100 feet. Wide rolls allow you to position the model far enough away from the background in order to control both the light falling on the model, and the light falling on the background. Large rolls are also conducive to setting the model in an infinity sweep, where you can create gradations of light to add depth to your images. I like to shoot architectural models on a table with wheels so that I can turn the model from the direction of the camera, with the background paper in place. This allows me to easily view the model in changing light. When I have the model positioned, I then move the main light to best optimize the angle of incidence. The angle of incidence is the angle of the light source relative to the positioning of the model and the camera. Image Capture If you have access to a tripod and cable release, use it. Artificial light is much dimmer than sunlight, and shutter speeds will generally be slower. Model photography usually makes use of small aperture settings to create a large depth of field which means longer shutter speeds. ((Not law!!)) ((Also, my intention has always been that this is a hand held course, so if you would rather use a higher ISO and hand hold, that is your decision, just make sure that the images work, and that they are sharp.)) Model photography is usually from a scaled pedestrian viewpoint. Remember, that when capturing images, everything is important. Everything in the image area should complement the model. This includes the color or value of the background paper. Separation of the model from the background (or not), can add depth to the image, or take it away. Pay attention to shadows. Elevation of the light source can either shorten or lengthen shadows. Lens There is no law here. The normal focal length when shooting models is to use as wide an angle as possible positioned from the pedestrian viewpoint, scaled to the model. Wide angles emphasize perspective and depth. Make sure that you have enough background to fill the frame. Model photography usually calls for as much depth of field as possible, which usually means a slow shutter speed, or high ISO. If you multiple expose with the intent of layering in additional captures, make sure that any bracketing is with the shutter speed, not the aperture.

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Raw Nothing new here. Model photography usually means multiple light sources or multiple fill cards. Raw allows color correction for multiple color sources that are used in model photography. Bracket using the shutter speed. Jpg The most important thing to remember is the color balance setting. Photoshop allows for some color correction of jpgs in digital camera raw, but jpgs have very limited color balance latitude. If you want to play with the color settings, do it when capturing the image, and remember to bracket with the EV setting if you have one. REMEMBER TO USE A GRAY CARD!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! This will expedite processing the capture. Also this assignment is not meant to make you an expert in studio lighting, but to introduce you to simple ways to capture your models. A lot of money can be spent on studio lighting and grip equipment. If you want to invest in a tripod or light stands, good used ones can be found at amateur or professional camera stores. Use your imagination, things that can be used as a light stand can be found at Home Depot, along with "A" clips for holding matt boards to them.

Caution: Use of any incendiary devices are not allowed in the RSA. Matte boards and foam core will start on fire when placed too close to electric lights. When using a bare bulb, don’t set it down or near something flammable; it can start foam core or matte board on fire. Don’t turn a light on near something flammable and leave the room.

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