Compositing

This photo for Sutton & Suzuki Architects was shot a few months after the original interior shoot. There were several exterior shots taken that day, but this one was wanted by the client to finish the story. Due to scheduling this shot had to be taken close to high noon in summer. Where as the other shots were taken on a cloudy morning at the end of winter.

To not have this image stick out like a sore thumb it was necessary to add some low lying clouds to mimic the other photos. The shadow in the foreground was also too severe for winter light. I created an exact copy from the raw file, at a much lighter exposure, and then used it to paint detail and contrast back into the shadows.

Often photographers find themselves physically limited by equipment and space constraints. A perfect example of this would be a recent shoot for Robert Nebolon Architects that I did the retouching for.

A photo of the exterior needed to complete the story was impossible to capture in one shot, due to a steep drop off on the other side of the street. Even with the widest lens available it was necessary to capture the image in multiple takes and composite them into a single image back in the studio.

Robert Nebolon Architects website

This was an interesting retouching project for Brownstone Furniture. In order to reduce the cost of shooting on location for new product lines, Brownstone built a studio in their local warehouse. With a little bit of paint and styling, along with a healthy dose of Photoshop work, we were able to create the illusion of a bedroom setting in the corner of an industrial warehouse.

We also found ourselves in a position of only having a single prototype of furniture that would normally be in pairs. Several shots were necessary, with close attention to continuity, to create the composited finals that you see below, paired with a before shot.