Architecture Photography & Retouching

Architecture Photography & Retouching

Go on-location with Tony Roslund to photograph multiple rooms in a beautiful, large Microsoft office space designed by HOK Architects. Learn his entire process to find angles, utilize natural light, light with strobes, and shoot building exteriors and interiors. These tips will help you market yourself as a professional photographer shooting hospitality, restaurants, workspaces, interior, exterior, colleges, retail, time lapse, and more. At the end of the tutorial, you'll be able to hold effective meetings with building architects, maximize your time on set, and pare down your gear to just the essentials that fit in one backpack. Not only that, he'll teach you how the cost sharing price model works so you can implement it in your professional photography business.

Architecture Photography & Retouching
  • Introduction

    Meet Tony Roslund and receive a training series overview, covering a high level view of what you will learn throughout the tutorial on Commercial Architecture Photography

  • Body & Lenses

    Receive an in depth breakdown of the complete gear kit that Tony uses for all of his commercial architecture productions. In this section, learn why he uses a specific camera body and array of lenses for his shoots to achieve best results on set and in post

  • Lens Accessories

    In this section, look at a variety of accessories to control light with a lens hood, adaptor ring, and filters

  • Tethering

    Learn to build an efficient and mobile tethering system with portability, efficiency and redundancy

  • Lighting

    Learn the advantages of using a minimal lighting kit that provides efficiency and impact within constrained environments.

  • Tripods & Bags

    Hear Tony’s rationale on investing in a high quality tripod and head system to achieve maximum flexibility for shot composition while maintaining rock solid captures for smooth compositing in post.

  • Tilt Shift Lens

    Before production begins, go on location and with Tony’s mobile kit. Learn the process and benefits of using a Tilt Shift lens. Through a series of comparisons, learn the differences between using a tripod head vs. tilt shift lens. Learn to create compelling exterior captures, how to avoid perspe...

  • Pre-Production Checklist

    Receive an inside look at Tony’s personal pre-production checklist. Learn how to formulate a plan before entering complex and demanding professional environments with a range of practical considerations. Shooting within professional, active corporate environments presents all kinds of challenges ...

  • Composition

    Tony gives specific insight on what to look for when you scout a location to achieve the best shot composition possible on production day. From lighting placement, reflection issues, staging of furniture, to background subject placement, consider the technical challenges before the day of your sh...

  • On Location

    Tony gives specific insight on what to look for when you scout a location to achieve the best shot composition possible on production day. From lighting placement, reflection issues, staging of furniture, to background subject placement, consider the technical challenges before the day of your sh...

  • Shot List

    In addition to the practical and technical challenges, as well as ongoing creative considerations - learn how to develop a shot list to maximize your time and profitability.

  • Business Strategies

    Explore the opportunity within commercial architecture as it relates to prospective clients within the market and usage of your captured images. Receive insight into getting a start within the market and leave a lasting impression with small investment marketing material.

  • Pricing & Cost Sharing

    Receive inside information to give you an edge in pricing yourself within the market of Commercial Architecture Photography. From the number of images to capture on a production, to pricing your day rate, to innovating ways to maximize your profitably regardless of the client’s size or budget.

  • Conversation with the Architect

    Observe as Tony sits with a leading design principle, discussing what the architectural firm would like to see captured during an architectural design shoot.

  • Main Workspace-Breakdown

    With pre-production complete, go on location to capture the first image in a commercial environment. Receive a high level summary of the gear setup before taking the first shot.

  • Main Workspace-Setup

    Begin taking a series of test captures, getting a feel for composition, staging, and lighting for the image, utilizing the strengths and variety of the gear that Tony presented in earlier lessons.

  • Main Workspace-Staging

    Learn how to properly stage furniture within an image to support perspective, interest, and overall balance in the composition.

  • Main Workspace-Polarizers

    Work with a polarizer filter to isolate and eliminate unwanted lighting reflections and hot spots within the composition while controlling color cast. Adjust the composition using tilt shift.

  • Main Workspace-Lighting

    Utilize the mobile lighting kit to quickly and efficiently balance the overall exposure and help eliminate unwanted color casts in camera. Manipulate camera settings to achieve the proper exposure and bracket different exposures to be composited in retouching.

  • Main Workspace-Background Subjects

    Strategically place background subjects to provide both motion and balanced visual imagery to be composited in post.

  • Main Lobby-Setup

    With one space captured, move on to a brighter, more complex lobby space. Begin to navigate the complexity of multiple lighting sources and people moving through the scene. Analyze the various challenges and characteristics of the space to create a plan for the final composition.

  • Main Lobby-Exposure Bracketing

    Create a base exposure, then Isolate different areas of the composition and capture multiple exposures to be composited later in post. Adjust some staging to create uniformity and symmetry. Manipulate the environment and use a polarizer to control lighting. Learn how to read the lighting scenario...

  • Main Lobby-Background Subjects

    Learn how to capture planned and unplanned background subjects, providing options for compositing later in retouching.

  • Retouching Intro

    With production now complete, shift focus as Tony sets up the retouching, post-production portion of the series. Receive an overview of philosophy, workflow, and approach as Tony introduces, retouchist, Barry MacKenzie, who will guide you through the compositing and color control work.

  • Main Workspace-Layer Stacks

    Walk through the process of importing, aligning, and organizing multiple exposures to begin the compositing of multiple layers into a final finished image. Begin with the Main Workspace

  • Main Workspace-Compositing

    Composite and blend multiple exposures to bring all of the elements together, into one image. Utilize a variety of masking techniques to cut in the best pieces onto the base exposure.

  • Main Workspace-Color Correction

    With all of the compositing pieces in place, blend the various components together. Control color contamination throughout the image, bringing it into a cleaner, more uniform state.

  • Main Workspace-Color Layers

    With compositing and general color balance in place, begin to develop the creative aspects of color within the image through corrective and intelligent moves. Keep organized and develop layer structures that can be adjusted when handed off to another retoucher.

  • Main Workspace-Final Color

    Continue to move through the process of refining color. From previous sections of honing from very broad areas, to now controlling very specific aspects of the image in a targeted way. Refine target areas by cutting paths to have extremely precise control over color within the image. Utilize grad...

  • Main Workspace-Cleanup

    With global and targeted color correction complete, move onto retouching unwanted, distracting elements within the image and prepare it for Tony’s final pass.

  • Main Workspace-Tony's Pass

    After Barry’s compositing, color, and retouching work, watch as Tony brings the finishing touches to the Main Workspace image.

  • Main Lobby-Compositing

    With the next image, move at a more rapid pace, compositing multiple exposures and subjects to create a base composition for the Main Lobby. Working through multiple exposures, create a clean composite with balance across the entire image.

  • Main Lobby-Color Correction

    Work to eliminate multiple color casts within a complex lighting scenario from the Main Lobby

  • Main Lobby-Color Layers

    Continue to build up color within the composite, balancing and blending exposures, fixing casts, and enhancing saturation in more targeted ways. With pre-existing paths cut, add additional paths to create clean separation for particular elements within the image to control and manipulate color fo...

  • Main Lobby-Final Color

    Control unwanted artifacting and continue to eliminate color casts within specific, targeted areas of the composite image. After the initial global correction, work iteratively within targeted areas across layers, step back and asses color across the whole image and dial everything into balance.

  • Main Lobby-Cleanup

    With a the majority of color work complete, learn how to retouch quickly and efficiently to remove blemishes and distractions within the image. Utilize a markup layer to lay out a plan for retouching. Work seamlessly with the patch tool, clone stamp, and healing brush tool. Prepare the image for ...

  • Main Lobby-Tony's Pass Part One

    Watch as Tony breaks down Barry’s compositing, color, and retouching work, emphasizing all of the elements that work and highlighting the areas that can be improved.

  • Main Lobby-Tony's Pass Part Two

    Develop an eye for applying the final touches of depth, color balance, skin tone, contrast, and overall balance in the composite.. Apply the final touches for a clean, beautiful deliverable image for the Main Lobby.

  • Meeting Nook-Setup

    Build on your knowledge gained in the first 2 spaces and apply them in a challenging, more confined room. When 1 point perspective is unavailable, adjust composition, and develop a plan with a unique feature.

  • Meeting Nook-Lighting

    Test through captures to achieve proper exposure employing your mobile lighting kit.

  • Meeting Nook-Exposure Bracketing

    Watch as Tony divides the room into segments, bracketing different exposure to create the proper balance for compositing in post.

  • Meeting Nook-Compositing

    Continue to move at an accelerated pace with Barry, as you learn to apply the best practices in compositing multiple exposures for the Meeting Nook image.

  • Meeting Nook-Final Color

    Leverage the power and precision of using paths to create masks. With Barry’s pre-cut paths, observe how to quickly and accurately fix color contamination while making global but precise creative decisions. Create a markup layer for quick cleanup and prep a non-destructive layer system, for Tony’...

  • Meeting Nook-Cleanup

    Work quickly to clean up an assortment of distractions from sensor dust to removing fixtures. Prep the image for Tony’s final touches.

  • Meeting Nook-Tony's Pass

    Walk through a quick summary of Barry’s retouching work and learn how to identify potential problem areas with Tony, as he applies his final color manipulations to the image. Learn how to use Photoshop’s lens correction tool to make subtle adjustments to composition and perspective. Apply Tony’s ...

  • Pink Room-Setup

    In this fourth space, navigate complex spatial geometry, glass reflections, and a variety of color casts and light intensities to create a compelling final composite. Begin to employ all of the techniques while problem solving in the most challenging environment yet.

  • Pink Room-Staging

    Adjust furniture, office items, and camera positioning, tripod and tilt shift, to achieve balance and clean perspective lines, while navigating extremely confined spaces.

  • Pink Room-Exposure Bracketing

    With a complex space and a myriad of lighting intensities, reinforce the importance of exposure bracketing. Utilize the advantage of shooting at a higher ISO and varying shutter speeds and their relationship to aperture.. Iterate through multiple exposures, to be composited in post to achieve a f...

  • Pink Room-Lighting

    With exposure bracketing complete, tackle various focal points of the image by using the mobile lighting kit, eliminating troublesome hot spots. Learn to balance ambient lighting with strobes.

  • Pink Room-Background Subjects

    Place background subjects into various points of interest to add story elements and interest to the composition. Observe where to draw the line in problem solving making acceptable compromises that don’t sacrifice overall quality.

  • Pink Room-Compositing

    Perhaps the most challenging space to capture on location, work with Barry to create an accurate composite from multiple exposures, navigating a variety of reflections and color casts across a variety of surfaces. Use gradients to build up the exposures and add dimension and focus. Apply masking ...

  • Pink Room-Final Color

    With compositing complete, move onto controlling various color casts throughout the image working in global and targeted areas to create dimension, balance, and depth. Learn what the power of pre-cut paths will do as you manipulate color throughout the image. Add additional path work to control c...

  • Pink Room-Cleanup Part One

    Continue to follow the same workflow with Barry as he identifies the cleanup and retouching areas by creating a markup layer. Retouch distractions and remaining reflections with a blend of the patch, clone stamp, and healing brush tools.

  • Pink Room-Cleanup Part Two

    Finalize the retouching and cleanup. Create a frosted door to hid distractions in an office and replace some conference room blinds with a cleaner set.

  • Pink Room-Tony's Pass

    Follow Tony as he brings the final nuance, color balance, and finishing detail to the Pink Room Image.

  • Orange Room-Setup

    Transition to a different workspace with new angles, reflections, and color casts. Identify specific problem areas; develop a plan around lens selection, camera position, basic staging, lighting, and the kind of exposures needed to create the final composite image.

  • Orange Room-Staging

    Observe Tony and Barry reposition existing furniture within the space to achieve a more pleasing composition

  • Orange Room-Lighting

    With composition and general lighting managed, learn to balance the overall ambient light with bouncing strobes in specific, targeted areas to create balance and effect.

  • Orange Room-Background Subjects

    Position a variety of background subjects on right, center, and left of frame to create interest, motion and a sense of balance. Create balanced exposures for compositing, bouncing strobe lighting in targeted locations that integrate with the ambient light of the scene. Learn to improvise with pr...

  • Orange Room-Compositing

    Watch as Barry quickly builds the composite for a the Orange Room - with complex angles, color casts, and reflections. Composite multiple background subjects balance story and interest with the architects desire for motion.

  • Orange Room-Final Color

    Create balance and depth in blending the exposures by continuing to control color contamination.

  • Orange Room-Cleanup

    Retouch glass reflections, wall fixtures, floor blemishes, and other distraction to create a more focused image. Prepare and organize multiple layers for Tony’s final retouch.

  • Orange Room-Tony's Pass

    As in previous rooms, watch as Tony critiques Barry’s work, moving the composite from 80% complete to the final image. Balance global and targeted color, with tweaks to control color contamination, warming skin tone, and specifically targeting a challenging wallpaper pattern. Utilize a 3rd party ...

  • Green Room-Setup

    Transition to a new space with significant challenges. From color contamination, multiple unwanted reflections, a unique room shape, and spatial constraints; observe Tony and Barry devise a fresh plan with solutions to create a compelling final composition.

  • Green Room-Staging

    Eliminate distractions and open up a space through rearranging and eliminating unwanted furniture. Create balance and a plan for background subjects as well as prep for handling the lighting for the room.

  • Green Room- Exposure Bracketing

    Block out various unwanted sources of light and subsequent reflections on the co-working space glass. Bracket a series of exposures to build towards a clean, sharp exposure, free of reflection distortion and distractions.

  • Green Room-Lighting

    Focus on strobe lighting for inside the co-working space to add definition and interest to the office furniture as well as eliminating unwanted hotspots caused by location lighting.

  • Green Room-Background Subjects

    With bracketing for most of the composition complete, focus on a central story placing background subjects in the co-working space, then enhance with subjects positioned on the periphery of the frame. After background subjects are captured, bracket the final portions of the exterior that will be ...

  • Green Room-Retouching Breakdown

    After multiple rooms with a variety of challenges, watch as Barry gives a high level summary, breaking down the completed final composite of the Green Room.

  • Exterior-Setup

    With the interiors of the Wexford building captured, move outside to prepare for an exterior image. With daylight fading fast, watch as Tony and Barry quickly lay out a plan and adapt to the ambient shifting light.

  • Exterior-Lighting

    Utilize strobe lighting to highlight specific accent points of the building, mixing ambient with strobe lighting. Navigate the complexities of outdoor shooting, with dusk quickly approaching.

  • Exterior-Exposure Bracketing

    Watch as Tony iterates through different exposure brackets to catch the ideal sky reflections for the building’s exterior. Utilize long exposure to capture car lights for added interest. Pay attention to lighting and building detail to accentuate, for the final composition.

  • Exterior-Compositing

    For the final image of this training series, learn Barry’s approach to capturing an exterior image. Build up the image for an exterior, utilizing multiple exposures to accentuate different aspects of the building and surrounding grounds.

  • Exterior-Final Color

    Balance color across the image, managing strobes and ambient light, accenting the magic hour exposures. Bring vibrancy and detail into specific areas of detail designed for emphasis by the architect.

  • Exterior-Cleanup

    Replace windows, remove distracting background elements, and cleanup blemishes on a global and targeted scale for exterior of the Wexford building.

  • Exterior-Tony's Pass

    Follow Tony as he applies his final pass to the last image in this Commercial Architecture Photography training series. Apply separation, dimension, color, contrast, depth and interest in his final pass of the exterior. For finishing touches, apply the long exposure elements and apply a complete ...

  • Architecture Photography and Retouching Files

    1.51 GB