Absolutely. In many cases, where the contrast is too much for a single frame, that is the only way to control the intensity of the light pouring in. When you make the various exposures, be certain that at least one of the frames (one of the very underexposed images) has all the details in the very brightest highlights.

Thank you for watching. Please check out our other videos.

I would check further to see if there are perhaps 3rd party manufacturers of adaptor rings.

Thank you for your kind remarks!

It is. And not an easy building to photograph!

reposted please check again

I process in 16 bit in camera raw or Luminar Neo. I do 95% of my color correction there, taking advantage of the wider16 bit gamut. But I convert to 8 bit when I bring it into Photoshop. (Yes, saving space and for speed.) On occasion, I will keep it in 16 bit in Photoshop if I foresee some unusual color situations; but, generally, in Photoshop I work in 8 bit. I realize others choose to keep their work in 16 bit.

@ thank you for the prompt response, I appreciate it! I recently tried Luminar Neo HDR merge but somehow I am getting murkier image fidelity (kind of murky) compared to the same tool from Capture One Studio using the same settings (camera mounted on tripod, 5 bracketed shots, auto-align and ghosting removal options checked, etc) btw your tutorials on the subject are some of the best in youtube, thank you for sharing your knowledge on this platform, I will certainly buy your e-book.

May I suggest that you read the reviews.

Thank you David. I am happy that you have found these videos of value to you. Best of luck with your work.

I'm very happy that you found the channel. And I hope the videos will help you move forward with your work.

I am very pleased to hear that. Good luck with your work.

tantissime grazie

Hi, Paul: Streetscape: It’s not a “requirement” only a suggestion. The streetscapes are clearly better without the distractions of cars. If there are only one or two, I’ll try Generative Fill or the RemoveTool to get rid of then. On occasion, and if my client wants the cars, I have used a drone to get above the rooflines of the cars, which diminishes their impact on the photo. Skyscrapers: If there is no alternative, a shot looking straight up can work if the distortions are kept to a minimum. A very wide-angle lens can cause those distortions, particularly at the bottom of the view. Where the sides of the building hit the bottom of the frame also must be considered. Try to avoid having any diagonal hit the very corner of the frame as that will flatten out the image and call attention to the frame. One other solution, again with a drone if possible, is to back up and shoot from about 1/3 to ½ way up the building. These are both difficult project types, and that is precisely why I have included them in the 7 Assignments. Doing the streetscapes first, and dealing with all the collateral information that must be brought in compositionally, is helpful for shooting the high-rises.

Thank you. Glad to have you join our community!

If I do photograph off-axis, the direction of the image is dictated by the structures, themselves, and what I need to convey. I don’t try to force the subject matter into a preconceived compositional framework.

Generally, when you use a TS lens to perfectly align the verticals in-camera, they stay aligned. That said, if you are very close to a vertical with a 24 or 17mm lens (or any very wide lens), you may experience a bit of barrel distortion. This is easily corrected with EDIT > TRANSFORM > WARP.

Throughout these videos I have cited the work of painters and engravers whose work informs architectural photography. If you would like all of this information in one place, I encourage you to purchase a copy of my Architectural Photography and Composition book.

@@stevenbrookephotography Perfect. Thank You!

@@stevenbrookephotography Your book has proven to be very helpful.

Good luck with your new adventure! I am gratified to know that the videos will be of help to you.

point taken

Thank you, Christian. I hope the videos and book help you with your work.

My one suggestion for photographing in Rome: get out very early, before the traffic and crowds become overwhelming. The contemporary slips away and the ancient structures come alive. If you visit the Forum, again, go early and go straight to the Palatine and then work your way back down. The views from there (where the Roman nobility lived) overlooking all the layers of Rome are hypnotic.

@@stevenbrookephotography Thank you so much for this great info!!

There is a video on layering which you may see here: kzbin.info/www/bejne/e5W0fYafZ5V4rq8 Also one on Luminar Neo: kzbin.info/www/bejne/qIDGhHemqriaaLs As for ultra-tight spaces: if I can look into the space from, say, a hallway or another adjoining room, I will try to do that. If not, I will use a 17mm PC lens and make every effort to keep the view on-axis with as low a camera height as possible while still seeing all the elements necessary to convey the space. With a PC lens it is also possible to stitch together several shots to create one large view. This type of image can have significant distortion which must be fixed post-production. Bottom line: this is not an easy task for any photographer.

@@stevenbrookephotography Another photographer we hired shot the ceiling of an elevator, camera pointed up. I am curious how she was able to do this if I were to mimic? Maybe she had a newer camera that has a swivel screen, I use a Nikon D810.

I suppose she just aimed the camera up. If you do this, I suggest trying to at least keep the horizontals parallel to the picture plane to establish some order.

@@stevenbrookephotography understood, your book is very helpful. I would like to keep in touch with you sir. I’m very interested in Architectural Photography!