Glad you found us. Hopefully the videos and book will help you with your work.

Thanks for your note. I'm glad this will be of help to you.

You're very welcome.

These are my lenses 17mm TS, 24mmTS, 45mmTS 24-105mm Zoom. That's it. Typically, the details are photographed with the 24-105, usually in the 85-105mm range.

Please see some of the other videos, especially this one: kzbin.info/www/bejne/kJSZnH95jJxrd6s

Thank you for your note; and I'm pleased to know that you are enjoying the videos. In short: I admittedly rarely use additional lighting, preferring to use carefully exposed layered exposures and precise post-production techniques. Please check out my YT video discussing this very issue. Not everyone agrees with my approach and think it heretical. Each photographer will have to decide for themselves what they wish to accomplish and how they wish to go about achieving those results. For those just starting out -- photographers new to this field; students and amateurs on limited budgets -- I have encouraged them to start out photographing under given conditions (day or night), planning the times they shoot as precisely as possible, and learning all the necessary post-production techniques.

Thank you for your note. You are correct that many of these places are simply inaccessible to the public for reasons of safety and security. There are several in Miami, some even abandoned, to which I have been unsuccessful in gaining entry. Some of these industrial plants are no longer in use and will no doubt be demolished before they can be documented. This is a loss that unfortunately is not that well appreciated.

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!