New Work — Winter 2012 Collection

I’m very late with this, but it’s been a very busy fall/winter. Still, I’ve been itching to get this portfolio together, so today finally it’s live!

Click the image above to see the entire collection….and Thank You!

19 responses to “New Work — Winter 2012 Collection

  1. Amazing work, like always!!! Really looking forward to your next set of workshops. Hopefully I’ll be able to attend one!

  2. Great set, very clean work!

  3. Nice work Scott! I was curious what lens you used to capture the home in slides #9, #10, and primarily how you kept the vertical lines so straight?

    • Chip, good eye! Those were both shot with a shift lens; in #9 it was used to control the perspective, and #10 was shot as 2 vertically-formatted photos (one shifted left, one shifted right) that were “stitched” together to produce the final image.
      Verticals are really just a matter of holding the camera level. The film plane (or sensor) has to be perfectly vertical, regardless of the lens you’re using.

      • Interesting. I’ve never heard of a “shift lens”. I guess it was #10 that I noticed the lack of perspective distortion the most. The second floor wall on the left edge is perfectly straight (vertically), but the shot looks like it was shot from eye level. Was it really shot from eye level?

  4. Your work is always inspiring. Can’t wait to attend one of your workshops. Georgia on your mind?

  5. Very inspiring! Any chance you’ve thought about giving a work shop in St Louis?

  6. Scott, one more question. In #10, did you use any filters? The color of the wood siding is so rich and vibrant…

  7. Wonderful work, Scott. The lead photo is my all time favorite, really love everything about it…the tones of grays and blue, the variety of verticals and the overall composition. The rest of the set is inspiring and beautiful as well – nice to see Gilbert, AZ made it in!

    • You recognized that!
      I’m glad you like the lead shot….it was a fun one to do, and took us a couple hours to set up. Aside from the window and the sconce lights on the left, there is almost ZERO ambient light in that shot. That was shot for the company that did the venetian plaster visible on the right side.

  8. Hi Scott, love your photos and analysis on what you do. In several of your ” behind the scenes” photos on location, your camera is tethered to you Mac. Seems like your’re in “live view” as well. On those difficult angles when you can’t see through your viewfinder, tethering is the only way to compose the shot. What tethering software do you use. There are so many on the market, I would be interested in your input.

    Thanks
    Also, do you have a schedule for your 2012 workshops?

    Rolfe Hokanson

    • Rolfe,
      I tether using Lightroom – works great. For situations like you describe, where I can’t actually see the back of the camera, I use the Canon DPP software, which allows the liveview to be displayed on the laptop screen (something LR won’t do). I can zoom in and check focus, get my rise/fall all dialed in just right, etc. Then I go back to Lightroom to make the capture.

      In my opinion, the other one to look at is Capture One.

      • Thanks Scott. I’ve been using Ey-fi direct with shutter snitch, (not in the high-rent area yet to upgrade to Capture One) but it does not have live view. Works for 90% of what I need, especially when walking around my shot and setting manual flashes. Sometimes I feel like I’m on a Easter egg hunt…playing find the hidden dinks under the piano, behind the sofa or in the corner cabinet behind the vase!
        One other question, when you have time, could you provide a sample shot/write -up on a basement/lower level shoot? I’ve always had issues with getting even ceiling lighting with low ceilings, little or no ambient and all sorts of cross-lighting and white balance challenges with fluorescents, incandescent table lamps and recessed ceiling can lights. How do you create the depth separation, color saturation and contrast you can achieve with sunlight and flash balance? We’re talking large basements rooms here, in multi million $ homes. I could live in just the basement!! I’ve read your book, which is fantastic, but there is no example of a difficult (large) basement shot set-up.

        Just a thought when you have a moment.
        Thanks again,
        Rolfe Hokanson

  9. Regarding workshops — nothing is scheduled yet for 2012. BUT – I will have an announcement very soon that should make a lot of people happy. Stay tuned.

  10. Great job Scott. Photos 1, 2, & 3 seem to be a departure in style from what I know of your RE work. Much more directional, controlled, and subtle. Clearly highly produced and staged, much more so than typical RE shots with SB-80s, LOL. Curious on the lighting gear, and specifically modifiers you’re using in these, plus how much you’re ‘sculpting’ these with multiple exposures and layers in post.

    Inspirational, as usual.. :-)

    • Hi Andy,

      Thanks!
      I haven’t had a real estate shot on my website for a very long time — my work is primarily with ID’s, builders, and design firms. Everything you see in this collection was a single exposure – with one exception. The sculpting is really accomplished on location, via lights. My post production tends to be primarily curves, although I do occasionally blend a couple exposures together (just not for this portfolio).
      My workhorses these days are Elinchrom Rangers, and a bunch of Arri hotlights, plus a small mountain of stuff.