The Medium Format Magazine is not the only publication available to our members. We also publish the PDF Exclusives – high-quality, in-house designed educational and inspirational pieces on a variety of subjects related to medium format film and digital photography. Our subscribers have already downloaded and enjoyed a number of such exclusive publications. Vincent Lions authored one about still life photography and Lloyd Chambers about the technical aspects of shooting digital medium format. The latest production was from Patrick La Roque – the master storyteller and visual virtuoso. In his “9 Frames – On Being Moved and Why” Patrick deciphers nine images and shares his mechanics of seeing and capturing them. It is a revealing and fascinating read. Here is one of the images with accompanying text by Patrick La Roque.
A few leaves in a simple space
© Patrick La Roque
For years, I’ve worked with an architecture and design firm that creates stunning spaces. I have a shed load of images from these projects that I’m extremely proud of and could have included here. But I keep coming back to this rather muted image. When I shoot spaces I’m always looking for small vignettes that tell a story beyond any grandeur. Sure, I’ll capture the spectacular super wide frames as part of the job, but I also try to find innocuous views, the kind you’d vaguely notice from a bed or a sofa while reading a book on a lazy afternoon. Because these, to me, feel like life as opposed to stagecraft. And this is one such image: I love the light, the angles, the tones and the leaves on the outside porch. It seems unintentional and real.
A small aside about general technique: 99% of my interior work is shot in available light as in whatever-light-is-part-of-the-space, natural or otherwise. In high-end designs, lighting isn’t random: every lamp, spot and window is intentional. Capturing this intent is something I consider important because it’s part of the initial vision. The trick is to remember that timeis also part of our gear because with a still subject and a tripod, the camera shutter can remain open for as long as it takes. So I keep my ISO low and set the camera to aperture-priority, turning the exposure compensation dial until I get an exposure that provides the look I’m trying to achieve. I use the built-in timer to delay the shutter (to avoid any sort of shake) and click away.
Unless we want to re-lighta space, there’s no need to overcomplicate matters in this type of situation. I do bring a small flash with me just in case and I’ve used it to create different moods. But as I said, this is the exception rather than the rule.
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