Hunter Douglas Beauty Books

I recently added a new Featured Work Gallery for two shoots I did for Hunter Douglas’s Luminette and Nantucket product lines. The photos we created for these shoots were used in their dealer sample books, website, social media, marketing materials, you name it!

Both shoots were HUGE productions. Unlike other architectural product shoots where the product is already in place, we had to find locations with the right type of windows and then Hunter Douglas custom made their window fashions to fit the locations. We did multiple days of location scouting about month before each shoot. Hunter Douglas then fabricated the custom product and shipped them to me for holding; something like 70 boxes, 4 to 10 ft in length, and a foot or so wide. It was quite a logistical challenge to find a place to store them for the shoots. I ended up renting a warehouse for one shoot and a conference room at our hotel for the other.

In addition to my producer, two assistants, and a digital tech, we had a crew of about dozen including a lead stylist, stylist assistants, installers, furniture movers, plus an art director and 3 or 4 clients at a time. Lots of people! On our last shoot in San Diego, we had so many people we just hired a food truck to cater. It was awesome and delicious.

Each shot requires a lot of set up. Just installing the product can take half a day. Once the product is up, we then compose, style, and light each shot. We’re maybe getting 1 to 2 hero shots done in a day at each location.

Gear wise, I used the ALPA Max and Alpa XY with the Phase One IQ250 Digital Back. I won’t geek out too much on gear here, but if you’re interested check out the links above.

It’s been a great brand to shoot for and the people I work for are just awesome. For as big as these shoots were, both went off without a hitch and the client was super happy with results. It must be going well, because they’re having me out again this year for a 10 day shoot in June.

High Fives to all the folks I’ve worked with on these shoots, especially Karen Beck, Heather Smith, Bergren Rameson, Mike Grippi, Ben Canales, Kennett Morhman, and Garrett Priddy. Love you all!

Check out the full gallery of images here: https://www.lincolnbarbour.com/work/hunter-douglas/

Thanks!

New Work for Prometheus Real Estate Group

For the past two years, I’ve been flying out to sunny Silicon Valley to shoot architectural lifestyle for a truly great client: Prometheus Real Estate Group. The luxury apartment brand has a huge presence in the Bay Area as well as a growing number of properties in Portland and Seattle. I’ve shot ten properties for them so far and have lined up to do six more this year. The shoots have been primarily focused on the amazing amenities they feature at each of their locations like clubhouses, theater rooms, fitness centers, amazing pools, fire pits, and even bocce courts (my personal favorite pastime).

Each property we shoot gets the royal treatment. Working with producer Heather Smith of Smith X Union, we cast models, shop wardrobe, have hair and makeup on set, and do the prop styling as well. Each shot is meticulously planned and carried out by a crew including a digital tech, two dedicated photo assistants, and handful of PAs. It’s a lot of work, but we’re able to get so much done in a day and the end results are something I’m very proud of.

Please check out their featured gallery in my updated Work portfolio section  www.lincolnbarbour.com/work/prometheus 

Credits:

Production: Heather Smith – Smith X Union
Wardrobe & Prop Styling: Ashley Montague
Hair & Makeup: Erin Svalsted, Jen Budner

Play by Play of a Full Day Interior Design Photo Shoot

Saul Zaik is well known architect that’s famous for his Pacific Northwest take on mid-century modern design. He’s been practicing architecture since 1952 and I was lucky enough to photograph a Jessica Helgerson Interior Design remodel of one of his houses in the West Hills of Portland, OR.

For a different take on my typical blog post, I thought I’d do a play by play of each shot I took throughout the day and describe what it takes to pull off a typical one day interior design shoot.

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1st Shot – South Elevation
Since my client’s needs were more interior design related, we only took one main exterior shot that showed off the work they did. This angle shows the new home color, new deck, and patio furniture. I debated long and hard about shooting this angle at this time of day. The house is in the shade and typically you want sun on a building. But because of the surrounding trees, the house wouldn’t be in full sun until mid-day and that light would be really bad this time of year (shot mid summer). Late afternoon wouldn’t have worked either because the shadow lines would have created a lot more distracting angles on the architecture.

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2nd Shot – Patio Detail

This was a quick pickup that we went for since the light was looking good. Setup was pretty fast as we were all set from the previous shot. Exteriors go quick. The first two shots were done in about 30 minutes.

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3rd Shot – Living Room

Though I love the look of mid-century modern, it’s typically a challenge to shoot the interiors. In this house, the wood walls and wood ceiling suck up a lot of light. In order to create the beautiful natural light look, I opened up 2 stops over the ambient light reading. This totally blow out the window frames, so I had my assistant walk around with a solid white reflector on the outside of the windows to cut the light at the window frames. This gave me some darker window frames to work with I photoshopped all the frames together for natural look and then used a separate outside exposure for the view. All told, I used 11 frames in the final composite. This shot took about an hour start to finish and about two hours in post.

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4th Shot – Fireplace Detail

This was a simpler shot lighting wise, but the styling took a little longer. Jessica and her designers totally rearranged the bookshelf to create a balanced look. One tip when moving homeowners stuff: Always take a before picture so you know where things go back. This shot took about 45 minutes

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5th Shot – Dining Room

This shot went pretty quick. I used available light and added a little fill from a strobe bounced off a white card on the right side of the frame to open up the dining room table and chairs. I always use fill light in interiors; meaning my light is under the main ambient exposure by a stop or two. This opens up the shadows, while not becoming the dominant light source. There’s nothing more unnatural looking than an overpowered strobe in an interior. We knocked this one out in about 30 minutes.

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6th Shot – Kitchen

The kitchen area serves as a pass though from the dining room to the family room and bedrooms, which made it hard to find a good angle to shoot it from. We ended up at this spot because it best showed the height of the space and how it related to the dining room. I shot separate exposures for the open door and upper windows and dropped them in later. This shot went quick, maybe 3o minutes. After this shot, we took a lunch break for about 30 minutes. Don’t want to waste too much time when there’s more to shoot!

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7th & 8th Shot – Family Room

I put these up together since we shot them back to back over about an hour period. We shot two angles because one just didn’t explain this cool space well enough. The first is more of vignette and the second is more the room hero. I love both these shots. They feel so peaceful. Pillows and plants take a long time to style to look right. Fortunately, shooting live view speeds up the process because you can see changes in real time.

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9th Shot – Master Bath

The hardest part of this shot was that my camera and tripod were being reflected right in the middle of the shower’s glass wall. In post, I went in cloned out the reflection which was a little tricky with all that tile work. It was one of the those shots were post took more time than shooting it. This shot was all natural light. All in all, about 3o minutes to shoot and an hour of post.

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10th Shot – Bedroom Vignette

We liked this composition to show off the design elements, but a couple of the clocks on the wall were out of the frame. We wanted to show all the clocks together as a group, but didn’t want to put any new holes in the walls. To make it quick and easy, Jessica and her designers hand held two of the clocks in place and I shot them standing in the middle of the room. I then photoshopped them out with a blank base frame. This is one of those times where it was faster (and less destructive) to do it in Photoshop than in reality. I used a fill light on the left because the room was so much darker than the bright bathroom. About 30 minutes total on this shot.

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11th Shot – Carport

Not too much went into this shot. Mainly retouched out some oil stains on the concrete. Sweet car, huh? 15 minutes start to finish.

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12th Shot – Office

This is one my favorite office shots. Mainly, because it’s the office of amazingly talented photographer Ty Milford. It’s fun to see another shooters workspace and what they put up for inspiration. The room was shot available light, but I put a strobe in the hallway to brighten that up. 3o Minutes on this one.

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13th Shot – Kid’s Room

Small spaces are tricky to shoot. I don’t like to go too wide which distorts everything and looks weird to me. So, I usually get back as far as possible, sometimes with camera pressed up against a wall and shoot just wide enough to get the key elements in place. We didn’t do too much styling on this. Mainly, just tidied up and moved away some clutter. We spent about 3o minutes on this one.

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14th Shot – Powder Room Detail

On this shot, we all went back and forth about having the sconces on or not. The sconces were the only real light source and turning them off made it really dark. The only daylight was coming from down the hall and around the corner. When they were on, the sconces were distracting because your eyes went right to them and overpowered everything else. Ultimately, we ended up going with them off and shooting a long exposure (8 secs, f/13, iso 320) to create a brightness that wasn’t there in reality. To the human eye it looked dark, but with a camera you can see a lot more. Quick shot though, maybe 20 minutes.

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15th Shot – Hot Tub

Fairly simple styling on this shot. It mostly required some photoshop since the tub area was in shade and that blew out the view and the cool roof detail. I never shoot HDR for this kind of work because you have so much more control if you shoot separate exposures work in layers. HDR gives you a little too much information and can kill a natural look. We took about 20 minutes to shoot this and I did not jump in the hot tub, despite it being so inviting. Still had another shot to do 😉

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 16th Shot – Master Bedroom from the Outside

Here’s another shot that I had to deal with reflections. I placed the camera and tripod on the center point of  the door frame, so all I had to photoshop out was one leg being reflected. I had almost wrapped this shot when I went back to review and realized I was standing in reflection of the glass. So, I had to shoot all the brackets once more, but fortunately hadn’t moved the tripod.

And that’s a wrap. The day started 8:30am and we finished up at 6pm. This shoot was pretty typical for an interior design / residential architecture kind of shoot that I do. We were able to get through so many shots because Jessica and her team are awesome at styling and know what they want. We’ve also been working together for over 8 years and have a good rapport. Most of my successful shots come from collaborating and great styling, whether by the client or an professional interior stylist.

Feel free to ask me any questions in the comments below.

New Work: Rejuvenation

Rejuvenation - Lighting & House Parts

Up until my recent move back to Virginia, I had been doing catalog shoots for Rejuvenation (parent company: Williams-Sonoma) for almost 2 years. In addition to their catalog, the shots were also used on their website and marketing materials. It was a lot fun creating these images and working with a big crew to pull off some fresh looking work for a company with deep Portland roots. It’s part product photography, part interior photography, part studio photography, and though it comes off as relaxed, it was well planned out and often filled with lots of variations and LOTS of rigging (here, here, and here). Every shoot always felt like a pretty action packed day even though the product and my camera never really moved that much.

I’m really proud of the work I created for Rejuvenation and wanted to share them here on my blog and also on a special section under WORK.

Enjoy.

Victorian Kitchen

Victorian Kitchen by Jessica Helgerson Interior Design

Happy Thanksgiving Eve Everyone! I finally have a breather after what’s been an incredibly busy fall. It’s been too long since my last blog bust, but it feels good to be back. I have a major backlog of work to share, so subscribe to my RSS to get the latest and greatest.

I figured since many of us will be spending some time in the kitchen this weekend, I thought I’d show off this incredible kitchen remodel I shot for Jessica Helgerson Interior Design. It’s always a pleasure to shoot for Jessica and I’m so happy we’ve got to work together so much over the years. Her designs have always struck me as understated elegance. She has a way of making beautiful spaces that you can live in as well as admire. Plus they always photograph so well 😉

Enjoy your holiday!

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Corazón Shoot Featured on DesignSponge

 (Lincoln Barbour)

A recent restaurant project I photographed for Jessica Helgerson Interior Design was featured on DesignSponge today. Nice little write up, too. To see the full gallery, visit my archive site.

Retouching the Oregon Home Cover Shot

I take a lot of pride in my Photoshop retouching skills. Mainly because I try really hard to make my shots not look like they’ve been retouched.

For architectural interior shots like this cover image for Oregon Home, I often do something I call, “Dropping in the Windows.” During the shoot, I’ll take several brackets that are under my main exposure. Later on in Photoshop, I will pick a darker exposure that I like the look out the windows and overlay it on the main exposure. I then hand cut out the windows using a mask and blend it together a little with the paintbrush. It’s subtle, time consuming, but the look can’t be beat.

The alternative to this is to do and HDR photograph or overlight the room with artificial light. I, personally, never like either of those ways look, so that’s why I do it the hard way.

Here’s time-lapse of the whole process:

Cover of GRAY Magazine #2

The newest architecture and design magazine to highlight the Pacific Northwest has certainly been generating a lot of buzz. Almost all my clients asked me about GRAY Magazine as soon as it hit their desks. And I can see why. It’s a really well designed magazine that is photo heavy with great articles. It’s also printed on really nice paper for that high end feel.

GRAY is up to issue #3, but I was pretty stoked to have this project I photographed for Jessica Helgerson Interior Design run as the cover story for their second issue. The rest of the tearsheets are below, but if you want to see the photographs on their own, check out the White Brick Mediterranean Home gallery on my archive.

Getting it Done with The Works

It’s been pretty busy summer here at LB Photo. Some great editorial work is coming out soon, but in the meantime I thought I’d recap some recent commercial work.

The Works is an amazing contractor and remodeler based in Portland, OR. They’ve been responsible for making some of the wonderful glamourous interiors designed by Jessica Helgerson come to life.  They recently hired me to shoot some of their own work and it was a pleasure to photograph. Here are some of my favorite shots from two shoots we did this summer.

Continue reading “Getting it Done with The Works” »