commercial photographer  

Interior photography is made difficult whenever a camera/lens is pointed up or down and is no longer on a level horizon. Perspective distortion is introduced (corners of walls, windows, doors and other objects lean at odd angles) making composition troublesome. To correct this using software would fix one fault, but other angles would then become misaligned. Tim’s use of Nikon PC-E tilt/shift 24mm and 45mm lenses mitigates these problems as the shift function realigns elements back to being straight.

A tilt/shift lens has three more advantages in interior photography, firstly larger rooms can have several photos taken and then joined together giving a natural perspective that is a true representation. Rather than using a wide angle lens that results in an unnaturally stretched foreground to background and elongation of objects within the room. Professional interior imagery is not about mimicking real estate photographers and their over-use of the ultra-wide angle.

Secondly, often when reflective surfaces (mirrors, glass panels, laminated and lacquered finishes) are photographed at 180° will reflect back what is directly in front. This will be the camera/tripod/photographer, all of which will show up in the final image. Nikon PC-E lenses enable the physical removal of the camera from an object’s reflection. Then by using the shift function, the lens is focused back on the subject to take the photo. Importantly to clients, this means no time-consuming and costly retouching needs to be done to remove unwanted distractions.

Lastly, the tilt function by controlling the depth of focus across any focal plane can be used in creative compositions. This enables certain elements in the room to be in focus and others not to be, drawing the eye to what is important for the viewer to look at.

In exterior photos of architecture, the use of Nikon PC-E lenses is also advantageous as it avoids key-stoning. This occurs whenever a camera/lens is raised up to take a photograph, resulting in buildings having the appearance of falling over. This can be corrected using photography software. However, because so many digital pixels get manipulated in the process of correction, buildings in the final image can look slightly misshapen. In addition, due to the extreme cropping of the photo because of the software, the final composition of the elements around a building is largely outside of the photographer’s control.

The shift function of Nikon PC-E lenses means the building is levelled out and the composition of the surroundings is determined before the shutter is pressed. 

Also, wide and/or tall buildings can have many photos taken and then stitched together, giving the structure a natural perspective in the final image. This prevents having to resort to using an ultra-wide angle lens and the resulting elongated distortion that is not truly representative of the building.

Rooms need to be evenly lit, this is especially true for adjoining rooms. This is only possible by using several large softboxes. This approach also ensures that when looking to the outside through a window, the view is not overexposed in the photo.

Studio lighting is essential for any portrait shoot, be it models promoting products/services or corporate head-shots. It is necessary to build light upon people to give shape and definition so they become three-dimensional. In addition, should the final image requirement be to have people onto pure white, the background must be correctly lit. Studio quality battery powered strobes are available for outdoor portrait shoots.

Often it is desirable to isolate a person from a background either because it is distracting or out of context to the subject matter. To make a person stand out a shallow depth-of-field and precise focusing on the face are required. Tasks best suited to a professional who can manual focus and a fast portrait lens. The resulting out-of-focus background blur (bokeh) needs to be pleasing to the eye and any distracting highlights around the subject matter need to be eliminated. 

Tim has several prime lenses that were designed specifically for portraits. His lenses are of different focal lengths and have distinctive characteristics – the three favourites are a Sigma Art 135mm f1.8, Zeiss 85mm f1.4 and a Nikon 105mm f2 DC.

The Sigma is sharp wide open and is an ideal lens for outdoor full-length portraits as the background completely melts away, making people stand out and look 3D. The long focal length also enables some distance between the photographer and subject, allowing for candid photos. The German glass creates natural looking skin tones – ideal for studio shoots and situational portraits. The Nikon has a defocus control which gives the lens the ability to impart a soft dreamy look to a background and a slightly smoother look on faces, making it the perfect lens for older skin.

Many people do like their photo to be taken. He is an experienced portrait photographer who directs individuals in order to get the best look out of them.