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thank you!

Use MEMBER10 for 10% off any tutorial or collection. I recommend the volume one collection and the volume two collection. MEMBER10 offers you 10% on the already discounted prices in the collections on everything I have.

thank you and let me know if I can answer any questions about my photo tutorials -

Mandy, I would suggest you check out a few other videos of mine on TH-cam, as well as go to my Photo Tutorial site where I really go in-depth into my techniques to achieve control of color and light with regards to strobe/ambient blending. But to answer your question simply here, the easiest rule to remember is to have your strobe layers white-balanced the same (more than likely 5000 K). If you are able to create a successful composite from your strobe layers, then just laying your ambient on top of them with "Luminosity" blend mode makes blending ambient light so much easier. Of course, there is never a "one size fits all" to this, and you must use your subjective eye to determine how much "neutrality" is the correct amount for any given image or space.

@@GrossmanPhoto Truly appreciate you taking the time to reply to my query, I will definitely check out your tutorial site.

Fernando, for me and because I use a Phase One digital back, I generally only need one ambient exposure. For sure and to be safe, get multiple exposures for your ambient just in case you need a healthy brighter one, or darker one, for your blending

it is typically safe to increase shutter speed significantly for your strobe layers. I would recommend doing this if for nothing else but to assure that you are controlling color temperature and that your strobe layers have a consistent white balance in the event that your ambient light doesn't match the color of your strobes. So... as a general rule, your shutter speeds can be around 1/30 or even as fast as 1/200th of a second (or more) if you do not have window views to balance, and if you are wanting to overpower your ambient lighting. that said, if is a good rule to have a sense of your white balance settings for ambient and in this way, you can "gel" your strobes to either match them, or to use your lighting creatively in the event you want to all highlights which are warmer for example (or project a sunbeam, or a firelight glow). Many ways to achieve all of the above looks, but it is safe to use the technique of a faster shutter speed when employing strobe frames.

Jim go to my website or IG and send me your email. I would like to see a screenshot of your computer and how your layers are set up.

@@GrossmanPhoto Thanks, Barry! I went back and rewatched a few of your tutorials and found what I was doing wrong. My work has gotten a lot stronger since watching them! Now... to get more clients!

Charles, thank you! I always say you should be shooting with the best camera you can justify purchasing, but by no means will the camera do the work for you. That said, the Phase One offers some distinct characteristics and perhaps features which are definitely advantageous for many photographers. let me know if you need any suggestions about who to contact if you want to demo a camera.

Diogo, use the code: COLLECTION20 for 20% off the Volume I collection. That matches our special pricing and each tutorial is around $14 which offers a substantial discount! I hope you enjoy the tutorials! Best, Barry

Just buy it. Well worth the money.

Thank you! We are in discussions for a 2022 workshop and I'll be sharing that information with you all early next year! subscribe to my channel, and go to my tutorial page and subscribe to stay up to date on any webinars and video content. hope to work with you in the near future!

@Juan our next workshop is in discussion for the fall of 2022. We generally make the announcement 3-4 months prior to the event. As far as your equipment, I always encourage photographers to bring whatever camera they currently own and use. We are REALLY fortunate that the great folks at Capture Integration and Phase One donate and share multiple camera systems for our event in an effort to allow you to experience pretty much all of the medium format options for us as interior and architectural photographers. My goals for the workshop have always been to share my techniques, experience and shooting philosophies with you. It is NOT about the gear. That said, many photographers really love learning and exploring the amazing camera systems and of course it is a part of the entire workshop experience, how much is really up to each individual. You can message me on IG, or go to the Capture Integration site to learn more about our past and upcoming workshops.

thank you for your comments. you can always view our complete tutorials here: learn.phototutorials.net and I thank you for your support!

the 24mm on a full frame camera is a great focal length for most interiors work. as you progress, I'd suggest it would be advantageous to have a full range of lenses, a 17mm at the most wide, and a variety of longer lenses such as the 45mm/50mm and longer for tight shots or if you want to experiment with shallow depth of field. certainly, the 24mm is going to be a VERY useful tool for you! with regards to your other question about light modifiers, I like to use a standard 40-50" white umbrella for most of my work, but again, as you see in this particular photo, I used essentially a bare reflector for harder shadows and more specular highlights. it is nice to have a variety of light control tools, and a softbox is terrific, especially if you're handholding the light. I just like the ease of use of the umbrella and in general, they are pretty affordable and provide a lovely light quality.

@@GrossmanPhoto Thank you very much for your detailed answer. Already bought your lesson New York City High Rise Featuring Interior Photos.

thank you for your comments! I appreciate your support of our tutorials. Stay Inspired!

soon... soon! thank you for watching and your support -

Alan, thank you so much for watching my videos! I employ all of the above as it pertains to my light modifiers. Most of the time when I am working with an assistant and he is hand-holding the light, we use a small 2 foot soft box for detailed light accents. If I am shooting in a space by myself, I find it simpler and more efficient just to open up an umbrella. Typically, I am using a deep, soft silver or white typically around 40 or 50 inches. I also enjoy using a simple reflector for more specular highlights and harder shadows. I suggest to experiment with whatever works best for you. The quality of light between a soft box and a umbrella, especially when masking, can be very similar. It really depends on the subject matter and the proximity of the subject matter to the light source.

Thank you@@GrossmanPhoto

Typically, I am brushing with the settings at 100% opacity and with the "Flow" reduced down to 2-5% (for the sake of the tutorials, I will increase that to speed things up a bit for my audience). I like this for most masking because it allows me to slowly, incrementally brush in the mask. Think of flow as a "nozzle" and opacity is the maximum amount you can reveal through the process. In some cases, it may make sense to reduce opacity for your brushing if you know for certain to you do not want it to reach 100% (when brushing in a reflection in glass, for example). I also will generally use the brushes at 0% "hardness" to keep the masking process as subtle as possible.

@@GrossmanPhoto Truly kind of you to reply! I hoped you would but did not expect it! Yes I have been trying with different hardnesses, sizes and opacities, I will try that right away! Another gem from you... and please could you let me know about the Gpay thing? I'm terrified to put my card details online and I no longer have PayPal. Thanks MUCH 😊

@@apusista I sent you an email. I look forward to your correspondence.

you can view our email/contact info through our main website, www.grossmanphoto.com. I'll email you but for now, the payment options are through PayPal and Stripe which allows you to simply enter a credit card.

And the deepest cut of all, is that the photographer friend who held back and misled me, was my assistant in the early 90's! That is the deepest cut of all, I taught him everything I knew then, which was a fair amount as I studied at Brooks... Also, when someone does that, there is an implication that I might want to take a client away from him. I wouldn't have dreamt of it! Not sure which hurts more but today is a Eureka moment for me! 😊

Frank, at the time, we were using a strobe unit, more than likely a Profoto B1 which is what was available at that time. with the lens open, we employed the "multiple pops" tecnhique of the one strobe as we moved through that tunnel

Marko, thank you, sir. I hope you are inspired to explore more of our tutorials and experiment on your next shoot!

thank you!

Mark, with apologies. this is the introduction to the actual video tutorial.

@@GrossmanPhoto Gotcha! thanks 🙏

Jeetin, there are many ways to achieve "color balance" when blending strobe and ambient captures. The simple answer, and one I think photographers need to understand prior to manipulating color balance within the Digital Darkroom, is that strobe lighting is essentially balanced for daylight (close to 5000 degrees Kelvin), while most "artificial" interior light sources will be significantly warmer, closer to 3200 degrees Kelvin (what we have traditionally referred to as tungsten-balanced). I would suggest experimenting with color correction gels on your strobes to achieve a consistent color in your interior images. A "Full CTO" gel, will modify your strobe color and make it much warmer and closer to 3200 degrees. This can be a great way to shoot interiors, especially where there is little to no daylight influencing the color inside, and this way, you can shoot at relatively slow shutter speeds, and find a nice color balance between your strobe lighting (once it is gelled with the CTO - "color temperature orange"). They of course, make varying degrees of color correction gels for your strobes, from 1/8, 1/4, 1/2 etc. CTO. On another note, one can use a CTO in concert with a "dusk" image and with careful control of shutter speed, achieve a "twilight" quality to the exterior color balance. I have that demonstrated in one of my tutorials. Sorry such a long answer!

@@GrossmanPhoto thank you so much

Jeff, thank you for your support and your gracious comments! It's photographers and professionals such as yourself who have encouraged me to teach at my workshops and create this online presentation of my work and techniques. I look forward to working with you (in the field!) in the future -

thank you so much! check out our tutorial site for a complete list of our recorded interior photography tutorials. www.learn.phototutorials.net

thank you for the comment and support! I also thank you for visiting our tutorial site and becoming part of our "community" of interior architectural photographers. Definitely reach out to me with any comments, questions or suggestions about my work, my tutorials or what you'd like to see us do in an upcoming live webinar!

@@GrossmanPhoto working my way through the courses now. The content is fantastic! I’ve been using capture one for years but only to teather since there is no easy way out of C1. My workflow has always been LR >open as layers in PS. Learning so much about the program. It’s going to change my workflow.

@@jswalk4 Version 21 has really become a game-changer. MUCH better healing and I find myself inside of C1 for a bit longer than ever before. I am also using Luma Range quite a bit, and taking advantage of the multi-layers for masking in selective color, tone, and even sharpening (a rarity, but it's nice to know you can do it!). enjoy the content which was all created in 2020, and I do my best to share some of my favorite shoots from across my portfolio.

thanks for the feedback! I plan on more "live webinar" content in the coming weeks. Please subscribe for our schedule and to view more recorded tutorials: learn.phototutorials.net

thank you! learn.phototutorials.net Visit our site to see the rest of the Creative Sunlight tutorial -

many thanks! years of working with light. I hope you explore our other tutorials on our learning website. learn.phototutorials.net

Thanks, Dale! This is an excerpt from one of Barry's video tutorials. Please let us know if you have any questions about his work and check out our website for upcoming live webinars and recorded content. learn.phototutorials.net

Stephen, thank you for your comment and support.