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Those stock reflectors you used are the worst you can have regarding output and even illumination.

Every photographer should HAVE to watch this video. Mandatory viewing for anyone looking to make money off of their photography or videography work. This is essential education most folks just do not have. And, we all pay for it, for lack of a better word, because ignorance is driving all of our rates lower.

Hi, is it possible to connect Godox TT685 and TT520 together so that they can flash at the same time.

Very helpful, I’ve started taking client now for real estate and interior designers. The difference and your explanation was so wonderful. Thank you! ☺️

These look great - Our of curiosity, are you not a fan of using a polariser for reducing some reflections in areas of the images, and then blending these with the other images?

What about all the add services that we typically provide? Drone, twilight, photoshop edits for specific removal requests, etc..?

I think 20mm is a great focal length for interiors. I might get it some day. The 15mm is useful at a pinch, when you need the field of view. Not a stellar lens, but I’ve not had photos with that glass rejected.

When do we know when to use normal blend mode and when to use lighten?? Sometimes when I’m blending I get weird blue or yellow spots in the blend. Can you help??

When do we know when to use normal blend mode and when to use lighten?? Sometimes when I’m blending I get weird blue or yellow spots in the blend. Can you help??

I missed what you had your white balance set to on your camera. What do you do for white balance on most shoots? Auto white balance or pick a specific WB? I feel like the flash pops throw off the AWB??

What specific soft box do you use?? And if it’s discontinued, what’s a similar one we can get?

You don't need it, but my photos with the TS lens are always be better than yours.

It's a really good Tips for me... thanks

So this copyright infringement Instagram form is per image only? Can I submit more than one image per form?

I believe all these figures are given as an example and have nothing to do with real prices? How can you shoot an entire property in an hour and a half? I work as a 3D artist, usually for real estate companies. We estimate the cost based on the number of photos. One photo can be $300 (if there is 3-4 photos in one room) or 500 (if there is two photos and a lot of space) or 1000$ + (if there is one photo and a big complex window view). Does this mean that photographers charge less?

That was the best way to explain that! I could never understand it properly before. thanks

Very helpful!

Thank you Matthew. Version III of the 1.4 extender is unbeatable. I use it on the TSE 17 and 200mm 2.0. Physically it remains the same focal length, you have to know that. It is a crop in the image. But the extender does that perfectly!

Good advice but thank you ! You are one of the only UA-camrs who actually spoke about that your advice is not going to work with every type of photography and style! So many UA-camrs act like “this will work in all photographic situations”!

Fantastic video!

This is more sketchy advice that doesn't consider borders. The commissioning rule exists in the E.U. and commonwealth countries, as well as in Asia. It also exists to a lesser extent in the U.S. If the photographic work isn't for commercial intent, the person commissioning it has the first right of ownership. The easiest way to think about this is simple; I shoot a client event. The images are to be used to highlight key moments, etc, at their AGM. These images aren't going to be used for any commercial intent. They were purely there to update shareholders who couldn't attend the event. If I own the copyright, I can take any images and reproduce, manipulate, alter and create derivatives. I used one of the images of two people raising wine glasses and changed the image to put two bright pink penis straws in the glasses. I then sell that image to the marker of those penis straws. They then use it as advertising for their product. If i owned the entire copyright, then there would be no issue with me doing this. The reality is that I will be successfully sued by the two people in that image, which showed I did not have full rights to alter those images and create derivatives, which an entire copyright would allow me to do. As the photographer, you do have copyright entitlements, but you rarely, if ever, own the entire copyright, and the client absolutely also shares ownership of non-commercial work. That is the difference, my extend of being able to reproduce (Sell as stock photos of an AGM event) Alter (add elements that were not represented or remove elements that were) Manipulate (Change the nature of) and create derivative work (Change medium) can not be done without the approval of the client who paid for the commissioned work. This does not even begin to touch model releases, etc. Long story short, yes, you have creator rights and entitlement to copyright when the client uses these images outside of their intended purposes, but you don't own the entire copyright to do with the images that you like without having to obtain specific permissions, which means you never owned the entire copyright. Your copyright also holds limitations, the same as the client's. Full copyright means you own the entirety of the work and can do whatever you please with no repercussions. If that is not the case, you have copyright clauses, but the commissioner also has rights to decide what happens with those images. ERGO, it is shared. This is what 98% of all photographers get wrong. They believe they own the entire copyright. They will craft contracts to reflect that, but individual contracts do not supersede consumer law. The same as I can write a contract offering $10 per hour, but if the minimum wage is $13, that contract is not enforceable, and I can be sued in employment court.

What do you call this black sheet that you are holding? How do I google it? Blackout drapery/cloth? I need the same thing for my photography to carry with me so that it has to be compact

I rarely use tilt, occasionally use it to get more in focus ( rather than the youtube approach of getting more out of focus). However I use shift all the time for loads of things and find it very useful and much better than doing in post. Doing in post can bring up all sorts of problems.

Perfect explanation🙌

Thank you very much for the detailed video. I am a real estate photographer aspiring to get into interior design and architecture photography. I had a quick question. Do you take 3 bracketed shots like real estate photographers do? do you have any video detailing the camera settings used for a shoot?

Your video has earned my rarest rating... Helpful.

I don't like post processing that much so if I can get it all done in camera then I'd invest in a TS lens.

Thanks Matthew, that was informative. I like your style! The only distracting thing to me is the painting that looks like it's supposed to be a horizontal landscape! Lol!

So do you shoot AWB or manual?

My biggest regret was buying the profoto flash sets. Quality is very bad for its price.

Brilliant video as always Matthew!😊

Did you know that you can use your lens caps/camera sensor caps as a grey card =)?

I gotta ask, and sorry if you’ve brought it up already in another video, but why are you shooting in jpegs over raws? Love your work man, been binge watching a lot lol.

Do make tutorial for polarizers for architectural and interior photography

the toughest part about this shot is the incredibly ugly painting above the fireplaces. It looks like one of those tv screen replacements they do with overseas HDR editing. Thats not your fault, but the room itself has some issues. Even the overall color scheme is a bit unattractive to me. However, great job working with what you have. very informative video

Really well done video - THANKS! You must have a TON of patience to put these things together. Is there any chance you could sometime try a "Chinese lantern" style diffuser on the AD600? I'm asking because I recently saw someone use a collapsible Godox D50 of that type (20inch diameter when open - yipes!), and he managed to entirely light a good size room JUST RIGHT (my humble opinion) - virtually a finished product - in ONE FRAME, with window exposed right. He was using a AD400 (I have the 600). I know, crazy, but what a huge time saver that would be. I'll look for the video. Imagine handing the client your memory card and saying, "Here you go. Have a nice day." Ha - fantasy world for sure. Thanks so much for your channel - so very helpful every time.

You're definitely not rambling. My only suggestion would be to do a few on-off cycles for each layer you talk about so we can more clearly see the difference between the before and after. But keep up the great tutorials. Many thanks!

You are 100% right we concentrate way too much about gear and lenses 👌🏻

The most comprehensive video explaining off-camera flash. Thank you so much!

Click bait video and irresponsible. Matthew Anderson is a great photographer and knows better. Pixel-Peeping Architects: High-end architects are known for their discerning eyes and attention to detail. They will often examine images at a pixel level, looking for any imperfections. Tilt-shift lenses ensure that every part of the image, from edge to edge, is sharp and distortion-free, meeting the high standards expected by such clients. Building Trust and Reputation: Delivering high-quality, precise images builds trust with clients and establishes a photographer's reputation in the architectural community. Mastery of tilt-shift lenses demonstrates a commitment to excellence and an understanding of the unique needs of architectural photography. Precision in Perspective Control: Correcting Converging Lines: In architectural photography, maintaining the integrity of straight lines is paramount. Standard lenses often cause vertical lines to converge, distorting the true appearance of the structure. Tilt-shift lenses allow photographers to correct these converging lines, preserving the architecture's design and ensuring that walls and columns remain straight. Maintaining Proportions: Accurate perspective control ensures that the proportions of the building are faithfully represented, which is critical when presenting work to architects who are deeply familiar with every detail of their designs. Enhanced Depth of Field: Selective Focus: Tilt-shift lenses offer the ability to tilt the plane of focus, which can significantly increase the depth of field without the need for smaller apertures. This is particularly useful in architectural photography where both the foreground and background need to be in sharp focus. Creative Effects: Beyond technical corrections, tilt-shift lenses also allow for creative effects that can add a unique artistic touch to architectural photographs, making them stand out in a competitive market. The Risk of Ignoring Tilt-Shift Lenses Downplaying the importance of tilt-shift lenses or dismissing them as "useless" can be detrimental for photographers aiming to break into or excel in the field of architectural photography. It can lead to: Compromised Image Quality: Without the ability to correct perspective and enhance depth of field, the resulting images may fail to meet professional standards. Loss of Clients: Architects, who value precision and detail, may turn to photographers who can provide the level of quality that tilt-shift lenses offer. Stunted Professional Growth: Mastering the use of tilt-shift lenses early in one's career can open doors to high-end projects and more prestigious clients.

this is really complicated, and confusion, I respect your point of view, but the people who pay are realtors, but since they are used to a price, when you talk to a realtor I guarantee that they will say that that is very complicated.

Hi Matthew! Interesting video so thanks for this. For my part, I don't think I'd worked that hard for this case, I think I probably did a very overexposed one, did a mid and one exposure for the windows and fitted the windows with masking. Your result was very good. It's just a matter of finding a balance between the darkness and the brightness (as in any case) and with the screwing with the RAW files this should have gone well - too.

Liked the video. I like the less editing approach.

Great video! Very educational!

46:12 how do your clients not see this as a conflict of interest? You’re not motivating yourself to take the best shots for them, but for yourself.

have u try canon 2x extender? Your video is really helpfull. Thanks

How do you blend the photos together without getting you or the flash in the final image

Cool vid although I'm not a Godox guy. Regardless of flash brand the biggest takeaway for me was the use of the 7' umbrella. The resulting light is close to the quality/feel of the ambient light and shadows. In order to fill up the umbrella and enlarging the source would then require a more powerful strobe. I currently use octas and a 500ws strobe but will start bringing my 7' PLM along for the ride. On a complete side note because settings are to taste, but given Arizona, midday, no clouds in the sky I'm thinking sunny 16 rule for the view. Your setting would be almost three stops over, which to me is fine as I think the view should be brighter to feel natural. However you said the exposure was 2 stops under. The room exposure??? Please explain. Again the main point is that umbrella!!! Thanks

shoot... and here I thought I'd have to stich shots together with my 15mm wideangle lense to get out cascading lines and here you are... showing me a stitched-together-version of a tilt-shift vs a single shot with the wideangle lense, corrected in post. thanks for all these informations in the video. thought I spare me some work with a 17mm-tilt-shift-lense regarding post production, but maybe I'm just fine with the 15mm :) like your humor too - "hit the thumbs down twice for the emphasis" hahahahha

Thanks for the vid, that opened my eyes a bit on what other photogs do. I'd have shot it with 3 or 4 Godox 685s. One on camera with a baffle/card to stop the shadow of the fan then at least one on top of the picture frame to the right and one or to the left of the couch. I'm using a full frame Sony with crop lenses which makes the depth of field much better than full frame, I shoot at f5 or in this case I might drop down to 6.3. ISO is 200 (dynamic range is better). If the fall off is two much to reach the back corner I'll drop a flash right on the couch and hit the ceiling directly and mask it out later and replace the ceiling. I'd mask the window to get more clarity of the view and shoot one slightly over exposed ambient and drop it on top as a luminous layer in PS, -50% blend. It's a lot more work but the clients like it. The one positive of my technique is that everything fits in one backpack.