Las Vegas Photography

Services:

• Commercial: Office, Low to Mid-Rise, High-Rise, Mixed-Use, Warehouse, Hotel, Government, Civil
• Residential: Single Family, High-Rise Apartments, Lofts, Subdivisions, Model Homes
• Interiors
• Exteriors
• Aerials
• Lifestyle
• Digital Enhancement
• Large Format Printing

Process:

Photography > Planning >  Digital Enhancement > Delivery

Photography
We use film and digital cameras depending on the requirements and characteristics of the job. We have all camera formats including high resolution digital, 35mm, medium format, large format, and panoramic, and we will use the right camera for the right situation. In conjunction with great cameras we also have the best in lighting equipment to work with any type of situation.

www.TSBcommercialPhoto.com

Planning
Thorough planning is necessary to insure the highest quality and to avoid problems.  Planning is the part where we need your help and it involves a series of questions. Together, we will decide exactly what photographs best suit your needs by zeroing in on the proper market(s).  Then, we plan the shoot by resolving these points: best time of day, dates, access, landscaping, styling, furnishings, cleaning, talent, travel, labor, etc.

www.TSBcommercialPhoto.com

Digital Post Production
Don’t want people in the shot? Want more cars in the parking lot? Want to take the “For Lease” sign off the building? Want to make the pavement look black again? Don’t worry, it can probably be done. TSB  Photography has in-house re-touching, drum scanning, very large flatbed scanning. We have the best film and print scanners available today. We are also available to enhance existing photography you may already possess. Use the technology to your advantage.

Proofing to Delivery
First we post digital proofs of the photography to a private website for you to review online quickly. If you order more post-production touch up work we complete the work and prepare the files for delivery. Once the files are ready there are a number of ways to receive the photos: as film, prints, or digitally by the Internet or CD-ROM. When you receive your photography digitally it is ready to be dropped into a brochure, a website, or for whatever other use you may have.

Large Format Printing
TSB Photography has in-house large format printing capability. Utilizing state of the art Ultra Chrome archival 7 color pigment based printing technology we are able to output a digital file to photographic paper up to 60″ by 40 feet in length.

www.TSBcommercialPhoto.com

Hopeful Clients:

Hilton Hotel Family
Grosvenor
Catellus Development Corporation
Shorenstein Development
CPS
Prudential
EHDD
University of California
San Francisco Giants
Hong Kong Government
UNESCO / United Nation
Gordon H Chong
Marriott Hotels
Amtrak
Shapell Homes
PMI Prudential
San Jose Mercury News
Meyer Sound
Sony
Marriott Hotels
Shapell Homes
Trumark Companies

www.TSboyer.com

I photographed a fashion show a few months ago as part an annual MAGIC convention in Las Vegas, I found myself at a point of reflection, of my early days in my photography career. I remembered an important philosophy about being a photographer – and something that has given me a strong skill set when shooting; something I like to call “cross-training”. You cross-train in sports, why not in art?

When I first started my interest in photography, I photographed a wide range of things; Bands, Pets, children, portraits, families – anything to give it a try.  I still need to tackle Food and beverage more! Eventually I focused more on specific work; Weddings, Events, Model Testing, High School Senior Portraits, and Head shots. Even though I now focus primarily on Commercial, Wedding Editorial and High School Senior Portrait work, I do truly believe many of my strengths in my current genera of photography, come from all my experience across a wide variety of photography, early in my career.

Think of the ways Wedding and Event photography can help you – they can give you skills to work in low-lighting situations, help you think on your feet in seconds, give you great client management skills, and so on. Working with new models helps give me skills to pose my teens, and working with shy teens helps me to work in any situation with someone who is uncomfortable in front of the camera. Sometimes it is good to step outside of your comfort zone and add a new tool to your skill set. If you have been wanting to try something new, but lack the experience, see if you can assist for another photographer. There are so many opportunities that await you, and as you grow as a photographer it is great to try as many things as possible, before you can truly know what you love and are best at. Many of those learning experiences along the way will help you be a stronger shooter in your eventual areas of expertise.  www.TSboyer.com

Wikipedia’s Definition of HDR Photography:

In photography, computer graphics, and  image processing, high dynamic range imaging (HDRI or just HDR) is a set of techniques that allow a greater dynamic range between the lightest and darkest areas of an image than current standard digital imaging techniques or photographic methods. This wide dynamic range allows HDR images a more accurate representation of the range of intensity levels found in real scenes, ranging from faint starlight to direct sunlight, and is often captured by way of a plurality of differently exposed pictures of the same subject matter.^[

The two main sources of HDR imagery are computer renderings and merging of multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR)photographs. Tone-mapping techniques, which reduce overall contrast to facilitate display of HDR images on devices with lower dynamic range, can be applied to produce images with preserved or exaggerated local contrast for artistic effect.

High-dynamic-range photographs are generally achieved by capturing multiple standard photographs, often using exposure bracketing, and then merging them into an HDR image. Digital photographs are often encoded in a camera’s raw image format, because 8 bit JPEG encoding doesn’t offer enough values to allow fine transitions (and also introduces undesirable effects due to the lossy compression).

Any camera that allows manual over- or under-exposure of a photo can be used to create HDR images.

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging technique grows, several camera manufactures are now offering built in HDR features.

Editing

Editing is the one that demands the highest dynamic range of all imaging tasks. Editing operations need precision to avoid aliasing artifacts such as banding and jaggies. Photoshop users are familiar with the issues of low dynamic range today. With 8 bit channels, if you brighten an image, information is lost irretrievably: darkening the image after brightening does not restore the original appearance. Instead, all of the highlights appear flat and washed out. One must work in a carefully planned work-flow to avoid this problem.

Camera characteristics

The characteristics of a camera need to be taken into account when reconstructing high dynamic range images. These characteristics are mainly related to gamma curves, sensor resolution, and noise.

Camera calibration

Camera calibration can be divided into three aspects: photometric calibration, geometric calibration, and spectral calibration. For HDR reconstruction, the important aspects are photometric and spectral calibrations.

Color reproduction

Light sensors and emitters try to mimic a scene’s light signal concerning human perception; it is the human perception that is important concerning colors reproduction. Inspired on the trichromatic base of the human eye, the standard solution adopted by industry is to use red, green, and blue filters, referred as RGB base, to sample the input light signal and also to reproduce the signal using light-based image emitters. As opposed to the subtractive color model used with printers, paintings etc. This employs an additive color model.

Photographic color films usually have three layers of emulsion, each with a different spectral curve, sensitive to red, green, and blue light, respectively. The RGB spectral response of the film is characterized by spectral sensitivity and spectral dye density curves.

Contrast reduction

HDR images can easily be represented on common LDR devices, such as photographic prints and computer monitors, by simply reducing the contrast, just as all image editing software is capable of doing.

Clipping and compressing dynamic range

high dynamic range scenes are often represented on LDR devices by cropping the dynamic range, cutting off the darkest and brightest details, or alternatively with an S conversion curve that compresses contrast progressively and more aggressively in the highlights and shadows while leaving the middle portions of the contrast range relatively unaffected.

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of the entire image, while retaining localized contrast (between neighboring pixels), tapping into research on how the human eye and visual cortex perceive a scene, trying to represent the whole dynamic range while retaining realistic color and contrast.

Images with too much tone mapping processing have their range over-compressed, creating a surreal low-dynamic-range rendering of a high-dynamic-range scene.

NOTES:   You will see here www.TSBcommercialPhoto.com &  www.TSboyer.com, a fine mixture of HDR imaging and standard photographic imaging.  My goal is to use HDR or HDRI to only enhance my photos, and not let the High Dynamic Range process take over what the eye sees.  HDR processing especially comes in handy when I am shooting very contrasty subjects such as Interiors and Exteriors of architecture.  No where do I see this more than in the Hotel, Resort and Hospitality sector.  A close 2nd to this would be Landscapes.

I shoot Hotels, Resorts, lifestyle, interiors, exteriors, spas, food and dining, the Grounds/ landscaping both in and around properties, destination weddings, and events. Happy clients have been passing new work to me.  I am thankful. I aspire for my photography to appeared in national and international publications such as Destination Weddings & Honeymoons Magazine, The Knot, Caribbean Trave + Life, and This Old House, just to name a few.

Although at times unavoidable, I love natural, clean photographs, with minimal digital processing.      It is essential to develop a visual theme and stage accordingly to generate the look you are trying to acheive.

When a new luxury resort is built, or an existing hotel changes hands and is upgraded, hiring a resort photographer is a must. Advertising agencies and marketing departments know that sub-par photography makes for lackluster brochures and ineffective advertising. For resort, destination, Hotel and architectural photography, my goal is always to create a photograph that communicates the most ideal representation of a space. This is crucial to an effective marketing process.  Taking cues from a photojournalist perspective, I like to document the guest experience through lifestyle photography. Photographing a resort, hotels etc, at the right time of year is also a must. It is most practical to arrive when the resort is not at full occupancy, and when the landscaping is at optimal bloom. From the big picture to the small details, I ensure my clients are aware that taking all the necessary time to produce stunning visual imagery is essential. While high impact resort photography is only one aspect of promoting a resort’s brand, it provides an enticing, visual display of a hotel or resort’s offerings both online and in print for your customers.

Here are some images from a recent shoot used in a marketing campaign for a leading luxury resort and spa.  www.TSBcommercialPhoto.com

What i love about creating captivating imagery for the hospitality, resort, hotel & architecture industries, is that it often allows a photographer to travel international and nationally.

It looks as though my SEO for San Diego and Las Vegas is looking well thus far, for Real Estate Photographer, Architectural Photographer, Interior Photographer, Aerial Photographer, Commercial Photographer and more, but my SEO for San Francisco, Phoenix, Los Angeles ( L.A ), Reno and other cities from the Midwest to the West, is not looking well.  I want to eventually rank very high in all major cities like Dallas, Houston, San Antonio, Austin, Seattle, Portland, Miami, Orlando, Fort Lauderdale, Atlanta, New York, Chicago etc…..   Other areas I want to gain SEO exposure in, are Trade Show Photographer, Convention Photographer and possibly EXPO Photography. Oh yeah, I forgot these > Resort/ Hotel Photographer, Restaurant Photographer & Advertising Photography.  I realize that Event Photography / Photographer (www.TSboyer.com) could encompass Trade Show, Convention and EXPO, but I’ve got to be specific.  I also want Photography to yield www.TSBcommercialPhoto.com as frequently as Photographer in all cases mentioned.  Anyway, first things first -  ” San Francisco “.

As you may or may not know, I am a Canon shooter rather than Nikon.   I’ve recently made some additions to my equipment, and now I have 3 camera bodies ( 20D, 40D, 7D )  I use 2 Canon 580EX ii Speedlites and I have a 3rd speedlite which is a SIGMA 530 DG Super.  I use an absolutely priceless “Really Right Stuff Bracket” (Pro E).  My Lenses consist of my Canon 24-70mm f2.8 Prime Lense,  a Canon 17-85mm, and an impressive Wide Angle Lens, Canon 10-20mm.  In my bag I also keep a Canon 50mm f1.8 for extremely blurred background, and IF you’re not careful, the image target itself.  Lastly I keep a TAMRON 24-300mm.   There is a compartment in my camera bag for nothing but shutter-release cables, wireless triggers, batteries, flash cards etc…

You may view some of my work at www.TSboyer.com and www.TSBcommercialPhoto.com

12. Don’t Shoot .jpg,  Shoot in RAW

I know many readers feel that they don’t have time for shooting RAW (due to extra processing) I’ve found that once I started shooting in RAW, I actually cut my processing time in half.  A wedding is one time that it can be especially useful as it gives so much more flexibility to manipulate shots after taking them. Weddings can present photographers with tricky lighting which result in the need to manipulate exposure and white balance after the fact – RAW will help considerably.

13. Add Value to your Package by Displaying Your Shots at the Reception

One of the great things about digital photography is the immediacy of it as a medium. One of the fun things I’ve seen more and more photographers doing is taking a computer and projection to the reception, uploading shots taken earlier in the day and letting them rotate as a slideshow during the evening. This adds a fun element to the night, though the photos are not edited.

14. Consider Your Backgrounds

One of the challenges of weddings is that there are often people going everywhere – including the backgrounds of your shots. Particularly with the formal shots scope out the area ahead of time, where they’ll be taken, looking for good backgrounds. Ideally you’ll be wanting uncluttered areas and shaded spots out of direct sunlight where there’s unlikely to be family and guests wandering into the back of the shot.

15. Don’t Discard Your ‘Mistakes’

The temptation with digital is to check images as you go and to delete those that don’t work immediately. The problem with this is that you might just be getting rid of some of the more interesting and useable images. Keep in mind that images can be cropped or manipulated later to give you some more arty/abstract looking shots that can add real interest to the end album.

16. Keep a Fresh Perspective

Make sure you mix things up a little by taking shots from down-low, up-high, wide angles etc…  Get creative with your shots. While the majority of the images in the end album will probably be fairly ‘normal’ or formal poses –

17. Wedding Group Shots

One thing that I’ve done at every wedding that I’ve photographed is attempt to photograph everyone who is in attendance in the one shot. The way I’ve done this is to arrange for a place that I can get up high above everyone straight after the ceremony. This might mean getting tall ladder, using a balcony or even climbing on a roof. The beauty of getting up high is that you get everyone’s face in it and can fit a lot of people in the one shot. The key is to be able to get everyone to the place you want them to stand quickly and to be ready to get the shot without having everyone stand around for too long. I found the best way to get everyone to the spot is to get the bride and groom there and to have a couple of helpers to herd everyone in that direction.

18. Fill Flash

When shooting outside after a ceremony or during the posed shots you’ll probably want to keep your flash attached to give a little fill-in flash. I dial it back a little (a stop or two) so that shots are not blown out – but particularly in back lit or midday shooting conditions where there can be a lot of shadow, fill in flash is a must.

19. Continuous Shooting Mode

Having the ability to shoot a lot of images fast is very handy on a wedding day so switch your camera to continuous shooting mode and use it. Sometimes it’s the shot you take a second after the formal or posed shot when everyone is relaxing that really captures the moment!

20. Expect the Unexpected

One more piece of advice that someone gave me on my own wedding day. ‘Things will Go Wrong – But They Can be the Best Parts of the Day’. In every wedding that I’ve participated in something tends to go wrong with the day. The best man can’t find the ring, the rain pours down just as the ceremony ends, the groom forgets to do up his fly, the flower girl decides to sit down in the middle of the aisle or the bride can’t remember her vows….

These moments can feel a little panicky at the time – but it’s these moments that can actually make a day and give the bride and groom memories. Attempt to capture them and you could end up with some fun images that sum up the day really well.

21. Have Fun

Weddings are about celebrating – they should be fun. The more fun you have as the photographer the more relaxed those you are photographing will be. Perhaps the best way to loosen people up is to smile as the photographer (warning: I always come home from photographing weddings with sore jaws and cheeks because of of my smiling strategy).

www.TSboyer.com