Wayne Capili of Interface Visual Interview

January 11th, 2019

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6 Responses to “Wayne Capili of Interface Visual Interview”

  • The Master! Great to see you live!!

  • Nice to see Wayne on the other side of the camera.
    How about throwing a bone to those of us not able to attend a workshop?
    Another instructional video is way overdue.
    Thanks for what you have provided.
    I’m seconding the motion of crowning Wayne as the master!

  • Interesting interview, thanks for putting it up here. Like Wayne, I too spent decades shooting film, shooting in studio and out. But I would liked to have heard more about what type of studio shooting he did since he made some statements, such as once the lighting and set was worked out, he shot very few actual images. That sounds like standard studio portraiture and I am sure he was and is very good at it. But it is not the only type of studio photography there is. I started shooting studio work with film and lights for fashion first. And we shot a lot of film bracketing the exposures and changing the angles (no tripod) and having the model move from one position, one expression, changing arms and hands a lot. I could easily shoot 10-20 rolls of 35mm film out of which one image would be selected. But having started my photographic life as a photojournalist with 35mm B/W, we would also shoot a lot of film trying to capture the “decisive moment” that told the story in one image. We were told for both industries “you have to shoot as though film is cheap”. At least when you were working with people.

    Product in the studio, on the other hand, is the opposite. This is also studio photography. Usually I was working with an art director and working to a comp that had been approved by the client long before the art director call in a photographer. So I was simply the photo technician who took the comp and made it come alive as a photograph; little creative input from the photographer, just an interpreter of what the art director and client had in their mind’s eye. In this case we were usually shooting sheet film and 4×5 polaroid or even 8×10 if required. So film, polaroid and processing was expensive and so was time. We also covered ourselves with both brackets and duplicate exposures in case the lab had a melt down or the electricity company started working on power lines and shut off the electricity in the middle of a batch run, or an assistant accidentally dropped the dark slides into the fixer tub . . . well those who shot film will know about all that, we basically did what Wayne is talking about. Get it all set up and then shoot just the necessary film. The work went into the set up, the exposures just took a few minutes.

    But when it comes to real estate, I shoot like a photojournalist combined with an annual report photographer; I shoot a lot. Some higher angles, some lower, changing positions until I am happy that I have each room well covered if shooting from the door way seems to limit the scope of the coverage. I have found over the years that I never quite know at the time of the shoot if I actually have the best view(s) of any one room. So I shoot everything that looks good to my eye and then pick the ones that look best on screen in post. If a property takes time to sell, it also give the agent different photos to put in the ads, MSL etc. And since I don’t use flash but use HDR, how an image will sing does not arise until I can see it as the HDR software presents it. And I just love being surprised by an otherwise rather boring looking shot that suddenly takes off with the HDR treatment that I finish and polish in Photoshop. Just like when I was shooting a lot of B/W film, I shot for how I would then both develop the film and how I would then print it, what paper hardness, how much development in the tray, how much burning and dodging etc.

    So, like Wayne, I have brought all the film background to digital. The joy of digital is that we have so much more post shoot control over the image and (sorry film aficionados out there) I much prefer digital imagery to film. But like film, when I shoot digital, I shoot for what I will do with it in post, not how it looks as I shoot it which looks really yucky and a good reason for not showing it to the client. I shoot in Cine for stills as well as video. But it responds beautifully to HDR.

    Yes, Yes, I know everyone is doing either flash or flash/ambient blending. I have no problem with that if it works. But one of my clients was forced to use a very fine practitioner of that method, one of the best I have seen, a real master of that approach, but he hated the results and had me reshoot it my way. He had paid $900 for 13 images. The problem for me is that filling the interior with flash, making the window exterior views the same exposure as the interiors, changes the feeling of the room from what it is to what the photographer wants it to be. So its less about the room and more about the photographer. This is of course just personal opinion and I know I am in a small minority. But Wayne was talking about how his background in film shooting has directed his approach to RE photography and I am taking that same point of view even though it has led Wayne in a different direction to myself.

  • @James – Here is a short tutorial that Wayne did back in June of this year if you haven’t seen it:

  • @Peter — You correctly intuited that Wayne has a studio background, and wondered what kind of studio experience he has. If you ever meet Wayne, be sure to ask him about it. He has a broader base of photographic knowledge, and experience, than anyone I’ve met.
    Nice interview, Wayne!

  • A real gentleman and legend of the business respected not only state side but internationally as well, G’day Wayne!!

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