St. Bart’s: Inside of Dome

A few years ago, I got up at the proverbial oh-dark-thirty on a December Saturday morning to take a 5:30 Megabus to Manhattan for a lesson in post-processing workflow with the incomparable Dave Beckerman. Specifically, Dave shared with me his more than two years of using NIK Software’s suite of impressive add-ins for Photoshop or Lightroom (note: it's now the Google Nik Collection, and as of last week, it's free!) 

It was a great experience – Dave is very creative and an excellent teacher. If any of you get a chance to spend some time in NYC, try to look him up, or even better, take a lesson from him. You won’t be sorry.

After our lesson, I went to St. Bartholomew’s on Park Avenue and 51st Street. It’s a beautiful Byzantine-style basilica. It’s one of those special places where even if think you haven’t seen it, you probably have – Hollywood loves it for scenes of high-falutin’ weddings. Both the original and the remake of Arthur used St. Bart’s for their wedding scenes. The church also had a very big part in the Angelina Jolie film, Salt. 

I took several interior shots with a tripod at St. Bart’s before a docent came up to me and said that tripods were not allowed. To get this photo of the interior of the dome, I laid my camera flat on its back on a table just underneath the crossing, set it for Automatic Exposure Bracketing, and triggered off the three exposures with my infrared remote shutter release. Back home, I assembled the three exposures using NIK’s HDR Effex Pro to get what you see here.

It’s very interesting… I could barely make out the detail in the dome, it was that dark. But thanks to 21st-century electronics, our digital sensors just keep sucking up photons until the image processing chip says “enough.” And unlike film, long exposures don’t suffer from reciprocity failure. What a great world we photographers now live in!

p.s. Sorry about that photo of Russel Brand running out of St. Bart’s in his gatkes.