Dean J. Birinyi Photography

Inspiration from Within, Interaction from Without

2012-02-27T08:05:00.001-08:00

Restraint 2
Detail, Sundial Bridge at Turtle Bay
Redding, CA
Santiago Calatrava

Today’s architectural photograph, titled “Restraint 2” is a detail of the Sundial Bridge at Turtle Bay in Redding, California designed by Santiago Calatrava. I shot this in 2007 as a recreational project and for inclusion in a gallery exhibit.

When I photograph architecture and design I always listen to my inner voice to find my inspiration. This voice can be loud and clear, other times it is quiet and tentative, I have learned to trust it because it emanates from the core of my artistic nature and speaks of the essence of my subjects. I act upon what my “inner voice” tells me and I get spectacular photographs that capture the essential nature of my subject because it is the result of one essence “speaking” with the other.

Dean

P.S. Recently I was scolded for being excessively romantic in my writing. I am a romantic, I see the world through a veil woven of joy and wonder. My romantic nature is an essential part of my core being and is one reason I am as good at photography as I am.

I would not choose to live in a world bereft of romance and if I found myself in such a one I would make it my mission in life to bring some small measure of romance into being to share with all whom I interact, for without romance life is a dull and boring thing, colorless and futile. The only reward such a hellish life could offer would the release of death.

I live a life filled joy and happiness despite the challenges and disappointments of reality because I see the world through a veil of romance. I know peace in my heart because I am making the most of what life has to offer.

Tricks of the Trade: Abstracting the Image in Architectural Photography

2012-02-24T06:30:00.000-08:00

Master Bedroom
Private Residence
Santa Cruz, CAGina Viscusi
Viscusi Elson Interior Design

Today’s Tricks of the Trade article is another example of the benefits and use of previews.

This master bedroom in Santa Cruz, California was shot in 2008 for Gina Viscusi of Viscusi Elson Interior Design.

When composing a photograph on my computer I will quite often convert my images to black and white. Removing the element of color when evaluating the composition helps focus the eye on the flow, or visual line of the image.

In the past when using the 4x5 view camera during in the chemical era of photography I always used B/W Polaroid test film and reviewed my compositions absent the color element. This allowed me to more effectively focus my attention on the visual motion and compositional structure of my images. I still convert the previews of my preliminary shots to B/W when working in the field, and quite often will turn them upside down to further abstract the image in my own mind. I’m told turning the image upside down to judge the composition is a very old technique employed by painters as well.

Dean

Presenting Architecture: an Exhibit at the AIA San Francisco and Center for Architecture + Design Gallery

2012-02-23T06:41:00.000-08:00

Presenting Architecture: an Exhibit by the finest architectural rendering artists and architectural photographers in the SF Bay Area, on display at the AIA San Francisco and Center for Architecture + Design Gallery.

Tonight’s the artists reception from 5:30 - 7:30

130 Sutter Street, Suite 600 San Francisco, CA 94104

http://bit.ly/ziw8aa

Capturing the View Photographing Architecture and Interior Design at Dusk

2012-02-23T06:26:00.003-08:00

Silver Award
Singular Space
2011 ASID California Peninsula Design Awards
Private Residence
San Francisco, CA
Rise Krag
RKI Interior Design

Today’s architectural photograph won the a silver award for singular space in the 2011 ASID California Peninsula Design Competition. This apartment in San Francisco overlooking the Bay Bridge and was shot in 2011 for Rise Krag of RKI Interior Design.

On my first tour of the space I realized the curved glass wall would pose several challenges, fortunately my skill with available light and HDR Tonemapping resolved the greatest challenge of reflection of supplemental lighting, the remaining reflections were all ambient and we were able to control those easily and effectively.

We had planned this image to show the bridge at sunset working to take advantage of this wonderful view. We had everything arranged, the camera in place, the styling was perfect the stage was set and we only had to wait for the bridge to light up and we were done. As the sun set down and the time approached tensions were high. We only had this one chance to shoot this space and everything had to be perfect.

The sky began to darken, darker and darker every moment but the bridge wasn’t lighting up. I was confident things would be fine Rise and her assistant Nicole Chacon was becoming nervous, their anxiety began to bleed over to me. In the back of my mind I began planning alternative solutions when suddenly the half the bridge lights came on. Only Half! I was unsure what to think, we were all very surprised and disappointed. I worked to calm the nerves of my client while attempting to control my own.

I spoke confidently and bravely saying everything would be fine if we were patient just a few more moments, but that I was going to shoot a few shots now just to make sure all my equipment was working and nothing had changed. My exposures were correct, the time for the shot was perfect but the bridge was only half illuminated. What else could I do but shoot the shot with the best conditions for the space. Finally, a few minutes too late the bridge lights came on in all their glory, and as my heart rate returned to normal I breathed for what seemed the first time in a decade.

I had to do a composite image of the perfect shot of the interior with the perfect shot of the bridge but it resulted in an amazing image of this award winning space. I am glad to have photoshop and I readily use all of the tools at my command whenever I create photogrpahs, but if those lights hadn’t come on no amount of artifice with the computer would have been sufficient to replicate the power and glory of that view.

Collaboration is Key in Architectural Photography

2012-02-21T08:35:00.002-08:00

Foyer
Private Residence
Santa Cruz, CA
Gina Viscusi
Viscusi Elson Interior Design

Today’s architectural photograph is the foyer of a Pied-A-Terre in Santa Cruz, California shot in 2008 for Gina Viscusi of Viscusi Elson Interior Design. This image is featured in today’s e-promo titled “Surf Shack.”

I shot this image using only available light because it needed nothing. As is most often the case the character and atmosphere of the space as it was designed was perfect. Of course the heavy fog we get on the Northern California Coast helped lower the contrast.

I was intrigued by the layering of this shot, and the strong line leading to the critical subject of the nightstand and lamp. The splash of color in the lower foreground was Gina’s idea and it was the perfect balance to the color of the candles & art and trees out the window. I enjoyed collaborating with her on this project and the many more we worked on afterward.

I feel it is important to make the most of the available talent we have on a shoot to ensure we are getting the most out of our investment of time and energy. The modern world demands performance on a much higher level than any one person can achieve, we all must learn to work together as a team, each of us bringing our specialized knowledge and unique skill set to the table working together, with mutual respect to striving for a greatness far in excess of what any one of us alone could hope to achieve.

Dean

P.S. I’ve been doing my “Artists Way” morning pages religiously lately and it shows in my writing and my work. It’s making everything I do more fun, too.

Field Notes: Maintaining an Online Presence

2012-02-19T09:06:00.000-08:00

I attend a lot of industry related events. I'm a member of AIA SMC, ASID CA Peninsula and NKBA NorCal. I try to keep my ears open for trends and speak with the other people attending as though they are people, this results in my learning a lot about what's going on in the industry locally as well as nationally and beyond.

I hear far too many very talented and experienced designers and architects saying they aren't getting work, most of them aren't using the tools available to them. It's true that you are never likely to book a job from your online presence, but you can bet that today's clients and employers are checking you out on line - your online presence has to be there to be found.

If the your prospect, referral or potential employer can't find you online but can find that the other candidate does great work, also wears a size seven, likes red and hates Steampunk they have an advantage over you, and you've given them that advantage. Building and maintaining an on-line professional presence with a dedicated domain and website, blog and in social media is much like taxes: it doesn't matter if you like doing it - if you don't do it you'll pay a very high price.

We all need to get on Facebook, LinkedIn and Twitter and claim your personal name, claim your business name with a Facebook Fan Page, and a LinkedIn Company Page. Don't worry about selecting a name of your business unless you already have one get them in your own name and post something-anything-to build up a professional online personae to each of them at least twice a month - twice a week or more is better.

Look for more "Field Notes" with suggestions about building a business in the creative industries twice monthly.

http://www.highdollardesigner.com/how-to-beat-invisible-interior-designer-syndrome/

Tricks of the Trade: The Benefits of Previews in Architectural Photography

2012-02-17T09:03:00.000-08:00

Entrance at Dusk
Private Residence
Palo Alto, CA
Flegels Construction Company

In today’s Trick of the Trade post I reveal the secret of previews.

It is important for us preview our photographs of architecture and interior design because we need to be purposeful in our approach and carefully consider a host of details and how the relate to each other in the photograph to create images that elicit a visceral reaction in the viewer.

When I compose a photograph I carefully pre-visualize the composition before I set the camera in place. Once I position my camera I always preview the image using either the view screen on the back of the camera, or preferably on the screen of my computer. I do this because my immediate perception of the scene is very subjective and is colored by my emotional state, imagination, wants, needs and desires.

To create images that speak of the character and context of my subject and communicate the creators design concept I need to see the image from an objective point of view. In the chemical era we used instant 4x5 Polaroids to review the composition and styling of our photographs. Today we have the 2x3 viewscreen on the back of the camera, that does have the ability to show an enlarged detail but the view of the overall image generally lacks the detail I need to see to make the best decisions about the composition of the image. The previews that are provided by viewing on a laptop screen are much better because they provide both a larger and better quality overall view of the image and provide a more flexible magnified view.

Please don’t think I am saying there is no place for the less formal approach of shooting freehand to capture the immediacy of the moment and the photographers first impressions of a scene. I will quite often break free of my tripod and computer and shoot images that are a pure expression of talent and represent my subconscious impressions or emotional reactions. My final images, those which are used in competitions and publication are almost always the result of careful consideration of multiple preliminary versions to which the artistic talents and experience of both my client and myself have been carefully and methodically applied to every detail of the image through the use of previews.

Dean

Why Available Light for Architectural Photography

2012-02-16T05:07:00.000-08:00

Seating
Teen Reading Room
Redwood Shores Public Library
Redwood City, CA
Kitchell CEM
Anderson Brule' Architects

Today's archtiectural photograph is the seating in the Teen Reading Room of the Redwood Shores Public Library in Redwood City, CA shot in 2008 jointly for Kitchell CEM and Anderson Brule' Architects.

This was one of the last projects I shot before transitioning into total reliance on available light, this image is shot entirely with available light.

I started working in commercial spaces in 1994 and quickly realized that,due to their scale it was not a wise idea to rely to heavily on supplemental light such as flash of tungsten hot lights. There was also the color conflict between any of my light sources and the fluorescent, or metal vapor lights that are normally used in these environments, because of this I quickly learned how to work with available light of different types.

In the past I would use filters on the lens and in camera masking and mating to adjust the luminance values to meet the needs of the camera. For the past several years I have been using the HDR tonemapping technique to adjust the camera to meet the needs of the environment and get much better results.
--

Today I am under the gun on a project, a presentation and several proposals. Look for my "Tricks of the Trade" article tomorrow.

Dean

Authentic Representation of Architecture and Interior Design in Photography

2012-02-15T07:48:00.000-08:00

Master Bedroom Patio
Private Residence
Campbell, CA
Gina Viscusi
Viscusi Elson Interior Design

Today’s architectural photograph is an available light image of a patio in Campbell, CA shot in 2009 for Gina Viscusi of Viscusi Elson Interior Design.

This is an available light photograph manipulated throught the use of the HDR tonemapped technique. I like using available light because I capture the character and emotional context of my clients designs with great fidelity to their original vision. I strive to capture the essential nature of their work, to communicate their ideas. Working with available light allows me to focus not on what I can do to “improve” the presentation of a space by imposing my own vision upon them, instead I focus on what I can do to perfect the presentation of their work using their ideas and their limitations.

The fact that the HDR tonemapping technique allows me to alter the camera to fit the needs of the environment helps a lot. More on this another day, right now I’m behind schedule on four jobs with more beginning to stack up. So, today I focus on creative production, rather than blogging a social networking. If you want astute observation take twenty minutes and review this TED Talks video by Seth Godin on standing out.

http://bit.ly/13TcGe

Teamwork with Multiple Parties Architectural Photography

2012-02-14T07:09:00.000-08:00

Chapel
Alta Mesa Memorial Park
Palo Alto, CA
Shirley Lo
Shirley Lo Design
Loretta Spence
Spence Studio Interiors

Today’s architectural photograph is the non-denominational chapel at Alta Vista Memorial Park in Palo Alto, CA shot in 2010 jointly for Shirley Lo of Shirley Lo Design and Loretta Spence of Spence Studio Interiors.

The challenge of this shot was to show the laminated onyx wall in context. I choose to shoot from the door because it displayed the piece in context and captured the emotional character of the space in a manner appropriate for the design concept.

This project won two awards: 2011 Design Excellence Award Commerical ASID California North and 2011 Gold Award/Institutional ASID California Peninsula Chapter. It was a pleasure teaming up with two such talented designers, our ability to communicate effectively on a conceptual level made it possible for us to present the project so well and still achieve the goals of each designer individually. The fact that they had been working together for two years on the project probably played the largest part in smoothing our collaborations.

The Need for Powerful Imagery in Architectural Photography

2012-02-13T08:42:00.000-08:00

Juvenile Delinquency Court Entrance at Dusk
Fresno, CA,
Kitchell CEM

Today’s architectural photograph is the exterior of the entrance of the Juvenile Delinquency Court at the Juvenile Justice Campus in Fresno, CA shot in 2009 for Kitchell, CEM.

When preparing to shoot a project I seek the views that have drama and impact. My clients need images that are going to be remembered and to do that I need to create powerful imagery that instantly captures the imagination of the viewer. We have one fleeting opportunity to make an impression and communicate the essential nature of the design.

This is why my transfigurative approach is so effective, and valuable in todays highly competitive creative fields: I work to develop an understanding of the design concept in doing so I rely on my feelings and instinctive reactions to a design and strive to communicate my perceptions of the intent, or design concept of the originating artist. This allows me to create images that boldly speak of the artistry and talent of the architect or designer.

I once spoke with a landscape architect who asked me if all my images had to be so powerful. I replied simply “Yes.” My images are as powerful as they are because the ideas, creativity and concepts upon which they are built are so strong.

Excellent Words 2: Artistry

2012-02-12T08:50:00.000-08:00

The second in my Excellent Words Series.

Excellent Words 2: Artistry

Maybe I am overreaching my bounds right now, "putting on airs" but the only way to grow is to stretch, to seek challenges and hold tightly to your aspirations. I choose this ultra close-up or Macro work as the subject because it is the opposite of my normal work of photographing architecture and interior design or landscape photography. There I am working on a grand scale with large sweeping views and ultra wide angle lenses.

Excellent Words : 1

2012-02-11T19:43:00.000-08:00

I'm starting a new image series titled "Excellent Words" here is "Excellent Words #1: Creativity". What do you think?

Excellent Words #1

“Tricks of the Trade” The Impact of Tripods on Architectural Photography

2012-02-10T07:42:00.000-08:00

Home Office
Private Residence
Portola Valley, CA
Rise Krag
RKI Interior Design

Today’s “Tricks of the Trade” article is on the importance of the tripod in architectural photography.

The single most important reason to use a tripod is using one allows you to stop concentrating on holding the camera and instead focus your energies on taking the picture. I don’t know how many times I’ve seen people squeezing themselves into a corner behind a lamp or plant trying to hold the camera straight, turn just a bit to the right, make sure they see the sofa, include the rug, include just enough of the ceiling and then realize they need to move the centerpiece on the dining room table. So, they extricate themselves from behind the plant, being extra careful not to knock over the figurine on the table go across the room and move the flowers, then squeeze back in and go through the entire process all over again, or just give up because it’s such a hassle.

Mounting your camera on a tripod means you only need to position the camera once, you can then go back and forth adjusting the design and styling elements as much as you need to perfect the composition of your image. Each time you go back to your camera to check your work the image is the same the only things that change are the elements you consciously chose to move.

Working with a tripod can be a little inconvenient, but if your photographing your work for your website, portfolio or a presentation it’s worth the effort.

I’m also not recommending that you go out and spend $800.00 or more dollars on a tripod. You can find a tripod suitable for your need on ebay for about $50.00, just keep it in your trunk and when you get out your camera grab it as well. Mount the camera on the tripod before you start deciding what you will photograph and where the camera needs to be.

Remember if a thing is worth doing, it’s worth doing well.

Dean

P.S. In my seminar people have asked where they can get a camera that will work with a tripod. If your camera has a threaded hole on the bottom it can be mounted on a tripod, it’s a universal fitting.

Third Place Award Small Bathrooms: Challenges of Photographing Small Spaces

2012-02-09T07:41:00.000-08:00

3rd Place Award
Small Bathrooms
NKBA Northern California
Shari Steele
Shari Steele Designs

Today’s architectural photograph is a bathroom that took third place in the small bathroom category of the 2012 NKBA Northern California design awards, shot in 2011 the space designed by Shari Steele of Shari Steele Designs is a stylistic companion to her “Rainforest Bathroom” that took first place in large bathrooms this year.

3rd Place Award
Small Bathrooms
NKBA Northern California
Shari Steele
Shari Steele Designs

The challenge with shooting small spaces is that they are so small. The need for extremely wide angle lenses requires skill patience, determination and a dedication to making whatever effort is required to get the best shot. In the shot above I was crouched down below the camera in the shower, in the reverse angle view the tripod and camera were leaning precariously over the vanity, without the use of the tripod and the ability to control the camera from the computer we wouldn’t have gotten either of these images, or at least not as easily and effectively as we did,

It takes a lot out of both the photographer and the designer to get great shots of these tight spaces but the investment of time, energy and effort is worth it.

I shot this bathroom using available light and the HDR tonemapping process. I’m always amazed at the capacity to show both highlight and shadow detail that previously were at best a battle to achieve while still maintaining the character and the emotional context of the design.

Dean

Award Winning Kitchen: HDR Technique in Architectural Photography

2012-02-08T06:19:00.000-08:00

Third Place
Large Kitchen Category
2012 NKBA Northern California Design Competition
Gina Viscusi
Viscusi Elson Interior Design

Today’s architectural photograph is a kitchen that won third place in large kitchens category of the 2012 NKBA Northern California design competition. This private residence in Los Altos, CA was shot in 2011 for Gina Viscusi of Viscusi Elson Interior Design.

I shot his project using available light and the HDR or tonemapping technique because I wanted to capture the subtle nuances of the atmosphere or the home. Tonemapping allows me to not only capture the true character and emotional context of the space it also provides me with a set of tools I use to bring out critical details in a way that is simply not possible when relying on supplemental lighting equipment. Use of supplemental lighting imposes restrictions on the photographer by dictating the position of the lighting based the reflective nature of the surfaces and finishes. This in turn dictates the positioning and intensity of shadowing that is so critical to communicating the atmosphere of the space.

Third Place
Large Kitchen Category
2012 NKBA Northern California Design Competition
Gina Viscusi
Viscusi Elson Interior Design

The HDR or tonemapping technique, when used skillfully allows the photographer to create images that have an authenticity that cannot be matched using invasive supplemental lighting because we work with the available light and use the unique properties of digital photography and computer technology to overcome the mechanical limitations of the photographic process. In the past we photographers would employ darkroom techniques to manipulate the properties of our film and prints to bring our the details that were important and communicate our interpretation of the scene we were photographing. Digital photography took some of those tools away, HDr and tonemapping returns a version of some of those tools and provides a host of new opportunities to manipulate a scene.

Dean

Award Winning White Enamel Kitchen Available Light Architectural Photograph

2012-02-07T05:36:00.000-08:00

Third Place Medium Kitchen
NKBA Northern California
Melissa Nierman
Rutt of Los Altos
Rutt Handcrafted Cabinetry
Viscusi Elson Interior Design

Today’s architectural photograph is a kitchen that took third place in medium sized kitchen category of the 2012 NKBA Northern California Design Awards. I shot this project for three clients in 2010 for Melissa Nierman of Rutt of Los Altos, Rutt Handcrafted Cabinetry and Viscusi Elson Interior Design.

Third Place Medium Kitchen
NKBA Northern California
Melissa Nierman
Rutt of Los Altos
Rutt Handcrafted Cabinetry
Viscusi Elson Interior Design

This white enamel kitchen was a stylistic wonder, the lines were crisp and the presentation of the entire space was clean, sharp and energetic. I shot the project using available light and the HDR or tonemapping technique which has been my stadard approach to all my photography of architecture and interior design since December of 2008. Use of available light avoided the obvious complication of glare and hotspots on the extremely high gloss white enamel from supplemental lighting that is used in architectural photography such as strobes or hot lights. My experience with the HDR technique allowed me to bring out the critical details of the space while maintaining a natural and authentic representation of the space.

We kept styling elements minimal to maintain stylistic integrity with the design. We using color elements at strategic positions to help draw the viewer in and direct their eye through the image in the manner we preferred.

Dean

First Place Award Large Bathroom: Available Light Architectural Photography

2012-02-06T05:57:00.000-08:00

1st Place Award
Large Bathrooms
Before and After Category
NKBA Northern California
Shari Steele
Shari Steele Designs

Today’s architectural photograph is a residential bathroom that took first place in the large bathroom before and after category in the 2012 NKBA Northern California design competition shot in 2011 for Shari Steele of Shari Steele Designs.

I enjoyed working with Shari on this bathroom because it is such a warm and nurturing space, with a wonderful flow of energy and a harmony to the design that can be felt through the images. Shari and I share a minimalist approach to styling that helped focus attention on the creative concept of the interior design.

1st Place Award
Large Bathrooms
Before and After Category
NKBA Northern California
Shari Steele
Shari Steele Designs

I shot this space using available light and the HDR or tonemapping technique, which I’ve been working with since December 2008. The technique allows me to manipulate available light almost as effectively as a painter or rendering artist. I qualify that statement because as a photographer I have to work with the light that’s really there, painters have no such restriction. You can see how I have captured the luminance, warmth and character of the tungsten lighting while capturing the effect of the strong daylight streaming in through the shower window without loosing either highlight or shadow detail. And my decades of experience gives me the tools I need to balance the color of the conflicting lightsources to ensure the viewers perception of the character of the space in the photographs is as genuine as can be achieved.

Dean

ASID California Peninsula Design Competition Deadline

2012-02-05T11:12:00.000-08:00

2012 ASID California Peninsula design competition entry forms are due at the chapter office 671 Oak Grove Avenue - Suite E Menlo Park, CA 94025 between 11:00 AM and 5:00 PM Friday February 17th.

Binders are due Monday March 20th at AS Designs 14107 Winchester Blvd Los Gatos, CA 95032 between 10:00 AM and 5:00 PM.

As of the date of posting I am still taking bookings for photography of interior design but time slots are limited. Call me I will help you present your works in the best possible light, showcasing your talent and the artistry of your designs.

Dean

P.S. Not to brag, but at the 2012 NKBA awards earlier this month six of my clients took ten awards on eight projects, and there were only 24 awards given. If that’s not a good reason to book me, I don’t know what would be.

Tricks of the Trade: Foreground Elements in Architectural Photography

2012-02-03T07:56:00.000-08:00

Roseville Civic Center
Roseville, CA
Williams + Paddon Architects + Planners

Today's “Trick of the Trade” is foreground elements. One of the most common challenges we face when photographing architecture and interior design is dealing with negative space. Don’t get me wrong negative space has a purpose and can be used to great effect, but that is a talk for another day.

Whether you’re photographing interiors or exteriors we have the challenge of large areas of empty space, functionally this space is intended for use by “pedestrian traffic.” The common use of wide angle lenses enhance this empty space and what we experience as enough room to conveniently navigate a space is distorted in the photograph to appear to be a vast open space. Real estate photographers will use this feature to great effect to make small spaces seem much larger, but for most of us this is not what we want.

As you can see in the photograph above the easiest way to hide a large empty floor is to introduce an foreground element to fill part of the space. The balance of how much of this empty space to show or hide all depends on the intent of the photographer. I wanted just enough foreground to control the perception of the size of the room, but I didn’t want so much that I made the room seem small. To do this I positioned my camera to show the critical elements of the room repositioned to provide a good foreground and then raised and lowered the height of the camera to get the effect that I wanted. I had the advantage of the counter along the right hand side of the space to help realize the purpose of the foreground element, I also wanted to draw attention to that part of that of the design by placing the papers and pen on the desk.

Roseville Civic Center
Roseville, CA
Williams + Paddon Architects + Planners

This technique is equally effective when shooting exteriors. By placing a landscaping element in the lower foreground and or a branch in the upper corner we can fill the objectionable empty space and help make the image more aesthetically appealing. This does require scrambling around in the gardens or sometimes bringing a branch or bush with you to the shoot. I’ve had people ask me to do this in post production with photoshop but it never looks right and usually would cost about the same to reshoot.

In closing I want to reiterate past comments about styling in other tricks of the trade articles:
Keep your styling and foreground elements appropriate to the space and purpose of the space or structure
Less is more don’t add something just to add something there’s got to be a logical reason for it to be there.
“Keep your eyes on the prize” always remember that you’re not photographing stuff you’re photographing design don’t let the stuff become a more important element in your composition than what you’re photographing, either in the picture or in your own mind.

Thanks,
Dean

Grace and Finesse with Available Light in Architectural Photography

2012-02-02T06:12:00.000-08:00

Second Place
Open Plan Kitchens
NKBA Northern California
Private Residence
Half Moon Bay, CA
Shari Steele
Shari Steele Designs

Today’s architectural photograph took Second Place in Open Plan Kitchens category of the 2012 NKBA Northern California Design Competition. This home in Half Moon Bay, CA was shot in 2010 for Shari Steele of Shari Steele Designs.

I shot this residential kitchen using available light and the HDR or Tonemapping technique. I like to use available light because I can capture the character and emotional context of the space as it exists in reality, allowing me to capture the essential nature of the space as the designer envisioned with a subtlety that’s impossible to manufacture using artificial means, such as strobe or hot lights.

My client’s benefit because their design concept is captured with grace and finesse. Their creative vision remains unsullied by reinterpretation, allowing the artistry of their work to be presented with a degree of sophistication and authenticity that is highly valued by their sophisticated clientele.

Dean

Creative Vision in Architectural Photography NKBA Award Winning Powder Room

2012-02-01T08:34:00.000-08:00

2012 NKBA Award Winner
Second Place Powder Rooms
Private Residence
Risë Krag
Co-Designers:
Ingeborg Andersson & Nicole Chacon.
RKI Interior Design

Today’s architectural photograph is an NKBA Northern California award winning powder room in Portola Valley, CA shot in 2010 for Rise Krag of RKI Interior Design.

The idea for this powder room came to Rise in a dream. This is a perfect example of why I enjoy working with Rise, she has a deep connection to and utmost confidence in her creative vision. She fosters a sense of creative confidence by her words and deeds and inspires greater achievement by her example.

We had several challenges to overcome for this photograph. We first needed to remove the bathroom door and this doors was eight feet tall and weighed several hundred pounds, it took three construction workers to remove it and move it safely out of the way. I shot this with available light using the HDR or tonemapping technique which was the only way to get the one point perspective shot we needed to match Rise’s vision without enormous amounts of glare on the onyx slab, this created several color problems due to the ambient light reflecting off of the onyx picking up it’s color. It took us three rounds of proofing to finally get everything just right, but as you can see the effort was worth it.

Dean

P.S. Rise also gave me one of the most charming testimonials I have ever received:

"You are not only talented but calm, generous, polite, and patient."

Rise Krag
RKI Interior Design

Guest Blog: Angela Rasmussen on her currently Double Award Winning Design

2012-01-31T07:52:00.000-08:00

First Place Small Bathroom Category
2012 NKBA Northern California Design Awards
Qualified Remodeler 2011 Master Design Award
Private Residence
Campbell, CA
Angela Victoria Rasmussen
House 2 Home Design and Build

I’m off to consult on styling for an upcoming photo shoot this morning and I’ve asked Angela Rasmussen of House 2 Home Design and Build to talk about her award winning small bathroom. So today’s architectural photograph takes the back seat to Angela’s design concept.

This bathroom won both the Qualified Remodeler Master Design Award and took fist place in the 2012 NKBA Northern California Design Awards Small Bathroom Category. The part that I find most impressive is that this is the first professional job Angela designed and she did it before graduating design school.

That’s what I call talent.

Dean
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Masculinity in its Most Elegant Form:

Before 1

This cramped 1950’s-built bathroom had never undergone a remodel, and the stark-white palate with lack of standard functionality begged for a makeover. The new space has been designed and built to give these clients all of the amenities they need and desire while creating a space with full-functionality built into the form.

Before 2

Primarily sanctioned for the men of the family, in addition to the occasional house guest, the clients requested that the space be characterized with a balance of softened masculinity and asked for a splash of color. The bathroom was designed with that exact idea driving the project. The initial objective at the projects onset included integrating the available space from an existing closet, generating ample storage, building a walk in shower, and improving the overall flow and movement within the space. Some of the challenges addressed in the project were how to utilize the minimal space allotted in order to create storage, and how to maximize the flow and functionality within the space to accommodate the client’s heights of 6’3” and 6’4.”

The solution was simple. The overall size was maximized by removing the existing closet, adding a pocket door, flush mount recessed cabinetry, and a walk-in shower with a seat. Two pony walls create spatial organization and double as space for storage niches.

The use of vertical lines, rich and contrasting colors and rigid chrome hardware help create masculinity, which is then softened with rich chocolates and airy cream colors. A faint flower motif within the tile design and warm lighting design are combined to create a space which represents masculinity in its most elegant form.

Angela Victoria Rasmussen
House to Home Design and Build

Angela Victoria Rasmussen

Award Winning Powder Room and Available Light Architectural Photography

2012-01-30T08:06:00.000-08:00

2012 NKBA Award Small Bathrooms
Powder Room
Private Residence
Los Altos, CA
Jamieson Simpson
Harrell Remodeling, Inc.

Today’s architectural photograph is a residential powder room in Los Altos, CA that won an award in the 2012 NKBA Northern California Design Awards. It was shot in 2011 in close collaboration with the interior designer, Jamieson Simpson of Harrell Remodeling, Inc.

Jamieson and I spent two hours perfecting the camera position and styling of the space. The attention to detail, care of placement and sophisticated styling elements is a major factor in helping to win the award.

This is a wonderful space and I am quite proud of the photograph. I shot this image using nothing but the available light the only lights in the space are the two fixtures seen next to the mirror. I used the tonemapping or HDR technique that allows me to capture an amazing amount of detail in both the highlights, you can see the modulation in brightness of the fixture that shows where each bulb is located and shadow, note the color and detail of the wood grain of the floor under the vanity and the grain of the bamboo cabinetry.

Tricks of the Trade: Photographing Small Bathrooms

2012-01-27T09:33:00.000-08:00


First Place Small Bathrooms NKBA Northern California Private Residence Campbell, CA Angela Victoria Rasmussen H2H Design and Build

Today’s architectural photograph is the First Place Award Winner in the small bathroom category of the 2012 NKBA Northern California Design Competition. This residential bathroom in Campbell, CA was shot in 2011 for Angela Victoria Rasmussen of H2H Design and Build.

A couple of weeks ago I was asked to offer advice about photographing small bathrooms, below is my best effort on this matter without giving away the content of my IDCEC 0.2 CEU “Photography for Interior Designers” (#8369) (Yes, I am available for bookings. :)

Small bathrooms and powder rooms are a technical challenge for photographers because the limited space and the prevalence of reflective surfaces makes it impossible to light sufficiently, or nearly so. I work with available light and the HDR, or tonemapping technique so this isn’t one of my concerns. My images capture the character and atmosphere of the space as the designer intended because I’m not forced to attempt to recreate a semblance of the character and atmosphere through artificial means.

I work to create images that capture the essential nature of the space, directing my energies on communicating the design concept not the technicalities of lighting for photography or the cascading complications of altering the space to suit the mechanical limitations of the camera. I capture the design concept because I focus my attention on the artistry of the design - the graceful flow and form of the designers vision not the avoiding the distraction of artificial externalities.

Stuff is not your design

First Place Small Bathrooms
NKBA Northern California
Private Residence
Campbell, CA
Angela Victoria Rasmussen
H2H Design and Build

The first thing you have to remember when photographing small bathrooms, or any space or structure really, is that you’re photographing design not stuff. Anyone can put those beautiful soaps, that imported towel, that hand made tile from Barcelona that slab of granite for the vanity top in their bathroom. Adding “stuff” will not help show your design well, unless the “stuff” is in context to the situation you are photographing.

Less is more, before you put that beautifully ornate soap dish on the vanity ask yourself if you really need it next to the liquid soap dispenser. Remember that you’re not in the business of selling soap dishes you’re in the business of creating artistic design, photograph that.

Seeing the space before you

To get great photographs you need to see the space as an artistic abstraction, free of preconceptions and emotional investment, divorced from your relationship with the client, contractor or supplier and you cannot allow your insecurities to direct your efforts. Just because you fought with the contractor to get that light fixture mounted on mirror two inches to the left doesn’t mean it’s worth photographing. You need to step back and see the space for what it is, and as it is not how you would have liked it to have been if the client had another twenty-thousand dollars, or if they had gone with your original idea for the backsplash.

Focus on what you can show

We all know that we need a wide angle lens. The award winning bathroom show here is shot with a 12mm anastigmatic lens, most people reading this don’t have the resources to spend thousands of dollars on a lens. If you only have a 35, 28 or 24mm lens you won’t be able to show everything in one shot, don’t worry about it. I can’t show everything in one shot even with my lenses. You simply have to accept your limitations and work within them. Focus on what you can show not what you can’t. If you need to do a shot of the vanity then do the best shot of the vanity you can and do another for the shower partition and a third for the cabinetry, use your artistic talents to create a composition that is pleasing, engaging and tells the story of your design. Remember you're an artist, you can do this.

Dean

Architectural Photography of MRI & Healthcare Facilities

2012-01-26T13:46:00.000-08:00

tes

Today’s architectural photograph is a shot of the interior MRI room in the VA Hospital at Mather Field in Rancho Cordova, CA shot in 2004 for Nacht & Lewis Architects.

This was shot before I converted to digital there has been no photoshopping done. We asked one of the technicians at the hospital to bring up an image on the monitor and I balanced the exposure to get good representation of it as well as the equipment. This was shot pre HIPPA but we still only used a test image for the system not an actual patients image.

Bathrooms, Awards, Testimonial & Growth in Architectural Photography

2012-01-25T07:36:00.000-08:00

Master Bathroom
Private Residence
San Mateo, CA
NKBA Northern California Award Winner
Rise Krag
Nicole Chacon
Rise Krag Interior Design

Today’s architectural photograph is an NKBA Northern California award winning master bathroom in San Mateo, CA shot in 2011 for Rise Krag of Rise Krag Interior Design. Rise and I have worked together for several years. She is a wonderful designer who epitomizes the idea of grace and sophistication in her self, her work and the presentation thereof.

I have learned a lot from working with Rise: how to communicate the dignity of a design and to sense the subtle touches that combine to create a feeling of quiet sophistication that is a hallmark of her work. She also helped me realize the true value of my own work because she has remarkably high standards and a wealth of experience with photography and to be counted as her photographer is itself a testament of my talent and skill as a photographer of architecture and interior design.

When asked she had this to say:

"You are not only talented but calm, generous, polite, and patient."
Rise Krag
RKI Interior Design

As Isaac Newton once said “If I have seen further it is by standing on the shoulders of giants.” Rise has led me to see more in myself by sharing her insights during our work together. I will always be grateful for her help in realizing my potential.

And it’s really nice to have the work, too.

Testimonial from a Client about my Architectural Photography

2012-01-24T10:51:00.000-08:00

Residential Guest Bathroom

Today’s architectural photograph is a residential bathroom in Santa Cruz, CA shot in 2008 for Viscusi Elson Interior Design.

This was the first project I shot for Gina Viscusi, I was a little nervous because she and I had never actually met but working with her was a lot of fun. Her style was energetic and she was dedicated to creating a mood and atmosphere rather than simply showing what the spaces looked like. She and I worked on many other projects but this one will always stand out in my memory because our combined talents and dedication resulted in us creating so many wonderful images on just this one job, three of which are still in my portfolio and in my CEU “Photography for Interior Designers.”

Working with Gina taught me to trust my instincts on composition like never before, she was always supportive and clear in communicating her ideas, wants and needs on the job. She even gave me a wonderful testimonial:

"Dean Biriyni is a true artist. His eye for composition is excellent and his lighting, creative. I like to be hands-on when it comes to the photography of my work and he is so easy to work with and I always appreciate his prompt professional service at a good value.”

Gina Viscusi Elson, CKD, Allied ASID
Viscusi Elson Interior Design

Dismayed and dejected

2012-01-24T07:48:00.000-08:00

I can't reply to comments or posts on my own blog. I've found a procedure to resolve the issue but have a walk through to do this morning so I can't fix it now, later today, maybe after or at lunch.

In the meantime here's a image I did yesterday for Chinese New Year

Dancing Dragon 2012

Telltales of Supplemental Lighting in Architectural Photography

2012-01-23T10:06:00.000-08:00

Master Bathroom
2008 Sunset Magazine Idea House
Monterey Valley, CA
Joseph Hittinger
Joseph Hittinger Designs

Today’s architectural photograph is a bathroom in the 2008 Sunset Magazine Idea House in Monterey Valley, CA shot for Joseph Hittinger of Joseph Hittinger Designs.

Designer show homes are wonderful projects to shoot because the interior designer had the opportunity to go all out and do whatever they please with a space. Usually the only restriction is budget but on larger projects such as the Sunset Idea House this isn’t as much of a concern due to the high profile nature of the project, guaranteed publication and promotional opportunities.

I shot this image rather quickly with very little supplemental lighting. If you look really close you can see the shadows of the fixtures on far left caused by my strobe light. Very subtle shadows such as this are a hallmark of the use of supplemental lighting, even the most skillful application will create nearly imperceptible artifacts. The presence of mirrors and restricted space such as in a bathroom complicate the application of supplemental lighting, but if the technique is done with skill and patience no one will notice these shadows. The presence of unnatural hot spots or reflections however are quite obvious and photographers will go to any length necessary to ensure glare issues and specular highlights are resolved before shooting a final image.

This was one of the last projects I shot before I integrated the HDR into my professional work flow, again looking closely you will see the detail of the tile is all but lost in the direct sun behind the tub with careful application of the HDR technique these details retain their full glory without the negative impact of forcing the ambiance to conform to the mechanical limitations of the camera with supplemental lights.

Dean

Happy New Year

2012-01-23T08:07:00.001-08:00

The year of the Dragon

2012 NKBA Northern California Awards Gala

2012-01-22T13:00:00.000-08:00

Here's a slide show video of the photographs I shot at the 2012 NKBA Northern California Design Awrds Gala at Riggs Distributing.

Tricks of the Trade: Styling: Learning What Not To Do

2012-01-20T07:31:00.000-08:00

Residential Kitchen
Los Altos, CA
Rutt of Los Altos

This kitchen won an award in last nights NKBA Northern California design competition I am very proud of this and the other photographs I created on the project, they are some of the best work of my career. This white enamel residential kitchen in Los Altos, CA was shot in 2010 for Rutt of Los Altos.

The hardest thing to learn when photographing architecture and interior design is what not to do. Far too often I see photographs of beautiful kitchens, bedrooms and bathrooms that are over styled, with plants and books and throws and knick knacks and vegetables and cutting boards and cookbooks all carefully placed to fill space. In many circumstances there is no reason for things to be in a particular place, it was put there to “fill space.” When styling a space I try to keep my theory of situational context in mind, the flowers in the cut glass vase belong on the table across the room not next to the stove where they will be splattered with grease.

Wine Cellar
Los Altos, CA
DaLusso Design

A staged wine tasting is the perfect compliment for a wine cellar because it’s conceptually consistent with how the space has been designed to be used. Adding a potted plant in the corner would be an inappropriate styling element because it doesn’t belong there; wine cellars are dark and the plant would quickly die.

Adding lifestyle elements can be very seductive, it’s easy to loose your focus when styling architecture and interior design. We have to remember than we are not photographing “stuff,” we are photographing design. I apply a balanced minimalist aesthetic in keeping with the design concept and when styling I always keep the words of Mies van der Rohe in mind “less is more.”

Dean

Residential Bathroom Architectural Photography

2012-01-19T08:34:00.000-08:00

Master Bathroom
Private Residence
Los Altos, CA
Viscusi Elson Interior Design
Rutt of Los Altos
Rutt Handcrafted Cabinetry

Today’s architectural photograph is a residential bathroom in Los Altos shot jointly for Viscusi Elson Interior Design, Rutt of Los Altos and Rutt Handcrafted Cabinetry.

This available light photograph captures the essence of the design concept quite nicely. The mood and character of the space is communicated by the subtly of the tones and finishes that are brought out by the soft light and the romance of the space is enhanced with restrained styling.

I am very proud to show this kitchen in my online portfolio, print book and marketing pieces. I’m confident that Gina Viscusi will also see an ROI in the tens of thousands of percent range over the next twenty or more years of her career.

Interpreting the Tone in Architectural Photography

2012-01-18T08:51:00.000-08:00

Foyer
Sales Office
Heritage Park
Sacramento, CA
Lennar Homes
Williams and Paddon Archtiects and Planners

Today’s architectural photograph is the foyer of the sales office at Heritage Park in Sacramento, CA shot jointly for Lennar Homes and Williams and Paddon Architects and Planners.

The interior designer, Naaz Alikhan did a wonderful job of setting the tone of the space right here at the entrance. Everything about this transitional space communicates the idea that you’re entering a place where luxury, quality, taste and sophisticated style are de rigueur, just what is needed to focus the prospective home buyers attention on value and lifestyle rather than the price of the homes.

This is another shot from my 4x5 days. At this point I was still using supplemental lighting but had already begun to use it only as a supplement to the available light. Some of the clues that show the lighting of this shot are the barely perceptible shadows of the Foyer light fixture on the top of the arch, the shadows of the hanging banners on the far wall of the waiting room and the sharp shadows on the ceiling of the waiting room cast by the hardware used to hang the banners. The supplemental lighting is unobtrusive but can bee seen if you look closely.

The entire scene carries a respectable visual impact. I am quite proud of this shot, it’s in my portfolio and will stay there because it’s a very powerful image and shows how I can capture the essence and intent of my client's design. I know there is more to architecture and interior design than simply showing a collection of beautiful or interesting features in a pleasing manner. There is always a subliminal message of some type: nurturing, confidence, authority, rest, etc. and it is my job, my talent my greatest challenge and my greatest pleasure to communicate the essence of the design or the design concept through my photographs.

Dean

Minimalism and Authenticity in Architectural Photography

2012-01-17T07:46:00.000-08:00

Urgent Care Ward
Mather VA Hospital
Rancho Cordova, CA
Nacht & Lewis Architects

Today's architectural photograph is the urgent care ward at Mather VA Hospital in Rancho Cordova, CA shot for Nacht & Lewis Architects.

Photographing health care facilities can be a challenge due to scheduling, especially if your shooting critical care facilities such as this. We will generally have one and only one brief period when we can have control of the space long enough to photograph it, because of this we need to know exactly what we want and how to get it done quickly efficiently and with visual drama.

In the 1990’s I learned the best way to shoot these space was with the available light, using my critical eye to create the visual impact we need through manipulation of the composition and subject matter rather than being reliant upon supplemental lighting or extraneous styling elements to transform the space to meet a synthetic idea of what it should be. My client’s always liked the genuine and natural feel my images conveyed. My minimalistic approach to styling and staging and my ability to manipulate the available light in any situation helps me communicate my client’s design concepts with a degree of authenticity that cannot be denied.

The authenticity of my imagery is highly valued by my client’s because it is greatly appreciated by the more sophisticated clientele they court.

Dusk Residential Architectural Photography

2012-01-16T08:49:00.000-08:00

Dusk Exterior
Private Residence
Carmel Valley, CA
Miller Stein Interior Design

Today’s architectural photograph is a dusk exterior in Carmel Valley, CA I shot in 2009 for Steve Stein of Miller Stein Interior Design.

I love shooting at dusk and dawn because the light is so soft and I capture the romance of the project. I shot this using the HDR technique and it really helped overcome the challenges this image presented.

This project was spread across the hillside and I had to use my widest angle lens to capture all the different elements. This caused some problems with capturing the sky with deep rich colors. Prior to integrating the HDR technique into my workflow I would use filters or cut mattes or even polarizers to darken the sky, unfortunately when working with such wide angle lenses polarizers create odd artifacts not unlike a stripes in the sky. The dodging technique I described in my post last week on shooting into the sunset is effective but very challenging and the results are not always as predictable as we would like. The HDR technique resolved this by allowing me to shoot multiple exposures of the scene and seamlessly combine the ideal exposure for each part. I still need to shoot at the right moment but the technical advantage provided by application of HDR and tonemapping is undeniable.

Tricks of the Trade: Forced Perspective through Lens Selection in Architectural Photography

2012-01-13T08:02:00.000-08:00

Using forced perspective through the use of a wide angle lens enhances the drama
and visual impact of thedesign and magnifies the exotic energy of the design concept.

One technique architectural photographers use to create dramatic images is control of perspective. This is more accurately described a set of techniques because depending on the situation we will either enhance or force the perception of perspective in the image or suppress the perspective.

It is often the case in photographing architecture and interior design that we are photographing spaces with extremely wide angle lenses, wide angle lenses enhance the perspective of an image. This means the wide angle lenses will make spaces look larger because the scale of the space or structure in the image is exaggerated, what is closer to the lens is distorted to appear larger than it really is and what is farther from the lens is distorted to appear smaller. Our minds interpret this visual distortion based on our perception of the relative size of objects in the image.

Long focal length lenses do the opposite. They compress perspective by making distant objects appear closer than they are by increasing their relative size in the image and our perception of their relative size is translated by our minds to understand the objects are nearer to us than they really are.

Architectural photographers learn to control and manipulate this effect through choice of lenses and camera positioning. It is my general practice to use the longest focal length lens I can in any given situation to minimize the amount of spatial distortion, but the composition of the image always takes precedence. I will disregard my own “rule” if the message I want to send requires, because images with strong, enhanced or forced perspective can be remarkably dramatic and memorable.

The image of the table above, part of the 2009 DIFFA show at the San Francisco Design Center, shows excellent use of forced perspective to enhance the drama and visual impact of the design. The message we wanted to be received was that this design is full of excitement and exotic energy, that this was an experience to be remembered, not just a sight to be casually regarded and quickly forgotten. I used the distortion of the strong lines of the display cases to draw the attention of the viewer into the image with great rapidity thereby enhancing the energy and activity of the design concept and the visual impact it has upon the viewer, everything about the image elicits a strong emotional response from the viewer and the forced perspective gained through the use of a moderately wide angle lens enhances this affect.

When used with restraint forced perspective can be used to create remarkably dramatic and memorable images, but you need to compose the image to take advantage of the effect. This requires an investment of time, careful consideration of the design elements, understanding the message you want to send and discipline to control the technique rather let the technique control you. Maintaining control of the perspective in my images is why I generally use the longest lens I can to show the critical design elements and send my message.

Dean

Form, Flow and Energy of Transitional Spaces in Architectural Photography

2012-01-12T07:10:00.000-08:00

Garage Foyer Icon at Dowle Emeryville, CA Kwan Henmi Architecture Planning, Inc.

Today’s architectural photograph is an available light interior of the garage foyer of an adaptive reuse residential project. Icon at Doyle in Emeryville, CA was shot for Kwan Henmi Architecture Planning, Inc. and won both a Gold Nugget Award in the Best Adaptive Reuse Category and Design Excellence Award presented by Multihousing News in the Best Low-Rise category.

I created this image in 2007. I was enamored of the line and flow of the design, I try to see spaces as geometric abstractions and this space made it very easy. The hard lines and massive shapes created a strong presence that communicated safety and stability while the leading line of the bannister and strong diagonal of the floating partition created an undeniable energy that tempered by the color scheme and art to create a transitional space that and promoted relaxation. The designer did a wonderful job of turning this alien and utilitarian space into a comforting and habitable environmental experience.

It’s no wonder it won two awards, but Kwan Henmi is very good at what they do.

Dean

2012 ASID California Peninsula Design Competition Entry Form

2012-01-11T10:36:00.000-08:00

The ASID CA Peninsula 2012 design competition PDF entry form is available at the link. (Shameless Plug) Call Dean for professional photography that captures the character and emotional context of your designs.
http://bit.ly/yGNNdI

Shooting into the Sunset at Dusk in Architectural Photography

2012-01-11T08:48:00.000-08:00

Environmental Horticultural Center
Cabrillo College
Watsonville, CA
Kitchell CEM

Today’s architectural photograph is a sunset shot of the Environmental Horticultural Center at Cabrillo College in Watsonville, CA shot for Kitchell CEM.

I shot this image just past sunset because we needed to show the shadow side of the structure and capture the ambient interior illumination. It was a technical challenge because I shot this in the chemical era with my 4x5 camera and film, I didn’t have the advantage of digital compositing or HDR to use to create the image. I had to do it the old fashioned way where we would set up the shot and wait until the exterior was dark enough to capture the interior in the manner I wanted but not too dark to get a good exposure. The fact that I was shooting the eastern elevation of the building with the sun setting in the west complicated matters even more, but the exposure was actually quite long so I could use “in camera dodging” to darken the sky. I used traditional post production techniques as well this was such a challenging shot that no single technique could achieve the goal; I had to use every trick in the book on this one.

To do this I blocked the sky through part of the exposure by moving a dark card across the upper portion of the lens thereby lessening the amount of light that was transmitted to the film. This and the use of a graduated neutral density filter as well as patience waiting for the light levels to meet my vision allowed me to create this wonderful and dramatic image for my client. This waiting is the hardest part because it takes discipline, patience and experience to know when to shoot and when the time is finally arrives you only have about two minutes where everything is just right to create your photograph, this is why these dusk or dawn shots are so challenging you only have one opportunity to get it right and messing up on any single aspect will ruin the photograph.

Including People in Architectural Photography

2012-01-10T07:59:00.000-08:00

Post Party Analysis
Design that Celebrates Life Campaign 3/3
Viscusi Elson Inteior Design

Today's architectural photograph is a twofer. I shot the ad above for Viscusi Elson Interior Design in 2009 as part of their "Design that Celebrates Life" campaign.My challenge was to shoot the models in the space, balancing the visual weight of the people with the design elements of the space in keeping with the theme of the campaign. This article is a description of the techniques and creative process I used to achieve the goal.

I use available light for my interiors work and the client liked my style and wanted to include the emotional context in the image for the ad. To do this I had to balance my supplemental lighting with the ambient light of the space and create modeling on the models that was consistent with both the ambient light and the visible light fixtures as well as stop motion of the people. These were not professional models and in order to capture the concept of the ad effectively I had to elicit authentic reactions from them rather than ask them to adopt an attitude and "perform on cue" for the camera, so I had to employ strobe to match the ambient light rather than hot lights.

To get the feel of the lighting I first shot a sunset interior of the interior design. I shot this with nothing but available light using the HDR technique, this gave me the opportunity to familiarize myself with the mood of the space and internalize the "tone" of the light.

I then moved on to creating the ad shot. I began by composing the image, being sure to include the critical design elements needed to support the campaign theme without overpowering the models. I then balanced the exposure I needed to stop motion to see what impact the actual available light had on the shot.

I then started recreating the ambient light from my previous shot using a mixture of strobe and hot lights. I included some parts of the "costumes" that I knew would be challengeing to ensure I resolved these challenges form the outset rather than allow them to become last minute headaches.

At this point I knew what result I wanted and what challenges I faced, it became a simple matter to resolve each lighting problem in turn, I would resolve one glare issue and then move on to adjusting the luminance value of each lighting element one at a time.

Once I had resolved all the light levels and addressed each glare spot and gained control over all the shadows I began to fine tune the color of each light source one at a time with color gel filters and then as a whole at the camera/computer.

Finally it was time to position our models and begin addressing the challenges and complications they presented to ensure they looked good as people rather than manikins in a storefront window. My images have an authentic quality and I wanted to ensure this ad presented the character and mood of space in the same manner as the fireplace shot.

We opened the cropping of the image to include more of the environment at the request of Gina Viscusi, the interior designer and added a touch of light to the exterior because I didn't want the window to be black and featureless. This didn't upset the mood because landscape lighting of this type is not uncommon.

Finally we were ready, we had addressed each challenge and complication in turn, step by step we built the image. All that was left was to execute our plan and get two inexperienced models to create the authentic interaction we needed while keeping position and generating the organic emotion required to match the space, the theme of the campaign and the mood of the concept.

Avoiding Distraction when Styling Architectural Photography

2012-01-09T06:34:00.000-08:00

Kitchen
Private Residence
Los Altos Hills, CA
Marie Chan
Interspace Design

Today's architectural photograph is a kitchen in Los Altos Hills, CA shot for Marie Chan of Interspace Design. It was Marie's idea to use roses floating in stainless steel bowls, and hydrangea. This is proof that it is almost always best to defer to the designer when it comes to supplemental styling elements.

I use this image in my IDCEC CEU "Photography of Interior Designers" to describe the important of maintaining focus on the design elements when styling a space. It is important that we not allow the styling elements, such as the candles and light fixture in the dining room to become overly important in our perception of the space.

In styling spaces one of the hardest things to learn is what not to do. We always need to look at the "big picture" and not let our attention be diverted by minutiae. I'm not saying we shouldn't address the details, but we need to keep them in perspective. It really doesn't matter if the figurine across the room is turned twenty degree towards the camera or thirty degrees in the final image it's going to be a featureless spot of color the size of a pin head, what matters is that it's on the correct side of the lamp.

And just in case anyone is wondering, yes we did style the counter reflected in the oven door. We left the dining table alone to keep from drawing attention away from the kitchen.

Open Plan Kitchen Available Light Architectural Photography

2012-01-06T08:46:00.000-08:00

Open Plan Kitchen
Private Residence
Los Altos, CA
Rutt of Los Altos
Rutt Handcrafted Cabinetry
Martino Interiors

Today's architectural photograph is an open plan residential kitchen in Los Altos shot in 2009 for multiple clients: Rutt of Los Altos , Rutt Handcrafted Cabinetry and Martino Interiors.

This is an available light image I shot using the HDR technique. I like shooting interior design with HDR because I can capture the character and emotional context of the space as it exists without transforming the representation of the space to meet the mechanical limitations of the camera through the use of supplemental lighting. It can be difficult to use HDR and create photo realistic images but as you can see here and throughout my portfolio on my main website it can be done to great effect.

I use a version of this image without the dog in my IDCEC CEU "Photography for Interior Designers" to describe how to direct the viewers eye through an image using contrast, color and pattern. This version with dog is in my portfolio because he gives the image an extra kick.

Tricks of the Trade Directing the Eye to Engage the Viewer in Architectural Photography

2012-01-06T08:29:00.000-08:00

Open Plan Kitchen
Private Residence
Los Altos, CA
Rutt of Los Altos
Rutt Handcrafted Cabinetry
Martino Interiors

To create truly valuable images, ones that will perform and provide a return on your investment of time, money and talent for many years to come we need to create images that capture the attention of the viewer, that motivate your clients and prospects to see an image and say "That's Sexy! I want that." One way we do this is by creating photographs of architecture and interior design that are active and full of life.

The image above is a wonderful example of “Eye Candy.” People love this image not only because it’s good interior design, but also because the composition engages the mind of the viewer on an instinctive level.

I work with the theory that our vision has two basic components: the mechanical and the cognitive.

The mechanical component is the eye. The eye is designed to detect contrast, contrast can be created by luminance value, or with color. If you give the eye contrasts to detect it will be attracted to the area of greatest contrast reflexively.
The cognitive element of our vision is designed to identify patterns and our attention is reflexively drawn to anomalies within those patterns.

Through strategic use of contrast, color and pattern we can direct the eye to follow a predictable path through the image. And here is an example and description.

Click for Larger

In this image the area of greatest contrast is the black stools against the white cabinetry, the red upholstery helps accentuate the contrast, this is the entrance point of the image.
The pattern of the cabinetry and the flaw in that pattern created by the counter, fruit basket and backsplash draws the eye up from the bottom of the frame.
The contrast of the range hood draws the eye across the frame to the left where the bright window attracts the eye.
Then the form of the cabinets helps lead the eye down to where the bright color & contrast of the fruit bowls against the reflection of the window catches the eye and leads it down to the lower portion of the image where the red upholstery and high contrast of the stools catches the eye and starts the cycle all over.
The light fixture is positioned to prevent the eye from following the strong line of the soffit and crown molding out of the frame and refocus attention on the vertical pattern of the cabinet.
The leafy greens are serving the same function, they prevent the eye from following the line of the counter out of the frame.

That is an example of how to lead the eye through an image by engaging both the mechanical and cognitive aspects of human vision.

This circular motion involves the viewer with the image by engaging the reflexive mechanical function of the eye and the cognitive function of the visual cortex on a subconscious level. This engagement, causes the image to be perceived as being active and full of life which is ultimately appealing to the human psyche and leaves a positive impression of the image upon the viewer.

When you’re composing your images look at them and ask what do I see? Where is my eye being directed? Does your eye jump around the frame in an unstructured manner? Or does the image have a coherent flow that engages, intrigues and delights the eye?

Dean

Available Light Photography of Architecture and Interior Design

2012-01-05T15:31:00.000-08:00

2008 Sunset Magazine Idea House
Monterey Valley, CA
Joseph Hittinger Design

Today's architectural photograph is an ASID award winning residential kitchen I shot for Joseph Hittinger Design in 2008 and is one of the last projects I shot using supplemental lighting.

There is so little additional lighting in this shot it surprises even me, there's just a little bit of enhancement to the soffit above the island and some general fill light coming don fro the gallery above the kitchen. Upon completion of this project I realized that my skills with available light had evolved to the point that I was no longer dependent upon supplemental lighting and was experiencing a degree of appreciation and comprehension of the design concepts of my clients work that I never imagined possible.

Finesse and People in Architectural Photography of Interior Design

2012-01-05T15:26:00.000-08:00

Design that Celebrates Life "Breaking News"
Design that Celebrates Life Campaign
Viscusi Elson Interior Design

Today's architectural photograph is interior design, in fact it's an ad for Viscusi Elson Interior Design. I like this image because it integrates the people into the space so effectively, the concept was Gina's but it was up to me to execute it.

I shot using available light as my primary (of course) and simply added two strobes to stop motion and provide some fill. I remember Gina was displeased with the lighting at first, I asked her what it was about it that she found objectionable and she made a references to "feeling." I added a minor warming filter to the strobe from the left and she fell in love with it. This is an example of how a minor change can impact the project, but it takes a professional to be able to determine what changes are appropriate.

I also wanted to include this image here because people request images that incorporate people in them and this is becoming more common. This shows I have the skills and experience to do this effectively.

Education Projects and Architectural Photography

2012-01-05T15:20:00.000-08:00


San Mateo High School San Mateo, CA BCA Architects

Today's architectural photograph is San Mateo High School Entrance shot at dusk for BCA Architects.

Photographing educational projects can be a lot of fun, because they are usually designed to be inspirational. They are almost always large and can be challenging because they require heavy reliance on available light, it is possible to light these structures but I have always preferred to capture the ambiance of the design and communicate the emotional context through the use of available light even when I was shooting 4x5 transparencies.

I like the power of the image which is enhanced through the use of low angle, strong perspective and transitional lighting. We had to wait about six months before we could actually finish shooting this historic reconstruction project because one of the up-lights at the entrance blew out and had to be replaced. It was worth the wait.

Shooting at Dawn for Architectural Photography

2012-01-05T15:09:00.000-08:00

Wells Fargo Pavilion
Music Circus Theater
Sacramento, CA
Kitchell CEM

Today's architectural photograph is a dawn shot of the Wells Fargo Pavilion in Sacramento, CA, also known as the "Music Circus" shot for Kitchell CEM in 2005.

This is a wonderful available light shot I did at dawn to capture the ambient light of the different theaters and courtyard without the inclusion of people. I love dawn shots because the environment is quiet, allowing me to focus on the critical aspects of the message being communicated through the image. This was shot on a foggy morning which gave the light just enough of a halo to communicate the sense of magic inherent to the design.

Situational Context with Justice Design in Architectural Photography

2012-01-05T07:51:00.000-08:00

Fifth Appellate Court
Fresno, CA
Kitchell CEM

Today’s architectural photograph is the entrance to the Fifth Appellate Court in Fresno, CA shot for Kitchell CEM in 2008.

This was a really great project to work on because the architect and lighting designer did a wonderful job of communicating the gravitas of the function of the building. I experienced the approach to this project during the daylight hours and sensed the power, stateliness, decisiveness and visual authority of the design. I knew the best way to communicate these impressions was as a dusk shot.

At dusk I could give the exterior the imposing treatment it deserved and allow the interior illumination to enhance the depth and draw the imagination of the viewer deeper into the image hinting at the opportunity to seek resolution. I wanted to communicate that to pass through these imposing gates would place the individual in the presence of true power. This is why I allowed the strong vertical lines of the columns to fill half of the composition with the angles of the horizontal plane dramatizing the visual approach to the building itself. I felt leaving negative space above the roof line focused attention on the illuminated termination of the columns and enhanced the perception of the decisive nature of the design. I felt the composition is in effect saying “You come to us. We are the authority. We go here, and no farther.”

I didn’t bother to take into account the existence of the Supreme Court. I was in the moment, telling the story of this building, not our justice system.

Dean

Collaborating with Professionals to Include the Human Form in Architectural Photography

2012-01-04T07:06:00.000-08:00

Cambrain Branch
San Jose Public Library
San Jose, CA
Anderson Brule' Architects

Today's architectural photograph was created for Anderson Brule' Architects in 2009. I worked directly with the marketing manager of the firm Karen Costa for two days to complete the project. We had a lot of fun and got quite a few great photographs for their marketing collateral.

Karen was a pleasure to work with because she had a very clear idea of how she wanted the project presented and worked with me to explore and develop each composition to ensure it advanced the message the firm was communicating to their clientele. I enjoyed collaborating with her because she was so focused and professional in helping me communicate her ideas clearly.

We included people in the imagery to show scale and to help the images communicate the design concept, which wasn't just a pretty building but a useful and well organized space designed to be used by people. I like this idea and feel the inclusion of the human form in architectural photography is a good idea, I want to do more of it as time and clients allow.

I have not always been willing to show people in my photographs of architecture and interior design because I felt it would date the images due to fashion of clothing & style, but Karen had other ideas. Once she explained her concepts I realized how they would work and how to include people in a manner that promoted the communication of the design concept rather than distract from the design aesthetic.

As an artist I welcome the opportunity to challenge my own assumptions and allow my imagery to evolve. In the social media theater my client's need to create personal connections with their prospects even more rapidly than ever before, so showing the spaces and structures in a way that helps people envision themselves "living the dream" helps them achieve that immediate level of engagement long enough to register on their prospect consciousness causing them to look at the images twice and realize the worth of what they're seeing.

Lull in the Storm - January Photograph of the Month

2012-01-03T09:28:00.000-08:00

Lull in the Storm

I have always wanted to get a good shot of the fog as it rolled over the Santa Cruz Mountains unable to flow down into the bay as if prevented by some enchantment, but I had never found the right setting. On this day the right opportunity finally presented itself and I captured the scene with all the glory and romance it deserves.

I shot this image in November while on a docent-led hike through Pulgas Ridge Open Space Preserve. It was raining quite hard when we arrived but the hike proceeded regardless. Hikers tend to be a stubborn lot and we weren’t going to let a few thousand gallons of water beating down upon us get in our way. We climbed the hill higher and higher stopping to discuss different plants and geological features. As we neared the top the sky began to clear and rain slacked off, and just as we reached the top of the hill I looked back and my breath was taken by this magical view.

All images in my “Photograph of the Month” series are sized and formatted as a screen saver or computer desktop wallpaper. Please share it with your family and friends, with my compliments.

Dean

Download full sized image here: http://bit.ly/zYT5m1

Surrealism in Architectural Photography

2012-01-03T08:12:00.000-08:00

Pulgas Water Temple
Woodside, CA
Rise Krag
RKI Interior Design

Today's architectural photograph is a promotional shot done for Rise Krag of RKI Interior Design. Rise asked me to help her create promotional photo for a charity event and suggested the concept of a table setting at the Pulgas Water Temple in Woodside, CA.

The concept was dream like and enchanting and I jumped at the chance to work with Rise, who is an accomplished fine arts painter as well as a talented interior designer. Her concept of a dream like image of a dining table on the lawn at the Water Temple was enchanting. I knew the HDR technique gave me a unique ability to crate an image with a dream like clarity perfectly suited to the surrealistic scene she described.

We had very little time to get the shot done because press time for the event promo was only days away. Rise contact the San Francisco Water Department who granted us special access with no fee because of the charitable nature of the event. We arrived and the conditions were perfect. The site had been used for a wedding the day before so it was already cleaned up to a greater extent, just a few flowers, some tissues and some children's shoes were spread around the site. We set up this symmetrical shot and within and hour we had crated this remarkable powerful image.

How to Gain Insight into the Design Concept in Architectural Photography

2012-01-02T08:10:00.000-08:00

Private Residence
Los Altos Hills, CA
Miller Design Company

Today's architectural photograph is an ASID award winning space by Miller Design Company. This is a shot that proves the value of preproduction planning in gaining an insight into the design concept.

Last week I described my preproduction walk through procedure, where I tour the project twice, once to experience the aesthetics of the design and a second time to make plans to shoot it. I feel taking the time to experience the accomplishments of the architect or designer is critical to effectively communicating the design concept.

This view of the foyer of the home made a big impression upon me the moment I entered the home, as it was intended to do. On touring the home I was struck by the cultural nature of the overall design. I also found the home had three functional divisions: Entertainment, familial interaction (semi private) and private spaces.

Had I simply set up my camera begun shooting I may have captured a powerful image of the foyer that showed it's design elements and the designers mastery of craft but the image would have been disconnected form the overall design concept of the home. In touring the entire home and reviewing each space before I began work on any one photograph I was able to create a coordinated composition that showcased the home as a successfully coordinated environment that met the needs of the home owners while nurturing their familial connections, personal identity and connection to their cultural heritage.

You see this home is the residence of Tech Executive, one who needs to entertain venture capitalists in a suitably luxurious environment while communicating his status as a successful leader in the industry. Their culture places a high value and great importance on familial connections as well as deep respect for an individuals formal status while the immediate family needs to have living spaces where they can interact on an intimate level. This final insight into the home owners lives was gained by seeing the stove burners wrapped in foil to ease cleaning while touring the kitchen, as the wife of the executive planned the evening meal while I toured the kitchen, which we planned to not photographed.

All of these insights were integrated into creating a photographic composition that showed not just what each space looked like but described the design concept of the home as a coordinated whole. In today's market we need to go beyond showing pretty pictures and instead show dynamic, well coordinated presentations that communicate the depth and breadth of the talents, skills and experience the architect or designer brings to the table.

Dean
--

You can see the entire projects images below.

Private Residence
Los Altos Hills, CA
Miller Design Company

Introspection and the Creative Process

2012-01-01T08:58:00.000-08:00

Introspection
Photography
Dean J. Birinyi

On this new year's day I offer this image titled "Introspection"

I shot this in 2000 but have kept it in secreted away all this time. At the time I created this image I was experiencing some significant life changes and was doing a lot of soul searching. It was during the construction of the composition that I decided to move to California. I'm bringing it out of my archives now because once again I have experienced dramatic life changes, and am ready to face the new challenges with greater insight to my drives and ambitions. The time for private introspection has passed, the time for action has come.

You can see the influence of Rene' Magritte's "The Secret Life IV" I have always been intrigued by surrealistic imagery, the surrealist movement and the surrealists themselves. They looked below the surface of our rational minds and delved deeply into the altered realities of our dream state. They sought a deeper understanding of our consciousness and our perceptions of the world and explored how the concepts of our dream state could be expressed through creative imagery.

I look beyond the surface of my subjects, architecture and interior design seeking to gain an understanding of the designers intent. I believe our creative natures have a direct connection to-and spring forth from-the dream state, where our mind is free to roam beyond the world our physical senses perceive and fabricate a reality unlike any we have previously experienced.

My walk through procedure has a correlation to Salvadore Dali's induced psychosis technique. Dali would transform his perceptions of the world around him through the use of sensory overload and intense concentration. I don't go that far.

When I prepare to photograph a subject I let go of my expectations and preconceived notions of what the world is supposed to be. I allow my imagination free reign and try to experience the world as a child would where everything is new and exciting, unique and wonderful in their experience. This gives me a deeper understanding of the impact my subject has on me, and this understanding of the effect upon me allows me to create images that communicate the designers intent more effectively than if I used an entirely rational, conscious approach.

I use the same technique when photographing other subjects as well, but I'm less confident talking about that process because I haven't given it as much thought.

Tricks of the Trade: Preproduction Planning in Architectural Photography

2011-12-30T08:00:00.000-08:00

Exterior Detail, Sunrise
Millennium Building
Williams + Paddon Architects + Planners
Roseville, CA

Today's architectural photograph is the Millennium Building shot for Williams + Paddon Architects + Planners. The architect told me this project won a 2002 AIA award because my photographs communicated the design concept perfectly.

Today I share how I do this without going into the mechanical process of taking photographs. That's a talk for another day.

Quite often my clients tell me my photographs make their work look better than it does in reality. I do this by showing not just what the project looks like but how the project feels, the effect of the abstract design concept.

We must remember that architecture is designed for people, this is even more important to remember when photographing interior design. People have emotional reactions to everything, every time we turn a corner or open a door we respond to what our senses perceive. Capturing the essence of a project in a photograph will evoke reactions in a viewer the same as experiencing the space or structure first hand. So, we need to understand what these reactions are and why we have them and once we know this we can create photographs that share these reactions.

I always do a preliminary walk through of the projects I shoot, whether on the day of the shoot or several days before. This gives me an opportunity to experience project and form my impressions of what is special and unique about each space and the project as a whole.

I will walk through the project twice, once to simply experience it and form first impressions of result with no preconceptions or concerns other than to appreciate the beauty and wonder of the completed design. I will then go through each space a second time to figure out how to communicate my impressions and capture the critical elements of the design in an artistically composed but functionally descriptive manner.

At this point we know what we want each shot to communicate, and a good idea of the composition, now we plan the schedule for the shoot. We decide what time of day creates the conditions that not only makes the space or structure look it's best, but has the right feeling - this is the emotional element that is so critical to the successful communication of the design concept.

This preproduction phase is important because to create really good photographs we need to go beyond seeing the project as a collection of spaces or assembled features, instead understanding it as an artistic flowing composition, whole and complete with life, energy and a personality of it's own. To communicate the design concept we need to capture the artistry and energy of the space and present it in a manner that others will appreciate, and this requires time, planning and forethought.

Tricks of the Trade: How to See Nonobjectively for Architectural Photography

2011-12-29T08:22:00.000-08:00

Reception Area
Williams + Paddon Architects + Planners Offices
Millennium Building
Roseville, CA

Today's architectural photograph is a good example of non objective composition.
This award winning project was shot the Williams + Paddon Architects + Planners Offices in Roseville, CA in 2003.

Most people can relate the space as a collection of a reception desk, chairs and skylight, this usually ends up with uninspired images that focus on a single aspect of the space disregarding the other design elements: "The Reception Desk" or "The Chairs". It's important to learn to see a space non-objectively in order to create good photographs of architecture and interior design.

One way to do this is to stand in the space, stare straight ahead and concentrate on using your peripheral vision to see as much of the space as possible at one time. This allows you to experience the gestalt of space rather than focusing on particular elements within it. Once you can see the space as a single unified construct you can begin work on building your composition.

Self Critique of Archtiectural Photography After Twenty-Three Years

2011-12-28T08:13:00.000-08:00

El Salon
Hair Salon Nail Stations
Denver, CO
Ben Aguilar, Interior Designer

Today's architectural photograph is a hair salon interior I shot in 1993 for Ben Aguilar, Interior Designer. This was shot so early in my career I am surprised to see the image has stood the test of time and is still included in my portfolio.

I shot this with my Sinar 4x5 view camera on transparency film with supplemental lighting and used that as the primary light source. I remember how much of a struggle it was to get the light balanced and control the glare. We did multiple exposures and actually covered the glass behinf the seating area with a large piece of black felt for the exposures with my lighting and removed it for the shots with the available light.

I can still see five artifacts that show the positions of the supplemental lighting: the lower left work stations table edge shows glare, the second workstations cabinet is slightly brighter than either the first or third, there is the telltale bright light under the second work stations close chair and the far chair of the second work station shows unnatural rim lighting that makes it stand out from the wall, and finally the mirror behind the product display case shows an anomalous reflection that can only be from my lighting.

Still, after twenty-three years I am still proud of this image. I did a good job of capturing the design concept and atmosphere of the space.

Preproduction Planning for Architectural Photography of Education Projects

2011-12-27T12:10:00.000-08:00

Corridor
Roseville Senior High School
Roseville, CA
Williams + Paddon Architects + Planners

I shot the interior of Roseville High School for Williams + Paddon Architects + Planners in 2002. This corridor is the view from the main entrance to the school.I was struck by the drama of the shadowed light well and depth of the image.

This is another available light shot from my 4x5 days. Corridors are very difficult because there is no way to effectively light them. There was a south facing glass curtain wall behind me and another exterior window wall at the end of the corridor. Attempting to shoot this shot during the day would have posed many technical and legal challenges that would have required super human efforts to overcome; I knew a better way.

We scheduled the shoot to occur at night when the buildings were unoccupied to avoid having any minors appear in the images, to shoot without the harsh glare of daylight and to allow me to use the installed lighting. By shooting at night I only needed a two stop graduated neutral density filter and color correction gels to bring the florescent lighting into line with the film. The result is the remarkably powerful and memorable image you see here.

I had learned to work smarter long before this project came around. I apply all my years of experience to creating dramatic images with the minimum amount of difficulty for myself, my client and the property management each time I do a shoot, sometimes these preparations can be complex and take a lot of negotiation between the parties but the end result of our efforts are always well worth the effort.

Capturing the Mood in Architectural Photography.

2011-12-27T11:49:00.000-08:00

Private Residence
Portola Valley, CA
Rise Krag
RKI Interior Design

I shot this home in Portola Valley, Ca for Rise Krag of RKI Interior Design in September of 2010 and am very pleased to say it was featured on the cover of Gentry Design Summer 2011.

We were busy shooting the livingroom of this project and Rise spotted this view out the Nana Doors to the patio. She was entranced by the view and the atmosphere and asked me to shoot it.

The pool was scheduled to be resurfaced that day and the workers were actually beginning the job of drainign the pool. We asked them to hold on for a few minutes, you can't see but they are standing just off to the side of the image on the left with hoses and pumps in hand ready to go. We quickly staged the scene to communicate the concept of enjoying the view and captured this iconic scene.

Had it not been for my extensive skill with available light photogrpahy and Rise's expertise in staging the scene we would not have been able to capture the scene in the limited amount of time we had.

I used the HDR technique to shoot the scene, as I most often do and used the "magic" of tone mapping to bring out the detyail of the view despite a very significant amount of haze. I often tell people that with HDR and tonemapping I can manipulate a scene almost as effectively as a rendering artist or painter; this scene proves that point. By carefully manipulating the image in my tone mapping software (Photomatix) I was able to cut through the glare and haze to create an image rich with colors and textures with just the right amount of atmospheric perspective to contribute to the mood of the image.

Photography of Architecture & Interior Design Client Testimonials

2011-12-27T09:27:00.000-08:00

"Dean Birinyi is a true artist. His eye for composition is excellent and his lighting, creative. I like to be hands-on when it comes to the photography of my work and he is so easy to work with and I always appreciate his prompt professional service at a good value.”

Gina Viscusi Elson, CKD, Allied ASID
Viscusi Elson Interior Design

Private Residence
Mountain View, CA
Viscusi Elson Interior Design

I am honored that my clients are wiling to speak up for me. I always strive to create the best photographs I am can. I listen to my clients when they tell me what they need before we shoot and I listen to them while we're on the shoot because I know my clients are creative artists as well and their input helps me be a better photographer.

Gina and I began working together at the time I was transitioning from supplemental lighting to available light photography. She helped me to become the photographer I am today by demanding I perform at a higher level that ever before each time we went on a shoot. She taught me to trust my compositional skills and my innate sense of the emotional context of a space.

Creating Postive Impressions with Interior Architectural Photography

2011-12-27T07:39:00.000-08:00

Private Residence
Ken Caryle Ranch
Denver, CO
CMA Builders

Today's architectural photograph is an interior I shot in 1993 for CMA Builders, a high end home builder who worked in the Ken Caryle Ranch area south of Denver, CO.

I've always been proud of this image. It is one I shot using extensive supplemental lighting, but even this early in my career I was doing a good job of creating a natural and authentic representation of the space in my imagery. You can see how I've used the geometry of the space and the interrelation of the features in the foreground and stairs to create a flow to the composition intended to lead the viewers eye deep into the image. The composition provides a wealth of "eye candy" to keep people interested in the image long enough for the design to make a positive impression on the viewers consciousness and be remembered.

I try to create images that will cause people to react. I want the viewers to say "WOW! That's sexy, I want that." I can imagine nothing worse than for a prospect to react with boredom when an architect or interior design to shows their portfolio. I use my talent, skills and experience to create powerful imagery that helps my clients talent, skill and experience be remembered because as creatives, in any field we are competing based on the numbers in our proposals rather than the artistry of our work, we've already lost the war.

Composition in Exterior Architectural Photography

2011-12-27T07:15:00.000-08:00

Iron Point Office Park
Folsom, CA
Williams + Paddon Architects + Planners

Today's architectural photograph is an exterior detail of the Iron Point Office Park I shot in 2001 for Williams + Paddon Architects + Planners.

I was still quite new to California and I was still reveling at all the stucco. It was everywhere, back in Denver everything was brick, block and stone. The textural effects were new and forms were a delight to work with. The environment was such a radical change with a wonderful variety of plant life. The way exteriors were designed incorporating this abundance was an absolute delight and I wanted to incorporate these living elements in the image.

Here you can see how I have used dramatic luminance, foreground elements and color to create a leading line that directs the viewers attention through the image where I want their eye to be captured and constantly moved through and around the image. This flow is what gives people an impression of an image having life and energy.

Authenticity in Interior Design Photography

2011-12-27T07:02:00.000-08:00

Contemporary Kitchen
Private Residence
Los Altos Hills, CA
Rutt of Los Altos

Today's architectural photograph is a detail shot of a contemporary residential kitchen in Los Altos Hills, California shot for Rutt of Los Altos.

This kitchen was quite a challenge because it was all white enamel, every surface was basically a mirror. If I had attempted to light the space with supplemental lighting such as flash or tungsten hot lights it would have been an absolute nightmare. Thankfully my expertise using available light and skill with HDR photography made photographing this project a piece of cake.

I like working with available light because I can create images that are unadulterated interpretations of the designers concepts that capture the emotional and character of the spaces as they exist in reality. I've always felt my efforts as an architectural photographer should be transparent. I don't want anyone who is not in the business to even realize I was involved.

Some say I should be more transformative and create a wholly different presentation of the project divorced from the reality, or environment in which the subject exists. I feel this results in a an unnatural almost plastic feel to the images like you see in glossy sales brochures. I find the more sophisticated a clients market is the more they value the authentic representations of my imagery. There are very few people who want to live and work in glossy sales brochures, most people are much more comfortable in realistic environments and the organic feel of my imagery brings out the charm of the spaces and structures I photograph.

Capturing Energetic Design of Health Care Facilities in Architectural Photography

2011-12-27T06:41:00.000-08:00

Mather VA Hospital
Mather Field
Rancho Cordova, CA
Nacht & Lewis Architects

I post so many interior images that I decided to make today's architectural photograph a dusk exterior of Mather VA Hospital in Sacramento, CA designed by Nacht & Lewis Architects.

I sensed a lot of energy in this elevation and wanted to showcase the active nature of the design.I like to include a foreground element in my images. In this case the tree creates a frame for the building balancing the dark form of the adjacent building on the left side of the image. These dark forms help the bright colors of the building jump out at you. The strong perspective of the building and form of the clouds contributes energy and motion to the image.

This is another image from the chemical era. The day I shot this was a typical summer day in the California central valley - 100 degrees and dead air. The advantage inhospitable conditions provides is no foot traffic or even cars to interfere with the shot - everyone went in and out through the back door because parking was closer.

Abstract Conceptualization in Architectural Photography

2011-12-27T06:29:00.000-08:00

California Fuel Cell Partnership
West Sacramento, CA
Williams + Paddon Architects+ Planners

Today's architectural photograph is a detail of the California Fuel Cell Partnership in West Sacramento, California shot for Williams + Paddon Architects+ Planners. This is another image I shot with my 4x5 camera right at the end of the chemical era.

This image is a shot at the entrance to the reception area. On approaching the building the first time I was struck by the strong geometry and color, the contrast of the horizontal and angled structural elements and decided this was the shot I needed. I shot the overall exterior but this was the glory shot on the project.

I'm very intrigued by geometry and quite often focus my efforts on how the line, plane and form of my subject flow and interact as abstractions rather than features such as the wall, bracket and sign. I learned how to do this by shooting in B/W, learning to visualize your subject without color only seeing luminance values in your minds eye teaches you to manipulate your perceptions of what you are seeing. This gives you the mental tools required to see your subject as a concept rather than as an object or series of objects.

Often I will convert my preview to a B/W version and then turn it upside down on the computer screen, this makes it easier to see the composition because the image is see as abstract construction not a building or space.

Hospitality Design Architectural Photography

2011-12-26T07:25:00.000-08:00

Palomino Park Clubhouse
Englewood, CO
J.G. Johnson Architects

Today's architectural photograph is the exterior of the Palomino Park Clubhouse in Englewood, Colorado shot for J.G. Johnson Architects in 1997.

We shot this project on the summer solstice to get the maximum light on the north face exterior of the building. I love the flow of the structure from the garden as the last rays of sunlight strike the building bring out the warmth and texture of the stone. I worked hard to find the best location for this shot, a perspective that would showcase the form and flow of the building to enhance the glory of it's presentation. I was hoping for a good sky to go with the landscaping and provide a balancing element, Colorado is known for dramatic skies and on this day we weren't disappointed.

I shot this image with no mechanical artifice or digital trickery and am quite proud of the result. This image is an expression of my talent as an architectural photographer, relying on my visualization of a dynamic composition combined with my knowledge and experience with environmental factors that impact the presentation of architecture.

Sustainable Housing Exterior Architectural Photography

2011-12-26T06:52:00.000-08:00

Sustainable Housing
Icon @ Doyle
Emeryville, CA
Kwan Henmi Architecture Planning, Inc.

Today's architectural photograph is a late day exterior shot of sustainable housing I shot for Kwan Henmi Architecture Planning, Inc. Housing in the San Francisco Bay Area is a challenge and heresustainability goes far beyond the materials used. It requires an infrastructure in tune with the neighborhood and the needs of the people in regard to transportation, shopping and recreation.

A holistic approach must be taken to create a walkable solution for the people to live and work here in the coming decades. I am very pleased to see urban design moving in this direction.

Commercial Interiors Photography

2011-12-26T06:24:00.000-08:00

Break Room
F.M. Booth Construction
Roseville, CA
Williams + Paddon Architects + Planners

Today's architectural photograph is the break room in the F.M. Booth Construction offices in Roseville, CA I shot for Williams + Paddon Architects + Planners. This is one of the shots that pulled me in when I toured the project, there was no real thought involved in the basic composition it just fell into place. I did adjust the table and clean up the offices to "perfect" the scene but that was after the fact.

This is another shot from the chemical era of photography... sometimes I miss my 4x5 camera, but then I remember the hours of loading film holders, the problems with dust on the film and having to schlep a case of film holders and Polaroid that weighed 35 Lbs and I get over it.

Architectural Photography and Justice Design

2011-12-26T06:17:00.000-08:00

Guard Station
Coalinga State Hospital
KMD Architects

Today's architectural photograph is a guard station in the Coalinga State Hospital I shot for KMD Architects. This is a guard station is charged with watching several radial corridors. I was struck by the geometry and power of the view.

I've stated in the past the the thing that makes a professional photographer stand out is the ability to walk into any situation and come away with remarkable imagery - or else. The security on this project was such that there would never be another opportunity to shoot. I had three days to document the entire facility and did quite well. KMD Architects has gained professional recognition through both publication and design competitions with my images.

Having spent the past two and a half decades of my life shooting architecture with available light I've developed and learned to rely on my compositional skills. I've always had a good eye and I've worked to develop my vision. My clients trust me to create powerful imagery regardless of the challenges presented and I work hard to ensure I don't let them down.

Higher Education Architectural Photography

2011-12-26T06:06:00.000-08:00

Sequoia Lecture Hall
Evergreen Valley College
Kitchell CEM

Today's architectural photograph is another educational project. I shot the Sequoia Lecture Hall at Evergreen Valley College in San Jose in 2002 for Kitchell CEM. It was still the chemical era and I used my 4x5 camera.

It is interesting that another architectural photographer, Steve Whittaker shot the same space except where I shot an oblique perspective from below and a one point perspective from above he shot the exact opposite. He and I were discussing this and I realized that he had shot the space from the psychological perspective of an lecturer while I shot it from that of a student. This goes to show the value of situational context when planning a photo shoot. It's very important that the perspective from which the design concept was developed is taken into account.

As you can see this image was shot with available light exclusively, the lighting design was executed so well there was no reason for me to compromise it by adding unnecessary supplemental lighting. To achieve this shot I did use a graduated neutral density filter on the lens. I have extensive experience shooting education, healthcare and commercial projects and the one thing all these projects have in common is the need to master of available light photography and the ability to make fluorescent lighting look good.

Minimalism in Styling Architectural Photography

2011-12-26T05:41:00.000-08:00

UC Berkeley
Gicklhorn Lazzarotto Partners

Today's architectural photograph is an available light shot of a graduate work station in UC Berkeley I shot for Gicklhorn Lazzarotto Partners. I love the form flow and layered depth of the image.

This workspace is a wonderful example of the application of minimalism. The design of the space is so strong that adding styling elements other than the books on the shelf which are used to realize their function and the single plant to introduce a life element would have cluttered the space.

In my CEU presentation I remind people that what is not seen is every bit as important as that which is seen. Whenever I'm styling a space I keep the words of Mies van der Rohe in mind "Less is more" because I'm not photographing "stuff" I'm photographing design.

Hospitality Design Photography

2011-12-25T08:44:00.000-08:00

Royal Palm Pub
Heritage Park Clubhouse
Sacramento, CA
Lennar Homes
Williams + Paddon Archtiects + Planners

Today's architectural photograph is of Hospitality Design. I shopt the Royal Palm Pub at Heritage Park in Sacramento, California for both Lennar Homes and Williams + Paddon Archtiects + Planners .

I've been shooting architecture and interior design for twenty-five years and have a very broad range of experience. This is another available light image from the chemical era shot with a 4x5 camera. I used available light because there was no place to put any lights that wouldn't be visible in the final shot that would actually have contributed to the photograph.

In my younger days I would have forced the matter and insisted on using supplemental lighting, but it would have been a waste of time. What benefit some minor increase in illumination would have been gained would not have been commensurate with the effort. I know this because I had forced the issue with adding unnecessary supplemental light before. The advantage of my experience helped create the authentic presentation of this clubhouse bar.

Prior to my adoption of the HDR technique these types of shots could only be done at night due to the extreme range light levels of the interior and exterior - the dynamic range of the shot. Now we can shoot these types of shots during daylight hours and walk away with stunning results. Of course this also depends on the establishment, some spaces simply look better at night because their context fits that atmosphere, and some times we need to shoot at night to resolve conflicts with the need of photography with the needs of the businesses normal operations.

Architectural Photography Balancing Interior and Exterior Illumination

2011-12-25T08:29:00.000-08:00

Sunset Idea House 2008
Monterey Valley, CA
Joseph Hittinger Designs

Today's architectural photograph is one I shot for Joseph Hittinger at the 2008 Sunset Idea House in Monterey Valley. It is one of the images that I shot in the transition to using available light exclusively. I hope you like it.

I used no supplemental lighting on this shot simply because I didn't need any. The trick to sunset or dusk shots of interior design is to get everything styled, set up and ready to go fifteen to thirty minutes before sunset and then simply wait for the light levels to become "balanced" according to the photographers previsualized final image.

Sunset and dusk shots really can't be art directed. The light is "perfectly" balanced for only two minutes, with the HDR process we have a window of opportunity that extends to about five minutes, but that is still not enough time to shoot a test shot, show the client or art director, discuss the options, make a decision and reset the camera. The photographer has to be the final authority of ow the image is to be presented, but we're pretty good at this and can be trusted to create wonderful and romantic image that fits the style of the designer or architect quite well.

Ceiling Detail Institutional/Civic Architectural Photography

2011-12-25T08:11:00.000-08:00

"Snow Flake Ceiling"
Ceiling Detail
Childrens Reading Room
Montrose Public Library
Delta, CO
Patrik Davis Associates Architecture

Today's architectural photograph is the first image of my website introductory slide show. This was shot in 1998 using a 4x5 camera, Polaroid and chemical film. It is the ceiling of the children's reading room in the Delta, CO public library.

It took me approximately 2 hours to get the camera into just the right place and reconcile all of the lighting issues, my assistant actually fell asleep in the corner. Yes this is done with available light and multiple exposures, color corrected for the different light sources.

Commercial Interior Architectural Photography

2011-12-25T08:04:00.000-08:00

Break Room
Alta Mesa Memorial
Palo Alto, CA
Shirley Lo Design &
Spence Studio Interiors

It doesn't matter if it's a residential kitchen, commercial kitchen or just a break room - I Love Photographing Kitchens.

I shot Alta Mesa Memorial in Palo Alto for Shirley Lo Design & Spence Studio Interiors in 2010 and it won awards in both ASID Northern Californai and ASID Califonria Peninsula design competitions.

This is another example of available light interiors photography using the HDR technique. This space was very corridor like and with the glass window wall it would have been impossible to effectively light and maintain the authentic presentation I am well known for. Through the use of the HDR technique I was able to balance the interior and exterior light levels and show the shadow detail that is so critical to interior design photography without loosing any highlight detail in the exterior.

*Note: I almost always want my exteriors to have a different luminance value than my interiors to maintain a natural representation of the environment, in this case the exterior luminance is greater than the interior in other circumstances I might do the opposite. There are no hard and fast rules, it all depends on the context of the space and the environment and the message were sending.

Kitchen Interiors Photography

2011-12-25T07:47:00.000-08:00

Private Residence
Mountain View, CA
Rutt of Los Altos

Kitchens are so much fun. Modern kitchen design provides for creative expression like you wouldn't believe. Did I mention that I love photographing kitchens? This kitchen is a classic, the traditional presentation fits the home and personality of the homeowners perfectly.

I shot this image for Rutt of Los Altos and Viscusi Elson Inteiror Design again with nothing but available light, I haven't used a significant amount of supplemental lighting since 2007 and when I adopted the HDR technique in 2009 I realised there would be very few situations where I would need supplemental light, but I digress.

The only lighting for this shot is the fixture above the sink and a matching fixture above the camera and the window. you can see how smooth and natural the lighting is, perfectly in scale and lacking any artificial shadowing or glare. HDR works by creating multiple exposures, a simplified example is I do one shot to expose the shadows the way I want them, one shot for the mid tones and one shot for the highlights - I usually do five to nine exposures for an interior, this shot required six exposures.

Available Light Interior Design Photography Kitchen

2011-12-25T07:31:00.000-08:00

Private Residence
Rutt Handcrafted Cabinetry

Today's sample of architectural photography is residential interior design.

I shot this kitchen for Rutt Handcrafted Cabinetry through Rutt of Los Altos using available light and the HDR process. I love the simple forms and the deep dark tone of the cabinets contrasted against he cream tone of the counter top. The HDR process has the ability to bring out subtle details far more clearly than shooting conventionally. I used this function to bring out the wood grain of the cabinets while maintaining their rich colors.

I like shooting residential interior design, there's more individualism and it's fun to showcase the nurturing nature of the environments. The wide range of personalities impose a perceptual flexibility that keeps my work fresh and my mind agile.

Dusk Exterior Healthcare Architectural Photography

2011-12-25T07:09:00.000-08:00

Kaiser Permanente, Roseville
Chong Partners (Now STANTEC)

I shot this in project for Chong Partners (Now STANTEC) in 2003 using my 4x5 camera and chemical film. This is an example of a predigital HDR image because I did multiple images at different exposures, scanned each sheet of film and blended them in photoshop using masks.

Modern tonemapping makes this process much easier and provides other technical advantages and capapbilities I did not have but the end result shows all the hallmarks of a well done HDR image: rich colors, impressive detail in both the shadows and highlights and no obtrusive halos which are light or dark shadows around features in the image, most often seen and the sky subject interface.

This image also shows how a strong leading line can make or break a composition, without the strong line of the sidewalk this image would lack impact. I rely very on composition to create drama in my imagery, more so than lighting; I can always count on having compositional tools at my command where quite often lighting is beyond my ability to control. The combination of the two, composition and lighting create images that have power and elegance and will be remembered for their content long after the flash and glamor of a trick of the light is forgotten.

You can see more of my HDR images in my portfolio: www.djbphoto.com

Dawn Residential Architectural Photography

2011-12-24T10:49:00.001-08:00

Private Residence F.t Collins, CO Garth Braun Associates

This exterior architectural photograph of a residence was shot in 1999, another wonderful image from the chemical era. I used a mix of supplemental and available light for this dawn exterior.

I have a lot of experience working with supplemental lighting, for the first seven years of my career I shot with nothing but strobe lights. The reason is that you can't see what strobes will do until you run the film or view a Polaroid, this required me to become very good at previsualizing my lighting and finished photographs, a technique made famous by Edward Weston. The habit of previsualizing my images before I even begin to position the camera helps me understand what I am trying to communicate in my images and is one more reason why I am so good at capturing my clients design concepts.

It wasn't until the end of my second decade as an architectural photographer that I realized that supplemental lighting was in fact an impediment to capturing the true character and emotional context of the spaces and structures I photograph. Since then my images have an authenticity and organic feel that cannot be synthesized with supplemental lighting no matter how many hours are invested in the effort.

Hospitality Interior Architectural Photography

2011-12-24T10:33:00.000-08:00

Stonelake Clubhouse
Elk Grove, CA
Lennar Homes &
Williams + Paddon Architects + Planners

This photograph of commercial interior design was shot in 2001 using 4x5 camera and film. I also used supplemental lighting in the form of tungsten hot lights. My client was very impressed not only by the lighting and composition, but because I had rearranged the furnishings to maximize the impact of the shot.

I shot this so late in the twilight because right outside the window on the left was the port-a-potty for the construction site next door. We just waited until it was too dark to see it and viola! problem solved

Dusk Architectural Photography

2011-12-24T10:23:00.000-08:00

Today's photograph is a commercial architectural exterior shot at dusk, twilight really. I shot this for Williams + Paddon Architects + Planners in 2003. I tried to create an image that would enhance the subliminal message of the design concept by shooting it with the sunset as near centered as I could get it, and then I fine tuned the suns position in post production.

Whiterock Business Park
Rancho Cordova, CA
Williams + Paddon Architects + Planners

I think I got the symbolism just right, don't you?

Interior Deisgn HDR Photography and A Little History

2011-12-24T10:08:00.000-08:00

Private Residence
Campbell, CA
Viscusi Elson Interior Design

This is a stunning example of what can be done with available light photography. I shot this patio as part of a larger job for Viscusi Elson Interior Deisgn. In fact this is the designers own home. I am always honored to shoot designers or architects own homes or offices because these are the projects where they can create with no concern for outside influences and it usually shows in the quality of the result.

I shot this entire project with the HDR technique and the photorealistic results are amazing. Everyone notes how authentic the results look, as though you are standing there experiencing the project first hand. I've spent thousands of hours practising and studying the technique, the theories behind it and the functionality of the tone mapping software that is the heart of the HDR process. I've also spent many hours studying related theory, such as learning more about how humans perceive light and dark. I've found the computer gaming industry has a wealth of research into this and that they have been using HDR techniques for a long time.

In fact I learned that the first commercial use of HDR imaging wasby Charles Wykoff in the 1940's photographing nuclear explosions and published on the cover of Time Magazine. It was surprising to learn that this "new technique" had been in use for sixty years before it became mainstream.

Available Light Interior Design Photography

2011-12-24T06:58:00.000-08:00

Private Residence
Los Altos Hills
Dawn Williams Design

This is a shot I did for ASID competition for Dawn Williams. It's a wonderful space and an intriguing design. I shot this using available light with the HDR technique and you can see how the technique brings out the detail and character of the design. It requires a lot of discipline to shoot HDR and achieve photo realistic results, but it can be done and when done properly the results are absolutely stunning.

The detail of the faux finish has depth, the detail woodwork and fabrics are represented so realistically you can almost feel them. And the play of light on the walls captures the drama of the design concept in all it's glory. Even the shadows below the table are represented exactly as they appear when experiencing the space in person.

Mather VA Hospital by Nacht & Lewis Architects

2011-12-24T06:46:00.000-08:00

Mather VA Hospital
Nacht & Lewis Architects (NLA)

I shot this sunset image for Nacht & Lewis Architects in 2004. I love the color and energy embodied in the building. I needed to shoot this image at sunset to minize the shadows cast by the adjacent structure and to capture the rim lighting of the signage.

I remember that day was 100 degrees and no one was out, this made my job very easy because I didn't have crowds of people on the street to contend with. And with the HIPPA laws that's a big deal.

Architectural Photography Sundial Bridge

2011-12-24T06:36:00.000-08:00

Sundial Bridge at Turtle Bay in Redding, CA
Santiago Calatrava

I was in Redding to shoot the Shasta County Municipal Center for Kitchell CEM and had a little time to kill so I went to see this bridge I was told about. I had heard that it was really something special, but I had rather low expectations since it was Redding California. Imagine my surprise when I turned the corner and was confronted by this wonderful expression of creativity by one of the world premier bridge designers, Santiago Calatrava.

I was very impressed with the elegance, grace and power of the design and did a few shots that are posted elsewhere. This bridge has always stayed in my mind and a few years later when I had the opportunity to do a solo gallery show I chose to return to the bridge and make it the center piece of the show. This image is from my second foray.

Available Light Interior Design Photography

2011-12-24T06:25:00.000-08:00

Private Residence

I shot this image in 2008 as I was beginning the transition from reliance on supplemental lighting to the exclusive use of available light. I did not use the HDR technique on this shot because, at the time my experience with HDR was so limited I didn't want to risk screwing up the job with it.

As you can see this image is shot squarely into a glass wall there is no place any supplemental lighting can be positioned that would provide a benefit to the shot. I shot this image digitally and created a composite of several exposures to achieve the results we needed.

Some people have responded less than favorably to the use of compositing and HDR preferring "traditional techniques" and wanting the images to be perfect straight out of the camera. I do want my images to be shot the best they can be, but I am not reluctant to use whatever technique or tool is required to achieve the required result.

I worked in commercial photo labs for five years at the beginning of my career and I remember how much work went in to making those shots that were "perfect right out of the camera" look good. The film, or digital capture is only raw material the final image is a result of craftsmanship, skill and command of technique at each of the three stages of crating a photograph. Ansel Adams, an acknowledged master of the craft wrote three books - The Camera, The Negative and The Print.

One reason it's easy to tell an amateur shot from a professional is that professionals know to take their time and work at making the best image they can at each of these three stages using every tool and technique they have at their disposal and the result is stunning imagery.

Shadow Detail in Architectural Photography

2011-12-24T06:06:00.000-08:00

An exterior architectural photograph from the chemical era. Sometimes I miss my old 4x5, but then I remember how much of a problem we had with dust and I get over it.

Williams + Paddon Architects + Planners

I shot this image for Williams + Paddon Architects + Planners in 2001 shortly after relocating to California from Colorado. California architecture was still new to me and was fascinated by the creative application of stucco in commercial and residential architecture here.

This shot is a good example of the limitations we had to deal with when shooting film. Notice the depth of the shadows. In order to capture good detail in the highlights I would have to let the shadows go dark, darker than they appear to the human eye. When shooting chemical film this wasn't too much of aproblem as long as I was careful with my exposure, but when shooting digitally the shadows tend to pick up "noise", loose detail and definition which is a problem.

The HDR technique solves this problem for me because it allows me to bring out the details I want in the shadow areas with no loss of detail, color shifting or noise, while still maintaining wonderful detail in the highlight areas.

Chemical Era 4x5 Commercial Interior Archtiectural Photography

2011-12-24T05:15:00.000-08:00

MIllenium Office Building
Conference Room
Williams + Paddon Archtiects + Planners

For the first two decades of my career I shot with a 4x5 view camera and transparency film. I used available light as the primary, and in this case exclusive light source to create my photographs. I work to capture my clients design concept and display their artistry and talent with an authentic representation that has a high degree of fidelity to the architect or interior designers vision.

I'm told that my ability to tell my clients story is why so many of the projects I shoot win design awards.

I shot this image at dawn to capture the illumination of the skylight and to give us some reflection in the glass of the partition. My goal was to communicate the power and capture the energy of this design.

Interior Design Photogrpahy Residential Powder Room

2011-12-24T05:04:00.000-08:00

Private Residence
Woodside, CA
RKI Inteiror Design

I shot this powder room for Rise Krag of RKI Interior Design.

Powder rooms are very challenging, due to the restricted space and prevalence of mirrors there are few if any ways to position supplemental lighting to be used effectively. My experience working with available light and reliance on my compositional skills allows me to create captivating images in even the most challenging spaces. And my command of the HDR technique proivides technical advantages to control the high contrast when working with available light.

I prefer to have a light hand when it comes to styling a space. I always remember that we are not photographing "stuff" we are photographing design, keeping the surfaces clear and the composition uncluttered is usually the best way to focus attention on the design elements.

Juvenile Justice architecture

2011-12-24T04:51:00.000-08:00

Contra Costa County Juvenile Justice Center
Housing Unit
KMD Architects

I shot this image of a housing unit in the Contra Costa Juevenile Justice Center for KMD Architects using strictly available light. There was no facility to bring supplemental lighting into this space so I had to work with what was available.

I've been an architectural photographer for twenty five years and have learned to rely on my compositional skills to create interesting and lively images more than my lighting. I have always liked using the available light as the primary illumination. I guess you could say my style is more authentic and organic than transformative.

Photo Realistic HDR Architectural Photography Magazine Cover

2011-12-24T04:34:00.000-08:00

This HDR image on the Cover of Gentry Design was shot for Rise Krag of RKI Interior Design.

Gentry Design Summer 2011
Private Residence
Rise Krag

I love the technique because it allows me to work with the available light to capture the character and emotional context of the spaces and structures I shoot with an authenticity that was unimaginable before.