And this time I was also able to get involved with the text. Great to work with these guys!
Of course I was the only photographer to include people (and a dog).
There is a big buzz in the Architectural Press about this birthday:
It is one of the ways writers in the industry acknowledge the importance of photography. Or is it? Photoshop is of course used at the tail end of the rendering workflow. Photoshop allows architects to do what they do as much as 3d max or Rhino.
Either way, these articles celebrate the work of some amazing creators and the tool with which none of us could do without. Much like the internet. Only expensive.
http://www.archdaily.com/599502/dream-hotel-studio-puisto-architects/Checkout this article from ArchDaily.
Whilst awaiting the launch of my website, I have organised my images into 4 portfolios:
All of which can be viewed / downloaded here:
I AM TRYING TO SHOW THAT HOW YOU DEPICT SOMETHING IS AS IMPORTANT AS WHAT YOU DEPICT.
SO THERE ARE GREY WHITE AND BLACK INTERIOR SPACES (IE THE COLOUR OF THE PAINT) AS WELL AS GREY WHITE AND BLACK EXTERIOR SPACES (THE COLOUR OF THE GROUND AND SKY) IN THIS PORTFOLIO.
I THINK THIS IS IMPORTANT BECAUSE ARCHITECTURAL PHOTOGRAPHY SEEMS TO CONSIST MAINLY OF WHITE SPACES UNDER BLUE SKIES. IT IS IN THIS SENSE THAT IMAGES MAKE BUILDINGS. WHITE SPACES PHOTOGRAPH WELL (SAFELY) AT DUSK AND MIDDAY. SO IMAGES ARE SHOT THAT WAY AND BUILDINGS ARE BUILT THAT WAY.
BUT I HOPE TO SHOW WITH THIS COLLECTION OF IMAGES THAT THERE ARE LOTS OF OTHER OPTIONS.
That the kind of images architects commission for competitions are never the sort of images they commission photographers to shoot once the thing is built?
In my ten years as a commercial photographer and 4 years as a doctoral student/candidate/donquijote, I have never lived such a moment as this. London is suddenly a kind of mecca for the appreciation and understand of architectural photography. An exhibition at the Barbican is on together with an extraordinary gathering of talent at the RIBA: http://www.architecture.com/WhatsOn/September2014/ConstructingWorldsPhotographyandArchitectureintheModernAge.aspx
Highlights have included:
An exhibition and publication, the likes of which has not been seen since New Topographics:
The Guggenheim competition presents the opportunity to view 1700 submissions based largely on photo realistic representations of a building that exists only in the ambition of the participants. The large number of submissions means the sample size is significant. But what interests me even more is the inherent need for distinctive images at this stage. The submissions are anonymous, so you have to stand out and be recognised – through images. This is precisely the opposite of what happens once the building is built, photographed and published under the name of the architect or company. At that point the image itself is meant to disappear leaving space for the building to emerge. That said, it’s clear that each sort of images is heavily reliant on visual tropes and that not a lot of risks are taken. It would be a great exaggeration to suggest that the renders reveal the diversity of architecture and the world it sits in. But I cannot help thinking it is something like the selections grid plus the outtakes grid I have made for my thesis.
And architects+institutions’ appear interested in reaching the general public:
this is just to see if the links to social work. if they do, please visit my blog!
this is an extremely relevant article which categorises the major styles of rendering
my goal with the photography section of my dissertation is to do the same: present a small pantone or panoply of styles, starting with historical (black and white) transitioning to the dominant conventional style and offering alternatives based on specific locations at specific times of year which might also include activity at specific moments.
In an attempt to show the many colours of the world around us, and the force of each:
and architects+institutions’ interest in reaching the general public:
Much as I have been saying:
‘Both focus on the photography of architecture, as opposed to the discipline of architectural photography (which, according to Badger, “within the strict definition of the term, is product photography, and is actually not that interesting”,including works by Julius Schulman, whose photographs transcended their use value as architectural records, to Frederic Chaubin’s concern for the storytelling properties of a building.’
And again in this article: