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Create
(kre-at'): 1. to cause to come into existence; originate. 2. to
cause; to bring about. 3. to invest with a new rank,
etc.
Not only do architects create structures,
buildings, and space, we also have a distinct visual understanding
of the spaces around us, especially those spaces that we have
created; we just see things that way.
During design, how ideas and perceptions are
conveyed is an integral part of the process. This issue is
dedicated to the representation of those visual realities. Tips, as
prepared by the architect/photographer, are included with each
photographic entry to further illuminate how the representation of
an idea is or can be attained.
We hope that you enjoy the images as well as the
tips.
Lisa Stacholy, AIA
SPF Journal editor
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Private Island Residence
Project owner/client: Withheld
Project location: South Kingstown, RI
Architect: Clay Benjamin Smook
Year project completed/year photographed: 1998/1998
When designing a project in a coastal
area, make sure to allow time in your production schedule and fee
to include permitting beyond local jurisdictional requirements.
Projects such as this may require review by the Army Corps of
Engineers (federal), Inland Wetlands (state), and the Conservation
Commission (local). These regulatory hurdles can require additional
drawings and submissions beyond those needed for a traditional
project. It is generally best to designate these as additional
services beyond the basic scope of services in your
agreement.
Office/Retail Renovation
Project owner/client: Draughon's Junior
College/Morris & Burney Construction
Project location: Clarksville, TN
Architect: Gary Violette, AIA
Year project completed/year photographed: 1990/2001
Cold winter days sometimes provide
excellent, clear skies for photography. Go back and shoot some
digital images of projects completed before the advent of digital
photography. Use editing software to ensure accurate white balance,
and crop for composition.
Dentist Office Renovation
Project owner/client: William Dew, DDS
Project Location: Hopkinsville, KY
Architect: Gary D. Violette, AIA
Year project completed/year photographed: 1997/2002
Fresh snowfall adds interest and helps
illustrate difficult-to-photograph site features. Use the camera's
higher saturation setting to bring out colors. Use editing software
to ensure accurate white balance.
Residential Renovation
Project owner/client: Matthew and Joyce
McInerney
Project location: Weatherby Lake, MO
Architect: Vernon Reed, FAIA
Year project completed/year photographed: 2003/2003
Instead of lugging around
light fixtures, tripods, and wiring to properly illuminate
interiors for good photography, let Adobe Photoshop do most of the
work for you. To obtain good color balance in interior photographs
shot with a digital camera and built-in flash, open the photo in
Photoshop and make a simple correction or two. First, select the
image, then click on adjust, then color balance, and adjust the
cyan-red scale to the right to emphasize the reds. Adjust the
yellow-blue scale to the left to emphasize the yellows. This will
change the cool fluorescent-like bluish whites into warm tone
whites that are much more natural looking. Experiment with each
photograph to determine how much red and how much yellow it needs.
I have found that going left on the yellow the same amount that you
go right on the red gives an excellent color balance and makes a
profound difference in creating a friendly image of the space.
Second, adjusting the brightness/contrast scales can also enhance
the photograph far easier than setting up an elaborate lighting
system.
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New Banking Center
Project owner/client: Bank of
America
Project location: West Columbia, SC
Architect: Glenn H. Ross, AIA
Year project completed/year photographed: 2002/2003
Photographing building at dusk can add a
dramatic effect, especially if the building has good interior
lighting. This photograph was taken about 15 minutes after sunset,
while there was enough ambient light to show the building
details.
Community Pavilion
Project owner/client: Milwaukee County Parks
Department
Project location: Milwaukee, WI
Architect: Allyson Nemec, AIA; Mark Knapp, AIA; Kimberly Maxwell,
Assoc. AIA
Year project completed/year photographed: 2001/2002
If you don't have a polarizing filter for
your camera, use a pair of quality sunglasses to cover the lens,
get close, and make sure you can't see the rim in the viewfinder.
The sunglasses help create polarizing effects such as enhanced
colors, deeper sky tones, and reduced glare on especially bright
days.
Whole House Remodel and
Addition
Project owner/client: Bennet Weintraub and
Tricia Tomlinson
Project location: Burlingame, CA
Architect: Ellis A Schoichet, AIA
Year project completed/year photographed: 2002/2002
I like to use the Nikon Coolpix 5000
digital camera with a 19mm wide angle converter lens and available
light only-no supplementary lighting. I also used a tripod and a
nifty cable-release that Nikon makes for the camera.
It's easy to see in these shots that there
is always an issue between getting the sky and the view to show
without burning out the image of the house. The only way to shoot
this successfully with available light is in the few minutes around
dawn or dusk. The optimum period is so short that you've really got
to be in the right place at the right time. I was lucky to be able
to schedule the shoot for a period of time when the owners were out
of town for a week. I was able to come in at the crack of dawn and
come back at twilight/sunset over the course of several days. I
picked up different lightings, different weather, and I was still
able to put in a full workday in-between. Also, nobody got in my
way, except the cat (see below). In the two rear exterior shots you
may notice the family cat. This cat was so friendly that if it
wasn't rubbing against the tripod while I was making an exposure,
it was moving through the image during the exposure. I spent a lot
of time petting the cat. All effort spent trying to get the cat to
sit still while I got everything else in the image to work was
wasted. I've got several images with a black streak walking across
the bottom. It would have helped to have an assistant who was
dedicated to entertaining the cat, but in the end I was lucky
enough to have things come together in at least a couple of the
shots.
Historic Home Front and Rear Porch
Additions
Project owner/client: Mr. and Mrs. Steven
Kahn
Project location: Columbus, OH
Architect: David Hughes, AIA
Year project completed/year photographed:
2001-2003/2001-2003
The most valuable time in taking photos of
my projects is the time I spend in the office planning the shoot.
Take into consideration the time of the year, the orientation of
the object to be photographed, and the direction of the sun and
therefore the time of day to get the best result. Will excessive
tree shade suggest waiting until spring or fall, or do I want the
blooming landscape to be included? If you are going for interior
shots, consider the type of interior lighting and whether it
matches with the type of film to be used. Should you bring
artificial lights (and extension cords), and will you need the
tripod if there will be long exposures? Consider if there are any
special effects you are after requiring a polarizing filter or a
fluorescent light filter. You may also want to take your own
accoutrements or ask the owners if they have sufficient items,
including flower arrangements, to make the project look livable and
not sterile or not yet completed. Finally, determine how much time
it will take you to set up the shot before any window of
opportunity has passed, and arrive early if necessary. These may
seem like simple items, but when you take an hour or more to begin
the shot only to find out you are looking into the sun, you will
wish you had taken the few minutes before you left.
Optometrist Tenant Space
Project owner/client's name: Hartland
Development/Amy Jankowski, O.D., Metro Eye
Project location: Milwaukee
Architects: Chris Hau, Assoc, AIA; Kimberly Maxwell, Assoc,
AIA
Year project completed/year photographed: 2003/2003
Create interest and depth in your
photographs by using an object in the foreground. Focus the camera
on the main subject; the secondary subject should fill in but not
take precedence over your main subject. Shoot the picture, but be
careful that the flash does not overilluminate your foreground
subject.
Residential Renovation
Project owner/client: Mr. & Mrs. Michael
McNary
Project location: Upper Arlington, Ohio
Architect: David Hughes, AIA
Year project completed/year photographed: 2002/2002
When planning to take 35mm exterior shots
at dusk, time is of the essence. Plan to arrive on location early
to set up the shot in daylight. This includes both interior and
exterior setup of lighting and accoutrements. Study the locations
for the shot or shots desired, noting specific details such as
camera position and height. A sturdy, quick release tripod is
essential for these types of shots, as well as a shutter release
cable or a camera with a shutter release timer. Using a timer or
cable release minimizes any movement in the camera that can be
caused by pressing the camera's shutter button. Begin taking photos
before the ultimate setting arrives, framing the desired shot with
various aperture openings and shutter speeds as dusk turns to
darkness. Remember, the smaller the F-stop, the more light enters
the lens. Experience will be the best teacher but taking numerous
shots to get the one special exposure is worth the
effort.
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Computer Specialty Store
Project owner/client:
CompUSA/CoZone
Project location: Southlake, TX
Architect: Terry Carpenter, AIA
Year project completed/year photographed: 2001/2002
Never let the clients run the photo shoot.
At this project they brought a picnic and watched movies while we
worked through the night to take the shots (the movies were loud
and made it hard for us to communicate and work). Mixed light
sources also presented a challenge on this project.
Woman's Retail
Project owner/client: Outdoor Divas
Project location: Boulder, CO
Architect: Terry Carpenter, AIA
Year project completed/year photographed: 2002/2002
Retail shoots are difficult because
merchandise needs to be fluffed and organized ahead of time, hang
tags have to be turned or hidden, and fixtures need to get shuffled
around for each shot. You should try to get the client to help
before the shoot, as well as specifically direct them to help with
each shot, or the shoot will take forever.
Architect's Office
Project owner/client: @tlantis/@tlantis
Project location: Edwards, CO
Architect: Terry Carpenter, AIA
Year project completed/year photographed: 2000/2002
We had a mixture of light sources in this
environment, and had to expose the film several times for each shot
to get the correct light color for the film type we were using.
Always check on light source types before you select the film and
set up for a shoot.
Residence
Addition/Renovation
Project owner/client: M/M Ellington
Project location: Atlanta, GA
Architect: Lisa Stacholy, AIA
Year project completed/year photographed: 2001/2002
If possible, carefully select the season
in which you photograph the project; specifically ask the
owner/client if you can set up two different times of year to take
photos. In Atlanta, early spring (to capture the blooming Dogwoods)
and late fall (to get vibrant tree color) work best for exterior
shots.
Residence Attic Addition
Project owner/client: Mainz Residence
Project location: Atlanta, GA
Architect: Lisa Stacholy, AIA
Year project completed/year photographed: 2001/2002
If taking exterior photos, know your job site well and determine
the best time of day to use sunlight and shadows to accentuate your
project. Use the available context to set the stage for the
work.
Animal Facility Renovation
Project owner/client: Emory University
Project location: Atlanta, GA
Architect: Lisa Stacholy, AIA
Year project completed/year photographed: 2003/2003
When taking interior photographs, use a wide angle lens and prop
open any doors to get the maximum view of small spaces.
Pritchard Residence
Project owner/client: Mr. & Mrs. John Pritchard
Project location: New Albany, OH
Architect: David Hughes, AIA
Year project completed/year photographed: 1991/1991
Whether you are doing exterior or interior shots, be sure to
take the time to show off the best qualities of your design in the
right context. One picture is worth 1000 words. Interior design
elements such as fireplace detailing or custom light fixtures
should be displayed at their best, in a collection of design
elements that reinforce each other and speak to the general
character of the project. context and relationships of elements
and/or spaces speak volumes in regard to the total design solution.
When taking the shot, think about basic design principals in terms
of composition, focal points, framing the view, figure/ground
relationships, etc. The basic layout of the photograph should also
demonstrate your design ability. And most important of all, have
fun! It is your work, after all.
Estate Home
Project owner/client: Angela and Thomas Keesee
Project location: Dutchess County, NY
Architect: James M Crisp, AIA
Year project completed/year photographed: 1999/2003
My hobbies include amateur astronomy and photography. These come
in handy when that special photograph can only be taken from more
that 5 miles away. I used a Takahashi 102 apochromatic refractor
telescope and a Nikon F3 to take a series of shots across this
valley ridge in Dutchess County, New York. The latest version of
Photoshop, CS has a very good stitching feature for creating
seamless panoramas. I stitched three photos together to produce
this photograph. I truly enjoy going back to a project over time to
take special photos for portfolio use and to give to my former
clients, who often become friends. The best advice I can give to
another architect regarding architectural photography is to enjoy
the photos you can and want to take, but hire a professional
photographer to shoot the rest. They have the skill, equipment, and
talent to do the job right, and are worth every penny of their
fees.
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Whole House Renovation and
Addition
Project owner/client: Mr. and Mrs. Michael Braunstein
Project location: Columbus, OH
Architect: David Hughes, AIA
Year project completed/year photographed: 1995/1995
When doing renovation and addition work, it is helpful to have
before and after shots, preferably from nearly the same location
and orientation. Before shots are usually taken at the beginning of
the project as "as-built" condition photos. Try to anticipate the
scope and location of the finished project, and, with a little
planning, its desirable views. Then take several shots from these
locations. Do not be too concerned about the quality of before
shots. Black and white photos taken in the rain may also help
contrast the great changes undertaken. The significance of
side-by-side before and after photos can go a long way in
explaining to a potential new client your efforts in developing the
program and integrating styles, and the transformations that can
take place in their project.
Wine Tasting Room
Project owner/client: John and Kathy Collins
Project location: El Cajon, CA
Architect: Kevin Pollem, AIA
Year project completed/year photographed: 2002/2002
Always remember that money means different things to different
people. I had assumed that since the clients were good friends with
adequate disposable income, they would increase the budget to cover
all of the great ideas we dreamed up together. When the bids came
back, several key design elements were eliminated to keep costs in
line with the clients' initial construction budget. This is normal
and, of course, I always help clients find ways to stay within
their stated financial constraints. The irony to me is that the
clients' annual two week vacation cost more than the finished
project, which will last for years to come.
Regional Bank Office
Project owner/client: Salin Bank & Trust Co.
Project location: Indianapolis, IN
Architects: Gerald Cittadine, AIA, and Darin Claxton, AIA
Year project completed/year photographed: 2002/2002
Unlike most banking facilities, the basement houses a community
room and restrooms that are available for public use even after
banking hours. The construction of the building, which serves as a
cornerstone for the downtown business district, was masterfully
staged on a very tight downtown site.
Dental Office
Project owner/client: Jay Lewis, DDS
Project location: Logansport, IN
Architects: Gerald Cittadine, AIA, and P. Jovon Rayl
Year project completed/year photographed: 2003/2003
To meet local zoning ordinances, the facility was designed to
blend with the surrounding residential area. Our design was so well
received that the Cass County Chamber of Commerce awarded this
office the "Business of the Month, November 2003" prize.
Branch Bank Facility
Project owner/client: First Farmers Bank
Project location: Kokomo, IN
Architect: Darin Claxton, AIA
Year project completed/year photographed: 2003/2003
We used custom Corian® logo inserts at the teller lines for
a special touch in our prototypical design of First Farmers Banks'
facilities.
Studio Apartment
Project owner/client: Ute Hertel and Adolf Schmidt
Project location: Freiburg, Germany
Architect: Tim Machado, AIA
Year project completed/year photographed: 1999/1999
Germans like to clean their windows, as I discovered when I did
this project. If you have a lot of fixed windows, make sure they're
accessible for cleaning. Otherwise, you'll find yourself washing
them when you go for a visit.
Medical Clinic
Project owner/client: St. Vincent Health/St. Joseph's
Hospital
Project location: Kokomo, IN
Architects: Gerald Cittadine, AIA, and Darin Claxton, AIA
Year project completed/year photographed: 2002/2002
This project required us to bore under a state highway in order
to make the tap to the water main on the opposite side. The sloping
site presented another design challenge, which we overcame with a
walk-out basement.
Dental Office
Project owner/client: Dayton Dental Collaborative/Gregory
Shelhouse, DDS
Project location: Dayton, OH
Architects: Todd Martin, AIA, and Jennifer Shelhouse, Assoc.
AIA
Year project completed/year photographed: 2003/2003
Renovation and Addition to Old Florida
Style Home
Project owner/client: Withheld
Project location: Naples, FL
Architect: Jonathan Kukk, AIA
Year project completed/year photographed: 2003/2003
Bungalow Addition
Project owner/client: Glenn MacCollough
Project location: Arlington, VA
Architect: Glenn MacCollough, AIA
Year project completed/year photographed: 2001/2001
Use a very slow shutter speed (here the aperture was open for 12
seconds) and soft lighting to get a visual balance between the
exterior details and interior spaces. Sometimes lightly wetting the
pavement can reinforce this effect.
Low Tech to Smart Campus Renovation
Project owner/client: Trinidad State Junior College
Project location: Trinidad, CO
Architect: Karen Harris, AIA
Year project completed/year photographed: 2000/2000
A great advantage of working with a relatively small building
(this one was 7500 square feet) and some large functional spaces is
the ability to eliminate all corridors and the accompanying code
restrictions. By orienting all of the spaces off of a central
lobby, there were no requirements for rated corridor construction.
We were thus able to provide large expanses of glass in each area,
and to showcase the learning activities and the new technology
within the building. The key to accomplishing this campus goal was
the buy-in of the faculty and staff to work in an open office
environment, which is generally contrary to the standard individual
academic office model.
Guest house and Garage
Project owner/client name: Carlos and Christina Aguinaga
Project location: Dutchess County, NY
Architect: Crisp Architects; James M Crisp, AIA
Year project completed/year photographed: 1997/1998
This guest house and garage was designed to fit in with a
complex of 18th century buildings, including a farm house. To take
the pictures, I used a Pentax 6x7 medium format camera. Due to the
landscaping, the best shot was only available in the winter when
the trees were bare, and the young birch trees provided an
interesting foreground. I shot this in bledack and white as well as
color. Although black and white photography is seldom used, it can
be a powerful alternative to color and can work wonders if clients
choose unfortunate color schemes. (Although that was not a problem
in this case.)
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