Photographing An Architecturally Significant Home: Pasadena Greene & Greene Built in 1911

I was recently awarded an incredible opportunity: photographing a Greene & Greene home in Pasadena that had been immaculately restored and maintained. I was contacted by designer Christine Kilian (who, notably, was a major force behind the architecture and design of the renowned Getty Museum), who wanted to document the home which contained her work. In addition, the owners were interested in having photos taken as keepsakes to remember their hard work and tireless devotion to restoration.

Built in 1911 by the famed brothers Charles Sumner Greene and Henry Mather Greene for three sisters from Illinois (Cordelia, Kate and Margaret Culbertson), it had cost $100,000 at the time: the equivalent of more than $2.5 million today. The home is a stunning piece of work, yet markedly different than most of the Greene & Green homes that are scattered throughout Pasadena. Instead of large, bulky, shingle-clad and relatively symmetrical designs, The Culbertson house is covered in a light tan gunite. It has a low facade, somehow resembling a Chinese temple, and a roof of glistening green tile, dashed with red flecks that reflect a varied spectrum depending on the time of day. The home is quirky in its layout; a large, yet asymmetrical U when viewed from above that gently slopes down towards private gardens with views of the mountain ranges behind Pasadena.

This was certainly unlike most homes that I've photographed, as I have spent most of my time photographing new constructions and remodels. Homes dating to 1911 in the area are exceedingly rare (this is where I also mention how jealous I am of all you shooters on the east coast, where a 300 year old home is nothing out of the ordinary), and in many cases owners update them to reflect current trends and tastes.

In order to maintain the feel and mood of the home, I used a lighting approach that maintained a natural look, yet also allowed for the richness and depth of the colors and textures to show in the photographs. In a home such as this, I felt it was absolutely necessary to preserve the mood and ambience of the interior. Careful attention was paid to composition and staging, and in many cases we spent over an hour perfecting furniture layouts and lighting schemes.

Some of the lighting situations from a photography persepctive were somewhat nightmarish. A number of one-point perspective compositions meant some creative light placement was necessary. Cavernous areas covered in dark paints required careful attention when aiming and positioning lights not only to avoid color casts but also to avoid reflections and maintain the natural feel. It's very easy to overlight a big space where such a wide dynamic range is present.

Despite these challenges and the all-day shoot (nearly 12 hours for 12 staged and lit images), everyone involved was thrilled with the outcome. I hope the extra time we put into staging and preparing the space shows, and I know that these images will be used for years to come by everyone involved. Creating timeless images takes time, but I hope you'll agree that the results are worth it!

On Location: Architectural Photography In Phoenix and Scottsdale, AZ With Fstoppers.com

I was recently invited to shoot a series of five homes in the Phoenix and Scottsdale areas of Arizona for a builder and architect who had previously seen my work. In the interim, I had been in talks with Fstoppers.com, a website I frequently write and contribute for, to come out and film me to  create a mini-documentary on my style and methods of architectural photography. We had the chance to shoot some incredible homes with gorgeous views. In particular, this Frank Lloyd Wright-inspired home in the Fountain Hills neighborhood, which turned out to be my favorite of the five. With views overlooking Firerock and Four Peaks, it was simply awesome to take it all in while shooting. Eating lunch with the homeowner, architects, and builders with the crew from Fstoppers was a ton of fun and the images are looking like they're going to come out amazingly well. I couldn't have asked for a better combination of sun and gorgeous clouds on this shot. Stay tuned for an update regarding the mini-doc, like I said, we got some incredible footage and I know some of my followers have been longing for a behind the scenes feature like the one that Fstoppers will be creating. 

Here's a quick behind the scenes peak at me at work and the home in particular that I was so enamored with:

Santa Monica Contemporary Interior

Shooting for the wonderful Natalie Younger Interiors, we spent a couple of days photographing this space in Santa Monica. While small compared to some of the homes I shoot, I absolutely loved the varying patterns and rhythms found throughout. I could move into that office starting tomorrow, it just drips personality and character. This just goes to show how dramatically a talented designer can transform a normal run of the mill space into something that suits the owner's style and personality. This was so fun to photograph, such a contrast from many of the things that I normally work with.

Practicing Architectural Photography At Frank Lloyd Wright's Taliesin West

I recently took a break from the insanity that is Los Angeles and headed to Scottsdale, Arizona, to visit some friends and family. One of the big attractions in Scottsdale is Frank Lloyd Wright's Taliesin West, which was Frank's winter home and one of his sandboxes, so to say. Not only did Frank teach many of his students here, but he used it as a playground to build and experiment with new ideas without having the pressure of a client hanging over his head. 

I made it a point to take one of the three-hour tours (insert Gilligan's Island reference here) so that I could understand a little bit more of what Wright was after and what made him tick. My goal here was to learn a little bit more about one of the most influential figures in modern architecture so that I could apply those learnings to my own architectural photography. Hopefully, my learnings here can be applied to my own thoughts on architecture so that I can better serve my clients, as I'll have more insight into their thought process and vision. That's the goal, at least!

Of course, since I'm never caught without a camera, I took it upon myself to take some time to wander around the grounds and do some photography of my own. It's really amazing how much attention Frank paid to integrating the architecture with the landscape. I tried to convey some of this in my photographs, but it's really an altogether different experience if you can see it in real life. Of course, Michael Kelley being Michael Kelley, I wasn't satisfied with just Xeroxing a few frames of the place - I had a go with some new processing techniques that I'm working on as well. Experimenting in Frank's own lab, if you will.

If you're ever in the Phoenix area and have any interest in architecture or architectural photography, I highly recommend taking one of the tours. I was also able to pick the brain of some of the staff, who are well versed with Frank Lloyd Wright's photographers: many of which lived with him for many years. They have some interesting stories about their theories, practices, and approaches to architectural photography.

Photographing High-Tech Real Estate For The Space Enthusiasts Out There

Check this one out! This home, located in Laguna Niguel, CA, was constructed around a custom-made observatory. Situated 30 feet above ground and built on concrete-filled pillars which extend 20 feet below ground for stability, this was truly a one-of-a-kind home. Need I mention the gorgeous travertine floors and incredible backyard? This was definitely one of the coolest homes I've photographed.

Why aren't you writing thank-you notes for your architectural and real estate photography clients?

I am thoroughly convinced that I have landed my biggest job to date and kept my biggest clients by writing thank you notes. It shows that you care. It shows that you think a little bit more than other creatives in your field, and have a human side. People like this. I was asked to present a portfolio to a new client recently, and thanked them for their time with a hand-written note afterwards. They had the budget to fly someone in from Europe if they wanted to, and I know that they've worked with other photographers who's work I admire in the past. They certainly didn't pick me on price, I can assure you of that.  I was not the only option on their table. Yet, for some reason I am completely convinced that my simple hand-written thank you note was a contributing factor in me landing that job.  It costs next to nothing - I try to take a small percentage of my income and give it back to my clients - don't just mail bomb them with advertisements and phone calls asking them to use your service. Put a little time and effort in, whether it's either a thank-you note or a small gift. Doesn't need to be big. Just has to be human. I guarantee you'll see results.

The Gear I Use For My Architectural And Interiors Photography

Preface: Holy wall of text, Batman! Apologies in advance, but this had to be done.

Ever since I’ve started this blog, I’ve been getting emails asking me to detail what gear I’m using, why I’m using it, and how I’m using it. So let this be (as of 3/2/11) the penultimate gear post (I will be periodically updating it to reflect changes to my equipment, as well).  In order to make it easier to follow, I’ll break it down by category, e.g. cameras, lenses, lights, and so on.  This gear covers all of my work –  my interiors and exteriors, as well as my editorial and personal shots.

Cameras:

Canon 5d: A five year-old camera that I purchased used. My particular 5d has been dragged around the world and has the dents, scuffs and scratches to prove it. It’s incredibly slow by today’s standards, but the image quality at low ISOs is still fantastic. 13 megapixels is more than enough for my clients, who in most cases are printing, at the largest, 8.5”x11”, or using their images only on the web. I have felt the lust for the new 5d Mark II, but to be completely honest I don’t need the 21 megapixels or the increased wait times while I process photos. While the live view and video would be nice, neither are going to make my photos better.

Canon 1d Mark III: This camera is my main workhorse these days. It is a total joy to use: perfect autofocus, extremely responsive controls, and amazing image quality through ISO 1600. I also enjoy the fact that I can use this camera for everything from sports and action to interiors and exteriors. For my uses, there are no shortcomings with this camera. It covers all the bases well and I would have no problem taking this to any shoot. 10.1 megapixels is a good compromise between filesize and ease of editing.

Lenses:

Canon TS-E 17mm L: The lens responsible for 90% of both my architectural and landscape photography. I can’t speak highly enough of the image quality from this lens. Color rendition, contrast, sharpness and flare control are all exceptional. The tilt and shift functions are a necessity when it comes to correcting verticals and perspective. No more leaning buildings or trees, and by stitching I have what is effectively an 11mm lens on my full-frame 5d.

Canon 17-40mm L: My workhorse before I invested in the 17mm tilt shift. Still a good lens, but lacking in sharpness, contrast and flare control (as well as the obvious tilt and shift functions) when compared to the TS lens. Now mostly relegated to backup duty, scouting and recce use.

Canon 50mm 1.4: My interior detail and portrait lens.  Also the fastest lens I own. Works well to separate interesting features in homes, which is where it finds most of its use. Pulls double duty as my portrait lens of choice if necessary. I owned the 50mm 1.8 prior to this, and the 1.4 is quite a step up in terms of focus accuracy and build quality. I’ve long held that a 50mm prime is a must in anyone’s bag, and if you can’t spring for the 50mm 1.2 L, this is a good compromise.

Canon 15mm 2.8 Fisheye: My fun lens. Incredibly, incredibly wide, as well as sharp. Quick and accurate to focus, although most of my use with this lens requires manual focus. Currently discontinued to make way for the new 8-15mm f4 L Fisheye. To be honest, at over twice the price and one stop slower, I do not see myself upgrading to the new version.

Canon 70-200 f4 L: The baby of the 70-200 series. I’ve though about upgrading to the Image Stabilized version or the f2.8 version, but there’s just no need. The only time I use this lens is in bright sunlight and mostly for novelty use (e.g. Airshows, shooting friends, artsy things, occasionally some lit portraits). Because I don’t feel the need to upgrade, I’ve kept this lens for years. I also am not particularly wowed by the weight of the 2.8 version. I can see myself keeping this lens as long as I’m using the Canon system.

As you can see, I don’t have an enormous stable of lenses. My most used by far are the 17mm Tilt-shift and the 50mm 1.4. The rest are all extremely specialized and only see use a small fraction of the time.

Lighting gear:

Canon Speedlites: I have a smorgasbord of Canon Speedlites. They’re small, easy to transport, put out enough light for the bulk of the shooting I do, and work seamlessly with the Pocketwizard Zone Control system.

Pocketwizard Mini TT1, Flex TT5 and AC3: Together, this setup allows me to remotely control my Canon Speedlites. I can set my lights up, go back to the camera, and adjust the power of each light independently. An absolute godsend for interiors, where I’m often working with multiple lights across three rooms all at different power levels. Oftentimes my lights are tucked into crevices, perched in rafters, or clamped to whatever I can find, which makes adjusting them manually a total pain in the neck. Enter the Pocketwizard system: a dramatic time saver when multiple lights are scattered all over a scene. It’s also much easier to use than Canon’s built-in master and slave setup, which can be a total nightmare. It’s there for backup, but I would prefer never to use it. I imagine that being stuck in hell is being forced to light interiors for eternity using only Canon’s default IR triggering system.

Modifiers: I use a suite of shoot-through umbrellas, all at different sizes, as well as a large 12x12 sheet of ripstop nylon that I purchased at Michael’s. This is great for taming harsh sunlight, creating a huge surface to bounce off of, or just bouncing light around for fill. I need desperately to try out some new modifiers, as I do feel limited with only these two solutions.  Although not technically ‘modifiers,’ I have a large assortment of various stands and booms on which to mount my lights. Everything from 6’ stands to 13’ stands for reaching up into vaulted ceilings.

Misc:

Support: I use a Manfrotto 055CX3 Carbon Fiber tripod with a 488rc2 ballhead. While not the most amazing tripod setup, it gets the job done. The carbon fiber is more stable than aluminum and slightly lighter.  I’ve gotten so quick with lining up a shot with the ballhead I don’t really see the need to upgrade to a geared head at this moment. My next purchase here will be an Arca-Swiss Cube, but for the time being I am okay with the ballhead. It’s never given me an issue, and I work plenty fast with it.

LowePro Computrekker Plus AW: The bag that fits everything. 17” Macbook Pro, all the aforementioned gear, and room to spare. Plus batteries, gels, pens, paper, chargers, and filters. I’d like to purchase a foam-lined rolling Pelican case soon, however, as my back’s herniated disc doesn’t love carrying this thing.

Editing: I use an early-2009 17” Macbook Pro with Adobe CS3, Apple Aperture and a 27” external monitor. I use Gretag Macbeth hardware and software for color calibration. I could use a new computer for the heavy editing I do, but it’s not going to make my photos any better, so I will make due with this for now.

I hope this post helps to clear up some questions you might have with regards to my gear. Don't hesitate to send an email or leave a comment if you see anything you'd like to know more about.



Making Your Architectural, Real Estate, And Interior Photography Stand Out

We all spend our formative years trying to fit in; to be the same, longing to be accepted as 'normal'. Time to move on, kiddos.

Lately, I’ve seen more and more forum posts, blog entries, and rants about how hard it is to make it in photography. About how they’ll never be able to make a living because they’ve been undercut by the $30/hr hobbyist-turned-pro portrait photographer with a full-time day job with benefits, or the dreaded “Craigslist Wedding Photographer” posts.  My question is this: Why are you even competing with them? Why are you trying to do the exact same thing? I see it every day, there are hundreds of thousands, if not millions, of photographic clones out there. Now, you can take this all with a grain of salt- I could be way off the mark. I’m young (23), I didn’t own a digital camera until late 2008, and I’ve been shooting paying gigs for half of that time.  But somehow I’ve managed to make this my full-time job. The last eight months, it’s been my only source of income. And unlucky for me, my parents, while I love them dearly, aren’t paying my bills!  So it’s sink or swim, really. Has luck played a part? Absolutely. But luck only gets you so far. You need to keep juggling, keep those balls in the air, and while it may start with some luck, it doesn’t last forever on luck alone, and luck hasn’t made my client list grow exponentially from when I started.

One of the most important things I’ve learned in my short career is to know how to differentiate yourself. Somehow I managed to sail right over the heads of all the photographers in this area shooting architecture and real estate, undercutting me by 80% in some cases. I could be a sales genius, but I’ve hated every retail job I’ve held.  I have a long list of repeat clients, and a steady flow of work to keep me busy. 

So how have I differentiated myself?  (Warning: there’s some tech talk ahead!) I hope that if you don’t shoot real estate or architecture, that you can take this and learn from it regardless. It doesn’t have to be interiors or exteriors – the whole point is that you need to be different. This is how I do it – hopefully it will spark some ideas in your head.

I try to make every shot stand out. There are literally thousands of real estate photos out there, all of them bland, with no TL or C put into them by the photographer. No lighting, no editing other than a few run-of-the-mill HDRs. Every photo I take gets a seemingly impossible amount of love put into it for the volume of work I put out.   I’ve become intimately familiar with Photoshop, my cameras, my lenses, my lights. I know how everything works inside and out. While attending school at the University of Vermont, I was lucky enough to come into contact with the brains behind PocketWizard, a photographic accessories company who makes some incredibly powerful off-camera lighting tools. I interned there for the spring semester of my senior year, and they were kind enough to send me off into the real world with a few of their new products, which I have used to great effect in my photography. In particular, the Flex TT5, Mini TT1 and AC3. These dramatically cut the amount of time it takes to light an interior. Which means that I can spend less time fiddling with lights and settings, and less time making the shot happen. Take this photo as an example. Here’s the ambient frame, before any supplemental lighting, or before I cleaned it up. Just getting in, getting the lay of the land.

Next shot – I’ve cleaned up some debris here and there, and rearranged some things to tidy the space up. I’ve popped a few flashes in behind pillars and poles. They’re Canon Speedlights on PocketWizard Flexes, with a Mini TT1 and AC3 on my camera.  Two lights behind pillars, one to my right shooting into the vaulted ceiling for a tiny bit of fill.

 

Still pretty dark. Without even leaving the camera, I dial up the flash power on my Speedlights using the AC3.

 

You can see how the light from the flashes has killed the ambient coming in through the windows on the walls.  The hotspots are all gone – we have nice even lighting after bouncing it off the ceilings and walls.

And this is where the fun begins – I grab a Speedlight, throw it on my handy monopod with an umbrella swivel on the end, and start firing off some accent shots. Maybe five or six in total where I see fit – just to make the image pop and draw attention to nice aesthetic and useful/fun features of the room.

Here’s a not-so-flattering shot of yours truly giving the pool table some light. Excuse the Beatles haircut.

And finally, I put it all together in Photoshop. Thanks to the PocketWizards, the majority of the work is done. White balance is correct and the room is lit evenly (evenly enough for what was literally three minutes’ worth of work!). I make some quick layer masks of the accent frames I took, and layer them onto my flashed frame.  Here’s the finished product in all of it’s glory.

All of my shots get this treatment. Total time making this shot happen? Probably 10-12 minutes. We’ll be generous and say five minutes in the field, and five minutes in post for this one image. For an average shoot of mine, which finishes with 10-15 interior images delivered, that’s about two hours of work in the field, maybe an hour and a half finishing up and retouching the images, giving them that ‘pop’.

So, for roughly three hours worth of work, given that I stay away from Facebook, AKA ’The Freelance Productivity Killer’, what do we get? An image that jumps off the page when it’s sitting next to the typical real estate shot, which is invaluable in one of the most competitive markets ever.  More views = more sales, plain and simple. My clients appreciate this, and they keep coming back to me because of it. 

Lastly, it took me a long time to figure all of this out. I’m using this as one example of how it’s possible for you to differentiate yourself from all of the other hacks out there, and get your work noticed. It might take you a bit of time to figure out a formula that sets you apart, but once you get it, I promise that it will help you dramatically.