Architectural Photography | Telluride CO

I'll admit it, my heart was racing for most of this shoot: this recently completed One Architects house in Mountain Village, Colorado was filled with SO many incredible spaces, details, textures and juxtapositions I was constantly being seduced by new moments to appreciate.  Another stunning example of no-stone-unturned design philosophy in action.  Kudos to the incredibly talented team who brought this project to such beautiful completion!

Restaurant Interior Photography | Ambria, Denver

I was thrilled to be commissioned by Aspen and Denver based architecture firm, Rowland + Broughton Architecture and Urban Design to photograph their recently completed remodel of this beautiful new restaurant, Ambria, on the 16th Street Mall in Denver. Warm, smoke colored Roots Lotus lights and a long community table create a beautiful gathering area central to the space, while flowing fabrics help define more intimate areas within a mostly open floorplan.

And if you were curious, yes - the food is amazing!

 

Newsletter: Happy New Year!! | Issue 02

Fun with Holiday Lights

Just a little holiday fun around the house... Happy Holidays, everyone!

Fireworks... Denver Style!

Denver threw their first official fireworks party this past weekend - sponsored by the Civic Park Conservancy - and it was a HUGE success!  The Colorado Symphony Orchestra performed a classic July 4th concert, the skies cooperated beautifully (nice rainbow over the Capitol appeared right behind us) and an estimated 25,000 people came out for the show.

For some reason, I think it is positively adorable how much Denver loves their City + County Building; the colored lights on the facade are part of their annual winter Holiday Show.  They made for a creative and original complement to the spectacular fireworks!

Already can't wait to see what they do next year!  

Denver Rocks!!

Denver Twilight

Excited to be shooting the urban landscape after so many years in the mountains. Denver is quite a gorgeous city, and spring sunsets with dramatic clouds are proving to be quite photogenic...

More photos to come!

Bokeh Fun

I decided to go freeze my fingers for one more visit to the Denver Botanic Gardens on New Year's Eve. I wandered around shooting lights and people for over an hour, and had just put my camera back in the safety and warmth of the big 'ol bag when one last tightly wrapped tree caught my eye. It is amazing how often I put away the equipment, only to pull it out "one last time" for what ends up being the best shot of the day.

Honestly, when I saw this last tree, my fingers were sufficiently frozen to the point that I could no longer get them to set the tripod back up, so decided to shoot handheld, with my aperture wide open and play with depth of field. Deliberately focusing on different planes of the branches would force others out of focus, and I was immediately having a great time framing and refocusing.

I always enjoy a good "painting with light" shot, too, so some long exposure motion experimentation was in order as well.

Enjoy!

Architectural Photography | Capture Philosophy: On NATURAL LIGHT

I came to professional photography through the back door, after receiving my Master of Architecture degree and spending many years early in my career practicing architecture, planning and design.

For as long as I can remember, I have been a passionate darkroom and landscape photography enthusiast on the side, and wonder now if perhaps years of chasing ever changing Colorado light -- watching the power of natural and ambient light to dramatically change our perception of a landscape depending on its angle, intensity and color -- came to inform my taste for an architectural photography which celebrated that same quality of light.

My vision for how to photograph ARCHITECTURE specifically was sparked after receiving photographs over the years of my firm’s design work, realizing that I had a deep frustration with the way artificial light was being used in photographing architecture and design.

Natural and designed light are critical to our experience of architecture and design intension. Too much artificial light and you end up with staged, “movie still” looking photographs. Granted, traditional photographers were largely bound by limits of the camera in its ability to capture contrast, but the advent of digital has opened new doors to capture in different ways.

NATURAL LIGHT defines our PERCEPTION OF SPACE

Critical to showcasing contrasting elements and the layering of spaces, is the manner in which a lighting scheme is designed to illuminate, reflect and bounce around such materials and spaces.

The manner in which light - both natural and designed - plays within an architectural space is both the greatest potential satisfaction and most painstaking challenge of my work as an architectural photographer. Few photographic subjects test a camera’s limits as interior architectural photography does with its inherent drastic contrast from a subtle interior scene to the bright sunlight pouring in through windows.*

This presents the greatest challenge to a photographer IF and when the intention is to capture a scene the way our eye sees it.

In the days of film capture, a photographer overcame this technical challenge of balancing inside available light with the overpowering intensity of daylight by bringing in often very large amounts of supplemental lighting. If a view out the windows was important to the scene, artificial lighting was an absolute requirement to allow a camera to expose for both internal and external lighting conditions.

TRADITIONALLY, the consequence of obtaining a bright, balanced shot with supplemental lighting was the death of the intended architectural lighting design scheme, all too often distracting shadows of furniture strewn across the floor, and an overall loss of the subtlety of the interaction of contrasting elements, textures and shadow patterns.

With the advent of the digital capture and processing, it is now possible to push the limits of photography in new directions, coming closer than ever to a photograph being able to convey the subtleties of a space AS OUR EYE SEES IT, with all its depth as well as its intended contrasts. This can now be more closely achieved through a technique of shooting and layering multiple exposures of the same scene under natural and designed architectural lighting conditions.

Different styles are emerging for maximizing and celebrating natural light, from bright sunny interiors with intentionally over-exposed windows, to overt High Dynamic Range photography, where edges are punched and often exaggerated for dramatic artistic effect (a method which can be incredibly compelling, but in most cases, not necessarily the most appropriate method, if the goal is to represent the architecture on its own merit).

In my work, the desired end effect is a natural looking, sophisticated and welcoming final photograph that invites the viewer into the space to appreciate its design elements. This requires painstaking attention to detail and plenty of self restraint when working with up to 7 or 8 different exposures.

I have tried various methods and software programs to achieve results, but I find that I obtain the look I want in the end, only by approaching these layers by hand, selectively using different elements of each exposure with great attention to detail. Patterns have emerged in my process, but I find that a slightly different thought process takes place almost every time I sit down to edit a shoot, depending on what I see in each vignette.

The process of working with natural light can save an abundance of time in the field, as the setup of supplemental lighting equipment is essentially eliminated, but it requires a tremendous amount of patience, skill, creativity and passion for the subject matter after the shoot in the digital darkroom.

Ideally, the finished photograph becomes a sensitive reflection of the architecture, and in the best cases, even a work of art in itself.

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* The human eye is capable of assimilating information from contrasting bright (sun pouring in from a window) and low light (interior) conditions almost instantaneously in a way that a camera is, as of yet anyway, simply not capable.