I recently photographed K1, a private equity investment firm in Manhattan Beach. This unique space, designed by Aref & Associates, opened to terraces and balconies on each floor. I used multiple exposure techniques to both freeze the water feature and maintain noise-free detail in the entire image.
Just saw the Bauhaus Beginnings exhibit at the Getty. I was struck with the similarity of their curriculum with the foundation design classes I had at Art Center— particularly Mary Vartikian’s Design 1.
I don’t think I appreciated all the hours of painting gouache color swatches and doing color studies at the time—but realize that I use this knowledge every day in photographing interiors.
Light can be magical. It defines shape, gives texture, and creates dimension in a photograph.
Prior to photographing a project, I make sure to understand the site orientation and use an app to determine where the sun will be at different times of the day. But I also keep an eye out for sunlight which surprises me. While photographing the home designed by artist Lawrence Dreiband, I was delighted to see light dancing down a curved stairway—and was prepared to capture the moment.
The exterior at dusk is an example of timing as well. Anticipating what areas will need to be lit and waiting for optimum balance between inside and out.
I add lights to a space in order to create dimension, texture, or detail on elements in the room. When shooting film it was critical to place a light where it was both effective and invisible to the camera.
Shooting digital has allowed me to place a light wherever I need it and then remove the actual fixture in photoshop. I shoot multiple frames with and without the additional lighting and combine only the important part of each frame in one final image.
The VER camera prep facility designed by Janice Stevenor Dale Associates presented the challenge of a large open space in a bow truss building. Seating in the foreground needed to be illuminated for form and texture, the rear wall needed detail in order to give the space dimension and the graphic numbers which indicated each work area needed a consistent brightness.
I was able to make this imager by positioning each light as needed, despite being in “the shot”, taking a number of frames, compositing the image and removing the lighting equipment in post.
Last night was the open house for The Bruce Heavin & Lynda Weinman Alumni Center at Art Centers South Campus, 1111 S. Arroyo Parkway in Pasadena. The video wall which is an interactive portfolio of alumni work Is fantastic.
Sou Fujimoto: Futures of the Future is closing soon at Japan House in Los Angeles. At a time when hyper-realistic renderings and video walk-thrus of unbuilt spaces are the norm—it was refreshing to look at architectural models made from found objects which were used to explore concepts. Potato chips will never be the same for me.
I experienced the Robolight Art Installation by Kenny Irwin Jr in Palm Springs and enjoyed being visually overwhelmed—Imagine Burning Man, Day of the Dead, and Santa Land—mixed together with a dash of seasoning by Tim Burton, Vincent Price and Elvira. Kenny is a genius in creating art from found objects.