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For my brief thoughts see: Medium/Large Format Digital?
Kirk Gittings (Website) and friends commenting on the contemporary practice of architectural photography
"Perhaps when you have a chance, you can give me advice on what steps to take to become an established [architectural photographer] photographer?"*Cynical Note* To be frank, due to the economy, this is perhaps the worst time imaginable to be trying to get established as a photographer. Clients are dropping like flies and even established pros are slashing their prices.
Your work is great. Just curious: How much of your work nowadays is a result of your marketing efforts vs. clients coming to you because they'd seen your work elsewhere vs. old clients who rehire you?Tonnes, 90% of my work is from repeat customers, many of whom I have been with for 25 years. Some were my AP students from architecture schools. We have grown together in business, exposure and reputation. Some clients you can't do this with. Some will come and go and that is understandable to. They want to try out the new guy or the cheaper alternative. But the ones that stick with you and you mutually build your careers together are worth their weight in gold. The new clients come from a variety of sources but most often either from seeing my work in magazines, referrals from existing clients and from web searches in my area that led them to my website.
Karl inquires......can you share any more details on your technique for using a bubble level on the 5DII viewing screen? Which make/model of bubble level you use... how you level the camera left-right... and the accuracy you're getting?For leveling left to right, I eyeball it with the help of a gridded focusing screen in my camera. This won't help Karl. He might want to look at some kind of leveling plate for his tripod? The Manfrotto level I use is from B&H. Hot Shoe Bubble Level
The reason I ask is that I'm shooting old, tilted ranch buildings for a cultural resource survey on a wildlife refuge. There's not a true horizontal or vertical in any of the buildings and accurate camera level is critical, both in the up-down pitch for leveling the 24 TS-E and left-right roll for the buildings' verticals....
....can a photographer, or any artist, by beautifully rendering an aesthetically questionable building, serve as an apologist for "unimaginative" or "offensive" architecture?
Hedrich Blesing in Chicago has been at the leading edge of commercial architectural photography for 80 years. They are a great bell weather of real changes in the genre as they are conservative technically and don't follow fads. Every year I take my arch. photo class from the Art Institute on a fields trip to Hedrich Blesssing and use the trip to see how they are responding to the digital developements. This year an extraordinary young photographer, Jeff Millies, gave us the tour and showed us his work. This is where they are at:In June 2007 I wrote this report:
Overwhelmingly they are shooting 4x5 trans. film, primarily Kodak EPN and Velvia and swear that as long as film is being made they will shoot it.
But everything is being scanned on Imacons and delivered as film or with scans and digital contact prints. The traditional printing darkrooms and C print processors are idle. Most of their clients don't know what to do with film anymore. They need digital files. The magazines and book publishers still want original film usually. Film is sent out to a lab. Their famous retouching is being done on original trans. when needed but primarily on scans via Photoshop.
A very few down and dirty or low budget jobs are being shot with digital capture, exclusively on the high end Canons with PC lenses. They use these for scouting shots too.
They are building a new facility out of the Loop where they will have better access which and will eliminate the traditional darkrooms in favor of computer work stations.
They are always very gracious and sharing. They have the confidence of artists who are at the top of their game and not worried about competition. We will try and get them to present at the View Camera Conference in Chicago next year.
Their digital evolution is about what I expected. Two years ago they started scanning film for particular clients who requested it and now everything is scanned.
Yearly update.....That was 1 1/2 years ago. I wonder where they are at technologically now?
I took my architectural photography class at the Art Institute of Chicago to Hedrich-Blessing again this year. If you are unaware, Hedrich-Blessing is an architectural photography firm in Chicago that goes back to the 20's. They have 8 full time photographers that travel the world and with probably twice that number in support staff. Almost anyone who put together a list of the top ten APs in this country would include 4-6 of these guys. I have been taking my class there for the last 8 years. They are real gentlemen, very sharing and thorough going professionals. They are at the very top echelon of their field and the bell weather of where the field is going as they are very conservative technically and do not follow fads. I really appreciate the time they take out of their busy schedules to talk to my students.
FWIW
They are still shooting 70-80% film, Kodak EPN and Fuji 160 Pro S. Digital is Phase One backs and Canons. They are not thrilled by the digital cameras/lenses available for use right now for AP. All film is scanned. In their new building (a superb fascility built specifically for them), there are no wet darkrooms at all, just Imacon scanners and inkjet printers. They have grave concerns about the future of the films and Polaroid they depend on and as a result are following industry developments closely.
Advice to my students from the managing partner.........(if you knew these guys you would know what a radical statement this is for them)........"I wouldn't spend much time learning traditional film based architectural photography techniques."
Traditional architectural photography is documentary. It’s intended to be aesthetically pleasing, of course, but the primary concern is to accurately depict the appearance of a structure. Most architectural photographers come to their craft through their love of architecture. Robert Polidori is different; he’s different in his approach and different in his motivation. He’s different in about as many ways as it’s possible to be different...by Greg Fallis from http://www.utata.org/salon/20766.php