My quarterly “New Work” portfolio launches this morning — a little late (it’s been a very busy spring here at SHP WHQ). Hit the image above to see the full collection.
And as always, I took the opportunity to promote a few of the winners from the last NW collection into my main “Interiors” portfolio, and retired some of the older stuff that I’m sick of looking at.
Among the clients who supplied killer material for me this term are:
Muratore Corp • Custom Kitchens • Bentwood Kitchens • Dumican Mosey Architects • Skyline Construction • Andrew Cohen Architects • Holly Bender Interiors • MB Jessee, Inc. • Michael Friedes Interior Design
Thanks to all!
On location at Mulberry, San Francisco.
Post Production on a hot summer afternoon requires certain hydration protocols.
Rigging the camera so it’s IN the window…just don’t look down!
On location with Susan Harris Interiors, San Francisco.
Pre-shoot walk-through with Arco National Construction, near the Oakland International Airport. This is what 155,000 square feet looks like. In a few weeks, it’ll be full of beer.
More aerials today….and we were dodging the big guys, flying very close to SFO. Lots going on, between a pretty stiff wind and a lot of traffic. We’d ask for permission to fly the line I needed for my shot, wait for them to give us the go-ahead, and in we’d go. Rick Cascelli, the pilot, would push it as far as he could into what is nominally restricted space, yaw the plane and then lift the wing for me. I’d have time for 5 or 6 frames, tops, and then he’d bank hard left and hit the gas to get us out of there.
Air traffic control was actually really good to us – they let us pull that maneuver four times, while keeping Southwest, Alaska, and of course, Continental (above, I think) on time.
This was my firstshoot with Holly Bender Interiors – and hopefully not the last. We shot through a long afternoon and into the evening but got a lot of good stuff.
Holly does “traditional” interiors – and damn well. Take a careful look at how she goes with the flow of the architecture in these shots to create an interior that’s both functional and incredibly comfortable. When I first saw the bedroom at the top of this post, I immediately “read” the room from left to right – with a strong grid pattern on the bedside cabinet mirrored by the grid of the windows. And see how the colors work together? These two elements are connected via the “funky” grid of the duvet. Then there’s the overhead light fixture, which somehow reminds me of the Celtic pattern on the pillows. This room is in tune.
I knew I needed to reflect this with the photo, so I made sure to bring in plenty of color in the window, and gave the bed a warm, rich light from the window side, and made the pillows the focal point of the shot.
In the living room, Holly used a large, white, hide rug to mirror the large, white, peaked ceiling. I like the way the irregular perimeter of the rug reminds me of the rafters and trusses as they join the walls.
Again — in the grey boys’ room above, Holly has subtly worked with the architecture. It’s a classic mid-century modern bedroom, and the arrangement of the twin beds follows the corner windows. The connection between the black-and-white patterned spreads and the zebra rug is obvious. The primary color in the room is really the wood floor, so I used light to warm up the cozy little nook in front of the bookcase to accentuate that and pull the eye in.
I’m leaving the master bedroom for your interpretation. A couple of things should jump right out…but like any work of art, you bring your own vision to it, so let your right brain out for a little walk….you may discover something!
On location with Diana V Interiors in Piedmont California!
In the post above, the photo on the right was made with the Canon 5DmII, the photo on the left was made with an iPhone.
Some folks were doing some pretty good detective work trying to get clues from the composition, and Tor even postulated that the open door was a clue that I’d had this idea, and gone inside to get my phone! Which was great reasoning…but no cigar.
I think that at this size, it’s damn hard to tell. The Canon version has better shadow detail – you can see it in the tress above the house, and in the living room window. And the foliage in the iPhone version is a bit blue, which I find is typical of iPhone. But still, the point is that with a compressed dynamic range like this, it’s really close!
Had I shown you these at full size, there would be absolutely no question which was which. Even at this size, if I hadn’t done noise reduction on the iPhone version, you would probably have been able to tell.
Someone mentioned interiors…..so stay tuned, I’ve got another iPhone v. Canon smackdown coming!