In a really egotistical way it would probably be doing the stamps for the London Olympic Games. They weren't hard to shoot but being chosen for that job was really amazing.
Why British architecture needs to be open to all talents | Art and design | The Guardian
None of my friends or family cared about what I did for a living until I shot the stamps and then they were all very impressed! It was the fact that the Royal Mail is such an iconic brand, and the Olympics as well. That's a brilliant commission to get because it's an amazing building; I'm shooting it for the 5 main contributors, and probably some of the subcontractors as well.
A bit of both. The main companies involved, the architects and builders, they will have access to all the shots and can divide it up how they want. The subcontractors may want things shot in a way that highlights their work, so there'll be separate shots taken as well. It's a really exciting job to be doing. The thing I really notice now is that because people pay a fortune for their education, colleges have had a tendency to make all kinds of promises to photography students. A steady number get in touch with me and I read the prospectuses of these places, and they say something to the effect of 'do our course, give us all this money, and you will come out a professional architectural photographer, able to accept briefs, etc.
Clare Lou | Architecture Photographer | 22/07/19
If you're really lucky you might get a job as an assistant, but it's getting harder and harder. When I started out I couldn't walk down the street with all my gear, so you needed an assistant just from a practical angle. Now I can pretty much carry my camera equipment in my pocket, and there's a massive amount of time spent in front of a computer, which no assistant really wants to do. The first time you meet a client might be on the shoot, and sometimes students struggle to see things from their point of view at that stage.
For a day, a week, or however long, you work for that client, and fundamentally you are on their side, their concerns have got to be yours, otherwise they're not going to use you.
You have to listen to them and what they say. It isn't good enough to think 'I'm a great photographer, let me do it my way', that's not what works. A lot of young people assume the secret is to be a wonderful, individual photographer and that people will flock to them. Sadly, it's not like that. I read a while ago that it takes 10 years of hard work, regardless of what you shoot, to become a professional photographer — where you can secure an income, pay your mortgage, etc.
That was about right for me, and I've watched 2 assistants of mine take that long. So the main thing is to have patience, which I think is increasingly hard to exercise when you've paid all that money and been made all those promises.
Architecture BSc (ARB/RIBA Part 1)
You can see more of Paul's work here. Construction contracts. Fire safety.
The health of a Victorian town. United Free Church of Scotland. Sustainable urban Drainage Systems. D esigning Buildings Wiki Share your construction industry knowledge www. Newsletter Register Sign in. Edit this article. See full history. Main author Michael Brooks. Interview with Paul Grundy - Architectural Photographer. Paul Grundy: I went to art school at 16 to study sculpture and was there for 5 years. PG: All the photographers I liked had nothing to do with architecture.
DBW: So is it not strictly necessary to have architectural training? PG: There are a lot of architectural photographers who trained in architecture, and some see that as a plus, but I think if you can't look at a building and see what it's about, through common sense, there's something wrong. PG: The endless problems with timing. DBW: Is it important for a photographer to know the programme of work in order to capture the important stages such as topping out? PG: It varies from client to client. PG: Interiors are easier once you know what you're doing, you're in control of everything. DBW: What's your favourite piece of equipment to work with?
PG: I use a Hasselblad, their lenses are just to die for. DBW: To what extent do you research or investigate a building prior to shooting it? PG: Often I go on the morning of the shoot and spend half a day walking around the place. PG: I did a off the roof of Centrepoint recently, over 24 hours and technically it was very tricky because it had to be shot from 12 different points.
DBW: What's the most significant change or development you've seen in architectural photography during your career? PG: Digital definitely. DBW: Do you have a favourite commission that you have done in the past? DBW: Will you take bespoke photographs for each of them or will they all use the same batch? PG: A bit of both. DBW: What advice would you give someone looking to pursue a career in architectural photography today?
PG: The thing I really notice now is that because people pay a fortune for their education, colleges have had a tendency to make all kinds of promises to photography students. All photographs copyright Paul Grundy.
2. The Magic Screen
Architectural photography. Computer aided design CAD. Concept design. Grant Smith - Architectural photographer. How to commission architectural photography. Photographing buildings. Samples and mock-ups. Simon Kennedy - Architectural Photographer. Share Add a comment Send us feedback. The case studies elucidate how these principles are taken into account in design. Charts illustrating how various artificial lights work relative to the principles are particularly handy, additionally reiterating that lighting design is engineering, a means of quantifying what is ultimately a qualitative experience.
With his Transmaterial website and series of books, Brownell has become a valuable resource in the architectural community for innovative materials and applications. Material Strategies focuses on the latter, how various materials are applied to create striking buildings.
It's no surprise that "disruptive technologies and applications" are an important part of the book. The categorization of materials mineral, concrete, wood, metal, glass, plastic echoes other books dealing with the same subject matter, but Brownell only skims the technical aspects to focus on the way certain materials are used formally.
Unfortunately many of the images in each chapter overview are too small for understanding, but this is overcome in the case studies. His experience comes through in the discussions of transformations in technical terms, in dealing with controversies arising from reuse, and obviously in the aesthetic possibilities of juxtaposing old and new.
But it is also found in his projects inserted amongst higher profile projects by bigger names. Overall the selection of case studies is a varied yet quality mix of small interventions, major additions, repurposed buildings, and none of the above — the author's wording for the four chapters. I'm a huge fan of new and old existing side-by-side, or in some cases inside-outside, so I'm glad to see a book promoting the practice with various theoretical and formal reasons.
David Bergman's book lies somewhere in the middle, but closer to the former, thanks to a predilection for the second of his two categories: incremental solutions and innovative ones. Incremental solutions are things like compact fluorescent light bulbs, which are helpful but not enough. Innovative solutions, on the other hand, ask different questions, such that "how do we make a cleaner, more energy-efficient lawn mower?