Author Archives: JNPhotographs
In some of the first interior scenes in Lady Macbeth you can literally see the dust falling through the air and, so still are the interiors, that this counts as action. Stillness, silence, boredom – the scene is being set. The house is introduced as a character, the sounds of doors and windows, footsteps on hard floors. Several times we are told how cold it gets, and conversely, how it is best to stay indoors as it is clearly even colder outside. A prison within a prison.
I love films that appear naturalistic, daylit interiors especially (I was reminded of a recent film by Jessica Hausner called ‘Amour Fou’ which is worth watching for the colours and lighting alone) and the quality of light and interiors here is very reminiscent of paintings by the Danish painter Vilhelm Hammershoi. That same sense of silence and the feeling of time passing very slowly if at all.
Some of the interiors in Lady Macbeth are pure Hammershoi with the muted colours, side light and absolute stillness. There is a view right at the end of the film as the main character walks away from us along the hallway that is like a Hammershoi picture come to life. The photography (and presumably lighting) is by Ari Wegner and very beautiful it is too.
But the link that struck me even more than Hammershoi was with a photographer called Desiree Dolron, specifically a series of pictures she made called XTERIORS. The clarity of the lighting on faces, the coldness of daylight spilling in through windows, the darkness of the interiors was all very reminiscent of the dutch photographer.
The visual mood of XTERIORS is darker but the lighting and sense of silence and foreboding is the same – the film is cold and dark to the core. The feeling of being trapped in a house, outside light leaking in slightly but not enough to brighten up the gloomy interiors, nothing good is going to happen here. If there is a soundtrack to this it is creaking floorboards, another thing that Lady Macbeth does really well is sound, the sounds of the house, the outside sometimes heard in the far distance, the quiet birdsong playing over the end credits.
All this Scandi/Flemish noir is right up my street and if you like this kind of thing too then I urge you to go and see the film, but wrap up warm!
“The light of Venice is as important as its space and form. The light on water casts illumination upwards and outwards…..There is a sparkling light, on winter days. But the characteristic of Venice is a pale soft light, like a drifting haze, powdered, part wave and part cloud. It is a pearly iridescent light wreathed in mist. It is drawn from the horizon as much as from the sun. It lends everything unity.” Peter Ackroyd, Venice
The light on the venetian lagoon is hard to describe, it has to be experienced. During a recent visit to Venice I made regular trips on the vaporetto out to the islands of Mazzorbo, Torcello and Sant Erasmo. These islands are all a little further out in the lagoon, all places near to Venice yet far removed. Over time the lagoon became a destination in itself.
Something about the stillness of the water and the way it reflects light from its glassy surface. Something about the hazy wintery conditions that hide the horizon from view, sky and water blending together, indistinct. Something about the softness of the colours, subtle yet vividly there.
This is light as physical substance, you don’t just see it, you feel it. You are ‘in’ it. Endlessly changing, endlessly watchable. The effect of the movement of the water combined with the movement of the boat has a mesmerising effect, it becomes soporific, hypnotic almost. Time moves at its own speed here, like another substance, indistinct and unimportant it passes as we move through it. I have noticed that when out on deck looking into the lagoon people often end up with their eyes closed, maybe the effect can be better felt this way as though what the eyes transmit is too literal.
“What in any case is the colour of water?” (Peter Ackroyd, Venice). “The colours of the sea approaching Venice have variously been described a jade green, lilac, pale blue, brown, smoky pink, lavender, violet, heliotrope, dove grey. After a storm the colour changes as the water becomes aerated. On a hot afternoon the waters may seem orange. The colours of the sky, the colours of the city, are refracted in little ovals of ochre and blue. It is all colours and no colour. It reflects, and does not own, colour. It becomes what it beholds.”
As described in a previous post about people in photographs (“Where is Everybody?”) I often spend time directing people or waiting for passers by to ‘be in the right place’ for a picture. Whilst there are good reasons for doing this it does beg the question ‘what is the wrong place?’.
Users of the space enliven the photograph and sometimes assist in illustrating scale and use. By placing them carefully within the frame they become a considered part of the overall composition. The flip side of this is that if they are not carefully placed within the frame then they will be upsetting the composition, as though people can be in the way, or somehow spoiling the picture.
Recently I have been playing with this idea and trying to just take it as it comes. So, rather than trying to create the perfect arrangement in order to show the activity I can just show the activity. No-one is in the wrong place, they are just in place.
Other people want to look at and photograph the building too, are they ‘in the way?’ or do they in fact illustrate one of the building’s functions, that of ‘attraction’, or ‘destination’ for visitors to the city. By being there myself as a photographer I have become a part of this activity, am I in the way? Am I in someone else’s photograph?
Activity as part of the scene: rather than try to capture ‘perfection’, or my idea of what the project ‘should’ look like why not capture what it happens to look like at that particular moment? Everything can be included, everything is relevant. Rather than wait for everything to change and fit my photograph I should ask myself ‘am I in the right place to show everything?’ Activity as part of the seen.
Taking it as it comes may end up revealing more about the place than a carefully set up image would. For example, a photograph of the exterior of the Kunstmuseum Basel with a car going past obscures the view, but then the building is located next to a busy road and there is usually a car (or a tram) going past so this is a typical view from that location, cars are a part of the view. The road needs to be crossed in order to reach the Museum.
Things that could be considered mistakes may in fact result in more interesting images, more unexpected images. The viewer may learn more about the building through less choreographed images. (I am also hoping that the photographer may learn more about how to photograph buildings!)
In future I will try to make more mistakes, try to take it as it comes……see what happens.
I enjoyed a recent visit to the Portland Collection in Welbeck, Nottinghamshire (Hugh Broughton Architects) to photograph on behalf of lighting designers Speirs+Major, it is a wonderful project which received a RIBA National Award earlier this year. I arrived in torrential rain with little hope for any exterior views at all, however, the storm blew over quickly and we had a brief moment of low bright sunshine when the light flooded into the Entrance Pavilion.
The full set of images showing the lighting design will be published soon, but in the meantime, sunlight and shadow.
Increasingly the emphasis of project photography, be it for lighting or architecture, is on people. Documenting people in the space, their activity, the visitor experience. People are the reason architecture and lighting are designed, they are both creators and end users. This means including (where possible) people in photographs and these are some of the considerations I take into account when doing this.
(a large amount of credit at this point must go to Speirs+Major for not so much suggesting as insisting that my photographs include people.)
Where are they?
As soon as a person enters the frame they become a, if not the strong element within the picture. Immediately the eye is drawn to the figure – so position them carefully within the frame and make sure that the eye is drawn to something revealing. The Serpentine Pavilion project has many good points, but one I particularly enjoy is the level of interaction it encourages between visitor and architecture, it is very direct and playful and leaves me thinking we should interact with architecture more often.
Where should they be?
If the image is of an empty space then the sole focus is on architecture – in this instance the specific focus is a lit wall at the rear of the space.
Once a person enters the frame there is immediately another focal point. In this example the figure brings a sense of movement to the scene as well as demonstrating the scale of the space. Perhaps more importantly they also provide a silhouette against the rear wall thereby enhancing the lit effect that is being illustrated.
Also drawing the eye will be the brightest elements in the frame, in this instance the red lobby in the background is very strong so perhaps the person should be dressed in red to balance that out? Where exactly within the frame should they appear in order to create that balance? Maybe they should be here, or here, or here…….
What are they doing?
As well as drawing the eye people can help to illustrate the use of space and explain what it is there for. Whether it is an exhibition stand set up in order to demonstrate lighting equipment or a workstation in a shoe shop, by showing people carrying out specific activities it is possible to add to the amount of information provided by an image.
How many are there?
What kind of space is it? What is its function? How many people would usually be there? Once full of people the atmosphere of the space is completely altered. It becomes full of life and energy, movement, interaction and of course sound – a subject I will look into more in another post.
Where are they going?
In the image below the suggestion of movement up the staircase serves to enhance the flowing lines and curves of the staircase design whilst at the same time providing a nice contrast with static nature of structure. I usually like to show people moving or blurred, – not only does it show that they are alive(!), but also it slightly reduces the focus on them, you are not wondering about who they are and whether you recognise them or not, it is more generic and keeps the focus on the architecture whilst enlivening the picture.
What are the wearing?
Is this just a coincidence? I find this happens a lot, people will be dressed to match their surroundings (no, really) especially at art exhibitions, it might be just my imagination, but I like to think it is some sort of subconscious decision, we are drawn to the things we like……..
Don’t look at the camera!
You have seen them, but have they seen you? Most people will ignore the camera, some will get out of the way and avoid being photographed, abut then there are always those that want to get involved…………….OK move along now please.
The shadows were as black as ink. / The inky black shadows provided a good hiding place…..for who knows what?
I am really pleased to have been shortlisted for the Arcaid Images Architectural Photography Awards 2016. One of the images that I made at the Serpentine Pavilion by Selgascano has been included in the Interiors category.
The full shortlist can seen here: arcaidawards.com
Sometimes it is good to try something different. This post focuses on the Serpentine Pavilion from 2015 by Selgascano where I got to try out some ideas and approaches to architectural photography that I hoped would show the key aspects of the project from a different perspective.
I liked this Serpentine Pavilion, I thought it was in the spirit of the project (it is after all a temporary structure). It was playful, experimental, immersive & joyful; it was also full of colour. It is so nice to see some colour in architecture (all too rare in London) and some materials that reacted to the sun and brought the sunlight inside – making it a part of the building. The heat came in too, wow it was hot in there, but from what I saw people really interacted with and enjoyed the building. Kids absolutely loved it, literally jumping for joy when they went in and it is rare for architecture to cause this reaction. It was a reaction caused largely by the use of colour and light.
The architect described the pavilion as follows – “We sought a way to allow the public to experience architecture through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, colour and materials. We have therefore designed a Pavilion which incorporates all of these elements.”
Sunlight passing through coloured dichroic film is projected onto the white floor – the movements of the sun are tracked across the pavilion floor during day creating layers of shadows, colour, material and light – an immersive experience.
Large areas of the pavilion’s skin were made out of coloured dichroic film. As well as allowing coloured light to come in this material could be looked through, creating coloured views of the interior space.
Selgascano work using simple everyday materials (as found) often in an experimental fashion, here a combination of dichroic film, coloured ribbons and ETFE are stretched across a steel structure to create a series of interconnected organic ‘pods’.
In experiential terms the architects explain“The spatial qualities of the Pavilion only unfold when accessing the structure and being immersed within it.” So the next step was to take a similar approach to the photographs as well. By trying to be playful, experimental, immersive and joyful, I have also tried to create the feeling of “being immersed within” the pavilion.
As well as using views directly through the pavilion’s various skins I also made a series of views through filters that I constructed out of the same dichroic film that was used to cover the structure. By using a combination of filtration and reflection in front of the camera I was able to play with the ideas of layering and immersion within the photographic process.
As the Serpentine says: The architects’ inspiration not only came from the site itself, but from the ways in which people move through London, notably the Underground with its many-layered, chaotic yet structured flow. By using reflections and views through materials I played with these ideas of layering and flow. There is also a short video that plays with this idea further.
I wanted to respond directly to the project in a way that I felt was in keeping with its spirit. The images may or may not be judged ‘successful’ in terms of illustrating the concept, but the point was to be experimental and not be so concerned with the outcome. Afterall, what other project is going to allow me to do this?