Photographing Every Departure at LAX's South Complex: "Wake Turbulence"

I just spent about 16 hours shooting and putting this image together, and I've written a little blog post, below, detailing some background information and how I did it. While not specifically related to architectural photography, I still find it interesting enough to write and post about, so you'll have to tolerate the tangent this week.

PurePhoto, who sells all of my fine art works, has graciously agreed to offer prints of the shot in 18x36", 27x48", and 36x64" sizes on Hahnemuhle archival fine art paper. I have to say, the shot is truly stunning in large format and anyone who appreciates aviation, infrastructure, travel or imagination could easily spend countless hours getting lost in it. To order prints and view availability, click hereor head to my galleries on PurePhoto.

Los Angeles is a city steeped in aviation history and technology. Over the years, Los Angeles and Southern California have played host to some of the largest aviation companies and activities the world has ever seen. From designing and building Lockheed's top-secret reconnaissance planes to building some of the first large-scale passenger aircraft and having Maverick buzz the tower only a shrot drive south at Mirarmar, aviation is everywhere in this region. Our main airport, Los Angeles International (LAX) is one of the busiest airports in the world and countless airlines use it as a focus city for both international and domestic operations. 

The idea for this photo wasn't some grand thing years in the making, or planned over months. It was simply a clear day in LA and I felt like a total dork sitting inside on the computer. I had to do something. The day before, I was with my friend David Huff at LAX for lunch and some plane-watching, but the smog was out in force so nothing too special happened in terms of photography that day. Since I am generally interested in making photographs that aren't just snapshots of a single moment, I had a thought that it would be interesting if I could seem to capture more than one plane in flight at once. And from there, this idea was born.

This has been done before, yet slightly differently. Ho-Yeol Ryu created a similar piece set at Hannover airport. This showed that what I wanted to do could be done, albeit quite differently. Ryu used planes of all liveries and countries, and took a bit more of an artistic approach in his rendering. My intent was to capture only planes that flew out of LAX - highlighting and emphasizing what an incredible airport that this city has. It's really fascinating to look at all the planes heading in different directions, ferrying people all over the world, all originating from Los Angeles. In this shot alone, there are planes heading to destinations on six continents - either direct or via multi-stop routes on the same flight number. Guangzhou, Auckland, Frankfurt.

In order to capture the shot, I set up a tripod and photographed every single plane that flew across my frame anywhere from 3 to 10 times. Using sandbags to ensure that the camera didn't move and coming as close to peeing myself as I ever have in my 26 years of existence from not wanting to leave my camera unattended, this resulted in over 400 images from which the composition is built, but not all of them were used. Here are a few of the individual, completely unedited, frames that I used to put the entire thing together, so you can get an idea of how many different frames it took!

As you can see there were a number of issues to contend with. Heat haze, the changing angle of the sun, and other traffic on the ramp all had to be mitigated. The best way I found to do this was using masks and selections in photoshop to isolate every single plane in the final image and then piece them all together one by one, nudging them slightly so that they all lined up. I took some liberties with the positioning of each of the planes in order to make a more compositionally interesting photo. True aviation geeks may say this is sacrilegious, but it makes for a more interesting and easy to view shot. Everything is still somewhat accurate in terms of pitch angle and takeoff sequences, but like I said, in order to make it 'read,' I had to take some liberties. 

And that's how it was done! PurePhoto, who sells all of my fine art works, has graciously agreed to offer prints of the shot in 18x36", 27x48", and 36x64" sizes on Hahnemuhle archival fine art paper. I have to say, the shot is truly stunning in large format and anyone who appreciates aviation, infrastructure, travel or imagination could easily spend countless hours getting lost in it. To order prints and view availability, click here or head to my galleries on PurePhoto.

Still with me? Here's an interesting aside. At the time of writing this post, this image has received over 350,000 unique hits on reddit, totalling over 110gb in bandwidth. This makes it the most popular aviation-related in image in reddit history! Not bad, for a nerd like me.

Tigertail Ridge, Brentwood: Architectural Interiors With Susan Jay Design

A few weeks ago, I wrapped a great project with the renowned Susan Jay Design in Los Angeles. On a ridge in Brentwood, with views overlooking Los Angeles' famous Getty Museum and Century City, this location was truly a stunner. Expansive views over all of LA, coupled with a fun yet restrained interior made this one of my favorite shoots of the year, despite the many challenges we faced. The home featured plenty of interesting architecture and angles, and while it is quite a sight for the eye, it can be particularly difficult to photograph. Faced with tight quarters and big windows which required a lot of light, we took nearly 12 hours to create just as many images.

Waiting for the right time of day is crucial - as fighting the sun through those big windows is just asking for trouble. We wanted the interior to appear soft, natural, and livable, so time of day was crucial to avoid harsh light and shadows interfering with our own light.

As has been repeated ad nauseum thorughout history, architectural photography is 90% moving furniture and 10% photography - and we did plenty of moving furniture on this shoot. Endless amounts of books were moved, couches tweaked, chairs tweaked, tables pulled out, and put back in - all to try and tame the color and shape that were present everywhere. With big windows comes busy backgrounds, and making everything work together seamlessly takes a bit of patience (with some good humor thrown in, of course).

This mid-century gem was a real treat to photograph, and added a few nice shots to my portfolio. With interesting lines, incredible furnishings and one of the best views in LA, there was no going wrong with this location.

Photographing The Architecture of Los Angeles From Above (Part 2)

It would appear that I've been bitten by the aerial bug - quite hard, in fact. What began as a half baked idea to shoot real estate and architecture from a helicopter turned into a full-fledged fine art book. So that's the new goal - take 15, 20 flights, amass a huge collection of black and white photographs, and get it together in a big, heavy, thick coffee table book, as it's something I've always wanted to do. I've been keeping an eye peeled for my latest personal project and thankfully, this one is right in my own backyard. 

Los Angeles is a thing of terrible beauty; and sometimes downright misery from street level. But once you're up in the air, it transforms entirely into something else. There are endless opportunities for composition with all of the lines of intersecting freeways, surface streets, and architecture. Every time I have flown in a helicopter now, I make a loose plan to get some shots I've pre-selected with Google Earth, etc. The problem that I have is that the shots I plan on come out just okay, but the shots that I don't plan for absolutely shock me with how awesome they are. That might sound cocky, but some of this stuff is beyond what I'd ever thought I'd be capturing.

Shooting like this is definitely refreshing and a nice change of pace - it's one thing to put something together from a tripod, 10 lights and Photoshop, but it's something else entirely to be shooting something so alive. Nobody will ever recreate these images - and they exist for only a fleeting second. Trying to coax the light and mood out of them in post-processing is just eye-opening - things that you never notice from the air become simply magical once the files are worked over a bit. 

So, here's to this next project of mine. I've got a lot on my plate, as always, between my Iceland project, Pan-Am project, and now this, but these are just too cool to pass up, and I might as well strike while my iron is hot. I'm hemming and hawing over kickstarting this project or just doing it on my own, I'm not really sure yet. Time will tell!

In the meantime, I've been invited to sell these prints throughout a few select stores in LA as well as online through PurePhoto. You can check out the full gallery and order prints, if you're interested, by clicking here.

Aerial Photography Over Los Angeles: Shooting The City's Architecture From Above

Of course there are thousands of ways to photograph architecture from ground level, but an entirely different feel can be conveyed by photographing from the air. I've taken a few trips recently in a chartered Robinson R-44 to photograph homes in the LA area, and I've also taken some time to create images that I will sell as prints in a few interior design outlets and chains throughout California. 

Being such a huge aviation geek, shooting from the air is a total treat. Hanging out of a helicopter at a thousand feet, cruising at 80 knots with the door removed and the wind blasting by is always such a rush. There are a few things you have to keep in mind, of course, as this is an entirely different environment compared to shooting on the ground. No lens hoods, as the 80+mph wind would rip them right off if the lens poked beyond the canopy glass. You can't change lenses, because the slightest fumble would result in a very expensive drop (those cabins are TIGHT, and with all the wind and bouncing around it would be very easy to drop something and lose a lens, or kill someone below) and you have to know exactly what you want to shoot before heading up. At the low price of 10 cubic dollars per minute, loitering to get the right angle or find the right house is going to cost you. Pre-flight planning is super important! You want the right light, the right weather, the right orientation, the right elevation, and the right composition. A big ask!

Of course, it all takes a skilled pilot to get you where you want to go on the first try. It's best to work with someone who has flown a photographer before and understands their needs with regard to light, timing, altitude, and so on. None of this would have happened without the understanding and patience of my pilot, who is able to manage all of my ridiculous photographer demands (up! down! left! right! do an orbit down there!) on top of dealing with the insanity that is LA airspace. 

But what I'm most excited about aren't the photos of homes that I've been doing (which, make no mistake, are hugely enjoyable and I love the results) but the photos that result when I let my creative juices flow a bit. A few weeks ago, there was a relatively large forest fire on the outskirts of Los Angeles. Knowing that this low-lying white, diffuse smoke could make for some fleeting and ethereal shots, I decided it would be a great time to get up in the air. Luckily, the conditions didn't disappoint at all. It was an expensive gamble, but one that definitely paid off. I don't think I've ever seen photos of Los Angeles that look just like this - which is something I always strive for. Why make the same photos of the same landmarks that everyone else has done a million times? 

The conditions have to be right, but when everything comes together, the results are very unique. I'm selling prints of these images at HD Buttercup in Los Angeles, as well as on www.purephoto.com - where you can also see most of my personal work for sale.

Stay tuned for more - as I have a few more flights planned in the coming months, both in LA and in other areas. I'll be revamping my website shortly, too, with dedicated galleries for many of my photos which haven't seen the light of day. Lots of exciting things on the horizon here.

Newport Beach: Architectural Landscape Photography Assignment

I just spent a full week working with Christopher Taylor, a Newport Beach, California based landscape architect, photographing multiple spaces that he designed for his clients. Christopher is a long-time player in the Orange County landscape architecture scene, and his work ranges from sprawling villas to tiny courtyards, so it was fun to shoot so many varied projects in such a short time. We worked to shoot eight projects over the full week - which was tough, with a full schedule, but luckily the weather cooperated and we were able to pull it off. 

 

It's always nice to take a break from the hustle and bustle of Los Angeles and head to Orange County to shoot for a bit. Due to the nice weather, I even got a chance to sneak in a quick beach day before heading back to process the images, which was much needed, considering the work that is shooting eight locations over a full week.

It was also great to work on some new and interesting subjects. While most of my work on a day-to-day basis consists of architecture and interiors, shooting landscape architecture presents it's own set of challenges to deal with. When photographing interiors, you usually have plenty of control over the light (either by waiting for the right time or lighting interiors through windows, supplemental lights, etc), and the same can be said about exteriors (twilights, at least) but with landscape architecture, you are really at the mercy of the weather except in a few scenarios where you might be shooting details or an enclosed space where a flash can be placed appropriately enough to mimic sunlight. This really requires planning the day out in advance - I often woke up early to get some softly lit shots under that famous Southern California June gloom - which provides a nice soft light - and then shooting until the light burned off. It's in the transition period between fog and sun that will really give some awesome results. From there, I waited for the sun to align itself just perfectly for the full daylight shots, and then usually went and grabbed a bite and recharged before heading back for the golden hour and twilight shots (which, thankfully, I was able to control a bit better!).

Despite the frantic pace of shooting, I was more than pleased with the results - as was the client. I got one of my favorite testimonials out of the job, too! After delivering the images, I was surprised to see a quick reply in my inbox (this is a direct quote, mind you!): "OMG!! You're Perfect. I love you! (In the most professional of ways, of course!) Damn me for not calling you sooner!" And that was all I needed to hear to put a big smile on my face.

Below, I've included a few images (some paired with behind the scenes photographs from my iPhone to back them up). I'm looking forward to working with Chris again in the future, and hopefully these images will serve him for a very long time to come.

Me with my favorite tripod!

During....

And the finished image, after post processing.

Shot in total darkness...

During...

And after post processing....

And some architectural details...
 

And lastly, the setup that makes photographing all this stuff possible! 

Historic Architectural Photography: Photographing a Beverly Hills Architectural Icon

Over the past few months, I've been working with the Beverly Hills Historic Preservation Society to photograph historical or otherwise significant pieces of architecture throughout Beverly Hills in an effort to raise awareness of the city's incredibly diverse architecture and the inherent beauty it contains. I've never been an enormous architectural buff or lover of obscure architecture, but I'd be kidding you if I said I haven't started to appreciate the incredible pieces of architecture that can be found throughout LA. While I don't really subscribe to the current 'Beverly Hills' lifestyle (nor do I think I ever will), to be able to work in and see these locations is really something special and I've often got to pinch myself to make sure that this is really happening.

Many years ago, before the influx of people and massive population growth in the Los Angeles area, these homes were crafted with incredible and often painstaking attention to detail and beauty. It unfortunately seems that the homes built in the area today are rather cookie cutter in comparison, and I must say that I really prefer the Beverly Hills of old, all of these homes so full of character and charm, and I very much enjoy being able to raise awareness and show people that there's a bit more to Beverly Hills than the polished and uppity Beverly Hills that we often hear about. Anyway, that's enough rambling for now.

This home in particular is the Locke House, and it lies at the intersection of Rodeo and Lomitas. To celebrate this home's recent inclusion on the list of protected Beverly Hills historic landmarks, a shoot was commissioned and I was so excited to be able to have the opportunity to photograph something so different to what I usually do. It was just a couple of months ago that I was photographing an incredible Greene & Greene home in Pasadena, also of enormous historical signifigance. I'm finding a real affinity for these old homes - there is just nothing like them being built today, and they present a unique series of challenges when it comes to photographing them due to their old layouts and architectural quirks.

Anyway, lets get on to the fun stuff. For this shoot, I used a Manfrotto 3258 for the first time - I think some markets call it a 161MK2B. Whatever it is, I digress, there are a bunch of arbitrary numbers and it's a tripod. It was my first time using this thing - and if you'll notice, it's ABSOLUTELY HUGE! I have been looking for awhile to pick up one of these tripods to get a little bit of elevation in my shots, which is an enormous hurdle to jump. First, I've got to ensure absolutely perfect stillness over the course of hours, which gets exponentially harder the larger the tripod is because the longer legs are susceptible to more torsion and twisting, and the same amount of weight on top of longer legs is easier to move around if they aren't reinforced, and on and on, and something about physics and motion arms that would bore the hell out of you. I wasn't too keen on paying for scissor lifts or Grad-Alls to get elevation, plus they incur a permitting nightmare when you're working in LA, so this tripod seemed to fit the bill perfectly. At maximum extension I can get up to a little over ten feet by my estimating skills. Here's a picture of me on a ladder trying not to hurt myself as I balance up there adjusting settings:

Nerd in the wild!

After I set up the composition and figured out just how to set up this enormity of a tripod, we kicked around and waited for the light to fall so we could add our light and get all of the elements we needed to make the image happen. We were treated to what must have been one of the most spectacular sunsets I've ever seen, which actually just looked TOO good for the final image. I don't want the skies to distract, but rather to add to the image, and while this was simply incredible to witness, it was far too much to use in the final image.

What I ended up using for the final image were some sunsets captured the same night, but in different directions - here you can see how I ended up compositing them and delivering them to the client to pick what she liked best. One of the best parts of creating images the way I do is the amount of control I have over every aspect of an image. Want a different sky? No problem. Different color balance? You got it.

I was perosnally absolutely in love with the top image - it just embodies my personal mantra of 'possible, but unlikely,' striking the perfect balance between an image that is over-edited to the point of being unbelievable, but yet edited enough to instantly grab your attention and let you believe that I captured something that can happen in real life. Here's the final image in all of its glory, which I proudly threw almost immediately into my portfolio.

This is quite a departure from our initial test shot, seen below, and a great example of why it takes so long to create one of my images. Three hours on location and eight hours in post were what went into this shot, and I feel it was worth every second. The client got an image that they won't forget, the homeowner was thrilled, and we presented a unique piece of Beverly Hills in an awesome light that will hopefully get people excited about architectural gems like this.

Interiors Photography: Using Artificial Light To Create Mood And Remove Color Casts

Here is an example of what artificial light can do for an interior photo. While there are many instances where natural light may be all you need, this is a relatively common scenario that I see interior shooters struggling with on a regular basis. 

If you look at the natural light photo, it may look okay at first glance. It's a beautifully appointed, well-staged room, and the composition is as good as it can get owing to obstacles out of the frame blocking any other compositions.

 

But then take a look at the image (below) where I used a healthy dose of artificial light. The true colors of the room immediately come out - the paint no longer has a sickly green cast from the grass outside, the furnishings are their intended colors, and the contrast of the room has improved ten fold. Not to mention the feel that artificial light is able to create - there would be no way to create this Sunday-morning feel using only natural light. HDR would yield a muddy mess, especially in such a high contrast situation, and attempting to use only a single exposure would be a disaster, as illustrated above.

 

So not only does artificial light create a room with correct colors and contrast, but it also lets us entirely change the mood of the photo - something that natural light alone would never allow us to do. And isn't that our job as photographers? To make a space look as good as possible? To want the viewer to say - 'I want that - to be there, soaking up that sun with my coffee and paper!' One of the best things an interior photographer can do for his or herself would be to master not only available light photography, but also to learn how to create emotion via the use of artificial light.

Stone Canyon, Bel Air Home Overlooking Wilshire Blvd

It's been a really busy few months, and I am just now finding some time to catch back up on the blog. I've been shooting all over the LA area, from Thousand Oaks to Simi Valley, Bel Air and San Pedro. The diversity of architecture across this part of the country never ceases to amaze me - you could lose yourself photographing all of the great homes in the area. 

Check out this Bel Air classic located at the top of Stone Canyon. Situated on five acres with a private golf hole/driving range, indoor/outdoor pool with an infiniti edge, and views over Wilshire Blvd. Simply incredible that I get to wake up and spend time in homes like this.

Remodeled Ranch: Luxury Real Estate in Montecito, CA

I recently shot this beautiful ranch home in Montecito, CA. Situated on 80 acres overlooking the Pacific Ocean, the property boasted avacado and lemons groves with over 20,000 plants. The view from the top over the fields was breathtaking, as was the recently remodeled interior. I spent an entire day there and wish I could have stayed longer, as it was an incredibly inviting home and the isolation and quiet, only about an hour from LA, was really lovely.

Photographing The Historically Significant Director's Guild of America / ASCAP

I was recently contacted by Fleetwood/Fernandez, a Santa-Monica based architect, to shoot a new project that they had completed. While the shoot would consist of only interior photographs, the shoot was significant in that it's a remodel of  the Director's Guild of America building and the ASCAP (American Society of Composers, Authors, and Producers) offices. Way cool! For those not aware, the ASCAP is the group responsible for the Grammy awards and for distributing and marketing thousands of popular musicians around the world. There was a significant amount of memorabilia (including Grammy awards) scattered throughout the building and no shortage of instruments used by chart-topping artists hanging on the wall.

While the shoot itself was relatively straightforward, I was testing out the new PowerMC2 made by PocketWizard. I recently purchased a few Paul C Buff Einstein lights and was excited to see how they would compare to my all-speedlight setup, which has been my workhorse for a number of years now. I'm glad to say I had no problems and the best part was that there was no shortage of power, something that the speedlights struggled with when lighting large spaces.

All of the spaces were staged by myself and the architects, and I think we did a great job. I've included a few photos here, and there's a new before-and-after shot featured in the gallery so you can see the staging and retouching work that went into this shoot.