Three things get me excited about photo shoots: a compelling subject, technical challenges, and working with great people.
Shooting the new Kaiser Permanente Behavioral Health Center in Petaluma for TLCD Architecture gave me all three! From a giant backlit image of a Sonoma County landscape to living moss wall panels, the lobby and reception area has great visual impact and the space just feels good. This project threw us a few curve balls, the most fun was working out how to tell the story of the one way observation mirrors. Icing on the cake: TLCD sent 20 team members and their families to fill our images with life, and they were a joy to work with!
Photographing architecture and people uses two different parts of my brain, and I love shoots that combine the two. I also strongly believe the combination of traditional architectural images and intimate, human focused shots tells a more complete story about what a space feels like. In the end, architecture is designed and built to be inhabited by people! The image above aims to go beyond simply showing the viewer that this space has a living moss wall, it gives the viewer a sense of the magic of that lush organic material and how its presence impacts the experience of the people who visit or work in this space.
I love a good challenge, and finding a way to tell the visual story of this observation room was just that! The center room is where the therapists watch family interactions through the two large one way mirrors. On the right you see the family room and on the left the room for children. The bonus challenge was shooting this scene fast enough that our talented young model on the left didn’t run out of patience!
Check out our behind the scenes video:
This my favorite tip last month – In this episode, I talk about how to work with “bad light.”
Any light can be good or bad, depending on the situation. When you’re on a shoot and the light isn’t working for what you’re trying to accomplish, instead of manipulating the light, try to look for little ways you can shift the composition or subject to work with the light. You might be able to turn that “bad” light into a powerful tool rather than a hurdle you’re trying to get past. Tyler’s Tips Episode 30: Working with bad light
Tyler’s Tips Episode 30: Working with bad light