Page 16 - NyghtVision Magazine Volume 3 #2

seemed to change everything for me. We had Photographing a building under construc-
learned how to stretch space, which served us tion also means photographing people at
well in architectural photography. But now, we work—which adds yet another element to the
had to learn to do the opposite—and we had to mix. Here, we were fortunate. The knowl-
learn to do it without sacrificing the emotional edge we had gleaned through years of photo-
experience. In this case, that meant conveying graphing events served us well. Patience, per-
what it felt like to stand in the midst of a large sistence, and the art of "disappearing into the
building under construction while looking out space" were all skills we brought into photo-
at a world that seemed to go on forever. graphing a job site. Time and again, I would
There were other problems as well. A settle into the shadows and wait for the mo-
building without walls is completely open ment that I anticipated would present itself.
to the extremes of light. Everything on the Since construction photography tells the story
south side of the building would be severely that is embedded in the building—the story
backlit. Given that strobes are not practical of people working together, of lives unfolding
in a dynamic work environment, we had no around the construction of a building—this
choice but to adapt our lighting methodol- became a critical part of the emotional expe-
ogy. Moreover, we didn't have the luxury of rience for me. Even when a project has been
stepping away to evaluate our options. We completed, we bring that “living” aspect into
had to adjust our methodology on the spot, the story experience.
and initially, the result wasn't optimal. But
another important lesson had been learned,
and we modified our methodology according-
ly. On the north side of the building we faced ONVERGENCE. It happened again
a different set of environmental issues. Once today. I was at the gym working out
again, we were forced to apply our methodol- C and someone—a regular—decided it
ogy in a new and different way. was time to approach me. Since my dark glass-

16 | the art of convergence