{"id":245,"date":"2011-06-26T11:43:02","date_gmt":"2011-06-26T18:43:02","guid":{"rendered":"http:\/\/www.timporter.com\/seconddraft\/?p=245"},"modified":"2011-06-26T11:43:15","modified_gmt":"2011-06-26T18:43:15","slug":"on-the-job-the-architect","status":"publish","type":"post","link":"http:\/\/www.timporter.com\/seconddraft\/?p=245","title":{"rendered":"On the Job: The Architect"},"content":{"rendered":"

\"Craig<\/a><\/p>\n

Much of the photography I do for Marin Magazine involves showing up at someone’s office<\/strong>, studio or home not knowing what I’m going to find there and then having a half hour or so to make a picture.<\/p>\n

When I first returned to photography seven years ago after a long stint as an editor and writer, these sorts of assignments were nerve-wracking<\/strong>. My technical skills were weak, and I’d spend so much time getting the lighting right — or at least acceptable — that I had little time left over to connect with the person I was shooting.<\/p>\n

It’s different now. I’ve mastered a few basic techniques and have come to love opening the different surprise package that each location offers<\/strong>. With a couple of small lights, some stands and a boom, I can make almost anything work. I’m not Annie, but I get the job done and have fun doing it. And, importantly, I no longer let the gear eat up the short time I have to establish a rapport with whomever is in front of my lens.<\/p>\n

I enjoy shooting in corporate offices <\/strong>because they often have a lot of space and therefore give me several choices for a location. When I arrived a while back at the Skidmore Owings & Merrill <\/a>architectural offices in downtown San Francisco I found my spot as soon as I stepped off the elevator.<\/p>\n

The reception area was spacious, already nicely lit and featured two large wooden models of buildings the firm had designed<\/strong> — and one of them (on the right) was the Cathedral of Christ the Light<\/a> in Oakland, whose designer was the man I was there to photograph, Craig Hartman<\/a>, who also designed the International Terminal at the San Francisco airport. It was perfect.<\/p>\n

I usually have to set my lights before my subject shows up, and I did that here — nothing more than a small light to the background on the right and a round softbox hung off a boom over a bench.<\/p>\n

Hartman arrived about 10 minutes later, wearing a deep blue jacket I knew would photograph well. He was relaxed and easy to work with. I shot for a short time, changing lenses and position a couple of times and it was over. I had been in the building for 30 minutes.<\/p>\n

Here’s the shot the magazine used.<\/a> I prefer the one above.<\/p>\n","protected":false},"excerpt":{"rendered":"

Much of the photography I do for Marin Magazine involves showing up at someone’s office, studio or home not knowing what I’m going to find there and then having a half hour or so to make a picture. 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