Ezra Stoller - Photographer

Still sitting researching Architectural photographers and again noticed this gentleman  

Ezra Stoller was born in Chicago in 1915, grew up in New York and graduated from New York University in 1938 with a BFA in industrial design. As a student, he began photographing buildings, models and sculpture. In 1940-1941, Stoller worked with the photographer Paul Strand in the Office of Emergency Management; he was drafted in 1942 and worked as a photographer at the Army Signal Corps Photo Center. He died in Williamstown, Massachusetts, in 2004.

During his long career as an architectural photographer, Stoller worked closely with many of the period’s leading architects, including: Frank Lloyd Wright, Paul Rudolph, Marcel Breuer, I.M. Pei, Gordon Bunshaft, Eero Saarinen, Richard Meier and Mies van der Rohe, among others. Many modern buildings are known and remembered by the images Stoller created. He was uniquely able to visualize the formal and spatial aspirations of modernist architecture. The first time the American Institute of Architects awarded a medal for architectural photography, in 1960, it was given to Ezra Stoller.

He gained notoriety by producing stunning images of Modernist buildings of the early sixties. He managed  by the use of mono crome, fascinating shapes and distinct tonal range to create interesting pictures of even the most simplistic and basic buildings. The Gugenheim museum in New York is very plain in its exterior texture but that in itself merely serves to add intensity to the shapes and patterns of the facade. By capturing the shades and framing the picture Stoller has provided even more interest over the full depth of the picture.

This internal picture uses the tonal range very well and uses the dark tones to lead into the picture. Again he uses tones, shapes and patterns to break up and add interest to what would otherwise be a fairly jumbled shot.

Again the tonal range here is large and leads the eye into the picture. The shapes and patterns created by the tones are very interesting and to add more interest he has placed a person as the focal point. Note the rule of thirds is adhered to and the shade on the plinth adds foreground interest.

Fascinating picture with many focal points. Also the lines lead into and around the picture, both horizontally and vertically. Again the shades and tones create very interesting shapes.

Paul White - Architectural Photographer

Wednesday 3rd November 2010 - Probably unable to make the class tomorrow due to late meeting in Birmingham. But not to miss out spent the evening researching Architectural Photographers.

Noticed this chap a few weeks ago but now taken the opportunity to study his work more closely.

Paul White has been shooting high quality creative images for the building and construction industry for over twenty years, working all over the UK for architects, developers, contractors and building materials manufacturers. Our client list contains many companies who have used us over and over again, testimony to the quality of work and our attitude to you, the client.

Paul White trained as a Chartered Surveyor, before a career change  to his childhood passion of Photography. This grounding in the property sector provides an understanding of building photography that no amount of college training can match.

He seems to revel in focusing on particular details and photographing them using unusual vantage points. He thus creates interesting shapes and patterns with well defined focal points. In many cases the resulting image becomes a study in contrasts and gives an almost abstract image.

Assignment planning

Got home fairly early Friday pm and decided to take a stroll into Lichfield to look for possible photo opportunities around the Cathedral. Lichfield is a very historical city with many well preserved old buildings. Not least of which is the Cathedral and the numerous tudor buildings which surround it. Taking due note of the "light" and "perspective" which I have been reading about, managed to indentlfy several keys shot areas to revisit when time permitted. Needs to be on a clear evening just as the sun is setting when the light is at its most interesting.

That time of day requires my tripod and remote so as to maintain the stabliity of the camera in the slow shutter speed setting which the light will dictate. Also I will need my 10-24mm lens to capture the width and depth needed for the shot. Will also take my 75-300 zoom to capture the detail.

Will try and take the shot on Sunday evening to minimise the vehicular and pedestrian traffic and hence reduce tha risk from a health and safety view point. But will be mindful of the lack of light and the potential for hazards so will keep a torch and high visibility vest with me.