Commercial Architecture August 2017 - 7

EDITOR'S

notebook

Celebrating Architectural Photography

hen beautiful architecture is created, it's
a rather limited number of people who
are able to experience and enjoy it first-

hand. To share architecture with a greater audience requires photography. Not smartphone "photography," but
images made by professionals who know how to operate
a camera and understand depth of field, lighting, exposure, and composition.
In this issue, we're able to do something that's been on
my editorial bucket list for a long time-present a collection of excellent architectural images made by talented
photographers. Beginning on p. 17, you will be able to enjoy 21 pages of top-notch architectural photography from
seven highly skilled artists. Most of them are members of
the Association of Independent Architectural Photographers (aiap.net).

world when he received a home darkroom kit as a gift

Also, be sure to turn to p. 66 and view the Portfolio

during his junior high school years. He went on to study

image from C. Taylor Crothers. The image is striking on

film and television production and used an advertising

its own. When you read what it is, I'm confident it will

side job to launch his architectural-photography career.

take on a deeper meaning for you.

He is also a sculpture artist and does fine-art photogra-

In addition to C. Taylor Crothers, this special photography section celebrates the work of these artists:

phy and painting.
* Martin King (p. 40) graduated from the Art Center

* Brett Drury (p. 18) is a photographer whose work I've

College of Design, Pasadena, CA, to pursue advertising

followed and enjoyed for many years. He has a unique

work and "any photo job he could find." He eventually

approach to scheduling shoots. Be sure to visit his web-

honed in on architecture and interior design because he

site to learn more.

loves the combination of art and science that photogra-

* Henry Cabala (p. 22) has studied and practiced photography from the time he first had an opportunity to take
a photography class, through his Masters in Fine Arts
studies, and into his professional career.

An old train car photographed by
Brian Thomas Jones.

* Brian Thomas Jones (p. 36) entered the photography

phy provides and the technical challenges presented by
architecture.
* Jim Roof (p. 44) studied piano performance at Georgia
State Univ., Atlanta, where he also developed an interest

* Terry Wier (p. 26) began his career in 1971 in the New

in photography. He applies to his photography a music

York City fashion and advertising world. While shutting

professor's admonition that a good musical composi-

down a studio, he discovered that the images he made

tion strikes the proper balance between unity and con-

for himself were of architecture. He used that discovery

trast. Too much unity is bland and boring. Too much

to launch his architectural photography career.

contrast leads to a lack of cohesion.

* Jeffrey Sauers (p. 30) is a photographer, pilot, and "tech-

Please enjoy what I hope will become an annual presen-

nical junkie." His love for photography stems from the

tation of excellent architectural photography and I en-

art and technology combination it presents. He uses a

courage you to contact one of these photographers for

"texture lighting" technique to give images a three-di-

your next shoot. If you have a favorite photographer you

mensional, rendering-like quality.

would like us to consider for next year, let me know. CA

Gary L. Parr
Editorial Director

commercialarchitecturemagazine.com

AUGUST 2017

COMMERCI A L A RCHI T EC T URE

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Table of Contents for the Digital Edition of Commercial Architecture August 2017