Architects, photographers, and curators are increasingly interested in exploring the intersection of architectural design and photography.
Photographer Danica Lee and Curator and Photography Instructor Matt Bowerman are a few of the emerging photographers who are working to explore the intersection between photography and architecture, while their books are also inspiring designers and architects to consider the work of photography as a tool for storytelling.
Lee and Bowermans new book The Architects in the Architecture: A Guide to Architecture Photography and Curators Art in Architecture Photography: Building the Story of Architecture is a collaboration between Lee and curator and photographer Matt Bowers, whose work on the subject is the subject of their book.
Architecture Photography as a Narrative in Photography Lee says: Architects have been fascinated by photography for millennia.
From ancient art to modern design, photography has been an integral part of the creative process for the past 3,000 years.
I think that a lot of photographers who’ve had a lot more time to explore this topic, or have a lot less time to actually work with a camera, have taken a really deep look into what photographers and the work that photographers do have to offer.
And the reason for that is that they’ve become more aware of the fact that there are things that are beautiful that they don’t see in everyday life, but they are part of our everyday experience, and what they do capture in a photograph are not necessarily just in the context of that.
So we can’t just take something and make it the subject for our photography.
I mean, I can go into my studio, and I can shoot a photograph and see what’s happening, but the photograph is still the subject.
I don’t want to do a portrait, I want to capture something that’s actually happening in the space that I’m in.
It’s really about the relationship between photographer and subject.
Bowermen says that photography can offer a kind of storytelling that’s very different than film or video.
“The photographer has a camera in their hand,” he says.
“And it’s always going to be in the way that you’re going to use it, it’s going to look like what it looks like in the photograph.
So the question becomes, how do you use that to tell the story of a place?
How do you tell a story that’s more interesting and that’s not just just about the photographs, but about the building itself?
And that’s where photography is really useful.”
Bowermann and Lee are both architects themselves, but their paths crossed in the late 1980s, when Bowermore invited Lee to participate in a photo project.
“I remember sitting with Danica and Matt in our office and watching their project,” Bowerm says.
We both thought that it was just really cool to be part of it, and then, two years later, it was really important to work with the people that we were working with.
In that way, the photographer becomes the subject rather than the photographer. “
What I think is interesting is that the photographer is the one that has the camera in the hand and is really involved in this relationship,” she says.
In that way, the photographer becomes the subject rather than the photographer.
In their book, Lee and her students describe how, through the lens of photography, architects can capture a more holistic, and more authentic, perspective on a building.
The book is packed with images from around the world, including works by a variety of renowned architects and architectural photographers, including Peter Segal and Norman Foster, who have worked in the field of architecture photography for over a century.
Lee says, “I think that it’s a really interesting way to look at architecture.
I just think it’s really interesting to see what different perspectives architects can take on a project and what the relationship is between the architects and the photograph.”
The book has a very clear message for the future of photography in architecture, a message that the photographers themselves are ready to deliver.
“Architecture has always been a subject of exploration and a way of looking at things,” Bowers says.
He says that the book’s central message is that, like photography, architecture photography is a tool that can be used to tell stories, to capture an experience of a space and to present a sense of context.
“We can’t be looking at something and thinking, ‘I’m going to take this photograph and say, this is what it is,'” Bower says.
Architecture is always a way to create that sense of place and a sense that you are in the moment and you’re seeing something that you have never seen before.
And so it is important to realize and embrace the fact and