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The 2006 'Best Of' Series
For the second annual Best Of issue of the ASMP Bulletin, we selected twenty projects from a field of nearly sixty candidates. It was a tough decision and we thank all those who submitted their work. We hope you will enjoy reading about the projects featured in print and here on the ASMP Web site.
Architectural documentation of Chapel of the Word, Grand Rapids, MI
Solving the issue of multiple light sources would have been challenge enough, but add the needs of multiple clients with strong opinions and specific expectations, and Gene Meadows’ assignment to shoot a chapel became a lesson in grace under pressure. Gaining the trust of the interior designers — who happened to be nuns — was the toughest part of the shoot.
Portrait of Gene Meadows © John Sobczak
All other images in this article © Gene Meadows
ASMP: How long have you been in business?
GM: 19 years.
ASMP: How long have you been an ASMP member?
GM: Since 1995.
ASMP: What are your photographic specialties?
GM: Architectural interiors and exteriors.
ASMP: Please summarize the equipment used in this work.
GM: I use a Horseman body with a Proback & PC lenses.
ASMP: Please describe how you were selected for this assignment and the estimating process involved.
GM: Another client recommended me for the project. I reviewed the clients’ desires, expectations and snap shots, and then worked out budget from there.
ASMP: What kind of research do you do before a shoot?
GM: I review plans if possible, interview the client, walk-through the project if possible, plus review any snapshots the client may have.
ASMP: What was the biggest challenge you faced in going into this assignment?
GM: Working with two nuns with strong opinions and design knowledge, who knew exactly what they wanted and had been disappointed in the past with the photographs of their work made by others. These photographs of their past projects did not match what their eyes perceived on site. Their main issue was over-lit hot spots and under-lit shadows, which either washed out or hid the design details in their interiors. They also wanted to see more of the volume of space in the photographs. (I found that the 28mm Nikon shift lens gave me the best solution here.)
ASMP: What is the most important question you asked this client?
GM: What have you been unhappy with in past photography? That helped me understand what the pitfalls could be.
ASMP: Please describe your approach to the space and lighting in this project.
GM: Lighting was a key design element, with lots of hot spots. I used fill light to balance this.
ASMP: Did the lighting strategies used here differ from those you’ve used in other projects?
GM: Substantially. I used less dramatic lighting, which allowed the space to be dramatic, not my lighting.
ASMP: Please describe your approach to working on a project with multiple clients.
GM: I listened carefully to determine what each client wanted, then fine-tuned my proposal for both the lighting designer, Gary Steffy Design (my original client), and INAI (the nuns’ design studio). Because of the sophisticated lighting of this space, the lighting designer was concerned that any discernible fill lighting would compromise his integrity. He wanted the space shot as is, without supplemental lighting. The nuns wanted everything lit well, so as not to lose details in the shadows. Some shots overlapped for both. I had to balance these somewhat opposing views. After determining their needs, they each selected from the “menu” of shots taken.
ASMP: Please elaborate about interactions with a client who is intending to photograph alongside your own work.
GM: It is an awkward situation. Usually I negotiate on-site to take additional “snap shots” for them, and that works out for both of us.
ASMP: Did this assignment leave you with any new insights or altered vision about your work and business?
GM: Every project expands my horizons. I truly enjoy the range of personalities I meet in this profession.
ASMP: Has it brought you other new projects or do you foresee this happening in the future?
GM: It has brought me another new client as well as additional network opportunities. For example, we were also able to sell images to manufacturers involved with the project. We already had some ties with the Catholic religious community, and these have been further strengthened through the success of this project. Approaching projects as a fine artist has elevated opportunities for my commercial work. Most of my work is by referral. I have found word of mouth is the best way for strong relationships to be forged. We keep in touch via phone calls, personal visits, e-mail and publicizing our fine art exhibitions.
