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The forms of marketing at our fingertips today are quickly becoming the digital Twelve Days of Christmas (its the Holidays right? So I had to make a connection). I’m wondering when the same analysts that price out the cost of the Twelve Days of Christmas will focus their sites on the total cost, both time and dollars, for businesses in todays marketing venues. Certainly it varies by size, type and goal of each individual company. As a small business, and I mean singular small, as in, well, it’s yours truly and yours truly alone, the time investment is often the gargantuan hurdle faced. Frankly, some of the venues for marketing I don’t break into an Irish jig for, but occasionally I’ll feel the music and bust a jig, or two. (Thankfully only my closest friends and family have ever witnessed my “sense” of rhythm)

I’d heard about Instagram, but didn’t completely grasp the concept until brought up to speed by my kids, isn’t that so often the case these days. Evolution of our society eh? There was a day when the kids helped sow and harvest the crops, now they train their parents on technology. So now the interesting, humorous, thoughtful and inspiring images I look to capture with my iPhone have a home and hopefully an audience to enjoy. If you’ve made it to this point of this blog post and so inclined to follow along on my Instagram journey, look me up at c_hatter_photo and catch a glimpse behind the scenes of the images on the website.

I’m a big believer in opportunity. Each project I photograph represents an opportunity to either reassure an existing client that they are working with the right photographer or in the case of a new client that they made the right selection. Recently I had the opportunity to work with a new client Outdoor Living Brands, and specifically their landscape lighting division, Outdoor Lighting Perspectives. Larry Spada of Outdoor Living Brands contacted me based on a referral from my long time client, Belgard Hardscapes, both significant product manufacturers in the every growing outdoor living market. The goal of the project may appear somewhat straight forward, multiple locations in Charlotte, NC in August; capturing a range of outdoor living spaces to illustrate the dramatic difference outdoor landscape lighting can bring to your home. To enhance the story of the images, each location would have a theme, an event of sorts that would include people as well. A few key words you might want to highlight in the summary of the project, August, Southeast, Outdoor, hmmm, well yes it can be rather normal that time of year in the Southeast to deal with afternoon thunderstorms. Also I should mention a technical lighting issue, photographing at dusk, necessary to illustrate the effect of outdoor lighting, usually is most successful utilizing tungsten lights and typically longer exposures. Exposures in the 30 second range are quite typical in these lighting situations, however, incorporate people into the mix, teenage boys in a swimming pool for that matter and, well, holding still for that length of time wasn’t going to be an option for the talent. So, let’s dive right into how we succeeding in producing the images to meet the clients needs.

Our first location was the intimate neighborhood gardens of Wing Haven and the setting for a mother and son, an evening story, teddy bear in grasp as the garden is engulfed by the warm, comforting illumination of Outdoor Lighting Perspectives fixtures. A mid morning scouting visit presented our first project challenge, MOSQUITOES!!! A strand of wisdom to pass along, if at 11AM the mosquitoes are swarming like the Lilliputians in Gulliver’s Travels, well let’s just say you have two options for a 8PM photo shoot, either make reservations at your nearest blood bank for transfusions or you call in the Mosquito Squad. Quite convenient actually, Larry had a bit of a connection, Mosquito Squad happens to be a division of Outdoor Living Brands. Problem solved, blood bank reservation cancelled and the photography went smoothly. This initial location also allowed for the outstanding team that we put together for the project to really mesh. In addition to Larry, Martin Speer with Outdoor Living Brands was on site, Ken Brantley, the local Charlotte lighting franchisee patiently placed lights wherever we asked, Timur with Blackbox Studios provided assistance and local knowledge, Sissy Duncan with Simply Beautiful Artistry handled hair, makeup and talent support, and lastly my trusty assistance, Zack Benson, an accomplished photographer in his own right and a phenomenal second set of eyes on any project.

Our next location, the classic pool party, enjoyed by guests of all ages, and when I mention guests, it was 14 to be exact. The entire team realized this was going to be our most challenging evening. The sheer number of people, expanse of space, 40 ft plus trees to illuminate, all challenges and then that traditional afternoon thunderstorm began to rumble in the distance. Two hours before “go time” and all the talent is indoors, watching the rain fall and wind blow across our “pool party” set. At about 1.5 hours to “go time” Zack approached me, grinning a bit, really what else could you do, and asked, “so whatcha thinking?”. My response, with a matched grin, “We are going to be fine, it’s going to blow over and actually its going to really help us, going to cool things down for the talent”, at that point I’m essentially trying to convince myself of what I’m saying. Over the next 30 minutes there are a few meetings, I reassure Larry and Martin that everything is going to be fine, it will blow through, figuring the more I present the idea, just maybe the weather gods will hear me. Then updating all the talent on our game plan, which essentially was, this is all going to work out, but we are going to be working in a little tighter window so we discussed the plan in depth. Then a pep talk with the production team, laying out our lighting configurations, as we utilized tungsten for the overall set, then switched to strobe to capture the set with talent. We all had our tasks, from cleaning areas of the set, setting props, positioning lighting, all to happen as soon as the rain ceased. With 45 minutes until dusk, the rain finally lifted and let’s just say I think our team could land a grounds crew job at any Major League Baseball stadium of their choosing, it was impressive and the challenge of weather provide a terrific opportunity to showcase the talent of the team.

At this point in the project, I figured I’d used up most of my nine lives, the logistics of trying to rework schedules for talent numbering 14 is significant, so I really thought we’d enjoyed all the breaks we’d receive. I do know for a fact, that after the project above, the family homecoming, I definitely had used up all of my nine lives. The forecast was rather definitive, 100% chance of afternoon thunderstorms. Reminding me of the dialogue between Mary and Lloyd in the classic comedy, Dumb and Dumber, where Lloyd is pressing Mary for the odds of them ending up together, Mary explains that its a one in a million chance, to which Lloyd, responds, “So you’re telling me there’s a chance!” For us on this night, it was going to be all about when and where, the storms would hit. The location happened to be near a golf course and that proved to be our savior. I can’t tell you exactly how many miles away lightning is to trigger the “clear the golf course” sirens, but I can tell you its enough time to nail two different angles on a home exterior with multiple lighting setups and talent. I was trying to hold out as long as possible, once again everyone involved, from crew to talent, knew the plan, so when the siren rang out, it was a sprint. It is no exaggeration when I state that Zack, Timur and I ran, we sprinted from spot to spot, lights (aka lightning rods) in hand to pull it off. And pull it off we did, the last light safely under the cover of the garage as the storm completely let loose with all its fury. I think I channeled my inner Lt. Dan from Forrest Gump in the shrimp boat hurricane scene, and in the end as we stood in the garage, drenched, it began with shaking heads and grins, rising to a chuckle and finally all out laughter at what we had accomplished.

The feeling going into the final location was that it might be the least dramatic or powerful of the group. As it turned out I believe it was one of the most satisfying and rewarding. The weather presented no challenges, the only real issue that surfaced was the length of nap time for one, most important member of our talent. Throughout the entire project there was a terrific sense of teamwork and family that I credit Larry Spada and his entire family for fostering, as throughout the days of shooting we shared meals, laughter, amazing creative synergy and a few challenging moments. This final location seemed to encapsulate this feeling, an inviting corner residence in a neighborhood that felt like a neighborhood should. As the sun set and the landscape lighting and our additional lighting illuminated this quaint corner, people stopped on their evening walks, they came out of their homes and a photo shoot become a neighborhood social gathering. A wonderful opportunity.

I received my first camera, a Minolta X-700, for my birthday at age 15. At that time I was most interested in surf photography, as any 15 year old whose spent their entire life along the Pacific Ocean. I was always enamored by the photographs in Surfing and Surfer magazines, that was the dream. As I began a photography class a few months later, I was introduced to Ansel Adams, not personally as he had already passed on, although I did have the honor to meet the late Virginia Adams, true story, one for another post. From that moment, I decided I wanted to be Ansel Adams, along with a few others photographers, young and old. I continued my photography studies at Brooks Institute of Photography and was exposed to Architectural Photography, all the while escaping into the Santa Ynez Valley whenever possible to fuel my passion for black and white landscape photography. As I began my professional career, I chose to focus on Architectural and Interior photography, which I equally enjoy and find professionally and creatively rewarding. On the occasion that I am commissioned to work on a Landscape Architecture project, well, that provides an opportunity to explore the love I have for Architecture as well as the landscape. The Shangri La Botanical Garden project brought together the talents of landscape archicture firms; Jeffrey Carbo Landscape Architecture and Mesa Design Group, and the architectural firm of Lake Flato Architects as well as the featured cover story in Landscape Architecture Magazine, September 2009.

The story in Landscape Architecture magazine written by Daniel Jost is fascinating and insightful, providing the history of the location, the creative partnership that forged this jewel and the natural hardships the gardens have faced just to be enjoyed today. I first heard of the project from my client of many years, Jeff Carbo. I’ve had the privilege to photography Jeff’s work for over a decade and enjoyed the publications and awards, regionally and nationally, that his firm has so richly deserved. The excitement was infectious when Jeff first discussed the project with me, this was going to be a very special project, it was going to be Shangri La. I’ll never forget our next conversation, shortly after the back to back horrific hurricanes, Katrina and Rita. Katrina received and continues to receive vastly more media attention because of the human aspect and levee failures of New Orleans, but Rita was every bit as damaging a storm, it just happened to move through a sparsely populated area relative to Katrina. After reviewing the impact of Rita on the property that would be come Shangri La, Jeff shared with me the startling reality, over 50,000 trees destroyed, fallen, gone; all in a matter of hours in a 250 acre area. That was just the first natural climatic occurrence that attempted to derail Shangri La, months before completion, the rains of Hurricane Ike nearly turned Shangri La into the lost city of Atlantis, dumping inches of rain upon the area and leaving the entire gardens under water. As a garden, one might think, water is good, right? But the brackish, salty water from the Gulf of Mexico’s surge decimated the gardens. Once again the garden opening was postponed as another natural force unleashed its brut force. Once again the design team and Shangri La staff lead by Director Michael Hoke persevered and eventually this jeweled gift was introduced and welcomed the public to connect with nature.

My first encounter with Shangri La came in June 2009. An evening flight into Houston, Texas, followed by a two hour drive along the tiresome stretch of I-10 east of Houston delivered me to Orange, Texas at a late hour, worn from a day of flying and driving. Sleep came quickly as did the scheduled 6AM call time. I greeted Paul Freeland, now of Studio Outside, Jeff Carbo and Michael Hoke and we began our initial tour and on site discussion of the project. The garden experience begins with the visitor center and museum area, which represent the majority of actual built structure on site.

As the sounds of birds, water and gently flowing breezes engulfed me, the slumber of a few hours of sleep captured the night before, quickly transformed to energy, and the greatest of energy, not caffeine induced, but creative energy. The sky was transforming from darkness to subtle tones of purples, pinks and blues, Shangri La was coming to life. There was a silence to our conversations, a respect to the natural sanctuary that was drawing us further into its midsts.

The buildings gave way to the openness of perfectly manicured glowing green grass greeting the first rays of sunlight. The natural sounds were joined by the footsteps of staff beginning their daily responsibilities of maintaining such an extensive garden. But even they seemed to work in a revered silence of the beauty in which they work, also enjoying the coolness of the morning ahead of the expected warmth and humidity of a June day near the Gulf of Mexico. During this initial scouting I struggled to keep my creative excitement corralled, as I needed to focus on all of the details, light, time of day, camera positioning and discussion with the principals to ensure the imagery captured over the ensuing two days would fully encompass the vision of place. We approached the Pond of the Blue Moon just as the early morning light scrapped its way across the water, bringing an amazing glory to one of the highlights of Shangri La.

Arriving at this centerpiece of the gardens we quickly realized our first challenge to capturing the complete vision of this project, elevation. I’ve scaled walls, rooftops and mountains in search of the perfect vantage point, all the while dreaming of the power of levitation, maybe one day. A complete side note, jet pack technology seems to be making strides, here are a couple of my favorites, Martin Jetpack and Jetlev, the concept could revolutionize the way I work, eliminating the constraints that come with helicopters or lifts. On all the sample videos on their website, I can’t help but sense that the operator is quite uncertain about the reliability of the systems, I mean, let’s not get too high off the ground, because that means you have further to fall right? I suppose I watched one too many episodes of the Jetsons as a kid. So back to our challenge of elevation, it was determined that a lift would be our best tool to capture the image portraying the full scale of the pond, a critical image.

The scouting, discussion and tour was completed by 8AM and I set my focus on becoming “lost” within the confines of the gardens and my camera. These are moments where time really no longer exists from a clock perspective, time becomes all about the light and moving sun. Rather than setting a time, such as at 8:30AM the light should be ideal in this area, its more of a feel and visual approach for me. Once the sun clears that tree line, a stance of trees may begin to feel the morning light, but in a few moments, it will cast along this grassy area perfectly with long drawn shadows. Feeling and becoming in tune with the movement of the sun is a dance, thank goodness this type of dance doesn’t require much rhythm, because those closest to me who have been witness know I’m a tad bit rhythm deficient. But to the rhythm of the light I’m in tune.

One of the aspects of my client, Jeff Carbo, that I’ve admired from the first project together is the textures, colors and depth that he creates in his design. I suppose all landscape design includes a variety of plantings and colors, but in Jeff’s work, it the attention to the linear patterns, the subtle differences in leaf texture, its all very subtle, meticulously planned and executed. When the full palette is complete, the work of art completed, it is pure artistry. An amazing talent. There have been opportunities where we have revisited a project after a few years and the living, maturing gardens have evolved, but the complexity and depth of textures and colors age just as magnificently. If Jeff ever becomes a vintner, I would buy a case of his finest wine and know that with each year his creation would become even finer.

As the day progressed, my focus shifted to capture the goal of the Shangri La Botanical Gardens, to connect individuals of all ages with nature. The buses arrived, school children from Lake Charles, Louisiana, a tour group from a Senior Citizen Center in Natchitoches, Louisiana, all arriving to connect and admire. Shangri La took their mission a step further, they are living it. They challenged the design team to create a sustainable, Green site. The results, the first LEED Platinum Certified project in Texas and the 50th such project in the world at the time of completion. As Michael Hoke and his staff of Shangri La educate all guests about living in a sustainable manner, they do so from a position of true honesty and merit. Planet Earth could use a lot more Shangri La’s.

The Shangri La Botanical Gardens have garnered national attention, and deservedly so. In addition to the feature cover story in Landscape Architecture Magazine, the AIA presented the project with the distinguished COTE Top Ten Green Project award. Recognizing it as one of the top ten Green projects in the world.

Although the mystical, harmonious valley described as Shangri-La in the novel, Lost Horizon by James Hilton is purely fiction. However, the metaphor of Shangri La exists today, in a small town along the I-10 in Southeastern Texas, the city of Orange, an unexpected location, the Shangri La Botanical Gardens.