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.

]]> http://blog.chipperhatter.com/2012/12/01/12daysofchristmasandinstagram/feed/ 0 http://blog.chipperhatter.com/2012/03/26/the-fall/ http://blog.chipperhatter.com/2012/03/26/the-fall/#comments Tue, 27 Mar 2012 00:51:15 +0000 Chipper Hatter http://blog.chipperhatter.com/?p=241

Fall colors change in the Northeast, a tourist destination, an annual economic spike drawing individuals from all over the world to view the green foliage of Spring and Summer turn to yellows, oranges and reds of all shades and tones. Under the colorful canopy lies a world of kaleidoscope warmth as sunlight filters through, providing the last kiss of warmth to the cooling ground.

The Rocky Mountains boast Aspen trees that transform to shimmering silver dollar leaves of gold and bronze as temperatures descend toward their winter slumbers. Without question, a grove of Aspen is a tranquil sanctuary as the breeze gently blows through and the orchestra of colored leaves moves into song.

The California coastline has a magical Fall occurrence as well, not well publicized, it doesn’t draw tourists, in fact it drives them home. It can be dangerous, prompting warning for low visibility along the spaghetti mazes of roadways traversing the “Golden State”. I first recall being seduced by the encroaching fog in Santa Barbara while attending Brooks Institute of Photography. The summer throngs of visitors meandering up and down State Street and Stearns Wharf had all returned to their abodes and a resident could once again travel across town via the 101 and main roads without the crowds. I still often chose the back roads to return home atop the Mesa neighborhood I called home for three years. I noted the thick blanket that appeared to be rolling over the Mesa as though it was tucking a young child to sleep. As I slowly traveled up the two lane road along the back side of the Mesa I saw the patches, rolling, sliding….flying through trees, across yards, soft patches that had broken from the main blanket. By the time I reached home, visibility was minimal, pairs of glowing lights becoming slowly visible as cars tread carefully to and thro. I walked the few blocks down to the beach access, Thousand Steps, known affectionally for the number of steps required to feel the sand between your toes from the elevated mesa perch. I couldn’t see the Pacific, but was drawn down the steps to its edge.

Since that day, as Summer turns to Fall, and the air temperatures fall rapidly atop the Pacific, I look to the coast as the day turns to dusk, searching for signs…..signs that my love may be approaching. In November 2009, I saw the blanket in the distance beginning its descent, I headed to the coast. Often, extreme tide coincide with the Fall fog, and this evening greeted me with the perfect pair. I visited alone this first evening, reveling in the sound of the sea, unseen but heard coming from the west. To the east, the sound of unseen cars traveling the coast highway, an occasional voice as someone comes into view, but speaking in soft voices. The softness of the fog, the silence of it, brings it visitors to a quiet peace. A sanctuary of unseen clarity truly, nothing to distract from ones thoughts, simply a blanket of gray and distance sounds. The following afternoon, I invited a guest, my wife. I wanted to share with her, hoping she would “see” what I “saw” in the vastness of nothingness. That evening, inspired by her and the elements, I captured this image, a visual representation of the feelings within. The lone seaweed patch, like I, before the soft tones and movement of the sea through the vision of the Fog.

Do I hope the Fog of the California Coastline becomes the next tourist attraction in the Fall season? Selfishly, no, I don’t, but just like that quaint new restaurant or unknown artist you discover, you want to share with others so that they too can experience and admire your found passion.

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.

“So what type of work do you do?”, we all get the question, right? I generally responded, “I’m an architectural photographer.”, and then comes the look, the wheels grinding in the head of the questioner, and slowly the follow up question, often asked with a very careful choice of words and some times quite bluntly, “So what exactly do you take pictures of?”. After giving the schpeel on types of projects and type of clients, usually leads to the following question, “So why do they hire you, what do they do with the photos?”, my answer, among many things, “To win awards!”

When I receive emails or calls from clients ecstatic about an award, I’m equally charged and proud. So when I received word from Kevin Babb of Cockfield Jackson Architects that St John the Baptist Catholic Church was awarded a Louisiana AIA Honor Award I was thrilled. To learn that only two Honor Awards were awarded from the fifty submissions, I was even more thrilled.

The general contractor on the project, Faulk and Meek, also received well deserved accolades for the project. The Alliant Awards, known as the “Oscars of the construction industry, presented by the Associated General Contractors of America recognized the project in the under $10 Million category. The project was one of 15 presented nationally.

Congratulations to all the professionals that breather life back into the gem of a church.

Entering the narthex I was immediately engulfed in the warmth and luminous space. The early morning light filtering into the sanctuary, bouncing amongst the light toned walls and drawing the warmth from the pine floors to welcome each new visitor. As I walked the project with the client I was amazed by the blend of new and old, a testament to the design and the talented craftsmen that spent countless hours breathing new life into this 176 year old church.

The opportunity to walk through a project with a client is always important as their insight and noting of details provide a story to a project. It’s like an introduction to someone you meet for the first time that builds the foundation for which your own relationship will grow. It adds depth to the story I work to write through images. I must be honest, I was a bit eager to get the walk through completed and have the church to myself, not because of the company, my clients were terrific, but rather, from the moment I stepped within the church doors I felt the life of the space and was energized to begin the photography.

I often envision projects as alive, possibly because I spend a lot of time alone with them, searching for just the right angle or light to best portray or tell their story. Certainly the people within them bring life to them, but even when it is just the two of us I sense it. The way they evolve throughout a day as the light changes, the way they reveal a different view even though you’ve walked the space countless times, there is life. With a renovation project the history lives within the walls as well. Before anyone gets concerned, I don’t hear voices and I don’t talk to buildings…..often.

I must admit, St. John the Baptist Catholic Church certainly did speak to me. The history, the mighty Mississippi, swollen above flood levels and tempting to breach the levee, just outside its doors, the spirit, the presence, yes, it had it all. Everyone hears it differently, but I heard a soul thanking all that entered its doors for the new life that has been breathed back into it as it prepares for its next century.

In January we reconnected to discuss the photography needs for Model Design, the new architecture and design company created by Andrea and Jeff. I made a trip north to scout and discuss projects so that I could produce an estimate for the scope of work. The three of us hit it off, a number of commonalities, from surfing to husband and wife work team to the kicker, Jeff has an Uncle Chip, yep, thanks Mom and Dad, the name seals the deal. As they were really beginning their marketing as a company, there was a substantial volume of work in need of documentation. Their work is outstanding, their projects illustrate their creativity as artists and their passion for their work. Once again the voice in my head, “I want to work with Model Design”.

There was one particular project that grabbed my attention. A renovation in San Pedro, a typical 1950’s ranch style home turned into a comfortable modern interior with sparkling iridescent glass tile. I have another client, Oceanside Glasstile, and I inquired with Andrea about her source for the glass tile, sure enough, Oceanside. Oceanside Glasstile is another client that is just tremendous, wonderful to work with and their glass tiles are exquisite. A perfect opportunity arose for Oceanside Glasstile, Model Design and myself, the opportunity to co-op on the photography of this unique project. I love to bring clients together for cooperative efforts for a number of reasons, one, why wouldn’t you want to improve your team by adding another star player and secondly, its a terrific opportunity to provide my clients with an even greater return on their photography investment. Shared costs and increased marketing exposure, its a no brainer. All the estimates approved and photography scheduled, I was looking forward to working with a talented creative team and capturing images.

This project was scheduled to be the final project on the first day of photography as it lent itself to the late afternoon and evening. The project held some challenges due to the financial meltdown and frozen lending markets. As a result, the project was not 100% complete, but the focus of photography, master bathroom and kitchen were 90% there, the remaining 10% would be completed by the construction company Adobe, aka Photoshop. They provide some terrific tools, but the end result is determined by the individual holding the tools. The other challenge confronted was the need for some elbow grease cleanup. The entire team, photographer, assistant, designer all rolled up the sleeves and went to work. I have tremendous respect for clients that dive into the malaise of cleanup and prep when the project requires, its all about a team, which is stronger than an individual. Once the focus turned to capturing the imagery, everything went as planned, the perfect project to complete the first day of Model Design photography.

The completed images represent the team, it begins with Oceanside Glasstile producing the finest glass tile available, the design vision of Model Design implementing the tile into their overall design and lastly the photographer brings their vision to an photographic image encompassing all the talent and artistry involved. That gut feeling, yep, it was nails on this assessment. I think the question/statement by my assistant after a long 12 hour day says it all, “How do you find these types of client? Because you’ve got the coolest clients”. My response, “I absolutely do”.

The San Diego Harbor boasts views of the Pt. Loma peninsula, downtown skyline and Coronado, breathtaking 360º views in this idyllic amphitheater. It is understandable that when Cabrillo discovered the harbor and its safe haven from the rugged seas of the Pacific he decided to stay for a stretch. People have been following Cabrillo’s lead for centuries, making San Diego home and creating an unquenchable demand for housing in America’s Finest City. If the height of the price tag dictates the level of demand, and it certainly does in real estate, the closer to the water the more zeroes trailing the $ you will find. As the remaining grains of sand and soil are developed upon land, where can growth occur, how can the thirst for waterfront property be quenched. You can build vertically, but that can tarnish the views to the priceless living natural artwork everyone desires to hang in each window of their home, the Pacific Ocean. Ocean view is another buzzword in the real estate market that equals those zeroes trailing the $. So what is the solution?

Ahh, yes, what could be better than waterfront living, how about actually living on the water. I’m not speaking of the Dubai approach of man made islands, which seem to try and compete with the natural world rather than exist in unison. And from some recent reports, Dubai Island Falling into the Sea, I think the natural world is going to win that bout just about every time, sometimes it may take a few extra rounds, but its going to when by decision, TKO or straight up KO eventually. So how do you build in unison, in a sustainable, complementary manner to the existing waterfront, well you engage the services of an architect, you hire Miller Hull. The Miller Hull Partnership of Seattle, Washington is recognized for there ability to develop and design sustainable, harmonious projects that enhance the land it stands upon. The project on the San Diego waterfront, Wharf at America’s Cup Harbor, is a perfect example of the vision and talents of Miller Hull.

To discuss and scout the project I met Robert Hull and Norman Strong of Miller Hull on a rainy Seattle like afternoon. Yes it does rain in San Diego….occasionally. After I accused and they pled guilty to bringing the Seattle weather along, we set forth with reviewing the project and discussing the needs of the images for Miller Hull. Asking questions and listening are key skills to producing successful imagery for a client, its not always just about a beautiful image. The quality and beauty of imagery is expected and goes without saying, but the imagery must also fit the client needs, solving their needs just as they have their clients. This was my initial opportunity to work with Miller Hull which made this information gathering and scouting even more critical.

The project consists of retail, restaurants, office space, open space and the boat slips that provide the potential for housing. The restaurant, Jimmy’s Famous American Tavern occupies the ground floor of one of the tandem structures while the retail and offices fill the second level. The view from the harbor master office is certainly spectacular, taking in the boat masts rising vertically before the view of Pt. Loma and the open ocean and also enjoys the warmth and vibrance of the afternoon sun. As a photographer, an artist, I was equally drawn to the artist studio that occupies the second story of the street front facade. Facing due north, the soft filtered light illuminating the white walled single room studio compares to the NYC photo studios boasting of their northern exposure, not just prime real estate, but also primo light.

The majority of photography was completed in a single day, arriving on site at sunrise, only to be greeted by a thick marine layer and packing up equipment after the sun dipped below the horizon. An additional early morning trip took place to capture the northern facade in early morning, marine layer-less, sunlight. My “office” for the day, on the water, smelling the salty air, listening to the seagulls, the lapping water on the rocks provided the perfect multi sense inspiration for a days work. Before you chime in, “what a plush job”, let me remind you that not every project is located on the waterfront in 70º San Diego, I’ve got stories of minus temps in Chicago in January or 115º Dallas in August, working outside all day, that keep one even keeled. The visual stimulation of the Miller Hull designs and use of complementary materials, textures and tones fueled my own creative juices. These are the days where you hear your stomach bark at you and realize its 3PM and you’ve yet to even consider stopping for any lunch. As a photographer, I love these days and am extremely thankful for cliff bars and water.

On the heels of projects like The Wharf at America’s Cup Harbor and Pier 32, Miller Hull is opening a San Diego office in April. They are currently working on the redesign of the US – Mexico bordering crossing at San Ysidro, a significant project and massive undertaking. I look forward to welcoming my friends, Miller Hull, to San Diego and am eager to witness more of their outstanding designs grace the San Diego landscape.

These weren’t the only sacrifices made or stories untold. I’ve always remembered my first grade teacher, Ms. Nagata, for the simple fact that she let me explore learning with the zest of a curious, excitable, six year old. I loved math, I loved numbers and I thoroughly enjoyed the work books filled with problems awaiting answers. She allowed and encouraged me to work through the book at a pace that fed my hunger, all the while checking to make sure I was doing the work correctly and understanding the necessary concepts. Thirty years after leaving Ms. Nagata’s classroom I experienced an admiration for her as a person far beyond any math lessons. You see, Ms. Nagata’s family is Japanese and faced imprisoned in the internment camps of WWII like thousands others of Japanese decent. For decades I lacked the knowledge to the depth of the warm welcoming smile I recalled each morning of first grade.

A little piece of history I didn’t learn from a history textbook at any grade level, rather I was first introduced to this history by the photographs of Ansel Adams. Ansel Adam’s image, Mount Williamson, Sierra Nevada, from Manzanar, CA, 1944; the large granite boulders backlight by the setting sun and towering Sierra Nevada range in the distance was my first introduction to the internment camps. His images focused on the Manzanar Camp, one of 10 throughout the Western United States. There were other images as well and a published collection of photographs entitled Born Free and Equal,  Ansel’s statement on the terrible injustice he saw occurring. I suppose at age 16 I still didn’t grasp the depth of this historical event or period in our nations history. Though Manzanar became a place I hoped to visit one day, in my mind it was still about retracing the steps of an admired photographer; not a first grade teacher or complete group of people identified and imprisoned only by their heritage.

The stories of the Greatest Generation and the movies depicting the horrors and heroism of WWII have become quite prevalent over the past decade. They are stories of tremendous sacrifice and service to our country, deserving to be told so that future generations will be reminded of what others who walked before them sacrificed for them today. I believe, there is a story yet to be told in its entirety, that of the Japanese internment camps. Possibly it is due to the lack of attention those who suffered through it have raised, as many felt it was part of their duty to country. Even those that were born in the United States and held complete citizenship made the sacrifice to willingly board the buses and trains that carried them from their homes and business to remote areas throughout the West. Possibly the remoteness of these camps have kept them hidden from the mass public. Possibly the fact that once the prisoners were freed, the camps were quickly cleared of any signs of the saddening history, the guilt of our own shame.

I visited Manzanar in the Spring of 2010, as my family enjoyed Spring Break exploring Death Valley and the Eastern Sierras. I had read more about this historical site and thought I had a greater understanding, but as often occurs in life, real life experience brings about a change within our soul. One building remains on the 500 acre site that housed 10,000 men, women and children from 1942 – 1945, of which two-thirds were born in this country. The gymnasium where teenagers once enjoyed dances and socials as an attempt to forget the binds that held them. Today this gymnasium serves as the museum for Manzanar National Park. The grounds still hold relics of internment, one remaining guard tower, monuments that were created by its temporary inhabitants and the bones of once beautifully designed Japanese gardens. You could sense the souls still hovering in the crisp afternoon light cascading over the towering Sierra peaks. The voices that told the stories of life at Manzanar brought chills throughout my entire body. I felt warm tears roll down my own cheeks as the now aged American told of his life in Manzanar, his memories as a child, “It was like summer camp, all the time, so many children.” But his tears flowed as he spoke of his father, an American citizen, a man that owned a business, a home and loved his country, that had all of it stripped from him because of his ancestry.

The photographs included in this post are from the Manzanar site. The afternoon at Manzanar became more about the emotions and experiences than the photographs. The images serve as reminders for me, they hold greater meaning to me personally because of what they represent. A soul changing day, experienced with my wife and children, all our lives changed. An untold story heard by the four of us and digested deep within our souls.

Yes, I realize, sadly, this is not a first in the history of mankind, unfortunately its an all to common occurrence in the history pages of our planet. Is love or fear the almighty of feelings? Both have the power to spread like wildfire when the winds are stoked and can be used as rationalizations for our actions. In the end, we all must look within to answers these challenges, which drives our heart and soul, love or fear?

In closing, my mind drifts to the words of Bono, the lead singer for U2, just another artist, like Ansel Adams, who continues to bring social injustices and concerns for mankind to the publics view. In a concert in Italy in 2005 shortly after the terrorist bombings in London, Bono introduces the the song Miss Sarajevo, a song dedicated to the horrific ethnic cleansing that occurred following the fall of the Soviet Union. To quote my favorite Irish lad in his intro, “We would like to turn our song into a prayer, the prayer is; we don’t become a monster in order to defeat the monster”. Let us all keep an eye on the past so that our future is free of monsters.

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.

It was truly going to be a full day to capture all the images the design team desired of this project. Arriving on site at 6:30AM, my assistant Zack Benson and I went right to work with this dawn exterior image. During scouting I determined we would begin with this image looking east into the rising sun. This would allow us to capture images looking out to the setting sun in the dramatic light of dusk. Along the coast there is always a risk of morning overcast skies, which in the summer is more affectionately referred to as “June Gloom”. I know, I know, us spoiled San Diegans referring to cloud cover in the summer until noon as “June Gloom” when many would jump for 65º and overcast in July, right? This morning there was not a hint of gloom, it was crystal clear, deep cobalt blue sky and a breath of wind, perfect.

Moving inside, I took advantage of the soft morning light filtering into the master bedroom to photograph this space. Lighting is so critical to any successful photograph. The ability to “see” light, to understand its movements throughout the day for a given project and also how to build along side it with professional lighting equipment is a defining factor in architectural and interior photography. In addition to the existing daylight, a nice large softbox was set up outside to increase the lighting moving into the space. Additional accent lights were utilized to enhance the artwork, linens and wood of the dresser. It is these accents that really bring an image to life and add depth to a two dimensional image.

Just outside the master bedroom, the entry hall included a couple of original “Blue Dogs” by famed artist George Rodrigue. Having spent a decade in Louisiana, I’ve had the privilege of viewing quite a few of Rodrique’s signature pieces, but rarely do I run across them this far west of the Mississippi River, a nice surprise and reminder of the Bayou, not to mention the rich pop of color was perfect against the neutral walls.

Moving to the second floor kitchen entailed a few trips up and down the stairs, five minutes of cardio-photography is always a good midday boost, Starbucks isn’t bad either, but today was a cardio day. The kitchen brought lighting challenges of deep toned cabinetry that was also highly reflective. The flexibility that working digitally brings me today is terrific, especially in such a situation. Utilizing multiple layers and position lighting in different locations allowed me to blend multiple image layers resulting in illuminated cabinetry minus reflection. All of which could have been achieved in the days of film, but in the same time and efficiency, I’ll argue not. For the record I was a diehard large format film photographer for the first twelve years of my career, so I definitely look at it from both sides, film vs. digital.

Opposite the kitchen, the Living Room and the afternoon light begins to arrive, filling the space, the whole second floor actually with warm afternoon Fall sunlight. Of all the seasons, I’ve always been quite a fan of the Fall. There are afternoons like these, clear, crystal blue skies, and then those afternoons the fog banks roll in and you can disappear along the waters edge, even the sounds of the passing cars become swallowed and disappear in the fog. As the afternoon moves forward, as an architectural photographer, you also realize that dusk is marching briskly toward you. While working on one image, your mind is organizing the remaining images, checking the time, estimating how much time each will require and where you need to be at that magic hour. Plain and simple, this begins to become “go time”. A little less conversation possibly, focus dialed up a notch higher, the time when a top assistant is worth their wait in gold, and Zack is pure, like 24 carat.

I mentioned there were four parties involved in this projects photography, which is a great opportunity for all involved. For me, it also means capturing images to suit each of there needs. Last thing you want to run into is delivering a project and having one party to be displeased, my goal is to meet and exceed clients needs and expectations. Weiland Sliding Doors & Windows of Oceanside, California has been a client for the past few years and terrific to work with. The first time I opened one of their doors, a large door, huge piece of glass, I expected to exert a bit of energy, much to my surprise, turning the handle, releasing the doors, they slid like they were on ice. I was amazed, impressed and left dreaming of a home on the water that would provide just the right setting to enjoy Weiland’s doors.

Fourteen hours after that first image, the final image was captured. Again, scouting pays off, as there are often images that can be captured once every ounce of sunlight has left the sky. Creating all the light required with my own lighting, the equivalent to working in a studio, creating all the light required. There are challenges to creating 100% of the light, bring a real, natural light appearance; but also advantages, certainly greater control.

The Bird Rock Project, an outstanding project and did I mention LEED certified, so its good for mother earth as well, an all around winner. For me, each of these projects becomes filed in my hard drive, both literally, I mean these images are backed up in three separate locations, but also figuratively. I recall the weather, the light changing, the stories told throughout the day, the rising swell on this day that covered the horizon with perfectly spaced lumps as the sun set. The Coronado Islands were pristine, so vivid through the colorful afternoon sky. The adventure to a nearby buildings rooftop to check for potential angles, which didn’t come to fruition, but you don’t forget the climb up the wall and pulling up to the roof, and then the added joy of coming back down. All these bytes of memories, for me, are emblazoned into each image and that is why I love my work.