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Hunter Douglas Beauty Books

I recently added a new Featured Work Gallery for two shoots I did for Hunter Douglas’s Luminette and Nantucket product lines. The photos we created for these shoots were used in their dealer sample books, website, social media, marketing materials, you name it!

Both shoots were HUGE productions. Unlike other architectural product shoots where the product is already in place, we had to find locations with the right type of windows and then Hunter Douglas custom made their window fashions to fit the locations. We did multiple days of location scouting about month before each shoot. Hunter Douglas then fabricated the custom product and shipped them to me for holding; something like 70 boxes, 4 to 10 ft in length, and a foot or so wide. It was quite a logistical challenge to find a place to store them for the shoots. I ended up renting a warehouse for one shoot and a conference room at our hotel for the other.

In addition to my producer, two assistants, and a digital tech, we had a crew of about dozen including a lead stylist, stylist assistants, installers, furniture movers, plus an art director and 3 or 4 clients at a time. Lots of people! On our last shoot in San Diego, we had so many people we just hired a food truck to cater. It was awesome and delicious.

Each shot requires a lot of set up. Just installing the product can take half a day. Once the product is up, we then compose, style, and light each shot. We’re maybe getting 1 to 2 hero shots done in a day at each location.

Gear wise, I used the ALPA Max and Alpa XY with the Phase One IQ250 Digital Back. I won’t geek out too much on gear here, but if you’re interested check out the links above.

It’s been a great brand to shoot for and the people I work for are just awesome. For as big as these shoots were, both went off without a hitch and the client was super happy with results. It must be going well, because they’re having me out again this year for a 10 day shoot in June.

High Fives to all the folks I’ve worked with on these shoots, especially Karen Beck, Heather Smith, Bergren Rameson, Mike Grippi, Ben Canales, Kennett Morhman, and Garrett Priddy. Love you all!

Check out the full gallery of images here: https://www.lincolnbarbour.com/work/hunter-douglas/

Thanks!

Then and Now

I was going through my archive the other day and stumbled on the first kitchen I ever photographed:

I shot this way back in January of 2003, on film, with a Nikon F4, and a manual focus 20mm lens. I shot it on Kodak E100VS slide film and I think I scanned it on a Nikon scanner, too. My memory is a little hazy on the digital stuff since it was so new then and changing so quickly. I shot film for the first three years of my career and learned a lot by making some very expensive mistakes. Fortunately, this shot wasn’t a total failure. But it shows me how lucky I am to have the technology I have today to do my job. Back then, I just had to guess that the shot was going to turn out. I had to trust that I focused correctly. I did sometimes shoot a test shot on Polaroids, but you really didn’t know what the the film was going to look like until it was processed. I had many sleepless nights waiting for the film to come back.

Things are so much better now. Take for example, this kitchen I shot November of 2012:

Almost a decade later and I was shooting this with a Canon 5D Mark II, 24mm TS-E II, and tethered to a MacBook Pro with Retina display. I could Live View the shot and see exactly what it was going to look like after I pressed the shutter. I knew exactly if the chairs were lined up correctly. And I knew I was going to have to shoot a bracket to get an exposure for the view to Photoshop in later. With digital, I have total control of the look and feel from set all the way to client delivery. No worries about labs messing up your film. No hassle and image quality degradation from scanning. It’s as perfect as a photo can be. Once digital hit 6MP, I was all in. Now were up to 50MP like it ain’t no thing.

It’s hard for me to imagine what I’ll be shooting 10 years from now. I do feel things are about to change again in a big way. Mirrorless cameras will definitely probably surpass and overtake the traditional DSLRs. I can’t wait till Canon comes out with a mirrorless version of the 5D. I shoot that camera on Live View 90% of the time on my architecture shoots. The mirror just gets in the way. The iPhone is an amazing point shoot that you always have with you. It’s not the best quality, but for small quick shots it can’t be beat. And then you have crazy compact cameras like the L16 by Light that has a field of tiny lenses to make one awesome camera that rivals a DSLR. I’m dying for a good travel camera and I would love to have the L16 in my back pocket, rather than lugging around a whole kit. Can’t wait to test it out.

Anyway, no matter where the technology goes, I’ll be sure to keep up and use it to take the best possible photography I can take. As Eve Arnold once said, “It is the photographer, not the camera, that is the instrument.”

Hard to believe, but I took this shot way back in January of 2006! Orginally shot for @pomomagazine, this beautiful home led me to working for @jhinteriordesign for the next 9 years. We did a lot of great work and collaborating with Jessica and her team was always a blast. Much of my portfolio today features her work including this one. #tbt #pdx #interiordesign #kitchen

New Work for Prometheus Real Estate Group

For the past two years, I’ve been flying out to sunny Silicon Valley to shoot architectural lifestyle for a truly great client: Prometheus Real Estate Group. The luxury apartment brand has a huge presence in the Bay Area as well as a growing number of properties in Portland and Seattle. I’ve shot ten properties for them so far and have lined up to do six more this year. The shoots have been primarily focused on the amazing amenities they feature at each of their locations like clubhouses, theater rooms, fitness centers, amazing pools, fire pits, and even bocce courts (my personal favorite pastime).

Each property we shoot gets the royal treatment. Working with producer Heather Smith of Smith X Union, we cast models, shop wardrobe, have hair and makeup on set, and do the prop styling as well. Each shot is meticulously planned and carried out by a crew including a digital tech, two dedicated photo assistants, and handful of PAs. It’s a lot of work, but we’re able to get so much done in a day and the end results are something I’m very proud of.

Please check out their featured gallery in my updated Work portfolio section  www.lincolnbarbour.com/work/prometheus 

Credits:

Production: Heather Smith – Smith X Union
Wardrobe & Prop Styling: Ashley Montague
Hair & Makeup: Erin Svalsted, Jen Budner