Discover the Art of Architectural Photography from an Expert
Editor’s note: This is a guest contribution by Murat. Murat regularly interviews architectural photographers. Visit daminion.net to read more interviews with other architectural photographers, featuring their best work, achievements, marketing secrets, tips, and more!
What impresses me most about exceptional architectural photography is its ability to bring life and soul to inanimate subjects – buildings and other man-made structures. Over at my blog, I regularly interview architectural photographers. Today, I want to introduce you to one of the most remarkable architectural photographers, Brad Feinknopf.
If you are passionate about photography, particularly architectural photography, and are looking for tips and insights from an award-winning photographer – this is an article you shouldn’t miss. Read the full interview below.
Meet Brad Feinknopf
Brad is a National Architectural Photographer who has photographed over 100 AIA Award-Winning Architectural Projects and has been published internationally.
With over 20 years of experience, Brad has consistently produced outstanding architectural photography. His deep understanding of architecture comes naturally, as both his father and grandfather were successful architects.
In 1988, Brad returned from New York City, where he had been working, to his hometown of Columbus, Ohio, to establish a photographic studio focused on delivering top-quality architectural, interior, and corporate photography.
You can reach Brad through his website: https://www.feinknopf.com.
An Insightful Interview with Brad Feinknopf
Brad, could you please share how you started in photography and why you chose to specialize in architectural photography?
My father and grandfather were both architects, so I initially intended to pursue a career in architecture and follow in my family’s footsteps. I earned my undergraduate degree in Design & Environmental Analysis from Cornell University, which seemed like a perfect lead-in to architecture for graduate school.
During my junior year, several friends who were Photography Majors encouraged me to take a photography class, and that’s when everything changed. I fell in love with photography and found that I had a natural affinity for architecture, which wasn’t surprising given my background. As I often say, “I decided that I would rather get paid to appreciate architecture than to practice it.”
You were recognized by Columbus Landmarks as their outstanding person of 2010: “Over the last 20 years, no photographer has done more to document and preserve the history of the City of Columbus than Brad Feinknopf.“
How do you define success as an architectural photographer, and when did you first realize you were successful?
Am I successful?! I don’t often think in those terms. Is it about money? No, money has never been a driving force. Is it about the pride of being published? Yes, that is a significant validation, but it’s what others deem noteworthy. For me, success is about image-making. I am my own harshest critic. If I create images that I feel proud of, that’s what matters most – whether they make money or get published is secondary. Additionally, I live vicariously through my clients. If my clients win awards, get published, or secure new work because of my images, then I’ve been successful. The true measure of success is having served your clients well.
Which commercial project do you consider your most successful, and how were you introduced to the client?
That’s a tough question. How do you define “most successful”? Certainly, my image of the Boston Convention Center at dawn has been widely used, even for book covers, so it’s definitely a “greatest hit.” I might consider it the most successful image in my portfolio.
My relationship with the client began somewhat unexpectedly. I was initially hired to shoot one of their architect’s projects by another party, much to their initial displeasure. However, once they saw the work I produced, they were blown away. That project sparked a relationship that continues to this day, over eight years later.
On your website, you mention that your photo studio utilizes top digital equipment and superior retouching services. Could you share what equipment and services you use?
I shoot with Medium Format Digital. I was never satisfied with the quality and functionality of 35mm, so when I transitioned to digital, I opted for Medium Format, which is closer to the 4″x5″ format I had used for 17 years. I shoot with a Cambo Wide DS with a Phase One Medium Format Digital Back and six Rodenstock Digital Lenses ranging from 28mm to 90mm. Additionally, I’ve worked with the same retoucher for over 10 years, who knows my style and what I seek in my work. She uses the latest Macintosh computers and the most current versions of Photoshop, among other tools.
How do most of your clients find you? If you could recommend just one marketing tool to someone new to photography, what would it be?
Honestly, most of my clients come from referrals. A large firm might have a project in the area and get referred to me. They enjoy working with me and appreciate the quality of the work and our working relationship, leading to a growing partnership. One of my largest clients started with me shooting a small two-lane bridge project locally. Now, I shoot most of their work nationwide. Apart from word of mouth, I believe the most valuable marketing tool is a well-designed website. It’s essential to have a platform that showcases your work effectively, and in today’s marketplace, that platform is your website.
Can you recommend a photography book that has inspired you or could be valuable to someone starting out in architectural photography?
My photography book collection is extensive. One of the most influential books for me was Ansel Adams’ The Negative, though it’s quite dated now. Another favorite is Ralph Steiner’s In Pursuit of Clouds, which encourages the viewer to see the world from a different perspective. While you may not learn directly from a book, you can certainly find inspiration, and I believe understanding photographic history is crucial if you want to know where you’re going.
I found an interesting quote on your blog: “The less one does with Photoshop, the better the final image.” What Photoshop tools, if any, are essential for you, and what factors lead you to reject a photograph?
I’m grateful to have learned photography with film. If you couldn’t capture it in the camera, it wasn’t captured. Too many photographers today treat Photoshop as an image-making tool when it should be an image enhancement tool. I’ve seen photographers showcase their portfolios and proudly explain how much they’ve done in Photoshop, but the truth is, it often looks overly manipulated. I aim to capture architecture in its best possible light, not to create a new reality. Understanding weather, lighting, seasons, and architecture is far more valuable than any Photoshop trick. I do find certain Nik filters, like polarizers and contrast filters, useful for specific applications.
As for rejecting photos, many factors come into play. Tangency, for example, can be a deciding factor – whether it’s a shadow, a person, or the edge of the frame, tangency can make or break an image. Sometimes, waiting just 10 minutes for a shadow to move can turn a mediocre image into a great one. I like incorporating people into my photographs, but only when they complement the architecture rather than compete with it. If a person’s clothing draws attention away from the architecture, that’s a reason for rejection. These are just a few of the many considerations that guide my decision-making process.
In many of your architectural images, the sky seems to play a crucial role in enhancing the overall impression. Could you share how you achieve such beautiful skies in your pictures? Do you often need to post-process the sky, or do you sometimes draw it manually?
It’s amusing – an advertising agency once asked my rep, “What’s the cost of the post-production for Brad to drop in those skies?” I had to laugh because I’ve never dropped in a sky in my life. I do use polarizers and sometimes warm up skies, but the key is understanding weather conditions and how to use them to your advantage rather than relying on post-production. Many of the best images are captured when others might pack up and go home due to less-than-ideal weather. Since most of my work isn’t local, I often have to work with whatever conditions I’m given. When you’re forced to make do, magical things can happen. It’s amazing what you can create when you see opportunities instead of limitations.
Do you find that commercial shooting can become boring and routine? If so, what factors contribute to that? Are there any projects you would refuse, or have refused, to shoot?
Honestly, I’d much rather work with an architect than an art director. When I work with an architect, they’re interested in my perspective on their project and are paying for my interpretive eye. Art directors, on the other hand, often have a specific “vision” they want you to create. In such cases, you’re more of a means to an end than a creative collaborator. I can’t imagine ever doing a food shoot or product still life, but then again, I doubt anyone would approach me for that either.
Extra Questions:
Where were you born?
Columbus, OH
How many years have you been involved in photography, and specifically in architectural photography?
I first picked up a camera in 1985, so about 26 years. I’ve been focusing on architecture since around 1991, so roughly 20 years.
Who are your favorite photographers?
That’s a long list: Ralph Steiner, Michael Kenna, Tom Baril, Joseph Sudek, Jeanloup Sieff, Josef Koudelka, Irving Penn, Sebastiao Salgado.
In the Architectural World: Roland Halbe, Peter Aaron, Scott Francis, Nick Merrick, Floto + Warner, Tom Arban, and Paul Warchol, to name a few.
What do you think you would be doing now if you weren’t a photographer?
I’d rather not think about it. I can’t imagine my life doing anything other than what I’m doing now. I’d likely be miserable. Please don’t make me go there.
What do you enjoy most about being a photographer?
The creative process. I love getting into the mindset of an architect and trying to understand the thought process and passion behind their building. It’s often an exhilarating experience.
Is there anything you dislike about being a photographer?
Buildings don’t come to me, so I have to travel a lot – and I hate being away from my family. Additionally, there are easier ways to make a living than photography. Over my 25-plus years, I’ve seen many photographers come and go. It’s not an easy profession by any means.