Luxury Living Magazine

Client: Bob Tellesen, Vogue Homes. Shot for  New American Luxury Magazine Volume 2,  January issue 2012.

This is a Luxury Homes which sits over looking the American River parkway, secluded surrounded by great views of nature.  The project was done in two phases and this what phase one looks like. Being phase one we had to shoot around many different problems, but the final results look seamless.  

This was shot in the late afternoon with daylight mixing with the natural light. I always say I shoot with available light and that means anything which is available in my truck, hot lights, strobes and in this case – no supplemental lighting was added.

That special time – dusk – when the outside light drops and interior come alive. Yours eyes wonder up to the master bedroom.

Here is a 3/4 view which shows off the detail of the craftsmanship  from Bob Tellesen, a true artist.  It’s nice to hear the whole story where the teak wood was hand selected from Asia,  the staircase was built in the studio,  the windows were taken out and the whole stair was installed as one piece, simply amazing!  You get what you pay for, and Bob’s work shows in the details in the final product.   Being an artist myself, I am allowed to work the space for the most dramatic angles that shows off, Bob’s work and craftsmanship.

A great view that leads you up to the master bedroom.

Pre production scouting allowed me to send Bob a shoot list,  of what I wanted to make the interiors photographic ready.

My prep list addressed bedding, adding the chair and the plant for the final composition. It really come down to a partnership with the client and being on the same page for the final results.  Simple, clean and natural materials, nice to have the the contrast of blue light out the window.
Who has a bath tub that fills the tub from the ceiling?

UC Medical Center Davis the New Pediatrics Wing

Client: Lee, Burkhart, Liu, Inc.

Marina Del Ray, Ca

Job:     UC Medical Center Davis,  Pediatrics New Wing

This is our first shot at pre sunrise.   We are there earlier enough, now it’s about what kind of light we want outside dark blue, medium blue or light blue.   We can shoot this wide, move in closer and give the client variations,  for the final illustration.   By doing a pre production walk thru,  I was able to tell my client what I wanted on the ouside light and what time we should start.

I wanted to reshoot this  with a mannequin to make this feel real to the viewer.   All of the mannequins were being used by the staff in training and we had to wait patiently  to be able to get them for several minutes between training sessions.

Careful pre production scouting tied down the final shoot list, answered what shots have to be done at pre sunrise and dusk.  By having the architect ship the props we were able, as a team effort  add the pillows,  the bear on the bed which gives the space a lived in look.  My input for this was up front, this has to be done at pre sunrise  to  have the contrast of blue light out the windows, which will balance the warmth of the interiors.  Clean, crisp with attention to detail is what I am known for.

A nice clean shot with the fall colors out the window.

I really like this with the nurse but would have liked it better with the earlier light in the shot above.  Sometimes you just do not have enough time to be everywhere.

This a a nice 3/4 view that’s puts in the nurses station in the center of the photo.  It’s just critical to have the little bit of blue light out the windows and by adding the balloons gives that extra punch.

That magic time to have the warmth of the interiors contrast with the color outside.

I got to use my son Daniel as a model before I dropped him off for school.

There are only so many shots that one can do at pre sunrise and dusk.   This was the last shot we did at sunset.

I always try to push diagonal lines,  fill the foreground and accessorize the final shot to look natural.   I moved the table to fill in the foreground and had to solve a contrast problem with the table.   Simple by replacing the white cloth with a blue cloth lowered the contrast and took your eyes away from focusing on the foreground.   Now your eyes are able to move from the foreground to the mannequins to give the viewer what this space would look like when in use.

Add a nurse and it gives the viewer a much different feel to the final composition.

Now with all of the critical shots done at pre sunrise  we are now able to work  where we only have to address the people working in the spaces, outside light and composition.

The flowers always adds a nice touch without the architect sending the boxes of props many of these shots would just be ordinary record shots.

People or no people?    Most of the major shots were done with and without people.

Lots of clean up for all of these shots, move the printer, take all of the clutter out, then put everything back.   I think lots of people think this is how,  I walked into the space and took a picture.   It’s never the case and it always takes longer than what ones thinks.

It’s good that we were able to shoot  one day prior to this space being open to the public.  Lots of people working but we were able to work around the people and every shot was a money shot.

People have to look natural and when done correctly, they give an added impact to the illustration.

You just have to get the chicken feet.

Just a bowl of fruit makes this look inviting.

This was a fun shoot, long hours, we all worked together as a team, the efforts from all of us really shows.  Happy to be there to just push the button.

Here is a quote from an Architect that receives my Blog.

Hi Ed.

Just wanted to let you know how much I enjoy your Journal and your work.  It is uniquely informative to have the opportunity to read about your concept for approaching an assignment and not only see the results, but also understand some of the obstacles.   Some great results!  Congratulations.

When we have the opportunity to shoot some of our work, I hope we can afford to hire you.

gtb

G. Tyler Babcock, AIA LEED AP

Principal

MFDB Architects, Inc.

It’s makes it worth the effort,  my results are always meet my standards or the job does not go out.

Ed Asmus

Airco Mechanical DMV Remodel Broadway Sacramento, Ca.

Here is a scouting shot, that I use to determine what I need to make something like this into an exciting illustration.   There are no existing lighting on this floor, the problem is that I will have to add supplemental lighting to make this space come alive.   Having the client on board makes this easy to accomplish, clean the space and make sure to dust all of the ductwork and I will do the rest.

This where I shine, I can be creative, push the envelope and deliver the goods.   Here is the final illustration, lots of supplemental lighting and shooting at  ”dusk” with only a short window of  available light.    I always like, when I meet my expectations, that way I know the client will always be pleased.

Here the rough idea of what I wanted for a final illustration.   Being creative, it’s always nice to something different.   I wanted to light this space with hot lights and use the natural daylight in the wrong way.    The hot lights would let me light the person to be warm and the daylight at the right time would go to this surreal blue color.   I think the final illustration gives the visual impact that I wanted.

Contrasting colors always work but it has to feel natural and not like the scene has been lighted.

I wanted to show some action in the space,  someone welding or grinding metal would set the mood.  A long exposure would show the streaks of color and sparks, that I wanted in the final illustration.  Adding supplemental lighting in the foreground and in the background helps the final illustration.

What do you do with a space like this?   Do you shoot a person frozen in the space or add some motion to add visual interest?

Yes, by adding some motion you can take this to a different level.

A very static shot but by having some motion,  gives the viewer some visual interest.   Having some motion, makes it hard to see the tattoos on the person, which is always good approach in the corporate word.

RED RABBIT

Here is a look at the new Sacramento Airport.  This was a commissioned assignment for the Artist who did the “Red Rabbit” Lawrence Argent out of Denver Colorado.

Nothing like clouds help frame a building, sometimes it’s just luck or being there at the right time.

The space works very well with daylight or at dusk, two different feeling with light in the same space.

Wow, jumping thru the floor, lots of people talking about the rabbit. 

Great overall view,  the contrast from the f blue light, let’s the viewers eye go to the red rabbit.  Shot before the facility opened to the public, this would be hard to duplicate, after it is opens to the public.

A little closer look for a detail, great space.

Sacramento should be proud that we have a modern airport, maybe the new arena might be next.

What’s better shot in the daytime or pre sunrise?

Shot at pre sunrise the blue lights adds the pop to the red rabbit.

The facility is open to the public, and people give the red rabbit scale in the space.

Love this shot, the person on the right taking a picture of the red rabbit, just gives the meaning to art in public spaces.

The piece of luggage on the floor weights 14,000 pounds,  and the person moving in the corner adds interest to the final composition.

You have to be able to show the suitcase, it has a special footing to support the piece of art.

Abstract views are always those hidden shots that people do not see.

First light, a nice glow of light on the steel. 

If, I was the artist, this view would capture the red rabbit in it’s glory jumping thru the floor, exactly how a rabbit might be jumping in real life.   I sure like my job, hope you enjoy seeing  Lawrence’s Red Rabbit.

Another hard day at the office

Gary Matranga has an awesome collection of cars.   Gary was referred to me by my friend Jerry Greenberg.   This was to be a photo shoot for a competition with a radio station in LA,  ”Heels and Wheels”  Mark & Brian 955  KLOS.   A fast  car and a pretty women, how could we lose.

How does an Architectural Photographer find a model like Rachel, easy I call another photographer Rudy Meyers and ask if he knows of any hot models?   Thanks Rudy, Rachel helped make this a success and she was a delight to  work with.

Two and one half hours for set up and pre lighting.  Our final lighting set up had seven lights,  three lights for the car and four lights for our model.   Let me say this is a pleasant change for Architectural Photography,   I know it’s all about the light, but an awesome car and a great model “Rachel”, really helps.

We were close to bringing in our model and where do you  put Rachel?   Tool chest behind her or on the other side of the car?

We all liked this shot, great expression and if you are a man, you might be thinking “baby you can make any adjustments you want, nice wrench!!!!!!    Rachel is a little lost, so far back in the photo, but it is about fast cars and pretty women.If we moved Rachel closer in, it starts to show off her features much better, maybe a nicer balance.

Low budget act, no make up artist, not even a mirror, but lots of ice cold water to cool us off.  Nice light on her legs and hair.

It’s really funny, this was one of the first shots that was done, and for some reason we moved Rachel to the other side of the car, what a mistake.    What I really like is she is framed in the background by a red tool chest,  mechanics would love that,   it gives the viewer that hot rod feel,  awesome lighting in her eyes with great eye contact to the viewer and her figure really helps show,  the horsepower it takes to drive a fast car.  My choice, make some other photoshop adjustments and we are there.

I really like cropping this in tight, add a little gold diffusion, it’s starting to catch fire, all I need is the flames coming out of the pipes.

Wow another happy client not to mention the photographer!!!!!!!!!!

HDR Interiors

Client Maria Ogrydziak Architect   Project:  Alan Taylor Residence, a ten year old remodel.   For a small space lots of dramatic angles.

This is a straight shot with supplemental lighting.  Notice that the light fixtures are slightly blown out of detail and the back side of the chairs are a little dark, but everything is within the range of an excellent  illustration.This is the same shot as above but we combined seven exposures and ran this thru an HDR program.   Notice  the high lights in the light fixtures, the back side of the chairs, and how the shadows are open on the floor in the wood.   All jobs are different and all of my clients get the best, there are no short cuts to excellent photography.

It’s always nice to bring the outside into the space, maybe a little green on the outside plants.

Lots of different angles in a small space

Very little lighting; three lights to light the space.

It’s nice to be able to see the outside dining area.  A very nice project that was done over ten years ago.

LPAS Midtown Apartments

LPAS  Sacramento Project: Alexan Midtown  Apartments.  Pre production scouting allowed for  solving the problems with cars, getting models,  establishing a shoot list, which tied down the scope of work and allowed for an accurate cost estimate.   Not a lot of Architectural Photographers spend the time up front in pre production,  to address potential problems.

People always give life to projects, shoot it at the right time, add a little movement and you get a final result that is always pleasing.

Always eliminating the cars, help in making long lasting images.   Complete traffic control and working with the owner helped make this a successful illustration.

Trees always help in framing your illustrations.

I always like clean front elevations.    We also had excellent sun angles for this project September-October,   clean, crisp, pleasing shadows and waiting for what is best for the project, always pays huge dividends.

I like the umbrella that pushes your eye to the pool.  I always look for strong  diagonal lines.

It’s always nice to give the client options and in this shot we shot this from a 12′ ladder to give a bird’s eye view.

The warmth of the fires and bricks giving a pleasing contrast to the blue sky.

Shooting from an elevated viewpoint gives the viewer a different  perspective.A little movement, a small blur  makes this into something real and not static.

Shooting from the ground gives the viewer a better perspective of the people.

What’s nice about this project, it has a dog park in the rear and large pets are welcome, just not elephants.LPA thanks for the work, it is always nice to work on good projects.

The Sacramento Central Plant

The State of California’s Central Plant, Sacramento, California, USA

Architect:  Nacht & Lewis Architects

General Contractor Skanska USA

This plant provides heating and Cooling for 20,000 state works while reducing energy and water usage.  A totally Green project.

This project had to be bid because it was a state job.  Lucky there were only two bidders, a San Francisco photographer and myself, detailed specifications, I like my chances.      When the bids were in, they were only separated by $200.00.   I got the job and my approach was to address problems up front, in the bidding process.  My main concern was that the site had many mature trees, which hide the building from the  leaves.  I proposed shooting this in two phases.  The first phase was exteriors and interiors, in October.   I proposed it would be best to come back in winter after the leaves have fallen.  The architect, who has been a long time client, agreed.   I also addressed exterior piping that cluttered up the west elevation.  The architect and Skanska issued a change order, so the west elevation shots could be completed, free of the exterior piping.   As you look thru these images, lots of dramatic illustrations, careful planning, exact compositions, and a five month window to complete this project.

Shooting the cooling tower at sunset and you turn your back and capture an exciting detail shot.

Back in the dead winter, no leaves on the trees, the building comes alive, being able to see  thru the trees,  from a rooftop view from  the fire station.

Changing light on the skin of the tower.

Clean crisp composition

This was a great job to shoot and I appreciate being allowed to do it the right way.

UC Davis Medical Center

Stantec Architecture

Project:  UC Med Center, Sacramento, Ca.

At UC Davis Medical Center Surgical and Emergency Services Pavilion cardiovascular surgery is performed in an 8-room pod of Operating Rooms that has convenient access to the tissue bank and the other surgical support functions that are arrayed around the perimeter of the OR pods.   When a leading vascular surgeon was recruited to the facility, one OR in the  cardio pod was upgraded with ceiling mounted Phillips single plane flouroscopic camera, to allow intra-operative catheterization.  The room is now used for both peripheral angiography and cardiovascular surgery.

The surgeon in the photo is the lead vascular surgeon, Dr. David Dawson, wearing a lead vest to protect himself from X-Ray exposure.

Green lighting is available to increase visual contrast for the surgical team.

The OR selected for this upgrade, here shown fully equipped for a procedure, is near an express elevator connecting the OR pods to the Emergency Department and Trauma on the First Floor.

The new Emergency Department and Trauma on the First Floor; this allows patients experiencing such critical emergencies as stroke, a clot in the carotid artery, or deep vein thrombosis to be rushed directly to this advanced surgery suite.

Sacramento Sewer District Office

Architect:  Williams + Paddon

Ed Asmus Photography captures Central Valley, AIA award for Williams + Paddon Architects for the Sacramento Sewer District Offices for 2011.  This job was one that really had my back pushed against the wall, the forecast calls for rain.    Short deadline, huge weather delays and only two weeks to complete the photography.

I feel like a Blues singer the Forecast Calls for Rain, maybe a Robert Cry song  (The forecast calls for pain.)

A short window to deliver for this awards submittal,  two weeks of weather delays.   This series of exteriors were done the first night out on a Thursday.   In all of my 30 years plus in Architectural Photography, it rarely happens to have a clean parking lot during the week with no cars.    No this is not fur-low Friday, just plain luck to get the cars out of the parking lot.

Facilities Managers off site  and not able to gain any access for Friday, Saturday, Sunday & Monday, let’s say I am getting worried, losing time, which I am short of.

Excellent weather Tuesday and Wednesday  daytime shots and additional exteriors were completed at dusk.

We wanted to see the stairwell lighted with maybe a person in the stairwell for the final illustration.   At dusk we noticed three lights burned out in the stairwell,  this tied our hands for a short deadline, trying to get the lights replaced,  it was something we just had to work around.

I was able to double back at pre sunrise on Wednesday morning to capture the rear of the building.   I am now feeling good the  exteriors are completed and meet my standards and my client will be happy, it’s time to move into the interiors.   Dusk  is for a very short time and multiple nights had to scheduled  to achieve, all of the final compositions.  Light is everything, there are no short cuts, it all takes time.

The night before major clean up, back at pre sunrise to be able to have the blue light coming thru  the window.

Again a separate night to be able to shoot at dusk, to get that contrasting blue light out the windows,  that’s the magic time.

Added shot not in the scope of work, but something that I wanted to include.

Added shot not in the scope of work but something I wanted to include.   It’s always nice to give your client more when you can deliver.

This interior was the only area which posed major problems.   Facilities had my shoot list and this was set for dusk.   I arrived early to start major clean up.   The area in the foreground  had major clean up to do to make this a clean illustration.   Arriving early, Linda was not around and the short deadline, I had to try to clean her area enough to make  a clean illustration.   I was able to achieve a clean shot and I wanted the area cleaned more but had to stop.   As it turned out,  sometimes  you are not able to put everything back into the exact spot and it violates the person space.  I got a call form Linda that she was upset,  all that I could do is appologize and be sincere, which was done.   This rarely happens but you have to get the shot and  have to be accountable for your actions.
I am happy with what was produced under  extreme conditions,   call me the Postman,  Ed Asmus delivered.

I am happy with what was produced under  extreme conditions,   call me the Postman,  Ed Asmus delivered.