SCOTT FRANCES: Expressing Architecture & Interiors
Orientation Sunday, May 6, 4:30pm – 5:30pm
Monday, May 7th – Wednesday, May 9th 9:00am – 4:00pm. Thursday, May 10th 9:00am – 11:00am (Optional)
Photographer Scott Frances returns to PSPF after a sell-out workshop last year to conduct a much-acclaimed architecture and interiors workshop.
Whether you are a professional or enthusiast architectural photographer this course will have plenty to offer you. We will explore shooting commercial and residential buildings and interiors in both day and evening. The one constant being that we will never use supplemental lighting. I never do, and you never will again (okay, I cheat sometimes when I have to shoot with talent in the image).
We will talk technique, shoot on location, critique one another, then do it again, and again. We will also discuss the marketplace, how to build your business, how to produce estimates, and how to get fairly paid for your time and talent (hint: The more an image is used the more valuable it is and the more you should be compensated).
In a perfect world you will bring a full frame Canon body and will have either or both of their 17mm and 24mm tilt-shift lenses. A sturdy tripod that can shoot from at least 24-72″ high is also a requirement, and a geared head is highly recommended. Attendees will have the option of borrowing Canon and other camera company gear at the festival as well. If you do not use Canon I may not know how to operate your camera but as long as you do we will be fine.
Bring your laptop. My personal preference is to shoot tethered to the computer via Canon Capture, then I use Adobe Raw processor, then Adobe Photoshop. You may be more comfortable using Capture One and or Lightroom and that’s fine. Although my work is heavily post-production driven I am not a retoucher (I pay someone to do that), and this will not be a Photoshop course.
I will make myself available throughout the week to sit and chat one on one, offer portfolio reviews, or exchange war stories.
I’m looking forward to this!
This workshop will start with a brief presentation of my work, followed by class review of attendee’s work so please bring a minimum of 10 images to present if possible (not required).
Over the next three and half days, the workshop will have access to a number of locations in Palm Springs, both residential and commercial in scale.
Photographers working with digital cameras should bring their laptops and be conversant with their hardware and software in order to facilitate downloading and projecting their work for critiques in class. Digital projectors with standard VGA cables will be provided. If you require DVI connectors and / or adapters, please bring one to class.
NOTE: Because of the importance and relevance of getting different perspectives, members of this class will spend 1/2 day with instructor Tim Griffith to discuss his process and do class critiques.
This workshop is limited to 16 attendees and includes all workshop transportation and boxed lunches on full class days.
I was born to a NYC home filled with mid-century furniture, two older brothers, a cat, and a lot of art on the walls and books on the shelves. My father was a creative director at an advertising agency, my mother an editor for decorating magazines. When I wasn’t playing basketball I was mostly drawing and painting, often trying to copy Picasso’s. Looking back I can see that this environment presaged my path into photography. After completing my studies in journalism and art history at Northwestern University, I returned to NYC to work under the auspices of the legendary architectural photographer Ezra Stoller. It was during this time that I began to document the work of the great American modernist architect Richard Meier, a collaboration that spans three decades.
The focus of my subject matter has always been rooted in architecture and the decorative arts, but as my work has evolved I have incorporated people and animals into my images. I have become more interested in the atmosphere of the spaces I shoot, certainly their volume and quality of the available light, but also the touch, sound and smell, the mood. I never supplement the lighting, instead I shoot multiple exposures, and in photoshop I layer these exposures together to render an image that best captures the sensory experiences of being in the environment. My journalistic instinct is to clearly and concisely tell a story. The compositions and narrative themes in my work speak to recurrent threads found throughout art history.