The sophisticated design of the showroom matches the luxury automobiles on display.
Luxury buyers expect a luxurious environment, with high-end design that reflects a brand’s quality and style. The Audi showroom in Devon, Pennsylvania provides these buyers with the ultimate shopping experience. The metal and glass structure presents vehicles as coveted works of art in a glowing jewel box.
Vehicles are displayed like works of art in a modern gallery.
Warfel Construction and Penney Design Group commissioned me to photograph the building, which reflects Audi’s signature design philosophy — sleek, modern, forward-thinking, and comfortable. From the sloping angles conveying a sense of motion and energy, to the soaring ceilings and open spaces populated with clean-lined furnishings, the customer is surrounded by an atmosphere of sophisticated design — similar to a modern art gallery.
Clean lines and angled walls energize the space and reflect Audi’s signature design aesthetic.
Clean lines and angled walls energize the space and reflect Audi’s signature design aesthetic. Customer experience is a top priority at this Audi showroom, which is loaded with extras to make their high-end clientele more comfortable. There is even a coffee bar — with free cappuccino. Now that’s a luxury I could live with!
The Devon Audi dealership has a fleet of 55 loaner cars — one way they go the extra mile to keep their upscale customers happy.
The architects suggested that we incorporate people to give a sense of life and scale to the photographs. Hiring models was not in the budget, however, so instead we used employees during a normal workday. It was challenging to shoot while the showroom was open and employees were focused on their jobs, but everyone was very friendly and helpful.
Customers take delivery of their new Audi in a custom-designed glass room — a truly special moment, above and beyond a typical car-buying experience.
The metal and glass showroom really came to life at twilight. Our exterior photographs reveal the sparkling interiors and the angled lines of this clean, modern design.
At twilight, the showroom glows like a jewel box.
Put your feet up and watch the sunset from this gorgeous private patio in Chester County, Pennsylvania.
The days are long, the nights are warm, and invitations to backyard BBQs are piling up. Summer has arrived! After a winter that dragged on for months, I’ll take any excuse to get outside. Add the mouth-watering sizzle of food on the grill, an icy spray of foam from a freshly-cracked beer, and I’m in heaven.
Get ready to toast s’mores (or a glass of wine!) by the firepit in this elegant outdoor entertaining area.
One of my long-time clients, EP Henry, is a manufacturer of hardscaping materials, specializing in backyard patios and entertaining areas. Their products turn basic backyards into a summertime host’s dream party zone. When photographing these fun outdoor spaces, I must showcase their products — the tiles and walls which draw guests in and sets the mood for entertaining. My goal is to help people imagine their own backyard as the perfect place to gather friends and family.
An outdoor chef’s dream setup, this covered outdoor pavilion is the center of any party.
Using props, creating a roaring fire, adding outdoor lighting, and by shooting at twilight, we’re able to set the mood for gatherings small and large. By scouting the location in advance, we can plan for the best angles, props, and times of day to shoot different areas.
As with any residential shoot, we must coordinate with the homeowners to get the shots we need while respecting their private space. Good communication is key.
Looking back at these images, it’s easy to start day-dreaming about my own outdoor oasis — surrounded by family and friends, enjoying ice-cold drinks and delicious food just off the grill!
A firepit sits poised for sundown, ready to draw guests into casual conversation.
Stunning colored underwater lights and garden torches light up this party-ready pool.
Striking angles are accented by glowing windows at dusk. 1650 Arch Street, Philadelphia.
Timing is everything when you’re shooting a building at twilight. That perfect moment — when the sky darkens to a gorgeous indigo and the artificial lights start to glow through the darkness — appears during a tiny window of just 10-30 minutes. Blink and you might miss it!
If you shoot too early, the bright sunlight will overpower the artificial lights and you’ll lose that wonderful glow. If you shoot too late, you lose the definition of the structure and will only see windows and other bright lights set against a dull black sky.
A vibrant indigo sky illuminates Endo Pharmaceuticals in Malvern, PA.
When you get a twilight shot just right, the results are truly special, providing energy and drama to a shot. The effect is amplified in an urban setting where the many hard surfaces reflect light all around.
Twilight photography can also be a great strategy when a building — such as the L2 Partridge designed office building for Endo pharmaceuticals — faces north and lacks direct sunlight for most of the year. In order to get the best photographs of this building right away, I chose to shoot primarily at twilight.
A darkened sky draws your eye to the entryway connecting these two buildings.
Because dusk is so fleeting, my assistant and son, Paul Benson, and I set up two cameras to maximize the number of photos we could shoot in a brief window of time. There’s no way we could set up and break down the same set of equipment for this many shots on that cold and windy night.
To ensure that we captured the perfect twilight images, we shot many frames of each scene. Light moves so quickly at twilight that two pictures shot just a minute apart can appear drastically different!
During a fleeting moment, the sun has sunk just low enough for the artificial lights to glow, but not so low as to obscure this exterior covered walkway.
Twilight shots are even more dramatic when a building’s windows are uniformly lit by interior lighting. During this shoot, one section of the building had all the blinds closed — not a great look! The security staff helped us open and close dozens of blinds on five stories.
It takes a great team to get great twilight images.
The entrance to the Morristown Hospital Emergency Room glows brightly in the night.
Photographing an empty hospital or healthcare facility, you can really feel the calm before the storm. In these situations, it is imperative that we get into the facility before the whirlwind of patients, doctors, nurses and other staff arrive. Can you imagine trying to photograph an active ER?!
High-traffic areas such as these would be impossible to photograph occupied.
The healthcare industry is one of the largest drivers of our economy today — one out of every six dollars spent is related to healthcare expenses. In communities across the country, hospitals are often the largest employers, surpassing big manufacturers that were once the backbone of the American job market. These hospitals are the cornerstone of local economies, providing jobs and growth.
Reception area at Morristown Hospital.
Calming colors and textures in the new facility at Morristown make hospital stays more comfortable.
Hospitals are constantly expanding and upgrading their facilities to keep up with demand and changes in technology and care. The Morristown Hospital in Morristown, New Jersey hired Buckl Architects to update their older facilities as well as design new ones. When their new Emergency Room was completed, we went in to photograph it before it was occupied.
Paine Park, a skateboard park near the Philadelphia Art Museum. An aerial view highlights creative shapes and patterns in a way you just couldn’t achieve from the ground.
As a kid, if you asked me what kind of animal I wished I could be, I would’ve answered eagle in a heartbeat. I dreamt of soaring through the clouds, peering down at the earth far below. As an adult, I’ve come pretty close to this feeling when I’m up in a helicopter capturing aerial photographs of buildings, skylines and neighborhoods.
A wide view from above highlights suburban America’s highways, shopping malls, and office buildings.
Aerials capture an important viewpoint when documenting a site or structure. When a commercial realtor is marketing an office building or shopping center, showing the location from the air gives potential buyers a clear sense of scale and context.
Shot from high up, the Cira Center in Philadelphia reflects its surroundings.
A view from up high can be a powerful and dramatic way to show a project in a completely different way, like an architect’s scale model come to life. Sometimes when I’m hovering overhead in a helicopter, I feel like I’m looking down on my own personal model train set. What a feeling!
Aerial photography showcases the lush green campus of Glaxo Smith Kline in King of Prussia, PA.
Capturing excellent aerial photographs is not easy. It requires a great deal of planning, teamwork, communication — and strong nerves, as you’re hanging out of the open door of a small two-person helicopter trying to find the perfect angle.
An overhead view captures the precise geometry of the Quadrangle and student housing at University of Pennsylvania.
I’ve done many aerial shoots, so I’m able to accurately calculate time and cost. There’s nothing worse than underestimating the amount of time needed, or over-booking a pilot’s time. Experience matters.
Philadelphia turns into glowing pockets of light when photographed from above at night.
Before I climb aboard the helicopter, I like to have a clear vision of what I’ll see when I’m up there. I first look up the location on Google Maps and study the satellite view carefully. Once the client confirms that the building I’m seeing in the satellite view is in fact the one I’ve been hired to photograph (you’d be surprised how different something can look from hundreds of feet up in the air!) I mark down the GPS coordinates and print out the satellite view to help navigate the pilot.
Time to fly…
500 Delaware Avenue, Wilmington, Delaware.
I’m in the business of helping other businesses look their best through visually commanding photography of commercial buildings.
One of my favorite clients is CBRE , the global full-service real estate company. We work together throughout the year on photography projects for their numerous sales efforts — from Class A office buildings to warehouses, to shopping centers, to apartment complexes.
For one of our recent projects together, the Wayne, Pennsylvania office of CBRE commissioned photographs to market 500 Delaware Avenue in Wilmington, Delaware. As with many of these commercial projects, time is short and the client needs strong images of an existing, older building as quickly as possible to close the deal.
A great place to wait before meeting your attorney.
Upper floor law firm conference room.
500 Delaware Avenue houses many corporate law firms — unsurprising considering that Wilmington is home to the majority of large U.S. corporations. It can be a challenge to document the most photogenic spaces in such a large office building, with minimal disruption to the building’s tenants. Frequently, I’m accompanied by a property manager who is familiar with the building and with the tenants, and who helps me locate the best spaces and views.
Not every part of a building is glamorous, but the US Post Office pays their rent every month.
My specialty is balancing beautiful photography with documentation. I must highlight the best spaces as well as capture the more typical spaces — visually describe the building while piquing the interest of potential investors.
The street address is hard to miss.
Exterior of Philadelphia’s Family Court with Love Park fountain in foreground.
There is never a perfect time to photograph a building. Go in too soon and the building isn’t finished; wait too long and access is difficult. This was certainly my challenge photographing Philadelphia’s new Family Court Building. Once the judges and court employees moved into their new home, tight security would have limited our access throughout the 14-story building. We managed to get in while the building was still partially unfinished and coordinate crews to clean the spaces we needed to photograph.
Corridor outside court rooms features terrazzo floors and wood trim.
I was hired to photograph the $200 million Family Court Building by Tutor Pernini Construction, who built this modern facility designed by Ewing Cole. I was thrilled to work with Tutor Pernini once again, after collaborating on a previous project, the Pennsylvania Convention Center.
One of numerous court rooms.
Located in the city center and across the street from the famous LOVE Park, the Family Court Building is a huge upgrade from their previous facilities, which were located within an historic 1920s neo-classical stone building. The court had simply outgrown the old building, and the need for more courtrooms and more office space led to the construction of this new facility.
While photographing the interiors required precise timing to avoid disturbing the soon-to-be tenants, I had the freedom to explore the best angles for the exteriors. The fountain at nearby LOVE Park provides the perfect context for the site, showing the beauty of the park and the amazing location of the new building.
1st floor lobby.
Because of the large scale of this project, I had two assistants helping move equipment and styling the spaces so we could complete our extensive shot list. My goal was to capture the clean and bright interiors while showcasing their warmth and thoughtful details.
View from balcony of Lea Library, rare book room at Van Pelt Library, University of Pennsylvania.
It’s not everyday that I get the opportunity to photograph such a unique space as a perfectly-preserved Victorian Gothic reading room embedded in the top floor of a modern library.
I was delighted to be commissioned by Cathy Gontarek, art director the Pennsylvania Gazette, to illustrate an article on the gorgeous Henry Charles Lea Library at the University of Pennsylvania in Philadelphia. Link to PDF of Gazette article on Henry Charles Lea.
Here is another article that features my photos about renovation of Van Pelt Library, in which Lea Library is housed.
Portrait of Lea that hangs in the rare book room.
In 1925 Henry Charles Lea’s family donated his extensive collection of rare books and manuscripts to the University of Pennsylvania — along with the room in which they’d been housed since 1881.
The recently-completed Lea Library is now home to the Special Collections Center and the Schoenberg Institute for Manuscript Studies, and includes conference rooms, a digital media lab, seminar rooms and exhibition space for rare manuscripts, in addition to the refurbished reading room.
The double-height reading room is an impressive example of Victorian architecture and interior design — truly a treasure worth preserving for future generations of students and scholars.
Victorian bust from original Lea Library.
The shelves are filled with rare volumes.
Page from a book about witchcraft from the 1400s.
Exterior of the newly opened IPEX building, University of the Sciences, Philadelphia.
Seminar auditorium with state of the art AV equipment.
I had the pleasure of photographing this unique educational project for architect Bob Little of L2Partridge, along with Turner Construction. The building boasts cutting-edge learning spaces amid green design elements such as a green roof and interiors full of natural light.
In today’s booming healthcare industry, it’s not enough for doctors and other providers to simply be trained in the science of their practice — they must also master the art of person-to-person interactions and they must be familiar with the responsibilities of the other healthcare professionals with whom they will work in the real world.
Collaboration is key. In an educational environment, bringing together multiple disciplines strengthens students’ understanding of their own professions as they learn from each other.
Main entrance to the IPEX building.
Clean, modern, bright and airy, the newly-completed IPEX (Integrated Professional Education Complex) building at the University of the Sciences in Philadelphia is dedicated to training students with a comprehensive, interprofessional approach to healthcare.
The inspiring and energizing spaces are the ideal home for this new approach to teaching our future generations of doctors and healthcare professionals.
Main stairwell and common space with circular skylights above.
Detail of skylights in the ceiling.
November 11th, 2014
Posted in portraits by Greg Benson
Kurt Vonnegut at 1980 Cornell Daily Sun dinner, 5/15/1980.
Today, November 11, is the birth date of Kurt Vonnegut. Born in 1922, he died in 2007.
Like Vonnegut, I attended Cornell University and was a member of the Cornell Daily Sun newspaper staff. I have fond memories of photographing for the Sun. One day per week I would be on assignment – shooting during the day, developing film and making prints in the darkroom at night, usually until midnight. The next morning I would wake up and see my photographs in the newspaper that was delivered to my doorstep.
Vonnegut attended Cornell in the 1940s, and he served as managing editor of the newspaper. The year I graduated from Cornell, Vonnegut spoke to the newspaper staff at our annual end-of-year banquet. I had the opportunity to photograph him during the banquet and I took this candid black-and-white close-up of him.
I have always liked Vonnegut ‘s fiction. He’s a great storyteller and his books make me laugh out loud and cry at the failings of his all too human characters. Many of his stories, though simple on the surface, actually deal with life’s biggest questions. That wisdom was on display the night I photographed him at the banquet, May 3, 1980. His speech that night ended with the following words, a reflection of his time at the Sun:
I was happiest when I was all alone — and it was very late at night, and I was walking up the hill after having helped to put The Sun to bed.
All the other university people, teachers and students alike, were asleep. They had been playing games all day long with what was known about real life. They had been repeating famous arguments and experiments, and asking one another the sorts of hard questions real life would be asking by and by.
We on The Sun were already in the midst of real life. By God, if we weren’t! We had just designed and written and caused to be manufactured yet another morning newspaper for a highly intelligent American community of respectable size — yes, and not during the Harding administration, either, but during 1940, ’41 and ’42, with the Great Depression ending, and with World War Two well begun.
I am an atheist, as some of you have gleaned from my writings. But I have to tell you that, as I trudged up the hill so late at night and all alone, I knew that God Almighty approved of me.
— Kurt Vonnegut ’44