Exterior view of Girl Scouts' Science & Technology Lodge. Hockessin, DE

In 2009 we photographed the Girl Scouts’ Science and Technology Lodge in Hockessin, Delaware for Re:Vision Architecture and S C & A Construction. This building was the first to qualify for Platinum LEED certification in the state of Delaware. LEED or “Leadership in Energy and Environmental Design” is a certification process for green buildings, with Platinum being the highest ranking.

In this time of rising energy costs and stress on the environment, LEED certified buildings are a way to create more sustainable structures.

Science Classroom, Girl Scouts' Science & Technology Lodge. Hockessin, DE

Part of a larger camp, this building is used for programs that instruct Girl Scouts in science.

Multipurpose Room, Girl Scouts' Science & Technology Lodge. Hockessin, DE

Natural daylight supplies much of the building’s lighting, reducing the amount of electricity needed.

View of the deck and green roof of Girl Scouts' Science & Technology Lodge. Hockessin, DE

View from deck of Girl Scouts' Science & Technology Lodge. Hockessin, DE

Having a green building is a hands-on way for the Scouts to experience environmentally friendly architecture.

Bathroom, Girl Scouts' Science & Technology Lodge. Hockessin, DE

A rainwater harvesting system collects water that is used to flush toilets.

University of Pennsylvania College Houses Catalog 2010-2011 Academic Year

For this academic year the College Houses at the University of Pennsylvania crafted a fresh new design for their catalog. They came to us with their design concept and ideas about the mood for the cover image. The result of our collaboration is this view of the Rodin House lounge that feels as cozy and inviting, as it is slick and stylish.

Daytime view of Rodin House lounge.

While on campus shooting other images for the catalog, Greg scouted several views of the Rodin House lounge. The above view was perfect for the cover, but daytime would not give this scene the mood our client wanted. The shoot was scheduled for an evening.

Lounge scene before retouching

On the night of the shoot we assembled a small cast of student models, posed them in various positions in the space, and asked them to interact with each other.

Detail of lamps and window -- unretouched scene on left and retouched version on right.

Above is an example of how we use Photoshop as one of our tools to get the desired visual effect. Elements from different frames are brought together seamlessly in Photoshop. The glow of the lamp on the right cannot be captured in the same exposure as the flash-lit interior. The exterior through the window was also shot separately, with the lights down and no flash to avoid reflecting the room (and the photographers) on those beautiful, large windows.

Detail of coffee table and woman's foot -- unretouched scene on left and retouched version on right.

During the shoot the accent coffee table above was moved out of the scene to simplify the shot. The frame that was finally selected for the cover was from somewhat earlier in the shoot before the decision to move the table was made. In Photoshop the table was removed, and our model’s foot was restored.

Rodin House lounge scene -- final version with all retouching

All of the pre-shoot planning, our efforts on location, and the final digital tweaks come together above in the final version.

Covers of University of Pennsylvania's College Houses catalogs from 1998 through 2009

It can be very rewarding to step back from a project you have been involved with for many years and see how it has evolved and changed over time. Greg has been photographing for University of Pennsylvania’s catalog of College Houses for thirteen years. The designs and concepts have changed over that time. It is fun to see some of the covers together and trace the evolution.

University of Pennsylvania College Houses Catalog 2002-2003 Academic Year

More than just the designs have changed over the years. The cover concept for the catalogs from 2002 through 2005 called for a photograph of one the many sculptures on campus in the foreground and Penn dormitories in the background. The photograph had to wrap around to the back of the book and digital capture technology of the day was not up to the task. These series of covers were all shot in large format film.

University of Pennsylvania College Houses Catalog2006-2007 Academic Year

The redesigned cover for the catalog for the 2005-2006 academic year set a new concept that was continued on until last year’s catalog. Though Greg had already been shooting digitally for some assignments before this, it is during these years that the studio saw less and less of a necessity for shooting film. The day that marked the final transition to fully digital for all assignments was somewhere in the middle of 2007, and by the end of 2008 Greg’s large format and medium format cameras had found homes outside of the studio.

Not just University of Pennsylvania, but all of our clients’ needs continue to change and evolve. Our tools (not longer just cameras, lenses, and lights; but now also computers, software, and hard-drives) continue to change and evolve at an accelerating pace.

After about one hundred years of slow to little change, right now is a very exciting time to be a photographer and embrace all the new possibilities. But, it requires that one is willing to continue to be a student.

Elegant Dining Room. Private Residence, New Jersey

Peter Lalor Fine Paperhanging specializes in the installation of designer wallpapers and scenic murals. We recently photographed some of Peter’s residential projects for his website.

Detail of Hand-Painted, Silk Wallcovering. Private Residence, New Jersey

These delicate, one-of- a-kind, hand-painted silk wall panels require patience and skill to install.

Dining Room. Private Residence, Philadelphia, PA.

Peter draws on more than thirty years of experience. His expertise is not only in the installation, but also during the planning stages, where he will help plan the placement of each of the panels before they are made. He frequently works in collaboration with interior designers or homeowners.

Hand-Painted Silk Wallcovering Detail. Private Residence, Philadelphia, PA.

Portrait of Peter Lalor.

Lobby of Sheraton University City, Philadelphia, PA

The Sheraton University City Hotel in Philadelphia hired us to document their newly renovated lobby. Since these spaces are very busy during the day, the shoot was scheduled after midnight.

Reception Desks - Sheraton University City, Philadelphia.

With the renovations a new restaurant opened at the hotel. The Sang Kee Noodle House is a new location of the much-loved Chinatown restaurant known for their Peking Duck.

Sang Kee Restaurant - Sheraton University City, Philadelphia.

Earlier in 2010 we also documented the hotel’s renovated meeting rooms and downstairs public space. The hotel hosts many events and meetings, but we were able to photograph on a rare day when few events were scheduled.

Lower Level Lobby - Sheraton University City, Philadelphia.

As well as banquet halls, the hotel has several other spaces better suited to hosting large meetings and conferences. We worked with hotel staff to have the rooms set up in a way that would best illustrate and showcase their use.

Meeting Room - Sheraton University City, Philadelphia.

More of our photographs of the Sheraton University City Hotel can been seen on their website.

Sheraton University City Hotel at Twilight

Email I don't Miss

Enter Google Apps for domain names. I was able to configure my email with Google’s gmail servers and still keep my gregbenson.com domain name in my email. I set up my iPhone, my desktop and laptop computers for IMAP email. Now I see virtually no spam and if I read an email on my desktop, my mobile phone shows it as already being read. Not having to scroll and delete interminable spam emails saves me time and aggravation.

To use Google Apps you can sign up here.

Jeanne-Claude & Christo, "The Gates", February 2005

I remember seeing Christo talk at the Carnegie Art Museum in Pittsburgh in about 1977 or 1978 at a screening of films about his work Running Fence and Valley Curtain. I was impressed by the energy, scale and sheer chutzpah of designing and producing a work that was 24 miles long. Running Fence was a fabric fence that started at the Pacific coastline in California and ran inland for 24 miles.

I have always admired that fact that Christo and Jeanne-Claude raised the money to produce their expensive and temporary projects on their own. In college I even contemplated doing my own Christo-like installation, dreaming of roping off the Arts Quad at Cornell. I made some tentative plans and even took photos of the area, but scheming is easier and cheaper than doing.

Jeanne-Claude was the silent partner, the wife behind the scenes. An article in the NY Times mentions that even though she generated ideas and worked on many projects with Christo, they only started to credit her name in 1994. It is curious that a woman who was an avant garde artist lived as a nameless collaborator in the quiet shadow of her more famous husband.

Since they were partners in their work it is difficult to assess what each of their contributions were. And since their work was as much the logistics and political maneuvering of gaining permission to take over large areas of public space, as it was the aesthetics of the final installation, it is difficult to judge their work in the same terms of say judging a painting or a photograph.

In February of 2005 I traveled to New York to visit their Central Park winter project, The Gates. The bright large scaled orange gates jumped out of the dreary gray winter landscape of Central Park, a magnet for visitors. One friend at the time commented that The Gates was a 1970s idea that was finally realized in 2005. While the sheer scale and number of gates was impressive along with their ability to draw people, at some level the piece had an emptiness.

The funniest and most telling commentary on The Gates was done by Stephen Colbert, then on the Daily Show and billed as their Senior Conceptual Art Correspondent.

“I used to think 21 million dollars could be used to achieve something noble, like building a hospital wing, but The Gates has forced me to reconceptualize what what 21 million dollars can be used for. In this case, like, redecorating a bike path,” deadpans Colbert.

In the review he quotes Robert Frank, (the photographer known for his book The Americans) commenting on Cartier-Bresson, “He traveled all over the goddamned world, and you never felt that he was moved by something that was happening other than the beauty of it, or just the composition.”

This morning I have pondered this quote and looked at many images by Frank and Cartier-Bresson with the intent of pairing their images to show Cartier-Bresson’s strong composition and lack of compassion and Frank’s indifference to composition and his empathy with his subjects’ emotions. The reality of their work is that it is complicated.

Henri Cartier-Bresson, "Telavi, Georgia, Visitors from Kolkhozy to the 11th Century Alaverdi Monastery", 1972

Robert Frank, "Funeral—St. Helena, South Carolina", 1955

In comparing Cartier-Bresson’s photo of Georgians on a picnic at a monastery with Frank’s image of an African-American funeral I am struck by how strong the composition and arrangements of forms is in both images. Yes the placement of every element: the monastery in the distance, the rake of the car fender, the placing of each of the people, even the picnic blanket all fall into place, as if sketched by a painter instead of aligned by a photographer.

The funeral photo has its own pictorial structure with three figures receding in space. On the question of empathy, the picnickers appear a bit nervous and dwarfed by the landscape. While the foreground mourner is lost in his thoughts and to me almost seems to be playing a harmonica. Trying to determine who the most compassionate photographer presents one of the dilemmas of photography–how accurately does our reading of a photograph reflect the reality of the emotion state of the people in it.

Robert Frank, "Political Rally-Chicago", 1958

Henri Cartier-Bresson, "Boston", 1947

Another pair of Frank and Cartier-Bresson images of people lying in parks shows Cartier-Bresson’s focus on people arranged in the picture plane and Frank’s direct confrontation of a man lying shoeless on the ground. As to which photo displays its subjects’ emotions more strongly, I’m not really sure.

And consider this photograph of a shoeless New Yorker. Was it shot by Frank or Cartier-Bresson?

Henri Cartier-Bresson, "Behind the Gare Saint-Lazare, Paris", 1932

This is the first Cartier-Bresson photo that I ever remember seeing. The tension of the moment before the man’s foot hit the water, almost touching his reflection has stuck in my mental image bank. I remember in 7th or 8th grade art club, seeing it in a magazine for young art students. When I think back on it, this was the time in my life that I first started photographing on a regular basis.

A new retrospective of Henri Cartier-Bresson’s photography has opened at the Museum of Modern Art in New York. The show with over 300 photos will run until June 28, 2010. Last night I watched Charlie Rose interview three people connected to the show: Cartier-Bresson’s widow, Martine Franck; the curator of the MOMA show, Peter Galassi; and Agnès Sire, the director of the Fondation HCB.

Cartier-Bresson is a seminal photographer. His 1930s black & white images of “decisive moments” broke new ground in photography. Perhaps because of his training as a painter, composition is paramount in his photographs. Timing, too, is important.

Henri Cartier-Bresson, "Hyères, France", 1932

Contact Sheets

In the late 1980s I visited Burk Uzzle’s studio. Burk had worked at Magnum, the photo agency Cartier-Bresson co-founded. Burk told the story that when he first was hired at Magnum in the 1960s, he would go in off hours and look at Cartier-Bresson’s contact sheets. And apparently, from what Burk said, there were many many lousy photos on those contact sheets. In order to arrive at the stellar moment, lots of un-stellar moments were shot.

In the Charlie Rose interview, when asked about first meeting her future husband, Martine Franck, a successful photographer herself, told the story that when they first got together, Cartier-Bresson’s opening line was, ” Martine, I want to come and see your contact sheets.”

From a 2004 obituary: ”My contact sheets may be compared to the way you drive a nail in a plank,” he said. “First you give several light taps to build up a rhythm and align the nail with the wood. Then, much more quickly, and with as few strokes as possible, you hit the nail forcefully on the head and drive it in.”

Henri Cartier-Bresson, "Valencia, Spain", 1933

Henri Cartier-Bresson, "Srinagar, Kashmir", 1948