It’s been interesting reading your comments on this post talking about the future of AD. From what I hear there’s no interviewing happening, but I think, as Wendy Goodman from NY Magazine said to me, that no magazine can survive unless it is relevant in today’s society. I think that whoever takes over the realms at AD will have a tough time getting rid of all that formaldehyde that’s been stuffed into the magazine and trying to bring it back to life. It requires an editor that has an understanding of relevance, society and contemporary design. I think it has to be somebody who is connected to designers and connected to what is happening in contemporary design, not someone hidden away from all the design action. And most importantly the job requires somebody who understands magazines, how to put it together and keep the flow going.
I’ll be watching this space with you and will let you know if I hear anything
I agree with the comment on H&G – just when it was really getting interesting, the rug got pulled out from under it. AD is more like design on Botox – a bit rigid, a bit monotonous.
Oh yes, and bring back Dominique Browning
That was the exact word that came to my mind when I read the previous post about AD… relevance… or lack of… ~Terri
Vicente – I’m curious what qualities and techniques of photography you think best suit the spaces featured in the design magazines. I looked more closely at some recent copies of AD and noticed that they have a lot of one point perspective shots and perfect 30-60 degree angle shots in their feature articles, taken at a distance with a what appears to be a wide angle lens, making grand spaces even appear grander. Also I think they set their exposures at the light beyond the windows and floodlight the interior so you can see both in great detail with equal brightness inside and out, which is something the eye doesn’t see. Is that correct? Something diminishes the soft effect of natural light and making the whole a bit cool and impersonal.
Elle Décor has some slightly overexposed interior shots, especially of white rooms, though the overall effect is more natural. Veranda is one magazine that seems to capture the subtlety of whites and soft colors and the character of light accurately. Any compositional or technical thoughts you or the other photographers out there have would be appreciated. – Gary
That particular “coolness” in the outside sky comes from the digital camera being balanced for indoor tungsten light (very warm) against the outside daylight (cooler temperature)
And if you shoot an interior at night, it’s a different ball game for lighting.
A lot of those decisions are about a magazine’s taste and preference and editorial vision. It also depends on what the magazine is highlighting and featuring as its editorial content. If its exact detail of furnishings, fabric, paint color and architectural space – like AD – then careful modulation of lighting will be required to accurately highlight these features. I tend to feel that that kind of approach sucks the life out of a room. But there is a sense you really know what all that crap looks like.
If the magazine is more about the lifestyle of living with great design, then a looser approach will be preferred. It’s ok to use mainly natural light flooding the space. You can still achieve accurate rendering of furniture and architecture in a space that is flooded with natural light, though. It’s really a matter of taste.
bg – Thanks very much for your technical input and candor. I’m most interested in what a series of spaces in a project actually look like, which I would think is consistent with the designer’s or architect’s vision. AD certainly wrote the book on how to photograph spaces to make them appear dramatic and glamorous, but of late not always inviting and livable. It is interesting to see how many others here feel the same. I still enjoy viewing the work of some favorite designers in AD, but have felt they’d be better served by a less polished rendition. – Gary
I totally agree with you on the formaldehyde…I avoid buying AD American version as possible. I love the Italian AD and I think also the German version of AD is superb (even if I don’t speak German so I only try to imagine what is written, but images speak for themselves). Let’s hope there is a bright future also for this version.
The best person for the job, unequivocally, would be Dominique Browning!
The very first images I saw of your work, Vincent, were in Architectural Digest. That was a few years ago – probably farther back than I think. Even then I remember thinking ‘now this is a designer that designs outside of the box!’ From then on I always hoped to see designers like you in the magazine. Those times were rare. I also hope AD comes alive and doesn’t die!