Creative Spotlight: Hilary Bailes Design

We received a call from Hilary Bailes a couple of years back.  Her current photographer was out of town and she needed a project photographed on short notice.  Could we help? Absolutely.

I remember fondly meeting Hilary at a near North Shore Chicago home.  Her wonderful accent, big smile and enthusiasm were the perfect recipe for a fun day of shooting.

Hilary’s work really carries a European flare to it. Custom designed handmade furnishing, exquisite window treatments along with fine art that would not at all be out of place in London flat.

Hilary is available for both residential and commercial projects.  I would imagine as with most all-fine interior designers there might be a bit of a wait to get into her schedule.  As you can see below, good things come to those that wait.

Creative Spotlight : Marsha Jones Interior Design

Back in late 2017 I received a call from Marsha Jones office.  They were looking to have a few projects photographed.  I of course had heard about Marsha over the years and had always wanted an opportunity to photograph some of her work.

Marsha is soft-spoken, witty, funny and a joy to work with.  We met at one of her projects on a late summer afternoon. The home was beautiful and every space had a comfortable elegance about it.   It’s was one of those projects that you go too and realize that you could just move right in and not change a thing.   Such seems to be the case with most all of Marsha’s work. 

Marsha walked me through the house and said to shoot whatever I want.   There was no staging needed anywhere.  Soft inviting colors, warm spacious rooms and cozy elegant niches.  Outstanding in every way!

If you’re looking for elegant comfort in your home design, Marsha should definitely be on your short list.

Film Cameras: Leica IIIf

Back in 2015, I was picking up some prints from chemical and digital lab guru Bruce Starrenburg at his Light Box lab, when I noticed a couple of old Leica IIIfs on his desk. He said they were given to him recently and that there was some history attached to them.  They previously belonged to artist/photographer/journalist Florence Arquin.  I picked one up and was impressed by the solidity of the camera and the smoothness of the controls.  I asked if I could borrow one for a bit.  Sure his said, take your time with it. 

When I got back to the studio, I Googled Florence and was able to find quite a bit of information on her.  Several old black and white and color photographs of her travels through South America and even a few shots of her taking pictures with a Leica IIIf.  It had to be one of the cameras that I borrowed I thought to myself.  

The Leica IIIf came mounted with a series one Leitz Summicron 50mm f2 lens.  Some of the most famous images in history were made with this combination.  I was eager to try out the lens and wondered if it had the same character as my vintage Carl Zeiss 50mm f2 Sonnar?  I had owned and used a Leitz Summicron 50mm f2 with my Leica M6 and liked it very much.  I imagined however that the early version of this lens would give a softer image, with more character and color in the bokeh.  This was my experience with my Carl Zeiss 50mm f2 Sonnar, and the main reason that I still own it. 

Sadly, the Leitz lens was stiff and nearly frozen.  No doubt years of neglect and lack of use had caused the grease to hardened making the lens inoperable.  Nothing a skilled camera technician couldn’t take care of. 

I did take a couple of weeks using the Leica IIIf with my Carl Zeiss Sonnar and realized that using this camera made me think about my compositions.  Framing and focusing are done using two separate finders.  Setting lens speed and aperture requires taking incident readings with a hand held light meter, or relying on your knowledge of light and the Sunny 16 rule. I imagined as I walked around using the camera how different and deliberate photography was back in the 30s, 40s and 50s.  How one had to not only have framing skills, but also complete knowledge of how shutter speed and aperture will affect the final exposure.  Patience was also needed as no one was going to use this for grab shots. All of the controls worked smoothly, precisely and effortlessly.  An experience I have never forgotten. 

When I returned to camera to Bruce I let me know what a gem it was.  He smiled and said that he would likely never use them, as they do have quite a bit of historical significance.  Here are a few iPhone shots of the camera taken back in 2015. 

  

Random 004 : Mason Miller

This shot is from a photo shoot done for architect Mason Miller back in 2014.  Mason had done a fantastic job designing a complete, modern remodel of this 1940s home, opening up spaces and finding useful storage in the most creative ways.  Really, it was a total transformation.

Finishing up the shoot, we invited the homeowner and her daughter to pose for a few shots. This shot was captured by my business partner Mary Price. She used a Sony Alpha 7, with a Carl Zeiss designed 11mm lens. Lighting was a handheld SunPak 555 flash bracket bounced off the kitchen ceiling.

Creative Spotlight : Expressive Interiors by Marietta Calas

Marietta has been featured before in our Creative Spotlight and more than a few of her out standing projects are found in the galleries of our website.  Pictures are always better when their is a story.  And there is always a story.  

So last year I get a call from Marietta Calas of Expressive Interiors.  'Would you mind flying to Florida to shoot a project for me'? Hmm., let me think about that for a nano second. No!  I can't wait!  This one is special exclaims Marietta.  'The condo has such beautiful views and the sunshine just pours into every room'.  Sounds wonderful I thought to myself looking out at my snow filled front yard.

So, we book flights for mid March and we are off for a day of sun-filled architectural photography.  When we arrive, our homeowner host was excited to have us there.  Then she says, 'I can't believe its cloudy outside, it's never cloudy down here, not ever'.  Go figure.  I get one day in Florida and it's overcast.

No matter, the space was beautiful and very well appointed with custom furniture, drapes, carpets, tiles and wall coverings.  Everything you would expect from an exclusive interior designer like Marietta.  Here the transitional setting is elegant, comfortable, and warm.  Below are just a few of my favorite shots from the photo shoot.  Oh and when I left the following day, it was indeed warm and sunny.

Shot on Film: Longtemps oublie' - (Long forgotten)

Again we visit the abandoned Midwestern Home.  This one in central Illinois.  The structure tells us that the home was built in the mid to late 1800's, sitting on hundreds of acres of prime farmland.  Every time I come across a sad home like this I feel compelled to photograph it.  In this instance, I am glad that I did as it was thoughtlessly destroyed days later to make room for the enormous industrial parks that now covers all the land seen before you in a mass of blacktop and concrete.

So who will remember this humble house?  The generations of children who filled the home with memories, tears and laughter are long gone.  We can look at this image and lose ourselves into a way of life that is passing.  A time when things were simple and a life of hard work rewarding and gratifying.

Photographed in January of 2001 using a minolta XE-7 and a Rokkor 24 mm 2.4 lens wide open on twenty year old Kodak Tri-X film.  Film was scanned full frame using a Minolta DiMage 5400 film scanner. 

Shot on Film: Je peux encore e'tre utile - (I can still be useful)

Here in the Midwestern United States much of our history lay in the ruins of our abandoned farms.  The eerie loneliness one feels when approaching a home or barn that was once useful and full of life can be over whelming.  I personally think about the structures age, the hands that worked hard building them because they needed  them.  And they stood strong and proud for years upon years until that fateful day the their usefulness was replaced or they were simply abandoned.  That is the case with our image here.  Large timbers, hand cut are still solid.  The panels on the exterior have weathered badly with time, the roof that once sheltered the animals that lived inside no longer can.  I can stare at this and imagine the men, women and children that worked here.  The children who played in and out of it when the daily chores were finished.  Je peux encore e'tre utile : I can sill be useful if only someone wanted me to be.

Photographed on a cold December morning in 2003, using a minolta XE7 and a Rokkor 35mm 1.8 prime lens wide open on twenty year old Kodak Tri-X film.  Image was scanned full frame using a Minolta DiMage 5400 film scanner.