Looking back at my days in commercial photography school, it's amazing how much the world of architectural photography has changed. Back then, it was all about film, about the slow, deliberate process of capturing an image with my trusty Toyo View 4x5 camera. That camera, a gift from my father, with its 90mm Schneider-Kreuznach lens, was my window into the world of architecture. It taught me about light, composition, and the importance of precision. I spent countless hours in the darkroom, learning the alchemy of film development and printing. Those were the days of hushed studios, where every click of the shutter was a commitment, and every image was a precious object.

Now, don't get me wrong, I loved those days. There was a certain magic to the process, a sense of anticipation as you waited for the image to appear in the developer tray. And the skills I learned then, the discipline and attention to detail, have stayed with me throughout my career. But the digital revolution has undeniably transformed the field, and I've embraced those changes wholeheartedly now.

Truth be told, I was scared at first. When digital started to take over, I thought, "That's it, I'm finished. My skills are obsolete, nobody will need a film photographer anymore." I imagined myself having to learn a whole new trade, or worse, being forced out of the profession I loved before it ever started. I was also scared that it would denigrate the photography world as a whole and that what I did would become so inexpensive that it wouldn't even be worth doing anymore, which I found to not be the case at all. What I found out was most important for any camera lies behind it. My perception was way off at the beginning of the digital revolution and I did not value myself or my skills as a photographer as much as I do now. I was on the opposite end of the Dunning-Krueger effect, where my experience translated and I could have easily made the change to digital, but I lost my confidence in my skills and abilities as a photographer somewhere along the way. I had so much knowledge in photography, that it hindered me from moving forward because I did not believe in myself. Once I was able to make that small change in perception, my whole world started to change.

That is also one of the major reasons why I later joined the Air Force in 2004 and became an aerial porter, helping out with OIF and OEF behind the scenes. I initially wanted to learn something that I could use outside of the military as a career and it would offer a more stable career that photography, or so I thought. I thought a career in photography would be really subjective, and it is to some extent, but again, a lot of this has to do with how we perceive ourselves and the world around us.

Once I was finally laid off from a job that I disliked in 2019, and discovering in 2021 that I have service related CPTSD, I figured I would take Jim Carrey's advice and try to do something I love and risk failing at it, rather than doing something I didn't like so much and take the exact same risk of failing at that too, which I did remarkably well when I think about it. Either way, I couldn't be happier with the way things turned out, and that is what matters most.

I wouldn't trade what I do now for the world, photography is my ikigai or Japanese term for definite major purpose. It is such a good feeling when you finally understand the reason why you are here and I hope that everyone gets to experience that in their life as I think that has a lot to do with the meaning of life. Finding your definite major purpose, no matter what that may be.

Instead of killing my career, the digital revolution actually expanded it once I decided to continue my career as a photographer and put my past behind me. Sure, I had to learn new tools and techniques, but the fundamentals of photography, the things I learned with my Toyo View, remained the same. And in many ways, digital made my job easier and more fulfilling. I love doing what I do every day, and that is a true gift from God that is worth protecting.

Today, I primarily shoot architecture, but my tools have changed. Instead of a Toyo View, I have a full frame (35mm) Nikon Z7 with a rectilinear Nikkor 16-35mm f/4 and a drone for a large portion of my exterior photos. Instead of Polaroid backs, film holders and darkrooms, I have memory cards and powerful editing software. And for exterior shots, I have a drone, which allows me to capture perspectives that were simply impossible before and has opened up a whole new world of photography for me as far as my personal work is concerned.

The biggest difference, of course, is the speed and volume. With digital, I can shoot hundreds of images in a single session, experimenting with different angles and lighting conditions as well as plan for the right times of day during a session to maximize output during a session. For example, on a community photoshoot, if it is a full project where I spend the whole day at the property, I will plan to photograph interiors during the day when the sun is high in the sky, and then drone photography typically depends on the position of the property if I am going to capture twilight images, but I typically try to do my exteriors either early in the morning or later in the afternoon and my interior work in between.

This is particularly valuable when I'm working on a large project, where the client needs a comprehensive set of images that tell the whole story of a building. And the turnaround time is dramatically faster. I can deliver images to clients within days, or even hours, if needed.

But here's the real kicker: I can now deliver significantly more volume, a wider variety of shots, and a more complete visual story, all at typically the same cost as a limited film shoot. That's the real game-changer. Clients love it, and it allows me to be more competitive in the market.

But it's not just about speed and volume. Digital photography has also opened up new creative possibilities. With tools like Photoshop and Lightroom, I can fine-tune my images, enhancing details, correcting perspectives, and creating a specific mood. I can even combine multiple exposures to create HDR images that capture a wider range of tones.

In addition to that, after creating my digital workflow and learning advanced editing in Photoshop, I also have added in construction removal to my processes so clients don’t have to necessarily wait to capture images before construction completion, allowing my clients to start marketing their properties before construction is even finished which in some cases can make a big difference. If you would like to see more about this process, see my before and after projects located in the projects portion of my website!

Of course, there are some things that I miss about the film days. There was a certain tactile quality to the process, a connection to the materials that is sometimes lost in the digital world. And film had a unique aesthetic, a grain and tonality that is hard to replicate with digital.

But overall, I'm incredibly grateful for the digital revolution. It has allowed me to expand my creative horizons and to reach a wider audience with my work. And while I still cherish the lessons I learned with my Toyo View, I'm excited to see how I can further integrate cutting-edge technology into my workflow. I'm already offering powerful 360° virtual tours, created with 3D cameras, to offer clients even more immersive experiences of the spaces I photograph.

And through it all, the foundation of my work remains the same: a passion for architecture, a love of light, and a desire to capture the essence of a building in a single frame. Whether I'm shooting with film or digital, with a large format camera or a drone, that's what drives me.

If you would like to learn more about our services and how we can make your property stand out, give us a shout sometime! We would love to hear from you!