Tierney Conner Architecture
Compose the Shots
Designers create a mix of materials, interior architecture and palette in their work, Livingston says, and he tries to compose photographs that capture this “collage of elements.” It’s an intentional way of photographing, very different from taking a snapshot.
Before shooting a single photograph, or even styling a room and adding props, Livingston will spend 30 minutes just looking at the space and trying to understand its design. He will look at it from different angles to think about how each photo should be composed. “When I walk through a space, I see what the compositions could be,” he says.
Only then does he start styling the space and adding props. As he’s doing that, he continues to walk through the room to see how all the styling and props would look in each of his photo compositions, as well as how all the elements relate to one another. Because once you’ve started shooting, you don’t want to change your styling or move your props around.
“You need to think all that through and make sure there’s continuity from one shot to another,” he says. “Sometimes you’ll get yourself in a trap where you’ll have styled something in some position that in another shot isn’t working well for you.” After he’s double-checked the angles, he will then start shooting.
Compose the Shots
Designers create a mix of materials, interior architecture and palette in their work, Livingston says, and he tries to compose photographs that capture this “collage of elements.” It’s an intentional way of photographing, very different from taking a snapshot.
Before shooting a single photograph, or even styling a room and adding props, Livingston will spend 30 minutes just looking at the space and trying to understand its design. He will look at it from different angles to think about how each photo should be composed. “When I walk through a space, I see what the compositions could be,” he says.
Only then does he start styling the space and adding props. As he’s doing that, he continues to walk through the room to see how all the styling and props would look in each of his photo compositions, as well as how all the elements relate to one another. Because once you’ve started shooting, you don’t want to change your styling or move your props around.
“You need to think all that through and make sure there’s continuity from one shot to another,” he says. “Sometimes you’ll get yourself in a trap where you’ll have styled something in some position that in another shot isn’t working well for you.” After he’s double-checked the angles, he will then start shooting.