Adam Gibson is one of Hobart’s most in-demand photographers. He works across many categories from editorial to architectural photography and in each case he brings his signature empathetic and highly emotive style. “My work is inspired by the things I see when I close my eyes – the endless pursuit to somehow record what is in my head. This constant drive to create images is always with me and is applied to all aspects of my work,” he says.
As is to be expected when living in such a beautiful locale, the landscape and surroundings of his immediate environment in Tasmania also contribute to his work. Adam elaborates on this influence, “living in a place like Tasmania, you cannot ignore the landscape, the ocean and the sum of it all. My connection to place and people is very strong due to my location in the world.”
Although working right across the breadth of photography, Adam has established a loyal following in the architectural space. “I am constantly amazed at the skill and dedication of architects that seem to effortlessly create such intuitive and pleasing spaces to inhabit. This design process is one that intrigues me and I find great pleasure in photographing their work,” he says.
Adam’s advice for a smooth working relationship comes through establishing trust. Allowing the photographer to use their own skills and talent to let the building speaks for itself. “I believe that the best work comes from a good understanding of the project (from an architectural point of view), but then the ability for the architect to ‘let go’ and allow me to work my way through the building and find the nice moments for myself,” says Adam, adding, “having a client that simply wants me to experience and document the project for them from my point of view is perfect.”
When asked how architecture photography is different to shoot when compared to other formats he simply states: “Slow it down. Take your time. Wait for the light. Think about it. Have another coffee. Wait some more. Create the exposure.”
I believe that the best work comes from a good understanding of the project (from an architectural point of view), but then the ability for the architect to ‘let go’.
Tools of the trade
My approach to gear is very simple, and I try to have less options in my kit which forces me to know my lenses intimately and work the space accordingly. I’ve always shot Canon, purely as this is what I bought in art school and have added to over the years. Since I have been working professionally for the last few years, tilt shift is my go-to for architectural work and almost everything else I shoot is on a Sigma 50mm or a 70-200mm. When and if I can justify it I would consider a move to a large format kit.
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