Tess Kelly
How did you get started photographing architecture and design?
I studied a BA in commercial photography in my early twenties and started photographing architecture and design then. I’ve always had a love of architecture/design so it was only natural that they became my subject matter.
Can you tell us a little about the gear you use, camera system and lighting?
I use a canon 5d mark III for most jobs. I use a range of lenses, from a 24mm tilt shift, the 24-70mm and then a few fixed, the 85mm, 100mm etc.
Lighting wise, I rely heavily on ambient light. I find it is the most natural (of course), flattering and appropriate source for interiors and architecture. In times where I need more fill or another light element in the image, I’ll either use a speed light or use a head from my Broncolor Siros kit. I’ll almost always use a tripod, a spirit level and shoot tethered.
For personal work I love reverting back to my first camera, 35mm Canon FTb film camera as well as my large format Linhof Technika field camera.
How collaborative are your shoot days--is the client typically present?
A number of my clients are keen to be on set, styling each image or area as I shoot. I love working closely with my clients as I know immediately if they are happy.
Other times it can be a really wonderful experience to just be in the space by myself, get a feel for the space and photograph in a way that is intuitively my vision of a space. If I am photographing without a client around it is very important to have a good understanding of the client and the elements that are meaningful and important to them. I tend to do this by either a reconnaissance with the client or detailed conversations with them prior to the shoot.
How do you approach satisfying the client while staying true to your intentions/style/voice? Are there moments where this feels challenging?
Great question. I think you hope that your client has chosen you for the style that you showcase. You want them to trust you that you can deliver something unique, expressive and in the style that is true to you.
However, you are being employed to visually express the nature, essence, workings, beauty etc of your clients project. If they can’t see this in your images, as much as you might like them, you have not succeeded in your job.
If they are asking you to shoot in a way that is not in line with what you do, and you are not comfortable with what they are asking, I tend to express these feelings and try to show/explain my thoughts. All before the shoot. It is challenging... Sometimes, sadly, some clients are not a good match for one reason or another. Acknowledging this is important.
The styling details in your images are so consistent--accessories that are present are thoughtful and natural, they’re not distracting. How much do you participate in styling furniture/accessories on set?
Quite a bit. Everything looks quite different through the lens than what it does through one's eyes. If the client is on set then I will talk them through any changes, object/furniture moves with them so that they understand. Typically they trust me and are more than happy for me to make tweaks here and there. If a space feels like it is missing something I will often be verbal about this. I am very hands on during a shoot. After all, it is about getting the best possible outcome I can.
Are there differences in process for you when you are hired by an architect vs. an interior designer?
Yes, absolutely. It’s so important to know your client. You need to adapt and photograph differently depending on the type of client you are working with. That comes with firstly talking to your client, figuring out what story they want to tell. You need to ask what features are important. You need to figure out whether you concentrate on material, structure, light, product, soft furnishing etc. It’s also helpful to know where they might want to feature these images. Is it just website and social media or do they want to try and pitch the project to magazines for example?
The still life images in your portfolio are so recognizable as your style; the composition and quality of light, was this a new genre for you? Did you experiment with this work before being commissioned for it?
When I was at uni studying photography, I loved being in the studio. I was in the studio producing work more than I was any where else. Becoming a studio photographer would have made for a sensible transition. However after uni, I started assisting a photographer that mostly photographed interiors and food. I learn a lot about photographing interiors from my employer/my mentor. I really pushed my interior and architectural folio at this point and there came a snowball of this type of work. Sadly I became too busy to shoot still life except for a few shoots a year. I’m excited to know that there’s always room for movement and recreation of one's folio. I’d certainly like there to be more still life work in the future.
Are there any kind of educational tools/platforms you utilize as resources--be it photo/retouching/business-related?
I tell myself I need to spend at least 2 hours a week learning and revisiting photoshop and capture-one skills. I haven’t really kept my promise to myself as I feel any more time in front of a computer will surely be the death of me. Excuses excuses.
I have recently started revisiting work form artists, architects, photographers etc that I loved when I was younger and may have researched when I was at school and uni. Researching new work by artists I love and from a range of different sources is also incredibly inspiring.
Without becoming overstimulated and exhausted by other people’s work, it is important to me that I keep reasonably up to date with what other photographers in my field are producing, this is typically done via instagram.
I am also currently in the habit of reading small business blogs and books; only because this side of the business does not come naturally to me and I’ve learnt that as much as I don’t thrive on it, it is key to sustaining and building a business.
Is there a recent shoot that left you feeling particularly fulfilled--creatively? Socially?
It was actually just a really small interior design project. Just a half day shoot that I decided to photograph solo.
After my initial walk through and discussion with my client about the project I was left to my own devices, no client, no assistants, no workmen, no-one around. I worked through the project methodically, with calm and ease, chasing the light. I found the design to be beautifully considered and yet seemingly so simple and minimal. I allowed my images to be simple and minimal. I moved from space to space with time to breathe and take note of light, materials and product.
The materials used were so incredibly thoughtful and well put together. The colour palette was mostly whites and neutrals yet it spoke volumes through texture and quality. I think above all, I really appreciated the feeling this shoot provided - a real calmness and appreciation for the feeling that great design evokes.
What is your favourite part of your work-process, excluding the actual shoot days?
I love the pre production. Currently my shoots don’t require a lot of pre production but when they do, I love it! I love the concept building, a site visit, the decision making, the planning.
I would love to integrate more pre production and art direction into my work. Typically this would mean shooting more still life, studio work, so we will see where this goes.
Can you tell us about the first time you saw your work in print?
I first saw my name in credits as an assistant for some major cook books for Australian chefs. That was pretty great at that stage! But I can’t quite remember my first images in print. I think it came fairly quickly in my career as I was working for a couple of well known architects, their projects often printed across multiple magazines.
It's always so wonderful and reassuring to see work in print.
How much do you engage with a community related to what you do?
I have a couple of close female friends who are photographers in similar places in their career. We chat every few weeks or whenever we have questions regarding fees, quoting, image licensing, other random industry difficulties. It is a life saver having these people in my life. Having a mentor early on in my career was also invaluable. I was incredibly lucky to have the guidance and support she provided.
That feeling of connectedness and relatability is so important. I find it very hard to relate to other photographers who are highly protective and competitive. I can’t see how those barriers they put up are helpful for their business. An open and supportive community of photographers is what is important to me.
Do you have any favourite photographers?
Many…. But a few are;
Edward Weston
Robert Frank
Saul Leiter
Hiroshi Sugimoto
Masao Yamamoto
Gunnar Smoliansky
Mikkel Mortensen
Then a few locals, Sharyn Cairns, Felix Forest, Brooke Holm, Rory Gardiner, Saskia Wilson, Lillie Thompson, Caitlin Mills, Haydn Cattach.