Portland Loft by Jessica Helgerson Interior Design. Image © Aaron Leitz

In Focus is Archinect's recurring series dedicated to profiling the photographers who help capture architecture and who make the work of architects look that much better. In this series, we ask: What is their relationship to architecture? How do they work? What equipment do they use? What are their goals are when capturing buildings? And is there such thing as the perfect photo?

For this installment, Archinect chats with Seattle-based photographer Aaron Leitz. Specializing in interior and exterior architectural spaces, Leitz attributes his entrance into the profession to "coincidence and good fortune." However, despite his informal introduction to architecture and design, Leitz has established himself as a notable photographer who has worked with prominent architecture firms in Seattle, like Olson Kundig Architects and Suyama Peterson Deguchi, to name a few. 

A fan of "respecting the process" and a believer that the "perfect" photo doesn't exist, Leitz seeks to capture moments by keeping things simple while searching for a space's "unanticipated opportunities."

What is your relationship to architecture? 

I don’t have any formal education in architecture or design. Until I started photographing it for a living my relationship with architecture and design was pretty nonexistent. I might walk past a building and note that it was “cool” or “ugly,” but that would be the extent of it. 

I think this “clean slate” ended up working in my favor when I started engaging with architecture and design as a photographer as I didn’t have any preconceived notions or biases to fall back on. 

I don’t have any formal education in architecture or design [...]  I didn’t have any preconceived notions or biases to fall back on. 

What pushed you towards photographing architecture and interiors? 

Coincidence and good fortune! I had always been an avid photographer since I was a teenager. But when I got my first digital camera in 2005 everything changed for me. Suddenly I could take photos with impunity – it didn’t matter if they were terrible because it cost me nothing but my time. My learning curve changed dramatically. I was a graduate student in education at the time and was introduced to a prominent local interior designer by a mutual friend. He needed some projects photographed and I was interested in photographing interiors and we went from there. I met other architects and builders by working with him, then other designers and architects by working with them, and so on. Those first few years were my architecture and design education – soaking up as much as I could from my clients. 

Do you remember the first photograph you ever took? 

My dad always had a camera with him when I was young and I’m sure I used it to take some photos on occasion. However, it wasn’t until I was 12 or 13 that he bought me a camera of my own – an Olympus OM-1 from the local pawn shop. I took photos of all manner of subjects, but interestingly enough the first photo that I remember taking was a very “architectural” composition looking straight down a boat dock. I don’t have the photo anymore but in my mind I’m pretty sure that it was perfectly centered and symmetrical! 

What is interesting and enjoyable about the process is that the means to that end changes with every project because every project has unique variables at play. 

The challenge is taking all the design elements of the project that are important to your client, the setting and surroundings and combining them in a way that is interesting and beautiful. 

What are your goals when capturing a space? 

My primary goal with every photo shoot is to come away with a set of beautiful compelling photographs. That’s how you get people to look and then hopefully engage with the photograph. What is interesting and enjoyable about the process is that the means to that end change with every project because every project has unique variables at play. The challenge is taking all the design elements of the project that are important to your client, the setting, and surroundings and combining them in a way that is interesting and beautiful. 

Is there a different approach when photographing interiors and exteriors? 

Yes, I think the approach and the mindset is a bit different. I think of exterior photography as essentially landscape photography. There aren’t really many moving parts that you have control over – there is the subject matter, the things around it, the land, and sky. None of them (save for construction cones, trash cans, delivery trucks, window washers, etc. Don’t get me started) can be moved. And just like landscape photography, you’re at the complete mercy of the sun and weather. So the preparation for exterior photography can be fairly straightforward – looking over weather forecasts, finding how the sun moves across the sky, looking at Google Earth/walking the site area for possible vantage points and angles. 

Whereas I think of interior photography more like portraiture. There are a lot of moving parts and much like the tilt of a head or raising of an eyebrow, often the positioning of a single element in an interior space can have a dramatic effect on the overall photograph. You’re accessorizing, moving things around, using composition and light all to emphasize certain elements of the space while simultaneously trying to downplay others. So much like portraiture you have to develop a rapport with your clients and subject matter and position/direct them in order get the image you’re after. 

When a photograph is visually “still” it’s easier to guide the viewer through the image as the eye tends to notice and linger on the subtleties of form and light. 

Your photographs elicit these amazing moments of stillness and silence. Is this something you seek out or do you turn to the building/space for these moments? 

The space will always inform the photograph but I think a photograph has more impact the more simple you make it. When a photograph is visually “still” it’s easier to guide the viewer through the image as the eye tends to notice and linger on the subtleties of form and light. 

Could you describe your work process? Do you have a specific ritual or process to help you capture the right shots? 

The vast majority of my commissioned work is for architects and interior designers and their input before and collaboration during the photo shoot is critical to my success. If they can’t be on site with me during at least a portion of the shoot then I try and get as much information as I can beforehand – ideally via a walkthrough of the project with the client. 

It’s always good to have a shot list and a good sense of what you want to capture but I always try to be mindful of the space while I’m photographing and keep an eye out for unanticipated opportunities/compositions. 

What are your thoughts about including people in your photos of buildings? Is it important to photograph a space in use, or by itself? 

This is something I’ll discuss with my client and I usually defer to their judgement. I think the context matters. Including people in architectural photographs gives a sense of scale and movement to the image. In larger, complex spaces placing people in specific areas can help highlight and clarify to the viewer how those areas are used. Most of my residential interior photographs don’t include people as they can be a distraction. 

Perfection is a fantasy. And focusing on perfection can actually hinder your growth as an artist/professional.

Do you believe the “perfect” photo exists? 

No. Perfection is a fantasy. And focusing on perfection can actually hinder your growth as an artist/professional. Strive for excellence (continuous improvement) instead. 

Now to get a bit technical, what's your favorite piece(s) of equipment to use? 

Beyond its unique ability as a device that uses light to capture and manipulate the passage of time, I have little interest in the technical aspects and logistics of operating a camera. Which is my fancy way of saying that I don’t get very excited about camera gear. Using apps like The Photographer’s Ephemeris and Sun Surveyor are really helpful for planning and tracking the movement of the sun. And tethering your camera to a laptop or iPad screen during shoots is very helpful for looking over and making sure you’ve got all the little details how you want them. 

Are there any photographers you look up to? 

Simon Norfolk. I have never met another photographer so focused to the craft and dedicated to the concept, planning and execution of a photograph. And his photographs are beautiful. 

What's the best piece of advice you've been given and what would you say to aspiring photographers who are interested in pursuing photography as a career? 

Respect the process. You’ve got time. Time to practice and try things and fail and fail some more and then, time to slow down and make sure you get it right. 

Aaron Leitz is a Seattle-based photographer specializing in interior design and architecture.